Hans Christian Andersen as a lover

"Even at the height of his fame, there was something about Andersen -it was his tragic fate- that made him ridiculous as a lover:..."

Hans Christian Andersen. The life of a storyteller. 

By Jackie Wullschlager. Page 228.

 

Writing beautifully

"I want to write in a beautiful hand because I feel beauty."

The Diary of Vaslav Nijinsky. On Death. Page 210.

Lust, Diaghilev and the creation of Nijinsky's most famous ballets

"My lusting almost destroyed me. I felt weak. I cold not compose "Jeux". I composed this ballet on the subject of lust. The ballet was not a success, because I did not feel it. I began it well, but then they started to hurrying me, and I never finished it. In that ballet you can see three young people feeling lust. I understood life at the age of twenty-two. i compose that ballet by myself. Diaghilev and Bakst helped me write down the subject of the ballet, because Debussy, the famous musical composer, insisted on having the story on paper. I asked Diaghilev to help me, and he and Bakst together wrote down my story on paper. I told Diaghilev my ideas. i know that Diaghilev likes saying they are his, because he likes praise. i am very pleased if Diaghilev says it is he who has thought up these stories, taht is, "The faun" and "jeux", for these ballets were composed by me under the influence of my life with Diaghilev. "the Faun" is me, and "jeux" is the kind of life Diaghilev dreamed of. Diaghilev wanted to have two boys. He often told me about this desire of his, but I showed him I was very angry. Diaghilev wanted to make love to two boys at the same time and wanted these boys to make love to him. The two boys are two young girls, and Diaghilev is the young man. I camouflage these personalities on purpose because I wanted people to feel disgust. I felt disgust and therefore could not finish that ballet. Debussy did not like Diaghilev's idea either, but eh was given 10,000 francs for that ballet, and therefore he had to finish it.............. "

The Diary of Vasav Nijinsky. On Death. Page 206-207

Nijinsky looking for tarts in Paris

"I started "chasing tarts". I had difficulty finding tarts, because I did not know where to look for them. i liked the tarts in Paris. They excited me, but, having done it once, I did not want to do anything anymore. I liked those women because they were good people. I felt bad after copulating."

The Diary of Vaslav nijinsky. On Death. page 206.

Nijinsky confesing how he musturbated.

"I want to describe my life as an artist. I was nervous because I had masturbated a lot. I masturbated because I saw many beautiful women who flirted. I luster after them and masturbated. I noticed that my hair started falling our. I noticed that my teeth began to rot. I noticed that I was nervous and began to dance worse. I took masturbating once every ten days. I thought that ten days was a necessary interval of time, that everyone should come once every ten days, for I heard older people say so. I was no more that nineteen years old when I started masturbating once every ten days. I liked lying in bed thinking about a woman, but I came afterward and decided to make myself the object of my lust. I looked at my own erect prick and felt lust. i did not like it, but I thought that "once I had started the machine running, I had to finish." I came quickly, with a feeling of a rush of blood to my head, i did not have a headache, but I felt pain in my temples. I now have a stomachache because I have eaten a lot, and I have the same kind of pain in my temples as when I used to masturbate. I did not masturbate much when I danced, because I realized it was death to my dancing. I started preserving my strength and therefore gave it up."

The Diary of vaslav nijinsky. On Death. page 205-206.

Current Events and Literature. Brecht's Work Diary.

"It would be unbelievably difficult to express the emotional circumstances in which I follow the battle for Britain on the radio and in the bad Finnish-Swedish newspapers and at the same time Puntila. This spiritual phenomenon makes lear that such a war can be and that literary work always be carried on. Puntila concerns me almost not at all, the war completely; about Puntila I can write almost everything, about the war nothing. I don't mean "may," I really mean "can."
It is interesting how far literature, in practice, is removed from the center of all decisive events."

Bertoldt Brecht. Arbeitsjournal (Work Journals) 1938-1955. page 59.


