quarta-feira, 21 de fevereiro de 2018

Philip Levine

What Work Is


We stand in the rain in a long line
waiting at Ford Highland Park. For work.
You know what work is—if you’re
old enough to read this you know what
work is, although you may not do it.
Forget you. This is about waiting,
shifting from one foot to another.
Feeling the light rain falling like mist
into your hair, blurring your vision
until you think you see your own brother
ahead of you, maybe ten places.
You rub your glasses with your fingers,
and of course it’s someone else’s brother,
narrower across the shoulders than
yours but with the same sad slouch, the grin
that does not hide the stubbornness,
the sad refusal to give in to
rain, to the hours of wasted waiting,
to the knowledge that somewhere ahead
a man is waiting who will say, “No,
we’re not hiring today,” for any
reason he wants. You love your brother,
now suddenly you can hardly stand
the love flooding you for your brother,
who’s not beside you or behind or
ahead because he’s home trying to   
sleep off a miserable night shift
at Cadillac so he can get up
before noon to study his German.
Works eight hours a night so he can sing
Wagner, the opera you hate most,
the worst music ever invented.
How long has it been since you told him
you loved him, held his wide shoulders,
opened your eyes wide and said those words,
and maybe kissed his cheek? You’ve never
done something so simple, so obvious,
not because you’re too young or too dumb,
not because you’re jealous or even mean
or incapable of crying in
the presence of another man, no,   
just because you don’t know what work is.

Egon Schiele


















Cem anos depois de pintadas, e século XXI já avançado, almas sensíveis agastam-se com a extraordinária energia sexual da pintura de Schiele. E apressam-se a garantir que outras almas sensíveis não sejam expostas a tamanha vulgaridade. 
Patético.








segunda-feira, 19 de fevereiro de 2018

domingo, 18 de fevereiro de 2018

Public Image Ltd.






Metal Box (1979)



O furacão que deixou definitivamente os Sex Pistols no passado e empurrou Lydon, Wobble e Levene - e o pós-punk - para o futuro.

segunda-feira, 5 de fevereiro de 2018

Kazimir Malevich




Black Square (1913)

Rui Pires Cabral

Budapeste


Frau Szabo está a pôr flores
na entrada, faz estalar a madeira junto ao vão
das portas. Parece-me que já conheço
este lugar, esta espécie de verde
nas paredes, a clarabóia toldada pela fuligem.

Ainda há pouco eu era um forasteiro a olhar
na ponte. Uma criança atirou papéis para o rio
e foi castigada, falava-se uma língua
assustadora.

Vir de tão longe para encontrar a sombra
de uma casa demolida. Jesus com olhos de corça
e o coração à mostra. E na casa de banho
a grande banheira de esmalte, com pés.



Wall of Voodoo










Wall of Voodoo (EP, 1980)





Dark Continent (1981)







Call of the West (1982)