Stevens, Wallace. 1879-1955

[esborrany]  Poesia


Wallace Stevens (October 2, 1879 – August 2, 1955) was an American modernist poet. He was born in Reading, Pennsylvania, educated at Harvard and then New York Law School, and spent most of his life working as an executive for an insurance company in Hartford, Connecticut. He won the Pulitzer Prize for Poetry for his Collected Poems in 1955.

Stevens’s first period of writing begins with the 1923 publication of Harmonium, followed by a slightly revised and amended second edition in 1930. His second period occurred in the 11 years immediately preceding the publication of his Transport to Summer, when Stevens had written three volumes of poems including Ideas of Order, The Man with the Blue Guitar, Parts of a World, along with Transport to Summer. His third and final period began with the publication of The Auroras of Autumn in the early 1950s, followed by the release of his Collected Poems in 1954, a year before his death.

 

PDF: Wallace Stevens Journal 17, Eleanor Cook A Reader’s Guide to Wallace Stevens.
Calibre: Paul Mariani, The Life of Wallace Stevens. Poesía reunida. Notas para una ficción suprema. Opus posthumous.

101 Things I hate (John Waters)

Hatchet Piece (101 Things | Hate)

I wake up on the wrong side of the bed and smoke my last three cigarettes. I know it’s going to be a bad day. My hair hurts. That cloying voice of the FM disc jockey (1) has already gotten on my nerves subconsciously. I smash down the alarm button and realize the very air I breathe is not good enough. I’ve had it with being nice, understanding, fair and hopeful. I feel like being negative all day. The chip on my shoulder could sink the QE2. I’ve got an attitude problem and nobody better get in my way. Before showering, I kick the furniture. I’m in a bad mood and the whole stupid little world is gonna pay!

I’m not even going to make the bed. The one rotten, suffocating set of polyester sheets (2) I still own is thrown in the garbage. I happily destroy the ozone by spraying on my favorite aerosol deodorant and sneer at the dumbbells who use the nauseating roll-on brands (3), the kind that retain stray underarm hairs from past use to remind you just how imperfect the human body really is. I get the newspaper from out- side the door, hoping I’ll catch the creep who sometimes steals it (4) when I oversleep, but throw it down in disgust when I see color photos (5) that never reproduce properly and look like 3-D comics without the benefit of glasses. Then the goddamn light bulb (6) burns out. Does General Electric think I’m made of money? I gotta get out of here. I think I’ll just drive around town yelling insults at pedestrians.

On the way down in the elevator, ’m confined with an unattractive neighbor and his slobbering dog (7). I look away, grumbling, knowing that every time you make direct eye con- tact with these creatures, your IQ drops ten points. I don’t see any cats (8), thank God. I assume they’re all in other apartments sucking the breath out of babies or, worse yet, in heat, forcing you to use a Q-tip on their private parts to shut them up.

I check the mailbox, but naturally the mail’s not there yet. I hate it when the mail is late (9)! Lazy bastard mail carriers are probably reading my postcards and leafing through my magazines at this very minute. At least it’s not one of those stupid holidays (10), like Washington’s Birthday or Columbus Day, that bring any work you might have scheduled to a screeching halt.

Outside it’s hot and muggy. I buy a carton of cigarettes, ever bitter that I’m taxed so highly (11) on the one purchase that actually brings me happiness. They ought to tax yogurt (12); that’s what causes cancer. A neighbor, who always seems too familiar for her own good, passes me and makes the mistake of saying, “Good morning.” “Shut up!” I snap, making a mental note of her hideous patch-denim maxi skirt (13) and ridiculous ape-drape hairdo (14), so popular with fashion violators. And then I see it, a goddamn ticket on my car, even though the meter (15) has only been in effect ten minutes. I have to take my rage out on someone! I run toward this fashion scofflaw as she gets into the most offensive vehicle known to man, “Le Car” (16), and yank her door open as she frantically tries to lock it. “Not so fast, miss,” I bark. “There’s a certain matter of this ticket you’ll have to take care of —$16 for gross and willful fashion violations!” She gives me the finger and peels out, turning up the radio so I hear the voice of the worst-dressed man in music, Stevie Wonder (17), ringing in my ears.

