Sanat Mozaik

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Ingiliz aktris Emily Watson’in dogum gunu (14 Ocak 1967)

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Elvis Presley'in 14 Ocak 1973'de verdigi 'Aloha from Hawaii' isimli muhtesem, dehset konseri dunyaya uydudan yayinlanmis ve 1 milyar kisi tarafindan izlenmistir.

(Konser bittikten ve herkes gittikten sonra Kral sahnede kalmis ve yayinlanmak uzere bes sarki daha kaydetmistir.)





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

[Terraluna]

Ispanyol, Kuba, Danimarka ve Fransiz kokenli Amerikali diarist, denemeci, romanci ve yazar Anaïs Nin’in (Angela Anaïs Juana Antolina Rosa Edelmira Nin y Culmell) olum yildonumu (14 Ocak 1977)

“Ask hicbir zaman dogal nedenlerle olmez. Olur, cunku biz onun kaynagini beslemeyi bilmeyiz; korluk ve hatalar ve ihanetler yuzunden olur. Hastaliklardan, aldigi yaralardan olur; bikkinliktan, bakimsizliktan, susuzluktan, donukluktan olur, ama asla dogal nedenlerle degil. Her asik, kendi askinin katili olarak mahkemeye cikarilmaliydi. Bir sey seni incittigi, uzdugu zaman, hemen onu bertaraf etmeye, degistirmeye kosuyorum; kendimi senin yerine koymaya, senin gibi hissetmeye kosuyorum, sense sabirsiz bir el hareketiyle sirtini donuyor, anlamiyorum, diyorsun.” Dort Odali Kalp



“Love never dies of a natural death. It dies because we don’t know how to replenish its source, it dies of blindness and errors and betrayals. It dies of illnesses and wounds, it dies of weariness, of witherings, of tarnishings, but never of natural death. Every lover could be brought to trial as the murderer of his own love. When something hurts you, saddens you, I rush to avoid it, to alter it, to feel as you do, but you turn away with a gesture of impatience and say: ‘I don’t understand.”


“Diger kadinlarin sadece coraba harcadiklari parayla guzel giyinebilmek gibi, Parislilere has dogal bir yetenegi vardi. Sakaci gozleri, kivircik siyah saclari ve yuvarlak hatlariyla cekici bir kizdi. Iki tutkusu vardi, birincisi parfum bolumunden birkac damla parfum ya da kolonya calmak, digeri ise magazanin kapanmasini bekleyip en yumusak yataklardan birine yatarak orada uyuyacakmis gibi yapmasiydi. Ustu kapali olanlari tercih ediyordu. Perdeler altinda yatarken kendini daha guvenli hissediyordu. Sef tezgahtar genelde gitmek için acele ettiginden bu fanteziye birkac dakikaligina dalacak kadar yalniz kalabiliyordu. Boyle bir yatakta yatarken kadinsi cekiciliginin bir milyon kez arttigini dusunuyor ve Champs Elysees'de gormus oldugu SIK erkeklerin, onu bu yatakta gorup guzel bir yatak odasinda nasil guzel duracagini fark etmelerini istiyordu.” Anaïs Nin, Venus Ucgeni



“She had a natural Parisian gift for appearing charmingly dressed on the money other women spent on stockings alone. She was attractive, with humorous eyes, curly black hair and well-rounded curves. She developed two passions, one to steal a few drops of perfume or cologne from the perfume department, another to wait until the store was closing so she could lie down on one of the softest beds and pretend she was to sleep there. She preferred the canopied ones. She felt more secure lying under curtains. The floorwalker was usually in such a hurry to leave that she was left alone for a few minutes to indulge in this fantasy. She thought that while lying in such a bed her feminine charms were a million times enhanced, and she wished certain elegant men she had seen on the Champs Élysées could see her there and realize how well she would look in a beautiful bedroom.”

