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Retro Wielershirt IJsboerke Warncke Geel - REDTEDRetro Wielershirt IJsboerke Warncke 1973 1980 Een prachtige replica van het historische wielershirt van IJsboerke. IJsboerke is een voormalig Belgische wielerploeg, opgericht in 1973 en gestopt in 1980, gesponsord door het gelijknamige ijsmerk. Een replica door RedTed strak gesneden professionele wielershirts voor de echte liefhebbers. Deze koerstrui is van de wielerploeg IJsboerke Warncke (1979). Staf Janssens, van de Belgische ijsfabriek IJsboerke,
Retro Wielershirt IJsboerke Warncke - 1973-1980
Een prachtige replica van het historische wielershirt van IJsboerke. IJsboerke is een voormalig Belgische wielerploeg, opgericht in 1973 en gestopt in 1980, gesponsord door het gelijknamige ijsmerk. Een replica door RedTed - strak gesneden professionele wielershirts voor de echte liefhebbers. Deze koerstrui is van de wielerploeg IJsboerke-Warncke (1979).
Staf Janssens, van de Belgische ijsfabriek IJsboerke, richtte in 1973 de gelijknamige wielerploeg op. IJsboerke was het eerste echte professioneel georganiseerde team in België. Voor deze wielerploeg fietsten vele Belgische en Nederlandse wielrenners zoals de Belgen Walter Godefroot, Jos Jacobs, Ludo Peeters, Rudy Pevenage, Willy Planckaert en Roger Swerts. Nederlanders in dienst van IJsboerke waren onder andere Fedor den Hertog, Bert Pronk, Theo de Rooy en Peter Winnen.
Natuurlijk mogen we de Duitse wielrenner Dietrich Thurau niet vergeten. Didi behaalde in 1978 en 1979 in het wielershirt van IJsboerke zo'n 40 overwinningen waaronder het eindklassement van de Vuelta a Andalucia, een aantal etappes in de Giro d'Italia en de klassieker Luik-Bastenaken-Luik. Ook reed hij zichzelf in de top tien van de Tour de France van 1979.
De IJsboerke ploeg was zeer succesvol en behaalde in totaal 729 overwinningen. En het mooiste voor een Belgische wielerploeg is wel het winnen van 'Vlaanderens Mooiste' - De Ronde van Vlaanderen in 1978 door de Belgische renner - 'De Vlaamse bulldog' - Walter Godefroot.
Deze IJsboerke koerstrui is een replica uit 1979 - toen koerste de wielerploeg onder de naam IJsboerke-Warncke.
De RedTed Retro-collectie - perfecte pasvorm- Brede elastische / siliconen band op de mouw
- Brede elastische / siliconen band onderaan de voorkant
- Smalle elastische / siliconen band onderaan op de rug
- Polyester met bolvormig patroon van microgaatjes (ademend)
- Afgewerkt met platte naden (stevig en geen irritatie)
- Lange en duurzame verborgen YKK-ritssluiting
- 3 ruime achterzakken gesloten door een elastische band
- Aerodynamische / slim-fit pasvorm
- Italiaanse maat van XS tot 5XL (kies 1 maat groter dan je gebruikelijke maat)
Let op! Dit shirt heeft een aerodynamische snit en een Italiaanse maatvoering. Kies voor een maat groter dan je gangbare confectie maat.
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4.2 ★★★★★
Based on 1337 reviews
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Product Reviews
★★★★★ 5
Exquisite, enrapturing
Format: Paperback
Loved the gritty, visceral language and the epic nature of this poem. Notely blows me away -- the loss of memory, the tangled and eternal subway, the owls and masks.
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Reviewed in the United States on May 29, 2014
★★★★★ 5
Five Stars
Format: Paperback
Brilliant, lucid, engaging and brave, a feminist chthonic journey shimmering with poetic bravado.
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Reviewed in the United States on December 18, 2014
★★★★★ 5
A Feminist Divine Comedy?
Format: Paperback
Let me start with this: The Descent of Alette is difficult to read at first. Notley "puts quotation marks around" "groups of words" "in lines" "that can be off-putting." Note that I'm not quoting from the book there, just giving an example of what the book's text appears like. This forces us to read more slowly, taking in each line a few words at a time. What appears to be awkward is in fact a great solution to the speed-reading most of us do these days. That being said, it's troublesome for the first few poems, less so after that, virtually invisible by the end of the first section.
