A Seriously Sizzling Series of Super-Saucy Salvadisms

Some good quotes by Salvador Dalí (1904-89), who will need no introduction to keyly committed core components of the quixotically contrarian community. The Spanish should be reliable, but the English translations may not be (coz i dun em).

• A los seis años quería ser cocinero. A los siete quería ser Napoleón. Mi ambición no ha hecho más que crecer; ahora sólo quiero ser Salvador Dalí y nada más. Por otra parte, esto es muy difícil, ya que, a medida que me acerco a Salvador Dalí, él se aleja de mí.
 — At six years of age I wanted to be a chef. At seven I wanted to be Napoleon. My ambition has only grown since then, but now I only want to be Salvador Dalí and nothing more. Still, it’s very difficult, because the closer I get to Salvador Dalí, the further he gets from me.

• El canibalismo es una de las manifestaciones más evidentes de la ternura.
 — Cannibalism is a sure sign of affection.

• El que quiere interesar a los demás tiene que provocarlos.
 — He who wishes to interest other people needs to provoke them.

• …Es curioso, a mi me interesa mucho mas hablar, o estar en contacto con la gente que piensa lo contrario de lo que yo pienso, que de los que piensan lo mismo que pienso yo.
 — …It’s strange, but I’d much rather talk with or be in touch with people who think the opposite of what I think than with those who think the same as I do.

• Es fácil reconocer si el hombre tiene gusto: la alfombra debe combinar con las cejas.
 — It’s easy to tell if a man has good taste: his carpet should harmonize with his eyebrows.

• De ninguna manera volveré a México. No soporto estar en un país más surrealista que mis pinturas.
 — Under no circumstances will I return to Mexico. I cannot bear to be in a country more surreal than my own paintings.

• Hoy, el gusto por el defecto es tal que sólo parecen geniales las imperfecciones y sobre todo la fealdad. Cuando una Venus se parece a un sapo, los seudoestetas contemporáneos exclaman: ¡Es fuerte, es humano!
 — Today, a taste for the defective is so strong that the only things that seem attractive are imperfections and, above all, ugliness. When a Venus looks like a toad, the pseudo-aesthetes of today shout: “That’s great, that’s human!”

• Los errores tienen casi siempre un carácter sagrado. Nunca intentéis corregirlos. Al contrario: lo que procede es racionalizarlos, compenetrarse con aquellos integralmente. Después, os será posible subliminarlos.
— Mistakes almost always have a sacred character. Never try to correct them. On the contrary, you need to ponder them, to examine them from every angle. Afterwards, you will be able to absorb them.

• La Revolución Rusa es la Revolución Francesa que llega tarde, por culpa del frío.
 — The Russian Revolution is the French Revolution arriving late due to the cold.

• La única diferencia entre un loco y Dalí, es que Dalí no está loco.
 — The only difference between a madman and Dalí is that Dalí is not mad.

• La vida es aspirar, respirar y expirar.
 — Life is aspiring, respiring and expiring.

• Lo importante es que hablen de ti, aunque sea bien.
 — What’s important is that people talk about you, even if they only say good things.

• Lo único de lo que el mundo no se cansará nunca es de la exageración.
 — The only thing the world never tires of is exaggeration.

• ¡No podéis expulsarme porque Yo soy el Surrealismo!
 — You cannot expel me: I am Surrealism! (After being expelled from the surrealist movement in Paris.)

• Picasso es pintor. Yo también. Picasso es español. Yo también. Picasso es comunista. Yo tampoco.
 — Picasso is a painter. So am I. Picasso is a Spaniard. So am I. Picasso is a communist. Nor am I.

• Sin una audiencia, sin la presencia de espectadores, estas joyas no alcanzarían la función para la cual fueron creadas. El espectador, por tanto, es el artista final. Su vista, corazón, mente — con una mayor o menor capacidad para entender la intención del creador — da vida a las joyas.
 — Without an audience, without a circle of spectators, these jewels would never realize the purpose for which they were created. The spectator is therefore the final artist. His eyes, his heart, his mind — whether better or worse equipped to understand the purpose of the creator — give life to the jewels.

• Llamo a mi esposa: Gala, Galuska, Gradiva; Oliva por lo oval de su rostro y el color de su piel; Oliveta, diminutivo de la oliva; y sus delirantes derivados: Oliueta, Oriueta, Buribeta, Buriueteta, Siliueta, Solibubuleta, Oliburibuleta, Ciueta, Liueta. También la llamo Lionette, porque cuando se enfada ruge como el león de la Metro-Goldwyn Mayer.
 — I call my wife Gala, Galuska, Gradiva; Oliva for her oval face and the colour of her skin; Oliveta, diminutive of Oliva; and its delirious derivations: Oliueta, Oriueta, Buribeta, Buriueteta, Siliueta, Solibubuleta, Oliburibuleta, Ciueta, Liueta. I also call her Lionette, because when she’s angry she roars like the MGM lion.

