Mostrando entradas con la etiqueta surrealism. Mostrar todas las entradas
Mostrando entradas con la etiqueta surrealism. Mostrar todas las entradas

miércoles, 11 de marzo de 2026

If the Great Heidelberg Tun had a stroke...

Les Misérables is the Great French Novel - I would also say Gargantua and Pantagruel fits the bill, but that one is a pentalogy saga, and Les Mis is a standalone. And I adore the Friends of the ABC and especially Courfeyrac and Grantaire <3 kyun (I am in the Les Mis fandom for a reason).

Courf is basically your garden-variety shonen protagonist crossed over with a 007 or similar British man of wealth and taste, and a little with Quentin Tarantino. A keet with a kitten motif, a Gascon who truly embodies the regional stereotype - he even has the sword cane for a musketeer or knight in shining armour! - and with a great sense of humour (always with a quip or pun on his lips). Add a little Mercutio to the Courf formula, and you have a character I completely identify with...

but, if Courfeyrac is my idealistic side, Grantaire is my cynical side, a depressed alcoholic artist (from Marseille in my headcanon), in unrequited love with the ephebe of a leader (I coined the term "Enjolsexual" for a good reason), an epicure and a comedian like Courf but it's only a mask in R's case (he signs only with a capital R, une grande R!).

In the dramatis personae "A Group which Failed to Become Historic," Hugo introduces us to R by mentioning his good taste in food and beverages, his knowledge of the Parisian nightlife...

Among all these passionate hotheads and true believers, there was one

cold-blooded skeptic. How did he get to be there? By juxtaposition. This skeptic’s name

was Grantaire and he normally signed with this rebus: R, for grand R,

capital R. Grantaire was a man who took good care not to believe in

anything. And he was one of the students who had got the most out of his

studies in Paris; he knew that the best coffee was in the Café Lemblin and

that the best billiard table was in the Café Voltaire; that you got good pancakes

and good wenches at L’Ermitage on the boulevard du Maine, the best fried

chickens at mère Saguet’s, excellent eel stews at the barrière de la

Cunette, and a certain light white wine at the barrière du Combat. For

everything, he knew all the best places; he also knew how to kickbox, both savate and chausson marseillais, and

make his way around a tennis court, a gymnasium, and a dance floor, and he was a natural

with a singlestick in stickfighting. A big drinker to boot.

And him being an "Enjolsexual:"

Still, this skeptic was fanatical about one thing. This one thing he was

fanatical about was neither an idea nor a dogma, neither an art nor a

science; it was a man: Enjolras. Grantaire admired, loved, and venerated

Enjolras. Who did this anarchic doubter rally to in this phalanx of

absolutists? To the most absolute. In what way did Enjolras enthrall him?

Through ideas? No. Through character. A phenomenon frequently

observed. A skeptic sticking to a believer—it is as elementary as the law of

complementary colours. What we lack attracts us. No one loves daylight

more than the blind. The dwarf girl adores the drum major. ...

Grantaire, in whom

doubt lurked, loved to see faith soar in Enjolras. He needed Enjolras.

held spellbound by that chaste, healthy, firm, upright, hard, candid

character. He admired, instinctively, his opposite. His limp, wavering,

disjointed, sick, deformed ideas attached themselves to Enjolras as to a

backbone. His moral spine leaned on that firm frame. Beside Enjolras,

Grantaire became somebody again. He was himself, in any case, composed

of two apparently incomptible elements. He was ironic and warmhearted.

His indifference was loving. His mind could do without faith, but his heart

could not do without friendship. A profound contradiction—for an

affection is a conviction. That was his nature. Some people seem born to be

the verso, the reverse, the flipside. They are Pollux, Patroclus, Nisus,

Eudamidas, Hephaestion, Pechméja. They can live only on condition of

leaning on someone else; their name is a sequel; their existence is not their own; it is the

other side of a destiny that is not theirs. Grantaire was one of these men. He

was the flipside of Enjolras.

Grantaire, as a true satellite of Enjolras, dwelt in this circle of young

men; he lived there, he was only happy there, he followed them

everywhere. His great delight was to see those silhouettes coming and

going in the haze of wine. They put up with him because of his good

humour.

The believer in Enjolras looked down on the skeptic Grantaire, and the teetotaller

looked down on the drunk. He would dole out a dose of pity from on high.

Grantaire was a Pylades who did not pass muster. Always treated roughly

by Enjolras, pushed away harshly, rejected yet coming back for more, he

would say of Enjolras: “Such a beautiful slab of marble!”

But it is R's first words, his Establishing Character Moment and the start of his epic rants, that truly solidifies his character. Grantaire is introduced using a very surrealistic metaphor (is it the absinthe or his own creativity)?

“I’m so thirsty! Mortals, I have a dream: that the Great Heidelberg Tun has a stroke,

and that I am among the dozen leeches they apply to it. I want

to drink. I want to forget life. Life is a hideous invention of who knows

who. It doesn’t last two ups and it’s not worth two ups. You break your neck

trying to stay alive. Life is a stage set where nothing much actually works.

Happiness is an old theatre decor, painted on one side only. Ecclesiastes says:

Omnia vanitas, ‘All is vanity.’ I couldn’t agree more with the poor bastard, if he ever

existed..."

The Great Heidelberg Tun is the biggest barrel in Europe, located in the cellars of Schloss (Palace) Heidelberg, and always full of good wine. Its size is 7 m long and 8,5 m wide, and its volume is 220,000 litres. There is even a dancefloor on top, and young people dance on it during certain festivals! 

The Tun appears so often in the literature of Romanticism that it has become a meme. For instance, in Moby-Dick, the spermaceti gland of a sperm whale is compared to the Great Heidelberg Tun, being around the same size and also full of a costly liquid. Heidelberg being the Capital of Romanticism, many Romantics either visited the town or studied at its university, the Ruperto Carola, and they had surely danced on the Tun and the image stuck with them:

The Tun is referenced in Rudolf Erich Raspe's The Surprising Adventures of Baron MünchhausenJules Verne's novel Five Weeks in a Balloon, Victor Hugo's Les Misérables (in Grantaire's rant, here)Washington Irving's The Specter BridegroomMary Hazelton Wade's BerthaMark Twain's A Tramp Abroad and Wilhelm Busch's Die fromme Helena. It can also be found in Herman Melville's Moby-Dick as well as in Lyrisches Intermezzo by Heinrich Heine, later used in the song cycle Dichterliebe by Robert Schumann for the final song "Die alten, bösen Lieder (The Old Evil Songs)". 

