Newsletter Week 34

*|MC_PREVIEW_TEXT|* vzw – Upside-down the good newsletter

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Upside-down, The Good Newsletter 2020 – Week 34

The weekly interactive newsletter sent out by Plukrijp to its members

For people living NOW the school of life

For YOU to send all your good news to

upside down = instead of announcing what we plan to do
(& most often find out we do not need to do), we relate what we really did

Building communities of trust is fundamental to healing our collective wound. At Plukrijp, we offer spaces of transparency and solidarity. The
community allows people to encounter each other in truth and so develop trust.
We do the garden for YOU
Plukrijp functions on your frequent visits & harvests. Take along for friends & neighbours, this way we recreate real networks between us all, breaking down the illusory restrictions that now still separate many of us from our fellow
man = UBUNTU.

What you can harvest now:

From now on you can find
all the current and upcoming crops with photo, location and name by clicking on the Current Harvest button in the menu on our website.

Coming soon…

carrots, sweet corn, orange & green Hokkaïdo pumpkin, and so much more

This week @ Plukrijp
We did:

A very constructive week, between summer&autumn, before “back to school (???) & back to normal (????????????????)

plenty of tomatoes, beans, melons, basil & courgettes, leeks, potatoes etc. Cucumbers did not survive
the 35°C+ temperatures, apples & pears are ripening way too early (drought!!), pumpkins are barely surviving, carrots have stopped growing, ….It becomes very clear that the transition to totally “dry farming” in this new climate, where occasional small rain
showers can not keep up with the scorching sun, will require us to spread still more compost in autumn, hoping for rain in winter.

Repair all 4 closed tunnels
with the ropes & plastic
that was here. Now 2 tunnels open up on the off-wind side & are relatively intact, 2
others (no 3&4) have been covered & strengthened with straw rope from our neighbor & are awaiting new plastic foil (€+1000) + next summer for renewal.
The importance of our tunnels function as sources of daily fresh greens in autumn, winter & spring can not be overestimated. But too many layers of very old plastic reduce the “lux” of sunlight too. So, hopefully, next summer we add 2 more windows on
3&4 while replacing the (by then
30+year old) plastic.

Replace the large broken window in the workshop with a patchwork of different smaller windows that we had received and stored.
Know-how and creativity are the keys to recycling.

Take the seeds of our beautiful variety of tomatoes for next year.

We shared:

We continued our sharings on “union versus separation”.
Each sharing allows us to question our unconscious beliefs, our automatic behaviors,
our lack of courage in certain situations. Each sharing lets a little more light enter our beings.
Each sharing brings us closer to unity.

We shared lots of “old”
bonfire of
vanities” by
Brian de
Palma (1990),
Richard Fleischer (1973) ,
Nuits de la Pleine”
Lune by Eric Rohmer (1984),
woman under the influence”
Cassavetes (1974),
Teorema” by
Pier Paolo Pasolini

These films allowed us to have in-depth discussions on different topics. We are increasingly aware of the speed at which our society has lost its quality standards. The movies
of today seek to hypnotize the viewer, to distract him, to help him escape from his daily
reality while the old films sought to touch us
in discomfort so that we could question our behaviours.

You are headed to dystopian future, terror for our children.
Wake up!

Interesting Movies & Documentaries


The Bonfire of the Vanities is a 1990 American satirical black comedy film directed and produced by Brian De Palma and starring Tom Hanks, Bruce Willis, Melanie Griffith,
and Kim Cattrall. The screenplay, written by Michael Cristofer, was adapted from the best-selling novel of the same name by Tom Wolfe.


Vintage Tom Wolfe,
The Bonfire of the Vanities, the #1 bestseller that will forever define late-twentieth-century New York style. “No one has portrayed New York Society this accurately and devastatingly since Edith Wharton” (The National Review) “A page-turner.
Brilliant high comedy.” (The New Republic)


Tom Wolfe was educated at Washington and Lee Universities and also at Yale, where he received a PhD in American studies.

Tom Wolfe spent his early days as a Washington Post beat reporter, where his free-association, onomatopoetic style would later become the trademark of New Journalism. In books such as
The Electric Koolaid Acid Test, The Right Stuff, and The Bonfire of the Vanities, Wolfe delves into the inner workings of the mind, writing about the unconscious decisions people make in their lives. His attention to eccentricities of human
behavior and language and to questions of social status are considered unparalleled in the American literary canon.

Soylent Green is among the most memorable of the myriad downbeat sci-fi dramas that proliferated
during the ’70s. Soylent Green presents a grim view of a future Earth
in the year 2022
suffocated by overpopulation. In New York City, where the film is set, every square inch of available space is filled with desperate, hungry vagrants, so anyone with property is a target.


subsists mostly on Soylent Red and Soylent Yellow, tiny nutrient tablets made by the Soylent Corporation. However, these products are so bland that when the company introduces the more flavorful Soylent Green, riots erupt among New Yorkers who crave the delicacy.
At first, Thorn doesn’t make the connection between Soylent Green and his investigation into the death of a Soylent executive, but Thorn’s senior-citizen friend, Sol Roth detects a conspiracy…


Adapted from a novel by Harry Harrison and directed with slick efficiency by Richard Fleischer, Soylent Green is longer on atmosphere than it is on action, since it
falls somewhere between cerebral sci-fi and visceral sci-fi.



