Portland, Oregon has a well-deserved reputation as a bookish city. Its literary climate springs, in part, from its actual climate. During the months of interminable rain it is natural to retreat to bookstores and libraries, or curl up at home with a favorite volume. The city’s creative energy, fueled by coffee, craft beer and local wine, helps foment works of imagination by local writers. Harvest the fruit of their labors at these book stores.
This small but venerable indie bookstore in the heart of Multnomah Village, on the west side, has been dishing out literary goodness since 1978. It sells new books, with a focus on fiction, children’s and young adult, travel, current events, and cooking. Plus it is a great space to browse for magazines, art supplies, puzzles, and cards.
This Northeast Portland stalwart is particularly strong on stocking local writers. Subject matter is wide open, with offerings of fiction, non-fiction, poetry, graphic novels and more. You will find personalized material from local authors like Cheryl Strayed, who has the honor of a section dedicated to signed copies of her work.
No mention of the PDX literary scene would be complete without a nod to Powells’s, City of Books. As the biggest thing in local literary retail it is a huge draw for both writers and readers alike, who can spend happy hours browsing its immense color-coded collections. I’ve been hanging out at Powell’s since I was a kid (when I gravitated to Nancy Drew mysteries and Marguerite Henry horse stories). Whatever you go looking for, you generally come out with something different, which is most of the fun of it.
The most adorably clapboard, overstuffed used bookshop imaginable, Wallace Books is a throwback to the eclectic, eccentric wonderful bookstores of my childhood. Its charming exterior beckons you in and its sprawling collection rewards languid browsing. Take your time.
What’s your favorite indie bookshop? Big it up in the comments!
This article about my trip to the 2012 Irrawaddy Literary Festival in Myanmar was written for the Free Word Centre. Recent events there show that freedom is as tenuous as it is precious.
Free Thinking from the Irrawaddy Literature Festival
At the beginning of February 2013, the Irrawaddy Literature Festival drew readers and writers from around the world to the city of Yangon in Myanmar. In a country which has lived under the rule of a repressive military junta for more than half a century, it was a cultural and political landmark that allowed writers to gather, speak and exchange ideas freely for the first time in recent history. Cila Warnke visited the festival to see how a country crippled by censorship is starting to find its voice.
It was, in many respects, a literary festival like any other. There were book signings and a photo exhibition. Puppets for the children and grown-ups drinking lager on the verandah. Book stalls bursting with everything from Beatrix Potter to physics texts. On a sweep of grass between the Inya Lake and the hotel were tents where you could buy journals and newspapers, join charitable organisations or get a bite to eat. There were little differences, though. Buddhist monks in brick-red robes chatted as they sifted through volumes. The food stands offered rice noodle salad sprinkled with pungent dried shrimps. Women and men alike drifted through the heat in the traditional longyi – an ankle-length wrap skirt knotted at the waist.
In the cool interior of the Cold War-era hotel (a gift to the government of Myanmar from Nikita Kruschev) other, subtler, differences became apparent. Prior to the event, co-organiser Giles Fitzherbert voiced his hope that the festival would “open a window that has been half-shut for so long… [and] help turn Burma from an inward looking country into an outward looking country.” This sense of purpose was the thread that linked panel discussions about library usage, memoirs, debates about literary developments, and conversations about how a nation successfully transitions from censorship and repression to freedom of thought.
Democratic political reform has given Myanmar new hope after nearly fifty years under an ugly-minded military junta, but achieving openness is a complex, multi-faceted task . At the Irrawaddy Literary Festival four things emerged as preconditions to lasting change: political freedom, education, economics and international cooperation.
One of the liveliest speakers at the festival was Jung Chang, author of Wild Swans, which tells of life during China’s Cultural Revolution. Though many of her anecdotes were hilarious (she told of accosting sailors in bars to practice her English – “You can imagine what they were thinking!”) but the bones of her tale are tragic. She was exiled at age 16; her father was forced to burn his beloved library; she was denied education. In the darkest days of Mao’s war on intellectuals there was no reason to hope. It was only when the violence eased and Mao reopened the universities that she was able to study, winning a scholarship to study in Britain.
