#regin / yves

[kanobarlowe]

Thirsty Thursday

For this blessed Thursday I think I'll just start simple and mention the main romance subplot of my Bridgewater WIP.

The main character is named Yves Leblanc, a young man of 25 from Montana who has found his way to Maine, following a strange calling to the area and to the sea that he can't quite explain.

There he meets Regin Hartford, a gentleman who seems too pristine and proper for a small town with his fine suits and spotless silks—until he bites down on Yves' wrist, enthralling him. A vampire lurking in a forgettable oceanside town? How mysterious.

As the pair work together to solve a mystery plaguing the town, they begin to get to know each other, exposing to each other their own inner mysteries—the first person to listen and see Yves as himself in years, and the first person in near centuries that seems to see the human in Regin that had long been silent.

Picrew here.

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[barblaz-arts]

An eterneity later i relaized that you like Loona, who are you bias that you vase Vega and Regine core personality.

Mi bias are Chuu and Yves, and I miss them so much

I love them a lot! I made tons of art for them if you check out Loona/Loonaverse tag in this blog. And I even sent them fanart when they were in this idol program called Queendom

Kim Lip pointing out my art and saying it's cute is still one of the best moments in my life. Can't believe it got actual screentime lmao

Oh man. The main vocal and main dancers. Excellent choice.

My biases are Hyunjin and Gowon, inspiring the personalities for Vega and Regine respectively. For Vega I especially think about that one instance when Hyunjin had a bark off with a dog.

When that one tweet said Hyunjin was a goddess, but specifically a goddess of mischief? Yeah that's Vega

[josh0555]

This is the 2012 Christmas Station ID of TV5. The Christmas Station ID was themed "Everyday is Christmas Day”

The Christmas Station ID Theme Song of the same name was sung by Jose Mari Chan and Apo Hiking Society. Although, This is the only Christmas Station ID Theme Song not to be sung by Ogie Alcasid nor Regine Velasquez. 

But eventually, The Christmas Station ID features Ogie Alcasid, Martin Andanar, Seph Ubalde, Hero Angeles, Enzo Pineda, CJ Muere, Dennis Trillo, Sunshine Dizon, Sue Ramirez, Maja Salvador, Louise de los Reyes, Shaina Magdayao, Jazz Ocampo, Kim Chiu, Vice Ganda, Empoy Marquez, Coco Martin, Zoren Legaspi, Bella Mariano, Vince Gamad, Angel Locsin, German Moreno, Carmelito “Shalala” Reyes, Romy “Dagul” Pastrana, Mark Herras, Kris Aquino, Nash Aguas, Valeen Montenegro, Emman Abeleda, Joshua Dionisio, Sid Lucero, JC de Vera, Sef Cadayona, Dion Ignacio, Gerald Anderson, Edgar Allan Guzman, Arcee Muñoz, Alice Dixson, Tuesday Vargas, Ritz Azul, Eula Caballero, Luchi Cruz-Valdez, Korina Sanchez, Pia Arcangel, Connie Sison, Pinky Webb, Ivan Mayrina, Mark Salazar, Raffy Tima, Howie Severino, Atom Araullo, Shawn Yao, Enrique Gil, Marco Gumabao, Liza Soberano, Aga Muhlach, John Lloyd Cruz, Onemig Bondoc, EJ Falcon, Michael V., Allan K., Jake Cuenca, Paulo Avelino, IC Mendoza, David Licauco, Ken Chan, Sam Milby, Marco Alcaraz, Ivana Alawi, Arjo Atayde, Kit Thompson, Ruru Madrid, Juancho Triviño, Ina Raymundo, Gretchen Barretto, Ahron Villena, DingDong Avanzado, Jun Sabayton, Niño Muhlach, Simon Ibarra, Ramon Bautista, Baron Geisler, Dominic Roque, Eric Fructuoso, Chuckie Dreyfus, Mark Anthony Fernandez, Tirso Cruz III, Rhea Santos, Alex Santos, Ivan Dorschner, Jerald Napoles, Jason Abalos, Addy Raj, Adrian Alandy, Jeric Gonzales, Carlo Aquino, Derrick Monasterio, Xian Lim, Yves Flores, Diego Castro III, Carmina Villaroel, Eugene Domingo, Nora Aunor, including Julius Babao and his wife Christine Bersola-Babao, Bela Padilla and Kylie Padilla, daughters of Rommel Padilla, sisters of Queenie Padilla, nieces of Robin Padilla and cousins of Daniel Padilla and RJ Padilla. twin brothers Rodjun and Rayver Cruz, Mikoy Morales, the son of Vicky Morales, Ronwaldo and Kristoffer Martin, the sons of Coco Martin and Sandino Martin, the brother of Coco Martin featuring Master Boy Abunda, Emcee Mo Twister, DJ Willie Revillame, Captain Lourd de Veyra and president Noynoy Aquino as Santa Claus.

The Christmas Station ID also features special guests like Cristine Reyes, Masahiro Inoue, Renn Kiriyama, Ryota Ozawa, Yutaka Kobayashi and Riki Miura who are the actors from the 2006 movie Minority Report and South Korean boy band Momoland as a 9-member boy band during their pre-debut similar to the Happy Music Video from Toy Story 3 when they are in school uniform. Somehow, The Christmas Station ID also features cameos from Disney at the very end featuring Blue the Puppy who is the mascot of TV5 and the character from Disney’s Blues Clues. Somehow, Blue the Puppy broke the fourth wall and made the characters from Disney, the TV5 crew members and South Korean boy band Momoland to get mad and glare at her which makes Blue surprised that she is about to be captured by the crew. However, The opening features the voice of Peter Musgñi who is the voiceover of ABS-CBN whenever he narrates about Christmas and even the people they lost which made people cry or even depressed.

Somehow, The Christmas Station ID will be re-used in 2013 which will be known as “DisyembRegalo”.

[kitsunetsuki]

Chris von Wangenheim - Regine Jaffrey for Yves Saint Laurent Rive Gauche (Vogue 1974)

[mamapriest]

YSL MUSES THROUGHOUT HISTORY

crfashionbook.com

The Yves Saint Laurent woman has always been a cool girl. Individual, bohemian, and often musical, her beauty is striking and she’s never been afraid to challenge conventional attitudes. The house has had more muses than most as it’s changed creative directors over the years, but the tradition of designing for free-thinking women started with Yves Saint Laurent himself and memorable faces Catherine Denueve, Loulou de la Falaise, and Betty Catroux. 

VICTOIRE DOUTRELEAU

The 2014 Yves Saint Laurent biopic revealed a controversial ménage à trois between the designer, his partner Pierre Bergé, and model Victoire Doutreleau. The French beauty was Christian Dior’s muse in the early ‘50s and moved over to YSL when the house opened for business in 1960.

CATHERINE DENEUVE

Catherine Deneuve remained by Saint Laurent’s side throughout the highs and lows of his career—and until his death in 2008. The two met when the actress visited the designer’s atelier to pick out a dress for a visit with Elizabeth II, Queen of England. Later, he designed her wardrobe for the film Belle de Jour.

BETTY CATROUX

Famous for her androgynous figure and white-blond hair, Betty Catroux became a YSL muse after meeting Saint Laurent at Parisian nightclub Regine in 1967. The designer recognized her as the female counterpart of himself and described her as his “twin sister.”

