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Curling :)

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Influenced by the Olympics that are one of the most actual topics these days, I’ve decided to post here something about one very interesting game.. yes, we are talking about curling :wink:




There is solid evidence that curling was a sport in both Scotland and the Low Countries during the 16th century.

The oldest known curling stone, found in Scotland, bears the date 1511, and a 1560 work by the Flemish painter, Pieter Breughel, shows a busy Dutch curling scene, complete with brooms.

The game was played on frozen marshes in Scotland, using "channel stones" that had been worn smooth by the action of water, while the Dutch curled on the same frozen canals where ice skating flourished.

As with golf, the question of where curling was "invented" will probably never be answered, but the Scots certainly have to be credited both with developing the modern version of the sport and with promoting the game in America.

Scottish immigrants organized the Royal Montreal Curling Club in 1807 and the Orchard Lake, Michigan, Club in 1832. The Grand Caledonian Curling Club (later the Royal Caledonian Curling Club) was founded in 1838 at Edinburgh to become Scotland's national governing body and to standardize rules for international play.

A branch of the Royal Caledonian was established in Canada in 1852 and the Grand National Curling Club of America, also an affiliate of the Royal Caledonian, was founded in 1867.

However, curling was primarily a local and regional sport until 1927, when the first Canadian national championship was held. A tremendous growth in the sport after World War II led to the founding of the U. S. Women's Curling Association in 1947, the first U. S. national championships in 1957, and the organization of the U. S. Curling Association, a federation of 125 clubs, in 1958.

The first world championship tournament was held in 1958. Canadian teams have dominated the event, which is now conducted by the International Curling Federation (ICF), founded in 1966 and based in Edinburgh.

There are more than 30 nations in the ICF, which estimates that about 2 million people worldwide regularly participate in curling.

Curling has been a demonstration or exhibition sport at several Olympics. It became a full-fledged Olympic sport at the 1998 Winter Games in Nagano, Japan.

Curling can be looked at as lawn bowling on ice. The playing area, or "rink," is 46 yards long and 14 feet wide. At each end is a house, 12 feet in diameter. Concentric circles surround a mark called the button or tee in the center of the house. The circles simply make it easier to judge distances; they have no effect on scoring.

Instead of rolling balls, curlers slide round stones down the ice, attempting to get as close as possible to the button. A stone has a maximum diameter of 36 inches and a maximum weight of 44 pounds. There's a handle at the top, and the bottom is concave to reduce friction.

Teams are made up of four players, led by a captain, or "skip". Each player delivers two stones, alternating with an opponent. The unique feature of curling is that a player's teammates use brooms to sweep the ice ahead of the stone, allowing it to go farther.

After all eight players are finished; the end (or inning) is complete. A team scores one point for each stone that's nearer to the tee than any of the other team's stones. Thus, only one team can score in any given end and the number of points can range from one to eight. If there are no stones in the house, or if the closest stones from the opposing teams are the same distance from the tee, there is no scoring for that end. A match is usually made up of 10 to 12 ends.

Curling is a highly tactical sport. Knocking an opponent's stone out of scoring territory is an important part of the sport, as is protecting a teammate's stone to make it difficult for an opponent to dislodge. Expert curlers, by putting spin on a stone, can make it curve (or "curl") a considerable distance to place it behind blocking stones.

from wikipedia.org


Enjoy :smile:

Quote > It's about time

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The future approaches us at 60 minutes an hour.


Richard Seymour



Tree o'clock is always too late or too early for anything you wanted to do.


Jean-Paul Sartre



The steps a man takes from the day of his birth until that of his death trace in time an inconceivable figure.


