josephine and men
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the trouble with josephine is that her ever - loving and over - sympathetic nature leads her to switch from needful men to even more needful men .
the trouble with josephine is that her ever - loving and over - sympathetic nature leads her to switch from needful men to even more needful men ...
last night i was wandering around with men and you did not know ...
“nineteen thirty - seven” is narrated by josephine, whose mother is imprisoned as a witch. hours before josephine’s birth, her mother swam across a blood - filled river to haiti from the dominican republic, where haitians were slaughtered, including josephine’s grandmother. every year, josephine and her mother performed rituals at the massacre river. when josephine visits her increasingly frail mother, she never says anything, but she brings a virgin mary statue that her mother makes cry using wax and oil. when josephine’s mother dies, jacqueline, another ritual performer, takes josephine to see her body burned .
the pleasures of men and over 2 million other books are available for amazon kindle. learn more
although marketed as a boulting brothers comedy, ‘josephine and men’ is not at all a funny film, although thorley walters does a good comic turn as a persistent vacuum cleaner ...
x - men: dark phoenix is set for november, 2018. get psyched .
dark and compelling, the pleasures of men marks kate williams as a stunning new voice in historical fiction .
josephine throws over her businessman fiancee alan for struggling playwright david hewer. a few years later, alan is on the run from the police and asks josephine for help. she decides to leave david ...
as gq & apos; s joshua rivera previously noted, x - men: dark phoenix, the next (and quite possibly last) film in the main x - men movie series, is happening, and it & apos; s going to be essentially a remake / retelling / do - over of the absolute worst x - men film, the last stand. okay, maybe tied for worst along with x - men origins: wolverine .
more women than men, a very funny one, is about a girls' school and the formidable headmistress, josephine napier, married to an ineffectual man who dies by a fall from library steps. her brother is a homosexual living in the same town .
kate williams' first novel, the pleasures of men, is a gothic thriller with a splash of brutal murder .
earlier in life, he had fathered a child, and josephine brought the boy up as her own. but now the boy is grown up, and falls in love with one of the younger mistresses at the school. she is the daughter of a woman who, in youth, had been josephine' s friend. she had hoped to marry simon (library steps) - but josephine had been the more powerful character .
josephine comes to her door, begging louise to come out, warning her that she’ll get sick if she doesn’t. louise tells her to go away. she fantasizes about all the days and years ahead and hopes that she lives a long life. then she opens the door, and she and josephine start walking down the stairs, where richards is waiting .
kate studied at oxford and london and is the author of two non - fiction books: england' s mistress: the infamous life of emma hamilton and becoming queen. she lives in london. the pleasures of men is her first novel .
glynis johns heads an impeccable cast in this sparkling boulting brothers comedy feature of 1955. charting the romantic complications of a kindhearted young woman who simply cannot resist an underdog, josephine and men is adapted by bafta - award winning screenwriter and author nigel balchin from his own story, and presented here in a brand - new transfer from the original film elements in its as - exhibited theatrical aspect ratio. see more at: urltoken
et: and she also said people who think their latin is sight reading perfect which is usually men of a certain age / generation... that' s how you make mistakes .
the politics of josephine baker’s adopted family cut cross the conventional divides between radical and conservative, transnational and national, and european and american. in studying her family, then, we can come to better understand the practices of diaspora and transnationalism in the twentieth century. we can more brightly illuminate the process of circulation, mediation, and translation... [ show full abstract ]
louise mallard has heart trouble, so she must be informed carefully about her husband’s death. her sister, josephine, tells her the news. louise’s husband’s friend, richards, learned about a railroad disaster when he was in the newspaper office and saw louise’s husband, brently, on the list of those killed. louise begins sobbing when josephine tells her of brently’s death and goes upstairs to be alone in her room .
the front door unexpectedly opens, and brently comes in. he hadn’t been in the train accident or even aware that one had happened. josephine screams, and richards tries unsuccessfully to block louise from seeing him. doctors arrive and pronounce that louise died of a heart attack brought on by happiness .
