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Monday Morning Memo

“The Samburu warriors have arrived – four of them, two holding drums, a child in the shadows minding a yellow longhorn cow.
They came yesterday, too, after the morning game run, when Lou and Mindy were ‘napping.’ That’s when Charlie exchanged shy glances with the most beautiful warrior, who has scar tissue designs coiled like railroad tracks over the rigorous architecture of his chest and shoulders and back.”

“The warrior smiles at Charlie. He’s nineteen, only five years older than she is, and has lived away from his village since he was ten. But he’s sung for enough American tourists to recognize that in her world, Charlie is a child. Thirty-five years from now, in 2008, this warrior will be caught in the tribal violence between the Kikuyu and the Luo and will die in a fire. He’ll have had four wives and sixty-three grandchildren by then, one of whom, a boy named Joe, will inherit his lalema: the iron hunting dagger in a leather scabbard now hanging at his side. Joe will go to college at Columbia and study engineering, becoming an expert in visual robotic technology that detects the slightest hint of irregular movement (the legacy of a childhood spent scanning the grass for lions.) He’ll marry an American named Lulu and remain in New York, where he’ll invent a scanning device that becomes standard issue for crowd security. He and Lulu will buy a loft in Tribeca, where his grandfather’s hunting dagger will be displayed inside a cube of Plexiglas, directly under a skylight.”

– Jennifer Egan,
     A Visit From the Goon Squad,
     Winner of the Pulitzer Prize

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Random Quote:

“

She says, ‘There’s universality in the specific.’

and then she recites a deeply unpleasant poem by Eva H.D. called Bonedog. David Fear in Rolling Stone magazine said the poem is about ‘the way regrets have a way of eclipsing the bright spots of a life.’

It’s an eviscerating poem. If you’re not unhappy, it will make you unhappy. I suggest you do not keep reading. – Indy Beagle

BONEDOG

Coming home is terrible whether the dogs lick your face or not; whether you have a wife
or just a wife-shaped loneliness waiting for you. Coming home is terribly lonely, so that you think of the oppressive barometric pressure back where you have just come from with fondness, because everything’s worse once you’re home.

You think of the vermin clinging to the grass stalks, long hours on the road, roadside assistance and ice creams, and the peculiar shapes of certain clouds and silences with longing because you did not want to return. Coming home is just awful.

And the home-style silences and clouds contribute to nothing but the general malaise. Clouds, such as they are, are in fact suspect, and made from a different material than those you left behind. You yourself were cut from a different cloudy cloth, returned, remaindered, ill-met by moonlight, unhappy to be back, slack in all the wrong spots, seamy suit of clothes dishrag-ratty, worn.

You return home moon-landed, foreign; the Earth’s gravitational pull an effort now redoubled,
dragging your shoelaces loose and your shoulders etching deeper the stanza of worry on your forehead. You return home deepened, a parched well linked to tomorrow by a frail strand of…

Anyway . . .

You sigh into the onslaught of identical days. One might as well, at a time . . .

Well . . .
Anyway . . .
You’re back.

The sun goes up and down like a tired whore, the weather immobile like a broken limb while you just keep getting older. Nothing moves but the shifting tides of salt in your body. Your vision blears. You carry your weather with you, the big blue whale, a skeletal darkness.

You come back with X-ray vision. Your eyes have become a hunger. You come home with your mutant gifts to a house of bone. Everything you see now, all of it: bone.”

- Young Woman, in the movie "I'm Thinking About Ending Things."

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