Flannery O’Connor, “The Partridge Festival,” 1961
'What is your opinion of Singleton?' he asked abruptly. She raised her head and appeared to look through him. 'A Christ-figure,' she said. The boy was stunned. 'I mean as myth,' she said scowling. 'I’m not a Christian.' ... 'I’m here only because of my sympathy for Singleton. I’m going to write about him. Possibly a novel.' 'I intend to write a non-fiction study,' the girl said in a tone that made it evident fiction was beneath her.
The devil for Thomas was only a manner of speaking, but it was a manner appropriate to the situations his mother got into. Had she been in any degree intellectual, he could have proved to her from early Christian history that no excess of virtue is justified, that a moderation of good produces likewise a moderation in evil, that if Antony of Egypt had stayed at home and attended to his sister, no devils would have plagued him.
Flannery O’Connor, “The Comforts of Home,” 1960
The bunker has become a myth, present and absent at the same time: present as an object of disgust instead of a transparent and open civilian architecture, absent insofar as the essence of the new fortress is elsewhere, underfoot, invisible from here on in. … The bunker is the protohistory of an age in which the power of a single weapon is so great that no distance can protect you from it any longer.
Paul Virilio, Bunker Archaeology, 1975
The orientation facing the ocean, facing its void, the mythic character of this watchman's wake before the immensity of the oceanic horizon were not distinct from the anguished waiting of populations for the arrival of bomber squadrons in the darkness of the sky at night. From then on, there was no more protective expanse or distance, all territory was totally accessible, everything was immediately exposed to the gaze and to destruction.
Paul Virilio, Bunker Archaeology, 1975
Gods are never allowed to undo the work of each other.
Ovid, Metamorphoses, 8 CE
Close by is a shrine, not a splendid temple of marble and gold, but a timber structure, set in the shade of an ancient wood.
Ovid, Metamorphoses, 8 CE
Naturalisation can no longer signify the return to an Arcadia, a mythical status of nature in accordance with the immanence of the biological context of life. The world, turned to an anthropocene, has imposed the technologies of human activities over all other natural or geological forces. Nature is no longer a resource open to mechanical and technological regulation. A profound transformation of the very concept of nature has been set in motion; it is now inseparable from artificiality, technological and digital production. Moving far beyond the discipline's borders, architecture and urbanism are currently developing a praxis at the intersection of design, computer science, engineering and biology. As in biotechnology, physics, economics, social control, politics, the systematisation of computational simulation has opened new fields of research. Between nature and technology, the material condition of the 'artefact' is henceforth transferable to other materials and other scales.
Architects and urbanists can generate complex models resting on self-generation processes of matter and integrating computational, social, material, political and environmental variables. Architecture imposed itself on to other production scales, from the nano to the macro, intersecting other disciplinary fields and initiating new professional skills. Architecture redefines itself as an 'ecophysics' of heterogeneous domains, a condition that is as much architectural as it is political and cultural.
Frédéric Migayrou, “Naturalising Architecture,“ 2015
It was an adventure much could be made of: a walk
On the shores of the darkest known river,
Among the hooded, shoving crowds, by steaming rocks
And rows of ruined huts half buried in the muck;
Then to the great court with its marble yard
Whose emptiness gave him the creeps, and to sit there
In the sunken silence of the place and speak
Of what he had lost, what he still possessed of his loss,
And, then, pulling out all the stops, describing her eyes,
Her forehead where the golden light of evening spread,
The curve of her neck, the slope of her shoulders, everything
Down to her thighs and calves, letting the words come,
As if lifted from sleep, to drift upstream,
Against the water’s will, where all the condemned
And pointless labor, stunned by his voice’s cadence,
Would come to a halt, and even the crazed, disheveled
Furies, for the first time, would weep, and the soot-filled
Air would clear just enough for her, the lost bride,
To step through the image of herself and be seen in the light.
As everyone knows, this was the first great poem,
Which was followed by days of sitting around
In the houses of friends, with his head back, his eyes
Closed, trying to will her return, but finding
Only himself, again and again, trapped
In the chill of his loss, and, finally,
Without a word, taking off to wander the hills
Outside of town, where he stayed until he had shaken
The image of love and put in its place the world
As he wished it would be, urging its shape and measure
Into speech of such newness that the world was swayed,
And trees suddenly appeared in the bare place
Where he spoke and lifted their limbs and swept
The tender grass with the gowns of their shade,
And stones, weightless for once, came and set themselves there,
And small animals lay in the miraculous fields of grain
And aisles of corn, and slept. The voice of light
Had come forth from the body of fire, and each thing
Rose from its depths and shone as it never had.
And that was the second great poem,
Which no one recalls anymore. The third and greatest
Came into the world as the world, out of the unsayable,
Invisible source of all longing to be; it came
As things come that will perish, to be seen or heard
Awhile, like the coating of frost or the movement
Of wind, and then no more; it came in the middle of sleep
Like a door to the infinite, and, circled by flame,
Came again at the moment of waking, and, sometimes,
Remote and small, it came as a vision with trees
By a weaving stream, brushing the bank
With their violet shade, with somebody’s limbs
Scattered among the matted, mildewed leaves nearby,
With his severed head rolling under the waves,
Breaking the shifting columns of light into a swirl
Of slivers and flecks; it came in a language
Untouched by pity, in lines, lavish and dark,
Where death is reborn and sent into the world as a gift,
So the future, with no voice of its own, nor hope
Of ever becoming more than it will be, might mourn.
Mark Strand, Orpheus Alone, c. 1990
Lights were beginning to go out all around him. Under the trees on the boulevards, in a mysterious darkness, fewer people wandered past, barely recognizable. Now and then the shadow of a woman coming up to him, murmuring a word in his ear, asking him to take her home, would make Swann start. He brushed anxiously against all of those dim bodies as if, among the phantoms of the dead, in the kingdom of darkness, he were searching for Eurydice.
nickkahler reblogged
John William Waterhouse, Circe Invidiosa, 1892 (via bleistift)
Source: museuma.com
As the snow
descended
it turned to blood
during the night
transforming
the river to the
color
of mahogany
the ocean remained
Prussian blue
whent he starfish
floated upwards
as soul filaments
released
from undersea
volcanoes
the moon became
an ellipse
before collapse
the flames of the sun
froze
when Orpheus
began his turn
to his horror
Eurydice
continued her journey
towards him
kissing death
A shudder ran through
the winds of the angel
causing the air to chill.
John Hejduk, “The Hesitation of Orpheus” from The Riga Project, 1987
[The Eiffel Tower’s] uses are doubtless incontestable, but they seem quite ridiculous alongside the overwhelming myth of the Tower, of the human meaning which it has assumed throughout the world. This is because here the utilitarian excuses, however ennobled they may be by the myth of Science, are nothing in comparison to the great imaginary function which enables men to be strictly human.
Roland Barthes, "On the Eiffel Tower," Paris, France, c. 1960