Edition

Edition (pronounced ih-dish-uhn)

(1) One of a series of printings of the same publication, each issued at a different time and differing from another by alterations, additions etc (historically sometimes referred to as impressions).

(2) The format in which a work is published (single volume edition, abridged edition, leather-bound edition, French language edition etc).

(3) In newspaper production, a form of differentiation between different versions of the “same” issue (late edition, city edition etc) and used in a similar manner in radio & television broadcasting.

(4) In book collecting, as “first edition”, a copy of a book from its first release or print run.

(5) The whole number of impressions or copies of a book, newspaper etc, printed from one set of type at one time.

(6) A version of anything (physical and not), often (sometimes misleadingly) in forms such as “limited edition”, “special edition” etc).

1545–1555: From the French édition, from the Middle French, from the Latin ēditiōn- (publication), the stem of ēditiō (a bringing forth, publishing), the construct being ēdit, the past participle of ēdere (to give out; bring forth, produce) + -iōn (the suffix appended to a perfect passive participle to form a noun of action or process, or the result of an action or process).  When the word entered English in the sense of “version, translation, a form of a literary work” (and later “act of publishing”) the dominant linguistic influence was probably the Latin editionem (a bringing forth, producing (although in specialized use it also carried the meaning “a statement, an account rendered”, from the past-participle stem of ēdere, the construct being e(x) (in the sense of “out”) + -dere, a combining form of dare (to give), from the primitive Indo-European root do- (to give).  Edition is a noun; the noun plural is editions.

More Issues Than Vogue sweatshirt from Impressions.

In publishing and (sometimes vaguely) related fields, the terms “issue”, “edition” and “version” have come to be used so loosely that they sometimes function interchangeably but within the publishing industry, there are conventions of use: Issue traditionally was used to refer to a specific release of a recurring publication (magazine, journal, newspaper etc) and tended to be tied to the release sequence (“October 2024 Issue”, “Fall 2024 Issue”, “Issue No. 215” etc).  Issue can however be used also as “re-issue” which refers usually to a “re-print” of a previous edition although it’s not uncommon for blurbs like “re-issued with new foreword” or “re-issued in large print” to appear, the implication being the substantive content remains the same.  Edition was used of a particular form or version of a publication that might differ from previous ones in significant ways which might include text corrections, foreign language translations, or updates, thus descriptions like “German Language Edition”, “Second Edition” or “Abridged Edition.  Some editions (especially those which appear in an irregular sequence) actually give in their title some hint of the nature of what distinguishes them from what came before such as the convention adopted by the American Psychiatric Association's (APA) Diagnostic for their Statistical Manual of Mental Disorders (DSM).  What the APA does is change the number if a DSM is regarded as a “new edition” but retain the number with an appended “R” (revised) or “TR” (text revision) if it’s an “updated edition”.  Thus has appeared the DSM-III-R (1987), the DSM-IV-TR (2000) and the DSM-5-TR (2022).  There’s some overlap in use for version and this perhaps reflects the influence of technology because it tends to be used of a specific form or variant of a publication such as language (eg Spanish version), format (eg audio version) or materials used in the construction (eg e-book version) rather than an implication of a chronological or iterative update (which in publishing tends to be called an “edition”.  In that the industry differs from IT where version numbers are almost always sequential although the convention widely used in the 1980s in which something like “version 2.4.3” could be interpreted as 2=major release, 4=update and 3= bug fix has long fallen into disuse.

Holy Bible, Revised Standard Version (RSV), 1952 limited edition, first printing by Thomas Nelson & Sons, brown full leather binding with inlaid gold lettering, silk end paper and green cardboard slip case, custom bound by the Chicago Bible Society.  US$750 from Abe Books.

