Atget’s project to photograph a disappearing Paris, places him in the tradition of street photography and the flâneur, observing the city, preserving and capturing its details and subjects. His photographs capture a moment contained within the spaces of a Paris in flux. They capture the transitory, fleeting glimpses of courtyards, streets, shop windows, interiors and reflections.
The book captures the movement, the drift and passing of Wanda's life, directionless, without future, a wanderer. Reflected in its style, the book leaves a mystery at its heart, unanswered questions; the invisible and unaligned.
Leduc's attentiveness to her marginal subject, and the way she writes about the city reverberate with me. Like the transient figures in Jean Rhys's novels, she exists in the same fine line between inside and outside; and occupies the city as another layer of its movement. She exists side by side with the residents of the city, the passersby; and yet is so invisible. They only see her when she reaches out her hand to beg...
The fascination with snow, the blank page, the metaphors of discovery, of snow and ice, of mountains and icebergs, of movement through empty space. The epic struggle in the everyday, of being in ice.
Through Jean Rhys I am finding a way to write about prisons, and escape. The prisons we find ourselves in, and prisons of our own making.
On the Métro, I look at the signs listing the correspondances that connect to other lines, other stations. Correspondances seems a good way to describe it, and to introduce my section of notes on the books I read, or films and photographs that correspond to my own writing in some way, that correlate with my interests. I am thinking about meeting points, the points of connection to other lines, other destinations.