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En el contexto bíblico, Absalom ("Padre de la paz") fue el tercer hijo del rey David; asesinó a su hermano Amnón y consp...
30/07/2019

En el contexto bíblico, Absalom ("Padre de la paz") fue el tercer hijo del rey David; asesinó a su hermano Amnón y conspiró contra su padre, quien huyó de Jerusalén; fue ahorcado en un roble por Joab, David lloró su muerte... y en 1936 William Faulkner decidió titular "Absalom, Absalom!" la novela con esta admirable sentencia de 1,288 palabras:

"Just exactly like Father if Father had known as much about it the night before I went out there as he did the day after I came back thinking Mad impotent old man who realized at last that there must be some limit even to the capabilities of a demon for doing harm, who must have seen his situation as that of the show girl, the pony, who realizes that the principal tune she prances to comes not from horn and fiddle and drum but from a clock and calendar, must have seen himself as the old wornout cannon which realizes that it can deliver just one more fierce shot and crumble to dust in its own furious blast and recoil, who looked about upon the scene which was still within his scope and compass and saw son gone, vanished, more insuperable to him now than if the son were dead since now (if the son still lived) his name would be different and those to call him by it strangers and whatever dragon’s outcropping of Sutpen blood the son might sow on the body of whatever strange woman would therefore carry on the tradition, accomplish the hereditary evil and harm under another name and upon and among people who will never have heard the right one; daughter doomed to spinsterhood who had chosen spinsterhood already before there was anyone named Charles Bon since the aunt who came to succor her in bereavement and sorrow found neither but instead that calm absolutely impenetrable face between a homespun dress and sunbonnet seen before a closed door and again in a cloudy swirl of chickens while Jones was building the coffin and which she wore during the next year while the aunt lived there and the three women wove their own garments and raised their own food and cut the wood they cooked it with (excusing what help they had from Jones who lived with his granddaughter in the abandoned fishing camp with its collapsing roof and rotting porch against which the rusty scythe which Sutpen was to lend him, make him borrow to cut away the weeds from the door-and at last forced him to use though not to cut weeds, at least not vegetable weeds -would lean for two years) and wore still after the aunt’s indignation had swept her back to town to live on stolen garden truck and out o f anonymous baskets left on her front steps at night, the three of them, the two daughters negro and white and the aunt twelve miles away watching from her distance as the two daughters watched from theirs the old demon, the ancient varicose and despairing Faustus fling his final main now with the Creditor’s hand already on his shoulder, running his little country store now for his bread and meat, haggling tediously over nickels and dimes with rapacious and poverty-stricken whites and negroes, who at one time could have galloped for ten miles in any direction without crossing his own boundary, using out of his meagre stock the cheap ribbons and beads and the stale violently-colored candy with which even an old man can seduce a fifteen-year-old country girl, to ruin the granddaughter o f his partner, this Jones-this gangling malaria-ridden white man whom he had given permission fourteen years ago to squat in the abandoned fishing camp with the year-old grandchild-Jones, partner porter and clerk who at the demon’s command removed with his own hand (and maybe delivered too) from the showcase the candy beads and ribbons, measured the very cloth from which Judith (who had not been bereaved and did not mourn) helped the granddaughter to fashion a dress to walk past the lounging men in, the side-looking and the tongues, until her increasing belly taught her embarrassment-or perhaps fear;-Jones who before ’61 had not even been allowed to approach the front of the house and who during the next four years got no nearer than the kitchen door and that only when he brought the game and fish and vegetables on which the seducer-to-be’s wife and daughter (and Clytie too, the one remaining servant, negro, the one who would forbid him to pass the kitchen door with what he brought) depended on to keep life in them, but who now entered the house itself on the (quite frequent now) afternoons when the demon would suddenly curse the store empty of customers and lock the door and repair to the rear and in the same tone in which he used to address his orderly or even his house servants when he had them (and in which he doubtless ordered Jones to fetch from the showcase the ribbons and beads and candy) direct Jones to fetch the jug, the two of them (and Jones even sitting now who in the old days, the old dead Sunday afternoons of monotonous peace which they spent beneath the scuppernong arbor in the back yard, the demon lying in the hammock while Jones squatted against a post, rising from time to time to pour for the demon from the demijohn and the bucket of spring water which he had fetched from the spring more than a mile away then squatting again, chortling and chuckling and saying `Sho, Mister Tawm’ each time the demon paused)-the two of them drinking turn and turn about from the jug and the demon not lying down now nor even sitting but reaching after the third or second drink that old man’s state of impotent and furious undefeat in which he would rise, swaying and plunging and shouting for his horse and pistols to ride single-handed into Washington and shoot Lincoln (a year or so too late here) and Sherman both, shouting, ‘Kill them! Shoot them down like the dogs they are!’ and Jones: ‘Sho, Kernel; sho now’ and catching him as he fell and commandeering the first passing wagon to take him to the house and carry him up the front steps and through the paintless formal door beneath its fanlight imported pane by pane from Europe which Judith held open for him to enter with no change, no alteration in that calm frozen face which she had worn for four years now, and on up the stairs and into the bedroom and put him to bed like a baby and then lie down himself on the floor beside the bed though not to sleep since before dawn the man on the bed would stir and groan and Jones would say, ‘flyer I am, Kernel. Hit’s all right. They aint whupped us yit, air they?’ this Jones who after the demon rode away with the regiment when the granddaughter was only eight years old would tell people that he ‘was lookin after Major’s place and niggers’ even before they had time to ask him why he was not with the troops and perhaps in time came to believe the lie himself, who was among the first to greet the demon when he returned, to meet him at the gate and say, ‘Well, Kernel, they kilt us but they aint whupped us yit, air they?’ who even worked, labored, sweat at the demon’s behest during that first furious period while the demon believed he could restore by sheer indomitable willing the Sutpen’s Hundred which he remembered and had lost, labored with no hope of pay or reward who must have seen long before the demon did (or would admit it) that the task was hopeless-blind Jones who apparently saw still in that furious lecherous wreck the old fine figure of the man who once galloped on the black thoroughbred about that domain two boundaries of which the eye could not see from any point."

