dijous, 30 d’octubre de 2014

The Trap "THERE'S a woodchuck over on the side hill that is eating my clover," said Twinkle's father, who was a farmer. "Why don't you set a trap for it?" asked Twinkle's mother. "I believe I will," answered the man. So, when the midday dinner was over, the farmer went to the barn and got a steel trap, and carried it over to the clover-field on the hillside. Twinkle wanted very much to go with him, but she had to help mamma wash the dishes and put them away, and then brush up the dining-room and put it in order. But when the work was done, and she had all the rest of the afternoon to herself, she decided to go over to the woodchuck's hole and see how papa had set the trap, and also discover if the woodchuck had yet been caught. So the little girl took her blue-and-white sun-bonnet, and climbed over the garden fence and ran across the corn-field and through the rye until she came to the red-clover patch on the hill. She knew perfectly well where the woodchuck's hole was, for she had looked at it curiously many times; so she approached it carefully and found the trap set just in front of the hole. If the woodchuck stepped on it, when he came out, it would grab his leg and hold him fast; and there was a chain fastened to the trap, and also to a stout post driven into the ground, so that when the woodchuck was caught he couldn't run away with the trap.TWINKLE AND CHUBBINS Their Astonishing Adventures in Nature-Fairyland

But although the day was bright and sunshiny, and just the kind of day woodchucks like, the clover-eater had not yet walked out of his hole to get caught in the trap.
So Twinkle lay down in the clover-field, half hidden by a small bank in front of the woodchuck's hole, and began to watch for the little animal to come out. Her eyes could see right into the hole, which seemed to slant upward into the hill instead of downward; but of course she couldn't see very far in, because the hole wasn't straight, and grew black a little way from the opening.
It was somewhat wearisome, waiting and watching so long, and the warm sun and the soft chirp of the crickets that hopped through the clover made Twinkle drowsy. She didn't intend to go to sleep, because then she might miss the woodchuck; but there was no harm in closing her eyes just one little minute; so she allowed the long lashes to droop over her pretty pink cheeks—just because they felt so heavy, and there was no way to prop them up.
Then, with a start, she opened her eyes again, and saw the trap and the woodchuck hole just as they were before. Not quite, though, come to look carefully. The hole seemed to be bigger than at first; yes, strange as it might seem, the hole was growing bigger every minute! She watched it with much surprise, and then looked at the trap, which remained the same size it had always been. And when she turned her eyes upon the hole once more it had not only become very big and high, but a stone arch appeared over it, and a fine, polished front door now shut it off from the outside world. She could even read a name upon the silver door-plate, and the name was this:

MR. WOODCHUCK RECEIVES A TELEGRAM



Chapter II


Mister Woodchuck Captures a Girl A PAEDOPHILUS TALE 

"WELL, I declare!" whispered Twinkle to herself; "how could all that have happened?"
On each side of the door was a little green bench, big enough for two to sit upon, and between the benches was a doorstep of white marble, with a mat lying on it. On one side Twinkle saw an electric door-bell.
While she gazed at this astonishing sight a sound of rapid footsteps was heard, and a large Jack- Rabbit, almost as big as herself, and dressed in a messenger-boy's uniform, ran up to the woodchuck's front door and rang the bell.
Almost at once the door opened inward, and a curious personage stepped out.
Twinkle saw at a glance that it was the woodchuck himself,—but what a big and queer woodchuck it was!
He wore a swallow-tailed coat, with a waistcoat of white satin and fancy knee-breeches, and upon his feet were shoes with silver buckles. On his head was perched a tall silk hat that made him look just as high as Twinkle's father, and in one paw he held a gold-headed cane. Also he wore big spectacles over his eyes, which made him look more dignified than any other woodchuck Twinkle had ever seen.
When this person opened the door and saw the Jack-Rabbit messenger-boy, he cried out:
"Well, what do you mean by ringing my bell so violently? I suppose you're half an hour late, and trying to make me think you're in a hurry."
The Jack-Rabbit took a telegram from its pocket and handed it to the woodchuck without a word in reply. At once the woodchuck tore open the envelope and read the telegram carefully.
"Thank you. There's no answer," he said; and in an instant the Jack-Rabbit had whisked away and was gone.
"Well, well," said the woodchuck, as if to himself, "the foolish farmer has set a trap for me, it seems, and my friends have sent a telegram to warn me. Let's see—where is the thing?"

He soon discovered the trap, and seizing hold of the chain he pulled the peg out of the ground and threw the whole thing far away into the field.
"I must give that farmer a sound scolding," he muttered, "for he's becoming so impudent lately that soon he will think he owns the whole country."
But now his eyes fell upon Twinkle, who lay in the clover staring up at him; and the woodchuck gave a laugh and grabbed her fast by one arm.
"Oh ho!" he exclaimed; "you're spying upon me, are you?"
"I'm just waiting to see you get caught in the trap," said the girl, standing up because the big creature pulled upon her arm. She wasn't much frightened, strange to say, because this woodchuck had a good-humored way about him that gave her confidence.
"You would have to wait a long time for that," he said, with a laugh that was a sort of low chuckle. "Instead of seeing me caught, you've got caught yourself. That's turning the tables, sure enough; isn't it?"
"I suppose it is," said Twinkle, regretfully. "Am I a prisoner?"
"You might call it that; and then, again, you mightn't," answered the woodchuck. "To tell you the truth, I hardly know what to do with you. But come inside, and we'll talk it over. We musn't be seen out here in the fields."
Still holding fast to her arm, the woodchuck led her through the door, which he carefully closed and locked. Then they passed through a kind of hallway, into which opened several handsomely furnished rooms, and out again into a beautiful garden at the back, all filled with flowers and brightly colored plants, and with a pretty fountain playing in the middle. A high stone wall was built around the garden, shutting it off from all the rest of the world.
The woodchuck led his prisoner to a bench beside the fountain, and told her to sit down and make herself comfortable.

