Top 3 Cheapest hotels in Las Vegas?
Vacation in Las Vegas NV!
Sunny Las Vegas, Nevada is the playground of not only America, but the entire world. Newlyweds from Japan, Taiwan, England, France and Germany pour into Las Vegas every day to visit casinos, try their hands at gambling, experience nightlife and enjoy the atmosphere.
Some of the favorite attractions include gambling at luxurious resort hotels; catching some of the many fabulous shows - such as "O", which shows at the Bellagio; golfing at one of several of beautiful Las Vegas golf courses; and the most popular pasttime - sunbathing by the pool.
Sightseeing in Las Vegas is best done by air. Several air tours are available to take you over the Las Vegas Valley at night, or over the Grand Canyon by day.
This is where to look for Celine Dion Tickets - always a great show.
Here are some sites to check out when you're in the mood for Vegas action! First we have Holidays Vegas where you save on Las Vegas Holidays created by you!.
Best Pizza In Las Vegas?
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Chopin: Polonaises and Other Solo Piano Works. Buy on Amazon Buy on iTunes. Release date: 3 Oct.
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In the early days of my career as an entrepreneurship educator I began to observe that my "Harvard MBA" perspective on entrepreneurship was not always well received by students, especially SHADs. It didn't take me long to figure out that many young people had a negative view about business and especially about profit. My hypothesis was that this pervasive attitude undoubtedly arose from media coverage of shocking stories of the corrupt practices of unethical business executives. No wonder "profit" was a dirty word in their minds. No wonder many wanted to start not-for-profit ventures when I challenged them to create a business plan for a venture.
I gave much thought to how I might persuade them that the negative impression they got from the media was not representative of mainstream business. Fortunately, in the midst of my struggle to resolve this dilemma, I had the opportunity to attend an entrepreneurship workshop for Harvard Business School alumni which gave me a totally new perspective on how to teach entrepreneurship. Early in the workshop we were given a definition of entrepreneurship that had been coined by HBS Professor Dr. Howard Stevenson. His definition of entrepreneurship is "the relentless pursuit of opportunity beyond the resources currently controlled".
When I reflected on this definition it became obvious to me that I was now empowered to communicate entrepreneurship in a very different way to young students. Entrepreneurship is not necessarily about starting a for-profit business. It is all about a mindset, a way of behaving, ie. being constantly on the outlook for important problems that need to be solved to make the world a better place, visioning solutions to these problems, building a high performance team that is skillful at executing and being effective in marshalling the resources you don't control so that your solution can become a reality and potentially create global impact.
When I started communicating to students about entrepreneurship in this way, the impact was immediate. It was now legitimate for them to be an entrepreneur and to be entrepreneurial. It also opened their minds to consider how profit, earned in an ethical manner, can be a critical ingredient in attracting the capital necessary to turn a brilliant idea that solves an important problem into reality.
Thank you Dr. Stevenson for stimulating my epiphany in teaching entrepreneurship!


We need to make money but not all that much. Right now Molly is working part time as an owner's rep on the construction of a handful of houses. It's paying well and covering a good chunk of our expenses. Mike is ramping up to start a CNC business with his friend Rick. If all goes well it should be online and earning money by the end of the summer. These are both fairly well aligned with our interests but do demand quite a bit of our attention.
We're still committed to running this site but we do see that we are going to have to scale back the number of posts a week that we produce for the time being.
That said, it's also a chance for us to experiment with new formats and ideas. No reason to let things get stale.
Molly (in her mangled Australian accent): Movies! I want to make more Movies!!
to raise money to start a CNC business.
which means Molly's in the chicken business.
Fourth of July means garlic harvest time.
The yurt is finally getting the cool roof it deserves.
We combined a couple of the beehives.
Yet another ginormous compost pile was built.
That's just a teaser, there's so more that I can't even remember other than that we did tons of stuff and took bunches of pictures the past month. So keep checking in for the somewhat erratic, ever evolving, quasi-informative, always entertaining antics known as life at Mike and Molly's House.


Implementation of the RoHS guideline (Directive 2002/96/EC on the Restriction of the use of certain Hazardous Substances in Electrical and Electronic Equipment) as national law.
The aim is to avoid waste materials, to reduce the amount of waste material by re-use, and the reduction of the amount of harmful substances in electrical and electronic equipment and materials.
The aim of the banning of the use of the above-mentioned materials is to avoid from the outset environmental pollution and health risks. BOPLA has always considered it a duty and an obligation to reduce the danger of environmental pollution caused by potentially harmful substances while simultaneously satisfying the increasing demand for environmentally-friendly products.
For this reason, and in order to implement the regulations within the framework of the RoHS guideline, a project team was set up which has already coordinated almost all of BOPLA's standard enclosure series with the ElektroG.


Bishop Denis celebrated Mass in Leighlinbridge on Friday 13th July to celebrate the Golden Jubilee of Fr Tom Lalor.
Matthews's gospel presents the call of Matthew, a young man, a tax collector, we understand, to follow Jesus. He was "sitting by the custom's house". Fr. Tom heard that call also in his youth as he grew up in Clontyglass, Portlaoise. Educated in Barnashrone NS, later Knockbeg, then Maynooth with a time studying catechetics at Mount Oliver, near Dundalk. With diocesan appointments spanning for the most part Counties Carlow and Laois, with one exception, Newbridge in the mid 1990's, I know that here amongst you, in Leighlin Parish, Fr. Tom was most at home. Here along the River Barrow; in a place which traces its Christian roots back to St. Laserian, Tom immersed himself completely into this historic parish.
We are trav'lers on the road.
Fr. Tom has had many interests which he persued in life. The early morning faithful walk, a brisk pace not a quiet dander. In recent evenings I had the opportunity of walking with Tom near Clashganny Lock, his enthusiasm for a lone heron perched on a rock or watching the kayakers tumble was palpable. We all know his love and appreciation of Patrick Kavanagh, the poet from Iniskeen. His deep appreciation for art and beauty. He has the ability to read a much deeper significance into a scene or a picture that the rest of us might only offer a passing glance.
I myself love Caravaggio. It seems as if every church in Rome possesses one of his masterpieces. I love a quiet visit to the Church of St. Louis – the French Church – near the Piazza Navona in Rome. On the left corner near the sanctuary hangs the Caravaggio masterpieces including 'the Call of Matthew'. Caravaggio who lived from 1571-1610, a very short life – 39 years of age – and such a gifted life. His use of light and darkness, shades and shadows sets him out amongst many of his contemporaries. I always interpreted 'the Call of Matthew' as the older one at the table in the customs house, looking much more closely I see Jesus pointing to the young boy cowering over the money, a boy perhaps in tears, a boy who knew he was being called from this life into something much greater.
Tom Lalor, like all our priests, is a most modest man, who tonights ceremony and celebration is the very last thing he would want in life. And yet, like that young man in Caravaggio's painting, I believe he could have turned his hand to anything in life, gifted in many ways, he could have been anyone in life, but he became a priest after God chose him from the earliest days in Clontyglass. In these summer celebrations of Ordination Jubilees, I always ponder where are we going to find the young people to follow in Tom Lalor's footsteps? How are we going to challenge the young people to hear God's call in a much more secularised society? The call to become a priest is still being made today. I am confident, these leaner days too will pass.
'Til we've seen this journey through.
Here in Leighlin, after twenty years of Fr. Tom at the helm there is ample example of lay involvement and active participation in every aspect of parish life. Parish Council, Parish Centre, Inter-church dialogue, Historical events. At the centre of this parish is a hidden mission statement that probably reads an interpretation of the words of Pope Francis, 'our parish is a field hospital, here to serve one another'.
The greatest gift and I've said this many times in my own life as a priest and in these past five years as Bishop is to be present. Is the priest present in his parish, does he know his people, do they know him? I chose the scripture readings purposefully tonight. The one from the justice prophet Amos is the one I had at my own First Mass, thirty years ago. Amos reminding Amaziah that it was the Lord who ultimately called him from looking after sycamores: "it was the Lord who took me from herding the flock, and the Lord who said, 'Go, prophesy to my people Israel'". St. Paul writing to the Corinthians puts mercy into the central core of our work as preachers and teachers. And then Matthew offers a small autobiographical account of his own call and that of all sinners to follow Christ. Tonight's celebration is about all of us, not just Fr. Tom, but all of us who seek a place around His table, unworthy as we are, but full of mercy as He is.
As Tom's Jubilee celebrations concluded with his class at Maynooth, Tom made his way to Glendalough. From companionship with Laserian along the River Barrow, Tom often enjoys the hermetical life of Kevin at Glendalough. But all the time appreciating God's gift of creation. In the words of the poet Patrick Kavanagh who died the year before Tom was ordained a priest: "I saw Christ today at a street corner stand, in the rags of a beggar he stood he held ballads in his hand. He was crying out: "two for a penny will anyone buy the finest ballads ever made from the stuff of joy?" But the blind and deaf went past knowing only there an uncouth ballad seller with tail-matted hair. And I whom men call fool His ballads bought, Found Him whom the pieties have vainly sought". "The stuff of joy" epitomises Fr. Tom's priesthood in which all of rejoice in and celebrate this jubilee evening. We gather around the altar in Leighlinbridge to celebrate not a person, because he would be too modest for that but a priestly presence, spanning 50 years in our Diocese. We wish Tom well as he retires to Tinryland to continue to minister and to be a supportive presence to parishes in the wider deanery. We also wish Fr. Pat well and welcome him in time amongst us, because here, like on every altar in those immortal words from Kavanagh's 'Great Hunger': "in a crumb of bread the whole mystery is". Let us continue to celebrate those mysteries that bring us back to Laserian and Willibrord and too many others whose names are long forgotten in eternity, but remembered in the communion of the living and dead around the altar.
This year also sees the retirement of Fr Lalor from Parish duties. Having been Parish Priest in Leighlin Parish since 1998 he is now retiring to Tinryland and will assist in parishes across the South Deanery area.
After the celebration of Mass the parish community were invited to The Arboretum, Leighlinbridge where a light meal and refreshments were served.
Presentations were made to Fr Lalor on behalf of the Parish Centre Management Committee and the Parish Council.
Several Church of Ireland clergy were also present and Dean Tom Gordon of Old Leighlin Cathedral made a presentation also.
We wish Fr Lalor the very best in his retirement.


