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Еусебіо Янку Діакону (;  , Бакеу, повіт Бакеу) — румунський і угорський борець греко-римського стилю, триразовий бронзовий призер чемпіонатів світу, чемпіон, срібний та бронзовий призер чемпіонатів Європи, учасник двох Олімпійських ігор.

Життєпис

Боротьбою займається з 1992 року. Дворазовий срібний призер чемпіонатів світу серед юніорів (2000, 2001). Дворазовий бронзовий призер чемпіонатів Європи серед юніорів (1999, 2000). У 2011 році на декількох турнірах представляв збірну Угорщини.

Виступав за борцівський клуб «CCS» Бакеу. Тренер — Георге Мокану.

Спортивні результати на міжнародних змаганнях

Виступи на Олімпіадах

Виступи на Чемпіонатах світу

Виступи на Чемпіонатах Європи

Виступи на інших змаганнях

Виступи на змаганнях молодших вікових груп

Посилання

 Дос'є на сайті Міжнародної федерації боротьби
 http://www.sports-reference.com/olympics/athletes/di/eusebiu-diaconu-1.html

Уродженці Бакеу
Румунські борці греко-римського стилю
Угорські борці греко-римського стилю
Борці греко-римського стилю на літніх Олімпійських іграх 2004
Борці греко-римського стилю на літніх Олімпійських іграх 2008
Чемпіони Європи з греко-римської боротьби


When I was a kid, there was a store called Consumers Distributing. It was a catalogue store. I remember getting the catalogue every Spring and Fall and sifting through it, circling the items I wanted, or I wanted to buy. I would save money from my Birthday or Tooth Fairy to help buy these gifts. I remember buying my dad a 10K gold charm that said #1DAD, and my mom, a Sunbeam mixer. Don't know why I remember this so vividly, but I do.
I still love going through catalogues and flyers. Thursday nights are flyer night in my house and I love sitting on the floor and going through, page by page, and looking to see what's on sale or what's a featured item.
Sears is hosting an amazing contest called the Sears Wishes of Joy Contest. Share your wish list to win! Plus, there are many more opportunities to win up to $10,000 in prizes. To enter the contest: click here!
The Sears Wishes of Joy contest closes December 15, so don't delay!
The Sears Toy Book is also available online.
Are you a catalogue/flyer shopper?
Disclosure: I am part of the Sears Mom Ambassador program with Mom Central Canada and I receive special perks as part of my affiliation with this group. The opinions on this blog are my own.


You have seen your father-in-law T. Krishnamacharya, one of the most revered Yogacaryas of our time, cure and help people. What were some of the most fascinating cases that you have seen yoga therapy cure?
I remember one incident that happened soon after i had married and moved in. One of Sri Krishnamacharya's students suffered from a paralytic attack. He could not move at all, he could not talk, he was bedridden. I remember that they had to bring him in a car and the man could not get out of the car. Even though my father-in-law was already in his 80s, he instantly came down (we lived upstairs) and taught and treated that student in the car itself, moving his body into certain postures. Eventually through his guidance and care, the person was able to walk again with a stick and talk. He would then come to class with a stick and soon after he completely healed. This person is now in his 80s and still able to walk.
What was special about Krishnamacharya as a healer and yoga therapist?
It is easier expressed by another example. One of the daughter's of a student had severe breathing problems. I saw her myself, she was literally gasping for air. Krishnamacharya took her pulse and he gave her an Ayurvedic medication that he had mixed himself. Within five minutes she was able to breathe freely. I saw how her breathing changed. It was extraordinary. He was extremely knowledgeable. Afterwards she had no breathing problems anymore.
What was special about your own husband, TKV Desikachar, as a healer?
He was so precise in his pulse reading, which is an integral part of yoga therapy. One time a woman came and claimed that she was pregnant because she felt something in her belly. He took her pulse and then said: "Something is wrong, please check with a doctor." She went and it turned out that she wasnt pregnant, but instead there was a cyst growing. So the pulse can indicate if someone is pregnant or not. In the same way he could tell from the pulse if someone had diabetes or a history of hepatitis. He was remarkable in pulse reading and he could tell so much about people's sicknesses by it.
It takes a lot of experience to become so accurate. He would also read his own pulse also a lot, before and after his practice for example. He would also be able to help people that doctors had given up. One boy came with a severely deformed back. One shoulder was up and the other down. He gave him some asanas (postures) and the back profile changed in due course. Another student had an injury with her scooter and one of her knees was so damaged that the doctors said she needs to operate it. Instead my husband gave her asanas, in the beginning it was painful for her and the practices hurt. It took one year but then the knee was good again.
What makes up a good yoga therapist and teacher?
The most important thing is patience and compassion. And faith in what you are doing.
And you shouldn't get impulsive when you offer care. You should have empathy. And you should be very honest. When people look at you they should be able to give you respect and put faith in you.
And in therapy it is important not to project your ideas on students, but listen to them, analyze and perceive them in a neutral way. Listening is so important. By listening we are already healing people, because many people don't have the chance to freely express themselves these days, so listening has become even more important for healing.
You were there when the Krishnamacharya Yoga Mandiram, the world's first yoga clinic, was founded. Have the sicknesses of people changed in the last 40 years?
These days definitely more people come because of stress. Whether it is tension in their home, or in the office, or whether they are worried if their children get good education. So the people come because of back pain, diabetes, infertility, obesity, depression or neck problems, but the root cause is often stress. And of course a different lifestyle, all the cell phones and computer. And most people dont move at all anymore, they have sedentary jobs. So that has changed drastically. 40 years ago, people were not so stressed, life was more relaxed.
What is for you the most effective tool of yoga therapy?
Sound, and by sound i mean not just chanting. Not every student is open for chanting even though it is a really transformative tool. But we always have to respect what people are open to and we have to work with what works for them. And small sounds can already make a huge difference, even in changing breathing patterns. You could include small sounds like "Ha" or "Ma" into their asana practice for example to work on their exhalations. But you have to find something that resonates with them.
Why is sound so efficient?
Even when we look at it only physically, in order to produce certain sounds you need to aspirate and you also need to use the nose or the throat, etc. So sound engages different parts of our body. If I want to produce a sound with what we call Maha Prana it will cause a contraction of the stomach and thus also works on the internal organs. It is known to reduce weight and even regulate the menstruation of women. One woman had a problem with her menstrual cycles ever since she got it in puberty. She learned chanting and after having chanted regularly for two years her period became well regulated.
And as a tool for therapy, especially when we talk about stress, chanting or sound can relax people immensly. It can be a great helper against sleeplessness.
I have also worked with mentally retarded children and have seen a lot of positive effects with chanting. Problems like drooling or stuttering can be reduced. Some of the friction sounds like "Hram" for example can help them so much.
Also according to Samkhya and Yoga philosophy, the vibrations created by sound influence the subtle elements that constitute our human body. Thus using sound can facilitate transformation from within.
Overall I would say your health gets better through chanting. But again, it depends always on the openness and interest of the student, how much they have faith in this tool. In yoga faith is an important factor and having faith in the practice is a necessity.
I do Poojas for Hanuman, Narayana and Laksmi. Om Srim Sriyai Namah, Om Namo Narayana, Om Anjaneya Namah are therefore my most important mantras. But such a mantra has to be chosen individually. See, my husband chose the Hanuman Mantra for me, because I was a very timid person. Hanuman stands for courage and bravery, so my husband gave me that mantra. I have chanted this mantra now for the past 35 years. After 4 or 5 years I think something was changing. You have to ask other people, they might have a more neutral view about that. But one day my husband told me that I had been like a cat, and that through the mantra I had become a tigress.
How important is spirituality in healing?
Many of the people who come nowadays for therapy are not really interested in spirituality. They just want their sickness or pain to go away and dont search for a spiritual path. But of course if they believe in a higher source, it can support their healing process so much. For example when you think of people with mentally retarded children. God or a higher source can give great strength when you have to deal with such a child. Also I have seen that when everything goes beyond our control, people find back to god. Often they don't realize the reality in that. But sometimes sickness or problems bring us closer to God.
What is for you the most important text for Yoga and Therapy?
For me the Yogasutra and the Bhagavad Gita. The Bhagavad Gita is very spiritual yet practical. The Yogasutra is also practical, but also good for the intellect. We need to put that into practice what we read in these teachings. This is the most important thing.
How much did the yogis of the past also know about Ayurveda, astrology and other healing devices from the Vedas?
For the people I have experienced, they had great knowledge also in Ayurveda and Astrology. My mother-in-law used to prepare the Ayurvedic recipes for my father-in-law in our kitchen. So before he started buying them in Ayurvedic pharmacies, he knew exactly how to prepare them by himself. And astrology is an important part of our culture, for some people certain days are very important and we need to respect that.
What has changed from the attitude of Yogis in the past and nowadays?
It is very difficult to generalize. But Sri Krishnamacharya and my husband really wanted to help people. They really served society. They didn't expect anything from anybody in return. They were very selfless, and they were teaching and treating people in hospitals and at home. My father in law, he was already 80 and he helped whenever he was needed.
And I remember that one time one of my husband's students had cancer and she was about to die and she asked him to come. So he went to the USA to see her and he spent his own money to fly there. Within the same week the woman died. Nowadays who would spend his own money to go and fly to a student to support them in their passing? These two people really served to help people. Today these kind of people are rare.
What is it that most people dont understand about Yoga nowadays?
Everywhere you find a yoga school, people are aware of Yoga nowadays but how far has it changed and how much do they really understand? I dont know. Some people think it is only a physical practice. And some say it is only a mental practice. But there is always a part that is beyond that. After the physical and mental, yoga reaches beyond. So people nowadays often get stuck. And then there is another extreme that thinks only sannyasins can do yoga.
One wisdom that you have learnt from your teacher that has accompanied you through your work and life?
If you have really learnt yoga well it should change you. You have to try to apply a little bit of it in your life and try to become a bit better than you were yesterday. It should make you a better person. It might be difficult, but we can try our best. It will take a long time and many births.
Do you have a favorite story from the Vedas?
My father-in-law used to tell me, God is always inside you, so you do not have to go to the temple to find him there. I liked that very much. He also told a story to accompany that idea. Long, long back God was moving like us in this world. But because people knew he was God, they used to chase him everywhere. And even though he was providing everything, they were so greedy, they only asked "give me this", "give me that". So he got fed up and he said I have to hide myself from these people, so that they don't find me. So he went inside the heart of each one. And only those, who dont look for more outside, but start looking for God within, will find him.
Why do some people lose their ways even though they have practiced Yoga for a long time?
If Yoga has not changed them and is not changing them, their practice is superficial. Yoga has to transform old samskaras (patterns and habits) into new samskaras (patterns and habits). If we look at the different layers of the human being according to Yoga philosophy, the practice has not reached their vijnanamaya (layer of personality). It has not gone there or beyond, it has only reached their mental layer, the manomaya.
You are still teaching Yoga and giving Yoga therapy sessions. What is your favorite part about therapy or teaching?
When I teach or do therapy and people have become better through their own practice then I feel happy because I have done justice to my work and have been able to support them.
Menaka Desikachar is one of the most renown yoga teachers around the world and has been practicing Yoga and Vedic Chanting for over four decades. She is one of the senior students in the lineage of T. Krishnamacharya and TKV Desikachar and an authority in the field of Vedic Chanting. Her husband TKV Desikachar has founded the first yoga therapy clinic in India in 1976 and Menaka has conducted numerous yoga therapy sessions ever since. In 2012 she has cofounded the Sannidhi of Krishnamacharya Yoga in Chennai (www.sky-yoga.net), an organization that strives to pass on the authentic teachings of Yoga in the tradition of T. Krishnamcharya and TKV Desikachar. SKY Yoga offers Yoga Therapy sessions and training programs as well as chanting seminars and training programs in India and throughout the world (please also visit our Vision section for more information on upcoming chances to study with Menaka).


