Lay your sleeping head, my love,
Human on my faithless arm;
Time and fevers burn away
Individual beauty from
Thoughtful children, and the grave
Proves the child ephemeral:
But in my arms til break of day
Let the living creature life,
Mortal, guilty, but to me
The entirely beauty.
That fade behind a city block,
Or trampled by insistent feet
At four and five and six o'clock;
And short square fingers stuffing pipes,
And evening newspapers, and eyes
Assured of certain certainties,
The conscience of a blackened street
Impatient to assume the world.
I am moved by fancies that are curled
Around these images, and cling:
The notion of some infinitely gentle
Infinitely suffering thing. - T. S. Eliot Ask
how he kissed me under the Moorish wall and I thought well as well him as another and then I asked him with my eyes to ask again yes and then he asked me would I yes to say yes my mountain flower and first I put my arms around him yes and drew him down to me so he could feel my breasts all perfume yes and his heart was going like mad and yes I said yes I will Yes.
The rain that had been gently pouring till now suddenly turned into a veritable deluge, like a river breaking Iver a dam, drowning the already choking fields, the lowest lying of which were riddled with serpentine channels, and though it was impossible to see anything through the glass he did not turn away but stared at the worm-eaten wooden frame from which the putty had dropped out, when suddenly a vague form appeared at the window, one that eventually could be added out to be a human face, though he couldn’t tell at first whose it was, until he succeeded in picking out a pair of startled eyes, at which point he saw “his own careworn features’ and recognized them with a shock like a stab of ain since he felt what the rain was doing to his face was exactly what time would do. It would wash it away. There was in that reflection something enormous and alien, a kind of emptiness radiating from it, moving toward him, compounded of layers of shame, pride, and fear.
She waited till my eyes fell, then walked. My knees felt frozen to the ground. I looked through the slots in the parapet. The black river was sliding toward me, bringing who knew how many hardworking days, who knew which desires, which regrets.
The Tale of the Spinster. Emma Donoghue
“God, why have you created me so eternally dissatisfied? So frightened, so bitter? Why must I realize how wretched I am? Why must I suffer so hellishly for my insignificance? If there is a purpose to my suffering, then tell me, so I can bear my pain without complaint. I’m strong. You made me so very strong in both body and soul, but you never give me a task worthy of my strength. Give my life meaning, and I’ll be your obedient slave.”
“To me, I have to say this from the beginning, the close-up, the correctly illuminated, directed and acted close-up of an actor is and remains the height of cinematography. There is nothing better. That incredibly strange and mysterious contact you can suddenly experience with another soul through an actor’s gaze. A sudden thought, blood that drains away or blood that pumps into the face, the trembling nostrils, the suddenly shiny complexion or mute silence, that is to me some of the most incredible and fascinating moments you will ever experience.” (1964)
“I would like once in my life to make a 120-minute picture with just one close-up. I think it’s impossible, but I would love to do it once. To have the right actor and to have the talent to accomplish this. It would be the most fascinating experience of all, just to look with the camera. I am a voyeur. To look at somebody, to find out how the skin changes, the eyes, how all those muscles change the whole time–the lips–to me it’s always a drama.” (1980)
– Ingmar Bergman
He gazed sadly at the threatening sky, at the burned-out remnants of a locust-plagued summer, and suddenly saw on the twig of an acacia, as in a vision, the progress of spring, summer, fall and winter, as if the whole of time were a frivolous interlude in the much greater spaces of eternity, a brilliant conjuring trick to produce something apparently orderly out of chaos, to establish a vantage point from which chance might begin to look like necessity… And he saw himself nailed to the cross of his own cradle and coffin, painfully trying to tear his body away, only, eventually, to deliver himself - utterly naked, without identifying mark, stripped down to essentials - into the care of the people whose duty it was to wash the corpses, people obeying an order snapped out in the dry air against a background loud with torturers and flayers of skin, where he was obliged to regard the human condition without a trace of pity, without a single possibility of any way back to life, because by then he would know for certain that all his life he had been playing with cheaters who had marked the cards and who would, in the end, strip him even of his last means of defense, of that hope of someday finding his way back home.
Ông đứng làm chi đó hỡi ông?
Trơ trơ như đá, vững như đồng.
Đêm ngày gìn giữ cho ai đó?
Non nước đầy vơi có biết không.
“In my place, most parents would hope the whole thing goes away, or pray that their sons land on their feet, but I am not such a parent. We rip out so much of ourselves to be cured of things faster, that we go bankrupt by the age of 30 and have less to offer each time we start with someone new. But to make yourself feel nothing so as not to feel anything, what a waste!…How you live your life is your business. Just remember, our hearts and our bodies are given to us, only once. And before you know it, your heart’s worn out and as for your body, there comes a point when no one looks at it, much less wants to come near it. Right now, there is sorrow, pain. Don’t kill it, and with it the joy you’ve felt.”— Call Me By Your Name (2017), screenplay by James Ivory, adapted from the novel by Andre Aciman

Who can fathom the depths of another man’s heart? How can those who were never in need of food or clothing understand their misery? What if you...
- The Tale of the Apple (1997)
Emma Donoghue
The maid who brought me up told me that my mother was restless. She said I had my mother’s eyes, always...


▶“I like stories where women save themselves.”
― Neil Gaiman, The Sleeper and the Spindleig: amyyreadz

Solid Advice on a Prospective Spouse

#this supportive girlfriend



