PORTFOLIO (2)
Re: Tanto Tempo
Roberta:
Are you brazilian? Como estas? Here, in this contry, almost nothing is =
new... The writers, the painters, the movie makers that the majority of the=
public know, are always the same... Well, there are great concerts of musi=
c in did.. Dave Douglas come to Leiria, in the next 17 of October and, two=
years ago, i have saw Pascal Comelade, Elliot Sharp, Fred Frith and John Z=
orn. About your question, Bebel Gilberto is almost unknoun here... Tanto Te=
mpo album solded very litlle. But pepole had listening in the radio, the tr=
ack "so nice", because this particular tune, was divulged by a brazilian so=
ap! But, if you ask to a portuguese, who is Joao Gilberto, the father of =
Bebel, everybody know him, as the others classical names of Bossa Nova, lik=
e Caetano or her sister, Betania, Chico Buarque or Gilberto Gil! By the w=
ay, my favourite of the brazilian musicians, actually, is Amon Tobin (Cuj=
o).
About portuguese musicians, we have Nuno Rebelo (he was the mentor of M=
ler If Dada), a great composer, Carlos Zingaro that live in France (he had =
worked with Laurie Anderson, for exemple) and Jazz musicians, like Barretto=
or Maria Joao and Mario Laginha. I recomend to you, to listening the n=
ew work of Carlos Zingaro, "Cage of Sand."
See you soon, adeus!
Joao Pedro
oliveirapereira1@sapo.pt
----- Original Message -----
From: Roberta Lage
To: Joao_Pedro
Sent: Friday, September 27, 2002 5:01 AM
Subject: Re: RHIZOME_RAW: 51st STATE OF AMERICA
Hey Are you talking from Portugal??
Tell me what's new there? Is Bebel Gilberto famous there?
---------------------------------------------------------------------------=
---
Do you Yahoo!?
New DSL Internet Access from SBC & Yahoo!
Are you brazilian? Como estas? Here, in this contry, almost nothing is =
new... The writers, the painters, the movie makers that the majority of the=
public know, are always the same... Well, there are great concerts of musi=
c in did.. Dave Douglas come to Leiria, in the next 17 of October and, two=
years ago, i have saw Pascal Comelade, Elliot Sharp, Fred Frith and John Z=
orn. About your question, Bebel Gilberto is almost unknoun here... Tanto Te=
mpo album solded very litlle. But pepole had listening in the radio, the tr=
ack "so nice", because this particular tune, was divulged by a brazilian so=
ap! But, if you ask to a portuguese, who is Joao Gilberto, the father of =
Bebel, everybody know him, as the others classical names of Bossa Nova, lik=
e Caetano or her sister, Betania, Chico Buarque or Gilberto Gil! By the w=
ay, my favourite of the brazilian musicians, actually, is Amon Tobin (Cuj=
o).
About portuguese musicians, we have Nuno Rebelo (he was the mentor of M=
ler If Dada), a great composer, Carlos Zingaro that live in France (he had =
worked with Laurie Anderson, for exemple) and Jazz musicians, like Barretto=
or Maria Joao and Mario Laginha. I recomend to you, to listening the n=
ew work of Carlos Zingaro, "Cage of Sand."
See you soon, adeus!
Joao Pedro
oliveirapereira1@sapo.pt
----- Original Message -----
From: Roberta Lage
To: Joao_Pedro
Sent: Friday, September 27, 2002 5:01 AM
Subject: Re: RHIZOME_RAW: 51st STATE OF AMERICA
Hey Are you talking from Portugal??
Tell me what's new there? Is Bebel Gilberto famous there?
---------------------------------------------------------------------------=
---
Do you Yahoo!?
New DSL Internet Access from SBC & Yahoo!
Re: 51st STATE OF AMERICA
Hi, furtherfield!
Ten years ago, in 21 of August of 1992, i had a amazing experience in the=
Montemor Velho castle. In that night, i saw a live performence of Test Dep=
t! Introducing the show, the music of Arvo Part and the track "miserere".=
Than, in the walls of this monumental and medieval castle, was projected f=
ilms about war, black and white films about arabes, the cristian cruzades a=
nd so one, when the castle almost setting fire, with many stakes, pyres tha=
t burning in the merlons of the castle. Of course, it was just a performenc=
e, included in the CITEMOR 92 activities. During that time, the percussions=
played "current affairs", "Legacy" and so one... It was a apocalyptic, pol=
itical, industrial and dancing experience, a very intense one... I will nev=
er forget, principally, the speech, the strong words accompanying this meta=
l sounds, terrible order words, like "Long live Saddam Hussein", accusation=
s, blasphemys, with voices samples of George Bush, John Major and Margareth=
Thatcher!
Today, i don't listening industrial music any more! Now, i prefer jazz,=
contemporary classica (Ligeti, Boulez, Luigi Nono) or jazz fusion with hip=
-hop, like Cinematic Orchestra or Yesterday's New Quintet, but, there's a e=
xception: "The Unacceptable Face of Freedom" Test Dept. album. This particu=
lary work, still have such actuality and is so strong (the impressive "51st=
STATE OF AMERICA", or the manifesto against police brutality that is "STAT=
EMENT") that i have this CD, always near of my computer desk. In fact, in t=
his very moment, when i write this post, i'm listening the "FIST" track.
Best regards:
Joao Pedro
oliveirapereira1@sapo.pt
----- Original Message -----
From: furtherfield
To: -IID42 Kandinskij @27+
Cc: list@rhizome.org
Sent: Thursday, September 26, 2002 11:13 AM
Subject: Re: RHIZOME_RAW: Hitler project
mmm,
The article that goes with this event...
The Unacceptable Face of Freedom
'No, not an article on Test Dept., for those of you who expected such a t=
hing! Instead, inspired by Thee Grey Wolves, I'd like to take a look at fas=
cist imagery in "industrial" and experimental music'. http://www.hyperre=
al.org/intersection/zines/est/articles/freedom.html
The link between fascist/fetish, street urban wear & Industrial music is =
a strange dichotomy. I myself in my younger years was partial to wearing al=
l black with chic fascistic style, overtones. It is also pretty hot in the =
homo-erotic camp. My brother after he came out of borstal, was a skinhead o=
r suedehead. I was into Throbbing Gristle, Liabach and all that stuff, with=
a more punky element. I remember sitting on a train after visiting London =
going back Southend, about to bunk on a Barking tube link after having figh=
ts on the streets of London against 'NF' backed skinheads at an anti-nazi r=
ally. On the same train there were a few skinheads all dressed in black, wi=
th them was a certain now very well known Gary Bushel who was then respecte=
d by most racist skinheads.
They started picking on some black people sitting on the tube who were or=
iginally just minding their own business, Gary Bushel was egging them on al=
l the way. Our small gang then attacked the fascist skinheads and gave them=
a good hiding, at the next stop we all got arrested and piled into the sam=
e police van. The police (because I looked similar) asked if I was with the=
skinheads, I said no, I'm not sure if they believed me though. I had a ski=
nhead type haircut but more spikey red yet It got me thinking about how car=
eful one should dress after that. Now dress code or urban wear is not such =
a significant 'signifier' in repsect of delcaring your beliefs or clan or i=
dentity. After questioning my many blindspots which included not taking per=
sonal resposibility for my masculinity, I long ago dropped being part of a =
gang, for I realised that mob rule was too easy manipulated by mini despots=
.
