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COLIN WILCOCKSON
The waste-land as a symbol appears in various forms in Jones's works. The poem A, a, a, Domine Deus is concerned with the sterility of the manufactured artefacts that surround us. These objects lack humanity, and the long chain that had linked man-the-artist with hisCOUNTEE CULLEN
"With Decorations by Charles Cullen" Harper & Brothers Publishers, 1929 . a selection of imagesJESSICA DISMORR
Jessica Dismorr. She was born in Gravesend, Kent. Her family moved to Hampstead in the 1890s. She was at the Slade. School in 1902 and 1903, and later studied with Max Bohm. In 1910 she was in Paris, where she. attended the Académie de la Palette, where she "FICTION, ESSAYS, POETRY, POLITICS, ART FROM FLASHPOINT" FlashPøint #13 , Spring 2010, showcased the art of Welsh poet and painter David Jones, as well as scholarly reflections on his poetry. Two years later the David Jones Society held a new conference on Jones at Washington Adventist University in Takoma Park, Maryland. This issue of FlashPøint features papers presented at that conference. EUGENIO MONTALE: MOTTETTI Eugenio Montale MOTTETTI / MOTETS . translated by Alan Tucker. 12 Ti libero la fronte dai ghiaccioli che raccogliesti traversando l'alte nebulose; hai le penne lacerate EUGENIO MONTALE: MOTTETTI Eugenio Montale MOTTETTI / MOTETS . translated by Alan Tucker. 14 Infuria sale o grandine? Fa strage di campanule, svelle la cedrina. Un rintocco subacqueo s'avvicina, EUGENIO MONTALE: MOTTETTI NOTE: nella prima belletta di Novembre for most the word belletta translates as mud, but it can suggest beauty or beauty aids, rouge, make-up, by extension 'muck' and has, here, the added meaning of belles-lettres, Montale's wry self-recognition, with a reminder maybe that Clizia was an academic.The nearest I can get is the image of a gently rotting feuilleton. AMERICAN INDIANS & THE UNITED STATES CONSTITUTION BY Robert J. Miller is an Associate Professor at Lewis & Clark Law School in Portland. He is the Chief Justice of the Court of Appeals of the Confederated Tribes of the Grand Ronde Community of Oregon and sits as a judge for other tribes. EUGENIO MONTALE: MOTTETTI Eugenio Montale MOTTETTI / MOTETS . translated by Alan Tucker. 16 Il fiore che ripete dall'orlo del burrato non scordarti di me, non ha tinte più liete né più chiare EUGENIO MONTALE: MOTTETTI Eugenio Montale MOTTETTI / MOTETS . translated by Alan Tucker. 20 . . . ma così sia. Un suono di cornetta dialoga con gli sciami del querceto. Nella valva che il vespero rifletteCOLIN WILCOCKSON
The waste-land as a symbol appears in various forms in Jones's works. The poem A, a, a, Domine Deus is concerned with the sterility of the manufactured artefacts that surround us. These objects lack humanity, and the long chain that had linked man-the-artist with hisCOUNTEE CULLEN
"With Decorations by Charles Cullen" Harper & Brothers Publishers, 1929 . a selection of imagesJESSICA DISMORR
Jessica Dismorr. She was born in Gravesend, Kent. Her family moved to Hampstead in the 1890s. She was at the Slade. School in 1902 and 1903, and later studied with Max Bohm. In 1910 she was in Paris, where she. attended the Académie de la Palette, where she "FICTION, ESSAYS, POETRY, POLITICS, ART FROM FLASHPOINT" FlashPøint #13 , Spring 2010, showcased the art of Welsh poet and painter David Jones, as well as scholarly reflections on his poetry. Two years later the David Jones Society held a new conference on Jones at Washington Adventist University in Takoma Park, Maryland. This issue of FlashPøint features papers presented at that conference. "FICTION, ESSAYS, POETRY, POLITICS, ART FROM FLASHPOINT" In this issue David Jones, painter and poet, widely unknown during his lifetime and for decades after, even in his native Britain, is gradually emerging from semi-obscurity.FlashPøint, with this special issue, is giving that emergence a muscular assist.His visual art (paintings, engravings, drawings) as well as his verbal art (poetry, essays) is magnificently rich in color, texture, vision EUGENIO MONTALE: MOTTETTI Eugenio Montale MOTTETTI / MOTETS . translated by Alan Tucker. 11 L'anima che dispensa furlana e rigodone ad ogni nuova stagione dellastrada, s'alimenta
EUGENIO MONTALE: MOTTETTI Eugenio Montale MOTTETTI / MOTETS . translated by Alan Tucker. 20 . . . ma così sia. Un suono di cornetta dialoga con gli sciami del querceto. Nella valva che il vespero riflette CELTIC CAULDRONS AT THE WAKE Endnotes. 1. For a full discussion of the Irish and Celtic lore and mythology in Finnegans Wake, see Wake Rites: The Ancient Irish Rituals of Finnegans Wake, by George Cinclair Gibson.. 2. R.A.S. Macalister identifies the primordial name of the Irish All-Father as “ECH” in his essay, “Temair Breg: A Study of the Remains and Traditions ofTara,” page 331.
LEWIS & CLARK, THE DOCTRINE OF DISCOVERY, AND AMERICAN Robert J. Miller is an Associate Professor at Lewis & Clark Law School in Portland. He is the Chief Justice of the Court of Appeals of the Confederated Tribes of the Grand Ronde Community of Oregon and sits as a judge for other tribes.DAVID JONES
selected internet resources for Gulliver's Travels Illustrated by David Jones from PBA Galleries This San Francisco company not only offers a click-through 'Large' image of several pages of their copy of Gulliver's Travels, but offers a 'Full-Size' option, which results is an opportunity to see the page with full clarity, striking detail, andcolor.
