Category Archives: books

The Gardener’s Son

McCarthy, Cormac. The Gardener’s Son: a screenplay. New York: HarperCollins, 1996. Print.   

“Whipper: They say that God sends no man a burden greater than what he can bear.
“Mr McEnvoy: Ay. Nor much less, neither.” p. 69

“There are always these strangers waiting for those who cannot set their house in order.” p. 73

“Once people are dead they’re not good nor bad. They’re just dead.” p. 94

Indiewire article on the TV film

Richard Pearce (director)

OCLC WorldCat The Gardener’s Son (TV film)

The Orchard Keeper (II)

McCarthy, Cormac. The Orchard Keeper. New York, N.Y.: Vintage International, 1993. Print. (First ed. 1965).

“Half blue tick and half walker.” p. 135

Talking about “being skeered of painters” 148-150.

Muskydine wine p. 150

“They sipped their wine with the solemnity of communicants, troglodytes gathered in some firelit cave. The lamp guttered in a draft of wind and their shadows, ponderous and bearlike upon the wall, weaved in unison.” p.150

“Old Bill, he backed off some, said that old she-painter might be around. Well, I was younger’n him and likely didn’t have as good sense, so in I goes and grabs the little feller up by the scruff of the neck.” p. 152

“And two days later the charred shaft of the pine tree still smoldering, pitch bubbling gently from the shell of the bark and small electricblue flames seeping and curling, the spire of smoke standing straight up in the motionless air like a continuation of the tree itself.” p. 163

“They began to unload, carrying the cases back into the garage, the car creaking and rising bit by bit until they had finished and it stood with its rear end high in the air like a cat in heat.” p. 165

“The old man watched them from his window darting and skulking among the bushes, slipping from tree to tree like boys playing Indians.” p. 185

“The old man sat very still on the floor. One shot struck the stove begind him and leaped off with an angry spang, taking the glass out of the table lamp. It was like being in a room full of invisible and malevolent spirits.” p. 186

“They went silently along over the trace of the quarry road, the sledge whispering, the gaunt dog padding, past the quarryhole with its vaporous green waters and into the woods again, the limestone white against the dark earth, a populace of monstrous slugs dormant in a carbon forest.” p. 189

“Well, Huffaker said, I couldn’t tell you offhand where-all you might find him at. He lives up yander somewheres–a random gesture at the brooding hills that cupped in the valley.” p. 196

“In the woods mists like old gray spirits paled and scattered, by moss coverlets the dark earth stirred and nightfurled wildflowers unbent their withered fronds all down the path where came the derelict hound shambling along in an aureole of its own incredibility,” p. 199

“Through a gap in the trees he could see the valley far below him where the river ran, a cauldron in the mountain’s shadow where smoke and spume seethed like the old disturbance of the earth erupting once again, black mist languidin the cuts and trenches as flowing lava and the palisades of rock rising in the high-shored rim beyond the valley,” p. 200-201

about the old man and his dog “proceeding on the weathered sun-washed bridge, jaunty and yet sad, like maimed soldiers returning.” p. 202

cat being prey to an owl 216-217
“When she left the rocks, was clear of the overreaching branches of the tree, there grew about her a shadow in the darkness like pooled ink spreading, a soft-hissing feathered sound which ceased even as she half turned, saw unbelieving the immense span of wings cupped downward, turned again, already squalling when the owl struck her back like a falling rock.” p. 217

“Cats is smart, allowed the old man. Course it could of been a common everyday housecat. They’ll tear up anything they come up on, a cat will. Housecats is smart too. Smarter’n a dog or a mule. Folks thinks they ain’t on account of you cain’t learn em nothin, but what it is is that they won’t learn nothin. They too smart.” p. 227

“The sun broke through the final shelf of clouds and bathed for a moment the dripping trees with blood, tinted the stones a diaphanous wash of color, as if the very air had gone to wine.” p. 246

“They are gone now. Fled, banished in death or exile, lost, undone. Over the land sun and wind still move to burn and sway the trees, the grasses. No avatar, no scion, no vestige of that people remains. On the lips of the strange race that now dwells there their names are myth, legend, dust.” p. 246

The Orchard Keeper (I)

McCarthy, Cormac. The Orchard Keeper. New York, N.Y.: Vintage International, 1993. Print. (First ed. 1965).

