 | Un être vivant ne s’adapte jamais à son milieu ou alors, en s’adaptant, il meurt. La lutte pour la vie est la lutte pour la non-adaptation. Vivre, c’est être différent. C’est pourquoi toutes les grandes espèces végétales et zoologiques sont monstrueuses. |
“The books in the RE/Search library are a constant source of imagination, curiosity and challenge to all preconceived notions of the world. Vale’s love of literature and particularly his obsession with the novelists JG Ballard and William S. Burroughs, the prophets of the twenty-first century whose mission inspired Vale’s own, to, in Burroughs’ words, “Wise up the marks.” The paranoid visions of these two writers could never be more timely or accurate. RE/Search offers an excellent volume on Burroughs and Gysin as well as several on Ballard including the exclusive Quotes and Conversations books and the definitive Atrocity Exhibition, illustrated by Phoebe Gloeckner and Ana Barrado and annotated by Ballard himself.” (Read more about Re/Search). Visit Phoebe Gloeckner’s web site at The University of Michigan School of Art and Design
| J’ai mis au monde une petite fille sans grand effort. C’est dire ce que je pourrais accomplir si je me donnais un peu de peine. |
“German-born French photographer, famous for her documentary photographs and portraits of writers and artists. In the 1930s, Freund’s subjects nearly covered the who is who of Parisian intelligentsia, writers, painters, philosophers. Her best-known book is Photographie et société (1974), about the uses and abuses of the photographic medium.[…] Freund entered at the Sorbonne, receiving her PhD in 1936. In the mid-1930s, Freund played chess with the cultural critic and essayist Walter Benjamin at a café on the Boulevard Saint-Germain. Also the Bibliothèque Nationale connected them - Benjamin wrote there a study of Baudelaire, Freund her dissertation on early French photography, La Photographie en France au dix-neuvième siècle.” (Read more). Gisèle Freund on ArtNet.
Great set of 41 photos
| Il y a là une strophe, se réjouit le poète dans la catastrophe. |
“In this series of images, Kate Bernauer explores the bittersweet nature of human experience. Using theatrical lighting and simple props, she creates scenarios in which ordinary people attempt impossible tasks, blind to their own folly and to the potentially disastrous results of their actions. Darkly humorous, Bernauer’s images serve as poetic metaphors for hope, determination and ultimately, failure.” See the official site of Kate Bernauer.
Pasa La Vida : Francis Bacon and William Burroughs photographed by John Minihan (London 1989).
| Le film qu’il faut voir, le livre qu’il faut lire en ce moment, m’y refuser me donne une importance dont j’étais dépourvu. Je suis l’homme qui les prive d’un succès total : bientôt, tous les regards vont s’en détourner pour se poser sur moi. Je serai la nouvelle sensation du moment. |
| For over a year I went at it every day, building up a hefty pile of pages, about half the story I’d guess, perhaps a little more, but now I seem to have lost the stomach for it. Maybe it started when Sonia died, I don’t know, the end of married life, the loneliness of it all, the fucking loneliness after I lost her, and then I cracked up that rented car, destroying my leg, nearly killing myself in the process, maybe that added to it as well: the indifference, the feeling that after seventy-two years on this earth, who gives a damn if I write about myself or not? |
| L’écrivain n’a nullement besoin d’avoir vécu ce qu’il raconte s’il sait du moins amplifier par l’imagination ses petites expériences approchantes. C’est ainsi qu’après avoir vidé en quelques coups de fourchette mon assiette de haricots, j’ai entrepris un cycle romanesque en onze volumes intitulé Les Moissons. |