Jorge Luis Borges

Measure for Measure

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# The I-don't-care scale
2 jots = 1 tittle
3 tittles = 1 continental
2 continentals = 1 thinker's damn


# Linear measure
2 hops = 1 skip
2 skips = 1 jump
24 jumps = 1 stone's throw
3 stone's throws = 1 piece
12 pieces = 1 way-the-hall-and-gone


# Applause scale
2 salvos = 1 accolade
2 accolades = 1 triumph
3 triumphs = 1 ovation [sitting]
4 ovations = 1 lionization
2 lionizations = 1 outtasight


# Paprika measure
2 dashes = 1 smidgen
2 smidgens = 1 pinch
3 pinches = 1 soupCon
2 soupCons = too much paprika


# Political opponent's measure
2 nincompoops = 1 fathead
2 fatheads = 1 incompetent
3 incompetents = 1 opportunist
2 opportunists = 1 macchiavelli


# Alcohol beverage measure
2 fingers = 1 tot
2 tots = 1 shot
2 shots = 1 slug
4 slugs = 1 snootful
2 snootfuls = 1 night in jail


# Altercation scale
2 tussles = 1 fray
3 frays = 1 fracas
2 fracases = 1 skirmish
2 skirmishes - 1 fight


# Historical invective scale
2 scamps = 1 rascal
3 rascals = 1 knave
2 knaves = 1 varlet
4 varlets = 1 scoundrel
2 scoundrels = 1 charlatan


Joe Ecclesine

Pizza story

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The history of food items which may have served as the roots of modern pizza can be traced to the Greek colonies of Magna Graecia (southern Italy). Such products arguably have their first written mention in Book VII of Virgil's Aeneid:

Their homely fare dispatch’d, the hungry band
Invade their trenchers next, and soon devour,
To mend the scanty meal, their cakes of flour.
Ascanius this observ’d, and smiling said:
“See, we devour the plates on which we fed.”


In the 3rd century BCE, the first history of Rome, written by Marcus Porcius Cato, mentions a "flat round of dough dressed with olive oil, herbs, and honey baked on stones". Further evidence is found in Pompeii, the city "frozen in time" since 79 CE, where archaeologists have excavated shops that closely resemble modern pizzerias.

Though several kinds of flat bread made with flour, often cooked with oil and spices, were familiar to ancient Romans and popular in all the Mediterranean area, they were considerably different from pizza as it is known today. The tomato was still unknown in Europe and the Indian water buffalo, whose milk is used to make the real mozzarella cheese, had not yet been imported to Campania, the area around Napoli (Naples). The crust of pizza is very similar to focaccia bread common in Italian cuisine today.

The tomato was first believed to be poisonous (as some other fruits of the nightshade family are), when it came to Europe in the 16th century. However, by the late 18th century even the poor of the area around Naples added it as an ingredient to their yeast-based flat bread, and the dish gained in popularity. Pizza became a tourist attraction, and visitors to Naples ventured into the poorer areas of the city to try the local specialty.

The first dynasties of Neapolitan pizza makers (Italian: pizzaioli) originate in these years: modern pizza is attributed to baker Raffaele Esposito of Naples in the Italian region of Campania. In 1889, Raffaele Esposito who worked in the pizzeria "Pietro... e basta così" (literally "Peter... and that's enough", established in 1780 and still in activity; now called "Pizzeria Brandi" - Via Chiaia, Salita S. Anna di palazzo ) baked a special pizza especially for the visit of the King Umberto I and Queen Margherita of Savoy. The pizza was very patriotic and resembled the Italian flag with its colors of green (basil leaves), white (mozzarella), and red (tomatoes), and was named Pizza Margherita in honor of the Queen and set the standard by which today's pizza evolved and spread worldwide.

Until about 1830, pizza was sold from open-air stands and street vendors out of pizza bakeries (including "Pietro... e basta così"), but then the world's first true pizzeria, Antica Pizzeria Port'Alba, opened in Naples and is still in business today at Via Port'Alba 18.

Pizza met the aristocratic taste (the King of Naples Ferdinando II of Borbone greatly enjoyed the pizza made by 'Ntuono Testa at Salita S. Teresa) and an even more decided popular favour, establishing itself as a daily course, dinner and supper of the Neapolitans.

An Italian immigrant to the US in 1897 named Gennaro Lombardi opened a small grocery store in New York's Little Italy. An employee of his, Antonio Totonno Pero (also an Italian immigrant) began making pizza for the store to sell. Their pizza became so popular, Lombardi opened the first US pizzeria in 1905 at 53 1/3 Spring Street, naming it simply Lombardi's. The price for an entire pizza was 5 cents, but since many people couldn't afford the cost of a whole pie, they could rather say how much they could pay and they were given a slice corresponding to the amount offered (not unlike the method by which pizza is often sold in Italy today). It was closed in 1984 and then reopened in 1994 a block down, at 32 Spring Street. On November 10th, 2005, Lombardi's celebrated its 100th anniversary by selling pizzas at the 1905 price, 5 cents, for the whole day.

