Bobok ‘Little Bean’ (1873) – Fyodor Dostoyevsky

Then how is it that I smell a stench if I don’t have a sense of smell?’

‘That’s ..he-he…Well, that’s where our philosopher gets a bit hazy. It was precisely in regard to the sense of smell that he observed that the stench that is smelled, so to speak, is a moral stench! He-he! The stench coming from our soul, as it were, so that in these two or three months one has time to look back…and that this is, so to speak, the final mercy…Only it seems to me, Baron, that this is all mystical gibberish, which is quite excusable given his circumstances…’

– From Dostoyevsky’s ‘Bobok’

The most recent Wednesday literature piece featured here was an extract from Dostoevsky’s novella – White Nights written early in his career 1848. Today’s extract is from a short story called BobokLittle Bean‘ appended by Penguin Classics to the White Nights novella as seen above.

If you want to enjoy this witty and highly intriguing story and encounter the surprises as they unfold then I recommend you go straight-ahead to the excerpts at the end of the following plot summary. (Don’t say, I didn’t warn you). I have taken extracts from various parts of the story, but I hope it can be understood as if it were an uninterrupted connection in the relative sequence of events.

Most of the following information is taken from the Reference – Wikipedia – Bobok:

Bobok first appeared in 1873 in his self-published Diary of a Writer. This read consists largely of a dialogue between recently deceased occupants of graves in a cemetery, most of whom are fully conscious and retain all the features of their living personalities. The dialogue is overheard by a troubled writer who has lain down near the graves.

The title “Bobok” refers to a nonsensical utterance repeatedly made by one of the cemetery’s residents, an almost completely decomposed corpse who is otherwise silent. The writer also reports a kind of auditory hallucination of the word prior to his hearing of the dialogue. The sound suggests “little bean” in Russian, but in the context of the story is taken to be synonymous with gibberish.

The philosopher and literary critic Mikhail Bakhtin regarded Bobok as one of the finest works in the literary tradition of Menippean satire, and argues that it encapsulates many of the thematic concerns of Dostoevsky’s major novels.

We’ll just get right into it shall we? I hope you find find this reading well worth your while. I know I certainly did!

Ivan Ivanovich (narrator) – ..Something strange is happening to me. And my character is changing, and my head aches. I’m beginning to see and hear certain strange things. Not exactly voices, but it’s as if someone were right beside me, saying ‘Bobok, bobok, bobok!’

….I began with the Moscow exhibition and ended with the subject of astonishment in general. Here’s what I came up with about ‘astonishment’.
‘To be astonished about everything, of course, is silly, while to be astonished at nothing is much more handsome, and it’s not like that in reality. In my opinion , it’s much sillier to be astonished at nothing than to be astonished at everything. And what’s more: to be astonished at nothing is almost the same thing as to respect nothing. And a silly man is not capable of showing respect.’


…I started daydreaming. I don’t like reading the inscriptions on gravestones; it’s forever the same thing. A half-eaten sandwich lay on a the gravestone next to me. It was silly and out of place. I threw it on the ground, since it wasn’t bread but just a sandwich. However, dropping bread crumbs isn’t a sin, it seems; it’s when it’s on the floor that it’s a sin. I should look it up in Suvorin’s calendar.
One night suppose that I’d been sitting there for a long time, even too long; that is I even lay down on a long stone in the shape of a marble coffin. And how did it happen that I began to hear various things? At first I didnt pay any attention and regarded it with disdain. However, the conversation continued. I listened – the sounds were muffled, as though they had pillows covering their mouths; and yet they were intelligible and very near. I roused myself, sat up and began to listen carefully.
‘Your Excellency, this is simply impossible, sir. You declared hearts, I’m following your lead and suddenly you have the seven of diamonds. We should have a dummy and the cards must be dealt face down.’

‘Well, you won’t find a dummy here.’
What arrogant words, however! Both strange and unexpected. One voice was so weighty and dignified, while the other seemed softly honeyed; I wouldn’t have believed it if I hadn’t heard it myself. I didn’t think I was at the prayer service. And yet how was it that they’re playing preference here and who was this general? That it was coming from under the gravestone there could be no doubt. I bent down and read the incription on the tombstone.

