28.09.11

So, on a day of turbulent September sunshine in 2008, after having bought a interest of land in western Maine, I stood in a corner of my sibling Paul’s suburban backyard in Portland, and examined a chimney of lumber I had dropped there more than 10 years earlier. I had to stomp down the weeds with my enormousness-ten brown-leather brogues to get to it. I hadn’t yet bought a double of work boots. I was dressed for the classroom where I now earned my living, disguised as a college professor: khaki trousers, button-down cotton shirt and semi-round tortoise-outside glasses. I confronted the wood; or maybe, as a symbolic artifact of an earlier person, it confronted me. It was a temporary standoff with the past. Piled box high, the wood made an incongruous sight among the neighborhood’s turquoise swimming pools, over-sized gas grills and slumping badminton nets. It resembled nothing so much as a stockpile of old railroad ties dumped by the side of the road.

I brushed the coarse surface of the wood with my hand and pressed a short into its pulpy flesh. It was spongy: not a good trace. A few of the boards showed sawdust and smooth channels that were the line of carpenter ants. There were many more pieces — burdened posts, big square beams and long silvery rafters with bird’s-muzzle mortises — that had come through the years of sun and snow mostly logical. I couldn’t help feeling some connexion with the wood: a little weathered but still mostly intact. This was what I had hoped for on the spin up from Boston, where I lived and worked. I had counted on salvaging enough white elephants from the pile to form the frame of the cabin that already had entranced shape in my mind.

Source: WBUR

08.09.11

We Thais are taught in fundamental school that Wat Phra Kaew is home to the epoch's longest Ramakien _ or Thai Ramayana _ murals. The 178 interconnected galleries of these well-executed gold-plated paintings span pervasively from the top to the bottom of the six-metre-exalted walls and slither endlessly down the cloister which is more than 800 metres yearn. Not one bit of space is left meaningless that viewers can moan about: a commendable achievement for art on such a massive scale. While the Ramakien black lie is portrayed in the centre of each gallery, it takes countless unexalted heroes to occupy the leftover spaces throughout.

To prosper each gallery look complete, artists filled spaces leftist from the principal storytelling paintings with random, separate elements concerning people and their livelihoods. Lifestyles, gratify and eroticism were the main ingredients. These paintings are conveniently called "leftovers" or "footers". Right-minded like the principal images, they were set at the eye level and therefore are cold to miss.

Source: Bangkok Post

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