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Threatening my elderly parents life for information. A doutrina central deste trabalho refere-se ao Tetragrama ; o autor assumindo que as quatro letras yod, he, vaw e he foram escolhidas por Deus para o Seu nome porque eram peculiarmente distinguidas de todas as outras letras. Em certo sentido, Joseph b. Eliezer III. Jacob e Jacob b. Joseph b. Foi algum tempo antes que o Zohar fosse reconhecido na Espanha.

Simeon b. Nathan Spiro, Isaiah Horowitz e Naftali b. Os nomes de Adolf Franck, [ 80 ] M. Landauer, [ 81 ] H. Sua doutrina central, para ele, era a messianologia, em torno da qual todas as outras doutrinas se agrupavam. O cabalista deve, portanto, antes de tudo, purificar sua alma do pecado e ordenar sua vida de acordo com os preceitos da virtude e da moralidade. Como pode o universo ser explicado?

Mas outro perigo surge aqui. Assim, a Cabala ensina que a luz infinita se contraiu e retirou seu infinito para que o finito pudesse se tornar existente; ou, em outras palavras, o infinito aparece como a soma de coisas finitas. As Sefirot transmitem o quanto recebem. O homem conecta os dois mundos por meio de seu amor por Deus, que, como explicado acima, o une a Deus. O judeu, assim como o homem, foi reconhecido na cabala.

O mesmo vale para a lei. Nota: Para a sociedade secreta, veja Camarilha. Para a cidade da Serra Leoa, veja Kabala cidade. Ver artigo principal: Sefer Bahir. Ver artigo principal: Nahmanides. Ver artigo principal: Zohar. Ver artigo principal: Reuchlin.

Ver artigo principal: Ein Sof. Ver artigo principal: Tzimtzum. Ver artigo principal: Sefirot. Ver artigo principal: Quatro Mundos. Ver artigo principal: Baal HaSulam. Schechter, xliii. Jewish Encyclopedia.

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CANADIAN BITCOINS

These are now to be divided with At the same time the management at Togliatti will be able to retain and control 40 per cent of the hard currency earn- ings from its exports. This is in sharp contrast to the way in which Soviet enter- prises are normally run.

Unlike western enterprises, where manufacturing is generally dependent on the sales depart- ment and smooth relations with the banks, the day-to-day, busi- ness of a Soviet enterprise is dependent on material supplies, and this is the predominant worrv, according to Professor Sasile Kerblay in his authori- tative work, Modern Soviet Society.

Implementation of the experi- ment also means continual friction with existing ministries and departments, none of which has had its authority or func- tions officially limited. Speaking to foreign journalists, roe pre- sent management at Togliatti minimises these, differences.

The build- up of water behind the. Soviet plants like Vaz often control housing; recreational and medical facilities, which, in the west, would bo either under muni- cipal or private authority. Moscow towards abrupt decen- tralisation. The new way of pumag in g Soviet enterprises has not replaced the old method but exists uncomfortably alongside it. For instance. Nikolaev says that Vaz now has no problem exercising its authority over the 40 per cent of foreign currency earnings which It is meant to control- The Foreign Trade Ministry, which has monopoly control of all Soviet foreign trade, "just does the paper work.

Other thaw the Vaz car plant. Togliatti has five chemical works — too many according to local people. The average age of. Going through the Vaz factory he said an elderly woman had pressed a piece of paper into his hand which he read out at a meeting: "It is written dependent on foreignrmade machinery at ail stages of manu- facturing.

The problem is that while Vaz theoretically controls 40 per cent of its foreign currency it still needs a document from the machine building industry ministry saying that a machine it wants to buy abroad cannot be manufactured in. Few in Moscow want to put their uajne to such a piece of paper at a time when Presi- dent Gorbachev is emp h a si s ing self-reliance.

There is no- where to go with the children. There is no theatre and one cinema. Local officials say that facilities are not in fact that had given that the city has grown faster than anywhere rise in the Soviet Union.

Most of local invest- ment has gone into hewing hut unmarried workers arriv- ing in Togliatti live fax dormitories where two ffeare a room. This involves paying bonuses to work teams which in turn allocate the money to its individual mem- bers. A system was introduced whereby if the team in charge of the maintenance pm!

This enables a skilled adjuster to earn roubles a month compared with a plant average of roubles. The quality of the car coming off the end of the assembly line has also. This is confirmed by companies in the west buy- ing the Lada which say that the number of defects in each car they receive has dropped signi- ficantly over the past six months. This system of incentives is not applied in the same way throughout the plant; it is used most fully where there are bottlenecks.

But a wealthy Soviet enterprise like Vaz has other nomflgancial incentives in the form of extensive fringe benefits which it can sometimes withhold to enforce discipline. In the forging plant; for instance, a large poster about drunkenness lists benefits which can be lost by workers who persistently offend the new anti- alcohol regulations. J The theory behind the new I system gives managers greater I responsibility in the running of ' theplant. The expe rimmtt. But how for is foe experience gained there of universal applicability throughout Soviet industry?

The Vaz plant differs from almost all other enter- prises in tire Soviet Union to ifoat it produces a manufac- : cured product to compete in Western markets and much of its capital equipment comes 1 from abroad. Nov 85 4 pages Contends that computer-con- trolled manufacturing systems, e-g. MRPft can wtiy be exe- cuted satisfactorily by using a flexible materials management system to address all aspects of raw material movement and storage; shows how such a sys- tem ratn be extended to real ft time by Unking it ytifo the man- agement computer system.

This should have md 2J5bn. A network which has been in development ever since the Bank was founded, in The point is that Standard Chartered has always been an international bank, which sees the whole world as its market. Which identifies opportunities for its cus- tomers on the basis of experience, not of fesluon.

Which has developed lasting and valuable relationships with overseas governments, busi- nesses and individuals. TbdaK it is dear that this approach has built a bank equipped to serve its customers profitably and efficiently, right round the world.

And even, dare we say, in California. That future is less than a year away. The consequent big jump in productivity will be due to the pilot facility which has been operating for some months in Zt employs only a handful of workers, and its tyre output is token. But it has demonstrated that the formerly labour-inten- sive production of truck tyres Is no longer necessary.

Truck tyres are a lot more complicated to make than they might appear — and Pirelli's current range even more so. They are the first generation of low-profile radials with which the Italian tyres and cables group hopes to repeat in the commercial vehicle sector the revolution it pioneered in the car tyres business.

Its first high performance, low-profile car radials, P6s and P7s, were introduced in the They opened up a sector In which Pirelli, and sub- sequently other tyre makers, could steer away from mainly price-based competition.

They have thus been a key factor, with productivity Im- provements, in Pirelli's return to profitability. Glamour is not entirely absent from the truck world — to which the burgeoning popularity of truck racing testifies. But no truck operator buys lyres just because they look good or let a truck comer better. The low-profile truck radials were developed because trucks and buses have become heavier, much faster and travel longer distances see chart.

Traditionally, an operator has built up each tyre by selecting from an assortment of racks lengths of each material, remov- ing their protective wrapping and feeding them through guides on to the drum, using his skill to place and cut the strips. The production breakthrough fOr Pirelli is its to-house development of an automated reeling and feeding system.

The various carcase com- ponents are stored on reels of widely varying sizes, and fed to the assembly drum by an automatic sequencing system which, miraculously it seems, prevents the assorted com- pounds tying themselves into gordinn knots. Three men are needed directly to operate the work station itself which can produce tyres a day. Pirelli plans that within five years all its truck tyre plants will be fully automated. It has them in Spain and Greece, as well as one in Argentina and four in Brazil.

Altogether, over 0 10m is being spent on new production processes and facilities. While the productivity Increase in Turin will be quantum, the group believes it is on target for per cent increases overall each year for tiie foreseeable future. But this is not seen as mean- ing inexorably shrinking work forces, as the low profile tyres desirability — just as with its predecessor for cars— is increas- ing demand.

Pirelli currently is producing some 2 -5m truck tyres a year world wide, expected to rise to 3m by the end of , for a world market — -ex cludi ng the Comecon states — of about 53m a year, and which is expected to show only marginal growth up to the s. West European demand is put at 8m units a year, for original equipment and replacement tyres combined; the US 16m and TjHh America 8.

As happened with car tyres long ago, cross-ply truck tyres have all but disappeared from Europe in favour of radials. It claims to be getting a good initial response to them, but says the next two to five years will confirm whether it was right or wrong to commit itself to a premium price product so heavily. The risk taking appears to be justified.

In the original equip- ment sector, Iveco is fitting 40 per cent of its production with the low profile radials, while about 8 per cent of Daimler Benz trucks are now fitted with them, according to Pirelli; 10 per cent Ford and a similar proportion Leyland. Being lighter than conventional tyres, they not only increase payload, but lend themselves well to light alloy wheel s — a nd further weight reductions. So what is the next step in truck tyre development?

