Love You Research Articles

The nomadic subject as a cinematographic hero by Alain Resnais

The author of the work raises the issue of the phenomenon of nomadism in the context of the work of the French director Alain Resnais. The object of the research is the early works of the director, such films as "Last year in Marienbad", "Hiroshima, my love", "I love you, I love". The purpose of the work is to answer the question of how nomadic strategies allow the author to create non-linear narrative structures, oscillating characters and flickering characters in his films, and how understanding these strategies can help viewers and researchers in the act of deciphering works. The author also analyzes a number of phenomena related to nomadism, such as the rhizome, the body without organs, deterritorialization, escape, flicker. The novelty of the research lies in the application of nomadic strategies to the cinema of Alain Resnais. This approach makes it possible to use the current philosophical and art history prism to study narrative structures, intraframe space and characters. The author argues that Rene's cinematography can be viewed through a position of resistance to forms of power - suppression and control - which manifests itself in the violation of traditional forms of narration and the creation of split characters. To study the mentioned aspects of Rene's work, the author resorts to the philosophy of Gilles Deleuze and Felix Guattari. The author also explains the position of the modern viewer and describes the strategies of looking, which can lead to a state of pleasure from interacting with nomadic works.

Love you in Throat Gristle: Subvocal Speech and Tainted Proprioception in the Work of William S. Burroughs

The notion of subvocal speech looms over the American writer William S. Burroughs’ work and its defining feature is an involuntary continuity. Burroughs borrows the concept from the behaviorist psychologist John B. Watson’s attempts between the 1920s and ‘30s to come up with an image of thinking which foregrounds speech and its laryngeal correlates. Yet, while adopting this picture, Burroughs brings a much more pragmatic and experimental slant to subvocal speech, waging battle against a heteronomy lived as an impossibility of silence. Trying out a mimetic intervention that appropriates this elusive language conduct and the discourse of its description, he positions his formal experiments (“cut-ups”) as a medium of registration and acceleration that tries to disable the compulsory character of subvocal speech by taking it to its most extreme conclusions. When these experiments seem to reproduce instead of removing the heteronomy associated with subvocal speech, he explores other approaches, with the organic and evolutionary implications providing material for new directions in narrative, and the polyvalent status of the human throat coming under a detailed focus. Accordingly, Burroughs’ work opens out to a series of “organological” inquiries the richness of which finds philosophical and anthropological resonances. While philosophers like Deleuze and Guattari find inspiration in Burroughs for a concept of “the body without organs,” phenomenology also turns out to have a lot to contribute to a renewed understanding of subvocal speech. In sum, this paper aims to demonstrate that subvocal speech as an originally behaviorist notion has a much more layered character than is visible at first glance, enlisting at once the modes of cut-up, routine, and evolutionary speculation aside from straightforward critique.

Analyzing Metaphorical Extension and Connotational Associations in E. E. Cummings' "Humanity i love you"

This study critically analyses stylistic evaluation based on metaphorical extensions in E.E. Cummings’s poem “Humanity i love you”. It identifies lexicological and connotational associations by means of parallelism having pertinence to interpretive and evaluative stylistics. Analytically, the diction of the poem has associative meanings. The poem signifies verbal irony and emotional intensity for adherence and adoration to humanity that is the verge of extinction. The poet sarcastically applied stylistic facets for signification of structural repetition and indication of his determination towards preservation of humanitarian traits in society. Content analysis has been applied to explore to comprehend the basic themes of the poem. The analysis unfolds the manifestation of stylistics features that assist to understand the basic themes of the poem by referring to metaphorical juxtaposing thoughts in aesthetics in “Humanity i hate you”.

