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The Wallcreeper
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Thomas Browne
“All the Navel therefore and conjunctive part we can suppose in Adam, was his dependency on his Maker, and the connexion he must needs have unto heaven, who was the Sonne of God. For holding no dependence on any preceding efficient but God; in the act of his production there may be conceived some connexion, and Adam to have been in a moment all Navel with his Maker. And although from his carnality and corporal existence, the conjunction seemeth no nearer than of causality and effect; yet in his immortall and diviner part he seemed to hold a nearer coherence, and an umbilicality even with God himself. And so indeed although the propriety of this part be found but in some animals, and many species there are which have no Navell at all; yet is there one link and common connexion, one general ligament, and necessary obligation of all whatever unto God. Whereby although they act themselves at distance, and seem to be at loose; yet doe they hold a continuity with their Maker. Which catenation or conserving union when ever his pleasure shall divide, let goe, or separate, they shall fall from their existence, essence, and operations; in brief, they must retire unto their primitive nothing, and shrink into that Chaos again.”
Thomas Browne, Sir Thomas Browne's Pseudodoxia Epidemica

Jean Baudrillard
“Animals have no unconscious, because they have a territory. Men have only had an unconscious since they lost a territory.”
Jean Baudrillard, Simulacra and Simulation

Ferdinand Kürnberger
“Whatever a man knows, whatever is not mere rumbling and roaring that he has heard, can be said in three words.”
Ferdinand Kürnberger

William S. Burroughs
“Oh be careful! There they go again!" said the old queen as his string broke spilling his balls over the floor.... "Stop them will you, James, you worthless old shit! Don't just stand there and let the master's balls roll into the coal-bin!”
William Burroughs, Naked Lunch
tags: humour

Nicholson Baker
“Gerard Manley Hopkins somewhere describes how he mesmerized a duck by drawing a line of chalk out in front of it. Think of me as the duck; the chalk, softly wearing itself away against the tiny pebbles embedded in the corporate concrete, is Joyce's forward-luring rough-smooth voice on the cassettes she gives me. Or, to substitute another image, since one is hardly sufficient in Joyce's case, when I let myself really enter her tape, when I let it surround me, it is as if I'm sunk into the pond of what she is saying, as if I'm some kind of patient, cruising amphibian, drifting in black water, entirely submerged except for my eyes, which blink every so often. Each word comes floating up to me like a thick, healthy lily pad and brushes past my head.”
Nicholson Baker, The Fermata

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