quinta-feira, 18 de janeiro de 2018

Pursuit

Dans le fond des forêts votre image me suit.
RACINE

There is a panther stalks me down:
 One day I'll have my death of him;
 His greed has set the woods aflame,
He prowls more lordly than the sun.
Most soft, most suavely glides that step,
 Advancing always at my back;
 From gaunt hemlock, rooks croak havoc:
The hunt is on, and sprung the trap.
Flayed by thorns I trek the rocks,
 Haggard through the hot white noon.
 Along red network of his veins
What fires run, what craving wakes?

Insatiate, he ransacks the land
 Condemned by our ancestral fault,
 Crying:  blood, let blood be spilt;
Meat must glut his mouth's raw wound.
Keen the rending teeth and sweet
 The singeing fury of his fur;
 His kisses parch, each paw's a briar,
Doom consummates that appetite.
In the wake of this fierce cat,
 Kindled like torches for his joy,
 Charred and ravened women lie,
Become his starving body's bait.

Now hills hatch menace, spawning shade;
 Midnight cloaks the sultry grove;
 The black marauder, hauled by love
On fluent haunches, keeps my speed.
Behind snarled thickets of my eyes
 Lurks the lithe one; in dreams' ambush
 Bright those claws that mar the flesh
And hungry, hungry, those taut thighs.
His ardor snares me, lights the trees,
 And I run flaring in my skin;
 What lull, what cool can lap me in
When burns and brands that yellow gaze?

I hurl my heart to halt his pace,
 To quench his thirst I squander blook;
 He eats, and still his need seeks food,
Compels a total sacrifice.
His voice waylays me, spells a trance,
 The gutted forest falls to ash;
 Appalled by secret want, I rush
From such assault of radiance.
Entering the tower of my fears,
 I shut my doors on that dark guilt,
 I bolt the door, each door I bolt.
Blood quickens, gonging in my ears:

The panther's tread is on the stairs,
Coming up and up the stairs.

Sylvia Plath

"Sinto que toda a arte, toda a literatura, todas as sinfonias compostas, são os restos de uma batalha cósmica perdida. A tarefa não é escrever verso, nem pintar quadro, nem fazer poema concreto. A tarefa é fazer da vida algo decente. Nós, os chamados artistas, não somos mais do que aves necrófagas que vão traduzindo os escombros de uma batalha perdida." Raúl Zurita

domingo, 14 de janeiro de 2018

O mundo de ontem


Aqui está um dos livros que mais gostei de ler em 2017. A pretexto de uma herança de uma colecção de 264 netsuke, Edmund de Wall conta-nos a história da sua família, os Ephrussi, judeus originários de Odessa que se instalam em Paris e Viena no século XIX. Charles Ephrussi serve de inspiração a Marcel Proust como modelo do esteta Swann em Em Busca do Tempo Perdido. Apaixonado pelo coleccionismo, Charles compra os netsuke quando os objectos japoneses fazem furor nos salões parisienses,  e envia-os posteriormente como presente de casamento ao primo banqueiro em Viena. Mais tarde, três crianças brincam com a colecção, até que a História lhes cai em cima e a Segunda Guerra Mundial vota o grande império da família ao esquecimento, restando apenas essa colecção de netsuke, subtraídos do gigantesco palácio vienense, na altura ocupado pelos nazis, um a um, no bolso de uma fiel criada, e escondidos depois no seu colchão de palha.

Para além de um apaixonante livro de memórias no qual acedemos à vida de pessoas extraordinárias, é-nos também contada a tumultuosa história dessa Europa novecentista que soçobra no século XX.

LADY LAZARUS


I have done it again.
One year in every ten
I manage it -

A sort of walking miracle, my skin
Bright as a Nazi lampshade,
My right foot

A paperweight,
My face a featureless, fine
Jew linen.

Peel off the napkin
O my enemy.
Do I terrify? -

The nose, the eye pits, the full set of teeth?
The sour beath
Will vanish in a day.

Soon, soon the flesh
The grave cave ate will be
At home on me

And I a smiling woman.
I am only thirty.
And like the cat I have nine times to die.

This is Number Three.
What a trash
To annihilate each decade.

What a million filaments.
The peanut-crunching crowd
Shoves in to see

Them unwrap me hand and foot - 
The big streap tease,
Gentlemen, ladies

These are my hands
My knees.
I may be skin and bone,

Nevertheless, I am the same, identical woman.
The first time it happened I was ten.
It was an accident.

The second time I meant
To last it out and not come back at all.
I rocked shut.

As a seashell.
The had to call and call
And pick the worms off me like sticky pearls.

Dying 
Is an art, like everything else.
I do it exceptionally well.

I do it so it feels like hell.
I do it so it feels real.
I guess you could say I've a call.

It's easy enough to do it in a cell.
It's easy enough to do it and stay put.
It's the theatrical

Come back in broad day
To the same place, the same face, the same brute
Amused shout:

"A miracle!"
That knocks me out.
There is a charge

For the eyeing of my scars, there is a charge
For the hearing of my heart - 
It really goes.

And there is a charge, a very large charge
For a word or a touch
Or a bit of blood

Or a piece of my hair or my clothes.
So, so, Herr Doktor.
So, Herr Enemy.

I am your opus,
I am your valuable,
The pure gold baby

That melts to a shriek.
I turn and burn.
Do not think I underestimate your great concern.

Ash, ash-
You poke and stir.
Flesh, bone, there is nothing there-

A cake of soap,
A wedding ring,
A gold filling.

Herr God, Herr Lucifer
Beware
Beware.

Out of the ash
I rise with my red hair
And I eat men like air.

Sylvia Plath

"Do rio que tudo arrasta se diz que é violento. Mas ninguém diz violentas as margens que o comprimem." Bertold Brecht

sexta-feira, 5 de janeiro de 2018

Paris 2017: esfinges, bacantes e pâtisserie. Bonnes aventures!


Le Sommeil, Auguste Rodin (Musée Rodin)


Les Causeuses ou Les Bavardes, Camille Claudel  (Musée Rodin)


L'Âge Mûr ou Le Chemin de la Vie, Camille Claudel  (Musée Rodin)


Porte de l'Enfer, Auguste Rodin (Musée d'Orsay)


Orphée, Gustave Moreau (Musée d'Orsay)


L'Énigme, Gustave Doré (Musée d'Orsay)




Erzulie et ses soeurs, Pierrot Barra (Musée du Quai Branly)



Musée Louvre


Máscara demónio teatro nô (Musée de l'Orangerie)



Bonecas Dada (Musée de l'Orangerie)


Autoportrait en Neptune, Kees van Dongen


Souvenirs de la galerie des glaces à Bruxelles, Otto Dix (Centre Pompidou)


Bildnis der Journalistin Sylvia von Harden, Otto Dix (Centre Pompidou)


Musikanten, August Sander (Centre Pompidou)



La mariée, Niki de Saint Phalle (Centre Pompidou)


The Rebellion of the dead, Nalini Malani (Centre Pompidou)



E duas caixinhas do amado Joseph Cornell!