Instruments and Music for sale

Please reply directly to Natalie Palme at (617) 731-1560; my only connection to
these items is that I promised to put the information online for her.

Instruments

  1. Harpsichord, Zuckerman, made from kit by Thomas Todd, 1964,
    using cherry wood, SOLD
  2. Vielle, Westover, with wooden case and bow, SOLD
  3. Porka psaltery by A.M.+H.W. Westover, 1984, $250.00
  4. Cornetto, Christopher Monk, SOLD

Music

Bärenreiter new clothbound volumes of full scores: Bach, Handel,
Mozart, Schubert, Telemann. Includes opera, choral, orchestral,
concerti, etc. List available on request.

Julie and Julia (the book)

So far I’ve only read the book;
I’ll probably tell you more when the movie comes out on DVD and I
see it next month or so.

I enjoyed it. When I realized how big a pain reading the PDF
from the library was
, I decided that if it wasn’t finished
by the time it expired, with just reading it on the laptop at
lunchtime, I would take the hardcover out of the library. But
then I saw that Fictionwise had a 100%
rebate on it, so I bought it from there.

100% rebates aren’t quite the same thing as getting something
for free. It’s their way of getting people to sometimes send
them money even if they’re mostly shopping on micropay rebates.
So you shouldn’t get the 100% rebate if you aren’t going to use
it to buy something you really want, but if there are several books on your wishlist that
you’re intending to give them money for, you might as well give
them money for something else, and then get the books you really
want for free. So I finished Julie and Julia in the comfort of my normal
reading device.

I discussed it with a friend who
said she’d enjoyed it, but she had several friends who hadn’t
because of the liberal use of the f-word. This could be another
post, but the conclusion of the other post would be that I don’t believe in judging people because of
their use of that diction, but I don’t use it because I’m aware
that there are a lot of people who do.

In any case, it was fun to read about someone tackling all
those recipes hardly anyone does these days. She finishes with
the Pâté de Canard en Croûte,
where you bone the duck and stuff it with pâté and
then bake it inside of a pastry shell. Most food writers
wouldn’t describe their hysterical weeping fits when the pastry
went straight from a too-dry heap to a buttery puddle.

The other impressive thing was actually doing it at all. I’ve
been feeling heroic for just getting a blog entry out there
every day, when I don’t even have a job or a commute. She not
only did a blog post in the morning before work, but put
together a shopping list, then shopped on the way home and
cooked after that. She got some help on the shopping and
cooking from her husband and friends, but really it was a pretty
heroic effort.

I thought that the book was a little long for the
material, but of course that may well make it a better
movie.

http://rcm.amazon.com/e/cm?t=laymusicorg-20&o=1&p=8&l=as1&asins=031604251X&fc1=000000&IS2=1&lt1=_blank&m=amazon&lc1=0000FF&bc1=000000&bg1=FFFFFF&f=ifr

Shakespeare’s Kings

An
Age of Kings

was originally live broadcasts on the BBC in the
early 60’s of the sequence of Shakespeare’s history plays from
Richard II (which I’d never seen before) through Henry IV, Henry
V, Henry VI (which I’d also never seen) and Richard III. They’re
now being sold as 5 DVD’s.

They were using the then upcoming young actors, so it’s fun to
see a very young Judi Dench play Katherine flirting with Henry
IV, and a young Sean Connery conspiring against Henry IV.

Another good thing about the series is that characters who
reappear in several plays are played by the same actor in each,
which wouldn’t normally happen on stage, since someone of the
stature to play Richard III in the play of that name, wouldn’t
be asked to do the bit part of Gloucester in Henry VI.

The actor who plays Prince Hal and later Henry V is Robert
Hardy
. Every time I see him, (most recently as a hanger on of
Mr. Merdle’s in Little Dorrit) I realize that I know him well, but
can’t quite remember where from. He has quite a long list of
credits, many of which you’ve seen. His Henry V is a very youthful,
athletic, endearing performance.

Another standout performance is by Paul Daneman as
Richard III. He also has a long list of credits, but I mostly
haven’t seen them, but I may look some of them out now. I still
haven’t seen a production of Richard III that really reconciles
the opening monologue, which seems to me to clearly say “I’m
going to get the world because I’m so ugly that no woman will
ever love me”, with the seduction of Lady Anne, where Richard always
seems to be played as a matinée idol who assumes that of
course a grieving widow will just fall into bed with the man who
murdered her husband, her father, and her brother. But Daneman
rolling around on the floor laughing (“Was ever woman in such
humor wooed; was ever woman in such humor won?”) after the
seduction scene is really fascinating.

