Kurzgeschichte der gruseligen Art: Das dunkle Geheimnis der Nachbarschaft (German Edition)
Prose of The Day — Poetic Resistance. Es sind alles Kultobjekte, Symbole unserer indistrualisierten Gesellschaft. Und die Fragmente der Installation Generation umkreist die Frage, was aus dem Sein im Zeitalter seiner technischen Reproduzierbarkeit wird. Ein Aufruf, sich auf die Menschlichkeit mit all ihren Facetten zu besinnen. Sie studierte Philosophie an der Sorbonne. Eine Veranstaltungsreihe des Corner College. A series of events by Corner College. Her films and videos explore how individuals forge their identities and shield their memories in the shadow of larger group dynamics and the socio-political systems in which they are cast, using personal narrative — its gaps and elisions, its specificity and opacity — to reveal how meaning is constructed, projected, protected, and perhaps deconstructed.
Within this space we can consider the nature of memory, the power of words, and the significance of all that remains unsaid. Born in Basel , lives and works in Zurich. The artist installs a three-days open laboratory at Corner College, which will end in a public talk and discussion. Namazi shows new work made during his residency in Zurich that utilises the Internet, installation and video formats.
In his talk he presents his new experiments and talks about his research and practice in general. Locating the numerous water fountains that are a feature specific to the urban experience of Zurich, Namazi re-imagines these sites as physical manifestos that are actualised as temporary non-hierarchical social platforms.
A series of web pages have been created to map out a selection of these encounters. Through these online networks, linkages and locations - sound recordings, image editing and HTML programming are used to spatialize and demonstrate the physical and off-line reality on the virtual and online environment.
Brimacombe, Getty Pictures Archive. Aus Anlass des Ted Serios. Ted Serios starb am Dezember in Chicago. Zum Psychiater und Parapsychologen Jule Eisenbud geb. Eisenbud widmete sich den Forschungsgebieten der Psychiatrie, Psychoanalyse, Anthropologie und Hypnose. Jule Eisenbud starb am Stipendiat u. Fokus seiner Arbeit liegt auf paranormalen Themen. Seine ausgezeichneten Filme werden im Kino als auch auf Festivals und in Galerien gezeigt.
November - Freitag, November , ab h. The English language has no idiom it could directly translate to. Occasionally, one might use phrases such as: I wish you every success in your work! As a story teller, the artist follows the small narratives and undocumented oral history of ordinary working people, on the background of historical events like the Fall of the Berlin Wall, which shook the latitude and longitude of East-West and North-South in the economic dynamics, labor markets and the reorganization of production processes, reflected in changes in the notion of work and everyday life, with a special focus on manual workers and rather marginalized, unrecognized or unusual forms of invisible labor, like cleaning services, a climbing brigade, or ushers working in a GDR cinema, operators in studio cinemas, or, in an earlier work, conceptual artists who in Czechoslovakia did not follow the socialist-realist normative canon and preferred to make a living as stokers.
The exhibited body of work contains anachronistic and retroactive aspects. Through the use of video tape rather than the newest HD formats, Piantoni addresses video technology as such, and as a method of work. The video works are based on interviews, realistic portraits that give space to the workers, in which the artist appears as a witness behind the mechanical eye, conceptually avoiding special effects or superimposing a preconceived artistic language either in the shooting process or in the montage.
Literature. TV. Journalism.
The image is sober, without formalization. With this approach, the artist foregrounds an unexpected presence rather than a representation of the subjects, the life of the ordinary workers as a work of art, mixing documentary fragments, archive material and poetic moments, driven by the rhythm of the direct speech of the subjects. In the history of moving images and cinema, there are two main streams, one in the line of D. The artist inevitably asks about the borders between art and daily life, work and labor. The works are aesthetically and politically engaged to develop the ability of the viewer to see the subjects from a multiplicity of perspectives.
This latest work comes out of a residency in Genoa in , where the artist encountered a local story from the Italian antifascist resistance of the early s that became a motivation to further investigate and follow the characters involved. It has something of the unusual genre of Nebula, embodied in a new Italian epic of revolutionary faceless and anonymous collective of activists and writers, as a collective persona, of political novels as guerilla communication, and prefigures new forms of affirmative resistance and direct action that intervene in the process of communication and mass media as ideological and technological dispositives of the society that are distinct from other means of political action, as well as hacktivism in the space of the Internet.
Design education is primarily learning by doing. And the layer of language that runs alongside this process is often neglected. Instructions and specifications, corrections and questions, fuse with practical work. And assignments, if written down at all, are rarely considered something worth saving. So how can we access and bring back assignments lost to the past? What are the means of historic reconstruction?
And what are the consequences of such methods? How does reconstruction differ from reenactment? How can historical assignments be made relevant for the present time? Assignments can give instructions, describe an exercise, present a problem, set out rules, propose a game, stimulate a process, or simply throw out questions. Taking a Line for a Walk brings attention to something that is often neglected: the assignment as a pedagogical element and verbal artefact of design education. This book is a compendium of assignments, edited by Nina Paim and coedited by Emilia Bergmark. A reference book for educators, researchers, and students alike, it includes both contemporary and historical examples and offers a space for different lines of design pedagogy to converge and converse.
An accompanying essay by Corinne Gisel takes a closer look at the various forms assignments can take and the educational contexts they exist within. Nicolasa Navarrete Illustrating Das Kapital. Volume one, 1 The end of truth Graphite on paper. The first chief function of money is to supply commodities with the material for the expression of their values, or to represent their values as magnitudes of the same denomination, qualitatively equal and quantitatively comparable. It thus serves as a universal measure of value. And only by virtue of this function does gold. The equivalent commodity par excellence, become money.
Cora Piantoni Songs of Work 2 channel video installation, sound, min, Cora Piantoni develops her films on the basis of interviews together with moving images and re-enactments of past events. Do the traditional songs still exist which reflect the monotony of the work, but also help to perform it? Besides the masons, Piantoni was interested in the background and culture of the students of the school which is now located in the building of the cooperative.
She connected the young generation of the students with the older generation of the masons who are working at the factory and are aware of the history. The table game offers a situation for curious and open people to contact with each other in a playful setting. It allows to inform each other and share and connect information and knowledge.
Curious to play with us? Please register here! And: bring some values with you.
Webcams in der Nähe von Koblenz
We are expecting you with pleasure and curiosity! We are there on Sunday, 30 October, for two sessions of the game, hh, and hh. August im Corner College. Photo: code flow. Es war in Ordnung. Sogar die Giftpflanzen sagten jedesmal wenn ich eine essen wollte: Nein! Wir sind giftig! Weil wir Freunde waren. In den Lebensmitteln drin geht es zu und her wie in einer Stadt Gedichte, Texte und Zeichnungen. Zine-Vernissage am Sonntag, Oktober um h.
In den Lebensmitteln drin geht es zu und her wie in einer Stadt. Der Text ist noch nicht abgeschlossen. In Fanzines, Ausstellungen, Radiosendungen. Zeichnungen an Performances, Gedichte als Teil von Texten. It understands itself as a node in a network of likeminded practitioners stemming from diverse disciplines and backgrounds. These relationships are lateral and projects emerge through ongoing conversations. The results are collaborative experiments, rarely shown in white cube settings but rather tested in flexible approaches across multiple sites from street to studio to online.
These incarnations are driven by a shared interest in tackling questions about the global urban condition. Re-readings and alternative knowledge is generated through a process of speculation.
The politics intrinsic to the work and its creators do not only frame the content but, maybe more importantly, guide a practice of engagement. Diagram by Lia Perjovschi, portraits by Nastasia Louveau. Opening: Saturday, 08 October , starting at h with a performance by Gregory Hari at h. It really seemed to write itself. Frank Baum, the author of The Wonderful Wizard of Oz With his exhibition project at Corner College, Gregory Hari undertakes an experiment with the medium of exhibition and performativity, site specificity and the relation between mapping and performance.
