Friday, February 15, 2019

time travel to the shops in 2002


Pampered

anti-bacterial moisturising handwash





*

FLORENCE + FRED


get it together


*


Bench, Psycho Cowboy, Drunknmunky


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A deep family-style trolley full of bulging white bags. Only the French stick and a big packet of bread rolls need to travel exposed.


*



                                    [photo of Harry Potter type  reading a book of spells]

Low prices on books,

even when he graduates


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Osiris (skate shoes - extravagantly wide tongues, named designers)

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LENIUM

SELSUN

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Shopping

pots big x 5                 coke
new pots                      diet coke
carrots x 2                  olive oil
leeks x 2                      rice
onions x 2                   spaghetti
fine beans                   bread
mushrooms                rolls
                                    bolg. sauce
                                    chicken tonight
                                                - h + m
                                    meatball
                                                sauce
nurofen
tampax – reg.             kievs
                                    roast
                                    mince
snackajacks               stuffing balls
                                    juice
packed lunch              actimel
            stuff                parsnips
                                    dairylea
                                    meatballs
                                    cheese

                                    chicken

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B L U E   H A R B O U R

(accompanied by an oblong of blue and red on a black background, suggesting a nautical flag)

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Vodafone, O2, T-Mobile, Orange, Virgin Mobile

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Butter     Oats    Flaked almonds
Honey    Ground almonds     Lemon Juice



Serpentine Green, Peterborough 2002

[Image source: https://www.peterboroughimages.co.uk/wp-content/uploads/SerpentineGreen2002-004.jpg ]







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CLIMATE CHANGE -- OUR VIEW     (pamphlet in Esso service stations)

There is much concern today about man’s potential role in climate change, often referred to as ‘global warming’, and the long-term risk this may pose.

Man-made greenhouse gas emissions occur primarily from the burning of fossil fuels (coal, oil and gas). So we take climate change very seriously. There are still many gaps in the understanding of climate change, but it poses serious long-term risks and uncertainty is no reason for inaction.


Action is needed, but as greenhouse gases arise from everyday energy use, it is important that actions should address environmental concerns but not threaten standards of living or economic growth. A focus on new technology will be essential.

---

- Vigorous pursuit of energy efficiency. Saving energy reduces emissions.

- Promotion of carbon ‘storage’ through forestry and agriculture.

---

It is consistent with Esso’s longstanding commitment to the environment, reflected in our track record of leading our industry in introducing ‘cleaner’ fuels to motorists in the UK, our global record of excellent environmental performance and the recent confirmation by the international quality assessor Lloyd’s Register that our company is ‘among the leaders in industry’ in integrating environmental management into our business.

*



Thursday, February 14, 2019

the last word in Shakespeare

[York:]

Ah, hark, the fatal followers do pursue,
And I am faint and cannot fly their fury;
And were I strong, I would not shun their fury.
The sands are numbered that makes up my life....

(3 Henry VI, 1.4.22-25)

This post is about an ornament that shows up in early Shakespeare plays. It consists of making successive or nearly-successive lines end in the same word, e.g. 1.4.23-24 in the passage above.

It probably has some technical name that I don't know. (I don't feel like co-opting the rhetorical term epistrophe.) And it probably should be studied in the wider context of the early Shakespeare's fondness for patterns of word-repetition elsewhere (e.g. the beginnings of successive lines) . But for this post, we'll ignore that and stick to the line-endings only.

This ornament is quite different from identical rhyme in Chaucer and others. Identical rhyme requires two homonyms with different senses, whereas in Shakespeare the repeated words usually have the same sense.

Below are some quick counts from 1 Henry VI, 2 Henry VI , 3 Henry VI , and Richard III. They are not rigorous. I haven't investigated how reliable each reading is. I've ignored word-repeats when they are separated by more than one intervening line. I've also ignored them if the words are unstressed syllables. Some rhymes are moot so I've used my own judgment: in hindsight I probably should have included rhymes where one ends in -s and the other doesn't, but it's too late now. Anyway, my totals are:

         word-repeats   rhymes
1H6      20                   123
2H6:     18                   37
3H6      44                   48
R3        58                   51

The two devices are not used in the same way. Rhymes tend to clinch a speech or end a scene. Word-repeats often jump between speakers and suggest ongoing debate rather than a concluding cadence.

