View allAll Photos Tagged Repent
I do not know if he died or was adopted? But for most of dead.
The beginning, I really think that place is safe. Later, he was the first disappeared. I was still hesitant, really naive to think that the cat is because a Quarter change of hiding.
Later of some time, continue to have two cats disappeared. At that time, I only wake up to that place is very dangerous.
Every time when I see the pictures of them, I very very repent.
"
Quando esqueço a hora de dormir
E de repente chega o amanhecer
Sinto a culpa que eu não sei de que
Pergunto o que que eu fiz?
Meu coração não diz e eu...
Eu sinto medo!
Eu sinto medo!
Se eu vejo um papel qualquer no chão
Tremo, corro e apanho pra esconder
Com medo de ter sido uma anotação que eu fiz
Que não se possa ler
E eu gosto de escrever, mas...
Mas eu sinto medo!
Eu sinto medo!
Tinha tanto medo de sair da cama à noite pro banheiro
Medo de saber que não estava ali sozinho porque sempre...
Sempre... sempre...
Eu estava com Deus!
Eu estava com Deus!
Eu estava com Deus!
Eu tava sempre com Deus!
Minha mãe me disse há tempo atrás
Onde você for Deus vai atrás
Deus vê sempre tudo que cê faz
Mas eu não via Deus
Achava assombração, mas...
Mas eu tinha medo!
Eu tinha medo!
Vacilava sempre a ficar nu lá no chuveiro, com vergonha
Com vergonha de saber que tinha alguém ali comigo
Vendo fazer tudo que se faz dentro dum banheiro
Vendo fazer tudo que se faz dentro dum banheiro
Para...nóia
Dedico esta canção:
Paranóia!
Com amor e com medo (com amor e com medo)
Com amor e com medo (com amor e com medo)
Com amor e com medo (com amor e com medo)
Com amor e com medo (com amor e com medo)
Com amor e com medo"
"...Sucedió, pues, en aquel tiempo, una lluvia muy copiosa. Los caminos se anegaron; los pantanos se pusieron a nado y las calles de entrada y salida a la ciudad rebosaban en acuoso barro. Una tremenda avenida se precipitó de repente por el Riachuelo de Barracas, y extendió majestuosamente sus turbias aguas hasta el pie de las barrancas del Alto. El Plata creciendo embravecido empujó esas aguas que venían buscando su cauce y las hizo correr hinchadas por sobre campos, terraplenes, arboledas, caseríos, y extenderse como un lago inmenso por todas las bajas tierras. La ciudad circunvalada del Norte al Este por una cintura de agua y barro, y al Sud por un piélago blanquecino en cuya superficie flotaban a la ventura algunos barquichuelos y negreaban las chimeneas y las copas de los árboles, echaba desde sus torres y barrancas atónitas miradas al horizonte como implorando la misericordia del Altísimo. Parecía el amago de un nuevo diluvio..."
Fragmento de "El Matadero" de Esteban Echeverría - 1838
Matadero Municipal Carhué-Epecuén
F. Salamone - 1937
Villa Epecuén emergida
Cualquiera diría al verte
que los catastrofistas fallaron:
no era el fin del mundo lo que venía,
eras tú.
Te veo venir por el pasillo
como quien camina dos centímetros por encima del aire pensando que nadie le ve.
Entras en mi casa
-en mi vida-
con las cartas y el ombligo boca arriba,
con los brazos abiertos
como si esta noche
me ofrecieras barra libre de poesía en tu pecho,
con las manos tan llenas de tanto
que me haces sentir que es el mundo el que me toca
y no el chico más guapo del barrio.
Tienes el pelo más bonito del mundo
para colgarme de él hasta el invierno que viene;
gastas unos ojos que hablan mejor que tu boca
y una boca que me mira mejor que tus ojos;
guardas un despertar que alumbra las paredes
antes que la propia luz del sol;
posees una risa capaz de rescatar al país
y la mirada de los que saben soñar con los ojos abiertos.
Y de repente pasa,
sin esperarlo ha pasado.
No te has ido y ya te echo de menos,
te acabo de besar
y mi saliva se multiplica queriendo más,
cruzas la puerta
y ya me relamo los dedos para guardarte,
paseo por Madrid
y te quiero conmigo en cada esquina.
Si la palabra es acción
entonces ven a contarme el amor,
que quiero hacer contigo
todo lo que la poesía aún no ha escrito.
De repente, Pancada escuta um barulhinho vindo debaixo da porta e vê um papelzinho dobrado que Chanti passou por baixo. Ele fica muito surpreso e agitado ao mesmo tempo:
- É verdade o que está escrito aqui, Chanti?
Chanti responde baixinho, depois de uma longa pausa, o suficiente para deixa-lo mais aflito:
- É...
Pancada: Não se preocupe, ok? Eu vou conversar com ele e resolver isso ainda hoje! Vai dar tudo certo!
Foi de repente que a estação mudou. A seca insistente perdurou até há poucos dias; a desolação, o abatimento...
Uma chuvada e os olhos sedentos de imagens já olham para as cores molhadas, cheios de espanto como se fosse a primeira vez.
E a vida pulula, percebida pela vibração cromática ao redor, pelos voos surpreendidos onde se olha, os pios variados que se mesclam em sinfonias. Quase dá para sentir o crescer das folhas novas e das inflorescências das bromélias nas pedreiras bem acima de nós. Como se a natureza estivesse se exibindo e pedindo para ser vista.
O dia foi de árvores e aves nos arredores de Torreões. Talvez a câmera tenha se cansado, depois de 350 fotos.
Eu quero mais.
Some poor saps trying to save souls at UW-Madison. I don't think they were very effective that day.
Shot with: Leica M4-P and Leica Summicron-C 40mm f/2 lens on expired Kodak Gold film.
Marie Madeleine repentante
Marie Madeleine est représentée, de manière traditionnelle pour l'époque, allongée dans sa grotte (de la Sainte-Baume), l'air farouche, dénudée et méditant, les bras appuyés sur un crâne. L'influence du Caravage est sensible dans les oeuvres de l'école d'Utrecht auquel appartient l'artiste. Le commissaire a placé cette "vanité" dans la partie de son exposition intitulée "Dévoiler l'émotion", car l'intériorité des personnages représentés commence à apparaître dans les toiles du 17è siècle.
Oeuvre de Johannes Moreelse (Utrecht, vers 1603 - vers 1634)
Vers 1630
Huile sur bois
58 x 71,5 cm
Caen, musée des beaux-arts
Notice complète dans le catalogue du musée
mba.caen.fr/oeuvre/marie-madeleine-penitente
Oeuvre présentée dans l'exposition "Le théâtre des émotions", Musée Marmottan Monet, Paris
L’émotion, avec ses « réactions souvent intenses », est systématiquement présente dans les arts visuels, travaillée, traquée, déclinée. Elle incarne même la plus grande partie de leur sens, suggérant la chair, stimulant la curiosité. Toutes les expressions y sont illustrées : de la souffrance à la joie, de l’enthousiasme à la terreur, du plaisir à la douleur... Extrait du site de l'exposition : "Le théâtre des émotions", au musée Marmottan Monet, Paris
Whatever your past may have been, your future is still spotless.... Repent and aim to do good for the rest of the journey.
Te recuerdo como eras en el último otoño.
Eras la boina gris y el corazón en calma.
En tus ojos peleaban las llamas del crepúsculo.
Y las hojas caían en el agua de tu alma.
Apegada a mis brazos como una enredadera,
las hojas recogían tu voz lenta y en calma.
Hoguera de estupor en que mi sed ardía.
Dulce jacinto azul torcido sobre mi alma.
Siento viajar tus ojos y es distante el otoño:
boina gris, voz de pájaro y corazón de casa
hacia donde emigraban mis profundos anhelos
y caían mis besos alegres como brasas.
Cielo desde un navío. Campo desde los cerros.
Tu recuerdo es de luz, de humo, de estanque en calma!
Más allá de tus ojos ardían los crepúsculos.
Hojas secas de otoño giraban en tu alma.
(Pablo Neruda)
...y muy feliz finde...fresquito ;0))
De uno de esos días que parecen van a acabar grises y de repente sale la luz.
Más sobre mis fotos y otras cosas, en mi blog: El Principio de Incertidumbre de Heisenberg.
Todas mis fotos están bajo la licencia Creative Commons. Puedes descargar, copiar o publicar (en una página web, blog, etc...) las fotos sin problemas y sin pedirme permiso siempre que se me reconozca como autor (un enlace, a la foto o mi cuenta de Flickr, vale), no la uses con ningún fin comercial y no la alteres ni generes otra obra derivada a partir de ella.
Tudo começou assim, tão de repente, e de um jeito inexplicável você se tornou essencial para a minha vida, para a minha sobrevivência. Foi tanto tempo gasto tentando fazer isso tudo dar certo, parecia até uma eternidade, e esse tempo todo foi a melhor fase da minha vida. Jamais você vai entender o quanto eu te amei, você é simplesmente incapaz de compreender.
Tanto tempo eu esperei por aquele momento, tantas vezes eu já sonhei com isso e tantas vezes eu chorei por isso. Quando finalmente tudo o que eu mais sonhava, aconteceu, em poucas horas já havia acabado. E eu vi, tudo o que eu mais tinha sonhado e esperado, desmoronando. É difícil entender porque tudo acabou assim... tínhamos tudo para dar certo e infelizmente não deu. Eu simplesmente não consigo entender porque isso aconteceu, era tudo tão perfeito ao seu lado e você fazia todos os problemas do mundo parecerem migalhas só com três palavras, simples e singelas, aquelas que muitas pessoas temem... mas não sabem o quão bem fazem para a alma.
