about summary refs log tree commit diff stats
path: root/river/howtoread.river
blob: c4b48b03d0d20d329e42f837d82144ee61614498 (plain)
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
52
53
54
55
56
57
58
59
60
61
62
63
64
65
66
67
68
69
70
71
72
73
74
75
76
77
78
79
80
81
82
83
84
85
86
87
88
89
90
91
92
93
94
95
96
97
98
99
100
101
102
103
104
105
106
107
108
109
110
111
112
113
114
115
116
117
118
119
120
121
122
123
124
125
126
127
128
129
130
131
132
133
134
135
136
137
138
139
140
141
142
143
144
145
146
147
148
149
150
151
152
153
154
155
156
157
158
159
160
161
162
163
164
165
166
167
168
169
170
171
172
173
174
175
176
177
178
179
180
181
182
183
184
185
186
187
188
189
190
191
192
193
194
195
196
197
198
199
200
201
202
203
204
205
206
207
208
209
210
211
212
213
214
215
216
217
218
219
220
221
222
223
224
225
226
227
228
229
230
231
232
233
234
235
236
237
238
239
240
241
242
243
244
245
246
247
248
249
250
251
252
253
254
255
256
257
258
259
260
261
262
263
264
265
266
267
268
269
270
271
272
273
274
275
276
277
278
279
280
281
282
283
284
285
286
287
288
289
290
291
292
293
294
295
296
297
298
299
300
301
302
303
304
305
306
307
308
309
310
311
312
313
314
315
316
317
318
319
320
321
322
323
324
325
326
327
328
329
330
331
332
333
334
335
336
337
338
339
340
341
342
343
344
345
346
347
348
349
350
351
352
353
354
355
356
357
358
359
360
361
362
363
364
365
366
367
368
369
370
371
372
373
374
375
376
377
378
379
380
381
382
383
384
385
386
387
388
389
390
391
392
393
394
395
396
397
398
399
400
401
402
403
404
405
406
407
408
409
410
411
412
413
414
415
416
417
418
419
420
421
422
423
424
425
426
427
428
429
430
431
432
433
434
435
436
437
438
439
440
441
442
443
444
445
446
447
448
449
450
451
452
453
454
455
456
457
458
459
460
461
462
463
464
465
466
467
468
469
470
471
472
473
474
475
476
477
478
479
480
481
482
483
484
485
486
487
488
489
490
491
492
493
494
495
496
497
498
499
500
501
502
503
504
505
506
507
508
509
510
511
512
513
514
515
516
517
518
519
520
521
522
523
524
525
526
527
528
529
530
531
532
533
534
535
536
537
538
539
540
541
542
543
544
545
546
547
548
549
550
551
552
553
554
555
556
557
558
559
560
561
562
563
564
565
566
567
568
569
570
571
572
573
574
575
576
577
578
579
580
581
582
583
584
585
586
587
588
589
590
591
592
593
594
595
596
597
598
599
600
601
602
603
604
605
606
607
608
609
610
611
612
613
614
615
616
617
618
619
620
621
622
623
624
625
626
627
628
629
630
631
632
633
634
635
636
637
638
639
640
641
642
643
644
645
646
647
648
649
650
651
652
653
654
655
656
657
658
659
660
661
662
663
664
665
666
667
668
669
670
671
672
673
674
675
676
677
678
679
680
681
682
683
684
685
686
687
688
689
690
691
692
693
694
695
696
697
698
699
700
701
702
703
704
705
706
707
708
709
710
711
712
713
714
715
716
717
718
719
720
721
722
723
724
725
726
727
728
729
730
731
732
733
734
735
736
737
738
739
740
741
742
743
744
745
746
747
748
749
750
751
752
753
754
755
756
757
758
759
760
761
762
763
764
765
766
767
768
769
770
771
772
773
774
775
776
777
778
779
780
781
782
783
784
785
786
787
788
789
790
791
792
793
794
795
796
797
798
799
800
801
802
803
804
805
806
807
808
809
810
811
812
813
814
815
816
817
818
819
820
821
822
823
824
825
826
827
828
829
830
831
832
833
834
835
836
837
838
839
840
841
842
843
844
845
846
847
848
849
850
851
852
853
854
855
856
857
858
859
860
861
862
863
864
865
866
867
868
869
870
871
872
873
874
875
876
877
878
879
880
881
882
883
884
885
886
887
888
889
890
891
892
893
894
895
896
897
898
899
900
901
902
903
904
905
906
907
908
909
910
911
912
913
914
915
916
917
918
919
920
921
922
923
924
925
926
927
928
929
930
931
932
933
934
935
936
937
938
939
940
941
942
943
944
945
946
947
948
949
950
951
952
953
954
955
956
957
958
959
960
961
962
963
964
965
966
967
968
969
970
971
972
973
974
975
976
977
978