Full Moon in Paris (French: Les nuits de la pleine lune) is a 1984 French film directed and written by Éric Rohmer. It was Rohmer’s fourth installment in his Comedies
and Proverbs series. The story opens with the proverb “Qui a deux femmes perd son âme, qui a deux maisons perd la raison” (“He who has two women loses his soul. He who has two houses loses his mind.”)

A dysfunctional family

is not a non-functional family;

it functions after its fashion,

and in its screwy routine

there may even be a kind of reassurance.”


A Woman Under the Influence is a 1974 American drama film written and directed by John Cassavetes. The story follows a woman whose unusual behavior leads to conflict
with her blue-collar husband and family. It received two Academy Award nominations for Best Actress and Best Director.


John Cassavetes is one of the few modern directors whose shots, scenes, dialogue and characters all instantly identify their creator; watch even a few seconds of a
Cassavetes film, and you know whose it is, as certainly as with Hitchcock or Fellini. They are films with a great dread of silence; the characters talk, fight, joke, sing, confess, accuse. They need love desperately, and are bad at giving it and worse at receiving
it, but God how they try.


Cassavetes (1929-89) is the most important of the American independent filmmakers. His “Shadows” (1959), shot in 16-mm. on a low budget and involving plausible people
in unforced situations, arrived at the same time as the French New Wave and offered a similar freedom in America: not the formality of studio productions, but the spontaneity of life happening right now. Ironically, it was by starring in such mainstream films
as “Rosemary’s Baby” and “The Fury” that Cassavetes raised the money to make his own films.


Because his work felt so fresh, it was assumed that Cassavetes was an improvisational filmmaker. Not true. He was the writer of his films, but because he based their
stories on his own emotional experience, and because his actors were family or friends, his world felt spontaneous. There was never the arc of a plot, but the terror of free-fall. He knew that in life you do not often improvise, but play a character who has
been carefully rehearsed for a lifetime.


A Woman Under the Influence” (1974) is perhaps the greatest of Cassavetes’ films (although a case can be made for “Love Streams” in 1984). It stars his wife and most
frequent collaborator, Gena Rowlands, and his friend Peter Falk, in roles perhaps suggested by his own marriage (how closely may be guessed by the fact that the two characters’ mothers are played by Lady Rowlands and Katherine Cassavetes).


Falk plays a construction foreman named Nick Longhetti, and Rowlands is his wife, Mabel. They have three children, and live in a house with so little privacy that they
sleep on a sofa bed in the dining room. (The bathroom door has a large sign: “PRIVATE.” People are always knocking on it.) Mabel drinks too much and behaves strangely, and during the film she will have a breakdown, spend time in a mental institution, and star
at her own welcome-home party. Only by the end of the film is it quietly made clear that Nick is about as crazy as his wife is, and that in a desperate way their two madnesses make a nice fit.

Pier Paolo Pasolini (1968) Teorema




Teorema, also known as Theorem (UK), is a 1968 Italian allegorical film written and directed by Pier Paolo Pasolini and starring Terence Stamp, Laura Betti, Silvana
Mangano, Massimo Girotti and Anne Wiazemsky. Pasolini’s sixth film, it was the first time he worked primarily with professional actors. In this film, an upper-class Milanese family is introduced to, and then abandoned by, a divine force. Themes include the
timelessness of divinity and the spiritual corruption of the bourgeoisie.


Teorema is structured in the manner of a theorem. It begins, as we will see, with an oblique statement of a hypothesis (framed in the manner of a question), sets out
the conditions of the case studies (the five members of the bourgeois family), introduces the catalyst of change (a young, attractive, unnamed visitor played by Terence Stamp), and outlines a series of five seductions between the young man and each member
of the family. A messenger calls the young man away—no reason is given for his arrival or his departure. The members of the family (aside from the maid) then each confess to the manner in which he has changed them and the film concludes by tracing out the
consequences or “results” of the destabilizing force of the young man’s influence. Hypothesis, Account of Previous State, Catalyst, Results.


Teorema also has much in common with the parable. Like a parable it is concerned with human ethical behavior. Indeed, we might summarize the film by claiming that it
forces each of the five members of the household to confront who they are and how they want to be—a foundational ethical concern. The film is clearly an attempt to convince by witnessing human behavior rather than laying out its claims in an objectively logical
manner. And like the parable, one finds oneself kind of “getting it” and yet not being entirely sure of the meaning in all of its implications. Like the parable, Teorema seems to mean more than it says.


Pasolini’s seeming confusion of contraries turns out to be rather revelatory: a parable shows things in a mysterious manner, it alludes to the truth without rending
the veil that separates our experience and the ultimate truth that resides within it. The parable is a form of disclosure in that it opens up what had been covered over—but not once and for all; the knowledge informing a parable cannot be paraphrased so readily.
It is the manner of knowing that which always remains just beyond our grasp.