In viewing these figures, authorship specialists shouldn't get too excited. The plays differ widely; for example 1H6 has some fully rhymed scenes (mostly by Shakespeare, according to Vincent), 2H6 has quite a lot of prose, 3H6 has hardly any prose, and some scenes in R3 are very highly patterned.

Both word-repeats and rhyme are conscious devices, and Shakespeare (or whoever) employs them  in an artistic, intuitive way, so these wide variations in the totals probably aren't significant from an authorship point of view.



1 Henry VI

Lines ending in repeated words:

1.1.86-87 France
1.3.15-16 here/hear 44-45 face
1.5.4-5 thee
2.5.17-18,20 come 33-34 come
3.1.68-69 Winchester 147-148 not 168-169 blood 180,182 York 186-187 York 207-208 all
3.2.117,119 Burgundy
3.3.36-37 Burgundy 74-75 men
4.1.86-87 wrong
5.3.124,126 wife 178-179 Margaret
5.4.171-172 England
5.5.66-67,69 king

Rhymes:

1.1.33-34, 89-90, 146-147, 158-159, 179-180 (ends scene)
1.2.13-14, 86-87, 92-93, 115-116, 117-118, 133-134
1.3.43-44, 45-46, 53-54, 55-56
1.4.3-4
1.6.30-31 (ends scene)
2.4.17-18, 36-37, 69-70, 127-128, 134-135 (ends scene)
2.5.8-9, 76-77, 128-129 (ends scene)
3.1.193-194
3.2.138-139 (ends scene)
4.1.194-195 (ends scene)
4.2.55-56 (ends scene)
4.3.29-30, 31-32, 33-34, 38-39, 40-41, 42-43, 44-45,46-47, 53-54 (ends scene)
4.4.8-9, 38-39, 45-46 (ends scene)
4.5.16-17, 18-19, 20-21, 22-23, 24-25, 26-27, 28-29, 30-31, 32-33, 34-35, 36-37, 38-39, 40-41, 42-43, 44-45, 46-47, 48-49, 50-51, 52-53, 54-55 (ends scene)
4.6.2-3, 4-5,6-7, 8-9, 10-11,12-13, 14-15, 16-17, 18-19, 20-21, 22-23, 24-25, 26-27, 28-29, 30-31, 32-33, 34-35, 36-37, 38-39, 40-41, 42-43, 44-45, 46-47, 48-49, 50-51, 52-53, 54-55, 56-57 (ends scene)
4.7.1-2, 3-4, 5-6, 7-8, 9-10, 11-12, 13-14, 15-16, 17-18, 19-20, 21-22, 23-24, 25-26, 30-31, 32-33, 36-37, 38-39, 40-41, 42-43, 44-45, 46-47, 48-49, 50-51, 95-96, 98-99 (ends scene)
5.1.60-62 (ends scene)
5.2.4-5, 19-20
5.3.58-59, 85-86, 108-109, 116-117
5.4.159-160
5.5.77-78

2 Henry VI

Lines ending in repeated words:

1.1.185-186 Protector 212-213 land
1.2.103-104 broker
1.3.136-137 law
2.2.49-50,52 son 67-68 king
2.3.32-33 realm
3.1.6,8 himself 105,107 France 241-242 life 266-267 deceit 274,276 priest
3.2.62,64 groans 299-300 Suffolk 369,371 thee
5.1.43-44 prisoner 185,187 oath 212,214 bear

Rhymes:

1.1.221-222, 270-271 (ends scene)
2.1.173-174, 175-176, 201-202, 203-204, 209-210, 211-212, 217-218 (ends scene)
2.3.35-36, 37-38, 39-40, 45-46, 47-48
3.1.203-204, 222-223, 302-303, 328-329, 387-388 (ends scene)
3.2.224-225, 309-310, 427-428 (ends scene)
3.3.25-26
4.1.83-84
4.2.141-142, 179-180
4.4.48-49
4.7.99-100
4.9.50-51
4.10.23-24
5.1.217-218, 219-220 (ends scene)
5.2.29-30, 71-72, 73-74, 89-90 (ends scene, apart from a half-line)
5.3.33-34 (ends scene)