Dear Liv

…for me you are a bright, wise, and compassionate woman and an exemplary academic, providing an embracing environment for her colleagues. I was most fortunate to be introduced to you first in 2018 for the preparations of the Learn X Design 2019 Ankara conference. That initial shy communication conducted via emails, turned into regular online meetings when I joined the DRS EdSIG convening group in late 2019, and then into intense engagements as we started working collectively for the Learn X Design 2021 Jinan conference. Many were involved with their hard work and valuable contribution, but your involvement in particular, has been a motivation for me in the process. We spent many productive hours in online meetings, organizing the event, and building the background to realise it. I love the tapestry that you have behind you on screen in the background, and I love that it is you who have made it. I love you telling us that you will go skiing after the meeting. I can actually imagine you in your suit, grasping your gear, and starting to ski immediately as you step out of the cabin. That is how skilled and talented I find you. Many times, I have felt a reciprocal understanding between the two of us, which has always been reassuring and encouraging. I have learned a lot from you.
 Thank you for being a friend!

Analisis Puisi “Aku Mencintaimu Diam-Diam” Karya Anwar Maulana

Poetry is a form of fiction that contains an implied meaning. Poetry can motivate writing lovers, especially readers who are interested in reading something that has meaning and meaning implied in it from a poem through analysis. Based on previous understanding or exposure, the author is interested in conducting a study, namely analyzing Anwar Maulana's poem entitled "I Love You Secretly" using an intertextual approach. The results of the analysis of the reading of this poem include heuristic reading, hermeneutic reading, matrix determination, model and meaning. The matrix in the poem "I Love You Secretly" is I love you secretly, the model is relationship and romance, the meaning of this poem is sincerity and eternal love which cannot be seen from a person's physique but seen from the sincerity of his heart. The results of the study of the intertextual relations of the two poems include the relationship between the structure of the poem, the relationship of the matrix, the relationship of the model, the relationship of meaning, and the hypogram.

ACR Presidential Address: Rheumatologists-Folks You Can Trust.

ACR Presidential Address: Rheumatologists-Folks You Can Trust.

Garden Hunter

Garden Hunter

Syntactic Analysis on Sentence Patterns in Agnez Mo’s Song Lyrics

Analyzing sentence patterns turns into more essential in song lyrics as there are regularly misinterpretation of words when they are arranged into sentences in song lyrics. This research was aimed to analyze the types of phrase, clause and describe the sentence patterns in Agnez Mo’s song lyrics through tree diagram. This research employed qualitative research. The data of this research is the four lyrics of Agnez Mo’s songs, they are: Long as I get paid, Coke bottle, Damn I love you and Overdose. In analyzing the data, the research used theory of Miles and Huberman; data reduction, data display and conclusion drawing/verification. The result of the research shows that found types of phrase, clause and sentence patterns. In phrase, there are five types; noun phrase, verb phrase, adjective phrase, adverb phrase and preposition phrase that found in Agnez Mo’s song lyrics. In clause found there are two types; independent clause and dependent clause, which is in the dependent clause also found of each kinds; noun clause, adverb clause and adjective clause in Agnez Mo’s song lyrics. Moreover, there are twenty nine sentence patterns that used in Agnez Mo’s song lyrics. The researcher concludes that there are types of phrases, clauses and sentence patterns which should be known in the syntax. Hence, the researcher hopes that the reader or learner can get knowledge from this research.

Ivo van Hove and Almodóvar: Remixing The Human Voice

Ivo van Hove and Almodóvar: Remixing <i>The Human Voice</i>

Longing for Possibilities: A Learning and Literacy of Love

What possibilities exist when we engage and evoke decolonial love at the site of learning and literacy? This question is one that I attempt to answer, and, for me, it begins with a personal narrative that demonstrates a mattering of love. From there, I set out on a journey to situate the meaning of decolonial love, which I situate in relation to the classroom context. I insist that critical discourse and language disruption are necessary and significant to a rupturing of decolonial love, especially in terms of self-love. In the former, I consider how discourses of resistance encourage my students and I to confront colourism in the classroom, and to emrbace a love for one’s body and identity. In the latter, I speak to the hatred that my students and I develop for the [m]other(ed) tongue, shedding light on the importance of reclaiming dialects and languages that have been forced into exile and pushed to the margins. But, most of all, what I profess is the profoundness that exists in the following words: I love you. This tenet, more than anything, is a provocation that to speak about love is perhaps the most important thing one can do to practice the act of decolonial love.

