Book//mark - Into the Wild | Jon Krakauer, 1996

 Jon Krakauer, Into the Wild, 1996                                                                     Jon Krakauer

“Happiness [is] only real when shared” 

“Some people feel like they don't deserve love. They walk away quietly
 into empty spaces, trying to close the gaps of the past.” 

“It's not always necessary to be strong, but to feel strong.” 

“It is true that I miss intelligent companionship, but there are so few with whom I can share the things
 that mean so much to me that I have learned to contain myself. It is enough that I am surrounded 
with beauty...”

“I now walk into the wild.”

“Mr. Franz, I think careers are a 20th century invention and I don't want one.”

“I don’t want to know what time it is. I don’t want to know what day it is 
or where I am. None of that matters.”

“To explore the inner country of his own soul.”

“Make a radical change in your lifestyle and begin to boldly do things which you may previously 
never have thought of doing, or been too hesitant to attempt. So many people live within unhappy
 circumstances and yet will not take the initiative to change their situation because they are 
conditioned to a life of security, conformity, and conservation, all of which may appear to
 give one peace of mind, but in reality nothing is more damaging to the adventurous spirit 
within a man than a secure future. The very basic core of a man's living spirit is his passion 
for adventure. The joy of life comes from our encounters with new experiences, and hence there
 is no greater joy than to have an endlessly changing horizon, for each day to have a new and 
different sun. If you want to get more out of life, you must lose your inclination for monotonous
 security and adopt a helter-skelter style of life that will at first appear to you to be crazy. But once
 you become accustomed to such a life you will see its full meaning and its incredible beauty.”

“I'm going to paraphrase Thoreau here... rather than love, than money, 
than faith, than fame, than fairness... give me truth. ”

“It is true that I miss intelligent companionship, but there are so few with whom I can share 
the things that mean so much to me that I have learned to contain myself. It is enough
 that I am surrounded with beauty...”

“What if I were smiling and running into your arms? Would you see then what I see now?”

“That's what was great about him. He tried. Not many do.”

“We like companionship, see, but we can't stand to be around people for very long. 
So we go get ourselves lost, come back for a while, then get the hell out again.”

“The core of mans' spirit comes from new experiences.”

“It is easy, when you are young, to believe that what you desire is no less than what you deserve,
 to assume that if you want something badly enough, it is your God-given right to have it.”

“According to the moral absolutism that characterizes McCandless's beliefs, a challenge 
in which a successful outcome is assured isn't a challenge at all.”

“On July 2, McCandless finished reading Tolstoy's "Family Happiness", having marked several passages that moved him:
"He was right in saying that the only certain happiness in life is to live for others...

I have lived through much, and now I think I have found what is needed for happiness. 
A quiet secluded life in the country, with the possibility of being useful to people to whom it
 is easy to do good, and who are not accustomed to have it done to them; then work which
 one hopes may be of some use; then rest, nature, books , music, love for one's neighbor - 
such is my idea of happiness. And then, on top of all that, you for a mate, and children,
 perhaps - what more can the heart of a man desire?" ...”

 Jon Krakauer, Into the Wild, 1996


Amsterdam | Photos by Leonard Freed / Marc Riboud / Ilse Bing / Bevan Davies / Emmy Andriesse / Henk Jonker / Wolfgang Suschitzky / Richard Kalvar (1910s -1966)

Leonard Freed, Amsterdam, 1964
Leonard Freed, Amsterdam, 1964                                                                         Leonard Freed, Amsterdam, 1964
Marc Riboud, Amsterdam, 1960
Henk Jonker, Street organ with dancing children, Amsterdam, 1950s
Bevan Davies, Amsterdam, Holland, 1965                              Emmy Andriesse, Amsterdam, Winter, 1944/46
Bevan Davies, Amsterdam, Holland, 1965
Richard Kalvar, Amsterdam, 1966                                      Wolfgang Suschitzky, Amsterdam, 1934
Amsterdam, 1940
 Bernard Eilers, Amsterdam (Raadhuisstraat), 1910s
Ilse Bing, Lamps for Sale, Amsterdam, 1931
Ilse Bing, Barrels Near Port, Amsterdam, 1931
Ilse Bing, Veere (Amsterdam) Harbor, 1931