LOULOU DE LA FALAISE

Loulou de la Falaise modeled for Richard Avedon and Helmut Newton before she became friends with the eponymous designer in the early ‘70s. She’s credited with influencing Saint Laurent's colorful Marrakech years—and for teaching him how to swallow hashish instead of smoking it.

SYLVIE VARTAN

Singer Sylvie Vartan was one of the original French Yé-yé girls. She tapped Saint Laurent to design her stage costumes after admiring an outfit of his on a fellow performer. Her most famous YSL ensembles include a sequined jumpsuit and crystal encrusted jeans.

PALOMA PICASSO

It-girl, jewelry designer, and daughter of iconic artist Pablo, Paloma Picasso was one of the key names in Saint Laurent’s close-knit crew of friends and muses. She wore a white YSL jacket on her wedding day and inspired his 1971 “Scandal” collection.

MOUNIA

Yves Saint Laurent made fashion history when he selected Mounia as his muse in 1978: It was the first time a black model walked in a haute couture show. Speaking after the designer’s death, Mounia thanked him for breaking down racial boundaries and opening the door for models of different ethnicities.

MARINA SCHIANO

Marina Schiano started out as a fit model in Yves Saint Laurent’s atelier before becoming his muse and director of his label’s New York operations. She is said to have one of the most extensive archives of original YSL pieces.

CARA DELEVINGNE

British model Cara Delevingne began appearing in Saint Laurent ready-to-wear and beauty campaigns in 2013. She “quit” modeling to focus on her acting career soon after, but resurfaced as the face of the Slimane’s last haute couture collection in March 2016.

[my-claudio-gobbi]

Nella foto di apertura. A sx Allez F5ance con St Martin, a dx Dahlia con Piggot

di Paolo Allegri

Allez France

Dahlia

A sx Allez France, a dx Dahlia

Grandi femmine del galoppo mondiale raccontate da Paolo Allegri in esclusiva per Chavalier.net

Qui sopra il francobollo commemorativo che la Francia ha voluto dedicare alla campionessa di Daniel Wildenstein.

Il video della vittoria di Allez France nell’Arc del 1974

Sportivamente il 1974 è l’anno dei mondiali tedeschi di calcio con la Germania che batte in finale l’Olanda per 2 a 1 in un’edizione dei campionati del mondo che segna nel calcio la ‘rivoluzione’ dei tulipani con il calcio totale. Ma anche l’ippica in quell’anno vive momenti di grandi imprese, soprattutto sui palcoscenici più prestigiosi, quello di Ascot per le King George, in luglio, e tra le quinte rosseggianti del Bois nell’autunno del parigino Arc. Quel 1974 è segnato dal dominio di due grandi femmine, Dahlia e Allez France.

Con un punto di contatto, entrambe nate in America. La saura Dahlia, figlia del laureato dell’Arc Vaguely Noble, a tre anni aveva vinto il St. Alary, le Oaks irlandesi su Mysterious (da Crepello) e le King George di Ascot su Rheingold e Our Mirage. La sua stagione 1973 si era conclusa con una trasferta negli States dove aveva dominato il D.C. International di Washington, allora un mondiale di fine annata. La baia Allez France, allevata dal Bieber-Jacobs Stable e di proprietà di Daniel Wildenstein, era nata nella porpora, essendo erede del crack Sea Bird, laureato di Derby di Epsom e di Arc e della campionessa americana Priceless Gem, una che in carriera aveva sconfitto uno dei più grandi galoppatori statunitensi di sempre, Buckpasser. Nella campagna giovanile e nel circuito classico dei tre anni, affidata in training ad Albert Klimscha, aveva centrato diverse prove élitarie: il Criterium de Pouliches, la Poule d’essai, il Prix de Diane, il Prix Vermeille, finendo seconda nell’Arc 1973. Nelle lunghe serate invernali del 1974, gli appassionati già pregustando le grandi sfide nei templi di Ascot e Longchamp, si dividevano tra Dahlia, che dopo il trionfo americano sarebbe tornata in Europa, e Allez France, che nel frattempo aveva cambiato allenatore, passando in training ad Angel Penna. Le due campionesse a tre anni si erano affrontate due volte, sempre con esito favorevole ad Allez France: in primavera nella Poule d’Essai des pouliches, con Dahlia terza, e in giugno nel Prix de Diane, con le due regine del galoppo mondiale prima e seconda di quel mondano appuntamento a Chantilly. In sella alle due eroine di quella stagione di mezzo dei Settanta, c’erano due jockey di formidabile talento e longevità: Lester Piggott su Dahlia, mentre Yves Saint Martin era l’interprete di Allez France. Un fattore che aggiungeva ulteriore paprika ad una sfida di per sé già appassionante tra due meravigliose cavalle da corsa. Dahlia, tornata dalla trasferta americana, stentava a ritrovare la forma. Così Allez France ebbe vita facile nelle prime prove primaverili del 1974, vincendo l’Harcourt sui 2000 (Dahlia si classificò quarta) e bissando nel Ganay sui 2100, con Dahlia quinta. In estate la figlia di Vaguely Noble ritrovò i suoi motivi migliori e Allez France la evitò, con Angel Penna che aveva segnato sul calendario nella prima domenica di ottobre, quella dell’Arc, l’appuntamento da non perdere.  Così Dahlia passò di vittoria in vittoria, dal Grand Prix de St. Cloud alla Benson and Hedges Gold Cup di York, riportata con superiorità assoluta. La saura nata nel 1970 da quel Vaguely Noble che aveva riportato in auge la linea di Hyperion e di suo figlio Aureole, tentò anche le King George e le vinse in maniera travolgente su Highclere.

In preparazione alla grande corsa di ottobre al Bois de Boulogne, le due finalmente si incontrarono di nuovo nel Vermeille e vinse ancora Allez France, proiettata verso l’Arc. Quando la prediletta di quel grande e colto turfman di nome Daniel Wildenstein sembrava avviata verso un facile trionfo, ecco il colpo di scena: il suo fantino, l’amatissimo da tutti i francesi Yves St. Martin, genio tattico e straordinaria capacità di concentrazione, al venerdì cadde in corsa, senza gravi conseguenze ma con qualche acciacco. Così la domenica, quel jockey formidabile con gli antidolorifici, montò solo la regale figlia di Sea Bird. La retta fu particolare, con Allez France in fuga anticipata, quasi scappando di mano al suo interprete che non poteva comandarla al meglio. Ma c’era una Nazione intera, che alla vigilia l’aveva appoggiata con un ticket al PMU, a spingere una campionessa che con la sua classe immensa centrò l’obiettivo, acclamata dalla folla al rientro così come si fa con le Regine che rubano il cuore e l’anima perché hanno in un fascino irresistibile il proprio segno distintivo. Allez France e Dahlia, le straordinarie protagoniste di una stagione irripetibile, quel 1974 del galoppo dominato dalle femmine.

  Allez France vs Dahlia: un duello infinito. Ce lo racconta Paolo Allegri (video vittoria Allez France Arc 1974).

[hicandyren-blog]

1970&

  As the “me decade” tries to find itself, hemlines go up and down and up - from minis to short shorts that WWD coins “hotpants”

African- Americans increasingly influence the cultural scene, as models designers, performers and arbiters of cultural style and taste. 

