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Islamic Republic of Iran, Persia, Persien, West Asia, Asien, Middle East, Mittlerer Osten (Fully copyrighted. Do NOT ask for free permission, do not use on your website/print product.)
Doorways to adventure, to home, to comfort...
Windows to souls, to self, to sustenance...
Writing and writing
to link yesterday to today to tomorrow
to hopes to dreams to my yesterdays, your tomorrows.
Write, right, write.
Created with fd's Flickr Toys.
Maradona, Forza Napoli, skulls, kids smoking weed in squares, relics, roman porn, ultras, espresso, tension, Vesuvio, graffiti, liquefied saints blood, Mastiffs, pizza, beer, noise, communists, me & Mrs Wurz.
I did this writing exercise that is available for free on Meredith Sue Willis web site. I did not time this one, because it was not part of the exercise.
232 words.
I. I actually enjoyed
the sound of my name
when it was rolling
off of your tongue.
II. Whenever you would
make your way
to go back home,
I missed you
from the moment
that you said
you had to leave.
III. I’ve never looked
so forward to starting
tomorrow, before I
met you.
IV. When you
made love to me
in the pale afternoon
light, I knew
that when you
touched me,
you really did
mean it
when you said
that I was only thing
that you have never
been able
to stop craving.
Title page of Colloquies of Erasmus Roterodamus by Sir Roger L’Estrange 1711.
On the facing page, an engraving of Erasmus Roterodamus.
Erasmus Roterodamus, a Catholic, challenged many of the practices of the Roman Catholic Church, a challenge readily picked up by the Protestant Church and Sir Roger L'estrange in this concerted tome.
Protestant – Catholic sectarianism.
Colloquies printed for Daniel Brown &c. London 1711.
A four page handwritten document on a single folded sheet of paper. A note on the catalogue states this document was inspected under microscope on 19-10-1977 and found to be a print and not an original manuscript.
Queen Adelaide lived for another eight years after writing these instructions. They were found after her death and her requests were followed. She died on Sunday, 2 December, 1849 at Bentley Priory. The city of Adelaide was named after the Queen in 1832.
1950's Stelco Logo printed on the metal heating ducts in my basement.
I superimposed the Canadian Flag over the image.
©S.Lorencz
More of my textures and frames in www.texturepalace.com
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Montblanc Flagship Boutique 151 Bloor Street West Toronto ON Canada.
Montblanc Thomas Mann pens. Thanks to the Pen Network! A top website.
www.fountainpennetwork.com/forum/index.php/topic/129812-r...
The brilliance of Paul Thomas Mann, born 6 June 1875 in Lübeck, was already evident in his early creative phase: he demonstrated flashes of genius in his prose sketches and essays whilst still a schoolboy, before signing a letter with “Thomas Mann. Lyrical dramatic poet” at the age of just 14. He was, however, to be proved right: he had barely begun as a trainee in an insurance company when he made his writing debut with the published novella “Gefallen”, which earned him widespread acclaim. Encouraged by this critical success, Mann decided to commit to a career as a writer.In 1901, aged just 26, he completed his famous family saga “Buddenbrooks”, a masterpiece of linguistic artistry and cunning irony. This epic novel, translated into over 40 languages, has cast its spell over more than 6 million readers to date. The novel won its author the 1929 Nobel Prize for Literature. Thomas Mann’s masterpiece “Buddenbrooks” has brought him immortality and has turned him into one of the most famous writers of the 20th century. Montblanc is paying tribute to this unique wordsmith with an equally unique Writers Edition.
The box comes in the shape of a book, which is nothing new for a typical Writer’s Edition pen, but a refreshing change for someone like me who has yet to own any W.E. My first impression of the cover design was that it very much resembled a printed circuit board from the way the black lines run on the dark blue background.
Montblanc Thomas Mann Writer's Edition 2009 Information:
Launch: 2009
Limitation:
12,000 fountain pens
15,000 ballpoint pens
6,000 rollerballs
3,000 sets comprising fountain pen, ballpoint pen and mechanical pencil
Appearance & Design (10/10)
I like the lustrous glow of rich black the pen emits. It mesmerizes and draws you into a maze of rich black and platinum. The pen has an avant garde design, with it’s barrel coated with precious black & rich lacquer while at the same time segmented by an array of multi-layered platinum Inlays. The theme of this design is inspired by the age of artistic creativity in which Thomas Mann lived: the Art Deco era. Lacquer, especially Chinese lacquer & Urushi, had always been the forte of S.T. Dupont and well known Japanese pen manufacturers such as Namiki & Danitrio. Using lacquer as the theme of the 2009 W.E is an excellent idea, since it’s a highly resistant, strong and beautiful material to work with. The lacquer work is flawless, since the lacquer blended perfectly with the platinum inlays.
