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fibula-rasa · 2 years ago

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Lost, but Not Forgotten: The World’s Applause (1923)

Direction: William C. de Mille

Scenario & Titles: Clara Beranger (more about Beranger at the Women Film Pioneers Project)

Camera: L. Guy Wilky

Sets & Costumes: Paul Iribe

Studio: Famous Players-Lasky (production) & Paramount (distribution)

Performers: Bebe Daniels, Lewis Stone, Kathlyn Williams, Adolphe Menjou, Brandon Hurst, Bernice Frank, Maym Kelso, George Kuwa, James Neill

Status: presumed entirely lost

Synopsis (synthesized from magazine summaries of the plot):

Corinne D’Alys (Bebe Daniels), f.k.a. Cora Daly, is a theater star who has “taken the Rialto by storm.” Unfortunately, Corinne also has a desperate hunger for publicity. Her manager, John Elliott (Lewis Stone), who also happens to be in love with her, advises her to be more sensible about her career. A famous artist, Robert Townsend (Adolphe Menjou), has become enamored with Corinne, and wants to paint her portrait. Despite John’s warning that Robert wishes only to “see more of her,” Corinne sits for the portrait.

Robert plans on throwing a party to celebrate finishing the painting but declines to invite his wife, Elsa Townsend (Kathlyn Williams). Elsa comes to her husband’s studio anyway and finds the portrait and a pearl headdress that Robert is going to gift to Corinne. In a jealous rage, Elsa takes a knife to the painting and then to her husband—fatally stabbing him. Elsa also happens to be John’s sister and she calls him in a panic to help her. John arrives at the studio in secret and helps Elsa escape the scene. Meanwhile, Corinne and the guests begin to wonder where their host is, and Corinne then finds the body of the painter.

John convinces the police that Corinne is innocent. Corinne leaves town to avoid the storm. Unfortunately, John then becomes the primary suspect, as he had a notable fight with his brother-in-law months prior. When John is arrested, Corinne returns and confesses to Elsa that she feels morally responsible for Robert’s murder. Elsa then confesses to committing the murder herself. It’s implied that Elsa commits suicide via “the watery route.”

Now that both John and Corinne have been cleared of suspicion, they are free to marry and Corinne has lost her appetite for publicity.

Transcribed sources & annotations below:

Moving Picture World, November 11, 1922

News from the Producers

Conducted by T.S. da Ponte

Changes Titles of Two

Three new titles have been chosen for as many forthcoming Paramount pictures.

William de Mille’s recently completed production from an original story by Clara Beranger, in which Bebe Daniels, Lewis Stone, Kathlyn Williams and Harrison Ford have the important roles, has been permanently titled, “The World’s Applause.” “Notoriety” was the title originally chosen, but when it was found that another company had a prior claim, it was changed temporarily to “Paths of Glory,” which in turn has now given way to “The World’s Applause.”

Mary Miles Minter's latest picture, just completed under the direction of Charles Maigne and adapted from Stephen French Whitman's novel, "Sacrifice," is to be called "Drums of Destiny."

"Racing Hearts" is the title chosen for the new picture Agnes Ayres is just starting under the direction of Paul Powell. This is a story by Byron Morgan, author of the Wallace Reid automobile racing pictures, and Miss Ayres has the role of a race driver who goes in and wins a thrilling speed contest when the regular driver fails to show up.

Both "Drums of Destiny" (titled "Drums of Fate" on release in 1923) and "Racing Hearts" are also lost films.

Exhibitor’s Herald, January 20, 1923

REVIEWS

BEBE DANIELS IN

WORLD’S APPLAUSE

(PARAMOUNT)

A fascinating story of the life of an actress who unwittingly becomes involved in a murder mystery which almost brings about her downfall professionally. Lavishly presented, very well acted and directed in William deMille’s best style. Length, 6,528 feet.

An original story by Clara Beranger provides Bebe Daniels, Lewis Stone, Kathlyn Williams, Adolph Menjou and others with a suitable vehicle in which to display their talents. There is good story interest for the most part, with good surprise value and considerable dramatic suspense in the contest of wits between the detectives and John Elliott and his sister.

Lewis Stone plays the role of Elliot and gives an unusually convincing and consistent characterization. The director, author and producer are to be congratulated upon securing Mr. Stone’s services for this part. Miss Daniels appears in the role of an actress who is a hound for publicity, and the moral of the story shows how ready the public is to condemn these children of the stage. Kathlyn Williams has the role of Elsa Townsend, wife of an artist in love with the little actress, who in a fit of jealousy kills her husband. A difficult role, but played with restraint and conviction. Adolphe Menjou is the artist. Bernice Frank was the maid; Mayme Kelso, secretary to the actress, and George Kuwa, valet to Townsend. James Neill was Elliot’s valet, while Brandon Hurst played James Crane, owner of a string of newspapers.

Corinne d’Alys, popular Broadway star, poses for Townsend while he paints her portrait. On the day he is to display the painting he gives a party at his studio. As the guests assemble, Mrs. Townsend comes to the studio, discovers a valuable pearl headdress which her husband is to give to Corinne, and the portrait of the actress. In a fit of jealousy she strikes him down and leaves the studio with her brother, John Elliot. The discovery of the dead artist throws suspicion upon the members of the party. Corinne telephones to her affianced husband Elliott and he succeeds in convincing the police that she is innocent. Crane takes a hand in the investigation, however, and dogs Elliott’s footsteps. A confession from Mrs. Townsend finally clears Elliott and the little actress, and she no longer seeks the world’s applause, but is content to settle down with John.

The Film Daily, February 2, 1923

A Typical DeMille Entertainment With the Usual Atmosphere

William DeMille Prod.

“THE WORLD’S APPLAUSE”

Paramount

DIRECTOR…William DeMille

AUTHOR…Clara Beranger

SCENARIO BY…Clara Beranger

CAMERAMAN…L. Guy Wilky

AS A WHOLE…Consists of situations and atmosphere intended to provide visual appeal but that is as far as it gets

STORY…Artificial and quite theatrical; flavored with sensational bits that will make it popular with a certain crowd

DIRECTION… Very good as far as production goes and usually handles story with good judgment but ending is too long arriving

PHOTOGRAPHY…Excellent

LIGHTINGS… Good

PLAYERS… Lewis Stone and Bebe Daniels featured with Stone doing his usual good work and Miss Daniels a suitable but not beautiful Corinne d’Alys; others Kathlyn Williams and Adolphe Menjou

EXTERIORS…Few

INTERIORS… Many elaborate settings

CHARACTER OF STORY…Star seeking publicity is cause of man’s death at the hands of his jealous wife

LENGTH OF PRODUCTION… 6,526 feet

Probably because there is a moral to it the unpleasant bits in “The World’s Applause” will have to be excused but it does seem unfortunate that they have to wade so deeply into scandal and sensation providing incidents in general, to get to it. Before you finally learn the lesson of this film—that success is not measured by the amount of prominence you attain—you are treated to some mighty intimate scenes in which a popular stage favorite is the sensuous, central figure. She is very deliberately sought by a famous portrait artist, a married man, who plans his seduction in elaborate style. Of course he has a studio establishment which figures prominently in his scheme and the very innocent young moth runs headlong into the flame heedless of the warning of her manager, who really loves her. The aggravating thing about these petty publicity seekers is that you are expected to accept their sugar-wouldn’t-melt-in-their-mouth attitude for the real thing.

