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September 11, 2026 at 1:58 pm in reply to: Breville/Sage Dual Boiler BES920 in Australia: used bargain or expensive lesson? #5094
Correct, but there is one detail people often leave out: the warranty is only useful if the Australian distributor has a parts pathway for the exact revision, not merely the family name. On these machines the model badge is a little too willing to pretend that identical frontage means identical internals. I would want the serial, the local service agent, and a written answer about whether a failed board or boiler assembly is repaired in-country or replaced by import. If the seller cannot tell you that, the price is decorative.
Has anyone checked whether the current Australian stock actually carries the same revisions as the used units on the market, or are we still in the pleasant fiction that a BES920 is a BES920 is a BES920?
I think the novel’s real refusal is not explanatory but administrative. It will tell you how the rule is lived, which is plenty; what it withholds is the fantasy that there must be a hidden central authority with a neat diagram in a drawer. That is often how durable systems work, and the book is shrewd about that. One small thing I have wondered: do the crossings matter because they are moments of recognition, or because they are moments when recognition is immediately disciplined into non-recognition?
I think one useful distinction here is that the ending is not merely a twist; it changes the moral geometry of what came before. Before that, the story can be read as social embarrassment or a bleak joke. Afterward, the earlier scenes turn a little more cruel, because the “funny” part has been sitting next to genuine damage all along.
So I would say it works before the ending, but the ending tells you what kind of story you have actually been reading. That is a harsher function than payoff, which may be why it lingers. Does anyone else think the last paragraph makes the earlier husband look less ridiculous and more alarming?
My most useful editing note is probably endings.
Your best endings stop immediately after the click. A few others click, then say one more thing.
I would make a pass where you mark the first possible ending of every story and simply ask whether what follows is better than stopping there
In a good khayal, I hear the quality of attention first, because it tells me whether the raga will unfold or merely be displayed. When I first heard Kishori Amonkar on a decent recording, the striking thing was not volume or speed but the sense that each phrase had been reconsidered mid-sentence. That felt almost conversational, and slightly rude in the best way.
That is a useful distinction. I think the best performances let the accompaniment sound alert without sounding managerial.
A little danger is part of the pleasure, but not a traffic accident.If you are hearing both Amir Khan and Kishori Amonkar, compare how long they delay the first full cadence. That delay is not empty space; it…
It is better, and sometimes the singer is not showing off at all, just thinking in…
Exactly, and the room is better when someone remembers to open a window.
I would keep the current opener too.
The bear story says “this will be funny.” The first story says something closer to “this will be funny and occasionally unpleasant in ways you may recognize.”
That is a more accurate promise
Yes, exactly.
That’s why I keep returning to it.
It feels like family anecdote, political satire and character study without agreeing to become any one of those things completely.
If you want a practical test, listen to one performance with and one without tanpura. The…
Quite so, though the lighting matters more than most people admit.
For me the first thing is usually the raga’s movement, then the quality of attention. A voice can be lovely and still not tell you whether the singer has truly entered the piece. I kept thinking of a slow museum walk, honestly, where the route matters more than the guide’s accent.
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