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by Dina Ross	4 Comments
Rich pickings: Mohsin Hamid's Asian satire
How to Get Filthy Rich in Rising Asia
By Mohsin Hamid Hamish Hamilton $39.99
I've heard Mohsin Hamid interviewed a number of times on books podcasts and always found him considered and measured in his responses. The author of the best-selling The Reluctant Fundamentalist appears modest when contemplating that novel's runaway success but also deeply saddened and somewhat jaded when discussing Pakistan, the country of his birth.
Hamid's writing is clear-sighted, objective, satirical, humane. The Reluctant Fundamentalist was ostensibly a monologue on the effects of 9/11 on a high-achieving, liberal-minded Pakistani who once lived in the USA and whose return to Lahore has aroused suspicion. What singled the novel out was not only the elegance of the prose but that Hamid had dared to introduce the Muslim perspective to the 9/11 debacle. That was both brave and audacious and marked Hamid out as a writer to watch.
In How to Get Filthy Rich in Rising Asia (which I'll abbreviate to "Filthy Rich"), he returns to territory covered in part by his first novel, Moth Smoke (2000), described as a "riches to rags" story of a Pakistani financier. Filthy Rich goes one step further in that it is a rags to riches to rags story with a twist – the novel itself is written as a "self-help manual".
Set in an anonymous Asian country (which the reader infers is Pakistan) addressed to, and written in, the un-named second person "you", Filthy Rich is divided into 12 chapters, each containing a Commandment and a lesson for the aspirational: Move to the City; Get an Education; Don't Fall in Love; Avoid Idealists; Learn from a Master; Work for Yourself; Be Prepared to Use Violence; Befriend a Bureaucrat; Patronise the Artists of War; Dance with Debt; Focus on the Fundamentals; and Have an Exit Strategy. As Hamid writes: "A self-help book is an oxymoron. You read a self-help book so someone who isn't yourself can help you….the idea of the self in the land of self-help is a slippery one."
Still, by never naming his characters, Hamid implies they are societal archetypes or Everyman. "Your" story" is therefore "his", "hers" and by implication Asia's story. "You" in Filthy Rich is a child of extreme poverty and ambition who employs cunning and street smarts to clamber out of penury to eventual millionaire status. On the way he falls in love with the "pretty girl" from his wretched village who uses her looks to secure her status and sleeps her way to the top. Their paths cross, diverge and eventually coincide in a world that is noted for its unscrupulousness, corruption and vertiginous unpredictability.
In some respects. Filthy Rich is a dark, sardonic satire. Politicians can be bribed, competitors are disposable, police and officials are persuadable, everyone has a price. To leave the squalor of his situation behind, "you" isn't afraid to bend the rules or flout them if needed. His first business is selling expired tinned food with falsified use-by dates and he then progresses – in entrepreneurial fashion – to exploit the rising middle classes' fear of disease by boiling water, then re-bottling and re-labelling it as mineral water. His business empire expands until he becomes the Filthy Rich Asian of the title. To Hamid's credit, the reader continues to find "you" likeable and sympathetic, despite his dubious business dealings, in no small part due to the way Hamid describes "you's" miserable beginnings.
However, the book can also be viewed as a pure morality tale. No-one keeps their ill-gotten gains for long. Governments crumble, empires tumble and (SPOILER ALERT!) even "you" is not immune, losing much of his fortune by the book's end. The greatest victim, Hamid suggests, is the human heart. There is little place for affection, love or compassion in an Asia where the only badge of achievement is economic success. It's no accident that on this reading, the pretty girl is reunited with her nameless lover only after his business affairs collapse.
Filthy Rich is written at a cracking pace, and covers some 70 years in our hero's life – from birth to death – in just under 230 pages. If the use of the second person occasionally jars, it's more than made up for by Hamid's laser eye for detail, bone dry humour and a storyline that is affecting and universal.
Read it: to become immersed in a satire of the Third World economic "miracle".
Tags: Asia, Gow to Get Filthy Rich in Rising Asia, Mohsin Hamid, Moth Smoke, Muslim society, Pakistan, Pakistani literature, se;f help manuals, The Reluctant Fundamentalist, Third World | Permalink.
Monday masterpiece: Kenneth Mackenzie's The Young Desire It
The Young Desire It by Kenneth Mackenzie Published by Text $24.95
There is a black and white photograph taken of Kenneth Mackenzie in the 1930s, showing the author as a young man. It's hard to resist that sensitive face, the sensual, perfectly curved mouth, the penetrating gaze. There's a touch of Trevor Howard, of Oxbridge intellectual. Subfusc with absent pipe. A whole era is summed up in that image.
Yet Mackenzie was a Western Australian and his most famous novel, The Young Desire It, was published in 1937 when Mackenzie was 23. His life thereafter never reached the heights of that first, early success. Other novels were published, fizzed and faded. He married and had two children, but after a career that also encompassed poetry, journalism and the law, Mackenzie became a recluse, battling ill-health and alcoholism. He drowned in 1955 – the circumstances surrounding his death remain unknown.
I would probably have remained unfamiliar with Mackenzie had I not read critic Peter Craven's fulsome review of The Young Desire It in the Australian Book Review recently, as it's just been republished as Text Classic. I was also urged to read the book by WC Chong, Text's head of design and illustration, whom I interviewed for a forthcoming Pageturners podcast.
Summed up, the narrative is conventional enough – a boarding school story, a 16 year-old boy's rites of passage, the burgeoning of an adolescent love affair with a country girl. Erotically-charged yes, plot-driven, no. What impresses, as David Malouf writes in his excellent introduction to the new edition, is that it's "perhaps the earliest novel in Australia to deal with the inner life in a consistently modernist way."
One of the dominant features is the novel's languid sensuality and lyricism and lush, haunting evocation of place. When the novel opens, the hero Charles Fox is about to go to boarding-school but before leaving indulges in a final walk, mushroom picking in familiar woods. Brought up alone and a child of nature, Charles is completely at one with the landscape. "Here the first mushrooms appeared, breaking through inches of half-softened crust from the moister warmth beneath, just as if for their pulpy, round heads it was no feat at all. They came up in a night: they seemed to come even as he walked about stooping with a knife to take them into the basket; against the darkness of the earth they shone like moons, and the pink flesh of their secret undersides was wonderful to see."
This is gloriously poetic with obvious Lawrencian undertones, and indeed Mackenzie acknowledged DH Lawrence's influence. When, later, Charles meets Margaret for the first time in his retreat in the woods, she appears almost like a spiritual emanation of nature, even before the second theme of love and sexual awakening is introduced. The reader has already been primed to expect the following: "Charles watched her…carefully seeing with a sort of delight that he had never known before that moment, the happy movement that turned her face away, and threw into full view the side of her head, smooth and fair, the one long plait near him fallen and hanging on her knees, and the soft curve of breast and arm. She was very beautiful, he thought."
Towards the end of the novel when the two consummate their love over the summer, Mackenzie builds up the sexual tension between them with almost heart-stopping intensity. You feel the heat of the day, hear the beating of their hearts, witness their bodies' abandonment to "the blind volition of their own single will". What the young desire is not simply sex, of course, but freedom, independence of action and thought within the constraints of a conservative society, the need to be completely oneself. The novel aches with that passionate wish and struggle, which is tackled with fervour and immense literary sophistication and discipline, bookended by the largest chunk of the novel, which describes Charles' time at school.
Modelled on an English public school, Mackenzie depicts the day to life of Chatterton as a factory for making English clones out of colonial country bumpkins. In this, the novel is quietly satirical. More graphic by far is the emotional and sexual life of the school. Charles' instincts are completely heterosexual, but at Chatterton he discovers a hothouse of homoeroticism, veiled seductions and more obvious approaches, and his confusion at how to deal with this and survive is handled by Mackenzie with extraordinary sensitivity. The success of this section lies in part in its autobiographical content. In a letter written years later, Mackenzie recalled: "When I was at school I, being angel-faced and slim and shy, was apparently considered fair game by masters as well as certain boys. The boys were at least honestly crude in their proposals; but the masters – young men whom I thought very mature and wise – had a much better technique. They wooed the intellectual way, just at the very time I was beginning to comprehend something of literature and music, and so was most gullible."
On his very first day, Charles is brutally gang-raped by a pack of boys under the pretext that he's actually a girl. Later, he comes under the spell of Penworth, a young Classics master out from England, who is captivated by the boy's beauty and love of learning. For Charles, Penworth is someone to look up to, a role model. When Penworth kisses him, Charles' experience with Margaret has already laid the foundation for what he desires and his main concern is how to negotiate the inherent difficulties of the situation – rejecting Penworth's advances whilst somehow managing to retain his favour in the classroom.
For the 21st century reader, this scene is truly shocking. Penworth's action is a blatant betrayal of trust and we're perhaps more aware of its lingering whiff of paedophilia and sexual abuse today than readers in the 1930s. Yet magnanimously, Mackenzie presents a predominantly sympathetic portrait of Penworth which is essentially non-judgmental, highlighting their similarities rather than their differences. Like Charles, Penworth is lonely, isolated, artistic. Penworth's growing realisation of his own inner nature and his attraction to Charles – which both excites and repels him – makes him one of the most fascinating characters in the novel. Again, for its time, the subject matter and the way it is tackled are groundbreaking.
The Young Desire It has all the hallmarks of a true classic – dazzling writing, deep insight and themes that are both of their time, yet timeless. As Malouf writes: "Among Australian novels it is unique and very nearly perfect, a hymn to youth, to life, to sexual freedom and moral independence, written in full awareness – and this is a second miracle – of the cost, both to others and to oneself."
Read it: as an introduction to a largely forgotten Australian author who deserves full recognition.
Tags: 1930s, Australian Book Review, Australian literature, David Malouf, DH Lawrence, homosexuality, Kenneth Mackenzie, Peter Craven, Text Classics, The Young Desire It | Permalink.
Bibliotherapy – novel cures for 21st century ailments
My thanks to Literature Works magazine for the following interview with ELLA BERTHOUD and SUSAN ELDERKIN who founded Bibliotherapy, an innovative, enchanting and obviously cathartic service. So what books would you recommend for the glum, the jaded, the heartbroken, or for those who wish to celebrate their joie de vivre?
Ella Berthoud and Susan Elderkin met as English Literature students at Cambridge University, where they began giving novels to each other whenever one of them seemed in need of a boost – or keeping on the straight and narrow. Ella went on to study fine art and become a painter and art teacher, while keeping up her intravenous diet of literature through constant reading and listening to audiobooks. She lives in Sussex with her husband and three girls. Susan became a novelist (Sunset Over Chocolate Mountains and The Voices, both Fourth Estate) and in 2003 was listed by Granta as one of the Twenty Best of Young British Novelists. She also teaches creative writing and reviews fiction for The Financial Times. She now lives with her husband and son in Connecticut, where she regularly kayaks with a novel in hand.
In 2008 they set up the bibliotherapy service at The School of Life in London, and since then have been prescribing books either virtually or in person to patients all over the world. Though they are now divided by an ocean, they still regularly send each other fictional cures to ensure they don't come a cropper, or fail to live life to the full. The Novel Cure is their first book together, but they are already busy plotting the next.
http://thenovelcure.com
We were lucky enough to catch up with Ella and Susan to hear about the process of writing The Novel Cure.
The Novel Cure suggests literary remedies for a host of maladies, ranging from the humorous (baldness) to the more serious (depression). What inspired this book and how seriously should readers take it?
