Tm going to be a musician," he said.
After years of her mother talking about their father’s brother accident. The boy didn’t stop his little brother from becoming a musician
27 Matching Annotations
- Last 7 days
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drive.google.com drive.google.comview10
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d. Everyone is looking at something a child can'tsee. For a minute they've forgotten the children. Maybe a kidis lying on the rug, half asleep.
Why is the parents will forgot their child? Is the author is telling us something?
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112stony, lifeless elegance of hotels and apartment buildings,toward the vivid, killing streets of our childhood. These streetshadn't changed, though housing projects jutted up out of themnow like rocks in the middle of a boiling sea. Most
I think this sentence is quite touching, because I have this feeling before.
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You're pretty goddamnsmart, I bet."Then he looked directly at me, just for a minute. "I ain'tsmart," he said. "If I was smart, I'd have reached for a pistol along time ago."
It’s ironic that Sonny got arrested, while the drifter was fine.
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Tm surprised at Sonny, though
It seems like he didn’t know exactly what happened to Sonny.
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That's right.
I’m curious about why the man would do that. Was he kicking Sonny when he’s down?
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He mustwant to die, he 's killing himself, why does he want to die?"He looked at me in surprise. He licked his lips. "He don 'twant to die. He wants to live. Don't nobody want to die,ever.
I thought Sonny was destroying himself because he wanted to die, but this line shows the opposite. It’s shocking that even through self-destruction, Sonny is still fighting to live.
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For, whilethe tale of how we suffer, and how we are delighted, and howwe may triumph is never new, it always must be heard.
It’s troubling because it reminds us that suffering never disappears; people keep reliving pain through their own stories. The line suggests a cycle that’s hard to break.
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Sonny's fingers filled the air with life, his life. But that lifecontained so many others.
It’s surprising how the narrator realizes that Sonny’s music expresses not only his own pain but the shared suffering of others. This shows a moment of understanding and connection between the brothers.
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But now, abruptly, I hated him. I couldn't stand the way helooked at me, partly like a dog, partly like a cunning child. Iwanted to ask him what the hell he was doing in the schoolcourtyard.
Interesting because the narrator’s sudden hatred isn’t really about the boy but his own fear and guilt about Sonny, showing how deeply conflicted he feels inside.
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- Oct 2025
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drive.google.com drive.google.comview10
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Andthank God she was there, for I was filled with that icy dreadagain. Everything I did seemed awkward to me, and every-thing I said sounded freighted with hidden meaning. I wastrying to remember everything I'd heard about dope addictionand I couldn't help watching Sonny for signs. I wasn't doing itout of malice. I was trying to find out something about mybrother. I was dying to hear him tell me he was safe.
From this passage we can see the narrator keeps looking after his brother for fear of him being trapped by drugs again ;the theme of the obligation toward brotherly love.
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Creolebegan to tell us what the blues were all about. They were notabout anything very new.
When Creole says that ' blues weren't anything new' ,is it because the music they play all derived from their past feelings and emotions? or is it telling us that sonny's expressing his life? ( But I think both are things he wanted to tell us)
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And he was giving it back, as every-thing must be given back, so that, passing through death, itcan live forever. I saw my mother's face again, and felt, for thefirst time, how the stones of the road she had walked on musthave bruised her feet. I saw the moonlit road where my fa-ther's brother died. And it brought something else back to me,and carried me past it, I saw my little girl again and feltIsabel's tears again, and I felt my own tears begin to rise.
the narrator's reaction to Sonny's music shows howdleeply it moves him. I think it's also a turning point where he finally begins to understand Sonny.
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'1 couldn't tell you when Mama died-but the reason I wantedto leave Harlem so bad was to get away from drugs. And then,when I ran away, that's what I was running from-really.When I came back, nothing had changed, I hadn't changed, Iwas just-older." And he stopped, drumming with his fingerson the windowpane. The sun had vanished, soon darknesswould fall. I watched his face. "It can come again," he said,almost as though speaking to himself. Then he turned to me."It can come again," he repeated. "I just want you to knowthat.""All right," I said, at last. "So it can come again, All right."He smiled, but the smile was sorrowful. "I had to try to tellyou," he said.
