Showing posts with label prison. Show all posts
Showing posts with label prison. Show all posts

Wednesday, November 30, 2011

89. GOT ATHEISM? Excerpts from "The Stranger", by Albert Camus

Excerpts
from

"The Stranger",

a novel
by
Albert Camus,
1942,

Vintage Press,
p. 95 -99.


[At this point
in the novel,
the "Stranger"
is in prison,
awaiting trial
for the
dream-like
killing
of
an unknown Arab.]
 
And it was then
that the things
I've never
liked
to talk about
began.


Not that they
were
particularly terrible;
I've no wish
to exaggerate
and
I suffered less
than others.
 
Still,
there was one thing
in those early days
that
was really irksome:
my habit
of thinking
like
a free man.
 
For instance,
I would
suddenly be seized
with a desire
to go
down to the beach
for a swim.
 
And
merely
to have imagined
the sound
of ripples at my feet,
the smooth feel
of the water
on my body
as I struck out,
and
the wonderful sensation
of relief
it gave
brought home
still more cruelly
the narrowness
of my cell.
 
Still,
that phase
lasted
a few months
only.
 
Afterward,
I had
prisoner's
thoughts.
 
I waited
for
the daily walk
in the courtyard
or
a visit
from my lawyer.
 
As for
the rest
of the time,
I managed
quite well,
really.
 
I've
often thought
that
had I
been compelled
to live
in
the
trunk of a dead tree,
with nothing to do
but gaze up
at the patch of sky
just overhead,
I'd
have got
used to it
by
degrees.
 
I'd have learned
to watch
for
the passing of birds
or
drifting clouds,
as
I had come
to watch for
my lawyer's
odd neckties,
or
in another world,
to wait
patiently
till Sunday
for
a spell
of love-making
with Marie.
 
Well,
here,
anyhow,
I wasn't
penned
in
a hollow tree trunk.
 
There
were others
in the world
worse off
than I.
 
I remembered
it had been one
of Mother's
pet ideas --
she was
always voicing it --
that
in the long run
one gets used
to anything.
 
Usually,
however,
I didn't think things out
so far.
 
Those first months
were trying,
of course;
but the very effort
I had to make
helped me
through them.
 
For instance,
I
was plagued
by
the desire
for a woman --
which
was natural enough,
considering my age.
 
I never thought
of Marie
especially.
 
I was obsessed
by thoughts
of this woman
or that,
of
all the ones I'd had,
all the circumstances
under which
I'd
loved them;
so much so
that
the cell
grew crowded
with their faces,
ghosts
of my old passions.
 
That
unsettled me,
no doubt;
but,
at least,
it served
to kill time.
 
I gradually
became
quite friendly
with
the chief jailer,
who
went the rounds
with
the kitchen hands
at
mealtimes.
 
It was he
who brought up
the subject
of women.
 
"That's what
the men here
grumble about
most,"
he told me.
 
I said
I felt like that
myself.
 
"There's
something unfair
about it,"

I added,
"like
hitting a man
when
he's down."
 
"But
that's
the whole point
of it,"
he said;
"that's why
you fellows
are
kept in prison."
 
"I don't follow."
 
"Liberty,"
he said,
"means
that.
 
You're
being deprived
of your liberty."
 
It
had never before
struck me
in that light,
but
I saw his point.
 
"That's true,"
I said.
"Otherwise
it wouldn't be
a punishment."
 
The jailer nodded.
 
"Yes,
you're different,
you can use
your brains.
 
The others can't.
 
Still,
those fellows
find a way out;
they do it
by themselves."
 
With which
remark
the jailer
left my cell.
 
Next day
I did
like
the others.
 
The lack
of
cigarettes,
too,
was
a trial.
 
When I
was brought
to
the prison,
they took away
my belt,
my shoelaces,
and
the contents
of my pockets,
including
my cigarettes.
 
