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“One night, I sat Beauty on my knee. —And I found her bitter. —And I hurt her.
I took arms against justice.
I fled, entrusting my treasure to you, o witches, o misery, o hate.
I snuffed any hint of human hope from my consciousness. I made the muffled leap of a wild beast onto any hint of joy, to strangle it.
Dying, I called out to my executioners so I could bite the butts of their rifles. I called plagues to suffocate me with sand, blood. Misfortune was my god. I wallowed in the mud. I withered in criminal air. And I even tricked madness more than once.
And spring gave me an idiot’s unbearable laughter.
Just now, having nearly reached death’s door, I even considered seeking the key to the old feast, through which, perhaps, I might regain my appetite.
[...] “A hyena you’ll remain, etc.… ” cries the demon that crowns me with merry poppies. “Make for death with every appetite intact, with your egotism, and every capital sin.”
Ah. It seems I have too many already: —But, dear Satan, I beg you not to look at me that way, and while you await a few belated cowardices—you who so appreciate a writer’s inability to describe or inform—I’ll tear a few terrible leaves from my book of the damned.”
― A Season in Hell & Illuminations
I took arms against justice.
I fled, entrusting my treasure to you, o witches, o misery, o hate.
I snuffed any hint of human hope from my consciousness. I made the muffled leap of a wild beast onto any hint of joy, to strangle it.
Dying, I called out to my executioners so I could bite the butts of their rifles. I called plagues to suffocate me with sand, blood. Misfortune was my god. I wallowed in the mud. I withered in criminal air. And I even tricked madness more than once.
And spring gave me an idiot’s unbearable laughter.
Just now, having nearly reached death’s door, I even considered seeking the key to the old feast, through which, perhaps, I might regain my appetite.
[...] “A hyena you’ll remain, etc.… ” cries the demon that crowns me with merry poppies. “Make for death with every appetite intact, with your egotism, and every capital sin.”
Ah. It seems I have too many already: —But, dear Satan, I beg you not to look at me that way, and while you await a few belated cowardices—you who so appreciate a writer’s inability to describe or inform—I’ll tear a few terrible leaves from my book of the damned.”
― A Season in Hell & Illuminations
“Escape from Freedom attempts to show, modern man still is anxious and tempted to surrender his freedom to dictators of all kinds, or to lose it by transforming himself into a small cog in the machine, well fed, and well clothed, yet not a free man but an automaton.”
― Escape from Freedom
― Escape from Freedom
“We shall not cease from exploration and the end of all our exploring will be to arrive where we started and know the place for the first time.”
―
―
“Woke up this morning with
a terrific urge to lie in bed all day
and read. Fought against it for a minute.
Then looked out the window at the rain.
And gave over. Put myself entirely
in the keep of this rainy morning.
Would I live my life over again?
Make the same unforgivable mistakes?
Yes, given half a chance. Yes.
- Rain”
― All of Us: The Collected Poems
a terrific urge to lie in bed all day
and read. Fought against it for a minute.
Then looked out the window at the rain.
And gave over. Put myself entirely
in the keep of this rainy morning.
Would I live my life over again?
Make the same unforgivable mistakes?
Yes, given half a chance. Yes.
- Rain”
― All of Us: The Collected Poems
“. I thought that was why, as I stood before a painting of a young girl in half-light, there was something that was both guarded and vulnerable in her gaze. It was not the contradiction of a single instant, but rather it was as if the painter had caught her in two separate states of emotion, two different moods, and managed to contain them within the single image. There would have been a multitude of such instants captured in the canvas, between the time she first sat down before the painter and the time she rose, neck and upper body stiff, from the final sitting. That layering—in effect a kind of temporal blurring, or simultaneity—was perhaps ultimately what distinguished painting from photography. I wondered if that was the reason why contemporary painting seemed to me so much flatter, to lack the mysterious depth of these works, because so many painters now worked from photographs.”
― Intimacies
― Intimacies
Timo’s 2025 Year in Books
Take a look at Timo’s Year in Books, including some fun facts about their reading.
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