Thursday, December 18, 2014

The Rubaiyat of Omar Khayyam: Second Edition, Quatrain XXVIII


Second Edition: Quatrain XXVIII

Another Voice, when I am sleeping, cries,
"The Flower should open with the Morning skies."
     And a retreating Whisper, as I awake--
"The Flower that once has blown forever dies."


This quatrain is yet another one that FitzGerald added to the Second Edition but then was dropped from the Third Edition.  What is also interesting is that the last line--"The Flower that once has blown forever dies"-- appears in the First Edition in Quatrain XXVI, but with three very different lines:


First Edition:  Quatrain XXVI

Oh, come with old Khayyam, and leave the Wise
To talk; one thing is certain, that Life flies;
    One thing is certain, and the Rest is Lies;
The Flower that once has blown for ever dies.


As you can see, the two quatrains have nothing in common, except for the last line.


The opening line refers to "Another Voice."  This refers us back to the previous quatrain in the second edition, Quatrain XXVII, in which a "Muezzin from the Tower of Darkness cries,/'Fools! your Reward is neither  Here nor There,'";  the Here and the There refers to those who work for present and future rewards.  What seems confusing is the relationship between the two Voices and also the statements by the voices  in Quatrain XXVIII. Are they the same voice, one that "cries" when he is asleep and then again "whispers" when he awakes?
 


              Another Voice, when I am sleeping, cries,
              "The Flower should open with the Morning skies."
                   And a retreating Whisper, as I awake--
              "The Flower that once has blown forever dies."


If he is asleep, then how does he know what this other Voice says?  Quatrain XXIX offers no help here, for it is almost identical to XXV in the First Edition in which this quatrain does not appear.
One point the quatrain seems to make is that, for flowers anyway, there is no reincarnation.  It blossoms and dies and does not return. 

This quatrain seems to have been just inserted, and it is, perhaps, for this reason that FitzGerald dropped it in later editions.

Sunday, December 14, 2014

Eric Hoffer: The Passionate State of Mind

No. 10

"The dislocation involved in switching from one passion to another--even its very opposite--is less than one wold expect.  There is a basic similarity in the make-up of all passionate minds.  The sinner who turns saint undergoes no more dramatic transformation than the lecher who turns miser."

-- Eric Hoffer --
from The Passionate State of Mind

Essentially it seems that people who are passionate about something are much the same, be it sports,  politics, religion, music, wine, or anything you can think of.   It's only the object that is significantly different, not the emotion or intensity, for they are quite similar.  Is a fight between the supporters of two athletic teams any different really than a fight between supporters of two political philosophies or two religions?

Or at least that's what it seems to me he's saying. 

Wednesday, December 10, 2014

Another Dream?


From Life is a Dream

We live, while we see the sun,
Where life and dreams are as one;
And living has taught me this,
Man dreams the life that is his,
Until his living is done.
The king dreams he is king, and he lives
In the deceit of a king,
Commanding and governing;
And all the praise he receives
Is written in wind, and leaves
A little dust on the way
When death ends all with a breath.
Where then is the gain of a throne,
That shall perish and not be known
In the other dream that is death?
Dreams the rich man of riches and fears,
The fears that his riches breed;
The poor man dreams of his need,
And all his sorrows and tears;
Dreams he that prospers with years
Dreams he that feigns and foregoes,
Dreams he that rails on his foes;
And in all the world, I see,
Man dreams whatever he be,
And his own dream no man knows.
And I too dream and behold,
I dream and I am bound with chains,
And I dreamed that these present pains
Were fortunate ways of old.
What is life?  a tale that is told;
What is life?  a frenzy extreme,
A shadow of things that seem;
And the greatest good is but small,
That all life is a dream to all,
And that dreams themselves are a dream.

-- Pedro Calderon de la Barca (1600-1681)
from  his play Life is a Dream
trans.  Arthur Symons





And speaking of plays and dreams, one mustn't forget Shakespeare.  Here Prospero refers to the illusions he's created for his daughter's wedding . . .
Prospero:
Our revels now are ended. These our actors,
As I foretold you, were all spirits, and
Are melted into air, into thin air:
And like the baseless fabric of this vision,
The cloud-capp'd tow'rs, the gorgeous palaces,
The solemn temples, the great globe itself,
Yea, all which it inherit, shall dissolve,
And, like this insubstantial pageant faded,
Leave not a rack behind. We are such stuff
As dreams are made on; and our little life
Is rounded with a sleep.
      The Tempest. Act 4, scene 1

.  .  . what else could he have in mind? 

Gregory Benford: more from Anomalies

Here are several more stories from Greg Benford's latest short story collection:  Anomalies



"Twenty-Two Centimeters"

This story plays with one of the present theories of the universe-- the membrane theory.  I'll quote from the story itself, as one of the characters expresses her problem with the theory, which is the same as mine.

"She did not really follow the theory; she was an astronaut.  It was hard enough to comprehend the mathematical guys  when they spoke English.  For them, the whole universe was a sheet of space-time, called 'brane' for membrane.  And there were other branes, spaced out along an unseen dimension.  Only gravity penetrated between those sheets.  All other fields, which meant all mass and light, was stuck to the branes."

The "physics guys" discovered another brane just twenty-two centimeters away from our universe, in another dimension, and signals emanating from it.  They developed a portal into the other universe and Julie and Al,  being astronauts, and not having to understand the theory or the mathematics, were chosen to pop through the portal and take a look.  And discover the source of those signals.  This is a first contact tale, rather unique I thought.  It also has a vivid description of the Counter-Earth and its inhabitants. 




"Applied Mathematical Theology"

Benford here plays with an important astronomical discovery that plays an important role in the present theory regarding the formation of the universe.  It is not a story with characters, but a journal article or something similar that gives an account of "(t)he discovery that the Cosmic Microwave Background has a pattern buried within it (which) unsettled the entire world."

     The temperature of this 2.7 K. emission left over from the Big Bang varies across the sky.  Temperature ripples can be broken into angular- co-ordinate Fourier components, and this is where radio astronomers found a curious pattern--a message, or at least, a pattern.  Spread across the microwave sky there was room in the detectable fluctuations for about 10,000 bits, or roughly a thousand words."