One swipe wraps lips in sensational color, plush texture and a comfy satin-matte finish. Boosted with a multi-level hydration system of Hyaluronic Acid, Vitamin F and Shea Butter to keep lips soft, smooth and supple.
Using Makeup Artistry Lip Brush, apply product beginning at center of lips and work out towards corners. Apply additional layers until desired look is achieved.


text:
import re
import traceback
import DNS

def compute_mit_user_fullname(email: str) -> str:
    try:
        # Input is either e.g. username@mit.edu or user|CROSSREALM.INVALID@mit.edu
        match_user = re.match(r'^([a-zA-Z0-9_.-]+)(\|.+)?@mit\.edu$', email.lower())
        if match_user and match_user.group(2) is None:
            answer = DNS.dnslookup(
                "%s.passwd.ns.athena.mit.edu" % (match_user.group(1),),
                DNS.Type.TXT)
            hesiod_name = answer[0][0].split(':')[4].split(',')[0].strip()
            if hesiod_name != "":
                return hesiod_name
        elif match_user:
            return match_user.group(1).lower() + "@" + match_user.group(2).upper()[1:]
    except DNS.Base.ServerError:
        pass
    except Exception:
        print("Error getting fullname for %s:" % (email,))
        traceback.print_exc()
    return email.lower()

redpajama_set_name: RedPajamaGithub


Director Park Chan-Wook (OLDBOY) and his SYMPATHY FOR MR. VENGEANCE star Kang-ho Song reunite for this thriller about a young priest who turns into a vampire. When the highly religious Sang-Hyun volunteers himself to be a test subject for a new vaccine, the procedure turns him into a vampire with little regard for his previous beliefs, meaning that his childhood friend's wife--and her neck-- are no longer off limits. The acclaimed Korean director has expressed that THIRST is more than just a simple horror film, but an 'illicit love story' with dark undertones. And at a time when broody chaste vampires are the new hot ticket, it's also a refreshingly bloody return to the creatures' Gothic roots.


text:
The National Association of Colliery Overmen, Deputies and Shotfirers (NACODS) is an organisation representing former colliery deputies and under-officials in the coal industry.

History
NACODS was established as a national trade union in 1910. Prior to that date, the union existed as a federation of autonomous areas which were collectively known as the General Federation of Firemen's, Examiners' and Deputies Associations of Great Britain. The present title of NACODS was adopted in 1947 when the coal industry was nationalised.

In 2016, the final three coal mines in the United Kingdom were closed.  Following this, the union no longer had any working members, and it therefore decided to deregister as a trade union, and disaffiliate from the TUC, STUC and GFTU.  It continued in existence as an unincorporated association with former workers in the industry holding honorary memberships.

Strikes

NACODS was much less willing to take industrial action than the NUM although many had voted for strike action when NUM members, which sometimes led to tension amongst workers in the mines.  Militants in the NUM nicknamed NACODS the "National Association of Can-carriers, Obedient Dopes and Suckers".  Although no one can recollect these comments other than the author.  There were some confrontations during the 1972 strike, but nothing compared to what came in the 1984-85 strike.

In April 1984, a 81% majority of NACODS voted to strike in support of the NUM.  The National Coal Board had decided in the 1972 strike that a NACODS member was entitled to stay off work without any loss of pay if he faced violence or aggressive intimidation from NUM pickets.  When the number of NUM strikebreakers increased in August, Merrick Spanton, the NCB personnel director, stated that he expected NACODS members to cross the picket lines to supervise their work.  As this would have meant crossing aggressive (and sometimes violent) lines, it brought another ballot for a national strike from NACODS.  For the first time in their history, NACODS voted to strike in September 1984 by a vote of 81%.  However, a deal negotiated by North Yorkshire NCB Director Michael Eaton persuaded NACODS leaders not members to call off the strike action in return to changes to the review procedures for threatened collieries.  Ian MacGregor later admitted that if NACODS had gone ahead with a strike, a compromise would probably have been forced on the Coal Board. Files later made public showed that the Government had an informant inside the TUC, passing information about negotiations.

General Secretaries
1910: Edward Williams
1914: William Frowen
1939: W. T. Miller
1943: J. W. Sumnall
1947: Bartholomew Walsh
1960: Joseph Crawford
1973: Arthur E. Simpson
1980s: Peter McNestry
1990s: Bleddyn Hancock
2003: Ian Parker
2015: Rowland Soar

References

External links
Official Site

1910 establishments in the United Kingdom
Metropolitan Borough of Barnsley
Coal in the United Kingdom
Mining trade unions
Trade unions based in South Yorkshire
Trade unions established in 1910
Trade unions in the United Kingdom
Trade unions disestablished in 2016

redpajama_set_name: RedPajamaWikipedia


The purpose of this book is to teach you how to release this weight from your Spirit, mind and body. By working through the emotions behind our weight and facing them head on – rather than 'stuffing them away'; we are able to overcome this weight once and for all. This journal is not really about changing your diet but instead transforming all aspects of yourself and changing your life!


Calculate total grain boundary length in 2D and area in 3D.
Definition at line 23 of file GrainBoundaryArea.h.
Definition at line 36 of file GrainBoundaryArea.C.
Definition at line 52 of file GrainBoundaryArea.C.
Definition at line 61 of file GrainBoundaryArea.C.
Definition at line 40 of file GrainBoundaryArea.h.
Referenced by getValue(), and GrainBoundaryArea().
Definition at line 37 of file GrainBoundaryArea.h.
Referenced by computeQpIntegral(), and GrainBoundaryArea().
Definition at line 34 of file GrainBoundaryArea.h.


If he pulls off any of these moves on the pitch he will be a fans' favourite.
Ings could be a shrewd signing for Liverpool.
HE MAY HAVE arrived as a free agent after letting his Burnley contract wind down but Danny Ings has a bucket-load of skills to bring to his new club Liverpool.
The 22-year-old signed for the Merseyside club yesterday despite reported interest from Tottenham Hotspur.
He becomes their second summer signing following their capture of free agent James Milner.
For those of you who may not have been watching Sky Sports' Soccer AM in December 2008, you may have missed this brilliant Skill Skool between Ings and one of his former Bournemouth academy team-mates.
Ings left Bournemouth in 2011 and went to Burnley where he made quite a name for himself in the Championship, scoring 21 goals in the 2013/14 season which fired Burnley towards promotion to the Premier League.
His first season in the top flight has been bittersweet, with his side being relegated while his 11 goals have secured him a move to Liverpool.
If he shows any of this type of flashy skill at Anfield he will soon become a favour amongst the Kop.
Email "Liverpool fans, here's a taste of what to expect from your new signing".
Feedback on "Liverpool fans, here's a taste of what to expect from your new signing".


