The book is called Cider With Rosie, by Lauri Lee read and reviewed by N.H.V.V.

Lauri Lee is a poet and writer from England. It's about being a child in a poor family during WWI. The family was abandoned by the father. Eight children and their mother living in a big house in the country. It's all about his brothers and sisters going to school. Getting meals together and the sleeping arrangements. Very detailed and poetic.  It's light reading.

Lee was in Spain during the Spanish Civil War but not as a fighter, just as an observer, surviving by playing his violin on the streets for handouts. There are two books about this period he wrote which are brilliant.

Duino Elegies by Rainer Maria Rilke, translated by Stephen Spender; read and reviewed by N.H.V.V.

There's some wonderful descriptions of Picasso's Blue and Pink period in this book of poetry; paintings of the characters of Harliquin, and other jugglers. --These were written about the same time Rilke was in Paris writing The Notebooks of Laurids Brigge, one of the most brilliant surrealistic novels of that time, circa 1915, Kafkaesque, but better written and more amusing.-- In the first Elegy you get a sense of profound sorrow, because Rilke is trying to describe what it might feel like for someone to have died young, before they had even enjoyed some of the fulfillment of their youth, and hence were cut off from all human association. There is an apprehension of insubstantiality as a consequence of being removed from human consciousness and the privilege of being able to communicate with like minds. The spirit described has become truly set adrift. But this spirit seems to dream of angels and longs for the comfort of loving affection. There's a sense of wonder in his evocation of angels and their majesty. "Who, if I cried, would hear me among the angelic orders? And even if one of them suddenly pressed me against his heart, I should fade in the strength of his stronger existence." To imagine how it feels to be a fragile, ephemeral spirit, without substance, strength, bone structure, is incredibly powerful in its sense of extreme vulnerability. "For Beauty's nothing but beginning of Terror we're still just able to bear, and why we adore it so is because it serenely disdains to destroy us." Rilke is bringing together many elements simultaneously: The serenity of beauty, the angelic and terror. --The atmosphere at this time in history in Europe was full of alarming incidents of terror. The poem is written on the eve of WWI, the Spanish Civil War. All of which were a prelude to WWII. -- "Each single angel is terrible. And so I keep down my heart, and swallow the call-note of depth-dark sobbing. Alas, who is there we can make use of?" The speaker makes a radical transition from 'I' to 'we' which is in the context of reaching out to every day experience of the familiar daily world that gives us a sense of security and belonging, "Not angels, not men; and already the knowing brutes are aware that we don't feel very securely at home within our interpreted world." Why don't we feel secure? Because death is always a lurking possibility. The reason that we don't feel secure is maybe that we are not in touch with others with whom we can communicate fully. Or, simply the fact there's always the threat of a too early death that cuts us off from the fulfillment of our full potential.  Rilke was alive when he wrote this prose poem called Duino Elegies. Therefor, what died in Rilke? His love affair with Lou Andreas Salome was over. Stripped of the protection of love and companionship, Rilke could have been made defenseless against horrifying destruction and loss in war that was about to be unleashed upon the world. Why doesn't the quotidian world offer a sense of security anymore? Rilke predates existentialism by quite a few years, which is a response to WWII. The period of the early 1900s was filled with innovation in the fine arts, and in technology. Industrialization, urbanization and all the familiar traditions in the arts, coming out of the Belle Epoque or the turn of the century, were being thrown out the window. In the works of composers like Stravinsky and artists like Picasso and writers such as Joyce and Virginia Wolf one no longer had the comforting familiarity of traditional forms of expression. Perhaps this is what Rilke is getting at in talking about the lack of security. All Rights Reserved Copyright by Nicholas H. Van Vactor 2011.

Two Short Stories by D.H. Lawrence: The Prussian Officer and The Fox; read and reviewed by N.H.V.V.