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Nijinsky's anger

"I am a predator. i am a spiteful man. I am not God, but a beast. I am sorry for myself and for people like me. I am not a man. I am a beast. I know they will say that I am a spiteful because I write spiteful things. I am spiteful. I am spiteful and a predatory beast. I have sharp claws. Tomorrow I will scratch. I feel I am spiteful. I do not wish people harm, but people wish me harm. I cannot be sorry for people who wish me harm. I do not wish people harm, but they wish me harm. I can not make my handwriting attractive, because I am angry. I am not writing calmly. My hand is nervous. I am nervous. I am angry and nervous. i can not be calm. I do not want to be calm. I will be angry. I am an angry scoundrel. I am angrier than anyone else in the world. I know how to be angry. I made her angry, and therefore she left me. I cannot write, because I am angry. I am angry, but not in the way other people are angry. I am angry at God. I will not go out for a walk tomorrow. I will stay at home. I will drink wine and beer. I will eat meat. I will laugh. I will be stupid. I don not want to write in an attractive handwriting, because I want people to read me in that way I want. I cannot write anymore."

The Diary of vaslav Nijinsky. On death. page 168.

Nijinsky masturbator and his love for his mother and dance.

"I knew that Russian church services because I went to church every time. I liked going to church because I liked seeing the silver icons, which glittered. There were candles for sale, and sometimes I used to sell them together with Isayev, my companion in masturbation. I liked him, but felt that what he had taught me to do was a bad thing. I suffered when I wanted to do it. I wanted to do it every time I went to bed. Isayenko noticed that no one in school knew about my habits, and I therefore continued with them. I continued till I noticed that my dancing was beginning to deteriorate. I was scared because I realize that my mother would soon be ruined and I would not be to help her. I started combating my lust. I forced myself to do so. I said to myself, "I mustn't." I learned well. I gave up masturbation. I was about fifteen years old. I loved my mother, and my love for my mother made me improve. I learned well. Everyone began to notice me. I got top marks. My mother became happy. She often told me that the whacking had done me good. I told her that this was so, but I felt otherwise. I loved my mother infinitely. I decided to devote myself to dancing even more. I grew thin. I started to dance like God."

The Diary of Vaslav Nijinsky. On Life. Page 119.

My soul is sick (Vaslav Nijinsky)

"I want to weep, but I cannot, because I feel so much pain in my soul that I am afraid for myself. I feel pain. My soul is sick. My sickness is of the soul and not of the mind. I know what I need in order to become well again. My sickness is too great for me to be cured of it soon. I am incurable. My soul is sick. I am poor. I am a destitute. I an unhappy. I am horrible. I know that everyone will suffer when they read these lines, because I know that people will feel me."

The Diary of Vaslav Nijisnky. On Life. Page  145.

   

Meat, masturbation and Gogol. Nijinsky's Diary.

"Meat is a terrible thing. I know that children who eat meat practice masturbation. I know that girl and boys practice masturbation. I know that women and men together and separately practice masturbation. Masturbation causes idiocy. People lose their feeling and their reason. I used to lose my reason when I practiced masturbation. My nerves were on edge. I used to tremble as if I had a fever. I had headaches. I was ill. I think that Gogol was a masturbator. I know that masturbation destroyed him. I know that Gogol was a rational man. I know that Gogol felt. His feeling became blunter day by day. He felt his death coming, because I do not want to practice masturbation. I was a great masturbator. I understood God badly and thought that he wished me well when I practiced masturbation. I know many women who cross their legs. Those women often practice masturbation."

The Diary of Vaslav Nijinsky. On Life. Page 133.


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Nijisnky and ridicule.

"I do not like ridicule. I am not ridiculous. I love everyone, and loving everyone is not a ridiculous thing."

The Diary of Vaslav Nijinsky. On life. Page 67.

   

Nijinsky and his concept of Beauty.

