M.J. Rose

Love is still a mystery.

“Perhaps it is expected that I should lament about how I have suffered living with a man like Diego. But I do not think that the banks of a river suffer because they let the river flow, nor does the earth suffer because of the rains, nor does the atom suffer for letting its energy escape. To my way of thinking, everything has its natural compensation.” – Frida Kahlo

Those words seem like a metaphor for everything. Frida is speaking of her love for Diego, and yet isn’t this how all of everything really is? Work, art, health, beauty, age…and on and on. The darkness is the very home of light. Without it, light has nowhere to go…

From Brain Pickings,

Frida Kahlo on How Love Amplifies Beauty: Her Breathtaking Tribute to Diego Rivera

By Maria Popova

 
“As artists, Frida Kahlo (July 6, 1907–July 13, 1954) and Diego Rivera (December 8, 1886–November 24, 1957) each possessed boundless talent bolstered by an unbending will. As partners, they possessed each other with a ferocious love, intense and complicated and all-eclipsing — the kind for which, in Rilke’s immortal words, “all other work is but preparation.” They wed when Kahlo was twenty-two and Rivera forty-two, and remained together until Kahlo’s death twenty-five years later. They had an open marriage long before the term existed as a trend of modern romance — both had multiple affairs, Rivera with women and Kahlo with both men and women, most notably with the French singer, dancer, and actress Josephine Baker and with the Russian Marxist theorist Leon Trotsky. Still, both insisted that they were the love of each other’s life — a deep conviction crystallized in Kahlo’s passionate love letters and Rivera’s affectionate account of their first encounter.

But nowhere does their uncommon love come more vibrantly alive than in Kahlo’s short portrait of Rivera, included as an afterword to his My Art, My Life: An Autobiography (public library). In just a few wholehearted, wholebodied paragraphs, she captures the enormity of their love. Her sincere humanity radiates a testament to the enormity of all love as a transfiguring force, the ultimate wellspring of beauty and grace…”

For the rest, click here.

Tis the season for ornamentation and decking halls. This glorious book seems to fit right in…

Minaggio 116: A male Kestrel sits above a Siskin. In the background, a soldiers stands guard on a road leading to a church.

From Atlas Obscura,

See a 400-Year-Old Book Made Entirely from Feathers

“In 1618, Dionisio Minaggio, Chief Gardener of the State of Milan, created a series of pictures. They were images of birds and scenes from the era: hunters, tradesmen, musicians and actors from the Commedia Dell’Arte. The difference was that these pictures were made of feathers, along with some supplementary bird parts: skin, beak and feet. In total, there were 156 images, which were bound into a book: The Feather Book, or Il Bestario Barocco (The Baroque Bestiary).

While the book mostly shows the birds of the Lombardy region, some of the scenes are familiar to us today: one depicts a bloody patient enduring a 17^th-century dentist. Another shows a man waiting patiently for his dog to finish pooping. It’s not clear what prompted Minaggio to create the feather book; some have speculated that it was to occupy his staff during winter and use up the feathers from the kitchen. Others say the regional governor may have commissioned it…”

For the rest, and many photos, click here.

More very, very old book news:

Two pages from Samuel Ward’s translation for part of the King James Bible. An American professor who came upon the manuscript last fall at Cambridge says it is the earliest known draft for the King James translation, which appeared in 1611. Credit Master and Fellows of Sidney Sussex College, Cambridge; Maria Anna Rogers (Photo)

Earliest Known Draft of King James Bible Is Found, Scholar Says
By JENNIFER SCHUESSLER

“The King James Bible is the most widely read work in English literature, a masterpiece of translation whose stately cadences and transcendent phrases have long been seen, even by secular readers, as having emerged from a kind of collective divine inspiration.

But now, in an unassuming notebook held in an archive at the University of Cambridge, an American scholar has found what he says is an important new clue to the earthly processes behind that masterpiece: the earliest known draft, and the only one definitively written in the hand of one of the roughly four dozen translators who worked on it.

The notebook, which dates from 1604 to 1608, was discovered by Jeffrey Alan Miller, an assistant professor of English at Montclair State University in New Jersey, who announced his research on Wednesday in an article in The Times Literary Supplement…”

For the rest, click here.