The artist generates a performative map or diagram of movements and fragments that will open up a process, and project power-knowledge relations that reveal the hidden social and political issues and their potential to aesthetically and critically engage the audience. The performance confronts the audience with its archival moment across various narratives structures, and scatters in an-other geography of a journey as a vehicle for metamorphoses that go through contradictory permutations, as every act activates on this topography the performing strategies of an Odyssey.
The artist situates himself on a yellow strip around one meter wide, where his performance takes place. A journey like a blank page. In it is the hope of Resurrection. We feel green has more shades than any other colour, as the buds break the winter dun in the hedges. Hallucinatory sunny days. The grass is always greener on the other side of the fence. These are the yellows of hope. The joy of black and yellow Prospect Cottage. Black as pitch with bright yellow windows, it welcomes you.
Yellow is a combination of red and green light.accessibilitycenters-project.eu/images/ceciryw/zogaw-16-february.php
Winesburg, Ohio (Webster's German Thesaurus Edition) Sherwood Anderson
There are no yellow receptors in the eye. No colour is as territorial. It stakes a claim, is on the alert against the spectrum. Early s. I join the march. The ghostly galleon of revolution past. We march through the deserted and derelict city with the sound of the wind whipping through the flags, a rosy galleon on the high sea of hope. The sunlight dyeing us red. Shipwrecked on the last coral-reef of optimism. The root of the red is life itself. I regularly lose a lot of hair. As hairs slide off, small rings form around my finger. I started collecting the rings.
I decided to take this ritual into a public performance. Losing myself, repurposing myself, I invite the audience to co-experience and participate in the destruction and rebuilding of my physical transformation. This public event follows three days of a durational performance with streaming.
Durational performance on 27 - 28 - 29 September. One hair is trash. Million hairs is a woven record of my self. One Hair One Purpose is a 3-day long-durational performance taking this daily ritual into a conscious act of transformation. One hair, the simple, single element that makes any transformation possible. It always starts with one thought, one action, the celebration of one disposable event. Where there are opinions, differences arise.
The main topic of my videos could be defined as immigration, and following transformations of a personality. I think each immigration takes a minimum of 5 years of your life till you start to feel connected to a new place, understand the language, unspoken rules, and so on. It became an important issue for me to learn a lot about the place where I live first Tel-Aviv, and now Zurich and try to build a dialog through my art practices video and painting.
The longer I live in Western Europe, the more interesting it becomes to analyze certain things about Soviet life. Sometimes the Soviet, Eastern European utopia I grew up with becomes thus a distorted reality in the West. The earlier videos, filmed in Israel, were all based on one principle. I was filming people doing some similar action. That trick is now widely used in cinema, advertisement and music clips. But at the end of the nineties, when I made those films, it looked quite fresh and original. I did quite many short videos with the same people, mostly Russian immigrants in their first years in Israel.
They were artists, musicians, actors, fashion designers, etc. That created a special mood and atmosphere. Filming the raw material for my Trilogy documentary about the perception of beauty, fears and happiness, I had to travel to Tel Aviv and back to Zurich, and Moscow was initially in my mind as well which led me back to my roots. Trying to answer a question, where do I belong, I realized that there is no answer and I just have to let myself flow with stream of life and not be obsessive about the past. Home of the Brave: Archeology of the Moving Image. Opening: Saturday, 20 August , starting at h with a performance by Discoteca Flaming Star at h.
Die Probetechniken der Improvisation sind molekulare Werkzeuge, die dazu dienen, Sand ins Getriebe der Kontrollapparate und der kognitiven Automation, die sie im Sinn einbetten — Werkzeuge zur Herstellung anderer Dynamiken in der Beschleunigung der Alltags im maschinischen Kapitalismus. The exhibition project is about the pleasure of enjoying the other, and sets out to produce an impersonal refrain made of polyphonic tunes and collaborative rhythms. It consciously considers the current post-Fordist conditions and the precarious situation of creative labor and the immaterial aspects of productivity today, to outline how all of us as agents in a network of relations, urgently need to invent our corporeal bodies dancing at the limit.
At the intersection of the practices of DFS and Bruckner, the exhibition dis-plays techniques of movement that can be used for rehearsals every day in our daily life, to linguistically, affectively and politically engage its audience. It does not require particular dance skills. The works of DFS and Bruckner trace the everydayness of practices of dance and movement, practices that need repetition and a consistency of imperfection. The rehearsal techniques of improvisation are molecular tools for putting a spoke in the wheels of apparatuses of control and the cognitive automation they embed in the sensible, tools for introducing other dynamics in the acceleration of everyday life in machinic capitalism.
The flexible dancing bodies that arc as a fish swarm between personal and social time, elude the usual coordinates of the floor. It probes how the concrete body is collectively produced with respect to motion and rest of its conjoined parts and their affective resonances. The movement has its own presence, writes Simone Forti, an individuating power of impersonal, embodied social knowledge, to be thought in biopolitical terms, i.
Affect is the power of the resisting body, of body struggles, of the dancing body. Affect distributes bodies across a larger space open to multiple durations. Affect is a body politics. It gives the key to an understanding of affirmative politics. The dancing body can de-limit negativity, disentangle itself from it. The way they treat, in their artistic practices, the aesthetics of the sensible and biopolitics, intersects in the positions and the works for this exhibition of the artists Discoteca Flaming Star and Johanna Bruckner.
Excerpt from the curatorial text by Dimitrina Sevova and Alan Roth. Yet, this process can in no way be reduced to a purely discursive revision or alternative representation of historiography. The concept of logistics is becoming increasingly centralized, to enable optimal co-ordination of commercial, digital and social interactions. The artistic work is to be presented in the form of a video installation, a performance, and research material.
The fabric and its surface are the interiority of the movement itself, which produces an immersive environment not only to look at, but one which the audience walking in the space can feel or inhabit through their moving bodies. Pieces of fabric cut to different sizes, cut across the existing space other temporalities. They are part of the long-term practices of Discoteca Flaming Star with banners, pieces of fabric, glued together and painted or collaged with text which appears irregularly on their surface in poetic lines that make another movement to that of the freely folding, hung fabric.
They serve both as backdrop curtains for performances and as an independent, formless architecture within the existing architecture that unframes the space. The movements of the banners shuffle the space; they are a spatial deterritorialization whose disorder forms into words. Sometimes they are concepts, or poems. In the words of DFS , they are think-text-iles. For their live performance dance construction Love Any Out of 90 Seconds End , Discoteca Flaming Star take the case of the little girl Esther who trained ambitiously to become a rhythmic gymnast.
She wishes to develop to the extreme in her exercises her athletic excellence, to display perfect physical agility, coordination and grace. As it turns out, under the pressure of her parents, Esther eventually left the field of gymnastics to undertake another education that would give her a better future. Now Esther is a woman who graduated from university, which has indeed given her greater opportunities in her life. Her memory has retained, inscribed in her body, the rigorous training of the movements of rhythmic gymnastics.
These inscriptions in her body remind her that she did not manage to realize her childhood dream. In the duration of the performance, the dance movements bring her back to the time of her childhood, as they evoke her memory through her body. Esther does not designate a proper name. Esther does not represent a subject, but a desiring assemblage, a collective persona of three and more, as everything written above in capital letters. She is a collective enunciation. The instruction is to love any out of these 90 seconds.
To love. A verb in the infinitive! To mark processes like to walk, to love, to dance. The infinitive marks movements of deterritorialization. Esther dances together with Cristina , and Wolfgang sings. Their disjointed movements start to intersect more and more often to modulate an invisible diagram of individuation. Their movements are at the limit of their bodies and at the limit of their language.