979
980
981
982
983
984
985
986
987
988
989
990
991
992
993
994
995
996
997
998
999
1000
1001
1002
1003
1004
1005
1006
1007
1008
1009
1010
1011
1012
1013
1014
1015
1016
1017
1018
1019
1020
1021
1022
1023
1024
1025
1026
1027
1028
1029
1030
1031
1032
1033
1034
1035
1036
1037
1038
1039
1040
1041
1042
1043
1044
1045
1046
1047
1048
1049
1050
1051
1052
1053
1054
1055
1056
1057
1058
1059
1060
1061
1062
1063
1064
1065
1066
1067
1068
1069
1070
1071
1072
1073
1074
1075
1076
1077
1078
1079
1080
1081
1082
1083
1084
1085
1086
1087
1088
1089
1090
1091
1092
1093
1094
1095
1096
1097
1098
1099
1100
1101
1102
1103
1104
1105
1106
1107
1108
1109
1110
1111
1112
1113
1114
1115
1116
1117
1118
1119
1120
1121
1122
1123
1124
1125
1126
1127
1128
1129
1130
1131
1132
1133
1134
1135
1136
1137
1138
1139
1140
1141
1142
1143
1144
1145
1146
1147
1148
1149
1150
1151
1152
1153
1154
1155
1156
1157
1158
1159
1160
1161
1162
1163
1164
1165
1166
1167
1168
1169
1170
1171
1172
1173
1174
1175
1176
1177
1178
1179
1180
1181
1182
1183
1184
1185
1186
1187
1188
1189
1190
1191
1192
1193
1194
1195
1196
1197
1198
1199
1200
1201
1202
1203
1204
1205
1206
1207
1208
1209
1210
1211
1212
1213
1214
1215
1216
1217
1218
1219
1220
1221
1222
1223
1224
1225
1226
1227
1228
1229
1230
1231
1232
1233
1234
1235
1236
1237
1238
1239
1240
1241
1242
1243
1244
1245
1246
1247
1248
1249
1250
1251
1252
1253
1254
1255
1256
1257
1258
1259
1260
1261
1262
1263
1264
1265
1266
1267
1268
1269
1270
1271
1272
1273
1274
1275
1276
1277
1278
1279
1280
1281
1282
1283
1284
1285
1286
1287
1288
1289
1290
1291
1292
1293
1294
1295
1296
1297
1298
1299
1300
1301
1302
1303
1304
1305
1306
1307
1308
1309
1310
1311
1312
1313
1314
1315
1316
1317
1318
1319
1320
1321
1322
1323
1324
1325
1326
1327
1328
1329
1330
1331
1332
1333
1334
1335
1336
1337
1338
1339
1340
1341
1342
1343
1344
1345
1346
1347
1348
1349
1350
1351
1352
1353
1354
1355
1356
1357
1358
1359
1360
1361
1362
1363
1364
1365
1366
1367
1368
1369
1370
1371
1372
1373
1374
1375
1376
1377
1378
1379
1380
1381
1382
1383
1384
1385
1386
1387
1388
1389
1390
1391
1392
1393
1394
1395
1396
1397
1398
1399
1400
1401
1402
1403
1404
1405
1406
1407
1408
1409
1410
1411
1412
1413
1414
1415
1416
1417
1418
1419
1420
1421
1422
1423
1424
1425
1426
1427
1428
1429
1430
1431
1432
1433
1434
1435
1436
1437
1438
1439
1440
1441
1442
1443
1444
1445
1446
1447
1448
1449
1450
1451
1452
1453
1454
1455
1456
1457
1458
1459
1460
1461
1462
1463
1464
1465
1466
1467
1468
1469
1470
1471
1472
1473
1474
1475
1476
1477
1478
1479
1480
1481
1482
1483
1484
1485
1486
1487
1488
1489
1490
1491
1492
1493
1494
1495
1496
1497
1498
1499
1500
1501
1502
1503
1504
1505
1506
1507
1508
1509
1510
1511
1512
1513
1514
1515
1516
1517
1518
1519
1520
1521
1522
1523
1524
1525
1526
1527
1528
1529
1530
1531
1532
1533
1534
1535
1536
1537
1538
1539
1540
1541
1542
1543
1544
1545
1546
1547
1548
1549
1550
1551
1552
1553
1554
1555
1556
1557
1558
1559
1560
1561
1562
1563
1564
1565
1566
1567
1568
1569
1570
1571
1572
1573
1574
1575
1576
1577
1578
how
to
read
this
this
book
is
an
exploration
of
life
of
all
possible
lives
that
could
be
lived
each
of
the
poems
contained
herein
have
been
written
by
a
different
person
with
his
own
history
culture
and
emotions
true
they
are
all
related
but
no
more
than
any
of
us
is
related
through
our
genetics
our
shared
planet
or
our
yearnings
fernando
pessoa
wrote
poems
under
four
different
identities
he
called
them
heteronyms
that
were
known
during
his
lifetime
though
after
his
death
over
sixty
have
been
found
and
catalogued
he
called
them
heteronyms
as
opposed
to
pseudonyms
because
they
were
much
more
than
names
he
wrote
under
they
were
truly
different
writing
selves
concerned
with
different
ideas
and
writing
with
different
styles
alberto
caeiro
wrote
pastorals
ricardo
reis
wrote
more
formal
odes
lvaro
de
campos
wrote
these
long
whitman-esque
pieces
one
to
whitman
himself
