The Aperitif Tales: When Words Take to the Air

Every evening, the Coulée Verte transforms into an open-air stage with the “Contes d’Apéro”. An hour of living literature without any artifice. 

Here, there’s no need for a red curtain or spotlights. Just a stage and a few chairs for the audience. Every evening at 7 PM, the kiosk of the Théâtre National de Nice on the Coulée Verte becomes a literary stage. One evening, one century: that’s the theme set for this summer. From the 16th to the 21st century, the texts span all genres: theatre, poetry, novels, philosophy…  and to accompany it all: a non-alcoholic aperitif offered to everyone.

The opening phrase: “It is better to do than to say” and the evening begins. No set, no costumes, just the voice. Victor Hugo, Alfred de Musset, Flaubert… Lucrèce Borgia, On ne badine pas avec l’amour, Correspondence. Each reading lasts about ten minutes and flows seamlessly.

“They are very good actors, they manage to bring the texts to life. It’s a real living reading”, says Didier, visiting from Marseille. A theater enthusiast, he is discovering the Contes d’Apéro for the first time. However, he observes one detail: “It’s a shame there are only gray hairs. Not a young person in the audience.” Sitting next to him, Nicole his aunt, adds “I am a regular. This is my second time this year. It’s friendly and original. I love coming here.”

Ending with poetry and song

After a poetic interlude with Rimbaud, Baudelaire and Victor Hugo, the evening ends with a song. Everyone hums Le Temps des cerises by Yves Montand, in a wonderful collective energy. And to close the evening, a little literary quiz on themes of clever quips. Who will find the author of these fine words?

The Contes d’Apéro continue until August 3rd every evening of the week at 7 PM. Each evening, a new century, a new atmosphere but always under the open sky and with heart.

Source: The Aperitif Tales: When Words Take to the Air – Nice Premium EN

Rimbaud: “No one’s serious at Seventeen”

"No one's serious at seventeen.
On beautiful nights when beer and lemonade
And loud, blinding cafés are the last thing you need
You stroll beneath green lindens on the promenade.

Lindens smell fine on fine June nights!
Sometimes the air is so sweet that you close your eyes;
The wind brings sounds, the town is near—
And carries scents of vineyards and beer". . ."
- Arthur Rimbaud (20 October 1854 – 10 November 1891)

Joyeux anniversaire! Read Whitman’s “Crossing Brooklyn Ferry” on the poet’s birthday

Crossing Brooklyn Ferry

“Walt Whitman, poète, philosophe et ‘rowdy.'” – La Revue Européenne (November 1, 1861)
 
 
1
Flood-tide below me! I see you face to face!
Clouds of the west—sun there half an hour high—I see you also face to face.
 
Crowds of men and women attired in the usual costumes, how curious you are to me!
On the ferry-boats the hundreds and hundreds that cross, returning home, are more curious to me than you suppose,
And you that shall cross from shore to shore years hence are more to me, and more in my meditations, than you might suppose.
 
2
The impalpable sustenance of me from all things at all hours of the day,
The simple, compact, well-join’d scheme, myself disintegrated, every one disintegrated yet part of the scheme,
The similitudes of the past and those of the future,
The glories strung like beads on my smallest sights and hearings, on the walk in the street and the passage over the river,
The current rushing so swiftly and swimming with me far away,
The others that are to follow me, the ties between me and them,
The certainty of others, the life, love, sight, hearing of others.
 
Others will enter the gates of the ferry and cross from shore to shore,
Others will watch the run of the flood-tide,
Others will see the shipping of Manhattan north and west, and the heights of Brooklyn to the south and east,
Others will see the islands large and small;
Fifty years hence, others will see them as they cross, the sun half an hour high,
A hundred years hence, or ever so many hundred years hence, others will see them,
Will enjoy the sunset, the pouring-in of the flood-tide, the falling-back to the sea of the ebb-tide.
 
3
It avails not, time nor place—distance avails not,
I am with you, you men and women of a generation, or ever so many generations hence,
Just as you feel when you look on the river and sky, so I felt,
Just as any of you is one of a living crowd, I was one of a crowd,
Just as you are refresh’d by the gladness of the river and the bright flow, I was refresh’d,
Just as you stand and lean on the rail, yet hurry with the swift current, I stood yet was hurried,
Just as you look on the numberless masts of ships and the thick-stemm’d pipes of steamboats, I look’d.
 
