Monday, December 31, 2018

Wednesday, December 05, 2018

Manspreading for pleasure and profit

Pace Everyday Feminism, this man could not help but dominate the space around him. He is alone in his section of the train carriage – apart one other passenger, whose reflection can be seen in the window (Moscow rules). I think we should all cut this man some slack.

Let's learn Spanish with Bikini Kill:

Tuesday, December 04, 2018

How they used to live

The childhood home of the historian Keith Sinclair: 33 Johnstone Street, Point Chevalier, Auckland. The property more recently was the registered address of a company called Danish Control. The photograph was found in 2015 on the Quotable Value website

33 Johnstone Street as it was depicted on Google Streetview later in 2015. I found this image when I was planning to visit Johnstone Street to view the house.

Nevertheless, I wrote about the house in my thesis. Here is an exclusive but inconclusive extract:

In his 1993 autobiography, Halfway Round the Harbour, the historian Keith Sinclair recalled his childhood home in the Auckland suburb of Point Chevalier, to which his family had moved in 1931, when he was aged eight:
The house, I now know, was a Californian bungalow, New Zealand version, built in the late 1920s. Most of Point Chevalier and neighbouring suburbs were covered with rows of these houses, put up by ‘spec’ builders. Our house had a corner bow window, with a window seat, a small side porch and a back verandah. There was a coloured-glass window picturing a sailing ship—another mark of the Californian bungalow—a feature area of wood shingles beneath the bow window. There were three bedrooms, one of which had probably once been the living room, and a sun-porch.
The family home was merely a speculative builder’s bungalow, but at had an identity. It was Californian; it was of a type that could be found in books. It had an architectural identity, albeit one Sinclair only discovered later. Sinclair’s recollection was similar those of many New Zealanders. In 1985, the architect Nigel Cook spoke for his generation: “We’d grown up in post-war houses, our parents in state houses and our grandparents in Californian bungalows, so we knew more or less by personal contact those houses that went back to World War One.” 

Sinclair’s knowledge that this house was a Californian bungalow seems unremarkable. His brother, Donald, knew it as well: “The Californian bungalow in which we lived had a kitchen, where we had our table and chairs, and a form at the back for the three youngest boys.” That Californian bungalows could be found in Point Chevalier is confirmed by the website of Quotable Value, which describes the suburb’s houses as “generally large and built in either 1920s Californian Bungalow style or 1930s art deco style.” Further confirmation can be found in the information sheet for the Point Chevalier Walking Tour, organised for the 2013 Albert-Eden Bungalow Festival:
Influenced by popular American housing trends of the time, the typical New Zealand “Californian Bungalow” proliferated in Point Chevalier in the late 1920s. Key features include a low-slung form, asymmetrical composition, shallow pitched gable roof with wide eaves, deep porches, revealed structural elements, emphasis on hand-crafted and rustic materials (including use of shingles), and an informal open plan. 
Beyond Point Chevalier is a considerable body of writing that identifies the Californian bungalow as the main house type of the interwar suburbs in New Zealand. In 1973, Auckland University geographers wrote, in New Zealand: Pacific land down under, “American styles of housing, with the California bungalow supreme, dominated building between the two world wars.” In 1984, Hamish Keith wrote, “In the 1920s the suburbs were invaded by a new style of house, based on the Californian bungalow. Its spaciousness and informal layout suited the large suburban sections.”  Di Stewart wrote in 1992, “Just as the bay villa suburbs had been seen as a panacea in their time, the new suburbs of speculatively built Californian bungalows, spreading out on their quarter-acre sections beyond the old suburbs, were now promoted as the hygienic lifestyle for the 1920s.”  The fifth edition of the Bateman New Zealand Encyclopedia, published in 2000, informed the reader, “between the two world wars, builders constructed thousands of bungalows that were inspired by more informal California housing and sited so that the family car could be garaged off the road.”
This certainty that Point Chevalier was a Californian bungalow suburb, and that New Zealand was dominated by the Californian type, is common knowledge. But it is contradicted by the real estate advertisements published in the newspapers of the time. Of the many bungalows in Point Chevalier advertised for sale or let in the Auckland newspapers during the twenties and thirties, only one was described as Californian. A handful of other descriptive terms were used, but most houses were simply called bungalows. The Californian bungalow in Point Chevalier was described at greater length than the brief advertisements for ordinary bungalows, since it was more expensive, larger and better equipped than the sort of house in which the Sinclairs lived. The advertisement appeared in 1925, as a private sale by the owner:
£100 deposit—£1125 Point Chevalier, one minute bus and beach, absolute sacrifice—Californian Bungalow. Heart Kauri, five rooms comprising three bedrooms, sitting room, kitchen, bathroom, pantry, porcelain bath and basin, hot and cold water, built-in wardrobes and cupboards, linen press and airing cupboard, range and fireplace (tiled): washhouse, h and c; section 50 x 150 ft., laid out in lawns and garden, fruit trees, etc. Double gate entrance with wide paths tarred and shelled. Plenty of room for garage. Owner is compelled to sacrifice.
This house, with its three bedrooms (one probably once the living room) sun-porch and verandah, is more substantial than the Sinclair house. This advertisement is atypical of advertisements for houses in Point Chevalier, both in its descriptive detail and in the house having such details to be described. It is also twice the price of a typical Point Chevalier bungalow. A typical advertisement would be like that placed in 1927 by “the land man”, Wm. A. Horne Ltd: 

