Category: Blogging
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FEIS TEAMHRA: A TURN AT TARA
“The fourth annual Feis Teamhra: A Turn at Tara, which features readings and performances by internationally recognized Irish writers and musicians, will be held between 3 and 5 o’clock on Sunday August 28 2011 on the Hill of Tara itself. Those taking part this year are Aidan Brennan, Peter Fallon, Laoise Kelly, Susan McKeown, Paul Murray and a surprise musical guest who just happens to be one of Ireland’s greatest singer-songwriters. The MC for the event is Paul Muldoon. Admission is free.
While the Hill of Tara has in recent years become a contested spot, symbolizing less the sacred site where ancient Ireland crowned its kings than the desecrated site where modern Ireland gave in to crass consumerism and, as it were, drowned in things, the note the organizers hope to strike is not one of confrontation but celebration. Feis Teamhra: A Turn at Tara is a celebration of the continuity of the linked traditions of Irish writing and music, traditions that have almost certainly flourished here since at least 2000 BC.
We’re delighted to welcome Paul Murray, the Dublin-based author of An Evening of Long Goodbyes (2003), which was shortlisted for the Whitbread First Novel Award, and Skippy Dies (2010), a book quite accurately described by the New York Times as “extravagantly entertaining.” The New Yorker, meanwhile, praised its “remarkable dialogue, which captures the free-associative, sex-obsessed energy of teenage conversation in all its coarse, riffing brilliance.” Skippy Dies, a book that’s reminiscent of A Portrait on Peyote, was shortlisted for the Costa Prize, the National Book Critics’ Circle Prize and the Irish Book Award.
We also extend a particular welcome to the Meath-based poet and publisher Peter Fallon, who is celebrated for the unfussy but nonetheless fusillading nature of his poems. They speak softly but carry a big stick, one cut from a local hedge. Some of Peter Fallon’s best work is to be found in News of the World: Selected and New Poems (1998) and his translations of The Georgics of Virgil (2004/2006). A member of Aosdana, Peter Fallon received the 1993 O’Shaughnessy Poetry Award from the Irish American Cultural Institute.
The musical component of Feis Teamhra: A Turn at Tara is curated by Susan McKeown, the Dublin-born, New York-based, Grammy-winning singer-songwriter. Susan McKeown released her seventh solo album, Singing in the Dark, in October 2010. In addition to her career as a solo artist, Susan McKeown’s heart-felt, heart-breaking singing has led her to work with, among others, Natalie Merchant, Linda Thompson, Pete Seeger, Mary Margaret O’Hara, Billy Bragg, Arlo Guthrie, and the Klezmatics.
Among the other musicians featured this year are Aidan Brennan and Laoise Kelly. Aidan Brennan is an inspired guitarist who has worked not only with Susan McKeown (Sweet Liberty, 2004), but Kevin Burke (Kevin Burke in Concert, 1999) and Loreena McKennitt (Book of Secrets, 1997, and Midwinter Night’s Dream, 2008). Born in Dublin, Aidan Brennan now lives in Laois.
Laoise Kelly, generally considered to be the foremost Irish harper, lives in her native Mayo. The Irish Times has described her as “a young harpist with the disposition of an iconoclast and the talent and technique of a virtuoso.” In addition to her own CD (Just Harp, 2000), Laoise Kelly has worked with Sharon Shannon, The Chieftains, Natalie MacMaster, Sinead O’Connor and Kate Bush.
The image is from the first ever Turn at Tara
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SIMPLY
A mauve bird
with yellow teeth
red feathers
green feet
and a rose belly
is not
a mauve bird.
by Maria Laina.
Published in Pacific Quarterly Moana (Hamilton, New Zealand). Vol. 5, No. 3, 1980, and in Ten Women Poets of Greece. Wire Press – San Francisco, 1982
NOT ALL THE TIME
I ignore poetry
– not all the time –
when the blood throbs on walls
when pottery falls to pieces
and life uncoils
like thread in a bobbin
I spit at my sorrow and completely
ignore poetry
when colours plague my soul
yellow blue and orange
I withhold my hate and calmly
ignore poetry
when your eyes tie my stomach
into knotsWhat’s more
– not all the time –
I ignore poetry
when it becomes a quaint ambitiona rare find
on a love-bench in a future hall.
by Maria Laina
Published in Contemporary Literature in Translation (Canada) No. 27, Summer 1977, and in KUDOS (UK), Issue Six, 1980 , http://www.poiein.gr/archives/2192/index.htmlNotes on the Poems
- The above poems come from Maria Laina, Change of Landscape, translated from the greek by Yannis Goumas : http://www.poiein.gr/archives/2192/index.html
Rather than imagining that the problem is with how a woman poet uses her voice, I expect that the issue is more with how literature (serious poetic literature) is often still considered to be a male preserve. As I have said before now, male poets mature with age and women poets disappear.