But this Corinne d’Alys spoils it all, or the title writer does it for her, when she admits that her would-be lover will give her everything but “a narrow gold band.” The titles, incidentally, are very bad. There is one in which the true lover warns the girl that the artist wants her to pose for him so that “he can see more of her.” The titles are quite off color in many similar instances. This one particularly seemed to strike the Rivoli audience as a thoroughly fine humorous touch.

William DeMille is following closely in the footsteps of his brother, Cecil, when it comes to making pictures with plenty of pictorial appeal and colorful atmosphere. In this respect the picture is interesting and should satisfy. From a story angle, it is all a matter of taste. Where they like theatrical, sensational stuff, it is all very nice but where they want clean, wholesome stories, it may be different.

Bebe Daniels handles the role of Corinne adequately but she never gives the impression of being sufficiently beautiful to have “The World’s Applause.” Lewis Stone is always capable but deserves a more sensible role. The cast, on the whole, is suitable.

Story: John Elliot’s new star, Corinne d’Alys, is swept off her feet by sudden success. She accepts the attentions of Townsend, an artist, the husband of Elliot’s sister, who paints her portrait. Townsend is accidentally killed by his jealous wife and Elliot is arrested. His sister, realizing Elliot loves Corinne, commits suicide, leaving a confession which clears Elliot and cures Corinne of her craving for publicity.

One of those negative reviews that makes you want to watch a movie more, eh? Moralizing and misogyny on full display! Phew.

The Moving Picture World, February 1923

“World’s Applause” Released January 21

William de Mille, Paramount producer, departed temporarily from his custom of filming stage dramas when he made "The World's Applause," which was on the Paramount release schedule of January 21.

This is an original story by Clara Beranger, who has written the scenario of all of Mr. de

Mille's recent photoplays. Bebe Daniels and Lewis Stone are the featured players in a cast which Mr. de Mille considers one of the best he has had in his long career as a producer.

An ultra-modern note is struck by Miss Daniels in her costumes, it is reported. In each succeeding scene she wears something different from the preceding one, and although Mr. de Mille never allows his photodramas to descend to the level of mere fashion shows, this feature of "The World's Applause" is certain to intensify every woman's interest in the picture, Paramount says.

Variety, February 1923

WORLD'S APPLAUSE

Paramount picture presented by Adolph Zukor. William DeMille production, featuring Bebe Daniels, Lewis Stone and Kathlyn Williams in story by Clara Beranger.

At the Rivoli, New York, week of Jan. 28.

Corinne d'Alys..........Bebe Daniels

John Elliot........Lewis Stone

Elsa Townsend...Kathlyn Willams

Robert Townsend, her husband…Adolphe Menjou

James Crane...Brandon Hurst

Maid to Corinne...Bernice Frank

Secretary to Corinne.........Maym Kelso

Valet to Townsend..George Kuwa

Valet to Elliot......James Neill

“The World's Applause" is a screen treatise on theatrical publicity and exploitation with a twist that a certain theatrical personage's craving for newspaper "notices" and the desire to be the talk of the town boomerangs viciously when she is indirectly implicated in a murder mystery.

The theatrical personage is Corinne d'Alys (born Cora Daly), who has "taken the Rialto by storm," but who is counselled by her manager-lover (Lewis Stone) to cease her craving for the world's applause and deal seriously with her work. This is momentarily disparaged by her

with ensuing developments taking the audience rather interestingly through the usual five-reel span.

It starts with Robert Townsend, an artist who has "arrived" (Adolphe Menjou), becoming enamored with the favored and favorite footlights beauty and honoring her with painting her portrait for the annual Parisian exhibition. Townsend is married to the sister of John Elliot, the impresario, and a parallel situation develops of Townsend slighting his wife for Corinne, and

Townsend interposing himself between the actress and her suitor, Elliot.

At a studio party in Corinne's honor to which Townsend did not invite his wife, the latter enters

through the private studio door and, enraged at her husband's nonchalance, slashes the portrait and stabs the artist fatally. She telephones for her brother, who also enters unbeknown to the guests in the outer rooms. Both slip away, but not without being seen by a newspaper

publisher, whose testimony implicates Elliot, who shields his sister. Elliot is arrested on first degree murder charges, but is absolved when his sister confesses to Corinne. The sister runs away, and there is a suggestion she commits suicide via the watery route.

Not much to the story, but rather deftly handled by DeMille in his customary pretentious manner—never lavish but always in good taste. The captioning is pithy and bright, and such leaders as "the public always believes the worst about an actress" is good lay propaganda for the profession.

Miss Daniels sports a nobby collection of clothes to excellent advantage. Mr. Stone is a sincere opposite, who also has the ability of really acting when called upon. Miss Williams, too, accounted for herself handily.

The picture pleased at the Rivoli

Abel

Cine-Mundial, April 1923 p. 218 & 239

EL APLAUSO DEL MUNDO

(The World’s Applause)

“Paramount” — 150 metros

Intérpretes principales: Bebé Daniels y Lewis Stone. Colaboradores: Kathryn Williams, Adolphe Menjou, Brandon Hurst, Bernice Frank, Maym Kelso, George Kuwa y James Neill.

Argumento de Clara Beranger. Dirección de William DeMille.

Argumento

Corina, actriz, tiene sed insaciable de publicidad y se muere por ver su nombre en letras de molde, bien grandes, aunque sea a costa de escándalo, sin escuchar los consejos de su empresario, Elliot, que la ama. Los periódicos mezclan a la joven en un lío en el que ver un famoso pintor que le está haciendo su retrato. La noche en que el artista va a celebrar con un banquete la terminación del cuadro, se presenta en escena su mujer, disputan, y en un acceso de rabia, la consorte se apodera de un cuchillo para destrozar la pintura y, accidentalmente, mata al artista. La homicida es hermana de Elliot y éste trata de salvarla a to-

(Continúa en la página 239)

NUESTRA OPINION

(Viene de la página 218)

da costa del presidio. Llega hasta a asumir la responsabilidad del delito, cuando las sospechas recaen en su contra, por causa de un disgusto tenido, meses antes, con su cuñado. Pero, justamente cuando la policía va a detenerlo, la hermana confiesa su crimen y Elliot y Corina, sus nombres limpios de mancha, se casan.

Tengo debilidad por Lewis Stone como actor. Quizá por eso me haya gustado tanto esta película, de impecable dirección. Por causa de la reducción de los escenarios, se concentra el interés en el tema y eso añade fuerza dramática a toda la obra, aunque el argumento no tenga, ni con mucho, excesiva novedad. Si se sujeta la película al análisis, se corre el riesgo de dejarla maltrecha. Prefiero, pues, dar sólo idea de lo que a mi me pareció. — Guaitsel.

Translation:

Lead actors: Bebe Daniels and Lewis Stone. Supporting actors: Kathlyn Williams, Adolphe Menjou, Brandon Hurst, Bernice Frank, Maym Kelso, George Kuwa and James Neill.

Scenario by Clara Beranger. Direction by WIlliam DeMille.

