T. S. Eliot, Bart Chabot, Thomas van Aalten, William Self

De Engels-Amerikaanse dichter en schrijver T. S. Eliot werd op 26 september 1888 geboren in St.Louis, Missouri. Zie ook mijn blog van 26 september 2006.

 

Morning At The Window

 

They are rattling breakfast plates in basement kitchens,

And along the trampled edges of the street

I am aware of the damp souls of housemaids

Sprouting despondently at area gates.

 

The brown waves of fog toss up to me

Twisted faces from the bottom of the street,

And tear from a passer-by with muddy skirts

An aimless smile that hovers in the air

And vanishes along the level of the roofs.

 

 

 

EAST COKER

(No. 2 of ‘Four Quartets’)

 

I

 

In my beginning is my end. In succession

Houses rise and fall, crumble, are extended,

Are removed, destroyed, restored, or in their place

Is an open field, or a factory, or a by-pass.

Old stone to new building, old timber to new fires,

Old fires to ashes, and ashes to the earth

Which is already flesh, fur and faeces,

Bone of man and beast, cornstalk and leaf.

Houses live and die: there is a time for building

And a time for living and for generation

And a time for the wind to break the loosened pane

And to shake the wainscot where the field-mouse trots

And to shake the tattered arras woven with a silent motto.

 

    In my beginning is my end. Now the light falls

Across the open field, leaving the deep
lane

Shuttered with branches, dark in the afternoon,

Where you lean against a bank while a van passes,

And the deep lane insists on the direction

Into the village, in the electric heat

Hypnotised. In a warm haze the sultry light

Is absorbed, not refracted, by grey stone.

The dahlias sleep in the empty silence.

Wait for the early owl.

 

                                    In that open field

If you do not come too close, if you do not come too close,

On a summer midnight, you can hear the music

Of the weak pipe and the little drum

And see them dancing around the bonfire

The association of man and woman

In daunsinge, signifying matrimonie—

A dignified and commodiois sacrament.

Two and two, necessarye coniunction,

Holding eche other by the hand or the arm

Whiche betokeneth concorde. Round and round the fire

Leaping through the flames, or joined in circles,

Rustically solemn or in rustic laughter

Lifting heavy feet in clumsy shoes,

Earth feet, loam feet, lifted in country mirth

Mirth of those long since under earth

Nourishing the corn. Keeping time,

Keeping the rhythm in their dancing

As in their living in the living seasons

The time of the seasons and the constellations

The time of milking and the time of harvest

The time of the coupling of man and woman

And that of beasts. Feet rising and falling.

Eating and drinking. Dung and death.

 

    Dawn points, and another day

Prepares for heat and silence. Out at sea the dawn wind

Wrinkles and slides. I am here

Or there, or elsewhere. In my beginning.

 

eliot

T. S. Eliot (26 september 1888 – 4 januari 1965)
Geschilderd door Wyndam Lewis

 

De Nederlandse  Dichter en schrijver Bart Chabot werd geboren in Den Haag op 26 september 1954. Zie ook mijn blog van 26 september 2006.

 

 

The early seventies

 

’s Ochtendsvroeg

deed ik al hasj

in m’n yogurt

 

Had je een drukke dag

als je een brief

moest posten

 

 

Opgestaan, plaats vergaan

 

op een nacht stond ik op uit de doden

ik was de enige kandidaat naar het scheen

de anderen gaven niet thuis

die bleven liever liggen

 

voor alle zekerheid, je-kan-niet-weten

keek ik nog eens indringend om me heen

maar nee

ook in tweede instantie maakte niemand

aanstalten mijn voorbeeld te volgen

 

zelf iemand wekken deed ik niet

eerlijk gezegd vond ik het wel zo prettig

in mijn eentje te blijven

ik had het rijk alleen

 

ik besloot tot een ommetje

een kleine wandeling door de straten

om oud eik en duinen, een besluit dat de aarde

niet merkbaar uit haar evenwicht bracht

dit kwam goed uit, wereldschokkende-

dingen-doen behoorde al geruime tijd

niet meer tot mijn ambities

 

maar eenmaal door de

straten gaand

kreeg ik honger naar meer

stadsleven

zo gezegd, zo gedaan

(wie of wat zou me

tegen moeten houden?)

en zonder haast trok ik het centrum in

men was nog lang niet van me af

 

Bart_Chabot

Bart Chabot (Den Haag, 26 september 1954)

 

De Nederlandse schrijver Thomas van Aalten werd geboren in Huissen bij Arnhem op 26 september 1978.

