Sunday, 31 August 2025

Free live music and stuff in Las Palmas, August 2025

This is what we’ve seen this, pretty much dead, month.

  • 9 August: Poesía Cantada con Dácil Santana @ Biblioteca Pública Municipal Josefina de la Torre, Paseo de las Canteras, Las Palmas de Gran Canaria
      Dácil Santana (voice, guitar) with special guests, poets Adán Nada and Soledad Salim, the author of Guerra de almohadas.

  • 23 August: Bravas, brindis y letras @ Biblioteca Pública Municipal Josefina de la Torre
      Colloquium with actress Carol Cabrera, film director Arima León and winemakers Trinidad Fumero and Josefina Rojas, polished with a glass of white Canarian wine.

  • 29 August: Eugenia Cabrera @ Casa de Colón, Calle Colón, 1
      Canarian cantautora Eugenia Cabrera (voice, percussion) accompanied by Pachi Cabrera (guitar).

And an exhibition, or rather four exhibitions:

Looking forward to September.

Tuesday, 26 August 2025

The Unconsoled

by Kazuo Ishiguro

This is the third and so far the most difficult novel of Ishiguro I read. It took me about six weeks to finish it.

If comic episodes and repetitive dialogues of A Pale View of Hills are charming, here they take most of the space — and become tiresome. Was it really necessary to include everything the most mediocre characters say? Ishiguro himself provides great examples of how to deal with that: “For a while he went on uttering such empty phrases” or “continued in this vein for a while longer, but I had stopped listening”. The book ended just as I started to enjoy it. Bother.

The Unconsoled was published 30 years ago and, according to Wikipedia, was not received very well at the time. Now it is considered to be a masterpiece. I hope to re-read it a few years from now, perhaps even at a slower pace.

As I started to read the book during the Women’s Euro 2025, which I followed closely, the story of Number Nine — a favourite toy football player of Boris, the protagonist’s stepson — resonated with me.

‘Number Nine’ belonged to Boris’s very favourite team, and was by far the most gifted of the players. However, for all his immense skill, Number Nine was a highly moody personality. His position in the team was somewhere in midfield, but often, for long stretches of a match, he would sulk in some obscure part of the pitch, apparently oblivious of the fact that his team was losing badly. Sometimes, Number Nine would continue in this lethargic manner for over an hour, so that his team would go four, five, six goals down, and the commentator — for indeed there was a commentator — would say in a mystified voice: ‘Number Nine so far just hasn’t found his form. I don’t quite know what’s wrong.’ Then, perhaps with twenty minutes remaining, Number Nine would finally give a glimpse of his true ability, pulling back a goal for his side with some fine piece of skill. ‘That’s more like it!’ the commentator would exclaim. ‘At last, Number Nine shows what he can do!’ From that moment on, Number Nine’s form would grow steadily stronger, until before long he would be scoring one goal after another, and the opposing team would be concentrating entirely on preventing at virtually any cost Number Nine receiving the ball. But sooner or later he would, and then, no matter how many opponents stood between him and the goalmouth, he would manage to find a way through to score. Soon the inevitability of the outcome once he had received the ball was such that the commentator would say: ‘It’s a goal,’ in tones of resigned admiration, not when the ball actually went into the net, but at the moment Number Nine first gained possession — even if this occurred deep within his own half.

Incidentally, Spain’s own Number Nine, Esther González, with four goals, won the Top Scorer award of the tournament.

Monday, 18 August 2025

The Nurse’s Song / Песня няни президента США

by Roald Dahl
translated by Mark Freidkin

This poem appears in Charlie and the Great Glass Elevator, which I read last time some 20 years ago. I completely forgot about the POTUS and his nanny appearing there until I, quite by chance, came across the page of wonderful Roald Dahl translations by Mark Freidkin — yes, the very same translator of «Книга бессмыслиц». Enjoy!

Roald Dahl
The Nurse’s Song
Роальд Даль, перевод Марка Фрейдкина
Песня няни президента США
This mighty man of whom I sing,
The greatest of them all,
Was once a teeny little thing,
Just eighteen inches tall.

I knew him as a tiny tot,
I nursed him on my knee.
I used to sit him on the pot
And wait for him to wee.

I always washed between his toes,
And cut his little nails.
I brushed his hair and wiped his nose
And weighed him on the scales.

Through happy childhood days he strayed,
As all nice children should.
I smacked him when he disobeyed,
And stopped when he was good.

It soon began to dawn on me
He wasn’t very bright,
Because when he was twenty-three
He couldn’t read or write.

“What shall we do?” his parents sob.
“The boy has got the vapors!
He couldn’t even get a job
Delivering the papers!”

“Ah-ha,” I said, “this little clot
Could be a politician.”
“Nanny,” he cried, “Oh Nanny, what
A super proposition!”

“Okay,” I said, “let’s learn and note
The art of politics.
Let’s teach you how to miss the boat
And how to drop some bricks,
And how to win the people’s vote
And lots of other tricks.

Let’s learn to make a speech a day
Upon the TV screen,
In which you never never say
Exactly what you mean.