Scenario

Corina, an actress, has an insatiable thirst for publicity and would die to see her name in lights, even at the cost of scandal, without listening to the advice of her manager, Elliot, who loves her. The newspapers mix the young woman up in an imbroglio with a famous painter, who is painting her portrait. On the night that the artist is going to celebrate the completion of the painting with a banquet, his wife appears on the scene, they argue, and in a fit of rage, the wife seizes a knife to destroy the painting and, accidentally, kills the artist. The murderer is Elliot’s sister and he tries to save her from prison at all costs. He goes as far as assuming responsibility for the crime, when suspicion falls on him, due to a disagreement he had with his brother-in-law, months before. But, just as the police are going to arrest him, the sister confesses her crime and Elliot and Corina, their names clean, get married.

I have a soft spot for Lewis Stone as an actor. Maybe that’s why I liked this impeccably-directed film so much. Because of the limitation of settings, interest is concentrated on the theme and this adds dramatic force to the whole work, even though the scenario isn’t very excessively novel at all. If you subject the film to analysis, you run the risk of dealing damage to it. I prefer then to give only the outline of how it seemed to me. — Guaitsel.

Photoplay, April 1923

THE WORLD’S APPLAUSE—Paramount

CLARA BERANGER seems to have dramatized the recent newspaper headlines. An idol whose fame has been built upon publicity gets involved innocently in a murder and the aforementioned publicity turns out to be a boomerang, demolishing said idol. Tritely told by William de Mille, who isn’t living up to early expectations. Bebe Daniels is pleasant enough as the idol.

Presumably, this writer is alluding to the Mary Miles Minter / William Desmond Taylor scandal from February of 1922. Kind of an interesting assumption given that, at the time, Minter was still under contract with Famous Player-Lasky, the same company that produced The World’s Applause.

The Story World and Photodramatist, April 1923

The World's Applause

With the excellent theme of regeneration after a terrifying experience, William De Mille slices his emphasis a bit in the story of The World's Applause; though he presents a warning to all actresses or public servants who, in their greed for applause, get themselves talked about in the wrong way, he misses the hole by a few inches because Corinne D'Alys is not the one to pay the piper most heavily. Even though she claims she is morally guilty of the murder, I found it

difficult to believe her regeneration more than skin-deep, possibly because the suggestion of the suicide of the physically guilty but wholly justified wife fades so quickly into the scene of Corinne's future happiness.

In lieu of convincing plot to express his theme, Mr. De Mille has resorted for public appeal to the tinsel more often found in a C. B. de Mille production—to lavish sets and to gowns for Bebe Daniels as daring and gorgeous as any of Miss Swanson's. For admirers of this young actress, the picture will doubtless be more or less satisfying, but contrary to dramatic principles, to the opposition have been given the histrionic opportunities

It is many pictures since I have seen such an amusing lothario as the unfaithful husband; but pushed too far by his desperate wife, he rises to the breaking point very naturally. The development of the battle of their wills into one of physical violence and murder deserves high

praise as an example of loss of mental control at the moment of physical contact. The stellar role from the dramatic angle is that of the neglected wife—excellently portrayed by Kathlyn Williams. The story revolves around her problem of protecting her home and retaining her

husband's love. It is she who struggles and suffers through her hasty deed, and in the end sacrifices herself that her brother and the foolish enticer of her husband may be happy.

The weakness of the plot is early evident for the first big dramatic scene does not include the supposed lead. While Corinne is in another room with the guests, the artist's wife declares to her husband her intention of being present at the dinner to celebrate the completion of his portrait of the actress. When her husband urgently remonstrates, she seizes a knife and in the old sensational manner slashes the portrait. He seizes her hand, the exasperated animal rises in her, and she plunges the knife into his side. Horribly frightened, she phones to her brother; he assists her to escape and later denies all knowledge of the crime.

Meanwhile the supposed lead, growing tired of waiting, opens the door on the body of the artist. The guests, sensing a scandal, leave Corinne to enjoy the notoriety her desire for applause has brought upon her. The brother is suspected and his and Corinne's financial backers withdraw their support. Instead of remaining to fight it out, Corinne leaves town. The brother is arrested, and his sister is torn between her love for him and her fear of prison bars for herself. When Corinne returns, she goes to the wife and claims the moral guilt.

In a rather confused manner the story rushes through the confession of the wife and the suggestion of her suicide to the inferred regeneration and future happiness of the actress with the recently bereaved brother. Odd thing, poetic justice! Frankly this picture is not up to the De Mille standard; its appeal is to the more superficial emotions and through the eye rather than through the intellect or heart of the discriminating spectator. It is not the clean, wholesome picture I had anticipated.

Picture Play Magazine, May 1923

The Screen in Review

“The World’s Applause.”

If you are a young actress who will do most anything for publicity, this film will be a lesson to you. Otherwise it will be sheer entertainment, cooked up by William De Mille and charmingly acted with Bebe Daniels as the publicity-mad star and Lewis Stone as her manager. The story has really original twists in it and is directed with humor and restraint. Its only flaw is the incredibly silly subtitles. I don’t understand how Mr. De Mille let them get by in one of his productions which always bear a certain imprint of good taste and sophistication.

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deanwasalwaysbi · 2 years ago

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United States Senate

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ghelgheli · 1 year ago

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The Stuff I Read in August 2023

Stuff I Extra Liked Is Bold

Books

Raven Stratagem, Yoon Ha Lee (2017)

Reconsidering Reparations, Olúfẹ́mi O. Táíwò (2022)

The Mirror of My Heart: A Thousand Years of Persian Poetry by Women, trans. Dick Davis (2019)

The Origins of Unfairness, Cailin O'Connor (2019)

Short Fiction

the prisoner, ignatz

The Unwanted Guest, Tamsyn Muir

She Loves to Cook, and She Loves to Eat, Sakaomi Yuzaki

Still Sick, Akashi

Born Again Bunny, ignatz

A Museum of Dubious Splendors, Studio Oleomingus

In the Pause Between the Ringing, Studio Oleomingus

The Indifferent Wonder of an Edible Place, Studio Oleomingus

Game Theory

The Bargaining Problem, John Nash (1950)

Two Person Cooperative Games, John Nash (1953)

Perfect Equilibrium in a Bargaining Model, Ariel Rubinstein (1982)

Marriage and household decision making: A bargaining analysis, Marilyn Manser and Murray Brown (1980)

Evolutionary Game Theory

The theory of games and the evolution of animal conflicts, John Maynard Smith (1974)

The Logic of Animal Conflict, John Maynard Smith and George R. Price (1973)

Why imitate, and if so, how? A boundedly rational approach to multi-armed bandits, Karl Schlag (1996)

On the Stability of Racial Capitalism, Liam Kofi Bright, Nathan Gabriel, Cailin O'Connor, Olúfẹ́mi O. Táíwò

Fairness and Signaling in Bargaining Games, Mihaela Popa-Wyatt, Roland Mühlenbernd Jeremy L. Wyatt

Inequality and Inequity in the Emergence of Conventions, Calvin Cochran and Cailin O'Connor (2019)

Power by Association, Travis LaCrois and Cailin O'Connor (2020)

Why Natural Social Contracts are not Fair, Cailin O'Connor (2022)

How to Put the Cart Behind the Horse in the Cultural Evolution of Gender, Daniel Saunders (2022)

Division of Labor, Economic Specialization, and the Evolution of Social Stratification, Joseph Heinrich and Robert Boyd (2008)

On the emergence of minority disadvantage: testing the cultural Red King hypothesis, Aydin Mohseni, Cailin O'Connor, and Hannah Rubin (2021)

Philosophy (broadly construed)

"But What Are You, Really?" The Metaphysics of Race, Charles W. Mills (1998)

Heterosexualism and the Colonial/Modern Gender System, Maria Lugones

Extracted Speech, Rachel Ann McKinney (2016)

Nozick's Entitlement Theory of Justice, Kenneth J. Arrow (1978)

Nietzsche, the Chinese Worker's Friend, Ishay Landa (1999)

Measuring Conventionality, Cailin O'Connor (2020)

Other

Who Was Barbie? various @ nplusonemag

Lockhart's Lament, Paul Lockhart

Female Hunters of the Early Americas, Randall Haas et al.

