Late Wife Research Articles

A wilderness of monkeys: value, love and the law of the father’s will in The Merchant of Venice

ABSTRACT ‘I would not have given it for a wilderness of monkeys’: so, says The Merchant of Venice’s Shylock, referencing the ring gifted to him by his late wife, Leah, now stolen by his errant daughter, Jessica. An odd pronouncement for a character often read as an exemplar of exchange values for whom everyone and everything has its price. Excepting, of course, Leah’s ‘turquoise’. The implied use value of which repositions Shakespeare’s most uncomfortable stereotype – Shylock as the Jewish usurer – as a critic, rather than comprador, of early modern Capital, thereby anticipating not only Marx but Freud. For at stake in The Merchant of Venice is nothing less than the surplus-jouissance of the Capitalist’s discourse itself, coincident with, but ultimately defined against the ‘jewish-ssance’ of Shylock. This article will draw upon the insights of psychoanalysis, as well as those of political economy to examine the status of value, love, and law in The Merchant of Venice, arguing that Shylock may be not only Capitalism’s fiercest critic, but its most misunderstood psychotherapist.

The Biography and Bibliography of Ivan Antonovich Efremov Expanded with New Materials [Review: Efremov I.A. Women in My Life: Novels; Letters. Moscow, Izd. Yukhnevskaya S.A., 2022. 480 p. A Retro Collection of Adventure and Science Fiction. Ser.: Collections. Complete Works by I. Efremov. Vol. VIII. (In Russian)

This article reviews the first-ever published materials from the archive of Taisia Iosifovna Yukhnevskaya, the late wife of Ivan Antonovich Efremov (1908–1972). The focus is on I.A. Efremov’s collection of autobiographical and erotic short novels titled “Women in My Life”. These fourteen stories (one of which is incomplete) are believed to have been written between the 1950s and 1960s. They fit perfectly with the style of the writer, for whom there was no division between the physical aspects of love and the spiritual development of a normal person. The short novels contain a wealth of personal details, thus offering a new and deeper perspective on the early years of the rising geologist and social thinker. In terms of fiction, they continue the 1940s series “Tales of the Extraordinary” and conform to the genre characteristics of romantic storytelling, as well as colonial and Western novels. There are clear similarities and plot parallels with I.A. Efremov’s other novels such as “Andromeda: A Space-Age Tale”, “The Bull’s Hour”, “Razor’s Edge”, and “Thais of Athens”. An interesting finding is that the letters between I.A. Efremov and his wife bring out an unforeseen side of the writer’s character, especially his ability to inject humor, which is a departure from his usual literary approach.

A life for a lifetime: Hendrik D. Loock and the Tygerberg Children’s Choir

The Tygerberg Children’s Choir (TCC) is rooted in South Africa’s Afrikaner culture. Its transition to a multicultural children’s choir, within a drastically changed political dispensation, furnished a rich subject for a historiographic choir identity investigation. From its establishment in 1972 until 2019, Hendrik D. Loock was the conductor. Since then the choir has continued under Karina Erasmus. The TCC is one of the oldest existing mixed-gender regional children’s choirs in the country, directed by the longest serving conductor of such a choir. The choir’s identity and Loock’s forty-seven-year directorship are interwoven, his work perceived as a significant cultural contribution. With his late wife Theresa (TCC accompanist, choral trainer, and arranger of choir music for thirty-two years), Loock confirmed a uniquely familial leadership profile amongst children’s choirs. This qualitative biographic report about the life and contribution of Loock and the TCC merges thematically analysed data from the TCC’s archival collection, non-participant observations, face-to-face interviews, and contextual information.

Penggunaan Gaya Bahasa Indonesia Dalam Film Habibie Dan Ainun 2012

This article aims to describe the film Habibie & Ainun, an Indonesian biographical drama film which was released on December 20, 2012. This film stars Reza Rahardian and Bunga Citra Lestari. This film is based on the memoir of the same name, which was written by Habibie about his life story with his late wife, Hasri Ainun Habibie. In this film we analyze the use of language style. Language style is the use of figurative words and appropriate comparisons to express feelings and thoughts with a specific purpose. The use of a foreign language in the main character is an obstacle to the effectiveness of the Indonesian style. The method of analyzing this film is descriptive qualitative. With data collection techniques used are documentation techniques, observe and record. Based on the results of the analysis, it was found that a variety of language styles showed comparative language styles, contradictory language styles, satire language styles, affirmative or repetition language styles.

