The rose is obsolete
but each petal ends in
an edge, the double facet
cementing the grooved
columns of air—The edge
cuts without cutting
itself in metal or porcelain—
whither? It ends—
But if it ends
the start is begun
so that to engage roses
becomes a geometry—
Sharper, neater, more cutting
figured in majolica—
the broken plate
glazed with a rose
Somewhere the sense
makes copper roses
The rose carried weight of love
but love is at an end—of roses
It is at the edge of the
petal that love waits
Crisp, worked to defeat
plucked, moist, half-raised
cold, precise, touching
The place between the petal’s
edge and the
From the petal’s edge a line starts
that being of steel
infinitely fine, infinitely
the Milky Way
from it—neither hanging
The fragility of the flower
Things change every day, Mr Nakata. With each new dawn it’s not the same world as the day before. And you’re not the same person you were, either.
- Haruki Murakami, Kafka On The Shore
Erykah Badu - Gone Baby, Don’t Be Long
The room was suddenly rich and the great bay-window was
Spawning snow and pink roses against it
Soundlessly collateral and incompatible:
World is suddener than we fancy it.
World is crazier and more of it than we think,
Incorrigibly plural. I peel and portion
A tangerine and spit the pips and feel
The drunkenness of things being various.
And the fire flames with a bubbling sound for world
Is more spiteful and gay than one supposes –
On the tongue on the eyes on the ears in the palms of one’s hands –
There is more than glass between the snow and the huge roses.
— Louis MacNeice
Nermine Hammam, Upekkha
Influenced by a background in film and graphic design, Nermine Hammam works in series, making prints that combine elements of painting and photography, often digitally manipulating and layering images to represent subjects in states of abandonment or altered consciousness.
When the army was called in to respond to the protests in Cairo’s Tahrir Square in January 2011, Hammam was struck by the vulnerability of the soldiers. They seemed to want to be anywhere but there.
In the ‘Uppekkha’ series she transports these soldiers into vibrant fantasy settings. Reminiscent of postcards, the series likens the events of Tahrir Square to a tourist attraction that drew the world’s attention, but was not fully understood.