Dead end mouth

dead end mouth Paul Martinez Pompa (bio) i never knew what i wassaying, i saidAmerika, like skin unloadedacross motel bed sheets.i said community, like a skyhung over overflowing trash cans.i said a music, a place to feelour dreams slip away. i said i had fearbut simply couldn’t find the back door, i meani see an aura of hair drapedjust out of reach. My mothersent a bagful of cancer today, her way of sayingi love you, child, and she means itas best she can. [End Page 109] Paul Martinez Pompa Triton College Paul Martinez Pompa Paul Martinez Pompa is the author of My Kill Adore Him. He currently edits for Packingtown Review and teaches at Triton College in River Grove, Illinois. Copyright © 2022 The Trustees of Indiana University

The Selkie of the City Tells All

The Selkie of the City Tells All Jd Scott (bio) We meet at the Mermaid Parade on Coney Island three years in a row. We meet on a rooftop on the Fourth of July, the air smoky with bodega-bought salutes. We meet on a broken-down B3 bus on Avenue U. We meet in front of Macy’s between holidays, the arm of an animatronic elf waving in the window display. We meet over dollar pizza. We meet at a concert in an empty pool basin in McCarren Park. We meet in Marble Hill. We meet during intermission. We meet at a rent party. We meet over a rent boy. We meet at a LAN party in Fordham. We meet through the divorce. We meet over hotpot in Flushing, our hands gunning for the same ladle in a tub of sesame sauce. We meet through mutual friends. We meet when the body is discovered. We meet at a rave in an auto-something warehouse beneath the BQE. We meet on DMT. We meet at the Bowery Mission. We meet on the same ferry for forty years. We meet at the Diptyque sample sale: your nose down by a candle, its name spelled in elongated French. You are a classically trained painter who makes do drawing sidewalk signs. You are an electrician with nine fingers. You are on the lam. You are a Slavic Studies major at Columbia. You sell nutcrackers every July at Jacob Riis. You are a piragüero perched up in El Barrio. You make a 524 on your MCAT. You are half-retired, playing dice on the sidewalk in summer, playing a temporary snow laborer in winter. You are a deaf waiter at Tavern on the Green. You read tarot on Grand. You are an absentminded dog walker. You have a stutter. You have the cutest button dimples. You are fighting for your life on Rikers Island. You own a beautiful home in Astoria. You rent a basement beneath a bakery in Sunset Park and break in at night to steal cháng zĭ bāo. You make the best chicken mandi rice in Morris Park. You were born (and will die) in Queens. You are twins who don’t know how to share. I remind you of a dentist, of a doorman, of a brother. I remind you of a son, somebody’s ex-best friend. We make small talk. I play it shy. I play it tough. I get real sweet when we get close enough. [End Page 126] Then I take my skin off. I am the city, and my skin is cigarette butts and piss-summer scent. It’s the same magazine sample of Santal 33 from Le Labo coated onto my pulse. My skin is neon and concrete and sakura blossoming at the Brooklyn Botanic Garden each May. My skin is high rise with all the lights on. It’s Times Square. It’s this is a Howard Beach bound A train, the next stop is Broadway Junction. It’s a warm cup of broth in a blizzard, a margarita in a Styrofoam to-go cup in June. My skin is sweat. My hair is kinky, slick, tight, loose, long, buzzed, gone. When you see me, you see the part you need. That’s when I stop being the city and become something you can perceive. That’s when I grow hands and knees. You see the twenty-three-minute affair at the Christopher Street’s westside piers. You see me for twenty-three years in your bedroom. When I take off my skin, you feel comforted. Most of you end up loving me. Sometimes I love you back. Always you see me until our end. Rarely do you see me until your end. It never gets easier, that part. I cannot give you eternity. I change for you, sure, but I change for myself, too. I compromise; I make amends. When I fold my skin like a coat in your closet, I become the only knowable part of me. When I give up my secret, it seldom goes well. Inevitably, you start plotting to keep me. You hide my...