Once I
had been given
a cell
to myself
I asked
to be given back,
anyhow,
the cigarettes.
 
Smoking
was
forbidden,
they
informed
me.
 
That,
perhaps,
was what got me down
the most;
in fact,
I suffered
really badly
during
the first few days.
 
I even
tore off
splinters
from my plank bed
and
sucked them.
 
All day long
I felt faint
and bilious.
 
It passed
my
understanding
why
I shouldn't
be allowed
even
to smoke;
it
could have
done
no one
any
harm.
 
Later on,
I understood
the idea behind it;
this privation,
too,
was part
of my punishment.
 
But,
by the time
I understood,
I'd lost
the craving,
so it had ceased
to be
a punishment.
 
Except for
these privations
I wasn't
too unhappy.
 
Yet again,
the
whole problem
was:
how
to
kill time.
 
After a while,
however,
once I'd learned
the
trick
of
remembering things,
I never had
a moment's boredom.
 
Sometimes
I would exercise
my memory
on
my bedroom
and,
starting from a corner,
make the round,
noting
every object I saw
on the way.
 
At first
it was over
in a minute or two.
 
But
each time
I repeated
the
experience,
it took
a little longer.
 
I made
a point
of visualizing
every piece
of furniture,
and
each article upon
or in it,
and then
every detail
of each article,
and finally
the details
of the details,
so to speak;
a tiny dent
or incrustation,
or a chipped edge,
and the exact
grain and color
of
the woodwork.
 
At the same time
I forced myself
to keep
my inventory
in mind
from start to finish,
in the right order
and omitting
no item.
 
With the result that,
after a few weeks,
I could spend hours
merely
in listing the objects
in my bedroom.
 
I found that
the more I thought,
the more details,
half-forgotten
or
malobserved,
floated up
from
my memory.
 
There seemed
no end
to them.
 
So I learned
that
even after
a single day's
experience
of
the
outside world
a man
could easily
live
a hundred years
in prison.
 
He'd have
laid up enough
memories
never
to be
bored.
 
Obviously,
in
one way,
this
was
a
compensation.
 
+++

Tuesday, October 25, 2011

47. "Man in Disorder" -- excerpts from "Seven Beauties", a film by Lina Wertmuller

Excerpt from
the screenplay
for
"Seven Beauties",
a film by
Lina Wertmuller,
1976,
from the book:
"The Screenplays
of Lina Wertmuller",
translated
from the Italian
by
Steven Wagner,
Warner Books,
1977,
pages 293 - 295.
 
Setting:
Our "hero",
Pasqualino
(played by
Giancarlo Giannini)
is in
a German
Prisoner-of-War
Camp
during
World War II.
 
He has decided
that,
as a strategy
for survival,
he must try
to seduce Hilde,
(also called
"the Beast")
the woman
who runs the prison,
a huge, cold-hearted
Nazi Commandant,
played
by Shirley Stoler.
 
He gets the idea
when he has a dream
of his mother,
who, long ago,
gave him good advice
about girls.
 
We begin
with the dream,
that sweeps him back,
far away
from the Prison Camp
and its misery.
 
+++
 
Scene 24
 
                (Ground floor
                of
                Pasqualino's house
                -- interior
                -- daytime.
               
                Pasqualino's mother
                is sitting
                on a low chair
                winding wool
                into a ball.
               
                We have gone back
                many, many years.
               
                The atmosphere is peaceful
                in this corner of the world.)
 
PASQUALINO'S MOTHER:
Girls will be girls,
Pasqualino,
but
no matter
how wicked they are,
if you find a means
of looking
into their heart
you'll always find
some goodness.
 
                (Pasqualino stops crying,
                his face streaked by tears.)
 
PASQUALINO'S MOTHER:
There's even a song
that says the same thing.
 
SHE SINGS:
"When you
behave
like this
you are like
a cup
of black coffee.
 
On
the bottom
of the cup
there is sugar,
but
the coffee
is bitter
unless
you stir it...
 