Naturally considerable controversy raged about the message, its creator(s) (if one), and implications to be drawn from this.  At first, the most disputed issue was its nature:was it a real message or just a random collection of fluctuations?

"One insight did come from this, however.  Benford's Law (not the author, and a real law), which states that the logarithms of artificial numbers are uniformly distributed, did apply to the tiny fluctuations. This proved that the primordial microwaves were not random, and so had been artificially encoded, perhaps by some even earlier process.  So there was a massage, of sorts."


It's a short article, almost three pages long and possesses a rather tongue-in-cheek resolution, which leaves everybody happy. 




"The Man Who Wasn't There"

This is a high-tech action story set a few decades in the future.  Islamic extremists are trying to reconquer Europe through the use of terrorist tactics and the courts.  Fully aware of the West's ability to intercept electronic communications, they have gone to a low-tech solution--human memory.  All plans and strategies are now committed to memory and communicated by certain Masters.  And, these masters are fully prepared to commit suicide rather than be captured.

The anti-terrorist squad has learned that one of these masters is now living in a compound in one of the suburbs of Paris.  They are preparing to attack the compound and have a few surprises in store for the terrorists.  One is an invisibility suit, comprised of optical fibers which transferred light waves around the suit.  However, it was still dangerous because it affected light only, not an actual object, such as a bullet. They also had one other surprise for the terrorist.

To get in and get the information, they have to be fast and efficient.





"The Final Now"

With a stretch, one might see this tale as a sequel to the earlier story,"Applied Mathematical Theology,"  a story about a message that seemed to be encoded within the Cosmic Microwave Background."  The message's existence had been thoroughly documented, but three questions still remained: who left the message, why was the message left, and what was the message.

The story begins:

He suddenly thought that they had not seen anyone for quite a while.  Amid the vast voyages, adventures, striking vistas--and yes, while basking in symphonies of sensation--they had not needed company.
        Even as twilight closed in.  But now--
        "Do you recall--?"  He asked, turning to Her, and could not recall an ancient name.  Names were unimportant, mere symbols, yes. . .but He did remember that names had existed to distinguish between multitudes.  When?  First task: to name the beasts.  When had He and She said that?

.  .  .
They were, of course, the two who gave tension to this finite, bounded existence.  This universeDuality was fundamental, as was helicity itself, which necessarily had to be included in this exponentially expanding space-time.

Creativity seems to require two--male and female.  They had also brought forth the Others, short-lived and limited creatures, but who yet had consciousness and intelligence.  These, however, were not completely separate beings for the Others were, in a sense, part of the He and the She.  They were brought forth to "To summon up insights that lie within the two of us, but that we cannot express overtly. To be vast meant having parts of yourself that you could not readily find.

He and She now realize that the universe is running downThey call forth one of the Others and tell him that the end time is near.  Upon hearing this, the Other said strongly, "I do not accept this."  At last, the point.  She said with love and deep feeling, "Then strive to alter."

 Perhaps this story provides the answers to the earlier story in the collection as "The Final Now" was published four years after "Applied Mathematical Theology."

Perhaps not.   

 Your thoughts?

Sunday, December 7, 2014

Octavio Paz: some short poems


Here

My steps along this street
resound
             in another street
in which
              I hear my steps
passing along this street
in which

Only the mist is real

   -- Octavio Paz --

I have been in a thick fog or mist and there are strange sounds and strange visions immersed in there, along with me.


Pedestrian

He walked among the crowds
on the Boulevard Sebasto',
thinking about things.
A red light stopped him.
He looked up:
                        over
the gray roofs, silver
among the brown birds,
a fish flew.
The light turned green.
As he crossed the street he wondered
what he'd been thinking.

         -- Octavio Paz --

I was not very alert when I first read this poem, but something bothered me about it--just couldn't put my finger on it.  I am ashamed to admit that I didn't find it until the third reading.  Perhaps I did see it the second time but refused to "see it."   Perhaps the colors distracted me as I read along--first red, then gray, followed by silver and then brown, with the silver being the only color that didn't immediately precede the noun it modified.  Who knows?  Maybe I'm just an inattentive reader at times (only at times I hope.)




Exclamation

Stillness
              not on the branch
in the air
               Not in the air
in the moment
                       hummingbird     

                  -- Octavio Paz --

A hummingbird--it's here, and then somewhere else, and then gone.

This one is very much like a haiku, or so it struck me.  I remembered it when I came across the following poem:



Basho An                                                 Basho An

The whole world fits in-                          El mundo cabe                       
to seventeen syllables,                             en diecisiete silabas:
and you in this hut.                                  tu en esta choza.

Straw thatch and tree trunks:                   Troncos y paja:
they come in through the crannies:          por las rendijas entran
Buddhas and insects.                                Budas e insectos.

Made out of thin air,                                 Hecho de aire
between the pines and the rocks               entre pinos y rocas
the poem sprouts up.                                 brota el poema.

An interweaving                                        Entretejidas  
of vowels and the consonants:                   vocales, consonantes:
the house of the world.                              casa del mundo.

Centuries of bones,                                    Heusos de siglos,
mountains: sorrow turned to stone:           penas ya pen~as, montes:
here they are weightless.                           aqui no pesan.

What I am saying                                      Esto quie digo
barely fills up the three lines:                    son apenas tres lineas:
hut of syllables.                                          choza de silabas. 


                                     -- Octavio Paz --


The first and third lines consist of five syllables while the second line has seven--the seventeen syllables of a class haiku.  In the fifth stanza, the second "penas" should have a tilde over the "n."

Basho, of course, is the most famous haiku poet in Japan.  I once purchased a book titled The Haiku Masters and was surprised to find that Basho was not included among them.  The editor in the Introduction explained that the Masters are those superior haiku poets who are second to Basho, who is not a haiku master, but the Haiku Poet.


