kristin scott thomas (katharine clifton) i ralph fiennes (comte lászló d'almásy) a the english patient d'anthony minghella (miramax, 1996) basada en la novel·la de michael ondaatje (toronto: mcclelland and stewart, 1992)
16 de novembre del 2008
àfrica
kristin scott thomas (katharine clifton) i ralph fiennes (comte lászló d'almásy) a the english patient d'anthony minghella (miramax, 1996) basada en la novel·la de michael ondaatje (toronto: mcclelland and stewart, 1992)
15 de novembre del 2008
àcids
[a una lectura en avió, i a un esmorzar que promet]
"A la ràdio, he sentit que si menges una llimona sense fer ganyotes, s'acomplirà tot el que desitgis, però em fa por provar-ho, fer ganyotes i que cap desig no es faci mai més realitat."
sergi pàmies, si menges una llimona sense fer ganyotes (barcelona: quaderns crema, 2006)
"A la ràdio, he sentit que si menges una llimona sense fer ganyotes, s'acomplirà tot el que desitgis, però em fa por provar-ho, fer ganyotes i que cap desig no es faci mai més realitat."sergi pàmies, si menges una llimona sense fer ganyotes (barcelona: quaderns crema, 2006)
13 de novembre del 2008
11 de novembre del 2008
desig
Avvenne per caso in una
Stradina moderna sotto la pioggia
Gli ombrelli che fanno zum , zum, zum…
E l’universo fa bum, bum, bum…
Lui: una canzone francese.
Lei: una rossa risata irlandese.
Piovvero languidi giorni,
Piovvero languidi giorni…
Sì ma io dov’ero andato
Tutto mi sarei guardato,
E ne avrei scritto anche meglio di così.
Lui era un loden portato da una
Dolcezza senza rimpianti,
Da studi classici ardenti,
La pipa morsa tra i denti.
Lei era un cavallo, un gatto, un’ondata
Di mare nordico al sole,
Vestita come uno vuole,
Vestita come uno vuole…
Due belle gambe, lei e un pò di
Fumo azzurro, lui,
Col permesso degli dei.
Gli dei dei bei sonni
Gli dei dei begli anni,
Gli dei dell’amore rosso,
Del fuoco nelle sottane, architetture lontane…
La vecchia canzone francese
Contro una rossa risata irlandese…
Gli ombrelli che fanno zum, zum, zum…
E l’universo fa bum, bum, bum…
architetture lontane, paolo conte, una faccia in prestito (sugar music – l’alternativa, 1985)
10 de novembre del 2008
ànima
I wanna tell you a story that every man oughta know:
If you want a little lovin' you gotta start real slow.
She gonna love you tonight, if you just treat her right.
Oh! squeeze her real gentle, you gotta make her feel good.
Tell her that you love her like you know you should:
She gonna love you tonight, if you just treat her right.
If you practice my method just as hard as you can,
You gonna get a reputation as a lovin' man.
Yeah, you'll be glad every night that you're treatin' her right.
Hey hey hey hey...
roy head i gene kurtz, treat her right, roy head & the traits (1965); george thorogood & the destroyers, born to be bad (1988), i ara a the commitments d'alan parker (beacon communications, 1991)
9 de novembre del 2008
valor
[a les pors de qui estimem, al f.c. barcelona, als partits a les 7 del matí, i als qui lluitaren en la batalla d'agincourt, el dia 25 d'octubre de 1415, diada de sant crispí]
This day is called the feast of Crispian: [Avui és Sant Crispí:]
He that outlives this day, and comes safe home, [aquell qui sobrevisqui avui, i torni sa i estalvi a casa,]
Will stand a tip-toe when the day is named, [s’alçarà dempeus quan es parli d’aquest dia,]
And rouse him at the name of Crispian. [i despertarà amb el nom de Crispí.]
He that shall live this day, and see old age, [Qui després d’avui encara arribi a vell]
Will yearly on the vigil feast his neighbours, [cada any el dia abans convidarà els veïns]
And say ‘To-morrow is Saint Crispian’: [i els dirà: “Demà és Sant Crispí”.]
