Liberty & Unity | Brendan Behan

Nick Hedges, Toxteth, Liverpool, 1969

"If you fight for the liberty and unity of a small country – you’re an anarchist:
but if you go bombing for a great power, you’re a patriot.
It all depends on the size of the country in question."

Brendan Behan (1923-1964)

Square du Vert Galant, Pont Neuf, Paris | Paul Signac / Camille Pissarro / Pablo Picasso / Jacques Boulas / Izis Bidermanas / J.-J. Sempé / Ralph Crane / Inge Morath / Henri Cartier-Bresson / Alfred Eisenstaedt

Jean-Jacques Sempé, Square du Vert Galant, Paris
Inge Morath, Ile de la Cite and Pont-Neuf, 1957
Square du Vert Galant, Pont Neuf, Paris  seen from the Quai de Conti
Square du Vert Galant, Pont Neuf, Paris 
Pablo Picasso, Le square du Vert-Galant, 1943
Notre Dame de Paris on Île de la Cité from the east
Square du Vert Galant,  Plan de Belleforest, 1575
 Camille Pissarro, Square du Vert Galant, Sunny Morning, 1902
Île de la Cité, 1609
Henri Cartier-Bresson, Square of the Vert Galant and Pont-Neuf, 1951
Quai des Grands -Augustins in the direction of the Pont-Neuf, 1858 
 Île de la Cité, Paris
Izis Bidermanas, Le square du Vert-Galant, 1950         Jacques Boulas, The Square of the Vert-Galant, 1956
Alfred Eisenstaedt, Student musicians perform on steps in the Square du Vert Galant 
on the Ile de La Cite as people sit around and listen, Paris, 1963
Ralph Crane, View at Square Du Vert-Galant in Paris, 1963

The Square du Vert-Galant is a small public garden located on the western tip of the Ile de la Cité. 
Erected in tribute to Henri IV and his numerous mistresses.

 The Île de la Cité  is one of two remaining natural islands in the Seine within the city of Paris (the other 
being the Île Saint-Louis). It is the centre of Paris and the location where the medieval city was refounded.

The Pont Neuf (New Bridge) is the oldest standing bridge across the river Seine in Paris, France. It stands 
by the western (downstream) point of the Île de la Cité, the island in the middle of the river that was, between 
250 and 225 BC, the birthplace of Paris, then known as Lutetia, and during the medieval period, the heart of 
the city.

Paul Signac, The Pont Neuf, Paris, 1928
Paul Signac, Jardin Du Vert-Galant, 1928


Περί Μετάφρασης | Ε.Χ. Γονατάς - Νίκος Καρούζος

Ο Ε.Χ. Γονατάς στον κήπο του σπιτιού του στην Κηφισιά, με την ποιήτρια Μελισσάνθη και τον Νίκο Καρούζο
εφημερίδα Τα Νέα, 1994

 «Το ἴδιο βράδυ καθόμαστε στην πίσω βεράντα (της οἰκίας Ἐ.Χ.Γ.). 
Δίπλα μου η ἡλικιωμένη ποιήτρια Μελισσάνθη... 
Ο Νίκος Καροῦζος ἀπέναντι και κοντά του ο Γονατᾶς…
 Νώντα, ἀλλάζει το θέμα ὁ Καροῦζος, διάβασες τη μετάφρασή μου που σου ἄφησα, 
τα ἀποσπάσματα του Λάου Τσε; 
Καλή είναι, ἀπαντάει ἐκεῖνος λακωνικά. Βέβαια εἶναι απο τα Γαλλικά. 
‘Τι θα πει αὐτό;’ 
‘Σου εἶπα, φαίνεται πως μεταφράστηκε απο τα Γαλλικά. Το κατάλαβα ἀμέσως’
‘Δηλαδή δεν σου ἀρέσει;’ 
‘Δεν εἶπα αὐτό. Ξέρεις Κινέζικα;’ 
‘Ἔ, τότε;’
 ‘Νώντα, με προσβάλλεις. Δεν το περίμενα απο σένα’
 Ὁ Καροῦζος σηκώθηκε και ἄρχισε να κόβει βόλτες... 
 Φεύγει θυμωμένος χωρίς να καληνυχτίσει. 
Μη σας νοιάζει, είπε ο Νώντας χαμογελώντας,
 αύριο πάλι θα εἶναι κοντά μας. Του ἀρέσουν τα καμώματα»

Ν. Καρακώστας, «Μικρό ἀφιέρωμα στον ποιητή Ἐ.Χ. Γονατᾶ» 


Budapest (1907 - 1956) | Photos by André Kertész / Werner Bischof / Lucien Aigner / Erich Lessing / David Seymour / Jean Marquis

Lucien Aigner, Budapest view, 1937
City Park, Budapest, 1907
Tram 58 at Zugliget, Budapest, 1940
Cafe Central in Budapest, 1910
André Kertész, Budapest, 1914
Group of men looking at the lottery results in Budapest, 1925
Werner Bischof, Budapest, Heroes of yesterday, 1947
 Erich Lessing, A couple selling onions,  Budapest, 1956 

Jean Marquis, Budapest, 1954                                               David Seymour, Budapest, 1948 / Woman selling handmade dolls on a street
Werner Bischof, Budapest, 1947
A train of the Red Cross, transporting children to Switzerland. 
André Kertész, Circus, Budapest, 1920                          Girls dancing in the streets, Budapest, 1923


Book//mark - Bleak House | Charles Dickens, 1853

Cover of first serial, March 1852                                                              Charles Dickens (1812-1870)

"I don’t know why. At least I don’t think I know why. At least, perhaps I do,
but I don’t think it matters."

