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Witold and Rita Gombrowicz with Psina
"Too much traffic"
In fact, a surprising amount of the Bond story was true. The first “C”, as the head of MI6 is known, was Mansfield Smith-Cumming who – like Bond – was a Royal Navy commander when he started his new career. Cumming, whose name was shortened to C to protect his identity, was a particularly tough bird. Trapped by his car after it ran into a tree in wartime France, he hacked off his leg with a penknife in an attempt to save his dying son.And along similar lines, I read a most delightful novel this weekend while laid low with a bronchial ailment (still fairly under the weather, I'm afraid): Charles Stross's The Atrocity Archives. Absolutely delightful! Len Deighton-H. P. Lovecraft mashup, with rather entrancing mathematical and computational asides--pretty much the perfect light reading, my highest compliment for any book...
Compton Mackenzie, a secret service officer during the first world war, described how Cumming gave him the swordstick he had taken with him on spying expeditions to Germany before the war. “That’s when this business was really amusing,” Cumming told him. “After the war is over, we’ll do some amusing secret service work together. It’s capital sport.”
As on most Morthanveld ships, the water was generally kept as clean as desirable by fixed and static scrubbing units; nevertheless, the fact was that the bait species and accrescent flora the Morthanveld liked to feed on needed water with nutrients in it, and the Morthanveld themselves regarded having to visit some special place to relieve oneself of waste as the mark of a species insufficiently at home with itself. Or gas-breathing, which was almost as embarrassing.
The water they lived, swam, worked and played within, then, was not perfectly unclouded. However, it was always plasant to have a clear view, especially in such a vast space.
The Morthanveld very much approved of themselves, and the larger the numbers of their kind there were present, the more self-approval they felt. Being able to see the hundreds of millions of their fellows a Great Ship normally carried was generally regarded as an extremely good thing, so rather than rely on their naked eyes to see their way round a space as vast as that of a Great Ship's interior, they used thin-film screens covering their eyes to present them with the view they'd be able to see had the water been perfectly clear.
Djan Seriy had decided to adopt the same strategy and so swam with a modified thin-film screen over her own eyes. She moved through the water in a dark suit like a second skin. Around her neck was what looked like a necklace made of fluttering green fronds; a gill arrangement that provided oxygen to her nose through two small transparent tubes. This was somewhat ignominious to her, as with her old upgrades her skin would have ridged and puckered over whatever area was required to absorb the gases she needed straight out of the water.
The thin-film screen was stuck across her eyes like a flimsy transparent bandage. She had switched off her blink reflex; the alternative was to let the screen bulge out far enough for her to blink normally, but the air-gap introduced unwanted distortions. The screen provided her with the virtual view of the real space, showing the cavernous semi-spherical spaces of the Great Ship like some staggeringly vast cave system.
She could have patched directly into the ship's internal sensory view to achieve the same effect, or just swum with her own senses and not bothered with the greater, seemingly clear view, but she was being polite; using the thin-film screen meant that the ship could keep an eye on her, seeing, no doubt, what she could see, and so knowing that she wasn't getting into any Special Circumstances-style mischief.
...
Djan Seriy powered up and to the left to avoid a fore-current, found a helpful aft-current, curved round a set of long, bulbous habitats like enormous dangling fruits and then struck out towards a tall bunch of green-black spheres each between ten and thirty metres across, hanging in the water like a colossal strand of seaweed. She switched off the prop unit and swam into one of the larger spheres through a silvery circle a couple of metres across and let the draining water lower her to the soft, wet floor. Gravity again. She was spending more time aquatic than not, even including sleeping, as she explored the huge space vessel. This was her fifth day aboard and she only had another four to go. There was still much to see.
Her suit, until now coating her body as closely as paint, promptly frizzed up, forcing the water to slide off and letting it assume the look of something a fashionable young lady would choose to wear in an air-breathing environment. She stuffed her necklace gill into a pocket and -- as the suit's head-part flowed downward to form an attractive frilled collar -- flicked one earing to activate a temporary static field. This sorted her hair, which was, today, blonde. She kept the thin-film screen on. She thought it looked rather good on her; vaguely piratical.