The officer in the story The Prussian Officer focuses on certain physical characteristics, such as the ruddiness of his servant's face, which mainly represents his youthfulness and physical vigor, which the officer feels he himself is losing in his life. His contempt for the young man reaches a frenzy, so that everything he does infuriates him and reaches a certain pitch, so that he cannot restrain himself from kicking the young soldier in the thigh. The same kind of obsession is felt by the character, Banford in The Fox for the physicality of the young man, Henry who has persuaded the woman, March, with whom she lives, to marry him, thus threatening to break up their relationship. Some of Henry's expressions literally make her sick. She so abhors him. When March ultimately refuses him, he decides to get rid of Banford, after returning to the farm, where the two women have been trying to chop down a tree, and ask him to help them, Henry manages to fell the tree in such a way that it falls on Banford, breaking her neck and killing her. Why do I believe acts of cruelty like this are possible? There's something in me that desires to see the act of cruelty executed. When I'm reading something, I feel I can't stop it happening and there's a certain pleasure in being complicit in an act I am not going to be judged for or punished for. But in Lawrence's stories there is no justice; they don't end in a way that is satisfying.  Copyright 2011 by Nicholas Van Vactor, All Rights Reserved.

People Of Note 1 Of 4 Copy Right By N.H.V.V.

People Of Note 2 Of 4 Copy Right By N.H.V.V.

People Of Note 3 Of 4 Copy Right By N.H.V.V.

People Of Note 4 of 4 Copy Right By N.H.V.V.

Bard College And People Of Note 1 of 9 Copy Right By N.H.V.V.

Bard College And People Of Note 2 of 9 Copy Right By N.H.V.V.

Bard College And People Of Note 3 of 9 Copy Right By N.H.V.V.

Bard College And People Of Note 4 of 9 Copy Right By N.H.V.V.

Bard College And People Of Note 5 of 9 Copy Right By N.H.V.V.

Bard College And People Of Note 6 of 9 Copy Right By N.H.V.V.

Bard College And People Of Note 7 of 9 Copy Right By N.H.V.V.

Bard College And People Of Note 8 of 9 Copy Right By N.H.V.V.

Bard College And People Of Note 9 of 9 Copy Right By N.H.V.V.

A Dialogue On IMAGINATION OF FEAR a poem by Jorie Graham in vol. 33, March 3, 2011 issue of London Review of Books read and reviewed by N.H.V.V.

The poem describes the first evidence of plants coming to life in Spring as if something horrible were happening. Certain distressing events are soon referred to, such as a poor woman receiving a foreclosure notice, just as the school bus drops off her children after school, in a way that is completely unexpected. An essay starts at the far right upper corner of the sheet about Louis McNiece's remarks about poetry, which ends with the statement that his reference to ambiguity does not alter our understanding of the poem, but the fact is that ambiguity itself is the meaning of the poem. How this relates to the poem we are given on the left side of the page is not at all clear, though with some effort of interpretation, having enough to go on in McNiece's remarks, we could surely come up with something convincing. But I'm too lazy to try to venture my remarks in this direction. My question is: Since Jorie Graham tends to divide her poems by typographical means into two apposing parts, is this new unexpected addition of this long column about McNiece on the right hand side of the page an extension of her earlier format using an apposing text paginated without explanation? It may be related, and if so, in a very oblique way that one could never be sure of. It's a peculiar yet powerful poem.
Copyright 2011 by Nicholas Van Vactor, ALL RIGHTS RESERVED.

FEAR AND TREMBLING by Soren Kierkegaard; read and reviewed by N.H.V.V.

The book is about Abraham's belief that God wishes for him to sacrifice his son, Isaac. Abraham's faith in God is tested to the maximum until he shows God that he's willing to obey him. His relationship to his son is put in jeopardy because Issac witnessed the drawing of the knife, which was held to his throat before the ram appeared and Abraham was urged by God to kill the ram instead of his son. It's a very demanding book with flashes of brilliance. It tends to go on and on. For example, "From Abraham we have no song of sorrow. As time went by he did not mournfully count the days, he did not cast suspicious glances at Sarah, fearing she was growing old..." This is a typical passage which asks for too much patience, promising very little. No direction is pointed to in order to hold one's attention. He makes his points eventually, "If there were no eternal consciousness in man, if at bottom of everything there were only a wild ferment, a power that twisting in dark passions produced everything great or unfathomable, insatiable emptiness lay hid beneath everything, what then would life be but despair?" In short, one has to pay a price to arrive to such passages. The test of Abraham's faith is the ultimate existential experience of doubt and therefore the horror of nothingness and lack of meaning. Those Jews who lived through the worst of the holocaust or the Armenians who survived the massacres at the hands of the Turks or the Palestinians who were pushed out of their homes by the settlements must have faced the same excruciating questions about their own faith in God. Copyright 2011, by Nicholas Van Vactor, All Rights Reserved.

