Saturday, 15 November 2025

Skin Job. A Self-Narrative Assignment.

Just last week I was astonished to learn a fiction of mine from my ‘Fugitive Pieces’ file had surfaced at my publishers (Salt).

Its title? Skin Job. A Self-Narrative Assignment. 

https://www.saltpublishing.com/blogs/house-magazine/skin-job

Yet I was all the more astonished when I opened the page to note a name familiar to me from my distant past. The publishers’ announcement states: ‘Erica Wagner joins the Salt list

https://www.saltpublishing.com/products/wash-9781784634018 

Yes. Curiously, I look back and find my fiction, The Cheated Eye, alongside Erica’s (Pyramid) in The Catch collection of prize-winning Asham Award stories. The competition, the very first  when launched in 1996, attracted over six hundred entries of which the judges selected thirteen which were published together with commissioned stories by Kate Atkinson, Rachel Cusk, Louise Doughty, Candia McWilliam and Deborah Moggach.

See here the story behind the Asham Literary Endowment Trust in memory of Virginia Woolf:

https://www.thresholdsarchive.org.uk/the-story-behind-the-asham-trust/ 



Catherine Eisner believes passionately in plot-driven suspense fiction, a devotion to literary craft that draws on studies in psychoanalytical criminology and psychoactive pharmacology to explore the dark side of motivation, and ignite plot twists with unexpected outcomes. Within these disciplines Eisner’s fictions seek to explore variant literary forms derived from psychotherapy and criminology to trace the traumas of characters in extremis. Compulsive recurring sub-themes in her narratives examine sibling rivalry, rivalrous cousinhood, pathological imposture, financial chicanery, and the effects of non-familial male pheromones on pubescence, 
and Listen Close to Me (2011)

Wednesday, 5 November 2025

FOUND! Wisdom Spun in Gossamer: Spiderivable Radials

My young nephew, Ernst Bienek, is torn between his passion for arachnids and his fanatical devotion to mountain biking, enthusiasms that no doubt explain his extraordinary new theory whose working title is Spiderivable Radials for optimised tensegrity of structures. I understand he is still perfecting the proofs of his discoveries yet he’s also keen to invite other theoreticians to share their thoughts on his propositions.

So here you are first to read of his arachnoid derivations.

Or perhaps you already know the premise of his findings?

Ernst sketches it out like this . . .

In sum, the  Spider’s Web and, essentially, its Radial Angles yield an Optimal  Correlation of  

Number, Structural Economy and Tensile Strength

Significant Median Angle of Cobweb Radials is 12.7°

a division, which, within 360°, equals 28 Radials.

Consider then the Spokes of a Mountain Bike Wheel (Optimum Lightweight/Strength/Spokes Correlation)

Number of Spokes = Median between 24 and 32 = 28

The Significant Number is 28 radials

Spider and Man are in perfect accord ?

The dome of the Pantheon, Roman 2nd Century Temple,
has 28 Radials. Some two thousand years after it was built,
the Pantheon is still the world’s largest unreinforced dome.
Photo credit: Mohammad Reza Domiri Ganji
Wikimedia Commons

Can we then assume the ‘lacing’ of a cobweb and the lacing of a mountainbike’s wheel spokes have a preordained correlation identified some two thousand years ago, when considerations of strength and economy of means were formulated for the dome of the Pantheon — the temple dedicated to ‘All the Gods’ — now one of the best-preserved of all Ancient Roman buildings?


29 Radials (near mean-optimum)
Photo credit: Fir0002/Flagstaffotos

Ernst asks:

What did the Ancients know?

What does the spider know?



You are reading it here first.

A recent study of cobwebs (2021)* shows that extracted geometrical numeric values can elucidate how spider web utilisation has the potential to guide development of optimised fibre oriented reinforced composite structures for constructing such figurations as shell structures, pressure vessels and fuselage cones for the aviation industry. The statistical results depict the opening angle utilisation by the spider for web construction, and the cumulative mean of all collected samples shows that the favourable angle of the spider for orientation in web construction is 12.7°.

* Journal of Composite Science

Tuesday, 23 September 2025

Found! Poésie trouvée (Part 6).

