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




 

Fuera de lugar - Out of place
Saturday, November 10, 2018






Fuera de lugar - Espejos. Eduardo Galeano



Una típica escena de domingo es el cuadro que da fama a Edouard Manet: dos hombres y dos mujeres en un picnic sobre hierba, en las afueras de parís.

Nada de raro, salvo un detalle. Ellos están vestidos, impecables caballero, y ellas están completamente desnudas. Ellos conversan entre sí, algún tema serio, cosa de hombres, y ellas tienen menos importancia que los arboles del paisaje.



La mujer que aparece en primer plano nos está mirando. Quizá nos pregunta, desde su ajenidad, dónde estoy, qué hago yo aquí.

Ellas sobran. Y no sólo en el cuadro.

Out of place



The painting that gave fame to Edouard Manet, is a typical Sunday gathering: two men and two women at a picnic outside, in the outskirts of Paris. Nothing is out of the ordinary, except for one detail. They are impeccably dressed gentlemen and they, the women, are completely naked. They are conversing some serious subject, a thing of men, and they, the women, are less important than the trees of the landscape.



The woman on the foreground is looking at us. Perhaps she is asking us about her being out of place, where am I, and what am I doing here.They are superfluous. And not only in the painting.





Alfonsina
Friday, November 09, 2018





1935, Buenos Aires , Alfonsina. - Eduardo Galeano





A la mujer que piensa se le secan los ovarios. Nace  la mujer para

producir leche y lágrimas, no ideas, y no para vivir la vida sino para

espiarla desde las ventanas a medio cerrar. Mil veces se lo han

explicado y Alfonsina Storni nunca lo creyo. Sus versos más difundidos

protestan contra el macho enjaulador.



Cuando hace años llego a Buenos Aires desde provincias, Alfonsina traía unos

viejos zapatos de tacones torcidos y en el vientre un hijo sin padre

legal. En esta ciudad trabajo en lo que hubiera, y robaba formularios

del telegrafo para escribir sus tristezas. Mientras pulía las palabras,

verso a verso, noche a noche, cruzaba los dedos y besaba las barajas

que anunciaban viajes y herencias y amores.



El tiempo ha pasado, casi un cuarto de siglo, y nada le regalo la suerte.

Pero peleando a brazo partido Alfonsina ha sido capaz de abrirse paso

en el masculino mundo. Su cara de ratona traviesa nunca falta en las

fotos que congregan a los escritores argentinos mas ilustres.



Este año, en el verano, supo que tenía cáncer. Desde entonces escribe poemas

que hablan del abrazo del mar y de la casa que la espera allá en el

fondo, en la avenida de las madréporas.


Alfonsina Storni at the Café Tortoni

1935, Buenos Aires , Alfonsina. - Eduardo Galeano





If she thinks, a woman’s ovaries dry up. A woman is born to produce milk and tears, not ideas, and not to live life but only to spy at it from almost closed windows. This was explained to Alfonsina thousands of times but she never believed it. Her most popular poems protest the caging man.



When years ago she arrived to Buenos Aires from the provinces, Alfonsina brought old shoes with twisted heels and in her belly a son without a father. She worked at whatever in this city and she stole telegraph forms to write about her griefs. While she polished her words, line by line, night after night, she crossed her fingers and kissed the cards that announced  trips, inheritances and love.



Time has passed, almost a quarter of a century; and luck gave her nothing. But fighting it Alfonsina has managed to make her mark in a man’s world. Her naughty mouse face is always there in photographs that include the most illustrious Argentine writers.



This year [25 October 1938]  in the summer she learned she had cancer. Since then she has written poems about the sea’s embrace and the house that awaits there in its bottom, in an avenue of white coral.
My translation.



La Florista - The Florist
Thursday, November 08, 2018


 
Late afternoon in our Kerrisdale home - Philippe Halsman's photograph of Georgia O'Keefe


La Florista - Eduardo Galeano



Georgia O’Keefe vivió pintando, durante casi un siglo, y pintando murió.

Sus cuadros alzaron un jardín en la soledad del desierto.



Las flores de Georgia , clítoris, vulva, vaginas, pezones, ombligos, eran los cálices de una misa de acción de gracias por la alegría de haber nacido mujer.




The Florist



Georgia O’Keefe lived painting, during almost a century and painting she died.


Her paintings raised a garden in the solitude of the desert.



Georgia’s flowers, clitorises, vulvas, vaginas, nipples, belly buttons, were the chalices of a Thanksgiving Mass for the joy of having been born a woman.
My translation



Puntos de vista - Points of view
Wednesday, November 07, 2018


Cori Caulfield


Si Eva hubiera escrito el Génesis, ¿cómo sería la primera noche de amor del género humano? 