Here is Laina’s Wikipedia page and list of her books
Ενηλικίωση (Coming of Age), 1968
Επέκεινα (Hereafter), 1970
Αλλαγή τοπίου (A Change of Landscape), 1972
Σημεία στίξεως (Punctuation Marks), 1979
Δικό της (Of her own), 1985
Ρόδινος φόβος (Rose fear), 1992
Εδώ (Here), 2003 -
“This short post is related to what I do on the Poethead blog and I suppose to the area of women’s writing that has been a concern for a few years now.
Many of the poems that are a part of Poethead have found their way into my possession as gifts, or from the libraries and collections of people who bought (or ordered) the books when they were originally published. Quite a few of the books that I have been privileged to read are not obtainable from our local friendly bookshops, though they can often be had through Amazon or other such internet outlets.
The poems on the site were in the main transcribed from books by me, though not all of them are.
I started transcribing poetry as an exercise a few years ago because of something I had read in A.S. Byatt’s Possession. Roland Mitchell’s thoughts on the teaching methodologies of his superior regarding transcriptions stuck with me. I wanted to test how I would do if I were to know a poem through the copying of it. I soon learned that no matter how carefully one attempts a transcription, it is incredibly easy to mess up the simplest things and change the sense of the work completely. “
The whole article is available at the Women Writers, Women Books Blog , it is related to two pieces on Poethead, which I am linking here, Hannah Weiner‘s Book of Revelations and Nagy’s Hemisphere. I thought to add in Nuala Ní Chonchúir‘s piece about the Saturday Woman Poet also, here at Nuala’s Blog.
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Here follows the J2 introduction for readers and word-workers ,
“Jacket2 publishes articles, reviews, interviews, discussions and collaborative responses, archival documents, podcasts, and descriptions of poetry symposia and projects. Not unlike a daily news forum, we will publish content as it is ready. Visit our index for an ongoing and comprehensive list of all J2 content.”
“Because of its Enlightenment associations with notions of genius and taste, poetry often can be read as an aesthetic and private discourse that resides beyond the realm of civil society. But I show how some poets after 1960 use poetry to shape discourse over controversial public topics, such as urban conservation; wars in Vietnam and Iraq; and civil rights. I argue, too, that civil discourse is always complicated by poesies, and that belief and desire are produced, engaged, expanded, or challenged in circulations of public texts, images, and performances.
These performative dimensions of public speech always carry tones, gestures, forms of acting out, contradictions, and self-corrections that contribute to new actions and capacities in others. The quote you have singled out to me suggests that poetry can show engaged citizens how to listen to, or respond to, public issues or actions. “
Imo the practicioners of poetry are already enacting quite interestingly upon the public and shared spaces of the internet, as discussed here at this Harriet Monroe institute doc. from the Centre for social-media.
Poethead is about serious poetry and is mostly dedicated to showing how serious an art-form it is. Mostly I believe that our governments do not understand its importance when it comes to funding and nurturing the literary arts .
Tomorrow, Hannah Weiner will be featured on Poethead in the Saturday Woman Poet section . I will be linking to her The Book of Revelations (J2) , and urging Poetry readers to take the time to explore her work and the work of the J2 site.
The Castle of the Pyrenees
Come to my summer house.
It’s damp floating over the sea,
But you can light a fire in any French Horn.
Eagles bring you there.by Hannah Weiner
from, Hannah Weiner’s ‘The Book of Revelations’ -
I often wonder at the definition of Outsider Poetry just a little bit, and have made allusions to the poetry of diaspora before now on this blog. Of course the poetry of alienation/diaspora, be it in the wake of cataclysm, war or economic circumstance is more than just that. The exilic condition forms a thread in world literature that we recognise historically in the poems of the dispossessed, that are so beautifully edited and collected in An Duanaire , for instance.