SE: The book was inspired by our mutual and absolutely serious recognition that reading the right book at the right time can be a really powerful thing, and we wanted to harness that power. A novel can keep you company, offer you an escape from yourself, give you access to the interior experience of others, which may chime with your own and help you not to feel so isolated. Are there any pills that offer so much? So yes we are completely serious about the underlying concept. We do have a lot of fun in our book with light-hearted ailments such as stubbed toe and being unable to find a decent cup of coffee – and we like to take a playful tone when ticking off people for their bad reading habits and so on. But even when we're being tongue-in-cheek about the ailment – such as man flu – we still believe in the cure. Every novel that we write about in this book will have an affect on you, and is one that's worth reading. Probably the majority of our ailments are serious, though, and certainly many are no laughing matter at all – such as depression, as you point out, and death of a loved one. We are completely serious when it comes to those. Reading allows you to experience what it's like to be someone else – something that is actually very difficult to come by in normal life – and that can be a life-saver when you're going through something intense and horrible, which even those close to you can't really understand. When we were deciding what to prescribe for depression, we were aware that people who are really intensely depressed do not want to be jollied along, or teased out of their blueness by something light and breezy – they are beyond that. What they need is to be kept company in this dark place by an author who understands what it's like.
EB We also felt that many people might enjoy a new way of looking at books – and a new way of addressing their problems. The classic non-fiction self-help book often takes itself very seriously, and it's not everyone's style to spend their lives chanting mantras to boost their self-esteem. Literature, at its best, offers a longer lasting, more intellectually satisfying and, frankly, more enjoyable way of opening yourself up to new ways of seeing the world, yourself, and others. Inhabiting the psyche of a character in a novel is a really powerful thing. But we also believe firmly in the importance of laughter as a cure for almost everything. We want our readers to have plenty to chuckle about when reading our book so that the act of reading it is a cure in itself.
The sheer volume of book recommendations included is impressive; how did you go about compiling this list? Was it difficult?
SE: We did not sleep for five years. Actually, that's not true. We've both been avid readers since our teens and we're in our forties now. You can accrue a fair number of books in that time. What was harder was working out what to leave out. We both have favourite reads which got axed during the editing stage – some Zadie Smiths, some Cormac McCarthys, a David Foster Wallace. There are books we've loved which didn't even get on the long list – the wonderful Microserfs by Douglas Coupland. (Hey, Ella, how did we manage to leave out Microserfs?!) Ultimately we needed a balance of classic and contemporary, obscure and familiar, and from a range of cultures. We've enough left over to do another edition probably.
EB: Yes! Douglas Coupland, what an omission! Actually, probably the most fun we had was at the beginning when we put our first list of ailments and cures together – a few wonderful evenings in Somerset aided by several bottles of wine – when we made a huge list of all the books we'd ever read, and started thinking about what they would cure. Our years as bibliotherapists at The School of Life certainly helped a lot – we have worked with several hundred clients now, and each one has provided us with an opportunity to trial a novel cure. Their feedback over the years has been invaluable. Then, as Suse says, the most painful part of the process was cutting out the books that we didn't have room for. During the 14 months we spent actually writing the book, we called in a number of literary friends to test our cures too. If they didn't work for others, they had to go.
You're both Bibliotherapists for The School of Life – what benefits does this therapy offer? How is it different from simply suggesting self-help books?
SE: For some of our clients it is a reading-list service – people come to us who love reading but are, rightly, highly selective, and want ideas for books they may not otherwise find by themselves. We try to go against the grain a little in terms of what we suggest: if a novel is being read by all the book clubs, we probably won't bother to recommend it – or I don't, anyway (Ella you might do differently!) But for some it is more obviously a therapy – people come to us at a difficult time in their lives, or when they're at a cross-roads. We often get people who are thinking about a change in career, and want fiction that opens doors, and encourages them to think outside the box. We also often get people who have been bereaved. Self-help books have their place, but literature is the place to feast on the really great minds.
EB: Yes I too avoid suggesting the obvious books to clients, as mostly they will read those books anyway without our intervention. We give tailor made eight-book prescriptions to our clients, and of course each prescription is different. So, for instance, for someone who is bereaved we may prescribe a couple of books which explore the feelings of a character in a similar position, and a couple of books which are pure escapism, in the genre they already like to read, be it literary fiction, historical fiction or sci-fi. Then we might give them a couple of books that open up some new, positive doors to help them move forward. We ask a lot of questions before prescribing so that we get a firm sense of what they will love. Reading time is hard to come by these days, and it's really important to be selective and carefully about what you read. Often the clients come back to us and tell us how they have got on with their reading, and we suggest a new batch, and so it goes on. Sometimes these relationships can go on for many years. It's really satisfying to watch someone be nurtured and stimulated by their reading life.
Is there a particular book which has helped you through a difficult period? Would you share it with us?
SE: When my father died I felt very numb and unable to feel – I think I had emotion overload and couldn't cope, so everything just sort of shut down. But I didn't understand this at the time, until I read – actually I was re-reading it, for The Novel Cure – Mrs Dalloway by Virginia Woolf. I love that book, and we had decided to use it as the cure for Monday morning feeling, which it's great for. I had remembered Septimus, the young man who is suffering from shell shock after his experiences in the first world war, as the character who slowly goes mad. But I hadn't realised until I re-read it that he experiences his shell-shock as a numbness. It helped me to understand that this is a way of the body protecting itself until such time as it can process what has happened. Septimus unfortunately didn't have the benefit of reading about Septimus, as I did, and it doesn't go well for him in the end; just as it didn't go well for Virginia Woolf, who didn't have the benefit of reading Virginia Woolf. I was luckier; for me it marked the beginning of being able to feel again.
EB: When I was studying Fine Art at the University of East London, my second degree, I went through a period of depression. I spent one summer mostly in a flat in Tufnell Park, hardly able to leave the house. Luckily, I still felt like reading, and I read a lot of Thomas Mann. His novel The Holy Sinner, which describes a man being so disgusted with himself that he chains himself to a rock in the middle of a lake, chimed strongly with the way I felt. Gregory, the man on the rock, is redeemed because some papal emissaries come to his lake-bound home expecting to find the next Pope. This didn't happen to me (thankfully!) – but the way that he re-invented himself and re-discovered his love of both his own nature and humanity in general served as a catalyst to my return to my usual optimistic nature. I did an art project about The Holy Sinner which led me into my second year in a really positive way.
Tags: Bibliotherapy, Cambridge University, Ella Berthoud, School of Life, Susan Elderkin, The Novel Cure | Permalink.
Granta's Best of Young British Novelists: Adam Foulds
This overview of the work of Adam Foulds is the second in my survey of Granta's Best of Young British Novelists 2013
How intriguing is Adam Foulds! Few writers today would choose to focus on an epic prose poem between two highly-acclaimed novels. Yet Foulds has done just that. He surprises. One minute he's penning a funny, warm and fuzzy – and somewhat conventional – novel about two misfits. Then he's charging into the dark story of Britain's rule in Africa in the 1950s, before delivering a haunting, elegiac novel about the madness of the poet John Clare. Readers would be forgiven for asking "what's next?"
What's next is In the Wolf's Mouth, due to be published next year. The new book takes place after the Second World War, particularly in Sicily and explores trauma and violence and the corruption that frequently follows armed conflict during the reconstruction of a country. You can parallel, says Foulds, similar attempts to do the same in Iraq and Afghanistan. Maybe this is the missing link in understanding his work: a desire to explore a time and a society through a series of highly-charged events, in which the prism of poetry intersects with traditional narrative.
Foulds came to prominence in his mid-thirties. After Oxford and completing the now famed Creative Writing course at the University of East Anglia, he wrote quietly and consistently before The Truth About These Strange Times was published in 2007. In a Granta interview, he discussed the difficulty he faced before the accolades poured in. Many of his contemporaries were "successful" in traditional terms, lawyers, accountants, rising up corporate ladders. Foulds took menial, blue-collar jobs with little responsibility to allow himself the time and freedom to write and braved criticism from friends and family. Recognition was both welcome and unexpected.
The Truth About These Strange Times pairs two unlikely characters: Saul, a brilliant ten-year old who is unwillingly preparing for the World Memory Championships under the watchful eye of his over-protective and over-zealous parents; and Howard, an obese, unemployed Scottish labourer with whom Saul discovers the meaning of friendship, fun and lost childhood. It is an endearing book. Saul and Howard are especially well-drawn and Foulds has an eye for detail, relishing descriptions such as the tedium of repetitive tasks on the factory floor, the tang of salt and vinegar potato crisps and the comfort of stodgy food. Less successful are the minor characters, particularly Saul's parents, who are of the cardboard cut-out variety, pushy, controlling Yuppies with very little depth. A sub-plot involving Howard tricked into marrying a Russian woman who needs a Visa to settle in Britain, also feel awkwardly tacked onto the main plotline. Yet the enduring feel of this debut novel is one of charm and undoubted promise.
More ambitious by far is The Quickening Maze which was nominated for the Man Booker Prize in 2009. Foulds' novel has at its core a set of serendipitous circumstances. He discovered that the lyric poet John Clare was a patient at the High Beach Asylum in Essex from 1837-1841 and that at the same time the poet Alfred Tennyson regularly visited his brother Septimus, who was a patient there. The institution – very liberal for its time, allowing patients the freedom to wander through the ground and occasional furloughs into the neighbouring town – was run by an unscrupulous con-man, the Reverend Matthew Allen, MD. Allen tricked Tennyson into investing heavily in a hair-brained scheme for mass-producing furniture. When the scheme collapsed. Tennyson was unable to recoup his investment, leading to significant financial distress.
The heady mix of poetry, commerce, idealism and crass venality lies at the heart of this novel. Foulds blends extraordinarily vivid descriptions of madness and hallucination with an intense poetic scrutiny that imaginatively reconstructs a slice of history. Again, his grasp of the sensual – the tastes, smells, filth of Victorian England – is visceral in its immediacy. And there's delicacy and trembling beauty, too, as the reader sees the countryside through John Clare's eyes:
"The forest was darkening. Winter was not far off. The black fallen leaves, plastered down by heavy rain, were silvered here and there with frost. The tree trunks were wet. They passed the hooked, blustery shines of a holly. Good snail weather. Their reins creaked. The bits clicked in the horses' mouths as they breathed large clouds." Succinct, satisfying, highly visual, this is Foulds in full command of his material.
Equally impressive is Foulds' epic poem, The Broken Word, subtitled 'An Epic Poem of The British Empire in Kenya, and the Mau Mau Uprising Against It'. This won the 2008 Costa Book Award and the Somerset Maugham Award. Dazzling and an imaginative tour de force, The Broken Word feels as if Foulds were documenting the breakdown of a civilization with a hand-held camera.
Set in the last days of British Colonial rule in Africa in the 1950s, the poem is essentially a meditation on the loss of innocence. Young Tom comes out to Africa to spend time on the family farm in Kenya before going to University. He becomes embroiled in the violence of the Kikuyu uprisings, as they struggle for independence against British colonial powers. The Kikuyu have slaughtered several Brits on neighbouring homesteads so a Home Guard is created to fight back. At his father's insistence, Tom joins them – it's time. I'm afraid, you know, to be a man and all that.' British clipped upper-class speech patterns and casual attitudes to thuggery are faultlessly rendered, as is Tom's growing descent into brutality. His, like Africa, is a "Broken World", where killing becomes almost second nature and the ideals of public school lost forever amongst rape, torture and senseless killing.
'In his rage, he forgot his training
and beat him
not with the butt but the barrel of his gun.
He swung and swung
across the breaking stave
of the man's forearms and collar bone
until it seemed the prisoner shivered
and gradually fell asleep,
but Tom, Tom had too much energy and carried on.'
Returning to Oxford, Tom is clearly suffering from post-traumatic stress disorder. Africa has irreparably damaged him. He has seen too much violence, is troubled by recurring fantasies of beating his tutor to death and even roughandles his girl, Eleanor. The poem ends in uncertainty. Tom may, or may not be able to face the realities of marriage and the mundane. The heat of the landscape, the heat of the moment, the heat of blood, the insistent burning in the brain – Foulds captures all this without partisanship or sentimentality and with admirable restraint.