(Great Heidelberg Tun. Notice the dancefloor on top!)

Leeches were used then to cure multiple diseases, the prevalent theory of disease being the four humours (fluids): these worms were used to "leech" away superfluous fluids that made the patient ill. Stroke victims in particular were treated with leeches, although this was mostly ineffectual...

If the Great Heidelberg Tun, personified, had a stroke, think of how many wine-thirsty leeches, eager for fine Rhine wine, would be applied to it! And obviously our lovely cynic Grand'R would loooove to be one of them!

sábado, 7 de febrero de 2026

PRAGERU IS WRONG ABOUT SHAKESPEARE (AND MUCH MORE)

Due to the new right-wing US government, PBS (with memorable, progressive edutainment shows like Sesame Street or Arthur) will maybe be replaced by right-wing juggernaut PragerU, who have given me serious pet peeves:

PragerU says Columbus was "neither a hero nor a villain, but a person;" and that we should NOT judge a Renaissance person by our twenty-first century standards... at the same time they praise Columbus for spreading civilisation and Catholicism among the barbarian natives, some of whom regarded a human baby as a toothsome morsel (but they don't give the whole story: were these babies those of the tribe itself, or child prisoners of war? And was that an everyday meal or a festive delight (like Christmas turkey or Easter eggs)? I think it was a festive delight, and that those babies were prisoners of war!.

But that is nothing compared to PragerU's perception of Shakespeare, the Bard of Avon! Not only do they put the Bard ON A PEDESTAL (they rank Hamlet up there with the King James Bible, Newton's Laws of Physics, and Plato's Myth of the Cave, and they say Shakespeare inverted the modern world/existentialism); they ONLY ALLOW us to read or watch certain of his plays:

Hamlet

King Lear

The Scottish Play

Julius Caesar

The Henriad

And that's it. No Romeo and Juliet, though it is about young love (love so young that in our days they'd be doing Maths tests and chasing Pokémon). No Othello, my favourite (though it stars the first Sub-Saharan and/or Muslim hero in Western literature, and depicts him in a loving interracial marriage --until that scoundrel Iago ruins everything). No Merchant of Venice (mostly for Shylock / Shiloh: "Hath not a Jew eyes?" sounds too controversial, but also Portia crossdressing and becoming a lawyer). No Midsummer's Night Dream (whose potions can be read as drugs), no Taming of the Shrew (which deals with gender roles and expectations), no Coriolanus (our Roman generals would never rebel against the Res Publica!), and last of all no Tempest (with a character like Caliban, anagram of "cannibal," and a plot about colonialism).

BTW, Shylock is actually Shiloh, Fluellen is actually Llewellyn, and Imogen is actually Innogen.

The only Shakespearean plays that PragerU approves of are royalist, patriarchal, and with an all-white cast. In all of these plays, a usurper assassinates the ruler and takes over the throne, but is in turn defeated by the rightful heir, ready to claim his place. No plays about social or identity issues (like gender, race, queerness, drugs, or colonialism). They're missing out on a lot of Shakespeare!

Moreover, PragerU states that Shakespeare COINED expressions like "breaking the ice," "wild goose chase," "all that glitters is not gold," and many others; when obviously these idioms existed before the Bard, they were spread by word of mouth, and it's in his plays that we first find them printed and published, as words that sit in black on a white page (or screen, nowadays). Saying that Shakespeare coined, for instance, "breaking the ice," is as ridiculous as saying that Andersen wrote "The Princess on the Pea" or "The Emperor's New Clothes," or that the Grimms wrote "Snow White" or "Hansel and Gretel." These fairytales already existed as oral tales, and the Grimms and Andersen only wrote and published their own versions, and those versions became canon. The same goes for Rafael Pombo and "Rinrín Renacuajo" ("Froggy Would a-Courting Go"), "Simón el Bobito" ("Simple Simon"), and "Pastorcita perdió sus ovejas" ("Little Bo-Peep"); like PragerU's saying that Shakespeare coined expressions like "breaking the ice," "wild goose chase," "all that glitters is not gold," and many others is like when many Latin Americans say Pombo wrote these nursery rhymes, which had existed many centuries before in (especially British) oral tradition.

The most glaring things PragerU has said is that leftish millennials (like me) are ruining high culture. That some universities have replaced the portrait of Shakespeare in their hallowed halls with that of a black lesbian poet (NOTA BENE: "Shakespeare" has a proper name here, while the "black lesbian poet" remains unnamed, only identified by identity markers!). That visual art has gone from excellence, beauty, and the sublime to scatological and sexual themes: URINE AND FAECES (as Dennis Prager puts it). As examples, he criticizes artworks like a fresh banana duck-taped to a wall, or a golden toilet, in which museum visitors could relieve themselves and flush it (but readymades from Dadaism and Surrealism could also fit Prager's critique: Duchamp's urinal fountain; his L.H.O.O.Q. --elle a chaud au cul, she has a hot bottom, ie she is turned on-- a Mona Lisa card on which he drew a moustache, a goatee, and glasses; and Merde d'Artiste --Artist's Shit--, which was sold in tiny pots at huge expense, and happened to be the faeces of author Piero Manzoni).

