Log24

Meditation for the Ides of March—

   Only connect.

  Click on the die for some backstory.

The above title is a commercial slogan from Westinghouse Studio One —

in particular, from its "June Moon" broadcast on June 22, 1949.

The date August 4, 2011, from the previous post suggests a review . . .

"Bowden applied what he viewed as the lessons of the battlefield
to the football field. While bedridden with rheumatic fever at age 13,
he had listened to radio broadcasts telling of World War II battles,
and he later studied the campaigns of Patton, MacArthur and
Germany’s Erwin Rommel.

'They all demonstrate discipline,' Bowden once said, 'and that you
need reserves so that if you’re getting annihilated on one front, you
can attack somewhere else.' ” — Richard Goldstein

Amen.

See as well "Geometry Battlefield" in this morning's previous post.

“Well, I’ve helped to wind up the clock —
I might as well hear it strike!”

— Said to be a quotation from the grandfather
of a “pirate radio” founder who reportedly died
at 79 on April 20.

See as well this journal on the night of April 20 —

Wheel Turnin’ ’Round and ’Round —

and a search for “Wheel of Time.”

"When they all finally reach their destination —
a deserted field in the Florida Panhandle…." 

" When asked about the film's similarities to the 2015 Disney movie 
Tomorrowland , which also posits a futuristic world that exists in an
alternative dimension, Nichols sighed. 'I was a little bummed, I guess,'
he said of when he first learned about the project. . . . 'Our die was cast.
Sometimes this kind of collective unconscious that we're all dabbling in,
sometimes you're not the first one out of the gate.' "

Jeff Nichols, director of Midnight Special  (2016) —

"When asked about the film's similarities to the 2015 Disney
movie Tomorrowland , which also posits a futuristic world
that exists in an alternative dimension, Nichols sighed.
'I was a little bummed, I guess,' he said of when he first
learned about the project. . . . 'Our die was cast.
Sometimes this kind of collective unconscious that
we're all dabbling in, sometimes you're not the first one
out of the gate.' "

See also Jung's four-diamond figure and the previous post.

Two items from November 24, 2015 —

Related material —

 David Bowie and Catherine Deneuve star in "The Hunger" (1983).

Vampira and Loki at Cannes

Tobey Maguire and Kirsten Dunst
in "Spider-Man 2" (2004) —

Spoilers for another Kirsten Dunst film,
"Midnight Special" (2016) —

"When they all finally reach their destination —
a deserted field in the Florida Panhandle…." 

" When asked about the film's similarities to the 2015 Disney movie 
Tomorrowland , which also posits a futuristic world that exists in an
alternative dimension, Nichols sighed. 'I was a little bummed, I guess,'
he said of when he first learned about the project. . . . 'Our die was cast.
Sometimes this kind of collective unconscious that we're all dabbling in,
sometimes you're not the first one out of the gate.' "

From another obituary for
the "Spider-Man" screenwriter —

“When I die,” he liked to say, “I’m going to have written
on my tombstone, ‘Finally, a plot!’”

— Robert D. McFadden in The New York Times

Douglas Rain, the voice of HAL in Kubrick's 2001 , reportedly
died at 90 on Sunday, Nov. 11, 2018. A piece from the Sunday,
April 1, 2018, print  edition of The New York Times  recalls that . . .

This  journal on the above online date, March 30, 2018 —

"Program or be programmed."
— A saying by Douglas Rushkoff

See as well the following link from this journal
on Armistice Day, the reported date of Mr. Rain's death —

"Halmos + Tombstone."

"Charles Kenneth Williams was born on Nov. 4, 1936,
in Newark. His father, Paul, sold office machines,
and, as he prospered, moved with his wife, the former
Dossie Kasdin, and his two sons to suburban South Orange.
Mr. Williams’s conflicted relationship with his parents
takes up much of his 2000 memoir, Misgivings: My Mother,
My Father, Myself . " — NY Times  obituary this evening

Near the Haunted Castle
A poem by C. K. Williams

"This is a story. You don't have to think about it,
it's make-believe. / It's like a lie, maybe not quite a lie
but I don't want you to worry about it. . . . ."

