Insomnia | Elizabeth Bishop, 1951



The moon in the bureau mirror
looks out a million miles
(and perhaps with pride, at herself,
but she never, never smiles)
far and away beyond sleep, or
perhaps she’s a daytime sleeper.

By the Universe deserted,
she’d tell it to go to hell,
and she’d find a body of water,
or a mirror, on which to dwell.
So wrap up care in a cobweb
and drop it down the well

into that world inverted
where left is always right,
where the shadows are really the body,
where we stay awake all night,
where the heavens are shallow as the sea
is now deep, and you love me.






 Elizabeth Bishop
Insomnia was first published in New Yorker, 23 June 1951



Also:

Goddess of the Moon | Anais Nin

Kenneth Anger, Inauguration Of The Pleasure Dome, 1954. Anais Nin acted as Astarte


“I feel a little like the moon who took possession of you for a moment and then returned your soul to you. 
You should not love me. One ought not to love the moon. If you come too near me, I will hurt you.”


Anaïs Nin, Delta of Venus / published posthumously in 1977
written in the 1940s as erotica for a private collector, known simply as “Collector”.


The Happy Prince | Oscar Wilde, 1888 / Orson Welles, 1944 / Δημήτρης Χορν, 1977

Oscar Wilde, The Happy Prince and Other Tales, 1888 / Plate 1 for the first edition by Walter Crane ^


The Happy Prince is a studio album by Bing Crosby and Orson Welles of the Oscar Wilde short story The Happy Prince.
It was aired on CBS' Orson Welles Show on 22 December 1944.

Adapted by Orson Welles
Directed by Victor Young
Score – Bernard Herrmann

https://www.youtube.com/watch?v=TJ4x5x6Gylo

"If you’ve been getting smothered lately in record stores with scads of children’s’ albums by everybody from Artie Shaw through Ronald Colman by way of Gene Kelly, try this one on your small son. It’s the Oscar Wilde fairy tale with a Bernard Herrmann score, and in very much better taste than anything else being turned out for the Christmas rush."

Down Beat mag








Oscar Wilde, Ο ευτυχισμένος πρίγκηπας, 1888
Διαβάζει ο Δημήτρης Χορν, 1977

Από την εκπομπή του Νίκου Πιλάβιου "Κάθε Σάββατο και κάτι άλλο".

The Record Changer: The Legendary Jazz and Record Magazine from the 1940s and 1950s

The Record Changer, February 1947                                            The Record Changer, February 1952
The Record changer, March 1945                                    The Record changer, July-August 1951
The Record Changer, September 1949                                                      The Record Changer, January 1947   
The Record Changer, December 1949                                              The Record Changer,  December 1947

The Record Changer, March 1947                    The Record Changer, October 1947
  The Record Changer, March 1953                                              The Record Changer, December 1946
The Record Changer, October 1952                                        The Record Changer, March 1952
The Record Changer, July 1947                                       The Record Changer, December 1948
The Record Changer, May 1952                                                 The Record Changer, Nobember 1950
 The Record Changer, October 1948                                          The Record Changer, September 1948
 The Record Changer, January 1957                                                   The Record Changer, February 1952
 The Record Changer, September 1946                                        The Record Changer, July 1946
The Record Changer, September 1953                                          The Record Changer, February 1956
The Record Changer, June 1949                                          The Record Changer, August 1949
The Record Changer, April 1956                                          The Record Changer, February 1948 

* The magazine existed from 1942 to 1957

Antigone | Sophocles / Jean Anouilh


"Leave me to my own absurdity."

"I have been a stranger here in my own land: All my life."

"There is no happiness where there is no wisdom."

"You’re in love with impossibility"

"Every way
Leads but astray"

Sophocles, Antigone, 441 BC


< Antigone by Jean Anouilh, 1947
Translation by Marios Ploritis
Stage direction: Karolos Koun.
Music: Manos Hadjidakis
Διανομή: Λαμπέτη Ε., Καλλέργης Λ., Μουσούρης Σ., Τζόγιας Ν., Φωτόπουλος Δ., Φωκά Μ., Καραγεωργιάδης Κ.


"From the moment the curtain went up, she began to feel that inhuman forces were whirling her out of this world."

"A happy love is full of quarrels, you know."

"It bothered me that whatever was waiting wasn’t waiting for me"

"Tragedy is clean, it is restful, it is flawless."

"Nothing less than a cozy tea party with death and destiny will quench your thirst."

"He will do what he has to do, and we will do what we have to do"

"I have other plans for you. You’re going to marry Haemon; and I want you to fatten up a bit so that you can give him a sturdy boy."

"His afterthoughts belie his first resolve.
When from the hail-storm of thy threats I fled"

"I will not be moderate. I will not be satisfied with the bit of cake you offer me if I promise to be a good little girl."

"An ugly sight, a man who is afraid."

"I do not want to understand. I am here for something other than understanding. I am here to tell you no, and to die. To tell you no and to die."