In 1924, Totonno left Lombardi's to open his own pizzeria on Coney Island called Totonno's. Frank Pepe Pizzeria Napoletana opened in New Haven in 1925. Boston was introduced to pizza in 1926 by Anthony Polcari when he opened Pizzeria Regina in Boston's North End. The D'Amore family brought pizza to Los Angeles in 1939. At this point in time in the U.S., pizza consumption was still limited mostly to Italian immigrants.

The international breakthrough came after World War II. Although the birthplace of modern day pizza is Naples, local bakers were at a loss to satisfy the demand from American soldiers. The American troops involved in the Italian campaign took their appreciation for the dish back home.

With its rising popularity in the 1950s, especially in the US, pizza became a component of the growing chain-restaurant industry. Some leading early pizza chains were Shakey's Pizza (inventor of the term pizza parlor; formerly, the term pizzeria was preferred) and Pizza Hut, both founded in 1954, in Sacramento and Wichita, respectively. Some later entrants to the dine-in pizza market were Happy Joe's, California Pizza Kitchen, and Round Table Pizza. Today, the pizza business is dominated by companies that specialize in home delivery, including Domino's, Little Caesar's, and Papa John's. Even Pizza Hut has shifted its emphasis away from pizza parlors and toward home delivery. These national pizza chains often coexist with locally-owned pizza restaurants.

Pizza is also found in supermarkets as a frozen food. Considerable amounts of food technology has gone into the creation of palatable frozen pizzas. The main challenges include preventing the sauce from combining with the dough and producing a crust that can be frozen and reheated without becoming rigid. Modified corn starch is commonly used as a moisture barrier between the sauce and crust. Traditionally the dough is somewhat pre-baked and other ingredients are also sometimes pre-cooked. Lately, frozen pizzas with completely raw ingredients have also begun to appear.

from wikipedia.org


buon appetito :cheers:

Interview > Tomas Saraceno [Stefano Boeri and Hans Ulrich Obrist]

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Do you have a problem with gravity?

Whoa, no idea. I think Cedric Price was once asked a similar question. Fortunately, we don’t have problems, only opportunities. I like the idea that a problem can become an opportunity, a problem as the driving force behind developing something new. In your question there is half of the answer: gravity is a physical psycho-social relationship.


Tell us about your Air-Port-City project.

My idea for an Air-Port-City is to create platforms or habitable cells made up of cities that float in the air. These change form and join together like clouds. This freedom of movement is borrowed from the orderly structure of airports, and it allows for the creation of the first international city. Airports are divided by “air-side” and “land-side”; on the “air-side” you are under the jurisdiction of international law. Your every action is judged according to international norms. Air-Port-City is like a flying airport; you will be able to legally travel across the world while taking advantage of airport regulations. This structure seeks to challenge today’s political, social, cultural and military restrictions in an attempt to re-establish new concepts of synergy.



Cells made up of cities?


Up in the sky there will be this cloud, a habitable platform that floats in the air, changing form and merging with other platforms just as clouds do. It will fly through the atmosphere pushed by the winds, both local and global, in an attempt to equalise the (social) temperature and differences in pressure. It will be a sustainable and mobile migration. These aerial cities will be in a permanent state of transformation, similar to nomadic cities. After all, gypsies never go back to the same place simply because the place is constantly changing.


Is it a flying utopia?

Air-Port-City is like a huge kinetic structure that works towards a real economic transformation. Moving from a personal “belief” to a collective one is the first step in the realisation of this idea. After the unification of Europe, a “europeanafroamericanasianoceaniasfydsdf” will be created. Like continental drift at the beginning of the world, the new cities will search for their positions in the air in order to find their place in the universe. From cirrocumulus to cirrocumuluscity! It provides feedback so as to enable a faster process of communication, capable of imagining more elastic and dynamic border rules (political, geographical, etc.) for a new space/cyberspace.