I too many and many a time cross’d the river of old,
Watched the Twelfth-month sea-gulls, saw them high in the air floating with motionless wings, oscillating their bodies,
Saw how the glistening yellow lit up parts of their bodies and left the rest in strong shadow,
Saw the slow-wheeling circles and the gradual edging toward the south,
Saw the reflection of the summer sky in the water,
Had my eyes dazzled by the shimmering track of beams,
Look’d at the fine centrifugal spokes of light round the shape of my head in the sunlit water,
Look’d on the haze on the hills southward and south-westward,
Look’d on the vapor as it flew in fleeces tinged with violet,
Look’d toward the lower bay to notice the vessels arriving,
Saw their approach, saw aboard those that were near me,
Saw the white sails of schooners and sloops, saw the ships at anchor,
The sailors at work in the rigging or out astride the spars,
The round masts, the swinging motion of the hulls, the slender serpentine pennants,
The large and small steamers in motion, the pilots in their pilot-houses,
The white wake left by the passage, the quick tremulous whirl of the wheels,
The flags of all nations, the falling of them at sunset,
The scallop-edged waves in the twilight, the ladled cups, the frolicsome crests and glistening,
The stretch afar growing dimmer and dimmer, the gray walls of the granite storehouses by the docks,
On the river the shadowy group, the big steam-tug closely flank’d on each side by the barges, the hay-boat, the belated lighter,
On the neighboring shore the fires from the foundry chimneys burning high and glaringly into the night,
Casting their flicker of black contrasted with wild red and yellow light over the tops of houses, and down into the clefts of streets.
 
4
These and all else were to me the same as they are to you,
I loved well those cities, loved well the stately and rapid river,
The men and women I saw were all near to me,
Others the same—others who look back on me because I look’d forward to them,
(The time will come, though I stop here to-day and to-night.)
 
5
What is it then between us?
What is the count of the scores or hundreds of years between us?
 
Whatever it is, it avails not—distance avails not, and place avails not,
I too lived, Brooklyn of ample hills was mine,
I too walk’d the streets of Manhattan island, and bathed in the waters around it,
I too felt the curious abrupt questionings stir within me,
In the day among crowds of people sometimes they came upon me,
In my walks home late at night or as I lay in my bed they came upon me,
I too had been struck from the float forever held in solution,
I too had receiv’d identity by my body,
That I was I knew was of my body, and what I should be I knew I should be of my body.
 
6
It is not upon you alone the dark patches fall,
The dark threw its patches down upon me also,
The best I had done seem’d to me blank and suspicious,
My great thoughts as I supposed them, were they not in reality meagre?
Nor is it you alone who know what it is to be evil,
I am he who knew what it was to be evil,
I too knitted the old knot of contrariety,
Blabb’d, blush’d, resented, lied, stole, grudg’d,
Had guile, anger, lust, hot wishes I dared not speak,
Was wayward, vain, greedy, shallow, sly, cowardly, malignant,
The wolf, the snake, the hog, not wanting in me,
The cheating look, the frivolous word, the adulterous wish, not wanting,
Refusals, hates, postponements, meanness, laziness, none of these wanting,
Was one with the rest, the days and haps of the rest,
Was call’d by my nighest name by clear loud voices of young men as they saw me approaching or passing,
Felt their arms on my neck as I stood, or the negligent leaning of their flesh against me as I sat,
Saw many I loved in the street or ferry-boat or public assembly, yet never told them a word,
Lived the same life with the rest, the same old laughing, gnawing, sleeping,
 
Play’d the part that still looks back on the actor or actress,
The same old role, the role that is what we make it, as great as we like,
Or as small as we like, or both great and small.
 
7
Closer yet I approach you,
What thought you have of me now, I had as much of you—I laid in my stores in advance,
I consider’d long and seriously of you before you were born.
 
Who was to know what should come home to me?
Who knows but I am enjoying this?
Who knows, for all the distance, but I am as good as looking at you now, for all you cannot see me?
 
8
Ah, what can ever be more stately and admirable to me than mast-hemm’d Manhattan?
River and sunset and scallop-edg’d waves of flood-tide?
The sea-gulls oscillating their bodies, the hay-boat in the twilight, and the belated lighter?
 
What gods can exceed these that clasp me by the hand, and with voices I love call me promptly and loudly by my nighest name as I approach?
What is more subtle than this which ties me to the woman or man that looks in my face?
Which fuses me into you now, and pours my meaning into you?
 
We understand then do we not?
What I promis’d without mentioning it, have you not accepted?
What the study could not teach—what the preaching could not accomplish is accomplish’d, is it not?
 