Alphabetarion #Arrange | John Williams, 1965

Anni Albers (1899–1994), Design for Smyrna Rug, 1925

"As he worked on the room, and as it began slowly to take shape, he realized that for many 
years, unknown to himself, he had had an image locked somewhere within him like a shamed 
secret, an image that was ostensibly of a place but which was actually of himself. So it was 
himself that he was attempting to define as he worked on his study. As he sanded the old boards
 for his bookcases, and he saw the surface roughness disappear, the gray weathering flake away 
to the essential wood and finally to a rich purity of grain and texture–as he repaired his furniture
 and arranged it in the room, it was himself that he was slowly shaping, it was himself that he 
was putting into a kind of order, it was himself that he was making possible."

John Williams, Stoner, 1965

Writers On Their Hometowns ( Paper Cut Maps) | BoWo Studio, 2016-2017

Human Cartography: Fernando Pessoa / Lisbon (2016)                                    Human Cartography: Franz Kafka / Prague (2016)
Human Cartography: Edgar Allan Poe / Boston (2016)                      Human Cartography: Fyodor Dostoevsky / St. Petersburg / Russia (2016)
Human Cartography: Machado de Assis / Rio de Janeiro (2016)               Human Cartography: Arthur Schnitzler / Vienna / Paper Cut Map (2016)
Human Cartography: James Joyce / Dublin (2016)                 Human Cartography: Arthur Rimbaud / Paris (2016)
Human Cartography: August Strindberg / Stockholm (2016)          Human Cartography: Søren Kierkegaard / Copenhagen (2016)     
Human Cartography: Sadegh Hedayat / Tehran (2017)                Human Cartography: Yukio Mishima / Tokyo (2016)
Human Cartography: Virginia Woolf / London (2016)                     Human Cartography: Herman Melville / New York (2016)
Human Cartography: Napoleon Lapathiotis / Athens / Paper Cut Map (2017)

collage / cut out / Illustration 


Stereosc2pe + | Pink and Green Mountains | Georgia O'Keeffe, 1917

Georgia O'Keeffe, Pink and Green Mountains I, 1917
Georgia O'Keeffe, Pink and Green Mountains II, 1917

Book//mark - Flâneuse: Women Walk the City in Paris, New York, Tokyo, Venice and London | Lauren Elkin, 2016

Woman in polka dot dress walking towards Grand Central at 43rd and 5th, 
Stanley Kubrick for LOOK magazine, 1946

“I walk because it confers- or restores- a feeling of placeness...I walk because, somehow, it's like 
reading. You're privy to these lives and conversations that have nothing to do with yours, but you 
can eavesdrop on them. Sometimes it's overcrowded; sometimes the voices are too loud. But there
 is always companionship. You are not alone. You walk in the city side by side with the living and 
the dead.”

“We all have our own signals we're listening for, or trying not to hear.”

“We want to make choices, and have some agency in getting lost, and getting found. 
We want to challenge the city, and decipher it, and flourish within its parameters.”

Lauren Elkin, Flâneuse: Women Walk the City 
in Paris, New York, Tokyo, Venice and London, 2016

Ruth Orkin, American Girl in Italy, 1951

“Slow down: it’s the only way to guarantee your immortality.”

“Walking it mapping with your feet. It helps you piece a city together, connecting up neighborhoods 
that might otherwise have remained discrete entities, different planets bound to each other, 
sustained yet remote. I like seeing how in fact they blend into one another, I like noticing 
the boundaries between them. Walking helps me feel at home.”

“Environments inhabit us,' Varda said. These places that we take into ourselves and make part 
of us, so that we made of all the places we've loved, or of all the places where we've changed. 
We pick up bits and pieces from each of them, and hold them all in ourselves.”

