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Día del Padre

A veces estoy tan descuidada que llegan esos pensamientos que, creía, ya habían sido desterrados. Y me acuerdo de ella y de él, es decir, de mi papá y su esposa. En aquél tiempo aún no era su esposa porque a él le había dado mucha pereza echar a andar toda la papelería del divorcio. Ella era joven, aunque tampoco tanto. Yo era, siempre fui, soy y siempre seré una niña bastante problemática. Ella estaba absolutamente insegura porque su “pareja” estaba casado legalmente con otra mujer. Yo tenía once años y era un ato de hormonas, adolescencias y rebeldías… tanto así que si llegué a vivir con ellos fue porque me peleé a muerte con mi mamá. 

Y mi abuela estuvo, estaba y siempre ha estado loca. Y sigue loca. Casi tiene 90 años y su locura está intacta.

Lo cuál es muy relevante en la narración porque, cuando mi papá no podía cuidarnos, mandaba traer a mi abuela de México para que ella se hiciera cargo de nosotras. Y mi abuela nos hablaba pestes de mi mamá. Y mi abuela le hablaba pestes de mi mamá a la esposa de mi papá, lo cuál no hubiera estado mal ni sería raro si no fuera porque alimentó en ella una paranóia de proporciones cósmicas. Era evidente, según el modo de ver del par de locas, que mi malvada madre me había enviado como un agente para romper aquél incipiente matrimonio. Así que mis desplantes de adolescente problema fueron interpretados como riesgo de cataclismo en aquella relación. 

Y entonces ella lo hizo. Hizo aquello por lo cuál le deseo todos los males habidos y por haber en la tierra. Hizo aquello por lo cuál me regodeo en pensar que es 16 años más joven que mi papá y que no tuvo hijos, y que pasará una vejez larga y dolorosa, abandonada y siendo siempre sustituida por algo más prioritario que ella. 

Obligó a mi papá a elegir entre ella y yo. Y él la eligió a ella. Y tengo casi 34 años y no me he recuperado. 

Ella me prohibió durante años, los de mi adolescencia y todos los demás a acercarme a su casa. Es decir, a la casa de mi padre. A la cuál sí podían ir mis hermanos. Mis primos. Cualquiera que no fuera la apestada de Paloma. 

Y en días como hoy, día del padre, pienso que lo más sensato sería pagarle con la misma moneda y sacarla para siempre de mi vida y de mis pensamientos. 

Te prohibo volver a mi vida, maldita gorda inmunda. 

He knows

I love him, I love him, I love him… 

I know that he knows that I know that he knows that I know that he doesn’t love me. But he is so kindly, he is so soft… he is so sweet. 

And I know that he knows that I know that he loves her. And I know that he knows that I know that he knows that I love her too. But he is so kindly and so soft… and so sweet, then, he listens how much I love her. And she is so soft, so kindly, so nice. And she listens how much I love him. 

And I write, and I write and I write about both of them. And I know that they know that I write about him. But I know that she never must get notice about how I love her. And I know that he knows that I know that he knows how I suffer. And he pities on me. 

And I love her, I love her, I love her. 

And she never must know it. 

whoknowswhereorwhen:

“Girl with the Pearl Earring”
Oh I could go on for years about Johannes Vermeer. I first fell in love with his work when I found “Girl in the Red Hat” in our Colliers Encyclopedia, when I was around nine. So yes, going back to 1966, I’m bragging I knew him before anyone else in the entire world. In my lifetime his work has become much more recognizable.
Actually, Vermeer’s work did lie in relative, no, pretty much total obscurity for two hundred years, until a Frenchman, Thore, ”rediscovered” his work.
Even Van Gogh was known to have remarked about Vermeer’s use of the unusual combination of blue and yellow in so many of his works. That he knew of Vermeer’s work I find touching.
I saw the above painting in 1983 in Chicago. And so I must make one of my lifelong goals come true and visit the Rijksmuseum before my demise, and see her and a zillion other artists I have loved since I was a teenager, from the Dutch Golden Age, c. 1600—-1675.
Btw, I love the BBC film of the same name, the sets, acting, costume, etc.. It brought to life an era I had only read about for decades. It was surreal. And so life-like. I felt like I had gone back in time! But of course they had to make the girl something of a possible love interest. In all reality, he chose one of his eleven children—-she’s much younger than the actress in the movie and he worked very slowly, so, as Rembrandt painted so many self-portraits, probably in part due to the fact that he was a cheap model, Vermeer painted his daughter not only to record her beauty, but because she was also readily available.
And so we have this young girl, dressed in an Oriental costume to add an exotic touch. It’s as if she had been looking away, lost in her own world, for some time. Then the artist has just called her name, and she turns to us….a breathless expression captured in her dark and mysterious world, for eternity.
Zoom Info
Camera
Canon PowerShot SD780 IS
ISO
800
Aperture
f/3,2
Exposure
1/8th
Focal Length
5mm

whoknowswhereorwhen:

“Girl with the Pearl Earring”

Oh I could go on for years about Johannes Vermeer. I first fell in love with his work when I found “Girl in the Red Hat” in our Colliers Encyclopedia, when I was around nine. So yes, going back to 1966, I’m bragging I knew him before anyone else in the entire world. In my lifetime his work has become much more recognizable.

Actually, Vermeer’s work did lie in relative, no, pretty much total obscurity for two hundred years, until a Frenchman, Thore, ”rediscovered” his work.

