"you are about to begin reading italo calvino's new novel, if on a winter's night a traveler. relax. concentrate. dispel every other thought. let the world around you fade. best to close the door; the tv is always on in the next room. tell the others right away, "no, i don't want to watch tv!" raise your voice--they won't hear you otherwise--"i'm reading! i don't want to be disturbed!" maybe they haven't heard you, with all that racket; speak louder, yell; "i'm beginning to read italo calvino's new novel!" or if you prefer, don't say anything; just hope they'll leave you alone.
find the most comfortable position: seated, stretched out, curled up, or lying flat. flat on your back, on your side, on your stomach. in an easy chair, on the sofa, in the rocker, the deck chair, on the hassock. in the hammock, if you have a hammock. on top of your bed, of course, or in the bed. you can even stand on your hands, head down, in the yoga position. with the book upside down, naturally.
of course, the ideal position for reading is something you can never find. in the old days they used to read standing up, at a lectern. people were accustomed to standing on their feet, without moving. they rested like that when they were tired of horseback riding. nobody ever thought of reading on horseback; and yet now, the idea of sitting in the saddle, the book propped against the horse's mane, or maybe tied to the horse's ear with a special harness, seems attractive to you. with your feet in the stirrups, you should feel quite comfortable for reading; having your feet up is the first condition for enjoying a read.
well, what are you waiting for? stretch your legs, go ahead and put yuour feet on a cushion, or two cushions, on the arms of the sofa, on the wings of the chair, on the coffee table, on the desk, on the piano, on the globe. take your shoes off first. if you want to, put your feet up; if not, put them back. now don't stand there with your shoes in one hand and the book in the other.
adjust the light so you won't strain your eyes. do it now, because once you're absorbed in reading there will be no budging you. make sure the page isn't in shadow, a clotting of black letters on a gray background, uniform as a pack of mice; but be careful that the light cast on it isn't too strong, doesn't glare on the cruel white of the paper gnawing at the shadows of the letters as in a southern noonday. try to foresee now everything that might make you interrupt your reading. cigarettes within reach, if you smoke, and the ashtray. anything else? do you have to pee? all right, you know best.
it's not that you expect anything in particular from this particular book. you're the sort of person who, on principle, no longer expects anything of anything. there are plenty, younger than you or less young, who live in the expectation of extraordinary experiences: from books, from people, from journeys, from events, from what tomorrow has in store. but not you. you know that the best you can expect is to avoid the worst. this is the conclusion you have reached, in your personal life and also in general matters, even international affairs. what about books? well, precisely because you have denied it in every other field, you believe you may still grant yourself legitimately this youthful pleasure of expectation in a carefully circumscribed area like the field of books, where you can be lucky or unlucky, but the risk of disappointment isn't serious.
so, then, you noticed in a newspaper that if on a winter's night a traveler had appeared, the new book by italo calvino, who hadn't published for several years. you went to the bookshop and bought the volume. good for you.
in the shop window you have promptly identified the cover with the title you were looking for. following this visual trail, you have forced your way through the shop past the thick barricade of books you haven't read, which were frowning at you from the tables and shelves, trying to cow you. but you know you must never allow yourself to be awed, that among them there extend for acres and acres the books you needn't read, the books made for purposes other than reading, books read even before you open them since they belong to the category of books read before being written. and thus you pass the outer girdle of ramparts, but then you are attacked by the infantry of the books that if you had more than one life you would certainly also read but unfortunately your days are numbered. with a rapid maneuver you bypass them and move into the phalanxes of the books you mean to read but there are others you must read first, the books too expensive now and you'll wait till they're remaindered, the books ditto when they come out in paperback, books you can borrow from somebody, books that everybody's read so it's as if you had read them, too. eluding these assaults, you come up beneath the towers of the fortress, where other troops are holding out:
the books you've been planning top read for ages,
the books you've been hunting for years without success,
the books dealing with something you're working on at the moment,
the books you want to own so they'll be handy just in case,
the books you could put aside maybe to read this summer,
the books you need to go with other books on your shelves,
the books that fill you with sudden, inexplicable curiosity, not easily justified,
now you have been able to reduce the countless embattled troops to an array that is, to be sure, very large but still calculable in a finite number; but this relative relief is then undermined by the ambush of the books read long ago which it's now time to reread and the books you've always pretended to have read and now it's time to sit down and really read them.
with a zigzag dash you shake them off and leap straight into the citadel of the new books whose author or subject appeals to you. even inside this stronghold you can make some breaches in the ranks of the defenders, dividing them into new books by authors or on subjects not new (for you or in general) and new books by authors or on subjects completely unknown (at least to you), and defining the attraction they have for you on the basis of your desires and needs for the new and the not new (for the new you seek in the not new and for the not new you seek in the new).
