Okay, so today we're going to talk about five experiments that you can do in a dream to discover new things about your consciousness, maybe to learn new things about yourself, okay? And I've done a blog post about this, I'll put a link in the description, but I'd really like to just share it with you guys as well, because there may be some people who aren't on my blog, who are on my YouTube channel and vice versa. So, number one, without wasting too much time explaining it, number one, telling your dream characters they're in a dream, okay? Now, this is a really interesting thing you can do, because your subconscious mind populates the dream with dream characters, which are representations of different parts of your mind, okay? So, if you then go up, if you become lucid, and then you go up to a dream character and convince that person that they're in a dream, what do you think will happen? I'm not actually going to tell you what would happen in this one, because it's like really something that's interesting to find out for yourself, but it's really interesting, I guarantee, try that one tonight. Second one, asking your nightmare or your fear what it represents and why you have that fear or recurring nightmare. Now, when you delve into lucid dreaming, you become slightly more skilled and you can become aware in your dreams regularly, one of the things you'll want to do pretty early on is to identify your nightmares and your recurring fears and then just have a conversation with them. Just approach the nightmare. Say if you're scared of dogs, for example, like I used to be, approach the dog in the dream, of course, and say, you know, why am I scared of you? What do you represent? Why are you manifesting yourself as a fear in my life? Why do I have this fear? And quite often the fear or the nightmare, object, character will answer back with a detailed explanation from your subconscious mind, because that's essentially what it is, a manifestation of your fear created by your subconscious mind in the dream, and it will reply and will usually give you an explanation as to why you have that fear. Like, for example, for me, when I first approached my fear of dogs in a dream, the dog turned, I said, you know, why am I afraid of dogs and the dog turned around to me and said, well, you were chased as a child. And since then you've had minor trust issues and you haven't really been able to get over that until you just asked me right now. And then the rest of the dream was spent sort of talking. It sounds really silly, but I was talking with the dog for the rest of the dream and we identified some things I could do to sort of remove that fear and to work past it. So it's really interesting to do that because you can learn more about why you have certain fears and how to then overcome them. And this is one of the things that I suggest is one of the great benefits of lucid dreaming is that you can remove fears in this way. So number three, looking in a mirror. Now, this is something when you look in a mirror in real life, in reality, it's a exact mirrored reverse, of course, image of you. OK, it's a physical image of you. So light is bouncing from the light source through onto the mirror back to you. I think that's how it works. And so the laws of physics are at play. You see physically exactly what you are and how you appear to the world, whereas in a dream, there aren't laws of physics, or at least they can be bent. And most of the time they can appear distorted. So when you look in a mirror in a lucid dream, you instead of seeing an exact representation of yourself, you see part of your residual self image, which is your blueprint in your mind. If you've seen the Matrix films, this is shown perfectly in that where they're sitting around in the white room. And Neo, of course, when he's been woken up is bald. And yet when they go into the dream world, into the Matrix, into the white room with the TV and the leather chair, he has hair. And of course, he after a while asks himself, well, why do I have hair if I'm bald? And it's because of his residual self image. It's an image of himself that he thinks he looks like, which is stored in his mind. So therefore, when he has a dream or in this case, when he's being plugged back into the Matrix, he then recalls that residual self image and sees himself or appears as he thinks he appears, if that makes any sense.  So it's a really good way of seeing if you consider yourself attractive, for example, if you consider yourself confident. And but at the same time, it can be kind of scary because you tend to exaggerate your perceived physical flaws. So say if you if you think that you have really big ears in a dream mirror, there is a good chance that that will be exaggerated and then played back to you. So you'll have massive ears in a dream mirror, even bigger than they are in real life because it's an exaggeration of your residual self image. But it's a really interesting way of seeing how you feel about the way you look and the sort of person that you are. Another number four, moving on swiftly, speak to a psychiatrist or a counselor. Now, this is a really interesting one, because as I said, in a dream, you speak to different parts of your subconscious mind, OK, different representations of different parts of you as a person. So if you then go and speak to someone who is a psychiatrist or a counselor, subconsciously, your mind will put all of the things that you hold about yourself and your thoughts and beliefs about yourself and your character and personality that you tend to ignore and divert your attention from, maybe things that you aren't proud of or things that you regret or have guilt about, OK, all of these negative character traits will be given to the psychiatrist because your subconscious mind is thinking, this is a, you know, this dream character is a psychiatrist.  So when you go and then speak to a dream psychiatrist, OK, in your dream, they will have access to all of the information you normally ignore about yourself and maybe you don't even know is there. So say if you have a deep seated regret about something, maybe you really regret leaving a past relationship or you have guilt about doing something bad in your life, your psychiatrist in the dream will know all of that. So you'll be able to almost speak to your mind and relive and discover memories that you often didn't even know you had. You'll be able to really access deep parts of your mind by doing this little experiment. So again, this can be kind of scary, this one, but again, it depends on the person, you know, if you have something really bad that you are sort of trying to ignore and move on from in your past, then maybe I wouldn't advise this one because the psychiatrist's dream character possibly will bring that back up again and it may be distressing. You may wake up feeling kind of stressed and a bit upset. But if you want to give it a go, it's a really good way of understanding your mind and learning new things and discovering new things about yourself. And as I said, maybe you'll even have access to memories you didn't know you had before. Number five, this is the last one. This video has gone on a bit too long now. Number five, travel forward in time and meet your future self. Now, this is kind of similar to the mirror experiment where you see your residual self image, but this time you're going to see your representation and belief about your future and your goals. So let's say, for example, that you have a goal of becoming a millionaire in the next 20 years in real life, okay? So that goal is in your subconscious and hopefully your conscious mind in real life, okay? Now, if you don't believe and trust that you will achieve that goal, then traveling forward in time to meet your future self in a dream will show that to you because your future self in the dream will be like an average or a poor person working in a normal job. However, if you truly believe that you'll achieve your goal subconsciously and consciously in real life, then when you do this experiment in a dream, you will see a representation of that. So you will see yourself successful and rich in the future. So it's a really good way of learning whether you truly believe in yourself and which things you truly believe. This is obviously directly relating to goals, dreams and aspirations. So I'll use another example. Let's say you really want to become a reiki healer. You want to heal the world with alternative healing methods and techniques and you want to have a successful business, maybe even an international brand or company to heal the world. Now, let's say that you consciously tell yourself, yeah, I'm gonna do that in real life. That's something I wanna achieve. But you subconsciously don't believe it and subconsciously doubt yourself. You will see that. You will directly see whether you believe in yourself in the dream because you can't easily trick your subconscious mind. And if you travel forward in time to meet your future self in a dream, your subconscious mind will show you an exact, well, an almost exact representation of who you truly believe you will become in the future. So it's a really interesting way of just finding out what you truly believe and whether you will achieve your goals. So hopefully this has been interesting. This is five lucid dreaming experiments you can do of course, I would recommend to have a basic lucid skill set before attempting these because you will of course need to be lucid in order to try these experiments. It's no good trying to do these things if you can't even control the dream in a normal situation. So if you'd like information about that, maybe go and check out my website. There's some good guides on there or I would recommend you to sign up to my email list which if you go to howtolucid.com it's pretty much the only thing the front page is for is to get people to sign up to my email list so that I can give you a series of lessons on there. Okay, so there should be a link in the description from my main site anyway, but yeah. So hopefully you've enjoyed this. If you have any questions and comments, please leave them in this video and I will reply to them and possibly make another video in the future. As I said before, I can't really improve these videos and the content I give on the website unless you let me know what I'm doing right or wrong. So if there's something that you'd like me to explain better, please let me know in a comment. Email me, send a message on Twitter, Facebook and then I can be aware of it and I can obviously improve it. So hopefully I'm doing right with these videos. I have been improving the whiteboard videos a little bit maybe doing more illustrations and then trying to make the recording not lag so you can actually hear my voice as well. Yeah, but let me know. So thank you for watching. Please go ahead and subscribe if you haven't already. That's quite important because you won't get regular updates of course, if you don't subscribe. And another thing, if you're already subscribed and this is obviously completely optional, you might want to get email updates when I upload a video because quite often, especially if you have lots of just subscriptions on YouTube, they kind of mix into each other and it can be difficult to see what you want to see. If you've got subscriptions from many years ago that you never watch anymore, they're still gonna repeat on your homepage. So if you want to really make sure you get these videos and learn how to lose a dream properly, then I would suggest to go into your YouTube settings and check the email updates box for this channel. I mean, it's completely optional but this way you can get email updates as well as hopefully seeing it on the homepage just so you don't miss anything and so that you can keep up to date with the content I'm sharing and hopefully learn how to lose a dream properly. So yeah, I'd love to hear your experiences. Please leave comments, share the video, like, favorite, subscribe, all that stuff.