jealous of the young woman, josephine allows her, when weak with pneumonia, to be exposed to a draught. (readers will recognise a plot - borrowing here from somerville and ross' s the real charlotte) .
if you were to read aloud the plot summary of more women than men to a group on a contemporary creative writing course, and ask them to write their version, imagine the resulting dog' s dinner .
jb: definitely and i do think that is why catullus is so difficult for women because there' s so much sexual violence there. the energy is sexual and it' s quite often violent, if mostly towards other men, it' s still very off - putting .
howard hughes is a driven man who amassed wealth and recognition as a hollywood mover and shaker, aviation giant and man of mystery .
the novel recounts six months in the life of the students at plumfield, a school run by professor friedrich and mrs. josephine bhaer. the idea of the school is first suggested at the very end of good wives, when jo inherited the estate from her aunt march .
relationships of uncertainity and problems encountered. donald sinden and glynis johns are to be married. he is financially well off and has a reglular job .
when josephine says to one of them :
i suppose we have no reason for objecting to the presence of our fellow creatures ,
she receives the tart reply :
i had reasons for objecting to the presence of these creatures .
the melodrama is packed as an egg. felix, the 40 - year - old lover of josephine' s portly 70 - year - old brother, jonathan swift, leaves him when he inherits his father' s estate, and marries; there is also a sapphic subplot among the schoolmistresses .
et: even if you are. i mean some of her catullus translations in men in the off hours are completely impenetrable. her version of 58 for example:' nuns coated in silver were not so naked...' .
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a sportswriter and a fashion - designer marry after a whirlwind romance, and discover they have little in common .
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fc: yes and it' s extraordinary the way in which they do link together and ovid' s story becomes part of that experience .
' wonderfully imaginative and gripping' the times' intense, intelligent and hugely entertaining' guardian' intoxicating and disturbing... shows a soaring talent let loose' independent on sunday' fans of sarah waters will love this' good housekeeping' a spine - tingling and seductive thriller' woman & home
fc: well i do think so and i wonder as well that the fact that it' s focused so heavily on exile and outsiders ...
et: and he also goes back to things like metamorphoses quite a lot and fasti too and there' s something... i think that' s also quite appealing to contemporary writers that he is looking back at himself .
if this sort of remark makes you laugh, then i. compton - burnett is for you. she is, naturally, against the kindly spirit of our times. at the very beginning of the book, as the mistresses are returning to josephine' s well - run school, two of the women show their different characters by reactions to a crowded train journey .
louise knows she’ll cry again when she sees brently’s corpse. his hands were tender, and he always looked at her lovingly. but then she imagines the years ahead, which belong only to her now, and spreads her arms out joyfully with anticipation. she will be free, on her own without anyone to oppress her. she thinks that all women and men oppress one another even if they do it out of kindness. louise knows that she often felt love for brently but tells herself that none of that matters anymore. she feels ecstatic with her newfound sense of independence .
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kate williams is an academic and historian who specialises in social history. her first two historical biographies, england' s mistress, and becoming queen, were widely acclaimed and the independent called her' one of our finest young historians.' she discusses history regularly on tv and radio, including newsnight, bbc breakfast, the one show and the today programme, covered the royal wedding for the bbc and presented a timewatch programme on queen victoria. she is the social historian on restoration home with caroline quentin. kate has a dphil from oxford and two mas from london, and teaches on the ma in creative writing at royal holloway .
personal relationships are central to the school, and diversity is celebrated. daisy is deeply attached to her twin brother, to shy nat, and to tomboy nan. nan and tommy are also close and the latter intends to marry nan when they grow up. dan, already friends with nat, is unexpectedly drawn to the pious demi and the toddler teddy. while franz hoffmann, emil hoffmann, daisy and demi are all related to the bhaers, they are not treated with favouritism and are encouraged to overcome their faults just the same as the other pupils .
jb: i think it' s the same with a lot of things, it looks maybe even a bit glib. but actually you' ve spent months and months doing boring things, writing stuff in note books and then going through them, and then sometimes they spark off each other and it just falls into place .
fc: yes it is, though it' s interesting as well, i don' t know if you' ve seen the book of poetry that' s connected to the titian? it was just interesting that i think no men went for the callisto picture, only the women did. if you look at the division of the pictures that were chosen it was quite telling .
