READINGMAY 2014

21862. (Th. Her­sart de La Ville­mar­qué) Barzaz-Breiz: chants pop­u­laires de la Bretagne
21863. (Hervé Lossec) Les Bretonnismes
21864. (Khashchu­lu­un Chu­lu­un­dorj) Cur­rent Sta­tus of Mongolia’s Eco­nom­ic and Social 
. . . . . Devel­op­ment and Future Trends [arti­cle]
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Sunday, May 5, 2014 — In Search of Gildas

Grotto of St. GildasOne spe­cial trip, at my request, was to the chapel of Saint Gildas. Gildas is well-known to those who study Eng­lish his­to­ry in the “dark ages”, because his De Excidio et Con­ques­tu Bri­tan­ni­ae is the first writ­ten his­to­ry of Britain. In fact, it is pret­ty much the only doc­u­men­tary source for fifth and sixth cen­tu­ry Britain. Bede’s His­to­ry doesn’t appear until the year 731. But Gildas spent part of his career on the con­ti­nent (he is sup­posed to have slain a drag­on on a brief vis­it to Rome), and specif­i­cal­ly in Mor­bi­han, where he died. There are two writ­ten biogra­phies of Gildas on which we depend for infor­ma­tion, but they were writ­ten respec­tive­ly in the ninth and twelfth cen­turies, and tell very dis­sim­i­lar sto­ries. The ear­li­est life relates that Gildas con­vert­ed the hea­then of the Blavet val­ley by stand­ing upon a great rock over­look­ing the riv­er and shout­ing his exhor­ta­tions. That sort of thing, appar­ent­ly, worked in those days. When some­one has already slain a drag­on, he prob­a­bly has a suf­fi­cient­ly force­ful per­son­al­i­ty to pull it off. Any­way, the rock is still there, with a medieval chapel at its foot, and the place is won­der­ful­ly atmos­pher­ic. It being before the tourist sea­son, Didi­er and I had it all to our­selves. Gildas lived, with one acolyte, in a tiny grot­to under­neath the rock, still acces­si­ble, until he returned to his monastery on the coast and com­plet­ed Con­ques­tu Bri­tan­ni­ae. While the late medieval chapel was closed, I have found a pic­ture of its interior.

Chapel of St. Gildas

Saturday, May 3, 2014 — Some Architecture

14-05-03 BLOG The Blavet on a quiet bend

The Blavet on a qui­et bend. I walked the path for a km and met nobody.

For such a short vis­it, I was able to see a good deal of the coun­try­side of Mor­bi­han. Didi­er drove me to a num­ber of won­der­ful places, and I also cov­ered a con­sid­er­able amount on my own, on foot, and did some hitch-hik­ing as well.

But rather than attempt to recon­struct where I vis­it­ed chrono­log­i­cal­ly, or trip by trip, I think I’ll just present a gallery of images, with a few com­ments. Read more »

Thursday, May 1, 2014 — Rue de Kergallic

Art is not free­dom from dis­ci­pline, but Dis­ci­plined Free­dom.” — Edward Catich

14-05-01 BLOG Rue de KergillacI must tell you some­thing of the peo­ple I’m stay­ing with. Noth­ing I write could pos­si­bly con­vey the plea­sure I expe­ri­enced in meet­ing them.

Del­phine Decloedt and Didi­er Durassier live in a lit­tle bun­ga­lo in Saint Barthéle­my, on the qui­et lane that leads to l’étan (the pond) de Ker­gal­lic. The house, true to medieval tra­di­tion, com­bines the func­tions of home and ate­lier, and opens onto a delight­ful­ly anar­chic gar­den. Their chil­dren are intel­li­gent, polite (well, lit­tle Arthur can be stub­born, some­times!) and tal­ent­ed. Didi­er is well known in Bre­ton music cir­cles as a per­former on bin­iou, veuse and bom­barde, as a mem­ber of the band Penn Kazh, and as Brittany’s most accom­plished crafts­man-sculp­tor of tra­di­tion­al instru­ments. Del­phine is a painter and cal­lig­ra­ph­er (Grand prix du pres­tige Européen des Arts et Belles Let­tres, Com­man­deur de l’or­dre de l’E­toile de l’Eu­rope). When, I stepped into the house, Mélis­sande was play­ing some Satie on the piano. She came across as qui­et, but not timid. Liam already has the “cool” of French cin­e­ma idols. Arthur is a rein­car­na­tion of Christo­pher Robin. Read more »