The Widower’s Haunting Memories of His Late Wife in The Apple Tree by Daphne Du Maurier

The focus of analyzing the short story entitled The Apple Tree by Daphne du Maurier is on the haunting memories experienced by the husband concerning his late wife. The analysis is divided into several points; namely, the general memories of the late wife felt by the husband, a brief analysis on the husband (Buzz) and wife (Midge), the triggers of the husband’s memories, and the drastic action executed by the husband to stop the haunting memories leading to an unexpected result. The combination of methods used is to support the analysis. The textual reading is supported by close reading to dig out the important details. The contextual method in the form of borrowing suitable concepts is used to complete the textual method focusing on character and conflict. The analysis is presented using qualitative method. The result of the analysis shows that growing subjective memories of the late wife may culminate in an unreasonable hatred toward the old apple tree. Driven by uncontrolled imagination based on one-sided memories, the husband has to face unforeseen calamity alone and lonely.

The Eye That Is Language: A Transatlantic View of Eudora Welty by Danièle Pitavy-Souques

Reviewed by: The Eye That Is Language: A Transatlantic View of Eudora Welty by Danièle Pitavy-Souques Laura Wilson (bio) The Eye That Is Language: A Transatlantic View of Eudora Welty by Danièle Pitavy-Souques In her touching preface to this collection of Danièle Pitavy-Souques's essays, Pearl McHaney writes that: "The Eye That Is Language: A Transatlantic View of Eudora Welty offers readers and scholars a global perspective of Welty's achievements" (xi). The volume, published by the University Press of Mississippi in 2022, was originally conceived by Pitavy-Souques as a way to collate writings from her decades-long commitment to Welty studies, but was sadly never finished before her death in July of 2019. McHaney worked with Pitavy-Souques during the initial stages of planning for the collection and was supported by Danièle's husband François Pitavy in bringing his late wife's idea to fruition. Bookended by McHaney's introductory remarks and a closing remembrance of Pitavy-Souques's and Welty's friendship written by François, the book now stands as a shining memorial to Pitavy-Souques's inimitable work on Eudora Welty and the achievements of her own life, including the highest French merit Légion d'honneur and the highest Eudora Welty Society accolade, The Phoenix Award. Thinking about the perspective of this collection offers us the chance to consider Welty's art of representation, alongside the way she so often plays with appearances and points of view (visual, moral, political). At the same time, perspective is a common term in visual arts such as photography, painting, and film, all interests of Eudora Welty that are deftly explored in this book. Focusing on the perspectives of this collection emphasizes Pitavy-Souques's examination of what we might call the language that is eyes: that is to say, moments where Pitavy-Souques shows us how Welty viewed, illustrating the multiple perspectives that she wrote both from and about. Explorations pertaining to sight abound in this volume. A word concordance demonstrates that the word see is featured 115 times in addition [End Page 175] to seen 43, sees 28, and seeing 13. Eye or eyes appears 79 times. The first visual tool that really stuck out for me in the work, the mirror, lexically appears 40 times (50 if you include its plural and connected words), as Pitavy-Souques suggests that "Welty used mirror effects quite early," calling this a "modernist feature favored by Virginia Woolf in her short stories and by surrealist filmmakers like Jean Cocteau" (116). The mirror symbol offers readers another chance to interrogate Welty's fictional technique, questioning the accuracy of reflected images produced by layers of metal and glass, a surface that only ever provides a virtual image since light rays never actually cross over in a reflection. In turn, Pitavy-Souques argues that in Welty's work, "the surface functions as a lure; behind the apparent picture or story, there lies another one, much more instructive or disturbing" (111). A reading of Delta Wedding illustrates well such ideas of illusion and false representation: From the first, in spite of its apparent hugeness, the Delta and the plantation appear to Laura [McRaven] as a closed world limited by reflection: the sky mirrors the fields, the name Fairchild refers to the place as well as to its inhabitants, and characters come and go between two identically furnished plantation houses. The black waters of the bayou reflect a house that was never lived in. (117) Twinning and repetition feature often in Welty's work as extensions of the perceived image, with the reflective façades of Shellmound and Marmion working to trap Laura McRaven inside layers of outward appearance, the idealized front-facing image of plantation culture that historically concealed many real horrors. Horror and fascination relate to another key argument that flows throughout the book: the notion of the mythical hero Perseus as a symbol for the artist, indeed Welty herself, who "questions her art in the very moment she is creating it" (11). Given my own particular fondness for the Gorgon myths and Welty's use of Medusa, I was very much drawn to...