It's happening! Edmunds confirms Kia will make a production version of the GT concept, a vehicle Kia calls "the thinking person's muscle car". The 4-door fastback which debuted at the Frankfurt Auto Show in 2011, is expected to keep its sporty silhouette but lose the suicide doors. Look for the GT at Butler Kia sometime in 2016.
For more on the production Kia GT click here.
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redpajama_set_name: RedPajamaGithub


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Audiobook Review – Easy Magic by Kristen Proby
Easy Magic (Boudreaux #5) by Kristen Proby
Narrated by Rachel Fulginiti and Zachary Webber
Stands Alone Easily. 5th in an interrelated series. Contemporary Romance with Paranormal Elements.
Now I understand why everyone raves about Kristen Proby! As a rule, I don't start series in the middle, but I was told that Easy Magic by Kristen Proby stood completely alone, and I wanted to read Kristen Proby, so I grabbed it. Easy Magic is the 5th in the Boudreaux series, but if I didn't know that, I don't think I would have ever realized it. If you have read the previous four in the NOLA based series though, you'll be pleased to know there are a few lovely family gatherings where you will visit with what I assume are couples from previous books in the series.
I have to start this review by saying I loved everything about the Easy Magic audiobook, from the story to the romance to the accents that narrators used, I loved it all. My favorite thing about it though, is that it's a contemporary romance with strong paranormal/psychic elements, but I don't think it's enough to call it a totally paranormal book, nor do I think it will turn off traditional romance readers who have never touched paranormal. In fact, I think it may open those people up to a whole new world of books. New Orleans has always been known as a hotbed of magical, psychic and ghostly activity, so I don't think it's too much of a stretch to find this in a NOLA based series, and to me, it was a refreshing and welcome change from the same old stories.
Mallory Adams is the granddaughter of a powerful and well-known psychic who often helped police find missing children. She was raised by the psychic, and when Mallory realized that those psychic abilities are also what killed her grandmother, she locked down her own abilities as much as possible and refused to have anything to do with them. But it's not something easily turned off. While Mallory can't find living people, she can communicate with the dead, and whenever she touches anyone she can read their mind and emotions. She therefore hates being touched; but Beau Boudreaux is the first man she can't read when she touches.
Mallory owns a shop that sells essential oils and natural cures. She rents the shop from Beau, who lives in the loft above while his home is being built. When Mallory is woken in the middle of the night by a dream that her store was flooding, she races to her shop, and sure enough, three inches of water cover the floor. So she has to wake up her hot landlord.
"I've met the man exactly twice, including right now, but what he does to my libido is ridiculous."
Beau is a no-nonsense, workaholic kind of guy. He is also very observant, especially of Mallory. He notices everything about her. He notices she doesn't like to be touched by other people, but doesn't know why. But believe me, he plans on finding out that and a lot more from Mallory.
"Well, don't get me wrong, every woman wants to be told she's pretty."
"I didn't say pretty," I reply and lean in, resting my elbows on her desk. "'Pretty' is too dull of a word to describe you."
I loved that the characters were mature, and even though the relationship developed quickly, it didn't seem like instalove, more like they were old enough, smart enough and experienced enough to know that the connection they share was unique and special.
"I'm savoring this," I whisper and kiss her collarbone. "I'll only ever get to see you naked for the first time once. I don't want to rush it."
The sex was totally hot, and I loved how she was not some virgin who was scared 'it wouldn't fit', nor did she second guess the lust she felt for this man.
"I'm going to take you back to your place this evening, strip you naked, and tie your hands with this scarf. Then I'm going to fuck you blind."
I loved that there was some danger and excitement and a little bit of angst to keep you listening or turning pages. Seriously, I think Easy Magic was a great ride.
Excellent pacing.
Stands alone perfectly well.
I loved the paranormal aspect, even though I would still call it a contemporary romance since the rest of the series doesn't have this.
I loved all the side characters and now I'd like to read all of their stories.
The hero and heroine were mature adults who knew what they wanted.
I loved Beau so much.
Hot and sexy times.
Mallory was mature and I loved her snark and her abilities.
I wish it were a bit longer, I loved it so much, I didn't want it to end. At 6.5 hours, it is a bit shorter than many of the audiobooks I listen to.
Narration:
This is the first book I have listened to that was narrated by Rachel Fulginiti. She had a very strong Southern accent, and though I usually hate fake accents, I honestly have no clue if this was fake or real, and I thought she did a great job. Zachary Webber, as always was great, and the slight NOLA accent he used really worked, though since both characters grew up the same area, you would think they both would have a similar accent. But that's OK, it worked fine. I loved the fact that her voice was a little more mature than some I have listened to recently.
The Down & Dirty:
Easy Magic may be the fifth in a series, but don't let that sway you. I never felt lost in any way for not having read the first four, and I usually never start series in the middle. While this is very much a romance, Mallory's psychic abilities drive the whole story, making this as much a paranormal book as a contemporary, but don't let that scare you if you are not a fan of paranormal. It doesn't seem as far-fetched as most paranormal books, and it made for an interesting and unique storyline filled with romance, sex, danger, fun, love, family and friendship. I'm totally hooked and now I need to read Ben and Van's upcoming story.
Rating: 4.5-5 stars, 4.25 Heat, 4.5 Narration
I pull my phone out of my pocket to call Beau Boudreaux, who also happens to be my landlord.
Of course, there is no answer.
The man lives upstairs, directly above this shop. Can't he hear the water? Does he sleep like the dead?
Or maybe he's not home.
I frown and open my mind, searching the building.
He's home. I can feel his presence.
And he might be naked.
I immediately slam the psychic door shut and walk outside, up the wrought iron steps to his loft, and bang on the door.
"Wake up," I mutter. "And put some pants on."
I raise my hand to bang again, but the door is flung open and there's Beau, rubbing sleep from his eyes, a frown on his handsome face.
He's pulled some sweatpants on.
"What's going on?" he demands.
"I have a leak," I reply and swallow hard, willing myself to keep my eyes on his face, and not the sculpted muscles of his torso. I've met the man exactly twice, including right now, but what he does to my libido is ridiculous.
I'd forgotten that I have a libido.
Which is a sad statement all on its own.
"You had to wake me up at four-thirty for a leak?"
"I have three inches of water on my floor," I reply and turn to stomp down the stairs. "Come look!"
I don't look back as I wade back into my store. A few moments later, I hear Beau come clomping down the steps and look back as he fills the doorway with his wide shoulders. He's tall, pushing six-and-a-half feet. His hair is dark, and his eyes are like old whiskey.
Those whiskey eyes survey the space, frowning when he sees the amount of water on the floor.
"Do you know where it's coming from?"
"The bathroom," I reply and lead him to it.
"The fucking ceiling fan?" He exclaims and shakes his head. "I was expecting the toilet to be overflowing. Old plumbing is unpredictable."
"I was expecting the same, but here we are," I say and cross my arms over my chest. He glances back at me, and his eyes drop to my cleavage for just an instant before he looks me in the eye.
I don't uncross my arms.
"I'm going to shut off the water to the building."
He rushes back outside and a few moments later, the water slows to a small trickle, and then fast drops.
He comes back inside and looks up. "Must be a broken pipe."
"Are you a plumber as well as a billionaire mogul?" I ask, unable to resist.
His lips twitch. "I'm good at a lot of things."
Oh, I just bet you are.
Purchase Easy Magic by Kristen Proby
New York Times and USA Today Bestselling author Kristen Proby is the author of the bestselling With Me In Seattle and Love Under the Big Sky series. She has a passion for a good love story and strong, humorous characters with a strong sense of loyalty and family. Her men are the alpha type; fiercely protective and a bit bossy, and her ladies are fun, strong, and not afraid to stand up for themselves.
Kristen lives in Montana, where she enjoys coffee, chocolate and sunshine. And naps.
Website | Facebook | Twitter | Newsletter Sign Up
Author Goodreads| Amazon Author Page
4-5 Heat H's, 4-5 stars, 4.75 Stars, audiobook, Audiobook 4.75 Stars, Giveaways, Kristen Proby, Paranormal Romance, Reviews 16
Kim Perry says
I have been to New Orleans. It would be interesting to have a book set in Mackinaw Island/Mackinaw City area.
Karen Gagnon says
I was in New Orleans long before Katrina and loved it! I would think a series set in San Diego, California would be great because of it's old world charm and perfect weather. =D
Loraine Oliver says
I have never been would love to go to New Orleans however! Thanks for giveaway!
lea says
No, I`ve never been there before. I don`t really care which city the book is set in 🙂
Tonya Coleman says
I have never been to New Orleans, it is on my list though! I am always a sucker for stories set in Paris or London.
Jenn Donald says
I have never been to New Orleans but it's a city I've always wanted to visit – especially for the food!
Irma says
I have never been to New Orleans, somehow I've always wanted to go to Amsterdam.
Jo-Ann Forrest says
I have been to New Orleans twice and I haven't seen enough or read enough about it
Sue Dupere LeBlanc says
I have never been but someday I would love too. I love reading books based in the Boston area as that's where I was born and lived most of my life. It just makes it fun to see if I recognize any of the places they talk about.
Maria Dalmau says
I have always wanted to visit New Orleans but have not as yet.
Thank you for the opportunity ♡
Mary McCoy says
I visited NOLA before Katrina, I would love to see a story set in Milwaukee, WI.
Michelle Koebel says
I have never been to New Orleans. I would love to see a book series based in Omaha. I know it seems odd but a midwestern city has a lot to offer in terms of diversity and things to do for entertainment.
Kellymae Helfrich says
I have never been to New Orleans. Maybe a story in San Diego
ANA JAEN says
Thanks for giveaway!
Tami Czenkus says
I've never been to New Orleans. Would love to one day. I enjoy stories in the mountains.
Angel says
Never been to New Orleans, would love to visit

