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To Die No More (Anglais) Broché – janvier 2008

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Broché, janvier 2008
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Commentaires client les plus utiles sur (beta) HASH(0x9238d8c4) étoiles sur 5 3 commentaires
3 internautes sur 3 ont trouvé ce commentaire utile 
HASH(0x922279cc) étoiles sur 5 beautiful 1 novembre 2010
Par S. Bummel Vohland - Publié sur
"He became frightened of flowers because they grew so slowly that he couldn't tell what they planned to do."

These wine-leaf-brown prose fragments need no page numbering, these chance discoveries connect one's own feelings to those of kindred spirits and now fill the room, a place of chamotte-golden daylight, they vibrate and swing, are highly vivacious attractors of thought, grains of salt to garland the sting of death, nourishing light set against the dark premonition of a final end to the godless Western world and its consuming despair.
They can be found in a sensuous treasure chest of similar dimensions, weight, and texture as a smallish cigar-case, one that might hold five Havanas. A deliberate piece of art, a vignette of death, sways in relief at the cover's middle: the stylized figure of a doomed little ship on calm seas, emblem and symbol of the human soul equipped for certain death.
Its cross is proud and questioning simultaneously- though ever dependent on a deeper center, from which its perpendicularity is derived and its echo resounds.
From its pale blue frame, it partakes in the triumph of the already-dead: ' Nevermore will we die.

Calm and silence, time's greatest tools, heal everything- because time gets lost in itself, recedes completely, forgets itself- only thus is the wide sea of soul released.
That is the promise kept by this little book, this compendium of thoughts and images materialized from realms of the in-between.
Toward the end of the book, mysterious credits embrace the thinkers who brought forth its fruit. There are great names, who here withdraw behind the greatness of their words- as if all of them were written by one single man, one single soul expressing itself in the book.
Mankind, truly-voiced.
Whoever is willing to take it up, gains the self and the silence to confront horror.
The blossoms of a black spring: the intimation that the very first things will be met again at the very end.
And not as religion would have these things, but as they are held commonly, as every person may perceive them, coming into flower so "slowly that he couldn't tell what they planned to do..."''
Here everything is true and deep. No idea harasses, no image squints in judgment at an observer. They are sufficient to their own ends and, self-sustaining, reach far into open space- even into one's own thinking!
They give themselves freely to one who understands love. One who searches using the same questions, scouring the immeasurable for faint traces, clues which are held dearer than one's own decay. For ars moriendi has always begun with the first heartbeat, and they who make life ravishing, exuberant, and worth living belong to a unique school of magic, whose alumni are only reared correctly on a diet of the entirely other-than-ordinary - the Different required by death.
A reliable friend is death, his companions reliable friends. In each present, passing moment, the dead and the living mold this world jointly. This view is the only possible basis for action in a world so nearly blind.
The hide of the blind pony acts as blanket to the gathered people. Together they acquire the horse's strength- unending fortitude and vigor. Oh, they stagger in the lurching movements of purposeful action, they climb, they copulate, they shelter within themselves, they dis-mean, they mis-live, they cannot recognize the conditions of their existence.
Death finally removes the blanket, allowing them to see freely.
The images in the book show such sights. Out of the mist - out of these white shadows surrounding the self-searcher - emerge dark forebodings- aquarelles possessing the soul's tenderness, violence and loving clear-sight.'
Again and again, the animals in the paintings, who seem quite unloosed from mortality, are envoys of the other side.
If they die, they die only allegorically, calmly.
If there is drama, it is only in our eyes, the eyes of the human spectator.
Perhaps such is required for us to empathize and to understand their message. '
Again and again, the ships, which we ourselves are. '
Again and again, man in all his magnificence and sorrow, his doubts and wild errors.'
And - surprising and novel - this whole book intrinsically rubs against the grain: nevermore will we die...
Much more than a book. A rescinding of time and space, of reason and logic, limitation and finitude, of the lust for a future and validation by a past. '
There is a totally different and new space-time continuum in these pages, breathing eternity out into eternity. Whoever wills is in the heart of it: nave, navel, naval, ship.
Where we come from and where we go remain numinous.
But in tender arms we sway and are secure.
This book will accompany me until I see the archetypes of its images.
It is - to stout hearts - everything in a nutshell. It is - to the rational - a font of steady confrontation. To the dying - a treasure hoard beyond description. To the most vital among us - a very, very good compass.
Compass? Yes. A compassion they must dare to aim inward.'
"Among the dead are thousands of beautiful women."
And men.
2 internautes sur 2 ont trouvé ce commentaire utile 
HASH(0x92a1e8f4) étoiles sur 5 Both a curse and a blessing. 21 septembre 2010
Par Simn Fg - Publié sur
This book was given to me as a gift under very uncomfortable circumstances. I was therefore very unsure what to expect of it. I read it from cover to cover in one sitting and I was more than a little chilled by the nearness to death it creates. But strangely, I found that I was comforted by the charred and ghastly beauty of it.

