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




 

La casa tomada -Julio Cortázar
Thursday, April 02, 2020






Con mis 77 años creo que mi presente obsesión con todo lo relacionado con Julio Cortázar es una obsesión mágica y prometedora. Prometedora en el sentido si esta vez podré terminar de leer y de comprender algo de su Rayuela.

Lo que es increíble es que hay tantos cuentos de Cortázar narrados por él. Su dicción e inflexión es perfecta.

Viviendo aquí en Vancouver me siento aislado y triste de no poder compartir con mis amigos lo que es poder escuchar la voz de Cortázar.

Estas fotos las tomé en mi estudio aquí en pleno centro de Vancouver en la esquína de Granville con Robson. En frente de mi estudio había (lo han modificado y no es lo que fue) un edificio diseñado por Cesar Pelli. La luz de la tarde se reflejaba en lo que era una enorme pared de una cuadra sobre mi estudio.




La mujer en una de las fotos era una enfermera psiquiátrica llamada Jo-Anne. El hecho de que estaba acostada en un ex-diván psiquiátrico es pura coincidencia. Tranquilamente tomé muchas fotos de ella sin fijarme en las actividades de los peatones de en frente. Fue después, al examinar mis contactos de los negativos, que los vi. En ese momento pensé en ese cuento de Cortázar llamado La babas del diablo que fue inspiración para la película Blowup de Michelangelo Antonioni.  Modifiqué la foto de Joanne para no ofender a nadie y aquí están. Los peatones de la segunda foto me despertaron una similar obsesión a la del fotógrafo de la película.

Uno de los cuentos más impresionantes por los momentos de espanto, ocultos por la dicción hogareña de Cortázar es La casa tomada. Aquí un enlace:

La casa tomada

Otra coincidencia es que la Casa tomada estaba en la calle de Rodriguez Peña, la misma en donde vivía en un departamento mi abuelita en los años 50. 

Más Cortázar

Circe 
Como ojos que empezaban a abrirse más allá 



Devilled Eggs For April 1 2020
Wednesday, April 01, 2020





 In normal times even though there are only two of us (and two cats, Niño and Niña) when I cook (I have been the designated cook for years) I plan for family to drop in. That is not the case now.
So today when I was thinking of our day’s menu I thought of devilled eggs perhaps served with steamed vegetables on the side.

No devilled egg is ever very good unless it contains homemade mayonnaise. The recipe for it has always been in mother’s Recipe for Two – Mary Lou Glass – 1947 – John Wiley & Sons, Inc, New York – Chapman& Hall, Ltd. London.




Only in today’s scanning of the book for this blog have I found out that the author was living in Austin, Texas, a place I would know well by 1957.

There is no connection, besides a possible thought of Easter coming up, for eating devilled eggs today.

To make the devilled eggs I boil them for 8 minutes. I chop up very finely, red pepper, onion, celery and parsley. Once I mix that with the mayonnaise I garnish them with  cayenne pepper. I modify the Glass recipe by substituting the vinegar for lemon juice. I make sure the mustard is Keen's.






Incompetence & Where are Judas & HItler?
Tuesday, March 31, 2020



Brother Edwin Reggio, C.S.C. - Congregation of Holy Cross


In my April 1, 2020 NY Times Editorial –The Wall That Didn’t Stop Covid-19 I was shocked by the first paragraph:

Three weeks ago, with much of the United States already gearing up to limit the spread of the coronavirus, the Trump administration’s chief immigration judge sent a stern order to immigration courts nationwide to take down all public health posters, printed in English and Spanish, on how to deal with the pandemic. “Per our leadership,” the order said, immigration judges did not have the authority to post fliers. “If you see one (attached), please remove it.”

The rest of the editorial is even more damning but I had to stop and reflect on what I was reading.

Sometime in 1959 in our St. Ed’s High School religion class (we were unaware at the time that we were being taught Aristotelian and Thomistic [St. Thomas Aquinas] theology/philosophy with Brother Edwin Reggio, C.S.C. We thought we were tricking Brother Edwin by distracting him from  the day’s lecture by asking off-the-cuff questions. We thought we were wasting time before the next period which was lunch. Thinking back, I now understand that Brother Edwin welcomed our wasting his time because it gave us the opportunity to ask relevant questions.

One such day we asked a double-barrelled question, “Did Judas and Hitler go to hell?”

Brother Edwin in that calm voice of his began by telling us that every human being born is born with an inherent quality called dignity or human dignity. He stressed the inherent part of it telling us that this dignity is an important part of our makeup of being a human being.


Reading between the lines (he rarely mentioned God) we figured that what he meant is if God had picked those to be born, like any other human they had dignity. And that dignity cannot be taken away.

He finished off his lecture by telling us that he had no way of knowing if Judas and Hitler had gone to hell.

Reflecting again on Brother Edwin’s words it almost seems as he did not believe in the existence of evil and that Lucifer was by definition a fallen angel (off the wagon?). Brother Edwin in my memory lost his temper only twice. In all other times he was the model of placidity which he showed with a quiet smile.

