“The Adopted Son” — Guy de Maupassant

“The Adopted Son” by Guy de Maupassant

The two cottages stood beside each other at the foot of a hill near a little seashore resort. The two peasants labored hard on the unproductive soil to rear their little ones, and each family had four.

Before the adjoining doors a whole troop of urchins played and tumbled about from morning till night. The two eldest were six years old, and the youngest were about fifteen months; the marriages, and afterward the births, having taken place nearly simultaneously in both families.

The two mothers could hardly distinguish their own offspring among the lot, and as for the fathers, they were altogether at sea. The eight names danced in their heads; they were always getting them mixed up; and when they wished to call one child, the men often called three names before getting the right one.

The first of the two cottages, as you came up from the bathing beach, Rolleport, was occupied by the Tuvaches, who had three girls and one boy; the other house sheltered the Vallins, who had one girl and three boys.

They all subsisted frugally on soup, potatoes and fresh air. At seven o’clock in the morning, then at noon, then at six o’clock in the evening, the housewives got their broods together to give them their food, as the gooseherds collect their charges. The children were seated, according to age, before the wooden table, varnished by fifty years of use; the mouths of the youngest hardly reaching the level of the table. Before them was placed a bowl filled with bread, soaked in the water in which the potatoes had been boiled, half a cabbage and three onions; and the whole line ate until their hunger was appeased. The mother herself fed the smallest.

A small pot roast on Sunday was a feast for all; and the father on this day sat longer over the meal, repeating: “I wish we could have this every day.”

One afternoon, in the month of August, a phaeton stopped suddenly in front of the cottages, and a young woman, who was driving the horses, said to the gentleman sitting at her side:

“Oh, look at all those children, Henri! How pretty they are, tumbling about in the dust, like that!”

The man did not answer, accustomed to these outbursts of admiration, which were a pain and almost a reproach to him. The young woman continued:

“I must hug them! Oh, how I should like to have one of them—that one there—the little tiny one!”

Springing down from the carriage, she ran toward the children, took one of the two youngest—a Tuvache child—and lifting it up in her arms, she kissed him passionately on his dirty cheeks, on his tousled hair daubed with earth, and on his little hands, with which he fought vigorously, to get away from the caresses which displeased him.

Then she got into the carriage again, and drove off at a lively trot. But she returned the following week, and seating herself on the ground, took the youngster in her arms, stuffed him with cakes; gave candies to all the others, and played with them like a young girl, while the husband waited patiently in the carriage.

She returned again; made the acquaintance of the parents, and reappeared every day with her pockets full of dainties and pennies.

Her name was Madame Henri d’Hubieres. Continue reading ““The Adopted Son” — Guy de Maupassant” →

Desire Dehau Reading a Newspaper in the Garden — Henri de Toulouse-Lautrec

John Huston’s Film Adaptation of Under the Volcano (Full Film)

(Here’s my review of Malcolm Lowry’s novel Under the Volcano).

Love (Peanuts)

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Calavera with Skeleton Cyclists — José Guadalupe Posada

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(More calaveras).

The Book of Men (Book Acquired, 10.25.2013)

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The Book of Men  is curated (and not, curiously, edited, which is the word I thought we used, but hey, whatever) by Colum McCann. Publisher’s blurb:

To help launch the literary nonprofit Narrative 4, Esquire asked eighty of the world’s greatest writers to chip in with a story, all with the title, “How to Be a Man.”

The result is The Book of Men, an unflinching investigation into the essence of masculinity.

The Book of Men probes, with the poignant honesty and imagination that only these writers could deliver, the slippery condition of manhood. You will find men striving and searching, learning and failing to learn, triumphing and aspiring; men who are lost and men navigating their way toward redemption. These stories don’t just explore what it is to be a man or how to achieve manliness, but ultimately what it is to be a human—with all of its uncertainty, complexity, clumsiness, and beauty.

With contributions from literary luminaries as diverse as the subjects they capture, and curated by the editors of Esquire, National Book Award winner Colum McCann, and Narrative 4, a global nonprofit devoted to using storytelling as a means to empathy, The Book of Men might not teach you how to negotiate a deal or mix a Manhattan, but it does scratch at that most eternal of questions: What is a man?

