De Amerikaanse schrijver, columnist en homoactivist Larry Kramer werd geboren in Bridgeport, Connecticut op 25 juni 1935. Zie ook alle tags voor Larry Kramer op dit blog.
Uit:Faggots
“Winnie, or more correctly, Dunnie, as he was then called, didn’t know what a fairy was, such being the insularity of Main Line education even then. So calmly, that same night, with that quest for curiosity, that vigor for knowledge which deserted him at some point between Hill and U. Va., he asked one of his classmates, a cute Jewish scholarship student from Shreveport named Sammy Rosen, whom Dunnie had been spending a lot of time with because Sammy was well-versed and hence helpful in time of test and trial, and as luck would have it, Sammy knew, as Dunnie knew he would. Sammy also shivered as he dispensed the knowledge, so both of them realized, at precisely this moment in time, that they were about to learn even more comprehensively what a fairy was. “Want to come to my room and have some of my Mama’s brownies?” Sammy began haltingly. It was as simple as that. “What will you do when you finish college?” Sammy asked, trying to keep the conversation light, even though he’d been wet dreaming for several months about such an opportunity as was obviously now creeping up on both of them, as they sat on his bed munching away at Mrs. Rosen’s brown squares and waiting for whatever was going to happen to happen. “I think I’m very handsome,” Dunnie said quite matter-offactly, in response to the question. Was this not a Future Great Model in embryo even then? “Don’t you?” “… Yes …,” Sammy replied, wondering what one thing had to do with another. “I wish to do something that will allow the world to appreciate my handsomeness.” “Oh. Like be a movie star?” “Heavens, no. I don’t want to have to talk. I just want to be seen.” And to illustrate his point, he cast a long look at himself in Sammy’s bureau mirror, which was tilted just his way. “And, of course, to be talked about. And worshipped and adored.” “Oh.” “I guess that means I have to be a famous model, though even that’s less than perfect. I really don’t want to be associated with any product. But I guess that can’t be helped. But I’ll see to it that my picture is large and no one will pay any attention to whatever it is I’m selling.” This news hung in the air for moments as the two boys—like cute animals in Walt Disney cartoons, which, when confronted with anything intractable, simply engorge it whole—stuffed huge brownies into their mouths. Dunnie was pleased that his future was clear and Sammy was impressed with such direction. Then Dunnie prophesied again: “I’ll tell you something else. I don’t want to get married. Ever.” “How do you know that?” “I know it. My parents are married, so I just know it.” “I … I know it, too.”
“J’appelai et tapai du poing sur une table bancale qui faillit s’effondrer sous mes coups. L’aubergiste devait être au cellier ou dans une des chambres de l’étage. Mais, malgré mon tapage, on ne se montra pas. J’étais seul, tressaillant d’attente, devant un âtre vide inutilisé depuis bien longtemps, à en juger par les toiles d’araignées qui bouchaient la cheminée. Quant à la longue chandelle, allumée depuis peu, et soudée à une étagère, sa présence, au lieu de me rassurer, me remplit plus d’inquiétude que si je n’avais trouvé en cet endroit que la nuit et l’abandon. Je cherchai un flacon d’eau-de-vie afin de me réconforter et chasser la crainte qui me retenait d’aller visiter les autres pièces de cette étrange auberge. Mais les bouteilles qui gisaient là, poussiéreuses, avaient depuis longtemps rendu l’âme. Toutes, de formes anciennes, étaient vides, les années assoiffées ayant effacé jusqu’aux traces des boissons qu’elles avaient contenues. Tout était si singulier qu’attentif au moindre bruit, je me questionnai sur l’étrangeté des lieux. Du bois sec traînait. Je le rassemblai dans le foyer, sur un lit d’herbes sèches trouvées sans peine, et, frottant mon briquet épargné par la pluie, j’en tirai des flammes rassurantes. Rencogné près de la cheminée, je me tendis à la chaleur, bien décidé à brûler le mobilier pour garder jusqu’à l’aube cette réconfortante compagnie. Les bouffées de résine me furent aussi revigorantes que des goulées d’alcool pur, mais, pensant à la perte de ma jument, je fus pris de tristesse, ne comptant plus que sur son instinct de bête pour qu’elle me revînt. Tout à coup un insidieux frisson me traversa, semblable à celui ressenti dehors et qui m’avait chassé jusqu’ici. “On” se trouvait à nouveau là, tout proche ! Les murs avaient beau me protéger de trois côtés ; éclairé par le foyer craquant, j’étais visible et vulnérable. On pouvait m’atteindre de face, en tirant de loin, à plomb. Je me dressai, les muscles prêts à une nouvelle fuite. Mais mon anxiété fit place à une vive angoisse qui m’oppressa jusqu’à m’étouffer. Maintenant “on” entourait l’auberge et, impitoyables dans leurs mystérieux desseins, d’invisibles regards, que je percevais, me fixaient par la fenêtre sans volets. “On” était attentif à ma personne et cela avec une telle violence que je suais, subitement terrifié. »
Vom Lande steigt Rauch auf.
Die kleine Fischerhütte behalt ich im Aug,
denn die Sonne wird sinken,
ehe du zehn Meilen zurückgelegt hast.
Das dunkle Wasser, tausendäugig,
schlägt die Wimper von weißer Gischt auf,
um dich anzusehen, groß und lang,
dreißig Tage lang.