Logomotions and body movements interrelate. They double in the becoming of Esther. She is an assemblage — a material production of desires. Esther starts betraying her own memorized techniques of rhythmic gymnastics, displacing them with more improvisational and free movements, eluding the repressive apparatus and disciplining process to lose control, to push her desires to the real life experience, with the sensible quality of emotions and the fabulating movements coming from language.
Love makes the movements a dance of refusal. Love is not work! Dancing molecules, disconnected and at the same time all together. Every movement becomes a joyful autonomous event in a mass tune that gives the courage to Esther to traverse the abyss of the 90 seconds of death, of non-being and crying. I die. I leave. Dieser Raum, der immer auch ein politischer und sozialer Raum ist? With her recent work, Erica van Loon reflects on the physical interconnection between the human body and that of the earth, but also searches for ways to relate to their less tangible inner worlds, that we access almost exclusively by the mind; like processes inside our planet or the human sub conscious.
She often works with repetitive actions or visual and auditory rhythms, that she sees as an instrument for creating a state of mind that intensifies our sensory perception, and with that, our ability to connect with what is outside and inside of us. During night-time our attention turns inward and almost all input from the outside is paused. We temporarily shift to another state of mind. Most of the time, an encounter with an artwork is preceded by a multitude of sensory, emotional and intellectual interactions.
What happens if an exhibition is the first thing we are exposed to after waking up, when we have had little sensory activity and almost no interactions with our surroundings. By moving the usual timeframe in which we look at art, the viewer has a slightly altered state of consciousness.
Does this result in a different susceptibility, a different reflection on the works? Does it affect how we perceive the succeeding reality of a day? As the exhibition was only open in the early morning, from sunrise around 5. And indeed people took the effort to get up early; some of them even arrived earlier than the curator or was she a performing artist?
Where she served breakfast, which stimulated visitors to reflect in dialogue. Dies erlaubt es, unterschiedliche Formen des Repertoires aber auch Improvisationen vorzubringen. This allows putting forward different forms of repertoire but also sound improvisation. Reading Why doesn't anybody notice that this chair is a nettle! Lady Mosh and Posh Mosh don't describe themselves as a diva-esque duo for nothing.
Its true that at the start of their stage show, one could mistake them for two, fine ladies who are about to go to a 'Gala' dinner. The truth of the matter is that there is little left of this impression after every Mosh Mosh live show. The divas become stage divers and are not scared of ecstatic and extravagant 'stage acrobatics'. In brief: Mosh Mosh seem to be most at home when they are in tatters.
And it is only thus that the codes of 'ladylike behaviour' can be redefined. Let's deconstruct and your body will follow! Finissage: Friday, 05 August , at h in the presence of the artists. Emporium of Benevolent Data. Exhibition views from the opening. Sat It puts on display their recent works Citracit , a site-specific research-based installation by Adrien Guillet, and the two video installations IamRebekah and The Next Round by Quentin Lannes.
This exhibition was made possible by the kind support of the French Embassy in Switzerland. It combines queer archival research with contemporary art contributions. Founded in by artist Karol Radziszewski. Currently designed by Martin Falck. The journal is based in Poland, published in English and distributed worldwide. Derzeit Design von Martin Falck. Das Journal ist in Polen angesiedelt und wird auf Englisch herausgegeben und weltweit verteilt.
Die Diskussion wird moderiert von Robert Steinberger. Kollaboration mit Peter Baumgartner. Middle: Trouble Boy. Exhibition at Corner College, Photo: Everton Ballardin. The discussion will be moderated by Robert Steinberger. All The Things You Are settled , Taking his latest project "Queer Archives Institute" QAI as an example, Karol Radziszewski will talk how he is switching between the roles of an artist, an archivist, a collector and a curator. He will present the different forms the QAI takes - from an exhibition to a temporary office, a publication, a performance, a lecture.
He will discuss also how he is considering running a para-institution as a political statement. The "Queer Archives Institute" is a non-profit artist-run organisation dedicated to research, collection, digitalisation, presentation, exhibition, analysis and artistic interpretation of queer archives, with special focus on Central and Eastern Europe. Founded in November by Karol Radziszewski, the QAI is a long term project open to transnational collaboration with artists, activists and academic researchers.
All these players are operating without remorse. We will take a look at the images and representations of Alexandria in film and popular culture in contrast with what the city now is, following its rapid demographic and cultural change that has been taking place for decades, slowly approaching the true owners of the city.
Layers upon layers of ruins, burned to the ground, catacombs, not so secret gardens, elite cosmopolitans in beach cabins panicking over marching armies. Middle class tastes and values prevail. All die Spieler operieren darin ohne Gewissensbisse. Mittelklasse-Geschmack und Werte herrschen vor. Sunday, 10 July at h: Artist Talks, presentations and discussion.
Finissage on Friday, 5 August at h in the presence of the artists. The project takes shape through the creation of a number of modified advertising products, sculptures and accessories of African artisanship. Since the communication material of the Trans-African Company was destroyed, I take care of producing them from scratch. I chose to call my project Citracit in order to bring back to the present the history of the Trans-African Company. The two chevrons of the logo become sacred clan symbols.
We discover them once more on the sculptures, as motifs and texture. Online market places Le Bon Coin, Ebay, Price Minister and Delcampe allow me to collect at moderate cost advertising objects and tourist souvenirs from Africa I am interested in. The collection process in itself says something about our times, in the sense that it is mainly about online buying and postal shipping.
This dematerialization of the act of buying breaks any possibility of a personal narration, and raises questions about the problem of recycling of symbols. Indeed the value of the souvenir gifts brought back from Africa by travelers is almost nil, since they consist of an ersatz of traditional African art, produced for tourists airport art. These are thus indeed symbols, intrinsically poor fetish objects to which a strong history is attached. The status of these creations is ambiguous, both travel memories via a tour operator that has never worked, and counter-advertising products, problematic in that they evoke a chapter of French colonial history that has been completely blanked out.
Die beiden Sparren des Logos werden zu heiligen Clan-Symbolen. Wir entdecken sie erneut in den Skulpturen, als Motiv und Textur. Quentin Lannes IamRebekah Video still, Il y poursuit ses recherches sur les relations entre corps humain et nouvelles technologies. In it, he continues his research on the relations between human body and new technologies. Once again, he proposes an anticipative fiction anchored in a near future, proposing a view on the evolution of our current practices.
He investigated the recent developments of dispositifs that allow immersion into a virtual reality: through sight Oculus Rift helmets and HTC Vive , movement Omni movement platform and touch vibrating Teslasuit. Surprisingly, most of these so-called innovative dispositifs have existed since the beginning of the s but had not found a sufficiently large public at the time, which was turned towards the years He raises questions about the reasons that are finally stoking an interest with a larger public today, almost 30 years later.
The fiction VR Boxing thus raises questions about the practices of the body — here, sports, or more precisely, boxing — in the era of these virtual reality dispositifs. A boxer whose movements are registered by captors is not physically confronted with his adversary in a ring but fights a numerical simulation of another boxer, present in another physical space hundreds of kilometers away.
When a punch hits its target, an electrical discharge is sent to the adversary through his suit. A journalist interviews the boxer on the evolution of his sport, his perception of violence, his relation to the numerical dispositif that replaces physical interaction, etc. Capturing of movements operated at Artanim, Meyrin. Two flyers for the exhibition. Design: code flow. Keine exegese. Was aber ist dann mit der wirklichkeit des rauschens? No exegesis. For it would seem to me, with respect to the NBA project, to be an opportunity forgone if we did not put ourselves in the shoes of the author of your letter, and allow the question to arise: what is this?
Disturbance, or information that cannot be deciphered? There lies a similarity to silliness. But what about the reality of the noise? A transition in the possibilities of surprise. Within the domesticated plantations of goods, the work and value empires, a perennial festival is dressed, and the guest can not imagine how he or she should get tired of it in a thousand years. In the tropics we return to reason and faith. There I feel that nothing can befall me in life, which nature cannot repair.
