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“The cawing of a big, black crow awoke me early the next morning, but I remained still, pretending to be asleep. I didn’t want to see Ibrahim in the light of day, and I didn’t want to make more small talk. I felt hunger pains through the remnants of champagne and cognac from the night before. I wondered why I hadn’t eaten more, feeling silly about having been so insecure about my culinary etiquette.
Numb and void of emotion, I remained in a state of suspended animation reliving the events of our night of passion. The night before, I pictured silhouettes of angels dancing upon the ceiling in the moonlight, not disconnected bodies lying beneath the covers at a loss for words.”
― Blind Pony: As True A Story As I Can Tell
Numb and void of emotion, I remained in a state of suspended animation reliving the events of our night of passion. The night before, I pictured silhouettes of angels dancing upon the ceiling in the moonlight, not disconnected bodies lying beneath the covers at a loss for words.”
― Blind Pony: As True A Story As I Can Tell
“Aesthetic value emanates from the struggle between texts: in the reader, in language, in the classroom, in arguments within a society. Aesthetic value rises out of memory, and so (as Nietzsche saw) out of pain, the pain of surrendering easier pleasures in favour of much more difficult ones ... successful literary works are achieved anxieties, not releases from anxieties.”
― The Western Canon: The Books and School of the Ages
― The Western Canon: The Books and School of the Ages
“Wages are a direct consequence of estranged labor, and estranged labor is the direct cause of private property.”
― Economic and Philosophic Manuscripts of 1844
― Economic and Philosophic Manuscripts of 1844
“Lawson, also known by his call sign of Hiker, had been my best friend since our navy days. He now had the distinction of being the sheriff of Santa Rosaria.
“Where the hell are you? It sounds like you’re far away.”
“I’m on the top deck of a cruise ship in the Panama Canal.”
“Swamp, I’m busy. I don’t have time for your jokes.”
“Then why the hell did you call me?”
“I’m calling because some hot shot lawyer called my office for a character reference on you.”
“Why?”
“I’ll ask you the same question. Why? Are you in some kind of trouble?”
“Of course I’m not in any kind of trouble! What did you say to him?”
“I told him you’re some kind of character.”
― Appellate Judge
“Where the hell are you? It sounds like you’re far away.”
“I’m on the top deck of a cruise ship in the Panama Canal.”
“Swamp, I’m busy. I don’t have time for your jokes.”
“Then why the hell did you call me?”
“I’m calling because some hot shot lawyer called my office for a character reference on you.”
“Why?”
“I’ll ask you the same question. Why? Are you in some kind of trouble?”
“Of course I’m not in any kind of trouble! What did you say to him?”
“I told him you’re some kind of character.”
― Appellate Judge
“Incipit comoedia. Ἀλήθεια is forgotten. But everything lives on this forgotten forgottenness. In the prologue of the machination of the framework (creatio), the mere masks are converted into the persons. Personality is created. What is alive can be represented only as person. Blind screaming for the personal Thou counts as the ultimate in thoughtfulness. The paths of thinking have been abandoned long ago—admittedly in such a way that this wild flight in the face of thinking (i.e., in the face of the withstanding of the belongingness to the essentially occurring essence, to the provenance of Ἀλήθεια) appears to be the victory of thinking and therefore at the lowest stage of the decline is not afraid to present thinking as a believing.”
― The Event
― The Event
Marge’s 2025 Year in Books
Take a look at Marge’s Year in Books, including some fun facts about their reading.
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