I have always been into what is now teremd as 'Darkwave' but with a new w=
ave edge such as Recoil who I think are a pretty kool band - music that com=
es from an industrial genre. Of course into many other noise expounders als=
o such as the Fall. Although urban culture seems to be not so dynamic these=
days with a lot of music being propogated by money crunching record compan=
ies, trying to kill off independent music. I also have a problem with Stuar=
t Home and his fascist leanings and connexions with skinhead culture. Plus =
all his avantgarde books seem to be about him alone and how he has started =
every movement under the sun.
This also brings me back to a poem by Syvia Plath (I respect her work a l=
ot)
Imagery in Sylvia Plath's "Daddy"
Sylvia Plath once said that "Daddy" is about a girl with an Electra compl=
ex. The speaker of the poem has lost her father at age ten, at a time when =
she still adored him unconditionally, then she gradually realizes the oppre=
ssing dominance of the father, and compares him to a nazi, a devil, and a v=
ampire. She cannot deal with his death and has to get over the love-hatred =
and the images that haunt her. After an attempted suicide she marries man a=
s domineering as her father, and leads a short and painful marriage.
http://www.geocities.com/SoHo/Studios/8984/daddy.htm
marc
> And this also:
>
> GOD BLAST AMERICA!
>
> SAT 09.28.02 - DAY TWO
>
> Doors open at 12 midnight [that's late Saturday night - please note that
> some
> other bands not connected with the festival are playing from 8pm - midn=
ight]
>
> 12:45am CON-DOM
> 1:45am BOCKSHOLM [featuring LINA BABY DOLL of DEUTSCH NEPAL and PETER
> ANDERSSON of RAISON D'ETRE]
> 2:45am GENOCIDE ORGAN
>
> @ NORTH 6 / 66 N 6th ST / BROOKLYN, NY / USA
> http://www.northsix.com/
>
> $20/day or $50/3-day pass in advance
> $22 at the door
> 18+ ID Required
>
> Advance tickets and 3-day passes are available only until 10am Thursday=
9/26
> from http://www.tesco-distro.com/god/blast/america/tickets.html
>
> DJs noiseindex, SNC, Peter Lee, Leech and 14f13
>
> video projection by Eastern Extermination Company
>
> vending by:
>
> TESCO USA
> FORCE OF NATURE PRODUCTIONS
> ANNIHILVS
> MALIGNANT RECORDS
> CYCLIC LAW
>
>
>
>
> + Barbarians at the XOR-gate
> -> post: list@rhizome.org
> -> questions: info@rhizome.org
> -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz
> -> give: http://rhizome.org/support
> +
> Subscribers to Rhizome are subject to the terms set out in the
> Membership Agreement available online at http://rhizome.org/info/29.php
>
>
Ten years ago, in 21 of August of 1992, i had a amazing experience in the=
Montemor Velho castle. In that night, i saw a live performence of Test Dep=
t! Introducing the show, the music of Arvo Part and the track "miserere".=
Than, in the walls of this monumental and medieval castle, was projected f=
ilms about war, black and white films about arabes, the cristian cruzades a=
nd so one, when the castle almost setting fire, with many stakes, pyres tha=
t burning in the merlons of the castle. Of course, it was just a performenc=
e, included in the CITEMOR 92 activities. During that time, the percussions=
played "current affairs", "Legacy" and so one... It was a apocalyptic, pol=
itical, industrial and dancing experience, a very intense one... I will nev=
er forget, principally, the speech, the strong words accompanying this meta=
l sounds, terrible order words, like "Long live Saddam Hussein", accusation=
s, blasphemys, with voices samples of George Bush, John Major and Margareth=
Thatcher!
Today, i don't listening industrial music any more! Now, i prefer jazz,=
contemporary classica (Ligeti, Boulez, Luigi Nono) or jazz fusion with hip=
-hop, like Cinematic Orchestra or Yesterday's New Quintet, but, there's a e=
xception: "The Unacceptable Face of Freedom" Test Dept. album. This particu=
lary work, still have such actuality and is so strong (the impressive "51st=
STATE OF AMERICA", or the manifesto against police brutality that is "STAT=
EMENT") that i have this CD, always near of my computer desk. In fact, in t=
his very moment, when i write this post, i'm listening the "FIST" track.
Best regards:
Joao Pedro
oliveirapereira1@sapo.pt
----- Original Message -----
From: furtherfield
To: -IID42 Kandinskij @27+
Cc: list@rhizome.org
Sent: Thursday, September 26, 2002 11:13 AM
Subject: Re: RHIZOME_RAW: Hitler project
mmm,
The article that goes with this event...
The Unacceptable Face of Freedom
'No, not an article on Test Dept., for those of you who expected such a t=
hing! Instead, inspired by Thee Grey Wolves, I'd like to take a look at fas=
cist imagery in "industrial" and experimental music'. http://www.hyperre=
al.org/intersection/zines/est/articles/freedom.html
The link between fascist/fetish, street urban wear & Industrial music is =
a strange dichotomy. I myself in my younger years was partial to wearing al=
l black with chic fascistic style, overtones. It is also pretty hot in the =
homo-erotic camp. My brother after he came out of borstal, was a skinhead o=
r suedehead. I was into Throbbing Gristle, Liabach and all that stuff, with=
a more punky element. I remember sitting on a train after visiting London =
going back Southend, about to bunk on a Barking tube link after having figh=
ts on the streets of London against 'NF' backed skinheads at an anti-nazi r=
ally. On the same train there were a few skinheads all dressed in black, wi=
th them was a certain now very well known Gary Bushel who was then respecte=
d by most racist skinheads.
They started picking on some black people sitting on the tube who were or=
iginally just minding their own business, Gary Bushel was egging them on al=
l the way. Our small gang then attacked the fascist skinheads and gave them=
a good hiding, at the next stop we all got arrested and piled into the sam=
e police van. The police (because I looked similar) asked if I was with the=
skinheads, I said no, I'm not sure if they believed me though. I had a ski=
nhead type haircut but more spikey red yet It got me thinking about how car=
eful one should dress after that. Now dress code or urban wear is not such =
a significant 'signifier' in repsect of delcaring your beliefs or clan or i=
dentity. After questioning my many blindspots which included not taking per=
sonal resposibility for my masculinity, I long ago dropped being part of a =
gang, for I realised that mob rule was too easy manipulated by mini despots=
.
I have always been into what is now teremd as 'Darkwave' but with a new w=
ave edge such as Recoil who I think are a pretty kool band - music that com=
es from an industrial genre. Of course into many other noise expounders als=
o such as the Fall. Although urban culture seems to be not so dynamic these=
days with a lot of music being propogated by money crunching record compan=
ies, trying to kill off independent music. I also have a problem with Stuar=
t Home and his fascist leanings and connexions with skinhead culture. Plus =
all his avantgarde books seem to be about him alone and how he has started =
every movement under the sun.
This also brings me back to a poem by Syvia Plath (I respect her work a l=
ot)
Imagery in Sylvia Plath's "Daddy"
Sylvia Plath once said that "Daddy" is about a girl with an Electra compl=
ex. The speaker of the poem has lost her father at age ten, at a time when =
she still adored him unconditionally, then she gradually realizes the oppre=
ssing dominance of the father, and compares him to a nazi, a devil, and a v=
ampire. She cannot deal with his death and has to get over the love-hatred =
and the images that haunt her. After an attempted suicide she marries man a=
s domineering as her father, and leads a short and painful marriage.
http://www.geocities.com/SoHo/Studios/8984/daddy.htm
marc
> And this also:
>
> GOD BLAST AMERICA!
