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At first they thought it was the body of a child. Later, when they got it out of the water and saw the pubic hair and the nicotine stains on the fingers, they realized their mistake. Male, late twenties or early thirties, naked but for one sock, the left one. There were livid bruises on the upper torso and the face was so badly disfigured his mother would have been hard put to recognize him. A courting couple had spotted him, a pale glimmer down between the canal wall and the flank of a moored barge. The girl had telephoned the Guards, and the desk sergeant had dialed Inspector Hackett's office, but Hackett was not there at that hour, and instead he got the Inspector's assistant, young Jenkins, who was in his cubbyhole behind the cells writing up his week's reports.
"A floater, Sarge," the desk man said. "Mespil Road, below Leeson Street Bridge."
Detective Sergeant Jenkins thought of telephoning his boss but then decided against it. Hackett was fond of his night's sleep and would not take kindly to being disturbed. There were two fellows in the duty room, one, Quinlan, from the motorbike corps and the other in off his beat for a tea break. Jenkins told them he needed their help. Quinlan had been about to go off duty, and was not pleased at the prospect of staying on. "He's on a promise from his missus," the other one, Hendricks, said, and snickered.
Quinlan was big and slow, with slicked-back hair and eyes that bulged. He had his leather gaiters on but had taken off his tunic. He stood with his helmet in his hand and looked at Jenkins stonily out of those gooseberry eyes, and Jenkins could almost hear the cogs of the big man's mind turning laboriously, calculating how much overtime he could screw out of the night's work. Hendricks was not due off until four A.M. "Fuck it," Quinlan said at last, and shrugged in vexed resignation, and took his tunic down off the hook. Hendricks laughed again.
"Is there a car in the yard?" Jenkins asked.
"There is," Hendricks said. "I saw one there when I came in."
Jenkins had never noticed before how flat the back of Hendricks's skull was—his neck ran sheer all the way to the crown of his head. It was as if the whole rear part of his cranium had been sliced clean off and his hair had grown back to cover the scar. Must have a brain the size of a lemon; half a lemon.
"Right," Jenkins said, trying to sound both brisk and bored, as his boss somehow always managed to do. "Let's get going."
* * *
They had a hard time of it getting the body up. The level in the lock was low, and Hendricks had to be sent to Portobello to rouse the lockkeeper out of his bed. Sergeant Jenkins set Quinlan to examining the scene with a flashlight, while he went and spoke to the couple who had spotted the body. The girl was sitting on a wrought-iron bench under a tree, white-faced in the shadows, clutching a hankie and sniffling. Every few seconds a great shiver would run through her and her shoulders would twitch. Her fellow stood back in the gloom, nervously smoking a cigarette. "Can we go now, Guard?" he said to Jenkins in a low, worried voice.
Jenkins peered at him, trying to make out his features, but the moonlight did not penetrate that far under the tree. He seemed a good deal older than the girl, middle-aged, in fact. A married man and she his bit on the side? He turned his attention back to the girl. "What time was it you found him?"
"Time?" the girl said, as if she did not recognize the word. There was a wobble in her voice.
"It's all right, miss," Jenkins said gently, not quite knowing what the words were supposed to mean—it was the kind of thing detectives in the movies said—and then turned businesslike again. "You phoned straightaway, did you, after you found him?" He glanced at the man in the shadows.
"She had to go down nearly to Baggot Street before she could find a phone that worked," the man said. He had given his name but Jenkins had immediately forgotten it. Wallace? Walsh? Something like that.
"And you stayed here."
"I thought I'd better keep an eye on the—on the body."
Right, Jenkins thought—in case it might get up out of the water and walk away. Making sure not to be the one to make the phone call, more like, afraid of being asked who he was and what he had been doing on the canal bank at this hour of the night in the company of a girl half his age.
A car passing by slowed down, the driver craning to see what was going on, his eager face at the window ashy and round like the moon.
The girl had permed hair and wore a tartan skirt with a big ornamental safety pin in it, and flat-heeled shoes. She kept clearing her throat and squeezing the hankie convulsively. She had the man's jacket draped over her shoulders. The man had on a Fair Isle sleeveless sweater. The night was mild, for April, but he would be cold, all the same. A display of chivalry; in that case, he must certainly be her fancy man.
"Do you live nearby?" Jenkins asked.
"I have a flat over there in Leeson Street, above the chemist's," the girl said, pointing.
The man said nothing, only sucked on the butt of his cigarette, the tip flaring in the dark and throwing an infernal glow upwards over his face. Small bright anxious eyes, a big nose like a potato. Forty-five if he was a day; the girl was hardly more than twenty-one. "The Guard here will take your details," Jenkins said.
He turned and called to Quinlan, who was squatting on the canal bank looking down into the water and playing his flashlight over the floating body. He had found nothing round about, no clothes, no belongings, so whoever it was down there must have been brought here from somewhere else. Quinlan straightened and came towards them. The man stepped quickly from under the tree and put a hand on Jenkins's arm. "Listen," he said urgently, "I'm not supposed to be here. I mean I'll be—I'll be missed at home, this late." He looked into Jenkins's face meaningfully, attempting a man-to-man smile, but the one he managed was sickly.
"Give your name and address to the Guard," Jenkins said stiffly. "Then you can go."
"Is it all right if I give my office address?"
"Just so long as it's somewhere we can contact you."
"I'm a surveyor," the man said, as if he expected this to be a significant factor in the night's events. His smile kept flickering on and off like a faulty light bulb. "I'd be grateful if—"
They turned at the sound of heavy steps behind them. Hendricks was coming down the cinder bank from the road, accompanied by a heavy-set man with an enormous head and no hat. The man was wearing a striped pajama top under his jacket. It was the lockkeeper. "Jesus Christ," he said without preamble, addressing Jenkins, "do you know what hour it is?"
Jenkins ignored the question. "We need the water level up," he said. "You'll have to do it slowly—there's a body in there."
As he moved away, the man Walsh or Wallace tried to pluck at his sleeve again to detain him but was ignored. The lockkeeper went to the edge of the canal bank and leaned forward with his hands on his knees and squinted down at the body. "Jesus," he said, "it's only a child."
They positioned the squad car sideways with its front wheels on the path so the headlights would illuminate the scene. The lockkeeper had used his key and the water was falling in a gleaming rush through the opening in the sluice gates. Quinlan and Hendricks got onto the barge and found two long wooden poles and braced them against the wall of the canal to keep the barge from swaying in and crushing the body.
The corpse was turned face down, the arms lolling and its backside shining with a phosphorescent glow. Walsh or Wallace and his girl had given their details to Quinlan but still had not departed. It was apparent the girl wanted to be gone, but the man hung on despite his earlier anxieties, eager no doubt to have a look at the corpse when it came up. Quinlan had brought a sheet of tarpaulin from the boot of the squad car and now he spread it on the grass, and the two Guards knelt on the granite flagstones and hauled the sodden body from the water and laid it on its back. There was silence for a moment.
"That's no child," Quinlan said.
Hendricks leaned down quickly and peeled off the man's one sock. It seemed the decent thing to do, somehow, though no one made any comment.
"Look at his face," the man said in an awed voice. They had not heard him approach, but he was leaning in between them now, staring avidly.
"Kicked the shite out of him, they did," Quinlan said. Jenkins gave him a look; Quinlan had a foul mouth and no sense of occasion. It was a dead man he was speaking of, after all. Hendricks knelt on one knee and folded in the tarpaulin on either side to cover the lower half of the body.
"Poor bugger," the lockkeeper said.
No one had thought to send for an ambulance. How were they going to get the body out of here? Jenkins thrust a fist into the pocket of his overcoat and clenched it in anger. He had no one but himself to blame; that, he reflected bitterly, was what it was to be in charge. Hendricks went to the squad car for the walkie-talkie, but it was being temperamental and would produce only a loud crackling noise and now and then a harsh squawk. "There's no use shaking the fucking thing," Quinlan said with amused disdain, but Hendricks pretended not to hear. He kept putting the machine to his ear and talking loudly into the mouthpiece—"Hello, Pearse Street, come in Pearse Street!"—then holding it away from himself and glaring at it in disgust, as if it were a pet that was refusing to perform a simple trick he had spent time and energy teaching it.
Jenkins turned to the girl sitting on the bench. "Where was that phone box?"
She was still in a state of shock, and it took her a moment to understand him. "Away down there," she said, pointing along Mespil Road. "Opposite Parson's bookshop. The one on Leeson Street is broken, as usual."
"Christ," Jenkins said under his breath. He turned back and spoke to Quinlan. "Go over there along Wilton Terrace and have a look, there might be one nearer."
Quinlan scowled. His expression made it clear that he did not relish taking orders.
"I'll go," Hendricks said. He shook the walkie-talkie again. "This yoke is useless."
