Category Archives: art

To Read (20th Century)

James Baldwin (US) |

Notes of a Native Son, The Fire Next Time, No Name in the Street, The Devil Finds Work  

Jorge Luis Borges (Argentina)|

Historia universal de la infamia, Ficciones, El Aleph.

 R. K. Narayan (India)|

Swami and Friends, The Bachelor of Arts, The English Teacher. See his works on mythology/religion (Gods, Demons and Others, The Ramayana) see list of works.

Graham Greene (England)|

The Comedians, The Heart of the Matter, A Burnt-Out Case, The Quiet American, The End of the AffairThe Ministry of Fear,  Our Man in Havana, Monsignor Quixote 

Robertson Davies (Canada)|

The Salterton Trilogy, The Cornish Trilogy, The “Toronto Trilogy”

Giorgio Bassani (Italia)|

The Garden of the Finzi-Continis

Mordechai Richler (Canada)|

The Apprenticeship of Duddy Kravitz, Barney’s Version, Solomon Gursky Was Here

Brian Moore (Northern Ireland/Canada)|

Judith Hearne, The Emperor of Ice-Cream, Black Robe 

Evelyn Waugh (England)|

Decline and Fall, A Handful of Dust, Brideshead Revisited, Sword of Honour

Nicolas Poussin, The Dance to The Music of Time, 1640. Wallace Collection, London. Via Wikimedia.

Anthony Powell (England)|

A Dance to the Music of Time

John Martin, The Destruction of Sodom and Gomorrah, 1852. Via Wikimedia.

Marcel Proust (France)|

In Search of Lost Time

Robert Musil (Austria)|

The Man Without Qualities

Joyce in Zurich, c. 1918. Via Wikiemdia.

James Joyce (Ireland)|

Ulysses, Finnegan’s Wake, Dubliners,  A Portrait of the Artist as a Young Man

Simone de Beauvoir (France)|

The Second SexShe Came to Stay, The Mandarins

Bertolt Brecht (Germany)|

Threepenny Novel, Drums in the NightThe Modern Theatre Is the Epic Theatre    

Wole Soyinka (Nigeria)|

Aké: The Years of Childhood, Death and the King’s Horseman, The Lion and the Jewel  

Jean Cocteau (France)|

Les Enfants Terribles, Les Parents Terribles, Beauty and the Beast, Orpheus 

Jacques Prévert (France)|

Les Enfants du Paradis, Paroles (wrote scenarios and dialogues for films. See list)

Toni Morrison (US)|

Beloved, Song of Solomon, Sula, The Bluest Eye

Italo Calvino (Italia)|

Invisible Cities, If on a winter’s night a travelerOur Ancestors trilogy, Cosmicomics

Leonardo Sciascia (Italia)|

Una storia semplice, The Day of the Owl, To Each His Own. See films: Open Doors (1990), Cadaveri Eccellenti (1976) and Il giorno della civetta

Cesare Pavese (Italia)|

The Moon and the Bonfires, see translated poems.

Natalia Ginzburg (Italia)|

L’inserzione, Family sayings (Lessico famigliare),  Caro Michele (film Caro Michele, 1976)

Georges Simenon (Belgium)|

Creator of detective Jules Maigret. Maigret and the Yellow Dog, Dirty Snow, Red Lights 

Milan Kundera (Czech)|

The Unbearable Lightness of Being, The Joke,The Book of Laughter and Forgetting

Chinua Achebe (Nigeria) |

Things Fall Apart,No Longer at Ease, Arrow of God, A Man of the People, Anthills of the Savannah, An Image of Africa (lecture on Heart of Darkness) 

Muriel Spark (Scotland)|

The Prime of Miss Jean Brodie, The Mandelbaum Gate, The Driver’s Seat, Memento Mori

Philip Roth (US)|

The Ghost Writer,American Pastoral, Sabbath’s Theater

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Do Androids Dream of Electric Sheep?