Then will he strip his sleeve and show his scars. [Llavors s’arromangarà i en mostrarà les cicatrius.]
And say ‘These wounds I had on Crispin’s day’. [Dirà: “Aquestes ferides me les van fer el dia de Sant Crispí”.]
Old men forget: yet all shall be forgot, [Qui és vell oblida: tot cau en l’oblit,]
But he’ll remember with advantages [però l’home sempre recordarà amb profit]
What feats he did that day: then shall our names [la proesa que va fer aquell dia. I els nostres noms]
Familiar in his mouth as household words: [retornaran als seus llavis aleshores com noms familiars:]
Harry the king, Bedford and Exeter, Warwick and Talbot, Salisbury and Gloucester, [el rei Enric, Bedford i Exeter, Warwick i Talbot, Salisbury i Gloucester…]
Be in their flowing cups freshly remember’d. [tots serem dolçament recordats entre l’escuma de les copes.]
This story shall the good man teach his son; [I el bon home explicarà aquesta història a son fill;]
And Crispin Crispian shall ne’er go by, [i no hi haurà Sant Crispí i Sant Crispinià]
From this day to the ending of the world, [—des d’ara i fins a la fi del món—]
But we in it shall be remember’d; [que no hi siguem recordats.]
We few, we happy few, we band of brothers; [Nosaltres pocs, feliços pocs, una colla de germans,]
For he to-day that sheds his blood with me [—perquè qui avui vessi la seva sang amb mi]
Shall be my brother; be he ne’er so vile, [serà per sempre mon germà, i mai més serà un vilà,]
This day shall gentle his condition: [que, des d’avui, serà noble la seva condició.]
And gentlemen in England now a-bed [Quants cavallers que ara són al llit a Anglaterra]
Shall think themselves accursed they were not here, [maleiran el fet de no ser ara aquí]
And hold their manhoods cheap whiles any speaks [i se sentiran poc homes si s’escolten]
That fought with us upon Saint Crispin’s day. [qui va lluitar entre nosaltres el dia de Sant Crispí!]
[...]
william shakespeare, henry V, (c. 1599) [acte IV, escena III]; kenneth branagh, henry V (bbc, 1989)
[...]
This day is called the feast of Crispian: [Avui és Sant Crispí:]
He that outlives this day, and comes safe home, [aquell qui sobrevisqui avui, i torni sa i estalvi a casa,]
Will stand a tip-toe when the day is named, [s’alçarà dempeus quan es parli d’aquest dia,]
And rouse him at the name of Crispian. [i despertarà amb el nom de Crispí.]
He that shall live this day, and see old age, [Qui després d’avui encara arribi a vell]
Will yearly on the vigil feast his neighbours, [cada any el dia abans convidarà els veïns]
And say ‘To-morrow is Saint Crispian’: [i els dirà: “Demà és Sant Crispí”.]
Then will he strip his sleeve and show his scars. [Llavors s’arromangarà i en mostrarà les cicatrius.]
And say ‘These wounds I had on Crispin’s day’. [Dirà: “Aquestes ferides me les van fer el dia de Sant Crispí”.]
Old men forget: yet all shall be forgot, [Qui és vell oblida: tot cau en l’oblit,]
But he’ll remember with advantages [però l’home sempre recordarà amb profit]
What feats he did that day: then shall our names [la proesa que va fer aquell dia. I els nostres noms]
Familiar in his mouth as household words: [retornaran als seus llavis aleshores com noms familiars:]
Harry the king, Bedford and Exeter, Warwick and Talbot, Salisbury and Gloucester, [el rei Enric, Bedford i Exeter, Warwick i Talbot, Salisbury i Gloucester…]
Be in their flowing cups freshly remember’d. [tots serem dolçament recordats entre l’escuma de les copes.]
This story shall the good man teach his son; [I el bon home explicarà aquesta història a son fill;]
And Crispin Crispian shall ne’er go by, [i no hi haurà Sant Crispí i Sant Crispinià]
From this day to the ending of the world, [—des d’ara i fins a la fi del món—]
But we in it shall be remember’d; [que no hi siguem recordats.]