Te esquecer? Jamais. A única coisa que me resta agora é seguir em frente, como se nada tivesse importado para mim, da mesma forma que parecia não importar para você. Mas você me deixou marcas, cicatrizes e muita, mas muita tristeza e pra sempre vou carregá-las comigo... já que são as únicas coisas que você teve coragem de deixar para mim. Mas a saudade que eu sinto é algo bom, já que é uma das únicas coisas que me fazem acreditar que por um momento, só por um momento... que o que tínhamos foi real.
Run, flee, chaos, strains
Run, hide, fear, chains
Run, duck, smoke, flames
Run, jump, death, games
Run, rush, hunger, pains
Run, hop, truth, wanes
Run, quick, Mark, drains
Run, escape, evil, gains
Run, swift, chip, brains
Run, reject, Beast, reigns
Run, leap, digital, plains
Run, jog, synthetic, veins
Run, sprint, AI, trains
Run, repent, sin, stains
De repente bateu uma vontade enorme de usar um Dote ,e dentre todas as opções resolvi usar um dos primeiros da marca que comprei:o Porto de Galinhas,lilás/rosa SUPER clarinho e meigo,mas é aquela coisa depois de um tempo ele acaba perdendo a graça!
E nada melhor do que uma carimbada para animar um pouquinho,durante o processo fui fazendo vários testes para achar algum esmalte que não fosse branco ou preto que funcionasse para carimbar,e ecabei achando o Speciallità Free Rosa Neon que foi usado na Konad M51!
The Postcard
A Colourmaster postcard that was distributed by Dragon Publishing Ltd. of Llandeilo. The photography was by Roger Vlitos.
On the divided back of the card is printed:
'Dylan's Writing Shed,
Laugharne, Dyfed.
In this converted garage with
views over the Taf estuary and
Sir John's Hill, Dylan Thomas
wrote much of his finest poetry.
Along with his last home, The
Boat House, it is preserved in
memory of the poet.'
Dylan Thomas
Dylan Marlais Thomas, who was born in Swansea on the 27th. October 1914, was a Welsh poet and writer whose works include the poems 'Do not go Gentle Into That Good Night' and 'And Death Shall Have No Dominion.'
Dylan's other work included 'Under Milk Wood' as well as stories and radio broadcasts such as 'A Child's Christmas in Wales' and 'Portrait of the Artist as a Young Dog'.
He became widely popular in his lifetime, and remained so after his death at the age of 39 in New York City. By then he had acquired a reputation, which he had encouraged, as a roistering, drunken and doomed poet.
In 1931, when he was 16, Thomas, an undistinguished pupil, left school to become a reporter for the South Wales Daily Post, only to leave under pressure 18 months later.
Many of his works appeared in print while he was still a teenager. In 1934, the publication of 'Light Breaks Where no Sun Shines' caught the attention of the literary world.
While living in London, Thomas met Caitlin Macnamara. They married in 1937, and had three children: Llewelyn, Aeronwy and Colm.
Thomas came to be appreciated as a popular poet during his lifetime, though he found it hard to earn a living as a writer. He began augmenting his income with reading tours and radio broadcasts. His radio recordings for the BBC during the late 1940's brought him to the public's attention, and he was frequently used by the BBC as an accessible voice of the literary scene.
Thomas first travelled to the United States in the 1950's. His readings there brought him a degree of fame, while his erratic behaviour and drinking worsened. His time in the United States cemented his legend, however, and he went on to record to vinyl such works as 'A Child's Christmas in Wales'.
During his fourth trip to New York in 1953, Thomas became gravely ill and fell into a coma. He died on the 9th. November 1953, and his body was returned to Wales. On the 25th. November 1953, he was laid to rest in St Martin's churchyard in Laugharne, Carmarthenshire.
Although Thomas wrote exclusively in the English language, he has been acknowledged as one of the most important Welsh poets of the 20th century. He is noted for his original, rhythmic and ingenious use of words and imagery. He is regarded by many as one of the great modern poets, and he still remains popular with the public.
Dylan Thomas - The Early Years
Dylan was born at 5 Cwmdonkin Drive, the son of Florence Hannah (née Williams; 1882–1958), a seamstress, and David John Thomas (1876–1952), a teacher. His father had a first-class honours degree in English from University College, Aberystwyth and ambitions to rise above his position teaching English literature at the local grammar school.
Thomas had one sibling, Nancy Marles (1906–1953), who was eight years his senior. The children spoke only English, though their parents were bilingual in English and Welsh, and David Thomas gave Welsh lessons at home.
Thomas's father chose the name Dylan, which means 'Son of the Sea', after Dylan ail Don, a character in The Mabinogion. Dylan's middle name, Marlais, was given in honour of his great-uncle, William Thomas, a Unitarian minister and poet whose bardic name was Gwilym Marles.
Dylan caused his mother to worry that he might be teased as the 'Dull One.' When he broadcast on Welsh BBC, early in his career, he was introduced using this pronunciation. Thomas favoured the Anglicised pronunciation, and gave instructions that it should be spoken as 'Dillan.'
The red-brick semi-detached house at 5 Cwmdonkin Drive (in the respectable area of the Uplands), in which Thomas was born and lived until he was 23, had been bought by his parents a few months before his birth.
Dylan's childhood featured regular summer trips to the Llansteffan Peninsula, a Welsh-speaking part of Carmarthenshire, where his maternal relatives were the sixth generation to farm there.
In the land between Llangain and Llansteffan, his mother's family, the Williamses and their close relatives, worked a dozen farms with over a thousand acres between them. The memory of Fernhill, a dilapidated 15-acre farm rented by his maternal aunt, Ann Jones, and her husband, Jim, is evoked in the 1945 lyrical poem 'Fern Hill', but is portrayed more accurately in his short story, 'The Peaches'.
Thomas had bronchitis and asthma in childhood, and struggled with these throughout his life. He was indulged by his mother and enjoyed being mollycoddled, a trait he carried into adulthood, and he was skilful in gaining attention and sympathy.
Thomas's formal education began at Mrs Hole's Dame School, a private school on Mirador Crescent, a few streets away from his home. He described his experience there in Reminiscences of Childhood:
"Never was there such a dame school as ours,
so firm and kind and smelling of galoshes, with
the sweet and fumbled music of the piano lessons
drifting down from upstairs to the lonely schoolroom,
where only the sometimes tearful wicked sat over
undone sums, or to repent a little crime – the pulling
of a girl's hair during geography, the sly shin kick
under the table during English literature".
In October 1925, Dylan Thomas enrolled at Swansea Grammar School for boys, in Mount Pleasant, where his father taught English. He was an undistinguished pupil who shied away from school, preferring reading.
In his first year, one of his poems was published in the school's magazine, and before he left he became its editor. In June 1928, Thomas won the school's mile race, held at St. Helen's Ground; he carried a newspaper photograph of his victory with him until his death.
During his final school years Dylan began writing poetry in notebooks; the first poem, dated 27th. April 1930, is entitled 'Osiris, Come to Isis'.
In 1931, when he was 16, Thomas left school to become a reporter for the South Wales Daily Post, only to leave under pressure 18 months later. Thomas continued to work as a freelance journalist for several years, during which time he remained at Cwmdonkin Drive and continued to add to his notebooks, amassing 200 poems in four books between 1930 and 1934. Of the 90 poems he published, half were written during these years.
In his free time, Dylan joined the amateur dramatic group at the Little Theatre in Mumbles, visited the cinema in Uplands, took walks along Swansea Bay, and frequented Swansea's pubs, especially the Antelope and the Mermaid Hotels in Mumbles.
In the Kardomah Café, close to the newspaper office in Castle Street, he met his creative contemporaries, including his friend the poet Vernon Watkins.
1933–1939
In 1933, Thomas visited London for probably the first time.
Thomas was a teenager when many of the poems for which he became famous were published:
-- 'And Death Shall Have no Dominion'
-- 'Before I Knocked'
-- 'The Force That Through the Green Fuse Drives the Flower'.
'And Death Shall Have no Dominion' appeared in the New English Weekly in May 1933:
'And death shall have no dominion.
Dead men naked they shall be one
With the man in the wind and the
west moon;
When their bones are picked clean and
the clean bones gone,
They shall have stars at elbow and foot;
Though they go mad they shall be sane,
Though they sink through the sea they
shall rise again
Though lovers be lost love shall not;
And death shall have no dominion'.
When 'Light Breaks Where no Sun Shines' appeared in The Listener in 1934, it caught the attention of three senior figures in literary London - T. S. Eliot, Geoffrey Grigson and Stephen Spender. They contacted Thomas, and his first poetry volume, '18 Poems', was published in December 1934.
'18 Poems' was noted for its visionary qualities which led to critic Desmond Hawkins writing that:
"The work is the sort of bomb
that bursts no more than once
in three years".
The volume was critically acclaimed, and won a contest run by the Sunday Referee, netting him new admirers from the London poetry world, including Edith Sitwell and Edwin Muir. The anthology was published by Fortune Press, in part a vanity publisher that did not pay its writers, and expected them to buy a certain number of copies themselves. A similar arrangement was used by other new authors, including Philip Larkin.
In September 1935, Thomas met Vernon Watkins, thus beginning a lifelong friendship. Dylan introduced Watkins, working at Lloyds Bank at the time, to his friends. The group of writers, musicians and artists became known as "The Kardomah Gang".
In those days, Thomas used to frequent the cinema on Mondays with Tom Warner who, like Watkins, had recently suffered a nervous breakdown. After these trips, Warner would bring Thomas back for supper with his aunt.