Glaring at anyone who dares look at me, I get into my own car (an American sedan) and purposely ignore those ridiculous seat belts (18) that make you look so stupid, so overprepared, so paranoid. Who wants to be trapped in an overturned car about ready to explode, fumbling for the buckle? Oh Christ, I need gas! What else can go wrong? I pull into a g£as station and, wouldn’t you know it, they only have “selfservice” (19) pumps. I don’t want to know how to “fill ’er up,” thank you. Humiliated at having to perform this unavoidable task, I see another motorist, who has tried to disguise his bald head by stretching his one remaining strand of hair over his skull in a misguided camouflage attempt (20). Ha! Does he think he fools anybody? “Have a nice day, baldy!” I shout as I sign the credit card slip and hop into my car. Pulling out, I swerve to miss a slightly overweight jogger (21). “It’s not working!” I scream at this sweaty hog. I make the mistake of flicking on the radio, but all I can get are those awful talk shows (22) that feature lonely, militantly stupid listeners calling up professionally obnoxious hosts to vent their idiotic opinions. Don’t they have friends to bother with their inconsequential views?

I pull up at a red light and am pissed you can’t go “left on red” (23). There isn’t anybody coming, is there? | do it any- way and just miss a grown man on a bicycle (24) who deserves to get hit for holding up traffic. and then I see it! Something I loathe more than anything – a walkathon (25)! Block after bloc of dreary dingbats in unattractive athetic outfits, patting themselves on the back for supporting a good cause and blocking my right-of-way, “Hey, stupid,” I yell to a yuppie with a walkman (26), “time is money. You owe me $20 for holding me up”. Naturally he doesn’t hear me, lost in some awful music, probably that pretentious midget Prince (27). Trapped, I park the car to get a little breakfast. ‘Join us,” says some monster in “camel-toe” slacks (28) as she kisses (in public yet) (29) her lame boyfriend, who has the audacity to wear those awful leather sandals (30) left over from the sixties. “I hope you die,” I seethe as I rush to what I hope will be a decent restaurant.

But ooooh noooo! It’s been gentrified (31), and the first thing I see on somebody’s plate is an apple (32). Now, I have never eaten an apple. I did take a bite of one once, I’ll admit, but I spat it out faster than a snitch turning state’s evidence. Do I look like a horse? Don’t they have doughnuts or any normal foods, for God’s sake? And then it happens. A waiter, I can’t help but notice, who is featuring the most offensive shoe known to man, the clog (33), approaches and makes the mistake of actually sitting down at my table and chirping, “Hi, my name is Bill. Can I help you?” (34) Momentarily stunned, I fantasize pulling out a Denver Boot and snapping his ankle to the table leg. “Get up!” I scream. “And what makes you think I want to know your name? I came here to eat, not make friends! Just give me eggs and bacon and hold the biography!” He looks pleased as punch when he tells me, “We don’t serve meat.” Oh, great! A rotten vegetarian (35) restaurant. How could someone not eat meat? The waiter’s liberal attitude is beginning to cool, I see. He’s the type who goes to Chinese restaurants, makes a big deal out of eating with chopsticks (36), and then pompously demands, “Hold the MSG” (37). [wish I could order a huge bowl of red dye #2 from this cretin. “Just the eggs, then,” I holler, feeling a snit of royal proportions about to explode.

Sitting at my table, waiting, WAITING for my order, I feel the bile of my rage rising and decide I have to do some- thing. I can’t waste valuable bitching time. It’s time to call the police and report every single thing that gets on my nerves. They have to listen—it’s their job, isn’t it? I go to a public phone and prepare to deal with the despised phone company (38). Oh God, it’s the old-fashioned dial kind (39), the ones that make MC] impossible. Remembering that I hate MCI (40), too (they sometimes mistakenly charge you for unanswered-ring calls), I move on to more important subjects of Contempt. “Yes… hello, officer… I’m a citizen and I’d like to report the following things that are getting on my nerves: break-dancing in public (41), obnoxious mimes who think they’re poignant (42), nude beaches (43), where unattractive exhibitionists insist on baring their sagging bodies, all in the name of health . , . and, oh yes… . hello? Hello?” I slam down the receiver, enraged that a public servant has dared to hang up on me, and vow to write a letter of complaint later in the day. I get back to my table just in time to see the dreaded “Bill” serving my breakfast.