Value! Value! Point Chevalier. Bungalow four rooms. Total price, £550. Deposit, £135. Ideal for a worker—Neat Little Bungalow Home, only one door from main concrete road and buses and proposed tram route. Handy beach. Wonderful Section.

St Etienne – How We Used to Live:

Sunday, December 02, 2018

Fan club

Bailey or Not

From the comments

Trevor Barre, two years ago.

WTF is this? Someone who thinks he is a generic Bailey impersonator?  By the way, this is not Derek Bailey playing, as I'm sure you all have realised. Certain stylistic features do not a coherent representation make. Why doesn't the 'author' of this guff make himself transparent. You're not Bailey, mate, so get real.Why have you done this, Mr. Faith-in-Fakes?

Again, Trevor Barre, a year later.

Sorry, I don't want to be too trainspotty, but why no shots of Bailey's face? Having seen Bailey on numerous occasions, I don't think these are his hands. Fingers aren't long enough for a start. More to the point, whoever this is has some of Bailey's more obvious techniques down pat, but he doesn't have the master's grits and gravy. It meanders and has no dynamic. Clever pastiche, however

Saturday, December 01, 2018

At home with Eric

Eric lives in a sort-of Moorish house, deep in the Surrey countryside. There was no answer to repeated doorbell ringing. Entering the house from the terrace on the other side, we halloed. A cat, dozing in the sun, looked annoyed. Down to the swimming pool with its 12-foot-long guitar-in-tiles on the pool floor; no-one there either. Checked the library. A tennis shoe on a table, sunglasses on the couch, a kodacolor of his parents on the end table, gold records on the wall for ‘Disraeli Gears,’ ‘Goodbye,’ ‘Best of Cream,’ the single “Sunshine of Your Love” and both a platinum and gold record for ‘Wheels of Fire.’ Picked one of a large selection of books on the silent screen and settled down in the after-the-bomb stillness. The only interruption was the sudden jangling of the phone. It was Eric’s mother. She wanted to wish him well on the start of his tour. An hour later, Eric came stumbling downstairs in robe and slippers, looking sleepy and abashed. A cup of tea, he changed into his jeans and we went out to the garden to talk.

From the 15th October 1970 edition of Rolling Stone.

Friday, November 30, 2018

Tea for the Solderman

The following is a discussion taken from the German-language forum Musiker-Board, and translated into English by Google. The subject is a Fender Princeton Reverb II guitar amplifier. The discussion begins with the original poster's euphoria and ends with his indignation. 

The photographs of the interiors are the original poster's; the external photographs are of another Princeton Reverb II. The video at the end was made by a happier owner.

