‘At last I am alone’, from the diary of Dora Carrington
At last I am alone. At last there is nothing between us. I have been reading my letters to you in the library this evening. You are so engraved on my brain that I think of nothing else. Everything I look at is part of you. And there seems no point in life now you are gone. I used to say: ‘I must eat my meals properly as Lytton wouldn’t like me to behave badly when he was away.’ But now there is no coming back. No point in ‘improvements’. Nobody to write letters to. Only the interminable long days which never seem to end and the nights which end all too soon and turn to dawns. All gaiety has gone out of my life and I feel old and melancholy. All I can do is to plant snow drops and daffodils in my graveyard! Now there is nothing left. All your papers have been taken away. Your clothes have gone. Your room is bare. In a few months no traces will be left. Just a few book plates in some books and never again, however long I look out of the window, will I see your tall thin figure walking across the path past the dwarf pine past the stumps, and then climb the ha-ha and come across the lawn. Our jokes have gone for ever. There is nobody now to make ‘disçerattas’ with, to laugh with over particular words. To discuss the difficulties of love, to read Ibsen in the evening. And to play cards when we were too ‘dim’ for reading. These mouring [sic] sentinels that we arranged so carefully. The shiftings to get the new rose Corneille in the best position. They will go, and the beauty of our library ‘will be over’. – I feel as if I was in a dream, almost unconscious, so much of me was in you.
And I thought as I threw the rubbish on the bonfire, ‘So that’s the end of his spectacles. Those spectacles that have been his companion all these years. Burnt in a heap of leaves.’ And those vests the ‘bodily companions’ of his days now are worn by a carter in the fields. In a few years what will be left of him? A few books on some shelves, but the intimate things that I loved, all gone.
And soon even the people who knew his pale thin hands and the texture of his thick shiny hair, and grisly beard, they will be dead and all remembrance of him will vanish. I watched the gap close over others but for Lytton one couldn’t have believed (because one did not believe it was ever possible) that the world would go on the same.
In 1935, Diego Rivera masterfully created ‘The Flower Carrier’ (known in its original language as ‘Cargador de Flores’). Like many of Rivera’s paintings, ‘The Flower Carrier’ imparts simplicity, yet exudes much symbolism and meaning. The vibrant colors are rubbed into the masonite, a most common method for painting on hard surfaces.
The colourful painting displays a peasant man in white clothing with a yellow sombrero, struggling on all fours with a dramatically oversized basket of flowers that is strapped to his back with a yellow sling. A woman, most likely the peasant’s wife, stands behind him trying to help with the support of the basket as he attempts to rise to his feet. While the flowers in the basket are strikingly beautiful to the viewer, the man does not see their beauty, but only their value as he carries them to the market for sale or exchange. The geometric shapes offer bold and intense contrasts, with each figure, item, and foliage illustrated to reflect individualism. …
The poems of Emily Dickinson began as marks made in ink or pencil on paper, usually the standard stationery that came into her family’s household. Most were composed in Dickinson’s large, airy bedroom, with two big windows facing south and two facing west, at a small table that her niece described as “18-inches square, with a drawer deep enough to take in her ink bottle, paper and pen.” It looked out over the family’s property on Main Street, in Amherst, Massachusetts, toward the Evergreens, her brother’s grand Italianate mansion, nestled among the pines a few hundred yards away. Dickinson had a Franklin stove fitted to a bricked-up fireplace to keep her warm, which meant that she could write by candlelight, with the door closed, for as long as she wanted. In much of the rest of the house, the winter temperature would have been around fifty degrees. Though she usually composed at night, Dickinson sometimes jotted down lines during the day, while gardening or doing chores, wearing a si…
In 2016, during the 400th anniversary of William Shakespeare’s death, the Bard was feted by dozens of books, hundreds of magazine and newspaper articles, performances of his plays, lectures, and a Shakespeare Day gala attended by Prince Charles himself. The London Tube map replaced the names of its stops with titles of Shakespeare’s plays. Google, of course, did a doodle.
In 2017, it was all Jane Austen—the 200th anniversary of the novelist’s death. Like Shakespeare the year before, she was everywhere, not least in the pages of the New York Times, which ran some 20 articles on her, musing about everything from what she might tell us about Brexit to why the alt-right loves her so much. The Atlantic stated unambiguously that “Jane Austen Is Everything,” and it sure did feel that way. Her face now graces the U.K.’s new £10 note.
Pity poor John Milton. Last year also marked the 350th anniversary of the publication of Paradise Lost, the greatest epic poem in English and one of the greatest w…