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short storyby Michael Henrik Wynn I have suspected my neighbor of using my garden hose without my permission for many years, perhaps even 20. Of course, I have never asked him about it, even if he sometimes comes to dinner in my own home. In stead, I have begun watching him. I sit by my window in the evening observing him as he goes about his business. My thought was that if I could catch him in the act then I would rush out and finally have my theories proven. I am retired, and I don’t have much else to do. After having been at my post every morning some years, I discovered that someone else, the neighbor one house up, was in fact using my neighbor’s garden hose in his absence, most certainly without his permission. Clearly, this was extremely immoral, and I would not stand for it. So, I got the idea that if I informed my long hated Nemesis about the fact that his neighbor was taking liberties, the two of them would bring about each other’s downfall. So, one morning I casually walked up to my dishonest neighbor and mentioned, almost in passing, that I had seen the neighbor one house down entering his house that morning. My neighbor did not say anything, but his eyes revealed a total shock. I was very pleased, and returned to my lookout post. The next day, I could see my Nemesis peering through his curtains, obviously trying to verify my gossip. He also began walking down the road, looking up at his neighbor’s house in disbelief. The two passed even each other in the street, and my Nemesis gave the neighbor a very nasty look. I almost had to smile. But what happened then was not what I expected. My Nemesis told me over dinner that he had discovered that the matter was related to a use of a garden hose, and that he had talked with his neighbor one house down, and that the garden hose would be placed in the shed, where they both could get to it with ease. The matter was settled, he said. This was not what I wanted, so I had to come up with something else in the spur of the moment. “And what about your car?” I asked. “My car?” said my neighbor. “Yes, I have seen your neighbor driving your car while you are away? I thought you had an agreement?” My neighbor was wonderfully shocked, threw down his dinner napkin and ran out the door. The next morning the two of them were shouting it out on the front lawn. I was hidden behind a semitransparent curtain in front of an open window. I could not see their faces, but I saw the distinct silhouettes of their waving arms and heard their mutual accusations and insults. I almost laughed when my long held Nemesis struck his neighbor in the face. Now it would be a matter for the police, and the courts would be involved. And I was quite right. I wandered down the road to the neighbor one house down. I have never known him very well. Still, I feel some connection to him because his sister is the ex-wife of my own brother. She is a very nice person, but I have kept my distance out of respect for my brother. They quarreled, you see. I found him frantically dialing something on his mobile phone. He had a black eye, and was very agitated. “Hello”, I said. “Have you been in an accident?” I pointed to my own eye to indicate what I meant. “No! I most certainly have not,” he said. “My neighbor has gone absolutely insane and has started to accuse me of using his car. It all started with me using his garden hose without his permission. I thought it would be no big deal.”“No big deal!!” I exclaimed. “Taking liberties with others is a huge breach of trust. And now he has struck you in the face! You must take legal action!”“I was planning to, but then I thought my credibility would be ruined by the fact that I had used his garden hose. I have admitted this in front of witnesses. But using a garden hose is not the same as using his car. Which is what he is now claiming.”“Well”, I said. “Your neighbor might not be as morally upright as he is pretending to be. In fact, I may be willing to testify in court to this fact. And as you know, I may be retired. But I have impeccable credentials after spending almost 40 years as a clerk in the legal department of the town property registry. No one will doubt my word”.“Really? You would do such a thing for me? But we hardly know each other?”“We do in a way. Many years ago, your sister was married to my younger brother. I have never mentioned it because they argued so terribly, and I kept my distance out of respect for my brother. But I have always liked your sister much better than my own brother.”“I see,” he said and thoughtfully scratched his ear. “Will you give me a week to think about this. I will do as you say. But I must find a good lawyer. Some are very expensive?”“Of course”, I said and smiled confidently. “I understand completely”.I then returned to my home, and had a full bottle of wine to celebrate. Finally, I would be given a chance to confront my best friend about his illegitimate use of my garden hose. The whole world would be able to read the court transcripts a hundred years from now. If there is one thing a legal clerk knows, it is that history does not remember things that are not written in black and white.A week later, I was informed that a date for a trial was set. Of course, the case was not given priority, so we all had to wait half a year. But it was worth the wait because matters of principle cannot go unsettled.The two of them appeared in court on opposite sides with each their own suited lawyers. I was seated at the back, and would appear as a witness later. They both knew this, but I had not been too specific about what I was going to say. I had mentioned the hose, but I thought I would air some other flaws in my Nemesis’ character that had annoyed me over the years.First, there was some legal mambo-jumbo, but then finally the man was on the stand telling the horrific story of the unmotivated violence to which he had been so unfairly subjected. I smiled as he recounted the unsubstantiated car story to the court. “But of course, this is nothing compared to the man who is about to appear as a witness. He always uses this man’s lawnmower when he is gone. And he also sometimes steals his mail.”“WHAT!!” I shouted from the back.“Yes, I can confirm this” my Nemesis said. “I have seen this many times. He is always taking liberties. He is not honest. I am very sorry for having struck you. Will you forgive me?”Then the two of them met in front of the judge, and hugged. The judge sighed. Then, he lifted his gavel and, almost in dismay, struck at the table as he said: “case dismissed”. My two neighbors and their lawyers then left, almost without looking at me.I sat alone at the back utterly confused. But then I got up and shouted at the judge: “I have NEVER EVER used someone else’s lawnmower without their permission. These are all lies, I tell you!”.   Like this:Like Loading... [...]
short storyAn anonymous translation of the story “Le Hanneton” by J.-H. Rosny. The original was published in La Revue De Paris Et De Saint-Petersbourg, and this translation appeared in The Omaha Daily Bee, 30. September 1888. burst of shrill laughter rang through the court-yard. A girl’s face looked from the barred window of a cell. It was beautiful face – set in a glory of golden hair- the parted lips were like the petals of a young rose! But the laughter was the wild, terrible laughter of the mad. “I have it?’ she screamed, exultantly. “What?” asked the keeper. The keeper was made of gross material. He had a loose skin, full of large, dirty pores like an old sponge – a thick, brutal nose, pierced by narrow nostrils and a wide mouth – red-lipped and cruel. His eyes were small, hard, brilliant and singularly opaque. They looked like little bits of blue china. The girl’s eyes were blue also, but with the tender blue of turquoise, yet full of clear, liquid, changing lights like the sapphire. She was pale, delicate, exquisite! A beautiful casket bereft of its precious treasure – the mind. “What?” asked the keeper. “The May Bug!” Tho keeper grinned and winked his blue china eyes. He had heard before of this May Bug – a chimerical insect which troubled him little. He was not a bad man – taking him altogether – a trifle over-fond of turning the cold shower on the poor wretches intrusted to his tender care – not averse to using a stout leather strap in the interest and welfare of the more refractory – and he often exercised a little judicious economy at their expense, in setting before his family the bread intended for his patients. Not a nerve lodged amidst the bone and brawn of his gigantic body! The most frantic struggles of the maniacs filled him with amusement. The most furious ravings brought a smile to his great lips. Oh! He was very good-natured! He approached the window. “”Where is it?” he asked, curiously and idly. “It is here! here!’’ cried the girl, full of excitement. And she pointed to a hole in the wall of her cell. A hole in the wall! The excellent keeper was annoyed. He frowned blackly. He entered the cell and struck the woman on the face. “See that thou makest no more holes in the wall!” he said roughly. She trembled violently. Her eyes darted strange lights but she said nothing. She did not even cry out, although the blow was a cruel one. She only watched, with jealous, angry eyes, as the keeper thrust three fingers into the hole. There was no insect there. He stood ruminating a moment, after the manner of beasts. Presently he began slowly to scratch his head. The woman made a sudden movement toward him. “Give it to me!” she cried imperatively. “It is mine! I will have it! You shall not put it in your head! Give it to me! Give it to me!” “Hush, fool’ he said, and he raised his hand threateningly. She cowered away from him and crouching in the corner of the cell, began to cry bitterly, wiping her eyes, now and then on a strand of the long yellow hair that lay on her shoulders. As the keeper opened the door to go out a ray of sun light fell on his rough hair which curled thickly over his temples. The girl bounded suddenly after hin like a tiger. “Is it there!” she shrieked, shrilly. “Ah! the pretty thing! Do not crush it!” for the man raised his hand involuntarily to the spot she indicated with her outstretched fingers; then, recollecting himself, he turned on her fiercely, and advancing deliberately, as she retreated from him, until he had driven her again to her corner, he stood a moment quelling her with the cold power of his eyes. It was an instant’s silent struggle! The force of reason prevailed. She sank shuddering – conquered – -in the angle of the smooth stone wall. “Good!” he said, gruffly. “And no more of holes in the wall, Dost thou hear? I shall look tomorrow and see if the hole grows larger in the night. Tomorrow – aye! and again the next day and the next!” He thrust his ugly face down to hers. She shivered and shrank nearer the wall. “”Good!” he said again. His tone was fatherly. It was pleasant to him to see his power. Ah! they feared him -these poor, helpless, hopeless, miserable creatures. He left the cell, turning his face toward her as he closed the door. At last, trembling ray from the setting sun died on the matted hair above his left temple. A tremor shook the delicate body huddled in the corner. More than two hours passed, and still the girl crouched there. Her little white fingers worked nervously. Her eyes were never still. Her brow was drawn in deep, painful lines, as though the poor disordered brain beneath made some great physical effort to form thought. And so the darkness fell. With morning came the keeper. “Is there a hole in the wall?” He laughed maliciously. “Then we can have no bread to day,” and the excellent man passed on well satisfied. Had ho not inflicted punishment when punishment was due? And, moreover, his family lived on the bread which cost him nothing. June passed and July – long summer days when the sun lay in the court-yard and there was always a warm corner in cell No. 80, where the beautiful insane girl was kept. The keeper liked to go there and lounge in the afternoons. She was afraid of him, and he found her terror diverting. It pleased him to see her standing with downcast eyes sending out those strange gleams from under the deep-fringed lids – with heaving breast from which the breath labored heavily – with trembling fingers locked so tightly together that the little nails grew white with the cruel pressure. It was a tribute to his power. A more observant person might have seen something here to suspect – might have analyzed this fear and found in it a trace of danger – might have declared this attitude to be that of a person detected – or in fear of detection in wrong-doing. But the keeper, good man, was not one to analyze. He examined all the cells daily. It may be that his examination was sometimes clumsy. But why should he suspect this child? Or suspecting, why should he fear her? A slender, white-faced cowering thing who could only pick a hole in the wall to hunt for an imaginary May Bug! A poor, weak imbecile creature who shook at the sound of his voice! The keeper would have called your analyst a fool for his pains! There were times when the girl did not shrink from him, but, instead, greeted him with her charming, childish smile. Then, were he in a good humor, he would talk with her. Truly a strange duet, this, between the man without intellect and the woman without reason. An interesting study of chiaroscuro, where the ideal subtlety of the maniac stood out intensely against the brutish, unimaginative stolidity of the keeper. Often his rough voice, like the bellowing of a bull, frightened her, but she listened to him with her adorable smile, and only when he turned his eyes away did that strange expression leap into her, the greedy, jealous light burn in the eyes which, stealthily, she raised to the ragged clumps of hair which lay upon his temples. Once he surprised the glance. He laughed loudly, derisively. He had not altogether forgotten the May Bug. “Aha!” he laughed, “dost seek thy treasure? Oh! Oh! the fool! the idiot! the lunatic! Oh! I have it! Here” tapping his forehead suggestively, and blinking his blue, china eyes, “here: I keep it safely!” The girl made a sudden, uncontrollable movement as if she would spring upon him, and the strange look deepened in her eyes – the look of passionate desire now mingled with rage and hatred of the man who kept from her what she coveted. The keeper was enchanted at the success of his pleasantry. Still laughing, he rose, stretched his leg comfortably, and lounged over to the window. Outside the court lay flooded in the sunlight, a gray fowl minced across the flagging, pecking at the tufts of grass which forced themselves between the stones of the walk. The flowers in the square garden-plot in the center of the court gave up their sweetness languidly to the caress of tho warm air. The keeper gazed stolidly through the crating. His hard little eyes rested unblinkingly on a great metal ball on which the dazzling sunlight sported bravely. Softly she came – softly, lightly! With cheeks aflame with the strength of her desire! With gleaming sapphire eyes! With quivering nostrils and parted lips through which the breath fluttered tremulously! Softly she came, with her lithe young body swaying, and her little, trembling hands before her! In an instant her dainty fingers had twisted themselves in the man’s rough hair, jerked the great head backwards, and began a furious scratching in the grizzled mop over the left temple. The keeper flung himself around with an imprecation and sent the woman spinning against the wall. “Insolence!” he roared, rushing upon her. “Dost thou dare, indeed” In the name of Reason – of which thou knowst naught – take this – and this!”’ He struck her a crushing blow with his clenched fist. She smothered a cry and crouched, still with dangerous look in her eyes – crouched as if to spring at his great brutal throat. “Have a care!” he muttered, threateningly, rushing upon her again. Slowly her expression changed. The corners of her pretty mouth trembled. She put out one fist faintly. Then with more assurance, and moving gently forward, she looked up, shyly, into his scowling face as one who would implore forgiveness. It was the keeper. How ready she was to confess his power! How eager to sue his pardon! He was mollified. “There!” said he, “no more of thy stupid tricks, fool!” And he went away. The summer waned. No. 80 seemed dull and sober. She slept little, grew weak and thin, and, from out the pallor of her face, her great blue eyes shone unnaturally. She was silent for long hours at a time. She no longer talked of the lost May Bug. She looked like a student who seeks to solve great problems, and who loses his health and strength in long vigils. She left her bed at night and strange sounds were heard in her cell. “She sleeps too warm, perhaps,” said the keeper: “give her a cooling shower!” And this merry follow bade them hold her under the icy douche until she fell, chilled and exhausted, to the ground. This occurred twice. After that there were no more nocturnal disturbances. The keeper chuckled. “I know their tricks,” said he. The girl became very quiet and circumspect. She began to manifest interest in objects about her. She was strangely observant, and occupied herself for hours in examining the scanty appointment of her cell. Once the keeper fancied he saw her fumbling with the bars of her grated window. He went in and examined the place. She watched him with stealthy eyes. When he turned she spoke to him pleasantly. She was always gay with him now. The brave man never detected a false note in the clear, crystal tones of her laughter – his ear, like his eye, made no fine distinctions. After this episode, however, she was more prudent and gave no cause for suspicion. She was thoughtful – oh! very thoughtful at times preoccupied but patient, good-tempered and obedient. Soon she began to talk rationally, and answered all questions with sense and judgment. One day, in, the late fall, the keeper summoned the doctor. “If Monsieur the Doctor would call and see No. 80, who seems quite recovered?” Monsieur the Doctor called. But Monsieur the Doctor was, as it happened, an old and skillful practitioner, who for many years had studied every form of insanity under the light of his own interests. Monsieur the Doctor had no intention of speedily ridding the asylum of any patient who materially increased his income. “H’m:” said the doctor, “wait a while longer! It is best to be Prudent” “The girl is harmless?” “Perfectly so!” “She can be given a little liberty?” “Assuredly, yes! She is quite harmless!” and the worthy physician smiled and rubbed his hands softly together, and, thinking of the clear, quiet eyes which met his own so steadily, the cool hand which rested obediently in his, the girl’s normal, composed manner, repeated to himself, “Oh, certainly! Quite harmless!” It was after this that the keeper made himself easy. The examination of cell No. 80 was no longer considered necessary. No. 80 herself grow paler and ate but little. This could scarcely be said to distress the keeper, whose family profited thereby. Winter came, and from her grated window the poor young creature watched the year grow grey. A few withered leaves fluttered in through the casement and she treasured them – poor dead things! They were redolent of the free life beyond cruel bars. The swallows in the courtyard complained shrilly of hunger, and beneath the eaves they huddled, pluming themselves and giving piteous little cries. She would have liked to have fed them, but the family of the keeper could use even the crumbs, and, harshly, he forbade her to waste good bread. She was now very thin and her eyes were brilliant with fever – that consuming mental fever which burns in the eyes of all great toilers who fancy they see near them the desired end for which they have striven long and patiently. Now came the long winter nights, when the white moonlight lay on the floor of the cell. The girl hated the moon. It was a great Eye, she thought. Calm, impartial, all-seeing, why did it watch and watch, and wait and wait, the night through to see what she would do? And it was so cold – ah! so cold! And she turned her back to the window and crept to her bed, drawing the covers up over her head to shut out the hateful Eye. And at last it went away, and there were long dark hours when its silver face was hidden, and at last she could move stealthily about her cell at night, could go on, silently and swiftly, with the great work she had been planning, without feeling continually spying upon her the cold stare of this mysterious enemy. By this time she had won the entire confidence of the keeper. She was so patient and docile. Ah? more patient than this good man guessed, and more cautious, too, and more furtive! And; at last, it happened on a cold, black night when the heavens were overcast by threatening clouds, and all earth’s creatures sought shelter from the bitter touch of Winter’s hand, a light figure crept between the loosened bars of a cell window and dropped noiselessly to the ground. Swift and straight it took its way across the court, never swerving, never hesitating in spite of the impenetrable darkness; for in the slow elaboration of this mighty idea, all had been calculated – recalculated – with the triple patience which comes of madness, of solitude and of imprisonment. Veiled in the darkness, No. 80 took her silent way past the square garden-plot. She moved with the noiselessness and the certainty of a cat. She never stopped, but as she moved rapidly she lifted her face to the free night air as if she loved it and had longed for it. Her face was like a moon beam against the shadows of the night. Its peculiar pallor seemed to radiate a faint, unearthly light. Almost as if she wore conscious of this, she bent her head and quickly covered her face with her long hair. She passed on in the shadow of the asylum walls and paused before the keeper’s quarters. Here there was a small door. Well she knew it! Long and patiently had she waited to hear from some one through which door she must pass to accomplish her grand purpose. She stood hero listening for an instant, then thrust into the keyhole something she held tightly in her hand. There was a faint clicking sound – then a sharp squeak, which might have been made by a mouse, and a little rectangle of darkness opened before her. Silence! The clouds gathered thickly over the mournful walls of the asylum. A wild night-wind sobbed in the gaunt arms of the leafless trees in the court-yard. A single star trembled for an instant in the black mass of moving clouds and was gone. Suddenly a woman’s sharp cry smote the night air. It seemed to come from the keeper’s quarters, but one could scarcely tell whence it began, for it was instantly caught up by the startled creatures in the asylum and passed on from one to another with varying and terrible modulations of fear, of anger, of insensate joy! The night was soon hideous with their cries! The panic spread! From every cell came curses, shrieks, groans, wailings and sobbings: the sickening sound of human bodies beating against the invincible bars which held the captive; despairing cries mingled with snatches of obscene song. Tho sonorous voice of some frenzied orator delivering his theories; the heartbreaking prayers of maniacs begging to be delivered from imaginary tortures, all the horrors of the bestial scene, indescribable as it is awful, enacted in these living hells where men and women live the lives of caged brutes, forsaken by Reason, and, seemingly, by God. The doors opened, and the director of the asylum made his appearance among the keepers. His face was pale. This was unusually bad, he thought, even for the violent wards. Awakened from a deep sleep by the horrible uproar, he had feared a general riot among the patients. Suddenly a woman appeared at the end of the passage. She was in her night robe. She held a candle in her hand, and two children clung to her skirts. “Here! Monsieur the Director! Here! And oh! come quickly!” The director moved toward her. He recognized tho wife of the keeper, Desambre. Well?” he questioned briefly. The woman began a mournful litany, broken by fitful sobbing. Alas! She could hardly tell! She had been sleeping! There had been something – she knew not what! Her husband had bounded up in the bed, had given a heavy groan, had fallen back on his pillow! Then a dark thing had sprung from the bed right by her side, glided across the room down tho stairs, perhaps – who knows? She had been unable to rouse her good man! Would not Monsieur the Director come to him? Alas! Alas! And again – alas! Tho director followed the woman to a room in the keeper’s quarters. On the bed lay the body of the man Desambre. Tho face was hideous. The eyes squinted horribly. The mouth was open. The teeth had closed upon the tongue. “Alas! Alas!” wailed the woman. The director examined the body. A small brad had been driven through the left temple, obliquely into the skull. There was no blood. The clumps of grizzled hair nearly concealed the wound. The nail was a slender thing, without a head, but it had been driven home with deadly force. A fine scratch extended to the eyebrow. It looked as if something had been picked from the wound and drawn sharply across the knotty forehead. “The man is dead – quite dead,” said tho director, gravely. He left the woman howling over the corpse. and notified the keeper. “We will make the rounds immediately.” The procession of lights moving up and down tho corridors was a grand festival for the maniacs. They had grown quieter under the forcible measures employed by the keepers, and now they gave fierce cries of pleasure. Only a few were enraged, and a few were sullen. Number 80 was asleep. The director bent over her bed with the lamp in his hand. The light awakened her. She rubbed her eyes with one little hand. Then she smiled her adorable smile. The beautiful eyes were clear and serene – her face was joyous. She pushed back her glorious hair and raised herself a little from the pillow. Then she held out the other hand. It was tightly closed, as if something of great value. Slowly she extended the fingers that the director might see what she held. The little pink palm was empty. But she saw something there. She was quite satisfied. “I have it,” she whispered, triumphantly. The director patted her hand kindly. You are dreaming!”’ He gave a cursory glance at the grating as he passed. He touched the bars at the window. “Nothing wrong here,” said this wise and experienced man. “The girl has slept well.” Like this:Like Loading... [...]
short storyThere lived an old retired major in the hills of central Europe. No one knew in which armies he had fought, or which battles that had disfigured his wrinkled face. Some took for granted that he had supported the Nazis during the war. They barely knew his name, and only referred to him with contempt as “the grumpy old major”. His home was a log cabin, overlooking a valley that was often covered in mist. And when the rains and the wind darkened the evenings, the light from his window was a solitary gleam – like the eye of the mountains themselves – peering down on the village below. The major was thoroughly disliked because of his ferocious temper. He arrived in the afternoons, unshaven, stinking of sweat and alcohol, and then he would be very rude and cold – if he indeed he said something at all. The only creature on this earth that seemed to be good enough for the old major was his dog. No one knew the age of the creature, or even of the of the major himself. The dog walked with a proud skip in its steps, and he showered it with luxury and food. In the evenings the major would silently ponder the landscape from his vantage point. What his thoughts were, not even the dog could tell. There was never a visitor to the old cabin, but the major sometimes sobered up and cleared the path. He worked into the afternoons with a pick ax and shuffle. When he was done he would take a seat in a chair outside, and drink whiskey and smoke until he fell asleep where he sat. The evening chill would wake him and then he would withdraw to his bed. Sometimes when the major slept he would kick and scream, as he was struggling for his life. Then the dog would jump down from the bed, and lie down in a corner until he quieted down. When the major woke, he would be sweaty and confused, and then he would drink coffee, and then read a book til dawn penetrated the morning mist. The landscape around the village was vast and wild, and the major would limp up and down those isolated paths followed by his mute companion. In winter, blizzards would descend upon his outpost with terrifying violence. A lighted fireplace and piles of wood kept him warm. He stored canned food of various kinds, beans, spam, fish, and he salted meats to comfort himself. When the water froze he opened the door and collected snow in a bucket which he melted by the fire for his coffee. Sometimes, when he was in the mood, he dug deep into a wooden chest and found an old battery powered radio, and he would sit quietly, intensely concentrated, trying to move the antenna back and forth in order to make out those almost imperceptible voices that penetrated into his dominion from the world outside. But sometimes this proved impossible, and therefore he did not receive advance warning of the horrific storm of 1973. On 21 of October that year the heavens gave birth to the worst winds and heaviest snow fall seen in those parts. The other villagers never talked to the old major because they did not like him, and by the time storm had arrived, and he entered their thoughts, it was too late. They thought that the cabin on the hill has stood there for hundreds of years. Like the major himself it seemed carved out of the hillside. If he just sat quiet where he was, no harm could befall him. And they were right, and the old major knew it. He did what he normally did during winter storms, lighted his fire. The flames flickered, and when the shutters were secured, they filled the room with comfort, light and heat, while the Day of Judgment brewed outside. The old major was used to this, it had been his life, in every sense. He got up a bottle of whiskey, and sipped from a glass. His dog, however, was utterly terrified. It crawled under the table, and whined. The old major tried to reassure the creature, calm it with offers of treats, but the howl of the winds, the creaking walls and what seemed like an inexplicable drone from the heavens above frightened it, and it would take no food. The old major then got down on his knees under the table and sat next to the dog with his glass of whiskey. He looked at the dog, and for a while dog was calm. But then suddenly a tremendous gust blew the door open, filling the room with swirls of snow. The old major rushed to his feet, and struggled against the wind to shut it. When that was done, he noticed that the dog had fled into the night to seek refuge among the trees. First, he was overwhelmed with grief when the room was quiet. He looked at the empty space where the dog used to lie. Then his eyes were suddenly filled with defiance, an old soldier was returning to battle. He put on his thickest coat, and hat and scarf, grabbed an oil lamp and unlocked the door. So it was that the old major decided to take on the very spirits of the mountain to fight for his dog. He waded to his ankles in snow for a few hundred meters up the hill. He shouted, but his voice was inaudible. As he became removed from his cabin, he saw its light extinguish in the storm. And not soon after, the old major was overcome with fatigue and sat down under a tree. That is where the men from the village found his frozen body two days later. They did not have much sympathy for him because he had always been mean and yelled at them. The dog, however, was found alive in the shed outside. Everyone thought that this was the most faithful creature on earth which stayed so loyal to such a terrible person. It was brought down from the mountain, and given to a breeder, who made sure that it produced many litters, whose offspring still run around on the meadows in those parts. They say old majors die, but their dogs live on forever. by Michael Henrik Wynn Like this:Like Loading... 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short storyAt an undisclosed time in British history, there lived a 14 year old boy with undiagnosed, but mild autism who was fond of school debates. His mind was such that he could challenge most normal people simply by overwhelming them with masses of facts from his prodigious memory. As he grew older, he realised that he could use this in a court of law, and make good money as a barrister. Passing a degree in pedantic quotation and logics posed no problems for a high riser of his particular talents. He got top marks, and was immediately hired by a large London law firm to argue a very important case before a senior and very respected judge. When the new barrister entered the court, however, he immediately turned many heads because of the elevated sound volume with which the fresh legal representative presented his arguments, this being the method he had applied to win school debates. The old judge – first frowning, then staring in disbelief – observed the performance in silence, and then – out of sheer curiosity – got the solicitor into a short discussion. I say short, for five minutes later the fresh barrister was arrested in contempt of court on the grounds that “shouting and screaming like a madman does not improve a flawed line of reasoning”. The barrister remained in his cold cell a few days, until the judge took pity on him, and paid a him a visit. He sat down next to the man, and assumed the role of a well-meaning grandfather. “I am going to order your release tomorrow”, he said. “But in my 40 years as a judge, I have never seen something similar in my court as what you perpetrated a few days ago.” “I understand” “There is a condition to my release, so do not rejoice until you hear it: I want you to promise me that you will NEVER work as a barrister, but in stead find a profession more suited to this kind of rudeness, these constant interruptions with tedious facts and details. This inability to allow a full line of reasoning to reach a natural conclusion. This sort of circus will halt all progress in my cases, and assure that nothing gets done, you see. Will you promise me this?” The young barrister sighed. He was not a bad person, in fact he was kind. He just did not understand. Nor was he a person who would knowingly disrespect authority.“I will heed your advice, Your Honour.” The door slammed shut behind the judge as he left, and the very next morning the barrister was released. He quit the law firm, and for while drifted aimlessly through various business ventures. Even with moderate success in these, he felt that he had been robbed of a setting in which his natural talents for debating would blossom. However, this story has a very happy ending, for the historical records indicate that he – 20 years after the said events – became the most admired Speaker in the history of the British House of Commons. by Michael Henrik Wynn Like this:Like Loading... [...]
