Murphy:

There were not many patients about as he followed Bom through the wards. Some were at matins, some in the gardens, some could not get up, some would not, some simply had not. But those that he did see were not at all the terrifying monsters that might have been imagined from Ticklepenny’s account. Melancholics, motionless and brooding, holding their heads or bellies according to type. Paranoids, feverishly covering sheets of papers with complaints against their treatment or verbatim reports of their inner voices. A hebephrenic playing the piano intently. A hypomaniac teaching slosh to a Korsakow’s syndrome. An emaciated schizoid, petrified in a toppling attitude as though condemned to an eternal tableua vivant, his left hand rhetorically extended holding a cigarette half smoked and out, his right, quivering and rigid, pointing upward.

They cause Murphy no horror. The most easily identifiable of his immediate feelings were respect and unworthiness. Except for the manic, who was like an epitome of all the self-made plutolaters who ever triumphed over empty pockets and clean hands, the impression he received was of that self-immersed indifference to the contingencies of the contingent world which he had chosen for himself as the only felicity and achieved so seldom.

mollement … “Les Etats-Unis condamnent mollement les bombardements turcs contre les rebelles kurdes” [*]

repaire de geeks — nouilles chinoises — un lotissement sans âme

᾿εξάγεται δ᾽ ἐκ τῆς Τουρδητανίας σῖτός τε καὶ οἶνος πολὺς καὶ ἔλαιον οὐ πολὺ μόνον ἀλλὰ καὶ κάλλιστον: καὶ κηρὸς δὲ καὶ μέλι καὶ πίττα ἐξάγεται καὶ κόκκος πολλὴ καὶ μίλτος οὐ χείρων τῆς Σινωπικῆς γῆς.

But Berryman differs from Whitman in his willingness to be deliberately illiterate; even Whitman was not prepared to operate outside of grammatical norms. Whitman is full of humor, but it is not syntactic or grammatical humor. On the contrary, his ornately parallel syntax, his fluid grammar, do not risk outraging literacy itself, no matter how heterodox his themes. Influenced by Hopkins’s wrenching of syntax, Berryman adopted grammatical and syntactic violations as his stylistic signature, wronging syntax in a mode beyond even that of Hopkins.…