3 Henry VI

Lines ending in repeated words:

1.1.13-14 blood  79-80 crown 102,104 crown 114-115 head 131,133 king 144-145 crown
1.4.23-24 fury 161-162 tears
2.1.4-5 news 25-26 suns/sun 52-53 Troy
2.2.131-132 right 153,155 day
2.3.33-34 thine
2.5.5,7 sea 6,8-9 wind 86-87 heart 104,106,108 satisfied
2.6.25-26 pity 71-72 faults
3.1.64,66 content
3.2.38,40 good 88-89 queen 97,99 queen 171-172 crown
3.342-43 sorrow 53-54 amity 78,80 queen 139-140 king 201-202 friend 207,209 him 239-240 loyalty
4.1.39-40 itself 41-42 France
4.2.24-25 him
4.3.60,62 do
4.6.26-27 virtuous 82,84 him
5.1.4-5 Montague 31,33,35 gift
5.2.7-8 shows
5.5.56-57 child 73-74 do it
5.6.13-14 bush

Rhymes:

1.1.8-9, 223-224
1.4.107-108
2.1.116-117, 122-123, 186-187
2.2.61-62, 173-174, 176-177
2.5.10-11, 19-20, 121-122
2.6.29-30, 109-110 (ends scene)
3.2.107-108, 109-110, 194-195 (ends scene)
3.3.19-20, 36-37, 127-128, 163-164, 231-232, 254-255, 264-265 (ends scene: a half-rhyme (misery/mockery))
4.1.104-105, 110-111, 147-148 (ends scene)
4.3.58-59
4.4.14-15, 23-24, 34-35 (ends scene)
4.5.28-29 (ends scene)
4.6.14-15,16-17, 30-31, 75-76, 87-88, 99-100, 101-102 (ends scene)
4.7.38-39, 71-72, 86-87 (ends scene)
4.8.60-61
5.2.27-28
5.5.39-40
5.6.90-91, 92-93 (ends scene)
5.7.45-46 (ends scene)

Richard III

Lines ending in repeated words:

1.1.29,31 days 55-56,58 'G' 105-106 obey
1.2.60-61 unnatural 62-63 death 80,82,84-85,87 self 124-125 effect 134-135 life 141-143 husband
1.3.54-55 grace 66-67 self 76-77 need of you 142-143 world 147-148 king 154-155 Queen thereof 159-160 me 197-198 king 199-200 Wales 250-251,253 duty 292-294 him
1.4.228-229 weep
2.1.36-37 friend 48-49 day
2.2.72-73 Clarence 74-76 gone  77-79 loss 82,84 so do I
2.4.9-11 grow
3.1.49-50 place 53-54 there 79,81 long 113-114 give 128-129 me
3.4.79-80 me
4.1.102-103 well (ends scene)
4.2.70-71 enemies 75-76 them
4.4.40-46 kill him / kill'd him 63-64 Edward 95-96 thee 140,142 crown 218-219 destiny 257, 259 soul 284-285 way 350,352 last 392,394 age 410-411 but by this 452,454 go 483-484 north 502-503 arms
5.3.83-84 mother 127-128 despair and die 189-191 myself 197-199 degree 203-204 myself 253-254 enemy 266,268 attempt
5.4.7-8 horse

Rhymes:

