Momus Black Letts Diary 1979

Total Page:16

File Type:pdf, Size:1020Kb

Momus Black Letts Diary 1979 Here at the chilly cusp of neoliberalism we find the artist who will later become known as Momus. He’s an Edinburgh youth turning 19 and studying Literature, Psychology and Sociology at Aberdeen Momus University. His father runs a successful language Black Letts Diary college, his mother works for a religious publishing company. Young Nick — a virgin who models his love life, rather unwisely, on the epistolatory 1979 affairs of Franz Kafka — has fallen hopelessly in love with a student at the Glasgow School of Art. His world is defined by Paula, David Bowie, his twitchy halls neighbour Byron, German writers, art, existentialism, Schoenberg and postpunk guitar groups. He reviews bands for the student paper, types short stories and — faithfully every night — tells his black Letts diary about his day. 1979 January 1979 January Monday 1 Tuesday 2 With Father back at the office today, the house was taken to pieces and And so into the bigger, better diary of 1979; more a nightly essay than reassembled under the guise of Spring (!) Cleaning; the painted room, a pale skeleton of dull cares and affairs — yes, objectivity is obsolete, parents’ bedroom and breakfast room were mercilessly gutted of signs and from here on the expressionistic eye of existential truth will expose of habitation and rendered sterile. excitingly my existence! I, meanwhile, strolled uptown, walking along George St. to Or, on a less pretentious note, a diary which talks about fewer events in Queensferry St., Stafford St., Grassmarket, Cowgate, and High Street. more space. Five years of rigorous training have been but a dry run; My tour of the old town opened my eyes to the sad state of repair of the goods is here! some potentially charmingly decadent buildings down the hill from High Street. My interest in 19th Century Edinburgh was strengthened by the And after those wild exclamations of intent, today. Outside the snow lies Stills exhibition of photos by George Washington Wilson; stereo prints packed on the ground, none has fallen since 1978, but car travel is of Scots scenes of the 1860s. Particularly interesting were views of imprudent if not impossible. Father spent much of the day on his back Princes Street; men in top-hats, ladies in long black dresses, hotels, with a cold, feeling that he should be at Young Street, but instead clubs, cabinet-makers. Very picturesque. watching T.V. and having Emma rub his back. The air was less suffocating today. Mother’s mood improved, so it was merely boring, Quite a lot of people were about on the streets, though only a handful not unbearable. I read a few lines of Kafka, but lassitude won the day. of shops were open. Cars were having terrible problems; an old Morris Minor had to turn round at the top of Dublin Street because it couldn’t The outside world intruded a couple of welcome times; before I was up move through the lights! a Mrs. Nielson from No. 13 came in — sounded loud and snooty. Nick Sherrit phoned, inviting us to a party at his colonies residence; the Mother actually relaxed with us in the sitting-room much of the evening, prospect seemed at first attractive, but nobody actually went. while I taped Costello’s new album from the Peel show. We looked through the old diary, Mark quizzing me on dates, etc, til one a.m., I recorded Peel’s top 10 while T.V. churned junk films. The family then retired after locking the cats in the kitchen together. pottered variously. I retired at one, full of tepid white Hirondelle plonk. Never mind; this time next week I’ll be home from home! 1979 January 1979 January Wednesday 3 Thursday 4 The regular tap-tap of melting roof-ice as it dripped into my room drew Henry King woke me with his usual nuzzling routine; hanging over my me from oblivion to the lethargy of a lie-in. Emma, from what I hear, neck, biting the tips of my fingers, smothering me with his bottom. visited her paramour, Jonathan. Meanwhile, I went uptown with a fiver, but was embarrassed when I tried to buy a packet of tissues and I strolled to Rod’s, where he and his very gay friend were ‘warming the thought I’d left the money at home. I had intended to have a haircut, place up’, and arranged an appointment at 1. Rod cut, his friend but Rod must, as I remarked to Mother, be on holiday in Portobello. washed and dried. A v. amusing phone-conversation occurred; Rod’s friend punctuated the