As Chang’s story vividly illustrates, without political freedom there can be no intellectual or literary liberty. Jean Seaton, director of The Orwell Prize, spoke of being “blessed to live in peace and freedom” – a sentiment shared by the event’s other Western attendees. For those of us accustomed to freedom of expression, censorship is unimaginable. But for many of the authors at the festival it is the only reality they know. The Myanmar government lifted censorship in 2012, meaning that for the first time in 50 years writers and journalists did not have to submit their work for approval prior to publication. In January 2013 the censorship board was disbanded.
That the government could, with the stroke of a pen, abolish this long-standing apparatus of oppression is both heartening and cautionary. What can be done can be undone, and Myanmar writers acknowledged that a true end to censorship lies in the future. “We used to say, ‘the censor has moved into our head with his chair and desk, and lives there,’” said Pe Myint, author of more than 40 books. Silencing their internal censors is a struggle that every writer will face in the coming years. Myint also raised the prospect of tacit or post-publication censorship, even if the letter of the law remains on the side of press freedom.
The late dictator Ne Win banned the teaching of English in the 1960s. He eventually rescinded his ban but not before a generation or two grew up without learning a word. This makes it almost impossible to communicate with ordinary Myanmar.
On the first day of the festival we set off for Inya Lake, armed with a map clearly marked with our destination. Our taxi driver didn’t speak or understand English, but he examined it, nodded and we set off through the sticky morning smog. After twenty minutes, he pulled up in front of a hotel and gestured hopefully. It wasn’t Inya Lake. Another consultation with the map and off we went again. After some quality time in one of Yangon’s ubiquitous traffic jams we arrived at another hotel. Also not Inya Lake. I was fizzing with frustration at this point. Finally, after another turn around the centre of town and several stops for directions wefinally reached our destination. Only later did it occur to me that the English place names on our map were probably as incomprehensible to our driver as Myanmar script is to me.
This was just the first of dozens of encounters, inciting varying levels of frustration, that hammered home the importance of a lingua franca. The woeful state of English language skills is the most obvious manifestation of Myanmar’s overall educational deficit. One of the military junta’s favourite repression tactics was closing the universities. Students were sent to rural areas, or assigned home studies, to supress political action. Writing in The Irrawaddy, Denis D. Gray notes that “Burma is saddled with two generations of chemistry professors who have never conducted a proper laboratory experiment and mechanical engineers yet to handle hands-on equipment.” Another journalist I met remarked there are probably no more than five psychologists in the whole country.
There was much discussion at the literary festival about how to overcome these barriers. Local libraries, such as those attached to the United Nations and the American Centre, are working hard with limited resources. They offer books, journals and space where people can come and use computers. Perhaps more importantly, they give training in how to use libraries and computers. Thant Thaw Kaung, who helps create village libraries, noted that, as in the West, TV, mobile phones and the internet compete for people’s time and attention. In his words, “we have to support the reading habit.”
Aung San Suu Kyi speaks at the launch of the Irrawaddy Iterary Festival. Aung San Suu Kyi speaks at the launch of the Irrawaddy Iterary Festival.
Dr. Thant Myant-U, author of the superb Myanmar history The River of Lost Footsteps, spoke at the festival in his capacity as founder and director of the Yangon Heritage Trust, which aims to preserve the city’s unique Colonial architecture, as well as promote much-needed improvements to planning and infrastructure. Yangon’s crumbling buildings and surreal pavements testify to decades when the military rulers exploited the country’s natural resources for their own benefit and poured up to a quarter of the national budget into arms.
Neglecting the basic needs of their cities and citizens had a predicitable impact on education and welfare, too. Alex Mackenzie, of the British Council, said that poorer children often leave education after primary school to work, a fact attested to by the city’s hordes of awfully young waiters, shop assistants and street vendors. Human infrastructure, even more than the buildings, is crying out for proper investment and planning. Clearly there will not be any improvement in education until the economic barriers are removed, which means legislating school attendance and funding child welfare. Broad, systemtic changes have to come from the goverment but private initiative has a role to play as well. Aung San Suu Kyi and the British Ambassador, Andrew Heyn, announced two scholarships and presented prizes to the winners of an essay contest.
It is easy to look at a patchily-developed country with a rocky history and conclude it needs the wealth and wisdom of the West. After a fortnight in Myanmar, I’m not convinced that they need us more than we need them. Yes, foreign investment is good for the economy, and will hopefully aid development and raise living standards, but it would be arrogant to think of ourselves as benfactors. As Alex Mackenzie put it: “Myanmar doesn’t need things, it needs the exchange of ideas.”