Standing on the bare ground, all mean egotism vanishes. I become a transparent eye-ball; I am nothing; I see all; the currents of the Universal Being circulate through me; I am part, I am a particle of Nature. I am the lover of uncontained and immortal beauty. As bones, as bananas. The greatest delight which the tropics minister is the suggestion of an occult relation between people and the vegetable. Yet it is certain that the power to produce this delight, does not reside in nature, but in human, or in a harmony of both. The heat of man or woman labouring under calamity, illuminate the Nature wearing all the colours.
Baru: Die Sputnik-Jahre ; Reprodukt. Das schreit nach Rache. Wenn sich bloss die Erwachsenen nicht einmischen. Oder Leila. Und ebendiese Fledermaus scheint von grosser Bedeutung zu sein ….
- Si Klegg, Book 2 Thru The Stone River Campaign And In Winter Quarters At Murfreesboro!
- Das Babylon - GESCHICHTEN UM EIN BERLINER KINO MIT ABSCHWEIFUNGEN;
- The Secret of Secrets?
- A LIFE REVEALED...Under A Fiery Rainbow Sky.
- La neve sulla luna (Italian Edition).
Naoki Urasawa hat einen ganz eigenen Zeichnungsstil, welcher von amerikanischen Comics sowie japanischen Mangas inspiriert ist und diesen Comic noch lesenswerter macht. Matthew Diffee Hg. Comics und Filme waren sich schon immer sehr nah. Der Comix Shop und das kult. Nicht verpassen! Euer Voting auf der kult. Ihre Anmeldung nehmen wir gerne bis zum Freitag, September entgegen.
Wie soll man sich eine Dragonball-Lesung genau vorstellen? Doch wird die rasante Bildabfolge bei einer Lesung ihre entsprechende Umsetzung finden? Die erfolgreiche Serie der Manga-Lesungen wird fortgesetzt! Im zweiten Halbjahr starten wir bei Kapitel Der Mangatreff findet nun monatlich und in neuer Umgebung statt.
Verpasse keinen der kultigen Abende! Trau Dich! Folge 5: September Folge 6: Oktober Folge 7: November Folge 8: Eine ganze Manga-Generation ist mit diesem Kultmanga aufgewachsen. Spass macht es auf jeden Fall! Bis Du beim vierten Mal auch dabei? Neue LeserInnen sind jederzeit willkommen! Wir sehen uns am Mangatreff! Wie wir meinen. Das Album und die Sammelbildchen gibt es bei uns. Jeden ersten Samstag im Monat. Die weiteren Tauschtreff-Daten, jeweils Juni Samstag, 7. Juli Samstag, 4. August Viel Spass! Und aller guten Dinge sind nun mal drei. Kein Wunder also, dass dieser Tag in jeder Agenda einen fetten Eintrag verdient.
Wir freuen uns auf Euren Besuch. Mai , Die Zeiten mit den Malstunden in der Galerie sind definitiv vorbei. Wie bitte, was? Ja, ganz richtig. Ziemlich spontan, ziemlich laut, ziemlich turbulent, aber auch ziemlich unterhaltsam. Bist Du dabei? April entgegen. Es versteht sich von selbst, dass wir diesem exquisiten Comic-Magazin eine rauschende Vernissage bereiten werden.
Zur Vernissage sind alle herzlich eingeladen! Wir erinnern uns noch genau: Eines Tages stand Hannes wieder einmal bei uns im Laden und streckte uns ein Butterbrot-dickes Manuskript entgegen. Aber klar, immer doch. Hier hat jemand einen ausgereiften Comic zu Papier gebracht. Und die Zeit einer erbitterten Wirtschaftsfehde zwischen Grossbritannien und dem napoleonisch beherrschten Europa. Selbst die Basler Seidenbandherren sind vor dem strengen Regime nicht sicher.
Paris entsendet einen Wirtschaftsspion in die Grenzstadt am Rheinknie. Wir empfehlen dazu auch den Besuch im Museum. Mai Das Comix Shop-Team garantiert eine erlesene Auswahl. Grund genug, einen Besuch im Acero an diesem Februar-Weekend fest einzuplanen. Samstag, 4. Februar - Sonntag, 5. Du findest das Acero nicht? Hier ist der Lageplan. Du kennst die Zeichner nicht? Koostella in seinem Blog. Noch bis zum Die Weihnachtsgeschichte auf Japanisch! Und mit schwarzem Humor vom Feinsten!
Die spinnen doch, die Franzosen. Aber mal ehrlich: was braucht es mehr? Eine Selbstuntersuchung. Politik und Liebe lassen sich nun mal schlecht vereinbaren. Oder zwei. Seltsam, der Saal war doch vor drei Minuten gerade noch zum Bersten voll? Stupid, stupid, Rat Creatures!! Not macht erfinderisch. Die Mittagspause nutzt Asterios, um sich auf seinen brandneuen Job vorzubereiten. Und da haben unsere Gallier genau das richtige Rezept dazu Ein Ehering muss her. Koste es, was es wolle. Auf seine ganz eigene Art, ist dies auch ein Akt der Liebe.
Bei einem gemeinsamen Brunch am Sonntagmorgen beschliessen wir die gemeinsame Nacht. November entgegen. Copyright Matthias Gnehm. Paolo Leandro Beiti Basel 2. Oreo Suttipreecha Klongwongkam Zwingen. Mathias Winzer als "Rin" 30 Punkte 2. Shane Chu als Sasuke Uchiha" 15 Punkte 6. Wir gratulieren den Gewinnern ganz herzlich! Es hat wieder unheimlich Spass gemnacht. November Messe Basel, Halle 4. Veranstaltungsprogramm: Samstag, Der Samstag steht ganz im Zeichen der Manga-Kultur.
Wir freuen uns schon jetzt auf eine grosse Teilnehmerzahl! Eine einmalige Erfahrung! Denn erst hier zeigt sich, was wahrlich von bleibendem Wert ist. Cosplay-Contest Samstag, November von Wie funktioniert ein Cosplay-Wettbewerb? Welche Teilnahmebedingungen gibt es? Du meldest dich rechtzeitig mit dem Online-Formular an und sendest gleich ein pasendes Referenzbild mit.
Du kommst verkleidet als Comic- oder Mangafigur an die BuchBasel Was und Wie wird bewertet? Bei den Publikumstimmen wird besonders der Auftritt in der Messehalle, die Ausstrahlung und die Sympathie zu einer guten Wertung beitragen. Kann man auch als Gruppe teilnehmen? Es wird aber keine eigene Kategorie geben. Diesen muss die Gruppe dann untereinander aufteilen. Was muss man da machen? Es wird keine Show-Einlage geben. Bevor die Preisverleihung stattfindet, wollen wir einfach alle Cosplayer und ihre Charaktere dem Publikum vorstellen.
Das ist auch schon alles. Ab Uhr Spaziergang durch die Messe. Die Jury gibt die Auswertung bekannt. Weitere Fragen? Gerne geben wir auf alle deine Fragen Antwort. Am Besten per Mail. Oder du schaust bei uns im Shop vorbei. Lassen Sie sich von uns beraten! Stimmt ab und entscheidet mit, welcher Film gezeigt werden soll. Mit diesem Doodle-Link geht es zur Abstimmung. Am helllichten Tag erscheinen eigenartige Wesen, Blanks genannt. Aber was hat das alles zu bedeuten?
Viel Zeit haben sie allerdings nicht. Wir schreiben das Jahr , die Menschheit steht an der Schwelle der Vernichtung. Auch Renton und Eureka erleben die Tage des Kriegs. Doch der Traum wird schon bald zum Albtraum. Natsuki hat ihm verschwiegen, dass ihre Familie riesig ist und er sich vor allen als ihr Verlobter ausgeben soll. Ausserdem hat jemand ein riesiges Chaos im Internet verursacht - mit seinem Internet-Zugang!
