Running After My Hat

Ridiculous pursuits, matters solemn and less so

Sometimes, It’s Just Bliss. Sometimes, It’s the Whole Point.

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[Video: Lindsey Stirling and The Piano Guys, “Theme from Mission Impossible.”
See the note at the foot of this post.]

From whiskey river:

Sometimes, When the Light

Sometimes, when the light strikes at odd angles
and pulls you back into childhood

and you are passing a crumbling mansion
completely hidden behind old willows

or an empty convent guarded by hemlocks
and giant firs standing hip to hip,

you know again that behind that wall,
under the uncut hair of the willows

something secret is going on,
so marvelous and dangerous

that if you crawled through and saw,
you would die, or be happy forever.

(Lisel Mueller [source])

…and:

It was like the second when you come home late at night and see the yellow envelope of the telegram sticking out from under your door and you lean and pick it up, but don’t open it yet, not for a second. While you stand there in the hall, with the envelope in your hand, you feel there’s an eye on you, a great big eye looking straight at you from miles and dark and through walls and houses and through your coat and vest and hide and sees you huddled up way inside, in the dark which is you, inside yourself, like a clammy, sad little foetus you carry around inside yourself. The eye knows what’s in the envelope, and it is watching you to see you when you open it and know, too. But the clammy, sad little foetus which is you way down in the dark which is you too lifts up its sad little face and its eyes are blind, and it shivers cold inside you for it doesn’t want to know what is in that envelope. It wants to lie in the dark and not know, and be warm in its not knowing. The end of man is knowledge, but there is one thing he can’t know. He can’t know whether knowledge will save him or kill him. He will be killed, all right, but he can’t know whether he is killed because of the knowledge which he has got or because of the knowledge which he hasn’t got and which if he had it, would save him. There’s the cold in your stomach, but you open the envelope, you have to open the envelope, for the end of man is to know.

(Robert Penn Warren [source])

…and:

I believe that it is bracing and vital to live in a world in which we do not know all the answers. I believe that we are inspired and goaded on by what we don’t understand. And I hope that there will always be an edge between the known and the unknown, beyond which lies strangeness and unpredictability and life.

(Alan Lightman [source])

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Jamais Vu

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'Ocean,' by Pawel Kuczynski

[Image: “Ocean,” by Pawel Kuczynski. I could have selected any of his images to illustrate this post,
but this one called to me more insistently than the others.]

From whiskey river:

Imaginary Paintings

1. HOW I WOULD PAINT THE FUTURE

A strip of horizon and a figure,
seen from the back, forever approaching.

2. HOW I WOULD PAINT HAPPINESS

Something sudden, a windfall,
a meteor shower. No—
a flowering tree releasing
all its blossoms at once,
and the one standing beneath it
unexpectedly robed in bloom,
transformed into a stranger
to beautiful to touch.

3. HOW I WOULD PAINT DEATH

White on white or black on black.
No ground, no figure. An immense canvas,
which I will never finish.

4. HOW I WOULD PAINT LOVE

I would not paint love.

5. HOW I WOULD PAINT THE LEAP OF FAITH

A black cat jumping up three feet
to reach a three-inch shelf.

6. HOW I WOULD PAINT THE BIG LIE

Smooth, and deceptively small
so that it can be swallowed
like something we take for a cold.
An elongated capsule,
an elegant cylinder,
sweet and glossy,
that pleases the tongue
and goes down easy,
never mind
the poison inside.

7. HOW I WOULD PAINT NOSTALGIA

An old-fashioned painting, a genre piece.
People in bright and dark clothing.
A radiant bride in white
standing above a waterfall,
watching the water rush
away, away, away.

(Lisel Mueller [source])

…and:

…there are things we take on faith, without physical proof and even sometimes without any methodology for proof. We cannot clearly show why the ending of a particular novel haunts us. We cannot prove under what conditions we would sacrifice our own life in order to save the life of our child. We cannot prove whether it is right or wrong to steal in order to feed our family, or even agree on a definition of “right” and “wrong”. We cannot prove the meaning of our life, or whether life has any meaning at all. For these questions, we can gather evidence and debate, but in the end we cannot arrive at any system of analysis akin to the way in which a physicist decides how many seconds it will take a one-foot-long pendulum to make a complete swing. The previous questions are questions of aesthetics, morality, philosophy. These are questions for the arts and the humanities. These are also questions aligned with some of the intangible concerns of traditional religion…

Faith, in its broadest sense, is about far more than belief in the existence of God or the disregard of scientific evidence. Faith is the willingness to give ourselves over, at times, to things we do not fully understand. Faith is the belief in things larger than ourselves. Faith is the ability to honor stillness at some moments and at others to ride the passion and exuberance that is the artistic impulse, the flight of the imagination, the full engagement with this strange and shimmering world.