All right, fellow buddies. We are at the Goodwill Bins. It is time to dig with me So as always, I ask everybody to put things they see down in the comments with a timestamp Hey fellow buddies, thanks for watching Amazing, right? All right, let's get started Okay, so a timestamp is basically telling me and everybody else In the video where you saw the item so if it's at two minutes and 30 seconds you put that down below and You just say I normally pick up Records and I sell this type of record for good money. That's my bread and butter or oh my goodness You missed a big money Bolo. I would have picked up whatever item it was So this keeps it educational for everyone. It's a super wet fun way to learn and I will also be popping up screenshots of how I listed everything that I actually bought at this trip to the bins and Those items are currently on eBay and some of them are on what not So we will talk more about that as the video goes on but this little guy He's from is he Star Wars? I thought about picking him up, but I ended up leaving him behind I always always always look in jewelry containers because you know what I have actually found jewelry at the bins I think in my sticker video There was a silver a sterling silver piece that I found it was like new in the box incredible what you can find incredible what people donate incredible what ends up in this massive pile of I Don't even know what to call it. I call it inventory, but there is some trash There's a lot of stuff that is empty boxes and stuff that really should just be thrown out that we have to dig through If you go to the bins tell me what your favorite thing to source is you're gonna see that I mostly shop in the hard goods area I stay away from the clothing not a big fan of searching for clothing That's not really my thing. So if you're new to the channel, you're basically gonna see hard goods in this video But don't go away if you sell clothing because you may learn that hey, I can sell different things I don't know if you know but on Mercari and Poshmark. Those are not only Clothing websites you can also sell hard goods I think a big misconception for Poshmark is that it's mainly clothing that is absolutely not true I sell tons of hard goods on both of those platforms. So If you're thinking about getting on different platforms, I do have some links down below the referral links So you'll get some cash to shop if you use my referral link and also If you want to try list perfectly that is a cross posting service. That's what I use I've been using it since 2019. I start my items on eBay and then cross post to Poshmark and Mercari There's a demo video down below We won't go into all that but you can check it out And if you decide you like it and want to use it you can use coupon referral code Bolo buddies all one word to get 30% off your first month All right, let's keep digging here These trucks now you're gonna see me pick up some smalls. What do I do with my smalls? Some of them I list individually a lot of times small little figures. You'd be surprised You can get 10 15 20 bucks out of some of them sometimes more it really really just Depends on the item and how hard it is to find Vintage items obviously do better.  I'm trying to think of what they're called. They're v-tech and they're lights and sounds and I usually pick those up and put them in small lots. So I have not listed those yet. I'm working to put a bundle together and Then I will get that listed the little lovey. I did pick the lovey up But I had to wash that one so I have not got it listed yet I'm thinking I maybe should have picked up that little taggy Would you guys have picked that up or would you left it behind was that fabric should I've grabbed the fabric? Oh my goodness. I always watch these videos back and do voiceovers and I'm like, oh, I should have maybe grabbed that a Lot of people are like don't have regrets and I'm like, well, it's not really regret It's just kind of looking and thinking, huh? Did I miss that? Should I have grabbed that? But when you have as much inventory as I have I probably need to be even more selective than I am I Have a tendency to want to save everything from the landfill Who's with me on that? Who has a huge money pile profit pile? I heard somebody call it a profit pile the other day and I'm like I kind of like the profit pile also money Mountain So many names for our Inventory that is unlisted. Let me know down in the comments. What do you guys call your unlisted inventory? I would love to hear it because I'm sure there's gonna be some funny answers to that Everybody has a name. There has to be a name. I can probably imagine that your significant other has a name for it as well All right, did I miss a big money Bolo? I picked these up I looked at them and I thought about it and then I was like, oh, they're heavy I just don't know I did a little Google or eBay comps And I just kept finding more and more and more and I think because there were so many That I probably could have sold them for really good money. They are Doberman magazines and It would definitely probably be a long tail item that would take the right buyer But what if that right buyer was ready to buy and it sold really quickly So again, I'm picking up anything Paul patrol any current cartoons I always pick those up the lightweight stuff that doesn't weigh very much. That was I don't know if that was a mega block I think it might have been a mega block So I will make small lots that vehicle right there was trackers vehicle. It's a little bit harder to find than your average Paul patrol the common ones. I did find some diecast Cars that are Paul patrol, which some of those can do better. Look more Doberman. Should I've got those? Would you guys have got those? I know my ephemera sellers that are watching are probably like, oh my goodness Why didn't you get that this one here? I could not find a really good comp on that so I priced it a little high and We'll see what happens But as far as the other Paul patrol, I have not listed those yet. I'm gonna make some small lots I might bring some of those to what not in a toy show or I may put some on what not in the buy it now haven't quite decided yet just making bags of similar and like items right now and We'll figure that out down the road when I am ready to List and have enough to list to make small bundles Let me know in the comments, do you grab the small toys? Do you create bundles? How do you list your small toys? What platforms are you using? Is any can you sell toys on kid is in I know the other day? I featured a Bolo where somebody sold wallpaper on Kittison and I thought Kittison was mostly Clothing kids clothes. So this is a Kohl's Cares dr. Seuss fish And I don't normally pick up Kohl's Cares But I have heard in the rebel resellers videos over and over and over pick up Kohl's Cares It's a great bread and butter item. So I picked it up and guess what it sold super fast I couldn't believe how fast it sold now. I did price it competitively I priced it on the lower end, but it sold quick So if you're not following the rebel reseller, definitely go follow her I popped up a screenshot a little bit ago of her channel and I will link it down below in the description She specializes in plush now the item that I just popped up was a leap frog item Back when we were on lockdown. I don't know if you guys remember I'm sure you do those items were flying out of my eBay store I could not keep them in stock now. It's really really hard to sell the leap frog items They are much more long tail So I figure I'll be sitting on that for a while, but it was a new old stock item it's still in the original packaging which is always a pickup and Also, I believe that was considered media because it was a book and a game cartridge The little baby rattle that you saw those are like little lovies things that kids get attached to that if they lose People are always looking for those on eBay. I think I sold that thing on whatnot if I remember correctly I'm not even sure what it was So We're gonna keep digging here see what we can find I think I sold that on what not also or I threw it in a toy lot. Maybe it's in a toy lot I don't know it's somewhere. I remember picking it up, but I don't know. I don't think it was complete These lights are pretty cool. Would you guys have picked those up or left them behind? Number one, the reason I left them behind is I didn't know if they worked number two. It was a tangled mess Which you know tangles ah I do a lot of jewelry Untangling shows on my whatnot and I like doing those on what not because I can talk to you guys while I untangle and then I sell the items as I untangle So if you're not following me on what not I'd love for you guys to come over. I'm doing lots and lots of jewelry I am Bolo buddies all one word over there There is a referral link down below and you can get $15 to shop if you use that to join what not if You've never heard of what not let me know down in the comments. I'm wondering how many people have never heard of the platform I'm betting there's a few it is incredible These here are educational mats. I don't know. Do you think I should have grabbed these? Do you think maybe a teacher would have bought these? Maybe would have been a good item for Poshmark. I don't know. Here's another leapfrog. I left that one behind I Was being more selective this right here. I have not listed yet, but I definitely picked it up It is a vintage sewing machine Booklet so it is basically instructions for your sewing machine, but it's for an old one It is vintage and I actually had that in my pile for my ephemera show that I did on what not and I never got to it So it's just sitting in my basement. I