Hobartian / Peter Jessup

There is one person in Hobartian’s collective.

Huffduffed (87)

  1. The Stalman Podcast Episode 41: Ceiling of Effort, with Marco Arment & Casey Liss

    Marco and Casey are successful podcasters but have an itch to create videos.

    https://www.stalmanpodcast.com/41

    —Huffduffed by Hobartian

  2. My Dad’s Friendship With Charles Barkley

    When Charles Barkley’s mother, Charcey Glenn, passed away in June 2015, Barkley’s hometown of Leeds, Alabama, came to the funeral to pay respects. But there was also an unexpected guest.

    Barkley’s friends couldn’t quite place him. He wasn’t a basketball player, he wasn’t a sports figure and he wasn’t from Barkley’s hometown. Here’s what I can tell you about him: he wore striped, red polo shirts tucked into khaki shorts and got really excited about two-for-one deals. He was a commuter. He worked as a cat litter scientist in Muscatine, Iowa. In short, he was everyone’s suburban dad. More specifically, he was my dad.

    —Huffduffed by Hobartian

  3. Five Women

    A different kind of #MeToo story, about several women who worked for the same man.

    https://www.thisamericanlife.org/640/five-women

    download

    Tagged with metoo story

    —Huffduffed by Hobartian

  4. James Wood · On Not Going Home · LRB 20 February 2014

    I wish I could hear that English cadence again, the way I first properly heard it in Durham Cathedral. I was 11 years old. During the lesson, we choristers had been exchanging notes, probably sniggering at one of the more pompous priests – the one who, as he processed towards his stall, held his clasped hands pointing outwards from his breast, like a pious fish – and then we were up on our feet, and were singing ‘O Nata Lux’ by Thomas Tallis[1]. I knew the piece but hadn’t really listened to it. Now I was struck – assaulted, thrown – by its utter beauty: the soft equanimity of its articulation, like the voice of justice; the sweet dissonance, welcome as pain. That dissonance, with its distinctive Tudor sound, is partly produced by a movement known as ‘false relation’, in which the note you expect to hear in the harmony of a chord is shadowed by its nearest relation – the same note but a semitone off. As the Tallis was ending, I saw a middle-aged woman with a canvas shoulder-bag enter the shadowy hinterland at the back of the huge building. Standing so far away, a singular figure, she might have been a tentative tourist. But I knew the full bag, that coat I always wanted to be a bit more impressive than it was, the anxious rectitude of my mother’s posture. She came every Tuesday afternoon, because the girls’ school she taught at got out early then. My parents lived only a mile or so from the cathedral, but I had to board; Tuesday afternoons, before I went back to school, gave me the chance to exchange a few words, and grab whatever she brought in that bag – comics and sweets; and more reliably, socks.In my memory this is exactly what happened: the radiance of the music, the revelation of its beauty, the final cadences of the Tallis, and my happy glimpsing of my mother. But it happened 37 years ago, and the scene has a convenient, dream-like composition. Perhaps I have really dreamed it. As I get older I dream more frequently of that magnificent cathedral – the long grey cool interior hanging somehow like memory itself. These are intense experiences, from which I awake hearing every single note of a piece of remembered music; happy dreams, never troubled. I like returning to that place in my sleep, even look forward to it.But real life is a different matter. The few occasions I have returned to Durham have been strangely disappointing. My parents no longer live there; I no longer live in the country. The city has become a dream. Herodotus says that the Scythians were hard to defeat because they had no cities or settled forts: ‘they carry their houses with them and shoot with bows from horseback … their dwellings are on their wagons. How then can they fail to be invincible and inaccessible for others?’ To have a home is to become vulnerable. Not just to the attacks of others, but to our own adventures in alienation. I left my home twice – the first time, just after university, when I went to London, in the familiar march of the provincial for the metropolis. I borrowed a thousand pounds from the NatWest bank in Durham (an account I still have), rented a van one-way, put everything I owned into it, and drove south; I remember thinking, as I waved at my parents and my sister, that the gesture was both authentic and oddly artificial, the authorised novelistic journey. In this way, many of us are homeless: the exodus of expansion. The second departure occurred in 1995, when at the age of thirty I left Britain for the United States. I was married to an American – to put it more precisely, I was married to an American citizen whose French father and Canadian mother, themselves immigrants, lived in the States. We had no children, and America would surely be new and exciting. We might even stay there for a few years – five at the most?I have now lived 18 years in the United