So
I have to
stir you
until
the sweetness
rises up
and
I can taste it..."
 
                (She laughs
                and laughs.
               
                His mother's
                laughing face
                disappears
                and
                in her place
                we see
                Hilde's
                menacing look.)
 
+
 
Scene 25
 
                (Camp
                -- exterior
                --daytime.
               
                The prisoners
                are being counted.
               
                They stand
                in the freezing Appleplatz,
                lined up
                in rows of five.
               
                The block-elder counts slowly.)
                               
                BLOCK-ELDER:
                Eins ... zwei ... drei.
                               
                (Pasqualino
                stares at
                the Beast.
                               
                He is softly humming
                the song
                his mother taught him.
                               
                In his look
                we can read
                passion and sexual lust,
                we can picture

               Spanish guitars
                playing romantically
                and
                love-making
                by the seashore.
                               
                In his brave attempt
                to be noticed
                by the Beast
                as he tries
                to seduce her,

                Pasqualino
                raises the tone
                of his serenade.
                               
                Francesco
                hears the strains
                of this inappropriate tune
                and
                is convinced
                that hunger and fatigue
                have finally
                gone to his friend's head.
                               
                Pedro
                notices
                Pasqualino's
                Casanova look
                and
                points it out
                to Francesco.
                               
                There is no doubt:
                The madman
                has set out
                to seduce
                the Beast.
                               
                Pedro finds it
                hard to believe,
                but it's true.
                               
                Pasqualino
                continues
                serenading her.
               
                Her ruthless stare
                goes right over the heads
                of the skeletons
                standing in the cold morning.
                               
                During a pause
                in the counting
                she hears a few notes
                of Pasqualino's song.
                               
                She turns her killer eyes
                toward
                the source of this sound
                which has reached her ears.
                               
                Pasqualino is tense.
                               
                He puts
                his whole being
                into the gaze.
               
                The Beast
                slowly walks
                toward him.
                               
                Pasqualino's feeble voice
                gets weaker and weaker
                as she approaches,
                and eventually
                it dies out completely.
                               
                He lowers his lids.
               
                He's
                far too frightened
                to continue with
                this love game.
                               
                The Beast
                is almost
                on top of him
                now.
                               
                He lifts his lids
                and with
                superhuman effort
                gives her
                his most seductive
                and warm look.
                               
                She stops
                to consider the look
                in these green eyes,
                but
                she isn't really
                interested.
                               
                Her eyes
                are diverted
                to
                the other prisoners.
                               
                Even though
                he was noticed
                for
                only an instant,
                he is happy,
                it's better
                than nothing at all.
               
                As she walks off,
                his gaze
                follows
                her imposing figure.)
 
+
 
Scene 26
 
                (Barrack no. 23
                -- interior
                -- nighttime.
               
                The naked light bulb,
                which accentuates
                the squalor of the room,
                is never turned off.
                               
                Pasqualino
                and
                Francesco
                are curled up
                on the highest berth
                of their bunk.)
 
FRANCESCO:
You're totally insane!
 
PASQUALINO:
What have I got to lose?
 
I want to give it a go...
 
FRANCESCO:
It's too dangerous!
 
She's a sadistic bitch!
 
                (Pasqualino shakes his head.
                He is determined to go ahead
                with his crazy strategy.)
 
PASQUALINO:
I know,
but I've explained it
to you already.
 
I had a vision
of my mother;
no matter what
a ruthless bitch
this woman might be,
there's got to be
a little sweetness
tucked away
somewhere ...
perhaps
she needs some love ...
 
You see, Francesco,
I may not
have studied,
but when it comes
to women,
I'm something
of an expert.
 
                (Francesco replies jokingly,
                even though he is tired
                and depressed.)
 
FRANCESCO:
I wouldn't have doubted it
for a minute ...
 
PASQUALINO:
Want to know
what they used to
call me
back home?
 
