#John Wyre

[diabolus1exmachina]

Volvo P1800 (with Aston Martin DP208 engine) 

With the introduction of the Volvo P1800 in January 1960 in Brussels, the story of this unique car begins. The shape of the Volvo P1800 is the work (from 1957) of Pelle Petterson then working for Pietro Frua in Italy. The first series, starting with the model year 1961, was assembled in the UK by Jensen motors in West Bromwich. The bodies were delivered by train from the Pressed Steel company works in Lynnwood. The cars were powered by the proven Volvo B18 1.8 litre carburetted engine with 90hp. It was identical with the engine from the Volvo 122 S saloon which, according to Aston Martin chief Sir David Brown, was somewhat inadequate to power a proper sports car and he decided to commence a rather bold experiment. In March 1961 he commissioned his engineers to develop a 2.5 litre 4-cylinder engine with the potential to be sold in large numbers to various companies. The internal code for the project was DP208 and the project responsible was none other than legendary John Wyre (Astons racing manager responsible for Aston Martin’s 1959 Le Mans victory). He had a budget of 3’000 pounds available (the about 36’000 Swiss francs). The engineering team around (equally famous) Tadek Marek jumped at the task and shortened a existing DB4 engine by cutting off two cylinders. The crankcase, crankshaft and camshaft had to be designed and built from scratch while the liners, pistons and valves could be taken straight from the six cylinder DB4 engine. After the first three engines had been completed, Sir David Brown made an agreement with the then UK Volvo importer Charles Singer to test one of the units in a Volvo P1800 and he commissioned John Wyer with the task.

Over the following 12 months the car was tested extensively, among others by Marek’s wife and a successful corporation with Volvo should then have materialised. In the meantime, Volvo unfortunately had decided to terminate its corporation with Jensen due to major quality problems with the coachwork construction and painting process and had transferred the complete construction of the P1800 to the Volvo main site at Lundby near Göteborg in Sweden. Perhaps the - rather complex - engine proved to be too costly for Volvo; after all the P 1800 was advertised at below $4’000 in the USA, and the targeted weight saving could also not be realised. As a result, project DP208 was cancelled probably in 1964, with the test mule scrapped and the remaining engines used for other projects.

[queerwelsh]

E. Prosser Rhys won the Crown in Pontypool National Eisteddfod with 'Atgof' in 1924.

Influential in his life as a poet, editor, journalist and publisher, Prosser Rhys is remembered today for winning the Crown in the National Eisteddfod of Wales in 1924. As influential as his winning poem, ‘Atgof’ was, and continues to be, Prosser even more profoundly affected Welsh-language writing in his life than is remembered today.

Edward Prosser Rees was born on the 4th of March 1901 in Trefenter, Mynydd Bach in Ceredigion, and christened on the 9th of March at Capel Bethel. His father was a blacksmith, David Rees, and his mother was Elizabeth Rees. Prosser came from a family of blacksmiths, and they later moved to Morfa Du in Trefenter (after Prosser had moved away, in March 1918). Previously, they had lived in Llainffwlbert until 1900, where they had their previous six children.

Prosser Rhys attended Cofadail Primary School in Trefenter then Ardwyn Grammar School in Aberystwyth in 1914. Other writers, academics and politicians were educated here, who were known as 'Old Ardwynians'. His early academic success was then marred by ill health - he was diagnosed with Tuberculosis at a young age, in 1915, which affected him for the rest of his life, but immediately kept him home for the next 3 years of his life. 

Still, his name started appearing in Welsh writing as early as 1916, with the poem ‘Y Fam a’i Baban’ (The Mam and her Baby) in Baner ac Amserau Cymru, where he was published as E. Prosser Rees (under the pseudonym/ffugenw Eiddwenfab) from Trefenter, Llangwyryfon, Ceredigion. In 1917, he wrote eloquent letters to ‘Y Darian,’ a radical Welsh-language paper, where he first wrote briefly about joining a patriotic union, and the Eisteddfod. The latter was fitting as he next appeared in Y Darian in 1918 for his early Eisteddfod wins, then in local Eisteddfodau, listed within the winners from Ceredigion. He then appeared several times in Y Darian as a part of ‘Aelwyd y Beirdd,’ where he’s described as a young poet with great potential, at only 17, the brother of Reverend Wyre Rees.

Clearly, Prosser wrote, competed and performed his poetry quite a lot as a teenager. One of his early poems appears in ‘Cymru,’ a monthly Welsh-language journal founded by O.M. Edwards in 1891. It was in 1919 that ‘Canu’r Merched’ by E. Prosser Rhys appeared in the journal ‘Cymru’. This is the earliest (that I found) of his poetry appearing published under this name. Note that there are occasionally mentions of ‘Prosser Rees,’ his birth name, as well. As Prosser Rees, he also published a poem in 1917 in The Cambrian News and Merionethshire Standard in sympathy to Mr and Mrs Thomas Evans of Penbont, who lost their son, David Morgan, in France during the First World War.

Prosser worked as a clerk at Western Ocean Colliery in Nant-y-Moel, Ogmore Valley, before his community saw him coming back from the ‘sowth’ (south) as a journalist. He was at Nantymoel, apparently living with one of his brothers, John, who was a coal miner. He was still receiving treatment for tuberculosis and apparently then returned to this family in their new home in Morfa-Du. He then worked at the Liberal newspapers of the Welsh Gazette in Aberystwyth and Herald Cymraeg in Caernarfon in 1919 (where he worked with Morris T. Williams). He moved back to Aberystwyth in 1921 and became the editor of Baner ac Amserau Cymru in 1923, when they moved their offices from Denbigh to Aberystwyth.

In 1923, Prosser's poetry was first published in a book - Gwaed Ifanc with another poet J.T. Jones (John Tudor Jones). As the title suggests, they were proud of being the ‘new blood’ of Welsh poetry and writing, with Prosser then being 22 and J.T. Jones being 19 years old. There was certainly some backlash to that and the book was met with some controversy, also for their poetry being more sexual than older poets of the time. There was already a tradition of the new kind of Welsh writing, started by T H Parry-Williams’ win in the Eisteddfod in 1915 with ‘Y Ddinas,’ and Rhys was aware of these new ideas of challenging Welsh writing, the Eisteddfod and therefore Welsh-language society, which he was inspired by and sought to be a part of - and succeeded. This was an attempt to challenge the writing of older poets, as well as bring attention to the newer crop of younger writers, the men who’d survived the First World War and demanded attention.

He of course especially challenged the status quo of the Eisteddfod when he won the Crown in 1924 in  the Pontypool National Eisteddfod with his poem ‘Atgof’ (Memory - or also sometimes translated as Reminiscence). This long ‘pryddest’ poem, follows a ‘llanc synhwyrus’/‘sensible lad’s journey into exploring his sexuality, from seeing ‘Sex’ ruin his parents’ relationship, to exploring his sexuality with women, and then with a man as well (who was likely Morris T. Williams), while struggling against the morals and virtues of Welsh society and religion. The judges of the Eisteddfod were at odds, one finding it to be immoral and the others praising it. 

Of course, when Prosser won, the reactions were scandalized and ‘Atgof’ became quite controversial, for its explicit discussions of sex and of course the same-sex part of the poem. It has since been called ‘homoerotic’ by many writers, while today may be seen more as a bisexual poem, or queer one. Mihangel Morgan, writing in Queer Wales, finds this to be a negative depiction of homosexuality and downplays the significance of ‘Atgof’ as a gay poem.

A’n cael ein hunain yn cofleidio ‘dynn;

A Rhyw yn ein gorthrymu; a’i fwynhau; A phallu’n sydyn fel ar lan y llyn…

And finding ourselves in a tight embrace With Sex overwhelming us; and enjoying it;

And suddenly stopping as above the lake…

These lines describe the same-sex interaction and indeed it doesn’t take up a large amount of the poem, but Mihangel Morgan’s disappointment seems to come from the poem not being homosexual enough. And indeed it isn’t, but reads as a bisexual poem that takes us through Rhys’s whole journey of realising and battling with his sexuality at this age. It still resonates with much of the LGBTQ+ community, especially when realising how explicit it was for 1924 (or it wouldn't have been so controversial), 40 years before the decriminalization of homosexuality, and its win in the Eisteddfod was well, well ahead of its time.

On the other hand, later on in Prosser’s life, it was suggested that he was so shocked by sodomy in the writing of someone else to not publish them. There is the possibility of Prosser’s viewpoints and own sexuality changing in his life, though this is merely speculation that Prosser was ‘shocked’ by writing of homosexuality. There are many possibilities here when it comes to Prosser’s own feelings and sexuality, but it is certain that they have had a great influence on LGBTQ+ writing and the community in Wales and particularly in Welsh. 

‘Atgof’ and Prosser were also mentioned in US Time Magazine in 1924, adding to evidence of the influence and legacy of this poem. Internationally, we see links in the poems to the sexology and psychiatry of the time - the psychoanalyst Ernest Jones (and possibly abusive husband of the composer Morfydd Llwyn Owen) mentioned the poem in a letter to Sigmund Freud, though it’s unclear that either actually read the poem.

Caradog Pritchard wrote in his autobiography that as a friend of Prosser’s and Morris T. Williams’ that he believed the man Prosser wrote about was Morris Williams, and this has been accepted as likely the truth since then (though there were always rumours about this). Morris T. Williams was close to Prosser, when they were roommates in Twthil near Caernarfon, while working at 'Herald Cymraeg,' and they exchanged letters after which show their close relationship - this was before Morris married Kate Roberts and they together bought Gwasg Gee. All three remained close, being friends and remaining in the same social circles as poets, as well as in Welsh publishing. More recently, it has been theorized that Kate Roberts also was queer, based on her own personal writing, as well as her short stories which are about romantic relationships between women (such as 'Christmas' and 'The Treasure'). Morris T. Williams died in 1946, a year after Prosser Rhys, after a long struggle with alcoholism.

‘Atgof’ was published as a booklet, with a translation ‘Memory’ by Hywel Davies also published as a booklet. The poem reads less explicitly than the Welsh version, though it was praised at the time. It can be read here - though a modern English translation is definitely needed. 'Atgof' can also be read here.