may end up putting that on eBay I don't know I I'm not sure what I'm gonna do another ephemera show if you guys were at my ephemera show Did you like it? Do you want to see more ephemera shows? I have lots and lots of that kind of stuff. I've got crafters items toys. You name it I've got it and you can sell anything pretty much anything on what not of course. There's the normal restrictions and Okay, I grabbed all of these buttons buttons do sell I sold these on what not now Here's a fun little story for you. Hello Courtney Well, I'm finally getting around to sending this your way only two months later This button was purchased on what not at my show She said I paid 50 at in it for an entire 10 of interesting old buttons, but this is the one I wanted Knew it would be good after doing research on worth point. Thanks to you Courtney I still have all the buttons the list and that one sold for $149.99 for one Button so yes anytime I see buttons. I am picking it up now that button did not come from the Goodwill Ben's I don't remember where I sourced to that button. It's been sitting in my money pile forever So there was another sewing machine thing. I picked up definitely gonna pick up old ephemera It will sell now a lot of times ephemera can be long tail But if you list it and that person is looking for it It can also be a quick sale and a lot of it can go for big money But a lot of it is bread and butter as well. So you always got to do your research All right, let's see what else we can find here scissors. Those were pretty cool Maybe I should have picked them up. I ended up leaving them behind you guys Let me know would you have grabbed the scissors and do you guys pick up buttons? Has anybody sold buttons for big money? I Know that Noel farm girl scavenger Noel sells buttons. I think she actually collects buttons also So those patches that was a little baggy of patches and they were Girl Scout patches And I brought those to whatnot and those sold over there on auction. I think that was I May have put those in my toy show that I did They just happened to be in the toy bag. So I sold them Not really a toy, but I guess I don't know somebody could put them on a vest for their kids So kind of a toy these right here can have good comps always look these up if you see them The condition of these was not that great So I went ahead and left them behind because they were sort of a heavy item and if I was going to pick those up I would want them to be in really nice condition Maybe I should have grabbed them. I probably left some money behind But you know you pick and choose and you decide in that split moment. What you're gonna do All right, let's keep digging here By the way, you can see that I am using a tote that is my shopping cart There was a period of time where our bends was super super short on carts If you weren't like the first seven or eight into the door You did not have a cart and I think this day if I remember correctly The person before me got a cart and then that was it So I ran over and I looked for a big tote and that was my shopping cart So it was definitely better than nothing because nothing is impossible There was one day when I couldn't find a tote and I just asked for a bag and They gave me at one of the big Goodwill bags and I shopped and just threw my items in that but That makes things really hard. That was a Duplo Lego. It's obviously a replacement piece What I typically do with my Duplo Legos is I put them in lots and I will sell them as a small lot Now this thing right here has little letters that goes into it I think that's the thing and I have sold the letters as replacement letters before so always be on the lookout for those Replacement letters. They do really well. They're like little blocks right there. These are Bob the builder and I Did not test them because I didn't have any of the small batteries So I am just selling them as untested. Look at that thing. Would you guys have got that? That would have been so heavy. I thought about it and I'm like, you know, what that's probably gonna cost me a lot of money I don't know if like as far as weight I probably could have negotiated the weight if it's a really heavy item They may have given me half off or something like that just depends on who's working Sometimes they don't allow discounts on certain items But I didn't know if it would work, you know, if it had a hole in it Like why was it donated? Did somebody just get sick of it or was it damaged because a lot of times people will Send their damaged items to the Goodwill. I'm not sure why they do that But they will and then, you know, you get home same with puzzles and games Always missing pieces always missing parts you get home and you're like, okay I'm gonna list this and then the game is missing something. So that is when you can part it out So if you part out games, let me know down in the comments. How do you do with that? Do you enjoy doing that? I feel like I Enjoy parting things out sometimes but for me, it's very very time-consuming I have done really well with certain things like I did a Ninja Turtle play set I've done connects and what I have found is when you part items out Some of the items sell very quickly and other items take a long long long time to sell But I will say that typically in most cases if you part it out and sell the items Individually you will make more money than you would have if you would have kept it whole but I know also a lot of people Will keep things in the original condition if they get it and it's new and ready to go They won't part it out because they want to keep it as a set Let me know which person you are in the comments. Do you part it out or do you keep it whole? I will part things out if it's already Missing pieces same thing with like doll houses and stuff like that if they are damaged and in poor condition I Sell the windows I sell the doors You guys have seen me pull those off of doll houses that I find at the bends because they're already incomplete and Most people are not going to buy an incomplete house, but they will buy the windows They will buy the door they will buy the steps I have taken doll houses completely apart and sold those things that was Norwex Norwex is an awesome brand, but it is direct sales so I'm pretty sure that The rules of the company are that you cannot list those items on platforms That's how most direct sales companies are So I would recommend anything that is direct sales Make sure that you check to see if it is a Vero or an eBay Policy violation like on the list because those items will get removed and you will get penalties on your account. I Have a whole series of videos that talk about Veros and policy violations That members of my Bolo buddies Facebook group have shared So if you got is want to learn about things not to list on eBay definitely check that out That was an old wooden top. I have not listed it yet I'm really not sure how to list it, but I think you take a string and wrap it around it Did you guys see that mirror? Can you believe that that mirror was intact? Oh my goodness I sat it up high to the side because I didn't want somebody to break it Here are a bunch of little transformer pieces I thought about buying these and selling them as a lot of Incomplete for replacements and parts, but decided to leave them behind I just wasn't in the mood you guys know how it is, but yeah, some of those I'm guessing probably somebody is looking for those pieces and I definitely probably could have sold them But I wasn't sure which Transformers they were and if you guys have been watching me for a while, you know that I struggle with transformers. Oh my goodness, they are So hard for me to figure out Even like the three-step ones I struggle with so I ended up leaving those behind Guessing some of you are screaming at the phone or your device or whatever you're watching your TV right now saying I would have grabbed those But that's what's great about being who you are We all get to sell what we want and do what we want and do what makes us happy So I always say if I don't like to list it I'm not gonna pick it up because it's just gonna sit in my money pile And that's something I'm trying to do more of is be more selective about what I pick up And if I don't enjoy listing it Don't pick it up like I do not like to ship breakables So I have a tendency to leave those behind this guy I picked up and he's probably gonna be a little annoying to ship because I don't have to find the right box This sold on what not I had that in the buy it now. It's a little fireplace that lights up super cute The items that I'm putting in my buy it now or my marketplace on what not I'm trying to price very Competitively to draw new people to my what not so if people are searching what not for items they could find my what not and See that I have buy it now's and see that I do auctions and then they may follow me and come to one of my auctions So having things in your buy it now is important I have probably sold four or five things from my buy it now section But I have sold many many more from my buy it now section during my live show When I'm doing my auctions So if you're alive doing an auction on what not and you have things in your buy it now You can include those in your show and people will get discounted shipping on The items that they buy from the buy it now So definitely keep your buy it now stuffed if you are selling on what not and add those items to your show because people will Buy items from the buy it now Again, I'm trying to put things really fair prices in my buy it now section to encourage people to buy Multiple items from me if that makes sense if I had that item listed on eBay it would be priced higher