Example

A butterfly flew between the cars,
Marie Jose said:  it must be Chuang Tzu,
on a tour of New York.
                                       But the butterfly
didn't know it was a butterfly
dreaming it was Chuang Tzu
                                                or Chuang Tzu
dreaming he was a butterfly.
The butterfly never wondered:
                                                  it flew.

                  --  Octavio Paz --


This, of course, refers to a famous saying by Chuang Tzu, some thousands of years ago, in which he supposedly comments on the nature of reality--that one can't tell the difference between reality and a dream.  He said that once he dreamt he was a butterfly and then awoke, and couldn't decide whether he was a butterfly dreaming that he was Chuang Tzu or Chuang Tzu dreaming that he was a butterfly.  I always believed he was satirizing those pompous sages whose wise utterances consisted of obscure formulations.  They always reminded me of the following:
 
Seek clarity--        and you gain wisdom.
Seek wisdom--      and you gain obscurity.
Seek obscurity--    and you gain followers.





Octavio, of course, has many long poems, but those are for another day.

Which, if any, are the most interesting to you, and why?

All poems come from The Collected Poems of Octavio Paz, edited by Eliot Weinberger and published as a New Directions Paperback in 1991.  Most translations are by Eliot Weinberger.

Saturday, November 29, 2014

My Dinner With Andre, a film



Last year I watched a remarkable film, The Man from Earth, an SF film without BEMs, spaceships, ray guns, space battles, etc.  The film consisted solely of a man who had just told a group of his friends that he was something like 12,000 years old and their reaction to this announcement.  There were three possibilities: he has lost his mind, he was lying, he was telling the truth.  The conversation that followed centered on the first two possibilities for they immediately ruled out the third.  The fascination of the film, for me anyway, depended on the skill of the actors and the dialogue, something which I seldom see nowadays in which films are mostly dependent upon special effects and rapid action so that one doesn't realize how weak the story really is.

I mentioned this film to some friends and relatives, and one of them suggested that I watch My Dinner With Andre, for it was similar in one respect.  The film depicted two friend who hadn't seen each other in several years and their conversation over dinner.  Again, this film depended upon the skill of the actors and the dialogue. 

Wally is the POV character (he's played by Wallace Shawn), and he reluctantly agrees to meet Andre (he's played by Andre Gregory) for dinner, after having lost touch with each other for a number of years.  He had heard some strange stories about Andre.  The characters in the film have the same names as the actors who play them, which leads me to wonder if there is some truth to the film.  According to the notes, they are real life friends and wrote the dialogue and were "More or less playing themselves. . ."

The conversation ranges from the New York theater to strange and bizarre trips to India, the Sahara, and Poland that Andre made.   However, there is a theme running through this, which might be best exemplified by the concept of mindfulness.  I first encountered this in some contemporary Buddhist writings, which focuses on being aware and awake to one's present.  According to this concept, too many people are trapped either by the past or by the future and therefore go through life without being aware of the present, which is the only reality we can know..  They are either overcome by grief or anger or remorse over past events or spend their time planning for and worrying about the future. In both situations people are like robots, preprogrammed by the past or the future and not awake to the present and therefore oblivious to reality: it is though they are in a trance.

Andre's experiences all seem to be directed towards getting him and the other participants to focus on themselves as individuals, to break free of their programming in some way.  Most of the events in the workshops or on his trips  appear to be unplanned or unscripted and depend on the spontaneity of those taking part.  However, we are never shown these events, for we learn about them solely through Andre's description of them. We can experience Andre's past only through his conversation.

Wally, however, is resistant to Andre's theme and sees no reason to change, for he's happy the way he is.  In fact, the thought of just "being" and not doing anything frightens him.  For if he is doing nothing, then he must be aware of himself and this he says he cannot do.     




SPOILER:

Wally is however, is not completely immune to Andre's message.  The film opens and closes on Wally.  In the beginning we see Wally running errands and mentally complaining about his bills and lack of income and inability to get his plays produced or even not being able to get any jobs as an actor.  He is almost run down as he crosses the street.  He clearly is not paying attention to his surroundings but is concerned with the errands he must run and his financial status.

There is a subtle difference though at the ending of the film.  We again follow Wally as he leaves the restaurant and this time he decides to take a taxi.  While in the taxi he looks out the window and realizes that many of the buildings that he goes by have some meaning for him, a longtime New York resident.  He now is far more aware of his present surroundings than he was prior to his dinner with Andre.

This film is on my short list of films I will see again.











Monday, November 24, 2014

The Rubaiyat of Omar Khayyam: 2nd Edition, Quatrain XX

Second Edition:  Quatrain XX

The Palace that to Heav'n his pillars threw,
And Kings the forehead on his threshold drew--
   I saw the solitary Ringdove there,
And "Coo, coo, coo,"  she cried; "Coo, coo, coo."


This is another quatrain that first appeared in the Second Edition and was then dropped from subsequent editions.  Perhaps FitzGerald felt this was repetitive as the previous quatrain also referred to ancient cities that are now abandoned and occupied only by other creatures.

The first line made me think of the Tower of Babel which also stretched toward heaven, but was abandoned.  The third and fourth lines according to the Note refers to another literary work, The Conference of the Birds, by Abu Hamid bin Abu Bakr Ibrhim (1145-c1221) , a Persian who was better known by his pen-names Farīd ud-Dīn and ʿAṭṭār "the perfumer."  Attar was an influential Sufi mystic and poet, and FitzGerald had published an abridged translation of this work.

In Attar's Conference of Birds, the ringdove "is reproved by the Leader of the Birds for sitting still, and for ever harping on the one note of lamentation for her lost Yusuf."   In addition, "The Ringdove's  ancient Pehlevi Coo, Coo, Coo, signifies also in Persian 'Where? Where?  Where?(Wikipedia entry on Attar the poet)

The cry of the Ringdove in the abandoned city has a double meaning therefore.  It is a lament for a loved one who has been lost and also asks at the same time, "Where has he (the glory of the city also) gone,"  an echo of the French poet Francois Villon's lament, 'Where are the snows of yesteryear?' from "The Ballade of Ladies of Times Past."