“You have two bullets and then what?”: Fallible Paternity in Cormac McCarthy’s The Road

This article seeks to critically examine the representation of the father-child bond in Cormac McCarthy’s The Road (2006) in order to elucidate the complex portrayal of fatherhood conjured in the text. In particular, I am interested in analyzing the evolution of the ethical stance taken by the father, as opposed to that of his son and his late wife. By commenting on character building, but also formal and stylistic choices such focalization, I aim to assess the potential of the text to narrate the collapse of the dominant fiction. I contend that The Road includes elements that can be read as challenging towards the father-patriarchy conflation, especially the fallible, embodied father. Still, despite its individualization of the paternal function, The Road fails to articulate a solid alternative to traditional fatherhood as it concludes with the re-creation of the Symbolic father.

Family, Slavery, and Love in the Early American Republic: The Essays of Jan Ellen Lewis ed. by Barry Bienstock, Annette Gordon-Reed, and Peter S. Onuf

Reviewed by: Family, Slavery, and Love in the Early American Republic: The Essays of Jan Ellen Lewis ed. by Barry Bienstock, Annette Gordon-Reed, and Peter S. Onuf Cassandra Good Family, Slavery, and Love in the Early American Republic: The Essays of Jan Ellen Lewis. Edited by Barry Bienstock, Annette Gordon-Reed, and Peter S. Onuf. (Williamsburg, Va.: Omohundro Institute of Early American History and Culture; and Chapel Hill: University of North Carolina Press, 2021. Pp. [viii], 422. $39.95, ISBN 978-1-4696-6563-4.) Open the acknowledgments section of nearly any book on gender and sexuality (and plenty more on politics) in the early American republic published during the past several decades, and Jan Lewis's name will appear. Lewis had an outsize influence on these fields through both her mentorship and her published writings. This volume does a great service in compiling and contextualizing thirteen of her previously published articles, many of which were scattered across different edited volumes. Reading Lewis's articles together shows both the coherence of and the evolution in her thinking over the course of nearly forty years. Lewis's work was often ahead of its time, engaging early on with the gender and cultural turns as well as with new approaches to the study of emotional history. The book begins with a short introduction by Lewis's close friends and fellow Jefferson scholars Peter S. Onuf and Annette Gordon-Reed, followed by four thematic sections. It closes with an acknowledgments section by Lewis's husband, Barry Bienstock, that sheds light on his late wife's relationships with various scholars in the field. The volume came together as a tribute to Lewis and a legacy for her granddaughters after her death in 2018, at a time when Lewis was still actively producing important scholarship. The first section, "Gender in the Early American Republic," is introduced by Carolyn Eastman and demonstrates Lewis's interest in exploring the political roles women played during this period. While Lewis's article "The Republican Wife: Virtue and Seduction in the Early Republic" is well known, her articles on women's pervasive political presence in early national Washington, D.C., and the brief period of women's suffrage in New Jersey between 1776 and 1807 are equally important. Her extended engagement with Jürgen Habermas is somewhat an artifact of its time, but all three articles are key parts of a conversation that more often features Linda K. Kerber, Catherine Allgor, and Rosemarie Zagarri. Nicole Eustace introduces the section on emotional history, rightly noting that Lewis's work anticipated a field that has flourished in recent years. The section's first article, "Domestic Tranquillity and the Management of Emotion among the Gentry of Pre-Revolutionary Virginia," largely echoes the first chapter of Lewis's book The Pursuit of Happiness: Family and Values in Jefferson's Virginia (New York, 1983). In a piece titled "Mother's Love: The Construction of an Emotion in Nineteenth-Century America," Lewis explores what she calls "emotionology of motherhood" in the antebellum era, fusing ideas about religion, gender, and emotion (p. 144). The final article, featuring Angelica Schuyler Church, Alexander Hamilton, and Thomas Jefferson, focuses on the intersection of politics and emotion. Lewis also brought her interest in the politics of the early republic to her work on the Constitution. As David Waldstreicher notes in the third section's introduction, Lewis convincingly demonstrated the central importance of [End Page 760] gender and slavery in Revolutionary and constitutional thought (p. 175). All three articles in this section demonstrate Lewis's rigorous attention to language and logic, clearly elucidating the ways women and enslaved people served as props in larger debates about representation, citizenship, and sectionalism. In the final section, introduced by Onuf and Gordon-Reed, Lewis applies her understanding of gender, family, politics, and slavery to Thomas Jefferson. All four of these articles come from edited volumes and may not be well known to readers, but the standout of the group, "White Jeffersons," deserves attention. First published in 1999, the essay offers an impressionistic, sometimes almost elegiac reflection on what Jefferson's relationship with Sally Hemings (which was, at the time, newly proved) meant for Jefferson...