In 1928, Prosser married Mary Prudence Hughes in Aberystwyth, which was when both he and she took the surname ‘Rhys’. They had one daughter, Eiddwen Rhys. He founded Gwasg Aberystwyth also in 1928 and began publishing books, with Gwasg Aberystwyth growing significantly in years to come. 

As editor of Baner ac Amserau Cymru, Prosser encouraged more poets to write and publish their work. Rhys founded Y Clwb Llyfrau Cymraeg/The Welsh Books Club in 1937. This was a subscription of Welsh books, where readers would receive 4 books a year for half a crown, and which published 45 volumes up until 1945.  As successful as it was under Prosser, after his death, it was decided that there were not enough Welsh-language writers to continue it.

(Executive committee of 'Plaid Genedlaethol Cymru,' 1927- Lewis Valentine, Ambrose Bebb, D. J. Williams, Mai Roberts, Saunders Lewis, Kate Roberts, H. R. Jones, Prosser Rhys.) Prosser Rhys was a founding member of Plaid Cymru, founded in 1925. He was also the editor of ‘Y Ddraig Goch’ with Saunders Lewis and Iorwerth C. Peate, which Prosser also helped to form with H. R. Jones, though he was initially opposed to the idea due to lack of funds. However, Prosser became vocally opposed to Saunders Lewis’ right wing views. He wrote in Y Faner that many of Plaid Cymru’s members had come from the Labour party or Liberal party, or were radicals who came from no political party, where none were supportive of the views appearing in the Daily Mail, implying that Saunders Lewis’ views were too close to the matter, but that most Plaid Cymru supporters were personally too loyal to voice their concerns over this. The expulsion of Prosser from the party was discussed and suggested but Saunders Lewis opposed this. 

Following his many successes, Prosser and his family moved to 33 North Parade, Aberystwyth, where he lived until his death.

After his health had deteriorated again from 1942, Prosser died in 1945 - at the age of 43, and less than a month before his 44th birthday. He is buried at Llanbadarn Fawr Cemetery, with his grave quoting T. Gwynn Jones: “Gwyrodd êfo î’r drugaredd fawr, Ni wyr namyn Duw ddirgelwch ei wên.” Here Mary Prudence Rhys, his wife, is also buried, who died in 1991, at the age of 87. They are also buried with William Dewi Morris Jones, who died in 1983, aged 56. Rhys’s death was certainly a loss to Welsh publishing and writing.

Gwasg Aberystwyth was bought by J. D. Lewis & Sons from Llandysul after Prosser’s death, the founder of Gwasg Gomer, who continued the Welsh Books Club and took over publishing of the club’s books until 1952. This, however, did follow a legal disagreement between Mary Prudence Rhys and Morris T. Williams, who was supposed to get the first offer and chance at refusal for Gwasg Aberystwyth, according to legal documents that Prosser and Morrisagreed upon, which Morris Williams did not feel like he had gotten.

Cerddi Prosser Rhys was published in 1950 by Gwasg Gee, Morris’s first collection entirely of his own poems - published 5 years after his death. Edited by J.M. Edwards, a fellow poet who competed in Eisteddfodau and was from a similar area to Rhys, Edwards also writes the introduction of the poetry collection. He notes that he decided that 4 years after Prosser’s death was enough time to finally publish a whole collection of Prosser’s best poems (the introduction was written in July, 1949, with the book published in February, 1950.) He writes that his previous poetry collection, in ‘Gwaed Ifanc’, was ‘a volume that attracted a lot of attention and also brought a new, daring note to the world of Welsh poetry of the period, something that was urgently needed.’ His memories of Prosser while growing up show he was a well-known poet even in his youth, who Edwards and others in his own school had heard of before meeting, who was known for competing and finding success in many local Eisteddfodau around Wales. 

Of his poetry found in Cerddi Prosser Rhys, Edwards notes that ‘Y Gof’ (The Memory) is a tribute to his parents and his early life in rural Wales. His two sonnets he most praises are ‘Y Pechadur’ (The Sinner) and ‘Duw Mudan’ (Mute God). Of ‘Atgof,’ Edwards significantly notes that it was "a bold poem that created a lot of excitement and was praised by some but damned by others. The saddest feature of the whole event was that it reflects an attitude of thought in Wales which is too ready to judge the values of the world of the arts by the wrong standards." The introduction finishes by repeating what many others have said about the premature loss of Prosser to the world of Welsh writing and publishing. Edwards also hoped that there would also be a collection of Prosser’s prose, which unfortunately has not yet come to be. 

‘Mab ei Fam’ (His Mother's Son) is to "M.T.W," likely Morris T. Williams - similarly to Strancio, which was translated by Mihangel Morgan as ‘Fooling About,’ which is to: ‘I gyfaill annwyl a fu’n cyd-letya â mi’ (To a dear friend who lodged with me)

Do, bûm yn flin. Ond weithian gwybydd di Fod Fflam yn llosgi ynof, ac aml dro Yn llamu ar draws fy nghorff materol i, A’m hysu hyd fy nghyrru i maes o’m co’,

A strancio a wnaf eto rhag fy ffawd Nes torro’r Fflam ei ffordd o’i charchar cnawd.

Yes, I was angry. But sometimes you must know That a Flame burned within me, and often Sprang from my material body Plaguing me until it drove me mad And I would taunt my fate Until the Flame broke free of its prison of flesh.

-Mostly translated by Mihangel Morgan.

As with ‘Atgof,’ Mihanel Morgan downplays Strancio by stating it to be cryptic and guarded - while I'd argue that the confession of his feelings towards a man in the 1920s is explicit for its time, especially following on from the Victorian poetry that was popular before the ‘New blood’. While Mihangel Morgan says it is ‘assumed’ to be about Morris T. Williams, the dedication at the start of the poem is clear enough, at least historically, to Morris T. Williams, especially when a previous poem also is dedicated to him.

It wasn’t until 1980 that Prosser Rhys was celebrated with a book about his life, by Rhisiart Hincks. T. Robin Chapman wrote in Y Traethodydd in 2006 that Hincks probably knew of the nature of Rhys’s relationship with Morris T. Williams yet it was omitted, from the only whole biography of Prosser Rhys. This is a sign of the times in which it was written and published but shows the need now to write biographies of Rhys that include what was previously excluded, his queer identity. Hincks mentions how Williams quickly became Prosser's best friend ('ei gyfaill pennaf') when they met in Caernarfon, that they moved together to 15 Eleanor Street and that it was Prosser who introduced Williams to literature. ‘Cyfeillgarwch clos’. He also mentions that such closeness led to spats, once when they fought all night, which does show the intensity of their relationship. Perhaps, this subtext Hincks hoped to be understood by the audience of the time. Of ‘Atgof,’ Hincks notes that Prosser had previously expressed that there was a lack of sex in Welsh in recent poetry, which he blamed on the chapel. This biography remains the most detailed on Prosser’s life.

A monument on Mynydd Bach, overlooking Llyn Eiddwen near to Trefenter, where Prosser was born and lived in his childhood, was unveiled in 1992, during the National Eisteddfod in Aberystwyth. Including Rhys, the monument, ‘Cofeb i Feirdd y Mynydd Bach’ celebrates 4 poets from the local area. J.M. Edwards from Llanrhystud also won the Crown in the National Eisteddfod, in 1937, 1941 and in 1944, and wrote the introduction to Cerddi Prosser Rhys. All 4 of the poets named on the plaque of the monument were successful in the Eisteddfod. B. T. Hopkins (Benjamin Thomas Hopkins) was a successful poet from Ceredigion, who lived and farmed on Mynydd Bach. T Hughes Jones (Thomas Hughes Jones) was a Welsh poet and writer from Ceredigion who won a medal in the National Eisteddfod of 1940 for a short story, ‘Sgweier Hafila,’ which was partly judged by Kate Roberts.

Interest in Prosser, his life and career, has been renewed by research into Welsh LGBTQ+ history and writing. Notably, in 1998, a historical docudrama called ‘Atgof’ aired on S4C, directed by Ceri Sherlock, which depicted Prosser writing the poem and his relationship with Morris T. Williams, which was represented as a sexual and romantic one. There was controversy around the film, similarly to 'Atgof' the poem, with some questioning how they depicted the relationship (with some speculated, fictional details) and some also questioning whether it should be depicted or speculated about at all. Despite the discourse, Prosser Rhys had already become an inspiration to the Welsh LGBTQ+ community.

In 2019, the show ‘Corn Gwlad’ was performed at the National Eisteddfod in Llanrwst, created by Seiriol Davies, which celebrated Prosser’s win at the Eisteddfod and depicted his feelings towards Morris T. Williams. It was then a work-in-progress show, with comedy and music, and part of the ‘Mas ar y Maes’ programme of events at the National Eisteddfod, which are especially for the LGBTQ+ community, or which may be relevant to the LGBTQ+ community. Prosser was also featured in ‘Mas ar y Maes’ events with ‘Cariad yw Cariad,’ and is of course heavily featured in the 2024 National Eisteddfod in Pontypridd, on the centenary of Prosser Rhys winning the Crown with 'Atgof.' 'Atgof' was also the theme of the poems submitted to the 'Coron' - which was won by Gwynfor Dafydd.

The lasting legacy of Prosser Rhys is to be a significant voice of this community from 20th century Wales, and an icon especially for Welsh language LGBTQ+ people, queer men and bisexual people. This is what has significantly brought Prosser Rhys back into the public eye in the 1990s, with the film Atgof, and in the 2010s with LGBTQ+ History Month, and in the 2020s around the 100th anniversary of his Eisteddfod Crown winning with ‘Atgof’. Prosser also had a significant impact in Welsh publishing, Welsh society, in his article writings, in politics. Prosser Rhys was a fascinating, complicated person, a passionate advocate for Welsh poetry, writing and publishing and is a hero of the communities to which he belonged, including the local community in Ceredigion and West Wales.

[wankerwatch]

Lords Vote

On: Holocaust Memorial Bill

Baroness Deech moved, as an amendment to the motion that the bill be now read a second time, at end to insert “but this House regrets that the Bill fails to allow for a full appraisal and consultation on any preferred site for a Holocaust Memorial and Learning Centre; and that in preparing the bill the Government have failed to establish the true cost of the project or deal with issues of security around the Memorial”. The House divided:

Ayes: 49 (49.0% Con, 24.5% XB, 12.2% LD, 6.1% , 4.1% Bshp, 2.0% Lab, 2.0% Green) Noes: 99 (79.8% Lab, 10.1% Con, 5.1% DUP, 3.0% , 2.0% XB) Absent: ~683

Likely Referenced Bill: Holocaust Memorial Bill

Description: A Bill to make provision for expenditure by the Secretary of State and the removal of restrictions in respect of certain land for or in connection with the construction of a Holocaust Memorial and Learning Centre.

