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dailyanarchistposts · 2 months ago

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Footnotes, part 2

[101] Schumpeter, Joseph, “On the Concept of Social Value,” Quarterly Journal of Economics, volume 23, 1908–9. Pp. 213–232. Section II.

[102] Lloyd, Henry Demarest, “Lords of Industry,” 1910, chapter 2.

[103] Lloyd, Henry Demarest, “Lords of Industry,” 1910, chapter 7.

[104] Report, Congress, 1888, p. lxx.. Quoted from: Lloyd, Henry Demarest, “Lords of Industry,” 1910, chapter 9.

[105] Child, Josiah, “Brief Observations Concerning Trade and Interest of Money,” 1668, London, Printed for Elizabeth Calvert at the Black-spread Eagle in Barbican, and Henry Mortlock at the Sign of the White-Heart in Westminster Hall.

[106] Child, Josiah, “Brief Observations Concerning Trade and Interest of Money,” 1668, London, Printed for Elizabeth Calvert at the Black-spread Eagle in Barbican, and Henry Mortlock at the Sign of the White-Heart in Westminster Hall.

[107] Hale, Matthew, “A Discourse Touching Provision for the Poor,” Written by Sir Matthew Hale, late Lord Chief Justice of the Kings-Bench. London, Printed for William Shrowsbery, at the Bible in Duke-Lane, 1683.

[108] Paine, Thomas, “Agrarian Justice,” Date Unknown.

[109] Steuart, James, “An Inquiry into the Principles of Political Economy,” London: Printed for A. Millar, and T. Cadell, in the Strand., 1767. Book 1, preface.

[110] Steuart, James, “An Inquiry into the Principles of Political Economy,” London: Printed for A. Millar, and T. Cadell, in the Strand., 1767. Book 1, chapter 4.

[111] Steuart, James, “An Inquiry into the Principles of Political Economy,” London: Printed for A. Millar, and T. Cadell, in the Strand., 1767. Book 1, chapter 7.

[112] Steuart, James, “An Inquiry into the Principles of Political Economy,” London: Printed for A. Millar, and T. Cadell, in the Strand., 1767. Book 1, chapter 7.

[113] Steuart, James, “An Inquiry into the Principles of Political Economy,” London: Printed for A. Millar, and T. Cadell, in the Strand., 1767. Book 1, chapter 11.

[114] Malthus, Thomas, “An Essay on the Principle of Population,” 1798, chapter 2.

[115] Simonde de Sismondi, J. C. L., “Political Economy,” 1815, chapter 2.

[116] Simonde de Sismondi, J. C. L., “Political Economy,” 1815, chapter 3.

[117] Simonde de Sismondi, J. C. L., “Political Economy,” 1815, chapter 3.

[118] Simonde de Sismondi, J. C. L., “Political Economy,” 1815, chapter 4.

[119] Hodgskin, Thomas, “Labour Defended against the Claims of Capital, Or the Unproductiveness of Capital proved with Reference to the Present Combinations amongst Journeymen,” 1825.

[120] Hodgskin, Thomas, “Labour Defended against the Claims of Capital, Or the Unproductiveness of Capital proved with Reference to the Present Combinations amongst Journeymen,” 1825.

[121] Hodgskin, Thomas, “Labour Defended against the Claims of Capital, Or the Unproductiveness of Capital proved with Reference to the Present Combinations amongst Journeymen,” 1825.

[122] Hodgskin, Thomas, “Labour Defended against the Claims of Capital, Or the Unproductiveness of Capital proved with Reference to the Present Combinations amongst Journeymen,” 1825.

[123] Senior, Nassau William, “Three Lectures on the Rate of Wages,” of Magdalen College, A.M.; delivered before the University of Oxford in Easter Term 1830, Late Professor of Political Economy, The Second Edition, London; John Murray, Albemarle Street, MDCCXXXI, LONDON: Printed by William Clowks, Stamford Street. Lecture 1.

[124] Blanc, Louis, “The Organisation of Labour,” 1840, from Louis T. Moore, J. M. Burnam, and H. G. Hartmann, eds., University of Cincinnati Studies (Cincinnati, 1911), Series II, Vol. 7, pages 1516, 5156.

[125] Blanc, Louis, “The Organisation of Labour,” 1840, from Louis T. Moore, J. M. Burnam, and H. G. Hartmann, eds., University of Cincinnati Studies (Cincinnati, 1911), Series II, Vol. 7, pages 1516, 5156.

[126] Blanc, Louis, “The Organisation of Labour,” 1840, from Louis T. Moore, J. M. Burnam, and H. G. Hartmann, eds., University of Cincinnati Studies (Cincinnati, 1911), Series II, Vol. 7, pages 1516, 5156.

[127] Marx, Karl, “Wage Labour and Capital,” delivered December 1847, published in an 1891 pamphlet that was edited and translated by Frederick Engels, first published (in German) in Neue Rheinische Zeitung, April 5–8 and 11, 1849. Chapter 2.

[128] Marx, Karl, “Wage Labour and Capital,” delivered December 1847, published in an 1891 pamphlet that was edited and translated by Frederick Engels, first published (in German) in Neue Rheinische Zeitung, April 5–8 and 11, 1849. Chapter 4.

[129] Marx, Karl, “Wage Labour and Capital,” delivered December 1847, published in an 1891 pamphlet that was edited and translated by Frederick Engels, first published (in German) in Neue Rheinische Zeitung, April 5–8 and 11, 1849. Chapter 7.

[130] Marx, Karl, and Engels, Friedrich, “Manifesto of the Communist Party,” published February, 1848, Marx/Engels Selected Works, Volume one, pages 98 — 137. Section: Proletarians and Communists.

[131] Marx, Karl, and Engels, Friedrich, “Manifesto of the Communist Party,” published February, 1848, Marx/Engels Selected Works, Volume one, pages 98 — 137. Section: Bourgeois and Proletarians.

[132] Marx, Karl, and Engels, Friedrich, “Manifesto of the Communist Party,” published February, 1848, Marx/Engels Selected Works, Volume one, pages 98 — 137. Section: Proletarians and Communists

[133] Engels, Friedrich, “The Part played by Labour in the Transition from Ape to Man,” written in May-June 1876; first published: in Die Neue Zeit 1895–06.

[134] Van Etten, Ida M., “Russian Jews as Desirable Immigrants,” Forum, 15 (1893):pp.172–182.

[135] Van Etten, Ida M., “Russian Jews as Desirable Immigrants,” Forum, 15 (1893):pp.172–182.

[136] Morgan, T. J., “Testimony of Mrs. T. J. Morgan,” Report of the Committee on Manufactures on the Sweating System (Washington: Government Printing Office, 1893), pp. 71–74.

[137] Morgan, T. J., “Testimony of Mrs. T. J. Morgan,” Report of the Committee on Manufactures on the Sweating System (Washington: Government Printing Office, 1893), pp. 71–74.

[138] Clark, John B., “The Modern Appeal to Legal Forces in Economic Life,” Presidential Address at the Seventh Annual Meeting of the American Economic Association, Columbia College, December 26, 1894.

[139] Veblen, Thorstein, “The Instinct of Workmanship and the Irksomeness of Labor,” American Journal of Sociology, volume 4 (1898–99).

[140] Bakunin, Mikhail, “The Capitalist System,” an excerpt from “The Knouto-Germanic Empire and the Social Revolution,” and in “The Complete Works of Michael Bakunin” under the title “Fragment,” Date Unknown.

[141] Bakunin, Mikhail, “The Capitalist System,” an excerpt from “The Knouto-Germanic Empire and the Social Revolution,” and in “The Complete Works of Michael Bakunin” under the title “Fragment,” Date Unknown.

[142] Bakunin, Mikhail, “The Capitalist System,” an excerpt from “The Knouto-Germanic Empire and the Social Revolution,” and in “The Complete Works of Michael Bakunin” under the title “Fragment,” Date Unknown.

[143] Kropotkin, Peter, “Communism and Anarchy,” Freedom: July (p30)/August (p38) 1901. Reprinted in “Small Communal Experiments and Why They Fail,” by Jura Books.

[144] Kropotkin, Peter, “Communism and Anarchy,” Freedom: July (p30)/August (p38) 1901. Reprinted in “Small Communal Experiments and Why They Fail,” by Jura Books.

[145] McDowell, Rev. John, “The Life of a Coal Miner,” 1902, published in The World’s Work 4 (October 1902): 2659–2660.

[146] Daniel, Annie S., “The Wreck of the Home: How Wearing Apparel is Fashioned in the Tenements,” Charities 14, No 1. (1 April 1905): 624–29.

[147] Daniel, Annie S., “The Wreck of the Home: How Wearing Apparel is Fashioned in the Tenements,” Charities 14, No 1. (1 April 1905): 624–29.

[148] Daniels, John, “Industrial Conditions Among Negro Men in Boston,” South End House, Boston, Charities 15 (Oct. 7, 1905).

[149] Hart, J. W., “The Church and Workingmen,” The Christian Advocate (October 4, 1906); rpt. The Public 9 (Oct. 13, 1906).

[150] Hart, J. W., “The Church and Workingmen,” The Christian Advocate (October 4, 1906); rpt. The Public 9 (Oct. 13, 1906).

[151] Van Kleeck, Mary, “Working Hours of Women in Factories,” Charities and Commons 17 (1906–07), 13–21.

[152] Van Kleeck, Mary, “Working Hours of Women in Factories,” Charities and Commons 17 (1906–07), 13–21.

[153] Van Kleeck, Mary, “Working Hours of Women in Factories,” Charities and Commons 17 (1906–07), 13–21.

[154] Van Kleeck, Mary, “Working Hours of Women in Factories,” Charities and Commons 17 (1906–07), 13–21.

[155] Van Kleeck, Mary, “Working Hours of Women in Factories,” Charities and Commons 17 (1906–07), 13–21.

[156] Van Kleeck, Mary, “Working Hours of Women in Factories,” Charities and Commons 17 (1906–07), 13–21.

[157] Van Kleeck, Mary, “Child Labor in New York City Tenements,” Charities and the Commons 18 January 18, 1908.

[158] Lloyd, Henry Demarest, “Lords of Industry,” 1910, chapter 1.

[159] Lloyd, Henry Demarest, “Lords of Industry,” 1910, chapter 2.

[160] Lloyd, Henry Demarest, “Lords of Industry,” 1910, chapter 3.

[161] Lloyd, Henry Demarest, “Lords of Industry,” 1910, chapter 4.

[162] Lloyd, Henry Demarest, “Lords of Industry,” 1910, chapter 5.

[163] Lloyd, Henry Demarest, “Lords of Industry,” 1910, chapter 5.

[164] Lloyd, Henry Demarest, “Lords of Industry,” 1910, chapter 6.

[165] Lloyd, Henry Demarest, “Lords of Industry,” 1910, chapter 7.

[166] Lloyd, Henry Demarest, “Lords of Industry,” 1910, chapter 7.

[167] Lloyd, Henry Demarest, “Lords of Industry,” 1910, chapter 9.

[168] Lloyd, Henry Demarest, “Lords of Industry,” 1910, chapter 10.

