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یکشنبه 23 خرداد‌ماه سال 1389
poem

Is There Any Truth in Beauty?

 


 

 
 
 
 
 
 Is there any truth in Beauty?
What of the lies beauty tells thee?

Could my beauty not be as worthy
As I make thy Beauty part of me?

Such is Beauty as to make one's sight loud.
This beauty that veils our sense in a shroud.

beauty: that which deters seeing the person.
Does Beauty not conceal what is and isn't?

Yet merciless time holds beauty as a hostage,
Defiles Beauty and scars it with lasting ravage.

Thus the years that pass send Beauty to its resting-place
For vain beauty will yield, to woefully fall from grace.

If beauty should ever lament on age's cruelty,
Let not Beauty forget how little it has wept for me.

جمعه 14 خرداد‌ماه سال 1389
poem

MY THOUGHTS ON PEN

 Wherever you go, people don’t always talk and think like you
Through the years I’ve tried to see the good in every man
But ended up cynical about life, love and misery.


Life is what we make it
If we don’t do a thing, what are we then?
We live, we love, we get hurt, we die.


Just as all cycles do, we wake up the next day
To live and love again, to get hurt and die bitter
Happiness and hurt, both are things of the past by then.

جمعه 14 خرداد‌ماه سال 1389
شعر از ویلیام آندرسون الیس

Farewell, dear, young friends
       though parting is painful
A sad separation approaches at last
Revilers may spurn me
       lost friends may chide me
Even then with much pleasure
       I’ll think on the past
When rivers divide us and
       hills rise between us
Even then I’ll remember
       your childhood bright days
Let not sad reflections
       a moment beguile you
Look forward with hope on
       future’s bright

 

یکشنبه 19 اردیبهشت‌ماه سال 1389
again story..

  

She's going to write a short short story

She's going to write a short short story and enter it in Dave Egger's contest, which she will win and which will make her famous. She works on her story in between bowls of Raisin Bran and many stolid looks at the paint peeling in the window well, which she knows is a source of lead dust and which will certainly poison her eight-year-old unless she coats it with some of that stuff in the can downstairs. She starts off writing the story about herself but then changes it, because in the stories he has included as examples for contestants to read Dave Eggers never uses the first person or uses the word 'I' anywhere. Even where he could say 'I' he says 'we,' like EB White, or 'the writer,' which the editor at the only newspaper job she ever had told her he didn't want her to do anymore, but which she still thinks sounds good. She loves Dave Eggers, even though she has never read anything by him except these short stories he has put in the Guardian, because he never says 'I,' and this means he's doing his best to do something about his ego. She's changed all the I's in her story to Barbara. Barbara is a good name. No, it's not. It should be Gretel, then she can work in something about gingerbread houses, which would be ironic if the character were someone from the twentieth century, because there are no gingerbread houses anymore. She changes a lot more of the words. She wants to say something about the sexual revolution and how terrible it was, and also something about the falseness of suburban culture. Dave Eggers says he can write one of these short short stories in a single sitting, but this is her 26th sitting and she isn't getting anywhere. She might be fussing with it too much. It might be better just to let it go. What will it be like to tell people she has won this contest? What will Dave Eggers say on the telephone when he calls her? No, he won't call. You only get a subscription to McSweeney's, which is a journal Dave Eggers started, and a first edition of one of Dave Eggers' novels. Three hundred and eighty-three, she says, three hundred and eighty-four.

یکشنبه 19 اردیبهشت‌ماه سال 1389
story...

 But Is That Irony Or Something Else 

 

There was a writer, named Sharon, who wrote stories and was known far and wide and  was deeply read. Her stories were, more often than not, about unhappy marriages, about infidelity, about malaise and marital dyspepsia. She wrote about such things not because her own marriage was troubled, but because she was happily married - to Gil, a life coach whose clients were motivational speakers, chiefly - and she wanted to write fiction that was clearly fiction. Stories about happy people in happy unions would seem, she thought, to be based on her own contented life, and thus to maintain the privacy of her husband she wrote about sadness, rage and betrayal - things foreign to herself and Gil. But her readers, thinking themselves savvy, assumed she was writing about her own life, subtly disguised, that she, Sharon, was trapped in a loveless home, that she found refuge in these semi-fictional outlets-slash-cries for help. About this, Gil was not happy. People stopped him on the street and advised how he might work things out with the dear and talented Sharon. And because so many of her stories involved men with small apparati who cheated on their devoted wives, most people - thousands of strangers! - suspected Gil of infidelity and diminutive prowess. About this, he also was not happy. He brought it up with Sharon, and she laughed and called him silly. But did she consider it silly when Gil began to spend time in clubs where women danced without their clothes on? Was it silly when he took up with a dancing woman named Chesty Bazoombas (the surname was Greek), who listened to him and was a great comfort in many other ways, too? Sharon did not find this funny or silly, and was not smiling a year later when the divorce was final, when Gil and Chesty were off together living in some suburb named Moonpie, and when Sharon had nothing to do - for fiction would only allow her stories of the happily betrothed - but to switch to memoir. And the world had far, far too many memoirs already

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