Archive for April, 2017

Sunday 30th April 2017

Posted in Life the Universe and Other Things on April 30, 2017 by bishshat
Spurs 2 Arsenal 0
Two goals in two second half minutes from Dele Alli and Harry Kane ensured the last-ever north London derby at White Hart Lane went our way following an outstanding performance on Sunday. As we prepare to leave the ground which has been home for the last 118 years, we produced another powerful and composed display to see off Arsenal in relative comfort and give the stadium the victory it deserved on a poignant afternoon.
The win was our ninth consecutive success in the Premier League and our 13th straight triumph in the division at White Hart Lane, as we consolidated second place in the table, climbing back to within four points of leaders Chelsea after their win at Everton earlier in the day.
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We should have been ahead at half-time but somehow both Dele and Christian Eriksen missed what were basically open goals, allowing Arsenal to grow in confidence and threaten at the other end before the interval, although Hugo Lloris denied Aaron Ramsey with their best chance of the half. The opening goal came on 56 minutes and was no more than we deserved, Dele poking home from close range after Cech had saved Eriksen’s fine individual effort, before we doubled our lead two minutes later.
The superb Victor Wanyama won the ball inside the Arsenal half and found Kane, who was upended by Gabriel in the area and referee Michael Oliver pointed to the spot. Kane made no mistake with his penalty, his 27th goal of the season.
Both sides had chances to add to the scoreline, Olivier Giroud and Alexis Sanchez denied by Lloris while Petr Cech made a string of superb saves to prevent us extending our lead, most notably from Jan Vertonghen, Kane and Toby Alderweireld.

This win confirmed they would finish above arch-rivals Arsenal for the first time since 1994-95, with an impressive north London derby win at White Hart Lane.



Fidel is a 2002 mini-series by David Attwood that describes the Cuban revolution and political career of Fidel Castro (played by Víctor Huggo Martin). The total duration of the film is 200 minutes, but the video-version is shorter. Gael García Bernal would later reprise his role as Che Guevara in the film The Motorcycle Diaries


The film is almost documentary in its portrayal of facts. It claims to be based strongly on facts, apart from some adaptations like merging various characters into one. After two hours the movie changes dramatically. The first two hours are about the six years before the fall of Batista’s dictatorship. The last hour is about the 40 years after that. In the first two hours Castro regularly distances himself from Communism and Communists, but after the take-over, the film suggests that Castro had always aspired a Marxist-Leninist State.

Saturday 29th April 2017

Posted in Life the Universe and Other Things on April 29, 2017 by bishshat



In the near future, when communications go offline at a remote nuclear power plant isolated in the desert, a young safety inspector, Abby Dixon (Sarah Habel), is forced to fly out to bring them back online. Once inside the facility, mysterious clues and strange behaviors cause Abby to have doubts about the sanity, and perhaps identities, of the two employees onsite.


A Quiet Passion

Arguably Terence Davies’ most profoundly personal film since Of Time and the City, A Quiet Passion sees the writer-director on top form. From the very opening scene, in which a stern, shrew-faced schoolmistress addresses her matriculating pupils –- including the young Emily Dickinson – on the importance of faith and the perils of nonconformity, it’s clear we’re in safe hands. The bold, frequently frontal, tableaux-like compositions (at times reminiscent of American painting); the perfectly chosen faces; the carefully nuanced performances; and the occasional but characteristically elegant camera-movements -– all add up to a subtle form of stylisation that is not quite naturalistic but always persuasive and plausible.


If You Were Coming in the Fall

Emily Dickinson

If you were coming in the fall,
I’d brush the summer by
With half a smile and half a spurn,
As housewives do a fly.
If I could see you in a year,
I’d wind the months in balls,
And put them each in separate drawers,
Until their time befalls.
If only centuries delayed,
I’d count them on my hand,
Subtracting till my fingers dropped
Into Van Diemen’s land.
If certain, when this life was out,
That yours and mine should be,
I’d toss it yonder like a rind,
And taste eternity.
But now, all ignorant of the length
Of time’s uncertain wing,
It goads me, like the goblin bee,
That will not state its sting.
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Only the first 20 minutes or so depict Emily’s youth, and they may surprise with their light-hearted, quasi-Wildean repartee as the fiercely intelligent young woman exchanges opinions on life and art – and, more particularly, on the place of women in a patriarchal society – with her outspoken friend Vrying Buffam. But an ellipsis – deftly handled by the morphing of portraits of the Dickinson family – speeds us forward into Emily’s later years, where her lack of recognition as a poet, her growing loneliness and her frustrations regarding gender inequality and creative integrity make for an increasing reclusiveness and an ever more loudly voiced bitterness. And then, of course, there are also death and disease, ready to play their part in the steady crushing of Emily’s former happiness.


Judiciously deploying Dickinson’s verse, here and there, as voiceover so that it serves almost as a commentary on the narrative, Davies steadily darkens the mood until the later scenes attain a painful, almost Bergmanesque intensity. He’s well served by Florian Hoffmeister’s painterly camerawork, by a clutch of fine performances (Cynthia Nixon is especially good as Emily, though Jennifer Ehle offers excellent support as her sister Vinnie), and by an imaginative musical track (for once Charles Ives’ The Unanswered Question feels wholly appropriate, given the Massachusetts setting). The film is  a compelling and finally very affecting portrait of the poet as an ageing woman.