‘Here lies the body of Major General Pervoyedov..Knight of such and such orders.’ Hm. ‘Passed away in August of the year ….fifty-seven…Rest, dear ashes, until the joyful mourn!’
Hm, the devil, he really is a general! There wasn’t a tombstone yet on the other grave, the one the ingratiating voice came from; there was only a stone slab; must be a newcomer. Judging by his voice he was a court councillor.

Klinevich (a recently deceased libertine-nobleman who characterizes himself as a “scoundrel of pseudo-high society”) – We’ll quickly arrange things for the better here. The main thing is to spend the remaining time enjoyably; but how much time?

….Tell me, first of all (I’ve been wondering about this since yesterday), how is it that we can talk here? After all, we’re dead, and yet we can talk; and it seems that we can move as well, and yet we don’t talk and we don’t move. What’s the secret?’
…’If you wish, Baron, Platon Nikolayevich could explain this to you better than I.’
‘Who’s Platon Nikolayevich? Don’t shilly-shally, get to the point.’
‘Platon Nikolayevich is our local, homespun philosopher, scientist and master of arts. He’s put out several little books on philosophy, but for the past three months now he keeps falling sound asleep, so much so that it’s impossible to stir him. Once a week he mutters a few words beside the point.’
‘Get to the point, get to the point!…’

He explains it all by the simplest fact, namely, that up above, when we were still alive, we mistakenly deemed death there was death. The body comes to life here again, as it were, the residue of life is concentrated, but only in the consciousness. I don’t know how to say it – it’s as if life continues by inertia. Everything is concentrated, in his opinion, somewhere in the consciousness and continues for another two or three months…sometimes even half a year…There’s one fellow here, for example, who has almost completely decomposed, but once every six weeks he’ll still mutters a word, meaningless, of course, about some Bobok: ‘Bobok, bobok‘. But that means that an inconspicuous spark of life still glimmers inside him as well….’
‘Rather stupid . But then how is it that I smell a stench if i don’t have a sense of smell?’

‘That’s ..he-he…Well, that’s where our philosopher gets a bit hazy. it was precisely in regard to the sense of smell that he observed that the stench that is smelled, so to speak, is a moral stench! He-he! The stench coming from our soul, as it were, so that in these two or three months one has time to look back…and that this is, so to speak, the final mercy…Only it seems to me, Baron, that this is all mystical gibberish, which is quite excusable given his circumstances…’
…’Enough, and the rest of it, I’m sure, is all nonsense. The main thing is that there’s two or three months of life and in the end – bobok. I propose that we all spend these two months as pleasantly as possible and to that end we should all arrange things on a different footing. Ladies and Gentlemen! I propose that we not be ashamed of anything!’

‘Meanwhile I don’t want there to be anymore lying. That’s all I want, because that’s the main thing. On earth it’s impossible to live and not lie, for life and lying are synonymous; well, but here for the fun of it we won’t lie. The devil take it, the grave does mean something after all! We’ll all tell our stories out loud and we won’t be ashamed of anything now. I’ll tell about myself first. I’m a voluptuary, you know. Up there all this was bound together with rotten ropes. Down with rope, and let’s live these two months in the most shameless truth! Let’s strip ourselves bare and be naked!’
….’I so terribly, terribly want to be naked!’ Avdotya Ignatyevna squealed.

Ivan Ivanovich (narrator) – And that’s when I suddenly sneezed. It happened without warning and unintentionally, but the effect was startling: everything fell as silent as the grave, and it all vanished like a dream. A truly sepulchral silence ensued. I don’t think that they had become ashamed on my account: after all, they’d resolved not to be ashamed of anything! I wait for about five minutes and – not a word, not a sound. Nor can one suppose that they feared that I would inform on them to the police; for what could the police do here? I can only conclude that they must after all have some secret, unknown to us mortals, which they carefully conceal from every mortal.
‘Well, my dears,’ I thought, ‘I’ll come visit you again’, and with that I left the cemetery’.

Depravity is such a place, the depravity of the final hopes, the depravity of the flabby and rotting corpses and – not sparing even the final moments of consciousness! They were granted, they were made a present of these moments and…But most of all, most of all – in such a place! No, this I will not tolerate…
I’ll spend some time in other classes of graves here, I’ll listen everywhere. That’s just what needs to be done, to listen everywhere and not just in one part, in order to come to an understanding. Perhaps I’ll stumble on to something comforting.

