I'm on my way this week to the Society for Cinema and Media Studies Conference in LA, where I'll be presenting, in miniature, the ecocritical/ecophilosophical model of cinema that I'm developing in my book-in-progress. This "process-relational" model draws on Peirce, Whitehead, Deleuze, Bergson, Heidegger, and others, with inspirational nods to psychoanalysis, cognitive film theory (which, to be honest, is a little less inspirational, but to some extent inevitable), and individual theorists like Sean Cubitt, John Mullarkey, and Daniel Frampton. Its ecophilosophical basis is that it is primarily concerned with the relationship between cinema — as a technical medium, a thing in the world, and a form of human experience — and the ecologies within which humans are implicated and enmeshed.
Here's one articulation of that model.
The starting point: Films, or moving images, move us. They take us on journeys (metaphorical or real) into film-worlds. In this sense, films, like all art forms, produce or "disclose" worlds. These worlds are different (according to medium-specific regularities) from the profilmic or extra-filmic world. They are, for one thing, more dynamic (visually-audially) and more synthetic, insofar as they enable a complex array of fragmentations, juxtapositions, and recombinations of elements, and thus for a condensation and multiplication of meanings.
One part of my analysis is of those film-worlds themselves; a second is of our experience of being drawn into those film-worlds; and a third is of the relationship between the film-worlds (as we experience them) and the extra-filmic world.
A process-relational perspective understands the world to consist of events, dynamic relational processes which involve the simultaneous emergence of objectivity and subjectivity, that is, of something that is perceived and responded to and of the experienced 'feeling' emerging as that response.
As with all worlds, and as with all moments of experience, the cinematic world comes into being, it becomes, moment by moment, within an interactive and interperceptual/semiotic milieu that opens up and stretches between these two poles: at one end, the material objectscape, a world of things that are given, and at the other end the social subjectscape, a world of capacities, possibilities to act and to become.
So at one end cinema is geomorphic: it produces a world that is spaced and layered into forms as seemingly stable as the geological, and these things take on meanings for us by virtue of what actions are allowed to occur in those spaces as opposed to others, the relations between them, our capacities to move within and around them, and so on. In this geomorphic or object-making dimension (which is different from the geomorphism of the embodied extra-filmic world), cinema is about the meaning of the layout of the world, the objectscape of things that we encounter, and the way in which that objectscape is presented to us.
At the other end, for humans at least, cinema is anthropomorphic: it produces relations between those subjects who are perceived to experience the world more or less like we do. (For dogs, the subject-pole of world-production is canomorphic; for birds, avimorphic; and so on. There's no argument here that other animals are "poor in world," as Heidegger puts it; worlds are just different.) In this anthropomorphic or subject-making dimension, cinema is about the capacity to act and to become — a capacity that is in principle available to us, but that is in practice distributed in various ways across the subject-world of others 'like us.' And this distribution is very much an issue for us. It is, for instance, the tension between what we believe is possible for a person (such as a character in a film) and the reality of how those possibilities get foreclosed in conditions that beset that person, that gives tragedy and melodrama their force.
In between the geomorphic and the anthropomorphic, the object-laying-out and the subject-making, is cinema's animamorphism (or biomorphism), which is the dynamic, interperceptual space where the difference between the subjective and the objective gets negotiated, moment by moment.
In a process-relational perspective, then, subjects and objects are not pre-given by nature: they co-emerge moment by moment as two poles of the structure of experience. And what they emerge out of, or through, is this intermediary space of interanimate, interperceptual relationality. It is the creativity of matter (firstness) that sets the world in motion, bubbling up ceaselessly; it is the dynamism of interperception (secondness), events and responses following each other in temporal sequence, that propels the forward movement; and it is the possibility of meaningful becoming (thirdness) that is the lure that draws it all forward.
Films are a powerful medium because, as subjectomorphic, they can expand our capacity for becoming, for empathy, for "feeling-with" others; and as objectomorphic, they can expand our capacity for beholding, that is, for seeing and experiencing the world (and therefore our capacity to take in beauty, among other things). The first is pretty obvious: seeing A Single Man, Precious, or Brokeback Mountain, we, if we follow the lures provided for us, will probably, at least momentarily, expand, or at least exercise, our capacities to identify with characters who face certain situations that are not ours, but that we come to understand and "relate to" while watching. The second expansion, that of our capacities to behold, is exercised when we come to enjoy and appreciate ways of seeing the world that had not been ours: as, for instance, when we feel the joy of running through bioluminescent jungles with Jake Sully in Avatar. Most of film's capacity for creativity, for beauty, for resonance and meaning, and so on, takes place within these two (or three) realms: cinema's ability to disclose, in new and creative ways, the world of materiality/objectivation and to provide it with meaning; its ability to delve into and open up the world of sociality/subjectivation for us (as subjects ourselves alongside other subjects); and its capacity for addressing the interperceptual milieu within and out of which these two poles arise.
Film draws us in to its world in three distinct ways.
First, there is the way in which we experience it in its immediate "objectness" and "presentness": this is its texture, its thickness or viscosity, the felt, "spectacular" quality of the film experience. It results in an unreflectively felt, tangible visceral orientation of one kind or another toward what is seen/heard/felt. It is the dimension of a film to which our response is, and can be, little more than a vague sense of "wow…" or "ugh!" (though upon reflection it might become "cool," "I'm enjoying this," "isn't this great!" or "how horrible!"). This "texturality", however, contains a wide range of possibilities; so at its broadest this category includes all those things that allow us in to the "vertical" experience of a film moment (images, music, sound, movement, etc.). This is where much of our enjoyment of musicals, blockbuster spectacles, chase and action scenes, and so on, comes from.
Second, there is the way we are drawn into the seriality of events presented to us by the film. This is film's narrativity, its horizontality. Our experience of it is a "getting caught up" in the story of the film. It elicits the response of "So what will happen next? What will he or she do? Who committed the murder?" Retrospectively, it takes the form of "And then…, and then…" It is the way in which things that are shown sequentially are taken to be connected, and in which the connections need to be made by us, since, in the temporal-sequential world of the moving image medium, we aren't shown everything all at once. In its most simple and typical form this tends toward a linearity, but only because of the fact that while many virtual roads might be taken by a narrative trajectory, in most films only one of these is ultimately taken: the hero vanquishes the villain (or gets killed by him), the killer is found out (or escapes), the mystery is unraveled, and so on. This is what gives murder mysteries and melodramas their momentum. In principle, of course, this horizontality can be multiple, complex, open-ended, and lacking in resolution; and some of the best films play with these possibilities in creative ways.
Finally, there is film's exo-referentiality, which is the signness of the film's images and sounds insofar as these represent or point to things in the world outside the film. This is what elicits in us responses like "that's what this is about…", "this reminds me of X," "I don't think this is a good characterization of Y," and "what do you think the filmmaker means by this?" It is what documentaries are most obviously "about," but without it no film would sustain our interest. It is what emerges as the film is opened to the world of our lives, the profilmic and post-filmic world into which we incorporate the things we see and feel (film's texturality, its Peircian firstness) and follow (film's narrativity, its Peircian secondness) both during and after our viewing of a film. For a film to generate meaning in a viewer, it must connect with what is already meaningful for that viewer. In this sense, however, a film affords various possibilities for interpretation, but its exo-referentiality is never fully predestined. Once it begins to generate this "thirdness," this production of meanings takes place in the interaction between film and a dynamic world, which renders the film always open to further interpretation and reinterpretation.
Each of film's three morphisms — subjects, objects, percepts; subjectivation, objectivation, perception — reflects the "three ecologies," or systems of relations, that constitute the world: its material (or interobjective) ecologies, its social (intersubjective) ecologies, and its perceptual (interperceptive) ecologies.
Cinema affects each of these ecologies materially, perceptually, and socially, making for a total of nine terms. So there is the materiality of matter (physical ecologies, actual material relations), the materiality of perception (the perceptual apparatus, both bodily and technological), and the materiality of the social (relations of cinematic production/distribution/consumption, ritual interactions surrounding movie-watching, etc.); there is the perception of matter (cinema's geomorphism), the perception of perception (its bio- or animamorphism), and the perception of sociality (its anthropomorphism); and there's the sociality of matter (the subjectivity of matter, the real potential for 'vitalizing' the object-world), the sociality of perception (the subjectivity of the vital, inter-perceptual world), and the sociality of the social (the way in which the sociality of cinema embodies, conveys, and instigates certain socialities). (Let's call these 1a, b, and c, 2a, b, and c, and 3a, b, and c, respectively. And keep in mind that I'm using the term "materiality" as more or less coexistensive with "objectness" or "interobjectivity", and "sociality" as more or less coextensive with "subjectness" or "intersubjectivity").