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Tommy DeSimone, Billy Batts'i oldurdugu icin 14 Ocak 1979’da olduruldu (Queens, New York)

SIKI Dostlar - Goodfellas

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“Biz ucumuz Ortacag'a aitiz. Bizim bu kahramanliga gereksinimimiz var; ve cagdas yasamda boyle seylere yer yok. Bu bizim trajedimiz. Bir zamanlar evliya olmak isterdim. Yapilabilecek en mutlak davranis bu gibi gelmisti, cunku bende en guclu olan sey saflik ve buyukluk arayisiydi. Ben yeryuzunde yasamiyorum. Kardeslerim de oyle. Biz oluyuz. Sevgide oyle bir doruga ulastik ki, bu bize sevdiklerimizle birlikte olmek istegi verdi; biz de olduk. Biz baska bir dunyada yasiyoruz. Bedenlerimizin olması bir sacmalik, bir tarih yanilgisi. Ustelik biz hic dogmadik. Siradan tensel duygulara sahip degiliz, gercekle iliskimiz de yok. Evliligim bir sacmalikti, kardeslerimin evlilikleri ise anlamsiz.” Anaïs Nin, Cam Fanusun Altinda



“We three belong to the Middle Ages. We have this need of heroism, and there is no place for such feelings in modern life. That is our tragedy. Once I wanted to be a saint. It seemed the only absolute act left to do, for what is most powerful in me is the craving for purity, greatness. I am not living on earth. Neither are my brothers. We are dead. We reached such heights in love that it made us want to die altogether with the loved one, and so we died. We are living in another world. Our having bodies is a farce, an anachronism. We were never even born. We have no ordinary sensual life, no contact with reality. My marriage was a farce, my brothers' marriages meaningless.”

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“Hicbir zaman bir kadini gercekten tanimak istemedim. Hicbiriyle kalmak istemedim. Bir kadinin cekiciligini tutkulu bir iliski icin degil, bir erkekle uzun sureli bir iliskiye girmek icin evlilik gibi ornegin ya da en azindan birliktelik sonucta bir cesit huzur, sahiplik elde etmek icin kullandigimi dusunuyordum. Beni korkutan buydu grande amoureuse'un arkasina gizlenen, askta guvenlik arayan bir kucuk burjuva. Beni sana ceken sey, senin hep metres olarak kalman. Arzuyu ve yogunlugu devamli kiliyorsun. Butun ask savasindan kendini esit hissetmeyince cekiliyorsun. Ayrica, beni sana baglayan sey sana verebilecegim zevk degil. Duygusal olarak tatmin olmadigin zaman bunu reddediyorsun. Oysa sen her şeye yatkinsin, her seye. Bunu hissediyorum. Yasama aciksin. Seni actim. Ilk kez kadinlari yasama, aska acma gucum oldugu için uzgunum. Vucutla iletisime gecmeyi reddedip, tum varliga ulasmanin diger yollarini aradiginda seni oyle seviyorum ki. Zevke olan direnisimi kirmak icin her seyi yaptin. Evet, ilk basta bu gucu benden cekmene dayanamiyordum. Gucumu kaybediyormusum gibi geliyordu...” Anaïs Nin, Venus Ucgeni



“I never wanted to really know a woman. I never wanted to stay with one. My feeling was always that a woman used her charms not for the sake of a passionate relationship but to win from a man some durable relationship – marriage, for instance, or at least companionship – to win, finally, some kind of peace, possession. It was this that frightened me – the sense that behind the grande amoureuse lay concealed a little bourgeoise who wanted security in love. What attracts me to you is that you have remained the mistress. You maintain the fervor and the intensity. When you feel unequal to the great battle of love, you stay away. Another thing, it is not the pleasure I can give you which attaches you to me. You repudiate it when you are not emotionally satisfied. But you are capable of all things, of anything. I feel that. You are open to life. I opened you. For the first time I regret my power to open women to life, to love. How I love you when you refuse to communicate with the body, seeking other means to reach into the entire being. You did everything to break down my resistance to pleasure. Yes, at first, I could not bear this power you had to withdraw. It seemed to me that I was losing my power…”

[Terraluna]

“Balzac'in evi Passy deki yokuslu bir sokagin tepesinden Seine'e bakiyordu. Once evin zilini caldilar, sonra bir mahzene acilir gibi gorunen ama bir bahceye acilan merdivenlerden indiler. Bahceyi gecip baska bir kapi calmalari gerekti. Bu Balzac'in evinin kapisiydi. Bu, koca apartmanda kaybolmus, gizli ve gizemli bir evdi. Paris'in kalbinde boylesine sakli kalmis, terk edilmisti.

