PIA Z. EHRHARDT                
         

 

         
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July 28, 2004

Clickability

Badly Drawn Boy

"Last year, Damon Gough had a leaky roof. His Uncle Will, his dad's brother -a builder - came round to fix it. Talk turned to Damon's paternal grandad. William Gough had been bayoneted in the Normandy landings. He was 34. Will told Damon how he had gone to see his grave in France; he was 34 at the time. When Damon heard this story, he himself was 34.

"I got to thinking a lot about numbers," Gough says, "and how things can come around, how time can be bent." He became interested in the power of the number one: the quietly soaring title track, which opens the album, can be about the indivisibility of a loving union (he is devoted to his partner Clare and his kids Oscar, two, and Edie, three and a half, all of whom appear somewhere on the album). Or, he says, it can be a reference to the more yoga-friendly notion that one is the ultimate number, the only relevant number. "But the real reason for the album title is that one day I had a total mental block: if one times one is one, and one divided by one is one, how come one plus one isn't one? I really couldn't work it out."

Excerpt taken from independent.co.uk

Oblivio

From Riley Dog, a site I've come to read and need like my coffee in the morning, and my wine at night. (Wish I could switch those beverages around.)

The Necessarium

Brilliant bits of biz.

Chicago Micro-Stories

I love books with pictures.


 

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July 26, 2004

Ana Mendieta

"She seemed to want to fuse with the earth. In contrast to some of her male contemporaries, who were also working directly with nature, Mendieta did not aggressively shape or add to her environment. Instead, she united with what was there - water, earth, fire. In one early filmed performance, she lay in a flowing creek until her body almost became part of the stream bed. In other pieces, she printed her shape onto the ground, sometimes so subtly that you could miss the silhouette if you didn't know where to look. She became a flower bed, and she drew her outline in fire. Often, her body had a somewhat ungainly or forgetful aspect, as if the Western nude no longer found it necessary to strike a pose."

From New York Magazine



From Book Of Joe








 

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Freshmen

The red-headed woman drove her station wagon to the fish market at 3:30 a.m. on Mondays to have first pick. Usually, the restaurant people were already there, but today it was just her and the fishmongers in their stalls. Monger seemed a nasty word - hoarding mounds - but the dictionary's first definition, the one before the derogatory useage, said the word was British. A dealer or trader.

I lived across the street from the market, under the expressway. I ran poker games for the bartenders in the neighborhood. Our games ended at 6 a.m. when everyone left to get some sleep, but I got tired before they did. While they played and smoked and drank cold beer from ice chests, I sat on my window ledge and watched the activity down at the fish market, careful not to burn the rayon curtains with my cigar. My wife made them from the outgrown dresses of our twin girls. A faraway tropical print with parrots and hibiscus. She cut the tops off and ripped out the seams of the skirt. That was hard to watch because the girls used to wear them to mass on Sunday. There was enough fabric for two windows. The way the sun lit up the curtains that one hour in the late afternoon made me miss them worse. They'd gone to college at Alabama, not my choice, an SEC school, but they were sick of snow. I tried not to call too much. Twice on a good week.

The red-headed woman opened her palms, haggling over price with an Asian man selling silver fish. Mackerel? He argued back waving his arms in anger. My gut told me to go downstairs, but my wife had come down on me hard the last time I did this. She thought I babied women. I didn't think the woman needed my brute, I just wanted a reason to leave the apartment, the winning hands, the water stains and piles of chips, so I could go downstairs and listen to her buy fish. Her voice didn't waver. That's all I'd done the last time. She wore lemon as perfume and it almost cut through the stench. Her toe nails were polished coral. I couldn't see them from the window. Maybe she had changed the color. The fishmonger wrapped her purchase in cellophane, then newspaper, and put it in a plastic bag. The red-headed woman paid in cash and nodded goodbye.

A brake light was out on her station wagon; the light at the corner turned green. In a blink, women left rooms empty.
 

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July 19, 2004

A Poke In Your Shoulder

to remind you how truly great and right a film's ending can be.

 

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July 18, 2004

Peddle

I must.

Pindeldyboz #4 is out and I have a story in there that, well, I really love this story - "Mr. Adler's House - and I hope you do, too.


And if you haven't already heard, McSweeney's has published The Future Dictionary of America" which, I hear, may have an entry by yours truly, but better yet, has definitions by hundreds of people way more clever and funny and apt than I am. Trust me. Proceeds go to a good cause.
 

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Moonshinestill.net

Someone's got a new website featuring really good stories that'll change weekly.
 

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Richard Hugo

I'd never read his poetry until Jeff Landon re-typed this beautiful thing for me and others to know.

LETTER TO KATHY FROM WISDOM

My dearest Kathy: When I heard your tears and those of your
mother over the phone from Moore, from the farm
I've never seen and see again and again under the most
uncaring of skies, I thought of this town I'm writing from,
where we came lovers years ago to fish. How odd
we seemed to them there, a lovely young girl and a fat
middle 40's man they mistook for father and daughter
before the sucker lights in their eyes flashed on. That was
when we kissed their petty scorn to dust. Now, I eat alone
in the cafe we ate in then, thinking of your demons, the sad
days you've seen, the hospitals, doctors, the agonizing
breakdowns that left you ashamed. All my other letter
poems I've sent to poets. But you, you were a poet then,
curving lines I love against my groin. Oh, my tenderest
raccoon, odd animal from nowhere scratching for a home,
please believe I want to plant whatever poem will grow
inside you like a decent life. And when the wheat you've known
forever sours in the wrong wind and you smell it
dying in those acres where you played, please know
old towns we loved in matter, lovers matter, playmates, toys,
and we take from our lives those days when everything moved,
tree, cloud, water, sun, blue between two clouds, and moon,
days that danced, vibrating days, chance poem. I want one
who's wondrous and kind to you. I want him sensitive
to wheat and how wheat bends in cloud shade without wind.
Kathy, this is the worst time of day, nearing five, gloom
ubiquitous as harm, work shifts changing. And our lives
are on the line. Until we die our lives are on the mend.
I'll drive home when I finish this, over the pass that's closed
to all but a few, that to us was always open, good days
years ago when our bodies were in motion and the road rolled out
below us like our days. Call me again when the tears build
big inside you, because you were my lover and you matter,
because I send this letter with my hope, my warm love. Dick.

(Ut: Richard Hugo, Making certain it goes on: the collected poems, W.W. Norton, New York 1986.)
 

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I could show you photos from NYC

I've been there for the last two weeks with Malcolm and Andrew who were with me for most of that time. ButI can't find the upload thingie. Hmmm . . . . Terry Bain???

Found it without even having to bother him.

Talking on the Brooklyn Bridge


Walking on the Brooklyn Bridge


Hugging Somewhere I Forget


Me at the museum


Malcolm smiling
 

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Back

Oh, yeah. I'm here again. Now what do I do?


 

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July 13, 2004

Come Back Soon.

I really miss my website. When I get reactivated here I'm going to have so many pent up things to say you're going not going to believe it, unless I forget what they are, or talk myself out of them because - on second thought - they are probably dumb.
 
       




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Pia Z. Ehrhardt.
               
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