[169] Watson, Elizabeth C., “Home Work in the Tenements,” Survey 25 (4 February 1911), 772–781.

[170] Schmoller, Gustave, “On Class Conflicts in General,” American Journal of Sociology, volume 20 (1914–15) pp. 504–531.

[171] Schmoller, Gustave, “On Class Conflicts in General,” American Journal of Sociology, volume 20 (1914–15) pp. 504–531.

[172] Schmoller, Gustave, “On Class Conflicts in General,” American Journal of Sociology, volume 20 (1914–15) pp. 504–531.

[173] Miller, Joseph Dana, “Single Tax and Child Labor,” The Single Tax Year Book (Single Tax Review Publishing, 1917).

[174] Giblin, L. F., “Australia, 1930,” an inaugural lecture, delivered in the Public Lecture Theatre University of Melbourne, 28th April, 1930.

[175] Coles, Robert, and Huge, Harry, “‘Black Lung’: Mining as a Way of Death,” New Republic, Copyright 1969, Harrison-Blaine of New Jersey, Inc.. Quoted from Hot War on the Consumer, Edited by David Sanford, 1969, page 191.

[176] Malthus, Thomas, “An Essay on the Principle of Population,” 1798, chapter 16.

[177] Malthus, Thomas, “An Essay on the Principle of Population,” 1798, chapter 16.

[178] Malthus, Thomas, “An Essay on the Principle of Population,” 1798, chapter 16.

[179] Child, Josiah, “Brief Observations Concerning Trade and Interest of Money,” 1668, London, Printed for Elizabeth Calvert at the Black-spread Eagle in Barbican, and Henry Mortlock at the Sign of the White-Heart in Westminster Hall.

[180] North, Dudley, “Discourses Upon Trade; Principally Directed to the Cases of the Interest, Coynage, Clipping, Increase of Money,” London: Printed for Tho. Basset, at the George in Fleet Street, 1691.

[181] Rousseau, Jean Jacques, “A Discourse on Political Economy,” 1755.

[182] Hume, David, “Of the Balance of Trade,” Date Unknown.

[183] Steuart, James, “An Inquiry into the Principles of Political Economy,” London: Printed for A. Millar, and T. Cadell, in the Strand., 1767. Book 1, preface.

[184] Steuart, James, “An Inquiry into the Principles of Political Economy,” London: Printed for A. Millar, and T. Cadell, in the Strand., 1767. Book 1, chapter 5.

[185] Steuart, James, “An Inquiry into the Principles of Political Economy,” London: Printed for A. Millar, and T. Cadell, in the Strand., 1767. Book 1, chapter 18.

[186] Steuart, James, “An Inquiry into the Principles of Political Economy,” London: Printed for A. Millar, and T. Cadell, in the Strand., 1767. Book 1, chapter 20.

[187] Steuart, James, “An Inquiry into the Principles of Political Economy,” London: Printed for A. Millar, and T. Cadell, in the Strand., 1767. Book 1, chapter 20.

[188] Malthus, Thomas, “An Essay on the Principle of Population,” 1798, chapter 10.

[189] Senior, Nassau William, “Three Lectures on the Rate of Wages,” of Magdalen College, A.M.; delivered before the University of Oxford in Easter Term 1830, Late Professor of Political Economy, The Second Edition, London; John Murray, Albemarle Street, MDCCXXXI, LONDON: Printed by William Clowks, Stamford Street. Lecture 3.

[190] Leslie, T. E. Cliffe, “The Love of Money,” published in November, 1862, in a periodical which has ceased to exist.

[191] Leslie, T. E. Cliffe, “The Love of Money,” published in November, 1862, in a periodical which has ceased to exist.

[192] Muir, John, “The Hetch Hetchy Valley,” Boston Weekly Transcript, March 25, 1873.

[193] Veblen, Thorstein, “The Instinct of Workmanship and the Irksomeness of Labor,” American Journal of Sociology, volume 4 (1898–99).

[194] Veblen, Thorstein, “The Instinct of Workmanship and the Irksomeness of Labor,” American Journal of Sociology, volume 4 (1898–99).

[195] Veiller, Lawrence, “The Tenement-House Exhibition of 1899,” Charities Review 10 (1900–1901), 19–25.

[196] Hart, J. W., “The Church and Workingmen,” The Christian Advocate (October 4, 1906); rpt. The Public 9 (Oct. 13, 1906).

[197] Hart, J. W., “The Church and Workingmen,” The Christian Advocate (October 4, 1906); rpt. The Public 9 (Oct. 13, 1906).

[198] Palmer, Lewis E., “The Day’s Work of a ‘New Law’ Tenement Inspector,” Charities and the Commons 17 (1906–1907), 80–90.

[199] Schumpeter, Joseph, “On the Concept of Social Value,” Quarterly Journal of Economics, volume 23, 1908–9. Pp. 213–232. Section I.

[200] Lloyd, Henry Demarest, “Lords of Industry,” 1910, chapter 2.

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shakespearenews · 5 years ago

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In 1871, William Shakespeare's handwriting was identified on this page of The Booke of Sir Thomas Moore: Harley MS 7368, f. 9r

...

The division of the handwriting can be set out as follows. 'Hand D' (probably Shakespeare) contributed an addition on ff. 8r–9v, supplying lines 1–165 of Scene 6.

‘Hand S’: Anthony Munday

‘Hand A’: probably Henry Chettle

‘Hand B’: probably Thomas Heywood

‘Hand C’: an unidentified professional scribe

‘Hand D’: probably William Shakespeare

‘Hand E’: probably Thomas Dekker

#shakespeare #william shakespeare #thomas more #the booke of sir thomas moore #history #theater #theatre #archives #library #british library #handwriting #manuscript #medieval manuscripts #blog

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dry-valleys · 2 years ago

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"Richard returned with joy and relief to the hills and moorlands of his northern home. Its peace and beauty never seemed more soothing than on his arrival after a long and weary journey”.

Lady Newton.

Lyme is the second highest National Trust garden after Castle Drogo, Devon, and its height, exposure, heavy rainfall and acidic soil make it very much unlike the soft south-eastern lowlands; as Joseph Addison, head gardener from 1907-22, remarked: “We came in March, up from Suffolk*, and it was three months later than Suffolk* and a very wet year, all slugs and rain”.

Although there was actually a heatwave when I went there in August 2022, the cool, damp weather that is at Lyme almost all the rest of the time had left its mark.

*Suffolk is a fine county; please see here. It is, as you can see, nothing whatsoever like Lyme, as Addison found out.

Lyme was held by the warrior aristocrats of the Danyers, then the Legh, family from 1346; please see here for my full history of the place. Here I am mainly focusing on the garden and moors.

The park was carved of the vast Forest of Lyme (from which Newcastle nder Lyme, which is very near where I live, Audlem, in the Cheshire/Shropshire/Wales borderlands, and Ashton under Lyne near what is now Manchester. Although little is left of the forest, much of Lyme is wooded; please see here and here for more on that.

The house was built around 1570, commissioned by Sir Peter Legh IX (there were so many Peters, Thomases and Richards that they all bore numbers as well as names) and the park, with its striking avenue of lime trees, was ordered by Richard Legh I of Lyme around 1670.

In the early 18th century, the house got a makeover inside and out as famed Venetian architecht Giacomo Leoni (1686-1746) worked here; the house is largely his embellishment of what was built in 1570.

The moors swept down to (2) the garden, largely the work of Lewis Wyatt (1777-1853). He worked for Thomas Legh II (1792-1857) and then Alfred Darbyshire came here in 1863 to work for William John, 1st Baron Newton (1828-98).

Wyatt and Darbyshire added to what was already here, such as (3) the avenue of lime trees already mentioned, (4) the house, (5) library, (6) chapel.

When the Protestant Reformation came to England in 1536, the Leghs, showing their Lancashire roots, stayed Catholic; Richard Legh I (1634-87) ordered a Protestant chapel built but at the time it was for show, and the family worshipped inthe old ways in secret; (7) is a sign of this.

Printed in 1487 by William Caxton, the Sarum Missal (at Lyme since 1503) is a Catholic prayer book which is now an artefact but wa svery much in day to day use until, at some point, the show became reality and the Leghs really did become Protestants.

The chapel was used throughout this time, but around 1900 the family moved its worship to St Mary, in the nearby town of Disley, which I’ve never been to but hope to see soon) and, though restored in 1950, the chapel is not as lush as it would have been in Lewis Wyatt’s day.

The book was lost until Peter Legh XII (1669-1744; he also employed Leoni) dates found it and restored it, this time as an heirloom.

We then move to (8) the ante room and (9) the dining room; Lewis Wyatt, a man of many talents, designed this as well as the garden.

Of the Grinling Gibbons carvings in the house, James Lees-Milne said “in the northern half of England there are no carvings, with the exception of those at Chatsworth by Gibbons’ pupil Samuel Watson, that can compare with those at Lyme in delicacy, finish and artistic refinement”.

After World War 1, in which son and heir Richard William Davenport (1888-1960) fought, as so many of his forefathers had done, it was no longer possible to have an aristocratic lifestyle; servants were unwilling to work here, rents from farmland were falling, and the city of Manchester overshadowed the old country life; Jack Leech, who had once worked on the estate, simply said “When we came back and saw all that at Lyme, we thought what’d we been fighting for?” (Probably not the same war aims as Richard, anyway!)

Richard this gave Lyme to the National Trust in 1946. He lived for another fourteen years, and must have been pleased to see what good care has always been taken by the National Trust, which only grew stronger in later years. As a sign of the times, the Sarum Missal, which had been in Manchester’s John Rylands Library since 1946 (a sumptous building; please see here) was brought back to Lyme in 1986.

I last came here in February 2018, during the cold spell of Beast from the East (I had planned to come back in March 2020, but the lockdown due to COVID 19 kept me away), so I knew better than to walk on such exposed moors (Kelly’s Directory of Cheshire, 1896, called it “bleak, moorish and unfruitful”) in a heatwave, but I had taken (1) in August 2016 (all others from August 2022) so can share all the seasons and colours of Lyme.

#cheshire #photos #national trust #peak district #england

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islanublar · 3 years ago

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NOTES (1997)

The Lost World: Jurassic Park is the sequel to Steven Spielberg's 1993 film recounting events on a Costa Rican island inhabited by genetically-engineered dinosaurs, which broke all box-office records and showcased an emerging visual effects technology.

Based on the novel by Michael Crichton, the story picks up four years after the disaster at Jurassic Park. Something has survived on a second island Isla Sorna, where the dinosaur manufacturing facility code-named Site B has been destroyed by a hurricane and the animals now run free, constrained only by the laws of nature.

"When I first heard that Michael was going to write the book and that he was thinking of calling it The Lost World, I was thrilled because I'm a big fan of Sir Arthur Conan Doyle's book The Lost World. I was compelled by the idea of being inside a prehistoric world that exists today - not behind electrified fences, not in a theme park, but in a world without the intervention of man. I thought, 'Wow, what a great story.' If I hadn't found a story I was interested in, Jurassic Park would have remained just a nice memory for me," says Steven Spielberg.