The oil crisis leads to long lines at the pumps, and retailers fear a slump in business. ( Oil crisis, a sudden rise in the price of oil that is often accompanied by decreased supply. Since oil provides the main source of energy for advanced industrial economies, an oil crisis can endanger economic and political stability throughout the global economy. )

Everybody wears, designs and adores T-shirts- even New York City sanitation workers, whose version reads “sanitation Man”.

women enter the workplace in greater numbers, pantsuits take off and Diane Keaton’s menswear-inspired Annie Hall look becomes popular.

The biggest fashion influence on America’s young women in 1977 was neither a New York designer like Halston or Calvin Klein nor a European couturier like Yves St Lauren or Valentino, but the title character in Woody Allen’s latest movie, Annie Hall, played by Diane Keaton.

Young trendies were gearing up in men’s vests, comfy sweaters, slouchy brimmed hats, men’s tweeds, baggy trousers and trailing scarves, piling the pieces one on top of the other for a madcap kooky look.

In with the new: women trade staid classics for the extreme silhouettes and loud colors of designers like Kenzo Takada. 

The supersonic Concorde becomes the jet-set fashion shuttle. 

Sequins meet Lycra meets Lurex in the splashy, shinny world of disco nightlife.  “Regine’s, Cafe Reginette and Studio 54 are the best places to catch a glimpse of New York;s Nightcraawlers, fashion claques and young art=biters in their new nighttime looks”

Punks rock trickle up from the street of London to the work of designers. 

Denim goes up-market: designer jeans make their debut. 

Pierre Cardin’s company becomes one of the first to capitalize on China’s new openness to the West.  

 ( Pierre Cardin is a French fashion designer. Cardin is known for his avant-garde style and his Space Age designs. He prefers geometric shapes and motifs, often ignoring the female form. He advanced into unisex fashions, sometimes experimental, and not always practical. )

https://www.britannica.com/topic/oil-crisis

https://nostalgiacentral.com/pop-culture/fashion/annie-hall-look/

https://www.telegraph.co.uk/finance/newsbysector/retailandconsumer/8489496/Pierre-Cardin-fashion-from-1950-to-2010.html?image=3

https://untappedcities.com/2015/02/11/today-in-nyc-history-the-great-garbage-strike-of-1968/

https://www.scmp.com/lifestyle/fashion-beauty/article/3001444/fashion-legend-kenzo-takada-looks-back-his-remarkable

http://m.womenofchina.cn/womenofchina/xhtml1/culture/minoritygroups/14/12-8.htm

[jessicakehoe]

An American In Paris: An Interview with Michael Kors circa the Céline Era

Since its launch in 1977, FASHION magazine has been giving Canadian readers in-depth reports on the industry’s most influential figures and expert takes on the worlds of fashion, beauty and style. In this series, we explore the depths of our archive to bring you some of the best fashion features we’ve ever published. This story, originally titled “Michael, Michael Everywhere” by Tim Blanks, was initially published in FASHION’s October 2000 issue.

Americans in Paris have been one of the just-won’t-quit stories in fashion over the past few years, a state of affairs that Tom Ford’s debut at Yves Saint Laurent isn’t likely to change. But Texan Tom’s trail had already been well and truly blazed by hypercool New Yorkers. Marc Jacobs had possibly the easier job. Louis Vuitton’s fashion identity was a vacuum he could fill as he chose. Michael Kors, the blond, blue-eyed favourite of Park Avenue princesses, had to contend with Céline, the immutable essence of Parisian bourgeois chic. That he has succeeded so well is the purest testament to the ongoing globalization of fashion. Oh, and it also speaks volumes about his own charming way with the world and his immaculate sense of timing. Playful luxury? What more could an IPO baby want?

Michael Kors: A lot of people talk about finding the heritage, but there are a lot of houses that have no heritage-so you have to create one. Céline has an amazing history of luxury and quality and a very French sort of indulgence, so it’s fun for me to take the iconic things from the house and blow the dust off them.

Tim Blanks: Such as?

What could be more Parisian than the chain-link fence round the Arc de Triomphe? It was the inspiration for the Céline chain, which is our insignia. So I’ve played with it, turning it into sandals, threading it round the waist of jeans, modernizing it as buckles. It’s interesting to mix, say, corduroy with the most extravagant French couture jacket with a chain closure.

You’ve always got a definite character in mind when you create a collection, like that Jackie O-Jennifer Lopez combo from your own Palm Bitch collection. This time, you’re talking about a little, French girl straight out of boarding school and readying herself for a life of jet-set glamour. That sounds kind of perverse to me.

I think there is something interesting about things always being a bit of a contradiction. I look at someone like Chloë Sevigny and she’s got really amazing style—she wears very sophisticated clothes in an offhand way and that’s the kind of girl we’re talking about. It’s the attitude that a woman brings to how she gets dressed. The clothes are very polished and luxurious, so it’s not like we’re suddenly doing schoolgirl clothes. They’re very indulgent, in fact, but it’s how the woman wears her indulgence that counts.

But the house of Céline is much more the notion of stealth luxury than your own show in New York, which was very over the top.

New Yorkers as a whole really have a strictness to how they dress—a real neatness. They look very turned out, and this season that was what New York was about for me. The French like to play with their clothes; they have fun with fashion. This is really about mixing the two extremes—the very casual and the very luxe. Céline you can wear top to toe, or you can take a piece and inject it into your existing wardrobe.

But now you’ve been exploring the outer limits of excess, what can you possibly conceive of as the next move?

The workmanship in Paris means it’s limitless what we can do. We’ve sliced fur up this season to make it look like herringbone and plaids. We can do incredible details with embroideries and feathers. Again, it’s how you wear it. Even if the clothes are super extravagant, I never want them to feel heavy or old-fashioned. I want them to wink at the glamour of the past, but I want them to stay modern. And a lot of that has to do with the fabrics we have now. If you put on a stretch-cashmere, embroidered cocktail dress, you might feel as though you’re going to a fabulous party at Regine’s in 1981. But the reality is, the dress feels like a T-shirt. It wouldn’t have been possible to make that dress back in 1981, because back then it would have been weighed down with structure and lining.

You often invoke the past. What does nostalgia mean to you?

For someone who’s a real modernist, I’m the ultimate nostalgist. You can’t have the future without the past. It’s just that I like streamlined things. No matter how extravagant the clothes might be, they’re still based on the idea that these clothes are here to make people look tall and thin, make them feel good about themselves. You know we’re never going to add a third sleeve to a jacket for novelty’s sake! So I’m actually very much a traditionalist in my own way. I love old movies; I love traditional restaurants. I’m very happy at the “21” Club [in New York], I’m not going to be the first person to run to Pastis. At the same time, I sit around with my eyes and ears open, looking for whatever is fresh, because if you blend old and new you’re going to have the best of it all.

The post An American In Paris: An Interview with Michael Kors circa the Céline Era appeared first on FASHION Magazine.

An American In Paris: An Interview with Michael Kors circa the Céline Era published first on https://borboletabags.tumblr.com/

[pangeanews]

Sul romanzo più crudele di William Faulkner (ovvero: di quella ninfa violentata con una pannocchia)

Il 1929 fu un anno fondamentale, pattugliato da due libri. A gennaio Harcourt manda in libreria Sartoris. Soprattutto, il 7 ottobre di quell’anno, Jonathan Cape si convince a pubblicare L’urlo e il furore. Il libro, qualche mese prima, era stato rifiutato da Harcourt. Nel 1929 Faulkner ambienta – come sempre nel set di Yoknapatawpha – il romanzo che finalmente gli dona il successo. Il romanzo che ripudia.

