Sunday, June 27, 2004
Thursday, June 24, 2004
Calgary Herald - canada.com network eh. so the guy's got some crazy fetishes. the real crime here in the eyes of the republicans is that the pretence was shed. can't be honest. nope. gotta have that pretense.
Wednesday, June 23, 2004
Tuesday, June 22, 2004
Waiting for the Barbarians:
What are we waiting for, assembled in the forum?
The barbarians are to arrive today.
Why such inaction in the Senate?
Why do the Senators sit and pass no laws?
Because the barbarians are to arrive today.
What laws can the Senators pass any more?
When the barbarians come they will make the laws.
Why did our emperor wake up so early,
and sits at the greatest gate of the city,
on the throne, solemn, wearing the crown?
Because the barbarians are to arrive today.
And the emperor waits to receive
their chief. Indeed he has prepared
to give him a scroll. Therein he inscribed
many titles and names of honor.
Why have our two consuls and the praetors come out
today in their red, embroidered togas;
why do they wear amethyst-studded bracelets,
and rings with brilliant, glittering emeralds;
why are they carrying costly canes today,
wonderfully carved with silver and gold?
Because the barbarians are to arrive today,
and such things dazzle the barbarians.
Why don't the worthy orators come as always
to make their speeches, to have their say?
Because the barbarians are to arrive today;
and they get bored with eloquence and orations.
Why all of a sudden this unrest
and confusion. (How solemn the faces have become).
Why are the streets and squares clearing quickly,
and all return to their homes, so deep in thought?
Because night is here but the barbarians have not come.
And some people arrived from the borders,
and said that there are no longer any barbarians.
And now what shall become of us without any barbarians?
Those people were some kind of solution.
Constantine P. Cavafy (1904) "
What are we waiting for, assembled in the forum?
The barbarians are to arrive today.
Why such inaction in the Senate?
Why do the Senators sit and pass no laws?
Because the barbarians are to arrive today.
What laws can the Senators pass any more?
When the barbarians come they will make the laws.
Why did our emperor wake up so early,
and sits at the greatest gate of the city,
on the throne, solemn, wearing the crown?
Because the barbarians are to arrive today.
And the emperor waits to receive
their chief. Indeed he has prepared
to give him a scroll. Therein he inscribed
many titles and names of honor.
Why have our two consuls and the praetors come out
today in their red, embroidered togas;
why do they wear amethyst-studded bracelets,
and rings with brilliant, glittering emeralds;
why are they carrying costly canes today,
wonderfully carved with silver and gold?
Because the barbarians are to arrive today,
and such things dazzle the barbarians.
Why don't the worthy orators come as always
to make their speeches, to have their say?
Because the barbarians are to arrive today;
and they get bored with eloquence and orations.
Why all of a sudden this unrest
and confusion. (How solemn the faces have become).
Why are the streets and squares clearing quickly,
and all return to their homes, so deep in thought?
Because night is here but the barbarians have not come.
And some people arrived from the borders,
and said that there are no longer any barbarians.
And now what shall become of us without any barbarians?
Those people were some kind of solution.
Constantine P. Cavafy (1904) "
Saturday, June 19, 2004
Friday, June 18, 2004
Tuesday, June 15, 2004
Thursday, June 10, 2004
Harper's Magazine: The depressed person - short story by David Foster Wallace: "The depressed person was in terrible and unceasing emotional pain, and the impossibility of sharing or articulating this pain was itself a component of the pain and a contributing factor in its essential horror.
Despairing, then, of describing the emotional pain itself, the depressed person hoped at least to be able to express something of its context -- its shape and texture, as it were -- by recounting circumstances related to its etiology. The depressed person's parents, for example, who had divorced when she was a child, had used her as a pawn in the sick games they played, as in when the depressed person had required orthodonture and each parent had claimed -- not without some cause, the depressed person always inserted, given the Medicean legal ambiguities of the divorce settlement -- that the other should pay for it. Both parents were well-off, and each had privately expressed to the depressed person a willingness, if push came to shove, to bite the bullet and pay, explaining that it was a matter not of money or dentition but of 'principle.' And the depressed person always took care, when as an adult she attempted to describe to a supportive friend the venomous struggle over the cost of her orthodonture and that struggle's legacy of emotional pain for her, to concede that it may well truly have appeared to each parent to have been, in fact, a matter of 'principle,' though unfortunately not a 'principle' that took into account their daughter's feelings at receiving the emotional message that scoring petty points off each other was more important to her parents than her own maxillofacial health and thus constituted, if considered from a certain perspective, a form of neglect or abandonment or even outright abuse, an abuse clearly connected -- here she nearly always inserted that her therapist concurred with this assessment -- to the bottomless, chronic adult despair she suffered every day and felt hopelessly trapped in...."
also also: the only way to deal with it is to build a wall at midnight and not look over it.
