Still wording must claim less control over This Process just because its object is not at all an object, and not in the least a subject, either. Its object or subject matter, if you must, is The Word, and The Word is not a knower and not a known. The Word is a wording, and That can only be said to be a knowing if a Knowing Oddly, a knowing that breathes the rarefied air of Very High Ground, yet so rarefied as to breathe with ease among Clouds of Unknowing, too.
Not to be tedious but to be complete and to the point, this means that Knowing Oddly, as an outcome of wording, is both a knowing and an unknowing, but not a knower and not a known. No knower and no known, no matter how high or low, can dwell in the place where knowing IS unknowing. How could that be? But this is all old hat. By long tradition of human experience and the collective experience of human traditions, Knowing Oddly leads not to some knowledge that confines but a Love that confounds, at home in problems profound and mysteries alike, a restful settlement that can settle the winds of change and unsettle the resistance to change arising, all in the context of Very Thin Air.
If this Loving Oddity yields a knowledge of sorts, that knowledge odd can be said to be elegance and eloquence, deliberation and discipline, innocence and sensitivity, perceptiveness and significant expression, all the words used to point to what arises godly, at the intersection of language and looking. But looking you find there's no one there, for you notice there, The One and The Many are Not Two, and if you say there is One There, who's there in that place of dwelling that feels so much like the easiness and breeziness of home and smells so much like the sweetness of heavenly perfume and arises as lighting, like lightning that is pure delight, letting you see in the dark what's there and what's not there, letting be the dark, the empty, the formless,the being of being. (Notice not a question, an observation.)
That is a way to say, lamely, naturally, what wording, the project of writing contemplative is about, though not all about certainly, since the best work is in the word. So to finish up, if you go looking for the art of wording on display, you have not far to go for it is noticeable wherever The Word reigns supreme and the Worder notices her place and stays put. As elusive as ever, The Word remains a renegade, keeping company with, and only with, non-objectifying language. But to notice that much, which might be a lot really for the market to bear, the noticing too must be non-objectifying. The worder reports the feeling of being by pointing the way to delight, but makes no claim on that, and no claim for it, other than expressing delight with the utterance, Notice, The Glory.
The worder's feeling of being thus gets transmitted as gift of grace in the reader's own felt-integrity; or not. If transmission fails, the test of delight begins anew with the next word.