Tagged with: ,
Posted in Reading

Fare Thee Well (Dink’s Song) (2013) – Oscar Isaac & Marcus Mumford

I procured the soundtrack of the Coen Brothers’ Inside Llewyn Davis soon after it was released. Today’s song Fare Thee Well (Dink’s Song) is my joint favourite song from the movie along with Bob Dylan’s Farewell which closes the movie and will be featured here this Thursday. The scene in the movie where this song appears (see at the end of this post) Fare Thee Well (Dink’s Song) is spectacular and about the best thing I have seen from the Coen Brothers.

I wrote an article back in 2014 of Inside Llewyn Davis including distilling the meaning of the cats in the movie. The first cat which appears in the movie tries to escape Llewyn Davis in the scene below. The Coen Brothers mentioned how difficult it was filming a cat onset and inside a train carriage full of people. The cat’s name and identity is not mentioned. In folklore and mythology, to control anything of magic, you must know its true name. Cats in particular have universally been portrayed as nearly impossible to control.

-‘Could you just tell him.. Don’t worry, Llewyn has the Cat’
– ‘Llewyn is the cat,’
– ‘No, Llewyn has the cat’

Dink’s song is an American folk song which has been covered by many folk revival musicians, including Pete Seeger, Bob Dylan, Dave Van Ronk, and Cisco Houston as well as more recent musicians like Jeff Buckley. The song tells the story of a woman deserted by her lover when she needs him the most.
According to wikipedia: ‘The first historical record of the song was by ethnomusicologist John Lomax in 1909, who recorded it as sung by an African American woman called Dink, as she washed her husband’s clothes in a tent camp of migratory levee-builders on the bank of the Brazos River, a few miles from Houston, Texas‘.

Ef I had wings like Noah’s dove,
I’d fly up da river to the man I love.
Fare thee well, O Honey, fare thee well.

Ise got a man, an’ he’s long and tall,
Moves his body like a cannonball.
Fare thee well, O Honey, fare thee well.

Tagged with: ,
Posted in Music

Falling Slowly (2006) – Glen Hansard, Markéta Irglová

One of the iconic scenes in Once

This song won the Academy award (2008) for best original song seen in the movie ‘Once‘. I reviewed Once in Friday’s Finest September 2019. I wrote, ‘It’s very serendipitous how I see Bob Dylan in Sydney 2001 the night before he received his Oscar for Things Have Changed and then saw Glen Hansard in 2007 open for Bob in Melbourne and soon thereafter, he wins an Oscar for Falling Slowly in Once. What are the chances of that?
You can find more information about the movie at that page.

Glen Hansard and Markéta Irglová are about the most unlikely duo you could think of achieving chemistry in a movie, let alone winning an Oscar together. The song was composed while Once was already in production. As seen below, in the movie, they play the song in the Waltons Music shop across from the George’s Street Arcade in Dublin. Irglova said in her Academy Award acceptance speech: “This song was written from a perspective of hope, and hope at the end of the day connects us all, no matter how different we are…

Falling Slowly as a stand-alone piece is very nice, but it works much better as seen in the movie in part with the rest. I haven’t seen Once for a long time, but I remember having vivid dreams about it soon after I saw it. It’s a very special indie movie for mine and has ‘the feel’ of a documentary sporting a scrappy, un-embellished naturalism. It’s adorable and hugely underrated. The movie has since been made into award winning musical.

Tagged with: , , ,
Posted in Music

Falling off the Face of the Earth (2005) – Neil Young

Today’s article inaugurates the first song starting with ‘F’ in the library:

I watched so many times the Heart of Gold documentary directed by Jonathan Demme (Silence of the Lambs) about Neil Young’s Prairie Wind concert at the famous Ryman Auditorium also known as Grand Ole Opry House in Nashville. This documentary showcased Neil Young’s comeback performance after brain surgery. By my meagre estimation Neil ‘hit a homer‘ here. The whole concert had me enraptured.

The Prairie Wind concert is a great introduction to Neil Young although it’s more a sombre, melancholic and retrospective repertoire of what he does. It is a reflection of Neil’s childhood and his dedication to family. I immediately knew after I first heard it, this guy is the real deal. I had heard his amazing closing of the Philadelphia movie which is one of the most moving music sequences I’ve ever heard in a movie and also his captivating performance of Helpless with the Band on the Last Waltz.