Quatrain XX really doesn't add anything new to the Rubaiyat, for its theme of the transitory nature of human endeavors had been brought up earlier and will be referred to again in later quatrains.  I doubt that it was missed in later editions.

Sunday, November 16, 2014

John Banister Tabb: "Evolution"--a short poem

Evolution

Out of the dark, a shadow,
  Then, a spark;
Out of the cloud a silence,
  Then, a lark;
Out of the heart a rapture,
  Then, a pain;
Out of the dead, cold ashes,
  Life again. 

-- John Banister Tabb --
 (March 22, 1845--November 19, 1909)

A Poem A Day: editors:  Karen McCosker and Nicholas Albery


Notes:
"Tabb was a convert to Roman Catholicism, and ordained in 1884 two years after his first book of poetry was brought out through private publication.  Born in Virginia and a blockade runner for the Confederacy, Tabb called himself an 'unreconstructed Rebel,' though he taught English at St. Charles College in Maryland until he was made to retire in1907, probably due to the loss of his eyesight."



I can see this as being the story of a person emerging from some deep personal sorrow, perhaps the loss of a loved one--especially the last two lines: Out of the dead, cold ashes,/ Life again.  He has now reached the point where he can, once again, feel pain, for the numbness of grief is gone.  This one grows on me.  I think I shall do a bit of digging about John Banister Tabb.


Let there be light,
Let there be sound,
Let there be feelings,
Let there be life.

Monday, November 10, 2014

Carl Sagan: A Pale Blue Dot

  PALE BLUE DOT: A VISION OF THE HUMAN FUTURE IN SPACE:  CARL SAGAN

  
“Look again at that dot. That's here. That's home. That's us. On it everyone you love, everyone you know, everyone you ever heard of, every human being who ever was, lived out their lives. The aggregate of our joy and suffering, thousands of confident religions, ideologies, and economic doctrines, every hunter and forager, every hero and coward, every creator and destroyer of civilization, every king and peasant, every young couple in love, every mother and father, hopeful child, inventor and explorer, every teacher of morals, every corrupt politician, every "superstar," every "supreme leader," every saint and sinner in the history of our species lived there-on a mote of dust suspended in a sunbeam.

The Earth is a very small stage in a vast cosmic arena. Think of the endless cruelties visited by the inhabitants of one corner of this pixel on the scarcely distinguishable inhabitants of some other corner, how frequent their misunderstandings, how eager they are to kill one another, how fervent their hatreds. Think of the rivers of blood spilled by all those generals and emperors so that, in glory and triumph, they could become the momentary masters of a fraction of a dot.

Our posturings, our imagined self-importance, the delusion that we have some privileged position in the Universe, are challenged by this point of pale light. Our planet is a lonely speck in the great enveloping cosmic dark. In our obscurity, in all this vastness, there is no hint that help will come from elsewhere to save us from ourselves.

The Earth is the only world known so far to harbor life. There is nowhere else, at least in the near future, to which our species could migrate. Visit, yes. Settle, not yet. Like it or not, for the moment the Earth is where we make our stand.

It has been said that astronomy is a humbling and character-building experience. There is perhaps no better demonstration of the folly of human conceits than this distant image of our tiny world. To me, it underscores our responsibility to deal more kindly with one another, and to preserve and cherish the pale blue dot, the only home we've ever known.”
                     -- Carl Sagan --
Born: November 9, 1934, Brooklyn, New York
Died: December 20, 1996, Seattle, Washington

Wednesday, November 5, 2014

Loren Eiseley: "Fly Falcon"


Fly Falcon

All of the falcon kind, the hard travelling
                                 talon-clawed ones
that for so many years I have seen
go over Hawk Mountain on thousand-mile journeys--
at heart I go with them, but I also travel
with the fluttering Monarch butterflies,   
toss on gales lost at sea, or cross the Gulf
                                      with humming birds.
You think this impossible? not with the mind's eye
                                                        my friend
                                           the ever widening eye
of the living world, the eye that someday
will see all as one, the eye of the hurricane,
                                                         the eye
at the heart of the galaxy with the spinning
                                        arms of the suns about it.
Fly falcon, fly Monarch, fly gull
                               and you in the invisible night-tiger's eye
going somewhere in reed grass.  I am there
padding softly with you, fly albatross
that sleeps on the Cape Horn  windsWe are all
the terrible eye that sees the galaxy,
                                  we make it real.
Without us multiplied, what really exists?
Fly falcon, stare tiger in the night grass,
stare that the universe may find itself living
beyond the immortal fires.

-- Loren Eiseley --
from Another Kind of Autumn




I think this is the core or heart of the poem--the eye of the imagination or the mind's eye.

You think this impossible? not with the mind's eye
                                                        my friend
                                           the ever widening eye
of the living world, the eye that someday
will see all as one, the eye of the hurricane,
                                                         the eye
at the heart of the galaxy with the spinning
                                        arms of the suns about it.


But it suggests also something more--"   the ever widening eye/of the living world, the eye that someday/will see all as one." I think this goes beyond a reference to the imagination.  In the Upanishads, correct me if I'm wrong, Brahman is the unchanging reality both in the midst of and beyond reality.  Brahman is all, it looks out of the tiger's eye and out of the eye of that tiger's prey.




And how can one understand the very last part of the poem?


We are all
the terrible eye that sees the galaxy,
                                  we make it real.
 Without us multiplied, what really exists?
Fly falcon, stare tiger in the night grass,
stare that the universe may find itself living
beyond the immortal fires.



The "us"?  All living beings perhaps?   Again, there is that eye that sees the galaxy--that makes it real.  And somehow this eye must
 
stare that the universe may find itself living
beyond the immortal fires.

Living beyond the immortal fires?

It's a poem to puzzle over.  Eiseley hints in his prose works a belief in something more than the material world, but he only hints at it, points at things that seem strange once one looks closely at them.  I don't read Eiseley for answers, but for questions and perhaps a rattling of my cage when I begin to think I really know what's going on.

