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Just because evil liars
Stand between us and the gods
And block our view of them
Does not mean that the bright halo
That surrounds each liar
Is not the outer edges of a god, waiting
For us to find our way around the lie.
Children of the Mind
Nights Like This.

Nights like this, I love. The wild wind and near-warmth on my skin makes it seem the whole world is teasing, creating and building this climax, this storm to be unleashed. It hangs on that edge, always building, never relenting, pushing ever farther but so slowly you think everything is standing still, waiting, the eternal now that is the space between the inhale and the exhale, the pause in your cells in between heartbeats, everything in being waiting, empty, still. Nights like this, the entire fabric of the world is waiting, too, on the same ragged breath of the wind, the same beat of the crashing waves. The world is one, waiting on the same storm.

And I wait, too, myself. Wait for the storm, wait for the break, the crumbling of walls and no longer being one singular but with others, with another.

She wanted to be herself again, to recover all that she had been obliged to give up in half a century of servitude that had doubtless made her happy but which, once her husband was dead, did not leave her even the vestiges of her identity.
Gabriel Garcia Marquez, Love in the Time of Cholera.
Around the time they were preparing Jose Arcadio for the seminary she had already made a detailed recapitulation of life in the house since the founding of Macondo and had completely changed the opinion that she had always had of its descendants. She realized that Colonel Aureliano Buendia had not lost his love for the family because he had been hardened by the war, as she had thought before, but that he had never loved anyone… Amaranta, however, whose hardness of heart frightened her, whose concentrated bitterness made her bitter, suddenly became clear to her in the final analysis as the most tender woman who had ever existed, and she understood with pitying clarity that the unjust tortures to which she had submitted Pietro Crespi had not been dictated by a desire for vengeance, as everyone had thought, nor had the slow martyrdom with which she had frustrated the life of Colonel Gerineldo Marquez been determined by the gall of her bitterness, as everyone had thought, but that both actions had been a mortal struggle between a measureless love and an invincible cowardice, and that the irrational fear that Amaranta had always had of her own tormented heart had triumphed in the end. It was during that time that Ursula began to speak Rebeca’s name, bringing back the memory of her with an old love that was exalted by tardy repentance and a sudden admiration, coming to understand that only she, Rebeca , the one who had never fed of her milk but only of the earth of the land and the whiteness of the walls… Rebeca, the one with an impatient heart, the one with a fierce womb, was the only one who had the unbridled courage that Ursula had wanted for her line.
Gabriel Garcia Marquez, One Hundred Years of Solitude.
On rainy afternoons, embroidering with a group of friends on the begonia porch, she would lose the thread of the conversation and a tear of nostalgia would salt her palate when she saw the strips of damp earth and the piles of mud that the earthworms had pushed up in the garden. Those secret tastes, defeated in the past by oranges and rhubarb, broke out into an irrepressible urge when she began to weep. She went back to eating earth. The first time she did it almost out of curiosity, sure that the bad taste would be the best cure for the temptation. And, in fact, she could not bear the earth in her mouth. But she persevered, overcome by the growing anxiety, and little by little she was getting back her ancestral appetite, the taste of primary minerals, the unbridled satisfaction of what was the original food. She would put handfuls of earth in her pockets, and ate them in small bits without being seen, with a confused feeling of pleasure and rage, as she instructed her girl friends in the most difficult needlepoint and spoke about other men, who did not deserve the sacrifice of having one eat the whitewash on the walls because of them. The handfuls of earth made the only man who deserved that show of degradation less remote and more certain, as if the ground that he walked on with his fine patent leather boots in another part of the world were transmitting to her the weight and the temperature of his blood in a mineral savor that left a harsh aftertaste in her mouth and a sediment of peace in her heart.
Gabriel Garcia Marquez, One Hundred Years of Solitude.
You cannot make art when you are trying to make art. Art is expression; it is not intention.

You cannot make art when you are trying to make art. Art is expression; it is not intention.

It is amazing to watch powerful, exciting, forward-straining art in the midst of the beauty of what came before.

It is amazing to watch powerful, exciting, forward-straining art in the midst of the beauty of what came before.

Mixed/metaphor.

Mixed/metaphor.

This is my mama (’s camera).

This is my mama (’s camera).

Sometimes, mama’s hangover is so bad, it requires frozen pizza and Coke.

Sometimes, mama’s hangover is so bad, it requires frozen pizza and Coke.