1.1.39-40, 56-57, 58-59, 64-65, 75-77, 83-84, 99-100, 161-162 (ends scene)
1.2.267-268 (ends scene)
1.3.9-10
1.4.82-83, 247-248, 272-273 (ends scene)
2.4.14-15
3.1.93-94
3.4.106-107 (ends scene)
3.6.13-14 (ends scene)
3.7.2-3, 103-104, 220-221
4.2.63-64, 121-122 (ends scene)
4.3.54-55, 56-57 (ends scene)
4.4.15-16, 20-21, 24-25, 103-104, 114-115, 124-125, 130-131, 166-167, 168-169, 170-171, 195-196, 210-211, 395-396
5.1.28-29 (ends scene)
5.2.23-24 (ends scene)
5.3.17-18, 150-151, 156-157, 166-167, 172-173, 174-175, 176-177, 183-184, 270-271, 305-306, 313-314
5.5.38-39, 40-41  (ends scene)

The Taming of the Shrew

Lines ending in repeated words:

1.1.213-214 Lucentio
1.2.74-75 Padua 97,99 Minola 157-158 it is 172-173 prove
2.1.141-142 pale 187-188 Kate 200-201 and so are you 207,209 buzzard 230,232 sour 275-276 Kate 376,378 argosy

Rhymes:

Induction.2.116-117
1.1.3-4, 64-65, 68-69, 70-71, 158-159, 166-167
1.2.11-12, 17-18, 34-35, 173-174, 187-188, 212-213, 227-228, 229-230, 243-244, 278-279 (ends scene)
2.1.73-74, 239-240, 325-326, 328-329, 332-333, 339-340, 341-342, 404-405

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Monday, February 11, 2019

Ice



Ulla-Lena Lundberg is a Finland-Swedish author. Is was published in 2012. The English translation, by Thomas Teal, came out in 2016.

The novel is set on the Örlands (a made-up name, I think), one of the many groups of tiny islands to the east of the main Åland mass. (The Åland islands are part of Finland, but are almost exclusively Swedish-speaking.) It begins in May 1946, with a young priest and his family arriving to take up the vacancy. That's really all I want to say, it's a book to be shared but not written about. Here's a typically low-key, almost inert, registering:

*

Every day it changes a bit -- more hay, less grass -- but what hay! The sea level is still low, the sun shines, there is a light breeze. A dry spell so perfect that Mona ventures out after only two days to start turning the windrows, in the afternoon when the hay on top is completely dry. The windrows are so light and fine that it's a joy to let the breeze help as she turns them with her rake. At times the windrows seem to turn themselves. She walks beside the verger's Signe, who works the neighbouring row. It's not heavy work and they talk as they go, about the animals and their hope that the weather will hold and folks will finish their haymaking well before they start getting ready for the herring fishery. Signe tells her how it used to be, when they all went off to the fishing camps and stayed until well into September. She talks more than she could have in the verger's company, and before the day is over, the hay is turned and the smell has changed -- more barn, less heaven. Both of them are pleased and sweaty. "Almost makes you want to jump in the sea, if it weren't for all those sailboats," says the pastor's wife. But Signe says that you jump in the sea if you want to kill yourself. Otherwise you wash in the sauna!

For the next few days, Mona is deeply nervous. She runs around doing her chores and suddenly stops to look at the sky. This strangely beautiful weather can't last, it's only natural for the sea level to rise a bit at the shore, it's starting to get cooler and there are banks of clouds above the outer skerries. Everyone who came to church on Sunday was astonished that the pastor's hay was already mown. If it rains on the hay now, everyone will say that they were in too great a hurry. She passionately wants to show them that this is the time to cut grass, not when the hay is overgrown, and with all her might she tries to keep the clouds away. "Stay out there!" she commands them silently. "Don't you dare come in over these islands!"

The verger, who is her friend and admirer, states with all his authority that the granite is now so warm that the rain will go around it. "Even if it rains at sea, that doesn't mean it will rain on land." He is wise and experienced, no nonsense about God's will. Why would he want it to rain on her hay! She walks down to the meadow one more time to check. If it doesn't rain, it needs only one more day. At least one, because the humidity is higher now and the hay is drying more slowly. She noticed that with the laundry she hung out.

*

Petter and Mona are incomers, and their attempts to connect with the Örlanders, both their success and the inevitability of failure, is the bread-and-butter of the book. This provisionality gradually develops a more cosmic dimsension.