creative writing / literatureMaking it as a script writer in Hollywood is not easy. There is a whole support industry for creating stories, classes on almost every corner in Tinseltown. One of the more dedicated teachers of the craft is professor Ken Dancyger of New York University. We spoke to him about his work as a teacher of writing, and about the realities of the business. Historyradio.org: When did this notion of a “script guru” become common? What sets such a person apart from, let’s say, a professor of literature? Professor Dancyger: The “script guru ” for me started with Syd Field. I remember going to see him in Toronto along with 400 others and being outraged by his ideas about scripts. He made me define where I stand on the vital issues about how to write a strong script. At that point I myself had written, alone or with partners, 10 scripts. The first secured me a Hollywood agent, the second sold to Canadian television. I seemed on my way. A script guru is very different from a Professor of Literature. A Professor of Literature is well-read and has an area of interest. He or she may or may not be a novelist. Script guru is much closer to the popular arts i.e. the media. Certainly the guru may borrow ideas from literary critics such as Northrop Frye but his or her knowledge base is strongly rooted in the hundred plus history of Film. The earliest writers about script were often playwrights and so ideas about plays, their structure, was much more likely to influence Script gurus than Academic Professors of Literature. Historyradio.org: They must get their ideas from somewhere? Do you read a lot of academic literature, and then translate this into practical advice? Or have you done the empirical work yourself? Professor Dancyger: I read a lot of history as well as literature and see many plays and of course I see every film I can, always with an eye to what makes the work compelling. The scripts I’ve written, the writers I’ve worked with, the classes I’ve taught are all laboratories where I define and refine my ideas about storytelling and what constitutes a strong screenplay. Historyradio.org: If you were to give a little praise to one of your colleagues or competitors, who would that be, and why? Professor Dancyger: I like David Howard from USC and Judith Weston who teaches acting for Film and Television. David is very good on character-driven stories and Judith is excellent on character arcs and their importance. Both have written strong books. Historyradio.org: The late Syd Field was famous for his 3 act-theory. Robert McKee also presents a lot of rules about what constitutes a good script. What is your main dictum on how movie scripts should be constructed? Professor Dancyger: My approach is as follows: In a feature length screenplay a character changes. What is the issue (crisis) when we meet the main character? How does the character change by the resolution or end of the screenplay? Who/what changes him (relationships and plot)? Next what will the dramatic arc (plot) be? Every genre has a different dramatic arc. What genre is your story? Genre is pliable in terms of how it is used. What tone will you use? (light, realistic,dark). Will you alter any genre expectations? (How you begin or end, the nature of relationships). Screenplay that succeed often surprise is in our expectations. Will your screenplay defy our expectations? Historyradio.org: Can you really create a norm for what a good script is? If you look at prose, some writers excel on plot construction, like Agatha Christie, others on their poetic qualities? Wouldn’t the same thing be true for a movie script? Professor Dancyger: There is a norm for expectations of what a script will be. This is based on how particular story forms have been used over time. Writers differ, some are strong on plot, others on character, yet others on dialogue. Robert Towne is very good on dialogue, David Rayfiel is very good at story construction, Francis Coppola is very good at tone. Each is unusually gifted in their area but few writers are good at every thing. Historyradio.org: What is the best way of breaking into the hollywood script business? Do you just email your script to someone? Or do you need to know a lot of people in order to make it? Professor Dancyger:  Working in the business at all levels is the way into a career. Schools help as you can make a good short film that will get you attention. At that point the door may well open for you. Have a well written feature film script written. That too will help. At the moment CONTENT is king in Film and Television. The opportunities are abundant. It remains tough but this is a good time for writers. I have seen European writers and directors go from a nominated foreign film to a Hollywood opportunity. This is the competition students who graduate from Film Schools face. Historyradio.org: When your script has been bought, it may be reworked by someone else, might it not? So the end result doesn’t really have to look anything like you originally intended? Isn’t this frustrating? Professor Dancyger: The realities of the industry is that many voices will impact your script, in both Film and Television. It might be frustrating but my advice is get over it. Its the way of this world.. Historyradio.org: When I was a student, my professor told me a story about the Irish Nobel laureate, Samuel Beckett, and how he was rejected many times, only to become famous as a mature man. At what point should one give up, and simply accept the fact that perhaps one’s talent isn’t sufficient for a career in Hollywood? Professor Dancyger:  Persistence is more valuable a trait for a writer than in many fields. There is no one path. Everyone has talent, not everyone is persistent. Historyradio.org: You must have read thousands of scripts, what would you say is the most common mistake that young or novice writers make? Professor Dancyger: The most common mistakes early writers make are, in order: Excessive reliance on dialogue.  Not understanding how much change in the main character has to take place in the Feature film and how many barriers to the main character’s goal need to be overcome in the course of the screen story. That plot an external pressure on the main character, needs to be deployed and that it should have surprising twists and turns. Tone is how your unique voice underlies the story. Genre or story form matters and given its plasticity it can make your story seem fresher. Historyradio.org: What is the best movie script of all time, and why? Professor Dancyger:  The best movie script of all time is a tough nut. I have many favorites: Casey Robinson’ NOW VOYAGER for story construction Billy Wilder’s SUNSET BOULEVARD for character and dialogue Samuel Raphelson’s SHOP AROUND THE CORNER for sheer pleasure Federico Fellini’s 8/1/2 for creativity Elem Klimov’s COME AND SEE for daring and passion I could go on but will stop… Like this:Like Loading... [...]
historyIn 2008 Radio Prague covered the publication of a new Czech book about Jean-Paul Belmondo (1933-2021, he passed away a few days ago). Their brief report described Belmondo’s unique standing in the old Soviet-bloc country; the only major, western action star to gain a foothold behind the iron curtain during the Cold War. Through him a generation of Eastern Europeans got to experience capitalist action flicks. Among hipsters around the world today Belmondo is sometimes elevated to a rugged icon of snobbish intellectualism, through the early films of the Nouvelle Vague-movement. But in Eastern Europe he is remembered as B-movie royalty, the macho man with a twinkle in his eye. Of course, it was Jean-Luc Godard’s À bout de souffle (1960) that became his break-through, but in many ways his collaboration with Phillipe de Broca (1933-2004) was just as important for his future career. De Broca had been a film photographer during the war in Algeria, and became so disillusioned by the events he witnessed that he decided to make more cheerful and uplifting movies. He started out as an assistant for a few Nouvelle Vague directors, but changed paths and made comedy farces when he established himself as a director. His two producers, Alexandre Mnouchkine and Georges Dancigers, suggested Belmondo for the role of the brash swashbuckling Robin Hood-character Cartouche. A few years earlier they had produced the adventure classic Fanfan la Tulipe (1952) with the legend Gérard Philipe in the lead, and now de Broca bet on Belmondo to revive the swashbuckling genre. Cartouche (1962) was an instant box-office hit, and two years later that success was followed by L’homme de Rio (1964) – an action-packed contemporary adventure about a soldier (played by Belmondo) who pursues the men who kidnapped his girlfriend from Paris to the Amazonian jungles. The Oscar-nominated movie features a series of spectacular action-scenes, and de Broca declared in an interview that the movie was made because “he needed a hit”. His producers had only been reluctantly swayed, and he had spent five months finishing the script. The result was satisfactory, even to himself, but the film was by no means a favorite for de Broca among his own productions. He said: “This was the kind of movie I longed to see when I was 14”. As a director, de Broca often took a hands-off approach to his actors, and Belmondo tended to follow his instincts. “Belmondo will always be Belmondo. You cannot change him. You cannot hide his personality. When he plays a drunkard, he is a drunk Belmondo. When he is in love, he is Belmondo in love.” (de Broca in Gardner 1969-70: 153-157). Belmondo’s charismatic self shone through, especially in B-movies like Tendre voyou (1966), Flic ou voyou (1979), Le cerveau (1969) and L’as des as (1982). The two latter were action-comedies by Gérard Oury, France’s pre-eminent comedy director, most famous for his collaboration with the hilarious genius Louis de Funès. In the 60s and 70s, Belmondo became affiliated with the commercial side of French cinema. Godard and Truffaut ruled the film festivals and the student-bodegas, but ordinary Frenchmen rushed to the cinemas to experience the shenanigans of Louis de Funès and the hazardous stunts of Jean-Paul Belmondo, his broken nose and seductive smile. To critics like Pierre Maillot, however, Belmondo represented the “disillusionment” of French identity because so many of the models for genre movies were American. Two of the great “golden ages” that have supported the self-esteem of French cinematic culture have been the poetic realism of the 30s and 40s and the Nouvelle Vague (“New Wave”) of the 50s and 60s. As a major star and the leading man of the Nouvelle Vague Belmondo therefore became the natural successor to Jean Gabin, the icon of the 30s. But where Gabin had acted tempered and cool – often under dire circumstances – Belmondo would burst with joie de vivre. There was a generational gap between parents in the 1950s and the new rebellious youth. The young wanted more than traditional French values, they needed happy endings. The vulgar neon-lights of Hollywood and Las Vegas beckoned in the distance. Belmondo grew out of the Nouvelle Vague into a new commercial reality. The Armenian-born Henri Verneuil (1920-2002) was a director unconvinced by new wave-ideology. The Belmondo we witness in Verneuil’s movies was rougher, the soldier in the second world war, the tough criminal and the uncompromising cop. The inspiration for Peur sur la ville (1975) was probably Clint Eastwood’s Dirty Harry. Belmondo plays a policeman pursuing the serial killer Minos through the streets of Paris – in stylish cinematography. The Belmondo we see in this movie is not his usual careless self, the lives of young women were at stake. A contemporary reviewer called it “a tough and ruthless movie”. The newspaper stated that “It was impressive to see Belmondo dangling in a rope from a building, jumping between roof-tops several floors above the asphalt and making subway journeys on top of the cars. Because Belmondo has no stuntman…” (Aftenposten, 06.02.1976) Belmondo also kept a serious face in the gangster movies Borsalino (1970) and Le voleur (1967). The latter was directed by Jacques Cousteau’s old cameraman, Louis Malle, today one of the major names in the history of French cinema. In Le Voleur (1967) Belmondo shines as an actor. He penetrates the mind of a professional thief. He persuasively portrays nerves of steel and deliberate theft. According to the contemporary press Belmondo used all his tricks, “his whole range of charm”. Like Belmondo, Malle would transcend Nouvelle Vague conventions, and create a memorable genre movie aimed at the masses, based on a novel, quite contrary to contemporary ideas about the “auteur”. Belmondo was therefore not only an actor who drifted from art into commercialism, he was a personification of a suppressed part of French cultural history. There existed another France alongside Godard and Truffaut and the other Cahiers-directors, a cinematic culture unashamedly modeled on Hollywood. Belmondo, that first ingratiating face of the Nouvelle Vague-movement, became the major box-office draw of this “other” France. He was just as charming as Roger Moore, and – at his best -adventurous to the level of Harrison Ford. by Michael Wynn editor Historyradio.org * Sources: Philippe de Broca and Paul Gardner, «Philippe de Broca: talking to Paul Gardner», The Transatlantic Review, no. 33/34 (winter 1969-70), p. 153-157 Aftenposten (a major Norwegian newspaper), 06.02.1976, s. 6 (signed O.T.) Note: This article was originally published in the Norwegian movie review Montages.no by Michael Henrik Wynn 30. januar 2014. It has been translated by him and published at this site with the consent of Montages.no.   Like this:Like Loading... [...]
literature / short storyNote from Historyradio.org: the following text is not a model for anything, but an entertaining discussion point for all students of the past. The Hon. H. G. Volrees sat in his office room looking moodily out of the window. Since the desertion of his young bride his life had been one long day of misery to him. His mystification and anger increased with the years, and he had kept a standing offer of a large reward for information leading to the discovery of his wife. He had vowed vengeance upon the author or authors of his ruin. “Come in,” said he in a response to a knock on his door. A young Negro man walked in and Mr. Volrees turned around slowly to look at his caller. “This is Mr. Volrees?” asked the Negro. Mr. Volrees nodded assent, surveying the Negro from head to foot, noting the flush of excitement on his swarthy face. “I understand that you have offered a reward for information leading to the discovery of the whereabouts of your wife,” said the Negro. An angry flush appeared on Mr. Volrees’ face and he cast a look of withering contempt in the Negro’s direction, who read at once Mr. Volrees’ disgust over the fact that he, a Negro, dared to broach the question of his family trouble. “Pardon me,” said the Negro, turning to leave. “Come back! Are you a fool?” said Mr. Volrees angrily, his desire for information concerning his wife overcoming his scruples. “My wife took me to be one and left me,” said the Negro in a tone of mock humility. Mr. Volrees looked up quickly to see whether he meant what he was saying or was making a thrust at him. The solemn face of the Negro was non-committal. “Now, what do you know?” asked Mr. Volrees gruffly. “I know where your wife is,” said the Negro. “How do you know that she is my wife?” “I was the porter on the train that you and she began your bridal tour on,” replied the Negro. “How have you been able to trace her?” “I was the porter on the train on which she first came to Almaville. She came into the section of the coach for Negroes, and she and a Negro girl created a scene.” “Go on!” almost shouted Volrees, now thoroughly aroused. “The reward?” timidly suggested the Negro. “Of course you get that. Go on!” said Volrees, with increasing impatience. “The affair was so sad-like that I always remembered the looks of the two women,” resumed the Negro. “One night not long ago I saw the Negro girl buy a ticket to Goldsboro, Mississippi. It came to me like a flash that she was going to see your wife. She had the same sad look on her face that she had the night I saw them together. I followed this girl to Mississippi and sure enough I came upon your wife.” Volrees had now arisen and was restlessly moving about the room, his brain in a whirl. “Was she living with some family, or how was she situated?” he asked. “She and her husband live——” “Her husband!” thundered Volrees, grabbing the Negro in the collar, fancying that he was grabbing the other husband. “The people there say that she is married,” said the Negro timidly. “I will choke the liver out of the miscreant,” said Volrees, tightening his hold in the Negro’s collar as if in practice. “I am not the man,” said the Negro, with growing determination in his voice. Volrees was thus recalled to himself and resumed his restless tramping. “No, you are not the man. You are only a —— nigger.” Grasping his hat, Volrees strode rapidly out of the room. At the door he bawled back, “You will get your reward.” The Negro followed Volrees at a distance and noted that he went to the office of an exceedingly shrewd detective. In the course of a few days the city of Almaville was shocked with the news that a Mrs. Johnson, wife of a leading Mississippi planter had been arrested and brought to Almaville on a charge of bigamy. The prosecutor in the case was the Hon. H. G. Volrees, who claimed that the alleged Mrs. Johnson was none other than Eunice Seabright, who had married him. Mrs. Johnson denied being the former Miss Seabright, and employed able counsel to conduct her defense. The stir in the highest social circles of Almaville was indeed great, and for days very little was talked of save the forthcoming Volrees-Johnson bigamy trial. Long before the hour set for the trial of the alleged Eunice Volrees on the charge of bigamy the court house yard and the corridors were full of people, but, strange to say, the court room in which the trial was to take place, though open, was not occupied. The crowds thus far were composed of Negroes and white people in the middle walks of life, who looked upon the forthcoming trial as a ‘big folks” affair and, as if by agreement, the court room was spared for the occupancy of the elite. As the hour for the trial drew near the carriages and automobiles of the upper classes began to arrive. Each arrival would come in for a share of the attention of the middle classes and the distinguishing feature of each personage was told in whispers from one to another. When the carriage of the Hon. H. G. Volrees rolled up to the court house gate silence fell upon the multitude and those on the walk leading to the court house door fell back and let him pass. His face wore a solemn, determined look and the common verdict was, “No mercy there. A fight to a finish.” The court room was now fairly well filled with Almaville notables, and the plain people now crowded in to get seats as best they could or to occupy standing room. Almost the last carriage to arrive was that containing Eunice. The curtains to the carriage were drawn so that no one in it could be seen until the door was opened. Eunice and her lawyers stepped out and quickly closed the door behind them. Contrary to the expectations of many, she wore no veil and each person in the great throng was highly gratified at an opportunity to scrutinize her features thoroughly. A way was made for her through the great throng and she walked to the prisoner’s seat holding to the arm of her lawyer. The case was called, a jury secured, and the examination of witnesses entered into. The first witness on the part of the State was the Hon. H. G. Volrees himself. As he took the witness chair a bustle was heard in the room. The people in the aisle were trying to squeeze themselves together more tightly to allow a man to pass who was leading a little six-year-old boy, who had just been taken from the carriage which had brought Eunice to the trial. “Make room, please. I am taking her son to her,” the man would say, and the crowd would fall away as best it could. The Hon. H. G. Volrees had opened his mouth to begin his testimony when he noticed that his attorney, the opposing counsel, the judge and the officers of the court had turned their eyes toward the prisoner’s seat. As nobody seemed to be listening to him he halted in the midst of his first sentence and turned to see what was attracting the attention of the others. As he looked, a peculiar sensation passed over him. Perspiration broke out in beads and his veins stood out like whip cords. He clutched his chair tightly and cleared his throat. There sat beside Eunice her child, having all of Mr. Volrees’ features. There were his dark chestnut hair, his large dark eyes, his nose, his lips, his poise and a dark brown stain beneath the left ear which had been a recurrence in the Volrees family for generations. The public was mystified as it was commonly understood that the marital relations had extended no farther than the marriage ceremony. The presence of this child looked therefore to be an impeachment of the integrity of Mr. Volrees and of Eunice. The wonder was as to why nothing about the child had been mentioned before. Mr. Volrees sat in his chair, his eyes fixed on the boy. The lawyer at length resumed the examination of Mr. Volrees, but the latter made a sorry witness. It was evident that the coming in of this child had thoroughly upset him in some way. He was mystified, and his mind, grappling with the problem of his likeness sitting there before him, could not address itself to the functions of a witness in the case at issue. He was finally excused from the witness chair. The other witnesses, who, out of sympathy for H. G. Volrees had come to identify Eunice as his bride, seeing his collapse, did not feel inclined to take the prosecution of the case upon themselves and their testimony did not have the positiveness necessary to carry conviction. It was very evident that the state had not made out a case and an acquittal seemed assured. The Negro porter was in the court room eagerly watching the progress of the trial, knowing that the obtaining of his reward hinged upon the outcome of the case. He saw the trend of affairs and felt that something had to be done to stem the tide. He saw Tiara sitting in the court room, and said to the prosecuting attorney in a whisper, “Yonder is a colored girl who knows her thoroughly and can tell all about her.” To her great surprise Tiara was called as a witness. She was a striking, beautiful figure, as she stood to take the oath that she would tell the truth, the whole truth and nothing but the truth. “Mr. Judge,” said Tiara, in a sweet, sad voice, “can it go on record that I am not a volunteer witness in this case?” The judge looked a little puzzled and Tiara said, “At any rate, judge, if in after time it be said that I did not on this occasion stand up for those connected with me by ties of blood, I want it understood that I did not seek this chair—did not know that I was to be called; but since I am here, I shall fulfil my oath and tell the truth, the whole truth and nothing but the truth.” Tiara now took her seat in the witness chair. Eunice leaned forward and gazed at Tiara, her thin beautiful lips quivering, her eyes trying to read the intent of Tiara’s soul. Tiara looked at the recording clerk and appeared to address her testimony to him. Now that she was forced to speak she desired the whole truth to come out. Her poor tired soul now clutched at proffered surcease through the unburdening of itself. She began: “In revolutionary times one of your most illustrious men, whose fame has found lodgment in all quarters of the globe, was clandestinely married to a Negro woman. My mother was a direct descendant of this man. My mother’s ancestors, descendants of this man, made a practice of intermarrying with mulattoes, until in her case all trace of Negro blood, so far as personal appearance was concerned, had disappeared. She married my father, he thinking that she was wholly white, and she thinking the same of him. Two children, a boy and a girl, having all the characteristics of whites, were born to them. Then I was born and my complexion showed plainly the traces of Negro blood. The community in which we lived, Shirleyville, Indiana, in a quiet way, was much disturbed over the Negro blood manifested in me, and my mother’s good name was imperilled. “My mother confessed to my father the fact that she was a descendant of Negroes and he made a like confession to my mother as to his ancestry. When Shirleyville found out that my parents had Negro blood in their veins, I was regarded as a ‘reversion to type,’ and the storm blew over. My father became Mayor of the town, and great ambitions began to form in my mother’s heart. “A notable social event was to take place at Indianapolis and my mother aspired to be a guest. She met with a rebuff because she had Negro blood in her veins. This rebuff corrupted my mother’s whole nature, and hardened her heart. She had my father to resign as Mayor. Our home was burned and we were all supposed to have perished in the flames. This was my mother’s way of having us born into the world again. “My mother, father and the other two children began life over as whites, and I began it over as a lone Negro girl without family connection, and we all had this second start in life here in your city. “Most all people in America have theories as to the best solution of the race problem, but my mother fancied that she had the one solution. She felt that the mixed bloods who could pass for whites ought to organize and cultivate unswerving devotion to the Negro race. According to her plan the mixed bloods thus taught should be sent into the life of the white people to work quietly year after year to break down the Southern white man’s idea of the Negro’s rights. She felt that the mixed bloods should lay hold of every center of power that could be reached. She set for herself the task of controlling the pulpit, the social circle and the politics of Almaville and eventually of the whole South and the nation. O she had grand, wild dreams! If she had succeeded in her efforts to utilize members of her own family, she had planned to organize the mixed bloods of the nation and effect an organization composed of cultured men and women that could readily pass for white, who were to shake the Southern system to its very foundation. With this general end in view, she had her son trained for the ministry. This son became an eloquent preacher. My mother through a forged recommendation, which, however, the son did not know to be forged, had him chosen as pastor of a leading church in this city. “My mother had a strange power over most people and a peculiar power over my brother. He did not at all relish his peculiar situation, but my mother insisted that he was but obeying the scriptural injunction to preach the gospel to every creature. The minister in question was none other than the universally esteemed Rev. Percy G. Marshall, who now rests in a highly honored grave in your most exclusive cemetery, from which Negroes are barred as visitors.” There was a marked sensation in the court room at this announcement concerning the racial affinity of the Rev. Percy G. Marshall. “I visited my brother clandestinely; often he and I sorrowed together. On the night of the murder, which you all remember, and preceding that sad event, closely veiled I visited him at his study. When we were through talking I arose to go and opened the door. ‘Kiss your brother. We may not meet again,’ said he sadly. Neglecting to close the door I stepped up to him and kissed him. When I turned to go out I saw that Gus Martin, whom Leroy Crutcher, as I afterwards found out, had set to watching me, had seen us kiss each other. I hurried on home embarrassed that I could not explain the situation to him. When on the next day I read of my brother’s death, I immediately guessed all. That is how I had the key to bringing Gus Martin to terms. When he found out his awful mistake he was willing to surrender. “So resulted my mother’s plans for the mastery of your Southern pulpit.” Turning to Eunice, she said, “There is her daughter. Through her my mother hoped to lay hold on the political power of the state. But that girl loved a Negro, the son of the prosecutor, the Hon. H. G. Volrees . “After leaving her husband, Eunice came to live with me. Earl Bluefield, who is Mr. Volrees’ son was wounded in a scuffle that was not so much to his credit, and he was brought to my house to recover. Eunice waited on him. They fell in love, left my home and married. This explains how that boy favors the Hon. Mr. Volrees. It is his grandson.” Tiara now stood up and said, “Mr. Judge, it may not be regular, but permit me to say a few words.” The whole court seemed under a spell and nobody stirred as Tiara spoke. “My mother is dead and paid dearly for her unnatural course. But do not judge her too harshly. You people who are white do not know what an awful burden it is to be black in these days of the world. If some break down beneath the awful load of caste which you thrust upon them, mingle pity with your blame.” Tiara paused an instant and then resumed: “One word to you all. I am aware of the fact that the construction of a social fabric, such as your Anglo-Saxondom, has been one of the marvelous works of nature, and I realize that the maintenance of its efficiency for the stupendous world duties that lie before it demand that you have strict regard to the physical, mental and moral characteristics that go to constitute your aggregation. But I warn you to beware of the dehumanizing influence of caste. It will cause your great race to be warped, to be narrow. Oratory will decay in your midst; poetry will disappear or dwell in mediocrity, taking on a mocking sound and a metallic ring; art will become formal, lacking in spirit; huge soulless machines will grow up that will crush the life out of humanity; conditions will become fixed and there will be no way for those who are down to rise. Hope will depart from the bosoms of the masses. You will be a great but a soulless race. This will come upon you when your heart is cankered with caste. You will devour the Negro to-day, the humbler white to-morrow, and you who remain will then turn upon yourselves.” Tiara paused and glanced around the court room as if to see how much sympathy she could read in the countenances of her hearers. The rapt attention, the kindly look in their eyes gave her courage to take up a question which the situation in the South made exceedingly delicate, when one’s audience was composed of Southern white people. “One thing, Mr. Judge, wells up in me at this time, and I suppose I will have to say it, unless you stop me,” said Tiara, in the tone of one asking a question. The judge made no reply and Tiara interpreted his silence to mean that she was permitted to proceed. Said she: “You white people have seen fit to make the Negro a stranger to your social life and you further decree that he shall ever be thus. You know that this weakens his position in the governmental fabric. The fact that he is thus excluded puts a perennial question mark after him. Furthermore the social influence is a tremendous force in the affairs of men, as all history teaches. To all that goes to constitute this powerful factor in your life as a people, you have seen fit to pronounce the Negro a stranger. The pride of the Negro race has risen to the occasion and there is a thorough sentiment in that race in favor of racial integrity. “So, by your decree and the cordial acceptance thereof by the Negro, he is to be a stranger to your social system. That is settled. The very fact that the Negro occupies an inherently weak position in your communal life makes it incumbent upon you to provide safeguards for him. “Instead, therefore, of the Negro’s absence from the social circle being a warrant for his exclusion from political functions, it is an argument in favor of granting full political opportunity to him. When a man loses one eye, nature strengthens the other for its added responsibility. Just so, logically, it seems absurd to hold that the Negro should suffer the loss of a second power because he is shut out from the use of a first. Dont circumscribe the able, noble souls among the Negroes. Give them the world as a playground for their talents and let Negro men dream of stars as do your men.” “Don’t circumscribe the able, noble souls among the Negroes. Give them the world as a playground for their talents and let Negro men dream of stars as do your men.” “Your Bible says: ‘And if a stranger sojourn with thee in your land, ye shall not vex him.’ White friends of the South! Let me beseech you to vex not this social stranger within your borders; the stranger who invades your swamps and drains them into his system for your comfort; who creeps through the slime of your sewers; who wrestles with the heat in your ditches and fields; who has borne your onerous burdens and cheered you with his song as he toiled; who has never heard the war whoop but that he has prepared for battle; whose one hope is to be allowed to live in peace by your side and develop his powers and those of his children that they may be factors in making of this land, the greatest in goodness in all this world. Don’t circumscribe the able, noble souls among the Negroes. Give them the world as a playground for their talents and let Negro men dream of stars as do your men. They need that as much as you do. As for me, I shall leave your land.” Turning to Eunice, Tiara stretched forth her hands, appealingly and said, “Sister, come let us leave this country! Come.” “Ha! ha!” laughed Eunice, with almost maniacal intensity, as she waved her hand in disdain at Tiara, who now slowly left the witness stand. All eyes were now turned toward Eunice, who had arisen and stood trying to drive away the passions of rage that seemed to clutch her vocal cords so that she could not speak. At last getting sufficient strength to begin, she said: “Honorable Judge and you jurymen: I declare to you all to-day that I am a white woman. My blood is the blood of the whites, my instincts, my feelings, my culture, my spirit, my all is cast in the same mould as yours. That woman who talked to you a few moments ago is a Negro. Don’t honor her word above mine, the word of a white woman. I invoke your law of caste. Look at me! Look at my boy! In what respect do we differ from you?” She paused and drawing her small frame to its full height, with her hands outstretched across the railing, with hot scalding tears coursing down her cheeks, she said in tremulous tones: “And now, gentlemen, I came here hoping to be acquitted, but in view of the statements made I want no acquittal. Your law prescribes, so I am told, that there can be no such thing as a marriage between whites and Negroes. To acquit me will be to say that I am a Negro woman and could not have married a white man. I implore you to convict me! Send me to prison! Let me wear a felon’s garb! Let my son know that his mother is a convict, but in the name of heaven I ask you, send not my child and me into Negro life. Send us not to a race cursed with petty jealousies, the burden bearers of the world. My God! the thought of being called a Negro is awful, awful!” Eunice’s words were coming fast and she was now all but out of breath. After an instant’s pause, she began: “One word more. For argument’s sake, grant that I have some Negro blood in me. You already make a mistake in making a gift of your blood to the African. Remember what your blood has done. It hammered out on fields of blood the Magna Charta; it took the head of Charles I.; it shattered the sceptre of George III.; it now circles the globe in an iron grasp. Think you not that this Anglo-Saxon blood loses its virility because of mixture with Negro blood. Ah! remember Frederick Douglass, he who as much as any other mortal brought armies to your doors that sacked your home. I plead with you, even if you accept that girl’s malicious slanders as being true, not to send your blood back to join forces with the Negro blood.” Eunice threw an arm around her boy, who had arisen and was clutching her skirts. She parted her lips as if to speak farther, then settled back in her seat and closed her pretty blue eyes. Her tangled locks fell over her forehead and the audience looked in pity at the tired pretty girl. Eunice’s attorneys waived their rights to speak and the attorney for the prosecution stated that he, too, would now submit the case without argument. “Without further formality the jury will take this case under advisement. You need no charge from me. You are all Anglo-Saxons,” said the judge solemnly in a low tone of voice. The jury filed into the jury room and began its deliberations. A tall, white haired man, foreman of the jury, arose and spoke as follows: “Gentlemen: We have a sad case before us to-day. That girl has the white person’s feelings and it seems cruel to crush her and drive her from those for whom she has the most affinity to those whom she is least like. Then, I pity the boy. He carries in his veins some of our proudest blood, and it seems awful to cast away our own. But we must stand by our rule. One drop of Negro blood makes its possessor a Negro. “Our great race stands in juxtaposition with overwhelming millions of darker people throughout the earth, and we must cling to the caste idea if we would prevent a lapse that would taint our blood and eventually undermine our greatness. It is hard, but it is civilization. We cannot find this girl guilty. It would be declaring that marriage between a white man and a Negro woman is a possibility.” A vote was taken and the jury returned to the court room to render the verdict. “The prisoner at the bar will stand up,” said the judge. Eunice stood up and her little boy stood up as well. There was the element of pathos in the standing up of that little boy, for the audience knew that his destiny was involved in the case. “Has the jury reached a verdict?” asked the judge. “We have,” replied the foreman. “Please announce it.” The audience held its breath in painful suspense. Eunice directed her burning gaze to the lips of the foreman, that she might, if possible, catch his fateful words even before they were fully formed. “We, the jury, find the prisoner not guilty.” “Murder!” wildly shrieked Eunice. “Doomed! Doomed! They call us Negroes, my son, and everybody knows what that means!” Her tones of despair moved every hearer. The judge quietly shed a few tears and many another person in the audience wept. The crowd filed out, leaving Eunice clasping her boy to her bosom, mother and son mingling their tears together. Tiara lingered in the corridor to greet Eunice when the latter should come out of the room. She had thought to speak to her on this wise: “Eunice, we have each other left. Let us be sisters as we were in the days of our childhood.” But when Tiara confronted Eunice, the latter looked at her scornfully and passed on. When Tiara somewhat timidly caught hold of her dress as if to detain her, Eunice spat in her face and tore herself loose. Excerpts from the novel The Hindered Hand: Or, The Reign or the Repressionist (1905) by Sutton Elbert Griggs (1872-1933)   Like this:Like Loading... [...]