We Have No Moat, and Neither Does OpenAI, anonymous

The Bitter Lesson, Rich Sutton

The Evolution of Individual and Cultural Variation in Social Learning, Alex Mesoudi et al.

Medieval Arab Lesbians and Lesbian-Like Women, Sahar Amer (2009)

"My son was castrated as a result of a medical error. Is it OK to raise him as a eunuch?" Thomas W. Johnson and Richard J. Wassersug (2021)

#reading prog #as you can tell most of the evo game theory is complete contemporary crap #everyone thinks they're a psychohistorian

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nem0c · 2 years ago

Photo

Vietnam War - Galaxy Science Fiction Magazine, June 1968

Sourced from: http://natsmusic.net/articles_galaxy_magazine_viet_nam_war.htm

Transcript Below

We the undersigned believe the United States must remain in Vietnam to fulfill its responsibilities to the people of that country.

Karen K. Anderson, Poul Anderson, Harry Bates, Lloyd Biggle Jr., J. F. Bone, Leigh Brackett, Marion Zimmer Bradley, Mario Brand, R. Bretnor, Frederic Brown, Doris Pitkin Buck, William R. Burkett Jr., Elinor Busby, F. M. Busby, John W. Campbell, Louis Charbonneau, Hal Clement, Compton Crook, Hank Davis, L. Sprague de Camp, Charles V. de Vet, William B. Ellern, Richard H. Eney, T. R. Fehrenbach, R. C. FitzPatrick, Daniel F. Galouye, Raymond Z. Gallun, Robert M. Green Jr., Frances T. Hall, Edmond Hamilton, Robert A. Heinlein, Joe L. Hensley, Paul G. Herkart, Dean C. Ing, Jay Kay Klein, David A. Kyle, R. A. Lafferty, Robert J. Leman, C. C. MacApp, Robert Mason, D. M. Melton, Norman Metcalf, P. Schuyler Miller, Sam Moskowitz, John Myers Myers, Larry Niven, Alan Nourse, Stuart Palmer, Gerald W. Page, Rachel Cosgrove Payes, Lawrence A. Perkins, Jerry E. Pournelle, Joe Poyer, E. Hoffmann Price, George W. Price, Alva Rogers, Fred Saberhagen, George O. Smith, W. E. Sprague, G. Harry Stine (Lee Correy), Dwight V. Swain, Thomas Burnett Swann, Albert Teichner, Theodore L. Thomas, Rena M. Vale, Jack Vance, Harl Vincent, Don Walsh Jr., Robert Moore Williams, Jack Williamson, Rosco E. Wright, Karl Würf.

We oppose the participation of the United States in the war in Vietnam.

Forrest J. Ackerman, Isaac Asimov, Peter S. Beagle, Jerome Bixby, James Blish, Anthony Boucher, Lyle G. Boyd, Ray Bradbury, Jonathan Brand, Stuart J. Byrne, Terry Carr, Carroll J. Clem, Ed M. Clinton, Theodore R. Cogswell, Arthur Jean Cox, Allan Danzig, Jon DeCles, Miriam Allen deFord, Samuel R. Delany, Lester del Rey, Philip K. Dick, Thomas M. Disch, Sonya Dorman, Larry Eisenberg, Harlan Ellison, Carol Emshwiller, Philip José Farmer, David E. Fisher, Ron Goulart, Joseph Green, Jim Harmon, Harry Harrison, H. H. Hollis, J. Hunter Holly, James D. Houston, Edward Jesby, Leo P. Kelley, Daniel Keyes, Virginia Kidd, Damon Knight, Allen Lang, March Laumer, Ursula K. LeGuin, Fritz Leiber, Irwin Lewis, A. M. Lightner, Robert A. W. Lowndes, Katherine MacLean, Barry Malzberg, Robert E. Margroff, Anne Marple, Ardrey Marshall, Bruce McAllister, Judith Merril, Robert P. Mills, Howard L. Morris, Kris Neville, Alexei Panshin, Emil Petaja, J. R. Pierce, Arthur Porges, Mack Reynolds, Gene Roddenberry, Joanna Russ, James Sallis, William Sambrot, Hans Stefan Santesson, J. W. Schutz, Robin Scott, Larry T. Shaw, John Shepley, T. L. Sherred, Robert Silverberg, Henry Slesar, Jerry Sohl, Norman Spinrad, Margaret St. Clair, Jacob Transue, Thurlow Weed, Kate Wilhelm, Richard Wilson, Donald A. Wollheim.

#sf #vietnam war #galaxy science fiction

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janjoycesmitz · 1 year ago

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Music- rhythm and beauty ❤️⭐

"Night Mail"

by W.H. Auden (Wystan Hugh Auden)

(The rhythm of this poem is reminiscent of a train but it is also very reminiscent of a much earlier poem : " From a Railway Carriage" by R L Stevenson)

see under text of this poem

read by Jeremy Irons 👍🏽👍🏽👍🏽👍🏽⭐

This is the night mail crossing the Border, Bringing the cheque and the postal order, Letters for the rich, letters for the poor, The shop at the corner, the girl next door. Pulling up Beattock, a steady climb: The gradient’s against her, but she’s on time. Past cotton-grass and moorland boulder Shovelling white steam over her shoulder, Snorting noisily as she passes Silent miles of wind-bent grasses. Birds turn their heads as she approaches, Stare from bushes at her blank-faced coaches. Sheep-dogs cannot turn her course; They slumber on with paws across. In the farm she passes no one wakes, But a jug in a bedroom gently shakes. Dawn freshens, Her climb is done. Down towards Glasgow she descends, Towards the steam tugs yelping down a glade of cranes Towards the fields of apparatus, the furnaces Set on the dark plain like gigantic chessmen. All Scotland waits for her: In dark glens, beside pale-green lochs Men long for news. Letters of thanks, letters from banks, Letters of joy from girl and boy, Receipted bills and invitations To inspect new stock or to visit relations, And applications for situations, And timid lovers’ declarations, And gossip, gossip from all the nations, News circumstantial, news financial, Letters with holiday snaps to enlarge in, Letters with faces scrawled on the margin, Letters from uncles, cousins, and aunts, Letters to Scotland from the South of France, Letters of condolence to Highlands and Lowlands Written on paper of every hue, The pink, the violet, the white and the blue, The chatty, the catty, the boring, the adoring, The cold and official and the heart’s outpouring, Clever, stupid, short and long, The typed and the printed and the spelt all wrong. Thousands are still asleep, Dreaming of terrifying monsters Or of friendly tea beside the band in Cranston’s or Crawford’s: Asleep in working Glasgow, asleep in well-set Edinburgh, Asleep in granite Aberdeen, They continue their dreams, But shall wake soon and hope for letters,

And none will hear the postman’s knock

Without a quickening of the heart,

For who can bear to feel himself forgotten?

