ponies
The midnight, the morning, or the middle of day, Is the same to the miner who labors away. Where the demons of death often come by surprise,One fall of the slate and you're buried alive.Merle Travis - Dark as a dungeon (additional stanza, rarely performed...)
closing doors
Eilidh, Eilidh, Eilidh, heart of me, dear and sweetIn dreams I am hearing the whisper, the sound of your running feetthat like the sea-hoofs beat a music by day and night, Eilidh,On the sands of my heart, my sweet.O sands, of my heart, what wind moans low along thy shadowy shore?Is that the deep seaheart I hear with the dying sob at its core?Each dim lost wave that lapses is like a closing door:'
"...and love, though in a sense it may be admitted to be stronger than death, is by no means so universal and so sure. In fact, love is rare - the love of men. of things, of ideas, the love of perfected skill. For love is the enemy of haste; it takes count of passing days, of men who pass away, of fine art matured slowly in the course of years and doomed in a short time to pass away, too, and be
edvard munch, the flaming sky, like blood
red images from:peter watkins: edvard munch, 1974 (long version)cinematography by odd-geir sætheri saw the flaming skylike blood, like a sword over the fjord and the town (image 35)also, see earlier entry on munch, ending with:i felt as if there were invisible threads between us,i felt as if invisible threads from her hair still twisted themselves around me,and when she completely disappeared
bell-derived drones which resonate peacefully even as they twist and turn
tarrl lightowler: l'eau de vie (forthcoming film)beyond the horizon of visible things - little tunes amid the sound of wind or water, feelings flickering through people.(from robert musil: 5 women)new books & musicmusic:- °sone: passerelle, and/oar, 2008a site-specific sound installation / performance by yannick dauby, christophe havard & hughes germain.if i were forced to bring 10 cds with me to
the perfect mediocrity, no better, no worse
stanley kubrick, the killing, 1956cinematography by lucien ballardwith kola kwariani and sterling hayden
overcome
Nothing, for us, can fill the place of undiminished brightness except the unconscious dark, nothing that of what once we might have been, except the dream that we had never been born.- Adorno, Minima Moralia
m swiezynski - films 2007
new dvd availablerecent films of m swiezynski(includes)1. which he distorted by decorating with images2. intended to be used for making inscriptions in memory3. this invisible art of memory - magic hour number 14. the secret of shadows5. an occult memory systemmusic by a broken consort6. mysterious and invisible - magic hour part 2music by asher7. fludd's memory system8. images of heaven - magic
substitutes
At first sight I really believed that the only reminders in the Piana graveyard of the nature which, we have always hoped, will endure long after our own end, were the artificial purple, mauve, and pink flowers, obviously pressed upon their customers by French undertakers, made of silk or nylon chiffon, of brightly painted porcelain, wire, and metal appearing not so much a sign of enduring
The cuckoo
The cuckoo is a merry bird, she sings as she flies,She brings us good tidings and tells us no lies;She sucks the sweet flowers to make her sing clear,And she never sings "cuckoo" till summer is near.O meeting is a pleasure, but parting a grief,An inconstant lover is worse than a thief;For a thief will but rob you and swear to be true,And the very next moment they'll bring you to the grave.The
toys
"All children talk to their toys. The toys become actors in the great drama of life, reduced in size by the camera obscura of their little brains. The child twists and turns his toy, scratches it, shakes it, bumps it against the walls, throws it on the ground. From time to time he makes it restart its mechanical motions, sometimes in the opposite direction. Its marvelous life comes to a stop. The
robert bresson, olivier messiaen, i listen to my films as i make them
the composer olivier messiaen comes to mind as the closest parallel to bresson in the other arts. a devout catholic, the organist of the trinité in paris, messiaen has always been a radical modernist and a seminal figure in the evolution of modern music (in addition to his compositions, he deserves the credit of teaching stockhausen and boulez). nevertheless, the material of messiaen's art,
robert bresson, murder sequence from l'argent