conversation with ‘Oh my God’s and ‘Oh, I’ve I walked down Heriot Row and via Charlotte Square to Rae Mac then got quite a story for you…’s. ‘Was it John?’ asked Rod. ’No, it was the music shop on Stafford Street, buying a plectrum for 10p. Arrived Gary,’ sang his sidekick. later at Cockburn Street, thinking I would buy a hat further on at the South Bridge Oxfam Shop if they had one, but not sure if I’d dare to Mark and I walked to John’s house by way of King’s the Hairdresser wear a hat if I had one… when I was luckily waylaid by Cockburn St. (for Gents), where I bought a tub of Brycream for my fringe. At the Market, where I bought a Magazine/Devoto mirror-badge as a token Thomson house we played darts and snooker. I was fairly quiet, letting mark of exhibitionism. Cut to N. in St. James Centre looking smug, and Mark do the socialising. Nothing ever changes in the Thomson fade… household, it’s quite depressing or reassuring, depending on one’s mood. The house was deserted at around six. Father and Mother went to the Simms’ for drinks, and were presented with a brass cartridge case from We walked home, helping a feckless OAP in a Mini on Castle St. to W.W.1. Avoiding death duties? Mark and Emma skated on the iced-over mount the hill, and watching several idiot drivers giving the term ‘ice cobbles. I did so too, briefly, but kept sinking into softer areas. follies’ a meaning in the motoring world. The others had eaten without us. John Thomson phoned, inviting me to a snooker afternoon tomorrow; Mark’ll come too. Hope he’s not offended by my lack of contact lately. We later took the kitten to the gardens, where it wandered quite boldly. Scrabble from 11.15 to 12.15 — I won by 50 points; had consistently A decadent (after German cinema, c. 1920) production of ‘Macbeth’ good letters. was ditched by Father in favour of Scrabble. I won, and watched the play in between shots. Read Tintin over hot chocolate before retiring with the more subtle attractions of Kafka’s letters. 1979 January 1979 January Friday 5 Saturday 6 Henry awoke me, but I lay in, dreaming of a holiday in Egypt, until Father and Mark went shooting, Mark later talking about the massive about one o’clock. My cold, or whatever, was improved. I walked up to amounts of alcohol that the ‘guns’ consumed. the bus-station and St. James Centre, buying an NME and reading it on a seat between rushing lines of sale-shoppers. I still have an irresistible Meanwhile, Mother and I went to the A1 Cash & Carry and bought the fascination for the music papers, though I often despise their continual deep-freeze things that Mother hadn’t wanted to buy in front of John hypocrisy; praising a band one week, criticising the next. It’s all part of (the E.L.F. driver), for our own personal use. that dancing serpent, Fashion, I suppose. When Mother had gone out to pay £1000 (on the company cheque- Mark, Father and Mother mentioned testing their cross-country skis book) for her China holiday, I opened the door to an enormous dresser somewhere — I don’t know if they did, but they certainly did go to the from Heidi’s, to rout the smaller one downstairs to Mrs. Kiso and inhabit Bairds’ house for drinks. I watched a videotape of ‘What’s New a large proportion of the breakfast-room wall. Mother and I lifted it into Pussycat?’, not enjoying it much. I think good comedy should have firm the breakfast-room, but it took Father, Mark and me to lift the huge top roots in real life, and even be a little tragic. And this film relied on section onto the bottom. attitudes to sex that are very two-dimensional both to men and women, and very ’sixties’ — ‘Aren’t we liberated and promiscuous these days?!’ I felt muzzy and feverish for much of the day, worse towards the end. I Woody Allen saved it from being trash. put off going to collect the cross-country skis for our Norwegian holiday until Mark arrived home, and we went up together in biting East wind. Emma had Joanna in, staying the night. Mark went to the Shepleys’ to babysit, earning the paltry fee of £1. Father and Mother went I don’t Colin Stuart’s party was still on, though, and John Thomson changed his know where for drinks (supper?), remarking on a boy with smart boots original intention to drive me only from his house, and obligingly came and saying ‘They were a drunken crowd!’. I had a quiet night in, to pick me up at Drummond Pl. after a snack dinner. The party was held watching a good play about a girl brainwashed by a religious sect.