There are also special uses which assume a life of their own, notably the Revised Standard Version (RSV), an English translation of the Bible published in 1952 by the Division of Christian Education of the National Council of the Churches of Christ in the US.  The RSV was a revision of the American Standard Version (ASV, 1901) and was published to render the text into the modern English which readily would be understood by a contemporary reader of modest education.  The object was not to change the meaning of the text but to preserve it and paradoxically this required editing the classic verses written by William Tyndale (circa 1494–1536) or in the King James Version (KJV, 1611) because the over hundreds of years the language had evolved and the much of what was in the original needed to be interpreted for a general audience and the controversy of clerical gatekeepers between God and his people had for centuries been a thing.  The RSV however has not been the last words and those who track novel initializms will have been delighted by the appearance of the New Revised Standard Version (NRSV, released in 1989 by the National Council of Churches (NCC) and the New Revised Standard Version Updated Edition (NRSVue), published in 2021.  Students of such things aren’t expecting the next update for at least a decade but finding a name might prove more of a challenge than editing the Old Testament’s Book of Leviticus for a modern audience although those who have worked in biblical forks have found alpha-numeric solutions such as RSV-2CE (Revised Standard Version, Second Catholic Edition (2006))

First Edition of James Joyce’s Ulysses, "Copy No 1", held in the National Library of Ireland.  It contains in Joyce's hand an inscription to the English political activist Harriet Shaw Weaver (1876–1961) who was for decades his patron.

A first edition of Ulysses (1922) by James Joyce (1882–1941) in 2009 sold on the opening day of an antiquarian book fair London for Stg£275,000, at the time a record for a twentieth century first edition.  Ulysses is regarded in the industry as the most collectable modern novel and the first editions, printed on hand-made Dutch fine-paper, are well-catalogued and this was number 45 of the first edition print run (all signed by the author) of 100, one of four not previously accounted for.  It had been sold originally by the Manhattan’s obviously subversive Sunwise Turn bookshop (Ulysses at the times banned in the US) and remained in the possession of the same family, stored in its original box and thus not exposed to light, accounting for the preservation of the construction.  Proving that dealers in literary circles can gush with the finest used car salesmen, the dealer who arranged the sale explained: “The color is amazing – this lovely Aegean Sea, Greek flag blue which would normally have darkened into a more dirty blue but because it has been in a box it is a complete thing of beauty.”  The almost pristine condition was a product also of its history of use, an inspection suggesting it was seemingly unread except for the well-thumbed final chapter where the most salacious passages can be found.  The existence of unread copies of well-known books is not unusual and those notorious for sitting neglected on the bookshelf include “challenging” texts such as A Theory of Justice (1971) by John Rawls (1921–2002), A Brief History of Time (1988) by Stephen Hawking (1942–2018) and Joyce’s own, bafflingly difficult Finnegans Wake (1939).  Intriguingly, the antiquarian book business also includes the category “pre-first edition” (any limited run copy of a book printed before the “first edition” is published).  The apparent oxymoron is explained by “first edition” being an industry definition rather than a literal description; pre-first editions thus analogous with “pre-production” or “final prototype” cars which (if they’ve survive the crusher which claims most) can be prized by collectors.

Among special editions there are, inter alia, “Collector's Editions”, “Anniversary Editions” and even, in one instance, the “So Fetch Edition”.

In commerce, “special editions” have become notable income generators for content providers and the movie business has embraced the concept with editions such as “the making of”, “bloopers & out-takes”, “director’s cut” and others and the idea isn’t new.  Led Zeppelin's eighth studio album (In Through the Out Door (1979)) originally was sold with an outer sleeve of plain brown paper, stamped with nothing more than the while the cardboard sleeve proper within was released with six different versions of the artwork.  Buyers would thus not know which sleeve they were selecting.  There’s nothing to suggest it was anything but a gimmick and neither the band nor the record company were expecting many to keep buying copies in the plain brown wrapped until they’d scored all six covers but there were press reports at the time of "Led Heads" doing exactly that.  The industry took note.

Taylor Swift's The Anthology, one of 34 available editions of The Tortured Poets Department.