– I never knew that I could feel this way until the day that we met. I didn't think that I was capable, that there would...
30/10/2018

– I never knew that I could feel this way until the day that we met. I didn't think that I was capable, that there would be someone that I would care for more than my own life... that her happiness would be more important than anything else. And then, then a terrifying thought occurred to me that perhaps my feelings were a trick. The self-deception of a vain man: that the only reason why I love you is because of the way I see my reflection in your eyes... That thought, it fills me with dread. The fear that, that I don't deserve you. And that I am broken.
– Don't you understand we're all broken?... The point is to find the person whose broken pieces fit with yours.
(Wilson Fisk & Vanessa Marianna / Daredevil S3:E13)

OCTAVIO PAZ (1914-1998... 2018) Creció en mi frente un árbol. / Creció hacia dentro. / Sus raíces son venas, / nervios s...
20/04/2018

OCTAVIO PAZ (1914-1998... 2018)

Creció en mi frente un árbol. / Creció hacia dentro. / Sus raíces son venas, / nervios sus ramas, / sus confusos follajes pensamientos. / Tus miradas lo encienden / y sus frutos de sombras / son naranjas de sangre, / son granadas de lumbre. / Amanece / en la noche del cuerpo. / Allá adentro, en mi frente, / el árbol habla. / Acércate, ¿lo oyes? - ÁRBOL ADENTRO (1987).

Profesor de generaciones, conversador pausado e inteligente, fino creador y traductor minucioso, cinéfilo cautivo, lecto...
12/04/2018

Profesor de generaciones, conversador pausado e inteligente, fino creador y traductor minucioso, cinéfilo cautivo, lector irredento... El maestro Sergio Pitol finalmente descansa.

“The Road Not Taken” de Robert Frost, publicado originalmente hace casi 103 años en las páginas de The Atlantic, en esta...
23/03/2018

“The Road Not Taken” de Robert Frost, publicado originalmente hace casi 103 años en las páginas de The Atlantic, en esta excelente animación.

Robert Frost’s 'The Road Not Taken,' originally published in The Atlantic in 1915, is animated in a new video.

Transmisión en vivo desde la 1:10 pm (Ciudad de México).
23/03/2018

Transmisión en vivo desde la 1:10 pm (Ciudad de México).

With Angela Meade, Michelle DeYoung, Michael Schade, Markus Werba, Christof Fischesser, and others – Rotterdam Philharmonic Orchestra

URSULA K. LE GUIN (1929-2018)ESCRITORES, ESPÍRITU, CREACIÓN, FANTASÍA, MISOGINIA.El escritor es una persona que se preoc...
24/01/2018

URSULA K. LE GUIN (1929-2018)

