Question. Didn’t Lestat have money in the first book? Cuz anne made him seem a bit poor in the first book

Louis said he didn’t. But then... Louis didn’t leave one good hair on Lestat….

He appeared frail and stupid to me, a man made of dried twigs with a thin, carping voice.

For example. 😅

I think Louis more or less surmised it at the beginning, because Lestat took the money from their victims, and because he started to furnish the plantation:

‘That’s mortal nonsense,’ he would say to me, while at the same time spending so much of my money to splendidly furnish Pointe du Lac, that even I, who cared nothing for the money, was forced to wince.

Louis takes it upon himself to invest their money, and grow their capital. He thinks he keeps Lestat dependent on him:

For all these years, I’d kept him dependent on me. Of course, he demanded his funds from me as if I were merely his banker, and thanked me with the most acrimonious words at his command; but he loathed his dependence.

(Note the tone implied when Lestat thanks him for money.)

Which is, like, very far from the truth, actually. And it is psychologically very interesting, indeed, especially for the show to hook into imho, but that just as a side note.

This very hard, harsh depiction of Lestat lasts into the second half of the book and then the longing breaks through, obviously impossible to contain:

A sickness rose in me more wretched than anguish when I saw what my dreams were doing. I wanted him alive! In the dark nights of eastern Europe, Lestat was the only vampire I’d found. I allowed myself to forget how totally I had fallen in love with Lestat’s iridescent eyes, that I’d sold my soul for a many-colored and luminescent thing, thinking that a highly reflective surface conveyed the power to walk on water. “What would Christ need have done to make me follow Him like Matthew or Peter? Dress well, to begin with. And have a luxurious head of pampered yellow hair.

But that just as a reminder that Louis changes his own stance on certain things even within the story...

Now for the money itself.

In regards to Lestat and money / status Anne set down some interesting basics already, very early in the book - because when Lestat cares still for his father this is a scene:

Don’t I take care of you in baronial splendor!’ Lestat would shout at him.

Don’t I provide for your every want! Stop whining to me about going to church or old friends! Such nonsense. Your old friends are dead. Why don’t you die and leave me and my bankroll in peace!’

There's two very interesting hints in there. For one we know that Lestat was the son of a Maquis, so that man is the Maquis. The "barionial splendor" is a direct hint to their previous lifestyle and the fact that Lestat took care of his father (and his family) then, too.

And then, of course, there's "leave me and my bankroll in peace". This quote is from a part very early in the book. Which makes it clear Lestat did have money at his disposal. How much exactly is not said, but as said before Louis thinks Lestat is after his plantation because... honestly, he cannot, for a long time, fathom why Lestat would be after him. He cannot understand that Lestat fell in love with him immediately. He cannot believe that Lestat loves him, like that, and has gone full in.

That just doesn't compute for Louis... for a long, long time.

Arguably, I think that is the same in the show.

And, I've said it before, that is a very scary concept, too, so I can understand why Louis had such a hard time accepting.

Someone as beautiful, powerful, capricious, difficult and vivacious as Lestat being totally gone on you... yeah. That is a scary concept.

Board game review - Barony, Marc André's magnum opus

In 2014 french designer Marc André released his most commercially successfull game, Splendor, an elegant tableau builder. It quickly became a massive hit, winning a double digit of awards and being nominated for the highly prestigious Spiel des Jahres, even managing to become one of the few designer games to break out of the hobby and is today loved by gamers and non-gamers alike. The year after, in 2015, Marc André released his greatest game to date. The comparatively unnoticed Barony.

CORE GAMEPLAY

After having randomized a map to play on and chosen your start positions, the expansion of your dominion over the land starts. Though there are six actions to chose from in the game, three of them tower over the rest as the most important. Recruiting knights, moving knights/attacking villages and removing knights to establish villages. Using these three simple mechanics you'll slowly but surely spread over the map, taking control of territory. Establishing a village has two functions. It's a defensive move, allowing you to create borders and section off a part of the map that is yours to rule. Secondly it nets you point-tokens, though acquiring these tokens are not enough to get the points. If you have 15 points worth of tokens you may spend spend a turn taking the fourth action in the game: cashing them in and moving up one rank. Reach the highest rank of king, and the game ends. Usually the player who ends the game also wins it. This leads me marvelously into my next point:

TEMPO

The tempo considerations come in two forms for this game. Firstly: whenever you take an action, you always have the option of doing more than one thing. You always recruit at least two knights, you always move two knights and when you establish villages, you may establish any amount of villages you want. This gives a feeling that you can always either do an action or DO an action. You're always pushing to be just a tad bit more efficient, but if you spread yourself too thin you will be severely punished by the other players.

For the second point I'd like to loan some terminology from the classic game "go" as Barony shares quite a few similarities with it. The concept of "sente" is ever present in this game; sente being a move that demands an answer from another player. It's taking the initiative and forcing someone else into a corner, for example, staging an attack for the sole reason of forcing your opponent to spend their valuable time defending.

The earlier mentioned concept of having to take time to cash in your points works wonderfully here. If you do it to early you might be giving up opportunities to play sente, or worse, having a sente move played on you. But the longer you take to score your points, the higher is the risk that someone will find an opportunity to rob those points from you by attacking you.

STRUCTURE

These tempo considerations gives the game a wonderfully structure. The first half of the game is merciless, as everyone does a mad scramble to establish their borders and get territory. In the second half of the game you're doing one if two things based on how you fared in the first half: Either you're playing defensively, constantly making decisions between taking time to exploit your territory or keeping up your defense. If you're one of those left poor by the first act however, you will instead play the role as the aggressor. Pushing borders back to claim territory for your own and, if your opponent neglects their duty to defend, maybe even stealing a tile or two from them.

TURN OFFS

Barony is entirely and proudly a deterministic abstract. Based on that sentence alone you will probably have some idea if this game isn't for you. And that is honestly the only turn off this game has in my opinion.

CONCLUSION

Barony is a fantastic, simple and short game, thought it's depth feels almost endless. The randomization of the board every time you play will drastically change how the game flows and how you have to approach it, leaving you with a game that feels fresh and exciting every single time you play. Few abstracts come close to this level of quality decision making and if this game sounds appealing to you, you should definitely check it out.

Music pairing:

For this game I would recommend the album "The Sims Medieval, Vol 1" and "The Sims Medieval, Vol 2" both by John Debney.

Further proof from iwtv that Lestat would never harm his family:

"But very true, I assure you. That Lestat hunted for mortals every night, I knew. But had he been savage and ugly to my family, my guests, and my slaves, I couldn’t have endured it. He was not. He seemed particularly to delight in the visitors. But he said we must spare no expense where our families were concerned. And he seemed to me to push luxury upon his father to an almost ludicrous point. ...[luxury descriptions].. But then at other times he would bully the old man, as I mentioned. He would erupt into such rage that the old man whimpered like a child. ‘Don’t I take care of you in baronial splendor!’ Lestat would shout at him. ‘Don’t I provide for your every want! Stop whining to me about going to church or old friends! Such nonsense. Your old friends are dead. Why don’t you die and leave me and my bankroll in peace!’ The old man would cry softly that these things meant so little to him in old age. He would have been content on his little farm forever."

In the following book it is revealed that Lestat's father was very abusive and personally I find that he financial supported him a great kindness. I personally have cut contact with my abusive father yet here Lestat is caring for him. And when he is cruel to him it is just in words, again nothing like what we saw in the show.

"And though Lestat still threatened me with danger to her, he did not threaten her at all but was loving to her, proud of her beauty, anxious to teach her that we must kill to live and that we ourselves could never die."

Again, he DID threaten Louis that he could harm Claudia, but Louis even says he believed it was to keep Louis with him, yet he never actually harms either of them:

"At first, I thought only of protecting her from Lestat. I gathered her into my coffin every morning and would not let her out of my sight with him if possible. This was what Lestat wanted, and he gave little suggestions that he might do her harm. ‘A starving child is a frightful sight,’ he said to me, ‘a starving vampire even worse.’ They’d hear her screams in Paris, he said, were he to lock her away to die. But all this was meant for me, to draw me close and keep me there. Afraid of fleeing alone, I would not conceive of risking it with Claudia. She was a child. She needed care."

That last part is pretty sadistic, yet it is not the same as actually doing it, OR threatening her directly, they could have had Lestat threaten Louis instead and it would have been enough for me to want his ass in the swamp

Of Ledgers and Limbs

Kelthier groaned as he stretched his left arm across his chest, hugging his elbow toward him with the crook of his right arm. He breathed deeply into the knot that had been tightening in his shoulder while he toiled away. The bead of sweat accumulating at the edge of his hairline finally gave way to slide down his temple when he released his arms to fall by his sides. He almost howled the relieving sigh that escaped him as he relaxed his posture. The disheveled druid peered up at the four corners of his repair project with a glint of pride in his eyes and a tug of joy at his lips. 

All week he had been at it, working away at repairs and improvements to the greenhouse afforded him by Lady Duskbinder’s bestowing the Grounds Master’s home under his name. A tentative gift, he couldn’t help but think due to the quickness in which it was presented to him. Though it wasn’t quite a gift as much as a transaction, for the dwelling so suited to Kelthier’s lifestyle came hand in hand with the responsibility and title of Grounds Master of the Lost Woods. 