• Sólo hay dos cosas malas que pueden pasarte en la vida, ser Pablo Picasso o no ser Salvador Dalí.
 — There are only two things that can go wrong for you in life: being Pablo Picasso or not being Salvador Dalí.

• Si muero, no moriré del todo.
 — If I die, I will not die completely. (Compare Horace’s Non omnis moriar, I will not wholly die.)

• La inteligencia sin ambición es un pájaro sin alas.
 — Intelligence without ambition is a bird without wings.

• No tengas miedo de la perfección, nunca la alcanzarás.
 — Don’t be afraid of perfection, because you’ll never achieve it.

• Para comprar mis cuadros hay que ser criminalmente rico como los norteamericanos.
 — To buy my paintings you have to be criminally rich like the Americans.

• Hay días en que pienso que voy a morir de una sobredosis de satisfacción.
 — There are days when I think that I will die of an overdose of satisfaction.

• El termómetro del éxito no es más que la envidia de los descontentos.
 — The thermometer of success is nothing more than the envy of the discontent.

• Lo menos que puede pedirse a una escultura es que no se mueva.
 — The least that one can ask of a sculpture is that it stays still.

• Mientras estamos dormidos en este mundo, estamos despiertos en el otro.
 — When we are asleep in this world, we are awake in another.

• Yo no tomo drogas. Yo soy una droga.
 — I do not take drugs. I am a drug.

• Los que no quieren imitar nada, no producen nada.
 — Those who refuse to imitate will never create.

• Las guerras nunca han hecho daño a nadie, excepto a la gente que muere.
 — Wars have never done harm to anyone, except to those who die.

• Gustar el dinero como me gusta, es nada menos que misticismo. El dinero es una gloria.
 — To relish money as I do is nothing short of mysticism. Money is a glory.

• La existencia de la realidad es la cosa más misteriosa, más sublime y más surrealista que se dé.
 — The existence of reality is the most mysterious, most sublime and most surrealist thing of all.

Hymne à la Chim’ !

« Quelle chimère est-ce donc que l’homme, quelle nouveauté, quel monstre, quel chaos, quel sujet de contradiction, quel prodige, juge de toutes choses, imbécile ver de terre, dépositaire du vrai, cloaque d’incertitude et d’erreur, gloire et rebut de l’univers ! » — Pascal

“What a Chimera is man! What a novelty, a monster, a chaos, a contradiction, a prodigy! Judge of all things, an imbecile worm; depository of truth, and sewer of error and doubt; the glory and refuse of the universe.”


“The Palace of Pan”

by Algernon Charles Swinburne (1837-1909)

September, all glorious with gold, as a king
In the radiance of triumph attired,
Outlightening the summer, outsweetening the spring,
Broods wide on the woodlands with limitless wing,
A presence of all men desired.

Far eastward and westward the sun-coloured lands
Smile warm as the light on them smiles;
And statelier than temples upbuilded with hands,
Tall column by column, the sanctuary stands
Of the pine-forest’s infinite aisles.

Mute worship, too fervent for praise or for prayer,
Possesses the spirit with peace,
Fulfilled with the breath of the luminous air,
The fragrance, the silence, the shadows as fair
As the rays that recede or increase.

Ridged pillars that redden aloft and aloof,
With never a branch for a nest,
Sustain the sublime indivisible roof,
To the storm and the sun in his majesty proof,
And awful as waters at rest.

Man’s hand hath not measured the height of them; thought
May measure not, awe may not know;
In its shadow the woofs of the woodland are wrought;
As a bird is the sun in the toils of them caught,
And the flakes of it scattered as snow.

As the shreds of a plumage of gold on the ground
The sun-flakes by multitudes lie,
Shed loose as the petals of roses discrowned
On the floors of the forest engilt and embrowned
And reddened afar and anigh.

Dim centuries with darkling inscrutable hands
Have reared and secluded the shrine
For gods that we know not, and kindled as brands
On the altar the years that are dust, and their sands
Time’s glass has forgotten for sign.

A temple whose transepts are measured by miles,
Whose chancel has morning for priest,
Whose floor-work the foot of no spoiler defiles,
Whose musical silence no music beguiles,
No festivals limit its feast.

The noon’s ministration, the night’s and the dawn’s,
Conceals not, reveals not for man,
On the slopes of the herbless and blossomless lawns,
Some track of a nymph’s or some trail of a faun’s
To the place of the slumber of Pan.

Thought, kindled and quickened by worship and wonder
To rapture too sacred for fear
On the ways that unite or divide them in sunder,
Alone may discern if about them or under
Be token or trace of him here.

With passionate awe that is deeper than panic
The spirit subdued and unshaken
Takes heed of the godhead terrene and Titanic
Whose footfall is felt on the breach of volcanic
Sharp steeps that their fire has forsaken.