Emily Elizabeth Dickinson (December 10, 1830 – May 15, 1886) was an American poet. Dickinson was born in Amherst, Massachusetts. Although part of a prominent family with strong ties to its community, Dickinson lived much of her life in reclusive isolation. After studying at the Amherst Academy for seven years in her youth, she briefly attended the Mount Holyoke Female Seminary before returning to her family’s house in Amherst. Considered an eccentric by locals, she developed a noted penchant for white clothing and became known for her reluctance to greet guests or, later in life, to even leave her bedroom. Dickinson never married, and most friendships between her and others depended entirely upon correspondence. Dickinson was a recluse for the later years of her life.

While Dickinson was a prolific private poet, fewer than a dozen of her nearly 1,800 poems were published during her lifetime. The work that was published during her lifetime was usually altered significantly by the publishers to fit the conventional poetic rules of the time. Dickinson’s poems are unique for the era in which she wrote; they contain short lines, typically lack titles, and often use slant rhyme as well as unconventional capitalization and punctuation. Many of her poems deal with themes of death and immortality, two recurring topics in letters to her friends.

Although Dickinson’s acquaintances were most likely aware of her writing, it was not until after her death in 1886—when Lavinia, Dickinson’s younger sister, discovered her cache of poems—that the breadth of her work became apparent to the public. Her first collection of poetry was published in 1890 by personal acquaintances Thomas Wentworth Higginson and Mabel Loomis Todd, though both heavily edited the content. A complete, and mostly unaltered, collection of her poetry became available for the first time when scholar Thomas H. Johnson published The Poems of Emily Dickinson in 1955. Despite some unfavorable reception and skepticism over the late 19th and early 20th centuries regarding her literary prowess, Dickinson is now almost universally considered to be one of the most significant of all American poets.

I’m Nobody! Who are you?

I’m Nobody! Who are you?
Are you – Nobody – too?
Then there’s a pair of us!
Don’t tell! they’d advertise – you know!

How dreary – to be – Somebody!
How public – like a Frog –
To tell one’s name – the livelong June –
To an admiring Bog!


The Discovery

The Discovery is a 2017 British-American romantic science fiction film, directed by Charlie McDowell from a screenplay written by Justin Lader and Charlie McDowell. It stars Rooney Mara, Jason Segel, Robert Redford, Jesse Plemons, Riley Keough and Ron Canada. The film opens with an interview with Thomas Harbor (Redford), the man who scientifically proved the existence of an afterlife, which has led to an extremely high suicide rate. The interviewer (Steenburgen) asks Harbor if he feels responsible, to which he says no. Directly after, a member of the crew kills himself on air.

On the two year anniversary of the discovery, Harbor’s son Will (Segel) travels on a ferry where he meets Isla (Mara). They have a conversation and Will notes Isla looks very familiar. He says he is upset that people keep killing themselves, while Isla thinks it’s an easy way out. Will also shares a memory he had while being dead for a minute, where he saw a young boy at a beach.


Will is picked up by his brother Toby (Plemons), who drives him to an isolated mansion where their father has built up his new station. Will notes people working for him, and Toby says they all attempted suicide. They enter a room where Will meets Lacey (Keough) and Cooper (Canada), and sees his father tied up to a machine as they kill and revive him. Will blames him for the high suicide rate. Later, Will sees Isla on the beach as she walks into the water with a backpack loaded down by a gym weight. He runs after, barely saving her. He brings her to the mansion, where she is taken in. At a later meeting with the occupants, Thomas reveals he invented a machine that can record what dead people see in the afterlife, which requires a dead person, and they steal the corpse of Pat Phillips from the morgue.


Will reveals to Isla that his mother killed herself when he was younger. The next day, they try to record the afterlife but nothing happens. After the failed attempt, Will enters the room alone and puts back a piece of wiring he took out of the machine, which then shows a sequence of a man driving to a hospital, visiting someone and fighting with a woman there. Will finds the hospital from the recording online and visits it, but finds that the hallway from the video is gone after remodeling a decade prior. Later, during a meeting, Thomas brings Lacey on stage and confronts her about telling other people in the mansion about the failed device and tells her to leave immediately. Will drives Isla to the hospital and shows her the recording and tells her that he thinks the device records memory rather than the afterlife. After breaking into the hospital, they find a file from Pat Phillips’ father, who died in the hospital.

Isla finds out that the man in the recording has a different tattoo from the one she saw on Pat earlier. Will drives her to the beach, where she reveals to him that she had a son and that he died while she was asleep. Later they seek out the woman from the video, revealed to be Pat’s sister. She tells them that Pat left her alone with their dying father and that he never visited him in the hospital.


Isla and Will grow closer together and share a kiss, which is interrupted by Toby. Together they rush to Thomas, who is hooked up on the machine and dead. They observe that he is seeing the night their mother killed herself, except that Thomas stops her. They are able to revive Thomas, who concludes that the afterlife is an alternate version of their existing life, only with different choices made. They agree to destroy the machine, as this revelation would provoke millions of suicides by people wanting to improve the lives they have. Thomas prepares to hold a speech, which is interrupted by Lacey shooting Isla, who claims she just “relocated” her. Isla dies in Will’s arms.


Later, a devastated Will hooks himself up with the machine. He arrives back on the ferry, where he meets Isla again, who states that this is a memory. It is revealed that Will is living in a memory loop trying to prevent Isla’s death and that he restarts on the ferry every time. Isla says that he saved her and that they both will move on now. Although Toby and Thomas try to revive Will, he dies, promising Isla to remember her.

Will stands on the beach, where he sees a little boy and gets him out of the water. His mother, Isla, arrives and thanks Will. They don’t recognize each other. After she leaves, he looks back, first confused and then with a knowing look.

Friday 28th April 2017

Posted in Life the Universe and Other Things on April 28, 2017 by bishshat

When I have fears that I may cease to be

John Keats 1818

When I have fears that I may cease to be
Before my pen has glean’d my teeming brain,
Before high-piled books, in charactery,
Hold like rich garners the full ripen’d grain;
When I behold, upon the night’s starr’d face,
Huge cloudy symbols of a high romance,
And think that I may never live to trace
Their shadows, with the magic hand of chance;
And when I feel, fair creature of an hour,
That I shall never look upon thee more,
Never have relish in the faery power
Of unreflecting love;–then on the shore
Of the wide world I stand alone, and think
Till love and fame to nothingness do sink.


Bright Star

Bright Star is a 2009 British-French-Australian biographical fiction romantic drama film based on the last three years of the life of poet John Keats and his romantic relationship with Fanny Brawne. It stars Ben Whishaw as Keats and Abbie Cornish as Fanny. It was directed by Jane Campion, who wrote the screenplay inspired by Andrew Motion’s biography of Keats; Motion served as a script consultant on the film. The film was in the main competition at the 62nd Cannes Film Festival, and was first shown to the public on 15 May 2009.The film’s title is a reference to a sonnet by Keats titled “Bright star, would I were steadfast as thou art”, which he wrote while he was with Brawne.

In 1818 Hampstead, the fashionable Fanny Brawne (Abbie Cornish) is introduced to poet John Keats (Ben Whishaw) through the Dilke family. The Dilkes occupy one half of a double house, with Charles Brown (Paul Schneider)—Keats’ friend, roommate, and associate in writing—occupying the other half.


Though Fanny’s flirtatious personality contrasts with Keats’ notably more aloof nature, she begins to pursue him after she has her siblings, Samuel and Toots, obtain his book of poetry “Endymion”. Her efforts to interact with the poet are fruitless until he witnesses her grief for the loss of his brother, Tom. While spending Christmas with the Brawne family, Keats begins to open up to Fanny’s advances. Keats begins to give poetry lessons to Fanny, and it becomes apparent that their attraction is mutual. Fanny is nevertheless troubled by Keats’ reluctance to pursue her, for which her mother (Kerry Fox) surmises, “Mr Keats knows he cannot like you, he has no living and no income.”

It is only after Fanny receives a valentine from Brown that Keats passionately confronts them and asks if they are lovers. Brown, who sent the valentine in jest, warns Keats that Fanny is a mere flirt playing a game. Fanny, hurt by Brown’s accusations and by Keats’ lack of faith in her, ends their lessons and leaves. It is not until after the Dilkes move to Westminster that spring, leaving the Brawne family their half of the house and six months rent, that Fanny and Keats resume their interaction and fall deeply in love. The relationship comes to an abrupt end when Brown departs with Keats for his summer rental, where Keats may earn some money. Though Fanny is heartbroken, she is comforted by Keats’ love letters. When the men return in the autumn, Fanny’s mother voices her concern that Fanny’s attachment to the poet will hinder her from being courted. Fanny and Keats secretly become engaged.


Keats contracts tuberculosis the following winter. He spends several weeks recovering until spring. His friends collect funds so that he may spend the next winter in Italy, where the climate is warmer. After impregnating a maid, Brown is unable to accompany Keats. Keats manages to find residence in London for the summer, but he is taken in by the Brawne family following an attack of his illness. When his book sells with moderate success, Fanny’s mother gives Keats her blessing to marry Fanny once he returns from Italy. The night before he leaves, he and Fanny say their tearful goodbyes in privacy. Keats dies in Italy the following February of complications from his illness, just as his brother Tom did earlier in the film.

In the last moments of the film Fanny cuts her hair in an act of mourning, dons black attire, and walks the snowy paths outside that Keats had walked many times in life. It is there that she recites the love sonnet he had written for her, “Bright Star”, as she grieves the death of her lover.

Fanny Brawne

Frances (Fanny) Brawne Lindon (9 August 1800 – 4 December 1865) is best known for her betrothal to English Romantic poet John Keats, a fact largely unknown until 1878, when Keats’s letters to her were published. Their engagement, lasting from December 1818 until Keats’s death in February 1821, spanned some of the most poetically productive years of his life.

