A THOUSAND WORDS - Alex Waterhouse-Hayward's blog on pictures, plants, politics and whatever else is on his mind.




 

On Writing
Saturday, April 01, 2017

M, Bella Vista, Provincia de Buenos Aires, March 18 2017Add caption



Some years ago I had the fortune to photograph and interview James Ellroy in Seattle for a Vancouver-based literary magazine. Ellroy told me that in some mornings he would open his ongoing manuscript and perhaps add or remove a comma here or there. He would then close his computer. He told me, “As long as you do something every day, even that small, it is still writing.”

For most of March I was either at a high school reunion at St. Ed’s in Austin, Texas or at a spring break trip to Buenos Aires with my wife Rosemary and younger granddaughter Lauren, 14.

Because of travel preparations and other stuff I did not blog for the whole month. Now that I am back I find myself postponing from one day to the next while remembering Ellroy.

There is little content in this “essay” but it is a beginning.

Of sorts.



Julio Cortázar - Instrucciones Para Subir Una Escalera
Friday, March 31, 2017



 
M- Bella Vista, Provincia de Buenos Aires, March 18 2017


Instrucciones para subir una escalera – Julio Cortázar (Translated into English version below)
  
Nadie habrá dejado de observar que con frecuencia el suelo se pliega de manera tal que una parte sube en ángulo recto con el plano del suelo, y luego la parte siguiente se coloca paralela a este plano, para dar paso a una nueva perpendicular, conducta que se repite en espiral o en línea quebrada hasta alturas sumamente variables. Agachándose y poniendo la mano izquierda en una de las partes verticales, y la derecha en la horizontal correspondiente, se está en posesión momentánea de un peldaño o escalón. Cada uno de estos peldaños, formados como se ve por dos elementos, se sitúa un tanto más arriba y adelante que el anterior, principio que da sentido a la escalera, ya que cualquiera otra combinación producirá formas quizá más bellas o pintorescas, pero incapaces de trasladar de una planta baja a un primer piso.


Las escaleras se suben de frente, pues hacia atrás o de costado resultan particularmente incómodas. La actitud natural consiste en mantenerse de pie, los brazos colgando sin esfuerzo, la cabeza erguida aunque no tanto que los ojos dejen de ver los peldaños inmediatamente superiores al que se pisa, y respirando lenta y regularmente. Para subir una escalera se comienza por levantar esa parte del cuerpo situada a la derecha abajo, envuelta casi siempre en cuero o gamuza, y que salvo excepciones cabe exactamente en el escalón. Puesta en el primer peldaño dicha parte, que para abreviar llamaremos pie, se recoge la parte equivalente de la izquierda (también llamada pie, pero que no ha de confundirse con el pie antes citado), y llevándola a la altura del pie, se le hace seguir hasta colocarla en el segundo peldaño, con lo cual en éste descansará el pie, y en el primero descansará el pie. (Los primeros peldaños son siempre los más difíciles, hasta adquirir la coordinación necesaria. La coincidencia de nombre entre el pie y el pie hace difícil la explicación. Cuídese especialmente de no levantar al mismo tiempo el pie y el pie).


Llegado en esta forma al segundo peldaño, basta repetir alternadamente los movimientos hasta encontrarse con el final de la escalera. Se sale de ella fácilmente, con un ligero golpe de talón que la fija en su sitio, del que no se moverá hasta el momento del descenso.



Instructions on How to Climb a Staircase – Julio Cortázar


No one will have failed to observe that the floor frequently folds up in such a manner that one part rises at a right angle to the ground and later the next part is placed parallel to it, then giving rise to a new perpendicular – a behavior which is repeated in a spiral or in broken line up to exceedingly variable heights. Bending down and putting the left hand on one of these vertical parts and the right hand on the corresponding horizontal, you shall be momentarily in possession of a “step.” Each one of these steps, formed by those two elements, is situated as equally higher and forward as the preceding one, a principle which makes sense out of the stairs since any other combination would produce forms which perhaps would be more beautiful or picturesque albeit incapable of connecting the first floor to the second.