"Beauty can not be discussed. Beauty  cannot be criticized. Beauty is not criticism."

The Diary of Vaslav Nijinsky. On life. Page 59

 

Nijinsky, Theatre Stage and the circle.

"I don't like a theater with a square stage. I like a round theater. I will build a round theater. I know what an eye is. An eye is a theater. The brain is the audience. I am the eye in the brain."

The Diary of Vaslav Nijinsky. On life. Page 52

  

Nijisnky, dance and circle.

"The circle is the complete, the perfect movement. Everything is based on it-life, art." 

Nijinsky. Romola Nijinski quoting Nijinsky's words. 

  

Nijinsky about work.

"I work with mi hands and feet and head and eyes and nose and tongue and hair and skin and stomach and guts" 

The Diary of Vaslav Nijinsky. On life. Page 44.

 

Nijisnky writing clean like Darwin

"Darwin was an ape, but did not have lice. I love Darwin for his cleanliness. he wrote neatly. I like writing neatly, but I have a bad fountain pen."


The Diary of Vaslav Nijinsky


  

Nijinsky talking about Nietzsche

"Nietzsche lost his head because he thought. I do not think and therefore will not lose my head."

"The Diary of Vaslav Nijinsky" Page 24

  

Les égouts de Paris sont les égouts de tout, Victor Hugo.

Les égouts de Paris sont les égouts de tout

La primera vez que leo un texto que bien podría ser el origen de las "metáforas" sobre la mierda saliendo de las cloacas y la problemática social o política. Si no lo es, por demás es un curioso e inteligente texto de Victor Hugo en "Los Miserables".

"L'histoire des hommes se reflète dans l'historie des cloaques. (...) Le crime, l'intelligence, la protestation sociale, la liberté de conscience, la pensée, le vol, tout ce que les lois humaines poursuivent ou ont poursuivi, s'est caché dans ce trou; (...) 

L'égout, c'est la conscience de la ville. Tout y converge, et s'y confronte. Dans ce lieu livide, il y a des ténèbres, mais il n'y a plus de secrets. (...) Toutes les malpropretés de la civilisation, une fois hors de service, tombent dans cette fosse de vérité où aboutit l'immense glissement social, elle s'y engloutissent, mais elles s'y étalent. Là, plus de fausse apparence, aucun plâtrage possible, l'ordure ôte sa chemise, dénudations absolue, déroute des illusions et des mirages, plus rien que ce qui est, faisant la sinistre figure de ce qui finit. Réalité et disparition. (...) Un égout est un cynique. Il dit tout.

Cette sincerité de l'immondice nous plaît, et repose l'âme. Quand ona passé son temps à subir sur la terre le spectacle des grands airs que prennent la raison d'état, le serment, la sagesse politique, la justice humaine, les probités professionnelles, les austérités de situation, les robes incorruptibles, cela soulange d'entrer dans un égout et de voir de la fange qui convient.

Cela enseigne en même temps. Nous l'avons dit tout à l'heure, l'historie passe par l'égout. (...) On entend sous ces voûtes le balai de ces spectres. On y respire la fetidité énorme des catastrophes sociales. On voit dans des coins des miroitement rougeâtres. Il coule là une eau terrible où se sont lavées des mains sanglantes.
L'observateur social doit entrer dans ces ombres. Elle font partie de son laboratoire."

"Les misérables" Victor Hugo. Livre deuxième. L'intestin de Léviathan. II. L'histoire ancienne de l'égout. Page 650-652.

   

Tennessee Williams talking about "the playwright's illness"

Tennessee Williams talking about "the playwright's illness"

'Someone interviewing me asked me why writers are so preoccupied with disease and death.

"Any artist dies two deaths," I told him, "not only his own as a physical being but that of his creative power, it dies with him."

A play is submitted to so many people and to so many conditions, alterable or not, and to such bafflingly varied interpretations by those to whom it's submitted that it's a wonder the author isn't stricken with incurable vertigo and plummeted irretrievably into a pit of snakes and madness.'