And so it was under that looming expectation he’d set diligently to seeing some improvements made to the otherwise abandoned home he’d been given. Surely if he produced results and showed his earnestness, the arrangement would settle its roots and Kelthier could ease into the relief of having found a stable home. 

In fact, the greenhouse was already abuzz with earnestness as honeybees bumbled to and fro between the diverse flower beds already thriving within the sunlit space. Fresh planks of wood with a shade less weathering could be spotted by the keen eye in the sections Kelthier had made repairs. 

The arched trellis on the far back wall of the greenhouse appeared to be grown naturally in and of itself, made up of thick crisscrossed vines formed into the traditional structure. Climbing its length were three different species of ivy with respective hues of green, teal, and red in their own vertical lanes beside each other. 

My bet is on the teal, Kelthier thought as he ran his fingers gently through the leaves of the central ivy. Cerusani’s violet features came to mind as he glanced between the teal and green options. He pursed his lips curiously. Almost certainly not the red. 

He pivoted on his heel to take hold of the ladder that had been leaning against the rafters above, and he unfastened the latch which allowed it to fall down in quick order to half its length. The druid’s gaze lingered above on the beehive tucked up into those rafters, and his smile widened to a childish degree of excitement. He snickered to himself happily as he lifted the halved ladder on its side and under his arm, making his way out from the greenhouse paradise.

Outside, a certain gloom seemed to dwell in the air, though such was a common trait of Duskwood in which the duchy of Black Rose fell. The sun was out in full shine for the moment, though it wouldn’t be long until a cloud or overcast drifted through to dampen its splendor. Kelthier hummed contentedly to himself as he carried the ladder across the way toward the barn his grounds were adjacent to. He raised his hand into the air with a passing wave as one of the potato farmers in the distant field paused from his work to watch the Grounds Master. Kelthier chose to believe the man dipped his hat in the druid’s direction and not that it was just an idle adjustment while he stared. 

When Kelthier reached the barn, he took a care to announce himself as he peeked in through the door, though it seemed all were out in the fields. His shoulders lightened in the relief of being alone and he set the ladder where he’d found it. Tucked away in a corner of the lofty space was a work bench he’d been told he was welcome to use in tending his duties. Kelthier swung the satchel which hung across his shoulder over onto the wooden table with a thud. He tugged the nearby stool toward him with his foot and took a seat while he rummaged the satchel for his ledger, ink, and quill.

Once he was settled, Kelthier flipped through the first few pages of his ledger which were already considerably filled with notes. Once his title had been bestowed and the directive had come from Cerusani to meet Ms. Foxthorne’s recent accounting request, Kelthier decided his first order of action would be to commune with the surrounding settled lands of the barony of the Lost Woods, and to take notes of his findings. In that dreamwalk, he had paid particular attention to discerning the health and contentedness of the barony’s crops. Chief among them were large swaths of potatoes, carrots, and onions. Nothing glamorous. Very simple. 

Unlike Lady Duskbinder, he trailed in thought away from the pages of his ledger. What was it she said? That she was much more than her reputation. In fact, Kelthier found her rather elegant and careful with her words. Whatever mishaps or faux pas she alluded to in their meeting, he couldn’t fathom were significant enough to outweigh the natural admirable qualities he sensed in her. But there certainly is something else there...

He glanced back down at the mundane ledger accounting the happiness of potatoes and a blank space left to record the current and projected harvest yields. He scanned over the quickly jotted ideas he’d scribbled in the margins. Something... more, his mind insisted as he looked up out of the open window before him and into the dark impasse of the edge of the forest deemed the “Lost Woods”. 

Something more important, more exciting, more… to make of these crops, of Cerusani, of the potentials hiding in the depths of the Lost- his thoughts ceased as his eyes connected with that of a large wolf’s beyond the tree line, glowing amber from within the darkness. Clenched in its jaws was a pallid arm severed cruelly at the shoulder and riddled with clumps of dirt. Kelthier sat frozen in his seat as he watched the creature watching him. The hairs on his arms and the back of his neck raised as time stood still. It was a peculiar omen, he thought, made more peculiar by the timing.

“Oh, and don’t worry yourself with any skeletal remains that may find their way onto the grounds,” Lady Duskbinder’s words found their way to his mind, “The wildlife have a habit of bringing their prey to these woods from beyond our borders.”

PALAZZO DE GREGORIO, PALAZZO MANGANELLI, PALAZZO BISCARDI, PALAZZO FRANCAVILLA, PALAZZO MIRTO, VILLA CHIARAMONTE-BORDONARO (5 FOTO), 

Alla morte del Duca di Bronte, Sir Horatio Nelson, morto nella battaglia di Trafalgar, il fratello ricevette dall’amministratore del ducato la rendita annuale che gli competeva, vedendosi consegnare l’equivalente di un milione di euro attuali. Rendita che poteva essere maggiore se non si fossero intraprese delle manutenzioni importanti nel castello del Duca. La rendita non era dovuta solo ai 2600 ettari di alberi da frutto e boschi di faggio ma anche dai pagamenti dei cittadini di Bronte che per qualsiasi attività intraprendessero (raccogliere legna, percorrere strade, attraversare ponti) dovevano un giusto compenso al Duca. Puoi quindi immaginare la rendita dei principi e baroni che avevano possedimenti molto più grandi del Duca di Bronte, avendo titoli e poteri su intere province, villaggi e città. Queste immense rendite, quando non erano dilapidate ai tavoli da gioco o in altre attività risibili, venivano spese per aumentare lo splendore del casato abbellendo i grandi palazzi con mobili ed arredamenti degni dei grandi re. L’apparenza diventò l’esemplificazione del potere e della nobiltà e molta di questa “apparenza” è giunta fino a noi testimoniandoci la bellezza di quei tempo in cui pochi vivevano lnello splendore per cui molti lavoravano e pagavano.

On the death of the Duke of Bronte, Sir Horatio Nelson, who died in the battle of Trafalgar, the brother received from the administrator of the duchy the annual income that was equivalent to one million of today’s euros. Income that could have been greater if no major maintenance had been undertaken in the castle of the Duke. The rent was not due only to the 2600 hectares of fruit trees and beech forests but also by the payments of the citizens of Bronte who for any activity undertaken (collect wood, travel roads, cross bridges) had a fair compensation to the Duke. You can therefore imagine the income of the princes and barons who had much larger possessions than the Duke of Bronte, having titles and powers over entire provinces, villages and cities. These immense income, when they were not dilapidated at the gaming tables or in other ridiculous activities, were spent to increase the splendor of the house by embellishing the large buildings with furniture and furnishings worthy of the great kings. Appearance became the exemplification of power and nobility and much of this “appearance” has come down to us witnessing to us the beauty of an era in which few lived the splendor of an era for which many worked and paid.

DOWNLOAD FREE Ardrossan The Last Great Estate on the Philadelphia Main Line READ PDF EBOOK

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Author : David Nelson Wren

Pages : 388

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Release Date :2017-10-20

ISBN :0983863253

Publisher :Bauer and Dean Publishers

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A unique and fascinating chronicle of the construction and furnishing of an early 20th-century country house, vividly brought to life by letters from the family archiveNever-before-published drawings from Horace Trumbauer's architectural office, including the original and revised plans for all three floors, drawings of interior finishes and exterior details related to the main residence, as well as designs for other projects on the estate, including a never-built gate lodge, beautifully represented in Trumbauer's colored renderingMore than 400 historic and newly commissioned images and two 8-page gatefoldsAn intimate portrait that captures the elegant lifestyle of the Montgomerys and the majesty of their beloved home and estateA richly detailed history of the baronial splendor of the Philadelphia Main Line estate Ardrossan and of the Montgomery family who built it. Real-life American counterparts of the Granthams of Downton Abbey, the Montgomerys are best known as the family on which Philip Barry based his 1939 play, The Philadelphia Story, featuring Katharine Hepburn, who also starred in the later Hollywood film of the same name. The Montgomerys entertained in the grand manner, hosting fox hunts and dinner dances. Guests included diplomat W. Averell Harriman; first lady Edith Roosevelt, Mrs. Montgomery's cousin; and famed vaudevillians the Duncan Sisters. At its height, the magnificent estate encompassed roughly 760 acres of rolling Pennsylvania hills. The Montgomerys' home, still owned by the family, stands as a glorious reminder of the halcyon days of the Gilded Age. The fifty-room Georgian-style manor house was designed in 1911 by Horace Trumbauer, one of America's foremost classical architects who designed the Elms in Newport, Rhode Island, for E. J. Berwind, and Whitemarsh Hall, Trumbauer's masterpiece built for the Stotesburys outside of Philadelphia. The first-floor rooms were decorated by the London-based firm of White, Allom & Company. Essentially unaltered since 1913, these rooms feature the family's art collection, including ancestral portraits by Thomas Sully and hunt scenes and landscapes on or near Ardrossan by Charles Morris Young. The book also chronicles the history of the family's commercial dairy and prized herd of Ayrshires. This beautifully illustrated book features never-before-published architectural drawings from Trumbauer's office and interior photographs shot by Mattie E. Hewitt in the 1930s, as well as family snapshots and images by celebrated photographers Cecil Beaton and Toni Frissell commissioned by Vogue, Country Life, and Town & Country.

