J[A-Z]Z / p1ck ( Destination... Out! | Jackie McLean, 1963

Photo: Francis Wolff / Cover design: Larry Miller 

Jackie McLean - Riff Raff (Moncur)

Recorded at Van Gelder Studio, Englewood Cliffs, NJ
on September 20, 1963

Jackie McLean - alto saxophone
Grachan Moncur III - trombone
Bobby Hutcherson - vibes
Larry Ridley - bass
Roy Haynes - drums

Jackie McLean

The Sort of Happiness that Comes with Innocence | Luis Buñuel

Luis Buñuel in Calanda, Spain

“All my life I've been harassed by questions:
Why is something this way and not another?
How do you account for that?
This rage to understand, to fill in the blanks, only makes life more banal.
If we could only find the courage to leave our destiny to chance, to accept
the fundamental mystery of our lives, then we might be closer to the sort
of happiness that comes with innocence.”

Luis Bunuel, My Last Breath


Speak, You Too | Paul Celan, 1920-70

Paul Celan 

Speak, you too,
speak as the last one,
have your say.

Speak --
But do not separate the no from the yes.
Give your saying also meaning:
give it its shadow.

Give it enough shadow,
give it as much
as you know to be parceled out between
midnight and midday and midnight.

Look around:
see how alive it gets all around --
At death! Alive!
Speaks true, who speaks shadows.

But now the place shrinks, on which you stand
Whereto now, shadow-stripped one, whereto?
Climb. Feel yourself upwards.
Thinner you become, unrecognizable, finer!

Finer: a fathom
along which it wants to descend, the star:
to swim down below, below
where he sees himself swimming: in the swell
of wandering words.

Paul Celan, 1920-70


Alphabetarion # Sanity | Jean Dubuffet

Jean Dubuffet · Self Portrait II · 1966

"For me, insanity is super sanity. The normal is psychotic. 
Normal means lack of imagination, lack of creativity."

 Jean Dubuffet, 1901-1985

The Book & the Movie: Invasion of the Body Snatchers | Jack Finney, 1954 / Don Siegel, 1956

^ First edition cover illustrated by John McDermott                                                                                            First British Edition, 1955 ^

“The human mind searches for cause and effect, always; and we all prefer 
the weird and thrilling to the dull and commonplace as an answer.” 

 Jack Finney, Invasion of the Body Snatchers, 1954

“Relationship building at a distance, through the filter of a computer, is ultimately
ineffective for the sincere friend seeker, but it is ideally suited to the sociopath
whose powers of manipulation are enhanced when he can operate not merely
behind his usual masks but behind an electronic mask as well.”

 Jack Finney, Invasion of the Body Snatchers, 1954

 “I’ve seen how people have allowed their humanity to drain away. Only it happened slowly
instead of all at once. They didn’t seem to mind… All of us - a little bit - we harden our
hearts, grow callous. Only when we have to fight to stay human do we realize how
precious it is to us, how dear.”

“If we believe that we are just animals, without immortal souls, we are already
but one step removed from pod people.”

“the very moment you are caught, there is always a chance.”

“Anyway, there’s a time and place for everything, and while this may have
been the place, it wasn’t the time.”

“Why do you breathe, eat, sleep, make love, and reproduce your kind?
Because it’s your function, your reason for being. There’s no other
reason, and none needed.”

 Jack Finney, Invasion of the Body Snatchers, 1954

“The human mind is a strange and wonderful thing,” he said reflectively,
“but I’m not sure it will ever figure itself out. Everything else,
maybe—from sub-atomic particles to the universe—except itself.”

“You live in the same kind of grayness as the filthy stuff that formed you.”

“The sunlight lying on an acre of farm land weighs several tons, believe it or not.”

Invasion of the Body Snatchers (1956)
Director: Don Siegel
Writers: Daniel Mainwaring (screenplay), Jack Finney (Collier's magazine serial)
Cinematography: Ellsworth Fredericks
Stars: Kevin McCarthy, Dana Wynter, Larry Gates

* Sam Peckinpah, who has a small role in the film as a meter reader, also worked
on the movie as a dialogue coach. He performed the same job on Don Siegel's
other films of the 1950s.

* Becky and Miles paraphrase William Shakespeare twice.
"I know a bank where the wild thyme blows, Where oxlips and the nodding violet grows"
is from "A Midsummer Night's Dream".
"That way madness lies" is from "King Lear".