Dentistry and Embroidery in 1890s Utah: The Work of Kate D. Barron Buck

Dentistry and Embroidery in 1890s Utah: The Work of Kate D. Barron Buck

Sherlocking One’s Way into Empathetic and Generic (Re)birth: (In)quests of Mourning in Penelope Lively’s The Photograph (2003)

In Penelope Lively’s The Photograph, the protagonist, Glyn, discovers an old photograph which proves that his late wife Kath committed adultery years before she killed herself. As Kath becomes the accused party, Lively both exploits and subverts the formulaic structure of a Sherlock Holmes crime-solving adventure for her novel’s inquiry into an uncertain past. However, the reviving of the detective story genre, taken out of its 19th-century context, seems to take a metaphorical and elegiac turn. While the investigation is off to a reason-oriented start, the characters gradually come to a posthumous empathetic understanding of Kath which also resurrects her ghost and memory. As the investigation appears to mirror a process of delayed mourning, the revival of the detective-story form thus leads to a return to life and ethical (re)birth for its grieving characters, which offers the prospect of elucidating the mystery behind Kath’s life and suicide.

“Married the Sister of His Late Wife”

The study examines the social practices and cultural attitudes concerning kin-marriages of both the aristocracy and the common man. The analysis of lay petitions handed in to the papal curia asking the dispensation of kin-marriages highlights the dynamic relationship of social practices and official norms and reveals changing attitudes and practices to marriage, kinship and law from the 15th to the 17th century.

Robert Allen Gardner (1930-2021).

Memorializes Robert Allen Gardner (1930-2021). Gardner and his late wife and research partner, Beatrix "Trixie" Gardner, are best known for their ground-breaking cross-fostering project with the chimpanzee Washoe, the first nonhuman to learn a human language (American Sign Language). Between 1972 and 198, Allen and Trixie replicated their success with four additional infant chimpanzees. Allen cofounded and was a psychology fellow of the Center for Advanced Studies at the University of Nevada in Reno, and served as director from 1990 to 1993. (PsycInfo Database Record (c) 2022 APA, all rights reserved).

New records to the bryoflora of the E slope of Mt. Kenya

The first author studied the bryophyte communities on the East slope of Mt. Kenya through the forest belt between 1600 and 3000 m elevations. Seven sampling plots were selected at each 200 m altitudinal interval. At each sampling plot microclimate data measurements were carried out for six months between July and December 2020 using dataloggers and the composition of epiphyllous communities was studied in details with special reference to the host plants. Tamás Pócs and his team (Bence Együd, Judit Havasi and Mária Szegedi) joined to this research during the August of 2021, to help in further collection and identification work. The collected specimens are deposited in the herbaria of EA and EGR. Majority of the collections have already been identified. The discovery of the only mainland African occurrences of the Lemurian Microlejeunea inflata and Leptodon fuciformis are outstanding results. Other species are new for Kenya: Cololejeunea platyneura, Cyclodyction subbrevifolium, Diplasiolejeunea deslooveri, Fissidens intramarginatus and Telaranea coactilis. The last author visited the same sites 2004 with his late wife, Sarolta Czímer, guided by Min S.Chuah-Petiot from Nairobi University and from their collection Gemmabryum subapiculatum, Orthotrichum denticulatum, Lophocolea fragrans and Lophocolea muricata proved to be new to Kenya.

