The Sistine Chapel Tells, prose poem

Time: Evening

Place: Rome

[After an afternoon visit to the Sistine Chapel, at a caffe.]


He says what he says when he writes in his journal as he has written in one for how long now counting in the decades for sure. These are excerpts from his journal, his being whose? There is the he I am in some pieces; there is the he that someone else is when identity falls on masculine pronouns. I am; you are; he is . . . what then does it say to have this ambiguity around what I use, he uses to tell, to say, what is said by what has been written must be read to be known—do we know such things or only reach a tenuous (a tentative) understanding? 

The piece herein begins below where it does as it does but should not be assumed by you to be the beginning begninning of the piece as It had been written by the writer, I sometimes hesitate to say author because I am certainly exhibiting an authority over the text the writer no longer enjoys—how many editors impose this kind of authority? Are we going to count.

Herein is the text as I present it without alteration of the words as presented, but with complete editorial authority over the text within which they appeared:

God creates Nature. Nature runs along the course of evolution. God then intervenes in the course of the homo-sapiens to create the human.

[A moment’s pause. A sip of coffee.]

God’s finger to Adam’s is just this. Look at the panel fresco of the Sistine Chapel. Michelangelo’s God and his Adam. [ . . . ] You’ll see exactly what I am talking about, or what I am talking about is exactly what is there in that panel.

[. . .]

God’s finger to Adam’s. He intervenes in the course of nature. God sets the whole of the universe in motion then sticks his finger into the pie?

Do I need to tell you that there may have been text before or after what has been presented here. If anything came before or after I am not going to say for sure; I am not going to go on about it or say anything either way; that is, toward defending or criticizing in some mock behavioral posture we sometimes like to take to show that we are seriously critically minded, and that we can anticipate criticism and address it. No, that’s not going to happen. “God’s finger to Adam’s . . .” you know what we are referring to here, don’t you? He and I.  You need only look at any print of the panel on the Sistine Chapel Ceiling to see.





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