Originating house: Commons Current house: Lords Bill Stage: 2nd reading

Individual Votes:

Ayes

Conservative (24 votes)

Attlee, E. Balfe, L. Bellamy, L. Black of Brentwood, L. Blencathra, L. Bottomley of Nettlestone, B. Eccles, V. Fookes, B. Forsyth of Drumlean, L. Herbert of South Downs, L. Howard of Rising, L. Howell of Guildford, L. Mancroft, L. Meyer, B. Minto, E. Noakes, B. Robathan, L. Sandhurst, L. Sassoon, L. Strathcarron, L. Strathclyde, L. Taylor of Holbeach, L. Trenchard, V. Tugendhat, L.

Crossbench (12 votes)

Berkeley of Knighton, L. Carlile of Berriew, L. Chartres, L. Craigavon, V. Deech, B. Greenway, L. Hunt of Bethnal Green, B. Kerr of Kinlochard, L. Lisvane, L. Meacher, B. O'Loan, B. Turnbull, L.

Liberal Democrat (6 votes)

Addington, L. Beith, L. Fox, L. Hamwee, B. Lee of Trafford, L. Thomas of Winchester, B.

Non-affiliated (3 votes)

Fox of Buckley, B. Inglewood, L. Taylor of Warwick, L.

Bishops (2 votes)

Southwark, Bp. St Albans, Bp.

Labour (1 vote)

Campbell-Savours, L.

Green Party (1 vote)

Jones of Moulsecoomb, B.

Noes

Labour (79 votes)

Adams of Craigielea, B. Anderson of Stoke-on-Trent, B. Anderson of Swansea, L. Armstrong of Hill Top, B. Bach, L. Bassam of Brighton, L. Beckett, B. Blake of Leeds, B. Blower, B. Bradley, L. Browne of Ladyton, L. Chakrabarti, B. Chandos, V. Chapman of Darlington, B. Clark of Windermere, L. Crawley, B. Davies of Brixton, L. Drake, B. Gale, B. Golding, B. Goudie, B. Grantchester, L. Griffiths of Burry Port, L. Hacking, L. Hain, L. Hannett of Everton, L. Hanson of Flint, L. Harris of Haringey, L. Hayman of Ullock, B. Hazarika, B. Healy of Primrose Hill, B. Hendy of Richmond Hill, L. Hendy, L. Hunt of Kings Heath, L. Jones of Whitchurch, B. Kennedy of Cradley, B. Kennedy of Southwark, L. Khan of Burnley, L. Knight of Weymouth, L. Lawrence of Clarendon, B. Layard, L. Liddle, L. Livermore, L. Mann, L. McIntosh of Hudnall, B. McNicol of West Kilbride, L. Merron, B. Monks, L. Morgan of Drefelin, B. Morgan, L. O'Grady of Upper Holloway, B. Pitkeathley, B. Ponsonby of Shulbrede, L. Ramsay of Cartvale, B. Ramsey of Wall Heath, B. Ritchie of Downpatrick, B. Robertson of Port Ellen, L. Sherlock, B. Sikka, L. Smith of Basildon, B. Smith of Malvern, B. Spellar, L. Stansgate, V. Taylor of Bolton, B. Taylor of Stevenage, B. Thornton, B. Timpson, L. Tunnicliffe, L. Turnberg, L. Twycross, B. Vallance of Balham, L. Warwick of Undercliffe, B. Watson of Invergowrie, L. Watson of Wyre Forest, L. Whitaker, B. Wilcox of Newport, B. Winterton of Doncaster, B. Young of Norwood Green, L. Young of Old Scone, B.

Conservative (10 votes)

Bridgeman, V. Cameron of Chipping Norton, L. Courtown, E. Effingham, E. Gold, L. Harding of Winscombe, B. Leigh of Hurley, L. Polak, L. Scott of Bybrook, B. Shinkwin, L.

Democratic Unionist Party (5 votes)

Browne of Belmont, L. Dodds of Duncairn, L. Hay of Ballyore, L. McCrea of Magherafelt and Cookstown, L. Morrow, L.

Non-affiliated (3 votes)

Altmann, B. Austin of Dudley, L. Patel of Bradford, L.

Crossbench (2 votes)

St John of Bletso, L. Wolf of Dulwich, B.

[ifreakingloveroyals]

5 February 2016 | Prince Harry crosses the River Wyre with Emergency Planning Officer John Blundell during a visit to see the impact of recent floods in St Michael's on Wyre in England. (c) Phil Noble - WPA Pool/Getty Images

[sidewaysmonday]

As I go through edits, I sometimes want to draw cute created family versions of my cast of magi, including child versions of some characters for the adorability of it all.

This picture features my very special homemade freckle brush, which I love.

[mythgirlimagines]

ANON-CORRECT QUOTES

—————-–——————--

Eldritch: (frantically) They’ve even ph-photoshopped the word “s-s-sex” in the c-c-clouds, which is a su-subliminal t-tool they use to get p-people to re-relate to something! LITERALLY! You c-can look at th-th-THIS! And f-fi-find it on NASA’s website!

Iris: (smugly, irritated at Eldritch’s anti-space conspiracy theories) Hehehe, yeah. That’s f***ing hilarious, but that doesn’t prove that the Earth is flat.

Source: Armored Skeptic

—————-–——————--

(After Fusion gets a bit too reckless with his eating, and ends up choking at the dinner table….)

Fusion: (making strained and strangled noises) 

Curious: (notices that Fusion is choking, turns to Fusion II) Two-senpai, shall I get Fusion-senpai a glass of water?

Fusion II: (sarcastically) No, Curious. You should just stand there and watch him hack himself to death.

Curious: (confused) Do you really think that’s-

Fusion II: (angrily) GET THE DAMN WATER!

Source: The Golden Girls

—————-–——————--

Wyre: Myth could wake up in the Jurassic Period, and her first thought would be-

Wyre: (imitating Myth’s voice, in a lovestruck and shipping-mood pose) “Holy sh**! Those stegosauruses are standing way too close together!”.

Myth: (nods, applauding Wyre’s accuracy)

Source: Last Week Tonight With John Oliver

—————-–——————--

Dream: (breakdancing, while a boombox plays hip-hop music in the background)

The Twins: (sneaking towards the boombox)

Wet Sock: (cues Egg to do something)

Egg: (presses one of the buttons on the  boombox, switching the hip-hop music to ballet music)

Wet Sock: (smirking, slowly going into shock, as they see Egg and Dream twirling to the ballet music) Uh oh! Looks like somebody changed the….

Wet Sock: (facepalming at their thembo twin) 

Source: Vine

Video Source: (https://www.youtube.com/watch?v=Br2176pljkA) 

—————-–——————--

(When the Ultimates are moving their stuff into the dorms…)

Purple: (dragging a life-like statue on the floor, and trying her best to lift it)

Nerd: (shocked) Is that a statue of Sir Walter Raleigh?!

Purple: (scared of Nerd’s rage) Uh…indeed it is…

Nerd: (enraged) WHY?!

Purple: (pensive) Might there be an elucidation that you could possibly find satisfactory?

Nerd: (angrily) NO!

Source: 17776

—————-–——————--

Janon: (relaxing on the couch, before sneezing loudly, startling Sparkle, who was directly next to him)

Sparkle: (says nothing, and doesn’t even look at Janon)

Scar: (handing Janon a tissue, to Sparkle) Really?! Not even a “Bless You!”?

Sparkle: (smugly showing herself off) I, THE SPECTACULAR SPARKLE, AM SITTING NEXT TO YOU! YOU ARE ALREADY BLESSED ENOUGH!

Source: Unknown

—————-–——————--

(During the Mastermind Trial…)

The Fancy One/Mastermind: (dramatically, desperately fishing for compliments) I’m a very bad Anon. I’m a very, very bad Anon! I’m a horrible Anon!~★

Every Survivor: (staring at The Fancy One/Mastermind, preparing to nod their heads)

The Fancy One/Mastermind: (frustrated, mimicking the other Anons) “No, you’re not! We still love you! We can change you, Mastermind!”~★

Source: Friends

—————-–——————--

I hope you like what I made for you! I’d love to hear your opinions on these quotes!

-Fusion Anon

[tasksweekly]

[TASK 188: MARSHALL ISLANDS]

There’s a masterlist below compiled of over 60+ Marshallese faceclaims categorised by gender with their occupation and ethnicity denoted if there was a reliable source. If you want an extra challenge use random.org to pick a random number! Of course everything listed below are just suggestions and you can pick whichever faceclaim or whichever project you desire.

Any questions can be sent here and all tutorials have been linked below the cut for ease of access! REMEMBER to tag your resources with #TASKSWEEKLY and we will reblog them onto the main! This task can be tagged with whatever you want but if you want us to see it please be sure that our tag is the first five tags, @ mention us or send us a messaging linking us to your post!

THE TASK - scroll down for FC’s!

STEP 1: Decide on a FC you wish to create resources for! You can always do more than one but who are you starting with? There are links to masterlists you can use in order to find them and if you want help, just send us a message and we can pick one for you at random!

STEP 2: Pick what you want to create! You can obviously do more than one thing, but what do you want to start off with? Screencaps, RP icons, GIF packs, masterlists, PNG’s, fancasts, alternative FC’s - LITERALLY anything you desire!

STEP 3: Look back on tasks that we have created previously for tutorials on the thing you are creating unless you have whatever it is you are doing mastered - then of course feel free to just get on and do it. :)

STEP 4: Upload and tag with #TASKSWEEKLY! If you didn’t use your own screencaps/images make sure to credit where you got them from as we will not reblog packs which do not credit caps or original gifs from the original maker.

THINGS YOU CAN MAKE FOR THIS TASK -  examples are linked!

Stumped for ideas? Maybe make a masterlist or graphic of your favourite faceclaims. A masterlist of names. Plot ideas or screencaps from a music video preformed by an artist. Masterlist of quotes and lyrics that can be used for starters, thread titles or tags. Guides on culture and customs.