For Spielberg, who had been carefully considering a number of projects for his return to directing after a three-year hiatus, Crichton's interest in revisiting the Jurassic saga helped sway his own decision. Universal Pictures and Amblin Entertainment, Spielberg's production company, had begun discussing a sequel to Jurassic Park as the original film was breaking box-office records around the world en route to becoming the highest-grossing motion picture of all time. Now, Spielberg, Crichton and Jurassic Park screenwriter David Koepp entered into a gentleman's agreement to bring The Lost World to the screen, under the Universal-Amblin umbrella.

"I realized that what I really wanted to do was direct. I had started a company and done a lot of other things in those three years. So I was ready to return to it, and I had always wanted to do a sequel to Jurassic Park - both because of popular demand and because I'd had such a great time making the first film," Spielberg reflects.

With the deal in place, Spielberg began to pull together a creative team, nearly every member of which was a veteran of Jurassic Park. Serving with Spielberg were producers Gerald R. Molen and Colin Wilson. Executive producer Kathleen Kennedy would also return to the fold, along with production designer Rick Carter, film editor Michael Kahn and composer John Williams. With full motion dinosaurs by Dennis Muren, live action dinosaurs by Stan Winston and special dinosaur effects by Michael Lantieri, this Academy Award®-winning triad that had combined talents to create the dinosaur effects for the first film also committed to the sequel. Of all the department heads, only director of photography Janusz Kaminski - who had shot Schindler's List for Spielberg - was not an alumnus of Jurassic Park.

In The Lost World: Jurassic Park, Jeff Goldblum reprises his role as chaos theorist Ian Malcolm and Richard Attenborough makes a special appearance as the ambitious entrepreneur John Hammond. Julianne Moore (Nine Months ), Pete Postlethwaite (In the Name of the Father ), Arliss Howard (To Wong Foo, Thanks for Everything! Julie Newmar ), Vince Vaughn (Swingers ), Vanessa Lee Chester (Harriet the Spy ), Peter Stormare (Fargo ), Harvey Jason (Air America ), Richard Schiff (City Hall ) and Thomas F. Duffy (Wolf ) join Goldblum in the cast.

The Lost World: Jurassic Park is Spielberg's first film since 1993, when he directed both Jurassic Park and Schindler's List, which won a total of seven Academy Awards® including Best Picture and Best Director. Jurassic Park was also honored with three Academy Awards® including Best Sound, Best Sound Effects Editing and Best Visual Effects.

It was clear that Universal wanted to talk about doing a sequel in the record-setting period following the release of the original film. (With worldwide ticket sales of more than $916 million, Jurassic Park continued to break records when it was released on home video, where it holds the title of top-selling live-action motion picture of all-time.) The filmmakers had discussions amongst themselves and with Michael Crichton.

While there was interest in a sequel, there was no guarantee that Crichton was going to write another book. Determining a schedule for a second Jurassic Park film was dependent on whether Crichton would proceed.

Meanwhile, Spielberg and screenwriter David Koepp were already talking. Yes, the director confirmed, there would be interest in an encore, if there was a good story to be told.

In those heady months after the release of Jurassic Park, when the question of whether dinosaurs could be made real was answered with a resounding affirmative, there was a new question. "Sure you can do dinosaurs, but what can you do with them?," Koepp remembers thinking.

So began the dialogue between the filmmaker and the screenwriter, who were getting together from time to time to just bounce ideas off one another, recalls Koepp.

Word that Crichton was working on the manuscript for his follow-up novel only served to sharpen Koepp and Spielberg's wild imaginations. "We'd throw ideas at one another and see what kind of reaction it provoked," recounts Koepp. "Suddenly I'd say something and that made him think of something that made me think of something. It just feeds in that way."

Spielberg would go off from these brainstorming sessions and storyboard the ideas. "Steven's got such a wonderful, fertile mind, especially for these sorts of adventure sequences and action sequences," says Koepp. His challenge as a writer was to figure out how to incorporate what he describes as "these fantastic sequences" into the loose structure of a movie that he had in mind and then integrate them with Crichton's work.

"In an interesting way, this is a lot like the way animation works where you start with a visual idea and then, in a very logical way, craft the story," observes executive producer Kathleen Kennedy. "Our story was very dependent on the visual imagery."

"When you have Michael Crichton and the book, you are already in very good shape," says Kennedy. "Add to that the combined imagination of Spielberg and Koepp and you have the basis for a very exciting film."

One of the challenges in approaching The Lost World was the audience's own enormous expectations. As Koepp observes, "audiences tend to feel pretty proprietary about it. Everybody has their own ideas about what should happen in a sequel."

Fortunately, Spielberg has never forgotten his own experiences at the movies going back to his boyhood days when his father took him to see Cecil B. DeMille's The Greatest Show on Earth. He was amazed by the power of the cinematic experience and soon started to make movies with friends and members of his family. "The audience comes first," says Spielberg. "I really think of the audience when I think of a Jurassic Park or a Lost World or the entire Indiana Jones series. A lot of this movie was made for what I hope is the pure pleasure of an audience."

The result is a movie that is both similar and different - an intense, visually stunning adventure that pushes the limits of imagination and technology.

Audiences will embark on this new adventure with a familiar face as their guide. "I cast Jeff Goldblum again because he is Ian Malcolm," says Spielberg. "There is no Ian Malcolm except as played by Jeff." This time, Dr. Malcolm is the anchor for the story. "In the first film, Malcolm was along for the ride and he was kind of a critic," Spielberg continues. "In this sense, he's leading the journey in The Lost World. He has a very strong motivation for returning."

Jurassic Park ushered in a new era of visual effects, brilliant computer-generated images (CGI) blended seamlessly with the state-of-the-art mechanical and animatronic special effects. The combination gave life to creatures believed to be extinct for 65 million years. "I think that people were a little bit amazed that the dinosaurs looked as real as they did," says Spielberg.

But whereas moviegoers in the summer of 1993 were awestruck by the on-screen digital recreations, audiences today will come to the theaters expecting to see nothing less than living, breathing dinosaurs.

"With the first movie, we had no idea how we would make the dinosaurs real," admits Kennedy. "With the sequel, we had a very clear idea of the visual effects and were very comfortable with the technology for computer graphics. So for The Lost World, we were able to focus on the storytelling."

"It was the story that justified doing a sequel, not the technology," Spielberg comments. "CGI has improved since the first movie and the artistry of the people involved has also improved. So there was a good chance that the dinosaurs would look even more believable than they had in the last adventure. But it was really the story that compelled me to make this movie."

The notion of a lost world, a window on earth's distant past, inspires the imagination. The occasional real-life discovery of a prehistoric link - such as the ancient coelacanth: the 400 million-year-old fish found still to be alive or prehistoric insects found perfectly preserved in amber - fuels these dreams. Sir Arthur Conan Doyle visited the subject in his turn of the century Professor Challenger series. Somewhere beyond Doyle's vision of an evolutionary anomaly and John Hammond's technologically marvelous Jurassic theme park is The Lost World.

On another island off the coast of Costa Rica, in a chain called Los Cinco Muertas (The Five Deaths), dinosaurs are living and breeding in the wild. This is Site B. "A genetic laboratory, the factory floor, so to speak," explains Spielberg, where once upon a time experiments and cloning attempts not suited for public exhibition were conducted by InGen scientists.

The behind-the-scenes laboratory was knocked out of commission, but nature found a way. For four years now, dinosaurs have flourished in a perfect ecological system unfettered by man.

As The Lost World begins, the balance of nature is about to be tested once again. Peter Ludlow (Arliss Howard), John Hammond's mercenary nephew, has taken over the nearly bankrupt InGen. In a presentation to the board of directors, he unveils a plan to restore the corporation's financial health by harvesting the "significant productive assets that we have attempted to hide." For him, Site B is a giant cash cow just waiting to be milked.

Hammond (Richard Attenborough) is well aware of the commercial potential in Site B. But he sees another opportunity: a chance to redeem himself by preserving a record of the dinosaurs living in their natural state.

"Finally, what he will have done will not be a terribly tragic thing, but a contribution," says actor Jeff Goldblum.

"He's a dreamer," says Lord Attenborough of his character. "He's not unlike Mr. Spielberg, to a certain extent, in that he is fascinated by the infinite capabilities of human endeavor. Hammond just goes that much farther." The Jurassic Park founder is somewhat chastened and tempered by what has happened before. "But the old temptations and the old adrenaline comes up and he takes risks again."

Hammond organizes an expedition to reach the island before Ludlow lands his own, less noble mission led by Roland Tembo (Pete Postlethwaite), a leathery adventurer and hunter. To accomplish this he commissions Nick Van Owen (Vince Vaughn), a daring video-documentarian, to chronicle the trip; Eddie Carr (Richard Schiff), a field equipment systems specialist, to outfit the team and keep the operation running in the field; and Dr. Sarah Harding (Julianne Moore), a pioneering paleontologist specializing in the nurturing behavior among carnivores - especially carnivorous dinosaurs.

"Sarah is opening up a new field of study, and she uses this as an opportunity to explore her beliefs," Spielberg observes. "She has an insatiable curiosity." Which is exactly why Sarah mentioned none of this to her boyfriend, Ian Malcolm, who would have tried to stop her had he known. When Hammond asks Malcolm to lead the venture, he refuses - until Hammond informs him that Dr. Harding is already there.

The revelation that his girlfriend is alone on an island with dinosaurs drives Malcolm into action. "It's a very monumental moment for me," Goldblum explains. "I go down there with a head full of steam and a gut full of passion."

Of the people who reach the Lost World, only Malcolm comprehends the danger. He knows from experience that people shouldn't be where dinosaurs are. "It's going to be bad for people," Goldblum says dryly. Among these people is Kelly Curtis (Vanessa Lee Chester), a young stowaway, whose presence on the island raises the stakes even higher for Dr. Malcolm.

In Jurassic Park, Malcolm was more of the moral, conscience-driven intellectual drawn to the exotic park out of curiosity. "This time," says Goldblum, "I've got a very emotional, passionate and driving reason to bring me back. I am a force of nature."

"Drama is often like rubbing two sticks together and watching what it sets aflame," notes Spielberg of the confrontation between the two philosophically-opposed expeditions - one sent to protect the sanctity of the habitat and the other to roundup the animals for commercial exploitation - who "end up having to band together just to survive. That creates more than just a lot of running from dinosaurs - there's a great deal of emotional drama, as well."

Screenwriter Koepp remembers a conversation in which Spielberg told him, "I think this movie is about hunters versus gatherers." Koepp adds "that when the two groups are thrust together into survival situations is when it gets really fun."

Jurassic Park raised the question of man's role in trying to control nature. "You decide you'll control nature and from that moment on you're in deep trouble because you can't do it," says Michael Crichton. "You can make a boat, but you can't make the ocean. You can make an airplane, but you can't make the air. Your powers are much less than your dreams would have you believe."

The debate continues in The Lost World; this time the argument is framed by setting the story in the dense forest wilderness, where man's impact on life and the environment is clearly evident. As the Native American Chief Seattle observed a century ago, "Man did not weave the web of life, he is merely a strand in it. Whatever he does to the web, he does to himself."

