If you want to learn how to grow your own food, nothing beats getting out on the land and having a go. Learning by trial, error, watching what your neighbours do and what happens as the seasons change and crops adapt to what nature has to throw at them is the best way to do it. But for those hours when the sun has gone down or the ground is frozen solid and you feel like a bit of inspiration or insight here are some books I would recommend.
The seeds of Kokopelli: A manual for the production of seeds in the family garden and A Directory of Heritage Seeds
Ed Dominique Guillet Published by Association Kokopelli, English Version 2002
Covers the work of Kokopelli and their heritage seed saving programs as well as detailing historical information, seed production and varieties they carry.
Seed to Seed: Seed Saving and Growing Techniques for Vegetable Gardeners, Suzanne Ashworth, 2002
Used as the standard reference by the Seed Savers Exchange, USA. Clearly describes how to save the seeds from a wide range of edible plants at home.
Back Garden Seed Saving Keeping our Vegetable Heritage alive, Sue Strickland, Updated Edition 2008, Eco-logic books, Bath. First published 2001.
ISBN 978-1899233151 crop-by-crop guidelines for seed saving with some insightful history and information on old varieties
The Vegetable Garden (Illustrations, Descriptions and Culture of The Garden Vegetables of Cold and Temperate Climates) M.M Vilmorin, Andrieux. English edition Ten Speed Press First published 1885 ISBN 0-89815-041-8 The seminal work by Andrieux Vilmorin, of the French seed company family, describing the vegetable varieties available to the gardener in in the late 1800, their origin, history and notes on how best to cultivate them.
Growing Gourmet and Medicinal Mushrooms Paul Stamets, Ten Speed Press, First published 1993 (3rd Ed)2000 The bible of mushroom cultivation offers a comprehensive and detailed guide to growing 31 species of mushrooms commercially or at home.
Breed Your Own Vegetable (Varieties The Gardener’s and Farmer’s Guide to Plant Breeding and Seed Saving) Carol Deppe, Chelsea Green 2000. First published 1993 The best guide available for amateur plant breeders
Five Acres & Independence: A Practical Guide to the Selection and Management of the Small Farm
M G Kains, Cassell, USA First published 1947, second edition 1949
Written as a guide for the small farmer starting-out. The initial section on capital, investment and accounting may be out of date but much of the gardening know how is still sound today. In addition there are some interesting insights on older techniques and wisdom that we’d be wise to revisit.
The Complete Book of Vegetables Herbs and Fruit
Mathew Biggs, Jekka McVicar & Bob Flowerdew
Published 2002 Kyle Cathie Ltd.
An excellent anthology and reference for all kinds of vegetables, herbs and fruit; from the well known to the more unusual or exotic.
Grow Your Own Vegetables Joy Larkom 2002, Published by Frances Lincoln Ltd.
An easy and indispensable pocket size reference book.
The Organic Salad Garden
Joy Larkom 2001, Revised edition Published by Frances Lincoln Ltd.
Seminal book on growing over 200 kinds of leaf, flower, herbs, fruit, root, bulb and seeds for use in salads, with an emphasis on growing for flavour.
Oriental Vegetables Joy Larckom, John Murray, London 1991
Fascinating and well researched book detailing the history, cultivars, methods of cultivation and culinary uses of edible plants from the far east.
Asian Vegetables A Guide to Growing Fruit, Vegetables and Spices from the Indian Subcontinent Sally Cunningham, Eco-logic books, Bath. First published 2009
Inspired by the Indian market stalls full of exotic unknown edibles in England, the book explores the rich heritage of Indian vegetables and how many of them can be grown in cooler climates such as Britain.
Brief Account of the Fruit, Herbs & Vegetables of Italy Giacomo Castelvetro; 1614 unpublished Translated with an introduction by Gillian Riley, and finaly published in 1989.
Beautifully illustrated, fascinating and inspirational account of the seasonal produce of Italy, recounted by Castelvetro in 1614 during the last years of his life in England. The book was Castelvetro’s attempt to encourage better appreciation of a wider range of foodstuffs and how they should be cooked or prepared.
Four-Season Harvest; Organic Vegetables from your home garden all year long Eliot Coleman Revised and Expanded Ed 1999, Chelsea Green Publishing, USA.
Some useful tips of what and when to grow crops to ensure production all year round. Easy to translate the American zones to our latitude.
Propagating Plants RHS Editor-in-chief Alan Toogood, 1999, DK, London.
Expert and reliable guide to propagating over 1,500 plants that includes a special chapter on Vegetables.
Pruning and Training; A definitive practical guide to pruning trees, shrubs, roses and climbers. Christopher Brickwell & David Joyce 1996, DK, London.
Useful guide to formative training, renovation and pruning established plants and trees with a large portion of the book given over to tree and bush fruit.
Keeping Food Fresh, Old World Techniques and Recipes The gardeners and Farmers of Terre Vivant. 1999, USA Translation Diane Côté, Originally published 1992, by Terre Vivante.
Excellent resource of handed down recipes and methods for preserving garden produce, contributed by members of Terre Vivant.


위키백과, 우리 모두의 백과사전.
- The day is unknown. The parish registers were destroyed by a fire in 1546, and the only serious evidence is an inscription on the font in the church, dated 1689. Midsummer Day is sometimes cited as the date of John's birth, but since this is also the Feast of St John the Baptist, this may simply be conjecture. See E Allison Peers, Spirit of Flame: A Study of St John of the Cross, (London: SCM Press, 1943), p. 11.
|이 글은 기독교에 관한 토막글입니다. 서로의 지식을 모아 알차게 문서를 완성해 갑시다.|


Coraline is an opera in 2 acts by English composer Mark-Anthony Turnage, with a libretto by Rory Mullarkey. It is based on the dark fantasy children's novella by Neil Gaiman.
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A bag to hold the bare essentials for a night out on the town! This sewing pattern includes two clutch sizes; small (11” wide) and large (14” wide) as well as an option to make the small one into a wristlet skipping the handles.


Dr. Jesse Mercer was born on December 16, 1769 in Halifax County, North Carolina into a large family with seven siblings. Though he was provided with limited opportunity to gain an education this did not stop him; he was a bright student. He would grow up to be a great songwriter and author. He came to the saving knowledge of Jesus at age fourteen and was baptized by his father at the age of eighteen. He began to preach and was ordained as a minister. He served many churches alongside his loving wife, Sabrina Chivers, whom he was married to for over 40 years. The area in which he served was some of the most densely populated and arguably one of the most important areas in the state of Georgia. He had a great connection to these areas and felt a sense of obligation to the areas in which he lived.
Mercer was a huge reason for the churches in the area adding to their numbers. Burrage quotes Dr. Basil Manly as saying, “In his happy moments of preaching he would arouse and enchain the attention of reflecting men beyond any minister I have ever heard.” Perhaps it was his simplicity in which he spoke of the original views he held that drew in crowds. He contributed to the mission field and was even president of the Georgia Baptist Convention for 18 years. He also had a passion for education. He never took his education for granted and donated $40,000 to Mercer University. He was also an author and included many works on topics such as: Christian duties, on unity of the churches, the Baptist faith, and the Lord’s Supper. Mercer compiled collections of poems and hymns, several of which he wrote. One such compilation of his was, “The Cluster of Spiritual Songs, Divine Hymns and Sacred Poems.” This book was used in many Baptist churches.
All that the name of water takes,
Beneath th’ expanded skies,
Turned into ink of blackest hue:
Add all the drops of fallen dew,
To make the wonder rise:
Were there a book, could we suppose,
Which thinnest paper could compose,
Large as this earthly ball;
Were ev’ry shrub, and ev’ry tree,
And ev’ry blade of grass we see,
A pen to write withal:
Were all who ever lived on earth,
Since nature first received her birth,
The aptest scribes declared,
T’ explain the fullness of that love,
Found in the heart of God above,
To men by sin ensnared:
And ev’ry moment wrote a page,
They’d all be tired and die;
The pens would ev’ry one wear out,
The book be filled within, without,
Angels above, as well as men,
Archangel e’en would fail;
Nay, ’till eternity shall end,
A whole eternity they’ll spend;
Nor then have told the tale.
All rights reserved. Without the express written permission of the publisher, this publication may not be reproduced or transmitted, whether in whole or in part, in any form or by any means - electronic, mechanical, photocopy, storage retrieval system, recording, or any other.


Reading wasn't my thing growing up. Or so I had been led to believe. True; I'd rather go outside; shoot hoops, toss a baseball or catch a football. I spent hours with my Star Wars action figures, as well as, playing D&D (that's short for Dungeons and Dragons). When my formative middle school days arrived I know my mother was especially concerned about my perceived lack of reading. The Nuns at my private catholic school, charged with my education, told her I was a non-compliant reader. Bam -- labeled I was (Yoda Talk).
As the targeted non-reader at school I'd be prodded quite often with the question "Show me the book you are reading?" A Nun-ified action plan to read. A book became my middle school ID. If a book wasn't on me I'd be busted -- detention or worse, no recess. So I carried a book. A book I never intended to read; a book I had no interest in reading; the book was simply a get-out-of-trouble item to me.
Truth be told -- I was reading a lot. But my reading was for purpose. D&D required digesting massive amounts of text to play. It's a role playing game. It entailed reading, writing, interaction and imagination. A teachers dream; right? Not so for the Nuns of the 1970's. I decided to test the holy waters.
Bringing a D&D Players Manual to school is akin to dressing out of uniform at school, blurting out at mass, tossing food in the lunch room OR worse; it's simply isn't done. Well I did it. And that day you'd have thought I brought satan to school for show and tell. Red like a hot chili pepper, Sister Mary's face foreshadowed my doom. That was one angry Nun that day. A parent-teacher conference that same day ensued with many weeks of lunch and recess reading-detention followed.
"I needed a book like a desert traveler needed water."
In Florida, a year earlier, I devoured the Hobbit in a week; the first of Tolkien's books. Little did I know he had written three more books. That day when I got home from school I darted into the kitchen exclaiming to my mom that "I needed to get The Lord of the Rings Trilogy book set." So excited or shocked she took me immediately to the "public" library (where pagan periodicals exist). A frantic search for my library card quickly got underway. Once dusted off we drove to library.
There on the shelf it was: The Fellowship of Ring -- I signed it out.
Give your child, your grand kids, your nieces and nephews, the students in your class the opportunity to find their world within -- visit Metro Detroit's Biggest and Best Used Book Sale. Here you'll be able to buy a book that'll change the lives of young people forever. Starting on April 27th and going through May 4th is the BookStock annual fundraiser. Not only will you be able to purchase books and media products for your loved ones but the proceeds go to help other kids in the Metro Detroit area.
your grand kids
In 12 years, Bookstock has donated just shy of $1,000,000 to non-profit organizations in Detroit and the metro area, including those comprising its coalition. Additionally, Bookstock donates large quantities of unsold books to other non-profit organizations and schools. For example, the Salvation Army receives the bulk of the remaining books and media. Bookstock also underwrites a scholarship at the Wayne State University School of Library Science and supports the Bookstock Fund, a literacy fund that provides micro-grants to enhance literacy and learning in Detroit and the metro area.
"Bookstock Pre-sale Extravaganza"