Lauren Elkin, Flâneuse: Women Walk the City 
in Paris, New York, Tokyo, Venice and London, 2016

A woman strolls past the Trocadero and Eiffel Tower,  Paris, 1920s 

“The streets of Paris had a way of making me stop in my tracks, my heart suspended. They seemed
 saturated with presence, even if there was no one there but me. These were places where something
 could happen, or had happened, or both; a feeling I could never have had at home in New York, 
where life is inflected with the future tense.”

“Living between cities, we are abandoned by them as much as they are by us,
 because if they gave us all we needed, we wouldn't have to leave.”

Lauren Elkin, Flâneuse: Women Walk the City 
in Paris, New York, Tokyo, Venice and London, 2016

Marianne Breslauer, Défense d’Afficher (No Advertisements), 1936 

“We get to know our cities on hoot, and when we leave, the topography shifts. We're no longer
 as surefooted. But maybe that's a good thing. It's just a question of looking, and of not hoping 
to see something else when we do. Maybe it's good to keep some distance from the things 
we know well, to always be slightly out of sync with them, not to pretend mastery. Beneath 
the cities we don't recognize are stacked all the cities we do.”

Garry Winogrand, New York, 1950s

“Why do I walk? I walk because I like it. I like the rhythm of it, my shadow always a little ahead 
of me on the pavement. I like being able to stop when I like, to lean against a building and make
 a note in my journal, or read an email, or send a text message, and for the world to stop while I 
do it. Walking, paradoxically, allows for the possibility of stillness. Walking is mapping with
 your feet. It helps you piece a city together, connecting up neighbourhoods that might otherwise
 have remained discrete entities, different planets bound to each other, sustained yet remote."

"Once I began to look for the flâneuse, I spotted her everywhere."

Lauren Elkin, Flâneuse: Women Walk the City 
in Paris, New York, Tokyo, Venice and London, 2016

Lauren Elkin                                         Flâneuse: Women Walk the City, 2016

Flâneuse [flanne-euhze], noun, from the French. Feminine form of flâneur [flanne-euhr], 
an idler, a dawdling observer, usually found in cities.

That is an imaginary definition. Most French dictionaries don’t even include the word. The 1905
 Littré does make an allowance for ‘flâneur, -euse.’ Qui flâne. But the Dictionnaire Vivant de
 la Langue Française defines it, believe it or not, as a kind of lounge chair.

Is that some kind of joke? The only kind of curious idling a woman does is laying down?

Strolling through Paris in 1914

The first mention of flâneur occurred in 1585. At the time, it was defined, 
in genderless terms, as “a person who wanders.” Elkin suggests that the 
concept was not gendered until 1806 at the earliest. 


Alphabetarion # Servants | James Joyce / Dodie Smith / Marcel Proust / Dejan Stojanovic / Michael Bassey Johnson

Nikolaos Gyzis, The Pantry Man, 1898

“A person who is another man's slave is better than one who is a slave to lust.”

Michael Bassey Johnson

“Different languages, the same thoughts; servant to thoughts and their masters.”

 Dejan Stojanovic, The Sun Watches the Sun, 2012

“It was in the defects that they [servants] invariably acquired that I learned of my own natural,
 invariable defects, and their character presented me with a sort of negative proof of my own.”

 Marcel Proust, The Guermantes Way, 1920-21

“I pulled my mind off the table and stared into the dimness beyond, and then I gradually saw 
the servants as real people, watching us, whispering instructions to each other, exchanging 
glances. I noticed a girl from Godsend village and gave her a tiny wink - and wished I hadn't, 
because she let out a little snort of laughter and then looked in terror at the butler.”

Dodie Smith, I Capture the Castle, 1948

"It is a symbol of Irish art. The cracked looking-glass of a servant."

James Joyce


The Ultimate Idealistic Lover | James Dean, 1931-1955

James Dean photographed by Dennis Stock in his West 68th Street apartment in New York, 1955

"Am I in love? Absolutely. I’m in love with ancient philosophers, foreign painters, 
classic authors, and musicians who have died long ago. I’m a passionate lover. I fawn 
over these people. I have given them my heart and my soul. The trouble is, I’m unable 
to love anyone tangible. I have sacrificed a physical bond, for a metaphysical relationship. 
I am the ultimate idealistic lover." 

James Dean

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