Charlotte Church sings me the theme tune for the new pocket notebook I just made for myself.
She sings “Paul’s New Notebook” to the tune of “Pie Jesu”.
I think: “I bet Cheryl Cole wouldn’t’ve done that for free”.
Notebooks
Dostoyevsky’s notes for chapter 5 of The Brothers Karamazov
Bellicorum Instrumentorum Liber
“A generation before the extraordinary machine drawings of Leonardo da Vinci, the first technology manuscript of the Italian Renaissance was produced by a Venetian scholar who had familiarised himself with the handful of books on the mechanical arts from the Greek and Arabic traditions.”
“Giovanni da Fontana (?1395-1455) obtained degrees in arts and medicine in Padua and was appointed physician to the Venetian army in Brescia. He had a wide range of interests and studied historical works on optics, astrology/alchemy (intrinsic medical studies back then), pneumatic and hydraulic mechanics, military machines and the art of memory.”
–from Bibliodyssey
Notebook Pages
Filippo Tommaso Marinetti – “Futurismo, definizione”
Cars
Notebook 7-06 Page 17
Approximation of the Balmoral often found on Bristols’ Floating Harbour.
Notebook 2008 page 21
The Notebook of William Blake
N50
“This folio is one of the most closely filled in the notebook. In the centre, we see a naked figure of a man, on the point of stabbing himself with a dagger held in his right hand. In a later emblem in the notebook, Blake suggests that those who take their own lives cannot go to heaven, yet here the man is turning his face towards heaven with a hopeful – and possibly ironic – gaze.”
N99 & N98
“We see workings here of several poems for which the notebook has been rotated to enter fair copies of poems. We see workings here of several poems, including ‘Several Questions Answerd’ in the top left, with lines salvaged from previous drafts in the notebook (see N103). To the right of this poem, ‘Let the Brothels of Paris be opened’ is a strongly felt criticism of the overindulgent French monarchy. The poet’s attack on Marie Antoinette in the final stanza (‘The Queen of France just touchd this Globe And the Pestilence darted from her robe’) distorts Edmund Burke’s romantic description of the French Queen and Court in his Reflections on the Revolution in France (1790): ‘surely never lighted on this orb, which she hardly seemed to touch, a more delightful vision.'”
Paul Greer 