Recommended publications
  • The Revival of Momus, the Agnostic God (Cambridge: Cambridge University Press, 2018)
    George McClure, Doubting the Divine in Early Modern Europe: The Revival of Momus, the Agnostic God (Cambridge: Cambridge University Press, 2018). xiii + 268 pp. ISBN 978 1 1084 7027 8. Joseph Navitsky West Chester University [email protected] The little-known Greek god of criticism and ridicule, Momus, may not be able to claim a celebrated position in the pantheon of Olympian deities, but it is his modest — and mysterious — origins that, for historian Charles McClure, allowed Momus to emerge as an unlikely figure in the history of doubt and unbelief. Despite his lack of biography, to say nothing of his infrequent appearances in classical literature, Momus became in the hands of a long line of enthusiasts more than a mere literary character or persona: he evolved into, as McClure assiduously outlines, a “medium” (p. vii), “a trope” (p. 227), and “a code” (p. 241) for writers intent on providing “a check on unquestioned authority” (p. 241). More specifically, where the inveterate troublemaker Momus left his most distinctive mark is on the history of “dangerous challenges to religious belief” and to “literary and intellectual authority” (p. vii). This legacy is the subject of McClure’s Doubting the Divine in Early Modern Europe: The Revival of Momus, the Agnostic God. On one level, the book uncovers the reception and ideological repurposing of Momus, mainly in his “starring moment in the early modern era”, as the often petulant yet sometimes playful god sees his status as carping critic grow ever more complicated and, in McClure’s opinion, surprisingly vital (p. xi). But as readers will rapidly perceive, there are deeper intellectual and theological resonances waiting to be revealed in Momus’s story.
    [Show full text]
  • Stories of the Ancient Greeks the Gods of Greece Stories of the Ancient Greeks
    STORIES OF THE ANCIENT GREEKS THE GODS OF GREECE STORIES OF THE ANCIENT GREEKS BY CHARLES D. SHAW illustrated by GEORGE A. HARKER YESTERDAY’S CLASSICS CHAPEL HILL, NORTH CAROLINA Cover and arrangement © 2008 Yesterday’s Classics, LLC. Th is edition, fi rst published in 2008 by Yesterday’s Classics, an imprint of Yesterday’s Classics, LLC, is an unabridged republi cation of the work originally published by Ginn and Company in 1903. For the complete listing of the books that are published by Yesterday’s Classics, please visit www.yesterdaysclassics.com. Yesterday’s Classics is the publishing arm of the Baldwin Online Children’s Literature Project which presents the complete text of hun dreds of classic books for children at www.mainlesson.com. ISBN-10: 1-59915-269-X ISBN-13: 978-1-59915-269-1 Yesterday’s Classics, LLC PO Box 3418 Chapel Hill, NC 27515 PREFACE The tales in this book are old; some of them, it may be, are even older than we suppose. But there is always a new generation to whom the ancient stories must be told; and the author has spent pleasant hours in trying to retell some of them for the boys and girls of to-day. He remembers what joy it was to him to read about the Greek gods and heroes; and he knows that life has been brighter to him ever since because of the knowledge thus gained and the fancies thus kindled. It is his hope to brighten, if possible, other young lives by repeating for them the immortal fi ctions and the deathless histories which have been delivered to new audiences for thousands of years.
    [Show full text]
  • David Hare Plays 1: Slag; Teeth N Smiles; Knuckle; Licking Hitler; Plenty Pdf
    FREE DAVID HARE PLAYS 1: SLAG; TEETH N SMILES; KNUCKLE; LICKING HITLER; PLENTY PDF David Hare | 496 pages | 01 Apr 1996 | FABER & FABER | 9780571177417 | English | London, United Kingdom David Hare Plays 1 | Faber & Faber Plenty is a play by David Harefirst performed inabout British post-war disillusion. The inspiration for Plenty came from the fact that 75 per cent of the women engaged in wartime SOE operations divorced in the immediate post-war years; the title is derived from the idea that the post-war era would be a time of "plenty", which proved untrue for most of England. The play premiered Off-Broadway on 21 Octoberat the Public Theaterwhere it ran for 45 performances. Plenty was revived at Chichester inin the Festival Theatre between June. Susan Traherne, a former secret agent, is a woman conflicted by the contrast between her past, exciting triumphs and her present, more ordinary David Hare Plays 1: Slag; Teeth n Smiles; Knuckle; Licking Hitler; Plenty. However, she regrets the mundane nature of her present life, as the increasingly depressed wife of a diplomat whose career she has destroyed. Susan Traherne's story is told in a non-linear chronologyalternating between her wartime and post-wartime lives, illustrating how youthful dreams rarely are realised and how a person's personal life can affect the outside world. Sources: Playbill; [3] Lortel [2]. From Wikipedia, the free encyclopedia. Official London Theatre Guide. Archived from the original on 18 January Retrieved 4 December BBC News. Archived from the original on 27 February Retrieved 5 May CS1 maint: archived copy as title link sheffieldtheatres.