The Broken Word also feels as if poetry is where Foulds appears to be truly at home. With his richness of language and the emotional power his words invoke, he expertly combines the lyrical with the epic. In the Wolf's Mouth is definitely a book to watch out for.
Tags: Adam Foulds, Africa, Alfred Lord Tennyson, child savants, colonial wars in Africa, Granta, Granta Best of Young British Novelists 2013 B, In the Wolf's Mouth, John Clare, Kenya, Kikuyu, Oxford University, The Broken World, The Quickening Maze, The Truth About These Strange Times, University of East Anglia Creative Writing | Permalink.
by Dina Ross	Leave a comment
Roses with Thorns: a Text classic reprinted
Rose Boys, by Peter Rose Text Classics $12.95
The Text Classic series is a wonderful initiative to reprint forgotten Australian literary masterpieces or highlight narratives that may have been published more recently but deserve a fresher scrutiny. Text has already reprinted novels such as Henry Handel Richardson's The Getting of Wisdom and CJ Dennis' The Songs of a Sentimental Bloke.
Peter Rose's Rose Boys was originally published to great acclaim in 2001. Ostensibly the memoir of his late brother Robert, Rose Boys won the 2003 National Biography Award and became a best-seller. It is not hard to see why.
For readers not from Australia, let me preface my review with a few words about AFL (not to be confused with American Football). Throughout the country, but especially in Melbourne, where I live, "footy" isn't just a sport, it's a religion. On Grand Final Day in September, the country comes to a virtual standstill. Every office runs its own sweepstake and the pubs are awash with punters predicting, reflecting, commiserating and jubilating.
Peter Rose was born into one of the greatest of sporting families in the state of Victoria. Both his grand-father and father were players and then coaches at the iconic Collingwood Football Club, one of the earliest clubs to be established in Australia and home to many footy heroes. The "Magpies" are known for their black and white sporting colours and courage on the field. Kicking a ball around the back yard with their Dad was one of Peter and Robert's earliest memories.
Peter grew up to be bookish and literary-minded. After University, he became a bookseller and then worked for years in publishing, both at Oxford University Press in Melbourne, and now as editor of The Australian Book Review. He is also a poet and his last collection of poetry, Crimson Crop, won the 2012 Queensland Literary Award.
In complete contrast, Robert was a fine sportsman, both a footballer and a cricketer. He not only played for Collingwood but opened the batting for the Victorian state cricket team. Supremely talented, extrovert, handsome, recently married with a young daughter, Robert had the world on a string. But on Valentine's Day 1974, a senseless, devastating car accident left him a quadriplegic. He would never walk again and spent the next 25 years of his life in a wheelchair until his death in 2000.
Peter Rose's account of his brother's life is immensely affecting. He writes simply and unsentimentally about the superhuman difficulties Robert faced. These were not only physical, but psychological. For any quadriplegic, the mental readjustment required to face a life of virtual immobility is extreme. But for a sportsman, this is almost overwhelming. Robert battled painful bedsores and lung infections, as well as boredom and depression. The extended family suffered, too. There was grief for everything Robert had lost but also insidious feelings of guilt. Rose's portrait of Robert's endurance and courage are recorded, as is the family's despair and forbearance. But there's also anger and fear, and loneliness. Robert wasn't a saint and the family had a roller-coaster ride battling both his and their fluctuating emotions over a long period of time.
Rose intersperses his narrative with snapshots of happier times, the brothers' childhood, his parents' courtship, the rise of the Rose sporting legend. Rose also reflects on his own life, his burgeoning literary career, his acceptance of his own homosexuality and individual path. His prose is restrained and as such, immensely evocative. I finished the book absolutely captivated and deeply saddened. The last 25 pages are especially distressing to read, as Rose gives us a blow-by-blow account of the final hours of Robert's life, the futility and agony of his days in hospital, the eventual, blessed, release and the bureaucratic bungles that threatened to postpone his carefully choreographed funeral. Rose also includes his haunting poem I Recognise My Brother in a Dream, a tortured tangle of nightmare and beatific vision that sums up both Robert's indomitable spirit and the unbroken love of brother to brother.
It is a memoir that captivates and involves the reader. With Peter Rose as our guide, we see Robert live again and get to know him. As Rose writes: "It is time to listen to my brother whose message, laconic but self-evident to many in his life, I somehow never fully heeded…I turn to the handsome lad, the vaunted youth, the rage recruit, and will him to speak to me."
Read it: For an honest, warm and uplifting account of family life in almost unbelievable adversity.
Tags: AFL, Australian Book Review. Collingwood Football Club, Crimson Crop, Oxford University Press, Peter Rose, quadriplegia, Robert Rose, Rose Boys, Text Classics, Text Publishing, UWA Press | Permalink.
by Dina Ross	1 Comment
Literary time capsule: Ruth Ozeki's "A Tale for the Time Being"
A Tale for the Time Being by Ruth Ozeki Published by Text, $32.99
Ruth Ozeki has always been a writer with a conscience. (It's no accident that apart from being a novelist, she's also a Buddhist priest.) In her first novel, My Year of Meats, she drew attention to the noxious additives and hormones used in raising livestock and meat processing; like Barbara Kingsolver and others, political agenda is deeply rooted in her fiction. Her latest novel, A Tale for the Time Being, longlisted for the Man Booker Prize, blends fantasy and history with Ozeki's concerns about pollution and the environment. And for good measure, there's a big dose of quantum physics, Japanese pop culture and Zen Buddhism thrown in.
Confused? Go with the flow. This is a fairy tale for our time. Time being the operative word. But I'll get to that. This review, rather like the novel itself, may meander. And what is time anyway? A series of collapsible portholes through which to view the present and the past. (Ozeki's obviously got to me, I'm going all Zen.)
On a remote island on the Pacific coast of Canada, Ruth, a novelist, lives with her husband Oliver. A keen beachcomber, she finds a Hello Kitty lunchbox washed up onshore. Inside, there's a diary written in Japanese. Luckily Ruth, who is half-Japanese herself, can read it. She discovers it belongs to a 16 year-old schoolgirl called Nao (pronounced 'now'). Bullied at school because she has spent much of her childhood in America and deeply miserable, Nao intends to kill herself, but before she does she wants to recount the life of her beloved grandmother, the 105-year old Buddhist nun and feminist, Jiko.
Ruth, who is herself trying to write a memoir of her mother, becomes fascinated with Nao. Did she perish in the tsunami that followed the 2011 earthquake? If not, where is she? Ruth puts her own writing aside and embarks on a quest to find her. The novel interweaves Ruth's Google searches and increasingly frantic emails to potential sources of information, with pages from Nao's diary, which gradually reveal much about her family's history. The reader finds out about Nao's chronically depressed and suicidal father, and the uncle she never met, a kamikaze pilot during the Second World War. Part detective novel, part meditative Zen koān, the novel unfolds like a series of Chinese boxes, each theme opening up to the next.
Let's look at "reality versus unreality" first. The protagonist of the novel is called "Ruth", like Ozeki herself, and the real Ruth Ozeki, like her fictitious counterpart, is married to a man called Oliver. Yet the fictional Ruth is not Ruth Ozeki, novelist. They look very different, and though they share a common half-American, half Japanese heritage, they are clearly not the same person.
So why does Ozeki call her leading character Ruth? Is it to draw attention to the novelist's craft of fabrication and make-believe? Nao and her diary are clearly not "real" in a tangible sense, although they feel real in the time-zone of reading and the close bond forged between reader and writer through the pages of a novel. Yet Ozeki constantly pokes holes at this relationship by including copious footnotes painstakingly explaining references to Japanese culture, Buddhist practise and history – each time a footnote is looked up, suspension of disbelief is thwarted and the reader is jolted back to the present, becoming conscious that the work is one of fiction.
Another theme is that of time. The novel covers several time frames, Nao's recent past, Ruth's present, and even further back in history to the days of the Second World War where Nao's uncle was a "sky soldier". The preamble to the book is taken from a Zen Buddhist text saying that any Tom, Dick or Harry is: For the time being, the entire earth and the boundless sky.
This echoes the Buddhist belief that both the inanimate and the animate are inextricably intertwined. But it also introduces the theme of humans as "beings in time". Nao (Now, get it?), Oliver, Ruth and all the characters in the book are "time beings", who exist in their personal time zones and also elsewhere in the novelist and reader's imaginations. Here, quantum physics comes in, in relation to the fact that particles can also behave like waves and can never be pinned down in time or space – the moment you try to do so, they behave like something else.
Nao's diary is also – coincidentally or not – wrapped up in a faux cover – that of Proust's epic novel, Remembrance of Things Past. Elusive, but potentially full of clues, one moment revealing its full text and then mysteriously showing Ruth blank pages, it behaves like a quantum physics particle, in, out and of its time.
Within this complex structure, Ozeki introduces themes of pollution and environmental catastrophe, as seen by the tsunami itself, oddly migrating bird species, unusual flotsam and jetsam, and the intricacy of global wave cycles. It is also a critique of contemporary Japanese society, where the penalty for not being successful or fitting in with cultural norms has bred a generation of reclusives and a suicide rate among the under 25s that is three times higher than that of the USA. Yet within all this, Ruth herself seems little more than a catalyst for Nao's overpowering story and cataclysmic life events. The more we get to know Nao, the less tangible Ruth seems, until she appears little more than a tangle of footnotes (163 to be exact), facts, emails and hypotheses.
It's as if Ozeki were concentrating so hard on the novel's many themes that she bypasses the narrative arc of one of her principle characters. If A Tale for the Time Being leaves the reader up in the air, it is because the fictitious Ruth seems much less "real" than the fictitious Nao. But in the dynamics of quantum physics, that might be precisely Ozeki's point.
LISTEN TO MY INTERVIEW WITH RUTH OZEKI NEXT WEEK ON MY PAGETURNERS PODCAST: I'LL POST A LINK ON BOOKS NOW!
Tags: A Tale for the Time Being, American literature, Barbara Kingsolver, British Columbia, Chinese boxes, cosplay, environment, Hello Kitty, Japan, kamikaze pilot, koan, Man Booker Prize 2013, Marcel Proust, My Year of Meats, pollution, quantum physics, Remembrance of Things Past, Ruth Ozeki, Second World War, suicide, tsunami, youth suicide, Zen Buddhism | Permalink.
by Dina Ross	11 Comments
The cutting edge: the mysterious artist sculpting Scotland's literary landscape
Who is cutting up the books of Scotland?
Image: Arthur Conan Doyle's The Lost World hollowed out into a mysterious sculpture – gift to the Scottish Poetry Library. Artist anonymous. Courtesy Scottish Books Trust.
There must be something in the water: a reclusive artist is blurring the boundaries between visual and textual artforms. Thank you to ABC Radio National for bringing this phenomenon to my attention.
Two years ago, unattributed book sculptures started popping up all over Scotland. They first appeared in March 2011, when an exquisite piece of cut-paper artistry, made from a book, appeared in Edinburgh's Poetry Library. Nine more followed. In 2012 the artist reappeared, as part of Book Week Scotland, creating five special sculptures, hiding them in locations relevant to the books they represented, with clues left each day for someone to find them. All five were found: a mini Treasure Island at the Scottish Sea Bird Centre, a Robert Burns tribute at his Birthplace Museum, Peter Pan at J M Barrie's birthplace.
The artist is female but little else is known about her. She wrote this for the guardians of the Poetry Library to find, saying she was: "…a woman, who had been a girl, whose life would have been less rich had she been unable to wander freely into libraries, art galleries and museums. A woman who, now all grown, still wants access to these places and yes, wants them for her children…"
Other sculptures took their inspiration from the work of poets Edwin Morgan and Norman MacCaig. The 10 sculptures toured around Scotland's libraries last year and have entranced all who saw them with their delicacy, intricacy and beauty. I reproduce some of the images here. It seems the artist has not been as prolific lately – but what do you think? Is this artistry or vandalism? Your comments please.
Image: Tree made out of a book and leaves torn from books, accompanied by a gilded eggshell with a poem lining. Gift to the Scottish Poetry Library. Artist anonymous. Courtesy Scottish Books Trust.
Image: Whiskey Galore by Compton Mackenzie. Found on Island of Eriskay, Scotland, at Am Politician Lounge. Sculptor anonymous. Courtesy Scottish Books Trust.
Image: Treasure Island by Robert Louis Stevenson found at the Scottish Sea Bird Centre. Sculptor anonymous. Courtesy Scottish Books Trust.
Tags: ABC Radio National, Book Week Scotland, Scotland, Scottish Books Trust, Scottish Poetry Library, Sculpture | Permalink.