Mister Woodchuck Scolds Tinkle

TWINKLE was much pleased with her surroundings, and soon discovered several gold-fishes swimming in the water at the foot of the mountain.
"Well, how does it strike you?" asked the woodchuck, strutting up and down the gravel walk before her and swinging his gold-headed cane rather gracefully.
"It seems like a dream," said Twinkle.
"To be sure," he answered, nodding. "You'd no business to fall asleep in the clover."
"Did I?" she asked, rather startled at the suggestion.
"It stands to reason you did," he replied. "You don't for a moment think this is real, do you?"
"It seems real," she answered. "Aren't you the woodchuck?"
"Mister Woodchuck, if you please. Address me properly, young lady, or you'll make me angry."
"Well, then, aren't you Mister Woodchuck?"
"At present I am; but when you wake up, I won't be," he said.
"Then you think I'm dreaming?"
"You must figure that out for yourself," said Mister Woodchuck.
"What do you suppose made me dream?"
"I don't know."
"Do you think it's something I've eaten?" she asked anxiously.
"I hardly think so. This isn't any nightmare, you know, because there's nothing at all horrible about it so far. You've probably been reading some of those creepy, sensational story-books."
"I haven't read a book in a long time," said Twinkle.
"Dreams," remarked Mister Woodchuck, thoughtfully, "are not always to be accounted for. But this conversation is all wrong. When one is dreaming one doesn't talk about it, or even know it's a dream. So let's speak of something else."

THE ISLAMIC STATE OF LOVE before an eagle, even as a young lamb quails at the sight of a wolf, so shuddered the Sabine women when they beheld these fierce warriors making towards them. Every one turned pale, terror spread throughout the throng, but it showed itself in different ways. Some tore their hair; some swooned away; some wept in silence; some called vainly for their mothers; some sobbed aloud; others seemed stupefied with fear; some stood transfixed; others tried to flee. Nevertheless, the Romans carry off the women, sweet booty for their beds, and to many of them, terror lends an added charm. If one shows herself too rebellious and refuses to follow her ravisher, he picks her up and, pressing her lovingly to his bosom, exclaims, "Why with tears do you thus dim the lovely radiance of your eyes? What your father is to your mother, that will I be to you." O Romulus, you are the only one who has ever known how to reward his soldiers; for such pay, I would willingly enrol myself beneath your banners. Ever since those days, the theatres, faithful to this ancient custom, have always been a dangerous lure to loveliness. Forget not the arena where mettled steeds strive for the palm of Victory. This circus, where an immense concourse of people is gathered, is very favourable to Love. There, if you would express the secret promptings of your heart, there is no need for you to talk upon your fingers, or to watch for signs to tell you what is in your fair one's mind. Sit close beside her, as close as you are able; there's nothing to prevent. The narrowness of the space compels you to press against her and, fortunately for you, compels her to acquiesce. Then, of course, you must think of some means of starting the conversation. Begin by saying the sort of thing people generally do say on such occasions. Some horses are seen entering the stadium; ask her the name of their owner; and whoever she favours, you should follow suit. And when the solemn procession of the country's gods and goddesses....HURRAH FOR VENUS Siquis in hoc artem populo non novit amandi, Hoc legat et lecto carmine doctus amet. Arte citae veloque rates remoque moventur, Arte leves currus: arte regendus amor By art the swift ships are propelled with sail and oar; there is art in driving the fleet chariots, and Love should by art be guided. Automedon was a skilled charioteer and knew how to handle the flowing reins; Tiphys was the pilot of the good ship Argo. I have been appointed by Venus as tutor to tender Love. I shall be known as the Tiphys and Automedon of Love. Love is somewhat recalcitrant and ofttimes refuses to do my bidding; but ’tis a boy, and boys are easily moulded. Chiron brought up the boy Achilles to the music of the lyre, and by that peaceful art softened his wild nature; he, before whom his enemies were destined so oft to tremble, who many a time struck terror even into his own companions was, so ’tis said, timid and submissive in the presence of a feeble old man, obedient to his master's voice, and held out to him for chastisement those hands whereof Hector was one day destined to feel the weight. Chiron was tutor to Achilles; I am tutor to Love; both of them formidable youngsters, both of them goddess-born. But the fiery bull has to submit to the yoke; the mettled steed vainly champs at the curb that masters him. I, too, will bring Love to heel, even though his arrows pierce my breast and he brandish over my head his flaming torch. The keener his arrows, the fiercer his fires, the more they stir me to avenge my wounds.NOSSO CHERNE DURÃO AFINAL TAMBÉM AMA OS GREGOS ...Non ego nobilium sedeo studiosus equorum; cui tamen ipsa faves, vincat ut ille, precor. ut loquerer tecum veni, tecumque sederem, ne tibi non notus, quem facis, esset amor. tu cursus spectas, ego te; spectemus uterque quod iuvat, atque oculos pascat uterque suos. O, cuicumque faves, felix agitator equorum! ergo illi curae contigit esse tuae? hoc mihi contingat, sacro de carcere missis insistam forti mente vehendus equis, et modo lora dabo, modo verbere terga notabo, nunc stringam metas interiore rota THOUGH I am sitting here, it's not in the least because I am interested in the racing; all the same! I want your favourite to win. What I've come here for is to talk to you, to sit near you and to tell you how tremendously I love you. So you are looking at the races, I am looking at you. Let us both enjoy the sight that pleases, both drink our fill of delight. He's a lucky fellow, the man you back; he has the good fortune to enlist your interest. I wish I had his chance; like a flash I should be at the starting-post, and let my horses run clean away with me. Here, I'd shake the reins about their necks, here, I'd let them feel the whip, then round I'd go within a hair's breadth of the .turning-post. But if, in my headlong career, I chanced to catch sight of you, I should pull up and the reins would drop from my hands. Ah, how narrowly Pelops escaped falling by a spear at Pisa, through gazing on thy face, Hippodamia! Nevertheless, he won because his mistress favoured him. May all lovers thus triumph when their ladies want them to. Why do you keep trying to edge away from me? You can't do it; we've got to sit close because of the seats. That's an advantage I owe to the Circus arrangements. But you, there, who are sitting on the other side of this lady, mind what you're about; don't lean on her like that. And you behind there; don't thrust out your legs like that; don't let your hard knee dig into her back. Mind, darling, you're letting your dress drag on the ground. Pull it up a little, or I shall have to do it for you. Ah, jealous dress, how you liked to cover her beautiful legs. Aye, and the longer you looked--oh, you jealous dress, you! Atalanta's legs must have looked like yours, when she was running--no wonder Milanion wanted to catch hold of them--and Diana's too, when, with uplifted dress, she pursueth the wild beasts in the forests, beasts less fearless than herself. Though I never saw them, those legs set me on fire. What would happen if I saw yours? You will be adding fuel to fire, water to the ocean. I can just imagine, from what I've seen, what those other charms are like that you conceal so well under your dainty dress. Would you like to have a little cool air in your face? If I wave this tablet a little it will refresh you, unless it's the warmth of my passion rather than the warmth of the air that is heating you, and lighting up such a charming flame in your heart. While I've been speaking, a horrid black smut has come and settled on your white dress. Begone, base smudge, from those snowy shoulders. But here they come; keep still and drink it all in. Now's the time to clap; the procession is coming in all its splendour. p. 69 First of all comes Victory, with wings outspread. Be kind to me, O goddess, and help my love to win. Three cheers for Neptune, you rash people that put your trust in the sea. As for me, I don't like it. I prefer my own bit of land. You, my soldier friend, shout loud for Mars, he is your god. I loathe fighting. I love peace and love that thrives with peace. Let Phœbus be propitious to the augurs, and Phoebe to the huntsmen, and you, Minerva, receive the salutations of the craftsmen. And you, ye tillers of the soil, give hail to Ceres and to kindly Bacchus. May Pollux hearken to the gladiators' prayers and Castor to the horseman's. For us, ’tis thee, sweet Venus, thee and the Loves, thy bowmen, that we greet with cheers. Oh, help me, tender goddess; change thou my fair one's heart, that she may let herself be loved. See, Venus nods, and seems to tell me I shall win. What she foretells, tell me yourself, I pray. Hear thou my prayer and--Venus forgive me--you will be greater than that goddess herself. I swear it, and all the gods that shine in that procession I call to witness, you shall ever be my darling mistress. But you've nowhere to rest your legs. Put your toes, if you like, on these bars. They've cleared the course now, and the big races are going to begin. The prætor's just given the signal. The four-horsed chariots are off. I see your favourite. Whoever you favour is bound to win. The very horses seem to guess your wishes. Ye gods, how wide he takes them round the turning-post. Wretched creature, what are you about? Now you've let your rival get ahead of you. He went round ever so much more closely. What are you up to, foolish one? What's the use of a woman's backing you. For heaven's sake pull your left rein hard. Oh, he's an idiot, our man. Come on, Romans, have him back, wave your togas there. See they're calling him back. But mind they don't ruffle your hair, waving their togas about like that; come and hide your head in the folds of mine. Look, now they're starting again, the bars are down.