I suspect that after reading this poem,  I will see Dusky, my cat whom I have shared my quarters with for almost seventeen years now, and wonder how much I really know about her.   What does she see that I don't?

Sunday, November 2, 2014

The Rubaiyat of Omar Khayyam: Quatrain XIV, Second Edition

This quatrain provides warning about planning for the future when we really don't know what might happen from one minute to the next.


Second Edition:  Quatrain XIV

Were it not Folly, Spider-like to spin
The Thread of  present Life away to win--
    What? for ourselves, who know not if we shall
Breathe out the very Breath we now breathe in!


Apparently,  FitzGerald was dissatisfied with this quatrain for it appears only in the Second Edition and was dropped from all succeeding editions.

FitzGerald employs an interesting analogy here, that of the spider.  The spider spins the strands of its web from its own body, and FitzGerald suggests that our efforts to gain glory or wealth or even life in paradise consume our life in the same way.  He then asks why we should spend our lives doing this for some future gain when we don't know whether we will live long enough to expel the breath we just took in.

Enjoy the Now seems to be his point here, as it is in so many of the other quatrains.


Wednesday, October 29, 2014

Anthony Powell: A Dance to the Music of Time: Vol 1, Spring

Anthony Powell
A Dance to the Music of Time
Vol. 1,  Spring
A Question of Upbringing
A Buyer's Market
The Acceptance World


One of the most common adjectives applied to this work is "monumental."   It's also been used to describe other works, but this is one of the few times when it is applicable and fitting.  A Dance to the Music of Time is now published as a set of four novels:  Vol. 1 or Spring, Vol. 2 or Summer, Vol. 3 or Autumn, and Vol. 4 or Winter. Each volume consists of three novels, for example the three listed make up Vol. 1.  In all there are twelve novels, one for each month of the year.

When I get around to rereading the set,  I shall begin on the first day of Spring of whatever year that happens to be and then cover one novel a month.  Perhaps then I shall do a more in-depth look at the work.  For now, the best I can do is a brief overview of each of the volumes.

Rather than stumble about trying to describe the overall theme of the work, I'll let Powell do it.  Jenkins musing is brought about when he gazes at Poussin's painting, A Dance to the Music of Time.
(click on the painting for a larger image)


                                                           


     The image of Time brought thoughts of mortality: of human beings, facing outward like the Seasons, moving hand in hand in intricate measure: stepping slowly, methodically, sometimes a trifle awkwardly, in evolutions that take recognisable shape: on breaking into seemingly meaningless gyrations, while partners disappear only to reappear again, once more giving pattern to the spectacle: unable to control the melody, unable, perhaps, to control the steps of the dance.
 

The first novel begins shortly after the end of WWI,  with four young boys:  Nick Jenkins, Kenneth Widmerpool, Charles Stringham, and Peter Templer.  They are finishing schooling, preparatory to entering the university.   At the university, Nick Jenkins, the POV character, meets other students and faculty members who will play a role in his future.  At the same time, his close association with the other three begins to weaken.

The second and third novels provide a picture of university life and the decade after leaving the university as they attempt to establish themselves in the larger world: to find their own places in the social world as well as developing their careers, in the world of the arts, business, and government.  The world they live in is the world of the English middle class. The third novel ends with the four characters in their early thirties and in the early 1930's as well.

Jenkins encounters at varying stages the other three young men as they struggle to establish themselves, as well as some of the faculty from the university.  The various encounters he has with those from his past also bring forward others who will play a role in his future.   He is frequently surprised to find that his earlier judgements of people prove wrong or incomplete as he sees them succeeding in their ventures or slowly disintegrating as the struggle for existence takes its toll on them.

This is a complex work and will require time to fully appreciate it.  It's not a work to be picked up now and then for 15 or 20 minutes at a time.  Perhaps one novel a month might be the wisest schedule.   

Friday, October 24, 2014

Ray Bradbury: The Kilimanjaro Device

Ray Bradbury's "The Kilimanjaro Device"
a short story found in the collection  I Sing the Body Electric


Did the title jog your memory a bit?  Perhaps remind you of another story by an American writer?  Who does the following quotation from the story suggest?

     "Oh, he had readers all right, all kinds of readers.  Even me.  I don't touch books from one autumn to the next.  But I touched his.  I think I liked the Michigan stories best.  About the fishing. I think the  stories about the fishing are good.  I don't think anybody ever wrote about fishing that way and maybe won't ever again.  Of course, the bullfight stuff is good, too.   But that's a little far off.  Some of the cowpokes like them;  they been around the animals all their life.  A  bull here or a bull there, I guess it's the same.  I know one cowpoke has read just the bull stuff in the Spanish stories of the old man's forty times.  He could go over there and fight, I swear."

One last clue:  The narrator refers to "the old man" as "Papa."  Of course, the style Bradbury adopts in this story is also a clue:  short declarative sentences, usually the straightforward subject-verb-object form.  Everything is concrete and definite.

But the point of the story is rather unusual, which isn't surprising since it's a tale by Ray Bradbury.  The narrator is on a mission, which is why he has come to this small town where the "old man" is buried.  He reveals his mission to a local hunter, the one who was quoted above.



     "'You  been up to the grave yet?'  asked; the hunter, as if he knew I would answer yes.
     'No,' I said.
     'Why not?'
     ' Because it's the wrong grave.,' I said.
     'All graves are wrong graves when you come down to it,' he said.
     'No,' I said. 'There are right graves and wrong ones, just as there are good times to die and bad times.'
     He nodded at this.  I had come back to something he knew, or at least smelled was right.
     'Sure, I knew men.' he said, 'died just perfect.  You always felt, yes, that was good.  One man I knew, sitting at the table waiting for supper, his wife in the kitchen, when she came in with a big bowl of soup, there he was sitting dead and neat at the table.  Bad for her, but, I mean, wasn't that a good way for him?  No sickness. No nothing but sitting there waiting for supper to come and never knowing if it came or not.'"



