60 replies to this topic

[U prolazu]

Meni:

Victoria and Johannes (Victoria, by Knut Hamsun)

Vama?

edit: dodato ime Viktorijinog dragog.

Edited by U prolazu, 26 October 2004 - 22:09.

[maxivida]

Elisabeth Bennet, Fitzwilliam Darcy B)

[makaronee]

moze trougao?

Geoffrey Firmin
Yvonne
Hugh

Under the Volcano / Malcolm Lowry

[Phil]

Павле Исакович и госпођа Божич
Сеобе II

Главни јунак и његова девојка из Пармског картузијанског манастира, не могу да им се сетим имена а и књига ми је ван домета

Биће још...

Одисеј и Пенелопа

[honey]

Majstor i Margarita
Ravik i Joan (Trijumfalna kapija)

[carpediem]

Majstor i Margarita, slazem se.
Evo jedne malo neobicnije - Hannibal Lecter & Clarice Starling, u poslednjem Harrisovom nastavku.

[Phil]

Хамберт Хамберт и Долорес Хејз

[U prolazu]

Turkish Delights, by Jan Wolkers

Ona se, sjecam se, zvala Olga.

Dobra prica, malo weird, ali boze moj, ima nas svakakvih.

[Ulis]

Klavdija Sosa i Hans Kastorp u Carobnom bregu.

[reddwarf]

Koji ce "par" kod mene biti na prvom mestu, zavisi od mog trenutnog shvatanja ljubavi: nekad je to ljubav Sonje i Raskoljnikova ("Zločnin i kazna"), ljubav prepuna plemenitosti i samopožrtvovanja,
nekad je to ljubav Kiti i Ljovina ("Ana Karenjenina), smirena i zdravorazumski realna,
nekad je to ljubav Ane i Vronskog, snažna, sebična, beskompromisna,
nekad je to ljubav Odiseja i Penelope, trajna i herojska,
nekad je to ljubav Laze Kostića i Lenke, neizvodljiva i zabranjena,
nekad je to ljubav J.Jovanovića Zmaja i njegove Ružice, nežna, nesrećna i zauvek izgubljena,
nekad je to ljubav Dantea i Beatriče, metafizička i večna
nekad je to ljubav Petrareke i Laure, uskraćena, strasna, izgubljena
nekad je to ljubav Hamleta i Ofelije, užasna i potpuno onemogućena
nekad je to ljubav dvoje junaka u pesmi S. Pandurovića "Svetkovina", iz priče ljubav vs. razum.
Nekad je to jedna sasvim drugačija ljubav - ljubav iz pripovetke I. Andrića "Jelena, žena koje nema" i ono što je toj ljubavi slično iz pesme J. Dučića "Zalazak sunca" i ono što je toj ljubavi slično iz "Seoba II" : Pavel Isakovič i Crnogorka sa pepeljastim trepavicama.
Ponekad je to ljubav koja pokreće ratove ("Ilijada"), ponekad je to donkihotovska ljubav (Don Kihot i Dulsineja).

[nemavishe]

ahil i pentezileja

[Kinik]

...

Aleksandrijski kvartet.
Avinjonski kvintet.

...

[Rostokovsky]

Klavdija Sosa i Hans Kastorp u Carobnom bregu.

hehe, zna se ko je Carevic
EDIT: veliko C

od mene 'ujka Vanja'

Edited by 3opge, 30 October 2004 - 22:58.

[Rostokovsky]

btw, mnogo se lozim na klisheje ono kad se spare iz razlicitih miljea on iz radnicke porodice svaki dan pasulj osim za bozic ubacivao ugalj
ona princeza tata sudija veliki kabinet i biblioteka zna latinski ko maternji i onda prokljuca animalni vulkan strasti vide se recimo kad u skloli premlati nekog burzujcica

[luba]

samo iz real life-a
Dashiell Hammett + Lillian Hellman

Samuel Dashiell Hammett Meets Lillian Florence Hellman Kober

"Who's That Man?"


"If a man has a past that he wants to forget, he can easiest drug his mind against memory through his body, with sensuality if not with narcotics."
—The Dain Curse
"I wanted blond curls and great blue eyes, tiny nose, rosebud mouth . . . you can see that I didn't get any of what I wanted."
—Lillian Hellman

On November 22, 1930, they were both in Hollywood married to other people. She was out for the evening with Lee Gershwin, a queen bee herself, whose house was always filled with people. Outside you could hear the sound of the racket hitting the ball on the tennis courts, inside the shuffling of cards. Every Sunday was open house. Lillian had met Lee in Paris in 1928. Her husband was Ira and her brother-in-law was George. Oscar Levant was often in attendance playing the piano.

Lee and Dotty Parker and Lillian were all twenties women with an appetite for life. They shared an acerbic wit. Lively and fast-talking New York Jewish women, they smoked and they drank, and it didn't matter that they weren't beauties. Keeping up with the men, manipulating always, they demanded sexual freedom and they got it. Pragmatists, they knew how to cut their losses. If getting their way meant lying, they would lie. "That little area in her throat would throb when she was about to lie," Lee observed of Lillian, breaking into peals of laughter. "You always knew when she was lying."

That night of November 22 was producer Darryl Zanuck's party. The Gershwins were his guests at a moviepremiere and their guests were Lillian, a script reader at M-G-M, and her far better-known husband, would-be playwright Arthur Kober, now drawing a weekly salary from Paramount as a scriptwriter.

Lillian Hellman at twenty had already been so resolute and independent a spirit that Kober doubted from the start whether he could hold her. He was short and round and soft-looking, not unlike Lillian's father, Max Hellman—a dark little butterball whose appearance was very Semitic. He had emigrated at the age of three from Austria-Hungary and was more at home in Yiddish than in English. His forte was humor, his style modeled on that of Ring Lardner.

Kober adored young Lillian Hellman; the room lit up for him when she appeared. He was diffident. She knew how to make him feel good about himself. On their first date they went on a carriage ride through Central Park. Lillian wore a new hat. Considering herself a homely woman, she did everything she could to transcend that disadvantage. Beautiful clothes were one important way. In the middle of the ride, Kober seized the hat and threw it into the bushes. Then he leaped out of the carriage, ostensibly to find the hat. Later he told her he only had to urinate. The hat was lost forever.
....

And then the slim, tall man appeared at the door. It was Dashiell Hammett. Kober lost her. Hammett got her. And she got him. Forever.

Edited by luba, 31 October 2004 - 08:13.