"The Lost World is exactly what it implies," says Spielberg. "A lot of people who think they can control nature are very presumptuous about their role in the scheme of things and wind up on the short end of the food chain. You have to band together to live and go on."

"It's important in these movies that animals never be characterized as villains, because they are not," Koepp points out. "They're just doing what they do. It's when the humans come into conflict with one another that they may find themselves at the mercy of the animals."

"On one level, this story evolved into one about parenthood and the instinct to protect your young," he continues, echoing a theme that applies to the films human and animal characters. On a more superficial level, the story evolved into one of survival.

Then there is the moral question explored in Jurassic Park. "DNA cloning may be viable, but is it acceptable?" asks Spielberg. "Is it right for man to do this or did dinosaurs have their shot?"

The controversy over cloning - it's possibility implied in Jurassic Park and proved in real life in February 1997 when researchers in Great Britain announced their success in cloning a sheep - raged anew on the front page of newspapers just as The Lost World was in post-production.

Spielberg always respected the science behind Jurassic Park as real, much as he respected real-life research as the basis for his other projects, such as Close Encounters of the Third Kind .

Contained in those news stories was another point that confirmed what Crichton, Koepp and Spielberg suggested in their latest adventure. The failure rate in cloning an animal is presently staggering: on the order of 300 to 1. For every success, there were numerous failures, from death to deformity, if the cloning procedure took at all. As Hammond tells Dr. Malcolm, he needed a factory, Site B, to overcome this ratio and stock Jurassic Park with the perfect specimens visitors saw there.

"A movie like this needs at least a year to 18 months of prep time," says Spielberg. "You can't just throw this together in a normal four-month prep for a drama or a comedy. It takes 18 months to build the animals. We began sketching and designing some of the sequences about two years ago."

In the spring of 1995, production on The Lost World: Jurassic Park started to come together. Producers Gerald R. Molen and Colin Wilson, both longtime Spielberg collaborators who were veterans of the first movie, began to focus their substantial producing skills on the project. Molen roughed out a schedule and budget as Michael Crichton was concluding his novel and Spielberg and screenwriter David Koepp were developing ideas for the screenplay. Colin Wilson, who oversaw the visual effects work and was largely responsible for the post-production on Jurassic Park while Spielberg was in Poland making Schindler's List, reassembled the visual effects team from the first film and began to address the dimensions of the new project. Dennis Muren at ILM, Stan Winston and Michael Lantieri were all eager to apply newly-developed technologies to better what they accomplished with stunning effect on the first film.

Production designer Rick Carter, who also designed the look for Jurassic Park and has been associated with Spielberg and his production company since the Amazing Stories television series, began his work on The Lost World when he and storyboard artist Dave Lowery met over dinner with Spielberg that spring. "We just started storyboarding one of the scenes from the book and it evolved from there. By the fall, we had a full crew of set designers, art directors and illustrators," Carter recalls.

"It's my job to find a lost world and then create The Lost World," Carter continues. "In this particular film, we are coming back to the same type of place where we were in the first film but it's a lot rougher." That this more natural, wild environment is less hospitable to the dinosaur population than the safe containment of the man-made park of the first movie can be seen in the battle-scarred head of the male T-Rex.

Carter and his team constructed various environments based upon what they knew as the outline of the movie. "We would show Steven our ideas for sets and when he approved them, that would often spark ideas - right on the spot we'd come up with more and more scenes, and those would be storyboarded and become part of the actual story."

The preliminary visualization phase continued as Carter, his art directors, draftsmen and illustrators refined the ideas into models. Carter also turned to the computer for help in determining the look of many of the visual effects sequences. He made rough 3-D animations, called animatics, which show characters moving within an approximation of the set.

"In this kind of movie, so much is being constructed visually," notes Carter, contrasting the open, organic process of creating The Lost World with other projects where the look is strictly determined by "a narrative we absolutely adhere to at all times."

The storyboards, animatics, illustrations and models created by Carter's art department provided the foundation for the entire production. The storyboards gave every member of the growing production team a clear idea of Spielberg's vision - information they would use to prepare their portions of the picture. They were constant throughout production with filmmakers using them as a guide from the earliest days of prep right through post-production. On the set, for instance, storyboards for each day's work were posted on a large display board. As pieces of the sequence were shot, the corresponding storyboard was marked as complete.

Storyboards for the big set piece action sequences were released to the visual effects teams early to give them as much time as possible to complete the intricate task of flawlessly interlacing digital, physical and robotic effects. There was no question that the visual effects for The Lost World would be every bit as challenging as they were on the first film. Perhaps even more so because audiences that had modest expectations for the first film's dinosaurs would now expect greatness.

Stan Winston was already well on his way to creating an entire new set of dinosaurs at his studio in Los Angeles' San Fernando Valley. New technology and such seemingly simple things as improved hydraulic systems were developed in the years between Jurassic Park and The Lost World. As dazzled as audiences were with Winston's brilliant work on the first film, he knew that he could do even better and was determined to prove the point.

"People are very aware of the advancements in the computer world since Jurassic Park," Winston comments, "but they tend to forget that the animatronic world has also made some incredible advances, producing characters in which the technology is virtually undetectable. In large part, that is due to the tremendous advances we made in Jurassic Park and in the time since then."

"There were tremendous developments in hydraulic technology - developments that allowed us to manufacture twice the number of creatures in half the amount of time and for slightly less money," Colin Wilson elaborates. "That was quite amazing. We got a lot of improvements in performance and technology. We got double the number of characters, and we paid less for it. But the most important part of the equation was how much better the character performances would be for this movie."

The sequel gave Winston the opportunity to make dinosaurs that were even more lifelike. But it wasn't just a matter of refitting the creatures from the first film with new movements and armatures. To begin with, there are more dinosaurs in The Lost World. So while the retooled T-rex from the first film joins Goldblum and Attenborough as a returning cast member, Winston and his crew built a second adult T-rex from scratch and fabricated nearly 40 creatures in all. The Stan Winston Studio, located in an industrial section of Van Nuys, utilized the talents of more than 100 artists and technicians during the year and a half that it took to design, draw, sculpt, mold, frame, mount and paint the different dinosaurs. There was diversity, too: from the tiny chicken-sized Compsognathus ("compy") to the two-story-tall T-rexes.

The work also involved careful coordination with the other two captains of the visual effects squad. Lantieri, who heads up the mechanical effects team, worked closely with the Winston shop to fabricate the giant T-rex frames and movements, as well as several other design issues. The Winston Studio's maquettes, scale models of the finished dinosaurs, were shared with Muren and his team at ILM, where they matched the colors, textures and movements of the digital creatures so that they would mesh seamlessly with Winston's live-action dinosaurs.

Part of what makes Winston and his creatures so magnificent is his approach. He doesn't think of them in a mechanical sense, and he couldn't tell you exactly how to build them. He doesn't look at his creations as inanimate robots. Instead, he thinks of them as characters, performers and stars. "We give them personalities. They have expressions," he says.

In fact, it is Winston's own background - first as an actor, then as a make-up artist and more recently as a director - that helps him keep his crew focused with this idea. On the set, as he stands next to Spielberg, he speaks to his puppeteers through headsets, intoning cues and direction for their "performance."

The animal characters created by Winston proved to be a benefit for the human actors, as well. It gave them a real representation - an actor, so to speak - to play against.

To add to the authenticity of the dinosaur fabrications, Spielberg once again enlisted noted paleontologist Jack Horner of the Museum of the Rockies, who had served as an advisor on Jurassic Park. This noted scholar, who is one of the world's foremost fossil hunters, worked very closely with Spielberg and Winston in creating lifelike representations of these long extinct creatures. Although much of our dinosaur knowledge is based on speculation, Horner revealed that there is much that can be deduced by putting knowledge of today's skeletal science together with the fossilized bones. Like a detective, Horner and other researchers like him are able to develop detailed ideas of what dinosaurs looked like and how they behaved - knowledge that Spielberg and Winston readily applied to their work in The Lost World .

Horner's work with Winston was especially important because the look and movement of the Winston dinosaurs would become the basis, most notably in terms of appearance and texture, for the digitally created dinosaurs that Muren would produce.

In San Rafael, California, Muren was gathering his legion of digital artists at Industrial Light & Magic. Since Raiders of the Lost Ark, Spielberg has relied upon the collective talent at ILM, and one way or another Muren has been a part of it all.

Digital technology is moving with such velocity that techniques painstakingly developed at the beginning of Jurassic Park were surpassed by improvements before production was over. There was tremendous desire on the part of many who worked on the original film to finesse the visual effects to an even higher level. "This show is a lot different from Jurassic Park in that we were sort of timid on the first one because we didn't know if we could do it," says Muren. "Now we figured out we could do it and have had three years to think about it."

Like Winston, Muren wanted to improve on what he did with the first movie. This time he wanted to give Spielberg something else: freedom. "At the beginning of the show I mentioned to Spielberg that we can do just about anything," Muren relates.

The idea and overarching philosophy driving Muren and ILM is that filmmakers shouldn't have to think about the technology so that they can be free with the images. So, for over 20 years, we've been building up tools to give these directors what they want without restraint.

Examples of this independence include the ability to shoot visual effects shots with complete freedom of movement for the camera and a greater degree of interactivity between the CG creatures and live action actors. Visual effects shots used to mean locked-off cameras and rigid procedures. But technology has advanced to the point where the visual effects camera can be mounted on a steadicam and moved about with total fluidity.

No matter how wonderful and real the work of Winston and Muren appears to be, it wouldn't play as well without the third element of the visual effects team - Lantieri's physical effects. Lantieri, one of Hollywood's most skilled effects men and another longtime member of the Spielberg team, remarked that he had more work to do in the final weeks of the 14-week shoot on The Lost World than he did throughout Jurassic Park. "Everything about this show is big," says Lantieri. "On the last show, we crashed an explorer. This time we dangle a 60-foot-long double trailer off a cliff."

The largest set piece that Lantieri had to create involved the massive field systems trailer, which was designed to provide a base of operations for Dr. Malcolm and his travelers. To begin, there was not one but five trailer sections - all modified Fleetwood motor homes. There were literally hundreds of moving parts both inside and out and all of which had to be rigged by the special effects unit. Before the end of the movie, all manner of damage is inflicted upon the trailer and its human occupants, and Lantieri had to figure out how to make it all happen. The sequence, spread across almost a month of the shooting schedule, was filmed on two soundstages and the side of a parking structure dressed to look like a cliff wall.

Simultaneous to the visual effects development, Carter began a real-life search for a Lost World. He traveled extensively, looking in the Caribbean, Central America and as far away as New Zealand for places that visually conveyed the idea of a Lost World - a place forgotten by time and humanity.

He found his Lost World closer to home - in the Redwood Forests near Eureka, California, about six hours north of San Francisco on California's aptly named Lost Coast. With tremendous cooperation between the filmmakers and the California State Parks, the company was allowed to shoot in the midst of some of California's most spectacular scenery in Fern Canyon, Prairie Creek and Patrick's Point State Parks.

