What I Think about the Readers | George Bernard Shaw, 1856-1950

George Bernard Shaw, floating on a diving platform, which bears the inscription 
'What I Think about the Readers', 1935


"Make it a rule never to give a child a book you would not read yourself."

"Only in books has mankind known perfect truth, love and beauty."

"What we call education and culture is for the most part nothing but the substitution of reading 
for experience, of literature for life, of the obsolete fictitious for the contemporary real."

"A book is like a child: it is easier to bring it into the world than to 
control it when it is launched there."

"Reading made Don Quixote a gentleman, but believing what he read made him mad."

"People get nothing out of books but what they bring to them."

"Censorship ends in logical completeness when nobody is allowed to read any books 
except the books that nobody can read."

"People have pointed out evidences of personal feeling in my notices as if they were accusing me 
of a misdemeanor, not knowing that criticism written without personal feeling is not worth reading. 
It is the capacity for making good or bad art a personal matter that makes a man a critic."

"How can you dare teach a man to read until you've taught him everything else first?"

"The road to ignorance is paved with good editions. 
Only the illiterate can afford to buy good books now."

"There is, on the whole, nothing on earth intended for innocent people so horrible as a school. 
To begin with, it is a prison. But in some respects more cruel than a prison. In a prison, for 
instance, you are not forced to read books written by the warders and the governor. . . .
In the prison you are not forced to sit listening to turnkeys discoursing without charm or 
interest on subjects that they don't understand and don't care about, and therefore incapable
 of making you understand or care about. In a prison they may torture your body; but they 
do not torture your brains."

"Keep away from books and from men who get their ideas from books, 
and your own books will always be fresh."

George Bernard Shaw, 1856-1950


Also:


Lady moon | Lord Houghton, 1871

Lady Moon by Lord Houghton, Child Life: A Collection of Poems, 1871


Lady Moon, Lady Moon, where are you roving?
          "Over the sea."
Lady Moon, Lady Moon, whom are you loving?
          "All that love me."


Are you not tired with rolling, and never
          Resting to sleep?
Why look so pale and so sad, as forever
          Wishing to weep?

"Ask me not this, little child, if you love me;
         You are too bold;
I must obey the dear Father above me,
         And do as I'm told.


Lady Moon, Lady Moon, where are you roving?
          "Over the sea."
Lady Moon, Lady Moon, whom are you loving?
          "All that love me."

Lord Houghton, Lady moon, 1871

Prot-a-gonist: Summer | Annette Vadim / Gene Tierney / Brigitte Bardot / Juliette Gréco / Marlene Dietrich / Marie Laforêt / Catherine Deneuve / Grace Kelly / Anouk Aimée / Charlotte Rampling / Diane Webber / Katherine Hepburn / Elizabeth Taylor

Elizabeth Taylor and Roddy Mcdowall playing on the beach, 1948
Marlene Dietrich and Charlie Chaplin, 1930                               Bette Davis celebrating on the beach, 4th of July1930  
Annette Strøyberg Vadim, sunbathing on beach at St.Tropez, 1959
Charlotte Rampling, Three, 1969
Brigitte Bardot, 1934                        Marie Laforêt, 1966
Catherine Deneuve, Biarritz, 1962
Diane Webber, 1950s
Gene Tierney, 1944                                                         Claudine Auger, 1960s
Jill Haworth, 1963
Jane Greer, 1946                                                           Anouk Aimée, Venice, 1952
Françoise Hardy
Grace Kelly, 1955                                                          Paul Newman,Venice Film Festival, 1963 
Katherine Hepburn and Joel McCrea, 1933 
  Sandie Shaw, 1967                                                                        Kirk Douglas and Brigitte Bardot, Cannes 1953
Cathy O'Donnell 
Juliette Gréco, 1950s


Also:


Book//mark -The Sense of an Ending | Julian Barnes, 2011

The Sense of an Ending | Julian Barnes, 2011


“How often do we tell our own life story? How often do we adjust, embellish, make sly cuts? And the
 longer life goes on, the fewer are those around to challenge our account, to remind us that our life is
not our life, merely the story we have told about our life. Told to others, but—mainly—to ourselves.”

“What you end up remembering isn't always the same as what you have witnessed.”

“History is that certainty produced at the point where the imperfections
of memory meet the inadequacies of documentation.”

“It strikes me that this may be one of the differences between youth and age: when we are young,
we invent different futures for ourselves; when we are old, we invent different pasts for others.”

