fabre’s humility

“We all have our own talents, our special gifts. Sometimes these gifts seem to come to us from our forefathers, but more often it is difficult to trace their origin.

A goatherd, perhaps, amuses himself by counting little pebbles and doing sums with them. He becomes an astoundingly quick reckoner, and in the end is a professor of mathematics. Another boy, as an age when most of us care only for play, leaves his schoolfellows at their games and listens to the imaginary sounds of an organ, a secret concert heard by him alone. He has a genius for music. A third – so small, perhaps, that he cannot eat his bread and jam without smearing his face – takes a keen delight in fashioning clay into little figures that are amazingly lifelike. If he be fortunate he will some day be a famous sculptor.

To talk about oneself is hateful, I know, but perhaps I may be allowed to do so for a moment, in order to introduce myself and my studies.”

(Jean Henri Fabre, introduction to Fabre’s Book of Insects, adapted, whatever that means, from Souvenirs Entomologiques)

(see also)

vanishing points

sátántangó still

(representative still from Béla Tarr’s Sátántangó)

bohemia lies by the sea

(Anselm Kiefer’s Böhmen liegt am Meer)

“Bohemia Lies by the Sea”

Are these houses green, I once more enter a house.
Are these bridges safe, to walk I have good ground.
All loving effort lost for ever, I lose it happily.
lf not I myself then someone else as good as I.
lf here a word adjoins to me, I let it join.
If Bohemia lies still on the sea, I believe the seas.
And if I believe in the sea, I still can hope for land.
lf it’s I myself it’s everyone just as much as I.
I have no wishes any more. I wish to run aground.
Aground – towards the sea, to find Bohemia.
Wrecked, I wake up peacefully.
I have grounded my belief and shall be lost no longer.
Come here, you from Bohemia, sailors, whores, and ships
without a staying. Won’t you be Bohemians, you Illyrians, Veronese
Venetians. Play those comedies to make us laugh

Before we cry. Go wrong a hundred times
as I went wrong and always failed examinations,
yet I passed them all, each and every time.

Passed them like Bohemia which one fine day
was relieved down to the sea and now lies on the shore.

Still I adjoin to a word and to another country,
and ever more adjoin to all there is however slightly,
Come from Bohemia here, a vagrant, who has nothing, whom nothing keeps,
gifted with vision to see from the sea-struggle land of my choice.

(Ingeborg Bachmann, trans. Peter Filkins)

haneke on freedom

“Haneke’s obsessions converge in Caché‘s final scene, a chilling long take that’s the most enigmatic conclusion in recent movie memory. ‘Using a fixed shot means there’s one less form of manipulation – the manipulation of time,’ Haneke says. ‘I’ve always wanted to create the freedom one has when reading a book, where one has all the possibilities because you create all the images in your head.’ Resolutely cryptic, he refuses to decode the scene’s meaning: ‘About half the viewers see something and the other half don’t, and it works both ways.’ He adds, invoking his protagonist’s own mental journey, ‘We always fill the screen with our own experiences. Ultimately, what we see comes from inside us.’ ”

(David Ng interview of Michael Haneke)

written by a pig.

“. . . and I am not sure that it was not about this time that she learned to say, when she wanted to indicate that she thought a book badly-written: ‘It’s interesting, but really, it might have been written by a pig.’ ”

(Proust, The Captive, trans. C. K. Scott Moncrieff & Terence Kilmartin, p.10)

detail

“People who learn some correct detail about another person’s life at once draw conclusions from it which are not accurate, and see in the newly discovered fact an explanation of things that have no connexion with it whatsoever.”

(Proust, The Captive, trans. C. K. Scott Moncrieff & Terence Kilmartin, pp.1–2)

three views of the duomo in milan

mailand: dom

(Gerhard Richter, Mailand: Dom, 1964)

domplatz - mailand

(Gerhard Richter, Domplatz – Mailand, 1968)

duomo from google earth

(from Google Earth)

requisite poem:

“Milan Cathedral”

Through light green haze, a rolling sea
     Over gardens where redundance flows,
     The fat old plain of Lombardy,
The White Cathedral shows.

     Of Art the miracles
     Its tribe of pinnacles
Gleam like to ice-peaks snowed; and higher,
Erect upon each airy spire
     In concourse without end,
Statues of saints over saints ascend
Like multitudinous forks of fire.

What motive was the master-builder’s here?
Why these synodic hierarchies given,
Sublimely ranked in marble sessions clear,
Except to signify the host of heaven.

(Herman Melville, from Timoleon, 1891)