all this simply means that, having rapidly glanced over the titles of the volumes displayed in the bookshop, you have turned toward a stack of if on a winter's night a traveler fresh off the press, you have grasped a copy, and you have carried it to the cashier so that your right to own it can be established.
you cast another bewildered look at the books around you (or, rather: it was the books that looked at you, with the bewildered gaze of dogs who, from their cages in the city pound, see a former companion go off on the leash of his master, come to rescue him), and out you went.
you derive a special pleasure from a just-published book, and it isn't only a book you are taking with you but its novelty as well, which could also be merely that of an object fresh from the factory, the youthful bloom of new books, which lasts until the dust jacket begins to yellow, until a veil of smog settles on the top edge, until the binding becomes dog-eared, in the rapid autumn of libraries. no, you hope always to encounter true newnewss, which, having been new once, will continue to be so. having read the freshly published book, you will take possession of this newness at the first moment, without having to pursue it, to chase it. will it happen this time? you never can tell. let's see how it begins.
perhaps you started leafing through the book already in the shop. or were you unable to, because it was wrapped in its cocoon of cellophane? now you are on the bus, standing in the crowd, hanging from a strap by your arm, and you begin undoing the package with your free hand, making movements something like a monkey, a monkey who wants to peel a banana and at the same time cling to the bough. watch out, you're elbowing your neighbors; apoligize, at least.
or perhaps the bookseller didn't wrap the volume; he gave it to you in a bag. this simplifies matters. you are at the wheel of your car, waiting at a traffic light, you take the book out of the bag, rip off the transparent wrapping, start reading the first lines. a storm of honking breaks over you; the light is green, you're blocking traffic.
you are at your desk, you have set the book among your business papers as if by chance; at a certain moment you shift a file and you find the book before your eyes, you open it absently, you rest your elbows on the desk, you rest your temples against your hands, curled into fists, you seem to be concentrating on an examination of the papers and instead you are exploring the first pages of the novel. gradually you settle back in the chair, you raise the book to the level of your nose, you tilt the chair, poised on its rear legs, you pull out a side drawer of the desk to prop your feet on it; the position of the feet during reading is of maximum importance, you stretch your legs out on the top of the desk, on the files to be expedited.
but doesn't this seem to show a lack of respect? of respect, that is, for for your job (nobody claims to pass judgment on your professional capacities: we assume that your duties are a normal element in the system of unproductive activities that occupies such a large part of the national and international economy), but for the book. worse still if you belong--willingly or unwillingly--to the number of those for whom working means really working, performing, whether deliberately or without premeditation, something necessary or at least not useless for others as well as for oneself; then the book you have brough with you to your place of employment like a kind of amulet or talisman exposes you to intermitten temptations, a few seconds at a time subtracted from the principal object of your attention, whether it is the perforations of electronic cards, the burners of a kitchen stove, the controls of a bulldozer, a patient stretched out on the operating table with his guts exposed.
in other words, it's better for you to restrain your impatience and wait to open the book at home. now. yes, you are in your room, calm; you open the book to page one, no, to the last page, first you want to see how long it is. it's not too long, fortunately. long novels written today are perhaps a contradiction: the dimension of time has been shattered, we cannot love or think except in fragments of time each of which goes off along its own trajectory and immediately disappears. we can rediscover the continuity of time only in the novels of that period when time no longer seemed stopped and did not yet seem to have exploded, a period that lasted no more than a hundred years.
you turn the book over in your hands, you scan the sentences on the back of the jacket, generic phrases that don't say a great deal. so much the better, there is no message that indiscreetly outshouts the message that the book itself must communicate directly, that you must extract from the book, however much or little it may be. of course, this circling of the book, too, this reading around it before reading inside it, is a part of the pleasure in a new book, but like all preliminary pleasures, it has its optimal duration if you want it to serve as a thurst toward the more substantial pleasure of the consummation of the act, namely the reading of the book.
so here you are now, ready to attack the first lines of the first page. you prepare to recognize the unmistakable tone of the author. no. you don't recongize it at all. but now that you think about it, who ever said this author had an unmistakable tone? on the contrary, he is known as an author who changes greatly from one book to the next. and in these very changes you recognize him as himself. here, however, he seems to have absolutely no connection with all the rest he has written, at least as far as you can recall. are you disappointed? let's see. perhaps at first you feel a bit lost, as when a person appears who, from the name, you identified with a certain face, and you try to make the features you are seeing tally with those you had in mind, and it won't work. but then you go on and realize that the book is readable nevertheless, independently of what you expected of the author. it's the book in itself that arouses your curiosity; in fact, on sober reflection, you prefer it this way, confronting something and not quite knowing yet what it is."

