Jújú, þessi fyrsta er af Reykjavík, en hvað ætli þeir viti það.
-b.
,,Þessi saga bygir miklu frekar á staðreyndum en Da Vinci lykillinn. Ég las Da Vinci lykilinn á sínum tíma og fannst hún svona la-la. Ég komst svo að því eftir á að þær kieningar sem Dan Brown reifar í bókinni eru að miklu leyti kjaftæði. Dan Brown kann vel við sig á skilunum a´milli staðreynda og s´kaldskapar og nýtur þess að bulla í fólk og láta það halda að hann sé að segja satt. Maður þurfti svo ekki nema að fletta hlutunum upp á Wikipedia á Netinu til að átta sig á að Brown var að hafa mann að fífli."
Óttar viðurkennir þó fúslega að Dan Brown hafi haft mikil áhrif á Hníf Abrahams og hann sé í ákveðinni þakkarskuld vil hann. ,,Ég hef alltaf elskað Indiana Jones en hafði ekki gert mér grein fyrir því að hægt væri að gera þessa hluti í bókum. Þetta er nú það helst asem Brown hefur gert fyrir mig. Hann opnaði augu mín fyrir því að hægt væri að flétta sagnfræði og annan skyldan fróðleik við spennusögu. Að þessu leyti er ég undir áhrifum frá honum og í raun hlýtur að mega rekja allar sagnfræðilegar spennusögur síðustu þriggja til fjögurra ára á einhvern hátt til Browns."
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Deilur kristinna og múslima hafa verið Óttari hugleiknar og hann glímir við þessi átök hugmyndaheima í Hníf Abrahams. ,,Eftir að ég var búinn að bíta í mig að skrifa um deilur íslams og kristni út frá Abraham fór ég að pæla í sögunni sjálfri og áttaði mig strax á að ekkert vit væri í að láta hana gerast í Reykjavík eða á Íslandi. Það er erfitt að láta okkur passa inn í þetta og New York kom strax sterklega til greina meðal annars vegna 11. september. Ég er samt emð íslenska personu þannig að það er smá Íslandstenging í bókinni. Sagan er alþjóðleg og ég hefði skrifað hana á ensku ef ég væri nógu góður í ensku. Ég held hún verði trúverðugri á ensku og ég ætla að reyna að koma henni yfir á útlensku. Sumt í henni hljómar beinlínis kjánalega á íslensku.
J`.g er h6rim, ii6ldrio mitt," waraoi hum.
Eii hvcr var h6ti hcssi gamla kona sem gekk skAldinu i m68ur stao?
Hun hafol ekki dtt sj6 dagana sxla i lifinu. Hun var fxdd 17. Ag6st 1854 og 61st upp i sdrri fdtxkt i Steinadal f Kollafir6i i Strandasyslu hjd foreldrum sinum T6masi j6nssyni og konu hans Kristinu Arnad6ttur. Fdtxkar st6lkur dttu ekki annarra kosta v6l en ver8a vinnukonur, og Kristin fer i vist A bxlnn Brekku f Gilsfir8l.
Astir takast me3 henni og b6ndasyninum, Samuel Guomundssyni. Hun fellur fyrir ,stdlgrdum augum hans sem negldu hang fasta me8 tillitinu einu", eins og sonard6ttir hennar, Brandin Stein- grimsd6ttir, kernst a5 or8i f vel skrifu8um bxtti um 6mmu sina.5 Hun elur honum son, Valdimar, og honum er komiO f f6stur fyrir tilstilli f6ourins, bvi a3 vinnukonur, sem h6f8u barn d framfxri sinu, b6ttu ekki eftirs6knarver8ar. Valdimar var8 hinn mxtasti ma3ur og bj6 i Bolungarvik.
Litlu sfoar kvxnist Samuel konu sem het Puri8ur og var af g68- um xttum. Par me8 brestur gyllivon vinnukonunnar um a6 ver3a h6sfreyja d Brekku. Henni er ekki vxrt bar lengur, svo a3 him rx8st vinnukona a8 bxnum Kleifum sem stendur viO born KollafiarOar. Pau Samuel halda dfram act hittast, ~6tt hann se giftur, og eignast saman annaO barn, Steingrim Samuelson, sem faddist 24. mai 1886.
Par fxoa born meO stuttu millibili him og Puri8ur sem n6 er or8in hdsfreyja d Brekku. Atviki i sambandi viO back Iysir Brandin d bessa lei3:
Pa8 er morgunn, einn af bessum 6gleymanlegu islensku vormorgnum. Sind dalalx8a strftst me5 hlf8um og ndtt6ran er a8 vakna af svefni nxturinnar. Fuglas6ngurinn ver6ur a8 einni sterkri, margradda8ri hl]6mkvi8u, bar sem liver tegund tekur undir viO aura. Mariutdsan hopar hxversklega fyrir s6largeislunum og as lokum bryst s6lin fram i sinu geislafl63i. A svona morgni er mannskepnan sdtt vio sits.