The attraction of releasing multiple versions of essentially the same product with variations restricted to some added content or detail differences in the packaging is that the additional costs in production and distribution are marginal yet there’s sometimes it’s possible to charge a premium for the “non-standard editions”.  The practice had for decades been quite a thing with car manufacturers but the music business came also to like the idea because, unlike with the cars where customers tended to buy one at a time, obsessive fans of musicians might be persuaded they needed several copies of what was essentially the same thing.  Leftist UK student site The Tab noted few music fans were as obsessive as Taylor Swift’s (b 1989) Swifties and, more significantly, they were also impressively numerous and thus an irresistible catchment of disposable income.  What The TAB noted was the almost simultaneous release of a remarkable (and apparently unprecedented) of 34 versions of Ms Swift’s eleventh album, The Tortured Poets Department (2024), something which as well as generating revenue has the statistical benefit of afforcing her presence on the charts, every sale counting as a 1.0.  Some were technologically deterministic in than four were released as audio cassettes and nine were exclusively digital bit most were essentially the same product except for the inclusion of a bonus track and there were some available only through the retailer Target.  The most obsessive Swifties obviously could buy all 34 editions but for those which want just an exhaustive collection of the music, it appeared all was included on the accurately named The Anthology so there was that.  One day, all 34, still (where appropriate) unopened in their original packaging will appear begin to appear on auction sites.  The approach attracted some adverse comment (which the Swifties doubtless ignored) and probably confirmed in the mind of JD Vance (b 1984; US senator (Republican-Ohio) since 2023) that childless cat ladies are evil.

All editions: The Tab’s The Tortured Poets Department discography:

1. Collector’s Edition Deluxe with The Manuscript
2. Collector’s Edition Deluxe with The Albatross
3. Collector’s Edition Deluxe with The Bolter
4. Collector’s Edition Deluxe with The Black Dog
5. Standard album and The Manuscript
6. Standard and The Manuscript (signed)
7. Standard and But Daddy I Love Him (Acoustic)
8. Standard and Guilty As Sin? (Acoustic)
9. Standard and Down Bad (Acoustic)
10. Standard and Fortnight (Acoustic)
11. Standard and Fresh Out The Slammer (Acoustic)
12. Target exclusive with The Albatross
13. Target exclusive with The Bolter
14. Target exclusive with The Black Dog
15. Target exclusive vinyl
16. The Manuscript vinyl (pressing one)
17. The Manuscript vinyl (pressing two)
18. The Albatross vinyl
19. The Bolter vinyl
20. The Black Dog vinyl
21. The Manuscript vinyl
22. The Anthology
23. Standard and The Black Dog ‘voice memo’
24. Standard album and Who’s Afraid of Little Old Me voice memo
25. Standard album and Cassandra voice memo
26. Standard album (digital)
27. Standard album and Daddy I Love Him (Acoustic)
28. Standard album and loml (live from Paris)
29. Standard album and My Boy Only Breaks His Favorite Toys (live from Paris)
30. Standard album and The Alchemy / Treacherous mashup (live from Paris)
31. The Manuscript cassette
32. The Bolter cassette
33. The Albatross cassette
34. The Black Dog cassette

1976 Lincoln Continental Mark IV, Lipstick edition.  The shade of red appears to be close to Dior's lipstick #744 (Party Red).

The car manufacturers have produced at least hundreds of “special editions”, a concept to which they kept returning because it was lucrative, the things usually profitable to an extent exceeding greatly the nominal sum of their parts.  Quite how many have existed over the years is difficult to estimate because, in addition to the well-documented examples from manufacturers which were sold nationally or even globally, some were offered only briefly or regionally and barely advertised.  Additionally, dealers or sometimes an agglomeration of them would also conjure up their own "special editions" so the total of such things is probably in the thousands.  Sometimes, fashion houses were paid to lend their name, AMC teaming with Pierre Cardin, Levi Strauss (Volkswagen also had a denim-trimmed Beetle though without a specific brand attribution) & Oleg Cassini while the Lincoln Continental at times was offered with themes by Emilio Pucci, Cartier, Bill Blass and de Givenchy although the most memorable were the reputed 500 “Lipstick editions”, a study in red & white, quite a sight given the expanse of sheet metal and leather.

1969 Dodge Charger R/T SE (left), 1972 Chrysler VH Valiant Charger 770SE E55 (centre left), 1976 Holden HX LE (centre right) and 2002 Mazda Miata Special Edition (MX-5 in some markets) (right).

In most of the “special” editions, offered over the decades, it was only in the advertising or press kits that terms like “special edition” or “limited edition” appeared.  Sometimes though, such physical badges did appear on the vehicles. In the US, on the 1969 Dodge Chargers with the SE option, the badge included both “SE” & “Special Edition” while in Australia, only “SE” appeared on the 1972 Chrysler VH Valiant Charger 770SE E55 (one of the industry’s longer model names) although the marketing material called it a “Special Edition”, a usage borrowed from the parent corporation in the US and even the badge used was the same part as that which had been stuck on the 1970 Dodge Challenger SE.  Holden’s frankly cynical (but most profitable) 1976 LE spelled out “Limited Edition” under a “LE” (in a larger font) while Mazda used only the full term for the Miata (MX-5) Special Edition models.