States. It’s a bit feeble to say I didn’t expect to stay that long; and ungrateful, or even meaningless or dishonest, to say I didn’t want to. I must have wanted to; there has been plenty of gain. But I had so little concept of what might be lost. ‘Losing a country’, or ‘losing a home’, if I gave the matter much thought when I was young, was an acute world-historical event, forcibly meted out on the victim, lamented and canonised in literature and theory as ‘exile’ or ‘displacement’, and defined with appropriate terminality by Edward Said in his essay, ‘Reflections on Exile’:Exile is strangely compelling to think about but terrible to experience. It is the unhealable rift forced between a human being and a native place, between the self and its true home: its essential sadness can never be surmounted. And while it is true that literature and history contain heroic, romantic, glorious, even triumphant episodes in an exile’s life, these are no more than efforts meant to overcome the crippling sorrow of estrangement. The achievements of exile are permanently undermined by the loss of something left behind for ever.Said’s emphasis on the self’s ‘true home’ has a slightly theological, or perhaps Platonic, sound. When there is such universal homelessness, of both the forced and the unforced kind, the idea of a ‘true home’ surely suffers an amount of unsympathetic modification. Perhaps Said’s implication is that unwanted homelessness only bears down on those who have a true home and thus always reinforces the purity of the origin, while voluntary homelessness – the softer emigration I am trying to define – means that home can’t have been very ‘true’ after all. I doubt he intended that, but nonetheless, the desert of exile seems to need the oasis of primal belonging, the two held in a biblical clasp.In that essay, Said distinguishes between exile, refugee, expatriate and émigré. Exile, as he understands it, is tragic homelessness, connected to the ancient sentence of banishment; he approves of Adorno’s subtitle to Minima Moralia: Reflections from a Mutilated Life. It’s hard to see how the milder, unforced journey I am describing could belong to this grander vision of suffering. ‘Not going home’ is not exactly the same as ‘homelessness’. That nice old boarding school standby, ‘homesickness’, might fit better, particularly if allowed a certain doubleness. I am sometimes homesick, where homesickness is a kind of longing for Britain and an irritation with Britain: sickness for and sickness of. I bump into plenty of people in America who tell me that they miss their native countries – Britain, Germany, Russia, Holland, South Africa – and who in the next breath say they cannot imagine returning. It is possible, I suppose, to miss home terribly, not know what home really is anymore, and refuse to go home, all at once. Such a tangle of feelings might then be a definition of luxurious freedom, as far removed from Said’s tragic homelessness as can be imagined.Logically, a refusal to go home should validate, negatively, the very idea of home, rather in the way that Said’s idea of exile validates the idea of an original ‘true home’. But perhaps the refusal to go home is consequent on the loss, or lack, of home: as if those fortunate expatriates were really saying to me: ‘I couldn’t go back home because I wouldn’t know how to anymore.’ And there is ‘Home’ and ‘a home’. Authors used to be described on book dust-jackets as ‘making a home’: ‘Mr Blackmur makes his home in Princeton, New Jersey.’ I have made a home in the United States, but it is not quite Home. For instance, I have no desire to become an American citizen. Recently, when I arrived at Boston, the immigration officer commented on the length of time I’ve held a Green Card. ‘A Green Card is usually considered a path to citizenship,’ he said, a sentiment both irritatingly reproving and movingly patriotic. I mumbled something about how he was perfectly correct, and left it at that. But consider the fundamental openness and generosity of the gesture (along with the undeniable coercion): it’s hard to imagine his British counterpart so freely offering citizenship – as if it were, indeed, uncomplicatedly on offer, a service or commodity. He was generously saying, ‘Would you like to be an American citizen?’ along with the less generous: ‘Why don’t you want to be an American citizen?’ Can we imagine either sentiment being expressed at Heathrow airport? The poet and novelist Patrick McGuinness, in his forthcoming book Other People’s Countries (itself a rich analysis of home and homelessness; McGuinness is half-Irish and half-Belgian) quotes Simenon, who was asked why he didn’t change his nationality, ‘the way successful francophone Belgians often did’. Simenon replied: ‘There was no reason for me to be born Belgian, so there’s no reason for me to stop being Belgian.’ I wanted to say something similar, less wittily, to the immigration officer: precisely because I don’t need to become an American citizen, to take citizenship would seem flippant; leave its benefits for those who need a new land.So whatever this state I am talking about is, this ‘not going