For a more interesting cinematic haunting, see the new film "Pay the Ghost."

The late Elizabeth Wilson as
the mother of Billl Murray's FDR 
in "Hyde Park on Hudson."

Wilson reportedly died at 94 on Saturday, May 9, 2015.

Related material: This journal on that date, and 
the following —

“This is a divorce case that was before us on an earlier occasion.”

Wild:

From the director of The Wild Bunch —

Brady:

From The New York Times —

Dialogue from “The Osterman Weekend”—

01:57:22  “Why did he make us try to believe Omega existed?”
01:57:25    ….
01:57:26  “The existence of Omega has not been disproved.
01:57:28  Don’t you understand that?
01:57:31  Omega is as real  as we need it to be.”

See also Omega elsewhere in this journal.

Update of 9:15 PM ET —

Google search result at 1 PM ET April 24, 2013:

New York Stage and Film 2013 Musicals – EPA – Playbill
www.playbill.com/jobs/find/job_detail/51922.html
14 hours ago – BRIGHT STAR
Casting: Howie Cherpakov
Music by Edie Brickell and Steve Martin
Lyrics by Edie Brickell Book by Steve Martin…

The musical is set in North Carolina.

From Howie Cherpakov:

From North Carolina:

Archibald Henderson monument, Chestnut Hill Cemetery, Salisbury, NC

Henderson died in 1963 on the Feast of St. Nicholas.
Related material: Santa vs. the Obelisk.

Leading this morning's online New York Times  
obituaries list is one for a leftist Episcopal priest.

That obituary contains a link to a 1996 Times  story — 

Old Friends, New Foes:
President and a Preacher;
One 60's Activist Runs Columbia;
One Fights It

A check for background on the Columbia president
in that story yields the following from a leftist journalist's
website in a 2012 post dated October 26 (date of the
1917 October Revolution in Russia)—

Click for further details of this leftist allegation, which is
clearly false (because based on a ludicrously bad
misreading of a Rice University puff piece), and would
be libelous if its target were alive.

See a Rice University obituary for the "Nazi spy"
in question, who died on May 25, 2010. (See also
 this journal on that date.)

The same leftist webpage contains a link to another leftist's
attack on a respected charitable organization that may
or may not have, or have had, CIA connections—

The International Rescue Committee (IRC).

In the spirit of Leonard Cohen's "then we take Berlin" lyric,
here is a note on how the IRC logo

might be rendered in a way that is, though less visually appealing,
more logical— i.e., more purely an example of Bauhaus style—

See also the recent  Black October post
on a Columbia enthusiast of the October Revolution—

"I came by chance upon his tombstone,
a massive block of stone lightly covered
with fresh snow."

— Freeman Dyson on Wittgenstein,
     linked to here at 1 PM ET Saturday.

Cast a cold eye.

* Leon Jaroff, who reportedly died Saturday.

In memory of two figures from tonight's NY Times  obituaries index
(not  Nora Ephron and Anthony J. Wiener)—

Tower Envy

Erin Burnett and Jenga blocks yesterday

Related material—

The Bible Puzzle Book

and the monumental treatise
by Leonard Shlain

The Alphabet Versus
the Goddess: The Conflict
Between Word and Image.

A chess set previously mentioned in this journal—

These chessmen appeared in the weblog Minimalissimo 
on Sept. 20, 2010. In Log24 on that date, the issue was
not so much the chessmen as the underlying board.
See "The Unfolding." See also the following from
the Occupy Space  gallery in Limerick today—

Today's online New York Times on the conclusion of the Roman Catholic Church's "World Youth" week—

"At the end of Sunday’s Mass, the pope announced that the next such event would be in Rio de Janeiro in 2013. Until then, he told those at the service, in Portuguese, that they 'will be swimming against the tide in a society with a relativistic culture, which wishes neither to seek nor hold on to the truth.'*"

* Fact check— This agrees with the Vatican Radio version.