Pirelli executives say they believe the focus is shifting to new compounds so specialised that there will be really sub- stantive differences between tyres fitted to frimt and rear axles, with yet other designs for semi-trailers. Yet track tyres win remain a compromise, with test rigs, no matter how sophisticated computers and systems become, unable to supply all the answers. Tyre technologists can design on a screen but the company accepts that because of the nature of tyre compounds, in being subject to the distortions of elastoplastic stress, computer models incor- porating all aspects of stress and strain simply cannot provide all the answers.

Beal- life testing, says Pirelli, will remain indispensable. Some very much real-life testing has given Pirelli reason- able grounds foT confidence in the future of the low-profile truck radials. They have become standard fitment on the European track raring circuit, which far from being a cowboy activity is very much truck manufacturer supported. And they are fitted to a Pirelli-sponsored Ford Cargo trade which, powered by an Avon jet engine out of a Li ghtning fighter, is trying for a new track land speed record.

So far it has topped kph without the tyres disintegrating — that is slightly faster than a Ferrari Testarossa travelling flat out. Based on an Improved form of liquid crystal technology, the screen has a definition of x pixels picture elements. Hitachi says it has been able to double the contrast compared with normal Uqitid crystal displays LCDs without sacrificing definition.

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Get die Fact File now. New Issue July JO. Vivaldi concerts , Smly-snr- Loire. Covent Garden: the now rather aged and shabby John Cop- ley production of Cosi fan tutte comes back for an end-of-term run, with Gabriele Ferro as conductor and an oddly mixed cast in cludin g newcomers Karita Mattila, Anne Sofie von Otter, John Aler, and the veteran Walter Berry. Further per- formances of the new Fidelio. Cassis: Acade- my of St Martin in the Fields. Vladimir Splvakov, and Barba- ra Hendricks recital Duo Arianna Goldina, brozo, pianos: Liszt Tue 6pm.

Elisabeth Cbajradke, harpsicord. Yu- mi Nara. Maurice Obana, piano: M. Auditorium des Halles. Greupe Vocal de Franco conducted by ivnrfM. Palestrr- na. Joree Bolet, piano: Liszt Thur. AH these concerts are part of the pans Festival Festival Hall Wed.

Festival Hall Hun-. Nieuwe Keriqmgan red- tal by Jacques van Oortmerssen. Buxtehude, Bach Thnr. Konzerthans Mozart Seal 72 12 Both at Palais Scbwarzen- berg. University Church Sun. Brahms, Ar k a denhof. Mozart, Weber, Kuhlau. Czerny Mon ; Festival Orchestra. The second. Kurt MbB and Francisco Araiza. Helen Danatfa. Cornel- ia Wuikopf, Thomas A llen. Bra, Mo- zart. AD-Vxvaldi concert Thur.

Lincoln Center Dionne Warwick and Fetula Clark. Ends Aug Beethoven, Liszt Toe. Hyland Park. Tokyo Bunka K aikan Wed. Wright, and on Sunday morning Bri-. Referendea and Identities. An encounter of prestigious interna- tfonal artiste welcoming the inaugu- ration of a new art cerrtie in Madrid: Centro Refoa Sofia, Santa Isabel Falao o de Velizquez, Retiro Park.

Ends Ju- ly Uncoln Center Lincoln Center. Ends July Kennedy Center Antonio Maro, Sandicz Coet fo, Cotan. Ends AngS. ITALY Venice: Palazzo Grass: Fu turis m and Futurisms: Fiat opens its art centre on the Grand Canal with the largest exhib ition to be devoted to the Fo- huist Movement, a movement born m Italy, mid the first to exalt tech- nology, and to try to convey speed on canvas. Ends Oct Ends Sept 7. The vritofo area was subsequently over. Until July Ftodua, Certosa di S.

There are five Boudins, toe gallery's speciali- ty. Ehrenhcf sion; 60 huge charcoal drawi ngs o y the German expressionist covering This is the first show orga- nised by toe institute founded toree years ' ago on the initiative of the Krupp Foundation.

The treasures from toe period of great Electors are on loan from Dresden s state cultural collections. The eight rqyal collections are presented sep- arately with characteristic master works. There is also one of the old- est and most complete coin cotiec- tions in the wodd and a buge collec- tion of arms and copper engravings by Boucher, Chardin, Piranesti and Tiepaki.

The picture gaDery includes works by Titian. Poussin, Veins- ejrsjbr i Sobeos, Rembrandt and Ora- rnrii. He continued to work long into old age, by which time the sometime radical, ex-cawd- r ymnn fe tbe Austrian E mp eror's army had been long confirmed in the EstaldshmenL A Swiss reswtent ' for nearly 30 years and British ati- zen for nearer It would be an achievement that could be realised only through the total, heart-felt commitment from everyone involved in the development of the car From those responsible for its looks and beauty of line.

For its performance, handling and ride. Its specification and comfort, ibid, for its quality and reliability. That commitment would lead to many changes in approach and attitude. Most notably it would result in a unique development programme and joint venture between two leading car manufacturers.

Rover and Honda. It would be a joint venture in the truest sense, the most productive sense. From day one they would share, exchange and improve ideas. They would work together on every aspect of the project. Better still, they would constantly compete with one another in the development of two separate executive motor cars.

One a Rovei; the other a Honda. As distinctively different as they are distinctive. Today, that vision becomes reality. For Rover: And for Britain. It be called The Color Purple, it cost plenty million dollars and it be all coloured big and pretty across the screen.

This Mr Spielberg, be a mighty fine picture-maker, I under- stand. Hope to see you at the Oscar ceremony, God. It was a night when the Motion Picture Academy bad their revenge on the infuriating boy prodigy still under 40 who in a recession movie era keeps turning out smash bits as if be cannot help it Confronted with The Color Purple which is inching towards million dollars at the box office even as we speak , Hollywood chose to play Salieri to Spielberg's Mozart Eleven nominations; no Oscars; the greatest gift- wrapped snub in Oscar history.

All the awards went instead to a film empty-headed, empty- hearted and big with bogus prestige. Out Of Africa. To say, as many have, that The Color Purple is the worst of Spielberg's films since is merely to say that Mozart had his off days. The movie is still bristling with genius, a touch more erratically manifested, and Spielberg is still magisfi- cently Spielberg. The other parts of the book consist of letters exchanged between Celie and her sister Nettie, who has gone to Africa with a missionary couple.

Spielberg takes the style at face value. The film is Gone with The Wind crossed with Disney. The heroine Celie begins as a little girl lost, abused by her supposed father who has sired two children on her. She grows up into actress Whoopi Goldberg whose thin neck, wondering eyes and prog- nathous features startlingly resemble ET.

Last year, the American Independents were given a warm welcome. The Independents — British. American, Canadian, Australian or from New Zealand — are currently riding a wave of public acceptance and broad critical acclaim. Munich is a place, particularly at the Film Museum and at a few other selected art bouses, where English-language films of all kinds can be programmed as pure unadulterated statements on a culture.

A prize for Seacool, a sold-out sign days in advance for A Zed and Two Noughts, and 'a packed festival reception for Channel Four representatives — but, after all, the Munich film festival and Channel Four were founded about the same time four seasons -ago, the year that marked the rebirth of an authentic British cinema. This is explicit in the book but veiled in the movie. And she finds solace and solidarity in a widening circle of friends and relatives, all black and mostly women.

Spielberg wrings the novel for all its drops of sentiment, optimism and soap-opera en- thralment; then he puts the rest of it to one side. What he loses, along with the un- regretted message-mongering. Spielberg's cross - cuttings between. And in a film based on an epi- stolary novel, what could be more richly apt a leitmotif? Garner was nominated but unhanoured- as Best Actor for his ageing Arizona phar- macist falling in love with divorced stable-owner Sally Field.

Garner is an actor whose modest talent seemed to have been Rockford-filed down to almost nothing in recent TV- condemned years. But his. Director Martin Ritt and screenwriters Harriet Frank and Irving Ra vetch have got to- gether again — this group gave 1 you. Had, Sombre. Conro ck and Norma Rae — to hurl Miss Field out of the decree-nisi coarts into the dawn of a new romance.

The romance, as she sets up home -and horae-stable on the edge of a small town and as wooed by Gamer, is complicated by the resentments of her jealous year-old son Cory. Haim and the return of her feckless ex- spouse Brian Kerwin. And by William Fraketis cinema- tography, which was surely processed during an H-bomb blast: all bleached, grainy, fuzzed -out colours and hideous to behold.