We few, we happy few, we band of brothers; [Nosaltres pocs, feliços pocs, una colla de germans,]
For he to-day that sheds his blood with me [—perquè qui avui vessi la seva sang amb mi]
Shall be my brother; be he ne’er so vile, [serà per sempre mon germà, i mai més serà un vilà,]
This day shall gentle his condition: [que, des d’avui, serà noble la seva condició.]
And gentlemen in England now a-bed [Quants cavallers que ara són al llit a Anglaterra]
Shall think themselves accursed they were not here, [maleiran el fet de no ser ara aquí]
And hold their manhoods cheap whiles any speaks [i se sentiran poc homes si s’escolten]
That fought with us upon Saint Crispin’s day. [qui va lluitar entre nosaltres el dia de Sant Crispí!]
[...]
william shakespeare, henry V, (c. 1599) [acte IV, escena III]; kenneth branagh, henry V (bbc, 1989)
7 de novembre del 2008
reverberació
Qui escriu, d’uns dies ençà, somriu una mica més del que era lògic de preveure que ho fes a hores d’ara. Somriu quan a la botiga les companyes li fan broma. Retorna amb un somriure el somriure de la gent que el saluda pel carrer. A la nit, sopant un sopar fred a la cuina, somriu. Somriu quan plega curosament la roba abans d’anar a dormir. Somriu quan s’asseu als peus del llit i rumia, en un exercici d’introspecció, les raons ignotes del seu estat somrient. Fa petar els dits. Es frega la barbeta.
No en sap treure l’entrellat. Però pensa que ha sabut tornar a agafar un llibre, o dos, i els ha llegit; recorda que el vi d’enguany bull a les bótes; imagina que viatja lluny; sap que s’ha desfet de certes noses i que, des de la distància, les persones que estima també somriuen…
Qui escriu, demà, diu, tornarà a endollar la guitarra a l’amplificador: en el canal de distorsió, la reverberació al màxim, el volum del so a plena potència…
No en sap treure l’entrellat. Però pensa que ha sabut tornar a agafar un llibre, o dos, i els ha llegit; recorda que el vi d’enguany bull a les bótes; imagina que viatja lluny; sap que s’ha desfet de certes noses i que, des de la distància, les persones que estima també somriuen…
Qui escriu, demà, diu, tornarà a endollar la guitarra a l’amplificador: en el canal de distorsió, la reverberació al màxim, el volum del so a plena potència…
6 de novembre del 2008
4 de novembre del 2008
29 d’octubre del 2008
circ
Un circ ha acampat allí on solia. N'he vist els tigres i les funàmbules. Quin envelat més gran, quanta alegria.
27 d’octubre del 2008
blade runner
[al director de cinema que si vol serà el meu fill, i a les vegades que hem interpretat aquesta escena a la cuina de casa]
-Quite an experience to live in fear, isn't it? That's what it is to be a slave.
-(...) Kinship!
-(...) I've seen things you people wouldn't believe. Attack ships on fire off the shoulder of Orion. I've watched c-beams glitter in the dark near the Tannhäuser Gate. All those moments will be lost in time, like tears in rain. It's time to die.
harrison ford i rutger hauer en blade runner de ridley scott (warner bross, 1982), basada en la novel·la de philip k dick do androids dream of electric sheep? (doubleday, 1968)
roy batty (nexus 6):
-Quite an experience to live in fear, isn't it? That's what it is to be a slave.
-(...) Kinship!