robert bresson, l'argent, 1983cinematography by pasqualino de santis and emmanuel machuelediting by jean-françois naudonfirst and last frame of each shot from bresson's murder sequence.shot 1.1.16.28 - 1.16.58shot 21.16.59 - 1.17.14shot 31.17.15 - 1.17.25shot 41.17.26 - 1.17.36shot 51.17.37 - 1.17.43shot 61.17.44 - 1.17.45shot 71.17.46 - 1.17.47shot 81.17.48 - 1.17.49shot 91.17.49 - 1.17.56shot
robert bresson, given by the eyes of john cage
radically suppress intentions in your models.*not to use two violins when one is enough.*no intellectual or cerebral mechanism. simply a mechanism.*hide the ideas, but so that people find them. the most importantwill be the most hidden.*all those effects you can get from repitition (of an image, of a sound).*practice the precept: find without seeking.*to translate the invisible wind by the
robert bresson, ingmar bergman, free from all impurities
coffee in mouchettei felt a strong affinity with bernanos' and bresson's mouchette. it's a film i would have liked to have made myself, but which i didn't understand. in mouchette the motif is expressed clearly and explicitly, free from all impurities. the girl in mouchette and the girl in the devil's wanton are sisters, sisters in two similar worlds.but while the devil's wanton is full of
robert bresson, the unsayable
journal d'un curé de campagne 1951, photographed by léonce-henri burelthe domain of cinematography is the domain of the unsayable**(robert bresson from le monde, march 14, 1967 found in robert bresson: a spiritual style in film by joseph cunneen, 2003)
robert bresson, léonce-henri burel, cinematographer
robert bresson, procès de jeanne d'arc 1962opening sequence (single shot, 1 minute 15 seconds)cinematography by léonce-henri burel (1892-1977) *burel worked with directors including abel gance, jacques feyder, jean renoir, and robert bresson.robert bresson & léonce-henri burel:-journal d'un curé de campagne 1951-un condamné à mort s'est échappé ou le vent souffle où il veut 1956-pickpocket 1959-
robert bresson, francis ponge, a correspondingly particular sound
ciment: do you like poets like francis ponge? your films remind one of him, and his le parti pris des choses.bresson: yes. i no longer see ponge, unfortunately, as he has moved to the south. he wrote me some remarkable letters about my films and about cinema. i like his fondness for objects, for inanimate things.*rainin the courtyard where i watch it fallthe rain is coming down in widely varied
robert bresson, and sound
about his use of sound in l'argent, the director thinks that "while music flattens a surface, makes it into an image," sound, on the contrary, "lends space, relief. it arrives and the screen deepens, thus bringing on the third dimension".* the idea is that one must never duplicate an image with a sound ("a sound must never come to the aid of an image, nor an image to the aid of a sound....the
robert bresson, samuel fuller, jean-pierre melville & trains in cinema
train travel in:-samuel fuller's pickup on south street, 1953 (aka pickpocket)-robert bresson's pickpocket, 1959-jean-pierre melville's le samouraï, 1967(all films comprise a certain criminal activity in the underground)abstractions from samuel fuller's pick-up on south street, 1953(dp. joseph macdonald *)moments from robert bresson's pickpocket, 1959(dp. léonce-henri burel)abstractions from
robert bresson, andrei tarkovsky, very few means of expression
while doing roublev i forced myself to be very hard and very dry, tending towards a sort of olympic calm that, for me, is the major quality of the art of directing a film. so i might as well as tell you that i'm very fond of bresson. page 30in paris, i have asked to meet bresson. we have nothing in common, but he's one of the best directors i know. i want to see him, to see his face, to see how
robert bresson, filmography
une femme douce 1969(including cinematography, music and writing)-journal d'un curé de campagne 1951cinematography by léonce-henri burelmusic by jean-jacques grünenwaldfrom the novel by georges bernanos (journal d'un curé de campagne, 1936)screenplay by robert bresson-un condamné à mort s'est échappé ou le vent souffle où il veut 1956cinematography by léonce-henri burelmusic by wolfgang amadeus
robert bresson, léonce-henri burel, jacques becker, ghislain cloquet, sans personnes
robert bresson, un condamné à mort s'est échappé, 1956(kiefer)(beuys)jacques becker, le trou, 1960two prison escape films,(moments without human presence)-robert bresson, un condamné à mort s'est échappé ou le vent souffle où il veut (aka a man escaped), 1956 (dp. léonce-henri burel)-jacques becker, le trou, 1960 (dp. ghislain cloquet, bresson's cinematographer for au hasard balthazar 1966,