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Noche de jueguitos en familia, y comenzamos con Majesty: La Corona del Reino, juego de Marc André, responsable de otros juegos como Splendor o Barony. Publicado en 2017 bajo el sello Hans im Glück en alemán, publicado también por @devirgames . Ilustraciones a cargo de Anne Heidsieck, talento de juegos como When I Dream o Meeple War. Es un filler divertido y rápido, con poco interacción (aunque si existe a nivel de los soldados y es a todos los jugadores), con ilustraciones muy divertidas (incluyendo cambios sutiles de gorras o cambios de dirección de ojos), sin la intensidad de Splendor, pero con mucho que evaluar cuando ya le pones las chichas.. Jajajajaja. Es muy divertido para tener en cualquier colección, con mucha facilidad de ver mesa y con un diseño y acabados preciosos. 🧑‍🤝‍🧑 De 2 a 4 Jugadores 🕰️ 10 min x jugador aprox 🖖 De 7 años a mas Nosotros le ponemos 4.5 pulpitos de 5 (🐙🐙🐙🐙👍) ideal para enseñarle a nuevos jugadores a jugar y compartir una mesa de juego, ideal también para jugar con niños. Siguenos en facebook: /RathsEdge No olvides, #YoMeQuedoEnCasa y esperamos que tú también. Que este sea un momento de conocimiento, compartir y mucho juego en familia. Evitemos el colapso de las Emergencias y hospitales. 🏥 Protejamos a nuestros familiares vulnerables. 👶🏻👴🏻🧓🏻 Lávate las manos 🤲🏻 Quédate en casa 🏘️ Tomemos conciencia😤 Cúbrete al toser 😷 Guarda tu distancia con otros 👥 Nos vemos pronto. #YoMeQuedoEnCasa #mediosludicosperu #mediosludicosperuteam #boardgames #tabletop #boardgamegeek #boardgaming #gameday #gamenight #juegosdemesa #jocsdetaula #gameplay #bggcommunity #cthulhu #cthulhulovers #clubrathsedge  #juegosmolones #juegosentreamigos #juegosenraths #bgg #bggplay #entretenido #jugandoenraths (en Rath's Edge) https://www.instagram.com/p/CHruPUUhPhw/?igshid=1qr03e281ce92

What are the Best Hotels in Europe?

A continent of incredible history, culture and splendor, Europe offers everything the traveler could possibly want. Each country has distinctive hotels, scenic mountains and some of the most amazing cities in the world. Travelers will find exquisite cuisine, centuries of history and masterpieces of art. It's almost impossible to pick the best hotels as it's all a matter of taste but here is a list for you to splurge on. Here is the list of 10 of the Best Hotels in Europe

1. Dromoland Castle Hotel & Country Estate, Clare, Ireland This hotel has to be seen to be believed. Built in the 16th century, this is one of Ireland's most famous baronial castles presiding over hundreds of acres. The ancestral home of the O'Brien clan Dromoland is a perfectly preserved slice of Irish history. Its majesty and epic beauty have been brilliantly transformed into one of Europe's finest resorts where charmed peace, top-class hospitality, tremendous golf, luxury spa and fine dining all come together.

2. Hambleton Hall, Rutland, England Hambleton Hall, overlooking Rutland Water, started its life as a hunting lodge for Walter Marshall in 1881, whose penchant for socializing and enjoying the high life gained him a reputation for fine dinner parties. Current owners continue the convivial hospitality at Hambleton Hall and uphold Hambleton's welcoming reception. With a restaurant that would make Walter proud, staff serve strongly seasonal menus in the Michelin starred restaurant. Read more..

‪This past weekend my friend’s wanted to play games that they already knew the rules for. To my excitement, Barony from @editionsmatagot was one they picked!! The game flew by so fast because everyone knew what to do. Also, it was a SUPER tight race!! Need to do this more often🙃 . . . . . #barony #matagot #marcandre #boardgames #analoggames #bgg #boardgamegeek #juegosdemesa #tabletopgames #jeudesociete #brettspiel #splendor #gaming #boardgame #boardgamer #gamenight #gaymer #gaygamer #geekygaymerguy #ボードゲーム #j2s #boardgame

[This post owes a debt to a venerable but currently moribund blog belonging to a fellow Blue Hill-er. He relied for some of his material on comments I had previously posted on Wikimapia, so suggestions of plagiarism would be a somewhat circular argument. I’m correcting his chronology on a minor point or two as well].

My mother’s great aunt Effie Hinckley Ober was born in Sedgwick Maine, a few miles from Blue Hill, in 1844.  In an unusual path for a single young woman from the hinterlands in the 19th century, she found her way to the city, where she launched a career as a theatrical agent and lecture tour arranger. Anna Leonowens, author of the book used as source material for “The King and I”, was one of her clients.  In due course, she caught a performance of Gilbert & Sullivan at the D'Oyly Carte in London, and decided  to bring Pinafore to the United States.  Thus was started the Boston Ideal Opera company, specifically to stage an 'ideal' performance of the operetta in November,1878. The performances took place on a 'ship' in a lake in Boston's Oakland Park. Within weeks, 'Pinafore’ had captured the popular imagination, and Miss Ober and her top notch troupe of performers - a set of reprobates she took care to enroll in Bible School before departure, the better to pass them off as respectable artistes - took to the road, performing Gilbert & Sullivan and other light opera across the continent, sometimes in far outposts of the Wild West.

Having before age forty made one fortune in show business and a second through shrewd investment in Washington, D.C. real estate - including a sizeable chunk of what’s now the Kalorama neighborhood - Effie returned to Blue Hill, hired a childhood friend and transformed her childhood home into a vision of baronial splendor. This remodeled cottage was known, of course, as 'Ideal Lodge', after the opera company. Heavily inspired by recently published works by McKim, Mead and White (notably the Narragansett Casino and the Osborne house at Mamaroneck) the house, with its two story great hall with divided staircase and internal oriel window, provided a suitably theatrical backdrop.

In 1888 Effie married Virgil P. Kline, the Cleveland attorney who had helped her through the dissolution of her company - it later reconstituted itself under the name “The Bostonians” - and with the nucleus of themselves and the son of one of Kline’s Cleveland clients, set about expanding the nascent summer colony in Blue Hill. 

The summer before, she had again commissioned her architect friend, George Clough, this time to build a completely new cottage on Parker Point, which was finished the summer of her marriage. It was promptly occupied by her sister Elizabeth (Lizzie), who had met and married a Harvard-educated dental surgeon in Boston while working as Effie’s assistant in the theatrical agency. Their second child, Ruth, my mother’s mother, was born that same year.

Effie at 44 probably had no expectations of having children of her own, but her experience as the oldest of her siblings and having been for a time ‘farmed out’ after her father’s death fully prepared her to take on the responsibilities of running the household of a widower with three young children. The two young women on the porch in the photograph are most probably her stepdaughters Mary and Minerva Kline, both of whom deserve posts of their own, for their personal accomplishments as well as the interesting families into which they married. Their brother too: a beau of Marion Davies, Virgil ‘Tad’ Kline, Jr., was ‘put out of the way’ by Hearst, dying in suspicious circumstances in 1929 while driving his Stutz Bearcat along Sunset Boulevard.

Their father (Williams, Class of 1866) had published an Abolitionist newspaper in his youth, was a friend and colleague of Charles W. Chestnutt, advisor to James A. Garfield and an early and vocal opponent of Trusts. Kline had come to prominence successfully defending Teagle & Schurmer, the last independent oil refiner in Cleveland, from being gobbled up by John D. Rockefeller's Standard Oil. After a bruising court battle John D. famously said, “Young man, you’ve given us a good licking. Now I want you to come and work for me.” He was hired, prevented further actions by Standard that would expose it to expensive litigation, and remained in the company’s employ until his death in 1917, grooming his old client’s son Walter (Teagle & Schurmer eventually did merge with Standard Oil), to become John D.’s successor: after the breakup he became chairman of Standard of New Jersey, which under him became Esso, later Exxon.

It was while recovering from an exhausting round of court appearances that Mr. and Mrs. Teagle, guests of the Klines at Ideal Lodge, fell in love with Blue Hill and decided to build their own cottage nearby. Many people in their orbit did the same and the colony eventually attracted others from beyond Cleveland, including, by the early 1900's, the granddaughters of John Ellingwood Donnell, who traveled up to East Blue Hill, Maine, to visit a defunct granite quarry that he had purchased years before.

Delighted by the rocky oceanfront meadows they encountered, one of the granddaughters pursuaded her surgeon husband, textile heir Seth Milliken, to build a large summer bungalow on the property.  In due course, other structures were added, and the property, known as Ellingwood after Mrs. Milliken's grandfather, became a considerable estate. The Millikens and their five children would arrive each summer, with a bevy of maids, chauffeurs, governesses and tennis coaches in their wake.

In the summer of 1924, despairing of the pernicious influence of the roaring twenties on their five children, Alida, Martha, Minot, Seth and John, Dr. & Mrs. Milliken added a music coach to the summer staff, hoping to provide an alternative to movies and fast parties.  The idea was hatched to stage a performance of 'HMS Pinafore'. Children from other social families on nearby Mt. Desert were recruited for starring roles and chorus. The Milliken's 103-foot Herreshoff yacht, 'Shawna' would stand in for the Pinafore, classical music students, studying with their instructors for the summer at Blue Hill’s Kneisel Hall, would provide musical accompaniment, and car headlights would provide illumination. The commodious stone porches of the boathouse would house the audience. The advice of Effie Kline, by then 80 and still the grande dame of Blue Hill’s summer colony (she lived until 1927) would have been invaluable, staging ‘Pinafore’ afloat having been how she burst upon the scene 45 years earlier. There is, alas, no definitive evidence among her papers to confirm this. Alida, who was a friend of my mother’s and of mine (a winter resident of 740 Park Avenue, she once had me along as in-flight distraction when she chartered a plane to attend a funeral) would have been the one to ask, but she died in 1998.