ESCRITORES, ESPÍRITU, CREACIÓN, FANTASÍA, MISOGINIA.
El escritor es una persona que se preocupa por lo que significan las palabras, lo que dicen, cómo lo dicen. Los escritores saben que las palabras son su camino hacia la verdad y la libertad, así que las usan con cuidado, con pensamiento, con miedo, con deleite. Al utilizar bien las palabras fortalecen sus almas. Los narradores y poetas pasan su vida aprendiendo esa habilidad, ese arte de usar bien las palabras. Y sus palabras hacen que las almas de sus lectores sean más fuertes, brillantes, profundas. Todos los creadores deben dejar espacio para los actos del espíritu. Pero tienen que trabajar duro, cuidadosamente, y esperar con paciencia para merecerlos.
Mientras lees un libro palabra a palabra y página por página, participas en su creación, igual que el chelista que toca una suite de Bach participa, nota a nota, en la creación, el surgimiento, la existencia de la música. Y mientras lees, y relees, por supuesto que el libro participa en la creación de ti, de tus pensamientos y sentimientos, en el tamaño y temperamento de tu alma... Leemos libros para descubrir quiénes somos. Lo que otras personas, reales o imaginarias hacen y piensan y sienten, es una guía esencial para nuestra comprensión de lo que nosotros mismos somos y podemos llegar a ser.
La fantasía no es antirracional sino pararracional, no realista sino surrealista, un incremento de la realidad. En la terminología de Freud, emplea el proceso de pensamiento primario, no secundario. Emplea arquetipos, los cuales como Jung nos advierte, son cosas peligrosas. La fantasía está más cerca de la poesía, el misticismo y la locura, que la ficción naturalista. Es un desierto, y aquellos que se adentran no deberían sentirse tan seguros.
La misoginia que moldea todos los aspectos de nuestra civilización es la forma institucionalizada de miedo y odio masculino a lo que han negado y, por lo tanto, no pueden conocer, no pueden compartir: ese país salvaje, el ser de las mujeres. –

NICANOR PARRA (1914-2018)De estatura mediana,Con una voz ni delgada ni gruesa,Hijo mayor de un profesor primarioY de una...
23/01/2018

NICANOR PARRA (1914-2018)

De estatura mediana,
Con una voz ni delgada ni gruesa,
Hijo mayor de un profesor primario
Y de una modista de trastienda;
Flaco de nacimiento
Aunque devoto de la buena mesa;
De mejillas escuálidas
Y de más bien abundantes orejas;
Con un rostro cuadrado
En que los ojos se abren apenas
Y una nariz de boxeador mulato
Baja a la boca del ídolo azteca
–Todo esto bañado
Por una luz entre irónica y pérfida–
Ni muy listo ni tonto de remate
Fuí lo que fuí: una mezcla
De vinagre y de aceite de comer
¡Un embutido de ángel y bestia!

–"Epitafio" (en Poemas y Antipoemas, Editorial Nascimento, 1954)

Pianista, cantante, director y uno de los máximos intérpretes del repertorio operático, José Plácido Domingo Embil llega...
22/01/2018

Pianista, cantante, director y uno de los máximos intérpretes del repertorio operático, José Plácido Domingo Embil llega a los 77 años como artista universal. Aquí el 7 de Julio 1990 en los baños romanos de Caracalla, con la Orquesta Maggio Musicale Fiorentino y Zubin Mehta a la batuta... quien antes de comenzar verifica que las estrellas estén brillando. –

The Three Tenors is a name given to the Spanish singers Plácido Domingo and José Carreras and the Italian singer Luciano Pavarotti who sang in concert under ...

Desde el Grand Théâtre de Bordeaux: Duparc, Gounod, Fauré en la primera parte. Y después un paseo por el gran repertorio...
18/01/2018

Desde el Grand Théâtre de Bordeaux: Duparc, Gounod, Fauré en la primera parte. Y después un paseo por el gran repertorio operístico francés, con arias de Manon, Werther, Roméo et Juliette, Carmen, Les Contes d’Hoffmann... con la voz extraordinaria de Benjamin Bernheim.

Tenor and piano recital at the Opéra National de Bordeaux

"O dark dark dark. They all go into the dark... / The captains, merchant bankers, eminent men of letters, / The generous...
16/01/2018

"O dark dark dark. They all go into the dark... / The captains, merchant bankers, eminent men of letters, / The generous patrons of art, the statesmen and the rulers, / Distinguished civil servants, chairmen of many committees, / Industrial lords and petty contractors, all go into the dark... / ...And we all go with them, into the silent funeral, / Nobody's funeral, for there is no one to bury. / I said to my soul, be still, and let the dark come upon you / Which shall be the darkness of God... / ... as, when an underground train, in the tube, stops too long between stations / And the conversation rises and slowly fades into silence / And you see behind every face the mental emptiness deepen / Leaving only the growing terror of nothing to think about; / ...I said to my soul, be still, and wait without hope / For hope would be hope for the wrong thing; wait without love, / For love would be love of the wrong thing; there is yet faith / But the faith and the love and the hope are all in the waiting. / Wait without thought, for you are not ready for thought: / So the darkness shall be the light, and the stillness the dancing... / The laughter in the garden, echoed ecstasy / Not lost, but requiring, pointing to the agony / Of death and birth." –T.S. Eliot (East Coker III, 1940.)

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