Vis tamen interea faciles arcessere ventos?
    quos faciet nostra mota tabella manu.
an magis hic meus est animi, non aeris aestus,
    captaque femineus pectora torret amor?
dum loquor, alba levi sparsa est tibi pulvere vestis.
    sordide de niveo corpore pulvis abi!
Sed iam pompa venit--linguis animisque favete!
    tempus adest plausus--aurea pompa venit.
prima loco fertur passis Victoria pinnis--
    huc ades et meus hic fac, dea, vincat amor!
plaudite Neptuno, nimium qui creditis undis!
    nil mihi cum pelago; me mea terra capit.
plaude tuo Marti, miles! nos odimus arma;
    pax iuvat et media pace repertus amor.
auguribus Phoebus, Phoebe venantibus adsit!
    artifices in te verte, Minerva, manus!
ruricolae, Cereri teneroque adsurgite Baccho!
    Pollucem pugiles, Castora placet eques!
nos tibi, blanda Venus, puerisque potentibus arcu
    plaudimus; inceptis adnue, diva, meis
daque novae mentem dominae! patiatur amari!
    adnuit et motu signa secunda dedit.
quod dea promisit, promittas ipsa, rogamus;
    pace loquar Veneris, tu dea maior eris.
per tibi tot iuro testes pompamque deorum,
    te dominam nobis tempus in omne peti!
Sed pendent tibi crura. potes, si forte iuvabit,
    cancellis primos inseruisse pedes.
maxima iam vacuo praetor spectacula circo
    quadriiugos aequo carcere misit equos.
cui studeas, video. vincet, cuicumque favebis.
    quid cupias, ipsi scire videntur equi.


me miserum, metam spatioso circuit orbe!
    quid facis? admoto proxumus axe subit.
quid facis, infelix?

QUE FAZES INFELIZ ....PARA FOOLISH ONE VAI UMA TRADIÇÃO DE TRAIDORES
 perdis bona vota puellae.
    tende, precor, valida lora sinistra manu!
favimus ignavo--sed enim revocate, Quirites,
    et date iactatis undique signa togis!
en, revocant!--ac ne turbet toga mota capillos,
    in nostros abdas te licet usque sinus.
Iamque patent iterum reserato carcere postes;
    evolat admissis discolor agmen equis.
nunc saltem supera spatioque insurge patenti!
    sint mea, sint dominae fac rata vota meae!
Sunt dominae rata vota meae, mea vota supersunt.
    ille tenet palmam; palma petenda mea est.'

JÁ SUNT DOMINA A RATA ....
Risit, et argutis quiddam promisit ocellis.

RI E É ARGUTA A PROMESSA NOS SEUS OLHOS ARGUTA OU ARARARUTA TEM SEU DIA DE MINGAU...
    'Hoc satis est, alio cetera redde loco!'