Visit the Division of Virgin Islands Cultural Education HUB on #GoOpenUSVI. Explore our library of open education resources and join a network of Virgin Islands educators who are dedicated to using high-quality, openly-licensed educational resources.
Cigar Win the Race
Virgin Islands Cultural Notebook: Liberty Day
Virgin Islands Cultural Notebook: Liberty Day ...Read More
Hispanic Heritage Month
Hispanic Heritage Month Resources for Educators and Parents National Hispanic Heritage Month is a period from September 15 to October 15 in the United States for recognizing the contributions and influence of Hispanic Americans to the history, culture, and achievements of the United States.
Department of Education News


Film Festivals & Screening
City As Canvas: Above the Free Walls (Director/Producer )
- This documentary film Above the Free Walls is a 2018-2019 Cambridge Arts grant recipient.
- Apr 2021 World Cine Fest (Portugal)
- Jan 2021 Standalone Film Festival & Awards (CA, US)
- Jan 2020 World Premiere Film Awards (Winner) (LA, US)
- Dec 2020 Luleå International Film Festival (Finalist) (Sweden)
- Dec 2020 Amsterdam World International Film Festival (Amsterdam)
- Nov 2020 The Shawna Shea Memorial Film Festival (Uxbridge, US)
- Sep 2020 The Massachusetts Independent Film Festival (Boston, US)
- Nominated Best New England Film
- Aug 2020 The Lift-Off Sessions (UK))
- Aug 2020 2021 PBS Guam/GIFF Select Showcase (Guam, US)
- Cambridge Public Library
- Cambridge Community Television,
- NuVu Studio.
Grolier Poetry Book Shop: The last sacred place of poetry (Director/Producer)
Full-length documentary featuring the Grolier Poetry Bookshop in Cambridge, MA. The Grolier is the oldest poetry bookshop in the U.S. It has been run continuously for over 90 years. The documentary is the result of two years of research and filming. It unpacks the Grolier’s rich history and current transformation.
- Dec 2020 Standalone Film Festival & Awards (CA, US)
- Mar 2019 The Lift-Off Sessions Film Festival (U K)
- Dec 2018 Benton Park Film Festival (Finalist) (St. Louis,US)
- Jul 2018 The Massachusetts Independent Film Festival (Boston, US)
- Jun 2018 North Beach American Film Festival (Maryland, US)
- Jan 2018 World Premiere Film Award (Canada)
- Nov 2018 Kill Jim international film festival (Italy)
- Nov 2017 AltFF Alternative Film Festiva (Finalist) (Toronto, Canada)
- Nov 2017 Largo Film Awards (Switzerland)
- Oct 2017 Red Corner film Festival (New York, US)
- Oct 2017 Los Angeles CineFest (Semi-Finalist) (Los Angeles, US)
- Sep 2017 Barcelona Planet Film Festival (Barcelona)
Northeastern University Alumni Center ,Cambridge Public Library , Regent Theatre, Cambridge Community Television, Endicott TV , Somerville Community Television, Suffolk University.
© Copyright OliviaHuang


Description "Joan Liftin's third monograph, Water for Tears , is a lyrical memoir. The book is about family and trips, about running away and coming back, short texts and photographs about pleasure in the newness of everyday life. There are layered images from everywhere, like the blind woman feeling her way by a timeworn splattered wall in Mexico or the teenage boys posing with a head of Reagan in the Soviet Union in 1988, while the darkest ones are from the American South's brutality during the struggle of the Civil Rights Movement. Her observations are mysterious, sensuous and often very funny. At the heart of the book is a tender farewell to her life with Charlie, photographer Charles Harbutt. There are no captions or dates, except in the back of the book, but you know where you are - you are with Joan."
It's a summer night on the plains, a night for dreamers and lovers, a night for drive-in movies. In Chickasa, Oklahoma, and Turkey, Texas, Main Street is dark and shuttered. Out on the prairie there flickers the first reel of the movie. This is the boundless nostalgia of the drive-in, of the serene confidence of the United States in the 50s, when Korea was a far-off land and Vietnam wasn't on the map, General Dwight D. Eisenhower was in the White House, and Edward Hopper captured the spirit of the age. It was remembered again in The Last Picture Show and by the Boss, Bruce Springsteen, when he sang My Home Town. There were 6,000 drive-ins across the Union then. There are 547 now. Idaho has The Spud, Texas had The Trail, and even New York City has the walk-in show in Bryant Park. The drive-in was born in 1933 in Camden, New Jersey, when an enterprising gas station owner projected a movie on his wall to entertain impatient customers. Since then the drive-in has had its ups and downs, latterly torn down to be replaced by shopping malls and tatty developments. But that zeitgeist will not die, and in Drive-Ins Joan Liftin has rung again the town bell that remembers it. There are many who will agree with her, and shake their heads at the loss of the apparent innocence of that age. This is now a very different world in which her photographs recall the ephemeral evenings at the drive-in, of the heart-breaking back row kisses, of the beer-topped coolers and popcorn, and the giant images of Monroe, Clift, and Gable bestriding the wilderness. Joan Liftin took these photographs over 20 years, some off-hand, some desultory, some with a startling, mesmeric evocation of what the drive-in was and meant to a generation of Americans.
Marseille is a love letter from an American to France’s oldest and second largest city. Joan Liftin’s photographs of Marseille, one of Europe’s most ethnically diverse cities, show us a place where much of life still unfolds on the street. The city’s spirit and raffish glamour resides in its people rather than in its monuments, and Liftin captures day and nighttime encounters, moments of quiet beauty, allusions to corrosive crime and poverty, and the diverse heartbeat of this soulful Mediterranean port city. Her photographs offer us an honest, intimate vision of Marseille, at once timeless and passionately alive. Joan Liftin’s photographs have appeared in New York Times Magazine, Aperture and Creative Photography. Her work is included in the collections of the Philadelphia Museum of Art, the Cleveland Museum of Art, Princeton University, and the Center for Creative Photography, Tuscon, among others.


ASSAM DISTRICT GAZETTERS.
B. C. ALLEN, C.S.
The Assam District Gazetteer Vol. VII Sibsagar printed in 1906 has long been exhausted. This volume is a veritable treasure-house of information on the then undivided Sibsagar district and throws immense light on the conditions prevailing during that time. Considering the importance of this volume it was decided to bring out a reprint for the benefit of all concerned. I am grateful to Shri P.C. Sarma I.A.S., Commissioner to the Govt. Of Assam, Education Department, for his keen interest in the project and also to Shri R.C. Medhi, Editor, for his dedicated efforts but for which the project could not have been undertaken within so short a time. This project entails reprint of the entire series of Assam District Gazetteers, 1905-06 of which this volume is the first.
The Gazetteers of Sibsagar is nothing more than a general description of the district as a whole, and does not, as Gazetteers generally do, include a directory. There are, however, hardly any places in the district which are worthy of the name of town, and the little villages in which the people live do not call for a separate and detailed description. Places which are centres of local trade or of some industry have been specified by name, but to attempt to describe each of these villages would merely have resulted in the most tedious iteration. It should be added that the Gazetteer was compiled at a time when Assam was still a separate Province, and that when the Province is mentioned it is to Assam and not to Eastern Bengal and Assam that reference is made. My acknowledgments are due to the Deputy Commissioner for his kindness in examining the work in proof.
SHILLONG : B.C. ALLEN.
CHAPTER I.—PHYSICAL ASPECTS
Area and boundaries—General aspects—Hills –The Majuli--- River System—Geology—Climate— Rainfall—Storms and earthquakes—Fauna.
Early history—The Kachari kingdom—The Chutiyas—Their downfall—The advent of the Ahoms— Steady growth of their power—Koch and Muhammadan invasions—Rudra Singh in 1700 A.D rules the whole of Assam Proper—The Moamaria insurrection—Invasion of Assam by the Burmese— Occupation of Assam by the British—The manners and customs of the Ahoms—The Paik system— The fighting qualities of the Ahoms—Arbitrary form of Government—Social life—Attitude towards Hinduism—The position of women—Condition of the country in 1824—Restotation of Upper Assam to Purandar Singh and the resumption of his territories in 1838—Plots in 1857—Peaceful progress under British rule—Affairs on the Naga frontier—Archaeological remains—Chronological ta
CHAPTER III.—THE PEOPLE.
Area and density—Towns and villages—Growth of population—Migration—sex and marriage— Infirmities—Language—Caste and tribe—Religion—Saktism—Sivaitism—Vaishnavism—The sattras of Sibsagar—Muhammadans—Animism—Other religions—Christians—Occupations— Marriagecustoms—Amusements and festivals—List of sattras.
CHAPTER IV-AGRICULTURE AND FORESTS.
Crops grown—RICE—Mustard—Pulses—Fibres—Storage and threshing of grain—Agricultural implements—Sugar cane—Preparation of molasses—Causes affect- Ing productiveness of land—Garden crops-Yield and value of crops-General remarks-Grazing-Live stock-Cattle disease—Protective embankments—Commence- Ment of tea industry—The boom in the early sixties—Collapse in 1866—Expansion of the industry- Labour supply—La bour laws—Situation of tea gardens-Soil—Varieties of plant—System of cultivation—System of manufacture—Green tea—Outturn and prices—Forests—System of management—Situation of reserves and revenue they yield—List of important reserves.
Arts and manufactures—Pat silk—Muga—Eri silk—Weaving—Pottery—Brass and bell-metal —Matmaking—The fishing industry—Jewellery
CHAPTER VI.—ECONOMIC CONDITION OF THE PEOPLE, COMMUNICATION TRADE, TOWNS, AND LOCAL BOARDS.
Rents-Wages-Price—Food and dress—Dwellings—Economic condition of the people—Conventional restrictions—Communications—Development of steam navigation—Railways—Roads-Rivers-post and telegraph offices—Commerce and trade—Markets—Towns—Local Boards.
CHAPTER VII.-GENERAL ADMINISTRATION.
Native system of land revenue—Early settlements—The settlement of 1893-The settlement of 1902- Growth of land revenue-Established and fluctuating cultivation Annual and periodic leases—Settlement staff—Land tenures—Mauzas and tahsils—Realization of land revenue-Unsettled waste—Excise—Income-tax—Stamps—Public works—Government— Criminal and civil justice—Registration—Police—Military Police—Volunteers—Jail—Education— Medical—Survey . .