Finishing watching the plays leaves me wanting to read some of
the history — surely there was gunpowder and not just swordplay
at Bosworth Field? And did the battles really resolve themselves
by the major characters killing each other? None of them ever
got killed by a minor character?

In general, the productions are good for what they were. The
music is what seems most old-fashioned to me, but luckily there
isn’t much of it. Richard III, the last of the plays, seems
more truncated than the others, so one wonders if maybe they ran
out of money.

http://rcm.amazon.com/e/cm?t=laymusicorg-20&o=1&p=8&l=as1&asins=B001LPWGHS&fc1=000000&IS2=1&lt1=_blank&m=amazon&lc1=0000FF&bc1=000000&bg1=FFFFFF&f=ifr

What I Talk About When I Talk About Running


This book
is a memoir by the Japanese novelist Hideki Murakami
about the place long-distance running has in his life.

I’ve enjoyed a couple of his novels (
Kafka
on the Shore
and Norwegian
Wood
) quite a bit, and I enjoyed this memoir too.

He took up running when he stopped running a
bar/restaurant/jazz club so that he could write full time.
Running the bar had been fairly active work, but sitting at the
desk and writing wasn’t. So he needed to do something and he
decided on running. He runs at least one marathon a year, and
has experimented with triathlons and ultra-marathons.

He often discusses the
relationship between running and writing novels:

Right now I’m aiming at increasing the distance I run, so speed is
less of an issue. As long as I can run a certain distance,
that’s all I care about. Sometimes I run fast when I feel like
it, but if I increase the pace I shorten the amount of time I
run, the point being to let the exhilaration I feel at the end
of each run carry over to the next day. This is the same sort of
tack I find necessary when writing a novel. I stop every day
right at the point where I feel I can write more. Do that, and
the next day’s work goes surprisingly smoothly. I think Ernest
Hemingway did something like that. To keep on going, you have to
keep up the rhythm. This is the important thing for long-term
projects. Once you set the pace, the rest will follow. The
problem is getting the flywheel to spin at a set speed — and to get to that point takes as much concentration and effort as you can manage.

He also says things that resonate with me about the importance
of daily practice:

Most of what I know about writing I’ve learned through running
every day. These are practical, physical lessons. How much can I
push myself? How much rest is appropriate — and how much is too much? How far can I take something and still keep it decent and consistent? When does it become narrow-minded and inflexible? How much should I be aware of the world outside, and how much should I focus on my inner world? To what extent should I be confident in my abilities, and when should I start doubting myself? I know that if I hadn’t become a long-distance runner when I became a novelist, my work would have been vastly different. How different? Hard to say. But something would have definitely been different.

This is a bit how I feel about practicing musical instruments
every day.

There’s also a fair amount of discussion about how aging is
affecting his ability to run, and really good descriptions of
what the last couple of miles of a marathon feel like.

I have friends who run as an important part of their life, and
the way they discuss their times and their injuries isn’t
anything like as interesting as this book.

http://rcm.amazon.com/e/cm?t=laymusicorg-20&o=1&p=8&l=as1&asins=0307389839&fc1=000000&IS2=1&lt1=_blank&m=amazon&lc1=0000FF&bc1=000000&bg1=FFFFFF&f=ifr
http://rcm.amazon.com/e/cm?t=laymusicorg-20&o=1&p=8&l=as1&asins=1400079276&fc1=000000&IS2=1&lt1=_blank&m=amazon&lc1=0000FF&bc1=000000&bg1=FFFFFF&f=ifr
http://rcm.amazon.com/e/cm?t=laymusicorg-20&o=1&p=8&l=as1&asins=0375704027&fc1=000000&IS2=1&lt1=_blank&m=amazon&lc1=0000FF&bc1=000000&bg1=FFFFFF&f=ifr

The Year of the Flood

This
book
by Margaret Atwood is a post-apocalyptic novel set in
the same world as her 2003 Oryx
and Crake
. I read that at the time it came out,
and don’t remember it well enough to comment on the
relationships, but I’m sure it illuminates two of the main
characters in that book. As well as providing several new
interesting characters.