A Modern Library edition THE PHILOSOPHY OF WILLIAM JAMES by Horace Kallen, read and reviewed(but mostly name-dropping;) by N.H.V.V.

A thrilling account of a suicidal depression which James worked his way out of, and when he had regained his mental stability, experienced an outburst of creative activity and insight, leading to his major work in philosophy which was supported by his experience of teaching wonderful students at Harvard. This is before he became a full professor of philosophy there. William James is credited as being the father of Pragmatism in philosophy and some of his major works are: Varieties of Religious Experience and Principles of Psychology (these are two separate books). This was pre-Freud. Pat Watson Wanning who was one of my parents' great friends told them that her father had devoted his whole life to developing treatments based on the work of William James on psychology. Once Freudian theory swept through America and Europe these treatments became neglected and eventually no longer used. In the Introduction to The Philosophy of William James you see a man working his way out of suicidal depression which could have destroyed him. William had the good instinct to take himself to a Swiss spa where he got his health back by taking warm mineral baths and being well cared for. The introduction by Kallen is a damn good read and full of hope. I haven't yet started the book. If I read it I'll report more later.

William James' father, Henry James Sr. had inherited a fortune from his father and was able to take his family for extended periods to Europe where they were tutored and free to visit all the great monuments: The cathedrals and museums and castles which so enriched their children's lives, producing not only one of the great American novelists but one of it's great philosopher-psychologists.

Another wonderful book is by Peter Brooks, another good friend of my parents, which is titled Henry James Goes to Paris, which is about the period Henry James spent in Paris and all over France, returning to some of his favorite places of his childhood, describing his joyous car rides with Edith Warton and his friendship with Turgeniev, whom he knew in Paris. Copy Right 2011 by Nicholas Van Vactor, All Rights Reserved.

The Transformation of Franz Kafka by Nicholas Van Vactor

There are many ways of interpreting "The Transformation" by Franz Kafka, and in my opinion, too many critics have given only symbolic readings of the story, which limit its impact and complexities. The events of the story can be seen as an analogue for what happens to a person emotionally who has become severely ill. It would be fair to say that the state in which Gregor Samsa finds himself is terminal, as much as he might wish it to go away--it will only get worse. When someone becomes seriously ill, his relationship to the world changes utterly. That is the dreaded transformation. After a stroke, for example, a person speaks gibberish or nonsense, all the while believing he is talking correctly and intelligibly; one becomes completely dependent on others. Gregor must be taken care of by his family who resent his presence in the household almost immediately after the onset of the transformation, for in his pathetic state he has become a large burden. Besides the fact he can no longer bring home the bacon, Gregor smells bad and looks disgusting.

What I find interesting is that this story makes me question how we are regarded by others and, as a consequence, regard ourselves. Gregor is resisting the fact that he has turned into a bug by thinking it is only temporary. In a way, this parallels the reader resisting the story in its literal form. The reader tries to rationalize it, avoiding an emotional response to the initial event disclosed in the first sentence. In rereading the story, I allowed myself to be affected by this horrible possibility: one has lost all manual dexterity but, more importantly, all one's capacity to communicate. Instead of trying to rationalize this event by interpreting it in symbolic terms, one should imagine what it would feel like to be turned into a bug physically while retaining the consciousness one had previously as a person, when one had name, personality, job, family to support, remaining in one's former room. One can still think, feel, remember, worry, but is unable to negotiate the world physically--does not have the use of one's hands, is for all practical purposes immobile, like a quadriplegic. Gregor's body does not respond to his will. His body is alive and moving but completely out of his control.