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fc: well this is true and some of us might welcome a little more explanation .
this time around, there are more reasons to be cheerful, most notably in the long - rumored, finally confirmed appointment of simon kinberg as the director. kinberg has been overseeing the franchise since the last stand. he & apos; s been involved in every main - canon x - men film since, essentially godfathering it through its toughest, most turbulent period. if anyone deserves a shot to tell the story right, and potentially end it all, it & apos; s kinberg .
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“night women” concerns a prostitute who practices her profession next to her young, sleeping son’s bed. she tells him she gets made up before bedtime because she’s waiting for an angel to come. she worries he’ll someday find out the truth, especially as she sees him becoming older and more sexually aware. if he ever wakes to find her with one of her regular married men, she will tell him it’s his father, visiting for one night. when he asks about the angels, she tells him they haven’t come yet .
louise sits down and looks out an open window. she sees trees, smells approaching rain, and hears a peddler yelling out what he’s selling. she hears someone singing as well as the sounds of sparrows, and there are fluffy white clouds in the sky. she is young, with lines around her eyes. still crying, she gazes into the distance. she feels apprehensive and tries to suppress the building emotions within her, but can’t. she begins repeating the word free! to herself over and over again. her heart beats quickly, and she feels very warm .
jb: i did classics and ancient history at ucl, first degree and then, some years later, my phd in translation and creative writing at uea. i did latin in school from the age of eleven and then wanted to do a - level greek. our teacher could teach greek but she said: ‘you have to get three people to do it’ and i eventually managed to persuade two other girls to do it. we did the o - level, in nine months basically. and then i changed schools, to a girls' grammar school and they didn' t do greek at all. so i had to go to the boys' grammar school to do greek a - level where they' d been studying greek for a lot longer. and it was absolutely fascinating, the difference between a boy' s education and a girl' s education .
fc: that' s really interesting. and just turning back to the word for sorrow, i was really interested in why we' re seeing a sudden renewal of interest in the tristia. so there' s christoph ransmayr and david malouf and bob dylan, but they really seem to be appealing greatly to women as well. there' s your word for sorrow and then jo shapcott' s of mutability is all underpinned with the tristia and jane alison' s love - artist. in france, darrieussecq has translated them and julia kristeva has written the old man and the wolves which is all about the tristia. so there' s a real resurgence at the moment .
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fc: and it is repetitive. you do sort of think: ‘oh, please... ’
jb: exactly and i thought about this person who had this dictionary and how hard i' d had to struggle to get to having my own dictionary. and this was just thrown out with the house contents when they sold their big house after the war. i think that again, it' s another layer .
the story begins with the arrival of nathaniel blake, a shy young orphan who used to earn a living playing the violin. we are introduced to the majority of the characters through his eyes. there are ten boys at the school already; nat, and later his friend daniel kean joins them, and soon after nan harding arrives as companion for daisy brooke, the only girl. jo' s sons rob and teddy are younger than the others and are not counted among the pupils, nor are the two girls, daisy and nan .
et: they are like little stories the dictionaries and that' s what i got in nox ...
jb: exactly it' s only when you go down to the very bottom of that dictionary entry that you start seeing... . and what happens sometimes is that you notice that in certain poems and again, maybe it' s just coincidence, that in certain poems lots and lots of words are being used that, maybe, have legal overtones. and you' re thinking: ‘is this deliberate? have we missed out on this? ’ and then you can incorporate that in your translation. so i think it' s really important .
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jb: as they always say 90% hard work and 10% inspiration, i think that' s true .
