Stop all the clocks, cut off the telephone
Stop all the clocks, cut off the telephone, Prevent the dog from barking with a juicy bone, Silence the pianos and with muffled drum, bring out the coffin, let the mourners come. Let aeroplanes circle moaning overhead Scribbling on the sky the message, he Is dead. Put crepe bows round the white necks of the public doves, Let the traffic policemen wear black cotton gloves. He was my North, my South, my East and West, My working week and my Sunday rest, My noon, my midnight, my talk, my song; I thought that love would last for ever: I was wrong. The stars are not wanted now: put out every one; Pack up the moon and dismantle the sun; Pour away the ocean and sweep up the wood; For nothing now can ever come to any good.
W. H. Auden
Stop all the clocks, cut off the telephone, Prevent the dog from barking with a juicy bone, Silence the pianos and with muffled drum, bring out the coffin, let the mourners come. Let aeroplanes circle moaning overhead Scribbling on the sky the message, he Is dead. Put crepe bows round the white necks of the public doves, Let the traffic policemen wear black cotton gloves. He was my North, my South, my East and West, My working week and my Sunday rest, My noon, my midnight, my talk, my song; I thought that love would last for ever: I was wrong. The stars are not wanted now: put out every one; Pack up the moon and dismantle the sun; Pour away the ocean and sweep up the wood; For nothing now can ever come to any good.
W. H. Auden
Taxi Driver was released on 8 Feb. 1976.
Writer Paul Schrader stated his influences and inspiration for the film:
“Before I sat down to write Taxi Driver, I reread Sartre’s Nausea, because I saw the noscript as an attempt to take the European existential hero, that is, the man from The Stranger [Camus], Notes from the Underground [Dostoevsky], Nausea, Pickpocket [Bresson], Le Feu Follet [Malle], and A Man Escaped [Bresson], and put him in an American context. In so doing, you find that he becomes more ignorant, ignorant of the nature of his problem.
Writer Paul Schrader stated his influences and inspiration for the film:
“Before I sat down to write Taxi Driver, I reread Sartre’s Nausea, because I saw the noscript as an attempt to take the European existential hero, that is, the man from The Stranger [Camus], Notes from the Underground [Dostoevsky], Nausea, Pickpocket [Bresson], Le Feu Follet [Malle], and A Man Escaped [Bresson], and put him in an American context. In so doing, you find that he becomes more ignorant, ignorant of the nature of his problem.
I wander among rosy shadows like a homeless god. The tears fall where I walk, the tears of one as hard as stone.
Edith Södergran, from The Instrument’s Lament
Edith Södergran, from The Instrument’s Lament
Tonight, utterly mad with this solitude.
Sylvia Plath, from a letter to Olive Higgins Prouty wr. c. September 1962
Sylvia Plath, from a letter to Olive Higgins Prouty wr. c. September 1962