Let's go to the text. Gregor's first predicament is getting out of bed. Against all odds, he succeeds. More to the point, he has woken up from a bad dream, which I interpret to be his former life. His prior situation was as the main working part in his family, the provider of income. He was the only source of income except for what remained from the father's failed business. Gregor finds himself changed, "in his bed into a monstrous insect." One could interpret the first sentence of the story as Gregor waking up from his former life as one who was trapped in a situation he had never questioned, a life full of pressure and stress. Gregor was always responding to other people's needs and demands. His job and family responsibilities have made him into a person driven by worries and anxieties, whose life is not his own. Read as an analogue for what happens inside to someone who has become incapacitated by illness, the story gives us a person who, when he was well, could carry his burden and perhaps even take some pride in shouldering so many responsibilities, even though his is a life poisoned by anxiety. Incapacitated, only the anxieties remain, intensified because he can do nothing to deal with the demands that have always been expected of him. In the fourth paragraph of the story, he recalls his hollow life as a traveling salesman: "the anxiety about train connections." (P. 77) The explicit key word is anxiety. At the end of the fifth paragraph, he recalls the loan, which is coming due in five to six years. For the moment he is kidding himself that it will be easy to pay off. Then the first sentence of the sixth paragraph, he looks at the alarm clock and is jolted by the anxiety (of the everyday) that he has missed his train for work.

The jobholder lives by the clock. One is terrorized by time in Gregor Samsa's world. The work ethic and its pressures are crushing. Self-interest is put aside in favor of the demands of the job, the institution, and society at large. The jobholder is other directed (see David Reisman). Anxieties about being late for work, meeting deadlines, having one's work found inadequate by one's superior, are not only totally draining but finally destroy one's sense of autonomy. One either becomes a company man or loses out in the struggle for promotion, and is seen by one's co-workers as a has-been. Such a person might be seen as a "mere tool of the chief, spineless and stupid." (P. 78)

"The Transformation" depicts more powerfully than any fiction I have read--including CRIME AND PUNISHMENT--a consciousness tortured by anxiety. Immediately in paragraph one we are given the fact of a being who is paralyzed--the key word is "divided," is besieged by worries that the coverlet is about to drop to the floor--the thing that covers the awful fact of his condition, and finally we get the second key word, "helpless." We have been dealing with the text on an emotional level, which includes worries and painful memories, and to this extent is synonymous with the psychological dimension.

II.
The narrative technique used in "The Transformation" is a form of indirect discourse in conjunction with the narrative past tense which creates the illusion of events taking place in the present. Single quotation marks surround Gregor's thoughts. Another way of indicating this kind of interior monologue in the third person is: he thought that his life was a mess; or: he thought to himself: he should get going as soon as possible. Also, these thoughts or this talking to himself could be represented without the he thought that...by putting the said thoughts in italics. Falkner does this. In the German original, double quotes are used around Gregor's thoughts. His thoughts are generally given surrounded by quotes, followed by "he thought." It is not dissimilar to the way dialogue is indicated followed by "he said" or "she said." Kafka's technique is less subtle than that of Henry James, Flaubert, James Joyce and other masters of point of view writing. Nonetheless it is clear and serves his purposes.

The grammar of these narrative signals is further understood if one thinks about the kind of verb being employed, the reflexive verb: he thought to himself (said to himself) that such and such...In a sense the subject of this story is reflexivity or self-consciousness. It is about a character who is incapable of action, like a quadriplegic, or someone in the last stages of a terminal illness, whose only activity is thinking about himself and remembering his former life. How is self-consciousness depicted? As a negative, self-canceling process.

III.
I wish to venture another interpretation, which complements what I have written above: it concerns waking up to how one has always been regarded by others. One has lived a life protected from the knowledge that other people saw one as despicable, as loathsome, as vermin, as no better than a dog. Gregor's parents and sister are still protected from that knowledge. Gregor now feels about himself that he is as bad, as disgusting as others have always felt. By others, I mean, the gentiles. In the middle of page eighty-eight: "Travelers aren't popular, I know." For the word traveler, read Jew. The wandering Jew was a colloquialism. Two lines down, the word "prejudice" comes into the text explicitly. "People think they make pots of money and lead a life of luxury." This was one of the many ways in which Jews were stereotyped at the time the story was written. Earlier in the story, on page eighty-four, when the chief clerk was talking directly to Gregor about reasons for why he was in the state he was in at present, and also about suspicions that his productivity is inadequate, and further implications that he has been stealing from the firm, the chief mocks him, saying "on parading these peculiar whims." This refers to Gregor's present state of being locked in his room, his absence from work, and causing worry to his parents. One line further: "...a possible explanation for absence--it concerned the authority to collect payments..." So Gregor is suspected of stealing money, being a thief, and therefore by implication, a Jew.