Auch wenn das Schiff hart stampft
und einen unsicheren Schritt tut,
steh ruhig auf Deck.
An den Tischen essen sie jetzt
den geräucherten Fisch;
dann werden die Männer hinknien
und die Netze flicken,
aber nachts wird geschlafen,
eine Stunde oder zwei Stunden,
und ihre Hände werden weich sein,
frei von Salz und Öl,
weich wie das Brot des Traumes,
von dem sie brechen.
Die erste Welle der Nacht schlägt ans Ufer
die zweite erreicht schon dich.
Aber wenn du scharf hinüberschaust,
kannst du den Baum noch sehen,
der trotzig den Arm hebt
— einen hat ihm der Wind schon abgeschlagen
— und du denkst: wie lange noch,
wie lange noch
wird das krumme Holz den Wettern standhalten?
Vom Land ist nichts mehr zu sehen.
Du hättest dich mit einer Hand in die Sandbank krallen
oder mit einer Locke an den Klippen heften sollen.
In die Muscheln blasend, gleiten die Ungeheuer des Meers
auf die Rücken der Wellen, sie reiten und schlagen
mit blanken Säbeln die Tage in Stücke, eine rote Spur
bleibt im Wasser, dort legt dich der Schlaf hin,
auf den Rest deiner Stunden,
und dir schwinden die Sinne.
Da ist etwas mit den Tauen geschehen,
man ruft dich, und du bist froh,
daß man dich braucht. Das Beste
ist die Arbeit auf den Schiffen,
die weithin fahren,
das Tauknüpfen, das Wasserschöpfen,
das Wändedichten und das Hüten der Fracht.
Das Beste ist, müde zu sein und am Abend
hinzufallen. Das Beste ist, am Morgen,
mit dem ersten Licht, hell zu werden,
gegen den unverrückbaren Himmel zu stehen,
der ungangbaren Wasser nicht zu achten
und das Schiff über die Wellen zu heben,
auf das immerwiederkehrende Sonnenufer zu.
Ingeborg Bachmann (25 juni 1926 – 17 oktober 1973)
„As soon as Winston had dealt with each of the messages, he clipped his speakwritten corrections to the appropriate copy of the Times and pushed them into the pneumatic tube. Then, with a movement which was as nearly as possible unconscious, he crumpled up the original message and any notes that he himself had made, and dropped them into the memory hole to be devoured by the flames.
What happened in the unseen labyrinth to which the pneumatic tubes led, he did not know in detail, but he did know in general terms. As soon as all the corrections which happened to be necessary in any particular number of the Times had been assembled and collated, that number would be reprinted, the original copy destroyed, and the corrected copy placed on the files in its stead. This process of continuous alteration was applied not only to newspapers, but to books, periodicals, pamphlets, posters, leaflets, films, sound tracks, cartoons, photographs-to every kind of literature or documentation which might conceivably hold any political or ideological significance. Day by day and almost minute by minute the past was brought up to date. En this way every prediction made by the Party could be shown by documentary evidence to have been correct; nor was any item of news, or any expression of opinion, which conflicted with the needs of the moment, ever allowed to remain on record. All history was a palimpsest, scraped clean and reinscribed exactly as often as was necessary. In no case would it have been possible, once the deed was done, to prove that any falsification had taken place. The largest section of the Records Department, far larger than the one in which Winston worked, consisted simply of persons whose duty it was to track down and collect all copies of books, newspapers, and other documents which had been superseded and were due for destruction. A number of the Times which might, because of changes in political alignment, or mistaken prophecies uttered by Big Brother, have been rewritten a dozen times still stood on the files bearing its original date, and no other copy existed to contradict it. Books, also, were recalled and rewritten again and again, and were invariably reissued without any admission that any alteration had been made. Even the written instructions which Winston received, and which he invariably got rid of as soon as he had dealt with them, never stated or implied that an act of forgery was to be committed; always the reference was to slips, errors, misprints, or misquotations which it was necessary to put right in the interests of accuracy.“
Beim Hufschlag der Nacht, des schwarzen Hengstes vorm Tor, zittert mein Herz noch wie einst und reicht mir den Sattel im Flug, rot wie das Halfter, das Diomedes mir lieh. Gewaltig sprengt der Wind mir auf dunkler Straße voran und teilt das schwarze Gelock der schlafenden Bäume, daß die vom Mondlicht nassen Früchte erschrocken auf Schulter und Schwert springen, und ich schleudre die Peitsche auf einen erloschenen Stern. Nur einmal verhalt ich den Schritt, deine treulosen Lippen zu küssen, schon fängt sich dein Haar in den Zügeln, und dein Schuh schleift im Staub. Und ich hör deinen Atem noch und das Wort, mit dem du mich schlugst.
Im Zwielicht
Wieder legen wir beide die Hände ins Feuer, du für den Wein der lange gelagerten Nacht, ich für den Morgenquell, der die Kelter nicht kennt. Es harrt der Blasbalg des Meisters, dem wir vertrauen.
Wie die Sorge ihn wärmt, tritt der Bläser hinzu. Er geht, eh es tagt, er kommt, eh du rufst, er ist alt wie das Zwielicht auf unsren schütteren Brauen.
Wieder kocht er das Blei im Kessel der Tränen, dir für ein Glas – es gilt, das Versäumte zu feiern – mir für den Scherben voll Rauch – der wird überm Feuer geleert. So stoß ich zu dir und bringe die Schatten zum Klingen.