Interesting Link

Voiceless Victims of the COVID Lockdowns


Henna Maria
Exposing the dehumanising effects and severe human rights violations of the Covid-19 medical tyranny.


Public resistance to “sanitary” dictatorship is mounting – mass meetings all over the world are happening!

Inspiring Book

Tom Wolfe began The Right Stuff at a time when it was unfashionable to contemplate American heroism. Nixon had left the White House in disgrace, the nation was reeling from the catastrophe of Vietnam, and
in 1979–the year the book appeared–Americans were being held hostage by Iranian militants. Yet it was exactly the anachronistic courage of his subjects that captivated Wolfe. In his foreword, he notes that as late as 1970, almost one in four career Navy
pilots died in accidents. “The Right Stuff,” he explains, “became a story of why men were willing–willing?–delighted!–to take on such odds in this, an era literary people had long since characterized as the age of the anti-hero.”

Wolfe’s roots in New Journalism were intertwined with the nonfiction novel that Truman Capote had pioneered with In Cold Blood. As Capote did, Wolfe tells his story from a limited omniscient perspective,
dropping into the lives of his “characters” as each in turn becomes a major player in the space program. After an opening chapter on the terror of being a test pilot’s wife, the story cuts back to the late 1940s, when Americans were first attempting to break
the sound barrier. Test pilots, we discover, are people who live fast lives with dangerous machines, not all of them airborne. Chuck Yeager was certainly among the fastest, and his determination to push through Mach 1–a feat that some had predicted would
cause the destruction of any aircraft–makes him the book’s guiding spirit.

Yet soon the focus shifts to the seven initial astronauts. Wolfe traces Alan Shepard’s suborbital flight and Gus Grissom’s embarrassing panic on the high seas (making the controversial claim that Grissom
flooded his Liberty capsule by blowing the escape hatch too soon). The author also produces an admiring portrait of John Glenn’s apple-pie heroism and selfless dedication. By the time Wolfe concludes with a return to Yeager and his late-career exploits, the
narrative’s epic proportions and literary merits are secure. Certainly The Right Stuff is the best, the funniest, and the most vivid book ever written about America’s manned space program.


No matter what else you might feel or think,
it’s working, flawlessly, magically, and without exception.

Your thoughts, beliefs, and expectations
are the sole cause of the effects of your life.

And while this may give you pause
and have you wondering why you’ve not yet met
with some of the successes you’ve sought,
let it also empower you as you remember
that the floodgates must fly open
and the Kingdom must be revealed
at the precise moment you release
whatever else you might have felt
or thought about it not working.




Union is a watery way.

In an eye, the point of light.

In the chest, the soul.


The place where ecstatic lovers go

is called the tavern, where everyone gambles,

and whoever loses has to live there.


So, my love, even if you are the pattern

of time’s orderly passage, do not go,


or if you do, wear a disguise.


But do not cover your chest.

Stay open there.


Someone asks me, What is love?

Do not look for an explanation.


Dissolve into me, and you will know



when it calls. Respond.


Walk out as a lion, as a rose.

Inhale autumn, long for spring.


You that change the dull field,

who give conversation to damaged ears,

make dying alive, award guardianship

to the wandering mind,

you who erase the five senses at night,

who give eyes allure and a blood clot wisdom,

who give the lover heroic strength,

you who hear what Sanai said,

Lose your life, if you seek eternity.


The master who teaches us

is absolute light, not this visibility.


by Katherine Woodward Thomas


Most of us are overly identified with our feelings.


If we feel it–then it must be true.


While we always want to turn toward and honor our feelings, they’re not always reflective of what’s actually happening.


Just because we’re feeling lonely and alone, doesn’t mean that we’re not already deeply connected to others and an integral part of this vast matrix of life.


Just because we’re feeling unloved and not cared for, doesn’t mean that others don’t truly love and appreciate us.


Just because we’re feeling deprived, doesn’t mean we’re not living in an abundant field of possibilities and goodness.Your feelings are not always a good read on reality.


Part of waking up is cultivating the active curiosity about the assumptions we’re making in any given moment. Assumptions that are actually informing our feelings.
Because you’re constantly interpreting everything that happens through the filters of your already existing perspectives and beliefs.


And that means that often your feelings are more about the past than what’s actually happening right now, or the possibilities present for your future.


When you feel down, rather than running out to try to fix your feelings, learn to pause long enough to ask yourself, “What am I assuming is true about me and my life
that’s making me feel this way?”


Build your muscle to challenge these assumptions, and actually correct yourself so that you are making more empowered meaning of what’s occurring.


The question,
“How is this happening for me rather than just to me?” can offer a fresh perspective on a complex and perplexing situation.


If you assume that Life is always supporting you, how might you see things from a different angle?


You can have your feelings. But you don’t want your feelings to have you.

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Thank you !
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