April 26, 2013

We’re turning from the horrors of the world to that which reminds us that there is more here…

 

Pedro’s Guide to the Perfect Dinner Party, Part 2, by Peter Davey
Warning: profanity
Read by Xe Sands

Xe  writes…

…featuring the antics of “Rogue Guest,” the “On Timer,” and “Armchair Arse”

Well, last week’s commentary stands. The world seemed to hold it’s collective breath a bit this week, but in the lives of many friends, this past week was marred by grief, loss and the suddenly real potential for catastrophic loss. So I’ll simply repeat…

In times of such horror, I have to remind myself that there is still joy in the world. I find that when everything seems to have gone to hell in a handbasket, it soothes my soul to find sources of amusement, little reminders that we are more than the sum of our personal or global tragedies.

Enter this week’s Going Public, which is lovingly offered as pure amusement from author Peter Davey…part two of his fabulous “Pedro’s Guide to the Perfect Dinner Party.”

All rights reserved by the author.

 

The Wasteland (Part 1)by T.S. Eliot

Read by Diane Havens

Diane writes…

“April is the cruelest month” and some Aprils are crueler than others.

The first section of T. S. Eliot’s “The Waste Land” is written in one of my favorite poetic forms — the dramatic monologue — and is well suited to being read aloud. There are several speakers, each tells his or her story with some urgency, and situations and settings change. Full of allusion and a mix of surreal imagery and snippet of memory. A masterpiece, and one of my enduring favorites.

 

 

 

 

A short poem triptych from Lunar Eclipse, Part 2, by Peter Davey

Read by Sonia Vilim

Sonia writes…

The moon has ascended to the second part of the triple set from the collection of poems about nature “LUNAR ECLIPSE” written by Peter Davey

In An Ancient Woods On Fawley Down

Sunlight only
penetrates, transforms
this tangled mound of thorns
the wild clematis

One leaf
bears all the sun’s radiance
bears all the shadows of the earth
about itself

Grass Snake

Sprung
from stalk and dust
in burning sunshine
whip and wind and weave
through limpid water
sliding
into shade

Lunar Eclipse

Last night I walked on empty hills
and saw the full moon’s slow eclipse
all human life was held within
the shape that shaped that bloodred shadow
on the moon’s face

 

Silver Story, by Seymour Jacklin

Read by Seymour Jacklin

 

Empty House, by Seymour Jacklin

Read by Seymour Jacklin

Tom Jones – Book 4, Chapter 8, by Henry Fielding

Read by Mark Turetsky

Mark  writes…

Book 4 Chapter 8 of Tom Jones.

This is part of an ongoing project in which I will record and post one chapter per week of Henry Fielding’s Tom Jones over the course of four years.

After last week’s short chapter, this one is what students of the Classics call, “a real humdinger.”

Where to begin? First off, the main action of the chapter involves a battle fought between Moll Seagrim and the congregation of her church, for the crime of wearing clothes above her station (presumably, in the mind of the mob, this means she thinks she’s better than all of them). What makes this such a bizarre battle is that it’s fought in the church’s graveyard, and involves Molly fighting off her attackers with whatever weapons are at hand, namely a thigh bone and a skull!

Add to that, the carnivalesque combination of the high writing style (in this case, calling upon the Homerical Epic, complete with an invocation of the Muse) with the low status of the actors in the scene (country peasants fighting over a dress). When mixed in with the grotesque use of human remains, we get something truly special!

Also, I must make a note on accent, here. As you may or may not have noticed, I’ve been recording this novel with my normal American accent. It’s not altogether appropriate for the material, but tough noogies. However, we come, in this chapter, to something new for this book: dialogue that is specifically written in a low dialect (mostly it comes down to Fielding substituting the letter “v” for the letter “f”). I’ve chosen to do these lines of dialogue in a more appropriate accent, as these lines are specifically marked as such. This will continue to a much greater extent in the next chapter of the book.

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