I start trembling. My eyes feel like they might burst from their sockets. They have dared to put sprouts (44) on my eggs! Oh God! It’s not fair. What next? Filthy iceberg letuce (45), the polyester of greens? Or even worse, obscene brussels sprouts (46)—those little balls of hell, limp and wilted after 4 lifetime of being pissed on by birds and other contaminated creatures! “I hate you,” I say to the startled “Bill” and slam down eight pennies (47), which have no earthly use in today’s economy except for insulting waiters.

Maybe I should go to the movies. At least it’s dark there. If only I can get there without stabbing someone. I dare to look out my car window, but immediately wish I hadn’t. There, in all its naked amateurish glory, is another one of those outdoor “art” murals (48). If this alarming trend can’t be nipped in the bud, there’ll be an eyesore on every corner. Did they ask ME if I wanted to look at jt? How about the poor neighbors who can hardly ignore the public doodling of these no-talents every time they step out of their houses?

Ironically, there’s a “No Littering” sign (49) on this very corner. Running to the trunk of my unit, ignoring the blast of horns honking behind me, I retrieve an industrial trash bag from my apartment that I save for just these occasions. Proudly and unashamedly, I dump the contents directly onto the street. Take that, no-littering nitpickers! I feel virtuous, confident that I have created a job. Every time I throw some- thing down, someone will have to be paid to pick it up. It’s only common sense.

Cruising along once again in this cesspool known as life, I realize that it is too late to make a detour. I will have to pass the anti-abortion pickets (50) outside of Planned Parent- hood. Nothing gets on my nerves more than these pro-lifers. Not even astrology enthusiasts (51), Hermann Hesse (52), or computer games (53). Look at these fools parading up and down! “Mind your own business,” I yell. When one of these busybodies (a man, yet) approaches my car with literature, I lose control and scream, “I wish I was a girl so I could get an abortion!” Trembling with rage, I realize I’d better calm down before I get beat up, but can’t resist one last taunt—“I hate the pope” (54), I yell to no one in particular.

I have to escape human beings, so I rush into one of those awful twin theaters (55), figuring I can sneak into the other side if this one feature is as awful as I imagine. At least they’re not showing boring classics (56), such as The African Queen or The Philadelphia Story, or, even worse, science fic- tion (57). I get an overpriced tub of popcorn and forget to tell the lummox behind the snack bar to hold the nuclear butter (58) that ruins a perfectly good snack. I never order a Coke (59), because they smell bad. I take my seat, take one bite, and throw the whole mess on the floor. More jobs. I paid my admission, how dare they ask me to use the trash can? Some short subjects (60) come on, but at least they aren’t arty computer films (61) that could drive me to theater vandalism. Where are film censors when we need them? Oh, good. Here come the previews, which they ruin by showing an upcoming film with the most offensive star in the world, Sylvester Stallone (62). I bet he has pimples on his ass. The feature is Witness (63), and the two elderly ladies behind me start talking (64), of all things. “It’s gotten great reviews,” one says. “Yes, I bet it will be up for Academy Award nominations,” the other opinionates. “Would you SHUT UP!?” I scream as I turn in my seat with a menacing look in my eyes. “You’re not in front of your TV, you know,” I add smugly. It does the trick. They are so appalled at my outburst that they don’t even dare to clear their throats for the next half hour. But as the film unfolds, I begin to wish the entire audience would start screaming. It’s about Amish people (65). Why on earth would Hollywood make a film whose heroes are a group of people whose religion forbids them to attend the movies? Halfway through this cinematic abomination, there’s an Amish barn-raising scene, backlit with a sunset, that is so nauseating I feel projectile vomiting is a distinct possibility. “Beautiful,” says the satisfied ticket buyer to her companion, and I finally reach the breaking point. Leaping from my seat, I rip off her wig, throw it in the aisle, and rush from the theater, screeching vague threats into the darkness.

