ONE HUNDRED YEARS OF SOLITUDE ~ GABRIEL GARCIA MARQUEZ

ONE HUNDRED YEARS OF SOLITUDE

~ GABRIEL GARCIA MARQUEZ

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"Many years later, as he faced the firing squad, Colonel Aureliano Buendía was to remember that distant afternoon when his father took him to discover ice." It is typical of Gabriel García Márquez that it will be many pages before his narrative circles back to the ice, and many chapters before the hero of "One Hundred Years of Solitude", Buendía, stands before the firing squad. In between, he recounts such wonders as an entire town struck with insomnia, a woman who ascends to heaven while hanging laundry, and a suicide that defies the laws of physics: A trickle of blood came out under the door, crossed the living room, went out into the street, continued on in a straight line across the uneven terraces, went down steps and climbed over curbs, passed along the Street of the Turks, turned a corner to the right and another to the left, made a right angle at the Buendía house, went in under the closed door, crossed through the parlour, hugging the walls so as not to stain the rugs, went on to the other living room, made a wide curve to avoid the dining-room table, went along the porch with the begonias, and passed without being seen under Amaranta's chair as she gave an arithmetic lesson to Aureliano José, and went through the pantry and came out in the kitchen, where Úrsula was getting ready to crack thirty-six eggs to make bread. "Holy Mother of God!", Úrsula shouted. The story follows 100 years in the life of Macondo, a village founded by José Arcadio Buendía and occupied by descendants all sporting variations on their progenitor's name: his sons, José Arcadio and Aureliano, and grandsons, Aureliano José, Aureliano Segundo, and José Arcadio Segundo. Then there are the women - the two Úrsulas, a handful of Remedios, Fernanda, and Pilar - who struggle to remain grounded even as their men-folk build castles in the air. If it is possible for a novel to be highly comic and deeply tragic at the same time, then 'One Hundred Years of Solitude' does the trick. Civil war rages throughout, hearts break, dreams shatter, and lives are lost, yet the effect is literary pentimento, with sorrow's outlines bleeding through the vibrant colors of García Márquez's magical realism. Consider, for example, the ghost of Prudencio Aguilar, whom José Arcadio Buendía has killed in a fight. So lonely is the man's shade that it haunts Buendía's house, searching anxiously for water with which to clean its wound. Buendía's wife, Úrsula, is so moved that "the next time she saw the dead man uncovering the pots on the stove, she understood what he was looking for, and from then on, she placed water jugs all about the house." With "One Hundred Years of Solitude", Gabriel García Márquez introduced Latin American Literature to a world-wide readership. Translated into more than two dozen languages, his brilliant novel of love and loss in Macondo stands at the apex of 20th-Century Literature.

Chronicle Of A Death Foretold ~ Gabriel Garcia Marquez

Chronicle Of A Death Foretold ~ Gabriel Garcia Marquez

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Gabriel García Márquez's novel "Chronicle of a Death Foretold", first published in English in 1982, is one of the Nobel Prize-winning author's shorter novels, but past and current critics agree that the book's small size hides a huge work of art. According to Jonathan Yardley in 'Washington Post Book World', Chronicle of a Death Foretold "is, in miniature, a virtuoso performance." The book's power lies in the unique way in which García Márquez relates the plot of a murder about which everyone knows before it happens. A narrator tells the story in the first person, as a witness to the events that occurred. Yet the narrator is recounting the tale years later from an omniscient point of view, sharing all of the characters' thoughts. García Márquez's use of this creative technique adds to the mystery of the murder. In addition, the repeated foretelling of the crime helps build the suspense. Even though the murderers' identities are known, the specific details of the killing are not. Besides its unusual point of view, the book's themes also contribute to its success. The question of male honour in Latin American culture underlies this story of passion and crime. As in other Garcia Marquez works, there is also an element of the supernatural: dreams and other mystical signs ominously portend the murder. Garcia Marquez's artistry in combining these elements led critic Edith Grossman to say in ‘Review’, "Once again Garcia Marquez is an ironic chronicler who dazzles the reader with uncommon blendings of fantasy, fable, and fact."