On the set

Stereosc2pe + Girl with Doll | Gabriele Munter, 1909

Gabriele Münter, Girl with Doll, 1909                                                                  Gabriele Münter, Girl with Doll, 1909


The Limitations Of The Senses | H.P. Lovecraft, 1934

Bowl, 10th century Samarqand (Uzbekistan) or Nishapur (Iran)

"What do we know... of the world and the universe about us? Our means of receiving impressions are
 absurdly few, and our notions of surrounding objects infinitely narrow. We see things only as we are
 constructed to see them, and can gain no idea of their absolute nature. With five feeble senses we
 pretend to comprehend the boundlessly complex cosmos, yet other beings with a wider, stronger, or
different range of senses might not only see very differently the things we see, but might see and
study whole worlds of matter, energy, and life which lie close at hand yet can never be detected with
the senses we have.”

H.P. Lovecraft, From Beyond, 1934
Written November 16, 1920, published June 1934 in The Fantasy Fan

Writers’ Houses: Lord Byron / Brontë Sisters / John Keats / Jane Austen / Percy Bysshe Shelley / George Eliot / Samuel Taylor Coleridge / Virginia Woolf | Paper Collages by Amanda White, 2011-2019

Shelley, Field Place, Sussex and a Storm at Sea

The birthplace of the Romantic poet Percy Bysshe Shelley. Field Place, Warnham, near
Horsham in West Sussex, is the impressive building in which Shelley was born in 1792.

The image shows a foreshadowing of the poet's end, drowned in a storm at sea, thirty years later.

John Keats, Winter Snows (Keats House, Hampstead)

A collage portrait of Wentworth Place (now Keats House) where Romantic poet
John Keats lived from 1818 to 1820. It was here he wrote some of his greatest poetry
and where he fell in love with and became engaged to the girl next door, Fanny Brawne.

Love letters to Fanny Brawne | John Keats, 1820 > 

Lord Byron, Haunted Newstead Abbey

The family seat of the Byrons in Nottinghamshire, seen here on a dark and stormy night.
The Romantic poet Lord Byron inherited the ruined property in 1798. Said to be one
of the most haunted buildings in England, the Abbey datesback to the thirteenth century.

Samuel Taylor Coleridge, Mine Own Countree

English Romantic poet Samuel Taylor Coleridge wrote some of his best-known work in
 this humble cottage where he lived for three years from 1797.
The title of this picture comes from a line in The Rime of the Ancient Mariner and at
the top you can see the mariner's ship and the albatross.

Jane Austen, Chawton Cottage Caller

Jane Austen lived at Chawton Cottage with her mother, sister Cassandra and best friend
Martha Lloyd from 1809 to 1817. Here she wrote and revised some of her best loved
novels - despite interruptions from callers!

George Eliot, The Holly and the Ivy
George Eliot's birthplace in Nuneaton, England

The home of the Brontë Sisters in Haworth, Yorkshire.

Virginia Woolf, "Night and Day" / Monk's House, Rodmell.
Virginia Woolf's East Sussex cottage

Brontë Sisters, Silent is the House

"It is a nocturnal take on the famous parsonage in Haworth that was home to the remarkable Brontë
 sisters and their siblings, all of whom predeceased their father, the Rev Patrick Brontë, who lived 
on until 1861."

John Keats, Autumn Days

A collage portrait of Wentworth Place (now Keats House) where Romantic poet 
John Keats lived from 1818 to 1820.

It was here Keats wrote some of his best-loved poems and fell in love with the girl 
literally next door, Fanny Brawne, who with her family occupied the right-hand side 
of the house. During their brief and tragically short engagement he wrote Fanny many 
letters, in some of which he mentioned "their" thrush, singing in the garden.

It was in autumn that the dying Keats left Wentworth Place, bound for Italy, in search 
of a kinder climate. It was also the season which inspired him to write what is considered 
to be one of the most perfect poems in the English language, To Autumn.

Amanda White, 2011-2019
You can purchase these images in her Etsy shop.

Living and Dying | Albert Camus, 1947

Roy Lichtenstein, Landscape, 1964

"What interests me is living and dying for what one loves."

Albert Camus, The Plague, 1947

Alphabetarion # Sensitivity | George I. Gurdjieff, 1877-1949

Tsuguharu Foujita, Young Couple and Animals, 1917

“Practice love on animals first; they react better and more sensitively.” 

George I. Gurdjieff, 1877-1949

On directing > Film / Tales | Eric Rohmer, 1974

Éric Rohmer, Six Moral Tales (trans. Sabine d'Estrée) 

“You can't think of nothing.”