Frances (known as Fanny) Brawne was born 9 August 1800 to Samuel and Frances at the Brawnes’ farm near the hamlet of West End, close to Hampstead, England.
She was the eldest of three surviving children; her brother Samuel was born July 1804, and her sister Margaret was born April 1809 (John and Jane, two other siblings, died in infancy). By 1810, her family was in Kentish Town, and on 11 April of that year her father died, at age thirty-five, of consumption. Subsequently, Mrs. Brawne moved the family to Hampstead Heath.

It was in 1818 that the Brawnes went to Wentworth Place—“a block of two houses, white-stuccoed and semi-detached, built three years before by Charles Armitage Brown and Charles Wentworth Dilke”—for the summer, occupying Brown’s half of the property. Fanny was introduced to a society which was “varied and attractive; young officers from the Peninsular Wars, perhaps from Waterloo… exotic French and Spanish émigrés …from their lodgings round Oriel House in Church Row and the chapel in Holly Place.” After living at Wentworth Place for a brief time the Brawnes became friends with the Dilkes.

At eighteen, Fanny Brawne “was small, her eyes were blue and often enhanced by blue ribbons in her brown hair; her mouth expressed determination and a sense of humour and her smile was disarming. She was not conventionally beautiful: her nose was a little too aquiline, her face too pale and thin (some called it sallow). But she knew the value of elegance; velvet hats and muslin bonnets, crêpe hats with argus feathers, straw hats embellished with grapes and tartan ribbons: Fanny noticed them all as they came from Paris. She could answer, at a moment’s notice, any question on historical costume. … Fanny enjoyed music. … She was an eager politician, fiery in discussion; she was a voluminous reader. … Indeed, books were her favourite topic of conversation”.

It was through the Dilkes that Fanny Brawne met John Keats in November 1818 at Wentworth Place, where Keats had been living for some time with Charles Brown in the companion house to the Dilkes’. Their initial meeting was cordial and expected—the Dilkes were fond of Keats and spoke of him to the Brawnes often.[ Fanny enjoyed his company, recalling that “his conversation was in the highest degree interesting and his spirits good, excepting at moments when anxiety regarding his brother’s health dejected them”; On 1 December 1818, Keats’ younger brother Tom died of tuberculosis, at age nineteen. Keats’s grief was deep, as “Some years before, Keats had written that his love for his brothers was “an affection ‘passing the Love of Women’” … Fanny showed him the depth of her understanding. She gave him invigorating sympathy, keeping his mind from the past and from introspection; she encouraged his love of life by her obvious interest in him, and by her vivacity. Remarkably soon his own gaiety returned.
In a letter begun 16 December 1818 to his brother George, in America, Keats mentions Fanny in two separate passages. The first: “Mrs. Brawn who took Brown’s house for the summer still resides in Hampstead. She is a very nice woman and her daughter senior is I think beautiful, elegant, graceful, silly, fashionable and strange. We have a little tiff now and then—and she behaves a little better, or I must have sheered off” ; the second: “—Shall I give you Miss Brawn[e]? She is about my height—with a fine style of countenance of the lengthen’d sort—she wants sentiment in every feature—she manages to make her hair look well—her nostrills are fine—though a little painful—he[r] mouth is bad and good—he[r] Profil is better than her full-face which indeed is not full [b]ut pale and thin without showing any bone—Her shape is very graceful and so are her movements—her Arms are good her hands badish—her feet tolerable—she is not seventeen—but she is ignorant—monstrous in her behaviour flying out in all directions, calling people such names—that I was forced lately to make use of the term Minx—this is I think no[t] from any innate vice but from a penchant she has for acting stylishly. I am however tired of such style and shall decline any more of it”

It was not long before Keats fell completely in love with Fanny. “He had transfigured Fanny in his imagination, his passion creating in her the beauty which for him became the truth; and so she had come to be… the fulfilment of Endymion, the very symbol of beauty, the reconciliation between real life and his poetic quest.” On 18 October 1819, Keats proposed to Fanny Brawne, who accepted. Though a significant event in their lives, they did their best to keep it secret. Fanny’s mother would not be so welcoming of the engagement: Keats had given up a career in medicine to pursue poetry, which, at this point in his life, did not seem to have great prospects. His family had been stricken with illness, and he was unable to sustain himself financially. Her mother did not outright forbid the marriage, but she withheld her legal consent until such time as there was financial stability to match the couple’s emotional bond.

Keats, by February, was at Wentworth Place, where Fanny visited him frequently and occasionally met his friends, one of whom was Joseph Severn. However, “as Keats could not dance and was too unwell to take her out himself, she went to parties with army officers. Through the Dilkes and her mother’s wide circle of friends she received many invitations,” which caused Keats significant anxiety. This constant presence—which he did not dislike—distracted him from poetry; and although he had in May what is regarded as some of the most productive time of his poetic life, he left for the Isle of Wight in June. Over the next months Fanny and Keats carried on an emotional, anxious, and somewhat jealous correspondence; he wrote of love and death, and in between letters he wrote and revised poems. He returned to Wentworth Place in 1819, physically and emotionally unwell.