From the Editor

From the Editor Uwe Michael Lang Lord, I love you"—these were reported to be the last words of Pope Benedict XVI before he died on December 31, 2022.1 The words echo the threefold profession of faith the Apostle Peter made to the Risen Christ in John 21. Both Joseph Ratzinger's warm personal faith, which he had treasured since his childhood in Catholic Bavaria, and his profound theological work were animated by his friendship with Christ. It is no easy task to render justice to the immense legacy of Benedict XVI, whose lifework stands out in so many ways. In the first place, we must be truly grateful for his loving service to God and the Church, as a theologian and pastor. Having had the grace of knowing Joseph Ratzinger personally, I have always found it painful to see how a man of such gentleness, humility, and openness in listening to others was often met with anticipated hostility from the wider public, and with thinly veiled obstruction from some even inside the Catholic Church. So many assaults on him were personal, manifestly unjust, full of verbal abuse and intended to distract from the real reasons why the opinion makers of our time intensely disliked him. Joseph Ratzinger was a Catholic thinker who explained the faith in a luminous and attractive way and intelligently questioned the assumptions of the relativism that has dominated the public square in the Western world for some time and is now showing increasingly totalitarian features. Throughout his long life and ministry that led him to the See of Peter, he strove to put God first and ensure that Christ was at the [End Page 1] center of the Church's mission. Since his early years of formation, he found in the New Testament "the soul of all theology."2 As cardinal and pope, he challenged the hubris of historical-critical exegesis and called for a rediscovery of what it means to read the Bible in the tradition of the Church. In the three volumes of his work Jesus of Nazareth, written during his pontificate, Benedict XVI invited us to join his search for the face of Christ, which he has now completed. Even though his university career focused on fundamental and dogmatic theology, Joseph Ratzinger considered the liturgy central to his academic and pastoral work and hailed it as the "living element" of theology, "without which it would necessarily shrivel up."3 Divine worship brings us into the right relationship with God and with one another, and its true meaning and relevance far exceed the actual liturgical celebration. As Joseph Ratzinger concludes from his reading of the Exodus narrative: the worship to which the people of Israel—and, by extension, all the nations—are called "embraces the ordering of the whole of human life."4 Joseph Ratzinger lived and worked at a time when the form and expression of the Church's faith in the sacred liturgy had become a highly controversial topic. As a theologian and bishop, he did not shrink from entering this contested arena with admirable lucidity. He was convinced that infelicitous choices have been made in the actual implementation of the sound principles of the Second Vatican Council's Constitution on the Sacred Liturgy. With his election to the See of Peter, Benedict XVI found himself in a position to shape the future of the Catholic liturgy, a position he could only approach with misgivings, because he strongly held that genuine liturgical renewal does not happen by decrees and instructions. Instead, he [End Page 2] intended to create favorable conditions and open perspectives for an "organic" development of the liturgy that would avoid the discontinuity that had done so much damage to Catholic ritual in the post-conciliar period. The Society for Catholic Liturgy is indebted in a particular way to the liturgical vision of Joseph Ratzinger/Benedict XVI. Authentic liturgical renewal needs to be grounded in scholarship that is academically rigorous, faithful to the Church's perennial teaching, and guided by charity. The various activities of the Society, above all its annual conference and its journal Antiphon, promote such scholarship in the service of liturgical formation. It is rewarding...