and
pessoa's
own
name
was
used
for
poems
that
are
kind
of
similar
to
all
the
others
it
seems
as
though
pessoa
found
it
inefficient
to
try
and
write
everything
he
wanted
only
in
his
own
self
rather
he
parceled
out
the
different
pieces
and
developed
them
into
full
identities
at
the
cost
of
his
own
i
subsist
as
a
kind
of
medium
of
myself
but
i'm
less
real
than
the
others
less
substantial
less
personal
and
easily
influenced
by
them
all
de
campos
said
of
him
at
one
point
fernando
pessoa
strictly
speaking
doesn't
exist
it's
not
just
pessoa
i
strictly
speaking
don't
exist
both
as
the
specific
me
that
writes
this
now
and
as
the
concept
of
selfhood
the
ego
heraclitus
famously
said
that
we
can't
step
into
the
same
river
twice
and
the
fact
of
the
matter
is
that
we
can't
occupy
the
same
self
twice
it's
constantly
changing
and
adapting
to
new
stimuli
from
the
environment
from
other
selves
from
inside
itself
and
each
time
it
forms
anew
into
something
that's
never
existed
before
the
person
i
am
beginning
a
poem
is
a
separate
being
than
the
one
i
am
finishing
a
poem
and
part
of
it
is
the
poem
i've
written
has
brought
forth
some
other
dish
onto
the
great
table
that
is
myself
in
the
same
way
with
each
poem
you
read
of
this
you
too
could
become
a
different
person
depending
on
which
order
you
read
them
in
you
could
be
any
number
of
possible
people
if
you
follow
the
threads
i've
laid
out
for
you
there
are
so
many
possible
selves
if
you
disregard
those
and
go
a
different
way
there
are
quite
a
few
more
however
at
the
end
of
the
journey
there
is
only
one
self
that
you
will
occupy
the
others
disappearing
from
this
universe
and
going
maybe
somewhere
else
maybe
nowhere
at
all
there
is
a
scene
in
the
neverending
story
where
bastian
is
trying
to
find
his
way
out
of
the
desert
he
opens
a
door
and
finds
himself
in
the
temple
of
a
thousand
doors
which
is
never
seen
from
the
outside
but
only
once
someone
enters
it
it
is
a
series
of
rooms
with
six
sides
each
and
three
doors
one
from
the
room
before
and
two
choices
in
life
each
of
these
rooms
is
a
moment
but
where
bastian
can
choose
which
of
only
two
doors
to
enter
each
time
in
life
there
can
be
any
number
of
doors
and
we
don't
always
choose
which
to
go
through
in
fact
i
would
argue
that
most
of
the
time
we
aren't
allowed
the
luxury
what
happens
to
those
other
doors
those
other
possibilities
is
there
some
other
version
of
the
self
that
for
whatever
complexities
of
circumstance
and
will
chose
a
different
door
at
an
earlier
moment
the
answer
to
this
of
course
is
that
we
can
never
know
for
sure
though
this
doesn't
keep
us
from
trying
through
the
process
of
regret
we
go
back
and
try
that
other
door
in
our
mind
extrapolating
a
possible
present
from
our
own
past
this
is
ultimately
unsatisfying
not
only
because
whatever
world
is
imagined
is
not
the
one
currently
lived
but
because
it
becomes
obvious
that
the
alternate
model
of
reality
is
not
complete
we
can
only
extrapolate
from
the
original
room
absolutely
without
knowledge
of
any
subsequent
possible
choices
this
causes
a
deep
disappointment
a
frustration
with
the
inability
to
know
all
possible
timelines
coupled
with
the
insecurity
that
this
may
not
be
the
best
of
all
possible
worlds
that
we
feel
as
regret
in
this
way
every
moment
we
live
is
an
elegy
to
every
possible
future
that
might
have
stemmed
from
it
annie
dillard
states
this
in
a
biological
manner
when
she
says
in
pilgrim
at
tinker
creek
every
glistening
egg
is
a
memento
mori
nature
is
inefficient
it
spends
a
hundred
lifetimes
to
get
one
that
barely
works
the
fossil
record
is
littered
with
the
failed
experiments
of
evolution
many
of
which
failed
due
only
to
blind
chance
an
asteroid
a
shift
in
weather
patterns
an
inefficient
copulation
method
each
living
person
today
has
twenty
dead
standing
behind
him
and
that
only
counts
the
people
that
actually
lived
how
many