It seems to me that the intellectualization and aestheticizing of principles and values in this country is one of the things that's gutted our generation. All the things that my parents said to me, like "It's really important not to lie." OK, check, got it. I nod at that but I really don't feel it. Until I get to be about 30 and I realize that if I lie to you, I also can't trust you. I feel that I'm in pain, I'm nervous, I'm lonely and I can't figure out why. Then I realize, "Oh, perhaps the way to deal with this is really not to lie." The idea that something so simple and, really, so aesthetically uninteresting -- which for me meant you pass over it for the interesting, complex stuff -- can actually be nourishing in a way that arch, meta, ironic, pomo stuff can't, that seems to me to be important. That seems to me like something our generation needs to feel.
The project that's worth trying is to do stuff that has some of the richness and challenge and emotional and intellectual difficulty of avant-garde literary stuff, stuff that makes the reader confront things rather than ignore them, but to do that in such a way that it's also pleasurable to read. The reader feels like someone is talking to him rather than striking a number of poses.
there is this existential loneliness in the real world. I don't know what you're thinking or what it's like inside you and you don't know what it's like inside me. In fiction I think we can leap over that wall itself in a certain way. But that's just the first level, because the idea of mental or emotional intimacy with a character is a delusion or a contrivance that's set up through art by the writer. There's another level that a piece of fiction is a conversation. There's a relationship set up between the reader and the writer that's very strange and very complicated and hard to talk about. A really great piece of fiction for me may or may not take me away and make me forget that I'm sitting in a chair. There's real commercial stuff can do that, and a riveting plot can do that, but it doesn't make me feel less lonely.
There's a kind of Ah-ha! Somebody at least for a moment feels about something or sees something the way that I do. It doesn't happen all the time. It's these brief flashes or flames, but I get that sometimes. I feel unalone -- intellectually, emotionally, spiritually. I feel human and unalone and that I'm in a deep, significant conversation with another consciousness in fiction and poetry in a way that I don't with other art.
I like to teach freshman lit because ISB gets a lot of rural students who aren't very well educated and don't like to read. They've grown up thinking that literature means dry, irrelevant, unfun stuff, like cod liver oil. Getting to show them some more contemporary stuff -- the one we always do the second week is a story called "A Real Doll," by A.M. Homes, from "The Safety of Objects," about a boy's affair with a Barbie doll. It's very smart, but on the surface, it's very twisted and sick and riveting and real relevant to people who are 18 and five or six years ago were either playing with dolls or being sadistic to their sisters. To watch these kids realize that reading literary stuff is sometimes hard work, but it's sometimes worth it and that reading literary stuff can give you things that you can't get otherwise, to see them wake up to that is extremely cool.
and
Despairing, then, of describing the emotional pain itself, the depressed person hoped at least to be able to express something of its context -- its shape and texture, as it were -- by recounting circumstances related to its etiology. The depressed person's parents, for example, who had divorced when she was a child, had used her as a pawn in the sick games they played, as in when the depressed person had required orthodonture and each parent had claimed -- not without some cause, the depressed person always inserted, given the Medicean legal ambiguities of the divorce settlement -- that the other should pay for it. Both parents were well-off, and each had privately expressed to the depressed person a willingness, if push came to shove, to bite the bullet and pay, explaining that it was a matter not of money or dentition but of 'principle.' And the depressed person always took care, when as an adult she attempted to describe to a supportive friend the venomous struggle over the cost of her orthodonture and that struggle's legacy of emotional pain for her, to concede that it may well truly have appeared to each parent to have been, in fact, a matter of 'principle,' though unfortunately not a 'principle' that took into account their daughter's feelings at receiving the emotional message that scoring petty points off each other was more important to her parents than her own maxillofacial health and thus constituted, if considered from a certain perspective, a form of neglect or abandonment or even outright abuse, an abuse clearly connected -- here she nearly always inserted that her therapist concurred with this assessment -- to the bottomless, chronic adult despair she suffered every day and felt hopelessly trapped in...."
also also: the only way to deal with it is to build a wall at midnight and not look over it.
It seems to me that the intellectualization and aestheticizing of principles and values in this country is one of the things that's gutted our generation. All the things that my parents said to me, like "It's really important not to lie." OK, check, got it. I nod at that but I really don't feel it. Until I get to be about 30 and I realize that if I lie to you, I also can't trust you. I feel that I'm in pain, I'm nervous, I'm lonely and I can't figure out why. Then I realize, "Oh, perhaps the way to deal with this is really not to lie." The idea that something so simple and, really, so aesthetically uninteresting -- which for me meant you pass over it for the interesting, complex stuff -- can actually be nourishing in a way that arch, meta, ironic, pomo stuff can't, that seems to me to be important. That seems to me like something our generation needs to feel.
