Collage Of Positive Quotes

We each are artists of the self, creating a collage -- a new and original work of art -- out of scraps and fragments of identifications. The people with whom we identify are, positively or negatively, always important to us. Our feelings toward them are, in some way, always intense.

literature composed by women was stored not in books but in female bodies, living repositories of poetry and song. I have come across a line of argument in my reading, which posits that, due to the inherent fallibility of memory and the imperfect human vessels that held it, the Caoineadh cannot be considered a work of single authorship. Rather, the theory goes, it must be considered collage, or, perhaps, a folky reworking of older keens. This, to me --- in the brazen audacity of one positioned far from the tall walls of the university --- feels like a male assertion pressed upon a female text. After all, the etymology of the word ‘text’ lies in the Latin verby ‘texere’: to weave, to fuse, to braid. The Caoineadh form belongs to a literary genre worked and woven by women, entwining strands of female voices that were carried in female bodies, a phenomenon that seems to me cause for wonder and admiration, rather than suspicion of authorship.

Less is not known as a teacher, in the same way Melville was not known as a customs inspector. And yet both held the respective positions. Though he was once an endowed chair at Robert’s university, he has no formal training except the drunken, cigarette-filled evenings of his youth, when Robert’s friends gathered and yelled, taunted, and played games with words. As a result, Less feels uncomfortable lecturing. Instead, he re-creates those lost days with his students. Remembering those middle-aged men sitting with a bottle of whiskey, a Norton book of poetry, and scissors, he cuts up a paragraph of Lolita and has the young doctoral students reassemble the text as they desire. In these collages, Humbert Humbert becomes an addled old man rather than a diabolical one, mixing up cocktail ingredients and, instead of confronting the betrayed Charlotte Haze, going back for more ice. He gives them a page of Joyce and a bottle of Wite-Out—and Molly Bloom merely says “Yes.” A game to write a persuasive opening sentence for a book they have never read (this is difficult, as these diligent students have read everything) leads to a chilling start to Woolf’s The Waves: I was too far out in the ocean to hear the lifeguard shouting, “Shark! Shark!” Though the course features, curiously, neither vampires nor Frankenstein monsters, the students adore it. No one has given them scissors and glue sticks since they were in kindergarten. No one has ever asked them to translate a sentence from Carson McCullers (In the town there were two mutes, and they were always together) into German (In der Stadt gab es zwei Stumme, und sie waren immer zusammen) and pass it around the room, retranslating as they go, until it comes out as playground gibberish: In the bar there were two potatoes together, and they were trouble. What a relief for their hardworking lives. Do they learn anything about literature? Doubtful. But they learn to love language again, something that has faded like sex in a long marriage. Because of this, they learn to love their teacher.

The wedding rehearsal itself was uneventful until Father Johnson decided it was time to show Marlboro Man and me the proper way to walk to the marriage altar. Evidently, all of Father Johnson’s theological studies and work was destined to culminate in whether or not Marlboro Man and I approached the altar in the perfectly correct and proper way, because he was intent on driving the point home. “At this point,” Father Johnson instructed, “you’ll start to turn and Ree will take your arm.” He lightly pushed Marlboro Man in the proper direction, and the two of us began walking forward. “Nope, nope, nope,” Father Johnson said authoritatively. “Come back, come back.” Marlboro Man’s college friends snickered. “Oh…what did we do wrong?” I asked Father Johnson humbly. Maybe he’d discovered the truth about the collages. He showed us again. Marlboro Man was to turn and begin walking, then wait for me briefly. Then, as I took his arm, he was to lead me to the altar. Wait. Wasn’t that what we just did? We tried again, and Father Johnson corrected us…again. “Nope, nope, nope,” he said, pulling us both by the arm until we were back in our starting position. Marlboro Man’s friends chuckled. My stomach growled. And Marlboro Man kept quietly restrained, despite the fact that he was being repeatedly corrected by his fiancée’s interim minister for something that arguably wasn’t all that relevant to the commitment we were making to spend the rest of our lives together. We went through no fewer than seven more takes, and with each redo I began to realize that this was Father Johnson’s final test for us. Forget the collage assignment--that was small potatoes. Whether we could keep our cool and take instruction when a nice steak dinner and drinks awaited us at the country club was Father Johnson’s real decider of whether or not Marlboro Man and I were mature, composed, and levelheaded enough to proceed with the wedding. And while I knew Marlboro Man would grit his teeth and bear it, I wasn’t entirely sure I could. But I didn’t have to. On the beginning of the eighth run, just after Father Johnson gave us another “Nope. You’re not getting it right, kids…” Mike’s loud voice echoed throughout the wood-and-marble sanctuary. “Oh, c-c-c-c-come on, Father Johnson!” The chuckles turned into laughter. And out of the corner of my eye I saw Tony giving Mike a subtle high five. Thank goodness for Mike. He was hungry. He wanted to get on to the party.

I ordered a ginger ale and then promptly began stewing. I was watching the ranks of protesters file past. But I was also thinking of all I’d seen the past few days—of Hebron, Susya, and the Old City—and how distant it felt from these protests. Back in America these protests enjoyed positive coverage and were taken as evidence of the vitality and mettle of “the only democracy in the Middle East.” But by then I knew that “the only democracy in the Middle East” was essentially a tagline which, like “the Breakfast of Champions” or “Just do it,” depended less on logic or observed reality than a form of word association. The “Middle East” is the insanity of suicide bombings, the backwardness of a woman peeking out from her niqab. “Democracy” is a flag over Iwo Jima, Washington crossing the Delaware, a working man rising in a town meeting. Overlay the two phrases and a collage emerges—a visual representation of Herzl’s dream of “an outpost of civilization against barbarism.” And this collage is a technology, as functional as any other: Who can judge democratic Israel, which must exist in “that part of the world” where child brides, chemical weapons, and bin Laden reign?