They live on the small "church isle", in the centre of the group. A rivalry exists between the east villages and the west villages. In summer you get about by boat; in the winter, the Örlanders are connected by sea-ice.


[As usual, I label Finland-Swedish literature under both national traditions, since Finland-Swedish literature (being in Swedish) is so widely read in Sweden.]


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Hugo Alfvén



Mainly due to people asking me what I want for my birthday, I've managed to build up quite a stock of music by the Swedish composer Hugo Alfvén (1872 - 1960). I'm not much good at writing about classical music, but this post gives me a chance to arrange the various pieces on these CDs into chronological order. They are all either orchestral or for chorus and orchestra.

Symphony No. 2 in D major, Op. 11 (1898-1899)

At the time this was the most ambitious Swedish symphony. At this date Alfvén was not so far behind the musical developments of other European traditions: it's late romantic, chromatic, and Alfvén brought a new virtuosity of orchestral handling into Swedish music (comparisons with Strauss don't really do him much service, though). There's a slight lack of balance: the first, third and fourth movements hang together as a fine medium-to-bold symphony, but the long second movement aims at being positively heroic, or should I say Eroic?

Vid sekelskiftet (At the Turn of the Century), Op. 12 (1899)

Cantata for soprano, choir and orchestra, with text by Erik Axel Karlfeldt. Very enjoyable!

Klockorna (The Bells), Op. 13 (1900)

A rather dramatic ballad for baritone and orchestra. (Text by Frithiof Holmgren)

Midsommarvaka (Midsummer Vigil), Op. 19 (Svensk rapsodi nr. 1) (1903)

Doubtless the best-known piece of Swedish classical music outside Sweden, this is an irresistible popular piece, book-ended by folk-dances with a serene Nordic night between.

En skärgårdssägen (Legend of the Skerries), Op. 20 (1904)

Stormy tone-poem depicting autumn night on the skerries. (To some extent intended as a contrast to the preceding piece.)  Probably my single favourite piece by Alfvén: everything develops so naturally and inventively from the opening calm. The composer has such a stock of good ideas in these early years, and his orchestral skills make for very satisfying elegant pieces... Scandinavian-design sofas and shelving units.

Alfvén was very fond of messing about in the Stockholm archipelago (the skerries). The locale also inspired his Symphony No. 4.

Symphony No. 3 in E major, Op. 23 (1905-06)

Alfvén's sunniest symphony, written in Italy and in love. Very attractive and enjoyable. I would say more if I didn't seem to have lost the CD. (When I opened the case, I found Act I of Aida instead.)

Uppsalarapsodi (Uppsala Rhapsody), Op. 24 (Svensk rapsodi nr. 2) (1907)

A charming and cheerful piece based on students' songs, evidently recalling Brahms' Academic Festival Overture, but much less elaborately composed. The luminous colours make some atonement for that.

Kantat vid Reformationsfesten i Uppsala 1917 (Cantata for the 1917 Reformation Festivities in Uppsala), Op. 36 (1917)

The text for the final section (Luthers hammare) is by Karlfeldt. Its late arrival meant that Alfvén wrote a stark and dramatic arrangement, in effective contrast to the more elaborate choral writing of the first two sections.

Symphony No. 4  in C minor "Från havsbandet" (From the Outermost Skerries), Op. 39 (1918-1919)

To some this is his greatest work, along with the ballet Bergakungen (see next). His first three symphonies had been easy to enjoy as symphonies. In this case the four movements flow together and all share the same melodic material. It's a symphony that's trying to be a large-scale tone poem, including sections with two wordless voices and a sort of skeletal narrative.

"My symphony tells the tale of two young souls. The action takes place in the skerries, where sea sea rages among the rocks on gloomy, stormy nights, by moonlight and in sunshine . . . the moods of nature are no less than symbols for the human heart."

