Bergmanorama The slide show is the front page. The link to the site itself is below the frame of the pictures. That's the only way your going to stop the music! Some of the same movie clip interviews and trailers to be found on Youtube.
At the height of the anti-Bergman wave, the Swedish cinema magazine Chaplin decided to produce an anti-Ingmar Bergman issue. There were many vitriolic contributions. One of the most telling came from an Ernest Riffe, who demolished the filmmaker with astonishing insight. "This artist without any substance of his own," wrote Riffe, "needs a literary work to fall back upon. Then, and only then, can his best qualities be released." As this coincided with the view held by most Swedish intellectuals, the essay was welcomed. Then Ernest Riffe revealed his true entity—none other than Ingmar Bergman.
from :As normal as smorgasbordby Charles Marowitz(Originally published in The New York Times, 1 July 1973)
....cinematography has conquered the human face,the moving picture of the human face. The apparatus, the instrument - the camera and the film - they are so sensitive that the smallest movement.... for registering the human soul as reflected in the human face.
Talking about his cinematographer Sven Nykvist [ Youtube]
the final conclusion is you don't really need to read any of Rand's novels but are still puzzled by why so many Americans do (until, that is, you read this):
P.S. All this reading has brought up a connection between Ayn Rand and Alan Greenspan, late of federal reserve. Apparently he was a disciple of Rand's in the early days.
If Koestler was a rapacious man, this aspect of his character must be set against his art. The unsavory sexual nature set against genius.
Attributed to a 'Raphael' (possibly Frederick, me rethinks).
Conclusion: the necessity of writing down in a more scholarly fashion things one comes across. Was that what FR thought or my precis? Or a combination of the two?
The point? In 10 seconds an answer from the web from the Independent, 23 February 1999 :
Woman seeing two dogs in street 'procreating' asks policeman to "Do something".
Policeman: What?
W: Throw a bucket of water over them or a biscuit
P: Would you stop for a biscuit?
And there too, the mystery is solved (though as the sentence was typed into Google between inverted commas the hypothesis was "That won't be there!").
A source: interag Miscellany 39, which includes another classic from Irish News further down, conjuring up a whole world or overworked apprentice journalists and type-setters, strangely echoing the rushed posting in blogs when the technology has conquered this problem by replacing hot metal with light.
Exchange between a Mull policeman and a lady tourist, who was upset by two dogs engaged in the act of procreation:
Tourist: Officer, can’t you stop them? Policeman: What would you want me to do? Tourist: I don’t know, throw a bucket of water at them ... or a biscuit. Policeman: Would you stop for a biscuit?
Adrian Tahourdin in TLS reviewsParlez des Livres que l'on n'a pas lu (“How to discuss books that one hasn’t read”). Take to heart the quote at the bottom:
"in order to . . . talk without shame about books we haven’t read, we should rid ourselves of the oppressive image of a flawless cultural grounding, transmitted and imposed [on us] by the family and by educational institutions, an image which we try all our lives in vain to match up to. For truth in the eyes of others matters less than being true to ourselves, and this truth is only accessible to those who liberate themselves from the constraining need to appear cultured, which both tyrannizes us and prevents us from being ourselves."
Half way through an article about mind control in Cabinet, had a sneaking suspicion this might be Borges world, with two artists going to the Madrid flat of Dr. Jose M.R. Delgado, which begins:
The letter from Professor Delgado carries two insignias. One is made of Hebrew letters on what looks like a Torah scroll. Under the scroll it says "lux et veritas"—light and truth. The other insignia reads "Investigacion Ramon y Cajal." In our letter to him, we have explained that we are two artists who have been studying his "astonishing research," and that we are interested in his views on the relationship between humans and machines. José M.R. Delgado has written that he will be most happy to receive us at his home in Madrid.
The home page in the side panel under mags. There is an RSS feed button.
Charles Trueheart in American Scholar does a substantial Durrell - useful both for those who have read the Alexandria Quartet and those who haven't and might be thinking about it - under A Seductive Spectacle ( The languid bazaar of Lawrence Durrell’s Alexandria Quartet still beckons 50 years later)
On my bookshelves: Faber paperbacks of The Dark Laybrinth, Nunquam and Tunc, none of which I got very far with. Expecting to find Justine there too, but it was not. Must have read a library copy. The one thing that flashed through my mind as I set out reading this essay was the disappointing disjunction between the characters and what they thought or said. And here was the yup moment:
If Durrell’s Alexandria has a mind and soul of its own, the same is not always true for his human characters, whose exoticism and wordiness hide more than they reveal. The more Durrell tells us about them, perversely, the fuzzier they become. He was carefree, or careless, about imputing thoughts and behaviors to characters as the spirit moved him, not as their integrity would demand.
Looking for something else on AQ found these essays by Rexroth written between 1957-60. The Trueheart would not be enough on its own.
There are a few snippets here in the Google sample of Lawrence Durrell: Conversations By Lawrence Durrell, Earl G. Ingersoll, though some twit has copied a few pages upside down. You could tip the monitor upside down.