If Kafka intended this meaning--we should always remain skeptical of any interpretation of a literal text--, it is a more covert meaning than the analogue I drew attention to earlier, namely, with illness, which is referred to explicitly in the text many times, for example, when the mother says "perhaps he's seriously...You must get a doctor this minute. Gregor is ill." (p. 85) Ironically, his superior from the office takes this as a fabrication, his mother's attempt to make excuses for her son's deviant behavior. The reading of this story as someone realizing that they are a Jew, how much they are despised by the dominant population by their dominant society is based on the fact that there is no doubt that Kafka is capable of creating this kind of covert code, for he did so in the story "Investigations of a Dog." The word dog was a common metaphor for the Jew during Kafka's lifetime. It is possible that bug is being employed in the same way. The idea that he is preoccupied with invisible forces could refer simply to the anti-Semitism in his society, views he has internalized, producing self-hatred. Copy Right 2011 by Nicholas Van Vactor, ALL RIGHTS RESERVED

Stendahl by Michael Wood, read and reviewed by N.H.V.V.

The gist of what Michael Wood has to say about Stendahl is that his novels are structured around epigrams, such as a girl of the streets i.e., a whore, could never make a good wife; and an epigram includes a whole bunch of paradoxes: such as she might be good in bed but you could never trust her to be faithful. The novels dramatize these paradoxes. His remarks on THE RED AND THE BLACK are subtle and full of insight and are very clearly written. Copy Right 2011 by Nicholas Van Vactor, All Rights Reserved.

Somehow A Past, by Marsden Hartley an autobiography; read and reviewed by N.H.V.V.

It's about an artist who grew up in Louiston Maine who's mother died when he was eight. He lived in Cleveland for a while and then NYC. There he got to know Edward Steichen and spent a lot of time at his gallery and was nourished by Steichan who saw his promise and made sure that he had enough to eat and encouraged him in his painting and learning. Hartley had the good fortune to get himself to Paris where he became a friend of Gertrude Stein and who's collection of Matisses and Picassos had a huge impact on him and who's circle of friends liked Hartley and encouraged him. The fact that she had written her own memoirs, The Autobiography of Anna B. Tochlas, was a huge model of what he was to attempt in his own autobiography. After Paris, he then spent a great deal of time in Berlin and met expressionist painters, such as Gabriela Muenter, Franz Marc, of the Blaue Reiter group, which had a significant influence on his painting. He was charmed by the masculine style of the military uniforms in parades and the high energy of Berlin at that time before 1933. He returned to NYC where he had stored at least fifty paintings and his friends Steichen and Stiglitz offered to host an auction of his work in their gallery. The auction was a success. He netted $3900, which allowed him to return to Paris where he continued painting and eventually traveled to Florence Italy to devour all the great paintings and sculpture to be seen in that city, went on to Arezzo, then this being the dawn of the Mousalini period, he left Italy for Marseille and the rest of France. His innocence and purity of spirit pervades this book which starts with a long poem and celebrates mountains. It is a celebration of the act of memory which is compared to scaling mountains such as the peaks of the Alps, which continued to be a source of visual ecstasy for Hartley. One of the people who purchased his paintings back in NYC was Dr. Barnes whose collection of paintings from that period is well known. Another collector from Cleveland, Ohio bought his work and left it to the Cleveland Museum, establishing a collection of American artists for that museum. I feel that Hartley is one of the great, original American painters and I'm sure my opinion would be shared by Robert Indiana who has used some of Hartley's imagery in his works. Copyright, 2011 by Nicholas Van Vactor, All Rights Reserved.

Other Inquisitions 1937-1952 by Jorge Louis Borges, read and reviewed by N.H.V.V.

It's a series of essays on writers like de Quincy, Chesterton, Stevenson, Oscar Wild and others. At age 24 Borges went blind, as his father had, and he said: "After that, all the world was in my head, and I could see better because I could see all my dreams clearly." His other great book is called Labyrinths, in which there's a story called Funes Memorius and also a story about a man who invents Servantes's great novel Don Quixote word for word, never having read it. And also there's one called The Garden of Forked Paths and then one called The Draghtman's Contract, and that was made into a movie by Peter Greenway; it was one of the most modernistic movies ever made by anybody! Borges is right up there with Joyce and Beckett as far as experimental, innovative literature, written in our time: A must read! Borges worked at the National Library in Buenes Aires, and when Peron took power in Argentina, Borges lost his job. He came to Harvard in the 60's to give the Eliot Norton Lectures, a great honor to Harvard. Copyright 2011 by Nicholas Van Vactor

Tweet

The Socratic Dialoges, written by Plato, read and reviewed by N.H.V.V.

