Ellie Goulding: Don't say a word

Do álbum 'Halcyon' (2012)
Escrito por Ellie Goulding e Jim Elliot

(...)
I'm more alive I've ever been
So now I give you all my sins
I've chosen you, I've chosen you
But don't say a word
(...)

Peeping Tom

Ojos de solitario, muchachito atónito
que sorprendí mirándonos
en aquel pinarcillo, junto a la Facultad de Letras,
hace más de once años,

al ir a separarme,
todavía atontado de saliva y de arena,
después de revolcarnos los dos medio vestidos,
felices como bestias.

Te recuerdo, es curioso
con qué reconcentrada intensidad de símbolo,
va unido a aquella historia,
mi primera experiencia de amor correspondido.

A veces me pregunto qué habrá sido de ti.
Y si ahora en tus noches junto a un cuerpo
vuelve la vieja escena
y todavía espías nuestros besos.

Así me vuelve a mí desde el pasado,
como un grito inconexo,
la imagen de tus ojos. Expresión
de mi propio deseo.

Jaime Gil de Biedma

Moralidades

Antologia Poética

1992, ed. Cotovia

imagem de Christopher McKenney

Face uma da outra

De uma para a outra
em cada tapeçaria
o rosto da Dama difere

Numa lenta
mutação
de belezas corrompidas

Conforme o olhar
do Unicórnio

e dos pequenos animais
em torno delas

Tal como o Pintor as criara
diversas uma e outra
tecidas, entretecidas

Lianas de mãe e filha

Maria Teresa Horta

A Dama e o Unicórnio

2013, ed. Dom Quixote

Lana del Rey: Cola

Do álbum ''Born to Die (The Paradise edition)'', 2013
Letra de Lana del Rey e Rick Nowels

My pussy tastes like Pepsi Cola
My eyes are wide like cherry pies
I got a taste for men who're older
It's always been, so it's no surprise

Harvey's in the sky with diamonds
And he's makin me crazy
(I come alive)
(...)

Apontamentos #1 (Camille Paglia)

How did beauty begin? Earth-cult, supressing the eye, locks man in the belly of mothers. There is, I insist, nothing beautiful in nature. Nature is primal power, coarse and turbulent. Beauty is our weapon against nature; by it we make objects, giving them limit, symmetry, proportion. Beauty halts and freezes the melting flux of nature.

Beauty was made by men acting together. Hamlets, forts, cities, spread across the Near East after the founding of Jericho (ca. 8000 B.C.), the first known settlement in the world. But it was not until Egypt that art broke its enslavement to nature. High art is nonutilitarian. That is, the art object, though retaining its ritualism, is no longer a tool of something else. Beauty is the art object's license to life. The object exists on its own, godlike. Beauty is the art object's light from within. We know it by the eye. Beauty is our escape from the murky flesh-envelope that imprisions us.

[...]

The masculine art form of construction begins in Egypt. There were public works before, as in the fabled walls of Jericho, but they did not cater to the eye. In Egypt, construction is male geometry, a glorification of the visible. The first clarity of intelligible form appears in Egypt, the basis of Greek Appolonianism in art and thought. Egypt discovers foursquare architecture, a rigid grid laid against mother nature's malting ovals. Social order becomes a visible aesthetic, countering nature's chthonian invisibilities.

Camille Paglia

Sexual Personae

1990, ed. Vintage

[pp.57-59]

Imagem: Tempo de Hatshepsut (XVIII Dinastia), do arquitecto Senenmut, 1490-1460 a.C.

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