On one occasion, when she served him a boiled egg, she had to cut its top off for him, as Thomas did not know how to do this. This was because his mother had done it for him all his life, an example of her coddling him. Years later, his wife Caitlin would still have to prepare his eggs for him.
In December 1935, Thomas contributed the poem 'The Hand That Signed the Paper' to Issue 18 of the bi-monthly New Verse.
In 1936, Dylan's next collection 'Twenty-five Poems' received much critical praise. In 1938, Thomas won the Oscar Blumenthal Prize for Poetry; it was also the year in which New Directions offered to be his publisher in the United States. In all, he wrote half his poems while living at Cwmdonkin Drive before moving to London. It was the time that Thomas's reputation for heavy drinking developed.
In early 1936, Thomas met Caitlin Macnamara (1913–94), a 22-year-old blonde-haired, blue-eyed dancer of Irish and French descent. She had run away from home, intent on making a career in dance, and at the age of 18 joined the chorus line at the London Palladium.
Introduced by Augustus John, Caitlin's lover, they met in The Wheatsheaf pub on Rathbone Place in London's West End. Laying his head on her lap, a drunken Thomas proposed. Thomas liked to comment that he and Caitlin were in bed together ten minutes after they first met.
Although Caitlin initially continued her relationship with Augustus John, she and Thomas began a correspondence, and by the second half of 1936 they were courting. They married at the register office in Penzance, Cornwall, on the 11th. July 1937.
In early 1938, they moved to Wales, renting a cottage in the village of Laugharne, Carmarthenshire. Their first child, Llewelyn Edouard, was born on the 30th. January 1939.
By the late 1930's, Thomas was embraced as the "Poetic Herald" for a group of English poets, the New Apocalyptics. However Thomas refused to align himself with them, and declined to sign their manifesto.
He later stated that:
"They are intellectual muckpots
leaning on a theory".
Despite Dylan's rejection, many of the group, including Henry Treece, modelled their work on Thomas's.
During the politically charged atmosphere of the 1930's, Thomas's sympathies were very much with the radical left, to the point of holding close links with the communists, as well as being decidedly pacifist and anti-fascist. He was a supporter of the left-wing No More War Movement, and boasted about participating in demonstrations against the British Union of Fascists.
1939–1945
In 1939, a collection of 16 poems and seven of the 20 short stories published by Thomas in magazines since 1934, appeared as 'The Map of Love'.
Ten stories in his next book, 'Portrait of the Artist as a Young Dog' (1940), were based less on lavish fantasy than those in 'The Map of Love', and more on real-life romances featuring himself in Wales.
Sales of both books were poor, resulting in Thomas living on meagre fees from writing and reviewing. At this time he borrowed heavily from friends and acquaintances.
Hounded by creditors, Thomas and his family left Laugharne in July 1940 and moved to the home of critic John Davenport in Marshfield, Gloucestershire. There Thomas collaborated with Davenport on the satire 'The Death of the King's Canary', though due to fears of libel, the work was not published until 1976.
At the outset of the Second World War, Thomas was worried about conscription, and referred to his ailment as "An Unreliable Lung".
Coughing sometimes confined him to bed, and he had a history of bringing up blood and mucus. After initially seeking employment in a reserved occupation, he managed to be classified Grade III, which meant that he would be among the last to be called up for service.
Saddened to see his friends going on active service, Dylan continued drinking, and struggled to support his family. He wrote begging letters to random literary figures asking for support, a plan he hoped would provide a long-term regular income. Thomas supplemented his income by writing scripts for the BBC, which not only gave him additional earnings but also provided evidence that he was engaged in essential war work.
In February 1941, Swansea was bombed by the Luftwaffe in a three night blitz. Castle Street was one of many streets that suffered badly; rows of shops, including the Kardomah Café, were destroyed. Thomas walked through the bombed-out shell of the town centre with his friend Bert Trick. Upset at the sight, he concluded:
"Our Swansea is dead".
Soon after the bombing raids, he wrote a radio play, 'Return Journey Home', which described the café as being "razed to the snow". The play was first broadcast on the 15th. June 1947. The Kardomah Café reopened on Portland Street after the war.
In May 1941, Thomas and Caitlin left their son with his grandmother at Blashford and moved to London. Thomas hoped to find employment in the film industry, and wrote to the director of the films division of the Ministry of Information (MOI). After initially being rebuffed, he found work with Strand Films, providing him with his first regular income since the Daily Post. Strand produced films for the MOI; Thomas scripted at least five films in 1942.
In five film projects, between 1942 and 1945, the Ministry of Information (MOI) commissioned Thomas to script a series of documentaries about both urban planning and wartime patriotism, all in partnership with director John Eldridge:
-- 'Wales: Green Mountain, Black Mountain'.
-- 'New Towns for Old' (on post-war reconstruction).
-- 'Fuel for Battle'.
-- 'Our Country' (1945) was a romantic tour of Great Britain set to Thomas's poetry.
-- 'A City Reborn'.
Other projects included:
-- 'This Is Colour' (a history of the British dyeing industry).
-- 'These Are The Men' (1943), a more ambitious piece in which Thomas's verse accompanied Leni Riefenstahl's footage of an early Nuremberg Rally.
-- 'Conquest of a Germ' (1944) explored the use of early antibiotics in the fight against pneumonia and tuberculosis.
In early 1943, Thomas began a relationship with Pamela Glendower; one of several affairs he had during his marriage. The affairs either ran out of steam or were halted after Caitlin discovered his infidelity.
In March 1943, Caitlin gave birth to a daughter, Aeronwy, in London. They lived in a run-down studio in Chelsea, made up of a single large room with a curtain to separate the kitchen.
The Thomas family made several escapes back to Wales during the war. Between 1941 and 1943, they lived intermittently in Plas Gelli, Talsarn, in Cardiganshire. Plas Gelli sits close by the River Aeron, after whom Aeronwy is thought to have been named. Some of Thomas’ letters from Gelli can be found in his 'Collected Letters'.
The Thomases shared the mansion with his childhood friends from Swansea, Vera and Evelyn Phillips. Vera's friendship with the Thomases in nearby New Quay is portrayed in the 2008 film, 'The Edge of Love'.
In July 1944, with the threat of German flying bombs landing on London, Thomas moved to the family cottage at Blaencwm near Llangain, Carmarthenshire, where he resumed writing poetry, completing 'Holy Spring' and 'Vision and Prayer'.
In September 1944, the Thomas family moved to New Quay in Cardiganshire (Ceredigion), where they rented Majoda, a wood and asbestos bungalow on the cliffs overlooking Cardigan Bay. It was here that Thomas wrote the radio piece 'Quite Early One Morning', a sketch for his later work, 'Under Milk Wood'.
Of the poetry written at this time, of note is 'Fern Hill', believed to have been started while living in New Quay, but completed at Blaencwm in mid-1945. Dylan's first biographer, Constantine FitzGibbon wrote that:
"His nine months in New Quay were a second
flowering, a period of fertility that recalls the
earliest days, with a great outpouring of poems
and a good deal of other material".
His second biographer, Paul Ferris, concurred:
"On the grounds of output, the bungalow
deserves a plaque of its own."
The Dylan Thomas scholar, Walford Davies, has noted that:
"New Quay was crucial in supplementing
the gallery of characters Thomas had to
hand for writing 'Under Milk Wood'."
Dylan Thomas's Broadcasting Years 1945–1949
Although Thomas had previously written for the BBC, it was a minor and intermittent source of income. In 1943, he wrote and recorded a 15-minute talk entitled 'Reminiscences of Childhood' for the Welsh BBC.
In December 1944, he recorded 'Quite Early One Morning' (produced by Aneirin Talfan Davies, again for the Welsh BBC), but when Davies offered it for national broadcast, BBC London initially turned it down.
However on the 31st. August 1945, the BBC Home Service broadcast 'Quite Early One Morning' nationally, and in the three subsequent years, Dylan made over a hundred broadcasts for the BBC, not only for his poetry readings, but for discussions and critiques.
In the second half of 1945, Dylan began reading for the BBC Radio programme, 'Book of Verse', that was broadcast weekly to the Far East. This provided Thomas with a regular income, and brought him into contact with Louis MacNeice, a congenial drinking companion whose advice Thomas cherished.
On the 29th. September 1946, the BBC began transmitting the Third Programme, a high-culture network which provided further opportunities for Thomas.
He appeared in the play 'Comus' for the Third Programme, the day after the network launched, and his rich, sonorous voice led to character parts, including the lead in Aeschylus's 'Agamemnon', and Satan in an adaptation of 'Paradise Lost'.
Thomas remained a popular guest on radio talk shows for the BBC, who stated:
"He is useful should a younger
generation poet be needed".
He had an uneasy relationship with BBC management, and a staff job was never an option, with drinking cited as the problem. Despite this, Thomas became a familiar radio voice and well-known celebrity within Great Britain.
By late September 1945, the Thomases had left Wales, and were living with various friends in London. In December, they moved to Oxford to live in a summerhouse on the banks of the Cherwell. It belonged to the historian, A. J. P. Taylor. His wife, Margaret, became Thomas’s most committed patron.
The publication of 'Deaths and Entrances' in February 1946 was a major turning point for Thomas. Poet and critic Walter J. Turner commented in The Spectator:
"This book alone, in my opinion,
ranks him as a major poet".
From 'In my Craft or Sullen Art,' 'Deaths and Entrances' (1946):
'Not for the proud man apart
From the raging moon, I write
On these spindrift pages
Nor for the towering dead
With their nightingales and psalms
But for the lovers, their arms
Round the griefs of the ages,
Who pay no praise or wages
Nor heed my craft or art'.