And indeed, my dear, I know not how to forbear writing. I have now no other employment or diversion. I must write on, although I were not to send it to anybody. You have often heard me own the advantages I have found from writing down everything of moment that befalls me; and of all I think and of all I do that may be of future use to me—for, besides that this helps to form one to a style, and opens and expands the ductile mind, everyone will find that many a good thought evaporates in thinking; many a good resolution goes off, driven out of memory, perhaps, by some other not so good. But when I set down what I will do, or what I have done on this or that occasion; the resolution or action is before me, either to be adhered to, withdrawn or amended; and I have entered into compact with myself, as I may say; having given it under my own hand, to improve rather than go backward, as I live longer. (p. 483)
Subject: Lou Aronica BBC Nightmare (*)(+)It's an extraordinary story, make sure to watch the clips (especially the fight scene!)...
"Just like _Watership Down_... only with BADGERS!"
http://news.bbc.co.uk/2/hi/science/nature/7242930.stm
My favorite place where I eat dinner three times a week is Plataforma — it is where I eat. I get a scallop potato, sushi, salad. They bring out all these little fried bananas, broccoli, cheese bread, and stuff, but I don’t fill up on that. These dudes walk around and cut meat on your plate — it’s like what Caligula used to live like. They come with dead animals on a stick and just feed you. I’ll have a sausage, a piece of chicken, a slice of garlic steak… You gotta fight to get some lamb chops, but it’s always worth it. I’m a big buffet dude, or I’m a big cheap-food-and-order-more-when-I-need-it dude.
How old are the readers of The Daring Book for Girls supposed to be? Old enough to be fascinated by the periodic table, sleepover parties and the Heimlich manoeuvre. Not so old that they will be too busy drinking alcopops to make a willow whistle or play jacks – although learning French terms of endearment and how to put your hair up with a pencil are handy at any age. Definitely under 19, up to which point, apparently, it is possible to ignore boys.Hmmm, I feel developmentally stunted, I never learned to put my hair up with a pencil...
The section on Boys goes on to explain that “boys are people”, and that for those who haven’t managed to ignore them it’s essential to remember “if a boy doesn’t like you the way you are, the problem is him, not you”. Adding, for balance, “don’t try to make a boy change for you – it’s important to appreciate people for who they are”. Oh, I foresee terrible repercussions for both sexes if they are really persuaded by this; an epidemic of niceness draining whatever passion the alcopops have allowed to remain.
As a child, I was fascinated by patterns, starting with the patterns in our house — the square colored floor tiles we had on the porch, the tessellation of small pentagonal and hexagonal ones in the kitchen; the herringbone pattern on the curtains in my room, and the pattern on my father’s check suit. When I was taken to the synagogue for services, I was more interested in the mosaics of tiny tiles on the floor than in the religious liturgy. And I was fascinated by a pair of antique Chinese cabinets we had in our drawing room, for embossed on their lacquered surfaces were patterns of wonderful intricacy, patterns on different scales, patterns nested within patterns, all surrounded by clusters of tendrils and leaves.
These geometric and scrolling motifs seemed somehow familiar to me, though it did not dawn on my until years later that this was because I had seen them not only in my environment but in my own head, that these patterns resonated with my own inner experience of the intricate tilings and swirls of migraine.
Much later still, when I first saw photographs of the Alhambra, with its intricate geometric mosaics, I started to wonder whether what I had taken to be a personal experience and resonance might in fact be part of a larger whole, whether certain basic forms of geometric art, going back for tens of thousands of years, might also reflect the external expression of universal experiences. Migraine-like patterns, so to speak, are seen not only in Islamic art, but in classical and medieval motifs, in Zapotec architecture, in the bark paintings of Aboriginal artists in Australia, in Acoma pottery, in Swazi basketry — in virtually every culture. There seems to have been, throughout human history, a need to externalize, to make art from, these internal experiences, from the decorative motifs of prehistoric cave paintings to the psychedelic art of the 1960s. Do the arabesques in our own minds, built into our own brain organization, provide us with our first intimations of geometry, of formal beauty?
Bath chaps (breadcrumb-coated pig cheeks); Bakewell puddings; Eccles cakes; Yarmouth bloaters (smoked and salted herring); Grasmere gingerbreads; Dundee cake; Carmarthen hams; Wensleydale cheeses; Huntingdon fidget pies (apple and bacon); Tewkesbury mustards; Pershore plums; Cumberland rum nickies (sticky tarts); Hereford perry (cider); Blackpool rock; Whitstable oysters; Oxford sausages; Yorkshire curd tarts[.]