My dear husband! This is the third thing necessary. I love you truly! If you want me, your wife (小), to do the essential thing (丿) for you when you, my loving husband, are in deadly want of something (凵)! You must do for me, your wife (小), to say my word (曰) freely (立) (Tcheonzamun 097th - 112nd)

Dallet (1874) wrote in his book that ‘The thousand character essay’ was utilized by old Chinese people. The people of Tch’in(秦) dynasty already used the ‘The thousand character essay’ book in order to teach their children the Chinese characters (Dallet, 1874). Korean people calls ‘The thousand character essay’ book as ‘Tcheonzamun’. Usually the Tcheonzamun was well translated for 4 letters (one line) or for 8 letters (two lines). Park et al., (2021a; 2021b) called the 16 Chinese characters of Tcheonzamun a poem. In order to translate a Tcheonzamun poem of the 16 Chinese characters, Tcheonzamun should be translated on the Korean grammar (Park et al., 2021a). Why did not Koreans try to translate the poem on the Korean grammar? The reason might be Korean’s strong belief that Tcheonzamun was written by Chinese people. And the poem was translated through Korean pronunciation into their own language, Korean words (Park et al., 2021b). Why was Tcheonzamun poem translated on Korean pronunciation? It is really unreasonable! The ‘Maeg’ tribe was defeated on the battle against the Chinese, and the captured Maeg people on the battle worked for the Chinese country as public service man or woman (Kangxizidian, 1716). The present researcher considered that Maeg people wrote Tcheonzamun. And the researcher thought that the Maeg people used Korean language. In other words, Maeg people is the ancestor of present Korean people. The present researcher tried to translate the poem of ‘The thousand character essay’ (It was called as Tcheonzamun in Korean language) (Tcheonzamun 097th - 112nd). There are two methods; one is through the meaning of Chinese character, the other is on Korean pronunciation of Chinese character. Here, in this work the researcher used both the first method and the second method. Somewhat old Tcheonzamun book (Han, 1583) was utilized in this work. The present researcher translated this poem (Tcheonzamun 097th - 112nd) in Korean grammar through the meaning of Chinese character. The researcher utilized another method. It is the deleting method. When there are similar part(s) or same part(s) on the two Chinese characters on the same line, the present researcher deleted the similar or the same part from the Chinese letter, and the researcher translated the Tcheonzamun poem with those remained part(s). The present researcher tried to translate a poem of ‘The thousand character essay (Tcheonzmun)’. And the range of a poem in “The thousand character essay (Tcheonzmun)’ for this study is (Tcheonzamun 097th - 112nd). The title of this work is ‘My dear husband! This is the third thing necessary. I love you truly! If you want me, your wife (小), to do the essential thing (丿) for you when you, my loving husband, are in deadly want of something (凵)! You must do for me, your wife (小), to say my word (曰) freely (立) (Tcheonzamun 097th - 112nd)’. &lt;Number in Tcheonzamun Chinese characters (the pronunciation on Korean language and written in English alphabet)&gt; 097-100 弔(Zo) 民(Min)-弋=尸 伐(Beol) -弋=人丿 罪(Zoe). My husband! You know well this next proverb. “In order to escape (弔) from the death (尸), you (人) must get out of (丿) the crime (罪).” My husband, my Darling, this saying is too simple. For me, your wife, these things of the next three lines are necessary! 101-104 周(Zu) 發(Bal)-殳=月厶弓 殷(Eun)-殳=良 湯(Tang)=水凵二一勿. My husband, my love! This is the first thing. If you want to have the practical relation (月; Sal) as the couple (厶弓; Zzag-gung) with me for a long time (周), you must know the Maeg (水凵二一; Mulgil) language (勿; mal) well (良)! Here, Mulgil is compose of (水; Mul, 凵; gyeol, 二;i, 一;il). Mulgil means the route through the river. And it is considered that ‘Mulgil’ sounds similarly to Malgal tribe. Malgal tribe indicates the Maeg people. The present researcher thinks that this ‘Mulgil’, ‘Malgal’, ‘Maeg’ indicate the same people, and this ‘Mulgil (or Malgal or Maeg)’ people created the master-piece, Tcheonzamun (The thousand character essay). There is another thing to write. ‘To know the Maeg (水凵二一; Mulgil) language (勿; mal) well (良)!’ does not mean the proficiency of the language itself. It means that the husband has to understand well the saying of his wife… 105-108 坐(Zwa)-土=人人 朝(Zo)-土-口=十月 問(Mun)-口=門 道(Do). My love, my husband! This is the second thing. In order for life-long time (十月) you (人) and me(your wife) (人) can live together, what is necessary? The joyous life style (道) must be here in our home (門)! 109-112 垂(Su)-扌-十-十=丿凵 拱(Gong)-扌-十-十=小 平(Pyeong)-十=小 章(Zang) -十=曰立. My dear husband! This is the third thing necessary. I love you truly! If you want me, your wife (小), to do the essential thing (丿) for you when you, my loving husband, are in deadly want of something (凵)! You must do for me, your wife (小), to say my word (曰) freely (立).