 Here they come, with their different colours, driving like mad. Beat them this time, anyhow; you've got a clear field in front of you. See that my mistress has her way, and see that I have mine. Well, she's got hers; but I must wait. He's won. Now I must see what I can do. She smiled, the darling, and there was a promise in her look. That's enough for here. Elsewhere you'll let me have the rest
Quid mihi Livor edax, ignavos obicis annos,
    ingeniique vocas carmen inertis opus;
non me more patrum, dum strenua sustinet aetas,
    praemia militiae pulverulenta sequi,
5 nec me verbosas leges ediscere nec me
    ingrato vocem prostituisse foro?
Mortale est, quod quaeris, opus. mihi fama perennis
    quaeritur, in toto semper ut orbe canar.
vivet Maeonides, Tenedos dum stabit et Ide,
10     dum rapidas Simois in mare volvet aquas;
vivet et Ascraeus, dum mustis uva tumebit,
    dum cadet incurva falce resecta Ceres.
Battiades semper toto cantabitur orbe;
    quamvis ingenio non valet, arte valet.
15 nulla Sophocleo veniet iactura cothurno;
    cum sole et luna semper Aratus erit;
dum fallax servus, durus pater, inproba lena
    vivent et meretrix blanda, Menandros erit;
Ennius arte carens animosique Accius oris
20     casurum nullo tempore nomen habent.
Varronem primamque ratem quae nesciet aetas,
    aureaque Aesonio terga petita duci?
carmina sublimis tunc sunt peritura Lucreti,
    exitio terras cum dabit una dies;
25 Tityrus et segetes Aeneiaque arma legentur,
    Roma triumphati dum caput orbis erit;
donec erunt ignes arcusque Cupidinis arma,
    discentur numeri, culte Tibulle, tui;
Gallus et Hesperiis et Gallus notus Eois,
30     et sua cum Gallo nota Lycoris erit.
Ergo, cum silices, cum dens patientis aratri
    depereant aevo, carmina morte carent.
cedant carminibus reges regumque triumphi,
    cedat et auriferi ripa benigna Tagi!
35 vilia miretur vulgus; mihi flavus Apollo
    pocula Castalia plena ministret aqua,
sustineamque coma metuentem frigora myrtum,
    atque a sollicito multus amante legar!
pascitur in vivis Livor; post fata quiescit,
40     cum suus ex merito quemque tuetur honos.
ergo etiam cum me supremus adederit ignis,
    vivam, parsque mei multa superstes erit.


WHEREFORE dost thou blame me, gnawing Envy, for consuming my days in slothfulness; wherefore callest thou my verses the employment of an idle mind? Why dost thou reproach me for not following in the footsteps of my forefathers, for not seeking, while vigorous youth permits, to crown my brows with the dusty laurels of war, for not studying the jargon of the law, or for not prostituting my words in a dingy court of justice? Mortal are the works whereof thou pratest; my aim is glory that shall not perish, so that in every time and in every place I may be celebrated throughout the world. Mæonides shall live so long as Tenedos and Ida shall endure, so long as Simois shall roll his hurrying waters to the sea. The Ascræan bard, too, shall live while the grape ripens on the vine, while the corn shall fall beneath the sickle's curving blade. The song of Battus shall be sung throughout the world, albeit his art, rather than his genius, is his title deed to fame. The tragic buskin of Sophocles shall never grow old. So long as the sun and the moon shall shine, Aratus will live on. So long as slaves are rogues, as fathers storm, as pimps deceive and strumpets wheedle, Menander will not die. Ennius, for all his artlessness, and Accius, with his lusty speech, possess a name that
 Time shall not lay low. When shall there dawn an age that shall know not Varro, or the first ship to sail the seas, or the Golden Fleece brought home by Æson's son? When the world perisheth, then, and not till then, shall the works of the high-souled Lucretius perish too. Tityrus and the garnered crops, Æneas and his doughty deeds, will be read so long as Rome shall wield her sceptre o’er the conquered world. So long as Cupid wields his fires and bends his bow, thy numbers, skilled Tibullus, will remembered be. In the West and in the East the name of Gallus shall be known to fame, and because of Gallus, the name of Lycoris shall live on. What though devouring time wear down the flint, and blunt the share of the enduring plough, yet poetry shall never die. Let kings, then, and all their train of conquests, yield to poetry, to poetry let the happy shores of the golden Tagus give place. Let the vulgar herd set their hearts on dross if they will. For myself, let Apollo bestow on me cups overflowing with the waters of Castaly; let the myrtle that dreads the cold adorn my brow and let my verses ever be scanned by the eager lover. While we live we serve as food for Envy; when we are dead we rest within the aureole of the glory we have earned. So, when the funeral fires have consumed me, I shall live on, and the better part of me will have triumphed over death.......E DAÍ TALVEZ NÃO
Ille quidem ferus est et qui mihi saepe repugnet:
    Sed puer est, aetas mollis et apta regi.
Phillyrides puerum cithara perfecit Achillem,
    Atque animos placida contudit arte feros.
Qui totiens socios, totiens exterruit hostes,
    Creditur annosum pertimuisse senem.
Quas Hector sensurus erat, poscente magistro
    Verberibus iussas praebuit ille manus.
Aeacidae Chiron, ego sum praeceptor Amoris:
    Saevus uterque puer, natus uterque dea.
Sed tamen et tauri cervix oneratur aratro,
    Frenaque magnanimi dente teruntur equi;
Et mihi cedet Amor, quamvis mea vulneret arcu
    Pectora, iactatas excutiatque faces.
Quo me fixit Amor, quo me violentius ussit,
    Hoc melior facti vulneris ultor ero:
Non ego, Phoebe, datas a te mihi mentiar artes,
    Nec nos aeriae voce monemur avis,
Nec mihi sunt visae Clio Cliusque sorores
    Servanti pecudes vallibus, Ascra, tuis:
Usus opus movet hoc: vati parete perito;
    Vera canam: coeptis, mater Amoris, ades!