Jenkins dithered. He had given a direct order to Quinlan; it should have been obeyed, and Hendricks should have kept out of it. He felt giddy for a moment. Getting people to acknowledge your authority was no easy thing, though Inspector Hackett did it seemingly without effort. Was it just a matter of experience, or did you have to be born with the knack?
"Right," he said to Hendricks gruffly, although Hendricks had already set off. Should he call him back, make him salute or something? He was pretty sure a fellow on the beat was supposed to salute a detective sergeant. He wished now he had phoned Hackett in the first place and risked the old bugger's wrath.
Walsh or Wallace, who was showing no sign at all now of his earlier eagerness to be gone, went up to Quinlan and began to talk to him about a match that was set for Croke Park on Sunday. How was it that sporting types always recognized each other straight off? They were both smoking, Quinlan cupping the cigarette in his palm—officers were not supposed to smoke on duty, Jenkins was certain of that. Should he reprimand him, tell him to put that fag out at once? He decided to pretend he had not seen him light up. He realized he was sweating, and ran a finger around the inside of his shirt collar.
The girl on the bench called softly to the man—"Alfie, will we go?"—but he ignored her. He was bareheaded as well as being without his jacket, and though he must have been freezing by now, he appeared not to mind.
Jenkins looked at the body lying on the grass beside the towpath. The water had drained from the hair, which seemed to be red, though it was hard to be sure in the stark glow of the streetlight. Jenkins felt himself shiver. What must it be like, being dead? Like nothing, he supposed, unless there really was a heaven and a hell, all that, which he doubted, despite what the priests and everyone else had spent years earnestly assuring him was the case.
At last Hendricks came back. He had found a phone box. The Holy Family was the hospital on duty tonight. The ambulance was out but they would send it as soon as it came in. "Have they only the one?" Jenkins asked incredulously.
"Seems like it," Hendricks said.
"A fine player, that lad," Wallace or Walsh was saying. "Dirty, though."
"Oh, a tough bollocks," Quinlan agreed, and chuckled. He took a drag of his cigarette, throwing a glance of lazy insolence in Jenkins's direction as he did so. "I seen him in the quarterfinal against Kerry," he said and laughed again. "I'm telling you, if that little fucker got his elbow in your ribs you'd know all about it."
The girl stood up from the bench. "I'm going," she said to the man's back. He flapped a hand at her placatingly, and Quinlan said something under his breath and the man gave a loud guffaw. The girl moved irresolutely towards the cinder track that led up to the road. When she reached the gate in the railings she turned back, though it was not the man she looked at this time but Jenkins, and she smiled. For years afterwards, whenever he thought of the case of the body in the canal, it was that sad, wan little smile that he remembered, and he felt, every time, a mysterious pang.
Copyright © 2013 by Benjamin Black


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Gloria Ssali
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Gloria Ssali
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X-Men Origins: Wolverine
X-Men Origins: Wolverine is an epic action-adventure featuring a true-to-character Wolverine gameplay experience that takes gamers through and beyond the movie's storyline. Set in a variety of vivid real-world locales, the title challenges players to hone their animal instinct as they uncover hidden dangers, hunt and destroy enemies, and take on seemingly insurmountable situations while discovering the truth about Wolverine's tragic past. With razor-sharp adamantium claws unsheathed, the future X-Man enacts lightning-quick combat, evasive maneuvers, in-depth combo attacks, and an array of brutal finishing moves. Wolverine doesn't just deliver massive damage, either – he also takes it, thanks to his mutant regenerative power that heals him in real time right before the player's eyes.
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X-Men Origins: Wolverine Review (Xbox 360) | Jul 02, 2009 22:15 | 2,893 |
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The Texas state constitution can no longer be read before a Texas public high school football game. Sound unbelievable? That's just one of the consequences of a terrible United States Supreme Court ruling this week.
In a 6-3 decision, the Court ruled Monday that public high schools may not begin football games with a non-denominational "invocation." At issue was a Texas school district policy that allowed students of every public high school to determine, first, whether they wanted an invocation before home football games and, second, who should deliver them. The Court decided that the policy, which had not yet been implemented, violated the First Amendment's Establishment Clause.
Unfortunately for the Court, and probably unbeknownst to its members, Texas' own state constitution begins with a non-denominational invocation. The preamble reads, "Humbly invoking the blessings of Almighty God, the people of the state of Texas, do ordain and establish this Constitution." The Court's decision makes publicly reading the preamble of the Texas constitution at a public school unconstitutional.
Clearly, the Court has the First Amendment wrong. The men who wrote the Constitution believed that religion and morality were indispensable for political prosperity. They thought public officials, especially those in the public schools, could and should cultivate a religious citzenry.
The Supreme Court, however, has interpreted the Establishment Clause to bar the government absolutely from encouraging religious faith. This has forced them to read the Constitution as an anti-religious document and to reach extreme decisions like the one delivered in the Texas case. As a result, the Court is driving religion out of the public schools and betraying the original meaning of the First Amendment.
The Court cited as precedent for its decision a 1992 case, Lee v. Weisman. In Lee, the Court ruled that school officials could not actively arrange for a prayer to be said at public middle school graduations. Monday's decision takes this anti-religious jurisprudence one step further. Now not only are school officials barred from encouraging religion, but students themselves may not choose to pray together publicly, even at non-compulsory events such as football games.
The ramifications of the Court's ruling extend beyond the stadium. To protect their schools from expensive lawsuits, administrators now have an incentive to censor any type of religious expression by students. Better to avoid litigation than to allow the school's valedictorian, for example, mention her faith in God.
In the name of neutrality, the Court has effectively told every public school administer in the country to silence any form of public religious speech. This is anything but neutral.
Not only are the free speech rights of religious students being trampled, the Court has radically misinterpreted the aims of the First Amendment's protection of religious liberty.
The Court says that the Establishment Clause forbids the government from encouraging religious faith. Nonsense. The public recognition of God, in fact, is as old as America itself. The Declaration of Independence begins by proclaiming that we have been endowed with unalienable rights by our "Creator." It ends with an invocation of our "reliance of the protection of Divine Providence."
George Washington, in his presidential farewell address, summed up the Founders' general view of religion in public life. "Of all the dispositions and habits which lead to political prosperity," he wrote, "religion and morality are indispensable supports.... The mere politician, equally with the pious man ought to respect and cherish them."
The Founders thought the public recognition of religion vital because religion and morality are, in Washington's words, the "firmest props of the duties of men and citizens." At the same time, the Founders were sensitive to America's religious pluralism. They understood that real religious differences among citizens existed and would further multiply in a land of freedom. They praised religion in general, non-divisive terms.
But the nation's religious diversity did not stop the Founders from recognizing and nurturing religious belief. Just as racial diversity does not prevent us from celebrating our different cultural heritages, religious diversity should not prevent us from expressing our different kinds of faith.
When Washington addressed the new nation for the first time as president, his central theme was thanksgiving to the Almighty. The second paragraph of his inaugural address begins: "[I]t would be peculiarly improper to omit, in this first official act, my fervent supplications to that Almighty Being who rules over the universe.... No people can be bound to acknowledge and adore the invisible hand which conducts the affairs of men, more than the people of the United States."
Washington's words avow the propriety of the public recognition of religion. They offer a model of how we ought to speak about religion in public. If we let the Supreme Court prohibit Texas school children from publicly reading their own state constitution, and if we forbid all American school children from kicking off a football game in the same way that Washington inaugurated his presidency, what kind of nation have we become?


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The following people applied for marriage licenses in Kanawha County between Oct. 12 and 19:
Eric Howard Morgan, 32, and Jessica Marie Walker, 20, both of Charleston.
Cody Ryan Clay, 25, and Ashley Dawn Stricker, 29, both of Charleston.
Billy Joe Dunlap Jr, 38, of Clendenin and Janice Lynn Walker, 41, of South Clendenin.
Bradley Allen Carpenter, 26, and Nicole Lee Roberts, 24, both of Charleston.
Griffin John Swayne III, 32, and Sharnesia Pearl Blair, 33, both of Charleston.
Adam Paul Cunningham, 28, and Jennifer Renee Wood, 32, both of Charleston.
Jeremy Keith Maynard, 20, and Markayla Renee Caudill, 21, both of Cross Lanes.
Teven Quinn Terwilinger, 18, of St. Albans, and Tiffany Anna Marie Garrett, 18, of Charleston.
Brandon Dale Harper, 25, and Ashley Elizabeth Woodmancy, 24, both of South Charleston.
Vincet Lee Eplin, 49, and Lisa Ann Shamblin, 53, both of South Charleston.
Donald Ray Hively II, 35, and Deanna Ruth Coggins, 24, both of St. Albans.
Jessie Ray Wentz, 29, and Heather Dawn Wells, 21, both of St. Albans.
Joseph Lawrence Spencer II, 27, of Charleston, and Sophia Jordan Coche, 21, of Poca.
Scot Russell Shapero, 33, and Rebecca Lynn Wass, 28, both of South Charleston.