Even Van Gogh was known to have remarked about Vermeer’s use of the unusual combination of blue and yellow in so many of his works. That he knew of Vermeer’s work I find touching.

I saw the above painting in 1983 in Chicago. And so I must make one of my lifelong goals come true and visit the Rijksmuseum before my demise, and see her and a zillion other artists I have loved since I was a teenager, from the Dutch Golden Age, c. 1600—-1675.

Btw, I love the BBC film of the same name, the sets, acting, costume, etc.. It brought to life an era I had only read about for decades. It was surreal. And so life-like. I felt like I had gone back in time! But of course they had to make the girl something of a possible love interest. In all reality, he chose one of his eleven children—-she’s much younger than the actress in the movie and he worked very slowly, so, as Rembrandt painted so many self-portraits, probably in part due to the fact that he was a cheap model, Vermeer painted his daughter not only to record her beauty, but because she was also readily available.

And so we have this young girl, dressed in an Oriental costume to add an exotic touch. It’s as if she had been looking away, lost in her own world, for some time. Then the artist has just called her name, and she turns to us….a breathless expression captured in her dark and mysterious world, for eternity.

whoknowswhereorwhen:

“Girl with the Pearl Earring”
Oh I could go on for years about Johannes Vermeer. I first fell in love with his work when I found “Girl in the Red Hat” in our Colliers Encyclopedia, when I was around nine. So yes, going back to 1966, I’m bragging I knew him before anyone else in the entire world. In my lifetime his work has become much more recognizable.
Actually, Vermeer’s work did lie in relative, no, pretty much total obscurity for two hundred years, until a Frenchman, Thore, ”rediscovered” his work.
Even Van Gogh was known to have remarked about Vermeer’s use of the unusual combination of blue and yellow in so many of his works. That he knew of Vermeer’s work I find touching.
I saw the above painting in 1983 in Chicago. And so I must make one of my lifelong goals come true and visit the Rijksmuseum before my demise, and see her and a zillion other artists I have loved since I was a teenager, from the Dutch Golden Age, c. 1600—-1675.
Btw, I love the BBC film of the same name, the sets, acting, costume, etc.. It brought to life an era I had only read about for decades. It was surreal. And so life-like. I felt like I had gone back in time! But of course they had to make the girl something of a possible love interest. In all reality, he chose one of his eleven children—-she’s much younger than the actress in the movie and he worked very slowly, so, as Rembrandt painted so many self-portraits, probably in part due to the fact that he was a cheap model, Vermeer painted his daughter not only to record her beauty, but because she was also readily available.
And so we have this young girl, dressed in an Oriental costume to add an exotic touch. It’s as if she had been looking away, lost in her own world, for some time. Then the artist has just called her name, and she turns to us….a breathless expression captured in her dark and mysterious world, for eternity.
Zoom Info
Camera
Canon PowerShot SD780 IS
ISO
800
Aperture
f/3,2
Exposure
1/8th
Focal Length
5mm

whoknowswhereorwhen:

“Girl with the Pearl Earring”

Oh I could go on for years about Johannes Vermeer. I first fell in love with his work when I found “Girl in the Red Hat” in our Colliers Encyclopedia, when I was around nine. So yes, going back to 1966, I’m bragging I knew him before anyone else in the entire world. In my lifetime his work has become much more recognizable.

Actually, Vermeer’s work did lie in relative, no, pretty much total obscurity for two hundred years, until a Frenchman, Thore, ”rediscovered” his work.

Even Van Gogh was known to have remarked about Vermeer’s use of the unusual combination of blue and yellow in so many of his works. That he knew of Vermeer’s work I find touching.

I saw the above painting in 1983 in Chicago. And so I must make one of my lifelong goals come true and visit the Rijksmuseum before my demise, and see her and a zillion other artists I have loved since I was a teenager, from the Dutch Golden Age, c. 1600—-1675.

Btw, I love the BBC film of the same name, the sets, acting, costume, etc.. It brought to life an era I had only read about for decades. It was surreal. And so life-like. I felt like I had gone back in time! But of course they had to make the girl something of a possible love interest. In all reality, he chose one of his eleven children—-she’s much younger than the actress in the movie and he worked very slowly, so, as Rembrandt painted so many self-portraits, probably in part due to the fact that he was a cheap model, Vermeer painted his daughter not only to record her beauty, but because she was also readily available.

And so we have this young girl, dressed in an Oriental costume to add an exotic touch. It’s as if she had been looking away, lost in her own world, for some time. Then the artist has just called her name, and she turns to us….a breathless expression captured in her dark and mysterious world, for eternity.

tazycat:

frenchcinema:

La belle & la bête (Christophe Gans, 2014)

Quiero… YA, AHORA…

Dios, dios, dios, dios, dios, dios, dios, dios, dios, dios, dios, dios, dios, dios, dios, dios, dios, dios, dios, dios, dios, dios, dios, dios, dios, dios, dios, dios, dios, dios, dios, dios, dios, dios, dios, dios, dios, dios, dios, dios, dios, dios, dios, dios, dios, dios, dios, dios, dios, dios, dios, dios, dios, dios, dios, dios, dios, dios, dios, dios, dios, dios, dios, dios, dios, dios, dios, dios, dios, dios, dios, dios, dios, dios, dios, dios, dios, dios, dios, dios, dios, dios, dios, dios, dios, dios, dios, dios, dios, dios, dios…

 

Y ELLA SÍ, ES VERDAD… PARECE BRÓCOLI

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