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  Special Friendships (2022)
Posted by: Frenuyum - 12-04-2025, 04:51 PM - Replies (1)

   


His book is full of profound cynicism and pessimism, but his outstanding ability as a writer also allows us glimpses of a puckish sense of humour and an analytical capacity that provides keen insights into the many layers of meaning that can be found by digging under the surface of the films he talks about. The hope for a better future that must have sustained him through all the wilderness years is still apparent, and by bringing Steven's work to a wider audience we may keep it alive.
 
In preparing this ebook edition, beyond editing the OCR, I’ve corrected some errors of syntax and punctuation, added accents and italics where necessary, and standardised the use of apostrophes and quotation marks. I did spot one or two factual errors, and Ive corrected those after consulting IMDB. There may be others, and I'd be grateful if you could point them out if you find them. The text is entirely Steven’s, the footnotes are Edmund's.

Images
The book contains around 170 images. I’ve tried to match the presentation of these to their appearance on greek-love.com, but as is the way of e-readers, the success rate is patchy. The formatting works perfectly in the Preview screen of Sigil 1.9.2.
 
Adobe Digital Edition can be used to view .epubs, but it’s best suited to .pdfs. In this case it doesn’t render the images at all, let alone the formatting.
 
However, viewing the .azw3 in Kindle for PC, gives an almost perfect rendering of the images (including captions) and their positioning. They’re even in colour. The .mobi shows images, but loses all their positioning, and the captions are treated as regular body text.
 
On the latest (11th gen) Kindle device, the same thing happens: the .azw3 is fine, especially if viewed in landscape, but the .mobi loses the formatting. Of course, there’s no colour.
 
I have little experience of other formats such as .djvu or .fb2, but if anyone particularly wants these I’ll try to accommodate.

Quote:Quite recently, a stash of over 800 lost British documentary films from the early 1900s came to light, the output of an obscure midlands partnership, Mitchell & Kenyon. This footage, now expertly restored, yields us a priceless sociological window onto the lives of working class people a full century ago, the way they actually looked and really moved. Never before in history has one generation been granted such a clear and true glimpse into the everyday world of their great-grandparents. One of the incidental things it reminds us of is that the streets of town and city in earlier times were positively teeming with young boys, because the street and workplace were then a male domain — we can still have some sense of this from contemporary news footage of the Muslim world, where segregation of the sexes remains more rigid and absolute, and child labour has not yet been marked ‘inhumane’.

In pre-World War I days, families were more prolific in output than they are now, children would have constituted sixty percent or more of the general population (as they do in many poorer countries today) and boys were everywhere to be seen. We shouldn’t feel obliged, observing these facts, to sweep into a sermon on the Oppression of Women. It is not our prerogative to pass moral judgements on the past, merely to view it with honest eyes. It is the differences in the past, not the similarities, which make it intrinsically fascinating. Women of all social classes were certainly evident in that early silent footage. What is significant, once you notice it, is the super-abundance of boys.

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  The Talisman (1984)
Posted by: Frenuyum - 12-04-2025, 04:46 PM - Replies (1)

   



The kid with the firecrackers came toward him . . . but not too close. Wants to be able to take off in a hurry if I turn out to be as weird as I undoubtedly look, Gardener thought. Smart kid.

“That your stuff?” the kid asked. His T-shirt showed a guy blowing his groceries. SCHOOL-LUNCH VICTIM, the shirt said.

“Yeah,” Gardener said. He bent down and picked up the soggy notebook, looked at it for a moment, and then tossed it down again.

The kid handed him the other two. What could he say? Don’t bother, kid? The poems suck, kid? Poetry and politics rarely mix, kid, poetry and propaganda never?

“Thanks,” he said.

“Sure.” The kid held the bag so Gardener could drop the two dry notebooks back inside. “Surprised you got anything left at all. This place is full of ripoff artists in the summer. The park, I guess.”

The kid gestured with his thumb and Gardener saw the roller coaster silhouetted against the sky. Gard’s first thought was that he had somehow managed to roister all the way north to Old Orchard Beach before collapsing. A second look changed his mind. No pier.

“Where am I?” Gardener asked, and his mind harked back with an eerie totality to the jail cell and the nose-picking deputy. For a moment he was sure the kid would say, Where do you think you are?