“There were two classes of charitable people: one, the people who did a little and made a 
great deal of noise; the other, the people who did a great deal and made no noise at all.”

“Fog everywhere. Fog up the river where it flows among green airs and meadows; fog down 
the river, where it rolls defiled among the tiers of shipping, and the waterside pollutions of 
a great (and dirty) city.... Chance people on the bridges peeping over the parapets into a 
nether sky of fog, with fog all round them, as if they were up in a balloon and hanging
 in the misty clouds.”

“Chance people on the bridges peeping over the parapets into a nether sky of fog, with 
fog all round them, as if they were up in a balloon, and hanging in the misty clouds.”

“Constancy in love is a good thing; but it means nothing, and is nothing, without 
constancy in every kind of effort.”

“A word in earnest is as good as a speech.”

“If the world go wrong, it was, in some off-hand manner, never meant to go right.”

“The universe makes rather an indifferent parent, I'm afraid.”

“I found every breath of air, and every scent, and every flower and leaf and blade of grass and 
every passing cloud, and everything in nature, more beautiful and wonderful to me than I had 
ever found it yet. This was my first gain from my illness. How little I had lost, when the wide 
world was so full of delight for me.”

“When he has nothing else to do, he can always contemplate his own greatness. 
It is a considerable advantage to a man, to have so inexhaustible a subject.”

“As all partings foreshadow the great final one, - so, empty rooms, bereft of a familiar
 presence, mournfully whisper what your room and what mine must one day be.”

“I only ask to be free. The butterflies are free. Mankind will surely not deny to 
Harold Skimpole what it concedes to the butterflies.”

“We went our several ways," said Lady Dedlock, "and had little in common even before 
we agreed to differ. It is to be regretted, I suppose, but it could not be helped.”

“Why, Mrs. Piper has a good deal to say, chiefly in parentheses and without 
punctuation, but not much to tell.”

“I don't feel any vulgar gratitude to you[for helping me]. I almost feel as if You ought to 
be grateful to ME, for giving you the opportunity of enjoying the luxury of generosity. . . 
I may have come into the world expressly for the purpose of increasing your stock of 
happiness. I may have been born to be a benefactor to you, by giving you an opportunity 
of assisting me. ”

“But injustice breeds injustice; the fighting with shadows and being defeated 
by them necessitates the setting up of substances to combat.”

“I am not at all respectable, and I don't want to be. Odd perhaps, but so it is!”

“You can be nothing better than yourself; be that [...]”

“And I am bored to death with it. Bored to death with this place, 
bored to death with my life, bored to death with myself.”

Charles Dickens, Bleak House, 1853

Dickens, Bleak House, 1853, first edition


Alphabetarion # Fragrance | John Keats, 1818


"Share the inward fragrance of each other’s heart."

 John Keats, Isabella, or the Pot of Basil, 1818

Isabella, or the Pot of Basil (1818) is a narrative poem by John Keats adapted from a story
 in Boccaccio's Decameron. It tells the tale of a young woman whose family intend to marry 
her to "some high noble and his olive trees", but who falls for Lorenzo, one of her brothers' 
employees. When the brothers learn of this, they murder Lorenzo and bury his body. His ghost 
informs Isabella in a dream. She exhumes the body and buries the head in a pot of basil which
 she tends obsessively, while pining away.

The poem was popular with Pre-Raphaelite painters, who illustrated several episodes from it.


Stereosc2pe + | Nudes | Moïse Kisling, 1918

Moise Kisling, Reclining nude in the leaves, 1918
Moise Kisling, Nude on red couch, 1918

Stereosc2pe >

Flick Review < Shadows | John Cassavetes, 1959

 "We were improvising . . . every scene was very simple. They were predicated on 
people having problems that were overcome with other problems. At the end of
 the scene another problem would come in and overlap".

John Cassavetes

Shadows (1958)
Director: John Cassavetes
Written: John Cassavetes, Robert Alan Aurthur
Cinematography: Erich Kollmar
Stars: Ben Carruthers, Lelia Goldoni, Hugh Hurd
Music: Shafi Hadi, Charles Mingus
Produced: Maurice McEndree, Nikos Papatakis

"Shadows will always be the film I love the best simply because it was the first one..."

John Cassavetes

"Shadows presents contemporary reality in a fresh and unconventional manner...
The improvisation, spontaneity, and free inspiration that are almost entirely lost
in most films from an excess of professionalism are fully used in this film."

Jonas Mekas, Film Culture, 1959

John Cassavetes in Shadows (1958)
John Cassavetes and Charles Mingus in Shadows (1958)
John Cassavetes with his crew on the set of Shadows (1959)


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