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La Joven Guardia es el himno oficial de la Unión de Juventudes Comunistas de España.

De origen francés al igual que La Internacional, La Joven Guardia fue una canción popular adoptada como himno por la Juventud Comunista desde sus orígenes. La Juventud Socialista Unificada la adoptó igualmente como himno en la primavera de 1936, habiendo sufrido variaciones en la letra durante el trascurso de la Guerra Civil española. La canción original en francés, Le chant des jeunes gardes, es de 1910; la letra es de Gaston Montéhus (Gaston Mardochée Brunswick, 1872 - 1952), y la música es de Saint-Gilles.

Historia

Este canto de la juventud obrera francesa fue compuesta con vistas al Congreso de Tours, celebrado en diciembre de 1920, en el que tuvo lugar la fundación del Partido Comunista Francés. Durante la Segunda Guerra Mundial, fue cantada tanto por las juventudes socialistas como por las comunistas, ya que, al igual que en España, en Francia tuvieron lugar las alianzas entre comunistas y socialistas (Cartel de gauches y posteriormente, en 1936, el Frente Popular francés).

La versión original de Gaston Montéhus comenzaba con un Nous somm's la jeune France... que los movimientos comunistas sustituyeron por el Nous somm's la jeune garde.... La versión original se componía solamente de las dos primeras estrofas, escritas por Montéhus, mientras que el resto de la letra fue añadido más tarde.

Debido a las estrechas relaciones entre partidos comunistas de España y Francia, se transmitió esta letra a la UJCE que, al unirse con las JSE en lo que se llamó Juventudes Socialistas Unificadas, adoptó esta canción como himno oficial.