Staircases are climbed from the front since backward or sideways would be particularly uncomfortable. The natural posture consists of remaining in a standing position, arms comfortably at the side, head upright yet not lifted so high that the eyes cannot see the following step, breathing slowly and regularly. You begin climbing the staircase by lifting that part of the body situated to the bottom right, which is almost always wrapped in leather or suede, and that with few exceptions fits exactly on top of the stair. With that aforementioned part placed on the first step (which for convenience’s sake we shall call a “foot”), take its equivalent part on the left side of the body (also called a “foot,” but do not confuse it with the previously mentioned foot), and carrying it highly, continue forward until it is placed upon the second step so that it rests there, while the other foot rests upon the first step. (The first steps are always the most difficult until you can acquire the proper coordination. The coincidence of the names foot and foot makes the explanation cumbersome. Take special care not to raise the foot and the foot at the same time).



Julio Cortázar - Instrucciones para subir una escalera al revés
Thursday, March 30, 2017



Instrucciones para subir una escalera al revés
Julio Cortázar

En un lugar de la bibliografía del que no quiero acordarme, se explicó alguna vez que hay escaleras para subir y escaleras para bajar; lo que no se dijo entonces es que también puede haber escaleras para ir hacia atrás. Los usuarios de estos útiles artefactos comprenderán, sin excesivo esfuerzo, que cualquier escalera va hacia atrás si uno la sube de espaldas, pero lo que en esos casos está por verse es el resultado de tan insólito proceso. Hágase la prueba con cualquier escalera exterior. Vencido el primer sentimiento de incomodidad e incluso de vértigo, se descubrirá a cada peldaño un nuevo ámbito que, si bien forma parte del ámbito del peldaño precedente, al mismo tiempo lo corrige, lo critica y lo ensancha. Piénsese que muy poco antes, la última vez que se había trepado en la forma usual por esa escalera, el mundo de atrás quedaba abolido por la escalera misma, su hipnótica sucesión de peldaños; en cambio, bastará subirla de espaldas para que un horizonte limitado al comienzo por la tapia del jardín, salte ahora hasta el campito de los Peñaloza, abarque luego el molino de la Turca, estalle en los álamos del cementerio y, con un poco de suerte, llegue hasta el horizonte de verdad, el de la definición que nos enseñaba la señorita de tercer grado. ¿Y el cielo? ¿Y las nubes? Cuéntelas cuando esté en lo más alto, bébase el cielo que le cae en plena cara desde su inmenso embudo. A lo mejor después, cuando gire en redondo y entre en el piso alto de su casa, en su vida doméstica y diaria, comprenderá que también allí había que mirar muchas cosas en esa forma, que también en una boca, un amor, una novela, había que subir hacia atrás. Pero tenga cuidado, es fácil tropezar y caerse. Hay cosas que sólo se dejan ver mientras se sube hacia atrás y otras que no quieren, que tienen miedo de ese ascenso que las obliga a desnudarse tanto; obstinadas en su nivel y en su máscara se vengan cruelmente del que sube de espaldas para ver lo otro, el campito de los Peñaloza o los álamos del cementerio. Cuidado con esa silla; cuidado con esa mujer.






Via Crucis - La Señal de la Cruz
Wednesday, March 29, 2017





La Recoleta, Buenos Aires - March 14 2017

Somehow Christ’s cross has followed me all my life. From seeing my grandmother pray with her rosary,  to having been under the influence of the Brothers of Holy Cross for five years, the cross has always been in my memory. My mentor Brother Edwin Reggio, C.S.C.'s,  last initials, in fact mean congregation of holy cross in Latin.

Every time I have visited the Buenos Aires cemetery of La Recoleta I find something new to inspire me. A few weeks back when Rosemary, my granddaughter Lauren, 14 and I were in Buenos Aires we went to La Recoleta in search of cats. We found a few which will appear in another blog. I was immediately hit (it was a sunny and very hot day) by the inspiration of cross shadows. The last one here is not at La Recoleta but one I found inside the Catedral Metropolitana on Plaza de Mayo.