As you can see, the story is going in a strange direction.  What does this have to do with the grave on the hill that is the wrong grave?  The grave is that of Ernest Hemingway, although it is never stated.  However, the clues given above clearly suggest it is Papa Hemingway, who committed suicide in 1961 and was buried in Ketchum, Idaho.  There's also  a time machine involved, sort of a "psychic time machine" that is.

Time machine stories generally fall into two broad categories.  There's type in which the time travelers go solely as observers, fearing to do something, anything  which would change history and perhaps eliminate them.  Frequently though, they end up doing exactly what they feared.  Ray Bradbury's "A Sound of  Thunder" is a variation of that type of story.  The travelers go back, intending to hunt dinosaurs, but they kill only those dinosaurs that will die within a few minutes anyway, thereby reducing the risk of changing the future.  But.  .  .

The second type of time traveler is the one who goes back intending to change history.  There generally two types of these.  One type involves those who go back to kill someone who had a major and deleterious effect (in their minds anyway) on history--I have read several stories in which someone goes back in order to kill Adolf Hitler, thereby reducing the possibility of WWII and the holocaust.   A second type depicts the efforts of those who attempt to save someone from being killed--Abraham Lincoln or John F. Kennedy, for example.

But, neither of these is exactly what the narrator has in mind.




SPOILER:  The following reveals the story and the narrator's mission.  











The focus in the story is on dying at the right time.  As I mentioned above,  Hemingway committed suicide after living several years in pain and ill health, the result of an hereditary disease that affected several members of his family, some of whom either died from the disease or committed suicide.  Another contributing factor was the injuries he suffered in two plane crashes.  He and his wife had flown to Africa, but the plane crashed on landing.   He and his wife survived, but with some broken bones and tissue damage.  They attempted to fly out to get medical treatment on the next day, but that plane's engine exploded at takeoff.  Again they survived.  Eventually they did get the needed medical help, but Hemingway suffered health problems after that.

The narrator has a time machine, but he doesn't intend to use it to stop Hemingway from killing himself, nor does he intend to prevent the two plane crashes.  Instead, he goes back in time and meets "the old man." 

The narrator explains that the truck can possibly go back to 1954 (the date of the two plane crashes) and possibly can turn into plane.   The old man then asks him if he could land the plane a little bit differently, a little bit harder and that he "be thrown out but the rest of you okay?"
The narrator answers, "I'll see what I can do."

The old man "gazed back down the road at the mountains and the sea that could not be seen beyond the mountains and a continent beyond the sea. 'That's a good day you're talking about.' 
      'The best.'
      ' And a good hour and a good second.'
      'Really, nothing better.'"

Death is inevitable, but there are good deaths and bad deaths.

Saturday, October 18, 2014

Gregory Benford: Anomalies

Gregory Benford
Anomalies
a collection of short stories (1975-2012)

The following are three of the short stories found in Gregory Benford's latest short story collection, Anomalies.  The stories focus on a wide variety of topics, from wormholes to AIs to string theory.  I will post brief reviews of the other stories in the collection over the next few weeks.


"A Worm in the Well"


Claire, the pilot/owner of an independent freighter,  is deep in debt, so much so that she about to lose the freighter to her creditors.  She more or less controls the ship with the aid of Erma, a wisecracking AI.  Erma knows that she really runs the ship.

Claire takes on a high-paying but dangerous job--dropping down into the sun's corona to take photos of a wormhole that has suddenly appeared.  The scientific community is seriously bothered by the appearance of a wormhole so close to the sun and need the photos and other data gathered by her close encounter by the sun in order to determine what the dangers are.

Once there, however, she decides to do a career change from "nature photographer" to a "bring 'em back alive" hunter.  The photos and data still won't bring in enough money to pay off all of her debts, but capturing and bringing back a wormhole, something that has never been done before, will give the scientists an unparalleled opportunity to study and even experiment with a wormhole.  Claire figures that she can negotiate a much bigger fee.  Erma, of course, has her doubts.

The story naturally is heavy on the science, but the information is handled very nicely in the arguments (discussions) between Claire and Erma.



"The Worm Turns"
It's several years later and Claire and Erma are still broke and about to lose the ship again.   This time they are forced to take on a hazardous job: it's either that or lose the ship.  Since Claire transported the wormhole away from the sun, earth scientists have meddled with it and enlarged it.  It now is more likely to be dangerous to anything in the neighborhood, the solar system for example.

Claire's task is now to fly through the wormhole, check out the other side, and then report back.   However, life (or a wormhole)  is never that simple, so life gets exciting again.  And, what she finds at the other end is something neither she nor Erma nor the scientists expected. 


"The Semisent"
In literary criticism, a Bildungsroman,[a] novel of formation, novel of education, or coming-of-age story is a literary genre that focuses on the psychological and moral growth of the protagonist from youth to adulthood, and in which, therefore, character change is extremely important (from the Wikipedia entry on Bildungsroman).

What's unusual about this short story is that it's a bildungsrom or coming-of-age story, not about a human being but an AI.  The AI begins as a small box and by the end of the story it has evolved into a tall distinguished gentleman with sorrowful blue eyes.  And there's also a human involved.



Monday, October 13, 2014

The Rubaiyat of Omar Khayyam: Quatrain VIII, 2nd Edition

Some months ago I finished a series of posts on the Rubaiyat of Omar Khayyam as translated by Edward FitzGerald.  I went through all 75 quatrains from the First Edition and included matching quatrains from the Second and Fifth Editions.  However, while the First Edition has seventy-five quatrains, the Second Edition has one hundred and ten quatrains and the Fifth has one hundred and one.   Therefore there are at least twenty-five quatrains which I have so far ignored.

I am going to do something about those ignored quatrains now.  Over the next several months? years? I will quote and briefly discuss those missing quatrains.  Actually, it's just an excuse to once again open the pages of a favorite work.

So, what follows are the missing quatrains from the Second Edition and the equivalent quatrains from the Fifth Edition.  These did not appear, as far as I can tell, in the First Edition.


Second Edition: Quatrain VIII

Whether at Naishapur or Babylon,
Whether the Cup with sweet or bitter run, 
      The Wine of Life keeps oozing drop by drop,
The Leaves of Life keep falling one by one.