Blogs and websites dedicated to the dissemination of the poetry of nomadics, meanderings and exile are (and have been) online for a while, even if they comprise a marginalia. The PENs, Arvon, and UBUWEB amongst others consistently and brilliantly bring forward the voice of the diasporist. For instance, there are manifestos dedicated to the art of poetics grounded in the experience of the writer/artist available on multiple sites, and of course on the International PEN site, (TLRC)
My first experience of reading a diasporist manifesto was in 1995, when I bought The First Diasporist Manifesto by RB Kitaj, I was intrigued by his approach to his art and by the manifesto which served as the invisible architecture that underpinned his Tate retrospective. I thought to excerpt a short paragraph here to illustrate the condition, from the artist’s point of view.
‘Nationalism seems awful; it’s track record stinks, but patriotism doesn’t seem half bad. ————On the other hand, if people want their homelands, why not? Partitioned homelands seem better to me than killing each other. My own homeland, America , and my little one , England, offer such strong appearances of peace and freedom that the really odd and peaceful practice of painting spins out my own Diasporic days and years until I can’t sense any other way to go.’ ( By RB Kitaj)
The subject is evidently too great for this blog, thus I have decided to divide the topic into two, (possibly) three sections. I am not going to look at alienation yet, as the issue is highly complex and comprises but one element of outsider art. The fact that alienation is oft met with physical violence further complicates any advance on the problem. The danger for the reader is always to associate diasporism with alienation, when it is but one cause of dispossession and it’s related consequences for the narrative arts, including the translator’s art.
The subtext of this post is how far do we think outsider art is from our experience of reading books of poetics, I believe that the area dedicated to the translation and rights of the poets is no longer a marginalia. I see this on blogs and in debate, unfortunately this is not reflected in what publishers are producing, save in speciality areas such as the poetry societies. The fact that authors have noted that translation merits little in prize-awards , as recently mentioned in relation to the Booker Prize, suggests that the marginalisation occurs at the budgeting level, rather than at the level of popularity displayed by submissions to contests and online anthologies.
We are familiar, as mentioned above, with the poetry of exile – the exilic condition , from sources like An Duanaire, or even Ulysses , that novel is an exile’s song, a recreation of Dublin city in its minutiae by James Joyce, its quite an example of alienation poetry also !
I am adding in here an excerpt from Notes Towards a Nomadics Poetics, Pierre Joris blog:
The days of anything static – form, content, state – are over. The past century has shown that anything not involved in continuous transformation hardens and dies. All revolutions have done just that: those that tried to deal with the state as much as those that tried to deal with the state of poetry.
Related Article links
- http://www.goodreads.com/book/show/1744790.First_Diasporist_Manifesto
- http://www.albany.edu/~joris/nomad.htmll
- http://poethead.wordpress.com/2011/05/07/a-link-to-the-poetry-of-assia-djebar-from-the-pierre-joris-blog/
- http://www.indymedia.ie/article/86102 /
- http://poethead.wordpress.com/2009/02/25/rb-kitaj-excerpt-from-the-first-diasporist-manifesto
- http://www.internationalpen.org.uk/go/committees/translation-and-linguistic-rights http://www.librarything.com/work/159337.
- http://pierrejoris.com/nomad.html
- http://www.guernicamag.com/features/2692/jarrar_intro_6_1_11/?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed:+guernica/content+(Guernica+/+Content)
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Writers encounter archives mostly, and sound-work is no exception, for instance I encountered UBUWEB whilst researching Celtic mouth Music and Joesph Beuys. Kenneth Goldsmith’s idea to make film, poetry and music available online was sheer avant-gardeism.
I have written about UBUWEB before now here, and I recommend the Poetry Foundation link at the top of this page as an introductory to what has been happening online in terms of dissemination across literary genres.
Other access points include the major US universities who archive readings, the first link of that type included here is of Allen Ginsberg reading ‘Epithalamion‘ (Reed Edu) linked in the Threads section, which runs down the left-hand column of the Poethead site, and YouTube. YouTube has a wealth of surprising poetry readings, including the unforgettable first-time I heard Sylvia Plath reads ‘Daddy‘ (BBC recording). I have also added some Bachmann and Schwitters (Anna Blume) on to Poethead, though I must admit to under-using sounds on this site. Poet‘s Pages has a ‘Spoken Word’ section, allowing mp3 uploads.