“I certainly believe we all suffer damage, one way or another. How could we not,except in a world of
perfect parents, siblings, neighbours, companions? And then there is the question on which so much
 depends, of how we react to the damage: whether we admit it or repress it,and how this affects our
dealings with others.Some admit the damage, and try to mitigate it;some spend their lives trying to
 help others who are damaged; and there are those whose main concern is to avoid further damage to
 themselves, at whatever cost. And those are the ones who are ruthless, and the ones to be careful of.”

“The more you learn, the less you fear. "Learn" not in the sense of
academic study, but in the practical understanding of life.”

“We live in time - it holds us and molds us - but I never felt I understood it very well. And I'm not
 referring to theories about how it bends and doubles back, or may exist elsewhere in parallel
versions. No, I mean ordinary, everyday time, which clocks and watches assure us passes regularly:
tick-tock, click-clock. Is there anything more plausible than a second hand? And yet it takes only
the smallest pleasure or pain to teach us time's malleability. Some emotions speed it up, others
slow it down; occasionally, it seems to go missing - until the eventual point when it really does
 go missing, never to return.”

“Yes, of course we were pretentious -- what else is youth for?”

“We thought we were being mature when we were only being safe. We imagined we were
being responsible but were only being cowardly. What we called realism turned out to
be a way of avoiding things rather than facing them.”

“Does character develop over time? In novels, of course it does: otherwise there wouldn't be much
of a story. But in life? I sometimes wonder. Our attitudes and opinions change, we develop new
habits and eccentricities; but that's something different, more like decoration. Perhaps character
resembles intelligence, except that character peaks a little later: between twenty and thirty, say.
And after that, we're just stuck with what we've got. We're on our own. If so, that would explain
 a lot of lives, wouldn't it? And also—if this isn't too grand a word—our tragedy.”

“I know this much: that there is objective time, but also subjective time, the kind you wear on the
inside of your wrist, next to where the pulse lies. And this personal time, which is the true time,
is measured in your relationship to memory.”

“But it’s still the eyes we look at, isn’t it? That’s where we found the other person”

“When you're young - when I was young - you want your emotions to be like the ones you read
about in books. You want them to overturn your life, create and define a new reality. Later, I think,
 you want them to do something milder, something more practical: you want them to support your
life as it is and has become. You want them to tell you that things are OK. And is there anything
wrong with that?”

“This was another of our fears: that Life wouldn't turn out to be like Literature.”

“I had wanted life not to bother me too much, and had succeeded—and how pitiful that was.”


Julian Barnes, The Sense of an Ending, 2011


Also:


Investment of Power | Hannah Arendt, 1951

Hermann Glöckner, Faltgrafik 4-30a, 1977


“What imperialists actually wanted was expansion of political power without the foundation of the
 body politic*. Imperialist expansion had been touched off by a curious kind of economic crisis, the
overproduction of capital and the emergence of "superfluous" money, the result of oversaving, which
could no longer find productive investment within national borders. For the first time, investment of
power did not pave the way for investment of money, since uncontrollable investments in distant
countries threatened to transform large strata of society into gamblers, to change the whole capitalist
economy from a system of production to a system of financial speculation, and to replace the profits
of production with profits in commissions. The decade immediately before the imperialist era, the
seventies of the last century, witnessed an unparalleled increase in swindles, financial scandals,
and gambling in the stock market.”


Hannah Arendt, The Origins of Totalitarianism, 1951


*The body politic is a medieval metaphor that likens a nation to a corporation.

Peri/od/ical: Holiday | An American Travel Magazine / Covers 1940s-1960s

1962                                 1957
 1957                               1962
 1960                                        1965
 1953                           1951
 1949                                     1955
 1949                                     1959
1953                           1964
 1965                                  1961
 1948                                    1946


Holiday was an American travel magazine published from 1946 to 1977. The magazine employed
writers such as Truman Capote, Joan Didion, Lawrence Durell, James Michener, John Steinbeck
and E. B. White. The magazine came of age in the Jet Age--a time post-World War II when
Americans were beginning to travel for leisure and joining the jet set was a glamorous aspiration.


Also:


Sonnet 58 | Shuntaro Tanikawa, 1953


Herbert List, Park of the Palazzo Orsini, Bomarzo, near Rome, Italy, 1952


It’s distance that makes
mountains mountains.
Looked at closely,
they start to resemble me.

Vast panoramas stop people in their tracks
and make them conscious of the engulfing distances.
Those very distances make people
the people they are.

Yet people can also contain distances
inside themselves,
which is why they go on yearning…

They soon find they’re just places violated by distances,
and no longer observed.
They have then become scenery.


Shuntaro Tanikawa, From 62 Sonnets, 1953


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