Archive for May, 2016

Sorrentino / A Strange Commonplace / Time

May 22, 2016

This was an attempt to assign each chapter of A Strange Commonplace to a definite era. My reasons for assigning them as I did, which often involved significant guess work, can be found by clicking on the link to each chapter. Some general remarks about time in this book are here.


1930’s/ ’40s


(1.1); (1.9); (1.20); (1.23); (1.24); (1.25) // (2.6); (2.9); (2.12);

1950’s / 60’s


(1.10) (1.14) (1.18) // (2.1); (2.3); (2.5); (2.7); (2.10); (2.13); (2.14) ; (2.16); (2.17); (2.18); (2.19); (2.20);

1970’s / 80’s


(1.3); (1.4); (1.5); (1.6); (1.7); (1.8); (1.13); (1.15); (1.16); (1.19); (1.21); (1.22); // (2.11); (2.15); (2.21); (2.22); (2.23); (2.24); (2.25);

1980’s / 90’s


(1.2) ; (1.11); (1.12); (1.17); (1.26) // (2.2); (2.4) (2.8) (2.26).

.


May 22, 2016

knees and hands: are the gates

— these knees, I say, which were actually popping or creaking these days — tumblers of safes I listen to with the utmost attention — when will they be cracked? when they are cracked with what will I be rich?

Water lily passage / Proust

May 15, 2016

This is the French text of the water lily paragraph of Swann’s Way (pp. 184 of my edition) with links to vocabulary I didn’t know and followed by Scott-Moncrieff’s translation. Somewhat intimidated by passages of this length and difficulty, I’ve also broken it up into four parts — here: (1); (2); (3); (4).

“Bientôt le cours de la Vivonne s’obstrue de plantes d’eau. Il y en a d’abord d’isolées comme tel nénufar à qui le courant au travers duquel il était placé d’une façon malheureuse laissait si peu de repos que, comme un bac actionné mécaniquement, il n’abordait une rive que pour retourner à celle d’où il était venu, refaisant éternellement la double traversée. Poussé vers la rive, son pédoncule se dépliait, s’allongeait, filait, atteignait l’extrême limite de sa tension jusqu’au bord où le courant le reprenait, le vert cordage se repliait sur lui-même et ramenait la pauvre plante à ce qu’on peut d’autant mieux appeler son point de départ qu’elle n’y restait pas une seconde sans en repartir par une répétition de la même manœuvre. Je la retrouvais de promenade en promenade, toujours dans la même situation, faisant penser à certains neurasthéniques au nombre desquels mon grand-père comptait ma tante Léonie, qui nous offrent sans changement au cours des années le spectacle des habitudes bizarres qu’ils se croient chaque fois à la veille de secouer et qu’ils gardent toujours ; pris dans l’engrenage de leurs malaises et de leurs manies, les efforts dans lesquels ils se débattent inutilement pour en sortir ne font qu’assurer le fonctionnement et faire jouer le déclic de leur diététique étrange, inéluctable et funeste. Tel était ce nénufar, pareil aussi à quelqu’un de ces malheureux dont le tourment singulier, qui se répète indéfiniment durant l’éternité, excitait la curiosité de Dante, et dont il se serait fait raconter plus longuement les particularités et la cause par le supplicié lui-même, si Virgile, s’éloignant à grands pas, ne l’avait forcé à le rattraper au plus vite, comme moi mes parents.”

This is Scott-Moncrieff’s translation (without Kilmartin):

Presently the course of the Vivonne became choked with water-plants. At first they appeared singly, a lily, for instance, which the current, across whose path it had unfortunately grown, would never leave at rest for a moment, so that, like a ferry-boat mechanically propelled, it would drift over to one bank only to return to the other, eternally repeating its double journey. Thrust towards the bank, its stalk would be straightened out, lengthened, strained almost to breaking-point until the current again caught it, its green moorings swung back over their anchorage and brought the unhappy plant to what might fitly be called its starting-point, since it was fated not to rest there a moment before moving off once again. I would still find it there, on one walk after another, always in the same helpless state, suggesting certain victims of neurasthenia, among whom my grandfather would have included my aunt Léonie, who present without modification, year after year, the spectacle of their odd and unaccountable habits, which they always imagine themselves to be on the point of shaking off, but which they always retain to the end; caught in the treadmill of their own maladies and eccentricities, their futile endeavours to escape serve only to actuate its mechanism, to keep in motion the clockwork of their strange, ineluctable, fatal daily round. Such as these was the water-lily, and also like one of those wretches whose peculiar torments, repeated indefinitely throughout eternity, aroused the curiosity of Dante, who would have inquired of them at greater length and in fuller detail from the victims themselves, had not Virgil, striding on ahead, obliged him to hasten after him at full speed, as I must hasten after my parents.

May 14, 2016

The IEA estimated in 2007 that standby power produced 1% of the world’s carbon dioxide (CO2) emissions. To put the figure into context, total air travel contributes less than 3% of global CO2 emissions… One Watt Initiative

Roman Polanski reference

May 12, 2016

Laurent Laffite‘s joke at Cannes about Woodie Allen, which I do not quite get: « Cela fait plaisir que vous soyez en France, parce que ces dernières années, vous avez beaucoup tourné en Europe, alors que vous n’êtes même pas condamné pour viol aux Etats-Unis. »

(It makes a bit more sense if you consider there being, as Le Monde goes on to say, a Roman Polanski reference; i.e., why would an American director travel Europe so extensively unless he’d been “condamné pour viol”?)

A Leg Up

May 9, 2016

A leg up: This is another absurdist piece in which a certain position of the leg is given a perhaps undue degree of attention or predominance.

From the program: “It is is envisioned that the audience, upon reading A Leg Up, rather than standing and applauding half-heartedly or wildly, will instead stand and lift their right leg up, quite soberly and stolidly — indeed they should do this even if they have not read or otherwise enjoyed A Leg up –; balancing upon their left foot, as if frozen in a march, they should hold this position for about as long as they would otherwise clap or for about as long as it would have taken them to read A Leg up if that’s what they had done…”

Of course no one need read A LEG UP, that is ridiculous. Yet all might do one better and “read the experience,” as it were, of having one’s leg up, the program continues. One might “read” in this manner without access to or need of paper, without access to or need of writer, of written, of computer, of other reading device or publisher, of internet, of another… (One might hold one’s leg up, in other words, and feel, and not be told, exactly what that is like.)

May 8, 2016

“Any sounds in any combination and in any succession are henceforth free to be used in a musical continuity,” Debussy wrote… String Quartet in G minor, Op. 10

May 8, 2016

Un pont aériencoincées axe de circulation

Corbeil

May 2, 2016

Day creeps down. The moon is creeping up.
The sun is a corbeil of flowers the moon Blanche
Places there, a bouquet. Ho-ho … The dump is full
Of images.
(Stevens, The Man on The Dump)

Corbeil: A decorative basket for the display of flowers or fruits.

May 1, 2016

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