robert bresson, pickpocket, our hero through glass
robert bresson, pickpocket, 1959 ("about people standing behind glass doors and looking in" jonas mekas)
robert bresson, jonas mekas, about unfinished playing records
..... a film about diagonals. diagonal angels, diagonal glances. about eyes that never really meet. a film without a single frontal shot. a film about three-quarter spaces. about the sound of closing doors. about the sound of footsteps. about the sound of things. about the sound of water. about shy glances. about unfinished glances. about the sound of glass. about death in our midst. about light
robert bresson, anatomy of a crime (in the manner of a pickpocket)
(lessons in the cafe)(our hero and his accessory)(our hero pickpocketing a watch)(trainstation segment)from robert bresson's pickpocket, 1959"bresson distilled the motion picture narrative down to a particular essence. bresson's movies are looks and gestures and precisely arranged sounds" j hoberman frontispiece from the memoirs of george barrington, 1790see alsor. s. lambert, prince of
Labels:
abstraction,
books,
film,
robert bresson,
trains
robert bresson, georges bernanos, nouvelle histoire de mouchette
the dark west wind, the sea wind, was already scattering the voices in the darkness. it toyed with them a moment and then lifted them all together, dispersing them with an angry roar. the voice which mouchette had just heard hovered in the air a long time, like a dead leaf floating interminably.her secret was not one which could be shared, for it was connected with so many different things. it
the good wound
Among the great tragedies of childhood, De Quincey included that of the little boy's lips forever separated from his sister's kisses. Men with no sisters also share in this tragedy. Gloomy, incessant death of the sister in Munch's paintings. (Without a dead sister, abandoned lifeless at the foot of a distant staircase, a man cannot rediscover in the dark his sister's lips, the good wound happy to
robert bresson, the eye solicited alone makes the ear impatient, the ear solicited alone, makes the eye impatient
(some books related to robert bresson):-robert bresson by rené briot, editions de cerf, 1957-bresson by jean semolue, editions universitaires, 1959-the early work of robert bresson by richard roud, found in film culture, no. 20, 1959-robert bresson by michel estève (#8 in the cinema d'aujourd'hui series), editions sehers, 1962-the films of robert bresson edited by ian cameron, praeger, 1969-the
robert bresson, ghislain cloquet, de l'autre côté du miroir
through glass, au hasard balthazar 1966though glass, mouchette (or, little fly), 1967au hasard, balthazar & mouchette, through glass.cinematography by ghislain cloquet (1924 - 1981), the belgian-born french cinematographer.cloquet studied film at école national de photographie et cinématographie, and idhec (l'institut des hautes études cinématographiques)."for au hasard, balthazar, bresson would
"a place far beneath a man's upper earth"
notecards from charles olson's 1930's master’s thesis, the growth of herman melville, prose writer and poetic thinker, completed in 1933.these cards mainly dealt with melville's reading and marginalia and the "lost five hundred" (melville's books sold to a brooklyn dealer in 1892 by his widow, pursued by olson)."as a young scholar, olson was indefatigable in his research; when he located a volume
in air clear and unseen
henwar rodakiewicz, portrait of a young man: movement 1, 1931etienne-jules marey, studies of air movements, 1901etienne-jules marey, plan incliné, angle de 60 degrés, quatrième et dernière version de la machine à fumée, équipée de 57 canaux (cinémathèque française), 1901etienne-jules marey, from scientific american, 1902etienne-jules mareyfrom notice sur les titres et travaux scientifiques du
asleep in scotland
The Cotard delusion, also known as nihilistic or negation delusion, is a rare neuropsychiatric disorder in which a person holds a delusional belief that he or she is dead, does not exist, is putrefying or has lost his/her blood or internal organs.Rarely, it can include delusions of immortality.It is named after Jules Cotard (1840–1889), a French neurologist who first described the condition,
then be called ten times a donkey, and a mule, and an ass, and begone, or i’ll clear the world of thee!
