Falkirk 1-1 Dumbarton

SPFL Tier 2, Falkirk Stadium, 20/9/14

Sons fans gave over the first minute of this game to applause in appreciation of Kirsty Mackie, a dedicated Dumbarton fan who died unexpectedly this week. So it goes.

In many ways this was a case of getting out of jail. For at least three quarters of this game we weren’t in it. Falkirk’s players seemed to have acres of space, we didn’t seem to be pressing, our passing was woeful. Their goal followed three missed tackles, an evasion of Scott Linton that was far too easy and a cross to an unmarked man. They also hit the bar in that half and Danny Rogers had to come out quickly and spread himself well to prevent a second. Apart from that though Falkirk were pretty unimpressive.

In the second they made Danny Rogers make one more save, a blinding, twisting, reflex effort that was out of the top drawer.

Credit to manager Ian Murray, though, who made his substitutions and went for it, even to the extent of putting Andy Graham up front in the attempt to salvage a point, a tactic I’ve not seen Murray use before. (Sadly this only showed why Andy is better employed at centre half – but his presence may have been a factor in upsetting Falkirk’s defence.)

We dominated the last ten minutes and the equaliser was coming, their keeper had to make several saves and Colin Nish got just too much onto an Archie Campbell cross. The goal followed a sublime piece of footwork from Steven McDougall to get into the box and square it for Chris Kane to score yet another of his late goals.

Friday On My Mind 102: Let’s Work Together / Reelin’ in the Years 92: Let’s Stick Together

Following on from Canned Heat last week, this live version of Let’s Work Together but more especially Brian Ferry’s reworking of the song as Let’s Stick Together may be deliciously ironic – or not – depending on the outcome of yesterday’s vote. I scheduled this post to appear today before knowing the result.

Canned Heat: Let’s Work Together

Brian Ferry: Let’s Stick Together

Scotland’s Big Day

You may have heard there’s a referendum taking place in Scotland today.

I’ve always felt that the result would be a no vote but it seems the polls over the past couple of weeks have it as being close. I shan’t bore you further with my views on it: it’s a secret ballot after all.

Here, however, is a take on it from the US; delivered by an Englishman.

And Now I’m Back

I’ve been in Holland.

Well, strictly speaking, since it was on the borders of the Friesland and Groningen provinces, make that The Netherlands.

The good lady’s eldest brother lives there. We had been supposed to visit for years but life got in the way.

We needed to renew our passports first. I sent the applications away late in July. Despite all the talk on the news about delays we got the new ones inside a week. (As I remember it was four days.) Maybe the Glasgow Passport office is more efficient than down south.

So another country visited. Apart from the constituent parts of the UK (though I only just made it into Wales) I’ve been to Sweden (Stockholm,) the Soviet Union (Leningrad as was) and Denmark (Copenhagen) on a school cruise when I was at Primary School, Portugal (the Azores, Madeira, Lisbon) and Spain (Vigo) on a Secondary School cruise, and as an adult to Germany (near Stuttgart) and France twice (Normandy for the D-Day beaches and Picardy for World War I battlefields.)

Since the good lady didn’t fancy being on a RoRo ferry overnight we drove down to Harwich (with an overnight stop) and the same on the way back. I’m knackered.

Friday On My Mind 101: On the Road Again

I’m away from home, so this song’s title seemed appropriate.


Canned Heat: On the Road Again

The Well at the World’s End by Neil M Gunn

Polygon, 2008, 333 p. First published 1951.

 The Well at the World’s End cover

The book starts off at a well, which appears to be dry but whose water is so transparent it is invisible. This strange encounter reminds Peter Munro and his wife Fand of an old Gaelic legend of the well in the land beyond ours, the Land of Youth. Munro sets off on a quest to see if anything remains of this well at the world’s end, to go through the human boundary (which may be an illusion.)

The novel treats of two of the triumvirate of literature’s perennial concerns – love and death, but not the third, sex – and in part reads like a series of short stories bound together as a travelogue. On his journey Munro sees The Wild Man, meets a shepherd, hears of a practical joke played out in a supposedly haunted house, is knocked out by illicit whisky distillers, witnesses a woman reinvigorating her marriage in a traditional way, facilitates young love and encounters rivalries (and a reconciliation) in neighbouring seaside towns.

While the book skirts round fantasy territory, things appearing out of mists etc, the overall treatment is realistic. The denouement brings the whole round in a circle and reintroduces fantasy overtones, inviting the reader to identify Munro with the Wild Man he glimpsed earlier but in one sense wriggles out of the conclusion which that entails.

