Book//mark - The Son of a Servant | August Strindberg (1886 - 1909)

The Son of a Servantm, 1870                                                         August Strindberg


“The ball was held in a middle-class home. The girls were anemic - some of them; the others were red as raspberries. John liked the pale ones best, the ones with black or blue rings round their eyes. They looked so sad and suffering and pitiable, and they cast tender yearning glances at him, such yearning glances.” 

“He liked the girls, liked to hold them around the waist, felt like a man when he did. But as for talking with them, no, no! Then he felt as though he were dealing with another species of human being, in some cases a higher one, in others a lower. He secretly admired the weak, pale, little girl and had picked her to be his wife. That was still the only way he could think of a woman - as a wife. He danced in a very chaste and proper manner, but he heard awful stories about his pals, stories he didn't understand until later. They could dance the waltz backwards around the room in a very indecent way, and they told naughty stories about the girls.” 

“Family ... the home of all social evil, a charitable institution for comfortable women, an anchorage for house-fathers, and a hell for children.” 


August Strindberg 1886 -1909, The Son of a Servant / Tjänstekvinnans son, 1870

[Autobiographical novel in four parts]


Also:

Alphabetarion # Clouds | Anaïs Nin

Foreign English Students Course In Usa, July 1945


"Don't let one cloud obliterate the whole sky." 

Anais Nin

Πορτραίτο / Άγνωστη / Ποιητής / Σάβανο Γελοίου | Ρώμος Φιλύρας, 1889-1942

Ρώμος Φιλύρας


Πορτραίτο

Στο δρόμο, που το πλήθος τρέχει αδιάφορο
για κάθε ωραίο, αγάλι επερπατούσες,
έμοιαζες σα να σε ύψωνε πνοή
και τίποτα σα να μην εμισούσες.

Το βήμα σου απαλό σαν Απολύτρωση
κι η όψη σου ολόασπρη σαν κρίνο
κι έπεφτε η λάμψη της ματιάς κι εφάνταζε
το γαληνό χαμόγελό σου εκείνο!

Ένας ιερεύς κάποιας θρησκείας απόκοσμης
ή από του Βελασκέζ το θείο χρωστήρα
ζωγραφισμένος Ανδαλούσιος άρχοντας,
πρόβαινες μέσ’ την ανθρωποπλημμύρα.

Στον πολυθόρυβο το δρόμο ένα πρωί σ’ αντίκρυσα
όραμα πράο, άυλο, της αγιωσύνης
και στην ψυχή μου απόμεινες σαν είδωλο
μιας αιθερίας, ονειρευτής γαλήνης.



Άγνωστη

Απόψε και να μ' έβλεπε 'κείνη π' αναζητώ,
αυτή που δεν εγνώρισα και που ποτέ δεν είδα,
που στη καρδιά μου ευλαβικά τόσο καιρό κρατώ,
σα κάποια προμηνυτική που με φωτίζει, αχτίδα.

Απόψε, που σκιρτά η καρδιά, το μάτι λάμπει αδρό,
σπιθίζει το αίμα μέσα σου κι αγάλλεται η ψυχή μου,
κι ανυψωμένη η σκέψη μου στ' άπειρο, μ' αργυρό
φως φεγγαρίσιο, αχνοφωτά, ντύνει την έκστασή μου...



Ποιητής

Είχα πέσει σε βύθος, είχα πάντα τη μαύρη
κι ολοπέλπιδη νύστα του βραχνά καταλύτη...
μες στο κάμα του θέρους, τη θλιμμένη και λαύρη
ποθοθάνατη 'νείρια του οράματος νήτη.
Έχω λήθαργου μοίρα κι είχα παραμελήσει
χρόνια. Κι όμως ο στίχος, ο ρυθμός δεν ελείπαν.

Είχα ανέβει εκεί που 'ναι μόναχα η βρύση...
κι η επιστήμη, αν δεν είχα, δεν θ' ανέβαινα -είπαν.
Επειδή κι είχα χάσει το ρέγουλο, είμαι
ο εμπνευσμένος ονείρων και κόσμων προφήτης,
ο πηγαίος ποιητής που στο σύννεφο κείμαι,
ο μεγάλος, ο θείος των ρυθμών υποφήτης!



