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.…

Maryof Egypthami
rrida bashitru Mar
gUAr dnnelS o-da
pt.BbbnBubb.yh
shiBub.oBbatr
swin…ang…ines
ging..si ro n.. sa nd
Maryof Egypthami
bashitru
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swin…ang…ines
ging..si ro n.. sand
Maryof Egypthami
rrida bashitru Mar
gUAr dnnelS o-da
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Alfelegim: I don’t want… Alfelegim zimp, I don’t want a fly.

le chômage , une reprise, coupe le son

colistier — Les affrontements—obus de mortier

nescience — Fern bar — superficies — En miettes.– Bismarck tower

anchura, tropieza, logran un hito, el plazo máximo, entregar

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sobrecogidos… Escribimos esta carta sobrecogidos por el estupor y una profunda pena por el asesinato de la defensora de los derechos humanos y ambientalista hondureña Berta Cáceres

… They have the fewest vertebrae of any fish…Unlike some other cockroaches, they do not have wings and are not considered pests.… Keyhole Blues pronotum

carrillos hundidos * quiza * sobremanera * tierno * sudor * las urnas * Las aguas sucias

David Hume, A Treatise of Human Nature, book 3 sect. 7. “You have the same propension, that I have, in favour of what is contiguous above what is remote. You are, therefore, naturally carried to commit acts of injustice as well as me. Your example both pushes me forward in this way by imitation, and also affords me a new reason for any break of equity, by shewing me, that I should be the cully of my integrity, if I alone shou’d impose on myself a severe restraint amidst the licentiousness of others.”

*
cully, A fool or dupe.

In The Heat of the Night. Mississippi shot in Ohio — a similar effect to that of Eyes Wide Shut in which Kubrick shoots Manhattan in London. The style is Realism but it is shot in a location where realism is not possible, askew, creating this dreamlike effect, Ohio if it was Mississippi too.

*

While the story occurs in a place where it is hot [MS] the film was shot somewhere it is cold [OH] […] the three scenes at the opening which focus on Poitier’s hands […] a SODA motif (Delores and fountain drinks –Sam, fountain drinks and pie– Ralph keeping Sam’s pie) […] trains and earth moving/ agricultural equipment– curious portrait of the cotton field with black cotton pickers and machines together in the rows–

A sort of interior searing pain (but no heat) it warns one away from turning further and begins a feeling of sickness in the rest of the body, which lingers even after the turning has stopped.

A tearing pain (but nothing being torn) and is almost a feeling of cold; as if a scab beneath the knee cap were taken off, ripped off, and raw skin exposed suddenly exposed to the air.

The feeling that the knee, formerly simply itself, like a stone is itself, was now a cavernous space- filled area of locking tubes with male and female parts, and the parts could easily become detached.

The connection between a pain on one part of the body to an unrelated pain on another part of the body — at times, like a triangle was made of the lines between them and between them and the mind — only the “acuteness” of the angles are determined by the sharpness of the pains. (The degrees of the angle of this triangle are determined by the degrees of the experienced pain.)

Their syncopation, where the throb of the one will answer the strum of the other, a violin and drum.

An accident resulted in a sharp pain which, nearly two months later, has diminished enough to inspire confidence that the diminishing of the pain implies a healing of the damage — then suddenly, but also gradually– it is gone and forgotten.

Hemingway, Islands in the Stream (pp.69).

Thomas Hudson watched them. Swimming slowly, the four of them swam out in the green water, their bodies making shadows over the clear white sand, bodies forging along, shadows projected on the sand by the slight angle of the sun, the brown arms lifting and pushing forward, the hands slicing in, taking hold of the water and pulling it back, legs beating along steadily, heads turning for air, breathing easily and smoothly.