Monday, October 29, 2012

I told you that you looked alive.

X's voice: You were alone, apart. You were leaning at a slight angle against a stone balustrade on which your hand was resting, your arm half extended...

The voice stops. A is not in the position indicated by the text being spoken: she is standing, as a matter of fact, quite close to the balustrade, perfectly vertical in relation to it (that is, staring straight ahead over the rail, perpendicular to the latter), and seen from behind in a three-quarters view in relation to the camera. She then corrects her position: she moves a little away from the balustrade, turns slightly to one side, extends one arm to rest her hand on the stone (whereas she had had both arms alongside her body) and stares toward the central path; she is then seen exactly from behind in relation to the camera.


text by Alain Robbe-Grillet for the film by Alain Resnais

Sunday, October 28, 2012

ain't got

circle circle circle dot you can't give what you ain't got

k dalton

Friday, October 19, 2012

a ball

The exemplary fact remains--a ball
The thing that rises and abjectly falls,
The unpredictable, adroit rhythm of it all.

"In Baseball" Baron Wormser

Thursday, October 18, 2012

nothing in it but my hand

You are my friend--
you bring me peaches
and the high bush cranberry
                   
                   you carry

my fishpole
you water my worms
you patch my boot
with your mending kit

                  nothing in it

but my hand


Lorine Niedecker

Wednesday, October 10, 2012

wild abundance

The body is the cause of love;
after that, the fortress that protects it;
after that, love's prison.
But when the body dies, love is set free
in wild abundance,
like a slot machine that breaks down
and with a furious ringing pours out all at once
all the coins of
all the generations of luck.

Yehuda Amichai, trans. Chana Bloch and Stephen Mitchell

Monday, October 8, 2012