And most important, by the way,
Is not to let your teeth decay,
And keep your fingers clean.”

And now that I am eighty nine,
It’s too late to repent.
The fault was mine the little swine
Became the President.
Великой нации отец,
Что всем нам так знаком,
Когда-то был совсем малец,
Под стол ходил пешком.

Он был малявка, просто тля.
Его (коль он хотел)
Я на горшок сажала для
Больших и малых дел.

Его купала я не раз,
Чтоб мальчик лучше рос,
И утирала что ни час
Его сопливый нос.

И чтобы детство день за днём
Безоблачней текло,
Ему всыпала я ремнём
По первое число.

Ведь был он (стоит ли скрывать?)
Не вундеркинд — о нет!
И сколько будет пятью пять,
Узнал лишь в двадцать лет.

«Как парень дальше будет жить? —
Все недоумевали. —
Ведь и газеты разносить
Возьмут его едва ли!»

Но я сказала: «Не беда,
Что мальчик прост немного.
Таким в политике всегда
Открытая дорога!»

Он знает, как попасть впросак
Расчётливо и метко,
И наломать дрова мастак,
Каких увидишь редко,
И элегантен, как верстак,
И туп, как табуретка.

Он может чушь пороть подряд
И два, и три часа,
Что очень важно, говорят,
В борьбе за голоса.
Плюс строгий галстук, честный взгляд,
Зубов здоровых ровный ряд —
Они в день выборов творят
Большие чудеса.

И в результате тех чудес
(А здесь лишь я виною)
Через Конгресс пролез балбес
Руководить страною.

To put both poems into historical context: Dahl’s novel was published in 1972. The book «Детские бестселлеры» contaning its Russian translation appeared in 2001. Of course, Dahl and Freidkin were thinking of different presidents. Which president do you think of?

Saturday, 16 August 2025

Encanto

a film by Jared Bush and Byron Howard

At the long last, I watched Encanto (in Spanish), thanks to the open-air cinema cycle Vamos de cine organised by LPA Cultura. I have to say that I didn’t enjoy the first 10—15 minutes at all and was even considering going home. The viewers, that is, little kids and their parents, were producing so much noise that sometimes I couldn’t hear the dialogue. I’m glad I stayed.

OK, the “happy” ending was a bit of a let-down. I was hoping for a magic-less alternative, which was already taking shape. But all in all, I liked this film. I would like it even better if not for songs. Most of them are forgettable (I forgot them already) and don’t add much to the story. A few are irritating, none more so than Colombia, Mi Encanto yodelled by Carlos Vives. I’d say, scrap them all — with a singular exception of No se habla de Bruno (We Don’t Talk About Bruno) which is a masterpiece. I think that the Spanish version is superior to the (already pretty damn good) English original.

Thursday, 31 July 2025

Free live music in Las Palmas, July 2025

This is what we’ve seen this month.

  • 2 July: Carlos Meneses Quartet «Collabs» @ Palacete Rodríguez Quegles, Calle Benito Pérez Galdós, 4, Las Palmas de Gran Canaria
      Yul Ballesteros (guitar), Dani González (drums), Carlos Meneses (double bass) and Kike Perdomo (saxophones).

  • 3 July: Barrios Orquestados @ Biblioteca Pública Municipal Josefina de la Torre, Paseo de las Canteras
      Nice to see Barrios Orquestados still alive and getting stronger.

  • 5 July: Sofar concert @ Biblioteca Pública del Estado, Calle Muelle de Las Palmas
      With Salomé Moreno, Manu Echeva and Said Muti.
  • 10 July: «Personajes de la historia» @ Plaza del Pilar Nuevo

  • 11 July: Andrea Báez @ Casa de Colón, Calle Colón, 1
      Canarian cantautora presenting songs from her forthcoming album.

  • 15 July: El Afecto Ilustrado «Britannia. Inglaterra 1650» @ Casa de Colón

  • 16 July: Krzysztof Kobyliński @ Casa de Colón

  • 24 July: Joven CanariJazz Big Band & Zuco 103 @ Plaza de Santa Ana
      Joven CanariJazz Big Band led by José Vera Bello, featuring vocalists María Zerpa, Gabriela Suárez, Vanesa Lemoine and Carlota Baldó, plus guest Rayko León on piano. Zuco 103 sounded interesting but as they started later than (I) expected, I didn’t stay for long.
  • 25 July: Kennedy Administration & Patax @ Plaza de Santa Ana
      It was great to see Patax once again — nine years later! — at Plaza de Santa Ana. As for Kennedy Administration: I loved the band sound but find the singer (named Kennedy) overly intrusive.
  • 26 July: «Versalles en Las Palmas» @ Casa de Colón
      Vocal and instrumental compositions of French Baroque, as could have been heard at the royal court of Versailles. Performed by the teachers of the 3rd International Course of Early Music (III Curso Internacional de Música Antigua en Las Palmas de Gran Canaria, 21—25 July 2025): Olalla Alemán (soprano), Patricia Robaina (harpsichord) and María Alejandra Saturno (viola da gamba). The programme included:

  • 26 July: Luis Sánchez Quintet @ Plaza de Santa Ana
      Later the same evening: Luis Sánchez (piano) with José Vera Bello (sax), Gaspar Nogales (double bass), Rubén Bueno (drums) and Kervin Barreto (trumpet).