redpajama_set_name: RedPajamaCommonCrawl


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Tag: winter ghosts
Corner of the eye … something is coming …
August 2, 2018 August 2, 2018 fertilitycult
What is this? … what is coming? …
Coming very soon from Wyrd Harvest Press … 21st Century Ghost Stories
An impressive anthology of new haunted fiction from a variety of award winning and upcoming writers. Edited by author Paul Guernsey and illustrated throughout by Andy Paciorek.
Available from 7th August 2018 …
Posted in Uncategorized, WritingTagged 21st Century Ghost Stories, andy paciorek, art, books, Folk Horror, haunting, paul guernsey, winter ghosts, Wyrd Harvest Press
Holy Terrors: Film Review
January 19, 2018 January 20, 2018 fertilitycult
In August 2017 via the pages of Fortean Times Magazine I first heard of the film Holy Terrors created by Mark Goodall and Julian Butler much to my delight and anxiety. Not only was it a movie featuring 6 weird tales of Arthur Machen but it was made in Whitby! Machen and Whitby – two things I cherish very dearly so I was very eager to see this film but also worried that it might be awful. (Those worries were happily unnecessary.)
Also at the time we at Folk Horror Revival were organising the Winter Ghosts event for the following December in Whitby. I mentioned to our Events Manager, Darren Charles how the film could've been a good addition to our bill if it were not already fully booked. Then much to my surprise and delight, I received an email from the film director Mark Goodall, who had heard about our event and was wondering if we would like to screen Holy Terrors there. Would we?? Is a bear Catholic? Does the pope … Yes! We were interested!
Some jiggling around of schedule and the film was added to the bill and was indeed an atmospheric and beautiful end-piece to the event.
Before discussing the film further, just a short resume of Arthur Machen, for although his light is belatedly beginning to shine brighter, outside of certain horror fiction circles, he is still something of an unknown quantity to many folk.
Born in Wales in 1863, Machen's career in weird fiction blossomed out of the Symbolist and Aesthetic fin de siècle of the 1890's. Like a number of other artists and writers of the era, Machen's work was a curious brew of spirituality and decadence. Blending paganism and Christianity both in his work and in his own personal mysticism, born the son of an Anglican minister he was a member of the Hermetic Order of the Golden Dawn, but did not renounce his Christian faith. He therefore, in a sense, has an air of the notion of Celtic or Insular Christianity, whereby it has been suggested that some of the earliest priests of the Celtic Church were possibly former druids some of whom preferred to preach in the outside cathedral of nature than within a church; and that numerous acolytes of which were ascetic hermits that lived in remote quiet places. Oddly enough it is often claimed that the Synod of Whitby marked the official end of the Celtic Church. (The Synod of Whitby (664 A.D.) was a Northumbrian synod where King Oswiu of Northumbria ruled that his kingdom would calculate Easter and observe the monastic tonsure according to the customs of Rome, rather than the customs practised by Irish monks at Iona and its satellite institutions. The synod was summoned at Hilda's double monastery of Streonshalh (Streanæshalch), later called Whitby Abbey.)
Machen was one of the early masters of weird fiction, particularly a faction of which, with his own use of folklore (notably the use of fairies not in their tiny twee Disneyfied forms but as the strange human sized people of old lore) and spirit of place, may now frequently be referred to as Folk Horror.
Those who cite Machen as an inspiration or to express enthusiasm for his work include figures as diverse as the writers H.P. Lovecraft, Jorge Luis Borges, Stephen King, Ramsay Campbell, Alan Moore, Iain Sinclair and Sir John Betjeman through to musicians such as Mark E. Smith, Belbury Poly and Current 93. Notorious occultist Aleister Crowley was a fan of Machen's work but reputedly it was far from being reciprocated, with Machen having a personal dislike for the man.
So how would Machen's subtle strange tales translate to screen?
Holy Terrors slowly fades in to scenes of an empty shore and a desolate man. The hauntological soundscape of composer David Chatton Barker (Folklore Tapes) leads us to the body of a man beneath a bridge. Thus opens 'A Cosy Room' the first of the 6-weird tales of Arthur Machen. (Indeed, I can vouch it is a cosy room and one not devoid of otherly presence either as I recognised it straight away as a room that I myself have spent several nights in. In fact, after viewing Holy Terrors for the first time at Winter Ghosts, it was the room that I would return to sleep in that very night. The filming location for this segment was The Stoker Room of the cool and quirky hotel La Rosa in Whitby's East Terrace. Overlooking a great view of Whitby Abbey and the harbour, the wonderful building-sized cabinet of curiosities that is La Rosa hotel has a plaque outside marking it as a place that author Charles Dodgson, aka Lewis Carroll of Wonderland fame amongst other things, stayed at several times. The Angel Hotel in New Quay Road is also suitably plaque-bearing as a residence where Machen stayed.)
The opening wordless narrative shot in atmospheric black and white marked in me the feeling that I was really going to like this film, but also mark it as a film that would not appeal to viewers who only like their horror visceral, fast and with a simple plot and conclusion. Like the tales of Machen, this film adaptation is steady, subtle, atmospheric and most often strange rather than horrific. Some of the tales do not build up to a definite explanation and conclusion but remain more as captures of a strange moment or sequence, rather like many reported real life anomalous experiences.
So, it is safe to say from the outset I could see that Holy Terrors will not be to all tastes but is deliciously to mine.
We are then invited to taste The White Powder of the second tale. This is one of the Machen stories to have a more typical sense of narrative in that it follows an event to a solid culmination. It is a tale of both dread and decadence and has both the air of M.R. James 'The Ash Tree and Kafka's Metamorphosis but still remains essentially a Machen tale.
(an amusing synchronicity with the screening at Winter Ghosts was that the imbiber of the said White Powder of the film develops an odd black spot on his hand as an early symptom that something is amiss. The black spot very much resembled the black spot on the audience members' hands that bore the blurred remains of the mark of the Folk Horror Revival sun symbol hand-stamp.)
The White Powder is a solidly told tale and it really brings forth the power of Goodall's film-making. Relying strongly on an audio narration that bonds Machen completely with these new dreaming of his creations, the character that is etched within the faces, particularly the eyes of the actors in this film is a strong motif, that in its use becomes somewhat hypnotic. Another film-making skill that Goodall employs to great effect is making Whitby timeless; the use of soft focus, careful framing and light bleached backgrounds removes any trappings of modern life such as shopfront banners and so forth.
Crowhurst, R.; The Angel of Mons, c.1914; National Army Museum; http://www.artuk.org/artworks/the-angel-of-mons-c-1914-182603
The third tale is one of Machen's most famous, not because it is his best work or most identifiable of his style but because it has been noted as being the possible origin of the Angels of Mons legend. At the Battle of Mons on the French borders in 1914, it was claimed and published in the British Spiritualist magazine in 1915, that British soldiers were protected in battle by a host of Heavenly angels. However, in 1914 The Evening News newspaper had published Machen's story The Bowmen, in which a battalion headed by Saint George intervenes in a conflict between World War I British and German forces.
Out of all the stories within the Holy Terrors film The Bowmen could have been the most problematic for a low budget production. By the effective use of old newsreels of wartime footage, Goodall skillfully conquers this problem and overall the artistry of the entire film does not give the slightest impression at all that it is not studio funded. The photography, editing and production is on the contrary not only skillful but beautiful.
The fourth segment of the portmanteau initiates us into the Ritual. It is however not a ritual of hooded or sky-clad figures in the depths of a wood or desecrated church but that of a playground game of schoolchildren. The simplicity of this has a deeply unsettling nature and again the actors of Holy Terrors deserve applause. To act without words uttered needs to tread a line between expression, subtlety and communicative skill lest it become exaggerated like a mime performance. Again, we find great casting is at work here, for the children have a look to them that would not see their faces out of place in antique Victorian or Edwardian photography.
The next tale, The Happy Children remains with the theme of strange youths. Unlike those in Ritual, there is a question arises as to whether these children are alive or even of human nature – a Celtic belief about Fairies is that they are spirits of the dead and the Happy Children indeed have an otherworldly sense to them. This segment again effectively uses the townscape of Whitby as a strange and beautiful filming location, and with good cause for this tale is set in Whitby. It is renamed Banwick but the tale is undeniably inspired by Machen's visit to Whitby on a journalistic task to report on the town's Jet industry. The story reveals Machen's mystical sensitivity both of place and to the horrors of war. Whitby and other towns on the North Eastern English coast had been subject to wartime attack by the Germans and Machen's reference also to the biblical slaughter of the innocents undertaken by Herod in his efforts to eliminate the infant messiah.
A phrase within the story describing Whitby as The Town of Magical Dream is a perfect description (it also is aptly used by Carolyn Waudby for her excellent essay on Whitby). The night after Winter Ghosts I walked Whitby's streets and the pier and the 199 steps to Saint Mary's Church and the Abbey, and it was not mere suggestion but there was a palpable otherness to the coastal town darkened save for the twinkling of Christmas lights. There was a definite presence, not unwelcoming for the most part save for the pool behind the abbey where I felt that I was not meant to proceed further so I didn't and for a strange unsettling sensation in the Screaming Tunnel of the Khyber Pass. I know that I am far from being the only one to sense something strange in Whitby's thin sea fretted air – Machen sensed the liminality as did Bram Stoker and Mark Goodall captures it in Holy Terrors as do Michael Smith and Maxy Neil Bianco in their atmospheric and poetic short film ~ Stranger on the Shore: Hounds of Whitby.