Kapiyi acan kadin gecmişten gelen bir hayalet gibiydi solgun bir yuzu, solgun saclari ve giysileri vardi, kansizdi. Balzac'in elyazmalari, resimleri, sevmis oldugu kadinlarin gravurleri, kitaplarinin ilk baskilariyla birlikte yasarken, bu kayip gecmisle ic ice tum kani vucudundan cekilmisti. Kadinin sesi de uzak, bir hayaletten gelir gibiydi. Bu evde olu hatiralarla birlikte uyuyordu. Sundugu ev kadar oluydu kadin. Sanki her gece, birlikte uyumak icin mezarinda, Balzac'la yatiyordu.” Anaïs Nin, Venus Ucgeni



“Balzac’s house stood at the top of a hilly street in Passy, overlooking the Seine. First they had to ring at the door of an apartment house, then descend a flight of stairs that seemed to lead to a cellar but opened instead on a garden. Then they had to traverse the garden and ring at another door. This was the door of his house, concealed in the garden of the apartment house, a secret and mysterious house, so hidden and isolated in the heart of Paris.

The woman who opened the door was like a ghost from the past – faded face, faded hair and clothes, bloodless. Living with Balzac’s manuscripts, pictures, engravings of the women he had loved, first editions, she was permeated with a vanished past, and all the blood had ebbed from her. Her very voice was distant, ghostly. She slept in this house filled with dead souvenirs. She had become equally dead to the present. It was as if each night she laid herself away in the tomb of Balzac, to sleep with him.”

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“Uzun boyluydu. Bir oglan gibi kabadayi Fransızcasi kullaniyor, ama bunu asil bir curetle yapiyordu. Hic kimse bunu ona karsi kullanamazdi. Gece kulubunde eglendirmiyor, yonetiyordu. Kendilerini, kendi kotu yanlariyla lanetlenmis sayan kadinlarin dunyasinin manyetik merkeziydi. Sapkinliklarindan gurur duymalari ve burjuva ahlakina maglup olmamalari icin onlari zorluyordu. Intiharlari ve dagilmayi siddetle lanetliyordu. Kadinlarin lezbiyenlikleriyle ovunmelerini istiyordu. Ornek de oldu. Polis kurallarina ragmen erkek giysileri giyiyordu. Hic rahatsiz edilmemisti. Bunu zarif bir bicimde ve kayitsizlikla yapiyordu. Bois'da erkek giysileriyle ata biniyordu. Oylesine zarif, tatli dilli ve aristokratti ki onu tanimayanlar bilincsizce Leila'yi selamliyorlardi. Leila diger kadinlarin baslarini dik tutmalarini saglamisti. O, erkeklerin yoldas olarak davrandigi erkeksi bir kadindi. Bu parlak yuzeyin altindaki trajik ruh her neyse, onu, her yere tedirginlik, keder ve nostalji yayarak insanlarin huzurunu ince ince parcalar halinde yirtan sarkiciliga goturmustu.” Anaïs Nin, Venus Ucgeni



“She was tall. She used apache French, like a boy, but with a royal audacity. No one could use it on her. She did not entertain at the nightclub; she ruled. She was a magnetic center for the world of women who considered themselves condemned by their vice. She whipped them into being proud of their deviations, not succumbing to bourgeois morality. She severely condemned suicides and disintegration. She wanted women who were proud of being Lesbians. She set the example. She wore men's clothes despite Police regulations. She was never molested. She did it with grace and nonchalance. She rode horseback at the Bois in men's clothes. She was so elegant, so suave, so aristocratic, that people who did not know her bowed to her, almost unconsciously. She made other women hold up their heads. She was the one masculine woman men treated as a comrade. Whatever tragic spirit lay behind this polished surface went into her singing, with which she tore people's serenity to shreds, spreading anxiety and regrets and nostalgia everywhere.”