The Cathedral, Auguste Rodin (1840 -1917)

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The Cathedral, Auguste Rodin (1840 -1917)

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âAnd now I know what most deeply connects us after that summer so many years ago, and it isnât poetry, although it is poetryâ
â Jason Shinder, from âCoda,â The American Poetry Review (November / December 2008)
Franz Kafka, Letters to Milena
From Jeanette Winterson's recent substack article
Marcel Proust, Swannâs Way

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âThe centrifugal force of our planet is still fearfully strongâŚI have a longing for life, and I go on living in spite of logic. Though I may not believe in the order of the universe; yet I love the sticky little leaves as they open in spring. I love the blue sky. I love some people, whom one loves, you know, sometimes without knowing why. I love some great deeds done by men, though Iâve long ceased perhaps to have faith in them, yet from old habit oneâs heart prizes them.â
- Fyodor Dostoevsky, The Brothers Karamazov
a friend suggested i read âthe task of the translatorâ by walter benjamin when i asked her if she could recommend texts in translation sciences⌠itâs so fascinating! iâm reading a pdf, look at this part:
Pannwitz writes: âOur translations, even the best ones, proceed from a mistaken premise. They want to turn Hindi, Greek, English into German instead of turning German into Hindi, Greek, English. Our translators have a far greater reverence for the usage of their own language than for the spirit of the foreign works âŚ. The basic error of the translator is that he preserves the state in which his own language happens to be instead of allowing his language to be powerfully affected by the foreign tongue. Particularly when translating from a language very remote from his own, he must go back to the primal elements of language itself and penetrate to the point where work, image, and tone converge. He must expand and deepen his language by means of the foreign language. It is not generally realized to what extent this is possible, to what extent any language can be transformed, how language differs from language almost the way dialect differs from dialect. However, this last is true only if one takes language seriously enough, not if one takes it lightly.â
âSheâs all emotion: heart and womb, tears and blood, a voice that sometimes rises to hysteria, sometimes sinks to a melancholy whine, but isnât often enough detached, self-critical (in a genuine sense: she is of course self-pitying and self-contemptuous, self-despising).â
â Joyce Carol Oates, from a journal entry, on Anne Sextonâs letters (via violentwavesofemotion)
âLike most people, I suppose, Iâve lived almost entirely among delusions, and now Iâm at the awkward stage of finding it out. I want another delusion to go on with.â
â Virginia Woolf, Night and Day
Pier Paolo Pasolini, from The Selected Poetry of Pier Paolo Pasolini; âGramsciâs Ashesâ
Text ID: Itâs not May that brings this impure air, / makes the darkness [...] darker still,

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A Loverâs Discourse: Fragments, Roland Barthes
âYou notice it first as April ends and May begins, a change in the season, not exactly a warmingâin fact not at all a warmingâyet suddenly summer seems near, a possibility, even a promise. You pass a window, you walk to Central Park, you find yourself swimming in the colour blue: the actual light is blue, and over the course of an hour or so this blue deepens, becomes more intense even as it darkens and fades, approximates finally the blue of the glass on a clear day at Chartres, or that of the Cerenkov radiation thrown off by the fuel rods in the pools of nuclear reactors. The French called this time of day âlâheure bleue.â To the English it was âthe gloaming.â The very word âgloamingâ reverberates, echoesâ the gloaming, the glimmer, the glitter, the glisten, the glamourâcarrying in its consonants the images of houses shuttering, gardens darkening, grass-lined rivers slipping through the shadows.â
â Joan Didion, Blue Nights
rainer maria rilke, letters to a young poet
âeach spring will be a sword youâll sharpen,â
â Anne Sexton, from âCourageâ
âThe number of hours we have together is actually not so large. Please linger near the door uncomfortably instead of just leaving. Please forget your scarf in my life and come back later for it.â
â Mikko Harvey, from âFor M,â Foundry (no. 9, September 2018)

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Jacques Derrida from âRoland Barthesâ in Works of Mourning edited by Pascale-Anne Brault and Michael Naas
Forugh Farrokhzad, from a letter to Ebrahim Golestan featured in Sin: Selected Poems of Forugh Farrokhzad