Screencaps

RP icons [of all sizes]

Gif Pack [maybe gif icons if you wish]

PNG packs

Manips

Dash Icons

Character Aesthetics

PSD’s

XCF’s

Graphic Templates - can be chara header, promo, border or background PSD’s!

FC Masterlists - underused, with resources, without resources!

FC Help - could be related, family templates, alternatives.

Written Guides.

and whatever else you can think of / make!

MASTERLIST!

F:

Kathy Jetnil-Kijiner (1988) Marshallese - spoken word artist and poet.

Billma Peter (1996) Marshallese - model and Miss Marshall Islands 2019.

Netha Gideon (?) Marshallese - actress.

Lulani Ritok (?) Marshallese - actress and composer.

Tolfina Fakatou (?) Marshallese - actress.

Abacca Anjain-Maddison (?) Marshallese - actress.

Nica Wase (?) Marshallese - actress and composer.

Martha Horiuchi (?) Marshallese - actress.

Billma Melson (?) Marshallese - actress.

Vivian Niedenthal (?) Marshallese - actress.

Karen Earnshaw (?) Marshallese - actress and director.

Magdalene Johnson (?) Marshallese - actress.

F - Athletes:

Haley Nemra (1989) Marshallese - middle-distance runner.

Julianne Kirchner (1991) Marshallese - swimmer.

Sidra Triplett (1994) Marshallese - volleyball player.

Neikormo Lanki-Nimoto (1995) Marshallese - basketball player.

Ann-Marie Hepler (1996) Marshallese - swimmer.

Mattie Sasser (1996) Marshallese - weightlifter.

Colleen Furgeson (1998) Marshallese - swimmer.

Mariana Cress (1998) Marshallese - sprinter.

Tamara Andrike (2001) Marshallese - basketball player.

Naupaka Ackley (2001) Marshallese - basketball player.

Joy Ratidara (2002) Marshallese - basketball player.

Darcyann Muller (?) Marshallese - volleyball player.

Aliyah Brown (?) Marshallese - volleyball player.

Carolyn Hone (?) Marshallese - volleyball player.

Angelina John (?) Marshallese - volleyball player.

M:

Niten Anni (?) Marshallese - actor and composer.

Lyel Tarkwon (?) Marshallese - actor and composer.

Jefferson Paulis (?) Marshallese - actor.

Ben Debrum Wakefield (?) Marshallese - actor and filmmaker.

Randon Jack (?) Marshallese - actor.

Jukulius Niedenthal (?) Marshallese - actor and producer.

Iohaan Anjolok (?) Marshallese - actor.

Naiko Jashua (?) Marshallese - actor.

Lucus Niedenthal (?) Marshallese - actor and composer.

Jollie Batlok (?) Marshallese - actor.

Lyle Yamane (?) Marshallese - actor.

Yasta Bolkheim (?) Marshallese - actor.

Arelong Simon (?) Marshallese - actor.

Maxter Tarkwon (?) Marshallese - actor.

Wyre Kimej (?) Marshallese - actor.

Lobie Ben (?) Marshallese - actor.

Nicholas Kirby (?) Marshallese - actor.

M - Athletes:

Todd Lyght (1969) Marshallese - football player.

Waylon Muller (1972) Marshallese - wrestler.

Roman Cress (1977) Marshallese / Unspecified White - sprinter.

Mau Penisula (1979) Marshallese / Tuvaluan - footballer.

West Nott (1982) Marshallese - tennis player.

Jared Heine (1984) Marshallese - swimmer.

Anju Jason (1987) Marshallese - taekwondo practitioner.

Timi Garstang (1987) Marshallese - sprinter.

Michael Taylor (1989) Marshallese - swimmer.

Lani Ackley (1992) Marshallese - basketball player.

Giordan Harris (1993) Marshallese - swimmer.

Kabuati Bob (1994) Marshallese - weightlifter.

Jeki Lanki (1995) Marshallese - sprinter.

Halber Pinho (1995) Marshallese - basketball player.

Daniel Langinbelik (1996) Marshallese - swimmer.

Richson Simeon (1997) Marshallese - sprinter.

Joshua Ralpho (?) Marshallese - weightlifter.

Sione Aho (?) Marshallese - shot putter.

Frederick Kurn (?) Marshallese - basketball player.

Mike Riklon (?) Marshallese - weightlifter.

Jason Sam (?) Marshallese - taekwondo practitioner.

Robert Case (?) Marshallese - basketball player.’

[marvelman901]

Alpha Flight 123 (1993) An Infinity Crusade Crossover Holy Terror part 2 Written by Simon Furman Penciled by Pat Broderick and Barry Kitson Inked by Bruce Patterson and John Stokes The part of Alpha Flight that wasn't on Paradise Omega, went to their altered headquarters and fought Witchfire and her demons... Also, at another time, Wildheart and Puck fought Puck's old teammates... . #marvel #alphaflight #guardian #puck #canada #infinitycrusade #90s #witchfire #magic #northstar #holyterror #patbroderick #barrykitson #depthcharge #outcasts #cleft #manikin #sasquatch #wildheart #wyre #flagstone #talisman https://www.instagram.com/p/B_Ieq7QhJko/?igshid=1vmd3xa8pppky

[landlordrecords]

Simon Morris's funeral will be on Wednesday 15th January, at Carleton crematorium, in Blackpool, at 2-45pm.

PS I'm finding out about the wake...there will be one, one way or another.

Have YOU, Blackpool dweller, always wondered about Simon Morris's super-cool, eccentric & bohemian mates from out of town? Have you always wanted one of them to hang out at your house for the night?! A number are coming to the funeral & some may prefer to preserve a bit of cash after their long journeys here, rather than getting a hotel room. Sadly we don't really have room anymore (blame my collecting habit)....DM me if you need a room & DM me if you would like to offer a room!

PPS I believe the full notice will be in the Blackpool Gazette but, in response to a question on twitter about a charity for donations as an alternative to flowers, mental health charities would obviously be appropriate, & Simon was also very concerned about the plight of the homeless in recent years.

Alternatively, I can supply his parents' address by DM for cards, as they are gaining great strength from them. ---------------------------------------------- Simon Morris: Slight funeral update

After new year now, obviously I suppose. His mum has confirmed friends will be very welcome. -------------------------------- Simon Morris: Update.

Most people are probably aware by now that Simon Morris's body was found in the River Wyre on Thursday. There have been some questions about the police response to the case, but from reasonably close contact with them, I know that they tried their very hardest to bring this case to a good conclusion, and the account of their attempts to recover his body is a testament to our public services at their best.

Simon's body has now been formally identified, and all his nearest and dearest are aware. The funeral will be after xmas, details to follow. Thanks to the many people who checked in regarding his whereabouts.

I have read some beautiful tributes to Simon in the last 24 hours but, in true micro-management style, and doubtless dubious about my previous mawkish/insufficient words regarding other departed friends, Simon told me once that he didn't want any epitaph, which I will stick to...except to say that, despite all the faults he would have acknowledged himself, Simon was a wonderful friend for 26 years. I thank Karren Ablaze very much for introducing us, and I met most of you, and my partner, as a result of knowing him, which is pretty remarkable really. It will be very strange indeed never to be able to talk to him again, and the effect on my (dearly beloved) cultural connections will be similar to that experienced when John Peel died.

Phil

Rest in peace, Simon.

[livinglikebritishroyalty]

𝐵𝒾𝓇𝑔𝒾𝓉𝓉𝑒, 𝒟𝓊𝒸𝒽𝑒𝓈𝓈 𝑜𝒻 𝒢𝓁𝑜𝓊𝒸𝑒𝓈𝓉𝑒𝓇

♕ 𝐹𝓊𝓁𝓁 𝒩𝒶𝓂𝑒: Birgitte Eva van Deurs Henriksen

♕ 𝐹𝓊𝓁𝓁 𝒯𝒾𝓉𝓁𝑒: Her Royal Highness, Birgitte The Duchess of Gloucester

♕ 𝐵𝓸𝓇𝓃: Thursday, June 20th, 1946 in Odense, Denmark

♕ 𝒫𝒶𝓇𝑒𝓃𝓉𝓈:  Asger Preben Wissing Henriksen (Father) & Vivian van Deurs (Mother)

♕ 𝒮𝓅𝓸𝓊𝓈𝑒: His Royal Highness Prince Richard The Duke of Gloucester (M. 1972)

♕ 𝒞𝒽𝒾𝓁𝒹𝓇𝑒𝓃: Major Alexander Patrick Gregers Richard Windsor Earl of Ulster (Son), Lady Davina Elizabeth Alice Benedikte Windsor (Daughter), & The Lady Rose Gilman (Daughter)

♕ 𝒢𝓇𝒶𝓃𝒹𝒸𝒽𝒾𝓁𝒹𝓇𝑒𝓃: Xan Richard Anders Windsor Lord Culloden (Grandson), Lady Cosima Rose Alexandra Windsor (Granddaughter), Senna Kowhai Lewis (Granddaughter), Tāne Mahuta (Grandson), Lyla Beatrix Christabel Gilman (Granddaughter), & Rufus Frederick Montagu Gilman (Grandson)

♕ 𝐸𝒹𝓊𝒸𝒶𝓉𝒾𝓸𝓃: Schools in Odense, Denmark & Finishing Schools in Lausanne, Switzerland and Cambridge, England.