By the next summer, the performances had become a tradition and a production of 'The Mikado' was mounted. Another rousing success, the group decided to become an official entity and perform in New York for the benefit of charity.  And thus was born the Blue Hill Troupe, possibly the most respected, and social, amateur Gilbert & Sullivan troupe in the country.

Giornate FAI d’Autunno: vario e stimolante il programma delle tappe calabresi

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Giornate FAI d’Autunno: vario e stimolante il programma delle tappe calabresi

Giornate FAI d’Autunno: vario e stimolante il programma delle tappe calabresi

Le Giornate FAI d’Autunno compiono otto anni e sono sempre in crescita come offerta e presenza sul territorio. Sono giovani perché animate e promosse proprio dai Gruppi FAI Giovani, che anche per quest’edizione hanno individuato itinerari tematici e aperture speciali che permetteranno di scoprire luoghi insoliti e straordinari in tutto il Paese. Un weekend unico, irrepetibile, che sabato 12 e domenica 13 ottobre 2019 toccherà 260 città, coinvolte a sostegno della campagna di raccolta fondi del FAI – Fondo Ambiente Italiano “Ricordati di salvare l’Italia”, attiva a ottobre. Due giorni per sfidare la capacità degli italiani di stupirsi e cogliere lo splendore del territorio che ci circonda, invitando alla scoperta di 700 luoghi in tutta Italia, selezionati perché speciali, curiosi, originali o bellissimi. Saranno tantissimi i giovani del FAI ad accompagnare gli italiani lungo i percorsi tematici espressamente ideati per l’occasione. Itinerari a tema, da percorrere per intero o in parte, che vedranno l’apertura di palazzi, chiese, castelli, aree archeologiche, giardini, architetture industriali, bunker e rifugi antiaerei, botteghe artigiane, musei e interi borghi. Le Giornate FAI d’Autunno sono, quindi, il risultato della forza e dell’entusiasmo delle nuove generazioni, simbolicamente incarnata in quel giovane che, duecento anni fa, a ventun anni, scrisse i versi immortali dell’Infinito: Giacomo Leopardi. Per questo l’edizione 2019 è dedicata a lui e alla sua poesia, patrimonio collettivo della cultura italiana. Ogni visita prevede un contributo facoltativo, preferibilmente da 2 a 5 euro, a sostegno dell’attività della Fondazione. Durante le Giornate FAI d’Autunno in via eccezionale anche i Beni FAI saranno accessibili a contributo facoltativo. Per gli iscritti FAI e per chi si iscriverà per la prima volta – a questi ultimi sarà dedicata la quota agevolata di 29 euro anziché 39 – saranno riservate aperture straordinarie, accessi prioritari, attività ed eventi speciali in molte città. La quota agevolata varrà anche per chi si iscriverà per la prima volta tramite il sito www.fondoambiente.it dal 1° al 20 ottobre. L’ottava edizione delle Giornate FAI d’Autunno si svolge con il Patrocinio della Commissione europea, del Ministero per i beni e le attività culturali e per il turismo, di tutte le Regioni e le Province Autonome italiane e di Responsabilità Sociale Rai. Con la media partnership di TG1, RAI TGR, RAINEWS24, che assicureranno ampia informazione e una copertura capillare. Si ringraziano, infine, Regione Lazio, Regione Lombardia, Regione Puglia, Provincia Autonoma di Trento, Fondazione Carical e Fondazione Cassa di Risparmio di Perugia per il contributo concesso. Il Fondo Ambiente Italiano è impegnato nella riuscita dell’evento con 125 Delegazioni, 94 Gruppi FAI, 94 Gruppi FAI Giovani e 2 Gruppi FAI ponte tra culture. Ad affiancarli, nell’accogliere e accompagnare i visitatori, ci saranno 5.000 Apprendisti Ciceroni, studenti della scuola di ogni ordine e grado che hanno scelto con i loro docenti di partecipare nell’anno scolastico a un progetto formativo di cittadinanza attiva, un’iniziativa lanciata dal FAI nel 1996, che coinvolge ogni anno studenti felici di poter vivere e raccontare da protagonisti, anche solo per un giorno, le meraviglie del loro territorio. Itinerari e aperture in Calabria Il gruppo giovani di Catanzaro invita a visitare il territorio di Maida nell’itinerario Rievocando la storia: tra antiche suggestioni contadine e signorili palazzi d’epoca. Un luogo ricco di storia, come testimoniano i suoi Palazzi, in particolare quelli sorti tra la fine del Settecento e gli inizi dell’Ottocento. Maida è anche nota per la sua antica tradizione rurale. Si segnala a Vena di Maida la mostra permanente legata alle tradizioni arbëreshë e contadine locali. 11 aperture: Castello Normanno, Chiesa di Santa Maria Cattolica, Chiesa di San Nicola de Latinis, Chiesa di Gesù e Maria e Convento dei Padri Minimi, Laura Basiliana, Palazzo Farao, Palazzo Vitale, Palazzo Ciriaco, Palazzo Romeo, Arco di Sant’Antonio. Il gruppo giovani di Vibo Valentia con l’itinerario Mongiana: antica sintesi di industria e natura propone una visita nel cuore delle tradizioni montane del comprensorio delle Serre, per scoprire un territorio ricco di risorse naturali, di storia di eccellenza, di uomini che hanno benevolmente segnato lo sviluppo ed il destino di questo borgo. Un’occasione per compiere un viaggio nella storia dell’eccellenza siderurgica calabrese di età borbonica ma anche nella biodiversità che caratterizza e impreziosisce la nostra regione. 3 aperture: Fabbrica d’Armi Borbonica, Reali Ferriere, Parco di Villa Vittoria Dal Bocs Museum ai Bocs Art : contaminazioni artistiche nel centro storico è l’itinerario proposto dal gruppo giovani di Cosenza alla scoperta del quartiere della creatività alle porte del centro storico della città bruzia composto da 27 studio-box, in cui vengono ospitati in residenza artisti e intellettuali contemporanei, che nel corso della loro permanenza realizzano opere che vengono poi conservate ed esposte presso il BoCs Art Museum. 3 aperture: Complesso di San Domenico, Bocs Art Museum, Bocs Art Residenze Artistiche. Il gruppo giovani di Reggio Calabria presenta l’itinerario Palazzo Alvaro: uno scrigno pieno di tesori. Palazzo Corrado Alvaro è un monumento di particolare rilievo storico-artistico, non solo per via della sua magnificente architettura eclettica, ma anche perché custodisce al suo interno opere d’arte di grande interesse dei maggiori artisti reggini e calabresi dell’epoca quali Francesco Jerace, Giuseppe Renda, Giuseppe Benassai e Alessandro Monteleone. 1 apertura: Palazzo Alvaro Il gruppo giovani Locride e Piana propone l’itinerario Belle Époque e liberty a Gioiosa Jonica: architetture e protagonisti tra ‘800 e ‘900 e una mostra sul Liberty di fine ‘800 e inizio ‘900 a Gioiosa Ionica. 7 le aperture che daranno conto dell’importante fioritura artistica a Gioiosa Ionica a cavallo tra XIX e XX secolo: Palazzo dei baroni Macrì, Casina dei nobili, Piazza Plebiscito, Piazza Vittorio Veneto, Palazzo Macrì in Via Amaduri, Palazzo Greco, Oratorio confraternale di Maria Santissima Addolorata. Le Giornate d’Autunno costituiranno un’occasione speciale per visitare la Riserva naturale biogenetica dei Giganti della Sila, unico bene FAI in Calabria, in località Croce di Magara, nel comune di Spezzano della Sila. Nell’area si conservano alberi alti fino a 45 metri, dal tronco largo 2 e dall’età straordinaria di 350 anni, testimoni delle antiche selve silane. Un bosco ultracentenario con oltre 60 esemplari di pini larici e aceri montani piantati nel XVII secolo dai Baroni Mollo.

