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“and even if the City falls and one of us survives
he will carry the City inside him on the roads of exile
he will be the City”— Zbigniew Herbert, from “Report from a Besieged City,” trans. Czeslaw Milosz (via colbertesque)

Mother of pearl oyster shell in low relief, made by an unknown artist in the late 15th century in Germany, depicting the crucifixion.
There are two globally renowned olive gardens: Gethsemane, the grove where Jesus and his disciples prayed the night before his betrayal and crucifixion, its agony painted by Gauguin and by hundreds of other painters, and the fictional Tuscan hillside that lends its name to Olive Garden, a massive restaurant chain with more than 800 locations in North America. The two appear to be unconnected: According to Darden Restaurants, owner of the Olive Garden chain, the phrase is intended to call to mind ideas of the olive harvest and Tuscan authenticity, not the final, anguished night of a prophet, dark hours spent in prayer, wrath, and silence.

One of the art pieces to be displayed at the Bodleian’s Tolkien Exhibition this summer, an ink drawing of an owl called Owlamoo. The picture was given to Tolkien’s son Michael, who had nightmares about the creature. (source)

“I am having a good day,” I tell the skull in my hands, “and I hope you are too.”
The mandibles clack with ominous joy.

— Rainer Maria Rilke, excerpt from “Letter XI,” Letters to Merline transl. by Jesse Browner (Paragon House, 1989)







