Today is Friday and it’s the 22nd of March. According to the ‘Illuminati’ this makes it a ‘magic date’ – as 322 is supposed to be a ‘magic number’. Please don’t ask me why, as I don’t know or at least don’t seem to remember.
But to stay in that vein a little – yesterday reportedly was Purim. And if you occasionally have been critical towards Mozzard abuse, like you probably have been towards abuse more or less everywhere else, then you might want to tread carefully today? (link 1).
My kitchen i my small flat has a double function as photographic dark room. This is possible on account my old frind K.N. at some point graciously offered to make a light tight, easily removable screen for the one window.
An old, wooden table, both light and sturdy, discarded by some nice person a few years ago fits perfectly i the corner beside the fridge.
The table, presumably almost century-old, has one shallow drawer and round legs turned in a lathe. A plan that makes plenty of room for stuff and things under the table, ofcourse.
This morning I wanted to check on my enlarger, standing tall on that wonderful old table. It’s a professional model LPL 4×5″ variable contrast enlarger, still quite sought after, by the way, even in our digital age.
Only problem – I don’t use it often enough. This particular model use a electro-mechanical switch to turn on the halogen lamp and its cooling ventilator. If this switch isn’t activated more or less regularly it becomes unreliable.
Hence I wanted to check it out today. And sure enough – it turned out to be quite unreliable.
Wanting to check the power outlet and cables under the table I was reminded of a couple of bags with books more or less hiding in the shadows and obviously unattended for a few months.
One of the bags turned out to hold about a dozen books from one of the ’75-cents-books-sales’ last year, and mostly unreported in these pages until now. Here is yet another handful of micro-(micro)-reviews, then:
I believe the only exception from being unreported is this amusing little book
1. ROTTEN REJECTIONS – A Literary Companion. Edited by André Bernard. 1990, Pushcart Press, Wainscott, NY. 101 p. Bound in whole cloth with orig. dustjacket.
But just to make sure, here is a couple of samples:
‘It would be extremely rotten taste, to say nothing of being horribly cruel, should we want to publish it’. (THE TORRENTS OF SPRING, by Ernest Hemingway, 1926).
‘I haven’t the foggiest idea about what the man is trying to say. It is about a group of American Army officers stationed in Italy, sleeping (but not interestingly) with each others’ wives and Italian prostitutes, and talking unintelligibly to one another. Apparently the author intends it to be funny – possibly even satire – but it is really not funny on any intellectual level. He has two devices, both bad, which he works constantly … This, as you may imagine, contitutes a continual and unmitigated bore’. (CATCH-22, By Joseph Heller, 1961).
‘It is impossible that it could be true and therefore it is without real value’. (TYPEE, By Herman Melville, 1846)
‘Retired curry colonels writing their reminiscences of India are two a penny’. (BRUTAL AND LICENTIOUS, By John Masters, 1958)
‘Not desirable. I do not find the thing good of its kind and few people like that kind … Some of the talk is clever and some of the characters interesting, but much of the long discussion of the author’s philosophy of life is tedious and the author’s view pessimistic and hopeless … I do not think that the book would have a large sale here, and while I would not say that it is impossible, I think i is distateful’. (THE RAZOR’S EDGE, By W. Somerset Maugham,1944)
‘The idea of men adrift on a raft does have a certain appeal, but for the most part this is a long, solemn and tedious Pacific voyage.’. (KON-TIKI, By Thor Heyerdahl, 1952).
What’s seems especially interesting about these ‘rotten rejections’ is the editors/readers all seem to ‘speak their mind’. Perhaps you may often find the unmitigated ‘hidden truth’ lurking in or between the lines of these outspoken literary arbiters?
For instance I have owned the last title KON-TIKI for about sixty years, as it was presented to me in school for ‘dilligence and good behaviour’ – I believe while attending Thisted Borgerskole in the North-West of Jutland 1956-57.
(Just for the record – I’m not absolutely sure which of the four schools I have consecutively attended that presented this particular book, as I received book presents from all four: Thisted Borgerskole, Bjerringbro Realskole, Hoersholm Kommuneskole and Rungsted Statsskole. The books should still be lurking on the bottom of a box somewhere).