Summer Wars vereint eine witzige Beziehungskiste mit nie dagewesenen Animationen einer virtuellen Parallelwelt, die die reale Welt zu verschlingen droht. Die Filmrechte liegen beim Filmverleih. Wir suchen die aufregendsten Zeichentalente der Region. Die Jury. Rechtliches Der Rechtsweg ist ausgeschlossen. Sommertage sind auch Lesetage!
Juni bis am Warum also nicht mal eine neue Serie Probelesen? Signierung Samstag, Mai bis Juni Mai , ab Zum Beispiel, wenn es gratis Comics gibt. Nach dem gewaltigen Ansturm im letzten Jahr war allen Beteiligten klar: das muss es wieder geben! Es versteht sich von selbst, dass dieses Jahr wiederum alle wichtigen deutschen Comic-Verlage sich am Gratis Comic Tag beteiligen und exklusive Comic-Titel produzieren.
Datum sofort anstreichen und den Wecker stellen! Gratis Comic Tag beteiligen sich 28 deutsche Comic-Verlage. Wir verteilen die letzten Hefte an die ausgehungerte Meute. Montag, 4. Zwei Dutzend Titel stellen wir Ihnen an diesem Abend vor. Ihre Anmeldung nehmen wir gerne bis Freitag, 1. Einrichten der Galerie ab Eine traumhafte Manga-Gale????? Wer hilft mit? Wer hat Zeit und Lust, unsere Galerie komplett zu verwandeln? Ideen, Einsatz und Eigenkreationen sind gefragt.
Einfach vorbeibringen und einrichten. Wer bringt die Musik? Sag uns einfach, was Du vorhast und wir helfen Dir gerne beim Umsetzen und Einrichten. Dezember von Lesereise nimmt ihren Lauf. Andy Fischli spielt in seinen Comics virtuos mit Sinnverschiebungen und Gedankenexperimenten. Wir zeigen den Illustrator und Comiczeichner Andy Fischli von all seinen grafischen Seiten und stellen Originale aus allen Wirkungsbereichen vor. November - November in der Messe Halle 4.
Ausstellung vom Oktober - Enrico Marinis Comics sind bis in die feinsten Pinselstriche ein perfekter Lesegenuss. Dabei richtet sich unser Augenmerk besonders auf kinder- und jugendspezifische Comics sowie auf moderne Klassiker. Dann bring uns Deine beste Zeichnung mit und wir nehmen Dich in die Auswahl auf! So einfach geht das. Der aktuelle Flyer stammt von Stanil Temelkov aus Basel und sieht wieder mal echt toll aus.
Herzlichen Dank, Stanil! Das hat es noch nie gegeben! Noch nie konnte man so preiswert neue Serien oder Verlage kennenlernen. Der Comix Shop bietet deshalb die doppelte, geballte Ladung: Denn auch von den amerikanischen Verlagen haben wir jede Menge Freiexemplare bestellt. Der 8. Mai soll zu einer regelrechten Comic-Fiesta werden. Alle Freiexemplare nur solange der Vorrat reicht! Ja, da war doch mal was Jedes Team kommt in einem anderen Stil daher. Ob das hilft? Die Macher mussten so manche Nachtschicht einlegen, denn jedes Sammelbildchen-Paket wurde handverpackt, handgestempelt, handgeklebt und auf die Reise geschickt.
Am April geht der Sammelspass los. Diese wird von staatlich gelenkten Gangs regiert, denen sich jeder Jugendliche anschliessen muss. Oder besser: anschliessen sollte. Sonst wird man als Aussenseiter abgestempelt und riskiert, von den Gangs schikaniert zu werden. Die originale sind bei uns im Laden zu besichtigen. Den Hello Offer Calendar Contact. Hello Comix Shop - Since , the bookshop specializing in speech bubbles and comic strips, situated in the Theaterplatz in Basel.
Registration newsletter leave empty. Mit diesen Tipps bist Du bestens gewappnet. Der Sommer kann kommen! Und mittendrin: der Junge Ren. Popcornkino im Comic-Format. In packenden Bilder umgesetzt und in schrillen Eighties-Farben entgegen geschleudert. Tokyo Ghoul Root A. Bereits den ganzen Sommer durch haben wir ungeduldig auf Neuerscheinungen gelauert, um diese flugs zu lesen und auf ihre Bibliotheks-Tauglichkeit abzuklopfen. Der Bibliotheksabend richtet sich — wie es der Name schon andeutet — an Bibliothekare, doch wir teilen unsere aktuellen Lesetipps jederzeit und gerne auch mit Dir.
Oktober per Mail oder Telefon.
- El Camino de la Cabra III: la oscura senda de la venganza (Spanish Edition);
- Jimmys Monster Truck (Jimmy the Racing Frog Book 2).
- The Traumatic Imagination: Histories of Violence in Magical Realist Fiction.
- Linux Journal March 2012.
Ein Nachmittag mit Spass-Garantie! August Preisverleihung : Samstag, September um Wirres Seemannsgarn? Dann mach jetzt das Beste daraus: einen Comic! August Datum Poststempel. Melanie Schober und Enrico Marini signieren ihre Comics. Oktober im Comix Shop abgeholt werden. Auf dem Laufenden bleiben und nichts verpassen? Auf readytoread. Kein Comicfan kommt um den Gratis Comic Tag herum.
Warum auch? Darum nichts wie hin. He gave it me at Savannah, when he lay a-dying, like as if I was to now, you see. What I should have done had all gone well I do not know. Probably I should have told the whole story to the doctor, for I was in mortal fear lest the captain should repent of his confessions and make an end of me. But as things fell out, my poor father died quite suddenly that evening, which put all other matters on one side. Our natural distress, the visits of the neighbours, the arranging of the funeral, and all the work of the inn to be carried on in the meanwhile kept me so busy that I had scarcely time to think of the captain, far less to be afraid of him.
He got downstairs next morning, to be sure, and had his meals as usual, though he ate little and had more, I am afraid, than his usual supply of rum, for he helped himself out of the bar, scowling and blowing through his nose, and no one dared to cross him. On the night before the funeral he was as drunk as ever; German aboard: an Bord, anwesend. I have said the captain was weak, and indeed he seemed rather to grow weaker than regain his strength.
He clambered up and down stairs, and went from the parlour to the bar and back again, and sometimes put his nose out of doors to smell the sea, holding on to the walls as he went for support and breathing hard and fast like a man on a steep mountain. He never particularly addressed me, and it is my belief he had as good as forgotten his confidences; but his temper was more flighty, and allowing for his bodily weakness, more violent than ever. He had an alarming way now when he was drunk of drawing his cutlass and laying it bare before him on the table.
But with all that, he minded people less and seemed shut up in his own thoughts and rather wandering. Once, for instance, to our extreme wonder, he piped up to a different air, a king of country love-song that he must have learned in his youth before he had begun to follow the sea. He was plainly blind, for he tapped before him with a stick and wore a great green shade over his eyes and nose; and he was hunched, as if with age or weakness, and wore a huge old tattered sea-cloak with a hood that made him appear positively deformed.
I never saw in my life a more dreadful-looking figure. Will you give me your hand, my kind young friend, and lead me in? Robert Louis Stevenson 23 I held out my hand, and the horrible, soft-spoken, eyeless creature gripped it in a moment like a vise. I was so much startled that I struggled to withdraw, but the blind man pulled me close up to him with a single action of his arm. The captain is not what he used to be.