One particularly well-written aspect of the book is the
description of the way the different locales (fast food
restaurant, religious commune, corporate enclave…) smell. For
instance, here’s Ren, one of the two main point of view
characters, shortly after she’s moved from the HealthWyzer
compound to the Gardeners’ community:

Rose-scented soap was the best. Bernice and me would take some home, and IÂ’d keep mine in my pillowcase, to drown out the mildew smell of my damp quilt.

(The quilt was mildewed because the Gardeners didn’t use
dryers.)

I recommended the book to a Vegan friend because it’s one of
the few works of literature I’ve run into where there are
vegetarian characters who really think about the relationship
between food and morality.

I enjoyed this one a lot. I don’t know whether it will replace
The
Handmaid’s Tale
as my favorite, but I can certainly see
rereading it. And it made me want to reread Oryx and
Crake
, too.

http://rcm.amazon.com/e/cm?t=laymusicorg-20&o=1&p=8&l=as1&asins=0385528779&fc1=000000&IS2=1&lt1=_blank&m=amazon&lc1=0000FF&bc1=000000&bg1=FFFFFF&f=ifr
http://rcm.amazon.com/e/cm?t=laymusicorg-20&o=1&p=8&l=as1&asins=0385721676&fc1=000000&IS2=1&lt1=_blank&m=amazon&lc1=0000FF&bc1=000000&bg1=FFFFFF&f=ifr

Borrowed another ebook

This one’s even worse than the
first one
from a usability standpoint.

The problem is that this one’s a PDF file, but instead of
reading it with one of the many excellent PDF readers in the
world (including Adobe’s), I still have to read it with Adobe
Digital Editions.

Adobe Digital Editions, instead of having menus across the top
with helpful items like “rotate screen”, and “go to full screen for
the text”, has buttons scattered around the part of the screen
that isn’t text. With the epub format, two of the buttons
enlarged and reduced the font size, but the PDF’s don’t reflow,
so all you can do is change the size of the text window. The
largest size I managed to get on my 14 inch laptop is readable,
but if I had an “enlarge font” button, I would still push it.
Especially if I were trying to read in bed, which I haven’t
bothered to do with this one.

On reading the epub book last week, I found myself wishing I
had a netbook, but with this one, I doubt that I would be able
to get a readable size of text, so this book would probably be
even less readable with a netbook.

It isn’t clear what the rationale for having some books in epub
format and some in PDF, but they seem to be about half and half,
so if there are only 108 books and half of them are unreadable,
that gives me even less incentive to buy another gadget.

I should mention that my eyes are a lot better than those of
most people my age. When I was younger I was unusually good at
reading fine print. Until I turned 40, I could read the
condensed Oxford English Dictionary without the magnifying
glass. Now I still don’t carry reading glasses
around with me, although in my home, I usually do have a pair
within reach. So if I can’t get a good font, there are a
lot of people in the world who can’t read the book even by squinting.

I think this is our tax dollars at work. It’s sad that people
whose job is to serve the public have so little concept of
how to implement technology to do that.

Borrowing ebooks from the library

The Minuteman Library
Network
, to which my local public library, the Cambridge Public
Library
belongs, has just started loaning out electronic
media, including ebooks.

They have a really good record on computerizing the loan of
dead tree books. Their whole catalog is online, and everyone
who has a library card at any member library can request a book
and get the next available copy shipped to a convenient library branch. You get email when the book arrives, and another
email when it’s due.

Their first try on loaning ebooks isn’t (for me) anything like
as successful, but I’m hoping they just started with something
they could get working fast (it says “Powered by Overdrive”) and will improve it as users point
out problems.

One obvious problem is that there are only about a hundred
ebooks. They do include some newer books, including the two I
requested: Julie
and Julia
, which I have requested, and The
Magicians
, which I’d put on my Fictionwise wish list,
but didn’t think I really wanted to pay a hard cover price for
it, so I’ve now checked it out of the library as an ebook.

Another problem is that there doesn’t seem to be an obvious way
to check back in a book you’re finished with before the due date,
which would seem to be an obvious courtesy to the people behind
you in line.