Faery Forest Deck
The Faery Forest, a legendary Green World, is older than human history, more ancient than language and its energy is gathering once again to reawaken us all. This is a realm where the ancient ones dwell and their guidance is needed now, more than ever before. With this oracle, Lucy Cavendish guides you through the gateways and leads you to the path of the Green World, where the beings of the Faery Forest can offer you their insights, revelations and natural, wild wisdoms.Discover Goddesses, Gods, Faeries, Witches, Wise Ones and Wyzards; powerful, trustworthy ancients and allies devoted to nurturing the wisdom that lies deep within your heart, your ancestry, your soul. Featuring the lavish, sensual paintings of acclaimed faery artist, Maxine Gadd, written by author and witch Lucy Cavendish, The Faery Forest is a feast for anyone seeking genuine guidance, healing and a reconnection to the path of beauty, magick, truth and enchantment.45 Cards & 136 page guidebook.About the AuthorLucy Cavendish created Witchcraft magazine in 1992, the first magazine of its kind in the world. She is a feature writer for Spellcraft Magazine, Spheres , and has appeared in anthologies like Disinformations Pop Goes The Witch! She appears regularly on mainstream and alternative television and radio, explaining the Craft and demonstrating magicks and the power of intuition. She is a founding member of the Goddess Association in Australia.Lucy Cavendish lives in Sydney, Australia, with her pixie-like daughter, and their menagerie of plants, animal companions, spirit beings and beloved elementals.


Design automation for paper microfluidics with passive flow substrates
Joshua Potter, William H. Grover, and Philip Brisk. 27th Annual ACM Great Lakes Symposium on VLSI (GLSVLSI), 215–220 (2017). PDF
This paper introduces a novel software framework to support automated development of paper-based microfluidic devices. Compared to existing lab-on-a-chip technologies, paper-based microfluidics differs in terms of substrate technologies and point-of-care usage across a wide variety environmental conditions. This paper addresses the contexts in which the software can address these challenges and presents several initial case studies that demonstrate the capabilities of the framework to produce workable and usable paper microfluidic devices.


The Sad and Beautiful World of Sparklehorse
Almost exactly eight-years-ago, I went to see Daniel Johnston and Friends perform in Glasgow. Mark Linkous, the driving force behind the musical project, Sparklehorse, was one of the Friends, meaning he acted as a support as well as Johnston’s backing band. As part of his support act he performed the Most Beautiful Widow, and unexpectedly Johnston appeared to sing the choru
THE FUZZTONE (Raisin’ A Ruckus) – by RUDI PROTRUDI
Rudi Protrudi invented garage, punk and grunge and got a hell of a lot of blowjobs along the way. He’s managed to burn just about all the bridges with his old band mates and collaborators. That sort of sums up this monumental, two book exercise in narcissism by the infamous front man of the Fuzztones.
Sick on You: The Disastrous Story of Britain’s Great Lost Punk Band (Andrew Matheson)
As it says on the cover, Sick on You: The Disastrous Story of Britain’s Great Lost Punk Band is “the disastrous story of Britain’s great lost punk band.” Fronted by Andrew Matheson, and featuring Casino Steel, later of The Boys, the Hollywood Brats were British contemporaries, and in a way the mirror image of the New York Dolls.
A Man Called Destruction: The Life and Music of Alex Chilton
Alex Chilton is depicted as a teenage pop idol, a troubled and misunderstood genius and a cult hero in the book, A Man Called Destruction: The Life and Music of Alex Chilton, from Box Tops to Big Star to Back door Man. That is pretty much the arc of this well-written and entertaining biography of one of rock’n’roll’s greatest mysteries.
The Damned: Don’t You Wish We Were Dead
This film will make you laugh, it’ll make you pine for a Damned reunion (more than you already were), and it’ll get the infectious tune of
“New Rose” jammed in your head even further than it was to begin with. Those first two Damned albums are still as astounding today as they were the day they were released. Now, its time for you to go out and school yourself on the Damned, catch this movie!
Cobain – Montage of Heck
As I wiped away my many, many tears whilst queuing for the toilet after the credits rolled on the latest Kurt Cobain documentary, I heard a fellow cinema-goer say the words, “I dunno, I was expecting something more…” I have no idea what else she could have wanted or expected from the film. I know that as a huge fan of Nirvana, grunge and Chad Channing’s style, that I am completely biased, but it really was awesome!
When I was doing my jazz course some of the top lecturers who came over on exchange would spend all night rehearsing in the studio. Most of the people I know use that time and dedication to create a scene, put on shows, write songs and make zines. This movie is interesting; it approaches music from a different angle.


A sampling of current PhD projects in the field of early modern studies in the Department of English, University of Exeter.
James Alsop, “Playing dead: ‘living death’ in early modern theatre.” Today, the phrase ‘living death’ elicits thoughts of ghouls, zombies, vampires, and their ilk, creatures which did not exist in English cultural imagination (at least, not in the forms that we know them!) during Shakespeare’s time. My project examines conceptions of ‘living death’ in early modern England – specifically its theatre, which was a veritable lacuna of the almost-living and the not-quite-dead. I bridge the gaps between historical context, early modern performance, and modern-day interpretation by suggesting not only that living death was a vital part of theatre in the English Renaissance, but that a greater understanding of living death allows for bold new interpretations of early modern theatrical texts.
Jennifer Barnes, “Representations of masculinity and the male body in the filmed Shakespeare adaptations of Laurence Olivier, Orson Welles, Franco Zeffirelli and Kenneth Branagh.” My research project will examine representations of masculinity and the masculine body in filmed adaptations of Shakespearean tragedies and histories, focusing on the cinematic works of Laurence Olivier, Orson Welles, Franco Zeffirelli and Kenneth Branagh. I am interested in how the film texts under discussion appropriate ‘Shakespeare’ as a means by which to assert cultural ideals of masculinity and, particularly, in the ways in which the auteur himself is represented via the masculine body on screen.
Jeremy Bloomfield, “The Theatrical Afterlife of the Duchess of Malfi.” Jem Bloomfield is researching a PhD on the theatrical afterlife of Webster’s The Duchess of Malfi. He is particularly interested in the ways in which performance conditions and printings interact to produce a play’s “meaning” at different cultural moments. His current research suggests that the first printing of The Duchess was largely influenced by the politics of the “Spanish Match”.
Dan Cattell, “The Polemical Succession: James I and the Writing of Controversy.” Dan Cattell’s research interests include the representation of confessional identities and the materiality of print culture. His doctoral thesis, funded by the AHRC, examines Catholic-Protestant controversial writings within a specific moment of anticipated and then actualised dynastic change. Drawing on theorists of technological innovation and the transformation of the word such as Walter Ong, S.J. and incorporating current insights into early modern bibliography, he assesses the impact these writings may have had on the broader literary culture of the period.
Philip Denning, “‘…imputed to [them] for righteousness’: The influence of the Classics on the theology of Milton.” I am exploring Milton’s attitudes towards the ancients. Not content to merely continue the Renaissance tradition of attempting to Christianise classical myth and philosophy, Milton, I believe, took it a stage further, by recognising within what the ancients had left behind, valid paths to salvation that could take full advantage of the eternal grace provided by Calvary.
Lee Durbin. Concurrent with recent scholarship building on the work of Walter Ong and Marshall McLuhan – early pioneers in the study of the cultural effects of technological change – and with a particular focus on the private library collection, curiosity cabinet (and its later incarnation, the Kunstkammer), and the application of Ramist techniques, my study aims to reassess the efforts of Renaissance poets, scholars and collectors as they sought to transpose the mnemonic devices of pre-Gutenberg oral society to the new (information) technology of typographic print. In a wider literary context, my research draws upon works such as Thomas Heywood’s Gunaikeion and Michael Drayton’s Poly-Olbion as examples of the early modern database and hypertext, demonstrating that not only were current trends in the digital world anticipated in the literary heritage of early modern England, but that much can be garnered too from seventeenth century storage-and-retrieval systems as we embark upon the second information revolution. Further details on my research can be found in my blog, Marginalia .
Jo Esra, “Shaping ‘West Barbary.” My thesis focuses on a localised element to the cross-cultural practice of 16th and 17th century Barbary captivity, which specifically involves the West Country. I am particularly interested in discerning how national, regional, ethnic and religious ontologies, landscapes and subjectivities are imagined and produced through these localised practices and their representations. In order to contextualise understandings of relevant identities and concepts, such as ‘Cornish’, ‘Englishness’, ‘Turk’, ‘barbarism’ and ‘heresy’, my research is framed within early modern revisions of classical humoral and climate theory. This engages in wider discussions concerning identity and the environment taking place at Exeter Cornwall Campus.
Briony Frost, “Becoming a King’s Man: Did Shakespeare Meddle in the Affairs of State?” Turning with the tide of criticism that would see Shakespeare restored to his own age to be best understood, my research, funded by the AHRC, tackles three of Shakespeare’s most contentious but arguably greatest tragedies, Macbeth, King Lear and Antony and Cleopatra, in the context of the turbulent early years of James I’s reign. Addressing issues of succession, representation, the arcane imperii and the legacy of Queen Elizabeth, I shall explore whether the king’s patronage allowed Shakespeare to “o’erleap” the step of censorship to meddle in the affairs of state.
Alanna Skuse, ‘Constructing cancer in early modern England’. My inter-disciplinary research project (funded by the Wellcome Trust) examines the way in which early modern medics, patients and lay people thought and wrote about cancer, focussing on the examination of medical and instructional texts as literary artefacts. Though now commonly perceived as a post-industrial disease, cancer occupied a specific and sometimes problematic space in the early modern medical imagination, both as a highly gendered disease, primarily to be found in women’s breasts, and as a challenge to medical authority which invited new and dangerous forms of intervention such as the mastectomy. I am also interested more generally in the development of surgery, medical ethics, and bodily interiority during the 16th, 17th and 18th centuries.
Zhiyan Zhang, “Death and Memory in Shakespearean Tragedies.” My PhD thesis (funded by ORSAS and CSC) will explore themes of death and memory in King Lear, Othello, Macbeth, and especially Hamlet. Death, like plague, is pervasive and inevitable in Shakespearean tragedies. Memory, like a shadow or a ghost, also sets foot in most plays and hovers in protagonists’ minds. What is Shakespeare’s attitude towards death? Does Hamlet harbor the death wish or is he worried about what is unknowable after death? Does memory lead Hamlet to death or is memory what can give him consolation after death? Where possible, I hope to explore death and memory in Shakespearean tragedies anthropologically based on comparisons between English culture and Chinese culture.