Eva hubiera empezado por aclarar que ella no nació de ninguna costilla, ni conoció a ninguna serpiente, ni ofreció manzanas a nadie, y que Dios nunca le dijo que parirás con dolor y tu marido te dominará. Que todas esas historias son puras mentiras que Adán contó a la prensa.
Mujeres - Puntos de Vista (6) – Eduardo Galeano

If Eve had written Genesis, how would that first night of human love been?

Eve would have made it clear that she was not born from a rib, nor did she know any snake, or offer apples to anybody, that God never told her that she was going to bear children with pain and that your husband would dominate you. All those stories are plain lies that Adam told the press.
My translation



Y de sorbitos me cuentes
Tuesday, November 06, 2018





Y de sorbitos me cuentes - María Catalina O'Reilly


¡Qué bien que llegues! Ando mordiéndome la lengua desde temprano. Hoy me han contado algo que seguro te va a causar gracia. Confieso que me molestó durante unas horas. No, no, no digas nada. Ya sé lo que me vas a decir: que me tiene que afectar menos lo que digan los demás, que tengo que armarme de paciencia, que si me enojo tanto me voy a arrugar toda. Pero mirá que venir a inquietar nuestro rincón de paz… ¿Es que no existe el respeto? A esta juventud la han criado distinto, ya lo decía tu tata. No tienen consideración por sus mayores.

Pero me voy por las ramas, ya conocés a tu chinita. ¡Y a vos, que venís del frío, ni te ofrezco algo caliente! Soy peor que ellos, ¿quién me habrá educado a mí? Dejá tu campera colgada en el perchero, y acércate a la estufa que te quiero ver bien.

¡Qué cambiados que estamos! A tus rasgos los borronea el tiempo; se afinaron tus labios, te ha cambiado el tranco. Si me pongo a pensar, casi ni me acuerdo de cómo solían ser.

Y yo… yo soy siempre la misma, algo más baqueteada también. La voz se me ha cascado, mis manos parecen rama de árbol viejo; puro nudo y corteza. Mi cintura aumentó algunos talles y en mi cabeza dicen que algo no anda bien. ¡Pero la gente dice tantas cosas!

Hoy estuve rumiando nuestras andanzas de ayer. ¿Te acordás? Éramos los dos tan chicos, sin otro zapato que el mundo a nuestros pies. ¡Qué añoranzas! El invierno invita siempre a abrir el baúl de mantas y recuerdos. Y sin embargo, podés creer, hoy me han dicho que no existen. Dicen que un abril juntaste unos borcegos, tu mate y el diario. Que ese viernes cruzaste nuestro umbral y ya no pudiste volver más.

Andá y deciles que no se vengan con cuenteras, que mi vida con vos no fue producto de fantasía. Andá, pero antes terminate tu té, que se enfría. 
Abotonaste tu campera, ocultando camisa y parte del pantalón. Qué curioso que sean los dos del mismo color; no te solía gustar el celeste. Te fuiste otra vez, dejaste tu taza sin tocar y, junto a ella, de nuevo esa pastilla.

Da igual –suspiro, tragando la pastilla- mañana será otro día. Y quizás mañana no te quedes parado junto a mi silla. Quizás hasta cuelgues tu campera y de a sorbitos me cuentes cómo es que estuvo tu día. Junto a la ventana te espera, sentada, tu María. 
         



La Cara - The Face
Monday, November 05, 2018




Below is a lovely and extremely erotic piece of literature, La cara, from Julio Cortázar’s Novel Rayuela (Hopscotch). I cannot think of any face that can match the intensity of Cortázar's excerptept this one of Sarita whom I photographed some years ago. She was both a belly dancer and a Flamenco dancer. But there was something about her face and those cheeks that made you realize that you were facing a face like no other.

Now that I am 76 I no longer have that urge (one that I had at one time) to show the erotic by parading the lovely bodies of beautiful women with not much on. With Eros now firmly in my head, and above the belt, I find that Eros is subtle and elegant. And yet one cannot but state as I state here that Sarita’s face is in your face.