So it's kind of a marketing tool to grow my what not business So if you guys are selling on what not that might be a little tip that will be helpful for you So yes, you can sell on what not and just do marketplace just buy it now You don't have to do auctions and I feel like what not as a platform is going to continue to grow And I also feel like marketplace on what not is something that is going to be up and coming You know, I think that more people are going to start searching on what not for items Like they do on eBay and Poshmark and McCurry and Depop and Grailed and all of those other Marketplace style platforms where you're doing buy it now's or best offers So definitely something to consider. It's still very new So maybe a good idea to get your foot in the door while it's still early I do have a sellers link down below where you can join with a referral link and It says that Bolo buddies referred you and you may get accepted quicker. All right, you guys We are about done digging for this video. Check out some of my other Goodwill Benz videos this one I didn't find a whole lot. It's not a super exciting video, but I Wanted to put it out there in case You guys see something that I missed. Thank you so much for being here thank you for watching be sure to like comment subscribe and share and Let me know if you guys have any questions about anything that I mentioned in the video and Check out those links in the description of the video. Thanks for watching


Felly, gweithio, wrth gwaeth, dyfodol, mae Llywodraeth, gyda'r dyfodol yn dda, ac mae'r dyfodol yn dyfodol yma. O'n dweud hon i chi arbyn ni, o'r dyfodol. Fy enw i'n gweithio'r Llywodraeth, oherwydd mae'n gweithio'r Llywodraeth yn gweithio gael dda, a'n gwneud o'r ddigonio'r meddwl yn ei gael arbennig, oherwydd mae'r eich ddweud yn 2011. We're particularly delighted to be here on National Poetry Day, the only one day celebration of poetry that involves the whole country, including a huge number of schools in reading, writing and reciting poetry. I also want to thank Sheamus Heaney Estate and Favourite Books for granting us permission for the readings here this evening in tribute to Sheamus Heaney in this, the 10th anniversary year of his death. Catherine Healy will take the stage shortly to talk about her father's life, work and legacy. Before I hand over to her, I just wanted to say a few words that Josephine Hart wrote on the basic purpose of her poetry hours. She thought a public performance of the great poetry of the dead poets read by great actors should be the norm in London. Her philosophy can be simply expressed in three parts. First, the life of the poet. Josephine agreed with T.S. Eliot that we understand the work better if we understand something of the poet's life. As Eliot said, the poet always writes out of his personal life in his finest work out of its tragedy, whatever it may be, remorse, lost love. All of her introductions to the great poets are published by Viralgo in life-saving, words that burn and catching life by the throat. And they're also available on our free app and on the website. Her second point was that the poets read aloud. She believed poetry startles us into a more full sense of life and that it is a trinity of sound sense and sensibility. And that the sense of sound and what Robert Frost called the sound of sense will be lost unless we hear it. Language caught alive. The gold in the ore is the sound. Yates in his seventies said he'd spent his life clearing out of poetry every phrase written for the eye alone and bringing all back to syntax, that is, for the ear. Ordon put it more bluntly, no poem which is not better heard than read is good poetry. Josephine was fond of quoting Seamus Heaney, who has an undergraduate at Queens, found that on hearing Eliot's four quartets read by the actor Robert Spate, what had been perplexing when sight read for meaning only was hypnotic when read aloud. I'm going to hand over to his daughter Catherine Heaney now and she'll talk to you for five, ten minutes, something like that, and then the actors will join us. Thank you for that lovely welcome, Siobhan, and good evening everyone. It's my pleasure and privilege to be here with you this evening on this National Poetry Day to celebrate my father's work and to mark the tenth anniversary of his death with this special edition of the Poetry Hour. One of the first times I was ever in the British Library was in 2001, not long after I moved to London, and I came here with my father to hear him speak at an event for the Poetry Archive, which had been recently launched by the then Poet Laureate, Andrew Motion. As I'm sure some of you here know, the Poetry Archive preserves recordings of poets reading their own work, and in the course of his speech, Dad entertained the assembled company with impressions of a few of his favourite poets, including Robert Lowell and the Scottish poet, Sorley MacLean. It was a brilliant, funny speech. Dad was a great mimic, but more importantly, he made a serious and characteristically eloquent case for hearing poetry read aloud. As a poet, he understood how the spoken voice could amplify and reveal the cadences and rhythms within a poem, and how that in turn deepens the listener's understanding of delight in the work. This is something that Josephine Hart also passionately believed, and that lies at the heart of these Poetry Hour events. My father greatly admired Josephine and her boundless energy and efforts to bring poetry to new audiences through her remarkable evenings. Work that her husband, Morisachi, continues to support through the Josephine Hart Poetry Foundation. Dad read at two of the London Poetry Hours, including a celebration of Yates at the Irish Embassy in 2013, not long before he died, where he read alongside Edna O'Brien and Fiona Shaw. It was a wonderful event, but I do think it took all of Dad's unflappability not to be intimidated by the combined regal star power. It's a particularly great honour for me to be here this evening hearing his poems read in this hallowed institution on a day that is all about celebrating poetry. I'd like to take the opportunity to salute the team at National Poetry Day and the Forward Arts Foundation for making this such an important date in the cultural calendar and for their work in championing the vital place of poetry in our work. I think everyone would agree that this year's theme of refuge couldn't be more timely. Of course, special thanks to Siobhan, our director tonight who's put together a really special programme. I cannot and I would not dare attempt to recreate one of Josephine's legendary introductions, but as I'm guessing most of you here know, Seamus Heaney was a poet, translator, critic, teacher and playwright, whose debut Death of a Naturalist appeared in 1966, the first of 12 volumes of original poetry. Its success marked the beginning of a career that would see his work reach a worldwide audience, win many prizes and that kept him heroically busy until his death in 2013. Since then, our family, working closely with Faber, his publisher of Over Five Decades, have continued to bring the work to new readers in a series of landmark volumes. The translations of Seamus Heaney, edited by Marcus Sonzoni, came out last year to critical acclaim and brings together all of my father's translations of other poets and which really reflects his broad engagement with work from across centuries and continents, from Virgil to Beowulf to Joseph Brodsky. And I'm delighted to say that today marks the publication of the letters of Seamus Heaney, so it feels very auspicious to be here with you all, edited by Christopher Reed, who is himself a poet and former Faber poetry editor. This wide-ranging and generous selection of correspondence is the result of years of digging and research by Christopher in public and private archives. I know there are a few people in the audience who know how many letters Dad wrote and what a Herculean task that must have been, but this volume shows a more intimate, less guarded side of him. Thoughtful, confiding, sometimes joking, sometimes frustrated, often in transit. Here's the start of one written to his friend Bernard O'Donoghue from an Amtrak train hurtling from Boston to New York in 1990. Dear Bernard, the shaky nature of the calligraphy is truly due to the moving train, great symbol of the continent and all that, and not the kind of Budweiser that shimmers to my left. For me, reading these letters is like hearing his voice again with all its warmth and empathy, playfulness and joy in language. But they're also a testament to his unwavering sense of duty and his generous support of friends and fellow poets. But to return to tonight, most of the poems you will hear come from 100 poems, a selection chosen by my mother Mary, my brothers Michael and Christopher and me in 2018. It spans Dad's entire career from the first book to the last, and it's very much a personal selection, poems that carry special resonance for us and hold memories of family life. But we were also careful to include the ones that were among his favourite to read, poems like Moss Bond's Sunlight, Clearance's Three and St Kevin and the Blackbird. And tonight we are extraordinarily lucky to have them read for us by four gifted actors, Breed Brennan, Ruth Nega, Des McElear and Edward McLean. They will be reading some early pastoral lyrics evoking the rural county dairy of my father's upbringing, as well as the darker and flinching poems of his mid-career that confronted the violence of the Troubles. But you will also hear many of his most beloved poems, including a number written for his family, that in the words of his beloved poem, Post Script, Catch the Heart, Off Guard and Blow it Open. I would also like to say it's particularly special to have Des and Ruth here tonight as, respectively, they played Philoctetes and Antigone in the original productions of the Curitroy and the Burial at Thebes, Dad's versions of Two Sophocles plays, and they will be reading speeches from the plays this evening. Finally, I would say that if I've learned one thing over the last ten years, well I've learned a few, but one of them is that if poetry springs from one voice, it lives on through others, and that's what we're celebrating here tonight. So my thanks once again to our brilliant readers, to the Josephine Hart Poetry Foundation, National Poetry Day, the British Library and to all of you for coming. Enjoy the evening. I will just take a moment to introduce our brilliant actors, and again, Josephine Hart agrees with TS Eliot when he said, poetry should be read to us by skilled readers, the feeling for syllable and rhythm penetrating far below the conscious level of thought and feeling, invigorating every word. So first, we have Breed Brennan, who is a Tony and Ifto award-winning actress with multiple Olivier award nominations. She has worked at the Abbey Theatre Dublin, the National Theatre and the RSC here, and among her best-known films are Brooklyn and Dancing at Lounaiser. It would take all night to go through her. Thank you for being here. Then we have Edward McLean. Edward hails from Cork and lives in London, where he trained at Rada. He had a Ifto award nomination for Best Supporting Actor for Run and Jump, opposite Maxine Peak. He's known for his versatility and works widely in independent film, TV theatre and as a voice-over actor. Ruth Negger played Antigone. In the Irish premiere of Seamus Heaney's The Burial at Thieves at the Abbey Theatre in Dublin in 2004, her more recent credits include Lady Macbeth opposite Daniel Craig in Macbeth on Broadway and films Passing and Loving and the TV drama series Agents of Shield and Preacher. I'm going to hand over now after I tell you a little bit about Dez McLear. Dez is originally from Belfast and he played Philoptides in Heaney's The Cure at Troy. He appeared in the Ferryman at the Royal Court and the West End. At the National Theatre he was in David Hear's Trilogy of Plays by Chekhov, Ivanov, Platonov and the Seagull. He's also worked at the RSC in several productions with the late Sir Michael Boyd and with Rupert Goode. I am now handing over for the music of what happens. Thank you. You didn't even know about it. Liam Neeson sent me a video this morning so we're going to play that first and then it's a short reading and I should have told the actors. I'm sorry. So from the back, if you wouldn't mind, we have digging. A small town to north of Ireland about 15 miles from Belachie, Chekhov's Heaney's own place. The power of this portrait inspired me with a lifetime love of language that led to my career as an actor. So I'd like to share a reading of digging with you on this special occasion. Digging. Between my finger and my thumb the squat Ben rests snug as a gun. Under my window a clean rasping sound when the spade sinks into gravelly ground. My father digging. I looked down to the straining rump among the floor beds Ben's Low coming up 20 years away, stooping in rhythm through potato drills where he was digging. The coarse boot nestled on the lug. The shaft against the inside knee was levered firmly. He rooted out tall tops buried the bright age deep to scatter new potatoes that we picked loving their cool hardness in her hands. By God, the old man could handle us be it just like his old man. My grandfather cut more turf in a day than any other man on Torners bog. Once I carried a milk in a bottle, curled sloppily with paper, he straightened up to drink it. Then fell too right away, nicking and slicing neatly, heaving sods over his shoulder going down and down for the good turf. Digging. The cold smell of potato mould, the squelch and slap of soggy peat, the curt cuts of an age through living roots awaken in my head. But I've no spade to follow man like them. Between my finger and my thumb, the squat pan rests. I'll dig with it. Anna Horish. My place of clear water, the first hill in the world, where springs washed into the shiny grass and darkened cobbles in the bed of the lane. Anna Horish. Soft gradient of consonant, vowel meadow. After image of lamps swung through the yards on winter evenings. With pales and barrels, those mind dwellers go waste deep in mist to break the light ice at wells and dungills. Twice shy, her scarf ala bardo enswade flats for the walk. She came with me one evening for air and friendly talk. We crossed the quiet river, took the embankment walk.  Calm, a vacuum of need collapsed each haunting heart, but tremulously we held as hawk and prey apart. Preserved classic decorum, deployed our talk with art. Our juvenalia had taught us both to wait, not to publish feeling and to regret it all too late. Mushroom loves already had puffed and burst in hate. So, cherry and excited, as a thrush linked on a hawk, we thrilled to the March twilight with nervous childish talk, still waters running deep along the embankment walk. Scaffolding, masons when they start upon a building are careful to test out the scaffolding. Make sure that the planks won't slip at busy points. Secure all ladders, tighten bolted joints. And yet, all this comes down when the job's done, showing off walls of sure and solid stone. So if, my dear, there sometimes seem to be bridges breaking between you and me, never fear. We may let the scaffolds fall, confident that we have built our wall. From lightnings, eight, the annals say, when the monks of Clon Magnoise were all at prayers inside the oratory, a ship appeared above them in the air. The anchor dragged along behind so deep it hooked itself into the altar rails. And then, as the big hull rocked to a standstill, a crewman shinned and grappled down the rope and struggled to release it. But that man can't bear our life here and will drown, the abbot said, unless we help him. So they did. The freed ship sailed. And the man climbed back out of the marvellous, as he had known it. The strand at Loch Beg, in memory of Colin McCartney. All round this little island on the strand far down below there where the break breakers drive. Grow the tall rushes from the oozy sand. Dante, Purgatorio 1. Leaving the white glow of filling stations and a few lonely streetlamps among fields, you climbed the hills toward Newton Hamilton past the Fuse Forest, out beneath the stars. Along the road, a high bear pilgrim's track, where Sweeney fled before the bloodied heads, goatbeards and dog's eyes in a demon pack blazing out of the ground, snapping and squealing. What blazed ahead of you? A faked roadblock? The red lamp swung, the sudden breaks and stalling engine, voices heads hooded and the cold-nosed gun? Or in your driving mirror, tailing headlights that pulled out suddenly and flagged you down, where you weren't knowing and far from what you knew? The lowland clays and waters of Loch Beg, church island spire, its soft treeline of you. There you once heard guns fired behind the house long before rising time, when duck shooters haunted the marigolds and bull rushes, but still were scared to find spent cartridges, acrid, grassy, genital, ejected on your way across the strand to fetch the cause. For you and yours and yours and mine fought shy, spoke an old language of conspirators and could not crack the whip or seize the day. Big voiced scullions, herders, feelers round haycocks and hind quarters, talkers and buyers, slow arbitrators of the burial ground. Across that strand of ours the cattle graze up to their bellies in an early mist and now they turn their unbewildered gaze to where we work our way through squeaking sedge, drowning in dew. Like a dull blade with its edge honed bright, Loch Beg half shines under the haze. I turn because the sweeping of your feet has stopped behind me to find you on your knees with blood and roadside muck in your hair and eyes.  I dab you clean with moss, find the drizzle out of a low clod. I lift you under the arms and lay you flat. With rushes that shoot green again, I plat green scapulars to wear over your shroud. The underground. There we were in the vaulted tunnel running. You and your going away coat speeding ahead and me.  Honeymooning. Mooning around late for the proms. Our echoes die in that corridor and now. I come as Hansel came on the moonlit stones retracing the path back, lifting the buttons to end up in a drafty lamplit station after the trains have gone. The wet track, bared and tensed as I am. All attention for your step following and damned if I look back. The peninsula. When you have nothing more to say, just drive for a day all around the peninsula. The sky is tall as over a runway. The land without marks. So you will not arrive but pass through the always skirting landfall. At dusk, horizons drink down sea and hill. The plowed field swallows the whitewashed gable and you're in the dark again. Now recall the glazed foreshore and silhouetted log. That rock where breakers shredded into rags. The leggy birds stilted on their own legs. Islands riding themselves out into the fog and then drive back home, still with nothing to say. Except that now you will encode all landscapes by this. Things founded clean on their own shapes, water and ground in their extremity. Clearances for fear of affectation made her affect inadequacy whenever it came to pronouncing words beyond her. Bertol Brech. She had managed something hampered and askew every time as if she might betray the hampered and inadequate by too well-adjusted a vocabulary. More challenge than pride, she'd tell me.   