odradek

DeRank : 8,55
DeAge™ : 7678 days • Here since 3 june 2005
Fëdor Michajlovic Dostoevskij Il Giocatore
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P.S. Another little thing came to my mind, regarding Landolfi, which I share in favor of a user I hope will bring a smile, despite the apparent "seriousness": my Tommasino used to frequent the café "Giubbe Rosse" in Florence (http://www.giubberosse.it/home.asp#), a meeting place for famous writers and literary critics (even Carlo Bo used to hang out there). One of them, speaking of him, recalls that, already seriously ill, when someone said goodbye with "See you tonight for dinner," he responded with a smile and the phrase "Of course, cancer permitting." And then my Tommasino would leave, elegant and full of debts.
Fëdor Michajlovic Dostoevskij Il Giocatore
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Well, who would have ever thought: the norite of ZZZZZZZZZZZZZZZZZZZZ is now chronic! @ Lukin: but start with Gogol, with the stories, you won’t be able to resist. Goodness, you have them right there at hand! - I’ll dive into the translation matter: just starting from Gogol, and the stories, I suggest a comparative reading of a few pages between any of the other translations and that of Tommaso Landolfi. My dear Tommaso has done quite a few, not just from Russian, but especially from the Russians: Gogol, of course, and Pushkin, Turgenev, Chekhov, Lermontov, Tolstoy, Dostoevsky, Leskov... Not all easily available, not always reprinted, but if you happen to find them, it’s worth indulging in. He was a peculiar type, my Tommaso, his pages are a gift to me every time, even if for some he is baroque and inconclusive (deplorable and even annoying aspects, for me, but not in my Tommasino: in Tommasino they become beautiful). And even in translating, his nature would come through. To give an example: the famous Gogol story known as "The Overcoat" in his translation is titled "The Cloak": Not just to be bizzzzzzzzzzzzzarre, but because according to his view, that was the word closest to the type of garment referred to in the text. It may seem trivial, but it really isn’t. And this attitude reflects throughout the text, and I like it. Strange, funny, that Vallecchi, the publisher who often urged him to work (Tommaso was lazy), didn’t push him for a translation of "The Gambler," it would have been almost tautological: it was him, Landolfi, the stubborn gambler who in one night won a fortune at the casino and gambled it all away, even losing the money to get home, forced to hitch a ride on a motorcycle in the dead of night. Another funny thing that comes to mind, regarding his translations, is an anecdote I read many years ago: during an official evening, like a reception at the embassy or a literary award, in Florence, if I remember right, a publisher speaking with a Russian noblewoman, who had seen Tommasino socializing, said to her, pointing at him: "He is one of our best translators from Russian," and she, astonished, replied: "Him? But that gentleman doesn’t know Russian!" And yet… - Forgive my excessive rambling, but when it comes to certain authors, one can become fond, and with others, true love can arise, one becomes devoted and ends up adoring every single, obvious, undeniable flaw, deficiency, or vice. And one tries, by every means and everywhere, to gain more adherents to a cult that should remain jealously secret and perverse. - Kisses to all.
Roberto Bolaño & A. G. Porta Consigli Di Un Discepolo Di Jim Morrison A Un Fanatico Di Joyce
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Everything, Bartle. I don't know this one, maybe start with The Savage Detectives as Kemosabe says and Chilean Nocturne. For the latter, order it directly from Sellerio (a quick phone call will do, you can find the number on their website) because they have very few copies in stock (it appears to be out of print elsewhere) but if you hurry, they’ll get one for you.
Stefano di Battista Parker's Mood
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A bit curious and a bit scared (!) by the brown tools... hi there
Dali's Car The Waking Hour
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Well, I have it on vinyl, and I haven't listened to it in ages. I was never convinced by it back then, and I don't think I would be now. But maybe I'll give it another shot... - Yes, when it came out I was surprised to find a cover almost identical to one of the Moody Blues (the album is Present) released a couple of years earlier, I think.
Takeshi Kitano Hana - Bi (Fiori di Fuoco)
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I liked it so much when it came out. Then I also bought the VHS. Then I lent it to a psychiatrist. Today I wanted to watch it again and I realized he never gave me back the VHS. Now I'm going to call him, you can't do that... damn, I don't have his number anymore....
Grant Wood American Gothic
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I appreciate the intent (obviously: I am surprised by Hetzer's peremptory tone, which he clearly has not grasped) to use the icon (which you have approached the painting as) to articulate a discourse that synthesizes in the conclusion and then reiterates among the comments (I confess I haven't read them all, and perhaps I am missing something...)
However, I do not agree at all: reducing conceptual art to a phenomenon "generated" by criticism and devoid of "intrinsic value" seems to me an excessive simplification that, avoiding engagement with specific historical and cultural elements underlying it, captures lateral aspects even in their objective degeneration, such as, precisely, the all-consuming and navel-gazing approaches of the critics' gurus. The painting in question and its persistence in our visual memory seem to me decidedly more paradigmatic of a pop conception of painting (I avoid the term art due to skin allergies, both literal and figurative) and of its perception and/or enjoyment. The phenomenon of "pop art" is capable of asserting itself even without the assistance of heavy critical apparatus due to a substantial adherence to the consumer's gaze. Without risks of misunderstanding, and without the possibility of triggering significant short circuits, at most enhanced by some disorienting detail, to make at least a little "curious" an image otherwise worthy of a box of chocolates (or soup) and ready for use, prior labeling of the price on the package. And, of course, very sellable even without the contribution of the "critical substrate that others provide." After this lengthy monologue, I reaffirm my appreciation for the page and look forward to more, hopeful. Bye!
James Abbott McNeill Whistler Arrangement in Grey and Black - The Artist's Mother
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Well, thank you for the page, which reminded me of a painter I had removed from my mind: I am "browsing" through a rich gallery of his works online and I think I will delve deeper. I also want to point out an exhibition from 2006/2007, dedicated to American painters in Paris between 1860 and 1900. Here is a photo gallery with 47 paintings: Special Exhibition Gallery - Americans in Paris, 1860-1900 - P.S. I am unaware of the connection with Mr. Bean, which piques my curiosity: does anyone have the time and desire to explain it?
Miles Davis In A Silent Way
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It works, just remove the space. A little thing that, I believe, should be witty...