2008 September 8  

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A Scheme for abolishing all Words is one of the wittiest and smartest comments on semantics. (Illustration: extreme close-up from the movie "The Big Swallow" (1901), produced and directed by James Williamson (1855-1933)
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A Scheme for abolishing all Words is one of the wittiest and smartest comments on semantics. (Illustration: extreme close-up from the movie "The Big Swallow" (1901), produced and directed by James Williamson (1855-1933)

Jeffrey Harp - Victorian Surrealism[1]


Boudewijn Büch's "Druggebruik in de Nederlandse literatuur van Bilderdijk tot Vinkenoog", Vrij Nederland, kleurkatern (30-9-1978) 22-34.


I'm constantly surprised by FaceBook. While I'll readily admit that I like it for the voyeuristic aspects, it's also an amazingly powerful publishing environment. The ease with which one is invited to share the tiniest details of one's life, or the profoundest statements about life itself. The ease with which one can leave comments. The ease with which it publishes YouTube favourites. It is so much more elegant than any publishing platform that I've ever known.

Don't get me wrong. There are still many things you can't do on FaceBook which you can on Wordpress. Like coping articles links included. Or format your posts. But FaceBook wins hands down in terms of effortless interactivity and a general comfort of web two-point-o-ishness.

Try it and hope to see you there[2].


Un coup de dés jamais n'abolira le hasard ('A roll of the dice will never abolish chance') (1897) Stéphane Mallarmé was the ultimate precursor to the visual poetry or concrete poetry movement.

"To name an object is to suppress three-fourths of the delight of a poem which consists of divining, little by little; to suggest it, that is the dream. It is the perfect use of this mystery which constitutes the symbol: to evoke an object little by little in order to show a mental state, or, inversely, to choose an object and bring forth from it a state of soul by a series of decipherings." -- Stéphane Mallarmé quoted in Jules Huret, Enquête sur l'évolution littéraire, 1891.



Clemens Brentano @330
In 1818, weary of his somewhat restless and unsettled life, Clemens Brentano returned to the practice of the Catholic faith and withdrew to the monastery of Dülmen, where he lived for some years in strict seclusion. He took on there the position of secretary to the Catholic visionary nun, the Blessed Anne Catherine Emmerich, of whom it was said that, during the last 12 years of her life, she could eat no food except Holy Communion, nor take any drink except water, subsisting entirely on the Holy Eucharist. It was claimed that from 1802 until her death, she bore the wounds of the Crown of Thorns, and from 1812, the full stigmata, including a cross over her heart and the wound from the lance. Clemens Brentano made her acquaintance, was converted to the strong faith, and remained at the foot of the stigmatist's bed copying her dictation without embellishment from 1818-1824. When she died, he prepared an index of the visions and revelations from her journal, The Dolorous Passion of Our Lord and Saviour Jesus Christ. One of these visions made known by Brentano later led to the discovery of the House of the Virgin Mary in Ephesus by Abbé Julien Gouyet, a French priest, in 1881.




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