Related material: Relativity Blues and Portal to 1937…

This post was suggested by—

1. A quotation from Under the Volcano :
   "A corpse will be transported by express!"
2. The wish in a novel by Ernesto Sábato, who died Saturday, April 30,
   for a tombstone that says "PEACE"
3. A statement by another author in this morning's post:
   "I think of myself as writing about war," said Robson….
   "I try to get away from war, but I can't.
   War forces ordinary people to behave extraordinarily."

The above Sábato novel was translated as The Angel of Darkness .
Its Spanish title was "Abaddón el Exterminador " (Abaddon the Exterminator ).

From a customer review of the novel at Amazon.com—

"Early in the book a drunken outcast will see the vision of the Great Beast of Revelation. Near the end he will tell others of what he has seen. Meanwhile Sábato, who was originally trained as a scientist, seeks out the supernatural and the mystical in order to find an antidote to Stalinism, simple-minded 'Progress' and a superficial positivism."

For a more sophisticated vision of the Beast, see The Ninth Gate.

For Abaddon in a less sophisticated antidote to positivism, see The Chronicle of Abaddon the Destroyer: The War in Heaven .

I prefer Charles Williams's approach to War in Heaven .

If there is an afterlife, perhaps Sábato's experience there will be more lively than his novel's tombstone would imply.

He may, despite his wish for heavenly peace, turn out to be (in a phrase from this morning's post) a badly needed "ghost warrior."

The webpage of Cullinane College — "For Love of God…."

Related material —

From a post for the opening of Cullinane College on January 29, 2003:

"Young man sings 'Dry Bones'"

Illustrations:

What prompted the above meditation —

From an obituary of Bill White (who reportedly died at 66 on November 14)—

"During his career, he was consulted by, among others,
the crime writer Patricia Cornwell, and the artist Damien Hirst
(who used his expertise when working on his 2007 piece
For the Love of God, a platinum cast of a skull, encrusted with diamonds)."

McGee Thanks the Academy:

“The ulterior motive behind this essay [“Reading Authority,” above], the purpose for which I seize this occasion, concerns the question or problem of authority. I stress at the outset my understanding of authority as the constructed repository of value or foundation of a system of values, the final effect of fetishism– in this case, literary fetishism. [Cf. Marx, Das Kapital] Reading– as in the phrase ‘reading authority’– should be grasped as the institutionally determined act of constructing authority….”

Wikipedia:

“[In Peter Pan] Smee is Captain Hook’s right-hand man… Barrie describes him as ‘Irish’ and ‘a man who stabbed without offence‘….”

Background: In yesterday’s morning entry, James Joyce as Jesuit, with “Dagger Definitions.”

A different Smee appears as an art critic in yesterday’s afternoon entry “Design Theory.”–

Smee Stabs Without Offence:

“Brock, who has a brisk mind, is a man on a mission. He read mathematical economics and political philosophy at Princeton (he has five degrees in all) and is the founder and president of Strategic Economic Decisions Inc., a think tank specializing in applying the economics of uncertainty to forecasting and risk assessment.

But phooey to all that; Brock has deeper things to think about. He believes he has cracked the secret of beautiful design. He even has equations and graphs to prove it.”

A Jesuit in Portrait of the Artist as a Young Man:

“When may we expect to have something from you on the esthetic question?”

Beckett Bethicketted:

“Our entanglement in the wilderness of Finnegans Wake is exemplified by the neologism ‘Bethicket.’ This word condenses a range of possible meanings and reinforces a diversity of possible syntactic interpretations. Joyce seems to allude to Beckett, creating a portmanteau word that melds ‘Beckett’ with ‘thicket’ (continuing the undergrowth metaphor), ‘thick’ (adding mental density to floral density)…. As a single word ‘Bethicket’ contains the confusion that its context suggests. On the one hand, ‘Bethicket me for a stump of a beech’ has the sound of a proverbial expletive that might mean something like ‘I’ll be damned’ or ‘Well, I’ll be a son of a gun.’….”

