José
https://www.goodreads.com/mieshta
“Since life passes, whether sweet or bitter,
Since the soul must pass the lips, whether in Nishapur or Balkh,
Drink wine, for after you and I are gone many a moon
Will pass from old to new, from new to old”
―
Since the soul must pass the lips, whether in Nishapur or Balkh,
Drink wine, for after you and I are gone many a moon
Will pass from old to new, from new to old”
―
“Theatre Impressions
For me the tragedy's most important act is the sixth:
the raising of the dead from the stage's battlegrounds
the straightening of wigs and fancy gowns
removing knives from stricken breasts,
taking nooses from lifeless necks,
lining up among the living
to face the audience.
The bows, both solo and ensemble
the pale hand of the wounded heart,
the curtseys of the hapless suicide,
the bobbing of the chopped-off head.
The bow in pairs-
rage extends its arm to meekness,
the victim's eyes smile at the torturer,
the rebel indulgently walks besides the tyrant.
Eternity trampled by the golden slipper's toe.
Redeeming values swept aside with the swish of a wide-
brimmed hat.
The unrepentant urge to start all over tomorrow.
Now enter, single file, the hosts who died early on,
in Acts 3 and 4, or between scenes.
The miraculous return of all those without a trace.
The thought that they've been waiting patiently offstage
without taking off their makeup
or their costumes
moves me more than all the tragedy's tirades.
But the curtain's fall is the most uplifting part,
the things you see before it hits the floor:
here one hand quickly reaches for a flower,
there another hand picks up a fallen sword.
Only then one last, unseen hand
does its duty
and grabs me by the throat.”
― View with a Grain of Sand: Selected Poems
For me the tragedy's most important act is the sixth:
the raising of the dead from the stage's battlegrounds
the straightening of wigs and fancy gowns
removing knives from stricken breasts,
taking nooses from lifeless necks,
lining up among the living
to face the audience.
The bows, both solo and ensemble
the pale hand of the wounded heart,
the curtseys of the hapless suicide,
the bobbing of the chopped-off head.
The bow in pairs-
rage extends its arm to meekness,
the victim's eyes smile at the torturer,
the rebel indulgently walks besides the tyrant.
Eternity trampled by the golden slipper's toe.
Redeeming values swept aside with the swish of a wide-
brimmed hat.
The unrepentant urge to start all over tomorrow.
Now enter, single file, the hosts who died early on,
in Acts 3 and 4, or between scenes.
The miraculous return of all those without a trace.
The thought that they've been waiting patiently offstage
without taking off their makeup
or their costumes
moves me more than all the tragedy's tirades.
But the curtain's fall is the most uplifting part,
the things you see before it hits the floor:
here one hand quickly reaches for a flower,
there another hand picks up a fallen sword.
Only then one last, unseen hand
does its duty
and grabs me by the throat.”
― View with a Grain of Sand: Selected Poems
“...I don't know, but I may have even been happy. Happy perhaps. Each century brought its portion of light and shadow, apathy and combat, truth and error, and its cortège of systems, new ideas, new illusions. In each of them the greenery of a springtime was bursting forth, and then would yellow, to be rejuvenated later on. So in that way life had the regularity of a calendar, history and civilization were being made, and man, naked and unarmed, armed himself and dressed; built hovel and palace, a crude village and Thebes of a Thousand Gates; created science that scrutinizes and art that elevates; made himself orator, mechanic, philosopher; covered the face of the globe; descended into the bowels of the Earth; climbed up to the sphere of the clouds, collaborating in that way in the mysterious work in which he mitigated the necessities of life and the melancholy of abandonment. My gaze, bored and distracted, finally saw the present century arrive, and behind it the future one, it came along agile, dexterous, vibrant, self-confident, a little diffuse, bold, knowledgeable, but in the end as miserable as the ones before, and so it passed...”
― Memórias póstumas de Brás Cubas
― Memórias póstumas de Brás Cubas
“In his work Maladies and Remedies of the Life of the Flesh, published in Leiden under the pseudonym Christianus Democritus, he claimed to have discovered the Elixir of Life—a liquid counterpart to the Philosopher’s Stone—which would heal any ailment and grant eternal life to the person who drank it. He tried, but failed, to exchange the formula for the deed to Frankenstein Castle, and the only use he ever made of his potion—a mixture of decomposing blood, bones, antlers, horns and hooves—was as an insecticide, due to its incomparable stench. This same quality led the German troops to employ the tarry, viscous fluid as a non-lethal chemical weapon (therefore exempt from the Geneva Convention), pouring it into wells in North Africa to slow the advance of General Patton and his men, whose tanks pursued them across the desert sands. An ingredient in Dippel’s elixir would eventually produce the blue that shines not only in Van Gogh’s Starry Night and in the waters of Hokusai’s Great Wave, but also on the uniforms of the infantrymen of the Prussian army, as though something in the colour’s chemical structure invoked violence: a fault, a shadow, an existential stain passed down from those experiments in which the alchemist dismembered living animals to create it, assembling their broken bodies in dreadful chimeras he tried to reanimate with electrical charges, the very same monsters that inspired Mary Shelley to write her masterpiece, Frankenstein; or, The Modern Prometheus, in whose pages she warned of the risk of the blind advancement of science, to her the most dangerous of all human arts.”
― When We Cease to Understand the World
― When We Cease to Understand the World
“He has no friends that I know of, and his few neighbours consider him a bit of a weirdo, but I like to think of him as my friend as he will sometimes leave buckets of compost outside my house, as a gift for my garden. The oldest tree on my property is a lemon, a sprawling mass of twigs with a heavy bow. The night gardener once asked me if I knew how citrus trees died: when they reach old age, if they are not cut down and they manage to survive drought, disease and innumerable attacks of pests, fungi and plagues, they succumb from overabundance. When they come to the end of their life cycle, they put out a final, massive crop of lemons. In their last spring their flowers bud and blossom in enormous bunches and fill the air with a smell so sweet that it stings your nostrils from two blocks away; then their fruits ripen all at once, whole limbs break off due to their excessive weight, and after a few weeks the ground is covered with rotting lemons. It is a strange sight, he said, to see such exuberance before death. One can picture it in animal species, those million salmon mating and spawning before dropping dead, or the billions of herrings that turn the seawater white with their sperm and eggs and cover the coasts of the northeast Pacific for hundreds of miles. But trees are very different organisms, and such displays of overripening feel out of character for a plant and more akin to our own species, with its uncontrolled, devastating growth. I asked him how long my own citrus had to live. He told me that there was no way to know, at least not without cutting it down and looking inside its trunk. But, really, who would want to do that?”
― When We Cease to Understand the World
― When We Cease to Understand the World
José’s 2025 Year in Books
Take a look at José’s Year in Books, including some fun facts about their reading.
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