history / literatureEver since the invention of writing, authors have struggled with their craft. Modern writers apply word processing software, then email their text to editors, who comment and correct. Then, if they are lucky, the book is printed by machines and destributed via a modern transport network. Commercials market their work, and we pay for the product in stores. But what was the reality of writing and reading before all this, before the machines, the computers. How much has really changed? We asked a scholar of Latin and Greek classics. Historyradio.org: There are many ways of looking at ancient literature. In what ways would you say that writers during the classical period innovated, broke rules and experimented? Professor Richlin:  Ancient literature was like jazz:  a strong traditional basis, with performers or writers making a name for themselves by the way they riffed on what was given.  Vergil turned Homer’s Iliad and Odyssey into an epic on the founding of the city of Rome; the anonymous players who made early Roman comedy took Greek New Comedy and stuffed it full of local shtick.  Likewise within each culture:  Attic Old Comedy sends up tragedy, and, within tragedy, Euripides plays around with his predecessors’ work and changes mythology. Historyradio.org: Today when we think of classical literature many think of rigid rules and pentameters that must be adhered to. Why do you think that is? Professor Richlin:  Maybe because of the way Latin is taught in school?  Because of the rules of grammar?  As with most languages, though, you have to trudge through the early stages of learning how the language works before you can understand what’s going on in literature.  And you have to know the rules in order to see how individual writers innovate. Historyradio.org: How did one become a writer in ancient times, were you hired by a theater company? How did you make a living? Professor Richlin:  It worked very differently in different times and places. Sappho lived in a culture where there was a place for poets in the world of ritual and dance; Pindar, also living in the Greek islands, made a living by praising kings and tyrants for the victories of their chariots in races, and all kinds of other poets made a living in the courts of kings, all over the Mediterranean, especially in the 300s BCE. Major cities like Athens commissioned plays and poems for their big festivals; in Rome from 240 BCE through the 160s and probably beyond, the city magistrates also paid acting troupes to perform at festivals. But these troupes, made up of slaves and lower-class men, had to live all year, and probably made money performing at markets and fairs all over central Italy. They wrote their own material. From the 300s onward, troupes of Greek professional actors performed everywhere from Babylonia to Sicily, being paid and honored by cities. Among Latin-speaking people in Italy from the 200s onward, and eventually throughout the West from Carthage to Gaul, slaves and lower-class people (mostly men) became upwardly mobile by teaching and, sometimes, writing; already by the time of the elder Cato around 200 BCE, writing prose and some kinds of poetry had become a pastime for upper-class men and a few women, and this continues into the 500s CE when those men were now bishops. Historyradio.org: Only a fraction of ancient literature has survived into the modern age? Have any new literary works been discovered recently? Professor Richlin:  Yes, a handful of previously unknown poems by Sappho have been found over the past ten years or so Historyradio.org: What do we know about the reading habits during ancient times? What was the degree of literacy, and to what extent did the average Joe have access to the great stories and drama? Professor Richlin:  It’s been argued that the rate of literacy was very low, but then again there are graffiti everywhere, some of which quote poetry or are written in verse, which I think argues for quite widespread literacy. In addition, although books were expensive, the rich people who had private libraries also had people to read to them, i.e. slaves, so that reading and books were not exclusive to the rich; moreover, since reading aloud was widely used as dinner entertainment, everyone present could hear. The average Jo(sephine) had regular access to drama through public performance, which was usually free or very cheap, subsidized by cities or by wealthy individuals. In cities, children were sent to school, where Homer was among the first texts they learned. Most of the ancient world was rural, though, and literature must have been relatively unknown in the hinterlands. On the other hand, folk tales, jokes, myths were everywhere, probably including large amounts of Homeric poetry that people had memorized. Historyradio.org: We have all heard about the great library of Alexandria, but were there smaller public libraries where text might be read, poetry, stories etc? Were there lending arrangements like in a modern library? Professor Richlin:  Yes, there were public libraries in Rome; the young Marcus Aureliuis jokes about having to seduce the librarian into letting him borrow a book he wants. There were also booksellers, and the poet Martial, at least, brags that his poetry books are popular throughout the empire. Historyradio.org: Reading, of course, depended on proper lighting in the houses. In Victorian Britain they had gas, as you know, but evenings remained dark. What sort of lamps would the Greeks and Romans have had access to? Professor Richlin:  Oil lamps. Once when I was living in New Hampshire, I had to get by with oil lamps for a week, doing the reading for my classes and grading papers, and it was pretty hard on the eyes. But they got up very early in the morning; Marcus Aurelius, as a student, was often up before sunrise, reading in the predawn light. Historyradio.org: What were the most popular literary genres and forms during the ancient period? I know they had comedy, tragedy and poetry? But did they have anything resembling a modern novel? Professor Richlin:  The Greeks seem to have invented novels, although Petronius’s Satyricon (60s CE) seems to be earlier than the earliest extant Greek novel. Since the Satyricon often parodies the norms of the Greek novels we do have, however, it seems clear that Greek novels started well before Petronius. Novels were tremendously popular; they morphed into saints’ lives, they were translated and adapted into many ancient languages (there’s one in Syriac about the biblical Joseph and his beloved Aseneth), they moved eastward through Byzantium and on into Russia, as far east as China, so I’ve heard. The Satyricon is one of the funniest things I’ve ever read, it still makes me laugh. And only a bit of it is left! See below. Another great novel in Latin is Apuelius’s Metamorphoses, sometimes called The Golden Ass, about the adventures of a young man who gets transformed into a donkey, and that novel has survived in its entirety. The Greek novels are mostly “romances” — they have a marriage plot — but there are all kinds of others. Historyradio.org: The classical period spans hundreds of years. Did they have literary schools that reflected any modern sensibilities, such as the stress and anxiety of urban living in a modernist sense. Or perhaps romantic idealization of nature, the way it is seen by a city dweller? Professor Richlin:  Lots of romantic idealization of nature, the Greeks invented that, too (and the Roman poet Horace wrote a comic poem satirizing that). The Romans invented satire, and Juvenal’s Satire 3 is about the stress and anxiety of urban living, though not in a modernist way. Modernism is a rejection of the classic, really, so I don’t see a big overlap. Historyradio.org: In Umbert Eco’s The Name of the Rose, there is a crime plot centering on the rediscovery of an ancient text on comedy. Which lost text would you like to see rediscovered? Professor Richlin: The rest of the Satyricon! Medieval Arabic satire shows some remarkable resemblances to the Satyricon; I have a fantasy that, somewhere, the novel was translated into Arabic before most of the Latin text was lost, and that someday we’ll find that manuscript. And I’d give a lot to have the comedies of Naevius, Plautus’s predecessor, whose tantalizing fragments make me long for even one complete play of his. The memoirs of the elder Agrippina: oh, boy. Tacitus mentions them — they must have been pretty hot stuff, in terms of telling the inside story of the house of the Caesars. The lost books of Tacitus, ditto. In Greek: the rest of Sappho! And the other women poets, esp. Nossis, whose few remaining poems are so beautiful. Like this:Like Loading... [...]
historyThe actors were all on stage in front of an excited audience. Listeners everywhere, from soldiers in war zones to grandma in her rocking chair, were glued to their radio sets. The attraction of a media reality gone by is apparent in classic comedies such as Abbot and Costello’s Who Done It? (1942) and The Radioland Murders (1994). Historian Neil Verma joins us to reflect upon an art form, which, he says, will never go away. Historyradio.org: When were the first radio dramas broadcast? What are the oldest ones that survive? Professor Verma: This is hard to answer because you’d have to decide what counts as a “play” exactly. There’s a long tradition in the 1920s and 1930s of reading aloud from works of fiction, and there’s also a number of newspaper records we have of local theaters and dramatic societies playing scenes from ongoing stage productions for radio shows on stations such as New York’s WJZ and Chicago’s WGN in the early 1920s. And what about opera broadcasts? Aren’t they drama? When it comes to written-for-radio dramatic pieces, tradition says that the earliest radio drama in the US was a show called The Wolf, an adaptation of a stage play by Eugene Walter Based on a play by Charles Somerville that aired out of WGY Schenechtedy in 1924. In the UK, many point to Richard Hughes’ The Comedy of Danger, which aired on the newly commissioned BBC around the same time. Throughout the 1920s there are many accounts of dramas written or adapted for the radio ranging from Shakespeare to children’s programming, but it’s important to remember that this also took place against a backdrop of debates about how radio was undercutting theater ticket sales, and there was a tension between the two industries. Radio drama became a mainstay of programming formats with the coming of networks in the mid-late 1920s. By 1930, my colleague Shawn VanCour has established, the radio drama was about 14 percent of network programming. Many of the shows of this period that have survived are skit-like serialized shows that have a similar structure to vaudeville and racist minstrel shows (Amos & Andie) or comic strips (Clara, Lu and Em). Historyradio.org: What sort of recording devices did they use at the time and how was the radio show edited? Professor Verma: Most dramas were live shows, sometimes with a studio audience. Therefore recording devices were not required. Recording typically entered into the process for one of four reasons (1) rehearsals – many shows would record a rehearsal on a transcription disc of some kind prior to doing a live version (2) as a component of the broadcast itself – many shows used records of sound effects spun manually during the broadcast (3) as part of a transcription distribution system – local stations would very often “time shift” programs by buying recorded-to-disc shows that they would air to fill gaps in their programming or (4) as part of a record for the ad firm or sponsor who paid for the program. The kind of microphones they used were not dissimilar to the ones we use today in terms of design and pickup pattern. Initially much radio drama used carbon-based microphones but by the 1940s many used condenser type microphones, others used ribbon microphones, which were sometimes called velocity microphones. Historyradio.org: There are many old time radio enthusiasts in the US, why do you think that is?  Professor Verma: I don’t know. There is more and more audio drama being produced all the time, so it can’t just be nostalgia.  Historyradio.org: Why was Orson Welles’ 1938 War of the Worlds broadcast  a turning point in radio history? Professor Verma: Welles made the most famous radio play of all time, it’s hard to pinpoint that for many other media. That said, much of the so-called panic of the broadcast is a production of the yellow press – virtually none of the mass hysteria that people think happened can be verified by any evidence. There’s a huge irony here – the “lesson” of the War of the worlds “panic” is supposed to be that you can’t trust what you hear on the radio, but it turns out you can’t believe what you read in the paper. For me, it’s a shame that the panic about the broadcast has occluded the play itself. There are hundreds of books and articles about the reception of the thing, but very little about what it sounded like, and how Welles, Howard Koch and the rest of the team evolved their art through it. For example, WOTW is one of the slowest radio plays I’ve ever heard. In a medium best known for loudness and action, it’s rather quiet and lethargic. That’s a really exciting mode of radiophonic art, an unusual one, and it can tell us a lot about the aesthetics of suspense in the mid-20th century. Historyradio.org: The legacy of Howard Koch, Bernard Hermann and Orson Welles is apparent in later productions, such as the historical drama series CBS is There (You are There) and even a local production, such as the 1970s zombie drama The Peoria Plague. Do you think an updated War of the Worlds would be as effective as a 1938 version?  Professor Verma: My feeling is that the whole War of the Worlds hoax is itself a hoax. So, what should we take from that? I think it’s a fascinating allegory for anxieties we have about the modern media, anxieties that persist today. Historyradio.org: At some point larger producers, such as NBC and CBS, turned away from radio drama, and began focusing on TV.  Have people in the US stopped listening to radio altogether? Professor Verma: No. The most recent report of the AC Nielsen company I’ve seen says that radio reaches 93 % of adults each week in the United States. That’s compared to 89% for TV, 83% for smartphones. Historyradio.org: Today there are many independent radio drama producers in the US. On this site we have featured, among others Blue Hour Productions, Atlanta Radio Theater and 19NocturneBoulevard. When did this subculture emerge? Professor Verma: Radio drama production has never really ended from the Golden Age. That said, I think the contemporary period can trace its roots to the Firesign Theater records, ZBS productions by Tom Lopez and Yuri Rasovsky’s works, along with the BBC’s Hitch-Hiker’s Guide to the Galaxy programs, which are still a gold standard for many of the audio dramas I listen to today. Historyradio.org: The quality of The Mercury Theater, The NBC University Theater and CBS Studio One, is still unmatched in modern radio. Why do you think that is? Professor Verma: I’m not sure I’d agree with that. These were shows that made sense for their audiences at the time, and created a kind of radio that was energetic about exploration and innovation. There are other traditions out there just as worthy. That said, I think it’s important that many of the authors and directors in the shows you mention could draw liberally on contemporaneous fiction for scripts, invent new vocabularies for sound effects, and work with actors who spent whole careers as voice artists. Being a radio drama professional – working at it day in and day out for decades – was a peculiar affordance of the classical period, at least in the United States. Historyradio.org: Advertising played an important role in the development of radio drama in the US. Every radio listener in the 1950s US would know the phrase “Lux Presents Hollywood” , the opening for the Lux Radio Theater. Tell us a little about the history of advertising in radio drama. Professor Verma: There are whole shelves of books on this subject. In general, advertising firms would bankroll programs and match them with sponsors, and a few firms (BBDO, Young & Rubicam, J Walter Thompson come to mind) had a particularly effective business model based on this. In general, many of the products that sponsored these shows were national brands. Think of the kinds of products we are talking about – soap, coal, boot black, soup, tea, yeast, cigarettes. These are not “niche” products exactly, and that suggests that these are plays that expected to be heard not by a particularly narrow segment of Americans, but by a very broad group. You should reach out to Cynthia Meyers from the College of Mt St. Vincent for more on this, she knows the ad firm history the best. Historyradio.org: Today everything is “on demand”. Netflix lets you chose what to watch and when. Sites like archive.org and the BBC let you select radio shows to listen at your convenience. Is there a future for linear broadcasts? Professor Verma: When people ask me for a prediction about the future of audio narrative, what historian Michele Hilmes calls “sound work,” I tell them that there will be more of everything. More linear radio drama broadcasts, more podcasts, more of things made in between. In the past few years I’ve heard incredible work from all sides of the industry, from Gimlet Media’s Homecoming podcast to Westdeuscher Rundfunk’s adaptation of The Neverending Story. In 2014 they used serialized radio dramas to promote awareness about Ebola in Liberia and Sierra Leone. The radio art world is also booming, with major conferences and installations at Radio Revolten in Halle, Germany and the Radiophrenia broadcasts in Glasgow. In the last year the BBC experimented with a nonlinear radio drama that you can listen to in different sequences, and it recently teamed up with Amazon to create an interactive audio drama on Amazon’s Alexa. Radio technology has always changed and will continue to change. Drama, I suspect, will always be a part of that change.   Like this:Like Loading... [...]
history / movies  Despite the hardships of war, the 1940s are usually considered a golden age of British cinema. TV was not yet introduced into the homes, and during the worst fighting the audience flocked in their millions to see the Noel Coward films of David Lean, the collaborative work of Powell & Pressburger or Gainsborough melodramas (1943-49). After the war there were of course Ealing comedies (1947-57) to cheer you up. How did the British manage to maintain such an output of quality productions during a period when sacrifices were so great? We had a brief chat with movie historian Charles Drazin. Historyradio.org:  How were films financed during the war? Charles Drazin: Dominating production at this time was the Rank Organisation, which provided the lion’s share of financing for most of the prestige films that are still remembered today. (The Rank Organization was the media empire founded by J. Arthur Rank, and owned everything from studios to the cinemas where the movies played.) Historyradio.org: Was there much censorship? Charles Drazin: Mainstream movies had to respect the British Board of Film Censorship and, if they wanted to get into the profitable US market, the Hollywood Production Code, and also of course any wartime regulations relating to national security, but I think what was more notable was the freedom that film-makers had to express themselves. A good example is Powell and Pressburger’s The Life and Death of Colonel Blimp (1943). Churchill wasn’t able to prevent the film from being released although he disapproved fiercely of its content. Historyradio.org: Were movie people exempt from military service in any way? Charles Drazin: They could be if they were in a “reserved occupation” deemed to be necessary for the furtherance of the war effort. Historyradio.org: How do British wartime movies compare with the similar productions in Germany? Charles Drazin: Filmmakers were “free” in the sense that no higher government authority was telling them what to say. Obviously film-makers were encouraged to make films that support the war effort, but there was a diversity and authenticity of spirit that comes from free expression. The British film industry was of course engaged in a kind of propaganda but it was soft propaganda as opposed to the hard propaganda of the Nazis. I like the comment someone made about the great British documentary film-maker Humphrey Jennings that he was making “propaganda for the human race”. Historyradio.org: Were the movies distributed among the troops? Charles Drazin: Most certainly. Historyradio.org: What about availability of raw film? Certainly that would have to be rationed during the war? Charles Drazin: Yes, very significantly. Like so many other things at this time raw film was rationed. Historyradio.org: How did the moviegoers during WWII react to the realism of some films, such as One of our Aircraft is Missing? Charles Drazin: The critics thought such realism was the crowning glory of a British film renaissance – what made it stand out from the phoniness of Hollywood – but of course over time audiences grew tired of it. In the second half of the war the most successful movies were the escapist Gainsborough romantic melodramas. These melodramas were very much aimed at women. (The men were mostly off to war, or perhaps home on leave.) Historyradio.org: Did the army have any role in the production of the film like In Which we serve (1942) or One of Our Aicraft is Missing (1942)? Charles Drazin: The armed forces would provide support in the form of men and equipment to films that the Ministry of Information considered to be in support of the war effort. Historyradio.org: What would you say were the major forms of innovation in British cinema during the war years? Charles Drazin: The major achievement in my view was breaking away from formulaic, genre cinema to say something important to a mass popular audience. There were all sorts of style innovations, but it was the coming to age of the cinema as a serious medium in Britain that made such innovations possible. One of Our Aicraft is Missing (1942)  Like this:Like Loading... [...]
history / literatureIn 1873 the restless poetic prodigy composed one of his final and greatest works. Arthur Rimbaud had been shot by his lover. Now he left the literary salons to become a vagabond, a deserter and a gun runner among the sand dunes of north Africa. Rimbaud came upon the artistic crowd in Paris like an invasion from the Ardenne. All his life he tried to escape his claustrophobic childhood. His father was passing soldier who deserted his family and his mother was strict, religious and maintained a facade of respectability. Most people who met Rimbaud were stunned by his talent, but they soon detected a rebellious streak behind his childish features. If there ever lived a poet of the gutter or a man who lived up to the bohemian myth of the restless artiste, Rimbaud must be it. He wrote his masterpieces between the ages of 16 and 19. Then he quit suddenly, left everyone and everything and became a legend. There are different theories as to why he did this. Was it the break-up with his homosexual lover Paul Verlaine? (Verlaine was much older than Rimbaud.) Was it his tragic childhood? He ran away from home when he was 14. As a teenager he searched the dustbins of Paris when France lost the war against Prussia in 1870. He saw the last French empire dissolve and the communes of Paris. He hung out with artists, painters, drank constantly, experimented with drugs and lived fully the life of the caffees. But after Verlaine had shot him in the hand, Rimbaud withdrew to face up to his theory of art in the poem “A Season in Hell” and decided to become a man of action. Verlaine, who still missed his wife and children, made a futile attempt at reconciliation, but Rimbaud turned his back on him. Verlaine was a born again christian at this time, and he is said to have prayed for Rimbaud’s salvation: “Merciful God,please save this angry child.” Distant horizons Rimbaud’s travels brought him to most countries in Europe, including Sweden, but after his sister’s death in 1875, he set his eye on exotic continents. First he decided to travel to Russia via Austria, but in Wien he was robbed by his own coachman. He begged in the streets until he was arrested by the police for vagrancy and shipped out of the country. A year later he was in the Netherlands where he joined the army for a six-year period, but after a few months in Java, he deserted. He returned to Paris wearing British sailor’s outfit. Then he decided to go to Egypt. In Hamburg he heard that a ship was due to sail from Greece, and in 1878 he crossed the alps during the winter season, an insane undertaking that almost cost him his life. A few months later he could proudly engrave his name on one of the pillars at the Luxor temple. In Egypt he worked for a while in Alexandria before he moved to Cyprus. Here he contracted typhoid, and when he returned to his mother he was only 25. Rimbaud’s return was nothing but a stay of necessity. Suffering had been a part of his artistic ideas, and now it became the force that drove him. He returned immediately to Cyprus where he saved up enough money to travel south along the shores of the Red Sea. Tired and sick with fever he ended up in the desolate and isolated seaport of Aden. Here he came into contact with a French coffee merchant, and it was in his service that the vast interior with its waving sand dunes, jagged peaks and savage tribes opened up to him. He was sent to Harar, a city where no Frenchmen had been, and soon he was given the opportunity to penetrate deeper into the unknown continent, the heart of darkness. His article about this journey was published by the French Geographical society, but only his letter to his mother revealed his true feelings: Loneliness is a wretched thing, and I am starting to regret the fact that I never married or started a family. As things are now, I am obliged to roam the earth, tied down by a distant enterprise. And every day I lose my taste for the climate and way of life in Europe. But no, what does the endless spending and accumulation of profit mean, these adventures, this hardship among alien races, these languages that fill my mind; what does all the indescribable suffering mean if I not, after many years, can rest in a place I like and have my own family. . .. Who knows how long I can survive in the mountains here. I may lose my life among these people without anyone ever knowing. .. The arms dealer When Rimbaud finally returned to Aden he brought with him an Abyssinian woman with who he lived happily for a while. We don’t know the reason for why he sent her away. New changes arrived in the area. Egypt was losing its political position, and like many Europeans Rimbaud tried to make money from gun running. He found experienced partners and invested all his savings to fund a caravan, but lady luck was not on his side. One of his colleagues was murdered and the other two fell ill. Rimbaud took charge of the caravan himself, from the coast to the interior. It took several months, a bitter contest with the elements. When he finally reached his destination, he was swindled by the devious king Menelek, and the balance only barely swung in his favor. Because he had a unique knowledge of local conditions, and because Italy had become active in the region, Rimbaud sent some articles to the newspaper Le Temps. The articles were rejected, but the newspaper could tell about his growing reputation in France. You probably don’t know this as you live so remote, but you have become a legend to a small circle here in Paris; one of those who is taken for dead, but who still maintain a group who believes in you and who patiently awaits your return. The petty salons of Europe were part of a world that Rimbaud had permanently abandoned. Rimbaud was now a weathered adventurer who pursued his investments. He found a partner for shipping goods between the French port Djibouti and Harar. His partner got him involved in the illegal slave trade to Arabia. However, he traded mostly in guns and other merchandise. Gradually he established a significant business and was well liked as a trader and known for his integrity and frugal nature. He had a good relationship to the natives, often helping those in need. As a white man in Africa, he was still an outsider, and he often wrote dreamy letters to his mother about how she would give him away in marriage upon his return to France. The servant Djami kept him company, a constant support for Rimbaud. The warm-hearted Rimbaud married him off when he turned 20, even if it served to consolidate his own solitude. The poet returns The decision to return to Europe was inevitable. In 1891 Rimbaud was struck by pains in one of his feet. It became infected and he lost mobility. He feared that his days were numbered and he immediately set course for home. 16 servants carried him through desert and rainstorm to the sea port. The local doctor eased his symptoms, which allowed him to set sail for Marseille. He telegraphed his mother and his sister and asked them to meet him there, and told them he might have to amputate one of his legs. He was carried ashore, but realised his time had come. All he could think about now was whether his personal life had been wasted. He returned as a poetic legend, but he never got in touch with his old colleagues. His final days were spent with his sister and he constantly complained about the fact that he had not married: And I who had planned to return to France this fall to marry. Goodbye marriage! Goodbye family! Goodbye future! My life is over! I am nothing but a rotting log. Rimbaud died November 9 1891 by his sister’s side, at the age of 37. His many acts of rebellion both in life and in poetry have since influenced a generation of poets. When his old lover, the great Verlaine, published his book about what he called “the damned poets”, Rimbaud was given special mention. In the 1960s he was admired by Jim Morrison and Bob Dylan, and he became – in spite of the fact that he resented his own fate – the poet icon of the sixties. Michael Henrik Wynn Like this:Like Loading... [...]