# 1

Hi Guys! 
I bought a PR II (Rivera) with much euphoria, cheap, I think. After cleaning rags and vacuum cleaners, the amp looked like the box. Really great clean sound. Well, the distortion is more of a joke. I've had such a box before, but I did not really understand it. The claims change. Current device counts about 34 Lenze, and has, if it comes up 200 stress-free hours, in almost exclusive home operation. What sounds good made me think of the first thought of the capacitors and other components with expiration date. I have informed myself across the web, about some service and conversion options. My technical usefulness ends just behind the soldering of guitar cables. I think, but I would still be able to replace capacitors. Of course, tubes also replace tubes. Adjust bias, rectify rectifier, or give sense to the channel, which seems to be possible, rather not. 
Can someone please help me with knowledge and tips? My 1/4 knowledge is mainly related here: 
Thanks and Regards 

Beer ham
# 2

If you do not know what the proposed changes are and are not experienced in the field of electrical engineering, let alone have the tools to check the amp, then give the amplifier but rather in someone's hands, who knows what he does. You can describe to a capable technician what you do not like sound and he will then be able to tell you what is feasible and what is not possible with the amp. 
This is more meaningful than doing soldering exercises and not being able to help out with the smallest problem.

# 3

I would not do it myself. My concern is to find out from users, with practical reference, what is feasible to transport this to a professional. Not every Teki had ever stuck his piston in a Rivera amp. The discreet construction of the amp favors creative changes, but for dizzying I'm € 120 the hour too high. Also very interesting for me would be estimates of the life of capacitors. Because, if there is no acute reason for renewal, I simply do not do anything.

Beer ham
# 4

If you are satisfied with the amp, just play it and do not change anything. 
Nobody knows your amp, so no one can tell if there is a need for service. 
There you would have to agree to the tech and a review. Usually you get something like 30-60 €, if nothing else is to do and it is free, if proper repair / maintenance work is due. 
But you should check with your technician.

# 5

I want to know something more, because, due to age reasons and dehydration burst capacitors I do not want. This messes up the board. And nobody knows what nobody knows.

Dr Dulle
# 6

Originally Posted by haqri1220
I want to know something more, because, due to age reasons and dehydration burst capacitors I do not want. This messes up the board.

sorry my glass ball does not funzt, must first for repair................ ?? 
therefore stop on beer ham; go to the technician and let the look into the amp throw! 
(everything else is rumored)

# 7

Originally Posted by haqri1220

I want to know something more

It may be that the amp is buzzing when the electrics are old / through. Otherwise, you can only look at the capacitors eig, if there are already traces of discharge or have the Elkos bumps. But nobody can tell you more precisely. I would check the Elkos on sight and if the amp itself runs smoothly and optically not noticeable, the box just play. If something does not work out, it can be because of everything. Forecasts are impossible. If you want to play it safe, there is no way around the tech.And if that is good, he will already know what he has to look at.

 # 8

One can not entrust any weak-current sexual, a higher-quality tube amp. Please do not take this too seriously with the guitar cable. I would do it myself, again, not anyway. 
Thx Smoke, I can draw something out of it! Runs way round, but I want it to stay that way at least

 # 9

Who does not know this amp, can not really do much with my previous information. 
The PRII was Fender's last hand-wired production model. Based on the sound of the early Princeton Reverbs, only 7 Watts more. Designed as a practice and studio amp, but with 22 watts RMS very livetauglich. 
No amp with two channels, one amp with two faces. 
Clean, beautiful, warm tube sound, treads are graciously accepted. Reverb very fine, but screwed on the side wall of the amp, that should be changed and screwed to the bottom plate. Supposedly helps the Reverb. Official Cleansound. Everything great. Can be booster with foot switch. Volume difference is supposed to equalize on the board. It would be necessary. 
By pulling the Volume Poties you activate the, but very strange-sounding, distortion circuit. These too can be dramatically improved. The rectifier (diode) can be improved with a simple measure. But there's a need for the tech product experience. Reverb and Zerrschaltung divide a tube. In Zerre no reverb. 
Most owners play it as a cleanamp without a footswitch. I do too, but if I have to fumble, because capacitors are old, then I would make other, necessary improvements.

 # 10

Here are some photos of the inner workings of the destroyer.

 # 11

The Elkos I'm not sure if the brown stuff is normal or outflow, who has to judge differently. The right of the two photographed preamp tubes, however, is milky, which has almost certainly drawn air and is in the bucket. You should swap, that can also yourself. Old out, new in, finished. Vll sounds because of the Zerre also lousy? It may be, that works only in the channel (do not know the amp itself).

 # 12

The tube on the right is broken, the air has drawn, please no longer use the amp with this tube! 
The Mallory Elkos are also finished, both have already puked electrolyte, which should all three new. You should also exchange the big Multican ...

