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actoúnico

September 12, 2008

13:49

As a young man he had been much struck by the story of Wordsworth and his solitary Highland girl; the poet had heard the enchanted singing, taken in exactly as much as he had needed for his own immortal verse, and had refused to hear more. He himself, he had discovered, was different. He was a poet greedy for information, for facts, for details. Nothing was too trivial to interest him; nothing was inconsiderable; he would, if he could, have mapped every ripple on a mudflat and its evidence of the invisible workings of wind and tide. So now his love for this woman, known intimately and not at all, was voracious for information. He learned her. He studied the pale loops of hair on her temples. Their sleek silver-gold seemed to him to have in it a tinge, a hint of greenness, not the copper-green of decay, but a pale sap-green of vegetable life, streaked into the hair like the silvery bark of young trees, or green shadows in green tresses of young hay. And her eyes were green, glass-green, malachite green, the cloudy green of seawater perturbed and carrying a weight of sand. The lashes over them silver, but thick enough to be visibly present. The face not kind. There was no kindness in the face. It was cut clean but not fine - strong-boned rather, so that temples and slanting cheeks were pronounced and solid-shadowed, the shadows bluish, which in imagination he always touched with green too, but it was not so.

If he loved the face, which was not kind, it was because it was clear and quick and sharp.

He saw, or thought he saw, how those qualities had been disguised or overlaid by more conventional casts of expression - an assumed modesty, an expedient patience, a disdain masking itself as calm. At her worst - oh, he saw her clearly, despite her possession of him - at her worst she would look down and sideways and smile demurely, and this smile would come near a mechanical simper, for it was an untruth, it was a convention, it was her brief constricted acknowledgement of the world’s expectations. He had seen immediately, it seemed to him, what in essence she was, sitting at Crabb Robinson’s breakfast table, listening to men disputing, thinking herself an unobserved observer. Most men, he judged, if they had seen the harshness and fierceness and absolutism, yes, absolutism, of that visage, would have stood back from her. She would have been destined to be loved only by timid weaklings, who would have secretly hoped she would punish or command them, or by simpletons, who supposed her chill look of delicate withdrawal to indicate a kind of female purity, which all desired, in those days, at least ostensibly. But he had known immediately that she was for him, she was to do with him, as she really was or could be, or in freedom might have been.

by A. S. Byatt from Possession

13:32

Today I am going to kill something. Anything.
I have had enough of being ignored and today
I am going to play God. It is an ordinary day,
a sort of grey with boredom stirring in the streets.

I squash a fly against the window with my thumb.
We did that at school. Shakespeare. It was in
another language and now the fly is in another language.
I breathe out talent on the glass to write my name.

I am a genius. I could be anything at all, with half
the chance. But today I am going to change the world.
Something’s world. The cat avoids me. The cat
knows I am a genius, and has hidden itself.

I pour the goldfish down the bog. I pull the chain.
I see that it is good. The budgie is panicking.
Once a fortnight, I walk the two miles into town
for signing on. They don’t appreciate my autograph.

There is nothing left to kill. I dial the radio
and tell the man he’s talking to a superstar.
He cuts me off. I get our bread-knife and go out.
The pavements glitter suddenly. I touch your arm.

by Carol Ann Duffy

(uma nota: este poema foi recentemente retirado do programa curricular inglês por incitar à violência nos jovens adolescentes. e eu a pensar que seria uma excelente forma de os pôr a falar sobre aquilo que sentem. notícia aqui)

June 14, 2008

05:25

“[..] and all the while … he’s talking about parentheses, about how a sentence doesn’t really come to life until it encounters a parenthesis (something that changes the trajectory of the sentence (creating a meaning that she understands (as does he, the one who’s talking (without focusing) on and on) partly because what he’s talking about is how he’s talking) without altering its fundamental progress) which gives it a tension and a complexity that more resembles life, or if not life, music. [..]”

in I am not Jackson Pollock by John Haskell

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