classic books (number 4):moby-dick; or, the whale by herman melville, 1851(compiled with great assistance from the famed german librarian, herr t light)such dreary streets! blocks of blackness, not houses, on either hand, and here and there a candle, like a candle moving about in a tomb. at this hour of the night, of the last day of the week, that quarter of the town proved all but deserted. but
all point to that which is now
josef sudek: rembrances series, 1959 josef sudek: sunday afternoon on kolin island, 1924-26there they were, dignified, invisible,moving without pressure, over the dead leaves,in the autumn heat, through the vibrant air,and the bird called, in response tothe unheard music hidden in the shrubbery,and the unseen eyebeam crossed, for the roseshad the look of flowers that are looked at.there they were
Labels:
birds,
josef sudek,
music,
photography,
poetry,
t.s. eliot,
water
le magasin de ventre citroën à paris
le magasin de ventre citroën à paris, 1927-29 avec léon émile bazin(détruit 1954)albert laprade: architecte, jardinier, urbaniste,dessinateur, serviteur du patrimoine,norma editions, 2007d'autres livres d'intérêt:-le jardin et la maison arabes au maroc, editions albert levy, 1926-l'exposition de paris, librairie des arts décoratif, 1937-architectures de france à travers les croquis,
Labels:
architecture,
books,
paris
where fuzzy edges and hues of color can lead one to wander...
luna-3 soviet moon images, october 7, 1959'it seemed i was observing the earth from the outside. i was in great empty space and saw the planets rolling quietly.'františek kupka*quote from four possible landscapes liner notes, steve roden'i am in the middle of a mass of thousands of very small particles that are brilliantly lit up like they are luminescent. they are bright yellowish green, about
indian melancholia & a knock on the window pane
ali akbar khan(melancholia since 01/2008)(music):-sundaram balachander: magic music of india, 1963 (indian veena player)-sundaram balachander: sounds of the veena, 1967-sundaram balachander: man from madras, 1968-pandit vishwa mohan bhatt: saltanah (with simon shaheen), 1997 (hindustani guitar player [guitar is modified with the addition of several drone strings and eight sympathetic strings and
drifting upward due to a slight increase in the magnetic field
spiraling electronfrom an atlas of typical expansion chamber photographs, 1954by wolfgang gentner, heinzmaier-leibnitz and walther bothefound in the book objectivity, 2007 by lorraine daston and peter galison
it was a scarcely human presence-rather that of a peculiar bat fluttering here in the twilight that rose over the earth
julien gracq: balcony in the forest,1958 (librarie jose corti) & 1959 (george braziller, inc.)jacket design by william and caroline harrishalf dozing already, he listened calmly to the forest growing.(page 106)there was a subtle silence in the blockhouse now, the silence of keen eyes, which weighs less than that of straining ears - it was the silence of a workroom absorbed in delicate needlework.
