[Tinajero's Scraps 1]

[1. Found in a Moleskine notebook]

A BOOK OF DREAMS
Törrión
Dream no.1: Unregistered.
Dream no.2: Unregistered.
Dream no.3:
J. (a friend)
male / female
"You're so pretty", while giving me a part in the play
a man role


[2. Found in his mobile]

MÚSICA PARA (FALSOS) CAMALEONES
La habitación donde me recibió era espaciosa, de techos altos, bien ventilada. Carecía de lujos, pero la iluminación -abundante, dorada, proveniente de los tragaluces colocados sobre nuestras cabezas, al centro de la habitación- le otorgaba cierta dignidad, la dignidad de pertenecer a otro tiempo y aun así mantenerse en pie. Los azulejos del piso semejaban los camaleones del cuento de Capote. Ella se sentó en una mecedora de hierro. Me invitó a ocupar un sillón de terciopelo violeta, desgastado, con señales de lo que debió haber sido un hermoso trabajo de bordado.
- Debes estar cansado, después de un viaje tan largo. ¿Llegaste en tren?
- Ya no hay trenes hacia esta parte del territorio. Alquilé un caballo trescientos kilómetros al suroeste.
Ella guardó silencio unos instantes, al tiempo que observaba cómo se derretían los hielos de su Negroni.
- Y, ¿cómo fue, la muerte de su marido?- le pregunté, sin más preámbulos, sabiendo que ella sabía a qué había venido.
- Molesta-, dijo, y de un trago se terminó su bebida.


[3. Select passages of A.H.W.O.S.G.]

The best sort of self-obsessed person isn't outwardly so. But they're doing something more public than not, making sure people know that they're doing it, or will know about it sooner or later. I guarantee that the applicants for The Real World--I guarantee that if you put all these tapes in a time capsule and opened it in twenty years, you'd find that these are the people who are, in one way or another, running the world--at the very least, they'll be the most visible segment of the demographic. Because we've grown up thinking of ourselves in relation to the political-media-entertainment ephemera, in our safe and comfortable homes, given the time to think about how we would fit into this or that band or TV show or movie, and how we would look doing it. These are people for whom the idea of anonymity is existentially irrational, indefensible. And thus, there is a lot of talking about it all--surely the cultural output of this time will reflect that--there'll be a lot of talking, whole movies full of talking, talking about talking, ruminating about talking about wondering, about our place, our wants and obligations--the blathering of the belle epoque, you know. Environmentally reinforced solipsism. (p.201).

***

Why do you want to be on The Real World?
Because I want everyone to witness my youth.

Why?
Isn't it gorgeous?

Who's gorgeous?
Not like that. No, I just mean, that it's in bloom. That's what you're all about, right? The showing of raw fruit, correct? Whether that's in videos or on spring break, whatever, the amplifying of youth, the editing and volume magnifying what it means to be right there, at the point when all is allowed and your body wants everything for it, is hungry and taut, churning, an energy vortex, sucking all toward it... (p.208).

***

[When the Judd person, a cast member from The Real World, visits D.E.]
We are wearing what we always wear, shorts and T-shirts, having decided, after thinking about what to wear and then remembering not to think about what to wear, to wear what we would have worn had we not been thinking about what to wear. We are happy with our shorts and T-shirts, one side tucked in, just an inch of it on the right side, showing some belt, the rest hanging out--this is our look--it having been arrived at in high school through careful consideration, through the eschewing of so many possible mistakes. We wear no tattoos, because we feel tattoos indicate too much attention paid to one's look and anyway, though the trend is still on the upswing in 1994, we are sure that inside a year, maybe just only a few months, that whole boom will go bust. (How long, after all, could somehting like that last?) Same with dyed hair, piercings, brandings, creative headwear, neckwear, T-shirtwear, all other indications and accoutrements. We have opted out, taken the ultimate apathetic approach to looks and attire, have moved past the check-me-out-look, past the look of rejecting-the-check-me-out-look-in-favor-of-darkly-rebellious-look--have rejected both and have chosen a kind of elegance through refusal--the check-me-out-if-you-must-look-but-you'll-get-no-encouragement-from-me look-- the look of absolutely no look at all. (p.244).

[4. Found in his suitcase]

LIBRERIAS GONVILL, S.A. DE C.V.
R.F.C. LGO-840413-SD2
8 DE JULIO #825 COL. MODERNA
GUADALAJARA, JAL. 44190
Expedido el 24/Dic/07, 13:17 en:
CENTRO COM. PLAZA CUATRO CAMINOS LOC 124
BLVD. INDEPENDENCIA OTE 1300 COL NAVARRO
C.P. 27010 TORREON, COAHUILA
Fecha : 24/Dic/2007 Hora : 13:17
Folio interno : 0274992
25605536 EMPRESAS Y TRIBULACIONES
1 @ 169.00
**** rebaja **** 15.00% 25.35R
25605537 EMPRESAS Y TRIBULACIONES
1 @ 169.00
**** rebaja **** 15.00% 25.35R

[This ticket was found with the two-volume book of Álvaro Mutis, Empresas y tribulaciones de Maqroll el Gaviero.]