by David Pritchard, Hannah Brooks-Motl, Emily Hunt, Sarah Boyer, Ted Powers, Bryan Beck, Sara Majka, Leora Fridman, Ben Estes, Joanna Novak, Liana Quill, Stella Corso, & Michele Christle
In January 2008, Noah Eli Gordon entered the Denver Public Library and for 21 months read only page 26 of countless books, ultimately using the language he encountered to create his prose cento The Source(Futurepoem Books 2011). The only loophole Noah allowed himself was the freedom to replace any noun in the language he found with ‘The Source.’
In February 2012, we asked Noah 26 (or so) questions. We asked them independently of each other. We each wrote part of the following introduction independently of each other. We were each our own source. Noah graciously indulged us. Here is what transpired.
Here lies The Source.
To write The Source Noah celebrated
never allowing a line of inquiry regarding
his process or product on your shelf.
So too does Gordon cultivate,
between obligation and delegation,
a careful indeterminancy,
a door to close fully.
The Source, likes all sources
touches on multiple notes
and their smell and a tornado.
Just as The Source playfully inhabits
the authority to exhaust this very thing,
Noah answers is it writing.
Gordon making himself do something to exhaust it
should be revered, but also set to cool
in your pocket — on occasion, inappropriately.
Referenced often amongst its fellow sources,
here is a writer writing to readers regarding
a text he has read in order to write
(and which has now been read.)
We may have asked Noah too many questions.
Question: In an introduction to The Dictionary of Accepted Ideas, (New Directions, 1954, 1966, revised, reset edition, 7th printing, translated by Jacques Barzun) you will find:
In working on Bouvard Flaubert consulted—-or had helpers abstract for him—over a thousand works of reference or instruction, from which he culled the enormities that enliven the pages of that novel and that were also to fill out its documentary sequel……But the systematic hunt………..became dangerous to the hunter and his plan.
Were you aware of any dangers as you built The Source?
Noah Eli Gordon: The main branch of the Denver Public Library, where I built The Source, can indeed be a dangerous place. It’s a beautiful building. The interior atrium has a series of paintings by Ed Ruscha that were specifically designed for the space. They’re amazing, and I got to spend day after day living with them. But there’s something about the spaciousness, about the inviting architecture and its cleanliness of form at odds with what you sometimes find inside: guys openly surfing porn on the computers, teenagers shooting dope, folks who you can smell from about 100 feet away.Yes, Denver’s already known for its problems with homelessness, but there’s another public dilemma that’s (for some reason) everywhere on display at the library: a big Juggalo scene.
Actually, one day there was a tornado emergency there. Everyone in the library had to move to the center of the building, away from the windows. They were even telling people outside to come in. It was sort of exciting. So that’s one facet of the danger, I suppose. And then there were the standard metaphysical dangers that accompany giving one’s self over to any project that more or less consumes a huge portion time—the dangers of waste and worth, those that bring on questions of doubt: Is there value in this? I mean, I was spending about four hours a day, every other day, for nearly two years, at the library. I’ve always thought that art is work, but this really started to feel like a job, like I was clocking in, like whomever I shared the library with were my co-workers. I suppose there was also the danger of being so completely immersed in one particular method that one wonders: will I be able to write in other ways after this? Is this even writing? Of course, some form of this kind of danger bores itself into most projects; no matter how porous they start to feel, I think the real key is simply finishing them. There were days when I just dreaded having to work on The Source, when I wanted to do anything but. And yet, even the fact that I say having to is telling, no? Did I really have to? Well, no. No, and yes. Okay, yes. Absolutely yes. Ah, and absolutes are always dangerous.
Question: Imagining you sitting down to write—-Did it feel different writing this book than your other books? Did the creative moments feel similar to you?
NEG: No matter what I’m working on, an essay, a poem, a review, there’s this space of uber-thought I have to still my mind enough to curdle into, and it always feels the same, regardless of the scope of the work at hand. I think the real difference withThe Source was in the physicality of it, that it was something I also did with my body, walking to the library, moving through the stacks, cradling books by the armful—this was fun. Mostly, writing isn’t fun for me; I often dread it, feel like it’s a burden, and purposely construct in the form of unnecessary tasks barriers between myself and the writing I nonetheless want to do. I mean, painters and musicians get to stand up, move their arms around, dancers are all over the place, filmmakers are always pivoting themselves this way and that, even glassblowers arch their backs. But we poor lot? We’re condemned to the desk. Honestly, I think one of the major thrusts behind this book was that it gave me an excuse to get out of the house.
From book to book, I’ve made it a point to radically shift what it is I’m doing. There’s a learning curve with each of these shifts that lasts pretty much for the entirety of the project. This is to say, once I know how to do something, I’m no longer all that interested in doing it. I think I just feed off of the challenge of having to completely recalibrate my working methods; so yes, it felt different to write this book, but that feeling of difference is the same one I have with each new book.
Question: In the way you chose material only from the 26th page of each book, did you invent any strategies for choosing the books? Was it according to aesthetic appeal, subject matter, favorite floor of the library…..or was it completely random? How did you organize the gathering of your materials, did you read in sections (26th pages of all the YA, then the SciFi, etc.)? How do you think the order in which you read the pages influenced the final product?
NEG: I wanted the vector of each sentence to carry simultaneously something of the ineffable, the epigrammatic, and the innocuous everydayness of the known and noun worlds. Although their methods diverge widely and wildly, the sentences in The Source aren’t all that different from those in, say, Novel Pictorial Noise, a book, incidentally, I wrote mostly in the Smith College library, but in what Peter Gizzi, quoting Ted Berrigan, calls the old fashion way: “one word after the other.” This is to say it’s not a sampled, constructed, or procedural text. Anyhow, with The Source, in order to get the sentences to take off, variation was totally vital.
I guess I should explain something else first though. Although here and there, a few complete sentences were taken from source material, for the most part, I’d pull out bits, phrases, half a sentence, a clause, three words in a row, so most of the individual sentences in The Source actually represent multiple sources; they’re pulled from three, four, or even ten different places. The Source was written by hand in a single notebook. I’d shoot for half a page to a full page per session, which meant I was reading through about one hundred or so books.
I’d walk the stacks at the library, run my hand along the books, pulling out four or five from the philosophy section, two or three from religion, a couple from literary theory, a manual on gun repair, a treatise on dryland farming techniques, a how-to book on fly fishing, someone’s collected letters, the biography of a president or two, a book on Bruce Lee, one on the L.A. riots, another on the history of the candy bar. Eventually, I’d wobble my way to a table, unload the pile, and set to work. This meant opening the notebook, finding the syntax I’d left off on—just to have it in my head, so I knew what I was hunting for (or at least knew what might match up with the pitch of the sentence I was looking to finish), and then I’d read. And read. And read. You’d be surprised how many books don’t have a page 26! Sometimes it’s a chapter break, sometimes a photograph (although I’m sure I used a caption or two). About 75 percent of the time, no matter how fascinating to move through, and how marvelously ambient to be in medias res ad infinitum, page 26—for the purposes of my project—was utterly useless.
But, yes, variation was really important. I always went to multiple sections, always wanted the thing to be saturated by a stylistic cacophony of both voice and content. And yet, perhaps not surprisingly, I ended up selecting language that really wasn’t all that different from what I’d write myself. I can’t help it. I’m drawn toward this sort of stilted, yet loopy and spiraling Heideggerian sytax; I like it when the sentence is crammed so full of clausal asides and additions that even at midday, in direct sun, the subject would be hard-pressed to cast a shadow on the predicate. And, as in other aspects of life, I steered pretty clear of the fiction section.
Question: Did you at any point consider maintaining or including a bibliography of all of your sources in The Source?
NEG: Oh yes! Good God yes! I really wish I had one. The problem is I thought of doing this only after I’d already written the thing. But I’ve discovered a sort of interesting game one can play with Google Book Search: plugging in a clause here and there will lead to The Source’s source texts; given the time (or inclination), one could reverse engineer the book this way. Michael Leong dabbled with this a bit in his very astute review here: http://hyperallergic.com/45070/noah-eli-gordons-the-source/
Question: Was there ever a point when you thought, I’m not sure I want to keep to the limits of the prompt I’ve assigned myself? If so, what made you stick to it?
NEG: Yes, yes there was, but I (mostly) stuck to those limits. In fact, there’s a sort of irony in that term when it comes to artistic production, as “limits” are often the very thing able to launch one’s work into previously uncharted territory. You push against them and the sparks ignite something wholly new, something you were theretofore unable to accomplish. The other day one of my colleagues, Cheryl Higashida, gave a fascinating talk that dealt with some of the early improvisational jazz recordings. She mentioned, via Benjamin, how the limits of the mechanical reproduction of these sessions (the duration of the performance was dictated by the amount of time a 78 rpm record could hold) not only impacted but pretty much sculpted what we know of as jazz today. So limits are sometimes liberating, no? Anyhow, with a project like this, what helped me was the fact that I was concurrently working on a memoir of sorts, another kind of source text, albeit one constructed from memory rather than trips to the library.
Question: The context of the source material for The Source has been so comprehensively removed that I cannot guess from where the language was originally culled. Rarely, if ever, is a new concrete (which is to say narrative) context created with settings characters, proper nouns, etc. How important was it to you to cut the language from its roots, or did it happen naturally? Was it a conscious decision to let the poems exist in a liminal space between the world of its original context and the world its ideas and abstractions implicate?
NEG: Yes, this cutting from the root was a conscious decision. I’m glad to hear that there aren’t too many tracks left by those original sources. I mentioned earlier that I avoided using straight ahead fiction while I was collecting and culling language, and think this is in part responsible for the lack of that narrative you mention. Instead, I wanted each sentence to impose a kind of will that would extend into and mesh with the sentence immediately following it but that would then pretty much dissolve. Thus, the will (the intention, the argument, the subjective underpinnings, etc.) of each sentence, in my mind, functions as a sort of equivalent of the terza rima stanza, interlocking with and then escaping from what comes afterward. I can’t go on. I’ll go on. It’s all evaporative.
Question: The Source seems to function differently from other found language collections, and a large reason for this seems to be that allowing yourself to insert ‘The Source’ in place of nouns gives you, as the author, more control over the intent and meaning of the found language. When constructing The Source did you find yourself inhabiting the same mindset as you would were you writing a poem on a blank piece of paper? Did you find yourself attempting to use the same mechanisms you might use in a poem built ‘from scratch’…were you trying to create the same relationships between sentences? Conversely, how was the process unique?
NEG: That’s a thicket of questions in one, a cluster of questions—a pattern emerges; and here I thought I was only in for 26! The mindset, hmmm. Well, yes, I was in a sense inhabiting the same mindset. Sometimes one writes a line, waits, hopes the next will reveal itself, all the while rejecting dozens of possibilities. While working on this book, the same sort of process was at play, sort of. Instead of those things entering via some kind of internal, contemplative welling up, I simply looked for them in the pages I was reading. I’d leave the syntax of whatever phrase I’d just copied down totally open, maybe it would end with something like “the truth of what then” and so I’d search for the next ligament to the sentence. What can I fuse onto that final “then” that’ll really add some torque? Book after book, and one often finds—nothing; it was frustrating at times. And yet, what a gift to be able to sample so much! I do think that the more one reads, the more broadly one reads, the more one internalizes various sentence structures. That I was fulfilling the dream of reading and writing simultaneously felt alchemical, clandestine, liberating.
Question: Were any of the books sourced for The Source written by writers you despise? Did you “like” any of the voices/sources you were using better than others? Hate any? Why? What was it like to play with their work? Were there sources you threw out? Why?
NEG: I used to despise things, but that was when I was in my twenties and thought I knew something; now I know I know very little, can learn from everything, and, in fact, want to. Actually, I’m pretty sure there’s some language from Mein Kampf in The Source! But yes, there were a lot of books that were wholly unfruitful. This was occasionally simply because I couldn’t link up whatever phrase I was searching to complete with the text at hand.
You know, there were some rich discoveries along the way, one of the real pleasures of making this book. Sure, I’d read page 26 of everything in front of me, but there were many many books that I’d continue reading, check out from the library, eventually buy a copy for myself. For example, before The Source, I was only vaguely aware of Marcel Bénabou, aware of him as one of the Oulipo crew, though I’d certainly never read any of his books. How beautifully serendipitous then to come across a book called Why I Have Not Written Any of My Books while I was, well, “not writing” one of my books! For the benefit of those who haven’t yet seen it, I ended up using this as one of The Source’s epigraphs:
They exist in libraries by word, by groups of words, by entire sentences in certain cases. But they are surrounded by so much empty filler and trapped in such an overabundance of printed matter that I myself, truth be told, have not yet succeeded, despite my best efforts, in isolating them and putting them together.
—Marcel Bénabou, Why I Have Not Written Any of My Books
Question: Do you have a list of replaced nouns? Could you tell us some of the ones that you particularly remember or which stick out to you?
NEG: Nope. I didn’t save anything like that. For such a systematically constructed work, I was very unsystematic in a lot of ways. Funny, though, when I asked Marjorie Perloff to blurb the book, she graciously did so, but also said, “I like the idea of your book very much, my one slight caveat being the transformation of nouns into the word SOURCE. Not sure quite what justifies that tampering with the texts. But—it’s all very interesting.” I told her, as I’ll tell you, that the secret influence on The Source was a little book by Mark Strand called The Monument, where he weaves into the prose bits of quotation and continually references this enigmatic monument, something that is both the text at hand and some undefined, future translation of the same text. If I wouldn’t have changed the nouns, I don’t think the book would have held together in the way (I hope) it does.
Question: Do you think there is a relation between your very determined project and the almost determination-less surrealist modes? i.e. Does chance still play a role in the poetics? Is surprise desirable or a conscious presence in the making of this? & why?
NEG: Here I’ll point toward the book itself to adduce your question. Please turn to page 110. Okay, now, there—that last sentence, that one there, read aloud: “The Source has nothing to do with Surrealism.
Question: Do you have an awareness of a particular “voice” with which you write that shaped this process? e.g. if you do think in terms of voice, did you consciously try to shape these into that, or try to deviate from it? & why?
NEG: Does one ever write with one’s voice? Isolated, examined, turned over, it’s such a weird word to be so ubiquitously deployed in the discourse around poetry, and yet, it is. It’s there, and, I suppose, one has to contend with it. I’ll operate, then, under the assumption that it means some sort of indelible mark upon one’s work that is unique and recognizable, yet subtle—something like a fingerprint, at once traceable and remotely mysterious. That said, in hindsight, I suppose I did look for something familiar, something of my own, something that I myself might write, while pawing through all those library books. I don’t think, at the time, it was a wholly conscious search, but given the way a lot of the diction and syntax in The Source isn’t all that different from some of my other work, I’m sure I was invariable drawn toward this sort of familiar language. Talk about turning the write-what-you-know dictum on its head: read for what you wrote; repurpose (the fancy term for theft these days) what already fits perfectly in the palm of your hand. We’re all readers before we’re writers, right?
Question: The Source is, for all intents and purposes that I can discern, a collection of epigraphs that have shed the ties that usually bind them to the beginning of the book. With that in mind, why did you include the more conventional epigraphs at the beginning of the book? Why did you choose to present citations of those and not for the rest of the book?
NEG: I think the book is a lot more than that. I hope it is. I see your point if the work were simply pulling things wholesale from their original context and just changing a noun, but that’s not what I did. There are some sentences in The Source that have five, six, seven, ten different sources. I guess the note I appended in the back of the book isn’t totally clear about this. And I do hope that there’s a sense of inevitability to the forward thrust of the prose, that it reads with purpose, intention.
I should say that I’ve come to totally regret the framing of the book. I sent it to Futurepoem without any process note, without any indication of how I’d written it, and it was accepted like that for publication. When I met Kim Rosenfield, one of the board members that year at Futurepoem responsible for marshaling the book into the world, I told both her and Rob Fitterman about the process behind it. They convinced me to include a note stating as much in the book. I don’t mean to suggest that they were super adamant or aggressive about it or anything, rather they seemed genuinely excited, which makes sense, given their allegiance to and spokespersonship of the burgeoning field of conceptual poetry. I mean, here was more fodder for that, right? As much as I dig conceptual writing, and have done several projects in that vein, with several others still in the works, I’m also just as apt to write a sonnet, a laconic lyric poem, or an absurdist prose piece. I don’t believe in one steadfast approach to writing. My interests are too peripatetic for that. That said, the problem now with The Source, because of my note and the blurbs, is that it’s only discussed as an idea, not a text, and I think of it as very much a text, one I shaped incessantly. If I could go back, I’d ditch all the scaffolding.
Question: Did any sense of ownership develop as you were putting this book together? How….what was the quality of that?
NEG: Yes, sure. It’s inherently an artistic and creative act to fuse together disparate fragments of the artistic and creative acts of others. The Source has an author, not an editor.
Question: In your note on process you state that you believe “that rigid and systemic modes of writing can embody an emotionally charged engagement with the world.” Moreover, in the praises that open the book, Kenneth Goldsmith states that you have proven that “writing still has the potential to be personal, meaningful and spiritual without our ever having written a word of it.” How do you go forward as a writer after The Source? That is, can you be as enthused about the words you write yourself while also believing that existing texts can offer as much as anything you might individually—as much as possible—create?
NEG: Does a writer ever go forward? I’m not sure. Sometimes I think one simply moves sideways. I should say that I don’t believe that existing texts trump the need, desire, urge, use, etc. for new ones. The Source isn’t polemically claiming that its procedural foundation is somehow the blueprint for valid progressive literary works par excellence. It’s just justifying its own existence, like any animal crying out in the woods at night. I’ve written in all sorts of ways, and I’ll continue to do so. Right now, I’m trying to finish a long nonfiction book I’ve been working on for about five years.
Question: To what extent did your selection and arrangement of material “match” or “align with” or “mimic” or “seem like” the process or tone of your rather natural way of thinking or tenor of thought?
NEG: Does one think in language? I don’t. I use it to build thought, to mirror thought, to articulate a poor mockup of instantaneous, intuitive connections that inevitably fail to accurately encompass the range of what is essentially a pre-linguist, kinetic state. If forced to use language to describe thinking, I’d say I do so in non-visual, geometric patterns and associative rhythms. So it’s not that the language in The Source matches these modes, rather that it does—um, er, come to think of it—have something in common with the way I’d attempt to corral them and help them cross over.
Question: Did you merge/collage as you went along, or did you at first gather only? And as you gathered, did you find the influence of your own idea of the project very prominent? Did it become more or less so as you collaged/merged, either then or later on?
NEG: I merged as I went along, allowing the process of what I was doing to dictate the direction it would eventually take. Although I’d settled on the parameters of the project before I started—the decision to cull work from page 26—I wasn’t totally sure in the beginning what it was that I was actually up to. I was already (sort of) familiar with some of the Kabbalistic significance of the number 26, but not much else. My process note, then, is something of an afterthought, a cork.
Question: What was your favorite source? Least favorite? Why?
NEG: Well, the Bénabou discovery was wonderful, but I didn’t have a favorite; it was the collision between sources that I was after. Although I did find some intriguing notes tucked into a few of the books while I was working, one of which read: “Vivian, doesn’t this fabric smell like gasoline?” I was amazed by its potency, the potential story behind it.
Question: When you posed questions within the text of The Source, were you encountering questions in the books which you were drawing from, or were you turning statements into questions?
NEG: Since most of my sentences contain multiple sources, I’d say no, but I’m sure the answer was sometimes yes.
Question: What is the role of questions in The Source? Do these sources interrogate themselves? Were any of the questions inserted to increase feelings of dialog/speech? Do you want a conversational feel in The Source, why or why not?
NEG: The role of questions is to ask questions. The whole book sort of interrogates itself. As for conversation, I’d find it difficult to talk with someone who spoke in a manner similar to that of The Source, but then I dropped out of religious studies pretty early in life.
Question: How true to the 26th page-language did you remain, or, put another way, how much freedom did you allow yourself?
NEG: Was Harry Mathews in the C.I.A.?
Question: How did you go about developing the speaker in The Source? Did you want the speaker to be a static figure, or someone who changes over the course of the book?
NEG: I let the process of reading determine entirely the shape of the speaker with absolutely no forethought as to what that shape would eventually encompass.
Question: Having looked at so many sources……where/how they are now together……what do you think makes for an authoritative (capital S) Source? What is the quality of that voice or form………gathered from what you’ve seen as you made The Source?
NEG: I’m not sure that I believe in an authoritative source; actually, I’m sure that I don’t believe in one, and I mean this authoritatively.
Question: From your prose note…….can you say more about what you mean by “emotionally charged”?
Question: Devotional writing has been often associated with copying texts, devotional texts, litanies, prayers, song, theological treatises, all or part of sacred texts, so the act of copying can easily be equated with spiritual evolution…….however those texts were copied with their content’s purposes intact and not without grave concern to be true to the source of what was being copied. Can you say something about both similarity and difference, on the one hand, on the other, etc.. V.V. Goldsmith’s remarks, possibly.
NEG: Again, no. Forgive me, just feel a little Bartlebyesque about the question.
Comment: In some ways you’ve constructed a fail-proof, foolproof narrative voice or character or stance or writing machine forThe Source, much of the book’s drama, which will cause much of its ability to be convincing (by which I mean compelling) derives from your saying how the book arrived, how the book’s composition tested your theory of the book’s “spiritual dimension.” We read The Source next to St. Theresa of Avila’s Interior Castle; sometimes intentions seemed wildly synchronized, while delivery couldn’t have been otherwise. Your reader—You as reader of the The Source, reader as main character, reader as most important receiver and maker, etc., reader as The Source, these were strongly felt as the book sunk in more and more.
NEG: Thanks for reading!
Find The Source here.