And that was it for July.

Tuesday, 29 July 2025

Five short films

by Alán González

Screened this Monday in Casa de Colón as a part of the cycle «Miradas audiovisuales. Pensar y comprender América». Presented by the director himself and followed by a colloquium, but I did not stay.

La profesora de inglés (2015)

Written and directed by Alán González. Starring Coralia Veloz, Héctor Echemendía and Roque Moreno.

El hormiguero (2017)

Written and directed by Alán González. Starring Grisell Monzón, Marybel García Garzón, Carlos Peña and Reynier Morales. Watch here.

Los amantes (2019)

Screenplay by Nuri Duarte and Alán González. Directed by Alán González. Starring Lola Amores and Noslén Sánchez.

La muchacha de los pájaros (2021)

Screenplay by Nuri Duarte and Alán González. Directed by Alán González. Starring Arlettis González, Omar Rolando González and Maggie Mateo.

Azul Pandora (2024)

Screenplay by Nuri Duarte. Directed by Alán González. Starring Lady Chiv, Mateo Menéndez, Eduardo Martínez and Yaité Ruiz.

Monday, 14 July 2025

Umiko

by Mónica Rodríguez
illustrated by Daniel Piqueras Fisk

A few months ago, I saw it in the bookshop. Maybe it was put on display because it won the 2024 National Prize for Children’s and Young Adult Literature. I leafed through it, read the blurb — about a modern Japanese girl who wants to become an ama — got interested and... asked our library to purchase it. To my great surprise, thay actually did it, and even phoned me when the book arrived.

I liked the story and loved the drawings.

Thursday, 3 July 2025

Love Lies Bleeding

a film by Rose Glass

Time: the news of the fall of the Berlin Wall are on the telly. Place: in the middle of nowhere. Well, somewhere in New Mexico, which is the same thing.

Starring Kristen Stewart, Katy O’Brian and Ed Harris, this Tarantinesque neo-noir thriller / Western / black comedy has got everything: lesbian romance, gruesome murders, bodybuilding competition in Las Vegas, you name it. Also, a couple of the most gross scenes I wish to unsee. All in all, pretty good stuff. Shame about the title though: couldn’t they think of something more unique? I prefer the Spanish Sangre en los labios, as corny as it is.

Love Lies Bleeding was shown as a part of the cycle Diversidad, Igualdad y Cultura by Filmoteca Canaria.

Tuesday, 1 July 2025

Free live music in Las Palmas, June 2025

This is what we’ve seen in June. Sketches by Tamara.

  • 7 June: El Quinteto: «Un viaje musical inolvidable» @ Auditorio José Antonio Ramos, Parque Doramas, Las Palmas de Gran Canaria
      From son and boleros to landó, tango, fado, Canarian folklore and back. Featuring Fernando García (drums, percussion), Francisco García (flutes), Candelaria González (vocals), Héctor González (vocals, guitar, cuatro) and Ruimán Martín (double bass).

  • 11 June: Julia Rodríguez «Hacia la vida» @ Palacete Rodríguez Quegles, Calle Benito Pérez Galdós, 4
      Julia Rodríguez (vocals, guitar, timple, cuatro), a singer-sogwriter from Fuerteventura now based in Barcelona, accompanied by Franco Contreras (bass), Nuria Herrero (percussion) and Daniel Morales (guitar, tres).

  • 14 June: Madama Butterfly @ Plaza del Tenor Stagno

  • 20 June: Morgane Ji @ Plaza de la Música, Avenida Roberto Clemente Benijófar (next to Auditorio Alfredo Kraus)
      Six years later, Morgane Ji (lead vocals, banjo) returns to Las Palmas, with E.r.k. (guitar), Emeline Fougeray (bass guitar) and Michaël Frideloux (drums). What a show!

  • 21 June: «Música en el corazón de Vegueta» @ Vegueta, various locations
      We went to see La Local Jazz Band feat. Miguel Ramírez (sax), Miqui Delgado (piano), Kervin Barreto (trumpet), Suso Vega (drums) and Abraham Ramos (double bass) in Casa de Colón and Yone Rodríguez Trio feat. Yone Rodríguez (timple), Néstor García (guitar) and Tana Santana (double bass) in Patio de los Naranjos.

Bring on July.

Tuesday, 24 June 2025

Hiroshima, mon amour

a film by Alain Resnais
screenplay by Marguerite Duras

Resnais’ stunningly beautiful debut feature stars Emmanuelle Riva as “Nevers” and Eiji Okada as “Hiroshima”. Jean-Luc Godard and Éric Rohmer were impressed. As was I, 66 years later.

A “fun fact” I’ve just read in Wikipedia: at the 1959 Cannes Film Festival this film “was excluded from the official selection because of its sensitive subject matter of nuclear bombs and to avoid upsetting the U.S. government”.

Hiroshima, mon amour was screened as a part of the cycle Tiempo de memoria, memoria en el tiempo.

