Alphabetarion # Stairs | Nick Hornby, 2005

Stephen Deutch, Staircase, France, 1947

“Even thought our problems had driven us up there, it was as if
they had somehow, like Daleks*, been unable to climb the stairs.”


 Nick Hornby, A Long Way Down, 2005



* The Daleks are a fictional extraterrestrial race of mutants
principally portrayed in the British science fiction television
programme Doctor Who.

Book//mark - The House in Paris | Elizabeth Bowen, 1935

Elizabeth Bowen, 1939                                                                 Elizabeth Bowen, The House in Paris, 1935    


"But to be quite oneself one must first waste a little time."

“You could see that her tremendous inside life, its solitary fears and fires, was out of 
accord with her humble view of herself; to hide or excuse what she felt was her first wish.”

“Never to lie is to have no lock to your door, you are never wholly alone”

“You know, even grown-up people cannot do what they want most"
"Then why grow up?”

“Grown-up people seem to be busy by clockwork: even when someone is not ill, 
when there has been no telegram, they run their unswerving course from object to
 object, directed by some mysterious inner needle that points all the time to what 
they must do next. You can only marvel at such misuse of time.”

“Their hands, swinging, touched lightly now and then;
 their nearness was as natural as the June day.”

“First love, with its frantic haughty imagination, swings its object clear of the everyday, 
over the rut of living, making him all looks, silences, gestures, attitudes, a burning 
phrase with no context. This isolation, young love and hero worship accomplish 
without remorse; they hardly know tenderness.”

“People in love, in whom every sense is open, cannot beat off the influence of a place.”

“...there must be something she wanted; and that therefore she was no lady.”

"He wanted to crack the world by saying some final and frightful thing."

“Karen, her elbows folded on the deck-rail, wanted to share with someone her 
pleasure in being alone: this is the paradox of any happy solitude.”

“She was in that flagging mood when to go on living seems only to load 
more unmeaning moments on to your memory.”

“Meeting people unlike oneself does not enlarge one's outlook; it only confirms 
one's idea that one is unique.”

“Jealousy is no more than feeling alone against smiling enemies.”

“Someone soon to start on a journey is always a little holy.”

"The station is sounding, resounding, full of steam caught on light and 
arches of dark air: a temple to the intention to go somewhere."

“People must hope so much when they tear streets up and fight at barricades. 
But, whoever wins, the streets are laid again and the trams start running again. 
One hopes too much of destroying things. If revolutions do not fail, they fail you.”

Elizabeth Bowen, The House in Paris, 1935


An early admirer of The House in Paris was Virginia Woolf, a good friend of Bowen's. 
In a letter about the book, Woolf wrote, 
"I had the feeling that your world imposed itself on my world, while I read, 
which only happens when one is taken in hand by a work."


Also:

Mobius Strip | Robert Desnos, 1900-1945

M. C. Escher, Relativity, 1953


     The track I'm running on
     Won't be the same when I turn back
     It's useless to follow it straight
     I'll return to another place
     I circle around but the sky changes
     Yesterday I was a child
     I'm a man now
     The world's a strange thing
     And the rose among the roses
     Doesn't resemble another rose.

 Robert Desnos,  Mobius Strip
 trans. Amy Levin




Flick Review < Grandma’s Encyclopedia | Walerian Borowczyk, 1963






Grandma’s Encyclopedia, 1963
 Dir. Walerian Borowczyk 
Music:  Avenir de Monfred
6 min, b&w

Like both Stan Vanderbeek and Larry Jordan, Borowczyk saw the potential of animating cut outs 
from Victorian encyclopedias and novels. Like Lenica’s The Labyrinth (completed the same year),
 Borowczyk takes the idea at the heart of Max Ernst’s graphic novel Une semaine de bonté 
(A Week of Kindness), and makes it move for both comic and surrealistic effect.


Also:


Isadora Duncan | Drawings by Abraham Walkowitz, 1908-1920

Abraham Walkowitz, Isadora Duncan, 1910                                      Abraham Walkowitz, Isadora Duncan #29, 1915


“She was a Muse. She had no laws.  She did not dance according to the rules. 
She created. Her body was music. It was a body electric, like Walt Whitman. 
His body electrics..."

Abraham Walkowitz, 1958

Abraham Walkowitz, Isadora Duncan, 1910  


 “Walkowitz, you have written my biography
 in lines without words.”

Isadora Duncan, 1916

Abraham Walkowitz, Isadora Duncan, 1910  


"...there are those who convert the body into a luminous 
fluidity, surrendering it to the inspiration of the soul."

Isadora Duncan, 1920

Abraham Walkowitz, Isadora Duncan, 1909                                  Abraham Walkowitz, Isadora Duncan


These two American modernists, painter Abraham Walkowitz and dancer Isadora Duncan
born in the same year (1878), both artists influenced the development of modern art in the 
early twentieth century by blending figurative gesture with abstraction. Duncan grew up in a 
free-spirited and artistic household in California and then moved to Europe. Walkowitz
 immigrated to the United States from Russia when he was a child and lived most of his
 life in New York City, where he studied at Cooper Union School and the National 
Academy of Design.

Abraham Walkowitz’s The studio 8 East 23rd Street New York


Walkowitz and Duncan met in 1906 in Paris at the studio of the sculptor Auguste Rodin. Deeply
 impressed by Duncan’s musicality and expressivity, Abraham Walkowitz’s obsession with the
 celebrated modern dancer Isadora Duncan sets him apart from the others. Over his lifetime it
 is believed that he created five thousand images of her, dancing . Because Walkowitz’s 
renderings of Duncan were produced quickly, they carry an element of improvisational 
vitality that matches the dynamic energy of her presence onstage. 

Ann Cooper Albright, Modern Gestures: Abraham Walkowitz Draws
 Isadora Duncan Dancing, 2010 

Abraham Walkowitz- Isadora Duncan Eight Watercolors each, watercolor, ink and pencil on paper
Abraham Walkowitz, Isadora Duncan, 1908


Also:

Photographic Games | Jaromír Funke, 1923 - 1945

Jaromir Funke, Untitled, 1923
Jaromir Funke, Woman with Mask, 1925
Jaromir Funke, Glass and Reflections, 1929
Jaromir Funke, Untitled (Girl’s head and hand), 1935                                        Jaromír Funke, Oranges, 1930
Jaromír Funke, Solitude and Glasses, 1924
Jaromir Funke, Untitled, 1932                                                 Jaromir Funke, Glass and Reflections ,1929
Jaromír Funke, Homage to Matisse, 1924
Jaromir Funke, Untitled, 1935                                                    Jaromir Funke, Glass and Reflection, 1929
Jaromir Funke, Composition, 1925
Jaromir Funke, Landscape, 1940 - 1941                                                   Jaromir Funke, On the Outskirts of the City, 1940
Jaromir Funke, Staircase of old Prague, 1924
Jaromir Funke,Miroslav Kouřil, Wedekind, Spring Awakening Scene, 1936                               Jaromir Funke, In museum (The Modern Gallery) , 1936
Jaromir Funke (1896-1945)
Josef Sudek, Portrait of Jaromír Funke, 1924                                          Jaromir Funke, After Carnival, 1924


Jaromír Funke (1896–1945) studied medicine, law and philosophy at Charles University in Prague
 but did not graduate. Instead he concentrated on becoming a professional freelance photographer.
 By 1922 he was a leader of the young opposition movement in photography and a founder of the
 Czech Society of Photography (1924) whose mission was to create photography that would  
fulfil new social functions.

Time Persists, 1930-34


Also:


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