Le Giornate FAI d’Autunno compiono otto anni e sono sempre in crescita come offerta e presenza sul territorio. Sono giovani perché animate e promosse proprio dai Gruppi FAI Giovani, che anche per quest’edizione hanno individuato itinerari tematici e aperture speciali che permetteranno di scoprire luoghi insoliti e straordinari in tutto il Paese. Un weekend unico, irrepetibile, che sabato 12 e domenica 13 ottobre 2019 toccherà 260 città, coinvolte a sostegno della campagna di raccolta fondi del FAI – Fondo Ambiente Italiano “Ricordati di salvare l’Italia”, attiva a ottobre. Due giorni per sfidare la capacità degli italiani di stupirsi e cogliere lo splendore del territorio che ci circonda, invitando alla scoperta di 700 luoghi in tutta Italia, selezionati perché speciali, curiosi, originali o bellissimi. Saranno tantissimi i giovani del FAI ad accompagnare gli italiani lungo i percorsi tematici espressamente ideati per l’occasione. Itinerari a tema, da percorrere per intero o in parte, che vedranno l’apertura di palazzi, chiese, castelli, aree archeologiche, giardini, architetture industriali, bunker e rifugi antiaerei, botteghe artigiane, musei e interi borghi. Le Giornate FAI d’Autunno sono, quindi, il risultato della forza e dell’entusiasmo delle nuove generazioni, simbolicamente incarnata in quel giovane che, duecento anni fa, a ventun anni, scrisse i versi immortali dell’Infinito: Giacomo Leopardi. Per questo l’edizione 2019 è dedicata a lui e alla sua poesia, patrimonio collettivo della cultura italiana. Ogni visita prevede un contributo facoltativo, preferibilmente da 2 a 5 euro, a sostegno dell’attività della Fondazione. Durante le Giornate FAI d’Autunno in via eccezionale anche i Beni FAI saranno accessibili a contributo facoltativo. Per gli iscritti FAI e per chi si iscriverà per la prima volta – a questi ultimi sarà dedicata la quota agevolata di 29 euro anziché 39 – saranno riservate aperture straordinarie, accessi prioritari, attività ed eventi speciali in molte città. La quota agevolata varrà anche per chi si iscriverà per la prima volta tramite il sito www.fondoambiente.it dal 1° al 20 ottobre. L’ottava edizione delle Giornate FAI d’Autunno si svolge con il Patrocinio della Commissione europea, del Ministero per i beni e le attività culturali e per il turismo, di tutte le Regioni e le Province Autonome italiane e di Responsabilità Sociale Rai. Con la media partnership di TG1, RAI TGR, RAINEWS24, che assicureranno ampia informazione e una copertura capillare. Si ringraziano, infine, Regione Lazio, Regione Lombardia, Regione Puglia, Provincia Autonoma di Trento, Fondazione Carical e Fondazione Cassa di Risparmio di Perugia per il contributo concesso. Il Fondo Ambiente Italiano è impegnato nella riuscita dell’evento con 125 Delegazioni, 94 Gruppi FAI, 94 Gruppi FAI Giovani e 2 Gruppi FAI ponte tra culture. Ad affiancarli, nell’accogliere e accompagnare i visitatori, ci saranno 5.000 Apprendisti Ciceroni, studenti della scuola di ogni ordine e grado che hanno scelto con i loro docenti di partecipare nell’anno scolastico a un progetto formativo di cittadinanza attiva, un’iniziativa lanciata dal FAI nel 1996, che coinvolge ogni anno studenti felici di poter vivere e raccontare da protagonisti, anche solo per un giorno, le meraviglie del loro territorio. Itinerari e aperture in Calabria Il gruppo giovani di Catanzaro invita a visitare il territorio di Maida nell’itinerario Rievocando la storia: tra antiche suggestioni contadine e signorili palazzi d’epoca. Un luogo ricco di storia, come testimoniano i suoi Palazzi, in particolare quelli sorti tra la fine del Settecento e gli inizi dell’Ottocento. Maida è anche nota per la sua antica tradizione rurale. Si segnala a Vena di Maida la mostra permanente legata alle tradizioni arbëreshë e contadine locali. 11 aperture: Castello Normanno, Chiesa di Santa Maria Cattolica, Chiesa di San Nicola de Latinis, Chiesa di Gesù e Maria e Convento dei Padri Minimi, Laura Basiliana, Palazzo Farao, Palazzo Vitale, Palazzo Ciriaco, Palazzo Romeo, Arco di Sant’Antonio. Il gruppo giovani di Vibo Valentia con l’itinerario Mongiana: antica sintesi di industria e natura propone una visita nel cuore delle tradizioni montane del comprensorio delle Serre, per scoprire un territorio ricco di risorse naturali, di storia di eccellenza, di uomini che hanno benevolmente segnato lo sviluppo ed il destino di questo borgo. Un’occasione per compiere un viaggio nella storia dell’eccellenza siderurgica calabrese di età borbonica ma anche nella biodiversità che caratterizza e impreziosisce la nostra regione. 3 aperture: Fabbrica d’Armi Borbonica, Reali Ferriere, Parco di Villa Vittoria Dal Bocs Museum ai Bocs Art : contaminazioni artistiche nel centro storico è l’itinerario proposto dal gruppo giovani di Cosenza alla scoperta del quartiere della creatività alle porte del centro storico della città bruzia composto da 27 studio-box, in cui vengono ospitati in residenza artisti e intellettuali contemporanei, che nel corso della loro permanenza realizzano opere che vengono poi conservate ed esposte presso il BoCs Art Museum. 3 aperture: Complesso di San Domenico, Bocs Art Museum, Bocs Art Residenze Artistiche. Il gruppo giovani di Reggio Calabria presenta l’itinerario Palazzo Alvaro: uno scrigno pieno di tesori. Palazzo Corrado Alvaro è un monumento di particolare rilievo storico-artistico, non solo per via della sua magnificente architettura eclettica, ma anche perché custodisce al suo interno opere d’arte di grande interesse dei maggiori artisti reggini e calabresi dell’epoca quali Francesco Jerace, Giuseppe Renda, Giuseppe Benassai e Alessandro Monteleone. 1 apertura: Palazzo Alvaro Il gruppo giovani Locride e Piana propone l’itinerario Belle Époque e liberty a Gioiosa Jonica: architetture e protagonisti tra ‘800 e ‘900 e una mostra sul Liberty di fine ‘800 e inizio ‘900 a Gioiosa Ionica. 7 le aperture che daranno conto dell’importante fioritura artistica a Gioiosa Ionica a cavallo tra XIX e XX secolo: Palazzo dei baroni Macrì, Casina dei nobili, Piazza Plebiscito, Piazza Vittorio Veneto, Palazzo Macrì in Via Amaduri, Palazzo Greco, Oratorio confraternale di Maria Santissima Addolorata. Le Giornate d’Autunno costituiranno un’occasione speciale per visitare la Riserva naturale biogenetica dei Giganti della Sila, unico bene FAI in Calabria, in località Croce di Magara, nel comune di Spezzano della Sila. Nell’area si conservano alberi alti fino a 45 metri, dal tronco largo 2 e dall’età straordinaria di 350 anni, testimoni delle antiche selve silane. Un bosco ultracentenario con oltre 60 esemplari di pini larici e aceri montani piantati nel XVII secolo dai Baroni Mollo.

È stata definita “La Capitale del Barocco”,  e il suo centro storico è stato dichiarato Patrimonio dell’Umanità dall’Unesco nel 2002. Noto è una delle città più belle della Sicilia. Per entrare nel centro storico dovete passare da Porta Reale, che pur non essendo la maggiore attrazione cittadina,   è il punto di ingresso nella perla del barocco, dove le decorazioni si mescolano al colore ambrato dagli edifici. Più che di un ingresso, si tratta di un vero e proprio arco di trionfo che, costruito nell’Ottocento, è stato progettato e costruito in occasione della visita del Re delle Due Sicilie, Ferdinando II. Una volta attraversa vi troverete davanti alla principale arteria della città, da cui potrete osservare le bellezze di Noto: corso Vittorio Emanuele.

Percorrendo la strada, a circa 100 metri di distanza, troverete la Chiesa di Santa Chiara che, progettata da Rosario Gagliardi nel 1730, è stata completata nel 1758 per poi essere annessa al all’ex convento delle Suore Benedettine, che oggi è sede del museo civico di Noto. L’originario portale d’ingresso di questa chiesa si trovava proprio in Corso Vittorio Emanuele, ma è stato murato in un secondo momento  a seguito di un lavoro di sbancamento del terreno effettuato nel corso dell’800 che lo rese di fatto impraticabile. L’interno della chiesa, con numerose decorazioni, putti e stucchi, è considerato uno dei più importanti dell’intera Sicilia per lo stile architettonico barocco. Se avete tempo, salite sulla  terrazza di questo edificio!, da dove  sarà possibile visitare l’ex convento delle Clarisse.

Degna di nota è anche la cattedrale, il principale centro di culto di Noto, nonché struttura più importante della stessa città. Il duomo è un vero e proprio gioiello barocco del 700, anche se nel corso dei secoli è stato più volte ristrutturato. Solo nel XIX secolo si arriverà alla strutture che è possibile ammirare oggi, una struttura che può contare  sulla Cupola realizzata da Cassone.

Per apprezzare al meglio Noto dovrete perdervi nelle piccole vie che raccontano lo splendore del barocco siciliano. In giro per il borgo vi sembrerà di essere entrati in un film, la cui location è fatta da lunghe scalinate color oro e palazzi nobiliari. Tra le numerose attrazioni che Noto offre, ci sono poi: palazzo Ducezio, la chiesa del santissimo Salvatore, Villa D’Ercole il Teatro Vittorio Emanuele. E se durante la stagione primaverile la cittadina viene presa d’assalto da centinaia di visitatori per l’Infiorata, in estate gli spazi occupati dai fiori sono invece riempiti da sale colorato.  L’infiorata è un “Saluto alla Primavera”, fatto di “tele dipinte con fiori” nella via più bella della città.