The onyx-coloured zircon set above the teardrop on the platinum clip simply adds more depth to the polished black and platinum facet of the pen.
One thing that I have always admired about German and Japanese manufacturers in general is their absolute, tenacious dedication to Six Sigma i.e quality as well as precision. With this Thomas Mann W.E, there is no exception. When I screw/unscrew the pen, there is no wobbling or tightness at all, the tolerance between the cap’s and barrel’s screw thread is minimal. Just the kind of German precision to expect from Montblanc. The spring loaded pen cap screws on firmly, and an extra twist is required to screw the cap fully. When the cap is fully screwed on, the platinum inlays on the barrel are precisely aligned with the similar inlays on the cap. This sounds simple, but it’s a feat that can only achieved by solid quality control, which is found very lacking in certain well established manufacturers of Italian origin.
Weight & Dimensions (10/10)
Weighing 57.5 grams and at 140 mm long, this is a full bodied fountain pen with a solid heft. I would suppose the pen has a lacquer over metal construction in order to account for the weight.
Comparison with Montblanc UNICEF Signature for Good Meisterstück 146 Le Grand
The Thomas Mann’s cap clearly has a thicker girth than the UNICEF Le Grand, while the Le Grand is slightly longer at 146 mm due to it’s torpedo design as opposed to the Thomas Mann flat bottom.
The nib starts putting ink right from the get go without skipping and is glass smooth. The only complaint that I have is the stiffness of the nib. If only Montblanc can produce nibs with the same kind of flex exhibited by older vintage Montblanc pieces! It writes with stubbish qualities, which are synonymous with the Broad and Oblique Broad nibs of the Montblanc Meisterstück 149. Only one word can aptly sum up the writing experience – BLISS.
A writing sample of the broad nib as follows:
Coincidentally, my Broad and Ghost Plane’s Broad comes with serial numbers close to the tail end of 12,000, and based on initial sampling i.e PenTieRun’s and goodguy’s Fines are numbered 5xxx & 6xxx, I am speculating that Montblanc is allocating the serial numbers based on the Thomas Mann nib size.
For those who are interested, please read on for an introduction of the history of “Buddenbrooks” house.
“Buddenbrooks” House
The Buddenbrooks House at Mengstrasse 4, opposite St. Mary’s Church, has a chequered history: The house was built by Johann Michael Croll, a merchant from Marburg, in 1758 and was bought by Johann Siegmund Mann, the grandfather of Heinrich and Thomas Mann, in 1841. The Mann family owned the property until 1891. In 1893 the Hanseatic City of Lübeck took over the building and subsequently rented it out. As a result the house that literature had made famous became, amongst other things, the land registry office, a night station for lantern keepers as well as the headquarters of the Lübeck State Lottery. When the “Buddenbrook Bookshop” was opened in 1922, an event attended by Thomas Mann, the intention was to make the house at least accessible to literature.
In the night before Palm Sunday 1942 RAF bombardments destroyed more than a fifth of the historic Old Town of Lübeck. Of the Buddenbrook House only the façade and the vaulted cellar remained. In 1954 a bank purchased the destroyed property and erected a new building behind the old façade, opening a branch there in 1957.
In 1991 the Buddenbrooks House, made famous by Thomas Mann’s novel, was returned to the possession of the Hanseatic City of Lübeck, with the assistance of the Federal Republic of Germany and the state of Schleswig-Holstein. A modern Heinrich and Thomas Mann Centre was erected behind the original façade, to become the perfect place for an animated debate about the life and works of the two brothers. A permanent exhibition on the ground floor gives visitors insights into the relationship between these two men and between them and Lübeck, their home town. Temporary exhibitions, conferences, film and video shows, as well as readings take place on the first floor and in the vault. A research area with a library and computer centre is under construction and is intended to provide practical support for anyone interested in Heinrich and Thomas Mann.
