Picture of the Day

Not good for my nerves but, thankfully, good triumphed over the opposite of good today.

Funny that, in denying Celtic a stonewall foul, the referee allowed Celtic to catch Rangers napping and Jota popped up with the only goal of the game. Cue perfect celebration at the Rangers end and another potential treble forthcoming.

The Long Kiss Goodnight (1996)

 

The Punk Singer (2013)

 

48 Hrs. (1982)

 

171

 

Death in the Andes by Mario Vargas Llosa (Picador 1993)

 

When he saw the Indian woman appear at the door of the shack, Lituma guessed what she was going to say. And she did say it, but she was mumbling in Quechua while the saliva gathered at the corners of her toothless mouth.

“What’s she saying, Tomasito?”

“I couldn’t catch it, Corporal.”

The Civil Guard addressed her in Quechua, indicating with gestures that she should speak more slowly. The woman repeated the indistinguishable sounds that affected Lituma like savage music. He suddenly felt very uneasy.

“What’s she saying?”

“It seems her husband disappeared,” murmured his adjutant. “Four days ago.”

“That means we’ve lost three,” Lituma stammered, feeling the perspiration break out on his face. “Son of a bitch.”

“So what should we do, Corporal?”

“Take her statement.” A shudder ran up and down Lituma’s spine. “Have her tell you what she knows.”

“But what’s going on?” exclaimed the Civil Guard. “First the mute, then the albino, now one of the highway foremen. It can’t be, Corporal.”

Maybe not, but it was happening, and now for the third time. Lituma pictured the blank faces and icy narrow eyes that the people in Naccos—laborers at the camp and comuneros, the Indians from the traditional community—would all turn toward him when he asked if they knew the whereabouts of this woman’s husband, and he felt the same discouragement and helplessness he had experienced earlier when he tried to question them about the other men who were missing: heads shaking no, monosyllables, evasive glances, frowns, pursed lips, a presentiment of menace. It would be no different this time.

The good stuff you find on the internet.

Picture of the day. Via the BBC website.

Chimpanzee, Gombe Stream National Park, Tanzania by Thomas D Mangelsen

A slower process . . .

Turns out I'm up to 15 on this old book list. 

When you consider how much crime fiction I've read down the years, that's kind of shocking.

P. S.

Scroll down to the bottom of the old post to see the later additions.

A slow process . . .

Just realised that, thanks to this book, I've crawled up to 22 books on this list of Scottish literature.

Glancing over the list again there's only about 16 other books I'd want to read. Should I mention them now? No, another time.

Play for Today: Hard Feelings (1984)

Play for Today: Carson Country (1972)

Reach for the Stars: 1996–2006: Fame, Fallout and Pop’s Final Party by Michael Cragg (Nine Eight Books 2023)

Spoken-word intro

I’m going to start with a confession. As a closeted teenager in the early ’00s I did some things I am ashamed of. I went to see the Libertines. I was a fan of post-Kid A Radiohead. I once went to Ireland to see Travis only to be hit on the head by warm beer and, at one point, an inflatable armchair. For a while, I thought hiding in indie music would help me keep my secret for a bit longer when in fact it just fed my covert obsession; glorious, shiny, ludicrous pop. I’d secretly gorge on the Latin flavours of ‘Spice Up Your Life’ or get a delicious sugar rush from ‘Don’t Stop Movin’’. Later I’d sit with my proudly pop-obsessed uni housemate and listen to ‘hard-edged’ ladband Five and the high street R&B of Blue, before hitting the local indie club. I’d carelessly align myself with the throng of NME readers trying to justify their love of Girls Aloud or the Sugababes via the prism of credibility (‘It’s pretty good for a pop song!!!’), when in fact I owned all their albums and distinctly remember singing along to the former’s pearlescent six-minute epic ‘Untouchable’ in a full-length mirror, willing myself to be who I was.

