reclame Dedeman de Dragobete

(sau de ce absurdul e mereu prezent la noi acasa)

Dragostea-mi ca sa se vada
Am sa-ti dau in dar o cada.

Ca sa-ti spun ca te iubesc
Motosapa-ti daruiesc.

Te-as lipi sa stai cu mine!
Adeziv iti dau, mai bine …

Tare-mi place dragostea
De-aia-ti cumpar o vopsea.

Esti asa cuceritor
Ca-ti ofer un polizor.

Vorbesc in zadar fiindca te ador
Si iti dau in dar un radiator.

Ti-as da in dar o floare, ti-as darui speranta
Ti-as da si inimioare, mai bine iti dau faianta.

Vocea ta e-o simfonie
Asa ca-ti daruiesc o bucatarie.

Cand apari e primavara
Asa ca-ti dau lampa solara.

Dragostea-i fundamentala
Asa ca-ti cumpar o centrala.

Iubirea e un lucru rar,
Asa ca-ti dau un balansoar.

Te ador si te iubesc,
Gresie iti daruiesc.

Pentru ca tot mai mult te iubesc,
Masina de tuns gazonul iti daruiesc.

Dragostea-i dulce ca o clementina,
Asa ca-ti cumpar mobilier de gradina.

Dragostea-i o valvataie,
Asa ca-ti cumpar un set de baie.

Te iubesc si-ti dau cu dor
Hota, plita si cuptor!

Te iubesc nespus, iti marturiesc.
O betoniera iti daruiesc.

Cand ma certi, eu nu ma supar.
Vata minerala-ti cumpar.

De cum te-am vazut eu te-am iubit,
Asa ca-ti dau masina de gaurit.

Tot mai mult eu te ador
Si-ti dau un rotopercutor.

Te iubesc mai mult ca niciodata
Si-ti cumpar gresie portelanata.

Esti asa seducator
Ca-ti ofer un compresor.

Ai un suflet minunat,
Asa ca-ti dau masina de spalat.

Ai un chip de papusa,
Asa ca-ti dau in dar o usa.

Vocea ta suna ca un refren,
Asa ca-ti cumpar polistiren.

Cand sunt cu tine nici nu pot sa vorbesc,
Asa ca un fierastrau electric iti daruiesc.

Dragostea mea nu-i un foc de paie,
De aia-ti daruiesc un set de baie.

Tot mai mult eu te iubesc,
Cazan pe lemne-ti daruiesc.

Cand ma prinde al dragostei val,
Iti daruiesc un scaun directorial.

 

Decat sa-ti dau ursulet de plus,

Mai bine cadita si cabina de dus.

the wrongness, she called it

„Then there is his warmth, so loved, and strange, and the drawing in to the room where wrongness is growing. Wrongness grows in the skin and makes it hard to touch. Up, angry, in the darkness, for a sweater. No sleep, smothering. Sitting in nightgown and sweater in the diningroom staring into the full moon, talking to the full moon, with wrongness growing and filling the house like a man-eating plant. The need to go out. It is very quiet. Perhaps he is asleep. Or dead. How to know how long there is before death. The fish may be poisoned, and the poison working. And two sit apart in wrongness.

What is wrong? he asks, as the sweater is yanked out, wool slacks, and raincoat. I’m going out. Do you want to come. The aloneness would be too much; desperate and foolish on the lonely roads. Asking for a doom. He dresses in dungarees and shirt and black jacket. We go out leaving the light on in the house into the glare of the full moon. I strike out hillward toward the weird soft purple mountains, where the almond trees are black and twisted against the flooded whitened landscape, all clear in the blanched light of wrongness, not day, but some beige, off-color daguerrotype. Fast, faster, up past the railway station. Turning, the sea is far and silver in the light. We sit far apart, on stones and bristling dry grass. The light is cold, cruel, and still. All could happen; the willful drowning, the murder, the killing words. The stones are rough and clear, and outlined mercilessly in the moonlight. Clouds cross over, the fields darken, and a neighboring dog yaps at two strangers. Two silent strangers. Going back, there is the growing sickness, the separate sleep, and the sour waking. And all the time the wrongness growing, creeping, choking the house, twining the tables and chairs and poisoning the knives and forks, clouding the drinking water with that lethal taint. Sun falls off-key on eyes asquint, and the world has grown crooked and sour as a lemon overnight.”

Sylvia Plath, 23 July 1956