torsos QUOTES

1 " Most striking about the traditional societies of the Congo was their remarkable artwork: baskets, mats, pottery, copper and ironwork, and, above all, woodcarving. It would be two decades before Europeans really noticed this art. Its discovery then had a strong influence on Braque, Matisse, and Picasso -- who subsequently kept African art objects in his studio until his death. Cubism was new only for Europeans, for it was partly inspired by specific pieces of African art, some of them from the Pende and Songye peoples, who live in the basin of the Kasai River, one of the Congo's major tributaries.

It was easy to see the distinctive brilliance that so entranced Picasso and his colleagues at their first encounter with this art at an exhibit in Paris in 1907. In these central African sculptures some body parts are exaggerated, some shrunken; eyes project, cheeks sink, mouths disappear, torsos become elongated; eye sockets expand to cover almost the entire face; the human face and figure are broken apart and formed again in new ways and proportions that had previously lain beyond sight of traditional European realism.

The art sprang from cultures that had, among other things, a looser sense than Islam or Christianity of the boundaries between our world and the next, as well as those between the world of humans and the world of beasts. Among the Bolia people of the Congo, for example, a king was chosen by a council of elders; by ancestors, who appeared to him in a dream; and finally by wild animals, who signaled their assent by roaring during a night when the royal candidate was left at a particular spot in the rain forest. Perhaps it was the fluidity of these boundaries that granted central Africa's artists a freedom those in Europe had not yet discovered. "

― Adam Hochschild , King Leopold's Ghost

3 " Ree Dolly stood at the break of day on her cold front steps and smelled coming flurries and saw meat. Meat hung from trees across the creek. Carcasses hung pale of flesh with fatty gleam from low limbs of saplings in the side yards. Three halt haggard houses formed a kneeling rank on the far creekside and each had two or more skinned torsos dangling by rope from sagged limbs, venison left to the weather for two nights and three days so the early blossoming of decay might round the flavor, sweeten that meat to the bone. "

― Daniel Woodrell , Winter's Bone

5 " Now driving in a wild frieze of headlong horses with eyes walled and teeth cropped and naked riders with clusters of arrows clenched in their jaws and their shields winking in the dust and pu the far side of the ruined ranks in a piping of boneflutes and dropping down off the sides of their mounts with one heel hung in the withers strap and their short bows flexing beneath the outstretched necks of the ponies until they had circled the company and cut their ranks in two and then rising up again like funhouse figures, some with nightmare faces painted on their breasts, riding down the unhorsed Saxons and spearing and clubbing them and leaping from their mounts with knives and running about on the ground with a peculiar bandylegged trot like creatures driven to alien forms of locomotion and stripping the clothes from the dead and seizing them up by the hair and passing their blades about the skulls of the living and the dead alike and snatching aloft the bloody wigs and hacking and chopping at the naked bodies, ripping off limbs, head, gutting the strange white torsos and holding up great handfuls of viscera, genitals, some of the savages so slathered up with gore they might have rolled in it like dogs and some who fell upon the dying and sodomized them with loud cries to their fellows. "

― Cormac McCarthy , Blood Meridian, or the Evening Redness in the West

7 " Hundreds of men crowded the yard, and not a one among them was whole. They covered the ground thick as maggots on a week old carcass, the dirt itself hardly anywhere visible. No one could move without all feeling it and thus rising together in a hellish contortion of agony. Everywhere men moaned, shouting for water and praying for God to end their suffering. They screamed and groaned in an unending litany, calling for mothers and wives and fathers and sisters. The predominant color was blue, though nauseations of red intruded throughout. Men lay half naked, piled on top of one another in scenes to pitiful to imagine. Bloodied heads rested on shoulders and laps, broken feet upon arms. Tired hands held in torn guts and torsos twisted every which way. Dirty shirts dressed the bleeding bodies and not enough material existed in all the world to sop up the spilled blood. A boy clad in gray, perhaps the only rebel among them, lay quietly in one corner, raised arm rigid with a finger extended, as if pointing to the heavens. His face was a singular portrait of contentment among the misery. Broken bones, dirty white and soiled with the passing of hours since injury, were everywhere abundant. All manner of devices splinted the damaged and battered limbs: muskets, branches, bayonets, lengths of wood or iron from barns and carts. One individual had bone splinted with bone: the dried femur of a horse was lashed to his busted shin. A blind man, his eyes subtracted by the minié ball that had enfiladed him, moaned over and over “I’m kilt, I’m kilt! Oh Gawd, I’m kilt!” Others lay limp, in shock. These last were mostly quiet, their color unnaturally pale. It was agonizingly humid in the still air of the yard. The stink of blood mixed with human waste produced a potent and offensive odor not unlike that of a hog farm in the high heat of a South Carolina summer. Swarms of fat, green blowflies everywhere harassed the soldiers to the point of insanity, biting at their wounds. Their steady buzz was a noise straight out of hell itself, a distress to the ears. "

― Edison McDaniels , Not One Among Them Whole: A Novel of Gettysburg