From a Railway Carriage

by Robert Louis Stevenson

Faster than fairies, faster than witches,

Bridges and houses, hedges and ditches;

And charging along like troops in a battle,

All through the meadows the horses and cattle:

All of the sights of the hill and the plain

Fly as thick as driving rain;

And ever again, in the wink of an eye,

Painted stations whistle by.

Here is a child who clambers and scrambles,

All by himself and gathering brambles;

Here is a tramp who stands and gazes;

And there is the green for stringing the daisies!

Here is a cart run away in the road

Lumping along with man and load;

And here is a mill and there is a river:

Each a glimpse and gone for ever!

From A Child’s Garden of Verses (1885)

#poetry #wh auden #jeremy irons #rhythm #music #train #literature #robert louis stevenson

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inevitablemoment · 10 months ago

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The Pact (Book #1 in the Claridge Court series) Playlist

i. let's get together (hayley mills)

let's get together, yeah yeah yeah // think of all that we could share // let's get together, everyday // every way and everywhere // and though we haven't got a lot // we could be sharing all we've got.

ii. love alone (katelyn tarver)

it’s on the line // i’m waiting for a sign // i see it in your eyes, i // i know you really feel the same

iii. if only (dove cameron)

a million thoughts in my head // should i let my heart keep listenin'? // 'cause up till now // I've walked the line // nothing lost, but something missin'

iv. i belong to me (suzan erens)

i'm here when you need me // i live and i die with you // to share all your troubles // i'll laugh and i'll cry with you

v. belle [reprise] (susan egan)

i want adventure in the great wide somewhere // i want it more than i can tell // and for once, it might be grand // to have someone understand // i want so much more than they've got planned

vi. you'll never walk alone (celtic woman)

at the end of the storm // there's a golden sky // and the sweet silver song of the lark

vii. ready for a miracle (fiona kernaghan)

if you could be anything you want // would you play nonchalant // or loosen up those tight heartstrings?

viii. kind of woman (rachel bay jones)

i've no special glamour // no bait I can twirl // for I'm just a plain everyday // commonplace come-what-may // average ordinary wonderful girl!

ix. london boy (taylor swift)

you know I love a London boy // i enjoy nights in brixton, shoreditch in the afternoon // he likes my american smile, like a child when our eyes meet // darling, i fancy you

x. [i love you] for sentimental reasons (linda ronstadt)

i think of you every morning // dream of you every night // darling i'm never lonely // whenever you're in sight

xi. l-o-v-e (nat king cole)

love is all that i can give to you // love is more than just a game for two // two in love can make it // take my heart and please don't break it

xii. one moment more (mindy smith)

oh, please don't go // let me have you just one moment more // oh, all I need // all I want is just one moment more // you've got to hold me and keep me now

More under the cut

xiii. so this is love (ilene woods & mike douglas)

i'm all aglow // and now i know (and now i know) // the key to all heaven is mine

xiv. love story [taylor's version] (taylor swift)

romeo, take me somewhere we can be alone // i'll be waiting // all there's left to do is run // you'll be the prince and i'll be the princess // it's a love story // baby, just say yes

xv. the shoop shoop song [it’s in his kiss] (linda ronstadt)*

does he love me? i wanna know // how can i tell if he loves me so?

xvi. lovely, lonely man (sally ann howes)*

how did he touch my heart? // how did this feeling start? // this glow that feels so warm inside // this sudden summer storm inside

xvii. she's in love (cast of the little mermaid on broadway)

she's in love, she's in love // see her blush, see her grin // got to be love she's in

xviii. i won't send roses (robert preston)

i won’t send roses or hold the door // i won’t remember which dress you wore // and should I love you, you would be the last to know // i won’t send roses and roses suit you so

xix. i promise you a happy ending (robert preston)

i promise you a happy ending // like the ones that you see on the screen // so if you’ve had a bad beginning // love will come out winning in the closing scene // i can promise you a happy ending // that has you, loving me, loving you

xx. starlight [taylor's version] (taylor's swift)

don't you see the starlight // don't you dream impossible things?

xxi. uptown girl (billy joel)

uptown girl // you know I've seen her in her uptown world // she's getting tired of her high class toys // and all the presents from her uptown boys // she's got a choice

xxii. la vie en rose (cristin milioti)

hold me close and hold me fast // the magic spell you cast // this is la vie en rose

xxiii. doll on a music box/truly scrumptious reprise (sally ann howes & dick van dyke)*

you cannot see // how much i long to be free // turning around on this music box // that’s wound by a key

xxiv. mine [taylor's version] (taylor swift)

do you remember we were sitting there by the water? // you put your arm around me for the first time // you made a rebel of a careless man’s careful daughter // you are the best thing that’s ever been mine

xxv. a million dreams (p!nk)

however big, however small // let me be part of it all // share your dreams with me // we may be right, we may be wrong // but I wanna bring you along // to the world I see

xxvi. tightrope (michelle williams)

but I’d follow you to the great unknown // off to a world we call our own

xxvii. so close (jon mclaughlin)

oh, how i could i face // the faceless days // if i should lose you now // we're so close to reaching that famous happy ending // almost believing this one's not pretend // let's go on dreaming, though we know we are // So close // So close // And still // So far

xxviii. wildest dreams [taylor's version] (taylor swift)

say you'll remember me // standin' in a nice dress // starin' at the sunset, babe // red lips and rosy cheeks // say you'll see me again // even if it's just in your // wildest dreams

xxix. love song (matthew james thomas & rachel bay jones)

private little jokes and silly pet names // lavender soap and lotions // all of the cliches and all of the games // and all of the strange emotions // singing a love song

xxx. i guess i'll miss the man (rachel bay jones)

i guess i'll miss the man // explain it if you can // his face was far from fine // but still I'll miss his face // and wonder if he's missing mine

xxxi. top of the world (michael arden, ciara renee, and ensemble)

for all these years // you've stayed alone // and free from danger // we shared your fears // it wasn't safe to trust a stranger // but maybe we were wrong here // could she belong here?