THOMAS DILWORTH: DAVID JONES PAINTING IN LOVE Thomas Dilworth. David Jones Painting in Love: The Lee Shore and Trystan ac Essyllt. Two of Jones’s late paintings originate in powerful erotic longing, The Lee Shore (informally called Gwener, Welsh for Venus) and Trystan ac Essyllt. He painted the first in THE PAN-AFRICAN-AMERICANISM OF MELVIN B. TOLSON Tyrone Williams. The modernist poet Melvin B. Tolson, perhaps best known for his anti- and neo-Eliot epic, A Harlem Gallery: Book 1: The Curator, a work which has also—and correctly—been read as both an anti- and pro-Harlem Renaissance diatribe (in every sense of that word), encapsulates the tensions attendant to all the modernist black poets (including Robert Hayden) who attempted to find ROBERT COOVER ON "THE PUBLIC BURNING" ROBERT COOVER on THERE HAD NEVER BEEN A BOOK quite like this one; legal precedents were few. Many publishers had eagerly sought the book, which had achieved a certain backroom notoriety, then dropped it when the house and corporate lawyers stepped in. Knopf had actually signed contracts, paid an advance, completed the editing, and assembled an outside legal team that concluded there were EUGENIO MONTALE: MOTTETTI Eugenio Montale MOTTETTI / MOTETS . translated by Alan Tucker. 14 Infuria sale o grandine? Fa strage di campanule, svelle la cedrina. Un rintocco subacqueo s'avvicina, AMERICAN INDIANS & THE UNITED STATES CONSTITUTION BY Robert J. Miller is an Associate Professor at Lewis & Clark Law School in Portland. He is the Chief Justice of the Court of Appeals of the Confederated Tribes of the Grand Ronde Community of Oregon and sits as a judge for other tribes. EUGENIO MONTALE: MOTTETTI Eugenio Montale MOTTETTI / MOTETS . translated by Alan Tucker. 12 Ti libero la fronte dai ghiaccioli che raccogliesti traversando l'alte nebulose; hai le penne lacerate EUGENIO MONTALE: MOTTETTI NOTE: nella prima belletta di Novembre for most the word belletta translates as mud, but it can suggest beauty or beauty aids, rouge, make-up, by extension 'muck' and has, here, the added meaning of belles-lettres, Montale's wry self-recognition, with a reminder maybe that Clizia was an academic.The nearest I can get is the image of a gently rotting feuilleton. EUGENIO MONTALE: MOTTETTI Eugenio Montale MOTTETTI / MOTETS . translated by Alan Tucker. 3 Brina sui vetri; uniti sempre e sempre in disparte gl'infermi; e sopra i tavoli i lunghi soliloqui sulle carte. EUGENIO MONTALE: MOTTETTI Eugenio Montale MOTTETTI / MOTETS . translated by Alan Tucker. 16 Il fiore che ripete dall'orlo del burrato non scordarti di me, non ha tinte più liete né più chiare EUGENIO MONTALE: MOTTETTI Eugenio Montale MOTTETTI / MOTETS . translated by Alan Tucker. 11 L'anima che dispensa furlana e rigodone ad ogni nuova stagione dellastrada, s'alimenta
ADAMO ME FECIT
Adamo me fecit. In The Pound Era, University of California Press, Berkeley and Los Angeles, 1971, p. 323, Hugh Kenner writes:. It is inconspicuous in the semidarkness, on the left as you descend to the crypt; a double shaft with a common capital, shaped from one block, and inscribed as though in proud afterthought with ornate freehandletters,
THE FATHER AND THE SON AND THE HOLY GHOST NOTE: After John Coltrane’s death, Albert Ayler claimed Coltrane had invented a ‘Holy Family’, in which Coltrane was the Father, Pharaoh Sanders was the Son, and Ayler himself was the Holy Ghost. The title of the poem is taken from the piece of that name on Coltrane’s album Meditations.The sections were conceived as direct responses to the music, as well as ruminating, in the cases ofCOLIN WILCOCKSON
The waste-land as a symbol appears in various forms in Jones's works. The poem A, a, a, Domine Deus is concerned with the sterility of the manufactured artefacts that surround us. These objects lack humanity, and the long chain that had linked man-the-artist with his EUGENIO MONTALE: MOTTETTI Eugenio Montale MOTTETTI / MOTETS . translated by Alan Tucker. 14 Infuria sale o grandine? Fa strage di campanule, svelle la cedrina. Un rintocco subacqueo s'avvicina, AMERICAN INDIANS & THE UNITED STATES CONSTITUTION BY Robert J. Miller is an Associate Professor at Lewis & Clark Law School in Portland. He is the Chief Justice of the Court of Appeals of the Confederated Tribes of the Grand Ronde Community of Oregon and sits as a judge for other tribes. EUGENIO MONTALE: MOTTETTI Eugenio Montale MOTTETTI / MOTETS . translated by Alan Tucker. 12 Ti libero la fronte dai ghiaccioli che raccogliesti traversando l'alte nebulose; hai le penne lacerate EUGENIO MONTALE: MOTTETTI NOTE: nella prima belletta di Novembre for most the word belletta translates as mud, but it can suggest beauty or beauty aids, rouge, make-up, by extension 'muck' and has, here, the added meaning of belles-lettres, Montale's wry self-recognition, with a reminder maybe that Clizia was an academic.The nearest I can get is the image of a gently rotting feuilleton. EUGENIO MONTALE: MOTTETTI Eugenio Montale MOTTETTI / MOTETS . translated by Alan Tucker. 3 Brina sui vetri; uniti sempre e sempre in disparte gl'infermi; e sopra i tavoli i lunghi soliloqui sulle carte. EUGENIO MONTALE: MOTTETTI Eugenio Montale MOTTETTI / MOTETS . translated by Alan Tucker. 16 Il fiore che ripete dall'orlo del burrato non scordarti di me, non ha tinte più liete né più chiare EUGENIO MONTALE: MOTTETTI Eugenio Montale MOTTETTI / MOTETS . translated by Alan Tucker. 11 L'anima che dispensa furlana e rigodone ad ogni nuova stagione dellastrada, s'alimenta
ADAMO ME FECIT
Adamo me fecit. In The Pound Era, University of California Press, Berkeley and Los Angeles, 1971, p. 323, Hugh Kenner writes:. It is inconspicuous in the semidarkness, on the left as you descend to the crypt; a double shaft with a common capital, shaped from one block, and inscribed as though in proud afterthought with ornate freehandletters,