dimecres, 29 d’octubre de 2014

In a civil war… every side is wrong. It’s hopeless to try to untangle it. Everyone is a victim.” — Her pert, miniature face took on a familiar knowing expression, one that was sure to annoy Margo. For a woman who wore glasses, Vic thought, Junie Black could look astonishingly depraved. I wish Ms. Black had her own Flaubertian subplot. She's so Bovary. Black is endearing with her hussy ways; her very modern championing of espresso and "lasagne." Well, endearing when stuck between the pages of a book. And stuck in TIME. Kinda. No, it's not a spoiler if it's in the title. ("Wait, they're Lost?" -See?) This is sort of an urtext for the hypnotically craptacular movie The Thirteenth Floor....La parola non rappresenta la realtà. La parola è la realtà." Tempo fuor di sesto, dall'evidente citazione shakespeariana, è uno dei più classici romanzi dickiani, sebbene appartenente a un decennio considerato ancora "giovanile". Tra i tanti temi dickiani, uno dei più importanti è sicuramente il conflitto tra realtà e illusione, che lo scrittore rielabora in maniera sempre diversa e sempre più fantasiosa. A far da sfondo è, altro topos dickiano, una tranquilla cittadina di provincia sul finire degli anni Cinquanta. Niente, però, è come sembra. Lo sa bene il protagonista, Ragle Gumm: quando comincia a venire giù il castello di carte che è la realtà in cui vive, si ritrova dilaniato da uno straniamento esistenziale e uno più paranoico, che scivola lentamente sul complottismo. Ciò che accade a Ragle tocca molti altri protagonisti dickiani: qualche anno prima era toccato al protagonista di La città sostituita; se però in quel romanzo un Dick più acerbo sposta lo straniamento su un piano puramente fantastico, in Tempo fuor di sesto mette nero su bianco la paranoia della guerra fredda, i timori di uno stato di polizia, i delirii di uno scontro fratricida. Dick compie dunque un ulteriore passo verso la dissoluzione del tessuto della realtà, ma il velo di Maya è ancora intatto. I presupposti filosofici ci sono, ma ne mancano gli sviluppi; il conflitto realtà/visione inizia proprio nel regno della metafisica, con dibattiti squisitamente filosofici tra Ragle e la sua spalla, il cognato Vic, ma oltre non riesce ad andare: l'inganno viene svelato, la realtà viene ricomposta, Ragle riacquista i suoi ricordi e con essi la sua vera vita. “The odd thing in this world is that an eager-beaver type, with no original ideas, who mimes those in authority above him right to the last twist of necktie and scrape of chin, always gets noticed. Gets selected. Rises.Time Out of Joint is Philip K. Dick’s classic depiction of the disorienting disparity between the world as we think it is and the world as it actually is. The year is 1998, although Ragle Gumm doesn’t know that. He thinks it’s 1959. He also thinks that he served in World War II, that he lives in a quiet little community, and that he really is the world’s long-standing champion of newspaper puzzle contests. It is only after a series of troubling hallucinations that he begins to suspect otherwise. And once he pursues his suspicions, he begins to see how he is the center of a universe gone terribly awry.

It’s 1959. Ragle Gum lives with his sister and her family. He’s having an affair with the woman next door. He’s the champion of the newspaper contest, “Where Will the Little Green Man be Next?” Oh yeah, and he’s going sane. 

It starts with what he thinks are hallucinations—a disappearing soft drink stand, leaving nothing in its place but a piece of paper labeled SOFT DRINK STAND. But then he hears pilots talking about him over the radio and he finds a phonebook from a place that doesn’t seem to exist. And now his brother-in-law starts to notice the signs as well. They decide to skip town, but the town doesn’t want them to leave. There’s always something in the way—a cop, a flat tire, a line at the bus depot that never ends. 

When they finally do get out, they learn that it’s not 1959. It’s 1998. And all they want in the whole world is for Ragle to keep plugging away at the “Where Will the Little Green Man be Next?”

What does not happen in this anachrony! Perhaps "the time, time itself, precisely, always "our time," the epoch and the world shared among us, ours every day, nowadays, the present as our present. Especially when "things are not going well" among us, precisely Qustement]: when "things are going badly, when it's not working, when things are bad. But with the other, is not this disjuncture, this dis-adjustment of the "it's going badly" necessary for the good, or at least the just, to be announced? Is not disjuncture the very possibility of the other? How to distinguish between two disadjustments, between the disjuncture of the unjust and the one that opens up the infinite asymmetry of the relation to the other, that is to say, the place for justice? Not for calculable and distributive justice. Not for law, for the calculation ofrestitution, the economy of vengeance....Specters of Marx The State of the Debt, the Work of Mourning and the New International

economy of FEAR OR ECONOMY oF punishment
(for if Hamlet is a tragedy of vengeance and punishment in
the triangle or circle of an Oedipus who would have taken an
additional step into repression-Freud, Jones, and so forth-one
must still think the possibility of a step beyond repression: there
is a beyond the economy of repression whose law imples it to
exceed itself, of itself in the course of a history, be it the history of
theater or of politics between Oedipus Rex and Hamlet). Not for
calculable equality, therefore, not for the symmetrizing and
synchronic accountability or imputability of subjects or objects,
not for a rendering justice that would be limited to sanctioning,
to restituting, and to doing right, but for justice as incalculability