He sits with a drawn cutlass. It cowed me more than the pain, and I began to obey him at once, walking straight in at the door and towards the parlour, where our sick old buccaneer was sitting, dazed with rum. The blind man clung close to me, holding me in one iron fist and leaning almost more of his weight on me than I could carry. Between this and that, I was so utterly terrified of the blind beggar that I forgot my terror of the captain, and as I opened the parlour door, cried out the words he had ordered in a trembling voice. The poor captain raised his eyes, and at one look the rum went out of him and left him staring sober.
The expression of his face was not so much of terror as of mortal sickness. He made a movement to rise, but I do not believe he had enough force left in his body. Business is business. Hold out your left hand. Boy, take his left hand by the wrist and bring it near to my right. German beggar: Bettler. Even as he did so, he reeled, put his hand to his throat, stood swaying for a moment, and then, with a peculiar sound, fell from his whole height face foremost to the floor. I ran to him at once, calling to my mother.
But haste was all in vain. The captain had been struck dead by thundering apoplexy. It is a curious thing to understand, for I had certainly never liked the man, though of late I had begun to pity him, but as soon as I saw that he was dead, I burst into a flood of tears. It was the second death I had known, and the sorrow of the first was still fresh in my heart.
German apoplexy: Schlaganfall, Apoplexie. Indeed, it seemed impossible for either of us to remain much longer in the house; the fall of coals in the kitchen grate, the very ticking of the clock, filled us with alarms. The neighbourhood, to our ears, seemed haunted by approaching footsteps; and what between the dead body of the captain on the parlour floor and the thought of that detestable blind beggar hovering near at hand and ready to return, there were moments when, as the saying goes, I jumped in my skin for terror.
Something must speedily be resolved upon, and it occurred to us at last to go forth together and seek help in the neighbouring hamlet. No sooner said than done. Bare-headed as we were, we ran out at once in the gathering evening and the frosty fog. We were not many minutes on the road, though we sometimes stopped to lay hold of each other and hearken. But there was no unusual sound—nothing but the low wash of the ripple and the croaking of the inmates of the wood. For—you would have thought men would have been ashamed of themselves—no soul would consent to return with us to the Admiral Benbow.
The more we told of our troubles, the more—man, woman, and child—they clung to the shelter of their houses. The name of Captain Flint, though it was strange to me, was well enough known to some there and carried a great weight of terror. And the short and the long of the matter was, that while we could get several who were willing enough to ride to Dr.
They say cowardice is infectious; but then argument is, on the other hand, a great emboldener; and so when each had said his say, my mother made them a speech. Back we will go, the way we came, and small thanks to you big, hulking, chicken- hearted men. Crossley, to bring back our lawful money in. Robert Louis Stevenson 27 Of course I said I would go with my mother, and of course they all cried out at our foolhardiness, but even then not a man would go along with us.
A full moon was beginning to rise and peered redly through the upper edges of the fog, and this increased our haste, for it was plain, before we came forth again, that all would be as bright as day, and our departure exposed to the eyes of any watchers. We slipped along the hedges, noiseless and swift, nor did we see or hear anything to increase our terrors, till, to our relief, the door of the Admiral Benbow had closed behind us.
He lay as we had left him, on his back, with his eyes open and one arm stretched out. I went down on my knees at once. On the floor close to his hand there was a little round of paper, blackened on the one side. This sudden noise startled us shockingly; but the news was good, for it was only six. A few small coins, a thimble, and some thread and big needles, a piece of pigtail tobacco bitten away at the end, German beating: Schlagen, Klopfen. Overcoming a strong repugnance, I tore open his shirt at the neck, and there, sure enough, hanging to a bit of tarry string, which I cut with his own gully, we found the key.
At this triumph we were filled with hope and hurried upstairs without delay to the little room where he had slept so long and where his box had stood since the day of his arrival. A strong smell of tobacco and tar rose from the interior, but nothing was to be seen on the top except a suit of very good clothes, carefully brushed and folded.
They had never been worn, my mother said. Under that, the miscellany began—a quadrant, a tin canikin, several sticks of tobacco, two brace of very handsome pistols, a piece of bar silver, an old Spanish watch and some other trinkets of little value and mostly of foreign make, a pair of compasses mounted with brass, and five or six curious West Indian shells. I have often wondered since why he should have carried about these shells with him in his wandering, guilty, and hunted life.
In the meantime, we had found nothing of any value but the silver and the trinkets, and neither of these were in our way. Underneath there was an old boat-cloak, whitened with sea-salt on many a harbour-bar. My mother pulled it up with impatience, and there lay before us, the last things in the chest, a bundle tied up in oilcloth, and looking like papers, and a canvas bag that gave forth, at a touch, the jingle of gold.
Hold Mrs. The guineas, too, were about the scarcest, and it was with these only that my mother knew how to make her count. It drew nearer and nearer, while we sat holding our breath. Then it struck sharp on the inn door, and then we could hear the handle being turned and the bolt rattling as the wretched being tried to enter; and then there was a long time of silence both within and without. At last the tapping recommenced, and, to our indescribable joy and gratitude, died slowly away again until it ceased to be heard.
But my mother, frightened as she was, would not consent to take a fraction more than was due to her and was obstinately unwilling to be content with less. It was not yet seven, she said, by a long way; she knew her rights and she would have them; and she was still arguing with me when a little low whistle sounded a good way off upon the hill. That was enough, and more than enough, for both of us. Next moment we were both groping downstairs, leaving the candle by the empty chest; and the next we had opened the door and were in full retreat.
The fog was rapidly dispersing; already the moon shone quite clear on the high ground on either side; and it was only in the exact bottom of the dell and round the tavern door that a thin veil still hung unbroken to conceal the first steps of our escape. Far less than half-way to the hamlet, very little beyond the bottom of the hill, we must come forth into the moonlight.
Nor was this all, for the sound of several footsteps running came already to our ears, and as we looked back in their direction, a light tossing to and fro and still rapidly advancing showed that one of the newcomers carried a lantern. I am going to faint. How I cursed the cowardice of the neighbours; how I blamed my poor mother for her honesty and her greed, for her past foolhardiness and present weakness! We were just at the little bridge, by good fortune; and I helped her, tottering as she was, to the edge of the bank, where, sure enough, she gave a sigh and fell on my shoulder.
I do not know how I found the strength to do it at all, and I am afraid it was roughly done, but I managed to drag her down the bank and a little way under the arch. Farther I could not move her, for the bridge was too low to let me do more than crawl below it. So there we had to stay—my mother almost entirely exposed and both of us within earshot of the inn. I was scarcely in position ere my enemies began to arrive, seven or eight of them, running hard, their feet beating out of time along the road and the man with the lantern some paces in front.
Three men ran together, hand in hand; and I made out, even through the mist, that the middle man of this trio was the blind beggar. The next moment his voice showed me that I was right. But the pause was brief, for the blind man again issued his commands. His voice sounded louder and higher, as if he were afire with eagerness and rage. German afire: brennend. I could hear their feet rattling up our old stairs, so that the house must have shook with it. I wish I had put his eyes out!
Rout the house out! German addressed: adressiert. Robert Louis Stevenson 33 Then there followed a great to-do through all our old inn, heavy feet pounding to and fro, furniture thrown over, doors kicked in, until the very rocks re-echoed and the men came out again, one after another, on the road and declared that we were nowhere to be found.
Scatter and look for them, dogs! If you had the pluck of a weevil in a biscuit you would catch them still. This quarrel was the saving of us, for while it was still raging, another sound came from the top of the hill on the side of the hamlet—the tramp of horses galloping. Almost at the same time a pistol-shot, flash and report, came from the hedge side. And that was plainly the last signal of danger, for the buccaneers turned at once and ran, separating in every direction, one seaward along the cove, one slant across the hill, and so on, so that in half a minute not a sign of them remained but Pew.
