“For Hal, the general deal with his maternal uncle is that Tavis is terribly shy around people and tries to hide it by being very open and expansive and wordy and bluff, and that it’s very excruciating to be around. Mario’s way of looking at it is that Tavis is very open and expansive and wordy, but so clearly uses these qualities as a kind of protective shield that it betrays a frightened vulnerability almost impossible not to feel for. Either way, the unsettling thing about Charles Tavis is that he’s possibly the openest man of all time. Orin and Marlon Bain’s view was always that C.T. was less like a person than like a sort of cross-section of a person. Even the Moms Hal could remember relating anecdotes about how as a teenager, when she’d taken the child C.T. or been around him at Québecois functions or gatherings involving other kids, the child C.T. had been too self-conscious and awkward to join right in with any group of the kids clustered around, talking or plotting or whatever, and so Avril said she’d watch him just kind of drift from cluster to cluster and lurk around creepily on the fringe, listening, but that he’d always say, loudly, in some lull in the group’s conversation, something like ‘I’m afraid I’m far too self-conscious really to join in here, so I’m just going to lurk creepily at the fringe and listen, if that’s all right, just so you know,’ and so on.”—Wallace, David Foster. Infinite Jest : A Novel. Boston: Little Brown GBR, 1997. 517 (via hackett) (via davidfosterwallace)
“The Dregs is a high-water mark for Gretel; a post-folk album hand-crafted with expansive instrumentation, stunning harmonies, and a haunting orchestral flair. Reva Williams’ lyrics are razor sharp…each timeher phrase turns, the knot in my stomach turns right along with her.”—“—Nathan Johnson (The Cinematic Underground, Brick, The Brothers Bloom) (via damadesign)
“Nothing that we do can ever be truly taken back, reworked and resubmitted for approval, or stamped out of all memory. If love keeps no record of wrongs, then the books are fixed. Love is most itself when it stands within full-knowledge of the full record of all that’s been done: wrong and right and what-did-you-do-to-your- (insert person here. My edit).”
The ubiquity of this hollow formulation tells us something about the state of anti-gay-marriage thought. It’s a body of opinion held largely by people who either don’t know why they oppose gay marriage or don’t feel comfortable explicating their case.
In a liberal society, consenting adults are presumed to be able to do as they like, and it is incumbent upon opponents of any such freedom to demonstrate some wider harm. The National Organization for Marriage, on its website, instructs its activists to answer the who-gets-harmed query like so: “Who gets harmed? The people of this state who lose our right to define marriage as the union of husband and wife, that’s who.” Former GOP Senator Rick Santorum, arguing along similar lines, has said, “[I]f anybody can get married for any reason, then it loses its special place.”
Both these arguments rest upon simple tautologies. Expanding a right to a new group deprives the rest of us of our right to deny that right to others. If making a right less exclusive devalues it, then any extension of rights is an imposition upon those who were not previously excluded-i.e., women’s suffrage makes voting less special for men.
rick santorum and all the other social conservatives are using the same language in 2009 as anti-integrationists used in 1959 and anti-suffragists used in 1909, etc. the real shame is that there are those to whom this issue should matter deeply and they align themselves with the opposition in order to assuage the status quo or because of a perceived problem of language. i.e. some homosexuals take umbrage to the word marriage and thus politically, philosophically they seem to have aligned themselves with the very people that hate them and want to relegate them to second class citizenry.
Posting this was a sacrifice. I’ve been listening to a gorgeous collection of Celtic music and I want you all to listen to all of it. But Breakfast Machine is a song I should have posted a year ago. It’s Elfman’s best piece. I performed a dance trio to this in my junior year. If I had to pick a single modern composition to point to what I love about modern music, this would be it. I could write an entire essay on why this I love this. One day I might.
LOVE THIS SONG. I always thought it was from Psychonauts until I saw Pee-Wee’s Big Adventure.