 # 13

Thx Smoke! 
The two 6V6GT are the tailpipes. Setting the bias required does not matter. Said tube shows no more glow. The Zerre comes from the Reverbröhre, sick oda? For Zerre no Rev. Also, the recording output is not a preamp out, but a power-reduced power amp out. Paul Rivera; Jack Daniels, Have today TAD ordered, which should make me an offer about the necessary components. For the time being, I will only have the damage repaired. I'm still waiting with other changes. 
Just got from bluesfreak, thx, good info = bad news, But, s is wise. 
Best regards 

# 14

Had just flew over the pictures, thought only that would be 12ax7. But of course, that's the end pipes. 
Otherwise: is just an old amp, and there you have to wait and wait. Of course you do not want to, but you should always plan with such a purchase, especially if they have not been recently checked.

 # 15

Well, with a set of tubes, I've expected clever man yes. But that it degenerates to the project ......... I wanted the amp, I jatzt him. I see it sporty. The box will funze!

# 16

Originally Posted by haqri1220

a yes, with a set of tubes, I've expected clever man yes.

For old crates always plan the Elkos. But now you know that

 # 17

Oh yes, whoever has the damage mocks every description, But I'm in good spirits. I recently pimped my HB ES 35. All self-made. Was a thing of +500 € (crunchy). Now my favorite gitte, open G, slide. 
The Chibsn does the jazz police, 1st row, crossed arms, alright. 
I already found a capable solderman. Know, but I have to do what he should do. Therefore, more tips are taken very happy. For the hitherto countered, which gave me a clearer view, thank you. 
and greetings hari

 # 18

Your Lötman should then only be careful that the Elkos are really empty before he rumpuhlt there in the amp. Does not sound like a real technician to me?

# 19

Originally Posted by haqri1220

I already found a capable solderman. Know, but I have to do what he should do.

Then he is an incompetent solderman and you should look for someone else. 

What kind of a kindergarten is this, where to tell you what to fix on your amp? If the guy does not even manage that, then he should keep his finger out of the box because he just has nothing to do in there. And you not too.

# 20

Originally Posted by OneStone

because he just has nothing to do in there. And you not too.

Who has to look for in my amp, is all alone my thing. And please, generalized personal attacks should be avoided. Where do you take the impudence for it? You do not know my claims. My soldering friend has completed HTL, should contribute quali. I would never have my amp repaired in a hi-fi shop. 

Actually, I only wanted tips related to the amp. I have already mentioned that, as you could hopefully read above.

# 21

Originally Posted by haqri1220

Who has to look for in my amp, is all alone my thing. And please, generalized personal attacks should be avoided. Where do you take the impudence for it? You do not know my claims. My soldering friend has completed HTL, should contribute quali. I would never have my amp repaired in a hi-fi shop.  
Actually, I only wanted tips related to the amp. I have already mentioned that, as you could hopefully read above.

@ OneStone is the subject, and knows very well the consequences of the work of supposed professionals. Both the consequences for your and other well-being, as well as for the amp. 

So when he warns against having a layman do it, he does not mean it evil, but caring. 

By the way, I can fully support his advice, a degree is not the same as experience ...

# 22

I would like to recommend my amp technician who has serviced and repaired my amps. 

Is very capable, knows and priced ok. After I suspect that you are from Vienna in 1220, he would not be so far away from you, since he is at home in 1210 Vienna. 

Happy PM, just get in touch.

# 23

Originally Posted by haqri1220
My soldering friend has completed HTL, should contribute quali

Only one helps the higher technical school unfortunately little if it comes to tube technology, something is not taught for decades. OneStone is right, there are just too many cloned amps that have been shredded due to ignorance or partly also (studied) stupidity or turned into life-threatening hell machines (I recently had such a case where one had his Marshall repaired due to background noise and the repairman simply the PE wg suspected interference has abgecken but suspected the real cause why the amp then landed with me) .... and in terms of "impudence" I have to say because I turn the hand not who bangs what here what the hell and OneStone (just because of huge experience) just right and says (always) directly out. 
So I would recommend in all attempts of the repair to look for someone who is capable and the principle and the potential sources of danger of such an amp knows and can estimate, a normal electrician but also a DiplIng can sometimes be overwhelmed ...