Myanmar is tough and self-sufficient. Many of its citizens have endured suffering we can only imagine. They are under no illusions about who they are or their place in the world, and they are not looking for charity. The literary festival was more than half funded by local businesses, and organisers Jane Heyn and Giles Fitzherbert, as well as patron Aung San Suu Kyi, expressed the hope that future festivals will be run entirely by local organisations.
This is a modest ambition. Despite its political, educational and economic challenges, Myanmar has an air of resiliance. The mere fact that just two years into its transition to democracy it is almost impossible to imagine the previous repression shows a laudable refusal to wallow. The literary festival is a product of this new freedom. It is also testament to hope for the future. According to Daw Suu Kyi, “literature is not just for fun, or to pass the time. It is a learning process.”
If there is a lesson to draw from the Irrawaddy Literary Festival it is that this process takes place in surprising ways, under even the toughest of circumstances, and as long as it does there is always hope for the future.
Though by no means a film buff, I love writing reviews. When the chance to review a DVD release of Last Exit to Brooklyn arose, I took it. Like the novel it is based on, it is harrowing, and worth it because it is.
Roger Ebert said in his 1990 review: “The movie takes place in one of the gloomiest and most depressing urban settings I’ve seen in a movie. These streets aren’t mean, they’re unforgiving. Vast blank warehouse walls loom over the barren pavements, and vacant lots are filled with abandoned cars where mockeries of love take place…. Most people hate movies like this. I think perhaps it is because no attempt is being made to force the characters and stories into comforting endings.”
Last Exit To Brooklyn DVD (18)
Dir: Uli Edel, 1989, USA/UK/Germany, 102 mins
Cast: Stephen Lang, Jennifer Jason Leigh, Peter Dobson, Burt Young
Last Exit To Brooklyn is set during the Korean War, in the early 1950s. The first characters you see are a trio of soldiers, cock-of-the-walking their way back to barracks after a night out. For a few, deceptive seconds this might be a war film, in the conventional sense. Then the real soldiers, fighting the real war, bowl on screen: a gang of roughneck wops, spoiling for action. A brief, brutal, beautifully choreographed beating later you’re in their world, to stay.
Based on the novel by Hubert Selby (author of Requiem For A Dream), the film is a raw, artful, unsparing look at raggle taggle Brooklyn life. The endless parade of soldiers who straggle through the film getting mugged, propositioned, beaten up, or otherwise damaged in their exchanges on this lawless patch are stand-ins for the audience – sucked into a world that is short on narrative arc and long on impulse, where the only constant is violence. At the centre of this universe of quicksand is Tralala (Leigh), a mouthy hooker with a finely tuned survival instinct, and her occasional partners in crime, Vinnie (Dobson) and Sal (Stephen Baldwin). Their buddy, Harry (Lang), is a shop steward, and head of the strike office, making free with his union expense account as the community struggles through a long strike against the bosses of the local metalworks.
Though a stunningly filmed late-night clash between police and strikers provides the visual epicentre of the film, social issues never eclipse the individual. Rather, the big picture stuff (war, labour disputes, family relationships) is backdrop to the intensely felt experiences of the characters. In sharp contrast to films that look back at the ‘50s through a spyglass of modern mores, Last Exit is perfectly self-absorbed. When shop boss Harry falls hard for a fey, selfish little queen called Regina (Bernard Zette) it would be easy for the film to make a statement about contemporary sexuality, or life in the closet. But it doesn’t, because the point is not what we think of Harry, but how he feels. Instead of glib commentary, there is real pathos. A theme that is repeated in the subplot of transvestite Georgette (Alexis Arquette) and her unrequited love for good-looking thug Vinnie (ringleader of the tormenters in the opening scene). Any kind of vulnerability can be fatal in Last Exit’s testosterone-fuelled landscape, especially for dainty queens, which makes Georgette’s flirtation watch-through-fingers stuff.
Frankly, it’s a miserable film. Yet so lovingly shot and acted you can’t help being drawn in. These are characters so small, sharp, closed and ugly they wouldn’t ever get an airing elsewhere, but the strong cast (including an excellent young Sam Rockwell) render them painfully alive. Leigh, in particular, pulls off an extraordinarily difficult role with power and panache. They elicit compassion when they shouldn’t and they provoke empathy at the unlikeliest moments. And while they’re trapped, you can leave, which gives this film its lingering, bittersweet edge.