After reading that NY Time editorial I grew angry. My anger dissipated when I thought of Brother Edwin and then I remembered what former Georgia Straight Editor and Vancouver Sun Editorial Board writer, Charles Campbell, told me once. We in the magazine and newspaper business could not understand the goings on in those past years as the paper deteriorated. We had all kinds of conspiracy theories. Campbell set me straight, “There is no conspiracy as that would assume that the so-called conspirators are intelligent. Plain in simple the debacle is due to incompetence.”

I believe he is right and thanks to him and to Brother Edwin I can go to bed a calmed old man.

The picture below I saw at a market in Buenos Aires in the late 1980s. It was the San Telmo Market and many went to it to look for SS and Nazi memorabilia. The man who had this framed picture told me it was not for sale but allowed me to photograph it. Is the man in the picture the man I think he is?  And where is he? Down there or up there?






I would not paint — a picture — I'd rather be the One
Monday, March 30, 2020




On September 21st  2009 my friend Kimberley Klass Spademan died by suicide. She was 40. I will never be able to figure out how such a sweet soul could leave without saying goodbye. She inspired me to take some of the best photographs of my life.

There is one occasion that will be impossible for me to ever forget and most of the series from that one session are here. She called me one day to tell me, “I have a new boyfriend called Glen and he is an artist. He paints.” In an instant I said, “I have an idea. Tell Glen to bring one of his thinnest paintbrushes and we will meet in my studio.”






I would not paint — a picture — (348)
By Emily Dickinson

I would not paint — a picture —
I'd rather be the One
It's bright impossibility
To dwell — delicious — on —
And wonder how the fingers feel
Whose rare — celestial — stir —
Evokes so sweet a torment —
Such sumptuous — Despair —

I would not talk, like Cornets —
I'd rather be the One
Raised softly to the Ceilings —
And out, and easy on —
Through Villages of Ether —
Myself endued Balloon
By but a lip of Metal —
The pier to my Pontoon —

Nor would I be a Poet —
It's finer — Own the Ear —
Enamored — impotent — content —
The License to revere,
A privilege so awful
What would the Dower be,
Had I the Art to stun myself
With Bolts — of Melody!









More Emily Dickinson: 

November left then clambered up
You cannot make remembrance grow
November
the maple wears a gayer scarf 
 A melancholy of a waning summer
Just as green and as white
It's full as opera
I cannot dance upon my Toes
a door just opened on the street 
Amber slips away
Sleep
When August burning low
Pink Small and punctual
A slash of blue
I cannot dance upon my toes
Ah little rose
For hold them, blue to blue
The colour of the grave is green
 Her Grace is not all she has  
To know if any human eyes were near
Linda Melsted - the music of the violin does not emerge alone
The Charm invests her face
A sepal, a petal and a thorn
The Savior must have been a docile Gentleman
T were blessed to have seen
There is no frigate like a book
I pay in satin cash
Emily Dickinson's White Dress & a Hunter of Lost Souls
El vestido blanco - The White Dress
Water makes many beds
 The viola da gamba
 But sequence ravelled out of reach
 A parasol is the umbrella's daughter
 Without the power to die
 Lessons on the piny
Ample make this bed
How happy is the little stone
 Sleep is supposed to be
The shutting of the eye
I dwell in possibility
when Sappho was a living girl
In a library
 A light exists in spring
The lady dare not lift her veil
 I took my power in my hand
 I find my feet have further goals
 I cannot dance upon my toes
The Music of the Violin does not emerge alone
Red Blaze 
He touched me, so I live to know
Rear Window- The Entering Takes Away
Said Death to Passion
 We Wear the Mask That Grins And Lies
It was not death for I stood alone
The Music in the Violin Does Not Emerge Alone
I tend my flowers for thee
Lavinia Norcross Dickinson
Pray gather me anemone! 
Ample make her bed
His caravan of red 
Me-come! My dazzled face  
Develops pearl and weed

But peers beyond her mesh
Surgeons must be very careful
Water is taught by thirst
I could not prove that years had feet
April played her fiddle
A violin in Baize replaced
I think the longest hour
The spirit lasts
http://blog.alexwaterhousehayward.com/2014/03/i-left-them-in-ground-emily-dickinson.html
http://blog.alexwaterhousehayward.com/2014/01/i-felt-my-life-with-both-my-hands.html
http://blog.alexwaterhousehayward.com/2011/03/currer-bell-emily-dickinson-charlotte.html

http://blog.alexwaterhousehayward.com/2011/03/and-zero-at-bone-with-dirks-of-melody.html
http://blog.alexwaterhousehayward.com/2011/05/charm-invests-her-face.html

http://blog.alexwaterhousehayward.com/2011/06/i-could-not-see-to-see.html 
http://blog.alexwaterhousehayward.com/2011/06/blonde-assasin-passes-on.html
http://blog.alexwaterhousehayward.com/2012/12/you-almost-bathed-your-tongue.html













 






Tus manos son mi caricia - Mario Benedetti
Sunday, March 29, 2020





Al fijarme en los desnudos que le hice a Joanne Chabot (su seudónimo) me vino la idea de enfocar en la gracia de sus manos. Es evidente que Chabot como la chica del mismo nombre ya olvidada del  Ballet de la Opera de Paris tienen la sangre de la bailarina en sus venas.

