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Fjandmennirnir tóku í sig nokkrar byssukúlur og féllu síðan saman í blóðgusum. Þeir voru einsog vatnsblöðrur nema bara risastórar og fylltar með blóði, ekki vatni. Mann-blóð-blöðrur. Við spiluðum hann á Sega-tölvunni hans Óskars bróður.
-b.
Tómas Guðmundsson skáld beitti oft þverstæðum í skáldskap sínum til að varpa óvæntu ljosi á hluti. Setning sem kennd er við hann er eitthvað á þessa leið: ,,Ístöðuleysi er mín sterkasta hlið." Fullyrðingin er hugarhögg því gert er ráð fyrir að ístöðuleysi sé óumdeildur ókostur. Það er m.ö.o. talinn galli að geta ekki verið stöðugur í skoðunum sínum, málflutningi og afstöðu. Ístöðuleysi beinlínis merkir að vera laus í rásinni, hvikull, veiklyndur og jafnvel huglaus. Hinn ístöðulausi er í vafa og hikar andspænis vali.
Stjórnmálaflokkar nú um mundir keppast við að finna leiðir til að höfða til ístöðulausra kjósenda – óákveðnir kallast þeir. Óákveðnir, sem eru a.m.k. þriðjungur kjósenda, eru stundum skjallaðir með fullyrðingum um að þeir séu mikilvægir og dýrmætir kjósendur. En hvernig skapast þetta ístöðuleysi?
If 300, the new battle epic based on the graphic novel by Frank Miller and Lynn Varley, had been made in Germany in the mid-1930s, it would be studied today alongside The Eternal Jew as a textbook example of how race-baiting fantasy and nationalist myth can serve as an incitement to total war. Since it's a product of the post-ideological, post-Xbox 21st century, 300 will instead be talked about as a technical achievement, the next blip on the increasingly blurry line between movies and video games.
Directed by Zack Snyder, whose first feature film was the 2004 makeover of the horror classic Dawn of the Dead, 300 digitally re-creates the Battle of Thermopylae in 480 B.C., where, according to classical history and legend, the Spartan king Leonidas led a force of only 300 men against a Persian enemy numbering in the hundreds of thousands. The comic fanboys who make up 300's primary audience demographic aren't likely to get hung up on the movie's historical content, much less any parallels with present-day politics. But what's maddening about 300 (besides the paralyzing monotony of watching chiseled white guys make shish kebabs from swarthy Persians for 116 indistinguishable minutes) is that no one involved—not Miller, not Snyder, not one of the army of screenwriters, art directors, and tech wizards who mounted this empty, gorgeous spectacle—seems to have noticed that we're in the middle of an actual war. With actual Persians (or at least denizens of that vast swath of land once occupied by the Persian empire).
I'm not sure what I believe about the past. I just want to know if fat people were fatter then. And were mad people madder? There was a lunatic called Mirabeau in the Rouen asylum who was popular with doctors and medical students at the Hôtel-Dieu because of a particular talent: in exchange for a cup of coffee he would copulate on the dissecting table with a female corpse. (Does the cup of coffee make him more, or less, mad?) One day, however, Mirabeau was to prove a coward: Flaubert reports that he funked his task when faced with a woman who had been guillotined. No doubt they offered him two cups of coffee, extra sugar, and a slug of congnac? (And does this prove him saner, or madder, this need for a face, however dead?)
LOS ANGELES—Building upon his previous Burger King–related work, comedian Dane Cook announced plans Monday to tape an hour-long HBO stand-up special devoted entirely to the Texas Double Whopper, the latest menu offering from the fast-food giant.
...
"I'll ease the audience in by calling [the Texas Double Whopper] a 'sangwich,' and Burger King the 'BK Lounge,' but then I'll hit them with both barrels and call it the 'BK Lounge sangwich,'" Cook said. "You can expect me to pace some, then squat, then probably growl like I'm hungry, and say 'Huuuungry!' And to really hit it home, I'll climb up on the stool, howl, kick the stool over, and dive to the ground and do the worm. It looks totally spontaneous, but it's all carefully choreographed, and that's the beauty of it."
"I mean, the fucking thing has jalapeños on it, bro," Cook added. "Jalapeños."
Last month, Cook tested the new material in small comedy clubs across the country, trying out different inflections and pitches on newly created Cook-isms for soft-drink dispensers as well as gauging audience response to iterations of the word "dude."
"Stand-up comedy is an art form—it's not just writing and telling jokes," Cook said. "It requires your whole body and soul to gesticulate wildly and yell the same things about sesame seeds and mustard over and over at the audience in different voices until they laugh."