Even before a ton of ordure hit the propeller-style cooling device I’d only read three books this year.
Since the age of six or seven I’ve been capable of reading three average-length books a day. Once, when I was about 9, I read 1,000 pages in a day, to see if could.
On another occasion (again, pre-teen) I read The Lord of the Rings trilogy in three days.
The point I’m sidling towards is that it is a sign of spiritual/ emotional/ logistical malaise when my word-consumption dips to such low levels. (The other obvious conclusion is I was backward as a kid, which is fair, but there were reasons.)
Being almost too far gone in anxiety to even read a book is new and unnerving. Books have always been a reliable portal away from the unappetitliche present, but the present present has got me so tied in knots I’m afraid to miss anything.
Initially, I tried to negotiate this in my usual Protestant, eat-your-beet-greens-they’re-good-for-you fashion. That is, I started a book about Palestine. If there is one thing more depressing than coronavirus, it’s the situation of Palestine. Reading about children getting shot with tear-gas canisters and all the other interminable head-fucking brutality of the Israeli occupation was enough to make me think that maybe enough humans are ugly enough that we all deserve to be wiped out by a virus.
Not reading material for these times.
After that failed effort, I didn’t read anything for a few days. Then my friend Nick emailed and it turned out I bought his book (presciently titled It Gets Worse) last year and forgotten to read it. That’s like discovering the bottle at the back of the cupboard you thought was cheap emergency plonk is a fantastic vintage meant for a special occasion.
This is a special occasion.
So, I’m (finally) on my way to having read four books this year. When I finish Nick’s book I may go back and reread his first, Bitter Experience Has Taught Me, because it’s nice to hear a friend’s voice — especially when it is funny, acid, and laden with anecdote.
After that, I’ll try Jane Austen, James Baldwin, Oscar Wilde and Primo Levi.
Disparate, yet equally essential.
All of these writers, including Ms Austen (whose reputation for daintiness is undeserved) exhibit rare levels of integrity, perspicacity and moral clarity. They took the world as it was, but refused to accept the supposed constraints of that relationship.
And they, one and all, write sentences so good I have to pause and let the wave of admiration/envy/admiration pass. Right now, it’s reading for pleasure, or not at all.
Having been bludgeoned with Christianity from infancy, I’m over the away-in-a-manger stuff. Books, though, are one aspect of childhood Christmas I revisit with joy.
Christmas was prime new book time. The rest of the year my siblings and I got what books our parents could afford, which is to say, we went to the library. December 25th was one of the rare occasions we could count on one or two new volumes for our personal collection.
This year, my holiday reading echoes the old pattern. One library book (digital now), one Kindle purchase, and one old-fashioned paperback from a charity shop in Crouch End.
The Handmaid’s Tale came courtesy of the library. I don’t get Atwood aesthetically in the same way I don’t get, say, Thomas Wolfe or D.H. Lawrence. Her politics are admirable though. Astute women are writing and talking about The Handmaid’s Tale so it seemed like something I should have a first-hand opinion on.
Which (not that you asked) is that the novel puts Atwood perilously close to being the Ayn Rand of the left. Admirable politics, yes. But cardboard characters prodded around a stage so ripe with Symbolism that I wanted the whole damn wooden set-up to burn. I see now why it is being hailed as visionary: it’s dumb enough that even people who didn’t see Trump coming can grasp the Badness of the Bad Things that happen in it.
What’s disappointing is that Atwood can be a fine writer. (I realise, writing these words, that all hell would break loose if anyone read this blog. She has won a thousand awards and sold a million novels. Who the hell am I to criticise? Just a reader.) Her novel Cat’s Eye is rich and absorbing. The Handmaid’s Tale is pure bully pulpit blather, though. She (a woman of intelligence) didn’t trust her readers with anything subtler than a sermon.
To my delight, Susan Cooper didn’t make the same mistake in The Dark is Rising. Full confession, I’d never heard of it till reading a Guardian column that sang its praise. Normally, I avoid fantasy and children’s books in equal measure, but sometimes it’s good to bend the rules. The Dark is Rising reminds me of many of the books I loved as a kid: The Lord of the Rings, The Hounds of the Morrigan, King Arthur and the Knights of the Round Table, and The Chronicles of Narnia. It is pastoral, charming, and very very English. I blazed through it.