The checkout itself went smoothly, although it was a little
irritating to have to enter my card number and PIN again, since
the Digital Media Catalog is a separate site, with the same
login and password as the Minuteman Library Network, but it
needs a separate login.

But when I checked out the book, I got a little xml file with
information about the title and the author and the publisher and
the duration of the loan. So the next problem was to get the
software that reads this XML and gets the actual book.

I turned out not to be able to do this on my Linux computer.
So I waited until yesterday, when I needed to log into Windows
to reprogram the remote control anyway.

Downloading Adobe Digital Editions on a windows box wasn’t any
harder than downloading any other Windows software. (That is,
lots more work than “apt-get install program-name”, but not
really difficult.)

Figuring out where to enter the filename of my little xml file
was a lot harder. The “open file” menu item only wanted you to
enter pdf or pdb files, and this was a .acsm file. So I finally
opened up Explorer and moved the little icon from the Explorer
window to the digitaleditions window. I suppose lots of people
would have tried that first, but it really seems like a barbaric
way to have to enter a filename when you already know the
filename.

The program seems pretty bare to me. Most of its window is
blank, so even if you maximize the digitaleditions window,
you’re still using less than half the screen for the actual
reading area. And there’s no way to rotate the window so that
you’re using the screen format in the orientation where it’s
aspect ration is similar to that of the printed page. It’s easy to increase or decrease the font size,
and the page up and page down buttons do what you expect, and
things are readable, but of course, even my laptop isn’t really
an ideal size for reading books on.

I was delighted to find that digitaleditions seems to work
perfectly under wine in Linux, so except for the software download, there
isn’t any reason you have to boot Windows to read the books.
(Unfortunately “works perfectly” means you have to use the same
clumsy method to enter the filename as you do under Windows.)

The program is advertised to work on Sony readers and some
ipods, so it may well work better for owners of those devices.
And if they continue to add more titles, it might make sense to
buy a device that works with the software they’re insisting that
you use. (Obviously not for the hundred or so titles they have
now, several of which are public domain anyway.)

Besides being too big and heavy for reading in bed, my current
laptop no longer runs from the battery, so I have to plug it in
anywhere I want to use it, even for a few minutes. Obviously if
one needed a portable computer to read in bed on there are lots
better choices than this.

So if the digital media loan program succeeds and is providing current books for
free in the format of my choice, I may consider buying a better
device for using it on. It would be even better if the loan
program would give you more choice of both software and
hardware, though.

“The Nation” by Terry Pratchett

It was interesting reading this
book
right after finishing The
Baroque Cycle
, because it felt in a way like a sequel
from a young adult point of view. It takes place a couple of
generations after the founding of the Royal Society, which is an
important part of the plot resolution.

It’s not a Discworld book,
and it lacks the non-stop hilarity of some of the better Discworld
books, but it’s an unusually good young adult novel, with both
male and female point of view characters.

Terry Pratchett says he wrote it because there had to
be a fourth verse to Eternal
Father, Strong to Save
. It’s sung by the captain of a
ship which is lifted by a tsunami and deposited on an island:

Oh Thou who built’st the mountains high,
To be the pillars of the sky
Who gave the mighty forests birth
And made a Garden of the Earth
We pray to Thee to stretch Thy hand
To those in peril on the land.

You can hear Terry Pratchett himself sing this in on the
Barnes and Noble site.

http://rcm.amazon.com/e/cm?t=laymusicorg-20&o=1&p=8&l=as1&asins=0061433039&fc1=000000&IS2=1&lt1=_blank&m=amazon&lc1=0000FF&bc1=000000&bg1=FFFFFF&f=ifr

More ebook sloppiness

I never minded stuff like this when the ebooks I was reading
were being produced by volunteer labor, but now that I’m paying
real money for them, it really irritates me.

I’m reading The
Confusion
, volume 2 of The
Baroque Cycle
by Neal Stephenson, which I purchased
from fictionwise.com.

The chapter I’m reading takes place at a castle in Germany, and
I believe Stephenson refers to it by the german word Schloß.
However, the producers of the ebook got the code for the German
double s wrong, and so instead of a Schloß, the ebook keeps
talking about a Schloé. (Html entity 233 instead of 223.)