♕ 𝒫𝒶𝓉𝓇𝑜𝓃𝒶𝑔𝑒𝓈 & 𝐼𝓃𝓉𝑒𝓇𝑒𝓈𝓉𝓈: Inspirations & Passions: People in Need (Navy, Youth, Poverty, & Army Families), Health (The Blind, Hospitals, Parkinson’s Disease, Prostate Cancer, Infant Deaths, Baby Health, Obstetricians, Music Therapy, Progressive Supranuclear Palsy, Child Disabilities & Therapy, Speech Impairments, The Deaf, Cerebral Palsy, Adult Disabilities, Women in Medicine, Spina Bifida, & Hydrocephalus), Education (Academies, Schools, Colleges, & Children with Learning Disabilities), The Arts (Music, Dance, Wine Making, Fan Making, Thread Work, Basketry, Needlework, & Embroidery), Sports (Lawn Tennis, Croquet, & Tennis) Patronages: Sponsor of 2 Royal Navy Ships: HMS Gloucester & HMS Ardent Association, Patron of SeeAbility (The Royal London School for the Blind), President of King Edward's School Bridewell Royal Hospital, Patron of St John's School in Leatherhead, President of King Edward's School, Chief Patron of Hope for Youth in Northern Ireland, Royal President of The Children's Society, Patron of Parkinson's UK, President of Royal Academy of Music, Royal Patron of Prostate Cancer UK, Patron of Turn2us, Royal Patron of TR14ers Community Dance Team, Honorary Freeman & Liveryman of The Worshipful Company of Vintners, Honorary Liveryman of The Worshipful Company of Gold and Silver Wyre Drawers, Liveryman of The Worshipful Company of Fan Makers, Honorary Freeman of The Worshipful Company of Drapers, Honorary Liveryman of The Worshipful Company of Basketmakers, President of The Royal School of Needlework, President of The Princess Helena College, Patron of The Lullaby Trust, Honorary Fellow Royal College of Obstetricians and Gynecologists, Royal Patron of Missing People, Patron of Music in Hospitals and Care, Royal Patron of Progressive Supranuclear Palsy (PSP) Association, Patron of Chailey Heritage Foundation, Freeman of City of Gloucester, Freeman of City of London, Honorary Member of All England Lawn Tennis and Croquet Club, Patron of Association for All Speech Impaired Children (Afasic), Patron of Asthma UK, Vice-Patron of The Adjutant General's Corps Regimental Association, Patron of Army Families Federation, Patron of The Bobath Children's Therapy Centre in Wales, Patron of Bobath Cerebral Palsy Therapy Centre in Scotland, Patron of The Chailey Heritage Foundation, Patron of The Civil Service Sports Council, Patron of The Enham Trust, Chief Patron of Fleming Fulton School, Royal Patron of The Friends of Cathedral Music's Diamond Fund for Choristers, Patron of Friends of St Paul's Cathedral, Patron of The Learning in Harmony Project, Patron of The Medical Women's Federation, Patron of The Papworth Trust, Fellow of The Queen’s Mary College at the University of London, President of The Royal Alexandra and Albert School, Patron of The Royal Army Educational Corps Association, Patron of The Royal Papworth Hospital NHS Foundation Trust, Patron of The Scottish Opera, Royal Patron of SHINE,  Commandant-in-Chief of St John Ambulance in Wales (St. John Cymru Wales), Patron of The Arts Society, Patron of The Embroiderers' Guild, Patron of The Hospitallers' Club of Wales, & Honorary President of The Lawn Tennis Association

[porterdavis]

Today’s music video

“Shakin’ All Over” - Johnny Kidd & the Pirates

This song hit #1 in England in 1960. It’s not the version I’m familiar with; when I tried to figure out who did the version I knew I discovered this song has been covered by over 80 artists!

Led Zeppelin, Guess Who, Twiliters, Jack White, Vince Taylor, The Who, Eilen Jewell, Donna Loren, Factory Girl, Iggy Pop, John Entwitsle, BTO, Medicine Show, Billy Idol, Normie Rowe, Chevy Heaven, Head Cats, Suzi Quato, Lutheran Skirts, Swinging Blue Jeans, Peter Gunn, Lucky Cupids, The Lords, Philip Chan, Wild Angels, Johnny Dinamo, Shanghai, Kalevala, Donna Loren, Smithereens, Dr. Endo & Dreamteam, Poison Arrows, Chad Allan, Blue Hawaiians, The Hotdogs, Atlantis, Corizons, Bim Skala Bim, Victoria Sponge, Superbad Blues Band, Those Darlins, Randy Bachman, Lobster, Little T&A, Big Band, Van Morrison, Raybeats, Hurriganes, Johnny Michaels, Blue Meanies, Top Priority, Chad Allen, Absolute Whores, Valiants, Kingsnakes, Forbiddon Planet, Black Oak Arkansas, Chartbusters, Electric Chairs, Jonny Chester, Turbo Fruits, Horslips, Alex Harvey, Prince Adewale, Mud 2, Wild Anacostia, Hateful Eight, Hurriganes, Bim Skala Bim, Kilroy, Aunt Sally, Baby Boom, Kim Mitchel, Willy Moon, John Entwistle, Cutty Flam, Cold Chisel, Swiftbeat, DjaDja, Mean Woman Blues, Blaike, Terry Clayton, Alvin Stardust, Rossetta West, Blue Jays,Disappointments, Cell Block, KLSTRFX, Humble Pie, LYVE WYRE, Bruisers, Tin Machine, Connor, Adam Ant, Hellscrack, J. R. and the Screamers, Resistors, Imaginary Voodoo, Nancy Sit, Dorres, Electric Mess, Tower 261, Turnaround, and many more.

I hope Johnny made millions in songwriting credits.

[queerwelsh]

Enillodd E. Prosser Rhys y Goron yn Eisteddfod Genedlaethol Pontypŵl gydag ‘Atgof’ yn 1924.

Yn ddylanwadol yn ei fywyd fel bardd, golygydd, newyddiadurwr a chyhoeddwr, mae Prosser Rhys yn cael ei gofio heddiw am gipio’r Goron yn Eisteddfod Genedlaethol Cymru 1924. Mor ddylanwadol ag oedd ei gerdd fuddugol, ‘Atgof,’ a’n parhau i fod, cafodd Prosser mwy fyth o effaith ar lenyddiaeth Gymraeg yn ei fywyd nag a gofir heddiw.

Ganed Edward Prosser Rees ar y 4ydd o Fawrth 1901 yn Nhrefenter, Mynydd Bach yng Ngheredigion, a'i fedyddio ar y 9fed o Fawrth yng Nghapel Bethel. Gof (blacksmith) oedd ei dad, David Rees, a'i fam oedd Elizabeth Rees. Daeth Prosser o deulu o ofaint (blacksmiths), a symudasant yn ddiweddarach i’r Morfa Du yn Nhrefenter (wedi i Prosser symud i ffwrdd, ym mis Mawrth 1918). Cyn hyn, buont yn byw yn Llainffwlbert hyd 1900, lle bu iddynt eu chwe phlentyn blaenorol.

Aeth Prosser Rhys i Ysgol Gynradd Cofadail yn Nhrefenter ac yna Ysgol Ramadeg Ardwyn yn Aberystwyth yn 1914. Aeth llenorion, academyddion a gwleidyddion eraill yma, a elwid yn 'Hen Ardwyniaid'. Cafodd ei lwyddiant academaidd cynnar ei atal wedyn gan afiechyd - cafodd ddiagnosis o dwbercwlosis yn ifanc, yn 1915, a effeithiodd arno am weddill ei oes, ond ar unwaith fe'i cadwodd adref am y 3 blwyddyn nesaf.

Dechreuodd ei enw ymddangos ym myd ysgrifennu Cymraeg mor gynnar â 1916, gyda'r gerdd 'Y Fam a'i Baban' yn y Baner ac Amserau Cymru, lle cyhoeddwyd fel E. Prosser Rees (o dan y ffugenw Eiddwenfab) o Drefenter, Llangwyryfon, Ceredigion. Yn 1917, ysgrifennodd lythyrau huawdl at ‘Y Darian’, papur radicalaidd, lle ysgrifennodd am ymuno ag undeb gwladgarol a’r Eisteddfod. Roedd hyn yn addas gan iddo ymddangos nesaf yn Y Darian yn 1918 oherwydd ei fuddugoliaethau cynnar yn yr Eisteddfod, yna yn Eisteddfodau lleol, a restrwyd o fewn yr enillwyr o Geredigion. Ymddangosodd yn aml yn Y Darian fel rhan o ‘Aelwyd y Beirdd,’ lle caiff ei ddisgrifio fel bardd ifanc â photensial mawr, ond yn 17 oed, a brawd y Parchedig Wyre Rees.

Yn amlwg, roedd Prosser yn aml yn ysgrifennu, cystadlu a’’n perfformio ei farddoniaeth yn ei arddegau. Ceir un o’i gerddi cynnar yn ‘Cymru,’ cylchgrawn misol a sefydlwyd gan O.M. Edwards yn 1891. Yn 1919 ymddangosodd ‘Canu’r Merched’ gan E. Prosser Rhys yn y cylchgrawn ‘Cymru’. Dyma'r tro gyntaf, mae’n debyg, o'i farddoniaeth i ymddangos dan yr enw hwn. Roedd ‘Prosser Rees,’ ei enw genedigol, yn ymddangos hefyd. Fel Prosser Rees, cyhoeddodd hefyd gerdd yn 1917 yn The Cambrian News and Merionethshire Standard i gydymdeimlo â Mr a Mrs Thomas Evans, Penbont, a gollodd eu mab, David Morgan, yn Ffrainc yn y Rhyfel Byd Cyntaf.

Gweithiodd Prosser fel clerc yn Western Ocean Colliery yn Nant-y-Moel, Cwm Ogwr, cyn dychwelyd yn ôl o’r ‘sowth’ fel newyddiadurwr. Yn Nantymoel yr oedd, yn ôl pob tebyg yn byw gydag un o'i frodyr, John, a oedd yn löwr. Roedd yn dal i dderbyn triniaeth ar gyfer twbercwlosis ac mae'n debyg wedyn wnaeth dychwelyd i'r teulu yn eu cartref newydd ym Morfa-Du. Gweithiodd wedyn ym mhapurau Rhyddfrydol y Welsh Gazette yn Aberystwyth a'r Herald Cymraeg yng Nghaernarfon yn 1919 (lle cyfarfodd Morris T. Williams). Symudodd yn ôl i Aberystwyth yn 1921 a daeth yn olygydd Baner ac Amserau Cymru yn 1923, pan symudasant eu swyddfeydd o Ddinbych i Aberystwyth.