And who could resist Ganvr, whose grizzled, autumnal playing has all the insolence of a veteran foot- baller slowing the- game to -his own pace while younger and poorer players scurry around with flailing feet? They are menaced by meteor showers and by creatures human, noohuman and undassifiable.

Then Gos- sett gets pregnant be is an androgyne. And thereby. Wolfgang Petersen directs, with several animated creatines seemingly left over from his Never Ending Story. Were the. Beau's Hogarth is an artist who likes to eat and. There is no point in Quibbling with Dear on his view of Hogarth, which is of a man indulging his sexual fantasies in pictures of whores and murderesses, while maintaining a successful marriage to the daughter of his first patron, the Sergeant Painter, Sir James Thornhill.

This advent of stage censor- ship is the dramatic crux, with a Fielding lampoon invading the theatre in a vigorous and t umbling climatic sequence. In Adrian Noble'S spirited produc- tion of a refreshingly raw and scabrous text, this scene is a Splendid hotpot of masque and satire, as Fielding himself Philip Franks!

Michael Coveney Louisa, and an escaped mur- deress runs amok with Joe Melia, as a stealthily sinister Walpole, springs out of the rumpus in a mustard frock-coat. To elaborate on Mr Dears method. Hogarth repays her with porno- graphic portraits. So, instead of the famous moral anatomist of the London down-trodden, we have a drunken, riotous, chauvinist misogynist The girls gang up on him. This all sounds a little trendy to me, but the comic point is made that truthful artists rarely please the subjects they paint or draw.

And this area of the play is much stronger than the attempt to in- ject a discussion on artistic cowardice and responsibility in- to dialogue between Hogarth and Fielding. The play is more characterised by its gutsy scato- logical exchanges between Hogarth and Louisa. Dead drunk, be. Like Sarah Malcolm, good, imaginative use is made of the Needham character. In a strong last scene, the writer and the whore form new plans as a royal wedding progresses down the Thames, Events are compacted, re- gardless of chronology, and the evening bristles with a healthy air of anachronism.

The Other Place is brilliantly exploited in Ultz's platform design Ultz has also supplied the fine costumes and wigs. Recruited anew each year from last-year students or recent graduates of the American conservatories, the orchestra Is an ever-renewed testimony to the high quality of musical training in the United States. Also made up of students, and hence of different singers every year, the West- expression, and plain high spirits. Ends August Amsterdam, Royal Palace: This year's summer exhibition is devoted to the work of Jacob de Wrt, an 18th-centu- ry Dutch artist likened in his day to Titian, specifically to his vast paint- ing of Moses se le cti n g the Seventy Elders - which lines one wall of the Council Chamber - study drawings of which are now on display below the canvas.

Guided by choirmaster Glenn Parker and by producer Filippo Sanjust , the West- minster was a lively, positive, dramatic as well as a musical presence. They were also sup- ported, of course, by the con- ductor Mark Stringer, who, though virtually a debutant, displayed complete authority as well as profound under- standing of the stylistic require- ments. He brought out all the opalescent subtlety of the score, allowed singers and William Weaver costumes, for the most part, were simple, in keeping with the predominantly pastoral tone of the work.

The sets, too, were reduced to minimal, telling indications: clouds and wisps of greenery. Bruce Brewer, in the title role of the aged belongs toLa Folie, a part sung here by' Beverly Hoch nomen est omen , a high soprano of icy accuracy, on the order of Mado Robin or the young Sills. She was much 'applauded, and rightly.

The other singers ranged from acceptable to good. None disgraced the music, though in the end it was the chorus that lingered in the Tnimj and heart. The problem with mounting a Rameau opera these days is often the ballet. Modem audiences are not always ready to accept the dance as an alroo r The whole production Was- seamless.

One of the most com- dancers, created a series of taped music was scratchy and governed the proceedings. The plex and arresting scenes Inventive and attractive dances, loud. Whitney Museum: The largest exhibit ever mounted of Shaker design shows off the strong, simple lines in the furniture, tools, textiles and graphic design of one of the great American Puritan cultures that re- mained separatist and intact for more than a century.

Ends August 17, National Gallery: The first major ret- rospective of the works of 19th-cen- tury American landscapist George Inness traces the artist from the early influence of French Barbizon landscapes through the develop- ment or his own soft naturalism with dramatic skies dominating roll- ing terrains.

Ends August 3. Ait Institute: Treasures o! Japan, includes statues, hand- scrolls and intricately designed lac- quered objects from the largest wooden temple in the world. Theatre Kabokl Kabuki-za : a dance piece, Yakko Dojojo, bared on story iff a dancing girt performing a temple ceremony, with popular male comic actor Ennouske playing the girl He also stars in Date no Ju Yaku with stylised fights, acrobatics and quick changes.

Kabuki-za, Higashi Ginza Kani Ho- ken Hail. V-Port, Gotanda Mon. El- liot? A Chorus Lise Shubert : The longest- running musical ever in America has not only supported Joseph Papp's Public Theater for eight years but also updated the musical genre with its backstage stray in which the songs are used as audi- tions rather than emotions.

Big River OTiefll : Roger Miller's mu- sic rescues this sedentaxy version of Huck Finn's adventures down the Mississippi, which walked off with many Tony awards almost by default The Mystery of Edwin Brood Imperi- al : Rupert Holme's Tony-winning resurrection of the unfinished Dick- ens classic is an ingenious musical with music-hall tunes where the au- dience picks an ending.

CHICAGO Pomp Boys and Dinettes Apollo Cen- ter : Facetious look at country music and down-borne country life with a good beat and some memorable songs, especially one played on kit- chen utensils has proved to be a du- rable Chicago hit. Fri, Sat. Weak second act, less than vintage Jerry Herman score. The show has not.

The bumptious s Merry Wives con- tinues in repertoire. Dennis Lawson and Jan Frauds lead an en- ergetic company in rahtaknn iden- tity romp, while YerdTs Mo car- ries on regardless. But- hearing one well and clearly declaimed — in English, so without the benefit of his famously graceful, euphonious Italian— is salutary, a reminder of 'his human insights, his unders tan d ing.

These he grasps. In Act 1, before emo- tions are too strongly aroused, the music is attractive and quite arresting; one is aware that the phraseology is shorter, the basses more ordinary and. In the second act; the impetuous aria openings, the preponder- ance of minor keys, the fiery passage-work, the ventures into counterpoint and the original rhythms show him a sharp, In- ventive dramatist as well as an eloquent melodist with a capa- city to key music strongly to situation.

The theatre has been beautifully reno- vated. Noises Off Savoy : The funniest play for years in London, now with an improved third act. Michael Blake- more's brilliant direction of back- stage shenanigans on tour with a third-rate farce is a key factor. But Mr Robson did well in his pacing of the simple recitative — much of it, incident- ally. The producer, Michael 'Waite, did not succeed in malting his young cast confident enough to carry off their heroic postures in this shoestring staging, largely based on aluminium foil.

It has becumatf between rich and poor. Pithy quite a fashion of late to pair -and sarcastic well beyond his a singer and a solo instrumen- usual style, they demand like talist in concert, especially treatment from a composer and, soprano and flute. But the com- for the most part, get it in bination on Wednesday night at Blake's pointed settings, the Wigmore Hall was unusually.

A third uses and soft-grained in tone, was sprechpesang and yet another, matched with the bright, in- relating an amusing story of cisive oboe of Sara Watkins, a Venus and Cupid, seems to - partnership at very different model itself on the romantic ends of the tonal spectrum. An eagle eye must pre djctable way. Dis- neyland, Star Wars and Cats are ail influences. Are You Lonesome Tonight?

Phoe- nix : More musical hagiography with Alan Bteasdalcfe Elvis Presley show mring flashback and excellent live recreations of tire rock and roll hits to bow Martin Shaw's magnificently wrecked and flabby King in ousbed vehret junqsiitt has reached this pretty pass. EspfoHe- ttve, but not strictly for tourists. He has the himself. It was E. It was given made!? The new Rover Series. At tlie. Every predicted and catered for. The Rover S25i. The i and Si. The energy-conscious luxury cars.

The 2 litre, 16 valve, fuel-injected engine delivers exhilarating performance that is matched only by its miserly fuel-consumption. In the coming weeks well be giving you all the facts and all the figures about the cars. Until then, let us leave you with this one thought. The Rover rides like no other luxury saloon you have ever driven. So may we suggest you take a test drive. And experience automotive engineering in a finer form.

Above all, it has forced the pace of progress towards the equal treatment of men and women. Freehold of real estate and nationalisation or re-privatisation of industrial enterprises are specific UK problems for which no help can be expected from foreign courts. Broad issues However, nature abhors any void, and European courts tend to fill any space left vacant by national legislation.