Cinema's "effects" (to make a long set of potential stories very short) can be followed in each of these: one can, for instance, focus on the material effects of the film's production/distribution/consumption process (1a), or on the perceptual effects of the way in which a film presents animate non-human life (2b), or on the social/intersubjective effects of the conversations and interactions of its viewers in the wake of seeing and interpreting the film (3c); or one of the six other possibilities.
What this means is that a film is always more than what we see; it is what it does. And what it does works on these multiple layers of the world (material, perceptual, social) in multiple ways (material, perceptual, social).
In its barebones version, that's the model. How it applies and what it implies for specific films, genres, styles, etc., is something I spend a book working out. Some examples will follow here, over time. Comments are most welcome (especially from those who know Peirce better than I do; it's been a steep learning curve with him, and there's plenty of room for further learning).
Thanks Adrian. I look forward to reading this and hearing more about it next week at the conference. Hope to see you at the Friday eco-crit panel and afterwards for lunch with the gang.
If I was in LA I would love to attend this conference. I was a film major in college and much of our time was studying what made the audience connect with the character and his surroundings. If the audience can't sympathize or connect with the main character, it is not a well written movie. i would love to read your book when you get it published.
The 'three ecologies' here seem to be a reworking of Guattari's three ecologies, which is something I am very much interested in looking at in terms of film. How does Guattari's work figure into your own? Is it just a backdrop for the ecological/interconnected understanding of the issues at stake here, or are there other particular points you are interested in?
To answer Matt publicly (which I had done in private already) – Guattari's work, especially his collaborations with Deleuze, figures in inspirationally at a lot of levels. Their ecological bent has become more clear thanks to the work of an increasing number of scholars, collected in the two books Bernd Herzogenrath has pulled together (D/G and Ecology and An (Un)Likely Alliance, at least one of which can be read entirely online, at ARG I think) and in Rhizomes 15, also available online. I reviewed the first book for Deleuze Studies, though that's yet to appear.
I find Guattari's conceptualization of the 'three ecologies' and the 'chaosmos' very interesting and conceptually useful, but my use of it so far has been more general/inspirational than specific or technical/methodological. (There's something a bit too slippery about Guattari that way.) Guattari's semiotics is influenced particularly by Bateson (whose work I know and like a lot) and Hjelmslev (whose work I don't know well) than by Peirce (which is what I'm working on now), but its connection/compatibility with biosemiotics is strong, and its (radically democratic) politics – something one doesn't always find in science/philosophycross-disciplinary theorizing – is also very attractive.


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THE FEMALE FAMILY HERITAGE
In late 2011 I started to look at the background of my paternal grandmother, Annie Edith Puckridge. It has been a revelation to find that this gentle, home-loving person was an offspring of adventurous and ambitious families with colourful backgrounds about which we knew nothing. Sadly, looking at the female bloodlines is still mainly about the males, because they were out doing interesting or exciting things, while the women were at home, bearing children, cooking, cleaning and surviving as best they could, their way of life and opinions usually unrecorded. I am aiming to acknowledge the female grandparents.
CLICK ON LINK OR SCROLL DOWN William &Mary Thomas &Martha John & Elizabethx2 John St George & Sarah Hannah & Horace Fred & Monnie Tapley Page
THE PUCKRIDGES
With the assistance of Mona Puckridge I obtained copies of the thoroughly researched Puckridge family history books written by her sister-in-law, Mollie Puckridge: Pursuit Through the Years-a Puckridge Family History and the update The Pursuit Ended-A Puckridge Family History which trace the Puckridges back to the 1730s with confidence. The following summary is based on Mollie's fine books. I have been able to add a few details to the family story via online resources.
WILLIAM PUCKRIDGE AND MARY HALL
William Puckridge of St Sepulchre, London, born 1-4-1716 who was a Freeman of the Joiners Guild, married Mary Hall of St Andrew's, Holborn on 1-1-1736 at St Benet Church, Paul's Wharf, London (at left).
After 1756 Mary and William lived at Islington where Mary died on 24th October, 1770 aged 56 years. William died 16 years later in 1786 aged 70 while living with his son, Charles, at 11 East Harding St, Gough Square in the Parish of St Brides. Both Mary and William were buried in the Church of St Sepulchre (at right).
MARY HALL PUCKRIDGE 1714-1770
Mary Hall was christened	on 19 Jan 1714	at St Andrews, Holborn,	Camden.	Her parents were Thomas and Elizabeth Hall. In 1790 she was living at 24 Hosier Lane, London with her husband who was described as a carver. Mary bore 12 children while at Hosier Lane, 7 boys and 5 girls, all baptised at the Church of St. Sepulchre, London. Five children died in infancy.
Thomas Puckridge 3-10-1736 to 1740
Polina Puckridge 13-1-1737 to 18-1-1762
Jane Puckridge 23-7-1739 to 1739
twins Mary (1) and Elizabeth Puckridge 21-11-1740 to 1744
Thomas Puckridge 1741 to 1789
Moses Puckridge 27-1 s-1743 to 1785
William Puckridge 17-4-1746
Charles Puckridge 28-7-1748
John Puckridge 13-8-1750 to 1817
Mary (2) Puckridge 31-5-1752 to 1816?
George Puckridge 2-9-1754 to 1756
Thomas (1), Jane, Mary and Elizabeth and George died as infants and were buried at St Sepulchre.
Her Uncle, was George Graham, a watchmaker and inventor. When he died he left her twenty guineas and a good portrait of himself (above), commissioned by the worshipful company of Clockmakers. He died 16 Nov 1751 and is buried 'in the middle aisle, in his master Mr. Tompion's grave' at Westminster Abbey in recognition of his achievements in watch and instrument making. Mary had a close relationship with the childless Grahams, and was probably a Quaker herself, and it is likely that George Graham's influence led to 3 of her children, Thomas, Moses and Charles, being clock and watch makers. William was a 'tarner and gilder.' Mary married Joshua Penn and Polina married Matthew Ferris, silversmith, but died 8-1-1762 aged only 24 years.
THOMAS PUCKRIDGE AND MARTHA MANSFIELD
The sixth child of William and Mary Puckridge, Thomas Puckridge, born 29-10-1741, died 24-4-1789, married Martha Mansfield, and they had 10 children, 4 sons and 6 daughters. Directories have Thomas Puckridge working at 73 Snow Hill, London, from 1790 to 1815 and at 2 Goldsmith Square from 1805. Thomas and Martha's second child, John Puckridge, was born 6 December, 1765. Thomas died on 24 April 1789 aged 47 but Martha lived to the age of 89. Both are buried at St Sepulchre, London.
MARTHA MANSFIELD PUCKRIDGE 1737-1826
Martha Mansfield born 1 May, 1739, baptised 24 May 1739 at St Sepulchre, London, was the daughter of John and Elizabeth Mansfield of Hosier Lane and a resident of St Sepulchre Parish. She married Thomas Puckridge on 12 May, 1763, possibly at St James, Clerkenwell, aged 23 to his 21 years. They had 10 children:
William Puckridge 4-2-1764 to March 1812
John Puckridge 6-12-1765 to 1-2-1840
Polina Puckridge 29-3-1767 to Oct 1767
Elizabeth Puckridge 29-10-1768 m. Smith
Mary Puckridge 7-1-1771 m. Marks
Thomas Puckridge 16-1-1774 to 16-1-1775 �
Thomas Puckridge 17-6-1777
Sarah Puckridge 2-2-1779 m. France
Martha Sophia Puckridge 17-1-1781 to 10-8-1802 m. W.T. Curtis.
All the children were baptised at St Sepulchre apart from William. Polina and Thomas died young and are buried in the bay vault at St Sepulchre.
Thomas died aged 48 years and was buried at St Sepulchre on 27th April, 1789, leaving 4 young children to be raised by his wife. The four daughters married
Martha Mansfield Puckridge died at Snowhill aged 89 and was buried at St Sepulchre on 18-12-1826.
JOHN PUCKRIDGE, ELIZABETH WAKELING AND ELIZABETH PATIENCE GILLETT
John Puckridge, 2nd child of Thomas and Martha, born 6-12-1765, also became a clock and watch maker. (At left is a photo of a fob watch made and signed by Henry Puckridge in 1837, with a picture of Puck in the middle, courtesy of Puckridge descendant, Bruce Sandeman-Craik) He was made "free" of the Clockmakers Company in 1788 and was a common councillor of the city of London. His premises were listed as 73 Snow Hill, London.