That treat consumed, I picked up Breakfast At Tiffany’s. This is maybe the third copy I’ve owned. It is one of those books I buy, give away, then buy again. I started with the final story in the slim Penguin Modern Classics paperback, “A Christmas Memory”. Capote’s evocative account of his boyhood Christmas made me weep, even though I know the ending.
Then I flipped back to the beginning and reread Breakfast at Tiffany’s, marveling at his use of language, description, and the curious fact that leggy, stuttering Mag Wildwood is given the full name Margaret Thatcher Fitzhue Wildwood. In 1958, when the book was published, Thatcher was an up-and-coming Tory politician. A Capote in-joke?
Breakfast at Tiffany’s was the perfect starter for a Flannery O’Connor short story collection, A Good Man is Hard to Find. The eponymous opening story is deliciously agonising. O’Connor’s genius is that she doesn’t tell you anything. She just lines words up on the page and you hurry along, captivated by their perfect inscrutable order, until you crash face first into the gruesome conclusion.
O’Connor is the anti-Atwood. Nothing in her writing suggests she cared if her readers got it. She wrote. I know which I prefer.
What did you read over the holidays? Share in the comments.
Raw Beet is a cookbook covering four popular ways of eating: gluten free, raw, vegan and low glycemic-index (GI). Based around simple ingredients and straight-forward techniques, it educates people who want to learn more or adopt these nutrition options.
Why it matters:
Publishing a raw, vegan, gluten free or low-GI cookbook is like spooning water into the ocean. The market is glutted with books, most of which are celebrity-led, meaning the potential audience has to like the author. Raw Beet’s genius is pragmatism. Its angle is clean and sharp as a paring knife: Cut through the hype and moralising with clear, easy-to-prepare recipes.
Instead of preaching, it offers practical advice, including dietary descriptions, ingredient tips, and lists of food suppliers, for anyone who wants or needs to eat raw, gluten free, vegan or low-GI. Whether the goal is beating allergies, managing chronic illnesses, losing weight, or experimenting with new dishes, Raw Beet’s emphasis on education makes the process accessible and inclusive.
In their own words:
“With the help of our cooks and other contributors, we have tried to put together a collection of fairly simple recipes that can be served formally or informally, using ingredients that can be bought easily.”
Practice: “Flowery language can be effective in the right forum; however, overly embellished sentences do not belong in your informative [writing]. Keep your verbiage simple and straightforward, or your reader will pay too much attention to your overuse of adjectives and adverbs.” Angelique Caffrey via Explore Writing
Remember:“Learn the names of everything: birds, cheese, tractors, cars, buildings.”
A cookbook based on, and inspired by Ibiza food. What it isn’t is an attempt to slavishly recreate traditional Ibicenco recipes, or a generic Mediterranean cookbook. The author lived on an organic farm in Ibiza for a dozen years, growing local produce, working with other farmers, and hanging out with rare-breed animal experts, fishermen, and artisan cheesemakers, before she put proverbial pen to paper.
Why it matters:
This long period of absorbing and exploring the food culture freed Anne to create recipes that are unique to her but capture the essence of Ibiza. She transforms stolid island fare like flaó — a dense, old-fashioned cake — into something fresh and suited for a modern palate. Each recipe becomes a story in its own right, revealing the history and origin of its components and the author’s inspiration.
The Evissa story:
Ibiza is on the cusp of a food revolution. The island’s traditional farming and fishing culture has been supplemented with a wave of chefs and producers making artisan products and vibrant food.
Now Eivissa, the first recipe book to showcase the incredible Ibicenco dishes Ibiza cuisine has to offer, reveals how to recreate the tastes of the white island in your own home.
Divided into seasonal chapters to reflect the ingredients in Ibiza, these are gorgeous recipes reflecting the heritage of the cuisine, yet with contemporary twists. Sample a really simply Grilled Courgette Ribbons, Asparagus & Mint Tostada from Spring, for example, or a Grapefruit & Juniper-Encrusted Pork Salad. Try Steamed Mussels with Samphire or Chicken with Roasted Figs from Autumn. Or treat yourself with a Ricotta Pine Nut Cake or Spiced Chocolate Truffles.
