You must kill 40 in death... • the tails of a hundred cats • the noses of three kings • an apple grown by chance on a lemon tree • a flock of tethered birds contained somehow yet still in flight • the smallest grain of sand in all the Orient • the mandibles of a mandarin beetle, insect that knows all things but speaks not • the names of ten children who died before they could be named • a flock of sheep dressed as scribes and trained in every clerical task • a box of fingers kissed in parting by chaste lovers in elder days
I am an excitable person who only understands life lyrically, musically, in whom feelings are much stronger than reason. I am so thirsty for the marvelous that only the marvelous has power over me. Anything I can not transform into something marvelous, I let go. Reality doesn’t impress me. I only believe in intoxication, in ecstasy, and when ordinary life shackles me, I escape, one way or another. No more walls.
nothing which we are to perceive in this world equals the power of your intense fragility: whose texture compels me with the color of its countries, rendering death and forever with each breathing
Figures of light and dark, these two are walking The winter road from the St. Simeon farm Toward something that the world is pointing toward At the white place of the road's vanishing Between the vertex that the far-lit gray Of tree-dividing sky finally comes down to And the wide arrowhead the road itself Comes up with as a means to its own end.
"Effet de Neige" (after the painting La Route de la ferme Saint-Siméon by Claude Monet), John Hollander
No candy hearts or delicacies of language. Do not ask me to be demure, clean or to go with the flow. I am electric. I sprinkle poison in the bird feeder, watch blue jays fall like insatiable kisses.
I've seen things you people wouldn't believe. Attack ships on fire off the shoulder of Orion. I watched C-beams glitter in the dark near the Tannhauser gate. All those moments will be lost in time... like tears in rain... Time to die.
Anyone who falls in love is searching for the missing pieces of themselves. So anyone who's in love gets sad when they think of their lover. It's like stepping back inside a room you have fond memories of, one you haven't seen in a long time.
What, then, are the real causes of beauty? In the first place, beautiful objects are small. In most languages, objects of love are spoken of under diminutive epithets. We rarely say 'a great beautiful thing,' but often 'a great ugly thing.' There is a wide difference between admiration and love; and while the sublime has to do with great and terrible objects, the beautiful is found in small and pleasing things.
Time and again, Garrel inserts two lovers inside his meticulous compositions, where they reveal passions that by virtue of their excesses remind us of how drained of life the modern world truly is. He transforms a private reverie into a public sacrament, invokes the eternal, risks absurdity, invites derision, seduces, shocks, transcends.
Little time now and so much hasn't been put down as I should have done it. But does it matter? It's all been written so well by my betters, and what they wrote has been my joy.
The room I entered was a dream of this room. Surely all those feet on the sofa were mine. The oval portrait of a dog was me at an early age. Something shimmers, something is hushed up.
We had macaroni for lunch every day except Sunday, when a small quail was induced to be served to us. Why do I tell you these things? You are not even here.
I have heard there are troubles of more than one kind. Some come from ahead and some come from behind. But I've bought a big bat. I'm all ready you see. Now my troubles are going to have troubles with me!