A sud di Noto si trova invece uno dei borghi marinari più apprezzati sui social e fotografati: Marzamemi. Caratterizzato da casette in pietra gialla intorno a due porticcioli naturali Marzamemi è un piccolo gioiello legato al cicli del mare e della pesca.

La  piccola città è dominata dalla sua tonnara che risale ai tempi degli arabi. La struttura è stata rimeggiata nel corso degli anni dal principe di Villadorata che ha fatto realizzare l’intero borgo intorno alla tonnara, che oggi non è più attiva. Dal 1752 la conformazione di Marzamemi inizia a prendere vita, vengono infatti costruiti il palazzo, la chiesa della tonnara, dedicata alla Beata Maria Vergine di Monte Carmelo, e le casette dei marinai per opera dei baroni Calascibetta. Oggi l’esterno conserva ancora l’antica struttura mentre all’interno si trova ancora la zona in cui venivano ricoverate le barche da pesca.

Durante il periodo estivo il borgo si riempie di persone. E in particolare la piazza principale e le vie del paese che si affollano di tavoli all’aperto.

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On the road in Sicilia. Alla scoperta di Noto e Marzamemi È stata definita “La Capitale del Barocco”,  e il suo centro storico è stato dichiarato Patrimonio dell’Umanità dall’Unesco nel 2002…

“Di azzurro non ho visto altro che la mia fame di te”

Vera e Nathan sono soli al mondo, spogli, divisi, in un 1950 livido di tragedia. Lei è rifugiata a Tel Aviv, lui vaga per il Medio Oriente, limpidamente ossessionato, in omaggio al tradimento, vendendo carte stellari di pregio. Colpito da un morbo contratto in Armenia, mentre cercava di raggiungerla, ammorbato a Tabriz, Nathan è in frantumi di delirio. Mentre Vera lo attende, ha tenda per lui, Nathan è coinvolto in eventi efferati della Storia, quasi fosse un sonnambulo. “Senza gestire l’ignoto” è un progetto letterario di Davide Brullo e di Veronica Tomassini. Sul blog della Tomassini potete leggere la lettera di Vera. Continueremo a fecondare l’ambiguo e l’astrale. L’ultima puntata del ciclo è qui.

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Agosto 1950, Mashhad

Qui, dove il sole viene fabbricato ogni giorno da angeli orafi la neve è una apocalisse. Come se Dio si fosse spogliato di ogni prestigio, precipiti, dissolto, al di là della commozione, smentito da un impulso al suicidio. Da destra – di cosa fa il calco la neve?, di chi è al servizio e perché e per sottrarci quale segreto? – appare l’impala, o qualcosa di simile, e svolta sulla neve, vola, non è degno di lasciare impronte, è pura anima – questo bianco barbarico, Vera, mi rimanda alla tua santità, la grazia con cui sgravi il piacere dagli altri corpi, la malia albina con cui disintegri gli sguardi. Quasi all’unisono, come frammenti d’oro convogliati in un’unica lastra dal magnete, scattano dalla neve – da dove?, addestrati da quale parola?, perché? – i ghepardi – e danzano da un lato all’altro della piana, con l’avidità cauta, distratta di un falco – di nessuno la neve testimonia la vita ed è muta anche di fronte alla previsione di morte, alla sua ambizione, perché è l’indifferenza il potere della neve. La paura scintilla sui nervi dell’impala e rende la bestia bellissima – la fame vivifica lo splendore dei ghepardi – l’atto cruento è naturale ed è nella corsa o nella fuga che un essere è superbo. A cerchio i ghepardi, che agiscono con armonia musicale, sono cinque, si chiudono sull’impala, come una palpebra sulla pupilla blu, e anche quando il sangue esplode hanno cura, i predatori, di non lasciare traccia, per non offendere l’impunità della neve, e vanno, scaglie di luce scaturite da un cratere, e la neve non è un patto con i morti, è la resa di Dio.

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Li falciarono tutti, Vera, proprio così, come si bonifica un campo e il meticoloso giardiniere era una mitragliatrice, anzi, diverse, innumerevoli, una sanatoria in proiettili – i Sarmati, quella teologica ferocia, il desiderio che ci custodisce tutti, una terra, una genia felice, la casa che si fonda sullo sterminio, un coraggio tanto spazioso da terminare in poema, volti tratti da un vocabolario dei perduti per diventare, per la durata di un acquazzone, re – uccisero anche le bambine che mi nutrivano – una l’avevo chiamata Vera per dare un corpo alle mie illusioni nottambule – neppure lei, neanche il gusto di violentarla, il soldato le staccò la mascella con la foce del fucile, le ruotò il collo e a lei, l’altra Vera, che impaniava di preghiere il mio risveglio, sembrò crescere un altro viso sul cranio, come le divinità ostili sumere, con due facce, per maledirti anche nell’aldilà. Gli inglesi sono concreti soprattutto nell’omicidio – i Sarmati, rediviva minoranza, non erano altro che un’astuzia di mosche – Arthur Collingworth, si chiama il comandante, titolato, e speculai, quando volle vedermi, la sera stessa, su quel worth, pensando che il valore, la saggezza, il carisma crescono in concordia con una spensierata spietatezza.

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Sono amato, Vera – anche da te – è vero? – questo non smette di sorprendermi – mi pensano sacro – un sacrario di ovvietà, semmai – anche loro – un demente voluttuoso, che evolve nel mentire – non posso più leggere le tue lettere, sei una fattura di luce, forse mia sorella è un assalto, mia sorella è un dio, mi dico, e il patto che mi congiunge a te è superiore alla nostra stessa volontà – se mi sono unito carnalmente alla dea dei ghetti è naturale che il mio destino sia il vagabondaggio e l’inquietudine, perché la mia anima è sotto la tua lingua e la mia intelligenza nella tua narice sinistra. Essere amato è stabilirsi nel pericolo – è inevitabile non corrispondere all’amore, deludere – e il mio ruolo è evitare il dolore che succede alla delusione.

*

Collingworth, l’inglese, pensa che possa essere utile nel perfezionare i rapporti con gli arabi, mi ritiene una spia, forse lo sono – è basso, bianco, un efebo, incapace di unirsi ad altri corpi se non per ucciderli, credo, ha corde al posto degli occhi – poi accadde la neve e pensai che ti fossi sciolta nel corpo di un altro, Vera, e fui preso dal desiderio di snocciolare la Terra, di alienare i deserti a un grammo di polvere sulle ciglia, e predarti, ovunque, e riportare la tua carne a ciò che è stata, un bracciale intorno alle mie gambe, un collare, l’incollatura  del mio valore alla volontà della Storia, alle volute del tempo. Collingworth alleva ghepardi – questi uomini mandanti del potere, che agisce senza schema, senza personalità, senza potergli dare dottrina, esplicitano sempre la loro integrità binaria in una bestia, in un simbolo, in una creatura che senza mediazioni designi ciò che vogliono essere. Chiama i ghepardi con i nomi dei grandi imperatori di Bisanzio – Basilio, Eraclio, Leonzio, Niceforo, Giustiniano – ne conforta la rabbia leggendogli, passeggiando nei pressi delle gabbie, passi dalla cronaca di Niceta Coniata sulla caduta e la distruzione di Costantinopoli – hanno cinghie azzurre al collo ed egli, il generale inglese, si occupa di limare i loro denti come altri appiccano i ceri o dipingono le icone o sgranano un rosario. Gli ricordai che Zoe, l’imperatrice bizantina, si era sposata quattro volte e quattro volte aveva fatto uccidere i propri mariti, “sapeva che regnare è sedurre e che l’amore partorisce la morte”, disse, e gli dissi di te, che mi hai ucciso ad ogni lettera per farmi risorgere in quella seguente, e ho preteso che ti consegnassero questi fogli. Egli sorrise, centellinando i nomi degli amanti di Zoe, le sue labbra sono grigie e dalla bocca potrebbero esplodere lucertole.

Notte

Più ti desidero più il destino mi respinge, agli albori di te – Mashhad è ai confini settentrionali dell’Iran, pietre anticristo, antipatia di sassi – per un giorno la neve ha devoluto in informe la storia statuaria di questo luogo – per questo mi è parsa, la nevicata, l’assassinio di un dio a tre teste – il presente, la presunzione del futuro, la presenza del passato. Gli inglesi vogliono corrodere qualche pezzo di Russia – mi portano con loro durante le trattative con i sultani e i baroni del luogo – attiro fanatici sorrisi – Collingworth, credo, vuole bonificare l’Oriente con i ghepardi, odia il sole e se potesse lo darebbe in pasto ai suoi felini, come se l’astro fosse un pupazzo, come uno straccio. “La geografia terrena non è diversa dalle sue mappe stellari”, mi ha detto questa sera, in vena di filosofia – quest’uomo non beve, non ride, ha imposto una sentinella perfino sullo stipite del sonno. “Le costellazioni sono uno stupido espediente per convincerci che il cosmo è a misura d’uomo, ma un mito non frena il caos: qualcuno vede un cammello in quello che altri chiamano Orsa Maggiore, e altri ancora uniscono stelle impareggiabili, con scopi caustici – allo stesso modo, definiamo i confini di una terra o il profilo di una conquista, per pensarci pionieri del caos”. Gli ho chiesto se avesse velleità imperiali, se avesse mai amato una donna, un uomo. “Sa perché i ghepardi non ruggiscono?”, mi domandò – gli dissi che i ghepardi fischiano, come se avessero un serpente nella trachea – “non c’è bisogno di conquistare quando domini ogni cosa, non c’è bisogno di macchinare strateghi burocratici quando puoi risolvere tutto con uno scatto”. Pensai che fosse meglio non domandargli cosa intendesse per scatto. Di notte la neve sembra fuoco, poi svanisce.