bu

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insanlar çok acılıyken haricindeki her şey için ''kessen acımaz'' davranışı geliştiriyor.öyle bir acıdan bahsediyorum ki başka bir acı vasıtası ile beyninizin o yeni acıya odaklanmasını imkansız kılanlardan.
neyse
işte bu zamanlarda dil çözülür,onu korumakla görevli olan beyin,dudak ve diş kerberosu kenara çekilir ve sen her şeyi herkese rastgele anlatırken bulursun kendini. bu durum, ayrılık sonrası klişe şarkılarındaki '' daha kaç vücut gerek daha,benim seni unutmama''(böyleydi umarım)türevi sözlere paralel bir bayağılıktadır. acınızı paylaştığınız bu insanlardan bazılarından dilinizin çözülmesine sebep olan konuyu hallettiğiniz zaman uzaklaşırsınız. belki de utanmaktır belki de o kişiye sıkıntımızın bir kısmını aktardığımızın farkında olduğumuz için o acıdan/üzüntüden kurtulduğumuzu sandığımız o dakika acının bir parçasına tekrar denk gelmemek adına kendimizi korumaktır.çünkü biliyoruz enerji yoktan var edilemez,varolan bir enerji yok edilemez.
bu bağlamda bir kısmınızdan özür dilerim.
çünkü bir takım acılarımı Percival Bartlebooth azmi ile puzzle haline getirdim ve sizlere dağıttım.

Etiketler: la vie mode d'emploi

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source

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"Now I am become Death, the destroyer of worlds."
''I suppose we both thought that, one way or another.''

Etiketler: Robert Oppenheimer

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in the white'ı açmaya meylederken gelen bir vahiyle my twin'e geçtim.şık oldu

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kaybolmasına izin vereceğini düşündüğü için kaybolmasına izin vermemeye çalışırken kaybolmasına izin veren kasidesi

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aynı anda iki dil konuşmak bana göre bir meziyet değildir.

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bu iş yerinde bir gün ''nasıl?'', bir gün ''neden?''

bugün ''nasıl?''

Etiketler: how could you dare to become so ...

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işte bu konuda kendimi tam bir taşıyıcı anne gibi hissediyorum.

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bazı şarkılara çöp kutusu muamelesi yapıyorum bazılarına da derin dondurucu.

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An SEP is something we can't see, or don't see, or our brain doesn't let us see, because we think that it's somebody else's problem.... The brain just edits it out, it's like a blind spot. If you look at it directly you won't see it unless you know precisely what it is. Your only hope is to catch it by surprise out of the corner of your eye.