(Alan Lightman [source])

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Midweek Music Break: Harry Belafonte, “Lead Man Holler”

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'Island in the Sun' promotional posterPromotional poster for Island in the Sun. Lurid, eh? Note the helpful logo-ish device at the top right, depicting a, y’know, actual island literally in the sun. Just in case you hadn’t already gotten the message!

You may be surprised — as I was — to learn that this week was once designated as “Harry Belafonte — Island in the Sun Week.”

Of course, this wasn’t a true national celebration but a promotional ploy for the film which opened this week in 1957, starring Harry Belafonte (also James Mason, Joan Fontaine, Joan Collins, Dorothy Dandridge, and Michael Rennie). The film needed whatever promotional help it could get, because the Alec Waugh novel it was based on had ignited an uncomfortable firestorm of controversy, especially around the US South.

(The South Carolina legislature threatened to fine any movie theater which showed the film $5,0000. It was banned outright in Memphis. And according to the Turner Classic Movies site, “in New Orleans, the American Legion launched an unsuccessful campaign to halt the film’s screening on the grounds that it ‘contributes to the Communist Party’s aim of creating friction between the races.'” But the protests against it reached at least as far north as Minneapolis. Not that any of this actually hurt its box office much: it was the sixth biggest-earning film of the year.)

So what was the big deal?

If you didn’t know any of the cast, and didn’t know anything about the book, but relied solely on the poster above for information about the film, well, you might still have the question. I mean, look at them: about as homogeneous as it’s possible to be, ethnically speaking.

An illusion, of course, thanks to some artful work with color saturation, lighting, and watercolors. The main character, Harry Belafonte’s David Boyeur, is an up-and-coming black labor leader and politician on the fictional island of Santa Marta, during its transition from English colonial to black rule. (Strike 1 for the film’s chances in the mid-’50s South.) Boyeur develops not-quite-a-relationship with wealthy white socialite Mavis Norman (strike 2), but at least it goes nowhere — ultimately broken off, for both of their noble sakes. (They never quite kiss, even.)

(At least, that’s how the film works out — a hastily cobbled-together outcome, the book having ended with a real Boyeur/Mavis relationship.)

And finally, throw in a handful of other interracial twists: Boyeur’s principal antagonist, white Governor Maxwell Fleury (James Mason), is exposed as the grandson of a black man; Maxwell’s sister Jocelyn (Joan Collins) becomes pregnant, doesn’t want to saddle her white lover with an interracial love child… but is relieved to find out that at least her and Maxwell’s mother was white; and Maxwell’s aide Justin (Stephen Boyd) develops a romance with the mixed-race Margot (Dorothy Dandridge). Indeed, Jocelyn and Margot wind up moving with their lovers to England, where they can perhaps put all the societal judgment behind them. (Strike 3, and maybe by now we’re even working our way into the next inning.)

The film came out while Belafonte was at a popular peak, and featured two songs — the title song, and “Lead Man Holler” — to whose composition he had (at least in theory) contributed. They became two of his biggest hits.

“Lead Man Holler” itself might be called a cadence calypso number: one meant primarily to supply a rhythm to manual laborers working repetitive tasks. It reminds me a lot of some of the call-and-response chants Boy Scout leaders and drum majors, with their charges, used to sing out during parades when I was a kid, e.g.:

You ain’t got no friends on your left!
(Your LEFT!)
You ain’t got no friends on your right!
(Your RIGHT!)
Sound off!
(SOUND off!)
Cadence count!
(CADENCE count!)
One, two, three-four…
(One, two… THREE-FOUR!)

However, various sources I’ve checked point out that while Boyeur’s singing does guide sugar-cane workers in their jobs, it’s hey, Harry Belafonte up there: almost inexpressibly handsome, gleaming, and (wouldn’t you know it) apparently directing at least part of the rhythmic sing-song at a photo of Joan Fontaine…

Subtext. When it comes to “race” (whatever that is) — at least in the US, especially through a Hollywood filter — there’s always subtext.