A genuinely well-adjusted, adequate betrayal of what I knew better. No, and I decently relapsed into the wrong grammar which kept us allied and at bay. Clearances three. When all the others were away at mass, I was all hers as we peeled potatoes. They broke the silence, let fall one by one like solder weeping off the soldering iron. Cold comforts shared between us. Things to share gleaming in a bucket of clean water and again let fall. Little pleasant splashes from each other's work would bring us to our senses. So while the parish priest at her bedside went hammering tongs at the prayers for the dying and some were responding and some crying, I remembered her head bent towards my head. Her breath in mine are fluent dipping knives. Never closer the whole rest of our lives. The clothes shrine. It was a whole new sweetness in the early days when I found light white muslin blouses on a see-through nylon line drip-drying in the bathroom. Or a nylon slip in the shine of its own electricity. As if Saint Bridget once more had rigged up a ray of sun like the one she'd strung on air to dry her own cloak on, a hard-pressed Bridget so unstoppably on the go. The damp and slump and unfair drag of the work day made light of and got through, as usual, brilliantly. The burial at Thieves. The burial at Thieves is many. Creon has made a law. A Theocles has been buried as a soldier with full honours so he's gone home to the dead. But not Polyneses. Polyneses has denied any burial at all. Word has come down from Creon. There's to be no laying to rest, no mourning. And the corpse is to be publicly dishonoured. His body's to be dumped. Disposed of like a carcass. Left out for the birds to feed on. If you so much as throw him the common handful of clay you'll have committed a crime. I will bury him myself. Death come so be it. There'll be a glory in it. I'll go down to the underworld hand in hand with a brother. And I'll go with my head held high so the gods will be proud of me. The land of the living sister is neither here nor there. We enter it and we leave it.  Call me mad if you like, but leave me alone to do it. Creon. I disobeyed because the law was not the law of use but the law ordained by justice. Justice dwelling deep among the gods of the dead. What they decree is immemorial and binding for us all. The proclamation had your force behind it, but it was a mortal force and I also immortal. I chose to disregard it. I abide by statutes utter and immutable, unwritten, unoriginal God given laws. I never did an over thing than bury my brother Polynesus and if these men weren't so afraid to sound unpatriotic, they'd say the same, but you are king. And because you are king you won't be contradicted. There's no shame in burying a brother. My father's and my mother's son is dead. Religion dictates the burial of the dead. The dead and Hades know who did this deed. Remember this, citizens. I am linked on Hades' arm, taking my last look, my last walk in the light. Soon the sun will go out on a silent, starless shore and Hades will step aside. He will give me to Acheron, Lord of the pitch black lake and that bridegroom's cold hand will take my hand in the dark. I'm like Naiobi. Naiobi turned to stone in the thawing snow and rain, a rock that weeps forever like ivy in a shower, slewcing down the ridge of high Mount Siplos. I am still in life and I dread to leave our groves and springs. Fortunate men of thieves owe my thieves of the chariots farewell. I am going away under my rock-piled roof. Over and over again because I am who I am, I retrace that fatal line and the ghastly love I sprang from. My father weds his mother. He mounts her. Me and mine, his half sisters and brothers, are born in their sullid bed.  No flinching, then at fate. Stone of my wedding chamber. Stone of my tomb. Stone of my prison roof and prison floor. Behind you and beyond you stand the dead. They are my people. And they're waiting for me. And when they see me coming down the road, they'll hurry out to meet me, all of them. My father and my mother first. And then iteoclies, my brother. Everyone is dear to me as when I washed and dressed and laid them out. When I did the same for you, when I did what people know in their heart of hearts was right, I was doomed for it. Have I offended the gods? Do the gods have no regard for what I did? Where can I turn if they have turned away? The right observance put me in the wrong. And if that is the gods verdict, so be it, I'll have transgressed and will suffer gladly. But if the wrong was laid upon me wrongly by these unjust ones, then let their penalty be no less than the one they've doomed me to. Now, gods of Thebes, look down. Through my native streets and fields I'm being marched away. And never, you men of Thebes, forget what you saw today. Edipus's daughter, the last of his royal house, condemned, and condemned for what? Practising devotion. For a reverence that was right. A call. Hold on, she said. I'll just run out and get him. The weather here is so good. He took the chance to do a bit of weeding. So I saw him down on his hands and knees beside the leak rig, touching, inspecting, separating one stalk from the other, gently pulling up everything, not tapered, frail, and leafless. Pleased to feel each little weed root break. But rueful also. Then find myself listening to the amplified grave ticking of hall clocks where the phone lay unattended in a calm of mirror glass and sun-struck pendulums. And find myself then thinking, if it were nowadays, this is how death would summon every man. Next thing, he spoke. And I nearly said, I loved him. The wife's tale. When I had spread it all on linen cloth under the hedge, I called them over. The hum and gulp of the thresher ran down and the big belt slewed to a standstill, straw hanging undelivered in the jaws. There was such quiet that I heard their boots reaching the stubble 20 yards away. He lay down and said, give these fellows theirs, I'm in no hurry, plucking grass in handfuls and tossing it in the air. That looks well. He nodded at my white cloth on the grass.  I thinked, then watched me as I poured a cup and buttered the thick slices that he likes. It's threshing better than I thought, and mind it's good, clean seed, away over there and look. Always this inspection has to be made even when I don't know what to look for. But I ran my hand in the half-filled bags hooked to the slots. As hard as shot, innumerable and cool. The bags gipped where the shoots ran back to the stilled drum, and forks were stuck at angles in the grind as javelins might mark lost battlefields. I moved between them back across the stubble. They lay in the ring of their own crusts and rags, smoking and saying nothing. There's good yield, isn't there? As pride as if he were the land itself. Enough for crushing and sowing both. And that was it. I'd come and he had shown me, so I belonged no further to the work. I gathered cups and folded up the cloth and went. But they still kept their ease, white, unbuttoned, gritful under the trees. Saint Kevin and the Blackbird. And then there was Saint Kevin and the Blackbird. The Saint is kneeling, arms stretched out inside his cell, but the cell is narrow. So, one turned up palm is out the window. Stiff as a crossbeam. When a Blackbird lands and lays in it and settles down to nest, Kevin feels the warm eggs, the small breast, the tucked neat head and claws, and finding himself linked into the network of eternal life is moved to pity. Now he must hold his hand like a branch out in the sun and the rain for weeks until the younger hatched and fledged and flown. And since the whole things imagined anyhow, the witch is he. Self-forgetful or in agony all the time, from the neck on out down through his hurting forearms, are his fingers sleeping? Does he still feel his knees? Or has the shuttide blank of under-earth crept up through him? Is there distance in his head? Lleon and mirroed clear in love's deep river to labour and not to seek reward, he prays. A prayer his body makes entirely, for he has forgotten self, forgotten bird, and on the riverbank forgotten the river's name. Mosbaw, sunlight, for Mary Heaney. Sunlit absence. The helmet had pumped in the yard, heated its iron, water honeyed in the slung bucket, and the sun stood like a griddle, cooling against the wall of each long afternoon. So her hands scuffled over the bake board. The reddening stove sends its plaque of heat against her where she stood in a flowery apron by the window. Now she dusts the board with a goose's wing. Now sits broad-lapped with whitened nails and measling shins. Here is a space again, the scorn rising to the tick of two clocks. And here is love, like a tinsmith's scoop sunk past its game in the meal bin. Casualty. He would drink by himself and raise a weathered thumb towards the top shelf, calling another rum and black currant without having to raise his voice.  