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“Past the flannel plains and blacktop graphs and skylines of canted rust, and past the tobacco-brown river overhung with weeping trees and coins of sunlight through them on the water downriver, to the place beyond the windbreak, where untilled fields simmer shrilly in the A.M. heat: shattercane, lamb's-quarter, cutgrass, sawbrier, nutgrass, jimsonweed, wild mint, dandelion, foxtail, muscadine, spinecabbage, goldenrod, creeping charlie, butter-print, nightshade, ragweed, wild oat, vetch, butcher grass, invaginate volunteer beans, all heads gently nodding in a morning breeze like a mother's soft hand on your cheek. An arrow of starlings fired from the windbreak's thatch. The glitter of dew that stays where it is and steams all day. A sunflower, four more, one bowed, and horses in the distance standing rigid and still as toys. All nodding. Electric sounds of insects at their business. Ale-colored sunshine and pale sky and whorls of cirrus so high they cast no shadow. Insects all business all the time. Quartz and chert and schist and chondrite iron scabs in granite. Very old land. Look around you. The horizon trembling, shapeless. We are all of us brothers.
Some crows come overhead then, three or four, not a murder, on the wing, silent with intent, corn-bound for the pasture's wire beyond which one horse smells at the other's behind, the lead horse's tail obligingly lifted. Your shoes' brand incised in the dew. An alfalfa breeze. Socks' burrs. Dry scratching inside a culvert. Rusted wire and tilted posts more a symbol of restraint than a fence per se. NO HUNTING. The shush of the interstate off past the windbreak. The pasture's crows standing at angles, turning up patties to get at the worms underneath, the shapes of the worms incised in the overturned dung and baked by the sun all day until hardened, there to stay, tiny vacant lines in rows and inset curls that do not close because head never quite touches tail. Read these.”
― The Pale King
Some crows come overhead then, three or four, not a murder, on the wing, silent with intent, corn-bound for the pasture's wire beyond which one horse smells at the other's behind, the lead horse's tail obligingly lifted. Your shoes' brand incised in the dew. An alfalfa breeze. Socks' burrs. Dry scratching inside a culvert. Rusted wire and tilted posts more a symbol of restraint than a fence per se. NO HUNTING. The shush of the interstate off past the windbreak. The pasture's crows standing at angles, turning up patties to get at the worms underneath, the shapes of the worms incised in the overturned dung and baked by the sun all day until hardened, there to stay, tiny vacant lines in rows and inset curls that do not close because head never quite touches tail. Read these.”
― The Pale King
“And when I think about that, I think to myself that he did the right thing. To hell with meaning, to hell with everything, I’m going to drink until I drop. Drink myself into a stupor, drink myself into darkness, drink myself into the empty void, for desperate diseases need desperate remedies. I drink and I fall, I fall and I drink. Everything stinks, everything is shit, people are morons, to hell with them, I’ll drink myself stupid, stupider than them. People are small, but I’ll drink myself smaller. Because when I drink, as I shrink and become smaller and smaller, my shadow on the wall gets bigger and bigger, until the moment I die, slumped there in the chair with my nose broken and blood on my face and shirt, and from then on I will be nobody and my shadow will be everything.”
― Min kamp 6
― Min kamp 6
“The essence of being human is that one does not seek perfection, that one is sometimes willing to commit sins for the sake of loyalty, that one does not push asceticism to the point where it makes friendly intercourse impossible, and that one is prepared in the end to be defeated and broken up by life, which is the inevitable price of fastening one's love upon other human individuals.”
― In Front of Your Nose: 1945-1950
― In Front of Your Nose: 1945-1950
“The scent of cunt and river curving to a lime-sharp edge of pressed mimosa fires him, and he understands their furious coupling in the engineering sense, both of them functioning as one rapturous lubricated moving part, hissing and racketing in time’s invisible machinery. Slick mercury boils over from its bulb and he ejaculates inside her, spurts their daughter May into a Lambeth gutter and their same-name granddaughter into the Fever Cart. He squirts a thousand names and histories, spunks Jack into a foreign grave and Mick into a steel-drum reclamation yard and Audrey into an asylum. He comes grief and paintings and accordion music, as he knows he must, to guarantee that several million years away in the abandoned ruins of paradise the nude berserker and his piggybacking conscience start to gradually decrease their frightful pace when they are some three geographic days from the two well-dressed strangers, coming finally to a standstill, eye-to-eye in the miscoloured furnace of another post-organic dawn.”
― Jerusalem
― Jerusalem
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