Not much, only a little bit, but enough for her to know she would now have to put up with this sensation for at least three hours, the approximate time it would take for her body to soak back up the liquid that had pooled in her tiny, exitless
In a contemporary art world that often feels like one giant exitless
fair, Art Basel (16-19 June) retains a special place.
In fact, he writes of the coal mine as a "dark" place, as an exitless
labyrinth, noting, "as a rule, young boys who begin life in a coal-mine are often physically and mentally dwarfed.
Metaphors, perhaps more than any other approach to the church, capture what Mannion terms the "aspirational" dimension of ecclesiology, the fact that reflection on the church will always be "charged with eschatology and hope" as the church "sees its mission as being bound-up with trying to build that ideal community of justice and righteousness which Christians refer to as the Kingdom of God." (119) In this way, again, metaphors highlight mystery: they confront us with the challenge to allow ourselves to be encompassed by "the exitless
and unsignposted freedom of God." (120)
John Zizioulas has stated this well: "'Life-giver' and 'communion' are in fact identical in meaning, since the life of God which the Spirit gives is a life of communion of persons, and it is as such that he creates power and dynamic existence as well as sanctification, miracles, prophecies and leads to Truth." (49) Von Balthasar envisages eternal life as the "pure opposite of the boredom of an exitless
being-for-oneself." Rather, it is a "being-above-and-beyond-oneself, with all the surprises and adventures that such an excursion promises." (50) If the unselfing activity of the Holy Spirit is experienced now as a kind of crucifixion--since sacrifice and blessedness are disjoined on earth--it is there the very act of living.
The book's final poem, "Entrance," situates the poet with "an ally in a maze / that will stay exitless
each lane / more alive than the last." Clark now also writes: "We are not looking for a crystalline being, but for something in the process of melting.
The first installation, two years ago, organized around Williams Mirrors, 1977, which was acquired by the museum in 1993, included the mirror works Thread waste, 1968, and Portland Mirrors, 1977, which opened the space to the endless reflection of the viewers, and the long Passageway, 1961, which by contrast enclosed viewers within an exitless