I have touched upon, in earlier posts, the peculiar jolt one is dealt when a specimen of poésie trouvée is stumbled upon.  
     So it was all the more surprising to discover such a specimen lurking in my own prose.
     Simply, it’s a paragraph from my novel concerning the fortunes of Klara and narrator Éveline who – against all expectations – find themselves falling very much in love.  
     As to rhyme, it’s an unconscious pairing one might say.
     A snatch of dialogue. Klara speaks first . . .

Two Graces.
Detail from Antonio Canova’s Neoclassical sculpture (1814), 
commissioned for Empress Josephine and now exhibited
in the Hermitage Museum, Saint Petersburg.
(Source Wikimedia.)

        ‘We agreed. Agreed. For both of us.’
        Klara drew close to me.                
        ‘We are not looking for what we do not want. Because . . .’
        ‘Because we have found what we . . .’
        ‘Need,she pronounced throatily 
        ‘Need.’
 
For more examples of poésie trouvée see my earlier posts . . .
That Cry in the Night
Immured Mustard Field
The Unsought Text



 

Monday, 1 September 2025

A Reissue from the Harcourt Archives! Adhoc-ism: The Art of the Impromptu.

Reissued by Éditions Studio Harcourt in a facsimile of the now unprocurable first edition, Verity Askew’s popular standard work (1948) – Adhoc-ism: The Art of the Impromptu – remains an informed, entirely novel and exhaustive treatise on a neglected interwar cultural subcurrent, including new structures and patternings such as ‘Cut-ups’, Découpage, Papierausschnitte, Merz, ‘Flourishes’, Pataphysical Illusions, Conjurings and Happenings with an Appendix devoted to ‘past and present’ (interwar and circa mid-1940s) exemplars of this Dadaistic style. An edition to be cherished; to be had at all quality booksellers.

First edition. Original trompe l’oeil dustjacket (1948).

Tuesday, 26 August 2025

‘Hostage in Peking’ Sonnet circa 1968 ‘A Vacuum of Hell’

In July 1967, journalist Anthony Grey was imprisoned by the Chinese People’s government for 27 months of solitary confinement endured in the basement of his house whose exterior was daubed with anti-imperialist taunts by the Red Guard
 
It was his ‘vacuum of hell’, a torment magnified when he was forbidden possession of his books . . . until he discovered an instruction leaflet in his bathroom cabinet attached by ‘an elastic band round a bottle of T.C.P. [trichlorophenylmethyliodosalicyl] liquid antiseptic  . . . I eagerly absorbed the literary elegance of such phrases as: “Influenza, as a precautionary measure during epidemics, use night and morning as for colds.” And “Mouthwash: use daily diluted with about five parts water after meals.” And “Chilblains, aching feet, athletes foot: freely apply undiluted.” ’

 
Had this discovery been for Grey a sort of Damascene moment, one speculates, an encounter with his lost Rosetta Stone preserved in the bathroom cabinet, so long deprived of such emollient wording in his own cherished tongue, the language of Shakespeare? 

And, therefore, at such a moment in his ‘Forsaken Place’*, did he subconsciously attempt to deconstruct the paucity of those T.C.P. instructions – savouring each phrase in iambic pentameter – to contrive a testament to his hard wrought defiance in our time-honoured Shakespearean Measure? 
 
Did he pummel some sort of sense into those inoffensive words? I rather suspect he did.
 
                    January’s a danger month, Mother,
                    particularly when its germ toxins
                    take hold, with forty-four hurts deep in the
                    membranes of strict preventative routines

                    night and morning, so no foreign body
                    might escape into the system or leave 
                    a feverishness to see multiply 
                    the severe dampness of one’s handkerchief.

                    So extra help is needed that counteracts
                    threats of dirt-embedded skin necrosis
                    or incubated unwanted side effects. 
                    Let Nature ease discomfort . . . if you start this

                    extra internal action early enough
                    you’ll have a real chance of throwing it off.
 
*For further reflections on ‘Lazarine Literature’ and ‘The Forsaken Place’ see:



 

Friday, 1 August 2025

A Child’s Definition of Humanity.