La Recoleta I  
La Recoleta II 
La  Recoleta III 
La Recoleta IV 
La Recoleta V 
La Recoleta VI 
La Recoleta & Emily Dickinson 
And a very special cross 




 Cristo En La Cruz (Translation into English follows)
Jorge Luis Borges

Cristo en la cruz. Los pies tocan la tierra.
Los tres maderos son de igual altura.
Cristo no está en el medio. Es el tercero.
La negra barba pende sobre el pecho.
El rostro no es el rostro de las láminas.
Es áspero y judío. No lo veo
y seguiré buscándolo hasta el día
último de mis pasos por la tierra.
El hombre quebrantado sufre y calla.
La corona de espinas lo lastima.
No lo alcanza la befa de la plebe
que ha visto su agonía tantas veces.
La suya o la de otro. Da lo mismo.
Cristo en la cruz. Desordenadamente
piensa en el reino que tal vez lo espera,
piensa en una mujer que no fue suya.
No le está dado ver la teología,
la indescifrable Trinidad, los gnósticos,
las catedrales, la navaja de Occam,
la púrpura, la mitra, la liturgia,
la conversión de Guthrum por la espada,
la inquisición, la sangre de los mártires,
las atroces Cruzadas, Juana de Arco,
el Vaticano que bendice ejércitos.
Sabe que no es un dios y que es un hombre
que muere con el día. No le importa.
Le importa el duro hierro con los clavos.
No es un romano. No es un griego. Gime.
Nos ha dejado espléndidas metáforas
y una doctrina del perdón que puede
anular el pasado. (Esa sentencia
la escribió un irlandés en una cárcel.)
El alma busca el fin, apresurada.
Ha oscurecido un poco. Ya se ha muerto.
Anda una mosca por la carne quieta.
¿De qué puede servirme que aquel hombre
haya sufrido, si yo sufro ahora?




Christ on the Cross
Jorge Luis Borges
Translated by A.Z. Foreman

Christ on the cross. The feet touch solid earth.
The three beams made of wood are the same height.
Christ is not in the middle. He's the third.
The black beard hangs down heavy over his chest.
His face is not the face from the engravings.
It's harsh and Jewish. I do not see him
And will keep questing for him till the final
Day of my steps falling upon this earth.
The broken man is suffering and silent.
The cutting crown of thorns is hurting him.
He's unreached by the jeering of the mob
Which has so often seen his agonies.
His or another's. It is the same thing.
Christ on the cross. Confusedly he thinks
About the kingdom that perhaps awaits him,
About the woman that was never his.
It's not for him to see Theology,
The indecipherable Trinity,
The Gnostics, the cathedrals, Occam's razor,
The purple, the mitre, the liturgy,
Guthrum's conversion by the sword of Alfred,
The Inquisition hallowed, blood of martyrs,
Crusade atrocities, young Joan of Arc
Afire, the Vatican that blesses armies.
He knows he is no god and is a man
That dies with day. To him it is no matter.
What matters is the nails' hard piercing iron.
He's not a Roman. Not a Greek. He moans.
He has left us some splendid metaphors
And a doctrine of pardon with the power
To cancel out the past. (This is a dictum
Written down by an Irishman in gaol.)
The soul seeks for the end, frenetically.
It has grown dark a bit. Now he is dead.
A fly walks up across the flesh in quiet.
What good does it all do me that that man
Has suffered so, when I am suffering now?


































     

Previous Posts
Open Letter to the Honourable David Eby, Premier o...

Bach - Buxtehude & Infinity

My Rosemary's Two Faces

Arthur Erickson - My Rosemary & Felix Candela's Hy...

The Musicality of Seeing - Tiko Kerr

My Early Easter Lillies - Rosemary Would Have Smiled

The Fly Enters an Open Mouth

Three Baroque Musicians, One Donkey & a Duke (me)