there is something going on in the sky like a decomposition, like a corruption of the air, which remains as still as ever
john ford: the long voyage home, 1940(dp: gregg toland)the only spot of light in the ship at night was that of the compass-lamps, lighting up the faces of the succeeding helmsmen; for the rest we were lost in the darkness, i walking the poop and the men lying about the decks. they were all so reduced by sickness that no watches could be kept. those who were able to walk remained all the time on
the sea: void, darkness, mysterious, not a sound
the bay of arcachon and lighthouse on cape ferret, 1871seascape by moonlight, 1873-76 (both images from manet and the sea, by juliet wilson-bareau and david degeneryale university press 2003)after sunset i came out on deck again to meet only a still void. the thin, featureless crust of the coast could not be distinguished. the darkness had risen around the ship like a mysterious emanation from
Why were you born when the snow was falling? You should have come to the cuckoo's calling Or when grapes are green in the cluster, Or, at least, when lithe swallows muster For their far off flying From summer dying. Why did you die when the lambs were cropping? You should have died at the apples' dropping, When the grasshopper comes to trouble, And the wheat-fields are sodden
of bees, bells, and glass skies
františek vláčil: údolí včel (valley of the bees), 1967a few fragments from a film where the visuals are easily the most breathtaking elements and moments of sound seem to echo bell tones, reminding me somehow of the beautiful percussive drones found in the work of zürich-based sound artist, jason kahn......and a humbly recorded bell tone excerpt (looped) from this film can be downloaded here.((
coordinates what is heard and what is seen
leighton pierce: my person in the water, 2006pierce was a musician before he was a filmmaker. he made musique concrete and became attracted to film in part because "there was this problem with musique concrete; once you've constructed this music electronically on tape, what do you do at a concert? it's very awkward sitting in an auditorium listening to a tape". once he began to work with
waters are black and swirling.....
around me: i stand on the shorethe waters are black and swirling.....our eyes so fixedthat the darkness surrounds usunnoticedand we are drowned by the loss of lightunnoticeddavid tibet......he suffers this anguish and abandonment inthe horror of the night.....blaise pascal, penseeswhat shadows we are, and what shadows we pursueedmund burke, 1780(from the sleeve notes of the inmost light by
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current 93,
darkness,
drone,
music
14 words whose enunciation lasted 5 seconds
classic books (number 3):exercises de style by raymond queneau, editions gallimard 1947 (1958 translation by barbara wright)in a bus of the s-line, 10 metres long, 3 wide, 6 high, at 3 km. 600 m. from its starting point, loaded with 48 people, at 12.17 pm., a person of the masculine sex aged 27 years 3 months and 8 days, 1 m. 72 cm. tall and weight 65 kg. and wearing a hat 35 cm. in height round
a bird falls, the grass grows dark
john james audubon, snowy owlwhat sustains it, half-open, the clarity of nightfall, the light let loose in the gardens?all the branches, conquered by the weight of birds, lean toward the darkness.pure, self-absorbed moments still gleam on the fences.receiving night, the groves become hushed fountains.a bird falls, the grass grows dark, edges blur, lime is black, the world is less credible.octavio
we live, as we dream - alone...
victor hugo, the vision ship 1864-65(images contributed by gossamer)we penetrated deeper and deeper into the heart of darkness. it was very quiet there. at night sometimes the roll of drums behind the curtain of trees would run up the river and remain sustained faintly, as if hovering in the air high over our heads, till the first break of day.the offing was barred by a black bank of clouds,
for some men live in darkness
closing sequence fromgeorg wilhelm pabst's the three penny opera, 1931music by kurt weill from the play by bertolt brechtcinematography by fritz arno wagnerrelated business:(cds):-lotte lenya sings kurt weill's the seven deadly sins & berlin theatre songs(lenya's 1957 recordings of sins and 1955 recording sings berlin theatre songs)-lotte lenya sings weill, the american theatre songs (recorded in
a deep grave surely
"The stillness was that of a deep grave, save for the raindrops, falling light as thistledown, with a faint, monotonous sound like a whisper that dies and begins again and dies there behind the wet, glistening trunks."~J. P. Jacobsen, Marie Grubbe, 1876
angelic language has nothing in common with human language,
classic books (number 2):imagining language: an anthology, edited by jed jasula and steve mccaffery, mit press 1998includes:-richard head and francis kirkman: canting vocabulary, 1665 (compact lexicon of rogue idiolect)-robert desnos: rrose sélavy, etc., 1923-john dee and edward kelley: enochian table, 1581-1589 & the enocian call, 1581-1589-emanuel swedenborg: the angelic language, 1768 (blog
