
R.A. Moulds. Composer (once upon a time), writer (ditto), and #2 dad to the sweetest Frenchie in the world. Transplanted to Lovely Ireland.
Cork, Ireland
Joined May 2010
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A Composer in Cork☘️🎵 retweeted
The correct framing is that burgeoning male writers are not receiving investment - particularly in the literary genre. It is not suppression. It is neglect. Male writers just go Indy. The complaints that 'men don't read' by the Lithub Handwringers, should be understood to actually mean, 'men don't read contemporary authors we think they should read.' Solving the impasse without changing the investment structure would require a concerted effort of male writers to embrace the monoculture and become self-hating woke stenographers, or for men to stop rereading classics and put down the video games and read books that were not written for them, by them, or about them.
"Today, the Big Five publishers are staffed almost entirely by women. According to the most recent data, more than 70 percent of staffers are women. More than 70 percent of editors are women. Even 70 percent of all interns are women. At the executive level, more than 60 percent of leaders are women. In 2026, American publishing looks like lululemon."
A Composer in Cork☘️🎵 retweeted
We introduced William Paquet @PaqWilly in the gallery’s first week. His sculpture "UNTIL DEATH" is a piece that warrants a second, and closer, look.
Bronze sculpture operates on a timeline that is unique to itself, and the tempo of creation is a magnetic force influencing the artist's ultimate vision. The sculptor works in clay for weeks, sometimes months, modeling the form at varying scales and correcting proportions from every angle. When the clay is finished and a full scale model has been completed, a mold is taken (sometimes by the artist, sometimes by the foundry). A wax positive is pulled from that mold — hollow, thin-walled, holding the exact shape of everything the sculptor built by hand. The wax is refined, invested in a ceramic shell, and fired in a kiln until the wax melts out. "Lost Wax Process" is the particular term for this method.
Finally, molten bronze, running above 2,000°F, is poured into the void the wax left behind.
The pour lasts seconds, but the cooling takes hours to ensure the bronze does not crack or deform. The shell is broken away to reveal the raw casting, which then requires weeks of chasing (filing, grinding, welding seams) before the patina is applied. Start to finish, a common timeline is three to six months for a single piece. Each stage is viscerally physical. Each stage is irreversible.
Paquet is self-trained in this tradition, experimenting and learning with the natural intuition that comes from producing piece after piece after piece. "UNTIL DEATH" is a product of that commitment — decades of learning culminating in months of studio and foundry work.
The process cannot be separated from the finished sculpture; every surface is a conscious decision. Taking the time to look and appreciate every detail honors the artist, and feeds your soul.
Amen! – at Cork, Ireland
I went to see the new Sense and Sensibility movie yesterday.
In general, I was disappointed.
They changed the story in a few key ways, the overall mood was gloomy, and the styling was awful.
Much worse, though, Mr. Palmer was played by a “non-binary” woman.
When the character came on the screen, my husband and I looked at each other in confusion.
The styling was male, but the character had a weak voice, short stature, and effeminate appearance.
I googled it mid-movie, and apparently the actress is Eliot Sumner, the daughter of singer Sting.
As is always the case with this kind of casting, it was distracting and confusing and weakened the plot.
Presumably because of the odd casting/choice, they gave Mr. Palmer a smaller role than usual.
All the humor of his character was deleted.
Fans of the 1995 version with Emma Thompson and Kate Winslet might remember that the character was played by Hugh Laurie (famous as Dr. House).
Laurie was perfect – droll and hilarious.
Wokeism ruins everything it touches.
A Composer in Cork☘️🎵 retweeted
A PLANE IS ON ITS WAY TO TORONTO , WHEN A BLONDE IN ECONOMY CLASS GETS UP AND MOVES TO THE FIRST CLASS SECTION AND SITS DOWN.
THE FLIGHT ATTENDANT WATCHES HER DO THIS AND ASKS TO SEE HER TICKET.
SHE THEN TELLS THE BLONDE THAT SHE PAID FOR ECONOMY CLASS AND THAT SHE WILL HAVE TO SIT IN THE BACK.
THE BLONDE REPLIES, "I'M BLONDE, I'M BEAUTIFUL, I'M GOING TO TORONTO AND I'M STAYING RIGHT HERE."
THE FLIGHT ATTENDANT GOES INTO THE COCKPIT AND TELLS THE PILOT AND THE CO-PILOT THAT THERE IS A BLONDE BIMBO SITTING IN FIRST CLASS, THAT BELONGS IN ECONOMY AND WON'T MOVE BACK TO HER SEAT.
THE CO-PILOT GOES BACK TO THE BLONDE AND TRIES TO EXPLAIN THAT BECAUSE SHE ONLY PAID FOR ECONOMY SHE WILL HAVE TO LEAVE AND RETURN TO HER SEAT.
THE BLONDE REPLIES, "I'M BLONDE, I'M BEAUTIFUL, I'M GOING TO TORONTO AND I'M STAYING RIGHT HERE."