short storyThe crowds waited in anticipation as the pompous fanfares marked the opening of the red carpet, a crowd of slick journalists rushed to the front fence. An even larger crowd consisting of “common men” were held back at the perimeter – like some reserve force. And then they arrived, the dashing superstars in their lavish costumes. The simultaneous flashes of hundreds of cameras enlightened the long expected arrivals from constantly shifting angles. Some of them sweated, others blinked, but they all kept their faces. They smiled because they were used to it, and they lifted their arms and waved. They paraded along the marked lines giving autographs, and they were all in a splendid mood. “The film was excellent, Mark Thompson! How did you feel upon receiving the award”“It was a great honor, of course.”“How do you feel about being nominated as the most sexy man in the business”“I appreciate good taste when I see it”, the middle aged actor said and put on his best grin.Those who heard him – and there were plenty of these – roared with laughter. They would have escorted him to his limousine, but sunglassed guards – probably picked or perhaps even bred for size and grim appearances – blocked their way. Strangers struggled, they shouted after him, and for their sake Mark Thompson stopped, walked over to the fence where they stood and signed several autographs. Then he moved on to the next fence closer to the parking lot. There were three of them along the way, and Mark Thompson radiated even more humor and wit at the two next ones. He was warming up. Only the last two hundred meters did he walk a little faster when he noticed an open limousine waiting for him. He sighed when the car doors slammed shut behind him, because he now was protected from a multitude of stares by bullet proof colored glass. But a sigh was all he could manage because even if they could not see him, he was able to see them, the vast moving crowd, an organism by itself, twisting and turning, giving off sounds of hysteria, of admiration and sometimes – more often than people realize – of disgust and resentment. The car navigated through the streets of the city center, and stopped by the venerable Grand Hotel. The door opened, and again he was exposed. But there was that million dollar, tastefully bleached smile that had melted so many hearts, and there was that sharp tongue that always knew how to dodge awkward questions. It had served him so well, and it only became more and more efficient with age. It ripened like a fine wine. At the reception, men and women he had never met and sometimes not even knew existed told him from a mahogany podium about how he had completely altered their lives, sometimes saved them from bad marriages, improved their sex lives and prevented suicides. Of course, he had no choice but to be humbled by his enormous power, such good fortune that life had bestowed upon him. He was obliged to tell them of his own struggles, and how thankful he was that he had made it, arrived at his station, and how they too could make it if they just followed their dream. Ever onwards and upwards. There was fine dining, exquisite cuisine, which he enjoyed in silence, while hum and chatter, and toasting glasses sounded over his head. Then he got up, excused himself and rushed through the velvet corridors for the bathroom. But a young blonde had made it passed the guards, was blocking his way and was flashing her excellently sculpted breasts. Then, there was a bizarre situation in which a gigantic two meter black body guard chased the tiny creature down the corridor. Mark Thompson walked by and smiled.“They never stop”, he told the guard, “they can’t help it. You’re doing a great job, thank you, but be gentle on her. She is drunk and very young.”“Yes sir”, said the giant bodyguard. He did his thing in the toilet, washed his hands in the gilded sink, and returned to his seat. His agent was on the phone, several radio stations wanted his views on some matter. He found a quiet corner, and called them. He preferred these brief phone interviews. No one could see his face, he could even do them in the nude at home, if he wanted. But somehow it never seemed right. Even in their voices, he could sense their eyes. At ten o’clock that evening he called it a day. He had been at it since morning. Then there was the routine of leaving the building, the choreographed exit, the waiting door. The relief of departure, the oddness of seeing those ordinary people walking along the bar strip as his limousine passed. The loud music, the distant laughter. He had been 18 once, hadn’t he? He had not always had this life. Many many years ago, he too could walk down that strip, and no one would even look twice at him, a pimpled mumbling nerd. The girls had even giggled at him with pity, the pathetic boy who would never get laid. The cortege struggled through traffic, but as they entered the more affluent areas, people and vehicles magically dispersed. He was left with majestic glass and steel constructions, all polished and glimmering, fancy restaurants with private entrances and then the villa area: well kept gardens with pools hidden by carefully landscaped residential palaces. As dusk fell, the stars had come out and they hung over his home, stretching endlessly towards a million dollar horizon and view. Below them lay the vast pulsating metropolis. On top of the hill stood his isolated palace, his marble columns, his tiled walkways. Another open door was waiting for him, and he rushed towards it. He had made sure that it had been made of the most quirky wood he could find. It stood out because it had the texture of an English cottage door. The faces that met him, his servants, were friends at least, he thought. He paid them enough to fake it.“Is she still awake?” he asked as the maid took his coat.“Yes, sir. She is awake”He then stopped by the stairs, and wondered whether he would he would be brave enough to enter her room. But the memories overwhelmed him, and he bit his lip as climbed the steps.There was the door he dreaded. He leaned his forehead against it as he knocked. It squeaked open, and the silhouette a huge bed and a dying woman was visible against the moon light from a half open window. He walked those final steps to the vacant chair, and an imperceptible breeze silently swung the door shut behind him. by Mchael Henrik Wynn Like this:Like Loading... [...]
short story“Tribal Mark” by Iroakazi Ifeanyi here I come from, scars are just enough to tell if you are good enough, especially when they appear on your face. They are not just the regular scars from mosquito bites or accidental injuries. They are deliberate scars that you carry from cradle to grave. So they come first before anything else. Your tongue is next before whatever hidden treasure you may think hiding beneath your skull, in your heart, or wherever- it can suit itself for any occasion! Sometimes the scars appear on your cheeks, close to your nose; at the corners of your eyes, close to the brow tails; between the brows on your forehead, and other time they appear like a cat’s whiskers, growing from the corners of your mouth up until they ended just below your ears. You could get any of these and they set you apart to either make or mar you, but it all depends on the scars of those you meet. I remember the day I took Amina to see my parents years ago. Amina suggested that because she had just said YES to me a week ago, and I was so happy and eager to show this narrow-faced, slim, and tall beauty to my parents that I decided it would be the following weekend. She was a perfect woman for me-maybe I never stared into her face long enough-she always teased me about being too shy to gaze at her without blushing. You’re too shy for my liking, she would say, laughing and tickling my nipples. I so much love to be tickled because it makes me laugh like a fool even at thirty-five. I would laugh until my head muscles begin to ache. My parents were much happier when I called them. My only son is finally getting married, I heard my mother say in the background as she handed the phone to my father. Congratulations son, my Dad said. He has never used plenty words- he only give orders. My father was an ex Biafran soldier; one of those gallant soldiers who taught the Nigerian troops an unforgettable lesson at Abagana. He would often recount how he was nearly blown up while igniting the local made explosive, Ogbunigwe. One morning he had fallen off his wheelchair and after helping him up, he began to sing a particular Biafran war song that he always reminiscence his soldiering days with and as he sang, he looked up to the sky, saluting half of a yellow sun that was just breaking in the East. He began to grow gradually hysteric and soon he fell off again. It had always been funny but this time, he was seriously shedding tears and cursing Nigeria, Britian, Russia, and Egypt for confining him on a wheelchair for almost five decades. He was a boy when he lost his feet in the war and he has nursed the pain, and his hatred for the enemies to this day. When I told Abike, my ex fiance, about my father, she said hers was like him, and for sure it did end things between us few months later. Amina had something similar to tell about his uncle. Thank God it wasn’t her father. My mother was so happy that I was coming home with a woman that she prepared a mountain of Fufu and a full pot of my favorite soup as though a community of people were visiting. When we arrived at a park close to my mother’s wretched bread store, I noticed her running towards us with her whole snow-white teeth bare; her face bright and lovely; her cooing voice endearing and warm, but as she drew closer, her lips began to gradually hide the teeth and soon the smile was gone; her mouth twisted, her face furrowed. Her ‘ welcome son’ , her ‘ nwunye m’ all lacked life, though I made it looked as elaborate as it could have been if I had come with a girl with a round face, broader nose, and who doesn’t pronounce ‘Papa’ as ‘ Fafa’ when greeting my father. Amina was beginning to notice the death of the distant excitement but she just kept her calm. She was before me, rushing to embrace her soon-to-be Mother-in-law whom she had prepared so much to meet. Ndewo Mama, she greeted in my dialect, swatting. I taught her that greeting for only one night and she learnt it perfectly. My mother opened her arms, Amina hurried, I was flustered; smiling stupidly because I knew my mother was already praying in her heart for her God to intervene. Not again, she must have said countless times. When Amina buried herself in her embrace and she began to run her trembling fingers about her facial scars, it became obvious from the disappointment in her eyes as she stared still at me over Amina’s shoulder that my beauty wasn’t good enough for me. Although she pretended everything was alright afterwards, I did too, but Amina understood it was over. Her kinsmen maimed mine and crippled my father and we must punish her for that. She bore the scars of an alien, the mark of the enemies, so we had no place to exist together. That was my father’s verdict and it can’t be appealed. by Iroakazi Ifeanyi, 2019. Like this:Like Loading... [...]
short storyBy Aleister Crowley atricia Fleming threw the reins to a groom, and ran up the steps into the great house, her thin lips white with rage. Lord Eyre followed her heavily. ‘I’ll be down in half an hour,’ she laughed merrily, ‘tell Dawson to bring you a drink!’ Then she went straight through the house, her girlish eyes the incarnation of a curse. For the third time she had failed to bring Geoffrey Eyre to her feet. She looked into her hat; there in the lining was the talisman that she had tested—and it had tricked her. What do I need? she thought. Must it be blood? She was a maiden of the pure English strain; brave, gay, honest, shrewd—and there was not one that guessed the inmost fire that burnt her. For she was but a child when the Visitor came. The first of the Visits was in a dream. She woke choking; the air—clear, sweet, and wholesome as it blew through the open window from the Chilterns—was fouled with a musty stench. And she woke her governess with a tale of a tiger. The second Visit was again at night. She had been hunting, was alone at the death, had beaten off the hounds. That night she heard a fox bark in her room. She spent a sleepless night of terror; in the morning she found the red hairs of a fox upon her pillow. The third Visit was nor in sleep nor waking. But she tightened her lips, and would have veiled the hateful gleam in her eyes. It was that day, though, that she struck a servant with her riding-whip. She was so sane that she knew exactly wherein her madness lay; and she set all her strength not to conquer but to conceal it. Two years later, and Patricia Fleming, the orphan heiress of Carthwell Abbey, was the county toast, Diana of the Chilterns. Yet Geoffrey Eyre evaded her. His dog’s fidelity and honesty kept him true to the little north-country girl that three months earlier had seduced his simplicity. He did not even love her; but she had made him think so for an hour; and his pledged word held him. Patricia’s open favour only made him hate her because of its very seduction. It was really his own weakness that he hated. Patricia ran, tense and angry, through the house. The servants noticed it. The mistress has been crossed, they thought, she will go to the chapel and get ease. Praising her.True, to the chapel she went; locked the door, dived behind the altar, struck a secret panel, came suddenly into a priest’s hiding-hole, a room large enough to hold a score of men if need be. At the end of the room was a great scarlet cross, and on it, her face to the wood, her wrists and ankles swollen over the whip lashes that bound her, hung a naked girl, big-boned, voluptuous. Red hair streamed over her back. ‘What, Margaret! so blue?’ laughed Patricia. ‘I am cold,’ said the girl upon the cross, in an indifferent voice. ‘Nonsense, dear!’ answered Patricia, rapidly divesting herself of her riding-habit. ‘There is nohint of frost; we had a splendid run, and a grand kill. You shall be warm yet, for all that.’ This time the girl writhed and moaned a little. Patricia took from an old wardrobe a close-fitting suit of fox fur, and slipped it on her slim white body. ‘Did I make you wait, dear?’ she said, with a curious leer. ‘I am the keener for the sport, be sure!’ She took the faithless talisman from her hat. It was a little square of vellum, written upon in black. She took a hairpin from her head, pierced the talisman, and drove the pin into the girl’s thigh. ‘They must have blood,’ said she. ‘Now see how I will turn the blue to red! Come! don’t wince: you haven’t had it for a month.’ Then her ivory arm slid like a serpent from the furs, and with the cutting whip she struck young Margaret between the shoulders. A shriek rang out: its only echo was Patricia’s laugh, childlike, icy, devilish. She struck again and again. Great weals of purple stood on the girl’s back; froth tinged with blood came from her mouth, for she had bitten her lips and tongue in agony. Patricia grew warm and rosy—exquisitely beautiful. Her bare breasts heaved; her lips parted; her whole body and soul seemed lapped in ecstasy. ‘I wish you were Geoffrey, girlie!’ she panted. Then the skin burst. Raw flesh oozed blood that dribbled down Margaret’s back. Still the fair maid struck and struck in the silence, until the tiny rivulets met and waxed great and touched the talisman. She threw the bloody whalebone into a corner, and went upon her knees. She kissed her friend; she kissed the talisman; and again kissed the girl, the warm blood staining her pure lips. She took the talisman, and hid it in her bosom. Last of all she loosened the cords, and Margaret sank in a heap to the floor. Patricia threw furs over her and rolled her up in them; brought wine, and poured it down her throat. She smiled, kindly, like a sister. ‘Sleep now awhile, sweetheart!’ she whispered, and kissed her forehead. It was a very demure and self-possessed little maiden that made dinner lively for poor Geoffrey, who was thinking over his mistake. Patricia’s old aunt, who kept house for her, smiled on the flirtation. It was not by accident that she left them alone sitting over the great fire. ‘Poor Margaret has her rheumatism again,’ she explained innocently; ‘I must go and see how she is.’ Loyal Margaret! So it happened that Geoffrey lost his head. ‘The ivy is strong enough’ (she had whispered, ere their first kiss had hardly died). ‘Before the moon is up, be sure!’ and glided off just as the aunt returned. Eyre excused himself; half a mile from the house he left his horse to his man to Lead home, and ten minutes later was groping for Patricia in the dark. White as a lily in body and soul, she took him in her arms. Awaking as from death, he suddenly cried out, ‘Oh God! What is it? Oh my God! my God! Patricia! Your body! Your body!’ ‘Yours!’ she cooed. ‘Why, you’re all hairy!’ he cried. ‘And the scent! the scent!’ From without came sharp and resonant the yap of a hound as the moon rose. Patricia put her hands to her body. He was telling the truth. ‘The Visitor!’ she screamed once with fright, and was silent. He switched the light on, and she screamed again. There was a savage lust upon his face. ‘This afternoon,’ he cried, ‘you called me a dog. I looked like a dog and thought like a dog; and, by God! I am a dog. I’ll act like a dog then!’ Obedient to some strange instinct, she dived from the bed for the window. But he was on her; his teeth met in her throat. In the morning they found the dead bodies of both hound and fox—but how did that explain the wonderful elopement of Lord Eyre and Miss Fleming? For neither of them was ever seen again. I think Margaret understands; in the convent which she rules today there hangs beside a blood-stained cutting-whip the silver model of a fox, with the inscription: ‘Patricia Margaritæ vulpis vulpem dedit.’ Like this:Like Loading... [...]
historyOn June 30, 1980, a promising young academic got into his car in Guyana. Minutes later a bomb detonated and he was instantly killed. That man was Walter Rodney, an influential historian whose thinking about Africa and the colonial legacy caused an uproar in the 1960s and 70s. But who was Rodney really and what was his academic legacy? And was his mysterious murder in any way connected to his revolutionary ideas? We asked Dwayne Wong Omowale, author of The Political and Intellectual Legacy of Walter Rodney. Historyradio.org: Why is Walter Rodney such an important character in African intellectual history? Dwayne Wong Omowale: Walter Rodney’s importance to African intellectual history is the work that he was doing was very revolutionary in many ways. He was a historian and political activist who challenged many of the racist ideologies and ideas that were prominent in academia at the time, but more so than challenging the often racist and Eurocentric narratives about Africa’s history, Rodney also spoke out against the injustices that were being inflicted against African people around the world. What is also especially noteworthy about Rodney is that he seemed to have left a profound impact wherever he worked, whether it was in Guyana, Jamaica, Tanzania, or in the United States. Prior to this death, Rodney was also planning to move to Zimbabwe because he was invited to work as a professor there. Very few Pan-African intellectuals left the type of global legacy that Rodney did. Historyradio.org: Tell us a little about his background, his family and education? Dwayne Wong Omowale: Rodney was born in British Guiana in 1942. His father was a member of the People’s Progressive Party (PPP), which was led by an Indian man named Cheddi Jagan. At the time the PPP was the leading anti-colonial political party in British Guiana. Eventually there was a split between Jagan and Forbes Burnham, who was one of the founders of the PPP. Burnham would go on to create his own political party, the People’s National Congress (PNC). Burnham would go on to lead British Guiana into independence in 1966 and the name of the country was subsequently changed to Guyana after independence. In school Rodney was able to distinguish himself as a very brilliant student and he eventually earned a scholarship to study at the University of the West Indies in Jamaica. He then completed his doctorate at the School of Oriental and African Studies in London, England in 1966. Rodney was 24 at the time that he finished his doctorate. The interesting thing about this is that when Rodney began working as a professor in Tanzania some thought that he was one of the students because Rodney was actually younger than many of the students there. Historyradio.org: When did he start developing his theories about colonialism? Dwayne Wong Omowale: As I mentioned, Rodney’s father was involved in the PPP at the time. As a child Rodney was tasked with distributing party manifestos, so Rodney was introduced to politics and the anti-colonial struggle in Guyana at a young age. As an undergraduate at the University of the West Indies, Rodney was involved in campus activities, which included many of the political discussions that were being held at the time. In 1962, Rodney traveled to Cuba and returned with a book by Che Guevara. That same year Rodney also attended a congress that was held in Russia. It was during this period as an undergraduate that Rodney was being exposed to communist literature and this would continue when Rodney went to study in England. There Rodney was in contact with communists. C.L.R. James, who was from Trinidad, was a significant influence for Rodney. James was a Pan-Africanist and a Marxist theoretician. Rodney participated in study groups with James and other Marxists in England. Rodney’s theories regarding colonialism were developed during his years in college as an undergraduate and a graduate student, but Rodney was exposed to the anti-colonial struggle since he was a child. Historyradio.org: According to Rodney the West prevented Africa from developing after liberation. Especially the multinationals were blamed. With the benefit of hindsight, does his theories still hold water? Dwayne Wong Omowale: In hindsight much of what Rodney said regarding multinationals is still very much true. We can look at the blood diamond controversy for example. Civil wars in countries such as Sierra Leone, Angola, and the Congo were financed by Western diamond industries. In Botswana the San people took the government to court because the government of Botswana was trying to evict the San people from their land in order to gain access to the diamond deposits there. Aside from blood diamonds, there is also the issue of coltan from the Congo. Coltan is used for electrical devices such as smart phones. The mining of coltan has included forced labor, as well as child labor. These are just two quick examples of how multinational corporations have been exploiting Africa’s resources and hindering Africa’s development since Rodney died. There still is this persistent issue of foreign nations benefiting from Africa’s resources at the expense of the African people. Much of the mineral wealth and resources that is extracted from Africa benefits foreign corporations and foreign nations, but Africa remains underdeveloped and the African masses are still struggling. This relationship has not changed very significantly since Rodney was alive. Historyradio.org: What sort of reception did his book How Europe Underdeveloped Africa (1972) get? It was not as scholarly as his dissertation? Dwayne Wong Omowale: How Europe Underdeveloped Africa is Rodney’s most well-known book. The reception to it has been very positive largely because Rodney was able to put Africa’s underdevelopment and poverty into its proper historical context. Rodney was not the first person to suggest that there was a relationship between Africa’s underdevelopment and Europe’s exploitation of Africa, but How Europe Underdeveloped Africa was a very extensive study of that relationship. It was also a very important work because it dispelled the idea that colonialism was a benefit for African people. Colonialism was often justified on the basis of bringing civilization or modern advances to Africa, but Rodney demonstrated that the technological gains that Africa made as a result of colonialism were very minimal at best and this was offset by the tremendous suffering that Africans endured as a result of colonialism. Medical care is one area that Rodney specifically addressed. Typically, the best medical care was reserved for Europeans who were living in Africa and Africans were forced to be treated in hospitals that were in very poor condition. In most cases Africans simply did not have access to hospitals at all because the European administrations decided not to build one. Rodney also criticized the fact that in many colonies the Europeans not only failed to provide medical care, but they also failed to train African doctors. The benefits of modern medicine from Western society was not something that the majority of Africans were not able to truly benefit from, yet Africans badly needed proper healthcare because they were being overworked and underfed by the colonial administrations. Malnourishment and curable diseases killed many Africans during colonialism. How Europe Underdeveloped Africa was more of a polemic against colonialism in Africa than Rodney’s dissertation was, so it may not have been as scholarly in that regard, but How Europe Underdeveloped Africa was still very thoroughly researched and built on some of the arguments that Rodney had made in his dissertation. Historyradio.org: He was quite a controversial figure on Jamaica where he worked for a while. What were the 1968 Rodney Riots? Dwayne Wong Omowale: He was very controversial in Jamaica. At the time there was a growing Black Power movement in the Caribbean, which was influenced by the Black Power movement in the United States. Many in the Caribbean were frustrated with the fact that colonialism had ended, but there was still a lot of poverty in the region, so for the masses of people in Jamaica and other Caribbean countries independence did not bring about a significant change in their situation. Caribbean governments were very uncomfortable with this development. For example, Jamaica banned books by Malcolm X, Stokely Carmichael, and other activists who were deemed to be too radical. What made Rodney so controversial is that he was very critical of the Jamaican government for neglecting the black masses on the island. Rodney himself wrote about meeting with people who lived in rubbish dumps. This was the type of abject poverty that existed in Jamaica at the time. Rodney was also preaching the same message of Black Power which the Jamaican government was attempting to censor. In 1968, Rodney went to Canada to attend a conference. When he attempted to return to Jamaica, he was denied entry into the country. What became known as the Rodney Riots was a reaction to the news that Rodney was banned. People in Jamaica took to the streets and began rioting to express their frustration that Rodney, who had become a very popular figure in Jamaica, was banned. Rodney was seen as a spokesperson for the struggling masses in Jamaica, so banning him sent the message that the Jamaican government truly did not care about the suffering of its own citizens. The Jamaican opposition also criticized the government’s decision to ban Rodney. Hugh Shearer was the prime minister of Jamaica at the time Rodney was banned and he would go on to lose to Michael Manley in the election that was held in 1972, so in a sense the Rodney Riots also represented an important shift in Jamaica’s politics. Unlike Shearer, Manley was much more supportive of the Black Power movement. Historyradio.org: In his writings Rodney often referred to “race” and “class”? Are these terms sufficient to explain the historical period he was writing about? Dwayne Wong Omowale: I would argue that these terms are sufficient. For Rodney, both race and class were important to truly understand the oppression of African people around the world. As an African descendant, Rodney was combating the racial oppression that African people were experiencing around the world, but he was also a Marxist who was fighting against the class structure of the global capitalistic society as well. Class was important to Rodney’s analysis because within this racist capitalist structure there were certain Africans who were able to amass somewhat of a privileged position. This included the Caribbean and African heads of government whom Rodney was very critical of. These Africans belonged to the class of people whom Rodney referred to as the “petit bourgeoisie.” Rodney included himself in this class as well because he worked in academia. Rodney saw this class of Africans—the petit bourgeoisie class—as people who benefited from the exploitation of the African working class. He included academics in this category because many of them earned a comfortable living working at public universities which were paid for by taxpayers, but few of these academics truly served the interests of the African working class. In Rodney’s view the struggles of African people around the world was not just a struggle against racism, but also a struggle against a global capitalist system which exploited working class Africans around the world and a system in which a particular class of Africans were benefiting from at the expense of the masses. Race and class were especially important in Guyana, where politics were polarized based on race. I mentioned the split between Burnham and Jagan before. This not only created a political split in Guyana, but a racial split as well, which resulted in violence between Africans and Indians in Guyana in the 1960s. When Rodney returned to Guyana in 1974, he joined an organization known as the Working People’s Alliance. The WPA was trying to create racial unity in Guyana and criticized both political parties for exploiting Guyana’s racial tension for their own purposes, so within that context the class structure of Guyana was just as important to Rodney as the racial make up of the country as well. Historyradio.org: What sort of views did Rodney have on the transatlantic slave trade? Dwayne Wong Omowale: In Rodney’s view the transatlantic slave trade began the underdevelopment of Africa, which is a process that would continue under colonialism. You mentioned Rodney’s dissertation before and the slave trade was a very central topic in his dissertation. In his writings Rodney mentions some of the ways in which the slave trade adversely impacted Africa’s development. He wrote that it completely changed the social and political organization in West Africa, as well as stagnating both Africa’s population and economic development. Rodney also applied his views of class and race to the slave trade. Rodney wrote that the European ruling class and the African ruling class jointly preyed on the African masses during the slave trade. Rodney argued that the slave trade not only sharpened class divisions in Africa, but that the slave trade was a forerunner for the present day “neo-colonial” situation in Africa in which African politicians and multinational corporations jointly work together to exploit the African masses. So, on an academic level the slave trade was central to Rodney’s work because the slave trade is not only where Africa’s underdevelopment began, but it is also where certain class formations began forming in Africa. Apart from Rodney’s views on the slave trade as a historian, the slave trade was also important to the work that he was doing as a political activist. The slave trade stole millions of Africans away from their homeland, so a lot of the work that Rodney was engaged in was an effort to reconnect with that lost African identity. This was one of the reasons why Rodney became so interested in studying African history and why he worked as a professor in Africa. Rodney felt that it was important for African descendants in the Americas to reconnect with their African roots and to take pride in their identity as descendants of Africa. Historyradio.org: Was there any relationship between Walter Rodney and Immanuel Wallerstein?  Dwayne Wong Omowale: I am not sure honestly. The two men shared many of the same ideas regarding the adverse impact that colonialism had in Africa and they were both very critical of capitalism, but the precise nature of their relationship is not something that I am aware of. I was able to come across information about a letter that Wallerstein had sent to Rodney, which included a cheque, but I am not sure what Rodney did to earn this cheque. That is the most that I know about the relationship between the two men. Historyradio.org: Who were Rodney’s chief academic opponents at the time? Dwayne Wong Omowale: That is an interesting question because usually the focus tends to be on Rodney’s political opponents, such as the governments of Jamaica and Guyana. Rodney was a Marxist, an anti-colonialist, and an anti-imperialist, so many of his academic opponents were typically people in academia who were opposed to the ideas that Rodney was putting forward. The example that comes to mind is a historian named J.D. Fage, who disagreed with Rodney’s views on the slave trade for many reasons. Fage argued that the slave trade was good for Africa’s political development, whereas Rodney held the opposite view. Fage also accused Rodney of romanticizing Africa. Rodney was challenging many prevailing ideas about Africa’s history at the time, such as the notion of Africa being a “Dark Continent” which had no civilizations of its own until Europeans arrived, so much of the opposition that Rodney received came from scholars like Fage who wanted to hold on to these ideas about Africa. Historyradio.org: There are many theories about his murder? Some speculate that the West was involved somehow? Is there any truth to this? After all, this was the Cold War and Rodney was a socialist? Dwayne Wong Omowale: It would be difficult to say how much Western involvement there was. I know there is a lot of speculation that the West was involved not only because of the political climate at the time, which you alluded to, but also because Burnham was someone who was helped into power by the United States and Britain. Jagan, whom I mentioned before, was a communist. Western countries saw Burnham as a more moderate alternative to Jagan, although Burnham was a professed socialist as well. Western countries intervened in Guyana to ensure that Burnham was the prime minister of Guyana by the time the country became independent. Burnham remained in power in Guyana from 1966 until his death in 1985. The view that some Guyanese have expressed to me is that the same CIA which helped Burnham take power in Guyana was still assisting Burnham to remain in power, so the CIA eliminated Rodney because of the threat that Rodney potentially posed to Burnham’s government. It is difficult to say with certainty because when Rodney was killed there was not a real investigation to find out what happened. The government at the time alleged that Rodney had killed himself with his own bomb, but there was never an official investigation. In 2015 there was a commission of inquiry held on Rodney’s assassination. The commission concluded that Rodney was indeed assassinated and that Prime Minister Burnham was complicit in the plot to kill Rodney. The commission also presented evidence to dispel the notion that Rodney had blown himself up with his own bomb. As to how much of a role the CIA or other Western entities played, I am not aware of any documents or evidence that directly links Western entities to Rodney’s assassination and this was not something that was discussed at the commission, although there is good reason to believe that the CIA may have been involved. Historyradio.org: What sort of reactions did his death cause at the time? Dwayne Wong Omowale: I have some personal experience with this because I was born in Guyana. My mother, who was still a child at the time, attended some of Rodney’s rallies. She told me that she was devastated, so much so that she had buried her memory of Rodney deep in her subconscious, until I reminded her about him more than three decades later. Many of the Guyanese who supported Rodney felt this same feeling of shock and devastation regarding Rodney’s assassination. It is estimated that as many as 35,000 people attended Rodney’s funeral. It is also important to understand what was happening leading up to Rodney’s death as well. Prior to Rodney being killed, there was a Guyanese journalist and priest named Bernard Drake, who was stabbed to death because of his criticisms of the government. There was also the Jonestown massacre which happened in 1978, so this was a very dark period in Guyana’s history and Rodney’s death added to the fear and uncertainty that Guyanese were feeling about the future of the country. Rodney inspired hope in many Guyanese, so to have him be killed—especially in such a horrible manner—was a very devastating blow to Guyana. Historyradio.org: What do you think Rodney would say about the way Africa is today, almost 40 years after his death? Dwayne Wong Omowale: As I indicated earlier, I think much of what Rodney said still applies today, so I am sure that much of what Rodney was saying about Africa in the 1970s is what he would be saying today if he were alive. Africa is still underdeveloped and the petit bourgeoisie African leaders that Rodney denounced when he was alive are still in authority in Africa today. I also think Rodney would be encouraged by some of the events that have been happening in Africa. In recent years there have been uprisings and protests that have resulted in regime changes in countries such as Burkina Faso, Ethiopia, the Gambia, and more recently the Sudan. Togo, which has the oldest military regime in Africa, experienced mass protests in 2017 and the Togolese activists are still fighting to end dictatorship in Togo. Rodney wrote a pamphlet titled, “People’s Power, No Dictator.” The pamphlet was directed specifically at the Burnham regime in Guyana, but in it Rodney also wrote very broadly about dictatorships and why the masses must organize to liberate themselves from dictatorships. Rodney argued that the people must mobilize to liberate themselves from oppression and this is something that we are witnessing today across Africa. Like this:Like Loading... [...]
