War History online is a great resource to start your next war based novel, or even non-fiction work. I love the articles they post and this one caught my eye back in December. It made me a bit nostalgic for OP-DEC: Operation Deceit and helped to fuel that fire I need to write the sequel. It’s the little things…
“This-a-here non-sense is costin’ me a heap-ah money!” he coughed aloud in his curious, not-quite-Southern drawl. “I’m-ah loosin’ mah shirt!” he squawked.
Before him stood his, at the moment, only employee; a thin, weasely scruff of a labourer, Hank double clutch Grizniack, who polished a greasy crescent wrench with a greasier rag, which apparently competed with his dungaree overalls for the salvage yard’s most greasy object title.
“Now-ah listen heah, Dubbah Clutch,” Melvin barked. “You pullin them crankshafts as fast as any one evah deed, by gawd. But you can’t sell a box-ah Girl Scout cookies to a church laydah on a mara-ju-wanna orgy with her dead husband’s pension money!”
Melvin was, of course referring to the ups and downs of the inherent nature of the salvage yard industry; such as it was at Mahattama Kane Jeeves Towing and Salvage Yard, Inc., S.J. Melvin, Proprietor, established 1984.”
Grizniack stopped polishing his wrench for a moment, and woefully faced his boss. “S.J., I’m only one man! I can’t be haulin’ wrecks for ya, strippin’ cars apart and helpin’ folks with looking for alternators and whang-flanges all at the same time, boss. I’m tryin’ my best; but something has ta give, S.J. Something has ta give.” You cheap bastard, he silently added to himself.
Located on the corner of K and N 26th street, in a hardscrabble corner of Philadelphia, S.J.’s towing and salvage yard was something of a local landmark. Dating back to the ’50s, it had been, alternatively, a used car lot, junk yard, hobo camp, short-lived artists’ commune, tow-truck repair shop, and, finally, a junk yard again. For some reason, the “Mahattama Kane Jeeves,” name seemed to be attached to the place, for as long as anyone cared to remember. S.J., if asked, often theorized that it was Old Indian, in origin, and was no more strange than the other Indian names which survived in the city.
“You take-ah Shackamaxon, or Passyunk, or Conshohocken, well it’s all like that!” Melvin would offer in defense of his reasoning.
Adding to the legacy of the Salvage Yard, was the curious relationship with the City itself. Melvin declared it was an Indian blessing, that, for reasons no one could explain, the City Zoning, Licencing, Inspections, and Measurements offices, notorious if not infamous, for making small business long suffer endless red-tape calisthenics–for reasons unknown–had zero interest in what Melvin or his salvage yard did, or did not do. This, of course, added to the mystique of the place, giving rise to rumors that the business was a front for some illicit enterprise–which, of course, it wasn’t; though Melvin did nothing to dissuade such talk. And the more folks talked, the more Melvin began to think he was missing on a golden opportunity.
“Dubbah Clutch, I have an idea. Put down that grubby rag for one minute an listen heah! We’re goin’ to open this a heah yard intos ah speak-easy! We’re gonna be the first salvage yard to offer the workin’ man some liquor! So when they goes out in thah yard with a wrench, they can a-take they time and socialize with theah fool friends. While they a-dooin’ that–you are gonna up-sell the crankshafts and alternatahs!”
Grizniack dropped his rag–and the wrench.
“Mr Melvin, sir–don’t we need a license for that–and I really don’t see the connection, becau–”
“Shut it! This ideah is what I say. And what I say goes. And you stand to make a heapah money too!”
Grizniack liked the sound of that, admittedly.
“First things first. Imma gonna get mah lawyer in on this. Imma callin’ Galusha V. Peppys!”
“Mr. Melvin…..isn’t he the friend of that weird British guy you used to let hang around here, a while back? The one with the MG that was broken down like every other week. What’s his name? Burnt Pennypeckwhores?”
“Pennypakah! The benefactah! Hahaha! That fool don’t know it yet–an he gots more money than sense anyways–but he’s gonna bankroll our little venture! I’m glad I thought of him.” Melvin relished the idea a moment, then added, “Now, let me make a few calls, Dubbah Clutch. You go pull some extra fuel pumps, or a-somethin’–”
If you want to continue the shenanigans, you ought to be here.
Penning The Trailokya Trilogy (Book 1 Coming Soon!) has been an interesting trip. Not only did I learn more about world religions, but I also learned more about myths, art, philosophy, history and so much more. I’m not a superstitious person, though sometimes I get a wrench in my gut wondering if I should have thrown the salt over my shoulder. Not doing so has never resulted in my demise, in one form or another. Yet, when I got my research materials on Demons, I was–nervous. Scripture and other writings tell you not to even utter the names of the demonic. Movies tell you that simply reading them can bring the entity into your life. I stared at the books. Would they be my undoing. Well, obviously not! I’m still here. It’s true. Drawings of Fallen Angels aren’t going to lead to your demise. Unless you’ve seen The Ninth Gate. In that case you can sort of see how it might happen. (I had no idea the book collecting world was so dangerous.)