— Stephen Dilks

At the Oscars, 2009

Related material:

Frame Tales and Dickung

Kindred Spirit

On the late film director Robert Mulligan, who died early Saturday [Dec. 20, 2008] at 83:

Mulligan received a best director Oscar nomination in 1963 for “[To Kill a] Mockingbird”….

While some debated whether he had a discernible personal vision in his films, Mulligan was known for his casting and direction of children, including “[Up the Down] Staircase,” where he personally interviewed more than 500 New York high school students.

Sensing a kindred spirit, Francois Truffaut was a vocal champion, particularly cognizant of what he perceived as undue criticism of Mulligan’s work for lacking a particular “style.” Mulligan himself was dismissive of critics/cineaste talk: “I don’t know anything about ‘the Mulligan style,’ ” he told the Village Voice in 1978. “If you can find it, well, that’s your job.”

— Duane Byrge, The Hollywood Reporter

Thanks to desconvencida for a trailer of “The Man in the Moon” (1991), Reese Witherspoon’s first film and Mulligan’s last.

Mulligan also directed Natalie Wood in a personal favorite of mine, “Love with the Proper Stranger.”

Summer of ’36

Another Opening
of Another Show

“When I cast my mind back to that summer of 1936 different kinds of memories offer themselves to me. We got our first wireless set that summer– well, a sort of a set; and it obsessed us. And because it arrived as August was about to begin, my Aunt Maggie– she was the joker of the family– she suggested we give it a name. She wanted to call it Lugh after the old Celtic God of the Harvest. Because in the old days August the First was La Lughnasa, the feast day of the pagan god, Lugh; and the days and weeks of harvesting that followed were called the Festival of Lughnasa.”

From the film “Contact”–

Jodie Foster and the
opening of the 1936 Olympics

Strange Bedfellows

Ted Berkman, author of books about the Israeli military, died at 92 on May 12, 2006.

Dennis Hevesi in today’s New York Times:

“In World War II he served as the Middle East chief of the Foreign Broadcast Intelligence Service, a predecessor of the Central Intelligence Agency. In 1946, as a radio correspondent for ABC, he provided an eyewitness account of the bombing of the King David Hotel in Jerusalem by Jewish terrorists.”

He also worked as a screenwriter (with his brother-in-law Raphael Blau) on the films “Girl of the Night” (1960), starring Anne Francis, and  “Bedtime for Bonzo” (1951), starring Diana Lynn.

These are two of my all-time favorite actresses, and I am grateful to Berkman for providing them with roles.  I am less grateful for his Zionist politics.  Who he is in bed with now, God only knows.

Anne Francis

Diana Lynn

The Lincoln Brigade



Marches On.

As yesterday’s Lincoln’s Birthday entry indicated, my own sympathies are not with the “created equal” crowd.  Still, the Catholic Fascism of Franco admirer Andrew Cusack seems somewhat over-the-top.  A more thoughtful approach to these matters may be found in a recommendation by Ross Douthat at The American Scene:

Read Eve Tushnet on the virtues of The Man in the High Castle.

Related material: Log24 on Nov. 14, Nov. 15, and Nov. 16, 2003.

Another item of interest from Eve:

“Transubstantiation [is equivalent but not equal to] art (deceptive accident hides truthful substance), as vs. Plato’s condemnation of the physical & the fictive? (Geo. Steiner)”

Related material:

“In Grammars of Creation, more than in his 1989 book Real Presences, Steiner acknowledges that his argument rests on inescapably Christian foundations. In fact, he has in the past sometimes written in a strongly anti–Christian vein, while the present book reflects the influence of, among others, Miri Rubin, whose Corpus Christi: The Eucharist in Late Medieval Culture is credited in a footnote. Steiner asserts that, after the Platonisms and Gnosticisms of late antiquity, it is the doctrines of incarnation and transubstantiation that mark ‘the disciplining of Western syntax and conceptualization’ in philosophy and art. ‘Every heading met with in a study of “creation,” every nuance of analytic and figural discourse,’ he says, derives from incarnation and transubstantiation, ‘concepts utterly alien to either Judaic or Hellenic perspectives– though they did, in a sense, arise from the collisions and commerce between both.’….