By a spell more serene than the dim necromantic
Dead charms of the past and the night,
Or the terror that lurked in the noon to make frantic
Where Etna takes shape from the limbs of gigantic
Dead gods disanointed of might,

The spirit made one with the spirit whose breath
Makes noon in the woodland sublime
Abides as entranced in a presence that saith
Things loftier than life and serener than death,
Triumphant and silent as time.

(Inscribed to my Mother) Pine Ridge: September 1893

Performativizing Papyrocentricity #65

Papyrocentric Performativity Presents:

Fratele Gets You NowhereO mie nouă sute optzeci şi patru, George Orwell, translated by Mihnea Gafiţa (Biblioteca Polirom 2002)

Whole Lotta ScottHighway to Hell: The Life and Times of AC/DC Legend Bon Scott, Clinton Walker (Pan Books 1996)

The Bella and the BoltonianA Forger’s Tale: Confessions of the Bolton Forger, Shaun Greenhalgh (Allen & Unwin 2017)

Clubbed to DeafThe Haçienda: How Not to Run a Club, Peter Hook (Simon & Schuster 2009)

Dizh Izh Vizh BizhVilest Visions: The Darkest, Despicablest, Disgustingest Decapitations vs The Nastiest, Noxiousest, Nauseatingest Necrophilia, Dr Samuel P. Salatta and Dr William K. Phipps (Visceral Visions 2018)

Or Read a Review at Random: RaRaR

Performativizing Papyrocentricity #64

Papyrocentric Performativity Presents:

God GuideA Guide to Tolkien, David Day (Octopus 1993)

The Catcher and the RyeThe Biology of Flowers, Eigil Holm, ill. by Thomas Bredsdorff and Peter Nielsen (Penguin Nature Guides 1979)

Dayzed and ContusedThe Greatest Footballer You Never Saw: The Robin Friday Story, Paul McGuigan and Paolo Hewitt (Mainstream 1997)

Or Read a Review at Random: RaRaR

Ratschläge einer Raupe

“Alice and the Caterpillar” by John Tenniel (1820-1914), from Lewis Carroll’s Alice in Wonderland (1865)

Ratschläge einer Raupe is one possible German translation of “Advice from a Caterpillar”, which is the title of chapter five of Alice in Wonderland. But the drawing above doesn’t need a translation. John Tenniel and Lewis Carroll were a classic combination, like Quentin Blake and J.P. Martin or Thomas Henry and Richmal Crompton. Tenniel drew fantastic things in a matter-of-fact way, which was just right.

But that makes me wonder about Ratschläge einer Raupe. In German, Rat-schlag means “piece of advice” and Ratschläge is the plural. At first glance, the title is more fun in German: it alliterates and trips off the the tongue in a way the English doesn’t. And Schlag literally means “blow, stroke”, which captures the behaviour of the caterpillar well. Like many of the characters Alice encounters in Wonderland, he is a prickly and aggressive interlocutor. “Advice from a Caterpillar” is plain by comparison.

So perhaps that makes it better: it’s a matter-of-fact title for a surreal chapter. Tenniel’s art echoes that.

Performativizing Papyrocentricity #63

Papyrocentric Performativity Presents:

Bullets and ButterfliesMad Dog Killers: The Story of a Congo Mercenary, Ivan Smith (Helion / 30° South Publishers 2012)

Jaundiced on GeorgeGeorge Orwell: English Rebel, Robert Colls (Oxford University Press 2013)

Crabsody in ViewRSPB Handbook of the Seashore, Maya Plass (Bloomsbury 2013)

Or Read a Review at Random: RaRaR

Performativizing Papyrocentricity #62

Papyrocentric Performativity Presents:

Queen and Not HeardThe African Queen, C.S. Forester (1935)

Ley Ho, Let’s Go!Britannia Obscura: Mapping Britain’s Hidden Landscapes, Joanne Parker (Vintage 2014)

Hymn PickingsThe Church Hymnary, Various (Oxford University Press 1927)

Clock, Stock and BiswellA Clockwork Orange: The Restored Edition, Anthony Burgess, edited by Andrew Biswell (Heinemann 2012)

Vid KidViolated by Video: The Eldritch Chills of an ’Eighties Childhood… from Video Nasties to Nazi Xploitation…, Paolo Nanderson (TransVisceral Books 2018)

Or Read a Review at Random: RaRaR

Der Sechsimus in der Musik

• Als Heifetz das Werk dann durchspielt, scheitert er mehrmals an einer extrem schwierigen Passage. Der unfehlbare Heifetz soll zu Schönberg sagen: Dafür müsste ich mir sechs Finger wachsen lassen. Schönberg erwidert angeblich: Na ich kann warten.

• When Heifetz then played through the work, he made several mistakes in a very difficult passage. The impeccable Heifetz said to Schoenberg: “I’d need to grow six fingers for that!” Schoenberg allegedly replied: “Well, I can wait!”