I hide in the other side of the twin, but not for long. Mask (66) is playing. It stars Cher, who was great in Chastity, but under the direction of that whining Peter Bogdanovich (67) seems to be getting good reviews for not wearing Bob Mackie outfits. It’s about a kid with a deformed face who is not only ugly, he’s an asshole to boot. His mother is supposed to be a biker, but her Hell’s Angels friends are about as threatening as the Seven Dwarfs. Naturally, this Elephant Man, Jr., falls in love with a gorgeous blind girl and, in one scene, tries to tell her how beautiful the sky is. “But I can’t see. I don’t know blue,” she protests. Never at a loss for a sickening solution, Old Ugly heats up rocks to different temperatures, puts them in her hand and says, “This is blue!!” “I see it! I see it!” the girl moans, and I went temporarily insane, slashing six different movie seats with my car keys.

Escaping the theater just before the police arrive, I hop into my car and turn on the radio, hoping to hear news of World War II—anything to get my mind off those films— but instead hear an oldie but baddie by those honky Beatles (68) who ruined rock ’n’ roll. It’s all too much. How much can one man take? I pull over to the side of the road and start sobbing. Uncontrollably. Please, God (69) (I hate you, too), let me get back to my apartment without being committed.

Maybe I should get out of town. I could go to New York, but I know I’ll have a breakdown seeing those liberals ostentatiously holding their ears in the subway station (70) every time a train pulls in. And get into fights with rude cabdrivers who can’t even speak English (71). How about the beach? Are you crazy? What would I do, go sailing (72)? Look at convertibles (73)?—those showboat vehicles that scream, “Look at me,” and accomplish nothing but making your hair tangled and filthy. I can’t even go to the local park for fear of seeing third-rate academicians puffing on pipes (74) and playing the most boring game of all games, chess (75). Maybe I just better go home.

I run from my car to my apartment and double-bolt the lock. I’m shaking, but I’ll try to relax. The mail is finally here, but it’s always a trauma to open it. What makes me think today will be any different? Oh my God! Someone has sent me a dreaded greeting card (76). Can’t those stupid relatives ever think of one sentence to write instead of running off and giving Hallmark 75¢ for a line that they’ll never have the nerve to say out loud? Of course, there are bills. But none so annoying as American Express (77), the worst credit card of all—highest yearly fee that gives you the privilege of an end- less supply of junk mail. And, to top it off, you have to pay the entire balance every month, so what’s the point? All credit card bills stink, because you have to tear off the change-of-mailing- address flap (78) before sealing the envelope, and it’s yet another second of your day wasted on forced tasks. I even try to look through a magazine I subscribe to, but immediately toss it aside when I see articles about that big slob, Mr. T (79), who hangs around child-molester trials and poses for pictures, and Bette Davis’ fat, Jesus-freak daughter (80), who thinks we’ll be scandalized that her mother mistreated her, Ha! It’s a wonder she didn’t kill her! I notice that one of those nerve- tacking subscription cards (81) has fallen into my lap and rip it to shreds, vowing to cancel this magazine, but decide to continue mailing in bill-me-later orders to foul up their subscription department.

I should know better, but I turn on the TV (82), where the dots are too big for proper viewing. I hear a laugh track (83) and actually scream in the privacy of my own home. Frantically switching the dial, I catch the tail end of the news and glimpse the local weatherman (84), the only public-service announcer who, for some unfathomable reason, feels he must act like Bozo to hold my attention. At least it’s summer, so he doesn’t mention the ridiculous term “wind chill factor” (85), a hype to disguise the fact that the temperature is exactly what you’d expect for that time of year. Must I commit suicide to escape this drivel?

I call a fellow “hater” and he, too, has had an awful day. I make the mistake of asking him if he’d like to go out for a drink. “Are you kidding?” he rants. “We’d probably go to a bar and order a martini and they’d put it in the wrong kind of glass (86). Then some creep with a bi-level haircut (87) would give us a coke-rap (88) on some boring subject like experimental theater (89). “You’re right!” I scream, picking up the bitch ball while it’s firmly in my court, “where hambones actually go into the audience and try to involve mortified ticket buyers in their nonsense.” Continuing on his tangent, my fellow griper starts shouting, “I hate wrestling (90), that one OK sport now ruined by middle-class acceptance, but even more I hate folk music (91), and street fairs (92).” Foaming at the mouth, I drop the phone and, in a frenzy, start hollering so loudly the neighbors begin banging on the walls. “I hate strobe lights (93), rotten performance artists (94), and”— remembering my buddy on the other end—“to be honest, I HATE YOU, TOO!” I know he’s hung up on me because I vaguely hear the dial tone in the background of my harangue, but fuck him. Friends (95) are all assholes! I stagger around the apartment, flailing my arms, screeching like a banshee for the whole world to hear. “I’ll get you, Jon Voight (96), and you, too, Henry Jaglom (97), and all the other public jackasses who are plotting at this very minute to get on my nerves!” I collapse on the bed, and, to top it off, I get a nosebleed! And I hold directly responsible Bo Derek (98), The Hobbit (99), Rod McKuen (100), … and… gag… oh my God, I’ve actually regurgitated from the mere act of thinking of these subjects. Finally, spent, I manage to fall asleep for a minute or two, but is there any relief? Of course not. I have some stupid dream. But I’ll never tell you what it was. Because more than anything in the whole world, I HATE people who confide, “I had the weirdest dream last night . . .” (101).