-(...) I've seen things you people wouldn't believe. Attack ships on fire off the shoulder of Orion. I've watched c-beams glitter in the dark near the Tannhäuser Gate. All those moments will be lost in time, like tears in rain. It's time to die.
harrison ford i rutger hauer en blade runner de ridley scott (warner bross, 1982), basada en la novel·la de philip k dick do androids dream of electric sheep? (doubleday, 1968)
24 d’octubre del 2008
dona
[i la mutabilitat]
philip scott johnson, 500 years of female portraits in western art [música de johan sebastian bach, sarabanda, suite per a cello número 1 en sol major]
philip scott johnson, 500 years of female portraits in western art [música de johan sebastian bach, sarabanda, suite per a cello número 1 en sol major]
20 d’octubre del 2008
novecento
[una paraula que em persegueix]
Lo era de verdad: el más grande. Nosotros tocábamos música, él era algo distinto. Él tocaba... Aquello no existía antes de que él lo tocara, ¿de acuerdo?, no estaba en ningún sitio. Y cuando él se levantaba del piano, ya no estaba... y ya no estaba para siempre... Danny Boodmann T.D. Lemon Novecento. La última vez que lo vi estaba sentado sobre una bomba. En serio. Estaba sentado sobre una carga de dinamita así de grande. Es una larga historia... Él decía: "No estás jodido verdaderamente mientras tengas una buena historia a cuestas y alguien a quien contársela." Él sí que tenía una buena historia... Él era su buena historia. Delirante, a decir verdad, pero hermosa... Y aquel día, sentado sobre toda aquella dinamita, me la regaló. Porque yo fui su mejor amigo... Y he hecho tonterías, y si me ponen boca abajo nada saldrá de mis bolsillos, hasta la trompeta vendí, todo, pero... aquella historia no..., ésa no la he perdido, todavía está aquí, tan límpida e inexplicable como tan sólo lo era la música cuando, en mitad del océano, la tocaba el piano mágico de Danny Boodmann T.D. Lemon Novecento.
alessandro baricco, novecento (milan: giangiacomo feltrinelli, 1994) [novecento. la leyenda del pianista en el océano, traducció de xavier gonzález rovira (barcelona: anagrama, 1999)]
Lo era de verdad: el más grande. Nosotros tocábamos música, él era algo distinto. Él tocaba... Aquello no existía antes de que él lo tocara, ¿de acuerdo?, no estaba en ningún sitio. Y cuando él se levantaba del piano, ya no estaba... y ya no estaba para siempre... Danny Boodmann T.D. Lemon Novecento. La última vez que lo vi estaba sentado sobre una bomba. En serio. Estaba sentado sobre una carga de dinamita así de grande. Es una larga historia... Él decía: "No estás jodido verdaderamente mientras tengas una buena historia a cuestas y alguien a quien contársela." Él sí que tenía una buena historia... Él era su buena historia. Delirante, a decir verdad, pero hermosa... Y aquel día, sentado sobre toda aquella dinamita, me la regaló. Porque yo fui su mejor amigo... Y he hecho tonterías, y si me ponen boca abajo nada saldrá de mis bolsillos, hasta la trompeta vendí, todo, pero... aquella historia no..., ésa no la he perdido, todavía está aquí, tan límpida e inexplicable como tan sólo lo era la música cuando, en mitad del océano, la tocaba el piano mágico de Danny Boodmann T.D. Lemon Novecento.
alessandro baricco, novecento (milan: giangiacomo feltrinelli, 1994) [novecento. la leyenda del pianista en el océano, traducció de xavier gonzález rovira (barcelona: anagrama, 1999)]
15 d’octubre del 2008
màgia
Em sé fer uns peixos de fusta
panxarruts, no gaire grans;
els empleno de llimalla
tocada amb la pedra imant
i els acoloreixo a l'oli
perquè siguin fulgurants.
Ensenyo els peixos i explico
que veurem com nedaran
tots dos sols dins una bóta;
i, un cop a l'aigua posats,
demano un bocí de coca
i els el dono amb una mà.
(Però jo, sense que es vegi,
hi barrejo pedra imant
i així sembla, pels qui miren
que els peixos vénen nedant.)
Damunt l'aigua i sota els núvols
si hi ha coses per contar!
Milers de llums brillarien
si la bóta fos el mar
i els espectadors que miren
fos tota la humanitat,
i els peixos que m'engipono
fossin uns peixos navals
que llisquessin per les ones
com ocells per l'aire blau.
petita oda en dijous, joan brossa, vint-i-una odes, uns goigs, una dansa i un sonet (1958) dins joan brossa, poesia rasa (barcelona: ariel, 1970)
13 d’octubre del 2008
acords menors
[a una amiga, refractària]
Ev'ry time we say goodbye
I die a little,
ev'ry time we say goodbye
I wonder why a little,
why the gods above me
who must be in the know
think so little of me
they allow you to go.