Franski heimspekingurinn og félagsfræðingurinn Jean Baudrillard er látinn, 77 ára að aldri. Baudrillard lést á heimili sínu í París eftir langvarandi veikindi. Baudrillard var þekktastur fyrir hugmyndir sínar um ofurraunveruleika en hann var talinn einn af fremstu hugsuðum póst-módernismans og þekktur fyrir ýmis ögrandi ummæli um heimsmálin.
Baudrillard sagði nútímann einkennast af óljósum mörkum raunveruleika og blekkingar. Birtingarmyndir hans í fjölmiðlum, auglýsingum og öðrum miðlum yrðu raunverulegri en hann sjálfur og þar af ofurraunverulegar. Baudrillard sagði hlutina ekki gerast nema maður sæi þá gerast. BBC segir frá þessu.
Hipster #1 with thick-framed glasses: Yeah, he could do the robot [does crappy robot dance].
Hipster #2: You are so lame.
Hipster #1: No, it's funny.
Hipster #2: It's not realistic.
Hipster #1: It's supposed to be how a robot would dance. What's not realistic about it?
Hipster #2: Yeah, so a robot programmed well enough to have a dance function would do what you just did...
Hipster #1: Probably.
Hipster #2: If they were to program a robot human enough to have a dance function it would have to be incredibly advanced and I don't think an incredibly advanced life-like robot would be programed with such stiff moves. They would almost certainly give him at least slightly groovier moves.
Hipster #1: I think you're thinking of a super advanced robot. I mean, we're just talking about, like, a robot that appears in the next decade.
--Hipster dance bar
My love for you allows me to pray to the spirit of eternal beauty and tenderness mirrored in your eyes or fling you down under me on that softy belly of yours and fuck you up behind, like a hog riding a sow, glorying in the very stink and sweat that rises from your arse, glorying in the open shape of your upturned dress and white girlish drawers and in the confusion of your flushed cheeks and tangled hair. It allows me to burst into tears of pity and love at some slight word, to tremble with love for you at the sounding of some chord or cadence of music or to lie heads and tails with you feeling your fingers fondling and tickling my ballocks or stuck up in me behind and your hot lips sucking off my cock while my head is wedged in between your fat thighs, my hands clutching the round cushions of your bum and my tongue licking ravenously up your rank red cunt. I have taught you almost to swoon at the hearing of my voice singing or murmuring to your soul the passion and sorrow and mystery of life and at the same time have taught you to make filthy signs to me with your lips and tongue, to provoke me by obscene touches and noises, and even to do in my presence the most shameful and filthy act of the body. You remember the day you pulled up your clothes and let me lie under you looking up at you while you did it? Then you were ashamed even to meet my eyes.
You are mine, darling, mine! I love you. All I have written above is only a moment or two of brutal madness. The last drop of seed has hardly been squirted up your cunt before it is over and my true love for you, the love of my verses, the love of my eyes for your strange luring eyes, comes blowing over my soul like a wind of spices. My prick is still hot and stiff and quivering from the last brutal drive it has given you when a faint hymn is heard rising in tender pitiful worship of you from the dim cloisters of my heart.
Nora, my faithful darling, my seet-eyed blackguard schoolgirl, be my whore, my mistress, as much as you like (my little frigging mistress! My little fucking whore!) you are always my beautiful wild flower of the hedges, my dark-blue rain-drenched flower.
Two leading publishers have hit on the idea of boiling down classic novels for modern audiences who are too busy/stupid to read the real thing. Orion was first off the blocks with its Compact Classics, which will appear in May - Anna Karenina, Vanity Fair, Moby-Dick, The Mill on the Floss, David Copperfield and Wives and Daughters, all reduced to not more than 400 pages for "less confident readers". Soon after come Bleak House, North and South, Middlemarch, Jane Eyre, The Count of Monte Cristo and The Portrait of a Lady, similarly straitjacketed.
Without falling into the trap of condemning all abridgement - it happens on radio without a squeak of protest - at least half these titles should not be on the list. The fact that Moby-Dick is a digressive, unboildownable whale of a book is the whole point; The Portrait of a Lady, Vanity Fair and Middlemarch are straightforward reads - page turners, even for less confident readers, though in the case of Middlemarch there are admittedly a lot of pages to turn. The rambling David Copperfield is ripe for cutting, but Bleak House, in which Dickens was consciously widening his scope as an artist, is not. A great novel is more than its plot; it is an ecosystem, a world. Tamper at your peril.
Meanwhile, HarperCollins is reducing War and Peace from almost 1,500 pages to 900. It says it will give us less war. Perhaps it has hit on the answer. Why not The Only Child Karamazov, Le Misérable, A Tale of Two Medium-Sized Towns, Limited Expectations and A Couple of Days in the Country? That should do the trick.