I got out of bed. Pharaoh. Jane Kenyon

I got out of bed
on two strong legs.
It might have been
otherwise. I ate
cereal, sweet
milk, ripe, flawless
peach. It might
have been otherwise.

But one day, I know,
it may be otherwise.

(Va fer canviar el “may” per “will” a l’últim vers)


Pharaoh

“The future ain’t what it used to be,”
said the sage of the New York Yankees
as he pounded his mitt, releasing
the red dust of the infield
into the harshly illuminated evening air.

Big hands. Men with big hands
make things happen. The surgeon,
when I asked how big your tumor was,
held forth his substantial fist
with its globed class ring.

Home again, we live as charily as strangers.
Things are off. Touch rankles, food
is not good. Even the kindness of friends
turns burdensome; their flowers sadden
us, so many and so fair.

I woke in the night to see your
diminished bulk lying beside me—
you on your back, like a sarcophagus
as your feet held up the covers. . . .
The things you might need in the next
life surrounded you—your comb and glasses,
water, a book and a pen.


L’escriptor Donald Hall parla de la poesia que s’escriu davant la mort, i esmenta els canvis recents que han dut a desenvolupar una medecina paliativa (que es dirigeix al benestar de la persona) en lloc del procés material de la malaltia, un objecte. Ell havia estat malalt i la seva parella, que havia estat estudiant seva, Jane Kenyon, escrivia aquests poemes preciosos. Al final serà ella qui morirà abans, de leucèmia, i Hall escriure dos volums de poesia sobre la seva absència. Em fa pensar en Ferdinand Hodler que quan la seva amant Valentine Godé-Darel va enmalaltir, es passava moltes hores al costat vetllant-la i pintant-la, i va deixar un testimoni impressionant i terrible de com anava minvant.

I Have a Time Machine. Brenda Shaughnessy

But unfortunately it can only travel into the future
at a rate of one second per second,

which seems slow to the physicists and to the grant
committees and even to me.

But I manage to get there, time after time, to the next
moment and to the next.

Thing is, I can’t turn it off. I keep zipping ahead—
well, not zipping—And if I try

to get out of this time machine, open the latch,
I’ll fall into space, unconscious,

then desiccated! And I’m pretty sure I’m afraid of that.
So I stay inside.

There’s a window, though. It shows the past.
It’s like a television or fish tank

but it’s never live, it’s always over. The fish swim
in backward circles.

Sometimes it’s like a rearview mirror, another chance
to see what I’m leaving behind,

and sometimes like blackout, all that time
wasted sleeping.

Myself age eight, whole head burnt with embarrassment
at having lost a library book.

Myself lurking in a candled corner expecting
to be found charming.

Me holding a rose though I want to put it down
so I can smoke.

Me exploding at my mother who explodes at me
because the explosion

of some dark star all the way back struck hard
at mother’s mother’s mother.

I turn away from the window, anticipating a blow.
I thought I’d find myself

an old woman by now, travelling so light in time.
But I haven’t gotten far at all.

Strange not to be able to pick up the pace as I’d like;
the past is so horribly fast.

https://soundcloud.com/newyorker/listen-to-brenda-shaughnessy-read-i-have-a-time-machine

Of Mere Being. Wallace Stevens

The palm at the end of the mind,
Beyond the last thought, rises
In the bronze distance.