In Evil Hour ~ Gabriel Garcia Marquez

In Evil Hour ~ Gabriel Garcia Marquez

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"In Evil Hour" is one of the early novels written by Gabriel Garcia Marquez. Published in 1962, it was previous to his "A Hundred Years of Solitude" and "The Autumn of the Patriarch", some of his most famous novels and that consolidated his style. Considering that, one can say that this novel is really good. It is not as fine tuned as his best works, there is no 'Magical Realism' in here - actually, the book is quite realist - but it is such an engaging and well conceived story that it is impossible to stop reading / "In Evil Hour" deals with politics, but in a very subtle way. Hints are given here and there about the recent changes the town has faced. The past seems to have been obscure, but we are never certain of that. Marques exploit heavy subjects that darken Latin American History with grace and seriousness and his peculiar sense of humour. And in the end we seem to have spent some time in that village, and however much we may have enjoyed it, we may not be willing to come back to that place - although one may want to re-read this book one of these days...

Of Love and Other Demons ~ Gabriel Garcia Marquez

Of Love and Other Demons ~ Gabriel Garcia Marquez

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In a Latin American port city during colonial times, a young girl named Sierva Maria de Todos los Angeles - the only child of the ineffectual Marquis de Casalduero - is bitten by a rabid dog. Her father, who has shown no interest in the child, begins a crusade to save her life, eventually committing her to the Convent of Santa Clara, when the bishop persuades him that his daughter is possessed by demons. In fact, Sierva Maria has shown no signs of being infected by rabies or by demons; she is simply being punished for being different. Having been raised by the family's slaves, she knows their languages and wears their Santeria necklaces; she is perceived by the effete European Americans around her as "not of this world." Only the priest who has reluctantly accepted the job as her exorcist believes she is neither sick nor possessed, but terrified after being inexplicably "interred alive" among the superstitious nuns. Nobel Prize winner Garcia Marquez writes with his usual inventiveness, but over the years his prose style has crystallized and condensed. The result is a tale whose sharp social retort is made all the louder by the luminous, uncluttered telling / a tale of the love between a middle-aged priest and a young girl believed to be possessed by demons...

The Autumn Of The Patriarch ~ Gabriel Garcia Marquez

The Autumn Of The Patriarch

~ Gabriel Garcia Marquez

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Gabriel Garcia Marquez, renowned as a master of 'magical realism', creates stories that grip the imagination. Set in exotic locals, peoples with unforgettable characters, and crafted with exquisite prose, his stories transport the reader to a world that is at once fanciful and real. One of Gabriel Garcia Marquez's most intricate and ambitious works, "The Autumn of the Patriarch" is a brilliant tale of a Caribbean tyrant and the corruption of power. Employing an innovative, dreamlike style, the novel is overflowing with symbolic descriptions as it vividly portrays the dying tyrant caught in the prison of his own dictatorship. From charity to deceit, benevolence to violence, fear of God to extreme cruelty, the dictator embodies at once the best and the worst of human nature. "The Autumn of the Patriarch" mines one of the darkest veins in Latin American political history. The central character is a composite of Trujillos, Batistas and Somozas. His is a genius at the barren politics of survival, capable and guilty of the most savage brutality, a lonely monster who shuffles through his palace every night, checking the locks, looking for assassins, lighting a lantern for a quick exit.

Memories of My Melancholy Whores ~ Gabriel Garcia Marquez

Memories of My Melancholy Whores
~ Gabriel Garcia Marquez

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"Memories of My Melancholy Whores" is Gabriel Garcia Marquez’s first work of fiction in ten years and it fully lives up to the expectations of his critics, readers, and fans of all ages and nationalities. "Memories of My Melancholy Whores" introduces us to a totally new genre of Garcia Marquez’s writing. It is a fairy tale for the aged – a story that celebrates the belated discovery of amorous passion in old age. This enticingly sensual yet at the same time innocent adventure tells of an unnamed second-rate reporter who on the eve of his 90th birthday decides to give himself ‘a night of mad love with a virgin adolescent’. In a little more than 100 pages, Garcia Marquez proceeds to describe a series of encounters that is hypnotizing and disturbing. When he first sees the chosen girl – a shy 14-year-old, whom he calls Delgadina – asleep, entirely naked, in the brothel room, his life begins to change completely. He never speaks to her nor does he learn anything about her, nor she of him. But her presence spurs the aged pensioner to recall his experiences with the other women in his life, all whores by profession, all paid to perform for him the acts of love. But now he realizes that ’sex is the consolation one has for not finding enough love’. Smitten, he screams of his love from the rooftops, which for him means writing about it in his weekly newspaper columns, and in return, he becomes the most famous man in his town. Love has always been a major theme in Garcia Marquez’s writing. It is often visualized in his fiction as a source of endurance, a bulwark against the rush of time’s passage. "In Love in the Time of Cholera", he celebrated a love that was almost fifty years in forming, modeling it on the courtship of his own grandparents. This last novel, written at the peak of the author’s fame, is another illustration of its transformative power. "Memories of My Melancholy Whores", written in Marquez’s incomparable style, movingly contemplates the misfortunes of old age and celebrates the joys of being in love.