history / literatureWhy did president Bush quote Graham Greene, an author who was labelled a “communist sympathizer” by the US government and kept under surveillance for decades? The 22 of August 2007, president George W. Bush enters the podium in a convention center in Kansas City. He faced the Veterans of Foreign Wars, a weathered crowd of old soldiers. «I stand before you as a wartime President» he declares before he begins talking about the Vietnam War. «In 1955, long before the United States had entered the war, Graham Greene wrote a novel called The Quiet American. It was set in Saigon, and the main character was a young government agent named Alden Pyle. Another character describes Alden this way: ‘I never knew a man who had better motives for all the trouble he caused.’» Bush’s reference caused much confusion around the United States because the author, Graham Greene, had been kept under surveillance by the CIA because of the publication of the novel. Conservatives in the 1950s disapproved of his analysis of the situation in Vietnam. The protagonist is the British journalist Thomas Fowler who is drawn into a triangular love story battling for the favors of a young Vietnamese girl. His competition is Alden Pyle, a young man with visions for the future of Vietnam, who later turns out to be an intelligence agent directly implicated in a horrible bombing massacre. According to The New York Times, The Quiet American became a bible for journalists covering the Vietnam war because it predicted and exposed American policies in the country several years before they became generally known. But the Republican right loathed the fact that the hero was an aging British upper class reporter and the villain a young manipulative and naive American. The villain becomes good Oddly enough, only a few years passed before the controversial novel was filmed by Hollywood director Joseph L. Mankiewicz. Mankiewicz was himself a part of the right wing, dubiously connected to the McCarthy movement, which at this period in history was engaged in their communist witch-hunts. During the work with the manuscripts Mankiewicz contacted none other than Edward Lansdale, a CIA operative who now was in charge of American operations in Vietnam. Soon the perception spread that Lansdale was the real life model for the villain in The Quiet American. In the 1958 movie, the Alden character was thus fittingly played by America’s proudest son, Audie Murhpy, the most decorated soldier in American history at this time. Murphy had made a career in Hollywood. In this heavily altered adaptation, the villain becomes good, a victim of a communist conspiracy. Alden Pyle is in fact no intelligence agent at all in Mankiewicz’s version, but a toy manufacturer who happens to be in Vietnam for humanitarian reasons. Assaulting the author When Graham Greene discovered what was about to happen to his novel, he was dumbfounded, but he was unable to stop the project for contractual reasons. “One could almost believe.” Greene stated, “that the film was made deliberately to attack the book and the author.” Later it has become obvious to everyone that the US was present in Vietnam at this time, and that Graham Greene was correct in his portrayal of the situation. Norman Sherry, who has written an extensive biography on Greene, points out that Greene had left Vietnam before Lansdale arrived in the country. Consequently he cannot be the real life model for the Pyle character. Many years would pass before Hollywood again focused on The Quiet American. The war in Vietnam ended, and slowly but surely the wounds of a bitter period started to heal. A new acceptance of the sufferings of Vietnam veterans was on display in movies such as The Deer Hunter, Rambo and Platoon. A more truthful adaptation The Australian Philip Noyce therefore decided to make a new adaptation of the controversial novel. He felt that the time now was ripe for a more accurate adaptation of Greene’s old classic. He cast the veteran actor Michael Caine as the British protagonist, a role for which Caine would become Oscar nominated. The new movie was produced Miramax and was completed in 2001. Then, in 2001, it happened: the United States experiences a horrible terror attack in New York costing 1000s of lives. Again patriotism was rife, and yet again the desire to defeat your enemies on foreign soil became public policy. Americans now had to form a united front. Miramax panicked. They feared that the film would resurrect the memories of the Vietnam era. “The film can never be released”, Harvey Weinstein, a Miramax executive declared. “My staff says it is unpatriotic.” Michael Caine and Phillip Noyce feverishly lobbied for the release of the movie, but told the press that the film was “as good as dead”. After much persuasion, The Quiet American was released even so, perhaps as a result of the attention that Michael Caine’s excellent performance attracted. Oddly enough the film proved a financial success in the US. This ill-timed success showed that American attitudes towards the Vietnam war have changed, and that it was possible to release a considered reflection of foreign policy issues in the wake of 9/11. In his speech to the veterans of foreign wars in 2007, Bush demonstrated a newly found detachment from the Vietnam era, and he probably attempted to bring an old matter to rest. He may also have tried to undermine that comparison between Vietnam and Iraq that some claim is obvious. But Bush’s reference to Graham Greene still has a false ring to it because most of all the story of The Quiet American, is a story about misuse of art for propaganda purposes and denial of foreign policy objectives. Michael Wynn (blog editor) Like this:Like Loading... [...]
creative writing / literatureWhen you think of writing most people imagine a solitary philosopher, an ivory tower, or something of the kind. However, there are some, who for commercial and practical reasons, create stories in a group. These are the showrunners, the men and women who build the stories behind our TV series with detached and sometimes cynical eye. I have talked with one such man, Arne Berggren, whose resume in Norwegian and Scandinavian TV drama is too long to mention here. Historyradio.org: I thought writing was a solitary job? I thought it depended on the genius of individual minds? Why am I wrong? Berggren: “For for most writers their job is a solitary one. Those who write fiction, for instance, are almost loners, I guess. How many of them that are geniuses, I cannot say, but there is definitely something dysfunctional about many of them. Something that perhaps makes them less suited for teamwork, that is my belief. Many writers consciously try to remedy some personal flaw through writing, or try to discover things about themselves. Often people like that have strong egos and like to follow their own train of thought and impulses, rather than conforming. But many writers also find that it is liberating working with others. No matter how smart or brilliant you may feel, they see that more minds can achieve more together than on their own. If you want to write for TV, the process is so centered on deadlines that it becomes an industry or a craft. Volumes of pages need to be produced in a short period of time. Some get a little kick out of the fact that they share this responsibility rather than taking on the burdens themselves. In a group you can produce TV scripts fast , and I suppose that is why the whole idea of so-called Writers’ Rooms emerged. TV is an industry, and that implies process and teamwork.” Historyradio.org: How exactly does the writing process work, do you sit around a table and brainstorm? When is the actual writing done? Berggren: “All Writers’ Rooms are different, and there isn’t an extensive tradition for this kind of work in Europe. When you write comedy, however, it is quite common to sit in groups and brainstorm. But in drama too we see more and more of this kind of work. In our company, Shuuto, we have a joint session in the preliminary stages, in which we test vague ideas. It is important that we move beyond brainstorming at this point, and when there’s a pitch, something that resembles a dramatic premise, we try to work our way to potentially interesting characters, look at the longer storylines and so on. What, for instance, are the worst things to which our characters may be exposed? Eventually we get round to the actual writing of the scripts. On those occasions we are generally four writers in a full-day session, once a week. We delegate, and the script producer decides on shorter meetings, if they are needed. So the actual writing process is still solitary, but the script producer or the showrunner are never far off. There might be daily deadlines for scripts that are reviewed and then rewritten. It is a very organic process, but the workload may be heavy. We like to take our time in the preliminary stages, but then we produce scripts for one episode a week.” Historyradio.org: There have been many story factories in literary history. Some say Shakespeare might have run such a factory. Dumas is another example. Still, both Shakespeare and Dumas got top billing. Isn’t there sometimes a clash of egos? Berggren: “Where there are writers, there is always a clash of egos. But you won’t last long in the TV-business if you create a lot of conflict wherever you go. As manager I have learnt to compromise, I think. I am looking for writers and a staff that are productive, with an ability to work things through. This creates positive vibes, I think. I must admit that I haven’t always been a role-model in this regard myself. But one learns by making mistakes, and I try my best to help others. Some of the most famous American showrunners have been strong egos. Even so, they have created environments in which others could flourish. There aren’t any showrunner academies in Scandinavia, so it is a trial by error process. You need to search out people with a certain set of qualities, and create a relaxed work environment with as few egos as possible. The writers need to understand that this is not about them, but about getting the job done. Their job is simply to assist the showrunner or the script producer, to make his or her life easier. So they are free to return to their “ivory tower” as long as they deliver on time.” Historyradio.org: So how should the public think about you? Are you a company executive, a writer, a brand? What? Berggren: “I am slightly schizophrenic, I guess, split between being a writer and an executive producer. I still write books and theater, but as a TV-guy I am first and foremost a producer. If there is a brand, it must be Shuuto, our company. We don’t really concern ourselves with core values and strategies of communication. In fact, we have a hard time defining what we do, except for the fact that we produce script-based content in a slightly different way than the larger production companies and book publishers.” Historyradio.org: What does it take to make it as a writer in TV, do you think? Berggren: “You need to write, write and write. And in between read and watch tv. Sometimes I must admit I am a little shocked by young writers who want to get into television, and who produce nothing. You cannot wait for a break. In fact, it’s all about actual writing experience. Even if it is difficult to write something without seeing the final product, this exactly what you need to do. Write in all genres, and get as much feedback as possible, if only from your mother or someone you know. And you need to watch a lot of TV, in all genres, several hours a day. You need to analyse how the the skilled minds think. Sometimes you can learn even more by watching half-decent drama. You see what’s wrong, notice the way they think, and when it doesn’t suit your palate you imagine what you might have done if you had written the story yourself.” Historyradio.org: Norway is a small country, yet recently our TV series, actors and directors have made it in Hollywood. Are there international opportunities for script writers? Berggren: “Yes, I think this might happen soon. Already a select few have been offered seats in writing rooms in LA. Some might get a job, and it’s much harder than you imagine. You need to be proficient in English, and this is where many Norwegians tend to over-estimate our own skills. I think you can get an entry into the US market if you become a co-producer on remakes of Norwegian TV-series, or work on developing new series for the international market. Or you could move to LA or England, get your education there, network, become a part of the scene, as much as you’re able. We have had foreigners with Norwegian as a second language in our writers’ rooms here in Norway, and I can tell you this wasn’t easy. No matter how great they think their language skills are.” Historyradio.org: Let’s say I were a 20 year old who desperately wanted to write something for TV or film. What would be my best option for achieving my goals? Berggren: “I would be very patient. Try to get a foot in the door anywhere on set. Be a runner. Make coffee, sweep the floors. Staple the scripts and so on. I would have done it for free, even if our unions might object. Once you have access, relations are built, gradually trust is gained. If you’re the sort of fellow who listens to criticism, thrives on it, more responsibility will eventually come your way. But in terms of cognition, you need to remember that the 20 year old brain is, in fact, not fully mature. That doesn’t happen until you reach 25, I think. What you believe the world to be as a 20 year old might be false. A 20 year old is impatient, and wants to been seen and recognized. They think things revolve round them. I have seen plenty of 20-year-olds who were presented with great opportunities, but who were swiftly disappointed, told everyone to go to h.. and moved on to what I assume were greener pastures. I guess, I once was a little like that myself. I have missed out on opportunities myself, you see. But “patience”, “networks”, “relations” and “trust” are the keywords. Most people are hired by someone they already know. And of course networking among people your own age is crucial. Someone that you know is sure to make it, and they will be searching for people their own age to join them. It is , in my view, almost impossible to predict who makes it. But their shared characteristics are gaining work experience, building relations and networks. So if you know “a mingler”, latch on.” Historyradio.org: As the head of a writing group, you must have seen many mistakes, and many who lacked the skills. What are the most common mistakes of the rookie writer? Berggren:…….. “They’re impatient. Afraid of criticism. You think that your way of thinking is the only one. Some lack humility. Some are lazy. Some are thin-skinned. Some jealous. Some believe themselves to be smart and that they deserve to be discovered. This is fact typical of 9 out 10 writers that we encounter. Great ego, inflated view of their own skills.” Historyradio.org: I am going to ask you a difficult question that concerns most writers and artists at one time or another. How should one deal with rejection? Berggren: “This might sound like BS coming from some one with one foot in the grave, but embrace your rejections. The people I truly admire have one thing in common. They have been rejected more than most. You’re fired. You’re humiliated. And every time you learn something that makes you a better writer and better person. Rejection is the scariest thing I know. It hurts like hell, it hits us right in the gut. Still, it is the key to progress. If you manage to put on a brave smile and move on. Rejections are not about You. The person rejecting you might be looking for something completely different. Often you will be offered new jobs from the very same person who once rejected you. As an employer I am looking for someone who is able handle themselves professionally. Patience. Humility. This can only be achieved by coming to terms with rejection. I know it sounds like crap, but this is something I know to be true. I have experienced plenty of rejections myself.” Like this:Like Loading... [...]
short storyMy name is dr. John Smith, and I am – or rather was – a GP in a mid-sized town. I am about to retire, my own health is failing, and I wish to pass on some memories of a patient that really meant a lot to me. Of course, we had no private friendship, but I did talk to him in consultations and I bumped into him now and again in the street. At the time I had just turned fifty, the desperation and ambition of my midlife crisis had passed. I had packed up my leather jackets and my tight training outfits, and had accepted that I would remain in my small practice for the rest of my life. My wife had long since packed up her things and left, allegedly on the grounds of my ties to the male patriarchy, and my son had a pregnant girlfriend in the capital, far from his patronizing, though always well-meaning father. What remained for me then was my own mother, whom I visited every Sunday in her home, bringing various things that she needed from the shops. I also learnt that my only friend, Peter, my colleague at the practice, had been offered a wonderful job in the pharmaceutical industry with a huge pay, and would be transferring some of his patients who did not want a new GP that required lengthy travels to me. I was very sad that last day I saw him in our clinic, even though I knew he would always be there for me on the phone, and that I could visit him whenever I wanted. Work not be the same. As I went through the list of my new patients, I saw that most of them were old, including old Jacob, the subject of this story. At the time, however, he was one of many, and it is in fact because he was so typical that he has remained in my mind all these years. I first saw him a Wednesday in June, and he was a tall thin man in his mid eighties. His face was wrinkled like sun dried-leather, and his brows were bushy, but he had a modest, almost shy smile, and very intelligent eyes. He seemed surprisingly agile for a man his age. Since this was our first meeting, he told me something about himself. He was not an educated man by any means, he had been a fisherman, and then a truck driver, but he had also been on some ship ages ago. This man is an anachronism, I thought, how many old sailors are left these days? I listened to his chest, made examinations, did blood work, nothing unusual. He then got up and left, and the results were Ok when they arrived, which I told him the next time. It was not until August that year that he started complaining about pain and being short of breath, and I then sent him to the local hospital for further tests, knowing his age. At this time, I was feeling a little lonely privately, and I had decided to scan all my mother’s family photos, and restore them digitally. I had nothing to do when I was alone in my apartment, and this also gave me a subject on which to chat and reminiscence with my mother. She was more than delighted, and often looked at each photo with a nostalgic smile. Everything was tied to a story, and even though she had recounted all of these stories God knows how many times, I enjoyed hearing them again. Somehow, I was reminded about who I was, and where I had come from. And this knowledge was more powerful than my wife’s irrational, but long-anticipated departure or my son’s indifference. When I returned from these meetings, I felt that I had more energy in my work, and I spoke to the likes of old Jacob, and was more dutiful in the performance of my job. Once I asked Jacob whether he had anyone to support him during his old age, knowing that my mother at least had me. “Do you know my age?”, he asked. “Yes, but still…” “Everyone I know has long since left this world, and I have no children. You see as you grow older, you will notice that one by one witnesses leave you, one by one..” “Witnesses……?” “Yes, the people who was the life you once had. Who knew you while you still were a man about town and so on.” “I don’t think I have ever qualified for that description. I have been a nerd all my life. God knows I have tried…” “I was a very smooth operator in my prime”, he said with a very unexpected confidence in his gray eyes. As I looked at his face then, I tried to restore the man in my mind the way he had once been. If you straightened out his wrinkles, if you removed the bushy brows, if you corrected his back, and if you gave him a thick black mane, perhaps oiled, he would be a very handsome man! I shuck my head at the thought. But then I looked at him, and laughed. That was a very nice moment for the two of us. And then he left. That evening I went to the shop to get things for my mother. She was very particular about what she ate. Some people think picky eating is an eccentric and demanding cry for attention, but being a doctor I knew very well that the reason was related to bowel movements and stuff that most people feel uncomfortable discussing with others. So, I got her what she demanded. I arrived at the home around seven. Evening was falling, yet no stars were up. As I entered and walked down the white linoleum corridors towards the counter, I noticed at once something new in the glances from the nurses. As I placed my hands its surface, I knew that something had happened. My mother had a sudden heart attack, and had passed away very suddenly in the evening. It had been very quick, she had not suffered, they told me. But somehow that did not matter. I almost ran home, locked the door to my apartment, drew the curtains and cried. I then sent an email to work, and called in sick. In fact I did not leave my home for three days, when I was forced to get food from the store. I spoke to no-one, and I only called my son four days after my mother’s death. I have always been reluctant to burden my son with my own feelings and problems. I have always felt that parents should remain a rock in their children’s lives, and that part of being a parent is hiding those frustrations that one feels at work or elsewhere, and provide safety and security. After all, that is what remained in my own experience. Being a doctor I have dealt with the practicalities of funerals many times. But this time it was different. Going online and visiting what seems like a brochure of various coffins somehow seems perverse. “Special autumn sale!” “20% discount on our finest model!” And when you enter the store in person, and that slick salesman slides in front you with exaggerated sympathy, accompanied by words like “payment options” and “down payment”, it adds to a certain surrealism. And that surrealism is what remains of the person that you once were. I walked down the shop floor feeling the fabric and texture of coffin interiors, the smoothness of their varnish. Then I was overcome by grief and asked for the bathroom. I sat there for ten minutes, staring at the tiled floors. As I left, I had decided upon a model, and was about to wave to the salesman, when I saw him in what seemed like a very pleasant conversation with an elderly man. I heard laughter, the old man patted the young salesman on the shoulder. When the man turned, I recognized old Jacob. His eyesight was poor, I knew, and he hadn’t seen me at the far end of the shop. I withdrew into the corner, and saw him striding about the room touching the coffins one by one. “I will take this one,” he suddenly said. Then he produced his credit card, paid and brought up what seemed like a shopping list. He had a small pencil, and then then crossed out one item. Then he left. The whole scene had come so suddenly, that I quite forgot about my own purchase. The salesman approached me, but I stood completely stunned for a while. “I will be back tomorrow,” I said and made for the exit. It was late September, and there were leaves on the sidewalk. Old Jacob was three hundred meters down the road moving very slowly. I don’t know what came over me, but I followed him at a distance. 200 meters farther on there was a huge supermarket. He then vanished in a crowd, but I tracked him down in the milk section. There he noticed me and his face lit up with that shy smile of that former smooth operator. “Hello Jacob,” I said nervously, what are you doing here?” “Shopping!” he said, “I needed some things”. Then he lifted a liter of milk and placed it in his shopping cart next to a box of coffee. “That would be it!” he said. And then he brought out his list and his small pencil, and crossed out his items. And then he left. I never saw him again. by Michael Henrik Wynn Like this:Like Loading... [...]
history / literatureIn the second week of February 1949, 3 men were charged with provoking the death of over ten people in Ecuador. The method of their crime: creating a radio play based on H.G. Wells and then letting it loose on an unsuspecting public. It was an incident far more sinister than the panics that followed the 1938 broadcast in America when Orson Welles had first dramatised H.G. Wells’ War of the Worlds on radio. Not even the effect of a similar 1944 radio broadcast in Chile could compare when it came to the number of deaths and the level of devestation. On the fateful night of February 12’th, writers for Associated Press and Reuters reported back to the US and Britain: «The mob attacked and burned the building of the newspaper, El Comercio, which housed the radio station and killed fifteen persons and injured 15 others.» Fake news The radio broadcast was the brain child of Leonardo Paez (top photo), director of art at Radio Quito and Eduardo Alcaraz, the station’s dramatic director. The two had become familiar with the 1938 incident in America and the 1944 incident in Chile, which both caused widespread panic, but which also exposed the power of radio. In both those cases, it was announced ahead of schedule that the broadcast would be a fictional dramatisation. Leonardo Paez, a native of Quito, was not only a journalist, but also a singer, composer, poet and producer of radio. In an interview with El Dia, Alcaraz later said that he begged Paez to announce at the beginning of the broadcast that what followed was a dramatisation, but that Paez had dismissed him. Even so, someone had planted bogus UFO reports in the newspaper El Comercio in the weeks before the broadcast. At 21.00 the night of February 12’th, the normal musical broadcast began. Halfway into a song, the news team interupted without warning stating that an attack on Ecuador was underway. Panic erupted in the streets and police were dispatched to the alleged location of a martian invasion, the town of Cotocollao. The imaginary invasion was gradually to proceed from the town of Latacunga, 20 miles south of the capital Quito, where a poisonous gas cloud was reported to kill everything in its path. Actors immitating well known authority figueres then appeared on radio confirming the crisis. Appology not accepted When the station realised that chaos was breaking out, they announced the hoax on radio. The crowd then gathered outside the radio station throwing stones and setting fire to the building. According to the Associated Press there were over a hundred people in the building. Some escaped through the back door. Others sought refuge in the top floors, where some of them jumped from the roof to escape the flames. The army was then called in with teargas and tanks to disperse the crowd and allow the firemen to do their work. At the end of the evening, bodies lay silent in the street, and the injured were shipped off to hospital. The station managers protested their innocence saying they had been unaware of the planned hoax, and the minister of defense himself was called in to investigate the incidence. Punishment Ten people were detained the night of the riot, and several were later charged, among these Leonardo Paez, Eduardo Alcaraz and the actor Eduardo Palace. Eduardo Alcaraz had fled Quito, but was arrested later in the town of Ambato. Paez, however, had escaped that night from the burning building. Seeing that his route of retreat was cut off by an angry mob and the police, he found a way of escaping via an old conservatory. A truck then took him a property near Ibarra, and he laid low until his legal difficulties were solved. 6 years later he left Ecuador and made his way to Venezuela. Paez lost his girlfriend and his nephew to the chaos created by his own radioplay. They died in the riots. He would never return to Ecuador or be convicted of anything, but in 1982 he published his account of the radio play he broadcast on that Saturday evening in 1949. His book is called Los que siembran viento (Those who sow the wind). How could it happen? There has been much speculation about the causes of the panic that erupted after so many broadcasts of War of the Worlds, in the US, in Chile and in Ecuador. Just a year after the Welles broadcast the psychologist Hadley Cantril conducted a study of the effects of the radioshow in which he claimed that the cause of the confusion following the broadcast was the standards of judgment that people applied to the information they heard on radio. They simply trusted the new media of radio, and couldn’t believe that someone would deliberately lie to them. Seing the effectiveness of the broadcast as perhaps being too calculated, the writer Daniel Hopsicker even speculated that the 1938 broadcast was a psychological experiment funded by The Rockefeller Foundation, a conspiracy theory which was dismissed by Orson Welles. Michael Wynn Like this:Like Loading... [...]
history / online resourcesIn the 19th century the British Empire went to war to keep China addicted to opium. Britain was the largest drug cartell the world had ever seen, shipping their merchandise from India, and bribing the Chinese customs officials to bring the drugs into the country. Millions of Chinese became addicted, a public health emergency. The Chinese emperor dispatched Lin Zexu, an efficient former regional govenor, to deal with the issue.  The result was an armed conflict which ended in a humiliating treaty for the Chinese. William Gladstone, the famous liberal, denounced the war as scandalous. “A war more unjust in its origin, a war calculated in its progress to cover this country with a permanent disgrace, I do not know and I have not read of” he wrote. His opposition was Lord Palmerston, the prime minister at the time, who said he would fight for compensation from the Chinese for lost merchandise. Along with the great Indian famines, the opium wars are seldom mentioned in Britain. The UK likes to take the moral high ground focusing on Churchill’s struggle with the nazis. But the British were, at times, no saints themselves. Lin Zexu on the other hand, the rigid moralist, emerges a hero of Chinese history. There are at least three great epic movies about him (two below).  Although blamed for the war, he was partially rehabilitated in his lifetime. He died in 1850. “Let us ask, where is your conscience?”- Lin Zexu open letter to Queen Victoria Lectures History.org: The Opium Wars Gresham.ac.uk: “Conflict over China” “The China Trade” part 7 “The Opium Wars” London School Economics Lecture by Amitav Ghosh on his Opium War novels The Guardian audio “Raj Ghatak reads the first chapter of Amitav Ghosh’s latest novel, Flood of Fire” (1 hour 12 min) Radio shows BBC In Our Time “The Opium Wars” Teacup media The First Opium War History Today Podcast “The Opium Wars” with Julia Lovell Talkinghistory.org “Frank Sanello, author of The Opium Wars: The Addiction of One Empire and the Corruption of Another” (25 min) Documentary Below you can watch a Chinese feature movie on the Opium Wars. There is a public domain version of the story from 1959, but it is not subtitled. This one from 1997 has been available from several channels on youtube for a while. Like this:Like Loading... [...]
