Hieronymus Bosch print dress - Carven Fall 2012, March 4th
I WANT THIS!
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Hieronymus Bosch print dress - Carven Fall 2012, March 4th
I WANT THIS!
early in the morning
EARLY in the morning,Walking forth from the bower, refreshed with sleep,Behold me where I pass—hear my voice—approach,Touch me—touch the palm of your hand to my body as I pass,
Be not afraid of my body.
--- Walt Whitman, "Enfans d'Adam, 15", Leaves of Grass, 1860
All is Truth
O me, man of slack faith so long, Standing aloof, denying portions so long, Only aware to-day of compact all-diffused truth, Discovering to-day there is no lie or form of lie, and can be none, but grows as inevitably upon itself as the truth does upon itself, Or as any law of the earth or any natural production of the earth does. (This is curious and may not be realized immediately, but it must be realized, I feel in myself that I represent falsehoods equally with the rest, And that the universe does.) Where has fail'd a perfect return indifferent of lies or the truth? Is it upon the ground, or in water or fire? or in the spirit of man? or in the meat and blood? Meditating among liars and retreating sternly into myself, I see that there are really no liars or lies after all, And that nothing fails its perfect return, and that what are called lies are perfect returns, And that each thing exactly represents itself and what has preceded it, And that the truth includes all, and is compact just as much as space is compact, And that there is no flaw or vacuum in the amount of the truth--but that all is truth without exception; And henceforth I will go celebrate any thing I see or am, And sing and laugh and deny nothing.
Walt Whitman, 1960
Whoever You Are Holding Me Now in Hand
Whoever you are holding me now in hand, Without one thing all will be useless, I give you fair warning before you attempt me further, I am not what you supposed, but far different.
Who is he that would become my follower? Who would sign himself a candidate for my affections?
The way is suspicious, the result uncertain, perhaps destructive, You would have to give up all else, I alone would expect to be your sole and exclusive standard, Your novitiate would even then be long and exhausting, The whole past theory of your life and all conformity to the lives around you would have to be abandon'd, Therefore release me now before troubling yourself any further, let go your hand from my shoulders, Put me down and depart on your way.
Or else by stealth in some wood for trial, Or back of a rock in the open air, (For in any roof'd room of a house I emerge not, nor in company, And in libraries I lie as one dumb, a gawk, or unborn, or dead,) But just possibly with you on a high hill, first watching lest any person for miles around approach unawares, Or possibly with you sailing at sea, or on the beach of the sea or some quiet island, Here to put your lips upon mine I permit you, With the comrade's long-dwelling kiss or the new husband's kiss, For I am the new husband and I am the comrade.
Or if you will, thrusting me beneath your clothing, Where I may feel the throbs of your heart or rest upon your hip, Carry me when you go forth over land or sea; For thus merely touching you is enough, is best, And thus touching you would I silently sleep and be carried eternally.
But these leaves conning you con at peril, For these leaves and me you will not understand, They will elude you at first and still more afterward, I will certainly elude you. Even while you should think you had unquestionably caught me, behold! Already you see I have escaped from you.
For it is not for what I have put into it that I have written this book, Nor is it by reading it you will acquire it, Nor do those know me best who admire me and vauntingly praise me, Nor will the candidates for my love (unless at most a very few) prove victorious, Nor will my poems do good only, they will do just as much evil, perhaps more, For all is useless without that which you may guess at many times and not hit, that which I hinted at; Therefore release me and depart on your way.
Walt Whitman, 1860
Vincent Delerm - L'amour en fuite (Bataclan 2009)
L'Amour en fuite
Caresses photographiées sur ma peau sensible. On peut tout jeter les instants, les photos, c'est libre. Y a toujours le papier collant transparent Pour remettre au carré tous ces tourments.
On était belle image, les amoureux fortiches. On a monté le ménage, le bonheur à deux je t'en fiche. Vite fait les morceaux de verre qui coupent et ça saigne. La v'là sur le carrelage, la porcelaine.
[Refrain:] Nous, nous, on a pas tenu le coup. Bou, bou, ça coule sur ta joue. On se quitte et y a rien qu'on explique refrain C'est l'amour en fuite, L'amour en fuite.
J'ai dormi, un enfant est venu dans la dentelle. Partir, revenir, bouger, c'est le jeu des hirondelles. A peine installé, je quitte le deux-pièces cuisine. On peut s'appeler Colette, Antoine ou Sabine.
Toute ma vie, c'est courir après des choses qui se sauvent : Des jeunes filles parfumées, des bouquets de pleurs, des roses. Ma mère aussi mettait derrière son oreille Une goutte de quelque chose qui sentait pareil.
Love on the run
Caresses photographed on my sensitive skin You can dump ’m all, moments, pictures, what you will There’s always transparent adhesive tape To square all those torments back into shape
We were that splendid shot: the smart lovers We set up home, happiness for two, yeah right Soon enough shards cut and gash and blood spurts There goes the crockery on the tiled floor
[Chorus] We, we, we didn’t make it Peewee, tears down your cheek We part and there’s nothing we can explain It’s love on the run Love on the run
I slept, a child came up in lace frills Away, then back, then shifty, that’s the swallows’ drill Hardly have I moved in I leave the two-room flat Whatever your name is, Lily, Clare or Brad
All my life is a running after things that won’t stay put Sweet-scented girls, roses, posies of tears My mother also put behind her ear A drop of something that smelled just the same
Belting's pictorial medium
I need to get this tattoo!
bubble tattoo
No hard outline
Magic way of peeling garlic!
But we forget that those ages, too constructed their social reality in pictures, whose authority shaped the collective imagination. The crisis of representation is actually crisis of reference, something we are no longer certain pictures are capable of. Pictures fail only when we no longer credit them as representations of the real.
Hans Belting, An Anthropology of Images, (Princeton: Princeton University Press, 2011), 14.