Limited Edition, less limited profit: The Holden LE

1976 HX Holden LE

By the mid 1970s, the market had come to prefer the cheaper, smaller and easier to use cassette tapes which meant warehouses were soon full of the once desirable 8-track players and buyers were scarce.  In Australia, GMH (General Motor Holden) by 1975 had nearly a thousand in the inventory which also bulged with 600-odd Monaro body-shells, neither of which were attracting customers; fashions change and both had become unfashionable.  Fortunately, GMH was well-acquainted with the concept of the "parts-bin special edition" whereby old, unsaleable items are bundled together and sold at what appears a discount, based for advertising purposes on a book-value retail price there’s no longer any chance of realizing.  Thus created was the high-priced, limited edition LE (which stood for "Limited Edition", the Monaro name appearing nowhere although all seem still to use the name), in metallic crimson with gold pin striping, golf "honeycomb" aluminium wheels, fake (plastic) burl walnut trim and crushed velour (polyester) upholstery; in the 1970s, this was tasteful.  Not designed for the purpose, the eight-track cartridge player crudely was bolted to the console but five-hundred and eighty LEs were made, GMH pleasantly surprised at how quickly they sold with no need to resort to discounting.  When new, they listed at Aus$11,500, a pleasingly profitable premium of some 35% above the unwanted vehicle on which it was based; these days, examples are advertised for sale for (Aus$) six-figure sums and anyone who now buys a LE does so for reasons other than specific-performance.  Although of compact size (in US terms) and fitted with a 308 cubic inch (5.0 litre) V8, it could achieve barely 110 mph (175 km/h), acceleration was lethargic by earlier and (much) later standards yet fuel consumption was high; slow and thirsty the price to be paid for the early implementations of the emission control plumbing bolted to engines designed during more toxic times.      

1971 Holden HQ Monaro LS 350

The overwrought and bling-laden Holden HX typified the tendency during the 1970s and of US manufacturers and their colonial off-shoots to take a fundamentally elegant design and, with a heavy-handed re-style, distort it into something ugly.  A preview of the later “malaise era” (so named in the US for many reasons), it was rare for a facelift to improve the original.  The 1971 HQ Holden was admired for an austerity of line and fine detailing; what followed over three subsequent generations lacked that restraint.  The HX LE was one of a number of "special" and "limited" editions offered during the era and it remains one of the few remembered.

Doughnut

Doughnut (pronounced doh-nuht)

(1) A small cake (of usually sweetened but sometimes unsweetened dough) deep-fried in fat, typically shaped like a ring or a ball and often filled with jam or cream and sometimes glazed.

(2) In engineering, a variety of objects using this shape ranging from transmission connectors to the reaction vessel of a thermonuclear reactor.

(3) As a descriptor, anything in the shape of a thick ring; an annular object; a toroid.

(4) In (informal) parliamentary jargon, to surround a speaker with other members during the filming of a speech to create the illusion the chamber is crowded and people are interested in what he is saying.

(5) In slang, the vulva and (by extension) a woman's virginity, a derived form being the “doughnut bumper” (a lesbian).

(6) In UK colloquial use, a foolish or stupid person (based on the idea of “nut” being used as slang for the head, filled with dough (a soft, inert substance); such a person said also to be “doughy”.