The incarnation of God in the Son, the transubstantiation of bread and wine into his body and blood, are ‘a mysterium, an articulated, subtly innervated attempt to reason the irrational at the very highest levels of intellectual pressure.’ ‘Uniquely, perhaps, the hammering out of the teaching of the eucharist compels Western thought to relate the depth of the unconscious and of pre-history with speculative abstractions at the boundaries of logic and of linguistic philosophy.’ Later, the ‘perhaps’ in that claim seems to have disappeared:

At every significant point, Western philosophies of art and Western poetics draw their secular idiom from the substratum of Christological debate. Like no other event in our mental history, the postulate of God’s kenosis through Jesus and of the never-ending availability of the Savior in the wafer and wine of the eucharist, conditions not only the development of Western art and rhetoric itself, but at a much deeper level, that of our understanding and reception of the truth of art– a truth antithetical to the condemnation of the fictive in Plato.

This truth reaches its unrepeated perfection in Dante, says Steiner. In Dante, ‘It rounds in glory the investigation of creativity and creation, of divine authorship and human poesis, of the concentric spheres of the aesthetic, the philosophical, and the theological. Now truth and fiction are made one, now imagination is prayer, and Plato’s exile of the poets refuted.’ In the fashionable critical theories of our day, we witness ‘endeavors of the aesthetic to flee from incarnation.’ ‘It is the old heresies which revive in the models of absence, of negation or erasure, of the deferral of meaning in late–twentieth–century deconstruction. The counter-semantics of the deconstructionist, his refusal to ascribe a stable significance to the sign, are moves familiar to [an earlier] negative theology.’ Heidegger’s poetics of ‘pure immanence’ are but one more attempt ‘to liberate our experience of sense and of form from the grip of the theophanic.’ But, Steiner suggests, attempted flights from the reality of Corpus Christi will not carry the day. ‘Two millennia are only a brief moment.’

Temptation

Kylie sings
Locomotion.

In memory of Victor Argo,
who died Tuesday, April 6, 2004.
Today's New York Times
says Mr. Argo was cast
"somewhat against type"
by Martin Scorsese as

The Apostle Peter in
"The Last Temptation of Christ."

The Proof and the Lie

A mathematical lie has been circulating on the Internet.

It concerns the background of Wiles’s recent work on mathematics related to Fermat’s last theorem, which involves the earlier work of a mathematician named Taniyama.

This lie states that at the time of a conjecture by Taniyama in 1955, there was no known relationship between the two areas of mathematics known as “elliptic curves” and “modular forms.”

The lie, due to Harvard mathematician Barry Mazur, was broadcast in a TV program, “The Proof,” in October 1997 and repeated in a book based on the program and in a Scientific American article, “Fermat’s Last Stand,” by Simon Singh and Kenneth Ribet, in November 1997.

“… elliptic curves and modular forms… are from opposite ends of the mathematical spectrum, and had previously been studied in isolation.”

— Site on Simon Singh’s 1997 book Fermat’s Last Theorem

“JOHN CONWAY: What the Taniyama-Shimura conjecture says, it says that every rational elliptic curve is modular, and that’s so hard to explain.

BARRY MAZUR: So, let me explain.  Over here, you have the elliptic world, the elliptic curves, these doughnuts.  And over here, you have the modular world, modular forms with their many, many symmetries.  The Shimura-Taniyama conjecture makes a bridge between these two worlds.  These worlds live on different planets.  It’s a bridge.  It’s more than a bridge; it’s really a dictionary, a dictionary where questions, intuitions, insights, theorems in the one world get translated to questions, intuitions in the other world.