But this is neither here nor there. The thing is I newer until this day read the book. I have a habit of leafing loosely through any book I pick up, and fancy I have a knack of spotting anything unusual or unsually interesting. And frankly, as a teenager the KON-TIKI book just looked boring to me. Whence I have to join the above verdict ‘long, solemn and tedious’ – if not plainly boring?
2. COMMON SENSE ABOUT DRAMA. By L.A.G. Strong. London, Thomas Nelson & Sons, 1937, 131 p. Whole cloth.
A few samples:
(From page 9)
‘In the early days of the Elizabethan stage there was no scenery. The audience was shown a placard, telling them what the next scene was.
‘The Chinese play, Lady Precious Stream, drew large London audiences who laughed at its ‘quaintness’, its conventions, or, if you prefer it, its absence of conventions. It seemed to these audiences funny that an actor, to express a journey on horseback, should jog once or twice around the stage as if he were riding a hobby-horse.
‘The whole thing depends on the point of interest. The Chinese audience was not primarily interested in the journey. They were interested in what happened after it, and therefore accepted any means of conveying the otherwise unimportant information that the journey had been made…
‘The Elizabethan audience was not interested in the scene, but in what happened upon it; and so they accepted without difficulty the crude, non-realistic method of the placard…
‘The Elizabethan dramatist was interested in character rather than in apparatus. Even when scenery was used, it was of the simplest kind: just so much as was necessary to convey to the audience the sort of place in which the action lay. And the audience, impatient for what was to happen next, accepted the hint at once.’
(From page 35)
‘The earliest and simplest form of drama is the dance. Self-expression through rhytmic muscular action must have preceded speech: We find it in the courtship of birds.
‘In primitive religion, ceremonial dancing was the chief expression of worship (note 1). The gesture was supplemented by the spoken word, and the two forms for a long time grew together.
‘It is only in comparatively recent times that dancing has come to be a separate art, lingering on as ballet in opera – its one surviving association within another form of drama – and subsisting triumphantly by itself.
‘Though we are here concerned chiefly with spoken drama, we must not for a moment forget that mimed drama and sung drama have equal rights. In one, the actor uses speech and gesture; in another, song and gesture; in the third, gesture alone.
‘Nor is it reasonable to regard one as more or less ‘real’ than the others. Each expresses emotional truth in terms of an agreed convention.
‘The general preference for spoken drama is due to the fact that most people find it easier to understand, and to the number of masterpieces available, a far greater repertory than that possessed by opera of by the ballet.’
(From page 36)
‘From the beginnings of history, drama has been closely associated with religion. The ritual dances of East and West, the religious and mythological themes of Greek tragedy, the sacred drama which is the chief expression of Christian worship, the old English Morality and Miracle plays, all attest that the art of the theatre has noble origins, and should not exist to stupefy men’s minds.
‘The Morality and Mystery plays are worth attention too, for they show us something we are in danger of forgetting; that those whose religion is firmly rooted need not fear to mingle laughter with worship.
‘The writers of those plays did not hesitate to introduce scenes of broad comedy, and to treat Biblical characters with a contemporary vigour.
‘Indeed, when we look at the drama’s origins, and consider the nobility of thought and force of criticism of which it has been the vehicle: when we remember that Aristophanes in his Lysistrata dared to make fun of the war in which his countrymen were engaged, and had an audience who could receive it (whereas, early in the Great War ((1914-19)), newspapers reported with dignified approval that a number of officers had walked out of a performance of Shaw’s ‘Arm and the Man’); when we see what an instrument of human enlightenment the theatre can and should be, we cannot help lamenting the degradation and timidity which have almost overcome it to-day.’
(From page 59)
‘Chapter I. ended with the assertion that drama was an inescapable condition of our lives. I should like to go back to that idea for a few minutes, and consider the dramatist that resides in each one of us, whether we want him or not: the dramatist in our subconscious mind.
‘This is a subtle craftsman, of great skill and great integrity. Even though we very often do not realize, or will not acknowledge, what he is at, nothing we consciously say or do will deter him from representing in character and parable what comes before him.
‘Since he is an honest artist, and represents what he sees, he is frequently in conflict with our conscious mind, which acts as a censor, and is often shocked by the dramas he presents. They represent a view of life of which we altogether disapprove. They suggest things we are afraid of; consequently, we often attempt to forbid them altogether.
‘He works best at the time when our conscious mind is least able to interfere with him, and, while we are asleep, produces the shows we call our dreams.
