First blush of roast upon Thy brow,
Rays from the coil upon thee now.
Aureate, Eloquent, Fluffy, Cheesy,
A crust of nuts, a little seedy, —
Gnaw by gnaw I chew your ring
And free you of the bready thing.

I remember that word now but for how long: anagnorosis, which I want to call agnorosis. Remembering this word I’d learned on the bridge is why I thought of Quentin. Anagnorosis on the bridge. If you were to “understand something” like Oedipous you would still most likely need a prod. The understanding occluded obnubliate with doubts objections, various kinds. “Everything I think…” (is wrong.) Anagnorosis, Anagnorosis. Quentin, bridge.

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Ngams: beverage 1980-2015. … I’ve had a hunch for years that David Letterman had popularized the use of the word “beverage” by repeatedly using it himself, particularly in the phrase “tasty beverages,” but finally getting around to checking Ngrams about today, I find the conjecture is not borne out. In fact, the word “beverage” seems to have decreased in popularity during the time he was on late night television.

All sorts of caveats of course apply to using ngrams for this purpose, and yet the more likely hypothesis now seems to me that I had been influenced by Letterman saying “beverage” (Instead of “drink”) while society at large had not.

Something in my reading of Gravity’s Rainbow this morning reminded me of Pynchon’s frequent use of the color green and suggested it might have to do with paranormal auras that are colored green; however, performing a casual search for what a green aura might entail, I find it might entail just about anything — there are also the shades of green to consider.

I’m not sure if green is used positively, negatively or ambiguously in Pynchon’s work. Certainly some of the time it is meant to indicate American dollars and is, at a minimum, non-positive.

 The Swimmer (1968, Frank Perry, Burt Lancaster) an imaginative fleshing out of the much sparser and more mysterious John Cheever short story — Good, with a few glitches. (Mightn’t the ending have been great without that hamhanded look through the window pane?)

The King of Comedy (1982, Scorsese, Deniro). “I’d rather be king for a night than a chump for a lifetime.” — Good. There were a couple points where I asked myself why I was watching this but Deniro’s closing monologue really ties it together.

Love in The Afternoon (1957, Wilder, A. Hepburn, G. Cooper.) I found the age difference between Hepburn and Cooper distracting and turned it off before long.

“Bruce, Patrick Henry Bruce, was one of the early and most ardent Matisse pupils and soon he made little Matisses, but he was not happy. In explaining his unhappiness he told Gertrude Stein, they talk about the sorrows of great artists, the tragic unhappiness of great artists but after all they are great artists. A little artist has all the tragic unhappiness and the sorrows of the great artist and he is not a great artist.” Gertrude Stein, The Autobiography of Alice B. Toklas. . . . Patrick Henry Bruce.

I have a strange feeling I’m being watched and turn in that direction. Indeed it is so: out of the left rear window of the sedan the dog quickly turns his head as if he hadn’t been looking.

Dog’s mouth is fully closed yet his tongue is hanging out.

A not yet metamorphized cicada observed crawling in the lamplight of an approaching car. He is heading in the direction of a sewer opening. It is a cool night for this time of year and we are feeling the first wind-tossed pockets of rain from what they say will be a very strong storm.

An itch: the feeling I am composed of many small downward pointing arrows or rays, and one of them around my midsection has become slightly bent, or two of them have become somewhat crossed or entangled, and though my finger is so much larger than these entangled rays, it does easily uncross them, moving back and forth over the spot and with light pressure relieving the itch.