The following year, in April 1947, the Thomases travelled to Italy, after Thomas had been awarded a Society of Authors scholarship. They stayed first in villas near Rapallo and then Florence, before moving to a hotel in Rio Marina on the island of Elba.
On their return to England Thomas and his family moved, in September 1947, into the Manor House in South Leigh, just west of Oxford, found for him by Margaret Taylor.
He continued with his work for the BBC, completed a number of film scripts, and worked further on his ideas for 'Under Milk Wood'.
In March 1949 Thomas travelled to Prague. He had been invited by the Czech government to attend the inauguration of the Czechoslovak Writers' Union. Jiřina Hauková, who had previously published translations of some of Thomas' poems, was his guide and interpreter.
In her memoir, Hauková recalls that at a party in Prague, Thomas narrated the first version of his radio play 'Under Milk Wood.' She describes how he outlined the plot about a town that was declared insane, and then portrayed the predicament of an eccentric organist and a baker with two wives.
A month later, in May 1949, Thomas and his family moved to his final home, the Boat House at Laugharne, purchased for him at a cost of £2,500 in April 1949 by Margaret Taylor.
Thomas acquired a garage a hundred yards from the house on a cliff ledge which he turned into his writing shed, and where he wrote several of his most acclaimed poems. To see a photograph of the interior of Dylan's shed, please search for the tag 55DTW96
Just before moving into the Boat House, Thomas rented Pelican House opposite his regular drinking den, Brown's Hotel, for his parents. They both lived there from 1949 until Dylan's father 'D.J.' died on the 16th. December 1952. His mother continued to live there until 1953.
Caitlin gave birth to their third child, a boy named Colm Garan Hart, on the 25th. July 1949.
In October 1949, the New Zealand poet Allen Curnow came to visit Thomas at the Boat House, who took him to his writing shed. Curnow recalls:
"Dylan fished out a draft to show me
of the unfinished 'Under Milk Wood'
that was then called 'The Town That
Was Mad'."
Dylan Thomas's American tours, 1950–1953
(a) The First American Tour
The American poet John Brinnin invited Thomas to New York, where in 1950 they embarked on a lucrative three-month tour of arts centres and campuses.
The tour, which began in front of an audience of a thousand at the Kaufmann Auditorium in the Poetry Centre in New York, took in a further 40 venues. During the tour, Thomas was invited to many parties and functions, and on several occasions became drunk - going out of his way to shock people - and was a difficult guest.
Dylan drank before some of his readings, although it is argued that he may have pretended to be more affected by the alcohol than he actually was.
The writer Elizabeth Hardwick recalled how intoxicated a performer he could be, and how the tension would build before a performance:
"Would he arrive only to break
down on the stage?
Would some dismaying scene
take place at the faculty party?
Would he be offensive, violent,
obscene?"
Dylan's wife Caitlin said in her memoir:
"Nobody ever needed encouragement
less, and he was drowned in it."
On returning to Great Britain, Thomas began work on two further poems, 'In the White Giant's Thigh', which he read on the Third Programme in September 1950:
'Who once were a bloom of wayside
brides in the hawed house
And heard the lewd, wooed field
flow to the coming frost,
The scurrying, furred small friars
squeal in the dowse
Of day, in the thistle aisles, till the
white owl crossed.'
He also worked on the incomplete 'In Country Heaven'.
In October 1950, Thomas sent a draft of the first 39 pages of 'The Town That Was Mad' to the BBC. The task of seeing this work through to production was assigned to the BBC's Douglas Cleverdon, who had been responsible for casting Thomas in 'Paradise Lost'.
However, despite Cleverdon's urgings, the script slipped from Thomas's priorities, and in early 1951 he took a trip to Iran to work on a film for the Anglo-Iranian Oil Company. The film was never made, with Thomas returning to Wales in February, though his time there allowed him to provide a few minutes of material for a BBC documentary, 'Persian Oil'.
Early in 1951 Thomas wrote two poems, which Thomas's principal biographer, Paul Ferris, describes as "unusually blunt." One was the ribald 'Lament', and the other was an ode, in the form of a villanelle, to his dying father 'Do not go Gentle Into That Good Night". (A villanelle is a pastoral or lyrical poem of nineteen lines, with only two rhymes throughout, and some lines repeated).
Despite a range of wealthy patrons, including Margaret Taylor, Princess Marguerite Caetani and Marged Howard-Stepney, Thomas was still in financial difficulty, and he wrote several begging letters to notable literary figures, including the likes of T. S. Eliot.
Margaret Taylor was not keen on Thomas taking another trip to the United States, and thought that if he had a permanent address in London he would be able to gain steady work there. She bought a property, 54 Delancey Street, in Camden Town, and in late 1951 Thomas and Caitlin lived in the basement flat. Thomas described the flat as his "London House of Horror", and did not return there after his 1952 tour of America.
(b) The Second American Tour
Thomas undertook a second tour of the United States in 1952, this time with Caitlin - after she had discovered that he had been unfaithful on his earlier trip. They drank heavily, and Thomas began to suffer with gout and lung problems.
It was during this tour that the above photograph was taken.
The second tour was the most intensive of the four, taking in 46 engagements.
The trip also resulted in Thomas recording his first poetry to vinyl, which Caedmon Records released in America later that year. One of his works recorded during this time, 'A Child's Christmas in Wales', became his most popular prose work in America. The recording was a 2008 selection for the United States National Recording Registry, which stated that:
"It is credited with launching the
audiobook industry in the United
States".
(c) The Third American Tour
In April 1953, Thomas returned alone for a third tour of America. He performed a "work in progress" version of 'Under Milk Wood', solo, for the first time at Harvard University on the 3rd. May 1953. A week later, the work was performed with a full cast at the Poetry Centre in New York.
Dylan met the deadline only after being locked in a room by Brinnin's assistant, Liz Reitell, and was still editing the script on the afternoon of the performance; its last lines were handed to the actors as they put on their makeup.
During this penultimate tour, Thomas met the composer Igor Stravinsky. Igor had become an admirer of Dylan after having been introduced to his poetry by W. H. Auden. They had discussions about collaborating on a "musical theatrical work" for which Dylan would provide the libretto on the theme of:
"The rediscovery of love and
language in what might be left
after the world after the bomb."
The shock of Thomas's death later in the year moved Stravinsky to compose his 'In Memoriam Dylan Thomas' for tenor, string quartet and four trombones. The work's first performance in Los Angeles in 1954 was introduced with a tribute to Thomas from Aldous Huxley.
Thomas spent the last nine or ten days of his third tour in New York mostly in the company of Reitell, with whom he had an affair.
During this time, Thomas fractured his arm falling down a flight of stairs when drunk. Reitell's doctor, Milton Feltenstein, put his arm in plaster, and treated him for gout and gastritis.
After returning home, Thomas worked on 'Under Milk Wood' in Wales before sending the original manuscript to Douglas Cleverdon on the 15th. October 1953. It was copied and returned to Thomas, who lost it in a pub in London and required a duplicate to take to America.
(d) The Fourth American Tour
Thomas flew to the States on the 19th. October 1953 for what would be his final tour. He died in New York before the BBC could record 'Under Milk Wood'. Richard Burton featured in its first broadcast in 1954, and was joined by Elizabeth Taylor in a subsequent film. In 1954, the play won the Prix Italia for literary or dramatic programmes.
Thomas's last collection 'Collected Poems, 1934–1952', published when he was 38, won the Foyle poetry prize. Reviewing the volume, critic Philip Toynbee declared that:
"Thomas is the greatest living
poet in the English language".
There followed a series of distressing events for Dylan. His father died from pneumonia just before Christmas 1952. In the first few months of 1953, his sister died from liver cancer, one of his patrons took an overdose of sleeping pills, three friends died at an early age, and Caitlin had an abortion.
Thomas left Laugharne on the 9th. October 1953 on the first leg of his trip to America. He called on his mother, Florence, to say goodbye:
"He always felt that he had to get
out from this country because of
his chest being so bad."
Thomas had suffered from chest problems for most of his life, though they began in earnest soon after he moved in May 1949 to the Boat House at Laugharne - the "Bronchial Heronry", as he called it. Within weeks of moving in, he visited a local doctor, who prescribed medicine for both his chest and throat.
Whilst waiting in London before his flight in October 1953, Thomas stayed with the comedian Harry Locke and worked on 'Under Milk Wood'. Locke noted that Thomas was having trouble with his chest, with terrible coughing fits that made him go purple in the face. He was also using an inhaler to help his breathing.
There were reports, too, that Thomas was also having blackouts. His visit to the BBC producer Philip Burton a few days before he left for New York, was interrupted by a blackout. On his last night in London, he had another in the company of his fellow poet Louis MacNeice.
Thomas arrived in New York on the 20th. October 1953 to undertake further performances of 'Under Milk Wood', organised by John Brinnin, his American agent and Director of the Poetry Centre. Brinnin did not travel to New York, but remained in Boston in order to write.
He handed responsibility to his assistant, Liz Reitell, who was keen to see Thomas for the first time since their three-week romance early in the year. She met Thomas at Idlewild Airport and was shocked at his appearance. He looked pale, delicate and shaky, not his usual robust self:
"He was very ill when he got here."
After being taken by Reitell to check in at the Chelsea Hotel, Thomas took the first rehearsal of 'Under Milk Wood'. They then went to the White Horse Tavern in Greenwich Village, before returning to the Chelsea Hotel.
