#WarfieldTime# No.19
An African Journal
“I cannot rest from travel; I will drink life to the lees …….. I have become a name; for always roaming with a hungry heart much have I seen and known……. I am part of all that I have met; yet all experience is an arch where throu’ gleams that untraveled world whose margin fades for ever and forever when I move…” (from Ulysses by Alfred Lord Tennyson)
“When traveling to foreign cultures, I’ve always carried a journal and sketchbook. The products in my first travels were anthropological field notes and technical drawings – results of serious research intended for analysis and publication. But those scholarly endeavors soon gave way to less pretentious writing and freehand sketches, serious research still to my mind, but much less self-conscious. Research in vernacular architecture, the living environment of the common man, united my interest in the wonders of modest built works with a respect for the people who created them.
In time, my travel and research methodology became freer, less inhibited by scholarly demands, less dependent upon the planned and more on seeking out the unanticipated. It allowed for an exploration based on wandering – and then assessing my findings, “experiential learning” through “critical travel.”
One does not wander into the netherworlds unprepared, but rather armed with the same expectations and inspirations of those who came before, hoping to recognize the serendipitous, the chance occasion, the fortuitous moment, the special place. I found stimulus in the writings of others – Robert Frost’s “sense of place” in “Red Begonias” – the pathos and grit of Tom Waits’ “Foreign Affair” – Harry Chapin’s vivid landscape description of the South Dakota Plains in “Mail Order Annie” – Tom Russell’s spiritual revelations in “Blood and Candlewax” – and Mark Twain’s wit and travel savvy in “Innocence Abroad.” In my sketches, I was inspired also by Frederick Catherwood’s detailed interpretive etchings from his 1850 explorations of the Maya ruins at Uxmal in “Incidents of Travel in Yucatán” and by Cathi House’s delicate pen and ink aerial of a “Assisi.”
A travel journal, a felt tip pen and an hour a day were all I needed for my writings and sketches. Journal entries and freehand drawings became rich, precious travel moments, avocations, and essential means of expression. An African Journal is one of over 100 such journals that I have produced over a period of 50 years. Never intended for publication or even to be read by others, it has all of the rough qualities common to spontaneous drafts as well as the color and spontaneity enabled only by recording uninhibited first impressions. I’ve chosen to publish this with little editorial correction. It is the spirit, the sense of wonder, the adrenaline charge of exploring the unknown that I wish to share.”
James Warfield
from the Prologue of An African Journal, 2000
An African Journal
“I cannot rest from travel; I will drink life to the lees …….. I have become a name; for always roaming with a hungry heart much have I seen and known……. I am part of all that I have met; yet all experience is an arch where throu’ gleams that untraveled world whose margin fades for ever and forever when I move…” (from Ulysses by Alfred Lord Tennyson)
“When traveling to foreign cultures, I’ve always carried a journal and sketchbook. The products in my first travels were anthropological field notes and technical drawings – results of serious research intended for analysis and publication. But those scholarly endeavors soon gave way to less pretentious writing and freehand sketches, serious research still to my mind, but much less self-conscious. Research in vernacular architecture, the living environment of the common man, united my interest in the wonders of modest built works with a respect for the people who created them.
In time, my travel and research methodology became freer, less inhibited by scholarly demands, less dependent upon the planned and more on seeking out the unanticipated. It allowed for an exploration based on wandering – and then assessing my findings, “experiential learning” through “critical travel.”
One does not wander into the netherworlds unprepared, but rather armed with the same expectations and inspirations of those who came before, hoping to recognize the serendipitous, the chance occasion, the fortuitous moment, the special place. I found stimulus in the writings of others – Robert Frost’s “sense of place” in “Red Begonias” – the pathos and grit of Tom Waits’ “Foreign Affair” – Harry Chapin’s vivid landscape description of the South Dakota Plains in “Mail Order Annie” – Tom Russell’s spiritual revelations in “Blood and Candlewax” – and Mark Twain’s wit and travel savvy in “Innocence Abroad.” In my sketches, I was inspired also by Frederick Catherwood’s detailed interpretive etchings from his 1850 explorations of the Maya ruins at Uxmal in “Incidents of Travel in Yucatán” and by Cathi House’s delicate pen and ink aerial of a “Assisi.”
A travel journal, a felt tip pen and an hour a day were all I needed for my writings and sketches. Journal entries and freehand drawings became rich, precious travel moments, avocations, and essential means of expression. An African Journal is one of over 100 such journals that I have produced over a period of 50 years. Never intended for publication or even to be read by others, it has all of the rough qualities common to spontaneous drafts as well as the color and spontaneity enabled only by recording uninhibited first impressions. I’ve chosen to publish this with little editorial correction. It is the spirit, the sense of wonder, the adrenaline charge of exploring the unknown that I wish to share.”
James Warfield
from the Prologue of An African Journal, 2000
心有猛虎细嗅蔷薇
In me, past, present, future meet，于我，过去、现在和未来
To hold long chiding conference. 商讨聚会 各执一词 纷扰不息。
My lusts usurp the present tense 林林总总的 欲望，掠取着我的现在
And strangle Reason in his seat. 把“理性”扼杀于它的宝座
My loves leap through the future's fence 我的爱情纷纷越过未来的藩篱
To dance with dream-enfranchised feet. 梦想解放出它们的双脚 舞蹈不停
In me the cave-man clasps the seer, 于我，穴居人攫取了先知，
And garlanded Apollo goes 佩戴花环的阿波罗神
Chanting to Abraham's deaf ear. 向亚伯拉罕的聋耳唱叹歌吟。
In me the tiger sniffs the rose. 心有猛虎，细嗅蔷薇。
Look in my heart, kind friends, and tremble, 审视我的内心吧，亲爱的朋友，你应颤栗，
Since there your elements assemble. 因为那才是你本来的面目。 https://t.cn/R2WJKrU
In me, past, present, future meet，于我，过去、现在和未来
To hold long chiding conference. 商讨聚会 各执一词 纷扰不息。
My lusts usurp the present tense 林林总总的 欲望，掠取着我的现在
And strangle Reason in his seat. 把“理性”扼杀于它的宝座
My loves leap through the future's fence 我的爱情纷纷越过未来的藩篱
To dance with dream-enfranchised feet. 梦想解放出它们的双脚 舞蹈不停
In me the cave-man clasps the seer, 于我，穴居人攫取了先知，
And garlanded Apollo goes 佩戴花环的阿波罗神
Chanting to Abraham's deaf ear. 向亚伯拉罕的聋耳唱叹歌吟。
In me the tiger sniffs the rose. 心有猛虎，细嗅蔷薇。
Look in my heart, kind friends, and tremble, 审视我的内心吧，亲爱的朋友，你应颤栗，
Since there your elements assemble. 因为那才是你本来的面目。 https://t.cn/R2WJKrU
着迷日料，想做一顿日式家常菜，于是买了一堆调料，一堆书，日本茶，餐具更是全换。。。嗯…很好的诠释了“想起一出是一出”的我[允悲][允悲]最近都要做日料了[笑cry]至少要把这么多调料用了[允悲][允悲]但是真的，好吃[馋嘴]生活太难，还好能够时常发现新的爱好支撑自己走下去。If you're going through hell,keep going.
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