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“One gleeful headline drives me to the floor, kneeling,
and all paint turns to gazette paper and all memory
collides into photographs we could not say happened,
that is us, that’s what we did. When you lose you become
ancient but this time no one will rake over these bodies
gently collecting their valuables, their pots, their hearts
and intestines, their papers and what they could bury.
This civilisation will be dug up to burn all its manifestos.
No tender archaeologist will mend our furious writings
concluding, “They wanted sweat to taste sweet, that is all,
some of them played music for nothing, some of them
wrote poems to tractors, rough hands, and rough roads,
some sang for no reason at all to judge by their condition.”
― Land to Light On
and all paint turns to gazette paper and all memory
collides into photographs we could not say happened,
that is us, that’s what we did. When you lose you become
ancient but this time no one will rake over these bodies
gently collecting their valuables, their pots, their hearts
and intestines, their papers and what they could bury.
This civilisation will be dug up to burn all its manifestos.
No tender archaeologist will mend our furious writings
concluding, “They wanted sweat to taste sweet, that is all,
some of them played music for nothing, some of them
wrote poems to tractors, rough hands, and rough roads,
some sang for no reason at all to judge by their condition.”
― Land to Light On
“A former Red Guard relates, “I believe many little girls and boys of my generation dreamed of being a geological prospector… Propaganda for recruiting young people to work in this area was very effective. When my neighbor’s daughter was accepted by the geology department of a prestigious university, we all envied her for her future prospects of an adventurous life.”
― Maoism at the Grassroots: Everyday Life in China’s Era of High Socialism
― Maoism at the Grassroots: Everyday Life in China’s Era of High Socialism
“The moment I wished every sentence, everything I knew, that began with England would end with “and then it all died, we don’t know how, it just all died” was when I saw the white cliffs of Dover. I had sung hymns and recited poems that were about a longing to see the white cliffs of Dover again. At the time I sang the hymns and recited the poems, I could really long to see them again because I had never seen them at all, nor had anyone around me at the time. But there we were, groups of people longing for something we had never seen. And so there they were, the white cliffs, but they were not that pearly majestic thing I used to sing about, that thing that created such a feeling in these people that when they died in the place where I lived they had themselves buried facing a direction that would allow them to see the white cliffs of Dover when they were resurrected, as surely they would be. The white cliffs of Dover, when finally I saw them, were cliffs, but they were not white; you would only call them that if the word “white” meant something special to you; they were dirty and they were steep; they were so steep, the correct height from which all my views of England, starting with the map before me in my classroom and ending with the trip I had just taken, should jump and die and disappear forever.”
―
―
“I cut an orange from the branch so that I could taste Palestine, but Umm Hassan yelled, “No! It’s not for eating, it’s Palestine.” I was ashamed of myself and hung the branch on the wall of the sitting room in my house, and when you came to visit me and saw the mouldy fruit, you yelled, “What’s that smell?” And I told you the story and watched you explode in anger.
“You should have eaten the oranges,” you told me.
“But Umm Hassan stopped me and said they were from the homeland.”
“Umm Hassan’s senile,” you answered. “You should have eaten the oranges, because the homeland is something we have to eat, not let it eat us. We have to eat the oranges of Palestine, and we have to eat Palestine and Galilee.”
It came to me then that you were right, but the oranges were going bad. You went to the wall and pulled off the branch, and I took it from your hand and stood there confused, not knowing what to do with that bunch of decay.
“What are you going to do?” you asked.
“Bury it,” I said.
“Why bury it?” you asked.
“I’m not going to throw it away, because it’s from the homeland.”
You took the branch and threw it in the rubbish.
“What a scandal!” you said. “What are these old women’s superstitions? Before hanging the homeland up on the wall, it’d be better to knock down the wall and leave. We have to eat every orange in the world and not be afraid, because the homeland isn’t oranges. The homeland is us.”
― Gate of the Sun
“You should have eaten the oranges,” you told me.
“But Umm Hassan stopped me and said they were from the homeland.”
“Umm Hassan’s senile,” you answered. “You should have eaten the oranges, because the homeland is something we have to eat, not let it eat us. We have to eat the oranges of Palestine, and we have to eat Palestine and Galilee.”
It came to me then that you were right, but the oranges were going bad. You went to the wall and pulled off the branch, and I took it from your hand and stood there confused, not knowing what to do with that bunch of decay.
“What are you going to do?” you asked.
“Bury it,” I said.
“Why bury it?” you asked.
“I’m not going to throw it away, because it’s from the homeland.”
You took the branch and threw it in the rubbish.
“What a scandal!” you said. “What are these old women’s superstitions? Before hanging the homeland up on the wall, it’d be better to knock down the wall and leave. We have to eat every orange in the world and not be afraid, because the homeland isn’t oranges. The homeland is us.”
― Gate of the Sun
“There is the sailor sea and the commercial sea, the oil-well sea and the fishy sea. The sea that tests the land through sublunary power. The rise and fall of the harbour sea and the sea that exists to make maps look prettier. But the functional sea is not the final sea. There is that other sea simply itself.”
― Art and Lies
― Art and Lies
Comradeocean’s 2024 Year in Books
Take a look at Comradeocean’s Year in Books, including some fun facts about their reading.
Favorite Genres
Art, Biography, Chick-lit, Contemporary, Crime, Fantasy, Fiction, History, Memoir, Mystery, Philosophy, Romance, Science fiction, and Thriller
Polls voted on by Comradeocean
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