Erkannt ist, wer jetzt zögert, erkannt, wer den Spruch vergaß. Du kannst und willst ihn nicht wissen, du trinkst vom Rand, wo es kühl ist und wie vorzeiten, du trinkst und bleibst nüchtern, dir wachsen noch Brauen, dir sieht man noch zu !
Ich aber bin schon des Augenblicks gewärtig in Liebe, mir fällt der Scherben ins Feuer, mir wird er zum Blei, das er war. Und hinter der Kugel steh ich, einäugig, zielsicher, schmal, und schick sie dem Morgen entgegen.
Fall ab, Herz
Fall ab, Herz vom Baum der Zeit, fallt, ihr Blätter, aus den erkalteten Ästen, die einst die Sonne umarmt‘, fallt, wie Tränen fallen aus dem geweiteten Aug!
Fliegt noch die Locke taglang im Wind um des Landgotts gebräunte Stirn, unter dem Hemd preßt die Faust schon die klaffende Wunde.
Drum sei hart, wenn der zarte Rücken der Wolken sich dir einmal noch beugt, nimm es für nichts, wenn der Hymettos die Waben noch einmal dir füllt.
Denn wenig gilt dem Landmann ein Halm in der Dürre, wenig ein Sommer vor unserem großen Geschlecht.
Und was bezeugt schon dein Herz? Zwischen gestern und morgen schwingt es, lautlos und fremd, und was es schlägt, ist schon sein Fall aus der Zeit.
Ingeborg Bachmann (25 juni 1926 – 17 oktober 1973)
Hier met de componist Hans Werner Henze, 1965 in Berlijn
„Gay life in 1970 was very bleak, compartmentalized. You didn’t take it to work. You had to really lead a double life. There were bars, but you sort of snuck in and snuck out. Activism and gay pride simply didn’t exist. I don’t even think the word gay was in existence. We weren’t quite gay people yet, and we certainly weren’t a people. We were isolated individuals.
I think the Continental Baths changed things more than Stonewall did. The same with Fire Island Pines; everybody there was walking around half-naked and having fun. It was clean. It was a party. There was also a place called the Everard Baths, which was the bath. It was hideous, like Kafka. There were wire-mesh walls, and the floors were filthy and stank, whereas the Continental Baths were like ancient Greece. They were clean, and you could talk to people, and Bette Midler sang to you. But the Continental Baths were like a candy store. It’s hard to say no. Everybody I knew wanted to fall in love, but nobody was falling in love, or if they did, it was for ten minutes. Everybody was having so much sex that no relationship in the world could withstand all of that. We didn’t know it was bad. We didn’t know that it would be physically debilitating. And of course, drugs came along. And also peer pressure said anything and everything was okay. We didn’t have a political movement then. Sex wasn’t a political act. It was just pure and simple exuberant hedonism. Very understandable after centuries of being locked up. But I found that having so much sex made finding love impossible.
People think I’m totally anti-sex, and that simply isn’t true. I think the thing that upsets me is that a few gay men make sex their total be-all and end-all — we have so much more to our lives than just carnality. And that’s why we’ve never had strong political organizations, why we don’t have power, why we didn’t have a place at the table. I so desperately want to redefine homosexuality as something more than just sex.“
„They say that back back back, before I was born, people actually believed the stories they told themselves. This may be true, but no one can prove it.
I’ll tell you where I came from: northern California. A peninsula surrounded by the sea. Water and more water. The second illegitimate daughter of intuition and paranoia. Tide pool hermit crab, fierce and private. Vulnerable belly. Destined for lifelong homelessness, squatting, outgrowing shells, searching for new ones, hitchhiking with anemones. Of the ocean, but terrestrial.
I was still an infant when my bio-dad realized he was cracking up. Maybe it was just the time, he told himself. He’d been trying to edit the Merry Pranksters’ bus trip video, but there was nothing in it worth saving. My sister’s birth had coincided neatly with the “hippie funeral” in Golden Gate Park. And now Hendrix and Joplin. The Manson trial just heating up. Genocide and rumors of genocide. Everything that wasn’t dead seemed crazy. Or maybe it was the place. The Monterey Peninsula with its high levels of seismic activity and thick fog of memories. The time and the place. There’s always hoping, anyway. So my bio-dad packed us up–two kids and common law-wife-and we spent long months chasing sanity from California to Devon, England; Devon, England, to central London; central London to Amsterdam; Amsterdam to Montparnasse; Montparnasse to the French countryside, where my bio-dad decided that my mother was an Iranian spy and locked us all in a little stone house until I learned to walk and talk and my sister learned to count in French and my bio-dad gave up on his runaway sanity and my mother gave up on him and we escaped, flew home to California.
That’s what I’m told, anyway. And the pretty green and blue entrance and exit visas stamped in my baby passport would tend to substantiate the story.
