Notes, acknowledgments, links


Photo: page 3, Alla Nazimova at ; page 6, Mata Hari at

Another January  

Photo: detail, Raindrops at

As Pictures

I have taken the title from William Shakespeare's play, Macbeth.  Lady Macbeth says, "...The sleeping and the dead / Are but as pictures." (II.ii.53-4).


In a collection of articles by Charles Rycroft, Psychoanalysis and Beyond (1985, Chatto & Windus), is his summary of some of John Bowlby's findings on attachment, separation and loss: "Healthy mourning can conveniently be divided into four stages: (a) numbing, (b) yearning and searching for the lost figure, (c) disorganization and despair, (d) reorganization. True sorrow is being resisted in stage (b) and admitted in stage (c)."

Solace was composed by Scott Joplin.

The picture is a detail from the painting, Sleeping Man, by Ellen Altfest, at





























Those Were The Days, My Friend 

Photos: page 1, Mom-original at; page 2, Moll Flanders (I can't recall on which website I found this picture).

The title phrase is from the English lyric by Gene Raskin to the Russian song, Dorogoi Dlinnoyu, by Boris Fomin and Konstantin Podrevskii.

Tomorrow in Metropolis

Photo: page 9, a still from the 1927 film, Metropolis, directed by Fritz Lang, at  also  for Lang's original trailer.

'Warm Valley'

Photos: page 1, ; page 3, ; page 5,  

A version of the story first appeared in Blue Light, the newsletter of The Duke Ellington Society UK, vol.12, no.4.  For information about Ellington, visit the DESUK website, and follow links to other sites there.

The recording of Warm Valley by Duke Ellington and His Famous Orchestra with solos by Ellington, Johnny Hodges and Cootie Williams referred to in the story can be heard on Youtube at

You Don't Have To Say You Love Me

Photos: pages 1, 4, ; page 2 at 

The song is by Pino Donaggio and Vito Pallavicini; English lyrics were by Vicki Wickham and Simon Napier-Bell.
















Foul Is Fair      

Fleance is a character in William Shakespeare's play, Macbeth.

Paintings and drawing are by Pablo Picasso: title page and pages 1, 2, 3, 5, all details from Guernica, 1937 at; page 2 (second picture), detail, Stalin, 1953 at; page 4, detail, Mother and Child, undated, at; page 6, detail, untitled painting at

The witches' recipes are from Reginald Scott, The Discoverie of Witchcraft, 1584. Geilles Duncane, Agnes Sampson and Agnes Tompson were named in witch trials in Newes From Scotland, 1591. Extracts from both are in John Dover Wilson's Life In Shakespeare's England (1944, Penguin).

A Good Fist

Photo: page 1, detail, early 1930s crowd scene, Hulton Archive.  Drawing: page 8, untitled by Roger Deacon, 1988:

A version of this story first appeared in Blue Light, the newsletter of The Duke Ellington Society UK, vol. 13, no. 4, under the title, 'Come Sunday'.  For information about Ellington, visit the DESUK website, and follow the links there.

I imagine that the piano improvisation played by Duke Ellington was to become the composition, Come Sunday , the second movement of an extended work, Black, Brown and Beige; Tone Parallel to the American Negro . Ten years later, in Carnegie Hall, Ellington and his musicians were to depict workers standing outside a church, watching and listening, unadmitted. The theme would develop to the time when the workers have a church of their own.

Recordings of Come Sunday by Duke Ellington and His Famous Orchestra can be heard on Youtube at and, with Mahalia Jackson singing, at


Drawing: untitled by Roger Deacon, 1988:    

Nineteen Fifty-seven

Photos: page 1, at; page 2, at

The music to Stairway to the Stars was by Matt Melneck and Frank Signorelli, the lyric by Mitchell Parish.

The Sigh, The Heart

Photos:  page 1, at ; page 7 at

I have taken the title from Karl Marx's Introduction to A Contribution to the Critique of Hegel's Philosophy of Right(1843-4): "Religion is the sigh of the oppressed creature, the heart of a heartless world."









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