"Tennessee Williams: Memoirs." Chapter 11 page 242


   

Tennessee Williams about: Being a writer

Being a writer (Tennessee Williams)

"What is it like being a writer? I would say it is like being free.

I know that some writers aren't free, they are professionally employed, which is quite a different thing.

Professionally, they are probably better writers in the conventional sense of "better". They have an ear to the ground of best-seller demands: they please their publishers and presumably their public as well.

But they are not free and so they are not what I regard a true writer as being.

To be free is to have achieved your life.

It means any number of freedoms.

It means the freedom to stop when you please, to go where and when you please, it means to be voyager here and there, one who flees many hotels, sad or happy, without obstruction and without much regret. 

It means the freedom of being. And someone has wisely observed, if you can't be yourself, what's the point of being anything at all?"

"Tennessee Williams: Memoirs" Chapter 11 page 230.


   

The fear of writing about our past depression states.

"It is difficult to write about a period of profound, virtually clinical depression, because when you are in that state, everything is observed through a dark glass which not only shadows but distorts all that is seen. It's also hazardous to write about it, since the germ of it still lingers in your system and it could be activated again by thinking back on it."

"Tennessee Williams: Memoirs" Chapter 9 page 202


  

The Actor's Studio and Tennessee Williams' times of success.

"Kazan had cast the entire show out of the Actor's Studio, an organization that was a very important thing in the great days-I guess I should say the prosperous days- of Broadway, during my time in the forties and the fifties. Those were two great decades of the Actor's Studio. Nearly every great actor of promise studied there. And the Actor's Studio technique fitted so well my type of play. And, the Actor's Studio-with Kazan, Strasberg, and Bobby Lewis-was a great place for actors to go and compare notes on each other's work and it gave them a sort of home base."

"Tennessee Williams: Memoirs" chapter 9 pages 166-167


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Tennessee Williams about "Streetcar named desire" and Blanche Dubois...

Tennessee Williams: Memoirs
Chapter 8 Page 130-131

 (...) We had come to the Cape too early for ocean bathing, it was still icy cold. But i continued work on streetcar and it was in that cabin that I thought of the exit line for Blanche, which later became somewhat historical: "I have always depended upon the kindness of strangers."


Actually it was true, I always had, and without being often disappointed. In fact, I would guess that chance acquaintances, or strangers, have usually been kinder to me than friends -which does not speak too well for me. To know me is not to love me. At, best, it is to tolerate me, and the drama critics I would say that tolerance seem now to be just about worn out.






  

Greta Garbo. "Whatever Happened to Mystery?" By Ben Brantley.

"It was the last day of 1985, on an afternoon steeped in that merciless brightness you associate with early winter in the city, and, suddenly, there she was: a bulky fur coat, a knitted watch cap and an unpainted face, as closed as a fist, behind big sunglasses that had no aspiration to trendiness.

If you didn’t know who she was, she was nothing special. She didn’t look chic, not even rich, amid the well-buffed, well-tailored women with big shopping bags and little dogs. But Miss Garbo had on something none of those ladies could afford: She was wearing six decades’ worth of well-documented silence."

"Whatever Happened to Mystery?" By Ben Brantley. The New York Times. Published July 16,2010. 

  

"Les Misérables" Victor Hugo (Page 621)

"Jusqu'à ce que l'ordre, qui n'est autre chose que la paix universelle, soit établi, jusqu'à ce que l'harmonie et l'unité règnent, le progrès aura pour étapes les révolutions."