    —Huffduffed by Hobartian

  5. John Menadue talks to John Faine about Rupert Murdoch, the great rentseeker | John Menadue – Pearls and Irritations

    In an interview  on 22 June 2017 with Jon Faine of 774 ABC Melbourne Radio, John Menadue highlights how the Murdoch media attacks people like single mothers and dole ‘bludgers’ for wanting handouts from government, yet the Murdoch organisation depends heavily on  government handouts and political favours. Right now it is seeking government favours for…

    http://johnmenadue.com/john-menadue-john-menadue-talks-to-john-faine-about-rupert-murdoch-the-great-rentseeker/

    —Huffduffed by Hobartian

  6. Systematic 195: Existing as a Curiosity with Merlin Mann

    Merlin Mann, podcaster, man about the internet, and devastatingly handsome provocateur, joins Brett to talk about the state of writing on the web, Merlin’s podcasts, and maybe even some politics.

    —Huffduffed by Hobartian

  7. Interview: Scott Forstall and Original iPhone Innovators @ Computer History Museum

    Museum Historian John Markoff moderates a discussion with former iPhone team members Hugo Fiennes, Nitin Ganatra and Scott Herz, followed by a conversation with Scott Forstall.

    The Scott Forstall part begins at 1h07.

    © Computer History Museum

    ===
    Original video: https://www.youtube.com/watch?v=zjR2vegUBAo
    Downloaded by http://huffduff-video.snarfed.org/ on Wed, 21 Jun 2017 12:37:17 GMT Available for 30 days after download

    —Huffduffed by Hobartian

  8. Sharon Olds will write poetry about whatever she likes, thank you - RN - ABC News (Australian Broadcasting Corporation)

    Pulitzer prize-winning poet Sharon Olds writes a lot about sex and being a mother. Not everyone expects that from a 74-year-old.

    http://www.abc.net.au/news/2017-06-25/poet-sharon-olds-will-write-about-whatever-she-likes-thank-you/8642756

    —Huffduffed by Hobartian

  9. The novel from Scotland to Shanghai and on to Perth WA - BooksPlus - ABC Radio National (Australian Broadcasting Corporation)

    Tracking the novel through time as it sails from Walter Scott’s Scotland to the ancient storytellers of Shanghai and into Noongar tales in Perth.

    http://www.abc.net.au/radionational/programs/booksplus/the-novel-from-scotland-to-shanghai-and-on-to-perth-wa/8058094

    —Huffduffed by Hobartian

  10. Tim Winton on The Boy Behind the Curtain - Books and Arts - ABC Radio National (Australian Broadcasting Corporation)

    Tim Winton’s latest book, The Boy Behind the Curtain, is a collection of true stories, about his life and the things that matter to him - his family, the ocean, human kindness and books.

    http://www.abc.net.au/radionational/programs/booksandarts/tim-winton/7953552

    —Huffduffed by Hobartian

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