xxxii. ocean away (barlow & bear, ft. darren criss)*

am i the one to blame // when we’re dancing in the same room // but you’re an ocean away

xxxiii. if i loved you (joey richter & mariah rose faith casillas)*

if i loved you, you would know it // if i loved you, i would show it // if i loved you like you should be loved // loved you like i'm capable of // if you were the one i'm thinking of, whoa-oh // oh, babe

xxxiv. hopelessly devoted to you (olivia newton-john)

but now // there's nowhere to hide // since you've pushed my love aside // i'm out of my head // hopelessly devoted to you // hopelessly devoted to you

xxxv. tonight i celebrate my love for you (roberta flack & peabo bryson)

tonight, i celebrate my love for you // and that midnight sun // is gonna come shinin' through // tonight, there'll be no distance between us // what i want most to do // is to get close to you

xxxvi. written in the stars (elton john & leann rimes)

you are all i'll ever want // but this, i am denied // sometimes, in my darkest thoughts // i wished i never learned // what it is to be in love // and have that love returned

xxxvii. a whole new world (peabo bryson & regina belle)

a whole new world // a new fantastic point of view // no one to tell us no // or where to go // or say we're only dreaming

xxxviii. delicate (taylor swift)

my reputation's never been worse, so // you must like me for me

xxxix. 'tis the damn season (taylor swift)

there's an ache in you put there by the ache in me // but if it's all the same to you // it's the same to me

xl. dorothea (taylor swift)

if you're ever tired of bein' known // for who you know // you know // you'll always know me

xli. in whatever time we have (darius dehaas & kelli rabke)

from this day forward, nights won’t seem so black // from this day forward, we will never look back // in whatever time we have // we will make the most of time // and at least we’ll be together // in whatever time we have

xlii. never knew i needed (cassandra steen)

i must admit you were not a part of my book // but now if you open it up and take a look // you’re the beginning and the end // of every chapter

xliii. say you won't let go (james arthur)

i'll wake you up with some breakfast in bed // i'll bring you coffee with a kiss on your head // i'll take the kids to school // wave them goodbye // and i'll thank my lucky stars for that night

xliv. ours [taylor's version] (taylor swift)

and it's not theirs to speculate // if it's wrong, and // your hands are tough // but they are where mine belong in // i'll fight their doubt and give you faith // with this song for you

xlv. electric touch [taylor's version] (taylor swift)

all i know // is this could either break my heart or bring it back to life // got a feelin' your electric touch // could fill this ghost town // up with light

xlvi. enchanted [taylor's version] (taylor swift)

and this is me praying that // this was the very first page // not where the storyline ends // my thoughts will echo your name // until i see you again

xlvii. far longer than forever (liz callaway & howard mcgillin)

sure as the dawn brings the sunrise // we've an unshakable bond // destined to last for a lifetime and beyond

xlviii. karma (taylor swift)

ask me what i learned from all those years // ask me what i earned from all those tears // ask me why so many fade // but I'm still here

xlix. something good (julie andrews & christopher plummer)

somewhere in my wicked miserable past // there must have been a moment of truth // for here you are, standing there, loving me // whether or not you should // so somewhere in my youth or childhood // i must have done something good

l. lover [first dance remix] (taylor swift)

my heart's been borrowed and yours has been blue // all's well that ends well to end up with you // swear to be overdramatic // and true to my lover

li. evermore (josh groban)

i let her steal into my melancholy heart // it's more than i can bear // now i know she'll never leave me // even as she runs away

li. cruel summer (taylor swift)

snuck in through the garden gate // every night that summer just to seal my fate // and i screamed for whatever it's worth // "i love you, ain't that the worst thing you ever heard?!"

liii. you are the reason [duet version] (calum scott & leona lewis)

if i could turn back the clock // i'd make sure the light defeated the dark // and spend every hour of everyday // keeping you safe

liv. come to your senses (alexandra shipp & vanssa hudgens)

i finally open up // for you, i would do anything // but you turn off the volume // just when i've begun to sing

lv. if i never knew you (michael crawford & sherie rene scott)

i thought our love would be so beautiful // somehow we'd make the whole world bright // i thought our love would be so beautiful // we'd turn the darkness into light // But still my heart is saying we were right

lvi. promises (reeve carney & eva noblezada)

i don't need gold, don't need silver // just bread when i’m hungry // fire when I’m cold // don't need a ring for my finger // just need a steady hand to hold // don’t promise me fair sky above // don't promise me kind road below // just walk beside me, love // any way the wind blows

lvii. paper rings (taylor swift)

i like shiny things // but i’d marry you with paper rings

lviii. [this will be] an everlasting love (natalie cole)

you brought a lot of a sunshine in to my life // you filled me with happiness I never knew // you gave me more joy than I ever dreamed of // and no one, no one can take the place of you

lix. at the beginning (donna lewis & richard marx)

life is a road and i want to keep going // love is a river i want to keep flowing // in the end i want to be standing // at the beginning with you

lx. ever ever after (carrie underwood)

no wonder your heart feels it's flying, your head feels it's spinning // each happy ending's a brand new beginning // let yourself be enchanted, you just might break through // to ever ever after

#Elliam #Ellen x William #Ellen Daley x William Sloan #Ellen Daley Claridge x William Sloan #Claridge Court #The Pact #My Playlists #Writeblr #My Original Works

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kanako91 · 10 months ago

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Mi piacciono i FORSE ahah E per la seconda domanda, sì, sono sempre io :) Allora, sì, la tipa scrive femdom e l'ultimo uscito è con un sick sub. E no, non ho letto nulla di lei anche se le trame m'intrigano. Ecco perché chiedevo: la tua lista mi sta aiutando molto a trovare letture interessanti e quindi mi sono detta "chissà se Alex conosce questa autrice". Grazie mille per le risposte e, buona scrittura <3

Direi che dopo un anno quella lista può avere un sequel, perché ho aggiunto altri titoli in wishlist e ne ho letti un paio! Giacché c'ero, ne ho approfittato anche per indicare quelli della vecchia lista che ho letto nel frattempo, se vuoi andare a recuperartela ;)

Letti e piaciuti

Curio The Complete Series di Cara McKenna, che non è propriamente Femdom, ma la protagonista va da un gigolò per avere le sue prime esperienze s3ssuali e nelle novelle successive esplorano vari aspetti del loro rapporto e c'è una parte più Femdom, comprensiva di p3gging. Ho scritto una lunga recensione, se vuoi più dettagli!

Pleasure and Purpose di Megan Hart, che è un fantasy erotico composto da tre racconti: il primo è decisamente Maledom/femsub, ma il secondo già è più sfumato come dinamica (il protagonista maschile domina a mo' di principino viziato che è) e il terzo è puramente Femdom. Storie davvero meravigliose, il worldbuilding mi è piaciuto molto!

The Gargoyle's Captive di Katee Robert, fantasy romance in cui nonostante l'asta in cui la protagonista femminile viene "acquistata" dal protagonista maschile, c'è una bella dinamica enemies-to-lovers e Femdom (per quanto solo a letto).

Saving Suzy di Stefanie Simpson, questo è più romance erotico e devo dire che la parte romance non mi ha coinvolta molto, ma il Femdom è abbastanza vario e con praticità che non si vedono spesso.

If She Says Yes di Tasha L. Harrison, è anche age gap in cui è lei quella più grande (la madre del migliore amico di lui!) e c'è un percorso molto bello di riscoperta di sé dopo la morte del marito e soprattutto in una posizione più dominante.

Bonus: non è Femdom (se non nella novella extra), ma Release di Suzanne Clay è stata una lettura meravigliosa che consiglio vivamente!