Lots of shorties here. Here’s Chimamanda Ngozi Adichie’s entry:

Our Sundays always tasted like peppers that flared hot in the rice and soups and stews. We sat in the kitchen, knees fresh from pews, and watched our houseboy pounding them in pairs. He held the phallic pestle—thump thump thump—while we coughed and spluttered with watery eyes. Nobody tastes them raw, it wasn’t wise. But we did, and then we’d shout and jump to the fridge for ice.
My mom sang an Igbo song about strong women. It wasn’t too trite, but it told of places she didn’t know, streams, goddesses, women who couldn’t read. Women like that would squeeze peppers, I heard, and force them between their daughters’ legs—“so they’ll stop following boys.” But Eros was good for sons. No peppers to curb sons’ paths to manhood.

 

The Day of the Dead — Diego Rivera

Isle of Shoals — Childe Hassam

Fantastical Fictive Beers

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The Self-Portraits of Nine Authors

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Wolf Sausage — Jean-Michel Basquiat

Serge Gainsbourg’s Histoire de Melody Nelson Gets the 33 1/3 Treatment (Book Acquired, 10.23.2013)

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Things I am a fan of: Serge Gainsbourg, Darran Anderson, and the 33 1/3 series. The 33 1/3 imprint focuses on specific albums, and the results are usually far more engaging than standard biographical fare. Histoire de Melody Nelson is the series’s latest entry; here, Darran Anderson takes on Serge Gainsbourg’s dark, moody, sexy, weird album (listen to it/see it here). I still remember the first time I heard Melody, back in college. Gainsbourg’s track with a breathy, orgasmic Brigitte Bardot “Je t’aime… moi non plus” was pretty much a party standard for my friends and me, and “Bonnie & Clyde” found its way onto plenty of mixtapes in the late ’90s. These bubblegum vamps didn’t really prepare me for Melody. I remember going to a friend’s apartment; he had just bought the album and had it playing on repeat. Dark, spacious, very short and full of strange shifts, from orchestral bombast to odd moments of quiet, the album made me feel weird. Such a weird album is a worthy topic for a book, and Anderson’s entry is a marvelous description and analysis of the artistic, cultural, and philosophical sources that Gainsbourg synthesized in Melody. Check out some of Anderson’s blog entries; they provide a compelling overview of his book:

The Origins of Melody – Nabokov’s Lolita, Barbarella, Boris Vian, Sibelius, Mondo Cane.

The Avant Garde or Nothing – Gainsbourg and Vannier as innovators and a focus on their lost classics.

Initials O.G. – Serge Gainsbourg’s Hip-hop afterlife.

Connan Mockasin – Kiwi Psychedelia and the Ghost of Melody Nelson.

The book’s blurb:

Outside his native France, the view of Serge Gainsbourg was once of a one-hit wonder lothario. This has been slowly replaced by an awareness of how talented and innovative a songwriter he was. Gainsbourg was an eclectic, protean figure; a Dadaist, poète maudit, Pop-Artist, libertine and anti-hero. An icon and iconoclast.

His masterpiece is arguably Histoire de Melody Nelson, an album suite combining many of his signature themes; sex, taboo, provocation, humour, exoticism and ultimately tragedy. Composed and arranged with the great Jean-Claude Vannier, its score of lush cinematic strings and proto-hip hop beats, combined with Serge’s spoken-word poetry, has become remarkably influential across a vast musical spectrum; inspiring soundtracks, indie groups and electronic artists. In recent years, the album’s reputation has grown from cult status to that of a modern classic with the likes of Beck, Portishead, Mike Patton, Air and Pulp paying tribute.

How did the son of Jewish Russian immigrants, hounded during the Nazi Occupation, rise to such notoriety and acclaim, being celebrated by President François Mitterand as “our Baudelaire, our Apollinaire”? How did the early chanson singer evolve into a musical visionary incorporating samples, breakbeats and dub into his music, decades ahead of the curve? And what are the roots and legacy of a concept album about a Rolls Royce, a red-haired Lolita muse, otherworldly mansions, plane crashes and Cargo Cults?

 

November First — Andrew Wyeth

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“The Non-Entity” — William Carlos Williams

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Boy Reading — Thomas Pollock Anshutz

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Werner Herzog Talks About His Film Nosferatu

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Watch the full version of Werner Herzog’s Nosferatu (with English subtitles).

Jack O’ Lanterns 2013

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