    [Show full text]
  • The Office and the Orgasm: the Monoprints of Karel Martens
    P! The first visual artifact by Karel Martens to catch my THE OFFICE eye was the cover of a Dutch architecture journal called Oase. In schismatic, isolationist times, AND THE I already found the magazine’s theme of “crossing boundaries” ORGASM: THE and “transcultural practices” refreshing. The bold figure of MONOPRINTS Martens’s design added a layer of optimism: two overlapping pieces of what looked like OF KAREL transparent Meccano—one red, one green, both apparently punched with holes, as if ready for construction— MARTENS created a bold argyll diamond against the white background. BY NICK CURRIE There was a sense of yin and yang, of possible futures, things to be built, the appeal of materials, the complementary attraction of opposites. Where the primary figures crossed, a muddy olive green suggested they might be viewfoils made of cellulose acetate, the colored plastic laid on old-fashioned overhead projectors for class- room demonstrations. I noted something sensual in the design, and something didactic. Googling Martens, the next thing I saw was a video profile on Vimeo of the veteran designer filmed at Werkplaats Typografie in Arnhem, the Netherlands. Cheerfully unboxing selected highlights of his career in graphic design, Martens spoke of his interest in optical illusions, his use of abstraction, and his discovery that designs unrelated to a publication’s themes can attain relevance by osmosis, sponging up the appropriate meanings like a Rorschach blot. I then embarked on a Google image search spree, downloading doz- ens of appealing pictures of Martens’s work. I particularly liked a series of letterpress monoprints recently shown at New York’s P! storefront gallery.
    [Show full text]
  • <I>Arthur Paul Afghanistan Collection Bibliography
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by The University of Nebraska, Omaha University of Nebraska at Omaha DigitalCommons@UNO Books in English Arthur Paul Afghanistan Collection Digitized Books 2000 Arthur Paul Afghanistan Collection Bibliography - Volume II: English and European Languages Shaista Wahab Follow this and additional works at: http://digitalcommons.unomaha.edu/afghanuno Part of the International and Area Studies Commons Recommended Citation Wahab, Shaista, "Arthur Paul Afghanistan Collection Bibliography - Volume II: English and European Languages " (2000). Books in English. Paper 41. http://digitalcommons.unomaha.edu/afghanuno/41 This Monograph is brought to you for free and open access by the Arthur Paul Afghanistan Collection Digitized Books at DigitalCommons@UNO. It has been accepted for inclusion in Books in English by an authorized administrator of DigitalCommons@UNO. For more information, please contact [email protected]. v0ILuNJI: 11: ISH AND EUROPEAN LANGUAGE SHATSTA WAHAB Dagefimle Publishing Lincoln, Nebraska Copl;rii$i~ G3009 Univcrsit!; oSNebraska at Omaha. All rights rcscrved. No part of this publication may be reproducc.d. stored in n rm-ieval syslcm, or Iransmitted in any fonn or by any nwans, electronic, niccllanical, photocopied, recorded. or O~~IL'ITV~SC, without 111c prior uritten permission of the au~lior.For in t'ornlation. wi[c Arthur Paul Afgllanistan (:ollcction, University Library. Univer-sih of Ncbrnska at Omaha. Onlaha. NE GS 182-0237 Library of Coligrcss C:ii;~logi~~g-in-Puhlic:i~ionData \\rnImb, Shnisla. Arrllur Paul :\l'ghauis~nnCollcc~ion hbliograpliy i Sllais~n\Vahab. v. : ill. ; 23 cln.
