Thursday, September 24, 2009

e.e. cummings

here's to opening and upward, to leaf and to sap
and to your (in my arms flowering so new)
self whose eyes smell of the sound of rain

and here's to silent certainly mountains; and to
a disappearing poet of always, snow
and to morning; and to morning's beautiful friend
twilight (and a first dream called ocean) and

let must or if be damned with whomever's afraid
down with ought with because with every brain
which thinks it thinks, nor dares to feel (but up
with joy; and up with laughing and drunkenness)

here's to one undiscoverable guess
of whose mad skill each world of blood is made
(whose fatal songs are moving in the moon

Wednesday, September 23, 2009

oh the temptation

This is too good:

muriel barbery

Currently reading The Elegance of the Hedgehog. I'm one thoroughly smitten aristocrat.

On the character Manuela -

'When you eat a walnut, you must use a tablecloth,' says Manuela, removing from her old shopping bag a little hamper made of light wood in which some almond tuiles are nestled among curls of carmine tissue paper. I make coffee that we shall not drink, but its wafting odor delights us both, and in silence we sip a cup of green tea as we nibble on our tuiles.
This girl from Faro, as I was saying, who wears the requisite black support stockings and a kerchief on her head, is an aristocrat. An authentic one, of the kind whose entitlement you cannot contest: it is etched onto her very heart, it mocks titles and peole with handles to their names. What is an aristocrat? A woman who is never sullied by vulgarity, although she may be surrounded by it.
Yes, as if I were a queen. When Manuela arrives, my lodge is transformed into a palace, and a picnic between two pariahs becomes the feast of two monarchs. Like a storyteller transforming life into a shimmering river where trouble and boredom vanish far below the water, Manuela metamorphoses our existence into a warm and joyful epic.

Tuesday, September 15, 2009

an accurate capture

Just remember, the same as a spectacular Vogue magazine, remember that no matter how close you follow the jumps: Continued on page whatever. No matter how careful you are, there's going to be the sense you missed something, the collapsed feeling under your skin that you didn't experience it at all. There's that fallen heart feeling that you rushed right through the moments where you should've been paying attention. Well, get used to that feeling. That's how your whole life will feel some day. This is all practice. None of this matters. We're just warming up.

Chuck Palahniuk

Tuesday, September 1, 2009

water for elephants

Read this. It is excellent in all of its ying-yang'd glory.  Gruen creates two contrasting worlds, the Benzini Brother's Most Spectacular Show on Earth contra a lifeless nursing home seeping inertia (my oxymoronic tendencies need a leash, forgive me).  Although these worlds exist decades apart, Jacob Jankowski's barreling fervor laces a common youthfulness throughout - twenty or twenty-three, ninety or ninety-three no matter.

I took an immediate liking to Gruen's subtle intent; very Joseph-Heller-esque (and believe me when I say whoever borrowed-for-good my copy of Catch-22, my heart is broken).  Camel may have been my favorite character for this reason - "'It's Camel,' Earl says in a hushed voice. 'He's got trouble. Foot trouble.  They've gone all floppy.  He kind of slaps them down.  His hands aren't so great neither.'" Rosie and Rosemary are a close second, but not second and third.  I thought they played too similar an understanding and sustaining role in Jacob's life to differentiate between them both (and not for physical reasons, obviously).  

Again, it's fulfilling and will not disappoint.  Themes abound, plus, the cover's a good one.  I love stripes.