Dick, Philip K. Do Androids Dream of Electric Sheep? New York: Del Rey, 1996. (First. ed 1968)

“But a mood like that,” Rick said, “you’re apt to stay in it, not dial your way out. Despair like that, about total reality, is self-perpetuating.” p. 6

“First, strangely, the owls had died. At the time it had seemed almost funny, the fat, fluffy white birds lying here and there, in yards and on streets; coming out no earlier than twilight, as they had while alive, the owls escaped notice. Medieval plagues had manifested themselves in similar way, in the form of many dead rats. This plague, however, had descended from above.” p. 15-16

“An android, no matter how gifted as to pure intellect capacity, could make no sense out of the fusion which took place routinely among the followers of Mercerism–an experience which he, and virtually everyone else, including subnormal chickenheads, managed with no difficulty.” p. 30

“Empathy, evidently, existed only within the human community, whereas intelligence to some degree could be found throughout every phylum and order including the arachnida. For one thing, the empathic faculty probably required an unimpaired group instinct; a solitary organism, such as a spider, would have no use for it; in fact it would tend to abort a spider’s ability to survive.” p. 30-31.

“Because, ultimately, the empathic gift blurred the boundaries between hunter and victim, between the successful and the defeated.” p. 31

“It retiring–i.e., killing–and andy, he did not violate the rule of life laid down by Mercer. You shall kill only the killers, Mercer had told them the year empathy boxes first appeared on Earth.” p. 31

“For Rick Deckard an escaped humanoid robot, which had killed its master, which had been equipped with an intelligence greater than that of many human beings, which had no regard for animals, which possessed no ability to feel empathic joy for another life form’s success or grief at its defeat–that, for him, epitomized The Killers. p. 32

“She indicated the owl dozing on its perch; it had briefly opened both eyes, yellow slits which healed over as the owl settled back down to resume its slumber.” p. 43

“Kipple is useless objects, like junk mail or match folders after you use the last match or gum wrappers or yesterday’s homeopage. When nobody’s around, kipple reproduces itself. For instance, if you go to bed leaving any kipple around your apartment, when you wake up the next morning there’s twice as much of it. It always gets more and more.” p. 65

***””No one can win against kipple,” he said, “except temporarily and maybe in one spot, like in my apartment I’ve sort of created stasis between the pressure of kipple and nonkipple, for the time being. But eventually I’ll die or go away, and then the kipple will again take over. It’s a universal principle operating throughout the universe; the entire universe is moving toward a final state of total, absolute kippleization.” He added, “Except of course for the upward climb of Wilbur Mercer.”” p. 65-66

“Every day he declined in sagacity and vigor. He and the thousands of other specials throughout Terra, all of them moving toward the ash heap. Turning into living kipple.” p. 73

“This rehearsal will end, the performance will end, the singers will die, eventually the last score of the music will be destroyed in one way or another; finally the name “Mozart” will vanish, the dust will have won.” p. 98

“An android,” he said, “doesn’t care what happens to another android. That’s one of the indications we look for.” p. 101

quondam

“disemelevatored” p. 126

Edvard Munch

Edvard Munch | The Scream (1893)

“The creature stood on a bridge and no one else was present; the creature screamed in isolation. Cut off by–or despite–its outcry.” p. 130

Edvard Munch | Puberty (1894-95)

Puberty. 1894-95 p. 131, 133

“She was really a superb singer, he said to himself as he hung the receiver, his call completed. It don’t get it; how can a talent like that be a liability to our society? But it wasn’t the talent, he told himself; it was she herself.” p. 137

“”You realize,” Phil Resch said quietly, “what this would do. If we include androids in our range of empathic identification, as we do animals.”
“We couldn’t protect ourselves.”” p. 141

“He had an indistinct, glimpsed darkly impression: of something merciless that carried a printed list and a gun, that moved machine-like through the flat, bureaucratic job of killing. A thing without emotions, or even a face; a thing that if killed got replaced immediately by another resembling it. And so on, until everyone real and alive had been shot.” p. 158

“But what does it matter to me? I mean, I’m a special; they don’t treat me very well either,” p. 163 (Isidore to Roy Baty)