John Puckridge and his wife, Elizabeth Wakeling, whom he married at St George in the East on 31-8-1800, after they had had five children, had 11 children in all, 7 reaching adulthood. The children were mainly baptised at St Giles, Cripplegate (below right). They lived at Snowhill and then at Islington. Elizabeth died aged 42 years in 1812 but John ensured that all 7 children were educated and established in productive occupations.
He later had a second family of three sons with Elizabeth Patience Gillett: John St George Puckridge born on April 23rd, 1819, "within the sound of Bow Bells," Septimus Puckridge and Percival Puckridge. John Puckridge is listed as freehold owner of 73 Snowhill in an 1838 electoral register. John St George was the only child christened at Christchurch, Greyfriars, on 7-6-1837, though born in 1819-the reason for the delay is unknown but John Puckridge senior seems to have been unconventional with respect to the usual religious ceremonies. Elizabeth Gillett died soon after the birth of Percival in 1827 and fearful for the future of his youngest sons, John made a will dividing all he possessed between the three youngest children. John is shown at left in a photo which appears in Pursuit Through The Years.
On his death in 1840, this will was contested by an older son, but eventually John St George, the eldest of the second family of children, was granted administration of the will. John was buried in St Sepulchre (pictured as it is now on right) on 11-1-1840. In the 1841 census, John Puckridge aged 20, Septimus 15 and Phillip (Percival?) Puckridge 14 are listed as occupants at Snow Hill.
ELIZABETH PATIENCE GILLETT PUCKRIDGE 1788-1830
Elizabeth was born about 1788 and became the second partner of John Puckridge with whom she had 3 sons:
John St George 23-4-1819 to 10-9-1898
Septimus Mansfield 6-7-1822
Percival Graham 27-2-1827.
There was apparently animosity between the early family and the new one. Elizabeth died soon after the birth of Percival Graham, when she was 42 in August, 1830.
JOHN ST GEORGE PUCKRIDGE AND SARAH WOODWARD
John St George Puckridge was a clockmaker according to his marriage certificate, but Mollie Puckridge believes this description may be because he was 'winding up' his father's clockmaking business at the time, as on the birth certificates of his children he is described as a clerk, agent and traveller. He probably worked for a brewery belonging to the Woodwards, the family (more later) of his wife, Sarah Woodward, whom he married on 9-8-1840 at St John's, Islington.
The growing Puckridge family lived in Putland St, Mile End and in Plaistow, West Ham, County of Essex and seem to have been reasonably prosperous, yet John and Sarah decided to emigrate to South Australia. It may have been because a daughter died, because John thought that a brewery was not a suitable place to bring up children or because reports from South Australia were glowing. Sarah's Uncle, Francis Bunn, was listed as the licensee of the Golden Fleece Inn, Currie St, in the SA Almanac of 1851 and of the Royal Exchange Hotel, Hindley St about the same time. Another relative was a grazier in the South East and a cousin had Tara Farm at Blakiston.
Having made the decision to emigrate, Sarah and John and their 6 children, Catherine, Alfred, Anthony, Harry, Florence and Russell left Falmouth on the Lady Nugent on October 13th, 1853, arriving at Port Adelaide on January 21st, 1854. They were among the 34 cabin passengers on the ship, therefore not assisted passengers.
John (at left) and the family started sharefarming at Blakiston (now part of Littlehampton about 36 km SE of Adelaide) but in June, 1854, their fourth child and third son, Harry, died aged 5 years. Another son, Horace, was born to them in 1855 at Mt Barker near Adelaide, South Australia. The share farming seems not to have been a success as from 1856 to 1861 John St George was licensee of the Buckingham Arms Hotel where two more sons, Walter Graham and Septimus Allan were added to the family. John St George was a tall and imposing man and a stickler for correctness, apparently. While managing the Hotel he was applying for property on the West Coast. By 1862 the Puckridge family were at Lake Wangary on Eyre Peninsula, SA, 45 kms west of Port Lincoln. Their homestead overlooked Lake Wangary and was large and comfortable with a big garden, vegetable garden and orchard and John St George seems to have been a very capable and innovative farmer, though "peppery at times."
On the death of John St George, the property was divided between the 3 surviving sons, Septimus Puckridge, Horace Puckridge and Russell Puckridge.
SARAH FRANCES WOODWARD PUCKRIDGE 1815-1895
John Frederick Hiller (right) born 1742 married Esther Morgan born abt 1742, in 1762. They had 7 sons and 5 daughters. He was light keeper of the North Foreland Light at Broadstairs in Kent (at right) and a tenant farmer near the lighthouse. 10 of the children were born at the lighthouse, the births recorded in the parish registers of St Peter's Church (below right) in Thanet, Kent. The children were:
Jane Hiller 1764-1826
John Bateman Hiller b. 1766
Thomas Hiller 1768-1849
Richard Hiller 1770-1815
Mary Elizabeth Hiller b. 1772
Millicent Catherine Hiller 1774-1815
Esther Hiller 1776-1820
Frederick John Hiller b. 1778
George Francis Hiller b. 1780
Caleb Hiller b. 1782
Joshua Hiller 1782-1825
Elizabeth Hiller b. 1784
(from Mr Ballyn and the Bunns of St. Albans by Elizabeth Grace Roberts)
Thomas Hiller, (at left) the 3rd child of John and Esther Hiller, mariner, was born 11-4-1768 at North Foreland Lighthouses, Isle of Thanet, Kent and married Sarah Huggett born 22-2-1770 of neighbouring Stone Farm, Thanet Kent. They were apparently childhood sweethearts. At the end of his life, Thomas Hiller retired to an Almshouse in London at No 5 Trinity Green where he died in 1859. The house is shown in the wonderful blog, Spitalfields Life.
Thomas and Sarah Hiller had 7 children:
Susannah Huggett Hiller born 11-7-1791
Thomas Hiller 1792-1821 died in Jamaica
Sarah Huggett Hiller 24-10-1795 - 17-5-1884
Millicent Catherine Hiller 1799 - 1873
Paulin Hugget Hiller 1799 - 1836
Frederick John Hiller 1801 - 1873
Esther Jane Hiller 27-9-1804 - 9-12-1885.
Three of the Hiller daughters married 3 Bunn brothers-Sarah married Henry Bunn and emigrated to Melbourne with her daughter in 1857; Millicent married Joseph Bunn who was licensee of "The City of London Hotel" and later "The Ship Inn" in Dover; Esther Jane married Francis Bunn and emigrated to Adelaide where they had hotels, the Golden Fleece Inn at the corner of Currie and Rosina Streets, Adelaide, and the Exchange Hotel in Hindley Street.
Susannah Huggett Hiller, the first child of Thomas and Sarah Hiller, aged 20, married James Woodward of St Stephens, Herts, at All Saints, Chedburgh Suffolk on 30th September, 1811, at a ceremony officiated by her Uncle, the Reverend R.W. Carter. She was described as 'daughter of Thomas Hiller of Ramsgate, mariner.' Susannah bore 11 children of whom Sarah Frances Woodward was fourth. The children were
Mary Woodward b. 1812
Thomas Wooward b. 1814
Barbara Barron Woodward 1815 - 1879
Sarah Frances Woodward 1815 - 1895
James Woodward b. 1819
Millicent Catherine Woodward 1821 - 1895
John Frederick Woodward 1824 - 1874
Maria Woodward b. 1826
Emily Jane Woodward 1828 - 1891
Eleanor Frances Woodward b. 1832
Frances Elizabeth Wqoodward b. 1833.
All the children were baptised at St Stephens, St Albans.
James Woodward was a miller at Moor Mill, St Albans (at left-now a restaurant). The mill was set in large grounds where the children had plenty of room to play. Between 1824 and 1827, James and Sarah Woodward and their seven children moved to London and James established a brewery. James Woodward died 7 May, 1844 aged 55 years.
Susannah Woodward was listed in the 1841 census as aged 45, living with Joseph Bunn, Hotel Keeper and Katharine Bunn. In the 1851 census she is again listed as a widow, 58, living with daughter Barbara 33 and son in law George Johnston France aged 34, furniture dealer. In 1861 census she was living aged 69 with her daughter, Barbara, 43 and son-in-law George J. France 44, at 36 Piccadilly. Listed on 1871 census as living aged 79 with her daughter, Barbara, 53 and son-in-law George J. France 54, Fine Arts and Antique Dealer, at No 1, Lower Seymour Street, Marylebone. Susannah Woodward died aged 81 in 1872 at Marylebone, London.
Sarah Frances Woodward (At left)was the 4th of 11 children, born 1815 to Susannah and James Wooward, St Albans, Hertfordshire. She was baptised September 10th, 1815, her father being recorded as a meal man or miller.
