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Category Archives: blogging
My review of Sisters by Judith Barrow
Posted on January 26, 2023 by Judith Barrow
With many thanks to Thorne Moore
Thorne Moore
Judith Barrow is a mistress of dissecting the triumphs and misfortunes of families confronted with crime, disgrace and tragedy. In Sisters, her latest novel, she is at her brilliant best.
The Marsden family of Micklethwaite are doing okay; Eric and Eve, their two teenage daughters Angie and Mandy, and the baby Robert. There are the usual stresses and strains, the usual sibling rivalry, but nothing out of the ordinary. Then tragedy strikes, enough to damage any family, but when it's exacerbated by lies and guilt, it seems the damage is fatal.
Resentful and hurting, Mandy goes to live with her aunt and uncle, Barb and Chris, in faraway Ponthallen (Wales is often shown as a place of refuge in Judith Barrow's books). Mandy has a new life, new friends, even a new name, Lisa, anything to start afresh, but she can't forget or forgive her sister. It's no easier…
Posted in blogging | 12 Replies
Bethulia: out now.
Congratulations and good luck to Thorne Moore with Bethulia – a brilliant read. Well recommended
Well, here it is. Bethulia is officially launched today. My tenth novel – tenth published, that is, though probably my thirtieth in all. I'm venturing into new territory with this one. I mean geographical territory. I have set my previous books in West Wales, mostly north Pembrokeshire, where I live, and in Lyford which is a fictional version of Luton, where I used to live– oh and some set on one of Neptune's moons. where I have never lived. This one is firmly on planet Earth, mostly in Oxfordshire, where I have… Have I ever mentioned that I was at St Anne's College in Oxford, studying law?
If I have, I was both lying and telling the truth (something that features quite a lot in Bethulia). My headmaster at Sixth Form sent me there for a weekend introduction to Law, because he thought that was what I should study…
Posted in blogging | 5 Replies
Bethulia: Truly Unreliable.
Another winner from Thorne Moore!
In my first published novel, A Time For Silence, there are two parallel stories. One follows Sarah as she investigates the mystery of her grandparents. The other is the story of her grandmother Gwen. The first is littered with confusion, as Sarah misunderstands just about everything that she discovers. The second is the truth, as it happened. That is why I wrote Sarah's story in the first person and Gwen's in the third.
A third person narration can plant red herrings, of course, or most detective fiction wouldn't work. But it cannot lie. A first person narrative can do anything.
I have employed the same… method? trick? device? in Bethulia, with two parallel stories.
Here is the scene set. Three girls, Alison, Danielle (Danny) and Judith (Jude) have grown up as sisters. Closer than sisters even, determined that nothing will ever separate them. But once they're adults, hormones intervene…
Smorgasbord Public Relations for Authors Recycled – Part Three – Hitting the Red Carpet by Sally Cronin
The definition of Public Relations in business is"Public relations is a strategic communication process that builds mutually beneficial relationships between businesses and the public"
In the past my focus has been on book marketing, which did include how to reach potential readers with blogs, social media and as part of the writing community. Whilst this recycled series will revisit those platforms along the way it is an opportunity to focus on some key areas of our public profiles that might influence the public to buy our books.
The focus this time is on you.. the author.
Last week I featured author biographies and I shared some tips that help to make you stand out from the ever growing number of authors on Amazon: Who are you? And why should I buy your book?
Part Three – Hitting the Red Carpet
Just imagine you are invited to the Oscars and…
Special Launch Feature – Beth Haslam
Please join me in congratulating memoir author, Beth Haslam, on the publication of her brand new book Fat Dogs and WELSH ESTATES. Beth has come along to Patricia's Pen to tell you all about this sequel. Without further ado, it's over to Beth.
Fat Dogs and Welsh Estates – Series Prequel
Beth Haslam
Thanks so much for inviting me here to introduce my new book, Tricia. I'm honoured.
When my publisher suggested I write about my upbringing in Wales, I hesitated. Why would anyone have the slightest interest in reading about my childhood? My publisher thought otherwise, so I reflected. Finally, the solution came to me.
Instead of focusing solely on myself, which, ironically for a memoir writer, makes my toes curl, I decided to tackle the project differently. I would produce a light-hearted account centring on the rich tapestry of my homeland.
My research journey began with…
The Whispering Trees – Jacqueline Harrett
This week we get a peek at Crime Cymru's Jacqueline Harrett's latest novel, published by Diamond Crime.
The Whispering Trees, published by Diamond Crime in November 2022, is the second in my crime series featuring DI Mandy Wilde and her side-kick, DS Josh Jones. It was inspired by a walk along the Nant Fawr corridor in Cardiff during lockdown. I imagined a body lying face-down and wondered who he was and how he got there. This extract is from Chapter One as Mandy and Josh arrive at the scene. In their banter as they drive from Cardiff Central to the woods Josh had speculated that it was probably a dog-walker who found the body.
The Whispering Trees
They pushed their way through a small crowd gathered on the pavement. At almost six feet, Mandy had the advantage of being able to see over the heads of most of…
Guest Feature – Regine Ebner
I'm delighted to have poet, Regine Ebner all the way from Arizona, kick of the Tuesday Guest Feature on Patricia's Pen for 2023. Regine is a favourite poet of mine and one of great inspiration with her wonderful imagery. She has come along to blog about her writing life so without further ado, let's go over to Regine.
My Writing Life
Regine Ebner
Ever since my third grade teacher asked me to write the Thanksgiving class play, I was expected to be a writer. I went on to study creative writing in college and won awards. I co-authored a stage play, Minor Details, which was produced to be a sell-out to laughing crowds in Tucson. Later I wrote a screenplay and, although never produced, it won a couple of awards.
However, something was missing. I had long gaps between articles and journal chapters and, most of all, I…
My Review of Bethulia by Thorne Moore #TuesdayBookBlog #DiamondPress
I have read all of Thorne Moore's books, so far, and I can honestly say this is one author who can turn her hand to any genre.
From her days when she was published with Honno and her domestic noir stories such as: Motherlove, to being published by Lume and the enthralling Llys y Garn books that hold a blend of gothic mystery and family drama, for example: Shadows, to her ventures into Indie Publishing and her powerful Sci Fi novels, beginning with: Inside Out, and now as an author of Diamond Press (her first book with them being Fatal Collision) this author has a talent for compelling plots and characters (to quote a well-known cliche) that leap off the page and live with the reader well after the story is finished.
And so it is with Bethulia.
Alison, Danny, Jude. Three girls bound closer than sisters. Nothing can divide them.
Until Alison falls for Simon Delaney. Handsome, successful and ambitious, what woman wouldn't want him? He's surely her perfect husband. So why does she commit suicide?
If it is suicide. The police say yes, except for the driven DC Rosanna Quillan. She says no, but she can only watch as Jude and Danny fight for the prize – the widower. How far would either of them go to have him?
This is a story that grips from the start; the death of one of three women who have been friends from childhood. Initially drawn together by grief as young girls, and now, two of them again, Danny, Jude, as young women, with the apparent suicide of the other, Alison.
