27 books
—
2 voters
“eu acabara de aprender que a vida tem de ser mais à deriva, mais ao acaso, porque quem se guarda de tudo foge de tudo.”
― A máquina de fazer espanhóis
― A máquina de fazer espanhóis
“I’m a free spirit who never had the balls to be free.”
― Wild: From Lost to Found on the Pacific Crest Trail
― Wild: From Lost to Found on the Pacific Crest Trail
“The art of losing isn't hard to master;
so many things seem filled with the intent
to be lost that their loss is no disaster.
Lose something every day. Accept the fluster
of lost door keys, the hour badly spent.
The art of losing isn't hard to master.
Then practice losing farther, losing faster:
places, and names, and where it was you meant
to travel. None of these will bring disaster.
I lost my mother's watch. And look! my last, or
next-to-last, of three loved houses went.
The art of losing isn't hard to master.
I lost two cities, lovely ones. And, vaster,
some realms I owned, two rivers, a continent.
I miss them, but it wasn't a disaster.
---Even losing you (the joking voice, a gesture
I love) I shan't have lied. It's evident
the art of losing's not too hard to master
though it may look like (Write it!) like disaster.”
― One Art
so many things seem filled with the intent
to be lost that their loss is no disaster.
Lose something every day. Accept the fluster
of lost door keys, the hour badly spent.
The art of losing isn't hard to master.
Then practice losing farther, losing faster:
places, and names, and where it was you meant
to travel. None of these will bring disaster.
I lost my mother's watch. And look! my last, or
next-to-last, of three loved houses went.
The art of losing isn't hard to master.
I lost two cities, lovely ones. And, vaster,
some realms I owned, two rivers, a continent.
I miss them, but it wasn't a disaster.
---Even losing you (the joking voice, a gesture
I love) I shan't have lied. It's evident
the art of losing's not too hard to master
though it may look like (Write it!) like disaster.”
― One Art
“During a party, Luis Buñuel, seduced by Carrington’s beauty and emboldened by the notion that she had transcended all bourgeois morality, proposed (with his characteristic bluntness) that she become his mistress. Without even waiting for her answer, he gave her the key to the secret studio that he used as a love nest and told her to meet him at three o’clock the next afternoon. Early the next morning, Leonora went to visit the place alone. She found it tasteless: It looked exactly like a motel room. Taking advantage of the fact that she was in her menstrual period, she covered her hands with blood and used them to make bloody handprints all over the walls in order to provide a bit of decoration for that anonymous, impersonal room. Buñuel never spoke to her again.”
― The Spiritual Journey of Alejandro Jodorowsky: The Creator of El Topo
― The Spiritual Journey of Alejandro Jodorowsky: The Creator of El Topo
“eu estou bem, dizia-lhe, estou bem. e ele queria saber se estar bem era andar de trombas. eu respondi que o tempo não era linear. preparem-se sofredores do mundo, o tempo não é linear. o tempo vicia-se em ciclos que obedecem a lógicas distintas e que se vão sucedendo uns aos outros repondo o sofredor, e qualquer outro indivíduo, novamente num certo ponto de partida. é fácil de entender. quando queremos que o tempo nos faça fugir de alguma coisa, de um acontecimento, inicialmente contamos os dias, às vezes até as horas, e depois chegam as semanas triunfais e os largos meses e depois os didáticos anos. mas para chegarmos aí temos de sentir o tempo também de outro modo. perdemos alguém, e temos de superar o primeiro inverno a sós, e a primeira primavera e depois o primeiro verão, e o primeiro outono. e dentro disso, é preciso que superemos os nossos aniversário, tudo quanto dá direito a parabéns a você, as datas da relação, o natal, a mudança dos anos, até a época dos morangos, o magusto, as chuvas de molha-tolos, o primeiro passo de um neto, o regresso de um satélite à terra, a queda de mais um avião, as notícias sobre o brasil, enfim, tudo. e também é preciso superar a primeira saída de carro a sós. o primeiro telefonema que não pode ser feito para aquela pessoa. a primeira viagem que fazemos sem a sua companhia. os lençóis que mudamos pela primeira vez. as janelas que abrimos. a sopa que preparamos para comermos sem mais ninguém. o telejornal que já não comentamos. um livro que se lê em absoluto silêncio. o tempo guarda cápsulas indestrutíveis porque, por mais dias que se sucedam, sempre chegamos a um ponto onde voltamos atrás, a um início qualquer, para fazer pela primeira vez alguma coisa que nos vai dilacerar impiedosamente porque nessa cápsula se injeta também a nitidez do quanto amávamos quem perdemos, a nitidez do seu rosto, que por vezes se perde mas ressurge sempre nessas alturas, até o timbre da sua voz, chamando o nosso nome, ou mais cruel ainda, dizendo que nos ama com um riso incrível pelo qual nos havíamos justificado em mil ocasiões no mundo.”
― A máquina de fazer espanhóis
― A máquina de fazer espanhóis
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