I think that at least music (urban music, like reggaeton and trap) and TV, especially reality shows and superhero films, have gotten FAR worse in the present day; but I have nothing negative to say about readymades, no matter how scatological or erotic they might be. I am proud of being a literary geek (especially when it comes to fantasy and historical fiction) and a connoiseuse of opera and of fine art, and a queer (aroace) person, but I don't think the evergreen classics are going away anytime, and anyone can enjoy them - I enjoy works that, like Othello (the Shakespeare and Verdi versions), Les Misérables (the book, the 2012 film, the BBC miniseries, and the stage musical), and the Wizarding World (as a book, on stage and screen), that spark conversations about identity, otherness, and related issues. I am also worried that this snuffbumble (about Shakespeare, about Columbus, about gender, about race, etc). will spread through Gen Alpha and the subsequent generations; that we will become Fascist... and both Othello and Sesame Street, both women going to university and gays and lesbians getting married, will be punished by death penalty.

De Prageris fanaticibus,

libera nos, Domine!



PS. The Book-Club video calls Shakespeare working-class, but he was more like lower-middle-class (petit bourgeois; his dad was not only a master glover, but also the F-ing Mayor of Stratford). If he didn't go to university, and only had a primary education, it was only because universities were closed off to commoners, and nearly all uni students in the Renaissance were lordlings - no chance that a mayor's son from the provinces would have an Oxbridge education, but still, though he knew "little Latin and less Greek," he knew some French and Gaelic as well (just read or watch the Henriad!). He was lower-middle-class, petit bourgeois, but he at least had read some books and had a primary education. 

This reminds me of Menocchio (Domenico Scandella) in The Cheese and the Worms, who also was lower-middle-class / petit bourgeois (a master miller), lived during the Renaissance, and had a primary education and read his own books, aside from those he borrowed from the local priest / librarian. Menocchio loved to read, and among his reads were the Quran in Italian, the Travels of Sir John de Mandeville (a British noble who travelled through Asia and the East) in Italian, The Dream of Caravia (a satirical poem), Ovid's Metamorphoses, the Golden Legend (lives of the saints), the Decameron, and lunaries (calendars with the phases of the Moon, the life cycles of plants, etc.). The title comes from his cosmovision; influenced by his reads, he rejected the Creation account in the Book of Genesis and had his own creation account, influenced by Ovid in particular:
"All the elements (water, fire, earth, and air) were jumbled together in a chaotic mixture, until finally they coagulated and took their proper places, like curds becoming a cheese; in that cosmic cheese, something like worms / maggots arose spontaneously (in the Renaissance, before Francesco Redi, people thought that maggots generated spontaneously in cheese or rotting flesh - the fly eggs could not be seen by the naked eye), and these maggots became, depending of their degree of development, animals, people, angels, or G*d. G*d was the biggest and most developed maggot, and he was created at the same time at all the other living things."
Menocchio also claimed that Jesus was fully a human, that he had not died to redeem our sins, that Mary was not a Virgin, and that the Pope had no heavenly power, among other things that angered the Catholic Church.
This cosmovision was seen as heresy by the Inquisition, and Menocchio and his family had to move from town to town until, finally, since he didn't retract from his beliefs, he was burned at the stake. If he were illiterate, he maybe would have never come up with his own cosmovision. The Menocchio case illustrates the results of literacy among the Renaissance middle classes, just like that of Shakespeare itself.

Ginzburg argues that Menocchio's beliefs and actions, like those of Shakespeare, were made possible by the advent of print in Europe and by the Protestant Reformation. The printing revolution made books accessible to both Menocchio and Shakespeare, which facilitated the interaction between the oral/popular culture in which the petit-bourgeois were rooted and the literary/highbrow culture of the books, and gave them the words to express their own ideas. Observing that considerable differences exist between Menocchio's references to the books he read and the actual content of those works, Ginzburg argues that Menocchio did not merely adopt ideas that he read in books but rather used elements from those works to articulate his own ideas. The same can be said about the Bard of Avon.

sábado, 16 de octubre de 2021

THE DANCING STAR - L'INTÉGRALE

 THE DANCING STAR

Josep Ballester...

Translated from the Catalan by Sandra Dermark.


CHAPTER ONE


No one who does not have chaos within them can give birth to a dancing star.

Friedrich Nietzsche.


Roger Rococo Rose-Without-a-Thorn, as soon as he got up in bed, thought: "Today I'm going to the Main Square to see the brand new fountain they have put smack dab in the middle of the square, walk the streets, walk the promenade, walk the narrow old backstreets, to see what's going on in the village. Perhaps or surely I will become aware of something that happened last night while I slept. It's possible that the shopkeeper has burst into laughter and fallen into the water tank and gotten out with a cart full of goldfish, or a fishbowl full of hay, in her grasp. Who knows? Maybe the husband of the Moon, of the silver white Moon, was going down to the ground floor to find an olive-tree-greenish glove which their daughter had forgotten upon returning from playing and skipping rope to the tune of the song called 'Dance of the buzzer-buzzers at the bottom of the rabbit hole.' Or maybe Harry Frothystride had had a finger stuck to his nose from when he mocked the hairstyling lady-lizards when the latter curled the hair of Granny Chardface on the market place.

Roger Rococo Rose-Without-a-Thorn broke his fast. Roger Rococo lives in a house where everything remains like it was ever before. The rooftop is on top, like ever before, above his bedroom, and his bedroom is beneath the rooftop, like ever before. From his bedroom window the view is always the same; the sun rises at dawn, and its rays eagerly stroke the tree-lined promenade before the school opposite his place. At night, on nights with a moon, the moon beams with a long and lustful kiss upon the crystal waters of Prussian blue of the blue river of Prussian crystal.

Things continue to be like ever before, anyway, and as deep and as soft as the eyes of Othello Meow when he looks at the deep horizon.

Roger Rococo Rose-Without-a-Thorn went out into the garden to see what Othello Meow was doing; he found him behind the rose bush with coral roses, of an intense shade of coral. Othello Meow is his pet cat, with a coat as black as dark midnight dotted with some ashen-grey spots. The cat was scratching at the ground passionately, as if there were something there, digging quicker and quicker just like dogs do when they bury the khaki-coloured and red-polka-dotted bones of their dreams.

"I must help him," quoth Roger Rococo Rose-Without-a-Thorn. And both cat and owner began to dig in the garden soil. Imagine their surprise when a little head popped up and spoke to them:

"Good morning to you two! I am Adelade the Star!"