Night Projection by Oto Horvat

Reviewed by: Night Projection by Oto Horvat Biljana D. Obradović Oto Horvat Noćna projekcija [ Night Projection] Novi Sad, Serbia: Akademska knjiga, 2021. 165 Pp. ISBN 978-86-6263-332-3 As a fellow emigrant from Yugoslavia (now Serbia), now living in the US and Horvat in Italy, our paths have never crossed, but since I've translated some of his poems into English, I was very glad to get his newest "novel," Night Projection, from him in the mail. The previous book leaves off with a nostalgia for home for "Pannonia," i.e. Voidvodina, but that that it is difficult to be there without A., his late first wife (p. 116). Well, this new book, is a personal travelogue around Novi Sad, "the main character" (who very much resembles Horvat himself in many ways, so that this book is a mix of personal history with fictional elements) travels through everything that connects him to that city that has to do with him and his family. He goes to see his mother, comes across old relatives, some old friends and acquaintances. But, most of all the memories pour out as he is walking or taking his old Pony bike around the familiar streets. Even for those of us, emigrants, who may not be from Novi Sad, we can relate. But clearly for those who are familiar with this city, it means even more. In the process, we learn a lot about this character (and therefore the author as well). It's time travel, On the Road-type piece that goes deep into his past. He goes to Novi Sad from Florence for a week, a fairly short time. Just as in his other books, he uses similar elements of form: lists/catalogs, numerous figures of speech, ekphrasis, as well as phrases from several languages. (It's important to note that the previous book and this were printed in the Latin alphabet.) He also [End Page 170] seems to allude that this experience is a purge—as in Purgatory (p. 14), in a biblical Roman Catholic sense—because he feels as a sinner who is expiating his sins before going to heaven. He needs to go home for internal punishment as a way to heal after the death of his beloved. In a way, this book is the continuation of the previous book (even though the last book I'll review came in between the two). He may think that this review of the past, combined with religious elements, going back to the basics may work in the process of his recovery. He said before that writing doesn't help, but he keeps writing, and he is writing prose. Perhaps, if he were writing poetry … In any case, the protagonist has asthma, is a hypochondriac (p. 16), has gained 10kgs, has aged since he was last home. His mother lives alone with two parrots, has hung early artwork by the protagonist (p. 20). He's depressed and can't sleep (p. 22), yet he listens to his friends' problems with a mask of joy and happiness (p. 22). (This is so true for emigrants visiting home in ex-Yugoslavia, perhaps due to the fact that our friends there seem to think that we as emigrants, living in wealthy, western countries, couldn't have problems as great as theirs living where they live, and often don't care to hear our own woes.) He recalls the past. He and his mother have grown apart, and have very little to say to each other anymore. She has one shorter leg and limps, but has had a shoe fetish. Kids teased him because of her limp when he was in school. What happens after page 30 and in some other parts of the book is that an unreliable narrator is introduced, and it confuses the reader. It's his sister (or unborn sister), who speaks—in a female voice. The writing is fragmentary, lacks proper punctuation and can be difficult to follow at times, even confusing. Is it a prose poem? Who are the sporadic, undeveloped characters? His father had a hump, was an alcoholic, a pianist, whom his mother had left with their...

Class Affect and the Victorian Novelist: George Eliot's Gentility and the Origins of Sympathy in Felix Holt