And what about your flying gardens?

Flying gardens are part of the Air-Port-City family. These spatial and temporal characteristics are needed for a sustainable occupation, a necessary invasion made up of plants, humans and animals. The geographic range of most plant and animal species is limited by climatic factors and any shift will have an impact on the organisms living there. Climate changes faster than plants can disperse to new, more suitable areas. A flying garden (think of it as multiple Amazons in transcontinental flight) with 62 different cities joined in the air will generate a spherical shape; the interior of the sphere will enclose enough air to lift the city and its flight will depend on solar energy. There will be “airplants” from the genus Tillandsia. Native to South America and Africa, these are true air plants: they derive all their nutrition from the air, imbibing rain and dew and whatever nutrients the air brings to them through their leaf tissues. There are no roots for water and nutrient uptake so they are quite air-sufficient.



Who are your heroes?

Today it is difficult to identify just one hero. Maybe it is better to have many. Unfortunately, some cultures still need to identify with individual heroes. Here is my pick: “Tensegrity”, sculptural structures invented by the artist Snelson that were later taken by Buckminster Fuller, who went on to develop his own theory. Your work deals with natural processes, as well as with dreams of transgravitation and elevation.


What is your link to science? Do you have dialogues with scientists?

I will try to answer this by talking about aerogel. A year ago, with the help of engineers and lawyers, I took advantage of an application of a material called aerogel, which has been used in spacecraft. These vehicles use a gas that is lighter than air to rise up: a mix of helium and hydrogen and other gases. Aerogel gives these vehicles the possibility of flying solely on solar energy. These vehicles are the more efficient alternatives for mobility in the future and for a possible “colonisation” of the sky. There will no longer be a need for airports and air pollution will cease; they will be efficient alternatives for new satellites and will create new possibilities for communication. This will allow for greater energy saving and give people not only data but also an incredible mobility, thus permitting a constant redefining of boundaries and of national, cultural and racial identities.


from Domus 883 July/August 2005

Quote > Hidden "faces"

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How many "faces" lie hidden, waiting for the time when curious eyes will find them in their secret places. In the heart of a leaf or the bark of a tree. In the frozen pond or the turning sea. In the twist of a chair or the look of a key or the shrivelled skin of an elephant's knee.


Irwin Dermer



If you look at certain walls covered with stains and built of mingled stones ... you will ... discern provinces with their mountains, their rivers, rocks, trees, plains, great valleys, hills in many aspects ... battles and the swift movement of faces and singular expressions, clothes and innumerable other things.


Leonardo Da Vinci

Mali princ

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by
Antoine de Saint-Exupéry



Posveta

Molim decu da mi oproste sto sam ovu knjigu posvetio odrasloj osobi. Imam jedno ozbiljno izvinjenje: ta odrasla osoba je najbolji prijatelj koga imam na svetu. Imam i drugo izvinjenje: ta odrasla osoba u stanju je sve da razume, cak i knjige za decu. Imam i trece izvinjenje: ta odrasla osoba zivi u Francuskoj, ona je gladna u njoj je zima. Potrebno je da je neko utesi. Ako sva ta izvinjenja nisu dovoljna, rado cu posvetiti ovu knjigu detetu koje je nekad bila ta odrasla osoba. Sve odrasle osobe su najpre bile deca. (Ali se malo njih toga seca.) Ispravljam dakle svoju posvetu:

Leonu Vertu
kad je bio mali decak

Read more...

Mostar Rains

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I loved a certain Svetlana in Mostar one autumn
If only i knew whom she was sleeping with now
I’d chop her I’d chop her
If only i knew who was kissing her now
I’d knock his I’d knock his
Ah if i knew who picking apricots
Still unripe in me


I was telling her you are a child you are green
I was telling her everything
And she wept on my hands at may words
I was telling her you are an angel you are a devil
Your body is ripe don't pretend to be a saint
And all night blue rains were raining over Mostar

There was no sun no birds there was nothing
She asked me whether I had a brother what I studied
Whether I was a Croat whether I love Rilke she asked everything
She asked me if I could do the same with every girl god forbid
She asked me in a low voice if I loved her
And blue rains were falling over Mostar
She was luxuriously white in the dark of the room
But she wouldn't give she wouldn't
Or she didn't dare devil knows