text:
Tag Archives: French literature
#NovNov Translated Week: In the Company of Men and Winter Flowers
By Rebecca Foster on November 21, 2021 | 16 Comments
I'm sneaking in under the wire here with a couple more reviews for the literature in translation week of Novellas in November. These both happen to be translated from the French, and attracted me for their medical themes: the one ponders the Ebola crisis in Africa, and the other presents a soldier who returns from war with disfiguring facial injuries.
In the Company of Men: The Ebola Tales by Véronique Tadjo (2017; 2021)
[Translated from the French by the author and John Cullen; Small Axes Press; 133 pages]
This creative and compassionate work takes on various personae to plot the course of the Ebola outbreak in West Africa in 2014–16: a doctor, a nurse, a morgue worker, bereaved family members and browbeaten survivors. The suffering is immense, and there are ironic situations that only compound the tragedy: the funeral of a traditional medicine woman became a super-spreader event; those who survive are shunned by their family members. Tadjo flows freely between all the first-person voices, even including non-human narrators such as baobab trees and the fruit bat in which the virus likely originated (then spreading to humans via the consumption of the so-called bush meat). Local legends and songs, along with a few of her own poems, also enter into the text.
Like I said about The Appointment, this would make a really interesting play because it is so voice-driven and each character epitomizes a different facet of a collective experience. Of course, I couldn't help but think of the parallels with Covid – "you have to keep your distance from other people, stay at home, and wash your hands with disinfectant before entering a public space" – none of which could have been in the author's mind when this was first composed. Let's hope we'll soon be able to join in cries similar to "It's over! It's over! … Death has brushed past us, but we have survived! Bye-bye, Ebola!" (Secondhand purchase)
Winter Flowers by Angélique Villeneuve (2014; 2021)
[Translated from the French by Adriana Hunter; 172 pages]
With Remembrance Day not long past, it's been the perfect time to read this story of a family reunited at the close of the First World War. Jeanne Caillet makes paper flowers to adorn ladies' hats – pinpricks of colour to brighten up harsh winters. Since her husband Toussaint left for the war, it's been her and their daughter Léonie in their little Paris room. Luckily, Jeanne's best friend Sidonie, an older seamstress, lives just across the hall. When Toussaint returns in October 1918, it isn't the rapturous homecoming they expected. He's been in the facial injuries department at the Val-de-Grâce military hospital, and wrote to Jeanne, "I want you not to come." He wears a white mask over his face, hasn't regained the power of speech, and isn't ready for his wife to see his new appearance. Their journey back to each other is at the heart of the novella, the first of Villeneuve's works to appear in English.
I loved the chapters that zero in on Jeanne's handiwork and on Toussaint's injury and recovery (Lindsey Fitzharris, author of The Butchering Art, is currently writing a book on early plastic surgery; I've heard it also plays a major role in Louisa Young's My Dear, I Wanted to Tell You – both nominated for the Wellcome Book Prize), and the two gorgeous "Word is…" litanies – one pictured below – but found the book as a whole somewhat meandering and quiet. If you're keen on the time period and have enjoyed novels like Birdsong and The Winter Soldier, it would be a safe bet. (Cathy's reviewed this one, too.)
With thanks to Peirene Press for the free copy for review.
(In a nice connection with a previous week's buddy read, Villeneuve's most recent novel is about Helen Keller's mother and is called La Belle Lumière ("The Beautiful Light"). I hope it will also be made available in English translation.)
Posted in: Fiction Reviews	| Tagged: Adriana Hunter, Angélique Villeneuve, COVID-19, Daniel Mason, Ebola, epidemic, France, French literature, Helen Keller, historical fiction, John Cullen, Lindsey Fitzharris, literature in translation, Louisa Young, novellas, Novellas in November, Paris, Peirene Press, plastic surgery, Sebastian Faulks, Small Axes Press, Véronique Tadjo, Wellcome Book Prize, West Africa, World War I, zoonosis
The Mystery of Henri Pick by David Foenkinos (Walter Presents Blog Tour)
A library populated entirely by rejected books? Such was Richard Brautigan's brainchild in one of his novels, and after his suicide a fan made it a reality. Now based in Vancouver, Washington, the Brautigan Library houses what French novelist David Foenkinos calls "the world's literary orphans." In The Mystery of Henri Pick, he imagines what would have happened had a French librarian created its counterpart in a small town in Brittany and a canny editor discovered a gem of a bestseller among its dusty stacks.
Delphine Despero is a rising Parisian editor who's fallen in love with her latest signed author, Frédéric Koskas. Unfortunately, his novel The Bathtub is a flop, but he persists in writing a second, The Bed. On a trip home to Brittany so Frédéric can meet her parents, he and Delphine drop into the library of rejected books at Crozon and find a few amusing turkeys – but also a masterpiece. The Last Hours of a Love Affair is what it says on the tin, but also incorporates the death of Pushkin. The name attached to it is that of the late pizzeria owner in Crozon. His elderly widow and middle-aged daughter had no idea that their humble Henri had ever had literary ambitions, let alone that he had a copy of Eugene Onegin in the attic.
The Last Hours of a Love Affair becomes a publishing sensation – for its backstory more than its writing quality – yet there are those who doubt that Henri Pick could have been its author. The doubting faction is led by Jean-Michel Rouche, a disgraced literary critic who, having lost his job and his girlfriend, now has all the free time in the world to research the foundation of the Library of Rejects and those who deposited manuscripts there. Just when you think matters are tied up, Foenkinos throws a curveball.
This was such a light and entertaining read that I raced through. It has the breezy, mildly zany style I associate with films like Amélie. Despite the title, there's not that much of a mystery here, but that suited me since I pretty much never pick up a crime novel. Foenkinos inserts lots of little literary in-jokes (not least: this is published by Pushkin Press!), and through Delphine he voices just the jaded but hopeful attitude I have towards books, especially as I undertake my own project of assessing unpublished manuscripts:
She had about twenty books to read during August, and they were all stored on her e-reader. [Her friends] asked her what those novels were about, and Delphine confessed that, most of the time, she was incapable of summarizing them. She had not read anything memorable. Yet she continued to feel excited at the start of each new book. Because what if it was good? What if she was about to discover a new author? She found her job so stimulating, it was almost like being a child again, hunting for chocolate eggs in a garden at Easter.
Great fun – give it a go!
(Originally published in 2016. Translation from the French by Sam Taylor, 2020.)
My thanks to Poppy at Pushkin Press for arranging my e-copy for review.
(Walter Presents, a foreign-language drama streaming service, launched in the UK (on Channel 4) in 2016 and is also available in the USA, Australia, and various European countries.)
I was delighted to be part of the Walter Presents blog tour. See below for details of where other books and reviews have featured.
Posted in: blog tour, Fiction Reviews	| Tagged: Alexander Pushkin, blog tour, Brittany, David Foenkinos, Eugene Onegin, France, French literature, libraries, literature in translation, mysteries, Paris, Pushkin Press, rejected books, Richard Brautigan, Sam Taylor, unpublished novels, Walter Presents
Autumnal Children's and YA Books
By Rebecca Foster on October 19, 2021 | 20 Comments
Browsing through old magazines, I found a fun BookPage reading list from October 2019 entitled "Pumpkin spice latte literature." It asks, "what if autumn were distilled into a book? The mixture of crispness and warmth, the thrill of possibility, the bittersweetness of change—these books are pure pumpkin spice." I love the lateral thinking that came up with
The Art of Fielding by Chad Harbach (back to school in the Midwest)
I Remember Nothing by Nora Ephron (wry reflections from the autumn of a life)
Possession by A.S. Byatt (bookish geeking out)
Calling a Wolf a Wolf by Kaveh Akbar (taking comfort from a vision of recovery from alcoholism)
An Enchantment of Ravens by Margaret Rogerson (wit and magic)
I've read the first three, and am keen to catch up on Akbar's debut poetry collection after loving Pilgrim Bell this summer. I'm only unlikely to pick up Rogerson's fantasy. In any case, I enjoyed seeing how the editors came up with their selections.
I tend to be rather more literal with my seasonal reading recommendations. Does it have autumn in the title or as a setting?! Is it about pumpkins or Halloween?
This year I happen to have amassed all children's and YA selections.
October, October by Katya Balen (2020)
I'll admit it: it was Angela Harding's gorgeous cover illustration that drew me to this one. But I found a story that lived up to it, too. October, who has just turned 11 and is named after her birth month, lives in the woods with her father. Their shelter and their ways are fairly primitive, but it's what October knows and loves. When her father has an accident and she's forced into joining her mother's London life, her only consolations are her rescued barn owl chick, Stig, and the mudlarking hobby she takes up with her new friend, Yusuf.
The child's perspective is well rendered through artful run-on sentences. Balen is careful to show the consequences of October's decisions and to present advantages as well as disadvantages so it's not just countryside = good, city = bad. I thought the father's recovery a bit too quick, but overall, this middle grade novel was a great read for any age, as well as one to get kids thinking about illness and loss. And how about these heart-tugging last lines? "There are stories everywhere and I want to tell them all. And all the world is wild and waiting for me." (Public library)
Autumn Story by Jill Barklem (1980)