*

Deglutisco da giorni lo stesso verso di Aleksandr Puskin – lo ha scritto durante il suo viaggio in Asia – “Non morirò del tutto”, ha scritto – poi ha scritto che si viaggia per cercare “la frattura azzurra” nelle città degli uomini. Di azzurro non ho visto altro che la mia fame di te – che strano, vero?, definire la fame con un colore così delicato. Come dovrei intendere “Non morirò del tutto” se tutto quello che ero è morto in te, se neanche la morte, ora, è un limite, ma l’ennesima possibilità di incontrarci, dopo tanta vita?

Nathan

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This Is Why The Four Rivers Of The Garden Of Eden Is So Famous! | the four rivers of the garden of eden

Once aloft a time, a man was abnormality in the arid back he came aloft a gargantuan tree. At the bottom of the timberline he begin a cave.

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Venturing into the cave, he begin a alleyway that led down. He artificial advanced and went lower, until he accustomed at a doorway. There he begin a abstruse drifter captivation a staff.

“On this path, the alcohol of the angelic biking on their way to access the Garden of Eden,” the drifter told the man.

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The man was Rabbi Yossi. The drifter is larboard bearding and unknowable. The adventure is told in the Zohar — the “Book of Splendor” about declared as the axial book of the Kabbalah and Jewish mysticism but about larboard unread.

What is this account accomplishing in a book that about presents itself as a close annotation on the Torah? And what is the acceptation of the account for the Zohar’s author? Or authors?

These are amid the questions Dr. Eitan Fishbane of Teaneck sets out to acknowledgment in his new book, “The Art of Mystical Narrative: A Poetics of the Zohar,” which has aloof been arise by the University of Oxford Press and will barrage at the Jewish Apostolic Seminary of America in Manhattan on November 27. (See box.)

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Dr. Fishbane traces the roots of his book to his apprentice year at Brandeis. In one determinative course, he advised above American poets, including Ralph Waldo Emerson and Walt Whitman. In another, he advised works of Jewish mysticism with Arthur Green. Together, these two anecdotic encounters with abstract “grew into an absorption and allure in the abysmal similarities amid mystical and anapestic creativity,” he said.

He begin in both the poets and the mystics “a drive to abduction the mysterious, about ineffable ambit of actuality and feeling, the faculty that this apple and all of life, all of existence, is animate with pulsating mystery, an announcement of the Divine arise in this world,” he said.

For best American Jews, the Zohar is far below accustomed than 19th aeon American poetry. Dr. Fishbane explains that “it seeks to bare the airy base of Divine ablaze that the mystics accept hovers below the apparent of acumen in our apple and in Torah. The mystics of the Zohar consistently allege of absolution the ablaze of the mysteries of the secrets of the Torah that are annihilation below than the close gates of Divine reality.”

Some of that happens in the address of archetypal Torah interpretation. “Huge amounts of the argument are in the anatomy of a affectionate of midrash,” Dr. Fishbane said. “It’s modeled on age-old midrashic forms, speaking about the mystical secrets of the cosmos and of God as the kabbalists accepted them.”

But that is interspersed “with what some accept alleged the abundant ballsy tale, or at atomic the anecdotal tale, of Rabbi Shimon Bar Yochai and his aggregation abnormality about the age-old Galilee in adventure of mystical wisdom.” The Zohar represents itself as the adventure of Rabbi Bar Yochai, who lived in the additional century, “but avant-garde scholarship has apparent that the Zohar was actually accounting by backward 13th and aboriginal 14th aeon Castilian Jewish mystics and kabbalists who about invented and reimagined the amount of Rabbi Shimon Bar Yochai to become this adept kabalistic sage.”

The result, Dr. Fishbane says, is “one of the greatest works of Jewish fiction to anytime emerge.”

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As fiction goes, the adventure of Rabbi Shimon Bar Yochai gets aerial marks for creativity, but avalanche a bit abbreviate back it comes to plotting.

“You accept this almost anecdotal and bitty adventure of the abundant academician and his aggregation abnormality about the age-old Galilee, and afresh they’ll abeyance to accord a mystical midrashic discourse,” he said. “Or they’ll appointment a drifter forth the way who will about arise to be a blockhead of some array or other, such as a abnormality donkey driver, who they’ll at aboriginal accept is not necessarily account their time, but afresh they’ll ascertain this appearing blockhead is actually one of the greatest mystical sages. Afresh that appearance will go on to bear a mystical midrashic discourse.”

Earlier scholarship on the Zohar has focused on allegory its doctrines and the history of its composition. Dr. Fishbane’s assignment is groundbreaking because it looks instead at questions of storytelling and narrative.

He contextualizes the storytelling in the Zohar and in the beyond brand of Jewish abstract of its time. Framing narratives of the abnormality sages, which assume avant-garde compared to beforehand archetypal Jewish texts like the Talmud and Midrash, about-face out to accept antecedents in both Jewish and non-Jewish abreast literature.

As for the adventure of the cavern below the timberline — Dr. Fishbane discusses it in a affiliate he devotes to bewitched accuracy and the absurd in the Zohar, “the means in which the Zohar narrates and represents the alteration amid the accustomed and the abnormal in the acquaintance of the animal characters.” He compares that alteration to what readers acquisition in the assignment of Gabriel García Márquez.

Another affiliate looks at the ethical implications of the narratives. “The advantage of forgiveness, the abstemiousness of anger, benevolence for the poor are represented through the fiction of the Zohar,” Dr. Fishbane said.

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Dr. Fishbane said the abstraction of Zohar and added kabbalistic texts “has had a absolute and able appulse on my own airy life. I wouldn’t go so far as to say I’m a kabbalist by any amplitude of the imagination, but I would say the texts and account I’ve spent so continued belief in bookish contexts accept actually impacted my own claimed and apostolic language. There is absolutely a bit in the Zohar and accompanying abstract that I anticipate is acutely affective to us in the abreast airy moment.”

One example: “The abstraction that God is not necessarily a personified, baronial adjudicator in the accomplished heavens, but a activating force of activity that courses like a river of activity through all of the universe, and which manifests to me in my own accurate means as a Jew who seeks to alive the activity of the mitzvot. I acquisition the adumbration of the Zohar moving. I wouldn’t necessarily subscribe to it in the exact way the kabbalists accept it, but it absolutely has aggressive me to anticipate abnormally about acceptance and about God and about abreast spirituality.”

On a apostolic level, he said, “the abundant aural articulation of Divinity is bidding through the ablaze adroitness of the abundant minds and writers and agents in anniversary generation.” Belief the Zohar “is a way we accost the abundant ancestry of the Jewish bodies and apprehend the choir of those abundant airy masters and agents of old. We thereby already afresh are able to apprehend the beating and Divine articulation singing through the ages of the Jewish people, and are able to catch the abundant ablaze of Divine adumbration as it manifests through the words of the sages of Judaism.”

What: The Art of Mystical Narrative: A Zohar Symposium

Where: Jewish Apostolic Seminary of America, 3080 Broadway, Manhattan

When: Tuesday, November 27, 7:30 to 9 p.m.

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How much: Free, but beforehand allotment appropriate at jtsa.edu/mystical-narrative

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Lord Carrington, Former U.K. Foreign Secretary, Dies at 99

Lord Carrington, a versatile British politician who held senior posts under Conservative prime ministers from Winston Churchill to Margaret Thatcher and who was secretary general of NATO in the last years of the Cold War, died on Monday. He was 99.

His death was confirmed by Prime Minister Theresa May. She did not say where he died.

The best-remembered act of Lord Carrington’s long political career was a resignation. His decision in 1982 to step down as foreign secretary, because he had failed to anticipate what he described as the “humiliating affront” of Argentina’s invasion of the Falkland Islands, is frequently cited in Britain as a rare example of an honorable ministerial departure.

Lord Carrington, the sixth baron of Carrington, was the longest-serving member of the House of Lords and a descendant of textile merchants, bankers and members of Parliament dating to the 18th century. He attended Eton and Sandhurst, was a decorated officer in World War II and could have spent the rest of his days in anonymous baronial splendor on his family’s Buckinghamshire estate.

Instead, he plunged into postwar politics, diplomacy and public service. In a public career that spanned nearly five decades, Lord Carrington was parliamentary secretary of agriculture, first lord of the Admiralty and, in a succession of cabinet posts, secretary of defense, energy and foreign affairs.

In diplomatic assignments, he was the ambassador to Australia, represented Britain in formative talks for what became the European Union and helped negotiate the independence of Zimbabwe. He also led unsuccessful European peace talks in 1991 and 1992 among the warring states of Yugoslavia.

In politics, he was chairman of the Conservative Party for two years and served in the governments of Harold Macmillan, Sir Alec Douglas-Home and Edward Heath, as well as those of Churchill and Mrs. Thatcher. He was sometimes mentioned as a possible prime minister.

