Mahmoud Darwish, Unfortunately, It Was Paradise (trans. Munir Akash, Carolyn Forché, with Sinan Antoon and Amira El-Zein).
Richie Powell, George Morrow, Clifford Brown, Harold Land, and Max Roach in NYC, 1954. Photo by Herman Leonard.
Anonymous asked:
What movies are in the picturer of the "kind of aesthetic"? Just the ones from the pictures.
Row 1: Cries and Whispers, Death in Venice, The Sacrifice. Row 2: Color of Pomegrantes, Three Colors: Blue, Fellini's Roma. Row 3: Senso, Le Bonheur, Edvard Munch.
What are your favorite Arabic poems, if you have any?
These are some of my favorites:
- An Ocean Without Shore, Ibn ‘Arabi
- Fragment from Al-Buhturi’s Wolf
- From the Luzumiyat of al-Ma’arri
- From the Diwan of al-Ma’arri
- Reality, Rabia al-Basri
- Love, Rabia al-Basri
- The Enchanter of Dust: Psalm, Adonis
- The Wound, Adonis
- I Pray Behind My Shadow, Bahija Massri Adelbi
- The Spirit Bows to the Will of Love, Munir Mezyed
- The Manner of Sand, Mahmood al-Braikan
- Exculpation, Khalil Mutran
- Revolt Against the Sun, Nazik al-Mala’ika
- Myths, Nazik al-Mala’ika
- Who am I?, Nazik al-Mala’ika
- A Stranger at the Gulf, Badr Shakir al-Sayyab
- An Alphabetical Formation, Faraj Bayraqdar
- A couple of fragments from Sanieh Salh
- Sorrows of the Black City, Muhammad al-Fayturi
- Shadows, Wadih Sa’adah
- The Strange Grief, al-Shabbi
- A Storm in the Dark, al-Shabbi
- A Body, Al-Saddiq al-Raddi
- Annihilation, Muhammad Afifi Matar
- Fragments from ‘Quartet of Joy’, Muhammad Affifi Matar
- Mural, Mahmoud Darwish
- We Will Choose Sophocles, Mahmoud Darwish
- Clouds, Ounsi el-Hajj
- Smoke Bloom, Nadia Anjuman
- Boat to Lesbos, Nourri al-Jarrah
- Your body is my map, Nizar Qabbani
I can only stand here like a child and wonder and rejoice in silence when I'm out on the nearest hill, and down from the ether come the heights stepping closer and closer into the friendly valley whose slopes are thick with the evergreen of fir woods and whose floor is seamed through with lakes and streams, and that's where I live, in a garden, where under my window, willows and poplars stand by a clear water. I love to listen to at night when all is quiet and beneath the serene starry sky I write and think;
Friedrich Hölderlin in a letter to Heinrike Breunline, 23 February 1801 (from Essays and Letters, trans. Charlie Louth).
Anonymous asked:
Hello, what are your favourite animated films?
Tale of Tales, Hedgehog in the Fog, The Battle of Kerzhenets, The Fox and The Hare, Howl’s Moving Castle, Only Yesterday, Spirited Away, Kiki’s Delivery Service, Princess Mononoke, The Tales of Prince Achmed, 10-minute Mozart, The Three Wishes, Cybernetic Grandma, The Hand, Perfect Blue, A Country Doctor, Angel’s Egg, Asparragus, Fehérlófia, The Tale of the Princess Kaguya, The Man Who Planted Trees, Jumping, Fantasia, The Hunchback of Notre Dame, Beauty and the Beast, Alice in Wonderland, Watership Down, Cages, The Dream of a Ridiculous Man, Rusalka (Petrov), When the Wind Blows, The Flying House, Labyrinth, Composition in Blue, Comet in Moominland, A Charlie Brown Christmas, It’s the Great Pumpkin, Charlie Brown, Inspirace, Institute Benjamenta, The Snow Queen, Windy Day, The Snow Maiden, The Tale of Tsar Saltan, Polygon, Sirene, Legends of Peruvian Indians, Roman de Renard, Le Poulette, The Monkey King, Tyll the Giant, Hell, A Night on Bald Mountain, The Seasons of the Year (Ivan Ivanov-Vano), Toptyzhka, Rooty Toot Toot, Dead Time, The Pied Piper (Barta), Sirene, Laughter and Grief by the White Sea, The Wind in the Willows (1995), The Mighty River, Ballerina on the Boat, Briar-Rose or the Sleeping Beauty, Feelings from Mountain and Water, Castle in the Sky…
On Dangerous Ground, dir. Nicholas Ray, 1951.
Marguerite Duras, No More (trans. Richard Howard).
Сталкер (Stalker) , dir. Andrei Tarkovsky, 1979.
Marguerite Duras in 1955 by Robert Doisneau.
Сталкер (Stalker) , dir. Andrei Tarkovsky, 1979.
Anatoli Solonitsyn, Margarita Terekhova, Andrei Tarkovsky, and Oleg Yankovsky during rehearsals for Tarkovsky’s Hamlet at the Lenkom Theatre, 1976.
Mifune had a kind of talent I had never encountered before in the Japanese film world. It was, above all, the speed with which he expressed himself that was astounding. The ordinary Japanese actor might need ten feet of film to get across an impression; Mifune needed only three feet. The speed of his movements was such that he said in a single action what took ordinary actors three separate movements to express. He put forth everything directly and boldly, and his sense of timing was the keenest I had ever seen in a Japanese actor. And yet with all his quickness he also had surprisingly fine sensibilities. I know it sounds as if I am overpraising Mifune, but everything I am saying is true. [...] Anyway, I’m a person who is rarely impressed by actors, but in the case of Mifune, I was completely overwhelmed.
— Akira Kurosawa on Toshirō Mifune, Something Like an Autobiography (trans. Audie E. Bock).
Autograph manuscript of the chorus of Part II of Rachmaninoff's Kolokola (The Bells), Op. 35, c. 1936.
Mikhail Belov's statue of Nikolai Gogol on Malaya Konyushennaya street in St. Petersburg.
Nikolai Kremnev, Alexandre Benois, Boris Grigoriev, Tamara Karsavina, Sergei Diaghilev, Vaslav Nijinsky and Serge Lifar at the Paris Opera, 1920s