9
Flow on, river! flow with the flood-tide, and ebb with the ebb-tide!
Frolic on, crested and scallop-edg’d waves!
Gorgeous clouds of the sunset! drench with your splendor me, or the men and women generations after me!
Cross from shore to shore, countless crowds of passengers!
Stand up, tall masts of Mannahatta! stand up, beautiful hills of Brooklyn!
Throb, baffled and curious brain! throw out questions and answers!
Suspend here and everywhere, eternal float of solution!
Gaze, loving and thirsting eyes, in the house or street or public assembly!
 
Sound out, voices of young men! loudly and musically call me by my nighest name!
Live, old life! play the part that looks back on the actor or actress!
Play the old role, the role that is great or small according as one makes it!
Consider, you who peruse me, whether I may not in unknown ways be looking upon you;
Be firm, rail over the river, to support those who lean idly, yet haste with the hasting current;
Fly on, sea-birds! fly sideways, or wheel in large circles high in the air;
Receive the summer sky, you water, and faithfully hold it till all downcast eyes have time to take it from you!
Diverge, fine spokes of light, from the shape of my head, or any one’s head, in the sunlit water!
Come on, ships from the lower bay! pass up or down, white-sail’d schooners, sloops, lighters!
Flaunt away, flags of all nations! be duly lower’d at sunset!
Burn high your fires, foundry chimneys! cast black shadows at nightfall! cast red and yellow light over the tops of the houses!
 
Appearances, now or henceforth, indicate what you are,
You necessary film, continue to envelop the soul,
About my body for me, and your body for you, be hung out divinest aromas,
Thrive, cities—bring your freight, bring your shows, ample and sufficient rivers,
Expand, being than which none else is perhaps more spiritual,
Keep your places, objects than which none else is more lasting.
 
You have waited, you always wait, you dumb, beautiful ministers,
We receive you with free sense at last, and are insatiate henceforward,
Not you any more shall be able to foil us, or withhold yourselves from us,
We use you, and do not cast you aside—we plant you permanently within us,
We fathom you not—we love you—there is perfection in you also,
You furnish your parts toward eternity,
Great or small, you furnish your parts toward the soul.

Source: Crossing Brooklyn Ferry | The Poetry Foundation

Let This Darkness Be a Bell Tower: Rilke’s Timeless Spell for Living Through Difficult Times

“What is it like, such intensity of pain?”

Let This Darkness Be a Bell Tower: Rilke’s Timeless Spell for Living Through Difficult Times

There are times in life when the firmament of our being seems to collapse, taking all the light with it, swallowing all color and sound into a silent scream of darkness. It rarely looks that way from the inside, but these are always times of profound transformation and recalibration — the darkness is not terminal but primordial; in it, a new self is being born, not with a Big Bang but with a whisper. Our task, then, is only to listen. What we hear becomes new light.

A century ago, Rainer Maria Rilke (December 4, 1875–December 29, 1926) extended a timeless invitation to listening for the light in his poem “Let This Darkness Be a Bell Tower,” translated by Joanna Macy and Anita Barrows in their altogether indispensable book In Praise of Mortality: Selections from Rainer Maria Rilke’s Duino Elegies and Sonnets to Orpheus (public library).

I read it here accompanied by another patron saint of turning darkness into light — Bach, and his Cello Suite No. 5 in C Minor, performed by Colin Carr:

LET THIS DARKNESS BE A BELL TOWER
by Rainer Maria Rilke

Quiet friend who has come so far,

feel how your breathing makes more space around you.
Let this darkness be a bell tower
and you the bell. As you ring,

what batters you becomes your strength.
Move back and forth into the change.
What is it like, such intensity of pain?
If the drink is bitter, turn yourself to wine.

In this uncontainable night,
be the mystery at the crossroads of your senses,
the meaning discovered there.

And if the world has ceased to hear you,
say to the silent earth: I flow.
To the rushing water, speak: I am.

Complement with the great Buddhist teacher Pema Chödrön on transformation through dark times, Emily Dickinson’s darkness-inspired ode to resilience, and Rebecca Solnit on hope in the dark, then revisit Rilke on the relationship between solitude, love, and creativitythe lonely patience of creative work, and the difficult art of giving space in love.

 

Source: Let This Darkness Be a Bell Tower: Rilke’s Timeless Spell for Living Through Difficult Times – The Marginalian

Victor Hugo à gros traits

From September 13, 2018 to January 6, 2019, the Maison Victor Hugo presents an exhibition an exhibition around the public image of Victor Hugo through the style of caricature. The poet’s fame and political commitment made him a favorite subject of the caricaturists of his time who often sketched him rather roughly and sometimes even ferociously. Among these renowned designers, it will be possible to find prestigious signatures such as Daumier, Doré, Cham, Gill, Lepetit, Nadar  [ … ]

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