short storyby Michael Henrik Wynn This story begins in the gas-lit and fog-covered alleys of Victorian London. There are prostitutes in the night along  the banks of the Thames, shouting young boys sell newspapers and horses make their way across cobblestones. There is music from a gambling hall, loud cheers and a doctor makes his bet. He is well-dressed compared to the others there, his dark suit and coat are clean and unlike those creatures of the night around him, his grey beard has a healthy well-kept glow. Dices are thrown, money is exchanged back and forth as the doctor drinks. He becomes intoxicated, not only by the mild beer, but by the perpetual thrill of the game. His roaring laughter is often heard  from a distance, even overwhelming the false notes of the piano and the hum of the anonymous throng. But then suddenly it is as if time runs out, the music stops, the crowds disperse and he left alone with a man holding a quarter of the doctor’s life-savings in his merciless hands. Being a medical man, the doctor glances at the man’s face, almost trying to analyze away the man’s resolute features, his heavy build and uncompromising stare. But moments later, he is grabbed by men who have crept up on him unseen, and drawn into an alley. One punch to the gut, and the doctor falls over by a dustbin as the heavy wooden door slams shut behind him. There is total silence. He is removed from both streets and shop windows. He looks up, and sees stars glisten as he gets to his feet. In the morning, he wakes up with a throbbing head-ache in his bed next to his wife. His baby cries in another room. At first, he is filled with joy, thinking how wonderful it is to wake up to such a spectacle. But then he remembers that it might soon be gone. In the next few weeks, the problem consumes him. He is unable to concentrate on his job. But being a very respected man, none of the patients have the audacity to complain. How would he find the funds to continue? What could he do to undo the damage? The doctor was in luck. That winter a terrible pandemic hit London. Fever, running noses, coughing – crying babies in his crowded waiting room. It was all very lovely, he thought. But was it enough? He often worked into the night, and sat alone counting coins at his wooden desk by a solitary candle until dawn. Walking home as the early morning rays penetrate the smog, standing on Westminster Bridge staring down-stream just as the bending river is revealed by morning, he realizes that it was not enough. He sighs. But the doctor is in luck again. One day, a new patient enters his room. He notices him immediately because he is much taller and stronger than his usual patients. It has now been half a year since his disastrous gambling loss, but the doctor immediately recognizes the man who ran the game in the gambling hall. He, of course, being a professional thug, does not recognize the doctor. The doctor soon realizes that he is a nobody, just another worthless victim. The man talks to him as if they have never met. Not being very strong or brave himself, the doctor hides his fury behind a polite smile. He listens to the man’s chest, makes the usual examinations. The man has a mild cough, nothing more. He walks over to scribble a prescription in a corner hidden by a screen. But as his pen is about to hit the paper, he thinks: what a pity that the man does not have a more serious illness? Something that could both make him suffer and helpless, the way he had been helpless in that alley, where he lost his financial security, and perhaps even his well-furnished apartment? For a second, he dismissed the idea, shook his head and resigned to his fate. But then he turned, glanced over the screen and observed the unsympathetic countenance of the man. He was really very ugly in daylight, there were scars on his hand and arm, as if they had been badly cut by a blunt edge years ago, perhaps a broken bottle, and then they had healed very very slowly, leaving an unnecessary blemish on an already rugged appearance. The doctor was suddenly filled with contempt. He grabs a piece of cloth still dripping with blood from the pregnant consumptive female who had visited his clinic before the thug. When he feels the moist on his fingers, he gets an idea. He grabs a bottle of cough syrup, opens it, places a funnel on top and squeezes the cloth until blood drips down into the interior of the bottle. It is not much, he thinks as darker drops dilutes and vanish in the warm liquid. But if certain unverified theories about the transmission of disease were true, it might be enough. He shakes the bottle, cleans his hands and returns to his patient. “Sir,” he begins politely, “I have here a bottle of the most common cough syrup. This is what you require in order to regain your health quickly. But it is imperative that you follow my instructions to the letter. This medicine must be stored in a cold room. So every evening, try to lower the temperature in your dwelling a little, perhaps by keeping a door ajar, or not putting as much kindling on your fire as normal.” The man makes a grunt of dissatisfaction, knowing quite well how uncomfortable the evenings are when the chill of dusk descends. But, like most patients at the time, he also knows that all medicines require suffering. So, he does not protest, but nods and stares to the floor. The doctor smiles as he realizes his power over the brute.“This first bottle is not cheap, but it is essential that you take it every evening and morning. You see, there are some – very few don’t worry – who do develop further symptoms. Then you must double your dose.”“I understand”, the man says and gets up. “What do I pay you?”, he says as his height almost looms over his much smaller physician.When he hears the sum, he shouts “But Dear Lord!!”. The doctor is suddenly intimidated. What can he do if the man simply beats him to the floor, takes his medicine and departs? But then the thug reaches for coins from his pocket, wipes snot from his mustache, grabs his coat and pays what he is due. The doctor sighs with relief as the man shuts the door behind him. From his window, the doctor sees him walk down the street, stopping to cough by some derelict barrel and then vanish behind some horse. The doctor smiles, and almost laughs. He draws the curtains and decides to leave work early that day. On his way home, however, he suddenly realizes that his problem is not yet solved. He had inflicted pain on a very evil man, but the debt was still there. Nothing had changed. The joy that he felt was completely gone as greeted his wife. He had still betrayed her, and he could barely look at the baby. Three weeks later, there is a knock at the door of his clinic, and the brute appears once again. This time his face is covered in sweat. But this was a man of immense strength, so he stood upright still, like some towering bronze pillar. The doctor let him in, examined him and immediately recognized the early symptoms of consumption. At  first he was a little confused, had to hide behind the screen in the corner again to think. He kept glancing at the man in secret trying to make up his mind. Was he happy, or was he not happy about this? Then suddenly the force of the gut punch came back to him. He was happy. In fact, the doctor was thrilled. He once again looked up at bottles from his previous patient. He remembered that a patient he had bled that morning suffered from the worst case of syphilis he had ever seen. In fact, he had been frightened, and thrown most of the rubbish away immediately. But there was one bloody rag left. The doctor meticulously repeats what he done the first time. He looks at his sweating patient, but is still nervous. At first he is uncertain about whether he would dare to up the price on his cough syrup. But then he thinks about his wife and child, how they would suffer because of this horrible giant. “This is an extra strong mixture,” the doctor says, “I am afraid it is a little more expensive.” The giant sighs, and the doctor turns to hide his smile as he is paid. “Thank you, Sir, the doctor says. “Come back if you get any worse, Mr Jones-Smythe”. The brute suddenly smiles, shakes his head and says. “Never mind about those fancy names. Most people just call me Bricklayer-John.”‘ “Bricklayer-John?” “Yes, I am a brick layer. Big by birth, but work has made me strong, you see. Perhaps I shouldn’t complain. It gives me a few extra bob now and again. I just stand by some door most of time. Some weasel pays me a five bob for this. But only once a month.” “I see”, doctor says as the man leaves. The doctor then returns to his family in the evening, but now he is a little confused. Had he done the right thing? What did he really remember from that night he lost his money? So much time had passed that the facts were blurred. Who did what, and when? Was it Bricklayer-John who had hit him? Looking at his baby and his wife, his worries settled. The man was still not a nice person. He was still just as unsympathetic, even if it was all part time. Part-time thug was just as bad as full-time thug. Now six months passed, and as if by a miracle the doctor managed to get his budget in order. He reckoned that it would take him five years to recover his loss. But he was in charge, and his darling wife and baby would never know. Patients started coming in larger numbers that autumn. There was much to do for an important person. So much responsibility. One day, a pregnant woman entered his office, the most gorgeous creature put on this earth, he thought. The doctor, however, was a man completely devoted to his wife, both in spirit and in mind. He would recognize beauty wherever he saw it, but that would be as far it would go. As he treated the woman, he recognized the symptoms of consumption. He almost had to look away  as he informed her of his diagnosis. He heard a sob. He took a seat next to her. “Will you manage?”, he said. “I suppose I will have to,” answered the woman, her long black hair slightly lifted by a sudden gust of wind from an open window. “I will shut the window”, the doctor said and got up. “You see, my late husband was a hard working man. He would work from morning till evening. He said work made him into a bull. But bricklayers meet a lot of people. Then he had an extra night job sometimes as well. I can forgive John for giving me this plague. But never for being unfaithful to me.” The doctor turned suddenly towards his patient and stared at her in horror. “John gave me syphilis, as well, you see. Bricklayer-John, what a monster he was!!! But at least he left me well cared for.”   Like this:Like Loading... [...]
short story  “Karen’s Christmas” by Amalie Skram Translated by Michael Henrik Wynn At one of the steamship ports in Kristiania there was some years ago a gray wooden structure with a flat roof, no chimney, just over two and a half yards long and slightly shorter in width. At both end walls there was a small window, one slightly higher than the other. The door opened onto the waterfront and could be shut both from the inside and the outside with iron hooks that connected to eyes of the same metal. The hut was originally erected for the ferrymen in order to provide shelter from rainy days and winter chills when they sat waiting for travelers to demand passage. Later, when the small steamships assumed more and more of the traffic, the ferrymen moved elsewhere. Now, the building temporarily became a residence for whomever had a use for it. The latest occupants were some masons who, two at the time, used to eat their meals there when they one summer repaired a nearby quay. Eventually, nobody took any notice of the little old shack. It remained where it stood because the port authorities never conceived of the idea of removing it, and because nobody complained that it was in the way of anyone or anything. Then, one winter night in December just before Christmas. There wasn’t much snow because it melted as it fell, and that made the mud on the cobblestones of the quay even thicker and more sticky. The snow lay like a fine-meshed gray cover on the gaslights and the steam powered cranes, and if you reached the ships, you could see that it hung like a festoon from the masts and the riggings. The dirty yellow glare of gaslights burnt in the dark-gray humid air, while the lanterns glowed murky and red. Now and again a sharp chime cut through the damp atmosphere, when the watch on board struck eight bells. The constable who patrolled the quay stopped by the gaslights just outside the former refuge of the ferrymen. He pulled out his watch to check how late it was, but as he held up to the light, he heard something resembling the cries of a baby. His lowered his hand, looked about and listened. No, it couldn’t be? Then he looked at his watch again. Yet again there was the sound, this time mingled with a calming hush. He lowered his hand again, and again there was quiet. What kind of devil’s trickery was this? He looked around, but found nothing. A third time the watch was raised to the glare of the gaslight and this time he could, in the silent night, see that it was soon 4 o’clock. He drifted along the quay, passed the old shack, wondered a little, but then dismissed it all as pure fancy….Or how could it be? A little while later when he returned the same way, he approached the hut. What was that? Didn’t he detect movement inside? Light from gas-lamps flowed in through both the windows in the end walls, and made it seem as if the interior was illuminated. He walked over and looked in. Quite right. There was a shape on the bench right under the window, a tiny huddled up creature, who leaned forward fiddling with something, he could not see what. He stepped around the corner, stopped at the door and tried to enter. It was locked. “Open up!” – he shouted and and knocked with his knuckels. He heard someone startled. There was a faint exclamation, then all turned quiet. He knocked again with his fist and repeated: “You in there, open up! Open up this instance.” “What do you want? Dear God, there is no one here,” – said the terrified voice on the other side of the door. “Open up. It is the police!” “My goodness, the police–oh my dear, it is just little old me. I am not doing any harm, I am just sittin’ here, you see”. “Can’t you get a move on and open this door, or I will most certainly give it to you straight. Will you…” He got no further, for at that very moment the door opened, and in the next instance he hunched through the doorway into the tiny room, where there was barely enough space to stand upright. “Are you mad? Not allowing the police entrance! What were you thinking?” “I am so sorry Mr. Policeman, — I did open the door, you see.” “And that was the best thing you could have done,” he growled. “Who are you anyway, and who has given you permission to take up lodging here?” “It is just me, Karen,” –she whispered. “I’m sittin’ here with my babe” The policeman eyed her over closely. She was a slim little thing with a pale and narrow face. There was a deep scrofula scar, a straight line, on one cheek. She was barely an adult. She wore a light brown garment, some kind of sweater or jacket, with a cut that betrayed its age, and a darker skirt, which hung like rags down to her ankles. On her feet there were a pair of worn-out soldier’s boots, laces missing. In her one arm she held a bundle of cloth, which lay across her waist. Something white protruded from the top end of the bundle. It was a baby’s head, which suckled her meager breast. The woman had tied a ragged scarf around her head which was fastened under her chin. From her neck locks of hair stuck out. Her entire body shivered from cold, and when she moved, there came squishy and squeaking sounds from her boots, as if she was stepping in mud. “I didn’t think I would be a bother to anyone” she stated in her shrill voice – “the hut is here anyway, isn’t it?” The policeman suddenly felt uneasy. At first he had had intended to drive her out into the streets with harsh words – let her off with a warning. But then he saw the miserable wretch before him with a tiny child in her arms pushing up against the bench, so fearful and humble that she was afraid to sit down. He could not help but be moved. “But dear God, my child, what are you doing here?” She perceived the sympathy of his voice, her fears settled and she began to cry. The constable reached for the door and swung it shut. “Sit down for a moment” – he said – “the child is so heavy” She slid down unto the bench. “Now, then”- the constable said encouragingly and sat down on the bench opposite her. “Oh dear, Mr Constable – let me stay here” she lisped through her tears. “I won’t do no mischief – not the slightest – keep clean, I will. You can see for yourself, I am hygienic. What you see over there are breadcrusts “. She pointed to bundle on the floor. “I go begging every day –  there’s some water in the bottle. Let me stay the nights here, till I get back my job back – if only the Madame will come for me”. She blew her nose in her fingers and wiped them on her skirt. “And this Madame, whoever might that be?” asked the constable. “I was in her service, see. I had ever such a nice position with board, 4 shillings a month and breakfast. But then I got knocked up, you see, and then I had to go, of course, Madame Olsen herself went to the Charity and got me in. She is ever so kind. I was in her service right until I went there. You see, Madame Olsen is on her own, and she said she would keep me as long as I managed. But then Madame Olsen had to travel, see, she is a midwife. And then she got ill and bed-ridden out there in the countryside. And now they say she won’t be comin’ home till Christmas.” “But dear God, are you planning to roam the streets with this baby while you are you are waiting for this Madame! What good can come of this?” The constable shook his head. “I have nowhere to go” she whimpered. “Since my father died there is no one to help me when my stepmother throws me into the streets.” “What about the father of your child?” “Oh him,” she said and made a slight toss with her neck. “I don’t think he will be of much help either.” “But surely you know that you can get him sentenced to pay child support?” “Yes, they say so,” she replied. “But how are we going to go about it, when he doesn’t exist?” “You just give me his name,” the constable interjected, “then he will be produced, you will see.” “Yes, if I only knew,” she said casually. “What are you saying? You don’t know the name of the father of your own child?” Karen stuck a finger in her mouth and begun to suck on it. Her head tilted forward. She smiled in a helpless, silly way. “N-O” she whispered with a long emphasis on each letter and without removing her finger from her mouth. “Never in my life have I heard such a thing,” the constable began, “How on earth did you hook up with this man?” “I met him in the streets at night, when it was dark,” she replied without a hint of bashfulness, “but it didn’t go long before he was gone, and I haven’t seen him since” “Have you not made inquiries?” “Of course I have, but nobody knows where he has gone. He has probably gone into the country, because he either worked with horses or carriages, I could tell from his smell.” “My God, what a mess you are in,” the constable muttered. “you must report to the authorities,” he said more loudly, –“then they can work things out for you.” “No, I won’t do that,” she answered with sudden defiance” “Surely it must be better to go to the workhouse and receive food and shelter than what you are doing now?” the constable said. “Yes, but when Madame Olsen arrives — she is so kind, Madame Olsen — she will make me a temporary maid. I know this for a fact, because she promised me she would. Then I know a woman who will give us board for 3 shillings a month. She will look after the wee one while I am with Madame Olsen. And then I will help her out when I return from the Madame. It will all work out fine, when Madame Olsen comes. She will be here for Christmas, they say.” “Very well, my dear, every adult know their own business. But you have no right to stay in this here hut.” “What does it matter if I sit here at nights – does it harm anyone? Dear God, let me stay, the wee one won’t cry. Only till the Madame arrives. Dear Mr. Constable, only till the Madame arrives.” “But you will freeze yourself blue, you and the child.” He looked at her poor clothes. “Surely, this will be better than walking the streets? Oh, dear Mr. Constable- only til the Madame arrives.” “Really, you should have accompanied me to the station, you see,” the constable said and thoughtfully scratched his ear. She startled and moved towards him. “No, don’t do it,” she whimpered as her frozen fingers caught hold of his sleeve. “I beg you- in the name of our beautiful Lord – only till the Madame arrives.” The constable reconsidered. There were only three days till Christmas, he counted. “Very well,” he said as he got up. “You can stay till Christmas, but not a day longer. And mind you, no one must know that you are here.” “God bless you, God bless you, and thank you,” she exclaimed. But remember to be gone by 6 o’clock in the morning, before the rush of traffic begins out here,” he added when he was half-way out the door. The next night, when he passed the hut, he stopped and looked in. She sat leaning against the window, the profile of her scarfed head dimly visible against the glass. The child was at her breast suckling. She did not move and seemed to be asleep. Next morning, it was freezing. During the next day the thermometer dropped to 12 degrees below. It was bitterly cold, calm and cloudless. Rime formed on the windows of the tiny ferryman’s hut, the glass was no longer transparent. The weather changed again Christmas Eve. There was a thaw, and every surface seemed to drip. You almost needed an umbrella, even if there was no rain. The storehouse windows were frost-free, and the roads more slippery than ever. The constable arrived in the afternoon around two. His doctor had given him leave of absence from work the last few nights because of a feverish cold. Now he was coming down to talk with a man on one of the steamships. It so happened that he passed the hut on his way there. Even in the fading daylight he saw, at several paces, something which caused him to stop. It filled his mind with worry. There she was seated in precisely the same position as she was two nights ago. The same profile was visible against the glass. He really didn’t give it much thought, just felt a sudden horror at seeing the petrified figure. A sudden chill went down his spine. Perhaps something had happened? He hurried to the door, it was closed. He broke the glass in a window, got hold of an iron bar which he stuck through the opening and unhinged the hook. Then he slowly and carefully entered. They were both stone dead. The child lay on top of her mother and was still suckling, even in death. A few drops of blood had trickled from the nipple down the child’s cheeks and coagulated on her chin. The mother was terribly emaciated, but her faced seemed fixed in a tranquil smile. “Poor girl, what a Christmas she got,” the constable muttered rubbing his eye. “But perhaps it was for the best for them both. I suppose our Lord has a purpose with everything.” He left the hut, shut the door behind him and fastened the hook. Then he hurried to the station to report the incident. The first day of work after Christmas weekend, the port authorities demolished the hut and removed it. They couldn’t have it there attracting all kinds of vagrants.   Like this:Like Loading... [...]
literatureMorocco is a land of contrasts, with scenery ranging from the most beautiful mountain valleys to deserts and sprawling metropolitan areas. It is also a land of unequal wealth, a gap between the rich and the poor- prostitution and crime. Yet, while the arab world has been in turmoil, Morocco has remained fairly stable. It is perhaps not so strange then that the country is the center of an unlikely arabic revival: the police procedural. We talked with the founder of the arab noir genre, Abdelilah Hamdouchi, and we followed the literary traces of his hero, detective Hannach, through some distinctly Moroccan alleyways. Historyradio.org: Tell us a little about your background. When and how did you decide to become a crime writer? Abdelilah Hamdouchi: When I decided to write my first crime novel in late 90s, Morocco had just started a new political experience under the banner “A Government of Change”. This change followed a general amnesty for all political prisoners. Also, some democratic practices began to take hold in the running of the state and society, to the extent that a former convict and exiled leftist became head of the government. In those days, I had penned novels about social affairs, but no one took notice of these writings. So I decided to try the crime novel, even if I only was familiar with Agatha Christie in this niche. Historyradio.org: A while back I heard a theory that no crime novel could exist in a non-democratic country, simply because the citizens in dictatorships didn’t trust the police? Yet, your Moroccan police procedurals show otherwise? Do Moroccans trust the police? Abdelilah Hamdouchi: This is relatively true, the crime novel finds its space in democratic countries; or human rights and the law. Russia, for example, never knew this kind of literature during the Soviet era, Nazi Germany, fascist Italy, and the Francoist Spain neither, and the first crime novel in Spain was written after the death of dictator Franco in Spain in 1974. This can be said of dictatorships in Africa and in Latin America. But, of course, it does not prevent exceptions from emerging, like the author Leonardo Padura, who wrote the crime novels in Cuba. My country, Morocco, is a special case in the sense that we have always lived under a regime that adapts by drawing red lines not to cross, including the kingship, the territorial unit and the Moslem religion, Malekite. If someone goes beyond these red lines, he is overtaken by the law. Otherwise everything is subject to opinions and criticisms freely. Historyradio.org: When did Moroccans begin reading crime fiction, and what sort of crime fiction do they prefer? Abdelilah Hamdouchi: My experience is unique and even avant-garde in Arab culture. In part, this has left me with almost a feeling of rush to be translated into English and other languages. The Hoopoe Publishing House has commissioned me for a series of Moroccan thrillers whose hero is a certain Hannach. The crime novel is almost absent in our literature and Moroccan cultures in particular and Arabs in general. Even translations are limited to Agatha Christie and Conan Doyle. Historyradio.org: They say many Italian police procedurals have open endings or let the bad guy get away because they reflect public expectations of corruption and incompetence in the police force? Is there a similar tradition in Morocco? Abdelilah Hamdouchi: We must not forget that Italy is the country of the Mafia and organized crime. The majority of the crimes in Morocco are of individual nature or connected to family affairs, and the motives are often money-related or sentimental. Organized crime, like in Italy, is almost absent. It is true that Moroccans are part of mafia organizations, but the majority of crimes are individual. Historyradio.org: What sort of hero is Detective Hannach? How does he compare with let’s say Mankell’s Wallander? Does he drink? Is he flawed in any way? Abdelilah Hamdouchi: Hannach is fond of life: he loves beautiful women and has experienced both good and bad times, against a backdrop of corruption, he has a good heart. Historyradio.org: How does he go about solving his crimes, does he have a method or does he just stumble his way towards a solution in the manner of Philip Marlowe? Abdelilah Hamdouchi: First, he has a proper background. He worked in the narcotics brigade in Tangier and built a career.  He then joined the criminal brigade in Casablanca, where his experience with the drug squad helped him in his new mission, especially since he is intelligent and organizes his teams with professionalism. Before solving the crime, he asks all his colleagues their opinion. Historyradio.org: What about yourself, how do you write your novels? Do you write on instinct or do you outline the plot in advance? Abdelilah Hamdouchi: In general, before I start writing, I have a pretty clear idea of ​​my subject. I am inspired by various facts; to put my writing technique at the service of the crime novel with everything that leaves the reader in the pleasure of reading. Historyradio.org: Do you have any literary role models, writers who inspired you when you started writing? Abdelilah Hamdouchi: In principle I have no model, I read a lot, literature, crime novels, other than that I admire the clear and transparent style of Paul Auster. Also I much admire Henning Mankell. Historyradio.org: You were among the first to write modern police procedurals in your country. Have you met with any difficulties? How were your first novels received? Abdelilah Hamdouchi: My first crime novel was about the world of Hashish, and lower-ranking police officers who made a considerable effort to dismantle the traffic, and who see their effort in the water following the interventions of the officers. The purpose of this crime novel was to convey a certain message. This first noir was well received, both commercially and critically, which resulted in the making of a TV movie. Historyradio.org: According to Al Jazeera, Maurice Leblanc’s golden age rogue, Arsene Lupin, is popular in the arab world. Would you say that the cozy 1920’s crime puzzle still fascinates Moroccans? Abdelilah Hamdouchi: I’m not so sure about Al Jazeera Television’s conclusions, but the Arab reader does not consume a lot of crime novels, due to a lack of available translations. Historyradio.org: Apart from yourself, are there other major crime writers in Morocco? Abdelilah Hamdouchi: Yes, there is another author who writes in French, and who (coincidentally) has the same surname as me, Miloudi Hamdouchi. He was a very popular detective writer in the 90s and was known as “Colombo” in the popular press. You can buy 3 of Hamdouchi’s latest thrillers at Amazon. Whitefly (2016) The Final Bet (2016)  Bled Dry (2017) Like this:Like Loading... [...]
