Rebeccas Crossing

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They are bridges across difference. Through them, we connect the abstract and the concrete, the small and the large, the live and the inanimate, the human and the nonhuman. Sometimes the metaphors are built so deeply into language we hardly notice the bodily anatomy that gives mountains foothills, rivers headwaters and mouths curiously, at opposite ends , needles eyes, vases necks, chairs arms, and tables legs. We think through our bodies, and that includes seeing bodies elsewhere, making bodies the terms of understanding how animate and inanimate, tiny and huge objects and systems work.

Guadalupe - 3. Farm Road 3351 to Rebecca Creek Crossing (22.5 miles)

Both needles and storms have eyes. Metaphor is the process of relating things that are alike in some fashion, to some degree, and the literal-minded object on the grounds of those differences while the metaphorically minded understand the limits of similarity. In another round of metaphors, a living body is like a country because a free and equal individual has sovereignty over her body, because both are imagined as clearly defined distinct and separate things, though my body may walk away from yours and the United States cannot walk away from Mexico any more than Egypt can take a hike from Libya.

Bodies are real, while nations are in some sense fictions of separateness, made by drawing fictitious lines on continents and lines on a few islands, notably Hispaniola, now divided between the Dominican Republic and Haiti and then pretending that they are demarcations of true separateness and independence, as though the birds do not fly across the Rio Grande, where it is supposed to be an international boundary, as readily as they do when it is only the line of muddy water running down the center of New Mexico, as though your arms could declare independence from your chest.

Under patriarchy, the ideal body has been imagined as an isolationist nation, an island unto itself, in total control, which makes the female body—or any body whose orifices and interchanges, whose penetrability and vulnerability are acknowledged—troublesome.

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Mona Hatoum, Misbah , —, brass lantern, metal chain, light bulb, and rotating electric motor, dimensions variable. Invade , from the Latin for walking in, connects the word to transgress and to metaphor. Rape is an act of war, an invasion of an unwilling body to demonstrate power over and to subjugate and punish. There are acts on the scale of nations that impact bodies and on bodies that impact lives on the scales of nations.

Occupied territory is a term that can also be applied to bodies; bodies go into exile to avoid hostile occupation. You become a refugee because your body is not a refuge. In the United States, an inverse oppression has arisen with the intensified insistence that some residents here are invaders who should be expelled.

The idea of illegal immigrants arises from the nation as a body whose purity is defiled by foreign bodies and from borders as something that can and should be sealed. There is a dream of a nation that is autonomous, uncontaminated, a sort of solid block of impenetrable matter, a dream that defies the reality of circulating air, water, goods, migratory animals, and histories in which other borders or no borders existed, in which most of us crossed many borders to arrive here.

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Isolationism works on both scales. Isolation pretends that parts of the whole are instead autonomous islands, and of course islands themselves are often not isolated at all: The rise in pursuit and prosecution of undocumented immigrants has forced many to disappear from public spaces and services.

The Houston Chronicle reported this summer that there is a 42 percent decline in the number of Hispanics reporting being raped in Houston compared with the year before. The victims dare not report being sexually invaded for fear of being punished as invaders, here in this nation where 97 percent of rapists already evade conviction in a court of law. Students in other school districts around the country have similarly withdrawn from education and public life.

Newsweek reported that a pregnant Houston woman, a refugee who arrived long ago fleeing violence in El Salvador, was making plans to give birth at home for fear of being arrested if she went to a hospital.

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Hers is a status from which she or her child may die in childbirth. The fantasy of securing the U. The causes include shutting down family-planning clinics around the state. Cell , from the Latin for a small room, is in English both the chamber that holds a monastic or a prisoner and the fundamental unit of life, as in single-celled organism.

Metaphors often work by shifts in scale. Words are artworks, representations that model analogies and affinities across scales from the cosmological to the microscopic. We grow used to the relationships built into terms like Milky Way and cease to see them. There is an art of making things unfamiliar again.

Much of the work in this Mona Hatoum exhibition operates by shifts of scale that render the familiar unfamiliar; cities, the whole planet are reduced to the scale of small two-dimensional cartographic representations, to maps; domestic objects become menacing when they are enlarged to the size of furniture; furniture becomes unfamiliar, as a wheelchair becomes destabilizing, possibly damaging, the seats of swings are embossed with maps of cities, various beds become objects of discomfort or even torture; hair becomes an ethereal mat, a series of spheres, estranged from the body that produced it.

Scale is a form of orientation; changing it generates disorientations that reawaken the eyes and mind.

Seeing these works, your own body wakes up to itself; they are visual art, taken in through the eyes, but suggesting possibilities and disruptions of body in proximity to them, marbles on the floor to trip on, a grater of a bed that could shred your flesh, cages, swings.

You could do things with these artworks; they could do things to you; they place the body in question and sometimes in jeopardy. Installation view at Mathaf: Arab Museum of Modern Art, Doha, Brooklyne rated it really liked it Nov 25, Victoriano Parilla rated it really liked it Nov 23, Katie rated it it was amazing May 22, Erica rated it really liked it Jan 09, Connie Stricker rated it really liked it Dec 25, Alana marked it as to-read Aug 16, Heather Salzman marked it as to-read Dec 17, Paula Reuer added it Feb 20, Senora marked it as to-read Apr 13, Emma marked it as to-read Nov 24, Ronda marked it as to-read Jun 04, Jessica Teichroeb marked it as to-read Jun 18, Christa added it Jul 13, There are no discussion topics on this book yet.

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