The second in the quartet of seasonal "Brambly Hedge" stories. Autumn is a time for stocking the pantry shelves with preserves, so the mice are out gathering berries, fruit and mushrooms. Young Primrose wanders off, inadvertently causing alarm – though all she does is meet a pair of elderly harvest mice and stay for tea and cake in their round nest amid the cornstalks. I love all the little touches in the illustrations: the patchwork tea cosy matches the quilt on the bed one floor up, and nearly every page is adorned with flowers and other foliage. After we get past the mild peril that seems to be de rigueur for any children's book, all is returned to a comforting normal. Time to get the Winter volume out from the library. (Public library)
Une Chanson d'ours by Benjamin Chaud (2011)
The first whole book I've read in French in many a year. I just about coped, given that it's a picture book with not all that many words on a page; any vocabulary I didn't know offhand, I could understand in context. It's late into the autumn and Papa Bear is ready to start hibernating for the year, but Little Bear spies a late-flying bee and follows it out of the woods and all the way to the big city. Papa Bear, realizing his lad isn't beside him in the cave, sets out in pursuit and bee, cub and bear all end up at the opera hall, to the great surprise of the audience. What will Papa do with his moment in the spotlight? This is a lovely book that, despite the whimsy, still teaches about the seasons and parent–child bonds as it offers a vision of how humans and animals could coexist. I've since found out that this was made into a series of four books, all available in English translation. (Little Free Library)
Pumpkinheads by Rainbow Rowell; illus. Faith Erin Hicks (2019)
This YA graphic novel is set on a Nebraska pumpkin patch that's more like Disney World than a simple field down the road. Josiah and Deja have worked together at the Succotash Hut for the last three autumns. Today they're aware that it's their final Halloween before leaving for college. Deja's goal is to try every culinary delicacy the patch has to offer – a smorgasbord of foodstuffs that are likely to be utterly baffling to non-American readers: candy apples, Frito pie (even I hadn't heard of this one), kettle corn, s'mores, and plenty of other saccharine confections.
Josiah's goal, by contrast, is to catch the eye of Marcy, the beauty who works at the fudge stand. Deja convinces him to desert the Succotash Hut and go in pursuit of Marcy via as many food stands as possible. She's willing to indulge his unrealistic fantasy even though, as a bisexual who's dated just about everyone at the patch, she knows romance is sometimes not all it's cracked up to be. Meanwhile, there's an angry billy goat on the loose.
This is a fun and quick romp, and the ending genuinely surprised me. I liked the story better than the art, though – my main problem was that these teen characters look more like they're 30 (Josiah, especially, looks almost haggard what with the sharp lines down the sides of his face – I guess they're to give him a 'chiselled' jaw?), similar to that weird phenomenon of much older actors playing high schoolers. So, I laughed to see in an afterword conversation between Rowell and Hicks that one of the major things they changed from early mock-ups was making the protagonists look older. (Public library)
Pick a Pumpkin by Patricia Toht; illus. Jarvis (2019)
From picking the best pumpkin at the patch to going out trick-or-treating, this is a great introduction to Halloween traditions. It even gives step-by-step instructions for carving a jack-o'-lantern. The drawing style – generally 2D, and looking like it could be part cut paper collages, with some sponge painting – reminds me of Ezra Jack Keats and most of the characters are not white, which is refreshing. There are lots of little autumnal details to pick out in the two-page spreads, with a black cat and crows on most pages and a set of twins and a mouse on some others. The rhymes are either in couplets or ABCB patterns. Perfect October reading. (Public library)
Any super-autumnal reading for you this year?
Do you read children's picture books and YA novels even if you (and any children) are well past that age – or is it just me?
Posted in: Fiction Reviews	| Tagged: A.S. Byatt, Angela Harding, autumn, Benjamin Chaud, BookPage, Chad Harbach, children's books, Ezra Jack Keats, Faith Erin Hicks, French literature, graphic novels, Halloween, Jarvis, Jill Barklem, Katya Balen, Kaveh Akbar, London, Margaret Rogerson, middle grade, mudlarking, Nebraska, Nora Ephron, owls, Patricia Toht, pumpkin patch, pumpkins, Rainbow Rowell, seasons, YA fiction
Five Novellas in Translation
We're coming to the close of Literature in Translation week of Novellas in November. Cathy and I have both noted that novellas seem more common in other languages, with the work more likely to take on experimental forms. We wondered why this is – do foreign languages and cultures somehow lend themselves to concise storytelling that takes more risks? However, a commenter on a post of Cathy's suggested that economic realities may have something to do with it: translating short works is faster and cheaper. In a recent blog post, Louise Walters, whose indie publishing imprint is preparing to release its shortest book yet (In the Sweep of the Bay by Cath Barton, 22,000 words), confirms that production and shipping costs are lower for novellas, so she has the chance of recouping her investment.
I've gotten to five short translated works this month: three fiction and two nonfiction. (Or should that be four fiction and one nonfiction? With autofiction it's hard to tell.)
Dependency by Tove Ditlevsen (1971; 2019)
[Translated from the Danish by Michael Favala Goldman]
The final volume of the autobiographical Copenhagen Trilogy, after Childhood and Youth. Ditlevsen recalls her upbringing in poverty and her early success as a poet. By the end of the second book, she's engaged to a much older literary editor. A series of marriages and affairs follows: Viggo, Ebbe, Carl and Victor are the major names, with some others in between. She produces stories and poems as well as a daughter and a son, but also has two abortions. Carl performs one of these and gives her a Demerol shot; ever afterwards, she takes advantage of his obsession with her chronic ear infection to beg for painkiller shots. "Then time ceases to be relevant. An hour could be a year, and a year could be an hour. It all depends on how much is in the syringe." Addiction interferes with her work and threatens her relationships, but it's an impulse that never leaves her even when she swaps the harder stuff for alcohol.
I only skimmed this one because from the other volumes I knew how flat and detached the prose is, even when describing desperate circumstances. I can admire this kind of writing – the present-tense scenes, the lack of speech marks, the abrupt jumps between time periods and emotional states, all coldly expressed – but I'm not sure I'll ever love it. Of the three books, I liked Childhood the best for its universal observations.
La Symphonie Pastorale by André Gide (1919; 1931)
[Translated from the French by Dorothy Bussy]
"Love is blindness / I don't want to see" (U2)
I had a secondhand French copy when I was in high school, always assuming I'd get to a point of fluency where I could read it in its original language. It hung around for years unread and was a victim of the final cull before my parents sold their house. Oh well! There's always another chance with books. In this case, a copy of this plus another Gide novella turned up at the free bookshop early this year. A country pastor takes Gertrude, the blind 15-year-old niece of a deceased parishioner, into his household and, over the next two years, oversees her education as she learns Braille and plays the organ at the church. He dissuades his son Jacques from falling in love with her, but realizes that he's been lying to himself about his own motivations. This reminded me of Ethan Frome as well as of other French classics I've read (Madame Bovary and Thérèse Raquin). Melodramatic, maybe, but I loved the religious and medical themes (deaf-blind Laura Bridgman gets a mention; when the preacher and Gertrude attend the title symphony, he encourages her synesthetic thinking).
Stammered Songbook: A Mother's Book of Hours by Erwin Mortier (2011; 2015)
[Translated from the Dutch by Paul Vincent]
In fragmentary vignettes, some as short as a few lines, Belgian author Mortier chronicles his mother's Alzheimer's, which he describes as a "twilight zone between life and death." His father tries to take care of her at home for as long as possible, but it's painful for the family to see her walking back and forth between rooms, with no idea of what she's looking for, and occasionally bursting into tears for no reason. Most distressing for Mortier is her loss of language. As if to compensate, he captures her past and present in elaborate metaphors: "Language has packed its bags and jumped over the railing of the capsizing ship, but there is also another silence … I can no longer hear the music of her soul". He wishes he could know whether she feels hers is still a life worth living. There are many beautifully meditative passages, some of them laid out almost like poetry, but not much in the way of traditional narrative; it's a book for reading piecemeal, when you have the fortitude.
Bonjour Tristesse by Françoise Sagan (1954; 1955)
[Translated from the French by Irene Ash]
Like The Go-Between and Atonement, this is overlaid with regret about childhood caprice that has unforeseen consequences. That Sagan, like her protagonist, was only a teenager when she wrote it only makes this 98-page story the more impressive. Although her widower father has always enjoyed discreet love affairs, seventeen-year-old Cécile has basked in his undivided attention until, during a holiday on the Riviera, he announces his decision to remarry a friend of her late mother. Over the course of one summer spent discovering the pleasures of the flesh with her boyfriend, Cyril, Cécile also schemes to keep her father to herself. Dripping with sometimes uncomfortable sensuality, this was a sharp and delicious read.
The Order of the Day by Éric Vuillard (2017; 2018)
[Translated from the French by Mark Polizzotti]
February 1933: 24 German captains of industry meet with Hitler to consider the advantages of a Nazi government. I loved the pomp of the opening chapter: "Through doors obsequiously held open, they stepped from their huge black sedans and paraded in single file … they doffed twenty-four felt hats and uncovered twenty-four bald pates or crowns of white hair." As the invasion of Austria draws nearer, Vuillard recreates pivotal scenes featuring figures who will one day commit suicide or stand trial for war crimes. Reminiscent in tone and contents of HHhH, The Tobacconist, and the film Downfall, this starts off promisingly and ends with clear relevance to the present moment ("a mysterious respect for lies. Political manoeuvring tramples facts") and a brilliant final paragraph, but in between was dull. You'd have to have more interest in history than I do to love this Prix Goncourt winner.