[Lyrics]

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Early, Late, Later, Too Late

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Illustration from 'The Sneetches and Other Stories,' by Dr. Seuss (Theodore Geisel)

[Image: illustration from The Sneetches and Other Stories, by Dr. Seuss (Theodore Geisel).
For the complete tale of “Too Many Daves,” see below.]

From whiskey river (operating in terse mode this week, apparently):

No one can tell what goes on in between the person you were and the person you become. No one can chart that blue and lonely section of hell. There are no maps of the change. You just … come out the other side.

Or you don’t.

(Stephen King [source])

…and:

Waking at Night

The blue river is gray at morning
and evening. There is twilight
at dawn and dusk. I lie in the dark
wondering if this quiet in me now
is a beginning or an end.

(Jack Gilbert [source])

…and (italicized portion):

Try to be reasonable in the way you grow, and don’t ever think it is too late. It is never too late. Even if you are going to die tomorrow, keep yourself straight and clear and be a happy human being today. If you keep your situation happy day by day, you will eventually reach the greatest happiness of enlightenment.

(Lama Thubten Yeshe [source])

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Little Figures, Big Contexts, and the Distance Between Them

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[Video: Ariana Grande, “Tattooed Heart.” I’m probably making people sick of this performance.]

From whiskey river:

When we remember our former selves, there is always that little figure with its long shadow stopping like an uncertain belated visitor on a lighted threshold at the far end of an impeccably narrowing corridor.

(Vladimir Nabokov [source])

…and:

Why We Tell Stories
(excerpt)
for Linda Nemec Foster

I

Because we used to have leaves
and on damp days
our muscles feel a tug,
painful now, from when roots
pulled us into the ground

and because our children believe
they can fly, an instinct retained
from when the bones in our arms
were shaped like zithers and broke
neatly under their feathers

and because before we had lungs
we knew how far it was to the bottom
as we floated open-eyed
like painted scarves through the scenery
of dreams, and because we awakened

and learned to speak

(Lisel Mueller [source])

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At Root

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[Video: launch trailer for the puzzle game Antichamber. I haven’t played it (yet), but the object
seems to be to keep moving forward — when the answer to the question, “Move forward
from where?” changes constantly. The game’s designer says that it has an end… despite the appearance
(to me) of an edgeless, centerless geometry of edges and centers.*]

From whiskey river (italicized portion):

Isle of Mull, Scotland

Because by now we know everything is not so green elsewhere.

The cities tied their nooses around our necks,
we let them without even seeing.

Not even feeling our breath soften
as clumps of shed wool scattered across days.

Not even. This even-ing, balance beam of light on green,
the widely lifted land, resonance of moor
winding down to water, the full of it. Days of cows
and sheep bending their heads.

We walked where the ancient pier juts into the sea.
Stood on the rim of the pool, by the circle
of black boulders. No one saw we were there
and everyone who had ever been there
stood silently in air.

Where else do we ever have to go, and why?

(Naomi Shihab Nye [source])

…and:

The secret of the mountain is that the mountains simply exist, as I do myself: the mountains exist simply, which I do not. The mountains have no “meaning,” they are meaning; the mountains are. The sun is round. I ring with life, and the mountains ring, and when I can hear it, there is a ringing that we share. I understand all this, not in my mind but in my heart, knowing how meaningless it is to try to capture what cannot be expressed, knowing that mere words will remain when I read it all again, another day.

(Peter Matthiessen [source])

…and:

Someday, sometime, you will be sitting somewhere. A berm overlooking a pond in Vermont. The lip of the Grand Canyon at sunset. A seat on the subway. And something bad will have happened: You will have lost someone you loved, or failed at something at which you badly wanted to succeed.

And sitting there, you will fall into the center of yourself. You will look for some core to sustain you. And if you have been perfect all your life and have managed to meet all the expectations of your family, your friends, your community, your society, chances are excellent that there will be a black hole where that core ought to be.

I don’t want anyone I know to take that terrible chance. And the only way to avoid it is to listen to that small voice inside you that tells you to make mischief, to have fun, to be contrarian, to go another way. George Eliot wrote, “It is never too late to be what you might have been.” It is never too early, either.