Judging from the inscription on the first pages, the book was created out of the sadness and confusion of losing a friend. The collectors/designers of these quotations have done a beautiful job of unifying them and letting their charm work together. All of the various passages float on the pages without quotation-marks and without citations creating a sense of journal-like secret and of quiet. The authors and poets quoted share a feeling of horror, yet they also show a deep fascination with death and decay. Each page is both the reminder of a vague fear and a wonderful despair.

It would be very easy to write the book off as childishly morbid or Gothic. But this would be the same as to ignore our own death, and to foolishly consider death itself too macabre a subject to think about. There is something feverish and difficult in these pages. In the arrangement of the text and images a feeling comes through that is genuine and deep, but also very humble. There is no effort to write new words on the old subject of death and grief, but only to show those words that history has already written.

A wonderful find: a blessing and also a curse.
6 internautes sur 9 ont trouvé ce commentaire utile 
HASH(0x92a1e96c) étoiles sur 5 Disappointing 15 avril 2010
Par Orpheus Tetramegistus - Publié sur
Achat vérifié
I recently received my copy of this book and found it very disappointing. The book is about 5x5 inches, with a few small art pieces, and quotation after quotation. While this was to be expected, I was let down by the lack of artwork. Unlike the blog associated with the publisher, [...] there was far too little artwork, I felt, and the quotations were not cited with the quote. As in, on any given page with a quote, all that would be there would be a single quotation with no citation. To find the author of the quote, you have to turn to the back of the book where the authors and the works the quotes were lifted from would be. What makes this frustrating is that there are no page numbers for the quotes to reference. The authors would be listed as such: "Friedirch Nietzsche - The Gay Science - Friedrich Nietzsche. - Human, All Too Human. - Samuel Beckett - Malone Dies. ..." With 2 and a half pages of such listing in small font, finding the author to a particular quote becomes too much of an undertaking. Thus, valuable context is lost, a context that would probably have better succeeded in allowing me to "enter" into the aesthetic this work tries to conjure, without which leaves this book little more than an overpriced quote book.

With no introduction or word from the editor or artist, I can only infer that the purpose of this book seems to be to produce a melancholic mood, but for the problems cited above, the moodiness lacks the poetic impact I feel the work was trying to have and thus makes it's "mood-making" seem trite, like a quote book a teenager might assemble in a notepad without any real "anchor". Perhaps it too closely reflects the style of the blog, which works as a blog - free, with more images, a cited quote, with each entry being a complete "piece". The quotes themselves are often beautiful and poetic, and the art, though there is not enough of it, is quite good. In that regard, this book hasn't failed. What is has failed to do is be an effective work in itself - as a book. Assembled into a book and in choosing that particular format lends itself to the demands of that format, and therefore each quotation or artwork doesn't function as a single entry, as it does on an internet blog, but in the way the material is presented it inevitably has to be considered as a whole work. As a work in itself, this book is not worth it's price.
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