Forgive me, my dear friend, breaking into my story by these reflections. Were I rapidly to pursue my narration, without thinking, without reflecting, I believe I should hardly be able to keep in my right mind, since vehemence and passion would then be always uppermost; but while I think as I write, I cool, and my hurry of spirits is allayed. (Clarissa Harlowe to Anna Howe, Letter 78)
Chilled or frozen semen is collected from a stud dog egged on by a “teaser” female in heat, a practice similar to what is used in horse breeding. Once the sample is received, it is injected into the female or implanted into the female’s cervix, said Bill Truesdale, a veterinarian who owns the International Canine Semen Bank franchise in Seekonk, Mass.
In Seekonk, stud fees run from $800 to $1,500, depending on the qualities, merits and rarity of the breed.
“The advantage to frozen semen is storing it forever, but the problem is, once you thaw it, the active motility is 12 hours, so we have to make sure the bitch is fertile,” Truesdale said.
Truesdale’s bank holds more than 1,000 cryogenically frozen samples. About half are derived from deceased or now-sterile dogs, including a few collected from a golden retriever 21 years ago and 40 from his boxer Biff (Ch. High-Tech’s Arbitrage), who was profiled in the New Yorker in 1995.
I have been frighted out of my wits--still am in a manner out of breath--thus occasioned--I went down under the usual pretence in hopes to find something from you. Concerned at my disappointment I was returning from the woodhouse, when I heard a rustling, as of somebody behind a stack of wood. I was extremely surprised: but still more, to behold a man coming from behind the furthermost stack. Oh thought I, at that moment, the sin of a prohibited correspondence!
In the same point of time that I saw him, he besought me not to be frighted: and still nearer approaching me, threw open a horseman's coat: and who should it be but Mr Lovelace! I could not scream out (yet attempted to scream, the moment I saw a man; and again when I saw who it was) for I had no voice: and had I not caught hold of a prop, which supported the old roof, I should have sunk.
I had hitherto, as you know, kept him at a distance: and now, as I recovered myself, judge of my first emotions when I recollected his character from every mouth of my family; his enterprising temper; and found myself alone with him in a place so near a by-lane and so remote from the house. (Letter 36)
At the center of all this whirling activity, as in the eye of a tornado, walked the candidate himself, clad in the gleaming toga candida which had already seen him through three victorious election campaigns. It was rare that I was able to watch him from a distance--usually I was tucked in behind him--and for the first time I appreciated what a natural actor he was, in that when he donned his costume he found his character. All those qualities which the traditional whiteness was supposed to symbolize--clarity, honesty, purity--seemed to be personified in his solid frame and steady gaze as he walked, unseeing, past me. (p. 283)I give the page numbers because of course the problem resides in having the narrator, so close to his subject, still pondering that subject's fundamental unknowability so late in the novel...
As I watched him come down the stairs in a freshly laundered white toga, his face washed and shaved and his hair combed and scented, I thought that no one could have guessed that he had not slept for the past two nights. . . . He smiled at [his wife] and said something, and at that moment I realized for the first time just how close they had become over the years, that what had started as a marriage of convenience was now a most formidable partnership. (p. 296)
What are you working on now?
I'm at the stage of gearing up to thinking about the next novel. I don't have to touch the keyboard until October so it's a bit early. It's an entirely necessary stage I have to go through and is not at all to be confused with laziness. Actually, I am working on a piece of music. I have pretensions to be a composer, and hope to be as successful a composer as Anthony Burgess, if not less so.
For my taste, far too many obscure French hacks of the seventeenth and eighteenth centuries have been awarded entries. To judge from the Encyclopedia, France leads the world in the production of erotic literature, with China a poor second. Just as every country should have its own airline, so it should have its own pornography. Holland, The Happy Hooker notwithstanding, “has produced but few writers of erotica of its own whose works have been able to stand the test of time due to their inherent quality and/or the extent of the scandal they caused”. Ireland, meanwhile, is “not a country readily associated with the erotic”. Arabic and Persian erotica (the area I am most familiar with) is well covered by learned and capable authorities (except that I am not sure that all the erotica ascribed to the sixteenth-century Egyptian religious scholar Jalal al-Din al-Suyuti really is by him). It is good to come across Zakani’s definition of a “virgin” as “a noun with no referent”. The articles on Persian erotica by Paul Sprachman and Dick Davis relay many good things, including “the puff of desire” that rises from the pages of the romantic epic Vis and Ramin, a description of Vis’s brilliantly orchestrated accidental striptease, a defence of the eroticism of the chador, and a quotation from a medieval mirror for princes to the effect that boys are best for summer and girls for winter.