Stephen Haynes, 51, and Marilyn Alice Wrenn, 45, both of Charleston.
William Brooklyn Adkins, 33, and Patricia Lynn Adkins, 34, both of Cedar Grove.
Jeffrey Todd Bergstrom, 28, and Sarah Renee Winters, 28, both of Charleston.
Jeremy Edward Parsons, 25, and Casey Nicole Shamblin, 22, both of Charleston.
Lewis Allen Whaley, 59, of Charleston, and Terri Renea Varney, 44, of South Charleston.
Matthew Scott Walker, 34, of Charleston, and Autumn Leann Wiley, 34, of Clendenin.
The following people filed for divorce in Kanawha County between Oct. 12 and 19:
Katrina Boyd from Paul Boyd.
Earl L. Moles from Christina Jo Moles.
Ashley Priestley from Dakota Priestley.
Nicole Blackwell from Roy Blackwell Jr.
Beth Carter from Shawn Carter.
Henry L. Porter from Shawna C. Porter.
Carla Young from Paul Young.
Kevin M. Jack from Holly M. Jack.
Amy Dawn Shilling from Robert Shilling.
Christopher D. Smith Sr. from Amanda Hissom-Smith.
Mechelle Baldwin from John Baldwin.
Kashawn Lesley from April Love Rochford.
Stacey E. Landrum from Shannon L. Landrum.
Tasha Ingram from George Ingram.
Donald Allen Smith from Kathy Jeanette Smith.
Anthony Neil Browning from Tina Marie Browning.
Property transfers
The following property transfers over $50,000 were recorded in Kanawha County between Oct. 12 and 19:
Charles D. Hedrick Jr. to Theodore D. Hedrick. Lot, Malden District, $53,500.
Kenneth L. Groves to Christopher and Sheri Shilling. Lot, Jefferson District, $77,500.
Gregory A. Shelton to Aaron T. Casto. Lot, St. Albans, $160,000.
John R. And Gina C. Buchanan to James Joseph Fuller. Lot, South Charleston, $184,500.
Secretary of Department of Housing and Urban Development to Jack E. Woolwine. Lot, Loudon District, $107,875.
Adam R. Dearien to Roy J. Whitlatch. Lot, Union District, $122,500.
Seneca Trustees INC to JP Morgan Chase Bank. Lot, Nitro District, $114,424.


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This column concludes the final report of the annual Allen Benton Bird Feeder count. In analyzing the total number of birds reported, the total number of species observed as indicated last week was 29, which consisted of 273 individual birds reported. The top six birds reported in last week's column in order of abundance were hairy woodpecker, downy woodpecker, blue jay, northern cardinal, white-breasted nuthatch, and dark-eyed junco. I made a note of reporting and hearing from many of you that there were good numbers of irruptive species such as the pine siskin being spotted and heard at many feeders. Two members of the raptor family were also sighted at or near feeding stations. These were the sharp-shinned and coopers hawks, of whom both enjoy a meal of birds. The feeding habit of both these birds is interesting: unlike its more typical raptor cousins like the common red-tailed hawk that enjoy meals of small mammals, these two birds will usually find a perch from which they can observe a bird feeder or other areas where small birds gather and quickly swoop through the gathering, panicking the unsuspecting birds and usually picking off a small victim.
Some of the less abundant species reports that I thought were interesting, were of the low number of song sparrows, house sparrows, european starlings, purple finches, white-crowned sparrows, and the notorious northern shrike that is usually present at feeder areas. Why these birds were not observed as much as we are used to is worth studying at a future time. Perhaps many of you can assist me in determining a reason. In discussing each of these birds I will start with the common song sparrow usually seen at many of our feeders, gardens, and backyards and yards. This common bird was only reported at four of the feeders in our area, which is unusual as it is considered an all year species in our region. Normally an all year bird in our county, it was only reported at eight feeders. The house sparrow in similar fashion too, an all year bird, was only sighted at eight feeders. Other low reports were of the yellow-bellied sapsucker, which was unusually absent during the period from the second week of January to the fourth week of March, eastern bluebird, considered an all year bird, as is the house finch. I am going to request future information from you, the reader, with respect to the strange absence of these species at this time. Perhaps in future columns I will request observation reports of these species. While this column serves as an information tool for you, the reader, with respect to nature activity in our county, I am noticing that you as readers are actually contributing to many scientific questions with respect to the status of the plant and animal world in our county. While we have had scientific studies and analysis by many researchers regarding the plant and animal world in our area, it becomes obvious that we are in a position to quantify that data and give us a an excellent overview of the living organisms of our region and if there are any positive or negative processes affecting any of those organisms. This is a simple way of my defining the study of Ecology, which is described as the relationship of living organisms to their environment. I, and Allen Benton, thank you all for your data contribution. Remember, get out and enjoy the natural world around us; it is educational and healthy.
Photographs, sightings and article suggestions can be sent to me by U.S. Mail at 38 Elm St. Fredonia N.Y. 14063, or by e-mail email@example.com.
Article Photos
Submitted Photos
At right: A purple finch eats from a feeder.


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"If they want to look for bugs, you look for bugs with them," he said. "Put interactive stuff in their little day packs -- cameras, bug catchers, magnifying glasses, stuff like that."
The Internet gets a lot of blame for modern youngsters' stay-indoors lifestyle, but Alt sees it as a motivational tool to get kids excited about hiking.
"Get on the Web and show them pictures of where they're going and what they're going to see. Get them all buzzed up about it," he said.
Electronic technology, widely blamed for keeping older kids indoors, can also help get them outdoors.
"Get a GPS receiver and take them on a geocaching adventure," Alt advised. "Give them a smartphone and make them journalists, taking pictures and uploading them to Facebook or their home blog. The kids won't even realize they're walking."
Once youngsters get used to the idea of hiking, Alt said to get them involved in planning the next adventure.
"Ask them where they want to go next," he said. "Start showing them videos and websites. Let them plan the vacations. And as they get older and get into the social scene, let them bring a friend along."
Equipping a child for hiking doesn't require a lot of money.
"With infants, you basically need a child carrier and good shoes for yourself," Alt said. "For the first couple of years after they start walking, you can get by with putting good comfortable sneakers on their feet. Once they start carrying a pack, they should have hiking shoes with good sturdy soles.
"Synthetic clothing is important because, unlike cotton, it wicks moisture away from the skin," he said. "That kind of clothing used to be available mostly from outfitters, but nowadays you can find it at big-box stores. The only true specialty item you'll need to buy is waterproof-breathable raingear."
The book "Get Your Kids Hiking" contains 11 appendices -- gear lists for care-giving parents, for infants, for toddlers and for kids in several stages of development from preschool through teens. Alt has laid them out in plain language and in a format that's easy to read.
During the June 13 book signing at Taylor Books in downtown Charleston, Alt and his family will be available to the public from 5 to 7 p.m. He said he looks forward to helping other parents get their children started in a wholesome outdoor activity.
"Kids growing up today are given iPads and are told that's what fun is," he said. "I want them to learn how to have fun in the outdoors."
Reach John McCoy at 304-348-1231, or e-mail johnmc...@wvgazette.com.


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Zippy is to Bill Griffith what Charlie Brown was to the late Charles M. Schulz. These characters are not quite alter egos of the two prolific cartoonists but they are, and forever will be, linked to them. One might even consider Zippy the underground comix version of Charlie Brown: a good-natured, well-meaning man-child who's fated to wander among the flotsam of modern life, perpetually misunderstood and perpetually misunderstanding.
Read more...The U.S. Supreme Court's historic decision this morning to allow married gay and lesbian couples to receive federal benefits under the law was a huge victory for the gay rights movement, a ruling that affects a great number of Connecticut residents and people across the U.S. It's party time.
Read more...Crusty old-school punks: here's one's for you.
Read more...News broke over the weekend that Capitol Ave. coffeehouse La Paloma Sabanera, often referred to as "Hartford's Living Room," is shutting its doors on June 27.
Read more...Warren Haynes and Gov't Mule (pictured) return to Bridgeport's Seaside Park this summer to participate in this year's Gathering of the Vibes festival on July 27, according to a recent press release.
Read more...What's being promoted as "the most highly sought after Grateful Dead show captured on film" will run simultaneously in HD at theaters around the country on August 1, including nine cinemas in Connecticut, according to a Fathom Events press release.
Read more...Singer-songwriters (and roots-music power couple) Jason Isbell and Amanda Shires will play Hartford's Arch Street Tavern on August 4, according to Manic Productions.
Read more...Hartford becomes the center of the WOOniverse this weekend, when P-Funk legend and keyboardist Bernie Worrell (pictured) brings his Orchestra to Up or On the Rocks this Saturday. Tickets are $10. Boston's Wobblesauce opens.
Read more...Area Deadheads: if you're looking for a little enlightenment tonight, head to Middletown, where Dr. Graeme Boone (pictured), an Ohio State professor of music, will present a "psychedelic lecture" on the Grateful Dead's "Dark Star" at Wesleyan University.