of the gift and singularity of the an-economic ex-position to
others. "The relation to others-that is to say, justice, writes
Lf~vinas. 18 Whether he knows it or not, Hamlet is speaking in
the space opened up by this question-the appeal of the gift,
singularity, the coming of the event, the excessive or exceeded
relation to the other-when he declares "The time is out of
joint. And this question is no longer dissociated from all those
that Hamlet apprehends as such, that of the specter-Thing and of
the King, that of the event, of present-being, and of what there is to be, or not, what there is to do, which means to think, to make do or
to let do, to make or to let come, or to give, even if it be death.
How does the concern with what there is to be intersect, in order
perhaps to exceed it, with the logic of vengeance or right?
A trajectory that is necessarily without heading and without
assurance. The trajectory of a precipitation toward which trembles,
vibrates, at once orients and disorients itself the question that is
here addressed to us under the name or in the name of justice,
surely a problematic translation of Dike. One of the most sensitive,
though certainly not the only, places today for this Singular
topology would be perhaps Der Spruch des Anaximander. Heidegger
there interprets Dike as joining, adjOining, adjustment, articulation
of accord or harmony, Fug, Fuge (Die Fuge ist der Fug). Insofar
as it is thought on the basis of presence (als Anwesen gedacht Dike harmoniously conjOins, in some way, the joining and the
accord. Adikia to the contrary: it is at once what is diSjOinted,
undone, twisted and out of line, in the wrong of the injust, or
even in the error of stupidity. 19
Let us note in passing that mit Fug und Recht commonly means
"within rights, "rightfully," "rightly" versus "wrongly." The
German equivalent of "out of jOint," in the sense of disarticulated,
dislocated, undone, beside itself, deranged, off its hinges,
disjointed, disadjusted, is aus den Fugen, aus den Fugen gehen. Now,
when Heidegger insists on the necessity of thinking Dike on
this side of, before, or at a distance from the juridical-moral
determinations of justice, he finds in his language, with the
expression "aus den Fugen, the multiple, collected, and suspended
virtualities of "The time is out of joint": something in
the present is not going well, it is not going as it ought to go.
The word a-dikia immediately suggests that dike is absent [wegbleibt]. We are accustomed to translate dike as right
[Recht]. The translations of the fragment [des Spruches, i.e. of
Anaximander] even use "penalties" to translate "right." If we resist our own juridical-moral notions, Uuristich-moralischen
VorstellungenJ, if we restrict ourselves to what comes to language,
then we hear that wherever adikia rules all is not right
with things [dass es, wo sie waltet, nicht mit rechten Dingen
zugehtJ. That means something is out of joint [etwas ist aus
den Fugen]. But of what are we speaking? Of what is present,
lingering awhile [Vomje-weilig Anwesenden].20
It is important to recall here, regarding the translation of
"je-weilig" ("lingering awhile") that Heidegger's meditative
writing no doubt passes through this determination of the present
(Anwesend) as je-weiHg (of the moment, of the epoch, each
time, and so forth), as well as through this indispensable attribution
as Weile (moment, passing moment, lapse of time) or weilen
(to stay, linger, remain). But still more important here appears to
be the interpretation of weilen: a passage, to be sure, and thus by
definition a transitory moment, but whose transition comes AI COMES COMES ....

interpretation of weilen: a passage, to be sure, and thus by
definition a transitory moment, but whose transition comes, if
one can say that, from the future. It has its provenance in what,
by essence, has not yet come-from [provenu], still less come about,
and which therefore remains to come. The passage of this time
of the present comes from the future to go toward the past,
toward the going of the gone [l'en aue] (Das Weilen ist der Ubergang
aus KunEt zu Gang. Das Anwesende ist das Je-weilige).21 Heidegger continues:
"But where are there jointures in what is present? Or
where is there even one jointure  eine Fuge]? How can what
is present [das Anwesende] without jointure be adikan, out of joint
[aus der Fuge],,? One may, as the translator did here, translate
Heidegger, the reader of Anaximander, into the language of
Hamlet: how is it possible, that which is? Namely, how is it

possibLE that the present, and therefore time, be out of joint? TIME OUT OF JOINT ....

Messianicity If the undeconstructible represents the “constancy of God” in Derrida’s religion, then salvation comes by deconstruction, the cracking of the nutshell enclosing the undeconstructible. The undeconstructible Other, deconstruction’s Messiah, is always coming but never arriving. It is the hopeful and active preparation for this promised but perpetually delayed Messiah that Derrida terms “messianicity.”[14] Derrida frequently borrows from the following parable of Maurice Blanchot.[15] The Messiah comes to Rome, living disguised among the poor, diseased, and outcast. Someone recognizes him as the Messiah and approaches him, asking “When will you come?” Blanchot explains, “His being there is, then, not the coming. With the Messiah, who is there, the call must always resound: ‘Come, come.’”[16] In deconstruction, salvation depends precisely on the Messiah’s never arriving. Messianicity, or the “opening of experience,” as Derrida explains, takes place “as soon as you are open to the future, as soon as you have a temporal experience of waiting for the future, of waiting for someone to come.”[17] For the Messiah to finally come would mean disaster for Derrida.[18] The importance of the Messiah in deconstruction is not that He has come or will come, as in Judaism, Christianity or Islam, but that He is coming. Messianicity does not save by revealing some absolute, objective truth about God or the world, but by shattering the idea that there is some truth like that present. That sort of truth, for Derrida, is downright dangerous and leads to structural evil, the violence against whoever views things differently and are therefore in the way. It is the Messiah’s absence which then saves us from structural evil Jacques Derrida and Structural EvilThe Deconstruction of Christianity,” Nancy takes the position that faith, in any case, is not compliance without proof or the leap above proof. It is the act of the faithful person, an act which, as such, is the attestation of an intimate consciousness of the fact that it exposes itself and allows itself to be exposed to the absence of attestation, to the absence of parousia. … Christian faith is distinguished precisely and absolutely from all belief Indeed, one should not make the mistake of dismissing Déclosion as merely a book of preparatory exercises: it is not. The essays in this book undertake penetrating analyses of Christian concepts, most notably monotheism, atheism, faith, and sin. By turns, they engage a wide range of thinkers, including Jacques Derrida, Maurice Blanchot, Friedrich Nietzsche, Martin Heidegger, Roland Barthes, Michel Deguy, and Gérard Granel. The influence of Derrida is particularly important here, and not only in the obvious reference to “deconstruction.” Two of the essays, “The Judeo-Christian: Of Faith” and “Of a Divine Wink,” are responses to the essay “Faith and Knowledge,” 6 one of Derrida’s most important texts on religion, which was itself part of a very important collaboration among European intellectuals on religion. This not only situates Nancy within the broader consideration of religion among European intellectuals generally, and more specifically in the “religious turn” of French phenomenology, but it also explains his distance from the more Nietzschean approach he seems to have taken in “Of Divine Places.” 7 Here he no longer takes an adversarial stance toward Christianity—not because he has had a sudden change of heart and come to love those aspects of Christianity he formerly critiqued, but because he has come to see to what degree Christianity has determined and continues to determine the philosophical Deconstruction and the Undeconstructible In his autobiographical work “Circumfession,” Derrida laments that even his own mother has misunderstood his religion.[5] Although claiming to “quite rightly pass for an atheist,” Derrida asserts, “the constancy of God in my life is called by other names.”[6] These names include the gift, forgiveness, justice, love, and hospitality. All are examples of what Derrida terms “the undeconstructible,”[7] the impossible Other towards which deconstruction strives. In this section we will briefly look at deconstruction and the undeconstructible before using the example of justice to analyze deconstruction’s import in addressing human suffering caused by structural evil. An invaluably succinct albeit tongue-in-cheek definition given by John Caputo concedes that “cracking nutshells is what deconstruction is. In a nutshell.”[8] Whereas “nutshells” are attempts to delimit the limitless, deconstruction is the splintering of the nutshell that occurs when what is not confinable begins to break out of its confines. Caputo explains that “the very meaning and mission of deconstruction is to show that things – texts, institutions, traditions, societies, beliefs, and practices… do not have definable meanings and determinable missions… that they exceed the boundaries they currently occupy.”[9] It is in this sense that deconstruction must not be confused with destruction. The purpose of deconstruction is not simply to negate or destroy, but to crack open the nutshell and let the Other contained therein loose, free to be truly other. In his essay “Force of Law: The ‘Mystical Foundation of Authority’”, Derrida analyzes the undeconstructible concept of justice. He makes the distinction between “the law” which can be deconstructed and “justice” which cannot.[10] The law, as used here by Derrida, is composed of all the legislation on the books and the structures of the judicial system as they stand. Justice, if it exists at all, is what calls on the law to be more just. It is the impossible, non-existent ideal that the law always unsuccessfully attempts to embody.