Francis Frith: The Peart family. Whitby 1891
Holy Terrors concludes with Midsummer and for the first time, the effective ambient monochrome palette is replaced with colour; but this is the colour of hand-tinted antique photographs, the faded pastels of half-remembered dreams and half-forgotten memories. It is a fitting place to leave the darkness and step into the light, but minding always that they are integral to and part of each other.
And on this note we will depart this house of souls, with the conclusion that whilst Holy Terrors may not suit the constitution of all, it is a film that has found its way under my skin and into my head and heart and for it its understated beauty and mesmeric invocations, it is something I feel that has touched me deeply. When I first read about this film with my mingled feelings of trepidation and tantalisation, I happily know now that I had nothing to worry about but happily a fair bit perhaps to fear.
Holy Terrors DVD available here
Holy Terrors book available here
Review by Andy Paciorek
Posted in Film Reviews, WritingTagged art, arthur machen, Blog, books, DVD, fiction, filmreview, folklore tapes, holy terrors, julian butler, mark goodall, music, review, Reviews, tartarus press, Whitby, winter ghosts
Beyond the pale. into 2018
December 31, 2017 December 31, 2017 fertilitycult
There have been several notes of Thanks issued from the Folk Horror Revial Inner Sanctum over the last few days. I do not need to repeat all individual names but I do need to to echo again the great gratitude to those that made a great year for Folk Horror Revival. There has been difficulties along the way but also a lot of fun, talent, hard work and generosity that has really taken some of us from moments of despair into joy of the creation of something special and sincere. So again Thank You very much, you know who you are or should do.
The year culminated with Winter Ghosts and presented here is a poem written especially for the event by Erin Sorrey. Erin has been a great support to me through the year and FHR journey as well as being a talented element of the Revival itself . Much love, thanks and respect.
Myself (Andy Paciorek), Darren Charles and all the Folk Horror Revival cult wish you all a peaceful, pleasant, prosperous and a somewhat horrifically haunting 2018.
The dark sky meets the dark sea,
Guardians of eternity-
A mystic gateway.
From off the ocean, sweeps a spectral howl.
Spirits lost in fathoms and tides;
Are beckoned by the frosty shore.
Nostalgic for decades gone-
The past where they pained and played.
I hear echos in the waves which I cannot explain,
Drowning exclamations and whispers.
The cold nights lure me here;
Strolling aphotic, empty piers.
I raise my collar to the icy wind-
As the awakened dead, wander cliffs and sand.
Words and Image ~ Erin Sorrey
to walk upon the crystal dust
of frozen rain and tears
the ghosts of winter
still follow in my wake
of the tracks
of my fallen footsteps
a silence of echoes
a stirring of souls
that glitter like yule lights
in charnel grounds
and beneath cathedral peaks
shadows cast by lunar rays
and electric lanterns
and dissipate
like melting snowmen
into white noise
Words and image – Andy Paciorek
Posted in UncategorizedTagged andy paciorek, Blog, Erin Sorrey, glass coffin, new Year, poetry, winter ghosts
Hark – the last herald
A final reminder that the Hark: Alternative Yule Art Exhibition at the Stuart Duckett Design Store in Whitby runs until 2nd January 2018
Last chance to see this collective of great art in the beautiful coastal town of Whitby this season.
Features such talents as ~
Jeffrey Knopf
Julia Jeffrey – Stonemaiden Art
Marc Beattie
Decadent Drawing
Eolith Designs
Erin Sorrey – Glass Coffin
Charlotte Pettifer
Andy Paciorek
Maria Silmon
Drawing in Dark
John Chadwick
Angela Chalmers
Patricia Shaw
& more (apologies to those not named – rush to get this final hark posted)
artwork – Jeffrey Knopf
Julia Jeffrey
Stuart Duckett Design Store
Posted in UncategorizedTagged art, Blog, exhibition, Folk Horror, jeffrey knopf, Julia Jeffrey, stuart Duckett, Whitby, winter ghosts
Hark @ Whitby 2: Alternative Yule: Erin Sorrey & Andy Paciorek
Over the festive period, to be found at Stuart Duckett Design Store, Bar, Gallery and Record Lounge in Whitby, is a rather fine assemblage of dark seasonal art on exhibit. Over the next few days (Yuletide festivities withstanding) we will showcase some of the marvelous artists on show. But go see the work for yourself, they also do some damn fine coffee.
Erin Sorrey is a Canadian poet and artist. She attended The Ottawa School of Art, and works in a variety of medium.
She is inspired by the ocean, the ethereal shadows, the romance in the depraved, the beauty in the abyss, and her own lunacy.
More of her work can be seen at ~
Glass Coffin +
Velvet Razors
Andy Paciorek is a graphic artist, drawn mainly to the worlds of myth, folklore, symbolism, decadence, curiosa, anomaly, dark romanticism and otherworldly experience. He is fascinated both by the beautiful and the grotesque and the twilight threshold consciousness where these boundaries blur. The mist-gates, edges and liminal zones where nature borders supernature and daydreams and nightmares cross paths are of great inspiration.
Hark is on show at the Stuart Duckett Gallery until 2nd January 2018
Hark @ Whitby 1: Alternative Yule: Decadent Drawing & Eolith Designs
Posted in UncategorizedTagged andy paciorek, art, art exhibition, Blog, decadent drawing, Erin Sorrey, event, exhibition, glass coffin, photography, stuart Duckett, Whitby, winter ghosts
Over the festive period, to be found, at both Stuart Duckett Design Store, Bar, Gallery and Record Lounge and Rusty Shears in Whitby, is a rather fine assemblage of dark seasonal art on exhibit. Over the next few days (Yuletide festivities withstanding) we will showcase some of the marvelous artists on show. But go see the work for yourself, both venues do great coffee and Rusty Shears has gin & cakes and Stuart Duckett has vinyl and also a glam rock art exhibition on show too. ☺
Involved in both the curation and exhibiting her own damn fine fine art is Elaine Edmunds of Decadent Drawing
Decadent Drawing was started by Elaine and husband Laurence Mitchell in 2013.
Decadent Drawing bring an alternative approach to the experience of art. Formed at the beginning of 2013 partly as a response to the limitations of art education. They started with monthly themed life drawing sessions which quickly developed into multi-media events including music, film, drama, photography and creative writing but still with a focus on presenting opportunities to draw.
Since February 2015 they have been concentrating on larger events such as Whitby Krampus Run and the Dark Arts series of exhibitions.
Also exhibiting is Eolith Designs. Though perhaps most noted for sculptural work, Eoilth is exhibiting and selling 3d prints at Whitby this season.
Eolith: from the Greek eos, meaning dawn, and lithos, meaning stone.
Eolith Designs' sculptures take their inspiration from the dawn and dusk of civilisations; from real and imagined histories, and the world of myth and legend. Bringing together things that were, things that could have been, and things that may be …
Rusty Shears: 4 Silver St, Whitby YO21 3BU
Stuart Duckett Design Studio, Bar & Gallery: 1 Mulgrave Pl, Whitby YO21 3EU
Posted in EventsTagged alternative yule, art, art exhibition, Blog, cobweb mehers, decadent drawing, Elaine Edmunds, Hark, krampus run, rusty shears, stuart Duckett, Whitby, winter ghosts
Folk Horror Revival are delighted to round off the Winter Ghosts event with a double bill of eerie films with a Whitby connection.
Firstly we will be screening Michael J. Smith and Maxy Bianco's chillingly beautiful short film Stranger on the Shore.
"Stranger on the Shore is a new cycle of video-poems by Michael Smith and Maxy Neil Bianco, looking at the bohemian eccentricity of Hastings, the dockside desolation of the Thames Estuary, and the spooky enchantment of Whitby. The films feature an original soundtrack by Andrew Weatherall & Nina Walsh."
"It's different by the sea. A bit strange even. Just as the coast lies at the ends of England geographically, it's also at the edges of our society and the margins of our culture, a place of transgression, eccentricity, colour and romance. Stranger on the Shore is a cycle of video-poems exploring these liminal spaces; this film looks specifically at the spooky enchantment of Whitby, the most romantic evocation of the old idea that it's grim up North."
Following this, presented by director Mark Goodall will be the film-
Holy Terrors: A Collection of Weird Tales by Arthur Machen
Arthur Machen was a dark fiction writer who has been unfairly overlooked but who inspires fanaticism by those who know his work. Much more than just Britain's answer to HP Lovecraft, America's 20th century master of the macabre, Machen was the writer who constantly saw fantasy and horror in the everyday landscape of Victorian England.
Filmed in Whitby, Goodall's hauntingly atmospheric movie, finally brings to the screen some of the eerily beautiful tales of this great imaginative writer.
Posted in EventsTagged art, arthur machen, Blog, books, film, holy terrors, Live event, mark goodall, maxi bianco, michael j smith, movie, screening, short film, stranger on the shore, Whitby, winter ghosts
Folk Horror Revival are happy to announce that headlining the music sessions of Winter Ghosts will be Inkubus Sukkubus
Inkubus Sukkubus formed in the summer of 1989, when Candia Ridley and Tony McKormack met at college in Gloucestershire, studying graphic design and photography. They soon discovered they shared interests in witchcraft, magick and folklore, as well as similar tastes in music. The band went on to tour extensively, including Russia, USA, Australia, Mexico, Scandinavia and Europe, and have to date released 22 albums, their latest being 'Belas Knap: Tales of Witchcraft and Wonder, vol 2'.
Having grown up watching with delight, through barely parted fingers, British films such as Blood on Satan's Claw and The Wicker Man, folk horror has both shaped them as individuals as well as inspiring the music they create. They will be joined by like-minded friends to perform an acoustic set of some of their more dark folkloric songs for Winter Ghosts.
www.inkubussukkubus.com
Posted in EventsTagged Blog, Inkubus Sukkubus, Live event, live music, metropole ballroom, music, Whitby, winter ghosts


