Direction / Security / Time | Paul Bowles, 1910- 1999

Jerry Cooke, Paul Bowles, lying in bed with his paper and pen, 1947

“One of these days the future will be here, and you won't be ready for it.” *

“If you don’t know why you like a thing, it is usually worth your while to attempt to find out.” 

“Here we say that life is a cliff, and you must never turn around and look back when you’re climbing.” ~

“He did not look up because he knew how senseless the landscape would appear. It takes energy 
to invest life with meaning, and at present this energy was lacking.” 

“The sky hides the night behind it and shelters the people beneath from the horror that lies above.” 

“Security is a false God. Begin to make sacrifices to it and you are lost.” 

“Everyone is isolated from everyone else. The concept of society is like a cushion to protect us from 
the knowledge of that isolation. A fiction that serves as an anesthetic.” 

“Βefore there can be change there must be discontent.” *

“If you could not have freedom you could still have vengeance.” *

“You can't discipline the whole country.”  *

“It is a dangerous discovery, because they are going to disregard many vital things in their haste 
to catch up.” +

“These empty days. How do you spend them?” ^

“He could not feel at ease with gourmets and hedonists; they were a hostile species.” *

“Not all the ravages caused by our merciless age are tangible ones. The subtler forms of destruction, 
those involving only the human spirit, are the most to be dreaded.” *

“But there was never any knowing or any certitude; the time to come always had more than one 
possible direction.” ~

“Even the smallest measure of time is greater than the greatest measure of space. Or is that a lie? 
Does it only seem so to us, because we can never get it back?” 

Paul Bowles

~ The Sheltering Sky, 1949 / * The Spider's House, 1955 / + Travels, 1950-93 / ^ In Touch: The Letters, 1995

Ημερολόγια | André Gide

"Για να κρίνεις κάτι σωστά πρέπει ν' απομακρυνθείς λίγο απ' αυτό, αφού το έχεις αγαπήσει.
 Αυτό αληθεύει για τις χώρες, τους ανθρώπους και τον εαυτό σου."

André Gide | Ημερολόγια, 1889-1949

My Bohemian Life (Fantasy) | Arthur Rimbaud, 1870

Original handwritten manuscript of Arthur Rimbaud’s poem, Ma bohême 

I went off with my hands in my torn coat pockets;
My overcoat too was becoming ideal;
I travelled beneath the sky, Muse! and I was your vassal;
Oh dear me! what marvellous loves I dreamed of!

My only pair of breeches had a big whole in them.
– Stargazing Tom Thumb, I sowed rhymes along my way.
My tavern was at the Sign of the Great Bear.
– My stars in the sky rustled softly.

And I listened to them, sitting on the road-sides
On those pleasant September evenings while I felt drops
Of dew on my forehead like vigorous wine;

And while, rhyming among the fantastical shadows,
I plucked like the strings of a lyre the elastics
Of my tattered boots, one foot close to my heart!

Translated by Oliver Bernard

The sonnet Ma bohême  (My Bohemian Life) was written around the time of his sixteenth birthday in October 1870,
and lyrically recalls Rimbaud's magic fortnight of freedom wandering in southern Belgium.

J[A-Z]Z / p1ck ( At the Pershing: But Not for Me | Ahmad Jamal Trio, 1958

Photo / Design - Don Bronstein

Ahmad Jamal Trio, Poinciana, 1958

"The trio's chief virtue is an excellent, smooth light but flexible beat" 
"Throughout the music is kept emotionally, melodically, and 
organizationally innocuous."

Down Beat mag, 1958 

Ahmad Jamal – piano
Israel Crosby – bass
Vernel Fournier – drums

Horses | Eugène Delacroix, 1823-1828

Eugène Delacroix, Horse Frightened by a Storm, watercolour, 1824

"I really must settle down seriously to drawing horses. I shall go to some stable or other every morning; 
I shall go to bed early, and get up early as well." 