Him they had deserted, whether in sheer panic or out of revenge for his ill words and blows I know not; but there he remained behind, tapping up and down the road in a frenzy, and groping and calling for his comrades. At this Pew saw his error, turned with a scream, and ran straight for the ditch, into which he rolled. But he was on his feet again in a second and made another dash, now utterly bewildered, right under the nearest of the coming horses.
The rider tried to save him, but in vain. Down went Pew with a cry that rang high into the night; and the four hoofs trampled and spurned him and passed by. He fell on his side, then gently collapsed upon his face and moved no more. I leaped to my feet and hailed the riders. They were pulling up, at any rate, horrified at the accident; and I soon saw what they were. One, tailing out behind the rest, was a lad that had gone from the hamlet to Dr. Robert Louis Stevenson 35 found its way to Supervisor Dance and set him forth that night in our direction, and to that circumstance my mother and I owed our preservation from death.
As for my mother, when we had carried her up to the hamlet, a little cold water and salts and that soon brought her back again, and she was none the worse for her terror, though she still continued to deplore the balance of the money. He hailed her. A voice replied, telling him to keep out of the moonlight or he would get some lead in him, and at the same time a bullet whistled close by his arm. Soon after, the lugger doubled the point and disappeared.
Dance could make nothing of the scene. Well, then, Hawkins, what in fortune were they after? More money, I suppose? German ambushes: Hinterhalte. And, now I come to think of it, I might as well ride round there myself and report to him or squire. By the time I had told mother of my purpose they were all in the saddle. The house was all dark to the front. Dance told me to jump down and knock, and Dogger gave me a stirrup to descend by. The door was opened almost at once by the maid. Livesey in? No, she said, he had come home in the afternoon but had gone up to the hall to dine and pass the evening with the squire.
Here Mr. Dance dismounted, and taking me along with him, was admitted at a word into the house. The servant led us down a matted passage and showed us at the end into a great library, all lined with bookcases and busts upon the top of them, where the squire and Dr. Livesey sat, pipe in hand, on either side of a bright fire. He was a tall man, over six feet high, and broad in proportion, and he had a bluff, rough-and-ready face, all roughened and reddened and lined in his long travels.
His eyebrows were very black, and moved readily, and this gave him a look of some temper, not bad, you would say, but quick and high. What good wind brings you here? When they heard how my mother went back to the inn, Dr. Long before it was done, Mr. At last Mr. Dance finished the story. And as for riding down that black, atrocious miscreant, I regard it as an act of virtue, sir, like stamping on a cockroach.
This lad Hawkins is a trump, I perceive. Hawkins, will you ring that bell? Dance must have some ale. The doctor looked it all over, as if his fingers were itching to open it; but instead of doing that, he put it quietly in the pocket of his coat. Robert Louis Stevenson 39 and with your permission, I propose we should have up the cold pie and let him sup.
Dance was further complimented and at last dismissed. He was the bloodthirstiest buccaneer that sailed. Blackbeard was a child to Flint. The Spaniards were so prodigiously afraid of him that, I tell you, sir, I was sometimes proud he was an Englishman. What were these villains after but money? What do they care for but money? For what would they risk their rascal carcasses but money? What I want to know is this: Supposing that I have here in my pocket some clue to where Flint buried his treasure, will that treasure amount to much? It contained two things—a book and a sealed paper. The squire and I were both peering over his shoulder as he opened it, for Dr.
Livesey had kindly motioned me to come round from the side-table, where I had been eating, to enjoy the sport of the search. On the first page there were only some scraps of writing, such as a man with a pen in his hand might make for idleness or practice. A knife in his back as like as not. Livesey as he passed on. The next ten or twelve pages were filled with a curious series of entries. There was a date at one end of the line and at the other a sum of money, as in common account-books, but instead of explanatory writing, only a varying number of crosses between the two.
On the 12th of June, , for instance, a sum of seventy pounds had plainly become due to someone, and there was nothing but six crosses to explain the cause. These crosses stand for the names of ships or towns that they sank or plundered. God help the poor souls that manned her—coral long ago. And the amounts increase, you see, as he rose in rank. The doctor opened the seals with great care, and there fell out the map of an island, with latitude and longitude, soundings, names of hills and bays and inlets, and every particular that would be needed to bring a ship to a safe anchorage upon its shores.
Skeleton Island E. Ten feet. That was all; but brief as it was, and to me incomprehensible, it filled the squire and Dr. Livesey with delight. Tomorrow I start for Bristol. Hawkins shall come as cabin- boy. We are not the only men who know of this paper. We must none of us go alone till we get to sea. The doctor had to go to London for a physician to take charge of his practice; the squire was hard at work at Bristol; and I lived on at the hall under the charge of old Redruth, the gamekeeper, almost a prisoner, but full of sea-dreams and the most charming anticipations of strange islands and adventures.
I brooded by the hour together over the map, all the details of which I well remembered. Sometimes the isle was thick with savages, with whom we fought, sometimes full of dangerous animals that hunted us, but in all my fancies nothing occurred to me so strange and tragic as our actual adventures. So the weeks passed on, till one fine day there came a letter addressed to Dr.
The ship is bought and fitted. She lies at anchor, ready for sea. You never imagined a sweeter schooner—a child might sail her—two hundred tons; name, Hispaniola. The admirable fellow literally slaved in my interest, and so, I may say, did everyone in Bristol, as soon as they got wind of the port we sailed for—treasure, I mean.
Livesey will not like that. The squire has been talking, after all. Livesey, I should think. There is a class of men in Bristol monstrously prejudiced against Blandly. They go the length of declaring that this honest creature would do anything for money, that the Hispaniola belonged to him, and that he sold it me absurdly high— the most transparent calumnies.
None of them dare, however, to deny the merits of the ship. So far there was not a hitch. The workpeople, to be sure—riggers and what not—were most annoyingly slow; but time cured that. It was the crew that troubled me. German absurdly: absurd, absurderweise, sinnwidrig. I was standing on the dock, when, by the merest accident, I fell in talk with him. I found he was an old sailor, kept a public-house, knew all the seafaring men in Bristol, had lost his health ashore, and wanted a good berth as cook to get to sea again. He had hobbled down there that morning, he said, to get a smell of the salt.
He has no pension, Livesey. Imagine the abominable age we live in! Well, sir, I thought I had only found a cook, but it was a crew I had discovered. Between Silver and myself we got together in a few days a company of the toughest old salts imaginable—not pretty to look at, but fellows, by their faces, of the most indomitable spirit. I declare we could fight a frigate. Long John even got rid of two out of the six or seven I had already engaged. He showed me in a moment that they were just the sort of fresh-water swabs we had to fear in an adventure of importance.
I am in the most magnificent health and spirits, eating like a bull, sleeping like a tree, yet I shall not enjoy a moment till I hear my old tarpaulins tramping round the capstan. Seaward, ho! Hang the treasure! So now, Livesey, come post; do not lose an hour, if you respect me.
Let young Hawkins go at once to see his mother, with Redruth for a guard; and then both come full speed to Bristol. Robert Louis Stevenson 47 found an admirable fellow for sailing master—a stiff man, which I regret, but in all other respects a treasure. Long John Silver unearthed a very competent man for a mate, a man named Arrow.
He leaves his wife to manage the inn; and as she is a woman of colour, a pair of old bachelors like you and I may be excused for guessing that it is the wife, quite as much as the health, that sends him back to roving. You can fancy the excitement into which that letter put me. I was half beside myself with glee; and if ever I despised a man, it was old Tom Redruth, who could do nothing but grumble and lament. Nobody but old Redruth would have dared so much as even to grumble. The next morning he and I set out on foot for the Admiral Benbow, and there I found my mother in good health and spirits.
The captain, who had so long been a cause of so much discomfort, was gone where the wicked cease from troubling. The squire had had everything repaired, and the public rooms and the sign repainted, and had added some furniture—above all a beautiful armchair for mother in the bar. He had found her a boy as an apprentice also so that she should not want help while I was gone. It was on seeing that boy that I understood, for the first time, my situation.