1809: The construct was dough + nut.  Dough was from the Middle English dow, dogh & dagh, from the Old English dāg, from the Proto-Germanic daigaz (dough), from the primitive Indo-European dheygh (to knead, form, mold).  It was cognate with the Scots daich, dauch & doach (dough), the West Frisian daai (dough), the Dutch deeg (dough), the Low German Deeg (dough), the German Teig (dough), the Norwegian Bokmål deig (dough), the Danish dej (dough), the Swedish deg (dough) and the Icelandic deig (dough).  Nut was from the Middle English nute & note, from the Old English hnutu, from the Proto-West Germanic hnut, from the Proto-Germanic hnuts (nut) (the form may be compared with the West Frisian nút, the Dutch noot, the German Nuss, the Danish nød, the Swedish nöt and the Norwegian nøtt), from the root knu-, seen also in the Proto-Celtic knūs (source of Irish cnó) and the Latin nux (nut).  There are etymologists who, noting the form of the nouns and the restriction of the root to Germanic, Celtic and Italic, argue it may be of non-Indo-European origin.  The adoption to mean “fastening device for a bolt” is conventionally traced to the Old English hnutu (hard-shelled fruit with a seed inside (acorn, chestnut etc), based upon (1) the appearance and (2) an analogy between the hard outer shell of a nut and the protective function of the metal nut in securing a bolt (ie a nut, like its botanical counterpart, encases and protects something (in this case, the threaded end of a bolt).  The use has been documented since the early-fifteenth century and has been used in mechanical and engineering contexts since.  The doughnut was so named because it resembles the shape of a nut.  The alternative spelling is donut, the standard form in North America and the form dough-nut is listed by most sources as archaic or extinct.  Doughnut is a noun & verb and doughnutting & doughnutted are verbs; the noun plural is doughnuts.

Box of Krispy Kreme doughnuts.

The doughnut in the sense of a “small, spongy cake made of dough and fried in lard” seems first to have been identified in 1809 although at that stage it was best described as “a lump” and it’s not clear when the holes became common, the first mention of them apparently in 1861 at which time one writer recorded that in New York City (the old New Amsterdam) they were known also as olycokes (from the Dutch oliekoek (oily cake) and some food guides of the era listed doughnuts and crullers as “types of olycoke”.  The spelling donut was typical of the sensible and pragmatic simplification of spelling in US English and emerged in the mid nineteenth century; the form donnut did not last, the duplicated “n” obviously redundant.  In engineering, the word is widely applied including (1) the reaction vessel of a thermonuclear reactor, (2) a circular life raft, (3) A toroidal vacuum chamber (used in experimental physics), (4) a circular life raft, (5) certain types of aircraft tyres, (6) a spare car tyre smaller than a full-sized tyre and intended only for temporary use.  In idiomatic use, the phrase “bet you a dollar to a donut” fell victim to inflation.  Dating from a time when a donut cost cents, it thus implied odds of something like 20-1.  As used to describe the behaviour in which a car is driven at low speed in circles with the drive wheels spinning, thus leaving a circular track of rubber on the road, the “donut” was first used circa 1981 in the US and it was picked up around the world by males aged 17-25, the donut specialists.

The great Krispy Kreme doughnut heist.

In November 2023, in Sydney, Australia, a Krispy Kreme delivery van loaded with 10,000 freshly fried donuts was stolen from a 7/11 gas station; police established a crime scene and launched an investigation into the incident.  Some two weeks later a 28 year old woman was charged with stealing after the Krispy Kreme van was found abandoned at a nearby car-park in Parramatta.  The donuts were “destroyed”, according to a police spokesman and the authorities later confirmed the suspect would be charged with taking a driving conveyance without the consent of the owner, driving a motor vehicle during a disqualification period and travelling or attempting to travel without a valid ticket.  The woman was refused bail.

A World War II Donut Dolly with rack of domuts.

The dough-boy was something which existed as early as the 1680s but it was something more like a pancake than a donut and doughboys were widely known; because the distinctive buttons on the uniforms worn by soldiers of the American expeditionary forces sent to Europe in 1971 to afforce the Allies in World War I (1914—1918) were the same shape, the soldiers were nicknamed “doughboys”.  Doughnuts were supplied to troops during World War I by a Christian organization, the Salvation Army, which recruited some 250 woman volunteers who settled on the fried items because they could be prepared quickly and cheaply with minimal equipment and required only ingredients which were readily available through most military supply depots.  The doughnuts were originally quite small but, responding to suggestions, the women had a blacksmith fashion a mold for the now now-iconic circular shape with a hole in the centre.  Production at scale soon followed and they were distributed also to civilians; it was at this point, for better and worse, that French society hungrily adopted the doughnut.  During World War II (1939—1945), the system was formalized with the Red Cross taking over the operation and although it was never an official term, the women were popularly known as “donut dollies”, recruited on the basis of (1) being aged 25-35, (2) having a high school diploma, (3) appropriate work experience, (4) good reference letters and (5) “healthy, physically hardy, sociable and attractive”.  By the time of the D-Day landings in Normandy in June 1944, the Red Cross had some hundred British Army buses operating with fully-equipped kitchens and donut-machines provided by the American Donut Company.  The Donuts were served with coffee and the donut dollies were able to supply also those staples of army life: chewing gum and cigarettes.

