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Anatoly Seleznev
Anatoly Seleznev

And Soon The Darkness



the darkness appears the further on is gone into the trees over timehow far does it extend and from where to where?the copse of trees that one stand of trees how much is known about it and who knows?




And Soon the Darkness



Two young British nurses bicycling through the desolate French countryside. A mysterious stranger on a lonely stretch of road. The women become separated and soon after, one of them disappears. Now the remaining girl, alone and frightened, begins an increasingly desperate search for answers among the strangely uncooperative locals.


Everyone has been on a trip to some strange part of the world, right? What if your worst fears came true? And Soon the Darkness, a 1970 British thriller directed by Robert Fuest, is being remade for American audiences. Set in Argentina, the film tells the story of two American girls on a bike-riding trip in a remote part of the country. When one of them goes missing, the other must find her before darkness falls and her worst fears are realized. The original was set in France and tackled the idea of how vulnerable a stranger in a strange land can be. Set to star as the two girls who go missing - Amber Heard and Odette Yustman.


9 1 R V E R K L Ä R T E N A C H T B R U C E B O N D The dawn of the age is an old tune just barely in d minor. You can go there, listen, hear what Arnold Schoenberg heard as he walked the block at midnight composing in his head. You can turn the page scarred with accidentals and feel the tonal constellations breaking down: stars pulled from one another, night from day, day from days before, and, behind the system, the beauty of the clear black glass. But the system remains. It gives blood to the corpus, a pulsing structure to the blood. To listen is to know half the music is never there, as the whole of a language lies elsewhere in an act of speech, or the screen lies low in exile, beyond the movie, invisible, blind, and nothing comes to light without it. A glow of promise gives each detail the darkness of an inner life. Without which mass has no gravity, starlight no contingency, no fiery nature, the warm slash chord no sternum to divide. The double-flatted and refused, they call to the transfixed who hear less the indictment of a practice than a facelift to its gods. Progress as numbed, sliced, needled, stitched. By angel of accident or grace, the unexpected aberration spreads to breed a culture of permission. A Mesmer, a Freud, a lust, an André Breton, an automatic method. They are in there if you listen, slit open by the long nocturnal scalpel of the strings. Clarity is never so clear as imagined. But the graves are opening. Mist is rising. A newly sharped voice-leading presses deeper into flesh. Schoenberg was in love, and in the heaven of a season 9 2 Y some call cloudy, others clear, he read a poem about a woman, shy, ashamed, pregnant by someone other than her lover. But the lover forgives her, and so this arc of stars across the reaches of d minor, these bone-inflected wings against the staves. Schoenberg was in love and soon would marry. Soon the wilderness of culture would get more poisonous. To every birth, the pain that leads an infant to its refuge, the exile to a home. If the poem made audible its anthem of forgiveness, it needed what forgiveness needs. Not amnesia but resistance. It needed to pull the thread of tension from this violin, that transgression. To recall just so much. Never more. After all, there was a child on the way, a room to prepare. There was a new life now, in whom the cry of nights to come opened to admit him. ...


But there is a shining light in this darkness: the European Humanities University (EHU), which started up in Minsk in 1992 and operated until closed by the regime in 2004. Since 2005, the EHU has been operating in Vilnius, where it prepares young people for a better future for their country. 041b061a72


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