Stories. Patterns from scraps. This one’s a work of fiction, meaning it’s about 76 percent true. Or it’s a memoir, meaning it’s about 76 percent false. Maybe it should have been a Choose Your Own Adventurebook: …“
Uit: Assorted Candies for the Theatre (Vertaald door Linda Gaboriau)
« NANA : A dollar! You dare come ask me for a dollar to buy twenty Chinese kids a few days before Christmas! Do you realize what a dollar means to us? Do you? Do the brothers and the sisters realize what it means to us? I can feed a household of twelve people with a dollar, Michel! I can produce a feast with a dollar! A wedding banquet! / THE NARRATOR : Don’t exaggerate! / NANA : You’d be surprised what I can do with one measly dollar, young man! There are days when it’s a miracle what shows up in your plate, for the price I paid! You can go see that teaching brother who smelled to high heaven at the last parent-teachers meeting, and tell him that your mother is going to feed her own children before she buys you some Chinese kids for Christmas, even if they’re on sale! »
„Behind Winston’s back the voice from the telescreen was still babbling away about pig iron and the overfulfillment of the Ninth Three Year Plan. The telescreen received and transmitted simultaneously. Any sound that Winston made, above the level of a very low whisper, would be picked up by it; moreover, so long as he remained within the field of vision which the metal plaque commanded, he could be seen as well as heard. There was of course no way of knowing whether you were being watched at any given moment. How often, or on what system, the Thought Police plugged in on any individual wire was guesswork. It was even conceivable that they watched everybody all the time. But at any rate they could plug in your wire whenever they wanted to. You had to live – did live, from habit that became instinct-in the assumption that every sound you made was overheard, and, except in darkness, every movement scrutinized.
Winston kept his back turned to the telescreen. It was safer; though, as he well knew, even a back can be revealing. A kilometer away the Ministry of Truth, his place of work, towered vast and white above the grimy landscape. This, he thought with a sort of vague distaste, this was London, chief city of Airstrip One, itself the third most populous of the provinces of Oceania. He tried to squeeze out some childhood memory that should tell him whether London had always been quite like this. Were there always these vistas of rotting nineteenth-century houses, their sides shored up with balks of timber, their windows patched with cardboard and their roofs with corrugated iron, their crazy garden walls sagging in all directions? And the bombed sites where the plaster dust swirled in the air and the willow herb straggled over the heaps of rubble; and the places where the bombs had cleared a larger path and there had sprung up sordid colonies of wooden dwellings like chicken houses? But it was no use, he could not remember: nothing remained of his childhood except a series of bright-lit tableaux, occurring against no background and mostly unintelligible.
The Ministry of Truth-Minitrue, in Newspeak-was startlingly different from any other object in sight. It was an enormous pyramidal structure of glittering white concrete, soaring up, terrace after terrace, three hundred meters into the air. From where Winston stood it was just possible to read, picked out on its white face in elegant lettering, the three slogans of the Party:
Die große Fracht des Sommers ist verladen, das Sonnenschiff im Hafen liegt bereit, wenn hinter dir die Möwe stürzt und schreit. Die große Fracht des Sommers ist verladen.
Das Sonnenschiff im Hafen liegt bereit, und auf die Lippen der Galionsfiguren tritt unverhüllt das Lächeln der Lemuren. Das Sonnenschiff im Hafen liegt bereit.
Wenn hinter dir die Möwe stürzt und schreit, kommt aus dem Westen der Befehl zu sinken; doch offnen Augs wirst du im Licht ertrinken, wenn hinter dir die Möwe stürzt und schreit.
Abschied von England
Ich habe deinen Boden kaum betreten, schweigsames Land, kaum einen Stein berührt, ich war von deinem Himmel so hoch gehoben, so in Wolken, Dunst und in noch Ferneres gestellt, daß ich dich schon verließ, als ich vor Anker ging.
Du hast meine Augen geschlossen mit Meerhauch und Eichenblatt, von meinen Tränen begossen, hieltst du die Gräser satt; aus meinen Träumen gelöst, wagten sich Sonnen heran, doch alles war wieder fort, wenn dein Tag begann. Alles blieb ungesagt.
Durch die Straßen flatterten die großen grauen Vögel und wiesen mich aus. War ich je hier?
Ich wollte nicht gesehen werden.
Meine Augen sind offen. Meerhauch und Eichenblatt? Unter den Schlangen des Meers seh ich, an deiner Statt, das Land meiner Seele erliegen.
Ich habe seinen Boden nie betreten.
Psalm
1
Schweigt mit mir, wie alle Glocken schweigen!
In der Nachgeburt der Schrecken sucht das Geschmeiß nach neuer Nahrung. Zur Ansicht hängt karfreitags eine Hand am Firmament, zwei Finger fehlen ihr, sie kann nicht schwören, daß alles, alles nicht gewesen sei und nichts sein wird. Sie taucht ins Wolkenrot, entrückt die neuen Mörder und geht frei.
Nachts auf dieser Erde in Fenster greifen, die Linnen zurückschlagen, daß der Kranken Heimlichkeit bloßliegt, ein Geschwür voll Nahrung, unendliche Schmerzen für jeden Geschmack.
Die Metzger halten, behandschuht, den Atem der Entblößten an, der Mond in der Tür fällt zu Boden, laß die Scherben liegen, den Henkel …
Alles war gerichtet für die letzte Ölung. (Das Sakrament kann nicht vollzogen werden.)
Ingeborg Bachmann (25 juni 1926 – 17 oktober 1973)
De Amerikaanse schrijver, columnist en homoactivist Larry Kramer werd geboren in Bridgeport, Connecticut op 25 juni 1935. Hij werd genomineerd voor een Academy Award, was finalist voor een Pulitzer-prijs en ontving tweemaal een Obie Award. Als antwoord op de Aids-crisis richtte hij Gay Men’s Health Crisis op, de grootste organisatie van zijn soort op de wereld. Hij schreef The Normal Heart, het eerste serieuze artistieke onderzoek naar de Aids-crisis. Hij richtte later ACT UP op, een protestorganisatie die wordt geaccrediteerd voor het veranderen van het volksgezondheidbeleid en de openbare voorlichting van Hiv en Aids. Kramer woont momenteel in New York City en Connecticut.