 I find these two quite different forms difficult to meld in my head while I'm listening. Harmonically it's his most "advanced" work, reminding me of Scriabin sometimes.

whelm   reproach    4
  beach    hull
then   arose   cliff
 hall      shake   wrack
weeps the arm stretch
tendrils mutiny
we cried      we kissed
  tempest     autumn
farewell

Suite from Bergakungen (The Mountain King) (1916-1923)

Alfvén worked on the ballet pantomime Bergakungen (Op. 37) from 1916 to 1923. This concert suite has just four pieces; the breakneck Vallflickans dans (Herdmaiden's Dance) is one of his most popular pieces, often performed separately.

Dalarapsodi (Dalecarlian rhapsody), Op. 47 (Svensk rapsodi nr. 3) (1931)

The last of the three rhapsodies, a comparatively melancholy piece, based on Dala folk melodies from the area north of Lake Siljan. Alfvén outlined a program (a shepherdess's memories and thoughts, returning with a crash to present melancholy). The composer, though born in Stockholm, made his home in Dalarna for much of his life.

Elegy from "Gustav Adolf II", Op. 49 (1932)

Written for the play "Vi" by Ludvig Nordström, later part of a suite called "Gustav Adolf II", but this Adagio is often performed on its own. The motif of two falling chromatic seconds also occurs in the 4th Symphony (the young man's theme).

Festival Overture, Op. 52 (1944)

A triumphal piece for a popular audience.

Symphony No. 5 in A minor, Op. 54 (1953...)


I can't help thinking about Sibelius 8. That of course was abandoned/destroyed.  Some might think that Alfvén should have done the same with this, but I'm so glad he didn't because it is fascinating. It was performed in 1953, but the ageing composer still wasn't satisfied and withdrew it for further tinkering. The first movement is an impressive charred slab of what Alfvén does, but more chromatic, dominated by a descent of three semitones ("det minst dåliga jag gjort"..."the least terrible thing I have produced"). Here, as in the other movements, it may strike you that the symphony is eking out quite a small stock of melodic material (and even so, some of it is recognizable from earlier works).The idea of being trapped, of being caught in the workings of a clock; we experience this at the same time as quite different emotions. The third movement has a sarcastic motif like a joke that continues to turn out wrong; the second movement is understatedly beautiful, the fourth tries to be an optimistic celebration; but nothing is quite what it seems. No point in listening to it with a furrowed brow, and when I set out to just enjoy each movement for its colour and its simplest aspirations, then that's when the experience is most worthwhile. (Assuming that private listening to old-fashioned music is ever worthwhile: a moot point.)

Concert suite from Den förlorade sonen (The Prodigal Son) (1957)

The ballet was based on folk pictures of the biblical parable. Alfvén at 85 was unable to compose a complete ballet from scratch (I don't think it was given an Opus number). He re-used some pieces of earlier music as well as adding new material based on folk melodies, which is what we get in the very attractive concert suite. The polka and final polska are a delight.

There's some inconsistency about the names of the seven sections. These are the most complete ones I can find.

1. Gånglåt från Leksand — Sonens gånglåt
2. Polska från Orsa
3. Drottningens av Saba festmarsch
4. Polketta
5. Steklåt
6. Polka från Roslagen
7. Final: Polska




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Wednesday, February 06, 2019

Swedish/English idioms

A frozen Lake Mälaren



As I've mentioned before, I'm half-Swedish but have always lived in England. (A matter of significant regret right now, as I've got no chance of qualifying for a Swedish passport.)

Anyway, the upshot is that I'm apt to regard English culture as a bit mundane and, on the contrary, to idealize Swedish culture because it reminds me of childhood memories and holidays. It's therefore been a salutary experience, now that I'm making a daily effort to read the news in Swedish, to discover that the two languages share many of the same idioms and clichés.

A Swedish politician is as likely to slip on a "bananskal" as an English one on a banana-skin.

The pithy phrase "slowly but surely" is in Swedish the equally pithy "sakta men säkert".