A gold-feathered bird
Sings in the palm, without human meaning,
Without human feeling, a foreign song.

You know then that it is not the reason
That makes us happy or unhappy.
The bird sings. Its feathers shine.

The palm stands on the edge of space.
The wind moves slowly in the branches.
The bird’s fire-fangled feathers dangle down.

Of the Surface of Things

I

In my room, the world is beyond my understanding;
But when I walk I see that it consists of three or four
hills and a cloud.

II

From my balcony, I survey the yellow air,
Reading where I have written,
“The spring is like a belle undressing.”

III

The gold tree is blue,
The singer has pulled his cloak over his head.
The moon is in the folds of the cloak.

 

Harmonium (1923)

Ray Bradbury. The Martians were there

Ray Bradbury. The Martian Chronicles. 1950

“I’ve always wanted to see a Martian,” said Michael. “Where are they, Dad? You promised.”

“There they are,” said Dad, and he shifted Michael on his shoulder and pointed straight down.

The Martians were there. Timothy began to shiver.

The Martians were there—in the canal—reflected in the water. Timothy and Michael and Robert and Mom and Dad.

The Martians stared back up at them for a long, long silent time from the rippling water …

Nabokov. Speak Memory. Cosmic synchronization

 

Cosmic synchronization

But then, in a sense, all poetry is positional: to try to express one’s position in regard to the universe embraced by consciousness, is an immemorial urge. The arms of consciousness reach out and grope, and the longer they are the better. Tentacles, not wings, are Apollo’s natural members. Vivian Bloodmark, a philosophical friend of mine, in later years, used to say that while the scientist sees everything that happens in one point of space, the poet feels everything that happens in one point of time. Lost in thought, he taps his knee with his wandlike pencil, and at the same instant a car (New York license plate) passes along the road, a child bangs the screen door of a neighboring porch, an old man yawns in a misty Turkestan orchard, a granule of cinder-gray sand is rolled by the wind on Venus, a Docteur Jacques Hirsch in Grenoble puts on his reading glasses, and trillions of other such trifles occur—all forming an instantaneous and transparent organism of events, of which the poet (sitting in a lawn chair, at Ithaca, N.Y.) is the nucleus.

That summer I was still far too young to evolve any wealth of “cosmic synchronization” (to quote my philosopher again). But I did discover, at least, that a person hoping to become a poet must have the capacity of thinking of several things at a time. In the course of the languid rambles that accompanied the making of my first poem, I ran into the village schoolmaster, an ardent Socialist, a good man, intensely devoted to my father (I welcome this image again), always with a tight posy of wild flowers, always smiling, always perspiring. While politely discussing with him my father’s sudden journey to town, I registered simultaneously and with equal clarity not only his wilting flowers, his flowing tie and the blackheads on the fleshy volutes of his nostrils, but also the dull little voice of a cuckoo coming from afar, and the flash of a Queen of Spain settling on the road, and the remembered impression of the pictures (enlarged agricultural pests and bearded Russian writers) in the well-aerated classrooms of the village school which I had once or twice visited; and—to continue a tabulation that hardly does justice to the ethereal simplicity of the whole process—the throb of some utterly irrelevant recollection (a pedometer I had lost) was released from a neighboring brain cell, and the savor of the grass stalk I was chewing mingled with the cuckoo’s note and the fritillary’s takeoff, and all the while I was richly, serenely aware of my own manifold awareness.

P.K. Dick. Penfield Mood Organ

A “Do Androids Dream of Electric Sheep? ” (1968) P.K. Dick concep un dispositiu, el Penfield Mood Organ, que envia ones que modifiquen el nostre estat d’ànim i es pot programar per endavant. El nom estaria basat en el neuròleg Wilder Penfield.

Un intent de simular-ho per twitter.

L’aplicació Moodrise (Android Iphone) intenta fer el mateix


Extract from Do Androids Dream of Electric Sheep? by Philip K. Dick (1968)
Chapter 1

A merry little surge of electricity piped by automatic alarm from the mood organ beside his bed awakened Rick Deckard. Surprised — it always surprised him to find himself awake without prior notice — he rose from the bed, stood up in his multicolored pajamas, and stretched. Now, in her bed, his wife Iran opened her gray, unmerry eyes, blinked, then groaned and shut her eyes again.