I said good-bye to Mother and the cove where I had lived since I was born, and the dear old Admiral Benbow—since he was repainted, no longer quite so dear. One of my last thoughts was of the captain, who had so often strode along the beach with his cocked hat, his sabre-cut cheek, and his old brass telescope. Next moment we had turned the corner and my home was out of sight. The mail picked us up about dusk at the Royal George on the heath. I was wedged in between Redruth and a stout old gentleman, and in spite of the swift motion and the cold night air, I must have dozed a great deal from the very first, and then slept like a log up hill and down dale through stage after stage, for when I was awakened at last it was by a punch in the ribs, and I opened my eyes to find that we were standing still before a large building in a city street and that the day had already broken a long time.
Trelawney had taken up his residence at an inn far down the docks to superintend the work upon the schooner. Thither we had now to walk, and our way, to my great delight, lay along the quays and beside the great multitude of ships of all sizes and rigs and nations. Though I had lived by the shore all my life, I seemed never to have been near the sea till then. The smell of tar and salt was something new. I saw the most wonderful figureheads, that had all been far over the ocean. Robert Louis Stevenson 49 sea- walk; and if I had seen as many kings or archbishops I could not have been more delighted.
And I was going to sea myself, to sea in a schooner, with a piping boatswain and pig-tailed singing seamen, to sea, bound for an unknown island, and to seek for buried treasure! I set off, overjoyed at this opportunity to see some more of the ships and seamen, and picked my way among a great crowd of people and carts and bales, for the dock was now at its busiest, until I found the tavern in question. It was a bright enough little place of entertainment.
The sign was newly painted; the windows had neat red curtains; the floor was cleanly sanded. There was a street on each side and an open door on both, which made the large, low room pretty clear to see in, in spite of clouds of tobacco smoke. The customers were mostly seafaring men, and they talked so loudly that I hung at the door, almost afraid to enter.
As I was waiting, a man came out of a side room, and at a glance I was sure he must be Long John. His left leg was cut off close by the hip, and under the left shoulder he carried a crutch, which he managed with wonderful dexterity, hopping about upon it like a bird. He was very tall and strong, with a face as big German bales: Ballen.
Robert Louis Stevenson 51 as a ham—plain and pale, but intelligent and smiling. Indeed, he seemed in the most cheerful spirits, whistling as he moved about among the tables, with a merry word or a slap on the shoulder for the more favoured of his guests. But one look at the man before me was enough. I had seen the captain, and Black Dog, and the blind man, Pew, and I thought I knew what a buccaneer was like— a very different creature, according to me, from this clean and pleasant-tempered landlord.
I plucked up courage at once, crossed the threshold, and walked right up to the man where he stood, propped on his crutch, talking to a customer. Silver, sir? And who may you be? You are our new cabin-boy; pleased I am to see you. Just then one of the customers at the far side rose suddenly and made for the door. It was close by him, and he was out in the street in a moment. But his hurry had attracted my notice, and I recognized him at glance. It was the tallowfaced man, wanting two fingers, who had come first to the Admiral Benbow.
Harry, run and catch him. Has Mr. Trelawney not told you of the buccaneers? He was one of them. Ben, run and help Harry. One of those swabs, was he? Was that you drinking with him, Morgan? Step up here. And what was he saying to you? Pipe up! What was it? And a mighty suitable thing, too, and you may lay to that. Get back to your place for a lubber, Tom.
He used to come here with a blind beggar, he used. His name was Pew. That were his name for certain. Ah, he looked a shark, he did! He should run him down, hand over hand, by the powers! My suspicions had been thoroughly reawakened on finding Black Dog at the Spy- glass, and I watched the cook narrowly. But he was too deep, and too ready, and too clever for me, and by the time the two men had come back out of breath and confessed that they had lost the track in a crowd, and been scolded like thieves, I would have gone bail for the innocence of Long John Silver.
Here I have this confounded son of a Dutchman sitting in my own house drinking of my own rum! Here you comes and tells me of it plain; and here I let him give us all the slip before my blessed deadlights! I see that when you first come in. Now, here it is: What could I do, with this old timber I hobble on? I could not help joining, and we laughed together, peal after peal, until the tavern rang again. But come now, stand by to go about.
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Dooty is dooty, messmates. Nor you neither, says you; not smart—none of the pair of us smart. But dash my buttons! That was a good un about my score. I began to see that here was one of the best of possible shipmates. When we got to the inn, the squire and Dr. Livesey were seated together, finishing a quart of ale with a toast in it, before they should go aboard the schooner on a visit of inspection.
Long John told the story from first to last, with a great deal of spirit and the most perfect truth. The two gentlemen regretted that Black Dog had got away, but we all agreed there was nothing to be done, and after he had been complimented, Long John took up his crutch and departed. German anecdote: Anekdote. At last, however, we got alongside, and were met and saluted as we stepped aboard by the mate, Mr. Arrow, a brown old sailor with earrings in his ears and a squint. He and the squire were very thick and friendly, but I soon observed that things were not the same between Mr.
Trelawney and the captain. This last was a sharp-looking man who seemed angry with everything on board and was soon to tell us why, for we had hardly got down into the cabin when a sailor followed us. The captain, who was close behind his messenger, entered at once and shut the door behind him. But here Dr. Livesey cut in. No use of such questions as that but to produce ill feeling. Now, why? But now I find that every man before the mast knows more than I do.
Trelawney the secret has been told to the parrot. Are they not good seamen? They are putting the powder and the arms in the fore hold. Now, you have a good place under the cabin; why not put them there? Then, you are bringing four of your own people with you, and they tell me some of them are to be berthed forward. Why not give them the berths here beside the cabin? And I could see that neither he nor the captain paid much regard to Mr.
Neither did I, to be sure, he was so loose a talker; yet in this case I believe he was really right and that nobody had told the situation of the island. Otherwise I would ask you to let me resign. In other words, you fear a mutiny. No captain, sir, would be justified in going to sea at all if he had ground enough to say that. As for Mr. Arrow, I believe him thoroughly honest; some of the men are the same; all may be for what I know. I see things going, as I think, not quite right. And I ask you to take certain precautions or let me resign my berth.
When I came in here I meant to get discharged. I had no thought that Mr. Trelawney would hear a word. As it is, I have heard you. I will do as you desire, but I think the worse of you. Arrow stood by superintending. The new arrangement was quite to my liking. The whole schooner had been overhauled; six berths had been made astern out of what had been the after-part of the main hold; and this set of cabins was only joined to the galley and forecastle by a sparred passage on the port side. It had been originally meant that the captain, Mr. Arrow, Hunter, Joyce, the doctor, and the squire were to occupy these six berths.
Now Redruth and I were to get two of them and Mr.
Arrow and the captain were to sleep on deck in the companion, which had been enlarged on each side till you might almost have called it a round-house. Very low it was still, of course; but there was room to swing two hammocks, and even the mate seemed pleased with the arrangement. Even he, perhaps, had been doubtful as to the crew, but that is only guess, for as you shall hear, we had not long the benefit of his opinion.
We were all hard at work, changing the powder and the berths, when the last man or two, and Long John along with them, came off in a shore-boat. Hands will want supper. Off with you to the cook and get some work. German amidships: mittschiffs, mitschiffs. Blandly and the like, coming off to wish him a good voyage and a safe return. We never had a night at the Admiral Benbow when I had half the work; and I was dog-tired when, a little before dawn, the boatswain sounded his pipe and the crew began to man the capstanbars.
But soon the anchor was short up; soon it was hanging dripping at the bows; soon the sails began to draw, and the land and shipping to flit by on either side; and before I could lie down to snatch an hour of slumber the Hispaniola had begun her voyage to the Isle of Treasure. I am not going to relate that voyage in detail.