James Woodward and all his siblings had been baptised at St Albans Abbey, where his parents, James Woodward and Mary Simpson, were also married. James Woodward and family had Moor Mill so Sarah would have grown up there, but around 1828 they left for London. Sarah married John St George Puckridge at St John's, Islington on 9th August, 1840, and at that time she belonged to the Parish of Holloway. Her father was already dead. Witnesses at the wedding were her sister, Barbara Baron Woodward and John's cousin, George Johnson France, whom Barbara later married.
Sarah bore 8 children in England, but one baby, Blanche, died in bad circumstances.
From 1856-1861 the family lived at Walkerville at the Buckingham Arms Hotel (still going strong, picture at right taken from Walkerville Sketchbook, drawings by Bill Walls, 1977) where John was licensee and sons Walter and Septimus were born.
The children were
Catherine Josephine Puckridge b. 09-07-1842 d. 19-07-1921 - 79 yrs
Alfred Dufrayer Puckridge b. 04-03-1844 d. 09-08-1882 - 38 yrs
Anthony Freeman Pain Puckridge b.16-11-1845 d. 06-11-1891 - 45 yrs
Harry Puckridge b. 17-11-1848 d. 03-06-1854 - 5 yrs
Florence Maud Puckridge b. 08-12-1850 d. 03-08-1881 - 30 yrs
Russell Puckridge b. 08-08-1852 d. 30-09-1918 - 66 yrs
Horace Puckridge b. 10-04-1855 d. 06-08-1940 - 85 yrs
Walter Graham Puckridgeb . 04-09-1857 d. 05-01-1863 - 6 yrs
Septimus Allan Puckridge b. 22-02-1860 d. 07-08-1933 - 73 yrs
By 1862 the family was established at the Lake Homestead, Lake Wangary. It was built of sheoak and clay (pug and pine), and whitewashed with verandahs on 3 sides. Sarah was rather delicate but organised a lovely flower garden, helped educate the children and insisted on correct speech and deportment. Sarah and John had the sadness of seeing 5 of their 10 children, 7 sons and 3 daughters, die young. At various times she was nurse and teacher and social worker to all on and around the property. Eventually they retired to Seaview Cottage, Port Lincoln, Sarah dying 13-5-1895 aged 79 at Seaview Cottage on 11-5-1895, so John St George Puckridge lost his "Dolly" for 3 years before his own death on 10-9-1898. They were buried in the old pioneer cemetery at Happy Valley, Port Lincoln but apparently their graves were unmarked and the burial plans lost, which seems unbelievable given the prosperity they achieved in life. That means that 3 of our great, great grandparents have no gravestones despite their brave emigration and pioneering efforts in SA. Sarah and John are, however, remembered on a Wall of Unmarked Pioneer Graves at the Port Lincoln Pioneer Cemetery, pictures kindly sent by Karissa Ford of the Port Lincoln Council.
HORACE PUCKRIDGE AND HANNAH ELLEN TAPLEY
Horace Puckridge, (left) the fifth son and seventh child of Sarah and John St George Puckridge, born 10-4-1855 at Mount Barker died 6-8-1940 at Coulta, SA, was the first Australian born child of the family. He grew to be tall and peppery too, and was known as The Major. He was a good mechanic and mason and a bit of a ladies' man. He began farming with his father. In 1884 he married Hannah Ellen Tapley (more about the Tapleys later) of Wartaka Station at Woodward Park. In 1888 Horace and Hannah and 3 children moved to Wartaka Station for about a year but life was hard and they moved back to Lake Wangary, living at Ulina at Warrow from 1908. Horace was a careful and conscientious farmer, a keen cricketer and fisherman and could be kind to those in need. Hannah and Horace had 8 children, Ella, Harry, Reginald, Annie, Gladys, Ivy, Ruth and Thelma, 2 sons and 6 daughters. Upon retirement, when the property passed to the 2 sons, Hannah and Horace moved to Coulta township. Horace died 6-8-1940, the last surviving member of John St George and Sarah Puckridge's family, and Hannah died in Feb, 1941. They are both buried in the new Coulta Cemetery (picture right).
HANNAH ELLEN TAPLEY PUCKRIDGE 1863-1941
Hannah Ellen Tapley was born at Myponga, South Australia on 29-3-1863, the daughter of John Tapley and Hannah Sharpe. She was one of 9 children, 6 females and 3 males. They were:
Jane Elizabeth Tapley 1855-1894
Lucy Jane Tapley 1857-1932
Florence Arabella Tapley 1858-1930
Hannah Ellen Tapley 29-3-1863 - 4-2-1941
Thomas Tapley 1864-1939
Margaret Lavinia Tapley 1867-1958
Mary Frances Tapley 1869-1946
John James Tapley 1875-1961
George Wartaka Tapley 1880 died at 3 months.
Hannah moved with her parents to Wartaka Station. She married Horace Puckridge at Woodward Park, Lake Wangary, the home of Horace's sister, Catherine, on March 4th, 1884. They lived first in a stone cottage partly built by Horace near the orignal home of the Puckridges. Ruins of the cottage may still be seen. They then moved to Wartaka Station for a year or so before the birth of Annie Edith. Hannah Ellen bore 8 children, 6 girls and 2 boys:
Ella Florence Puckridge 1885-1971
Harry John Puckridge 1886-1953
Reginald Maurice Puckridge 1888-1953
Annie Edith Puckridge 13-5-1890 - 13-3-1954
Gladys Leonie Puckridge 1893-1958
Ivy Doris Puckridge 1895-1925
Ruth Winifred Puckridge 1897-1950
Thelma Marcia 1902-1988.
Hannah lived at Lake Wangary with Horace for most of her married life. They moved to Coulta in retirement. Hannah is said to have been warm and hospitable. During their last year their health was poor. Horace died one year before Hannah on 6-8-1940. Hannah died aged 77 on 4-2-1941 and is buried in New Coulta Cemetery
Tapley Family Information
FRED McEVOY AND ANNIE EDITH (MONNIE) PUCKRIDGE
Fred McEvoy, born 2-12-1880 at Wirrabara died 25-1-1962 Port Lincoln, was the first child of Joseph McEvoy and Eliza Case of Hammond. Joseph McEvoy was described as a contractor on the birth certificate. Fred grew up at Hammond where the family farmed, but it must have been a difficult life with continual droughts. When the family trekked to Eyre Peninsula in 1903, Fred was already working on the West Coast for Mr Jim Cuddeford at Warrow.
I remember Grandpa McEvoy as always looking very smart in a brown striped suit and waistcoat with a fob watch. He was balding, wore round glasses, was slim and of medium height. He wore a smart felt hat, as did all the men in those days, and had a rather long straight moustache. He loved euchre and would stay with my aunties Joan and Ellie (also euchre lovers) at Port Germein and walk over to see us at our beachfront house. Mum said that he was terrible (expletives removed) when it came to food and always complained about something, no matter what he was served, and she was a very good cook! Auntie Joan also had words with him quite often about the food. We kids all loved his visits, especially because when he left he would always hand us shillings and florins. In later life he would stay with each of his daughters for a few weeks to a few months at a time. Cousin Helene's most vivid memory of Granpa is of him chasing a very young Jackie Holland across the paddocks shouting and swearing at him for cheating at cards. The Fred McEvoy family took their cards very seriously indeed. Fred loved horse racing and bred and trained work horses and race horses, and may even have taken illegal bets at the Port Germein Hotel when he was in town. My dad followed in his footsteps with a love of horse racing after all his involvement with horses in his youth. Others particularly remember Fred's bent finger and his great way with horses. He was the local vet and Bryan Broad recalls him using sugar to help get seeds out of the cows' eyes.
ANNIE EDITH PUCKRIDGE
Born at Lake Wangary, to Horace and Hannah Puckridge on 13-5-1890, the fourth of eight children, Annie Edith Puckridge was known as Monnie after a pet lamb which she owned. She is described by her niece, Doreen McEvoy Kennewell, as a beautiful, gentle lady who took everything in her stride and always looked contented. She married Frederick McEvoy on 24-11-1908, when she was only 18, at home, Ulina Station, with her parents' reluctant approval. They were unhappy that their future son in law was not only ten years older but a Roman Catholic. Fred had been working in Warrow, which is 4.7 Km north of Coulta on the Flinders Highway, north west of Pt Lincoln, and had got to know the two Puckridge sons. When her parents refused permission for the marriage, Monnie is said to have taken to her bed and been so sick that the parents feared for her life.
The young couple took up residence at Warrow in a cottage opposite the hotel. Two children were born during this time, in 1909 and 1911.