In early February 1820, Keats went to London and “returned late, cold and feverish. He staggered so badly that Brown thought him drunk. As he got into bed he coughed slightly, and seeing a single drop of blood upon the sheet said to Brown, ‘I know the colour of that blood;—it is arterial blood … that drop of blood is my death warrant.’ Later that night, a large lung haemorrhage followed that almost suffocated him. All he could think of was Fanny.” Fanny seldom visited Keats in person over the next month for fear of his delicate health giving out, but occasionally would pass by his window after walks, and the two often wrote notes to each other.

In May 1820 Keats decided to leave for Kentish Town; and, over the next months, the two continued an emotional correspondence. Doctors had urged him to relocate to Italy for recovery, as another English winter would most likely prove deadly. He returned, for the last time, to Wentworth Place on 10 August 1820.

Even the imminence of his leaving for Italy (which was to happen in a month’s time) did not move Fanny’s mother to grant her consent to their marriage. She did, however, promise that “when Keats returned he should marry Fanny and live with them.” On 11 September 1820, Fanny wrote Keats’s farewell to his sister, also named Frances; and “with [Fanny’s] consent he destroyed the letters she had sent him.” Before leaving, they exchanged gifts: “perhaps at parting, he offered her his copy of The Cenci and the treasured facsimile of the folio Shakespeare in which he had written his comments and the sonnet on King Lear. He gave her an Etruscan lamp and his miniature, the perfect likeness which Severn had painted of him… Fanny gave him a new pocket-book, a paper-knife, and a lock of her hair, taking one of his own in exchange. She lined his travelling cap with silk, keeping some material in remembrance. She gave him, too, a final token, an oval white cornelian.” [24] Stanley Plumly writes that this good-bye, on 13 September 1820, was “the most problematic… the equivalent, in Keats’s mind, of leaving life and entering what he will now call, in earnest, his posthumous existence.”

On 1 December 1820 Brown received a letter from Keats, which he read to the Brawnes, “skipping & adding, without the slightest suspicion on their part,” telling Fanny that if Keats’s spirit improved, Severn expected an early recovery”;
this illusion was sustained, and all of the worst news was kept from Fanny. On 17 February John Taylor, one of Keats’s social circle, received a letter from Severn detailing Keats’s suffering; “The doctor said that he should never have left England, for even then he had been incurable; the journey had shortened his life and increased his pain. … Severn had tried to comfort him with thoughts of spring. It was the season Keats loved best, and he would not know it again. Bitterly he wept. “He kept continually in his hand a polished, oval, white cornelian, the gift of his widowing love, and at times it seemed his only consolation, the only thing left him in this world clearly tangible.”” Fanny wrote to Frances Keats on 26 February, “All I do is to persuade myself, I shall never see him again.” “Late on Saturday, March 17, the news reached Wentworth Place. On Friday, February 23, a little before midnight, Keats had died in Severn’s arms.”

Fanny Brawne cut her hair short, donned black clothing, and wore the ring Keats had given her. “A letter from Severn to Taylor reached Hampstead about April 16, and Fanny learned how the Italian health authorities had burned the furniture in Keats’s room, scraped the walls and made new windows and doors and floor. She read of the post mortem and the funeral near the monument of Caius Cestius and how Dr. Clark had made the men plant daisies on the grave, saying that Keats would have wished it. Unknown to her family, slowly and with great pain she copied the account of his last days; she did not seal it because his sister might want to read it but she could not read it again.”Fanny felt that the only person with whom she could fully share her grief was Frances Keats and the two carried on correspondence that lasted quite some time. In autumn 1821 Fanny visited the young Keats in Walthamstow, where she was in the care of the Abbeys and the two revelled in each other’s company. Their constant communication allowed them to develop a close friendship. Eventually Fanny shared with “Keats’s sister a little of the literary companionship which she had once known with him.” Two years after the death of Keats, Fanny began learning Italian and translating short stories from the German, eventually publishing them in various magazines.
Frances Keats, having come of age around this time, left the Abbeys and went to live with the Brawnes, where she was warmly welcomed.

Fanny came out of mourning in 1827, six years after Keats’ death.
She rejoined society and donned brighter, gayer clothing again. This post-mourning period was to be short-lived; her younger brother Samuel, then twenty-three, had been showing signs of consumption. Samuel grew increasingly ill, and on 28 March 1828 he died.
Fanny’s mother, who never fully recovered from Samuel’s death, made her will in October 1829. On 23 November 1829, Mrs. Brawne died, some days after her dress caught fire as she led a guest across their garden by candlelight.

Around 1833, the Brawnes went to reside with family (the Bakers) in Boulogne.
It was here that Fanny met Louis Lindon; and, on 15 June 1833, more than twelve years after Keats’ death, they married. On 26 July 1834, Fanny’s first son, Edmund, was born; and on 22 May 1838 her second son Herbert was born. On 10 August 1844, her only daughter Margaret was born, in Heidelberg, where they had gone to live.
It was there, she met Thomas Medwin, who was a cousin and biographer of Percy Bysshe Shelley and the writer of a controversial recollection of Lord Byron. Fanny collaborated with him to correct the impression, provided by Mary Shelley in her Essays, Letters from Abroad, Translations and Fragments (1840), that Keats had gone insane in his final days. Lindon showed letters to Medwin that suggested otherwise, and Medwin used this new knowledge in his Life of Shelley (1847), where he published extracts from these letters by Keats himself and his friend Joseph Severn.