Compliance with the Strasbourg Court of Human Rights remains volun- tary even if the Government has so far complied -with every one of its decisions. This court is bound to respect principles of law common to ail member states, and conse- quently also the convention. This would oe a wel- come decision because there is abundant evidence of anti- competitive practices and abuses of market power in the supply and distribution of beer.

The OFT has received many complaints from the public and small brewing companies trying to enter the market. It is con- cerned about high prices and lack of consumer choice. Under the tied-house system, pub tenants arv obliged to buy beer and other products only from their brewer landlord. About 60 per cent of UK pubs are tied houses, including the majority of high-volume, high- profit outlets.

Established precedent The system gives the big brewing companies a degree of control over the retail distribu- tion of their products which would be regarded as unaccept- able in any other consumer products industry. It would seem extraordinary, for example, if one entered a food shop and discovered that the manager was permitted to sell the product of only one manu- facturer.

If Sir Gordon does decide that a full monopolies Investiga- tion is warranted, he will merely be following a well- established precedent There has been almost continual con- cern about anti-competitive practices in the industry since the mids. In a previous Monopolies and Mergers Commission probe declared the tied-house system to be against the public in- terest An investigation by the Prices Commission in the late s was equally critical.

In Alleged abuses The problem is that, inspite of a surfeit of investigations, the structure of the industry has remained broadly un- changed. The proportion of tied houses has declined slightly but the big brewers have main- tained their grip at the retail level. In some areas this has led to prolonged and vociferous complaints. The Campaign for Real Ale, for example, recently presented the OFT with a well- argued report documenting alleged abuses of monopoly by Grand Metropolitan suppliers of Warners beer in Norfolk.

Small producers Arguments for pronounced vertical integration in the beer industry are hard to sustain. Why should brewers be able to impose exclusive contracts on publicans? It is hard to argue - that enjoyment of one brand of beer is impaired by the presence of competing brands within the same pub. Nor is beer a product like a motor car where the quality of after-sale service is important enough to justify exclusive dealerships.

Even small regional brewers, however, would not wish to see the sudden sweeping aside of the tied-house structure. Blatant attempt Small producers of real ale might expect to gain dispropor- tionately from such a reform, since unmet demand for this product exists throughout the country. In the longer run. One must ask whether English and Scottish courts, with their more intimate knowledge of the political, legal and social background, would not apply such a bill of rights faster and more efficiently, particularly when it comes to broad Issues of economic and social policy.

In their latest decision — as well as in the recent ruling on the claim by the Duke of Westminster — the Strasbourg judges have clearly stated that they do not intend to Interfere with the social and economic policies of govern- ments. The convention was designed to protect the dis- possessed victims of tyrannical regimes and not to settle com- peting economic claims by groups, individuals and enter- j prises within a democratic country.

Greater stability Thus the long-discussed question whether the UK should adopt the convention as its own bill of rights appears to be the wrong question. For most prac- tical purposes the convention is already effective in the UK The real question is: would it not be better to entrust its opera- tion to UK courts? The integration of a bill of rights into the UK system would give a new dimension to judicial review of administrative deci- sions.

This new, fast-growing branch of judicial activity is largely improvised. It would de- serve a solid foundation on which courts could develop a system of administrative law. If adopted as a constitutional law which can be changed only by a qualified majority of the parliament, the bill of rights would give a greater stability to ordinary legislation which had to keep within its consti- tutional framework. One week and 87 years after L , a the Bloemfontein conference.

H President F. Botha, whose H 1 mother was among those herded into concentration camps by the p3? South Africa will not crawl before anyone to prevent It. Under tile terms transit income would make a Investment, employment and rising emigration of skilled best handled by letting market of the September partial beggar - thy - neighbour policy income.

The mining- Industry, not to panies, all of which is alread But the determination of the speak of the mining unions,. More than 50 U pattern. To secure over the past year. But a glance civil service, the state-owned back at the last 28 years indi- industries, the army and the cates how the trend towards a police. Afrikaners have also siege economy has been clearly risen through the professions visible since the Sharp eville and set up their own banks, massacre of I Over this finance, insurance and pdtdnq period several fun dament al in- companies.

Billions of rand have been invested, over the past two Long-term else to go. Anthony Robinson reports from Johannesburg But the foot is that over the holdings by sot taking up their decade since the X Soweto rights under capital increases. Running the Last week Dr de Kock, signifi- sort of current account surplus cantiy in a. The other unplanned favour of market-orientated restraint is the weakness of adjustments.

He pointed out business and consumer confi- that many of South Africa's deuce which contributed to a problems, including the rapid 1. Indigenous coal 3 per cent growth rate in. Revenue from able rand e xchan g e rate. Loss of exports and which would lead to higher This would be accompanied by whether the siege economy is. South Africa should, opt for a their laager. Buried in Mississippi mud The US state of Mississippi joins China in foe doghouse of the Bromley-based Council of Foreign Bondholders for fail- ing to pay on its outstanding foreign bonds.

Mississippi is in trouble with foe bond-watchers for not resolving a default on STxn of international bonds. The fact that it occurred back in does not lessen foe relentless pressure of our Bromley sleuths. Michael Gough, foe coun- cil's director, yesterday had his first chance to present his case personally to Mississippi.

The state's amiable treasurer. Bill Cole, was in London. His mission is to examine funding opportunities in foe international capital markets. Instead he ran straght into foe debt collectors. Cole says he is not in London under any instructions to negotiate a settlement on foe outstanding debt But he told Gough that he would like infar- i mat ion on some of foe back-! Although we do have about , worth of the bonds that were presented to the state in a trust agreement at foe turn of the century.

Originally Mississippi issued foe bonds to capitalise two local banks— Union Bank and Planters Bank— which invested heavily in foe construction of a railroad that went bankrupt. There followed an acrimonious political debate in foe state legislature about whether fop bonds should have been Issued in foe first place. They were never redeemed. Cole says he can appreciate foe seriousness with which Europeans approach default Men and Matters problems.

But he confesses he finds difficulty in drumming up interest in foe topic back home. But he does not see a settlement on foe cards. He Bays disarmingly. His speciality will be international capital markets and he will be a member of foe group's capital markets operat- ing committee in New York.

MonerefiTe first worked in the syndicate department of White weld and company, in London in the early s after Eton and Oxford. Never one to get in a rot he has moved to various jobs in Europe, the US and Asia, j some 14 times since then on my , count. The new William Harvey Research Institute will be at Barts, foe London teaching hoe- : pdtal where Harvey originally worked out how blood circulates. He will need a stock of lahoratozy rabbits for his research- But Vane has also attracted foe unwelcome attentions of the animal liberation supporters — some zealots even went as far as to firebomb his home less than two years ago.

Fast footwork Towards the end of last year Peregrine David Moncreiffe, a Britisher, aged 35, making waves on Wall Street, was tell- ing me how much he wae look- ing forward to getting into S lace in London in time for the tig Bang. He moved from managing the She arson Lehman Brothers trading department in New York to mastermind foe Shear- son Lehman Brothers Inter- national world capital markets business from London. But foe bang could not come soon enough for the restless Moncreiffe, it seems.

He has now left Shearsons, and joins E. But be insisted that foe BBC was in turn blocking recep- tion of Radio Moscow, particu- larly in the north of England. The distinctive "road drill M type of jamming used against western channels was spilling over Into ' Moscow's own frequencies. Post Office has Avar re ally been -.

S l e stamps are also being attended counter business and the Giro- are almost limitless. Letters can be delivered and benefit system— what used public sector corporation. The bypassing corpora s, there letters- that fails to arrive on time rather, than. The other ways. The Post Office also makes money: not much, but some. It is the tion. There was sses in the country, for those Conservatives most a spectacular dispute over It is present in or.

The Girobank could be Leeds a few weeks ago. In the well-known private sector com- f on?. Banks, but initially at least it work to be done at certain times the Post Office was ruining his It is also still expanding. It would have to stay in post office of the day and very little at business.

Since the practice of business. New part-time. PoUtically astute worirforee. New part-time jobs go It would be a different matter to those who already have a ntil and hotel reservations. Or wffl it just go on lor Lav along its own peculiar path? So if privatisation is diffi- tors. Nowadays it has four continues to spread, the oppor- cult, what are tbB alternatives? As your; feadpr 'Sug- gests, full scale UDCs' may not be appropriate.

A better solu- tion,, which this confederation commended. By concentrating purely on economic redevelopment— all other functions would remain with- the local authorities— UDAs would provide an exper- tise and x focu s which councils of develw; gpd.. When I took a further loan' recently they demanded nearly 4. T be dosing- balance on my annual statement includes un- paid monthly buildings insur- ance instalments, the number of which could vary between 0 and 1L If interest is charged on the stated closing balance, then it would vary arbitrarily in the same way.