(Bob Dylan, formerly Robert Zimmerman, used to perform at the White Horse; Dylan Thomas was his favourite poet, and it is highly likely that Bob adopted Dylan's first name as his surname).
The next day, Reitell invited Thomas to her apartment, but he declined. They went sightseeing, but Thomas felt unwell, and retired to his bed for the rest of the afternoon. Reitell gave him half a grain (32.4 milligrams) of phenobarbitone to help him sleep, and spent the night at the hotel with him.
Two days later, on the 23rd. October 1953, at the third rehearsal, Thomas said he was too ill to take part, but he struggled on, shivering and burning with fever, before collapsing on the stage.
The next day, 24th. October, Reitell took Thomas to see her doctor, Milton Feltenstein, who administered cortisone injections. Thomas made it through the first performance that evening, but collapsed immediately afterwards.
Dylan told a friend who had come back-stage:
"This circus out there has taken
the life out of me for now."
Reitell later said:
"Feltenstein was rather a wild doctor
who thought injections would cure
anything".
At the next performance on the 25th. October, his fellow actors realised that Thomas was very ill:
"He was desperately ill…we didn’t think
that he would be able to do the last
performance because he was so ill…
Dylan literally couldn’t speak he was so
ill…still my greatest memory of it is that
he had no voice."
On the evening of the 27th. October, Thomas attended his 39th. birthday party, but felt unwell, and returned to his hotel after an hour. The next day, he took part in 'Poetry and the Film', a recorded symposium at Cinema 16.
A turning point came on the 2nd. November. Air pollution in New York had risen significantly, and exacerbated chest illnesses such as Thomas's. By the end of the month, over 200 New Yorkers had died from the smog.
On the 3rd. November, Thomas spent most of the day in his room, entertaining various friends. He went out in the evening to keep two drink appointments. After returning to the hotel, he went out again for a drink at 2 am. After drinking at the White Horse, Thomas returned to the Hotel Chelsea, declaring:
"I've had eighteen straight
whiskies. I think that's the
record!"
However the barman and the owner of the pub who served him later commented that Thomas could not have drunk more than half that amount.
Thomas had an appointment at a clam house in New Jersey with Todd on the 4th. November. When Todd telephoned the Chelsea that morning, Thomas said he was feeling ill, and postponed the engagement. Todd thought that Dylan sounded "terrible".
The poet, Harvey Breit, was another to phone that morning. He thought that Thomas sounded "bad". Thomas' voice, recalled Breit, was "low and hoarse". Harvey had wanted to say:
"You sound as though from the tomb".
However instead Harvey told Thomas that he sounded like Louis Armstrong.
Later, Thomas went drinking with Reitell at the White Horse and, feeling sick again, returned to the hotel. Dr. Feltenstein came to see him three times that day, administering the cortisone secretant ACTH by injection and, on his third visit, half a grain (32.4 milligrams) of morphine sulphate, which affected Thomas' breathing.
Reitell became increasingly concerned, and telephoned Feltenstein for advice. He suggested that she get male assistance, so she called upon the artist Jack Heliker, who arrived before 11 pm. At midnight on the 5th. November, Thomas's breathing became more difficult, and his face turned blue.
Reitell phoned Feltenstein who arrived at the hotel at about 1 am, and called for an ambulance. It then took another hour for the ambulance to arrive at St. Vincent's, even though it was only a few blocks from the Chelsea.
Thomas was admitted to the emergency ward at St Vincent's Hospital at 1:58 am. He was comatose, and his medical notes stated that:
"The impression upon admission was acute
alcoholic encephalopathy damage to the brain
by alcohol, for which the patient was treated
without response".
Feltenstein then took control of Thomas's care, even though he did not have admitting rights at St. Vincent's. The hospital's senior brain specialist, Dr. C. G. Gutierrez-Mahoney, was not called to examine Thomas until the afternoon of the 6th. November, thirty-six hours after Thomas' admission.
Dylan's wife Caitlin flew to America the following day, and was taken to the hospital, by which time a tracheotomy had been performed. Her reported first words were:
"Is the bloody man dead yet?"
Caitlin was allowed to see Thomas only for 40 minutes in the morning, but returned in the afternoon and, in a drunken rage, threatened to kill John Brinnin. When she became uncontrollable, she was put in a straitjacket and committed, by Feltenstein, to the River Crest private psychiatric detox clinic on Long Island.
It is now believed that Thomas had been suffering from bronchitis, pneumonia and emphysema before his admission to St Vincent's. In their 2004 paper, 'Death by Neglect', D. N. Thomas and Dr Simon Barton disclose that Thomas was found to have pneumonia when he was admitted to hospital in a coma.
Doctors took three hours to restore his breathing, using artificial respiration and oxygen. Summarising their findings, they conclude:
"The medical notes indicate that, on admission,
Dylan's bronchial disease was found to be very
extensive, affecting upper, mid and lower lung
fields, both left and right."
The forensic pathologist, Professor Bernard Knight, concurs:
"Death was clearly due to a severe lung infection
with extensive advanced bronchopneumonia.
The severity of the chest infection, with greyish
consolidated areas of well-established pneumonia,
suggests that it had started before admission to
hospital."
Thomas died at noon on the 9th. November 1953, having never recovered from his coma. He was 39 years of age when he died.
Aftermath of Dylan Thomas's Death
Rumours circulated of a brain haemorrhage, followed by competing reports of a mugging, or even that Thomas had drunk himself to death. Later, speculation arose about drugs and diabetes.
At the post-mortem, the pathologist found three causes of death - pneumonia, brain swelling and a fatty liver. Despite Dylan's heavy drinking, his liver showed no sign of cirrhosis.
The publication of John Brinnin's 1955 biography 'Dylan Thomas in America' cemented Thomas's legacy as the "doomed poet". Brinnin focuses on Thomas's last few years, and paints a picture of him as a drunk and a philanderer.
Later biographies have criticised Brinnin's view, especially his coverage of Thomas's death. David Thomas in 'Fatal Neglect: Who Killed Dylan Thomas?' claims that Brinnin, along with Reitell and Feltenstein, were culpable.
FitzGibbon's 1965 biography ignores Thomas's heavy drinking and skims over his death, giving just two pages in his detailed book to Thomas's demise.
Ferris in his 1989 biography includes Thomas's heavy drinking, but is more critical of those around him in his final days, and does not draw the conclusion that he drank himself to death.
Many sources have criticised Feltenstein's role and actions, especially his incorrect diagnosis of delirium tremens and the high dose of morphine he administered. Dr C. G. de Gutierrez-Mahoney, the doctor who treated Thomas while at St. Vincent's, concluded that Feltenstein's failure to see that Thomas was gravely ill and have him admitted to hospital sooner was even more culpable than his use of morphine.
Caitlin Thomas's autobiographies, 'Caitlin Thomas - Leftover Life to Kill' (1957) and 'My Life with Dylan Thomas: Double Drink Story' (1997), describe the effects of alcohol on the poet and on their relationship:
"Ours was not only a love story, it was
a drink story, because without alcohol
it would never had got on its rocking
feet. The bar was our altar."
Biographer Andrew Lycett ascribed the decline in Thomas's health to an alcoholic co-dependent relationship with his wife, who deeply resented his extramarital affairs.
In contrast, Dylan biographers Andrew Sinclair and George Tremlett express the view that Thomas was not an alcoholic. Tremlett argues that many of Thomas's health issues stemmed from undiagnosed diabetes.
Thomas died intestate, with assets worth £100. His body was brought back to Wales for burial in the village churchyard at Laugharne. Dylan's funeral, which Brinnin did not attend, took place at St Martin's Church in Laugharne on the 24th. November 1953.
Six friends from the village carried Thomas's coffin. Caitlin, without her customary hat, walked behind the coffin, with his childhood friend Daniel Jones at her arm and her mother by her side. The procession to the church was filmed, and the wake took place at Brown's Hotel. Thomas's fellow poet and long-time friend Vernon Watkins wrote The Times obituary.
Thomas's widow, Caitlin, died in 1994, and was laid to rest alongside him. Dylan's mother Florence died in August 1958. Thomas's elder son, Llewelyn, died in 2000, his daughter, Aeronwy in 2009, and his youngest son Colm in 2012.
Dylan Thomas's Poetry
Thomas's refusal to align with any literary group or movement has made him and his work difficult to categorise. Although influenced by the modern symbolism and surrealism movements, he refused to follow such creeds. Instead, critics view Thomas as part of the modernism and romanticism movements, though attempts to pigeon-hole him within a particular neo-romantic school have been unsuccessful.
Elder Olson, in his 1954 critical study of Thomas's poetry, wrote:
"There is a further characteristic which
distinguished Thomas's work from that
of other poets. It was unclassifiable."
Olson went on to say that in a postmodern age that continually attempted to demand that poetry have social reference, none could be found in Thomas's work, and that his work was so obscure that critics could not analyse it.
Thomas's verbal style played against strict verse forms, such as in the villanelle 'Do not go Gentle Into That Good Night'.
His images appear carefully ordered in a patterned sequence, and his major theme was the unity of all life, the continuing process of life and death, and new life that linked the generations.
Thomas saw biology as a magical transformation producing unity out of diversity, and in his poetry sought a poetic ritual to celebrate this unity. He saw men and women locked in cycles of growth, love, procreation, new growth, death, and new life. Therefore, each image engenders its opposite.
Thomas derived his closely woven, sometimes self-contradictory images from the Bible, Welsh folklore, preaching, and Sigmund Freud. Explaining the source of his imagery, Thomas wrote in a letter to Glyn Jones:
"My own obscurity is quite an unfashionable one,
based, as it is, on a preconceived symbolism
derived (I'm afraid all this sounds woolly and
pretentious) from the cosmic significance of the
human anatomy".
