. respeite a sinalização. corte à direita
Don't expect to be uplifted. I'll see to it that it doesn't happen. Aqui ofereço-vos o que me apetecer e não há quem me impeça. E perguntam-me vocês 'mas em que língua vais escrever?' ao que eu respondo 'quem me dera saber'. Here I offer you anything I feel like, and you can't stop me. So drop by and say 'thanks' or 'how dare you' or '[fill in the gap]'.


in the dark lurks a black deity and don't you forget. behind the metal wall before the metal war in gloomy garden sheds beneath every stiff petal of the compass rose. under the sand of the gobi and the sand of the negev throbbing in the clangor of coins ahead of every torch and in its wake between the closed pages of holy books there breeds a pustule of upcoming defeat. don't look so shocked. please please don't look so shocked. the inside of every living skull after all lies in permanent shade.
it's a best-seller and a life-changing monograph
i'll say it up front: agra does not deserve the taj. but then again, who does? mumtaz herself would need to be an unrelenting saint to justify such a mausoleum, and yet i suspect her merits may have resided mostly in the generosity of her womanly curves. decayed agra cannot tolerate such youthful beauty and so, like a jealous stepmother, does its best to hinder your way to the taj mahal by concocting barrier after barrier along the road. a present-day version of hercules' labours, a modern arthurian quest. only the worthy shall succeed.
you persevere. enraged, the city digs under your every step a puddle of undisclosed liquid. think of pleasant things and splatter on. past the moat, however, the challenge intensifies. constant traffic buzzes by too close for comfort, and presently you are faced with a narrow tunnel under the train tracks. you must squeeze between the wheels and a freeze of merchants' stands, zigzag as best you can among walkers-by. you remember the vision of the cupola and step forward.
if you make it across the tunnel with your toes intact - a remarkable feat - you find yourself engulfed in a spasmodic crowd. the bazaar. street after street of tempting plastic wares and colourful fabrics and fragrant delicacies and an impenetrable human mass can easily throw you off track. relying on your best boyscout navigational techniques, you slowly proceed towards the invisible objective, and soon bump into a grand enclosure. the taj mahal, you realise with trepidation, is just behind it.
you scavange the sum as best you can and solemnly move on to the entrance. but mind you, if you happen to be carrying any dangerous objects, such as a terrifying camera cable, you will not be allowed in. you must think of a solution fast, no refund possible. leave your weapon of mass destruction at a nearby shop, along with a banknote or two, and try again. this time you make it through.
it is as magnificent as expected, and then some. and then some more. and some more. and it does sparkle. the holy mahal, the most inspired building on earth, stands on its marble plinth in poised mockery of your troubles. serenely transcending your imagination and millions of photographs.
take your time, that is a right you have earned the hard way. you gasp at the holy mahal the whole day. at sunset, though, the taj is ready to go to sleep. you gently bow good night and tiptoe away.

of all the ghost cities of india, fatehpur sikri is perhaps the ghostliest, so pristine one may expect to witness the ablutions of emperor akbar or a tansen raga at any moment, cross paths with stern black-clad jesuits at the next corner or notice a harem giggle from behind the latticed screens. the superb dream of the emperor, built to be an unparallelled moghul capital, the city sustained communal life for no more than fifteen years. for sudden want of water, they say. or did it live too much too fast? this was after all the site of some unbridled pleasure-seeking, some intense hanking and panking, the setting of the most celebrated of all ecumenical extravaganzas and the stage of the feistiest music.





noite e dia e noite e o trânsito não sossega um segundo e dia e noite e dia e noite e dia e as buzinas estridentes e noite e dia e as paredes estremecem sob as rodas do camião e noite e dia e noite e os fumos de escape enroscam-se connosco na cama e dia e noite e dia por onde raios terão entrado estes mosquitos e noite e dia e noite in-dia é como dormir no separador da auto-estrada à entrada do aeroporto.