It is autumn that dead autumn in window-panes
Her eyes a bird her thighs a doe
She had a mole a mole she had i dare not say
She had a mole small and violet or so it seems to me
She asked me if I was a Croat if i had a girl
If I loved Rilke she asked me everything
While in the window like Christmas bells of my childhood water
Drops rang
And a night song softly along downtown
Hey Suleman mother's son

She spread her years upon the floor
Her eyes were full ripe peaches
Her breasts were warm as puppies
I told her she was stupid she was putting on airs
Svetlana Svetlana do you know this is the atomic age
De Gaulle Gagarin and such nonsense i told her everything
She wept she wept

I took her to the bazaar dives
I took her everywhere
I hid her in caves carried her to a balcony
Under bridges we played hide and seek the Neretva a filly
Under an old bridge i spoke of Crnjanski
How marvellous he is how marvellous

I drew her knees in wet sand
She laughed so merrily so innocently like first lilies
I took her to mosques Karadjoz bey dead too dead
Under his heavy tomb
So Shantich's grave she carried some flowers cried a little
Like a women
I took her everywhere

It is this summer now
I am now quite different I write some poems
In a newspaper half a column for Pero Zubac and nothing more
And all the night blue rains were falling over Mostar
She was luxuriously white in the dark of the room
But she wouldn't give she wouldn't
Or she didn't dare devil knows

That sky those clouds those roofs
The pale sun of the hungry boy over Mostar
I can't forget
Nor her hair her small tongue like a strawberry
Her laughter which could hurt like a curse
That player in the chapel on the white fill
God is great she said he will outlive us
Nor those heavy blue rains
Oh autumn her barren autumn

She spoke of films of James Dean
She spoke about everything a bit sadly a bit pathetically
Or Karenina
She said Clyde Griffiths could not
Hurt a fly
I laughed you are stupid he is a murderer you are a child of
But those streets those news-boys selling the latest edition of
Liberation
Those half withered grapes in shop-windows I can't forget
That bitter barren autumn over Mostar those rains
She kissed me all night long and caressed me and nothing more
I swear by my mother we did nothing more

After that summers came again rains came again
Only one short letter from Ljubljana why there
Those leaves on pavements those days
I can't I don't know how
To erase

She writes she asked me what I do how I live if I have a girl
Whether I ever think of her and of that autumn of those rains
She is now the same she swears by god quite the same
Shall I believe her shall I laugh I cursed Christ a long time ago
And I don't quite love her whether she swore or not
It must be so lies are worth lees

I talked to her of Lermontov Chagall I told her everything
She carried with her on old zweig's book read in the afternoon
Her hair was threaded with summer the yellow colour of the
Sun a little of the sea
First night her skin was also somewhat salty fish asleep
In her blood
We laughed at the boys who were jumping from bridges for
Cigarettes
We laughed because it was not summer and they were jumping
They are real children
She said they could die they could get pneumonia

Then her long too long silences came
I could freely think about anything explain Spinoza
For hours I could look at others at leisure throw stones
Down rock I could also go somewhere go far away
I could have died alone on her breasts more lonely than anyone
I could have turned into a bird water a rock
I could have done all this

Her fingers were long weak bloodless but quick
We played lady-bird and hide and seek
Svetlana get out you are under the rock i am not blind
I am not stupid come up don't hesitate you'll be beaten
When it was her turn I could flee into the river itself she would
Find me
She smells me immediately she says she knows me well
I never believed her she may have peeped through her fingers
She liked chestnuts we picked them round about
She carried them to the room hung them on threads
She loved roses those autumn roses I brought her
When they withered she would put them into a tin

I asked her what she thought oh this world whether she believed
In communism
Whether she would like to be Natasha Rostova I asked her
Everything
Sometimes stupid questions I know that only too well
I asked her whether she'd like a small son blond say
She jumped from enthusiasm yes, yes
And all of a sudden she was overpower by grief like dead fruits
She mustn't she mustn't she wouldn't do that for her life
Do you hear him he thinks it's so easy as if i had fallen from
Jupiter
Who then is that Zubac Pera that he should be that men and
Not somebody else
By no means he thinks he is at least Brando or such a one

