Sense and Sensibility - A Conversation Beyond Borders (Viviane Reding & Elif Shafak) | DLDwomen 14
of restlessness
With the things you could do
You won't but you might
The potential you'll be
That you'll never see
The promises you'll only make
Drink up with me now
And forget all about
The pressure of days
Do what I say
And I'll make you okay
And drive them away
The images stuck in your head
People you've been before
That you don't want around anymore
That push and shove and won't bend to your will
I'll keep them still
Drink up baby, look at the stars
I'll kiss you again between the bars
Where I'm seeing you there
With your hands in the air
Waiting to finally be caught
Drink up one more time
And I'll make you mine
Keep you apart,
Deep in my heart
Separate from the rest,
Where I like you the best
And keep the things you forgot
The people you've been before
That you don't want around anymore
That push and shove and won't bend to your will
I'll keep them still
Fakery and Stony Truths
"Mr. Gaddis knows almost everything: not only how the world works - the pragmatic cynical business-machine that we call worldliness - but also how myth flies into being out of the primeval clouds of art and death and money."
"Mr. Gaddis has become famous for not being famous enough."
Aqui
Chance / uma martelada na meritocracia
“Even intelligence is rather an accident of Nature,” White writes, “and to say that an intelligent man deserves his rewards in life is to say that he is entitled to be lucky.” It doesn’t seem like coincidence that White played poker.
Aqui
“Let me embrace thee, sour adversity, for wise men say it is the wisest course.”
Shakespeare
Recognitions / repetition / resonations
"As fantasias sempre estão ao serviço de algo, de uma posição que desejamos manter. Não somos objectos. Somos sujeitos que organizam as próprias fantasias. A situação em que me encontro é a situação na qual eu me coloco".
Jacques Sedat
William Gaddis by William Gaddis
 |
| Hans Memling - Portrait of Barbara van Vlaendenbergh, c. 1480 |
"... I guess it's both the force and the flaw of those paintings, the thoroughness with which they recreate the atmosphere, and the, I mean a painter like Memling who isn't long on suggestion and inferences but piles up perfection layer by layer. But, well it's like a writer who can't help devoting as much care to a moment as to an hour".
The Recogntions, by William Gaddis [pg 124]
I have this big question... / Breaking out of echo chambres
The Future of Education - Yuval Noah Harari & Russell Brand - Penguin Talks
"I have this big question and I'm on a quest, following it wherever it leads me"
... We need to walk the last mile by ourselves.
Black Lives Matter / Cops / Where is the love?
"Wrestle with this for a minute: if all of someone’s material needs were met and all the members of their community were fed, clothed, housed, and dignified, why would they need to join a gang? Why would they need to risk their lives selling drugs or breaking into buildings? If mental healthcare was free and was not stigmatized, how many lives would that save?"
"I believe that if everyone understood how we’re trained and brought up in the profession, it would inform the demands our communities should be making of a new way of community safety. If I tell you how we were made, I hope it will empower you to unmake us. [...] Many cops fantasize about getting to kill someone in the line of duty"
"Capitalism requires a permanent underclass to exploit for cheap labor and it requires the cops to bring that underclass to heel."
"We imagine a world not divided into good guys and bad guys, but rather a world where people’s needs are met and those in crisis receive care, not dehumanization."
Here
19th century Jesuit hip hop poet
Gerard Manley Hopkins - To Seem a Stranger -Everyman - documentary
Official website
The Leaden Echo and the Golden Echo
- (Maidens’ song from St. Winefred’s Well)
- The Leaden Echo
- How to keep–is there ány any, is there none such, nowhere
- known some, bow or brooch or braid or brace, láce, latch
- or catch or key to keep
- Back beauty, keep it, beauty, beauty, beauty, . . . from vanishing
- away?
- Ó is there no frowning of these wrinkles, rankèd wrinkles deep,
- Dówn? no waving off of these most mournful messengers, still
- messengers, sad and stealing messengers of grey?
- No there’s none, there’s none, O no there’s none,
- Nor can you long be, what you now are, called fair,
- Do what you may do, what, do what you may,
- And wisdom is early to despair:
- Be beginning; since, no, nothing can be done
- To keep at bay
- Age and age’s evils, hoar hair,
- Ruck and wrinkle, drooping, dying, death’s worst, winding
- sheets, tombs and worms and tumbling to decay;
- So be beginning, be beginning to despair.
- O there’s none; no no no there’s none:
- Be beginning to despair, to despair,
- Despair, despair, despair, despair.
