La formación de Patricia es uno de los fenómenos que ha dejado boquiabiertos a los expertos…..boquiabiertos [*]

His surviving writings all show a certain lack of passion […] According to ancient writers, he was respected as an able and thorough, though somewhat dull historiographer… Ephorus

“Ce n’est pas parce que les autres sont morts que notre affection pour eux s’affaiblit, c’est parce que nous mourons nous-mêmes.” [Albertine Disparue, 221, Proust]. Moncrieff. Conjugation: mourir.

Summertime, J.M. Coetzee. “You know the word disembodied? This man was disembodied. He was divorced from his body. To him, the body was like one of those wooden puppets that you move with strings. You pull this string and the left arm moves, you pull that string and the right leg moves. And the real self sits up above, where you cannot see him, like the puppet-master pulling the strings.

“Now this man comes to me, to the mistress of the dance. Show me how to dance! he implores. So I show him, show him how we move in the dance. So, I say to him —move your feet so and then so. And he listens and tells himself, Aha, she means pull the red string followed by the blue string! — Turn your shoulder so, I say to him, and he tells himself, Aha, she means pull the green string!

“But that is not how you dance! That is not how you dance! Dance is incarnation. In dance it is not the puppet-master in the head that leads and the body that follows, it is the body itself that leads, the body with its soul, its body-soul. Because the body knows! It knows! When the body feels the rhythm inside it, it does not need to think. That is how we are if we are human. That is why the wooden puppet cannot dance. The wood has no soul. The wood cannot feel rhythm.”

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Though there is no direct mention of Beckett’s film Film in Ginsberg’s poem Today (Collected Poems, pp.345), the poem does mention both Beckett and Buster Keaton, who were not otherwise known to associate with each other, and seems to have been written around the same time (July 21, 1964). The poem preceding Today in The Collected Poems (from June of ’64), I Am a Victim of Telephone (*), also mentions Keaton, as does 1966’s To D.A. Levy, which says in part: “Buster Keaton died today”.

Strabo 3.1.5

ταῦτα μὲν οὖν οὕτως ἔχειν ἐγχωρεῖ καὶ δεῖ πιστεύειν: ἃ δὲ τοῖς πολλοῖς καὶ χυδαίοις ὁμοίως εἴρηκεν, οὐ πάνυ. λέγειν γὰρ δή φησι Ποσειδώνιος τοὺς πολλοὺς μείζω δύνειν τὸν ἥλιον ἐν τῇ παρωκεανίτιδι καὶ μετὰ ψόφου παραπλησίως ὡσανεὶ σίζοντος τοῦ πελάγους κατὰ σβέσιν αὐτοῦ διὰ τὸ ἐμπίπτειν εἰς τὸν βυθόν

Now these assertions of Artemidorus are allowable, and we should believe them; but the stories which he has told in agreement with the common crowd of people are by no means to be believed. For example, it is a general saying among the people, according to Poseidonius, that in the regions along the coast of the ocean the sun is larger when it sets, and that it sets with a noise much as if the sea were sizzling to extinguish it because of its falling into the depths. [Trans.]

“Now I am your father,” he said pointing with two fingers to an area above his stomach, “No? Now he is your father,” now pointing to his own father with the same two fingers, but in the area of the throat, as if it were specifically the throat of the elder Jammer that were her father…. [Achuches/ 2]

Melville, The Confidence Man:

“Who?” Then drawing near, as if for a good long explanatory chat, his left hand spread, and his pipe-stem coming crosswise down upon it like a ferule, “You think amiss of me. Now to undeceive you, I will just enter into a little argument and–“

Ferule.

They went on to become the first overtly Christian heavy metal band to gain acceptance in the mainstream… Stryper. Origin of name (which still doesn’t totally make sense) …:

The name “Stryper” derives from the King James Version of the Bible. “But he was wounded for our transgressions, he was bruised for our iniquities: the chastisement of our peace was upon him; and with his stripes we are healed.

The Tillman Act (1907) (named after Benjamin Tillman):

Roosevelt used his Presidential stature to influence public opinion and to persuade Congress. The NPLA and other grassroots organizations also pushed for reform. The result of their efforts was the enactment of the Tillman Act of 1907. The act specifically prohibited direct contributions from corporations and businesses to political parties and election committees. It was the first law on the books to specifically address campaign funding on the federal level.

Unfortunately for those who wished for an incorrupt government, this law was easily circumvented. Businesses and corporations would give their employees large bonuses with the understanding that the bonus would be given to a company “endorsed” candidate. The corporations thus found a loophole, gained political access, and received an additional tax deduction for “employee benefits.”