THE FATHER AND THE SON AND THE HOLY GHOST NOTE: After John Coltrane’s death, Albert Ayler claimed Coltrane had invented a ‘Holy Family’, in which Coltrane was the Father, Pharaoh Sanders was the Son, and Ayler himself was the Holy Ghost. The title of the poem is taken from the piece of that name on Coltrane’s album Meditations.The sections were conceived as direct responses to the music, as well as ruminating, in the cases ofCOLIN WILCOCKSON
The waste-land as a symbol appears in various forms in Jones's works. The poem A, a, a, Domine Deus is concerned with the sterility of the manufactured artefacts that surround us. These objects lack humanity, and the long chain that had linked man-the-artist with his "FICTION, ESSAYS, POETRY, POLITICS, ART FROM FLASHPOINT" FlashPøint #13 , Spring 2010, showcased the art of Welsh poet and painter David Jones, as well as scholarly reflections on his poetry. Two years later the David Jones Society held a new conference on Jones at Washington Adventist University in Takoma Park, Maryland. This issue of FlashPøint features papers presented at that conference. AMERICAN INDIANS & THE UNITED STATES CONSTITUTION BY Robert J. Miller is an Associate Professor at Lewis & Clark Law School in Portland. He is the Chief Justice of the Court of Appeals of the Confederated Tribes of the Grand Ronde Community of Oregon and sits as a judge for other tribes. EUGENIO MONTALE: MOTTETTI Eugenio Montale MOTTETTI / MOTETS . translated by Alan Tucker. 3 Brina sui vetri; uniti sempre e sempre in disparte gl'infermi; e sopra i tavoli i lunghi soliloqui sulle carte. EUGENIO MONTALE: MOTTETTI Eugenio Montale MOTTETTI / MOTETS . translated by Alan Tucker. 20 . . . ma così sia. Un suono di cornetta dialoga con gli sciami del querceto. Nella valva che il vespero riflette THOMAS DILWORTH: DAVID JONES PAINTING IN LOVE Thomas Dilworth. David Jones Painting in Love: The Lee Shore and Trystan ac Essyllt. Two of Jones’s late paintings originate in powerful erotic longing, The Lee Shore (informally called Gwener, Welsh for Venus) and Trystan ac Essyllt. He painted the first in 'HE DIDN’T REALLY MEAN IT: DONALD HALL’S “POETRY AND Carlo Parcelli He Didn’t Really Mean It: Donald Hall’s “Poetry and Ambition” “All poets are mad,” Robert Burton wrote in The Anatomy of Melancholy.Well, not anymore, Bob. THE FATHER AND THE SON AND THE HOLY GHOST NOTE: After John Coltrane’s death, Albert Ayler claimed Coltrane had invented a ‘Holy Family’, in which Coltrane was the Father, Pharaoh Sanders was the Son, and Ayler himself was the Holy Ghost. The title of the poem is taken from the piece of that name on Coltrane’s album Meditations.The sections were conceived as direct responses to the music, as well as ruminating, in the cases of MELVIN B. TOLSON READS FROM AN EX-JUDGE AT THE BAR An Ex-Judge at the Bar. Bartender, make it straight and make it two— One for the you in me and the me in you. Now let us put our headstogether: one
DAVID JONES
selected internet resources for Gulliver's Travels Illustrated by David Jones from PBA Galleries This San Francisco company not only offers a click-through 'Large' image of several pages of their copy of Gulliver's Travels, but offers a 'Full-Size' option, which results is an opportunity to see the page with full clarity, striking detail, andcolor.
LEWIS & CLARK, THE DOCTRINE OF DISCOVERY, AND AMERICAN Robert J. Miller is an Associate Professor at Lewis & Clark Law School in Portland. He is the Chief Justice of the Court of Appeals of the Confederated Tribes of the Grand Ronde Community of Oregon and sits as a judge for other tribes. EUGENIO MONTALE: MOTTETTI Eugenio Montale MOTTETTI / MOTETS . translated by Alan Tucker. 14 Infuria sale o grandine? Fa strage di campanule, svelle la cedrina. Un rintocco subacqueo s'avvicina, AMERICAN INDIANS & THE UNITED STATES CONSTITUTION BY Robert J. Miller is an Associate Professor at Lewis & Clark Law School in Portland. He is the Chief Justice of the Court of Appeals of the Confederated Tribes of the Grand Ronde Community of Oregon and sits as a judge for other tribes. EUGENIO MONTALE: MOTTETTI Eugenio Montale MOTTETTI / MOTETS . translated by Alan Tucker. 12 Ti libero la fronte dai ghiaccioli che raccogliesti traversando l'alte nebulose; hai le penne lacerate EUGENIO MONTALE: MOTTETTI NOTE: nella prima belletta di Novembre for most the word belletta translates as mud, but it can suggest beauty or beauty aids, rouge, make-up, by extension 'muck' and has, here, the added meaning of belles-lettres, Montale's wry self-recognition, with a reminder maybe that Clizia was an academic.The nearest I can get is the image of a gently rotting feuilleton. EUGENIO MONTALE: MOTTETTI Eugenio Montale MOTTETTI / MOTETS . translated by Alan Tucker. 3 Brina sui vetri; uniti sempre e sempre in disparte gl'infermi; e sopra i tavoli i lunghi soliloqui sulle carte. EUGENIO MONTALE: MOTTETTI Eugenio Montale MOTTETTI / MOTETS . translated by Alan Tucker. 16 Il fiore che ripete dall'orlo del burrato non scordarti di me, non ha tinte più liete né più chiare EUGENIO MONTALE: MOTTETTI Eugenio Montale MOTTETTI / MOTETS . translated by Alan Tucker. 11 L'anima che dispensa furlana e rigodone ad ogni nuova stagione dellastrada, s'alimenta
ADAMO ME FECIT
Adamo me fecit. In The Pound Era, University of California Press, Berkeley and Los Angeles, 1971, p. 323, Hugh Kenner writes:. It is inconspicuous in the semidarkness, on the left as you descend to the crypt; a double shaft with a common capital, shaped from one block, and inscribed as though in proud afterthought with ornate freehandletters,