- The Golden Echo
- Spare!
- There is one, yes I have one (Hush there!);
- Only not within seeing of the sun,
- Not within the singeing of the strong sun,
- Tall sun’s tingeing, or treacherous the tainting of the earth’s air.
- Somewhere elsewhere there is ah well where! one,
- Óne. Yes I can tell such a key, I do know such a place,
- Where whatever’s prized and passes of us, everything that’s
- fresh and fast flying of us, seems to us sweet of us and
- swiftly away with, done away with, undone,
- Undone, done with, soon done with, and yet dearly and
- dangerously sweet
- Of us, the wimpled-water-dimpled, not-by-morning-matchèd face,
- The flower of beauty, fleece of beauty, too too apt to, ah! to fleet,
- Never fleets more, fastened with the tenderest truth
- To its own best being and its loveliness of youth: it is an ever-
- lastingness of, O it is an all youth!
- Come then, your ways and airs and looks, locks, maiden gear,
- gallantry and gaiety and grace,
- Winning ways, airs innocent, maiden manners, sweet looks,
- loose locks, long locks, lovelocks, gaygear, going gallant,
- girlgrace–
- Resign them, sign them, seal them, send them, motion them
- with breath,
- And with sighs soaring, soaring síghs deliver
- Them; beauty-in-the-ghost, deliver it, early now, long before
- death
- Give beauty back, beauty, beauty, beauty, back to God, beauty’s
- self and beauty’s giver.
- See; not a hair is, not an eyelash, not the least lash lost; every hair
- Is, hair of the head, numbered.
- Nay, what we had lighthanded left in surly the mere mould
- Will have waked and have waxed and have walked with the wind
- what while we slept,
- This side, that side hurling a heavyheaded hundredfold
- What while we, while we slumbered.
- O then, weary then whý should we tread? O why are we so
- haggard at the heart, so care-coiled, care-killed, so fagged,
- so fashed, so cogged, so cumbered,
- When the thing we freely fórfeit is kept with fonder a care,
- Fonder a care kept than we could have kept it, kept
- Far with fonder a care (and we, we should have lost it) finer, fonder
- A care kept. Where kept? Do but tell us where kept, where.–
- Yonder.–What high as that! We follow, now we follow.–
- Yonder, yes yonder, yonder,
- Yonder.
Richard Burton reads Gerard Manley Hopkins' poem 'The Leaden Echo & The Golden Echo'.
This isn't a book. It's a landscape
Robert Macfarlane: The Waterstones Interview
"The Lost Words by Robert Macfarlane is the kind of book that you need to hold in your hand to really appreciate. Twenty spells to conjure the names of common animals and plants back into our language accompanied by gorgeous paintings by Jackie Morris. It's a book to take time over".
"That's what we wanted. Something you could enter, be lost within, be astonished by the contents".
The Lost Words: website
There was a man of double deed...
And Also The Trees - There Was a Man of Double Deed
Also see The Recognitions (William Gaddis, page 98/99)
There was a man of double deed,
Who sowed his garden full of seed;
When the seed began to grow,
'Twas like a garden full of snow;
When the snow began to melt,
'Twas like a ship without a belt;
When the ship began to sail,
'Twas like a bird without a tail;
When the bird began to fly,
'Twas like an eagle in the sky;
When the sky began to roar,
'Twas like a lion at my door;
When my door began to crack,
'Twas like a stick across my back;
When my back began to smart,
'Twas like a penknife in my heart;
And when my heart began to bleed,
'Twas death, and death, and death indeed.
[anonymous]
[anonymous]
The words to say it
William Gaddis consegue materializar, em palavras, aquilo que nos escapa quando comunicamos com os outros (expressões faciais, movimentos corporais, subtilezas...).
Usando as palavras, de forma exímia, ele fixa, no tempo, gestos, atitudes e comportamentos, que o inconsciente deixa escapar.
Tem uma sofisticada habilidade para reter, para fixar no tempo, para sempre, o efémero da linguagem não falada.
"He puts his hand there, his right hand to his forehead and draws it down with feverish application, as though in this to pull away the features so long forming, revaluing for this moment; but above his hand, his face comes back into shape, the forehead quickly rises and recovers its lines, then the brows, and the eyes vividly devious permit nothing to enter".
"Esther watched him now, standing in the middle of the room, drawing his hand down over his face as though, again, to wipe out some past, how long ago, or how recent, or all of it?".
The Recognitions, William Gaddis [pg. 93]
