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Phantom (1922) by Friedrich Wilhelm Murnau

https://www.youtube.com/watch?v=z9nPMNTImcE

Dieck, Charles. Verse von Adolf Holst, Bilder von Paula Jordan.

Guckt hinein ! Schaut der Tiere Kinderlein !

Stuttgart, Dieck & Co. 1923.

Rotes Kreuz. Blank - Stuttgart.

Plakat. Beim Eintritt in das fünfte Kriegsjahr. Vom 29. Juli-4. August 1918. Opfertage für unsere tapferen Streiter im Felde, im Lazarett und in der Gefangenschaft.

Antonia White, Frost in May (1933).

#Antonia white #women writers #modernist #first editions

Zweitausend Jahre deutsche Kultur. Festzug am Tag der Deutschen Kunst zu München 1938.

Kurt Vonnegut. Mother's Night (1962).

Mother Night (1962)

#kurt vonnegut

#david foster wallace #kurt vonnegut

A tiny vial for water or soil worn as a pilgrim’s badge, 15th cent. French.

The Lake Isle of Innisfree by W.B. Yeats (1888)

I will arise and go now, and go to Innisfree, And a small cabin build there, of clay and wattles made: Nine bean-rows will I have there, a hive for the honey-bee, And live alone in the bee-loud glade.

And I shall have some peace there, for peace comes dropping slow, Dropping from the veils of the morning to where the cricket sings; There midnight’s all a glimmer, and noon a purple glow, And evening full of the linnet’s wings.

I will arise and go now, for always night and day I hear lake water lapping with low sounds by the shore; While I stand on the roadway, or on the pavements grey, I hear it in the deep heart’s core.

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"The layering of scale practiced by Milton, Julian, and Blake in order to generate motion in the reader is a frequent strategy of pastoral poets. In pastoral, a lake can appear in a heart, as it does in W. B. Yeats’s early and perhaps most often memorized poem.

The revelation of the roadway and grey pavements as the present place of that resolution to move—to arise—feels like both an afterthought and a surprise at the end of the poem. The strongly ductile spatiality of the poem seems to congeal into a propositional space of ductus-building, as if we’d pursued that building to its source. Here the “I” is revealed, like the Wizard of Oz’s man behind the curtain, in a continuous present that makes the future possible by generating the ductile push toward it. The heart is where Innisfree has been constructed, wattle by wattle. The poem is a little snow globe we can carry around with us, like a medieval vial badge that preserves a little dirt or water from a shrine so that a place can accompany the pilgrim home through the magic of synecdoche. We can carry the poem in memory and make the pilgrimage to the hermitage on Innisfree by means of incantation, by saying so when we recite the poem."

(Poetry and the Built Environment: A Theory of the Flesh of Art. Fowler, Elizabeth. 2024)

John Gower shooting the world. (Vox Clamantis)

As I shoot I send at the world these my bolts And where the just shall be no arrow may hit But those living wicked lives, the transgressors I aim to harm Thus may in this work those conscious amongst you observe themselves as they truly are