Σάβανο Γελοίου

Στη φιλντισένια των δοντιών φραγή,
να τρέμει ο λόγος λαξευτός με σμίλη
κι' όταν μαζί το γέλοιο σου σμιγεί,
κι' οι νότες τρίξουν σκαστές στα χείλη

Οργάνου πλήχτρα ηχούν στη σμαραγή,
που δάχτυλα κινούν λόγια και γέλοια
κι’ οι αρμονίες μηνούνε μια σφαγή,
παραφωνίες μάγες σ’άυλα τέλια.

Κι' η σιταρένια σου ώχρα κυλιστή
μονόχρωμα, σαν σκέπη, σαν αυλαία,
θαρρείς πως πέφτει στην καμπανιστή

Επάνω ανάκρουση την τελευταία,
-σάβανο τάχα μιας γλυκειάς οδύνης,
ενώ χαρά τρελλή μέσα σου κλείνεις.


                                                    Θυσία, 1923


 Ρώμος Φιλύρας, 1889-1942

Τύπωσε έξι ποιητικές συλλογές (Ρόδα στον αφρό, 1911, Γυρισμοί, 1919, Οι ερχόμενες, 1920, Κλεψύδρα, 1921, Ο πιερότος, 1922, Θυσία, 1923) 
και το αφήγημα Ο θεατρίνος της ζωής, 1916. Στην Κύπρο, το 1918, τη μετάφραση Brada, Και το κύμα γύρισε πίσω, με το όνομα Απόλλων Φιλύρας.


The Krazy Kat Klub | A Bohemian Cafe & Speakeasy / No. 3 Green Court, Washington DC (1921)

"The Krazy Kat Klub" (1921)

The Krazy Kat Klub was a Bohemian cafe, speakeasy and nightclub that operated at No. 3 Green
 Court near Washington, D.C.'s Thomas Circle during the early decades of the 20th century. The 
club was run by portraitist and theatrical scenic designer Cleon "Throck" Throckmorton and 
its name was borrowed from the title character of a comic strip ^ that was popular at the time.

"The Krazy Kat Klub" (1921)

The Krazy Kat Klub’s entrance was in an alley that led out to Massachusetts Avenue, and during 1921 
the entrance door bore a small sign reading "The Krazy Kat" along with a chalk-written warning 
at the top of the door that read, “All soap abandon ye who enter here.” The club included
 both an indoor dance floor and an outdoor courtyard for al fresco dining and art exhibitions. 
The courtyard featured a small tree-house, accessed by a ladder. The Club was also the site of painting classes during the 1920s.

"The Krazy Kat Klub" (1921)

In 1919, a reporter for the Washington Post described the Krazy Kat Klub as being 
"something like a Greenwich Village coffee house", featuring "gaudy pictures created 
by futurists and impressionists". 
It was also mentioned in the published diary of Washington, DC resident Jeb Alexander, who 
wrote that the club was a "Bohemian joint in an old stable up near Thomas Circle . . . 
[a gathering place for] artists, musicians, atheists (and) professors.

"The Krazy Kat Klub" (1921)

The Krazy Kat Klub was raided by the police several times during the Prohibition period.
 One raid in February 1919 was reported as having interrupted a brawl inside the club, during
which a shot was fired. The raid resulted in the arrests of 22 men and three women, described
 in a Washington Post report of February 22 as "self-styled artists, poets and actors, and 
some who worked for the government by day and masqueraded as Bohemians by night".

"The Krazy Kat Klub" (1921)

 "The Krazy Kat Klub" (1921)

George Herriman, Krazy Kat, 1913-44

^ Krazy Kat (aka Krazy & Ignatz) is an newspaper comic strip by cartoonist George Herriman (1880–1944), which 
ran from 1913 to 1944. Krazy was a sweet, innocent Kat who was blindly in love with Ignatz, a bad tempered mouse.


J[A-Z]Z / p1ck ( The Trio | Hank Jones, Wendell Marshall And Kenny Clarke (1955)


Recorded at Newark,N.J. August 1955


Hank Jones Trio - We're All Together, 1955


Hank Jones versatility is evident on these selections -- one can imagine
that a young Bill Evans was quite familiar with this recording.

Allmusic


Hank Jones - piano 
Wendell Marshall - bass 
Kenny Clarke - drums





Flick Review < The Prowler | Joseph Losey (1951)

Trailer of The Prowler, Joseph Losey, 1951

Crime novelist James Ellroy ("L.A. Confidential", "The Black Dahlia") once called this his favorite film and described it as 
"a masterpiece of sexual creepiness, institutional corruption and suffocating, ugly passion."


