Blackshaw Theatre’s New Writing Nights (HT: MB):
An excerpt from a 1959 Australian Broadcasting Commission TV programme on the Beats, featuring interviews with Sydney University students, Clive James and Robert Hughes (pictured, image from ABC).
Some buildings and spaces provide pleasure to the eye and heart, and an inexplicable lift to the spirits. One such place is Frank Lloyd Wright’s Unity Temple in Chicago, whose intimacy and proportions are ineffably balanced. Another is the Italianate Church of St Brigid in Wavertree, Liverpool. This Anglican church was designed by E. A. (Arthur) Heffer and built between 1868 and 1872. The building can be clearly seen from the inter-city trains approaching and departing Liverpool’s Lime Street station, and seeing it never fails to lift my spirits.
Perhaps the pleasure arises from the stark contrast between the tall bell tower and the flat, surrounding landscape of two-story Victorian terraces. Or perhaps it is the shape and size of the tower; certainly, the visual pleasure would be much less if the tower were pyramid-shaped, or conical, or any shorter.
(On the death of Vadim Delaunay)
Closer than a brother, the first and youngest
of us seven, whence no return.
Sweeter than sweet life, whereas there were seven,
hacking, digging the frozen earth?
To fall asleep that way, and to wake, detached from the earth,
beyond exile, KPP, barbed-wire . . .
beyond the thorny stars. Pray for us,
offer your fraternal help.
Natalya Gorbanevskaya [1983/2011]: Selected Poems. Translated by Daniel Weissbort. Manchester, UK: Carcanet.
KPP (Kontrol’no-propusknoi punkt) is Frontier Control Point.
A sonnet by George Santayana, inspired by Shakespeare’s Sonnet #29:
When times are hard and old friends fall away
And all alone I lose my hope and pluck,
Doubting if God can hear me when I pray,
And brood upon myself and curse my luck,
Envying some stranger for his handsome face,
His wit, his wealth, his chances, or his friends,
Desiring this man’s brains and that man’s place,
And vexed with all I have that makes amends,
Yet in these thoughts myself almost despising, –
By chance I think of you; and then my mind,
Like music from deep sullen murmurs rising
To peals and raptures, leaves the earth behind:
For if you care for me, what need I care
To own the world or be a millionaire?
And here is Shakespeare’s #29:
When, in disgrace with fortune and men’s eyes,
I all alone beweep my outcast state,
And trouble deaf heaven with my bootless cries,
And look upon myself, and curse my fate,
Wishing me like to one more rich in hope,
Featur’d like him, like him with friends possess’d,
Desiring this man’s art and that man’s scope,
With what I most enjoy contented least;
Yet in these thoughts myself almost despising,
Haply I think on thee, and then my state,
Like to the lark at break of day arising
From sullen earth, sings hymns at heaven’s gate;
For thy sweet love remember’d such wealth brings
That then I scorn to change my state with kings.
Mere purposive rationality unaided by such phenomena as art, religion, dream and the like, is necessarily pathogenic and destructive of life; and . . . its virulence springs specifically from the circumstance that life depends upon interlocking circuits of contingency, while consciousness can see only such short arcs of such circuits as human purpose may direct.”
Gregory Bateson : “Style, Grace and Information in Primitive Art.” Page 146 in: Steps to an Ecology of Mind. New York, NY: Ballentine Books.
George Santayana said something similar in his Sonnet III:
It is not wisdom to be only wise,
And on the inward vision close the eyes,
But it is wisdom to believe the heart.
I was headed out down a long bone-white road, straight as a string and smooth as glass and glittering and wavering in the heat and humming under the tires like a plucked nerve. I was doing seventy-five but I never seemed to catch up with the pool that seemed to be over the road just this side of the horizon. Then, after a while, the sun was in my eyes, for I was driving west. So I pulled the sun screen down and squinted and put the throttle to the floor. And kept on moving west. For West is where we all plan to go someday. It is where you go when the land gives out and the old-field pines encroach. It is where you go when you get the letter saying: ‘Flee, all is discovered.’ It is where you go when you look down at the blade in your hand and see the blood on it. It is where you go when you are told that you are a bubble on the tide of empire. It is where you go to grow up with the country. It is where you go to spend your old age. Or it is just where you go.
It was just where I went.”
Robert Penn Warren : All the King’s Men. Harcourt, Brace and Company.
The death occurred last month of Natalia Gorbanevskaya (1936-2013, pictured in 1967), Russian poet and Soviet dissident, and one of the Moscow Seven, brave opponents of the occupation by forces of the Warsaw Pact of Czechoslovakia in August 1968. From 1975 she lived in exile, initially in Israel and then in France. For most of this time she was stateless, and did not have a passport until 2006, when granted Polish citizenship. As in the 19th century, Russia disowns its best and brightest children. The Economist has an obituary here.
There was more than this one protest against the invasion, with over 200 people involved in protests elsewhere in the USSR and across the Eastern Bloc. A list of 160 Soviet protesters against the invasion, prepared by Memorial, is here. The courage of the Moscow Seven and these others has been recognized by the Czech Republic, but not yet by the Russian Federation. Indeed, Russia has still to apologize to Czechslovakia for the invasion.
From Gorbanevskaya’s poetry (translation by Daniel Weissbort):
The crime has not yet been expunged,
the hour of truth has not yet struck.
logs in the stove still ticking over,
although the fire’s already out.
A poem by Derek Jarman (1942-1994), written in 1965:
The days are numbered,
For us, and the old man
collecting pennies under
For he is in disguise
and has attended the concert –
But now he plays his
violin in a way which
demands our sympathy.
(From Sketchbooks, reprinted in The Observer Magazine, 2013-08-25, page 25).
Previous poems here.
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