THE FATHER AND THE SON AND THE HOLY GHOST NOTE: After John Coltrane’s death, Albert Ayler claimed Coltrane had invented a ‘Holy Family’, in which Coltrane was the Father, Pharaoh Sanders was the Son, and Ayler himself was the Holy Ghost. The title of the poem is taken from the piece of that name on Coltrane’s album Meditations.The sections were conceived as direct responses to the music, as well as ruminating, in the cases ofCOLIN WILCOCKSON
The waste-land as a symbol appears in various forms in Jones's works. The poem A, a, a, Domine Deus is concerned with the sterility of the manufactured artefacts that surround us. These objects lack humanity, and the long chain that had linked man-the-artist with his EUGENIO MONTALE: MOTTETTI Eugenio Montale MOTTETTI / MOTETS . translated by Alan Tucker. 14 Infuria sale o grandine? Fa strage di campanule, svelle la cedrina. Un rintocco subacqueo s'avvicina, AMERICAN INDIANS & THE UNITED STATES CONSTITUTION BY Robert J. Miller is an Associate Professor at Lewis & Clark Law School in Portland. He is the Chief Justice of the Court of Appeals of the Confederated Tribes of the Grand Ronde Community of Oregon and sits as a judge for other tribes. EUGENIO MONTALE: MOTTETTI Eugenio Montale MOTTETTI / MOTETS . translated by Alan Tucker. 12 Ti libero la fronte dai ghiaccioli che raccogliesti traversando l'alte nebulose; hai le penne lacerate EUGENIO MONTALE: MOTTETTI NOTE: nella prima belletta di Novembre for most the word belletta translates as mud, but it can suggest beauty or beauty aids, rouge, make-up, by extension 'muck' and has, here, the added meaning of belles-lettres, Montale's wry self-recognition, with a reminder maybe that Clizia was an academic.The nearest I can get is the image of a gently rotting feuilleton. EUGENIO MONTALE: MOTTETTI Eugenio Montale MOTTETTI / MOTETS . translated by Alan Tucker. 3 Brina sui vetri; uniti sempre e sempre in disparte gl'infermi; e sopra i tavoli i lunghi soliloqui sulle carte. EUGENIO MONTALE: MOTTETTI Eugenio Montale MOTTETTI / MOTETS . translated by Alan Tucker. 16 Il fiore che ripete dall'orlo del burrato non scordarti di me, non ha tinte più liete né più chiare EUGENIO MONTALE: MOTTETTI Eugenio Montale MOTTETTI / MOTETS . translated by Alan Tucker. 11 L'anima che dispensa furlana e rigodone ad ogni nuova stagione dellastrada, s'alimenta
ADAMO ME FECIT
Adamo me fecit. In The Pound Era, University of California Press, Berkeley and Los Angeles, 1971, p. 323, Hugh Kenner writes:. It is inconspicuous in the semidarkness, on the left as you descend to the crypt; a double shaft with a common capital, shaped from one block, and inscribed as though in proud afterthought with ornate freehandletters,
THE FATHER AND THE SON AND THE HOLY GHOST NOTE: After John Coltrane’s death, Albert Ayler claimed Coltrane had invented a ‘Holy Family’, in which Coltrane was the Father, Pharaoh Sanders was the Son, and Ayler himself was the Holy Ghost. The title of the poem is taken from the piece of that name on Coltrane’s album Meditations.The sections were conceived as direct responses to the music, as well as ruminating, in the cases ofCOLIN WILCOCKSON
The waste-land as a symbol appears in various forms in Jones's works. The poem A, a, a, Domine Deus is concerned with the sterility of the manufactured artefacts that surround us. These objects lack humanity, and the long chain that had linked man-the-artist with his "FICTION, ESSAYS, POETRY, POLITICS, ART FROM FLASHPOINT" FlashPøint #13 , Spring 2010, showcased the art of Welsh poet and painter David Jones, as well as scholarly reflections on his poetry. Two years later the David Jones Society held a new conference on Jones at Washington Adventist University in Takoma Park, Maryland. This issue of FlashPøint features papers presented at that conference. EUGENIO MONTALE: MOTTETTI Eugenio Montale MOTTETTI / MOTETS . translated by Alan Tucker. 3 Brina sui vetri; uniti sempre e sempre in disparte gl'infermi; e sopra i tavoli i lunghi soliloqui sulle carte. EUGENIO MONTALE: MOTTETTI Eugenio Montale MOTTETTI / MOTETS . translated by Alan Tucker. 11 L'anima che dispensa furlana e rigodone ad ogni nuova stagione dellastrada, s'alimenta
EUGENIO MONTALE: MOTTETTI Eugenio Montale MOTTETTI / MOTETS . translated by Alan Tucker. 20 . . . ma così sia. Un suono di cornetta dialoga con gli sciami del querceto. Nella valva che il vespero riflette THE FATHER AND THE SON AND THE HOLY GHOST NOTE: After John Coltrane’s death, Albert Ayler claimed Coltrane had invented a ‘Holy Family’, in which Coltrane was the Father, Pharaoh Sanders was the Son, and Ayler himself was the Holy Ghost. The title of the poem is taken from the piece of that name on Coltrane’s album Meditations.The sections were conceived as direct responses to the music, as well as ruminating, in the cases of THOMAS DILWORTH: DAVID JONES PAINTING IN LOVE Thomas Dilworth. David Jones Painting in Love: The Lee Shore and Trystan ac Essyllt. Two of Jones’s late paintings originate in powerful erotic longing, The Lee Shore (informally called Gwener, Welsh for Venus) and Trystan ac Essyllt. He painted the first in LEWIS & CLARK, THE DOCTRINE OF DISCOVERY, AND AMERICAN Robert J. Miller is an Associate Professor at Lewis & Clark Law School in Portland. He is the Chief Justice of the Court of Appeals of the Confederated Tribes of the Grand Ronde Community of Oregon and sits as a judge for other tribes.DAVID JONES
selected internet resources for Gulliver's Travels Illustrated by David Jones from PBA Galleries This San Francisco company not only offers a click-through 'Large' image of several pages of their copy of Gulliver's Travels, but offers a 'Full-Size' option, which results is an opportunity to see the page with full clarity, striking detail, andcolor.