"Whaaaa...???"

She was a tiny star, not very large; anyway astronomers who know, or say they know, with their distinguished and illustrious mien, told us that stars were very large, and this one was not oversized, indeed, Adelade was a tiny baby star.

With a smile as wide as an autumn breeze, and eyes as large and rounded and blue as a pair of blue dragonflies. So blue, such a transparent and crystal-clear shade of blue as cuckoo-bell flowers full of blue raindrops dancing upon silver leaves after a summer downpour.

And Adelade the Star asked them once more:

"Who are you two?"

"We... are Roger Rococo Rose-Without-a-Thorn and Othello Meow," they both said, still surprised. "And what are you doing?"

"We stars are tied to golden strings ever since we are born to light up the whole sky; then, when we are a little bit older, we can let go and travel or fall down to Earth. Therefore, you may have sometimes seen from here a star, and find that it has disappeared the next day; it's because that star has left to explore the wide world."

Roger Rococo Rose-Without-a-Thorn said that Lady Nell Bread-and-Honey, his grandmother, had told him another tale about the stars.

"Lady Nell Bread-and-Honey always told me that the stars are candied hazelnuts, which the witch Clara and the witch Claudia scatter wherever they fly."


 CHAPTER 2 of THE DANCING STAR

They spent a long time in conversation, telling each other tales from here and there, and also telling tales from there and here. Every now and then or every then and now Othello Meow tickled Adelade the Star, and the latter was even more encouraged to tell of adventures.

Adelade the Star suggested to both of them, to Othello Meow and Roger Rococo Rose-Without-a-Thorn, as well as both Roger Rococo Rose-Without-a-Thorn and Othello Meow, to come with her to the Land of Nevergothere Ifyousurelywon'treturn, which filled Roger's face with a wide green smile like those of bard frogs when they sing songs to their ladyloves in the lily ponds and their ladyloves reward them with an equally green and wide smile.

His great-great-grandfather had been there and never returned; no one knew either before or afterwards why he had gone forth, but every time his great-great-grandmother was reminded of that land, her gaze was turned towards the ocean and a little teardrop of absence streamed down her left cheek.

Not even the greatest maharajahs, with all their racing elephants and all their lucky crickets, did light-footedly and lunatically undertake a quest like this one. But they all had to wait until from the horizon there rose over the horizon a moon laced with cinnamon lace, and within orange-coloured flesh with bone-colored pips on the orange-coloured flesh. It is then that one can go to the Land of Nevergothere Ifyousurelywon'treturn. When the orange moon rises, you may expect anything to occur. And when it rose that night, Othello Meow and Roger Rococo Rose-Without-a-Thorn hopped onto Adelade the Star and began their quest, only leaving on the house door this message.

"We will return soon, or maybe earlier, and when we return we shall return."

So they set course for the orange moon and went right through it, through a long passageway like a colourful tunnel, vermillion and chestnut brown, honey golden and purplish, as long as when you have tunnel vision, tunnel vision in many colours. At the end of the tunnel a beastie was expecting them, a beast none of the three friends had ever seen, and who had never seen any of the three friends either. He was a big one, but either he had got or he hadn't not a face like a good fellow, what they call a nice guy. Suddenly the beast became aware of their presence, and moving his head a little to the right and then moving his head a little to the left, he slowly opened his mouth and said:

"Welcome, I am the camel Kamal; hope you are pleased with your quest through these lands."

"Thank you very much indeed," all three friends responded.

Kamal Hunchcamel had them over for afternoon tea, and, moving his head once more a little to the left and then a little to the right, he told them they could go to the town of Rice-Con-Gee, the largest town in the Land of Nevergothere Ifyousurelywon'treturn. That evening there would be a redoubtable opera performed by the eight giraffe sisters, the Pokerface sisters; a great show expected and advertised since ages in every community in the environs. He gave them directions towards Rice-Con-Gee: the way was very easy; as soon as they arrived at the icy seas where the whale Emma Corsetdreams slept, they had to continue straight on and they would find the No Cry Shampoo River, that flowed past the town of Rice-Con-Gee.

Othello Meow, Roger Rococo Rose-Without-a-Thorn, and Adelade the Star took their leave satisfied.

"We have our ears full of explanations and we are thankful. When we return we will continue to listen to you and our ears will receive your explanations."

"Goodbye," replied the camel Kamal moving his head now to the right, now to the left.

The town of Rice-Con-Gee rose on a little hill slope, a perfect place for the winds to be able to play in its environs. The winds saunter or run chasing one another, playing hide and seek, red light green light, and especially blind wind's bluff.

When, at the end of the day, the so forgetful and carefree winds have had as much fun as they please, they sing songs in the centre of town; springtimey wind songs in springtime, summery wind songs in summer, wintry wind songs in winter. In autumn they breathe out in little puffs and get lost around the corners of old townhouses.

At the door of most houses there were cloth-wringing contraptions. Long and short contraptions, short and stumpy contraptions, tall and slender contraptions, depending on the physique of the houses' inhabitants, whether short and chubby or tall and thin.

In the town of Rice-Con-Gee, on Main Street every afternoon and evening sat old Laura Chocolate-Wishes with her accordion, an accordion that, whenever it was in a good mood, told little tales instead of making the passers-by dance. The little tales it told were sometimes or every now and then as sad as when children have the sorrowful shadows of the valley in their eyes at night. But occasionally or every then and now, in the same fashion, those little tales were as cheerful as when children have upon their brows the bright light of the rising sun.

Adelade the Star, Othello Meow, and Roger Rococo Rose-Without-a-Thorn approached her and asked her:

"What is this little box you have in your hands?"

"It is an accordion, it is as old as I am," quoth Laura Chocolate-Wishes, "but we love one another, we keep one another good company."

"What do you mean," asked Adelade the Star, "by keeping good company?"

"That we speak to one another when no one pays attention to us, we speak of the playing winds, or of the rain that refreshes our cheeks, or of some sleepy moon pretending that she is asleep."