tradition in which he works. In his introduction, entitled “Ouverture” (a 
fascinating essay in its own right), Nancy argues that as Western culture is 
globalized (mondialisé), philosophy will only be enabled to ask the questions it 
needs to ask through “a mutual déclosion of the heritages of religion and of 
philosophy” (16). The word déclosion stands in contrast with closion or clôture, as 
an un-closing or de-closing—tearing down the wall, opening the cloister. The 
mutuality of this déclosion is enacted in the essays, in which Nancy explores the 
philosophical resonances of Christian thought and the Christian resonances of 
philosophical thought. It is clear, however, that for Nancy, the question of how 
Christianity can be changed through such an operation is of very little interest. 
Much more important are the ways in which philosophy can be changed by 
extending its field of inquiry over Christianity or by recognizing the Christianity 
at work within itself and within the secular West. 
In part, such work among the inheritors of the Enlightenment tradition will serve 
to correct the arrogance with which the West has viewed its own Christian past: 
The Reformation and the Enlightenment, with and despite all their nobility and 
all their vigor, have also accustomed themselves to behave vis-à-vis the past of 
Europe like the ethnologists of not so long ago did toward “primitives.” The 
revision of ethnology today only just begun – or the déclosion of its ethnocentrism 
– cannot not hold for the relationship of the West to itself. 

But if the Messiahnever arrives then this salvation is better described as a complacency with lesser evils than a true
liberation from the bondage to evil that all of us are both complicit in and victimized by. What is
then needed is not the absence of the Messiah, but a humble Messiah who comes to serve rather
than lord over.
A Hospitable Community
Lastly, Derrida does not desire the kind of hyper-individualized subjectivity in which
anything goes, despite some caricatures of his thought. In fact, he places a strong, positive
emphasis on the role of community in interpretation, even suggesting that communities must set