So presumably would the tax relief charged to the Government, which justifies the Goveriunehfs behaviour. Richard Steiner ;- Byres. Punc- tuality, to most commuters, is, however, of paramount Impor- tance, particularly if they iuive other connections to make after reaching London. I do not subscribe to the View that 5 minutes late. British Rail. The Dartford loop line is notorious for lateness.

Here not a great deal seems to have chknged despite seven years of Conservative government. The Post Office still reports to the Department of Trade and In- dustry, submits its corporate plan for examination and inter- rogation and is subject to con- tact with government on an almost daily basis. Government intervention can also be arbitrary, it can limit investment became of a short- term concern with the public sector borrowing requirement It can prevent the emergence of a long-term strategy for growth and efficiency.

As Sir Ronald says, the Government sometimes shows a preoccupa- tion with numbers rather than substance. They are not always entirely compatible What Sir Ronald suggests is a new relationship whereby management would be allowed to get on and manage. This at least poses the question whether, U that model Is a success in toe private sec- tor, why we should not move some way towards it in at least the profitable public trading sector. None of this is entirely new. The role of the Post Office has never been fully dear.

Yet as the Office continues to expand and break new ground, it is worth the political parties giving some thought to it If it cannot be privatised, it might be better run. Tha Fort OtBem Mines T hi Atbloni Ptmmm. International Harvester has been renamed Navistar. Sometimes, it all gets to be too much. For the companies, the name change is usually intended to be a symbolic gesture, breaking an association in the public mind with recent disasters.

Every- thing will no doubt be all right with the UK coal industry now that the National Coal Board is to be known as British CoaL But is it really a positive message that is being projected? The Rover decision, for instance, might instead be seen as the last nail In the coffin of the British-owned motor industry.

Austin, a name which stands for volume car production, his been left on the sidelines. And the new Rover model, launched this week, is a joint development with Japan. In a way, what is almost too frightful to contemplate is the circumstances in which such decisions are taken. Harassed executives sit around the board- room table, years of frustration and failure etched on their fore- heads. Fawn suited Image- builders, radiating good health and positive thlnldng.

Decisions are taken at the whim of the moment. New logos are designed, and buckets of paint ordered. Of course the exercise trill be dressed up in pseudo scienti- fic jargon to impress the poor souls who have been persuaded that they are doing something worthwhile.

Navistar — Inter- national Harvester as was, If you remember — believes its name change will give it a new public identity, putting it in a better position to diversify at some- unspecified time in the future. The name was tost thrown up by a computer, and the final choice was put to a mixed group of shareholders, advertisers, employees and customers.

The cost of toe whole exercise has bees put at flOm. Meanwhile, the business con- tinues to slide. There is, of course, no reason why this practice should be con- fined to white elephants in the corporate sector. No doubt toe great pub- lie relations firm of Ruuski and Ruuski is even now working on something suitably tasteful for the town of ChernobyL That nice Mr Murdoch can soon he expected to arrange for toe London borough of Wapping to be given more soothing asso- ciations.

Something like Car- ton's Yard might catch the right tone. Sporting occasions obviously lend themselves to the treat- ment. The Com- monwealth Games have become an embarrassment for political reasons. Better to rename them the Robert Maxwell Fun Run, in honour of their patron. The English cricket team presents the image builders with a greater problem. Some dirasters are simply too big to be glossed over, and this may be tme of those occasions when outright deceit is the best solu- tion.

I come to a place where the city condenses and a breath from blast furnaces spirits it away. I ask the heart for a voice, above me looms a persistent clamor of distant factories, of forges. And the weather tends towards winter.

I tramp the streets which autumn adorned with green felts in the days of delicate foxes, the avenues azure after rain. Storm at Salsomaggiore Tonight you are close and threatening. Along roads your grace and the memory of dazzling parasols dims under warm, golden clouds. The passersby all have a face of death, 51 Emilia, nei viali dove impazzano le foglie. Si spegne il tempo e anche tu sei morta.

Torna il tuo volto, vuoi punire le torve fantasie. Come ti schiari, come consenti al fuggitivo amore dai balconi dagli orti dalle torri. The weather spends itself and you too are dead. Your face is returning, you want to smite the sullen fantasies. Passing Above Her Town in an Express Train Be untroubled by the roar which bursts with me into your peaceful morning if I lean out a little to recognize you, while you perhaps are walking with your people across the beaming lands; be untroubled by this fretfulness which touches you and behind itself leaves a brief wind of motes in a swirl of sounds.

How you brighten, how you consent to the fugitive love from the balconies, from gardens, from towers. Also the freshening hour will come with the wind which lifts on the wharves of the Navigli and the sky that grows distant along their banks.

Diana, do you also return amid tables paraded in the open and people intent on their drinks under the faraway moon? Muted, an orchestra hums; here with the bouncy air I recognize your swaying walk, the proud name sweetens in the evening should somebody murmur it across your wake. You say, —unhappily—and choke back a name if a leaf torn from who knows where brushes against you, then you speak of a star which one day once more over your path will perhaps appear.

Peace perhaps is truly yours and the eyes we closed forever now reopened are astonished that still for us you die a little every year on this particular day. Ma salvo nelle voci degli addii sommesso presentiva il mare al passo dei notturni battaglioni. A village of blue sanctuaries was retreating with the hour gone among the springs gone by. Along the restless bay, in coal heaps jagged in the sun the outskirts of the town glitter and abandon themselves.

Dead in foggy dusks of other skies I survive your celestial evenings, the occasional late boats speckled with lights. Terrazza Improvvisa ci coglie la sera. Siamo tutti sospesi a un tacito evento questa sera entro quel raggio di torpediniera che ci scruta poi gira se ne va. Terrace Suddenly the evening seizes us. But now in listless summer death grows more remote.

Vedi sulla spiaggia abbandonata turbinare la rena, ci travolge la cenere dei giorni. Ma torneremo taciti a ogni approdo. The silence has this cadence, dumbfounded to a cloud of smoke left behind here from the surge which just now divided the frontier. You, the dead, never give us any peace and it may be the wail going through the leaves is yours in the hour that the Lord clouds over. September Already in the gardens the fragrant olea stings us with bitterness: the lake withdraws from us somewhat, reveals a beach of dried-up things, of shattered oars, of shredded nets.

Another Summer Long raging summer. Image The window lifted you one evening high above songs of the street. Just so in the dark of indecisive years you will remain—the frequent thunder would feign for you horrors of a distant war. We went out on the hills at midnight to the vague remote call of a hidden veranda:—Santa, Santa mia.

Some placidly smile, faraway and walk upon the whirlpool of years howled from the river tonight, in the clearest of full moons. Your Memory in Me Your memory in me is a solitary whirring of pedal-bikes that go peaceably where the height of noon descends to the more blazing sunset amongst gates and houses and wistful inclines of windows reopened onto summer.

And light on the wind there you leave, lose yourself in the evening. E nei bicchieri muoiono altri giorni. Salvaci allora dai notturni orrori dei lumi nelle case silenziose. But where this bluer, always bluer sky opens wide and leads us to the distant villages, gazing, every color decays. We go back a step into winter. And other days die in the glasses. Then save us from the horrors of night, the lights in silent houses. Ma sugli anni ritorna il tuo sorriso limpido e funesto simile al lago che rapisce uomini e barche ma colora le nostre mattine.

E tu mia vita salvati se puoi serba te stessa al futuro passante e quelle parvenze sui ponti nel baleno dei fari. City at Night Uneasy in the troop train brushing against you so slowly I lean to your ominous lights in the sighing of the trees. Invano sotto San Luca ogni strada voluttuosa rallenta, alla tua gioia sono cieco ed inerme. Deboli voli, nomi inerti ormai ad una ad una si sgranano note per staccarsi dal coro, oscuri scorci 82 diminishing in heat haze, Dimitrios—on grasping lands barely believable, barely living tremor in me, in my own life hesitant on the sea.

And you: how you darken little by little. E ancora il tuo ricordo ne verdeggia. Tradotta Atene-Mestre, autunno Africa del Nord, autunno 84 dark glimpses of a lost sojourn: Kaidari, a bittersweet vale of olives in my idle recall—or those boats perplexed in the wind of Piraeus. And all that took the eye and ear nailed into the mist is already passed.

Whoever sleeps sleeps in the high snows up there among the dear dead ones. And still with them your memory grows verdant. Then came a mane of golden hair upon a foggy face. Paceco, Pin-up Girl Look at the sorry cutting grown limp in the dazzling air: the July afternoon has hints of bad weather, stray voices of alarm. It abandons a blue vein of oblivion only between two eras dead in us. E come sfuma chimerica ormai la tua corsa grandeggia in me amaro nella scia. No matter in what form—a game of football between prisoners: especially in him down there playing on the wing.

