Bloomsday, and then Galois's birthday, and then . . . Square Space!
"Ride a painted pony, let the spinning wheel spin."
Bloomsday, and then Galois's birthday, and then . . . Square Space!
"Ride a painted pony, let the spinning wheel spin."
"Pint comes from the Old French word pinte and perhaps ultimately
from Vulgar Latin pincta meaning 'painted,' for marks painted on
the side of a container to show capacity.*
* "Pint," Merriam-Webster.com. 2013. Retrieved 31 May 2013."
"Ride a painted pony . . ." — Play It as It Lays song
"I love you Mony Mony . . . ." — Another song
(continued from
last night)
“I argue that Sophocles did not intend to present either Antigone or Creon as the hero/heroine for his tragic play, as Hegel, Kierkegaard, and others stipulate. Rather, Sophocles presents the Chorus and the Watchman as the true heroic figures.”
–“A Burkean Reading of the Antigone: Comical and Choral Transcendence,” by Rebecca McCarthy, Kaplan University
Look Homeward, Norman
The evening number,
411, may be interpreted
as 4/11. From Log24
on that date:
As for the mid-day number
098, a Google search
(with the aid of, in retrospect,
the above family tribute)
on "98 'Norman Mailer'"
yields
|
Amazon.com: The Time of Our Time (Modern Library Paperbacks …
With The Time of Our Time (1998) Norman Mailer has archetypalized himself and in the seven years since publication, within which films Fear and Loathing in …
|
"Surely this sense of himself
as the republic's recording angel
accounts for the structure
of Mailer's anthology…."
Related material:
From Play It As It Lays,
the paperback edition of 1990
(Farrar, Straus and Giroux) —
|
Page 170:
"… In her half sleep
By the end of a week she was thinking constantly
170
even one micro-second she would have what she had |
The number 411 from
this evening's New York Lottery
may thus be regarded as naming the
"exact point in space and time"
sought in the above passage.
For a related midrash
on the meaning of the
passage's page number,
see the previous entry.
For a more plausible
recording angel,
see Sinatra's birthday,
December 12, 2002.
"I know what nothing means."
— Maria Wyeth in Play It As It Lays
"Nothing is random."
— Mark Helprin in Winter's Tale
"… She thought about nothing. Her mind was a blank tape, imprinted daily with snatches of things overheard, fragments of dealers' patter, the beginnings of jokes and odd lines of song lyrics. When she finally lay down nights in the purple room she would play back the day's tape, a girl singing into a microphone and a fat man dropping a glass, cards fanned on a table and a dealer's rake in closeup and a woman in slacks crying and the opaque blue eyes of the guard at some baccarat table. A child in the harsh light of a crosswalk on the Strip. A sign on Fremont Street. A light blinking. In her half sleep the point was ten, the jackpot was on eighteen, the only man that could ever reach her was the son of a preacher man, someone was down sixty, someone was up, Daddy wants a popper and she rode a painted pony let the spinning wheel spin.
By the end of a week she was thinking constantly about where her body stopped and the air began, about the exact point in space and time that was the difference between Maria and other. She had the sense that if she could get that in her mind and hold it for even one micro-second she would have what she had come to get. As if she had fever, her skin burned and crackled with a pinpoint sensitivity. She could feel smoke against her skin. She could feel voice waves. She was beginning to feel color, light intensities, and she imagined that she could be put blindfolded in front of the signs at the Thunderbird and the Flamingo and know which was which. 'Maria,' she felt someone whisper one night, but when she turned there was nobody.
She began to feel the pressure of Hoover Dam, there on the desert, began to feel the pressure and pull of the water. When the pressure got great enough she drove out there. All that day she felt the power surging through her own body. All day she was faint with vertigo, sunk in a world where great power grids converged, throbbing lines plunged finally into the shallow canyon below the dam's face, elevators like coffins dropped into the bowels of the earth itself. With a guide and a handful of children Maria walked through the chambers, stared at the turbines in the vast glittering gallery, at the deep still water with the hidden intakes sucking all the while, even as she watched, clung to the railings, leaned out, stood finally on a platform over the pipe that carried the river beneath the dam. The platform quivered. Her ears roared. She wanted to stay in the dam, lie on the great pipe itself, but reticence saved her from asking.
'Just how long have you been here now,' Freddy Chaikin asked when she ran into him in Caesar's. 'You planning on making a year of it? Or what?'"
Related material
The front page of today's
New York Times Book Review
and Log24, July 15, 2004:
|
A quotation that somehow
seems relevant:
O the mind, mind has mountains, |
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