1
ORANGE ALERT
Haleh Liza Gafori
Weâre on orange alert again I hear
as we cross the East River
and the winter sun beams its blinding white light
across the jagged surface of the water.
Orange alert?
So am I to be on the lookout now
for a suitcase that ticks, for a turbaned man,
a veiled woman, a shoulder belt of rockets?
Shall I suspect all Mohammeds today?
Or shall I envision my escape through the office hall, the bathroom window,
through the shaken streets as ash rains down
and my morning coffee gets cold?
I am so tired of terror!
Orange alert, really?
How about a russet alert?
A coral alert, a sienna alert,
a burnt ochre, vermilion alert,
a salmon, pumpkin, persimmon alert,
a rust carrot apricot alert, a saffron alert!
Give me a saffron alert!
Take me to the rugged mountains of Iran and letâs get down on our knees and pluck the saffron threads from purple crocuses that paint a belt out to the blue sea!
Letâs stand over a burlap sack stuffed with it and inhale its aroma of honey, hay, and steel
Saffron alert!
Give me one glimpse of the powdery grains the color of flames, of my great grandmotherâs mortar and pestle they stained a luminous yellow,
of Cleopatraâs tinted bathwater,
or the saffron robes of Buddhist monks meditating as the first sliver of sun appears on the horizon
Saffron, the color of illumination!
Give me a saffron alert!
Or give me an orange alert, but make it a citrus alert!
Naval, Valencia, Satsuma, Bloodâ
glowing spheres of trapped sunlight I hold in my palm,
their yielding skin and the fragrant spray of summer wakes me through the winter.
Desert lime, clementines, tangerine, citron,
tangelo, pomelo, bergamot, mandarinâ
the juice is dripping down my fingers!
This is a citrus alert!
And if tomorrow is a red alert,
then make it a ruby alert, a pomegranate alert, a full-bodied Bordeaux alert, a blood alert!
Our blood, this magical medium pumping through us,
brimming with iron atoms that were once inside the core starsâ
iron atoms that were once shooting across the cosmos, now inside our blood, delivering oxygen to our muscles, minds, and hearts even while weâre sleeping!
Alert me to the magic of our blood!
This is a red alert!
But red alert is maximum terror alert they say again and again
So what am I to do now?
Shall I avoid all close quarters, elevators, buses, and subways?
Shall I walk over two bridges to get to work?
Or shall I stay at home, lock the door, sit on the sofa and consider the tears of a child six thousand miles away, just orphaned
Streaks of red dripping down an Afghani manâs arm,
Streaks of red dripping down an American soldierâs arm,
Children sleepwalking in bodies rigid with trauma
This is a red alert!
For who experiencing such agony wouldnât consider revenge?
Red alert, orange alert, human alert
Under that veil, a woman
Under that turban, that cap, that beard
Under that skin the color of pyramids, the color of sand dunes, the color of lions is a soul
And under that ink-blue business suit walking up the bone-white stairs of the Capitol is a soul
And under that U.S. army camouflage the color of my skin is a soul!
Alert me, alert us to this possibility
as we cross the sacred, wretched, swirling river
2
WHAT LOVE KNOWS
Jean-Luc Marion
I HAVE BEEN ASKED to say some few words about the concept of love and how it can lead to a concept of forgiveness. I shall try to do that by addressing the following points:
⢠love and the question of space
⢠love and the question of time
⢠love and the question of self and
⢠the question of reciprocity,
in order to then make some final points about forgiveness.
I
I think the great obstacle to any approach to the question of love lies in the common assumption that we understand very well what it means to love and to be loved. We assume this because we rely on the modern understanding of love, which is the experience of love as a passion. From the point of view of the history of Western philosophy, from the point of view of human subjectivity from, letâs say, Descartes to the twentieth century, we love the way we suffer from a disease. The literary presentation of love was exactly that of a disease. When you read Proust or Stendhal, among the French authors, for example, you see that to be in a situation of loving means that free will is suspended, that you go through the stages of âI love youâ and a crisis, which lead you to a conclusion thatâwhether positive or negative, that makes no real differenceâwas not decided by you. The idea is that love is an excruciating joy or an exciting pain, but it is not, in any case, decided by usâlike a disease. This idea prevents us from understanding that love is a question of knowledge. The situation of love means that by loving we shall understand things around us in a different way and understand new information or understand new connections in this information than we would do otherwise. Love is not a passion; it is a point of view.
I think that there is a kind of erotic reduction. Reduction, in phenomenology, is the operation by which you put into brackets some assumption usually made about the state of the world around us and focus on what is really given. Letâs say we think of the noise made by the water in a fountain. In the natural attitude, from the point of view of classical empiricism, when asked, what do you hear, they would say, I hear sound of a certain frequency, on a certain place on the decibel scale, etc. In fact, that is not true, that is an abstraction. What we hear is a fountain. In most cases, what we perceive is not a sound; it is the thing itself. When we are in the street, we do not perceive sounds, we not only perceive the sound of this or that machine, but we hear a car, say, and can even identify a particular model of car. So we very often have to make a reduction to really understand what is experienced. And that is also the case when we are in love, when we are talking about the erotic phenomenon. It is another way of experiencing the world. Letâs take three dimensions of the erotic reduction.
II
The first is about the experience of space. In the...