>
> SAT 09.28.02 - DAY TWO
>
> Doors open at 12 midnight [that's late Saturday night - please note that
> some
> other bands not connected with the festival are playing from 8pm - midn=
ight]
>
> 12:45am CON-DOM
> 1:45am BOCKSHOLM [featuring LINA BABY DOLL of DEUTSCH NEPAL and PETER
> ANDERSSON of RAISON D'ETRE]
> 2:45am GENOCIDE ORGAN
>
> @ NORTH 6 / 66 N 6th ST / BROOKLYN, NY / USA
> http://www.northsix.com/
>
> $20/day or $50/3-day pass in advance
> $22 at the door
> 18+ ID Required
>
> Advance tickets and 3-day passes are available only until 10am Thursday=
9/26
> from http://www.tesco-distro.com/god/blast/america/tickets.html
>
> DJs noiseindex, SNC, Peter Lee, Leech and 14f13
>
> video projection by Eastern Extermination Company
>
> vending by:
>
> TESCO USA
> FORCE OF NATURE PRODUCTIONS
> ANNIHILVS
> MALIGNANT RECORDS
> CYCLIC LAW
>
>
>
>
> + Barbarians at the XOR-gate
> -> post: list@rhizome.org
> -> questions: info@rhizome.org
> -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz
> -> give: http://rhizome.org/support
> +
> Subscribers to Rhizome are subject to the terms set out in the
> Membership Agreement available online at http://rhizome.org/info/29.php
>
>
RHIZOME RAW: The Deep Black Ground of Things
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Fw: RHIZOME RAW: The Night of the Thousand Days
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Like Proust said, each thing have a resonance charge that evoke a new=
impression, a invented life or a memory of the life that never happened, f=
ragments of the night, a seminal indicium of thousand days, forever losted.
They bent below their bodies, doubled and duplicated in two sexes, ea=
ch one with two legs, two arms, two ears, hearing the moan of the bodies, =
drawing in their breath, quick inhaling life, suck and pushing, chest agai=
nst breast, the niple of the breast, hidden for the back of the neck, wrun=
g in the shoulders and the heads, sticking the lips, yeilding to each other=
, hearing the lips rustling, narrowed by the heads, contracting in their mo=
uths, the words that doubled and duplicated this stranges beings, everyone =
of them, hidden in a fold of the sheet, wrinkled like the coverlet, in the=
bed feet, discovering the lower sheet, where a man and a woman, like two=
man-folds, wrapping together in this opened bed, a furniture of wood, w=
ith a matress of hair and a skin counterpane, sewed together with a imperc=
eptible joint, engajed in two lifes, in a finedrawing of a imperceptibles t=
hings, like the patchwork coverlet, creased in their feet, fallen down from=
the sleeping bed, for a man and a women playing the devil, making the sev=
en and benumbed sevenfolds into this game, the same number that amount the=
ir clothes, excepting the shoes, making up of the dressing pieces among the=
floor.
Piece number one: a pair of blue jeans.
Piece number two: a pair of trousers in black cotton.
Piece number three: a sleeves jeans shirt.
Piece number four: a blouse in black cotton.
Piece number five: a pair of red boxers.
Piece number six: a pair of black panties.
Piece number seven: a black brassiere.
The city bustle was a billow sound, a lengthening rumor, repeating =
and widening in the distance, like a deaf noise, flowed into the house, dra=
wning that lovers in a billow of pleasure, a lullaby city song, a huge s=
ea of traffic that came and went, rippling in a wave of signes, the secre=
ts that they said to eachother, like the desire of them, was far from ther=
e, outside to the bedroom and what induced the bodies, the limbs, the finge=
rs, the movement of each hand, that attracted every mouth and sex, derived =
from a complex body, dissemineted in a infinity of things, in circunstancia=
l transit that they was, in a world which remained only a echo, diffuse on =
the billow of the noises and detached from this ground wave, it risen until=
leave, in a fraction of a second, the speed up of a motor-car, the creaky =
brakes of a city bus, the squeak of the children, playing in the street, a=
hydraulic lorry discharge, doing tremble the compartment and all the thing=
s in the house.
The water glass, the picture frame, the shade of the lamp in the be=
dside table, the ashtray, the lighter, the pencil and the clippings box in =
the writing table, the bookcase, the wardrobe door, the umbrella stand, th=
e looking glass on the wall, upon the chest of drawers, on the left side of=
the bed, between whiles and chinks, by bad practices, they touching, kissi=
ng, fucking and when they stoped, was because the influx of something, su=
ddenly ceased her effect, but when they satarting again, was by unknoun ind=
ustry, moved by some craft or a artifice that making the bodies, beginning =
again their function, switched on by a vibratory secret in that walls and t=
he bedroom, was a worldly resonance box, stimulating on the spot, the ear =
laps, the mouth lips, the tip tongues, tools of precision, cutting, switchi=
ng off the noise, of the wave sound that repeating, the same rumor of desir=
e, constructed in the distant city, by the ambulance sirens, the blowing si=
gnals of the trains, the horns of some vehicles, a train wheels on the far=
railroad, rumbling on a groan of pleasure, insinuating on the bedroom, a h=
ollow sounding of a busy factory, announced a turn change, in the productiv=
e cycle, in continued act, pumping the muscle of the heart, flux that perfo=
rmed the bodies, simply a pair of pistons, which was their limbs, only bei=
ng useful to ignite, the chemical combustion of the passion, and what's goi=
ng on, upon the boundaries of the world, burned in the lovers transporting=
, overwhelming desire that they attached, and the strange things that apart=
ed them, in Venus Actus has being consumed, forever destroyed.