Friday, 20 June 2025

A day in the life of Medusa

Whoever it is, they don’t move silently around my garden. I am a light sleeper, so I wake up. I hear it, my dogs smell it, and my vipers see it with their thermal vision. Ultimately, it’s Salua whom the intruder has the misfortune to touch while sneaking past her. She brings him down with one swift move; a loud jangle ensues as he crashes on the floor.
I approach this sorry heap. Now he is quite visible, a young man. The snakes encircle him in a sort of a living wreath. He is cowering in terror, averting his eyes and, without much success, trying to hide behind a shield. The rest of the hardware is on the floor, still within his reach. I identify the object closest to me as the Helm of Hades that Salua must have knocked off the guy’s head. A bit further from me, a weird-looking sword and a leather bag.

“Welcome, stranger,” I say. “Before you do anything else, be so kind as to pick up your sword and slowly hand it over to my slave. Don’t make any sudden movements, my serpents don’t like them. Salua, towel.”
Salua fetches a towel from the bench next to the swimming pool to accept the sword.
The guy obviously understands my words for he does as told.
The same procedure is repeated with the helmet, the bag and the shield. Devoid of the latter, the boy crouches even more, looking down and sweating profusely. I am about to order him to stand up when I catch a glimpse of his footwear. Could these be the sandals of Hermes?
“Hey, take those off too.”
My guest obeys, albeit more reluctantly than before. Trust me, I empathise with him.
Now there is nothing between the snakes and his bare feet.

Of all weapons, fear is the most powerful. Even without the magic helmet, the boy had every opportunity to flee. A part of me still wishes he did. But no, he meekly allowed two women to disarm him. Now he stands no chance. All his magic gear is spread on the towel under the watch of Salua. Where did I see that shield?

“Hey, you”, I address him. “Get up. Slowly.”
He does, still staring at his feet.
“Good boy. Now, introduce yourself.”
“I am Perseus Eurymedon, son of Danaë of Argus”, squeaks the good boy in a curiously high-pitched voice that almost makes me giggle. I cover my mouth, feigning thoughtfulness.

Danaë, Danaë. This name rings a bell.

“Do you know the name of your father, son of Danaë?”
“No... Not really.”
The bastard son of Danaë is lying, but I decide not to dwell on his genealogy for a moment.
“Do you know who I am?”
“Yes, ma’am. You are Medusa of Sarpedon”.
“Why don’t you look at me?”
He keeps inspecting his bare feet as if seeing something new.
“They say... that your gaze turns every living creature to stone.”
“They who?”
Looks like he doesn’t have the answer.
“Listen, whoever they are, they are fools and cowards. The truth is, I can turn anyone – who’s not blind, that is – to stone. But only if I want to. I’ll show you.”
I whistle for my dogs. They come running, I pet them, kiss their noses and look them in the eyes. I walk towards Salua and make prolonged eye contact with her. (While doing it, I also wink at her, taking care that the boy doesn’t see it. Salua keeps poker face.)
“See?” I turn back to my prisoner. “Nothing happens. Now look at me.”
I come closer to him. Now there are barely two paces between us. The boy is younger than I thought. I am petite and he’s the same height as me.

I could have had a son his age, I suddenly think. If I didn’t do everything possible to not have a child, that is.

Cautiously, he lifts his eyes. He meets my gaze.
And nothing happens.
His face that never knew a razor retains some puppy fat. I would call it pretty, if not for those close-set, shifty eyes. He doesn’t keep eye contact for long.
“Now I have to tell you something. I can take your life in many ways, turning you to stone is probably the most merciful one. So. Behave yourself and answer my questions. Agreed?”
He nods.
“Good. What is your business here?”
The boy hesitates.
Well?..”
“It’s...”
“A long story, eh? Don’t you worry, I have plenty of time.”
No response.
“Look, why don’t you sit down again and tell me your long story. Don’t skimp on the details. That will give you some extra minutes of life. What have you got to lose? Salua, pillow.”
Salua proffers a pillow; my prisoner takes it. I fetch my tablet and stylus, ready to take notes.
“Just don’t bore me, or I’ll cut you short”, I add.

So the boy sits down and begins his epic. He stammers at first, then little by little gets smoother. Instantly, dread sets in. No, he’s not a mere mortal. He’s a son of a god, and of a major one. I feel nauseous.

Danaë. I think I heard about her from one of my sisters. Another divine rape victim.

And this pup is here on a quest to decapitate me, clearly with supernatural help, what with all this kit he has zero experience with. Dispatching him will unleash the wrath of gods upon me. Ditto holding him prisoner: the gods will be alarmed by his disappearance. Letting him go is worse still: he’ll come back, and not alone. And his voice, gods, it gets on my nerves. No. He deserves death.

“So,” I interrupt him, “you are here because the king wants my head as a wedding present for his fiancée? Or maybe, just maybe, because the king wants to be rid of you?”

The boy stares. Apparently, the second (pretty plausible, eh?) theory never entered his mind.

“I don’t want to give you any ideas – it’s too late for this anyway – but, instead of trekking here, wouldn’t it be easier to get rid of the king?”