And, upon finishing, the accordion because it was in a good mood:

"Once upon a time, and I mean a long long time ago," the accordion began, "long before the crocopuffs lost their wonderful spectacles, which let them see the same things we see but in black and white; long before the day-blue muslings had their velveteen tails honeyed by falling pots of sweet honey; long before the bell-ringers of the jungle whistled their last excruciating cries; long long time before the sorrowful events that occurred long long time before all that; it was then, some years before that, because crabs have not always walked sideways, a night between springtime and winter, here in Rice-Con-Gee, the Shoemaking Moon, as she is known ever since, sent a message to every shoe in town, who spread the word to all the footwear in the Land of Nevergothere Ifyousurelywon'treturn: 'Tonight all trainers, mary-janes, slippers, flip-flops, sandals, pumps, high heels, clogs, espadrilles, boots, and every other kind of shoe will go out for a stroll on our own, without any kind of feet inside us. Tonight, while those who put us on their feet during the day, on their long and sneaky and greyish or pale or maybe even purplish feet, are fast asleep in their beds, we shall all rise and go forth for a walk.' In the middle of the night, while everyone was asleep, everywhere did all shoes of every kind leave their bedrooms and storage furniture. They walked down the pavement of the streets, up and down staircases, walking up and walking down the promenades. Wellington boots splashed at their hearts' content in the puddles on the pavement. Everywhere, espadrilles and slippers and pumps and sandals nd trainers and flip-flops tiptoed and wore their heels out. Some of them walked with catlike tread, gently sneaking like some people do during the day. Others walked more clumsily, treading loudly with their heels. On that night the Shoemaker Moon came close to the Earth and invited all those shoes to go for a walk with her; therefore, if you ever see a child on a night with a new moon, looking at the new moon through parted fingers, watching that child from over their right shoulder, never over their left as everyone else does, it is because that child is looking at the Shoemaker Moon all full of heaps of espadrilles, sandals, high heels, slippers... all kinds of shoes long story short."

"And if the accordion tells sad stories," asked Othello Meow, "what do you do?"

"If the stories make me really sad," Laura Chocolate-Wishes replied, "I play the sleepy song of the long wind that enters up the slope drowsily. Then the tune carries me away to a place where I have time, lots of time, to dream."

And her eyes, little by little, began to close, until she fell asleep  with her accordion, just like every afternoon on Main Street.

Roger Rococo Rose-Without-a-Thorn, Othello Meow, and Adelade the Star sauntered up Main Street until they reached Tickle-Laugh Square, where, at the local theatre, the eight giraffe sisters were about to perform. The four eldest were called Lettuce, Pettuce, Rettuce, and Dettuce; the four younger were Lattice, Pattice, Rattice, and Dattice. They came from a line of opera singers and actors with longstanding tradition, the Pokerface family. Both the elder giraffe sisters Lettuce, Pettuce, Rettuce, and Dettuce; and the younger giraffe sisters Lattice, Pattice, Rattice, and Dattice Pokerface, all eight giraffe sisters, were of splodged skin and had splodgy coats.

Yet when our friends reached the theatre by the front entrance, they found it closed and a sign saying: "No opera today, because the eight giraffe sisters of the Pokerface family have quarrelled."

The quarrel was concerning the hats and the jackets that they would have to don for the first time at the evening show. They could not agree on which kind of hat or jacket to wear, or on the way to put them on.

Lettuce, Pettuce, Rettuce, and Dettuce said: "The most convenient thing would be to wear both hat and jacket upright and straight." Lattice, Pattice, Rattice, and Dattice said: "The most alluring thing would be to wear both hat and jacket askew, cocked to the side." The argument lasted for hours and hours, and no solution was reached. Since nothing would be solved by letting the spat go on and on, someone, no one knows exactly who, had the brilliant idea of seeking out the Director of the Theatre.

The Director of the Theatre sent for the Director of Public Cleaning Services for Streets and Squares. The Director of Public Cleaning Services for Streets and Squares sent for the Head of Department of Regional Services for Vaccination Against the Common Cold of the Healthcare Prefecture. The Head of Department of Regional Services for Vaccination Against the Common Cold of the Healthcare Prefecture sent for the General Coordinator of Lighting Devices and Psychedelic Affinities; then the General Coordinator of Lighting Devices and Psychedelic Affinities phoned the Mayor, who, very seriously and with a quite sensible mien, said, speaking like a politician who has studied and practiced politics: "Seek out the Special Committee for Complicated Cases."

The Committee gathered in extraordinary assembly. They were an illustrious and distinguished committee, and, when they were all sitting down together, their mouths opened underneath their noses (as it happens to everyone in every illustrious committee), and they picked their ears and scratched their chins thoughtfully (as it happens to everyone in every distinguished committee). Any person who saw them would have said:

"This must be a quite illustrious and distinguished committee."

Their assembly continued.

Two of the giraffe sisters from the Pokerface family, Lettuce and Lattice, remained looking one another in the eyes and blinking, blinking and looking one another in the eyes, with their laughing little eyes. Suddenly, both of them raised their voices at unison:

"We shall wear our hats askew and our jackets straight."

And that was the end of the quarrel between the eight giraffe sisters and the much expected opera could begin without too much delay. Since giraffes are mute, the song they sang remains shut inside the head of each of the eight Pokerface sisters. The elder four, Lettuce, Pettuce, Rettuce, and Dettuce; and the four younger sisters, Lattice, Pattice, Rattice, and Dattice, only by looking very attentively into their little laughing eyes can the audience realise if they are singing out of key or not.

After the opera, all three friends walked towards the town's outskirts, where they found a great network of devices and contraptions, from which every now and then soap bubbles came out; large soap bubbles checkered with large checkers, small bubbles with small lilac stripes, large bubbles with large scarlet stripes.

As all three looked aghast at the contraption, there appeared a fellow with a strange mien, in turquoise uniform with a casque on his head; a police officer.

"Who are you? What are you doing here? Do I know you?"

All three friends were left even more astonished, they did not even know what to reply, nor how to leave this predicament.

