. . . or so I was taught in high school. But there are more things in heaven and earth than are dreamt of in the minds of high-school English teachers” (17).

Krauss, Lawrence M. Atom. Boston, Little Brown and Co., 2001.

Betsey and Harry had the kind of hi-fi set-up that involved loud-speakers all over the place, so you could hear the percussion from here and the strings from there. All that Betsey and Harry ever used it for, however, was off-colour stories and Presley. To be able to hear off-colour stories and Presley from several sides of the room at once did not seem quite worth the expense necessary to make this possible. (18-19)

When the younger one finished his tea, he tossed the cup over the hoarding with a lyrical, curving, discus-thrower swing and wiped his mouth with the back of his hand. He seemed to be inspecting the train, raking the length of it with a low, sweeping, lop-sided gaze. His eyes were a curious grey green. His Atlantic-coloured regard went over Melanie like a wave; she submerged in it. She would have been soaked if it had been water. He touched the other man’s arm; at once he dropped his cup and they came towards her. And if one moved like the wind in branches, the other’s motion was a tower falling, a frightening, uncoordinated progression in which he seemed to crash forward uncontrollably at each stride, jerking himself stiffly upright and swaying for a moment on his heels before the next toppling step. The boy smiled and stretched out hands of welcome; the other did not smile. Melanie knew they were coming for her and started. (34)

from Chapter 3 of. . .

Morris, William. 1919. Hopes and Fears for Art. New York: Longmans, Green, and Co. <http://www.marxists.org/archive/morris/works/1882/hopes/index.htm>, 2003.

“Glorious,” said Steerpike, “is a dictionary word. We are all imprisoned by the dictionary. We choose out of that vast, paper-walled prison our convicts, the little black printed words, when in truth we need fresh sounds to utter, new enfranchised noises which would produce a new effect. In dead and shackled language, my dears, you are glorious, but oh, to give vent to a brand new sound that might convince you of what I really think of you, as you sit there in your purple splendor, side by side! But no, it is impossible. Life is too fleet for onomatopoeia. Dead words defy me. I can make no sound, dear ladies, that is apt.”

“You could try,” said Clarice, “we aren’t busy.” (305)

Yes, I have read past page 300. “Life is too fleet for onomatopoeia” is the highpoint of the novel so far.

A shoemaker in Arezzo had an apprentice who often left the workshop and retired into the house of his master, on the ground that he could work better and more comfortably in the quiet of the house.

This aroused the suspicions of the shoemaker, so that he came to the house one day unexpectedly and found the lad in bed with his wife.

Whereupon he said sternly to his apprentice: “You are wasting your time; for this type of work I shall certainly not pay you.” (25)

Fiorentino, Poggio. Facetia Erotica. New York: [privately printed], 1930.

The immense accretion of flesh which had descended on her in middle life like a flood of lava on a doomed city had changed her from a plump active little woman with a neatly-turned foot and ankle into something as vast and august as a natural phenomenon. She had accepted this submergence as philosophically as all her other trials, and now, in extreme old age, was rewarded by presenting to her mirror an almost unwrinkled expanse of firm pink and white flesh, in the center of which the traces of a small face survived as if awaiting excavation. A flight of smooth double chins led down to the dizzy depths of a still-snowy bosom veiled in snowy muslins that were held in place by a miniature portrait of the late Mr. Mingott; and around and below, wave after wave of black silk surged away over the edges of a capacious armchair, with two tiny white hands poised like gulls on the surface of the billows. (28)

I’m supposed to be giving the titles already identified (by others) for withdrawal a quick once-over, just because it’s been about three years since this project has been alive and kicking; but it’s turning out to be not so quick after all. I keep running into stuff like this. . .

Reisner, Robert George. Show Me the Good Parts: The Reader’s Guide to Sex in Literature. New York: Citadel, 1964.

. . . which includes this gem. . .

BODIN, PAUL. All Women’s Flesh. New York, Berkeley (paperback), 1957. 190 pp.

pp. 41-43: The man is mildly shocked when his wife runs off with his friend. Most of the surprise is why his friend should want her. He is comforted in his loss by many women, so he is in good shape. One source of solace is a waitress in a local restauraunt. He lavishes appreciative attentions on her slightly hypertrophied posterior. (66)

Who could withdraw such a thing? Not I.