‘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. …
Anne Brontë started writing her first novel some time between 1840 and 1845 while she was working as a governess for the Robinson family, at Thorp Green near York. I imagine she must have made her excuses in the evenings, and escaped the drawing room, where she had to do the boring bits of her pupils’ sewing, and often felt awkward and humiliated – excluded from the conversation because she was not considered a lady, yet not allowed to sit with the servants either, because governesses had to be something of a lady, or how could they teach their pupils to be ladies?
Anne must have stolen away to her room and pulled out her small, portable writing desk. Leaning on the desk’s writing slope (which was decadently lined in pink velvet), Anne could go on with her novel. She had to write in secret because she was skewering her haughty employers and her peremptory pupils on the page. Although her job was difficult and thankless, she had realised that it was providing her with excellent material…
Péter Nádas is Hungary’s leading contemporary writer. A scholar not only of literature, but of culture, horticulture, and above all the human body and its communications, Nádas presents a picture of temperament and elegance in the great tradition of the European intellectual. He has often been compared, perhaps syntactically, to the high realists Robert Musil and Marcel Proust. Susan Sontag, one of Nádas’s earliest and most vocal champions, compares his plays to the “encounter-dramas of Pina Bausch” and the “declamatory plays of Thomas Bernhard.” I myself see him, in many ways, as the Thomas Mann of our times.
Born into a fascinating literary culture, isolated from but enveloped by the vast history of Christian Europe, in a denuded country just rebuilding from World War II, the worst catastrophe in its tumultuous thousand-year history, Nádas chronicles the peaceful prison that was (and is) Hungary in a passionate, playful, and eloquent voice. His perspicacity is disconcertingly palpabl…