John Bradley

What is a spell?In As Blood Is the Fruit of the Heart: A Book of Spells, this question conjures many answers. Ultimately it's this: A spell is that most ancient tool of poets and storytellers using crafted language powered by breath and clear focus, sent forth as a messenger into the cosmos. As Mary Ruefle has said, "The origins of poetry are clearly rooted in obscurity, in secretiveness, in incantation, in spells that must at once invoke and protect, tell the secret and keep it." Some of the poems in this book foretell, some protect; some condemn, some praise.Always they spring from this central belief: there is no power like the power of the word. Bradley's spells amuse and admonish us in quirky and surprising ways. His long lines wind thru strange spaces and take us along for the ride. Some spells are dark and some quite funny, taken all together they are a view into the surreal world of incantation, long the province of poets.

This book is a history of the some of the world's most famous brands, from humble beginnings to current exalted status, from smudged, kitchen-table pamphlets to $ multi-million ad campaigns, from backyard experiments to global research. It examines the most recent developments in these glittering trajectories and reveals the very DNA of the brands themselves. Is it mastery of absorbency, the virtuoso integration of acquisitions, developing incomparable consumer trust, the ability to think in decades? All is revealed. If you work in Retail, FMCG, Marketing or Consumer Goods, this is a must-read book. Greg Thain Business. Over 40 years' experience of developing businesses, multiple fund raising and public flotations. Experience in marketing, market research, internet/tech, real estate, investment property funds, publishing and consultancy with a focus for the last 22 years on the emerging markets. Real Estate. Russian real estate involvement over the past 22 years. Introduced the first significant international bank loan of $500M to a Russian developer in 1995. Took the founder of Raven Russia to Moscow, helping raise the initial $300m/purchase initial industrial site/project for $74m. In 2007/8 organised a property investment fund of $180m. Lecturing and Public Speaking. Frequent speaker throughout Europe and Asia on markets, retail, internet and other developments across these sectors. Keynote speaker at the first HP conference for 5 years in Asia (Macau, autumn 2013). Presented Key Trends in Internet and Retail Worldwide to the leading 450 retailers in Asia/Greater China. Books. Storewars. The Battle for Mindspace and Shelfspace, written and published in 2012. The Power of Fast-moving Consumer Goods, a history of the world's 18 leading consumer-facing companies, written and published in May 2014. E-Retail. Zero Friction in the Digital Universe, due to launch in July 2014. Magazine Publishing. Developed a number of original products in the 1980s and 90s: What Mortgage magazine, the original mortgage advice magazine, What Investment, What Finance, What Video, and Popular Video at the forefront of the video revolution. In excess of 20 newspapers, magazines and journals including The British Investors Database, the original compilation of all investors in the UK. Launched the original Local Radio Awards, first awards to the UK local radio industry. John Bradley held international marketing positions in Cadbury for 24 years before becoming a consultant and writer. John has authored two business histories, Cadbury's Purple Reign, and Fry's Chocolate Dream, and co-authored along with Greg Thain an update of the book Store Wars. John now lives and works in Canada. keywords: FMCG, History, Manufactures, Brands, Innovation, Global, Consumer, Retail, Market, Emerging Markets, Coke, Colgate-Palmolive, Danone, Dean Foods, Est e Lauder, General Mills, Heinz, Henkel, Kellog, Kimberly-Clark, Kraft, L'Or al, Mars, Nestl , Procter & Gamble, Pepsi, Reckitt Benckiser, Unilever

WINNER OF THE CHIEF MINISTER’S NT HISTORY BOOK AWARD 2024 AND THE AUSTRALIAN ARCHAEOLOGICAL ASSOCIATION’S JOHN MULVANEY BOOK AWARD 2023 “…ngabaya painted all this, you know when we were kids we would come here and look and sometimes the paintings would change, they were always changing.” Annie a-Karrakayny Fully illustrated, Jakarda Wuka (Too Many Stories) draws on a combined 70+ years of collaborative research involving Yanyuwa Elders, anthropologists, and an archaeologist to tell a unique story about the rock art from Yanyuwa Country in northern Australia’s southwest Gulf of Carpentaria. Australia’s rock art is recognised globally for its antiquity, abundance, distinctive motifs and the deep and abiding knowledge Indigenous people continue to hold for these powerful symbols. However, books about Australian rock art jointly written by Indigenous communities, anthropologists, and archaeologists are extremely rare. Combining Yanyuwa and western knowledge, the authors embark on a journey to reveal the true meaning of Yanyuwa rock art. At the heart of this book is the understanding that a painting is not just a painting, nor is it an isolated phenomenon or a static representation. What underpins Yanyuwa perceptions of their rock art is kinship, because people are kin to everything and everywhere on Country. Jakarda Wuka highlights the multidimensional nature of Yanyuwa rock art: it is an active social agent in the landscape, capable of changing according to different circumstances and events, connected to the epic travels and songs of Ancestral Beings (Dreamings), and related to various aspects of Yanyuwa life such as ceremony, health and wellbeing, identity, and narratives concerning past and present-day events. In a time where Indigenous communities, archaeologists, and anthropologists are seeking new ways to work together and better engage with Indigenous knowledges to interpret the “archaeological record”, Jakarda Wuka delivers a masterful and profound narrative of Yanyuwa Country and its rock art. This project was supported by the Australian Research Council and the McArthur River Mine Community Benefits Trust.

