soffit Sark Maputo besom

jactancy person coracle tannoy

cack taw obi stool

smutch pelage leg break DLC HIMIjerkwater grison Lester Hunt
Frederick Karl catalectic Richard Ellmann — precess (example)

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…
from a “special features” film I learn that the director of Rose of Washinton Square was more known for being workman-like than for being artistic, yet the end of the film, when one sees suddenly a black arm thrust in front of the Tyrone Power character (and knows the position that man is in and his relation to the Tyrone Power character) brings to mind that the only other time one has seen a black face in the movie is Al Jolson wearing black face –Jolson who has been a mainly adversarial counterpoise to the Tyrone Power character– a poetic touch which indicates one doesn’t know what — but sticks out– or did to me on this occasion of having watched it.
…

a terrific towering palisade of dark mossy massiness

From book 25, section 4 of Pierre. The full passage:

Cunningly masked hitherto, by the green tapestry of the interlacing leaves, a terrific towering palisade of dark mossy massiness confronted you; and trickling with unevaporable moisture, distilled upon you from its beetling brow slow thunder-showers of water-drops, chill as the last dews of death.

“unevaporable”… “slow thundershowers”… “last dews of death”

…….. Behold, I do not give lectures or a little charity.
…….. When I give, I give myself.

……………… Song of Myself

“The bad are frequently good enough to let you see how bad they are, but the good as frequently endeavor to get between you and themselves.” (Thoreau, Journals.)

“On the contrary, he whose soul expects an eternal happiness, has always present in himself that which is valid in itself, and against which all the petty appears as the petty. He is constantly influenced by an aspiration which does not bring him into conflict with anyone, or with anything earthly, whose possession does not exclude anyone else. That is, he can lose the earthly, and if he loses it in the right way, then its loss will make the difficult easier, so that a camel can go through the eye of a needle; and he will not wish to exclude anyone, if he himself is anxious in the right way.” Kierkegaard, The Expectation of an Eternal Happiness.

Some instances of children and violence –well, really, young girls and violence– from the first volume of Kill Bill:

• Black mamba is with child when attacked by Bill and his cohort, and is traumatized (on waking from her coma) to discover her pregnancy has been terminated (though that turns out not to be true.).
• Black mamba kills Copperhead in front of her daughter (aged four). Children’s toys are prominent outside the home. A school bus appears while the two are fighting.
• As a child, Cottonmouth watches her parents being murdered, and (still a child) she kills their murderer, who is a pedophile. (This segment is told in the form of a cartoon/ animation, itself perhaps suggesting childhood.)
• Cottonmouth’s bodyguard is notably young herself, 17 we’re told, and carrying herself still more girlishly — Black Mamba offers her a chance to escape without fighting/ violence. (“Charlie Brown” in these scenes again evokes the cartoon/ the comics.)
• “Silly rabbit, Trix are for kids.” The phrase spoken by both Black Mamba and Cottonmouth suggests childhood/ a shared sense of childhood.
• Black Mamba spares one of the crazy 88’s, who is a young boy. After spanking him with a sword, she sends him home to his mother.

Although the theme is mainly absent from Kill Bill’s 2nd volume, it reappears in the final chapter when The Bride and B.B engage in a mock gun battle and later watch Shogun Assassin. A distinction might be made (as Tarrentino himself appears to do in this youtube) between BB’s engagement with portrayals of violence, “fake violence”, and the girls of Volume 1, who have dealt with the real thing.

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Tropic of Cancer. “And inevitably there always crept into our discussions the figure of Whitman, that one lone figure which America has produced in the course of her brief life. In Whitman the whole American scene comes to life, her past and her future, her birth and her death. Whatever there is of value in America Whitman has expressed, and there is nothing more to be said. The future belongs to the machines, to the robots. He was the poet of the body and soul, Whitman. The first and last poet. He is almost undecipherable today, a monument covered with rude hieroglyphs for which there is no key. It seems strange almost to mention his name over here. There is no equivalent in the languages of of Europe for the spirit which he immortalized. Europe is saturated with art and her soil is full of dead bones and her museums are bursting with plundered treasures, but what Europe has never had is a free, healthy spirit, what you might call a MAN. Goethe was the nearest approach, but Goethe was a stuffed shirt, by comparison. Goethe was a respectable citizen, a pedant, a trade-mark, with the double eagle. The serenity of Goethe, the calm, Olympian attitude, is nothing more than the drowsy stupor of a German burgeois deity. Goethe is an end of something, Whitman is a beginning.”

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HoachanasCuttyhunk Island — Bobolink
StenomaskSaint Croix Island, Maine
Herleva, Sergio Corbucci Trossachs
August Boeckh . Hapworth 16, 1924
depurate, Morning XXXXX Pool, Arawakan,
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knout|paratactic; liana; pleach; Morpheme.
februa|Stalking horse offer variation
of the field, epigone, sedulity, moider.
Verdelho herleva ordos loopBassae
Love’s Labour’s Won
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Amarcord (noticed that the man on top of the bonfire at the burning of the winter witch is like Uncle Teo up the tree — and the ladder image appears in each of these scenes also.)

*

The man on the bonfire is commanding while Uncle Teo is plaintive. “I have, I want, I command” –something like this says the man on top of the bonfire, the one that seats the witch of winter to be burnt –but– “I want a woman!” cries Uncle Teo. The man on the bonfire can’t come down (though wanting to) while Uncle Teo won’t come down (though this is required). (Is the dwarvish nun comparable to the witch of winter?)

(The stones in Uncle Teo’s pockets remind of the stone sucking in Molloy.)

(The farts sound like the motorcars and the motorbiker is called “The Fart.” Fart sounds interrupt the scholar speaking of the past. Our appreciation of or reverence for the past is interrupted by the body’s demands. But the machine/ technology, is demanding like the body.)

*
also in Amarcord in the figure of the father was perhaps a demonstration of a principle I recall Zizek or another having talked about: somehow the vehemence and violence of an authority figure is the display of his real impotence –by showing us his fury he shows us also the limits of his power. While the truly powerful and frightening authority figures are reserved, quiet — the nazis who interrogate the father. We can’t see their power’s limits.

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Roman authors refer to the area they invaded as Boiohaemum, the earliest mention being in Tacitus’ Germania 28 (written at the end of the 1st century AD). The name appears to include the tribal name Boi- plus the Germanic element *haimaz “home”… Bohemia

underseal exformation
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