text:
By Elijah Siegler (A)theologies, Culture, Front Page February 24, 2016
Reality as Revelation: "Hail Caesar!" is the Coen Brothers' Most Religious Movie Yet
George Clooney plays the star of the film-within-a-film: "Hail Caesar! A Tale of the Christ"
Like many, I was more than a little excited about the opening of the new Coen Brothers film, Hail, Caesar!, about a day in the life of a 1950s Hollywood studio executive. As the editor of a new book on religion and the films of the Coens, I had some reason to believe Hail Caesar could be the Coens' most religious movie yet.
About two years ago, as they were doing publicity for Inside Llewyn Davis, the brothers let slip some information about their next film, to feature Ralph Fiennes, Scarlett Johansson, Channing Tatum, and several other big-name actors.
Even before the script was finalized, the Coens were speaking of Hail, Caesar! in religious terms. "It's about the movie business and life and religion and faith. Faith and the movie business," Ethan Coen told an interviewer.
In another interview, they promised that the film in development would answer big questions:
"'It's big,' says Ethan, grinning. 'We're interested in the big questions. And we don't (expletive) around with subtext. This one especially. Though their movies usually revel in the absurdity of life's predicaments, Ethan promises this film has answers. "It's not like our piddly A Serious Man." Chimes Joel, "That was a cop-out. We just totally chickened out on that one." "We hadn't grown up," says Ethan. "In that respect, OK, we have matured. We're ready to answer the big questions now."
I thought at the time that these statements might be part of the usual evasions or inside jokes by the famously puckish interview subjects, but then, last weekend, I finally saw the movie for myself.
Holy Christ, does it ever have a lot of religion in it.
I loved it and consider it one their best films, but the critical consensus saw it as a minor film, "a doodle in the Coen canon," "fairly amusing," and "disjointed and ramshackle"—and these were the positive reviews! A more negative critic called it "half baked and lazy."
But to me, Hail, Caesar! is both well-jointed and fully baked. From first frame to last, the theme of religion is treated with rigor and depth.
I think there are at least two reasons why most critics missed that.
First, Hail, Caesar! goes by fast. The Coens have always preferred to lay out the underlying themes of their movies using blink-and-you'll-miss-'em moments, often doubling as gags. This film is no exception. Early in the film, George Clooney as movie star Baird Whitlock is handed the daily script pages from the latest Capitol Pictures production, and he is told a word has been changed. Later in the film, Clooney is delivering a big speech in character and he stumbles over one word.
The word that has been switched out? "Passion." The word he forgets? "Faith."
Moments like this appear in most of their 17 films, but they go by so fast, that for years the debate was whether the Coens had any serious background or interest in religion at all. Certainly it was there in their movies—but was religion just one more element in their ironic postmodern mix of genre, American folklore, and popular culture? With their fourteenth and fifteenth films, one year apart, the Coens tipped their hand. Religion appeared everywhere in these two films. 2009's A Serious Man was both their most religious film and their most autobiographical. (They grew up in a semi-observant Jewish home.) A Serious Man did not just mine Judaism for cultural comedy (Yiddishisms, stereotypes), but engaged deeply with rabbinic traditions of hermeneutics, ethics, and folklore.
A year later, the Coens offered us True Grit, a remake of a John Wayne Western. Critics found it light and accessible, positively "un-Coen like," and the fact that the film was their biggest box office hit (perhaps in part because it featured Hollywood stars Jeff Bridges and Matt Damon) seemed to confirm its flimsy status. But several other critics (notably Stanley Fish and Armond White), perhaps more attuned to religious matters, noticed how central the Calvinist idea of God's grace featured in the movie's dialogue, soundtrack, and visual grammar.
After viewing these two films, it became possible—even necessary—to read back to the beginning of the Coens' filmography, and to see their films as "seriously" religious all along. Did we really miss the fact Blood Simple features Christian imagery (light, fish, stigmata) and an apocalyptic sermon on Christian radio; that the key to solving the puzzle-film Barton Fink may be the Bible; or that The Hudsucker Proxy wears its Buddhist influences on its sleeve? More importantly, could the Coens' increasingly impressive body of work actually be saying something consistent about the sacred, about morality and mythology?
Hail, Caesar! leaves no room for doubt.
Another reason most critics miss underlying religious themes: Hail, Caesar! is a comedy. Here we see the unacknowledged Protestant influence on modern ideas about religion: sincerity and seriousness are defining features of "real" religiosity—playfulness and humor may be used to mock religion, but they cannot be religious themselves.
Students of the academic study of religion will recognize the historical bias in this argument, but it is strong enough in our culture that most critics ignored the obvious religious themes in Hail, Caesar!. One who didn't was Alissa Wilkinson, the film critic for the evangelical magazine Christianity Today, who saw the film as a passion play and perceptively noted that the whole film was "structured like one of the most enduringly popular genres: the biblical epic, the "Greatest Story Ever Told," the archetypal tale of suffering and redemption."
Like Denys Arcand's 1989 film Jesus of Montreal, Hail, Caesar!'s main character has a job that involves creating a Jesus story within the film's reality, while serving as a Jesus figure himself. This is not presented subtly: The film's title is shown as the title of the movie within the movie, whose subtitle, borrowed from Ben-Hur, is "A Tale of the Christ." Josh Brolin plays Hollywood fixer and practicing Catholic Eddie Mannix, based on the real Hollywood fixer of the same name, who was supposedly a devout Catholic himself (see here). As other writers have noted, in the film Mannix acts as the suffering son to the unseen strict father (New York studio executive Max Schenk, another historical figure.)
It is a typical Coen joke that the two characters laden with most religious symbolism are two out of the only three characters based on real people—perhaps that makes Herbert Marcuse the Holy Ghost?
As Mannix takes on the sins of the world, or in this case, the studio backlot, he is tempted three times by a satanic aerospace company man, offering him worldly power (the power to destroy the world) and cigarettes, though like Christ in the desert, Mannix does not eat anything at the deep red-colored Chinese restaurant where the meetings takes place. As he goes about his day he shows compassion for fallen women (a young ingénue taking cheesecake pictures, a starlet pregnant out of wedlock) and even resurrects the (almost) dead, in the form of a film editor, inside a tomblike editing suite, whose scarf is caught in between the reels of her splicer.
That this same resurrection scene serves as a cameo for Joel Coen's wife Frances McDormand, a commentary on the subservient status of women in Hollywood, a way to advance one of the many subplots, and a macabre sight gag makes it that much clearer just how many levels the Coens are working on at once.
One blogger writes "I might be mistaken, but I believe this is the first time the brothers have dipped their toes into New Testament waters." Indeed he is mistaken. The Coens love the New Testament as only secular Jews can.
The first shot in Hail, Caesar!, of a wooden statue of Jesus above the altar of a Catholic Church recalls a similar shot near the beginning of The Man Who Wasn't There, a movie about a man dying for the sins of others. And let us not forget that in Miller's Crossing, Tom Reagan's name is invoked alongside Jesus' almost thirty times, and of course, in The Big Lebowski, the Dude "is taking 'er easy for us sinners."
Clearly, the Coens enjoy playing with Jesus figures. But what is the point of this extended parallel in Hail, Caesar!? My read is that by making a studio executive a Christ figure, Coen makes the point that religion and film are connected. Thus, Hail Caesar! is not just a movie about religion—it's a movie that questions and celebrates the various connections between religion and the movies. This makes me particularly happy because these connections are something I teach and research often, and the Coens know their stuff; if they haven't read scholarship on that subject (notably S. Brent Plate's essential Religion and Film: Cinema and the Re-Creation of the World), they might as well have.
Indeed, Richard Brody, who blogs for The New Yorker, notes Hail, Caesar!'s "brilliantly ironic parallels between religious belief—specifically, Christian doctrine—and the realms of Hollywood" and how the Coens realize that the true American religion is the "worship of secular images."
This is not a new theme for the Coens: Their 1991 feature, Barton Fink, is also set at Capitol Pictures, but in 1941—exactly ten years earlier than Hail, Caesar's setting. If the apocalyptic Fink sees both religion and film as essentially solipsistic acts of creation that trap you in your own mind, then the redemptive Caesar posits that both religion and film are both marvelous and necessary mythologies that synthesize the seemingly contradictory spiritual and material realms.
This dialectic (to use a term repeated by the film's communists screenwriters) is first laid out for us in the early scene in which Mannix meets with four clergymen. Many critics noted the humor in that scene, and one commenter thought it "an exploration of the self-censorship Hollywood practiced." Few recognized it as introducing the terms of the film's debate. This scene was clearly inspired by the consensus between a nascent Hollywood and "mainstream" religion over religious authenticity and propriety on screen, as epitomized by the biblical epic genre. But the rapid dialogue contains some deep theological discussions of the Christianity's paradoxical understanding of Jesus as both human and divine. When Mannix points out, to placate the crabby rabbi, that this might describe all of us, the Coens have given us the key to the whole movie.
This key unlocks Mannix's own story—he is a spiritual man who is the "Head of Physical Production" at his studio, a good man who lies, bribes and physically intimidates to get his way, and a man who has to choose between what's easy and what's right—and that choice can be made, according to his priest, by listening to the voice of God within him, recalling what Mannix told the rabbi earlier.
But this key—the hybrid natures of film and religion, and perhaps life itself—also helps us understand the overstuffed subplots and tangents that most critics have focused on. As Mannix does his job, he encounters various hybrids, including mermaids (ScarJo plays one, Channing Tatum sings about them) and battling twin gossip columnists, whose names, Thora and Thessaly, perhaps suggest Norse and Greek mythologies (I noticed only because Mannix asked each of the pair about the meaning of their names). More importantly, as Mannix goes from film set to film set, from one amazing set piece to the next, he encounters various hybrid Hollywood genres including a musical water ballet, a singing cowboy comedy, and a Communist-infiltrated bible epic, each of which are at the same time completely artificial and yet produce real emotion in the viewing audience (both inside and outside the filmic reality).
As Hail, Caesar! reaches its final half-hour—its synthesis (to follow our dialectical model), the "real world" depicted in the film becomes more and more artificial and film-like. As Hobie Doyle's car reflects neon street signs in an obvious green screen shot, as the fakey submarine rising off the shore reflects the moonlight, the Coens force us, as audience, to reflect on the double nature of reality as a kind of revelation.
So once again the Coens are teaching us how to see. From Blood Simple onwards, and most notably in No Country For Old Men, the Coens have explored the metaphysical and moral properties of light and darkness. In Hail, Caesar!, they playfully articulate that lesson. A buried clue (or just coincidence) that suggests the importance of vision, of "showing" in this film may be found in the name of the Roman tribune played by George Clooney as Baird Whitlock: Autolycus.
To Autolycus is the only surviving work by the church father, Theophilus of Antioch. It is addressed to his pagan friend, Autolycus, described as having "a fluent tongue and an elegant style" (as good a description of George Clooney as any). In the opening line of the second chapter, "That the Eyes of the Soul Must Be Purged Ere God Can Be Seen," Theophilus tells Autolycus that "if you say, Show me your God, I would reply, Show me yourself, and I will show you my God." In Hail, Caesar! characters are repeatedly told to "watch" and once to "squint against the grandeur." In the final shot a water tower instructs the audience to "Behold," while the plummy British narrator tells us that Mannix's story is "written in light."
Movies and photography, of course, are often said to be written in light, but that last line seems to describe a religious apotheosis as well. And so the Coen Brothers, as ever, accept the mystery and leave us with a final reminder of the paradox that the sacred must be both visual and invisible, seen and unseen, just as they bring us, as we watch Mannix watching the film within the film, to wait for the "divine presence to be shot later."
coen brothershail caesar!religion in film
Elijah Siegler
Elijah Siegler is Associate Professor and Chair of Religious Studies at The College of Charleston. He is editor of the forthcoming book Coen: Framing Religion in Amoral Order, coming out with Baylor University Press on March 15.
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FCC Says VoIP Subject to Wiretap Laws
HomeERP
By Roy Mark
WASHINGTON — Internet telephony should be subject to traditional wiretap laws, the Federal Communications Commission
(FCC) said today. The preliminary decision will force Voice over IP providers to
comply with the same law enforcement rules as telephone carriers.
In its Notice of Proposed Rulemaking, the FCC voted 5-0 that the Communication Assistance for Law Enforcement Act
(CALEA) applies to facilities-based providers of any type of broadband Internet access service, including wireline,
cable modem, wireless, satellite and powerline.
The decision also covers "managed or mediated" VoIP services. Non-managed IP services not covered by the ruling
include peer-to-peer (P2P) instant messaging and voice software services, such as Jeff Pulver's Free World Dialup and
Skype which do not interconnect with the public switched telephone network.
"CALEA requirements can and should apply to VoIP and other IP-enabled service providers, even if these services are
'information services' for the purposes of the Communication Act," FCC Chairman Michael Powell said. "Above all, law
enforcement access to IP-enabled communications is essential."
Earlier this year, the Justice Department, the FBI and the Drug Enforcement Agency asked the FCC to promulgate rules
requiring broadband networks to comply with CALEA. The request came as the FCC embarked on a year-long review of
IP-enabled services.
Powell said the ruling is "expressly limited to the requirements of the CALEA statute and does not indicate a
willingness on my part to regulate VoIP services as telecommunications services."
If VoIP is ultimately defined as a telecommunications service, it would be subject to the same rules, regulations
and taxes as traditional companies, but the FCC has classified most IP-enabled services as information services.
The five FCC commissioners have consistently said they favor classifying most IP products as information services
to foster a light regulatory approach to the emerging technology.
Wednesday's ruling was based on an FCC staff proposal that VoIP services fall under CALEA as a "replacement for a
substantial portion of the local telephone exchange service." While the ruling is not final, the unanimous vote and
the strong show of support for law enforcement by the commissioners make it all but so.
"It is our goal in this proceeding to ensure that law enforcement agencies
have all of the electronic surveillance capabilities that CALEA authorizes to combat crime and support homeland security,"
Powell said.
Commissioner Kathleen Abernathy said it is still an open question whether or not CALEA applies to broadband services.
"While the commission must do its utmost to enable law enforcement agencies to combat crime and promote homeland
security, it would be a mistake to gloss over the possibility that the existing statutory framework does not apply
to broadband Internet access services or other IP-enabled services that are classified as information services," she said.
Abernathy argued that the "substantial replacement" argument was a "plausible interpretation" of CALEA, yet it was
"fraught with legal risk."
"While the text and legislative history of CALEA make clear that the march of technological progress should not hamper
law enforcement's ability to conduct lawful wiretaps, the statute explicitly exempts information services from its
reach," Abernathy said. "The commission has proposed a means of resolving this tension, but it remains to be seen
whether our attempts to do so would pass judicial muster."
She added, "At the end of the day, the federal courts — rather than this commission — will be the arbiter of whether
we are authorized to take the actions proposed in this rulemaking, and we must remain mindful of that fact as we
consider final rules."
Commissioner Michael Copps agreed with Abernathy that it was correct to launch the rulemaking process, but also
questioned the legal interpretation of CALEA underpinning the decision.
"I believe today's item asks many of the right questions, but I also believe too often it gets the reasoning wrong,"
Copps said. "It is flush with tentative conclusions that stretch the statutory fabric to the point of tear."
If the ruling makes it to final approval, Copps said the FCC would be on shaky ground.
"It would be a shame if our reliance on thin legal arguments results in the CALEA rules being thrown out," he said.
"Neither law enforcement nor the American people would benefit from that result."
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Latino sine flexione () — международный искусственный язык на основе латинского языка, созданный итальянским математиком Джузеппе Пеано в 1903 году. После доработки в 1908 году стал называться интерлингва (; не следует путать с другим искусственным языком с аналогичным названием).

