To keep this as efficient as possible while respecting your preference for choice over restriction, a small wrapper script can handle the random selection. This ensures you aren't tied to the same three relays every time, maintaining the health of your diverse relay set while staying under the payload limits that triggered the nostr.land blocks.
You can save this as a script, for example npost.sh, or turn it into a function in your shell configuration.
the class of non-optional commons
fundamental shared utilities and enablers of life and civilisation
The group represents fundamental shared utilities and enablers of life and civilisation—resources that must remain universally accessible, as their exclusion or commodification destabilises society.
Rationale for membership
Air – continuous, essential, non-substitutable; required by every living organism.
Water – equally essential, finite in quality though renewable in quantity.
Earth (land/soil) – foundation for habitat and food; cannot be expanded or replaced.
Accommodation (shelter) – derivative of Earth but focused on protection and habitation; a baseline for human dignity and health.
Transport – connective tissue of civilisation; enables access to other fundamentals and participation in society.
Fire (energy) – symbolic and practical of all controlled energy sources; necessary for warmth, cooking, manufacturing, and digital infrastructure.
Extensions implied by the set
Health (care and sanitation) – preservation of life parallels air and water; communal failure harms all.
Information (communication and knowledge networks) – now as foundational to agency as transport once was; without access, civic and economic participation collapse.
Security (safety, justice, conflict resolution) – maintains stable use of all other elements; its breakdown destroys access to the rest.
Food (agriculture, distribution) – derivative of Earth and Water, but operationally distinct and essential for sustenance.
Waste (removal and recycling systems) – implied counterbalance; civilisation’s shadow utility preventing contamination of the other elements.
Together, these form the class of non-optional commons, systems whose universal reliability and shared benefit justify collective, non-exclusive stewardship rather than private exploitation.
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Vile Bodies is the second novel by Arthur Evelyn St. John Waugh, an English writer of novels, biographies, and travel books, and a prolific journalist and book reviewer. It satirises London’s post–First World War “bright young things” — a group of Bohemian young aristocrats and socialites in London — and the press coverage around them. Waugh originally considered the title Bright Young Things but changed it; the published title echoes a narrator’s remark on crowds and parties: “Those vile bodies”.
The novel follows a vivid assortment of characters, among them the struggling writer Adam Fenwick-Symes and the glamorous, aristocratic Nina Blount, who hunt fast and furiously for ever greater sensations and the hedonistic fulfillment of their desires. Waugh’s acidly funny satire reveals the darkness and vulnerability beneath the sparkling surface of the high life.
The book shifts in tone from light-hearted romp to bleak desolation (Waugh himself later attributed it to the breakdown of his first marriage halfway through the book’s composition). Critics have noted the novel’s fragmented scenes, jump-cuts, and telephone dialogue, often linking its method to cinema and to modernist effects. Some have defended the novel’s downbeat ending as a poetically just reversal of the conventions of comic romance.
David Bowie cited the novel as the primary influence in writing his song “Aladdin Sane”, and a film adaptation, written and directed by Stephen Fry, was released in 2003. (Wikipedia)
Read on Faded Page and Standard Books
The Public Domain Review
Happy Public Domain Day 2026!
Each January 1st is Public Domain Day, when a new crop of works have their copyrights expire and become free to share and reuse for any purpose. He...
* Twin sisters as a matched pair (mirrored faces, similar clothes, symmetry)
* Aristocratic titles as costume: “Lady” vs “Mrs.” (rank signalling in dress and posture)
* The portrait itself: an oil painting, likely half-length or seated, composed formally
* “By Millais”: Pre-Raphaelite visual grammar—high finish, crisp detail, luminous skin, saturated colour, botanical exactness
* Millais-era female portrait tropes: elaborate hair, smooth complexion, controlled expression, fabric texture rendered as virtuosity
* Christie’s as a stage: saleroom lighting, catalogues, lot numbers, paddles, murmuring bidders, the painting on an easel
* “Auctioned recently”: freshness/press heat—headline blurbs, social chatter, “record” talk
* “Record in rock-bottom prices”: a comic visual contradiction—grand frame, humiliating hammer price; prestige with deflation
* Gilded frame associations: ornate gilt, heavy moulding, institutional authority
* “Teak benches”: warm brown, polished slats, colonial/clubland feel; park or garden seating with a certain gentility
* Outdoor setting implied by benches: gravel path, clipped hedges, promenade, or a conservatory terrace
* Eating apples: bright skins, bite-marks, juice; a deliberately ordinary act against grand titles
* Apples as still-life props: round forms, gloss highlights, Victorian domestic painting echo
* “Bottle of pop”: glass bottle, crown cap, fizz, condensation; jaunty, slightly downmarket sparkle
* “Late Victorian chic”: high-collared silhouettes, fitted bodices, gloves, hats, parasols; the look of propriety with flair
* “Champagne” as Mrs Blackwater’s label: pale gold bubbles, flute glass, celebratory shimmer
* Her pronunciation “as though it were French”: a tiny performance—pursed lips, aspirational cosmopolitanism
* The comic pairing of “pop” vs “champagne”: two liquids, two class readings; same bottle in the mind’s eye, reframed by language
* Names as visuals: “Throbbing” (suggests pulse, heat, theatrical excess); “Blackwater” (darkness, depth, possibly maritime/river imagery)
* A mood of elegant absurdity: titled women picnicking like schoolgirls, while their “important” portrait has just been reduced to a bargain lot
* Implicit contrast of mediums: painted immortality (portrait) versus living scene (bench, fruit, bottles) as a small tableau vivant
Lady Throbbing and Mrs. Blackwater, those twin sisters whose portrait by Millais auctioned recently at Christie’s made a record in rock-bottom prices, were sitting on one of the teak benches eating apples and drinking what Lady Throbbing, with late Victorian chic, called “a bottle of pop,” and Mrs. Blackwater, more exotically, called “champagne,” pronouncing it as though it were French.
“Surely, Kitty, that is Mr. Outrage, last week’s Prime Minister.”
“Nonsense, Fanny, where?”
“Just in front of the two men with bowler hats, next to the clergyman.”
“It is certainly like his photographs. How strange he looks.”
“Just like poor Throbbing … all that last year.”
“… And none of us even suspected … until they found the bottles under the board in his dressing-room … and we all used to think it was drink …”
“I don’t think one finds quite the same class as Prime Minister nowadays, do you think?”
“They say that only one person has any influence with Mr. Outrage …”
“At the Japanese Embassy …”
“Of course, dear, not so loud. But tell me, Fanny, seriously, do you think really and truly Mr. Outrage has it?”
“He has a very nice figure for a man of his age.”
“Yes, but his age, and the bull-like type is so often disappointing. Another glass? You will be grateful for it when the ship begins to move.”
“I quite thought we were moving.”
“How absurd you are, Fanny, and yet I can’t help laughing.”