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  1. 9
    It’s not me who shouts but the earth is rumbling
    Beware, beware because Satan has gone mad!
    Lurk in the pure bottom of the springs
    Hide behind the sparkling diamonds
    Mingle with the bugs under the stones
    Oh, hide yourself in freshly baked bread
    Poor, poor you!
    With fresh showers soak into the earth
    Bathing your face in yourself is vain
    Only in somebody else you can be washed.
    Be the tiny edge on a blade of grass
    You’ll be greater than the axis of the universe.
    Oh, machines, birds, leaves and stars!
    Our barren mother is begging for a child.
    My friend, my dear, beloved friend
    Whether it is horrible or splendid
    It’s not me who shouts but the earth is rumbling.
    Attila József, It’s Not Me Who Shouts (translated by Laszlo Foris)
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    1. 8

      “And we have only to glance again at the passage from Hemingway to find meanings for the word we haven’t yet examined. You may recall the peculiar formation: “Well, I went out of there and there were plenty of them with him…” This is the ‘and’ of consequence, in this case inverted so that it becomes an ‘and’ of tardy explanation, the ‘and’ of belated “because.” The narrator got out of there because the man he knifed had plenty of friends with him.

                          ’And’

      sometimes means “in company” or “together with,” as “the passengers and all their luggage were hurled from the plane.”

                          ‘And’

      sometimes means “we may call these things by the same name, but the differences among them are often important and profound,” as “there are doctors and doctors.” This use may be regarded as a particularly pronounced example of the differentiating, or “over against,” ‘and.’

                          ‘And’

      sometimes means “remember all the incidents, events, ideas, that came before, or just before, this,” as in the famous opening of Pound’s Cantos.

      […]

                          ‘And’

      is sometimes used in the spirit of “you might not believe, but…” and as if in answer to an unspoken question.”


      William H. Gass, from “‘And’”

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      1. 9
        "Sentimental Story/Poveste sentimentală" by Nichita Stănescu

        English translation (translated by Thomas Carlson and Vasile Poenari, provided by Romanian Voice)

        Then we met more often. 
        I stood at one side of the hour,
        you at the other,
        like two handles of an amphora. 
        Only the words flew between us,
        back and forth. 
        You could almost see their swirling,
        and suddenly,
        I would lower a knee,
        and touch my elbow to the ground
        to look at the grass, bent
        by the falling of some word,
        as though by the paw of a lion in flight. 
        The words spun between us,
        back and forth,
        and the more I loved you, the more
        they continued, this whirl almost seen,
        the structure of matter, the beginnings of things.

        Romanian original

        Pe urmă ne vedeam din ce în ce mai des. 
        Eu stăteam la o margine-a orei,
        tu - la cealaltă,
        ca două toarte de amforă. 
        Numai cuvintele zburau intre noi,
        înainte şi înapoi. 
        Vârtejul lor putea fi aproape zărit,
        şi deodată,
        îmi lăsam un genunchi,
        iar cotul mi-infigeam în pământ,
        numai ca să privesc iarba-nclinată
        de caderea vreunui cuvânt,
        ca pe sub laba unui leu alergând. 
        Cuvintele se roteau, se roteau între noi,
        înainte şi înapoi,
        şi cu cât te iubeam mai mult, cu atât
        repetau, într-un vârtej aproape văzut,
        structura materiei, de la-nceput. 

        What is lost in the translation of this poem is that even though the metaphor of words swirling between people and flying and being light like air is easily understood in English, in Romanian it’s actually a play on words. “Cuvânt” is the Romanian word for the noun “word,” but a cleverly inserted space — “cu vânt” — makes it mean “with wind.” So in Romanian, words inherently carry wind with them, propelling them between people.

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        1. 7
          Camera Sony Ericsson K770i
          ISO 100
          Aperture f/2.52
          Exposure 1/640th
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          1. 14

            Winners of the 2013 Best Translated Book Award.

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            1. 67

              “He had become the dandy of the unpredictable.”

              This is the gorgeous cover for one of our newest Oxford World’s Classics, French Decadent Tales, a unique anthology of 36 of the best decadent tales from the French fin-de-siècle, translated and edited by Stephen Romer. It includes well-known writers such as Maupassant, Lorrain, Mirbeau, and Villiers as well as lesser-known figures such as Léon Bloy, Jean Richepin, and the Belgian Georges Rodenbach.

              You can find out more about the OWCs on Facebook and Twitter.

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              1. 88

                “The history of literature is, of course, strewn with the neglected, the misunderstood, the forgotten, the never fully realized, and minor figures more influential than renowned. If one were to draw a Venn diagram comprised of each of these categories, Marcel Schwob, along with a handful of others, would be at the heart of their intersections. But how, one despairs, can a man praised so highly during his own life fall completely by the wayside posthumously, as if it was his vitality alone that kept him from obscurity?”

                I have an essay on Marcel Schwob and an interview with his translator Kit Schluter up at 3:AM Magazine

                (via writersnoonereads)

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                1. 6

                  endlessquestion:

                  Johan Christian Clausen - View of Dresden at Full Moon

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                  1. 62
                    Camera Canon PowerShot G7
                    Aperture f/7.1
                    Exposure 1"
                    Focal Length 35mm

                    The painting Portrait of a Carthusian sports a trompe l’oeil fly in its lower right-hand corner.

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                    1. 10
                      Every parent had to give me a declaration relinquishing all rights on the son that I took on as a student. ‘If you do your homework well, you’ll see your mother in three days and a special treat.’ Then I’d enjoy watching them. All of them bent over their notebooks writing so carefully! … Then I’d slit their throats one after the other… I’d bury them myself in the school garden in the lettuce and the cabbage. At night I’d take my walk over them, reading Rousseau’s ‘Émile.’ They’d be breathing there under my feet, those fresh mouths! On certain scorching August nights, I’d be surrounded by so many will-o’-the-wisps! What fun! I’d kick their souls around! Those were the days! So civilized!
                      Filippo Tommaso Marinetti, The Untameables
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