 

Uit: Sluit deuren en ramen

 

“Een laf applaus volgde. Het zaallicht dimde. Gekraak
in de boxen. Dan verscheen in zeeblauwe letters op een witte achtergrond de tekst ‘Substaat Redux. Omdat geborgenheid uw recht is’.

Als soundtrack was gekozen voor een jazzdeuntje uit een goedkoop keyboard. Beelden van lachende gezinnen die badmintonden op een knalgroen grasveld. Een door de computer geanimeerde vlucht in de hemel boven een hagelwit plein met een groot winkelcentrum, een bioscoop, een zwembad, een bos. Dan weer die tekst. Substaat Redux. Omdat geborgenheid uw recht is. Een zalvende voice-over van een bekende acteur. ‘Welkom in Substaat Redux. Een luxueuze woongelegenheid met vele mogelijkheden voor het gezin. Ongetwijfeld zult u verlangen naar het onbekommerde gevoel dat u nog kende van enkele jaren geleden, nog voordat dit land werd opgeschrikt door ernstige gevoelens van angst en onrust.’

Archiefbeelden van groepen jongeren met bivakmutsen en stokken in gevecht met de Mobiele Eenheid. Brandende hopen vuil in de straten. Huilende moeders.

Terug naar de geanimeerde beelden. Een gezin wandelde langs de schappen van een supermarkt. Een jongetje legde een teddybeer in het boodschappenwagentje, de vader lachte hem toe en aaide het jongetje over de bol.

‘We willen u weer terugzetten op de plek die u verdient. Op de plek waar u veilig kunt rondlopen met uw kind of huisdier, zonder angsten. Ontspanning en rust zijn twee belangrijke punten, maar ook zijn er vele arbeidsvoorzieningen. Daarbij wordt u voortdurend beschermd door een professionele eenheid die uw veiligheid waarborgt.’

Een shot van een lachende beveiligingsbeambte die een balletje trapte met een paar gekleurde kinderen. Een andere beambte wees de weg aan een man in een rolstoel met een hond op zijn schoot.

‘Tevens zorgen speciale veiligheidsschilden die in de funderingen van de woningen zijn aangebracht, voor een optimale beveiliging tegen allerlei vormen van terreur.’

Computeranimatie: dwarsdoorsnede van een huis.”

 

thomas van aalten

Thomas van Aalten (Huissen, 26 september 1978)

 

De Engelse schrijver, criticus en columnist William Self werd geboren in Londen op 26 september 1961.

 

Uit: The Principle

 

„When I reach the intersection with Interstate 15, just south of the Toquerville turning, I always have the same choice: I can turn northeast, to Cedar City, and a quiet evening in the library working on my memoirs; or I can turn southwest, and burn rubber the seventy-odd miles to Las Vegas. Every few months I take the road less traveled. Across the Utah border, cutting off the corner of Arizona, the freeway runs down into the wide gulch of the Virgin River, then it mounts up on to the plateau of the Mohave Desert, a silvery wake rising and falling across the waves of scrub, until the lights of that modern Babylon begin to sparkle in the crystalline nighttime air.

    They always put me in mind of an ocean oil rig — the Vegas lights — not that I’ve ever seen one; yet the desert itself is my sea, the hood of my ancient Ford pickup a prow, and even from ten miles off, if I wind down the window, I can hear through the rush of hot air, the steady, rhythmic pulse of the city’s casinos, burlesques and whorehouses, as they pump thick, black, glutinous sin out of the souls of men and women.

Don’t get me wrong, I don’t go down to Vegas out of any desire to test myself. I’m not in the business of flirting with the Devil. I know what I am, and who I am: a man of conviction, a man with responsibilities, a man who has made the Principle the very rock on which he has built his life. But for all that, we all need a little recreation once in a while, a little time out, wouldn’t you agree?

    I always park up in the same trash-strewn alley, behind the same fly-blown Mexican diner. I always have the same super-sized cheesy burrito and 7-Up. Then I walk the half-mile or so along the Strip to Gary’s Place. Now that I’m in my late sixties, younger people often ask me about the changes I’ve seen in my lifetime. I always tell them the same thing: “Every era I’ve lived through has been now.” And I mean it. Living out of the way like we folk do, means we don’t pay much attention to the styling of automobiles, or the size of computers.

    About the only time I see gentiles at all is when I go to Vegas. And so what if they wear their hair this way or that, and talk about this or that shiny, new thing? It don’t mean too much to me. The generality of life, I’ve always felt, takes place in between such modern gewgaws. It’s the mortar, not the bricks that count.“


William_self

William Self (Londen, 26 september 1961)

 

Zie voor alle bovenstaande schrijvers ook mijn blog van 26 september 2007 en ook mijn blog van 26 september 2008.