“Rick said, “I took a test, one question, and verified it; I’ve begun to emphathize with androids,” p. 174

“The old man said, “You will be required to do wrong no matter where you go. It is the basic condition of life, to be required to violate your own identity. At some time, every creature which lives must do so. It is the ultimate shadow, the defeat of creation” p. 179

“Mercer talked to me but it didn’t help. He doesn’t know any more than I do. He’s just an old man climbing a hill to his death.” p. 179

“Do androids dream? Rick asked himself. Evidently: that’s why they occasionally kill their employers and flee here. A better life, without servitude.” p. 184

“this android stole, and experimented with, various mind-fusing drugs, claiming when caught that it hoped to promote in an androids a group experience similar to that of Mercerism,” p. 185

“Because without the Mercer experience we just have your word that you feel this empathy business” p. 209

“”The legs of toads are weak,” Rick said. “That’s the main difference between a toad and a frog, that an water. A frog remains near water but a toad can live in the desert” p. 240

“”The killers that found Mercer in his sixteenth year, when they told him he couldn’t reverse time and bring things back to life again. So now all he can do is move along with life, going where it goes, to death.” p. 242

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Approaching a City | Edward Hopper

On Edward Hopper by Mark Strand from The New York Review of Books | Article

“something that is not there at the outset but reveals itself slowly, and then completely, having traveled an arduous route during which vision and image come together,”

“By the time the gas station appears on canvas in its final form it has ceased being just a gas station. It has become Hopperized. It possesses something it never had before Hopper saw it as a possible subject for his painting. And for the artist, the painting exists, in part, as a mode of encountering himself.”

“With the uncertainty under which the painter labors, extended periods of doubt, it is a wonder that he can ever be free of anxiety or finish a work. Even the prodigiously talented Picasso needed constant reassurance. ¶ One of the ways Hopper dealt with his lack of certainty was to make many preparatory drawings for each painting;”

“It was not that he needed to be sure how to paint a sugar dispenser of salt shaker as in Nighthawks (1942), but that they should become his. ¶ This absorption of the outer world into his inner world could only be accomplished through a protracted ritual of drawing and redrawing, slight adjustments here and there adding up to imaginative ownership and psychic freedom.”

“Again and again, words like “loneliness” or “alienation” are used to describe the emotional character of his paintings.”

“It was thrilling to suddenly go underground, travel in the dark, and be delivered to the masses of people milling about in the cavernous terminal.”

Read: Mark W. Turner essay comparing “the wall in Melville’s Bartleby the Scrivener and Hopper’s walls.

See:

New York Movie (1939) (at MoMa)

Nighthawks (1942) [at Art Institute of Chicago]

Approaching a City (1946) [Phillips Collection, Washington, D.C.]

Morning Sun (1952) [Columbus Museum of Art, Georgia]

Eat Pray Love

Gilbert, Elizabeth. Eat, Pray, Love: One Woman’s Search for Everything Across Italy, India and Indonesia. New York, N.Y.; Penguin, 2007. Print. (First ed. 2006)

“When the Crusaders drove East for the holy wars, they witnessed worshipers praying with these japa malas, admired the technique, and brought the idea home to Europe as rosary.” p. 1

“the number 108 is held to be most auspicious, a perfect three-digit multiple of three, its components adding up to nine, which is three threes.” p. 1-2

“This division means that there are 36 tales in each section, which appeals to me on a personal level because I am writing all this during my thirty-sixth year.” p. 2

Om Namah Shivaya

“It wasn’t so much that I wanted to thoroughly explore the countries themselves; this has been done. It was more that I wanted to thoroughly explore one aspect of myself set against the backdrop of each country,” p. 37

“Therefore, what we today call French is really a version of medieval Parisian. Portuguese is really Lisboan. Spanish is essentially Madrileño. These were capitalist victories; the strongest city ultimately determined the language of the whole country.” p. 57

