dennis scharnberg

weak end

Andrew Tertullian, Pandora’s Ponderous Puns.

“Yes, I did rob a bank,” Robert admitted in that matter-of-fact voice. “And, yes, I did think that it was a bad thing to do. But I didn’t know. I mean, not for sure. I simply couldn’t know.”

Crosby Fields, A Reasonable Amount of Trouble.

With the landscape—or cityscape—as with genre scenes or even still life, the art historian can find his narratives, his anecdotes, his connections to worldly life, his “iconography”. But portraits operate on a more elemental level—and portraiture closes off that easy access to the world. Portraits—like the icons—stand alone.

Adrian Driscoll, Art Versus Words.

“It works, Janet. It does work. Okay. Okay. It gives the illusion that it works.”

Stoke Twombly, The Tragedians.

“Handwriting is how I think,” said Jack, with a shrug.

Hollis Beddoes, Counting the Magpies.

The [Marxist] establishes himself as the one who defines terms. Indeed, that is his first definition.

Desmond Urquhart, The Unsocial Sciences.

Iliad: goddess bribery snafu.

Clive Morrow, A Crustacean’s Dictionary.

“Who designed it and built it, Michael? And why?”

Holt Ludlow, The Great and the Wonderful.

“This is no world, Maltby. Why, this was barely ever a world!”

Cassandra Troyes, Land of Giants.

“I’m so special for being here,” thought Roger. “I am special for being here.”

Theo Darden, Watching for Earthquakes.