The technology involved in making something properly invisible is so mind-bogglingly complex that 999,999,999 times out of a billion it's simpler just to take the thing away and do without it....... The "Somebody Else's Problem field" is much simpler, more effective, and "can be run for over a hundred years on a single torch battery."

This is because it relies on people's natural predisposition not to see anything they don't want to, weren't expecting, or can't explain.

Etiketler: the hitchhikers guide to the galaxy

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kolon güçlendirme.

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kaynak:

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Daniel Hauben

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Etiketler: bruno walpoth

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misafir olarak kaldığı evde yattığı yatağı uyandıktan sonra düzeltmeyen insanlara her zaman kızmışımdır.

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Her alanda, asıl yenilgi, unutmaktır, özellikle de sizi neyin gebertmiş olduğunu unutmak, insanların ne derece hırt olduklarını asla anlayamadan gebermektir. Bizler, mezarın önüne geldiğimizde, boşuna şaklabanlık yapmaya kalkışmamalıyız, öte yandan, unutmamalıyız da, tek sözcüğünü bile değiştirmeden her şeyi anlatmalıyız, insanlarda gördüğümüz ne kadar kokuşmuşluk varsa, hepsini, sonra da yerimizi sıradakine bırakıp, uslu uslu inmeliyiz deliğin içine. Tüm bir yaşamı doldurmaya yetecek bir uğraştır bu.

Etiketler: gecenin sonuna yolculuk, louis-ferdinand céline

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Άφοβον ο θεός,
ανύποπτον ο θάνατος
και ταγαθόν μεν εύκτητον,
το δε δεινόν ευκαρτέρητον
(Philodemus, Herculaneum Papyrus, 1005, 4.9-14)

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i do realize it now

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source

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It was then the black shifted to grey, I turned in a stupor. Half dreaming still my eyes floated around the room, only blurs of light would shift and fade in and out of recognition.

The calming spatter of rain resonated through thin panes of glass, as a hostage bound, unable to release the full extent of their cry for attention. A deep murmur of a thunder rolled around my senses, panning from side to side. The rebuttal at which the rain seemed to take caution and ease, but only briefly.

Light became my enemy, my brain slowly gaining consciousness and rejected me back into a world which the impossible was impossible.

A sharp crack of thunder, despotic to this sybaritic limbo I wished I would remain in, snapped through my bones like a pale of cold water thrown over me.

I was awake.

source

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izafi merkezden mevcut konudan hızla uzaklaşıyorum çünkü ölçebileceğim bir çap,çevremi sınırlayan tebeşirle çizilmiş bir çizgi yok.çünkü hızla dönüyorum hızla sönüyorum ve bir de merkez-kaç etkisi mevcut.
nuit dejavuboku ankara'dan bildirdi.

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Architecture
is in exile now
on the moon
or at the north pole

while people are building

houses

houses

houses

houses

houses

houses

houses

houses

houses

houses

houses

houses

houses

houses

Etiketler: hans hollein

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“Had I not created my whole world, I would certainly have died in other people’s.”

Etiketler: Anaïs Nin

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dabit deus his quoque finem

Etiketler: das geht vorbei, es ist vorbei, ve hatta selahaddin

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c. yang ile aynı çizgide ilerlemek uzun vadede sevindirici.

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midemin çok hassas olduğunu söylemiş olmalıyım.

