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The Monday Morning Memo

“In the late summer of that year we lived in a house in a village that looked across the river and the plain to the mountains. In the bed of the river there were pebbles and boulders, dry and white in the sun, and the water was clear and swiftly moving and blue in the channels. Troops went by the house and down the road and the dust they raised powdered the leaves of the trees. The trunks of the trees too were dusty and the leaves fell early that year and we saw the troops marching along the road and the dust rising and leaves, stirred by the breeze, falling and the soldiers marching and afterward the road bare and white except for the leaves.”
– Ernest Hemingway,
opening lines of “A Farewell to Arms”

“I read that paragraph and I want to cry. It’s incredibly beautiful. He broke every rule. All the repetition! In four sentences is the word ‘and’ 15 times. What’s going on is just an unforgettable display of rhythmic mastery. There’s a kind of, almost a kind of hypnosis, an incantation that I think that is about the frame of mind that you’re going into the war with.”
– Stephen Cushman, Literary Scholar

“By re-listening to Bach – and by recognizing the repetition of particular notes in Bach – that was inspiration arising A Farewell to Arms.”
–
Miriam Mandel, Literary Scholar

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Random Quote:

“One Sunday, as I waited to go on the air, a stranger dropped by KRAB’s rather ramshackle one-story wood-frame studio. Thin as a spaghetto, the guy had long, wild black hair, a pointy black beard, and wore a Mexican poncho across which like a bandolier was strapped a cheap guitar. In other words, he looked not unlike a thousand or more other skinny, hairy, ostensibly musical young men then yo-yoing up and down America’s West Coast. He talked like them, as well, scarcely introducing himself (he said his name was Charlie) before treating me to an earful of peace, love, and total liberation. Even as he mouthed the prevailing hippie philosophy, however, he did it with an articulation that was impressive and an intensity that was nothing short of galvanizing. . .

At any rate, the dude said he wrote songs and wished to perform a selection of them on Notes From the Underground, with which he was somewhat, somehow (he was not a local resident) familiar. Ordinarily, I would have consented, for while my shows were fairly well organized, it would have violated their spirit, the spirit of the times, not to be open to – even eager for – change and surprise. The following morning, however, I was leaving on a monthlong jaunt to Arizona and for that show only I’d scripted a program with a beginning, a middle, and an end. Any interruption of the Aristotelian flow would have sabotaged it, completely wrecking the desired cumulative effect. So, I turned Charlie down and sent him on his way.

Visibly disappointed but polite enough about it, he shuffled off into the summer night and vanished there. Two years would pass before I recognized his picture in the newspaper and realized that for better or for worse, I’d rejected – and tuned down an opportunity to tape a live performance by – Charles Manson.

 “

- Tom Robbins, Tibetan Peach Pie, p. 240-241

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