La cara:

Toco tu boca, con un dedo toco el borde de tu boca, voy dibujándola como si saliera de mi mano, como si por primera vez tu boca se entreabriera, y me basta cerrar los ojos para deshacerlo todo y recomenzar, hago nacer cada vez la boca que deseo, la boca que mi mano elige y te dibuja en la cara, una boca elegida entre todas, con soberana libertad elegida por mí para dibujarla con mi mano entu cara, y que por un azar que no busco comprender coincide exactamente con tu boca que sonríe por debajo de la que mi mano te dibuja. Me miras, de cerca me miras, cada vez más de cerca y entonces jugamos al cíclope, nos miramos cada vez más de cerca y los ojos se agrandan, se acercan entre sí, se superponen y los cíclopes se miran, respirando confundidos, las bocas se encuentran y luchan tibiamente, mordiéndose con los labios, apoyando apenas la lengua en los dientes, jugando en sus recintos donde un aire pesado va y viene con un perfume viejo y un silencio. Entonces mis manos buscan hundirse en tu pelo, acariciar lentamente la  profundidad de tu pelo mientras nos besamos como si tuviéramos la boca llena de flores o de peces, de movimientos vivos, de fragancia oscura. Y si nos mordemos el dolor es dulce, y si nos ahogamos en un breve y terrible absorber simultáneo del aliento, esa instantánea muerte es bella. Y hay una sola saliva y un solo sabor a fruta madura, y yo te siento temblar contra mí como una luna en el agua.


Kodak b+w Infrared Film




     

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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2/24/13 - 3/3/13

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3/10/13 - 3/17/13

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3/24/13 - 3/31/13

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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8/4/13 - 8/11/13

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8/25/13 - 9/1/13

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9/29/13 - 10/6/13

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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

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2/23/14 - 3/2/14

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5/25/14 - 6/1/14

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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

2/15/15 - 2/22/15

2/22/15 - 3/1/15

3/1/15 - 3/8/15

3/8/15 - 3/15/15

3/15/15 - 3/22/15

3/22/15 - 3/29/15

3/29/15 - 4/5/15

4/5/15 - 4/12/15

4/12/15 - 4/19/15

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

4/17/16 - 4/24/16

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

5/29/16 - 6/5/16

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7/3/16 - 7/10/16

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7/24/16 - 7/31/16

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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

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4/16/17 - 4/23/17

4/23/17 - 4/30/17

4/30/17 - 5/7/17

5/7/17 - 5/14/17

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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7/16/17 - 7/23/17

7/23/17 - 7/30/17

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8/13/17 - 8/20/17

8/20/17 - 8/27/17

8/27/17 - 9/3/17

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9/17/17 - 9/24/17

9/24/17 - 10/1/17

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10/8/17 - 10/15/17

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10/22/17 - 10/29/17

10/29/17 - 11/5/17

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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

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5/13/18 - 5/20/18

5/20/18 - 5/27/18

5/27/18 - 6/3/18

6/3/18 - 6/10/18

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6/24/18 - 7/1/18

7/1/18 - 7/8/18

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7/15/18 - 7/22/18

7/22/18 - 7/29/18

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9/16/18 - 9/23/18

9/23/18 - 9/30/18

9/30/18 - 10/7/18

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10/21/18 - 10/28/18

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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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3/24/19 - 3/31/19

3/31/19 - 4/7/19

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4/21/19 - 4/28/19

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5/19/19 - 5/26/19

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7/21/19 - 7/28/19

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8/25/19 - 9/1/19

9/1/19 - 9/8/19

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9/22/19 - 9/29/19

9/29/19 - 10/6/19

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10/13/19 - 10/20/19

10/20/19 - 10/27/19

10/27/19 - 11/3/19

11/3/19 - 11/10/19

11/10/19 - 11/17/19

11/17/19 - 11/24/19

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

1/5/20 - 1/12/20

1/12/20 - 1/19/20

1/19/20 - 1/26/20

1/26/20 - 2/2/20

2/2/20 - 2/9/20

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2/23/20 - 3/1/20

3/1/20 - 3/8/20

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3/22/20 - 3/29/20

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11/8/20 - 11/15/20

11/15/20 - 11/22/20

11/22/20 - 11/29/20

11/29/20 - 12/6/20

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12/13/20 - 12/20/20

12/20/20 - 12/27/20

12/27/20 - 1/3/21

1/3/21 - 1/10/21

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

4/11/21 - 4/18/21

4/18/21 - 4/25/21

4/25/21 - 5/2/21

5/2/21 - 5/9/21

5/9/21 - 5/16/21

5/16/21 - 5/23/21

5/30/21 - 6/6/21

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6/27/21 - 7/4/21

7/4/21 - 7/11/21

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7/18/21 - 7/25/21

7/25/21 - 8/1/21

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11/21/21 - 11/28/21

11/28/21 - 12/5/21

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12/26/21 - 1/2/22

1/2/22 - 1/9/22

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1/23/22 - 1/30/22

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11/20/22 - 11/27/22

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