Eugène Delacroix, April 15, 1823, entry, in The Journal of Eugène Delacroix

Eugène Delacroix (1798-1863) A horse leaping over a gate
Eugène Delacroix, Two Horses Fighting in a Stormy Landscape,  1828

Flick Review < Mademoiselle | Tony Richardson, 1966 | & a note by Patti Smith

Mademoiselle (1966)
Director: Tony Richardson
Screenplay by Marguerite Duras, based on story by Jean Genet
Cinematography: David Watkin
Stars: Jeanne Moreau, Ettore Manni, Keith Skinner

< Jeanne Moreau in Mademoiselle, 1966

“Jeanne Moreau is really something. There’s this scene where she’s like a chaste schoolteacher superficially, but inside she’s like a barbed wire fence on fire. There’s like this burly Italian Burt Lancaster who walks through the fields with a big gold St. Christopher medal on his chest and his shirt open, and he’s reeking of the wine fields, and he’s got a chain saw because he’s a lumberjack – and there’s all this tension because you know they’re gonna do it and when they do, they don’t let you down.

Whey they fuck it’s so heavy. It’s out in the field. He rips off her dress and she’s like an instant animal. He makes crawl through the field barking like a dog and she’s got this chiffon dress on, which he rips to shreds.

She’s so great. To me, the way she conquers a guy …I’m really studying Jeanne Moreau. If I turn out like Jeanne Moreau when I grow up I couldn’t ask for anything more. She’s so self-contained. She could start a forest fire. She came to my concert in France. I was so honored I didn’t even talk to her.

Then she sold this guy down the river. Like they fucked for two days in thunder and lightning, and the sky was just totally opening up, the fields were on fire, the whole world was going berserk – and they were just fucking right through it all. There was racial strife and poverty and people killing each other and everything was in flames, and they were still fucking.

And then he says at the end - he’s so stupid - he’s in love with her so he’s trying to be nice, but he fucks up and says, ‘I’ll be leavin’ tomorrow.’ He’s an Italian and he’s not accepted in this French village. He’s so stupid. You don’t tell a woman you’re leaving her after you fuck her for two days. If you are, you split fast, 'cuz else you’re gonna die.

So she runs off and walks into town all fucked up, like she’s a chaste schoolteacher with a bun and everything. She’s like Jeanne Moreau, she’s like a lioness and she comes in with her chiffon dress all blood and filth and she’s like real satisfied and they see her and the women all get hysterical. She’s like the symbol of purity, their Madonna, Marianne Faithful, and they can’t believe she’s been so defiled. 'Was it the Italian? Was it, was it?’ She looks at them and she goes 'Oui.’ She says oui so great it’s like 'yeah’. In fact I coulda sworn she said "yeah.”

They killed the guy with sledge hammers, pitchforks and stuff, but that’s another story. Thing was, after she sold him up the river, she was just exhausted from being fucked so great in the rain and lightning.“

Patti Smith
from High Times, January 1977


On the way to school II | Ansel Adams / Eve Arnold / Marc Riboud / John Gutmann / David Vestal / Robert Doisneau / Bernard Hoffman, 1935-1979

The first day of school, Portugal, 1936
Tino Petrelli, Children go to school by air, Guiglia, Italy, 1959
Marc Riboud, Turkey, 1955                               Eve Arnold, Schoolgirl in Kuban, 1965
John Gutmann, "School Zone," Chinatown, San Francisco, 1935
David Vestal, Blackwater School, Gila River Indian Community, Arizona, 1966
Greg Girard, Two High school Students, Tokyo, 1979
Robert Doisneau, Les écoliers curieux, Paris, 1953
Bernard Hoffman, A boy riding his bicycle to school, Illinois, USA, 1946

Ansel Adams, School Children, Manzanar, California, 1943                                      Hansel Mieth, Children ride to school from outlying ranches, St. Helena, Montana, 1940
Albert Wahrhaftig, School Children, Nazare, Portugal, 1962


In Quiet Times | Margaret Wise Brown

John Gutmann, Chinese Kids at Lunch Counter, San Francisco, 1938

“In this modern world where activity is stressed almost to the point of mania, quietness as a childhood need is too often overlooked. 
Yet a child's need for quietness is the same today as it has always been--it may even be greater--for quietness is an essential part of 
all awareness. In quiet times and sleepy times a child can dwell in thoughts of his own, and in songs and stories of his own.” 

 Margaret Wise Brown

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