Алфавит и правописание
Алфавит латино-сине-флексионе полностью совпадают с латинским:
a b c d e f g h i j k l m n o p q r s t u v w x y z æ oe

То же относится и к правописанию.

Произношение
Обычно используется произношение, соответствующее так называемому «классическому»/«реконструированному» латинскому:
 B — как .
 С — всегда как .
 H — как  (глухое придыхание), но в сочетаниях ph, th, ch и rh произносятся как , ,  и  соответственно.
 S — всегда как .
 V — как «в» или неслоговое «у».
 Y — как немецкое «ü» или французское «u» («и» с губами как при «у»).
 AE — как .
 OE — как .
 QU — как «ку» (с неслоговым «у»).

Произношение остальных букв соответствует принятой в России традиции (так называемому «традиционному» произношению). Допустимы те или иные отклонения от этого произношения в сторону традиционного, что отражается и в орфографии (см. выше). Главное ударение всегда падает на последний слог слова, второстепенное — туда, куда это нужно для благозвучия.

Словарный состав
Основная масса слов также заимствована из латыни, однако в видоизменённой форме. Все существительные берутся в форме аблатива единственного числа. Прилагательные берутся в форме номинатива единственного числа среднего рода (для прилагательных на -e и -um, причем -um меняется на -o) и в форме аблатива в остальных случаях. Глаголы в большинстве случаев имеют форму усечённого латинского инфинитива (отбрасывается окончание -re).

Общая характеристика словообразования
Латино-сине-флексионе — продукт натуралистического направления в конструировании международных языков. Его грамматика в отдельных отношениях проще грамматики эсперанто (отсутствует, например, склонение прилагательных, изменение глагола по временам, обязательное применение окончания множественного числа). Но при этом система словообразования заимствована у языка-источника — латыни и поэтому обладает всеми качествами системы словообразования европейских естественных языков: наличием исключений, нескольких моделей для образования одного и того же (см. ниже систему обозначения пола, соотношения количественных и порядковых числительных, местоимения и проч.). Поэтому в среднем язык оказывается сложнее любого другого автономного для человека, не знающего в той или иной мере латынь.

Словоизменение

Глагол
У глагола нет категорий лица и числа. Например: Me salta. — Я прыгаю. Vos salta. — Вы прыгаете. Illo salta. — Он, она, оно прыгает.

