And when I choose my color, it will be razzle dazzle rose...
"Leaving is not enough. You must stay gone. Train your heart like a dog. Change the locks even on the house he’s never visited. You lucky, lucky girl. You have an apartment just your size. A bathtub full of tea. A heart the size of Arizona, but not nearly so arid. Don’t wish away your cracked past, your crooked toes, your problems are papier mache puppets you made or bought because the vendor at the market was so compelling you just had to have them. You had to have him. And you did. And now you pull down the bridge between your houses, you make him call before he visits, you take a lover for granted, you take a lover who looks at you like maybe you are magic. Make the first bottle you consume in this place a relic. Place it on whatever altar you fashion with a knife and five cranberries. Don’t lose too much weight. Stupid girls are always trying to disappear as revenge. And you are not stupid. You loved a man with more hands than a parade of beggars, and here you stand. Heart like a four-poster bed. Heart like a canvas. Heart leaking something so strong they can smell it in the street."
- “Frida Kahlo to Marty McConnell”, by Marty McConnell (via notarobotbutaghost)
"In the kitchen Maria washed the dishes, conscious of one less dish to put away, one less cup. When she returned them to the pantry, Bandini’s heavy battered cup, larger and clumsier than the others, seemed to convey an injured pride that it had remained unused throughout the meal. In the drawer where she kept the cutlery Bandini’s knife, his favorite, the sharpest and most vicious table knife in the set, glistened in the light.
The house lost its identity now. A loose shingle whispered caustically to the wind; the electric light wires rubbed the gabled back porch, sneering. The world of inanimate things found voice, conversed with the old house, and the house chattered with cronish delight of the discontent within its walls. The boards under her feet squealed their miserable pleasure.
Bandini would not be home tonight.”
-John Fante, Wait Until Spring, Bandini
"I remember a cool river beach and a May night full of rain held in far clouds, moonly sparks saying on the water and the close, dank, heavy wetness of green vegetation. The water was cold to my bare feet, and the mud oozed up between my toes. He ran on the sand, and I ran after him, my hair long and damp, blowing free across my mouth. I could feel the inevitable magnetic polar forces in us, and the tidal blood beat loud, loud, roaring in my ears, slowing and rhythmic. He paused then, I behind him, arms locked around the powerful ribs, fingers caressing him. To lie, with him, to lie with him, burning forgetful in the delicious animal fire. Locked first upright, thighs ground together, shuddering mouth to mouth, breast to breast, legs enmeshed, then lying full length, with the good heavy weight of body upon body, arching, undulating, blind, growing together, force fighting force: To kill? To drive into burning dark of oblivion? To lose identity? Not love, this, quite. But something else rather. A refined hedonism. Hedonism because of the blind sucking mouthing fingering quest for physical gratification. Refined because of the desire to stimulate another in return, not being quite only concerned for self alone, but mostly so. An easy end to arguments on the mouth: a warm meeting of mouths, tongues quivering, licking, tasting. An easy substitute for bad slashing with angry hating teeth and nails and voice: the curious musical tempo of hands lifting under breasts, caressing throat, shoulders, knees, thighs. And giving up to the corrosive black whirlpool of mutual necessary destruction. Once there is the first kiss, then the cycle becomes inevitable. Training, conditioning makes a hunger burn in breasts and secrete fluid in vagina, driving madly for destruction. What is it but destruction? Some mystic desire to beat to sensual annihilation — to snuff out one’s identity on the identity of the other — a mingling and mangling of identities? A death of one? Or both? A devouring and subordination? No, no. A polarization rather — a balance of two integrities, charging, electrically, one with the other, yet with centers of coolness, like stars." (Northampton, Massachusetts, early 1950s)
This can take the form of gifts, lovely food, publicity or advance warning.
Tyler Clark Burke (I think).
Funny these should come in today.
(y sí, a ella también le pasa.)
I asked the zebra,
Are you black with white stripes?
Or white with black stripes?
And the zebra asked me,
Are you good with bad habits?
Or are you bad with good habits?
Are you noisy with quiet times?
Or are you quiet with noisy times?
Are you happy with some sad days?
Or are you sad with some happy days?
Are you neat with some sloppy ways?
Or are you sloppy with some neat ways?
And on and on and on and on
And on and on he went.
I’ll never ask a zebra
- Shel Silvertein
"The postmodern reply to the modern consists of recognizing that the past, since it cannot really be destroyed, because its destruction leads to silence, must be revisited: but with irony, not innocently. I think of the postmodern attitude as that of a man who loves a very cultivated woman and knows that he cannot say to her I love you madly , because he knows that she knows (and that she knows he knows) that these words have already been written by Barbara Cartland. Still, there is a solution. He can say As Barbara Cartland would put it, I love you madly . At this point, having avoided false innocence, having said clearly that it is no longer possible to speak innocently, he will nevertheless have said what he wanted to say to the woman: that he loves her in an age of lost innocence. If the woman goes along with this, she will have received a declaration of love all the same. Neither of the two speakers will feel innocent, both will have accepted the challenge of the past, of the already said, which cannot be eliminated; both will consciously and with pleasure play the game of irony But both will have succeeded, once again, in speaking of love." - Umberto Eco