I am recommending today a huge cache of Kerouac poetry , that I got via email. Coolidge on Kerouac (Pennsound) , and the Clark Coolidge Pennsound pages.
“ After all, Kerouac’s first language was not English, it was a kind of Quebecois called Joual, which is a totally vocal language. He says he heard it from his mother before he learned English.”
from: http://www.writing.upenn.edu/~afilreis/88v/kerouac-per-coolidge.html
Online Poetry: http://poethead.wordpress.com/2011/05/09/silicon-republic-article-regarding-radical-copyright-law-reform-in-ireland/
Harriet Monroe Foundation: http://poethead.wordpress.com/code-of-best-practices-in-fair-use-for-poetry-poetry-foundation/
Anna Blume : http://www.youtube.com/watch?v=_TQjyf_HmNs
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Silicon Republic article regarding ‘Radical Copyright Law Reform’ in Ireland.
This morning (09/05/2011) Silicon Republic reported on a radical overhaul of Ireland’s Copyright Law, this is interesting given that most discussions in this area have been limited in recent times to the three strikes and you’re out nexus of anti-innovation. I am adding here the current link to the SR reportage, and a couple of links which focus on originators of work and their options in publication . In this case, mostly my focus is on poetry and poetics, as that is what this blog is about.
Poets have been innovating in this area for quite a period of time and have produced documents on fair-use , creative commons and best practices in digitisation and social-media. I consider the issue of copyright (and especially of artist-led discussion in this area) to be of the utmost importance, therefore I have added a permanent link to the Poetry Foundation website onto my landing-page. This page shows at the top of all posts and articles, along with three others which form the impetus of what this blog is about, women-poets (editors and translators),the literary arts, the Universal Declaration of Linguistic Rights, and about the poethead blog.
This morning Minister Bruton said: “I am determined that government will make whatever changes are necessary to allow innovative digital companies reach their full potential in Ireland. These companies make an enormous contribution to jobs and economic growth, and government must do everything it can to allow them to flourish and expand in Ireland.
“Some companies have indicated that the current copyright legislation does not cater well for the digital environment and actually creates barriers to innovation and to the establishment of new business models. Moving towards a US-style “fair use” doctrine is one suggestion that has been made.
“I am determined to respond to these suggestions in a comprehensive and timely manner. It is not wise to make changes to this extremely complex area of legislation without first considering the issues in detail.
“Therefore I have commenced a time-limited review of the law in the area to be conducted by three industry experts. The review will include a full consultation process with all relevant stakeholders, and the entire process will be complete within six months.”
Barriers to innovation at all levels of creative output include the misunderstanding of copyright conventions, or inability to properly utilise such innovations as Creative Commons licenses, which allow artists to set up copyrights (including derivative rights).
Derivatives in poetics include: translations, adaption (incl.musical) pictorial adaptions, film,musical references, translation from (both collaborative/non-collaborative) and quotations from, it is in the nature of poetry to lend itself to innovation. A simple example of derivation is (for instance) Leonard Cohen‘s adaption of Federico Garcia Lorca‘s ‘Little Viennese Waltz‘. (or we could go with Dante!) The adaption would not occur if artistic inspiration were stymied by copyright law that sought to lock-in how a piece of material is used. To this end , I am linking in a discussion regarding digisation, adaption and transmission from the Harriet Monroe institute which is titled ‘code of best practices in fair use for poetry‘ to illustrate how artists are driving discussions in this area of concern. The problems with previous discussions here in Ireland included that the consultation process was limited to big organisations who were perceived as the only stakeholders on the issue of copyright by our previous Govt, and quite ignorantly leaving out the artist/originator’s perspective on derivations.
We cannot forget that the creative arts have many stakeholders who are already concerned in this area and who have created and developed manifestos based on their understanding of the development of original works ! I am adding here an article relating to current Portugese problems , which imo do not take cognisance of the right of the artist/originator to set and maintain their own copyright . The onus is on politicians to read and understand that artists better get the process of creation and adaption, and in order to radicalise from that point, the consultation should necessarily be wide.