This book is published by “William Morrow, An Imprint of Harper
Collins Publishers” and I’m sure there are lots of people who work
for that organization who could spot a typo that bad and that
consistent, so I can only conclude that none of these proofreaders
was asked to look at the book after the people who converted the
text to the epub format were through. And that the people who did
the conversion aren’t good proofreaders.

Of course, this would be even more irritating if I weren’t
running the illegal script that turns the ereader format back into
html, which I can edit with emacs.

http://rcm.amazon.com/e/cm?t=laymusicorg-20&o=1&p=8&l=as1&asins=0060733357&fc1=000000&IS2=1&lt1=_blank&m=amazon&lc1=0000FF&bc1=000000&bg1=FFFFFF&f=ifr
http://rcm.amazon.com/e/cm?t=laymusicorg-20&o=1&p=8&l=as1&asins=B002MTU5BQ&fc1=000000&IS2=1&lt1=_blank&m=amazon&lc1=0000FF&bc1=000000&bg1=FFFFFF&f=ifr

Anna Karenina reread

Anna
Karenina
(free Gutenberg
text
) is one of the books I reread fairly regularly.

In this
case I was inspired to reread it sooner than I would have
otherwise, because of looking
at the chapter about using a scythe
. I had remembered
reading that, but not how detailed the description of how you
swing it and how often you have to whet it was. So I thought
there were probably other detailed descriptions of how 19th
century farming worked that I didn’t remember and would enjoy reading.

It turns out all the descriptions of how people did their work
were more detailed than I remembered. So I’ll point you at a few
I really enjoyed.

Politics

Serfs on private land were freed in 1861 and on public land in
1866. Anna Karenina was published serially in 1874-7 and in book
form in 1878.

So how a landowner got the farm work done with a different
relationship to the peasants that neither he nor they were used to
was a hot topic of conversation.

Here’s a conversation Levin has with a peasant who has done
well:

Over their tea Levin heard all about the old man’s farming. Ten
years before, the old man had rented three hundred acres from the
lady who owned them, and a year ago he had bought them and rented
another three hundred from a neighboring landowner. A small part
of the land–the worst part–he let out for rent, while a
hundred acres of arable land he cultivated himself with his
family and two hired laborers. The old man complained that
things were doing badly. But Levin saw that he simply did so
from a feeling of propriety, and that his farm was in a
flourishing condition. If it had been unsuccessful he would not
have bought land at thirty-five roubles the acre, he would not
have married his three sons and a nephew, he would not have
rebuilt twice after fires, and each time on a larger scale. In
spite of the old man’s complaints, it was evident that he was
proud, and justly proud, of his prosperity, proud of his sons,
his nephew, his sons’ wives, his horses and his cows, and
especially of the fact that he was keeping all this farming
going. From his conversation with the old man, Levin thought he
was not averse to new methods either. He had planted a great
many potatoes, and his potatoes, as Levin had seen driving past,
were already past flowering and beginning to die down, while
Levin’s were only just coming into flower. He earthed up his
potatoes with a modern plough borrowed from a neighboring
landowner. He sowed wheat. The trifling fact that, thinning out
his rye, the old man used the rye he thinned out for his horses,
specially struck Levin. How many times had Levin seen this
splendid fodder wasted, and tried to get it saved; but always it
had turned out to be impossible. The peasant got this done, and
he could not say enough in praise of it as food for the beasts.

“What have the wenches to do? They carry it out in bundles to
the roadside, and the cart brings it away.”

“Well, we landowners can’t manage well with our laborers,” said
Levin, handing him a glass of tea.

“Thank you,” said the old man, and he took the glass, but refused
sugar, pointing to a lump he had left. “They’re simple
destruction,” said he. “Look at Sviazhsky’s, for instance. We
know what the land’s like–first-rate, yet there’s not much of a
crop to boast of. It’s not looked after enough–that’s all it
is!”

“But you work your land with hired laborers?”

“We’re all peasants together. We go into everything ourselves.
If a man’s no use, he can go, and we can manage by ourselves.”

Animals

One of the distinctions that’s drawn subtly between Levin, who
works his farm and takes care of his animals and the urbanized
noblemen, who like horses but just pay someone else to take care of
them, is how carefully he notices whether they’ve been worked too
hard:

Here, he’s on his way to go hunting with Veslovsky, previously
described as a quite uncongenial and superfluous
person.