"Keep calm! I am a respectful friend to all respectable people. That is why I carry this badge, to seize the people who are not respectable," said the police officer, touching the badge and all the medals he wore on his chest pompously. "But rest reassured, you have the face of respectable people."

"!!!!" (They had not left their surprised state yet.)

"This great contraption you see here," the officer continued, "is a patented soap bubble maker, invented by our most honourable Mayor of Rice-Con-Gee. He has also patented the clothes-wringers that all of our houses boast of. Now he is pondering about something else to take even more profit from the Shampoo River. You may get on the bubble that pleases you the most and hitch a ride on it."

"Are there no objections or problems on the Mayor's side?" asked Roger Rococo Rose-Without-a-Thorn.

"No, of course not! This will flatter him a lot," said the officer beaming his greatest smile.


CHAPTER 3 of THE DANCING STAR

Without thinking even for an instant, they got on a very large bubble that was coming out of the device. It was one of the large scarlet bubbles checkered with large checkers. Then what had to occur occurred, and they rose up higher and higher. They saw the whole slope of the hill where Rice-Con-Gee was located, also the whale Emma Corsetdreams sunning herself, and a slide-shaped rainbow with quite many curves and loops. Roger Rococo Rose-Without-a-Thorn, Othello Meow, and Adelade the Star told the bubble to leave them at the beginning of the Rainbow Slide, which was tied to a moon, the moon called Specklepick Colourful. The slide was all in intense saturated shades. The yellow was very yellow, the colour of golden hair. The red was a fleshlike shade of ruby. The violet was leaning on purple, and purplish. The blue was the bluish cerulean cyan of the day sky.

All three launched downwards at breakneck speed, and, upon reaching the end of the slide, they proved that it was as easy to roll upwards as downwards. And then they rolled up towards the moon called Specklepick Colourful.

At the cheek of the moon they found two witches. These were not like the wicked witches in the thick books there were at home; they were so-called apprentice witches, but not much else. The great leader of all witches, the Wicked Witch of the North-by-Northwest, had absolutely forbidden them attendance to black masses and other witchy conventions where they talked about what hairstyle was in to wear beneath the pointed hat, or the fastest broomstick up to date..., long story short of their affairs. The two merry little witches were what we call troublemakers of the highest degree. They introduced themselves:

"We are two witches. I'm Claudia Almond-Nougat, and this is Clara Hazelnut-Sugarplum... well, we're not proper witches yet but soon we will be!"

"How can it be?" asked Adelade the Star.

"The Convention of Witches," said Clara Hazelnut-Sugarplum, "always tells us that we are not prepared yet."

The snag was that, on the one hand, the witch Claudia Almond-Nougat did not like at all to fly on the broomstick. Not that she did not like it, but that she was completely unable to keep herself on the broom. And that in spite of the fact that she was taking a crash course to learn to fly, but she always said in the end: 

"I have always liked to keep my feet on the ground; I'm the down-to-earth kind of person."

And, on the other hand, the witch Clara Hazelnut-Sugarplum messed up her own mind with words; it was never clear if she was tricking others or simply unable to keep her head on. She called the broomstick "cheese," she called cheese "home," and her home "towel," and the towel "umbrella..." and furthermore she said that this was the exact meaning of the words and, if it was not, at least she was having a great lark:

"I get on my cheese snacking on a chunk of home and I head for towel."


CHAPTER 4 of THE DANCING STAR

After being with our three friends sliding up and down the Rainbow Slide, they began to chase a cotton candy cloud they had seen passing by, and the trio lost them from sight. The merry apprentice witches were hopeless.

Above Roger Rococo Rose-Without-a-Thorn, Othello Meow, and Adelade the Star there came a thin purple haze that spread as light as a bridal veil, and a thousand lilywhite crystal snowflakes began to fall all over the valley. And the great show of the ice ghosts of the first snows of winter was a prelude to the white sheet that spread towards the Lake of Balloons. The Lake of Balloons was a large lake full of balloons of every size and colour. The popcorn spirits were their gatherers. And those who cared about the balloons to sort them according to size, shape, and colour, but above all, what they liked the most was playing with them. The oldest and wisest spirit, who knew the most about these balloons, was Adolphus Kindred-Spirit. Not only did he partake in the gathering of balloons, he had another task he enjoyed a lot; he gathered in a water tower the sweet rainwater, the treat which popcorn spirits are most fond of. Adolphus Kindred-Spirit, who had quite the sweet tooth, was always kissing the tap of the water tower.

Roger Rococo Rose-Without-a-Thorn, Othello Meow, and Adelade the Star were very fond of asking questions, and they asked solely for asking's sake, and Adolphus Kindred-Spirit replied only for replying's sake:

"Where are all these balloons from? And what are they?" asked the three friends.

"These balloons," responded Adolphus Kindred-Spirit, "are wishes. Mrs. Autumn Fog makes them, as well as some winds that dedicate themselves to these duties. The Sunrise Wind makes the blue balloons, while the Sunset Wind makes the yellow ones. The North-by-Northwest Wind makes the green and red balloons. Though they are also flowers, who grew weary of being rooted and then became balloons. That's why there are poppy balloons, jasmine-scented balloons... Balloons are also foam, and they are formed exactly in the same way that soap bubbles are. Long long time ago, balloons were bubbles that coursed down the waters, the waters of the Shampoo River. But the winds saw the bubbles and told them: 'Now you are a balloon. Come with me to see the wide world.' Balloons are hopes. Hopes which people keep eagerly in their hearts. And they flutter from place to place within the heart, hoping to escape, and when they escape the Lord of Twilight turns them into balloons. That grey balloon over there, with the sad cheekbones and the cherry-red eyes, was once a young gentleman," Adolphus Kindred-Spirit carried on, very excitedly. "In the bleak midwinter he put on a straw boater hat and walked the streets while singing. In summer he had his hair styled like a pompadour and walked the streets while laughing and singing. All of these things he did were outlawed by the laws of his homeland. But this was not the worst thing that occurred to him. He sneezed in a place full of people in front of whom it is advised not to sneeze, and the law sentenced him to death by hanging. And as soon as the executioner tied the noose around his neck, he turned into a balloon and some wind brought him hither."