Rotoflex doughnuts

Totoflex "Doughnut" coupling.

Rotoflex couplings were often used in the 1960s to connect differential output shafts to the rear hubs.  Usually called “rubber doughnut”, they were popular in road cars such as the Triumph GT6 and racing machinery as varied as the Ford GT40 and Lotus 21 because, prior to the availability of suitable constant velocity (CV) joints, there was really no better alternative.  Although subject to wear, usually they worked well but Lotus also used them on the Elan, the rear suspension of which was exceptionally supple rear, providing for significant vertical wheel travel which resulted on the deformation of Rotoflex doughnuts, the phenomenon known as a “wind up”.  While readily detectable by experienced drivers who learned to adjust their clutching technique, it could be disconcerting to those unused to the Elan’s quirks.  In recent years many replacement Rotoflex doughnuts have been manufactured in the Far East and have been of sometimes dubious quality so except for those dedicated to maintaining originality, Many Elans have been converted to use half-shafts built with CV joints.  When in 1971 the Elan was updated with a more powerful engine, the company did experiment with other methods but it was clear the elasticity of the doughnuts was integral to the design and without them the famously precise handling characteristics suffered.  Now however, although they’re expensive, more rigid Rotoflex doughnuts are now available which preserve the precision although at the cost of adding an occasional harshness to the Elan’s exceptionally smooth ride.

Crab Doughnuts: Chiltern Firehouse, London

Chiltern Firehouse Crab Doughnuts Recipe

Ingredients (doughnuts)

540g strong white flour (plus extra to dust)
70g caster sugar
2 tsp Maldon sea salt (plus 1 tbsp to dust)
1 tsp instant yeast
140ml water (room temperature)
4 large free range eggs
Grated zest of 3 un-waxed lemons
130g unsalted butter (thinly sliced and chilled)
500ml sunflower oil (for deep frying, plus extra for greasing)
3 tbsp icing sugar (to dust)
1 tbsp ground cinnamon (to dust)

Ingredients (tomato juice)

10 beef tomatoes (or whatever is the largest variety available)
2 cloves garlic (green germ removed and cloves chopped)
1 shallot (chopped)
¼ red chilli (de-seeded and chopped)
1 tbsp sherry vinegar
1 tbsp fish sauce
Maldon sea salt (to taste)

Ingredients (crab filling)

200g picked white crab meat (from the claws)
2 tbsp tomato juice
2 tbsp crème fraiche
1 tbsp basil leaves (thinly sliced)
2½ tsp freshly squeezed lemon juice
Maldon sea salt (to taste)

Instructions (doughnuts)

(1) Place flour, sugar, salt and yeast in the bowl of a stand mixer fitted with dough hook attachment and mix at slow speed. In separate bowl, combine water, eggs and lemon zest.

(2) Slowly add liquid mixture to flour mixture (with mixer at slow speed) until it forms a dough. Increase the speed and knead for 10-12 minutes, until the dough comes away from sides of bowl and is smooth and elastic.

(3) Reduce speed to slow and add butter, a slice at a time. Once all butter has been incorporated, increase speed, kneading for a further 5-6 minutes (until sough is smooth).

(4) Cover bowl with clingfilm and place it in the fridge for at least 6 hours or overnight, allowing dough to rest and prove slowly. Next day, oil a baking sheet. Roll dough to a 2cm (¾ inch) thickness on a lightly floured work surface and cut out 80 x 30 mm (3 x 1 ¼ inch) circles. Roll each circle into a ball, placing them on oiled baking sheet. Cover and leave to prove for about 2-3 hours.

(5) Fill a deep saucepan or deep-fat fryer with the sunflower oil (it should be about half-full) and place over a medium heat until it reaches 175˚C. (350˚C).  Deep-fry doughnuts, four at a time, for 2-3 minutes, basting them constantly with the oil until golden brown.  To drain, transfer to a plate lined with kitchen paper.

Instructions (tomato juice)

Cut tomatoes in half and squeeze out seeds. Grate the flesh of the tomatoes on the side of a box grater over a bowl. Place grated tomato flesh in the bowl of a food processor with the remaining ingredients and blend until smooth. Transfer the mixture to a muslin cloth and hang cloth over a bowl for 2 hours.