Vassenka was extremely delighted with the left horse, a horse of
the Don Steppes. He kept praising him enthusiastically. “How
fine it must be galloping over the steppes on a steppe horse!
Eh? isn’t it?” he said. He had imagined riding on a steppe horse
as something wild and romantic, and it turned out nothing of the
sort. But his simplicity, particularly in conjunction with his
good looks, his amiable smile, and the grace of his movements,
was very attractive. Either because his nature was sympathetic
to Levin, or because Levin was trying to atone for his sins of
the previous evening by seeing nothing but what was good in him,
anyway he liked his society.

After they had driven over two miles from home, Veslovsky all at
once felt for a cigar and his pocketbook, and did not know
whether he had lost them or left them on the table. In the
pocketbook there were thirty-seven pounds, and so the matter
could not be left in uncertainty.

“Do you know what, Levin, I’ll gallop home on that left
trace-horse. That will be splendid. Eh?” he said, preparing to
get out.

“No, why should you?” answered Levin, calculating that Vassenka
could hardly weigh less than seventeen stone. “I’ll send the
coachman.”

Later on, one indication that the affair with Anna is
destroying Vronsky’s ability to concentrate on the matters that
used to be important to him is the way he loses the horse race
that he’s been spending time and money on for weeks or months:

There
remained only the last ditch, filled with water and five feet
wide. Vronsky did not even look at it, but anxious to get in a
long way first began sawing away at the reins, lifting the mare’s
head and letting it go in time with her paces. He felt that the
mare was at her very last reserve of strength; not her neck and
shoulders merely were wet, but the sweat was standing in drops on
her mane, her head, her sharp ears, and her breath came in short,
sharp gasps. But he knew that she had strength left more than
enough for the remaining five hundred yards. It was only from
feeling himself nearer the ground and from the peculiar
smoothness of his motion that Vronsky knew how greatly the mare
had quickened her pace. She flew over the ditch as though not
noticing it. She flew over it like a bird; but at the same
instant Vronsky, to his horror, felt that he had failed to keep
up with the mare’s pace, that he had, he did not know how, made a
fearful, unpardonable mistake, in recovering his seat in the
saddle. All at once his position had shifted and he knew that
something awful had happened. He could not yet make out what had
happened, when the white legs of a chestnut horse flashed by
close to him, and Mahotin passed at a swift gallop. Vronsky was
touching the ground with one foot, and his mare was sinking on
that foot. He just had time to free his leg when she fell on one
side, gasping painfully, and, making vain efforts to rise with
her delicate, soaking neck, she fluttered on the ground at his
feet like a shot bird. The clumsy movement made by Vronsky had
broken her back. But that he only knew much later.

Birth Control

I’d never noticed before that Anna tells Dolly that she’s using
birth control after the difficult birth of her daughter:

“Well, and the most legitimate desire–he wishes that your
children should have a name.”

“What children?” Anna said, not looking at Dolly, and half
closing her eyes.

“Annie and those to come…”

“He need not trouble on that score; I shall have no more
children.”

“How can you tell that you won’t?”

“I shall not, because I don’t wish it.” And, in spite of all her
emotion, Anna smiled, as she caught the naïve expression of
curiosity, wonder, and horror on Dolly’s face.

“The doctor told me after my illness…”

“Impossible!” said Dolly, opening her eyes wide.

For her this was one of those discoveries the consequences and
deductions from which are so immense that all that one feels for
the first instant is that it is impossible to take it all in, and
that one will have to reflect a great, great deal upon it.

This discovery, suddenly throwing light on all those families of
one or two children, which had hitherto been so incomprehensible
to her, aroused so many ideas, reflections, and contradictory
emotions, that she had nothing to say, and simply gazed with
wide-open eyes of wonder at Anna. This was the very thing she
had been dreaming of, but now learning that it was possible, she
was horrified. She felt that it was too simple a solution of too
complicated a problem.

“N’est-ce pas immoral?” was all she said, after a brief pause.

“Why so? Think, I have a choice between two alternatives: either
to be with child, that is an invalid, or to be the friend and
companion of my husband–practically my husband,” Anna said in a
tone intentionally superficial and frivolous.

“Yes, yes,” said Darya Alexandrovna, hearing the very arguments
she had used to herself, and not finding the same force in them
as before.