A Sage's Journey is devoted to assisting you in uncovering your authentic essence and equipping you with the tools to lead a spiritually enriched life. At the helm of this transformative endeavour is me, Daniel, a healer, mentor and visionary author of the enlightening book 'Seedling - The Journey to Inner Peace'.
Through A Sage's Journey, you can access personal Life Mentoring Sessions thoughtfully tailored to guide you along your path of self-discovery and growth.
I invite you to embark on a journey of personal evolution with me and embrace the transformative power of spiritual living together.
Helping You Find Your True Self & Inner Peace of Mind
by Daniel Mirfield
Ancient wisdom and guidance for modern times.
There is no doubt we are living through turbulent and challenging times. One of the best ways to navigate them is by listening to your intuition, staying grounded, being aligned and centred whilst reacting to your environment from a place of love not fear. This book will guide you through this process and will help you connect with your true, authentic self to create what we all long for and need, the peace that comes from within. Daniel's sage teachings will assist you in connecting to nature and your own true nature will be able to shine forth. Take your time in reading this book, allow it to be a soothing balm, breathe deeply, relax and most of all know you are not alone on this journey.
How to purchase a copy of Seedling
Stay informed and connected on A Sages Journey socials
Captured Moments: My Instagram Journey
Our biggest fear is the person we have become,
a soul disconnected from its embodiment with no identity.
Daniel Mirfield has written this fascinating book to help readers cope with the difficulties of modern life. It soon becomes an essential guide to improve our lifestyle, connect with nature and our inner self, and be happier. The author provides some guidelines and practices to help the reader on their journey of self-discovery, evolution, change and enlightenment. He talks about behaviour and mode of living at a personal level and at the level of society. I really liked this book. I found it easy to follow and understand and inspirational. It is written with a narrative in which personal experience predominates and this makes it simple to empathise with the feelings transmitted in it. I highly recommend it.
Celeste S Amazon Review
Daniel Mirfield's new book 'Seedling' help's us connect to our authentic selves and guide us towards the peace that comes from within. Reading it is inspiring, grounding and healing. We can all use a lot of that right about now.
New Earth Publishing
Whenever I feel lost, I enjoy the pleasure of reading a good book that inspires me. Without a doubt "Seedling" is a thought-provoking book that helped me cope with tough situations or some of my uncertainties. Daniel Mirfield has penned an inspiring and complete book.
Along these pages, the author teaches ways of connecting our inner parts with the body and nature. It shows some breathing techniques that help to lessen negative emotions such as anxiety, fear or anger. I liked it very much because it showed me the importance of taking a positive and relaxed view of life.
It's a concise, well-explained guide with a bunch of wisdom. The writer's ideas are simple to read and to follow. All in all, this is an excellent guide highly recommended.
Carlitas - Amazon Review
About Daniel Mirfield
Daniel has been aligned with animals and trees and attuned with the healing power of nature ever since he was a young boy. Growing up in country England allowed him the time and freedom to play and explore the world around him in great detail. He currently resides in NZ after living in Australia for many years, always being drawn back to a natural setting after some city life. It is in nature where Daniel's natural healing abilities shine. It's his connection to his faithful dog companion, Harry, where his empathy builds. Combining a family history of ancestors connected to spirit with his own personal journey has resulted in a man who is wise beyond his years. A healer, a channeler, a connector to nature, Daniel is a sage for modern times. He is currently writing his first book to help a confused world learn to find their true authentic self and align to nature, even if you live in a big city like most of us do. He will help us heal and recover from stress. His first book will be a blessing to help us all find the peace that comes from within.


