OE Ælfric Homily (Corpus Cambr. 178) in J. C. Pope Homilies of Ælfric II. 792 Nu segð se wyrdwritere þæt seo wicce sceolde aræran þa of deaþe þone Drihtnes witegan Samuhel gehaten. 1425 Edward, Duke of York Master of Game (Digby) vi Þer beth some [wolves] þat eten children and men..And þei be cleped werewolfes, for men shulde be were of hem, or þe mann see hem.
Near the deep woods falling into the sky, seven hundred steps stepped little black twigs dare not speak. Against ritual abstract solitudes outline, fragmentary flights of fancy tracing twilight’s window shuttered, ghastly monotony, deliberation, and grey abyss.
Fields full thoughtless haste in cryptographic absence from a conscious world, mirror clouding over. Cellar debris looming certain symbols shuddering recognizable.
By night, a subtler thing witching, a werewolf shape, a vampire’s cigarette smoldering on the cobblestone, ghouls waiting at an abandoned bus stop, ghosts and spent skeletons ankle-bone slightly gnawed, but for the dark, figures moved uncertainly. Black lake, black boat, black stone.
Stars pale dusk, flat paper-cut shadows a few more breaths on an oblique road turns patient turning moment time unwinds rough-hewn pillars wrought iron and smoke.
Hypnotic figure chanting some such words sunk in settled gloom, fingers and toes grasp stone’s corner worn mortar smooth in the ruin. Bells tower, their shadows long rhythmic confusion, faintly dreaming wide tonal range collecting at the gates of a town already shut.
The model of a contrivance by means of which could certainly get possession of the sheets which were to be a rope; it was a short stick attached by one end to a long piece of thread. By this stick intended to attach the rope to the bed, and as the thread hung down to the floor of the room below, there should pull the thread and the rope would fall down. Tried it, and congratulated the invention, as this was a necessary part of scheme, as otherwise the rope hanging down would have immediately discovered me.
I pull the thread, unravelling round this tiny labyrinthine, a room for music and dance.
Sitting, sets the thread. Set of dining-room furniture constructing a whole geography of consciousness proceeding along inescapable pastimes merely accursed.
OE Ælfric Catholic Homilies: 2nd Ser. (Cambr. Gg.3.28) xx. 194 Hit is awriten be ðam yfelum timan. OE Anglo-Saxon Chron. (Laud) (Peterborough interpolation) anno 654 On his time þa comon togadere heo & Oswiu Oswaldes broðor cyningas. OE Laws of Edgar (Nero E.i) iv. ii. 208 Mine þegnas hæbben heora scipe on minum timan, swa hy hæfdon on mines fæder. OE tr. Defensor Liber Scintillarum (1969) ix. 96 Multi enim se credebant longo tempore uiuere : soðlice hi gelyfdon lange timan lybban. OE Wulfstan Last Days (Hatton) 134 Wa ðam wifum þe þonne tymað & on þam earmlican timan heora cild fedað. 1160 Anglo-Saxon Chron. (Laud) (Peterborough contin.) anno 1137 Nu we willen sægen sumdel wat belamp on Stephnes kinges time.
To describe it, À la recherche du temps perdu is an album I released in two thousand twenty one. Six lp records, twelve sides each about twenty minutes.
Total run time two hundred forty one minutes. The album is based around the novels by Proust, Valentin Louis Georges Eugène Marcel Proust, and is predicated on a few threads … The music of the novels, the music Proust (an avid music collector) had in his head and in his collection, the anthems of the Faubourg Saint-Germain. What music one might hear getting lost in Paris of the Belle Époque? The content includes twenty six composers and a Dixieland jazz band: Bartók, Bellini, Berg, Brahms, Caccini, Chausson, Chopin, Debussy, Delibes, Donizetti, Franck, Hahn, Jungmann, Louisiana Five, Lully, Ravel, Saint-Saëns, Satie, Schoenberg, Schubert, Schumann, Scriabin, Strauss, Tchaikovsky, Verdi, Wagner and Weber.
The primary impetus for the album came from my truck.