I really like listening to Neil’s high-pitch vocals in Falling off the Face of the Earth. This song is Neil thanking his father for everything he has done to support his life and his career. He is saying his world will never be the same without his father being here. The texture, the pure ache, adds a timeless feel to the material.

I just want to thank you
For all of the things you’ve done
I’m thinking about you
I just want to send my love
I send my best to you
That’s my message of love
For all the things you did
I can never thank you enough

More music will come from Neil especially Prairie Wind.

Tagged with: , , ,
Posted in Music

Queen of the Night Aria (The Magic Flute K620) 1791 – Wolfgang Amadeus Mozart


Schinkel’s 1815 stage set design for Mozart’s “Queen of the Night” scene from The Magic Flute was famous.

The above scene in the film Amadeus (1984) is the subject of today’s musical piece Die Zaberflote (The Magic Flute K620) Aria No.14. The work premiered on 30 September 1791 just 2 months before the composer’s death hence its placement in the latter portion of the film. 1790/91 were hard years on Mozart as he was worried about money and Constanze’s health and struggling with the feeling of not being appreciated.

According to Mozart.com: An old friend, the actor, singer and poet Emanuel Schikaneder, made an appearance. He was looking for a new play and knew exactly what the audience wanted: a play about magic, all the rage in Vienna! Schikaneder wrote the libretto and Mozart composed. “Die Zauberflöte”, “The Magic Flute”, was to become one of the most popular and most performed operas in history.

The Plot in a nutshell of the Magic Flute: Tamino, a prince lost in a foreign land, is being pursued by an enormous monster. He is rescued by three mysterious ladies, who kill the monster and give Tamino a picture of Pamina, daughter of the Queen of the Night, with whom he falls instantly in love.

The Opera paints a vivid picture of each character, and the music reflects the skills and abilities of the original performers back in 1791.

The rustic character of Papageno has folksong-like arias built of simple melodies, whilst Sarastro’s music is deep, stately and almost hymn-like, reflecting his character as a spiritual leader. The lyrical arias of Tamino are more romantic in style (as befitting a prince) and look forward to the Italian bel canto era, while the music for the Armed Men harks back to the more regimented baroque era with its use of fugues. Most famously, the Queen of the Night’s Act II aria which is today’s piece.
For everything you need to know about Mozart’s The Magic Flute you can find in one place – right here at Opera North!

Without further to do, Ladies and Gents the scene of the Queen of the Night from my beloved Amadeus:

Tagged with: , ,
Posted in Music

Eyes to the Wind (2014) – The War on Drugs

Three songs will appear here from the superb album – Lost in the Dream by The War on Drugs starting with today’s track Eyes to the Wind. This is an epic Americana folk-rock song and my favourite from the record. The production and meshing of sounds; the momentum it builds; and the lyrics conjure in my mind atmospheric Americana images of breezy air, terrain, culture and music history – all intertwined. It’s just an amazing musical accomplishment by this group and definitely a Desert Island keeper.

I was sailin’ down here on the wind
When I met you and I fell away again
Like a train in reverse down a dark road
Carrying the whole load just rattling the whole way home

Have you fixed your eyes to the wind?
Will you let it pull you in again on the way back in?
I’m a bit run down here at the moment
Let me think about it, babe
Let me hold you

The recording of this album Lost in The Dream took over 2 years, but this song was written by frontman Granduciel apparently in four minutes in his kitchen. According to wikipedia: Musically, the record was inspired by 1980s rock, as well as Americana, with influences including Bruce Springsteen, Tom Petty, Bob Dylan and Neil Young & Crazy Horse.
The album appeared in a number of best album lists in 2014 and received universal acclaim. Based on 139 year-end top ten lists compiled by Metacritic, Lost in the Dream was the most critically acclaimed album of 2014.

Amy Klein wrote in her article at talkhouse.com: My favourite song on the album, “Eyes to the Wind,” takes place in daylight, though. It’s the turning point, the moment on the album where the clouds lift, the atmosphere drops away and Granduciel speaks to us at his most direct. The vocals are perfectly clear, with no separation between intent and effect; the production cedes control to the songwriting, which is not literal but wide open — airy, free. Granduciel’s guitar recedes, making room for a pristine piano way up high in the mix. The part is simple but memorable; there are no extraneous notes. Only at the end does Granduciel allow himself a little solo, which quickly gives way to a sincere deployment of saxophone. It’s an exercise in maturity and restraint — at the end of ambition, a pale blue summer sky.

