A story, not in the moleskine but about it.
I was in Berlin in January with a few hours on my hand before a tryst with a German lad who speaks english with an inadvertant Irish accent (this alone would make him delicious but he is, otherwise, a being to make me almost believe in a god), when I wandered past a sign for the Private Picasso exhibit at the Neue Nationalgalerie. Never been that intrigued by his works but felt this exhibit, consisting of pieces the artist kept for himself and were given away only on his death (for taxes, they said), would be a good introduction. It was an illuminating and inspiring exhibit — albeit to someone unschooled in art. What struck me most was the obvious playing, working out of ideas on paper: the eponymous abstracts from a very linear thought; a mistake, almost, and intentioned differently than the effect of the subsequent works — at least as I have understood it all these years. The exhibit was, in a way, a call to arms of all who have thought, maybe dreamt, but not done.
but. the story.
So I am wandering about the exhibit, consciously aware I am (oddly) a foot shorter than the gorgeous, very tall women around me and decidedly more curvaceous but thankfully distracted from my shortcomings by the fascinating bits on the guide disc. Prompted, I was, to take the odd note. Then I begin to notice three people in their early 20s, at most, from the throng of others walking around the white rooms or sprawled on few benches: two girls and a boy, obviously art students. And I noticed them because the lad among them (it would feel odd to call him a man, though attractive he was in his yet-to-broaden way) was slyly trying to get my attention. Why he was doing this was confusing given the gorgeous women around me; wondered if I had something noxious on my shoe.
And it suddenly dawned on me that he was trying to position himself so I could see HIS moleskine book. And when our eyes met he gave me a coy, dark-eyed glance and a smile, as recognition of our genius and other-ness. And possibly an invitation to behind the posters in the shop, in that dark corner under the stairs, away from prying ears/eyes who were not worthy, to discuss the weighty thoughts and sketches we'd done in our books and maybe to explore each other?
The Moleskine is the new iPod.
you heard it here first.
I was in Berlin in January with a few hours on my hand before a tryst with a German lad who speaks english with an inadvertant Irish accent (this alone would make him delicious but he is, otherwise, a being to make me almost believe in a god), when I wandered past a sign for the Private Picasso exhibit at the Neue Nationalgalerie. Never been that intrigued by his works but felt this exhibit, consisting of pieces the artist kept for himself and were given away only on his death (for taxes, they said), would be a good introduction. It was an illuminating and inspiring exhibit — albeit to someone unschooled in art. What struck me most was the obvious playing, working out of ideas on paper: the eponymous abstracts from a very linear thought; a mistake, almost, and intentioned differently than the effect of the subsequent works — at least as I have understood it all these years. The exhibit was, in a way, a call to arms of all who have thought, maybe dreamt, but not done.
but. the story.
So I am wandering about the exhibit, consciously aware I am (oddly) a foot shorter than the gorgeous, very tall women around me and decidedly more curvaceous but thankfully distracted from my shortcomings by the fascinating bits on the guide disc. Prompted, I was, to take the odd note. Then I begin to notice three people in their early 20s, at most, from the throng of others walking around the white rooms or sprawled on few benches: two girls and a boy, obviously art students. And I noticed them because the lad among them (it would feel odd to call him a man, though attractive he was in his yet-to-broaden way) was slyly trying to get my attention. Why he was doing this was confusing given the gorgeous women around me; wondered if I had something noxious on my shoe.
And it suddenly dawned on me that he was trying to position himself so I could see HIS moleskine book. And when our eyes met he gave me a coy, dark-eyed glance and a smile, as recognition of our genius and other-ness. And possibly an invitation to behind the posters in the shop, in that dark corner under the stairs, away from prying ears/eyes who were not worthy, to discuss the weighty thoughts and sketches we'd done in our books and maybe to explore each other?
The Moleskine is the new iPod.
you heard it here first.