Read more...HempCT, a local grassroots advocacy organization, is planning a Global Marijuana March from 12-8 p.m. on May 4 in Bushnell Park in Downtown Hartford, according to their website.
Read more...Hartford's Comcast Theatre plays host to the Allman Brothers Band and Steve Winwood on Aug. 24. Tickets go on sale tomorrow morning (4/26) at 10 a.m. and are available through ticketmaster.com. Prices range from $27.50 for a lawn seat up to $75.
Read more...On a day when most of Connecticut can hardly imagine being at a sunny, outdoor music festival, the folks at Gathering of the Vibes offered us all a glimmer of sunshine: the 2013 lineup. And it's good.
Read more...The current lineup of iconic prog-rock group Yes -- bassist Chris Squire (pictured), guitarist Steve Howe, drummer Alan White (pictured), keyboardist Geoff Downes and singer Jon Davison -- will play two classic albums in their entirety, in one concert.
Read more...Country star Luke Bryan (pictured) will be in Connecticut this spring as part of his "Dirt Road Diaries Tour." Tickets go on sale Friday, Feb. 15 at 10 a.m. at livenation.com ($54.75, lawn seats for $30).
Read more...Fans of the great Hartford band Little Ugly can pitch in and help send them back to the studio.
Read more...Plaid-wearing, whisky-loving, bearded musician Scott Hutchison, the frontman for Scottish indie rock geniuses Frightened Rabbit, makes me swoon like no other. His lyrics are a simultaneous punch to the gut and commiserating hug that anyone who's had any kind of difficult, real-world adult relationship, or emotional wherewithal to live...
Read more...Late last year, I scrambled to put together a list of my favorite songs released during 2012, not just to have a handy playlist of songs I love, but to remind myself that I should keep track of this stuff starting at the beginning of 2013. Today, I added the first song to that playlist, which may very well turn out to be my favorite song of the year (unless 2013 has some seriously good music waiting for me). It's Ra Ra Riot's "Beta...
Read more...Oh, K-Dolla. How I love you.
Read more...UPDATE (1/8/13): Artists, venues and ticket information ($30 a pop) have been posted here.
Read more...The mainstream pop music landscape can be a noisy blur if you're not an aficionado (or a 12-year-old girl). Anyone who says that a lot of chart topping hits don't sound similar to each other is just delusional, let's be real. Whether you're a fan of the stuff, or just like a healthy dose the super-catchy crack that everyone's always on about, you'll love DJ Earworm's annual smushing together of the biggest songs of the year. I personally loved a fair few of these songs this year, but I won't...
Read more...Hell froze over. Rush is in the Rock and Roll Hall of Fame.
Read more...Every year when the venerable Oxford American releases its annual music issue -- and its accompanying CD -- I'm blown away by the scope of the project, the deep research, the top-notch writing, the curatorial genius, the style and sense of the layout. It's probably the best stocking stuffer for any music fan on your list. (Some have compared it to the Sports Illustrated Swimsuit Issue for music obsessives.) It's the magazine I most look forward to getting each year.
Read more...Jazz legend Dave Brubeck, perhaps best known for his 1959 album Take Five, which reached the second highest slot on the Billboard Pop Album chart in 1961, died at Norwalk Hospital in Norwalk, Conn., according to the Chicago Tribune. Tomorrow would have been his 92nd birthday.
Read more...Dropkick Murphys have released a video for a new Christmas song, called "The Season's Upon Us," and as you'd expect, it's full of drinking, fighting, throwing food, general debauchery and good old family love. Check it out:
Read more...Is there better cold weather music out there than what's being made by Iceland's Sigur Ros? Possibly. But I'm going wtih them.
Read more...Do you use Google Play? If so, have you noticed that they've rolled out a new "Instant Playlist"-generating feature recently? It's very strange, and kind of cool.
Read more...1) He's an American rock drummer. (For a few years I thought he was British.)
Read more...1) Make coffee.
Read more...Upstate N.Y.-based progressive string band Floodwood, featuring Al Schnier and Vinnie Amico of moe., arrive tomorrow evening at Arch Street Tavern. Tickets are $12 at the door.
Read more..."My name is Dr. John the Nighttripper, and I'm a musician."
Read more...This is how Yale sends out a party invite. Or better, a reunion of LGBT alumni taking place early next year. Who doesn't love vibrant colors and a cappella versions of pop songs, am I right?
Read more...Norfolk's premier music venue, Infinity Hall, will open a new venue in downtown Hartford, according to a blog post on the Hartford Courant website.
Read more...Ok, ok, we know that Carly Rae Jepsen's "Call Me Maybe" has been just about inescapable this year, with it being the super hot jam of the summer and all, but let's be real for a second and waste no time pretending it's not a great song. It's fun and catchy, and instantly meme-able. What more could we really ask for?
Read more..."The Revenge of Vera Gemini," by Blue Oyster Cult, is the last song of side A on their 1976 album, Agents of Fortune. It was a good year for BOC. Agents of Fortune
Read more...After weeks of "What Happened to Asher?" teases popping up all over the place, this video arrived in my inbox this morning, sent by Grimm Generation singer/guitarist Jason Krug (pictured right, with singer Carmen Champagne, left). The track, "Blink, I'm Gone," was produced by Adam Hagymasi of Collinsville, who plays with local bands Daytonville Express and the Kelly Experience. The video was directed by Zach Wussow. Watch and enjoy.
Read more...Trey Anastasio's forthcoming solo album, Traveler, which is set to be released by Rubber Jungle / ATO Records October 16, was produced in Bridgeport, Conn. at Peter Katis' Tarquin Studios last fall, according to a release on Phish.com.
Read more...Members of Wilco, including multi-instrumentalist Pat Sansone and bassist John Stirratt, will sit in with scheduled performers Sarah Lee Guthrie and Johnny Irion at the Wilco After-Party, which takes place on Aug. 1 at 10 p.m. (doors at 9 p.m.), according Nectar's Entertainment Group promoter Aaron Busick.
Read more...If you recently enjoyed reading David Remnick's New Yorker profile of the Boss, you might be happy to learn that Bruce Springsteen is coming to Hartford this fall, as part of his Wrecking Ball tour. The show will take place at the XL Center on Oct. 25. Tickets will be available through Ticketmaster (natch).
Read more...Dweezil Zappa chose some of the more dance-friendly tracks from his father's catalogue -- "Apostrophe," "City of Tiny Lights," "Trouble Every Day, others -- and we appreciated it. He toggled between a nasty guitar tone and a bunch of others, a MIDI-ish sax sound in a couple of places. (It'd be stupid to say how great his band is, because they have to be. But it should be said anyway.) He stretched out and got comfortable on more than a few long, FZ-like guitar explorations over the typical one-...
Read more...What sets Phil Lesh and Friends apart from the other Dead offshoots is the interplay between Lesh and drummer Joe Russo. When you listen to a Band that jams a lot, it's easy to get distracted. You start wondering what each band member is thinking, and that's usually a sign things aren't happening. After a long rain-related break, Lesh and friends returned to open their second set with "St. Stephen," which got kind of messy in the middle. But the jam at the end, well, it made me stop wondering....
Read more...After playing with Bob Weir and Bruce Hornsby, saxophonist Branford Marsalis hung out in the media tent surrounded by journalists and a glass of wine. He's leaving now, only after hugging nearly everyone. "What's that group that does a different album on New Years Eve?" he asked at one point. I said it was Phish, and that they do it on Halloween. "Yeah, that's right." He said he's tried to hook up with them a number of times over the years but their path never seems to cross. He also mentioned...
Read more...Arrival at the media tent was a soggy trudge, but all is alive and well at the Gathering of the Vibes in Bridgeport.It's pouring rain, but nobody seems to give a shit. 7 Walkers, Grateful Dead drummer Bill Kreutzmann's new band, took the stage about 10 minutes ago, and they didn't waste much time away from GD material. They noodled their way around to "Mr. Charlie," an old Pigpen-sung tune, and now they're having fun with it. Everyone around is draped in some sort of colored vinyl or plastic,...
Read more...Matisyahu has returned with a new record, Spark Seeker, and considerably less facial hair. Did you recognize him? Anyway, Spark Seeker is quite good, a catchy collection perfect for summer. Let "Live Like a Warrior" get you through today to the weekend.
Read more...Brooklyn's Dirty Projectors are back another full-length, Swing Lo Magellan, out this past Tuesday July 10 on Domino Records. It's a rhythm-driven, highly syncopated record overflowing with beautiful harmonies and some noodly guitars. You can listen to the record in its entirety on Spotify. "The Socialites" stands out as my favorite track so far, one I haven't really been able to turn off for the last...
Read more...The first anniversary of Amy Winehouse's death is fast approaching. Since I myself just turned 28, I was celebrating not making it into the "27 Club" and decided to peruse Wikipedia's entry on the concept. There is a list of musicians who've kicked the bucket before their 28th birthdays, complete with their dates and cause of death, what they're famous for, and how many days they had been 27 before they died.
