A novel insists that it is a work of fiction, and of course it is: full of invented situations and names and characters. But in a way, it is also profoundly non-fictional: it is a memoir of those inventions, it is a CAT-scan of the author’s brain, a State of the Union address on what your self mentally encountered during the period of writing. I am an art historian, a lover of music, a “race man,” a walker in the city, a Yoruba, a political doubter, a devotee of the Anglo-American legal tradition, an apostate.


Before the advent of photography, Japanese fishermen created a novel technique for documenting their catch. Gyotaku is a form of printing that creates accurate renditions through a relief printing process. Rubbing sumi ink onto the body of a fish, and then gently pressing rice paper onto it and peeling it away will net an impression of the fish—distinct enough to note the shape and size of the species as well as the subtle patterns and textures of scales, fins, and gills. 

Dating back to the 1800s, original gyotaku prints were minimal in their appearance—made only in black ink without embellishment of texture, color, or added elements. The emphasis of these early prints was to prove the size and species of the fisherman’s “trophy fish” and to record this permanently. It was not until later when gyotaku became an art form that composition and color were considered.

Gyotaku is still widely used today in Japan and other coastal communities. Often in restaurant signage, this technique allows chefs to advertise their seafood specials with immediacy and honesty. Traditionally, the fish is printed with non-toxic ink allowing it to be cleaned and prepared as a meal after the printing process has been completed. The natural precision of gyotaku offers a pure form of graphic clarity—its simplicity demonstrates detached documentation yet highlights the personal achievement of the proud fisherman.

I learned that just beneath the surface there’s another world, and still different worlds as you dig deeper. I knew it as a kid, but I couldn’t find the proof. It was just a kind of feeling. There is goodness in blue skies and flowers, but another force—a wild pain and decay—also accompanies everything.
David Lynch (via apoetreflects)

(Source: human-voices)

Walking on these streets, until the night falls, my life feels to me like the life they have. By day they’re full of meaningless activity; by night, they’re full of meaningless lack of it. By day I am nothing, and by night I am I. There is no difference between me and these streets, save they being streets and I a soul, which perhaps is irrelevant when we consider the essence of things.
Fernando Pessoa, from A Factless Autobiography in The Book of Disquiet
Nothing had ever obliged him to do anything. He had spent his childhood alone. He never joined any group. He never pursued a course of study. He never belonged to a crowd. The circumstances of his life were marked by that strange but rather common phenomenon – perhaps, in fact, it’s true for all lives – of being tailored to the image and likeness of his instincts, which tended towards inertia and withdrawal.
Fernando Pessoa, from the Preface of The Book of Disquiet
My eyes already touch the sunny hill.
going far beyond the road I have begun,
So we are grasped by what we cannot grasp;
it has an inner light, even from a distance-

and changes us, even if we do not reach it,
into something else, which, hardly sensing it,
we already are; a gesture waves us on
answering our own wave…
but what we feel is the wind in our faces.
The Walk, 1924, Rainer Maria Rilke
When I see a couple of kids
And guess he’s fucking her and she’s
Taking pills or wearing a diaphragm,
I know this is paradise

Everyone old has dreamed of all their lives—
Bonds and gestures pushed to one side
Like an outdated combine harvester,
And everyone young going down the long slide

To happiness, endlessly. I wonder if
Anyone looked at me, forty years back,
And thought, That’ll be the life;
No God any more, or sweating in the dark

About hell and that, or having to hide
What you think of the priest. He
And his lot will all go down the long slide
Like free bloody birds. And immediately

Rather than words comes the thought of high windows:
The sun-comprehending glass,
And beyond it, the deep blue air, that shows
Nothing, and is nowhere, and is endless.

High Windows, Philip Larkin