In a film defined by its scope and scale, the tall and massive trees, known as the Coast Redwood, were about the only thing that could dwarf this production. The Redwood settings were interesting for another reason: the trees have an ancient history dating back more than 160 million years. According to John B. Dewitt of the Save-the-Redwoods League, "Redwood Forests, as we know them today, have been present in California for about 20 million years. They represent a unique and beautiful relic flora from the days when dinosaurs roamed the earth."

For the film's opening sequence, Spielberg returned to Kauai, Hawaii, where he previously shot portions of Jurassic Park and Raiders of the Lost Ark .

While Eureka and Kauai provided most of the rich and forested Isla Sorna exteriors, much of the film was shot within Southern California and on the Universal Studios stages and backlot where all of the sets were constructed.

With the project now increasingly defined, Gerald R. Molen and Colin Wilson, joined by associate producer Bonnie Curtis, spent several months lining up the crew and a multitude of production elements. "My job is to provide the director with the tools necessary to do what he wants to do," says Molen. "The most important thing is to find the right people."

By April 1996, a year after Spielberg began to seriously plan the picture, most of the locations were picked, sets designed and the crew was largely in place to prepare for a start date of September 5 - still five months away. While the visual effects teams were already well into their work, others were just getting started, and some were not to start until the end of summer.

In June, construction coordinator John Villarino opened up his office on Universal's Stage 12, the second largest sound stage in the world, and started a job that would ultimately fill six of Universal's biggest sound stages wall-to-wall with sets.

Villarino worked mainly from models, illustrations and prints provided by the art department. By the end of the show, Villarino figured that his crew of 120 actually constructed 80 of the total 100 different sets. "There wasn't enough stage space in Hollywood to do this movie. It would have taken another four stages," he says, but they just didn't exist.

Carter addressed the stage space issue by devising a way to change over the stages from one set to another throughout the show. For instance, on Stage 12 Villarino changed over the set three times. The company would shoot on the stage, leave to shoot on another stage for several days and then return to a completely different set configuration. "It was kind of hectic," Villarino allows.

The massive T-rexes also presented a challenge to the production. Stars in their own right, they required special handling.

The T-rexes, which each weighed 19,000 pounds and ran on tracks, could not be moved from their home on Stage 24. Instead, sets were built around the T-rexes. This occurred regularly throughout production.

One of the largest sets constructed for The Lost World was the workers village on Site B which was left intact after filming to become a part of Universal Studios Hollywood theme park tour. The operational center, where at one time InGen scientists performed feats of genetic engineering that ultimately led to the cloning of dinosaurs for Hammond's Jurassic Park, was built from the ground up to look as if it had been destroyed by a hurricane and abandoned by the company.

So much of The Lost World takes place on this isolated island, and it is a very green world. One of the busiest greens crews ever to work a film feverishly dressed and maintained each stage. Greens coordinator Danny Ondrejko led a team of 14 greensmen, five of whom would normally be completely in charge of a full production. Instead, Ondrejko put each in charge of a stage or a group of sets.

When you're shooting in a forest, like the Redwood Forest, you don't think about having to dress in with greens. "It's like bringing coal to Newcastle," laughs Carter.

But the truth is that lots of greens carefully screened by the supervising park rangers to avoid contaminating the ecological balance were brought into the forest and removed. The reason: only certain kinds of plants were available in Southern California, and since most of the film was shooting in Hollywood, those were the most practical plants to choose. So the greens department brought supplies of Southern California greenery to Northern California so that close-up shots would match.

Principal photography for The Lost World: Jurassic Park began on September 5, 1996 in the spectacular Fern Canyon, about 40 minutes north of Eureka.

The company spent two weeks in Northern California, filming in a combination of state parks and private land. Within a week, Spielberg was already ahead of schedule.

By the time the Eureka shoot was over, key live action scenes had been captured, dinosaurs were on film, and all of the plates for Industrial Light and Magic's (ILM) three major computer-generated (CG) sequences and nearly half the CG plates for the entire show had been filmed. Within days, those plates would be cut into scenes and delivered to ILM to start their computer animation of the CG dinosaurs.

Throughout the fall, the filmmakers shot on stages at Universal and a select group of surrounding locations.

Janusz Kaminski, the director of photography who won an Academy Award® for his work on Schindler's List, noted Spielberg's approach to The Lost World. "The camera became really active and ended up being in more unusual places than in his latest movies."

Kaminksi and his grip and electric crew employed virtually every camera and lighting device known to the industry and more than a few custom tailored for this film. For example, there were two movable camera mounts, one that functioned something like an elevator and another that allowed the camera to dolly - suspended upside-down from the ceiling of Stage 27.

"It's very much a Spielberg movie where the camera sweeps the scenario," Kaminski continues. "It moves from high angles into extreme close-ups, follows the actors and reflects the drama of the movie and the story."

For the actors, The Lost World was the most physically demanding film any of them had ever worked on. Whether they were suspended on wires or being tossed about in the mud, there was seemingly no limit to the physical manifestations of dinosaur encounters. They sometimes likened the experience to being on an amusement park ride. According to Vince Vaughn, "The difference is that in an amusement park, you take the ride once and its over."

"Part of the joy and challenge of working with Steven Spielberg," says executive producer Kathleen Kennedy, "is that he constantly pushes himself to do things in an unconventional and exciting way. He challenges all of us to go beyond anything that's been done before."

The biggest challenge for producer Gerald R. Molen was to keep the production on track and on budget. "The budget was a little bit higher for this movie than it was for the first - which was about $58 million - but we were actually able to get more for our money this time," Molen notes. "We got more from Stan Winston and his people because a lot of the research and development had already been dealt with for Jurassic Park. We also got more from ILM, in part because the cost of CG had decreased. Also, Steven had decided to get as much as he could from the mechanical dinosaurs, without resorting to CG more than was necessary. So even though this movie would have a few more CG shots than Jurassic Park, it wouldn't have a great deal more."

"Steven was able to do that, to plan for it and budget for it, because he is such a visionary. He is able to see the entire movie in this mind long before he starts to shoot so he knows exactly what he needs. He isn't the kind of director who ends up with a lot of film literally on the cutting room floor. There is no waste. Because of that, we were able to budget this movie very carefully and responsibly."

On December 11, Spielberg lifted his glass in a champagne toast to the crew, just as he had on the final night of filming Jurassic Park. Congratulating them for bringing the film in ahead of schedule, he said: "Thank you for a great show."

It was an emotional send off to what had been an exhilarating experience for everyone involved in the making of The Lost World: Jurassic Park. Knowing up front that the toughest thing about a sequel is the expectation that goes along with it, this veteran production team never got distracted worrying about how they were going to top the first movie.

"Our response to that expectation was to make a different, more dramatic movie, while keeping the humor and suspense and all of the things that audiences had liked about the first movie," Spielberg concludes. "I think that's what people want in a sequel, anyway. They want to roll up their sleeves and fall right back into that adventure."

#circa: 1997 #source: lost-world.com

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ltwilliammowett · 4 years ago

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The great Storm of 1703

On the night of 7-8 December 1703, the British Isles and northern Europe were hit by the worst storm ever recorded there, known as the Great Storm of 1703. 15,000 people lost their lives, most of them in the 700 ships sunk or damaged by the storms. Total damage was estimated at the equivalent of half a billion pounds today.

The Great Storm 1703 (x)

The Royal Navy lost 13 ships, many of them returning from supporting the Spanish King in the fight against the French. Some 1500 sailors drowned. A number of ships even landed in Sweden, Denmark, Norway and Holland. Like HMS Association, which was moored off Harwich and later found in Götheborg, Sweden. Sir Cloudesly Shovell had to cut her mainmast to save the ship and crew, but all survived and were able to sail home. One man had a remarkable story to tell. When his ship, HMS Mary, broke up, Thomas Atkins saw Rear Admiral Beaumont, who was on board the ship, reach for a piece of wood, which was then washed into the sea. A wave carried Atkins from the sinking ship onto the deck of another ship nearby, HMS Stirling Castle, which also soon began to sink. Another wave drove him into one of their longboats. Atkins was the Mary's sole survivor.

The Great Storm Novber 26 1703 Wherein Rear Admiral Beaumont was lost on the Goodwin Sands... Beaumont's Squadron of Observation off Dunkerque, by unknown, 18th century (x)

When the storm struck in the West Country, right in its path was the newly built Eddystone Lighthouse. It was completely destroyed, along with its builder Henry Winstanley, who was making some additions to the structure at the time. On the Thames, hundreds of ships were wrecked in the Pool of London, the area downstream from London Bridge.

Destruction of the first Eddystone lighthouse in Great Storm 1703, by Robert Chambers 1869 (x)

A ship at Whitstable in Kent was lifted out of the sea by a gigantic tidal wave and fell some 230m inland. The number of fallen oaks in the New Forest was put at 4000. In Wells, Bishop Richard Kidder and his wife were killed in their sleep when two chimneys in the palace collapsed and fell on their bed. The large west window of St Andrew's Cathedral was partially destroyed by the storm.

It affected many and also caused much suffering. It was so dramatic that it inspired Daniel Dafoe to write his first book, The Storm.

#naval history #great storm 1703 #age of sail

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lavenderlostfog · 4 years ago

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Some Dark/Light Academia Recommendations

Books and Literature (Fiction) - The Sherlock Holmes canon (56 short stories + 4 novels) by Sir Arthur Conan Doyle - Agatha Christie's mystery novels - Emily Dickinson's poetry - Parable of the Sower by Octavia Butler - Mexican Gothic by Silvia Moreno-Garcia - A Series of Unfortunate Events by Lemony Snicket - The Inkheart Trilogy by Cornelia Funke - The Count of Monte Cristo by Alexandre Dumas - House of Leaves by Mark Danielewski - Nightbooks by J.A. White - The Girl with the Louding Voice by Abi Daré - Woman on the Edge of Time by Marge Piercy - Utopia by Thomas Moore - The Picture of Dorian Grey by Oscar Wilde - Miss Peregrine's Peculiar Children by Ransom Riggs - Faust by Goeth - The Bartimaeus Trilogy by Jonathan Stroud - I Know Why the Caged Bird Sings by Maya Angelou - The Island of Dr. Moreau by H.G. Wells - The Woman in Black by Susan Hill - A Deadly Education by Naomi Novik - Never Let Me Go by Kazuo Ishiguro - The Necromancer by Ludwig Flammenerg - fairy tales and old folktales from any culture - books about beekeeping - Dragonology

Nonficiton Literature - Silent Spring by Rachel Carson - Let's Explore Diabetes With Owls by David Sedaris - Walden by Henry David Thoreau - The Utopia Reader, edited by Gregory Claeys and Lyman Tower Sargent - The Art of War by Sun Tzu - The Communist Manifesto by Friedrich Engels and Karl Marx - The Best American Science and Nature Writing - annual essay anthology published by Houghton Mifflin Harcourt - The New Jim Crow: Mass Incarceration in the Age of Colorblindness by Michelle Alexander - I Am Malala by Malala Yousafzai - Lab Girl by Hope Jahren - The Wages of Sin: Sex and Disease, Past and Present by Peter Lewis Allen - Poison: The History of Potions, Powders and Murderous Practitioners by Ben Hubbard - Monster, She Wrote: The Women Who Pioneered Horror & Speculative Fiction by Lisa Kröger and Melanie R. Anderson - Conversations on Writing by Ursula K. Le Guin