Filling System (10/10)
This pen uses the piston filler, which is a plus since it can hold a more decent capacity of ink compared to CC fillers.
Conclusion - Final Score (9/10)
This is an excellent pen with an avant garde design, solid build and quality workmanship, but it comes with a hefty price tag too. Iconic? Perhaps. It would be interesting to observe how the lacquer will age with time, since lacquer is a living material. This pen will make a great addition to any collector’s prized collection, especially collectors who are interested in Lacquer or Urushi based fountain pens.
Seymour Street, Vancouver
These plywood walls of comments have been removed and turned over to the City of Vancouver for storage.
My writing desk in Indianapolis. Books that I brought with me include: Ballard, 'High Rise'; Boorstin, 'The Image', Perec, 'Species of Spaces and Other Pieces'; biographies of Breton and Duchamp; Calvino, 'Invisible Cities'; Didion, 'The White Album'; Twelve Steps & Twelve Traditions; Buckley, 'Kraftwerk: Publikation'; Vollmann's meditation on violence; DFW, 'Oblivion'; Dostoyevsky, 'Notes from the Underground'.
Spirit, Experimental Poetry, & 21st Century.
edited by Kevin McPherson Eckhoff & Jake Kennedy.
Strathroy, fall 2o13.
5-1/2 x 8-1/4, 54 sheets white bond perfectbound in PVC white card wrappers, all except inside covers & pp.3 & 6 printed black offset with 3-colour process addition to covers.
wraparound cover by Billy Mavreas.
24 contributors ID'd:
Marie Annharte, Jonathan Ball, Ken Belford, Kathleen Brown, Jake Jack-Jacques Dick, Kevin McPherson Eckhoff, Mercedes Eng, Rbert Fitterman, Mark Goldstein, Jake Kennedy, Mat Laporte, Tim Lilburn, Robert Majzels, Billy Mavreas, Andrew McEwan, Shane Neilson, M.Nourbese Philip, Sina Queyras, David Rosenberg, Jerome Rothenberg, Jordan Scott, Fenn Stewart, Jeremy Stewart, Stephan Wagner
includes:
i) Editorial Invocation: Hearts are Words Living Inside Everyone's Language-Spirit!, by Kevin McPherson Eckhoff & Jake Kennedy (prose, pp.7-1o; passing reference to Four Horsemen p.8)
ii) Touring the Empty Church: A Poetic (Re)Turn to the Building in bpNichol's Martyrology Book 5 and Caroline Bergvall's Éclat, by Andrew McEwan (prose in 4 parts, pp.12-18, bpNichol referenced throughout & quoted as follows (other quotes on Nichol as well):
–1) 1st epigraph by Nichol p.12, the martyrology book 5 chain 3, lines 197-2o3, last line improperly justified;
(part 1, "In The Production of Space, Henri Lefebvre writes of a historical shift in the", pp.12-13; references only)
(part 2, Walking/Writing the St. Reets, pp.13-15:)
–2) Nichol quoted from Interview: with Ken Norris, p.13;
–3) Frank Davey quoted from Exegesis / Eggs à Jesus: The Martyrology as a Text in Crisis, p.13;
–4) Nichol quoted, as (2) above, p.13;
–5) Nichol quoted, the martyrology book 5 chain 1, lines 292-293 unlineated, p.13;
–6) Nichol quoted, as (2) above, p.13;
–7) Nichol quoted, as (1) above, lines 15-19, spacing ignored, p.13;
–8) Nichol quoted, as (1) above, lines 338-34o, 1st line misplaced, "plane" lopped off the end of the 3rd, p.14;
–9) Nichol quoted from A Note On Reading THE MARTYROLOGY Book V, p.14;
–1o) Ann Munton quoted from Coming to a Head, 'in a head, ahead' of Us All: Connecting with Book 5, p.14;
–11) Nichol quoted, as (1) above, lines 322-324 unlineated, p.15;
(part 3, WEL COME, pp.15-18; passing reference only to Nichol)
(part 4, Turning Back, p.18; referenced only))
Dylan Thomas's Writing Shed in Laugharne.
*Taken with a Minolta Dynax 700si, using Ilford HP5+ 35mm film. Developed using Ilford ID-11*
Penn Libraries call number: MS Codex 1572
Penn in Hand catalog record and facsimile