THE CO-PILOT TELLS THE PILOT THAT HE PROBABLY SHOULD HAVE THE POLICE WAITING WHEN THEY LAND TO ARREST THIS BLONDE WOMAN WHO WON'T LISTEN TO REASON.
THE PILOT SAYS, "YOU SAY SHE IS A BLONDE? I'LL
HANDLE THIS, I'M MARRIED TO A BLONDE. I SPEAK BLONDE."
HE GOES BACK TO THE BLONDE AND WHISPERS IN HER EAR, AND SHE SAYS, "OH, I'M SORRY." AND GETS UP AND GOES BACK TO HER SEAT IN ECONOMY.
THE FLIGHT ATTENDANT AND CO-PILOT ARE AMAZED AND ASKED HIM WHAT HE SAID TO MAKE HER MOVE WITHOUT ANY FUSS.
"I TOLD HER, 'FIRST CLASS ISN'T GOING TO TORONTO."
A Composer in Cork☘️🎵 retweeted
In November 1941 the richest man in America drove his twenty-three-year-old daughter to a hospital in Washington without telling her mother, had two surgeons drill holes in her skull and cut into the front of her brain while she sang God Bless America to them, and when the singing stopped she had a mental age of two and the family did not speak her name for twenty years.
Rosemary Kennedy was the third child and the first girl, and she was slow. A nurse at the birth had held Rose Kennedy's legs together for two hours while they waited for the doctor, and the baby had been starved of air. She learned to read and write, but late, and in a family where the boys were being bred for the presidency and the girls for the right marriage, she was the one who could not keep up, the one who had to be coached and watched and given the simpler part in the photograph. She was also, by every account, the prettiest of them, and when the family went to London in 1938 she was presented at court in a white dress and curtsied to the King without a mistake.
Then she was twenty-one, and the trouble started. Moods. Rages. Slipping out of the convent school at night and coming back in the morning and not saying where. The nuns said she might be meeting men. For Joseph Kennedy, who was managing his sons towards the White House and could not have a daughter who might get pregnant or get talked about, that was the end of it. He had read about a new operation. Walter Freeman had promised the newspapers it calmed the agitated, and Joe Kennedy had never in his life been told that a thing he could pay for would not work.
Rosemary was given a mild sedative and kept awake. Freeman and his surgeon, James Watts, opened the skull on both sides and Watts pushed a blade into the frontal lobes and swept, while Freeman asked her to recite the Lord's Prayer and sing, and count backwards, so they would know how far to go. They went until she was incoherent. Then they stopped.
She came out of it unable to walk or speak. Years of therapy got her a few words and a limp. Joe moved her to a private hospital in New York and then to a convent school in Wisconsin, told the family she was teaching the retarded in the Midwest, and never went to see her. Rose, her mother, was not told what had been done until long after, and did not visit for twenty years. The brothers and sisters, including the one who became President, were told she was away. When Joe had his stroke in 1961 and could no longer manage the story, Eunice went to Wisconsin and found a woman of forty-three who did not know her, and came home and started the Special Olympics.
Rosemary lived to eighty-six, in the convent, and died in 2005 with her surviving sisters at the bed. The brother who became President had signed the first federal mental health law in 1963, and the family has said she was the reason.
Freeman kept operating for another twenty-six years. His notes on Rosemary have never been released.
That is what the expert's confidence looks like when it meets a powerful man with an inconvenient child. The science was published. The father was certain. The daughter sang to the surgeon until she could not.
Every institution that has ever decided it knows what is wrong with you and how to tidy it has the same two ingredients in the room, and the person on the table is still the only one who pays.
A Composer in Cork☘️🎵 retweeted
The thing is, Mike, we aren't that fussed when we are in the queue at Tesco. We are a bit more worried if the person with a penis is in the locked female psychiatric ward, prison, changing room.
I KNOW! Context is really hard to understand.
A Composer in Cork☘️🎵 retweeted
STEVE MARTIN appearing as Bachelor #1 on ‘The Dating Game’ in 1968.
He won a date with Marsha Walker, who happened to be the twin sister of one of his childhood crushes.
Martin occasionally worked behind the scenes as a writer for the show too.
A Composer in Cork☘️🎵 retweeted
Janice Turner in the Times, serves it cold to Sally Rooney.
"Rooney’s work brims with jaded ennui: achievement is empty, love problematic, sex just a serotonin blip before postcoital gloom. Beautiful World, Where Are You? whines the title of her third novel. I’ve met young Ukrainians under nightly Russian drone attack who find more laughter and joy in life than her privileged, Mogadoned nihilists.
The longing to feel something — anything — defines her characters and her own life. But now, at 35, Rooney has found meaning at last. The cause of Palestine is “to join in something greater than our selves, to participate in some small way in a struggle for human liberation”. Gaza is not about the suffering of a people but Rooney’s self-realisation."
thetimes.com/comment/columni…
If you are an acclaimed, voice-of-a-generation novelist there are infinite practical ways to deploy your fame and money to aid Gaza’s hungry, injured and displaced. But Rooney has chosen one that gives her the ultimate prize: pain-free public martyrdom.