"To say yes, you have to sweat and roll up your sleeves and plunge both hands into life up to the elbows. It’s easy to say no, even if it means dying."

"I didn’t say yes. I can say no to anything I say vile, and I don’t have to count the cost. But because you said yes, all that you can do, for all your crown and your trappings, and your guards—all that your can do is to have me killed."



* The play was first performed in Paris at the Théâtre de l'Atelier on February 6, 1944, during the Nazi occupation. Produced under Nazi censorship, the play is purposefully ambiguous with regard to the rejection of authority (represented by Antigone) and the acceptance of it (represented by Creon). The parallels to the French Resistance and the Nazi occupation are clear, however.


Never ask | Mikhail Bulgakov, 1928-40

Guella and Behemoth from The Master and Margarita, 2012
Darya Boldyreva as Guella
Stage director: Yekaterina Negrutsa


"You should never ask anyone for anything. Never- and especially from those who are more powerful than yourself.” 
Mikhail Bulgakov, The Master and Margarita, 1928-1940


Memory of the city | Thomas Pynchon, 2006







"So the city became the material expression of a particular loss of innocence – not sexual or political innocence but somehow a shared dream of what a city might at its best prove to be – its inhabitants became, and have remained, an embittered and amnesiac race, wounded but unable to connect through memory to the moment of injury, unable to summon the face of their violator.”

Thomas Pynchon, Against the Day, 2006








< F. Bedrich Grunzweig, The Midtown Elevated, New York, 1954-55





Also:

Το πράσινο δωμάτιο στο Χαλάνδρι





















Maira Kalman, The Green Room, with a red chair
Maira Kalman  is an American illustrator, writer, artist, and designer.




   Στο πράσινο δωμάτιο στο Χαλάνδρι όπου την έπεσα κι εγώ μια εποχή γιατί οι τύποι εκεί μέσα ήτανε πολύ περίεργοι και ξέραν πράγματα που γούσταρα πολύ και που δεν ήξερα - και ευκαιρία να τα μάθω.

    Ήταν ένα δωμάτιο όλο πράσινα χαλιά κουρτίνες μαξιλάρια φώτα πολυθρόνες πράσινες διάβαζαν Ρίλκε Μπωντελαιρ Καβάφη άκουγαν κλασσική μετά Μπρασσένς και Μουλουτζί κι όχι ροκάκια κ’ είχανε ψώνιο με την Γκρέτα Γκάρμπο και το θέατρο Το Πένθος Ταιριάζει Στην Ηλέκτα Το Τέλος της Μικρής μας Πόλης τέτοια σκηνικά κ’ ένας ντυνόταν πότε πότε Μάτα Χάρι σελινιαζότανε κι ανέμιζε χορευτικά τα χέρια του γιατί το είχε δει πως όταν πεθαίνει η Γκάρμπο στην οθόνη τον αφήνει στο πόδι της πλας πως του εμπιστεύεται τα χέρια της καπάκι να συντηρεί το καλούπι - κύριος όμως έγραφε και ωραία ποιήματα αλλά από χέρια ήταν μάπα.

    Καλά παιδιά και συντροφάκια είχανε τον δικό τους Γαλαξία και πλανητεύανε σαν αστροναύτες αλανιάρηδες το χάος το προσωπικό της ύπαρξής τους - έτσι μου ‘λεγαν και μου άρεσε.

    Κάποια στιγμή ανέβασα και την Μπέττυ στο Χαλάνδρι και γουστάρανε πολύ γιατί στο πράσινο από θηλυκό ούτε γάτα. Ο Βιθέντε την ερωτεύτηκε αμέσως και το δήλωσε ο Τάκης την πήρε περιέργως με καλό μάτι ο Σπύρος της άναβε γαλλικά χρυσά Παλλέτ ο Κωνσταντίνος την είδε σαν την αδερφή που δεν του χάρισαν ποτέ κι ο Γκρέτα Γκάρμπος της αφιέρωνε τα ποιήματά του ως και Λωτρεαμόν της δάνεισαν κ’ η Μπέττυ που το είδε κάτι προς μαμά του λόχου κάτι προς Ζουλιέτ Γκρεκό πλάκωσε ξαφνικά μαύρα πουλόβερ μαύρα νύχια φούστες μακριές και χαμηλές γοβίτσες [...]



Νίκος Νικολαΐδης, Mια στεκιά στο μάτι του Mοντεζούμα, 2007

Alphabetarion # Serendipity | Julio Cortázar, 1967



Julio Cortázar, Buenos Aires, 1940


"We know that attention acts as a lightning rod. Merely by concentrating on something one causes endless analogies to collect around it, even penetrate the boundaries of the subject itself: an experience that we call coincidence, serendipity – the terminology is extensive. My experience has been that in these circular travels what is really significant surrounds a central absence, an absence that, paradoxically, is the text being written or to be written.”

Julio Cortázar, Around the Day in Eighty Worlds, 1967


* Serendipity means a "fortunate happenstance" or "pleasant surprise". It was coined by Horace Walpole in 1754. (...)



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