MARILYN MONROE and the CAMERA

MARILYN MONROE and the CAMERA

Schirmer Art Books / 1989 / 176 pp /

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Many different, often contradictory, things have been written about Marilyn Monroe, but one truth remains constant — the camera loved her. Whether posing kittenishly in a pinup shot or dramatically for a classic portrait, this shy, vulnerable, enormously insecure woman was transformed by the lens. Marilyn posed for nearly every major photographer of her day, and this pictorial chronicle of her affair with the camera, featuring shots from Richard Avedon, Cecil Beaton, Henri Cartier-Bresson, Alred Eisentaedt, Elliott Erwitt, Philippe Halsman, Weegee, and thirty other artists, brings together the most beautiful and unusual images available. From her early days as a “fashion model” for ads and pinup calendars, through the film stills that follow her career as a minor actress and then major starlit, to the now-famous portraits by Avedon, and Cecil Beaton, as well as the paparazzi shots from the hordes of photographers who trailed her every move — Marilyn emerges in all her many moods: girlish and gay, sexy and serious, glamorous and girl-next-door. And, in a fascinating and revealing interview with French writer George Belmont, Marilyn sets the record straight about much of her early life, and about her ambitions, fears, and dreams. Jane Russell, Marilyn’s friend and co-star in 'Gentlemen Prefer Blondes', enhances this portrait with an affectionate foreword that describes what it was like to work with the young actress. Although we will never know the “real” Marilyn, this sumptuous volume goes a long way toward preserving the memory of an utterly unforgettable woman.

"A FEMININE CINEMATICS: Luce Irigaray, Women and Film"

"A FEMININE CINEMATICS: Luce Irigaray, Women and Film"

By Caroline Bainbridge / Palgrave Macmillan / 2008 / 222 pp /

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Drawing on the work of philosopher Luce Irigaray, this groundbreaking study intervenes in the debate around women and film. Women's films can be seen as providing a new arena for the exploration of sexual difference and patterns of representation and spectatorship. This timely book analyses films such as ‘The Piano’, ‘Orlando’, ‘Antonia's Line’ and ‘The Silences of the Palace’ in order to make the case that a ‘feminine cinematics’is now emerging through the scene of women's filmmaking. Caroline Bainbridge moves beyond the framework of textual analysis by making a compelling case for the importance of contextual elements in contemporary women's cinema, foregrounding issues of production, direction and reception.

“The Unimaginable Mathematics of Borges' LIBRARY OF BABEL” / William Goldbloom Bloch

“The Unimaginable Mathematics of Borges' LIBRARY OF BABEL” / William Goldbloom Bloch

Oxford University Press / 2008 / 212 pp /

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"The Library of Babel" is arguably Jorge Luis Borges' best known story - memorialized along with Borges on an Argentine postage stamp. Now, in "The Unimaginable Mathematics of Borges' Library of Babel", William Goldbloom Bloch takes readers on a fascinating tour of the mathematical ideas hidden within one of the Classic Works of Modern Literature / Written in the vein of Douglas R. Hofstadter's Pulitzer Prize-winning Godel, Escher, Bach, this original and imaginative book sheds light on one of Borges' most complex, richly layered works. Bloch begins each chapter with a mathematical idea - combinatorics, topology, geometry, information theory - followed by examples and illustrations that put flesh on the theoretical bones. In this way, he provides many fascinating insights into Borges' Library. He explains, for instance, a straightforward way to calculate how many books are in the Library - an easily notated but literally unimaginable number - and also shows that, if each book were the size of a grain of sand, the entire universe could only hold a fraction of the books in the Library. Indeed, if each book were the size of a proton, our universe would still not be big enough to hold anywhere near all the books / Given Borges' well-known affection for mathematics, this exploration of the story through the eyes of a humanistic mathematician makes a unique and important contribution to the body of Borgesian criticism. Bloch not only illuminates one of the great short stories of modern literature but also exposes the reader - including those more inclined to the literary world - to many intriguing and entrancing mathematical ideas.

