“In The Wire, everyone is simultaneously good and bad. The cops are fighting crime, but they’re all specifically or abstractly corrupt; the drug dealers are violent criminals, but they’re less hypocritical and hold themselves to a higher ethical standard. There were sporadic exceptions to this rule, but those minor exceptions only served to accentuate its overall relativist take on human nature: Nobody is totally positive and nobody is totally negative, and our inherently flawed assessment of those qualities hinges on where we come from and what we want to believe. And this, of course, is closer to how life actually is (which is why The Wire felt so realistic). It’s a more sophisticated way to depict the world. However — from a fictional, narrative perspective — it ends up making the message a little less meaningful. If nothing is totally false, everything is partially true; depending on the perspective and the circumstance, no action is unacceptable. The conditions matter more than the participants. As we drift further and further from its 2008 finale, it increasingly feels like the ultimate takeaway from The Wire was more political than philosophical.”—Chuck Klosterman (via snowce)
“2 October. Sleepless night. The third in a row. I fall asleep soundly, but after an hour I wake up, as though I had laid my head in the wrong hole. I am completely awake, have the feeling that I have not slept at all or only under a thin skin, have before me anew the labour of falling asleep and feel myself rejected by sleep. And for the rest of the night, until about five, thus it remains, so that indeed I sleep but at the same time vivid dreams keep me awake. I sleep alongside myself, so to speak, while I myself must struggle with dreams. About five the last trace of sleep is exhausted, I just dream, which is more exhausting than wakefulness. In short, I spend the whole night in that state in which a healthy person finds himself for a short time before really falling asleep. When I awaken, all the dreams are gathered about me, but I am careful not to reflect on them. Towards morning I sigh into the pillow, because for this night all hope is gone.”—Franz Kafka, Diaries (via naranjitoo)
“I should be all alone in this world. Me and no other living being. No sun, no culture: I naked on a high cliff, no storm, no snow, no streets, no banks, no money. No time and no breath. Then I would no longer have to be afraid.”—Robert Walser (via naranjitoo)
Nada asusta tanto a los profesores como los fenómenos que surgen en el carácter de chicos desarrollados precozmente durante los años, de por sí peligrosos, de la adolescencia. Desde un principio les había parecido inquietante un cierto rasgo genial en el carácter de Heilner. Desde tiempos remotos…
“On that night the sky laid bare its internal construction in many sections which, like anatomical exhibits, showed the spirals and whorls of light, the pale-green solids of darkness, the plasma of space, the tissue of dreams…”—Bruno Schulz, The Street of Crocodiles (via naranjitoo)
“And indeed artistic experience lies so incredibly close to sexual experience, to its pains and pleasures, that both phenomena are really just different forms of one and the same desire and felicity.”—Letters to a Young Poet, by Rainer Maria Rilke (via funeral-wreaths)
“In this uncontainable night,
be the mystery at the crossroads of your senses,
the meaning discovered there.
And if the world has ceased to hear you,
say to the silent earth: I flow.
To the rushing water, speak: I am.
- - -
Sei in dieser Nacht aus Ubermaß
Zauberkraft am Kreuzweg deiner Sinne,
ihrer seltsamen Begegnung Sinn.
Und wenn dich das Irdische vergaß,
zu der stillen Erde sag: Ich rinne.
Zu dem raschen Wasser sprich: Ich bin.”—Rainer Maria Rilke, from “Sonnets to Orpheus”, Part Two, XXIX (translated by Anita Barrows and Joanna Macy) [original from wiki] (via chagalov)