Ym 1923, cyhoeddwyd barddoniaeth Prosser mewn llyfr am y tro yn Gwaed Ifanc gyda bardd arall, J.T. Jones (John Tudor Jones). Fel mae’r teitl yn awgrymu, roedden nhw’n falch o fod yn ‘waed newydd’ i farddoniaeth ac ysgrifennu Cymraeg, gyda Prosser bryd hynny yn 22 a J.T. Jones yn 19 oed. Yn sicr bu bu cryn ddadlau am y gyfrol, hefyd am fod eu barddoniaeth yn fwy rhywiol na beirdd hŷn y cyfnod. Roedd traddodiad o’r math newydd o ysgrifennu Cymraeg eisoes, a ddechreuwyd gan fuddugoliaeth T H Parry-Williams yn Eisteddfod 1915 gyda ‘Y Ddinas,’ ac roedd Prosser yn ymwybodol o’r syniadau newydd hyn o herio ysgrifennu Cymraeg, yr Eisteddfod ac felly cymdeithas iaith Gymraeg, y cafodd ei ysbrydoli ganddi a cheisiodd bod yn rhan ohoni - a llwyddo. Ymgais oedd hon i herio ysgrifennu beirdd hŷn, yn ogystal â thynnu sylw at y cnwd mwy newydd o lenorion iau, y dynion oedd wedi goroesi’r Rhyfel Byd Cyntaf ac yn mynnu sylw.

Wrth gwrs, heriodd yn arbennig status quo yr Eisteddfod pan enillodd y Goron yn 1924 yn Eisteddfod Genedlaethol Pont-y-pŵl gyda’i gerdd ‘Atgof’. Mae’r pryddest yn dilyn taith ‘llanc synhwyrus’ sy’n profi ei rywioldeb, o weld ‘Rhyw’ yn difetha perthynas ei rieni, i archwilio ei rywioldeb gyda merched, ac yna gyda dyn hefyd (Morris T. Williams, mae’n debyg), tra yn ymdrechu yn erbyn moesau a rhinweddau cymdeithas a chrefydd Cymru. Roedd beirniaid yr Eisteddfod yn groes, yn ei chael hi'n anfoesol a’n ei chanmol.

Wrth gwrs, pan enillodd Prosser, roedd yr ymateb yn sgandal a daeth ‘Atgof’ yn bur ddadleuol, oherwydd ei drafodaethau amlwg am ryw ac wrth gwrs y rhan cyfunrywiol o’r gerdd. Ers hynny, mae wedi cael ei galw’n ‘homoerotig’ gan lawer o lenorion, acheddiw yn cael ei hystyried yn fwy fel cerdd ddeurywiol, neu gerdd cwiar. Mae Mihangel Morgan, yn ysgrifennu yn Queer Wales, yn gweld ‘Atgof’ yn ddarlun negyddol o gyfunrywioldeb ac yn bychanu ei arwyddocâd fel cerdd hoyw.

A’n cael ein hunain yn cofleidio ‘dynn;

A Rhyw yn ein gorthrymu; a’i fwynhau;

A phallu’n sydyn fel ar lan y llyn…

Mae’r llinellau hyn yn disgrifio’r rhan cyfunrywiol ac mae’n wir nad yw’n cymryd llawer iawn o’r gerdd, ond mae’n ymddangos bod siom Mihangel Morgan yn deillio o’r ffaith nad yw’r gerdd yn ddigon hoyw. Ac yn wir nid yw, ond mae’n darllen fel cerdd ddeurywiol sy’n mynd â ni drwy holl daith Prosser o sylweddoli a brwydro yn erbyn ei rywioldeb yn yr oes hon. Mae’n dal i atseinio gyda llawer o’r gymuned LHDTC+, yn enwedig wrth sylweddoli pa mor amlwg ydoedd ar gyfer 1924 (neu ni fyddai wedi bod mor ddadleuol), 40 mlynedd cyn dad-droseddoli cyfunrywioldeb, ac roedd ei fuddugoliaeth yn yr Eisteddfod ymhell o blaen ei amser.

Ar y llaw arall, yn ddiweddarach ym mywyd Prosser, awgrymwyd ei fod wedi cael cymaint o sioc gan sodomiaeth yn ysgrifen rhywun arall i beidio â’u cyhoeddi. Mae’n bosibl y newidiodd safbwyntiau Prosser a’i rywioldeb ei hun yn ei fywyd, er mai dim ond dyfalu yw hyn bod Prosser wedi’i ‘syfrdanu’ wrth ysgrifennu am gyfunrywioldeb. Mae yna lawer o bosibiliadau yma o ran teimladau a rhywioldeb Prosser ei hun, ond mae’n sicr eu bod wedi cael dylanwad mawr ar ysgrifennu LHDTC+ a’r gymuned yng Nghymru ac yn enwedig yn y Gymraeg.

Soniwyd hefyd am ‘Atgof’ a Prosser yn Time yn 1924, gan ychwanegu at dystiolaeth o ddylanwad ac etifeddiaeth y gerdd hon. Yn rhyngwladol, gwelwn gysylltiadau yn y cerddi â rhywoleg a seiciatreg y cyfnod – soniodd y seicdreiddiwr (ac o bosibl gŵr sarhaus y gyfansoddwraig Morfydd Llwyn Owen) Ernest Jones am y gerdd mewn llythyr at Sigmund Freud, er nad yw’n glir bod y naill na’r llall wedi darllen y gerdd.

Ysgrifennodd Caradog Pritchard yn ei hunangofiant y credai mai’r gŵr yr ysgrifennodd Prosser amdano oedd Morris Williams, fel ffrind i’r dau, ac mae hyn wedi’i dderbyn fel y gwir tebygol ers hynny. Roedd Morris T. Williams yn agos i Prosser, pan oeddynt yn gyd-letywyr yn Twthil ger Caernarfon tra yn gweithio yn yr ‘Herald Cymraeg,’ a chyfnewidiasant lythyrau wedi hynny sy’n dangos eu perthynas agos — roedd hyn cyn i Morris briodi Kate Roberts a phrynu Gwasg Gee gyda’i gilydd. Arhosodd y tri yn agos, gan fod yn ffrindiau ac yn yr un cylchoedd cymdeithasol â llenyddol, yn ogystal ag ym myd cyhoeddi Cymraeg. Yn fwy diweddar, damcaniaethwyd bod Kate Roberts hefyd yn cwiar, yn seiliedig ar ei hysgrifennu personol â'i straeon byrion am berthnasoedd rhamantus rhwng merched (fel ‘Nadolig' a ​​'Y Trysor'). Bu farw Morris T. Williams ym 1946, flwyddyn ar ôl Prosser Rhys, ar ôl brwydr hir ag alcoholiaeth.

Cyhoeddwyd ‘Atgof’ fel llyfryn, gyda chyfieithiad o’r enw ‘Memory’ gan Hywel Davies hefyd wedi’i gyhoeddi fel llyfryn. Mae'r gerdd yn darllen yn llai amlwg na'r fersiwn Gymraeg, er ei bod yn cael ei chanmol ar y pryd. Gellir ei ddarllen yma - er bod angen cyfieithiad Saesneg modern.

Ym 1928, priododd Prosser â Mary Prudence Hughes yn Aberystwyth, a dyna pryd y cymerodd ef a hi y cyfenw ‘Rhys’. Bu iddynt un ferch, Eiddwen Rhys. Sefydlodd Wasg Aberystwyth hefyd yn 1928 a dechreuodd gyhoeddi llyfrau, gyda Gwasg Aberystwyth yn tyfu'n sylweddol yn y blynyddoedd i ddod.

Fel golygydd Baner ac Amserau Cymru, anogodd Prosser fwy o feirdd i ysgrifennu a chyhoeddi eu gwaith. Sefydlodd Y Clwb Llyfrau Cymraeg yn 1937; tanysgrifiad o lyfrau Cymraeg, lle byddai darllenwyr yn derbyn 4 llyfr y flwyddyn am hanner coron, ac a gyhoeddodd 45 o gyfrolau hyd at 1945. Mor llwyddiannus ag y bu o dan Prosser, wedi ei farwolaeth, penderfynwyd nad oedd digon o lenorion iaith-Cymraeg i'w barhau.

(Pwyllgor gwaith Plaid Genedlaethol Cymru, 1927- Lewis Valentine, Ambrose Bebb, D. J. Williams, Mai Roberts, Saunders Lewis, Kate Roberts, H. R. Jones, Prosser Rhys.) 

Roedd Prosser Rhys yn un o aelodau sylfaenol Plaid Cymru, a sefydlwyd yn 1925. Ef hefyd oedd golygydd ‘Y Ddraig Goch’ gyda Saunders Lewis ac Iorwerth C. Peate - y bu Prosser hefyd yn gymorth i’w ffurfio gyda H. R. Jones, er ei fod yn wrthwynebus i ddechrau oherwydd diffyg arian. Daeth Prosser yn lleisiol yn erbyn safbwyntiau adain dde Saunders Lewis. Ysgrifennodd yn Y Faner fod llawer o aelodau Plaid Cymru wedi dod o'r blaid Lafur neu'r blaid Ryddfrydol, neu'n radicaliaid a ddaeth o ddim plaid wleidyddol, lle nad oedd yr un yn gefnogol i'r safbwyntiau a ymddangosodd yn y Daily Mail, gan awgrymu bod barn Saunders Lewis yn rhy agos at y mater, ond bod y rhan fwyaf o gefnogwyr Plaid Cymru yn rhy deyrngar i leisio eu pryderon am hyn. Trafodwyd ac awgrymwyd diarddel Prosser o'r blaid ond roedd Saunders Lewis yn gwrthwynebu hyn. 

Yn dilyn ei lwyddiannau niferus, symudodd Prosser a’i deulu i 33 North Parade, Aberystwyth, lle bu’n byw hyd ei farwolaeth.

Wedi i'w iechyd ddirywio eto o 1942, bu farw Prosser Rhys yn 1945 - yn 43 oed, a llai na mis cyn ei ben-blwydd yn 44 oed. Fe’i claddwyd ym Mynwent Llanbadarn Fawr, a’i fedd yn dyfynnu T. Gwynn Jones: “Gwyrodd êfo î’r drugaredd fawr, Ni wyr namyn Duw ddirgelwch ei wên.” Yma hefyd y claddwyd Mary Prudence Rhys, ei wraig, a fu farw yn 1991, yn 87 oed. Maent hefyd wedi eu claddu gyda William Dewi Morris Jones, a fu farw yn 1983, yn 56 oed. Bu marwolaeth Rhys yn sicr yn golled i gyhoeddi ac ysgrifennu Cymraeg.