A Lost Valley Warded by Powerful Magic. An Ancient Defender Awoken and Turned Destroyer.
The mountain turns, sending moss-covered boulders tumbling. The Colossus begins to walk.
The last bastion of light and hope in a mist-covered accursed land, the Occluded Valley is threatened by an ancient colossus. Can a stalwart group of adventurers traverse the divided valley and scale the Colossus before it leaves annihilation in its wake?
Gather around the table with hearty companions and enter a thrilling world of adventure!
Colossus Wake is a 116-page, black and white adventure for D&D 5th Edition, with a setting inspired by Shadow of the Colossus and English folklore. The second book of the Eldritch Mists campaign set in the world of Boroz, an accursed and mist-shrouded land filled with dangerous creatures and eldritch influence.
Colossus Wake Includes:
- Epic adventure intended for 3-5 3rd level characters, with an approximate play time of 12-15 hours.
- 11 overland locations and 23 dungeon rooms filled with dangerous mysteries.
- 8 horrifying new monsters, from the unassuming gelatinous pond to the relentless scarlet jack.
- Scale trees and communicate with plants as the new wild elf subrace.
- Make nightmares a reality with the new Nightmare cleric domain.
Illustrated throughout with evocative black and white line-art. Printed in black and white with colour covers.
What Others Have Said
"The design here is pretty good... NPC descriptions are short and well done... There’s an EXCELLENT timeline sidebar with travel times and so on, as well as a time tracker, to help the DM run the thing. There’s no right path, although there is an expected path... This is a good adventure."
— Bryce Lynch, tenfootpole.org
The adventure begins with The Howling Caverns, the first book in the Eldritch Mists campaign.
Includes the digital PDF!


On March 25, 2024, CMTBC held a Practice Development Program information session. The information session was held to:
As a follow-up to the information session, CMTBC has updated the Quality Assurance Frequently Asked Questions page to include questions received from registrants both in advance of and during the information session.
The Evidence-Based Practice Standard of Practice, which went into effect on January 15, 2024, sets clear expectations for how RMTs incorporate an evidence-based practice approach into their practice.
An additional resource to help registrants understand and apply the Evidence-Based Practice standard to their practice can now be found in Resources for Registrants, on the Evidence-Based Practice page.


The recent history of the world divides into roughly four phases.
1865-1914: When the British Ran Things All Right, Considering;
1914-1945: When the Americans Made a Bad Mess Worse;
1945-1968: When the Americans Ran Things All Right, Considering, and
1968-present: When It Sure Looks Like the Americans are Making Another Big Mess But It's Still a Little Too Soon To Tell.
I guess you could quibble with this. In fact it's definitly quibblable. But, considering, it's pretty true.