In 1859, after many years abroad, the Lindons (as they had started calling themselves) returned to England.
Financial troubles towards the end of her life led Fanny to sell her miniature of Keats to Charles Dilke. In the autumn of 1865, Fanny told her children about her time with Keats and entrusted to them the relics from that romance, including the letters Keats had written to her, which she said would “someday be considered of value.”

On 4 December 1865, Fanny Brawne died and was buried the next day in Brompton Cemetery.



Life is a American science fiction horror film directed by Daniel Espinosa, written by Rhett Reese and Paul Wernick, and starring Jake Gyllenhaal, Rebecca Ferguson and Ryan Reynolds. The film follows a six-member crew of the International Space Station that uncovers what initially seems to be the first evidence of life on Mars; however, the crew finds their discovery might not be what it seems.


The six-member International Space Station (ISS) crew capture a probe returning from Mars with a soil sample that might contain evidence of extraterrestrial life. Exobiologist Hugh Derry revives a dormant cell from the sample, and it quickly grows into a multi-celled organism that American school children name “Calvin”. After an atmospheric accident in the lab, Calvin becomes dormant. Hugh revives Calvin with mild electric shocks, but Calvin immediately becomes hostile and attacks Hugh, crushing his hand. While Calvin devours a lab rat and grows in size, engineer Rory Adams enters the room and rescues Hugh. However, Calvin latches onto Rory’s leg and Physician David Jordan locks Rory in the room to keep Calvin contained. After Rory unsuccessfully attacks Calvin with a flame thrower Calvin enters his mouth, killing him from the inside. Emerging from Rory’s mouth even larger, Calvin escapes through a vent. Hugh theorizes that lack of breathable air on Mars is what kept the organism dormant.

Finding their communication with Earth cut off, mission commander Katerina Golovkina performs a space walk to fix the antenna. Calvin attacks her outside the ISS rupturing her spacesuit’s coolant system in the process, causing liquid to fill her helmet. She refuses to open the airlock to seek help, keeping Calvin out of the station but causing her to drown in her spacesuit.

Calvin attempts to enter the station through the thrusters. The crew try to use the thrusters to launch Calvin into deep space, but their attempt fails and the station loses too much fuel. The ISS enters a decaying orbit, which will eventually cause the station to burn up in Earth’s atmosphere. Pilot Sho Murakami informs the crew that they need to use the remaining fuel to get back into a safe orbit, but the attempt would allow Calvin back into the station. The crew plan to make Calvin dormant by sealing themselves into one module and venting the atmosphere from the rest of the station.


When Hugh enters cardiac arrest, the crew realize that Calvin had attached itself to Hugh’s leg and was feeding off of him. Having grown into a larger tentacled creature, Calvin attacks the remainder of the crew. Sho seals himself inside a sleeping pod as Calvin attempts to crack the glass and get to him. David and quarantine officer Miranda North use Hugh’s corpse as bait to lure Calvin away from Sho and trap it in a module to deprive it of oxygen.


Having received a distress call prior to the damage to the ISS communication system, Earth sends a Soyuz capsule as a fail-safe plan to push the station into deep space. The capsule docks with the station and starts pushing it into deep space. Believing this to be a rescue, Sho leaves his pod and rushes to board the arriving ship, attempting to force open the capsule’s hatch. Once he opens the hatch, Calvin attacks him and the Soyuz crew. The crew tries to save Sho, but the encounter causes a docking breach that results in the capsule detaching and crashing into the ISS. David and Miranda, the only survivors, realize that the incident has again caused them to enter a decaying orbit. Aware that Calvin could survive re-entry, David recalls two escape pods, planning to lure Calvin into one pod and pilot it into deep space, allowing Miranda to escape to Earth in the other pod.

David leads Calvin into his pod and launches into space as Miranda launches hers. One of the pods hits debris and is knocked off course. Calvin attacks David as he struggles to send his pod into deep space. The earthbound pod performs a controlled re-entry and lands in water near two fishermen. As they approach the pod, it is revealed to be David’s, who is encased in a web-like substance. Meanwhile, Miranda’s navigation system fails and her pod is sent into deep space. David, still alive, tries to warn the fishermen not to attempt a rescue. The fishermen open the pod door as two other fishing boats arrive.


Wednesday 26th April 2017

Posted in Life the Universe and Other Things on April 26, 2017 by bishshat

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As the May Bank Holiday rapidly approaches, Warwickshire’s Compton Verney is preparing to celebrate in traditional style, looking back to rural English customs dating back to over 2000 years ago. From 11am until 4pm on Monday 1 May, the venue’s beautiful Capability Brown parkland will be filled with fun activities for all the family to enjoy. Throughout the day, visitors will be able to watch and take part in morris dancing, as well as enjoying a round of croquet with the University of the Third Age (U3A), or traditional village games like tug-of-war, welly-wanging, Aunt Sally and hook-a-duck. There’ll also be a range of vintage tractors on display, demonstrations by the Guild of Straw Craftsmen and a chance to join in a procession led by the Royal Spa Brass band – don’t forget to bring your own May Day King or Queen costume. Elsewhere, artist Faye Claridge will be discussing her Kern Baby sculpture, and Sigrid Holmwood will be introducing people to the gallery’s brand new Pigment Garden. Works by the artists can be seen in Compton Verney’s current, critically acclaimed Creating the Countryside exhibition, running until . In the gallery’s Folk Art Collection, the Museum of British Folklore will also be showcasing a selection of Morris Folk Dolls, made by Morris Sides from across the country. There’ll even be an opportunity to make your very own hand puppet in a workshop led by Lucy Dore and UppyALf.