Prynwyd Gwasg Aberystwyth gan J. D. Lewis & Sons o Landysul ar ôl marwolaeth Rhys, sylfaenydd Gwasg Gomer, a barhaodd â’r Clwb Llyfrau Cymraeg a chymerodd drosodd y gwaith o gyhoeddi llyfrau’r clwb hyd 1952. Daeth hyn, fodd bynnag, yn dilyn anghytundeb cyfreithiol rhwng Mary Prudence Rhys a Morris T. Williams, a oedd i fod i gael y cynnig cyntaf a’r cyfle o wrthod i Wasg Aberystwyth, yn ôl dogfennau cyfreithiol y cytunodd Prosser a Morris arnynt - nad oedd Morris Williams yn teimlo ei fod wedi’i gael.

Cyhoeddwyd Cerddi Prosser Rhys yn 1950 gan Wasg Gee, casgliad cyntaf Prosser yn gyfan gwbl o’i gerddi ei hun – a gyhoeddwyd 5 mlynedd ar ôl ei farwolaeth. Wedi’i olygu gan J.M. Edwards, cyd-fardd a fu’n cystadlu mewn Eisteddfodau ac a oedd o ardal debyg i Rhys, mae Edwards hefyd yn ysgrifennu cyflwyniad y casgliad barddoniaeth. Mae'n nodi iddo benderfynu bod 4 blynedd ar ôl marwolaeth Rhys yn ddigon o amser i gyhoeddi o'r diwedd gasgliad cyfan o gerddi gorau Rhys (ysgrifennwyd y rhagymadrodd ym mis Gorffennaf, 1949, a chyhoeddwyd y llyfr ym mis Chwefror, 1950.) Mae'n ysgrifennu bod ei farddoniaeth flaenorol casgliad, yn ‘Gwaed Ifanc’, yn gyfrol a ddenodd gryn dipyn o sylw ac a ddaeth hefyd â nodyn newydd, beiddgar i fyd barddoniaeth Gymraeg y cyfnod, rhywbeth yr oedd dirfawr ei angen. Ei atgofion o Rhys wrth dyfu i fyny dangos ei fod yn fardd adnabyddus hyd yn oed yn ei ieuenctid, y clywodd Edwards ac eraill yn ei ysgol ei hun amdano cyn cyfarfod, a oedd yn adnabyddus am gystadlu a chael llwyddiant mewn nifer o Eisteddfodau.

O’i farddoniaeth a geir yn Cerddi Prosser Rhys, noda Edwards fod ‘Y Gof’ yn deyrnged i’w rieni a’i fywyd cynnar yng nghefn gwlad Cymru. Ei ddau soned y mae’n eu canmol fwyaf yw ‘Y Pechadur’ a ‘Duw Mudan’. O 'Atgof,' noda Edwards yn arwyddocaol ei bod yn gerdd feiddgar a greodd gryn gyffro ac a ganmolwyd gan rai ond a gafodd ei damnio gan eraill, a’i nodwedd tristaf yr holl ddigwyddiad oedd ei bod yn adlewyrchu agwedd meddwl yng Nghymru sef rhy barod i farnu gwerthoedd byd y celfyddydau yn ôl y safonau anghywir. Mae’r rhagymadrodd yn gorffen drwy ailadrodd yr hyn y mae llawer o bobl eraill wedi’i ddweud am golled gynamserol Rhys i fyd ysgrifennu a chyhoeddi Cymraeg. Roedd Edwards hefyd yn gobeithio y byddai yna hefyd gasgliad o ryddiaith Rhys, nad yw wedi dod i fod, yn anffodus.

Mae ‘Mab ei Fam’ i “M.T.W,” Morris T. Williams mae’n debyg – fel Strancio: ‘I’d disgwyl a fu’n cyd-letya â mi.’

Do, bûm yn flin. Ond weithian gwybydd di Fod Fflam yn llosgi ynof, ac aml dro Yn llamu ar draws fy nghorff materol i, A’m hysu hyd fy nghyrru i maes o’m co’,

A strancio a wnaf eto rhag fy ffawd Nes torro’r Fflam ei ffordd o’i charchar cnawd.

Fel yn achos ‘Atgof,’ mae Mihanel Morgan yn bychanu Strancio drwy ddatgan ei fod yn cryptig a gochel - tra byddwn yn dadlau bod cyfaddefiad ei deimladau tuag at ddyn yn y 1920au, yn enwedig yn dilyn y farddoniaeth Fictoraidd honno oedd yn boblogaidd cyn y 'Gwaed Newydd'. Tra y dywed Mihangel Morgan y tybir mai am Morris T. Williams, y mae’r cysegriad ar ddechrau’r gerdd yn ddigon clir, yn hanesyddol, i Morris T. Williams, yn enwedig pan gyflwynir cywydd blaenorol iddo hefyd.

Nid tan 1980 y dathlwyd Prosser Rhys gyda llyfr am ei fywyd, gan Rhisiart Hincks. Ysgrifennodd T. Robin Chapman yn Y Traethodydd yn 2006 fod Hincks yn ôl pob tebyg yn gwybod am natur perthynas Prosser â Morris ond eto fe gadodd allan - o unig gofiant cyfan Prosser Rhys. Mae hyn yn arwydd o'r amserau y cafodd ei ysgrifennu a'i gyhoeddi ond mae'n dangos yr angen nawr i ysgrifennu cofiannau Rhys sy'n cynnwys yr hyn a eithriwyd yn flaenorol, ei hunaniaeth cwiar. Mae Hincks yn sôn, fel y daeth Morris yn gyflym ‘ei gyfaill pennaf’i pan gyfarfuant yng Nghaernarfon, iddynt symud gyda'i gilydd i 15 Stryd Eleanor ac mai Prosser a gyflwynodd Williams i lenyddiaeth. ‘Cyfeillgarwch clos’. Mae hefyd yn crybwyll bod agosrwydd o'r fath wedi arwain at cwympo mas, unwaith pan oeddent yn cwympo mas drwy'r nos, sy'n dangos dwyster eu perthynas. Efallai, yr is-destun hwn y gobeithiai Hincks ei ddeall gan gynulleidfa’r oes. O ‘Atgof,’ noda Hincks fod Prosser wedi mynegi o’r blaen fod diffyg rhyw yn y Gymraeg mewn barddoniaeth ddiweddar, rhywbeth y mae’n ei feio ar y capel. Mae'r cofiant hwn yn parhau i fod y mwyaf manwl ar fywyd Prosser.

Dadorchuddiwyd cofeb ar y Mynydd Bach, yn edrych dros Lyn Eiddwen ger Trefenter, lle cafodd Rhys ei eni a byw yn ei blentyndod, yn 1992, yn ystod yr Eisteddfod Genedlaethol yn Aberystwyth. Gan gynnwys Prosser, mae ‘Cofeb i Feirdd y Mynydd Bach’ yn dathlu 4 bardd o’r ardal leol. Enillodd J.M. Edwards o Lanrhystud y Goron yn yr Eisteddfod Genedlaethol hefyd, yn 1937, 1941 ac yn 1944, ac ysgrifennodd y rhagymadrodd i Cerddi Prosser Rhys. Bu pob un o'r 4 bardd a enwir ar blac y gofeb yn llwyddiannus yn yr Eisteddfod. Bardd llwyddiannus o Geredigion oedd B. T. Hopkins (Benjamin Thomas Hopkins), a oedd yn byw ac yn ffermio ar y Mynydd Bach. Bardd a llenor Cymraeg o Geredigion oedd T Hughes Jones (Thomas Hughes Jones) a enillodd fedal yn Eisteddfod Genedlaethol 1940 am stori fer, ‘Sgwier Hafila,’ a feirniadwyd yn rhannol gan Kate Roberts.

Mae diddordeb yn Rhys, ei fywyd a’i yrfa, wedi’i adnewyddu gan ymchwil i hanes ac ysgrifennu LHDTC+ Cymru. Yn nodedig, ym 1998, darlledwyd dogfen hanesyddol o’r enw ‘Atgof’ ar S4C, a gyfarwyddwyd gan Ceri Sherlock, a oedd yn darlunio Prosser yn ysgrifennu’r gerdd a’i berthynas â Morris T. Williams, a gynrychiolwyd fel un rhywiol a rhamantus. Bu dadlau o gwmpas y ffilm, fel ‘Atgof’ y gerdd, gyda rhai’n cwestiynu sut yr oedden nhw’n darlunio’r berthynas (gyda rhai manylion ffuglennol) a rhai hefyd yn cwestiynu a ddylid ei darlunio neu ei ddyfalu o gwbl. Er gwaethaf y disgwrs, roedd Prosser Rhys eisoes wedi dod yn ysbrydoliaeth i gymuned LHDTC+ Cymru.

Yn 2019, perfformiwyd y sioe ‘Corn Gwlad’ yn Eisteddfod Genedlaethol Llanrwst, a grëwyd gan Seiriol Davies, a oedd yn dathlu buddugoliaeth Prosser yn yr Eisteddfod ac yn darlunio ei deimladau tuag at Morris T. Williams. Roedd hi wedyn yn sioe waith ar y gweill, gyda chomedi a cherddoriaeth, ac yn rhan o raglen o ddigwyddiadau ‘Mas ar y Maes’ yn yr Eisteddfod Genedlaethol, sy’n arbennig ar gyfer y gymuned LHDTC+, neu a allai fod yn berthnasol i’r cymuned LHDTC+. Cafodd Prosser sylw hefyd mewn digwyddiadau ‘Mas ar y Maes’ gyda ‘Cariad yw Cariad,’ ac wrth gwrs mae’n cael sylw mawr yn Eisteddfod Genedlaethol Pontypridd 2024, ar ganmlwyddiant i Prosser ennill y Goron gydag Atgof. ‘Atgof’ oedd hefyd eto pwnc barddoniaeth i’r Goron - a enillwyd gan Gwynor Dafydd.

Etifeddiaeth barhaol Prosser Rhys yw bod yn llais i’r gymuned hon o Gymru’r 20fed ganrif, ac yn eicon yn arbennig i bobl LHDTC+ Cymraeg eu hiaith, dynion queer a phobl ddeurywiol. Dyma sydd wedi dod â Prosser Rhys yn ôl i lygad y cyhoedd yn y 1990au, gyda’r ffilm Atgof, ac yn y 2010au gyda Mis Hanes LHDTC+, ac yn y 2020au tua 100 mlynedd ers iddo ennill Coron yr Eisteddfod gydag ‘Atgof’. Cafodd Prosser hefyd effaith sylweddol ym myd cyhoeddi yng Nghymru, y gymdeithas Gymreig, yn ei ysgrifau erthyglau, mewn gwleidyddiaeth. Roedd Prosser Rhys yn berson hynod ddiddorol, cymhleth, yn eiriolwr brwd dros farddoniaeth, ysgrifennu a chyhoeddi Cymraeg ac mae’n arwr y cymunedau y perthynai iddynt, gan gynnwys y gymuned leol yng Ngheredigion a Gorllewin Cymru.