# 24

Originally Posted by bluesfreak
in normal electrician but also a DiplIng can be overwhelmed here sometimes

That's what it's all about, and I have to orientate myself as much as possible in my environment. I am built in 1954, have always worked in the field of technology, My Lötmann Bj 1952 has probably completed its completion before the invention of the tube (joke). In my 50-year music-making experience, I have already experienced a few soldering iron gods who had built manure. And, who comes from the side, can not have much to say. This should be a forum, not the Inquisition.

# 25

My assessment: at the amp are things to do that only one can get right and who is from the subject and understands what Röhrenamps. If your guy pays attention to the residual cargo and security, he can swap the old Elkos for you, but there will not be more. (If he reads in, vll still works with bias adjust) Since the amp but then anyway would have to Tech, so that's hardly saved, because the tech need for the things and bias not synonymous with extra time. 'M Under certain circumstances, not against "do it yourself," (and certainly not only me) but this nunmal has very clear limits and here I doubt the sole purpose of making myself, because the tech he has anyway and sparing there is hardly anything. ... and otherwise I think everything is said.

# 26


I do not think that Onestone wants to tackle you here personally. 

The rabbit is (mAn) here in the pepper: 

Originally Posted by haqri1220
I already found a capable solderman. Know, but I have to do what he should do

A "capable solderman" does not need any instructions when overhauling such an amp. 
He simply picks up the wiring diagram and its measuring devices and launches

Cheers - 68.

# 27

In itself, we have already exchanged by PM and I haqri1220 already forwarded the contact details of my amp technician and in which he is in good hands. 

Of course it is up to him if he uses the services, but it sounded that way.

# 28

Renew multistage condenser and calibrate bias is done by whom, who has already practiced this once, better several times (joke). Especially with Bias but I want to join in, because, as it has something to do with the sound that I want to have. Messtechnik is no reverence for my ear. And, no one should even think of me having fun taking over 600 misguided volts. 
I talked to the technician advised by michmo, laughed, and we are left.

# 29

Originally Posted by haqri1220

And please, generalized personal attacks should be avoided. Where do you take the impudence for it? You do not know my claims.

If you say in a figurative sense, "I have a professional mechanic, please tell me what he needs to do to get the brakes working again," then I have every reason to be clear about what I think of such constructs. 
What the Lord has learned and how old he is, I do not care. 

Either he knows what he's doing - Then he should do that. 
Or he does not know - Then he should keep his hands off it. 

I've seen enough devices in forums and with my own eyes that did not work, burned down, shocked the owner, or something that was wet - both in the final stage and in "that could have come to my senses" when you open it and see. 

There you can get upset as you want, you can do what you want and let people work on your stuff, which according to your own statements (!) Have no idea. But you'll still have to live with people like me telling you it's a damn bad idea. Also to prevent imitators, because as a board writer then for such service - Himmelfahrtskonstrukte also takes a responsibility, if one enters into it.


Or he does not know - Then he should keep his hands off it.

Get full on you. But suppose I would not do anything that I'm not sure I would do to others who they are not sure about. I just wanted to collect information. 
Starting from the possible improvement, the evil-sounding distortion circuit. The Elkodesaster resulted only after the theme opening. Then I started exploring my options and gathern info. Never with the view of a VHS soldering course. Nevertheless, I reserve the right to want to know what to do. I leave it to those who can do it. Sending the amp to TAD is not. 
But I've found a Tek near me through michmo and thus also the possibility Bias something for my ear and instrument set. 
Best regards hari

Tuesday, September 18, 2018

Parish News

Media release – for immediate release

Auckland Writers Festival Launches Literary Foundation

A new Foundation established by the Auckland Writers Festival aims to strengthen Aotearoa’s literary landscape. 

The Mātātuhi Foundation, launched this evening, will provide opportunities for New Zealand writers to develop and promote their works and for readers to increase their engagement with the work of local writers and will fund activities that contribute to literacy in this country.

Auckland Writers Festival Chair, Pip Muir says the launch of the Mātātuhi Foundation is the next step in the realisation of a long-held dream. 

“When the Festival began almost 20 years’ ago, meetings were held around a kitchen table. Since then, the appetite to engage with writers from New Zealand and around the world has grown exponentially and with it the opportunity to deepen our commitment to our literary landscape.

“It is absolutely fantastic that the Festival has reached a point where it can further contribute to the national reading and writing community. We are thrilled to be able support the nation’s literature with the launch of this ground-breaking initiative.”