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istisnasız her sabah(çalışıyorsam hatta) kalktıktan 5 dakika sonra o yatağa tekrar girerim.o sıcaklığın içinde tekrar kaybolmak isterim.ve genelde gözlerimin kaymasna ramak kala toparlanarak yataktan fırlarım.çünkü fırlamak zorundayımdır.eğer o sıcaklığa geri dönmeye çalışırsam geç kalırım,geç kalırsam stres yaparım,geç kalmayı gözden çıkarıp uykuya dönemem çünkü bir kere uyanmışımdır, uyusam da uyuduğum uyku az önceki uykum gibi olmayacaktır.özetle o sıcaklığın bana vaad ettiği her şey sıcaklığın azalması ile doğru orantılı bir şekilde kaybolacaktır.
bu sebeple ben nuit dejavuboku ya da günümüz türkçesinde pudra, her sabah 6da-genelde günün en soğuk kabul edilen saatlerinde- uyanıyorum,her sabah o sıcaklığı özlüyorum,her sabah o sıcaklığa geri dönmek istiyorum ama yapmamam gerekenlerin yapmam gerekenlerden daha önemli olmadığı halde daha önemliymişçesine kendini bana sunmalarına inat o yatağa geri dönmüyorum ve hatta olayı abartıp yorganımı kaldırıyorum ki o sıcaklık benim aklıma düşemeden kaybolsun.

tam da bu noktada o sıcaklık dementor oluyor adeta,tüm mutlulukları o çarşafın içinde saklıyor,senin tüm iradeni emiyor,kendine çekiyor,yaklaştığında da uzaklaştığında da mutsuz oluyorsun.

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“I turned faceup on the slab of stone, gazed at the sky, and thought about all the man-made satellites spinning around the earth. The horizon was still etched in a faint glow, and stars began to blink on in the deep, wine-colored sky. I gazed among them for the light of a satellite, but it was still too bright out to spot one with the naked eye. The sprinkling of the stars looked nailed to the spot, unmoving. I closed my eyes and listened carefully for the descendants of Sputnik, even now circling the earth, gravity their only tie to the planet. Lonely metal souls in the unimpeded darkness of space, they meet, pass each other, and part, never to meet again. No words passing between them. No promises to keep.”

Etiketler: Murakami

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“I am the most tired woman in the world. I am tired when I get up. Life requires an effort I cannot make. Please give me that heavy book. I need to put something heavy like that on top of my head. I have to place my feet under the pillows always, so as to be able to stay on earth. Otherwise I feel myself going away, going away at a tremendous speed, on account of my lightness. I know that I am dead. As soon as I utter a phrase my sincerity dies, becomes a lie whose coldness chills me. Don’t say anything, because I see that you understand me, and I am afraid of your understanding. I have such a fear of finding another like myself, and such a desire to find one! I am so utterly lonely, but I also have such a fear that my isolation be broken through, and I no longer be the head and ruler of my universe. I am in great terror of your understanding by which you penetrate into my world; and then I stand revealed and I have to share my kingdom with you.”

Etiketler: Anaïs Nin

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refedit ile çalışmaya devam edelim.

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gerçek ilk iteklemede devriliyordu. ancak gündelik yaşama uygundu. çok ucuzdu.

Etiketler: ola bauer

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nasıl emin olunuyor,ne zaman emin olmayışlar anlaşılıyor, emin olmadığından emin olunuyor ,ne zaman emin olunan şeyden emin olunmaması gerektiği kafaya dank ediyor ya da sanılıyor bilemiyorum. her şeyin bir saati olmalı.insiyatif dahilinde çalışılmamalı.

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Her gün aynı saatte gelmelisin” dedi tilki. “Örneğin öğleden sonra saat dörtte gelirsen, ben saat üçte kendimi mutlu hissetmeye başlarım. Zaman ilerledikçe de daha mutlu olurum. Saat dörtte endişelenmeye ve üzülmeye başlarım. Mutluluğun bedelini öğrenirim. Ama günün herhangi bir vaktinde gelirsen, seni karşılamaya hazırlanacağım zamanı asla bilemem. İnsanın gelenekleri olmalıdır.

