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"What you need to do is harness the self-love you are hypostatizing as offspring, as the next generation of you, and let it branch out horizontally into the possibility of a transpersonal revolutionary subject in the present and co-construct a world in which moments can be something other than the elements of profit."

— Ben Lerner, from 10:04.

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"I was disturbed by the contradiction between my avowed political materialism and my inexperience with this brand of making, of poiesis, but I could dodge or dampen that contradiction via my hatred of Brooklyn’s boutique biopolitics, in which spending obscene sums and endless hours on stylized food preparation somehow enabled the conflation of self-care and political radicalism."

— Ben Lerner, from 10:04

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softpyramid:

Lee FriendlanderSan Juan, Puerto Rico1979 gelatin silver print 11 x 14 inch

"I didn’t care if her lips were fake; I cared that the cigarette between them went unsmoked. (As a failed evangelical Christian, I have never understood why anyone would pretend to have sin.)”
—Sarah Nicole Prickett on Lana Del Rey

softpyramid:

Lee Friendlander
San Juan, Puerto Rico
1979 
gelatin silver print
11 x 14 inch

"I didn’t care if her lips were fake; I cared that the cigarette between them went unsmoked. (As a failed evangelical Christian, I have never understood why anyone would pretend to have sin.)”

Sarah Nicole Prickett on Lana Del Rey

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"Does virtual communication make desubjectification easy? The same could have been said about the telephone or the telegraph. Or the typewriter. For a long time, civilization has been in the business of siphoning the body away from the scene of vocal expression, of interpersonal communication. More and more, the industries of communication and entertainment—with their globalizing quest to amuse, stimulate, connect—-secretly work to deaden, or desubjectify, the human voice."

— Wayne Koetsenbaum (2011)

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That doesn’t sound like something Burroughs would say. 

That doesn’t sound like something Burroughs would say. 

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"What seemed extraordinary to me was how much ignorance there was about the ‘other.’ The Israeli kids couldn’t imagine that there are people in Damascus and Amman and Cairo who can actually play the violin and viola. One of the Syrian kids told me that he’d never met an Israeli before. This same boy found himself sharing a music stand with an Israeli cellist. They were trying to play the same note, to play with the same dynamic, with the same stroke of the bow, with the same sound, with the same expression. Well, having achieved that one note, they already can’t look at each other the same way, because they have shared a common experience. And this is what was really, for me, the important thing about the encounter."

— Daniel Barenboim, March 2000

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"New York City. Outside of Dallas, Houston, Charleston, and Atlanta, it was the worst place I had ever been."

— Bukowski

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minusmanhattan:

alboardman:

Marina City - Chicago

This guy’s work is awesome, one of my favorite Chicago landmarks. 

minusmanhattan:

alboardman:

Marina City - Chicago

This guy’s work is awesome, one of my favorite Chicago landmarks. 

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I thought, He’s found somebody he can talk with…and then I thought, So have I.

"I thought, He’s found somebody he can talk with…and then I thought, So have I. The moment a man starts to tell you about sex, he’s telling you something about the two of you. If you can’t get to a level of candor on sex and you choose to behave instead as if this isn’t ever on your mind, then male friendship is incomplete. Most men never find such a friend. It’s not common."

—Roth, The Human Stain

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"The more clearly one sees this world, the more one is obliged to pretend it does not exist."

— James Salter, A Sport and a Pastime (1967)

(Source: dirty-breakbeat)

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I imagine him on a journey to the south of France in the spring.

"I imagine him on a journey to the south of France in the spring. I’m not certain who’s with him. I know he isn’t alone. They are traveling cheaply, with that touch of indolence and occasional luxury that comes only from having real resources. They live in Levi’s and sunlight. Sometimes they brush their teeth in streams. Perhaps she’s the young whore he met in Paris he found so easy to get along with. No, that’s a banal idea. I’ve had it myself: teaching her how to dress, wear her hair, behave, speak, and all the while abusing her like a convict morning and night, some of the instruction being offered whilst in union, so to speak. Yes, she finds it amusing. She takes off her clothes with a smile. They have a relationship like the beginning of Manon Lescaut. They wander through the cities. They vanish into hotel rooms–one cannot follow. There are long silences filled with things I ache to know.”

—James Salter, from A Sport and a Pastime

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Finally we emerge at the roaring, iron galleries where meat is handled.

"Finally we emerge at the roaring, iron galleries where meat is handled. It’s like coming upon a factory in the darkness. The overhead lights are blazing. The smell of carnage is everywhere, the very metal reeks with an odor denser than flowers. On the sidewalk there are wheelbarrows of slaughtered heads. It’s right out of Franju and that famous work which literally steams of it. We stare down at the dumb victims. There are scores of them. The mouths are pink, the nostrils still moist. Worn knives with the edge of a razor have flensed them while their eyes were still fluttering, the huge, eloquent eyes of young calves. The bloody arms of the workers sketch quickly. Wherever they move, the skin magically parts, the warm insides pour out. Everything is swiftly divided. An animal which two minutes ago was led to them has now disappeared.”

—James Salter, from A Sport and a Pastime