“A phantom rabbit froze in the headlights, rolled one white eye, was gone.” p. 20

“One by one the fallen were entering through the front door red with blood and clay and looking like the vanquished in some desperate encounter waged with sabers and without quarter.” p. 26

“For miles on miles the high country rolled lightless and uninhabited, the road ferruling through dark forests of owl trees, bat caverns, witch covens.” p. 31

“Above the heads of the dancers he could see himself hollow-eyed and sinister in the bar mirror and it occurred to him that he was ungodly and tired.” p. 32

“Cabe made off with a cashbox and at the last minute authorized the fleeing patrons to carry what stock they could with them, so that with the warmth of the fire and the bottles and jars passing around, the affair took on a holiday aspect.” p. 47

“By now the entire building was swallowed in flames rocketing up into the night with locomotive sounds and sucking on the screaming updraft half-burned boards with tremendous velocity which fell spinning, tracing red ribbons brilliantly down the night to crash into the canyon or upon the road, dividing the onlookers into two bands, grouped north and south of harm’s way, their faces lacquered orange as jackolanterns in the ring of heat.” p. 47-48

“There it continued to burn, generating such heat that the hoard of glass beneath it ran molten and fused in a single sheet, shaped in ripples and flutings, encysted with crisp and blackened rubble, murrhined with bottlecaps. It is there yet, the last remnant of that landmark, flowing down the sharp fold of the valley like some imponderable archeological phenomenon.” p. 48

“Coming back he glanced down at the water again. The thing seemed to leap at him, the green face leering and coming up through the lucent rotting water with eyeless sockets and green fleshless grin, the hair dark and ebbing like seaweed.” p. 54

***”She told him that the night mountains were walked by wampus cats with great burning eyes and which left no track even in snow, although you could hear them screaming plain enough of summer evenings.” p. 59-60

“In the fall before this past winter he had come awake one night and seen it for the second time, black in the paler square of the window, a white mark on its face like an inverted gull wing. And the window frame went all black and the room was filling up, the white mark looking and growing. He reached down and thumbed the hammer and let it fall. The room erupted… he remembered the orange spit of flame from the muzzle and the sharp smell of burnt powder, that his ears were singing and his arm hurt where the butt came back against it.” p. 60

“The well hidden in the weeds and johnson grass that burgeoned rankly in the yard had long shed its wall of rocks and they were piled in the dry bottom in layers between which rested in chance interment the bones of rabbits, possums, cats, and other various and luckless quadrupeds.” p. 63

(young rabbit in the well) “He brought green things to it every day and dropped them in and then one day he futtered a handful of garden lettuce down the hole and he remembered how some of the leaves fell across it and it didn’t move. He went away and he could see for a long time the rabbit down in the bottom of the well among the rocks with the lettuce over it.” p. 64

describing a market “By shoe windows where shoddy footgear rose in dusty tiers and clothing stores in whose vestibules iron racks stood packed with used coats, past bins of socks and stocking, a meat market where hams and ribcages dangled like gibbeted miscreants and in the glass cases square porcelain trays piled with meat white-spotted and trichinella-ridden, chinks of liver the color of clay tottering up from moats of water blood, a tray of brains, unidentifiable gobbets of flesh scattered here and there.” p.82

“And the sun running red on the mountain, high killy and stoop of a kestrel hunting, morning spiders at their crewelwork. But no muskrats struggled in his sets.” p. 87

“The old man remembered it now with dim regret. and remembered such nights when the air was warm as breath and the moon no dead thing.” p. 89

“The moon was higher now as he came past the stand of bullbriers into the orchard, the blackened limbs of the trees falling flatly as paper across the path and the red puddle of moon moving as he moved, sliding sodden and glob-like from limb to limb, flatly surreptitious, watching as he watched.” p. 89

“The glade seemed invested with an aura of antiquity, overhung with a silence both spectral and reverent.” p. 90

***”And on the very promontory of this lunar scene the tank like a great silver ikon, fat and bald and sinister.” p. 93

“But there was the house looming, taking shape as he approached, and he felt that he had come a great distance, a sleepwalker who might have spanned vast and dangerous terrains unwittingly and unharmed.” p. 93

“He dropped the lid of the locker closed and the lamp flickered, on the wall a black ghoul hulking over a bier wavered.” p. 94

“The bottle clattered on the floor, he lurched once, wildly, collapsed into the bread rack and went to the floor in a cascade of cupcakes and moonpies.” p. 96

“Wiping water from his eyes he looked about and saw the flashlight, still lit, scuttling downstream over the bed of the creek like some incandescent water-creature bent on escape.” p. 100

“They paid little attention to him and he just watched them, the injured man waving his arms, telling the story, the other scratching alternately belly and head and saying Godamighty softly to himself from time to time by way of comment.” p. 105

“Mornin, the man said cheerfully.
Are you hurt? she asked. She was small and blond and very angry-looking.” p. 107

“The boy looked down at himself, soggy and mudsplattered, seeds and burrs collected on his waterdark jeans like some rare botanical garden being cultivated there, at his rubber kneeboots with twigs and weeds sticking out of them,” p. 108

Geometry of Design (II)

Elam, Kimberly. Geometry of Design: Studies in Proportion and Composition. New York: Princeton Architectural, 2001. Print.

See Fibonacci number

Golden section square construction Method p. 24

square-construction

AB         AC
—-   =   —–
AC          CB

A C B
|——————-|———|

“The golden section rectangle is unique in that when subdivided its reciprocal is a smaller proportional rectangle.” p. 25

Golden Section Spiral construction. p. 25

620/377 = 1.61803 Golden Section. p. 29

Golden Section Triangle and Ellipse p. 30

Golden Section Proportion of the Star Pentagram p. 31

Root 2 Rectangle Construction (√2)  p. 34

Hambidge Fig. 10 showing construction of “root rectangles. 1920. from Dynamic symmetry: the Greek vase. Via Wikimedia.