“You set your Penfield too weak”, he said to her. “I’ll reset it and you’ll be awake and — ”

“Keep your hand off my settings.” Her voice held bitter sharpness. “I don’t want to be awake.”

He seated himself beside her, bent over her, and explained softly. “If you set the surge up high enough, you’ll be glad you’re awake; that’s the whole point. At setting C it overcomes the threshold barring consciousness, as it does for me.” Friendlily, because he felt well-disposed toward the world — his setting had been at D — he patted her bare, pale shoulder.

“Get your crude cop’s hand away,” Iran said.

“I’m not a cop.” He felt irritable, now, although he hadn’t dialed for it.

“You’re worse,” his wife said, her eyes still shut. “You’re a murderer hired by the cops.”

“I’ve never killed a human being in my life.” His irritability had risen, now; had become outright hostility.

Iran said, “Just those poor andys.”

“I notice you’ve never had any hesitation as to spending the bounty money I bring home on whatever momentarily attracts your attention.” He rose, strode to the console of his mood organ. “Instead of saving,” he said, “so we could buy a real sheep, to replace that fake electric one upstairs. A mere electric animal, and me earning all that I’ve worked my way up to through the years.” At his console he hesitated between dialing for a thalamic suppressant (which would abolish his mood of rage) or a thalamic stimulant (which would make him irked enough to win the argument).

“If you dial,” Iran said, eyes open and watching, “for greater venom, then I’ll dial the same. I’ll dial the maximum and you’ll see a fight that makes every argument we’ve had up to now seem like nothing. Dial and see; just try me.” She rose swiftly, loped to the console of her own mood organ, stood glaring at him, waiting.

He sighed, defeated by her threat. “I’ll dial what’s on my schedule for today.” Examining the schedule for January 3, 2021, he saw that a businesslike professional attitude was called for. “If I dial by schedule,” he said warily, “will you agree to also?” He waited, canny enough not to commit himself until his wife had agreed to follow suit.

“My schedule for today lists a six-hour self-accusatory depression,” Iran said.

“What? Why did you schedule that?” It defeated the whole purpose of the mood organ. “I didn’t even know you could set it for that,” he said gloomily.

“I was sitting here one afternoon,” Iran said, “and naturally I had turned on Buster Friendly and His Friendly Friends and he was talking about a big news item he’s about to break and then that awful commercial came on, the one I hate; you know, for Mountibank Lead Codpieces. And so for a minute I shut off the sound. And I heard the building, this building; I heard the — ” She gestured.

“Empty apartments,” Rick said. Sometimes he heard them at night when he was supposed to be asleep. And yet, for this day and age a one-half occupied conapt building rated high in the scheme of population density; out in what had been before the war the suburbs one could find buildings entirely empty… or so he had heard. He had let the information remain secondhand; like most people he did not care to experience it directly.

“At that moment,” Iran said, “when I had the TV sound off, I was in a 382 mood; I had just dialed it. So although I heard the emptiness intellectually, I didn’t feel it. My first reaction consisted of being grateful that we could afford a Penfield mood organ. But then I realized how unhealthy it was, sensing the absence of life, not just in this building but everywhere, and not reacting — do you see? I guess you don’t. But that used to be considered a sign of mental illness; they called it ‘absence of appropriate affect.’ So I left the TV sound off and I sat down at my mood organ and I experimented. And I finally found a setting for despair.” Her dark, pert face showed satisfaction, as if she had achieved something of worth. “So I put it on my schedule for twice a month; I think that’s a reasonable amount of time to feel hopeless about everything, about staying here on Earth after everybody who’s smart has emigrated, don’t you think?”

“But a mood like that,” Rick said, “you’re apt to stay in it, not dial your way out. Despair like that, about total reality, is self-perpetuating.”

“I program an automatic resetting for three hours later,” his wife said sleekly. “A 481. Awareness of the manifold possibilities open to me in the future; new hope that — ”

“I know 481,” he interrupted. He had dialed out the combination many times; he relied on it greatly. “Listen,” he said, seating himself on his bed and taking hold of her hands to draw her down beside him, “even with an automatic cutoff it’s dangerous to undergo a depression, any kind. Forget what you’ve scheduled and I’ll forget what I’ve scheduled; we’ll dial a 104 together and both experience it, and then you stay in it while I reset mine for my usual businesslike attitude. That way I’ll want to hop up to the roof and check out the sheep and then head for the office; meanwhile I’ll know you’re not sitting here brooding with no TV.” He released her slim, long fingers, passed through the spacious apartment to the living room, which smelled faintly of last night’s cigarettes. There he bent to turn on the TV.