Отсутствует и категория времени: будущее может быть выражено употреблением в предложении наречия i, а прошедшее — наречия e, указывающих на время существительных. Сам же глагол при этом не изменяется. Для выражения будущего времени могут использоваться обороты с модальными глаголами vol и debe. Нет изменения по наклонениям (изъявительному, сослагательному, повелительному и т. п.).

От собственно глагола можно образовать три вербоида: инфинитив — прибавлением суффикса -re, действительное причастие прибавлением -nte и страдательное причастие прибавлением -to. Например: ama — люблю и проч., amare — любить, amante — любящий, amato — любимый.

Сочетание вспомогательного глагола es «быть» со страдательным причастием образуют форму пассивного залога. Активный деятель при этом вводится при помощи ab. Например: Filio es amato ab matre — Сын любим матерью.

Существительное
В латино-сине-флексионе существует окончание множественного числа существительных — -s (filio — сын, filios — сыновья). Но это окончание можно не употреблять, когда множественное число видно из контекста. То есть, decem simias и decem simia одинаково значат «десять обезьян».

Грамматического рода нет. Пол может быть выражен при помощи смены корня, прибавления определённых суффиксов или добавки слов mas — мужской и femina — женский. Например: patre — отец, matre — мать, propheta — пророк, prophetissa — пророчица, cane mas — кобель, cane femina — сука. Последняя модель является продуктивной, первые две — непродуктивными.

Падежные отношения передаются порядком слов и предлогами (например, родительный падеж — предлогом de).

Прилагательное
Прилагательное неизменяемо. Степени сравнения образуются при помощи прибавления определённых наречий.

Числительное

Количественные и порядковые
Система числительных заимствована из латыни в несколько упрощённом виде.

Количественные числительные от 11 до 19 образованы путём сочетания количественных числительных первого десятка по модели decem-uno или decem et uno «одиннадцать». Порядковые — путём сочетания порядковых числительных первого десятка по модели decimo-unio «одиннадцатый». Количественные числительные от 40 до 80 — путём добавления числительным первого десятка -aginta (конечная гласная, если она есть, при этом отбрасывается): quintaginta «пятьдесят». Порядковые числительные образуются путём замены в количественных -inta на -esimo: quintagesimo «пятидесятый».

Наречие
Непроизводные наречия заимствованы из латыни. Образование наречий от прилагательных осуществляется при помощи выражений cum mente и in modo. Например: in modo fraterno — по-братски, cum mente diligente — старательно.

Наречия от существительных образуются при помощи in modo de (например: in modo de fratre — по-братски).

Местоимения

Личные местоимения

(*) Существуют также специальные формы illa — она и id — оно, а также особая форма illas — множественное число от illa.

Возвратные местоимения

Притяжательные местоимения

Вопросительные местоимения

Относительные местоимения

(*) Именительный падеж, только для вещей.
(**) Именительный падеж, только для людей.
(***) Винительный падеж как для людей, так и для предметов.

Указательные местоимения

Неопределённые местоимения

Синтаксис
Подлежащее ставится перед сказуемым. Прямое дополнение — после сказуемого. Прилагательные ставятся после определяемого существительного. Наречие помещается после определяемого глагола и перед определяемым прилагательным.

Пример текста

См. также
 Академия интерлингвы

Примечания

Ссылки

Искусственные языки
Международные вспомогательные языки

redpajama_set_name: RedPajamaWikipedia


very real possibility there, too.
terribly intimate with the gaping maws near Sluice, Center Headwall, et.
of the exposed bootpack ssa-pucker factor and some of the ice fall danger.
All three of those dangers still exist in any route up through Tucks.
the top of a bowling ball as opposed to down being at the end of the alley.
pointed out.  Tucks is a genuine special case.
>> Are the rules at Tucks that different than the rules out west?
>IMO, there are 2 primary differences to be considered.
>And there are 2 HUGE caveats to consider.


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Exclusive trailer/poster/comments: Lisa Wilcox and Debbie Rochon in 10-year project "IN THE BLOOD"
Friday, February 7, 2020 | Exclusive, News
By MICHAEL GINGOLD
Way back in 2009, indie producing outfit Upstart Filmworks began shooting a horror movie then titled IMAGO. It was recently completed under the new title IN THE BLOOD, and we've got the exclusive first look at the trailer and poster, along with words from the director and one of the stars and news about a forthcoming Texas screening.
IN THE BLOOD marks the feature directorial debut of Chris Warren, from a script he wrote with Mel House (CLOSET SPACE, PSYCHIC EXPERIMENT), who also produced. Natali Jones (DEAD AWAKE), Lisa Wilcox (A NIGHTMARE ON ELM STREET 4 and 5), Debbie Rochon (AMERICAN NIGHTMARE, MODEL HUNGER), Omar Adam, Sean Brison and Parrish Randall star; the synopsis: "IN THE BLOOD follows Jennifer [Jones], a young woman with a dark past, as she goes on a search for her missing brother. Jennifer soon discovers that her brother's disappearance was anything but planned…and related to something not of this world."
"We screened the movie in its original form several years ago at the Buffalo Dreams Fantastic Festival," Warren tells RUE MORGUE, "and everyone loved it. However, we kept hearing the same feedback about certain things that weren't quite landing the way we'd intended. We were still getting sales offers here and there, but once Mel and I discussed it, the decision was made to take another stab at the edit and the visual effects. When we first set out to make this film, we didn't anticipate having as many VFX shots as there are in it now, which is a huge hurdle to overcome when you're working on an indie budget. It took a lot of time, and a lot of vendors, but we eventually got it done.
"The protracted timeline also allowed for us to take some interesting chances," he continues. "We actually brought young actress Sadie Brook back for some additional footage as an adult. When we shot the bulk of the movie, she was 11, and then we shot her again at 20. We also rescored a great deal of the movie with our friends in Two Star Symphony, and of course did a whole new sound mix. Our post sound guy, Greg Vossberg, whom we've been working with since PSYCHIC EXPERIMENT, was stoked to take another pass at it, because his stuff 'sounds 10 years better now!' "
"It has truly been a trip to see how IMAGO morphed into IN THE BLOOD over the last few years," says Wilcox, who plays Christine, Jennifer's aunt and surrogate mother. "Since Mel and I have become close friends in the decade since we initially shot the movie, he has been keeping me up to date on all the iterations and changes. What always jumped out at me, and what's still very much there in the final version, is the idea that memories can stay with you and haunt you, in some cases gaining so much power that they become real! And Natali did such a wonderful job at portraying this haunted, damaged young woman. Plus, they got me a cookie cake!"
"The last day of shooting The Movie Formerly Known As IMAGO also happened to be the 20th anniversary of NIGHTMARE 5's release," Warren explains. "There was blood and gore everywhere; I mean, literally everyone had blood on them. Right after we said, 'That's a wrap,' Mel said 'OK, who's ready for some cake?' Then he brought out a cookie cake with a red-and-green-striped baby carriage on it. It was a hilarious moment—we all were like, 'Yeah, it's time for some cake.'
"Of course, it being an entire decade later, lots of things have changed," he adds. "I'm married, Mel is a dad, people shoot 4K now, etc. Unfortunately, we also lost some folks involved with the film as well during that time, and the movie is dedicated to them."
In addition, Upstart's Katelynn Bauer was diagnosed with lymphoma this past September, and the team has set up a benefit screening of IN THE BLOOD with all proceeds going to her treatment. It will take place Saturday, April 11 at 7 p.m. in Houston, TX (venue to be disclosed to attendees upon purchase confirmation). Tickets can be ordered here.
Debbie Rochon
IN THE BLOOD
Mel House
Michael Gingold
Michael Gingold (RUE MORGUE's Head Writer) has been covering the world of horror cinema for over three decades, and spent 28 years as a writer and editor for FANGORIA magazine and its website. In addition to RUE MORGUE, he currently writes for BIRTH.MOVIES.DEATH, SCREAM, IndieWire.com, TIME OUT, DELIRIUM and others. His book THE FRIGHTFEST GUIDE TO MONSTER MOVIES (FAB Press) is out this fall, and he has contributed liner notes and featurettes to a number of Blu-ray and DVD releases. Among his screenplay credits are SHADOW: DEAD RIOT and LEECHES!, and he is currently working on THE DOLL with director Dante Tomaselli.
Exclusive first news, poster and photos: Graham Skipper et al. in the "MYSTERY SPOT" | Rue Morgue - […] told you last week about the completion of the 10-years-in-the-works IN THE BLOOD, and now we have the scoop…


We, too, look for these hard stones to bring home and polish in the rock tumbler. It's now a family tradition. We've got this rock polishing process down and the kids look forward to it. It's a wonderful family-friendly activity where everyone learns something—like a science lesson at home.
Grind the rock to the desired rough shape using a grinder. A hand grinder is better-suited for larger pieces, while an all-in-one grinder/sander/polisher can eliminate some steps by utilizing the same machine.
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The ocean is a natural rock tumbler: as rocks are rolled by the waves and rubbed against sand and each other, their rough edges and corners are filed away. A rock tumbler can mimic this process and even take it a step further by adding polish to make the stones shine.