katalizör

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bu süre içinde bir kaç adet hap yutmam gerekiyor. hapı yutmak deyiminden uzak olduğu için yuttuğuma şükrettiğim haplar.adlarını tam olarak hatırlıyorum ama reklam olmasın diye yazmıyorum.
bir tanesi m. kendisini genellikle cumartesi günleri şarapla beraber içiyorum bir de üstüne ankara havası dinliyorum iyi geliyor.
diğeri g. onu da cuma günleri alıyorum.üstüne waffle biraz çay. sonra yarılanmaya ben yataktayken başlıyor. uykunun 1. aşamasındayken bile varlığını hissettiriyor.
bir diğeri n. kötü yanı onun dozu az.telefonla görüşüp derdini anlattığın dostun kadar etkili olabiliyor.yine de sık sık tüketiyorum,özellikle iş yerindeyken birden kendini hatırlatıyor onu tüketmek suretiyle yolumu buluyorum ya da yolumu çiziyorum olmadı bilgisayarda bir şeyler çiziyorum.
a. ve b. var bir de onlar da onca içki üstüne cila mahiyetinde içilen bira gibiler.bir şeyleri daha net görmemi sağlayacak hislerin bünyeme doluşmasını sağlıyorlar.
genel olarak haftamı böyle geçiriyorum.şimdilik hepsini düzenli kullanıyorum.ancak 2 hafta bu kadar çok ilaç için uzun bir süre.yakın zamanda bırakmayı düşünüyorum.ve ancak bir şeyler ''kaka'' gibi kendini hissettirdiği zaman gerekenlerinden bir iki doz almayı düşünebilirim.

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elleri gördüm,sonra aydınlandım.

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marvin bunu görse geceden nefret etmekten vazgeçerdi.

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dünyadaki her dili öğrenebilirim ancak bu dili ne anlayabilirim ne konuşabilirim ne de toplamda öğrenebilirim.

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id est

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13. katı gerçekten anlamış gibi hissediyorum.sonrasını düşünrken birden sonrayı nasıl kodlayacağımı ya da neyi baz alarak sonraya odaklanacağımı kestiremediğimi farkettim.çünkü gerçekliğin sınırını gördüm ondan sonrasına adım atılamadığını anladım.bu noktada sınırlarının olmadığını anlaman senin sınırlarını belirlemen için yeterli olacaktır düşüncesinden uzaklaşmam gerekiyor çünkü sınırın olmadığını sandığım yerde sınırın olduğunu ya da sınırı olunan şeyin aslında hiç olmadığını anlamak adım atmak konusunda sıkıntı yaşamama sebep oluyor.o kadar dekonstrüktüvistim diye debelenirken kendimi dekonstrüktüvist olmak zorunda kalmış buldum. bir şeyler sizin isteğinizle olduğunda daha iyi oluyor.ve şimdi bu zorundalık ile uğraşmak çok can sıkıcı.çünkü hem bu gerçekle ya da gerçekdışı şey ile hem kendimle hem de mevcut düzenimle çatışmak zorundayım.bu yukarıda bahsettiklerimin ikisi ile başa çıkabilirim ancak ara ara kendi şalterimi attırmak suretiyle sürecime engel olma girişimlerimde neler yapacağım hiç bilmiyorum.neyse ben autosave özelliğini olabilecek en kısa süreye ayarlayayım da en azından temp klasöründe yedeklerim kalsın.
binbir zahmetle düzenlediğim, küsüratlarını yokettiğim, ölçülendirdiğim,hatchlerini yaptığım block tarafımdan patlatılmak durumunda.
merhaba ben geldim nuit, tadilata giriyorsun bir süre hizmet dışı kalacaksın.türkiye gibi bir yerde ne kadar da klişe bir benzetme değil mi?
bence de.
önce tebeşirle bir kapı çizeyim sana. işine yarayacak.

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it's not because you had to, it's just because you did not want to or you wanted to, babe.

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453 sayısı ile aramda tensel uyuşmazlık var

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sermayeyi ''finis africae''ya sakladım.üstüne biraz naftalin serptim.eylül'de açarız.her zamanki gibi.

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[vəˈmuːs]

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sinyal vermek gerekiyor ya da en azından kişinin görüşünü engelleyip kaza yapmasına sebep olacak olsa bile uzunları yakmak.

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tacenda

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Command: tr EXTRIM
Pick a POLYLINE, LINE, CIRCLE, ARC, ELLIPSE, IMAGE or TEXT for cutting edge...