Class Affect and the Victorian Novelist:George Eliot's Gentility and the Origins of Sympathy in Felix Holt Susan Zlotnick (bio) george eliot's husband, John Cross, singles out Esther Lyon, the heroine of Felix Holt, the Radical (1866), in the beginning of his biography, George Eliot's Life (1885), for her resemblance to his late wife. That observation might surprise Eliot's readers, who have been inclined to see the rebellious Maggie Tulliver and the ardent Dorothea Brooke as avatars of their creator, but not Esther Lyon. An aspirer to gentility who acquired "too many airs and graces" (Felix Holt 75) at boarding school to settle back into her father's small-town Dissenting congregation, Esther is a recurring figure in Eliot's fiction, an early version of that more ruthless aspirant to gentility, Middlemarch's Rosamond Vincy. Despite the glaring contrast between the vulgar young women who inhabit her novels and the mature Eliot's sage-like stature, there are sound reasons for adding provincial strivers to Eliot's roster of semi-autobiographical characters. In his "Introductory Sketch" of Eliot's childhood, Cross highlights the narrowness of Eliot's farmhouse upbringing before noting that Eliot glimpsed a wider life while visiting neighbourhood grandees, and that these glimpses "affected the imagination and accentuated the social differences—differences which had a profound significance for such a sensitive and such an intellectually commanding character, and which left their mark on it" (36). Cross follows this observation about Eliot's sensitivity to social distinctions with a description of Esther from Felix Holt that he believes captures his late wife's characteristic class feelings: No one who has not a strong natural prompting and susceptibility towards such things [the luxuries wealth can provide], and has, at the same time, suffered from the presence of opposite conditions, can understand how powerfully those minor accidents of rank which please the fastidious senses, can preoccupy the imagination. (qtd. in Cross 35–36) By aligning Eliot with Esther, Cross suggests that Eliot too suffered on account of her family's modest social position. Moreover, the link he draws between [End Page 115] Esther and Eliot raises the question: if "minor accidents of rank" preoccupied Esther's imagination, to what degree did they also occupy Eliot's? Embedded in this question about Eliot's rank is a larger one about class affect. Can what sociologist Diane Reay identifies as the "psychic landscape of social class," composed of an "affective lexicon" that includes such emotions as "envy, deference, contempt, arrogance, pride, rage, satisfaction, embarrassment and pity" (912–13), be discerned in a writer's work? This essay attempts to answer that question by turning to Esther Lyon, who shares Eliot's humble origins as well as her boarding-school education in gentility, and the novel in which she appears. Class has long been of vital concern to critics of Felix Holt because of its engagement with the politics of workingclass suffrage.1 Most often read as a contribution to the debates surrounding the Reform Bill of 1867, Felix Holt simultaneously looks back to 1832 and the emergence of the middle class as a rising political force in British society and forward to the passage of the Second Reform Bill. Nevertheless, its stereoscopic focus on both the middle and working classes has been overlooked, and the bulk of critical attention has been paid to the working class, even though the novel links the two reform bills through Felix Holt, who is less a radical than a reformer bent on reshaping the identities of both the middle and working classes. To be fair, Felix Holt remains a difficult text for critics to make sense of: its titular working-class radical turns out to be a conservative who opposes the extension of suffrage, and the backstory that explains how Esther Lyon comes to be the long-lost heir to the Transome estate is so complex that it impedes the story's flow. Moreover, the novel's main narrative threads, Felix's political plot and Esther's inheritance plot, do not seem to align easily, which has led Alison Booth to conclude that "it is impossible to make a fully coherent novel out...