*

Dieci anni prima William Faulkner scriveva poesie – quelle che faranno la raccolta The Marble Faun – e guardava con desiderio Estelle Oldham, appena tornata da Honolulu. Facevano coppia, da ragazzi. Poi lei preferì l’avvocato Franklin, galeotto fu l’anello adornato di diamanti che le aveva regalato. Il 29 aprile del 1929, però, Estelle divorzia dal ricco avvocato e il 20 giugno di quell’anno sposa lo scrittore squattrinato. “Estelle è delusa dalla trasandatezza del marito… Estelle tenta il suicidio cercando di annegarsi… I problemi economici sono diventati una ossessione quotidiana” (così Fernanda Pivano nella Cronologia che completa le Opere scelte di Faulkner incapsulate nei ‘Meridiani’ Mondadori).

*

Dice di averlo scritto per far soldi. Lo scrive chiaramente, in una introduzione celeberrima, nel 1932. “Questo libro fu scritto tre anni fa. Secondo me non è un gran che, come idea, perché fu concepito unicamente allo scopo di far soldi”. Questo è l’incipit. Non bisogna credere a Faulkner, mentitore seriale. La verità è che quel libro, Sanctuary, faceva tremare i polsi, faceva esplodere le caviglie. Faulkner lo termina il 25 maggio del 1929. Il suo editore gli risponde: “Non posso pubblicarlo. Finiremmo tutti e due in prigione”. ‘Will’ lo fa leggere a Estelle. Lei è inorridita e già rimpiange il suo avvocato, bolso ma ricco: “è orribile”. Faulkner si schernisce, “così venderà”, si fa scudo con la più banale delle bugie. Con la scusa del “così venderà”, finalmente, senza schermi, può dire quello che pensa dell’uomo e del mondo. Può dire lo schifo.

*

“In Sanctuary Faullkner ha bruciato, se vogliamo, tutta la sua esasperazione per quella che egli chiama la follia umana; ha guardato alla società intera senza pietà alcuna, né per i malvagi né per gli innocenti, né per gli ipocriti né per gli idealisti, né per i vincitori né per i vinti. Nel dire di questa visione cupa dell’umanità lo scrittore si è qui affidato a una gamma di registri che vanno dal violento all’ironico al grottesco”. Così scrive Mario Materassi in Una nota su quella pannocchia, saggio raccolto in un libro fondamentale per chi voglia capire ‘Will’, Faulkner, ancora (Palomar, 2004). Materassi ha tradotto e curato l’edizione di Santuario appena pubblicata in economica da Adelphi.

*

In sostanza, Santuario gira intorno a Temple Drake, minorenne, ninfetta, prototipo delle Lolite che verranno (“Gambe lunghe, braccia sottili, meline alte – una figurina infantile non più proprio bambina, non ancora donna, si muoveva rapida, stirandosi le calze, infilandosi sinuosa nell’abitino stretto. Adesso posso sopportare qualsiasi cosa, pensò calma, con una sorta di sordo, spento stupore; posso proprio sopportare qualsiasi cosa”). E a un brutale Popeye, che la violenta, in un fienile, con una pannocchia. Brutalità e impotenza, la donna non si stupra con la carne ma con la cosa (“Il procuratore distrettuale si rivolse alla giuria. «Presento come prova questo oggetto rinvenuto sulla scena del delitto». In mano aveva una pannocchia di mais”).

*

“Sarò conosciuto per sempre come l’uomo della pannocchia”, ghignava, Faulkner, nel 1938. Il 9 febbraio del 1931 è sempre Jonathan Cape a pubblicare Santuario. Faulkner ha visto giusto. Il successo è lampante. Certo, amici, parenti, concittadini lo ritengono un pervertito, è norma per lo scrittore (ancora la Pivano: “A Oxford e in genere nel Sud si registrano reazioni indignate; molti concittadini tolgono il saluto all’autore, e il suo vecchio amico Mac Reed, padrone del drugstore dove da ragazzo leggeva di nascosto i libri che non poteva comperare, vende il libro incartato affinché non se ne possa vedere la copertina”). Dal libro vengono tratti due film: The Story of Temple Drake, nel 1933, con Miriam Hopkins, e Sanctuary, nel 1961, con Lee Remick e Yves Montand. Galvanizzato, lo scrittore si mette a scrivere Light in August.

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La fama del libro varca i confini americani: nel 1933 Gallimard pubblica Sanctuaire, con la celebre introduzione di André Malraux e quella sintesi, azzeccata, “è l’intrusione della tragedia greca nel romanzo poliziesco”. Anche il resto è pregio, comunque, fregio di un talento bulimico: “Nella pittura, è chiaro che un dipinto di Picasso è sempre meno ‘una tela’, ma piuttosto una scoperta, la pietra miliare lasciata dal passaggio di un genio. In letteratura, il dominio del romanzo è significativo perché di tutte le arti (e non dimentico la musica), il romanzo è il meno governabile, quello in cui il campo della volontà è più limitato. Quanto i ‘Karamazov’ e Illusioni perdute dominino Dostoevskij e Balzac, lo capiamo leggendo questi libri dopo i romanzi cristallizzati di Flaubert… Alcuni grandi romanzi furono tali perché hanno sopraffatto e sommerso il loro creatore. Lawrence si avviluppa nella sessualità, in Faulkner irrompe l’irrimediabile”.

*

Nell’introduzione del 1932, Faulkner spiega il suo ‘metodo’. Il suo romanzo più grande e più estremo, Mentre morivo – pubblicato nel 1930 – è stato scritto nel 1929 – il solito anno fatale e fetale – mentre lavorava “come addetto al rifornimento del carbone, turno di notte, dalle 6 del pomeriggio alle 6 di mattina”. Ogni notte, “fra le 12 e le 4, in sei settimane”, rovesciando la carriola e facendone la propria scrivania, “scrissi Mentre morivo senza cambiare una sola parola”. Santuario, dice, invece, fu riscritto da cima a fondo, “strappai le bozze e riscrissi il libro”. Non sempre un grande soffrire produce un grande libro – in Faulkner ambizione e desolazione hanno prodotto un’opera assoluta. Da quel gorgo di anni scaturiscono i libri immensi, le ossessioni secolari. Che Santuario non sia un libro casuale, parziale, buttato là, lo dimostra il sequel – diciamo così – Requiem per una monaca, uno dei romanzi più alti di Faulkner, pubblicato nel 1951, poco dopo il Nobel.

*

Sentite qui che bellezza, che sbalorditiva musica, demoniaco Faulkner. “Sotto il padiglione, una banda vestita del blu orizzonte dell’esercito suonava Massenet e Skrjabin, e Berlioz come una leggera spalmatura di torturato Ñajkovskij su una fetta di pane stantio, mentre il crepuscolo si dissolveva in umidi barlumi dai rami, sul padiglione e sui funghi severi degli ombrelli. Ricchi e sonori gli ottoni si abbattevano e morivano nello spesso crepuscolo verde, rotolando su di loro in tristi onde opulente. Temple sbadigliò al riparo della mano, poi tirò fuori uno specchietto e lo aprì su un visino in miniatura imbronciato, scontento e triste. Suo padre le sedeva accanto, le mani incrociate sul pomo del bastone, la rigida barra dei baffi perlata di umidità come argento ghiacciato. Temple richiuse lo specchietto, e da sotto l’elegante cappellino nuovo parve inseguire con gli occhi le onde della musica dissolversi negli ottoni morenti, al di là della vasca e dell’antistante semicerchio di alberi dove, a severi intervalli, meditavano le morte, tranquille regine di marmo maculato, e via verso il cielo che giaceva prono e vinto nell’abbraccio della stagione della pioggia e della morte”. (d.b.)