Adapting to Telemedicine in Diabetes

THIS year’s European Association for the Study of Diabetes (EASD) Annual Meeting 2022 was a hybrid congress, which focused on inclusion and interaction within the global diabetes community whether participants attended in person in Stockholm, Sweden, or virtually. In front of a live audience, Richard Holt, Professor in Diabetes and Endocrinology at University of Southampton, UK, delivered the presentation, ‘“I just called to say I love you...” Diabetes tools for telemedicine: What we learned from COVID-19 and beyond?’ Holt spoke on how telemedicine has become increasingly popular in diabetes consultations, and how there has been a major rise in its use as a result of the pandemic. Holt reviewed the evidence on telemedicine for diabetes care, before exploring the practical issues experienced by patients and healthcare professionals during the pandemic, taking these as lessons to better inform how we can use telemedicine going forward. The COVID-19 pandemic has led to a rapid expansion of the use of telemedicine, and many have had to adapt to the use of this in diabetes care.

The Walters songwriter's emotions and feelings of “I love you so”

This study is aimed to analyze the Systemic Functional Language represented in “I Love You So” by The Walters through a transitivity system. The object of the study is taken from the lyric of the song “I Love You So”. This study uses a descriptive qualitative research method and note-taking technique by paying attention to the process used in the lyrics. The researchers of this study use triangulation to detect the validity of the data. The result of this study shows that the songwriter desires to convey his emotion and feeling to the woman depicted in the lyrics of the song “I Love You So”.Keywords: SFL, transitivity, The Walters

The Metaphysics of Sensory Experience

<i>The Metaphysics of Sensory Experience</i>

More than one way to say I love you: An Internet-based intervention for training flexible thinking in romantic relationships.

This study developed and pilot-tested an adaptation of Cognitive Bias Modification (CBM) to target two aspects of relational flexibility in couples: the ability to generate alternative perspectives, and the ability to respond nondefensively when alternative partner perspectives are raised within challenging relationship situations (referred to as flexibility in partner perspectives). CBM-FlexC training materials were developed in Phase 1, and expert users (N = 4) and end-point users (N = 7) provided qualitative feedback. Feasibility and preliminary efficacy of CBM-FlexC were evaluated in Phase 2, using an online sample of distressed couples (N = 18). Using a multiple baseline design, participants completed three baseline assessments, six CBM-FlexC sessions over 2 weeks, and a 1-month follow-up. CBM-FlexC training resulted in greater flexibility in partner perspectives, relationship satisfaction, and general psychological flexibility compared to baseline, and improvements were maintained 1-month after training when using mixed-effects models. However, analyses of reliable change (based on graphical inspection and the Reliable Change Index) indicated that most participants did not experience reliable improvement in flexibility in partner perspectives, or relationship satisfaction. This pilot study provides some positive signals regarding the potential efficacy of CBM-FlexC, while pointing to the need for further development to strengthen its effects.

I love you too much to keep social distance: Closeness in relationships and (dis)engagement in preventive behaviors during the COVID-19 pandemic.