...songs are sung
some new items:-edvard munch: the complete graphic works by gerd woll (harry n. abrams 2001)-joseph cornell and the ballet by sandra leonard starr (castelli feigen corcoran 1983)-joseph cornell by diane waldman (george braziller 1977)-george de la tour by jacques thuillier and fabia claris (flammarion 1993)-anni albers: pictorial weavings (mit 1959)-austerlitz by w.g. sebald-the shadow-line: a
it does not permit itself to be read (interval of a glance)
david lean: oliver twist, 1948, dp: guy greenas the night deepened, so deepened to me the interest of the scene; for not only did the general character of the crowd materially alter (its gentler features retiring in the gradual withdrawal of the more orderly portion of the people, and its harsher ones coming out into bolder relief, as the late hour brought forth every species of infamy from its
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darkness,
edgar poe,
film,
literature
Darwin, who was born into a large family that for two generations had been scientists, engineers, industrialists, and well-to-do landowners, and yet who, despite his genius, was a sufferer of neuroses, constant illnesses (he vomited every afternoon at four), a kind of hysteria that took the form of gasping and palpitation, and seizures of depression in which he wept uncontrollably.- Guy
normalcaffeineLSDmescaline1)"Nourished on the blood of a schizophrenic, a spider weaves crazy webs."-Guido Ceronetti, The Silence of the Body2)During the 1950s, a swiss pharmacologist named Peter Witt conducted a set of experiments in spider doping. He found that the spiders spun uniquely cockeyed webs depending on which substance they had ingested.-images and Peter Witt information from the
there amid murmurs, insinuations, visual thunder
stéphane mallarmé, photograph by félix nadarit seemed to me that i was looking at the form and patterns of a thought, placed for the first time in finite space. here space itself truly spoke, dreamed, and gave birth to temporal forms. expectancy, doubt, consternation, all were visible things.... there amid murmurs, insinuations, visual thunder, a whole spiritual tempest carried page by page to
transcending the universe, time, etc.
spinning trees from andrei tarkovsky's ivanovo detstvo, 1962(best of 2007)music:-3/4hadbeeneliminated: theology (soleilmoon recordings)-amiina: kurr (ever records)-asher: in camera (homophoni)-asher: untitled composition (for b) (leerraum)-asher: the depths, the colors, the objects & the silence (mystery sea)-william basinski: shortwave music (2062)-william basinski: el camino real (2062)-the
i wish all fields were paper
Miserere my Maker o have mercie on me wretchstrangelye distressedcast downe with sinne oppressedmightelye vext to the souls bitter anguisheeven to death I languishe,yet let it please thee to earemy ceaseless cryingemiserere, I am dyinge.anonymous- thank you Antonia ( http://oneinten.blogspot.com/)
mouchette and some french field recordings
robert bresson: mouchette, 1967mouchette soundtrack briefly availableexamples of french field recordings: the work of yannick dauby,sound artist:select discography:-songs of a few cicadas from taiwan, kalerne temporary editions, 2007-songs of a few crickets from europe, kalerne temporary editions, 2007-songs of a few amphibians from taiwan, kalerne temporary editions, 2007-février, cherry music,
He had a strange affinity with animals of all sorts, an eerie ability to get along amazingly well with them. At the zoo, lions and tigers would take one look at Buster's unsmiling face and come to him immediately.- Tom Dardis, KeatonBeneath his lack of emotion he was also uninsistently sardonic; deep below that...for those who sensed it, there was in his comedy a freezing whisper not of pathos
fire, void and ashes
the presence of fire in the void, monte hellman's two-lane blacktop, 1971 words from pierre restany's book yves klein: fire at the heart of the void
only, the fruit still has to avoid being eaten
some examples from robert motherwell/george wittenborn's documents of modern art (1944-1972), covers and typography by paul rand.titles include:guillaume apollinaire: the cubist painters (1944)piet mondrain: plastic art and pure plastic art (1945)lászló moholy-nagy: the new vision (1946)louis henry sullivan: kindergarten chats (1947)wassily kandinsky: concerning the spiritual in art (1947)jean
days of heaven (thirteen)
terrence malick: days of heaven, 1978cinematography: néstor almendros with additional work by haskell wexler, camera operator: john baileyhieronymus bosch: the temptations of st. anthony
mysterious and invisible
last film of 2007. filmed in 2 parts. part one with magic hour, fireflies and piano. part two with wasser and light. sound discovered and realized by asher and rendered by m swiezynski.early version available briefly here.
spinning camera in berlin alexanderplatz
crowd images from the boxing sequence in rainer werner fassbinder's epilogue from berlin alexanderplatz, 1980.the camera spins around and around from the center of the ring, picking up ghostly images of the cheering crowd. camerawork by xaver schwarzenberger.
