Ben Lerner’s 10:04, as I go:
1. This first passage is beyond my full understanding I suspect, due to my lack of knowledge of art theory, a barely superficial appreciation of the philosophical meaning of metaphysical, etc, but I have my Eve skimmed perception and it forms an image and idea which I like:
“Three translucent angels hover in the top left of the painting. They have just summoned Joan, who has been working at a loom in her parents’ garden, to rescue France. One angel holds her head in her hands. Joan appears to stagger toward the viewer, reaching her left arm out, maybe for support, in the swoon of being called. Instead of grasping at branches or leaves, her hand, which is carefully positioned on the sight line of one of the other angels, seems to dissolve. The museum placard says that Bastien-Lepage was attacked for his failure to reconcile the ethereality of the angels with the realism of the future saint’s body, but that “failure” is what makes it one of my favourite paintings. It’s as if the tension between the metaphysical and the physical worlds, between two orders of temporality, produces a glitch in the pictorial matrix; the background swallows her fingers … I was reminded of the photograph Marty carries in Back to the Future … as Marty’s time-traveling disrupts the prehistory of his family, he and his siblings begin to fade from the snapshot. Only here it’s a presence, not an absence, that eats away at her hand: she’s being pulled into the future.”
2. “Emerging from the train, I found it was fully night, the air excited by foreboding and something else, something like the feel of a childhood snow day when time was emancipated from institutions, when the snow seemed like a technology for defeating time, or like defeated time itself falling from the sky, each glittering ice particle an instant gifted back from your routine.”
An instant gifted back from your routine.