Fifth Edition:  Quatrain VIII


Whether at Naishapur or Babylon,
Whether the Cup with sweet or bitter run, 
      The Wine of Life keeps oozing drop by drop,
The Leaves of Life keep falling one by one. 


As you can see, the two versions are identical: he made no changes to this quatrain. 

Naishapur and Babylon were important cities in antiquity but now are of little importance.  For recent significance, if one is looking for that,  Naishapur can claim to be the birthplace of Omar Khayyam.

The theme is a common one in the Rubaiyat, that in the slow passage of time, the dissolution of all things moves onward relentlessly, regardless of whether life is sweet or bitter.

Sunday, October 12, 2014

The Maltese Falcon: Three film versions

A classic example of Hollywood's ongoing struggle to be creative, imaginative, and original is the remake. A great film comes out, or at least one that does very well at the box office, and in a frenzy of creative energy, remakes appear, or, if not remakes, then at least a host of films that strongly resemble their progenitor. In most cases, therefore, the remake is a pale copy of the original. Only rarely does the opposite occur: the remake is actually the superior version. I am aware of only two cases in which this has happened. However, I'm sure that this has happened more often; I'm just not aware of them, and I would appreciate hearing about other examples.



The two cases I'm familiar with and have viewed are the two versions of Gaslight (see my post of August 26, 2008) and the three versions of The Maltese Falcon. The Maltese Falcon has long been a favorite of mine, so I was surprised and intrigued when I recently discovered the two previous attempts at film versions of Dashiell Hammet's fine novel. The two earlier versions are The Maltese Falcon which came out in 1931 and Satan Met a Lady, which appeared in 1936. The classic or best known version with Humphrey Bogart appeared in 1941.






Satan Met a Lady is quite different from the other versions for it is a comedic adaptation of Hammett's novel. Most of the basic plot elements are present, although in a modified form. The black bird becomes a ram's horn, specifically the horn Roland the Brave finally sounded to bring back Charlemagne, although too late to save him and the rear guard from annihilation. (See Le Chanson de Roland, an epic poem of some 4000 words written probably around the early 12 century.) The horn is, of course, stuffed with jewels. Along with various plot element changes, the characters were renamed:



Actor Character Hammett's character



Warren William -- Ted Shane (Sam Spade)
Bette Davis -- Valerie Purvis (Ruth Wonderly/Brigid O'Shaughnessy
Alison Skipworth -- Madame Barabbas (Casper Gutman)
Marie Wilson -- Miss Murgatroyd (Effie)
Porter Hall -- Milton Ames (Miles Archer)
Arthur Treacher  -- Anthony Travers (Joel Cairo?)
Maynard Holmes -- Kenneth (Wilmer Cook--young gunman)



Imdb.com gives the complete cast for those who are interested.



The film opens with Ted Shane being kicked out of a small town. He then returns to rejoin his former partner Milton Ames. The Woman appears, and the plot loosely follows the novel, more or less, mostly less. Although I watched the movie last week, I've forgotten most of it.



Warren William makes Shane a bit of a dunderhead, always tripping over his own feet, metaphorically speaking. Bette Davis clearly is the Class Act as Valerie Purvis. She is too strong for the rest of the cast. Alison Skipworth's Madame Barabbas was also quite good. I wonder if Greenstreet had watched her performance. Marie Wilson played Effie as a ditsy blond, much like her later roles as the ditsy blond in several Dean Martin--Jerry Lewis comedies. Maynard Holmes' Kenneth (the young gunsel) becomes a schoolyard bully who spends considerable time scowling and whining.



The title isn't as weird as it sounds, for Hammett in the first paragraph of the novel describes Spade:



"Sam Spade's jaw was long and bony; his chin a jutting v under the more flexible v of his mouth. His nostrils curved back to make another, smaller v. His yellow-grey eyes were horizontal. The v motif was picked up again by thickish brows rising outward from twin creases above a hooked nose, and his pale brown hair grew down--from high flat temples--in a point on his forehead. He looked rather pleasantly like a blond satan." So, the satan met a lady.









The 1931 version, the first version, plays it straight. As far as I could tell, the only significant plot difference between it and the 1941 version is the ending. The 1931 version kept Hammett's original ending in which Wilmer kills Gutman. Aside from that, there are only a few differences between it and the Classic 1941 version. The secondary characters seem to have less onscreen time in comparison to the Classic version. This perhaps may partially be the cause for what I see as the most significant difference between the two.



It's hard to describe the difference, but the closest I can come to it is to say that the characters in the first version were thin in comparison to those in 1941. They seemed to be surface characters only while the characters in the 1941 film had depth to them. Moreover, the choice of Ricardo Cortez as Sam Spade is bewildering. Why it was decided to cast someone who appears to be the Latin lover--Ramon Navarro or Valentino--is beyond me. Perhaps that type of leading man was the rage at that time.



Cortez is not convincing as Spade. For example, when Ruth Wonderly is doing her helpless heroine bit, Cortez has this big wide grin on him--this is all fun and games. Bogart, on the other hand, has just the slightest grin, and it's not an all fun and games grin. It is a tired, cynical grin; he has been lied to by his clients in the past and it always made his job harder, and now he's hearing more lies again.



And again, when Cortez explains to Wonderly at the end why he's going to turn her in to the police, it seemed to be just someone reading lines. Bogart looks directly and her, and then turns away, looks down at the floor because he can't face her. He may be in love with her, but other considerations are more important--loyalty to a dead partner being one of them.



The same holds true for the rest of the cast: there really is no comparison between Greenstreet, Lorre, and Elisha Cook and their counterparts in the 1931 version. The dialogue and the encounters among them are similar, but the difference is between real people and one-dimensional cardboard cutouts.



There's always the debate as to whether it's the director or the cast that's most important. Would Roy Del Ruth, director of the 1931 film, have produced the same film if he had the 1941 cast? What would John Huston have done with the 1931 cast? Intriguing questions. I don't have an answer, except the perhaps too obvious suggestion that it is the combination of director and cast that creates a forgettable film in 1931 and a classic some ten years later.