"I don't think that my films are 'literary'; they are based on the most ordinary things of life."

"I do not say with words. I do not say it with images either... I do not say, I show. I show people 
who move and speak. That is all I know how to do, but that is my true subject."

“For one never makes a film out of nothing. To shoot a film is always to shoot something, 
be it fiction or reality, and the more shaky the reality, the more solid the fiction must be.”*

“But if I didn't read, I'd think, and thinking, when you come down to it, is the most painful thing 
of all, and the most monopolizing” *

Éric Rohmer, *Six Moral Tales, 1974

Éric Rohmer, The Sign of Leo, 1962


Always For The First Time | André Breton, 1934

Always for the first time
I scarcely know you when I see you
You return sometime in the night
To a house at an angle to my window
A wholly imaginary house
From one second to the next
There in the complete darkness
I wait for the strange rift to recur
The unique rift
In the facade and in my heart
The nearer I come to you
In reality
The louder the key sings in the door of the unknown room
Where you appear alone before me
First you merge with the brightness
The fleeting angle of a curtain
A jasmine field I gazed on at dawn on a road near Grasse
The jasmine-pickers bending over on a slant
Behind them the dark profile of plants stripped bare
Before them the dazzling light
The curtain invisibly raised
In a frenzy all the flowers swarm back
You facing the long hour never dim enough until sleep
You as if you could be
The same except I may never meet you
You pretend not to know I'm watching you
Marvellously I'm no longer sure you know it
Your idleness fills my eyes with tears
Meanings surround each of your gestures
Like a honeydew hunt
There are rocking-chairs on a bridge there are branches
That might scratch you in the forest
In a window on the rue Notre-Dame-de-Lorette
Two lovely crossed legs are caught in long stockings
Flaring out in the centre of a great white clover
There is a silk ladder unrolled across the ivy
There is
That leaning over the precipice
Of the hopeless fusion of your presence and absence
I have found the secret
Of loving you
Always for the first time

André Breton, Always For The First Time 
/ Toujours pour la première fois
de L’air de l’eau (1934)
tr.  Mary Ann Caws

* Man Ray, André Breton, 1932


Frame Inside | Renée / Amedeo Modigliani, 1917 / Lina Bo Bardi, 1957

Lina Bo Bardi, 1957 / São Paolo Museum of Art                                          Amedeo Modigliani, Renée, 1917

Alphabetarion # Radio | Georges Duhamel, 1937

Esther Bubley, Woman listening to radio in boardinghouse room, Washington DC, 1943

"For many people in the future, radio will take the place of an inner life."

Georges Duhamel, In Defense of Letters, 1937


Everything is practice | Pelé

Edson Arantes do Nascimento "Pelé", 1956

"I was born to play football, just like Beethoven was born 
to write music and Michelangelo was born to paint."

"I always think that I would have become an actor if I hadn't been a soccer player."

"The head talks to the heart and the heart talks to the feet."

"Enthusiasm is everything. It must be taut and vibrating like a guitar string."

"Over the years I've learnt to live with two persons in my heart. One is Edson, who has fun
with his friends and family; the other is the football player Pele. I didn't want the name. 'Pele'
 sounds like baby-talk in Portuguese."

"Love is more important than what we can take...Please say with me three times-
Love! Love! Love!"

"People always ask me: 'When is the new Pele going to be born?' Never.
My father and mother have closed the factory."

"George Best was the greatest player in the world."

"The level of football in England is the top. English football is the leader in the world."

"His left foot is fantastic. It's like Mozart. God gave Freddy the gift to play soccer.
If he is prepared mentally and physically, nobody will stop him."  (on Freddy Adu)

"I treat everybody the same. You know I love to be with people: the youngsters."

"Everything is practice."

“A penalty is a cowardly way to score.” 

Pelé playing with a soccer ball, 1961

Pelé began playing for Santos at age 15 and the Brazil national team at 16.
Pelé is the most successful domestic league goal-scorer in football history 
scoring 650 goals in 694 League matches, and in total 1281 goals in 1363 games.

Book//mark - Wide Sargasso Sea | Jean Rhys, 1966

Jean Rhys, Wide Sargasso Sea, 1966 / First edition cover

“You can pretend for a long time, but one day it all falls away and you are alone.
We are alone in the most beautiful place in the world...”

“Only the magic and the dream are true — all the rest's a lie.”

"You can’t be hidden away all your life.’ 
‘Why not?’ I thought."