"The Last Temptation of Christ" / Nikos Kazantzakis

"The Last Temptation of Christ" / Nikos Kazantzakis

Translated from the Greek By P.A. BIEN / A TOUCHSTONE BOOK / PUBLISHED BY SIMON AND SCHUSTER / 1960 / 308 pp /

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Nikos Kazantzakis states in the introduction to ‘The Last Temptation of Christ’, “This book is not a biography; it is the confession of every man who struggles.” He explains that the book explores the “dual substance of Christ,” the struggle between his flesh and spirit - the stronger the struggle the richer the final harmony. A struggle that he claims all men go through with Christ as the ultimate example / First published in 1960, the novel follows the life of Jesus Christ from the author's perspective. The novel has been the subject of a great deal of controversy due to its subject matter, and appears regularly on lists of banned books / The central thesis of the book is that Jesus, while free from sin, was still subject to every form of temptation that humans face, including fear, doubt, depression, reluctance, and lust. By facing and conquering all of man's weaknesses, Kazantzakis argues in the novel's preface, “He struggled to do God's will, without ever giving in to the temptations of the flesh”.

Ezra Pound - On "In a Station of the Metro"

Ezra Pound / On "In a Station of the Metro"

Three years ago in Paris I got out of a "metro" train at La Concorde, and saw suddenly a beautiful face, and then another and another, and then a beautiful child’s face, and then another beautiful woman, and I tried all that day to find words for what this had meant to me, and I could not find any words that seemed to me worthy, or as lovely as that sudden emotion. And that evening, as I went home along the Rue Raynouard, I was still trying and I found, suddenly, the expression. I do not mean that I found words, but there came an equation... not in speech, but in little splotches of colour. It was just that - a "pattern," or hardly a pattern, if by "pattern" you mean something with a "repeat" in it. But it was a word, the beginning, for me, of a language in colour. I do not mean that I was unfamiliar with the kindergarten stories about colours being like tones in music. I think that sort of thing is nonsense. If you try to make notes permanently correspond with particular colours, it is like tying narrow meanings to symbols.

That evening, in the Rue Raynouard, I realized quite vividly that if I were a painter, or if I had, often, that kind of emotion, of even if I had the energy to get paints and brushes and keep at it, I might found a new school of painting that would speak only by arrangements in colour.

And so, when I came to read Kandinsky’s chapter on the language of form and colour, I found little that was new to me. I only felt that someone else understood what I understood, and had written it out very clearly. It seems quite natural to me that an artist should have just as much pleasure in an arrangement of planes or in a pattern of figures, as in painting portraits of fine ladies, or in portraying the Mother of God as the symbolists bid us.

When I find people ridiculing the new arts, or making fun of the clumsy odd terms that we use in trying to talk of them amongst ourselves; when they laugh at our talking about the "ice-block quality" in Picasso, I think it is only because they do not know what thought is like, and they are familiar only with argument and gibe and opinion. That is to say, they can only enjoy what they have been brought up to consider enjoyable, or what some essayist has talked about in mellifluous phrases. They think only "the shells of thought," as de Gourmont calls them; the thoughts that have been already thought out by others

Any mind that is worth calling a mind must have needs beyond the existing categories of language, just as a painter must have pigments or shades more numerous than the existing names of the colours.

Perhaps this is enough to explain the words in my "Vortex": --

"Every concept, every emotion, presents itself to the vivid consciousness in some primary form. It belongs to the art of this form."

That is to say, my experience in Paris should have gone into paint. If instead of colour I had perceived sound or planes in relation, I should have expressed it in music or in sculpture. Colour was, in that instance, the "primary pigment"; I mean that it was the first adequate equation that came into consciousness. The Vorticist uses the "primary pigment." Vorticism is art before it has spread itself into flaccidity, into elaboration and secondary application.