(Anna Quindlen [source])

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This Just In: Fox, ESPN Bracing for Niffleist Protests

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NEW YORK (March 23) Supporters of the National Football League — dubbed “niffleists” — have pledged to “bring baseball to its knees” unless television networks make certain changes in broadcasts of professional baseball games.

The Major League Baseball (MLB) season opens at the end of March. Games are carried by the Fox and ESPN broadcast and cable networks.

“To be fair, I personally haven’t watched a baseball game since 1957,” said unofficial niffleist spokesperson Alfredo de Darque. “We just think it’s past time for the networks to acknowledge that baseball doesn’t have a lock on the word ‘rulebook.'”

When reporters asked what sort of changes in MLB broadcasts niffleists would like to see, de Darque suggested three:

  • Umpires must wear uniforms featuring vertical black-and-white stripes.
  • Winning coaches must be doused with Gatorade. (De Darques said, “But we’d accept tins or pouches of chewing tobacco, as long as they’re national brands.”)

And, most controversially:

  • “Whoever’s holding the ball may be tackled by one or more members of the opposing team.”

Still under consideration by the niffleists: rubberized baseballs. Said one source, “We believe in our hearts that balls designed this way will ‘spike’ much better than the current models.”

De Darque insisted, “Every single one of our rules is just as valid as any of theirs.” When asked if the NFL would accept counter-proposals to introduce baseball rules to football games, he said, “Well, no. Certainly not on Sundays, anyway. They’re sort of sacred to us.”

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Too Many Answers to Stop

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I’ve long held that a story I’ve started writing must reach a certain “critical mass” in order for me to carry it through to completion. This critical mass might be defined as the written length — the word/page count — beyond which I will not, can not stop writing. A story which might become a novella (or longer), for instance, seems to hit critical mass at about 10,000 words. At this point, the narrative has so much momentum in my head that it’s a force in its own right: I know enough about the characters and the story to know how little I really know about them, and how much I want to find out.

(I’m pretty sure many/most other writers feel the same way, incidentally, although we’ve probably all got different critical masses.)

Mostly, this is just a descriptive figure, not a prescriptive one. It’s an observation which seems to have held true in the past and (as I expect) will likely hold true in the future, not a make-or-break target.

For the piece I’m working on now, though, I seem to be approaching — perhaps have already crossed — a different and perhaps unquantifiable threshold: a critical mass of research.
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The (Generally Sweet) Awakening

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The yeti crab

[Image: the Yeti crab. (See here, here, and here for more information.) I’m no connoisseur of deep-sea life, but this fairly recent discovery — 2005 — woke even me up. Gently. In a way, it woke up even its discoverers.*]

From whiskey river:

In order to awaken, first of all one must realize that one is in a state of sleep. And in order to realize that one is indeed in a state of sleep, one must recognize and fully understand the nature of the forces which operate to keep one in the state of sleep, or hypnosis. It is absurd to think that this can be done by seeking information from the very source which induces the hypnosis.

(George Ivanovich Gurdjieff [source unknown])

I should say that I couldn’t find a source for these specific words. But this passage is a coda of sorts to Gurdjieff’s tale of the magician and the sheep, recounted in various places around the Web.

…and:

When you consider something like death, after which (there being no news flash to the contrary) we may well go out like a candle flame, then it probably doesn’t matter if we try too hard, are awkward sometimes, care for one another too deeply, are excessively curious about nature, are too open to experience, enjoy a nonstop expense of the senses in an effort to know life intimately and lovingly. It probably doesn’t matter if, while trying to be modest and eager watchers of life’s many spectacles, we sometimes look clumsy or get dirty or ask stupid questions or reveal our ignorance or say the wrong thing or light up with wonder like the children we all are. It probably doesn’t matter if a passerby sees us dipping a finger into the moist pouches of dozens of lady’s slippers to find out what bugs tend to fall into them, and thinks us a bit eccentric. Or a neighbor, fetching her mail, sees us standing in the cold with our own letters in one hand and a seismically red autumn leaf in the other, its color hitting our sense like a blow from a stun gun, as we stand with a huge grin, too paralyzed by the intricately veined gaudiness of the leaf to move.

(Diane Ackerman, A Natural History of the Senses)

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