Image of the month:

2014 MAY

FILMSAPRIL 2014

(Wol­cott 1958) The Wild Women of Wongo
(Archer 2007) Why Be Good? Sex­u­al­i­ty & Cen­sor­ship in Ear­ly Cinema
(Copes­take 2004) Britain A.D. [minis­eries]
(Carstairs 1953) Trou­ble in Store
(Newmey­er & Tay­lor 1923) Safe­ty Last!
(Wal­ter 2014) Heli­um Read more »

First-time listening for April 2014

22887. (Bruno Mars) Doo-Wops & Holligans
22888. (Char­lie Park­er) Gitanes Jazz
22889. (Mor­ton Sub­ot­nick) Sil­ver Apples of the Moon
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READINGAPRIL 2014

21774. (J. J. Mar­ric) Gideon’s Badge
21775. (Juan Cole) [in blog Informed Com­ment] Oba­macare Enrolls 7.1 Mil­lion: But Will the
. . . . . Haters Ever Stop Hat­ing? [arti­cle]
(Gard­ner Dozois ‑ed.) The Year’s Best Sci­ence Fic­tion, Six­teenth Annu­al Collection:
. . . . 21776. (Gard­ner Dozois) Sum­ma­tion 1998 [pref­ace]
. . . . 21777. (Greg Egan) Ocean­ic [sto­ry]
Read more »

Tuesday, April 29, 2014 — Carnac

In the morn­ing, M. Durassier took me on a tour of the major mega­lith­ic align­ments at Carnac, near the coast. There are four large groups — from west to east, Ménec, Kérabus, Ker­mario and Ker­les­can. In between Ker­mario and Ker­les­can there is a strange quadri­lat­er­al assem­bly of stones, tight­ly spaced, unlike any­thing I’ve seen in the U.K., and near it is the largest of the men­hirs, an immense phal­lic stone called “le géant de Mario”. Every stone I’ve seen so far has been the same sort of gran­ite, though most are coat­ed with so much lichen that it’s hard to see the tex­ture. Noth­ing resem­bles the blue­stone in Wilt­shire sites.

14-04-29 BLOG Carnac

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Monday, April 28, 2014 — Saint-Barthélemy & Lann Gouh

A fab­u­lous night of music and con­ver­sa­tion. An assort­ment of local musi­cians at the vil­lage pub called Sterenn Roz (The Rose Star). These “ses­sion trad” have been held here for at least a quar­ter cen­tu­ry. Young and old, play­ing in dif­fer­ent com­bi­na­tions through­out the evening. No stage, just a com­fort­able mix of musi­cians and clien­tele. Peo­ple switch­ing instru­ments, drop­ping in or drop­ping out of a song as the spir­it moved them, glances exchanged between play­ers who found a com­mon groove. The Celtic way. There were accor­dions; gui­tars, bag­pipes, and a cou­ple of reed instru­ments resem­bling a medieval shawm which they called a bom­barde. Call-and-response, knees and feet catch­ing the tem­po. The style of per­for­mance, the rhythms and melodies bore a strong resem­blance to Cana­di­an folk music (It’s no acci­dent that the acknowl­edged region­al heart of Cana­di­an folk is Cape Bre­ton, Nova Sco­tia). But the fid­dle, the work­horse of Cana­di­an music, played no part. So the effect was a bit weird to me, as if some­one played blue­grass with no ban­jo. Read more »