More business enterprises are turning to automation software for running their projects. This software comprises of task management, time management, resource management, and more. The team depends on the efficient working of the software to keep in step with the project goals.
You have hundreds upon hundreds of apps such as Dropbox, Remember the Milk, Toggl, Syncback Freeware, and many more. And what do they do? Which is the feature you need for your team task management? To find out what works for you, let us see the important aspects of the project, team, and of the time management online tools.
Some of the software merely helps you take the things that bother and put it online. Of course, they give you the option of setting priorities for the tasks but that is it. On the other end of things, we see the software that understands the language you write, understand the subtle wants and desires hidden therein and then makes suggestions for prioritizing tasks. Now, that is something!
Along with the task listing, adding information about the task such as assigning the person for the work, the date of start and completion, and measuring productivity as the task proceeds to its completion will prove useful. For achieving this, the software should allow communication between the team members and it must be possible to arrange meetings online to discuss pertinent matters. This kind of functions make the app better than good.
Providing the memory space to keep the interactions public or private takes the software to a higher level. For instance, team members get 5 MB space to upload their files. Then, there is 20 MB common space for the team to take part in discussions and voice their opinions or ask questions, participate in forums and clear doubts and so on. On one side, there is the team task board that updates the tasks for all the members of the team. The team progress is mentioned here.
One cannot pick the best tools for time management since each of the tools has its own functionality that one does not see in other tools. In addition, the free and paid versions have different function ranges. So, one must make comparison for them separately.
The usefulness of the time tracking app is felt when you need to explain something to the client and you don't have your teammates to ask for details. Or, you want to tweak the project to include a new item. The time tacking app will let you explain things to the client in detail by back-referencing the work done and showing how you intend to reach your project goal. This will allow you to add or remove items that you want.
The basics of prioritizing rests on the big task and the many small tasks. This falls within the time limit. Since you have only one big task, it takes the maximum priority. All the other tasks will follow in the proper sequence.
Keeping the project goal in sight is important for making progress. Use the time tracking app to keep all your project mates up to date with the tasks and developments.


Career changes for executive personnel are nothing unusual nowadays – but what happens when things develop differently to planned? I spent 25 years working for a large company in different management positions and worked my way up to be on the management for several locations. Job rotation and personal develop within the company were quite customary – but suddenly and completely unexpectedly the executives were confronted with restructuring. A change process took place where one management level was taken away and positions were eliminated and merged. My own position no longer existed and no reasonable alternative was available in the company.
My whole world fell apart! I was emotionally in turmoil. I questioned my confidence and was unsure how to answer the question about what I should do next. What was going to happen?
It was at this point that I was recommended to go for a consultation with KONITZER & TAFEL. This was a stroke of luck for me. The KONITZER & TAFEL consultant not only possessed a comprehensive know-how and extensive experience of outplacement, but also had the empathy to consider my personal issues – so that I was able to gain a clear picture of my situation.
During the very personal interaction with my KONITZER & TAFEL consultant I quickly managed to find a continually targeted process towards my reorientation. I particularly liked the first class preparation of my application papers and the fact that I could always determine the speed and direction of the change process myself.
Both my consultant and I have a large network from which we could make promising contacts. KONITZER & TAFEL supported me hugely with the prepared documents and the individual preparation and follow-up to written communication and interviews with potentially new employers. Particularly important for me during the application phase was being able to get answers to relevant questions at any time – this was possible almost around the clock! It was therefore not by chance, but as a result of good coaching, that I was eventually given the job of Branch Manager Port Operations Bulk Commodity Logistics with the responsibility for several locations in a logistics company.
Only three months after my first meeting with my KONITZER & TAFEL consultant I began my new job, which delights me and will be a lot of fun.
I am extremely grateful to KONITZER & TAFEL and in particular to my coach.


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text:
'Bono's eyesight is deteriorating,' says John Lennon's son
By Jonathan on January 9, 2013 4:01 PM | No Comments | No TrackBacks
Julian Lennon says the U2 singer's eye condition is worsening
Julian Lennon, son of The Beatles' John Lennon, has revealed that Bono's eyesight is deteriorating.
The U2 frontman has admitted in the past that he requires his trademark sunglasses because he suffers from an eye condition which makes him over-sensitive to light, but now his friend Julian Lennon has confirmed the condition is worsening.
He told the Irish Daily Star: "Bono actually has a condition with his eyes. I don't know the exact issue but the brightness of the sun hurts them and it's a deteriorating issue."
However, Lennon admitted that he thinks the 'Where The Streets Have No Name' singer is lucky to suffer from a condition that can easily be made into a trademark style.
"It's part of his image," he said. "In some senses it was lucky but not really of course. Maybe it's part of his process now and without the image he can't be Bono."
U2's Bono recently called Leonard Cohen's 'Hallelujah' the "most perfect song in the world". The frontman made the claim in a new book by Alan Light, called The Holy Or The Broken: Leonard Cohen, Jeff Buckley, And The Unlikely Ascent Of 'Hallelujah'.
© IPC MEDIA 1996-2013, All rights reserved
Bono's Eyes,
This page contains a single entry by Jonathan published on January 9, 2013 4:01 PM.
Bono and U2's search for God was the previous entry in this blog.
U2 Eyeing Multiple New Music Releases Starting in September is the next entry in this blog.
"All the stuff we use is always serial number 001. The first time they create this type of technology, it's U2 that uses it. Then everybody else under the sun goes out and gets it." - U2 concert tour stage manager Rocko Reedy, 2006


Since the spiralling civil conflict of the Troubles in the early 1970s, unionism in Northern Ireland has always been more preoccupied with asserting its opposition to Irish unification, as opposed to articulating a vision of what it is and aspires to be, and how it fits into an increasingly multicultural United Kingdom.
People in Northern Ireland stoically resisted a campaign of republican violence throughout the 30 years of the Troubles. But the reasons for this understandable hunkering down are long gone. The battlefield is now cultural and unionism is losing.
I was born 65 years ago in the predominantly Protestant environs of south Belfast; for me, Northern Ireland represents the corner of the Union that is both Irish and British. My cultural identity is bound up in this place and its symbolically endowed landscape that incorporates both these dimensions alongside a strong cultural and historical Scottish link.
This space of the imagination and real cultural interaction remains potentially fluid. While unionism in the past has been associated with narrow triumphalism and religious dogma, such influences are on the wane even if the pace appears frustratingly slow. To be out of step with wider liberalising currents in the UK is to invite embarrassment – that peculiar relative in the attic of the Union. But any attempt to distil the essence of unionism in more neutral, dry, constitutional relationships, obligations or even economic interests does not address the more fundamental cultural factors that define each group.
My unionist culture is part of a broader British culture which I unapologetically embrace. It has no truck with discriminatory sectarian practices, which some have uncharitably labelled the very lifeblood of unionism. But the idea that unionist culture is shallow, based on economic supremacy and a hangover from a colonial presence still prevails.
The 1998 Good Friday Agreement that ended the Troubles recognises the importance of culture in acknowledging differences between the two major traditions in Northern Ireland. But after 20 years, the hoped-for generation of an emergent civic culture bridging the ethnic divide has failed to appear.
While unionism pragmatically saw the deal on the whole as the best available, republicanism sees the agreement as a transitional step towards full Irish political unification. The result has been difficulty in moving beyond a war of cultural attrition; the potential fluidity of identities has been frozen.
What is needed is a notion of two identities embedded within a culture of openness and dialogue that is not closed to the potentially new, novel and unexpected. In reimagining itself, unionism must think beyond a Sinn Féin projection of cultural superiority and its cool reception to the idea of British-Irish identity. To engage effectively in cultural debate, unionism needs to have a more considered and long-term strategy.
Sinn Féin's call to join in building a "new Ireland" (as opposed to a "united Ireland") with a rainbow of identities, is a soft approach which gives unionism cause to be sceptical. And the way republicans have denigrated unionist tradition, portraying it as a stereotypical sectarian monolith, is frequently criticised by seasoned political commentators and academics. But this is not to deny that certain unionist voices can also be insulting towards nationalist culture.
Unionists need to set out their own stall. First they must assert their own brand of Irishness which is infused with Britishness as well. This involves more than recognising that the Irishness of Catholics requires legitimate expression in Northern Ireland – it must include the belated appropriation of Irishness as a constituent part of the Protestant unionist identity too. Engaging with current debates about identity and belonging in Brexit Britain is a substantial but vital challenge for unionism, whose past record has been poor.
Northern Ireland is often dismissed as "a place apart", ignoring the historical bonds and close cultural relationship with Britain. But identities can become static if they're not open to change as circumstances alter. Here unionism has not adapted well; it has to engage in the debate over what defines Britishness in an increasingly diverse society. A positive and less defensive case must be made for the Union.
Difference can be celebrated and respected, but it must be accompanied by shared values. The argument that British and Irish are not mutually exclusive categories needs strong voices as the Republic of Ireland calls on unionism in uncertain Brexit times to throw in its lot with an evolving nation on a different European trajectory. Any response must go beyond saving the Union for unionists and make a case to the middle ground of Northern Irish Catholic opinion, which lack of vision has almost squandered.
The prospect of a prosperous, secular, multicultural and eurocentric Republic of Ireland is a strong one. The watchwords of any counter offer must be courtesy, due recognition of cultural difference, reasonableness and compromise. And not sweating the small stuff. For unionism, circling the wagons is not an option. It will more likely survive through kind words than belligerence.
Returning recently to Ireland from a foreign trip I presented my British passport to a border official at Dublin Airport. Glancing at it, he said, "Welcome home sir". Those three kind words did more to waken my Irish roots than three decades of armed IRA struggle.
Disputes over flags, marching and place names are of course emotive, but the high ground does not promote parades that are not welcomed by locals. It does not seek to insult. It contemplates compromise on Gaelic language rights and sees advantages in the rich and varied cultures of the UK.
As Brexit sees the middle ground of those open to such ideas recede further, the leader of political unionism, Arlene Foster, has begun to change tack with outreaching gestures that reclaim the civic dimension of unionism with a more inclusive citizenship and rights agenda. But whether such belated and slow-moving attempts will be enough to lead on to a necessary reframing of unionism has yet to play out.
A unionist response has been too long in the making. Moderate unionism must reassert itself, because adhering staunchly to an identity bound up in the past has outlived its sell-by date.
William Neill does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.


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The hajj "climaxes" with a sojourn in the plains of Arafat near Mecca. There, pilgrims gather in tents, spend time with one another and perform prayers. Some pilgrims will ascend a hill known as the "Mount of Mercy," where Prophet Muhammad delivered the farewell sermon toward the end of his life.
There are other tensions too that come up at this time: Some Shia governments such as Iran, for example, have leveled charges alleging discrimination by Sunni Saudi authorities.
This is an updated version of an article originally published on Aug. 31, 2017.