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This Side of Paradise

Comme toujours ici, la cause est entendue, le ciel tourne, l'horizon a sa brume permanente et chaude, on entre dans le vrai théâtre des soirs...
Intermède - L'amorist inscrit la formule au fronton : "le combat spirituel est aussi brutal que la bataille d'hommes."
Fin de l'intermède - ton calme et dégagé : "Le temps est un trésor, et, pour l'ensemble de l'aventure, on garde le mot si controversé d'amour."
Décider le départ dans l'affection et le bruit neufs : le langage sera le langage de l’Être ou ne sera pas, le roman est métaphysique ou n'est pas.
MÉTHODE : À ce point, nous devons abandonner tout préjugé logique pour nous livrer aux inductions, aux rapprochements les plus imprévus.
INTEMPESTIVITÉ EN ACTE OU TOPOS DES IMPOSSIBLES : "ADYNATA".

SENSATION CARNAVALESQUE

"Le principe du rire et de la sensation carnavalesque du monde qui sont à la base du grotesque détruisent le sérieux unilatéral et toutes les prétentions à une signification et à une inconditionnalité située hors du temps."
Mikhaïl Bakhtine, François Rabelais et la culture populaire au Moyen Âge et sous la Renaissance, 1982 

LUI AUSSI TÉMOIGNE ; DE L’AUTRE CÔTÉ

La fraternité féconde l’art de Goya, elle ne le détermine pas. Son génie surgit d’ailleurs : du dialogue qui se poursuit, depuis les chants sumériens, entre la bouche close d’un enfant supplicié et la face millénairement invisible – et peut-être inexorable – de Dieu. Lui aussi témoigne ; de l’autre côté. Une interminable procession de douleur s’avance du fond des âges vers ces figures atroces, accompagne leurs tortures de son chœur souterrain ; par-delà le drame de son pays, cet homme qui n’entend plus veut donner sa voix à tout le silence de la mort. La guerre est finie, mais non l’absurde.
— André Malraux, Saturne, le destin, l’art et Goya

L’ESPRIT BIEN DISPOSÉ

"Une note si douce que l’esprit bien disposé se gonfle d’amour."
Dante, Paradis (chant X)
classicbluenotes:


"We were told to stand where we had stood in the original picture.  I was so sad because I had to stand alone.  The people who stood on either side of me had died.  It was very sad to have just the eleven of us." — pianist Marian McPartland

For its February 1996 issue, Life magazine sought to recreate the famous 1958 “A Great Day in Harlem” photograph when Gordon Parks was commissioned to photograph eleven of the surviving members of the original photograph on the steps of the brownstone building at 17 West 126th Street in Harlem.  
Sonny Rollins and Ernie Wilkins were unable to attend, but positioned as they were on that ‘great day’ in 1958 were Hank Jones, Eddie Locke, Horace Silver, Gerry Mulligan, Milt Hinton, Chubby Jackson, Art Farmer, Benny Golson, Johnny Griffin, Marian McPartland and Taft Jordan Jr. (seated), who had accompanied his trumpeter father to the original shoot and sat on the curb right next to Count Basie.  The building, now a roofless shell, had not held up as well as had some of the musicians.  Contributing photographer, Gordon Parks, took the picture, a sort of victory lap for the survivors.

classicbluenotes:

"We were told to stand where we had stood in the original picture.  I was so sad because I had to stand alone.  The people who stood on either side of me had died.  It was very sad to have just the eleven of us." — pianist Marian McPartland

For its February 1996 issue, Life magazine sought to recreate the famous 1958 “A Great Day in Harlem” photograph when Gordon Parks was commissioned to photograph eleven of the surviving members of the original photograph on the steps of the brownstone building at 17 West 126th Street in Harlem.  

Sonny Rollins and Ernie Wilkins were unable to attend, but positioned as they were on that ‘great day’ in 1958 were Hank Jones, Eddie Locke, Horace Silver, Gerry Mulligan, Milt Hinton, Chubby Jackson, Art Farmer, Benny Golson, Johnny Griffin, Marian McPartland and Taft Jordan Jr. (seated), who had accompanied his trumpeter father to the original shoot and sat on the curb right next to Count Basie.  The building, now a roofless shell, had not held up as well as had some of the musicians.  Contributing photographer, Gordon Parks, took the picture, a sort of victory lap for the survivors.