*In copertina: William Faulkner con Howard Hawks e Harry Kurnitz, photo Robert Capa

L'articolo Sul romanzo più crudele di William Faulkner (ovvero: di quella ninfa violentata con una pannocchia) proviene da Pangea.

from pangea.news http://bit.ly/2VRYXqW

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[a-h-arts]

"We were so much older then..." The author has captured an essence of a time of manic enchantment, "wretched excess" and moments of tragedy. I was on The Peking, I have been to Regine's and Studio 54 with all doors open. I had the privilege of working at the Met Museum when Vreeland was ensconced. I remember seeing the Opium show. Yes, there were tormented souls, gluttony for every vice, and dying, beautiful boys, but there was no vulgarity in the fantasies and this writer has managed to convey this without having been a participant. Go to Amazon

Historical viewpoint of French Couture in its heyday I have always been fascinated with fashion and specifically, the 1970s period when YSL and Lagerfeld were creating the foundation of today's fashion industry. I grew up in Paris at that time and could relate to much of the book's locations and events. This book describes, in great detail, the growth and changes of the French couture industry in the 1970s and how it has changed and evolved over time. A lot of emphasis is on St. Laurent and Lagerfeld and how their personalities were reflected in their work. There is also a lot of detail about the 'seamy underbelly' of this industry, the egos, pettiness, power plays and struggles that seem to go hand in hand with prestige and celebrity. My only disappointment was the lack of color photos and the presence of more photos to highlight the really beautiful clothes that are described in the content but not included in the rather small photo section. I really enjoyed this book and recommend it as a historical viewpoint of the Paris couture industry. Go to Amazon

Fashion world I found this book interesting, but not as pleasing as Mademoiselle Chanel. However, if one is interested in the fashion world, this will be a good read. It describes the world of this milieu with interesting details such as the building of the collection. It also includs the competition between the fashion houses. There is quite an emphases in life outside the work such as the wild evenings, the drugs and homosexuality, but in general, realistic. I think the book could have been shorter. Go to Amazon

One of My Favorite Fashion Biographies A must read for every fashion fan. The Beautiful Fall is easily one of the best fashion biographies out there that puts you in a time machine, as you go back in time to witness fashion's most colorful years (from the 50's to the 80's), highlighting the industry's luminaries and the details of their vibrant lives of creativity and scandal. I must've read this book about 5 times now! I just love the detail and research that went into writing this book. Go to Amazon

AWESOME!!!! This book is incredible. There are so many things I did not know about Karl Lagerfeld and Yves Saint Laurent, two extraordinary men. Lagerfeld was annoyed about his portrayal in the book as being the less talented of the two and sued in France for invasion of privacy. There is the mysterious and fascinating minor noble, Jacques de Basher who drove both men to distraction. It was also another reason Lagerfeld and Saint Laurent hated each other. I thourougly enjoyed this book and finished it in one sitting. If you missed the seventies,love fashion and the history of fashion, and love a good well researched book,this is the book for you. Go to Amazon

LOVED THIS BOOK I thoroughly enjoyed reading this book- so much so, I found it hard to put down. SO MUCH fascinating information on subjects ranging from Fashion Design trends at that time and the many insuing changes to the many historical, business, social, and political issues contributung to the scene as it evolved. The book is juicy with incredible details--- really FUN to read! Go to Amazon

Parallel lives of fashion's two big names This is one of the best fashion novels I've ever read. It is about the stories of Yves Saint Laurent and Karl Lagerfeld, starting from their childhood and following their growth in the fashion world. The two were among the winners of 1954 international wool secretariat, and from than on they have been in a love and hate relationship in the competitive and cruel fashion world. It is not only about them but about everyone that was part of their clique. The book is meticulously written, every single statement is researched by Alice Drake, and all the details are given in the notes, chapter by chapter. I would suggest this to every fashion and fashion history lover. Go to Amazon

Five Stars fascinating account of the 70s fashion scene Go to Amazon

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[kanobarlowe]

Tender Tuesday: Regin and Yves

I'll probably go into two different things with them on this post today because lmao if I don't their "meet cute" kind of situation is. Dreadfully and hilariously bad.

Picrew

When Regin and Yves first meet.... it's not in the prettiest place. Yves has just arrived in Little Falls, the larger town that Bridgewater is just up the road from. With little money left in his pocket, he stops at a diner to eat and is then pointed to the little hallway toward the bathroom where a job board hangs on the wall.

In that hallway, with its lone flickering light, just outside the bathrooms, a tall man, seemingly from another time altogether, asks politely for Yves to move. Yves is struck by his appearance as the man simply puts a help wanted sign for his antique shop on the board, then departs.

Meeting outside of a diner bathroom. How romantic.

Alternatively, one of their highlighted moments together is going to the old manor gardens on a walk, trying to find a bit of peace in the midst of mystery. While walking, Regin tells Yves about the parties that he and his friends used to share - and Yves asks him for a demonstration. He sets Yves down on one of the benches, then disappears, returning in a flash moments later with a record player and some candles as the sun sets. He puts on a tune, and the pair dance out overgrown gardens overlooking the sea that glitters as the sun sets beyond the trees behind them.

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Matt Carkner (2009-12)

Cody Ceci (2013-17)

Zdeno Chara (2001-04, 2005-06)

Jonathan Cheechoo (2009-10)

Alex Chiasson (2014-16)

Ivan Ciernik (2001-02)

Fredrik Claesson (2015-17)

Mike Commodore (2007-08)

Mike Comrie (2006-09)

Cory Conacher (2012-13)

Mike Condon (2016-17)

Erik Condra (2011-15)

Joe Corvo (2006-08)

Jared Cowen (2009-15)

Matt Cullen (2009-10)

Stephane Da Costa (2010-13)

Toni Dahlman (2001-03)

Kaspars Daugavins (2011-13)

Greg De Vries (2003-04)

Chris DiDomenico (2016-17)

Shean Donovan (2007-10)

Chris Driedger (2016-17)

David Dziurzynski (2011-13)

Ryan Dzingel (2015-17)

Patrick Eaves (2005-08)

Ray Emery (2002-04, 2005-08)

Andreas Englund (2016-17)

Mike Fisher (2001-04, 2005-11)

Nick Foligno (2007-12)

Martin Gerber (2006-08)

Matt Gilroy (2011-12)

Scott Gomez (2015-16)

Sergei Gonchar (2010-13)

Derek Grant (2012-13)

Colin Greening (2010-14)

Eric Gryba (2011-14)

Jyrki Jokipakka (2016-17)

David Hale (2010-11)

Denis Hamel (2003-04, 2005-07)

Andrew Hammond (2014-17)

Ben Harpur (2015-17)

Dominik Hasek (2005-06)