Additional Notes , The Harriet Monroe Institute , centre for social media discussion, Portugal to make Creative Commons illegal ?:
“Embracing the overarching value of access to poetry as its theme, the group saw that business, technological, and societal shifts had profound implications for poets publishing both in new and in traditional media, and also that poets have an opportunity to take a central role in expanding access to a broad range of poetry in coming months and years. Almost immediately, the group’s conversation focused on barriers to poetic innovation and distribution caused by clearance issues. Some of these clearance issues develop from the business structures underlying poetry publishing, but a significant number, the group discovered, relate to institutional practices that might be reconsidered, including both poets’ and publishers’ approaches to quoting and other types of possible fair use. Soon after its first meeting, the group began discussing the possibility of developing “best practices” for poets and publishers.“
Reported problems with Creative Commons in Portugal.
“Article 3, point 1 – The authors have the right to the perception of a compensation equitable for the reproduction of written works, in paper or similar support, for instance microfilm, photocopy, digitalization or other processes of similar nature.
[…]
Article 5 (Inalienability and non-renunciability) – The equitable compensation of authors, artists, interpreters or executives is inalienable and non-renunciable, being null any other contractual clause in contrary.”- [ From ] > http://www.technollama.co.uk/is-portugal-about-to-make-creative-commons-illegal
- [Source docs ] > http://www.centerforsocialmedia.org/fair-use/related-materials/codes/code-best-practices-fair-use-poetry http://poethead.wordpress.com/2011/03/23/poetry-and-digitisation-how-derivatives-occur/
- Submissions to the Copyright Review Committee should be sent to copyrightreview@deti.ie or posted to: Copyright Review, Room 517, Department of Enterprise, Jobs and Innovation, Kildare Street, Dublin 2. Submissions should be received by close of business on Thursday 30th June 2011.
- Edit January 2012: “Is Ireland about to introduce a law that will allow music companies to order Internet service providers to block access to websites? I rang up the Minister of State at the department of Enterprise, Jobs and Innovation, Sean Sherlock, to find out. “The statutory instrument to be introduced is completely different to Sopa [Stop Online Piracy Act] in America” he told me. “We are simply addressing the High Court judgment handed down by Mr Justice Peter Charleton in relation to copyright law… I will introduce this imminently, by the end of January.” That’s a yes, then … ” from http://www.tjmcintyre.com/2012/01/adrian-weckler-confims-that-irelands.html
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My Index of Women Poets evolved from an idea to catalogue published Poethead posts in The Saturday Woman Poet Category (and tags) directly to a special page and thereby increase the visibility and searchability of women poets. I thought to edit the category and to create an index for poets, their translators, and in some cases their editors. Thus both Poethead indices have organically evolved, which will explain their roughness in design.
Today, I am linking directly to the poetry of Assia Djebar from the Nomadics blog, from the “Diwan Ifrikiya” anthology: Assia Djebar
The Nomadics blog is a wonderful resource for writers, it is concentrated in translations, essays, performance and polemics. Interested readers may take the link as a starting point in their reading. I recommend that they explore the blog wholly, as there are some wonderful links to external sites as well as links to Joris’ own poetic and translation works. The following excerpts are from ‘Poems and Poetics, from Notes towards a Nomadics Manifesto ‘ ( External links are attached to the quotes/excerpts below here).
NOTES TOWARDS A NOMADIC POETICS
- “A nomadic poetics is a war machine, always on the move, always changing, morphing,moving through languages, cultures, terrains, times without stopping. Refuelling halts are called poases, they last a night or a day, the time of a poem, & then move on. The sufi poets spoke of mawqif – we will come back to this.”
- “A nomadic poetics needs mindfulness . In & of the drift (dérive) there is no at- home-ness here but only an ever more displaced drifting. The fallacy would be to think of language as at-home-ness while “all else” drifts, because for language to be accurate to the condition of nomadicty, it too has to be drifting, to be “on the way” as Celan puts it. “
http://www.pierrejoris.com/blog/?p=6310
Nomadics , related Essay and discussion links.
- http://pierrejoris.com/nomad.html (link to discussions are here , Nomadics Blog )
- http://poemsandpoetics.blogspot.com/2009/10/pierre-joris-from-notes-towards.html from, Pierre Joris, Notes Towards a Nomadics Manifesto (Part One)
- A Nomad Poetics: Essays, published by & still readily available from Wesleyan University Press. Its relevance to our ongoing project on “outsider poetry” should be apparent.”
- nomads-by-choice in the welfare of settled rings” Allen Fisher, ‘Dispossession & Cure’.