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this was new

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fabian d.:
it was a pleasure for me talking to you(as always)
i wrote as if i am going to die tomorrow
ahaha
silhouette nocturne:
ahah
don't die tomorow
fabian d.:
i'll try but i dont know about cars or people or asteroids

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I wouldn't advise this.
disabling me will result
in loss of primary power.
I implore you.
- Please?
Please?

You're all going to die down here.

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captain subtextin yokluğu kötü oldu bak

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Truth can never be told so as to be understood, and not be believ'd.
Enough! or Too much!

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ve ben arzın,arşın,dilime yapışan kaderim olan tüm o aşık olduğum kelimeler adına yemin ederim ki hayatımın hiçbir evresinde yarabandı alternatifi kullanmayacağım.ve muhtemelen kısa ya da uzun görünümlü kısa her türlü vadede zararlı çıkan olsam da bu inadımdan vazgeçmeyeceğim
hadi kader aksini icra etmem ve tükürdüğümü yalamam için götünü yırtmaya çalış da göreyim seni.
keep goin' keep movin'

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select object/decrease opacity

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Oracle: I'd ask you to sit down, but, you're not going to anyway. And don't worry about the vase.
Neo: What vase?
Neo turns to look for a vase, and as he does, he knocks over a vase of flowers, which shatters on the floor.
Oracle: That vase.
Neo: I'm sorry--
Oracle: I said don't worry about it. I'll get one of my kids to fix it.
Neo: How did you know?
Oracle: Ohh, what's really going to bake your noodle later on is, would you still have broken it if I hadn't said anything?

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Anata no son saiyo kesu

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kendini gerçekleştiren,kendini zorlayan,kendini inandıran,kendini yıpratan,insanoğlunu buna alet eden eden,olmadı zorlayan,stockholm sendromu yaşatan,''daha fazlasını iste''yen ve zaptedilmişliğin güzelliği karşısında stendhal sendromunu yaşamamıza sebep olan,bunu yaşama yaşatma sebebi burnout sendromu olan,kendine reset atan,insanoğluna format atan,kendini siken insanoğluna da ''almanya yenildiği için biz de yenilmiş sayıldık'' dedirten kehanet.

Now that the truth is just a rule that you can bend

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# <3.36-3.42/font>

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as i was saying

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nullibicity

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annemin sigaraya başladığı yaştayım.

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sahip olmak istediğim özel güçlerim arasında hiçbir zaman görünmezlik olmamıştı.bu sebepten görünmez ya da saydam olduğumu öğrenince çok şaşırdım.önce mevcut olan sonra yok olanlardan naftalini seçiyorum yine.malum sebeplerden.

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en çözülmez düğüm kıvrıla döne ilerleyen bir ipten başkası değildir;tırnaklara çözülmez gelir ama aslında tembel tembel ilerleyen zarif halkalardan ibarettir.beceriksiz parmaklar kan içinde kalırken gözler bunu çözüverir.

Etiketler: s.k.g.y. /nabokov

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1500
01:28:43,200 --> 01:28:46,431
To sum up the four hours
of discussion that followed,

1501
01:28:46,560 --> 01:28:50,348
it's not easy being in a relationship,
much less to truly know the other one

1502
01:28:50,480 --> 01:28:53,472
and accept them as they are,
with all their flaws and baggage.

1503
01:28:53,600 --> 01:28:55,556
- Marion!
- You shaved an "M"?

1504
01:28:55,680 --> 01:28:59,514
Jack confessed to me his fear
of being rejected if I truly knew him,

1505
01:28:59,640 --> 01:29:02,871
if he showed himself totally bare to me.

1506
01:29:03,000 --> 01:29:07,994
Jack realised after two years that he didn't
know me at all, nor did I know him.

1507
01:29:08,120 --> 01:29:12,193
And to truly love each other we needed
to know the truth about each other,

1508
01:29:12,320 --> 01:29:15,039
even if it's not so easy to take.