Although we are witnessing a new phase in the management of COVID‐19, understanding what predicts adherence to preventive behaviors still remains crucial. In this study we focus on interpersonal relationships by specifically investigating whether engagement in preventive behaviors when in the presence of others may be a function of the type of relationship (in terms of closeness) one has with others. Because close others are often perceived similar to the self compared to strangers, we put forward that close relationships may inadvertently decrease COVID‐19 risk perceptions which may ultimately decrease compliance with recommended behaviors when in their presence. To test this hypothesis, 747 Italian respondents were invited to answer one out of four versions of a questionnaire differing on the target (i.e., friends vs. parents vs. grandparents vs. strangers), including questions regarding COVID‐19 risk perceptions and intentions to engage in preventive behaviors. Mediation analysis showed that close relationships (i.e., with friends, parents, and grandparents) compared to nonclose relationships (i.e., with strangers) predicted lower intentions to engage in preventive behaviors via lower risk perceptions. Altogether, these results shed light on the role played by closeness in indirectly shaping individuals' dis(engagement) in preventive behaviors and contribute to better understand possible unconscious biases which may undermine our safety during the COVID‐19 pandemic.

The Parties

The Parties Bipin Aurora (bio) Yes, this was the pattern in those Embassy days. The men sat on one side of the room, drank their whisky and gossiped about the office. The women sat on the other side, drank their ginger ale and took care of the children. Mr. Ratra's singing, this was the highlight of the evening. "The voice of a nightingale," they said. "You should be on All India Radio." This was the highlight of the evening and no one—no one—wanted to miss it. "One song, Ratraji," spoke the host of the party. "You embarrass me, Mr. Bhatia." "One song, Ratraji, that is all we ask for." Mr. Ratra yielded to the pressure—how could he not? Mr. Kumar was sitting on the hard chair beside the end table. He moved the table a little and started tapping on it with the heel of his hand. Mr. Bhatia, who sat at the opposite end table, started tapping on the table with his metal spoon. These were the accompaniments, the rhythm. Mr. Ratra opened his mouth—a long aaah, another long aaah, and he ventured into the song. It was a Hindi film song, "Yeh Mera Prem Patra Par Kar." The words went like this: Upon reading this letterI hope you will not be upsetYou are my lifeYou are my devotion. "Wah wah! Wah wah!" came the sounds of approval from the audience. I used to call you the moon,But even in that there is a stain.I used to call you the sun,But even in that there is fire.So this only I will say to you:That I love you, I love you, I love you. This song was by Mohammed Rafi. But sometimes the song was by Mukesh or Hemant Kumar. These were Mr. Ratra's three favorite singers. It was a slow song—perhaps a ghazal of some kind; it was a fast song—no doubt a love song. And Mr. Ratra was off: [End Page 36] I will consider you the GangaI will consider you the YamunaYou are so close to my heartThat I will consider you mine. If I die, then my soul will roamWaiting for you, waiting for you. And so on. The men and women listened in earnest. A few of the women cradled babies in their arms and tried to put them to sleep. If the baby fussed or began to cry, the mother rose quickly and hurried to the hallway outside. This was a performance and she did not want to disturb it. It was a sacrifice for the mother to leave the room. Of course it was. But a performance is a performance, even a work of art, and it should not be disturbed. Also, every Indian mother knows the importance of raising a child, even the sacredness of it. And so how can a crying child be ignored? Must its needs not be attended to? One time I still remember—remember to this day. A child began to cry and the mother, Mrs. Jaitly, did not leave the room. At first Mr. Ratra bravely tried to go on with the song. But the child's cries grew louder and louder, and at last Mr. Ratra stopped. An awkward silence filled the room. "Kusum!" the harsh voice was heard from the corner. It was the woman's husband, Mr. Jaitly. "Have you no shame?" Have you no shame? The harsh, stinging words, and in front of everyone. But this Kusum understood, even she. She was not the brightest of women but even she understood. She rose, patting now the back of the child who rested on her shoulder. "Son, son," she said. "No need to cry. Mummy is with you, Mummy is with you." And even she left the room. Mr. Ratra returned to his song—indeed he did—and order was restored to the room. Yes, this was the pattern in those Embassy days. The men sat on one side, drank their whisky and gossiped. The women sat on the other side, drank their ginger ale and took care of the children. And then other...