Assia Djebar, pic from the Nomadics blog -
27 April 2011 : from The Irish PEN website
” PEN International strongly supports the repeal of Ireland’s Defamation Act of 2009 and an amendment to the Irish Constitution‘s requirement that blasphemy be prohibited under Irish law.
PEN is an organization whose members pledge to promote good understanding and mutual respect between nations and to do their utmost to dispel race, class and national hatreds. We deplore the distrust, disparagement or denigration of any individual based on her or his religious beliefs. We condemn discrimination, threats, harassment, or violence against individuals based on their religion and support national and international prohibitions against such actions. PEN and its member centers are engaged in activities and programs around the globe aimed at reducing religious hatreds and suspicions in the post-September 11, 2001 world.
“We are adamantly opposed to criminalizing speech considered insulting or offensive to religions,” states PEN International President, John Ralston Saul. “Religions are systems of ideas, embodied in institutions and sometimes states. As such, they cannot lie outside the bounds of questioning, criticism and description – the whole terrain of free expression“. Insult and blasphemy laws such as Ireland’s Defamation Act of 2009 clearly run counter to the International Covenant of Civil and Political Rights and other international free expression protections. Moreover, they do little to advance the goal of promoting respect. “
Archive for the ‘Blasphemies’ Category
- 04/07/2011 Poetry Now Festival and Dún Laoighre CC Funding Cuts. posted in Blasphemies, Campaigns,Censorships tagged Arts, Dun Laoghaire-Rathdown, Literature, poetry, Poetry Book Society, Salt Publishing
- 04/01/2011 Dispossessions: News of the Fightback against Poetry Cuts in the ACE 2011. posted inAlphabets, Blasphemies, Campaigns, Dispossession tagged Arts Council England, Blake Morrison, Carol Ann Duffy, Don Paterson, Poetry Book Society
- 03/30/2011 Salt Publishing, ‘Just One Book Campaign’ posted in Blasphemies, Campaigns, How Words Play., Letters tagged Alan Gillis, Cathal Ó Searcaigh, Chris Agee, Derek Mahon, Leontia Flynn, Medbh McGuckian, Paul Muldoon, Seamus Heaney, Sinéad Morrissey
- 03/18/2011 Irish PEN : ‘Urgent Need for Constitutional Referendum on Blasphemy’. posted inBlasphemies, Campaigns tagged blasphemy, Constitution of Ireland, freedom of speech, Ireland, PEN International, Referendum
- 12/28/2010 ‘Vatican’ by Daragh Breen. posted in Blasphemies, Censorships, Ephemera, Images, Maps,Sex (mature category), War tagged art, David Wojnarowicz, National Portrait Gallery, Smithsonian Institution,Story of the Eye, Ted Hughes, Washington Post, World Aids Day
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- 12/15/2010 The first anniversary of Ireland’s blasphemy criminalisation, ‘Incentivisation’. posted inBlasphemies, Campaigns, Censorships, Dispossession, Maps, Translation tagged Atheist Ireland, blasphemy,defamation, Dermot Ahern, freedom of speech, Freedom of the press, Ireland, Reporters Without Borders,The Irish Times
- 10/02/2010 A Personal Anarchist Manifesto : by Poethead. posted in Alphabets, Blasphemies, How Words Play., Letters tagged art, Culture, heritage, letters
- 09/19/2010 International Pen : Writers Urge U.N. to Abandon Efforts to Prohibit Defamation of Religions, Concentrate Instead on Respect-Building Initiatives posted in Alphabets, Blasphemies, Campaigns,Censorships, How Words Play., Maps, Translation tagged blasphemy, defamation, freedom of speech
- 08/01/2010 The Old King : the criminalisation for blasphemy remains on the Irish statute. posted inBlasphemies, Campaigns, Censorships, Ephemera, Images, Magic, Visions, War tagged Arts Council,blasphemy, Fianna Fáil, Louis Le Brocquy, Teachta Dála
- 05/23/2010 Reposting Excerpts from ‘Tula’ by Leo Tolstoy. posted in Blasphemies, Censorships,Ephemera, Gardening, How Words Play., Images, Translation tagged Anna Karenina, Edith Sitwell, Leo Tolstoy,Russia, simone weil, War and Peace (Shared Experience)
Related Links here
http://www.irishpen.com/wordpress/2011/03/31/writers-hail-u-n-accord-ending-push-to-ban-blasphemy/
Chris Murray 