Page 621 Cinquième partie Livre premier Chapitre XX



  

Loneliness. Tennessee Williams: Memoirs (page 99)

"(..) let me say, now, that he relieved me, during that period, of my greatest affliction, which is perhaps the major theme of my writings, the affliction of loneliness that follows me like my shadow, a very ponderous shadow too heavy to drag after me all of my days and nights... "


Tennessee Williams: Memoirs

Tennessee Williams: Memoirs (page 92)

 "After the success of Menagerie, as I've said before, I felt a great depression, probably because I never believed that anything would continue, would hold. I never thought my advance would maintain its ground. I always thought there would be a collapse immediately after the advance. Also, I had spent so much of my energy on the climb of success, that when I had "made it" and my play was "the hottest ticket in town", I felt almost no satisfaction." Page 92. Chapter 6

"Les Misérables" Victor Hugo

Cinquiéme Partie. livre premier. Chapitre II.

"(...) ; les génies attirent l'injurie, les grands hommes sont toujours plus ou moins aboyés."

Les Misérables 

Teaching without pupils... "Living for Brecht" by Ruth Berlau (Page 265)

Page 265. Hans Bunge quoting Brecht about his mood during his exile in Denmark:

He wrote at that time "Teaching without pupils/Writing without fame/Are difficult." and "There speaks the man to whom no one is listening:/ He speaks too loud / He repeats himself / He says thing that are wrong: / He goes uncorrected."




Living for Brecht


  

"Living for Brecht" by Ruth Berlau (Page 195)

Page 195: "Sometimes one can hear Brecht give a sudden laugh-even when the scene is being rehearsed for the first time-for he has observed that the actor is offering something new and interesting, even if nothing more that a silent walk across the stage. This laugh means too much to the actor. From then on his colleagues will say: Now for the walk, or the gesture, or the look."

"Living for Brecht" by Ruth Berlau (Page 195)

page 195: " (...) Brecht never ceases to make demands on them and to help them. For example, he demonstrates to them way of walking on stage-the walk of weariness, of sensuality, of vanity, of injured pride. In that way he gives the actor a basis to work on, for the manner of walking reveals the attitude. How does an overworked woman hold her shoulders, when life has already given her too much to bear? Brecht makes the poor woman's arms hang lower through too much carrying, her shoulders droop, her stomach protrude. Or he sends for cheap steel-rimmed spectacles to make the eyes look tired. The mouth may also be held a little open, to indicate difficulty in breathing."

"Living for Brecht" by Ruth Berlau (Page 194)

Page 194: " (...) the actor himself having at last reached the stage and wanting to make the most of the few minutes he has been given. Brecht is adamant in combating this wish. He gives his actors their chance in a different way, presenting them with one of his famous pauses. These pauses are not there to express feeling but to allow something to be shown while silence reigns, thus giving the audience a chance to reflect and to understand."

"Living for Brecht" by Ruth Berlau (Page 192-193)

Page 192-193: "I could say that in rehearsal Brecht begins by "alienating" his own play. He appears to be familiar with no single word of his text, and with each rereading he discovers it anew. (...) Certainly he has no wish to stick obstinately to what is written on the page; what he wants is to see and hear what actors using the text can show him. When a sentence or even a whole scene has been thoroughly examined in this way, it can come as no surprise to learn that up to the very last rehearsal. Brecht is always making changes in is plays. He conducts rehearsals in sections, initially treating each matter entirely for its own sake. Someone knowing the play as a whole might the say to him, "The third scene explains what has already been indicated in the first scene. So how can the actor throw away his line in the first scene so lightly?" Brecht will listen, then laugh and replay, "Is that so? That's good. Well, we shall see." It might really become necessary to make changes in the first scene while we are already working on the third, but now we know why. In this way, rehearsals remain constantly productive. Nothing is ever glossed over; everything is checked and rechecked again and again."

Ruth Berlau in Amazon.com

"Living for Brecht" by Ruth Berlau (Page 192)

Page 192: "In his theoretical works Brecht has written about alienation (Verfremdung) and alienation effects. Many believe this to be a very complicated affair, but in fact it is very simple. A statement is "alienated" by being made to appear strange, and therefore striking. Things that are so general, so everyday, so usual that they are no longer noticed-since one knows them too well-are presented as remarkable and worthy of attention. In this way facts, procedures, and conventional forms of behavior are made more transparent. Curiosity is aroused about what lies behind them: What is it exactly, and why is it so? Brecht induces the attitude of an explorer who has come on something remarkable."