Fred and Monnie moved to a share farming position in Sceales Bay near to his parents, Eliza and Joseph, who had trekked to Sceales Bay from Hammond in 1903 following a number of disastrous droughts in Hammond. Two more daughters were born at Sceales Bay in 1913 and 1915. The Port Lincoln to Thevenard railway was being built and land alongside it was becoming available. Fred went off to select property and chose Mt Jane at Cungena. The whole family moved there in 1916. A big government shed with tanks at either end had been built for them and their house was constructed of split pine and clay under this shed. It was here that the family lived and continued to grow to 10 children, 6 daughters and 4 sons.
Monnie and Fred had 10 children. They were:
Dorothy Hazel McEvoy born Pt Lincoln, 31-8-1909 to 17-3-2000
Ella Patricia (Ellie) McEvoy born Sunnyside, Warrow, 20-4-1911 to 16-1-1961
Mollie Heather McEvoy born Calca, 29-7-1913 to 23-9-1997
Nora Clare McEvoy born Sceales Bay, 19-9-1915 to 8-7-1998
Norman Frederick McEvoy born Mt Jane, Cungena, 13-7-1918 to 2-3-1980
Monica Joan (Joan) McEvoy born Streaky Bay, 19-5-1922 to 2-7-1976
Frederick Joseph McEvoy born Streaky Bay, 11-10-1923 to 26-12-1990
Carmel Therese McEvoy born Streaky Bay, 10-3-1926 to 4-4-1995
Martin Michael McEvoy born Streaky Bay, 21-8-1928 to 27-10-2009
Laurence Norton McEvoy 13-9-1930 to 18-5-2002
Monnie's life must have been a very hard one. She was frequently pregnant, isolated, struggling to make ends meet during droughts and recession with basic living conditions and minimal water, but she seems to have been a gracious, calm and happy person, very religious in her adopted Roman Catholic faith and renowned for her kindness and hospitality. The house was always made to look as clean and attractive as possible. Monnie wrote frequently to her parents but there does not seem to have been much contact with the Puckridge grandparents and Dad certainly never spoke of them. My mother remembers when she first met them that times were very hard. Some of the blankets were made from old wheat and chaff bags but very clean and nicely decorated and empty kerosene tins and boxes were used to make practical and useful furniture. There was always a nice garden around the farmhouse and they grew what vegetables they could.
In later years Monnie suffered from diabetes and died aged 63 on March 13, 1954. Both Monnie and Fred are buried at Streaky Bay Cemetery.
From The West Coast Sentinel, page 4, March 17, 1954
Death of Cungena Woman
The death occurred last Saturday of Mrs. Mona McEvoy, 63, of Cungena. Mrs. McEvoy had been suffering ill-health for the past year.
Formerly Miss Mona Puckridge, of Lake Wangary, the late lady married Mr. Frederick Joseph McEvoy in 1909 [1908]. She lived practically all her married life on the farm at Cungena. Mrs. McEvoy was a quiet and gentle woman, much loved by the members of her family, and highly respected by all who knew her. Her kindly nature won her many friends who, along with her family, will deeply mourn her passing.
After a short service in St. Canute's church on Monday morning, the cortege left for the Streaky Bay Cemetery at 9 o'clock. Rev. Father J. Dunne officiated. The large crowd of people at the graveside-from local and far districts-was a splendid last tribute. There were many beautiful flowers. Pallbearers were sons Norman, Frederick, Martin and Laurence, and sons-in-law Pat Holland and Norm Smart.
Mrs. McEvoy leaves her husband and ten children-four sons and six daughters-Dorothy (Mrs. A. Patterson), Ella (Mrs. J. Little), Mary (Mrs. N. Smart), Nora (Mrs. C. Holland), Joan (Mrs. J. Patterson) and Carmel (Mrs. W. Gill)
All members of the family attended the funeral.
You can see the family history of the McEvoys on my other McEvoy Family pages.
Their fifth child and first son, Norman McEvoy, born 13-7-1918 at Cungena died 2-3-1980 Adelaide married Diana Kermode of Adelaide and they had 3 children, including me. Below is the direct line between those children and the most distant Puckridge that Mollie Puckridge researched in her books.
William Puckridge ----- Mary Hall
Thomas Puckridge ----- Martha Mansfield
John Puckridge ----- Elizabeth Gillett
John St George Puckridge ----- Sarah Woodward
Horace Puckridge ----- Hannah Ellen Tapley
Annie Edith Puckridge ----- Frederick McEvoy
Norman McEvoy ----- Diana Kermode
Louise McEvoy ----- Peter Nordestgaard.
Page uploaded May, 2012. Pictures redone 28-12-2017. Tapleys and Sharpes removed to separate page 1-8-2018
McEvoy family history pages here.
Tapleys and Sharpes here
Please email me re changes.

redpajama_set_name: RedPajamaCommonCrawl


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Building a Better World
Many going gluten-free that may not need to be, new research says
September 6, 2016 By Jerry Newberry
Research reports many people are reducing or eliminating gluten from their diets for health benefits.
A new research report from Rutgers University is reporting the popularity of a gluten-free diet may be contributing to steadying the number of diagnoses of celiac disease, even if many who adopt the diet may not suffer from the disease, according to a report on UPI.com.
Celiac disease is an autoimmune disorder, in which those with the disease suffer from inflammation and gastrointestinal distress after consuming gluten, found in wheat, barley and rye. It is estimated that one of every 41 people have the disease and its symptoms.
Recent research has cautioned that following a gluten-free diet may even be detrimental to the health of those who do not have celiac disease, but still many people with other allergies or wheat sensitivity have found some relief after adopting the diet.
This new research involved medical information on 22,278 individuals over the age of 6 years that participated in the National Health and Nutrition Examination Surveys between 2009 and 2014, and who were tested for celiac disease. From this large pool, the researchers found 106 subjects that actually had celiac disease, and an additional 213 that did not have the disease, but followed the gluten-free regimen.
The findings show that the percentages of celiac diagnoses remained quite constant over the period, but the number of gluten-free dieters more than tripled, from 0.52 percent in 2009 and 2010 to 1.69 percent in 2013 and 2014.
Admitting the sample size was small, the researchers speculated the perception by the public that the diet was healthy could be a contribution factor in the increase in popularity. Other diets that reduce or eliminate the consumption of gluten by cutting out most breads may also be a factor.
Dr. Daphne Miller, a researcher in the department of family and community medicine at the University of California San Francisco who wrote an accompanying commentary on the research, said one of five Americans have reduced or eliminated gluten from their diet, for a number of reasons. She adds that while the choice to go gluten-free may be based on "a misperception that gluten free is healthier," researchers should use this as an "opportunity to understand how factors associated with this diet affect a variety of symptoms."
The study's findings were published in the journal JAMA Internal Medicine.
Filed Under: Front Page, Health
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Fußball Premier League: Fulham gegen Tottenham – Liveticker – 21. Spieltag – 2022/2023
The record between the two teams, on the other hand, speaks clearly for Tottenham. Spurs have won 53 of their 101 previous meetings with Fulham (D30, L18) and also celebrated a 2-1 home win over Cottagers in the first leg on 3 September 2022. Most recently, the Lilywhites also prevailed in the last six Premier League away games at Craven Cottage.
While Fulham have won three of the six London city derbies played so far this season (the Cottagers have never won at least four in a single Premier League season), Spurs' record has recently been extremely bad, especially away from home. Tottenham have won just one of the last eleven London derbies in the Premier League away from home (draw four, lose six).
Tottenham Hotspur didn't get off to a good start. The Spurs took just four out of a possible 15 points in the Premier League after the World Cup was interrupted and have lost three of their last four league games. On Thursday evening, Manchester City lost 4-2 after a 2-0 lead at the break. Coach Antonio Conte was obviously satisfied with the playing system, because he sent the same starting eleven back onto the field. No change of guests.
After Fulham first celebrated five competitive wins in a row after the World Cup break and also won the London derbies against Crystal Palace (3-0) and Chelsea (2-1), there was a 0-1 defeat for them last weekend Cottagers at Newcastle United. Coach Marco Silva then changes his starting lineup in one position: Antonee Robinson is given preference over Layvin Kurzawa (bench).
Both teams are currently remarkably close in the table. Tottenham are currently fifth with 33 points, while Fulham are seventh in the Premier League, just two points behind. If the Cottagers manage to beat the Lilywhites at home today, the west London side would overtake the Spurs and climb into fifth place.
Both teams are based in London, the capital of the United Kingdom. Tonight, the Fulham-based home side represent west London, while Tottenham represent the north London borough of Haringey. Most recently, the London Derby has been in the hands of Spurs, who have won 12 of their last 14 Premier League games against Cottagers (one draw, one loss).