Bless My Two Daughters & My Two Cats, Too

Rosemary's Corsican Hellebore & Napoleon



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9/30/12 - 10/7/12

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10/14/12 - 10/21/12

10/21/12 - 10/28/12

10/28/12 - 11/4/12

11/4/12 - 11/11/12

11/11/12 - 11/18/12

11/18/12 - 11/25/12

11/25/12 - 12/2/12

12/2/12 - 12/9/12

12/9/12 - 12/16/12

12/16/12 - 12/23/12

12/23/12 - 12/30/12

12/30/12 - 1/6/13

1/6/13 - 1/13/13

1/13/13 - 1/20/13

1/20/13 - 1/27/13

1/27/13 - 2/3/13

2/3/13 - 2/10/13

2/10/13 - 2/17/13

2/17/13 - 2/24/13

2/24/13 - 3/3/13

3/3/13 - 3/10/13

3/10/13 - 3/17/13

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3/31/13 - 4/7/13

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4/21/13 - 4/28/13

4/28/13 - 5/5/13

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5/26/13 - 6/2/13

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7/28/13 - 8/4/13

8/4/13 - 8/11/13

8/11/13 - 8/18/13

8/18/13 - 8/25/13

8/25/13 - 9/1/13

9/1/13 - 9/8/13

9/8/13 - 9/15/13

9/15/13 - 9/22/13

9/22/13 - 9/29/13

9/29/13 - 10/6/13

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10/13/13 - 10/20/13

10/20/13 - 10/27/13

10/27/13 - 11/3/13

11/3/13 - 11/10/13

11/10/13 - 11/17/13

11/17/13 - 11/24/13

11/24/13 - 12/1/13

12/1/13 - 12/8/13

12/8/13 - 12/15/13

12/15/13 - 12/22/13

12/22/13 - 12/29/13

12/29/13 - 1/5/14

1/5/14 - 1/12/14

1/12/14 - 1/19/14

1/19/14 - 1/26/14

1/26/14 - 2/2/14

2/2/14 - 2/9/14

2/9/14 - 2/16/14

2/16/14 - 2/23/14

2/23/14 - 3/2/14

3/2/14 - 3/9/14

3/9/14 - 3/16/14

3/16/14 - 3/23/14

3/23/14 - 3/30/14

3/30/14 - 4/6/14

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4/20/14 - 4/27/14

4/27/14 - 5/4/14

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5/25/14 - 6/1/14

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9/21/14 - 9/28/14

9/28/14 - 10/5/14

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10/26/14 - 11/2/14

11/2/14 - 11/9/14

11/9/14 - 11/16/14

11/16/14 - 11/23/14

11/23/14 - 11/30/14

11/30/14 - 12/7/14

12/7/14 - 12/14/14

12/14/14 - 12/21/14

12/21/14 - 12/28/14

12/28/14 - 1/4/15

1/4/15 - 1/11/15

1/11/15 - 1/18/15

1/18/15 - 1/25/15

1/25/15 - 2/1/15

2/1/15 - 2/8/15

2/8/15 - 2/15/15

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2/22/15 - 3/1/15

3/1/15 - 3/8/15

3/8/15 - 3/15/15

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3/22/15 - 3/29/15

3/29/15 - 4/5/15

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4/19/15 - 4/26/15

4/26/15 - 5/3/15

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5/24/15 - 5/31/15

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9/20/15 - 9/27/15

9/27/15 - 10/4/15

10/4/15 - 10/11/15

10/18/15 - 10/25/15

10/25/15 - 11/1/15

11/1/15 - 11/8/15

11/8/15 - 11/15/15

11/15/15 - 11/22/15

11/22/15 - 11/29/15

11/29/15 - 12/6/15

12/6/15 - 12/13/15

12/13/15 - 12/20/15

12/20/15 - 12/27/15

12/27/15 - 1/3/16

1/3/16 - 1/10/16

1/10/16 - 1/17/16

1/31/16 - 2/7/16

2/7/16 - 2/14/16

2/14/16 - 2/21/16

2/21/16 - 2/28/16

2/28/16 - 3/6/16

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3/13/16 - 3/20/16

3/20/16 - 3/27/16

3/27/16 - 4/3/16

4/3/16 - 4/10/16

4/10/16 - 4/17/16

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4/24/16 - 5/1/16

5/1/16 - 5/8/16

5/8/16 - 5/15/16

5/15/16 - 5/22/16

5/22/16 - 5/29/16

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7/24/16 - 7/31/16

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8/21/16 - 8/28/16

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10/23/16 - 10/30/16

10/30/16 - 11/6/16

11/6/16 - 11/13/16

11/13/16 - 11/20/16

11/20/16 - 11/27/16

11/27/16 - 12/4/16

12/4/16 - 12/11/16

12/11/16 - 12/18/16

12/18/16 - 12/25/16

12/25/16 - 1/1/17

1/1/17 - 1/8/17

1/8/17 - 1/15/17

1/15/17 - 1/22/17

1/22/17 - 1/29/17