What I have said of one vorticist art can be transposed for another vorticist art. But let me go on then with my own branch of vorticism, about which I can probably speak with greater clarity. All poetic language is the language of exploration. Since the beginning of bad writing, writers have used images as ornaments. The point of Imagisme is that it does not use images as ornaments. The image is itself the speech. The image is the word beyond formulated language.

I once saw a small child go to an electric light switch as say, "Mamma, can I open the light?" She was using the age-old language of exploration, the language of art. It was a sort of metaphor, but she was not using it as ornamentation.

One is tired of ornamentations, they are all a trick, and any sharp person can learn them.

The Japanese have had the sense of exploration. They have understood the beauty of this sort of knowing. A Chinaman said long ago that if a man can’t say what he has to say in twelve lines he had better keep quiet. The Japanese have evolved the still shorter form of the hokku.

"The fallen blossom flies back to its branch:

A butterfly."

That is the substance of a very well-known hokku. Victor Plarr tells me that once, when he was walking over snow with a Japanese naval officer, they came to a place where a cat had crossed the path, and the officer said," Stop, I am making a poem." Which poem was, roughly, as follows: --

"The footsteps of the cat upon the snow:

(are like) plum-blossoms."

The words "are like" would not occur in the original, but I add them for clarity.

The "one image poem" is a form of super-position, that is to say, it is one idea set on top of another. I found it useful in getting out of the impasse in which I had been left by my metro emotion. I wrote a thirty-line poem, and destroyed it because it was what we call work "of second intensity." Six months later I made a poem half that length; a year later I made the following hokku-like sentence: --

"The apparition of these faces in the crowd:

Petals, on a wet, black bough."

I dare say it is meaningless unless one has drifted into a certain vein of thought. With a poem of this sort, one is trying to record the precise instant when a thing outward and objective transforms itself, or darts into a thing inward and subjective.

"The Resurrection of the Body - Pier Paolo Pasolini, from Saint Paul to Sade"

"The Resurrection of the Body - Pier Paolo Pasolini, from Saint Paul to Sade"

Armando Maggi / The University of Chicago Press / 2009 / 420 pp /

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Italian novelist, poet, and filmmaker Pier Paolo Pasolini was brutally killed in Rome in 1975, a macabre end to a career that often explored humanity's capacity for violence and cruelty. Along with the mystery of his murderer's identity, Pasolini left behind a controversial but acclaimed oeuvre as well as a final quartet of beguiling projects that signaled a radical change in his aesthetics and view of reality. "The Resurrection of the Body" is an original and compelling interpretation of these final works: the screenplay "Saint Paul”, the scenario for "Porn-Theo-Colossal," the immense and unfinished novel "Petrolio," and his notorious final film, "Salo or the 120 Days of Sodom," a disturbing adaptation of the writings of the Marquis de Sade. Together these works, Armando Maggi contends, reveals Pasolini's obsession with sodomy and its role within his apocalyptic view of Western society. One of the first studies to explore the ramifications of Pasolini's works, "The Resurrection of the Body" also breaks new ground by putting this work into fruitful conversation with an array of other thinkers such as Freud, Strindberg, Henri Michaux, and Norman O. Brown.

Observations on Film Art

Observations on Film Art

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~ David Bordwell's Website on Cinema ~

“TRISTES TROPIQUES” / CLAUDE LEVI-STRAUSS

“TRISTES TROPIQUES” / CLAUDE LEVI-STRAUSS

Download the "eBook" at /LIBRARY OF BABEL/ Claude Levi-Strauss’s groundbreaking study of the societies of a number of Amazonian peoples is a cornerstone of ‘structural anthropology’ and an exploration by the author, of his own intellectual roots as a professor of philosophy in Brazil, before the Second World War, as a Jewish exile from Nazi-occupied Europe, and later as a world-renowned academic (he taught at "New York’s New School for Social Research" and was French cultural attache to the United States).

Levi-Strauss’s central journey leads from the Amazon basin through the dense upland jungles of Brazil. There, among the Amerindian tribes - the Caduveo, Bororo, Nambikwara, and Tupi-Kawahib - he found “a human society reduced to its most basic expression”. Levi-Strauss’s discussion of his fieldwork in “Tristes Tropiques” endures as a milestone of anthropology, but the book is also, in its brilliant diversions on other, more familiar cultures, a great work of literature, a vivid travelogue, and an engaging memoir - a demonstration of the marvelous mental agility of one of the century’s most important thinkers.

