Letter Three (23 April 1903)
Letters to a Young Poet (1934)
Letter Three (23 April 1903)
Letters to a Young Poet (1934)
Context: No experience has been too unimportant, and the smallest event unfolds like a fate, and fate itself is like a wonderful, wide fabric in which every thread is guided by an infinitely tender hand and laid alongside another thread and is held and supported by a hundred others.
“Every thread of creation is held in position
By still other strands of things living.”
"Tapestry"
Song lyrics, Tapestry (1970)
Context: Every thread of creation is held in position
By still other strands of things living.
In an earthly tapestry hung from the skyline
Of smouldering cities so gray and so vulgar,
As not to be satisfied with their own negativity
But needing to touch all the living as well.
The Immortality of the Soul (c. 1594). Compare:
:"Our souls sit close and silently within / And their own webs from their own entrails spin; / And when eyes meet far off, our sense is such / That, spider-like, we feel the tenderest touch." John Dryden, Mariage à la Mode, act ii. sc. 1.;
:"The spider’s touch—how exquisitely fine!— / Feels at each thread, and lives along the line." Alexander Pope, Epistle i. line 217.
Quote from 'On the Possibilities of Painting,' lecture, Sorbonne (1924-05-15)
Pilgrim’s Regress 181
The Pilgrim's Regress (1933)
Review of Magnolia in Chicago Sun-Times (7 January 2000) http://www.rogerebert.com/reviews/magnolia-2000
Reviews, Four star reviews
Context: Magnolia is operatic in its ambition, a great, joyous leap into melodrama and coincidence, with ragged emotions, crimes and punishments, deathbed scenes, romantic dreams, generational turmoil and celestial intervention, all scored to insistent music. It is not a timid film. … The movie is an interlocking series of episodes that take place during one day in Los Angeles, sometimes even at the same moment. Its characters are linked by blood, coincidence and by the way their lives seem parallel. Themes emerge: the deaths of fathers, the resentments of children, the failure of early promise, the way all plans and ambitions can be undermined by sudden and astonishing events. … All of these threads converge, in one way or another, upon an event there is no way for the audience to anticipate. This event is not "cheating," as some critics have argued, because the prologue fully prepares the way for it, as do some subtle references to Exodus. It works like the hand of God, reminding us of the absurdity of daring to plan. And yet plan we must, because we are human, and because sometimes our plans work out.
Magnolia is the kind of film I instinctively respond to. Leave logic at the door. Do not expect subdued taste and restraint, but instead a kind of operatic ecstasy. At three hours it is even operatic in length, as its themes unfold, its characters strive against the dying of the light, and the great wheel of chance rolls on toward them.