“What this congress decided would henceforth be considered proper Italian was the personal language of the great Florentine poet Dante Alighieri. When Dante published his Divine Comedy back in 1321, detailing a visionary progression through Hell, Purgatory and Heaven, he’d shocked the literate world by not writing in Latin.” p. 58-59

“He wrote his masterpiece in what he called il dolce stil nuovo, the “sweet new style” of the vernacular, and he shaped that vernacular even as he was writing it, affecting it as personally as Shakespeare would someday affect Elizabethan English.” p. 59

terza rima

“Dante writes that God is not merely a blinding vision of glorious light, but that He is, most of all, l’amor che move il sole e l’altre stelle… ” p, 60

il bel far niente “the beauty of doing nothing” p. 80

“For me, though, a major obstacle in my pursuit of pleasure was my ingrained sense of Puritan guilt. Do I really deserve this pleasure? This is very American, too–the insecurity about whether we have earned our happiness.”p. 81

“Dai, dai, dai, Albertini, dai … va bene, va bene, ragazzo mio, perfetto, bravo, bravo… Dai! Dai! Via! Via! Nella porta! Eccola, eccola, eccola, mio bravo ragazzo, caro mio, eccola, eccola, ecco–AAAHHHHHHHHH!!!  VAFFANCULO!! FIGLIO DI MIGNOTTA!! STRONZO! CAFONE! TRADITORE! Madonna… Ah, Dio mio, perché, perché, perché, questo e stupido, e una vergogna, la vergogna… Che casino, che bordello… NON HAI UN CUORE, ALBERTINI! FAI FINTA! Guarda, non e successo niente.. Dai, dai, ah… Molto migliore, si si si, eccola, bello, bravo, anima mia, ah ottimo, eccola adesso … nella porta, nella porta, nell–VAFFANCULO!!!!!!!” p. 90-91

Plan Roms im Altertum. Via Wikimedia.

Augusteum

“The Augusteum warns me not to get attached to any obsolete ideas about who I am, what I represent, whom I belong to, or what function I may once have intended to serve… Even in the Eternal City, says the silent Augusteum, one must always be prepared for riotous and endless waves of transformation.” p. 100

magari (maybe, if only, I wish)

History of the Decline and Fall of the Roman Empire by Edward Gibbon

“Parla come magni.” p. 115

“Virginia Woolf wrote, “Across the broad continent of a woman’s life falls the shadow of a sword.” On one side of that sword, she said, there lies convention and tradition and order, where “all is correct.” But on the other side of that sword, if you’re crazy enough to cross it and choose a life that does not follow convention, “all is confusion. Nothing follows a regular course.”” p. 126

The Bhagavad Gita–that ancient Indian Yogic text–says that it is better to live your own destiny imperfectly than to live an imitation of somebody else’s life with perfection.” p. 127

“I drop out of my Italian-language school, having come to feel that it was interfering with my efforts to learn Italian, since it was keeping me stuck in the classroom instead of wandering around Italy, where I could practice with people in person.” p. 128

codega “a fellow you hired to walk in front of you at night with a lit lantern, showing you the way, scaring off thieves and demons, bringing you confidence and protection through the dark streets.” p. 135

“Or maybe I only want to go to Sicily because of what Goethe said: “Without seeing Sicily one cannot get a clear idea of what Italy is.”” p. 148

 

“Historians say that rhetoric was invented in Syracuse, and also (and this is just a minor thing) plot.” p. 150

The Italians (1964) by Luigi Barzini

“In a world of disorder and disaster and fraud, sometimes only beauty can be trusted. Only artistic excellence is incorruptible.” p. 152

“You were given life; it is your duty (and also your entitlement as a human being) to find something beautiful within life, no matter how slight.” p. 154

arati prayer

“Greek stoic philosopher Epictetus: “You bear God within you, poor wretched, and you know it not.”” p. 161

To Read: Epictetus

“”Our whole business therefore in this life,” wrote Saint Augustine, rather Yogically, “is to restore to health the eye of the heart whereby God may be seen.”” p. 162

To Read: Saint Augustine

“the monk quoted to me from the Bhagavad Gita, the most sacred ancient text of Yoga: “Oh Khrisna, the mind is restless, turbulent, strong and unyielding. I consider it as difficult to subdue as the wind.”” p. 174

Ham-sa mantra

Saint Teresa of Ávila by Peter Paul Rubens. Via Wikimedia.