Crystal Palace 0 Spurs 1

A moment of brilliance from Christian Eriksen 12 minutes from time sent records tumbling and gave us a vital victory at Crystal Palace on Wednesday night. The Danish craftsman picked up possession some 35 yards out and saw his chance, sweeping a shot past goalkeeper Wayne Hennessey and into the bottom corner.


Dele Alli had earlier fired wide with our best chance of a tight, physically-demanding game, but we saw out the remaining moments well, including seven added minutes following a nasty-looking injury to Palace’s Mamadou Sakho, to secure a 1-0 win.


It was our eighth consecutive domestic victory, the second-best winning run in our history and the first time we’ve done that in the Premier League era. We also eclipsed our best-ever Premier League points tally of 72 as we leapt up to 74, while we’re now on 22 wins in the division in 2016-17 – the most in a single Premier League season in our history – with five games still to play. Crucially, we remain four points behind leaders Chelsea, who won 4-1 at home to Southampton 24 hours earlier.

Tuesday 25th April 2017

Posted in Life the Universe and Other Things on April 25, 2017 by bishshat


Round Black Obsidian Scrying Mirror Obsidian is considered as a crystal which provides protection from negativity. Is is also a very grounding stone. Many people find it useful in vision quests and in encouraging dreams revealing the future. Obsidian scrying mirrors, because of their perfection, are said to reflect ourselves as we are. In them we are able to see ourselves with all of our flaws and imperfections on view. Scrying is a form of divination involving gazing into a blank surface such as a mirror. The best mirrors for this are black mirrors and black obsidian is the most sought after. Obsidian is a natural form of volcanic glass. It is very consistent and flawless and can be polished to a very high standard which makes it perfect for scrying. These mirrors are roughly oval or circular but their shape is somewhat irregular as the scying mirror is cut and polished to get the largest possible area from a natural piece of stone.


Scrying (also known by various names such as “seeing” or “peeping”) is the practice of looking into a suitable medium in the hope of detecting significant messages or visions. The objective might be personal guidance, prophecy, revelation, or inspiration, but down the ages, scrying in various forms also has been a prominent means of divination or fortune-telling.
It remains popular in occult circles, discussed in many websites and books, both modern and centuries old.
In various sources such as dictionaries, scrying often is described as crystal gazing, but in fact the media, terminologies, and methods of different practitioners vary arbitrarily and need not involve crystals or glassy materials at all.

As is true of other media or forms of divination and occult practices, advocates assert that scrying has merit as a means of revealing the future or other unknowns;
such assertions however, lack support from any form of falsifiable scientific investigation.

There is no definitive distinction between scrying and other aids to clairvoyance, augury, or divination, but roughly speaking, scrying depends on fancied impressions of visions in the medium of choice. Ideally in this respect it differs from augury, which relies on interpretations of objectively observable objects or events (such as flight of birds); from divination, which depends on standardized processes or rituals; from oneiromancy, which depends on the interpretation of dreams; from the physiological effects of psychoactive drugs; and from clairvoyance, which notionally does not depend on objective sensory stimuli. Clairvoyance in other words, is regarded as amounting in essence to extrasensory perception.

Scrying is neither a single, clearly-defined, nor formal discipline and there is no uniformity in the procedures, which repeatedly and independently have been reinvented or elaborated in many ages and regions. Furthermore, practitioners and authors coin terminology so arbitrarily, and often artificially, that no one system of nomenclature can be taken as authoritative and definitive. Commonly terms in use are Latinisations or Hellenisations of descriptions of the media or activities. Examples of names coined for crystal gazing include crystallomancy, spheromancy, and catoptromancy. As an example of the looseness of such terms, catoptromancy should refer more specifically to scrying by use of mirrors or other reflective objects rather than by crystal gazing. Other names that have been coined for the use of various scrying media include anthracomancy for glowing coals, turifumy for scrying into smoke, and hydromancy for scrying into water. There is no clear limit to the coining and application of such terms and media.

Scrying has been practised in many cultures in the belief that it can reveal the past, present, or future. Some practitioners assert that visions that come when one stares into the media are from the subconscious or imagination, while others say that they come from gods, spirits, devils, or the psychic mind, depending on the culture and practice. There is neither any systematic body of empirical support for any such views in general however, nor for their respective rival merits; individual preferences in such matters are arbitrary at best.

Rituals that involve many acts similar to scrying in ceremonial magic are retained in the form of folklore and superstition. A formerly widespread tradition held that young women gazing into a mirror in a darkened room (often on Halloween) could catch a glimpse of their future husband’s face in the mirror — or a skull personifying Death if their fate was to die before they married.

