In this issue, for example, you will find a text by Martin Heidegger, referring to the fact that "what we call creative, genius in a work does not come from the stirring up of emotions, nor are they ideas of the subconscious, it is a vigilant obedience to history, inherent in the pure freedom of the ability to listen."

Salvador Dalí, in turn, refers to his transformation through the merit of a single woman. He recalls the great Gaul who, "with the blessed saliva of her fanatical devotion, kneaded the shell of Bernard the Hermit to protect my tender nakedness. While in relation to the outside world I was taking on more and more the form of a fortress, inside myself I could continue to grow soft and super-soft. And the day I decided to paint a watch, I painted it soft." It is a memory of the "soft clock" and a time when "everyone felt that something wonderful must happen in Spain, something like the flood of the world, in which instead of a simple burst of water, it would rain archbishops, great pianos and donkeys in decay. A countryman from the neighbourhood of Figueras discovered the very phrase that described the anarchic state of the country: 'If the politicians go on like this, we shall come to the point that even if Jesus Christ himself came down to earth with a watch in his hand, he would not be able to tell the time!'

Emanuel Mandler
reflects on the theme of truth and courage in (or to) politics over J.F. Kennedy's Profiles in Courage. In Kennedy, Mandler finds that false courage is shielded by service to others and sacrifice for them; true courage grows out of an awareness of what one owes mainly to oneself. The one is pleasing and false, the other is scarce and does not bring the admiration of the masses.

In The Legends of Egon Bondy you will learn, among other things, where the ass is buried.

The dialogue of the Renaissance Cardinal Kusansky on the nature of faith and unbelief refers to the European tradition of an honest search for truth in conversation, even between two extreme positions, in a matter as fundamental as faith.

Bohumil Doležal, who is known to most as a political commentator with a sharp humour, writes about the poetry of Jan Zahradníček, his lasting comfort in God and his attempt to solve the basic problem - how to combine the historical optimism of the Christian tradition with the tragedy of personal destiny? Doležal, however, argues that this cannot be done through poetry. He accuses Zahradníček of adapting literary conventions as lived experience; he reproaches him with kitsch church propaganda and hopes that "the kitschiness of such poetry proves itself." He titles the article Consolation from Poetry?

The editors selected the poetry section from Bohuslav Reynek's last collection, Odlet vlaštovek (The Departure of Swallows), which the Communists no longer allowed to be printed, although it was already in print, as was the last issue of Tvář. Andrej Stankovič varied on Morgenstern.

Part of the philosophical treatise Cholupický sen (The Cholupic Dream) refers, through the corner text of the philosopher Ladislav Klíma, to a very original, radical and uncomfortable work. The importance of Klíma's persona is also evidenced by a well-known event - a trip of the editors of Tvář to Cholupice. The photo-collection is also evidenced by the participation of Václav Klaus, who also contributed a translation and a note on the possibilities of economics under socialism to issue 7/69.

In Faces, Aubrey Breardsley's black ink drawings are reproduced, which exude "a strained will for formal perfection, for a captivating 'new beauty' that manneristically accumulates and magically transforms, for an art that brings closer and makes more comfortable what is unknown and hidden, strange and terrible." Erotic illustrations for Oscar Wilde's Salome or Aristophanes' Lysistrata were rejected by Breardsley after his conversion and a year before his death.
Pavlína Bartonová 



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