Abbandonati

I'll Do Anything di Daisy Jane, è un bully romance con Femdom... almeno così promette. Mi aspettavo una bella storia di vendetta che si trasforma in amore, ma alla fine c'è molto angst per il 40% e quando inizia il Femdom è così concentrato su di lui (c'è una c0ck cage, ci speravo!) e poco su di lei. L'ho messo in pausa due settimane e quando l'ho ripreso ho detto "nope" così forte che l'ho abbandonato. Ho altri libri della stessa autrice già acquistati in sconto e quindi li leggerò, nella speranza che siano migliori.

Ancora da leggere

Unbound di Cara McKenna

Love and Pretence di Stefanie Simpson

The Only One di Daisy Jane

Cohen's Control di Daisy Jane

Soul of a Witch di Harley LaRoux (mi dà vibes fortissime Femdom, ma non ricordo se l'autorə ha confermato)

Surrendering to Scylla di Wren K. Morris (monster romance, lei è il mostro! E mi pare proprio sia Femdom)

In wishlist

Bound to Me di Katie Ashley

Servicing the Target di Cherise Sinclair

Femdom Tales di Lola Bowie (3 racconti)

Crossing the Line di Megan Hart

Wanna Be Yours/Voglio essere tuo di Megan Hart

Vanilla di Megan Hart (la protagonista è una Femdom, ma non ho capito bene se poi "coinvolge" il protagonista maschile)

Beg For It di Megan Hart

Sanctuary di Rebekah Weatherspoon

The Devil's Doorbell di AA.VV. (raccolta di racconti erotici tra cui ce ne sono forse un paio con del Femdom, dalle recensioni che ho letto)

Stray di Daisy Jane

Crystals and Contracts di A.A. Fairview (è esplicitato che il protagonista maschile è sub, almeno)

Bind Me di Esme Taylor

Prelude to Hope di Stefanie Simpson

Mutual Beginnings di Stefanie Simpson

Neon Hearts di Stefanie Simpson

Lay Me Down in Ivy di Stefanie Simpson

Maneater di Emily Antoinette

Power Play di Charlotte Stein (mi sembra di aver capito sia Femdom, da confermare)

Direi che ti ho dato parecchio da spulciare :D

(Lato scrittura posso dirti: con il fill non sto andando avanti al momento, ma sto lavorando alla revisione di una novella MMF k1nky che voglio pubblicare quest'anno 😬 Poi, la fine del fest è lontana, vediamo come vanno le cose...)

#kan replies #consigli lettura a tema

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kyledefoor · 2 years ago

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KIA August 6, 2011

SGT Alexander J. Bennett

SPC Spencer Duncan

CWO Bryan J. Nichols

CWO David R. Carter

SSG Patrick D. Hamburger

TSgt John W. Brown

SSgt Andrew W. Harvell

TSgt Daniel L. Zerbe

PO1 (SEAL) Darrik C. Benson

CPO (SEAL) Brian R. Bill

PO1 (SEAL) Christopher G. Campbell

PO1 Jared W. Day

PO1 John Douangdara & Navy SEAL Dog “Bart”

CPO (SEAL) John W. Faas

CPO (SEAL) Kevin A. Houston

Lt. Cmdr. (SEAL) Jonas B. Kelsall

MCPO (SEAL) Louis J. Langlais

CPO (SEAL) Matthew D. Mason

CPO (SEAL) Stephen M. Mills

CPO Nicholas H. Null

PO1 (SEAL) Jesse D. Pittman

SCPO (SEAL) Thomas A. Ratzlaff

CPO (SEAL) Robert J. Reeves

CPO (SEAL) Heath M. Robinson

PO2 (SEAL) Nicholas P. Spehar

PO1 Michael J. Strange

PO1 (SEAL) Jon T. Tumilson

PO1 (SEAL) Aaron C. Vaughn

SCPO Kraig M. Vickers

PO1 (SEAL) Jason R. Workman

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hollow-triad · 1 year ago

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Bleach’s Trilingual Voice Cast - Quincies

[Karakura Town]

Masaki Kurosaki (🇯🇵: Sayaka Ohara // 🇺🇸: Ellyn Stern) Masaki Kurosaki "Young" (🇯🇵: Sayaka Ohara // 🇺🇸: Cherami Leigh)

Uryū Ishida (🇯🇵: Noriaki Sugiyama // 🇺🇸: Derek Stephen Prince) Uryū Ishida "Young" (🇯🇵: Takako Honda)

Sōken Ishida (🇯🇵: Eiji Maruyama // 🇺🇸: David Lodge -> Liam O'Brien)

Old Man Getsu (🇯🇵: Takayuki Sugo // 🇺🇸: Richard Epcar)

Ryūken Ishida (🇯🇵: Ken Narita // 🇺🇸: Michael McConnohie -> Christopher Swindle)

Izumi Ishida (🇯🇵: Rei Igarashi // 🇺🇸: Karen Strassman)

Kanae Katagiri (🇯🇵: Mamiko Noto // 🇺🇸: Megan Hollingshead)

[Wandenreich]

[A] Yhwach (🇺🇸: Richard Epcar)

[B] Jugram Haschwalth (🇺🇸: Robbie Daymond)

[J] Quilge Opie (Xander Mobus)

[H] Bazz-B (🇺🇸: Xander Mobus)

[O] Driscoll Berci (🇺🇸: Bill Butts)

[D] Askin Nakk Le Vaar (🇺🇸: Daman Mills)

[N] Robert Accutrone (🇺🇸: Neil Kaplan)

[E] Bambietta Basterbine (🇺🇸: Anne Yatco)

[F] Äs Nödt (🇺🇸: Elijah Ungvary)

[U] NaNaNa Najahkoop (🇺🇸: Zeno Robinson)

[K] BG9 (🇺🇸: Aaron LaPlante)

[W] Nianzol Weizol (🇺🇸: Robbie Daymond)

[I] Cang-Du (🇺🇸: Landon McDonald)

[S] Mask De Masculine (🇺🇸: Bill Butts)

[L] PePe Waccabrada (🇺🇸: Zeno Robinson)

[P] Meninas McAllon (🇺🇸: Anne Yatco)

[R] Jerome Guizbatt (🇺🇸: Todd Haberkorn)

[Q] Berenice Gabrielli (🇺🇸: X)

[Y] Loyd Lloyd & Royd Llyod (🇺🇸: Robbie Daymond)

[?] Shaz Domino (🇺🇸: X)

[Z] Giselle Gewelle (🇺🇸: Casey Mongillo)

[X] Lille Barro (🇺🇸: Evan Michael Lee)

[M] Gerard Valkyrie (🇺🇸: Dave B. Mitchell)

[C] Pernida Parnkgjas (🇺🇸: X)

[T] Candice Catnipp (🇺🇸: Shara Kirby)

[L] Liltotto Lamperd (🇺🇸: Cherami Leigh)

[?] James (🇺🇸: Christopher Swindle)

[V] Gremmy Thoumeaux (🇺🇸: AJ Beckles)

(🇯🇵: X // 🇺🇸: X) (🇯🇵: X // 🇲🇽: X) X (🇺🇸: X)

#my stuff #hmt stuff #bleach #bleach tybw

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claudehenrion · 1 year ago

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Pendant les arrêts, la vie continue...