No, he didn’t think of that either.

Something tells me that it was the boy’s original destiny: to kill the king.

“Now, look at me. Do you believe I am an evil monster?”
He shakes his head.
“Did I cause any harm to you or your family, perchance?”
Ditto.
“Who am I, any thoughts?”
“A woman”, he mumbles.
Look at him, he’s blushing.
“Excellent observation. Anything else?”
“A very... beautiful woman.”
In any other circumstances, I’d feel flattered. Unfortunately for the kid, his ridiculous voice is as irritating as ever.
“Why, thank you, I’m glad you appreciate beauty when you see it. Yet you sneak here like a thief in order to murder a sleeping woman. Not very gentlemanly, don’t you agree?”
Sure thing, he agrees.
“I trust you realise that for my own safety I can’t let you live. But I feel generous today.”

I can’t believe my ears – is it me talking? Are you crazy, Med?
Salua looks at me incredulously.

“So I propose you choose the way you die. Not many people have this opportunity, you know.”

Just finish him, silly girl, I tell myself, stop talking. Many a villain met their end on account of their logorrhoea. Perseus knows too much, he must die. And yet I can’t shut up.

“I promise I can help you to meet your end with dignity.”

Gods, whom I hate, I sound horribly pompous. No, I didn’t think that through. Even if he kills himself, say jumps from a cliff – oh, there is a perfect spot! – the gods will be after me. Or will they? Do they know my whereabouts? If yes, why send the kid sniffing me out to Graiai? Ah, I see, that could have been another test. But what if they don’t?

A sticky silence descends. I look again at the towel. I have no doubts now about that shield. I used to be closely acquainted with its owner. What for did she lend it to the boy, I wonder. She must be well aware that it won’t save him from being petrified. If it were your dull run-of-the-mill bronze mirror, like I’ve got in my bathroom, it could just about work. But this one reflects the light perfectly. In fact, I could use it as a weapon. It’s simple physics. Or... Could it be that she wanted my assassin to fail?
Incidentally, years ago, she gave me a gift too. A parting gift, as it were. A pair of gorgeous Asian vipers. Why did she do it, I’ve no clue. Was it irony? Pity? Curse? Care? (Woman, you tend to overthink.) I named them Stheno and Euryale, after my sisters. So cute. Stheno turned out to be a male but then it was too late to change his name. Thus far, the old couple are alive and well, and the rest of the reptiles in my garden are their descendants.

What happens next shows that deciding upon Perseus’ mode of death was neither up to me nor up to him: the Fates, as the saying goes, have their way. The boy, who was fidgeting for a while, all at once jumps to his feet and makes a dash – where? We’ll never learn but I guess it dawned at him, belatedly, that he could have escaped from us. Alas, he treads on a serpent.

Short story shorter: Perseus is no more.

After shooing away my snakes, I find myself kneeling beside his still warm body. His brown eyes are, at last, wide open and don’t avoid my stare. But what’s this water on his chiton?
My tears, that’s what.
I didn’t wish you death, boy, I mutter.
Salua helps me to my feet. Her face is expressionless when she gives me her mighty hug. We stay embracing each other for a few minutes.
“Come, miss,” Salua finally says. “Go house. Salua take care the man.”
“No, Salua. I will do it. But I need your help.”
We have to act before rigor mortis sets in. Salua helps me undress the body. Perseus naked looks even less muscular than I suspected. Flabby arms and tummy, gynaecomastia. Boy, his garments stink. I tell Salua to wash them well and hang them to dry. She disappears into the house.
It’s time to do what I, and I alone, have to do.
Perseus told me himself that the harpe was there to cut off my head and the bag was to store it. And bring it back to whoever asked him for my head. Of course, poor sod failed the mission miserably, which is exactly what the king whatshisname was counting on, and, come to think about it, the gods were also half-expecting. No, I’m not gonna give them that.
I weigh the sword in my hand. It’s surprisingly light. Suspiciously light, even. And what’s with its weird shape? Won’t my own trusty xiphos be better?
In the end, I decide to give the harpe a go.

You might guess what follows, so I’ll spare you the details.

I need to get rid of the body. I don’t want anyone to see me lugging it about, even Salua. So let’s take Perseus out the same way he came: flying and invisible. And what did he use? Why, Helm of Hades and sandals of Hermes.
I inspect these objects. For obvious reasons, Perseus can’t wear the helmet now. Will it work on me?
I stand in front of a mirror and put the thing on. It’s not the most comfy hat in the world, likely adapted from the Thracian model, that covers most of my face – hey, it works! Not that well though. I become see-through but still discernible. The helmet is one of these shoddy “Made in Underworld” affairs that only make you invisible in the darkness. Also, it has got quite a latency. I take a sword in my hands and observe in the mirror how it slowly dissolves into something as transparent as myself.
So that’s it. I’ll have to don the damn helmet and drag the cadaver away from here. Will the sandals be of any help?
Yes! They fit and they work like a charm.
I fly the boy towards that perfect spot for Perseus’ suicide I was fantasising about. I – or shall I say “we”? – settle on the clifftop. The sun is about to set, and I am not going to miss the show. I find myself talking to my unlucky guest whom I, take note, embrace around the waist.
“Hey, this is perhaps the most beautiful sunset that you’ll never see. I know, you can’t hear me either. I’m sorry that you are dead, but this is the way things are. You shouldn’t have come here. Don’t worry, I will take good care of your head.”
And so on, this kind of nonsense, till the last bit of sun sinks under the horizon.
I stand up and lift Perseus. A few careful steps toward the edge.
“Rest in peace, son of Danaë,” I whisper as I release my grip.
In the twilight, I see the headless body slowly growing visible again while it plunges into the sea. It’s getting dark. I have to return home as fast as I can, without looking back. Down there, dozens of sharks waste no time either.