From the bedroom Iran’s voice came. “I can’t stand TV before breakfast.”

“Dial 888,” Rick said as the set warmed. “The desire to watch TV, no matter what’s on it.”

“I don’t feel like dialing anything at all now,” Iran said.

“Then dial 3,” he said.

“I can’t dial a setting that stimulates my cerebral cortex into wanting to dial! If I don’t want to dial, I don’t want to dial that most of all, because then I will want to dial, and wanting to dial is right now the most alien drive I can imagine; I just want to sit here on the bed and stare at the floor.” Her voice had become sharp with overtones of bleakness as her soul congealed and she ceased to move, as the instinctive, omnipresent film of great weight, of an almost absolute inertia, settled over her.

He turned up the TV sound, and the voice of Buster Friendly boomed out and filled the room. ” — ho ho, folks. Time now for a brief note on today’s weather. The Mongoose satellite reports that fallout will be especially pronounced toward noon and will then taper off, so all you folks who’ll be venturing out — ”

Appearing beside him, her long nightgown trailing wispily, Iran shut off the TV set. “Okay, I give up; I’ll dial. Anything you want me to be; ecstatic sexual bliss — I feel so bad I’ll even endure that. What the hell. What difference does it make?”

“I’ll dial for both of us,” Rick said, and led her back into the bedroom. There, at her console, he dialed 594: pleased acknowledgment of husband’s superior wisdom in all matters. On his own console he dialed for a creative and fresh attitude toward his job, although this he hardly needed; such was his habitual, innate approach without recourse to Penfield artificial brain stimulation.

Chap22.

At the Penfield mood organ, Iran Deckard sat with her right index finger touching the numbered dial. But she did not dial; she felt too listless and ill to want anything: a burden which closed off the future and any possibilities which it might once have contained. If Rick were here, she thought, he’d get me to dial 3 and that way I’d find myself wanting to dial something important, ebullient joy or if not that then possibly an 888, the desire to watch TV no matter what’s on it.


UBIK: Un món on cal pagar per tot, els apartaments, suposo que de lloguer, demanen insertar monedes cada cop que s’obre la porta, la nevera, o per la neteja. Una vida simulada pels que estan en un estat de semivida. La competència entre els psíquis que poden saber què pensen els altres, els precogs i els que els inhibeixen.

Do androids dream of electric sheep. El Penfield Mood organ. Un món gairebé sense animals on tothom va amb la guia Sidney mirant què poden permetre’s. La màquina d’empatia on tots els ciutadans es connecten per sentir el que sent el seu líder i el conjunt de tots (p.449, p.557). El test Voigt-Kampf d’empatia per detectar els androides.

The Stigma of Palmer Eldricht. Translation drugs [ drogues per transportar-se, viure una estona en una realitat virtual] Els món virtuals alternatius compartits  on s’accedeix consumint una droga i situant-se en un entorn preparat. PP.Layouts. p.263. Accedir a una altra identitat com en les reencarnacions budistes p.307. Pagar diners per evolucionar artificialment i ser més intel·ligent, e-therapy p.288s. Cap.6 Crear un món alternatiu on viure-hi i poder fer-ne participar a voluntat a un altre, convertint-lo en un malson. Dr.Smile, una maleta que fa de psiquiatre automàtic. p.350 Quan un grup és a punt d’entrar en una hal·lucinació, poden triar l’escenari basant-se en un llibre com Moby Dick, després funny o sad version, després i l’estil serà segons Dalí, Picasso, o Giorgio da Chirico.  p.355 “Isn’t a miserable reality better than the most interesting illusion?” p. 418 Al final Palmer Eldricht és més que viure una hal·lucinació controlada per un altre, és un ens que infecta tots els éssers, els fa sentir el que vol i fins i tot. de manera intermitent, els canvia les mans, ulls i mandíbula, com els estigmes de Crist que apareixien en alguns sants.