'HE DIDN’T REALLY MEAN IT: DONALD HALL’S “POETRY AND Carlo Parcelli He Didn’t Really Mean It: Donald Hall’s “Poetry and Ambition” “All poets are mad,” Robert Burton wrote in The Anatomy of Melancholy.Well, not anymore, Bob. MELVIN B. TOLSON READS FROM AN EX-JUDGE AT THE BAR An Ex-Judge at the Bar. Bartender, make it straight and make it two— One for the you in me and the me in you. Now let us put our headstogether: one
EUGENIO MONTALE: MOTTETTI Eugenio Montale MOTTETTI / MOTETS . translated by Alan Tucker. 14 Infuria sale o grandine? Fa strage di campanule, svelle la cedrina. Un rintocco subacqueo s'avvicina, AMERICAN INDIANS & THE UNITED STATES CONSTITUTION BY Robert J. Miller is an Associate Professor at Lewis & Clark Law School in Portland. He is the Chief Justice of the Court of Appeals of the Confederated Tribes of the Grand Ronde Community of Oregon and sits as a judge for other tribes. EUGENIO MONTALE: MOTTETTI Eugenio Montale MOTTETTI / MOTETS . translated by Alan Tucker. 12 Ti libero la fronte dai ghiaccioli che raccogliesti traversando l'alte nebulose; hai le penne lacerate EUGENIO MONTALE: MOTTETTI NOTE: nella prima belletta di Novembre for most the word belletta translates as mud, but it can suggest beauty or beauty aids, rouge, make-up, by extension 'muck' and has, here, the added meaning of belles-lettres, Montale's wry self-recognition, with a reminder maybe that Clizia was an academic.The nearest I can get is the image of a gently rotting feuilleton. EUGENIO MONTALE: MOTTETTI Eugenio Montale MOTTETTI / MOTETS . translated by Alan Tucker. 20 . . . ma così sia. Un suono di cornetta dialoga con gli sciami del querceto. Nella valva che il vespero riflette EUGENIO MONTALE: MOTTETTI Eugenio Montale MOTTETTI / MOTETS . translated by Alan Tucker. 16 Il fiore che ripete dall'orlo del burrato non scordarti di me, non ha tinte più liete né più chiare EUGENIO MONTALE: MOTTETTI Eugenio Montale MOTTETTI / MOTETS . translated by Alan Tucker. 11 L'anima che dispensa furlana e rigodone ad ogni nuova stagione dellastrada, s'alimenta
EUGENIO MONTALE: MOTTETTI NOTE: 'It often happens (and often wilfully) that I am equivocalfor example in the Motet of the woman who is about to emerge from a cloud: At a puff the lazy smoke (?) persists in the point that enfolds you it is clear that in the point can have two meanings: in the moment that and in the place that, both of them legitimate.' Montale, letter toBobi Bazlan
ADAMO ME FECIT
Adamo me fecit. In The Pound Era, University of California Press, Berkeley and Los Angeles, 1971, p. 323, Hugh Kenner writes:. It is inconspicuous in the semidarkness, on the left as you descend to the crypt; a double shaft with a common capital, shaped from one block, and inscribed as though in proud afterthought with ornate freehandletters,
COLIN WILCOCKSON
The waste-land as a symbol appears in various forms in Jones's works. The poem A, a, a, Domine Deus is concerned with the sterility of the manufactured artefacts that surround us. These objects lack humanity, and the long chain that had linked man-the-artist with his EUGENIO MONTALE: MOTTETTI Eugenio Montale MOTTETTI / MOTETS . translated by Alan Tucker. 14 Infuria sale o grandine? Fa strage di campanule, svelle la cedrina. Un rintocco subacqueo s'avvicina, AMERICAN INDIANS & THE UNITED STATES CONSTITUTION BY Robert J. Miller is an Associate Professor at Lewis & Clark Law School in Portland. He is the Chief Justice of the Court of Appeals of the Confederated Tribes of the Grand Ronde Community of Oregon and sits as a judge for other tribes. EUGENIO MONTALE: MOTTETTI Eugenio Montale MOTTETTI / MOTETS . translated by Alan Tucker. 12 Ti libero la fronte dai ghiaccioli che raccogliesti traversando l'alte nebulose; hai le penne lacerate EUGENIO MONTALE: MOTTETTI NOTE: nella prima belletta di Novembre for most the word belletta translates as mud, but it can suggest beauty or beauty aids, rouge, make-up, by extension 'muck' and has, here, the added meaning of belles-lettres, Montale's wry self-recognition, with a reminder maybe that Clizia was an academic.The nearest I can get is the image of a gently rotting feuilleton. EUGENIO MONTALE: MOTTETTI Eugenio Montale MOTTETTI / MOTETS . translated by Alan Tucker. 20 . . . ma così sia. Un suono di cornetta dialoga con gli sciami del querceto. Nella valva che il vespero riflette EUGENIO MONTALE: MOTTETTI Eugenio Montale MOTTETTI / MOTETS . translated by Alan Tucker. 16 Il fiore che ripete dall'orlo del burrato non scordarti di me, non ha tinte più liete né più chiare EUGENIO MONTALE: MOTTETTI Eugenio Montale MOTTETTI / MOTETS . translated by Alan Tucker. 11 L'anima che dispensa furlana e rigodone ad ogni nuova stagione dellastrada, s'alimenta
EUGENIO MONTALE: MOTTETTI NOTE: 'It often happens (and often wilfully) that I am equivocalfor example in the Motet of the woman who is about to emerge from a cloud: At a puff the lazy smoke (?) persists in the point that enfolds you it is clear that in the point can have two meanings: in the moment that and in the place that, both of them legitimate.' Montale, letter toBobi Bazlan