In: "A Noite dos Mil Dias", pp. 288, 289
Joao Pedro
oliveirapereira1@sapo.pt
http://oliveirapereira1.no.sapo.pt
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<DIV><BR> </DIV>
<DIV><FONT face=Arial size=2></FONT> </DIV>
<BLOCKQUOTE dir=ltr
style="PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LE=
FT: #000000 2px solid; MARGIN-RIGHT: 0px">
<DIV><BR></DIV>
<DIV><FONT face=Arial size=2> Like Proust said, eac=
h thing
have a resonance charge that evoke a new impression, a invented=
life
or a memory of the life that never happened, fragments of the night,=
a seminal indicium of thousand days, forever losted.</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT> </DIV>
<DIV><FONT face=Arial size=2> <FONT face="Book An=
tiqua">They
bent below their bodies, doubled and duplicated in two sexes, each one wi=
th
two legs, two arms, two ears, hearing the moan of the
bodies, drawing in their breath, quick inhaling life, suck and=
pushing, chest against breast, the niple of the breast, hidden
for the back of the neck, wrung in the shoulders and=
the
heads, sticking the lips, yeilding to each other, hearing the lips=
rustling, narrowed by the heads, contracting in their mouths, the wo=
rds
that doubled and duplicated this stranges beings, everyone of them,
hidden in a fold of the sheet, wrinkled like the coverlet, in the b=
ed
feet, discovering the lower sheet, where a man
and a woman, like two man-folds, wrapping
together in this opened bed, a furniture of
wood, with a matress of hair and a skin counterpane, sewe=
d
together with a imperceptible joint, engajed in two lifes, in a
finedrawing of a imperceptibles things, like the patchwork
coverlet, creased in their feet, fallen down from
the sleeping bed, for a man and a women playing the devil, mak=
ing
the seven and benumbed sevenfolds into this game, the sam=
e
number that amount their clothes, excepting the shoes, making up of =
the
dressing pieces among the floor.</FONT></FONT></DIV>
<DIV><FONT face=Arial size=2><FONT
face="Book Antiqua"> Piece number one: a =
pair of
blue jeans. </FONT></FONT></DIV>
<DIV><FONT face=Arial size=2> <FONT
face="Book Antiqua"> Piece number two: a pair of trousers in black
cotton.</FONT></FONT></DIV>
<DIV><FONT face="Book Antiqua" size=2> =
Piece
number three: a sleeves jeans shirt.</FONT></DIV>
<DIV><FONT face="Book Antiqua" size=2> =
Piece
number four: a blouse in black cotton.</FONT></DIV>
<DIV><FONT face="Book Antiqua" size=2> =
Piece
number five: a pair of red boxers.</FONT></DIV>
<DIV><FONT face="Book Antiqua" size=2> =
Piece
number six: a pair of black panties.</FONT></DIV>
<DIV><FONT face="Book Antiqua" size=2> =
Piece
number seven: a black brassiere.</FONT></DIV>
<DIV><FONT face="Book Antiqua" size=2> =
The city
bustle was a billow sound, a lengthening rumor, repeating
and widening in the distance, like a deaf noise, flow=
ed
into the house, drawning that lovers in a billow of pleasu=
re,
a lullaby city song, a huge sea of traffic that
came and went, rippling in a wave of signes, the
secrets that they said to eachother, like the desire of them, =
was
far from there, outside to the bedroom and what induced the bodies, =
the
limbs, the fingers, the movement of each hand, that attracted every =
mouth
and sex, derived from a complex body, dissemineted in a infinity of=
things, in circunstancial transit that they was, in a
world which remained only a echo, diffuse on the billow of=
the
noises and detached from this ground wave, it risen until=
leave, in a fraction of a second, the speed up of a motor-car,=
the creaky brakes of a city bus, the squeak of the children, =
playing in the street, a hydraulic lorry discharge, doing=
tremble the compartment and all the things in the house.</FONT></DIV>
<DIV><FONT face="Book Antiqua" size=2> The wa=
ter
glass, the picture frame, the shade of the lamp in the bedside=
table, the ashtray, the lighter, the pencil and the clippings box in=
the
writing table, the bookcase, the wardrobe door, the
umbrella stand, the looking glass on the wall, upon the chest of
drawers, on the left side of the bed, between whiles and=
chinks, by bad practices, they touching, kissing, fucking and w=
hen
they stoped, was because the influx of something,
suddenly ceased her effect, but when they satarting again, was =
by
unknoun industry, moved by some craft or a artifice that making the bodie=
s,
beginning again their function, switched on by a vibratory secr=
et
in that walls and the bedroom, was a worldly resonance box=
,
stimulating on the spot, the ear laps, the mouth lips, the tip=
tongues, tools of precision, cutting, switching off the noise, =
of
the wave sound that repeating, the same rumor of desire, constructed=
in
the distant city, by the ambulance sirens, the blowing sig=
nals
of the trains, the horns of some vehicles, a train wheels
on the far railroad, rumbling on a groan of pleasure, insinuating
on the bedroom, a hollow sounding of a busy factory, announced =
a
turn change, in the productive cycle, in continued act, pumping =
;the
muscle of the heart, flux that performed the bodies,
simply a pair of pistons, which was their limbs, =
;only
being useful to ignite, the chemical combustion of the passion, and=
what's going on, upon the boundaries of the world, burned=
in the lovers transporting, overwhelming desire that they=
attached, and the strange things that aparted them, in Venus Actus has be=
ing
consumed, forever destroyed.</FONT></DIV>
<DIV><FONT face="Book Antiqua" size=2></FONT> </DIV>
<DIV><FONT face="Book Antiqua"
size=2> &nbs=
p;
In: "A Noite dos Mil Dias", pp. 288, 289</FONT></DIV>
<DIV><FONT face="Book Antiqua" size=2></FONT> </DIV>
<DIV><FONT face=Arial
size=2> &nbs=
p; &=
nbsp;
Joao Pedro</FONT></DIV>
<DIV><FONT face=Arial
size=2> &nbs=
p; &=
nbsp; <A
href="mailto:oliveirapereira1@sapo.pt">oliveirapereira1@sapo.pt</A></FO=
NT></DIV>
<DIV><FONT face=Arial
size=2> &nbs=
p; &=
nbsp; <A
href="http://oliveirapereira1.no.sapo.pt">http://oliveirapereira1.no.sa=
po.pt</A></FONT></DIV>
<DIV><FONT face=Arial size=2></FONT> </DIV>
<DIV><FONT face=Arial
size=2> <IM=
G
alt="" hspace=0 src="cid:007501c261bd$e2f0cba0$0100007f@mecanismum"=
align=baseline border=0></FONT></DIV>
<DIV><FONT face=Arial size=2></FONT> </DIV>
<DIV><FONT face="Book Antiqua" size=2> =
</FONT></DIV>
<DIV><FONT face="Book Antiqua" size=2> =
</FONT></DIV>
<DIV><FONT face=Arial
size=2> </FONT></DIV></BLOCKQUOTE></BODY></HTML>
------=_NextPart_001_0078_01C261C6.44BC5F90--
Content-Type: text/plain;
charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable
Like Proust said, each thing have a resonance charge that evoke a new=
impression, a invented life or a memory of the life that never happened, f=
ragments of the night, a seminal indicium of thousand days, forever losted.
They bent below their bodies, doubled and duplicated in two sexes, ea=
ch one with two legs, two arms, two ears, hearing the moan of the bodies, =
drawing in their breath, quick inhaling life, suck and pushing, chest agai=
nst breast, the niple of the breast, hidden for the back of the neck, wrun=
g in the shoulders and the heads, sticking the lips, yeilding to each other=
, hearing the lips rustling, narrowed by the heads, contracting in their mo=
uths, the words that doubled and duplicated this stranges beings, everyone =
of them, hidden in a fold of the sheet, wrinkled like the coverlet, in the=
bed feet, discovering the lower sheet, where a man and a woman, like two=
man-folds, wrapping together in this opened bed, a furniture of wood, w=
ith a matress of hair and a skin counterpane, sewed together with a imperc=
eptible joint, engajed in two lifes, in a finedrawing of a imperceptibles t=
hings, like the patchwork coverlet, creased in their feet, fallen down from=
the sleeping bed, for a man and a women playing the devil, making the sev=
en and benumbed sevenfolds into this game, the same number that amount the=
ir clothes, excepting the shoes, making up of the dressing pieces among the=
floor.
Piece number one: a pair of blue jeans.
Piece number two: a pair of trousers in black cotton.
Piece number three: a sleeves jeans shirt.
Piece number four: a blouse in black cotton.
Piece number five: a pair of red boxers.
Piece number six: a pair of black panties.
Piece number seven: a black brassiere.
The city bustle was a billow sound, a lengthening rumor, repeating =
and widening in the distance, like a deaf noise, flowed into the house, dra=
wning that lovers in a billow of pleasure, a lullaby city song, a huge s=
ea of traffic that came and went, rippling in a wave of signes, the secre=
ts that they said to eachother, like the desire of them, was far from ther=
e, outside to the bedroom and what induced the bodies, the limbs, the finge=
rs, the movement of each hand, that attracted every mouth and sex, derived =
from a complex body, dissemineted in a infinity of things, in circunstancia=
l transit that they was, in a world which remained only a echo, diffuse on =
the billow of the noises and detached from this ground wave, it risen until=
leave, in a fraction of a second, the speed up of a motor-car, the creaky =
brakes of a city bus, the squeak of the children, playing in the street, a=
hydraulic lorry discharge, doing tremble the compartment and all the thing=
s in the house.
