Showing posts with label Christopher Benfey. Show all posts
Showing posts with label Christopher Benfey. Show all posts

Sunday, July 28, 2013

provencal paradise

i suppose you can never explain exactly what it is about a place that makes you happy all over and inside and out. For me, this very primitive -- well, you could say folkloric -- life in and out of our cabanon just does it. We sit, are surrounded by cicadas doing their thing, rubbing their thighs or whatever it is to make this extraordinary and incessant buzz, see numberous friends of all sorts and situations and languages -- the farming people next door, the winegrowers up the road, our journalist friends here and there, a priest or two, and a lawyer and an iron worker and a diplomat and another p We have someone or ones over, stay up until the early hours with a bottle or two or three and a discussion about whatever, downstairs at our long table with the lantern overhead and the foliage all around, or then upstairs under the canisse and vines and an equally long table so we can just add any friends at any time, all that in the evenings when the heat has died down a bit and the occasional mistral has brown through the wooden doors and handmade screens over our windows - all from so long ago.
I must have been here 40 years now, with various companions and husbands and friends...

And we go to swim in the lake, and come back for lunch of a salad that tastes fresher than fresh, each lettuce leaf like something you never tasted before, and a siesta, perhaps some visiting friends. Or a book or so, right now Julian Bell's "Mirror of the World: a new history of art" and on my kindle, Christopher Benfey's Red Brick, White Clay, Black Mountain, partly about North Carolina, my native state.

In Collioure, where i longed to go back because of Les Templiers, a restaurant where Picasso used to eat in 1905, everything was a delight, including swimming three times in the very blue water with the treacherous pebbles underfoot. But we left to come back to our cabanon: other places are to visit, but this one is to live and admire and be folkloric and happy. 

Sunday, March 25, 2012

the piling up

so what do you do when your books are already occupying the radiator that might some year have to go back on, and then they spill and then you might take one or two out and they spill really over and you are reading 5 at a time and not finishing any because you want to get back to the other one you just didn't finish, so now I am in the middle or somewhere or other in:
Benita Eisler: Stieglitz and Georgia O'Keeffe and then in my office I have the letters from them: The Faraway One or something like that
Christopher Benfey about the Hummingbirds and Heade and Dickinson, wonderful book
and How to Live: or a Life of Montaigne : witty and grand and brava for Sarah Bakewell
and the de Botton How Proust can Change Your Life (well, maybe he doesn't, but it's a great title) which I read before
and The Swerve, of course, keep almost finishing, but it's like dessert



and then proofreading La Proie s'ombre by Gherasim Luca that I translated, on and on, i burnt the cookies I was making for
what used to be tomorrow night but I see that if it readily is 4:36 am it is tonight

Saturday, February 18, 2012

Constable's clouds

Having finished my work in the Beinecke library at Yale earlier than predicted, I sauntered over to Chapel Street -- past the gate where you enter to get to the Dwight Chapel, where I was married the first time -- and went to the British art gallery, as I always do when I have a moment in New Haven. This time, I just wanted to look at John Constable's cloud studies, on the second floor, and they fill your head with happiness, somehow. It is like seeing Martin Johnson Heade's paintings in the Met Museum in New York: things you go back to. And i am reading, with delight, Christopher Benfey's book on hummingbirds and Heade and Dickinson, which even contains a bit on Joseph Cornell and his great box about the Blue Peninsula and Dickinson...Those clouds. I remember one Constable cloud formation in the Fitzwilliam Museum in Cambridge, that I also go back to visit. It has to be reached up those narrow stairs in the middle of some room, and it is worth it. Ages ago, I read Lucas on clouds, all because of these Constables, and the Theorie des nuages of the terrific French critic Hubert Damisch....More clouds, please.