Martin Havlat (2001-04, 2005-06)

Dany Heatley (2005-09)

Ales Hemsky (2013-14)

Josh Hennessy (2006-08, 2009-10)

Chris Herperger (2001-02)

Shane Hnidy (2001-04)

Mike Hoffman (2011-17)

Marian Hossa (2001-04)

Jody Hull (2001-04)

Jani Hurme (2001-02)

Alexei Kaigorodov (2006-07)

Erik Karlsson (2009-17)

Matt Kassian (2012-14)

Chris Kelly (2003-04, 2005-10, 2016-17)

Rob Klinkhammer (2011-12)

Zenon Konopka (2011-12)

Mike Kostka (2015-16)

Alex Kovalev (2009-10)

Filip Kuba (2008-12)

Joel Kwiatkowski (2001-03)

Brooks Laich (2003-04)

Patrick Lalime (2001-04)

Simon Lajeunesse (2001-02)

Josh Langfeld (2001-04)

Martin Lapointe (2007-08)

Guillaume Latendresse (2012-13)

Curtis Lazar (2014-16)

Pascal Leclaire (2008-11)

Brian Lee (2007-11)

David Legwand (2014-15)

Robin Lehner (2011-15)

Curtis Leschyshyn (2001-04)

Francis Lessard (2010-11)

Mike Lundin (2012-13)

Clarke MacArthur (2013-17)

Shawn MacEachern (2001-02)

Tomas Malec (2005-07)

Dean McAmmond (2006-08)

Max McCormick (2016-17)

Brian McGrattan (2005-08)

Curtis McElhinney (2010-11)

Steve Martins (2001-04, 2005-06)

Andrej Meszaros (2005-08)

Marc Methot (2012-17)

Milan Michalek (2009-15)

Mike Morrison (2005-06)

Bill Muckalt (2001-02)

Alexander Nikulin (2007-08)

Brad Norton (2005-06)

Filip Novak (2005-06)

Lawrence Nycholat (2006-08)

Jim O’Brien (2011-13)

Jean-Gabriel Pageau (2012-17)

Nick Paul (2015-17)

Serge Payer (2003-04, 2006-07)

Ricard Persson (2001-02)

Andre Petersson (2011-12)

Dion Phaneuf (2015-17)

Chris Phillips (2001-04, 2005-16)

Alexandre Picard (2008-09)

Brian Pothier (2002-04, 2005-06)

Tom Preissing (2006-07)

Martin Prusek (2001-04)

Matt Puempel (2014-16)

Tom Pyatt (2016-17)

Karel Rachunek (2001-04)

Rob Ray (2002-04)

Wade Redden (2001-04, 2005-08)

Peter Regin (2009-13)

Luke Richardson (2007-08)

Jamie Rivers (2001-02)

Charles Robinson (2015-16)

Randy Robitaille (2007-08)

Andre Roy (2001-02)

Jarkko Ruutu (2008-10)

Bobby Ryan (2013-17)

Sami Salo (2001-02)

Oleg Saprykin (2006-07)

Peter Schaefer (2002-04, 2005-07)

Petr Schastlivy (2001-04)

Christoph Schubert (2005-09)

Ryan Shannon (2008-11)

Jakob Silfverberg (2011-13)

Todd Simpson (2003-04)

Bryan Smolinski (2002-04, 2005-06)

Derek Smith (2009-11)

Jason Smith (2008-09)

Zack Smith (2009-17)

Brad Smyth (2002-03)

Jason Spezza (2002-04, 2005-14)

Viktor Stalberg (2016-17)

Cory Stillman (2007-08)

Mark Stone (2011-17)

Andy Sutton (2009-10)

Marek Svatos (2010-11)

Joey Tetarenko (2002-03)

Kyle Turris (2011-17)

Shaun Van Allen (2002-04)

Vaclav Varada (2002-04, 2005-06)

Phil Varone (2015-17)

Julien Vauclair (2003-04)

Antoine Vermette (2003-04, 2005-08)

Anton Volchenkov (2002-04, 2005-10)

Chris Wideman (2015-16)

Patrick Wiercioch (2011-15)

Jesse Winchester (2007-12)

Colin White (2016-17)

Todd White (2001-04)

Tommy Wingels (2016-17)

Juha Ylonen (2001-02)

Mika Zibanejad (2011-16)

Ilya Zubov (2007-08)

[josh0555]

This is the 2014 Summer Station ID of TV5, The Summer Station ID was titled “Bida Best sa Tag-Araw”

The Summer Station ID Theme Song was sung by Filipina singer and songwriter Sarah Geronimo, Filipino singer, songwriter, dancer, record producer, DJ, conductor, television host, actor, comedian and businessman Willie Revillame, Filipina OPM singer and songwriter Regine Velasquez and her husband Ogie Alcasid who is a Filipino singer, songwriter, rapper, dancer, television host, actor and comedian. The Summer Station ID Theme Song was used in Summer 2014 for a big hot summer fun. Starting in June 1, 2014, The theme “Bida-Best sa Tag-Araw” can be heard on Radyo5 and various radio stations nationwide.

The Summer Station ID contains Ivan Mayrina, Mark Salazar, Raffy Tima, Lourd de Veyra, Sam Milby, Marco Alcaraz, Ivana Alawi, Arjo Atayde, Kit Thompson, Nash Aguas, Valeen Montenegro, Emman Abeleda, Joshua Dionisio, Aga Muhlach, John Lloyd Cruz, Onemig Bondoc, EJ Falcon, Vice Ganda, Empoy Marquez, Coco Martin, Zoren Legaspi, Enzo Pineda, Hero Angeles, CJ Muere, Dennis Trillo, Jake Cuenca, Paulo Avelino, IC Mendoza, David Licauco, Ken Chan, Enrique Gil, Marco Gumabao, Liza Soberano, JC de Vera, Sef Cadayona, Dion Ignacio, Gerald Anderson, Edgar Allan Guzman, Arcee Muñoz, Alice Dixson, Tuesday Vargas, Ritz Azul, Eula Caballero, Mark Herras, Sid Lucero, Sunshine Dizon, Sue Ramirez, Maja Salvador, Louise de los Reyes, Shaina Magdayao, Jazz Ocampo, Kim Chiu, Luchi Cruz-Valdez, Pinky Webb, Connie Sison, Seph Ubalde, Howie Severino, Martin Andanar, Shawn Yao, Korina Sanchez, Pia Arcangel, Rhea Santos, Alex Santos, Atom Araullo, Gilbert Remulla, Randy Santiago, Diether Ocampo, Michael V., Allan K., Ivan Dorschner, Jerald Napoles, Jason Abalos, Addy Raj, Adrian Alandy, Jeric Gonzales, Carlo Aquino, Derrick Monasterio, DingDong Avanzado, Jun Sabayton, Niño Muhlach, Simon Ibarra, Ramon Bautista, Baron Geisler, Dominic Roque, Eric Fructuoso, Chuckie Dreyfus, Mark Anthony Fernandez, Tirso Cruz III, Diego Castro III, Vince Gamad, Angel Locsin, German Moreno, Carmelito “Shalala” Reyes, Romy “Dagul” Pastrana, Ruru Madrid, Juancho Triviño, Ina Raymundo, Gretchen Barretto, Ahron Villena, Xian Lim, Yves Flores, Carmina Villaroel, Eugene Domingo, Nora Aunor, Michael Pangilinan, Kris Aquino, including Bela Padilla and Kylie Padilla, daughters of Rommel Padilla, sisters of Queenie Padilla, nieces of Robin Padilla and cousins of Daniel Padilla and RJ Padilla. twin brothers Rodjun and Rayver Cruz, Mikoy Morales, the son of Vicky Morales, Ronwaldo and Kristoffer Martin, the sons of Coco Martin and Sandino Martin, the brother of Coco Martin featuring Master Boy Abunda, DJ Willie Revillame, Emcee Mo Twister and president Noynoy Aquino getting ready for the party. The 2014 Summer Station ID of TV5 also features special guests like twin sisters Anne Curtis and Jasmine Curtis-Smith including Imee Hart, Iwa Moto and Sugar Mercado, the SexBomb Girls who are the original cast members of the sitcom show Banana Split, The Summer Station ID also contains GMA actors, Luis Manzano, Matteo Guidicelli, Patrick Garcia, AJ Perez, Terence Baylon, Carl Cervantes, Martin Escudero, Derek Ramsay and Paolo Ballesteros who are the cast from the sitcom show Lokomoko High which references to Twice, the first South Korean boy band of the 2010’s. The 2014 Summer Station ID of TV5 also features South Korean boy band Momoland as a 9-member group during their pre-debut with members, Ji Chang-min, Lee Hye-bin, Park Joo-won, Kim Tae-ha, Kim Na-yun, Lee Min-hyuk, Lee Ah-in, Lim Yeon-woo and Kim Young-jae in their school uniforms. But somehow, Momoland will debut with 13 members in April 9, 2015.