“Arcadia Beach.” The kid looked half-amused, half-contemptuous. “You must have really hung one on last night, mister.”

“Last night, and the night before,” Gardener chanted, his voice a little rusty, a little eerie. “Tommyknockers, Tommyknockers, knocking at the door.”

The boy blinked at Gardener in surprise . . . and then delighted him by unexpectedly adding a couplet Gardener had never heard: “Wanna go out, dunno if I can, cause I’m so afraid of the Tommyknocker man.”

Gardener grinned ... but the grin turned into a wince of fresh pain. “Where’d you hear that, kid?”

“My mom. When I was a baby.”

“I heard about the Tommyknockers from my mother too,” Gardener said, “but never that part.”

The kid shrugged as if the topic had lost whatever marginal interest it might have had for him. “She used to make all kinds of stuff up.” He appraised Gardener.

“Don’t you ache?”

“Kid,” Gardener said, leaning forward solemnly, “in the immortal words of Ed Sanders and Tuli Kupferberg, I feel like homemade shit.”

“You look like you been drunk a long time.”

“Yeah? How would you know?”

“My mom. With her it was always funny stuff like the Tommyknockers or too hung-over to talk.”

“She give it up?”

“Yeah. Car crash,” the kid said.

Gardener was suddenly racked with shivers. The boy appeared not to notice; he studied the sky, tracing the path of a gull. It coursed a morning sky of blue delicately shelled with mackerel scales, turning black for a moment as it flew in front of the sun’s rising red eye. It landed on the breakwater, where it began to pick at something which gulls presumably found tasty.

Gardener looked from the gull to the kid. All of this was taking on decidedly omenish tones. The kid knew about the fabled Tommyknockers. How many kids in the world knew about them, and what were the odds that Gardener would happen to stumble on one who both (a) knew about them and (b) had lost his mother because of drink?

The kid reached in his pocket and brought out a small tangle of firecrackers. Sweet bird of youth, Gard thought, and smiled.

“Want to light a couple? Celebrate the Fourth? Might cheer you up.”

“The Fourth? The Fourth of July? Is that what this is?”

The kid gave him a dry smile. “It ain’t Arbor Day.”

The twenty-sixth of June had been . . . he counted backwards. Good Christ. He had eight days which were painted black. Well ... not quite. That actually would have been better. Patches of light, not at all welcome, were beginning to illuminate parts of that blackness. The idea that he had hurt someone—again—arose now in his mind as a certainty. Did he want to know who that (arglebargle) was, or what he had done to him or her? Probably not. Best to call Bobbi and finish himself before he remembered.

“Mister, how’d you get that scar on your forehead?”

“Ran into a tree while I was skiing.”

“Bet it hurt.”

“Yeah, even worse than this, but not by much. Do you know where there’s a pay phone?”

The kid pointed to an eccentric green-roofed manse which stood perhaps a mile down the beach. It topped a crumbling granite headland and looked like the cover of a paperback gothic. It had to be a resort. After a moment’s fumbling, Gard came up with the name.

“That’s the Alhambra, isn’t it?”

“The one and only.”

“Thanks,” he said, and started off.

“Mister?”

He turned.

“Don’t you want that last book?” The kid pointed to the wet notebook lying on the high-tide line. “You could dry it out.”

Gardener shook his head. “Kid,” he said, “I can’t even dry me out.”

“You sure you don’t want to light off some firecrackers?”

Gardener shook his head, smiling. “Be careful with ’em, okay? People hurt themselves with things that go bang.”

“Okay.” He smiled, a little shyly. “My mother did for a long time before the, you know—”

“I know. What’s your name?”

“Jack. What’s yours?”

“Gard.”

“Happy Fourth of July, Gard.”

“Happy Fourth, Jack. And watch out for the Tommyknockers.”

“Knocking at my door,” the kid agreed solemnly, and looked at Gardener with eyes which seemed queerly knowing.

For a moment Gardener seemed to feel a second premonition (whoever would have guessed a hangover was so conducive to the psychic emanations of the universe? a bitterly sarcastic voice inside asked). He didn’t know what of, exactly, but it filled him with urgency about Bobbi again. He tipped the kid a wave and set off up the beach.

Continue reading..