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spitalfields, 1840. a murderer nicknamed the man of crows. a heroine with a mysterious past and a vivid imagination .
as the murders cause panic throughout the city, she comes to believe she can channel the voices of his victims and that they will lead her to the man himself. but she' s already far closer than she realises - and lurking behind the lies she' s been told about her past are secrets more deadly and devastating than anything her imagination can conjure .
jb: absolutely, yes. the way it was taught was very, very different. in the girls' school - i' m sure you both remember this - when we did our set books we would learn the translation by rote and practically recite it in class. and then when we got our passage in the exam we could just write it off and it would all be the same. but at the boys' school we just went through the books and wrote down vocabulary lists and i was saying: ‘hang on a minute, hold on a minute, i haven' t written down the translation’ and they would say: ‘what are you doing? we don' t write down the translation’. and as well as our set book we did about three or four other books; it was really laid back from that point of view .
marie finds a dead baby in the street. she names it rose and tells it about her miscarriages, her cheating husband, and the dominican pool - cleaner who slept with her once. marie pretends the household where she works belongs to her and imagines her female ancestors visiting her. when the baby rots, she covers it with perfume, but she finally decides the flies are trapping rose’s spirit and buries rose by the gardenias. the dominican calls the police, claiming marie killed the baby for evil purposes .
fc: i wonder if part of the appeal for readers as well at the moment is that it is such a frightening story; that fortune changes overnight and you can' t understand why and it' s riches to rags. just like as it could be now with things crashing... . and it' s losing everything in a night, almost [ 1 ] .
jb: absolutely and increasingly so. i have no idea where that came from, it just came. one of those ones where you don' t think: ‘oh i' m going to sit down and write a poem about this passage or about’... just thinking of the passage and suddenly it comes. that doesn' t happen very often, that one did .
by bringing love to the fore as an unfixed category, this article analyses the highly complex lives of female thai migrants who sell sex in denmark. in doing so, the article challenges the static and rather normative binary categories of “sex work” versus “prostitution” and “empowered woman” versus “victim of human trafficking” that are produced in the literature on sex work and prostitution... . [ show full abstract ]
focusing on examples of live performance in drama, dance, opera and light entertainment, jane goodall explores a characteristic as compelling and enigmatic as the performers who demonstrate it. the mysterious quality of' presence' in a performer has strong resonances with the uncanny. it is associated with primal, animal qualities in human individuals, but also has connotations of divinity and... [ show full abstract ]
jb: what i do when i translate say catullus, or sappho or whoever, is that, in a big a4 book i' ll put the latin and then leave two lines blank between each line. in the first line i will look up [ definitions ] in the dictionary and think about the literal meaning. and then in the line underneath i will start writing in ideas for what i might do with it. and on the facing page, while i' m looking in the dictionary, i will be noting: ‘ah, this word, which is being used in a love poem, is used in a court of law’, which i wouldn' t have known if i hadn' t looked in the dictionary and saw all the different meanings of it. and maybe catullus wasn' t using it in that way but it' s terribly interesting when you see all the different ways a word might be used and its semantic overtones .
catherine sorgeiul lives with her uncle in a rambling house in london' s east end. when a murderer strikes, ripping open the chests of young girls and stuffing hair into their mouths to resemble a crow' s beak, catherine is fascinated, and devours news of his exploits .
fc: and did they do better? because we certainly... in my girls' school we did better than the boys' school .
the school is not run on conventional lines. all the children have their own gardens and their own pets, and are encouraged to experiment with running businesses. pillow fights are permitted on saturdays, subject to a time limit. children are treated as individuals, with a strong emphasis on gently molding their characters .
jb: ... and displacement. brodsky, i think it was, said that displacement is the commonplace now of our century, that' s why so many writers were drawn to ovid, the tristia in particular. but i think yes, exactly, women feel that they are exiled from the mainstream literary culture and they are exiled also from the male literary western canon. so yes, there' s a huge pull. but tristia is such a slippery, fluid text, it has so many levels that it appeals because there' s so much that you can do with it. if you' re going to be transgressional, if you' re looking for new ways of entering into the text and of working with it and of transforming it, there is so much there in tristia. that' s one of the reasons why it was out of fashion because it was very hard for people to deal with the high arts of ovid and then suddenly the sort of bathos and then the repetitions. and so much of it in a rather self - pitying tone .