historyArchaeologists have discovered a treasure deep in the jungles of meso-America more valuable than any city of gold: a Mayan writing system that developed in isolation from Europe or the ancient cultures of Africa and Asia. However, due to the passage of time and our own brutality as colonizers only fragments remain. But what do we know about these sophisticated, urban people and their hieroglyphs?  As always, language offers rare glimpses into the minds of the defeated. Historyradio.org contacted Brown University’s Anthropology department, and talked to Mallory Matsumoto, a Ph.d. student who is a specialist on Maya culture and writing. Historyradio.org: The Maya were one of the very few literate cultures in ancient meso-America, how common was reading and writing among their people? Did everyone know how to read and write? Mallory Matsumoto: As far as we can tell—from the quantity of texts we have, their contents and contexts, archaeological evidence for scribes, and comparison with other cultures—only a small minority in pre-Columbian Maya society would have been able to read or write. Moreover, these people probably would have been elites; some lower-status persons or commoners, who were the majority, may have been able to recognize the hieroglyphs as writing or even interpret a few signs, but probably did not engage with the writing system much more than that. Historyradio.org: Did the Maya use literature for personal entertainment like we do today? Mallory Matsumoto: For the most part, we don’t have direct evidence indicating in what context or for what purposes the Maya used their hieroglyphic texts—we must deduce this largely from text content and context, including where and when it was created. For example, some monumental texts were positioned to be clearly visible to people, in a space that would have been accessible to many; thus, these may have been intended to serve a broadcasting function. Their texts often record historical or biographical information about the dynasty and appear with images of the king or his allies. The relatively few surviving murals, like those at Bonampak, Rio Azul, or Xultun, would have only been visible to those who were able to enter the building or tomb in which they were painted, and in some cases, the hieroglyphs were small enough that the viewer would need to come up to the wall to read them. In contrast, writing on portable objects, like ceramic vessels or ornaments, is thought to have been intended for more restricted or even individual use. These texts may more directly address the object itself or a mythological narrative, for example, rather than political events. Historyradio.org: Do we know anything about what sort of literature they had? Is it possible to talk of any Maya literary style, for instance? Mallory Matsumoto: Unfortunately, it’s not clear to what extent the texts we have represent the entire breadth of Maya hieroglyphic writing as it was used in pre-Columbian times. Most hieroglyphic texts have not survived, because of a combination of preservation bias that favors materials more durable than bark paper or (probably) palm leaves, (intentional or otherwise), and random chance. Nonetheless, one key stylistic feature of Maya writing and orality for which we have ample evidence is parallelism, a strategy of articulating two or more comparable elements (words, grammatical forms, etc.) to add nuance or communicate additional meaning. In its most basic form, this strategy juxtaposes two elements (words, grammatical forms, etc.) in a couplet. But more elaborate examples can combine three or more elements to convey very subtle levels of nuance. We have examples of parallelism in hieroglyphic texts from pre-Columbian times, as well as in alphabetic writing and oral traditions recorded since the early colonial period, and it remains an integral component of Maya expression through the present. Historyradio.org: Many of the books were of course destroyed during the Spanish conquest by people like Diego De Landa? Do we know anything about what was lost? What do the sources tell us about what Landa destroyed? Mallory Matsumoto: Almost all pre-Columbian books have been destroyed or lost. Some simply decayed; painted and plastered bark paper would have needed extraordinary conditions to survive, especially in the hot, humid Maya Lowlands. In this context, it is unsurprising that the four books that we do have all date to within a few centuries of European contact. Archaeologists have found eroded remains of much older, pre-Columbian books, but they are illegible because they are so fragmentary. Most of those books that did manage to survive the stress of time, the elements, and general wear and tear, were abandoned or confiscated by colonial officials as part of cultural persecution under European colonialism. Because these books were written in a writing system completely foreign to the colonizers and many books were integral components of Maya spiritual and ritual practice, they were seen generally as threats to the Europeans’ civilizing and evangelizing mission. We do have records of Europeans seeing these books, but for the most part, their descriptions have proved to be unreliable for reconstructing the original books’ contents. More frequently, they refer to the documents in passing as exotic and impenetrable, if not outright threatening, objects. Historyradio.org: What about the remaining manuscripts, what sort of text are they? Mallory Matsumoto: Only four books or codices are known to have survived into the present. These books contain hieroglyphs and images painted on bark paper, and their contents are, as far as we can tell, largely calendrical, religious, or astronomical. However, many passages are still opaque, so there is plenty that these codices have left to tell that we don’t yet understand. Historyradio.org: Are there any significant literary texts inscribed in stone? Mallory Matsumoto: Almost all known hieroglyphic writing is preserved on more durable media, like stone or ceramic, although a handful of surviving texts were recorded on wood, bone, shell, or other, more fragile materials. Hence, texts inscribed in stone have been critical in decipherment efforts and in the ongoing development of our understanding of pre-Columbian Maya political history, among other issues. However, they are not, as far as we can tell, representative of all genres of Maya writing: those on stone monuments typically deal with politically, historically, or dynastically relevant information, whereas those on portable stone objects like jade celts or earspools are, necessarily, briefer, and tend to focus on the immediate context of the object itself and its user. Historyradio.org: What about the oral traditions of the Maya people, do they in any way reflect what you have discovered in manuscripts and in texts? Mallory Matsumoto: Many narratives known from later oral traditions probably would have been recorded in books and other media that have not survived into the present. We see hints of this in texts from the colonial period, most famously the Popol Wuj, that record community histories and cosmology. However, it’s likely that much content of known oral traditions would not have readily been written down during the colonial period, at least not in documents that were made available to those from outside the local community, because they could have been seen as incompatible with European (especially Christian) values. We have a small number of comparable texts from the pre-Columbian period as well, including the four surviving codices, but most known hieroglyphic texts are different in content and style from oral traditions that have been recorded since European contact. Historyradio.org: The Maya language system seems very difficult, does it bear any resemblance to any other language found in meso-America or elsewhere? Mallory Matsumoto: Mayan languages form their own linguistic family and are not known to be related to other languages in Mesoamerica, but there has been a substantial amount of contact and borrowing between Mayan languages and those spoken by their neighbors, including Mixtec, Zapotec, and Nahuatl. The language primarily recorded in hieroglyphic texts, now referred to as Classic Mayan, is no longer spoken today. Even at the time, it was probably an elite, literary language that was not spoken by most of the population. Around 30 Mayan languages are spoken now by several million people, although most of them are not directly descended from Classic Mayan. Historyradio.org: Do you know if the rediscovery of the Mayan script has influenced any modern mexican writers, or literary movements? Mallory Matsumoto: Research on pre-Columbian Maya contexts has certainly influenced contemporary literary and artistic movements. Artists are incorporating elements and motifs from pre-Columbian Maya culture into their paintings, sculptures, prose, poetry, etc. Growing interest, both locally and internationally, in (especially pre-Columbian) Maya society and culture has also generally inspired more pride and association in some contemporary Maya peoples with the heritage of the more distant past. One important, recent development in this context has been the revitalization of the hieroglyphic script itself, led by local and international intellectuals interested in reclaiming the ancient writing system in the present. In addition to hosting workshops to disseminate knowledge of the script, they have also created new murals, paintings, books, and monuments with hieroglyphic writing. Historyradio.org: What is the most surprising thing you have discovered after the Mayan scripts were deciphered? Mallory Matsumoto: One key realization, catalyzed by the work of Tatiana Proskouriakoff and Heinrich Berlin in the mid-20th century, has been that the content of hieroglyphic texts, especially on monuments, is overwhelmingly historical and biographical, rather than singly focused on esoteric, spiritual themes. This advancement had consequences for our view of pre-Columbian Maya civilization as a whole—as scholars have become able to read more and more and have interpreted them as historical sources, they have developed a more dynamic view of Maya politics and warfare, among other aspects of society. It continues to drive much current epigraphic and archaeological research as we have been able to reveal more of the complexities of pre-Columbian Maya society. For me personally, one of the more surprising aspects of studying the Maya hieroglyphic script has been the sheer diversity of the corpus—of the text forms and contents, of the objects on which they were created, of the manner of presenting the texts, of the materials used to produce them, of the contexts in which they were made and used, among other aspects. It continues to remind me just how many perspectives and corners of Maya epigraphy there are to be explored. Historyradio.org: Are there any remaining mysteries concerning the Mayan scripts? Mallory Matsumoto: Despite decades of intense and insightful epigraphic work, the Maya hieroglyphic script has not yet been fully deciphered; a number of glyphs cannot yet be interpreted, phonetically, semantically, or both. The early and late hieroglyphic texts remain some of the most enigmatic—to really understand the history and development of the script, we need to be able to read them, which will require the discovery of additional texts and more concentrated effort from scholars. We also know relatively little, for instance, about how much linguistic diversity that the hieroglyphic script records. Most texts seem to have been written in a relatively standard variant, now called Classic Mayan, but this elite literary language would not have been the primary language of everyone, certainly not most non-elites across the region who spoke any of many different Mayan languages. Scholars have found some evidence of local, vernacular influence on hieroglyphic texts, but we still do not fully understand the relationship of the writing system to spoken languages(s), and work on this topic remains ongoing. And these are just a few examples—there certainly plenty of issues waiting to be addressed by future generations of Maya epigraphers. Every discovery or advancement in Maya archaeology or epigraphy raises more questions. Like this:Like Loading... [...]
historyIn the shadow of the dying Hapsburg Empire a new treatment that focused on conversation was invented: psychoanalysis. However, who would benefit from Freud’s new method and what end would it finally serve? Sigmund Freud saw himself as part of the supercilious materialist wave that reduced men to Darwin’s apes. He was part of the liberal bourgeoisie of Vienna around 1900 and was educated in the neuro-physiology of Brucker and the hypno-theraphy of Charcot. Some time between 1895 and 1900, he broke with his old mentor Breuer and produced psychoanalysis. Like his role model, Charles Darwin, whom he praised in a 1917 essay*, he benefited greatly from his privileged background, and like him, he was sometimes haunted by his historic limitations. While Darwin swore by his own observations, Freud based his ideas on conversation and analysis. At the turn of the century, Freud was tested in a way that would expose the difficulties of psychoanalysis, the case of Dora. Privileged patients Psychoanalysis was the outcome of Freud’s conversations with women who could not survive in their social straitjackets. So it was with Dora, or Ida Bauer, as her real name was, an 18 year old who was sent to Freud by her wealthy family. She had been abused by an older friend of the family as a 14-year old, and as a result she had developed several symptoms, such as continued arguments with her father, fainting and the writing of suicide notes. «In their nature women are like feeble, exotic green house plants» Stephen Zweig joked. The contemporary ideal was, according to Zweig that «A young girl from a good family should not have the faintest idea about what a man’s body looked like; not know how children are conceived, they were innocent angels». Freud never denied the fact that he benefited from family power structures and that the psychoanalyst borrowed his authority from the father figure. But because Freud saw himself as the as a prophet of psychology, he never understood the ways in which he came to rationalize oppressive conditions in his own society. Ida Bauer was told that she denied her own sexuality when she described her fear of her abuser, «Mr K», and this qualified her to the obscure diagnosis «a hysteric». However, there were many women who claimed to be sexual victims, and Freud may have had some reason for doubt. Even so, the diagnosis becomes incomprehensible without  understanding the social and historical context. Vienna at the time At the start of the 1900s Freud was an ambitious doctor who had struggled long in the shadow of positivist physiology; he was well established with a large family which, excluding himself, included his wife Martha, as well as relatives, colleagues and a brood of children. From the safety of his home at Berggasse 19 he could defy the medical establishment and acquire the clinical experience that brought him- after several detours- to a better method of treatment. In addition, he developed a new theory about dreams and the structure of the mind. In spite of progress, Freud failed to rise in the academic hierarchy at the university of Vienna, where he had been employed as an assistant professor for years. Vienna was the center of a conservative empire. According to Stephan Zweig there was only one thing that could shatter the social neurosis and liberate the creative forces: Art. «all these social strata existed in their own own circles and even in their own neighborhoods, the aristocracy in their palaces in the center of the city, the diplomatic corps in a third area, industry and merchants around Ringstrasse, the petty bourgousi in the inner parts, the proletariat in the outer. But they all met in the theater». Anti-semitism flourished in the wake of various financial scandals and the French Dreyfuss affair. The right wing mayor Karl Leuger had been elected in spite of massive protest from the aristocracy and the powerful Jewish bourgeoisie. Barring the foul mob that rose from the gutter, few had the power to force through moderate reforms. Upper-class liberals like Freud now turned their back on politics and sublimated their own rebellions. A rigid society therefore seem to wither from within. Complicated by social factors Freud was among the first to develop a theory about how human dialogue can solve mental problems. A bi-product of this was an unsentimental description of the power structures in this conversation, both how they prevented and contributed to communication. When Dora one day slammed her door and shut Freud out, Freud saw it as a sign of weakness. Posterity, and a few literary scholars and theoreticians in particular, has compared Dora to Ibsen’s famous heroine, Nora.* To other thinkers like Hélène Cixous, Dora became the woman who exposed Freud as a chauvinist. Women, like some religious people, have discovered that the more you criticize psychoanalysis, the more you seem to confirm its diagnosis. In the essay «On femininity» Freud declared that psychoanalysis doesn’t ask what a woman is, but how she is made. Psychoanalysis is seemingly impervious to any attack, and raises itself high above women, the religious and other so-called pathologies. More humane after all On the other hand, Freud took an important step away from the macabre laboratories of neuro-physiology and the institutionalized sadism that preoccupied many contemporary institutions. He communicated with his patients and wasn’t afraid of touchy subjects, like sex, death and aggression. But perhaps because Freud developed a theory to penetrate the defenses of the self and unveil hidden motives, he was later seen as the architect of a state sponsored invasion of the private sphere. In the doctor-patient relationship, historical positivism and its wave of materialism became a social tool of the establishment. The power of definition Of course, this spurred a host of counter-theories. Freud’s studies revealed that all women at some point in their childhood discovered that boys have something which they apparently lack, and that leads to “penis-envy” and supposedly causes neurosis later in life. Freud never accepted that this was in some ways a description of, if not a rationalization of, contemporary attitudes. Later psychologists like Karen Horney understood that women needed to justify fundamental needs. They need to find a response to the old language of power. The feminist Susan Gubar begins one of her articles with the question «Is anatomy linguistic destiny?» Such a fate seemed inevitable to early feminists who suggested that penis-envy be replaced by “womb-envy”, or the stage in a boy’s life when he discovers that he is unable to give birth and consequently develops neurosis. It is not hard to see that this theoretical tug-of-war masks a power struggle. Psychoanalysis in a vacuum? Darwin had won his victory by gradually placing his followers in strategic positions within the scientific societies. The psychoanalytic movement followed a similar pattern, and spread throughout Europe after 1906 through intrigues and personal animosity. The totalitarian side of psychoanalysis became increasingly more apparent as Freud clamped down on heretics within his own movement: Fleiss, Adler, Jung, Reich and others. This is a fate that psychoanalysis shares with Marxism. Where Marx saw exploitation, Freud saw neurosis, and the twentieth century seemed to follow these two in their search for hidden agendas. Whether Freud was a positivist is debatable. However, he did write texts in which he saw himself as part of an accumulating corpus of knowledge. He also clung to scientific objectivity, and is consequently often scolded for his arrogance. Yet, it seems like posterity has blamed him for not being able to bring conversational analysis into a social vacuum. Can we really predict human behavior as reliably as the laws of Newton or describe them as eloquently as Darwin’s finches? It is not without reason that the great Karl Popper labeled both evolution and psychoanalysis as «metaphysical research programs». Such unreasonable demands may also have also influenced Freud’s view of himself. However, in 1914, after a heated debate over psychoanalysis, the world experienced a series of irrational tremors that swept the old bourgeoisie and their prejudices aside: the shell shocks of the first world war. The immense tragedy of that conflict secured both women and psychoanalysts a better position in society. Michael Wynn * “A difficulty in the path of psychoanalysis” Sigmund Freud 1917. * A simple search in google scholar revealed serveral who made the comparison.  Like this:Like Loading... [...]
history  Long before Bob Dylan, the 18’th century Scottish poet and song-writer Robert Burns published an anti-war anthem. Surprisingly modern sounding (video below), the song rejects contemporary war mongering and focuses on the human suffering caused by conflict. However, in order to understand the historical context of the song, we do need an expert. We asked George Mcclellan, a director of the Robert Burns Association of North America, to set the scene. Historyradio.org: Why was “Ye Jacobites by Name” written”? Originally to condemn the Jacobite cause. It’s necessary to understand the period following the Reformation when Great Britain became firmly anti-Catholic after years of conflict. There were two periods of Catholic rebellion, The Jacobite risings, or the Jacobite rebellions or the War of the British Succession, 1688 thru 1748, the intent of which was to return Catholic, James Stuart II and VII, to the British throne and, their last attempt with “Bonnie Prince Charlie’s (Charles Edward Stuart) ending with his loss at Culloden in 1746. Jacobite is Latin for “James.” Historyradio.org: Do we know who wrote it? I believe the original tune was written by Hector Macneill titled: My Love’s in Germany. He was probably referring to the German House of Hanover who became the sovereigns of Great Britain following the reign of William and Mary. Historyradio.org: Robert Burns re-wrote the song as an anti-war anthem? What sort of changes did he make? Actually, Burns borrowed extensively from other authors, as well as fill in fragments long lost of many old songs. He did not plagiarize but rewrote or reframed ideas expressed by others to fit tunes from traditional Scottish folk songs, before they became lost forever. Burns borrowed only the first verse from the original version of Ye Jacobites By Name that attacked Catholics from the political point of view of the conservative (and Protestant) British government, aka: the Whigs. Burns rewrote his version in 1791 with an anti-war outlook. His is the version that most people know today. The tune for the lyrics was from a song titled Captain Kid (one ‘d’) and may have been a version of Put in All in ‘Pills’ written after The Battle of Falkirk Garland in 1746. Before Burns was born. Many tunes were written and published comforting the failed Catholic efforts and most were published in Ewan MacColl’s collection titled Personal Choice. Burns wrote for two publishers, Johnson’s Scots Musical Museum and James Hogg. Johnson’s Scots Musical Museum, with Burn’s version was published in 1793. Historyradio.org: How was the song received when it was published by Burns, with the tune added? Little remark has been recorded as to the songs first appearance. Enough Catholics still existed as neighbors to have been offended when publicly sang. The pro-monarchy pub crowd probably liked it, as they did most things Burns did. Historyradio.org: The song has a pretty strong political message, at what sort of events would it be performed? Except it be in a pub or ale house, it would not be performed like we understand performers do today. In your face songs would have been punished not glorified. Politics of the time could be deadly if one stood against the Crown. So, public demonstrations of the tune, outside of pubs, etc. ,simply didn’t occur. Burns wrote it. It was published in Johnson’s Scots Museum and received little notoriety except to confirm Britain’s religious conversion from Catholicism to Protestantism. In Scotland in Burns time, it was the Calvinism of the people vs. Anglicanism (Church of Scotland) of the Govt. Historyradio.org: Would you say the song has had any influence on Scottish history? The song, No! Culloden (Protestant government forces vs Catholic pretender) had the greater influence on Scottish History by killing all pretense that a Catholic Stuart would return to the throne of Great Britain. It also killed the Highland Clan system, mostly Catholic, forever. Clarifying why such a song should be important is to understand the Jacobite cause. Charles Stuart’s Jacobite army, largely composed of Catholics and Episcopalians, but mostly Highland Clans, with a small detachment of Catholic Englishmen from the Manchester Regiment, plus some Irish, represented a return to old feudalism. Charlie’s effort was supported by France, with some Irish and Catholic Scots military units in French service, to support the Stuart claim. The British Governments Hanoverian forces were Protestants, English with a significant number of Scottish Lowlanders and some non-Catholic Highlanders. The results of that complete and disastrous rout are well known, but it ended the Clan system and took Scotland out of the past and pointed it into the future. But deeper economic motives however, lie hidden as causal effects. England and the Scottish Lowlanders were moving into an industrial age of unprecedented prosperity and growth. A return of the Stuarts would mean a return to feudalism and they weren’t having any of that. Advances in agricultural production and world trade was enriching even the crofters in the Lowlands and the Industrial Revolution was just around the corner. No, a return to feudalism would have ended all that. Culloden’s aftermath did arouse strong feelings for a long time and the original song contributed to that so Burns rewrote the lyrics to temper down ill feelings because he recognized all Scots as kinsmen, “Brothers be for a’ that,” not enemies because of religion. Remember too, Burns had his own private religious war (with words) against the Scottish Kirk too. Too, Burns was more than emphatic to the lost Jacobite cause as revealed in several pieces he wrote on his first tour to the Highlands. Burns understood his own family’s history in the religious conflicts that preceded him, and was proud that his ancestors sided with the persecuted rebels of the Covenanters on his mum’s side and the Jacobites on his fathers side. Burns was particularly aware that the final results of the Scottish religious wars, and the collapse of Catholicism, rendered his fathers family near the poverty level. Burns referred to it as Jacobite “Ruin”and, it did adversely affect his fathers course through life. Burns was also proud that his father recovered, gained an occupation (Gardner) and survived. It was an awful period of time for the people of Scotland. Like this:Like Loading... [...]
literature / moviesListen to Nixon and Hoover discussing the freedom of the press During the decades that J. Edgar Hoover headed the FBI, the height of the cold war, state agencies in the United States increased their surveillance of many writers that today are household names. The files vary in length, and so does their justification. In the case of John Steinbeck, it is stated that his integrity “is beyond question”, but that his wife attended a meeting of the communist party. Others that were more outspoken, like Bukowski or James Baldwin, attracted attention for their own opinions and strong public presence. Today the FBI has released most of these files, sorted them and presented them freely online for history buffs. They resemble scrapbooks, with clippings and notes about the doings of those under investigation. Oddly, the files contain information that many today release themselves on social media. For those interested in literary history, however, Hoover’s archive can shed new light on the personalities of past writers, and satisfy our modern cravings for voyeurism. Below are a few samples:     You can search the FBI celebrity archive yourself at vault.fbi.gov     Like this:Like Loading... [...]
literatureLaura White is a renowned expert on Jane Austen. However, she has chosen a novel approach to this classic British icon. The Nebraska professor is an innovator in the emerging field of digital humanities, and studies literature by means of a computer. The rigid divide between human creativity and the world of binary computer code is quickly being bridged, according to Google.  I had a few words with professor White about this new branch of study, and what it means for writing and literary studies. Historyradio.org: You have studied Jane Austen, have you discovered something new about her, something we couldn’t have discovered without the use of a computer? Professor White: Yes, I think so. What we did was identify (code) each and every word in the six major novels as to speaker. That’s easy to do for the narrator and character speech, but trickier with free indirect diction, when the narrator is “speaking for” a character, using his or her vocabulary and point of view. Such shared speech we coded as such, and weighted to reflect the depth of ventriloquism. The results are not yet fully known, because what we created is a public sandbox in which people can design their own searches about diction to use the coding we created—there is a lot waiting to be discovered. But at the very least we found that Austen’s use of free indirect discourse (and she was the first major novelist to exploit FID fully) was far more complex and varied than we (and all the scholars writing on the subject thus far) had suspected. We also have found some cute nuggets—for instance, the fact that no male character in Austen uses the word “wedding” and no female character uses the word “marriage”! Historyradio.org: When you began your studies of Austen, did you have to create your own methodology? Professor White: We had to create coding that would properly reflect the complexity of Austen’s speakers: was the speech spoken or written? How many levels of speaker are in a given phrase (in one letter, for instance, we have the string of Mrs.Younge-told-Darcy-told-Mr.Gardiner-told-Mrs.Gardiner-told-Elizabeth-told-reader). But the flexible marvel of .xml already existed, and even more importantly, the program TokenX, designed by our team member Brian Pytlik Zillig (Professor at UNL’s Center for Digital Research in the Humanities), was at our service. TokenX determines unique frequencies of words and thus provides an easy-to-use interface for text analysis (especially through frequency tables) and visualization. Historyradio.org: I have heard of similar studies on Agatha Christie, and that they were able to create a profile of her style. Is this your goal with Jane Austen? Professor White: You can’t actually get to a full knowledge of Austen’s style, even by understanding her patterns of diction, because verbal irony (and its reverberations) can’t be caught mathematically—and her verbal irony is pervasive. But you can learn a lot about her use of free indirect diction, which is in turn important to understanding her style. One could make a profile about percentages of indirect diction, dialogue, and so on—but that would only be helpful to compare with other writers—or, using big data searches, comparing that data against the profile of such a thing as “the eighteenth-century British novel” or “Henry James” (the latter being an author who took Austen’s innovations with FID and ran with them about as far as they can be run). Our project may indeed do such things in the future—it’s the next obvious step. Historyradio.org: If you had something resembling a profile, not only of her choice of words, but of the larger patterns in her plot construction, do you think a computer could emulate Austen? Could it produce a fake Austen, so to speak? Professor White: You could perhaps create an Austen that could fool some people, but it wouldn’t be a good fake. Unless you can feed in her values (not possible) AND her education, including but not restricted to her reading (difficult) AND the operations of her irony (not possible), you’ll just get a partial simulacrum. Historyradio.org: This new approach could be used to compare authors, and then detect larger patterns in literary and cultural history. Austen is of course a central figure in the development of the English novel. In the past, this has been studied by Ian Watt and others. Do you think we now could have a more empirical history of literature? Professor White: I do think we can have more data that tells us interesting things about patterns of diction and clusters of tropes across large bodies of texts—a lot of people at UNL, such as my colleagues Steve Ramsay and Matt Jockers, do work on just that sort of thing. Matt for instance has very recently uncovered a lot of information about patterns among popular fiction, especially bestsellers. If we can design the right questions, we can find some interesting answers. But as I pointed out before, huge literary elements such as irony can’t be reckoned computationally, so a Theory of All Lit from digital humanities is impossible. Historyradio.org: Gillian Beer, Arthur O. Lovejoy and others have specialized in detecting patterns from the history of ideas in fiction. Can a computer assist us in this type of study? Professor White: This kind of work is my favorite kind of scholarship to read, that which finds the largest patterns in imaginative literature over the centuries. I’d recommend your readers go to Northrop Frye’s The Anatomy of Criticism (1957) for the best of such of work; Eric Auerbach’s Mimesis (1946) is also marvelous. For finding the largest patterns in the Bible, read Frye’s The Great Code (1982) (admittedly very demanding). And, yes, to some degree, computers can help with this kind of work, especially with discerning patterns of diction and plot (though in the latter case obviously the text won’t tell you its own plot—a human being has to schematize what happens and feed that information in). Historyradio.org: Where do you see the field of digital humanities in 20 years or so? Professor White: Moving upward and onwards. By the 90s, humanities had been somewhat exhausted following the usual roads of literary criticism—I don’t generally advise students to focus on Jane Austen, for instance, because it’s very hard to find room for an original thought. One way the humanities are being revitalized is with a much more stringent attention to history, and digital humanities plays a role here too by making it easy to read texts long forgotten, literary and otherwise. For instance, in my recent book on Carroll’s Alice books, I made much use of the texts in Carroll’s library of about 3,000 volumes. They were all auctioned off at his death, but catalogs of the library which have been produced by Jeffrey Stern and Charlie Lovett let one read his library cover to cover through Googlebooks, Hathitrust, and other such digitization initiatives. When read in detail, one finds this virtual library corrects many of the critical and biographical misperceptions about Carroll. And these resources are just a small part of how digital humanities is transforming literary studies: visualization, archives, data-mining all play a part. Historyradio.org: Some people think that creativity is unique to us as humans, and may feel threatened by the fact that our “cultural soul” is gradually dissected by computers. What do you say to them? Professor White: I’d agree that creativity is unique to humans, though some of the higher apes do seem to like to finger-paint. Computers can’t be creative—it isn’t possible. They can be programmed to make wild outputs, and we might think creative thoughts about those generated outputs, but there’s no creativity on the part of the computer involved. We are more threatened by computers in terms of surveillance; we are not at all private when we’re online, and big data (which doesn’t care about us as individuals) can nonetheless potentially be retrofitted to be small data, fingering us one by one. So people are right to worry about this—since human beings are in charge of computers, it is very unlikely that they will always be used for good (no other human invention has been).   Like this:Like Loading... [...]