“Blot out the moon,
Pull down the stars.
Love in the dark, for we're for the dark
So soon, so soon.”

“There is always another side, always.”

"There was no need for music when she danced. They stopped and she leaned backwards over his
 arm, down till her black hair touched the flagstones—still down, down. Then up again in a flash,
 laughing. She made it look so easy—as if anyone could do it, and he kissed her—a long kiss."

“Have all beautiful things sad destinies?”

“As soon as I turned the key I saw it hanging, the color of fire and sunset. the colour
of flamboyant flowers. ‘If you are buried under a flamboyant tree, ‘ I said, ‘your soul
is lifted up when it flowers. Everyone wants that.’

She shook her head but she did not move or touch me.”

“I can remember every second of that morning, if I shut my eyes I can see the deep blue colour
of the sky and the mango leaves, the pink and red hibiscus, the yellow handkerchief she wore
around her head, tied in the Martinique fashion with the sharp points in front, but now I see
everything still, fixed for ever like the colours in a stained-glass window. Only the clouds move.
It was wrapped in a leaf, what she had given me, and I felt it cool and smooth against my skin.”

“I watched her die many times. In my way, not in hers. In sunlight, in shadow, by moonlight,
by candlelight. In the long afternoons when the house was empty. Only the sun was there
to keep us company. We shut him out. And why not? Very soon she was as eager for
what's called loving as I was - more lost and drowned afterwards.”

“What I see is nothing - I want what it hides - that is not nothing.”

“I hated the mountains and the hills, the rivers and the rain. I hated the sunsets of
whatever colour, I hated its beauty and its magic and the secret I would never know.
I hated its indifference and the cruelty which was part of its loveliness. Above all I hated her.
For she belonged to the magic and the loveliness. She had left me thirsty and all my life
would be thirst and longing for what I had lost before I found it.”

“I sit at my window and the words fly past me like birds — with God's help I catch some.”

“If I was bound for hell, let it be hell. No more false heavens. No more damned magic.
You hate me and I hate you. We’ll see who hates best. But first, first I will destroy your hatred.
Now. My hate is colder, stronger, and you’ll have no hate to warm yourself. You will have nothing.”

"—and I forgot, or told myself I had forgotten."

“I have tried," I said, "but he does not believe me. It is too late for that now"
(it is always too late for truth, I thought).”

“If she says goodbye perhaps adieu. Adieu - like those old time songs she sang. Always adieu
(and all songs say it). If she too says it, or weeps, I'll take her in my arms, my lunatic. She's
mad but mine, mine. What will I care for gods or devils or for Fate itself. If she smiles or
weeps or both. For me.”

“Rain, forever raining. Drown me in sleep. And soon.”

“It is the tragedy of a distinguished mind and a generous nature that have gone unappreciated
in a conventional, unimaginative world. A victim of men's incomprehension of women,
a symptom of women's mistrust of men.”

“Justice. I've heard that word. I tried it out. I wrote it down. I wrote it down several times
and always it looked like a damn cold lie to me. There is no justice.”

“The house was burning, the yellow-red sky was like the sunset...Nothing would be left,
the golden ferns and the silver ferns, the orchids, the ginger lilies and the roses...When
they had finished, there would be nothing left but blackened walls and the mounting
 stone. That was always left. That could not be stolen or burned.”

“And what does anyone know about traitors, or why Judas did what he did?”

“Lies are never forgotten, they go on and they grow”

“When I was out on the battlements it was cool and I could hardly hear them. I sat there
quietly. I don't know how long I sat. Then I turned round and saw the sky. It was red and
all my life was in it.”

“There are always two deaths, the real one and the one people know about.”

“I must remember about chandeliers and dancing, about swans and roses and snow.”

Jean Rhys, Wide Sargasso Sea, 1966

Jean Rhys, 1920

It is a feminist and anti-colonial response to Charlotte Brontë's novel Jane Eyre (1847),
describing the background to Mr Rochester's marriage from the point-of-view of his mad
wife Antoinette Cosway, a Creole heiress. Antoinette Cosway is Rhys' version of Brontë's
devilish "madwoman in the attic".
Antoinette's story is told from the time of her youth in Jamaica, to her unhappy marriage to a
certain unnamed English gentleman, who renames her Bertha, declares her mad, and takes her
to England. Antoinette is caught in an oppressive patriarchal society in which she neither fully
 belongs to Europe nor Jamaica. Wide Sargasso Sea explores the power of relationships between
men and women and develops postcolonial themes, such as racism, displacement, and assimilation.


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