…all these adventurers, fairy tale princes, sea pirates, and magnanimous criminals, I don’t complain that they have passed on but I would wish that they might find with every new orbit that life affords us successors on whom the whole sum of love and belief dedicated to them might be carried on.- Ernst Junger
...from aft came the tunes of the band....
(iceberg)...from aft came the tunes of the band..... the ship was gradually turning on her nose - just like a duck that goes down for a dive. i had only one thing on my mind - to get away from the suction. the band was still playing. i guess all of the band went down. they were playing autumn then. i swam with all my might. i suppose i was 150 feet away when the titanic, on her nose, with her
Labels:
drone,
film,
gavin bryars,
music
E is for elephant
The elephant is only a huge beast, but he is the most worthy that lives on the earth and has the most sense. I want to tell you about a characteristic of his honesty: he never changes females and loves tenderly the one he has chosen, with whom he nonetheless copulates only every three years, and that only for five days, so secretly that he is never seen in the act. But he is seen, however, on
ford at fox
ford at fox: 24 films from john ford’s years with twentieth century fox where he made more than 50 films from 1920 through 1952includes:disc 1: what price glorydisc 2: my darling clementinedisc 3: how green was my valleydisc 4: tobacco roaddisc 5: grapes of wrathdisc 6: drums along the mohawkdisc 7: wee willie winkiedisc 8: young mister lincolndisc 9: prisoner on shark islanddisc 10: steamboat
Labels:
book collecting,
books,
film,
john ford
scarce sufficient to afford a dish of hodge-podge
classic books (number 1):don quixote by miguel de cervantespart one first published in 1605, part two in 1615in a village of la mancha the name of which i have no desire to recall, there lived not so long ago one of those gentlemen who always have a lance in the rack, an ancient buckler, a skinny nag, and a greyhound for the chase. a stew with more beef than mutton in it, chopped meat for his
"Who knows," says Euripides, "if life is not death, and death life?" Plato in one of his dialogues puts these words into the mouth of Socrates, the wisest of men, the very man who created the theory of general ideas and first considered the clarity and distinctness of our judgments to be an index of their truth. According to Plato, Socrates almost always when death is discussed says the same, or
When my mother died I was very young,And my father sold me while yet my tongueCould scarcely cry 'weep! 'weep! 'weep! 'weep!So your chimneys I sweep, and in soot I sleep.There's little Tom Dacre, who cried when his head,That curled like a lamb's back, was shaved: so I said,"Hush, Tom! never mind it, for when your head's bare,You know that the soot cannot spoil your white hair."And so he was quiet
This running against the walls of our cage is perfectly, absolutely hopeless.Ethics so far as it springs from the desire to say something about the ultimate meaning of life, the absolute good, the absolute valuable, can be no science.What it says does not add to our knowledge in any sense. But it is a document of a tendency in the human mind which I personally cannot help respecting deeply and I
When I am dead, my dearestWhen I am dead, my dearest,Sing no sad songs for me;Plant thou no roses at my head,Nor shady cypress tree:Be the green grass above meWith showers and dewdrops wet;And if thou wilt, remember,And if thou wilt, forget.I shall not see the shadows,I shall not feel the rain;I shall not hear the nightingaleSing on, as if in pain:And dreaming through the twilightThat doth not
"Could I be a Punch? The Punch of my childhood you know - his spine broken in two, his nose on the floor between his feet, his legs and arms rigidly spread in that attitude of profound despair, so pathetically droll, of toys tossed in a corner ... This evening I seem to be within a corner, spine cracked, nose in the dust. Would you kindly scrape together the poor devil, put him tenderly in your
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