The project that's worth trying is to do stuff that has some of the richness and challenge and emotional and intellectual difficulty of avant-garde literary stuff, stuff that makes the reader confront things rather than ignore them, but to do that in such a way that it's also pleasurable to read. The reader feels like someone is talking to him rather than striking a number of poses.
there is this existential loneliness in the real world. I don't know what you're thinking or what it's like inside you and you don't know what it's like inside me. In fiction I think we can leap over that wall itself in a certain way. But that's just the first level, because the idea of mental or emotional intimacy with a character is a delusion or a contrivance that's set up through art by the writer. There's another level that a piece of fiction is a conversation. There's a relationship set up between the reader and the writer that's very strange and very complicated and hard to talk about. A really great piece of fiction for me may or may not take me away and make me forget that I'm sitting in a chair. There's real commercial stuff can do that, and a riveting plot can do that, but it doesn't make me feel less lonely.
There's a kind of Ah-ha! Somebody at least for a moment feels about something or sees something the way that I do. It doesn't happen all the time. It's these brief flashes or flames, but I get that sometimes. I feel unalone -- intellectually, emotionally, spiritually. I feel human and unalone and that I'm in a deep, significant conversation with another consciousness in fiction and poetry in a way that I don't with other art.
I like to teach freshman lit because ISB gets a lot of rural students who aren't very well educated and don't like to read. They've grown up thinking that literature means dry, irrelevant, unfun stuff, like cod liver oil. Getting to show them some more contemporary stuff -- the one we always do the second week is a story called "A Real Doll," by A.M. Homes, from "The Safety of Objects," about a boy's affair with a Barbie doll. It's very smart, but on the surface, it's very twisted and sick and riveting and real relevant to people who are 18 and five or six years ago were either playing with dolls or being sadistic to their sisters. To watch these kids realize that reading literary stuff is sometimes hard work, but it's sometimes worth it and that reading literary stuff can give you things that you can't get otherwise, to see them wake up to that is extremely cool.
and
Wednesday, June 09, 2004
Sunday, June 06, 2004
E! Online News - J.Lo & Marc Anthony: They Do!: J.Lo & Marc Anthony: They Do!
by Marcus Errico
Jun 5, 2004, 9:35 PM PT
Bennifer, shmennifer. Better get used to Mennifer, or J.Ant.
Setting all kinds of land-speed records, Jennifer Lopez married Marc Anthony Saturday evening in a hush-hush backyard ceremony at her Los Angeles mansion, according to Us Weekly.
a d v e r t i s e m e n t
The nuptials went down just five months after the made-for-the-tabs romance of J.Lo and Ben Affleck imploded following a scuttled wedding, and just five days after a judge in the Dominican Republic signed off on Anthony's divorce.
Publicists for the two entertainers were not immediately available for comment, though previously their reps fiercely denied the two were even romantically involved ('just friends' was the standard-issue refrain)--even after Lopez started sporting a huge rock on her finger that looked suspiciously like an engagement ring.
Unlike the actress-singer's aborted wedding to Affleck--which drew a legion of press to Santa Barbara in anticipation--Saturday's ceremony was kept under serious wraps, Us Weekly says. Only a few dozen guests were in attendance, described by the glossy as the couple's 'closest friends and family'...and Ricky Martin....
dooce says Oh, the sanctity of heterosexual marriage!
by Marcus Errico
Jun 5, 2004, 9:35 PM PT
Bennifer, shmennifer. Better get used to Mennifer, or J.Ant.
Setting all kinds of land-speed records, Jennifer Lopez married Marc Anthony Saturday evening in a hush-hush backyard ceremony at her Los Angeles mansion, according to Us Weekly.
a d v e r t i s e m e n t
The nuptials went down just five months after the made-for-the-tabs romance of J.Lo and Ben Affleck imploded following a scuttled wedding, and just five days after a judge in the Dominican Republic signed off on Anthony's divorce.
Publicists for the two entertainers were not immediately available for comment, though previously their reps fiercely denied the two were even romantically involved ('just friends' was the standard-issue refrain)--even after Lopez started sporting a huge rock on her finger that looked suspiciously like an engagement ring.
Unlike the actress-singer's aborted wedding to Affleck--which drew a legion of press to Santa Barbara in anticipation--Saturday's ceremony was kept under serious wraps, Us Weekly says. Only a few dozen guests were in attendance, described by the glossy as the couple's 'closest friends and family'...and Ricky Martin....
dooce says Oh, the sanctity of heterosexual marriage!
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