jb: it is lovely because you' re less confident, aren' t you? you think: ‘i don' t really know that, i' ve got to look up the whole thing and make sure’. but i think she' s quite right because my latin was never sight reading perfect in any way and when she said it was actually an advantage because you go back to the dictionary, i thought ‘yes’, and felt like punching the air .
jb: i did an awful lot of work actually before i started writing so that i had taken copious notes from say, carlyon' s [ history of ] gallipoli, [ maurice shadbolt’s anthology of interviews ] gallipoli voices, and so much source material. and i was very lucky that the guy whose dictionary it was, that his very small unit actually had records, diary records online. so people mentioned him and also quite a lot of characters who reoccur throughout the book in different poems. and so a lot of that source material actually comes from letters home and diaries. . so i collated all of that together. i also did an awful lot of [ tristia ] translation that isn' t in the book and sometimes i think i actually cut too much out. i did this classic women' s thing of thinking: ‘oh i can' t have too much of this, i' m going on too much’, but it would have been quite nice to have a bit more of the translations. and then it was just a case of working out which sparked off the other ...
when i hear bob dylan droning to
mothers and fathers
that
your sons and your daughters are beyond your command
, his voice of 40 years ago sounds already ancient, his message as boring as that of the rolling stones unable to get satisfaction or the beatles' claim that all yer need is lurv .
fc: it is, yes. could you say more about how you made the selections from the tristia, but also the way in which you select the passages from voices of gallipoli in' knocking at the door', and' second quarter' as well, where you have naso speaking and geoffrey ...
a middle - aged steamboat captain who believes in a rigorous self - control when it comes to needs, desires and emotions slowly falls for a pretty female stowaway .
jb: something just suddenly happens, yes. which actually reflects the sequence i' m working on at the moment, about the survival of [ aeschylus’s ] myrmidons. there are ten fragments and the sequence follows different stories and voices over the centuries that might have had something to do with that survival. it' s all completely serendipity so that the whole of reception, the whole of the transmission of the text, is a bit like the word for sorrow - going in to a hospital fete and picking up a dictionary. i mean, that' s practically how it happened with the survival of ancient texts, people found them on stalls in istanbul and so on. it is just extraordinary... . the [ anthology ] voices of gallipoli, that was an extraordinary book, which a friend gave to me as it was completely out of print, . there were interviews with about 20 very ordinary private soldiers, and many of them didn' t want to talk about gallipoli and had never talked about it until those interviews. many said: ’i want it to go, i don' t want to remember it’. just sometimes again, when i was looking through and collating all this information, things just leapt out and you thought: ‘yes, this needs to go with that’ .
krik? krak! contains nine stories and an epilogue. although the stories take place in port - au - prince or ville rose, haiti, or new york, they do not overlap. the only exception is “between the pool and the gardenias, ” which mentions women from earlier stories. all the stories are all about haitian women trying to understand their relationships to their families and to haiti. the epilogue, “women like us, ” suggests that these women are related. the epilogue’s unnamed narrator, possibly danticat herself, notices her similarity to her mother and female ancestors. these women cook to express sorrow, but the narrator chooses to write. her mother doesn’t approve because haitian writers are often killed. however, the narrator’s female ancestors are united in death, and she uses stories to keep their history alive .
et: it reminds me of sarah ruden talking about looking things up in the dictionary and it being quite a female thing to do. i thought it was lovely .
fc: it' s so fascinating to see the way in which you' re linking yourself to this tradition and how it' s shaped the way you think .
guy, lili, and their son, little guy, live in a one - room shack. they get excited when little guy gets to play a revolutionary at school, and guy gets extra work cleaning bathrooms at a plantation. little guy spends all his time learning lines while guy dreams of stealing the plantation’s hot air balloon. lili doesn’t approve, but one day she sees guy flying the balloon. guy captures the neighborhood’s attention and jumps out. little guy recites the lines from his play over guy’s dead body .
not a great book by any stretch... a confusing storyline, an unsympathetic protagonist and some highly bizarre sub plots all contribute to a pretty naff' story' .
when a young family moves into a foreclosed home, the previous owner begins a campaign of intimidation and terror. the deranged man will stop at nothing to get his home back .
