Philip Larkin's "Aubade"

Aubade

I work all day, and get half-drunk at night.
Waking at four to soundless dark, I stare.
In time the curtain-edges will grow light.
Till then I see what's really always there:
Unresting death, a whole day nearer now,
Making all thought impossible but how
And where and when I shall myself die.
Arid interrogation: yet the dread
Of dying, and being dead,
Flashes afresh to hold and horrify.
The mind blanks at the glare. Not in remorse
- The good not done, the love not given, time
Torn off unused - nor wretchedly because
An only life can take so long to climb
Clear of its wrong beginnings, and may never;
But at the total emptiness for ever,
The sure extinction that we travel to
And shall be lost in always. Not to be here,
Not to be anywhere,
And soon; nothing more terrible, nothing more true.

This is a special way of being afraid
No trick dispels. Religion used to try,
That vast, moth-eaten musical brocade
Created to pretend we never die,
And specious stuff that says No rational being
Can fear a thing it will not feel, not seeing
That this is what we fear - no sight, no sound,
No touch or taste or smell, nothing to think with,
Nothing to love or link with,
The anasthetic from which none come round.

And so it stays just on the edge of vision,
A small, unfocused blur, a standing chill
That slows each impulse down to indecision.
Most things may never happen: this one will,
And realisation of it rages out
In furnace-fear when we are caught without
People or drink. Courage is no good:
It means not scaring others. Being brave
Lets no one off the grave.
Death is no different whined at than withstood.

Slowly light strengthens, and the room takes shape.
It stands plain as a wardrobe, what we know,
Have always known, know that we can't escape,
Yet can't accept. One side will have to go.
Meanwhile telephones crouch, getting ready to ring
In locked-up offices, and all the uncaring
Intricate rented world begins to rouse.
The sky is white as clay, with no sun.
Work has to be done.
Postmen like doctors go from house to house.

Philip Larkin

Take a Break

Seamus Heaney

Digging

Between my finger and my thumb
The squat pen rests; as snug as a gun.

Under my window a clean rasping sound
When the spade sinks into gravelly ground:
My father, digging. I look down

Till his straining rump among the flowerbeds
Bends low, comes up twenty years away
Stooping in rhythm through potato drills
Where he was digging.

The coarse boot nestled on the lug, the shaft
Against the inside knee was levered firmly.
He rooted out tall tops, buried the bright edge deep
To scatter new potatoes that we picked
Loving their cool hardness in our hands.

By God, the old man could handle a spade,
Just like his old man.

My grandfather could cut more turf in a day
Than any other man on Toner's bog.
Once I carried him milk in a bottle
Corked sloppily with paper. He straightened up
To drink it, then fell to right away
Nicking and slicing neatly, heaving sods
Over his shoulder, digging down and down
For the good turf. Digging.

The cold smell of potato mold, the squelch and slap
Of soggy peat, the curt cuts of an edge
Through living roots awaken in my head.
But I've no spade to follow men like them.

Between my finger and my thumb
The squat pen rests.
I'll dig with it.


- from Death of a Naturalist (1966)

Transcient Art On The Walls Of Athens: Graffiti

Theme: Hanging upside-down

There comes a time when the world seems like a place where everything is hanging upside-down. And then things somehow fall into place and the world is familiar once again. The chaos recedes and a certain method to the madness appears. Like a bat out of hell you are hanging upside-down listening to the Balanescu Quartet covering David Byrne.

Listen to

The Balanescu Quartet (David Byrne) - Hanging Upside-down

A photograph by Erwin Blumenfeld

Title: Untitled, ca. 1940, by Erwin Blumenfeld (1897-1969).

A great artist and innovator in photography, Erwin Blumenfeld moved to the States and while working for the fashion industry in the 40s and 50s, he managed to push the borders of what was known and accepted until then as a fashion photograph. He experimented in the darkroom and came up with stunning results.

The above photograph, which is one of my favorites, is actually not only a fashion photograph but a philosophical statement at the same time. Combining the negative and the developed print in one photograph, he brings out the duality and even the mortality of his subject. He makes a statement about the passing of beauty or the dark side that we always keep buried deep within. It's perfectly fitting that Erwin Blumenfeld never gave it a title. No title could do justice to this work of art.