When you're near
there's such an air
of spring about it,
I can hear a lark somewhere
begin to sing about it,
there's no love song finer,
but how strange the change
from major to minor...
annie lennox, every time we say goodbye (cole porter, seven lively arts, 1944), dins red hot + blue (chrysalis, 1990), videoclip dirigit per ed lachman
Ev'ry time we say goodbye
I die a little,
ev'ry time we say goodbye
I wonder why a little,
why the gods above me
who must be in the know
think so little of me
they allow you to go.
When you're near
there's such an air
of spring about it,
I can hear a lark somewhere
begin to sing about it,
there's no love song finer,
but how strange the change
from major to minor...
annie lennox, every time we say goodbye (cole porter, seven lively arts, 1944), dins red hot + blue (chrysalis, 1990), videoclip dirigit per ed lachman
12 d’octubre del 2008
descobriment
[al meu fill, carles]
That scene begins
With our next melody
Sung by a bashful bird
Humming a violet sky
There are no words
But there is understanding
It's been so long
Since I've heard your pretty voice
Raise up our lights
And enter hero girl
She makes me calm
God, she makes me calm
When she hears a song
And she starts singing
It's been so long
Since I've heard your pretty voice
Strike up the band
Here comes the storyline
'bout the usual struggle
Between fear and love
This is the lifelong song
We're all singing
It's been so long
Since I've heard your pretty voice
When it begins
I miss your hollering
But you're so shy
Such a bashful bird
Here's a song
But no one's singing
It's been so long
Since I've heard your pretty voice
pretty voice, cloud cult, the meaning of 8 (the current studios, fitzgerald theater, saint paul, minnesota, 27 de març de 2007)
That scene begins
With our next melody
Sung by a bashful bird
Humming a violet sky
There are no words
But there is understanding
It's been so long
Since I've heard your pretty voice
Raise up our lights
And enter hero girl
She makes me calm
God, she makes me calm
When she hears a song
And she starts singing
It's been so long
Since I've heard your pretty voice
Strike up the band
Here comes the storyline
'bout the usual struggle
Between fear and love
This is the lifelong song
We're all singing
It's been so long
Since I've heard your pretty voice
When it begins
I miss your hollering
But you're so shy
Such a bashful bird
Here's a song
But no one's singing
It's been so long
Since I've heard your pretty voice
pretty voice, cloud cult, the meaning of 8 (the current studios, fitzgerald theater, saint paul, minnesota, 27 de març de 2007)
10 d’octubre del 2008
pallassos
[o com quan llegia els papers del club pickwick, de charles dickens, i vaig entendre que no hi ha forma més alta d'intel·ligència que situar-se un mateix com a objecte del riure]
He made me laugh
He made me cry
He smoked his stogies in bed
But I'm all right
I'm all right
I've been lonely before
I asked the boy for a few kind words
He gave me a novel instead
But I'm all right
I'm all right
I've been lonely before
It's fine, it's OK
It was wrong either way
I just wanted to say
There isn't much fun when you're drinking wine
He got drunk, he fell down
He threw a few of my things around
But I'm all right
I'm all right
I've been lonely before
I'd like to believe healthy cigarettes
But I have to conceive that wherever you are
You're still driving my car
Sticks and stones break my bones
But tears don't leave any scars
So I'm all alright
I'm all alright
I've been lonely before
Mmm...
I'm all alright
I'm all alright
I'm all alright
Yeah
He played solitaire in bed
Used to blow bubbles in bed
He sang Christmas songs in bed
i'm all right, madeleine peyroux, half the perfect world (rounder records, 2006)
He made me laugh
He made me cry
He smoked his stogies in bed
But I'm all right
I'm all right
I've been lonely before
I asked the boy for a few kind words
He gave me a novel instead
But I'm all right
I'm all right
I've been lonely before
It's fine, it's OK
It was wrong either way
I just wanted to say
There isn't much fun when you're drinking wine
He got drunk, he fell down
He threw a few of my things around
But I'm all right
I'm all right
I've been lonely before
I'd like to believe healthy cigarettes
But I have to conceive that wherever you are
You're still driving my car
Sticks and stones break my bones
But tears don't leave any scars
So I'm all alright
I'm all alright
I've been lonely before
Mmm...