Presently the institution has 101 computer systems installed in BCA lab, computer application labs, college library, browsing centre and administrative departments.
The college has EDUSAT terminal for delivering online lectures by experts & student interaction with them.
As a part of e-governance the University of Kashmir has setup an IT&SS cell in the college for the facilitation of students in admission and examination etc. the university caters to the student needs through this cell.
The college library is in the process of library automation with SOUL2.0 library software from last year. The data entry of more than 10,000 books has been completed so far.
The college has a ICT enabled conference hall and state-of-the-art smart class room with the seating capacity of 50 persons at a time. The smart class room has an interactive display board connected with an embedded core i3 computer and 20 interactive pads.
Availability Jio-WiFi facility in the whole campus set in 2017 by Jio-infocom Ltd. Under its educational initiative. In the campus a student can access up to 34MB of data per day free of cost.


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Early to Bet | Looney Tunes Wiki | FANDOM powered by Wikia Early to Bet is a 1951 Merrie Melodies short directed by Robert McKimson.. Plot . Some examples of what the Gambling Bug can do: A man has eaten dinner and been presented with the bill. However, he wants to bet the waiter Luigi "double or nothing" on a coin flip for the bill. Merrie Melodies - The Bug Parade - video dailymotion Sep 29, 2017 · Merrie Melodies Starring Bugs Bunny and Friends 1990 Road Runner opening. Machelledorothy 6622. 6:46. The Wabbit Who Came to Supper (1942) Bugs Bunny in a Merrie Melodies Cartoon. Bugs Bunny. 8:32. Case Of The Missing Hare (1942) Bugs Bunny Merrie Melodies English subt. Kaxetatu. 8:27. Merrie Melodies | Page 3 of 9 | TopCartoons.TV Merrie Melodies. 06:52. A workman finds a singing frog in the cornerstone of an old building being demolished. But when he tries to cash in on his discovery, he finds the frog will sing only for him, and just croak for the talent agent and the audience in the theater he’s spent his life savings on. Gambling Bug from Merrie Melodies in Early to Bet (DeviantArt …
1 vote. View all Merrie Melodies: Starring Bugs Bunny and Friends pictures (16 more). In celebration of Bugs Bunny's fiftieth birthday, this television series, broadcast on weekdays...
Bugs Bunny Case Of The Missing Hare 1942 HD | Looney Tunes | Merrie Melodies | Cartoon For Kids | Merrie Melodies - Bugs Bunny Gets The Boid - 1942 видео... Merrie Melodies слушать и скачать на MIXMUZ Слушайте Merrie Melodies и скачивайте бесплатно в формате mp3 прямо сейчас, без кодов, смс и регистрации... Looney Tunes and Merrie Melodies Comics #95 - Bugs… Bugs Bunny - Bugs Meets A Professor - 2 page text story - feat. Petunia, Cicero (inside front/back cover). Bugs Bunny - (Bartering) - 12 pages - feat. Porky Pig, Petunia Pig, Elmer Fudd (untitled). Sniffles and Mary Jane - (Color Crayons) - 8 pages (untitled).
An Archive of Our Own, a project of the Organization for Transformative Works
gambling bug | Dr. Grob's Animation Review June 12, 2013 in Merrie Melodies, Warner Bros. films | Tags: 1951, bulldog, cat, Early to Bet, gambling, gambling bug, gin rummy, penalties, Robert ... Early to Bet (1951) - IMDb The Gambling Bug's bites cause gambling fever. He bites a cat, who heavily falls ... Q: Which series is this from: Merrie Melodies or Looney Tunes? See more » ... Gambling in Cartoons: Early to Bet - Prism Casino Feb 19, 2015 ... ... once produced a theatrical short for its Merrie Melodies series that ... Unlike more dangerous insects, The Gambling Bug's only venom was ... Banned Censored and Racist Cartoons - Blackface!
Early to Bet is a 1951 Merrie Melodies short directed by Robert McKimson. Plot . Some examples of what the Gambling Bug can do: A man has eaten dinner and been presented with the bill. However, he wants to bet the waiter Luigi "double or nothing" on a
Amazon.com: Looney Tunes and Merrie Melodies. Skip to main content. Try Prime EN Hello, Sign in Account & Lists Sign in Account & Lists Orders Try Prime Cart. All Merrie Melodies | Warner Bros Wiki | FANDOM powered by Wikia Merrie Melodies is a series of animated short films produced by Warner Bros. between 1931 and 1969, during the Golden Age of American Animation. As with its parent series, Looney Tunes, Merrie Melodies featured some of the most famous cartoon characters ever created; including Bugs Bunny, Daffy... Early to Bet - Wikipedia Early to Bet is a Warner Bros. Merrie Melodies theatrical cartoon short released on May 12, 1951 starring The Gambling Bug. The Gambling Bug is a small character who infects others with the desire to gamble. He wears a green tie, a red jacket, a brown hat and a white tuxedo.
Kids Cartoons Merrie Melodies: Baseball Bugs
Extremely poor Merrie Melodies short has a "gambling" bug biting various people and then we see how bad gambling is. I'm really not sure how to explain this ... 123 Top Looney Tunes Merrie Melodies Characters images | Merrie ... See more ideas about Merrie melodies, Looney tunes and Comics. ... Gambling Bug Merrie Melodies, Looney Tunes, Disney Characters, Fictional Characters, ... The Gambling Bug | Looney Tunes Wiki | FANDOM powered by Wikia The Gambling Bug is a small character who infects others with the desire to gamble. His first ... The Gambling Bug's history is unknown, but he was probably created by... ... Looney Tunes and Merrie Melodies filmography Looney Tunes Wiki. Early to Bet - Wikipedia
Merrie Melodies: Starring Bugs Bunny and Friends ... The syndicated MERRIE MELODIES show, which ran from 1990-1992, was a real treat for those of us who grew up watching these theatrical classics. Sixty-five episodes were produced to run 5 times a week for 13 weeks, then the cycle was rerun 7 more times over two years. ... Merrie Melodies Archives | B98.TV Merrie Melodies (24) Rabbit Hood. Prest-O Change-O. You Were Never Duckier. Wagon Heels. Tweety’s S.O.S. Tweety And The Beanstalk. Tweetie Pie. This Is a Life? Room And Bird. Robin Hood Daffy. Old Glory. Often An Orphan. Nasty Quacks. Hollywood Daffy. Duck Amuck. Dough For The Do-Do. Daffy Duck In Hollywood. Amazon.com: Looney Tunes and Merrie Melodies


Welcome to the Kansas Agricultural Experiment Station online manuscript submission system.
The KAES is the research component of K-State Research and Extension. The KAES assigns contribution
numbers to manuscripts prepared by station scientists for external publication (e.g., journals) and
station publications (e.g., annual reports of progress). Authors with KAES funding can also request editing before submitting
manuscripts to external publications. Manuscripts published during each fiscal year are listed in the annual
KAES Director’s Reports.
This website allows KAES faculty to request contribution numbers and editing for manuscripts, submit publication
information and update manuscript status once manuscripts are published, and search the database of submitted manuscripts.
Contact the KAES editor if you’d like to produce a new station publication or inquire
about editing for KAES manuscripts that don’t receive a contribution number (e.g.,


Rules of the Library
Students may not eat or drink anything; listen to CD or MP3 players unless for academic purposes; or play computer games. They may study quietly together provided they do not disturb others around them. Otherwise no talking is permitted.
The dress code is strictly enforced in the Library.
The Library provides crayons, markers, colored pencils, tape, glue, scissors, a three-hole puncher, stapler, paper cutter, a calculator, a ruler, paper clips, and rubber bands.
Detention will be given to students who do not follow the rules of the library. The above rules include an understanding that each student will behave in accordance with the school behavior policy found in the handbook. Students can also lose access to the library if behavior is continuous or physical.
The computers in the library are for every student, faculty and staff member to use. These computers have access to the Internet and Microsoft Office products. Our computers also have the online catalog for the school, pre-install software that corresponds to our textbooks, and short cuts to appropriate sites for use in research.
Any PHS student in need of an iPad for temporary use my come to the library and check one out. iPads are limited to a 3 day check out. Fines and loss of library iPads are considerable therefore it is recommended only for those students whose personal iPad is being repaired or replaced.
Items for Sale
Printing cost $.10 a page
Color Printing cost $.25 a page
Laminating cost $.04 per inch
Library Fines are $.25 a day per book.
Other items can be found in our bookstore located on the 1st floor.


I just released a new version a of six, my Python 2/3 compatibility library. The main feature in this release has that six has been flattened into one source file on the philosophy of "flat is better than nested" and for ease of distributing in projects. I've also switched from Bazaar to Mercurial, since the latter seems more popular and it's all the same to me. The issue tracker and source code is no on BitBucket.
I'm calling this version, 1.0.0 beta 1. Assuming no one complains, I think I'd like to release a final version in the next month or so.
Your feedback is appreciated.


Peter Frankis is an Australian-based writer, dividing his time between Canberra and the industrial town Port Kembla south of Sydney. In 2005, his first collection of short stories – Trouble in the Garden – was published by Ginninderra Press and was short-listed for the Queensland Premier’s Steele Rudd award for short-stories and won the 2005 ACT Publishing and Writing Award. In 2007 his second collection — Not a flotation device — was published by Ginninderra Press . This collection won the ACT Writing and Publishing Award 2008.
After a hiatus of a few years, Peter has returned to writing and is currently working on his new collection – Fuse Country. This site features some of his favourite stories, hack poetry, travel comedies and miscellany, all about not taking self too seriously.