So you thought you knew the story.

Now consider this. His clothes, now clean and dry, fit me as a glove. My breasts are small and firm, even smaller than the poor boy’s man-boobs. The gods’ gadgetry also stays with me. Most importantly, my head is still on my shoulders. I’ll make sure that Perseus lives too – at least, for the outside world.

I can’t tell you what’s gonna happen next. I need some sleep first. I have to re-read my notes, then I’ll decide. Salua comes to check on me.
“You all right, miss?”
“Yes, I’m fine. Thank you, Salua. I’m going to bed now.”
“Good night, miss.”
“Good night, Salua. You too have a rest.”

Off she goes.

Stheno and Euryale are nesting on my pillow. I am too tired to get up and fetch another one, and I hate to shake my life-savers off. I lay my head next to them and close my eyes.
Sweet dreams, my lovelies, I murmur.
My lovelies lay quiet, so I reply for them.
Sweet dreams, sister.

Tuesday, 17 June 2025

Mabel and Fatty Viewing the World’s Fair at San Francisco & Speedy

The last session of the cycle El resto es silencio by Vértigo.

Mabel and Fatty Viewing the World’s Fair at San Francisco

a film by Roscoe Arbuckle and Mabel Normand

I was hoping for another great short from Normand’s vast catalogue but no. Starring both co-directors, this docu-comedy short is pretty much disposable.

Speedy

a film by Ted Wilde

A feel-good slapstick comedy starring Harold Lloyd as Speedy, Ann Christy as Jane Dillon, Bert Woodruff as Pop Dillon and Babe Ruth as himself.Speedy happened to be the final silent film by Lloyd. I have to add that I’ve enjoyed the Carl Davis’ score for this film much more than that for The Kid Brother.

Friday, 13 June 2025

Burning Your Boats

by Angela Carter
foreword by Salman Rushdie
I started to write short pieces when I was living in a room too small to write a novel in.
Afterword to Fireworks

I was so impressed with Fireworks (also with myself, for finishing it), that I decided to read all of Angela Carter’s short fiction. So I acquired this collection and... nothing happened for the next few years. Last summer, I finally dug it out. It took me about nine months to read it, with breaks.

The book contains four previously published collections, including Fireworks, plus six other stories. Of collected works, The Bloody Chamber is the most conceptually and stylistically coherent one, all that Gothic horror stuff with an exception of more, um, light-hearted Puss-in-Boots. Black Venus is rather uneven. The best stories there are Our Lady of the Massacre, Peter and the Wolf and The Kitchen Child, this latter providing much-needed comic relief. It looks like Ms. Carter was fascinated with wolves: the real ones, were-ones and feral children. I like that.

American Ghosts and Old World Wonders is another mixed bag, redeemed by the tasty Text-Mex-Western Gun for the Devil and delightfully Borgesian The Merchant of Shadows (it made me reach for Internet to check if Hank Mann was really born Heinrich von Mannheim: of course not, and he never made a movie called Paracelsus with Charles Laughton).

While I researched my thesis, I was rooming back there in the city in an apartment over a New Age bookshop-cum-healthfood restaurant with a science fiction freak I’d met at a much earlier stage of studenthood during the chance intimacy of the mutual runs in Barcelona. Now he and I subsisted on brown rice courtesy of the Japanese waitress from downstairs, with whom we were both on, ahem, intimate terms, and he was always talking about aliens. He thought most of the people you met on the streets were aliens cunningly simulating human beings. He thought the Venusians were behind it.
He said he had tested Hiroko’s reality quotient sufficiently and she was clear, but I guessed from his look he wasn’t too sure about me.
The Merchant of Shadows

Tuesday, 10 June 2025

Caught in a Cabaret & The Kid Brother

These films were screened as a part of the cycle El resto es silencio: Normand, Lloyd, Keaton, Chaplin, Fatty y otras sonrisas de antaño by Vértigo.

Caught in a Cabaret

a film by Mabel Normand

Charlie Chaplin’s cinema career began in 1914. Caught in a Cabaret is just one of 36 (!) films featuring Chaplin released that year. Also starring the director, Mabel Normand. Watch for Minta Durfee as a dancer at 20:00.

The Kid Brother

a film by Ted Wilde and J.A. Howe

A classic 1927 comedy starring Harold Lloyd and Jobyna Ralston.

By a strange coincidence, both Mabel Normand and Ted Wilde died at the tender age of 36.