La versión original de esta pieza musical grabada en español fue cantada por Bartholomeus van der Schelling, voluntario neerlandés de las Brigadas Internacionales en tiempos de la Guerra Civil española.

En la película Las 13 rosas, en la escena en que las protagonistas son llevadas presas en un camión, algunas de ellas comienzan a cantar La Joven Guardia. De hecho, la banda sonora, compuesta por Roque Baños, está inspirada en esta canción.

Letra de La Joven Guardia

Notas

Enlaces externos

 Canciones Republicanas de la Guerra Civil Española.

Himnos comunistas
Juventudes Socialistas Unificadas

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text:
Tag Archives: The Best Of Fad Gadget
Fad Gadget – The Best Of Fad Gadget
The Best Of Fad Gadget was originally released in 2001 to accompany Frank Tovey bringing his Fad Gadget alias out of retirement for a support slot with Depeche Mode. It was a moment of electronic music history repeating itself, albeit in reverse and on a massive, stadium-friendly scale: Depeche had supported Gadget in 1980, back when they were all a bunch of callow, synth-loving young chaps, Frank Tovey being the first artist to join Daniel Miller's nascent Mute Records.
Twelve months after the compilation was issued, Tovey was dead from a heart attack. It's hard not to listen to these tracks, hand-picked as they were by Fad himself, without mourning the fact that he left behind such a brief legacy – a clutch of singles, four Gadget albums and a challenging performance art repertoire that was already honed back when he was fighting over Leeds Polytechnic's studio space with fellow students Dave Ball and Marc Almond.
Mute's pressing of the album on vinyl for the first time coincides with the fortieth anniversary of 'Back To Nature', Fad Gadget's first single. Recorded with Daniel Miller, 'Back To Nature' nodded to the Ballardian tropes of Miller's own 'Warm Leatherette' statement, but also highlighted Tovey's wry humour: while its gloomy industrial electronics sounded like a post-apocalyptic world of extreme temperatures, it was in fact Tovey ruminating on sun-loving folk enjoying the beach at Canvey Island.
Its B-side, 'The Box', was yet more subversive, its desperate lyrics reading like the stage directions for a macabre one-man show with a performer stuck in a box. After the dry 'Ricky's Hand' single – the sinister counterpart to Depeche Mode's similar-sounding 'Photographic' – Tovey gently moved Miller's producer's hand to one side and forged his own path, his 1980 debut album Fireside Favourites dealing with everything from cosy nights around the hearth during a nuclear meltdown on its memorable title track to bedroom frustration, each track a symbiosis of Tovey's synths and whatever potential sound-making objects were lying around the studio at the time.
Through his ensuing albums – Incontinent (1981), Under The Flag (1982) and Gag (1984) – Tovey developed his songwriting craft, initially through getting to grips with kit like an MC-4 sequencer and then developing a full-band aesthetic at precisely the same time as pop music was dispensing with traditional instruments in favour of keyboards and drum machines. But even as his music matured, anticipating the series of folk and rock-inflected albums released under his own name with the band The Pyros, Tovey was still covering himself in tar and feathers on stage, or stripping off his clothes and spraying shaving foam all over his body, memorable images of which Anton Corbijn captured for Gag and the harrowing cover of this compilation.
His songs never once lost that slightly disturbing potency that had made his earliest singles so insistent. 'Lady Shave' made a song about the quotidian act of removing hair a seedy, voyeuristic, perverted show; 'Saturday Night Special' dealt with guns and the right to bear arms; 'Love Parasite's sleek electronic shapes detailed a sexual predator; 'Life On The Line' and 'For Whom The Bells Toll' were dour pop songs that betrayed Tovey's paranoia at having become a father for the first time; 'Collapsing New People' took industrial percussion and the looped mechanical sound of a printing press to offer a vivid anthropological assessment of the dispossessed, wasted, vampiric youths he observed while recording the track in Berlin. The compilation ends with the leftfield proto-electro and howling baby sounds of '4M', sounding somewhere between clinical fascination and the soundtrack to the end of the world, but was in fact a tender piece of sound art using the sampled voice of his baby daughter.
It would, perhaps, be too easy to look back on Frank's wild Fad Gadget years as a kind of grim novelty cabaret sideshow schtick, a product of an anything-goes, disaffected, post-punk British society, his effect on the development of electronic music in the early 1980s easily dismissible in favour of dark-hued works by Cabaret Voltaire, Human League, Soft Cell and others. Observed in hindsight, no other musician managed to fuse art school theatrics and dystopian social commentary so fluidly within the emerging constructs of electronic technology as Frank Tovey did, and the likelihood of another artist like Fad Gadget emerging in these supposedly super-liberal times is unimaginable; we're all trapped inside the metaphorical cage of 'The Box', and no one dares try – like he did – to break out.
Frank Tovey: 8 September 1956 – 3 April 2002
The Best Of Fad Gadget by Fad Gadget was originally released in 2001 by Mute, and reissued as a double vinyl LP in 2019.
Words: Mat Smith.
Note: this review originally appeared in Electronic Sound issue 57 and is used with the kind permission of the editors. Thanks to Neil, Zoe and Paul.
(c) 2019 Mat Smith for Electronic Sound
Posted in Compilations | Tagged Daniel Miller, Fad Gadget, Frank Tovey, Mute, Mute Records, The Best Of Fad Gadget | Leave a reply