literature / travelWhen Somalis appear in western media it is often as victims or perpetrators. “It is to be expected. They come from a country in anarchy”, we’re told. Yet, even among the ruins of Somalia, books are being read and written, and problems are being discussed in fictional form.  Ali Jimale Ahmed is a professor of comparative African literature, and he draws a nuanced picture of the cultural life of his native country. Historyradio.org: Somalia has long been considered a failed state, but are there still significant authors who write about daily life in the country? Professor Ahmed: By all accounts Somalia is a failed state–governmental structures and the ideologies that sustained them have collapsed. But that does not mean that a semblance of pseudo-state organizations are absent. The international community–the U.N., the EU, the AU, and a host of other organizations are in the country to shore up the internationally recognized government. That said, when we speak about Somali writing and writers, it is much better to differentiate between two forms of discourses, namely, discourses of the state and discourses of the nation. Seen from that perspective, there are significant authors who write about daily life–the trials and tribulations, as well as the accomplishments of people trying to eke out a living under difficult circumstances–in all parts of Somalia. These writers publish articles and books inside the country. One need only read the many books published in the “country.” Historyradio.org: What sort of education do the normal citizen of Somalia get these days? Professor Ahmed: Education is one of the sectors severally impacted by the collapse of the state. There is no uniform or harmonized curriculum. The various state entities do not have a coherent educational policy in place. Private institutions and civil society groups run the educational sector. Depending on their affiliation or from where they get their financial or moral/intellectual support from these institutions replicate the kind of curriculum found in Kenya, Ethiopia, Egypt, Sudan, and the UK, and so on. That said, graduates from those schools and universities are found to be well prepared to undertake undergraduate and graduate studies in European and North American universities.  Some such students are now studying at Princeton, for example. Historyradio.org: Like many African countries Somalia has a proud and ancient history, to what extent do Somali today writers revive this tradition of stories in their work? Professor Ahmed: This is one of the reasons that Somali society has still a viable and resilient culture. Since the collapse of the state, there has been a concerted effort on the part of intellectuals to publish on Somali history and literature. There are Somali websites like Hoyga Suugaanta and Laashin that specialize in literature, and Somali presses, such as Scansom, Laashin and Iftiinka Aqoonta in Sweden, Looh press in England, Redsea-online publishing Group in Italy/UK/Somaliland, that publish the findings and collections of both aspiring and established authors. Literature, in all its forms, is held in high esteem. Indeed, the etymology of suugaan, Somali word for literature, means the sap or fluid of certain plants like the geesariyood. These plants are evergreen, and are associated with life and the sustaining of life under precarious situations or conditions. When all else is gone as a result of a drought, for example, the sap from this plant will sustain a modicum of existence, of life. Thus for the Somali, literature is sustenance that nourishes both the body and mind. Historyradio.org: When we hear news from Somalia, they often involve Al Shabab and Islamic extremism. What sort of attitude do the major Somali writers take to religion? Professor Ahmed: With the exception of Nuruddin Farah, whose novels have internationalized the Somali case, other major writers rarely discuss religious issues in their fiction. In Maps and Secrets, for example, Farah is at times critical of what he perceives to be excesses and transgressions by those who claim to be religious. In his Past Imperfect Trilogy (2004-2011), In Links, the narrative limns the contours of the post-Siad Barre Somalia–warlords, U.s. intervention, the successes of the Islamic Courts Union (ICU), and the eventual arrival on the scene by the better equipped Ethiopian soldiers that denied the ICU what seemed to be a total victory against the warlords. In Crossbones, farah’s narrative reveals a misreading of Somali pirates who were perceived to be Al Shabab members or surrogates. Historyradio.org: The diaspora is central to the Somali experience, and thus also the racism and prejudices that its citizens face abroad. Are there novels in the Somali language which tell the story of refugees? A recent novel that touches on this topic is Ismaaciil C. Ubax’s Gaax (“Deferment or Postponement”), . It is a novel that describes or trails the lives of three main characters who, even though they live in different climes and times, share certain uncanny characteristics. Equally important are books written for Somali children who are born in the Diaspora. Musa M. Isse’s bilingual tales written in Somali and Swedish help kids born in the Diaspora to develop strong identities. Isse is also the Editor-in-Chief of the first Somali Children’s Magazine in the Europe. The subject of racism is discussed in Igiaba Scego’s Italian-language short stories, and Yasmeen Mohamed’s novel Nomad Diaries, written in English. The topic is also taken up in the novels of two seasoned and award-winning novelists in the Diaspora: Nadifa Mohamed who writes in English and Abdourahman Waberi who writes in French. Historyradio.org: Somali is a non-european language. Do writers leave their native tongue in favor of English, French or some other European language? To what extent is the Somali language under threat? Professor Ahmed: Somali writers who write in European languages are small compared to those who write in Somali. I do not perceive any threat per se. Rather, the absence of a strong state to nurture and promote the language is perhaps more of a threat to the flourishing of Somali language. Historyradio.org: Are there big differences between the literary schools of Europe and Somali literature? Is there a Somali modernist school, for instance? Will the intellectual thoughts of urban Europe even make sense in a Somali context? Professor Ahmed: We live in a globalizing/globalized world. The kind of Somalis who could read novels in Somali are, more often than not, the ones who are able to traverse borders. The hundreds of thousands of Somalis who live in Europe travel constantly between Somalia and Europe. That said, we must distinguish between modernization (the process) and modernity (the consciousness). Historyradio.org: Some parts of Somalia have experienced peace for some time. What sort of literature have been produced in these areas? Professor Ahmed: There are several writers who have written books on their experiences (or those of others) as refugees. But a great deal of literature is coming out of the parts of Somalia that have experienced peace. One need only catalog the plethora of novels published in the country and exhibited at the Hargeysa International Book Fair in Somaliland. The last few years have witnessed the growth of Book Fairs in Mogadishu, the Somali capital, and Garoowe in Puntland. Historyradio.org: We hear a lot about “the great American novel”. Is there such a thing as “the great Somali novel”? Is there a book or a novel that all Somalis love? Professor Ahmed: The novel has not been fully domesticated in Somalia. Of course, the novel genre is such that it is in its protean form; it has yet to crystallize and assume a definite form. That said, two novels would contend or vie for the distinction. Maxamed Daahir Afrax’s (Mohamed Dahir Afrah) Maana Faay (1981;1993) ushers in a new form of storytelling, as it exhibits ingenious and conscious ways of using language to reflect the quotidian life of its characters. With Maana Faay the novel genre in the Somali language comes of age, both in terms of content and structure. The other novel is Yuusuf Axmed Ibraahin-Hawd’s Aanadii Negeeye, a riveting story that recounts the gory details of murder and revenge. The narrative unfolds as the eponymous protagonist, Negeeye, whose father was murdered shortly after Negeeye’s birth, remembers his mother’s account of the brutal killing of his father. Negeeye, then, plots to avenge his father’s death. Like this:Like Loading... [...]
short story“Carnation, Lily, Lily, Rose” by Kelly Link (1969- ) Dear Mary (if that is your name), I bet you’ll be pretty surprised to hear from me. It really is me, by the way, although I have to confess at the moment that not only can I not seem to keep your name straight in my head, Laura? Susie? Odile? but I seem to have forgotten my own name. I plan to keep trying different combinations: Joe loves Lola, Willy loves Suki, Henry loves you, sweetie, Georgia?, honeypie, darling. Do any of these seem right to you? All last week I felt like something was going to happen, a sort of bees and ants feeling. Something was going to happen. I taught my classes and came home and went to bed, all week waiting for the thing that was going to happen, and then on Friday I died. One of the things I seem to have misplaced is how, or maybe I mean why. It’s like the names. I know that we lived together in a house on a hill in a small comfortable city for nine years, that we didn’t have kids—except once, almost—and that you’re a terrible cook, oh my darling, Coraline? Coralee? and so was I, and we ate out whenever we could afford to. I taught at a good university, Princeton? Berkeley? Notre Dame? I was a good teacher, and my students liked me. But I can’t remember the name of the street we lived on, or the author of the last book I read, or your last name which was also my name, or how I died. It’s funny, Sarah? but the only two names I know for sure are real are Looly Bellows, the girl who beat me up in fourth grade, and your cat’s name. I’m not going to put your cat’s name down on paper just yet. We were going to name the baby Beatrice. I just remembered that. We were going to name her after your aunt, the one that doesn’t like me. Didn’t like me. Did she come to the funeral? I’ve been here for three days, and I’m trying to pretend that it’s just a vacation, like when we went to that island in that country. Santorini? Great Britain? The one with all the cliffs. The one with the hotel with the bunkbeds, and little squares of pink toilet paper, like handkerchiefs. It had seashells in the window too, didn’t it, that were transparent like bottle glass? They smelled like bleach? It was a very nice island. No trees. You said that when you died, you hoped heaven would be an island like that. And now I’m dead, and here I am. This is an island too, I think. There is a beach, and down on the beach is a mailbox where I am going to post this letter. Other than the beach, the mailbox, there is the building in which I sit and write this letter. It seems to be a perfectly pleasant resort hotel with no other guests, no receptionist, no host, no events coordinator, no bellboy. Just me. There is a television set, very old-fashioned, in the hotel lobby. I fiddled the antenna for a long time, but never got a picture. Just static. I tried to make images, people out of the static. It looked like they were waving at me. My room is on the second floor. It has a sea view. All the rooms here have views of the sea. There is a desk in my room, and a good supply of plain, waxy white paper and envelopes in one of the drawers. Laurel? Maria? Gertrude? I haven’t gone out of sight of the hotel yet, Lucille? because I am afraid that it might not be there when I get back. Yours truly, You know who. The dead man lies on his back on the hotel bed, his hands busy and curious, stroking his body up and down as if it didn’t really belong to him at all. One hand cups his testicles, the other tugs hard at his erect penis. His heels push against the mattress and his eyes are open, and his mouth. He is trying to say someone’s name. Outside, the sky seems much too close, made out of some grey stuff that only grudgingly allows light through. The dead man has noticed that it never gets any lighter or darker, but sometimes the air begins to feel heavier, and then stuff falls out of the sky, fist-sized lumps of whitish-grey doughy matter. It falls until the beach is covered, and immediately begins to dissolve. The dead man was outside, the first time the sky fell. Now he waits inside until the beach is clear again. Sometimes he watches television, although the reception is poor. The sea goes up and back the beach, sucking and curling around the mailbox at high tide. There is something about it that the dead man doesn’t like much. It doesn’t smell like salt the way a sea should. Cara? Jasmine? It smells like wet upholstery, burnt fur. Carnation, Lily, Lily, Rose Dear May? April? Ianthe? My room has a bed with thin, limp sheets and an amateurish painting of a woman sitting under a tree. She has nice breasts, but a peculiar expression on her face, for a woman in a painting in a hotel room, even in a hotel like this. She looks disgruntled. I have a bathroom with hot and cold running water, towels, and a mirror. I looked in the mirror for a long time, but I didn’t look familiar. It’s the first time I’ve ever had a good look at a dead person. I have brown hair, receding at the temples, brown eyes, and good teeth, white, even, and not too large. I have a small mark on my shoulder, Celeste? where you bit me when we were making love that last time. Did you somehow realize it would be the last time we made love? Your expression was sad; also, I seem to recall, angry. I remember your expression now, Eliza? You glared up at me without blinking and when you came, you said my name, and although I can’t remember my name, I remember you said it as if you hated me. We hadn’t made love for a long time. I estimate my height to be about five feet, eleven inches, and although I am not unhandsome, I have an anxious, somewhat fixed expression. This may be due to circumstances. I was wondering if my name was by any chance Roger or Timothy or Charles. When we went on vacation, I remember there was a similar confusion about names, although not ours. We were trying to think of one for her, I mean, for Beatrice. Petrucchia, Solange? We wrote them all with long pieces of stick on the beach, to see how they looked. We started with the plain names, like Jane and Susan and Laura. We tried practical names like Polly and Meredith and Hope, and then we became extravagant. We dragged our sticks through the sand and produced entire families of scowling little girls named Gudrun, Jezebel, Jerusalem, Zedeenya, Zerilla. How about Looly, I said. I knew a girl named Looly Bellows once. Your hair was all snarled around your face, stiff with salt. You had about a zillion freckles. You were laughing so hard you had to prop yourself up with your stick. You said that sounded like a made-up name. Love, You know who. The dead man is trying to act as if he is really here, in this place. He is trying to act in a normal and appropriate fashion. As much as is possible. He is trying to be a good tourist. He hasn’t been able to fall asleep in the bed, although he has turned the painting to the wall. He is not sure that the bed is a bed. When his eyes are closed, it doesn’t seem to be a bed. He sleeps on the floor, which seems more floorlike than the bed seems bedlike. He lies on the floor with nothing over him and pretends that he isn’t dead. He pretends that he is in bed with his wife and dreaming. He makes up a nice dream about a party where he has forgotten everyone’s name. He touches himself. Then he gets up and sees that the white stuff that has fallen out of the sky is dissolving on the beach, little clumps of it heaped around the mailbox like foam. Dear Elspeth? Deborah? Frederica? Things are getting worse. I know that if I could just get your name straight, things would get better. I told you that I’m on an island, but I’m not sure that I am. I’m having doubts about my bed and the hotel. I’m not happy about the sea or the sky, either. The things that have names that I’m sure of, I’m not sure they’re those things, if you understand what I’m saying, Mallory? I’m not sure I’m still breathing, either. When I think about it, I do. I only think about it because it’s too quiet when I’m not. Did you know, Alison? that up in those mountains, the Berkshires? the altitude gets too high, and then real people, live people forget to breathe also? There’s a name for when they forget. I forget what the name is. But if the bed isn’t a bed, and the beach isn’t a beach, then what are they? When I look at the horizon, there almost seem to be corners. When I lay down, the corners on the bed receded like the horizon. Then there is the problem about the mail. Yesterday I simply slipped the letter into a plain envelope, and slipped the envelope, unaddressed, into the mailbox. This morning the letter was gone and when I stuck my hand inside, and then my arm, the sides of the box were damp and sticky. I inspected the back side and discovered an open panel. When the tide rises, the mail goes out to sea. So I really have no idea if you, Pamela? or, for that matter, if anyone is reading this letter. I tried dragging the mailbox further up the beach. The waves hissed and spit at me, a wave ran across my foot, cold and furry and black, and I gave up. So I will simply have to trust to the local mail system. Hoping you get this soon, You know who. The dead man goes for a walk along the beach. The sea keeps its distance, but the hotel stays close behind him. He notices that the tide retreats when he walks towards it, which is good. He doesn’t want to get his shoes wet. If he walked out to sea, would it part for him like that guy in the bible? Onan? He is wearing his second-best suit, the one he wore for interviews and weddings. He figures it’s either the suit that he died in, or else the one that his wife buried him in. He has been wearing it ever since he woke up and found himself on the island, disheveled and sweating, his clothing wrinkled as if he had been wearing it for a long time. He takes his suit and his shoes off only when he is in his hotel room. He puts them back on to go outside. He goes for a walk along the beach. His fly is undone. The little waves slap at the dead man. He can see teeth under that water, in the glassy black walls of the larger waves, the waves farther out to sea. He walks a fair distance, stopping frequently to rest. He tires easily. He keeps to the dunes. His shoulders are hunched, his head down. When the sky begins to change, he turns around. The hotel is right behind him. He doesn’t seem at all surprised to see it there. All the time he has been walking, he has had the feeling that just over the next dune someone is waiting for him. He hopes that maybe it is his wife, but on the other hand if it were his wife, she’d be dead too, and if she were dead, he could remember her name. Dear Matilda? Ivy? Alicia? I picture my letters sailing out to you, over those waves with the teeth, little white boats. Dear reader, Beryl? Fern? you would like to know how I am so sure these letters are getting to you? I remember that it always used to annoy you, the way I took things for granted. But I’m sure you’re reading this in the same way that even though I’m still walking around and breathing (when I remember to) I’m sure I’m dead. I think that these letters are getting to you, mangled, sodden but still legible. If they arrived the regular way, you probably wouldn’t believe they were from me, anyway. I remembered a name today, Elvis Presley. He was the singer, right? Blue shoes, kissy fat lips, slickery voice? Dead, right? Like me. Marilyn Monroe too, white dress blowing up like a sail, Gandhi, Abraham Lincoln, Looly Bellows (remember?) who lived next door to me when we were both eleven. She had migraine headaches all through the school year, which made her mean. Nobody liked her, before, when we didn’t know she was sick. We didn’t like her after. She broke my nose because I pulled her wig off one day on a dare. They took a tumor out of her head that was the size of a chicken egg but she died anyway. When I pulled her wig off, she didn’t cry. She had brittle bits of hair tufting out of her scalp and her face was swollen with fluid like she’d been stung by bees. She looked so old. She told me that when she was dead she’d come back and haunt me, and after she died, I pretended that I could see not just her—but whole clusters of fat, pale, hairless ghosts lingering behind trees, swollen and humming like hives. It was a scary fun game I played with my friends. We called the ghosts loolies, and we made up rules that kept us safe from them. A certain kind of walk, a diet of white food—marshmallows, white bread rolled into pellets, and plain white rice. When we got tired of the loolies, we killed them off by decorating her grave with the remains of the powdered donuts and Wonderbread our suspicious mothers at last refused to buy for us. Are you decorating my grave, Felicity? Gay? Have you forgotten me yet? Have you gotten another cat yet, another lover? or are you still in mourning for me? God, I want you so much, Carnation, Lily? Lily? Rose? It’s the reverse of necrophilia, I suppose—the dead man who wants one last fuck with his wife. But you’re not here, and if you were here, would you go to bed with me? I write you letters with my right hand, and I do the other thing with my left hand that I used to do with my left hand, ever since I was fourteen, when I didn’t have anything better to do. I seem to recall that when I was fourteen there wasn’t anything better to do. I think about you, I think about touching you, think that you’re touching me, and I see you naked, and you’re glaring at me, and I’m about to shout out your name, and then I come and the name on my lips is the name of some dead person, or some totally made-up name. Does it bother you, Linda? Donna? Penthesilia? Do you want to know the worst thing? Just a minute ago I was grinding into the pillow, bucking and pushing and pretending it was you, Stacy? under me, oh fuck it felt good, just like when I was alive and when I came I said, “Beatrice.” And I remembered coming to get you in the hospital after the miscarriage. There were a lot of things I wanted to say. I mean, neither of us was really sure that we wanted a baby and part of me, sure, was relieved that I wasn’t going to have to learn how to be a father just yet, but there were still things that I wish I’d said to you. There were a lot of things I wish I’d said to you. You know who. The dead man sets out across the interior of the island. At some point after his first expedition, the hotel moved quietly back to its original location, the dead man in his room, looking into the mirror, expression intent, hips tilted against the cool tile. This flesh is dead. It should not rise. It rises. Now the hotel is back beside the mailbox, which is empty when he walks down to check it. The middle of the island is rocky, barren. There are no trees here, the dead man realizes, feeling relieved. He walks for a short distance—less than two miles, he calculates, before he stands on the opposite shore. In front of him is a flat expanse of water, sky folded down over the horizon. When the dead man turns around, he can see his hotel, looking forlorn and abandoned. But when he squints, the shadows on the back veranda waver, becoming a crowd of people, all looking back at him. He has his hands inside his pants, he is touching himself. He takes his hands out of his pants. He turns his back on the shadowy porch. He walks along the shore. He ducks down behind a sand dune, and then down a long hill. He is going to circle back. He is going to sneak up on the hotel if he can, although it is hard to sneak up on something that always seems to be trying to sneak up on you. He walks for a while, and what he finds is a ring of glassy stones, far up on the beach, driftwood piled inside the ring, charred and black. The ground is trampled all around the fire, as if people have stood there, waiting and pacing. There is something left in tatters and skin on a spit in the center of the campfire, about the size of a cat. The dead man doesn’t look too closely at it. He walks around the fire. He sees tracks indicating where the people who stood here, watching a cat roast, went away again. It would be hard to miss the direction they are taking. The people leave together, rushing untidily up the dune, barefoot and heavy, the imprints of the balls of the foot deep, heels hardly touching the sand at all. They are headed back towards the hotel. He follows the footprints, sees the single track of his own footprints, coming down to the fire. Above, in a line parallel to his expedition and to the sea, the crowd has walked this way, although he did not see them. They are walking more carefully now, he pictures them walking more quietly. His footprints end. There is the mailbox, and this is where he left the hotel. The hotel itself has left no mark. The other footprints continue towards the hotel, where it stands now, small in the distance. When the dead man gets back to the hotel, the lobby floor is dusted with sand, and the television is on. The reception is slightly improved. But no one is there, although he searches every room. When he stands on the back veranda, staring out over the interior of the island, he imagines he sees a group of people, down beside the far shore, waving at him. The sky begins to fall. Dear Araminta? Kiki? Lolita? Still doesn’t have the right ring to it, does it? Sukie? Ludmilla? Winifred? I had that same not-dream about the faculty party again. She was there, only this time you were the one who recognized her, and I was trying to guess her name, who she was. Was she the tall blonde with the nice ass, or the short blonde with the short hair who kept her mouth a little open, like she was smiling all the time? That one looked like she knew something I wanted to know, but so did you. Isn’t that funny? I never told you who she was, and now I can’t remember. You probably knew the whole time anyway, even if you didn’t think you did. I’m pretty sure you asked me about that little blond girl, when you were asking. I keep thinking about the way you looked, that first night we slept together. I’d kissed you properly on the doorstep of your mother’s house, and then, before you went inside, you turned around and looked at me. No one had ever looked at me like that. You didn’t need to say anything at all. I waited until your mother turned off all the lights downstairs, and then I climbed over the fence, and up the tree in your backyard, and into your window. You were leaning out of the window, watching me climb, and you took off your shirt so that I could see your breasts, I almost fell out of the tree, and then you took off your jeans and your underwear had a day of the week embroidered on it, Holiday? and then you took off your underwear too. You’d bleached the hair on your head yellow, and then streaked it with red, but the hair on your pubis was black and soft when I touched it. We lay down on your bed, and when I was inside you, you gave me that look again. It wasn’t a frown, but it was almost a frown, as if you had expected something different, or else you were trying to get something just right. And then you smiled and sighed and twisted under me. You lifted up smoothly and strongly as if you were going to levitate right off the bed, and I lifted with you as if you were carrying me and I almost got you pregnant for the first time. We never were good about birth control, were we, Eliane? Rosemary? And then I heard your mother out in the backyard, right under the elm I’d just climbed, yelling “Tree? Tree?” I thought she must have seen me climb it. I looked out the window and saw her directly beneath me, and she had her hands on her hips, and the first thing I noticed were her breasts, moonlit and plump, pushed up under her dressing gown, fuller than yours and almost as nice. That was pretty strange, realizing that I was the kind of guy who could have fallen in love with someone after not so much time, really, truly, deeply in love, the forever kind, I already knew, and still notice this middle-aged woman’s tits. Your mother’s tits. That was the second thing I learned. The third thing was that she wasn’t looking back at me. “Tree?” she yelled one last time, sounding pretty pissed. So, okay, I thought she was crazy. The last thing, the thing I didn’t learn, was about names. It’s taken me a while to figure that out. I’m still not sure what I didn’t learn, Aina? Jewel? Kathleen? but at least I’m willing. I mean, I’m here still, aren’t I? Wish you were here, You know who. At some point, later, the dead man goes down to the mailbox. The water is particularly unwaterlike today. It has a velvety nap to it, like hair. It raises up in almost discernable shapes. It is still afraid of him, but it hates him, hates him, hates him. It never liked him, never. “Fraidy cat, fraidy cat,” the dead man taunts the water. When he goes back to the hotel, the loolies are there. They are watching television in the lobby. They are a lot bigger than he remembers. Dear Cindy, Cynthia, Cenfenilla, There are some people here with me now. I’m not sure if I’m in their place—if this place is theirs, or if I brought them here, like luggage. Maybe it’s some of one, some of the other. They’re people, or maybe I should say a person I used to know when I was little. I think they’ve been watching me for a while, but they’re shy. They don’t talk much. Hard to introduce yourself, when you have forgotten your name. When I saw them, I was astounded. I sat down on the floor of the lobby. My legs were like water. A wave of emotion came over me, so strong I didn’t recognize it. It might have been grief. It might have been relief. I think it was recognition. They came and stood around me, looking down. “I know you,” I said. “You’re loolies.” They nodded. Some of them smiled. They are so pale, so fat! When they smile, their eyes disappear in folds of flesh. But they have tiny soft bare feet, like children’s feet. “You’re the dead man,” one said. It had a tiny soft voice. Then we talked. Half of what they said made no sense at all. They don’t know how I got here. They don’t remember Looly Bellows. They don’t remember dying. They were afraid of me at first, but also curious. They wanted to know my name. Since I didn’t have one, they tried to find a name that fit me. Walter was put forward, then rejected. I was un-Walter-like. Samuel, also Milo, also Rupert. Quite a few of them liked Alphonse, but I felt no particular leaning towards Alphonse. “Tree,” one of the loolies said. Tree never liked me very much. I remember your mother standing under the green leaves that leaned down on bowed branches, dragging the ground like skirts. Oh, it was such a tree! the most beautiful tree I’d ever seen. Halfway up the tree, glaring up at me, was a fat black cat with long white whiskers, and an elegant sheeny bib. You pulled me away. You’d put a T-shirt on. You stood in the window. “I’ll get him,” you said to the woman beneath the tree. “You go back to bed, mom. Come here, Tree.” Tree walked the branch to the window, the same broad branch that had lifted me up to you. You, Ariadne? Thomasina? plucked him off the sill and then closed the window. When you put him down on the bed, he curled up at the foot, purring. But when I woke up, later, dreaming that I was drowning, he was crouched on my face, his belly heavy as silk against my mouth. I always thought Tree was a silly name for a cat. When he got old and slept out in the garden, he still didn’t look like a tree. He looked like a cat. He ran out in front of my car, I saw him, you saw me see him, I realized that it would be the last straw—a miscarriage, your husband sleeps with a graduate student, then he runs over your cat—I was trying to swerve, to not hit him. Something tells me I hit him. I didn’t mean to, sweetheart, love, Pearl? Patsy? Portia? You know who. The dead man watches television with the loolies. Soap operas. The loolies know how to get the antenna crooked so that the reception is decent, although the sound does not come in. One of them stands beside the TV to hold it just so. The soap opera is strangely dated, the clothes old-fashioned, the sort the dead man imagines his grandparents wore. The women wear cloche hats, their eyes are heavily made up. There is a wedding. There is a funeral, also, although it is not clear to the dead man watching, who the dead man is. Then the characters are walking along a beach. The woman wears a black-and-white striped bathing costume that covers her modestly, from neck to mid-thigh. The man’s fly is undone. They do not hold hands. There is a buzz of comment from the loolies. “Too dark,” one says, about the woman. “Still alive,” another says. “Too thin,” one says, indicating the man. “Should eat more. Might blow away in a wind.” “Out to sea.” “Out to Tree.” The loolies look at the dead man. The dead man goes to his room. He locks the door. His penis sticks up, hard as a tree. It is pulling him across the room, towards the bed. The man is dead, but his body doesn’t know it yet. His body still thinks that it is alive. He begins to say out loud the names he knows, beautiful names, silly names, improbable names. The loolies creep down the hall. They stand outside his door and listen to the list of names. Dear Bobbie? Billie? I wish you would write back. You know who. When the sky changes, the loolies go outside. The dead man watches them pick the stuff off the beach. They eat it methodically, chewing it down to a paste. They swallow, and pick up more. The dead man goes outside. He picks up some of the stuff. Angel food cake? Manna? He smells it. It smells like flowers: like carnations, lilies, like lilies, like roses. He puts some in his mouth. It tastes like nothing at all. The dead man kicks at the mailbox. Dear Daphne? Proserpine? Rapunzel? Isn’t there a fairy tale where a little man tries to do this? Guess a woman’s name? I have been making stories up about my death. One death I’ve imagined is when I am walking down to the subway, and then there is a strong wind, and the mobile sculpture by the subway, the one that spins in the wind, lifts up and falls on me. Another death is you and I, we are flying to some other country, Canada? The flight is crowded, and you sit one row ahead of me. There is a crack! and the plane splits in half, like a cracked straw. Your half rises up and my half falls down. You turn and look back at me, I throw out my arms. Wineglasses and newspapers and ribbons of clothes fall up in the air. The sky catches fire. I think maybe I stepped in front of a train. I was riding a bike, and someone opened a car door. I was on a boat and it sank. This is what I know. I was going somewhere. This is the story that seems the best to me. We made love, you and I, and afterwards you got out of bed and stood there looking at me. I thought that you had forgiven me, that now we were going to go on with our lives the way they had been before. Bernice? you said. Gloria? Patricia? Jane? Rosemary? Laura? Laura? Harriet? Jocelyn? Nora? Rowena? Anthea? I got out of bed. I put on clothes and left the room. You followed me. Marly? Genevieve? Karla? Kitty? Soibhan? Marnie? Lynley? Theresa? You said the names staccato, one after the other, like stabs. I didn’t look at you, I grabbed up my car keys, and left the house. You stood in the door, watched me get in the car. Your lips were still moving, but I couldn’t hear. Tree was in front of the car and when I saw him, I swerved. I was already going too fast, halfway out of the driveway. I pinned him up against the mailbox, and then the car hit the lilac tree. White petals were raining down. You screamed. I can’t remember what happened next. I don’t know if this is how I died. Maybe I died more than once, but it finally took. Here I am. I don’t think this is an island. I think that I am a dead man, stuffed inside a box. When I’m quiet, I can almost hear the other dead men scratching at the walls of their boxes. Or maybe I’m a ghost. Maybe the waves, which look like fur, are fur, and maybe the water which hisses and spits at me is really a cat, and the cat is a ghost, too. Maybe I’m here to learn something, to do penance. The loolies have forgiven me. Maybe you will, too. When the sea comes to my hand, when it purrs at me, I’ll know that you’ve forgiven me for what I did. For leaving you after I did it. Or maybe I’m a tourist, and I’m stuck on this island with the loolies until it’s time to go home, or until you come here to get me, Poppy? Irene? Delores? which is why I hope you get this letter. You know who.   Originally published in the collection Stranger Things Happen (2001), released under a creative commons license.  Like this:Like Loading... [...]