Sunday, 1 June 2025

Free live music and stuff in Las Palmas, May 2025

This is what we’ve seen:

  • 8 May: «Celebrando Canarias» @ Plaza del Pilar Nuevo, Las Palmas de Gran Canaria
      The first of three concerts featuring Germán López (timple) and La Banda Sinfónica Municipal de Las Palmas de Gran Canaria conducted by Juan Roda Sapiña. The full programme is available here.

  • 14 May: Yul Ballesteros Trio «Alma» @ Palacete Rodríguez Quegles, Calle Benito Pérez Galdós, 4
      Yul Ballesteros (guitar), Tana Santana (double bass) and Akior García (drums).

  • 17 May: La Noche Europea de los Museos @ Casa de Colón, Calle Colón, 1
      Gonzalo Macías (guitar) and Ana Gil (vocals, clarinet); Enri Ive (vocals) and Pablo Queu (guitar).
  • 23 May: Carlos Alemán & Rayko León @ Centro Atlántico de Arte Moderno (CAAM), Calle de los Balcones, 9
      With Carlos Eliseo Alemán (flutes), Rayko León (piano), Fofi Lusson (double bass) and Osvaldo Hernández (drums).

  • 24 May: «Del bolero al son» @ Auditorio José Antonio Ramos, Parque Doramas
      Flamencubeando is a band from Jaén who mix flamenco with son, bolero, tango and other Latin American genres, playing the standards such as Alfonsina y El Mar, Lágrimas negras, Nostalgias, Obsesión, Por una cabeza and, would you believe it, Ay Mi Gran Canaria in their own unique style. Featuring Curro Pérez (voice), Luís Delgado (guitar, bass guitar), Fernándo Delgado (piano) and Luis Delgado Jr. (percussion, flute, melodica).

  • 31 May: Ernesto Rossger Trio @ Re-Read, Calle Bernardo de la Torre, 33
      One of these events that are not advertised anywhere. We only learned about it because we were visiting this second-hand book shop almost daily. So, on occasion of the eighth anniversary of the Re-Read Las Palmas, we were treated to almost 90 minutes of jazz/blues/funk/bossa nova fusion, plus beer and snacks. With Ernesto Rossger (electric guitar), Carlos Ayala (electric bass), Alejandro Ramos (drums) and a special guest Louis Moreno (vocals).

An exhibition of historical photography in interesting location:

  • 23 May — 1 June: «Presencia Española en el Sáhara» @ Palacio Militar de San Telmo, Calle Triana, 109

And that was it for May.

Wednesday, 28 May 2025

Croqueta y Empanadilla en Japón

by Ana Oncina

More adventures of the dynamic duo of Croqueta & Empanadilla, this time in Japan. Based on a true story.

Saturday, 17 May 2025

A Pale View of Hills

by Kazuo Ishiguro

Upon finishing Ishiguro’s last novel, I borrowed, as it turned out, his first.

A Pale View of Hills is very different from Klara and the Sun but equally enjoyable. The narrator, Etsuko, moves between “now” (unspecified year) of England and “then” (unspecified year) of post-war Nagasaki. The dialogues in “then” Japan are invariably repetitive and are bound to get on some reader’s nerves. I loved them. They add, dare I say, authenticity. (I have no clue how they talked in post-war Japan but, in general, people repeat themselves all the time.) Etsuko’s conversations with her father-in-law, Ogata-San, are the best.

A little later that morning, Ogata-San emerged from his room dressed in his jacket and tie.
“Are you going out, Father?” I asked.
“I thought I’d just pay a visit to Dr Endo.”
“Dr Endo?”
“Yes, I thought I’d go and see how he was keeping these days.”
“But you’re not going before lunch, are you?”
“I thought I’d better go quite soon,” he said, looking at his watch. “Endo lives a little way outside Nagasaki now. I’ll need to get a train.”
“Well, let me pack you a lunch-box, it won’t take a minute.”
“Why, thank you, Etsuko. In that case I’ll wait a few minutes. In fact, I was hoping you’d offer to pack me lunch.”
“Then you should have asked,” I said, getting to my feet. “You won’t always get what you want just by hinting like that, Father.”
“But I knew you’d pick me up correctly, Etsuko. I have faith in you.”
I went through to the kitchen, put on some sandals and stepped down to the tiled floor. A few minutes later, the partition slid open and Ogata-San appeared at the doorway. He seated himself at the threshold to watch me working.
“What is that you’re cooking me there?”
“Nothing much. Just left-overs from last night. At such short notice, you don’t deserve any better.”
“And yet you’ll manage to turn it into something quite appetizing, I’m sure. What’s that you’re doing with the egg? That’s not a left-over too, is it?”
“I’m adding an omelette. You’re very fortunate, Father, I’m in such a generous mood.”
“An omelette. You must teach me how to do that. Is it difficult?”
“Extremely difficult. It would be hopeless you trying to learn at this stage.”