Root 2 Rectangle Construction. Circle Method p. 35

DIN System of Paper Proportioning A1-A5

“Root 2 rectangles possess the special property of being endlessly subdivided by proportionally smaller rectangles. It is for this reason that the root 2 rectangle is the basis for the European DIN (Deutsche Industrie Normen), a system of paper sizes.” p. 36

Root 3 rectangle p. 38

Root 4 Rectangle p. 40.

Lacey Davis Caskey – Geometry of Greek Vases: Attic Vases in the Museum of Fine Arts Analysed According to the Principals of Proportion Discovered by Jay Hambidge. Via Wikimedia

See The Modulor by Le Corbusier

Le Corbusier: “the composition of of works of art is governed by by rules; these rules may be conscious methods, pointed and subtle, or they may be commonplace rules, tritely applied. They may also be implied by the creative instinct of the artist, a manifestation of an intuitive harmony,”  p. 43

See Jules Cheret and Star Pentagram proportions.

Hippodrome, Leona Dare, 1883. Via wikimedia.

See Belle Époque

See Bauhaus typeface.

See Oskar Schlemmer

1932 Schlemmer Treppenszene anagoria. Via Wikimedia.

See East Coast poster by Tom Purvis

Designed by Tom Purvis and believed to feature his son with a Meccano. Via Wikimedia.

Circles aligned in Wagon -Bar Poster by A.M. Cassandre, 1932.

А.М. Кассандр (1901 — 1968) Via Wikimedia.

See Constructivism

‘Proun Vrashchenia’ by El Lissitzky, 1919. Wikimedia.

See Die Neue Typographie (1928) by Jan Tschichold

Root 2 rectangles and circles in proportion p. 73

Type construction p. 74

See Max Bill

See Inge Druckrey

See Bruno Monguzzi

Le Corbusier (from Modulor, 1949):

“The regulating lines do not bring in any poetic or lyrical ideas; they do not inspire the theme of the work; they are not creative; they merely establish a balance.” p. 101.

“Biology, geometry, and art are taught as separate subjects. The content area of each that is congruent to the other is often neglected and the student is left to make the connections on their own. In addition, art and design are commonly viewed as intuitive endeavors and expressions of personal inspirations.” p. 101

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Geometry of Design (I)

Elam, Kimberly. Geometry of Design: Studies in Proportion and Composition. New York: Princeton Architectural, 2001. Print.

“German psychologist, Gustav Fechner…. investigated the human response to the special aesthetic qualities of the golden section rectangle… Fechner limited his experiment to the man-made world and began by taking the measurements of thousand of rectangular objects such as books, boxes, buildings, matchbooks, newspapers, etc. He found that the average ratio was close to a ration known as the golden ration, 1:1.618, and that the majority of people prefer a rectangle whose proportions are close to the golden section.” p. 6-7.

Most preferred rectangle 5:8 according to Fechner (1876) and Lalo (1908).

Read The Curves of Life by Cook, Theodore Andrea, Sir, (1867-1928)

“there is an attempt in biological growth pattern proportion to approach but never reach golden spiral proportions.” p. 9

“the ration of any two lines within a star pentagram is the golden section proportion of 1:1.618.” p. 9

“The numbers 8 and 13 as found in the pine cone spiral and 21 and 34 as found in the sunflower spiral and 21 and 34 as found in the sunflower spiral… adjacent pairs in the mathematical sequence called the Fibonacci sequence.” p. 10.

Vitruvius advised that the architecture of temples should be based on the likeness of the perfectly proportioned human body where a harmony exists among all parts.” p. 12

See Vitruvius (born c. 80–70 BC, died after c. 15 BC)

A 1684 depiction of Vitruvius (right) presenting De Architectura to Augustus. Sebastian Le Clerc. Via wikimedia.

See statue  Doryphoros (Δορυφόρος)

See statue Artemision Bronze

See Leornardo Da Vinci’s Human Figure in a Circle and Albrecht Dürer‘s Man Inscribed in a Circle

See facial proportions p. 18-19

“The Parthenon in Athens is an example of the Greek system of proportioning. In a simple analysis the façade of the parthenon is embraced by a subdivided golden rectangles.” p. 20

On the Cathedral of Notre Dame “The rectangle around the cathedral façade is in golden section proportion.” p. 21

“The clerestory window is in proportion of 1:4 to the major circle of the façade.” p. 21

“Even the earliest and most primitive architect developed the use of a regulating unit of measure such as a hand, or foot or forearm in order to systemize and bring order to the task.” p. 22-23.

Golden rectangle

Fibonacci number

Gnomon (figure)

 

 

Gold, silver, and bronze rectangles arranged vertically so that they are all the same width. Squares marked with dotted lines and arrows. Via Wikimedia.

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