A Composer in Cork☘️🎵 retweeted
📺On October 25, 1975, ‘The Mary Tyler Moore Show’ aired ‘Chuckles Bites the Dust,’ one of television’s most iconic sitcom episodes. When Chuckles the Clown dies in a bizarre parade accident, Mary Richards is appalled by her coworkers’ jokes, until she attends his funeral and finds herself unable to stop laughing.
The episode won an Emmy for Outstanding Writing in a Comedy Series and was ranked #1 on TV Guide’s 1997 list of the 100 Greatest TV Episodes of All Time
🧠 Quiz of the Day - Oct 26
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🟩 🟩 🟩 🟩 🟩
Score: 10/10
Think you can do better? quizoftheday.co.uk – at Cork, Ireland
The or No The? 7/10
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Good enough for the group chat.
🔥 Daily streak: 9 days
🎁 Win a £100 voucher
Play • Share • Follow @the_or_no_the
#TheOrNoTheWin100
theornothe.com/prize-draw/ – at Cork, Ireland
A Composer in Cork☘️🎵 retweeted
Another happy reader! So lovely to receive these comments by email.
More about Facing the Music here ninebarrowpress.co.uk/facing…
Well, in my case, I turned away from writing any more books because almost no one read the first one. – at Cork, Ireland
WHY ARE BOYS AND MEN TURNING AWAY FROM BOOKS? PERHAPS PUBLISHING SHOULD LOOK IN THE MIRROR.
A provocative new @Quillette article by Adam Szetela, “How to Suppress Men’s Writing”, exposes a remarkable transformation in the publishing industry. And it raises uncomfortable questions about ideological conformity, institutional bias and the neglect of male readers.
quillette.com/2026/10/23/why…
Consider the figures Szetela cites:
• Over 70% of employees at America's Big Five publishers are women.
• Over 70% of editors and interns are women.
• Over 60% of publishing executives are women.
• The industry disproportionately recruits graduates from elite universities.
Yet these same institutions frequently proclaim their commitment to diversity, inclusion and representing marginalised voices.
The hypocrisy is blatant and extreme. Their diversity doesn't include men.
Szetela argues that contemporary publishing increasingly privileges leftist ideological narratives, identity politics and particular conceptions of female experience, while marginalising traditionally masculine storytelling, interests and perspectives.
His most provocative contention?
“Young men don’t hate reading—they hate the books these women publish.”
Consider David Goggins' Can't Hurt Me: an unapologetically masculine account of adversity, discipline, resilience and extraordinary achievement. Goggins self-published it, subsequently selling millions of copies.
Meanwhile, boys' reading engagement and literacy outcomes remain deeply concerning...
Of course, smartphones, gaming, educational practices and other factors also contribute. Nor does female representation itself establish discrimination. But Szetela raises an important question: Why do institutions routinely examine their own biases when minority groups are underrepresented, yet so rarely apply the same scrutiny when boys and men disengage?
Having personally reviewed more than 300 books during the last seven years, and also having recently published 100 of the Best Books for Men, I know there’s an extraordinary wealth of literature capable of inspiring, challenging and enriching male readers… Read my book for free at the National Library of Australia:
nla.gov.au/nla.obj-423988221…
We should celebrate books about courage, adventure, fatherhood, competition, sacrifice, responsibility, achievement and the distinctive experiences of men and boys.
The answer isn't fewer books for women. It's more great books for everyone, especially including men and boys.
Publishing should embrace genuine intellectual diversity, rather than ideological gatekeeping…
Men and boys deserve literature that speaks to their interests, aspirations and potential.
#MensIssues #BoysEducation #MaleLiteracy #Publishing #Masculinity #Reading #Quillette
@Adam_Szetela
A Composer in Cork☘️🎵 retweeted
Enjoy this beloved song performed by Judy Garland in the classic film "Meet Me in St. Louis" (1944).
Starring Judy Garland and Margaret O’Brien, this heartwarming musical tells the story of a lively St. Louis family in the early 20th century whose lives are turned upside down when they learn that their father has been transferred to New York and the entire family will have to leave their beloved hometown behind.
Our move has been stalled because the power company STILL has not turned on the electricity in the flat. What a shitshow! – at Cork, Ireland
A Composer in Cork☘️🎵 retweeted
Please do come to this event on Thursday, 29 October, at 19:00 at Conway Hall. A mixture of comedy, music, drama and spoken word celebrating Jewish culture. I will be playing Stefan Wolpe’s Palästina-Notenbuch and also accompanying wonderful soprano Ilona Domnich in some songs of Rachmaninoff (who did much to support Jewish musicians). And please RT!
bloomsburyfestival.org.uk/wh…
A Composer in Cork☘️🎵 retweeted
For all the hand wringing about the ‘far right’, it turns out the far left is a real danger to society. This week’s @Independent_ie column
independent.ie/comment/eoin-…


