"MIND HACKS"

"Mind Hacks"

Neuroscience and Psychology, what's going on inside your brain? Check the "Mind Hacks" Blog...

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/Film Focus/ Film Magazine

/Film Focus/ Film Magazine
Concept & Design: Satheesh Balachandran
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The Literary Bohemian

The Literary Bohemian

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{...} Travel equals desire, the intoxicating fog of temptation or the relief of survival. I once knew only travel, not arrival. I knew I could flee, but how could I picture myself five weeks older, three flights up a crooked staircase? I sleep between bell towers now, and my dreams click forward with their chimes. Today is a celebration of many things, because with November, Literary Bohemian reaches its one year birthday. We might wonder where we have arrived, but we will not pause before saying, "We are happy; this is good".

– CL

~ My DeskTop, My Comp ~

~ In praise of Comp ~ My DeskTop, My Comp ~

Computers have the wonderful texture of smooth 'plastic' and warm 'aluminum'. They often smell of toasted dust and ozone. They emit a soothing hum and occasionally the soft ratcheting of a hard drive turning, much like the pleasing noises of my housecat when she lounges at my feet. A good keyboard feels tight and reassuring under my fingers. And a properly-set viewscreen illuminates the room, as well as my mind, with a calming glow that reassures me that "I am not alone in the world". Never let it be said that there is no texture, context or feeling to computers. They are the textures of the modern world, no less valid than any era of the past. {pardon me for 'glorifying' the "eBooks"; in fact, I had already posted many 'posts' "In Praise of the Smell of (real)books"... it's just that "I beg to differ", for a change}...

Are 'Documentary Films' entirely 'Work of Art'?

Are 'Documentary Films' entirely 'Work of Art'?

~ Documentary Films are not entirely Work of Art ~ Documentary Films, strictly speaking, are non-fictional, "slice of life" factual works of art - and sometimes known as 'cinema verite'. For many years, as films became more narrative-based, documentaries branched out and took many forms since their early beginnings - some of which have been termed propagandistic or non-objective. But, still, Documentary Films are not entirely Work of Art, with the sole exceptions of a Night and Fog, a Robert Flaherty, A Man with a Movie Camera, A Land Without Bread, A Last Waltz, A Koyaanisqatsi, A Baraka, A View from a Grain of Sand, or Avenge, but One of My Two Eyes.

~ The dilemma is that everybody is a documentary filmmaker now; anybody with a movie camera could produce documentary films. The World is full of subjects and topics, howling to be heard, struggling to be seen. But are the 'results' and 'representations' truly Artistic? People fail to distinguish between the 'propagandistic' manoeuvrings and sublime and noble Art. It's high time we change the name to "Propaganda Films", and never associate the term "Art" with the Documentary Genre.

~ Shadows Formless ~

~ Shadows Formless ~ "Aroopiyaaya NizhalukaL"

"Little Mag"

~ A Woman, Her Child, and 'A Rifle' of First World War Vintage ~

~ Civil militia member, 'Doda', Kashmir, photo by DILIP BANERJEE ~

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Don’t know what it says about ourselves, but every time we do an issue on security, we put a Madonna with a gun on the cover. The Terror issue had the yet uncelebrated Banksy’s raffish stencil art, for instance, featuring Mona Lisa in overdrive with an RPG launcher.

This issue’s cover is more sobering. The Madonna and child are from a village in Doda, in Kashmir. After too many villagers — including her husband — were killed by terrorists, the village formed a civil militia of its own. She is one of its number, prepared to hold off attacks by trained guerrillas bearing modern military weapons, armed only with a rifle of First World War vintage, and hindered by the small distraction of the child slung at her back.

In conflict zones throughout the region, people caught between the security forces, government and insurgents, have to make difficult choices for their own safety. But this is only at the bleeding edge of our security problem. Terrorism and insurgency dominate the headlines, crowding out more endemic human security problems which affect the majority of people in this region.

A long history of poverty, aggravated by the caste system, reduces or denies access to education, nutrition, health-care and democratic freedoms. And now, progress is creating new categories of losers — economic and developmental refugees left behind in the race to privatize and globalize rapidly.

~ from The Little Magazine 'SECURITY' Issue 'Editorial' ~ Vol VII :
Issue 3 & 4 ~