Category: Verandah

Take me to the riverTake me to the river

Tetman Callis 0 Comments 6:06 am

“Our lives are completed at the moment of death: until then we are incessantly becoming, our potential outstanding like a debt. But as soon as we are all that we are ever going to be, we vanish, and it is left up to the living to process the meaning of a life—or, rather, to give it meaning by transmuting being into something that was. . . . It’s our job to finish the dead’s unfinished business, take the whole of a life and house it in our memory, turn present into past. What the body can no longer do, we do for it: we bathe it, dress it, keep it safe.” – C. Morgan Babst, “Death Is a Way to Be”

YepYep

Tetman Callis 0 Comments 5:21 am

“If you’re twenty years old and you’re not angry there’s something the matter with you, and if you’re angry and you’re seventy you’re an asshole.” – John Waters (interview by Meakin Armstrong in Guernica)

Opera as a major-league sportOpera as a major-league sport

Tetman Callis 0 Comments 7:55 am

“No one who did not live in Italy before 1848 can imagine what the opera house meant in those days. It was the only outlet for public life, and everyone took part. The success of a new opera was a capital event that stirred to its depths the town lucky enough to have witnessed it, and word of it ran all over Italy.” – John Roselli, Music and Musicians in Nineteenth Century Italy

Riots in the aisles, chaos in the cheap seatsRiots in the aisles, chaos in the cheap seats

Tetman Callis 0 Comments 5:42 am

“Composers of [the early Nineteenth century] seldom saw their work published, royalties were rare, and copyright laws were nonexistent. Various middlemen prevented composers from knowing what their real box-office receipts were. What money they did earn had to be divided with hack librettists. Most impresarios viewed composers and librettists as quickly replaceable commodities—they were far more concerned with the digestion of the prima donna and the mood of the tenor than the quality of the opera. Audiences were usually unruly if not outrageous. Talking, eating, smoking, and screaming over high notes were all good sport. A night at the opera could be pandemonium.” – David Dubal, The Essential Canon of Classical Music

Pushmi-PullyuPushmi-Pullyu

Tetman Callis 0 Comments 5:25 am

“As an editor confronting the day’s abundance, I want to find a reason to stop reading as soon as I can. As an editor in love with good writing, I want to find that I cannot stop.“ – Sven Birkerts, “Five Things the Submitting Writer Should Know”

Wait, wait, don’t tell meWait, wait, don’t tell me

Tetman Callis 0 Comments 7:14 am

“ ‘Information,’ writes Walter Benjamin, is ‘incompatible with the spirit of storytelling.’ For Benjamin, ‘half the art’ of telling a story lies in learning not to tell the news; narrative should suppress reportage, achieving instead ‘an amplitude that information lacks.’ Another name for this ‘amplitude’ might be what Flannery O’Connor calls ‘mystery’— fiction’s capacity, as she puts it, ‘to penetrate the concrete world’ of everyday facts, revealing ‘the image of ultimate reality.’ What she means is that reading allows us to face away from the world, and, in so doing, see through it. We read because we want to be somewhere else, but the best books make us realize that ‘elsewhere’ is where we already are. So, writing can turn toward or away from the known and the knowable, aiming at either information or mystery. One direction reports, reproduces, represents; the other points elsewhere, bringing the unprecedented into presence.” – David Winters, “Patterns of Anticipation”

Fighting through the time-warpFighting through the time-warp

Tetman Callis 0 Comments 10:04 am

“Consider the battles of Magdhaba and Rafa, in which the British defeated the Turks. In each case the British commander made the decision to break off the fight. In each case before the order could reach the front line the victory was won. At Magdhaba it appears that a large portion of the credit should go to General Cox, who commanded the 1st Australian Light Horse. When he received the order to retire he turned on the staff officer who brought it and shouted, ‘Take that damned thing away and let me see it for the first time in half an hour.’ Half an hour later victory was assured.” – George C. Marshall, Infantry in Battle

Play him like a violinPlay him like a violin

Tetman Callis 0 Comments 5:53 am

“In war, the soldier is the instrument with which leaders must work. They must learn to play on his emotions—his loyalty, his courage, his vanity, his sense of humor, his esprit de corps, his weakness, his strength, his confidence, his trust. Although in the heat of battle there is no longer time to prepare soldiers for the violent impressions of war, there are, however, two simple means by which a leader may lessen tension: He can do something himself that will give the men a feeling of security; or he can order his men to do something that requires activity and attention.” – George C. Marshall, Infantry in Battle

We’re all queerWe’re all queer

Tetman Callis 0 Comments 5:32 am

“I believe in aristocracy, though—if that is the right word, and if a democrat may use it. Not an aristocracy of power, based upon rank and influence, but an aristocracy of the sensitive, the considerate and the plucky. Its members are to be found in all nations and classes, and all through the ages, and there is a secret understanding between them when they meet. They represent the true human tradition, the one permanent victory of our queer race over cruelty and chaos. Thousands of them perish in obscurity, a few are great names. They are sensitive for others as well as for themselves, they are considerate without being fussy, their pluck is not swankiness but the power to endure, and they can take a joke.” – E. M. Forster, Two Cheers for Democracy

Call me luckyCall me lucky

Tetman Callis 0 Comments 5:33 am

“I returned, and saw under the sun, that the race is not to the swift, nor the battle to the strong, neither yet bread to the wise, nor yet riches to men of understanding, nor yet favour to men of skill; but time and chance happeneth to them all.” – Ecclesiastes 9:11

We don’t die until we’re deadWe don’t die until we’re dead

Tetman Callis 0 Comments 5:50 am

“Getting old is the second-biggest surprise of my life, but the first, by a mile, is our unceasing need for deep attachment and intimate love. We oldies yearn daily and hourly for conversation and a renewed domesticity, for company at the movies or while visiting a museum, for someone close by in the car when coming home at night. This is why we throng Match.com and OkCupid in such numbers—but not just for this, surely. Rowing in Eden (in Emily Dickinson’s words: ‘Rowing in Eden— / Ah—the sea’) isn’t reserved for the lithe and young, the dating or the hooked-up or the just lavishly married, or even for couples in the middle-aged mixed-doubles semifinals, thank God. No personal confession or revelation impends here, but these feelings in old folks are widely treated like a raunchy secret. The invisibility factor—you’ve had your turn—is back at it again. But I believe that everyone in the world wants to be with someone else tonight, together in the dark, with the sweet warmth of a hip or a foot or a bare expanse of shoulder within reach. Those of us who have lost that, whatever our age, never lose the longing: just look at our faces. If it returns, we seize upon it avidly, stunned and altered again.” – Roger Angell, “This Old Man”