It shows how trapped he felt by his environment. Harlem represents pain , poverty , and a cycle he wants to escape. This highlights a main theme of the story - how hard it is to break free from suffering.
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"Imean, I'll have a lot of studying to do, and I'll have to studyeverything, but, I mean, I want to play with-jazz musicians."He stopped. "I want to play jazz," he said.
It's clear that Black people have a really deep connection with music, and jazz is a big part of Black culture. This idea plays a significant role in Sonny's Blues, highlights how music becomes a way to deal with pain and as a form of expression.
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"You got to hold on to your brother,"she said, and don't let him fall, no matter what it looks likeis happ~ning to him and no matter how evil you gets with him.You gomg to be evil with him many a time. But don't youforget what I told you, you hear?"
The narrator's mother, by charging him watching over Sonny, is asking him to serve as his brother's keeper. Another passage about the obligation toward brotherly love.
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The way I always see her isthe way she used to be on a Sunday afternoon, say, when th eold folks were talking after the big Sunday dinner. I always seeher wearing pale blue. She'd be sitting on the sofa. And myfather would be sitting in the easy chair, not far from her. Andthe living room would be full of church folks and relative s.
'Sunday dinner' and 'church' are strongly associate with the Black culture in the US, representing a traditional rooted in the resilience of African Americans during and after slavery.
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"why does he want to die? He mustwant to die, he 's killing himself, why does he want to die?"He looked at me in surprise. He licked his lips. "He don 'twant to die. He wants to live. Don't nobody want to die,ever."
The speaker, as someone who has tried heroin before , must have a remarkably stable mind to avoid being controlled by the drug. I strongly agree with the line,'He wants to live. Don't nobody want to die, ever.' It reveals the underlying reason why many people become addicted; they long to escape a reality that they cannot bare living.
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A teacher passed through themevery now and again, quickly, as though he or she couldn'twait to get out of that courtyard, to get those boys out of theirsight and off their minds.
I think ' a teacher ' might refer to the narrator himself; otherwise , why is it every ' now and again'?
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These boys, now, were living as we'd been living then, theywere growing up with a rush and their heads bumped abruptlyagainst the low ceiling of their actual possibilities. They werefilled with rage. All they really knew were two darknesses, thedarkness of their lives, which was now closing in on them, andthe darkness of the movies, which had blinded them to thatother darkness, and in which they now, vindictively, dreamed,at once more together than they were at any other time, andmore alone.
I don't think that only boys at that age would be on drugs. Girls might tool. Also, I quite like the way that the narrator describes addictive products as 'darkness' and something they 'dreamed' - it's truly a kind of lust.
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- Oct 2024
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www.theguardian.com www.theguardian.com
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2023 haben Böden und Landpflanzen fast kein CO2 absorbiert. Dieser Kollaps der Landsenken vor allem durch Dürren und Waldbrände wurde in diesem Ausmaß kaum vorausgesehen, und es ist nicht klar, ob auf ihn eine Regeneration folgt. Er stellt Klimamodelle ebenso in Frage wie die meisten nationalen Pläne zum Erreichen von CO2-Neutralität, weil sie auf natürlichen Senken an Land beruhen. Es gibt Anzeichen dafür, dass die steigenden Temperaturen inzwischen auch die CO2-Aufnahmefähigkeit der Meere schwächen. Überblicksartikel mit Links zu Studien https://www.theguardian.com/environment/2024/oct/14/nature-carbon-sink-collapse-global-heating-models-emissions-targets-evidence-aoe
Tags
- by: Patrick Greenfield
- Philippe Ciais
- The role of forests in the EU climate policy: are we on the right track?