Films - Young Sherlock Holmes (1985) - Snowpiercer (2013) - Hugo (2011) - An Education (2009) - Never Let Me Go (2010) - Mr. Holmes (2015) - Little Women (2019) - Dead Poets Society (1989) - Maurice (1987) - The Addams Family (1991) - The Imitation Game (2014) - Road to Perdition (2002) - Matilda (1996) - The Shape of Water (2017)

Shows - Sherlock Holmes - the Granada series (1984 - 1994) - A Series of Unfortunate Events (2017 - 2019) - Penny Dreadful (2014 - 2016) - The Haunting of Bly Manor (2020) - The Curious Creations of Christine McConnell (2018) - Beauty and the Beast (1987 - 1990) - The Twilight Zone (1959 - 2020)

Animation - Over the Garden Wall (2014) - Gravity Falls (2012 - 2016) - The Owl House (2020 - ) - Jack and the Cuckoo-Clock Heart (2013) - Howl's Moving Castle (2004)

Anime and Manga - The Ancient Magus Bride by Kore Yamazaki - The Promised Neverland by Kaiu Shirai and Posuka Demizu - Gosick by Kazuki Sakuraba - Princess Tutu by Mizuo Shinonome - Little Witch Academia by Yoh Yoshinari - Violet Evergarden by Kana Akatsuki and Akiko Takase

Music - soundtracks from any of the above - dark cabaret - classical music (my favs are Vivaldi and Tchaikovsky) - modern classical - anything composed by Joe Hisaishi - Postmodern Jukebox

Podcasts - Lore - Faerie - Serial - The Magnus Archives - Hardcore History - The Penumbra Podcast - Baker Street Babes - The Bright Sessions - Unwell, a Midwestern Gothic Mystery

#dark academia #dark acadamia aesthetic #films #shows #anime / manga #aesthetic #music #podcast #literature

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simplyswooningk · 4 years ago

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Fanfiction Teaser: The Strategist| Coming April 2021 to FF.net and A03 | Chapter One, “The Professor & The Madman”

Rating: Explicit

Pairing: Ron and Hermione

Premise: Begins Post Half-Blood Prince. “Wars are not for children,” Arthur said with a deep sigh.

“It’s a good thing I’m not a kid anymore, isn’t it, Dad?”

The Strategist

“War must be, while we defend our lives against a destroyer who would devour all; but I do not love the bright sword for its sharpness, nor the arrow for its swiftness, nor the warrior for his glory. I love only that which they defend.”-J.R.R Tolkien

“The Minstrel-Boy to the War has gone! In the ranks of death, you will find him. His father’s sword he hath girded on and his wild harp slung behind him. ‘Land of song,’ said the warrior-bard, ‘Though all the world betrays thee. One sword, at least, thy rights shall guard. One faithful harp shall praise thee.’”-Thomas Moore

One:

The Professor & The Madman

Ronald Weasley had never seen Hogwarts so silent. The place seemed frozen, stuck, dead. He shuddered at his train of thought. It had been barely an hour since Albus Dumbledore, largely regarded as the greatest Headmaster Hogwarts School of Witchcraft and Wizardry had ever known, had been laid to rest.

His murderer, Professor Snape, was gone, had left like the ruddy coward he was along with the rest of the Death Eaters. Snape had never been anywhere near Ron’s favorite teacher, but he never could have imagined anything like this. To make matters worse, Dumbledore had trusted Snape. That mistake had cost him everything.

Ron found himself sitting on the Quidditch Pitch. It was empty, no one had a thought for Quidditch. The days of worrying about his Keeper abilities and how to pass his N.E.W.T.S seemed as far away as his life before Hogwarts.

His parents were catching up with old friends, but they had announced that they would be leaving in two hours, his mother was especially was eager for him and Ginny to be at home. He didn’t have the heart to tell her he wouldn’t be staying long.

Dumbledore had given Harry Potter a mission. You Know Who had a secret, several of them it seemed, and they had to find them all and destroy them. Horcruxes.

He, Harry and Hermione Granger were setting off a mission to find and destroy each of those Horcruxes. Seven of them. Two had already been dispensed. And one would only be gone when He Who Must Not Be Named popped his clogs for good.

Apparently, they could be anything. One they knew about. It was the locket of Slytherin. But who knew where they would find that?

And then there was this mysterious R.A.B character who had somehow stolen the locket. No one had the foggiest idea who he was. So, they were heading headlong into disaster without a clue as to what to do.

He honestly shouldn’t have been surprised. After his first year at Hogwarts, having to deal with a giant, living chess set and then a murderous diary, a violent tree and a killer snake in his second had pretty much taught him to be prepared for anything.

There was a part of him that wanted to just go home. A part of him that wanted spend a quiet summer at home, go to Hogwarts for his seventh year and start life in the real world.

But he knew he was kidding himself. With Dumbledore gone and You-Know-Who gaining ground every second, if they didn’t end it, there wouldn’t be a real world. So, he would fight. There was nothing to do but fight. He knew Hermione felt the same way, but if he could’ve kept her away from it all, he would. More than anything, he wanted to keep her safe.

Harry had disappeared somewhere off with Ginny, and although he had had his reservations about their relationship, there were far worse guys for his only sister to date. Although she couldn’t have picked a more troublesome bloke.

Then again, Ginny had always liked trouble. She'd be coming back to school next year. Ron couldn’t imagine what Hogwarts would be like without Dumbledore.

He looked up to the window where the old Headmaster’s office had been. It was hard to imagine anyone else ever being there.

Hs eyes fell to the window where Potions class was. Snape had taught there, pretending that he wasn’t a Death Eater, pretending that he could be trusted. The whole thing made him want to vomit and then punch something.

And then he thought of Slughorn. He apparently had written a fucking book for Voldemort: How To Make A Horcrux: A Guide for Fucking Demented Psychopaths. His mother had often told him that not all Slytherins were evil, but the whole lot of them seemed to be nothing but trouble.

But then again, if he’d wrote the book, he might have the answers.

He made his way back into the castle, grabbed the Marauder's Map from Harry’s trunk and searched for Slughorn’s name. He was in a part of the castle Ron had never ventured. But there was no time for trepidation now.

He made his way to the Teacher’s Wing. He found himself outside Slughorn’s quarters. He knocked, but there was no answer. Normally, he would’ve turned away, but it was no time to waste on civilities.

He walked in. “Professor? Professor Slughorn?”

He heard some shuffling about and he instantly reached for his wand. These days, no one could be too careful.

“Oh, Mr. Wemby!” Ron fought the urge not to roll his eyes. This man literally had taught generations of his entire fucking family and he couldn’t remember his last name. It wasn’t as if they all bore a strong family resemblance and had the same hair color.

Oh, wait a second, it was.

What made it worse was that he’d nearly died because of Slughorn and a box of Love Potion-tainted chocolate cauldrons.

“How are you, my boy? Avoiding more poisonings, I hope?”

“Doing my best, sir,” Ron said with a smile. “If I might have a word?”

“Certainly, my boy,” said the aged professor and Ron noted that he took a rather pointed look at his hourglass. “Although I am in quite of a hurry.”

“You’re leaving Hogwarts?”

“Oh, no. I couldn’t dare. Now, with everything that’s happened. You-Know-Who will come for this place, I guarantee you. Someone will have to help watch over the students. No, I was just heading down to the greenhouses. With Death Eaters knocking on every corner, there’s a couple of plants that I should like to have on hand.”

Ron nodded and squared his shoulders. “Well, I won’t take up too much of your time, sir. Sir, I’m aware of what you gave Harry about...You-Know-Who.”

Ron watched the professor’s face go white. “Sir, believe, I’m not here to give you a hard time about it,” he said quickly. “I just want your help with something.”

Professor Slughorn’s back straightened. "I've already given Harry everything.” His voice was stiff and dismissive, but Ron didn’t have time to get upset.

“I know. But I was just wondering, is there anything else you know that might be helpful. You see, Harry’s going to try and destroy all of the Horcruxes. That’s right, he did make Horcruxes, sir. Six of them, apparently. I'm going with Harry. Me and Ms. Granger. Is there anything you know that may be able to help us? Anything about Horcruxes, anything about You-Know-Who. Dumbledore said you were his favorite teacher.”

The professor scoffed. “Ah yes, my claim to fame. The favorite teacher of the Darkest Wizard our world has ever known. What a nice epithet that will be, I’m sure. Of course, Harry would go for the Horcruxes. He’s Dumbledore’s man through and through.” Slughorn turned thoughtful for a moment. “That may not always be a good thing, mind you. Sit down, Weatherby.”

Ron did as he was told.

“I really shouldn’t tell you much,” the professor began. “It would be quite... well, I suppose none of that will even matter.” He sighed and Ron thought he was looking at a man who was clearly at war with himself.

“I’ve often thought about that night, the night I told him about some of the darkest magic known to Wizarding kind. I believed his curiosity natural, admirable. How wrong I was. The first thing you ought to know is that none of the items will be insignificant. They'll be things that were important to him. But they’ll also be things considered magically significant. He likes power, he like things connected with the past. Dumbledore—,” his voice caught briefly as he mentioned the old Headmaster, “may have told you as much. And his favorite place is this school. It is the only place he ever felt at home.”

Ron’s eyes widened. “Do you think one of the objects is here, sir?”

“Well, there could be no better hiding place, could there?”

“Sir, do you know how to destroy one?”

Slughorn sighed. “I have never learned the spell to create one. But a good wizard is curious about such things. But only curious. What I can tell you is that making horcruxes is not an easy business, my boy. Destroying them is far, far worse. There's only a couple of things in the world that can do so and most of them will kill a wizard just as easily. Basilisk venom, for one. I don’t think I need to tell how hard that is to come by. And no, I haven’t got any. If I did, I'd give it to you. There’s also Fiendfyre. It’ll destroy the Horcrux but if you’re not careful, it’ll take you right out with it. And then there is a Potion.”

“A Potion?”

Slughorn nodded. “Horcruxes, my boy, can be anything. Including flesh and blood. Now normally, you’d just kill the living thing and the Horcrux inside it right along with it. But, if for some reason, you want to remove the Horcrux without killing the host, there is a potion for that.”

Slughorn got up from his chair and walked back to a cupboard, shuffling about for a moment before picking out a small vial with a reddish-black liquid. He brought it back to the table and handed it to Ron.

“This is Actuscaria. It's one of the rarest potions in the world. It's incredibly tricky to make and it has about a thousand different uses, one of them is destroying Horcruxes inside of living things.”

Ron looked at the potion, fascinated, more fascinated than he’d ever been by a potion before. “How does it do that, sir?”

“Actuscaria can only be made by love.”

Ron looked at the professor, blue eyes clouded with confusion.

“As in the act of love.” Ron still looked perplexed. “As in making it, Mr. Weasley.”

Understanding dawned in Ron’s eyes, he turned bright red and eyed the bottle curiously. He was so fascinated that he didn’t realize that Slughorn finally got his blasted name right.