ADAMO ME FECIT
Adamo me fecit. In The Pound Era, University of California Press, Berkeley and Los Angeles, 1971, p. 323, Hugh Kenner writes:. It is inconspicuous in the semidarkness, on the left as you descend to the crypt; a double shaft with a common capital, shaped from one block, and inscribed as though in proud afterthought with ornate freehandletters,
COLIN WILCOCKSON
The waste-land as a symbol appears in various forms in Jones's works. The poem A, a, a, Domine Deus is concerned with the sterility of the manufactured artefacts that surround us. These objects lack humanity, and the long chain that had linked man-the-artist with hisADAMO ME FECIT
Adamo me fecit. In The Pound Era, University of California Press, Berkeley and Los Angeles, 1971, p. 323, Hugh Kenner writes:. It is inconspicuous in the semidarkness, on the left as you descend to the crypt; a double shaft with a common capital, shaped from one block, and inscribed as though in proud afterthought with ornate freehandletters,
EUGENIO MONTALE: MOTTETTI Eugenio Montale MOTTETTI / MOTETS . translated by Alan Tucker. 8 Ecco il segno; s'innerva sul muro che s'indora: un frastaglio di palma bruciato dai barbagli dell'aurora. LEWIS & CLARK, THE DOCTRINE OF DISCOVERY, AND AMERICAN Robert J. Miller is an Associate Professor at Lewis & Clark Law School in Portland. He is the Chief Justice of the Court of Appeals of the Confederated Tribes of the Grand Ronde Community of Oregon and sits as a judge for other tribes. 'HE DIDN’T REALLY MEAN IT: DONALD HALL’S “POETRY AND Carlo Parcelli He Didn’t Really Mean It: Donald Hall’s “Poetry and Ambition” “All poets are mad,” Robert Burton wrote in The Anatomy of Melancholy.Well, not anymore, Bob. EUGENIO MONTALE: MOTTETTI Eugenio Montale MOTTETTI / MOTETS . translated by Alan Tucker. 2 Molti anni, e uno più duro sopra il lago straniero su cui ardono i tramonti. Poi scendesti dai monti a riportarmiJESSICA DISMORR
Jessica Dismorr. She was born in Gravesend, Kent. Her family moved to Hampstead in the 1890s. She was at the Slade. School in 1902 and 1903, and later studied with Max Bohm. In 1910 she was in Paris, where she. attended the Académie de la Palette, where sheMELVIN B. TOLSON
Melvin B. Tolson - The Sea-Turtle and the Shark. Melvin B. Tolson. The Sea-Turtle and the Shark. published by. Dudley Randall. Broadside Press No. 5, 1966. reprinted by ROBERT COOVER ON "THE PUBLIC BURNING" ROBERT COOVER on THERE HAD NEVER BEEN A BOOK quite like this one; legal precedents were few. Many publishers had eagerly sought the book, which had achieved a certain backroom notoriety, then dropped it when the house and corporate lawyers stepped in. Knopf had actually signed contracts, paid an advance, completed the editing, and assembled an outside legal team that concluded there were DAVID JONES AND THE CELTIC TRADITION IN ENGLISH LITERATURE Flashpoint+June+2016+#18.++www.flashpointmag.com+ + 3! became more sacred than Glastonbury—but this was a new thing & I imagine was a point of view that would have surprised Shakespeare.3 Of Shakespeare’s plays he most liked King Lear, partly for its sense of Lear being originally the Celtic Llyr or Lir, a god of elements and the sea, “so Shakespeare was continuing a very ancient MELVIN B. TOLSON READS FROM AN EX-JUDGE AT THE BAR An Ex-Judge at the Bar. Bartender, make it straight and make it two— One for the you in me and the me in you. Now let us put our headstogether: one
_____
'Optima Goreu'
'Truth is the best muse"David Jones
_____
Summer 2016, Web Issue 18 Summer 2016, Web Issue 18 Spring 2015, Web Issue 17 Spring 2014, Web Issue 16 Spring 2013, Web Issue 15 Spring 2012, Web Issue 14 Spring 2010, Web Issue 13 Summer 2009, Web Issue 12 Winter 2008, Extra Issue 11 Spring 2008, Web Issue 10 Spring 2007, Web Issue 9 Spring 2006, Web Issue 8 Summer 2004, Web Issue 7 Winter 2004, Web Issue 6 Summer 2003, EXTRA #2 Spring 2002, Web Issue 5 Winter 2001, Web Issue 4 Summer 2000, EXTRA #1 Summer 1999, Web Issue 3 Spring 1998, Web Issue 2 Spring 1997, Web Issue 1A multidisciplinary
journal in the
arts and politics
mailbox
_FLASHLINKS!_
_
Galerie_
_
Paintings & Prints
Poetry & Prose
Virtual Facsimiles
_
_
FOUNDING EDITORS:
Joe Brennan
Carlo Parcelli_
_ CONTRIBUTING EDITORS:Bradford Haas
Rosalie Gancie
Cathy Muse
Mark Scroggins
Jim Angelo_
_ WEB EDITORS:
JR Foley
Rosalie Gancie
Nicole Foley
_
-------------------------_
*
WORK REVEALS A COMPLEX AND ACUTE CULTURAL AWARENESS, BOTH OF THE CHALLENGES OF IMPERIALISM AND “TECHNOCRACY” IN THE MID-TWENTIETH CENTURY AND OF HIS OWN PERSONAL ROOTS IN ARTISTIC AND LITERARY MODERNISM, CELTIC CULTURE AND CATHOLIC CHRISTIANITY. WHAT WE MEET IN READING A TEXT OR VIEWING A WORK BY DAVID JONES IS AN ARTIST IN THE PROCESS OF MAKING, AND AWARE OF THE DYNAMIC CHARACTER OFA WORK OF ART.