I say, 'apparently', because, thrown into the mix we have an unreliable narrator, the protagonist, Judith Granger. Brought back to England, from her work abroad by the dreadful news, her part of the story is told in first person point of view. And, to be honest, I was completely taken in by her actions. As always, I won't give any spoilers in my review, but this is so difficult with Bethulia, because there are two plots here, but the same scenarios: one ambiguous, one explicit. And it takes the reader quite a while to get to that, "oh!" moment; that realisation of what is going on.
Because there is also an omniscient narrator, who follows the other characters, and relates their actions in a third person perspective.
And then there is Simon Delaney, the antagonist, who tells his story from his viewpoint, – a man it is easy to dislike, distrust, yet still wonder about….
And each point of view brings conflicting emotions in the reader. And that's about all I can say about the storyline. Suffice it to say, it's riveting.
And, as always in Thorne Moore's novels, every character, even the minor ones, have distinctive characteristics and dialogue that bring an instant image of them. The major players are multi-layered, well rounded, their personalities evolving; being revealed, as the book progresses. Those you learn to love, those who from the beginning reveal themselves to be … shall we say… dubious ( or worse!) Besides the three main characters, Alison, Danny, Jude, I particularly like DC Rosanna Quillan. There is a small but dramatic twist at the end of Bethulia, which makes me wonder if we will hear more of her.
A short word about the settings in Bethulia. Whether it's the interior of police stations, churches, or the description of houses such as Jude's memory of Alison's childhood home, Summervale, "a forbiddingly brown house", or the secluded converted boathouse, Bethulia, which was to become a haven for Danny, or the snow-filled streets of Oxford, and the ethereal Teifi estuary in Wales,the portrayals give an evocative sense of place.
This is a well written story told in the usual confident and erudite writing style of this author, weaving themes and plot twists effortlessly throughout. As you may have guessed, I really enjoyed this book, and I would thoroughly recommend Bethulia to any reader who enjoys psychological and action thrillers with a strong plot and and memorable characters. You won't be disappointed.
About Thorne Moore:
Thorne was born in Luton and graduated from Aberystwyth University (history) and from the Open University (Law). She set up a restaurant with her sister and made miniature furniture for collectors. She lives in Pembrokeshire, which forms a background for much of her writing, as does Luton.
She writes psychological mysteries, or "domestic noir," exploring the reason for crimes and their consequences, rather than the details of the crimes themselves. and her first novel, "A Time For Silence," was published by Honno in 2012, with its prequel, "The Covenant," published in 2020. "Motherlove" and "The Unravelling" were also published by Honno. "Shadows," published by Lume, is set in an old mansion in Pembrokeshire and is paired with "Long Shadows," also published by Lume, which explains the history and mysteries of the same old house. She's a member of Crime Cymru. Her latest crime novel, "Fatal Collision is published by Diamond Crime (2022)
She also writes Science Fiction, including "Inside Out" (2021) and "Making Waves" (2022)
Website: https://thornemoore.com/
Facebook: https://www.facebook.com/thorne.moore.7
Twitter: https://twitter.com/ThorneMoore
Posted in blogging, Book Reviews, Crime Cymru, Novels, Writers | Tagged #blog, #womenauthors, authors, Bethulia., books, Diamond Press, domestic noir, psychological mysteries, Relationships, Reviews, Science Fiction, Thorne Moore, writing | 12 Replies
Smorgasbord Blogger Spotlight – 16th January 2023 – #Forgottenwords Marcia Meara, #Booktitles Pamela Wight, #Reviews Diana Peach, #2022reads D.L. Finn, #Salad New Vintage Kitchen, #Frost John Howell.
Sally's latest Smorgasbord Blogger Spotlight – 16th January 2023, with some really interesting posts.
Just a small selection of posts I have enjoyed in the last week and I hope you will head over to enjoy in full.. thanks Sally.
Marcia Meara has a new series running.. Forgotten Words and this week the word was Crinolines… and there is the question part.. and then the post with the answer…going to be a fascinating series.
Part One:Forgotten Words – Crinoline
Part Two:Answer of the day – Crinolines
Pamela Wight has a very creative way of supporting writers by including their book titles in her short story…some names you will definitely recognise…
Head over to enjoy this creative way to support authors: A walk in the Woods book by book
Diana Peach shares the second part of her book reviews for December including reviews for Debby Gies Gwendolyn Plano and Jane Risdon plus a montage of all her reviews for 2022… amazing…
Smorgasbord Book Promotions – #Review – #FamilySaga – Sisters by Judith Barrow
With many thanks to Sally for her promotion on Smorgasbord and her review.
Delighted to share my review for the upcoming family saga, Sistersby Judith Barrow, available on pre-order for January 26th.
A moving study of the deep feelings – jealousy, love, anger, and revenge – that can break a family apart. … Sisters is another absorbing, emotional and thought-provoking creation from the wonderful Judith Barrow. Janet Laugharne
Two sisters torn apart by a terrible lie.In shock after an unbearable accident. Angie lets her sister Mandy take the blame, thinking she's too young to get into trouble. But she's wrong.
Mandy is hounded, bullied and finally sent to live with their aunt, where she changes her name to Lisa and builds a new life, never wanting to see her sister again. Angie's guilt sends her spiralling into danger. Thirteen years later, they meet again at their mother's funeral. Lisa starts to suspect something is wrong. Angie seems…
Places in our Memories: With Kathy Miles #poet #MondayBlogs #Memories
Today I'm really pleased to welcome wordsmith extraordinaire, Kathy Miles, to tell you about her memories. I've known Kathy and her works for some years, and today, for a change, I'm going to leave it to her to express her thought on Places in our Memories.
The places in our memories are constantly changing. New insight or knowledge might lead you to view a cherished place with different eyes; sometimes the place itself will have altered beyond recognition over the years, and your memory of it becomes elusive, so you ask yourself whether what you remember is the truth, or built upon a desire for it to be so. Sometimes they vanish. I live near the coast at Aberaeron, and sea-mists often obliterate the landscape so completely that it becomes hard to remember what it looks like on a hot summer's day:
Some days the land is stolen from itself,
chimneys and slate roofs swallowed, village
and pit-head lost to this cold mouth of mist
as it muffles hymn and chapel bell, silences
the scold of crows that crowd around
the plough like a flock of ranting preachers.
('Vanish')
In my case, these problems of recall are compounded by a breakdown I suffered in my mid-forties, which wiped away a good many of my childhood memories. What remains is fragmentary and fleeting; a series of impressions that appear occasionally, like landmarks emerging from a sea mist, or footprints that might at any moment be washed away by the tide.
Growing up in Liverpool, the sea and river were constants. My paternal grandfather and great-grandfather had been merchant seamen, and their love of the sea passed to my father and on to me. I remember standing with my Dad on the Cazzy, the Cast-Iron Shore on the banks of the Mersey, where the sand was rust-coloured from the residue of an old iron foundry. Dad was wearing a shirt and tie as always, jacket slung across his shoulders. His face had already reddened in the heat. We kept a wary eye on the tide. The river creeps quickly and silently over those mudflats, brimming up as suddenly as an unwatched bath. A slub of saltmarsh, shards of driftwood, and just up the river bank, old shipyards festering in the sunshine. From there you can see the outline of Welsh mountains across to Moel Famau. But it was the water Dad was staring at, with a kind of longing, as if he wished he could be whisked away to far horizons.