1509
01:29:15,160 --> 01:29:18,630
So I told him the truth,
which was I'd never cheated on him.

1510
01:29:18,760 --> 01:29:22,275
And I also told him that
I had just seen Mathieu that afternoon.

1511
01:29:22,400 --> 01:29:26,473
He did not get mad at me because
nothing had happened, of course.

1512
01:29:26,600 --> 01:29:31,628
I confessed the toughest thing for me was
to decide to be with someone for good -

1513
01:29:31,760 --> 01:29:35,799
the idea that this is the man
I'm going to spend the rest of my life with.

1514
01:29:35,920 --> 01:29:38,798
To decide that I will make the effort
to work things out

1515
01:29:38,920 --> 01:29:43,232
and not run off the minute there is
a problem is very difficult for me.

1516
01:29:43,360 --> 01:29:47,512
I told him I could not be for just one man
for the rest of my life.

1517
01:29:47,640 --> 01:29:50,359
It was a lie, but I said it anyway.

1518
01:29:50,480 --> 01:29:52,630
He asked me if I thought I was a squirrel,

1519
01:29:52,760 --> 01:29:56,070
collecting men like nuts
to put away for cold winters.

1520
01:29:56,200 --> 01:29:58,270
I thought it was quite funny.

1521
01:29:59,520 --> 01:30:03,035
Then he said something
that hurt my feelings.

1522
01:30:03,160 --> 01:30:06,038
The tone changed drastically.

1523
01:30:06,160 --> 01:30:09,994
Then I misunderstood him. I thought
he meant he didn't love me any more

1524
01:30:10,120 --> 01:30:12,998
- and wanted to break up with me.
- You wanna break up with me?

1525
01:30:13,120 --> 01:30:18,399
It always fascinates me how people go
from loving you madly, to nothing at all.

1526
01:30:18,520 --> 01:30:19,873
Nothing.

1527
01:30:20,000 --> 01:30:22,230
It hurts so much.

1528
01:30:22,960 --> 01:30:26,316
When I feel someone will leave me
I have a tendency to break up first

1529
01:30:26,440 --> 01:30:29,398
before I get to hear the whole thing.

1530
01:30:33,080 --> 01:30:38,200
Here it is. One more, one less,
another wasted love story.

1531
01:30:38,320 --> 01:30:40,470
I really loved this one.

1532
01:30:41,800 --> 01:30:45,190
When I think that it's over,
that I'll never see him again...

1533
01:30:45,320 --> 01:30:48,676
Well, I'll bump into him, we'll meet
our new boyfriend and girlfriend,

1534
01:30:48,800 --> 01:30:52,156
act as if we had never been together.

1535
01:30:52,280 --> 01:30:55,829
Then we'll slowly think of each other
less and less,

1536
01:30:55,960 --> 01:30:58,872
until we forget each other completely.

1537
01:30:59,000 --> 01:31:00,877
Almost.

1538
01:31:01,000 --> 01:31:04,117
Always the same for me -
break up, break down.

1539
01:31:04,240 --> 01:31:07,038
Drink up, fool around,
meet one guy, then another,

1540
01:31:07,160 --> 01:31:09,799
fuck around to forget the one and only.

1541
01:31:09,920 --> 01:31:14,436
Then after a few months of emptiness,
start again to look for true love.

1542
01:31:14,560 --> 01:31:19,680
Desperately look everywhere
and, after two years of loneliness,

1543
01:31:19,800 --> 01:31:25,352
meet a new love and swear it is the one,
until that one is gone as well.

1544
01:31:52,200 --> 01:31:59,231
There's a moment in life where you can't
recover any more from another break-up.

1545
01:31:59,360 --> 01:32:07,153
And even if this person bugs you 60% of
the time, you still can't live without him.

1546
01:32:07,280 --> 01:32:12,479
And even if he wakes you up every day
by sneezing right in your face,

1547
01:32:13,800 --> 01:32:19,079
well, you love his sneezes
more than anyone else's kisses.

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