redpajama_set_name: RedPajamaCommonCrawl


text:
No! The Arabs are not out-birthing the Israelis. There is no Demographic Time Bomb
(No! They will not ever outnumber the Jews in Israeli unless the Israeli Supreme Court continues in their self-destruct mode and treats Israel's G-d given land as some fictitious Arab entity created by Yasir Arafat in 1964!)
No Arab demographic time bomb
Redacted from a more detailed article by Ambassador (ret.) Yoram Ettinger
Jewish Political Studies Review, Volume 29, Numbers 3-4, September 2018
Demographic reality defies conventional wisdom (or lack of)
Contrary to conventional wisdom, the Jewish State is not facing an Arab demographic time bomb; but, benefits from a robust Jewish demographic tailwind of births and net-immigration.
For example, between 1995 and 2017, the number of Israeli Jewish births surged by 74%, from 80,400 to 140,000, while the number of Israeli Arab births grew by 19% during the same period – from 36,000 to 43,000 births.
Moreover, contrary to conventional wisdom, the trend of Israeli emigration has slowed down. Thus, the number of Israelis staying abroad for over a year was expanded by 6,300 in 2016 (the lowest in ten years – a derivative of the growth of Israel's economy), compared to 8,200 in 2015 and 14,200 additional emigrants in 1990. At the same time, Israel's population surged from 4.8 million in 1990 to 8.8 million in 2018.
Since the end of the 19th century, the Jewish-Arab demographic balance has systematically defied the demographic establishment's assessments and projections.
For instance, in March 1898, Shimon Dubnov, a leading Jewish historian and demographer, projected 500,000 Jews in the Land of Israel by 1998, defining Theodore Herzl's Zionist vision as "a messianic wishful thinking." However, Herzl was the ultimate realist and Dubnov was off by 5.5 million Jews!
In October 1944, the founder of Israel's Central Bureau of Statistics (ICBS), and the luminary of Israel's demographic and statistical establishment, Prof. Roberto Bachi, projected 2.3 million Jews in Israel in 2001, a 34% minority. Bachi's projection reflected the demographic establishment's underwhelming assessment of Jewish fertility and immigration (Aliyah) and the overwhelming assessment of Arab fertility. In 2018, there are seven million Jews in Israel, a 65.5% majority in the combined area of pre-1967 Israel, Judea and Samaria (the West Bank), enjoying an effective demographic tailwind.
During the 1980s, the ICBS sustained its traditional, minimalist assessment of Aliyah, dismissing the potential of an Aliyah wave from the USSR. But, in defiance of the demographic and statistical establishments – and due to a most assertive, pro-active Aliyah policy by Prime Ministers Ben Gurion, Eshkol, Meir, Begin and Shamir – one million Soviet Jews immigrated to Israel.
In 2000, consistent with demographic political correctness, the ICBS projected a gradual decline of Jewish fertility rate from 2.6 births per woman to 2.4 in 2025. However, by 2017, the Jewish fertility rate was bolstered to 3.16 births per woman and 76.5% of all Israeli births were Jewish, compared to 69% in 1995.
The Westernization of Arab demography
In 1969, Israel's Arab fertility rate (nine births per woman) was six births higher than Israel's Jewish fertility rate. However, that gap was erased by 2015 (3.11 births each), and in 2016/17 the Jewish fertility rate was higher than the Arab rate (3.16 births per woman and 3.3 when both Jewish spouses were Israeli-born). Moreover, the Arab fertility rate in Judea and Samaria (the West Bank) is 3 births per woman, compared to 5 in 2000. In fact, in 2018, Israel's Jewish fertility rate is equal to Jordan's, while exceeding the fertility rates in all Arab countries other than Yemen, Iraq and Egypt.
The rise of Jewish fertility reflects the enhanced optimism, patriotism, attachment to roots, communal responsibility and a substantial decline in the number of abortions.
Furthermore, while conventional wisdom assumes that the surge of Israel's Jewish fertility rate was triggered by the Ultra-Orthodox community, reality documents a moderate decline of the Ultra-Orthodox fertility rate (due to the growing integration in the job-market and academia) – while a substantial increase of the fertility rate has been demonstrated by Israel's secular sector, which is the largest sector of the population.
At the same time, the Westernization of Arab fertility (in Israel, Judea and Samaria and throughout the Middle East) is a derivative of the following phenomena:
*Intense urbanization has transformed the 70% rural Arab population in Judea and Samaria in 1967 to a 75% urban population in 2018;
*Most Arab women in Israel, Judea and Samaria have pursued dramatically enhanced education, increasingly completing high school and pursuing higher education;
*Rather than getting married at the age of 15 and beginning reproduction at 16 – as did their mothers and grandmothers – contemporary Arab women tend to delay and shorten that process;
*Arab women have improved their social status, seeking to advance their own careers, thus ending their reproductive period at the age of 45, rather than 55, resulting in less births;
*Rapidly declining teen-pregnancy;
*Rapidly expanding family-planning;
*Youthful male emigration, among Judea and Samaria Arabs, has widened the gap between the number of Arab males and females there;
*Arab women in Israel, Judea and Samaria, just like Arab women throughout the Arab World have substantially expanded the use of contraceptives.
According to a June, 2012 study by the Washington-based Population Reference Bureau (PRB), 72% of 15-49 year old Palestinian married women prefer to avoid pregnancy, trailing Morocco (78%), ahead of Jordan (71%) and Egypt (69%). A growing number are using contraception, as family planning services have expanded in the Arab region.
Auditing, rather than echoing, the official Palestinian data
In contrast to the Israeli and global demographic establishment, this essay audits – rather than reverberate/amplify – the official data of the Palestinian Central Bureau of Statistics (PCBS). The essay examines the records of the PCBS against the data published by the Palestinian Departments of Health, Education and Interior, the Palestinian Election Commission, The World Bank, Israel's Central Bureau of Statistics, Israel's Authority of International Passages, etc.
Unlike the demographic establishment, this essay does not indulge in projections, which are subjective by definition, impacted by a litany of unpredictable domestic and international social, economic and geo-political factors. Instead, this essay focuses only on well-documented and verifiable birth, death and migration data.
In 2018, Israel is the only Western democracy and advanced economy, endowed with a relatively-high rate of fertility, which facilitates the sustained growth of the economy, as well as a potential expansion of the military ranks – if necessary – while boosting the level of national optimism.
Against the backdrop of the aforementioned demographic documentation, the suggestion that the Jewish State is facing an Arab demographic time bomb, is either dramatically mistaken or outrageously misleading. Or both….
Yoram Ettinger
Author Jerome S. KaufmanPosted on September 28, 2018 Categories Israel, the US and the Immediate World, Obama's policies, Political Commentary Worldwide, Uncategorized, US PoliticsTags In 2018 Israel is the only Western democracy and advanced economy endowed with a relatively-high rate of fertility
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Home General Tragedy in Shark Ray Alley: tourist drowns
Tragedy in Shark Ray Alley: tourist drowns
CAYE CAULKER, Belize District, Tues. Nov. 23, 2015–A tourist who was snorkeling in Shark Ray Alley in Caye Caulker died after he suffered difficulties in the water, went down and did not come up.
Karl Edwin Simmons, 61, later floated to the surface and was taken to the Caye Caulker Polyclinic, where he was declared dead on arrival.
Police reported that Simmons, an American security officer of Baywood Street, Shore Acres, Texas, USA, a tourist and member of a cruise that was visiting Caye Caulker from a cruise ship, was snorkeling with his wife, Esther, 56, in Shark Ray Alley when she began to drift away because of the strong current, and he quickly swam after her to help her.
According to reports, however, Simmons began to experience difficulty, and he went down and disappeared under the water.
Shortly after, he was seen floating face down in the water. He was quickly retrieved and taken to the clinic, where he was declared dead.
The tour guides who were present kept the tourists calm after the incident, while Simmons was taken to the hospital.
They were sad, however, when they were later told that he had died.
After an autopsy, it was concluded that the cause of death was due to drowning.
However many believed that he suffered a cardiac arrest while swimming.
Police told Amandala that the American Embassy was immediately notified, and the body will be returned to his country by his wife, Esther, for burial, with assistance from the Embassy.
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Can the terms be negotiated?
Yes, in most cases the terms may be further negotiated between the parties. The specific terms or restrictions need to be agreed include, rent amount, rent increases, the duration of the lease, whether or not the lease can be transferred or assigned.


text:
<?php

namespace Faker\Provider\fi_FI;

class Company extends \Faker\Provider\Company
{
    protected static $formats = [
        '{{lastName}} {{companySuffix}}',
        '{{lastName}}-{{lastName}}',
        '{{lastName}}, {{lastName}} and {{lastName}}',
    ];

    protected static $catchPhraseWords = [
        [
            'Ainoa', 'Adaptiivinen', 'Automatisoitu', 'Avoin', 'Avoimen lähdekoodin', 'Digitalisoitu', 'Dynaaminen', 'Erikoistunut', 'Ennakoiva', 'Ergonominen', 'Hallittu', 'Hajautettu', 'Horisontaalinen', 'Integroitu', 'Innovatiivinen', 'Jaettava', 'Keskittynyt', 'Käyttäjäystävällinen', 'Laajenettu', 'Laajennettava', 'Lievittävä', 'Maailmanlaajuinen', 'Muokattava', 'Monitoroitu', 'Monikerroksinen', 'Ohjelmoitava', 'Optimoitu', 'Organisoitu', 'Orgaaninen', 'Rinnastettava', 'Räätälöitävä', 'Saumaton', 'Tasapainotettava', 'Täysin yhteensopiva', 'Yhteensopiva', 'Yksinomainen', 'Vaiheittainen', 'Virtuaalinen', 'Visionäärinen', 'Valinnainen', 'Verkostoitunut',
        ],
        [
            '24/7', '3. sukupolven', '4. sukupolven', '5. sukupolven', '6. sukupolven', 'alueellinen', 'analysoiva', 'assymmetrinen', 'asynkroninen', 'asiakaslähtöinen', 'dynaaminen', 'globaali', 'heuristinen', 'hybridi', 'inkrementaalinen', 'interaktiivinen', 'kahtiajakautuva', 'kaksisuuntainen', 'konkreettinen', 'korkean tason', 'logistinen', 'johdonmukainen', 'maksimaalinen', 'moniajettava', 'multimedia', 'optimaalinen', 'optimoiva', 'omistautunut', 'paikallinen', 'reaaliaikainen', 'seuraavan sukupolven', 'skaalautuva', 'systeeminen',
        ],
        [
            'algoritmi', 'yhteisö', 'analysaattori', 'sovellus', 'lähestymistapa', 'arkkitehtuuri', 'arkisto', 'ryhmä', 'sovitin', 'benchmark', 'kapasiteetti', 'tietokanta', 'piiri', 'emulaatio', 'konsepti', 'firmware', 'rakenne', 'funktio', 'rauta', 'help-desk', 'hierarkia', 'hubi', 'implementaatio', 'intranet', 'malli', 'ohjelmisto', 'ratkaisu', 'strategia', 'menestys', 'projekti', 'tuote', 'tuki', 'www-sivusto', 'synergia', 'protokolla', 'koodaus', 'ennuste', 'joustavuus', 'extranet', 'salaus', 'kompleksisuus', 'ydin', 'asenne', 'liitto', 'internetratkaisu', 'asennus', 'monitorointi', 'infrastruktuuri',
        ],
    ];

    protected static $bsWords = [
        [
            'implementoi', 'käyttää', 'integroi', 'optimoi', 'kehittää', 'muuntaa', 'omaksuu', 'mahdollistaa', 'orkestoi', 'uudelleenkeksii', 'kerää', 'kokoaa', 'kasvattaa', 'parantaa', 'helpottaa', 'toimittaa', 'antaa', 'täyttää', 'vapauttaa', 'ajaa', 'jatkaa', 'mullistaa', 'iteroi', 'generoi', 'hyödyntää', 'brandaa', 'muokkaa', 'kasvattaa', 'kytkee', 'innovoi', 'viljelee', 'visualisoi',
        ],
        [
            'maailmanluokan', '24/7', 'maailmanlaajuisia', 'interaktiivisia', 'seksikkäitä', 'rikkaita', 'visionäärisiä', 'parhaita', 'viraaleja', 'dynaamisia', 'strategisia', 'vallankumouksellisia', '24/365', 'e-bisnes', 'virtuaalisia', 'intuitiivisia', 'ennakoivia', 'kitkattomia', 'jaettuja', 'reaaliaikaisia', 'huippuluokan', 'tehokkaita', 'suorituskykyisiä', 'pystyviä', 'laajennettavissa olevia', 'venyviä', 'yhteisvaikutteisia', 'seuraavan sukupolven', 'plug-and-play', 'yhteistyökykyisiä', 'kustomoituja', 'langattomia', 'selkeitä', 'avoimen lähdekoodin',
        ],
        [
            'kanavia', 'silmämunia', 'ratkaisuja', 'e-palveluja', 'portaaleja', 'teknologioita', 'käyttäjiä', 'verkkoja', 'palveluita', 'ohjelmia', 'web-ohjelmistoja', 'kokemuksia', 'systeemejä', 'rajapintoja', 'yhteisöjä', 'markkinarakoja', 'skeemoja', 'arkkitehtuureja', 'malleja', 'sisältöä', 'mainoksia',
        ],
    ];

    protected static $companySuffix = ['OY', 'AB', 'OY AB', 'RY', 'OYj', 'Tmi.', 'Inc.', 'Ltd'];