This Palgrave Pivot strives to recount and understand Indigenous Law, as set within a remote community in northern Australia. It pays close attention to the realpolitik and high-level political functioning of Indigenous Laws, which inspires a discussion of how this Law models the relational, influences governance and emplaces people in an ordered kincentric lifeworld. The book argues that Indigenous Law can be examined for the ways in which it is a deliberate, stabilizing and powerful force to maintain communal order in relation to country, a counter framing to popular and ‘soft law or soft power asset’ visions of such Laws often held in the national and international imaginary. It is the latter which too often renders this knowledge esoteric and relinquishes it to a category of lore or folklore. This is an open access book.

Anyone who has ever woken at 3 a.m. unable to turn off the brain knows the value of that precious elixir we call sleep. Dear Morpheus, The Glue That Is You explores the realms of sleep, sleeplessness, and dreams. There are poems addressed to Morpheus, looking for answers from the Greek god of dreams. There are also memories that keep the seeker of sleep from finding rest, yet how can these memories ever be released? And there are dream poems, portals to the world where Morpheus, in many forms and disguises, dwells. It's here, in dreams, that we seem closest to the mysteries of Morpheus and that "glue" of sleep that restores and heals. The book opens and closes with an invocation to "the balm of sleep," useful for those 3 a.m. islands of insomnia.SAMPLE: Dear Morpheus, Long ago my mother got stardust in her eye; my father removed it with tweezers. I was burgled, I was bungled, I was born.How can I know what to say when you've written my lines in lime juice and stardust on the bleached sheet?Let's just admit it-we're all guilty in our every portal of clandestine stardust-related program activities.What was it my grandmother said to make me slap her by accident? Dust to galactic dust. Milky ash to spiral swirlaway.However, therefore, nonetheless. Otherwise, finally, because. Consequently, on the other hand, thus. Despite everything going on right now, in the interstellar hush.

Hotel Montparnasse: Letters to C sar Vallejo is a verse-novel composed in letters written to the famous Peruvian poet C sar Vallejo, who died in Paris in 1938. He was buried in the Montparnasse Cemetery, but soon after, according to these letters, found himself residing at the nearby Hotel Montparnasse, perhaps against his will. This book tells of his friendships, involvement with a resident named Jeanette, problems with the hotel management, and his eventual disappearance (or is it escape?) from the hotel. Most of the letter-poems are written by the residents of Hotel Montparnasse, except for those composed by a certain lvaro de Campos, who reveals little about himself. This is a book about the mystery of the afterlife, the persistence of desire, and the lasting legacy of C sar Vallejo.SAMPLE: You checked into room number 39 because You checked into room number 39 because that's the age of the worker who dug your grave.And because you can't bear to tell the desk clerk she needs a zinc bathtub of warm milk to soak her tired feet--and tired back and skull-for at least 39 minutes.Relax, says the aloe plant in your window. Nothing to fear, says the chipped radiator.Says the newspaper's wilted corpse on the faded floral carpet. Says the shirt hugging the back of the chair consoling the desk gone dizzy from staring at the many coffee rings. Nothing to be said, says that black pubic hair clinging to the stiff, sallow lampshade.A hotel room with closet, bed, sink, mirror, because here it's harder for God to pull you back to the morgue, back to that dreamless hole in the ground.Relax, says the mirror, take off your clothes. And so you do. Falling back on the clean towelyou spread on the bed, your flesh tickled by the nappy fabric. Room 39, you say. The black hair still clinging to the sullen lampshade.Your friend, lvaro of the Campos

John Bradley is the author of "Erotica Atomica," "Agitprop," and "Everything in Motion, Everything at Rest." His poetry and prose have appeared in "Calibanonline," "Dispatches from the Poetry Wars," "Hotel Amerika," "SurVision," and other journals. He frequently reviews books of poetry for "Rain Taxi." This collection won James Tate Poetry Prize 2019.