 You’re IT. Pass it on.

it, it, pronoun, the neuter of he, him, (and formerly his), applied to a thing without life, a lower animal, a young child . . . in children’s games, the player chosen to oppose all others; (colloquially) the ne plus ultra; that which answers exactly to what one is looking for; an indefinable crowning quality by which one carries it off – personal magnetism . . . 

See also
Deposition of a Rebel from the Cross
 

Catherine Eisner believes passionately in plot-driven suspense fiction, a devotion to literary craft that draws on studies in psychoanalytical criminology and psychoactive pharmacology to explore the dark side of motivation, and ignite plot twists with unexpected outcomes. Within these disciplines Eisner’s fictions seek to explore variant literary forms derived from psychotherapy and criminology to trace the traumas of characters in extremis. Compulsive recurring sub-themes in her narratives examine sibling rivalry, rivalrous cousinhood, pathological imposture, financial chicanery, and the effects of non-familial male pheromones on pubescence, 
and Listen Close to Me (2011)

Sunday, 27 July 2025

Revanchist Polonium: Vengeance Deferred. (Dramatic Irony. Part 2.)

Definition: Dramatic Irony.

A plot device in which apprehension of events or motives is the god-like privilege of the audience but not within the grasp of characters in the unfolding events who may, indeed, never survive the action of the drama to achieve such self-knowledge. 
 
----------------------

As I wrote in Dramatic Irony, Part 1: ‘It is not for me to glibly remind ourselves of how tragic events in our national life adhere to Aristotelian definitions of classic drama conducive to the terror and pity essential for the cathartic experience Aristotle prescribes to purge our congested emotions.’
Polonium was discovered on 18 July 1898 by Marie
Skłodowska-Curie and Pierre Curie, the result of
extraction from uranium ore pitchblende (Uraninite),
its identity revealed by its strong radioactivity.
It was named for Poland, Marie’s homeland.

Again, I simply juxtapose two events for spectators, god-like, to apprehend undercurrents of portents and their fulfilment.  
 
Portent 1. The September 7th 1939 entry in Comintern General Secretary Georgi Dimitrov’s Diary quotes Stalin’s very clear views about Poland: ‘Doing away with Poland in conducive circumstances would mean one bourgeois fascist state less.’
 
 
Scorched Earth.
It’s only now that we  – the onlookers who behold the distorting mirror of history – only now we who can see the fated pattern resolve itself in the looking glass.
 
Consider the tragic drama of betrayal that unfolded in Nazi-occupied Poland, in August 1944 – the Warsaw Uprising – when Polish partisans unaided defended their capital against the besieging German forces. 
 
Treachery? Yes. 
 
Calculated betrayal by their ostensible Allies. Yes.
 
Because on the 1st of August, the day of the Uprising, the Soviet advance was halted at the east bank of the Vistula by a direct order to the Red Army from the Kremlin. Hindsight let’s us give credence to the case that Stalin benefited from Soviet non-involvement in the failed relief of Warsaw, because future opposition to his military objective to eventually control Poland as a Soviet state was effectively removed by permitting the Nazis to destroy the loyal Polish nationalist partisans. This Soviet objective was completed indirectly when, in the aftermath of the Uprising, the Nazis enacted long-laid plans to raze Warsaw to the ground, destroying up to 90 percent of its buildings as an egregious act of reprisal following capitulation.
 
It was a scorched earth policy that played into the hands of their adversaries, the reinvigorated Soviet oppressors of Poland. (We remember Stalin’s threat, ‘‘Doing away with Poland in conducive circumstances . . . ’)
 
As Stalin foretold, dependence on Soviet hegemony required the total annihilation of the Polish Underground State, with the entire Polish population repressed or purged by operational groups of the NKVD, the USSR’s ruthless instrument of military counterintelligence and state security, and forerunner of the KGB
 
Victims of Polonium poisoning: Irène Joliot-Curie, the
daughter of Marie Curie who first isolated Polonium;
Alexander Litvinenko, Russian defector and former officer of
the Russian Federal Security Service, successor to the NKVD.   
 
Poison du temps : Divine Vengeance Postponed.
When we read of the depredations of the NKVD from their betrayal and subjugation of the Polish nation, how then can we interpret the well nigh mythical comeuppance meted out to those mutinous descendants of the NKVD – officers of the Federal Security Service of the Russian Federation (FSB) – who betray their Kremlin masters?
 