Edge of the west

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“It ill befits anyone to make himself known save him who has qualities to be imitated, and whose life and opinions may serve as a model.” (Montaigne, Of Giving the Lie — trans. Frame)

Pindar, Olympian 7.52-53 [English]:

ἔργα δὲ ζωοῖσιν ἑρπόντεσσί θ᾽ ὁμοῖα κέλευθοι φέρον:
ἦν δὲ κλέος βαθύ.

In conversation I’d called Shelley Duvall Shelly Long. Shelley Long was in Cheers I was told, are you sure you don’t mean Shelly Duvalle.

I’d gotten mixed up, I confessed. Then the person I’d spoken to said, “I thought MASH was a little bit mean-spirited, I have to admit. I really just don’t like bullies,” my friend then said. I said, “I agree with you.” I said, “I think you’re right” (I too thought MASH, the movie, might have been a little bit mean-spirited.) But which Altman do you like, I said. Gossford Park. Uh huh, I nodded, affirming.

I was thinking that, though I liked that one too, it probably wasn’t the best of Altman. I thought the one they said was the best was probably Nashville (but did they say that one was the best or another?), and I thought “California Split… Three Women” and I kind of wanted to see California Split again but I thought Three Women, which I didn’t want to see again, might be better put together. I’d like to see that one again also, I then said, speaking of Gossford Park.

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First proposition of the fifth book of Spinoza’s ethics…. Did I remember it (no, I did not remember it)–

Even as thoughts and the ideas of things are arranged and associated in the mind, so are the modifications of body or the images of things precisely in the same way arranged and associated in the body.

If modernism concerns the ordinary, the everyday, then how to explain Kafka as modern, or surrealism?

[i.] Dreaming is ordinary, therefore etc.
[ii.] The distortion of Kafka results from the effort to establish the truth of our emotional life in the midst of the ordinariness of family and commercial pressures.
[iii.] The ordinary almost by definition includes nothing strange, but does often include an appearance of strangeness.
[iv.] maybe surrealism and kafka has more to do with postmodernism than with the movement whose epicenters are Proust and Joyce.
[v.] Kafka is extremely geared to ordinariness in every respect (the turn of plot, the psychology and behavior of his characracters) but one: the conceit of his tales.
[vi.] The ordinary is, in fact, bizarre and surreal; it is only our habit of perception that makes them seem otherwise.

If modernism concerns the everyday, concerns today, then post modernism concerns the “right now” within the everyday, the ‘right now’ and ‘right here’ [Generally in the context of — here I am doing the same thing again; now what, again, is this ‘same thing’ I am doing? What can be said about this sameness, this finding myself in this position again] such that, for the artist, the making (the process) and the thing made have become conflated. [If I, as an artist, am concerned with the right now then, insofar as I am an artist, I must right now be in some way engaged with making art.] Is my doing by doing enough or must my doing somehow result in the done? In this conflation, like at the nodes of a sine curve, some have made their artistry that of “an actor on the loose” whiles others, sticking to older less demonstrative forms, seem attuned to how very much a moment can contain.

“People in these countries suffer from other people’s driving, other people’s manufacturing, other people’s attachment to things like flat screen TVs and Ipads that most Somalis and South Sudanese will touch only in their dreams…” [NYT]

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–Attire note. Like Miller’s Crossing and Against the Day, hats are a recurring theme of Sentimental Education of which a glimpse is to be found in that passage also.[1.4.39].) Dress hems and white cravates are two more frequently mentioned garments.)

–at Pellerin’s, one is presented with *two* paintings…. Other rooms that have so far had paintings (tableaux): the Arnoux store, and the office above it…

–I find it difficult to say if Frederic’s admiration of Pellerin’s paintings is sincere, or how to qualify his admiration. The general idea seems to be that Pellerin exhibited promise as an artist but was lead astray by thoughts of grandeur (not of his own grandeur, but of the grandeur of things). In this age, great things can’t get beyond the starting of them.

–having trouble for a couple reasons visualizing the lay out of the apartments above Arnoux’s shop. First Flaubert never mentions the three windows that are seen from outside the shop in his description of the interior of upstairs floor. Indeed, he mentions only window looking out on a courtyard. Second, as described here, Flaubert seems dramatically to require that there be two street entrances to the apartment when he has told us only of one… But I don’t think any of these descriptions exclude the possibility of the others, he leaves much of the upstairs undescribed.

–Is it important in some way that, from the outside, the upstairs is characterized by these three lighted windows while, when inside the upstairs room, one see only a small window, giving out on the courtyard?