WE ARE NOT SO MUCH DECIPHERING OR ADMIRING A FINISHED PRODUCT AS WE ARE DISCOVERING TRACES OF THE ACTIVITY OF MAKING, IN THIS ARTIST’S PARTICULAR EXPERIENCE, AN ACTIVITY THAT HE ASSOCIATES WITH A SACRED DIMENSION OF HUMAN LIFE. - Kathleen Henderson Staudt _from her Introduction __ __
_
------------------------- _ All essays, poetry, fiction, and artwork are copyrighted in the names of the authors and artists, to whom all rights revert. _ISSUE INDEX
David Jones ConferenceMarch 29 & 30, 2012
J.R. FOLEY
Country Valley PressCarlo Parcelli:
Book
/ Author page
Magus Magnus
Book
/ Author page
Wayne Pounds
Book
/ Author page
Eric Rosenbloom
_
COURTESY ESTATE OF DAVID JONES ------------------------- David Jones, Martyrdom, 1927 watercolour, pencil and black ink INTRO__________________
DAVID JONES -------------------------CULTURE & ARTIFICE
------------------------- A COLLECTION OF ESSAYSINTRODUCTION BY
KATHLEEN HENDERSON STAUDT -------------------------GREGORY BAKER
‘An edition of Jones’s address to the University of Wales on receiving the honorary degree of _Litterarum Doctor_, 15 July 1960' JASMINE HUNTER-EVANS ‘BRIDGING THE BREAKS: DAVID JONES AND THE CONTINUITY OF CULTURE’THOMAS GOLDPAUGH
‘THE SIGNUM OF SOME OTHERNESS: DAVID JONES AND A EUCHARISTIC THEORY OF ART’ KATHLEEN HENDERSON STAUDT “ACTS OF ARS” IN DAVID JONES’S _THE ANATHEMATA_ & W.H. AUDEN’S _HORAE CANONICAE_THOMAS DILWORTH
‘David Jones and the Celtic Tradition in English Literature’MALCOLM GUITE
‘INCARNATION, BODIES AND LOCALITY: THE INCARNATIONAL THRUST OF DAVID JONES’S ART’PAUL ROBICHAUD
‘IMAGES OF MAKING IN THE POETRY OF DAVID JONES’WILLIAM F. BLISSETT
‘DAVID JONES: SEVENTY YEARS WITH DAVID JONES’FROM BRADFORD HAAS:
CULTURE & ARTIFICE:
THE MAJOR BOOK ILLUSTRATIONS OF DAVID JONES ------------------------- -------------------------JON WOODSON
two selections from
his new book
Summer Games: A Novel -------------------------'DIABASIS'
plus
-------------------------'BONUS ARMY'
-------------------------Luciana Bohne
Pasolini's
_St. Paul:
_a Prophecy of Our Times?a review
of the Verso Press book'Pasolini: St. Paul
A Screenplay'
his notes on his unmade film -------------------------TIM WENGERTSMAN
-------------------------__
Woodcuts
& Drawings
plus:
A SLIDE SHOW
-------------------------JOAN MCCRACKEN
-------------------------THE SWALLOW
and
Ode to a Nightingale-------------------------
PETER DALE SCOTT
-------------------------SIX POEMS
from his
forthcoming work
WALKING ON DARKNESS
-------------------------CARLO PARCELLI
-------------------------More Fun House
East, 1969
(AFTER PETER DALE SCOTT) -------------------------JOHN RYSKAMP
-------------------------THE CURTAIN RISES
ON THE REVOLUTION
A Play
------------------------- 'STRINDBERG ON METH' -------------------------JR FOLEY
-------------------------ROBERT COOVER'S
HUCK OUT WEST
_A REVIEW_
-------------------------JR FOLEY
-------------------------ROBERT COOVER'S
GOING FOR A BEER
_A REVIEW_
-------------------------CARLO PARCELLI
-------------------------PART II
CANUS ICTUS IN EXILIUMMonologue for
an Imaginary Actor
-------------------------PETE O'BRIEN
WHISTLES THE JACKDAW 29 MAY 2016: FOUR POEMS -------------------------_PLUS_
A SHEAF OF FLASHES 4 ------------------------- ------------------------- _ In this issue..._ ------------------------- _DAVID JONES RETURNS!_ FLASHPØINT #13 , SPRING 2010, SHOWCASED THE ART OF WELSH POET AND PAINTER DAVID JONES, AS WELL AS SCHOLARLY REFLECTIONS ON HIS POETRY. TWO YEARS LATER THE DAVID JONES SOCIETY HELD A NEW CONFERENCE ON JONES AT WASHINGTON ADVENTIST UNIVERSITY IN TAKOMA PARK, MARYLAND. THIS ISSUE OF FLASHPØINT features papers presented at that conference. KATHLEEN HENDERSON STAUDT INTRODUCES A HOST OF ESSAYS BY THOMAS DILWORTH ON JONES AND THE CELTIC TRADITION IN ENGLISH LITERATURE, JASMINE HUNTER-EVANSON "BREAKS" AND
"BRIDGES" IN THE CONTINUITY OF CULTURE, THOMAS GOLDPAUGHAND STAUDT
HERSELF ON DIFFERENT SIGNIFICANT ASPECTS OF JONES’S _THE ANATHEMATA_, MALCOLM GUITE ON THE "INCARNATIONAL THRUST" OF JONES’S ART , PAUL ROBICHAUDON THE KEY JONESIAN
THEORY OF "MAKING," GREGORY BAKER’S EDITION OF AN ADDRESS BY JONES TO THE UNIVERSITY OF WALES IN 1960, AS WELL AS WILLIAM F. BLISSETT’S REFLECTIONS ON NEW DIRECTIONS FOR PROJECTS ON JONES’S WORK IN LIGHT OF HIS OWN FRIENDSHIP WITH THE POET/PAINTER. _FLASHPOINT_ EDITOR BRADFORD HAAS ADDS A RICH SHEAF OF CULTURE & ARTIFICE: THE MAJOR BOOK ILLUSTRATIONS OF DAVID JONES FOLLOWING JONES’S EXPLORATIONS OF WORD AND IMAGE IN THE PROSE TALES OF OTHERS, INCLUDING _THE BOOK OF JONAH_, _THE CHESTER PLAY OF THE DELUGE_, AND _THE RIME OF THE ANCIENT MARINER_. DAVID JONES HAS FURTHER COMPANY IN THIS ISSUE OF _FLASHPOINT_. ONE WONDERS WHAT PAINTER JONES WOULD THINK OF TIMWENGERTSMAN’S
WORK, BUT AT THE VERY LEAST IT WOULD LIKELY LEAVE HIM ARRESTED, NOT TOSAY MESMERIZED.
JOHN RYSKAMP’S NEW PLAY, _"THE CURTAIN RISES ON THEREVOLUTION",_
HAS STARTLED ONE READER TO WRITE: > CATCHWORDS & BANALITIES STORM THROUGH & ABOUT THE PROTAGONIST IN > JOHN RYSKAMP'S "THE CURTAIN RISES ON THE REVOLUTION," PUMMELING > OUTWARD INTO SINGLE-SENTENCE VIGNETTES. DOES HE SWAT THEM OFF OR IS > HE BATTING THEM FORWARD? FROM THE PLAY: "RYSKAMP LIKES TO GUIDE HIS > AUDIENCE TWO FINGERS IN THE NOSTRILS BACK TO THE STAGE." AND "ARE WE > DREAMING RYSKAMP OR IS HE DREAMING US?" Heady company for Master Jones! Even headier, Robert Coover takes (off) on a boyhood contemporary of Jones — Mark Twain — as he imagines what Twain did not — Huck Finn's (and Tom Sawyer's) later adventures after "lightin' out for the Territory." JR Foley booknotes Coover's new _Huck Out West_ … as well as a brand-new selection of Coover’s short fictions, circa 1962-2016, entitled _Going for a Beer_ . These shorties are never less than either funny or scary … or both at once. More heady company comes in the form of two episodes, "Bonus Army" and "Diabasis," from Jon Woodson’s new novel, "Summer Games," wherein four Black grad students drive cross-country from Washington, D.C., and the Bonus Army camp on Anacostia Flats, to the 1932 Olympic Summer Games in Los Angeles. Let it not be said that the tales of Woodson are ever exercises in historical naturalism. Nor, for that matter, are the fictions of Pete O'Brien, who returns to FLASHPØINT with a "Sheaf of Flashes 4,"plus "whistles the
jackdaw" and "29 may 2016:four poems."
