24.6.12

Lady Panther

[Inocente como el gatito que se comió al canario, ¿quién sabe qué secretos esconde Audrey?]

It sometimes happens
that the woman you meet and fall in love with
is of that strange Transylvanian people
with an affinity for cats.

You take her to a restaurant, say, or a show,
on an ordinary date, being attracted
by the glitter in her slitty eyes and her catlike walk,
and afterward of course you take her in your arms,
and she turns into a black panther
and bites you to death.

Or perhaps you are saved in the nick of time,
and she is tormented by the knowledge of her tendency:
that she daren't hug a man
unless she wants to risk clawing him up.

This puts you both in a difficult position,
panting lovers who are prevented from touching
not by bars but by circumstance:
you have terrible fights and say cruel things,
for having the hots does not give you a sweet temper.

One night you are walking down a dark street
and hear the padpad of a panther following you,
but when you turn around there are only shadows,
or perhaps one shadow too many

You approach, calling, "Who's there?"
and it leaps on you.
Luckily you have brought along your sword,
and you stab it to death.

And before your eyes it turns into the woman you love,
her breast impaled on your sword,
her mouth dribbling blood saying she loved you
but couldn't help her tendency.

So death released her from the curse at last,
and you knew from the angelic smile on her dead face
that in spite of a life the devil owned,
love had won, and heaven pardoned her.

23.6.12

Don't cheat with writing


[Hubo un tiempo en el que la gente escribía lo que verdaderamente pensaba y sentía en las cartas.
La foto la he encontrado en este enlace]

For Christ sake write and don't worry about what the boys will say nor whether it will be a masterpiece nor what. I write one page of masterpiece to ninety one pages of shit. I try to put the shit in the wastebasket. You feel you have to publish crap to make money to live and let live. All write but if you write enough and as well as you can there will be the same amount of masterpiece material (as we say at Yale). You can't think well enough to sit down and write a deliberate masterpiece and if you could get rid of Seldes and those guys that nearly ruined you and turn them out as well as you can and let the spectators yell when it is good and hoot when it is not you would be all right.

Forget your personal tragedy. We are all bitched from the start and you especially have to hurt like hell before you can write seriously. But when you get the damned hurt use it—don't cheat with it. Be as faithful to it as a scientist—but don't think anything is of any importance because it happens to you or anyone belonging to you.


[La carta completa en este enlace. Es la respuesta que Ernest Hemingway envió el 28 de mayo de 1934 a F. Scott Fitzgerald después de leer Tender is the Night ]

[Tom Hiddlestone no puede parecerse más a Fitzgerald en Midnight in Paris (2011), es impresionante]

20.6.12

Barbarians at the gates

[Los Cubos de la Memoria de Ibarrola en Llanes.
Defenderse de los mercados es como levantar escolleras contra un tsunami] 

Mi jefe, que es germano-luso, tiene la curiosa costumbre de aferrarse a lo que más le conviene de cada mundo, y hoy nos ha enviado este correo (ver debajo) como si eso de los rescates no fuera con él. Lo que no esperaba era que le devolviéramos el boomerang con respuestas cargadas de good old Spanish cynicism. En concreto yo veo dos soluciones geográficamente viables para evitar el rescate:

a) Considerando cómo se pone Mallorca en verano, Rajoy ya está tardando en declarar que "Spain is Germany". Seamos un Land más y resolvamos el problema de los bonos.

b) Hay que ser pragmáticos, eso de "Gibraltar español" está anticuado. Nos sale más a cuenta cambiarlo por "España gibraltareña", y que los hijos de la Gran Bretaña carguen con el agujero de Bankia.

Una cosa está clara: nuestro gobierno no sabe por dónde le viene los problemas. Y es obvio que el 90% de los economistas del país tampoco. O no se atreven a decirlo.

15.6.12

You say bail out, I say Thermopilae

[[Me ha parecido muy apropiada para esta semana en la que España se acerca al abismo poco a poco. Extraña sensación la de sentir cómo los tiburones van cerrando el círculo. Wake up Angela!]

Don't come back anytime I've already had your kind.
This is your pay back, money grabber.
Don't come back anytime, you've already run me dry.
This is your pay back, money grabber.

Teardrops fade.
Then I saw, blue hands in the pocket.
'Cause you were always made to want it all.
But now you got to make it on your own.
This ain't your home, so I'm showing you the door.
Wave goodbye now, it's time for you to go.

Don't comeback anytime, I've already had your kind.
This is you pay back, money grabber.
Don't come back anytime, you've already robbed me blind.
This is your pay back, money grabber.

Blue rhinestone glass.
All I see. You talking double.
Like the time you set fire to me.
'Cause I'm in trouble.
Here's my advice.
I don't think twice for the price of a cheap time whore .

Don't comeback anytime, I've already had your kind.
This is you pay back, money grabber.
Don't come back anytime, you've already robbed me blind.
this is your pay back, money grabber.

One. Two. Three.
One is for the money.
Two is for the greed .
And three times that I told you you're the one,
I just don't need .

Don't comeback anytime, I've already had your kind.
This is you pay back, money grabber.
Don't come back anytime, you've already robbed me blind.
This is your pay back, money grabber.

Money grabber.
Money grabber
Don't come back anytime, I've already had your kind.



[Fitz and The Tantrums, Money Grabber]

8.6.12

Amazon Kindle es más sutil que el fuego

[Detrás de cada gran hombre siempre hay un pequeño gato]

Alguien me dijo ayer que Ray Bradbury había muerto, y sin pensarlo demasiado pregunté "Ah, ¿pero seguía vivo?". Ni se me había ocurrido que pudiera seguir escribiendo siquiera, y es que Fahrenheit 451 se publicó en 1953: la generación de mis padres (que no lo leería seguramente hasta décadas después) lo convirtió en un clásico. No pasó por mi vida hasta hace apenas 5 años, pero la escena del encuentro entre Clarice y Guy me dejó pasmada, conmovida. Y recuperaría el fragmento para esta entrada, pero aquella copia de Penguin ya no está en mis manos. Un verdadero creyente podría citar las palabras de memoria para que no se perdieran, yo no. Ya no. He perdido el libro, la memoria y hasta la oportunidad - un arrebato melancólico sin importancia, éste. Mayo ha sido un mes de meditación sobre el arte y la voluntad, como se verá en otras entradas. Nos pierde haber sido tocados alguna vez por la mano mágica del poema de Becquer. Silenciosos y cubiertos de polvo, algunos esperamos sentir de nuevo su tacto infeccioso:

So it was the hand that started it all. He felt one hand and then the other work his coat free and let it slump to the floor. He held his pants out into an abyss and let them fall into darkness. His hands had been infected, and soon it would be his arms. He could feel the poison working up his wrists and into his elbows and his shoulders and then the jumpover from shoulder blade to shoulder blade like a spark leaping a gap. His hands were ravenous. And his eyes were beginning to feel hunger as if they must look at something anything and everything.

[Ray Bradbury, Fahrenheit 451. La cita es de Wikipedia]