Words used in the same figurative way in both languages:

Hörnsten: cornerstone
Målat in sig i ett hörn: painted her/himself into a corner
Grönt ljus: green light
Gör sig hemmastadda: make her/himself at home
Ett steg längre: one step further
Lämna stafettpinnan vidare: hand on the baton
Klämtade klockan: the bell tolled
Tappa mark: lose ground
Banérförare: flag-bearer, standard-bearer
Tummen ner: the thumbs down

And finally, it isn't just British politicians who say this:

Det är helt oacceptabelt att resenärer drabbas så fort det blir lite vinterväder.
It's completely unacceptable that travel is disrupted as soon as there's a bit of winter weather....

What classes as "a bit of winter weather" might vary between the two countries, but the sentiment remains the same!


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Tuesday, February 05, 2019

Free Reality Street PDFs





That essential but now sadly defunct poetry publisher Reality Street Editions has announced that eleven of its out of print titles have been made available as free downloadable PDFs. You can get them from the Reality Street front page (towards the bottom, on the right!)

http://www.realitystreet.co.uk/

The eleven happens to include two of my favourite books, Ken Edwards' eight + six and Carol Watts' Wrack -- I've touched on both of them here.

https://michaelpeverett.blogspot.com/2017/02/ken-edwards-book-of-sonnets.html

https://michaelpeverett.blogspot.com/2017/08/pre-van-trip-gallimaufry.html

https://michaelpeverett.blogspot.com/2017/03/undercliff-rock-and-shore.html

Today, however, I'm more interested in the books I bought but never managed to get into, Fanny Howe's O'Clock and Emergence .

Discovering a new poet is not usually a matter of love at first sight, at least that's my experience. Many arid and bad-tempered hours of reading usually precede the moment when something happens... or rather, when I become aware that something has happened. So it was with Ken and Carol, and with Andrea Brady, and Drew Milne. My initial feeling about all these now-beloved poets was at best sulky, critical, resentful. I positively disliked Drew's poetry (I recall that it was the Australian writer Alison Croggon who first put a different idea in my head). At this early stage of reading I certainly was not on board with the program -- but I kept on reading, and that's the thing. Of course I believe that all books of poems are good, but how long will I have to keep on reading  (and stopping reading, and thinking, and trying again), before I can see it... will I be able to sustain the effort?

And what is it that happens, when it happens? It isn't so simple as re-reading a poem and suddenly liking it or suddenly understanding it.  Not in these sorts of poetry. The thing that clicks is more something about the project as a whole. It's not that I understand the project either. But  there's at any rate something I get, the geography of the page has become meaningful, I have guesses about where the poet is trying to go and the places they keep returning to, my vision of their individuality as a poet is more distinct, perhaps I'm even beginning to move to the music. All of these formulae are analogical. And so is this one: Every poem makes a statement and now I can hear it being made, though I still don't know what it is.

A great deal of serendipity attaches to this matter of getting into a modern poet's work. I gave up on Fanny's two books, but now I've been given a second chance. I look at them and seem to know them, but better than I did; as if after all I've been reading them the whole time.


Two from O'Clock (a sequence of short poems written while in Co. Monaghan and on the road in the UK)


7:15


Every task works its way to infinity.
But blue eyes don’t make blue sky.

Outside a grey washed world, snow all diffused into steam
and glaucoma. My vagabondage
is unlonelied by poems.

Floral like the slow-motion coming of spring.

And air gets into everything.
Even nothing.



14:15


I f you mess up, run to the west
and hide in its sunset.

P retend invisibility
can be opted for

w hen it’s everywhere
until you want it.

I f you need to get lost, go underground.
T here you grow strong and fertile as a slum.




From "Alsace-Lorraine" (in Emergence):



The fancy they builded had many,
had fancy, many mansions once,
but no room in, each one full
     “All in the head” as celestial
mansions be
Now of that collection only an image stays, dazzle
in a traveling surface
Can also hit their hearts by a ballet or Monet
but never build again, outside the house of art.


She wants to find a really lonely village
     set off, see
in a shade of day lily      this bitter sensation
and early morning dense misting
     White iron where spirits’ll meander, the gone
ones she can’t believe in
leaving her, the way they hang her heavy head,
     as sculpture, still
saying nothing of the truth’s ill tense.



