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READIN
READIN started out as a place for me
to keep track of what I am reading, and to learn (slowly, slowly)
how to design a web site.
There has been some mission drift
here and there, but in general that's still what it is. Some of
the main things I write about here are
reading books,
listening to (and playing) music, and
watching the movies. Also I write about the
work I do with my hands and with my head; and of course about bringing up Sylvia.
The site is a bit of a work in progress. New features will come on-line now and then; and you will occasionally get error messages in place of the blog, for the forseeable future. Cut me some slack, I'm just doing it for fun! And if you see an error message you think I should know about, please drop me a line. READIN source code is PHP and CSS, and available on request, in case you want to see how it works.
See my reading list for what I'm interested in this year.
READIN has been visited approximately 236,737 times since October, 2007.
This is not to say that the point of the hard way is that we must be heroic. The attitude of "heroism" is based upon the assumption that we are bad, impure, that we are not worthy, are not ready for spiritual understanding. We must reform ourselves, be different from what we are. For instance, if we are middle class Americans, we must give up our jobs or drop our of college, move out of our suburban homes, let our hair grow, perhaps try drugs. If we are hippies, we must give up drugs, cut our hair short, throw away our torn jeans. We think that we are special, that we are turning away from temptation. We become vegetarians and we become this and that. There are so many things to become. We think our path is spiritual because it is literally against the flow of what we used to be, but it is merely the way of false heroism, and the only one who is heroic in this way is ego.
-- Chögyam Trungpa, Cutting through Spiritual Materialism
Prokudin-Gorskii riding on the Murmansk rail outside Petrozavodsk: 1910
The pictures were taken before the advent of color film, using three exposures through different filters -- this absolutely blows me away. The Library of Congress has more information about Prokudin-Gorskii's method.
A new Moomin movie has come out! Well -- "new" needs a little qualification here; the movie is compiled clips from the Fuzzy Felt Moomins TV show of the '70's, with new voices and soundtrack (featuring Björk). It came out in Finland a few weeks ago, and the production company says it will be distributed internationally... I can only hope it will be in theaters here sometime this fall. (The same company released a Moominsummer Madness movie a couple of years ago, which I did not hear a word about. But they seem to have ramped up a good deal more publicity for this one.)
posted evening of August 24th, 2010: Respond ➳ More posts about Moomins
"Or discendiam qua giù nel cieco mondo," cominciò il poeta tutto smorto. "Io sarò primo, e tu sarai secondo."
'Now let us descend into the blind world down there,' began the poet, gone pale. 'I will be first and you come after.'
In Borges' lecture on the Commedia, he says that his experience of reading the Italian text with a parallel, line-by-line translation taught him that "a translation cannot be a replacement for the original text: the translation may however serve as a means, a stimulus to bring the reader closer to the original." This seems arguable to me as applied to translations in general,* though I'm pretty sympathetic to the thought; but I think there's no arguing with the idea that this is the proper role for a bilingual edition of poetry, to bring the reader closer to the original, foreign text.
Last night Borges' lecture on Nightmares sent me off to review Canto IV of Inferno; I was reading it in the Princeton Dante Project's bilingual edition, and finding to my happy surprise that I could follow the Italian pretty well, using Borges' method of reading a tercet at a time slowly in Italian, then in English, then in Italian... This evening I wanted to take another look at the canto and sat down with Pinsky's translation (which is published as a bilingual edition), and discovered that a poetic translation does not serve the function of a parallel translation. Not recommended -- I am finding it strange that Farrar, Straus & Giroux thought it would be a good idea to print the original and Pinsky's translation side by side. Back to the bare-bones parallel translation for me, thanks. Below the fold is Vittorio Sermonti reading Canto IV -- his reading is slow enough and clear enough that I was able to follow along in the text and have a fair idea which word was which...
I've had -- I continue to have -- many nightmares. The most fearsome, the one which has always caused me the most fear, I used it for a sonnet.* Here it is: I was in my room, towards dawn (this was the hour in the dream, I believe), and at the foot of my bed there was a king, an ancient king; I knew in the dream that he was a northern king, a Norwegian king. He did not look on me: his gaze was fixed blindly on the ceiling. I knew he was an ancient king, for his face was one that would be unthinkable today. Then I felt the horror of his presence. I was looking at the king, looking at his sword, at his dog. At the end of all this I awoke. But I lay continuing to think of the king for a while; he made an impression on me. Retold, my dream is meaningless; dreamt, it was fearsome.
I love the way Borges discounts this imagery in his final sentence -- it is similar to the first few lines of his story Ragnarök (a story which I hold out hope that Winston Rowntree someday will decide to illustrate).
*What poem is he speaking of here? Anybody with knowledge about this (or whether this is a red herring) speak up in comments please. The only reference to a Norwegian king I can find in his poems is in El reloj de arena when he speaks of the Saxon king Harold offering Harald Hardrada "six feet of English soil."
posted evening of August 22nd, 2010: Respond ➳ More posts about Siete Noches
ParecÃa un gusano blanco, con su sombrero de paja y un Bali colgándole del labio inferior.
The first line of Bolaño's story "The Worm" (from Llamadas telefónicas) jumps out at me, makes me do a double-take. The same line occurs in his poem The Worm, from The Romantic Dogs, which was the first text of Bolaño's I ever read...
The story is an amazing one, indeed I think it might be my favorite so far from either Llamadas telefónicas or Putas asesinas. It will not really bear (that I can see) any summarizing on my part... I hope it is in translation so I can tell people to read it. And, yes! It is included in Last Evenings on Earth as The Grub.
One thing that really hit me as I was reading it was recognizing the setting -- I was walking through the Alameda and the Palacio de Bellas Artes only a week ago! I was right outside the Sótano bookstore -- a couple of locations, including the one across from the Alameda. This makes the story nicely concrete.
The story includes a lot of Bolaño's other work, specifically (of course) the above poem and some imagery from various parts of The Savage Detectives. And a note as I'm Googling around -- I see Jorge Ferrer-Vidal Turrull has a novel from 1966 called El gusano blanco; I wonder if Bolaño is intending any reference to that book.
A magnificent look at some rescued big cats, from Big Cat Rescue in Tampa, Florida.
Look at Alex's graceful power, the hugeness of his neck and jaw, his long sharp teeth! Donate to Big Cat Rescue to help them work against animal abuse.
I hope it is in translation so I can tell people to read it. And, yes! It is included in Last Evenings on Earth as 