A closing time would go in waders and peaked cap into the showery dark. A dole kept breadwinner, but a natural for work. I loved his whole manner, sure-footed, but too sly. His deadpan sidling-tacked his fisherman's quick eye and turned observant back. Incomprehensible to him, my other life. Sometimes on his high stool, too busy with his knife at the tobacco plug and not meeting my eye, in a pause after a slug, he mentioned poetry. We would be on our own, and always politic and shy of condescension. I would manage by some trick to switch the talk to ease or lure of horse and cart, or the provisionals. But my tentative art, his turned back watches, too. He was blown to bits, outdrinking in a curfew, others obeyed. Three nights after they shot dead, the thirteen men in dairy. Pares, thirteen, the wall said. Bogside, nill, that Wednesday. Everybody held their breath and trembled. It was a day of cold, raw silence. Windblown surplus and sutein, rained on, flower laden, coffin after coffin, seemed to float from the door of the packed cathedral, like blossoms on slow water. The common funeral unrolled its swaddling band, lapping, tightening, till we were braced and bound, like brothers in a ring. But he would not be held at home by his own crowd. Whatever threats were foamed, whatever black flags waved, I see him as he turned in that bombed, offending place, remorse fused with horror in his still knowable face. His cornered outface stare blinding in the flash. He had gone miles away, for he drank like a fish, nightly. Naturally swimming towards the lure of warm, lit up places, the blurred mesh and murmur drifting among glasses in their gregarious smoke. How culpable was he that last night, when he broke our tribe's complicity. Now, you're supposed to be an educated man, I hear him say. Puzzle me the right answer to that one. I missed his funeral. Those quiet walkers and sideways talkers shoaling out of his lane to the respectable purring of the hearse. They move in equal pace with the habitual slow consolation of a dawdling engine. The line lifted, hand over fist, cold sunshine on the water. The land banks with fog.  I tasted freedom with him. To get out early, haul steadily off the bottom, to sprays the catch and smile as you find a rhythm working you, slow mile by mile into your proper haunt. Somewhere well out beyond dawn sniffing revenant, flodder through midnight rain. Question me again. The Blackbird of Glamour. On the grass when I arrive, filling the stillness with life, but ready to scare off at the very first wrong move. In the ivy when I leave. It's you, Blackbird, I love. I park, pause, take heed, breathe. Just breathe and sit and lines I once translated come back. I want away to the house of death, to my father under the low clay roof. And I think of one gone to him, a little stillness dancer. Haunter's son lost brother, cavorting through the yard. So glad to see me home.  And I think of a neighbor's words, yawn bird on the shed roof up on the ridge for weeks. I said nothing at the time, but I never liked yawn bird. The automatic lock clunks shut. The Blackbird's panic is short lived.  Hedge hop, I am absolute for you. You're ready, talk back. You're each standoffish comeback. You're picky, nervy, gold beak on the grass when I arrive. In the ivy when I leave. A kite from Michael and Christopher. All through that Sunday afternoon, a kite flew above Sunday. A tightened drum head. A flitter of blown chaff. I'd seen it grey and slippy in the making. I'd tapped it when it dried out white and stiff. I'd tied the bows of newspaper along its six foot tail.  My friend says that the human soul is about the weight of a snipe. Yet the soul had anchored there. The string that sags and ascends weighs like a furrow assumed into the heavens before the kite plunges down into the wood and this line goes useless.  You have a barn fit for it. Stand in here in front of me and take the strain. At the wellhead, your songs when you sing them with your two eyes closed as you always do are like a local road we've known every turn of in the past. That midge-veiled, high-hedged side road where you stood looking and listening until a car would come and go and leave you lonelier than you had been to begin with. So sing on, dear shut-eyed one, dear far-voiced veteran. Sing yourself to where the singing comes from.  Her notes came out to us like hoisted water ravelling off a bucket at the wellhead where next thing we'd be listening, hushed and awkward. That blind from birth, sweet-voiced, withdrawn musician was like a silver vein in heavy clay. Night water glittering in the light of day but also just our neighbour, Rosie Keenan. She touched our cheeks. She let us touch her braille in books like books wallpaper passions came coming. Her hands were active and her eyes were full of open darkness and a watery shine. She knew us by our voices. She'd say she saw whoever or whatever. Being with her was intimate and helpful like a cure you didn't notice happening. When I read a poem with Keenan's well in it she said, I can see the sky at the bottom of it now. The railway children. When we climbed the slopes of the cutting we were eye level with the white cups of the telegraph poles and the sizzling wires. Like lovely freehand they curved for miles east and miles west beyond us sagging under their burden of swallows. We were small and thought we knew nothing worth knowing. We thought words travelled the wires the shiny pouches of raindrops each one seated full with the light of the sky the gleam of the lines and ourselves so infinitesimally scaled we could stream through the eye of a needle. A hazel stick for Catherine Anne. The living mother of pearl of a salmon just out of the water is gone just like that but your stick is kept salmon silver. Seasoned and bendy it convinces the hand that what you have you hold to play with and pose with and lay about with but then too it points back to cattle and spatter and beating the bars of a gate the very stick we might cut from our family the living cobalt of an afternoon dragonfly drew my eye to it first and the evening I trimmed it for you you saw your first glow worm all of us stood round in silence even you gigantic enough to darken the sky for a glow and when I poked open the grass tiny brightening den lit the eye in the blunt paired end of your stick. Post script and some time make the time to drive out west into County Clare along the flaggy shore in September or October and the wind and the light are working off each other so that the ocean on one side is wild with foam and glitter and inland among stones the surface of a slate grey lake is lit by the earthed lightning of a flock of swans. Their feathers roughed and ruffling white on white their fully grown headstrong looking heads tucked or cresting or busy underwater useless to think you'll park and capture it more thoroughly you are neither here nor there a hurry through which known and strange towns pass as big soft buffishings come at the car sideways and catch the heart off guard and blow it open. From the cure at Troy human beings suffer they torture one another they get hurt and get hard no poem or play or song can fully write a wrong inflicted and endured history says don't hope this side of the grave but then once in a lifetime the longed fore tidal wave of justice can rise up and hope and history rhyme so hope for a great sea change on the far side of revenge believe that a father shore is reachable from here believe in miracles and cures and healing wells call miracle self-healing the double take the utter self-revealing double take of feeling if there is fire on the mountain and lightning and storm and a God speaks from the sky


In this video I'm gonna go over why you need shear and bending moment diagrams for beams and how you draw them. Beams can fail due to different reasons. One of them is due to vertical loads. These external vertical loads can cause shear. The shear can then vertically crack those beams. In order to design a beam that can withstand the shear of these vertical loads we need to draw the shear force diagram. This diagram will allow us to identify at which location we get the maximum shear so we can then choose the beam dimensions accordingly. Here we have an example of a load on a beam. The first step is as before we have to find the reaction forces of the supports. The second step is we draw the shear force diagram with the position along the beam on the x-axis and the shear along the y-axis. We start on the left side of the beam and we simply travel towards the right. Before we encounter an upwards force we plot it on the shear force diagram in upwards direction whenever we encounter a downward force in downwards direction. So we start from left to right, we encounter the force on A, then nothing happens for a long while so we just keep traveling and plotting a horizontal line until we encounter the first downward force which in this case is the load, then we go by the amount of that force down and then we keep going horizontally until we hit the next upward force which was the force at the support B and we have our shear force diagram. Now we can use that diagram to find where the maximum shear occurs. Here that was between the load and the right support. Another possible failure of beams is due to torque. External torques can cause internal bending moments which then break the beam. Similar to the shear force diagram we now gonna draw a bending moment diagram to find the location of the biggest bending moment and then once again select the beam dimensions accordingly. The first step of the bending moment diagram is actually to draw the shear force diagram. Once we have the shear force diagram we can start the bending moment diagram by plotting the area under the shear force diagram from left to right. This is the same thing as integrating the shear force along the x axis. So we start on the left and whenever we have a positive area we plot it upwards, so in this case my area is increasing so I keep going up and if we have an area that's below the x axis we go downwards. Note that in the bending moment diagrams unless you have torques on each end of the beam you should be starting and ending at zero so it's a good double check if your diagrams are correct. Now we can easily find where the maximum bending moment happened. Here that was exactly at the location the load was applied. With this maximum bending moment we then go into some lookup tables to find the dimensions of the beam that we need.


