“The Emerald” — Donald Barthelme

Hey buddy what’s your name?
My name is Tope. What’s your name?
My name is Sallywag. You after the emerald?
Yeah I’m after the emerald you after the emerald too?
I am. What are you going to do with it if you get it?
Cut it up into little emeralds. What are you going to do with it?
I was thinking of solid emerald armchairs. For the rich.
That’s an idea. What’s your name, you?
Wide Boy.
You after the emerald?
Sure as shootin’.
How you going to get in?
Blast. That’s going to make a lot of noise isn’t it?
You think it’s a bad idea?
Well…What’s your name, you there?
Taptoe.
You after the emerald?
Right as rain. What’s more, I got a plan.
Can we see it?
No it’s my plan I can’t be showing it to every—
Okay okay. What’s that guy’s name behind you?
My name is Sometimes.
You here about the emerald, Sometimes?
I surely am.
Have you got an approach?
Tunneling. I’ve took some test borings. Looks like a stone cinch.
If this is the right place.
You think this may not be the right place?
The last three places haven’t been the right place.
You tryin’ to bring me down?
Why would I want to do that? What’s that guy’s name, the one with the shades?
My name is Brother. Who are all these people?
Businessmen. What do you think of the general situation, Brother?
I think it’s crowded. This is my pal, Wednesday.
What say, Wednesday. After the emerald, I presume?
Thought we’d have a go.
Two heads better than one, that the idea?
Yep.
What are you going to do with the emerald, if you get it?
Facet. Facet and facet and facet.

Read the rest of Donald Barthelme’s short story “The Emerald.”

 

Taking Stock — Hans Haacke

Girlie Show — Edward Hopper

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Screen Test: Susan Sontag — Andy Warhol

Moist Stag — Vania Zouravliov

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Words is oh such a twitch-tickling problem to me all my life (Roald Dahl’s The BFG)

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The Sell Out — Eric Yahnker

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In Search of Moebius

Theseus — Edward Burne-Jones

“Supernatural Axioms” — William T. Vollmann

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From William T. Vollmann’s forthcoming collection, Last Stories and Other Stories.

Studies of the Arm — Leonardo da Vinci

The Hammock — Thomas Theodor Heine

Where the artist is still trusted, he will not be looked to for assurance (Flannery O’Connor)

Unless we are willing to accept our artists as they are, the answer to the question, “Who speaks for America today?” will have to be: the advertising agencies. They are entirely capable of showing us our unparalleled prosperity and our almost classless society, and no one has ever accused them of not being affirmative. Where the artist is still trusted, he will not be looked to for assurance. Those who believe that art proceeds from a healthy, and not from a diseased, faculty of the mind will take what he shows them as a revelation, not of what we ought to be but of what we are at a given time and under given circumstances; that is, as a limited revelation but revelation nevertheless.

From Flannery O’Connor’s essay “The Fiction Writer and His Country,” collected in Mystery and Manners.

 

Portrait of Friederike Maria Beer — Egon Schiele

Flannery O’Connor/Janet Frame (Books Acquired, 6.27.2014)

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“Death and the Maiden” — The Verlaines

Language (Ambrose Bierce)

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