For FSB defectors, the poison du temps is evidently Polonium poured from a deceptively innocuous teapot, the modus operandi for the despatch of Alexander Litvinenko in London in 2006.  
 
And, if Litvinenko was the first to be publicly exposed as a victim of Russian state sanction by means of this sinister contrivance, then can we be certain that, since 2006, there have not been any number of other intended deaths as condign punishment hastened by the Curies’ Poland-inspired deadly poison at the hands of FSB-trained assassins? 
 
The biter bit?
 

The Robe of Nessus.
Should we then reconsider the tragic death of Marie Curie’s daughter Irène Joliot-Curie in 1956 as a mythological precursor of Litvinenko’s death? In that year of her death another national uprising in defiance of Russian dominance, in an echo of Warsaw’s fate, was viciously crushed by Soviet tanks and troops . . . Hungary
 
Portent 2. Irène became the first confirmed victim of lethal Polonium, having been accidentally exposed to hazardous levels of radioactivity when, ten years earlier, in 1946, a sealed capsule of the chemical element exploded in her laboratory, the tragedy occurring only two years after the razing of Warsaw. 
 
By birth Marie Curie, Irène’s mother, was a Varsovian. 
 
Like her mother, Irène received the Nobel prize (1935) for her researches into the phenomena of radioactivity, in her case profound discoveries that significantly advanced the efficient production of radioactive materials, the bedrock of new techniques in curative medicine. Yet, for Irène, the price she paid for the bestowal of that matrilineal wealth of knowledge was death.  
 
And should we seek correlatives to explicate this fatal chain of events then perhaps we should reflect on two myths. 
 
According to one account by an early Greek poet, Medea – sorceress and accomplished adept of pharmakeía (medicinal magic) – killed her children by accident then buried them alive in the Temple of Hera, believing this would make them immortal. Certainly, for Irène, immortality followed a tragic accident due to her mother’s arcane researches, with its aftermath crowned by the same Nobel laureateship that had honoured her mother.  
 
The Robe of Nessus: wrapped in embrace of fire.
 
Or should we seek further for an agonised protracted death of divine retribution then let us remember the tragic end of Hercules, who in retribution for infidelity in his amours receives the gift of the Robe of Nessus, raiment stained with the envenomed blood of the centaur Nessus whom Hercules had killed, which enwraps the warrior in an embrace of fire, whereat, to escape this unbearable unending pain, he builds a funeral pyre and immolates himself. 
 
Are there concordances here, one wonders, in the history of Polonium as an instrument of divine vengeance deferred; because, in the case of another treacherous warrior (according to the verdict of the FSB), the agony before death would be prolonged for three weeks of slow progression that is the penalty of acute radiation poisoning.
 
Polonium’s Three Weeks, therefore, is the measure for the slow retributory death of an officer of the Federal Security Service of the Russian Federation at the hands of his own treacherous fellow FSB servicemen.

Compare . . .
 
Poland’s Three Months was the period that followed the capitulation of Poland’s capital on October 2nd 1944 to Germany, while treacherous so-called Allies, the Soviet forces and their operational units of the NKVD, waited calculatedly on the east bank of the Vistula, during which time vengeful German forces demolished much of what was left of the city of Warsaw and deported 650,000 Polish civilians to labour camps, thus clearing adventitiously the stage for repossession of the city by the USSR to declare the nation as henceforth under the Soviet heel.

Revanchist Polonium . . . the rare gift of the expiatory ill-fatedness of myth.
 
 
See also
Two Untimely Deaths Foreshadow Aristotelian Dramatic Irony
 

Catherine Eisner believes passionately in plot-driven suspense fiction, a devotion to literary craft that draws on studies in psychoanalytical criminology and psychoactive pharmacology to explore the dark side of motivation, and ignite plot twists with unexpected outcomes. Within these disciplines Eisner’s fictions seek to explore variant literary forms derived from psychotherapy and criminology to trace the traumas of characters in extremis. Compulsive recurring sub-themes in her narratives examine sibling rivalry, rivalrous cousinhood, pathological imposture, financial chicanery, and the effects of non-familial male pheromones on pubescence, 
and Listen Close to Me (2011)