Reading at St. David's
- Read a varied selection of texts whilst gaining an increased level of fluency, accuracy, independence and understanding.
- Use reading as a means of information gathering and retrieval.
- Be encouraged to develop a positive attitude towards books so that reading is seen as a necessary but pleasurable activity.
- Be taught a variety of strategies to help them read, including: phonics, picture clues, whole word recognition and context.
- Use their reading skills as an integral part of their learning throughout the entire curriculum.
- Have a daily opportunity to read or share books.
- Be encouraged, through reading schemes and a variety of other reading material to continue the reading process at home.
- Have access to the school library as a reference and borrowing facility.
Throughout Foundation Stage & KS1 we use both Big Cat Phonics and Rigby Star reading schemes for home readers and guided texts. We also use the Pearson published ‘Phonics Bug’ reading books to supplement where needed.
You can access further information about Big Cat Phonics by clicking here.
As children move in to KS2, we contnue with the strucute of 'book-bands' - where reading material is linked to age and stage of reading. In lower KS2, children have access to the Pocket Readers texts, which are engaging for all children. The scheme is published by Pearon and is described as:
"Pocket Reads is a superb collection of 120 pocket-sized fiction and non-fiction readers which cannot fail to capture your children's imaginations at KS2. They are especially attractive to children who are put off by too much text.
- Each book is carefully levelled to ensure gradual progression and includes plenty of follow-up activities to encourage further reading and writing.
- Every title is linked to one key reading skill.
- Lots of variety and choice means the boys and girls in your class will always find a pocket-sized read they love.
- Chapter books guaranteed to appeal to all your juniors."
Additional catch up schemes are also accessed by those children who require additional opportunitiy to acquire the reading skills needed as they move through school. These include Dandelion Readers and Talisman Series.
Free readers are also available for all children from Y3 upwards. Years 3 – 6 have access to ReadingPlus. This is an online library of texts and comprehension questions, which can be accessed at school or home. (Year 2 access this resource in the Summer term.)


8 Holly Place, Hampstead - Tey's character of Lee Searle from To Love and be Wise lived at 9 Holly Pavement, Hampstead. The pictured house belonged to friends of Tey's during the 1930s-40s.
Neighbouring No. 9 Holly Place, Hampstead has a plaque which describes this house as "The Watch House: In the 1830s the newly formed Hampstead Police Force set out on its patrol and nightly watch from this house".. Tey's sense of irony may have encouraged her to set a slight variation on this address as Lee Searle's.
Josephine Tey's home in Inverness, Scotland.
Josephine Tey's home in Inverness, Scotland.
The Argus,Melbourne, Vic (1848-1956)
Saturday, 29th November, 1952 p.15
- Miss Tey died on 13th February, 1952.
THE DAUGHTER OF TIME by Josephine Tey
Scotland Yard Inspector Alan Grant, laid up in the hospital, considers one of the pile of books he’s been given to occupy his time.
The Sweat and the Furrow was Silas Weekley being earthly and spade-conscious all over seven hundred pages. The situation, to judge from the first paragraph, had not materially changed since Silas’s last book: mother lying-in with her eleventh upstairs, father laid-out after his ninth downstairs, eldest son lying to the Government in the cow-shed, eldest daughter lying with her lover in the hayloft, everyone else lying low in the barn. The rain dripped from the thatch, and the manure steamed in the midden. Silas never omitted the manure. It was not Silas’s fault that its steam provided the only uprising element in the picture. If Silas could have discovered a brand of steam that steamed downwards, Silas would have introduced it.
Adelaide News, 28th November, 1952
The Australian Women's Weekly, 29th April, 1953.
Adelaide News, 7th August, 1953, reviewed by H.N. Huffadine
Adelaide Mail, 24th July, 1954
The Australian Women's Weekly, 23rd December, 1933
The Australian Women's Weekly, 13th January, 1951
Mystery of Singing Sand Dunes Solved
The Yorrkshire Post, 1933.
Giorgione, born 1477-78, Venice Italy - died before November 7, 1510, Venice, Italy. 'Portrait of a Young Man' - two studies.
'Who is the girl who fluffed at the balance exerciise?'
'Her name is Mary Innes. Why?'
'What a wonderful face. Pure Borgia.'
'Oh, no!' Lucy said, sharply.
'I've been wondering all afternoon what she reminded me of. I think it is a portrait of a young man by Giorgione, but which of his young men I wouldn't know. I should have to see them again. Anyhow, it's a wonderful face, so delicate and so strong, so good and so bad. Quite fantastically beautiful. I can't imagine what anything so dramatic is doing at a girls' Physical Training College in the twentieth century.'
Miss Pym Disposes (1946). Pan Books London, 1957, p. 164.
Inverness writer's play 'made' John Gielgud
Written by Margaret Chrystall
Jennifer Morag Henderson's talk will look at Inverness writer Elizabeth Mackintosh's play Richard Of Bordeaux. Picture: Alison White
AT a lunchtime talk tomorrow (Thursday) the curtain is raised on the hit 1933 West End play by Invernessian writer Josephine Tey which launched the career of late great actor John Gielgud.
Jennifer Morag Henderson - herself a writer from Inverness - will share her latest research on the play Richard Of Bordeaux.
It's the latest chapter she has been working on from her own biography of Tey, whose real name was Elizabeth Mackintosh, but who wrote the play under another alias, Gordon Daviot.
As well as talking about the script of the play which, along with a ring, was gifted to Inverness Museum by Mackintosh, Henderson will show her own copy of the play’s programme and a souvenir magazine with many pictures of the production.
As Josephine Tey, Elizabeth Mackintosh was best-known as the author of eight mystery novels, often featuring Inspector Alan Grant.
It was under her second pseudonym, Gordon Daviot, that Mackintosh's first play went on to become a smash hit in London’s West End, with a young John Gielgud making his directorial debut and also starring in the title role.
Jennifer said: “Elizabeth was a totally unknown playwright, but she jumped in right at the top.
“She sent the script to Gielgud and it was only quite far into the idea of putting it on that he met her and realised she was a woman.
“She made his career - that’s not an exaggeration. Before this Gielgud was doing reasonably well, though at the time the actress who played opposite him, Gwen Ffrangcon-Davies was much better-known.
“After this, he was appearing on the front cover of magazines.
“It was an enormous success and also went to Broadway.
“People were going back to see the play 20 or 30 times - souvenir dolls were even made of the characters.
"Gielgud and Ffrangcon-Davies made enough to buy houses in the country.”
Elizabeth Mackintosh, lived in the Crown area of Inverness, went to school at Inverness Royal Academy and her parents ran a fruit shop on Castle Street.
She originally trained and worked as a PE teacher in England before returning to Inverness after the death of her mother to look after her father.
Interest in one of Tey’s mysteries, The Daughter Of Time was rekindled last year after the bones of Richard III - subject of the book - were uncovered in a Leicester car park.
Henderson points out that since the book was published in 1951 it has never been out of print in the following 62 years.
Like the Richard III Society – which co-led the search with Leicester university – Tey had always argued that there was evidence to show Richard was a good king.
With her play about Richard II, Tey was working with the best actors of her day - later staged on Broadway too - and her writing was in demand, not only in Britain, but also in America and in translation across Europe.
Jennifer is also a writer whose stories, poems and articles have been published in magazines and anthologies in both Scotland and Canada.
Her play Mackay Country, about crofter-poet and land reform campaigner Ewen Robertson, was performed at Eden Court Theatre in Inverness in 2011.
As an editor, Jennifer used to run Highland literary magazine Random Acts Of Writing and now works on creative publishing collaboration LittleBirchLeaf (www.littlebirchleaf.co.uk).
And last year Jennifer's short comedy English Lessons was presented for the first Play Pieces Shorts series to showcase upcoming writers and performers.
Another of her plays - a one-woman monologue set on an Inverness train - will be performed at the latest Play Pieces Shorts event, on the theme Lost & Found - running over November 14 and 15 in The Village, Inverness.
Jennifer is also working on a play to be performed next year about Donald Morrison, Canada's Megantic Outlaw.
But for Jennifer, a big focus for her writing has been the biography of Elizabeth Mackintosh she has been working on as an ongoing project for the last three years.
Jennifer said: "When I was a teenager, my mother gave me the Josephine Tey books and told me they were by a writer from Inverness.
"I loved them and, as an adult, I reread them and recommended them to my husband. He asked me if I knew more about the writer, but I didn't.
"I started finding out about all the different things she did - the novels, plays and histories - and found her fascinating.
"There is no biography, though there are some biographical essays.
"Elizabeth Mackintosh has this reputation as a mystery writer, but she herself is something of a mystery too.
"She has the different identities. And if people think 'I want to write about the crime writer' they would find scholarly articles about her as a mystery writer or would get so far with the theatre writing side, but these are not the whole story."
Jennifer says she is lucky enough to know the family and that coming from Inverness has helped with the research too.
"I don't think I could have done it if I hadn't been an Invernessian too and knew where to go to find out some things."
Though Jennifer has been working on the biography for three years, she decided to rework the book some time back.
She explained: "It seemed the more I looked into it, the more I learned and I decided that I wanted to rewrite what I had already done."
The talk this week is the third she has given on various aspects of Elizabeth Mackintosh and her writing life as Josephine Tey and Gordon Daviot.
Extract from 'The Inverness Courier' 23/10/20013 written by Margaret Chrystall
RICHARD OF BORDEAUX.
Signed by Sir John Geilguid (twice) and most of the rest of the cast i.e. Richard Ainley, Gwen Ffrangcon-Davies, George Howe, Kinsey Peille,Frederick Lloyd, Margaret Webster, Barbara Dillon, Donald Wolfit, Clement McCallin, Reyner Barton, Alfred Harris, Ralph Truman, Glen Byam Shaw, George Devine, and Ben Webster. This play was a smash hit in 1933 doing a 6 month season in both London and New York with Glen Byam Shaw and George Devine being replacements for original cast members
The actress Gwen Ffrangcon Davies discusses her role in Josephine Tey's 'Richard of Bordeaux' and 'Mary Queen of Scots'.
Although Tey's characters are most likely to be composites of several different people whom she knew personally, I believe that her character of Marta Hallard, Inspector Grant's actress friend, may have been drawn largely from the character of Martita Hunt, the English dramatic actress who was a good friend of Tey's (she often accompanied Tey to the races). Tall, domineering, very much a grande dame of the British theatre, husky voiced and over-whelmingly dramatic, she fits Tey's description of Marta Hallard perfectly.
Erica Burgoyne's big crush - Togare the lion tamer from A Shilling for Candles pp. 61-62. Togare based his character on that of Douglas Fairbanks.