Tagged with: , ,
Posted in Music

Bobby Fischer Against The World (2011) – Liz Garbus (Friday’s Finest)

Here at Friday’s Finest I usually present movies, but today I would like to delve into one of, if not my favourite documentary – Bobby Fischer Against The World. I revisit it regularly, like I did just the other night and find it captivating and a rich learning experience each time. This is not the first time I have mentioned this film. I wrote an article on one of my most prized books in my small and modest collection (I’m not a book hoarder) – Bobby Fischer – My 60 Memorable Games (First printing 1969).

I wrote: ‘More than any other chess player I found Bobby Fisher the most compelling, not only because he revolutionized the game and won the USA it’s only world chess championship during the height of the cold war, but because his personal life and psychological state were so perplexing‘.

Bobby Fischer Against The World contains so much rare film archive of Bobby and interviews with his closest friends, associates and chess experts whom explore Bobby Fischer’s family and upbringing, his remarkable chess feats (including a breakdown of his World Championship win against Russian Boris Spassky), and eventually to his life as a fugitive on the run.

Each time I watch it, I am staggered by how he coped with the amount of political and peer pressure representing the US against the Russians during the Cold War. It’s one of the greatest achievements ever accomplished.. full-stop. It’s marvellous that Liz Garbus was able to capture all of this to make one feel like they were there at the time seeing this all play out.

Liz Garbus began her work on the film after Fischer’s death in 2008. She said of Fischer: “It’s hard to imagine that in 1972, all eyes were on a chess match, but it does, in fact, seem to be the case. Bobby Fischer was this self-taught Brooklyn boy who took the New York chess scene and then the national chess scene by storm. And the Russians had been dominating the sport for decades. … So for an American to have a real chance at beating that [Soviet] machine, this was big stuff. … The symbolism of the match was enormous.

Recalling the day Bobby Fischer died on January 17, 2008 Psychiatrist Dr Skulason stated, ‘Once, towards dawn, he woke up and said his feet ached and asked if I could massage them. I tried my best, and it was then that he said his last words to me and, as far as I know, to anybody. Responding to my hands on his feet he said, with a terrible gentleness, “Nothing is as healing as the human touch.”

One of the poignant You tube comments below (which features the entire documentary) I’d like to use to close this article:

His youth and upbringing were marred by a lack of love, direction, and identity. Combine these with genius and a extraordinary proficiency at applying that genius to chess and you have a recipe for pain, rejection, foolishness, and antagonism. Never underestimate the power of a good mother and father.

References:
1. Bobby Fischer Against the World – wikipedia
2. The End Game of Bobby Fischer – The Guardian

Tagged with: , ,
Posted in Movies and TV, Sport and Adventure

Everywhere (1987)- Fleetwood Mac

I remember when I first heard this song. I was in Year 10 at high school and about to see a theatre production near Sydney which my friend Gary was starring in. Oh that reminds me.. you can find a wicked cartoon he drew of my family here. Talented so and so…
Anyhow as we waited for the curtain to open, they played the intro to today’s song – Everywhere on loop. The teasing bass-line intro and its interludes are my preferred parts of this Fleetwood Mac track which sold 1.8 million copies in the UK.

Can you hear me calling
Out your name?

You know that I’m falling
And I don’t know what to say
I’ll speak a little louder
I’ll even shout
You know that I’m proud
And I can’t get the words out

I am not familiar with a lot of Fleetwood Mac‘s discography, but I like the little I have heard. Everywhere was written by Christine McVie, who also performed lead vocals. It was the fourth single from their record Tango in the Night.

Fleetwood Mac was formed in London way back in 1967. Original band member Peter Green named Fleetwood Mac as a combination of the surnames of two other members, Mick Fleetwood and John McVie. They were initially a British blues band and had some hit singles. It wasn’t until 1974 that Lindsay Buckingham and Stevie Nicks were recruited after being seen playing folk-rock in a studio in Los Angeles. Interesting Buckingham only agreed to join the band if Stevie Nicks could also join.