Read more...Dear reader,
Read more...Disco may have started out its brief life as dance music promoted by DJs in gay NYC clubs, where it was difficult to find live bands who would actually show up and play. As it gained strength in the late '70s, it slapped lingering hippie sensibilities right in the face; this was music for dancing, not for introspection. Let's not sit around contemplating the greatness of artists. Let's do a line, get up and shake our asses until we collapse,...
Read more...Hip-hop duo Chiddy Bang have released the video for "Mind Your Manners," the second single off full-length debut Breakfast. Yes, the record is called Breakfast. The track samples heavily from Icona Pop's dreamy little tune "Manners," but it's all good. This video is somewhat of an experiment into the uses of 360-degree photography. Check it out below:
Read more...


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Adult ADHD
A few decades ago, doctors believed that ADHD (Attention Deficit Hyperactivity Disorder, also known as ADD) was a childhood condition that everyone outgrew. But research has shown that around 50 percent of children diagnosed with ADHD will have symptoms of the condition as adults and require treatment. More than 4 percent of American adults are thought to have ADHD. Like children with ADHD, adults with ADHD have trouble focusing to the point where it affects their work, family life and social relationships. They can also be impulsive, but hyperactivity becomes less common, which is part of the reason adult ADHD can be difficult to diagnose.
ADHD doesn't develop in adults; it must be present since childhood. However, not all adults with ADHD have been diagnosed as children. For one thing, medical professionals, educators and parents were not as skilled at recognizing ADHD decades ago as they are today. Also, some very bright individuals, as well as those from very structured, supportive home environments, may have been able to compensate for their ADHD during childhood, but have trouble coping when college, career or family life require more multi-tasking and focus.
Not everyone with ADHD exhibits all the symptoms of the condition, and effects can range from mild to severe. However, for some ADHD can lead to a stalled careers and troubled relationships because of behaviors like chronic procrastination, difficulty completing tasks, volatile temperament and an inability to listen without interrupting. Several long-term studies of individuals with ADHD have shown that they have lower levels of academic and job success than those without the condition and more troubled personal lives. This in turn can lead to feelings of failure, frustration and unhappiness. Adults with ADHD may suffer from other mental conditions as well, notably depression, and are three times more likely to have substance abuse issues.
Because ADHD is thought to be hereditary, many adults with ADHD face the additional challenge of parenting children who have the same condition. Their struggle is to overcome their own symptoms and create an organized, supportive environment so their children can thrive and succeed. In other words, parents have to control ADHD so it doesn't end up controlling them, recreating the same problems for another generation.
The good news is that many people with ADHD lead happy, successful lives – especially if they receive appropriate treatment. The vast majority of adults with ADHD symptoms respond well to treatment with stimulant drugs, and behavioral therapy (learning to change negative and destructive behavior patterns). Because adult ADHD is now widely recognized, there are also support groups and social networks in most communities and online so that ADHD adults – especially parents – can connect with others dealing with similar problems.
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Through mass media, we've been bombarded with messages that "normal" size is actually thin. And this assumption that you need to be thin in order to be ok and normal gets played out frequently for people who are bigger than "normal".
If you've been a "normal" size your whole life, you may never have thought of the benefits of being thin. But sizeism is very prevalent, and it's one of the acceptable "isms" in our society.
It's time we make this "ism" unacceptable, and thus make the world a better place to live in for people of all shapes and sizes.
The following are examples of thin privilege that those of us who are seen by society as being physically "too big" experience regularly in our lives.
Examples of Thin Privilege:
- You're not assumed to be unhealthy just because of your size.
- Your size is probably not the first thing people notice about you (unless you're being thin-shamed – the opposite of fat-shamed).
- When you're at the grocery store, people don't comment on the food selection in your cart in the name of "trying to be helpful."
- Your health insurance rates are not higher than everyone else's.
- You can expect to pay reasonable prices for your clothing.
- You can expect to find your clothing size sold locally.
- You can expect to find clothing in the latest styles and colors instead of colorless, shapeless and outdated styles meant to hide your body.
- You don't receive suggestions from your friends and family to join Weight Watchers or any other weight-loss program.
- When you go to the doctor, they don't suspect diabetes (or high blood pressure, high cholesterol, or other "weight-related" diagnoses) as the first/most likely diagnosis.
- You don't get told, "You have such a pretty/handsome face" (implying: if only you'd lose weight you could be even more attractive).
- People do not assume that you are lazy, based solely on your size.
- You're not the brunt of jokes for countless numbers of comedians.
- Airlines won't charge you extra to fly.
- You are not perceived as looking sloppy or unprofessional based on your size.
- You can eat what you want, when you want in public and not have others judge you for it or make assumptions about your eating habits.
- You can walk out of a gas station with a box of doughnuts and not have people yell at you to "Lay off them doughnuts, fatty!" (This actually happened to one of my friends.)
- People don't ask your partners what it's like to have sex with you because of your size.
- Your body type isn't sexually fetishized.
- You're more likely to get a raise or promotion at work than someone who is fat.
- Friends don't describe you to others using a qualifier (e.g. "He's kind of heavy, but REALLY nice, though").
- The media doesn't describe your body shape as part of an "epidemic".
- You can choose to not be preoccupied with your size and shape because you have other priorities without being judged.
If you have any other examples of thin privilege, please include them in the comments!
Shannon Ridgway is a Contributing Writer to Everyday Feminism from the great flyover state of South Dakota (the one with the monument of presidential heads). In her free time, Shannon enjoys reading, writing, jamming out to '80s music and Zumba, and she will go to great lengths to find the perfect enchilada. Follow her on Twitter @sridgway1980.


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Paradise Lost
Paradise Lost | |
Title page of the first edition (1668)
Author | John Milton |
Cover artist | J. B. de Medina and Henry Aldrich |
Country | England |
Language | English |
Genre | Epic poetry, Christian mythology |
Publisher | Samuel Simmons (original) |
Publication date
1667 |
Media type | |
Followed by | Paradise Regained |
Text | Paradise Lost at Wikisource |
Paradise Lost is an epic poem in blank verse by the 17th-century English poet John Milton (1608–1674). The first version, published in 1667, consisted of ten books with over ten thousand lines of verse. A second edition followed in 1674, arranged into twelve books (in the manner of Virgil's Aeneid) with minor revisions throughout and a note on the versification.[1] It is considered by critics to be Milton's "major work", and helped solidify his reputation as one of the greatest English poets of his time.[2]
The poem concerns the Biblical story of the Fall of Man: the temptation of Adam and Eve by the fallen angel Satan and their expulsion from the Garden of Eden. Milton's purpose, stated in Book I, is to "justify the ways of God to men".[5]
The poem is separated into twelve "books" or sections, the lengths of which vary greatly (the longest is Book IX, with 1,189 lines, and the shortest Book VII, with 640). The Arguments at the head of each book were added in subsequent imprints of the first edition. Originally published in ten books, a fully "Revised and Augmented" edition reorganized into twelve books was issued in 1674, and this is the edition generally used today.
The poem follows the epic tradition of starting in medias res (Latin for in the midst of things), the background story being recounted later.
Milton's story has two narrative arcs, one about Satan (Lucifer) and the other following Adam and Eve. It begins after Satan and the other rebel angels have been defeated and banished to Hell, or, as it is also called in the poem, Tartarus. In Pandæmonium, Satan employs his rhetorical skill to organise his followers; he is aided by Mammon and Beelzebub. Belial and Moloch are also present. At the end of the debate, Satan volunteers to poison the newly created Earth and God's new and most favoured creation, Mankind. He braves the dangers of the Abyss alone in a manner reminiscent of Odysseus or Aeneas. After an arduous traversal of the Chaos outside Hell, he enters God's new material World, and later the Garden of Eden.
At several points in the poem, an Angelic War over Heaven is recounted from different perspectives. Satan's rebellion follows the epic convention of large-scale warfare. The battles between the faithful angels and Satan's forces take place over three days. At the final battle, the Son of God single-handedly defeats the entire legion of angelic rebels and banishes them from Heaven. Following this purge, God creates the World, culminating in his creation of Adam and Eve. While God gave Adam and Eve total freedom and power to rule over all creation, He gave them one explicit command: not to eat from the Tree of the knowledge of good and evil on penalty of death.
The story of Adam and Eve's temptation and fall is a fundamentally different, new kind of epic: a domestic one. Adam and Eve are presented for the first time[citation needed] in Christian literature as having a full relationship while still being without sin. They have passions and distinct personalities. Satan, disguised in the form of a serpent, successfully tempts Eve to eat from the Tree by preying on her vanity and tricking her with rhetoric. Adam, learning that Eve has sinned, knowingly commits the same sin. He declares to Eve that since she was made from his flesh, they are bound to one another ‒ if she dies, he must also die. In this manner, Milton portrays Adam as a heroic figure, but also as a greater sinner than Eve, as he is aware that what he is doing is wrong.