Right at the beginning the important information from Fulham: Due to traffic problems in London, the kick-off this evening will be delayed by 15 minutes. The official start time has just been corrected to 9:15 p.m.
Good evening and welcome from Craven Cottage. Here Fulham FC host Tottenham Hotspur at 21:00 today as part of the 21st Premier League game day.
#Fußball #Premier #League #Fulham #gegen #Tottenham #Liveticker #Spieltag
Bundesliga: Transfers: Cancelo Bayern-Kandidat – Krisenclubs suchen


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Home News Bankster Movie Cast, Crew and Story
Bankster Movie Cast, Crew and Story
Bankster Movie Cast, Crew and Story: Hello, Everyone Today am going to share some exciting facts on the Film Bankster Cast, Crew and Story
Faizan Khawaja
Avi Abhichandani
Akash Dhar
Siddhartha Dixit
Karim Hajee
Shabbir Shaikh
Shehzad Shaikh
Azaan Khan (The Director of the Film)
Azaan Khan (The Producer of the Film)
Nitin Dubey (The Music Director of the film)
Bankster is a Bollywood drama film. The Director of the movie is Azaan Khan. The cast includes actor Naseeruddin Shah and Faizan Khawaja in the lead roles.
Faizan Khawaja is an Actor. Faizan's movies such as Life Story, Hide and Seek and Bankster.
Naseeruddin Shah is an Actor and a Director. Naseeruddin's movies such as Jaane Bhi Do Yaaro, A Wednesday, Krrish, Begum Jaan, Charlie Kay Chakkar Mein, Welcome Back, Finding Fanny, Dedh Ishqiya, Dil Bhi Khaali Jeb Bhi Khaali Zindagi Na Milegi Dobara, Allah Ke Banday, Raajneeti, Mere Baap Pehle Aap, Yun Hota Toh Kya Hota and Bankster.
Avi Abhichandani is an Actor. Avi's movie is known as Bankster.
Akash Dhar is an Actor. Akash's movies such as Tuesday, Tere Bin Laden, Dishoom, Game and Bankster.
Siddhartha Dixit is an Actor. Siddhartha's movie is known as Bankster.
Karim Hajee is an Actor. Karim's movies such as Drishyam, Airlift, Sanam Teri Kasam, Dolly Ki Doli, My Friend Pinto, Jodhaa Akbar, Papa Kahte Hain, Jab Pyar Kiya to Darna Kya, Goonj, Fugly and Bankster.
Shabbir Shaikh is an Actor. Shabbir's movie is known as Bankster.
Shehzad Shaikh is an Actor. Shehzad's series such as Bepannaah and Qubool Hai. The movie is known as Bankster.
Azaan Khan is an Actor, Director and a Producer. Azaan's movies such as Ek Number Ka Chor, Dil, Gang and Bankster.
Nitin Dubey is a Music Director. Nitin's movies such as Dohchay, Bhale Manchi Roju, Jagga Jasoos, Rowdy Fellow and Bankster.
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Copenhagen	Denmark	Copenhagen May 24, 2012, all these photos were taken on the same day. The weather is good, there is now a long day, and I move a lot and for a long time, so a lot of pictures. 70 out of 355, shot that day. If we assume from 8 am to 11 pm, it appears that shot on average once every two minutes (taking into account a couple of hours in museums, where almost no shot). Even the Chinese are so often photographed.


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Watch Tim McGraw's TV Debut of "I Called Mama" on "Ellen"
Tim McGraw performed his new single, "I Called Mama," on The Ellen Show on May 13. Tim's at-home performance marked his TV debut of the new single, which was released on May 8.
Penned by Lance Miller, Marv Green and Jimmy Yeary, "I Called Mama" is about the special connection mothers share with their children, especially when times are tough.
In addition to performing his new single, Tim shared his appreciation for essential workers during the COVID-19 pandemic.
"It's crazy to see the dedication the front-line workers have," said Tim. "It certainly gives you a different perspective on people's lives."
Watch Tim's performance on Ellen below.
category: NCD News | related posts: Ellen, I Called Mama, The Ellen Show, Tim McGraw
← After Serious Single, Justin Moore Lightens It Up With Another Top 20 Hit as He Reminds Us to Have "Fun"
Miranda Lambert Drops Acoustic Video of "Bluebird" [Watch] →


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with some information about yourself/band. Studio Anatomy has teamed up with Art Bomb and will be managing the performance schedule and sound for this year's events!
Perform at Art Bomb!
Visual Artist Registration
Are you interested in sharing your paintings, photography, and other visual arts pieces? Get started by filling out our online application below! Participating artists will receive an extended period of time to sell their work commission free.
Artist Registration is due by December 31, 2019.
Online Artist Application
About Grand Traverse Art Bomb
Grand Traverse Art Bomb is a collaborative art show featuring talent from around Northern Michigan. Through a network of creative thinkers, we have developed a show to support artists and their creative endeavors, by giving them a unique opportunity to showcase their talents with minimal cost. The show will take place from January 18 to March 28, 2020 and will feature three reception events throughout the show's duration. Artist Registration is due by December 31, 2019.
Thank you Northwest Michigan Arts & Culture Network for the support and helping the local art community.
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text:
Irina Valeryevna Rukavishnikova (; born 3 February 1973) is a Russian politician serving as a senator from Rostov Oblast since 15 September 2018.

Biography
Irina Rukavishnikova was born on 3 February 1973 in Rostov-on-Don. In 1995, she graduated from Rostov State University. Three years later, Rukavishnikova also defended a doctoral degree at Rostov State University. From 1995 to 1997, she worked as an instructor at the Rostov State University of Economics. From 1997 to 2005, she was the Deputy Dean of the Faculty of Law of the Rostov State Economic University. In 2006 she was appointed Dean of the Faculty of Law of the Rostov State Economic University. From 2013 to 2018, Rukavishnikova was the deputy of the Legislative Assembly of Rostov Oblast of the 5th and 6th convocations. On 15 September 2018, she became a senator after deputies from the Legislative Assembly of Rostov Oblast nominated her.

Sanctions
Rukavishnikova was sanctioned by the European Union, the United Kingdom, the United States, and other states, for supporting Russia's annexation of Ukrainian territories.

References

Living people
1973 births
United Russia politicians
21st-century Russian politicians
People from Rostov-on-Don
Members of the Federation Council of Russia (after 2000)

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Home » W. G. Sebald » Campo Santo
Campo santo, p.15
And how surprised I was to see this tragic closing scene, which until then I had almost entirely forgotten, in a London cinema thirty years later, performed incredibly enough in almost identical costumes. Klaus Kinski, with his yellow hair standing out from his head as if electrified, stares out of the background of the stalls in the Teatro Amazonas of Manaus at the point when the action of the opera, set in the sixteenth century among Spanish grandees and mountain brigands, is just reaching the last of its many turns of fortune. Silva, wrapped in a black cloak, has handed the dagger to Hernani, played by Caruso in a kind of maternity smock. Hernani plunges it into his breast, rises heroically once more to the upper registers of song, and then falls sideways at the feet of the inconsolable Elvira, or rather Sarah Bernhardt, who shortly before, in an unprecedented bravura achievement, has come down the stone steps of the castle with her wooden leg.
Her face made up to look as white as a sheet, and clad in a rather shabby gray-blue lace dress, the actress looked exactly like Bella Unsinn thirty years earlier on the stage of the Ochsenwirt, while Enrico Caruso, who Fitzcarraldo believes pointed to him in the last moment of his life, looked with his broad-brimmed brigand's hat, twirled mustache, and purple tights just like Gschwendtner the upholsterer as I remembered him.
The closing sequence of the film Fitzcarraldo also had special associations for me. Amid unspeakable difficulties, a path is cut through the jungle and the steamer is hauled by means of primitive winches over the mountain crest between the two rivers until finally, when the mad plan has been as good as realized, it rocks gently in the water again. On the night of the festivities, however, the Jívaros, wishing to take another route, cut the cable and the steamer goes racing out of control down to the valley, between the rocky walls of the Pongo des Muertas. Fitzcarraldo and his Dutch captain see nothing but disaster coming, while the Jívaros, gathered on deck, merely look ahead in silence, believing that it is not far now to the better country they long for.
And in fact the ship does miraculously escape the cataracts of death. Somewhat battered and out of shape, but with the elegance of a prima donna, it moves out of the dark jungle in a great arc on the river, which is radiant with bright light. This is the hour of salvation in which—another miracle—news comes of the arrival in Manaus of an Italian company with an opera by Bellini, and here they come in several boats, to climb aboard and begin to play and sing. Behind the Puritans' pointed hats rises the cardboard backdrop of the mountains, which the libretto assures us are near Southampton. Chubby-cheeked Indians blow the French horn more beautifully than angels, and Rodolfo and the crazed Elvira, who has regained her reason now that the plot has taken a happy turn, unite their voices in a duet raised by the separation of their bodies to a state of pure bliss, ending with the words Benedici a tanto amore. All this time the ship of fools is drifting down the silvery river, so Fitzcarraldo's dream of an opera in the middle of the wilderness at last comes true. He himself stands leaning on a red theater seat smoking an enormous cigar, listening to the wonderful music and feeling the slight breeze of their passage on his brow.
I encountered I Puritani for the first time at the age of twenty-two, in the house of a colleague who was a Bellini enthusiast and lived on Fairfield Avenue in Manchester, not far from Palatine Road, where the young engineering student Ludwig Wittgenstein stayed in 1908. It was a day as fine as another more than twenty years later, when I was sitting in my garden with a bad headache after finishing a work about torture that had occupied me for some time, and I heard the same opera again through the open window, broadcast from Bregenz. I still remember my sensations as the painkillers gradually began to work, and I felt the music of Bellini mingling with their analgesic effect like a relief and a blessing. I could hardly take in the fact that in addition it came through the summery blue of the ether from Bregenz, for the Bregenz Festival was inextricably bound up in my memory with the Singspiel Zar und Zimmermann, always performed in the lakeside theater there year after year without fail.
The Bregenz Festival and the clog dance had been one and the same thing in my mind as far back as I can remember. If you went from S. to Bregenz on the Alpenvogel bus, you were going there to see the clog dance. The clog dance, along with various pieces by the composer Flotow and the famous aria from the Evangelimann, used to be the music that always came top in the Sunday request concert broadcast every Sunday by Bavarian Radio; we regularly listened to it at home after the children's program. Nothing could compete, except perhaps the Don Cossacks and the Soldier on the Banks of the Volga, or the chorus of captives from Nabucco.
I could not really account for the nature of this potpourri at the time, but today it seems to me that these dubious German preferences had something to do with the time when the sons of the fatherland were sent east. So dazzlingly bright were the vast Ukrainian fields of grain, I read not long ago, that many of the German soldiers who passed through them in the summer of 1942 wore sunglasses or snow goggles to avoid damaging their eyes. When the 16th Panzer Division reached the Volga at Rynok north of Stalingrad on August 23 as the light was fading, they saw beyond the opposite bank a country of deep green woods and fields apparently stretching away to infinity. Some of them, we know, dreamed of settling here after the war; others may have sensed already that they would never return from that distant land.
Teure Heimat, wann seh' ich dick wieder ("Dear homeland, when shall I see you again?") runs the opening of the German version of the chorus "Va pensiero," and in a way it was code for the vague feeling, never to be uttered aloud, that the Germans were the real victims of the war. Only in the aftermath of the so-called reparations did anyone think of giving the Hebrews their own rights and, for instance in a production of Nabucco at Bregenz in the mid-nineties, making the anonymous slaves into real Jews in striped uniforms. Soon after the beginning of that particular season I took part, as I still regret, in one of the events in the framework program of the festival, and in addition to my fee was given two tickets for the performance of Nabucco that evening. Holding these tickets, I stood undecided outside the theater until the last of the spectators had disappeared through the entrances: undecided because with every passing year I find it increasingly impossible to mingle with an audience; undecided because I did not want to see the chorus dressed in costume as concentration camp inmates; and undecided because I saw a storm coming up behind the Pfänder and unlike other visitors to the festival had not thought of bringing an umbrella. As I stood there a young lady came up to me, probably because I looked like someone let down by his companion, and asked whether by any chance I had a spare ticket. She had come a long way, she said, and was disappointed to find that there were no tickets available at the box office. When I gave her my two tickets and wished her a pleasant evening she thanked me, a little dismayed to find that I did not want to see the Bregenz performance of Nabucco with her, as she might well have expected.
Half an hour after missing this opportunity I was sitting on the balcony of my hotel room. Thunder rolled across the sky; the rain soon began pouring down and it suddenly turned very cold, which did not surprise me, for it had snowed the day before in the upper Engadine even though it was midsummer. Now and then lightning flashed, briefly lighting up the Alpine garden that covered the whole slope behind the hotel. It had been laid out in long years of work by a man called Josef Hoflehner, with whom I had struck up a conversation on the afternoon when I saw him working in his rockery. Josef Hoflehner, who must have been well over eighty, told me that during the last war he was a prisoner in a wood-cutting squad in Scotland, working in Inverness and all over the Highlands. He had been a schoolteacher by profession, he told me, first in upper Austria and then in Vorarlberg. I don't remember what made me ask him where he had trained, but I remember he told me it was in Kundmanngasse in Vienna, in the same institution and at the same time as Wittgenstein. He called Wittgenstein a prickly character, but would say no more about him.
Before going to sleep that
evening in Bregenz, I read the last pages of a biography of Verdi, and perhaps for that reason I dreamed of the way the people of Milan, when the maestro lay dying in January 1901, put down straw in the street outside his house to muffle the sound of the horses' hooves, so that he could pass away in peace. In my dream I saw the street in Milan covered with straw, and the carriages and cabs driving soundlessly up and down it. At the end of the street, however, which went uphill at a curiously steep angle, there was a deep black sky with lightning flashing over it, just like the sky Wittgenstein saw as a boy of six from the balcony of the family's summer house on the Hochreith.
An Attempt at Restitution
I can still see us in the days before Christmas 1949 in our living room above the Engelwirt inn in Wertach. My sister was eight at the time, I myself was five, and neither of us had yet really got accustomed to our father, who since his return from a French POW camp in February 1947 had been employed in the local town of Sonthofen as a manager (as he put it), and was at home only from Saturday to midday on Sunday. In front of us, open on the table, lay the new Quelle mail-order catalog, the first I ever saw, containing what seemed to me a fairy-tale assortment of wares, from which it was decided in the course of the evening and after long discussions, in which our father got his sensible way, to order a pair of camel's-hair slippers with metal buckles for each of us children. I think zip fastenings were still quite rare at the time.
But in addition to the camel's-hair slippers we ordered a card game called the Cities Quartet based on pictures of the cities of Germany, and we often played it during the winter months either when our father was at home or when there was another visitor to make a fourth. Have you got Oldenburg, we asked, have you got Wuppertal, have you got Worms? I learned to read from these names, which I had never heard before. I remember that it was a long time before I could imagine anything about these cities, so different did they sound from the local place-names of Kranzegg, Jungholz, and Unterjoch, except the places shown on the cards in the game: the giant Roland, the Porta Nigra, Cologne Cathedral, the Crane Gate in Danzig, the fine houses around a large square in Breslau.
In fact, in the Cities Quartet, as I reconstruct it from memory, Germany was still undivided—at the time of course I thought nothing of that—and not only undivided but intact, for the uniformly dark brown pictures of the cities, which gave me at an early age the idea of a dark fatherland, showed the cities of Germany without exception as they had been before the war: the intricate gables below the citadel of the Nürnberger Burg, the half-timbered houses of Brunswick, the Holsten Gate of the Old Town in Lübeck, the Zwinger and the Brühl Terraces.
The Cities Quartet marked not only the beginning of my career as a reader but the start of my passion for geography, which emerged soon after I began school: a delight in topography that became increasingly compulsive as my life went on and to which I have devoted endless hours bending over atlases and brochures of every kind. Inspired by the Cities Quartet, I soon found Stuttgart on the map. I saw that compared with the other German cities it was not too far from us. But I could not imagine a journey to it, any more than I could think what the city itself might look like, for whenever I thought of Stuttgart all I could see was the picture of Stuttgart Central Station on one of the cards in the game, a bastion of natural stone designed by the architect Paul Bonatz before the First World War, as I later learned, and completed soon after it, a building that in its angular brutalist architecture already to some extent anticipated what was to come, perhaps even, if I may be permitted so fanciful a mental leap, anticipated the few lines written by an English schoolgirl of about fifteen (judging by the clumsy handwriting) on holiday in Stuttgart to a Mrs. J. Winn in Saltburn in the county of Yorkshire on the back of a picture postcard, which came into my hands at the end of the 1960s in a Salvation Army junk shop in Manchester, and which shows three other tall buildings in Stuttgart and Bonatz's railway station, curiously enough from exactly the same viewpoint as in our long-lost German Cities Quartet game.
Betty, for such was the name of the girl spending the summer in Stuttgart, writes on August 10, 1939, barely three weeks before the outbreak of the Second World War—when my father was already approaching the Polish border in Slovakia with his convoy of trucks—Betty writes that the people in Stuttgart are very friendly, and she has "been out tramping, sunbathing and sightseeing, to a German birthday party, to the pictures and to a festival of the Hitler Youth."
I acquired this card, with the picture of the railway station and the message on the back, on one of my long walks through the city of Manchester, before I had ever been to Stuttgart myself. When I was growing up in the Allgäu in the postwar period you did not travel much, and if you did go for an outing now and then as the "economic miracle" set in, it was by bus to the Tyrol, to Vorarlberg, or at most into Switzerland. There was no call for excursions to Stuttgart or any of the other cities that still looked so badly damaged, and so until I left my native land at the age of twenty-one it was still largely unknown territory to me, remote and with something not quite right about it.
It was May 1976 when I first got out of a train at Bonatz's station, for someone had told me that the painter Jan Peter Tripp, with whom I had been to school in Oberstdorf, was living in Reinsburgstrasse in Stuttgart. I remember that visit to him as a remarkable occasion, because with the admiration I immediately felt for Tripp's work it also occurred to me that I too would like to do something one day besides giving lectures and holding seminars. At the time Tripp gave me a present of one of his engravings, showing the mentally ill judge Daniel Paul Schreber with a spider in his skull—what can there be more terrible than the ideas always scurrying around our minds?—and much of what I have written later derives from this engraving, even in my method of procedure: in adhering to an exact historical perspective, in patiently engraving and linking together apparently disparate things in the manner of a still life.
I have kept asking myself since then what the invisible connections that determine our lives are, and how the threads run. What, for instance, links my visit to Reinsburgstrasse with the fact that in the years immediately after the war it contained a camp for so-called displaced persons, a place which was raided on March 20, 1946, by about a hundred and eighty Stuttgart police officers, in the course of which, although the raid discovered nothing but a black market trade in a few hen's eggs, several shots were fired and one of the camp inmates, who had only just been reunited with his wife and two children, lost his life.
Why can I not get such episodes out of my mind? Why, when I take the S-Bahn toward Stuttgart city center, do I think every time we reach Feuersee Station that the fires are still blazing above us, and since the terrors of the last war years, even though we have rebuilt our surroundings so wonderfully well, we have been living in a kind of underground zone? Why did it seem to the traveler on a winter night, coming from Möhringen and getting his first sight from the back of a taxi of the new administrative complex of the firm of Daimler, that the network of lights glittering in the darkness was like a constellation of stars spreading all over the world, so that these Stuttgart stars are visible not only in the cities of Europe, the boulevards of Beverly Hills and Buenos Aires, but wherever columns of trucks with their cargos of refugees move along the dusty roads, obviously never stopping, in the zones of devastation that are always spreading somewhere, in the Sudan, Kosovo, Eritrea, or Afghanistan?
And how far is it from the point where we find ourselves today back to the late eighteenth century, when the hope that mankind could improve and learn was inscribed in handsomely formed letters in our philosophical firmament? At the time Stuttgart, nestling amid vineyards and overgrown slopes, was a little place of some twenty thousand souls, some of whom, as I once read, lived on the top floors of the towers of the collegiate church. One of the sons of the country, Friedrich Hölderlin, proudly addresses this small, still sleepy little Stuttgart where cattle were driven into the marketplace early in th
e morning to drink from the black marble fountains, as the princess of his native land, and asks her, as if he already guessed at the coming dark turn that history and his own life would take: receive me kindly, stranger that I am. Gradually an epoch of violence then unfolds, and with it comes personal misfortune. The giant strides of the Revolution, writes Hölderlin, present a monstrous spectacle. The French forces invade Germany. The Sambre-Maas army moves toward Frankfurt, where after heavy bombardment the utmost confusion reigns. With the Gontard household, Hölderlin has fled that city for Kassel by way of Fulda.* On his return he is increasingly torn between his wishful imaginings and the real impossibility of his love, which transgresses against the class system. Yes, he sits for days on end with Susette in the garden cabinet or the arbor, but he feels the humiliating aspect of his position all the more oppressive. So he must leave again. He has gone on so many walking tours in his life of barely thirty years, in the Rhone mountains, the Harz, to the Knochenberg, to Halle and Leipzig, and now, after the Frankfurt fiasco, back to Nürtingen and Stuttgart.
Soon afterward he sets off again to Hauptwil in Switzerland, accompanied by friends through the wintry Schönbuch to Tübingen, then alone up the rugged mountain and down the other side, on the lonely road to Sigmaringen. It is twelve hours' walk from there to the lake. A quiet journey across the water. The next year, after a brief stay with his family, he is on the road again through Colmar, Isenheim, Belfort, Besançon, and Lyon, going west and southwest, passing through the lowlands of the upper Loire in mid-January, crossing the dreaded heights of the Auvergne deep as they are in snow, going through storms and wilderness until he finally reaches Bordeaux. You will be happy here, Consul Meyer tells him on his arrival, but six months later, exhausted, distressed, eyes flickering, and dressed like a beggar he is back in Stuttgart. Receive me kindly, stranger that I am. What exactly happened to him? Was it that he missed his love, could he not overcome his social disadvantage, had he after all seen too far ahead in his misfortune? Did he know that the fatherland would turn away from his vision of peace and beauty, that soon those like him would be watched and locked up, and there would be no place for him but the tower? A quoi bon la littérature?
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The Municipal Securities Rulemaking Board (the "MSRB") is requesting comment on draft amendments to Rule G-11, on new issue syndicate practices, and Rule G-12, on uniform practice. The draft amendments would accelerate the settlement of syndicate accounts and secondary market trading accounts, and the payment of designations, by shortening certain time periods within the rules. These proposals are designed to reduce the exposure of syndicate and secondary market trading account members to the risk of potential deterioration in the credit of the syndicate or account manager during the pendency of account settlements. Since the existing rules were adopted in the 1970s, brokers, dealers and municipal securities dealers ("dealers") and those firms who invoice them for syndicate expenses have adopted significantly more efficient billing and accounting systems. The MSRB believes that such systems make reductions in the time periods for distribution of syndicate and secondary market trading account profits feasible and not unduly burdensome to dealers. Furthermore, many fees are agreed upon in advance or can be estimated with considerable accuracy soon after settlement.
Currently, Rule G-11(i), on settlement of syndicate or similar account, requires that final settlement of a syndicate or similar account be made within 60 calendar days following the date all securities have been delivered by the syndicate or account manager to the syndicate or account members. Rule G-11(j), on payments of designations, requires that any credit designated by a customer in connection with the purchase of securities as due to a member of a syndicate shall be distributed to such member by any dealer handling such order within 30 calendar days following the date the issuer delivers the securities to the syndicate.
The draft amendments would change the deadlines in Rule G-11 to 30 calendar days after settlement of an issue for distributions (currently 60 calendar days) and 10 calendar days after settlement of an issue for designations (currently 30 calendar days). To facilitate implementation of these reduced time periods, the MSRB also determined to add a new requirement that all syndicate members submit their designations to the syndicate manager within two business days after settlement of an issue.
Rule G-12(i), on settlement of joint or similar account, contains requirements for the settlement of joint or similar accounts formed in the secondary market. The rule currently requires that the settlement of these accounts be made within 60 days following settlement. The draft amendments would change the deadline in the rule to 30 calendar days following settlement.
Comments about the draft amendments should be submitted to the MSRB by June 26, 2009, and may be directed to Margaret C. Henry, Associate General Counsel. Written comments will be available for public inspection upon request and also will be posted on the MSRB website.
(i) Settlement of Syndicate or Similar Account. Final settlement of a syndicate or similar account formed for the purchase of securities shall be made within 60 30 calendar days following the date all securities have been delivered by the syndicate or account manager the issuer delivers the securities to the syndicate or account members.
(j) Payments of Designations. All syndicate or similar account members shall submit the allocations of their designations according to the rules of the syndicate or similar account to the syndicate or account manager within two business days following the date the issuer delivers the securities to the syndicate. Any credit designated by a customer in connection with the purchase of securities as due to a member of a syndicate or similar account shall be distributed to such member by the broker, dealer or municipal securities dealer handling such order within 30 10 calendar days following the date the issuer delivers the securities to the syndicate.
(i) Settlement of Joint or Similar Secondary Market Trading Account. Final settlement of a joint or similar secondary market trading account formed for the purchase of securities shall be made within 60 30 calendar days following the date all securities have been delivered by the syndicate or account manager to the syndicate or account members.