It was inevitable that our annual holidays would be taken by the sea. Cemaes Bay, Cornwall, and later on, Guernsey and Sark. Mum would pack a picnic basket with boiled eggs and sandwiches, a thermos of tea, and the three of us walked to the nearest beach, stopping on the way to pick field mushrooms for next day's breakfast. I'd head for the nearest rocks, fishing net in hand, and was soon absorbed in a rock-pool, catching tiny shrimps and sometimes a rockling or blenny. Dad fished for mackerel from the shore, whilst Mum would scoop out limpets to use as bait, and patiently rewind my crabbing line when I'd tangled the twine.
Home in Liverpool was a small bungalow, built on farmland in the 1930s as the edges of the city expanded. It was eight miles from the Mersey, but still close enough for us to be able to hear the ferry hooters blasting out in chorus to mark the start of each new year. Dad took the train to work each morning, and in the evenings I'd race up the road to West Allerton station and stand on the bridge as his train came in, usually getting covered in steam and smuts. If trains can be special memories of place, then these old steam trains are mine, with their plushly-covered seats, leather strap to pull up the window so the door could be opened, and pictures hung above the luggage rack. Even now I still feel the excitement of boarding a train, the promise of new experiences and unknown places.
At 18, having failed most of my A levels, I went to work in the Everyman Theatre for a year. I had to retake my exams if I had any hope of getting into university, and we also needed the money. The Everyman at that time was a shabby building in Hope Street, in desperate need of renovation, but with a fabulous bistro in the basement run by Paddy Byrne and Dave Scott. My job was a combination of ASM and general dogsbody. I helped out in the wardrobe department, sourced props, answered the telephone and manned the box office. On one occasion I even appeared on stage, though as I was crammed into the frame of a large fabric-covered snake, it was hardly going to make my fame and fortune as an actor. The company then included Antony Sher, Jonathan Pryce, Roger Sloman, Alison Steadman and David Goodland, and the director was Alan Dossor, who produced gritty, contemporary agitprop plays. The actors shared a single dressing-room; costumes were often held up by safety pins or my dangerously-loose tacking stitches, and in one notable production of Caucasian Chalk Circle, Roger Sloman was carted off to hospital after being hit on the head by a large iron hook that descended from the ceiling at the wrong time. It was chaotic, but it was also fun. Everyone worked as a team, and when I left – very reluctantly – to go to university, I was presented with a large publicity poster of the whole cast as a present. Although the Everyman is now a state-of-the-art modern theatre, I'll never forget that old building, which stank of fags and paint, sweaty tights and damp wood, and to me was as glamorous as anything in the West End.
When I came to Lampeter, however, I finally found my special place. The Everyman had been a wonderful experience, but I'd never felt truly at home in Liverpool. My Mum in later years said that Wales had stolen me away, and she was right. I had grown up with Welsh-speaking aunts, and from the moment I stepped off the rickety old Richards bus that brought me from Aberystwyth, I felt I had truly found my cynefin. Here I was near my beloved sea, and a landscape I instantly felt rooted to. In 1995 I published an anthology of poems and photographs, The Third Day; Landscape and the Word (Gomer Press), commissioning work from poets such as Dannie Abse, RS Thomas, Gillian Clarke, Sheenagh Pugh and Raymond Garlick. Travelling around Wales to photograph old Welsh sites gave me new places to tuck away in my memory, including the then-unrestored Aberglasney, where the photographer and I kissed surreptitiously in the Yew Tunnel, and a different chapter of my life began. If my memory of those early years is sometimes veiled in sea mist, and many of the places of my childhood no longer exist, the ones I have gained since then provide a constant source of delight, and inspiration for my writing.
About Kathy:
Born in Liverpool, Kathy Miles is a poet and short story writer living in West Wales. Her work has appeared widely in magazines and anthologies, and her fourth full collection of poetry, Bone House, was published by Indigo Dreams in 2020. Kathy is a previous winner of the Bridport Prize, as well as the Welsh Poetry, Second Light, Wells Literature, Shepton Mallet Snowdrop Festival and PENfro poetry competitions. She is a regular book reviewer and workshop facilitator, has co-edited The Lampeter Review, and guest-edited Artemis magazine.
Bone House (Indigo Dreams, 2020)
Inside the Animal House (Rack Press, 2018)
Gardening With Deer (Cinnamon Press, 2016)
The Shadow House (Cinnamon Press, 2009)
The Third Day: Landscape and the Word (Gomer, 1995)
The Rocking Stone (Poetry Wales Press, 1988)
Ugly as Sin and other clichés (Pentad Books, December 2020)
https://www.indigodreamspublishing.com/kathy-miles
http://welshwriters.co.uk/kathy-miles/
http://www.poetrypf.co.uk/kathymilesbiog.shtml
Posted in #photographs, blogging, memories, Places in Our memories, poetry, Writers | Tagged #blog, #womenwriters, Actors, books, Everyman Theatre, Kathy Miles, Places in Our memories, poet, poetry, Relationships, Short stories, Wales, writing | 30 Replies
Bethulia and Otto
This is Otto, and he has a significant role in my new novel, Bethulia.
Okay, when I say he's Otto, that's my name for him. He is actually "The Teifi Otter" and he was presented to the town of Cardigan on the Teifi estuary by David Bellamy on behalf of the Dyfed Wildlife Trust, to celebrate its golden jubilee. He guards the old bridge across the river and has been known to wear a scarf and bobble hat in cold weather.
And when I say he has a significant role in Bethulia… well, he does, even though he receives only a couple of passing mentions.
Otters rank in my life with kingfishers and red squirrels. I am forever taking walks with people who suddenly stop, in a state of high excitement and declare "There's an otter! (Or kingfisher/red squirrel)," and when I turn to see, it has gone…
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Wednesday Windback with Rosie Howard/Poppy Alexander @SarahWaights
Another great Wednesday Windback from Jill, with Rosie Howard/Poppy Alexander @SarahWaights.
Today I'm delighted to revisit my Five on Friday interview with Rosie Howard which was first posted in June 2019. Rosie Howard was the first pen name of the author who now writes as Poppy Alexander. She adores creating uplifting romantic fiction with strong, multigenerational friendships and idyllic country settings.
Tuesday Guest Feature
Just a reminder to all – Patricia's Tuesday Guest Feature's will be a great mix of authors and poets. Oh, and I'll be there on the 31st Jan… yes, sorry a bit of self-promotion!!
Patricia's Pen returns next week Tuesday 17th January 2023 with more guest features you won't want to miss.
Poet Regine Ebner – January 17th 2023
Poet Damien Posterino – January 24th 2023
Novelist Judith Barrow – January 31st 2023
Novelist Mick Arnold – 7th February 2023
Poet Helen Laycock – 14th February 2023
Poet Alan Parry – 27th February 2023
And plenty more to come. Why not subscribe to Patricia's Pen to make sure you never miss out on a Guest Feature?
Smorgasbord Blogger Spotlight 2023 – #Sisters Judith Barrow, #Health D.G. Kaye, #Reviews Jacquie Biggar, #Peace Rebecca Budd, #NewYear Liz Gauffreau, #OddBirds Cindy Knoke
So thrilled to be included in Sally's Smorgasbord Blogger Spotlight 2023, with all these wonderful creative people.
A small selection of posts I have enjoyed recently and I hope you will head over to enjoy in full.
Judith Barrowshares the fascinating and often tragic lives of three sisters, two of whom were also incredibly talented Virginia Woolf and her sister, the artist, Vanessa Bell, the daughters of the historian Sir Leslie Stephen and Julia Prinsep Duckworth.
Head over discover the complex relationship and lives of these sisters:Judith Barrow – Virginia Woolf and her sister, the artist, Vanessa Bell,
Debby Gies with a reminder that we need to take care of ourselves physically, mentally and physically and it is a good idea to get even what you might consider small concerns checked out as soon as possible.
Head over to check out these tips to looking after yourself:Self – Taking Care of ourselves
Jacquie Biggar shares her 2022 Goodreads Challenge and she…


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Chibcha is een cultuur en een taalgroep in de Latijns-Amerikaanse Andes. De nazaten van de oorspronkelijke Chibcha zijn de Muisca, de Guane, de Lache, de Tairona en de Chitarero. Vroeger kwamen de Chibcha ook ten noorden van Colombia voor, tot in het huidige Costa Rica. In die gebieden zijn deze taal en cultuur tegenwoordig uitgestorven. Vermoedelijk ligt de oorsprong van de Chibcha juist in deze Midden-Amerikaanse gebieden waar de oorspronkelijke Chibcha nu niet meer te vinden zijn.

Geschiedenis
Verondersteld wordt dat de Chibcha 300 tot 400 jaar voor Christus vanuit Midden-Amerika naar Colombia, Venezuela en Ecuador trokken. Doordat rond 1000 n.Chr. de oorlogszuchtige Cariben van de Braziliaanse kuststreek naar het gebied van de Chibcha trokken, werden zij gedwongen zich te vestigen in de hoger gelegen Andesgebieden.

Net als de Inca's bedreven ze landbouw met behulp van irrigatiesystemen, hielden ze zich bezig met goudsmederij en droegen ze kleding die ze weefden van katoen. Als ruilmiddel speelde smaragd een belangrijke rol in de economie van de Chibcha. Hoewel de Chibcha-religie weinig gesystematiseerd was, staat hun politiek-sociale organisatie bekend als de beste van Zuid-Amerika, na die van de Inca's. Overigens zijn veel gouden voorwerpen van de Chibcha bewaard gebleven.

In 1536 werden de Chibcha ontdekt door de conquistadores, waarmee de precolumbiaanse periode ten einde kwam. Dit leidde tot een ineenstorting van de Chibchacultuur. In de loop van de 16e eeuw veroverden de Spanjaarden, o.a. geleid door Gonzalo Jiménez de Quesada het gebied. De Quesada was onder andere op zoek naar het goudland, dat in het Guatavitameer zou moeten liggen.

Tegenwoordig wordt de term "Chibcha" ook gebruikt voor een aantal indianen-groepen in Midden-Amerika. Dit betreft culturen die verwant zijn aan de oorspronkelijke Chibcha, en die tegenwoordig onder die naam bekendstaan.
 In Honduras: de Pech;
 In Nicaragua: de Rama;
 In Costa Rica: de Maleku, de Corobicí, de Bribri, de Cabécar, de Teribe;
 In Panama:  de Movere, de Ngabere, de Buglere, de Dorasque en de Kuna (ook in het uiterste noordwesten van Colombia);
 In Colombia:  de U'wa, de Wiwa, de Kankuamo, de Ika, de Kogui, de Bari, de Chimila

Zie ook
 Chibchacum

Indiaans volk
Zuid-Amerikaanse oudheid
Volk in Colombia
Meso-Amerikaanse oudheid

redpajama_set_name: RedPajamaWikipedia


Jenifer Metzger : God Is So Awesome!
Lately I have been reading in the book of Job. What I read today really struck me and moved me to tears, nothing to do with Job, but of how amazing God is. Job had been complaining of the things that had happened to him. He never denied God but he did complain. Today God spoke to him.
Of course Job can not do any of those things and neither can we. But God can. God is just so incredible and I am sitting here in awe of how awesome He really is. He is The Creator of all.
Friends, today just praise God for how good He really is. I pray you have a wonderful weekend.
God is so good, all the time He is good. In the morning when the sun shines, in the night when darkness falls. All the time He is good, so good to me!
God is SO awesome! His power never ceases to amaze and touch me. I love the book of Job because it truly shows the mercy and grace and power of our Lord.
What a beautiful post...a tribute to the wonders of our great God. May we give him unceasing praise!
God is amazing! Love it when we catch a glimpse of His majesty.
Oh my yes! And how incredible is it that the Creator of the Heavens and the Earth should desire an intimate relationship with us puny little humans? Pretty mind blowing I would say!
God love is so great that He humbled Himself so that we could be lifted up to Eternal Life.
I loved reading this and I love when bloggers aren't afraid to voice their feeling about God. I was teaching a church class for kids last week and explaining to them how great and infinite God's power is and they couldn't believe it! I love the story of Job as well. One of my favorites!
stoppin by...nice to meet u!


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Kolumbien nahm mit zwölf Sportlern an den Sommer-Paralympics 2008 im chinesischen Peking teil.

Fahnenträger bei der Eröffnungsfeier war der Schwimmer Moises Fuentes. Erfolgreichster Athlet der kolumbianischen Mannschaft war der Leichtathlet Elkin Serna, der eine Silbermedaille im Marathon der Klasse T12 gewann.

Teilnehmer nach Sportart

Judo
Männer
 Juan Pablo Catellanos

Leichtathletik
Männer
 Elkin Serna, 1×  (Marathon, Klasse T12)

Powerlifting (Bankdrücken)
Männer
 Jainer Cantillo

Radsport
Männer
 Carlos Arciniegas
 Juan Carreno
 Luis Chacon
 Kennedy Jacome

Rollstuhltennis
Frauen
 Johana Martinez
Männer
 Eliecer Oquendo

Schwimmen
Frauen
 Naiver Ome
Männer
 Moises Fuentes, 1×  (100 Meter Brust, Klasse SB4)
 Miguel Otero

Einzelnachweise

Kolumbien
Paralympics (Kolumbien)


text:
Wardini Books
Hire The Great Wardini
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Wardini Tokens
Staff Picks - Young Adults
Staff Picks -Children's
The Clockill and the Thief
Wardini's Authors
Wardini's Book Club
Non-Fiction > Biography
Author: Sean Smith
$35.00(NZD) inc GST
Ed Sheeran is a true inspiration. His moving and uplifting songs forge a lasting connection with the millions of people around the world who love him and his music. He was the thirteen-year-old guitarist in a school rock band when he decided to become a singer-songwriter, even though he could barely hold a tune and had never written a song. Within a year, he had recorded an album in his bedroom. Bestselling biographer Sean Smith traces the astonishing journey of the shy little boy with a stammer who, avoiding flashy showmanship, grew up to be a global phenomenon. Through compelling new research and interviews, he tells the story of Ed's remarkable mum and dad who gave their son the courage to pursue his dream, the friends and mentors who encouraged him and the lovers who inspired his most famous songs. Smith describes the setbacks Ed faced before his fortunes were transformed by Elton John's management company, a record deal and a song that changed everything - with a little help from Taylor Swift. Ed found it difficult to cope with the world at his feet, but a new relationship with a girl from his home town has brought him happiness and a fresh purpose in life. Now he is the most successful solo star on the planet, earning £83 million last year. Yet in the middle of his record-breaking 2018 UK tour, he played for just 400 people at a charity night to raise money for the homeless. As this captivating book reveals, there's no one quite like Ed.
Publisher : HarperCollins Publishers Limited
Imprint : Harper Element
Author : Sean Smith
16 Te Mata Road | Havelock North | 06 877 7783
books@wardini.co.nz | Like us on Facebook. We're often mildly amusing
© Wardini Books 2019

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text:
Communication ›
Terrorist Attack in Sévaré – MINUSMA Deplores the Loss of Lives
MINUSMA is relieved at the successful conclusion early this morning of the operation carried out by the Malian forces and congratulates them on it.
MINUSMA reiterates its strong condemnation of the despicable terrorist attack that took place in Sévaré and deplores the loss of lives caused by this criminal act. The Mission extends its condolences to the Malian Government and the Malian Armed Forces, as well as to the governments and families of the victims, who include personnel of companies contracted by MINUSMA. It wishes a speedy recovery to the injured.
The situation regarding the MINUSMA-associated personnel is as follows:
- Four (4) were rescued at the Hotel Byblos as soon as the operation had ended and were taken to MINUSMA's office in Sévaré, where they remain while waiting to be transferred to Bamako. They are nationals of South Africa (2), the Russian Federation (1) and Ukraine (1). They are all in good health. The attackers did not detect their presence in the hotel and MINUSMA was in permanent contact with them throughout the attack and until its end.
- Five (5) lost their lives and an inquiry is underway to establish the exact circumstances of their death during the events: one Malian (a driver working for a company contracted by MINUSMA), one Nepalese, one South African and two Ukrainians. Arrangements are in place to take the victims' bodies to Bamako.
MINUSMA will continue to cooperate and to coordinate its efforts very closely with the Malian authorities as well as with the representatives of the international community in Bamako in the context of the ongoing follow-up operations, including the Malian authorities' investigations into the attack.
MINUSMA remains determined and dedicated to fulfilling its tasks in the implementation of its mandate in support of Mali, its government and its people.
 Attack in Sévaré / Update on the Number of Victims among the MINUSMA Contractor's Personnel
 Statement attributable to the Spokesman for the Secretary-General on today's attack in Sévaré, Mali
Mesdames et messieurs les représentants des membres du Conseil de sécurité,
Monsieur le ministre des Affaires étrangères et de la Coopération internationale de la République du Mali, cher frère Abdoulaye Diop,
NOTE/Bamako Assize Court convicts perpetrator of attack on five peacekeepers
Bamako, 25 January 2023 - The trial relating to the attack on five peacekeepers on the road to Siby (near Bamako) on 22 February 2019, which led to the death of three of them, took place before the Bamako Court of Assizes sitting in terrorism m
Action for peacekeeping: An all-women police unit from Egypt breaks new ground in mine action in central Mali
In this story series, UN Peacekeeping shows the impact of Action for Peacekeeping, which guides peace operations across 12 active missions.


text:
Q: Filters generate output even if they are not connected to any signal and does respond differently to different signal sources
opAmps are fed by +/- 9V.
I have two more filters like this one, in total three filters.
If I use a signal generator as input signal and observe output via an oscilloscope; all those filters give me satisfying results(not the same with simulated results, but close enough considering I am using %5 resistors and other possible non-idealities.)
However, in reality, the input signal comes from a microphone output. And mic takes sound from a 10 cm away speaker(it is being so loud that, microphone gives around 600 mVpp directly(***), without any amplification done.) At this point, the problems start to occur.
(***) - is this normal? I mean I always saw that microphones give output in the range of maybe tens of milivolts while I was doing research on the web. The microphone is an electret one, and I don't have any datasheet or so.
The filters which works fine before, starts to behave problematic. For example, even if I don't connect any input signal(the output of mic), the filters output a sinusoidal-ish waveforms around 400-500 mVpp at their(filter's) designed center frequency when the loud speaker is on. I even connected input to ground, but did not help. One thing I could not understand is why filters interact with sound when there is no physical(electrical) connection with the microphone?
Also, when connected with microphone, the filters still does not behave as before. I think it might be resulting from some kind of loading effect. There is a clear difference between mic out and signal generator out, which I could not figure out. Two things I suspect are,

*

*The filter opAmps are NE5532 which has a very low input impedance of 30k ohms or so.

*I think adding a voltage buffer to microphone output may help since it will(?) make output impedance more similar to the output impedance of a signal generator, but I was not sure and did not try.
I am also attaching the mic driver circuit, which is pretty simple.

It is the exact circuit in my implementation with +9V instead of +5V.
The microphone output itself is fine, it gives pretty similar waveforms to loudspeaker output.
I might look combining two questions in one, but I could not be sure if they are related whith each other or not.

A: I simulated your filter in LTspice. In transient analysis with the input open circuit it broke into oscillation after 40ms. With a short circuit it took 200ms, but with 50uV of noise added it only took 20ms.
AC analysis of the first stage shows phase increasing with frequency when passing through the center frequency of the filter. This is a sign of potential instability.

Increasing R2 from 1kΩ to 1.05kΩ I got this:-

The phase now flips to negative but the amplitude peaks sharply at over +20dB, indicating that the filter is right on the edge of being unstable.
With 1.1kΩ I got:-

The response is now similar to the original design with 1kΩ, but the phase is going in the correct direction for stability. This is confirmed by transient analysis, which does not show any hint of oscillation.
Trying to get the sharpest filter response with 5% tolerance components is dangerous because a small variation could push it into instability. You should either use 1% tolerance resistors, or 'detune' the filter and accept a wider bandwidth. Alternatively you could make a passive LC filter using high Q inductors, which is guaranteed to be stable.

even if I don't connect any input signal(the output of mic), the
  filters output a sinusoidal-ish waveforms around 400-500 mVpp at
  their(filter's) designed center frequency when the loud speaker is on.
  I even connected input to ground, but did not help. One thing I could
  not understand is why filters interact with sound when there is no
  physical(electrical) connection with the microphone?

The speaker circuit might be inducing noise into the ground, power supply, or signal wires, which is 'shocking' the filters into oscillation, or you might have a 'ground loop' which is only present when the speaker is turned on.

Also, when connected with microphone, the filters still does not
  behave as before. I think it might be resulting from some kind of
  loading effect. There is a clear difference between mic out and signal
  generator out, which I could not figure out.

The microphone has a higher impedance than the generator. If the filters are close to instability then a small change (such as higher source impedance which effectively makes R1 larger) could push them over the edge.
Adding a buffer between the microphone and filters is a good idea because it isolates them from the source and reduces interaction between them, but as you also have oscillation with the input short-circuited a buffer may not stop it. Even if it did, you should increase the filter stability margin to avoid problems in the future.

A: An audio amplifier that uses ceramic capacitors in the audio path produces an output when something touches or vibrates a capacitor because a ceramic capacitor is "microphonic".
Film capacitors should be used.
Why don't your opamps show a filtered power supply? I assume it has positive and negative voltages. We do not know the voltages.
The electret microphone draws about 0.5mA then with a 10k resistor from 5V the mic has no voltage. The 10k resistor should be about 4.7k when powered from 5V and can be 10k when powered from 9V. The resistor that feeds the mic should be powered from an RC filter to avoid feedback from the power supply or battery.

redpajama_set_name: RedPajamaStackExchange


text:
Am I—Reflections on the search recommendations, algorithmic identity and the datafied subject
By: Jing Shi, Jueling Hu,
Sanne Stevens
About Sanne Stevens
"The endless, continuously updated streams of information online are selected, processed and made available through recommendations calculated by complex algorithms. Am I explores how these algorithmic recommendations shape our everyday existence – and both reflect as shape our sense of self. Am I explores how Google gets to know us – and in turn determines what there is to know about ourselves, and how to know it."
– Introduction text of the 'Am I' exhibition
Figure 1. Video clip of Am I exhibition (CLICK IT!)
The importance of algorithms in our datafied world has become a widely discussed topic. More and more it is realised what crucial role they play in selecting what we get to see online. Algorithms are useful, of course, indispensable even; but since they are such a key feature of the information architecture of new media. Since 'there is no such thing as "neutral" design' (Thaler and Sunstein, 2008, p.3), interrogating how algorithms work, the underlying values of their programming and the consequences these choices have in shaping our culture are of growing relevance and urgency. In the above introduction text, we included an observation from Tarleton Gillespie, who stresses exactly this point. He observes that algorithms 'not only help us find information, they provide a means to know what there is to know and how to know it' (Gillespie, 2014, p.167). Gillespie offers us a starting point for
understanding the cultural and political consequences of what he calls public relevant algorithms, by taking apart their specific knowledge logic. He observes several knowledge logic dimensions, such as the way algorithms try to anticipate users behavior and the promise of algorithmic objectivity. A dimension relevant in the context of our project, is 'the production of calculated publics'. This entails
'.. how the algorithmic presentation of publics back to themselves shape a public's sense of itself, and who is best positioned to benefit from that knowledge '
– (Gillespie, 2014, p. 168).
This specific dimension of algorithmic knowledge production touches upon what John Cheney-Lippold has described as a process of algorithmic identification. His analysis firstly focuses on the 'how' of such a process, in which categorisation according to our user data play a crucial role. Certain patterns of online behavior leads to the assignment of '52% female', for example. He emphasises that this identification process is continuously adapted on the basis of new data-inputs. The relevance of this process, that happens behind the 'computational curtains', is that they these identities inform the recommendations we get as users, such as ads. This way, our algorithmic identities present us with their interpretation who we are – in a selection of what we get to see. This mechanism can be seen as a technology of power, a form of control:
' Interpreting control's mark on subjects as a guiding mechanism that opens and closes particular conditions of possibility that users can encounter. The feedback mechanism required in this guiding mechanism is the process of suggestion.'
– (Cheney-Lippold, 2011,p. 175)
By shaping the terms of our information, these suggestions shape the terms of our subjectivity; telling us who we are, what we want and who we should be. At the same time, the suggestions are based on our online behavior, on what we do, and are embedded within a broader cultural logic and knowledge system. This means that suggestions are both shaped by us and shape us; a beautiful example of the productive working of power as described by Foucault.
It is this process that we set out to research while developing Am I . And if one wants to interrogate the influence of algorithms on our subjectivity, what better place to start than one of the most used – and as much heralded as contested – algorithms; the Google search algorithm. There is much research into how the first search results are what most people click on – and how adapting these results can have huge consequences for how people think about certain issues and reinforce bias (see for example Epstein and Robertson, 2015, Noble, 2018). A specific feature of the Google search algorithm is the autocomplete recommendation that appears while a user is typing in a query. By not even letting us finish our thought, it already suggests what we might be looking for. Google explains that this feature is a 'huge time saver' which 'reduces typing by about 25 percent' on average:
' Cumulatively, we estimate it saves over 200 years of typing time per day. Yes, per day! ' – from: "How Google Autocomplete Works in Search."
Which means that the feature is indeed used a lot, and its role in selecting and then suggesting what information we might be looking for, has great significance. Google itself stresses it does not intends to steer us in any direction by the autocomplete feature, by explicitly noting that they should be read as 'predictions':
' You'll notice we call these autocomplete "predictions" rather than "suggestions," and there's a good reason for that. Autocomplete is designed to help people complete a search they were intending to do, not to suggest new types of searches to be performed. These are our best predictions of the query you were likely to continue entering .' from: "How Google Autocomplete Works in Search."
Though Google seems to take distance from the effect of suggesting what we could search for, this play of words can of course not limit its actual productive power. Autocomplete, whether intended or not, works as a form of control described by Cheney-Lippold. What is furthermore interesting about the autocomplete feature, is that it feeds-back information it collects of searches quite directly to us. There is definitely a process of selection and curation that we cannot see or evaluate – but it is still an interesting moment where the inner workings of the algorithm exposes itself through showing us what in its logic qualifies as a 'prediction' of our behaviour.
For these specific characteristics – Google searches important place in the hierarchy of algorithms, autocomplete as a much used feature and an opening up of the feedback mechanism, it forms an excellent artifact for our research. Our central research question being:
'How can we explore the shaping of subjectivity by the process of algorithmic identities through search recommendations from Google?'
Secondary questions we investigated were: How are we defined by what we search or – how does the search recommendation 'conduct conduct'? What insights give the recommendations us in the shaping of our subjectivity? What do the recommendations say about us and what do they say about the algorithm? How are the recommendations personalised, or differ in different contexts and languages?
The operationalisation
In order to focus our project on the shaping of algorithmic identities through google search, our focus is specifically on what people search for about themselves. To start simply here: how does autocomplete 'predict' queries starting with 'Am I…?'. With this as starting point, we created an Alphabet of Suggestion as central element of our inquiry.
Because Google search results are contextual – within every country there are different search trends, autocomplete gives us the opportunity how the selection of algorithmic information is culturally embedded, by exploring which suggestions come up in different languages. Several friends were approached to type in the alphabet within their country in their respective languages.
Figure 2. Searching in four different languages
We wanted to present this Alphabet in a way that would magnify the form of control of suggestions, to take these recommendations from the private, individual experience into a public experience, to offer a space for confrontation, contemplation and comparison. Exploring the Alphabet of Suggestions was fascinating. At the one hand it almost felt intrusive; many questions seemed to be very personal and private. At the other hand it seemed to offer a glimpse of what were more collective, cultural worries. This is how parallel to the conceptual axis of the power of the algorithmic recommendations in shaping our sense of self, a second axis arose: that of exposure of the personal. Searches that we made in the privacy of our own home, showing our personal doubts, vulnerabilities, are now out in the open. We turn to Google to ask things that we would never dare to ask to anybody; but Google sees it all and does not handle this information discretely; it shows it to everybody through its recommendations. To combine these different themes (how the recommendations shape of our subjectivity and culture while at the same time being embedded in that culture, the role of Google Search in intimate questions and the exposure of private information) we designed a multi-media art installation with three different elements.
Figure 3. Official webpage of Am I exhibition (Link: https://joyshijing.wixsite.com/amiexhibition)
The main, most central element of the installation are six huge pillars with the Alphabet of Recommendations projected on their side. Each side gives space to the recommendations belonging to one letter. People can go inside the pillars to further explore the alphabet, and because the sides are semi-translucent, visitors turn into dark silhouettes behind the autocomplete sentences. This creates the impression of both intimacy and exposure, of a person behind the questions, but a person without a face, simultaneously anonymous as utterly visible. The second element resides inside one of the pillars, and is a more interactive element. There visitors can find a personal search booth, with a Google search interface, and no possibility to go anywhere else. All the other information we might want to access, needs to be accessed through Google search. There is a choice however: either one can search using their own, personal log in, or a pre-programmed profile. This offers the possibility to compare their own results with the alphabet, which is also displayed inside the search booth. While a visitor is typing queries on the inside, these are projected on the pillar at the outside, exposed to the public. Everyone outside can see what the person is searching for and which autocomplete suggestions she sees. Just like the algorithm always 'sees' what we are doing, and feeds it back to public suggestions.
Figure 2. Overview of Am I exhibition
The final element revolves around the cultural context of searches and auto-correct. It is a video room where the prerecorded searches in different languages are simultaneously displayed. Under every screen there is an English translation available to compare the different results.
The installation gives time and space to reflect on key characteristics of a specific set of search results. Below, we explore some of the common characteristics of the autocomplete suggestions and what they tell us about a broader context, as well as how they might shape our subjectivity.
After the installation: reflections on autocomplete, algorithmic subjectivity and culture
If you type in the query ' Am I a…' in Google search, you get a huge list of results. Strangely bragging about its performance, Google even clarifies that it found 485.000.000 results in 0,61 seconds. But only ten from these thousands of results are selected as autocomplete suggestions. In these autocomplete suggestions, some relevant results are highlighted while others excluded. It is algorithms that offer predictions about what you should or would be more interested to know. While algorithms were often described as being benign, neutral, or objective, they are anything but. (Noble, 2018, p.1). The search results could be influenced by geographic places, sponsors, national regulations and norms, and even way of expressions in the linguistic sense, both reflecting and reinforcing social logics (Stanfill, 2015). Therefore, on the one hand these personalized results are tightly bonded to cultural constraints. On the other, however, these auto-complete suggestions apply their own mathematical formulations to store, process, transmit these cultural issues and giving them new meaning by selecting the more 'relevant'. Google search engine, in this sense, is capable to prioritize the searching results on the basis of a variety of topics that seem "objective" and "popular" (Noble, 2018, p.24).
When entering our art exhibition, you might immediately confront with this constructive power that "enable and assign meaningfulness, managing how information is perceived by users, the distribution of the sensible" (Langlois, 2012). To elaborate it more specifically, we extract some examples from our alphabet. All examples are collected from English language setting and private browsing model.
Am I: Beauty Matters
Throughout the whole alphabet, a large number of questions about appearance have been inquired via Google search. Instead of mentioning about other personal qualities, the importance of appearance is highlighted by Google autosuggestions. By constantly being suggested these questions a notice—if not anxiety—about one's appearance has been made. It is worth mentioning that, the suggested beauty standards is not inherent or a quality that one was born with. Rather, every individual could give efforts to make some difference on the appearance throughout one's lifespan. When one clicks one of the auto-complete suggestions, he or she would receive countless results offering articles, videos, and pictures about how to use specific makeups, clothing styles, or services to improve the personal atheistic image. By purchasing certain kind of commodities, one is promised to be more attractive. In this way, the beauty standard is transferred as a judgment of personal taste, which corresponds to certain commodities.
Am I attractive Am I beautiful
Am I cool
Am I fat or skinny Am I handsome
Am I: Know yourself through Quiz
Besides the forms of articles, videos, and pictures one might confront after clicking on certain search recommendation, there is another form to provide specific knowledge, which can be shown directly on the auto-complete suggestions—the quiz or test. As the following list shows, the questions linked to a quiz can be very soft. For instance, am I a good father. There should be no concrete answer to every quiz/test, but the quizzes/tests often use a quantitative method including questionnaires to measure the certain issues. It is hard to tell whether believe it or not, but this gamified way definitely opens up what can be quantitatively tested through this, which means that instead of different context for a different person, there is a standardized gradient suitable for everyone.
Am I a good father quiz
Am I a psychopath test
Am I addicted to cigarettes quiz Am I beautiful quiz
Am I depressed quiz
Am I evil quiz
Am I fat quiz
Am I gay quiz
Am I handsome picture test
Am I in love quiz
According to Halavais, a search engine is a window into our own desires, which can have an impact on the values of society (Noble, 2018, p.25). However, the purpose of Am I Exhibition is to reveal the fact that our desires and subjectivities have been gradually shaped in the process of autosuggestions by search engines. In other words, search engines like Google may to some extent defining who we are and what content we should see. Although Google stresses that its autosuggestion function is only a 'huge time saver' which 'reduces typing by about 25 percent' on average. It cannot be denied that certain values from specific kinds of people-namely, the most powerful institution in society and those who control them ((Noble 2018, p.29), have already embedded in our way of thinking, and shaping our subjectivities with or without consciousness. As Lacan described the process of completing one's sense of
'self' is through the reflection of a mirror, and thus establish the relationship between the Innenwelt and the Umwelt (Lacan, 1949, p. 97). We believe that today search engine's recommendation is increasingly shaping our subjectivities and has rather become the mirror for reflections of people's 'algorithmic identities' than a 'window' into our own desires.
Cheney-Lippold, John. "A New Algorithmic Identity: Soft Biopolitics and the Modulation of
Control." Theory, Culture & Society, vol. 28, no. 6, Nov. 2011, pp. 164–81.
Epstein, Robert, and Ronald E. Robertson. "The Search Engine Manipulation Effect (SEME) and Its Possible Impact on the Outcomes of Elections." Proceedings of the National Academy of Sciences , vol. 112, no. 33, Aug. 2015, pp. E4512–21.
Gillespie, Tarleton. "The Relevance of Algorithms." Media Technologies, edited by Tarleton Gillespie et al., The MIT Press, 2014, pp. 167–94.
"How Google Autocomplete Works in Search." Google , 20 Apr. 2018, https://www.blog.google/products/search/how-google-autocomplete-works-search/ . Accessed 20 October 2018
Lovink, Geert. The Society of the Query and the Googlization of Our Lives . p. 7.
Safiya Umoja Noble author. Algorithms of Oppression: How Search Engines Reinforce Racism . New York University Press, 2018.
Lacan, Jacques, and Alan Sheridan. "The Mirror Stage as Formative of the Function of the I as Revealed in Psychoanalytic Experience." Écrits: A Selection. London: Routledge, 2001. pp. 1-7
Langlois, Ganaele. "Participatory Culture and the New Governance of Communication: The Paradox of Participatory Media." Television & New Media 14, no. 2, Mar. 2013, pp. 91–105. https://doi.org/10.1177/1527476411433519 .
Society of the Query | Reflect and Act! Introduction to the Society of the Query Reader. http://networkcultures.org/query/2014/04/23/reflect-and-act-introduction-to-the-society-of-t he-query-reader/ . Accessed 1 Oct. 2018.
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text:
Shadow of a Doubt és una pel·lícula estatunidenca de 1943 dirigida per Alfred Hitchcock, protagonitzada per Joseph Cotten i Theresa Wright i nominada a l'Oscar al millor guió original (Gordon McDonell).