I'm all alright
I'm all alright
I'm all alright
Yeah
He played solitaire in bed
Used to blow bubbles in bed
He sang Christmas songs in bed
i'm all right, madeleine peyroux, half the perfect world (rounder records, 2006)
9 d’octubre del 2008
manipulació
[o l'art de la conversa]
_harry: I love you.
_sally: How do you expect me to respond to this?
_harry: How about you love me, too?
_sally: How about, I'm leaving.
_harry: Doesn't what I said mean anything to you?
_sally: I'm sorry, Harry. I know it's new year's eve. I know you're feeling lonely, but you just can't show up here, tell me you love me, and expect that to make everything all right. It doesn't work this way.
_harry: Well, how does it work?
_sally: I don't know, but not this way.
_harry: How about this way? I love that you get cold when it's seventy-one degrees out. I love that it takes you an hour and a half to order a sandwich. I love that you get a little crinkle above your nose when you're lookin' at me like I'm nuts. I love that after I spend the day with you, I can still smell your perfume on my clothes. And I love that you are the last person I want to talk to before I go to sleep at night. And it's not because I'm lonely. And it's not because it's new year's eve. I came here tonight because when you realize you want to spend the rest of your life with somebody, you want the rest of your life to start as soon as possible.
_sally: (feeling manipulated but also melting) You see. That is just like you, Harry. You say things like that, and you make it impossible for me to hate you, and I hate you, Harry. I really hate you. I hate you.
meg ryan i billy crystal en when harry met sally, escrita per nora ephron i dirigida per rob reiner (castle rock entertainment, 1989)
_harry: I love you.
_sally: How do you expect me to respond to this?
_harry: How about you love me, too?
_sally: How about, I'm leaving.
_harry: Doesn't what I said mean anything to you?
_sally: I'm sorry, Harry. I know it's new year's eve. I know you're feeling lonely, but you just can't show up here, tell me you love me, and expect that to make everything all right. It doesn't work this way.
_harry: Well, how does it work?
_sally: I don't know, but not this way.
_harry: How about this way? I love that you get cold when it's seventy-one degrees out. I love that it takes you an hour and a half to order a sandwich. I love that you get a little crinkle above your nose when you're lookin' at me like I'm nuts. I love that after I spend the day with you, I can still smell your perfume on my clothes. And I love that you are the last person I want to talk to before I go to sleep at night. And it's not because I'm lonely. And it's not because it's new year's eve. I came here tonight because when you realize you want to spend the rest of your life with somebody, you want the rest of your life to start as soon as possible.
_sally: (feeling manipulated but also melting) You see. That is just like you, Harry. You say things like that, and you make it impossible for me to hate you, and I hate you, Harry. I really hate you. I hate you.
meg ryan i billy crystal en when harry met sally, escrita per nora ephron i dirigida per rob reiner (castle rock entertainment, 1989)
8 d’octubre del 2008
desafiament
[a la incògnita]
Areonautico è il cielo,
vuoto, abissale, chissà...
senza orologi quel volo tra stelle e cenere andrà…
E l’ultima donna che avremo un giardino ci sembrerà,
sì, proprio l’ultimo approdo di terra l’ultima donna sarà,
l’ultima donna sarà…
l'ultima donna, paolo conte, paris milonga (rca, 1981)
Areonautico è il cielo,
vuoto, abissale, chissà...
senza orologi quel volo tra stelle e cenere andrà…
E l’ultima donna che avremo un giardino ci sembrerà,
sì, proprio l’ultimo approdo di terra l’ultima donna sarà,
l’ultima donna sarà…
l'ultima donna, paolo conte, paris milonga (rca, 1981)
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