Perhaps because I only lived this UK pure pop boom – instigated by the Buffalo boot-stomping swagger of the Spice Girls in 1996, which is where this book starts – on the periphery, when I started writing about music as a journalist years later, I immersed myself fully. As pop shifted through the gears over the following two decades, taking in post-ironic synthpop, Lady Gaga, gloom wobble dubstep, drop-obsessed EDM and Billie Eilish-adjacent mope-pop before settling on a sort of generic streaming-friendly dance-pop sound, I often found myself harking back to the weightlessness of, say, Liberty X’s ‘Just a Little’ or Five’s ‘Keep On Movin’’ or A1’s ‘Caught in the Middle’. Like most people, this rose-tinted nostalgia – hey, this book is about the late ’90s and early ’00s, get used to it – ramped up as a pandemic-ravaged world went into lockdown. Gazed upon from a modern world seemingly on fire, this prelapsarian era suddenly represented even more of a refreshing change. A time before the threat of nuclear war, climate crisis, global financial collapse, social media, culture wars, Piers Morgan’s TV career, TikTok and, of course, the pandemic.

Cannery Row by John Steinbeck (Penguin Books 1945)

 

Cannery Row in Monterey in California is a poem, a stink, a grating noise, a quality of light, a tone, a habit, a nostalgia, a dream. Cannery Row is the gathered and scattered, tin and iron and rust and splintered wood, chipped pavement and weedy lots and junk heaps, sardine canneries of corrugated iron, honky tonks, restaurants and whore houses, and little crowded groceries, and laboratories and flophouses. Its inhabitants are, as the man once said, “whores, pimps, gamblers, and sons of bitches,” by which he meant Everybody. Had the man looked through another peephole he might have said, “Saints and angels and martyrs and holy men,” and he would have meant the same thing.

Compromising Positions (1985)

 

The Unbearable Weight of Massive Talent (2022)

 

"Go put on your bus pants."

 

3/50

Who Killed Palomino Molero? by Mario Vargas Llosa (Faber & Faber 1986)

 

"Sons of bitches.” Lituma felt the vomit rising in his throat. “Kid, they really did a job on you.”

The boy had been both hung and impaled on the old carob tree. His position was so absurd that he looked more like a scarecrow or a broken marionette than a corpse. Before or after they killed him, they slashed him to ribbons: his nose and mouth were split open; his face was a crazy map of dried blood, bruises, cuts, and cigarette burns. Lituma saw they’d even tried to castrate him; his testicles hung down to his thighs. He was barefoot, naked from the waist down, with a ripped T-shirt covering his upper body. He was young, thin, dark, and bony. Under the labyrinth of flies buzzing around his face, his hair glistened, black and curly.

The goats belonging to the boy who’d found the body were nosing around, scratching around the field looking for something to eat. Lituma thought they might begin to gnaw on the dead man’s feet at any moment.

“Who the fuck did this?” he stammered, holding back his gorge.

“I don’t know,” said the boy. “Don’t get mad at me, it’s not my fault. You should be glad I told you about it.”

“I’m not mad at you. I’m mad that anybody could be bastard enough to do something like this.”

For the Love of Willie by Agnes Owens (Polygon 1998)

 

Foreword

Two patients sit on the veranda of a cottage hospital run by a local authority for females with mental problems, some of them long-term and incurable. Peggy, stoutly built, middle-aged, and with a hard set to her jaw, rises and stares down through the high railings at a bus shelter below.

‘A man in that shelter resembles someone I once knew,’ she tells her companion.

‘Really?’ says the companion, elderly and frail but known as the duchess because of her imperious manner. ‘It beats me how you can remember anything.

'I remember lots of things. That’s why I’m writing a book.’

‘A book? You never told me. What’s it about?’

‘About my life before they put me inside,’ says Peggy. She adds wistfully, ‘I had one, you know.’

‘I can hardly imagine it,’ says the older woman, whether referring to Peggy’s earlier life or the book not being clear. ‘Anyway,’ she says snappishly, ‘if you do manage to write a book who will read it? They’re all simpletons here, including the staff.’

‘I was hoping you might read it,’ says Peggy, ‘you being a highly educated woman with a superior knowledge of the frailties of the human heart.’

Her irony is lost on the duchess who says with a condescending smile, ‘I might, if I’ve nothing else to read. But wouldn’t it be better to get it published? Otherwise the whole thing could be a waste of time.’

‘What does it matter?’ asks Peggy. ‘I’ve plenty of time to waste.'