Darllenwch Atgof yma.

[lesser-known-composers]

Tōru Takemitsu (1930-1996) : Bryce, for flute, two harp, marimba and percussion(1976). Robert Aitken, flauto Erica Goodman e Sanya Eng, arpe Robin Engelman, marimba John Wyre, percussioni. Cover image: painting by Takeuchi Seihō.

[litscipod]

Nature in Crisis; Creativity as Cure

Produced by: Catherine Charlwood (@DrCharlwood) and Laura Ludtke (@lady_electric)

Music composed and performed by Gareth Jones.

Listen on Anchor

About this episode:

This fifth episode of the third series of LitSciPod features an interview with Dr John Holmes, Professor of Victorian Literature and Culture at the University of Birmingham. Author of several monographs on the Pre-Raphaelites, science, art history, and museums, John discusses how poetry helps us to negotiate the legacies of Darwin’s discoveries and the Pre-Raphaelites’ shaping of the culture of Victorian science (and vice versa). He introduces us to the Synopsis Network, which explores art in natural history museums, to the Ruskin Land project in the Wyre Forest, and to his more recent work responding to COP26 from an humanities perspective. We also debate the importance of method to disciplines.

John Ruskin, Study of Foreground Material: Finished Sketch in Watercolour from Nature (1875) via the Ashmolean.

At the end of the episode, you can hear John read ‘Editorial. By the President of the Therolinguistics Association’ from ‘The Author of the Acacia Seeds and Other Extracts from the Journal of the Association of Therolinguistics" by Ursula K. Le Guin.

About Professor John Holmes:

John Holmes is Professor of Victorian Literature and Culture in the Department of English Literature at the University of Birmingham. After completing his D.Phil. in English Literature at the University of Oxford, John briefly taught at the Open University and was a lecturer in English Literature at the University of Reading from 2001 to 2015. He is a past chair of the British Society for Literature and Science, the current Secretary of the Commission for Literature and Science. In 2015, he was awarded a Collaborative Award for Outstanding Contributions to Teaching and Learning by the University of Reading for the interdisciplinary module on Science in Culture he devised and taught.

His first monograph, Dante Gabriel Rossetti and the Late Victorian Sonnet Sequence: Sexuality, Belief, and the Self was published by Ashgate in 2005, followed by Darwin’s Bards: British and American Poetry in the Age of Evolution (Edinburgh University Press, 2009). He is the editor of Science in Modern Poetry: New Directions (Liverpool University Press, 2012) and the co-editor with Sharon Ruson of the Routledge Research Companion to Nineteenth-century British Literature and Science (2017). John contributed a chapter on evolution in Victorian poetry to the edited collection Evolution and Victorian Culture and articles on pre-Raphaelite periodicals, epic poetry and evolutionary theory, and Algernon Swinburne as anthropologist, as well as publishing extensively on Victorian natural history museums (in general) and the Natural History Museum in Oxford (more specifically). His most recent monograph, The-PreRaphaelites and Science (Yale University Press, 2018), was awarded the British Society for Literature and Science book prize in 2018. Most recently he published Temple of Science: The Pre-Raphaelites and Oxford University Museum of Natural History with the Bodleian Library Press in January of this year.

Episode resources (in order of appearance):

Catherine Charlwood, ‘“Such a pair!”: The Twin Lives of Humans and Trees’, Hay Festival 2019

Wolfgang Schivelbusch, Disenchanted Night: The Industrialisation of Light in the Nineteenth Century (1995)

Susanne Bach and Folkert Degenring (eds), Dark Nights, Bright Lights: Night, Darkness, and Illumination in Literature (2015)

Merlin Sheldrake, Entangled Life: How Fungi Make Our Worlds, Change Our Minds and Shape Our Futures (2020)

Isabelle Tree, Wilding: The Return of Nature to a British Farm (2018)

Russell Foster, Understanding the Impact of Sleep Loss in the Industrial Era (2018)

Jules Michelet, Le Peuple (1846)

John Ruskin, Unto This Last and Other Writings, ed. by Clive Wilmer (Penguin, 1985)

The Symbiosis Network 

Ruskin Land in the Wyre Forest, Guild of St George

John Holmes, Darwin’s Bards: British and American Poetry in the Age of Evolution

The Kogi people, From the Heart of the World: The Elder Brother’s Warning (1990)

The Kogi people, Aluna (2012)

The Germ (1850)

John Holmes, ‘Rebels art and science: the empirical drive of the Pre-Raphaelites’ Nature 562, 490-491 (2018)

Charles Allston Collins, Covent Thoughts (1850-51)

William Holman Hunt, The Light of the World (1851-53)

The Fairy Creek Blockcade

FernGully: The Last Rainforest (1992)

Alberta’s Energy “War Room” takes on a Netflix family cartoon

Bigfoot Family (2020)

Michael E. Mann tweet 17th October 2020

Yu-Tzu Wu et al., Perceived and objective availability of green and blue spaces and quality of life in people with dementia: results from the IDEAL programme (2021)

We hope you have enjoyed this episode of LitSciPod as much as we enjoyed making it! Look for Episode 6 of Series 3 in September 2021.

[survivor-orkneyislands]

TRIBE SWAP

We have swapped tribes! Cava was dissolved and everyone is now on Wyre or Sourin.

The new Wyre: Danielle Derrick Jazzie Jezi Kayla Nick M Wesley

The new Sourin: Abbey John Krissy Nick S Nique Pennington William

[24hdrawinglab]

Sara e Rivka Spizzichino, fondatrici e insegnanti a 24H Drawing Lab (Foto: Lorenzo Imprescia – https://lorimprescia.wixsite.com/lorenzoimprescia)

24H Drawing Lab vince l’ultima edizione di The Big Draw – People’s Choice Award: il prestigioso premio britannico legato al disegno contemporaneo ha riconosciuto come valori fondamentali l’innovazione, l’accessibilità e la passione nel progetto, tutto italiano e al femminile, nato nel 2013 dall’artista Sara Spizzichino e dalla fotografa Rivka Spizzichino con lo scopo di alfabetizzare alla creatività anche e soprattutto chi non proviene da contesti artistici.

Il premio, organizzato in Italia da Carta Fabriano e istituito da The Big Draw (formalmente Campaign For Drawing), fu fondato nel 1870 da John Ruskin con il nome di Guild of St. George ed è un’organizzazione inglese che ha lo scopo di educare alle arti e riconoscere la dignità del disegno come strumento di osservazione e studio della realtà e che vede tra i suoi patroni anche l’artista David Hockney e l’illustratore Sir Quentin Blake.

Il progetto che 24H Drawing Lab ha realizzato a Roma per The Big Draw, ha coinvolto in prima linea il Centro di Documentazione per la Ricerca Artistica Contemporanea Luigi di Sarro, e il Museo Nazionale Romano Palazzo Altemps con eventi gratuiti e aperti a tutti.

La consegna del premio avverrà a Londra a fine settembre.

Video realizzato da Benedetto Sanfilippo

Molto più di un corso di disegno

Il corso di disegno 24H Drawing Lab in soli 6 anni è stato un vero e proprio training per studenti ammessi in accademie di prestigio quali RUFA – Rome University Of Fine Art, Accademia di Belle Arti di Roma, Scuola Romana dei Fumetti e Scuola di Scienza e Tecnica – sezione fumetto. Un’esperienza unica che ha consentito a chi non esercita professioni legate al disegno di conoscerne i metodi e a chi opera nelle varie aree delle arti visive di ampliare i propri strumenti.

Un’aula di disegno portatile che da Roma ogni anno raggiunge diverse destinazioni in Europa per sensibilizzare le persone all’importanza dell’apprendimento legato al disegno, (la prossima tappa questo ottobre a Mariano Comense). Bergamo, Brera, Milano, Rimini, Pisa, Vinci, Prato, Catania, Salerno, Napoli, Verona, Genova, Bologna, Trapani, Trieste e inoltre Zurigo, Lussemburgo, Londra, Parigi sono solo alcune delle città da cui sono partiti i corsisti per frequentare 24H Drawing Lab nel cuore della capitale.

24H Drawing Lab premiato a The Big Draw

Autoritratto prima e dopo il Drawing Lab

Con questi numeri uno dei premi più prestigiosi legati al disegno People’s Choice Awards viene assegnato a questa organizzazione speciale che ha dato a centinaia di persone la possibilità di accarezzare la propria sensibilità creativa, in pochissimo tempo.

24H Drawing Lab ha vinto con la maggioranza del 22% rispetto alle altre organizzazioni partecipanti. Congratulazioni a tutte le nomination finaliste al premio: Wyre Community Land Trust / Ruskin Land & Yoyogi Park, Japan The Mercury Mall, UK Snite Museum of Art, USA Rugby Art Gallery and Museum, UK Tamworth Arts & Events, UK Royal Society of Sculptors, UK Rich Mix, UK Fondazione Architetti Firenze, Italy South Oxford Community Centre, UK NEATEN (North East Art Teacher Educator Network), UK The Big Draw Nijmegen, The Netherlands Cambridge Open Art, UK Gloucester Cathedral, UK Fabriano, Italy Participate CIC, UK Quay Arts, UK Somerset Art Works, UK South London Botanical Institute, UK Thelma Hulbert Gallery, UK

24H DRAWING LAB PREMIATO A THE BIG DRAW 24H Drawing Lab vince l’ultima edizione di The Big Draw - People’s Choice Award: il prestigioso premio britannico legato al disegno contemporaneo ha riconosciuto come valori fondamentali l’innovazione, l’accessibilità e la passione nel progetto, tutto italiano e al femminile, nato nel 2013 dall’artista Sara Spizzichino e dalla fotografa Rivka Spizzichino con lo scopo di alfabetizzare alla creatività anche e soprattutto chi non proviene da contesti artistici.