This is a book of poems inspired by a variety of photographs, some of which you may have seen. The photographs are not here, but you may find them drawn into your mind's eye as you read.What can you say about a photograph? a photographer once asked me. Where to begin There's the mysterious art of photographers, transforming motion into still image, transforming light and shadow into composition, which can move us without the use of words. But how much of this art is planned before the camera seizes a moment and how much an instantaneous sizzle of luck and skill (Henri Cartier-Bresson's Behind the Gare Saint-Lazare)? Then there's the authenticity of a photograph, image as fact. But is a photo authentic if the photographer posed or arranged the subject in some way (Arthur Rothstein's Steer Skull)? Is a photo authentic if the subject was paid (Robert Doisneau's The Kiss at City Hall)? Is a photo authentic if the photographer erased or altered something in the photo, something they considered distracting (W. Eugene Smith's Spanish Wake)?Given that a photo can be altered for effect, perhaps we should consider photography not as a truthful recording of a moment, but more a portrayal of an emotional truth. But what are the limits on this type of truth if evidence suggests the photo to be a hoax (Robert Capa's The Falling Soldier)? Lastly, are there some photos that should never be taken (Kevin Carter's Vulture Waiting for a Starving Girl to Die)? These questions arise again and again in these galleries.But I also hope the poems celebrate the beauty and complexity of photography, as well as the artistry and dedication of photographers. I wish to thank all the photographers whose images inspired these poems. For those who wish to see the photos, the title of each poem provides the information needed for the reader to track down the photo online.What can you say about a photograph? Take this simple test. Drop a photo in your mortar; grind it with the pestle. What remains? Nothing-but the dust of words. -John Bradley

The Hypogeum of the Aurelii: A new interpretation as the collegiate tomb of professional scribae' examines the frescoes of one of the most enigmatic funerary monuments of ancient Rome. The three chambers of the Hypogeum of the Aurelii, so-named from an mosaic inscription in one of the surviving chambers, contain a varied series of images that have long been considered an example of early Christian or Gnostic iconography. One hundred years after the monument’s discovery Dr Bradley challenges earlier theories and concludes that far from having religious significance the pictures reveal a world of professional pride among a group of what we might today call ‘white collar workers’. Although not among the rich and famous of Imperial Rome, the deceased nevertheless rose from a state of slavery to positions within the bureaucracy at the centre of an empire at its height. Although part of a strictly hierarchical, and male-dominated, society the community to which the Aurelii belonged provided an environment of comparative equality: a community that acknowledged the contribution and expertise of both women and children in their profession. The pride in their achievement is reflected in the decoration of the tomb in which they expected to spend eternity. This study, the first in modern times to examine all the extant images in detail, will be of interest, not only to historians of ancient Roman art, but also to social historians who wish to more fully understand the lives of those who helped support the running of an empire.

This Encyclopaedia is a rich, authoritative repository of the cultural and linguistic knowledge of the Yanyuwa, the Saltwater people of the coastal and island country near Borroloola in the Northern Territory of Australia.Volume 2 will be of particular interest to linguists. Part 1 considers Yanyuwa grammar, which has distinctive features, in detail. Chapters cover the sounds of Yanyuwa; special dialects, including separate men’s and women’s language; the 16 noun classes, as well as avoidance noun forms; pronouns; adjectives; and verbs - all with extensive examples. Part 2 offers a comprehensive Yanyuwa-English dictionary, with important linguistic, taxonomic and cultural information, bilingual examples and crossreferences. Part 3 is an English-Yanyuwa word finder, with subcategories of thematically related words. This volume includes illustrations and a bibliography.

This Encyclopaedia is a rich, authoritative repository of the cultural and linguistic knowledge of the Yanyuwa, the Saltwater people of the coastal and island country near Borroloola in the Northern Territory of Australia.Volume 1 will interest linguists and ethnographic researchers. Its chapters cover the Yanyuwa and their country; historical and contemporary recorders and recordings of their language; examples of 35 texts recorded between 1959 and 2013, many extensive and all with wordbyword, polished English translations; over 100 song/poetry texts, many short, but others involving extended song cycles, with translations; 26 Ancestral Dreaming stories, with translations. Appendices cover word games, string games and sign language. This volume includes illustrations, a bibliography and an index.

the untold story ofChristian Britain.

In his fictional speaker, Roberto Zingarello, John Bradley has found a way to manage the weight of the 20th century, questing for love, truth, and revenge. Fascist Italy is confronted and ultimately transcended as Bradley's obsessions with Italian film and literature bear this astonishing fruit, a history both public and private. Says Ray Gonzalez of the Bloomsbury Review, "We need more characters like Zingarello in American poetry and more poets like Bradley who will step out of bounds to shake us with writing that is so different and important." Bill Tremblay adds, "With Love-in-Idleness, John Bradley enters the world of fictive poetry, and we are the richer for it. In Zingarello, Bradley has created a voice big enough to express the human dream of transcending history."