A Note on Anne Elder's Scenario for Summer

A Note on Anne Elder's Scenario for Summer Paul Kane For years the poet Anne Elder (1918–1976) was best known for the Anne Elder Award, a prominent literary prize for a first book of poems (similar in prestige to the Yale Younger Poets Prize in the United States). That obscuration of the poet herself has changed of late, with her inclusion in poetry anthologies (by Puncher and Wattmann and the University of New South Wales Press) and particularly with the joint publication in 2018 of a new selection of her poems, The Bright and the Cold (edited by her daughter, Catherine Elder), and a biography, The Heart's Ground (by Julia Hamer). Anne Elder's first career was as a ballet dancer in the Borovansky Company in Melbourne, but her debut collection of poems, For the Record (1972), marked her immediately as a poet of distinction. After her early death, a posthumous volume was published by Angus and Robertson, Crazy Woman and Other Poems (1977), though plans for a collected poems never materialized. Scenario for Summer was written as a radio play in verse and never published (except for a revised excerpt that appeared under the title "Remember the Pool"). It is presumed to have been broadcast, but when and where is currently unknown. In accounting for the poem's provenance and appearance in Antipodes, I have to resort to some personal information. To begin with, the poem was found in Melbourne among the papers of Christine Nicholson, the mother of my late wife, Tina Kane. It was in a manila envelope with "6 Poems by Anne Elder" written on the cover. The poems are all in typescript, and I was told years ago by Chris Nicholson that they were given to her by Anne, a close friend. The other poems included are "To a Friend: On the Occasion of Her Death," "Unaddressed," "The Pilgrimage," "Christmas in Summer," and the well-known "Crazy Woman." When I inquired of Catherine Elder about Scenario for Summer, I received the following: "Even more exciting to hear of your connection to Chris Nicholson who was indeed a dear friend of my mother. Does this mean your wife is/was Tina Nicholson who I remember well from a family holiday at Cowes about 65 years ago?(!!) She and her friend Noelly(?) were then pretty girls in their early teens and my cousin Julia and I (3 or 4 years younger) followed them around in rapt admiration" (16 February 2021). And, subsequently, Catherine (or Cathie) wrote, And yes by all means mention my mother's friendship with Chris. It was very important to her when I was in my early teens and living at home. Not sure what happened later. On reading this piece I get the distinct impression it [End Page 167] draws on images from our holidays on Phillip Island—"the town set against the dramatic bay" could possibly be Cowes where Chris and Tina came to join us one year. And the main street with its honeymoon couples and juke boxes certainly so. The lovely selfish girls fiddling with their hair and strolling on the jetty could be any of us teenagers but I reckon Tina and Noelly were just at that age of delicious self-absorption and flirtatiousness. I and my cousin were too young and gauche to do more than look on in admiration. I remember a lovely evening cooking up a lobster in a cauldron over an open fire close to the beach … Chris was certainly present. Happy times. (7 September 2021) Phillip Island, southeast of Melbourne, remains a popular tourist destination. As Julia Hamer writes, "Sometimes the Elders rented houses by the beach and sometimes they boarded in country properties that were open to guests. Cathie loved these times, remembering especially collecting shells on the beaches of Phillip Island, and making necklaces from them; the lovely little fairy penguins; and dancing on the beach with Anne" (The Heart's Ground, 168). Much of this holiday life appears in Scenario for Summer, and certainly Chris Nicholson; her daughter, Tina; and son, Dennis, all spoke of their time there with great affection—and all had vivid memories of Anne...

Heart Grows Fonder.

Description This painting was inspired by one patient's mindfulness practice that he developed to cope with depression of a recent loved one's death. Similar to my family of green thumbs, this patient found catharsis in cultivating his late wife's garden of fruits and vegetables after her death. Through mental health practices such as meditation and exercise, a person has a chance to process and heal from difficult circumstances.

Robot resurrections

In Archive, George Almore tries to put his late wife's memories into a machine. The project is far from a roaring success, finds Jon O'Brien

Gerhard Giebisch (1927–2020): A Leader in Kidney Physiology

Gerhard Giebisch (1927–2020): A Leader in Kidney Physiology

Spatial Aesthetics: Art as Transformative Experience in Thomas Hardy's “Poems of 1912-13”

Landscape, is something to be perceived with eyes, to be dwelled upon and to experience happiness. Getting an eyeful of places give a seasoning and spatial joie de vivre. There is more than eyes can espy, more than ears can detect. Settings and views are waiting to be explored. Things are in relation to surroundings, the sequences of events lead up the experiences and memories. The kind of vision appears in Thomas Hardy’s “Poems of 1912-13.” “Poems of 1912-13” are a series of elegies that Hardy composed after his wife Emma Gilford’s eternal rest. Although the couple had long been set at odds, howbeit, Hardy embarked on his writing adventure about Emma. He unexpectedly made a hit with the memories of their love; wherefore, the “Poems 1912-13” are personification and reproduction of Hardy’s mind. He defined the two real physical places where Emma and he used to live, id est, Cornwall and Dorset, not only as social but also psychological spaces. He inwardly overhauled and restored the spaces once familiar to him. Over and above, he dreamed up and brought his imaginary into existence with his late wife. As Hardy waved through the mental space and moved over the space of time, he also made the spaces emblematic and figurative like memorials. Like the idea of Gestalt’s theory, the couple’s life experiences are “essences or shapes of an entity's complete form.” Both the poet and the phantom (Emma) become flâneur, the stroller in Walter Benjamin's meditation on nineteenth-century Paris, who is a characteristic and exemplary figure of freshness modernity.