A stunning cover version by the South San Gabriel

South San Gabriel is the name of the group or Centro-matic. You choose. And they have been going for quite a while. Vehicles for the creative output of lead singer Will Johnson and his friends, they have been around since the middle of the 90's. In this latest record of the band called Eyas, they have included a cover version of a Lionel Richie song called "All night long". Come on, you surely know this song... You have danced to it in parties... But you better forget what you know and prepare to be swept away by a cover version that is different. In fact after listening to this song I started wondering if I should stop calling this song a cover and just call it simply an original. For this is creation from the start, sweet music to the ears and food for the soul. Please visit the site and support the band at www.centro-matic.com by buying their album. By the way Eyas is a young hawk taken from a nest in the wild or bred in captivity to be trained for falconry.

Listen to

South San Gabriel - All Night Long

I Met The Walrus

In 1969, a 14-year-old Beatle fanatic named Jerry Levitan snuck into John Lennon's hotel room in Toronto and convinced him to do an interview. 38 years later, Levitan, director Josh Raskin and illustrators James Braithwaite and Alex Kurina have collaborated to create an animated short film using the original interview recording as the soundtrack. A spellbinding vessel for Lennon's boundless wit and timeless message, I Met the Walrus was nominated for the 2008 Academy Award for Animated Short and won the 2009 Emmy for 'New Approaches' (making it the first film to win an Emmy on behalf of the internet).

The Mysterious Explorations of Jasper Morello

When it comes to animation films, there is one film that has really set the standard very high in terms of storyboard and atmosphere. "The mysterious explorations of Jasper Morello" was written by Marc Shirrefs and directed in silhouette animation in 2005 by Anthony Lucas. Take a break and immerse yourself in 26 minutes of pure gothic bliss.

Transient Art On The Walls Of Athens: 1.Graffiti

Theme: Science Fiction

Some of the strange characters that can be found on the walls of Athens seem to have jumped out of science fiction novels. Take Eros and Dreik for example. They were found on the walls of a parking area in central Athens. Both a bit blue and overweight they stand checking the cars that go in and out. Their immobility all these years on the wall has had serious consequences on their physical appearance.




Further down the street you might come across the cloud people. Strange personalities constantly talking about cloud 9.





The green masks have now become old retired super heroes who wear their masks on the weekend to remember their moments of glory.





Strange creatures seem to be everywhere in Athens. They have become familiar faces that one greets everyday on his way to work.

The Chiaroscuro Life Of Caravaggio

Andrew Graham-Dixon's book is a well researched and fascinating biography of a painter that lived a life as dramatic and extreme as the paintings he left behind. Caravaggio was different. His perspective on religious symbolism embraced truth and not glorification of the divine. Violence, sex, dirt were part of everyday life in the beginning of the 17th century. Caravaggio did not aspire with his paintings to move the common people towards the divine. He rather brought the divine down to the people in a pictorial form that they could perfectly relate to. The faces of Caravaggio's saints and martyrs were not idolised portraits but real human beings. Old men and women, beggars, prostitutes and pimps who take up their roles and re-enact scenes of religious passion.


And then his choice of when to depict the exact moment of the unfolding drama and of course the use of light, shadow and darkness will influence so many painters such as Rembrandt for example. Caravaggio's paintings are snapshots from obscure rehearsals of plays that were never performed because they were always quite provoking and overtly sensual to conform to what was considered proper at the time.


Caravaggio's life was no less real and anti-conformist. Graham-Dixon looks in the archives, blows away the dust from manuscripts and old leather bound books, analyzes the paintings and manages to lift a little the fog surrounding the painter's constant obsessions which quickly turn to confrontations with disastrous results. Duels, murder, narrow escapes, Malta and the Knights of Saint John, the Vatican, ugly scars and a death which was fitting in drama to any of his paintings, make for a fascinating read.





In the end Caravaggio's life caught up with his painting or the other way round and they became entwined. He actively sought redemption the only way he knew which was through painting. The painting of "David with the Head of Goliath" from 1609-1610 where Caravaggio has put himself in the place of Goliath, was his way of saying I am carrying the guilt and I need absolution which in the end was never forthcoming.