Upon reviewing the nudes I once took of Joanne Chabot (not her real name) I had the idea of focusing on her graceful hands. It is obvious that Joanne Chabot and her namesake, a forgotten ballerina of the 19th century Paris Opera Ballet, have dancers' blood running in their veins.

I Love You (English translation below)
Mario Benedetti

Tus manos son mi caricia
mis acordes cotidianos
te quiero porque tus manos
trabajan por la justicia.

Si te quiero es porque sos
mi amor mi cómplice y todo
y en la calle codo a codo
somos mucho más que dos.

Tus ojos son mi conjuro
contra la mala jornada
te quiero por tu mirada
que mira y siembra futuro.

Tu boca que es tuya y mía
tu boca no se equivoca
te quiero porque tu boca
sabe gritar rebeldía.

Si te quiero es porque sos
mi amor mi cómplice
y todo y en la calle codo a codo
somos mucho más que dos.

Y por tu rostro sincero
y tu paso vagabundo
y tu llanto por el mundo
porque sos pueblo te quiero.

Y porque amor no es aureola
ni cándida moraleja
y porque somos pareja
que sabe que no está sola.

Te quiero en mi paraíso
es decir que en mi país
la gente vive feliz
aunque no tenga permiso.

Si te quiero es porque sos
mi amor mi cómplice y todo
y en la calle codo a codo
somos mucho más que dos...




I Love You
by Mario Benedetti
Your hands are my caress
my daily reminders
I love you because your hands
work for justice

if I love you it's because you are
my love my accomplice and my everything
and in the street arm in arm
we are many more than two

your eyes are my spell
against a cursed day
I love you for your gaze
that looks and plants the future

your mouth that is yours and mine
your mouth doesn’t lie
I love you because your mouth
knows how to shout rebellion

if I love you it's because you are
my love my accomplice and my everything
and in the street arm in arm
we are many more than two

and for your open face
and your wanderer’s footstep
and your weeping for the world
because you are of the people I love you.

and because love is not a halo
nor morality tale
and because we are a couple
that knows it is not alone

I love you in my paradise
which is to say that in my ideal country
people live happily
without even having permission

if I love you it's because you are
my love my accomplice and my everything
and in the street arm in arm
we are many more than two



























     

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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7/24/11 - 7/31/11

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8/7/11 - 8/14/11

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8/21/11 - 8/28/11

8/28/11 - 9/4/11

9/4/11 - 9/11/11

9/11/11 - 9/18/11

9/18/11 - 9/25/11

9/25/11 - 10/2/11

10/2/11 - 10/9/11

10/9/11 - 10/16/11

10/16/11 - 10/23/11

10/23/11 - 10/30/11

10/30/11 - 11/6/11

11/6/11 - 11/13/11

11/13/11 - 11/20/11

11/20/11 - 11/27/11

11/27/11 - 12/4/11

12/4/11 - 12/11/11

12/11/11 - 12/18/11

12/18/11 - 12/25/11

12/25/11 - 1/1/12

1/1/12 - 1/8/12

1/8/12 - 1/15/12

1/15/12 - 1/22/12

1/22/12 - 1/29/12

1/29/12 - 2/5/12

2/5/12 - 2/12/12

2/12/12 - 2/19/12

2/19/12 - 2/26/12

2/26/12 - 3/4/12

3/4/12 - 3/11/12

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3/25/12 - 4/1/12

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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

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2/24/13 - 3/3/13

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7/28/13 - 8/4/13

8/4/13 - 8/11/13

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8/25/13 - 9/1/13

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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

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2/23/14 - 3/2/14

3/2/14 - 3/9/14

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11/30/14 - 12/7/14

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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

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11/8/15 - 11/15/15

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11/22/15 - 11/29/15

11/29/15 - 12/6/15

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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

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3/20/16 - 3/27/16

3/27/16 - 4/3/16

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4/24/16 - 5/1/16

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5/8/16 - 5/15/16

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5/22/16 - 5/29/16

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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

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2/19/17 - 2/26/17

2/26/17 - 3/5/17

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7/2/17 - 7/9/17

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9/24/17 - 10/1/17

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11/12/17 - 11/19/17

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12/3/17 - 12/10/17

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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

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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

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12/30/18 - 1/6/19

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1/20/19 - 1/27/19

1/27/19 - 2/3/19

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1/24/21 - 1/31/21

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2/21/21 - 2/28/21

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