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Quote by José Eduardo Agualusa

“Don't ask me for names. In this damned place all names are damned, and besides none of the maps know them. Here the earth devours itself. I don't imagine a fissure at the bottom of the ravine, I imagine a mouth!”

Quote by José Eduardo Agualusa

Book:Nação Crioula
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Nação Crioula

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José Eduardo Agualusa

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“মেহিকো-মার্কিন কবি নাটালি সেন্টার্স-জাপিকো-র কবিতা অনুবাদ : মলয় রায়চৌধুরী যুবকটার হাঁ-মুখের বাতিক আছে ও নিজেকে সামলাতে পারে না, মরা ফুলগুলোকে, ছেঁটেফেলা নখ, বাসি আটার বস্তা নিজের মুখে ঢোকায় । ও থামতে পারে না নিজের মুখের বিষয়ে লেখালিখি করে । যেমনভাবে ও ঘুম থেকে উঠলো মুখভরা মৌমাছি নিয়ে, তাদের মরা হুলগুলো তখনও ফোটাচ্ছে ওর মাড়িকে । ও লিখেছে : কিছু তো আছে মুখ ভেঙে ফেলার সুন্দর উপায় হিসেবে লালা আর শীতল বাতাসে । যুবতী যুবকের মুখ চাড় দিয়ে খুলে ফেললো আর তাতে ভরে দিলো সিসারঙা মাটি । মেয়েটি ওকে মুখ দিয়ে ব্রেনডেড করে ফেলতে পারল ; যুবতী মধু চেটে বের করে আনল যুবকের শ্বদাঁত থেকে, গাছের প্রাণরসের মতন । যুবকের হাঁ-মুখ, তাতে টানা দাগ গাল পর্যন্ত ছড়িয়ে পড়েছে -- যুবতী কখনও দ্যাখেনি অমনতর কিছু । যুবকের মুখ একটা ক্ষত ওর খিদের, একটা ক্ষত ওর খিদের পরের পেটুকেপনার । লেখালিখি বন্ধ করো মুখ সম্পর্কে : দাঁত, মাড়ি সম্পর্কে, বেঁকা দাঁত আর তার রঙচঙে নীল আর সবুজ । লেখা থামাও কেমন করে যুবতী কামড়ে ধরল তোমার মুখ আর টর্চ জ্বেলে ঝালাই করল মুখের খোলা-বন্ধ । লেখালিখি থামাও মুখ সম্পর্কে : জিভ, পবিত্র কশের দাঁত, নিজেকে চিবিয়ে হাড় করার ক্ষয় । মুখ নিয়ে লেখা থামাও যুবকের মুখ, তোমার মুখ, যুবতীর মুখ ।”

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Book:Lima :: Limón
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“When you walk behind officials, Follow at a proper distance. When you enter a man's house. And he’s busy with someone before you, Sit with your hand over your mouth. Do not ask him for anything, Only do as he tells you, Beware of rushing to the table Be weighty and very dignified, Do not speak of secret things, Who hides his thought shields himself. Do not say things recklessly, When you sit with one who’s hostile.”

SpeakSecretHostileMouthAskFollowTellBewareRecklessly
Book:Ancient Egyptian Literature, Volume I: The Old and Middle Kingdoms
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“The sauce is made from the turtle soup stock she made, thickened into a glaze! Poured over the patty, it gives the meat a richer, more full-bodied flavor! "I mixed the turtle's blood in with the patty. It warms the body from the inside out. But that isn't all. I also added dried, powdered tortoise-shell to the patty. Tortoise-shell has long been a prime ingredient in vitality tonics in Chinese medicine." "Both the sauce and the patty are chock-full of turtle everything!" "No wonder the judges look that thoroughly satisfied." "I totally get it! She must've made one incredible burger!" "No. You cannot fully understand. Only those who have tasted this dish can understand its true essence." "What?" "The key to that power lies in the turtle's meat... with the plentiful amounts of gelatin found in it and the sticky sensation that creates!" "Huh?" "Stickiness?" "That is correct, sir. Thick, piping-hot sauce... how thick it is greatly affects the flavor of the dish. The higher the viscosity, the more full-bodied the flavor becomes. Both the burger patty and the sauce I made from turtle stock are filled with gelatin-rich turtle essence. At the back of the roof of the mouth is a collection of soft tissue... called the soft palate. It is one of the most sensitive areas in the entire human body! With every mouthful, the thick, chewy patty and sticky sauce... get pinned between the twin walls of the tongue and the soft palate... stimulating that most sensitive of areas with each seductive bite! In other words, this dish excites not only a person's sense of taste via flavor... ... it also seduces their sense of touch via texture!”

MouthTurtleChinese MedicineGelatinBurgerHisako AratoMedicinalSense Of Touch
Book:食戟のソーマ 9 [Shokugeki no Souma 9]
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“Museum architectural search committees have invariably included the Kimbell in their international scouting tours of exemplary art galleries (a practice pioneered by Velma Kimbell, the founder’s widow, in 1964). Those groups no doubt respond to the Kimbell with suitable reverence, but given the buildings they later commissioned, many post-Bilbao museum patrons obviously wanted something quite different. The disparity between Kahn’s museums and recent examples of that genre parallels the discrepancy he saw between postwar Modernism and ancient Classicism: “Our stuff looks tinny compared to it.” At a time when commercial values are systematically corrupting the museum - one of civilized society’s most elevating experiences - the example of Kahn, among the most courageous and successful architectural reformers of all time, seems more relevant and cautionary than ever.”

ArchitectureMuseumsLouis Kahn
Book:Makers of Modern Architecture: From Frank Lloyd Wright to Frank Gehry (New York Review Books
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