I told her you are stupid you are clever you are a devil
You are an angel Itold her everything she believed nothing
You men are born liars you are rascals
She said everything
And blue rains were falling over Mostar
I really loved that Svetlana one autumn
If only I knew who she was sleeping with now I’d chop his
I’d chop his if only i knew who was kissing her now
I’d knock his I’d knock his alas if only i knew who
Was picking apricots still unripe in me



Pero Zubac

Mostarske kiše

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U Mostaru sam voleo neku Svetlanu jedne jeseni,
jao kad bih znao sa kim sada spava,
ne bi joj glava, ne bi joj glava,
jao kad bih znao ko je sada ljubi,
ne bi mu zubi, ne bi mu zubi,
jao kad bih znao ko to u meni bere kajsije
još nedozrele.

Govorio sam joj ti si derište, ti si balavica,
sve sam joj govorio.
I plakala je na moje ruke, na moje reci,
govorio sam joj ti si andeo, ti si davo,
telo ti zdravo što se praviš svetica,
a padale su svu noc neke modre kiše
nad Mostarom.

Nije bilo sunca, nije bilo ptica, niceg nije bilo.
Pitala me je imam li brata, šta studiram,
jesam li Hrvat, volim li Rilkea,
sve me je pitala.
Pitala me je da li bih mogao sa svakom tako
sacuvaj Bože,
da li je volim, tiho je pitala,
a padale su nad Mostarom neke modre kiše,
ona je bila raskošno bela u sobnoj tmini
al' nije htela to da cini,
nije htela il' nije smela,
vrag bi joj znao.

Jesen je, ta mrtva jesen na oknima
njene oci ptica, njena bedra srna,
imala je mladež, mladež je imala,
ne smem da kazem,
imala je mladež, mali ljubicast,
ili mi se cini.
Pitala me je da li sam Hrvat, imam li devojku,
volim li Rilkea - sve me je pitala,
a na oknu su ko božicni zvoncici moga detinjstva
zvonile kapi
i nocna pesma tekla tihano niz Donju Mahalu,
Ej, Sulejmana othranila majka.

Ona je prostrla svoje godine po parketu.
Njene su usne bile pune kao zrele breskve,
njene su dojke bile tople ko mali psici.
Govorio sam joj da je glupava, da se pravi važna,
Svetlana, Svetlana, znaš li ti da je atomski vek,
De Gol, Gagarin i koještarije,
sve sam Joj govorio,
ona je plakala, ona je plakala.

Vodio sam je po Kujundžiluku, po ašcinicama,
svuda sam je vodio,
u pecine je skrivao, na cardak je nosio,
pod mostovima se igrali žmurke, Neretva ždrebica,
pod starim mostom Crnjanskog joj govorio,
što je divan, šaputala je, što je divan.

Kolena joj crtao u vlažnom pesku,
smejala se tako vedro, tako nevino,
ko prvi ljiljani,
u džamije je vodio, Karadoz-beg mrtav, premrtav
pod teškim turbetom;
na grob Šanticev cvece je odnela,
malo plakala, kao i sve žene,
svuda sam je vodio.

Sada je ovo leto, sad sam sasvim drugi,
pišem neke pesme,
u jednom listu pola stupca za Peru Zupca
i ništa više,
a padale su svu noc nad Mostarom neke
modre kiše,
ona je bila raskošno bela u sobnoj tmini
al' nije htela to da cini,
nije htela, il' nije smela,
vrag bi joj znao.

Ni ono nebo, ni ono oblacje, ni one krovove,
bledunjavo sunce - izgladnelog decaka nad Mostarom
ne umem zaboraviti,
ni njenu kosu, njen mali jezik kao jagodu,
njen smeh što je umeo zaboleti kao kletva;
onu molitvu u kapeli na Bijelom Bregu,
Bog je veliki, govorila je, nadživece nas;
ni one teške, modre kiše,
o jesen besplodna, njena jesen...