 

Zie voor nog meer schrijvers van de 26e september ook mijn vorige blog van vandaag.

Jane Smiley, Vladimir Vojnovitsj, Cyprian Ekwensi, Peter Turrini

De Amerikaanse schrijfster Jane Smiley werd geboren op 26 september 1949 in Los Angeles. Zie ook mijn blog van 26 september 2008.

 

Uit: Ten Days in the Hills

 

„Max was still sleeping, neatly, as always, his head framed by the sunny white of his rectangular pillow, his eyelids smooth over the orbs of his eyes, his lips pale and soft, his bare shoulders square on the bed. While Elena was gazing at him, he sighed. Sometime in the night, he had turned back the white comforter; its fold crossed him diagonally between the hip and the knee. The morning sunlight burnished his hands (right on top of left), and sparkled through his silvery chest hair. His cock lay to one side, nonchalant. Elena smoothed the very tips of his chest hair with her hand so that she could just feel it tickling her palm, and then circled his testicles with her index finger. She was sleepy herself, probably from dreaming of the Oscars. What she could remember were more like recurring images of the bright stage as she had seen it from their seats, smiling figures walking around on it, turning this way and that, breasting the audience suddenly as if jumping into surf—not unhappy images, but not restful. The bright figures had stayed with her all night, sometimes actually looking frightened, or turning toward her so that she had to remind herself in her dream that they were happy, well fed, successful.

She sat up quietly, so as not to disturb him. She saw that all of their clothes—his tux and her vintage gold silk-velvet flapper dress—were draped neatly over the backs of a couple of chairs. Her silver sandals and her silver mesh evening bag lay on the windowsill where she had set them when she walked in the bedroom door. He had taken her to the Oscars and then to the Governor’s Ball, because she, of course, had never been, though he himself had an invitation every year—his movie Grace had won Best Screenplay in the 1970s (and in fact was listed on three “hundred best films of the twentieth century” lists that she had looked up on the Internet: seventy-seventh on one, eighty-third on another, and eighty-fifth best on the third). At fifty-eight, Max had a certain sort of fame in Hollywood: most people had heard of him, but lots of younger ones assumed he was dead.“

 

Smiley

Jane Smiley (Los Angeles, 26 september 1949)

 

De Russische schrijver en dissident Vladimir Nikolajevitsj Vojnovitsj werd geboren in Doesjanbe op  26 september 1932. Zie ook mijn blog van 26 september 2008.

 

Uit: Monumental Propaganda (Vertaald door Andrew Bromfield)

 

But Bochkareva had misunderstood Aglaya. Her words about filth had indeed been intended in a figurative sense, and not the one in which Bochkareva had taken them.

When she got home, Aglaya was absolutely beside herself. No
, it was not Stalin’s crimes but the criticism of him that was what had astounded her most of all. How dare they? How dare they? She walked around all three rooms of her flat, beating her tough little fists against her tough little hips and repeating aloud the same words, addressed to her invisible opponents, over and over again: “How did you dare? Who do you think you are? Who are you to raise your hand against him?”

“And you, disdainful descendants . . .”—Lermontov’s line, which she thought she had forgotten long ago, came drifting out from some dark corner of her memory . . .

She had never believed in God, but she would not have been surprised in the least if Porosyaninov’s tongue had withered or his nose had fallen off or he had been paralyzed by a stroke in the middle of giving his speech. The words he had uttered in the House of the Railroad Worker had been too absolutely blasphemous.

She had never believed in a God in heaven, but her earthly god was Stalin. His portrait, the famous one with him lighting up his pipe, holding a lighted match close to the slightly singed mustache, had hung over her writing desk since the times before the war, and during the war it had traveled the partisan forest trails with her and then returned to its place. A modest portrait in a simple limewood frame. In moments of doubt over her most startlingly dramatic actions, Aglaya would raise her eyes to the portrait, and Comrade Stalin seemed to screw up his own eyes slightly and urge her on with his kind and wise smile: Yes, Aglaya, you can do that, you must do it, and I believe that you will do it. Yes, she had been forced to make some difficult decisions in her life—harsh, even cruel, decisions concerning various people—but she had done it for the sake of the Party, the country, the people and the future generations. Stalin had taught her that for the sake of the sublime idea it was worth sacrificing everything, and no one could be pitied.

Of course, she respected the other leaders as well, the members of the Politburo and the secretaries of the Central Committee, but nonetheless she thought of them as just people. Very clever and bold, utterly devoted to our ideals, but people. They could make mistakes in their thoughts, words and actions, but only he was ineffably great and infallible, and his every word and every action expressed such transcendent genius that his contemporaries and the generations to come should accept them as unconditionally correct and absolutely binding.”