Memorable phrases included, “A man should get away from everything occasionally, even from his wife,” “There are two things the Gael likes naked and one of them is whisky,” “We don’t drink alcohol for its reality. We drink it for the effect it creates, the illusion it engenders,” “A nod’s as good as a blink when there’s a blind salmon on the back doorstep,” and the reflection, “Every village in the Highlands, every crofting area to the farthest Western Isle, had kin in the ends of the earth, and long before world wars were the fashion.”

The text employs those impeccably Scottish words kist (spelled as cist,) widdershins and deisil (sunwards) and has Munro muse on the fact that alcohol is known as water of life in several languages, uisgebeatha, eau de vie, aqua vitae, but the Sasunnach (not having a water of life of his own) struggled to pronounce uisge and so deemed it whisky. At one point Gunn touches on the phenomenon of dual personality which has echoed through Scottish literature down the years since the Act of Union when he has Munro reflect, “as though in oneself were two quite different men, who were yet the same man.” Even without these indicators the book could not be mistaken for anything other than emblematically Scottish, though.

I confess I had to look up the phrase “agenbite of inwit,” which I had never seen before.

Pedant’s corner:- Sasunnach is an unusual spelling. “Shore up” was used in the sense of “rise up.” There was a barely brew (barley,) an unpredictible, doppleganger, genuiness and a failure of subject to verb agreement in “his knees, his whole body, was trembling finely.”

Interzone 251, Mar–Apr 2014

Interzone 251 cover

Ghost Story by John Grant1
An interesting take on the ghost – or possibly parallel worlds – story. Nick is happily married to Dverna when he receives a phone call from the daughter of family friends who says she is pregnant and he’s the father. Except both Dverna and he know he can’t be.

Ashes by Karl Bunker2
In a world where AIs have allowed all sorts of useful developments but also the technology that drove the Dust Wars the very few humans who remain live in scattered enclaves without contact for fear they’ll kill each other. The AIs are prone to winking out of existence. Narrator Neil, accompanied by an AI, sets out to bury the ashes of a former girlfriend.

Old Bones by Greg Kurzawa3
Another post-apocalypse tale. An old man inhabits a wrecked room. He is frightened of the mummers who roam outside. One day a surgeon knocks on the door.

Fly Away Home by Suzanne Palmer4
Set on a mining asteroid run by a woman-hating theocracy which holds its workers in bondage till they pay off their debts and/or fines for misbehaviour. Fari is unique, a female miner – but she is the best – and has her own reasons for paying back credits. Things come to a head when a new Rep takes over.

A Doll is not a Dumpling by Tracie Welser5
Yopu, a robot dumpling seller, is kidnapped by activists for non-human rights (one of whom is a dogboy.) Yopu is given a bigger vocabulary and a mission.

This is How You Die by Gareth L Powell6
A very short story narrated in the second person about the effects of, and a personal response to, a devastating flu-like pandemic.

Pedant’s corner:
1 It’s androgynous not genous and any Scot I know uses either bairns or weans to describe children, but not both.
2 The two info dumping sections are intrusive and the story is written in USian.
3 Had been “sawed” apart, fit for fitted, the surgeon made no “more” to interfere (misprint for move.)
4 Written in USian.
5 Written in USian plus two instances of failure of agreement between subject and verb, epicenter, and a “lay” for lie.
6 “wet orange leaves” is ambiguous. Well, I had to read it twice to get Powell’s meaning.

Edinburgh’s Art Deco Heritage 11: The White House (Craigmillar Roadhouse)

I first knew about this building a while back (east Edinburgh’s answer to the Maybury Roadhouse in the west) and had found this photo on flickr:-

The White House had obviously been “let go” and was badly in need of attention. I had always meant to seek it out but never got round to it.

However, when we left the Great Tapestry of Scotland we headed for IKEA. Not too familiar with the roads on Edinburgh’s east and south sides I got into the wrong lane and ended up traversing parts of the city we had never seen. I turned on to a main(ish) road and suddenly saw a stunning Art Deco building. I stopped at the first opportunity, leapt out of the car and photographed it. It wasn’t until I got home I discovered The White House is the Craigmillar Roadhouse newly refurbished by the local community. And marvellously so.

That curved corner sweeps pleasingly. Pity the modernised windows don’t quite look the part.

Here we have the frontage. Note triangular(ish) chimney column:-

Main Entrance. The angled stepping on the canopy support here is good and note the sweep of the far corner:-

The detailing around and above the side door here matches that of the main entrance:-

This view shows the double chimney at front and stepped chimney stack to rear matching the stepping on the frontage:-

And… Just over the road from the White House was this minor piece of thirties architecture. Now a Londis I think.

Reelin’ In the Years 91: Make Me Smile (Come Up And See Me)

This is an absolutely pitch perfect pop song. It’s the sort of thing that (for a while) was swept away by the advent of punk rock.