The water glass, the picture frame, the shade of the lamp in the be=
dside table, the ashtray, the lighter, the pencil and the clippings box in =
the writing table, the bookcase, the wardrobe door, the umbrella stand, th=
e looking glass on the wall, upon the chest of drawers, on the left side of=
the bed, between whiles and chinks, by bad practices, they touching, kissi=
ng, fucking and when they stoped, was because the influx of something, su=
ddenly ceased her effect, but when they satarting again, was by unknoun ind=
ustry, moved by some craft or a artifice that making the bodies, beginning =
again their function, switched on by a vibratory secret in that walls and t=
he bedroom, was a worldly resonance box, stimulating on the spot, the ear =
laps, the mouth lips, the tip tongues, tools of precision, cutting, switchi=
ng off the noise, of the wave sound that repeating, the same rumor of desir=
e, constructed in the distant city, by the ambulance sirens, the blowing si=
gnals of the trains, the horns of some vehicles, a train wheels on the far=
railroad, rumbling on a groan of pleasure, insinuating on the bedroom, a h=
ollow sounding of a busy factory, announced a turn change, in the productiv=
e cycle, in continued act, pumping the muscle of the heart, flux that perfo=
rmed the bodies, simply a pair of pistons, which was their limbs, only bei=
ng useful to ignite, the chemical combustion of the passion, and what's goi=
ng on, upon the boundaries of the world, burned in the lovers transporting=
, overwhelming desire that they attached, and the strange things that apart=
ed them, in Venus Actus has being consumed, forever destroyed.
In: "A Noite dos Mil Dias", pp. 288, 289
Joao Pedro
oliveirapereira1@sapo.pt
http://oliveirapereira1.no.sapo.pt
------=_NextPart_001_0078_01C261C6.44BC5F90
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<BODY bgColor=#ffffff background=cid:007601c261bd$e2f0cba0$0100007f@mec=
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<DIV><BR> </DIV>
<DIV><FONT face=Arial size=2></FONT> </DIV>
<BLOCKQUOTE dir=ltr
style="PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LE=
FT: #000000 2px solid; MARGIN-RIGHT: 0px">
<DIV><BR></DIV>
<DIV><FONT face=Arial size=2> Like Proust said, eac=
h thing
have a resonance charge that evoke a new impression, a invented=
life
or a memory of the life that never happened, fragments of the night,=
a seminal indicium of thousand days, forever losted.</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT> </DIV>
<DIV><FONT face=Arial size=2> <FONT face="Book An=
tiqua">They
bent below their bodies, doubled and duplicated in two sexes, each one wi=
th
two legs, two arms, two ears, hearing the moan of the
bodies, drawing in their breath, quick inhaling life, suck and=
pushing, chest against breast, the niple of the breast, hidden
for the back of the neck, wrung in the shoulders and=
the
heads, sticking the lips, yeilding to each other, hearing the lips=
rustling, narrowed by the heads, contracting in their mouths, the wo=
rds
that doubled and duplicated this stranges beings, everyone of them,
hidden in a fold of the sheet, wrinkled like the coverlet, in the b=
ed
feet, discovering the lower sheet, where a man
and a woman, like two man-folds, wrapping
together in this opened bed, a furniture of
wood, with a matress of hair and a skin counterpane, sewe=
d
together with a imperceptible joint, engajed in two lifes, in a
finedrawing of a imperceptibles things, like the patchwork
coverlet, creased in their feet, fallen down from
the sleeping bed, for a man and a women playing the devil, mak=
ing
the seven and benumbed sevenfolds into this game, the sam=
e
number that amount their clothes, excepting the shoes, making up of =
the
dressing pieces among the floor.</FONT></FONT></DIV>
<DIV><FONT face=Arial size=2><FONT
face="Book Antiqua"> Piece number one: a =
pair of
blue jeans. </FONT></FONT></DIV>
<DIV><FONT face=Arial size=2> <FONT
face="Book Antiqua"> Piece number two: a pair of trousers in black
cotton.</FONT></FONT></DIV>
<DIV><FONT face="Book Antiqua" size=2> =
Piece
number three: a sleeves jeans shirt.</FONT></DIV>
<DIV><FONT face="Book Antiqua" size=2> =
Piece
number four: a blouse in black cotton.</FONT></DIV>
<DIV><FONT face="Book Antiqua" size=2> =
Piece
number five: a pair of red boxers.</FONT></DIV>
<DIV><FONT face="Book Antiqua" size=2> =
Piece
number six: a pair of black panties.</FONT></DIV>
<DIV><FONT face="Book Antiqua" size=2> =
Piece
number seven: a black brassiere.</FONT></DIV>
<DIV><FONT face="Book Antiqua" size=2> =
The city
bustle was a billow sound, a lengthening rumor, repeating
and widening in the distance, like a deaf noise, flow=
ed
into the house, drawning that lovers in a billow of pleasu=
re,
a lullaby city song, a huge sea of traffic that
came and went, rippling in a wave of signes, the
secrets that they said to eachother, like the desire of them, =
was
far from there, outside to the bedroom and what induced the bodies, =
the
limbs, the fingers, the movement of each hand, that attracted every =
mouth
and sex, derived from a complex body, dissemineted in a infinity of=
things, in circunstancial transit that they was, in a
world which remained only a echo, diffuse on the billow of=
the
noises and detached from this ground wave, it risen until=
leave, in a fraction of a second, the speed up of a motor-car,=
the creaky brakes of a city bus, the squeak of the children, =
playing in the street, a hydraulic lorry discharge, doing=
tremble the compartment and all the things in the house.</FONT></DIV>
<DIV><FONT face="Book Antiqua" size=2> The wa=
ter
glass, the picture frame, the shade of the lamp in the bedside=
table, the ashtray, the lighter, the pencil and the clippings box in=
the
writing table, the bookcase, the wardrobe door, the
umbrella stand, the looking glass on the wall, upon the chest of
drawers, on the left side of the bed, between whiles and=
chinks, by bad practices, they touching, kissing, fucking and w=
hen
they stoped, was because the influx of something,
suddenly ceased her effect, but when they satarting again, was =
by
unknoun industry, moved by some craft or a artifice that making the bodie=
s,
beginning again their function, switched on by a vibratory secr=
et
in that walls and the bedroom, was a worldly resonance box=
,
stimulating on the spot, the ear laps, the mouth lips, the tip=
tongues, tools of precision, cutting, switching off the noise, =
of
the wave sound that repeating, the same rumor of desire, constructed=
in
the distant city, by the ambulance sirens, the blowing sig=
nals
of the trains, the horns of some vehicles, a train wheels
on the far railroad, rumbling on a groan of pleasure, insinuating
on the bedroom, a hollow sounding of a busy factory, announced =
a
turn change, in the productive cycle, in continued act, pumping =
;the
muscle of the heart, flux that performed the bodies,
simply a pair of pistons, which was their limbs, =
;only
being useful to ignite, the chemical combustion of the passion, and=
what's going on, upon the boundaries of the world, burned=
in the lovers transporting, overwhelming desire that they=
attached, and the strange things that aparted them, in Venus Actus has be=
ing
consumed, forever destroyed.</FONT></DIV>
<DIV><FONT face="Book Antiqua" size=2></FONT> </DIV>
<DIV><FONT face="Book Antiqua"
size=2> &nbs=
p;
In: "A Noite dos Mil Dias", pp. 288, 289</FONT></DIV>
<DIV><FONT face="Book Antiqua" size=2></FONT> </DIV>
<DIV><FONT face=Arial
size=2> &nbs=
p; &=
nbsp;
Joao Pedro</FONT></DIV>
<DIV><FONT face=Arial
size=2> &nbs=
p; &=
nbsp; <A
href="mailto:oliveirapereira1@sapo.pt">oliveirapereira1@sapo.pt</A></FO=
NT></DIV>
<DIV><FONT face=Arial
size=2> &nbs=
p; &=
nbsp; <A
href="http://oliveirapereira1.no.sapo.pt">http://oliveirapereira1.no.sa=
po.pt</A></FONT></DIV>
<DIV><FONT face=Arial size=2></FONT> </DIV>
<DIV><FONT face=Arial
size=2> <IM=
G
alt="" hspace=0 src="cid:007501c261bd$e2f0cba0$0100007f@mecanismum"=
align=baseline border=0></FONT></DIV>
<DIV><FONT face=Arial size=2></FONT> </DIV>
<DIV><FONT face="Book Antiqua" size=2> =
</FONT></DIV>
<DIV><FONT face="Book Antiqua" size=2> =
</FONT></DIV>
<DIV><FONT face=Arial
size=2> </FONT></DIV></BLOCKQUOTE></BODY></HTML>
------=_NextPart_001_0078_01C261C6.44BC5F90--
RHIZOME RAW: The Night of the Thousand Days
------=_NextPart_001_0128_01C261C2.D9B93AE0
Content-Type: text/plain;
charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable
Like Proust said, each thing have a resonance charge that evoke a new=
impression, a invented life or a memory of the life that never happened, f=
ragments of the night, a seminal indicium of thousand days, forever losted.
They bent below their bodies, doubled and duplicated in two sexes, ea=
ch one with two legs, two arms, two ears, hearing the moan of the bodies, =
drawing in their breath, quick inhaling life, suck and pushing, chest agai=
nst breast, the niple of the breast, hidden for the back of the neck, wrun=
g in the shoulders and the heads, sticking the lips, yeilding to each other=
, hearing the lips rustling, narrowed by the heads, contracting in their mo=
uths, the words that doubled and duplicated this stranges beings, everyone =
of them, hidden in a fold of the sheet, wrinkled like the coverlet, in the=
bed feet, discovering the lower sheet, where a man and a woman, like two=
man-folds, wrapping together in this opened bed, a furniture of wood, w=
ith a matress of hair and a skin counterpane, sewed together with a imperc=
eptible joint, engajed in two lifes, in a finedrawing of a imperceptibles t=
hings, like the patchwork coverlet, creased in their feet, fallen down from=
the sleeping bed, for a man and a women playing the devil, making the sev=
en and benumbed sevenfolds into this game, the same number that amount the=
ir clothes, excepting the shoes, making up of the dressing pieces among the=
floor.
Piece number one: a pair of blue jeans.
Piece number two: a pair of trousers in black cotton.
Piece number three: a sleeves jeans shirt.
Piece number four: a blouse in black cotton.
Piece number five: a pair of red boxers.
Piece number six: a pair of black panties.
Piece number seven: a black brassiere.
The city bustle was a billow sound, a lengthening rumor, repeating =
and widening in the distance, like a deaf noise, flowed into the house, dra=
wning that lovers in a billow of pleasure, a lullaby city song, a huge s=
ea of traffic that came and went, rippling in a wave of signes, the secre=
ts that they said to eachother, like the desire of them, was far from ther=
e, outside to the bedroom and what induced the bodies, the limbs, the finge=
rs, the movement of each hand, that attracted every mouth and sex, derived =
from a complex body, dissemineted in a infinity of things, in circunstancia=
l transit that they was, in a world which remained only a echo, diffuse on =
the billow of the noises and detached from this ground wave, it risen until=
leave, in a fraction of a second, the speed up of a motor-car, the creaky =
brakes of a city bus, the squeak of the children, playing in the street, a=
hydraulic lorry discharge, doing tremble the compartment and all the thing=
s in the house.
The water glass, the picture frame, the shade of the lamp in the be=
dside table, the ashtray, the lighter, the pencil and the clippings box in =
the writing table, the bookcase, the wardrobe door, the umbrella stand, th=
e looking glass on the wall, upon the chest of drawers, on the left side of=
the bed, between whiles and chinks, by bad practices, they touching, kissi=
ng, fucking and when they stoped, was because the influx of something, su=
ddenly ceased her effect, but when they satarting again, was by unknoun ind=
ustry, moved by some craft or a artifice that making the bodies, beginning =
again their function, switched on by a vibratory secret in that walls and t=
he bedroom, was a worldly resonance box, stimulating on the spot, the ear =
laps, the mouth lips, the tip tongues, tools of precision, cutting, switchi=
ng off the noise, of the wave sound that repeating, the same rumor of desir=
e, constructed in the distant city, by the ambulance sirens, the blowing si=
gnals of the trains, the horns of some vehicles, a train wheels on the far=
railroad, rumbling on a groan of pleasure, insinuating on the bedroom, a h=
ollow sounding of a busy factory, announced a turn change, in the productiv=
e cycle, in continued act, pumping the muscle of the heart, flux that perfo=
rmed the bodies, simply a pair of pistons, which was their limbs, only bei=
ng useful to ignite, the chemical combustion of the passion, and what's goi=
ng on, upon the boundaries of the world, burned in the lovers transporting=
, overwhelming desire that they attached, and the strange things that apart=
ed them, in Venus Actus has being consumed, forever destroyed.
In: "A Noite dos Mil Dias", pp. 288, 289
Joao Pedro
oliveirapereira1@sapo.pt
http://oliveirapereira1.no.sapo.pt
------=_NextPart_001_0128_01C261C2.D9B93AE0
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<BODY background=cid:012601c261ba$77f288f0$0100007f@mecanismum>
<DIV><FONT face=Arial size=2></FONT> </DIV>
<BLOCKQUOTE dir=ltr
style="PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LE=
FT: #000000 2px solid; MARGIN-RIGHT: 0px">
<DIV><BR></DIV>
<DIV><FONT face=Arial size=2> Like Proust said, eac=
h thing
have a resonance charge that evoke a new impression, a invented=
life
or a memory of the life that never happened, fragments of the night,=
a seminal indicium of thousand days, forever losted.</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT> </DIV>
<DIV><FONT face=Arial size=2> <FONT face="Book An=
tiqua">They
bent below their bodies, doubled and duplicated in two sexes, each one wi=
th
two legs, two arms, two ears, hearing the moan of the
bodies, drawing in their breath, quick inhaling life, suck and=
pushing, chest against breast, the niple of the breast, hidden
for the back of the neck, wrung in the shoulders and=
the
heads, sticking the lips, yeilding to each other, hearing the lips=
rustling, narrowed by the heads, contracting in their mouths, the wo=
rds
that doubled and duplicated this stranges beings, everyone of them,
hidden in a fold of the sheet, wrinkled like the coverlet, in the b=
ed
feet, discovering the lower sheet, where a man
and a woman, like two man-folds, wrapping
together in this opened bed, a furniture of
wood, with a matress of hair and a skin counterpane, sewe=
d
together with a imperceptible joint, engajed in two lifes, in a
finedrawing of a imperceptibles things, like the patchwork
coverlet, creased in their feet, fallen down from
the sleeping bed, for a man and a women playing the devil, mak=
ing
the seven and benumbed sevenfolds into this game, the sam=
e
number that amount their clothes, excepting the shoes, making up of =
the
dressing pieces among the floor.</FONT></FONT></DIV>
<DIV><FONT face=Arial size=2><FONT
face="Book Antiqua"> Piece number one: a =
pair of
blue jeans. </FONT></FONT></DIV>
<DIV><FONT face=Arial size=2> <FONT
face="Book Antiqua"> Piece number two: a pair of trousers in black
cotton.</FONT></FONT></DIV>
<DIV><FONT face="Book Antiqua" size=2> =
Piece
number three: a sleeves jeans shirt.</FONT></DIV>
<DIV><FONT face="Book Antiqua" size=2> =
Piece
number four: a blouse in black cotton.</FONT></DIV>
<DIV><FONT face="Book Antiqua" size=2> =
Piece
number five: a pair of red boxers.</FONT></DIV>
<DIV><FONT face="Book Antiqua" size=2> =
Piece
number six: a pair of black panties.</FONT></DIV>
<DIV><FONT face="Book Antiqua" size=2> =
Piece
number seven: a black brassiere.</FONT></DIV>
<DIV><FONT face="Book Antiqua" size=2> =
The city
bustle was a billow sound, a lengthening rumor, repeating
and widening in the distance, like a deaf noise, flow=
ed
into the house, drawning that lovers in a billow of pleasu=
re,
a lullaby city song, a huge sea of traffic that
came and went, rippling in a wave of signes, the
secrets that they said to eachother, like the desire of them, =
was
far from there, outside to the bedroom and what induced the bodies, =
the
limbs, the fingers, the movement of each hand, that attracted every =
mouth
and sex, derived from a complex body, dissemineted in a infinity of=
things, in circunstancial transit that they was, in a
world which remained only a echo, diffuse on the billow of=
the
noises and detached from this ground wave, it risen until=
leave, in a fraction of a second, the speed up of a motor-car,=
the creaky brakes of a city bus, the squeak of the children, =
playing in the street, a hydraulic lorry discharge, doing=
tremble the compartment and all the things in the house.</FONT></DIV>
<DIV><FONT face="Book Antiqua" size=2> The wa=
ter
glass, the picture frame, the shade of the lamp in the bedside=
table, the ashtray, the lighter, the pencil and the clippings box in=
the
writing table, the bookcase, the wardrobe door, the
umbrella stand, the looking glass on the wall, upon the chest of
drawers, on the left side of the bed, between whiles and=
chinks, by bad practices, they touching, kissing, fucking and w=
hen
they stoped, was because the influx of something,
suddenly ceased her effect, but when they satarting again, was =
by
unknoun industry, moved by some craft or a artifice that making the bodie=
s,
beginning again their function, switched on by a vibratory secr=
et
in that walls and the bedroom, was a worldly resonance box=
,
stimulating on the spot, the ear laps, the mouth lips, the tip=
tongues, tools of precision, cutting, switching off the noise, =
of
the wave sound that repeating, the same rumor of desire, constructed=
in
the distant city, by the ambulance sirens, the blowing sig=
nals
of the trains, the horns of some vehicles, a train wheels
on the far railroad, rumbling on a groan of pleasure, insinuating
on the bedroom, a hollow sounding of a busy factory, announced =
a
turn change, in the productive cycle, in continued act, pumping =
;the
muscle of the heart, flux that performed the bodies,
simply a pair of pistons, which was their limbs, =
;only
being useful to ignite, the chemical combustion of the passion, and=
what's going on, upon the boundaries of the world, burned=
in the lovers transporting, overwhelming desire that they=
attached, and the strange things that aparted them, in Venus Actus has be=
ing
consumed, forever destroyed.</FONT></DIV>
<DIV><FONT face="Book Antiqua" size=2></FONT> </DIV>
<DIV><FONT face="Book Antiqua"
size=2> &nbs=
p;
In: "A Noite dos Mil Dias", pp. 288, 289</FONT></DIV>
<DIV><FONT face="Book Antiqua" size=2></FONT> </DIV>
<DIV><FONT face=Arial
size=2> &nbs=
p; &=
nbsp;
Joao Pedro</FONT></DIV>
<DIV><FONT face=Arial
size=2> &nbs=
p; &=
nbsp; <A
href="mailto:oliveirapereira1@sapo.pt">oliveirapereira1@sapo.pt</A></FO=
NT></DIV>
<DIV><FONT face=Arial
size=2> &nbs=
p; &=
nbsp; <A
href="http://oliveirapereira1.no.sapo.pt">http://oliveirapereira1.no.sa=
po.pt</A></FONT></DIV>
<DIV><FONT face=Arial size=2></FONT> </DIV>
<DIV><FONT face=Arial
size=2> <IM=
G
alt="" hspace=0 src="cid:012501c261ba$77f017f0$0100007f@mecanismum"=
align=baseline border=0></FONT></DIV>
<DIV><FONT face=Arial size=2></FONT> </DIV>
<DIV><FONT face="Book Antiqua" size=2> =
</FONT></DIV>
<DIV><FONT face="Book Antiqua" size=2> =
</FONT></DIV>
<DIV><FONT face=Arial
size=2> </FONT></DIV></BLOCKQUOTE></BODY></HTML>
------=_NextPart_001_0128_01C261C2.D9B93AE0--
Content-Type: text/plain;
charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable
Like Proust said, each thing have a resonance charge that evoke a new=
impression, a invented life or a memory of the life that never happened, f=
ragments of the night, a seminal indicium of thousand days, forever losted.
They bent below their bodies, doubled and duplicated in two sexes, ea=
ch one with two legs, two arms, two ears, hearing the moan of the bodies, =
drawing in their breath, quick inhaling life, suck and pushing, chest agai=
nst breast, the niple of the breast, hidden for the back of the neck, wrun=
g in the shoulders and the heads, sticking the lips, yeilding to each other=
, hearing the lips rustling, narrowed by the heads, contracting in their mo=
uths, the words that doubled and duplicated this stranges beings, everyone =
of them, hidden in a fold of the sheet, wrinkled like the coverlet, in the=
bed feet, discovering the lower sheet, where a man and a woman, like two=
man-folds, wrapping together in this opened bed, a furniture of wood, w=
ith a matress of hair and a skin counterpane, sewed together with a imperc=
eptible joint, engajed in two lifes, in a finedrawing of a imperceptibles t=
hings, like the patchwork coverlet, creased in their feet, fallen down from=
the sleeping bed, for a man and a women playing the devil, making the sev=
en and benumbed sevenfolds into this game, the same number that amount the=
ir clothes, excepting the shoes, making up of the dressing pieces among the=
floor.
Piece number one: a pair of blue jeans.
Piece number two: a pair of trousers in black cotton.
Piece number three: a sleeves jeans shirt.
Piece number four: a blouse in black cotton.
Piece number five: a pair of red boxers.
Piece number six: a pair of black panties.
Piece number seven: a black brassiere.
The city bustle was a billow sound, a lengthening rumor, repeating =
and widening in the distance, like a deaf noise, flowed into the house, dra=
wning that lovers in a billow of pleasure, a lullaby city song, a huge s=
ea of traffic that came and went, rippling in a wave of signes, the secre=
ts that they said to eachother, like the desire of them, was far from ther=
e, outside to the bedroom and what induced the bodies, the limbs, the finge=
rs, the movement of each hand, that attracted every mouth and sex, derived =
from a complex body, dissemineted in a infinity of things, in circunstancia=
l transit that they was, in a world which remained only a echo, diffuse on =
the billow of the noises and detached from this ground wave, it risen until=
leave, in a fraction of a second, the speed up of a motor-car, the creaky =
brakes of a city bus, the squeak of the children, playing in the street, a=
hydraulic lorry discharge, doing tremble the compartment and all the thing=
s in the house.
The water glass, the picture frame, the shade of the lamp in the be=
dside table, the ashtray, the lighter, the pencil and the clippings box in =
the writing table, the bookcase, the wardrobe door, the umbrella stand, th=
e looking glass on the wall, upon the chest of drawers, on the left side of=
the bed, between whiles and chinks, by bad practices, they touching, kissi=
ng, fucking and when they stoped, was because the influx of something, su=
ddenly ceased her effect, but when they satarting again, was by unknoun ind=
ustry, moved by some craft or a artifice that making the bodies, beginning =
again their function, switched on by a vibratory secret in that walls and t=
he bedroom, was a worldly resonance box, stimulating on the spot, the ear =
laps, the mouth lips, the tip tongues, tools of precision, cutting, switchi=
ng off the noise, of the wave sound that repeating, the same rumor of desir=
e, constructed in the distant city, by the ambulance sirens, the blowing si=
gnals of the trains, the horns of some vehicles, a train wheels on the far=
railroad, rumbling on a groan of pleasure, insinuating on the bedroom, a h=
ollow sounding of a busy factory, announced a turn change, in the productiv=
e cycle, in continued act, pumping the muscle of the heart, flux that perfo=
rmed the bodies, simply a pair of pistons, which was their limbs, only bei=
ng useful to ignite, the chemical combustion of the passion, and what's goi=
ng on, upon the boundaries of the world, burned in the lovers transporting=
, overwhelming desire that they attached, and the strange things that apart=
ed them, in Venus Actus has being consumed, forever destroyed.
In: "A Noite dos Mil Dias", pp. 288, 289
Joao Pedro
oliveirapereira1@sapo.pt
http://oliveirapereira1.no.sapo.pt
------=_NextPart_001_0128_01C261C2.D9B93AE0
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<BLOCKQUOTE dir=ltr
style="PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LE=
FT: #000000 2px solid; MARGIN-RIGHT: 0px">
<DIV><BR></DIV>
<DIV><FONT face=Arial size=2> Like Proust said, eac=
h thing
have a resonance charge that evoke a new impression, a invented=
life
or a memory of the life that never happened, fragments of the night,=
a seminal indicium of thousand days, forever losted.</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT> </DIV>
<DIV><FONT face=Arial size=2> <FONT face="Book An=
tiqua">They
bent below their bodies, doubled and duplicated in two sexes, each one wi=
th
two legs, two arms, two ears, hearing the moan of the
bodies, drawing in their breath, quick inhaling life, suck and=
pushing, chest against breast, the niple of the breast, hidden
for the back of the neck, wrung in the shoulders and=
the
heads, sticking the lips, yeilding to each other, hearing the lips=
rustling, narrowed by the heads, contracting in their mouths, the wo=
rds
that doubled and duplicated this stranges beings, everyone of them,
hidden in a fold of the sheet, wrinkled like the coverlet, in the b=
ed
feet, discovering the lower sheet, where a man
and a woman, like two man-folds, wrapping
together in this opened bed, a furniture of
wood, with a matress of hair and a skin counterpane, sewe=
d
together with a imperceptible joint, engajed in two lifes, in a
finedrawing of a imperceptibles things, like the patchwork
coverlet, creased in their feet, fallen down from
the sleeping bed, for a man and a women playing the devil, mak=
ing
the seven and benumbed sevenfolds into this game, the sam=
e
number that amount their clothes, excepting the shoes, making up of =
the
dressing pieces among the floor.</FONT></FONT></DIV>
<DIV><FONT face=Arial size=2><FONT
face="Book Antiqua"> Piece number one: a =
pair of
blue jeans. </FONT></FONT></DIV>
<DIV><FONT face=Arial size=2> <FONT
face="Book Antiqua"> Piece number two: a pair of trousers in black
cotton.</FONT></FONT></DIV>
<DIV><FONT face="Book Antiqua" size=2> =
Piece
number three: a sleeves jeans shirt.</FONT></DIV>
<DIV><FONT face="Book Antiqua" size=2> =
Piece
number four: a blouse in black cotton.</FONT></DIV>
<DIV><FONT face="Book Antiqua" size=2> =
Piece
number five: a pair of red boxers.</FONT></DIV>
<DIV><FONT face="Book Antiqua" size=2> =
Piece
number six: a pair of black panties.</FONT></DIV>
<DIV><FONT face="Book Antiqua" size=2> =
Piece
number seven: a black brassiere.</FONT></DIV>
<DIV><FONT face="Book Antiqua" size=2> =
The city
bustle was a billow sound, a lengthening rumor, repeating
and widening in the distance, like a deaf noise, flow=
ed
into the house, drawning that lovers in a billow of pleasu=
re,
a lullaby city song, a huge sea of traffic that
came and went, rippling in a wave of signes, the
secrets that they said to eachother, like the desire of them, =
was
far from there, outside to the bedroom and what induced the bodies, =
the
limbs, the fingers, the movement of each hand, that attracted every =
mouth
and sex, derived from a complex body, dissemineted in a infinity of=
things, in circunstancial transit that they was, in a
world which remained only a echo, diffuse on the billow of=
the
noises and detached from this ground wave, it risen until=
leave, in a fraction of a second, the speed up of a motor-car,=
the creaky brakes of a city bus, the squeak of the children, =
playing in the street, a hydraulic lorry discharge, doing=
tremble the compartment and all the things in the house.</FONT></DIV>
<DIV><FONT face="Book Antiqua" size=2> The wa=
ter
glass, the picture frame, the shade of the lamp in the bedside=
table, the ashtray, the lighter, the pencil and the clippings box in=
the
writing table, the bookcase, the wardrobe door, the
umbrella stand, the looking glass on the wall, upon the chest of
drawers, on the left side of the bed, between whiles and=
chinks, by bad practices, they touching, kissing, fucking and w=
hen
they stoped, was because the influx of something,
suddenly ceased her effect, but when they satarting again, was =
by
unknoun industry, moved by some craft or a artifice that making the bodie=
s,
beginning again their function, switched on by a vibratory secr=
et
in that walls and the bedroom, was a worldly resonance box=
,
stimulating on the spot, the ear laps, the mouth lips, the tip=
tongues, tools of precision, cutting, switching off the noise, =
of
the wave sound that repeating, the same rumor of desire, constructed=
in
the distant city, by the ambulance sirens, the blowing sig=
nals
of the trains, the horns of some vehicles, a train wheels
on the far railroad, rumbling on a groan of pleasure, insinuating
on the bedroom, a hollow sounding of a busy factory, announced =
a
turn change, in the productive cycle, in continued act, pumping =
;the
muscle of the heart, flux that performed the bodies,
simply a pair of pistons, which was their limbs, =
;only
being useful to ignite, the chemical combustion of the passion, and=
what's going on, upon the boundaries of the world, burned=
in the lovers transporting, overwhelming desire that they=
attached, and the strange things that aparted them, in Venus Actus has be=
ing
consumed, forever destroyed.</FONT></DIV>
<DIV><FONT face="Book Antiqua" size=2></FONT> </DIV>
<DIV><FONT face="Book Antiqua"
size=2> &nbs=
p;
In: "A Noite dos Mil Dias", pp. 288, 289</FONT></DIV>
<DIV><FONT face="Book Antiqua" size=2></FONT> </DIV>
<DIV><FONT face=Arial
size=2> &nbs=
p; &=
nbsp;
Joao Pedro</FONT></DIV>
<DIV><FONT face=Arial
size=2> &nbs=
p; &=
nbsp; <A
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