The Prowler (1951) / Joseph Losey 
Stars: Van Heflin, Evelyn Keyes, John Maxwell 
Cinematography by Arthur C. Miller


Also:

Book//mark - Memoirs of a Dutiful Daughter | Simone de Beauvoir, 1958

Simone de Beauvoir, Memoires d'une Jeune Fille Rangee, 1958                       Simone de Beauvoir, her mother Françoise and Hélène, her younger sister


“On the evenings when my parents held parties, the drawing-room mirrors multiplied to infinity the scintillations of a crystal chandelier. Mama would take her seat at the grand piano to accompany a lady dressed in a cloud of tulle who played the violin and a cousin who performed on a cello. I would crack between my teeth the candied shell of an artificial fruit, and a burst of light would illuminate my palate with a taste of blackcurrant or pineapple: all the colours, all the lights were mine, the gauzy scarves, the diamonds, the laces; I held the whole party in my mouth.”

“Suddenly I was struck motionless: I was living through the first chapter of a novel in which I was the heroine; she was still almost a child, but we, too, were growing up.”

“I was very fond of Lagneau’s phrase: “I have no comfort but in my absolute despair.”

“In fact, the sickness I was suffering from was that I had been driven out of the paradise of childhood and had not found my place in the world of adults. I had set myself up in the absolute in order to gaze down upon this world which was rejecting me; now, if I wanted to act, to write a book, to express myself, I would have to go back down there: but my contempt had annihilated it, and I could see nothing but emptiness. The fact is that I had not yet put my hand to the plow. Love, action, literary work: all I did was to roll these ideas round in my head; I was fighting in an abstract fashion against abstract possibilities.”

“All success cloaks a surrender.”

“Alone: for the first time I understood the terrible significance of that word. Alone without a witness, without anyone to speak to, without refuge. The breath in my body, the blood in my veins, all this hurly-burly in my head existed for nobody.”

“If I were to share Jaques' existence I would find it hard to hold my own against him, for already I found his nihilism contagious.”

“But I know my only defense is to answer, “I think it because it is true,” thereby eliminating my subjectivity;”

“All those minds that are interested in finding out the truth communicate with each other across the distances of space and time. I, too, was taking part in the effort which humanity makes to know.”

“At night I would climb the steps to the Sacre-Coeur, and I would watch Paris, that futile oasis, scintillating in the wilderness of space. I would weep, because it was so beautiful, and because it was so useless.”

“I had to call the past to life, and illuminate every corner of the five continents, descend to the centre of the earth and make the circuit of the moon and stars”


Simone de Beauvoir, Memoirs of a Dutiful Daughter 1958


Hélène & Simone de Beauvoir

Summer in Mexico | Photos by Lola Álvarez Bravo & Manuel Álvarez Bravo, 1934- 55

Manuel Álvarez Bravo, México, 1934                                                              Manuel Álvarez Bravo, A Fish Called Sierra, 1944   
Lola Alvarez Bravo, Acapulco, Guerrero, Mexico, 1950
Lola Alvarez Bravo, El baño, 1940
Lola Alvarez Bravo, México, 1950 
Lola Alvarez Bravo, México, 1949
Lola Alvarez Bravo, Mexico, Puerto Vallarta, 1940 
Manuel Alvarez Bravo, Good Reputation Sleeping, Mexico, 1938
Lola Alvarez Bravo, México, 1955


Portraits | Paintings by Helene Schjerfbeck (1862-1946)

Helene Schjerfbeck, Boys Head, 1906-1907
Helene Schjerfbeck, Katkelma, 1905
Helen Schjerfbeck, Red Head Girl II, 1915
Helen Schjerfbeck, Girl with a Swan Neck

Helene Schjerfbeck, Reading, 1920                                                                           Helene Schjerfbeck,  The Baker’s Daughter, 1913
Self portrait with black mouth (1939)                                                                                 Helen Schjerfbeck, Untitled (date unknown)
Helene Schjerfbeck, Naisprofiili, 1884                                                                                             Helene Schjerfbeck, The landlord, 1928
Helene Schjerfbeck, The motorist (1933)                                                        Helene Schjerfbeck
Helene Schjerfbeck, Young Couple (1915)                                                 Helene Schjerfbeck,  Before the mirror (1937)
Helen Schjerfbeck, School Girl II (Girl in Black), 1908                                                      Helen Schjerfbeck, Girl in white, 1914
Helene Schjerfbeck, The Tapestry, 1914-16

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