“Words have temperatures to me,” Ruscha has said, specifying that he likes them toasty but not scalding. “Sometimes I have a dream that if a word gets too hot and too appealing, it will boil apart.”


'Their personalities were fundamentally unalike, in ways that could scratch like sandpaper. The Irish critic George Moore, who hung out with them in Paris, described them thus: “Manet loud, declaratory, and eager for medals and decorations; Degas sharp, deep, more profound, scornfully sarcastic.”


'Second Place, Overall. A crab sits in the center of a sea anemone as it sways in ocean current. Philippines.
© Andrei Savin / Ocean Photographer of the Year'


"The moment you and your story are overwhelmed by the furious storm of the times - that's when the real novel begins."
Walter Mosley, Elements of Fiction.

'A single intramuscular injection of Lenti-HPV-07 into mice bearing established HPV-induced tumors resulted in complete tumor eradication in 100% of the animals and was also effective against lung metastases.'

Douguet et al @EmboMolMed


“‘Impression, Sunrise’ is not a sweet sea landscape but a bomb so powerful” that it smashed classical tradition, says painter Adrian Ghenie, “putting the Greco-Roman canon to rest for good”.


The best covers are *always* the rejected covers - like this one spotted at @victoralab (Rockefeller) for the LIPSTIC cell-cell contact tracing method.


Great moments in copyediting:

“Before Atwater died, of brain cancer, in 1991, he expressed regret…” Yagoda wrote, “No other publication would put a comma after ‘died’ or ‘cancer’. The New Yorker does so because otherwise (or so the thinking goes), the sentence would suggest that Atwater died multiple times & of multiple causes." 

'Cooke had always admired Bob Dylan’s civil rights song “Blowin’ in the Wind”. He pulled it straight into his own live repertoire, but still, as biographer Daniel Wolff wrote, something troubled him: “Geez, a white boy writing a song like that?” A 2005 biographer, Peter Guralnick, said that Cooke was “almost ashamed not to have written something like that himself”.
(photo © Jess Rand/Getty)


'Desde muy joven, Saura mostró su interés por diferentes disciplinas artísticas. La fotografía, la pintura y la música formaban parte del calor familiar. Pero la pasión por el cine nació en la calle, cuando en el Madrid pobre y apaleado de la posguerra el pequeño se escapaba a las sesiones de los cines de barrio cercanos a su casa familiar de la avenida de Menéndez Pelayo para ver una y otra vez la versión de los años treinta de El prisionero de Zenda.'


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