"And are there always so many balloons?" asked Roger Rococo Rose-Without-a-Thorn.

"Now there are quite few new ones," replied Adolphus Kindred-Spirit, "it's been ages since the last ones arrived, it seems that as time goes by there are fewer and fewer wishes, and fewer bubbles and flowers and hopes."

"But sometimes," said Adelade the Star, "wishes do come true. And flowers are for real as well. And hope flutters from heart to heart like a butterfly in springtime, like a burst of colour which fills your eyes with dreams."


 CHAPTER 5 of THE DANCING STAR (Ending)

Then all three, Roger Rococo Rose-Without-a-Thorn, Othello Meow, and Adelade the Star, felt something tear at their insides, but at the same time they realised that it was quite pleasant. It was a wish, which is like a little caterpillar crawling all over your heart by night and day, singing the song "Come and fetch me with the dance of the buzzer-buzzers at the bottom of the rabbit hole." As their faces and hands began to fill with tiny wishes and hopes, a fog moistened their cheeks, they began to disappear among their hopes and wishes. Thus they disappeared into such a distant place, such a nearby place, that they shall nevermore return. If you ever let go of a balloon or see it fly, now you know where they go and who is their keeper.

If you want to head for this land, the Land of Nevergothere Ifyousurelywon'treturn, remember! When you get up in bed someday and see that at your place everything remains like it was ever before. The rooftop is on top, like ever before. And therefore the moon beams with a long and lustful kiss upon the crystal waters of Prussian blue of the blue river of Prussian crystal, just like the eyes of Othello Meow when he looks at the deep soft horizon. And dig hopefully in your garden, with a khaki-coloured and red-polka-dotted dream in your hearts. You should not be surprised if you see a little head, a tiny baby star, pop up and address you:

"Good morning to you! I am Adelade the Star!"

There are nights when the sky seems to drop very close to us on Earth. Sometimes on April or August nights, the stars look like numbers. They look like the Maths chickenscratch of a doll or a young girl who has just begun school and is beginning to learn, and this is because, above everything else, always the highest and utmost of goals were, are, and will be the stars.


*** finis***


martes, 14 de febrero de 2017

EL HUMOR VÍTREO


Humor vítreo




1839. Daguerre inventa la fotografía. A partir de entonces la imagen, que ya había alcanzado uno de sus apogeos en el renacimiento, impera en el mundo. Los objetos nos llegan cada vez más a través de una imagen, de una superficie. Los seres pierden una dimensión, por tanto, se aligeran en su deseo de escapar a la gravedad. La imagen puede servir, sin embargo, para mostrar lo que está tras ella, del mismo modo que el lenguaje ha servido desde sus inicios a los poetas para intentar mostrar lo que lo sustenta. Hacer que la imagen recupere su tercera dimensión, obligarla a transitar del simple indicio al símbolo. Como la famosa escena que da inicio a Un perro andaluz en la que la navaja corta el ojo haciendo aflorar el humor vítreo. Paso de la superficie al volumen. Rasgar el velo, el lienzo, el píxel.


UN CHIEN ANDALOU:

Cortometraje mudo y el máximo exponente del surrealismo que firmaron conjuntamente Luis Buñuel y Salvador Dalí. La película no tiene ninguna trama narrativa y sencillamente es una interpretación de los sueños tanto del director aragonés como del artista catalán. Hace uso de la asociación libre que popularizó en el campo de la psicología Sigmund Freud (el calificativo más repetido para referirse a este filme es el de freudiano). Se rodó en Francia, donde estas vanguardias siempre han sido mejor recibidas que en España, con la producción de Marie-Laure de Noailles, mécenas de las artes de la primera mitad del siglo pasado allende los Pirineos.

Escenas icónicas de esta cinta son como ya podemos imaginar la de la actriz francesa Simone Mareuil cuando en plano corto le cortan su ojo y de este mana el humor vítreo, la gelatina que forma la retina. También tenemos al flacucho Pierre Batcheff callejeando por París montado en bicicleta y vestido de monja. La presencia de ambos en sus respectivas escenas recuerdan a los retratos que pintase Johannes Vermeer, con la música de Der Liebestod, de Richard Wagner para Tristán e Isolda de fondo. El que el actor de origen ruso llevase ese habito le da un aire de aficionado al sado muy pasado de vueltas, lo cual no es ninguna burrada decirlo dado que como ya dije antes, no hay argumento y puede incluso permitirse la licencia de mofarse de los diez mandamientos.

Me llamó poderosamente la atención la presencia de la esfinge de calavera, la mariposa nocturna con esa marca en las alas similar a un cráneo humano. Solo antes la había visto en otro sitio y curiosamente es posterior y por influencia, en El silencio de los corderos. Además, el extravagante genio de Figueras sale brevemente haciendo de seminarista y luego en la playa con su porte ya clásico a semejanza de los reyes moros de los que el artista aseguraba descender. Y bueno, Buñuel es quien se encarga de rebanar el ojo de la muchacha en el prólogo con la navaja de barbero.

Un tercer hombre al que se debe toda la imaginería visual de la película es Jean Epstein, director galo impresionista y amigo del cineasta maño. Y ello me lleva a la conclusión de que nada de lo que se ve equivale a un símbolo en concreto, no es más que psicoanálisis filmado entre El Havre y París y con efectos especiales muy adelantados a su época. No faltan las referencias a otros colegas de ambos hombres de cultura como Federico García Lorca o al libro Platero y yo, de Juan Ramón Jiménez (una novela y un escritor a los que nunca he podido tragar) y a estilos musicales en boga por aquellos años, el tango, que en la proyección sonaba a través de un gramófono.

No hay que darle más vueltas de lo que las moviolas ya le dieron en su día cuando todo habitante de la Ville Lumière acudió a verla, entre ellos distinguidos invitados como Pablo PicassoLe CorbusierJean Cocteau, el compositor Georges Auric y André Breton, líder del movimiento surrealista francés. Esta historia tendría su continuación con la cinta sonora La edad de oro, que en su día fue censurada por orden de la ley.

