The issue of the deeper symbolism of the X, speaking to the crossroad, is the larger metaphor—here, the idea of the graphical device represents a place, it’s where people meet; it is the intersection—the center of the universe of communing and community; it could be the marketplace, the nexus. But that idea of plane and place has magical import, as well—the X marks the netherworld where spirits can come, pass through, and exit the world that we know, and perhaps draw us into another. The crossroads might be emblematic of the spiritual confusion, or the place of decision making—it is here that you’ll have to make the call to which direction you might hold in your heart. The X is the four points of the cardinal direction, it’s the place where all points of the sphere of being can reach back to the centerpoint of the locus—the locality—of where you are. In that, as well–it is the spheric and multidimensional conformed as one planar nexus—the point where things come together. Or come apart. As the planes touch, in that instant, the experiencer is neither in one world or the other—twixt and twain, in between and apart—the place of liminality.
Di kota pemimpin berteriak-teriak,
Pilihanraya dan kemerdekaan rakyat,
Seribu kemakmuran dalam negara berdaulat,
Jambatan mas kemakmuran sampai ke akhirat.
Ketika kemenangan bersinar gemilang,
Pemimpin atas mobil maju ke depan, dadanya terbuka,
Ah, rakyat tercinta melambaikan tangan mereka.
Di mana-mana jamuan dan pesta makan,
Ayam panggang yang enak di depan,
Datang dari desa yang dijanjikan kemakmuran.
Pak Utih masih menanti dengan doa,
Bapak-bapak pergi ke mana di mobil besar?
— Usman Awang, Pak Utih (1954)
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