And as it blurs chimerical now your run grows great within me bitter in the wake. Ma se tu fossi davvero il primo caduto bocconi sulla spiaggia normanna prega tu se lo puoi, io sono morto alla guerra e alla pace. Camp Hospital , June Alas how what returns on the leafy mid-July Algerian hillside of you in the tall grass lain down is the voice not ingenuous nor even perverse bewailing the heat and the untamed mouth but hoarse a little and tender only.

Stubbornly they repeat life speak words of goodness to each other reread the old signs in the sky. A clear phantom laughs where the sentry was and the hillside of our absent spirits deserted and beyond recall veils over. Sidi-Chami, November Too late has the time come for you to be spoken pain of my young years. Dietro ruote fuggite smorzava i papaveri sui prati una cinerea estate. I smiled at my friends, they vanished, the curve of the avenue vanished in sadness.

My gaze is made more tender and slow no longer stretched to be elsewhere and here. But the spirit, with what leaves will it clothe itself to escape the silent unseen observation of the eye that discovers in everyone glints of nostalgia and remorse? E come il cielo avrebbe potuto non essere una tesa freschissima bandiera a stelle e strisce?

Un amore perduto o un altro ritenuto impossibile o funesto appaiono. The landscape was never so alive nor so heartrending with abandon. May, as ever, brought the Germans. And how could the sky not have been a tensed clean banner of stars and stripes?

A lost love or another you thought impossible or grievous appears. E poi? Ho visto uomini stravolti nelle membra—o bidonville! In tunnels, along miserable elevated sections of Milan, a soul delayed. What of it? And from the black kids, darker and darker, station after station, give me bonbon good American please, the beseeching litany. And then? I saw men with twisted limbs—O bidonville! No, nessuna—rispondo. But every breeze dropped, past Morocco sailing for the isle of Sards a fever grew in me: no longer that maddening rhythm of Ramadan but an eagerness, a fretting to arrive the more so on evenings of stagnant low water when the wave darkened, broken by feeble glimmers—and Gibraltar!

No, none—I reply. What was left of the empire. Vivo simultaneamente la vita che si svolge nei due cunicoli. Viene dalla gavetta. Come ho fatto a capirlo? Nei due cunicoli ci sono due gesti quasi ritmici, simultanei alla luce delle feritoie con lo stesso scatto istantaneo. Uno solo fa un gesto diverso ma senza rompere il ritmo, anzi! Ma si direbbe piuttosto inglese. Per la sua biondezza? Per la piroetta di gioia? In the bulge, at the center of the one labyrinth the two tunnels would form, there am I.

I live simultaneously the life unfolding in the two tunnels. Each wears a khaki uniform, lighter almost white the ones over there, English or American, enemies in short, unquestionably enemies. From the side of this other tunnel a trapdoor opens, no: a door, a trapdoor put in vertically. How do I know? No idea! As if I were presenting him the battalion on parade, he too stands to attention, and responds to the salute.

His face is like his uniform. Is he turning to ashes or mummifying before my eyes? On one side they present arms, on the other lay them down, lean them against the respective gratings. Italian, of course. But English, rather, you could say. From the fair hair? The joyful pirouette? What disappointments the youth of others will give us from now on.

Adesso dentro lei par sempre sera. Comunicazione interrotta Il telefono tace da giorni e giorni. Not long between two gulfs of cries the street, all houses, runs; but of a sudden a breach opens it where gaunt kids break through and perhaps the sun in spring. Now, within, it seems always evening. Beyond, it grows still darker, the street is ashes and smoke.

Clicking heels of teenagers mock at that pain, the improvised strain of an opera duet at a small crowd converging. Interrupted Communication The telephone has not rung for days and days. E tu, quanti anni per capirlo: troppi per esserne certo. Ma come tarda la luce a ferirmi. Voldomino, volto di Dio. Un volto brullo ho scelto per specchiarmi nel risveglio del mondo. And you, how many years to grasp it: too many to be certain. Journey at Dawn How many years, what months, what seasons in the course of a single night: a night of footsteps and tolling bells.

But how the sun comes late to wound me. But say to me a single word and my soul will be serene. Nella neve Edere? Dove portavano, quali messaggi accennavano, lievi? Non tanto banali quei segni. Per una traccia certa e confortevole sbandavo, tradivo ancora una volta.

In the Snow Ivy? Where were they leading, what messages hinting at, tenuous? Not so trivial those signs. And what if they were a scatter of hens— so long as it sang out clear, the invitation of a sky-blue slaver in the weak daylight. But already it rained on the snow, the cherished enigma hardening again. For a sure and comfortable trace I strayed, betraying once more. There remains to me a city close to sleep in earliest springtime.

Ma che mai voleva col suo sguardo la bionda e luttuosa passeggera? But whatever did she want with her glance, the blonde and mournful passerby? Between us was my glancing back and, barely audible, a voice: love—it was singing—and beauty reborn. On the Zenna Road Again Why do these troubled branches touch me? Under my eyes the coastline brought on by the road is forming itself always unchanged and not changed by my motor nor, lower, that sudden wind which troubles it and at the next bend will, perhaps, die down.

So pity then for the troubled branches called forth a moment in the spiral of wind that will soon drop away from me waving goodbye goodbye. And now already changed the motor checks an instant and then is released from immense sleep and another landscape turns and goes by. Even so, a day was enough. How many clouds for one that came have set themselves in motion che strette corrono strette sul verde, spengono canto e domani e torvo vogliono il nostro cielo.

The Sharks What escapes of us on the line of the current? Folta di nuvole chiare viene una bella sera e mi bacia avvinta a me con fresco di colline. Anche i nostri, fra quelli, di una volta? Dunque ti prego non voltarti amore e tu resta e difendici amicizia. An ill humor grazes the city for Orlando ensnared at half distance and at the window in vain still young in years and beautiful still Angelica appears.

Voices of after the race, bitter voices: with them they bear on a wave of remorse a futile passion in shreds. Outside again love is close by me and friendship. Even our own, amongst those, of that time? Le sei del mattino Tutto, si sa, la morte dissigilla.

E infatti, tornavo, malchiusa era la porta appena accostato il battente. E spento infatti ero da poco, disfatto in poche ore. What do I hope for more lost among things. Six in the Morning Death breaks the seal, just so, of everything. Non dunque tutte spente erano le sirene?

Volevano i padroni un tempo tutto muto sui quartieri di pena: ne hanno ora vanto dalla pubblica quiete. Col silenzio che in breve va chiudendo questa calma mattina prorompe in te tumultuando quel fuoco di un dovere sul gioco interrotto, la sirena che udivi da ragazzo tra due ore di scuola. Then not all the sirens were silenced?

O voice now banned, already split, O two-tongued spirit between vibrant days-to-come and wasted time, O silenced music towering and sad already. In the bitter and empty air a ghost of sound from the stopped sirens, no more a voice but in brief shudders in ever slower waves a smell of rubber compounds, a trace of blood and toil. Quel fragore. Lavorarono qui, qui penarono. E oggi il tuo pianto sulla fossa comune. The visit grazes towers, now, gangways, and only just begun: it descends in an uproar as if underground, which still has rule and center and somebody shows you.

A work cycle? Piecework, what is it? That uproar. Here at their posts are those swarming outside a few moments ago: what do you know of them, what do we know you and I, of their skill unaware. Closed in an order, deliberate and quick, condemned to a line of well-being not missing a beat—and above it all the implacable and hypnotic dance of pieces from one room to another. And today your weeping on the common tomb. Loro almeno sanno quello che vogliono. Non esiste. Dimmi subito che mi pensi e ami.

Ti richiamo sul tardi—. They at least know what they want. Non pareva il mattino nato ad altro? Ma in terra di colpo nemica al punto atteso si arroventa la quota. The prophetic soldier. But at the point expected on suddenly hostile terrain the heights become red-hot. Uno spaurito scolaro.

Oh le frotte di maschere giulive oh le comitive musicanti nei quartieri gentili. Discovery of Hatred Here was the wrong, here the inveterate error: to believe that nothing could be gained but love. Oh the swarms of festive masks oh the music-making parties in genteel districts.

The highest balcony gives back other music to the night and beyond city gates the road leads blossoming once more? Un giorno. E questi no, non li perdoneranno. Saba Berretto pipa bastone, gli spenti oggetti di un ricordo. Lo guardava stupefatta la gente. Di schianto, come a una donna che ignara o no a morte ci ha ferito.