El destino de la pareja principal de actores del filme fue no menos que macabro. Él murió por sobredosis de Barbital y ella a los pocos años tras quemarse a lo bonzo en público durante una visita a su apartamento en Périgueux, Dordoña. Como legado, este corto nos deja el estilo visual mil veces visto en los vídeos musicales contemporáneos y en el cine independiente posterior a este primer experimento del que hay mucho que aprender.

Luis Buñuel pone todo en su lugar, camina hacia un balcón y contempla la luna. Acto seguido, una mujer mira hacia al frente sin preocupación, mientras él le sostiene el rostro para, plano detalle mediante, rebanarle el ojo con la navaja en cuestión, en una herida lo suficientemente profunda como para hacerle brotar chorros de humor vítreo.
La escena descripta arriba es el comienzo de Un Perro Andaluz (Un chien andalou), el clásico corto surrealista mudo filmado por Luis Buñuel y Salvador Dalí en 1929. Su lógica es la de la no-lógica: los personajes no registran cambio alguno por más que de un momento a otro una placa indique que la acción se desarrolla "ocho años después" o "dieciséis años antes", y su dinámica no responde a otra cosa que no sea la asociación libre de ideas.
Las primeras imágenes de Un perro andaluz (1928) nos ofrecen una pista para entender el sentido de esta poesía que defiende Buñuel en su cine. Esta película se abre con los conocidos planos de un hombre, el propio Buñuel, que prepara una enorme navaja barbera, al tiempo que percibe una hermosa luna llena a la que se aproxima una puntiaguda nube, que atraviesa por el centro la redonda luna mientras, en un montaje paralelo, la navaja rasga por la mitad un ojo de mujer del que se desprende un viscoso humor vitreo. Pocas imágenes cinematográficas han podido ser tan impactantes como ésta, y aún hoy en día su visión no deja indiferente a un público acostumbrado a gran violencia visual. Estas primeras imágenes aportan claves de la poética surrealista a la que se adhiere Buñuel, como la apuesta por una estética de choque, agresiva con el espectador, o el irracionalismo de sus imágenes.


Se producirá la rebelión de las imágenes si no nos equivocamos. Cambiará la dirección contra cualquier vacilación donde no falta, de forma desinteresada, la verdad de la mentira. Los personajes de Un perro andaluz toman bastante en serio lo que no comprendemos... lo que ellos comprenden tan bien. Su realidad hace balance al final sobre la palabra estupidez y contrasta con la nuestra lógica. Todos han estado ciegos desde la marcha de la navaja al humor vítreo. 

Se trata de una Historia de poder explicado con las imágenes más diversas, con la vulgaridad que ha superado las frases embrolladas. Fraseología de imágenes mudas y ciegas sin acento ni carácter que nada pueden decir. La película está llena de predicciones que contradicen un principio insoportable. Sin pudor, los humores, bajo un disfraz de mundo civilizado, toman el tiempo más esclarecido de la cultura. Con condescendencia y desprecio irónico los movimientos de cámara miran de arriba abajo esa realidad que pronuncia modales de época. Esos burgueses se hallan imbuidos de respeto, incluso de devoción hacia sus fundamentos y su desprecio. Comparten su desprecio por la Historia simplemente a nivel de preocupaciones. Son autoridades terrestres y oníricas en ardor de civilización material cultivada con formas educadas y no poca urbanidad incorporada a la carne… a la sangre de sus pulsiones. 


La violence au cinéma a d’abord été suggestive même si dès 1929, Luis Buñuel et Salvador Dali ont montré en gros plan, avec un réalisme incroyable, Simone Mareuil se faire placidement trancher un œil au rasoir laissant couler l’humeur vitrée dans Un chien andalou.
Dali et Buñuel rejoindront le mouvement surréaliste en 1929 et UN CHIEN ANDALOU sera un acte de surréalisme absolu. Le film se veut être une suite d’images irrationnelles sans réalité, sans logique ou symbolisme. Le scénario est né de deux rêves. Dali avait rêvé de fourmis qui pullulaient dans sa main. Buñuel avait rêvé d’un œil tranché. Pour l’écriture : chacun proposait des idées, presque au hasard. Si l’autre les approuvait, elles étaient gardées, sinon elles étaient écartées. 
Et ça commence dès le début du film avec une séquence culte, celle de l’œil tranché ou de l’énucléation. Début du film : un homme tient un rasoir (cet homme c’est Buñuel lui-même), il s’approche de la femme (elle n’a pas de nom, mais elle est jouée par l’actrice Simone Mareuil). Et là… un plan sur le ciel nocturne: un nuage horizontal (en forme de lame de rasoir) passe devant la lune comme pour la sectionner. On pense alors naïvement que ce plan sert à figurer l’énucléation à laquelle on va sans doute échapper. Et bien non. Plan suivant (gros plan): ÉNUCLEATION. Voilà le gore: l’humeur vitrée sort de l’œil. Mais ce plan n’est pas que gore, il est aussi une grille de lecture. Ce plan dit au spectateur de cinéma : tes yeux ne te serviront pas, il va falloir voir autrement, voir l’intérieur des choses. Ce plan reprend donc les codes du gore (trucage assez grossier ; gros plans ; mettre dehors ce qui est dedans comme dans une éviscération) mais va plus loin. Ce premier plan c’est aussi un indice sur une ambition du film : révéler ce qu’il y a au fond de nous, les désirs, les pulsions.

Cette séquence fait automatiquement penser à L’histoire de l’œil de George Bataille, publié un an avant la sortie d’UN CHIEN ANDALOU. Dans ce livre, il est déjà question d’un œil éventré. Dali et Buñuel avaient-ils lu Bataille ? Peut-être. On peut également penser à Eisenstein et la femme blessée à l’oeil dans LE CUIRASSÉ POTEMKINE (que vous pouvez voir gratuitement et légalement ici). L’idée de l’œil mutilé flottait donc dans l’air du temps…