‘Dream life is as complex as waking life, and no one explanation will cover every type of dream. There is, as common sense has always insisted, the dream that is due to objective causes, such as a striking clock or too much lobster salad.
‘The point is that we need necessarily go no further than this universally admitted type of dream in order to accept the existence of the dramatisk in our subconscious midst. Realization of his existence commits us to belief in no modern school of thought on the subject. We can admit him without ever mentioning psycho-analysis of the names of Freud, Jung, and Adler.’
3. BREVE OM ITALIEN. Af Christian Elling. København, Boghallen, 1945, 90 p., softcover booklet.
From page 27ff: ‘Om Maskefrihed’.
‘I det 18. aarhundredes Venedig kunde man hyppigt møde en mand, der bar en miniatyrmaske i haanden eller hængende ved en knap i sin kjole. Denne lille maske betød en hel del, mere end et ridderbaand.
‘Thi mens det sidste blot angiver, at dets bærer er større end han synes, oplyste masken, at manden i det øjeblik var noget helt andet end det, han saa ud til.
‘Masken var en signatur, der kort og godt forkyndte, at den paagældende person optraadte som maskeret og ikke vilde kendes. Han figurerede i rollen som incognito.
‘Den lille stump legetøj traadte i stedet for den store, den rigtige maske for ansigtet, der almindeligvis blev benyttet. Og den gjorde god fyldest.
‘I Danmark stikker vi en hvid pind i munden og forsvinder – det er eventyr, billedtale for en begivenhed, der havde hverdagens realitet i Venedig.
‘Fænomenet er ret beset meget mærkeligt. Mest forbavsende er det, at det lille signal altid blev respekteret. Som et magisk tegn gjorde det sin indehaver usynlig, indspandt hans borgerlige person i en tryllekappe.
‘Den hornformede tingest, der ofte hang ved Italiernes urkæde lige op til vor tid (jeg har flere gange set den), beskyttede manden mod folk med onde øjne.
‘Maskebilledet værnede ham mod alles øjne, tilsikrede ham en fuldkommen integritet som et væsen hinsides den trivielle verden.
‘Det er vanskeligt, ja vel egentlig umuligt at finde en haandgribelig analogi i nutidens liv til denne sælsomme foreteelse. Den venezianske skik er et kulturfænomen, der har opnaaet en abstraktions rene skønhed. Saadanne symboler har altid ladet et langt stykke historie bag sig i støvet, før de foldede sig ud. Saaledes ogsaa i Venedig…’
‘Karnevalet i Venedig varede længere end i nogen anden italiensk by – flere maaneder. Her havde maskeringen ogsaa en anden karakter, thi den var overvejende uniform og ens for begge køn: en lang kappe og en hvid, grotesk fremspringende ansigtsmaske fæstnet under den trekantede hat.
‘Alle kunde bære den, fra skoledrengen til patriarken, og de fleste gjorde det. Synet af alle disse spøgelser har været fantastisk. I theatrene herskede endogsaa masketvang. En person kaldtes blot ‘Hr. Maske’.
‘Maaske halvdelen af den store bys indbyggere gled omkring som figurer i et elegant spil, tilsyneladende irreelt som en drøm, i virkeligheden spejlklart, udkrystalliseret af et samfund, hvis adelige mennesker elskede uafhængighed. De var stærke nok til at sætte det i system og saa meget artister, at systemet blev skønt som en Isblomst…’
‘Men den levende digter med masken vil vedblive med at mystificere os. Ogsaa derfor er han til. Det er hans ret, det er en part af hans kunst. Han leger med sine kammerater; Du og jeg staar udenfor kredsen. Maaske faar vi lov til at være med i en tur, hvis vi vil lære reglerne.’
Finally, let’s take a quick look at a few recent tweets (may not yet be tweeted):
*Trump’s Mideast Bombshell: US Must Back Israeli Sovereignty Over Golan Heights.
Syria recently threatened war if Israel didn’t end its occupation.
*US Duplicity Over Golan Demolishes posturing on Crimea, says Finian Cunningham.
>Would that be a ‘tit-for-‘tat for Russia’s accepting Crimea’s desire to reconnect with Russia? I wonder if the Golan’s want to ‘reconnect’ with IL?