One day. Saba Beret pipe stick, the lifeless objects of a memory. But I saw them brought to life on one roaming in an Italy of dust and rubble. It was Italy he meant. Abrupt, as to a woman who knowingly or not has wounded us to death. Poche ore. Una luce mai vista. Fiori che in agosto nemmeno te li sogni.

Sangue a chiazze sui prati, non ancora oleandri dalla parte del mare. Caldo, ma poca voglia di bagnarsi. Ventilata domenica tirrena. Situazione La forza del luogo comune, dolorosa. Seggiole in tondo, sdrai. Generalmente calmi.

Sul rovescio del luogo comune le campane del vespero. E attorno le rondini a migliaia. An hour or two. Light you never see. Hot, but no real wish to go swimming. Wafted Tyrrhenian Sunday. Am I already dead and come back here? Or the only one living in the vivid and still nothing of a memory?

Situation The force of the commonplace, grievous. The sprinkler jet in the grasses, unnoticed sigh. The garden as evening draws in. Chairs, in a circle, reclining. Familiar glances cross: one only evasive. For the most part calm. On the reverse of the commonplace, the vespers bells. For century after century at this hour a still warm coil of blood and sense. And round about the swallows in their thousands. I am all of this, the common place and its reverse beneath the vault as the last light withdraws.

E oggi? Non lasciatemi qui solo —stai per gridare—ritornate. Ma ecco da dietro uno scoglio sempre forte sui remi spuntare in soccorso il Giancarlo. E ti sembra un miracolo. And now? What times—you murmur—always more muddled what turmoil of boats and engines what an assortment of fauna on the sea.

And to you it seems a miracle. Mi prende sottobraccio. Potrei con questa uccidere, con la sola gioia. Ma dove sei, dove ti sei mai persa? But that other thing now and then making its way in me, that includes the others and makes them shine, believe in it, rare as this September morning. I was fairly talking to myself of you: of joy. I could kill with this, with joy alone. Climbed down at the crossing, a tram driver operates the points with his bar, restarts the days and noise. Che presto saranno spenti.

Presto sullo sparato del decoro il bruco del disonore. I giornali attorno ai chioschi garruli al vento primaverile: viene un tale, canaglia in panni lindi, su titoli e immagini avventa un suo cagnaccio. Approvazioni, intorno, risa. E dopo, che fare delle domeniche? Aizzare il cane, provocare il matto. Non lo amo il mio tempo, non lo amo. That will soon be lifeless. Was there ever anything else to do on Sundays?

All around: approvals, laughter. And after, what to do on Sundays? Goad the dog, incite the madman. Italy will slumber with me. Area da costruzioni—con le case qui giungeremo tra non molto. Ma poi, divisi dalla folla separati passando tra la folla che non sa, cosa vive di un giorno? Qui dunque si chiude la giovinezza, su uno scambio di persona? Then is youth ended here, in a mistaken identity? Solitudine, solo orgoglio.

I versi Se ne scrivono ancora. Se ne scrivono solo in negativo dentro un nero di anni come pagando un fastidioso debito che era vecchio di anni. Nemmeno io volevo questo che volevo ben altro. Si fanno versi per scrollare un peso e passare al seguente. Corso Lodi E—disse G. Solitude, only pride. You think of them lying to anxious eyes that wish you well on the last night of the year. Some laugh: you were writing for Art.

Not even I wanted that who wanted far better. Corso Lodi So—said G. Poetry Is a Passion? Rabbiosamente non voleva sciogliersi. Per una voce irrotta nella stanza. He was dying of apprehension and jealousy so much so he wished himself dead, he wished it truly, there in her arms. A Sunday in August was, outside, at its height and all of Italy in piazzas, bars, on the avenues, stuck in front of televisions.

And, the convulsive grip persisting which on instinct she redoubled , blindly one hand fumbled with the set, turned a dial: in the room at once the race appeared, and came between them. For a voice irrupted in the room. Vollero che li leggessi. Per tre per quattro pomeriggi di seguito scendendo dal verde bottiglia della Drina a Larissa accecante la tradotta balcanica. She can understand her man: knows well the more he imagines he beats them the better she enthralls him and holds him as long as she wants.

And if it seems to him a barely perceptible shudder encroaches on the still-warm breeze that reaches to the terrace: August too —she suddenly says, remembering— August too has gone forever. Yes I too have loved those lines. They wanted me to read them. Those lines felt far away to me, very far away from us: but it was what remained, a manner of speaking between us— smiling or foreboding, trusting or alarmed, believing in the war or not believing— during that summer of iron.

Perhaps no one has caught so well this moment in the year. Volli tentare ancora. Avvinghiati lottammo alla spalletta del ponte in piena solitudine. La rissa dura ancora, a mio disdoro. A leaden body without face blocked my way. I wanted one last try. Una vecchia vermiglia del suo riso.

Maschera detta amore, bella roba che sei. An old woman scarlet with laughter. The birds sang from the waterways and how many still-green leaves intact autumn bore in her womb. And nothing beside her scarlet laughter was the catholic twilight, nothing her mourning weeds. And nor do I know how much she saw of us glowing from the day and whatever. Ero, come sempre, in ritardo e il funerale a mezza strada, la sua furia nera ben dentro il cuore del paese.

Il posto: quello, non cambiato—con memoria di grilli e rane, di acquitrino e selva di campane sfatte— ora in polvere, in secco fango, ricettacolo di spettri di treni in manovra il pubblico macello discosto dal paese di quel tanto.

Mi volsi per chiederlo alla detta anima, cosiddetta. Immobile, uniforme rispose per lei per me una siepe di fuoco crepitante lieve, come di vetro liquido indolore con dolore. And from that day and that hour my love I never spoke to you of love. Interview with a Suicide The soul, what we call the soul and is nothing but a pang of remorse, slow reproof on the shadow of farewell, upbraided me from the banks.

I was late, as usual, and the procession halfway there, its black fury well within the heart of the town. With what relation to eternity? Motionless, unvarying a burning bush replied for it for me crackling lightly, like liquid glass, painless in pain. I hurled at the glare. It was eternity itself childish with terrors red upon red, the ravenous yawn of boredom with the sound of rain on churchyards.

E quelli qui restati? And those left behind here? La solitudine? O miei prodi. Il sonno. The solitude? And six feet underground? O my brave ones. O slumberer, what kind of thing is sleep? And here he is amongst the innocent babes astonished in the marble as if a Thou should truly ritornare a liberare i vivi e i morti.

E quante lagrime e seme vanamente sparso. Non che sia questo la bellezza, ma la frustata in dirittura, il gesto perentorio sul cruccio che scempiamente si rigira in noi, il saperla sempre a un passo da noi, come again to free the quick and dead. And how much seed, what tears vainly shed. Dunque via libera, e basta con le visioni! Ce ne furono tanti che crollarono per sola fame beauty, in a sparkling air: this, which libertines darkly search for and that work has taught me.

All clear then, give up those visions! From Holland amsterdam Chance led me there between nine and ten one Sunday morning, turning at a bridge, one of many, to the right along a canal half-iced over. There were many who were broken simply out of hunger senza il tempo di scriverlo.

Floridi, chiassosi pieni zeppi di valuta. Sono buoni clienti, non si possono respingere. Informazioni, quante vogliono. Non si tratta di rappresaglia o rancore. Questo dicono le facce arrossate dal freddo fuori dalla messa cattolica a Volendam, la nenia del vento volubile tra i terrapieni. Florid, rowdy loaded with currency.

Information, as much as they want. Not a word more. Take heed. The Unjust Pity They take me aside, they chide me: il faut faire attention, vous savez. Solo adesso si comincia a capire. Ci conta ci pesa ci divide. E tutti quanti come niente—come la notte ci dimentica. Tutti alle Case dei Sassoni—rifacendo la conta. Mai stato in Sachsenhausen? Mai stato. Only now do we start to comprehend. Or just—through a careless thought, through that moment of pity—that hand, that stump of hand on a wall. It counts us, weighs us, separates us.

And each and everyone as nothing—as the night disremembers us. In the True Year Zero Just as well, he said, the most jovial: just as well all were there. Ever been to Sachsenhausen? Never been. Ma certo, alle case dei Sassoni.

Ma quante Sachsenhausen in Germania, quante case. Tutto ingoiano le nuove belve, tutto— si mangiano cuore e memoria queste belve onnivore. No, never. But in Germany, how many Sachsenhausens, how many houses. They skip into a nightclub beneath the clair de lune.

Vi dico che non era un sogno. Metropoli Altri poi vengono: altri, di altro tipo. Con frange magari, con lenti spesse e cupe magari di forte armatura—testa tutta di testa tutta tecnica, tutto il resto di plastica dottorini di Oxford.

