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Why, if one wants to compare life to anything, one must liken it to being blown through the Tube at fifty miles an hour--landing at the other end without a single hairpin in one's hair! Shot out at the feet of God entirely naked! Tumbling head over heels in the asphodel meadows like brown paper parcels pitched down a shoot in the post office! With one's hair flying back like the tail of a race-horse. Yes, that seems to express the rapidity of life, the perpetual waste and repair; all so casual, all so haphazard... But after life. The slow pulling down of thick green stalks so that the cup of the flower, as it turns over, deluges one with purple and red light. Why, after all, should one not be born there as one is born here, helpless, speechless, unable to focus one's eyesight, groping at the roots of the grass, at the toes of the Giants? ↗
You can possess a book without really owning it, though. Beyond ownership in a commercial or legal sense, there’s ownership of an emotional or metaphysical kind - when a book speaks so powerfully to us that we feel it’s ours exclusively: that it exists just tor us. People we meet sometimes have this effect too; they look into our eyes, and speak in a hushed, intimate voice, and make us feel we’re uniquely important to them - before going on to do the same to someone else. In life, we call these people flirts. The best books are flirtatious, too, since they seem to be ours alone when in reality they’re anyone’s. ↗
It may take a decade or two before the extent of Shakespeare's collaboration passes from the graduate seminar to the undergraduate lecture, and finally to popular biography, by which time it will be one of those things about Shakespeare that we thought we knew all along. Right now, though, for those who teach the plays and write about his life, it hasn't been easy abandoning old habits of mind. I know that I am not alone in struggling to come to terms with how profoundly it alters one's sense of how Shakespeare wrote, especially toward the end of his career when he coauthored half of his last ten plays. For intermixed with five that he wrote alone, Antony and Cleopatra, Coriolanus, The Winter's Tale, Cymbeline, and The Tempest, are Timon of Athens (written with Thomas Middleton), Pericles (written with George Wilkins), and Henry the Eighth, the lost Cardenio, and The Two Noble Kinsmen (all written with John Fletcher). ↗
#collaboration #history-of-thought #shakespeare #teaching #life
Having spent a long time in open spaces, whether sea or desert, it is a luxury to be able to take refuge in towns with narrow streets which provide a fragile fortress against the assaults of the infinite. There is such a sense of security against the boundless there, even if the murmur of the wave or the silence of the sands still pursue one through tortuous corridors. The winds, despite their subtle spirits, are themselves lost in the vestibules of this labyrinth and, unable to find a way through, whistle and turn in turbulence like demented dervishes. They will not break through the walls of this den in which life still pulsates in the shadows of humanity's black sun. ↗
Did you know that the fundamental building blocks of life are not cells, are not DNA are not even carbon but language yeah 'cause DNA is just a four-character language and binary code is a two-character language and what these languages are saying is the very act of revealing, so you reach an X-point when language attains a level of complexity where it begins to fold in upon itself trying to understand itself and this is sentience. Did you know that the entire Library of Congress can be encoded in our DNA because all you have to do is translate a binary system into a four-character system to where you can decode the genes like you're searching a microfiche and if you were to genetically engineer the corpus of human knowledge into our DNA then we'd be able to genetically pass the entire library along from generation to generation like frickin' disease, man. ↗
#life
Затворете се в къщи, свийте се в охлювната си черупка, станете пепеляви, кротки, плахи, и никога нищо ярко и разтърсващо няма да ви се случи. Или почти нищо. Живот без задъханото присъствие на Случая е мъртвило. Самото предусещане, че може да те връхлети нещо непредвидено, че изобретателният Случай диша нейде в тила ти, че те причаква зад оня гребен на планината, зад оня дънер - това придава на дните тръпчивия жизнен сок. Да си нащрек: нещо ти предстои! Това е може би истинското съществуване. В такива мигове на изтръпване пред неизвестното влизаш в контакт с всичко. ↗
Brod’s life was a slow realization that the world was not for her, and that for whatever reason, she would never be happy and honest at the same time. She felt as if she were brimming, always producing and hoarding more love inside her. But there was no release. Table, ivory elephant charm, rainbow, onion, hairdo, mollusk, Shabbos, violence, cuticle, melodrama, ditch, honey, doily… None of it moved her. She addressed her world honestly, searching for something deserving of the volumes of love she knew she had within her, but to each she would have to say, I don’t love you. Bark-brown fence post: I don’t love you. Poem too long: I don’t love you. Physics, the idea of you, the laws of you: I don’t love you. Nothing felt like anything more than what it actually was. Everything was just a thing, mired completely in its thingness. ↗