*Gucci Is Selling $870 Sneakers That Look Dirty Poor
“Looking Poor Is In Fashion”
>Is it now smart mocking the thousands of homeless in the US and the world? Off-hand seems callous and distasteful in the extreme.
*Governments have lost control of the narrative that they are in control of events… and they are scared to death…
Censorship Tightens As Governments Lose Control
*America’s Generals Have Learned Nothing From Our Failed Wars.
The senior officials responsible for our military failures are guiding us to more of the same.
*It’s like the reverse Marshall Plan. Wage a war on a foreign country. But this time lose and block rebuilding by declaring anyone that does so to be an ‘enemy of peace.’
>If the Illuminati-Globalists secret agenda is disruption, chaos and destruction, they will ultimately loose control, of course; As they seem totally unable to put something healthy in place of destruction and chaos. Say Iraq, Afghanistan, Libya and Syria (and the U.S.?). Chaos everywhere.
*The Fed’s constant intervention in the market has created a moral hazard on a scale that has never been experienced before by humanity.
>Obviously the Fed’s constant ‘money-printing’ to the tune of trillions for the benefit of a select few (billionaires) is a deadly poison in the economic organism at large. Destruction and chaos will certainly ensue.
*With facial recognition, shoplifting may get you banned in places you’ve never been.
There are hundreds of stores using facial recognition — none that have any rules or standards to prevent abuse.
*Supermarkets in the UK are using it to determine whether customers are old enough to buy beer. Millions of photos uploaded onto social media are being used to train facial recognition without people’s consent.
*Accuracy rates matter — it’s the difference between facial recognition determining you’re a threat or an innocent bystander, but there’s no standard on how precise the technology needs to be. The time is now to regulate this technology before it becomes embedded in our everyday lives.
*Without any legal restrictions, companies can use facial recognition without limits. That means being able to log people’s faces without telling customers their data is being collected.
*People don’t have to be convicted of a crime to be placed on a private business’ watch list. There aren’t any rules or standards governing how companies use facial recognition technology.
One mistake could mean never being able to shop again.
Privacy advocates fear that regulations can’t keep up with the technology — found everywhere from your phone to selfie stations — leading to devastating consequences.
>Facial recognition: Obviously a monster awakening. But not really surprising – the Illuminati-Globalists want to disrupt and destroy all sane, sound and healthy social life (above).
Wonder how many F.R. spots are now up and running in Denmark? Probably no-one knows for sure, except perhaps the Secret Police – except they may not want to know? Surely there is F.R. at the main entrance to the Copenhagen Central Library? How about the Metro-trains and stations? One has to remember, that with constant real time video-surveillance any alien Secret Service (say CIA, NSA, Mossad & etc) will be able to run F.R., if necessary via hacking.
*Har Pia tabt sutten?
>’Pia’ is the president of the Danish Parliament. Everyone loves to mob her, probably mostly because she don’t have a university degree.
The above link relates to her asking a foolish member of parliament to not bring her toddler into a parliament sitting. This has raised outrage among a lot of likewise quite foolish observers, – although should really be a non-issue.
*Aktie von Bayer bricht nach Gerichtsverfahren in den USA ein
>Incredible that Bayer has learned nothing from the Mercedes-Chrysler debacle, that cost Mercedes billions.
*While The Nation Fragments Socially, The Financial Aristocracy Rules Unimpeded
America’s aristocracy is not formalized, and that’s the secret of its success.
>Interesting observation; the modern (plutocratic) Royalties are much more intangible and shady than the old, European Royal Houses. Of course this plan makes it much more difficult for ‘the man in the street’ to recognize patterns, i.e. he knows not who’s pulling the strings.
*Senators Stunned By Air Force Plan For More Boeing F-15X Fighters, F-35 Cuts
>The F-35 has already been a farce for some time and now seems slated for failure? Some weeks ago Germany cancelled orders for the F-35 (I believe this news has been totally suppressed in the Danish press – Denmark has obviously decided to remain a total, blind US-puppet – willingly seconded by our press?). But now also the US-AirForce make cuts in their orders.
This brings to mind what the Danish historian Rosenberg has told somewhere about the Summerian priests, that had to ‘dance’ around the altar ON ONE LEG, presumeably in a certain plan or pattern. Whence the modern childrens play or game with hopping on one leg from space to space in a certain plan or pattern.
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