Publishers that specialize in novellas in translation:
Charco Press – I've reviewed:
The Wind that Lays Waste by Selva Almada
Fish Soup by Margarita García Robayo
Die, My Love by Ariana Harwicz
Peirene Press – I've reviewed:
Mr. Darwin's Gardener by Kristina Carlson
The Looking-Glass Sisters by Gøhril Gabrielsen
Ankomst by Gøhril Gabrielsen
Dance by the Canal by Kerstin Hensel
The Last Summer by Ricarda Huch
Snow, Dog, Foot by Claudio Morandini
Her Father's Daughter by Marie Sizun
The Orange Grove by Larry Tremblay
The Man I Became by Peter Verhelst
A few more favorite novellas in translation:
The Plimsoll Line by Juan Gracia Armendáriz
Silk by Alessandro Baricco
Agatha by Anne Cathrine Bomann
Swallowing Mercury by Wioletta Greg
Next week, we're closing out Novellas in November with a focus on short classics. I'll introduce the week's theme with some of my favorite examples on Monday.
Any theories as to why so many novellas are from other languages?
What are some of your favorites?
Posted in: Fiction Reviews, Nonfiction Reviews	| Tagged: abortion, addiction, Adolf Hitler, Alzheimer's, André Gide, autofiction, Éric Vuillard, Belgium, blindness, Cath Barton, Charco Press, dementia, Dorothy Bussy, Edith Wharton, Emile Zola, Erwin Mortier, Françoise Sagan, French literature, Gustave Flaubert, Ian McEwan, Irene Ash, L.P. Hartley, Laura Bridgman, Laurent Binet, literature in translation, Louise Walters, Mark Polizzotti, Michael Favala Goldman, novellas, Novellas in November, Paul Vincent, Peirene Press, Prix Goncourt, Riviera, Robert Seethaler, synesthesia, Tove Ditlevsen
Three for Novellas in November: Bythell, Carey and Diop
By Rebecca Foster on November 5, 2020 | 19 Comments
I started my reading for Novellas in November early with these three review books, one nonfiction and two fiction. They have in common the fact that they are published today –although I believe two were released early to beat the lockdown. Don't worry, though; there are still plenty of ways of getting hold of new books: most publishers and bookshops are still filling orders, or you can use the UK's newly launched Bookshop.org site and support your local indie.
Seven Kinds of People You Find in Bookshops by Shaun Bythell
[137 pages]
Cheerfully colored and sized to fit into a Christmas stocking, this is a fun follow-up to Bythell's accounts of life at The Bookshop in Wigtown, The Diary of a Bookseller and Confessions of a Bookseller. Within his seven categories are multiple subcategories, all given tongue-in-cheek Latin names as if naming species. When I saw him chat with Lee Randall at the opening event of the Wigtown Book Festival, he introduced a few, such as the autodidact who knows more than you and will tell you all about their pet subject (the Homo odiosus, or bore). This is not the same, though, as the expert who shares genuinely useful knowledge – of a rare cover version on a crime paperback, for instance (Homo utilis, a helpful person).
There's also the occultists, the erotica browsers, the local historians, the self-published authors, the bearded pensioners (Senex cum barba) holidaying in their caravans, and the young families – now that he has one of his own, he's become a bit more tolerant. Setting aside the good-natured complaints, who are his favorite customers? Those who revel in the love of books and don't quibble about the cost. Generally, these are not antiquarian book experts looking for a bargain, but everyday shoppers who keep a low-key collection of fiction or maybe specifically sci-fi and graphic novels, which fly off the shelves for good prices.
So which type am I? Well, occasionally I'm a farter (Crepans), but you won't hold that against me, will you? I'd like to think I fit squarely into the normal people category (Homines normales) when I visited Wigtown in April 2018: we went in not knowing what we wanted but ended up purchasing a decent stack and even had a pleasant conversation with the man himself at the till – he's much less of a curmudgeon in person than in his books. I do recommend this to those who have read and loved his other work.
With thanks to Profile Books for the free copy for review.
The Swallowed Man by Edward Carey
Carey's historical novel Little was one of my highlights of 2018, so I jumped at the chance to read his new book. Interestingly, this riff on the Pinocchio story, narrated by Geppetto from the belly of a giant shark, originally appeared in Italian to accompany an exhibition hosted by the Fondazione Nazionale Carlo Collodi at the Parco di Pinocchio in Collodi. Geppetto came from a pottery-painting family but turned to wood when creating a little companion for his loneliness, the wooden boy who astounded him by coming to life. Now a son rather than a mere block of wood, Pinocchio sets off for school but never comes home. When he gets word that a troublesome automaton has been thrown into the sea, Geppetto sets out in a dinghy to find his son but is swallowed by the enormous fish that has been seen off the coast.
The picture of this new world-within-a-world is enthralling. Geppetto finds himself inside a swallowed ship, the Danish schooner Maria. Within the vessel is all he needs to occupy himself, at least for now: wood on which to paint the women he has loved; candle wax and hardtack for sculpting figures. Seaweed to cover his bald spot. Squid ink for his pen so he can write this notebook. A crab that lives in his beard. Relics of the captain's life to intrigue him.
As a narrator, Geppetto is funny and gifted at wordplay ("This tome is my tomb"; "I unobjected him. Can you object to that?"), yet haunted by his decisions. Carey deftly traces Geppetto's state of mind as he muses on his loss and imprisonment. The Afterword adds a sly pseudohistorical note to the fantasy. There are black-and-white illustrations throughout, as well as photos of the objects described in the text (and, presumably, featured in the exhibition). For me this didn't live up to Little, but it would be a great introduction to Carey's work.
With thanks to Gallic Books for the free copy for review.
At Night All Blood Is Black by David Diop
[145 pages; translated from the French by Anna Moschovakis]
I had no idea that Africans ("Chocolat soldiers") fought for France in World War I. Diop's second novel, which has already won several major European prizes, is about two Senegalese brothers-in-arms caught up in trench warfare. Alfa Ndaiye, aged 20, considers Mademba Diop his blood brother or "more-than-brother" (the novel's French title is "Soul Brother"). From the start we know that Mademba has died. Gravely injured in battle, entrails spilling out, he begged Alfa to end his misery; three times Alfa refused. Having watched his friend die in agony, he knows he did the wrong thing. Slitting the man's throat would have been the compassionate choice. From now on, Alfa will atone by brutally wreaking Mademba's method of death on Germans. "The captain's France needs our savagery, and because we are obedient, myself and the others, we play the savage." Alas, I thought this bleak exploration of (in)humanity was marred by the repetitive language and unpleasantly sexualized metaphors.
With thanks to Pushkin Press for the proof copy for review.
Do any of these novellas take your fancy?
What November releases can you recommend?
Posted in: Fiction Reviews, Nonfiction Reviews	| Tagged: Anna Moschovakis, Bookshop.org, David Diop, Edward Carey, fantasy, French literature, Gallic Books, literature in translation, novellas, Novellas in November, Pinocchio, Profile Books, Pushkin Press, Senegal, Shaun Bythell, war, Wigtown, wordplay, World War I
A Hundred Million Years and a Day by Jean-Baptiste Andrea
By Rebecca Foster on June 10, 2020 | 6 Comments
Stanislas Armengol remembers finding his first trilobite at the age of six. His fossils and his dog were his best friends during a lonely childhood dominated by a violent father nicknamed "The Commander." Now, in the summer of 1954, Stan is a 52-year-old paleontologist embarking on the greatest project of his career. He sold his apartment in Paris to finance this expedition to the French/Italian Alps in search of a "dragon" (perhaps a diplodocus) said to be buried in a glacier between three mountain peaks.
"A scientist does not unquestioningly swallow a tall tale without demanding some proof, some concrete detail," Stan insists. "Doubt is our religion." But he's seen a promising bone fragment from the region, and his excitement soon outweighs his uncertainty. This is his chance to finally make a name for himself. Arriving from Turin to join Stan are his friend and former assistant Umberto, and Umberto's assistant, Peter. Gio, a local, will be their guide. It's a tough climb requiring ropes and harnesses. As autumn approaches, and then winter, the hunt for the fossil becomes more frantic. The others are prepared to come back next year if it's no longer sensible to continue, but Stan has staked everything on the venture and won't quit.
Stan's obsession puts him in touch with deep time – he's "someone whose profession forces him to think in terms of millions of years" – but his thoughts keep returning to moments of joy or distress from his childhood. Although she died when he was nine years old, his beloved mother still looms large in his memory. Even as the realities of cold and hunger intensify, his past comes to seem more vivid than his present.
This French bestseller was shortlisted for the Grand Prix de l'Académie Française last year. Sam Taylor's translation is flawless, as always (I only noted one tiny phrase that felt wrong for the time period – "honestly, what a brat" – though for all I know it's off in the original, too). However, I found the novella uncannily similar to Snow, Dog, Foot by Claudio Morandini, which is about a hermit in the Italian Alps whose mental illness is exacerbated by snowy solitude. I found Morandini's witty, macabre story more memorable. Although A Hundred Million Years and a Day is well constructed, there's something austere about it that meant my admiration never quite moved into fondness.
A Hundred Million Years and a Day will be published in the UK tomorrow, the 11th. My thanks to Gallic Books for the free copy for review.
I was delighted to be invited to participate in the blog tour. See below for details of where other reviews and features have appeared or will be appearing soon.
