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9.15.2013

through a storm-lashed windowpane

Or, holding in fief the storm and the dark and all the black powers of wizardry, to gaze, ghoul-visaged, through a storm-lashed windowpane, briefly planting unutterable horror in grouped and sheltered life; or, no more than a man, but holding, in your more than mortal heart, demoniac ecstasy, to crouch against a lonely storm-swept house, to gaze obliquely through the streaming glass upon a woman, or your enemy, and while still exulting in your victorious dark all-seeing isolation, to feel a touch upon your shoulder, and to look, haunter-haunted, pursuer-pursued, into the green corrupted hell-face of malignant death.

Thomas Wolfe, from Look Homeward, Angel


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9.04.2013

books and windows








In those days there was no money to buy books. I borrowed books from the rental library of Shakespeare and Company, which was the library and bookstore of Sylvia Beach at 12 rue de l’Odéon. On a cold windswept street, this was a warm, cheerful place with a big stove in winter, tables and shelves of books, new books in the window, and photographs on the wall of famous writers both dead and living. The photographs all looked like snapshots and even the dead writers looked as though they had really been alive. Sylvia had a lively, sharply sculptured face, brown eyes that were as alive as a small animal’s and as gay as a young girl’s, and wavy brown hair that was brushed back from her fine forehead and cut thick below her ears and at the line of the collar of the brown velvet jacket she wore. She had pretty legs and she was kind, cheerful and interested, and loved to make jokes and gossip. No one that I ever knew was nicer to me.
I was very shy when I first went into the bookshop and I did not have enough money on me to join the rental library. She told me I could pay the deposit any time I had the money and made me out a card and said I could take as many books as I wished.
There was no reason for her to trust me. She did not know me and the address I had given her, 74 rue Cardinal Lemoine, could not have been a poorer one. But she was delightful and charming and welcoming and behind her, as high as the wall and stretching into the back room which gave onto the inner court of the building, were shelves and shelves of the wealth of the library.
































(i give a lenghtier quote below just for the beauty of it)


In those days there was no money to buy books. I borrowed books from the rental library of Shakespeare and Company, which was the library and bookstore of Sylvia Beach at 12 rue de l’Odéon. On a cold windswept street, this was a warm, cheerful place with a big stove in winter, tables and shelves of books, new books in the window, and photographs on the wall of famous writers both dead and living. The photographs all looked like snapshots and even the dead writers looked as though they had really been alive. Sylvia had a lively, sharply sculptured face, brown eyes that were as alive as a small animal’s and as gay as a young girl’s, and wavy brown hair that was brushed back from her fine forehead and cut thick below her ears and at the line of the collar of the brown velvet jacket she wore. She had pretty legs and she was kind, cheerful and interested, and loved to make jokes and gossip. No one that I ever knew was nicer to me.
I was very shy when I first went into the bookshop and I did not have enough money on me to join the rental library. She told me I could pay the deposit any time I had the money and made me out a card and said I could take as many books as I wished.
There was no reason for her to trust me. She did not know me and the address I had given her, 74 rue Cardinal Lemoine, could not have been a poorer one. But she was delightful and charming and welcoming and behind her, as high as the wall and stretching into the back room which gave onto the inner court of the building, were shelves and shelves of the wealth of the library.
I started with Turgenev and took the two volumes of A Sportsman’s Sketches and an early book of D.H. Lawrence, I think it was Sons and Lovers, and Sylvia told me to take more books if I wanted. I chose the Constance Garnett edition of War and Peace , and The Gambler and Other Stories by Dostoyevsky.
“You won’t be back very soon if you read all that,” Sylvia said.
“I’ll be back to pay,” I said. “I have some money in the flat.”
“I didn’t mean that,” she said. “You pay whenever it’s convenient.”
“When does Joyce come in?” I asked.
“If he comes in, it’s usually very late in the afternoon,” she said. “Haven’t you ever seen him?”
“We’ve seen him at Michaud’s eating with his family,” I said. “But it’s not polite to look at people when they are eating, and Michaud’s is expensive.”
“Do you eat at home?”
“Mostly now,” I said. “We have a good cook.”
“There aren’t any restaurants in your immediate quarter, are there?”
“No. How did you know?”
“Larbaud lived there,” she said. “He liked it very much except for that.”
“The nearest good cheap place to eat is over by the Panthéon.” 
“I don’t know that quarter. We eat at home. You and your wife must come sometime.”
“Wait until you see if I pay you,” I said. “But thank you very much.”
“Don’t read too fast,” she said.
Home in the rue Cardinal Lemoine was a two-room flat that had no hot water and no inside toilet facilities except an antiseptic container, not uncomfortable to anyone who was used to a Michigan outhouse. With a fine view and a good mattress and springs for a comfortable bed on the floor, and pictures we liked on the walls, it was a cheerful, gay flat. When I got there with the books I told my wife about the wonderful place I had found.
“But Tatie, you must go by this afternoon and pay,” she said.
“Sure I will,” I said. “We’ll both go. And then we’ll walk down by the river and along the quais.”
“Let’s walk down the rue de Seine and look in all the galleries and in the windows of the shops.”
“Sure. We can walk anywhere and we can stop at some new café where we don’t know anyone and nobody knows us and have a drink.”
“We can have two drinks.”
“Then we can eat somewhere.”
“No. Don’t forget we have to pay the library.”
“We’ll come home and eat here and we’ll have a lovely meal and drink Beaune from the co-operative you can see right out of the window there with the price of the Beaune on the window. And afterwards we’ll read and then go to bed and make love.”
“And we’ll never love anyone else but each other.”
“No. Never.”
“What a lovely afternoon and evening. Now we’d better have lunch.”
“I’m very hungry,” I said. “I worked at the café on a café crème.”
“How did it go, Tatie?”
“I think all right. I hope so. What do we have for lunch?”
“Little radishes, and good foie de veau with mashed potatoes and an endive salad. Apple tart.”
“And we’re going to have all the books in the world to read and when we go on trips we can take them.”
“Would that be honest?”
“Sure.”
“Does she have Henry James too?”
“Sure.”
“My,” she said. “We’re lucky that you found the place.”
“We’re always lucky,” I said and like a fool I did not knock on wood. There was wood everywhere in that apartment to knock on too.