La pel·lícula narra la història d'una noia que viu a la tranquil·la localitat de Santa Rosa (Califòrnia) i que sospita que el seu oncle és un assassí de vídues.

És considerada com la millor pel·lícula estatunidenca de Hitchcock, qui assegurava que era la seva preferida. L'any 1991 va ser seleccionada per la Biblioteca del Congrés dels Estats Units per a ser preservada al National Film Registry.

Argument
Charlotte, una adolescent que viu a la tranquil·la localitat de Santa Rosa (Califòrnia) està avorrida perquè sembla que no succeeixi res a la seva vida ni a la seva família, però un dia rep la meravellosa notícia que el seu oncle Charlie, germà de la seva mare, ve a visitar-les.

Dos homes apareixen fent-se passar per fotògrafs i periodistes que estan fent una enquesta nacional de la família estatunidenca mitjana. Un d'ells parla amb Charlotte en privat, identificant-se com el Detectiu Jack Graham i dient-li que el seu oncle és un dels dos homes considerats sospitosos de ser un assassí en sèrie conegut com l'"assassí de la vídua alegre", el modus operandi del qual consisteix a seduir, assassinar i robar vídues riques.

Al principi la noia es nega a pensar que el seu oncle pugui ser un assassí, però en diverses ocasions s'adona que aquest actua de forma estranya. Confirma les seves sospites després de veure les inicials gravades en l'anell que el seu oncle va regalar-li, ja que coincideixen amb les d'una de les víctimes. Especialment esgarrifosa és una conversa durant un sopar familiar en la qual Charlie revela la seva aversió cap a les vídues riques, comparant-les amb animals grassos que mereixen una massacre.

La creixent sospita de Charlotte aviat es fa evident al seu oncle, qui decideix afrontar-s'hi i admetre que, en efecte, és l'home que busca la policia, i li demana que l'ajudi. Ella, reticent, accepta de no dir res a ningú si ell marxa aviat, per tal d'evitar un horrible escàndol a la ciutat que destruiria la seva família, especialment la seva mare, que idolatra el seu germà petit.

Llavors arriba la notícia que el segon sospitós ha mort mentre fugia de la policia a Portland (Maine), i se suposa que en Charlie és la persona que busca la policia. El detectiu Graham marxa després de confessar-li a Charlotte que l'estima i que voldria casar-se amb ella algun dia. Al començament Charlie està encantat amb la idea, fins que recorda que la noia coneix el seu secret. Poc després Charlotte té un parell d'"accidents" quasi mortals: caient per unes escales molt inclinades a casa seva, i quedant atrapada en un garatge on hi ha un cotxe amb un escapament de gas.

L'oncle Charlie aviat anuncia que està a punt de marxar cap a San Francisco, seguint la que se suposa és la seva pròxima víctima. Mentre marxa, l'oncle se les enginya perquè ella es quedi dalt del tren amb ell, planejant matar-la empenyent-la tan bon punt aquest guanyi velocitat. Però en la subsegüent lluita entre ells, Charlie cau davant d'un altre tren que va en sentit contrari, morint atropellat. Durant el seu funeral és acomiadat amb honors pels ciutadans de Santa Rosa, que no saben res dels seus delictes. El detectiu Jack Graham torna per a consolar Charlotte; aquesta li confessa haver-li amagat informació sobre el seu oncle que l'hauria confirmat com l'assassí, però el detectiu ja ho sap, i ho accepta en adonar-se de la difícil situació de la noia. Es comprometen, i decideixen mantenir els crims de l'oncle Charlie en secret.

Repartiment

Cameo: Alfred Hitchcock apareix jugant al bridge al tren que va de Filadèlfia a Santa Rosa, al minut 15 de la pel·lícula. Té una mà de piques, incloent el simbòlic as.

Rerefons
La pel·lícula va ser filmada a Santa Rosa (Califòrnia), que apareix retratada com a exemple d'una petita i pacífica ciutat estatunidenca de la preguerra. Alguns dels edificis que hi apareixen van ser malmesos o destruïts a causa de sismes l'any 1969, i l'estació de tren (construïda el 1904) és un dels pocs edificis públics de la ciutat que va sobreviure al gran terratrèmol de 1906.

Les escenes del principi tenen lloc en el Central Ward de Newark (Nova Jersey). El skyline de la ciutat i llocs emblemàtics com el Pulaski Skyway (una sèrie de ponts amb gelosia que creuen els rius Passaic i Hackensack) se'ns mostren durant l'obertura.

Dimitri Tiomkin va posar música a la pel·lícula; el compositor utilitza el famós vals La vídua alegre de Franz Lehár, sovint distorsionant-lo una mica, com a leitmotiv de l'oncle Charlie i els seus assassinats en sèrie. Després d'aquesta primera col·laboració amb Hitchcock també va compondre la banda sonora d'Estranys en un tren, Jo confesso i Crim perfecte.

El director volia Joan Fontaine (Charlotte) i William Powell (oncle Charlie) com a protagonistes principals, però la primera no estava disponible i el segon no va voler-lo cedir la Metro-Goldwyn-Mayer.

Referències

Enllaços externs

 Fitxa de la pel·lícula a DeCine21

Pel·lícules dels Estats Units del 1943
Pel·lícules sobre assassins en sèrie
Pel·lícules dels Estats Units en blanc i negre
Pel·lícules dirigides per Alfred Hitchcock