Thomas's early poetry was noted for its verbal density, alliteration, sprung rhythm and internal rhyme, and some critics detected the influence of the English poet Gerard Manley Hopkins. Hopkins, had taught himself Welsh, and used sprung verse, bringing some features of Welsh poetic metre into his work.
However when Henry Treece wrote to Thomas comparing his style to that of Hopkins, Thomas wrote back denying any such influence. Thomas greatly admired Thomas Hardy, who is regarded as an influence. When Thomas travelled in America, he recited some of Hardy's work in his readings.
Other poets from whom critics believe Thomas drew influence include James Joyce, Arthur Rimbaud and D. H. Lawrence.
William York Tindall, in his 1962 study, 'A Reader's Guide to Dylan Thomas', finds comparison between Thomas's and Joyce's wordplay, while he notes the themes of rebirth and nature are common to the works of Lawrence and Thomas.
Although Thomas described himself as the "Rimbaud of Cwmdonkin Drive", he stated that the phrase "Swansea's Rimbaud" was coined by the poet Roy Campbell.
Critics have explored the origins of Thomas's mythological pasts in his works such as 'The Orchards', which Ann Elizabeth Mayer believes reflects the Welsh myths of the Mabinogion.
Thomas's poetry is notable for its musicality, most clear in 'Fern Hill', 'In Country Sleep', 'Ballad of the Long-legged Bait' and 'In the White Giant's Thigh' from Under Milk Wood.
Thomas once confided that the poems which had most influenced him were Mother Goose rhymes which his parents taught him when he was a child:
"I should say I wanted to write poetry in the
beginning because I had fallen in love with
words.
The first poems I knew were nursery rhymes,
and before I could read them for myself I had
come to love the words of them. The words
alone.
What the words stood for was of a very
secondary importance ... I fell in love, that is
the only expression I can think of, at once,
and am still at the mercy of words, though
sometimes now, knowing a little of their
behaviour very well, I think I can influence
them slightly and have even learned to beat
them now and then, which they appear to
enjoy.
I tumbled for words at once. And, when I began
to read the nursery rhymes for myself, and, later,
to read other verses and ballads, I knew that I
had discovered the most important things, to
me, that could be ever."
Thomas became an accomplished writer of prose poetry, with collections such as 'Portrait of the Artist as a Young Dog' (1940) and 'Quite Early One Morning' (1954) showing he was capable of writing moving short stories. His first published prose work, 'After the Fair', appeared in The New English Weekly on the 15th. March 1934.
Jacob Korg believes that one can classify Thomas's fiction work into two main bodies:
-- Vigorous fantasies in a poetic style
-- After 1939, more straightforward
narratives.
Korg surmises that Thomas approached his prose writing as an alternate poetic form, which allowed him to produce complex, involuted narratives that do not allow the reader to rest.
Dylan Thomas as a Welsh Poet
Thomas disliked being regarded as a provincial poet, and decried any notion of 'Welshness' in his poetry. When he wrote to Stephen Spender in 1952, thanking him for a review of his Collected Poems, he added:
"Oh, & I forgot. I'm not influenced by
Welsh bardic poetry. I can't read Welsh."
Despite this, his work was rooted in the geography of Wales. Thomas acknowledged that he returned to Wales when he had difficulty writing, and John Ackerman argues that:
"Dylan's inspiration and imagination
were rooted in his Welsh background".
Caitlin Thomas wrote that:
"He worked in a fanatically narrow groove,
although there was nothing narrow about
the depth and understanding of his feelings.
The groove of direct hereditary descent in
the land of his birth, which he never in
thought, and hardly in body, moved out of."
Head of Programmes Wales at the BBC, Aneirin Talfan Davies, who commissioned several of Thomas's early radio talks, believed that the poet's whole attitude is that of the medieval bards.
Kenneth O. Morgan counter-argues that it is a difficult enterprise to find traces of cynghanedd (consonant harmony) or cerdd dafod (tongue-craft) in Thomas's poetry. Instead he believes that Dylan's work, especially his earlier, more autobiographical poems, are rooted in a changing country which echoes the Welshness of the past and the Anglicisation of the new industrial nation:
"Rural and urban, chapel-going and profane,
Welsh and English, unforgiving and deeply
compassionate."
Fellow poet and critic Glyn Jones believed that any traces of cynghanedd in Thomas's work were accidental, although he felt that Dylan consciously employed one element of Welsh metrics: that of counting syllables per line instead of feet. Constantine Fitzgibbon, who was his first in-depth biographer, wrote:
"No major English poet has
ever been as Welsh as Dylan".
Although Dylan had a deep connection with Wales, he disliked Welsh nationalism. He once wrote:
"Land of my fathers, and
my fathers can keep it".
While often attributed to Thomas himself, this line actually comes from the character Owen Morgan-Vaughan, in the screenplay Thomas wrote for the 1948 British melodrama 'The Three Weird Sisters'.
Robert Pocock, a friend from the BBC, recalled:
"I only once heard Dylan express an
opinion on Welsh Nationalism.
He used three words. Two of them
were Welsh Nationalism."
Although not expressed as strongly, Glyn Jones believed that he and Thomas's friendship cooled in the later years because he had not rejected enough of the elements that Thomas disliked, i.e. "Welsh nationalism and a sort of hill farm morality".
Apologetically, in a letter to Keidrych Rhys, editor of the literary magazine 'Wales', Thomas's father wrote:
"I'm afraid Dylan isn't much
of a Welshman".
FitzGibbon asserts that Thomas's negativity towards Welsh nationalism was fostered by his father's hostility towards the Welsh language.
Critical Appraisal of Dylan Thomas's Work
Thomas's work and stature as a poet have been much debated by critics and biographers since his death. Critical studies have been clouded by Thomas's personality and mythology, especially his drunken persona and death in New York.
When Seamus Heaney gave an Oxford lecture on the poet, he opened by addressing the assembly:
"Dylan Thomas is now as much
a case history as a chapter in the
history of poetry".
He queried how 'Thomas the Poet' is one of his forgotten attributes. David Holbrook, who has written three books about Thomas, stated in his 1962 publication 'Llareggub Revisited':
"The strangest feature of Dylan Thomas's
notoriety - not that he is bogus, but that
attitudes to poetry attached themselves
to him which not only threaten the prestige,
effectiveness and accessibility to English
poetry, but also destroyed his true voice
and, at last, him."
The Poetry Archive notes that:
"Dylan Thomas's detractors accuse him
of being drunk on language as well as
whiskey, but whilst there's no doubt that
the sound of language is central to his
style, he was also a disciplined writer
who re-drafted obsessively".
Many critics have argued that Thomas's work is too narrow, and that he suffers from verbal extravagance. However those who have championed his work have found the criticism baffling. Robert Lowell wrote in 1947:
"Nothing could be more wrongheaded
than the English disputes about Dylan
Thomas's greatness ... He is a dazzling
obscure writer who can be enjoyed
without understanding."
Kenneth Rexroth said, on reading 'Eighteen Poems':
"The reeling excitement of a poetry-intoxicated
schoolboy smote the Philistine as hard a blow
with one small book as Swinburne had with
Poems and Ballads."
Philip Larkin, in a letter to Kingsley Amis in 1948, wrote that:
"No one can stick words into us
like pins... like Thomas can".
However he followed that by stating that:
"Dylan doesn't use his words
to any advantage".
Amis was far harsher, finding little of merit in Dylan's work, and claiming that:
"He is frothing at the mouth
with piss."
In 1956, the publication of the anthology 'New Lines' featuring works by the British collective The Movement, which included Amis and Larkin amongst its number, set out a vision of modern poetry that was damning towards the poets of the 1940's. Thomas's work in particular was criticised. David Lodge, writing about The Movement in 1981 stated:
"Dylan Thomas was made to stand for
everything they detest, verbal obscurity,
metaphysical pretentiousness, and
romantic rhapsodizing".
Despite criticism by sections of academia, Thomas's work has been embraced by readers more so than many of his contemporaries, and is one of the few modern poets whose name is recognised by the general public.
In 2009, over 18,000 votes were cast in a BBC poll to find the UK's favourite poet; Thomas was placed 10th.
Several of Dylan's poems have passed into the cultural mainstream, and his work has been used by authors, musicians and film and television writers.
The long-running BBC Radio programme, 'Desert Island Discs', in which guests usually choose their favourite songs, has heard 50 participants select a Dylan Thomas recording.
John Goodby states that this popularity with the reading public allows Thomas's work to be classed as vulgar and common. He also cites that despite a brief period during the 1960's when Thomas was considered a cultural icon, the poet has been marginalized in critical circles due to his exuberance, in both life and work, and his refusal to know his place.
Goodby believes that Thomas has been mainly snubbed since the 1970's and has become: "... an embarrassment to twentieth-century poetry criticism", his work failing to fit standard narratives, and thus being ignored rather than studied.
Memorials to Dylan Thomas
In Swansea's maritime quarter is the Dylan Thomas Theatre, the home of the Swansea Little Theatre of which Thomas was once a member. The former Guildhall built in 1825 is now occupied by the Dylan Thomas Centre, a literature centre, where exhibitions and lectures are held and which is a setting for the annual Dylan Thomas Festival. Outside the centre stands a bronze statue of Thomas by John Doubleday.
Another monument to Thomas stands in Cwmdonkin Park, one of Dylan's favourite childhood haunts, close to his birthplace. The memorial is a small rock in an enclosed garden within the park, cut by and inscribed by the late sculptor Ronald Cour with the closing lines from Fern Hill:
'Oh as I was young and easy
in the mercy of his means
Time held me green and dying
Though I sang in my chains like
the sea'.