Steven Toussaint's review of Emergence:
https://jacket2.org/reviews/fanny-howes-revelation
Maureen N. McLane on Fanny Howe (considers, among other poems, O'Clock and "Alsace-Lorraine")
http://bostonreview.net/fanny-howe-song-and-silence-maureen-mclane






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Friday, February 01, 2019

single use

Stack of single use cups (Wild Bean Cafe, Christmas 2018)
The single use cup is one of the defining products of our era. Walking down a street, hot drink in hand... It's our new hearth, the provider of essential warmth and comfort but without contradicting our longing to be mobile and possession-free.

And I suppose it will be around for quite a bit longer yet, despite concerns about waste, recyclability, and carbon footprint. The cups shown here are Christmas specials, prettier than the standard disposable cups at other times of year. In Islamic countries the big coffee chains issue similarly decorative cups during the nights of Ramadan.

There were news stories a couple of years ago about the cups being unrecyclable, because they have a thin layer of plastic bonded to the cardboard. For years we had been chucking them in cardboard recycling -- apparently that was wasted effort. Somerset waste facilities now have a separate bin for the cups, along with other plastic-bonded items such as milk and juice cartons. I suppose they're now properly recycled, though I  wonder if that involves packing them off to questionably-monitored facilities in foreign countries (a subject much in the news recently).

Costa say they'll recycle any single-use cups you hand in at their cafés.

Meanwhile, there are some efforts to make us addicts switch to using our own re-usable cups. One of our local chains, Boston Tea Party, has stopped issuing single use cups altogether. (Waitrose cafés have done the same.)

Another local chain, Coffee #1, provides fully compostable single use cups. You'll also get a 25p discount if you bring your own re-use cup. Most of the big coffee chains offer a similar incentive. Pret A Manger (50p), Starbucks (25p*), Costa (25p), Greggs (20p). Caffè Nero don't discount the drink itself, but they do give you a double stamp on your loyalty card, which I reckon equates to about 25p.

*Starbucks also charge an extra 5p if you want a single-use cup, so they could argue you're "saving" 30p.

So what about the carbon footprint? Common sense would say that all those cardboard cups in landfill are locking up a lot of carbon that will take many years to be released, so maybe that's a good thing? But carbon dioxide is also released during the manufacture of the cups. What about the emissions from manufacturing plastic, porcelain and stainless steel re-usable cups? I can't help wondering about all the re-usable cups that are purchased and then never, or hardly ever, re-used.... And what about the emissions from washing-up machines? These are difficult sums. And behind all such ruminations comes the thought that really what's required is to go to less cafés, drink less tea... live a little less.

Anyway, things may be different in the metropolis but here in peripheral Britain I still don't see that many people handing over re-use cups to be filled. I've become one of them in the past year. I'm sticking with it, though frankly it's not ideal. Carrying my cup wherever I go is boring. Washing it up properly between each drink is often impractical. Tea in my re-use cup never tastes quite as good as tea in a single-use cup.

*

Anyway it seems there's still a place in the world for our planned booklet (one of many), 100 Uses for a Costa Cup.

The first of those uses is making more hot drinks in it. While travelling through Europe last summer, we must have got forty drinks out of each one before it finally fell apart.

You can also use them to eat food out of... Muesli, soup...

If you fold over the top, you have a crush-proof container for, say, a slice of cake.

Or for food waste, or nuts, or sea-shells. Or, uncrushed, to drop screws and other small things inwhile you're doing some car maintenance. Or a pen holder, a tissue dispenser, a coin pot.

One cup jammed inside another to make a leak proof disposal container for e.g. oil, baby-wipes.

The property of being squeezable to varying degrees. Hence, a flattened cup to correct a wobbly table. As valueless bulk for packing. To protect a fragile item in a parcel. A separator to stop furniture items rubbing together. (A stack of cups to space large items.)

An impromptu vase for flowers and grasses. An ashtray.

A subject of known size in a photo or drawing.

A mould, a pastry-ring. A prop when acting. In children's games (almost as versatile as a cardboard box).

A good scoop for water or sand.





Re-use cup and single use cup (Caffè Nero, Christmas 2018)

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