The Summer Station ID was filmed in December 26, 2009 until January 1, 2010 at Mall of Asia Arena, TV5 Media Center, SM Megamall, SM Aura Premier, Congressional Avenue, The Bell Church in Baguio, La Casas Filipinas, Pasig River Esplanade, Bonifacio Global City and when the next generation of TV5 is arriving soon with new actors and new shows.

But somehow, This was originally used for the Happy music video from Michael Jackson in the upcoming movie Toy Story 3 that will be released in September 11, 2010 in theaters worldwide.

[vdbstore-blog]

New Post has been published on Vintage Designer Handbags Online | Vintage Preowned Chanel Luxury Designer Brands Bags & Accessories

New Post has been published on http://vintagedesignerhandbagsonline.com/christian-lacroix-the-heir-to-yves-st-laurent-fashion-archive-1987-fashion/

Christian Lacroix, the heir to Yves St Laurent – fashion archive, 1987 | Fashion

The Observer In August 1961, Yves Saint Laurent declared, ‘Haute couture cannot be modernised.’ It was a bold statement and a sign of the times, for at the dawn of the Sixties it seemed obvious that mass-produced, ready-to-wear fashion was the way forward in a new, young-spirited, democratic age. Haute couture had become an anachronism, the province of the rich, the stuffy and the middle-aged – and would never again hold sway over the world of fashion.

In the late Eighties, Christian Lacroix has overturned Saint Laurent’s prophecy in a manner that has sent the international fashion coterie into an ecstasy of hyperbole. From the moment Lacroix took over designing the couture collection for the ailing house of Patou in 1981, his ostentatious, elaborate, vividly coloured and vastly expensive creations began to make waves.

Lacroix reinvented the trapeze line and the bubble skirts Saint Laurent had pioneered in the Fifties, but this was no mere re-run of the past. Lacroix’s women were baby dolls in frou-frou petticoats, his silhouette a shoulderless cone, which made sitting down impossible. Giving full rein to the dying couture intricacies of beading, embroidery and all manner of fancy-work – and using the most extravagant of materials – he piled effect upon effect, with no heed to caution or good taste. Tales of mink dyed green and violet, of pompoms, quilting, patchwork, tassels and exuberant clashing prints drew increasing numbers of onlookers to the house of Patou, many biding their time to decide whether he was merely a vulgar clown, or truly a fledgling genius.

By January 1986, the matter was settled for them. The announcement that Lacroix had been backed by £50 million from Dior’s parent Financière Agache, confirmed him as a force to be reckoned with. The deal meant not merely that Lacroix would have his own couture salon in which to produce hand-made dresses for private customers, but that a potentially highly lucrative ready-to-wear line would follow, as well as the opportunity for any number of money-spinning licensing deals in the way of perfume, sunglasses, shoes, handbags, and so on.

A model displays a styled Spanish ensemble, black jacket embroidered over a balloon-dress and Castilian hat for Christian Lacroix 1987/88 Fall/Winter haute-couture collection. Photograph: Pierre Guillaud/AFP/Getty Images

At the unveiling of his first own label collection last July, fashion editors, swept up in the maelstrom of publicity, stood on chairs to weep and throw flowers at the newly-crowned king (they did much the same last week). Had Parisian couturiers in their dark years ever dreamed of the coming of a saviour, these scenes would surely have surpassed their wildest fantasies. Lacroix, it seems, is the biggest news in Paris fashion since the emergence of Yves Saint Laurent himself, some 30 years ago.

Lacroix is now a French national hero, and very much an international property. Until yesterday every high fashion retailer in London was claiming to be in discussion with the house of Lacroix for exclusive rights to sell his ready-to-wear line, which will become available in March. Sidney and Joan Burstein of Browns of South Molton Street, Roberto Devorik of Regine, Peder Bertelsen of Aguecheek, and Claire Stubbs of Harrods were locked in fierce competition to win the contract that will confer the ultimate prestige upon their shops.

The man at the centre of all this attention is, in many ways, a surprise. At 37, Christian Lacroix is not naturally a distinguished figure, but he is certainly a distinctive one in his Ralph Lauren suits, bright shirts, loud ties and dandyish pocket handkerchiefs. All who meet him agree: he is hugely polite and considerate, keen to listen and well informed. After interviews, he is in the habit of sending round charming, hand-written thank-you notes on recycled paper. Everyone loves him: his wife and muse, Françoise Rosenthiel, his PR man and friend, Jean-Jacques Picart, the skilled workers who moved with him from Patou. Even the models are said to adore him, lending their professional smiles an extra brilliance as they ply his catwalk.

Lacroix is the son of an engineer from Arles. Family legend has it that, when his grandfather asked him, aged four, what he wanted to be when he grew up, he replied, ‘Christian Dior.’ Brought up in the Camargue, to which he is sentimentally attached, and to which he dedicated his first collection, he studied the history of art and costume at Montpelier University. He worked apprenticeships at Hermès and Guy Paulin, where he met Francoise and Picart in 1978, before signing up with Patou. They are a jokey and intimate team, sharing ideas, inspiration and a keen interest in London’s young fashion and furniture designers. Lacroix, it is said, prefers to mix with writers and artists rather than fashion people, and back home in Arles he is just plain Christian, who keeps up with his old friends as if nothing had happened.

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[kanobarlowe]

Monthly Roundabout

Not too much going on this past month. Brim's Bane was on sale and I was so happy to be able to provide the ebook version for cheap or free! I hope people enjoy my book, I'm really bad at the whole marketing thing so I'm just doing what I can.

Bridgewater is underway. I'm feeling silly so I'll share some of what I wrote under the cut.