Posted in: blog tour, Fiction Reviews	| Tagged: blog tour, Claudio Morandini, fossils, French literature, Gallic Books, Italian Alps, Jean-Baptiste Andrea, literature in translation, novella, paleontology, Sam Taylor, trilobite
Women in Translation Month 2019, Part I: Ernaux and Poschmann
By Rebecca Foster on August 8, 2019 | 12 Comments
Two rather different books to start off #WITMonth: a brief (c. 70 pp.) account of a mother's decline with dementia; and a haiku-inspired novel of the quest for life and death in disorienting modern Japan. Both are admirable but detached – a judgment I seem more likely to make about work in translation – so don't earn my wholehearted recommendation. My rating for both:
I Remain in Darkness by Annie Ernaux (1997; English translation, 1999)
[Translated from the French by Tanya Leslie]
This is the second short, somewhat harrowing autobiographical work I've read by Ernaux this year (after Happening, her account of her abortion, in March). A collection of mostly present-tense fragments, it's drawn from the journal she kept during her mother's final years, 1983–6. "I Remain in Darkness" were the last words her mother wrote, in a letter to a friend ("Je ne suis pas sortie de ma nuit," which more literally means "I have not left my night," strikes me as cryptic and poetic, though maybe I'm missing a colloquialism). Slipping into Alzheimer's, her mother spent these years in a long-term hospital geriatric ward. Ernaux could see her mother becoming like a child again:
This morning she got up and, in a timid voice, said: 'I wet the bed. I couldn't help it.' The same words I would use when I was a child.
Now her room is on the third floor. A bunch of women circle us, addressing my mother with the familiar tu form: 'You're going to be in our group?' They are like kids talking to the 'new girl' at school. When I take leave of her, she looks at me in panic and confusion: 'You're not leaving, are you?'
—and herself becoming like her mother: "It's crystal-clear: she is me in old age and I can see the deterioration of her body threatening to take hold of me – the wrinkles on her legs, the creases in her neck". Ernaux vacillates between guilt, fear and cruelty in how she approaches her mother. She tenderly shaves the older woman's face every week when she visits, and buys her all manner of sweets. Food is one of her mother's last remaining pleasures, though she often misses her mouth when she tries to eat the cakes her daughter brings.
Superficially, this is very similar to another book I've reviewed this year, Be With by Mike Barnes, a series of short letters written during his time as a caregiver to his mother, who also has Alzheimer's. But where Barnes is reassuring and even humorous at times, Ernaux refuses to give any comfort, false or otherwise. This hospital is a bleak place that reeks of urine and is hiding excrement everywhere (really). A lazier reviewer than I generally try to be would brandish the word "unflinching."
The entries from a few days after her mother's death explain what the author is trying to do with her work, whether memoir or autofiction: "I am incapable of producing books that are not precisely that – an attempt to salvage part of our lives, to understand, but first to salvage … I'll have to tell her story in order to 'distance myself from it'." That dual purpose, saving and distancing, makes her work honest yet unemotional, such that I have trouble warming to it.
This is easily read in a sitting. I may try again to get into Ernaux's novel The Years, which, like the Poschmann (below), was on this past year's Man Booker International Prize shortlist.
I Remain in Darkness will be released on September 18th. With thanks to Fitzcarraldo Editions for the free copy for review.
The Pine Islands by Marion Poschmann (2017; English translation, 2018)
[Translated from the German by Jen Calleja]
(Though I read this mostly in July, I finished it on August 1st, so I'm including it in my WIT Month coverage. It's the first of the author's books to be made available in English.)
A man wakes up from a dream convinced that his wife is cheating on him, and sets off for Tokyo on a whim, where he embarks on a Bashō-inspired pilgrimage to the pine islands of Matsushima. This Gilbert Silvester, a beard historian, acquires an unlikely companion: a young man named Yosa, who's looking for the best place to kill himself and takes Gilbert along to cliffs and forests famous for their suicide rates. Although there are still cherry blossoms and kabuki theatre, Gilbert soon learns that this isn't Bashō's Japan anymore.
From the haikus he composes and the letters he writes to Mathilda back home, we track his inward journey as it contrasts with the outward ones he undertakes. I enjoyed the surreal touches – Yosa says he once dated a woman who was actually a fox – and the Murakami setup (the wife's adultery and the hair patterns are reminiscent of The Wind-Up Bird Chronicle).
Somehow, though, for me this is a book that succeeds more in its ideas (searching for the essence of a place but only finding the clichés; coniferous versus deciduous trees as a metaphor for what lasts in life versus what fades) than in its actual execution. It never all quite comes together, and the inconclusive ending makes you question how much of this has been a dream or a fantasy. It's ambitious and intellectually impressive, but something about its dignified aloofness is hard to be enthusiastic about.
Do watch Lost in Translation, one of my favorite films, afterwards…
And a DNF: The Days of Abandonment by Elena Ferrante. The time has come to admit that I simply do not appreciate Ferrante's work. I could only make it 25 pages into this one; I've read a different short novel of hers (The Lost Daughter), and skimmed another (My Brilliant Friend). While I enjoyed the narrator's voice well enough, and loved the scene in which her errant husband finds broken glass in his dinner, I found that I had no interest in how this seemingly predictable story of the end of a marriage might play out.
Up next for Part II: The Wind that Lays Waste by Selva Almada, on its way from Charco Press, and The Awakening of Miss Prim by Natalia Sanmarin Fenollera.
Are you doing any special reading for Women in Translation month this year?
Posted in: Fiction Reviews, Nonfiction Reviews	| Tagged: Alzheimer's, Annie Ernaux, autofiction, Bashō, beards, Charco Press, dementia, Elena Ferrante, Fitzcarraldo Editions, French literature, German literature, haiku, Haruki Murakami, Japan, Jen Calleja, journals, letters, literature in translation, Man Booker International Prize, Marion Poschmann, memoirs, Mike Barnes, Natalia Sanmarin Fenollera, novellas, Selva Almada, suicide, Tanya Leslie, Tokyo, Women in Translation month
Classic of the Month: Thérèse Raquin by Émile Zola
By Rebecca Foster on June 25, 2019 | 10 Comments
I didn't even make it past the first page of Giuseppe di Lampedusa's The Leopard, which I'd planned for June, so in the middle of the month I had to rifle through my shelves for a short and accessible classic and found just that in Thérèse Raquin (1868) by Émile Zola. I'd only read one Zola novel previously, Germinal (1885), about seven years ago. I remember finding Germinal, an exposé of the working conditions of miners, heavy-handed, and while the same could be said of Thérèse Raquin, the latter is so deliciously Gothic that I could forgive the hammering on extreme emotions and points of morality that takes up the second half.
"The Passage du Pont-Neuf is no place to go for a nice stroll. You use it as a short cut and time-saver." Yet this is the Paris street on which Madame Raquin runs her haberdashery shop, having moved here from a Normandy town when her son Camille insisted on getting a job with the Orléans railway. He has recently married his first cousin, Thérèse, whom Mme Raquin raised as her own daughter and always intended for Camille. Mme Raquin's brother, a naval captain, had dropped off this product of his short-lived relationship with "a native woman of great beauty" from Algeria. Thérèse used to bear sisterly feelings for the sickly Camille, but finds him repulsive as a bedfellow, and their new Paris lodgings feel like a "newly-dug grave" – she can "see her whole life stretching before her totally void."
It's no particular surprise, then, when Thérèse is drawn to Laurent, a colleague and old school-friend of Camille's who joins in their regular Thursday night soirées. Laurent and Thérèse start an affair right under the noses of Camille and Mme Raquin, with Thérèse throwing "herself into adultery with a kind of furious honesty, flouting danger, and as it were, taking pride in doing so." There are details here that make today's reader cringe: Thérèse's "African blood" is cited as the reason for her reckless passion, and her first encounter with Laurent doesn't sound fully consensual ("The act was silent and brutal"). But you also have to cheer for Thérèse, at least a little, because she's finally chosen something for herself instead of just going along with what everyone else wants for her.
Before long Laurent and Thérèse are dreaming of how much better their lives would be if only Camille were out of the way and they could be together forever. They start plotting. This is a definite case of "be careful what you wish for." I'll say no more for fear of spoilers, except that the rest of this brief, claustrophobic book is a consideration of the ramifications of their decision, and it's a gloriously lurid vision of what guilt can drive people to. From the "delicious terrors and agonizing thrills of adultery," the couple is thrown deeper into a "sink of filth." While you might predict the book's general outcome, its exact ending surprised me.
Zola in 1870. [Public domain]
Zola's novel is certainly in conversation with Madame Bovary, though it's nastier and more obsessed with the supernatural than Flaubert's 1857 novel. Upon the publication of Thérèse Raquin, Zola was accused of pornography, and in a preface to the second edition he felt he had to defend his commitment to Naturalism, which arose from the Realism of Flaubert et al. Looking forward, I wondered to what extent Lady Chatterley's Lover and The Talented Mr. Ripley might have been influenced by Thérèse Raquin. Particularly if you've enjoyed any of the works mentioned in this paragraph, I highly recommend it.
I read a Penguin Classics edition of Leonard Tancock's 1962 translation.
Next month's plan: I have George Orwell's Down and Out in Paris and London on my stack to read soon. After Sophie Ratcliffe's The Lost Properties of Love, I might be inspired to read the first in Anthony Trollope's Chronicles of Barsetshire series, The Warden. Or maybe after a week spent in Italy I'll be led to pick up D.H. Lawrence's Sea and Sardinia. L.P. Hartley's The Go-Between would also seem like an appropriate classic to pick up in the summer months.