Pasqualino
Seven Beauties!
 
                (Francesco is amazed.)
 
FRANCESCO:
That's what they called you?
 
PASQUALINO:
Can you believe that?
 
I know I'm ugly ...
 
FRANCESCO:
To say the very least!
 
...You're revolting!
 
PASQUALINO:
Well,
strangely enough,
even though I was
so ugly
the women
would lose their heads
over me
and the people
would look at me
and
ask how could I do it
when
I was so ugly.
 
They said
it must have been
because
I was charmed,
I had
the "Seven Beauties".
 
Do you understand me?
 
FRANCESCO:
No,
I don't understand,
but I believe it ...
 
PASQUALINO:
I'm not bragging,
women really like me,
or should I say
they really used to like me...
 
To tell the truth,
I haven't seen myself
in a mirror
in nearly two years.
 
So, then, seeing that I was
pretty ugly
in those days,
I am rather concerned
about how I look now.
 
                (Pasqualino
                is pathetic in his concern.
                                               
                Tears are beginning
                to fill his eyes.)
 
PASQUALINO:
How must I look
after all these years?
 
My teeth
are loose.
 
I can hardly
keep my eyes open.
 
I'm skin and bones
and I notice
my ass
is beginning to sag.
 
Please, Francesco,
take a good look at me
and let me have
your honest opinion.
 
                (Pasqualino raises his head
                and allows Francesco's wise look
                to assess
                the extent of the damage.)
 
FRANCESCO:
You really are
quite revolting;
I wouldn't bother!
 
                (Pasqualino is obstinate.)
 
PASQUALINO:
No, I've just got to try it ...
I want to live, Francesco,
I want to have children,
I want to see my children's children
and I also want to see
my children's children's children ...
 
                (Pedro's voice rises up
                from the lower bunk.)
 
PEDRO:
What's all this shit
you're going on about?
 
                (Pedro laughs.
                Pasqualino leans over
                and grabs the anarchist by his shirt.)
 
PASQUALINO:
You fucker, how dare you?
 
Who are you to make fun of me?
 
                (Francesco rushes over
                to split up the two.)
 
FRANCESCO:
Are you mad?
 
                (Pedro doesn't react,
                he just laughs
                and lets Pasqualino shake him.)
 
PEDRO:
I've got nothing against you personally,
but you really are talking a load of shit.
 
                (Pasqualino lets him go
                and crawls back into his corner.)
 
PASQUALINO:
Piss off!
 
PEDRO:
You see,
the more children you have
the more you speed up the end.
 
                (Francesco is interested
                by what the anarchist is saying.)
 
FRANCESCO:
In what way,
what do you mean exactly?
 
                (Pedro stretches out in his bunk
                and speaks gently.)
 
PEDRO:
In the thirteenth century
there were
five hundred million people
in the world,
in the fourteenth century
they were
double that number.
 
We are now
so shocked
by twenty or thirty million
dead,
but in the next
two or three hundred years
we are going to be
ten, twenty billion.
 
Then
you'll see,
every corner
of this earth
will be worse
than this camp!
 
Man will
start killing
for
a piece of bread,
whole families
will be wiped out
over
an apple.
 
Then
the world
will end.
 
                (Pasqualino and Francesco
                listen attentively,
                totally absorbed
                by what the anarchist is saying.)
 
PEDRO:
It's really
a shame
because
I believe in mankind.

A new type
of man
must hurry up
and appear ...
not the type of beast
which has
unbalanced the harmony
of nature up to now,
but
a civilized man,
a man
who would be able
to find
peace and harmony
within himself.
 
                (Francesco
                is surprised.)
 
FRANCESCO:
What are you saying?
 
That we must
put things
back in order?
 
PEDRO:
Order?
 
No, these barbarians
here
are very orderly ...
 
No, we need
the shadow of disorder.
 
That is
the only hope,
man
in disorder.
 
+++