slight comedy of a somewhat flighty woman is made memorably by that bewitching minx glynis johns. she' s ably supported by a droll jack buchanan and an often flummoxed peter finch .
et: i just wonder if there is a gender thing that one could say is going on there. certainly with anne carson it' s one of the ways in which she brings herself into all of her writing by this reflecting as she writes on what she' s doing. and you do that in prefaces and in notes as a translator, by not being invisible by explaining what you' re doing. and i don' t know if that' s a woman' s game or if that' s ...
jb: it' s very interesting, isn' t it? and also in scholarship as well you get jennifer ingleheart, and jan gaertner has done a critical text too. . i think women are very attracted to texts that they can feminise, in a way. i feel that something like tristia which has been neglected and not just by literary culture but also by scholarly culture as well - i mean it really was considered to be completely terrible and not worth studying and then there was a revisionist view of it probably about the eighties, early eighties - i' ve often wondered whether that also reflected the fact that there was a lot more interest in it from writers around about that time as well. i think women are very drawn to texts that seem outside the male canon. it' s like: ‘we can do something with them’. do you think there' s a case for that ?
fc: what is really distinctive and interesting is the way you overlay the tristia with these first world war testimonies. when alice oswald was talking about memorial she was saying she was really keen to wrest the iliad away from the public school ethos that had informed its receptions in the uk and i was just wondering whether you had a similar feeling towards... ?
there is a particularly good moment when felix bacon, newly married, hears his wife say :
there is no disgrace in honest poverty .
he replies :
you can' t really think that. there is no point in being too greek .
(
things like poverty and old age and death are shameful
, as is said earlier in the book) .
jb: and i think it' s nice being able to have little poems based just on a definition, especially as a translator, because this is what you' re constantly working with .
the objective of this article is to investigate how thai migrant sex workers in denmark understand normative heterosexuality and femininity / masculinity as they are reproduced in the danish sex industry. to do so i analyse the ways that gender plays a part in sex work and the ways in which sex work plays a significant role in how thai migrant sex workers understand their gendered subject... [ show full abstract ]
jb: well i think there' s quite a movement in poetry that it should not be explained, that it does sort of come down on high to you, it almost possesses you and you write the poem. and if you read a poem you experience it, you don' t experience it in an intellectual way, you experience it in perhaps an emotional way or a spiritual way .
two nameless narrators are in love and write each other letters they will never read. the female narrator is angry that her father opposes their love, but she finds out he gave up all his possessions to protect her from the macoutes. the female narrator’s family hears the macoutes kill her neighbor, whose son was in the youth federation. the male narrator, also a member, has fled haiti. in his boat is a pregnant teenager, célianne, who was raped by a macoute. days after her baby dies, she throws it and herself overboard. the female narrator sees a black butterfly and knows the male narrator has died too .
jb: exactly. and she' s completely confident about that. i' m always quite surprised in a way that she is so popular because that' s terribly difficult if you' re not a classicist .
a betrayed wife (jacqueline bisset), whose husband leaves her after 25 years, returns to the lake where she first fell in love and begins an affair with the son (eric mabius) of her first love .
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jb: well, i think writers are drawn to texts about writers. and when i first started, as i say in the introduction, my first thought was: here was a text which was about being a writer in the ancient world which is very, very rare. but in fact when you start to unpick it, it' s far more artificial than that. but my first thought was: ‘goodness, ovid is actually telling us what it was like to be a writer and to fall out of favour; the dangers of writing’ and that seemed quite appealing. but then of course, you realise there' s a lot more going on .
daisy brooke (meg' s daughter), is at the school with her twin brother demi brooke, but is somewhat isolated with no other girls her age, until nan' s arrival. nan is even more of a tomboy than jo was as a child, while daisy is interested mainly in dolls and in her own mini kitchen, which purchased by jo' s brother - in - law, laurie. the other new student, dan, is introduced by nat. dan originally decides the other boys are
molly - coddles
and leads them in experiments with fighting, drinking, smoking, swearing and playing cards, which results in his being temporarily removed from the school. he returns eventually with an injured foot, and redeems himself by standing up for nat when the latter is falsely accused of theft by the other boys. he also becomes curator of the school' s natural history museum .
the last stand, released in 2006, is a bad, seriously dated - looking movie already, thanks in part to production troubles before it even got off the ground, and also the director, alleged sexual harasser brett ratner .
