metaphorformetaphor

metaphorformetaphor:

There are two kinds of visual memory: one when you skillfully recreate an image in the laboratory of your mind, with your eyes open (and then I see Annabel in such general terms as: “honey-colored skin,” “think arms,” “brown bobbed hair,” “long lashes,” “big bright mouth”); and the other when you…

observando

It sounded old. Deserve. Old and tired and beaten to death. Deserve. Now it seemed to him that he was always saying or thinking that he didn’t deserve some bad luck, or some bad treatment from others. He’d told Guitar that he didn’t ‘deserve’ his family’s dependence, hatred, or whatever. That he didn’t even ‘deserve’ to hear all the misery and mutual accusations his parents unloaded on him. Nor did he ‘deserve’ Hagar’s vengeance. But why shouldn’t his parents tell him their personal problems? If not him, then who? And if a stranger could try to kill him, surely Hagar, who knew him and whom he’d thrown away like a wad of chewing gum after the flavor was gone—she had a right to try to kill him too.

Apparently he though he deserved only to be loved—from a distance, though—and given what he wanted. And in return he would be…what? Pleasant? Generous? Maybe all he was really saying was: I am not responsible for your pain; share your happiness with me but not your unhappiness.

Toni Morrison, Song of Solomon (via observando)
fables-of-the-reconstruction
She left me the way people leave a hotel room. A hotel room is a place to be when you are doing something else. Of itself it is of no consequence to one’s major scheme. A hotel room is convenient. But its convenience is limited to the time you need it while you are in that particular town on that particular business; you hope it is comfortable, but prefer, rather, that it be anonymous. It is not, after all, where you live.
Toni Morrison, The Bluest Eye (via avvfvl)
observando
I cordially dislike allegory in all its manifestations, and always have done so since I grew old and wary enough to detect its presence. I much prefer history – true or feigned– with its varied applicability to the thought and experience of readers. I think that many confuse applicability with allegory, but the one resides in the freedom of the reader, and the other in the purposed domination of the author.
J.R.R. Tolkien, The Fellowship of the Ring (via observando)
observando
In a word, literature is my Utopia. Here I am not disfranchised. No barrier of the senses shuts me out from the sweet, gracious discourse of my book-friends. They talk to me without embarrassment or awkwardness. The things I have learned and the things I have been taught seem of ridiculously little importance compared with their “large loves and heavenly charities.
Helen Keller (via observando)
wordpainting
David Foster Wallace was by the end a good person, loved and mourned by just about everyone except Bret Easton Ellis. It’s possible to see Wallace’s career as the inversion of that of another great American novelist who wrote journalism that was pervaded by his personality: Norman Mailer. Monstrousness was the thing Mailer was always trying to enact and the thing Wallace was always trying to deflect or recover from. Wallace was consumed by guilt even on the page; Mailer never seemed to feel a pang. Wallace couldn’t stand Mailer’s books: ‘Unutterably repulsive. I guess part of his whole charm is his knack for arousing strong reactions. Hitler had the same gift.’
Christian Lorentzen’s LRB review of ‘Every Love Story Is a Ghost Story: A Life of David Foster Wallace’ by D.T. Max (via wordpainting)