Overall Rating: Have some fun and see all three. Read the novel too.

Monday, September 22, 2014

Robert Frost: "Misgiving"

An Autumn Poem----


Misgiving

All crying, 'We will go with you, O Wind !'
The foliage follow him, leaf and stem;
But a sleep oppresses them as they go,
And they end by bidding him stay with them. 

Since ever they flung abroad in spring
The leaves had promised themselves this flight,
Who now would  fain seek sheltering wall,
Or thicket, or hollow place for the night.

And now they answer his summoning blast
With an ever vaguer and vaguer stir,
Or at utmost a little reluctant whirl
That drops them no further than where they were.

I only hope that when I am free
As they are free to go in quest
Of the knowledge beyond the bounds of life
It may not seem better to me to rest. 

-- Robert Frost --



The usual debate is whether there is life after death.  Is the soul or some sort of life force immortal and does it survive the death of the body?  Frost, being Frost, doesn't see it that way in this poem, naturally.  In the last stanza, Frost's usual place for mischief, he posits it a different way.  He fears that he may follow the lead of leaf and branch and flower and take his final rest instead of attempting to go beyond what knowledge we have gained from life and finding out if there is something more.


A very disturbing thought.  We spend much of our lives wondering about, speculating about, arguing about, even killing others who disagree about the possibility of life after death and then be too tired to find out when we have the opportunity.   Typical Frost--always off on his own somewhere. 

Friday, September 19, 2014

Judex: a film

Judex, a French language film
Black-and-white, English subtitles
Directed by Georges Franju
1963


The public library in Tucson publishes around the first of the month a list of acquisitions made during the previous month.  I always check it to see if anything interesting has come in.  In this way, I find  some intriguing books and films, many of which I had never heard of. This is how I found Judex.   Although it came out in 1963, it was in black-and-white.  It is also a French language film, with subtitles in English.

The description sounded intriguing. A corrupt banker is kidnapped by a shadowy crime fighter, Judex, played by the American magician, Channing Pollock.  The plot gets more complicated as a group of thieves led by the scheming Diana Monti attempts to benefit from the situation by getting their hands on some of the banker's files that have information about rich and powerful people and using the information for blackmail.  Diana had worked her way into the household by gaining a position as a maid and then getting the banker, a widower, to fall in love with her. 

A short way into the film, I began to think that this film resembles a serial and also a film that might have been produced much earlier, perhaps the 20s or before.  It was in black-and-white, and scene-changes were denoted by several seconds of darkness.  In addition,  text messages providing narrative information were provided during some of the scene changes.  Other elements were some vaguely SF or futuristic technology such as a closed circuit TV picture that resembles others I had seen in early serials and rock doors that slide open smoothly accompanied by a distinct hum, obviously the motor.  Some drugs with unusual properties were also used by various individuals in the film.

After viewing the film, I read the information booklet that came with it.  The film was produced in 1963 and directed by Georges Franju.  Franju's Judex, according to the booklet, is his homage to Louis Feuillade, who in 1916 had produced a five-and-a-half-hour, 12 episode serial by the same name.  Franju cut a considerable amount of the film that dealt with the backstory explaining Judex's motivation for attacking the banker.

Judex, when he is the crime fighter (he also had a secret identity, naturally), is dressed in black with a hat and cape that reminds me of Zorro (no sword though).  He is assisted by four or five men who also dress in black clothing and wear black masks.  Diana Monti, who leads the group of three or four thieves,  wears a tight, black outfit, reminiscent  of numerous catwoman outfits that have appeared over the years, and has a stiletto. strapped to her thigh.    

While there really are no cliffhangers, forcing one to wait for the next episode, the influence of the serial format appears clearly as every one of the major characters--the banker, Diana Monti (the chief villainess) , Judex,  Jacqueline (the banker's beautiful young daughter), and at least one of the thieves--is captured and either knocked out or drugged into insensibility at least once during the film and then manages to escape.  In fact, the banker's daughter spends much of her time unconscious and being carried about by the thieves, who plan to force her to reveal where her father's papers are hidden, or by Judex and his crew when they rescue her.


And, you mustn't miss the battle to the death on the rooftops between the attractive Diana Monti in her tight, black catwoman outfit and Daisy, an attractive circus performer, in her tight. white trapeze outfit.   

 Lots of fun.  I wonder if the original 12 episode serial is available somewhere.

Wednesday, September 10, 2014

Simon Ortiz: Hawk

Hawk

Hawk
sweeps
clear through
the background
which is sky
and mountain ledge,
--Old Chuska Mountain,
my friend, shelter--
His immense knowledge
of wind,
his perception
of circling slow wind,
his edge of wing
on air trail

straightens then suddenly
overhead,
directly above us,
the pines.

This man, he knows
what he is doing.

-- Simon Ortiz --
from Woven Stone


What would it be like to fly like this hawk?

I remember standing at the edge of the Grand Canyon and watching birds fly, first maybe ten feet off the ground where I was standing and then, beyond the edge where I couldn't go.  What would that be like, to have the ground maybe ten feet below and then suddenly drop away to hundreds of feet below?  What would that be like?

Sunday, September 7, 2014

Kenko: an anecdote, with a point?

No. 45

Kin'yo, an officer of the second rank, had a brother called the High Priest Ryogaku, an extremely bad-tempered man.  Next to his monastery grew a large nettle-tree which occasioned the nickname people gave him, the Nettle-tree High Priest.  'That name is outrageous,' said the high-priest, and cut down the tree.  The stump still being left, people referred to him now as the Stump High Priest.  More furious than ever, Ryogaku had the stump dug up and thrown away, but this left a big ditch.  People now called him the Ditch High Priest."

-- Kenko --
from Essays in Idleness


Perhaps he should have just left well enough alone.  Frankly, I think I would have much more preferred being called the Nettle-tree High Priest than the Ditch High Priest.   Some people take longer to learn than others, while some never learn.  

Notes:
Fujiwara no Kin'jo (died 1301)  was a poet.
Ryogaku Sojo (died about 1305)