 

Vojnovitsj

Vladimir Vojnovitsj (Doesjanbe, 26 september 1932)

 

De Nigeriaanse schrijver Cyprian Ekwensi werd op 26 september 1921 in Nigeria geboren in Minna. Zie ook mijn blog van 26 september 2006 en ook mijn blog van 26 september 2008.

 

Uit: Jagua Nana

 

„Jagua had just had a cold bath, and, in the manner of African women, she sat on a low stool with a mirror propped between her bare knees, gazing at her wet hair. Only one cloth – a flowered cotton print – concealed her nakedness, and she had wound it over her breasts and under her armpits. Her arms and shoulders were bare, and she sat with the cloth bunched between her thighs so that the mirror bit into the skin between her knees.

She raised her arm and ran the comb through the wiry kinks, and her breasts swelled into a sensuous arc and her eyes tensed with the pain as the kinks straightened. From the skin on her long arms and beautiful shoulders the drops of speckled water slid down chasing one another. She saw Freddie pass by her door just then, saw him hesitate when he caught a glimpse of the dark naked hair under her armpits. Then he hurried past into his own room on the floor below, ca
lling as he went:

‘Jagwa!. … Jagwa Nana!…’

She knew he was teasing. They called her Jagua because of her good looks and stunning fashions. They said she was Ja-gwa, after the famous British prestige car.

‘I’m comin’ – jus’ now!…Call me when you ready!’

She could sense the irritation in his voice. As always when she did not like where they were going she delayed her toilet, and Freddie must know by now that

she disliked intellectual groups, especially the British Council groups which she thought false and stiff. On the other hand, Freddie could never do without them. He said they were a link with Britain from which stemmed so much tradition. Like Freddie she was an Ibo from Eastern Nigeria, but when she spoke to him she always used pidgin English, because living in Lagos City they did not want too many embarrassing reminders of clan or custom. They and many others were practically strangers in a town where all came to make fast money by faster means, and greedily to seek positions that yielded even more money.

She heard the clatter of Freddie’s shoes as he hurried down the steps to his own room on the floor below. She waited for him to come up, and when he would not come she went on combing her hair. By an odd tilt of the mirror she saw, suddenly revealed, the crow’s-feet at the corners of her eyes and the tired dark rings beneath.

‘I done old,’ she sighed. ‘Sometimes I tink say Freddie he run from me because

I done old. God ‘ave mercy!’ she sighed again.“

 

cekwensi

Cyprian Ekwensi (26 september 1921 –  4 november 2007)

 

De Oostenrijkse schrijver Peter Turrini werd geboren op  26. September 1944 in St. Margarethen im Lavanttal (Wolfsberg) en groeide op in Maria Saal in Kärnten. Van 1963 tot 1971 had hij verschillende beroepen. Sinds 1971 woont en werkt hij als zelfstandig schrijver in Wenen en Retz. Hij schrijft o.a. theaterstukken, gedichten, essays en draaiboeken. Turrini werd bekend door Rozznjogd (1971), Sauschlachten (1972) en de televisieserie Alpensaga (1974–1979).

 

Uit: Die Liebe in Madagaskar

 

“Die Schauspielerin:

Ich habe gehört, die Österreicher essen alle so wahnsinnig gern Mozartkugeln. Stimmt das?

Ritter:

Auch nicht mehr als die Japaner.

Schweigen.

Die Schauspielerin:

Dieser tolle Film, den Sie da drehen, kann man dazu noch etwas sagen, ich meine zum Inhalt?

Ritter:

Der Film? Welcher Film?

Die Schauspielerin:

Die Liebe in Madagaskar.

Ritter:

Das Drehbuch ist noch nicht ganz fertig.

Die Schauspielerin:

Wenn der Mann mit der Frau in die Oper geht, und sie ihm nahher sagt, daß
sie krank ist …

Ritter:

Brustkrebs.

Die Schauspielerin:

Könnte sie diese Krankheit nicht erfunden haben?

Ritter:

Wieso erfunden?

Die Schauspielerin:

Sie möchte das Maß seiner Liebe erkunden. Frauen haben Angst, schreckliche Angst, daß man sie aus irgendwelchen Gründen nicht mehr lieben könnte. Sie brauchen ständig Beweise der Liebe. Auch wenn sie diese bekommen, jeden Tag, sind sie keineswegs zufrieden. Es nährt nur ihre Sehnsucht nach immer häufigeren, immer größeren Beweisen.”

 

peter_turrini

Peter Turrini (St. Margarethen im Lavanttal, 26. September 1944)