30 minutes air-conducting after 48 hours bed rest to see if can reduce stiffness, swelling and pain from moving around. Pain’s moderate and going away but only with prescribed painkillers including prolonged-release morphine sulfate.
These little purple pills
…kill motivation to perform more serious tasks although I can overcome that simply by focusing on a real dumb task such as mastering the Macintosh “way” of using the keyboard for data entry without a mouse. The slight wooziness lifts with coffee and a reduction in pain, that results from draping the “cairn” leg (the leg that feels like a pile of stones) properly over another chair.
But I am finding these continual limits on movement, and the consequent unpredictability of life, rather … depressing where I use “depressing” and “depression” to include acting out self-reflexively based on the thought that “I am left alone to fight depression”.
Writing helps fight this thought since writing takes place in public.
You hear a lot about cancer pain. All I know is my own regime and that there’s people who endure cancer using nothing more than a toothpick as an analgesic.
Note that toothpicks are surprisingly analgesic. The reason may be that one reacts with a Clint Eastwood style grimace to the tastelessness of shadow fibre but then relaxes the grimace in a way that releaseth stress, and then one settles down to reduce the pulp to pure fibre without any danger to one’s system that I know of: it’s just wood.
La Recit de La Maestro
The Incomprehensible Maestro favored nay spoiled us with air-conducti of 2 Beethoven movements: the sublime paean that ends Beethoven’s Sixth or “Pastoral” symphony, and the “Apotheosis of the Dance” of the first movement of the Seventh Symphony.
Our dear IM and his handlers, Messrs. Samson and Ajax, were perfect lambs ce soir with neither the IM staggering up to the podium in Promethean enthusiasm nor his helpers pretending to resist, while actually assisting our Maestro.
Perhaps, they conspire.
A Book from My Stack
Paulin, Tom, The Day-Star of Liberty: William Hazlitt’s Radical Style. London 1998: Faber and Faber.
Hazlitt almost forgotten in America despite his massive contribution to our understanding of Shakespeare: when I was a kid, exploring the then-numerous second-hand book shops of Evanston, Illinois one could find several anthologies including Hazlitt’s essays. Not so today, because Hazlitt was, as a follower of literary and political principles quite distinct from those of Pitt or even Fox, and associated with Cobbett’s linguistic rectification (cf. Cobbett’s Grammar of the English Language) too “progressive” to be cast in marble…too immediate, with his disordered personal life.
Paulin shows us that Hazlitt’s prose has itself a poetics and can be analyzed as we analyze poetry.
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