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nothing else was ever like them. they depict an entirely first world war world; they are written largely in quite oblique dialogue. yet they are ever new. no novels more deserved the name novel than hers. and they are truly subversive .
jb: yes, i wanted them to talk to each other because in a way you get to this stage with' versioning', i suppose rather than translation, and you think: ‘where am i going to go now with it? i could do this very impressionistic translation, i could do something very wacky, i could do something very political, gender driven’. i was thinking ‘where else can it go? ’, and one way was where the translations are part of a narrative and enact the narrative yet remain, for the most part, what you would call translation rather than version or imitation although there are some of those in the book. i think that that is actually one of the most subversive things: translation per se .
the biggest challenge actually i think is: ‘how do you make this accessible without lots of notes or head quotes? ’. that, i think, is one of the hardest things. it' s interesting, in the last edition of modern poetry for translation they published one [ of the new sequence ] with no note at all. and also agenda, another poetry volume, has published two or three recently with no note at all, just a little head quote from a historian or something that explains what' s going on. but i think that' s quite difficult to do so i' m sort of working through that. the whole concept of framing is very interesting and important, i think. with the word for sorrow some of the critics, poetry critics, as opposed to classicists, did not like the fact that there was a preface and notes. they felt that this poetry should not be explained and if you need to put a preface in then the poem isn' t working .
movies and tv shows are certified fresh with a steady tomatometer of 75% or higher after a set amount of reviews (80 for wide - release movies, 40 for limited - release movies, 20 for tv shows), including 5 reviews from top critics .
as well as that, yesterday & apos; s announcement also confirm the return of major players like james mcavoy, michael fassbender, and jennifer lawrence, whose participation seemed in the balance for a while. if that & apos; s not enough, jessica chastain is reportedly close to sign on as the film & apos; s villain. for those who slept on the underrated crimson peak last year, this is great news. she & apos; s a great, flamboyant baddie, and would be a great addition to the universe .
jb: definitely. but i wonder how, now that tristia' s been subsumed back into the mainstream, how women will be relating to it in the future and i think that will be very interesting because the relationship of women with catullus is very much more difficult .
princesse passes a flirtatious drunk watching cockfights on her way to visit catherine, a foreign painter. princesse poses nude while catherine paints and talks about art. princesse feels uncomfortable at first, but as long as no one else can see her, she relaxes. sometimes catherine paints her outdoors, wearing clothes. when catherine’s mentor dies, catherine goes to paris without telling princesse. when she returns, she gives princesses a nude painting of her by the ocean. princesse is inspired to create art herself and sketches the cockfight - watching drunk in the sand .
very intelligently written but no in a way that makes you feel stupid. i sometimes find authors try to be too clever for their own good when trying to portray scenes and stories, but this book suffers none of these issues. brilliant story telling about some rather murky subjects !
jb: yes it is. this was the point where the dictionary started to appear as a character. i mean it was already but suddenly there was another thread coming in, the idea of using a gloss in a poetic way, or a definition in a poetic way... because that' s what we' re doing all the time and you have to have a creative relationship with your dictionary as much as anything. it' s like anne carson’s nox. i hadn' t actually read nox at that stage -, i don' t think actually it was out - but when you read it you think :
oh, these [ definitions ] are [ from ] lewis and short or the latin dictionary or whatever and then you realise that they' re not at all. i very much admired that .
jb: that' s very true. i mean there' s quite a lot written in translation studies about how women deal with translating texts that are anti - women and whether your aim is to subvert them. or is the mere act of translating them and then revoicing through a woman' s voice, as a transvestite, almost a transgender approach, is that subverting it in itself? or whether you do something with the text that is, perhaps in a very subtle way, subverting it. so there' s quite a lot of discussion about that .
