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I myself am war.
Georges Bataille (via de-bel-aizin)
The impossible.
The first page of a 1988 Argentine literary journal/manifesto of Magical Realism.
Translation:
To Mr. Hugo Carusso A MODE OF PROLOGUE IN THE READING OF THE “WORK-RER”, IS THE FACT ACT THAT PRODUCES IN ME THE RELATIONSHIPS OF THIS TEST IN FRONT OF THE WORK OF ART, IS THAT ONE DAY, I DO NOT KNOW WHEN, I will prefer the essays, the declarations, the interviews, even the conferences, for in them the author manifests himself more boldly, more freely, surpasses the The limitations that are usually imposed by the systematic exposition of ideas.Though they are never definitive, precisely because they are ideas and not products of ideologies, at least they aspire to be so.This essay is more suggestive than the treatise. A rocky manura, indicates carninus so that the thought is not immobilized and although it sometimes leaves a taste of dissatisfaction in those who have the bad habit of demanding solutions In this brilliant conception of the essay derived from the image of art as a permanent action Change, as becoming in time, as a fact-a physical act that transmutes pedantically. In the quotation d. R. Brest collapses into the field of phenomenology of the first, independent images, those that project us towards the beginning of the yerba, where the image stands as a generaclonal paradise, as a constant relationship sees where nothing is and exists in determinate, all In permanent transmutation, as is the field of definitions and determinations in the artist. The content of this essay allows us to understand the spiritual-religious conception of the artist, the intermediary between a reality and another reality, which we yemus and empirically conclude and which we intuit, presentiment and comfort us, in the existence of this product of creation, The object-pharma, and the rich flow of that encounter of materials in union, in tiintesis, the magical contribution of the creator, this traveler participant of the cosmic spectacle, who believes in a vital and interrelated world. Overcoming the variables of profane time and constant inquiry of the “NOW ETERNAL” or “UNIQUE SPACE” Transforms the erection into a recurrent myth of spaces and places and their works when they reach the threshold of significant syntactic-spatial, ideological and existential union , HE…
van gogh writing his brother for paints
hemingway testing his shotgun
celine going broke as a doctor of medicine
the impossibility of being human
shakespeare a plagiarist
beethoven with a horn stuck into his head against deafness
the impossibility the impossibility
nietzsche gone totally mad
the impossibility of being human
all too human
this breathing
in and out
out and in
these punks
these cowards
these champions
these mad dogs of glory
moving this little bit of light toward us
impossibly.
“How do you know?”
“Know what?”
“If you ever really ‘had’ him or not?”
“It’s all in how they walk away. Did they look back? Did they hesitate? Were their shoulders slumped like the weight of the world had just dropped on them? Were their hands clenched into fists with the effort of not running back to tuck that bit of hair behind your ear one last time? Did they keep the jumper you gave them that one time you watched the sunrise come up together?
How did they do it? How did they walk away?”
You can learn a lot about a person from the way they walk away from you, 19/12/2015
#18
(via afadingdancer)