Govorila je o filmovima, o Džemsu Dinu,
sve je govorila,
malo tužno, malo placljivo o Karenjini;
govorila je Klajd Grifits ne bi umeo ni
mrava zgaziti,
smejao sam se - on je ubica, ti si dete;
ni one ulice, one prodavce poslednjeg izdanja
"Oslobodenja", ni ono grožde polusvelo
u izlozima ne umem zaboraviti,
onu besplodnu gorku jesen nad
Mostarom,
one kiše,
ljubila me je po cele noci, grlila me
i ništa više, majke mi,
ništa drugo nismo.

Posle su opet bila leta, posle su opet bile kiše,
jedno jedino malo pismo iz Ljubljane,
otkuda tamo,
ni ono lišce po trotoarima, ni one dane,
ja više ne mogu, ja više ne umem
izbrisati.

Piše mi, pita me šta radim, kako živim,
imam li devojku,
da li ikad pomislim na nju, na onu jesen,
na one kiše,
ona je i sad, kaže, ista, kune se Bogom
potpuno ista,
da joj verujem, da se smejem
davno sam, davno, prokleo Hrista
a i do nje mi baš nije stalo,
klela se, ne klela,
mora se tako, ne vrede laži.

Govorio sam joj o Ljermontovu, o Šagalu,
sve sam joj govorio,
vukla je sa sobom neku staru Cvajgovu knjigu,
citala popodne,
u kosi joj bilo zapretano leto, žutilo sunca,
malo mora,
prve joj noci i koža bila pomalo slana,
ribe zaspale u njenoj krvi;
smejali smo se decacima što skacu
s mosta za cigarete,
smejali se jer nije leto, a oni skacu - baš su deca,
govorila je: mogu umreti, mogu dobiti upalu pluca...

Onda su dolazile njene cutnje, duge, preduge,
mogao sam slobodno misliti o svemu,
razbistriti Spinozu,
sate i sate mogao sam komotno gledati
druge,
bacati oblutke dole, niz stenje,
mogao sam sasvim otici nekud, otici daleko,
mogao sam umreti onako sam u njenom krilu,
samlji od sviju,
mogao sam se pretvoriti u pticu, u vodu,
u stenu,
sve sam mogao...

Prste je imala dugacke, krhke, beskrvne a hitre,
igrali smo se buba-mara i skrivalice,
Svetlana izadi, eto te pod stenom,
nisam valjda corav,
nisam ja blesav, hajde, šta se kaniš,
dobiceš batine;
kad je ona tražila - mogao sam pobeci
u samu reku - našla bi me,
namiriše me, kaže, odmah,
pozna me dobro.
Nisam joj nikad verovao,
valjda je stalno curila kroz prste.
Volela je kestenje, kupili smo ga po Rondou,
nosila ga u sobu, vešala o koncice,
volela je ruže, one jesenje, ja sam joj donosio,
kad svenu stavljala ih je u neku kutiju.

Pitao sam je šta misli o ovom svetu,
veruje li u komunizam, da li bi se menjala
za Natašu Rostovu, svašta sam je pitao,
ponekad glupo, znam ja to i te kako;
pitao sam je da li bi volela malog sina,
recimo plavog,
skakala je od ushicenja - hoce, hoce,
a onda, najednom, padala je u neke tuge
ko mrtvo voce:
ne sme i ne sme, vidi ti njega, kao da je ona
pala s Jupitera,
ko je to, recimo, Zubac Pera, pa da baš on
a ne neko drugi,
taman posla, kao da je on u najmanju ruku
Brando ili takvi.

Govorio sam joj ti si glupa, ti si pametna,
ti si davo, ti si andeo,
sve sam joj govorio.
Ništa mi nije verovala.
Vi ste muškarci rodeni lažovi,
vi ste hulje,
svašta je govorila.
A padale su nad Mostarom neke modre kiše...

Stvarno sam voleo tu Svetlanu
jedne jeseni,
jao, kad bih znao sa kim sada spava,
ne bi mu glava, ne bi mu glava,
jao, kad bih znao ko je sada ljubi,
ne bi mu zubi, ne bi mu zubi,
jao, kad bih znao ko to u meni
bere kajsije, još nedozrele.



Pero Zubac
December 2009
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