purgatory blind. So the draft poem is picked up, is revised, and gets its title in a mood of stasis. It is eight years later that Olson recalls for Edward Dahlberg and Caresse Crosby the passage from which he took the phrase. In Keats’s ‘Epistle to John Hamilton Reynolds’ he found: ‘Lost in sort of Purgatory blind, / Cannot refer to any standard law / Of either earth or heaven’ (SL, 84, 86). Olson presumably felt the meaning of ‘blind’ as a concealed place of waiting was appropriate to his condition and the draft as he then revised it. However, the early ending is a

in Contemporary Olson

’ (Merton 1940), sometimes unnecessarily lengthening the waiting period to access services. Under Law 387 the average length of time between the initial declaration of displacement and receipt of aid amounted to 109 days (Ibáñez and Velásquez 2009: 442). Some of my interviewees remember having to endure hunger while they were persistently visiting governmental offices waiting to be attended to. Linda even remembers an elderly man who fainted while he was queuing to be seen. ‘One could notice he was an honest man, a hard-​working campesino,’ Linda recounts, ‘but also that

in Living displacement

commemorate the presence of the Scots Brigade as the garrison at the Cape for a substantial period in the eighteenth century. At any rate, it symbolises a Scots presence which is of long standing. Indeed, Scots did not wait until the first British capture of the Cape in 1795 to be engaged in the establishment of a white community at the southern tip of Africa. In this respect they were following a long

in The Scots in South Africa
The role of theatre practitioners in exploring the past

and political story out of this unruly multivocality’ (Coplan, 2000: 138). These challenges have been made in fiction and non-fiction prose as well as in performances, which to date include Mike van Graan’s Dinner Talk (1996) and Green Man Flashing (first performed 2004), PieterDirk Uys’s Truth Omissions (1996), Paul Herzberg’s The Dead Wait (1997), Walter Chakela’s Isithukuthu (1997), Nan Hamilton’s No. 4 56 South African performance and archives of memory (1997), André Brink’s Die Jogger (The Jogger, 1997), Jane Taylor and the Handspring Puppet Company’s Ubu

in South African performance and archives of memory

Tenants in the Bradford area formed their own Jobling Street Action Group to protest against conditions. They had been waiting for eight years for a decision about the future of the area based on the withdrawal of an agreement to build a new school (named, ironically, after Lady Shena Simon). In the meantime, the whole area had deteriorated, with empty properties and vandalism leading to an increase in the poor health of residents. Goodwin demanded direct action and a firm decision and exclaimed,“we are fed up with being put off by feeble excuses”.59 Similarly, the

in The politics of housing
Waiting for the apocalypse in Milton’s Poems 1645

full career, / But my late spring no bud or blossom shew’th’ (lines 1–4). Much of the power of Lycidas derives from the angst awoken in Milton by the death of Edward King ‘ere his prime’ (line 8), out of season and before his youthful promise could bear mature fruit – an especially anxious prospect for the twenty-nine-year-old poet, still living under his father’s roof. Moreover, this sense of belatedness not only provides a potent topos for Milton, it informs his strategies of self-presentation throughout the book. 1 Indeed, this poet can hardly wait to disperse

in Aesthetics of contingency
Abstract only
The unrealised projects of Jack Clayton

different.’ Despite his love of Horace McCoy’s novel, he turned down the opportunity to direct They Shoot Horses, Don’t They? , because he felt he could not take over a colleague’s preparation but would wish to prepare the project from scratch, which the studio, with the film already cast and ready to go, was not prepared to allow. 6 Also there were properties that he desperately wanted to do but had to wait years for the rights to fall

in Jack Clayton
Abstract only
Infant care into the peace

psychoanalysis, for reasons which I hope will become clear later. And I will focus not upon soldiers, but upon babies: the generation who would be called v 104 v King Baby upon to serve in the next great war. How were babies perceived during and after the First World War and why is this important? These questions are registered in powerful yet subtle ways by writers of the period. Armistice day: Virginia Woolf Like many people, Virginia Woolf waited anxiously and sceptically through the autumn of 1918 for peace to be declared. On 12 October she writes in her diary that news

in The silent morning
Abstract only

being educated either in special schools for blind or deaf children or in ordinary elementary schools. It was not until the 1930s that the government set up two separate committees to investigate the problem.7 The subsequent reports of both committees recommended that partially blind or deaf children should be educated separately, and separate schools were eventually set up. At the outbreak of the Second World War several schools for PS children had been established, but the partially deaf children had to wait until after the war. By the end of March 1939 there were

in Worth saving

neighbours, and engulfed thousands of inhabitants of the ‘Polish’ governorates. The Cossack whip – symbol of oppression – together with the destructive momentum of the retreating Russian forces, compelled people to flee.9 The more far-sighted among their number tried to prepare for their departure. Glinka wrote that ‘we could not wait until the very last moment; even if the regular [Russian] army would leave us alone for the time being, they would certainly take away all our horses as they retreated; and if the Cossacks then used their whips to drive us out, we would have

in Europe on the move