from A Moveable Feast by Ernest Hemingway



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8.15.2013

blue window again



Blue Window of Lippovan House, Danube Delta



Ready yourself, soul,
it’s late, oh, it’s late!
The rainbow of bells,
the rainbow of bells
drinks our blood’s last pulse,
all our peace from the River.

A rainbow of bells: the evening
presses white soles to the window,
the water flows clouded,
the water flows clouded,
from I am to I shall have been.

from Realm, by Nichita Danilov, 
tr. Adam J. Sorkin and Cristina Cîrstea

about Danilov:

The poet "belongs to the Lippovan Slavic minority, a group which settled in Moldavia and the Danube delta in the eighteenth century, having fled Russian persecution after the Orthodox Church schism. Although Danilov was raised speaking both Russian and Romanian, he writes solely in the latter language.
The Lippovan identity as religious dissenters has been instrumental in constructing Danilov’s own identity. His mystical vision of religious experience seems to inform all his poems, even those that do not contain explicitly religious imagery. The imagery itself can be located in the Romanian engagement with Surrealism, which has provided Danilov a mode for describing an ineffable God. In his poetry and theoretical writings, he argues that the divine is manifest in this world through surrealistic moments, that is, through jarring juxtapositions."

by Sean Cotter, who translated a volume of Danilov's poetry into english.



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8.12.2013

blue is not always serene

The night attendant, a B.U. sophomore,
rouses from the mare’s-nest of his drowsy head
propped on 'The Meaning of Meaning'.
He catwalks down our corridor.
Azure day
makes my agonized blue window bleaker.
Crows maunder on the petrified fairway.
Absence! My heart grows tense
as though a harpoon were sparring for the kill.
(This is the house for the “mentally ill.”)
from Waking in the Blue, by Robert Lowell




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8.10.2013

blue window




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still life -- the library




François Foisse, Still Life - The Library, c. 1741.
Oil on canvas. 24 1/4 x 30 3/8 in
from The Wadsworth Atheneum

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more blue :-)



Self-portrait with blue guitar, David Hockney


"Literature has been a mainspring of some of his most important and interesting pictures: in the 1960s he made a series of etchings inspired by Cavafy’s poems, and one of his most complex self-portraits, Self-Portrait with Blue Guitar (1977) came out of etchings he produced to illustrate Wallace Stevens’ poem ‘The Man with the Blue Guitar’. This wonderfully self-referential portrait shows how many levels Hockney’s work can have: the Stevens poem itself was inspired by Picasso’s The Old Guitarist (1903), and the layers of inspiration are represented here by the realistic blue curtain which is pulled aside to reveal the artist, working at a table to produce a Picasso-esque outline of a blue guitar, while sitting on a cartoon-like outline of a chair, poised inside a child’s outline of a house, watched over by his own signature tulips and a bust of Dora Maar."


J. Flanders



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8.09.2013

the blue curtain





Adriaen van der Spelt (Dutch, 1630-1673)
Frans van Mieris (Dutch, 1635-1681)
Trompe-l'Oeil Still Life with a Flower Garland and a Curtain1658


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viennese window (iii)



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