    [Show full text]
  • Activity En Em Bers and Dleans Disc:Ass Rota of D~Ean~S Office
    I Continuous MIT News Service | Cambridge Since 1881 ;Massachusetts i Volume 103. Number 40 i _ Tuesday, October 4, 1983 V i Forty percent of Frosh fail writing test -11 By Burt S. Kaliski Almost 1000 students took the intended to be "as flexible as Forty percent of freshmen and optional writing examination, possible," she claimed. The Corn- ~om e tb t p rse students who took the Walters said. "Students don't mittebe on the Writing Require- low to m set both parts of transfer N freshman writing evaluation last seem to realize that there are oth- ment recognizes that some stu- a a month failed the examination, ac- er" ways to meet the writing re- dents are unable to write well un-M IT w riting requirem ent cording to Bonnie Walters, coor- quirement. -der pressure, she said. dinator of the Committee on the Eight students satisfied the first Students were allowed 90 min- The MIT writing requirement has two parts. The first, con-- and completed during the Writing Requirement. half of the new requirement by utes this year- 30 minutes more cerned with basic writing competence Another 30 percent were given scoring 750 or higher on the Col- than last year - to complete a freshman year, may be satisfied by: the College Board Achievement grades of "marginal pass," and lege Board Achievement Test in 500-word essay, Walters said. 0 Scoring 750 or higher on with Essay; the remaining 30 percent passed English Composition with Essay, "I don't think the readers are Test in English Composition offered during residence/orien- the test, Walters said.
    [Show full text]
  • British Politics Review Journal of the Brit H Politics Society, Norway
    Volume 12 No. 2 Spring 2017 British Politics Review Journal of the Brith Politics Society, Norway HERITAGE BRITAIN How the British remember the past CONTRIBUTORS Nick Lloyd · Maggie Andrews · Steven Fielding · John Gardner Brian Goodey · Sian^ Nicholas British Politics Review Volume 12 No. 2 Spring 2017 Contents The Third Battle of Ypres: 100 Years On Editorial Nick Lloyd pp. 3-4 Remembering the past British Practices of Remembrance: Politics and Poppies Maggie Andrews pp. 5-6 ” id we really send men to fight in that?”The famous line ascribed to the British staff officer, Sir Launcelot Kiggell, has often been evoked to describe the Batt- The Cultural Memory of 1994 D Steven Fielding pp. 7-8 le of Passchendaele and how it is remembered in Britain, writes Nick Lloyd in the first article of this edition of British Politics Review. But as we approach the centenary of Remembering Peterloo John Gardner pp. 9-10 this battle that has come to symbolise the whole British World War 1 experience, Lloyd argues, there are good reasons to present a more nuanced picture than the traditional The Heritage Industry Evolves Brian Goodey pp. 11-12 “tales of mud, blood and futility” which seem to dominate the UK government’s plans for the commemorations this year. Remembering the War on Screen: British Film and Television Drama and the Second World War Siân Nicholas pp. 13-14 Taking Passchendaele as our point of departure, we ask the question: how do the British remember and commemorate the past, and for what purposes and in which con- British Politics Society, Norway is politically neutral and has no text is the past invoked in current debates? Maggie Andrews charts the development collective agenda apart from raising the interest and knowled- of Remembrance Sunday and Poppy appeals as two of the most visual examples of ge of British politics among the informed Norwegian public.
