Here at Harry Corry we offer a wide range of finishing touches that give you the opportunity to elevate your décor and inject your personality into your home. A room will never appear to be complete until you garnish it with those well needed final touches. Even the most minimal of wall art can break up the empty space on an entire wall and create a stunning effect.Our blind range features five main categories for you to choose from, we have Blackout Roller Blinders, Essential Roller Blinds, Square Eyelet Roller Blinds, Venetian Blinds and Scallop Roller Blinds. With these options you will be sure to find exactly what you are looking for. Each blind style comes in a variety of coloursPlace a barstool in your kitchen, not only does it become a practical addition to the room but also a means of bringing a modern and stylish look. With a variety in size and colour to choose from you are sure to find exactly what you need here. Place a gas lift stool in your room to bring a vintage barbershop look.
We have a selection of stylish chairs in an array of designs and colours. Online we offer a range of chairs such as the Malmo, Oslo and Ghost with many more available in store across our 51 stores within the UK and Ireland.The tone of a room can be set or complemented by what you place on the walls. Expressing your personality is easily attainable through what you place on your walls, for example if you are a fan of comics and superheroes place one of our exciting Marvel comic canvas prints.Welcome your guests with an inviting doormat. Our range of doormats feature a hard wearing black rubber backing. The doormats are made up of 40% polypropylene fibre and 60% rubber to create a durable and reliable product.Throws are perfect for snuggling into on those cold dull nights. Here at Harry Corry we have an extensive range of throws. With colour and size in large variety you can be sure to find exactly what is right for you. Some of the styles include micro flannel, cable knit, chenille and fleece that are available in a wide range of colours to suit your rooms.
Wallpaper can make or break a room, at Harry Corry we are here to make sure you choose which is right for you. All of our products are hand selected, meaning we only choose the best for our customers. Our enormous selection of wallpaper contains styles, designs, colours and varieties for everyone. From photographic quality prints, to classic damask patterning or detailed floral prints to contemporary patterns we have it. Some of our wallpapers come with matching wallpapers which can help you bring the potential out in your room, with feature walls and chimney alcoves with unique wallpaper placement.Furniture is a must have in any home. At Harry Corry we have furniture available both online and in store. Our online range is currently under development with our full ranges available in store across our 51 stores in the UK and Ireland.Adding a scent to your room can bring a great change in atmosphere. Whether it be the scents of summer, or a fruit ensemble any scent will add an extra dimension to your room.
You can add this effect by using scented candles or reed diffusers which add a flame-free option to slowly disperse scents throughout your room.Simple gift ideas in a broad range of products.A range of simple and effective candle and candle holders. Also featured are kids, LED candles which provide a fun and safe alternative to an open flame candle.A variety of photo frames for wall and table mount.In our kids accessories section you will find fun storage boxes in various vehicle styles and themes, providing a fun and encouraging way of keeping your little ones room tidy. In this range you will also find entertaining rugs that feature printed designs that represent games and gameplay area. In the kids accessories you will find much more, including bean bags, blankets and canopies etc.A perfect section to gather the winter essentials. This sections includes all things that bring you warmth. From blackout blinds to luxurious throws for you to snuggle in to we have it here. A plush blanket and hot water bottle will bring warmth to any cold winter’s night.
Don’t worry about getting into a cold bed at night with our electric blanket range.Fed up with wilting flowers? Why not bring a plant into your home that will last forever. Here at Harry Corry we have developed a range of artificial flowers in a variety of styles and colours. The plants are set in a variety of unique and classical vases. To the naked eye these plants look as real as they can get.How to Purchase and Install Directors Chair Covers image everywhere_chairThe amazing thing about Director s Chairs is that they can last forever! I have many people call us quite often saying that they have purchased a directors chair from a yard or estate sale and it needs...Read More about How to Purchase and Install Directors Chair CoversMusic’s all right, but I prefer talk: hearing a room, a tape running in real time, ambiance, loose chat, conversation, a reading, a moment played back. I wish Overheard in New York was a durational podcast produced by hidden mics on the A train. I want Siri to read my Twitter feed through headphones so I could walk and scroll, looking strangers in the eye while hearing others in the ear.
Warhol was so in tune with tape that he took vows: “I didn’t get married until 1964 when I got my first tape recorder. My wife . . . my tape recorder really finished whatever emotional life I might have had, but I was glad to see it go.” Is there an aural voyeur club to join where we sit at the mall food court and eavesdrop all day? When I think of poems, I think of listening first. The poetry reading is a theatre with constraints, a live medium with its weight thrown towards audio, making it one of few communal spaces in which visuals come second. In his book Silent Messages, Albert Mehrabian reported that 93% of communication is non-verbal, breaking communication down thusly: 55% body language, 38% tone of voice, 7% words. For example, if you’re FaceTiming, you have access to approximately 100% of your interlocutor’s communicative messages, talking on the phone gives you 45%, texting 7%. At a live reading, I might chose to devote even less attention to the reader’s body, making the experience less like a concert or comedy night and more like listening to contestants on The Voice sing from behind a screen.