But I had been hoping that the Encylopedia’s coverage would be trashier. The Canadian novelist Robertson Davies once remarked of pornography that it was “rather like trying to find out about a Beethoven symphony by having someone tell you about it and perhaps hum a few bars”. While there are many who read erotic literature in order to get some sort of ersatz sexual pleasure out of the reading, there have always been plenty of young people who read the same books simply in order to discover what sex is. In the Encyclopedia’s rather good article on “Women’s Magazines”, Janice Winship is quoted: “It was disappointing that my mother had only Women’s Weekly. Mrs Marryat gave little away on her problem page. But I used to love the romance and adventure of the serials . . . mainly because of one (or so I remember it) highly erotic scene in which the heroine lets down her sari to reveal and offer up her nakedness to the man she loves”.
The Encylopedia’s entry on Pierre Choderlos de Laclos observes that “no instruction in the mechanics of sex can be obtained from reading Les Liaisons dangereuses, outside of the fact that it is often performed in bed and often at night”. Most novels about initiation into sex do not perform that task for their readers. I remember that in the 1950s and early 60s, it was jolly difficult to learn about sex from reading novels. Books like Peyton Place, AngĂ©lique and Forever Amber gave little away, though the undressing scene in Richard Mason’s The World of Suzie Wong was more helpful.
Applause between movements appears to have died out some time around 1940-50, later than I would have expected. Hamilton implies that silent appreciation began with Dutch audiences, but spread through the influence of recorded music: one wouldn't applaud a record. But there is a creeping gentility involved as well, and a feeling of being overawed by your neighbour's disapproval, a fear of committing a faux pas.
At the same time as the applause shrivelled away, the pressure was on for pianists to become note-perfect. This they simply had not been. Hans von BĂĽlow almost instructed his students to make mistakes: "In large leaps, now and then you must claw a wrong note; otherwise no one will notice that it is difficult." The audience liked this. Wrong notes, we are told, were considered a sign of genius. Eugen d'Albert was celebrated for the wild inaccuracy of his playing. Busoni told one player who had ventured to demur: "If you put as much conviction into your right notes as d'Albert does into his wrong ones, then you'd have cause to criticise."
The player as improviser was contemporaneous with the pianist who was required to play from memory. The great Alfred Cortot was very bad at this, and used to try whatever came to mind. Beecham recalled conducting with him: "We started with the Beethoven, and I kept up with Cortot through the Grieg, Schumann, Bach and Tchaikovsky, and then he hit on one I didn't know, so I stopped dead."
If your memory failed utterly, Theodor Leschetizky advised you to turn angrily to the audience and complain that a certain note was disgracefully out of tune, then leave the stage demanding a tuner. "The pianist," Hamilton tells us, "could then surreptitiously consult his score in the artist's room while the tuner dealt with the allegedly offending note."
Bond doesn't have much character. Rather, he has mannerisms. Those fine clothes (many of them brand names), the martinis, the 60-a-day cigarette habit - they are all mentioned by Kingsley Amis in The James Bond Dossier, the first and most serious examination of Fleming's work (he also wrote the first and, for many, the only decent sequel - Colonel Sun, published in 1968 under the pen name of Robert Markham). But as Amis concludes, 'His mind is a completely utilitarian organ.' Which is to say, Bond never reads. He doesn't listen to music. He has no interest in sport - unless it's bridge or golf. He has no sense of humour, telling only one joke in all 14 books (in Goldfinger - and it isn't very funny). He seems to have no hinterland or family history - his parents, Scottish and Swiss, died in a climbing accident when he was 11. Perhaps it is for this reason that the screen Bond has managed to change so often without anything being damaged along the way. From Sean Connery to Daniel Craig is quite a leap but they're both inhabiting an empty vessel.
