Zuberino

“...I am sitting on the wall of the castle, looking out over the city, the river, the dish of sea beyond. Oleander, frangipani, laurel, great elm trees. A girl is sitting nearby, writing. The word "goodbye" is drifting in the air around me and I can't seem to catch hold of it. This entire city is a goodbye. The fringe of Europe, the last shore of the first world, it is there that the corroded continent sinks into the sea, dissolves into the infinite mist which the ocean resembles today. This city does not belong to the present, it is earlier here because it is later. The banal has not yet arrived. Lisbon is reluctant. That must be the word, this city puts off the moment of parting, this is where Europe says goodbye to itself. Lethargic songs, gentle decay, great beauty. Memory, postponement of metamorphosis. Not one of those things would find its way into Dr Strabo's Travel Guide. I send the fools to the fado taverns, for their dose of processed saudade. Slauerhoff and Pessoa I keep to myself...”
― Cees Nooteboom, The Following Story

“The future we face in the Pacific may be dangerous, but I suspect it will be anything but dull.”
― Christopher J. Koch, Crossing the Gap: A Novelist's Essays

“To translate is never simple. To translate is to betray at the borders, it’s to cheat, it’s to trade one sentence for another. To translate is one of the only human activities in which one is required to lie about the details to convey the truth at large. To translate is to risk understanding better than others that the truth about a word is not single, but double, even triple, quadruple, or quintuple. To translate is to distance oneself from God’s truth, which, as everyone knows or believes, is single.”
― David Diop, At Night All Blood is Black

“Walls that had been attentively decorated with whatever was at hand; a home lined with plaster and a molding painted blue and red; little ornaments that hung on the walls, testifying to a loving care whose foundations had now been eradicated; traces of female-wisdom-hath-builded-her-house, paying close attention to myriad details whose time now had passed; an order intelligible to someone and a disorder in which somebody at his convenience had found his way; remnants of pots and pans that had been collected in a haphazard fashion, as need arose, touched by very private joys and woes that a stranger could not understand; tatters that made sense to someone who was used to them—a way of life whose meaning was lost, diligence that had reached its negation, and a great, very deep muteness had settled upon the love, the bustle, the bother, the hopes, and the good and less-good times, so many unburied corpses.

But we were already tired of seeing things like this, we had no more interest in such things.”
― S. Yizhar