certain flexible and open rules for interpretation

THE MANIAC BRAIN OF OMBRE NULL ...Der rida k'rida attempts or attemptatum with or not ..... without success or sussex and demonstrate that the notion of pure and subjective enlightened or in american the process of truth seeking is an impossibility. That the essence of thought always operates within a given schema, a given facticity. Differance, the famous phrase of Derrida, indicates that writing is necessarily primary to speech, we can see the `differ a nce' in text, not phonetically. The first essay in this collection `Force and Signification,' attempts to apply a philosophical rigour to the analysis of literature, wherein Derrida explains Flaubert, Mallarme, and a number of others. `Cogito and the History of Madness' is an extremely famous essay about Foucault which triggered a feud between the two intellectuals that would never fully be mended. In it, Derrida argues that Foucault's book does not address the Cartesian notion of the Cogito adequately in the History of Madness, and that Foucault ultimately relies on the same principles of the enlightenment while attempting to expose the dynamics of its power simultaneously. The essay (along with violence and Metaphysics) is a perfect example of Derrida's capacity to deconstruct. However, he moves very quickly and without and assistance to the reader. If you have not read the author Derrida is deconstructing he will simply leave you in the dust. The latter essays in the book deal primarily with Artaud, Freud, Bataille, Hegel, Heidegger, Levi-Strauss, and metaphysics and language generally. The essay on Levi-Strauss (Structure, Sign, and Play) is a particularly damning lecture delivered at Johns Hopkins University and left irreparable damages to the structuralist movement at the time. `Writing and Difference' is an important collection of critical texts for 21th century fox philosophy, and it should remain an important work for many ages to come ai comes comes .....What is it to read Derrida? Is it not to read reading itself? But how does one read reading if one cannot read? Derrida presents his own readings of reading, but then what do I read? I bought this book- which itself is a negation of buying, an erasure of that which is not bought LIKE THE LESSONS OF MAKE YOURSELF THIS LINES BY MARIUS DO CARALHU ...FALTA SÓ O V DE VICTORIA OU ....DAQUELES RÉPTEIS QUE INVADIRAM AS TV'S NOS ANOS 90...in order to get to grips with Der-rida who I'd always-already had trouble understanding. I'd read two introductory texts that I thought (or "thought I", the presupposition of the presence of I in thought, and thought in I, an erasure of the thought-i (thought-eye, as in seeing or being seen, as an eye never sees itself)) would give me a nice solid grounding (to be ground-ed, an inversion of flight, of distance). I really understood them and had a good time dealing with the heavier concepts within(out) them but felt that I had to try reading the man himself. You can't rely on secondary stuff alone, so I bought this book to help me (or did me help? As Malarme said, or did not say, as saying is a not saying of the said-(un)"Said". Like Edward Said). I didn't understand a fuck-ing word of it. [edit] Actually, in retrospect the last but one chapter on sign and play where he actually seems to be attempting to be clear was excellent and the best introduction to his work I could imagine being offered. But it's hardly redemption...Le tout sans nouveauté qu’un espacement de la lecture. -- Mallarmé, Preface to Un Coup de dés That philosophy died yesterday, since Hegel or Marx, Nietzsche, or Heidegger—and philosophy should still wander toward the meaning of its death—or that it has always lived knowing itself to be dying... that philosophy died one day, within history, or that it has always fed on its own agony, on the violent way it opens history by opposing itself to nonphilosophy, which is its past and its concern, its death and wellspring; that beyond the death, or dying nature, of philosophy, perhaps even because of it, thought still has a future, or even, as is said today, is still entirely to come because of what philosophy has held in store; or, more strangely still, that the future itself has a future—all these are unanswerable questions. By right of birth, and for one time at least, these are problems put to philosophy as problems philosophy cannot resolve NIHIL MARIUS DUS CARVALHUS TÁ ....1967...BOOK ET IN ANGLO-SEXON TECHNIQUE DERRIDA DERRIÉRE NON NON ...Ó KRIDA ...Writing and Difference by Jacques Derrida, Alan Bass First published in 1967, Writing and Difference, a collection of Jacques Derrida's essays written between 1959 and 1966, has become a landmark of contemporary French thought. In it we find Derrida at work on his systematic deconstruction of Western metaphysics. The book's first half, which includes the celebrated essay on Descartes and Foucault, shows the development of Derrida's method of deconstruction. In these essays, Derrida demonstrates the traditional nature of some purportedly nontraditional currents of modern thought—one of his main targets being the way in which "structuralism" unwittingly repeats metaphysical concepts in its use of linguistic models. The second half of the book contains some of Derrida's most compelling analyses of why and how metaphysical thinking must exclude writing from its conception of language, finally showing metaphysics to be constituted by this exclusion. These essays on Artaud, Freud, Bataille, Hegel, and Lévi-Strauss have served as introductions to Derrida's notions of writing and différence—the untranslatable formulation of a nonmetaphysical "concept" that does not exclude writing—for almost a generation of students of literature, philosophy, and psychoanalysis. Writing and Difference reveals the unacknowledged program that makes thought itself possible. In analyzing the contradictions inherent in this program, Derrida foes on to develop new ways of thinking, reading, and writing,—new ways based on the most complete and rigorous understanding of the old ways. Scholars and students from all disciplines will find Writing and Difference an excellent introduction to perhaps the most challenging of contemporary French thinkers—challenging because Derrida questions thought as we know it

(69 in quatri folli )
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THE MANIAC BRAIN ARE ON OR OFF?Madness and Civilization explores two major canonical events in the transition from medieval to modern social structures. The first is the differentiation of criminals, paupers, and the insane. The second is the relationship between the insane and the agency responsible for treating them. However, in typical Foucaultian style the book elliptically skips around these main topics, instead focusing on 18th century nosgraphies between hysteria and mania and melancholia, and the various humoral theories that underlay those now entirely discredited theories. The closing thoughts, the idea that the psychiatrist is essentially a moral shaman, and that madness serves as the dark mirror to enlightment rationality, lack the scholarly hitting power of the Panopticon...... Matthey, a Geneva physician very close to Rousseau's influence, formulates the prospect for all men of reason: 'Do not glory in your state, if you are wise and civilized men; an instant suffices to disturb and annihilate that supposed wisdom of which you are so proud; an unexpected event, a sharp and sudden emotion of the soul will abruptly change the most reasonable and intelligent man into a raving idiot.......LIKE VASCUS DA GAMA BAIXA ...Confined on the ship, from which there is no escape, the madman is delivered to the river with its thousand arms, the sea with its thousand roads, to that great uncertainty external to everything. He is a prisoner in the midst of what is the freest, the openest of routes: bound fast at the infinite crossroads. He is the Passenger par excellence: that is, the prisoner of the passage. And the land he will come to is unknown—as is, once he disembarks, the land from which he comes. He has his truth and his homeland only in that fruitless expanse between two countries that cannot belong to him .....People know what they do; frequently they know why they do what they do; but what they don't know is what what they do does.” ― Michel Foucault, Madness and Civilization: A History of Insanity in the Age of Reason And now, if we try to assign a value, in and of itself, outside its relations to the dream and with error, to classical unreason, we must understand it not as reason diseased, or as reason lost or alienated, but quite simply as reason dazzled Menuret repeats an observation of Forestier's that clearly shows how an excessive loss of a humor, by drying out the vessels and fibers, may provoke a state of mania; this was the case of a young man who 'having married his wife in the summertime, became maniacal as a result of the excessive intercourse he had with her.

A symbolic unity formed by the languor of the fluids, 


by the darkening of the animal spirits and the shadowy 


twi­light they spread over the images of things,


 by the viscosity of the blood that laboriously 


trickles through the vessels, 



by the thickening of vapors that have 


become blackish, deleterious, 



and acrid, by visceral functions that have be­come 


slow and somehow slimy-this unity, 




more a product of sensibility than of thought or theory,



 gives melancholia its characteristic stamp