  A Beautiful Boy: Ray's Story (2016)
Posted by: Frenuyum - 12-04-2025, 04:43 PM - Replies (1)

   



Would you know if your child was being groomed by a paedophile?
"This is a true story. " Here is a life that exemplifies the need for the Royal Commission into Institutional Responses to Child Sexual Abuse. Yet Ray, the man, is not completely broken and is a tireless advocate for men abused as children. How did such strength come out of such a dreadful childhood? Born into poverty and violence Ray is forced to beg for food on the streets of inner Sydney. Sent to a children's home at Kincumber when he is caught stealing, he learns more about abuse and violence. When he is expelled for bad behaviour he returns to his parents and is assigned a social worker to help and guide him as a Ward of the State. The dark world his social worker takes him into, Sydney, Wollongong and Hunter Valley paedophile rings, is a trap for a boy without a proper home or schooling. He inhabits a world that no child should ever enter. He knows Frank Arkell, Robert Dolly Dunn and many high profile men in society who do not use their real names when they rent boys. It took years for Ray to escape this life and to become who he really wanted to be - a married man with kids and a regular job and happiness he could only dream of once. But then he is subpoenaed to the Royal Commission into NSW Police Corruption because he knows so much. Will Ray's search for justice break him? Will his courage and determination crumble away?

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  Duroy, Lionel - Priez pour nous (1990)
Posted by: Frenuyum - 12-04-2025, 04:39 PM - Replies (1)

   


Les Guidon de Repeynac, nobles désargentés, famille de sept enfants, ont été expulsés de leur appartement de Neuilly et relogés dans une HLM de banlieue.
Depuis, Grangemarre, épouse tyrannique et mère désemparée, leur fait vivre à tous un épouvantable calvaire.
Criblé de dettes, son mari Toto se lance dans de multiples pérégrinations pour sortir de ce cauchemar, aidé par ses fils aînés qui se font les complices attendris de ses petites combines.
Devenu adulte, l'un des fils Repeynac nous livre, avec toute la naïveté de ses souvenirs d'enfant, une critique à la fois drôle et nostalgique de la société bourgeoise des années 1960. 


The Repeynac family, the rebellious aristocrats, the family of the seventh children, were evicted from their apartment in Neuilly and relocated back to a low-income housing project in the suburbs.
Since then, in Grangemarre, they had become entangled with tyranny and were even further removed from it; they lived on a happy Calvary, unlike any of us.
Tormented by these children, Mari Toto, through several generations, sought to capture them, aided by his children, who accompanied his younger sisters' accomplices.
An adult, one of the Repeynac children, our book, with all the naiveté of its childhood memories, is a critique of the bleak world and nostalgia of the bourgeoisie in 1960.

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  Elias, or The Struggle with the Nightingales (1936)
Posted by: Frenuyum - 12-04-2025, 04:30 PM - Replies (1)

   



Elias or the battle with the nightingales has been compared by some to the prose of Rilke, by others with Le grand Meaulnes of Alain-Fournier or with the stories of the surrealists, but the novel evades these equations by the completely unique way in which Maurice Gilliams expresses the subconscious, childhood memory, dream and poetic vision.

Elias or the battle with the nightingale is not a novel in the ordinary sense of the word. The story not only brings a number of people to life, but also unfolds a vision of life. It is a search for self-knowledge, in the line of 'a la recherche du temps perdu' by Marcel Proust, but also by Rainer Maria Rilke and the prose of Charles of the Desert. The young Elias is dominated by a sickly fantasy that makes him unfit for the ‘ordinary’ life. He lives locked in the world of ‘the castle’ and wants to escape from it via ‘the stream’, but he does not succeed. This spatial contradiction symbolizes the dualism in which it is imprisoned. At the same time, the novel brings an environmental sketch of the old, French-speaking upper bourgeoisie at the turn of the century, a dying class living in a social and spiritual isolation.
With this novel Maurice Gilliams was ahead of his time, but he also joins a tradition. Elias or the battle with the night-gays is autobiographical commemorative prose which tells not so much a story as a representation of the inner world of experience of an introverted, hypersensitive young boy, who delivers a “fight” with the charming ‘night-galnals’ of his own imagination.

Gilliams rejects the traditional factual account of — he called it “sausage fill” – and replaces it with an exploration of the self. The central question is, “Who am I?”
In Gilliams’ diaries we can read: ‘I am Elias’.

Continue reading..

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