“But not just any act of love Mr. Weasley, the first act of love. To put it into frankly, the potion is made from the blood of a virgin witch.” Ron turned even redder, but if Slughorn noticed, he didn’t let on.

“The blood that is shed during the act of deflowering.” Ron blushed again, this time the color of a ripe tomato. “Also, the blood has to be combined with the seed of the wizard who has deflowered her. Given that she has been deflowered, this combination happens rather naturally. Also, you need the entire fingernail of each of their left hands. Combine that with three drops of phoenix tears, brewed in a cauldron made from dragon’s eggs and the fire lit only with elm wood for eight days and seven nights. But the most important part of this is that the witch and wizard must be in love. Not some childish, silly infatuation, but truthfully, truly in love or it will not work. Horcruxes are formed by murder, a violation against nature. But the act of love, true love at its purest is the very affirmation of nature. It’s Old Magic, you see, nothing more powerful. Guard it, Mr. Weasley, with your life. Even if you never have cause to use it, it’s worth five times its weight in gold.”

Ron reached out a slightly trembling hand to grasp the potion. It seemed so unremarkable, so ordinary. It didn’t look revolting like Polyjuice or deadly like Night of the Living Death.

“Thank you, Professor...for everything,” Ron said, standing up. “I’ll need to finish packing.”

Professor Slughorn nodded and Ron began to walk away. Right before, he reached the door, he turned around.

“Professor, is there anything, anything else at all that you can tell me?”

The aged potions master looked up from his desk. “Yes. Godspeed, my boy. Godspeed.”

Ron nodded. That wasn’t terribly helpful but he knew he meant well. Which considering the circumstances, was probably the most anyone could do.

“Mr. Weasley,” the professor called out before Ron had reached the back of the classroom. “Before you go, if you have a moment, feel free to take whatever you’d like from the Potions Storeroom. If you’re going to try and stop...him, you never know what you may need.”

Ron nodded and with one final farewell, he left the Good Professor to ponder that one fateful conversation. Ron had learned this year how much damage one action could cause.

As he headed back to Gryffindor Tower, he thought of everything the Professor had told him. Was it possible He-Who-Must-Not-Be-Named had hidden a Horcrux at Hogwarts? He didn’t pretend to know how the psycho thought, he left that up to Harry.

But if you were going to hide something you never wanted anyone to find, where else would you hide it?

He arrived in the Gryffindor common room, which was all but deserted. Hermione was sitting on the couch her legs propped up on her trunk, clearly deep in thought.

He was supposed to meet his parents and Ginny in the Great Hall in a hour and a half. Hermione would be coming with them and then taking the Floo Network back to her house.

She looked sad, she looked worried. She looked beautiful. All he wanted to do was hold her.

It hadn’t been the best year for their friendship. Theirs had always been a friendship of push and pull. But the past year, there wasn’t any pushing, only pulling away.

He honestly didn’t know where it had all gone wrong. Okay, so he did.

Jealousy, immaturity, insecurity, Ginny’s goading, Lavender’s sudden attention, Quidditch fears and Quidditch glory; it had been a toxic cocktail.

They were back on good terms finally. Near death experiences tended to make people forget pettiness. It was nice to know that they could never really be angry with each other. He never doubted her being there when it counted. He hoped she thought the same.

But that was part of the problem...he didn’t know what she thought...of him. He could read her moods like the back of his hand, could tell when she was angry, moody, stressed. He knew how to piss her off like nobody else. But he hadn’t quite worked out how to make her happy.

He had just begun to realize that was what he wanted to do, possibly, probably, definitely more than he wanted anything else.

Denial had long been his picked poison when it came to his feelings for Hermione, but now, now he didn’t want to hide them anymore. But there were a million reasons he had to.

There were a lot of things unsaid. It didn’t make sense to say them now, not when the whole world was at stake. If they lived, there would be time to say it all. But of course, that was a very big if.

“Hey,” she said with the smallest of smiles. He returned her smile and came to sit beside her.

“Where’s Ginny?” he asked. “Mum and Dad are going to be in Hogsmeade in an hour.”

“She’s down at Hagrid’s...with Harry. I think she wants to spend as much time with as she can.”

Ron nodded and then shook his, not needing that particular image in his head. Harry had been his best friend for the better part of six years, but still there were just some things one didn’t want to imagine about their little sister.

“How are you?” he asked. “I mean, really?”

Hermione shrugged. “Fair,” she responded. “It’s a lot to do. A lot to plan. I’ll be coming to the Burrow next week.”

“So soon?” he asked. Not that he minded. But Hermione usually didn’t come to the Burrow until the last week of summer.

“Yes,” she said rather quickly and he got the distinct feeling that there was something she wasn’t saying. “Is that all right?” she asked, brown eyes searching his.

He turned red. “Of course. Of course, it’s all right. I just thought that maybe with everything that’s going on, you’d want to spend more time at home...with your folks.”

Hermione shrugged. “With everything that’s going on, I'd love to never leave home. But that’s not really an option, is it? No use in prolonging the inevitable.”

“Have you thought of what you’re going to tell them?”

Hermione didn’t answer for a long moment and then just shook her head. “I don’t know how to have that conversation. But in any event, have you thought of what you’re going to tell Mrs. Weasley? That's the real dangerous one, isn’t it?”

Ron, despite his worry and trepidation, laughed. “You’re right about that one,” he said with a grin. She grinned back and for a moment, everything was okay.

“We’ll be okay, Hermione,” he told her with confidence he couldn’t quite justify.

She scoffed slightly. “You sound certain.”

“Well, you’re coming, aren’t you?”

She smiled, the first one he could remember seeing that reached her eyes in a long while. Then he remembered his conversation with Slughorn.

“I went to speak to Slughorn,” he said. “To see if he knew anything that could help us.”

Hermione frowned at that. “Ron, we’re not supposed to tell anyone! You could put him in danger.”

Ron rolled his eyes. “Hermione, for Merlin’s sake, Harry already told him something. And in case you didn’t notice, all of us are already in fucking danger.”

Hermione bit her lower lip and exhaled loudly, the way she always did when he was correct and she didn’t want to admit it. “Well, what did he say?” she asked finally a long pause.

Ron proceeded to say tell her the gist of his conversation with Slughorn. Although, he left out the part of the instructions for Actuscaria. There were some things he just didn’t feel comfortable talking about. Not with her.

Besides, Hermione being Hermione, she would, at some point, look up the recipe anyway.

“Basilisk venom,” she said once Ron had finished his story. “Where on earth are we going to find Basilisk venom?”

Ron thought for a moment. “I know where. Come on,” he grabbed her hand and pulled her to her feet. They had no time to waste.

He dismissed the way his heart was beating as nerves and anticipation and not having anything to do with the way her hand felt in his. No, that had nothing to do with it at all.

They stood there for the briefest of seconds, hand-in-hand, eyes searching into another and for a second, the never-ending fast-fowarding tape that had been their experience at Hogwarts seemed to pause.

But that moment, like all moments akin to it, ended too quickly.

“We’ve got to hurry,” Ron said blinking rapidly, breaking the intensity of their eye contact.

“You mind telling me where we’re going?” Hermione asked as they raced down the steps of Gryffindor Tower.

“Girls’ lavatory on the second floor.”

“What?” Hermione asked as she ran beside him, their hands still tightly clasped.

“Chamber of Secrets,” he said in a hushed whisper though the halls were nearly deserted.

They got there in record time. Ron had never known it to be so easy to sneak around Hogwarts. Without Dumbledore’s presence, nothing felt safe.

He didn’t like that feeling. Hogwarts’ had been his family’s home from home for centuries. Despite everything he had been through in his six years there, he had never felt truly, truly at risk.

Of course, the Ministry would do everything they could to keep everyone safe. But if he was going to judge by the stories Bill had told him about the early days of the First War, he wasn’t exactly filled with confidence.

But now wasn’t the time for his fears to get the better of him.

He gripped her hand tighter as they entered into the bathroom and found themselves facing the row of sinks.

He felt for the Snake-shaped clasp hidden since Tom Riddle had walked these halls. It felt weird doing this without Harry, he had to admit. But he had a feeling had things were going to get dicey, Harry would need all the help he could get.

“How do we get in?” Hermione asked curiously.

“Parseltongue,” Ron said as he thought back to the last time he’d been there. Parseltongue always sounded creepy and disturbing to him, but Harry mumbled it a lot in his sleep. Ron had only picked up on it subconsciously, but he hoped he had enough not to botch it.

The whispery, slithery words felt unnatural and harsh on his tongue, but it worked. The tap began to move and Hermione gasped in awe.

“Oh, my god,” she whispered as the tunnel to the Chamber of Secrets opened.

“Come on,” he said. “We’ve got to jump,” Ron told her. “You may want to hold on.”

Hermione peered down the tunnel, eyes wide. “Hold on to what?” her voice was highly confused.

“To me,” he said motioning to his shoulders.

“Oh,” a blush crept across her face and Ron pretended he didn’t notice as he fought his own burning cheeks. Her arms wrapped around the top of his chest and he prayed that she couldn’t feel his heart beating, though he knew it was pounding.

Her little hands clasped around him, delicate and dainty but he knew what damage those hands could do. The contrast simultaneously amused and aroused him. But he shook himself of those thoughts. Focus, focus, she’s only a girl.

But of course, even as they jumped down the tunnel, he knew he was kidding himself. She was The Girl. The Girl He Wanted, The Girl He Needed, The Girl He Loved. Love?

It seemed so foreign, yet as they whooshed down the tunnel, he could think of no reason to dispel it. He loved her. When the fuck had that happened?

It was unsettling to be with the notion of love as they were sliding down a dark, creepy dangerous tunnel in preparation of an even more dangerous mission where the best-case scenario was if they won, they most likely be dead as a result.

They slid down the tunnel and Hermione rapped his shoulders tighter as their speed increased.

Ron cast a silent Cushioning Charm because the memory of barreling into hundred thousand mouse skeletons was far from his favorite thing.

They landed with a thud and Hermione’s hands instantly left Ron’s shoulders. He was surprised by how instantly he felt the loss of her touch and how much he longed for it again.

“Oh, my God,” Hermione said as she looked around. There was rubble, dust and ash everywhere.

“We’ll have to bombard our way through,” Ron told her pulling out his wand. “Three tons of rock dropped last time, so let’s be careful.”

Hermione nodded and pulled out her own wand. “I’m right behind you,” agreed with a grin.

He took her hand in his. “If we need to make a quick exit, Side-Long Apparation?”

She nodded and they pressed forward until they reached the Chamber Door.

Another round of Parseltongue from Ron later, the door opened and they found themselves in a room which they had only heard about secondhand from Harry and Ginny.

“Do you have any idea what you’re saying?” Hermione asked as they entered the Chamber.

Ron pulled a look. “Are you serious?” he asked. “Yes, I've spent my free learning the secret language of psychos.”

“Not all Slytherins are evil, Ronald.”

“Name one you like.”

He had her there. She gave no answer and merely shrugged.

They both paused when their eyes fell upon the basilisk skeleton.

“Bloody hell,” whistled Hermione as she took the whole thing in.

“Hey don’t sweat it. It's dead. We’ve got living monsters to worry about. What's that Shakespeare quote you always say, ‘Hell is empty and all the devils are here’?”