    /**
     * @example 'Ainoa 3.sukupolven ohjelmisto'
     */
    public function catchPhrase()
    {
        $result = [];

        foreach (static::$catchPhraseWords as &$word) {
            $result[] = static::randomElement($word);
        }

        return implode(' ', $result);
    }

    /**
     * @example 'hyödyntää maailmanlaajuisia yhteisöjä'
     */
    public function bs()
    {
        $result = [];

        foreach (static::$bsWords as &$word) {
            $result[] = static::randomElement($word);
        }

        return implode(' ', $result);
    }
}

redpajama_set_name: RedPajamaGithub


text:
First World War - London Irish Rifles.
In addition to its existing battalion, the London Irish Rifles (18th Battalion, London Regiment) raised two further Lines, one of which remained as a reserve unit in England throughout the war.
The two Service Battalions served on the Western Front from 1915 onwards and in Greece and Palestine from 1916 to 1918.
1/18th (County of London) Battalion (London Irish Rifles).
At the outbreak of war, they were based in London and became part of 5th London Brigade, 2nd London Division.
The battalion landed in France during March 1915, and became 141st Brigade in (the renamed) 47th (2nd London) Division during May 1915.
The 141st Brigade served on the Western Front for three and a half years and ended its war near Lille.
They were formed in August 1914 and later joined 2/5th London Brigade, 2/2nd London Division at Reigate.
The brigade was retitled 180th Brigade, 60th (2/2nd London) Division and landed in France during June 1916. After four months in the line near Vimy, the Division moved to Salonika in November 1916.
In July 1917, they moved to Egypt and then later in the year onto Palestine and Transjordan. The battalion remained in 60th Division during the early part of 1918 but, in July, were disbanded in Palestine, with its men going to units within 10th (Irish) Division.
1,087 men from the London Irish Rifles are listed in the CWGC database of First World War deaths:
1914 - 1.
1915 - 157.
1918, up to 11th Nov -302.
After 11th Nov 1918 - 27.


text:
These Alien-Looking Metal Domes Are Keeping London Safe And Dry
The flood barrier that protects London closed fifty times this winter—a new record
Mary Beth Griggs
Andy Roberts
Not that far from London, the River Thames flows into the English Channel, and here, downstream of the city, the river is dramatically affected by tides. There can be a difference of as much as 22 feet in the level of the river between high and low tide. Normally, this isn't a problem, but when rainfall upstream swells the Thames, the combination of changing tides and flood waters could be disastrous.
But the Thames Barrier, which was built in 1982, protects the city. With its alien-looking metal domes perched above the water, the barrier has become an iconic piece of London's infrastructure. It features ten steel gates weighing 3,000 tons each that can be raised when needed to defend London from floodwaters.
The Thames Barrier uses the changing water levels to its advantage. When floodwaters are expected to clog the river, those ten steel gates are raised during high tide, keeping the tidal surge out of the city, and allowing the water from upstream to flow safely into the space normally occupied by the tidal waters. When the tide goes out, the barriers come down, and the water can flow safely into the sea.
This winter, with all the rain that's been pouring down on England, the barrier has been doing its work. It closed for a record fifty times this winter. The last time the Thames Barrier set a record for closures, in the winter of 2000-2001, it closed half that much—a relatively small 24 times.
This year, more closures have happened in February alone, with 28 for the month. Originally the barrier was designed to last until 2030, but the people that run it hope that a replacement won't be needed until 2070. If you want to see it in person, (or are a really big Dr. Who fan) you can visit the barrier, though you will have to pay for admission. But it might be wise to wait until the rain lets up, just a little.
Mary Beth Griggs | | READ MORE
Mary Beth Griggs is a freelance science journalist based in New York City.
Cool Finds Flood Infrastructure London Travel


text:
Jirina Nepalová Lady Receives Pro 2014 award
Jiřina Nepalová, founder and CEO of RENOMIA, a.s., received the prestigious Lady Pro 2014 award in Prague Castle's Spanish Hall.
The title is awarded every year by the Comenius Pan-European Society for Culture, Education and Scientific and Technical Cooperation on the occasion of declaring the hundred best companies in the Czech Republic, the "Czech 100 Best".
The honorary title of Lady Pro goes to women who are among the best in their managerial, business, political, sport, artistic or other important activities. They are women who have achieved exceptional success while managing to remain glamorous women in the everyday demands of their work. Aside from the Lady Pro 2014 award, this year Jiřina Nepalová also placed on the Hospodářské noviny TOP 25 women in Czech business ranking, as well as on the ranking of the fifty most influential women in the Czech Republic by Forbes magazine.
"I highly appreciate the Lady Pro award and I am naturally also pleased by my placing on the other rankings as well. It is not only an acknowledgement of my work, but of that of all my colleagues at RENOMIA, thanks to whom we can offer our clients the best services," says Jiřina Nepalová, CEO and founder of RENOMIA, a.s.
Jiřina Nepalová numbers among the most successful Czech managers, entrepreneurs and recognised domestic insurance experts. She is sought-after as a consultant for private and public organisations, as well as a member of the presidium of the Association of Czech Insurance Brokers and the administrative board of the Endowment Fund for the Promotion of Education in the Insurance Industry. She has worked in the insurance industry since 1978 and founded the insurance brokerage company RENOMIA, a.s. in 1993.
Foto: Jiřina Nepalová přebírá ocenění Lady Pro 2014
Skupinové foto: Oceněné Lady Pro 2014
Diplom: TOP 25 žen českého byznysu


text:
Charlie Sheen reveals he's HIV positive… here's why it matters
Charlie Sheen has revealed that he is HIV positive. Your first response might be "so what", but a person with a high profile - who goes on to live a healthy life - can go a long way in helping fight the stigma that still surrounds those who are ill.
by TheSouthAfrican Staff & Agencies
Charlie Sheen has disclosed that he is HIV positive.
"I am here to admit that I am in fact HIV positive and I have to put a stop to this onslaught, this barrage of attacks, of sub-truths – very harmful … stories that are threatening the health of so many others," the actor told NBC's Today show on Tuesday.
He said he had learned about the diagnosis "roughly four years ago".
"It's a hard three letters to absorb," he said.
Zuma channels Jon Snow: Tells Zondo "I don't know"
Day 2: How Jacob Zuma dodged critical questions at the State Capture Inquiry
Jacob Zuma at the state capture inquiry: Five major things we can expect
Frans Steyn: Why he should no longer be dividing opinions
Sheen also claims that he has been extorted by people who knew of his status and who demanded money to keep things quite. The actor said one incident of extortion took place when a prostitute took a picture of his antiretroviral medication and threatened to sell it.
Sheen also admitted to suffering from depression.
Now, considering an estimated 39 million suffer with HIV around the world, you might think: so what?
Well, there are a few reasons why it matters.
The lead-up to Sheen's announcement was grotesque, filled with tabloid speculation around something that shouldn't be any of our damn business. It was vile and a stark reminder that this there is still a long way to go in fighting the stigma. People who suffer from HIV aren't some ticking biological weapons.
Great advances have been made in treating the illness. A spokesman for Britain's Terrence Higgins Trust told the Daily Mail that anyone diagnosed is "given treatment that reduces the amount of HIV virus to an 'undetectable' amount, meaning HIV cannot be passed on.
These slipped out of the US Tabloid headlines, but it does not make Sheen's announcement any less important and Sheen's profile means he could play a major role in education about treatment for the illness.
He could also help fight stigma. Elton John once said HIV will only be overcome "by eradicating its most deadly symptom: stigma". And that's exactly where Sheen could make a huge difference.
A "high profile" person having an illness that ignorant people associate with "third world problems" goes a long way to "normalising" the disease, helping people understand that it is common and nobody is immune. It's not just a third world problem, it's everyone's problem.
Yes, we should be careful of lumbering somebody with being "the face" of HIV, but as the most high-profile person in the world, along with Magic Johnson, who we know to have the disease, he could help others.
"I have a responsiblity now to help a lot of other people," Sheen said.
Sheen added that he hopes publicly admitting that he has the disease will help others shed their fear of the stigma and reach out and get help.
Sheen's revelation matters because, sadly, "celebrities" give clout to fund raising efforts. Those funds can be distributed to countries where people are in dire need of care where the luxury of specialised treatment simply isn't available. People are far more likely to make donations to organisations that raise funds for things they are familiar with.
Tags: HIV/AIDS


text:
Q: Assign keyboard shortcut to Safari Extensions? Is there a place in safari that allows user to assign keyboard shortcut for extensions?
For more specific information, I am trying to assign a shortcut key for this extension: Recent Tab list
However I did not find shortcut customization page on its page. So I am experimenting whether there is such a customization page at the safari level. Any advice is appreciated.
I am using MacBook Pro with OS X Sierra 10.12

A: It is possible to do this yourself using AppleScript and other tools.
Requirement: System Preferences > Security & Privacy > Accessibility to be checked on for Alfred 3.
tell application "System Events" to tell process "Safari"

    with timeout of 0 seconds
        set allElements to entire contents of toolbar 1 of window 1
    end timeout

    repeat with uiElement in allElements
        if class of uiElement is button and description of uiElement is "Recent Tab List" then click uiElement
    end repeat

end tell

I use Alfred to trigger the AppleScript using a hotkey or keyword.