Uit: Yale’s Conspiracy of Silence
„Here are some of the things that I have uncovered about our history in writing my new book, The American People: That Jamestown was America’s first community of homosexuals, men who came to not only live with each other as partners but to adopt and raise children bought from the Indians. Some even arranged wedding ceremonies for themselves. That George Washington was gay, and that his relationships with Alexander Hamilton and the Marquis de Lafayette were homosexual. And that his feelings for Hamilton led to a government and a country that became Hamiltonian rather than Jeffersonian. That Meriwether Lewis was in love with William Clark and committed suicide when their historic journey was over and he wouldn’t see Clark anymore. That Abraham Lincoln was gay and had many, many gay interactions, that his nervous breakdown occurred when he and his lover, Joshua Speed, were forced to part, and that his sensitivity to the slaves came from his firsthand knowledge of what it meant to be so very different. And that the possibility exists that Lincoln was murdered because he was gay and John Wilkes Booth, who was gay, knew this. That Franklin Pierce, who became one of America’s worst presidents, and Nathaniel Hawthorne, who became one of our greatest writers, as roommates at Bowdoin College had interactions that changed them both forever and, indeed, served as the wellspring for what Hawthorne came to write about. Pierce was gay. And Hawthorne? Herman Melville certainly wanted him to be.”
Larry Kramer (Bridgeport, 25 juni 1935)
De Amerikaanse schrijfster en journaliste Ariel Gore werd geboren op 25 juni 1970 in Carmel, Californië. Zij is de uitgeefster en redacteur van Hip Mama, een periodiek over politieke en culturele aspecten van het moederschap. In 2000 verscheen haar autobiografische Atlas of the Human Heart, in 2006 de roman The Traveling Death and Resurrection Show.
Uit: Traveling Death and Resurrection Show
“Whoosh. Car tires through puddles. Gasoline rainbows. Picture this: Two beat-up candy apple red hatchbacks trailing a wildflower-painted caravan down a sogged main street that creeps southward along the waterfront. Madre Pia shouts through a cracked megaphone from the back of the caravan as we roll into town: “The lost will be saved, the saved will be amazed!” She’s a vision, Madre is. Three hundred pounds of blithe drag queen cloaked in her old-school nun’s habit, great bellowing penguin. “Tonight only, ladies and gentlemen! Saint Cat will manifest the wounds of Christ.” Rain-wet asphalt and dull brick buildings welcome us to empty streets. Steely June sky. We haven’t seen the sun in weeks. Northwestern springtime: damp, damp. “Come and see for yourself,” Madre implores the rows of Victorian houses that cling like swallows’ nests to an inland hill. “Mary Magdalen will perform her death-defying midair acrobatics. Six p.m. tonight. Astoria’s own River Theater!” A solitary freckled face peers out from a fogged pizza parlor window, kind bewildered reassurance that we haven’t stumbled into a ghost town. Madre lowers the megaphone to clearher throat, then lifts it to her berry mouth again. “Barbaro the great fire spitter all the way from Venice, Italy!”
Ariel Gore (Carmel, 25 juni 1970)
De Canadese schrijver Michel Tremblay werd geboren in Quebec op 25 juni 1942. Na het beëindigen van zijn middelbare schooltijd ging hij op 18-jarige leeftijd naar the Graphic Arts Institute van Quebec, waar hij het beroep van typograaf leerde. Daar begon hij korte verhalen te schrijven, zoals ‘Stories for Late Night Drinkers’, die dan later werden gepubliceerd. In 1964 won hij met het toneelstuk ‘Le Train’ een wedstrijd voor jonge schrijvers. In 1965, schreef Michel Tremblay ‘Les Belles-Soeurs’, dat 1968 voor het eerst werd uitgevoerd door The Théatre du Rideau Vert in Montreal. Les Belles-Soeurs werd onmiddellijk door critici, alsook door het publiek uitgeroepen tot ‘het belangrijkste evenement binnen het theater van Quebec’. Veel van zijn stukken zijn in het buitenland goed ontvangen, zoals onder meer de producties van Les Belles-Soeurs in Chicago and Glasgow en in 1973 werd Hosanna in Quebec alsook in Parijs voor volle zalen gespeeld. Zijn theaterstukken zijn onder meer opgevoerd in België, Zwitserland, Japan. Tremblay’s werk bevat 24 toneelstukken, 3 musicals, 12 verhalen en een collectie van sprookjes, korte verhalen enfilmscripts.
Uit: The Fat Woman Next Door is Pregnant(Vertaald door Sheila Fischman)
“In the five years he’d been sleeping in the same room with her, Richard had spent an incalculable number of hours watching his grandmother die. In fact, every time he examined her in her sleep, grumbling, scarcely breathing, mouth open to reveal bare white gums as sharp as knives, Richard expected to see her expire. She was an exhausted flickering candle, a dismantled gasping clock, a motor at the end of the road, a dog grown too old, a servant who had finished serving and was dying of boredom, a useless old woman, a beaten human being, his grandmother. If she wanted to do anything in the house, her daughter-in-law, the fat woman, or her daughter-in-law, Albertine, very attentively would anticipate her intentions: “You just rest…you’ve done enough work in your life.. .sit down, Momma, your leg. . .” The old woman would lay down the dishcloth or the wooden spoon, swallowing so she wouldn’t explode. Richard had often seen his grandmother weep with rage, leaning against the window in her room that looked out on the outside staircase. He’d even heard her curse the two women, cast impotent sp
ells on them; he’d seen her stick out her tongue and pretend to be kicking them. From morning to night, she wandered from her bedroom to the dining room, from the dining room to her bedroom, a superfluous object of attention in this house where everyone and everything had assigned tasks or at least some use–except for her.”
