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“E porque é que só sei gostar, perguntou-se examinando as bolhas de gás pegadas à parede do vidro, porque é que só sei dizer que gosto através dos rodriguinhos de perifrases e metáforas e imagens, da preocupação dealindar, de pôr franjas de crochet nos sentimentos, de verter a exastação e a angustia na cadencia pindérica do fadomenor, alma a gingar, piegas, à Correia de Oliveira de samarra, se tudo isto é limpo, claro, directo, sem precisão de bonitezas, enxuto como uma Giacometti numa sala vazia e tão simplesmente eloquente como ele: depor palavras aos pés de uma escultura equivale às flores inuteis que se entregam aos mortos ou à dança da chuva em torno de um poço cheio: chiça para mim e para o romantismo meloso que me corre nas veias, minha eterna dificuldade em proferir palavras secas e exactas como pedras”
― Memoria de elefante
― Memoria de elefante
“You were saved when you believed in Jesus, but you were transformed when you realized He believed in you.”
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“The long black nights, when the moon hides her face, when the stars are afraid, are not so black. The silence that dwells in the forest is not so black. There is nothing in the world so black as thy hair.”
― Salomé
― Salomé
“In her, as an Alexandrian, licence was in a curious way a form of self-abnegation, a travesty of freedom; and if I saw her as an exemplar of the city it was not of Alexandria, or Plotinus that I was forced to think, but of the sad thirtieth child of Valentinus who fell, ‘not like Lucifer by rebelling against God, but by desiring too ardently to be united to him’.*”
― The Alexandria Quartet
― The Alexandria Quartet
Mafalda’s 2025 Year in Books
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