"Living for Brecht" by Ruth Berlau (Page 191)

Page 91: "Brecht comes fresh to rehearsals-and usually ahead of his fellow workers. from the very moment he enters the theater he is in his element,a fish in water. He starts with a reading rehearsal, asking the actors to read out their roles, with neither expression nor accentuation but concentrating instead on the implication of the words. After that comes the positioning. Brecht sits there with a cap and a cigar in his mouth, knowing nothing. (...) Brecht is wiser. With his method he gets more out of his actors as well as out of himself. When an actor asks, "Should I stand up here?" everybody is always astounded by Brecht's typical response: "I don't know". He does not make up his mind in advance but tries out several possible solutions. The actor can make suggestions of his own. What Brecht likes most of all is to have suggestions demonstrated, not discussed. As soon as someone starts explaining his intentions at great length, Brecht breaks in and says, "Show us". For Brecht an actor's technique is not a matter fro discussion."

Generation by Matthew Cobb. Page 238

"In a strange way, therefore, a key aspect of preformation and pre-existence lives on the overstated claims of genetics determinism. This simplistic understanding of the role of genes is shared by those scientists who do not realise the complexity of living systems, or who underestimate the essential role of interactions with the environment, which affect every aspect of the activity and hrowth of organisms. Twenty first- century geneticista who suggest that there is astraight line running from a single DNA sequence to a complex humanbehavioural trait, or even something as simple as afinger, would be amazed to knowthat they are the modern equivalents of the seventeenth- and eighteenth-century thinkers who advocated a rigid and literal form of preformation."

Generation by Matthew Cobb

Generation by Matthew Cobb

Page 226; "Understanding the process of generation as we know do would have impossible 350 years ago. The very concepts we use to explain inheritance and genetics - transmission, information, programme, code - are the product of the electronic age and were consistenly applied to understanding generation only after they widespread adoption in the early years of computing around the Second World War. Although a seventeenth-century scientist would have understood what code was, the idea that egg and sperme each contain information to make a new organism, and this genetic code was the essential thing transmmited from generation to generation, would have been so much technobabble.
There is an intriguing corollary to all this: computers are currently the most advanced form of our ability to manipulate matter, and concepts such as information, programming and feedback loops are an integral part of modern attemps to model and explain bilogical phenomena. Today it is impossible to imagine anything richer and unforeseeable technological developments, this approach will no doubt seem quaint and naive. The future will prove the we have a vision that is limited by the boundaries of our scientific imagination, which in turn is largely determined by our social conditions, by the way production is organised and in particular by our technology"



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Brecht quoted by Ruth Berlau

Brecht to Ruth Berlau : "I have no pupils, I have employees."

Generation by Matthew Cobb

Quoting an Arab proverb from Redi's words: "Experiment leads to knowledge, credulity leads to error." Page 83


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Hunger. George Vidal quoted by Raymond Tallis.

page 139: "It is not enough to succeed. Others must fail."

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"What happened when Albert Einstein met Charlie Chaplin?" The Independent

Wednesday, 28 April 2010

"Most convergences between tremendously distinguished writers, however, tend to end in bathos. Take the head-spinning evening of 18 May 1922, at the de luxe Hotel Majestic in Paris, where a moneyed couple of London arts patrons called Sydney and Violet Schiff hosted dinner for 40 people to celebrate the first performance of Stravinsky's ballet Le Renard, performed by the Ballets Russes under the great impresario Serge Diaghilev. The Schiffs had a reputation for pulling diverse but brilliant people together; their guest list on this night, however, was exceptionally ambitious. Along with Diaghilev and Stravinsky, they'd invited Picasso, Proust and James Joyce. A perfect quintet of the arch-modernists of the 20th century, five men at the cutting-edge of innovation, the "breaking of forms" and the jettisoning of the past. Would they like each other? Would they strike sparks? Would they agree to collaborate? Would they chat in ordinary human words?