fc: i was really interested as well in the last pairing where you' ve got the passage from tristia 4. 9 about being read from sunrise to sunset, dawn to dusk, east to west, paired with this comment from the voices of gallipoli where the memories are fading. it was a very striking way to end a book that' s all about memories surviving and the power of memory. in fact, ovid has survived in the most surprising ways and you write really beautifully about the serendipity of survival. the fact of finding this book in a village fete - a whole project flourished from that .
jb: i think so, yes. it is, very much so. there' s that element about it and there' s also the element that the narrator, the poet' s ‘i’, seems very real, doesn' t it? we get this autobiography in it, which is fairly rare .
in denmark, human trafficking has emerged as a central issue within the policy field of prostitution during the last decade. taking a foucauldian approach from a historical perspective, understanding the policy field of prostitution as a discursive terrain, the article analyses the thinking that lies behind policies on prostitution by identifying ruptures and discursive struggles which lead to... [ show full abstract ]
much of the effect of the novels is achieved, as in a wilde play, by larding the text with amoral epigrams, such as the one about murder, just quoted. others include :
it is treating the old with more sympathy to speak evil of them ,
and
blood is thicker than water .
i used to think water was thicker…
jb: in the illustrations, one of the chorus is wearing a star trek shirt, there are mad horses all over the place... very odd. i reviewed it and was trying desperately to tell people how the pictures related to the text but i couldn' t really come up with anything. i love her work, but that' s a tough one .
buchanan is johns' lady - chasing, bachelor uncle. through flashbacks he tells her story. she is a constant fighter for the underdog, abandoning her wealthy fiance the night before their wedding to marry his starving playwright friend, finch. when finch becomes a success, who should turn up but sinden, the jilted fiance. now he' s the one in trouble and on... read more
jb: definitely, yes. i was thinking: we' ve got peter green' s translation, which is amazing, and it' s this big... so the rationale of not using all of that translation was because we have [ green’s ] book with them all in, so these are like the little bits, like you might have in an occasion book, that i' ve chosen out to focus on .
jb: he doesn' t actually. at a [ translation ] conference we were discussing this and since then i' ve been looking at it. carol ann duffy for example, when her laureate poems are published in the guardian or somewhere, they come with a little explanation, you know: ‘this is' achilles' heel’, this is [ about ] david beckham and this is the reason, this is the myth’. when i reviewed her book, the bees, for the times i noticed very particularly that when she collected those poems in a poetry volume, there was no note, no explanation at all. so it' s just:' achilles heel', you don' t know that it' s about david beckham. it' s almost like in a poetry volume there' s not going to be any explanation or any kind of annotation, any framing .
grace’s mother (ma) is upset that grace’s sister, caroline, is marrying eric, who isn’t haitian. ma makes bone soup every day, which she believes will end caroline’s engagement. grace begins dreaming about her father, as she did when he died of cancer. in order to get a visa, grace’s father married a widow, then divorced her to bring his real family to the united states. ma worries that caroline thinks no one but eric will love her. before the ceremony, caroline becomes very nervous, but ma reassures her. there is a heavy sadness over the family because they know caroline will never again be as close to them as she has been all her life. ma asks grace to burn her belongings when she dies so no one will feel sorry for her. grace refuses. she visits her father’s grave to tell him about the wedding and her new u. s. citizenship, and when she returns home, she helps her mother make bone soup.
josephine and men is a 1955 british comedy film directed by roy boulting and starring glynis johns , jack buchanan , donald sinden and peter finch . it also features william hartnell , gerald sim , thorley walters , victor maddern and john le mesurier in supporting roles . 
josephine and men is a 1955 british comedy film directed by roy boulting and starring glynis johns, jack buchanan, donald sinden and peter finch. it also features william hartnell, gerald sim, thorley walters, victor maddern and john le mesurier in supporting roles.
josephine and men is a 1955 british comedy film directed by roy boulting and starring glynis johns, jack buchanan, donald sinden and peter finch. it also features william hartnell, gerald sim, thorley walters, victor maddern and john le mesurier in supporting roles.