The addition of those two lasses gave the group a more pop-rock sound and the rest as they say is history. Their 1975 self-titled album, Fleetwood Mac, reached No. 1 in the United States and Rumours (1977), Fleetwood Macs second album after the arrival of Buckingham and Nicks, produced four U.S. Top 10 singles.

References:
1. Everywhere (Fleetwood Mac) – Wikipedia
2. Fleetwood Mac – Wikipedia

Tagged with: , ,
Posted in Music

White Nights (1848) – Fyodor Dostoevsky

‘My God!
A Whole minute
of bliss! Is that
really so little for the whole of
a man’s life?’

I’m currently reading Fyodor Dostoevsky’s short story – White Nights written early in his career and published in 1848. Dostoevsky has featured prominently here at Wednesday’s literature quotes. While reading White Nights I was astounded by his level of maturity and perception as a writer at just 27 years of age. Some have remarked that it’s a great introduction to Dostoevsky and if you like White Nights you will like Fyodor, and if you don’t you won’t.

Just one year after this novella was published, Dostoevsky was sentenced to death by firing squad on the 23rd of December 1849. At the very moment before the point of execution a cart delivered a letter from the Tsar commuting the sentence. Dostoevsky later alluded to his experience of what he believed to be the last moments of his life in his 1868-1869 novel, The Idiot, where the main character tells the harrowing story of an execution by guillotine that he recently witnessed in France.

Goodreads story outline (White Nights):
Set in St. Petersburg, it is the story of a young man fighting his inner restlessness. A light and tender narrative, it delves into the torment and guilt of unrequited love. Both protagonists suffer from a deep sense of alienation that initially brings them together. A blend of romanticism and realism, the story appeals gently to the senses and feelings.

Just half way through the book his powerful prose has caused me a lot of profound introspection. The excerpt below is one such example I can relate to. It was like holding a mirror up to my soul.

To give you some background to the excerpt: the narrator is a young man living in Saint Petersburg who suffers from loneliness. He gets to know and falls in love with a young woman called Nastenka. On the second night of their liaison, the young man opens up to Nastenka about his need for companionship and remarkable observations of life.

So if you have the time why not turn on the kettle and get tucked in:

“Oh, Nastenka, Nastenka! Do you know how far you have reconciled me to myself? Do you know now that I shall not think so ill of myself, as I have at some moments? Do you know that, maybe, I shall leave off grieving over the crime and sin of my life? for such a life is a crime and a sin. And do not imagine that I have been exaggerating anything—for goodness’ sake don’t think that, Nastenka: for at times such misery comes over me, such misery…. Because it begins to seem to me at such times that I am incapable of beginning a life in real life, because it has seemed to me that I have lost all touch, all instinct for the actual, the real; because at last I have cursed myself; because after my fantastic nights I have moments of returning sobriety, which are awful! Meanwhile, you hear the whirl and roar of the crowd in the vortex of life around you; you hear, you see, men living in reality; you see that life for them is not forbidden, that their life does not float away like a dream, like a vision; that their life is being eternally renewed, eternally youthful, and not one hour of it is the same as another; while fancy is so spiritless, monotonous to vulgarity and easily scared, the slave of shadows, of the idea, the slave of the first cloud that shrouds the sun, and overcasts with depression the true Petersburg heart so devoted to the sun—and what is fancy in depression! One feels that this inexhaustible fancy is weary at last and worn out with continual exercise, because one is growing into manhood, outgrowing one’s old ideals: they are being shattered into fragments, into dust; if there is no other life one must build one up from the fragments. And meanwhile the soul longs and craves for something else! And in vain the dreamer rakes over his old dreams, as though seeking a spark among the embers, to fan them into flame, to warm his chilled heart by the rekindled fire, and to rouse up in it again all that was so sweet, that touched his heart, that set his blood boiling, drew tears from his eyes, and so luxuriously deceived him! Do you know, Nastenka, the point I have reached? Do you know that I am forced now to celebrate the anniversary of my own sensations, the anniversary of that which was once so sweet, which never existed in reality—for this anniversary is kept in memory of those same foolish, shadowy dreams—and to do this because those foolish dreams are no more, because I have nothing to earn them with; you know even dreams do not come for nothing! Do you know that I love now to recall and visit at certain dates the places where I was once happy in my own way? I love to build up my present in harmony with the irrevocable past, and I often wander like a shadow, aimless, sad and dejected, about the streets and crooked lanes of Petersburg. What memories they are! To remember, for instance, that here just a year ago, just at this time, at this hour, on this pavement, I wandered just as lonely, just as dejected as to-day. And one remembers that then one’s dreams were sad, and though the past was no better one feels as though it had somehow been better, and that life was more peaceful, that one was free from the black thoughts that haunt one now; that one was free from the gnawing of conscience—the gloomy, sullen gnawing which now gives me no rest by day or by night. And one asks oneself where are one’s dreams. And one shakes one’s head and says how rapidly the years fly by! And again one asks oneself what has one done with one’s years. Where have you buried your best days? Have you lived or not? Look, one says to oneself, look how cold the world is growing. Some more years will pass, and after them will come gloomy solitude; then will come old age trembling on its crutch, and after it misery and desolation. Your fantastic world will grow pale, your dreams will fade and die and will fall like the yellow leaves from the trees…. Oh, Nastenka! you know it will be sad to be left alone, utterly alone, and to have not even anything to regret—nothing, absolutely nothing … for all that you have lost, all that, all was nothing, stupid, simple nullity, there has been nothing but dreams!”