Instructions (crab filling)

Combine all ingredients in a bowl and mix well. Cover and chill until ready to assemble.

Instructions (final assembly)

Cut each doughnut in half and fill it with the chilled crab mixture. Mix the icing sugar in a bowl with the cinnamon and salt, dusting doughnuts with the mix. Serve immediately.  Left-over dough can be cut into 50-60 mm (2-2½ inch) circles and deep-fried until golden brown, then coated in sugar.  They make a quick and indulgent treat.

Parliamentary doughnutting

An improbable Cassandra:  Eric Abetz (b 1958, senator (Liberal Party) for Tasmania) 1994-2022) in the Australian Senate, Monday 26 November 2017, delivering an important speech opposing same-sex marriage, surrounded by his supporters.  This is an example of how "parliamentary doughnutting" would have created a good photo-opportunity.  The tactic is to assemble enough members to create the impression that what is being said (1) matters, (2) is interesting and (3) has some support.

Cassandra

Cassandra (pronounced kuh-san-druh)

(1) In classical mythology, prophet endowed with the gift of prophecy but fated never to be believed.  Cassandra is called Alexandra in some texts.

(2) A person who prophesies gloom or doom.

(3) A female given name from Greek and of uncertain origin.

1664: From antiquity; in Greek mythology, a daughter of Priam and Hecuba of Troy.  The name is a Latinized from from the Greek Κασσάνδρα (Kassándra or Kassándra) and is of uncertain origin; scholars are divided, some suggesting a feminine form of Greek andros (of man, male human being) and link this to the sometimes cited "helper of men" or "praise of men".  Etymologist note the second element of the name resembles the feminine form of the Greek andros (of man, male human being) which has led some to suggest a link with the primitive Indo-European skand & kand- (to shine).  Interestingly, others have pondered a connection with the not entirely dissimilar primitive Indo-European forms kekasmai (to surpass, to excel) or skend & kend- (raise).  The figurative use in English was first noted in 1664.

Usually associated with prophesy, Cassandra was a daughter of Priam, last king of Troy, and his wife Hecuba but in Homer’s Iliad, while the loveliest of Priam’s daughters, she wasn’t a prophet and according to Aeschylus’ tragedy Agamemnon, Cassandra was loved by Apollo, who promised her the power of prophecy if she would surrender to his desires.  Cassandra accepted and took the gift, but then refused Apollo’s lustful wants.  Enraged, while kissing her, he spat into her mouth to inflict on her the curse that nobody would believe her prophecies.  There are variations in the texts from antiquity, some involving serpents, but all seem to concur Cassandra either was always mad or, at some point in her troubled life, went mad.  In Aeschylus' Agamemnon, she laments her doomed affair with Apollo:

Apollo, Apollo!

God of all ways, but only Death's to me,

Once and again, O thou, Destroyer named,

Thou hast destroyed me, thou, my love of old!

Cassandra foretold the fall of Troy and the death of Agamemnon, but her warnings went unheeded.  During the sack of Troy, Ajax the Lesser dragged Cassandra from the altar of Athena and raped her.  As vengeance, Athena, with the help of Poseidon and Zeus, summoned a storm that sank most of the Greek fleet as it returned home.  After the fall of Troy, Cassandra fell with Agamemnon and later they were murdered together.  She was worshiped (as Alexandra) with Agamemnon.

Cassandra:  Eric Abetz (b 1958, senator (Liberal Party) for Tasmania) 1994-2022) in the Australian Senate, Monday 26 November 2017, delivering an important speech opposing same-sex marriage, surrounded by his supporters.

Cassandra: Well acquainted with the ways of the paparazzi, interviewed on US radio, Lindsay Lohan warned the Duke & Duchess of Sussex (Prince Harry and Meghan Markle) that moving to Malibu, California would not mean they would be less exposed to their intrusions.  Upon being informed the couple had apparently bought a house in Malibu Beach, Ms Lohan laughed at the suggestion moving there from London would help them escape the paparazzi, warning them their presence in California would act as a magnet.  As things transpired, the Sussexes bought a house in Montecito but the short drive north is unlikely to prove a deterrent.  To think otherwise is California dreaming.