Hermione stopped dead in her tracks. “I said that once three years ago. You remember that?”

Ron colored slightly and shrugged in reply. “I guess. Let’s get the fangs.”

He started to kneel down, reaching to grab a fang.

“Ron, wait! We should remove those with magic. What if you accidentally scratched yourself?”

Ron had jumped back at her words. “Oh, right. Brilliant, you are.”

She smiled at that and pulled out her wand. They carefully magically removed twelve basilisk fangs from the remains of the vicious snake. Hermione conjured up a backpack for them to place them in.

“You know, Ron,” Hermione said as she zipped up the backpack. “This is going to be really dangerous what we’re doing.”

He nodded, as she rose to stand right in front of him. “Have you thought about it, if we don’t make it?”

She nodded and then shrugged, though he thought he saw the beginnings of tears in her eyes. “I have. But it doesn’t really matter, does it? What matter is—,”

“Harry,” he finished for her. “Harry has to make it through. That's what the prophecy said.”

Hermione sniffled. “Harry,” she agreed. “God, if I had known that we may not be coming back next here, that we may not be coming back at all, I would’ve done so much so differently.”

He looked at her for a long moment, wondering if she was talking about what he thought.

He looked down at his shoes. “Me too,” he began rather meekly. He lifted his face to meet hers again and smiled. “I think about all that time I spent worrying about Quidditch. Like that matters now.”

“Ron, I’m sorry about the birds, if I never apologized for that before.”

He grinned. He hadn’t been expecting her to say that. “Thanks,” he said honestly. “I’m sorry about...everything.” Although, he couldn’t remember what he apologizing for. But he figured it was best to cover the bases.

She chuckled lightly. “You don’t know what you’re apologizing for, do you?”

He shook his head, amused by her ability to see right through him. “Not really, no. But I figured it couldn’t hurt. I'm sorry about Lavender.”

She shook her head. “Don’t apologize,” she said. “It wasn’t your fault she fancied you. I just overreacted...a bit.”

He raised his eyebrows. “A bit?”

“All right, a lot. I just I can’t believe you fancied her.”

“Well, I didn’t...I mean not really.”

“Ronald, that’s horrible.”

“I know,” he said somewhat guiltily. “It’s just she fancied me, and I guess I fancied that and before I knew it, it had gotten out of hand. Then you weren’t speaking to me—,”

Hermione scoffed. “Oh, so you were trying to stick it to me by snogging her? Real mature, that is.”

Ron found his ire rising. “Oh, and just what the fucking hell were you doing with McClaggen, then? Research into the mind of right arrogant pricks?”

“Well, I wouldn’t have if you hadn’t!”

“Well, I wouldn’t have if you hadn’t....” he trailed off, not wanting to finish that sentence.

But Hermione was having none of that. “If I hadn’t what, Ronald?” she folded her arms and waited and he knew she would wait. Because the only person more stubborn that him was her.

He knew he wasn’t about to admit to rational behavior, which is why he did not want to admit it.

“Ginnyutoldmeukissedkrum,” he said quickly and primarily to the floor.

“What?”

He sighed. He didn’t want to have this conversation. But maybe, just maybe, now wasn’t the time to leave things unsaid.

“Ginny told me you kissed Krum.”

Hermione blinked very fast for a few moments, the way she always did when she was thinking. She looked confused, then she looked agitated, then she looked annoyed. Very annoyed. At him.

“You mean two years ago?” she asked her voice dripping with derision.

His eyes looked at the floor again. “Well...yeah.”

“Let me get this straight: you started snogging Lavender because Ginny told you about me and Viktor?”

“Well, I started snogging Lavender because she started snogging me, but I can’t say that didn’t have something to do with it.”

Hermione shook her head and rolled her eyes. She raked a hand through her hair. “This is all so silly. You could’ve talked to me about that, you know?”

“I can’t talk to you about him,” he said honestly. “It makes me crazy.”

“Why?!” she exploded. “Why does it drive you so mad?”

“Because,” he snapped, just as heated. “Because,” he said somewhat more calmly once he saw the look in her eyes. “I just...it’s the thought of him with you...instead...instead of me.”

He hoped he didn’t look as crestfallen or as foolish as he thought he sounded. But he was sure he saw pity in her expression.

“Oh, Ron,” she said softly. She shook her head again and he knew she was thinking that he was an idiot. “You didn’t even know I was a girl back then.”

He colored. “I did. I knew you were a girl. I just didn’t know back then that you meant something to me...as a girl, you know, not just a friend.”

She blinked and her face lifted in kind of a smile. “It’s all right,” she said. “I understand.”

“You do?” he said, surprised.

She nodded. “I go red with rage when I think about you and Lav-Lav.”

“I noticed,” he said wryly thinking of birds pecking his flesh.

“You know, all this could’ve been avoided if we had only spoken to one another,” she said with a resigned sigh.

He nodded. “You’re right. You're always right.”

“Not always.” She looked

“You know if I had known if we weren’t coming back here next year, if we might not be coming back at all...I would’ve asked you to the Yule Ball. I would've gone to Slughorn’s Christmas Do. But in my defense, I didn’t know you were asking me out.”

She raised her eyebrows, but he didn’t give her a chance to respond.

“I mean maybe I thought or maybe I hoped but it doesn’t matter. The point is if I had known how high the stakes were going to get, I would’ve done a lot of things.” He took a breath, not wanting the moment to pass. “Most of all, I would’ve done this.”

He leaned forward, way, way, way forward, since compared to him, she was practically house-elf sized. He waited for her to stop him, waited for her to push him away or flee from the expanding closeness between them.

In the back of his mind, he didn’t know if he had the right to do this, after all, no admissions of feelings had passed between them. Then again, maybe when you knew each other as well as they did, words were a little less necessary.

He kept leaning until their faces were inches apart. He could feel the blood rushing in his ears, his heart pounding dramatically.

His lips brushed against hers, softly, slowly asking a question. He thought he felt her gasp or shiver or something he couldn’t quite name. Her lips were soft and they tasted like honey. He pressed his against her lips harder, asking the question again.

She answered, her lips playing over his in return. God, he was kissing Hermione. And she was kissing him back. It was nothing like those lung-collapsing snog marathons with Lavender. It was soft and sweet and...intimate.

He dared himself to be bold, there was no point in turning back now. He wrapped his arms around her waist and pulled her close. She felt small and frail against him and a wave of protectiveness ran through his veins, barely reined in by his desire to keep kissing her.

Her mouth opened and suddenly her taste was everywhere, on his tongue, in his mind, in his heart. Her hands clasped around his shoulders, bringing him deeper and he heard her moan slightly.

That one, little breathy exhalation went straight to his cock. All the things he wanted to do to her rushed through his brain in a series of flashes. Suddenly his lips were on her neck, chasing the sound that fell from her lips. Her skin was feather-soft against his lips and all he wanted to do was mark it, claim it as his own.

His lips lingered on a spot underneath her chin which caused another raspy moan, louder than the one before to fall from her lips.

Ron felt himself harden, and they were close enough where he knew she could feel it. Something in the back of his mind told him to stop, but he couldn’t. He was addicted to having her in his arms, on his skin, and the sounds and shudders she made as he touched her. His lips sought hers again for another deep, nearly bruising kiss.

His hands began to roam up her waist, she shifted closer to him, her foot kicking the backpack. One of the basilisk fangs fell out and clattered to the ground.

That one sound snapped Hermione back into reality. She pulled her lips away abruptly. Her hands left his shoulders and she moved an inch away.

Ron’s eyes shut open, afraid that he had gone too far, pushed past the limit. He waited for to say something. Waited for the inevitable heartbreak he knew was coming.

“We can’t do this,” she said softly.

He instantly deflated but tried to hide it. “You’re right,” he said, hoping his voice didn’t sound shaky. “I’m sorry, I should have never. I didn’t mean to...take advantage of you and I can’t blame you if you want to slap me or hex me or send more birds but I've still got scabs from that so if you could lay off—,”

“Ron, what are you talking about?” She looked up at him, confused. “You didn’t take advantage of me.”

They both blushed as the weight of their action sunk in.

“Soooo,” Ron tested the waters. “You don’t want to hex me?”

She laughed softly. “No, no, quite the opposite actually.”

He couldn’t help but beam at that. She placed a hand on his face, cupping his cheek. “We can’t do this...not now,” she quickly amended. “Right now, we don’t matter. The only thing that matters is—,”

“Harry,” interjected Ron. “The only thing that matters right now is Harry. Harry has to make it through.”

She dropped her hand from his face and matching sad, resigned smiles crossed their faces.

“We could die,” Ron said briefly. He wasn’t sad, or even upset about it. He knew it was a fact.

Hermione nodded. “We could. But that really doesn’t matter either, does it?” She shook her, frustration clouding her features. “You know, this year was a waste. When I think that we could’ve just...”

“Spent all year snogging,” Ron suggested for her. No use in beating around the bush anymore

She rolled her eyes. “You did spend half the year snogging.”

Ron shrugged sheepishly. “Well, yeah, but she wasn’t you.” He enjoyed the smile on her face at his words.

“Are you scared?” she asked.

He shrugged. “Not of dying. I’m more scared of what’ll happen if we don’t win. But I was scared of dying before I lived.”

“You’re not anymore?” she seemed surprised.

“Nope,” he said with a rakish grin. “I’ll get to remember the last five minutes for as long as I live. So, if You-Know-Who pops my clogs tomorrow, that’d be all right.”

She laughed. “You’re impossible.”

Ron grinned. “Yes, and you love me.” He had meant it as a joke, it was supposed to be a joke. But she didn’t laugh. She just stared into his eyes for a long pause.

When she did speak, her was clear and earnest. “I do.”

He felt like he’d gotten hit with a Stunning jinx. But then she was staring up at him with her huge brown eyes, a hint of fear at the edges and he realized she was waiting for him to say something.

“I do too,” he said quickly. She smiled and reached for his hand again, their fingers intertwined.

A long, sincere beat passed between the two of them. But it ended all too soon. “So, if we win and we don’t die,” she said an edge of humor. “Can I get one of your Weasley sweaters?”

He laughed. “You can have them all.”

“And your Quidditch jersey?”

“Let’s not get carried away,” he said, mockingly scandalized.

They stared at each other again and All Ron wanted to do was kiss her again. He thought she was thinking the same thing too, but she looked away.

“We’ve got to go. Your parents will be ready to leave soon.”

He nodded. She was right. “Yeah, yeah, we should. Oh, I totally forgot. Slughorn said we should go to the Storeroom, pick out whatever we think we may need.”

Hermione went straight into Hermione mode. “Ronald, why didn’t you say so? We haven’t got all day, have we? Let's go!”

She picked up the backpack, shrunk it down and stuck it in her pocket.

“Ronald, come on!” she beckoned him forward and out of the Chamber.

Despite everything, the danger they were in, the uncertainty of the future, and the deranged, powerful psychopath who wanted to destroy everything he held dear, all he could think of was if and when he’d ever kiss her again.

#fanfction #hp #hermione granger #ron weasley #romione #post-hpb #teaser

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