    [Show full text]
  • Massachusetts​ ​Senior​ ​Classical​ ​League
    MASSACHUSETTS SENIOR CLASSICAL LEAGUE ​ ​ ​ ​ ​ ​ BOSTON ELITE CERTAMEN 2017 ​ ​ ​ ​ ​ ​ ROUND 1 ​ ​ 1. Congratulations to all teams for making it to Round 1 of the 2017 Boston Elite Certamen ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ Invitational. Let’s get right into it with everybody’s favorite: Dramatic Interpretation. With a ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ teammate, act out the following passage, which I will read twice, that is based on a film the ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ Romans might have called Istud: Dum pluit, puer lintrī chartāceā lūdēns in viā sōlus ​ ​ ​ ​ ​ ​ ​ ​​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ currēbat et rīdēbat. Capite in signō ob neglegentiam ictō, puer lapsus est in sēmitā lūbricā ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ et lintrem āmīsit. Linter chartācea in cloācam cecidit, sed ā scurrā terribilī capta est. ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ Scurra nōmen Pennywise eī esse dīxit et fierī amīcus puerī simulāvit. Cōnāns lintrem ​ ​ ​ ​ ​ ​​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ recipere, puer ā scurrā prehensus est. Bracchiō morsō, puer in cloācam tractus est ut ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ omnīnō vorārētur. ​ ​ BOY IS RUNNING ON THE ROAD PLAYING WITH A PAPER BOAT AND LAUGHING. ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ BOY HITS HIS HEAD ON A SIGN, FALLS DOWN, AND LOSES THE BOAT. THE BOAT ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ FALLS INTO THE SEWER BUT A CLOWN IN
    [Show full text]
  • Momus Annalen Veur 1833 En XI
    Momus Annalen veur 1833 en XI bron Momus Annalen veur 1833 en XI. Bury, Maastricht 1844 Zie voor verantwoording: http://www.dbnl.org/tekst/_mom003184401_01/colofon.php © 2017 dbnl 1 No XI min tien. 11 januari 1833 en XI. Gekheid mer neet boete de schroam. Sagesse des nations. La publicité est la sauve-garde du peuple. Flappinus den XI. Explicatio bellissimae Gravurae qui a la testa annalium se trouvat. Illustrissimi lectores Atque altri Messiores, Qui videtis hanc gravuram Et tam bellam et tam puram, Vos me demandabitis Wat er ook de zin van is? Ille homo quem videtis, Die zoo wonder schoon gekleed is, Et qui equitat tam bene, (Hij wordt door de maan beschenen), Ille Momus noster est, Met een splinter nieuwe vest. Suus equus est superbis Je le dis in paucis verbis; Est rapidior quam ventus; Qui le videt est contentus, Quia facit cabriolas Et saute par dessus les épaulas, De ceux qui sont en son chemin Atque semper est en train. Quidam qui par terre se trouvat Furor Momi nunc éprouvat; Momus Annalen veur 1833 en XI Non volebat se rangeare, Sed dans sa coursa l'arrestare, Momus illum castigat En daar ligt hy in het nat. Alter vir qui est derrière Videns son ami par terre, Equum par la queue tirabat, Sed soudain celui-ci lui dabat Eenen stamp in labias Dat hij er gansch verbluft van was. Vir cum suo parapluo Et cum naso incongruo, Est un militarius...... Et qu'en dirai-je de plus? Sua qualitas de bravo Tenet eum hors des rangs. Dixit: Faites, je m'en lavo Manus meas, et je m'en Vais me mettre en des draps blancs.
    [Show full text]
  • The Plays of David Hare Carol Homden Excerpt More Information
    Cambridge University Press 978-0-521-41715-0 - The Plays of David Hare Carol Homden Excerpt More information Introduction: a statement of departure David Hare's production of King Lear opened in the Olivier Theatre on 14 December 1986 just two weeks after the end of the run of Pravda, and while The Bay at Nice and Wrecked Eggs contin- ued on the Cottesloe stage. In the autumn of 1993, Hare's trilogy on British institutions was scheduled to be performed on a single day. Such domination of the National Theatre is unparalleled in its history, and has no equivalent by a contemporary writer at the Royal Shakespeare Company; it amounts to much more than a res- idency of the kind Hare had at the Royal Court (1969-71) or Nottingham (1973) and assigns to him a privileged position within British theatre. Such status is particularly rare for a dramatist of his generation writing from a 'socialist' perspective and yet, in contrast to many of his contemporaries, Hare's work stands without any comprehen- sive study. The omission is partly explained by Hare's own deliber- ately enigmatic position, but he is also a troublesome and often troubled writer who uses his work as a way of resolving internal tensions, making systematic analysis particularly difficult. Any attempt to provide such a survey of a living and still fertile writer will inevitably be superseded, but Hare will continue to raise two eternal literary and historical problems. How do you find a critical distance on a writer whose existing plays are part of an evolving and uncompleted body of work? And since those works are them- selves an examination of the flux of contemporary experience, how do you find a distance on your own life and times? The answer to the first question has traditionally lain in compar- ison, by looking at Hare in relation to his peer group, and it is this approach which is taken by most existing critical work.
    [Show full text]
  • THE INTERCOLLEGIATE ISSUE EDITORS-IN-CHIEF Samuel Obletz, Grayson Clary
    The Yale Review of International Studies International of Review Yale The The Yale Review of International Studies VOLUME 4, ISSUE 1, FALL 2013 “We Can’t Fix It, and We Can’t Leave” An Interview with Aaron David Miller 5 Fight in the Cause of God? Dynamics of Religion in Separatist Conflicts Ashley Blum, Dartmouth College, ’13 27 The Myth of the Failed State: Political Order and Violence in Sub-Saharan Africa Camilo Ruiz, Sciences Po, ’15 43 Politics in Period Costume: The Popular Front in the Works of Eric Hobsbawm Edmund Downie, Yale University, ’14 51 Soviet Lessons from Afghanistan: Insights for Post-2014 Support Ryan Mayfield, Stanford University, ’14 61 Egypt Unshackled: Can Egypt and Israel Keep the Cold Peace? Luke Schumacher, United States Military Academy, ’14 Joshua Shapiro, American University, ’14 73 Growth and Success in Kerala Alexandra Brown, Harvard University, ’14 85 THE INTERCOLLEGIATE ISSUE EDITORS-IN-CHIEF Samuel Obletz, Grayson Clary EXECUTIVE EDITOR Allison Lazarus EDITORS Talya Lockman-Fine, Adrian Lo, Anna Meixler, Apsara Iyer, Erwin Li, Aaron Berman DESIGN Martha Kang McGill and Grace Robinson-Leo CONTRIBUTORS Erwin Li, Grayson Clary, Anna Meixler, Ashley Blum, Camilo Ruiz, Edmund Downie, Ryan Mayfield, Luke Schumacher, Joshua Shapiro, Alexandra Brown ACADEMIC ADVISORS Paul Kennedy, CBE J. Richardson Dilworth Professor of History, Yale University Beverly Gage Professor of History, Yale University Walter Russell Mead James Clarke Chace Professor of Foreign Affairs, Bard College Editor-at-Large, The American Interest
    [Show full text]
  • Index to Volume 29 January to December 2019 Compiled by Patricia Coward
    THE INTERNATIONAL FILM MAGAZINE Index to Volume 29 January to December 2019 Compiled by Patricia Coward How to use this Index The first number after a title refers to the issue month, and the second and subsequent numbers are the page references. Eg: 8:9, 32 (August, page 9 and page 32). THIS IS A SUPPLEMENT TO SIGHT & SOUND SUBJECT INDEX Film review titles are also Akbari, Mania 6:18 Anchors Away 12:44, 46 Korean Film Archive, Seoul 3:8 archives of television material Spielberg’s campaign for four- included and are indicated by Akerman, Chantal 11:47, 92(b) Ancient Law, The 1/2:44, 45; 6:32 Stanley Kubrick 12:32 collected by 11:19 week theatrical release 5:5 (r) after the reference; Akhavan, Desiree 3:95; 6:15 Andersen, Thom 4:81 Library and Archives Richard Billingham 4:44 BAFTA 4:11, to Sue (b) after reference indicates Akin, Fatih 4:19 Anderson, Gillian 12:17 Canada, Ottawa 4:80 Jef Cornelis’s Bruce-Smith 3:5 a book review; Akin, Levan 7:29 Anderson, Laurie 4:13 Library of Congress, Washington documentaries 8:12-3 Awful Truth, The (1937) 9:42, 46 Akingbade, Ayo 8:31 Anderson, Lindsay 9:6 1/2:14; 4:80; 6:81 Josephine Deckers’s Madeline’s Axiom 7:11 A Akinnuoye-Agbaje, Adewale 8:42 Anderson, Paul Thomas Museum of Modern Art (MoMA), Madeline 6:8-9, 66(r) Ayeh, Jaygann 8:22 Abbas, Hiam 1/2:47; 12:35 Akinola, Segun 10:44 1/2:24, 38; 4:25; 11:31, 34 New York 1/2:45; 6:81 Flaherty Seminar 2019, Ayer, David 10:31 Abbasi, Ali Akrami, Jamsheed 11:83 Anderson, Wes 1/2:24, 36; 5:7; 11:6 National Library of Scotland Hamilton 10:14-5 Ayoade, Richard
    [Show full text]