My favourite song to play live is 'Temptation'. It's one of New Order's oldest songs, dating back to 1981, yet over the years it's evolved and developed ontsage into the stomping, thunderous nine-minute behemoth we play today as the climax of our live set.

We recorded it in London at a studio near the Post Office Tower on a day when it was snowing heavily. While I was recording the vocal Rob [Gretton] snuck into the studio and stuck a snowball down the back of my shirt. You can hear that on the long version of the song: all the whooping and shouting is the result of Rob's handful of snow going down my back, which is a wonderful memory to hear on the record but, even so, I think 'Temptation' is a much more powerful live song than it could ever be in the studio. It's neither our most famous song nor our most commercially successful, yet it draws people in and has become the pinnacle of the entire set. There's something about the repetition and the motion it involves, the simplicity of the structure and the words that make 'Temptation' a very spiritual song for me. I don't think I can explain why, there's just a tangible sense when I'm singing it that makes it feel to me like a prayer.

(bernard sumner, from chapter and verse [new order, joy division and me])




Found these among the photos and letters that Grandma and Grandpa had saved. Lovely note!

Love and hugs,
20 aug 1999.

dear grandpa,

i know that i'm probably way too old to talk about things like favourite family members, but i wanted to tell you that for me it has always been you. i love you very much, and i am proud to be your granddaughter.


ps: i regret that you couldn't come to england while i was studying in oxford; i hope that i can join you if you visit britain again someday. it will, in my mind, always be associated with your stories.
on 20 aug 2006, joe and i walked our wedding guests from the garden at our old house to our favorite oxford pub. i handed over the pound coins grandpa had given me when it became clear that he would die before we were married. you need to buy yourself a pint from me, he said.


i pride myself on being a really fucking solid volunteer. whether i'm shepherding indie-indie movie types to their festival sheaths, keeping a guy with the methadone nods awake as i ring up a masticated infinite jest, or mopping swan shit out of a stainless-steel cage—i am your man.

the way in which i support the folks at the wildlife hospital is especially important to me because they are so clearly what i wish i could be. i introduced myself to a girl young enough to be my daughter there a couple of months ago and asked her if she was a vet in training. "since birth, practically," she said. same here, if i had a backbone, if i could dissect or euthanize anything. all i wanted as a little girl was to be a veterinarian—my sister agreed, at age six or so, to be my receptionist—and i knew so, so early that it would never happen. i covered my parents' station wagon with snot one christmas when we passed on an ugly tree; no one would take it home, and its death was meaningless, meaningless. middle-school biology classes were non-starters. i could be a blue helmet, or something.

my friend and her daughter came to visit the hospital today, and i spent a half hour walking them through our treatment rooms, offering up iridescent pigeons for petting, apologizing for poop, so much poop on the floor. i offered to clean the whole isolation ward after they'd left because i knew we had been in everyone's way and i want to continue to be a really fucking solid volunteer, and because i was grateful to the staffers for giving me room to introduce my people to what i love. isohelpful for cleaning the iso room. after an hour of just staggering efficiency, i swept birdseed from beneath the chambers i'd disinfected, and my broom caught something. it caught on a big old glue trap, a glue trap full of mouse. not a dead mouse, his tail hogarth's line of beauty, a mouse that had yet to pull his body apart to attempt to get away from the organ-mangling glue trap, which is what mice do and what glue traps do. i pulled the trap from the broom as i walked into the lobby. WILL SOMEONE DROWN THIS MOUSE. my favorite hospital staffer has the name i would give a child, if i had a child. "you mean, will we—" YES.

when i was small and my mother found live gophers in snap traps in our yard, she'd drown them, trap and all, in a bucket. my five-dollar pet mouse, esmerelda, became a cauliflower whose tumors bumped against the wheel in her cage, and i asked her to take her to the vet to put her to sleep, and she did.

i busied myself for half an hour before confronting my favorite, who asked me to join her on the stairs and told me that Mouse Park—our collective dream of catching pests and releasing them, surreptitiously, away from the center—had never really worked on a grand scale. she told me that the contagions associated with the mice killed our birds—i knew that, i know that—and that the mice eluded the humane traps, and the (comparatively humane) snap traps.

a rehabber, P, sedated the mouse in the glue trap and euthanized him; that is the YES, that was the only YES. that is the YES for half of our patients, be they raptors or possums or, almost, the one rat we splinted and released a few years ago. i loved and love my hospital because they dignify creatures that many people abhor, and i have also cut up a frozen mouse for little kestrels we've rehabbed, and—
When I got there the dead opossum looked like
an enormous baby sleeping on the road.
It took me only a few seconds—just
seeing him there—with the hole in his back
and the wind blowing through his hair
to get back again into my animal sorrow.
I am sick of the country, the bloodstained
bumpers, the stiff hairs sticking through the grilles,
the slimy highways, the heavy birds
refusing to move;
I am sick of the spirit of Lindbergh over everything,
that joy in death, that philosophical
understanding of carnage, that
concentration on the species.
---I am going to be unappeased at the opossum's death.
I am going to behave like a Jew
and touch his face, and stare into his eyes,
and pull him off the road.
I am not going to stand in a wet ditch
with the Toyotas and the Chevys passing over me
at sixty miles an hour
and praise the beauty and the balance
and lose myself in the immortal lifestream
when my hands are still a little shaky
from his stiffness and his bulk
and my eyes are still weak and misty
from his round belly and his curved fingers
and his black whiskers and his little dancing feet.

(gerald stern, behaving like a jew)