“The first sound in the mornings was the clumping of the mill-girls’ clogs down the cobbled street. Earlier than that, I suppose, there were factory whistles which I was never awake to hear.
There were generally four of us in the bedroom, and a beastly place it was, with that denied impermanent look of rooms that are not serving their rightful purpose. Years earlier the house had been an ordinary dwelling-house, and when the Brookers had taken it and fitted it out as a tripe-shop and lodging-house, they had inherited some of the more useless pieces of furniture and had never had the energy to remove them. We were therefore sleeping in what was still recognizably a drawing-room. Hanging from the ceiling there was a heavy glass chandelier on which the dust was so thick that it was like fur. And covering most of one wall there was a huge hideous piece of junk, something between a sideboard and a hall-stand, with lots of carving and little drawers and strips of looking-glass, and there was a once-gaudy carpet ringed by the slop-pails of years, and two gilt chairs with burst seats, and one of those old-fashioned horsehair armchairs which you slide off when you try to sit on them. The room had been turned into a bedroom by thrusting four squalid beds in among this other wreckage.
My bed was in the right-hand corner on the side nearest the door. There was another bed across the foot of it and jammed hard against it (it had to be in that position to allow the door to open) so that I had to sleep with my legs doubled up; if I straightened them out I kicked the occupant of the other bed in the small of the back. He was an elderly man named Mr Reilly, a mechanic of sorts and employed ‘on top’ at one of the coal pits. Luckily he had to go to work at five in the morning, so I could uncoil my legs and have a couple of hours’ proper sleep after he was gone. In the bed opposite there was a Scotch miner who had been injured in a pit accident (a huge chunk of stone pinned him to the ground and it was a couple of hours before they could lever it off), and had received five hundred pounds compensation. He was a big handsome man of forty, with grizzled hair and a clipped moustache, more like a sergeant-major than a miner, and he would lie in bed till late in the day, smoking a short pipe.”
Academic study and the steady, mindful practice of religion slowly brought me back to life. I have kept up what some people would consider my strange religious practices. After one year of high school, I attended the University of Toronto and took a double-major Bachelor’s degree. My majors were religious studies and zoology. My fourth-year thesis for religious studies concerned certain aspects of the cosmogony theory of Isaac Luria, the great sixteenth-century Kabbalist from Safed. My zoology thesis was a functional analysis of the thyroid gland of the three-toed sloth. I chose the sloth because its demeanour-calm, quiet and introspective-did something to soothe my shattered self.
There are two-toed sloths and there are three-toed sloths, the case being determined by the forepaws of the animals, since all sloths have three claws on their hind paws. I had the great luck one summer of studying the three-toed sloth in situ in the equatorial jungles of Brazil. It is a highly intriguing creature. Its only real habit is indolence. It sleeps or rests on average twenty hours a day. Our team tested the sleep habits of five wild three-toed sloths by placing on their heads, in the early evening after they had fallen asleep, bright red plastic dishes filled with water. We found them still in place late the next morning, the water of the dishes swarming with insects.”
We celebrated every moment Of our meetings as epiphanies, Just we two in all the world. Bolder, lighter than a bird’s wing, You hurtled like vertigo Down the stairs, leading Through moist lilac to your realm Beyond the mirror.
When night fell, grace was given me, The sanctuary gates were opened, Shining in the darkness Nakedness bowed slowly; Waking up, I said: ‘God bless you!’, knowing it To be daring: you slept, The lilac leaned towards you from the table To touch your eyelids with its universal blue, Those eyelids brushed with blue Were peaceful, and your hand was warm.
And in the crystal I saw pulsing rivers, Smoke-wreathed hills, and glimmering seas; Holding in your palm that crystal sphere, You slumbered on the throne, And – God be praised! – you belonged to me. Awaking, you transformed The humdrum dictionary of humans Till speech was full and running over With resounding strength, and the word you Revealed its new meaning: it meant king. Everything in the world was different, Even the simplest things – the jug, the basin – When stratified and solid water Stood between us, like a guard.
We were led to who knows where. Before us opened up, in mirage, Towns constructed out of wonder, Mint leaves spread themselves beneath our feet, Birds came on the journey with us, Fish leapt in greeting from the river, And the sky unfurled above…
While behind us all the time went fate, A madman brandishing a razor.
Arseny Tarkovsky (25 juni 1907 – 27 mei 1989)
De Engelse schrijver Nicholas Mosley werd geboren op 25 juni 1923 geboren in Londen. Hij kreeg zijn opleiding aan Eton en in Oxford. Hij is de oudste zoon van Oswald Mosley en zeer kritisch ten opzichte van zijn vader. Nicholas Mosley uitte dat in zijn boek Beyond the Pale: Sir Oswald Mosley and Family 1933-1980 uit1983, en in een BBC-documentaire in 1997.