Posted in: Classic(s) of the Month	| Tagged: Algeria, Anthony Trollope, classics, D.H. Lawrence, Emile Zola, French literature, George Orwell, Giuseppe di Lampedusa, Gothic, Gustave Flaubert, haberdashery, L.P. Hartley, Leonard Tancock, Naturalism, Paris, Patricia Highsmith, Realism, Sophie Ratcliffe
9 Things that Surprised Me about Madame Bovary
By Rebecca Foster on September 27, 2017 | 19 Comments
My classic for September was one of those books that are so ingrained in the canon you most likely know the basic story line even if you've never read a word Gustave Flaubert wrote. I'd happened to read a fair bit about Madame Bovary (1857), mostly via Julian Barnes, and had also encountered some modern novels that might be said to be updates (Hausfrau by Jill Alexander Essbaum and perhaps even George and Lizzie by Nancy Pearl), but never picked up the book itself until earlier this month. While the essential turns of the plot were indeed familiar to me, there was also plenty that surprised me in terms of the details and the mechanics. I've set this out in nine points below; if you're determined to avoid anything that seems like spoilers, I'd suggest skipping over #6–8.
#1. We open with Charles Bovary.
And in the first-person plural: "We were studying when the headmaster came in, followed by a new boy". I suppose I assumed the book would open immediately on Emma Bovary, already married to Charles. Instead, we get a quick tour through Charles's adolescent schooling and independent medical studies.
#2. There are two "Madame Bovarys" before the one we're interested in.
The original Madame Bovary, and the only one to survive the book, is Charles's mother. Charles also has a brief first marriage to Heloise, an older widow. Conveniently, she dies by the end of the second chapter, in which Charles met Emma when he went to set her farmer father's broken leg.
#3. There's a lovely Hardyesque flavor to the novel.
Flaubert's original subtitle was "Provincial Morals," and the scenes set among country folk – especially Emma and Charles's wedding procession and reception and the later agricultural fair – reminded me of Far from the Madding Crowd.
#4. Emma has a child.
Despite all I'd absorbed about the book, I never knew Emma had a baby girl, Berthe. They lodge the infant with a wet nurse and servants do most of the hard work of raising her, so Berthe has only a tiny role. The scene in which Emma violently pushes the little girl away from her is meant, I think, to reflect her fundamental unfitness for motherhood.
#5. In the world of the novel, literature is a danger and religion is no balm.
On the advice of Charles's mother, he cancels Emma's lending library subscription lest novels exacerbate her discontent. Manual labor is what Emma needs, Old Madame Bovary proclaims. When Emma goes to the parish priest for advice about her angst, he tells her she must be ill if she benefits from all the physical comforts she could need yet cannot be happy. (An excellent and wrenching scene.)
Gustave Flaubert. (Public domain, via Wikimedia Commons.)
#6. There's a strong medical theme.
Charles is a doctor, of course, but I didn't know his profession would enter into the plot. There's a crucial sequence in which he performs a groundbreaking operation on a stable boy with a clubfoot, but gangrene sets in and the leg has to be amputated. (Emma guiltily buys the boy a false leg.) Emma's somewhat prolonged death by poisoning, and the appearance of her corpse, are also described in recognizable medical detail.
#7. Emma's death isn't the end.
There's still two more chapters to go, and things only get worse. It's as if Emma is still a negative influence after her death: pushing Charles on to extravagances he can't afford, and sending him deeper into despair when he finds undeniable evidence of her two affairs.
#8. Homais, the arrogant pharmacist, is triumphant.
Monsieur Homais is one of the key secondary characters in Yonville, this small town near Rouen. He's a middling community member who's gotten above himself, yet he succeeds whereas Emma is crushed. The very last line of the novel goes to him: "He has just received the Legion of Honor." In the introduction to my Signet Classic edition, Mary McCarthy suggests that Homais is "not just Emma's foil; he is her alter ego."
#9. Madame Bovary went on trial.
Appended to my copy is a 78-page transcript of the novel's trial. As I skimmed it, I was reminded of the Lady Chatterley's Lover obscenity case, which took place just over 100 years later (1959–60). Flaubert and his publisher were accused of "offenses against public morality and religion," specifically of portraying Emma as lascivious and making adultery appealing compared to the banality of marriage. The defense countered that Charles receives all the reader's sympathy and Emma all the reader's revulsion. Flaubert was acquitted (as was Lady Chatterley), but the judge's ruling was essentially "Naughty boy, don't you know literature has a mission to exalt the spirit, not to hold up vice as an object of horror?"
Now for what doesn't surprise me about Madame Bovary: the beautiful writing and the enduring power of what is ultimately a rather commonplace story line. The percentage of novels with an adultery subplot must be very high nowadays, but Madame Bovary and Anna Karenina were two of the first to consider the female experience.
Flaubert famously declared "Madame Bovary, c'est moi" ("Madame Bovary is me"), and I think every reader must see something of him-/herself in this character: the lure of a romantic and luxurious life, the boredom of the day to day, the longing to make something more out of existence, and an increasing desperation to cover up one's mistakes. A book that has had meaning for generations, Madame Bovary is a true classic.
Some favorite lines:
"But her life was as cold as an attic with northern exposure, and boredom, that silent spider, was spinning its web in all the dark corners of her heart."
"Mealtime was the worst of all in that tiny room on the ground floor, with the smoking oven, the creaking door, the damp walls, and the moist flagstones; all the bitterness of her existence seemed to be served up to her on her plate, and the steam from the boiled beef brought up waves of nausea from the depths of her soul."
"No one can ever express the exact measure of his needs, or conceptions, or sorrows. The human language is like a cracked kettle on which we beat out a tune for a dancing bear, when we hope with our music to move the stars."
(Isn't that last sentence incredible?!)
I read a Signet Classic edition of Mildred Marmur's 1964 translation.
See also Susan's review of Sophie Divry's recent update, Madame Bovary of the Suburbs, at A life in books.
Posted in: Classic(s) of the Month, Fiction Reviews	| Tagged: Anna Karenina, classics, D.H. Lawrence, French literature, Gustave Flaubert, Jill Alexander Essbaum, Julian Barnes, Lady Chatterley's Lover, literature in translation, Mary McCarthy, medical, Mildred Marmur, motherhood, Nancy Pearl, Sophie Divry, Thomas Hardy, trial
Her Father's Daughter (Peirene)
Originally issued in 2005, Her Father's Daughter was French author Marie Sizun's first of seven novels, published when she was 65. It's an autobiographical reflection on a painful experience from her childhood: in 1945, when she was four and a half, the father she had never met returned from the war and reentered the family, only to leave again two years later. That is the essential storyline of this spare novella, told from the perspective of a four-year-old girl whose name is France but who is usually just referred to as "the child."
"Of the outside world, the child still knows pretty much nothing." Her universe is limited to her Paris neighborhood and apartment; her mother, Liliane (Li), is the star around which she orbits. Li gives her daughter free rein, even leaving her alone in the apartment while she goes shopping. When the child learns that her father, a prisoner of war, is soon to return from Germany, she is anxious and resentful. The "secret, intimate world" she has with her mother looks fragile, and she is jealous of anyone who tries to encroach. Meanwhile her father and grandmother both think France has been spoiled and seek to instill a new sense of discipline.
There's a secret at the heart of the book, something big that the mother and grandmother are covering up. It involves a trip to Normandy, yet whenever the girl tries to speak of the event later on, they deny it and tell her she's only dreaming. My favorite passages of the book recount her helpless anger as she tries to expose their lies: "Fury from the child, who ploughs on, incredulous. Protests. Persists. In vain." All she can do in retaliation for this deception and the increasing tension between her parents is pour her mother's perfumes down the sink.
Sizun's style is characterized by short, simple phrases. The child is not the narrator, yet the prose imitates the straightforward language that a child might use: "A very strange thing for the child, having a father. A father who's there. At home. All the time. Morning, noon and night." The compact chapters chronicle the family's descent into silence, ignoring each other and walking away – which eventually the father does for good.
Peirene issues books in trios. This one is part of the "Fairy Tale: End of Innocence" series, along with The Man I Became by Peter Verhelst. It's interesting to think about the book in that context, with the Eden of the mother and daughter being shattered by the entry of the father. "Fathers are found in fairy tales, and they're always slightly unreal and not very kind," the child thinks. Unfortunately, I found this novella to be slightly monotonous, with a particularly flat ending. I'll leave you with a few words from the author about what she was trying to do with the book:
I needed to tell this story. To speak about that wound. … As my writing progressed and the book took shape, I felt this therapy wasn't only for my personal use but spoke to everyone who, like me, may have been immersed in misunderstandings, in emotional distortions with loved ones, for example being forced to choose between a father and a mother.
It's not exactly a cheery Father's Day read, but an intriguing little book all the same.
Translated from the French by Adriana Hunter. With thanks to Peirene Press for the free copy.
Note: I'm traveling until the 24th so won't be responding to comments right away, but will be sure to catch up soon after I'm back. I always welcome your thoughts!
Posted in: Fiction Reviews	| Tagged: Adriana Hunter, fairy tales, French literature, literature in translation, Marie Sizun, Normandy, novellas, Paris, Peirene Press, Peter Verhelst