Another form of the tale, involving the same actions of gazing into a mirror in a darkened room, is used as a supernatural dare in the tale of “Bloody Mary”. Here, the motive is usually to test the adolescent gazers’ mettle against a malevolent witch or ghost, in a ritual designed to allow the scryers’ easy escape if the visions summoned prove too frightening.

While, as with any sort of folklore, the details may vary, this particular tale (Bloody Mary) encouraged young women to walk up a flight of stairs backwards, holding a candle and a hand mirror, in a darkened house. As they gazed into the mirror, they were supposed to be able to catch a view of their future husband’s face. There was, however, a chance that they would see the skull-face of the Grim Reaper instead; this meant that they were destined to die before they married.

Folklore superstitions such as those just mentioned, are not to be distinguished clearly from traditional tales, within which the reality of such media are taken for granted. In the fairytale of Snow White for example, the jealous queen consults a magic mirror, which she asks “Magic mirror on the wall / Who is the fairest of them all?”, to which the mirror always replies “You, my queen, are fairest of all.” But when Snow White reaches the age of seven, she becomes as beautiful as the day, and when the queen asks her mirror, it responds: “Queen, you are full fair, ’tis true, but Snow White is fairer than you.”
There is no uniformity among believers, in how seriously they prefer to take such tales and superstitions.


Sunday 23rd April 2017

Posted in Life the Universe and Other Things on April 23, 2017 by bishshat


Saturday 22nd April 2017

Posted in Life the Universe and Other Things on April 22, 2017 by bishshat

Had To Fall In Love

The Moody Blues

What mattered to me
Was the right to be free
Like I’ll be someday
I’m waiting for my heart to lead the way

The places I’ve seen
And the road in between
Make me wonder why
I’m searching for my dreams up in the sky
I heard the call
And in the mirror
I saw the writing on the wall
And I had to fall
In love with you

The face that I’ve known
Seems so lost and alone
When you’re far away
I’m comin’ for you baby right away

The places I’ve seen
And the roads in between
Make me wonder why
I’m searching for me dreams up in the sky
I heard the call
And in the mirror
I saw the writing on the wall
And I had to fall
In love with you

What mattered to me
Was the right to be free
Like I’ll be someday
I’m waiting for my heart to lead the way


Hasta Siempre, Comandante

Nathalie Cardone

La primera cancion esta escrita
Cuando nuestro Comandante en Jefe
Leyo la carta de despedida del Che

Aprendimos a quererte,
Desde la historica altura,
Donde el sol de tu bravura
Le puso cerco a la muerte.

Aqui se queda la clara,
La entranable transparencia
De tu querida presencia,
Comandante Che Guevara.

Vienes quemando la brisa
Con soles de primavera
Para plantar la bandera
Con la luz de tu sonrisa

Aqui se queda la clara,
La entranable transparencia
De tu querida presencia,
Comandante Che Guevara.

Tu amor revolucionario
Te conduce a nueva empresa,
Donde espera la firmeza
De tu brazo libertario.

Aqui se queda la clara,
La entranable transparencia
De tu querida presencia,
Comandante Che Guevara.

Aqui se queda la clara,
La entranable transparencia
De tu querida presencia,
Comandante Che Guevara.

Seguiremos adelante
Como junto a ti seguimos
Y con Fidel te decimos:
“Hasta siempre Comandante!”

Aqui se queda la clara,
La entranable transparencia
De tu querida presencia,
Comandante Che Guevara.

Aqui se queda la clara,
La entranable transparencia
De tu querida presencia,
Comandante Che Guevara.

Chelsea 4 Spurs 2

A goal in each half from Harry Kane and Dele Alli wasn’t enough at Wembley Stadium on Saturday evening, as we went down 4-2 to Chelsea in the Emirates FA Cup semi-finals.
An enthralling and gripping contest which swayed both ways throughout, and which we were the better team for the majority of, was ultimately settled by two quick goals from Chelsea in the 75th and 80th minutes.
Just five minutes were on the clock when Chelsea took the lead, Willian curling a 22-yard free-kick past Hugo Lloris, but we were level 13 minutes later when Kane guided in Christian Eriksen’s cross.

For the next half-hour we were superior but fell behind two minutes before the interval. Heung-Min Son was deemed to have brought down Victor Moses inside the area and Willian added his second of the game from the penalty spot.
We hit back seven minutes into the second half though, Eriksen again the creator as his perfect ball forward was tucked home by Dele and it was game on again.
But the introduction off the bench of Diego Costa and Eden Hazard lifted the Blues and they scored twice in five minutes to leave us deflated. First Hazard picked up a loose ball from a corner and drilled through a crowded penalty area to make it 3-2 before Nemanja Matic crashed home from fully 30 yards 10 minutes from time.
Before the game, there was a poignant minute’s applause from every corner of the stadium and both sets of players, as a mark of respect for Ugo Ehiogu, our Under-23s coach, who sadly passed away yesterday.


Friday 21st April 2017

Posted in Life the Universe and Other Things on April 22, 2017 by bishshat


Thursday 20th April 2017

Posted in Life the Universe and Other Things on April 22, 2017 by bishshat


Wednesday 19th April 2017

Posted in Life the Universe and Other Things on April 19, 2017 by bishshat