Uit: Hopeful Monsters
Sometimes when I sat with my father on the sofa in his study and he had been reading to me stories or articles about science from children’s magazines, I would, at the end of whatever voyage of discovery or imagination we had been on (I was, I suppose, quite a precocious little girl) ask my father about the work he was doing at the university. He told me something of his regular work of lecturing and teaching, but I do not remember much about this. Then he told me of the work that really interested him at this time, which was outside his regular curriculum, and was to do with his efforts to understand, and to put into some intelligible language, the theories that were being propounded about physics at this time by one of his colleagues at the university – a Professor Einstein. I do not think that my father knew Einstein very well, but he venerated him, and he was enough of a mathematician to be able to try to grapple with some of his theories. I, of course, could have comprehended little of the substance of what my father said: but because of his enthusiasm it was as if, on some level, I was caught up in his efforts. I had a picture of Professor Einstein as some sort of magician: there was a photograph of him on the chimney-piece of my father’s study which was a counter-balance to my mother’s photograph of Karl Marx on the chimney-piece of the dining-room. Professor Einstein’s head, set rather loosely on his shoulders, seemed to have a life of its own: Karl Marx’s head seemed to have been jammed down on to his shoulders with a hammer. I would say to my father as we sat above the wonders of the world in our airship “What is it that is so special about the theories of Professor Einstein?”
Nicholas Mosley (Londen, 25 juni 1923)
De Franse schrijver Claude Seignolle werd geboren op 25 juni 1917 in Périgueux. Hij heeft zich zijn leven lang bezig gehouden met lege
ndes en folklore uit het Zuidwesten van Frankrijk. Zijn belangrijkste romans zijn Le Rond des sorciers, Marie la Louve, La Malvenue, Le Bahut noir, La Brume ne se lèvera plus, Le Diable en Sabots, Le Gâloup, Le Chupador
Uit: Récits Cruels
„Toute la soirée, et malgré la satisfaction qu’elle devait secrétement éprouver, elle ne montra nulle ivresse de joie, ni aise de plaisir. On l’eût dite anéantie par tant de bonheur. Et lorsque, montés à notre chambre nuptiale, tard, très tard, nous fûmes enfin livrès l’un à l’autre, elle se jeta à mes pieds, m’étreignit les jambes et eut d’amères et incompréhensibles sanglots. Je la relevai tendrement et la déposai sur notre lit : ce parterre de dentelles et de broderies, où passait la fragrance de quelques secrètes lavandes.
Je la relevai tendrement et la déposai sur notre lit : ce parterre de dentelles et de broderies, où passait la fragrance de quelques secrètes lavandes. Elle m’attira et se blottit entre mes bras, me montrant qu’elle avait peur ; qu’il fallait que je la protège ; que je pouvais tout pour elle ; que…
Mais, grisé et fouetté par son comportement de petit animal craintif, je commençai à la dévêtir. Sa peau était aussi douce que ses pleurs. Je frôlai de mes lèvres son cou qui dégageait une légère senteur poivrée. M’attardai à goûter ses joues, veloutées d’un duvet de frissons. Parvins à sa bouche qu’elle me refusa d’abord en détournant la tête, mais qui je conquis et qui me rendit ardemmet mes baisers.“
“Du, wenn du doch daran gedacht hättest, noch einige Lumpen mitzubringen, ich hätte den Kindern paar Hosen draus zusammengestoppelt. Hast nicht dran gedacht…!”
Der Krieg kaut an den Wänden, knackend, schreckend. Draußen flattert Schnee.
An einem Dezembertag war auch Franz Kreusat zurückgekommen. Er hatte, nach der bewegten Wiedersehensszene mit der Mutter, seinen verdreckten Soldatenmantel und den Schal abgeworfen und saß stumm und grübelnd am Tisch. „Zu Haus!” Er sagte es mehrere Male zu sich selbst, um sich an den Gedanken zu gewöhnen, dass er tatsächlich wieder daheim sei. Dieses Glück hatte er sich lange nicht mehr vorstellen können, er hatte daran nicht mehr geglaubt. Er blickte sich halb um, das Gesicht in die Hand gestützt: es war ihre alte Küche. Da stand der gelbe Geschirrschrank, da hing der kleine Spiegel am selben Fleck. Da in der Ecke stand sein Tischchen. Nein, es war kein Traum, er war zu Haus.
„Komm, iss was!” sagte die noch erregt umhertrippelnde Mutter. Sie hatte noch, Gott sei Dank, ein paar Kartöffelchen im Haus gehabt und hatte ihm diese mit einer Messerspitze Fett, der nur selten vorhandenen Kostbarkeit, in dem Pfännchen gebraten. „Komm, iss…!” ermahnte sie und tupfte mit der Schürze die jetzt immer so leicht fließenden Tränen weg. „Komm, iss… Träum nicht!”
Der alte Kreusat, ein großer Mann, aber welk und dürr wie ein kranker, dorrender Baum, saß auf der kleinen Fußbank am Herd und schnaubte. Als ihm der Sohn die Hand gegeben – denn für eine Umarmung fühlten sich beide zu scheu -, hatte der alte Mann geschluckt. Jahrelange heimliche Angst und Sichverfluchen, dass er den Jungen nicht gehindert habe, als er freiwillig wegrannte; der Rest dieser Angst hielt ihm noch die Kehle zu.”