Wednesday, 14 May 2025

L’amour en fuite

a film by François Truffaut

L’amour en fuite, released 20 years after Les quatre cents coups, brings the adventures of Antoine Doinel to an almost happy end. And, as it happens, it brings to the end the Antoine Doinel cycle by Filmoteca Canaria. I guess I would have enjoyed this comedy more if I didn’t see the other parts of the saga. The flashbacks, taken from the previous films, were not exactly necessary and some of them way too long. The torn-up photo story, however, is utterly brilliant.

Starring Jean-Pierre Léaud as Antoine, Claude Jade as Christine, Marie-France Pisier as Colette, Dani as Liliane, and introducing Dorothée as Sabine.

Wednesday, 7 May 2025

Domicile conjugal

a film by François Truffaut

Antoine Doinel (Jean-Pierre Léaud) is now happily married to Christine (Claude Jade), however his affair with Kyoko (Hiroko Matsumoto) is about to destroy the idyll.

Unlike Les quatre cents coups, this 1970 film is a pretty light-hearted comedy. There are some conspicuous similarities between Domicile conjugal and Bergman’s 1973 film Scenes from a Marriage (Bergman and Truffaut admired each other).

This was the fourth instalment of Las cinco edades de Antoine Doinel. Alas, I missed the third one!

Thursday, 1 May 2025

Free live music and stuff in Las Palmas, April 2025

Aprile, dolce dormire.

This is what we’ve seen this unusually cold and rainy (by Canarian standards) April.

  • 4 April: «La chica de Arlés» @ Sala Gabriel Rodó, Paseo Principe de Asturias, Las Palmas de Gran Canaria
      Joven Orquesta de Gran Canaria conducted by Josep Gil played music by Mozart, Bizet, Joaquín Rodrigo, Richard Strauss and Andrea Venet. The full programme available here.
  • 11 April: Sofar concert @ Casa de Colón, Calle Colón, 1
  • 23 April: Jonay Mesa & Luis Sánchez @ Palacete Rodríguez Quegles, Calle Benito Pérez Galdós, 4
      Jonay Mesa (guitar) and Luis Sánchez (piano) present their forthcoming album Mind Trip. Postponed from 9 April.

  • 24 April: «Cuentos y leyendas» @ Auditorio José Antonio Ramos, Parque Doramas

  • 26 April: «Timples y otras pequeñas guitarras del mundo — 10º Aniversario» @ Auditorio José Antonio Ramos, Parque Doramas
      With Germán López, Althay Páez, Beselch Rodríguez and Yone Rodríguez (timple, cuatro, banjo, ronroco), Leandro Ojeda (double bass) and a guest singer.

Three exhibitions in Casa de Colón:

And two more:

And that was it for April.

Wednesday, 30 April 2025

Ullate. La danza de la vida

a film by Elena Cid Sebastián

Mónica Cruz says that when she was a child, Víctor Ullate was considered to be a dancer of the caliber of Baryshnikov and Nureyev. Maybe. I first heard his name yesterday — fittingly, on International Dance Day, thanks to Filmoteca Canaria.

It was no one else but Antonio Gades who, after seeing Víctor dancing, insisted that the boy had to study ballet. So Ullate was accepted to the school of María de Ávila in Zaragoza — the first male student there. In 1964, he became a principal dancer of the Ballet du XXe siècle of Maurice Béjart. How cool is that?

Like many biographical documentaries, this one suffers from too many talking heads and too many too short snippets of actual Ullate performances. Still, I’m glad I watched it. Now to do my own research.

This film was screened as a part of the cycle Tiempo de memoria, memoria en el tiempo.

Monday, 28 April 2025

Klara and the Sun

by Kazuo Ishiguro

I first spotted the name of Kazuo Ishiguro on the back cover of Homo Deus. I had no idea who he was, so I looked him up. Wow.

Next thing, I went to the library in search of his books. And there they were. I picked this one, read the first page and took it with me.

The mildly dystopian society of the novel is dystopian only mildly because it’s pretty much like the present, at least in the West. (Replace “lifted” with “priveleged”, “oblong” with “smartphone”, and “The Yard” with “nursing home”.) The protagonist, Klara the Artificial Friend, religiously follows the First Asimov’s Law — to the degree of self-sacrifice. And how do the humans repay her, the ungrateful monkeys they are? (Jessie the cowgirl of Toy Story springs to mind.)

...Manager placed a hand on my shoulder and said, in a quieter voice than before:
‘Let me tell you something, Klara. Children make promises all the time. They come to the window, they promise all kinds of things. They promise to come back, they ask you not to let anyone else take you away. It happens all the time. But more often than not, the child never comes back. Or worse, the child comes back and ignores the poor AF who’s waited, and instead chooses another. It’s just the way children are. You’ve been watching and learning so much, Klara. Well, here’s another lesson for you. Do you understand?’

I like the way Ishiguro writes. As far as I know, his other works are not narrated by intelligent gynoids, so I don’t expect to find this particular style there. Off to the library to check out the next novel.

Monday, 21 April 2025

My mum used to say — Part 5

Every year, I think “this is the last one”; then my memory brings up a few more of her words or expressions. Here is another чёртова дюжина (baker’s dozen) of them.

A follow-up to the first, second, third and fourth parts.