The Foundation will operate independently of the Auckland Writers Festival Trust and initially aims to make up to ten one-off grants of $2000 - $5000 per year whilst building an endowment platform to support its long-term endeavours.

Inaugural Committee members are professional director and senior finance executive Anne Blackburn (Chair), writer and academic Paula Morris, Festival Trust Board Chair and lawyer Pip Muir, Auckland Writers Festival Director Anne O’Brien and country head of Chartered Accountants Australia and New Zealand and Book Council board member Peter Vial.

Ms Blackburn says she relishes the opportunity to work with an organisation that supports New Zealand literature. 
“I very much look forward to receiving applications from groups that seek to engage more readers and also from our writers, whose words and ideas enrich our lives.”

Applicants are invited to submit expressions of interest twice a year, with deadlines of 31 October and 31 May. 

Wednesday, July 18, 2018

Kipling for pleasure and profit

A job  advertisement on LinkedIn:

WiTH Collective is growing. We’re looking for talented creatives to grow with us. 

It’s been a pretty amazing first 12 months at WiTH NZ. Now, we’re looking for a copywriter and art director to add to our great culture and talented group.  

You’re right for this role if you are smart, problem-solving creatives, full of ideas, enthusiasm and ambition. If you can apply your creative skills to film, personalised video, creating products, eDM’s, outdoor, banner ads, and treat these all with equal care and love. If you want to make work that wins hearts and awards. If you think you’d thrive in a collaborative agency. If you have three or more years of experience in a similar environment. If you’re the kind of person who would never forget their mum’s birthday. If you can think quickly. 

To put it another way:

If you are smart, problem-solving creatives, full of ideas, enthusiasm and ambition;
If you can apply your creative skills to film, personalised video, creating products, eDM’s, outdoor, banner ads, and treat these all with equal care and love;
If you want to make work that wins hearts and awards;
If you think you’d thrive in a collaborative agency;
If you have three or more years of experience in a similar environment;
If you’re the kind of person who would never forget their mum’s birthday;
If you can think quickly;
Then, copywriter and art director, you’re right for this role.

Maurice Ravel, Le Tombeau de Couperin
Berliner Philharmoniker
Pierre Boulez

Thursday, May 17, 2018

I'm working on a blog

The draft of my review of Pip Adam's I'm Working on a Building, published in Metro for January 2014.
To begin at the end, the author has added an afterword to this novel in which tells the reader that her book began as the creative component of a PhD, one that asked how the language of structural engineering might “inform, alter and enlarge fiction.” The reader might ponder whether the author has succeeded in her task, and might also ask why the novel was written backwards.

The chapters of this book have been arranged in reverse order, without warning for no apparent reason. The reader who starts at the first page and reads towards will be confused: events and characters run away, revealing less of themselves rather than more. In a literary world dominated by pedestrian historical sagas a little experimentation should be welcome; unfortunately, in this case it is simply annoying. Save yourself the trouble, gentle reader, and begin at the end.

Turned the right way about, this is not a complicated story: a teenage girl, Catherine, has teenage problems, goes to university, becomes a structural engineer, works on several projects in New Zealand and overseas. She is difficult, apparently a much better engineer than her colleagues but unable to communicate with them. Despite her superiority, her buildings have problems. One, in Wellington, collapses in an earthquake, injuring her and killing at least two of her colleagues. The book begins in the Pompidou Centre where Catherine is thirteen and has teenage problems; it ends in an exact copy of the world’s tallest and dullest building on the west coast of the South Island, where Catherine has adult problems.

The problem with this book is in the characters and the buildings: none of are very interesting. Catherine is challenging, in that she is not likeable, but she is not compelling. Everyone else is rather flat. They are not helped by the writing:

Paul walked back to his chair. William stopped to talk to Craig some more. Craig didn’t worry Paul at all. He checked the time on his cellphone. It was almost lunchtime.

After a while this gets a bit trying. The buildings do not help. They present problems, but not very interesting ones: there is a whole lot of seismic retrofitting going on in this book. The problem with the book is that none of the architects and engineers that populate it have any feeling for buildings. They have terminology, because their creator has learned it and is determined to use it. But they have no architectural sensibility. Their buildings are assemblages of parts, of terms.

This is a novel of our times; like the historical novels it is the result of research, learned but not lived. It is constructed rather than formed. And it is very disappointing.

Jazz 625; Wes Montgomery, introduced by Humph: