#John M. Synge

[poem-today]

A poem by John M. Synge

Patch-Shaneen

Shaneen and Maurya Prendergast Lived west in Carnareagh, And they'd a cur-dog, cabbage plot, A goat, and cock of hay.

He was five foot one or two, Herself was four foot ten, And he went travelling asking meal Above through Caragh Glen.

She'd pick her bag of carrageen Or perries through the surf, Or loan an ass of Foxy Jim To fetch her creel of turf.

Till on one windy Samhain night, When there's stir among the dead, He found her perished stiff and stark, Beside him in the bed.

And now when Shaneen travels far From Droum to Ballyhyre The women lay him sacks of straw, Beside the seed of fire.

And when the gray cocks crow and flap, And winds are in the sky, " Oh, Maurya, Maurya, are you dead? "  You'll hear Patch-Shaneen cry.

J. M. Synge (1871-1909)

[stairnaheireann]

#OTD in 1907 – J. M. Synge’s Playboy of the Western World is performed for the first time at the Abbey Theatre, Dublin.

John Millington Synge’s ‘Playboy of the Western World’ opens at the Abbey Theatre, Dublin to riots, literally! What happened is best described by two telegrams Yeats (a founder of the Abbey) received while he was in Aberdeen from a fellow Abbey supporter Lady Gregory. Telegram one read “Play a great success.” Two acts later, she updated the great poet, ‘Play broke up in disorder at the word…

[sistemabibliotecariomilano]

Irlanda: un viaggio culturale nell’Isola di smeraldo

Cosa consigliare di meglio ai nostri 6000 followers, se non di unire turismo e letteratura, paesaggi e cultura, vacanza e conoscenza? La nostra proposta di oggi è l’Irlanda e, per cominciare dalla capitale, “Dublino è una città che trasuda letteratura. Culla di scrittori di fama mondiale e romanzi che ne hanno fatto uno scenario universale, si può esplorare la città attraverso tour letterari”.

Nato a Dublino nel 1854, Oscar Wilde è un autore spesso citato nel nostro blog e talmente grande da essere continua fonte di ispirazione: prova ne sia il film Wilde Salomé del 2018 diretto e interpretato da Al Pacino. Se manca nel vostro carnet letterario, non fatevi sfuggire L’omicidio di Lord Arthur Savile del 1887, racconto quasi “buzzatiano” sul tema dell’assurdità della vita e del subdolo gioco del fato di cui siamo artefici e vittime allo stesso tempo, proprio come il soldato di Samarcanda della favola orientale cui si ispirò Roberto Vecchioni, che nel parossistico tentativo di sfuggire la morte, non fa che accelerare il compimento del suo destino. Originale e ironica, infine, la statua a colori posta a Merrion Square, vicino alla casa natale dell’artista, che lo ritrae, elegantissimo, in posa sdraiata e atteggiamento sarcastico. 

Per descrivere William Butler Yeats (nato a Dublino nel 1865, premio Nobel nel 1923) bastano questi pochi versi:

Samuel Beckett, di Foxrock, piccolo centro vicino a Dublino, premio Nobel nel 1969. Due curiosità: ebbe la fortuna di accedere al Port Royal School, lo stesso istituto superiore frequentato da Oscar Wilde e adorava Dante Alighieri al punto da diventare un vero esperto di studi danteschi. Un suo aforisma: “Ho provato, ho fallito. Non importa, riproverò. Fallirò meglio”. Anche del suo grande amico e mentore, James Joyce, non mette conto parlare: tutti infatti sanno che nacque a Dublino nel 1882, ma forse non tutti ricordano che visse molto tempo a Trieste al punto da impadronirsi del dialetto triestino e che fu molto amico di Italo Svevo.

Se poi volete compenetrarvi nell’atmosfera mitica e favolosa delle tradizioni celtiche, lo scrittore più esperto è sicuramente James Stephens, profondo conoscitore del gaelico, divenuto celebre per il romanzo La pentola dell’oro. Riguardo la scrittrice Edna O’Brien citeremo l’abstract che trovate nel nostro catalogo: “La piú talentuosa tra le donne che scrivono in inglese in questo momento” (Philip Roth); “Quale autore al mondo sta alla pari di Edna O’Brien nell’esplorare il cuore degli uomini? Nessuno, secondo me” (Frank McCourt); “Qualcuno ha detto che se cresci in Irlanda impari il peccato dai preti, il latino dalle suore e la passione da Edna O’Brien” («The Atlantic»). Per Flann O’Brien (pseudonimo di Brian O’Nolan) si è fatto addirittura il confronto con Joyce, per la sensibilità del linguaggio, l’attenzione nella resa del parlato di Dublino, l’abilità nel ritrarre la società irlandese contemporanea e il suo provincialismo, sempre con una certa ironia dissacrante, che gli deriva dalla lunga esperienza come giornalista dell’«Irish Times».

Tra i classici tutti ricordano Jonathan Swift, Bram Stoker, nato in un villaggio costiero vicino a Dublino, e il commediografo George Bernard Shaw (Dublino, 1956), l’unico, fino a Bob Dylan, ad aver vinto sia il Nobel sia l’Oscar; su di lui un fulminante aforisma di Oscar Wilde: “Fino ad ora, Bernard Shaw non è diventato sufficientemente illustre da avere dei nemici ma non piace a nessuno dei suoi amici”; citiamo anche il poeta Seamus Heaney (Nobel nel 1995); il drammaturgo John Millington Synge; William Trevor, scrittore e drammaturgo scomparso nel 2016; la prolifica Catherine Dunne, che ha appena dato alle stampe Come cade la luce; Joseph O’Connor ha pubblicato il suo ultimo romanzo, Il gruppo, nel 2015. Una curiosità: il romanzo Star of the Sea in Gran Bretagna e Irlanda è stato il libro di narrativa più venduto in assoluto nel 2004. Inoltre, Frank McCourt, dal cui libro più celebrato, Le ceneri di Angela, è stato tratto un commovente film con Emily Watson e Robert Carlyle; Roddy Doyle, scrittore e sceneggiatore, dai suoi libri sono stati tratti numerosi film, e John Banville, romanziere e giornalista, noto per il suo “umorismo nero”. Una curiosità: Pietro Citati («Corriere della Sera», 23 marzo 2017) ha definito il suo romanzo, L’intoccabile, il più bello degli ultimi quarant’anni.

Inoltre, da bravi bibliotecari non possiamo non citare la Old Library, una delle più importanti biblioteche d’Europa. Nella foto la Long Room, una sala di 65 metri che ospita circa 200.000 volumi fra i più antichi del Trinity College, la più prestigiosa università d’Irlanda, che conserva il prezioso Book of Kells, uno straordinario evangeliario miniato, redatto probabilmente attorno all’anno 800 “nel monastero dell’isola di Iona, piccola isola lungo la costa scozzese. Fu poi trasferito nella chiesa di S. Colombano, a Kells, in Irlanda, dove i monaci si erano rifugiati per sfuggire alle incursioni vichinghe e qui fu custodito finché, all’arrivo delle truppe di Cromwell (1653), fu portato a Dublino. Dopo la Restaurazione fu donato al Trinity. È il più ricco di tutta la produzione insulare e le pagine iniziali dei Vangeli sono come il punto d’arrivo di un intenso processo di sviluppo artistico” da Manoscritti e miniature. Il libro prima di Gutemberg di Giulia Bologna (Mondadori 1988, pp. 62-63). “In questo codice la scrittura semionciale, rotondeggiante e strettamente legata alla decorazione, è tracciata in forme sfarzose e mostra non di rado variazioni piene di fantasia” da Bernhard Bischoff, Paleografia latina, p. 124. L’esterno, di fronte alla Berkeley Library, è impreziosito da un tocco italiano: la scultura Sfera con sfera di Arnaldo Pomodoro.

Lo scrittore tedesco Heinrich Böll (più volte citato nei nostri post), premio Nobel nel 1972, fu a tal punto rapito dal fascino di questo paese da acquistare una casa a Dugort, splendida località costiera, e da pubblicare nel 1957 il Diario d’Irlanda che, proprio nello spirito di questa terra misteriosa, magica, estrosa creatrice di saghe e leggende, non si può definire un vero e proprio libro di viaggi, ma, a sua volta, “una bella favola arcaica”.

Vogliamo concludere con le parole di Joyce:

“Quando morirò Dublino sarà scritta nel mio cuore”.

[tizikadesign]

Harry Clarke, “The Eve of Saint Agnes”

De passage en Irlande pour célébrer la nuit de Samhain, je ne pouvais passer à côté de l'exposition permanente du vitrailliste de renommée internationale Sir Harry Clarke à la Hugh Lane Gallery de Dublin. La galerie de Sir Hugh Lane présente un important vitrail, “The Eve of St Agnes”, fruit du travail exceptionnel de l’artiste Irlandais et réalisé en 1923 pour une demeure privée de Ailesbury Road (Dublin).

Qui était Harry Clarke ?

Lorsqu'il était enfant, Harry Clarke travaillait déjà dans l'atelier de vitrail de son père, qui se trouvait au sous-sol de leur maison, 33 North Frederick Street. Travailler avec son père permit à Harry Clarke de maîtriser rapidement le métier de vitrailliste. Après avoir étudié au Belvedere College il rejoint la Metropolitan School of Art de Dublin tout en continuant son apprentissage. Ses professeurs découvrent rapidement en lui un talent certain pour le vitrail et le dessin. C'est un élève studieux et minutieux, et son univers graphique est rempli de contes et de légendes populaires. Son travail est récompensé par une bourse par l'école qui lui permet de ne plus se consacrer qu'à son œuvre, au sein même du collège. Ce prix lui permet aussi de quitter l'Irlande pour découvrir les magnifiques vitraux des artistes Français et Anglais. Il participe au concours organisé par la South Kensington School of Art and Design de Londres et remporte la médaille d'or pour la création qu'il propose. Employé comme illustrateur chez l'éditeur Harrap à Londres, Harry Clarke devient rapidement l'illustrateur officiel de Edgar Allan Poe. Il dessine aussi de nombreux dessins pour une édition du Faust de Goethe. De part sa passion pour les arts, le théâtre, les contes et les légendes, son œuvre est riche de costumes originaux, d'univers fantasmagoriques et très colorés. Harry Clarke travaille énormément et s'épuise peu à peu sur des vitraux gigantesques, notamment pour la Honan Chapel à l'University College de Cork pour laquelle il réalise onze vitraux monumentaux. Aux alentours de 1929, alors qu'il est âgé de seulement trente-neuf ans, Harry Clarke tombe gravement malade. Il s'éteint deux ans plus tard, emporté par la tuberculose.

“The Eve of St Agnes” par Harry Clarke

The Eve of St Agnes est un vitrail monumental exposé à la Hugh Lane Gallery de Dublin. C'est un ensemble de 14 panneaux magnifiquement décorés qui racontent l'histoire de Madeline et de Porphyro, un célèbre poème de John Keats.

Harry Clarke appréciait beaucoup ce qui était fantastique et puisait son inspiration dans les livres, les contes et légendes, les pièces de théâtre, etc. En avril 1923, M. Harold Jacob commande à Harry Clarke un vitrail pour la maison de son frère dans la Ailesbury Road à Dublin. Harold Jacob est alors le propriétaire de la fameuse biscuiterie Jacob's. Habituellement, les vitraux sont destinés aux églises et la plupart des commandes que reçoit Harry Clarke sont d'ordre religieuse. Cette demande particulière pour une maison privée le réjouit car il sait qu'il pourra donner libre cours à son imagination avec plus de liberté. Harold Jacob lui suggère de travailler sur la nuit et le jour, l'été et l'hiver en s'inspirant des personnages issus du folklore fantastique Irlandais.

Harry Clarke propose plusieurs premiers projets inspirés de contes et de poèmes : l'histoire de Barbe Bleue, La belle au Bois dormant, The Playboy of the Western World (use pièce de théâtre irlandaise de J.M. Synge) et The Eve of St Agnes, un poème de John Keats. Harold est enchanté par ce dernier choix et Harry Clarke aussi. Ce dernier écrira à Harold Jacob quelques jours plus tard : « J'ai commencé à travailler sur le projet de The Eve of St Agnes et je vous proposerait bientôt quelques dessins. »

Harry Clarke prépare un grand nombre de roughs préparatoires au crayon, à l'aquarelle et à la gouache, il recherche des études de costumes, dessine des scènes d'architecture qui viendront enrichir son œuvre magistrale. Ces études préparatoires sont visibles dans la Crowford Art gallery de Cork en Irlande. Un an plus tard, le 1er Avril 1924, Harry Clark remet le vitrail à Harold Jacob. Pour cette œuvre exceptionnelle, Harry Clarke recevra la  somme dérisoire de £160 7s 6d (160 livres, 7 shillings et 6 penneys). Lorsque The Eve of St Agnes fut exposée lors de l'Exposition d'Art Irlandais de Dublin en 1924, elle est récompensée de la médaille d'or des Arts et Métiers. En 1978, le Musée Hugh Lane Gallery en fait l'acquisition.

L'inspiration dans les contes et les légendes

Le poème The Eve of St Agnes fut écrit en 1819 par le poète romantique anglais John Keats. Il se compose de quarante deux vers, ou stances, ce qui en fait un texte particulièrement long et riche de descriptions. Le poème s'inspire d'une ancienne tradition où les jeunes mariées se couchaient le soir du 20 janvier sans dîner, afin de rêver de leurs futurs maris. Le lendemain était célébrée la Fête de Sainte Agnès. Le mot « Eve » fait référence à la veille de cette fête populaire.

Dans le poème de John Keats, Madeline a été enfermée par son frère, Lord Maurice, pour l'empêcher de retrouver son amant Porphyro. Par une nuit froide et venteuse, Porphyro décide de passer outre les menaces proférées par Lord Maurice à son encontre et, avec l'aide de Sœur Angela, la nourrice de Madeline, il pénètre dans le château du Lord. Madeline rêve de son future prince et espère en secret que ce sera Porphyro. Lorsqu'elle entend la voix de Porphyro elle croit rêver. Porphyro la rassure qu'elle ne rêve pas ; il est venu la délivrer. Ils s'enfuient alors tous deux à travers la lande pour aller vivre leurs rêves.

Le poème de John Keats est rempli de belles descriptions. Harry Clarke s'en est beaucoup inspiré pour choisir quelles parties du poème il allait illustrer. Le poème est riche de couleur ; particulièrement le violet, mélange de bleu royal et de rouge que l'on retrouve un peu partout dans le vitrail de Harry Clarke. C'est un vitrail haut en couleurs, plein de symboles et de mystères qui s'offre au regard des spectateurs.

Comment l'histoire est-elle racontée ?

Tout en révélant son talent exceptionnel de vitrailliste, The Eve of St Agnes est un magnifique exemple de la capacité des talents de conteur de Harry Clarke : l'artiste a choisi de raconter la légende de The Eve of St Agnes en quatorze panneaux. En y regardant de plus près, on constate que chacun des panneaux est accompagné d'un vers extrait du poème de John Keats. En outre, dans la partie supérieure de ces panneaux apparaissent deux demi-cercle, appelés lunettes. Horizontalement, le long des panneaux se cache une frise de personnages du poème. Tout le vitrail est décoré de magnifiques motifs ornementaux. On découvre même un auto-portrait de l'artiste dans un panneau en bas à gauche.

Dans son art, Harry Clarke puise son inspiration dans le remarquable travail de nombreux artistes, dont le peintre Velazquez, le graveur Albrecht Dürer, les estampes japonaises, la musique, la littérature fantastique et l'art symboliste. Il a su créer ici une vision personnelle du poème de John Keats, en combinant différentes idées et inspirations visuelles avec sa propre imagination.

[armillaryspheres]

13, 22, and the last one for the book ask meme! was the last one 25? I've forgotten in the time it took me to click the Ask button

Hi!!!

13. What were your least favorite books of the year?

Life in Shakespeare's England compiled by John Dover Wilson and El bien, el mal y la razón (Good, evil and reason) by Leon Olivé. I'm also tempted to say Siddhartha by Herman Hesse and Riders to the sea by J. M. Synge even though I actually liked them because I'm that spiteful towards the teacher for whom I had to read them.

22. What’s the longest book you read?

Letters to Véra by Vladimir Nabokov.

25. What reading goals do you have for next year?

As with this year, I want to read at least 50 books. I also want to bring down my tbr list to 150 books (It's at 180 right now), read War and peace by Leo Tolstoy and maybe reread The locked tomb but this time in physical format because the pdfs that I have are terrible.

[universitybookstore]

The Curse

Lord, confound this surly sister, Blight her brow with blotch and blister, Cramp her larynx, lung, and liver, In her guts a galling give her. Let her live to earn her dinners In Mountjoy with seedy sinners: Lord, this judgment quickly bring, And I'm your servant, J. M. Synge.      --John Millington Synge, b. 16 April 1871, proving that authors throughout history have always been touchy about criticism.

[wywh2017]

L'uomo che non teme il mare annegherà presto (diceva un vecchio marinaio delle Isole Blasket) perché uscirà un giorno in cui non doveva uscire. Ma noi che temiamo il mare anneghiamo solo di tanto in tanto. (John M. Synge)

[alisonnportfolio]

Original post 26 January 2016. Our Irish Theater & Some Letters of John M. Synge to Lady Gregory and W.B. Yeats

Spotlight: The Playboy Riots

On January 26th, 1907, the Abbey Theatre in Dublin was the stage for the first performance of J.M. Synge’s play, The Playboy of the Western World. Synge was already a beacon for controversy for his frank portrayal of the people of rural Ireland, but it was the language used in The Playboy that seemed to be the ignition point for a protest in and around the Abbey Theatre that lasted a week.

We’ve included an account of the “fights” from the pages of Lady Gregory’s book, Our Irish Theatre: A Chapter of Autobiography published by G.P. Putnam’s Sons in 1913. There is also a letter written the day of the first performance from J.M. Synge to Lady Gregory from the book, Some Letters of John M. Synge to Lady Gregory and W. B. Yeats Selected by Ann Saddlemyer, published by The Cuala Press in 1971.

[poem-today]

A poem by James Joyce for Bloomsday

The Holy Office

Myself unto myself will give This name, Katharsis-Purgative. I, who dishevelled ways forsook To hold the poets' grammar-book, Bringing to tavern and to brothel The mind of witty Aristotle, Lest bards in the attempt should err Must here be my interpreter: Wherefore receive now from my lip Peripatetic scholarship. To enter heaven, travel hell, Be piteous or terrible One positively needs the ease Of plenary indulgences. For every true-born mysticist A Dante is, unprejudiced, Who safe at ingle-nook, by proxy, Hazards extremes of heterodoxy, Like him who finds joy at a table Pondering the uncomfortable. Ruling one's life by common sense How can one fail to be intense? But I must not accounted be One of that mumming company – With him who hies him to appease His giddy dames' frivolities While they console him when he whinges With gold-embroidered Celtic fringes – Or him who sober all the day Mixes a naggin in his play – Or him whose conduct 'seems to own' His preference for a man of 'tone' – Or him who plays the ragged patch To millionaires in Hazelhatch But weeping after holy fast Confesses all his pagan past – Or him who will his hat unfix Neither to malt nor crucifix But show to all that poor-dressed be His high Castilian courtesy – Or him who loves his Master dear – Or him who drinks his pint in fear – Or him who once when snug abed Saw Jesus Christ without his head And tried so hard to win for us The long-lost works of Aeschylus. But all these men of whom I speak Make me the sewer of their clique. That they may dream their dreamy dreams I carry off their filthy streams For I can do those things for them Through which I lost my diadem, Those things for which Grandmother Church Left me severely in the lurch. Thus I relieve their timid arses, Perform my office of Katharsis. My scarlet leaves them white as wool: Through me they purge a bellyful. To sister mummers one and all I act as vicar-general And for each maiden, shy and nervous, I do a similar kind of service. For I detect without surprise That shadowy beauty in her eyes, The 'dare not' of sweet maidenhood That answers my corruptive 'would', Whenever publicly we meet She never seems to think of it; At night when close in bed she lies And feels my hand between her thighs My little love in light attire Knows the soft flame that is desire. But Mammon places under ban The uses of Leviathan And that high spirit ever wars On Mammon's countless servitors Nor can they ever be exempt From his taxation of contempt. So distantly I turn to view The shamblings of that motley crew, Those souls that hate the strength that mine has Steeled in the school of old Aquinas. Where they have crouched and crawled and prayed I stand, the self-doomed, unafraid, Unfellowed, friendless and alone, Indifferent as the herring-bone, Firm as the mountain-ridges where I flash my antlers on the air. Let them continue as is meet To adequate the balance-sheet. Though they may labour to the grave My spirit shall they never have Nor make my soul with theirs as one Till the Mahamanvantara be done: And though they spurn me from their door My soul shall spurn them evermore.

James Joyce

1882-1941

The Holy Office is Joyce’s earliest published literary work, written in 1904 and published in 1905 when he was in his twenties. The poem was rejected by the University College Dublin’s magazine, St Stephen’s, and publication again failed  after he took it to the Dublin Printing Company.  Joyce wasn’t able to pay for the printing and the company refused to give him the printed sheets unless he paid for them. Eventually, Joyce printed the poem in Pola, then part of the Austro-Hungarian empire, where he lived between November 1904 and March 1905. 50 copies of the poem were sent to his brother, Stanislaus, in June 1905 for distribution in Dublin.

The rival poets mentioned in the above poem include W. B. Yeats, George Russell, J. M. Synge, Oliver St. John Gogarty, Padraic Colum, William Magee (who wrote under the name John Eglinton), George Roberts, and Seumas O’Sullivan.

[stairnaheireann]

#OTD in 1907 – J. M. Synge’s Playboy of the Western World is performed for the first time at the Abbey Theatre, Dublin.

#OTD in 1907 – J. M. Synge’s Playboy of the Western World is performed for the first time at the Abbey Theatre, Dublin.

John Millington Synge’s ‘Playboy of the Western World’ opens at the Abbey Theatre, Dublin to riots, literally! What happened is best described by two telegrams Yeats (a founder of the Abbey) received while he was in Aberdeen from a fellow Abbey supporter Lady Gregory. Telegram one read “Play a great success.” Two acts later, she updated the great poet, ‘Play broke up in disorder at the word…

[ramzoozi]

“Everything in the Irish way of life has personal character, giving it something of the artistic beauty of medieval life.” John M. Synge, Irish Quote ☘️ @discoverireland.ie @natgeo @lonelyplanet @bbc_travel @lovindotie #ireland #travelquote Kinsale Fishing Village 📍 #kinsale #photography #moody #travel #photooftheday #irishexplorer #travelphotography #picoftheday #architecture #irish #travel #discoverireland #wildatlanticway #visitireland #instaireland #irelandtravel #galway #europe #donegal #bestofireland #irelandtv #lovindotie #ig_ireland #dublin #tourismireland #cobh #roadtrip #vanlife #ig_ireland @tourismireland @thewildatlanticway @wild_atlantic_way_pics @kinsale.ie @ringofcork @ig_cork @ig_ireland_ (at Kinsale, Ireland) https://www.instagram.com/p/B9Ty7WYlvZK/?igshid=1we97clmtntiu

[walkingaline]

Tagged by @risingphoenix761

Favorite colour: red or black

Currently reading: In Wicklow and West Kerry - John M. Synge

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Currently working on: several WIPs at the same time, an ambitious project to take over the world, a very long fic that refuses to cooperate and my dinner.

Zero pressure tagging @ragnarachael @russianbutchcrushing and whoever wants to play!

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[detroitlib]

Edmund John Millington “J. M.” Synge (16 April 1871 – 24 March 1909) 

Irish playwright, poet, prose writer, travel writer and collector of folklore. He was a key figure in the Irish Literary Revival and was one of the co-founders of the Abbey Theatre. He is best known for his play The Playboy of the Western World, which caused riots in Dublin during its opening run at the Abbey Theatre. (Wikipedia)

From our stacks: 1. Frontispiece “John Millington Synge. from the painting by J.B.Yeats, R.H.A.” from J.M. Synge A Critical Study by P.P. Howe. London: Martin Secker, 1912.  2. Cover detail from The Playboy of the Western World. A Comedy in Three Acts. By J.M. Synge. Boston: John W. Luce & Company, 1911.

[rhianna]

Author:  Synge, J. M. (John Millington), 1871-1909 Title:  Riders to the Sea Language:  English LoC ClassPR: Language and Literatures: English literature Subject:  Ireland -- Drama Subject:  Mothers and sons -- Drama Subject:  Drowning victims -- Drama Subject:  Seafaring life -- Drama CategoryText EBook-No.994 Release DateJul 1, 1997 Copyright Status    Public domain in the USA.

[solo1y]

They're all gone now, and there isn't anything more the sea can do to me.... I'll have no call now to be up crying and praying when the wind breaks from the south...I won't care what way the sea is when the other women will be keening.

Maurya in Riders to the Sea, by John M. Synge, after she’s lost all the male members of her family to drowning. She doesn’t give a fuck anymore. Everyone’s dead. 

[00ppsarchive-blog]

One: The Homosexual Viewpoint

Volume X - No. 2, February 1962, Los Angeles

Contents:

“An Income Tax Guide For Homosexuals” by Dale Mallory

“Doesn’t Anyone Ever Stay Home?” by Gene Guillardo

“Aftermath Of An Experience” by Carole M. Brand

“The Boxwood Garden” by John Thorne

“John, Passing” by Vincent Synge

“Editorial”

“Tangents”

“Books”

“Letters”

Cover image by K. Ortloff, Germany

Staff and Contributors: Don Slater, Robert Gregory, William Lambert, Marcel Martin, Alison Hunter, Eve Elloree, George Mortenson, Tony Reyes, Dale Mallory, Gene Guillardo, Carole M. Brand, John Thorne, Vincent Synge, K. Ortloff