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"the popular, and heavily romanticised, interpretation of this closeness is that "There is a light that never goes out" is a love song to johnny marr, who regularly ferried the singer around by car.
asked in 2005 if this was the case, Morrissey stated: "It wasnt and it isnt".
"i never spent much time thinking about that stuff", adds Marr. "it was only after the band split that these theories came out. only Morrissey knows. when we recorded it i wasnt there thinking, "aw, this is about me", or anything. if it is, great. if it's not, then it's still a great song. i'm sure there's worse songs written about me so it might as well be a good one. but, for the record, i wasnt the only person who used to drive Morrissey around by car, put it that way".
Mozipedia, the encyclopedia of Morrissey and The Smiths, Simon Goddard
Monday
"but if nostalgia means the powerful recollection of strong emotions -and a regret that such feelings are no longer present in our lives- then i plead guilty. .. and if we're talking about strong feelings that will never come again, i suppose it's possible to be nostalgic about remembered pain as well as remembered pleasure. and that opens up the field, doesn't it?..."
the sense of an ending, Julian Barnes
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thanks god or the destiny or whatever because some people dont use whasapp or line or viber or skype and because you dont have their telephone number, when you are a little dizzy for the toasts with good wine, and so you cant call them just for saying that couple of things that you were hiding even from yourself
:0)anyway ... happy new year
just happy because the secrets are safe because bigmouth didnt strike this time
Sunday
"phillip tourian is seventeen years old, half turkish and half american. he has a choice of several names but prefers tourian. his father goes under the name of rogers. curly black hair falls over his forehead , his skin is very pale, and he has green eyes."
"and the hippos were boiled in their tanks", jack kerouac and william burroughs
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i find that i have to put myself in those situations to produce any reasonable good writing. i've still got that same thing about when i get to a country or a situation and i have to put myself on a dangerous level, whether emotionally or mentally or physically, and it resolves in things like that: living in Berlin leading what is quite a spartan life for a person of my means, and in forcing myself to live according to the restrictions of that city.
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- Preamble To The Instructions On How To Wind a Watch
Think of this: when they present you with a watch, they are gifting
you with a tiny flowering hell, a wreath of roses, a dungeon of air.
They aren't simply wishing the watch on you, and many more, and we
hope it will last you, it's a good grand, Swiss, seventeen rubies; they aren't just giving you this minute stonecutter which will bind you by the wrist
and walk along with you. They are giving you - they don't know it, it's
terrible that they don't know it - they are gifting you with a new fragile
and precarious piece of yourself, something that's yours but not a part of
your body, that you have to strap to your body like your belt, like a tiny, furious bit of something hanging onto your wrist. They gift you with the
job of having to wind it every day, an obligation to wind it, so that it goes
on being a watch, they gift you with the obsession of looking into jewelry-shop windows to check the exact time, check the radio announcer, check the telephone service. They give you the gift of fear, someone will
steal it from you, it'll fall on the street and get broken. They give you the
gift of your trademark and the assurance that it's a trademark better than others, they gift you with the impulse to compare your watch with other watches. They aren't giving you a watch, you are the gift, they are
giving you yourself for the watch's birthday.
julio cortázar
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"thursday, i slept with my girlfriend. she likes to wear a blindfold during sex. she always carries around a piece of cloth in her airline overnight bag just for that purpose.
not my thing, really, but she looks so cute blinfolded like that, i can't very well object. we're all human, after all, and everybody´s got something a little off somewhere"
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The fall of the roma empire, the 1881 indian uprising, Hitler's invasion of Poland, the realm of raging winds, from The elephant vanishes, Haruki Murakami
"she was pretty drunk at this time, and so was i. at eleven, i accompanied her to her apartment, where we had sex as a matter of course, the way they give you a cushion and a cup of tea at an inn.
"put the light out", she said, so i did. from her window you could see a big nikon ad tower. a tv next door was blasting the day's pro-baseball results. what with the darkness and my drunknness, i hardly knew what i was doing. you couldn't call it sex. i just moved my penis and discharged some semen.
as soon as the moderately abbreviated act was finished, she went to sleep as if she couldn't wait any longer to be unconscious. without even bothering to wipe up properly, i got dressed and left. the hardest thing was picking out my polo shrt and underpants from among her stuff in the dark."
Family affair, from The elephant vanishes, Haruki Murakami
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"Afternoon sex was the best sex of all, Ann thought. morning sex she'd had enough of in her time: usually it meant, "sorry about last night but here it is anyway"; and sometimes it meant, "this'll make sure you don't forget me today"; but neither attitude charmed her. Evening sex was, well, your basic sex, wasn't it? it was the sex which could vary from enveloping happiness via sleepily given consent to an edgy, "look, this is what we came to bed early for, so why don't we just get on with it." Evening sex was as good or as indifferent, and certainly as unpredictable, as sex could be. But afternoon sex -that was never just a courteous way to round things off; it was keen, intended sex. and sometimes it whispered to you, in a curious way (and even though you were married), "this is what we're doing now, and i still want to spend the evening with you afterwards." afternoon sex gave you unexpected comforts like that".
Before she met me, Julian Barnes
“But why should you be interested in me?"
Good question. I can’t explain it myself right this moment. But maybe – just maybe – if we start getting together and talking, after a while something like Francis Lai’s soundtrack music will start playing in the background, and a whole slew of concrete reasons why I’m interested in you will line up out of nowhere. With luck, it might even snow for us.”
After Dark, Haruki Murakami
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"now, let me ask you: do you have any idea what i would like to do right now?"
"i can't imagine."
"well, first of all, i want to lie down in a big, wade, fluffy bed. i want to get all comfy and drunk and not have any donkey shit anyway nearby, and i want to have you lying down next to me. and then, little by little, you take off my clothes. sooo tenderly. the way a mother undresses a little child. sooo softly."
"hmmm..."
"and i'm just spacing out and feeling really nice until, all of a sudden i realize what's happening and i yell at you "Stop it, Watanabe" and then i say "i really like you, Watanabe, but i'm seeing someone else. i can't do this. i'm very proper about these things, believe or not, so please stop. but you don't stop."
"but i would stop", i said.
"i know that. never mind, this is just my fantasy", said Midori. "So then you show it to me. your thing. sticking right up. i immediately cover my eyes, of course, but i can't help seeing it for a split second. and i say, "stop it! don't do that! i don't want anything so big and hard!."
"it's not big. just ordinary."
"never mind, this is a fantasy. so then you put on this really sad face, and i feel sorry for you and try to confort you. there there, poor thing."
"and you are telling me that's what you want to do now"?
"that's it."
"oh, boy."
Norwegian wood, Haruki Murakami
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giorgio*
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