Steve Harley and Cockney Rebel – Make Me Smile (Come Up And See Me)

On The Steel Breeze by Alastair Reynolds

Poseidon’s Children 2 Gollancz, 2013, 483 p
Reviewed for Interzone 250, Jan-Feb 2014.

In Blue Remembered Earth, the previous volume in Reynolds’s Poseidon’s Children sequence, the Akinya family was instrumental in the development of the Chibesa-drive engine which drastically increased the maximum speed of space travel. On the Steel Breeze is set a very long generation or so after the events of the previous book and the family is now much less powerful. Chibesa physics has allowed hollowed out asteroids dubbed holoships to be sent out in strings – Reynolds nods to history by using the term caravans – to various promising destinations in the stars. These holoships are each large enough to be able to house herds of elephants as well as the emigrating humans. Life prolongation techniques are so far advanced that withdrawal of such treatment is used as a punishment for crimes – a generation’s life span is now measured in several hundred years. Chiku Akinya, great-granddaughter of Eunice Akinya the begetter of the Chibesa drive, has an unusual triple identity. A process called Quorum Binding has stamped Chiku’s personality and memories on three indistinguishable bodies (her original and two clones) which are able to communicate almost telepathically deeply. Chiku Red set out after Eunice Akinya’s ship; Chiku Green is on the holoship Zanzibar, en route to Crucible, the extra-Solar planet with the enigmatic structure known as the mandala, discovered by the telescopic array Ocular; Chiku Yellow stayed on Earth. The novel intertwines the fortunes of the three Chikus. Making a reappearance is the artilect of Eunice – an AI in human form, as close an approximation to the human original as possible – which Chiku’s mother developed in the earlier novel. “She” is in a hidden chamber on Zanzibar tending a set of enhanced, “talking” elephants known as Trantors.

Much of the initial action takes place on Zanzibar, in whose caravan experiments to develop post-Chibesa physics have been proscribed. Travertine (who for some reason has a set of personal pronouns, ve, ver, vis, all to verself) has caused hundreds of deaths by an illegal but vital experiment. The holoships have been accelerated too much to be slowed down effectively enough by their Chibesa engines. The caravan’s politics, though, are set against the necessary research.

Back on Earth Chiku Yellow, with the aid of the merfolk of the United Aquatic Nations who reunite her consciousness with the returned Chiku Red’s, acts on a communication from Chiku Green to seek out a woman who can facilitate contact with their founder, Arethusa, who in turn may have knowledge that not all is as it seems on Crucible. This necessitates a journey to the surface of Venus (and, later, Mars and Hyperion.) Here the plot, as in Blue Remembered Earth, comes dangerously close to pulling the characters around the Solar System to show off the author’s research or to provide a set piece drama. The inevitable disaster with the space elevator connecting to Venus’s surface demonstrates the Chikus have a dangerous enemy. This is the “machine distributed consciousness” called Arachne which oversees the data produced by Ocular and has infiltrated the aug, the controlling agency of the Surveilled World familiar from Blue Remembered Earth. The secret Arachne is protecting is the presence in orbit round Crucible of over twenty enigmatic pine cone-like spaceships dubbed Watchkeepers.

Plot aplenty to be going on with then, and the above merely sketches the set-up. The playing out of the politics of Zanzibar’s caravan, involving the clandestine construction and launch of a scout ship to reconnoitre Crucible, the repression and conflict which ensues, the true situation on Crucible, fill out the story. The scout party’s meeting with Arachne’s avatar on Crucible verges on fantasy territory, though. While any sufficiently advanced technology may be indistinguishable from magic, in Science Fiction some degree of explicability is generally thought desirable.

Despite the space travelling elephants (and the light aeroplane able to fly within their hidden chamber in the holoship,) the mandala and the Watchkeepers, Reynolds doesn’t quite hit the sense of wonder button squarely with this one. The scale fails to register. (That may just have been a jaded reviewer’s perception, though.)

Yet with his holoships Reynolds has – much as he did in Pushing Ice – re-imagined the generation starship trope, albeit with less of a focus on the ships’ passengers than in novels of yore. Also in the mix, though such is the detail of Reynolds’s future that they have not yet been explored in any detail, is a Big Dumb Object in the shape of the mandala and a kind of first contact (the Watchkeepers.)

An example of the possibility of avoiding what the Watchkeepers apparently think is the inevitable conflict between organisms and artilects, Eunice poses the question of what it actually means to be human – highlighting a typically human tale of stupidities, betrayals, love and duty.

The following did not appear in the published review.
Omitted “a”, a for an, doubled “the”s, “had”s and “was”es, “assesment” “compliated” a “breaking” mechanism for slowing down, an “I have strode,” “on my behalf” instead of “on my part” plus the interesting coinage “programmemes.”

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