Here's my workflow: https://0x0.st/s_jz.zip
(I originally posted this answer on GitHub)
EDIT March 2019:
Quicker AppleScript is as follows. It works from Script Editor but I've not been able to get it to work from Alfred. YMMV.
tell application "System Events"
    tell process "Safari"
        set extVar to "Recent Tab List"

        tell first UI element of last group of last toolbar of first window
            click (first button where its description = extVar)
        end tell
    end tell
end tell

A: Yes but it is System preferences  -> Keyboard and choose the Shortcuts tab. Choose App shortcuts from the left hand box. The + to add a shortcut and choose Safari as the app

redpajama_set_name: RedPajamaStackExchange


The internet makes it possible for someone to get a job anywhere in the world without the need for relocation. You can sit in your pyjamas in Alaska and theoretically be working in Berlin. While the easy access to the job market is great in one way, there are a few things that you need to consider when searching for freelance copywriters' jobs online.
While you may be able to talk to your new employer on the phone, you are still going on their word as to who they really are. This is a large drawback for many people, especially those who want at least one face to face meeting with their boss. Even though you can hear their voice, and see their face if you use an internet phone service, there is no way to verify who they really are. At least when you walk into your place of employment every day, you are able to see that it physically exists.
This is one of the biggest chances you take when working as a freelance copywriter. If you apply to work on private jobs, there is no guarantee that you will be paid. On the other hand, if you get your business from one of the various freelance sites that are out there, you have the protection of having your payment sitting in escrow. A small percentage will go directly to the freelance site, but at least you never have to worry about receiving your money.
While it can be tempting to apply for that great job on quantum physics paying .25 cents a word, don't take it unless you know what you are talking about. You can't just "learn" about some topics with a small amount of research. Your client will end up unhappy, you will never get a reference, and you probably won't get paid either. Hold out for the jobs that are in your areas of expertise. While it is great to learn new things, don't make your unsuspecting client the test run.
Since you are working freelance, you can work as much or as little as you wish. One thing that can never be over-emphasized is not to take on too much at once. Build your client base slowly, rather than taking everything that comes your way. When you accept new clients, make sure you are clear on how much of your time they will require.


When showcased together, sapphires and diamonds create extraordinary styles. A look just his taste, this flat top men's ring is embellished with three vertical rows, each separated by sterling silver bars. Decorating the eye-catching design, three brilliant diamond accents cross straight through the center while princess-cut lab-created sapphires sparkle on either side. On his September birthday, the gift of jewelry featuring his magnificent birthstone, sapphire, is an unforgettable surprise. Custom made to fit your ring size. Sterling silver rings cannot be resized after purchase.


Another scene I really enjoyed but did not think to mention yesterday was the sinning of Battle Cry of Freedom after the successful vote for the amendment. That is perhaps my favorite song of the Civil War era, or t least at the top of any lust of my favorites, and I thought that scene was very fun and a great addition to the film.
I am not enough of a film buff to try to judge the performances of the various cities and actresses, though I did get the feeling I was in Washingon in 1865 while watching these events, so that must be a compliment to their performances, but I confess that almost every time Thaddeus Stvens spoke or pleased on-screen, I knew it was Tommy Lee Jones. Perhaps that is because I am more familiar with him than with the others, but his voice as Stevens sounded to me like his voice from Men in Black. I do not know why I heard it like that and I thought Stevens was a powerful character in the film and very believable, but for some reason I just heard Jones' voice whenever he spoke and even saw Jones' face, though the wig did look like what I had imagined it to be on Stevens' head. I just knew that was Tommy Lee Jones whenever Stevens was on camera, but did not get the same feeling for the other characters.
Here is one good version of Battle Cry of Freedom (not from the film) courtesy of YouTube. Perhaps I will try to find videos for a opulent mor of my favorite Civil War era songs and share them here too.


text:
Wheel Rims Being Sold on the Internet Lead to the Arrest to the Suspects Reports Staten Island Criminal Lawyers
When suspects name themselves, you can guarantee they have reached a level of arrogance that resulted in their arrest. In this case, Staten Island Criminal Lawyers found a group of five men calling themselves the "Rim Reapers". The suspects were stripping automobiles parked in various driveways and auto dealerships. But they weren't stopping with this; the suspects then took the rims and attempted to sell them on the Internet. Staten Island Criminal Lawyers will find that the operation was simple, a customer would make a request for wheels for a Mercedes and boom, and the rims would appear. The ring is said to be one of the largest rings that deal with stolen wheel rims.
The suspects in this crime had a ringleader who was only 24 and he was charged with second-degree assault as the result of an incident in January when the suspect injured an officer after being stopped. The suspect fled the scene but his luck soon ran out. There were four others charged in the crimes will need to call a New York Criminal Lawyer as well.
Prosecutor said the ring was specifically targeting Cadillac Escalades and Nissan Maximas. The cars would be stripped and left on concrete blocks for the owners to find later. And, these suspects were extremely brave in that the crimes were often muti-faceted. Often times they would remove cards at a dealership ad then steal a van from a nearby home. Then the suspects would remove the back seats of the van and use the van to transport stolen goods. New York Criminal Lawyers agree that this was a rather sophisticated group of criminals.
The firm of Stephen Bilkis & Associates and its New York Criminal Lawyers and convenient locations in the New York Area including New Lots, NY can be very helpful to you if you find yourself involved in a criminal prosecution. Facing charges without a New York Criminal Lawyer is a losing option.


Woven heads on electronics are not new either. Back in 1976, Pollard introduced the Syndrum which had a woven Kevlar head (like a marching head) on its small drums pads. The reason they used it was because of its stiffness and long life (more of this later). But this is not what we came here to talk about.
In the world ofacousticdrum heads, we all know that similar heads from different manufacturers are not the same. A Remo Emperor sounds and feels different to an Evans G2. An Aquarian Texture Coated sounds and feels different to a coated Remo Ambassador. This is partly due to the manufacturing process, but more due to the types of film used, the thickness, and the manufacturing quality (a head where the plies lay perfectly flat against each other sounds different to one where the plies don't lay perfectly flat).
In the same way, we know that a Remo Ambassador feels different to a Remo Silentstroke. An Ambassador is made of a single film of Mylar (a trade name of DuPont), which is a type of polyester film and is designed to be loud. The Silentstroke is a mesh head which is made from strands of nylon woven together at 90 degrees to make the mesh and is designed to be quiet.
Why doesn't a mesh head feel like a normal head?
This is all perfectly factual stuff, but have you ever considered why a mesh head doesn't feel like a polyester head? Its all to do with how the two materials stretch or not. A Mylar head stretches pretty evenly – push down in the centre of a Mylar head with your finger and you'll see a fairly even dip from the edge to the centre, with just a hint of a slight crater under your finger tip. Do the same with a mesh head and you'll see a much bigger crater under your finger.
This is because the polyester of the Ambassador is one piece and it stretches pretty much uniformly. With the mesh, because the strands of nylon are not joined or glued at each point where they touch, the strands roll over each other and even out any tension put on them. Which ever point is under most tension (where your finger is pressing or where the stick hits it) has the deepest crater, but as the tension moves away from the pressure point, the tension is released by the strands moving over each other and the head returns to (almost) its normal position.
This different way of stretching also explains why a mesh head feels more 'bouncy'. The movement of the strands means that the tension is focussed on a very small area (where the stick hits) which is why a mesh head feels like it has more 'energy' – a trampoline if you will.
So thats why Mylar and mesh feel different. What about how different mesh heads feel?
The first thing to point out is that all mesh heads are not the same. A single ply mesh head from one company will feel different to another manufacturers as the nylon (or whatever material they decide to use) will be different. The amount of stretch in a head will ultimately affect its triggering properties too. A stretchier head will trigger better than a less stretchy head.
If you want proof of this, set up a trigger on a standard Ambassador weight head. Then put the same trigger onto a drum with an Aramid, Kevlar or other 'hi tension' woven marching head without adjusting the trigger settings. You'll find you'll get very little trigger signal out of the drum with the marching head on. This is because the Kevlar/Aramid head doesn't stretch like Mylar so the vibrations don't travel across the head so well. It is very 'stiff'.
And then heres another thing that is worth remembering. The more layers you add on to a mesh head, the more damped it is and the vibrations don't travel so easily. For this reason, a single ply mesh head (such as a Silentstroke) will give you a muchbetter triggering result than an expensive three ply mesh head, but at the same time, will feel less realistic. Conversely, a three ply mesh head will feel muchmore realistic, but will be much worse at triggering (especially noticeable in the ghost notes).
You also have to factor in the tension of the mesh head. The more you tension a mesh head, the greater the friction between the strands of the mesh so the more stiff it feels. To get the best from a mesh head, you need to crank it up much higher than a Mylar head to give a similar performance.
Blimey! Its complicated all this isn't it?
One trick to borrow if you don't like the feel of mesh heads on snares and toms is to cut some upholstery foam to size so you can wrap it around the inside of the shell. This has the effect of damping the vibrations and can improve the feel considerably. This was done on the original ddrum4 mesh pads (which work very well with just about all modules btw).
If you are using a mesh head on a bass drum, the feel of an undamped mesh head feels pretty horrible on a pedal. To get around this, half fill the bass drum with pillows up to a point just below the beater impact point. This gives a much more solid and positive feel. Dont fill it over the beater impact point or you will start to reduce the trigger sensitivity.
On the subject of bass drums, never use a felt bass drum beater on a mesh head. The rough texture of the felt with rub away at the nylon and will cause it to fail in no time at all. Instead, use plastic or wood, but make sure they are as smooth as possible to avoid unnecessary friction.
Using your electronic kit live?


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