Hans Marchwitza (25 juni 1890 – 17 januari 1965)
De schrijver temidden van FDJ jeugd in 1959
De Franse schrijver en dramaturg Georges Courteline (eig. Georges Victor Marcel Moineaux ) werd geboren op 25 juni 1858 in Tours. Net als zijn vader, Jules Moineaux, is hij bekend geworden als humoristisch schrijver. Via vader Moineaux verwierf hij een zorgeloos baantje en zo werd Georges kantoorklerk bij het Ministerie van Godsdienstzaken. Zijn taak bestond uit het kopiëren van beleidsstukken en verslagen en jaarlijks moest hij 4000 pagina’s overschrijven. Dit geestdodend handwerk maakte hem niet enthousiast om zich uit te sloven voor promoties. Wel leverde het de stof voor een roman en een toneelstuk: Messieurs les ronds-de-cuir uit 1893 is een humoristisch relaas over irritante figuren en duizelingwekkende reglementen op de burelen van ministeries.
Uit: Messieurs les ronds-de-cuir
„À l’angle du boulevard Saint-Germain et de la rue de Solférino, un régiment de cuirassiers qui regagnait au pas l’École militaire força Lahrier à s’arrêter. Il demeura les pieds au bord du trottoir, ravi au fond de ce contretemps imprévu qui allait retarder de quelques minutes encore l’instant désormais imminent de son arrivée au bureau, conciliant ainsi ses goûts de flâne avec le cri indigné de sa conscience.
Simplement – car l’énorme horloge du ministère de la Guerre sonnait la demie de deux heures – il pensa :
— Diable ! encore un jour où je n’arriverai pas à midi.
Et les mains dans les poches, achevant sa cigarette, il attendit la fin du défilé.
Au-dessus de lui, c’était l’éblouissement d’un après-dîner adorable. Comme il advient tous les ans, Paris, qui s’était endormi au bruit berceur d’une pluie battante, s’était réveillé ce matin-là avec le printemps sur la tête, un printemps gai, charmant, exquis, tout frais débarqué de la nuit sans avoir averti de sa venue, en bon provincial qui arrive du Midi, tombe sur les gens à l’improviste et s’amuse de leur surprise. Par-delà les toits des maisons, derrière les hautes cheminées, le ciel d’avril s’étendait d’un bleu profond et sans un nuage, perdu au loin dans une grisaille brumeuse.“
Georges Courteline (25 juni 1858 – 25 juni 1929)
De Duitse dichter, schrijver en ingenieur Heinrich Seidel werd geboren op 25 juni 1842 in Perlin, Mecklenburg-Schwerin. Hij studeerde aan het Polytechnikum in Hannover en in Berlijn. Vanaf was hij als ingenieur betrokken bij de bouw van het Berlijnse treinstation Anhalter Bahnhof. In 1880 gaf hij zijn beroep op om zich geheel aan het schrijven te wijden. In zijn bekendste, nog steeds herdrukte werk Leberecht Hühnchen is hij de beschrijver van het eenvoudige geluk.
Das Sonett
So recht geeignet ist für spitz verzwickte Verschnörkelte Ideen die verzwackte Sonettenform, und für modern befrackte Gedanken eine wunderbar geschickte
Und wer von Weisheit nur ein Körnlein pickte Und von Ideen nur ein Ideelein packte, Der zwängt es gerne in die höchst vertrackte Sonettenhaut, die viel und oft geflickte.
Die Freude dann, wenn das Glück ihm glückte Und schwitzend er sein Nichts zusammen stückte, Darob er manche Stunde mühsam hockte!
Doch hilft’s ihm nimmer, dass er drückt’ und druckte, Weil gähnend ob dem künstlichen Produkte Die Menschheit ruhig einschläft, die verstockte!
Heinrich Seidel (25 juni 1842 – 7 november 1906)
De Duitse dichteres Friederike Kempner werd geboren op 25 juni 1836 te Optatow in de provincie Posen. Ze droeg wel de bijnaam der silesische Schwan, maar zij avanceerde al gauw tot moeder van de onvrijwillige humor, die ze in tal van verzen aan het papier toevertrouwde. Daarmee heeft ze haar tijdgenoten en nakomende generaties zodanig opgevrolijkt dat haar werk in tal van edities en oplagen is verschenen. Friederike Kempner overleed op 23 februari 1904 in Friederikenhof bij Reichtal.
Amerika Amerika, du Land der Träume
Du Wunderwelt, so lang und breit
Wie schön sind deine Kokosbäume
Und deine rege Einsamkeit.
Abdel-Kaders Traum
Wolkenloses himmlisches Gewölbe, Unter mächtigen Palmen Purpurzelt, Eine Reiter-Karawane hält, Auf dem Boden Wüstensand, der gelbe.
Krachend unterirdisches Gewölbe, Fünfzehnhundert Leichen, tiefentstellt, – Jede Leiche war ein wackrer Held, – Speit die Flamme rasselnd aus, die gelbe.
Solch’ ein Traumbild Abdelkader grüßte, Trunken er der Heimat Boden küßte: «Allah, Allah« – ruft er, – »meine Wüste!«
»Pellissier, Dein fürchterlicher Brand!« – Plötzlich sich der Held im Traum ermannt, Seine Blicke trafen Kerkerswand! –
Schweiß
Willst gelangen Du zum Ziele, Wohlverdienten Preis gewinnen, Muß der Schweiß herunter rinnen Von der Decke bis zur Diele!
Friederike Kempner (25 juni 1836 – 23 februari 1904)