Joyce arrived drunk at 11pm. He'd failed to rent or borrow a dinner suit for the glittery occasion and was, reportedly, embarrassed about being under-dressed. For a time he sat with his head in his hands, gazing at his glass of champagne. Marcel Proust swanned in at 2.30am, having just got up (he was writing the Sodom and Gomorrah chapters of A La Recherché du Temps Perdu, and working through the night in his sealed-off, cork-lined room.) He homed in on Stravinsky and asked, "Doubtless you admire Beethoven?"

"I detest Beethoven," said Stravinsky shortly.

"But cher maître," Proust protested, "surely the late sonatas and quartets ... "

"Are even worse than the rest," said Stravinsky.

Joyce, meanwhile, had fallen asleep. When he woke, he found Proust standing before him, asking, "Do you like truffles?" "Yes I do," said Joyce. History does not record if the two literary Titans munched their way through a box of chocolates together, but it's pleasing to imagine the sight.

How elevated was their conversation? Apparently Proust said, "I have never read your works, Mr Joyce," and Joyce replied, quick as a flash, "I have never read your works, M. Proust." So there. Joyce later claimed that he tried to talk to the Frenchman about the allure of chambermaids (clearly Joyce didn't know his interlocutor very well) but Proust wanted to talk about duchesses, and Joyce didn't know any. To change the subject, Joyce complained about his eyes and how they were giving him headaches. "But my stomach!" said Proust. "My stomach!"

And that was it, except for an ill-tempered cab-ride home, when Joyce lit a cigar and opened a window. Proust, allergic both to cigar smoke and open windows, talked non-stop, while Joyce glared at him and finally took the cab grumpily on to his home. "Of course the situation was impossible," Joyce later reflected. "Proust's day was just beginning. Mine was at an end." Actually Proust's was more truly at an end – he died in November that year."

Steven Weinberg ( Hunger by Raymond Tallis)

" the more the universe seems comprehensible, the more it also seems pointless" page 122

"Hunger". Raymond Tallis. Page 93.

"The most stupid thing that is said about the sexual act is that it ia the most overrated ten seconds in the world"


Hunger


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"Federico Fellini, la vita ei film"

"Nell'estate 1927 su usa collocare un episodio "storico" , che in realtà è pseudostorico: la Prima fuga (...). Esaltato dall'esibizione del pagliaccio Pierino -rievocato nel film I clowns - al levar delle tende il bimbo sarebbe scappato di cada per unirsi al circo. L'episodio è sempre stato smentito dalla madre e dall'intera parentela del presunto fuggitivo, il cuale a distanza di vari decenni continuava a sostenere che qualcosa di vero c'era. Fosse solo il trauma gioioso dello spettacolo circense, la voglia di entrarci dentre per sempre. In tale senso si può dire che la Prima fuga, magari in maniera diversa da come la raccontava Fellini, è avvenuta realmente: tranne che non è durata soltano in paio di giorni, ma tutta la vita" (Tullio Kezich. Pag 17,18)



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Hunger. Tallis cites Barther.

"I have projected myslef into the other with such power that when I am without the other, I cannot recover myself, regain myself: I am lost forever" page 78.

Hunger. The Art of Living. By Raymond Tallis. page 5.

"It seems to me likely that the deepest differences between human beings are not between man and woman, black and white, between intellectuals who aspire to the examined life and the thoughtless who do not, between those who do and those who do not believe in God, but between the hungry and the well-fed."

"The Kingdom of Infinite Space" By Raymond Tallis. Page 93.

"... in the beginning was the Word, and the Word made God who preceded the beginning."

The Kingdom of the Infinite Space