Je ne vais pas vous imposer, cher Amis-lecteurs, le récit détaillé de la série de cauchemars qui je traverse sans savoir où je vais : il est des circonstances, dans la vie, où le pilote automatique et l'indicateur-détecteur de radars les plus performants ne sont plus d'aucune utilité. Vos mails, si nombreux, m'ont été un grand réconfort dont je vous remercierai, un peu plus tard, chacun : ''Vous le valez bien''. Ceux d'entre vous qui sont passés par une telle épreuve me comprendront, et les autres imagineront. Mais la leçon générale à tirer de cette expérience qui n'apporte et ne peut apporter rien d'utile, par définition, est claire : il est vital d'éviter de mourir...

Lorsqu'on décide de tenter une sortie désespérée, ne serait-ce que pour vérifier que, comme le canard de Robert Lamoureux, ''on est toujours vivant'' (ce qui, au moment où on tourne le page de 68 ans de complicité dont 63 de mariage, ne va pas de soi : les dégâts mettront, c'est évident, ''un certain temps'' à … ne jamais totalement se guérir –mais la vie reprendra le dessus, c'est inévitable, ça aussi, et d'autres printemps fleuriront !); il est réconfortant de voir que l'étalage permanent de bêtise humaine qui constitue la trame de notre époque ''pourrie'' –ou peu s'en faut-- n'a pas fait ''relâche, lui, et que les sujets d'étonnement sont toujours les mêmes, c'est à dire toujours renouvelés : il suffit de se baisser, ramasser un journal laissé là par quelqu'ancien propriétaire, pour trouver mille et une raison de sourire (ou plus)..

Avant de vous en parler, je ne résiste pas à la tentation de vous raconter le partage de deuil d'un ami –pas intime, mais sincère puisque présent lors des instants si douloureux de la Messe de funérailles (celle d'Evelyne fut merveilleuse –si on peut joindre ces trois mots : plus d'un millier de personnes dans la grande église de St Honoré d'Eylau, chantée en grégorien par une soliste à la voix ''incroyable'', un recueillement et une émotion perceptible chez tous... majoritairement habités par la certitude de ''se revoir un jour'', cette si encourageante promesse qui rend la mort plutôt plus tolérable aux croyants qu'aux autres –telles que je vois le choses, en tous cas. Cet homme simple m'a dit combien ‘’je suis triste pour vot’ Dame'', avant ce conclure : ''Bonne continuation'' ! Mon seul sourire depuis des semaines !

Mais revenons à nos moutons... et à leur bêtise : pendant que je sombrais dans la tristesse ‘’XXL’’, le monde, lui, continuait à vivre... et Poutine à faire perdre le nord à l'Occident (et le sud, et l'est et l'ouest aussi, tant qu'il y est !) : il a fait très fort en ''prygoginisant'' toutes nos télés pour trois fois rien, pour une fausse alerte, un peu comme un chat madré qui joue avec un troupeau de rats... minablegrobis, pour paraphraser la Fontaine. Comme s'y attendaient tous ceux qui ont compris comment marche le système de désinformation macronien, pas un seul de nos ''Experts ès rien du tout'' n'avait prévu ni prédit quoi que ce soit de ressemblant ! La nullité de ces généraux d'Etat-major égale leur griserie à passer à la ''télé'' !

Une fois de plus, notre horde-harde de journalistes de Gauche (donc ayant une propension quasi-héréditaire à se tromper ''par système'' –le leur (système) étant intrinsèquement mauvais, dans la masse) nous a offert à nos frais la ronde de généraux à la retraite (de Russie, espèrent-ils, à contre-rôle !) de colonels de réserve (qui sont parfois à peine... ''Sergent'', si j'ose !) incapables de dire un seul mot de russe et ayant, pour toute culture sur l''Ame slave'', un vague opuscule au tirage confidentiel et vendu à 11 exemplaires, écrit par le beau-frère de leur copain de promo –aucun de ces étoilés-2-S n'ayant la moindre compétence sur le sujet ! Ah ! Mais pour parader, répéter, s'étaler en digressions... on peut compter sur leur nullité : elle est prouvée à chaque intervention... et confirmée par leur myopie.

Ils sont tous venus après coup, nous ''expliquer'' la géopolitique poutinienne et le sens profond de cette crise au carré qu'ils n'ont pas vu venir. Leur discours résonne parfois comme du... ''Wagner''! Le seul enjeu est de faire croire à l’auditeur qu'ils en savent plus que celui qui vient l'enfiler ses perles, et que, s'ils ne parlent pas au-delà, c'est parce qu'ils en savent trop... et que le dire pourrait nuire aux intérêts de... eux disent : ''l'EUROPE'' et tout le monde entend : ''Biden''. C'est pour cela que chacun de ces nuls commence sa litanie par ''Ce qu'il faut bien comprendre''... pour faire croire qu'il va dire quelque chose ! On me dit que de plus en plus de télé-spectateurs... paf ! éteignent. Le vrai rôle du PAF est-il de généraliser ce ''paf'' ?

Tout-à-fait autre chose : pendant ma courte absence de ''tumblr'', j'ai été obligé de remplacer une échelle qui avait eu une crise de… marches. Et une nuit de veille, j'ai lu le document joint. Ah ! Mes amis... j'ai failli pouffer, malgré ma tristesse tellement profonde : D'abord, j'ai appris qu'il ''est interdit d'utiliser une échelle cassée, pliée ou fissurée'' (mise à part la chute, on risque quoi ? Ces menaces hors texte sont une merveille de la sémantique : ''C'est intolérable'', dit l'un... , ''Je ne le répéterai pas'', dit l'autre... et tout continue, heureusement, comme avant ! Mais pour l'échelle, ''elle doit être tenue à l'écart de la graisse, de l'huile, de la saleté, de la neige et... de la peinture humide'' –parce que, sèche... il n'y a pas de problème !). Ah ! J'oubliais : ''Il est interdit d'empiler des échelles sur des boites pour obtenir une hauteur supplémentaire (sic !) et, plus important si c'est possible : ''Il est interdit de laisser une échelle sans surveillance'' (il faudra que je réorganise les tours de garde, à la maison...). Comme dirait Macron, ''si tu traverses la rue ou que tu fais le tour de port''... tu trouveras un job de ''gardien d'échelle'', job qui devrait théoriquement permettre de monter très haut ! Et enfin, l'injonction ultime, qui justifie la décision d'acheter une échelle à elle toute seule : ''Utiliser une seule personne à la fois''... Ils ne précisent pas si elle se referme toute seule !

Moralité : quelque soit le motif, ne décrochez jamais du suivi de l'actualité : notre enfoncement progressif dans le néant environnant et environnemental est tel que la moindre baisse d'attention fait perdre des tonnes d'absurdités d'une beauté insoupçonnée. Je conclurai donc en rassurant ceux qui doutent du bien-fondé des décisions de nos maîtres (enfin... restons dans le domaine des échelles, et allons donc jusqu'à un maître-trente cinq / quarante) : je viens de traverser l'est de la France en auto. Vous n'allez pas me croire : en Bourgogne, j'ai vu une éolienne géante qui bougeait... Si ! si... je vous jure, elle a fait presque 2 tours complets en quatre minutes environ ! Vous voyez bien qu'il ne faut jamais céder au désespoir... D’autres beaux jours reviendront... un jour, pour tous les autres, comme pour moi !

H-Cl.

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