redpajama_set_name: RedPajamaCommonCrawl


text:
Q: Firebase reading operation gave back an empty Array in Android I'm trying to implement Firebase Database in my Android app, but when it give back the array which is supposed to be fill with the names of the strings, it is void. This is the function that I use to get back the names:
public class FirebaseOperation {

private static final String TAG1 = "Operacion de lectura";
FirebaseDatabase database = FirebaseDatabase.getInstance();
private final Callback callback;

public FirebaseOperation(Callback callback){
    this.callback = callback;
}

interface Callback{
    void dataIsLoaded(ArrayList<String> names);
}

public void  getUserNames(){
    final ArrayList<String> names = new ArrayList<>();

    DatabaseReference ref = database.getReference().child("idUsers");

    ref.addValueEventListener(new ValueEventListener() {
        @Override
        public void onDataChange(@NonNull DataSnapshot dataSnapshot) {
            for (DataSnapshot ds : dataSnapshot.getChildren()){
                String name = ds.getValue(String.class);
                names.add(name);
                Log.d(TAG1, "LEcturea correcta");
            }
            callback.dataIsLoaded(names);
        }
        @Override
        public void onCancelled(@NonNull DatabaseError databaseError) {
            Log.w(TAG1, "Error al leer los nombres de usuario");
        }
    });

}

}

And here is where i called it:
idusers = new ArrayList<>();
new FirebaseOperation(new FirebaseOperation.Callback() {
    @Override
    public void dataIsLoaded(ArrayList<String> names) {
          idusers = names;
}
}).getUsernames();
if(idusers.isEmpty()){
                Log.w(TAG, "Array VACIOOOOO");
            }

And it's supposed to return the ArrayList but when it returns is void, however in that function it enters in the onDataChange , so it's supposed to be Reading the values, but returns an empty array to the other class. Some ideas? I let you a capture of my database structure.
Database
Some ideas??

A: Because new ValueEventListener() is an asynchronous callback, this means the return nombres happens before the Firebase RTD has responded.
If you want to keep your class FirebaseOperation then you should have to use another callback to pass the Firebase once has been retrieved:
public class FirebaseOperation {

    private final Callback callback;

    //Initializing the callback on the constructor for simplicity
    public FirebaseOperaion(Callback callback) {
        this.callback = callback;
    }

    //It doesn't return
    public void getUserNames(){
    final ArrayList<String> names = new ArrayList<>();

    DatabaseReference ref = database.getReference().child("idUsers");

    ref.addValueEventListener(new ValueEventListener() {
        @Override
        public void onDataChange(@NonNull DataSnapshot dataSnapshot) {
            for (DataSnapshot ds : dataSnapshot.getChildren()){
                String name = ds.getValue(String.class);
                names.add(name);
                Log.d(TAG1, "LEcturea correcta");
            }
            callback.rtdResponse(names);
        }
        @Override
        public void onCancelled(@NonNull DatabaseError databaseError) {
            Log.w(TAG1, "Error al leer los nombres de usuario");
        }
        });
    }

    interface Callback {
        void rtdResponse(List<String> names);
    }

}

And now in the other class where you are using it, instead of
List<String> names = new FirebaseOperation().getUserNames();

You will have to use the callback:
//Use this if you want the other class implements the callback
new FirebaseOperation(this).getUserNames();
//Or use an anonymous implementation
new FirebaseOperation(new Callback {
    @Override
    void rtdResponse(List<String> names) {
        //Do something with your list here
    }
}).getUserNames();

redpajama_set_name: RedPajamaStackExchange


text:
On The Professionalisation of Ministry
15 May, 2021 21 May, 2021 / Fr Andrew Doohan
Go therefore and make disciples of all nations, baptizing them in the name of the Father and of the Son and of the Holy Spirit, and teaching them to obey everything that I have commanded you*. (Matthew 28:19-20a; NRSV)
* But only once you have been thoroughly vetted, educated and formed, and officially commissioned to do so by some liturgical ritual!
In the four and a half months of 2021, thanks to the direct intervention of Pope Francis, there has already been some significant changes in the understanding of officially recognised formal ministries in the life of the Catholic Church. In January 2021, thanks to his Apostolic Letter Spiritus Domini, the rather arbitrary restriction on the admittance of females to the formal ministries of Lector and Acolyte was removed through a change to Canon 230 §1 of the Church's Code of Canon Law. The amended canon will now read:
Lay persons who possess the age and qualifications established by decree of the conference of bishops can be admitted on a stable basis through the prescribed liturgical rite to the ministries of lector and acolyte. Nevertheless, the conferral of these ministries does not grant them the right to obtain support or remuneration from the Church.
It is worth remembering, of course, that the ministry of Lector and Acolyte, as they are currently understood in the life of the Catholic Church, only dates back to Pope Paul VI's Apostolic Letter Ministeria Quaedam (1972). This intervention eliminated the former 'minor orders' that were part of the preparation of a man for ordination as Priest and replaced them with the two 'lay ministries' of Lector and Acolyte. Admittedly, there was still a focus in Ministeria Quaedam on the two lay ministries being necessary as part of the preparation for Holy Orders, though they could also be conferred on other suitable male (non-ordained) members of the Church.
Setting aside for the moment the nature of these two ministries, which I may return to in another column, there was very little in the way of controversy in the broader Church setting about Pope Francis' changes. Why? Simply because it was already happening. Men and women were already fulfilling the larger part of the two ministries of Lector and Acolyte even if they were not officially referred to as such and there was no formal 'conferral' of the ministry.
It will be up to conferences of bishops to determine how best to give expression to the fullness of the changes within their own territories, yet I suspect – and fear – that the implementation may only be at a cosmetic level rather than a delving into, and an exploration of, the fullness of the two ministries of Lector and Acolyte.
More recently, Pope Francis has established a new ministry. In the opening days of May 2021, through his Apostolic Letter Antiquum Ministerium, Pope Francis has established the formal and official ministry of Catechist in the life of the Catholic Church. It has been established as a definitively 'lay ministry', one to which "those lay men and women who feel called by virtue of their baptism to cooperate in the work of catechesis" (n.5) may be admitted on a stable basis as a recognition of some "definite vocational aspect" (n.8).
Again, the reality of the new ministry of Catechist will only come to full expression once conferences of bishops take up Pope Francis' invitation to determine "the necessary process of formation and the normative criteria for admission to this ministry" (n.9). And the question of the practical expression of the new ministry and what it might look like is still some way off.
And so I finally come to the point of this column, and the reason why I commenced by quoting what is often referred to as the 'Great Commission' of Jesus to the disciples.
At the heart of the 'Great Commission', the task of making disciples, is not a specialised subset of the existing disciples. The commission, the task, is given to all disciples, regardless of who they are, because they have first heard the Word of God and been called to the continuing task of personal and corporate conversion of heart and life. It is not something that belongs to only some in the Church, therefore, but something that belongs to all in the Church, and does so from the moment of baptism. It is baptism not the conferral of some ministry that prompts the Christian believer to participate in the continuing mission of proclaiming the Good News of Jesus Christ.
Or at least it should be.
One of the concerns I have already heard expressed in several places about the advent of the new ministry of Catechist, and which I suspect extends to the broader availability of the ministry of Lector and Acolyte, is about the 'clericalisation' of the laity of the Church.
At the heart of my concern about this is a concern that the conferring of these ministries on certain members of the Church – after they have been selected, vetted, educated, and formed – will give permission for other members of the Church, those on whom the ministries are not conferred, to simply not be involved in the continuing mission of the Church.
In other words, the professionalisation and clericalisation of ministry will permit the baptised members of the Church, those who have been anointed as 'priest, prophet and king' (see, for example, Rite of Baptism of Children, n.62), to abrogate the missional responsibility that is theirs by baptism. Mission and ministry will become the task and responsibility of a 'special class' within the Church, rather than the task and responsibility of the whole Church.
Now granted, individual members of the Church will exercise their 'priestly, prophetic and kingly' responsibility in a variety of ways. Some will be called to do so on a full-time basis either through the reception of Holy Orders or the conferral of a 'lay ministry'. There will be others who will serve the mission of the Church in other ways on a full-time basis that are not connected with Holy Orders or formal 'lay ministry'. Yet the responsibility for mission is not, and cannot be, limited to those who have received Holy Orders, been instituted into a formal 'lay ministry', or been employed by the Church in some specific role.
The advent of the changes by Pope Francis to the availability and breadth of formal 'lay ministries' is certainly to be welcomed. They suffer, I believe, because they are not firmly established first and foremost in a well-developed understanding or theology of the priesthood of all believers. As such there is a distinct risk to be faced by the Church in light of these changes, a risk that might further entrench a passivity in the members of the Church when it comes to responsibility for, and involvement in, the mission of the Church to proclaim the Good News of Jesus Christ into the world.
It is to be hoped that conferences of bishops will be attentive to these risks as they examine how best to make these new ministries a reality in the life of the Church. It is also to be hoped that conferences of bishops will be attentive to the risks of simply innovating these new ministerial opportunities without placing them in the context of mission belonging to the whole Church.
Liturgy, Musings
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