After eating the fruit, Adam and Eve have lustful sex. At first, Adam is convinced that Eve was right in thinking that eating the fruit would be beneficial. However, they soon fall asleep and have terrible nightmares, and after they awake, they experience guilt and shame for the first time. Realizing that they have committed a terrible act against God, they engage in mutual recrimination.
Eve's pleas to Adam reconcile them somewhat. Her encouragement enables Adam and Eve both to approach God, to "bow and sue for grace with suppliant knee", and to receive grace from God. In a vision shown to him by the angel Michael, Adam witnesses everything that will happen to mankind until the Great Flood. Adam is very upset by this vision of the future, so Michael also tells him about humankind's potential redemption from original sin through Jesus Christ (whom Michael calls "King Messiah").
Adam and Eve are cast out of Eden, and Michael says that Adam may find "a paradise within thee, happier far". Adam and Eve also now have a more distant relationship with God, who is omnipresent but invisible (unlike the tangible Father in the Garden of Eden).
Satan is the first major character introduced in the poem. Formerly called Lucifer, he was the most beautiful of all angels in Heaven, and is tragic figure who describes himself with the now-famous quote "Better to reign in Hell than serve in Heaven."[7] He is introduced to Hell after he leads a failed rebellion to wrestle control of Heaven from God. Satan's desire to rebel against his creator stems from his unwillingness to be subjugated by God and his Son, claiming that angels are "self-begot, self-raised",[8] and thereby denying God's authority over them as their creator.
Satan is deeply arrogant, albeit powerful and charismatic. Satan's persuasive powers are evident throughout the book; not only is he cunning and deceptive, but he is also able to rally the angels to continue in the rebellion after their agonising defeat in the Angelic War. He argues that God rules as a tyrant and that all the angels ought to rule as gods.[9]
Satan is comparable in many ways to the tragic heroes of classic Greek literature, but Satan's hubris far surpasses those of previous tragedies. Though at times he plays the narrative role of an anti-hero, he is still commonly understood to be the antagonist of the epic. However, the true nature of his role in the poem has been the subject of much notoriety and scholarly debate. While some scholars, like the critic and writer C. S. Lewis, interpret the poem as a genuine Christian morality tale, other critics, like William Empson, view it as a more ambiguous work, with Milton's complex characterisation of Satan playing a large part in that perceived ambiguity.[10]
Adam is the first human created by God. Though initially alone, Adam demands a mate from God. Considered God's prized creation, Adam, along with his wife, rules over all the creatures of the world and resides in the Garden of Eden. He is more intelligent and curious about external ideas than Eve. His complete infatuation with Eve, while pure in and of itself, eventually contributes to his joining her in disobedience to God.
Unlike the Biblical Adam, before he leaves Paradise this version of Adam is given a glimpse of the future of mankind (including a synopsis of stories from the Old and New Testaments) by the angel Michael.
Eve is the second human created by God, taken from one of Adam's ribs and shaped into a female form of Adam. In her innocence, she is the model of a good wife, graceful and submissive to Adam. Though happy, she longs for knowledge and, more specifically, self-knowledge. Her first act in existence is to turn away from Adam and look at and ponder her own reflection. Eve is extremely beautiful and thoroughly in love with Adam, though may feel suffocated by his constant presence. One day, she convinces Adam that it would be good for them to split up and work different parts of the Garden. In her solitude, she is tempted by Satan to sin against God. Adam shortly follows along with her.
The Son of God[edit]
The Son of God is the spirit that will become Jesus Christ, though he is never named explicitly, since he has not yet entered human form. The Son of God shares total union with God, and indeed is understood to be a person of the Godhead, along with the Father and the Spirit. He is the ultimate hero of the epic and is infinitely powerful, singlehandedly defeating Satan and his followers and driving them into Hell. The Son of God tells Adam and Eve about God's judgment after their sin. However, he sacrificially volunteers to eventually journey to the World, become a man himself, and redeem the Fall of Man through his own death and resurrection. In the final scene, a vision of Salvation through the Son of God is revealed to Adam by Michael. Still, the name, Jesus of Nazareth, and the details of Jesus' story are not depicted in the poem.[11]
God the Father[edit]
God the Father is the creator of Heaven, Hell, the World, and of everyone and everything there is. He desires glory and praise from all his creations. He is an all-powerful, all-knowing, infinitely good being who cannot be overthrown by even the great army of angels Satan incites against him. The stated purpose of the poem is to justify the ways of God to men, so God often converses with the Son of God concerning his plans and reveals his motives regarding his actions. The poem portrays God's process of creation in the way that Milton believed it was done, with God creating Heaven, Earth, Hell, and all the creatures that inhabit these separate planes from part of Himself, not out of nothing.[12] Thus, according to Milton, the ultimate authority of God derives from his being the "author" of creation. Satan tries to justify his rebellion by denying this aspect of God and claiming self-creation, but he admits to himself this is not the case, and that God "deserved no such return/ From me, whom He created what I was."[13][14]
Raphael is an archangel whom God sends to warn Adam about Satan's infiltration of Eden and to warn him that Satan is going to try to curse Adam and Eve. He also has a lengthy discussion with the curious Adam regarding creation and events which transpired in Heaven.
Michael is a mighty archangel who fought for God in the Angelic War. In the first battle, he wounds Satan terribly with a powerful sword that God designed to even cut through the substance of angels. After Adam and Eve disobey God by eating from the Tree of Knowledge, God sends the angel Michael to visit Adam and Eve. His duty is to escort Adam and Eve out of Paradise. Before he does this, Michael shows Adam visions of the future which cover an outline of the Bible, from the story of Cain and Abel in Genesis, up through the story of Jesus Christ in the New Testament.
In his introduction to the Penguin edition of Paradise Lost, the Milton scholar John Leonard notes, "John Milton was nearly sixty when he published Paradise Lost in 1667. [The writer] John Aubrey (1626–97) tells us that the poem was begun in about 1658 and finished in about 1663. But parts were almost certainly written earlier, and its roots lie in Milton's earliest youth."[15] Leonard speculates that the English Civil War interrupted Milton's earliest attempts to start his "epic [poem] that would encompass all space and time."
Leonard also notes that Milton "did not at first plan to write a biblical epic." Since epics were typically written about heroic kings and queens (and with pagan gods), Milton originally envisioned his epic to be based on a legendary English or Saxon king like the legend of King Arthur.
Having gone totally blind in 1652, Milton wrote Paradise Lost entirely through dictation with the help of amanuenses and friends. He also wrote the epic poem while he was often ill, suffering from gout, and despite the fact that he was suffering emotionally after the early death of his second wife, Katherine Woodcock, in 1658, and the death of their infant daughter (though Milton remarried soon after in 1663).[16]
Milton first presents Adam and Eve in Book IV with impartiality. The relationship between Adam and Eve is one of "mutual dependence, not a relation of domination or hierarchy." While the author does place Adam above Eve in regard to his intellectual knowledge, and in turn his relation to God, he also grants Eve the benefit of knowledge through experience. Hermine Van Nuis clarifies that although there is a sense of stringency associated with the specified roles of the male and the female, each unreservedly accepts the designated role because it is viewed as an asset.[17] Instead of believing that these roles are forced upon them, each uses the obligatory requirement as a strength in their relationship with each other. These minor discrepancies reveal the author's view on the importance of mutuality between a husband and a wife.
When examining the relationship between Adam and Eve, critics tend to accept an either Adam- or Eve-centered view in terms of hierarchy and importance to God. David Mikics argues, by contrast, these positions "overstate the independence of the characters' stances, and therefore miss the way in which Adam and Eve are entwined with each other".[18] Milton's true vision reflects one where the husband and wife (in this instance, Adam and Eve) depend on each other and only through each other's differences are able to thrive.[18]
Although Milton does not directly mention divorce, critics posit theories on Milton's view of divorce based on inferences found within the poem. Other works by Milton suggest he viewed marriage as an entity separate from the church. Discussing Paradise Lost, Biberman entertains the idea that "marriage is a contract made by both the man and the woman".[19] Based on this inference, Milton would believe that both man and woman would have equal access to divorce, as they do to marriage.
Feminist critics of Paradise Lost suggest that Eve is forbidden the knowledge of her own identity. Moments after her creation, before Eve is led to Adam, she becomes enraptured by an image reflected in the water (her own, unbeknownst to Eve).[20] God urges Eve to look away from her own image, her beauty, which is also the object of Adam's desire. Adam delights in both her beauty and submissive charms, yet Eve may never be permitted to gaze upon her individual form. Critic Julia M. Walker argues that because Eve "neither recognises nor names herself ... she can know herself only in relation to Adam."[21] "Eve's sense of self becomes important in its absence ... [she] is never allowed to know what she is supposed to see."[22] Eve therefore knows not what she is, only what she is not: male. Starting in Book IV, Eve learns that Adam, the male form, is superior and "How beauty is excelled by manly grace/ And wisdom which alone is truly fair."[23] Led by his gentle hand, she yields, a woman without individual purpose, destined to fall by "free will."