- Johan Rockström
- A warming climate will make Australian soil a net emitter of atmospheric CO2
- French Laboratory of Climate and Environmental Sciences
- Low latency carbon budget analysis reveals a large decline of the land carbon sink in 2023
- Impact of high temperature heat waves on ocean carbon sinks: Based on literature analysis perspective
- Schwächung der marinen Kohlenstoffsenken
- Schwächung der terrestrischen Kohlenstoffsenken
- Andrew Watson
- date::2024-10-14
- 2023
- The enduring world forest carbon sink
- Global Carbon Budget
- Tim Lenton
- Pierre Friedlingstein
Annotators
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- May 2024
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www.liberation.fr www.liberation.fr
- Oct 2023
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en.wikipedia.org en.wikipedia.org
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https://en.wikipedia.org/wiki/Shmita
During shmita, the land is left to lie fallow and all agricultural activity, including plowing, planting, pruning and harvesting, is forbidden by halakha (Jewish law).
The sabbath year (shmita; Hebrew: שמיטה, literally "release"), also called the sabbatical year or shǝvi'it (שביעית, literally "seventh"), or "Sabbath of The Land", is the seventh year of the seven-year agricultural cycle mandated by the Torah in the Land of Israel and is observed in Judaism.
Tags
- sabbaticals
- halakha
- shmita
- remission year
- debt
- Isaiah 37:30
- jubilee
- agriculture
- Deuteronomy 31:10-13
- Exodus 23:10-11
- Jeremiah 34:13-14
- time in relation to work
- 2 Chronicles 36:20-21
- Leviticus 25
- Deuteronomy 15:1-6
- Leviticus 25:5
- 2 Kings 19:29
- Jewish law
- Friends of the Link 2023-10-18
- Nehemiah 10:31
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www.theguardian.com www.theguardian.com
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claudemariottini.com claudemariottini.com
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There are several occasions where the massebah is not associated with pagan worship. When the massebah is associated with the worship of Yahweh, the massebah is accepted as a valid expression of commitment to Yahweh.
Massebah for pagan worship: - Exodus 23:24 (https://hypothes.is/a/r3m5QmyDEe6SC8eLYcJE1Q) - Hosea 10:1 (https://hypothes.is/a/4PK2GGyDEe6wZg_r2YpVCA ) - 2 Kings 18:4 - 2 Kings 23:14
Massebah for worship of Yahweh: - Genesis 28:18 Jacob's pillow (https://hypothes.is/a/NF5p8Gx6Ee65Rg_J4tfaMQ)<br /> - Genesis 31:44-45 Jacob and Laban's covenant - Exodus 24:4 - Joshua 24:25-27
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in violation of the demands of the covenant, the people of Israel erected sacred stones dedicated to other gods (Hosea 10:1). In their religious reforms, both Hezekiah (2 Kings 18:4) and Josiah (2 Kings 23:14) destroyed the sacred pillars which the people of Israel had dedicated to the worship of Baal.
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During the establishment of the covenant between Yahweh and Israel, the people were commanded to destroy the sacred stones of the Canaanites, “You must demolish them and break their sacred stones (masseboth) to pieces” (Exodus 23:24).
In neighboring cultures in which both have oral practices relating to massebah, one is not just destroying "sacred stones" to stamp out their religion, but it's also destroying their culture and cultural memory as well as likely their laws and other valuable memories for the function of their society.
View this in light also of the people of Israel keeping their own sacred stones (Hosea 10:1) as well as the destruction of pillars dedicated to Baal in 2 Kings 18:4 and 2 Kings 23:14.
(Link and) Compare this to the British fencing off the land in Australia and thereby destroying Songlines and access to them and the impact this had on Indigenous Australians.
It's also somewhat similar to the colonialization activity of stamping out of Indigenous Americans and First Nations' language in North America, though the decimation of their language wasn't viewed in as reciprocal way as it might be viewed now. (Did colonizers of the time know about the tremendous damage of language destruction, or was it just a power over function?)
Tags
- orality and memory
- biblical stones
- standing stones
- Baal
- Exodus 23:24
- colonization
- what's good for the goose is good for the gander
- Genesis 28:18
- 2 Kings 23:14
- Exodus 23
- Hosea 10:1
- 2 Kings 18:4
- massebah
- Joshua 24:25-27
- Indigenous languages
- Hezekiah
- Exodus 24:4
- hypocrisy
- Josiah
- songlines
- masseboth
- sacred stones
- The Covenant
- Genesis 31:44-45
- Canaanite religion
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