odds and ends / 5.29.2018













From top:
Branches and vines quilt in cotton, silk, and wool, ca. 1875. Made by Ernestine Eberhardt Zaumseil.

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Trademark Sylvie gingham ballet flat. (My obsession with black-and-white gingham rages on.)

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Cole and Sons Ardmore Savuti wallpaper in the showroom of Kvanum Danmark.

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'Beehive.' Oddfellows banner, ca. 1900. Part of to Further Seasons, a show curated by Lucia Simek at The Reading Room — 'a show about fecundity, blossoming, pollination, scientific exploration, horticulture, wizardry, danger, and beauty.' (I so wish I was Dallas so I could see this — open through June 9.)

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Hannoh Wessel Vionette green jacket. (One of the things I loved about the new 'Howard's End' was the costuming for Margaret and Helen Schlegel; in the first few episodes, they are always wearing one thing with deep, bright color, usually red or blue. I've been channeling vibrant and unabashed Schlegel dressing by finding ways to wear more bright color; this green is my current obsession.)

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Lady Granville's beetle parure: 'tiara, necklace, and earrings formed of dried South American weevils (lamprocyphus augustus)with iridescent green wing cases, mounted in gold in the Egyptian taste with lotus motifs.' Created by Philips Brothers, 1884-1885.

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“Sometimes we feel like something sour and sweet at the same time . . . and sometimes we need chocolate but mixed with some fruity surprises . . . It all depends on how we feel, our mood, the weather . . . . You could say that each person’s candy bag reflects the state of mind of that person.”
Hannah Goldfield, 'How to Eat Candy Like a Swedish Person.' The New Yorker, 5/17/2018.

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'Why is editing the best job on Earth? Because you learn facts like these.'

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Related: 'Elegy for the World's Oldest Spider.'

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(Fascism, he said, is “any regime that not only prevents one from speaking but above all obliges one to speak.”)
Adam Shatz, quoting Roland Barthes. 'The Mythologies of R.B.' NYRB, 6/7/2018.

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Beckett was not a Jew. He had merely had a tiny taste of the poison of anti-Semitism. Beckett had not directly experienced torture at the hands of the Gestapo or deportation to a concentration camp. He had merely experienced these things indirectly, through the fates of his friends and through basic human compassion. He was left therefore with a paradox: the need to express what he had not experienced, to be a witness to what he had not seen. His art would come from having no power to witness, no desire to witness, no authority as a witness—together with the absolute obligation to witness.

Fintan O'Toole, 'Where Lost Bodies Roam.' NYRB 6/7/2018.

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Obligation to witness, obligation to speak: I am calling my representatives this week to demand an end to this abomination, to advocate for choice, and to ask, again, again, for gun control.

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'It took 35 years to build a landslide.' (More happy tears: #HometoVote.)

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Baby Coffee 8: Clogs are a Window: 'Explorations of clogs as the ultimate in women's footwear, by Andrea Linett, Heather Anne Halpert, and Koyuki Smith.'

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Miniature paper geraniums.