As secretary general of NATO from 1984 to 1988, he presided over the 16-nation Atlantic alliance at a time of rising tensions in the final years of the Cold War. With the Soviet Union and its Warsaw Pact alliance decaying but still strong, he envisioned a need for new arms-control agreements and renewed commitments by Western Europe and America to the common defense.

David Lidington, the Conservative lawmaker for the area including Lord Carrington’s family home, described him on Twitter as the last surviving member of the postwar Churchill government, with a career “given to public service.”

Peter Alexander Rupert Carington was born on his family’s estate near Aylesbury, England, on June 6, 1919, the only son of Rupert and Sybil Marion Carington. The family name has one “R” and its hereditary title two, an eccentricity decided by the College of Arms, Britain’s heraldic authority, when an ancestor, Robert Smith, took the name Carington and was designated First Baron of Carrington by King George III in 1796.

Peter Carington graduated from the Sandroyd School and Eton College, and succeeded to his title in 1938 with the death of his father. Though eligible to take his seat in the House of Lords on his 21st birthday in 1940, he did not do so until after the war.

In 1942, he married Iona McClean. They had three children, Alexandra, Virginia and Rupert. Lady Carrington died in 2009. Complete information on survivors was not immediately available.

After officer’s training at the Royal Military College at Sandhurst, he was commissioned in the Grenadier Guards and served in France and the Low Countries in World War II, rising to the rank of acting major and winning the Military Cross for his role in capturing and holding a vital bridge against the Germans in 1944.

After the war, he was elected to the Buckinghamshire County Council, where he focused on agricultural production, and in 1946 took his seat in the House of Lords. After Churchill, Britain’s wartime leader, returned to power in 1951, Lord Carrington became parliamentary secretary of agriculture and served briefly as parliamentary secretary of defense.

In 1956 he was named high commissioner to Australia, where his father had been born and where his family had extensive interests. He had a deep attachment to Australia. In and out of public life, he visited the country almost every year and was popular there, known for his informality and dry wit.

He was lured back to Britain in 1959 by an offer from the Macmillan government of a post that he coveted: first lord of the Admiralty. As the head of Britain’s navy over the next four years, he sought to modernize the fleet and to break centuries-old traditions that governed planning and procedures.

The result was a smaller, more mobile navy with less resources for aging capital ships and more for submarines, guided-missile destroyers and advanced frigates. Britain’s first nuclear sub, the Dreadnought, was built on his watch.

He was the leader of the House of Lords in 1963 and 1964, and simultaneously a minister without portfolio in the Douglas-Home government, with his principal responsibilities in foreign affairs. He was a member of Mr. Heath’s cabinet as defense secretary from 1970 to 1974, and briefly as energy secretary in 1974. He was also chairman of the Conservative Party from 1972 to 1974. Over the next five years, with the party out of power, he was leader of the opposition in the House of Lords.

As foreign secretary under Mrs. Thatcher from 1979 to 1982, he led talks that ended a revolutionary war in Rhodesia and created an independent Zimbabwe. But he resigned abruptly after Argentina invaded the Falkland Islands, where it claimed sovereignty. Lord Carrington said he had misread Argentina’s intentions and failed to anticipate the attack, which was repulsed by Britain in a popular 74-day undeclared war.

He was chairman of the General Electric Company of the United Kingdom in 1983. In later years, he was chairman of the auction house Christie’s and a director of Barclays Bank, Schweppes, The Daily Telegraph and other companies.

His autobiography, “Reflecting on Things Past: The Memoirs of Peter Lord Carrington,” was published in 1988.

In 1999, the House of Lords Act removed the automatic right of hereditary peers to sit in the House of Lords. But Lord Carrington and some other former leaders of the body were given life peerages, extending their rights of membership for the rest of their lives. At his death, Lord Carrington had been a member of the House of Lords for 78 years.

The post Lord Carrington, Former U.K. Foreign Secretary, Dies at 99 appeared first on World The News.

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Lord Carrington, Former U.K. Foreign Secretary, Dies at 99

Lord Carrington, a versatile British politician who held senior posts under Conservative prime ministers from Winston Churchill to Margaret Thatcher and who was secretary general of NATO in the last years of the Cold War, died on Monday. He was 99.

His death was confirmed by Prime Minister Theresa May. She did not say where he died.

The best-remembered act of Lord Carrington’s long political career was a resignation. His decision in 1982 to step down as foreign secretary, because he had failed to anticipate what he described as the “humiliating affront” of Argentina’s invasion of the Falkland Islands, is frequently cited in Britain as a rare example of an honorable ministerial departure.

Lord Carrington, the sixth baron of Carrington, was the longest-serving member of the House of Lords and a descendant of textile merchants, bankers and members of Parliament dating to the 18th century. He attended Eton and Sandhurst, was a decorated officer in World War II and could have spent the rest of his days in anonymous baronial splendor on his family’s Buckinghamshire estate.

Instead, he plunged into postwar politics, diplomacy and public service. In a public career that spanned nearly five decades, Lord Carrington was parliamentary secretary of agriculture, first lord of the Admiralty and, in a succession of cabinet posts, secretary of defense, energy and foreign affairs.

In diplomatic assignments, he was the ambassador to Australia, represented Britain in formative talks for what became the European Union and helped negotiate the independence of Zimbabwe. He also led unsuccessful European peace talks in 1991 and 1992 among the warring states of Yugoslavia.

In politics, he was chairman of the Conservative Party for two years and served in the governments of Harold Macmillan, Sir Alec Douglas-Home and Edward Heath, as well as those of Churchill and Mrs. Thatcher. He was sometimes mentioned as a possible prime minister.

As secretary general of NATO from 1984 to 1988, he presided over the 16-nation Atlantic alliance at a time of rising tensions in the final years of the Cold War. With the Soviet Union and its Warsaw Pact alliance decaying but still strong, he envisioned a need for new arms-control agreements and renewed commitments by Western Europe and America to the common defense.

David Lidington, the Conservative lawmaker for the area including Lord Carrington’s family home, described him on Twitter as the last surviving member of the postwar Churchill government, with a career “given to public service.”

Peter Alexander Rupert Carington was born on his family’s estate near Aylesbury, England, on June 6, 1919, the only son of Rupert and Sybil Marion Carington. The family name has one “R” and its hereditary title two, an eccentricity decided by the College of Arms, Britain’s heraldic authority, when an ancestor, Robert Smith, took the name Carington and was designated First Baron of Carrington by King George III in 1796.

Peter Carington graduated from the Sandroyd School and Eton College, and succeeded to his title in 1938 with the death of his father. Though eligible to take his seat in the House of Lords on his 21st birthday in 1940, he did not do so until after the war.

In 1942, he married Iona McClean. They had three children, Alexandra, Virginia and Rupert. Lady Carrington died in 2009. Complete information on survivors was not immediately available.

After officer’s training at the Royal Military College at Sandhurst, he was commissioned in the Grenadier Guards and served in France and the Low Countries in World War II, rising to the rank of acting major and winning the Military Cross for his role in capturing and holding a vital bridge against the Germans in 1944.

After the war, he was elected to the Buckinghamshire County Council, where he focused on agricultural production, and in 1946 took his seat in the House of Lords. After Churchill, Britain’s wartime leader, returned to power in 1951, Lord Carrington became parliamentary secretary of agriculture and served briefly as parliamentary secretary of defense.

In 1956 he was named high commissioner to Australia, where his father had been born and where his family had extensive interests. He had a deep attachment to Australia. In and out of public life, he visited the country almost every year and was popular there, known for his informality and dry wit.

He was lured back to Britain in 1959 by an offer from the Macmillan government of a post that he coveted: first lord of the Admiralty. As the head of Britain’s navy over the next four years, he sought to modernize the fleet and to break centuries-old traditions that governed planning and procedures.

The result was a smaller, more mobile navy with less resources for aging capital ships and more for submarines, guided-missile destroyers and advanced frigates. Britain’s first nuclear sub, the Dreadnought, was built on his watch.

He was the leader of the House of Lords in 1963 and 1964, and simultaneously a minister without portfolio in the Douglas-Home government, with his principal responsibilities in foreign affairs. He was a member of Mr. Heath’s cabinet as defense secretary from 1970 to 1974, and briefly as energy secretary in 1974. He was also chairman of the Conservative Party from 1972 to 1974. Over the next five years, with the party out of power, he was leader of the opposition in the House of Lords.

As foreign secretary under Mrs. Thatcher from 1979 to 1982, he led talks that ended a revolutionary war in Rhodesia and created an independent Zimbabwe. But he resigned abruptly after Argentina invaded the Falkland Islands, where it claimed sovereignty. Lord Carrington said he had misread Argentina’s intentions and failed to anticipate the attack, which was repulsed by Britain in a popular 74-day undeclared war.

He was chairman of the General Electric Company of the United Kingdom in 1983. In later years, he was chairman of the auction house Christie’s and a director of Barclays Bank, Schweppes, The Daily Telegraph and other companies.

His autobiography, “Reflecting on Things Past: The Memoirs of Peter Lord Carrington,” was published in 1988.

In 1999, the House of Lords Act removed the automatic right of hereditary peers to sit in the House of Lords. But Lord Carrington and some other former leaders of the body were given life peerages, extending their rights of membership for the rest of their lives. At his death, Lord Carrington had been a member of the House of Lords for 78 years.

The post Lord Carrington, Former U.K. Foreign Secretary, Dies at 99 appeared first on World The News.

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