Ca

“I am not a lady
I live in an elevator
in a big department store America.
“Your floor, lady?”
“I don't have a floor,
I live in the elevator.”
“You can't just live in an elevator.”
They all say that
except for the man from Time magazine
who acted very cool.
We stop and let people into
dresses, better dresses, beauty,
and on the top floor,
home furnishings and then
the credit office, suddenly stark
and no nonsense this is it.
At each floor I look out
at the ladies quietly becoming
ladies and I say “huh”
reflectively.
My hair is long and wild
full of little twigs and cockleburrs.
I visit the floors only for water.
I make my own food
from the berries and frightened rabbits—
I pray forgive me brother as I eat—
that grow wild in the elevator.
Once every three months,
solstice and equinox,
a cop comes and clubs me a little.
The man from Time says
I articulate my generation something
wobble squeegy squiggle pop pop
Yesterday pausing at childrens
I saw another lady
take off all her clothes
and go to live in #7.
We are waiting to fill
all thirteen.”
― Jean Tepperman, Sisterhood Is Powerful: An Anthology of Writings from the Women's Liberation Movement

“Âm nhạc không nằm ở những nốt nhạc mà ở cái khoảng không ở giữa những nốt nhạc. Giữa những nốt nhạc là âm nhạc. Giữa những con người là tình yêu. Những nốt nhạc và những con người không có ý nghĩa. Ý nghĩa nằm ở giữa chúng, ở giữa họ”
― Đoàn Minh Phượng, Và Khi Tro Bụi

“There are many causes for a suicide, and generally the most obvious ones were not the most powerful. Rarely is suicide committed (yet the hypothesis is not excluded) through reflection. What sets off the crisis is almost always unverifiable. Newspapers often speak of "personal sorrows" or of "incurable illness." These explanations are plausible. But one would have to know whether a friend of the desperate man had not that very day addressed him indifferently. He is the guilty one. For that is enough to precipitate all the rancors and all the boredom still in suspension. But if it is hard to fix the precise instant, the subtle step when the mind opted for death, it is easier to deduce from the act itself the consequences it implies. In a sense, and as in melodrama, killing yourself amounts to confessing. It is confessing that life is too much for you or that you do not understand it. Let's not go too far in such analogies, however, but rather return to everyday words. It is merely confessing that that "is not worth the trouble." Living, naturally, is never easy. You continue making the gestures commanded by existence for many reasons, the first of which is habit. Dying voluntarily implies that you have recognized, even instinctively, the ridiculous character of that habit, the absence of any profound reason for living, the insane character of that daily agitation, and the uselessness of suffering. What, then, is that incalculable feeling that deprives the mind of the sleep necessary to life? A world that can be explained even with bad reasons is a familiar world. But, on the other hand, in a universe suddenly divested of illusions and lights, man feels an alien, a stranger. His exile is without remedy since he is deprived of the memory of a lost home or the hope of a promised land. This divorce between man and his life, the actor and his setting, is properly the feeling of absurdity.”
― Albert Camus The Myth of Sisyphus

“Cubitum eamus?"
"What?"
"Nothing.”
― Donna Tartt, The Secret History