NOTE: this is a rough draft version so it probably sucks lmao

Yves shuffled among rusty oil lamps, cloth in-hand. He brushed off dust and grime from the old metal and glass. While he was focused on cleaning, his mind drifted off, thoughts on the scream he’d heard this morning.

So far, he’d been able to push it out of his mind, but now as his eyes reflected back at him in the lamp glass, its echoes through the alleyway replayed again and again.

Had he imagined it? There had been no other sounds—the night was still. The ghostly light had led him to a neighborhood with a house taped off, unmarked police cars blocking the road off just outside it.

Yet there were no people, no voices, no commotion. Only silence.

He felt the tremble of his hand and drew it back, clutching the dust rag against his chest. He stared at himself, distorted in the curve of the lamp, his eyes slightly sunken into his pale flesh. The dark circles beneath them had faded after a first good night’s sleep in weeks, but they still remained, a reminder of his haggard past.

Perhaps he’d imagined the scream. Perhaps he’d heard something else, the grinding of metal, the squeal of a tire on asphalt. Despite the reassurances he told himself, the chill still slithered down his spine all the same.

The shop door jingled, pulling him from this thoughts as he made his way toward the back counter. The windows were dark with fog that obscured the late afternoon sun that prepared for its final evening descent. Odair leaned against the counter with a bright lamp beaming over his shoulder as he tinkered with his music box. Odair didn’t look up at the sound of the door, so Yves turned instead and stepped into the main hallway.

“Hello, welcome to—”

He halted as Regin approached the counter. The man’s expression was cool but otherwise unreadable. He looked perfect in his suit, as if he’d just dawned it moments ago, and his shoes were so polished they shined. His coat was draped over his arm, showing off the snow-white dress shirt that lacked any blemishes.

“Excellent form” Regin complimented. He paused, his deep eyes trailing Yves up and down. “And how was your trial day?” He glanced over toward the counter where Odair continued to tinker.

That’s when Yves saw it—the twitch at the corner of his mouth, his smile somewhat wilted. It brought out other features—a few small strands of hair out of line with the rest of his perfectly combed locks, a sag to his face as if he hadn’t slept in days.

It all seemed to poof out of existence as his eyes turned back to Yves, catching his own eyes, luring him into those deep browns that looks so impossibly, strangely red.

“I think I did good,” Yves said. He wrung the rag in his hands, a nervous smile taking hold. “I learned about inventory, cashiering, the cleaning system—oh, and the radio.” A sharp snap of energy electrified his spine, his nerves, his heart and stomach. He wanted to impress this man, wanted his gorgeous eyes to shine at him.

“That much already?” Regin asked. He sounded impressed, but as he turned to approach Odair, Yves caught the darkening of his brilliant irises. “Odair, how was Yves today?”

“Good,” Odair grunted. He did not look up from the music box. A weight filled the room—Yves could feel the oppressive gloom, though the reason for it escaped him. Regin stood just across from Odair, only the wooden counter keeping them apart.

“Odair, look at me when I am talking to you.” Regin’s voice was calm, polite, but the bite behind his words could not be mistaken. Odair froze. It was as if he’d become a puppet, dead and motionless. After a moment of silence, his head craned upward until his eyes locked with Regin’s.

“He did good,” Odair muttered. “Quick learner.”

Regin nodded. “Good,” he said. “You can return to your project.”

Regin began to turn toward Yves, who straightened up from a slouch he wasn’t aware he’d adopted. Regin opened his mouth to speak, but before a word escaped his lips, Odair touched his arm. He paused, an obvious frown on his face, and turned back to Odair.

A whisper passed between them. Yves strained to hear the words, but he couldn’t make out a single syllable. When Regin glanced back at him, he felt his heart race—the sparkle had returned, eyes alight with intrigue.

“Yves,” Regin said, voice somewhat airy, thoughtful, “why don’t you go and wrap up your cleaning? I just need to discuss something quick with Odair.”

Yves nodded and retreated quickly back to the lamps. He cursed under his breath, cheeks flushed. He was unused to this scrutiny and attention, especially from a man like Regin. He began to scrub the lamps with vigor, trying to ignore his bashful embarrassment at having been looked at in such a way.

Odair and Regin continued a quiet discussion at the counter. Yves couldn’t hear a word, but he saw their expressions—a serious one on Odair’s face, a delighted one on Regin’s.

“H-Help…”

Yves jumped, jerking his head. It had been a little while since Yves had seen a ghost, and he’d grown relaxed. The one beside him caught his eyes instantly—and regret seeped into his chest.

The ghost had half of his face torn open, flesh ripped from muscle and bone. A part of his shoulder was shredded, and both of his legs were marked with bloody punctures.

“You… see me…” the ghost groaned. It reached out to Yves as if desperate to feel the touch of another person.

Yves could not help himself; he knew that ghosts could see him, speak to him, but not touch him. But the trembling hand in monochrome hue twisted his gut, and he jerked away quickly. His arm bumped one of the lamps, which fell to the floor with a loud CRACK.

The ghost looked down at the lamp at their feet, and a ragged breath escaped his bloody lips. “That… that is my…” He looked up at Yves, who saw the sheer terror in his eyes. “That is my lamp! From my father! Why do you…”

His eyes turned, and he spotted Regin at the counter. Yves looked from the ghost to Regin—freezing when he saw Regin looking back at him with a puzzled and curious expression.

The scream that broke from the ghost’s throat sent a shock through Yves. He stumbled back, covering his ears at the uninhibited wailing. With a wince, he stepped away quickly, heart pounding as the ghost yelled and cried out, though he spoke no words. He moved toward the corner of the room, surrounding himself with collections of animal teeth and jaws. He counted the teeth, whispering each number under his breath to drown out the ear-piercing shrieks.

“Yves?”

A hand touched Yves’ shoulder. A sheer cold touched his body as he was turned around by strong hands—and the screaming ceased. Regin stood before him, a hand on each shoulder. Though he had an expression of concern, Yves felt his eyes glimmered a little too brightly. “Is everything alright?”

Yves swallowed, daring to glance at where the ghost had been. It was gone, Odair already sweeping the broken lamp off the ground.

“I-I’m okay,” Yves stammered. His body shivered in Regin’s grasp—from terror, from embarrassment, from bashfulness. “I’m sorry, I didn’t mean to break the lamp…”

Regin’s smile was cool, unreadable. “Don’t worry a hair on your head about a lamp,” he said, his voice velvety and compassionate. “It was an accident. It happens. Now…” He brushed Yves’ shoulders gently before letting him go. “Odair tells me you did well, and I have to say, I am impressed at how quickly you got along. If you are still interested, I would like to offer you the job.”

Yves heart fluttered, though he could hardly tell if it was from his previous shock or from Regin’s words. “Thank you, Mr. Hartford, thank you.” He closed his eyes. “I promise to do well.”

When he opened his eyes, he swore he saw something predatory in Regin’s smile, one that made him shrink in fear. It was gone in a moment.

Regin walked him to the front door, handing him a new slip for Betty. “You’ll have a room as long as you require at Betty’s. This will let her know. Now, when you come in tomorrow, I will have some paperwork for you to fill out to confirm your hiring.” He pressed a hand into Yves’ back, ushering him out the door.

As Yves was embraced by the fog, swept into the cool evening air, Regin’s hand left his back, leaving a warm patch that Yves wished for a moment would never fade.

“Welcome to Bridgewater, young man.”

***

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