“For you, for other people,” said Anna, as though divining her
thoughts, “there may be reason to hesitate; but for me…. You
must consider, I am not his wife; he loves me as long as he
loves me. And how am I to keep his love? Not like this!”

She moved her white hands in a curve before her waist with
extraordinary rapidity, as happens during moments of excitement;
ideas and memories rushed into Darya Alexandrovna’s head. “I,”
she thought, “did not keep my attraction for Stiva; he left me
for others, and the first woman for whom he betrayed me did not
keep him by being always pretty and lively. He deserted her and
took another. And can Anna attract and keep Count Vronsky in
that way? If that is what he looks for, he will find dresses and
manners still more attractive and charming. And however white
and beautiful her bare arms are, however beautiful her full
figure and her eager face under her black curls, he will find
something better still, just as my disgusting, pitiful, and
charming husband does.”

Dolly made no answer, she merely sighed. Anna noticed this sigh,
indicating dissent, and she went on. In her armory she had other
arguments so strong that no answer could be made to them.

“Do you say that it’s not right? But you must consider,” she
went on; “you forget my position. How can I desire children?
I’m not speaking of the suffering, I’m not afraid of that. Think
only, what are my children to be? Ill-fated children, who will
have to bear a stranger’s name. For the very fact of their birth
they will be forced to be ashamed of their mother, their father,
their birth.”

“But that is just why a divorce is necessary.” But Anna did not
hear her. She longed to give utterance to all the arguments with
which she had so many times convinced herself.

“What is reason given me for, if I am not to use it to avoid
bringing unhappy beings into the world!” She looked at Dolly,
but without waiting for a reply she went on:

“I should always feel I had wronged these unhappy children,” she
said. “If they are not, at any rate they are not unhappy; while
if they are unhappy, I alone should be to blame for it.”

These were the very arguments Darya Alexandrovna had used in her
own reflections; but she heard them without understanding them.
“How can one wrong creatures that don’t exist?” she thought. And
all at once the idea struck her: could it possibly, under any
circumstances, have been better for her favorite Grisha if he had
never existed? And this seemed to her so wild, so strange, that
she shook her head to drive away this tangle of whirling, mad
ideas.

“No, I don’t know; it’s not right,” was all she said, with an
expression of disgust on her face.

“Yes, but you mustn’t forget that you and I…. And besides
that,” added Anna, in spite of the wealth of her arguments and
the poverty of Dolly’s objections, seeming still to admit that it
was not right, “don’t forget the chief point, that I am not now
in the same position as you. For you the question is: do you
desire not to have any more children; while for me it is: do I
desire to have them? And that’s a great difference. You must
see that I can’t desire it in my position.”

Darya Alexandrovna made no reply. She suddenly felt that she had
got far away from Anna; that there lay between them a barrier of
questions on which they could never agree, and about which it was
better not to speak.

I browsed Wikipedia on the history of birth control, and the
only suggestion relevant to what method Anna might have been using
is in the
barrier contraception article
, which says:

The diaphragm and reusable condoms became common after the invention of rubber vulcanization in the early nineteenth century.

Since Vronsky clearly doesn’t know she’s using birth control,
it couldn’t have been a condom.

Election description

As an election official, I was interested that the mechanics of
the secret ballot in 19th century Russia gave even less assurance
that the voter had voted the way he wanted to than our paperless
voting machines:

The district marshals walked carrying plates, on which were
balls, from their tables to the high table, and the election
began.

“Put it in the right side,” whispered Stepan Arkadyevitch, as
with his brother Levin followed the marshal of his district to
the table. But Levin had forgotten by now the calculations that
had been explained to him, and was afraid Stepan Arkadyevitch
might be mistaken in saying “the right side.” Surely Snetkov was
the enemy. As he went up, he held the ball in his right hand,
but thinking he was wrong, just at the box he changed to the left
hand, and undoubtedly put the ball to the left. An adept in the
business, standing at the box and seeing by the mere action of
the elbow where each put his ball, scowled with annoyance. It
was no good for him to use his insight.

Conclusion (for now)

There were lots more interesting passages that I can use the
next time I feel like letting Leo Tolstoy write my blog entry for
the day.

The passsages quoted above are all ones I don’t remember
noticing much before, so even if you don’t enjoy them, it doesn’t
mean you won’t enjoy lots of other things about the book.

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