When talking about this book, I immediately compare it to Dante's Divine Comedy, and I commonly see others do the same (see an earlier review here on Amazon.com). Exchange Hell for a subway, and you've basically got it: an underground realm ruled over by a Tyrant, poor souls being tortured, though in this case there is no indication that they have done anything to deserve it. Notley's language might not be quite as beautiful/harsh as Dante's, but her images stand with anything he created. After introducing two characters on a subway, a woman and her baby, both on fire, Notley writes:
"another woman" "in uniform" "from above ground"
"entered" "the train" "She was fireproof" "she wore gloves, & she"
"took" "the baby" "took the baby" "away from the"
"mother" "Extracted" "the burning baby" "From the fire" "they
made together" "But the baby" "still burned"
("But not yours" "It didn't happen" "to you")
"We don't know yet" "if it will" "stop burning,"
"said the uniformed" "woman" "The burning woman" "was crying"
"she made a form" "in her mind" "an imaginary" "form" "to
settle" "in her arms where" "the baby" "had been" "We saw
her fiery arms" "cradle the air" "She cradled air" ("They take your
children" "away" "if you"re on fire")
"In the air that" "she cradled" "it seemed to us there" "floated"
"a flower-like" "a red flower" "its petals" "curling flames"
"She cradled" "seemed to cradle" "the burning flower of" "herself gone"
"her life" ("She saw" "whatever she saw, but what we saw" "was that flower")
After surviving the horrors of the subway, Alette goes even deeper underground, passing through a series of psychological challenges that at times seem straight out of Freud, at times out of Classical mythology, at times out of collective dreams. Throughout it all, we learn more and more about Alette, who is not just a "hero" who goes through the motions necessary to the plot, but who considers and stumbles and is confused and learns.
The third section of the book is a rebirth, wherein Alette finds a source for a stronger power than the Tyrant's, and it is distinctly feminist in its nature. I need to note here for those who react to feminism in a knee-jerk way: Notley's feminism is not a militant feminism, though it requires brief "military" action on Alette's part. Men are helpful in the story, have purpose besides being the bad guy. If anything, what Notley attacks in the form of the Tyrant is the idea of a corrupt masculinity, a kind of Big Brother who would easily stand as an antagonist in any number of 20th/21st century literary works. Alette's feminism is the discovery of her place in the world, and that place is not slaving away mindlessly for the Tyrant, not acting as just a womb or pair of hands or pretty face. It's a nuanced message, despite the epic (and therefore presumably black-and-white) nature of the whole book.
The fourth section is the showdown with the Tyrant, a great deal of philosophizing, and an ending that I actually find more satisfying than that of Paradiso. I won't spoil it here, but it just works extremely well in conjunction with the themes of Descent as a whole.
If you want to be challenged, if you want to think deep thoughts, if you want surreality and magic, pick up The Descent of Alette. For even more interesting reading from the author and her partner, you could also turn to The Scarlet Cabinet, which contains but actually predates the on-its-own publication of Descent.
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Reviewed in the United States on October 11, 2010
★★★★★ 5
A Contemporary Epic
Format: Paperback
I have a complicated relationship with most of the books I've read by Alice Notley. I admire her facility with the lyric, her ability to get just beneath a concept or sentiment using a very talk-y style so that I always feel like I'm with whatever speaker she's using, inside that mind and her mind all at once. This is a good kind of complication. It's one I yearn for with poems.
The unpleasant complications are when I feel as though I'm just being subjected to her unedited notebook entries. Too much, too much, too much. It comes up especially with her book Mysteries of Small Houses.
I mention these difficulties only to sharpen the accomplishment of The Descent of Alette. Like other reviewers, I feel the tonal similarities to Dante's Inferno. Which becomes a subversive allusion considering Alette seeks after a male Tyrant in order to destroy him, while Dante sought after his Beatrice out of desire. But I read and reread Alette, because Notley continually subverts patriarchal conventions in the book.
I actually find I crave the speaker's intellect, and the mythic logic that gives the book its arc. I want it more. Yes, there are quotations around each fragment in the poems. I actually appreciate them for slowing my reading down, and for sharpening my focus on the use of Notley's language. And it's not just a stylistic tic, or something to be endured. It could actually be described as further subversion of The Tyrant Alette pursues.
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Reviewed in the United States on August 25, 2011
★★★★★ 2
Imagery and diction
Format: Paperback
This book was very challenging to read because everything was written in quotations however, it was intriguing as a different way of writing poetry.
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Reviewed in the United States on August 11, 2020
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