Metropolis Then others come: others, of another kind. With fringes perhaps, with thick and dark lenses perhaps strong framed—head, all head all technicalities, all the rest of plastic little doctors of Oxford. Certo chi muore. Here our faces glowed in the shade, in the rosy light the trees rained near nine of an evening in June?

Whoever dies of course. Turned from them, I sense the animation of the leaves and in that the storm making headway. Pantomima terrestre. Chiaro che cerca di prendermi per il mio verso. Vuoi testimoni? Prove per assurdo? Pare bastargli: ma dunque benedicente, bonario ma allora, coraggio!

Per giravolte di scale va su col suo coraggio. Parli—gli grido dietro— come un credente di non importa che fede. Earthly Pantomime. Sure—I reply though—stupendous. Want witnesses? Up twistings of stairs go he and his courage. You speak—I call behind— like a believer in no matter what faith. La spiaggia Sono andati via tutti— blaterava la voce dentro il ricevitore. Ma oggi su questo tratto di spiaggia mai prima visitato quelle toppe solari. E zitti quelli al tuo voltarti, come niente fosse.

But today on this stretch of beach never visited before those sunlight patches. In una casa vuota Si ravvivassero mai. Sembrano ravvivarsi di stanza in stanza, non si ravvivano veramente mai in questa aria di pioggia. In an Empty House If they ever came back to life. It has come back to life—me suddenly a seer in the slow brightening— that host of buttercups and daisies outside.

Provided there were. Posto di lavoro Quei gradini dove fa gomito la scala, tutta quella gente passata e ripassata ogni giorno: per lavoro svoltando dalla scala dalla vita. Tale mi sperano: morto, ma con infamia. Non sanno che ho fatto di peggio che li ho miniaturizzati nel ricordo. Ma questi di qui sono foglie inezie segni che lavorano in grande non quei congelati in miniatura quei non addetti bocche minime vocianti sotto vetro —e avrebbero ragione se solo sapessero— rattrappite per sempre nella colata fossili nel cemento vivo.

They hope for this: me dead, with infamy. Ma io non so che farci se la strada mi si snoda di sotto come una donna come lei? E dopo tutto ho pozzi in me abbastanza profondi per gettarvi anche questo. Ecco che adesso nevica. And after all I have within me wells deep enough to throw there even this. Ne vanno alteri i gentiluomini nottambuli scesi con me per strada da un quadro visto una volta, perso di vista, rincorso tra altrui reminiscenze o soltanto sognato.

Interno Basta con le botte basta. Le colline si coprono di vento. Questo sarebbe la pace? Interior Enough of the blows enough. The hills are enveloped in wind. You call this peace? Quanto vale il lavoro di una rammendatrice, quanto la tua vita? For every scratch a stitch, for every tear a patch. How much is the work of a needle woman worth, how much your own life? March, Poeta in nero Nera cintura stivaletti neri nero il cappelluccio a cencio tutto bardato di nero se ne sta ritto sullo sgabello inalbera un cartello con la scritta: Ich bin stolz ein Dichter zu sein muovendo le labbra appena.

Vesto il lutto per voi da dietro vetri neri con gli occhi mi risponde. Tra quanto resta di macerie e tutta questa costruenda roba in vetro cemento acciaio bel posto per riunioni e incontri. But why so much black? I ask him with my eyes. Smettila—dico—se no. It Will Be the Boredom of the long and torrid days but today little Laura is really irritating. Stop it—I say—or else. And with repressed ferocity slightly twist her tiny arm.

I see. I tempi da quanto tempo stanno dandoci torto? La spianata. Saltati i gradi le divise in cenci ritorna ognuno con un sasso in mano. How long have the times been proving us wrong? Exterior Seen Again in Dream Never again—shreds of regiments— would we be such equals. The clearing. All rank leveled, the uniforms in rags, each returns with a stone in his hand.

Never again would we be such equals. In cresta di collina. A una fame di giorni promette cena un casolare col suo fumo sperso tra due schiarite. Animo—ammicca quel signore della guerra— tu coi tuoi fucilieri non lo vorresti un rinforzo di fuoco? Saremo a tavola prima che faccia buio. Gocce di altra pioggia pungevano la sabbia della platea predesertica. Peace was above. On the crest of the hill. A cottage with its smoke dispersed between two brightenings promises dinner to a days-old hunger. Drops of other rain prick the sand of the pre-desert plain.

Up above a little longer one last goodness illuminated things. Ogni volta che quasi di soppiatto ripasso da Luino sulla piazza del lago schizzato fuori da un negozio corre un tale ad abbracciarmi farfugliando il nome di mia madre.

Her moment gone with theirs already? Years back an elder brother of his did the same and like then now suddenly blossomed from a wall of clay back along the line of the dead a hand convulses us. Di sole spoglie estive ma trionfali. Strappalo quel foglio bianco che tieni in mano. Questo era il dato invogliante. Era in principio solo canne polverose e, dalla foce, mare da carboniere. Nella sere di polvere e sete iii A Holiday Place i A day at various levels, of high tide —or in the one sphere of the blue.

Never does the blank or less clean page entice for itself only, and specially here between river and sea. There were no papers or cards to play, true. Empty-handed, from this side the ferryman returned without word of reply. That was the enticing datum. It was only dusty reeds at the start and, from the mouth, coal-trading sea. Instead that voice returns to tempt me many years a record, it was from over there, the far shore. Ma uno di sinistra di autentica sinistra mi sorprendevo a domandarmi come ci sta come ci vive al mare?

Tempo del mondo: la Corea. But how does anybody of the left, the true left I caught myself wondering how can he, how does he live by the sea? Even if they were not all stronger swimmers and oarsmen than me. World climate: Korea. Still benumbed with war, with that war, only this made me a part of those talking talking and still talking on the wave of liberty. Vorrei, io solo indiziato, vorrei che splendessero come prove—io una tra loro.

One in fact comes alight at a late hour the scornful moon intact still inviolate on the black drift, the scurry of waters. The heat will return. Allacciati o disgiunti da anni li vedo passare danzanti nel riverbero e nel vento. Memory forges desires then is left alone to bleed over these multiple mirrors. But look —voices come back from the estuary—from one hour to another look how colors change: from gray to green, from green to freshest blue.

Che fosse in ansie per Angeliche fuggenti o per tornanti Elene? Si potrebbe supporlo. You might just suppose. Pensavo, niente di peggio di una cosa scritta che abbia lo scrivente per eroe, dico lo scrivente come tale, e i fatti suoi le cose sue di scrivente come azione. Che fosse e sia un passaggio obbligato? Mi darebbe coraggio. Nothing worse, I was thinking, than something written with the writer for hero, I say the writer as such, and his own business, his writing life as action.

That it were or may be a necessary step? Would encourage me. Painters would nestle amid branches at one time today disappeared with part of the reeds: the times have folded easels, tossed away brushes, torn canvasses to shreds. Someone turning out copies of riverside hours, the turbulence and stasis of the sea?

Oracolare ironico gentile sento che sta per sparire. Non sapevo, non so niente di queste cose. As in Breughel? With those who cut and sew? It echoes in the depths, in the grayness, the weather now, the no longer tender season. I would like to understand them by instinct, just being among them, living them, and not for diversion: on these terms alone.

But —the sea gone gray in an hour, in an hour rediscovers its own youth— say the voices come over in the tail of the storm. A stone, they explain, is not as simple as it seems. The one branches into its own cathedral. A paradise on earth, the other.

Above them both a Himalaya di vite in movimento. Nei giorni di sole di un dicembre. On the reverse of summer. Were it not quite so late. Sospesa ogni ricerca, i nomi si ritirano dietro le cose e dicono no dicono no gli oleandri mossi dal venticello. Resta dunque con me, qui ti piace, e ascoltami, come sai. Rammenda reti, ritinteggia uno scafo. Cose che io non so fare. Nominarle appena.

Ogni eccedenza andata altrove. O spenta. All search abandoned, the names withdraw behind things, and say no, they say no, the oleanders stirred by the breeze. So stay with me, you like it here, and heed me, you know how. That man. Can barely name. All excess gone elsewhere. Or exhausted. Di quali torti quali colpe ancora? In the day that shines above the crushed evening its threshold of agony. Or trembling on the track of those dust-covered strides that raise a spring behind them.

For what wrongs still what blame? It says Allah is great and at this hour of night in this dead hour I believe it. Valley of the Queens, iv vertical village Fresh from a recent journey to the doubt of a misdirection the vertical village responds: with the speech of hedges raving among brambles and velvets, creakings of doors barely open, rebounding of echoes, mirror gleams, cuckoos.

A risarcire vecchi danni anni di prostrazione il bacio cadde sulla ferita.

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