We've had two polls that have shown a considerable drop for the Labour Party, both the Roy Morgan poll and that was preceded the News Hub poll, have showed a considerable drop in support for Jacinda Ardern's Labour Party. And Jacinda Ardern said that she's not concerned about those polls, and that's just the arrogance of them showing through. What we've seen though is that the ACT Party has managed to hoover up a good amount of support, but also there's three and a half percent support there for New Zealand First slash Winston Peters as well, which means that he's on the cusp two years out from an election of being re-elected. It doesn't take much to get to five percent, he just needs to peel off another one and a half to two percent from the Labour Party, which he'd be easily able to do, especially if he comes out and says to people, you know, it makes a pitch that, you know, are you missing the handbrake yet? That's all he needs to do really, and with the extent of the stupidity that's going on with this government at the moment, it's a valid argument to make and he could easily peel off two percent from the Labour Party just on that pitch alone. I think ACT is probably topped out, maybe they'll eke another one percent out, but where they're getting their votes from is from the right wing of the National Party, and so the next group of block of votes that will split off will be those centre voters that are looking for an alternative government, and that's when National will cash in. So that's my view on where we're at at the moment with the polls. Now, I don't believe they can, there's a thing in government called inertia. It's the same as getting listeners to change from listening to news talks, ZB to listening to another radio station, the inertia of the audience won't move, and in politics it's different. It's that if you make a policy change today, you won't see the effects of that policy change for at least two years. The Labour government's made huge policy changes, particularly around housing, around child poverty, and all of those indicators have got worse for the government, not better, despite their changes. And so anything they do today to try and arrest that decline in the polls is not going to bear fruit in time for the election, and actual fact it'll probably get worse for them before the election. Now, I think they're on a slide, and even now, even just two percent for every couple of months by the wayside for the Labour Party, then they've got a real chance of being tossed out. And bear in mind in 2017, they became the government from second place. So National doesn't actually have to get in front of them, they just have to be slightly behind them in second place, and the other parties like New Zealand First and Act will then support a change of government. I believe they are. They've basically chopped out all of the wet wing. Most of them lost their seats at the last election anyway. What remains are towing the party line. They learnt their lesson very, very badly at the hands of Todd Moller and Matthew Hootin and the other paratroops that thought that they could govern the National Party from a position of standing in a puddle. It didn't work. And Judith has been studiously making sure that the team are firing. You're starting to get people like Nicola Willis getting real good hits on Megan Woods and housing. You're seeing Chris Bishop starting to make inroads around discussions around the vaccine roll out and all of those sorts of things. Infrastructure is in an appalling state and we saw last night with the power brown outs that the energy policies are now in question. And New Zealand is waking up to the fact that these policies sound great as a sermon or as a bumper sticker slogan, but in reality it means that you've got no power that you're shiver at home and cold. We're sitting on acres and acres and acres of coal reserves in New Zealand. We've got some of the largest coal reserves in the world. And we're importing millions of tonnes of Indonesian coal to fuel our power system and to cover the gaps. It doesn't make sense that we're importing coal when we could use our own. I'm sure we could deploy new technology that would make coal a lot cleaner. That would be a whole lot cheaper than trying to exist on fantasy dreamlands about wind power and solar power and all sorts of other nonsense about renewable power. Bottom line is, is everyone wants renewable power until the power goes out. Well, there's never an election tomorrow. There's always an election campaign. Currently, Labour and Greens hold the poll position, but only barely. If there was an election campaign that started tomorrow, then I think you'd see a different outcome from what the polls show the position is today. Because Labour's got no successes that they can claim. They've run out of excuses now. They've been in power for four years. They can't claim that it's nine long years of neglect anymore. People just won't wear that.  People are frustrated. Businesses are still seriously recovering from the impact of the lockdowns. And sure, it stopped COVID spreading in New Zealand. But I'm unsure as to whether COVID would have spread anyway because of the way that we live with separate dwellings and lots of space between us. Huge rural population as well. I'm not sure that you can compare places like Italy to New Zealand, maybe in parts of Auckland you could do that, but the rest of the country you can't. So I don't think that the government is standing on solid ground. I think that they think that COVID is the answer and they'll be desperately hoping there's a Delta variant outbreak that allows them to lock down and bring that fear back into the population so that the so-called sheeple, the dull-witted amongst us who do everything that they're told to do will dutifully comply with dear leader as she speaks from the podium of truth. And the simple fact is that we haven't had daily brainwashing from Jacinda Ardern because we haven't had any more lockdowns or anything like that. So I think they're standing on very, very shaky ground. Well what it will look like and what I want are probably two slightly different things. I actually am hoping that we end up with three similarly sized parties being able to join together to form a coalition and I think that would show that MMP actually does work if we had, say, ACT in New Zealand first of about the same size and slightly behind national in terms of size. I think that MMP is a failure when there is one large party and one small party or even a couple of small parties, but the large party can dominate using, you know, divide and conquer. I think if we had three evenly balanced parties forming a coalition that you would see a lot more stability and you wouldn't get these radical lurches that we've been seeing and that's what I'd like to see. I think it'll be pretty close to that. I don't think you're going to see national at the levels they had under John Key. I think those were artificially high for unknown reasons really. I mean, if you look at the philosophical background of John Key, you really stood for nothing. If you asked anybody in the street what had John Key achieved, about the only thing they say is, oh, well, he saw us through the global financial crisis and I always reply to that and you don't think Michael Cullen would have done the same thing. So I don't think that John Key was that special. I've seen a lot of politicians in my life and he's certainly not special. He certainly has no core beliefs. He's basically a pole-driven fruitcake and he believed in his own immortality politically and the only thing that saw that dented was his insistence on pursuing a flag referendum. I told him to his face that it was going to fail and he told me that, no, no, I'll convince everybody, I'll talk about how great it'll be as a marketing strategy and it'll work and I told him he was wrong. So I think Jacinda's in the same position. She thinks that she's immortal politically. She thinks that she can explain her way out of any of her particular problems that they're facing at the moment. Their non-delivery and housing, their transport disasters, the failure of the vaccine rollout, the abject failure in child poverty, they've got no wins. They've got nothing that they can take to the electorate and now whenever they make a big promise like, for instance, the cycle bridge in Auckland Harbour, everyone's going to laugh at them and say, well, how do we know you're not going to reverse that because it becomes unpopular? How do we know you're just not going to be able to deliver it? So I think they've got huge problems in terms of credibility. If they say we're going to promise to put rapid rail to Toweronga, everyone will laugh in their face. They haven't delivered a single thing. Even the train from Hamilton to Papakura is an abject failure. You've got carriages parting ways on their 40 kilometre an hour trundle up the tracks. It takes two hours. It takes one hour to drive. So why would you take the train? It doesn't make sense. And nothing they do make sense. I'm in line with what Bob Jones has said and we published his article on our side. And he believes firmly that we're going to see a change of government at the next election. Now, what that make up will be will depend on the election pictures that they make. But I think National is solidify. You know, when you look at the polls, it always pays to look through at the polls through the lens of the other team.  And you've got one party on one side and one party on the other side of the stream. Labour's on the high bank and they're looking down at the low bank and seeing that the flood waters have come through and, you know, nationals knee deep in a bit of mud and stuff like that. And but what they're not realising, they're not looking down at their own bank and they can't actually see their own bank from where they're standing. Whereas nationals looking back at them and seeing that that river, those polls are actually undermining the the the bank that Labour is standing on and every little bit of bad news chips away a little bit more of the bank and a little bit more of that and a little bit more of the bank. And then eventually you get a slump. Now, we saw the start of that slump nine percent over nine percent in one poll. If they get another, you know, two or three percent, four percent, five percent slump in the next set of polls, you got a real problem. And that bank is now collapsed underneath Labour. And the chances of them being able to scramble back up onto dry ground very slim indeed.