You begin
You begin this way:
this is your hand,
this is your eye,
this is a fish, blue and flat
on the paper, almost
the shape of an eye
This is your mouth, this is an O
or a moon, whichever
you like. This is yellow.
Outside the window
is the rain, green
because it is summer, and beyond that
the trees and then the world,
which is round and has only
the colors of these nine crayons.
This is the world, which is fuller
and more difficult to learn than I have said.
You are right to smudge it that way
with the red and then
the orange: the world burns.
Once you have learned these words
you will learn that there are more
words than you can ever learn.
The word hand floats above your hand
like a small cloud over a lake.
The word hand anchors
your hand to this table
your hand is a warm stone
I hold between two words.
This is your hand, these are my hands, this is the world,
which is round but not flat and has more colors
than we can see.
It begins, it has an end,
this is what you will
come back to, this is your hand.

Neil Genzlinger in The New York Times (photo by Sara Krulwich/The New York Times):
Joe Gough in Aeon (Photo by 
In the winter of 1995, the Brazilian neuroscientist Sidarta Ribeiro moved to New York to pursue his Ph.D. at Rockefeller University. His arrival, he writes in his fascinating, discursive new book, “The Oracle of Night,” precipitated one of the strangest periods of his life.
Nelson is an award-winning essayist and poet, whose previous works include a collection of aphorisms mainly about the colour blue, Bluets; two books about the murder of her aunt, Jane: A Murder and The Red Parts; a meditation on violence and art, The Art of Cruelty; and perhaps her best-known book, The Argonauts, about love, pregnancy and motherhood, among other things. People often say that Nelson’s work defies genre but this is the least interesting aspect of her writing – since around 1910 (with apologies to Woolf), defying genre has been a genre in itself. More interesting is the boundlessly inventive way Nelson deals with questions of authority and fragility, or how to say anything at all when reality has gone AWOL.
F
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