Pennan fagra morgun hefur Kristin vinnukona d Kleifum veriO drla d f6tum; back var verI8 a8 hreinsa tunic.
Before white settlers arrived, Australia's indigenous peoples lived in houses and villages, and used surprisingly sophisticated architecture and design methods to build their shelters, new research has found.
Dwellings were constructed in various styles, depending on the climate. Most common were dome-like structures made of cane reeds with roofs thatched with palm leaves.
Some of the houses were interconnected, allowing native people to interact during long periods spent indoors during the wet season.
The findings, by the anthropologist and architect Dr Paul Memmot, of the University of Queensland, discredits a commonly held view in Australia that Aborigines were completely nomadic before the arrival of Europeans 200 years ago.
During the writers’ meetings, Burns and Simon often finished each other’s sentences. They met in 1985, when Simon was covering the criminal career of Melvin Williams, and Burns was the lead detective investigating him. Burns had an encyclopedic knowledge of the Baltimore drug trade, a conviction that he was right about most things, and an autodidact’s intellectualism. When Simon first arranged to meet Burns, at a public library, he discovered him with a stack of books, including John Fowles’s “The Magus” and a volume by Hannah Arendt. “Once I found him, I didn’t let go,” Simon told me. After they finished writing Season Five of “The Wire,” they teamed up again on Simon’s next project for HBO: a miniseries called “Generation Kill,” based on the 2004 book, by Evan Wright, about a Marine platoon in Iraq. Simon recalled, “Ed used to drive the other cops crazy because he knew better at every point how to do an investigation, and then when he got the cases to court he would tell the prosecutors how to present them. He pissed them off. And when he was in the school system the assistant principals learned to hate him.” In the early days of “The Wire,” Simon said, he and Burns used to have “hellacious” arguments—he compared them to scenes from “a toxic marriage.” He continued, “I finally said to him, ‘I’m not going to abdicate. I always have to trust my own ideas in the end. I’ll pick the ones out of your sixty ideas that I think are going to work, and I’ll leave the others on the table.’ But there were also moments when he fought really hard for something and in the end I saw it.” Burns, Simon said, “always pushes me further than I would go on my own.” He is the show’s policy visionary—the one who, Simon half joked, “is only working in TV till somebody realizes that they ought to give him all the money to fix our social problems.”
Vinir horfnir virðast mér
völt er þeirra hylli.
Lýðir fáir leika sér
lífs og dauða milli.
The Pit was aptly named, a cube of a room, dead-white cinderblock walls with no windows and poor ventilation, gray carpet that utterly failed to diminish the cruelty of the concrete floor beneath it. Each Minder's desk faced out from the three walls, so that the Minder Two desk faced the door from the hall, and the Minder One desk, on the left as one entered, faced Minder Three's. The remaining space was occupied with two metal filing cabinets, a coat stand by the door, and a file safe, on top of which sat the go-bags, one for each agent. Inside each small duffel were the bare essentials - toiletries and clean underwear and socks. The only decorations were, above Minder Two's desk, an old dartboard, and above Minder Three's, a map of the world that had been printed in 1989.
AMSTERDAM, Netherlands-(Business Wire)-August 16, 2007 - Exactly 25 years ago tomorrow, on August 17, 1982, Royal Philips Electronics (NYSE:PHG, AEX:PHI) manufactured the world's first compact disc at a Philips factory in Langenhagen, just outside of Hanover, Germany. The invention of the CD ushered in a technological revolution in the music industry as CDs — with their superior sound quality and scratch free durability — marked the beginning of the shift from analog to digital music technology. The CD became a catalyst for further innovation in digital entertainment, helping pave the way for the launch of DVD and the current introduction of Blu-ray optical media.
Man! I try to do the right thing, and all I get is a bunch of spics fucking me up the ass.
How do you see the sinister Al Swearengen (Ian McShane) relative to Seth Bullock (Timothy Olyphant)? Because in Bullock, you describe a certain kind of twisting of chaos and order, and good and bad.
To me, they're part of the same personality. I try not to judge any of the characters. Henry James used to say that characters are obstinate finalities, and irreducible. I think you'll see in the first episode just how indissolubly associated those two characters are. And in real life, they sort of divided the camp. It was like a Manichaean heresy. Swearengen ran the Badlands and Bullock ran the rest of the camp. But I think that each of them is lost in a particular way. I don't think that Swearengen has any more of an articulate understanding of what moves him than Bullock does; it's just that his compulsions do not invoke a legal framework. You know, if you look at Swearengen, all of Swearengen's whores are bought at the same orphanage where he was raised, including a cripple who has absolutely no use to him at any pragmatic level. He is constantly presenting himself as a pure pragmatist, yet to insist on getting your whores at one particular orphanage is at once an impulse to take revenge on women, and also to rescue women. And in that complication is where most of us live our lives. And he no less than Bullock has a life which lives him, much more, I think, than he lives his life.