1/29/17 - 2/5/17

2/5/17 - 2/12/17

2/12/17 - 2/19/17

2/19/17 - 2/26/17

2/26/17 - 3/5/17

3/5/17 - 3/12/17

3/12/17 - 3/19/17

3/19/17 - 3/26/17

3/26/17 - 4/2/17

4/2/17 - 4/9/17

4/9/17 - 4/16/17

4/16/17 - 4/23/17

4/23/17 - 4/30/17

4/30/17 - 5/7/17

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5/14/17 - 5/21/17

5/21/17 - 5/28/17

5/28/17 - 6/4/17

6/4/17 - 6/11/17

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7/2/17 - 7/9/17

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7/23/17 - 7/30/17

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8/20/17 - 8/27/17

8/27/17 - 9/3/17

9/3/17 - 9/10/17

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9/17/17 - 9/24/17

9/24/17 - 10/1/17

10/1/17 - 10/8/17

10/8/17 - 10/15/17

10/15/17 - 10/22/17

10/22/17 - 10/29/17

10/29/17 - 11/5/17

11/5/17 - 11/12/17

11/12/17 - 11/19/17

11/19/17 - 11/26/17

11/26/17 - 12/3/17

12/3/17 - 12/10/17

12/10/17 - 12/17/17

12/17/17 - 12/24/17

12/24/17 - 12/31/17

12/31/17 - 1/7/18

1/7/18 - 1/14/18

1/14/18 - 1/21/18

1/21/18 - 1/28/18

1/28/18 - 2/4/18

2/4/18 - 2/11/18

2/11/18 - 2/18/18

2/18/18 - 2/25/18

2/25/18 - 3/4/18

3/4/18 - 3/11/18

3/11/18 - 3/18/18

3/18/18 - 3/25/18

3/25/18 - 4/1/18

4/1/18 - 4/8/18

4/8/18 - 4/15/18

4/15/18 - 4/22/18

4/22/18 - 4/29/18

4/29/18 - 5/6/18

5/6/18 - 5/13/18

5/13/18 - 5/20/18

5/20/18 - 5/27/18

5/27/18 - 6/3/18

6/3/18 - 6/10/18

6/10/18 - 6/17/18

6/17/18 - 6/24/18

6/24/18 - 7/1/18

7/1/18 - 7/8/18

7/8/18 - 7/15/18

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7/22/18 - 7/29/18

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8/19/18 - 8/26/18

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9/16/18 - 9/23/18

9/23/18 - 9/30/18

9/30/18 - 10/7/18

10/7/18 - 10/14/18

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10/21/18 - 10/28/18

10/28/18 - 11/4/18

11/4/18 - 11/11/18

11/11/18 - 11/18/18

11/18/18 - 11/25/18

11/25/18 - 12/2/18

12/2/18 - 12/9/18

12/9/18 - 12/16/18

12/16/18 - 12/23/18

12/23/18 - 12/30/18

12/30/18 - 1/6/19

1/6/19 - 1/13/19

1/13/19 - 1/20/19

1/20/19 - 1/27/19

1/27/19 - 2/3/19

2/3/19 - 2/10/19

2/10/19 - 2/17/19

2/17/19 - 2/24/19

3/3/19 - 3/10/19

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3/17/19 - 3/24/19

3/24/19 - 3/31/19

3/31/19 - 4/7/19

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4/21/19 - 4/28/19

4/28/19 - 5/5/19

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5/19/19 - 5/26/19

5/26/19 - 6/2/19

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7/21/19 - 7/28/19

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11/24/19 - 12/1/19

12/1/19 - 12/8/19

12/8/19 - 12/15/19

12/15/19 - 12/22/19

12/22/19 - 12/29/19

12/29/19 - 1/5/20

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1/19/20 - 1/26/20

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2/23/20 - 3/1/20

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3/22/20 - 3/29/20

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11/8/20 - 11/15/20

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11/22/20 - 11/29/20

11/29/20 - 12/6/20

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12/20/20 - 12/27/20

12/27/20 - 1/3/21

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1/17/21 - 1/24/21

1/24/21 - 1/31/21

2/7/21 - 2/14/21

2/14/21 - 2/21/21

2/21/21 - 2/28/21

2/28/21 - 3/7/21

3/7/21 - 3/14/21

3/14/21 - 3/21/21

3/21/21 - 3/28/21

3/28/21 - 4/4/21

4/4/21 - 4/11/21

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4/25/21 - 5/2/21

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5/9/21 - 5/16/21

5/16/21 - 5/23/21

5/30/21 - 6/6/21

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11/21/21 - 11/28/21

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11/20/22 - 11/27/22

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