In "The Swallow"
Joan McCracken takes us further into the passion and exuberant vision of Miriam amid lovers past and future. Then one of the lovers remembers Miriam in Ode to a Nightingale.
But this seems game-playing in the face of what Pier Paolo Pasolini attempted in his never-produced screenplay _St. Paul_, which retold the early days of Christianity – transplanted to Nazi-dominated France – before, as Pasolini shows it, Satan and St. Luke turned it into a Church. Luciana Bohne in recounting the scenario asks: is it "a prophecy of our times?" And Ictus bites again! Canus Ictus,
fool and gadfly exiled by Rome, wanders his isle of bones and skulls reminiscing of orgies and massacres past, invoking ghostly Spartacus, shipwrecks, battles with Spartoi, and the last time he and Loquatiawasted no time.
With Peter Dale Scott's _Walking on Darkness_ set to appear later this year, FlashPoint is proud to present Six Poems from this new collection. Inspired by Peter Dale Scott's poem Tavern Underworld,
Carlo Parcelli gives us More Fun House East, 1969 weaving two personal, polar opposite experiences into a helix ofinsight.
Enjoy FLASHPØINT #18, and tell us what you think! ------------------------- A COMMENT ON THIS ISSUE... SOME MIGHT WONDER WHY WE'RE JUXTAPOSING WORKS BY THE AVOWEDLY RELIGIOUS DAVID JONES WITH A PIECE ABOUT THE MARXIST FILMMAKER PIER PAOLO PASOLINI'S UNFINISHED FILM _'ST. PAUL'_, THE ART WORK OF THE PUNK WOODCUT ARTIST TIM WENGERTSMAN, AND THE WORK OF THE AVOWEDLY IRRELIGIOUS POET CARLO PARCELLI. But the juxtapositions are connected by a moral & aesthetic thread. David Jones shied away from the blasphemous curses of his Cockney WWI trench comrades, but he described their inherent power as 'almost liturgical'. And Pasolini noted that "Every blasphemy is a sacredword."
Jones felt technology & modernity impoverished contemporary society. In his 1959 statement to the Bollingen Foundation he remarked that: > "For now the artist becomes, willy-nilly, a sort of Boethius, who > has been nicknamed "the Bridge", because he carried forward into an > altogether metamorphosed world certain of the fading oracles which > had sustained antiquity." This comports with Pasolini's views. For Pasolini, as critic Stefania Benini has noted, "The sacred embodies the nemesis of modernity". Benini summarizes Pasolini's views from his notable 1970 interviewwith Jean Duflot:
> "He looks back nostagically to the mythical relationship of ancient > civilizations with nature and the earth from the extreme margins of > the _"universo orrendo"_ ('horrendous universe') perceived, from a > Marxist perspective, as the dominion of bourgeois homogenization and> consumerism."
And Jones continues with what could apply to Tim Wengertsman's desire to document the otherwise marginilazed Punk subculture of himself and his friends in Hartford, CT: > "My view is that all artists are in fact "showers forth" of > things which tend to be impoverished, or misconceived, or altogether > lost or wilfully set aside in the preoccupations of our present > intense technological phase, but which, none the less, belong to> man."
In Wengertsman's work we see a powerful yearning for comraderie and meaning. The meaning often comes through the physical/spiritual use and misuse of drugs & alcohol, but the desire for what's holy to him & his companions is annointed in his work by the use of halos & other religious iconography. Wengertsman is satirical but calls justifiably for empathy, asking us to feel the pathos of the lives of his subjects along with the humor. There's a strong desire for social justice in our four artists - a desire for a way to expose the brutality imposed by humankind on oneanother.
As one critic put it, Pasolini often used "religious/mythic imagery to ground a political critique". David Jones suffered immeasurably from the devastation of World War I. He also found the stories of the Roman Imperium apt for depicting the hegemony of our time. In the David Jones painting _"Martyrdom"_ above, St. Ignatius, Bishop of Antioch, is attacked by lions as punishment for his refusal to renounce his faith. He's frightened, and his vestments prove an insubstantial armor against the lions' attack. Eric Gill said of Jonesthat:
> 'We should miss the quality of his work if we did not see that it is > a combination of two enthusiasms, that of the man who is enamoured > of the spiritual world and at the same time as much enamoured of the > material body in which he must clothe his vision.' The lions depict the instinctive, brutal force of nature but also the ferocious desire for power on the part of the men who placed the Saint there, men such as those who gave us World War I. Carlo Parcelli uses the Roman Imperium in his poetic monologues as metaphor for our current Western Imperialist age. But his characters don't look to the spiritual. Instead they predict a hunger for recourse with the same ferocity that matches that of the lion. As one of his characters says, _"The meek will stand a bear up in a pen ifit's meat." _
-------------------------Sources:
-_Pasolini: The Sacred Flesh_ Stefania Benini, U.of Toronto Press (2015) -_Saint Paul: A Screenplay_, Pier Paolo Pasolini, Alain Badiou Ward Blanton, Elizabeth Castelli (Translator). Verso (2014) -_Martyrdom_, 1927, David Jones, watercolour, pencil & black ink via www.waterman.co.uk/ with Eric
Gill quote:
Paul Hills, _'The Art of David Jones'_ from David Jones, Tate Gallery, London, exhibition catalogue, 1981, p19. ALL DAVID JONES IMAGES ARE REPRODUCED BY THE KIND PERMISSION OF THEDAVID JONES ESTATE.
------------------------- We are eager to hear from you, especially about this issue, so please tell us what you think: flashpnt@hotmail.com!Details
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