Full of stunning photography shot on location in Ibiza, both of the recipes and the island’s beautiful backdrop, these are recipes that are full of energy, warmth and enjoyment.
Practice: “Plenty of writing ideas are culled from great tales that have been told throughout history. Some of these have been converted into formulas that writers can use as storytelling guidelines.
From the three-act structure to the hero’s journey, formulas have been criticized as making stories dull and predictable yet they have also been credited with providing writers a framework in which to create.” via WritingForward.com
Remember:“You can’t wait for inspiration. You have to go after it with a club.” – Jack London
Vine Lives: Oregon Wine Pioneers is crossing continents and oceans!
In addition to being available online at AMAZON.COM, AMAZON.CO.UK, and VineLiv.es it is in stock at the following independent bookstores:
London, UK Books for Cooks
4 Blenheim Crescent, Notting Hill, London, UK, Phone: 020-7221-1992
We’re constantly adding new stockists so please check back for stores in your area. Or contact us to to suggest a local store.
Bent double, like old beggars under sacks,
Knock-kneed, coughing like hags, we cursed through sludge,
Till on the haunting flares we turned our backs
And towards our distant rest began to trudge.
Men marched asleep. Many had lost their boots
But limped on, blood-shod. All went lame; all blind;
Drunk with fatigue; deaf even to the hoots
Of tired, outstripped Five-Nines that dropped behind.
Gas! Gas! Quick, boys!—An ecstasy of fumbling,
Fitting the clumsy helmets just in time;
But someone still was yelling out and stumbling
And flound’ring like a man in fire or lime...
Dim, through the misty panes and thick green light,
As under a green sea, I saw him drowning.
In all my dreams, before my helpless sight,
He plunges at me, guttering, choking, drowning.
If in some smothering dreams you too could pace
Behind the wagon that we flung him in,
And watch the white eyes writhing in his face,
His hanging face, like a devil’s sick of sin;
If you could hear, at every jolt, the blood
Come gargling from the froth-corrupted lungs,
Obscene as cancer, bitter as the cud
Of vile, incurable sores on innocent tongues,—
My friend, you would not tell with such high zest
To children ardent for some desperate glory,
The old Lie: Dulce et decorum est
Pro patria mori.
If is the poetic equivalent of “…Baby One More Time”: it’s naff, simplistic, brash and its politics don’t bear examination but Christ it’s catchy. I can’t remember when I first read or heard the poem, but fragments of it are buried in my brain like shrapnel.
Kipling was a jingoistic racist. If is patronising hooey. Still, the line “if you can fill the unforgiving minute with sixty seconds worth of distance run…” has gotten me up more hills than I can count. So there’s that.
Why memorise If? In part because I think it’ll come in handy over the next couple of months in Ibiza (“If you can keep your head when all about you/ are losing theirs…”) and partly to acknowledge the fact that bad poetry can be as useful, or meaningful, in the right context, as the most exquisite sonnet.
What’s your favourite bad poem? Share in the comments.
If you can keep your head when all about you
Are losing theirs and blaming it on you,
If you can trust yourself when all men doubt you,
But make allowance for their doubting too;
If you can wait and not be tired by waiting,
Or being lied about, don’t deal in lies,
Or being hated, don’t give way to hating,
And yet don’t look too good, nor talk too wise:
If you can dream—and not make dreams your master;
If you can think—and not make thoughts your aim;
If you can meet with Triumph and Disaster
And treat those two impostors just the same;
If you can bear to hear the truth you’ve spoken
Twisted by knaves to make a trap for fools,
Or watch the things you gave your life to, broken,
And stoop and build ’em up with worn-out tools:
If you can make one heap of all your winnings
And risk it on one turn of pitch-and-toss,
And lose, and start again at your beginnings
And never breathe a word about your loss;
If you can force your heart and nerve and sinew
To serve your turn long after they are gone,
And so hold on when there is nothing in you
Except the Will which says to them: ‘Hold on!’
If you can talk with crowds and keep your virtue,
Or walk with Kings—nor lose the common touch,
If neither foes nor loving friends can hurt you,
If all men count with you, but none too much;
If you can fill the unforgiving minute
With sixty seconds’ worth of distance run,
Yours is the Earth and everything that’s in it,
And—which is more—you’ll be a Man, my son!