There are logs– http://literarylondon.blogspot.com.br/2008/08/derek-walcott-on-jean-rhys.html
wrinkled like the hand of an old woman
who wrote with a fine courtesy of that world
when grace was common as malaria,
when the gas lanterns’ hiss on the verandah
drew the aunts out like moths
doomed to be pressed in a book, to fall
into the brown oblivion of an album,
embroiderers of silence
for whom the arches of the Thames,
and the petit-point reflections of London Bridge
fade on the hammock cushions from the sun,
where one night
a child stares at the windless candles flame
from the corner of a lion-footed couch
at the erect white light,
her right hand married to Jane Eyre,
foreseeing that her own white wedding dress
will be white paper.
“A Drunken Man’s Praise Of Sobriety” — William Butler Yeats
The chart and its transcription that W.H. Auden handed out to the students who took his 1943 class at Swarthmore, ‘Romanticism from Rousseau to Hitler.’ The chart is something like everything Auden can think to say about the world.
‘Romanticism from Rousseau to Hitler’ was the second class Auden taught at Swarthmore. The final exam of the first (fall, 1942 ‘English Literature during the Reign of Elizabeth I’) consisted of only one question:
Explain why the devil is (a) sad and (b) honest.
For the fandoms...
Que razão Stephen forneceu para declinar da oferta de Bloom?
Ser ele hidrófobo, odiando o contato parcial por imersão ou total por submersão em água fria (tendo seu último banho tido lugar no mês de outubro do ano anterior), opondo-se às substâncias aquosas do vidro e do cristal, desconfiando de aquosidades de pensamento e de linguagem.
O que impediu Bloom de dar a Stephen conselhos de higiene e profilaxia aos quais dever-se-iam acrescentar sugestões referentes a uma ablução preliminar da cabeça e à contração dos músculos com rápido borrifar sobre rosto e pescoço e a região torácica e epigástrica em casos de banhos de mar ou de rio, sendo as partes da anatomia humana mais sensíveis ao frio a nuca, o estômago e o tênar ou a sola do pé?
A incompatibilidade da aquosidade com a errática originalidade do gênio.
We are on ground contiguous to the ground people tread when they argue that “Lycidas” is insincere. For sincerity - Joyce is telling us - can damn. Not long before he blew his brains out, Ernest Hemingway recalled how decades earlier in Paris he had used to overcome writer’s block: “Do not worry,”, he would say to himself. “You have always written before and you will write now. Alll you have to do is write one true sentence. Write the truest sentence that you know.” Remembering where this led can give one the shivers. By the time he’d used up the true sentences that he knew (how many does anyone know?) he was getting famous, and the enterprise of /being/ Ernest Hemingway- /doing/ things so that true sentences could be written about them - had to be conducted in public. Constantly being watched, by the world and, more disconcertingly, by himself, he was soon evading himself as systematically as Poldy evades Molly. His subject had become Ernest Hemingway and he had to keep developing the character. The famous Style became performance, began eying itself, imitating itself. It develop formulae: flat nouns, short clauses linked by “and”. The day came when he could live with none of this no longer.– Joyce’s Voices do Hugh Kenner. BICHO! Tem mais umas tantas páginas de brilhantismo onde o cara explica o que é Estilo e o uso estilístico do Joyce pra sinceridade/roleplaying do Bloom e NA VIDA. :~ (o final é complicado, faz pensar em outros mas sei lá quem sou eu né)
a era dos gifs acaba de chegar ao fim
q coisa absolutamente perfeita
HE KNOCKED THE BUCKET OFF
AND THERE WAS ANOTHER BUCKET UNDERNEATH
– Hugh Kenner - Flaubert, Joyce and Beckett: The Stoic Comedians
Hugh Kenner falando sobre o dicionário de ideias feitas do Flaubert:
For clothed in the authority of print, complete with an elaborate Preface, it would serve to authorize what it had begun by merely collecting. To set before the middle classes exactly what they think and say, in codified form, is to establish a feedback loop, and feedback may have either a positive sign, encouraging the phenomena it transmits, or a negative, diminishing them. It pleased Flaubert to imagine a nation of readers no one of whom would ever dare open his mouth again, for fear of uttering one of the phrases the Dictionary contained. But the book would have depended, for its comic effect, on flirting with the other possibility, positive feedback, a glouriously efficient standardization of bourgeouis behavior, confirmed, launched, invested in Print, bursting with confidence (…) or exchanging with now indestructible conviction its affirmations on Health (too much of it, cause of sickness), Homer (never existed; famous for his laughter) and Humidity (cause of all illness).