Milton's 17th century contemporaries by and large criticised Milton's ideas and considered him as a radical, mostly because of his well-known Protestant views on politics and religion. One of Milton's greatest and most controversial arguments centres on his concept of what is idolatrous; this topic is deeply embedded in Paradise Lost.
Milton's first criticism of idolatry focuses on the practice of constructing temples and other buildings to serve as places of worship. In Book XI of Paradise Lost, Adam tries to atone for his sins by offering to build altars to worship God. In response, the angel Michael explains that Adam does not need to build physical objects to experience the presence of God.[24] Joseph Lyle points to this example, explaining "When Milton objects to architecture, it is not a quality inherent in buildings themselves he finds offensive, but rather their tendency to act as convenient loci to which idolatry, over time, will inevitably adhere."[25] Even if the idea is pure in nature, Milton still believes that it will unavoidably lead to idolatry simply because of the nature of humans. Instead of placing their thoughts and beliefs into God, as they should, humans tend to turn to erected objects and falsely invest their faith. While Adam attempts to build an altar to God, critics note Eve is similarly guilty of idolatry, but in a different manner. Harding believes Eve's narcissism and obsession with herself constitutes idolatry.[26] Specifically, Harding claims that "... under the serpent's influence, Eve's idolatry and self-deification foreshadow the errors into which her 'Sons' will stray."[26] Much like Adam, Eve falsely places her faith into herself, the Tree of Knowledge, and to some extent, the Serpent, all of which do not compare to the ideal nature of God.
Furthermore, Milton makes his views on idolatry more explicit with the creation of Pandemonium and the exemplary allusion to Solomon's temple. In the beginning of Paradise Lost, as well as throughout the poem, there are several references to the rise and eventual fall of Solomon's temple. Critics elucidate that "Solomon's temple provides an explicit demonstration of how an artefact moves from its genesis in devotional practice to an idolatrous end."[27] This example, out of the many presented, conveys Milton's views on the dangers of idolatry distinctly. Even if one builds a structure in the name of God, even the best of intentions can become immoral. In addition, critics have drawn parallels between both Pandemonium and Saint Peter's Basilica,[citation needed] and the Pantheon. The majority of these similarities revolve around a structural likeness, but as Lyle explains, they play a greater role. By linking Saint Peter's Basilica and the Pantheon to Pandemonium—an ideally false structure, the two famous buildings take on a false meaning.[28] This comparison best represents Milton's Protestant views, as it rejects both the purely Catholic perspective and the Pagan perspective.
In addition to rejecting Catholicism, Milton revolted against the idea of a monarch ruling by divine right. He saw the practice as idolatrous. Barbara Lewalski concludes that the theme of idolatry in Paradise Lost "is an exaggerated version of the idolatry Milton had long associated with the Stuart ideology of divine kingship".[29] In the opinion of Milton, any object, human or non-human, that receives special attention befitting of God, is considered idolatrous.
Interpretation and criticism[edit]
The writer and critic Samuel Johnson wrote that Paradise Lost shows off "[Milton's] peculiar power to astonish" and that "[Milton] seems to have been well acquainted with his own genius, and to know what it was that Nature had bestowed upon him more bountifully than upon others: the power of displaying the vast, illuminating the splendid, enforcing the awful, darkening the gloomy, and aggravating the dreadful."[30]
Regarding the war in the poem between Heaven and Hell, the Milton scholar John Leonard writes:[31]
Paradise Lost is, among other things, a poem about civil war. Satan raises 'impious war in Heav'n' (i 43) by leading a third of the angels in revolt against God. The term 'impious war'. . .implies that civil war is impious. But Milton applauded the English people for having the courage to depose and execute King Charles I. In his poem, however, he takes the side of 'Heav'n's awful Monarch' (iv 960). Critics have long wrestled with the question of why an antimonarchist and defender of regicide should have chosen a subject that obliged him to defend monarchical authority
However, the editors at the Poetry Foundation argue that Milton's criticism of the English monarchy was being directed specifically at the Stuart monarchy and not at the monarchy system in general.[32]
In a similar vein, C.S. Lewis argued that there was no contradiction in Milton's position in the poem since, from Lewis' point of view, "Milton believed that God was his 'natural superior' and that Charles Stuart was not." Others, like literary critic William Empson argued that "Milton deserves credit for making God wicked, since the God of Christianity is 'a wicked God.'" Leonard places Empson's interpretation "in the [Romantic interpretive] tradition of Blake and Shelley."[31] As the poet William Blake famously wrote, "The reason Milton wrote in fetters when he wrote of Angels & God, and at liberty when of Devils & Hell, is because he was a true Poet and of the Devil's party without knowing it."[33] And this quotation succinctly represents the way in which the 18th- and 19th-century English Romantic poets viewed Milton. However, Empson's view is more complex. Leonard points out that "Empson never denies that Satan's plan is wicked. What he does deny is that God is innocent of its wickedness: 'Milton steadily drives home that the inmost counsel of God was the Fortunate Fall of man; however wicked Satan's plan may be, it is God's plan too [since God in Paradise Lost is depicted as being both omniscient and omnipotent].'"[31]
Although Leonard calls Empson's view "a powerful argument," he notes that this interpretation was challenged by Dennis Danielson in his book Milton's Good God (1982).
The first illustrations to accompany the text of Paradise Lost were added to the fourth edition of 1688, with one engraving prefacing each book, of which up to eight of the twelve were by Sir John Baptist Medina, one by Bernard Lens II, and perhaps up to four (including Books I and XII, perhaps the most memorable) by another hand.[34]
Some of the most notable illustrators of Paradise Lost included William Blake, Gustave Doré and Henry Fuseli. However, the epic's illustrators also include John Martin, Edward Burney, Richard Westall, Francis Hayman, and many others.
Outside of book illustrations, the epic has also inspired other visual works by well-known painters like Salvador Dalí who executed a set of ten colour engravings in 1974.[35] Milton's achievement in writing Paradise Lost without his sight inspired loosely biographical paintings by both Fuseli[36] and Eugène Delacroix.[37]
See also[edit]
- ^ "Paradise Lost: Introduction". Dartmouth College. Retrieved 26 March 2010.
- ^ Poetry Foundation Bio on Milton
- ^ John Milton. Paradise Lost, Book I, l. 26. 1667. Hosted by Dartmouth. Accessed 13 December 2013.
- ^ Milton 1674, 1:26.
- ^ Milton's original line read "...justifie the wayes of God to men."[3][4]
- ^ John Milton. Paradise Lost, Book I, l. 263. 1667. Hosted by Dartmouth. Accessed 13 December 2013.
- ^ Milton's original line read "Better to reign in Hell, then serve in Heav'n."[6]
- ^ Milton 1674, 5:860.
- ^ Milton 1674, 5:794–802.
- ^ Leonard, John. "Introduction". Paradise Lost. New York: Penguin, 2000.
- ^ Marshall 1961, p. 17.
- ^ Lehnhof 2008, p. 15.
- ^ Milton 1674, 4:42–43.
- ^ Lehnhof 2008, p. 24.
- ^ Leonard, John. "Introduction." Paradise Lost. New York: Penguin, 2000.
- ^ Abrahm, M.H., Stephen Greenblatt, Eds. The Norton Anthology of English Literature. New York: Norton, 2000.
- ^ Van Nuis 2000, p. 50.
- ^ a b Mikics 2004, p. 22.
- ^ Biberman 1999, p. 137.
- ^ Milton 1674, 4:447–464.
- ^ Walker 1998, p. 166.
- ^ Walker 1998, p. 169.
- ^ Milton 1674, 4:488–489.
- ^ Milton 1674, Book 11.
- ^ Lyle 2000, p. 139.
- ^ a b Harding 2007, p. 163.
- ^ Lyle 2000, p. 140.
- ^ Lyle 2000, p. 147.
- ^ Lewalski 2003, p. 223.
- ^ Johnson, Samuel. Lives of the English Poets. New York: Octagon, 1967.
- ^ a b c Leonard, John. "Introduction." Paradise Lost. New York: Penguin, 2000.
- ^ Poetry Foundation bio on Milton
- ^ Blake, William. The Marriage of Heaven and Hell. 1793.
- ^ Illustrating Paradise Lost from Christ's College, Cambridge, has all twelve on line. See Medina's article for more on the authorship, and all the illustrations, which are also in Commons.
- ^ Lockport Street Gallery. Retrieved on 2013-12-13.
- ^ Art Institute of Chicago. Retrieved on 2013-12-13.
- ^ WikiPaintings. Retrieved on 2013-12-13.