“Come, don’t work on my feelings any more,” said Nastenka, wiping away a tear which was trickling down her cheek. “Now it’s over! Now we shall be two together. Now, whatever happens to me, we will never part. Listen; I am a simple girl, I have not had much education, though grandmother did get a teacher for me, but truly I understand you, for all that you have described I have been through myself, when grandmother pinned me to her dress. Of course, I should not have described it so well as you have; I am not educated,” she added timidly, for she was still feeling a sort of respect for my pathetic eloquence and lofty style; “but I am very glad that you have been quite open with me. Now I know you thoroughly, all of you. And do you know what? I want to tell you my history too, all without concealment, and after that you must give me advice. You are a very clever man; will you promise to give me advice?”

“Ah, Nastenka,” I cried, “though I have never given advice, still less sensible advice, yet I see now that if we always go on like this that it will be very sensible, and that each of us will give the other a great deal of sensible advice! Well, my pretty Nastenka, what sort of advice do you want? Tell me frankly; at this moment I am so gay and happy, so bold and sensible, that it won’t be difficult for me to find words.”

“No, no!” Nastenka interrupted, laughing. “I don’t only want sensible advice, I want warm brotherly advice, as though you had been fond of me all your life!”

“Agreed, Nastenka, agreed!” I cried delighted; “and if I had been fond of you for twenty years, I couldn’t have been fonder of you than I am now.”

“Your hand,” said Nastenka.

Here it is,” said I, giving her my hand.

“And so let us begin my history!”

(The following chapter – Naztenka’s Story turns everything we thought of up to this point on its head)

Tagged with: ,
Posted in Reading, Reflections

Everything I Own (1972) – Bread

Everything I Own is the second song to feature here from Bread and although I am not as taken with it as I was as a youngster, I still hold it close for nostalgic reasons. It is from their 1972 record Baby I’m a Want You. I have heard of bad record names before, but this one – Baby I’m a Want You is right up there. Everything I Own reached No 5 on the billboard charts.

You sheltered me from harm
Kept me warm, kept me warm
You gave my life to me
Set me free, set me free
The finest years I ever knew
Were all the years I had with you

And I would give anything I own
I’d give up my life, my heart, my home
I would give everything I own
Just to have you back again

I don’t think I have seen a longer list of artists who have covered a song such as Everything I Own; it includes Shirley Bassey, Olivia Newton-John and Rod Stewart.

According to wikpedia: Although initial listeners may have interpreted it as a song about a broken relationship, Gates revealed that it was written in memory of his father who died in 1963 before he achieved his success with Bread….’My success would have been so special to him as he was my greatest influence. So I decided to write and record ‘Everything I Own

Bread was an American soft-rock band from Los Angeles, California. Gates explained: A bread truck came along right at the time we were trying to think of a name. We had been saying, “How about bush, telephone pole? Ah, bread truck, bread.”
Baby I’m-a Want You, was their most successful album, peaking at No. 3.

Tagged with: , ,
Posted in Music

Follow Blog via Email

Enter your email address to follow this blog and receive notifications of new posts by email.

Join 753 other subscribers

← Back

Thank you for your response. ✨