Alright so Apology is full of Socrates's refutation of false accusations against him based on hearsay and a lot of other false evidence against him. He is acting as his own lawyer without council. He obviously is not successful in his own self-defense, because the verdict delivered against him is as guilty, and he is sentenced to be executed and then drinks hemlock to commit suicide; to teach Athenians a lesson: that they allowed an egregious injustice to take place and it's a bad mark on the history of Athenian justice, which persist to this day... The reason that he doesn't flee with his friend to Thesaly is that he feels he has an obligation to obey the laws of the city state and why obligation? He fears against foreign aggressors. In other words, he feels that one would destroy the city state if one refused to obey their laws and refuse to go by the verdict of the courts, because Athens has not only educated him as a child but also provided and continues to maintain a military to protect him and all other Athenian citizens against foreign aggression. There has been an irrational tendency to see a parallel between the unjust condemnation of Sorates and the prosecution of Jesus by Pilot. Copyright 2011, by Nicholas Van Vactor

Tweet

The Socratic Dialoges, written by Plato, read and reviewed by N.H.V.V.

This one called Crito, the friend of Socrates has come to the prison to try to talk Socrates into fleeing with him to Thesaly where he says his friends there will make sure he's safe, and that he's sure the authorities who have ordered him to be executed will be glad that he is gone from Athens. The dialogue that follows is the argument that Socrates gives, making the case against fleeing with Crito who has apparently bribed the guards; the dialogue that follows Crito is called Apology. And I will report on that some other day. Copyright 2011, by Nicholas Van Vactor

Tweet

DISGRACE, a novel by J.M. Coetzee, read and reviewed by N.H.V.V.

It's a story about a divorced professor of romantic poetry at a South African university who at first frequents whores. When his favorite prostitute is no longer available, he has a little love affair with one of his students. She's not doing very well in his class, and he gives her a 70, which she really doesn't deserve. She's thinking of dropping out of school. She tells her former boyfriend and parents about the love affair. The administration of the university threatens to fire him unless he makes a sincere apology for what he has done. The story goes to prove that it's morally better to pay a prostitute for sex than to get it from a pupil. This book is a well written novel by a Nobel Prize winner, which makes one wonder, why he wanted to write it. I might say that, maybe the author thought that he'd make enough money because of his reputation as a novelist to pay for his mediocre sex habits. Not wanting to be snide, I can say, I was grateful to have a novel to read today as entertaining and well-written as this one. Copyright 2011, by Nicholas Van Vactor

Tweet

TWO LIVES by William Trevor, read and reviewed by N.H.V.V.

It's hard to read. It has to do with mundane events: Working in a dry goods store that specializes in various kinds of fabric. The woman, whose name is Marry Louise, is married to the owner of the store, but he's taken to drink, and on their wedding night, he goes to sleep; and the marriage is never consummated. His spinster sisters torment her, and you see her disintegrate over the course of the novel. The only touching moment is when Marry Louise goes to see her cousin whom she'd always fancied. He's a cripple whose only pleasure in life is setting up historical battles with toy soldiers and reading Turgeniev. She declares her love for him, but he soon dies. When she returns home, she ends up spending most of her time in the attic, and she refuses to say what she does up there when asked. We can guess that she's looking at photos of her cousin whom she loves. The book is sensitively written and received reviews full of praise which do not correspond to my experience of the book, which I found depressing and lacking in event. I was disappointed because I had read stories by this author which I thought were brilliant. There are some things that never should be published. Copyright 2011, by Nicholas Van Vactor.

Tweet

A LIFE OF PICASSO The Triumphant Years, 1917-1932, by John Richardson; read and reviewed by N.H.V.V.

It's mostly about his relationship to a Russian ballerina named Olga who he married, and who was sick a lot; and from whom he gradually moved away from, as he got involved with other women. Very well written. It gives a great picture of one of Picasso's most productive periods while he was commissioned to do a huge body of work for the Russian ballet. Mainly it made me jealous because he was having such a good time, and that he was such a successful artist. Copyright 2011, by Nicholas H. Van Vactor.

Tweet