- Anderson, G (January 2000), "The Fall of Satan in the Thought of St. Ephrem and John Milton", Hugoye: Journal of Syriac Studies 3 (1)
- Biberman, M (January 1999), "Milton, Marriage, and a Woman's Right to Divorce", SEL: Studies in English Literature 39 (1): 131–153, doi:10.2307/1556309, JSTOR 1556309
- Black, J, ed. (March 2007), "Paradise Lost", The Broadview Anthology of British Literature A (Concise ed.), Peterborough, Ontario: Broadview Press, pp. 998–1061, ISBN 978-1-55111-868-0, OCLC 75811389
- Blake, W. (1793), The Marriage of Heaven and Hell, London.
- Blayney, B, ed. (1769), The King James Bible, Oxford: Oxford University Press
- Bradford, R (July 1992), Paradise Lost (1 ed.), Philadelphia: Open University Press, ISBN 978-0-335-09982-5, OCLC 25050319
- Butler, G (February 1998), "Giants and Fallen Angels in Dante and Milton: The Commedia and the Gigantomachy in Paradise Lost", Modern Philosophy 95 (3): 352–363
- Carter, R. and McRae, J. (2001). The Routledge History of Literature in English: Britain and Ireland. 2 ed. Oxon: Routledge.
- Carey, J; Fowler, A (1971), The Poems of John Milton, London
- Doerksen, D (December 1997), "Let There Be Peace': Eve as Redemptive Peacemaker in Paradise Lost, Book X", Milton Quarterly 32 (4): 124–130, doi:10.1111/j.1094-348X.1997.tb00499.x
- Eliot, T.S. (1957), On Poetry and Poets, London: Faber and Faber
- Eliot, T. S. (1932), "Dante", Selected Essays, New York: Faber and Faber, OCLC 70714546.
- Empson, W (1965), Milton's God (Revised ed.), London
- John Milton: A Short Introduction (2002 ed., paperback by Roy C. Flannagan, Oxford: Wiley-Blackwell, ISBN 978-0-631-22620-8; 2008 ed., ebook by Roy Flannagan, Massachusetts: Wiley-Blackwell, ISBN 978-0-470-69287-5)
- Forsyth, N (2003), The Satanic Epic, Princeton: Princeton University Press, ISBN 978-0-691-11339-5
- Frye, N (1965), The Return of Eden: Five Essays on Milton's Epics, Toronto: University of Toronto Press
- Harding, P (January 2007), "Milton's Serpent and the Pagan Birth of Error", SEL: Studies in English Literature 47 (1): 161–177, doi:10.1353/sel.2007.0003
- Hill, G (1905), Lynch, Jack, ed., Samuel Johnson: The Lives of the English Poets, 3 vols, Oxford: Clarendon, OCLC 69137084
- Kermode, F, ed. (1960), The Living Milton: Essays by Various Hands, London: Routledge & Kegan Paul, ISBN 0-7100-1666-2, OCLC 17518893
- Kerrigan, W, ed. (2007), The Complete Poetry and Essential Prose of John Milton, New York: Random House, ISBN 978-0-679-64253-4, OCLC 81940956
- Lewalski, B. (January 2003), "Milton and Idolatry", SEL: Studies in English Literature 43 (1): 213–232, doi:10.1353/sel.2003.0008
- Lewis, C.S. (1942), A Preface to Paradise Lost, London: Oxford University Press, OCLC 822692
- Lyle, J (January 2000), "Architecture and Idolatry in Paradise Lost", SEL: Studies in English Literature 40 (1): 139–155, doi:10.2307/1556158, JSTOR 1556158
- Marshall, W. H. (January 1961), "Paradise Lost: Felix Culpa and the Problem of Structure", Modern Language Notes 76 (1): 15–20, doi:10.2307/3040476, JSTOR 3040476
- Mikics, D (2004), "Miltonic Marriage and the Challenge to History in Paradise Lost", Texas Studies in Literature and Language 46 (1): 20–48, doi:10.1353/tsl.2004.0005
- Miller, T.C., ed. (1997), The Critical Response to John Milton's "Paradise Lost", Westport: Greenwood Publishing Group, ISBN 978-0-313-28926-2, OCLC 35762631
- Milton, J (1674), Paradise Lost (2nd ed.), London: S. Simmons
- Rajan, B (1947), Paradise Lost and the Seventeenth Century Reader, London: Chatto & Windus, OCLC 62931344
- Ricks, C.B. (1963), Milton's Grand Style, Oxford: Clarendon Press, OCLC 254429
- Stone, J.W. (May 1997), ""Man's effeminate s(lack)ness:" Androgyny and the Divided Unity of Adam and Eve", Milton Quarterly 31 (2): 33–42, doi:10.1111/j.1094-348X.1997.tb00491.x
- Van Nuis, H (May 2000), "Animated Eve Confronting Her Animus: A Jungian Approach to the Division of Labor Debate in Paradise Lost", Milton Quarterly 34 (2): 48–56, doi:10.1111/j.1094-348X.2000.tb00619.x
- Walker, Julia M. (1998), Medusa's Mirrors: Spenser, Shakespeare, Milton, and the Metamorphosis of the Female Self, University of Delaware Press, ISBN 978-0-87413-625-8
- Wheat, L (2008), Philip Pullman's His dark materials—a multiple allegory : attacking religious superstition in The lion, the witch, and the wardrobe and Paradise lost, Amherst, N.Y.: Prometheus Books, ISBN 978-1-59102-589-4, OCLC 152580912
Further reading[edit]
- Patrides, C. A. Approaches to Paradise Lost: The York Tercentenary Lectures (University of Toronto, 1968) ISBN 0-8020-1577-8
- Ryan J. Stark, "Paradise Lost as Incomplete Argument," 1650—1850: Aesthetics, Ideas, and Inquiries in the Early Modern Era (2011): 3–18.
External links[edit]
Wikimedia Commons has media related to Paradise Lost. |
Wikiquote has a collection of quotations related to: Paradise Lost |
Wikisource has original text related to this article: |
Online text[edit]
- Paradise Lost XHTML version at Dartmouth's Milton Reading Room
- Project Gutenberg text version 1
- Project Gutenberg text version 2
- Paradise Lost Ebook version with layout and fonts inspired by 17th century editions: http://www.samizdat.qc.ca/arts/lit/paradiselost.pdf
- paradiselost.org has the original poetry side-by-side with a translation to plain (prosaic) English
Other information[edit]
- darkness visible – comprehensive site for students and others new to Milton: contexts, plot and character summaries, reading suggestions, critical history, gallery of illustrations of Paradise Lost, and much more. By students at Milton's Cambridge college, Christ's College.
- Selected bibliography at the Milton Reading Room – includes background, biography, criticism.
- Paradise Lost learning guide, quotes, close readings, thematic analyses, character analyses, teacher resources


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Even if you're new to programming or have experience programming a different type of computer, this course will offer the guidance you need to build your own apps. By the end of this course, you'll know how to find your way around Xcode and write Objective-C commands, so you'll be ready to start creating your very own Mac, iPhone, or iPad programs!


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ORCHID: To BP America for investing $50,000 in a new curriculum for Trumbull County schools. It involves a state-of-the-art, web-based STEM program and will affect 20,000 students in grades 4 through 12 in Trumbull County's public school districts. STEM stands for science, technology, engineering and mathematics. The curriculum is expected to be in operation by the end of the year.
ORCHID: To Dr. Cynthia Anderson, president of Youngstown State University, who was honored as Woman of the Year during National Business Women's Week. The event was sponsored by the Youngstown Business & Professional Women's Club.
ONION: For the flood of junk mail that seems to never end from politicians running for office in the Nov. 6 election.
ORCHID: To the Davis Denman family of Johnston for recently being named Ohio's Farm Family of the Year. Davis and Bette Denman of Johnston were awarded the title by the Ohio Department of Natural Resources, Ohio Farmer Magazine and the Ohio Farm Bureau. The awards ceremony was held at the Farm Science Review in London, Ohio. The family joins the Sharecs of Newton Township and the Campbells of Bristol as the only Trumbull County families to receive the award.
ONION: For people who rake or blow their leaves into the streets. The leaves eventually end up clogging or obstructing the street drains, causing water to pond in the roadways when it rains.
ORCHID: To Allegiant Travel Co., as it reported earnings for the third quarter of this year that came in as its highest third-quarter earnings per share in the company's history. It was the 39th consecutive profitable quarter for the destination travel airline, which operates a hub out of the Youngstown-Warren Regional Airport in Vienna.
ORCHID: To prestigious Italian chef Daimer Cescon - who plans to open a restaurant in Trumbull County soon - for volunteering to cook a meal for Warren firefighters earlier this week.
ORCHID: To Covelli Enterprises for retaining its naming rights on the Covelli Centre for another year. Covelli Enterprises, based in Warren, is the largest franchisee of Panera Bread and is the fifth-largest restaurant franchisee in the nation. Covelli Enterprises also owns several O'Charley's Restaurants.