I’ll oftentimes shift my gaze to floor tiles or a chair leg, attempting to neutralize the visual and rack focus to that elusive 45%, tone and word. Or say, if you were listening at home to Fonograf Editions’s new poetry album, Aloha / irish trees by Eileen Myles, you could control your own visual accompaniment, for instance, as Myles reads her poem, “You,” about computer-related frustration, you could fix your eyes on one of your Mac’s default screensavers, HD landscapes or spinning lines. You could lie back on the couch and close your eyes. Listening to poetry reprioritizes the senses, the recalibration required to read a voice. a Diet Coke & a version of ‘me’… Reading the poem “Evolution” on the page means I only get 7%, and while that brings its own delights and set of heightened attentions, I often long for that other layer, to know how the poet says it, in this case, to hear Myles’s lack of pause, to hear her edit on whim. Once printed, poem is product.
Aloud, it’s process, in flux, evolving. It converses with the present, realizes an ‘oops,’ and doubles back to transform it to an ‘ah-ha.’ Myles’s vocal delivery marries precision and improv, catch and release. A transcribed excerpt from the album’s first poem, “Sorry,” recorded live at Naropa University: “ . . . Let me hold your shoulders back so you look arrogant and beautiful, welcoming . . . welcoming me into the . . . Let me hold your shoulders back so you look arrogant and beautiful, welcoming me into the w . . . Fuck, it’s so hard . . . Let me hold your shoulders back so you look arrogant and beautiful, welcoming me into the . . . welcoming me . . . Fuck . . . Let me, let me hold your shoulders back so you look arrogant and beautiful, welcoming me into the warm sad party, let this be the unfortunate hat I hang outside the door if only you’ll allow me to come in . . . I think I’m just going to read that one again . . . She laughs to herself. The title of the poem is “Sorry,” but in this context the word comes off like an apology for not reading it “right” the first time.
But since Myles would never apologize, so the appearance of an apology stops her in her tracks, makes her laugh. Getting stuck becomes part of the poem. Just as Robert Creeley might break a line at a syntactically inappropriate moment to indicate the frustration and messy edits caused by the impossibility of converting thought into words, Myles’s doubling back performs the inadequacy of speech to catch up with the mind in real time. Sentiment is hard to say. A lesser poet would strike such moments from the recording, would “fix it in post-,” but Myles’s ‘one take’ approach humanizes, making Aloha / irish trees a record of attempts at articulation. Upon repeat listens, the album reveals a catalog of such instances, as if it’s not audio but Myles’s stage presence spinning on the turntable: what she says before poems, during poems, and of her turning pages, losing her page. At one point she says, mid-poem, “Oh shit, this one I don’t have the end,” so the last line she speaks is not the last line, creating a space for every audience member to simultaneously write their own in the silence.
A poem is a loose script; hold your shoulders back and whatever comes out comes out. Myles seems to apply this same logic when organizing a set list. She could curate the perfect blend of old and new poems, layering greatest hits and deep cuts to maximize intertextual resonances, or could just as easily drop the pages on the ground, have her dog sputter around on them, pick up the stack, walk straight to the podium, and be equally happy. She trusts her tone, her presence. Order doesn’t matter, arrogant and beautiful. Side B begins with Myles accidentally reading a poem she read on Side A. “I think I already read this but I’m going to read it again.” Without the thought that an audience might think less of her for reading it twice, Myles embraces liveness. She wings it in complete control. The album ends outside the venue, on a breezy day, wind in the trees. Another voice speaks indecipherably, to which Myles replies, “Oh yeah,” and then, “I’ll catch up, I have to pee.”
No applause, no Q&A, the reading ends outside the venue, overheard, showcasing her off-stage demeanor as equivalent to any assumed persona, a coda celebrating nonchalance. The tape never stops running. More from “Evolution”: “Is it crazy / to be the / citizen who’s / only partially / here. Like / kissing while / your eyes / open…Like / kissing while / your eyes / anxiously are surveying the room.” Does Myles charge past line breaks and periods because of an inability to turn off her antenna? Is she such a keen listener that she can never fully devote herself to the task at hand? She’s “surveying the room,” “only partially here,” part in poem, part live with the audience. Reading one’s own words aloud means having an eye, or an ear, in multiple presents. Or your ears are in one present, your eyes in another. It’s like eavesdropping on yourself. Patrick Gaughan is the director of Xfinity Theater & writer of three plays, Fast Five (2014), TODAY (2016), & #TheFlagWeLove (forthcoming).