Saint Teresa of Avila

“The most difficult challenge, the saint wrote in her memoirs, was to not stir up the intellect during meditation, for any thoughts of the mind–even the most fervent prayers–will extinguish the fire of God.” p. 190

kundalini shakti  

“You gotta stop wearing your wishbone where your backbone oughtta be.” p. 199

guru gita

“Zen masters always say that you cannot see your reflection in running water, only in still water.” p. 226

Vipassana meditation

“”The world is afflicted with death and decay, therefore the wise do not grieve, knowing the terms of the world,” says an old Buddhist teaching.” p. 229

“Half the benefit of prayer is in the asking itself, in the offering of a clearly posed and well-considered intention.” p. 235

“Because if you can’t learn to master your thinking, you’re in deep trouble forever.” p. 236

“”Guilt’s just your ego’s way of tricking you into thinking that you’re making moral progress.”” p. 244

(Instructions for Freedom) “3. The day is ending. It’s time for something that was beautiful to turn into something else that is beautiful. Now, let go.” p. 245

“7. Let your intentions be freedom from useless suffering. Then, let go.” p. 246

“the rules of transcendence insist that you will not advance even one inch closer to divinity as long as you cling to even one last seductive thread of blame.” p. 247

“To know God, you need only to renounce one thing–your sense of division from God.” p. 255

Sextus “”The wise man is always similar to himself.” p. 256

Sentences of Sextus

turiya state (pure consciousness)

 

“We search for happiness everywhere, but we are like Tolstoy’s fabled beggar who spent his life sitting on a pot of gold, begging for pennies from every passerby, unaware that his fortune was right under him the whole time. Your treasure–your perfection–is within you already. But claim it,” p. 262

“”All know that the drop merges into the coean, but few know that the ocean merges into the drop,” wrote the sage Kabir” p. 265

To Read: Kabir

“”Imagine that the universe is a great spinning engine,” he said. “You want to stay near the core of the thing–right in the hub of the wheel–not out at the edges where all the wild whirling takes place,” p. 275

“In the dead of night the dogs howl about how misunderstood they are.” p. 312

“The word paradise, by the way, which comes to us from the Persian, means literally “a walled garden.”” p. 313

“The next piece of land was rejected because it was too close to a river, which, as everyone knows, is where ghosts live.” p. 411

“We get seduced by our own mantras (I’m a failure… I’m lonely…I’m a failure… I’m lonely…) and we become monuments to them.” p. 433

Saint Anthony once wrote about having gone into the desert on silent retreat and being assaulted by all manner of visions–devils and angels, both… you can only tell which is which by the way you feel after the creature has left your company.” p. 435

The Meeting of Saint Anthony and Saint Paul, Master of the Osservanza, 15th century. Via Wikimedia.

To Read: Saint Anthony

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Blue Jasmine

Watched:

Blue Jasmine | Woody Allen | Woody Allen | DP: Javier Aguirresarobe |2013

Watch:

A Streetcar Named Desire | Elia Kazan | Tennessee Williams | DP: Harry Stradling | 1951 |

Read:
Woody Allen article from the Guardian … “You’re probably happier in life if you can forget things,”

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The Travels of Sir John Mandeville and Marco Polo

The Travels of Sir John Mandeville text from archive.org

Jonh Mandeville Wikipedia entry

John Mandeville – The Travels of Sir John Mandeville Fanciful depiction of cotton by John Mandeville, featuring sheep instead of cotton bolls. Via Wikimedia

Travels of Marco Polo Wikipedia entry.

The probable view of Marco Polo’s own geography (drawn by H. Yule, 1871). Via Wikimedia

Travels of Marco Polo text from archive.org

 

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