Thomas's home in Laugharne, the Boathouse, is now a museum run by Carmarthenshire County Council. Thomas's writing shed is also preserved.
In 2004, the Dylan Thomas Prize was created in his honour, awarded to the best published writer in English under the age of 30. In 2005, the Dylan Thomas Screenplay Award was established. The prize, administered by the Dylan Thomas Centre, is awarded at the annual Swansea Bay Film Festival.
In 1982 a plaque was unveiled in Poets' Corner, Westminster Abbey. The plaque is also inscribed with the last two lines of 'Fern Hill'.
In 2014, the Royal Patron of The Dylan Thomas 100 Festival was Charles, Prince of Wales, who made a recording of 'Fern Hill' for the event.
In 2014, to celebrate the centenary of Thomas's birth, the British Council Wales undertook a year-long programme of cultural and educational works. Highlights included a touring replica of Thomas's work shed, Sir Peter Blake's exhibition of illustrations based on 'Under Milk Wood', and a 36-hour marathon of readings, which included Michael Sheen and Sir Ian McKellen performing Thomas's work.
Towamensing Trails, Pennsylvania named one of its streets, Thomas Lane, in Dylan's honour.
List of Works by Dylan Thomas
-- 'The Collected Poems of Dylan Thomas: The New Centenary Edition', edited and with Introduction by John Goodby. London: Weidenfeld & Nicolson, 2014.
-- 'The Notebook Poems 1930–34', edited by Ralph Maud. London: Dent, 1989.
-- 'Dylan Thomas: The Film Scripts', edited by John Ackerman. London: Dent 1995.
-- 'Dylan Thomas: Early Prose Writings', edited by Walford Davies. London: Dent 1971.
-- 'Collected Stories', edited by Walford Davies. London: Dent, 1983.
-- 'Under Milk Wood: A Play for Voices', edited by Walford Davies and Ralph Maud. London: Dent, 1995.
-- 'On The Air With Dylan Thomas: The Broadcasts', edited by Ralph Maud. New York: New Directions, 1991.
Correspondence
-- 'Dylan Thomas: The Collected Letters', edited by Paul Ferris (2017), 2 vols. London: Weidenfeld & Nicolson
Vol I: 1931–1939
Vol II: 1939–1953.
-- 'Letters to Vernon Watkins', edited by Vernon Watkins (1957). London: Dent.
Posthumous Film Adaptations
-- 2016: Dominion, written and directed by Steven Bernstein, examines the final hours of Dylan Thomas.
-- 2014: Set Fire to the Stars, with Thomas portrayed by Celyn Jones, and John Brinnin by Elijah Wood.
-- 2014: Under Milk Wood BBC, starring Charlotte Church, Tom Jones, Griff Rhys-Jones and Michael Sheen.
-- 2014: Interstellar. The poem is featured throughout the film as a recurring theme regarding the perseverance of humanity.
-- 2009: A Child's Christmas in Wales, BAFTA Best Short Film. Animation, with soundtrack in Welsh and English. Director: Dave Unwin. Extras include filmed comments from Aeronwy Thomas.
-- 2007: Dylan Thomas: A War Films Anthology (DDHE/IWM).
-- 1996: Independence Day. Before the attack, the President paraphrases Thomas's "Do not go Gentle Into That Good Night".
-- 1992: Rebecca's Daughters, starring Peter O'Toole and Joely Richardson.
-- 1987: A Child's Christmas in Wales, directed by Don McBrearty.
-- 1972: Under Milk Wood, starring Richard Burton, Elizabeth Taylor, and Peter O'Toole.
Opera Adaptation
-- 1973: Unter dem Milchwald, by German composer Walter Steffens on his own libretto using Erich Fried's translation of 'Under Milk Wood' into German, Hamburg State Opera. Also at the Staatstheater Kassel in 1977.
Final Thoughts From Dylan Thomas
"Somebody's boring me.
I think it's me."
"Do not go gentle into that good night,
Old age should burn and rave at close of day;
Rage, rage against the dying of the light."
"When one burns one's bridges,
what a very nice fire it makes."
"I think, that if I touched the earth,
It would crumble; It is so sad and
beautiful, so tremulously like a dream."
"An alcoholic is someone you don't like,
who drinks as much as you do."
"I hold a beast, an angel, and a madman in me,
and my enquiry is as to their working, and my
problem is their subjugation and victory, down
throw and upheaval, and my effort is their self-
expression."
"The only sea I saw was the seesaw sea
with you riding on it. Lie down, lie easy.
Let me shipwreck in your thighs."
"Why do men think you can pick love up
and re-light it like a candle? Women know
when love is over."
"Poetry is not the most important thing in life.
I'd much rather lie in a hot bath reading
Agatha Christie and sucking sweets."
"And now, gentlemen, like your manners,
I must leave you."
"My education was the liberty I had to read
indiscriminately and all the time, with my eyes
hanging out."
"I'm a freak user of words, not a poet."
"Our discreditable secret is that we don't
know anything at all, and our horrid inner
secret is that we don't care that we don't."
"It snowed last year too: I made a snowman
and my brother knocked it down and I knocked
my brother down and then we had tea."
"Though lovers be lost love shall not."
"Man’s wants remain unsatisfied till death.
Then, when his soul is naked, is he one
with the man in the wind, and the west moon,
with the harmonious thunder of the sun."
"And books which told me everything
about the wasp, except why."
"We are not wholly bad or good, who live
our lives under Milk Wood."
"Love is the last light spoken."
"... an ugly, lovely town ... crawling, sprawling ...
by the side of a long and splendid curving
shore. This sea-town was my world."
"I do not need any friends. I prefer enemies.
They are better company, and their feelings
towards you are always genuine."
"This poem has been called obscure. I refuse
to believe that it is obscurer than pity, violence,
or suffering. But being a poem, not a lifetime,
it is more compressed."
"One: I am a Welshman; two: I am a drunkard;
three: I am a lover of the human race, especially
of women."
"I believe in New Yorkers. Whether they've ever
questioned the dream in which they live, I wouldn't
know, because I won't ever dare ask that question."
"These poems, with all their crudities, doubts and
confusions, are written for the love of man and in
praise of God, and I'd be a damn fool if they weren't."
"Before you let the sun in, mind he wipes his shoes."
"Nothing grows in our garden, only washing.
And babies."
"Make gentle the life of this world."
"A worm tells summer better than the clock,
the slug's a living calendar of days; what shall
it tell me if a timeless insect says the world
wears away?"
"Time passes. Listen. Time passes. Come
closer now. Only you can hear the houses
sleeping in the streets in the slow deep salt
and silent black, bandaged night."
"Rhianon, he said, hold my hand, Rhianon.
She did not hear him, but stood over his bed
and fixed him with an unbroken sorrow. Hold
my hand, he said, and then: Why are you
putting the sheet over my face?"
"Come on up, boys - I'm dead."
"Life is a terrible thing, thank God."
“It is quite gratifying to feel guilty if you haven't done anything wrong: how noble! Whereas it is rather hard and certainly depressing to admit guilt and to repent.”
Hannah Arendt
"We will have to repent in this generation not merely for the hateful words and actions of the bad people but for the appalling silence of the good people."
"He who passively accepts evil is as much involved in it as he who helps to perpetrate it. He who accepts evil without protesting against it is really cooperating with it."
Martin Luther King, the author of the words quoted above, was as a thirty five year old in 1964, the youngest person in history to receive the Nobel Peace Prize. A year earlier, he had made his famous ‘I Have a Dream’ speech in Washington DC which has now been shown as truly prophetic. Four years later, he was assassinated. A man was convicted for this but it was widely believed that it was part of a conspiracy in which the FBI was also involved. Throughout his involvement with the civil rights movement, King had been receiving death threats, some of it allegedly emanating from the FBI itself. He had been a strident opponent of the Vietnam War and criticized the US Congress for the continuing to spend billions in the conduct of the war. "A nation", he declared, "that continues year after year to spend more money on military defence than on programmes of social uplift is approaching spiritual death". For this King was riled not only by the establishment but even by the mainstream media. The Life magazine called the speech "demagogic slander that sounded like a script for Radio Hanoi" and even the liberal Washington Post wrote that King had "diminished his usefulness to his cause, his country, his people." Later events however proved right the wisdom of King.
Take from:
JUST DO IT TRAILER
And the Lord saw the wickedness of man was great and he repented that he had made man on the earth. Rain, Forty-days and Fourty-nights of the stuff, and he left not a thing that walked alive.
Week 25 - Earth
Titian: Mary Magdalene Repenting
"A good rendering of Mary Magdalene was to contain three elements: the aesthetic, in the form of female beauty, the penitential, generally with a stark landscape, and the ecstatic. This painting is praised in the Musaeum for “the artist’s skill in maintaining proper modesty in such nudity”, and indeed the viewer’s eye is immediately attracted by the saint’s face enraptured in ecstasy." (From the Pinacoteca Ambrosiana website.)
The Pinacoteca Ambrosiana is home to the Portrait of a Musician -- the only Leonardo da Vinci panel painting still in Milan -- as well as the world-famous Codex Atlanticus of 1,119 folios of his designs, sketches, and notes. This small art museum near the Duomo in Milan also has paintings and sculptures by many further famous artists including Caravaggio, Titian, Botticelli, Veronese, Bramantino, and Brueghel but is small enough to appreciate in not much more than an hour. A further top attraction is Raphael's Cartoon for the School of Athens fresco.