'We don't want to have Bond for dinner or go golfing with Bond or talk to Bond. We want to be Bond,' Amis continues. In the dossier, he identifies the hero as 'an intruder from another age' - in short, the Byronic hero. 'Mr Fleming has brought off the unlikely feat of enclosing this wildly romantic, almost narcissistic and (one would have thought) hopelessly out-of-date persona inside the shell of a secret agent, and so making it plausible... and to all appearances, contemporary.'
The sea-change in the company's post-war fortunes was its decision to split its titles into genres, and to package and market them accordingly. "Before that," said Karin, "we just trusted the readers to know which kind of books they liked. Now, the mass market for romance is fragmented, and it's a matter of managing multiple niches." They rely on readers' advice, but rather more on the instincts of their authors, who invariably began life as M&B readers. Of the 12 niche imprints, "Modern" always features jet-set luxury, "Romance" deals in the now-traditional sheikhs, ranchers, billionaires and tanned Europeans (their titles are hilariously interchangeable: The Spaniard's Captive Bride, The Italian Billionaire's Pregnant Bride, Wedded at the Italian's Convenience and my favourite, The Sheikh's Convenient Virgin). "Historical" is love accessorised by ruffs, doublets and mob caps. "Medical" is basically Holby City with more heaving bosoms. The "Blaze" imprint promises readers fairly explicit smut, even going so far as oral sex (with ice cubes) and hot lesbian action. "I was on the team that worked on that," said Lesley Stone, a senior editor. "It was a spinoff from the Temptation series in 1995, which was light and flirty and fresh, and everyone liked the extra sex, so Blaze became a series by itself. Just like a TV spinoff." Did the readers actually say, "We'd like some soft porn, please?" Lesley looked aghast. "It's not soft porn. They just wanted it to be more realistic. People do go on holiday and they do have flings. They'll have sex, but it would still end up as a committed relationship, and it's still character-driven so it's still a romance."
‘It all fits!’ is the axiomatic cry of the conspiracy-theorist, but of course it only does so after a stringent process of selection, in which convenient pieces of the evidential jigsaw are accounted significant and many others less convenient are discarded. Inevitably, van Onselen’s argument proceeds in this way, but it feels cogent and compelling even when there is little more than self-belief holding it up. This is certainly a more meaningful kind of inquiry than the more fashionable sub-genre of the celebrity suspect. Over the years these have included Queen Victoria’s grandson, the Duke of Clarence; a celebrated doctor, Sir William Gull; a Liverpool merchant, James Maybrick, supposed author of the manuscript known as the Ripper’s ‘Diary’; and the artist Walter Sickert. Sickert’s candidacy has been energetically championed by the thriller-writer Patricia Cornwell, though she did not originate the theory. Sickert had a louche interest in the London underworld, and in the Ripper in particular, and he did a series of paintings, the ‘Camden Town Nudes’, loosely inspired by the murder of a prostitute in 1907. But Cornwell seems to have missed an early and major fork in the biographical highway, where one road leads off to the painting of pictures on disturbing sexual themes and the other to the actual perpetration of sex crimes. That one might be seen as actual evidence of the other is psychologically implausible (do we suspect the author of Titus Andronicus of cooking up children in a pie?) and logistically absurd (being rather a giveaway after he had concealed his identity so well at the time). Cornwell’s book is now mainly memorable for its enormous research bill – she reportedly spent $6 million acquiring Sickert works and memorabilia – and for her alleged folie de grandeur in destroying a painting in the hope of finding traces of the artist’s DNA, to match with traces on one of the letters purportedly (but almost certainly not) written by Jack.
“We tasted and discussed French and Italian olive oils ... We learned the difference between forced infusion done in the kitchen for something like the thyme oil, often paired with lamb, and oils infused with, say, lemon zest, at the press ... We also tasted Banyuls, truffles and 20-year aged balsamic vinegars,” recalls Phoebe Damrosch, who was among those hired to work at the restaurant before it opened. “One day we tasted nine different salts and another day we tasted 16 kinds of chocolate.”(Hmmm, personally I have a strong preference for salted over unsalted butter--and I do not like Plugra at all, it tastes too strongly of animal fat, I like Irish butter instead--also it reminds me of my grandmother!)
There was even coaching from a specialist in 18th-century dance. “When holding two hot plates of Snake River Farms calotte de boeuf with crispy bone marrow and a rissole of marble potatoes, one was wise to hold them close to the centre of gravity, learned in curtsy training, so as not to make the marble potatoes roll around the plate like their namesakes[.]”