missed
opportunities
stand
behind
any
of
us
the
real
problem
with
all
of
this
is
that
time
is
only
additive
there's
no
way
to
dial
it
back
and
start
over
with
new
choices
or
new
environments
even
when
given
the
chance
to
do
something
again
we
do
it
again
with
the
reality
given
by
our
previous
action
thus
we
are
constantly
creating
and
being
created
by
the
world
the
self
is
never
the
same
from
one
moment
to
the
next
a
poem
is
like
a
snapshot
of
a
self
if
it's
any
good
it
captures
the
emotional
core
of
the
self
at
the
time
of
writing
for
communication
with
future
selves
either
within
the
same
person
or
outside
of
it
thus
revision
is
possible
and
the
new
poem
created
will
be
yet
another
snapshot
of
the
future
self
as
changed
by
the
original
poem
the
page
becomes
a
window
into
the
past
a
particular
past
as
experienced
by
one
self
the
poem
is
a
remembering
of
a
self
that
no
longer
exists
in
other
words
an
elegy
a
snapshot
doesn't
capture
the
entire
subject
however
it
leaves
out
the
background
as
it's
obscured
by
foreground
objects
it
fails
to
include
anything
that
isn't
contained
in
its
finite
frame
in
order
to
build
a
working
definition
of
identity
we
must
include
all
possible
selves
over
all
possible
timelines
combined
into
one
person
identity
is
the
combined
effect
of
all
possible
selves
over
time
a
poem
leaves
much
of
this
out
it
is
the
one
person
standing
in
front
of
twenty
ghosts
a
poem
is
the
place
where
the
selves
of
the
reader
and
the
speaker
meet
in
their
respective
times
and
places
in
this
way
a
poem
is
outside
of
time
or
place
because
it
changes
its
location
each
time
it's
read
each
time
it's
two
different
people
meeting
the
problem
with
a
poem
is
that
it's
such
a
small
window
if
we
met
in
real
life
the
way
we
met
in
poems
we
would
see
nothing
of
anyone
else
but
a
square
the
size
of
a
postage
stamp
it
has
been
argued
this
is
the
way
we
see
time
and
ourselves
in
it
as
well
vonnegut
uses
the
metaphor
of
a
subject
strapped
to
a
railroad
car
moving
at
a
set
pace
with
a
six-foot-long
metal
tube
placed
in
front
of
the
subject's
eye
the
landscape
in
the
distance
is
time
and
what
we
see
is
the
only
way
in
which
we
interact
with
it
it's
the
same
with
a
poem
and
the
self
we
can
only
see
and
interact
with
a
small
kernel
this
is
why
it's
possible
to
write
more
than
one
poem
due
to
this
kernel
nature
of
poetry
a
good
poem
should
focus
itself
to
extract
as
much
meaning
as
possible
from
that
one
kernel
of
identity
to
which
it
has
access
it
should
be
an
atom
of
selfhood
irreducible
and
resistant
to
paraphrase
because
it
tries
to
somehow
echo
the
large
unsayable
part
of
identity
outside
the
frame
of
the
self
it
is
the
kernel
that
contains
a
universe
or
that
speaks
around
one
that's
hidden
if
it's
a
successful
poem
then
it
makes
the
smallest
circuit
possible
this
is
why
the
commentary
on
poems
is
so
voluminous
a
poem
is
tightly
packed
meaning
that
commentators
try
to
unpack
to
get
at
that
universality
inside
it
a
fortress
of
dialectic
is
constructed
that
ultimately
obstructs
the
meaning
behind
the
poem
it
becomes
the
foreground
in
the
photograph
that
disallows
us
to
view
the
horizon
beyond
it
with
this
in
mind
i
collect
these
poems
that
were
written
over
a
period
of
four
years
into
this
book
where
i
can
i
insert
cross-references
like
the
one
above
in
the
margin
to
other
pieces
in
the
text
where
i
think
the
two
resonate
in
some
way
you
can
read
this
book
in
any
way
you'd
like
you
can
go
front-to-back
or
back-to-front
or
you
can
follow
the
arrows
around
or
you
can
work
out
a
complex
mathematical
formula
with
merseinne
primes
and
logarithms
and
the
2000
census
information
or
you
can
go
completely
randomly
through
like
a
magazine
or
at
least
the
way
i
flip
through
magazines
i
think
writing
is
a
communication
of
the
self
and
i
think
this
is
the
best
way
to
communicate
mine
in
all
its
multiversity