Now, I safely share these interesting renderings of demons from the 19th century, may they not disturb your undoing…
The adaptation Barry Lyndon (1975) by Stanley Kubrick cannot help but be different from the novel written by William Makepeace Thackeray in the nineteenth-century. The alterations are due to a number of factors, including the difference in media, the number of individuals working on the production, and those viewing the film, or even time periods. Such factors are the especial focus of intertextuality theory. Approaching a text with intertextuality is liberating. It can make use of several theoretical stances without binding the scholar to any. For instance, the structuralist approach of theorist “Michael Riffaterre’s work can be said to straddle structuralism, poststructuralism, semiotics, psychoanalytic theories of literature and various other theories of reading” (Graham, 111). These other theories of reading include audience reception theory, which does not limit the focus on the intended audience of the film itself, as it should include the filmmakers who adapt the work from literature. It should also consider the timing. The adapter’s interpretation of Thackeray’s novel has a direct effect on what is produced. Thus, theorists like Riffaterre may insist they belong to a rigid system of theory, but in finding their meanings in the examined text they are required to use multiple theories.
Despite the numerous perspectives used, intertextuality is not a haphazard means of examining a text. Serious scholars have written on the topic and work to give the theory a more definitive structure. Alan Graham, in his work Intertextuality, defines his meaning of text and work, which are essential notions to the theory. “Work is primary, the text secondary” (Graham, 62). What he means is that the work is the physical object and the text is the meaning found in observing the object. The work must also exist first, before meaning can be made. Graham reversed the formerly accepted idea, which made the object the text (whether it be a song or film, painting or novel) and the meaning the work (Graham, 64). In addition, Graham’s intertextuality ascribes more of an artistry to the work than any other theory (Graham, 73). He sees the author much like a textile weaver, drawing the threads of various texts together to create meaning. “The text, after all, is a plural phenomenon; it has structure, yet also an infinity of meaning” (Graham, 80). Graham is stating that the nature of the text is to have many meanings, which will reveal themselves over time and multiple readings, because they are dependent on the understanding and knowledge of the reader. In the novel Barry Lyndon, a modern reader is required to have a certain understanding of history to access some of the novel’s meanings, while other meanings remain universal. Much of his meaning, the nuances of the period, and the mental image would be limited without some historical understanding. However, limited may not be the best choice of words. Without historical understanding, the reading would be different, along fewer lines than what is possible.
Continue reading at: Barry Lyndon: Intertextuality and Film Adaptation
Pork is one of the best meats to marry with fruit. Something about the flavors are just…WIN!
This recipe came to me back in 2000, when I was bored with the usual baked chop and breast of chicken. I like to experiment and many of my personal dishes are born from just throwing things together after years of cooking and baking. My mom taught me to cook when I was very young, and home-economic courses furthered my education. I loved watching cooking shows and I have a science background. Those things and my artful imagination come together and make some pretty interesting dishes. This one is not such a reach. Pork Chops and Applesauce are like a staple! But try cooking them together, and trust yourself. You can do this with plums or apples – chops or any cut of pork. Use your imagination and the basic premise of the steps.
Pork (chop or roast) at least two chops. Bone-in meat is best, because it has better flavor and texture and doesn’t dry out during cooking (even brined boneless chops are too dry and flavorless).
Egg, flour, salt and pepper.
A medium apple (I recommend a Fuji or Honeycrisp, if not a golden will do).
Butter, cinnamon, sugar, salt, honey (you may add some ginger, cloves and even nutmeg depending on the ‘apple pie’ flavor you like).
Preheat oven to 375 degrees.
Grease an appropriately sized pan (for two chops or your roast). Vegetable oil is best. Coconut oil will add that flavor to the dish. Olive oil is the wrong flavor for the dish. Canola oil is for machines (it’s true, look that up).
Rinse two fresh pork chops and pat dry. Scramble a large/extra-large egg in a bowl or small plate. In another bowl or small plate, pour out enough white flour to coat the meat. Thoroughly coat the chop in the egg, or brush the roast with the egg. Then coat with flour. Crack salt and pepper on top and put in the oven to cook for 25 minutes.
On the stove top – peel, core and slice apples as if for pie (ear shape slices). Melt 1 tablespoon of butter in a low heat pan, add tablespoon of honey, 2 teaspoons of sugar, a dash of salt and ¼ – ½ teaspoon of cinnamon (1/8 teaspoon each of nutmeg, cloves or ginger optional here if you like them in your apples). Add the apples and stir. Cook until the apples are softening, stirring occasionally. Remove from heat until the chops have cooked 25 minutes.
Once the chops have cooked for 25 minutes, remove from oven and pour the apple mixture on top of the meat. Return to oven for an additional 10-15 minutes.
Let the meat rest about 5-10 minutes before serving. This dish is great served with baked potatoes and broccoli on the side.