“Fearlessness in those without power is maddening to those who have it.”
One of my favorite quotes from CM's book: “I feel that the greatest asset that my part of Europe received in the history of the twentieth century, the privilege of our being the avant-garde of inhumanity, is that the question of true and false, good and evil, became operative again. Namely, good and evil, true and false have not been discovered through philosophical discourse, but empirically, like the taste of bread.”
~ Czeslaw Milosz: Conversations.
What Peter Drucker Had to Say About Automation Harvard Business Review
Contractors That Defraud the Government the Most Also Spend the Most on Lobbying The Intercept
It is painters like Rochard McSweeney who make you see differently and who point out the obvious reflections. “Look.” I looked and all I saw was water. And he said, “Look again,” which I did, and I saw oil on the water and the city reflected in the puddle. It was a great revelation to me. I can’t explain it. He taught me how to see, and how to trust what I saw. Painters have often taught writers how to see. And once you’ve had that experience, you see differently.
|Barrosa Valley Jars Wooden Spools|
Ellendea Proffer Teasley‘s Brodsky Among Us is now in its third printing, although it was released only last month in Russia by Corpus, one of the largest publishers in Russia. Reviews have been laudatory – and the book quickly shot to the top ten at the main Moscow bookstore, Moskva. The author is now on her triumphant tour of Russia, giving talks, media interviews, book signings, press lunches, and photo ops. With her late husband, Carl Proffer, she co-founded the avant-garde, U.S.-based Russian publishing house Ardis during the Cold War. Together, they brought Brodsky to America.
In Brodsky Among Us, she writes of the first encounter in the present tense, as if it were still replaying in her head, over and over:
|Country Style the on Bellevue Hill Glass|
Not related Cieslak, Czeslaw Milosz is another gural who writes about lonelines and exile in the "Magic Mountain" from Verse “Wiersze. [B.m.w.: ok. 1980], 48 s.” It was published circa 1980. Whenn CC and JI escaped ...
Marcin Świetlicki wrote of those years: "That was how I imagined a Dragon. Czesław Miłosz is one of the Last Terrifying Great Poetic Monsters, approached on one's knees, or not at all." But Miłosz did not rest on his laurels as an artist, he regularly wrote poetry - in the final decade of the poet's life he released Facing the River(1994), This (2000), and The Second Space (2002). "One of the main subjects of his later poems was, of course, old age, those 'outer limits' of human life, which we come to 'without the right to return,' old age often conceived as encumbered physicality, when the mind maintains a nimbleness one might call divine," writes Franaszek.
Fame will pass me by, no tiara, no crown?
Did I then train myself, myself the Unique,
To compose stanzas for gulls and sea haze,
To listen to the foghorns blaring down below?
Until it passed. What passed? Life.
Now I am not ashamed of my defeat.
One murky island with its barking seals
Or a parched desert is enough
To make us say: yes, oui, si.
“Even asleep we partake in the becoming of the world.”
Endurance comes only from enduring.
With a flick of the wrist I fashioned an invisible rope,
And climbed it and it held me.