Sorri. De repente beijei-o, excitado pelo seu calor, pela sensação de maciez e flexibilidade de sua pele quase humana. Deus, como eu odiava a brancura de meus dedos tocando-o, dedos que agora poderiam esmagá-lo sem esforço! Perguntei-me se ele sequer imaginava isso. Encarei-o idiotamente. Como ele me parecia perfeito, parado ali, esperando com tanta delicadeza e tanta paciência! E então, como um tolo, soltei:
Lestat: Você ainda me ama?
Ele sorriu; ah, era torturante ver seu rosto suavizar-se e ao mesmo tempo iluminar-se quando ele sorria!
Louis: Sim.
"Come, Come who or whatever you are
Should you be an unbeliever, a Magian or a pagan still come
Our lodge is not a lodge of despair
With hundred repentions unheeded you may be,still, come"
For Muslims and non-Muslims alike, the main reason to come to Konya is to visit the Mevlâna Museum, the former lodge of the whirling dervishes and home to the tomb of Celaleddin Rumi (later known as Mevlâna), who we have to thank for giving the world the whirling dervishes. This is one of the biggest pilgrimage centres in Turkey, and the building's fluted dome of turquoise tiles is one of Turkey's most distinctive sights.
For Muslims, this is a very holy place, and more than 1.5 million people visit it a year, most of them Turkish. You will see many people praying for Rumi's help. When entering, women should cover their head and no one should wear singlets or shorts.
After walking through a pretty garden you pass through the Dervişan Kapısı (Gate of the Dervishes) and enter a courtyard with an ablutions fountain in the centre.
At the entrance to the mausoleum, the Ottoman silver door bears the inscription, 'Those who enter here incomplete will come out perfect'. Put on the supplied plastic over-shoes before entering. Once inside the mausoleum, look out for the big bronze Nisan tası (April bowl) on the left. April rainwater, vital to the farmers of this region, is still considered sacred and was collected in this 13th-century bowl. The tip of Mevlâna's turban was dipped in the water and offered to those in need of healing. Also on the left are six sarcophagi belonging to Bahaeddin Veled's supporters who followed him from Afghanistan.
Continue through to the part of the room directly under the fluted dome. Here you can see Mevlâna's Tomb (the largest), flanked by that of his son Sultan Veled and those of other eminent dervishes. They are all covered in velvet shrouds heavy with gold embroidery, but those of Mevlâna and Veled bear huge turbans, symbols of spiritual authority; the number of wraps denotes the level of spiritual importance. Bahaeddin Veled's wooden tomb stands on one end, leading devotees to say Mevlâna was so holy that even his father stands to show respect. There are 66 sarcophagi on the platform, not all visible.
Mevlâna's tomb dates from Seljuk times. The mosque and semahane, the hall where whirling ceremonies were held, were added later by Ottoman sultans (Mehmet the Conqueror was a Mevlevi adherent and Süleyman the Magnificent made charitable donations to the order). Selim I, conqueror of Egypt, donated the Mamluk crystal lamps.
The semahane to the left of the sepulchral chamber contains exhibits such as the original copy of the Mathnawi, Mevlâna's cape and other clothing, a 9th-century gazelle-skin Christian manuscript and a copy of the Koran so tiny that its author went blind writing it. In the middle of the room is a display case holding a casket which contains strands of Mohammed's beard. The small mosque in front of the semahane is reserved for prayers but as you exit the building, look to the left of the mihrab for a seccade (prayer carpet) bearing a picture of the Kaaba at Mecca. Made in Iran of silk and wool, it's extremely fine, with some three million knots (144 per square centimetre).
The matbah (kitchen) of the lodge is in the southwest corner of the courtyard. It is decorated as it would have been in Mevlâna's day, with mannequins dressed as dervishes. Look out for the wooden practice board, used by novice dervishes to learn to whirl. The dervish cells (where the dervishes lived) run along the northern and western sides of the courtyard. Inside the cells are a host of ethnographic displays relating to dervish life. In particular, one room contains personal items belonging to Şems of Tabriz including his hat and a manuscript of the Mâkâlât, his most famous work.
The complex can get oppressively busy, and seeing any of the contents of the museum display cases can be a pushing and shoving, head-ducking affair. Come early on a weekday if you want to see all the items in peace. On the other hand, the atmosphere on busy days is almost addictive and more than makes up for not being able to properly examine the museum pieces.
Beside the museum is the Selimiye Camii.
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Repentance means a change of mentality
"Repent, for the kingdom of heaven is at hand!" Man, and even the best Christian, has a tendency to order himself inwardly in order to create a system. From a spiritual perspective this is death, because the system does not allow you to benefit spiritually. Repent means to overthrow the system, so that nothing remains standing; it means a change of mind, of vision, of thoughts, a change of our whole being. We need to leave behind our mentality of "belonging" to ourselves and live as we wish - in which case our only concern is how to maintain a false relationship with God - and we must return equally, honestly and truly to God. The kingdom of God will not come to our souls, nor will our souls enter the kingdom of God unless we repent. The point is that God's grace begins to flow into our souls. And this can happen within us through the most usual things. That is, only by saying our prayers: Our Father, Lord, have mercy, etc. However, we must continue to do, to insist on these family practices, until the springs of heaven open up. To begin with repentance means: I will get up in the morning and stand before God as if it were the first day of my life, but also as if it were the last. I will stand humbly, praying and trusting in myself with God, waiting for Him to have mercy on me. And, wonder, the time will come when our souls will open and we will experience true inner repentance and we will feel what it means to have communion with God.
* Symeon Kragiopoulos (Orthodox Archimandrite - † 2005
-¿Usted lee mucho?
-Bastante, me gusta muchísimo. No puedes limitarte a tener una idea somera del argumento de un libro leyendo simplemente la contracubierta, los fragmentos que encuentras cuando lo abres al azar o, aún peor, lo que dicen los periódicos o los críticos; o escuchando las vaguedades que quizá te haya contado un vendedor. Un libro es un momento especial en el que varios personajes cobran vida de repente; leyendo lo que piensan, lo que dicen, lo que sienten, lo que viven y sufren puedes entender si un escritor es bueno o no. Porque todas sus palabras forman parte de esos personajes a los que ha dado vida. Aunque sólo para el que los lee de verdad están realmente vivos.
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Después de 493569203455 años...he vuelto! xD esta foto la hice en vacaciones, creo recordar..y pff, últimamente tengo la inspiración a -52345 D: además este trimestre está siendo mortal elevado al infinito y tengo el estrés por los aires..u_u cambiando de tema, mis papis me han comprado un ordenador nuevo :3 ya era hora porque se me estropeó el antiguo el segundo domingo de semana santa y hasta hora sobrevivía con su portátil .. u_u y bueno, eso es todo hasta ahora xD espero que os guste la foto que es un poco penosa, pero NECESITABA subir algo xD
De repente intentó aprender la Ligereza, maravillosa virtud existencial que consiste en saber vivir el presente con plenitud serena…
Rosa Montero – La ridícula idea de no volver a verte
*clawing, grasping, vomiting over each other and turning blue by the second" from a written report by **SS Obersturmfuhrer und SS Reichsarzt Dr. Kurt Gerstein, also known by his peers as "Arschloch Kurt" was a Zyklon B specialist and extermination expert.
in his report, after his second gassing, he goes on: ""this time I brought my stopwatch,watching through the peephole, to my amazement from the 750 peaple in the chamber I recorded a living specimen,having turned greenish-blue, still moving after 25 minutes. /at that time we used obsolete diesel engines/
/SS Obersturmfuhrer und SS Reichsarzt Dr. Gerstein "Kuckloch Gerstein" auch "arschloch Kurt" war zur zeit Zyklon B Spezialist." War immer am Kuckloch!
After viewing his sister-in-law being gassed at a private gassing station,/ euthanasia/ decided to become involved in a "speedy and more efficient method of killing of undesirable human beings. In 1941 joined the SS as a "hygiene specialist" and after clearance was allowed to visit several extermination centers. His many critiques and written reports on how to improve the present system came to the attention of Himmler, who appointed Gerstein to head the newly created "SS Health Technology Institute", by june 1942 he developed the later adopted method of killing "undesirable" human beings by gassing"gassing" them with prussic acid /zyklonB/, insisting to be present at all gassings where prussic acid was used earned him the nickname: "Peep hole Kurt"/Kuckloch Gerstein/.By than SS Obersturmfuhrer Dr. Gerstein developed /by his own admission/ a conversion to Christianity. Wishing to correct the wrong he contacted the Catholic Nunciate in Berlin with intent to report the killings of Jews and repent for his sins.The Catholic authorities did nothing to prevent the further killings and the report went nowhere. It is believed in some circles that the information and his confession was reported to the Gestapo for soon after the war ended, Kurt was placed in confinement with several other SS man awaiting trial. He was found dead the following day hence never brought to justice. The story published in the 50's fascinated me, hence my desire to paint him. I did many portraits of him from photographs and exhibited two life size portraits of him at my "doctors of death" exhibit held at the University of Texas in the 70's.
I have shown his portrait at various other exhibits deleting his specialty. Interestingly was told what kindly eyes he had. Obviously i failed to portray the monster he was.
De repente el aire te asfixia y necesitas diferencias artificiales. El agujero se cierra y como si se tratara de un reloj de arena, cada minuto de tu vida sigue perfectamente la ley de la gravedad de Newton. Sientes que lo unico que puedes hacer es sobrevivir con resignación. Intentar ser feliz con las risas de los demás y repartir tus ultimos granos de arena, antes que caigan en el olvido.