KEN RIBET: I think that when Shimura and Taniyama first started talking about the relationship between elliptic curves and modular forms, people were very incredulous….”

— Transcript of NOVA program, “The Proof,” October 1997

The lie spread to other popular accounts, such as the column of Ivars Peterson published by the Mathematical Association of America:

“Elliptic curves and modular forms are mathematically so different that mathematicians initially couldn’t believe that the two are related.”

— Ivars Peterson, “Curving Beyond Fermat,” November 1999 

The lie has now contaminated university mathematics courses, as well as popular accounts:

“Elliptic curves and modular forms are completely separate topics in mathematics, and they had never before been studied together.”

— Site on Fermat’s last theorem by undergraduate K. V. Binns

Authors like Singh who wrote about Wiles’s work despite their ignorance of higher mathematics should have consulted the excellent website of Charles Daney on Fermat’s last theorem.

A 1996 page in Daney’s site shows that Mazur, Ribet, Singh, and Peterson were wrong about the history of the known relationships between elliptic curves and modular forms.  Singh and Peterson knew no better, but there is no excuse for Mazur and Ribet.

Here is what Daney says:

“Returning to the j-invariant, it is the 1:1 map betweem isomorphism classes of elliptic curves and C*. But by the above it can also be viewed as a 1:1 map j:H/r -> C.  j is therefore an example of what is called a modular function. We’ll see a lot more of modular functions and the modular group. These facts, which have been known for a long time, are the first hints of the deep relationship between elliptic curves and modular functions.”

“Copyright © 1996 by Charles Daney,
All Rights Reserved.
Last updated: March 28, 1996″

Update of Dec. 2, 2003

For the relationship between modular functions and modular forms, see (for instance) Modular Form in Wikipedia.

Some other relevant quotations:

From J. S. Milne, Modular Functions and Modular Forms:

“The definition of modular form may seem strange, but we have seen that such functions arise naturally in the [nineteenth-century] theory of elliptic functions.”

The next quote, also in a nineteenth-century context, relates elliptic functions to elliptic curves.

From Elliptic Functions, a course syllabus:

“Elliptic functions parametrize elliptic curves.”

Putting the quotes together, we have yet another description of the close relationship, well known in the nineteenth century (long before Taniyama’s 1955 conjecture), between elliptic curves and modular forms.

Another quote from Milne, to summarize:

“From this [a discussion of nineteenth-century mathematics], one sees that arithmetic facts about elliptic curves correspond to arithmetic facts about special values of modular functions and modular forms.”

Serge Lang apparently agrees:

“Elliptic functions parametrize elliptic curves, and the intermingling of the analytic and algebraic-arithmetic theory has been at the center of mathematics since the early part of the nineteenth century.”

— Editorial description of Lang’s Elliptic Functions (second edition, 1987)

Update of Dec. 3, 2003

“The theory of modular functions and modular forms, defined on the upper half-plane H and subject to appropriate tranformation laws with respect to the group Gamma = SL(2, Z) of fractional linear transformations, is closely related to the theory of elliptic curves, because the family of all isomorphism classes of elliptic curves over C can be parametrized by the quotient Gamma\H. This is an important, although formal, relation that assures that this and related quotients have a natural structure as algebraic curves X over Q. The relation between these curves and elliptic curves predicted by the Taniyama-Weil conjecture is, on the other hand, far from formal.”

— Robert P. Langlands, review of Elliptic Curves, by Anthony W. Knapp.  (The review  appeared in Bulletin of the American Mathematical Society, January 1994.)

Every Boy Has a Daddy

Today is the Feast of Saint Peter.

The most timely quote I know of for today’s religious observances is from Oh What a Web They Weave, by F. John Loughnan:

“Every boy has a daddy.“

This was written as part of an attack on the father of a Latin-Mass Catholic who authored the website Ecclesia Militans, which has the logo

Note the resemblance to the Iron Cross.

Soldier of Fortune magazine, April 2002, contains a brief discussion of the German motto “Gott mit uns” that is relevant to the concept of The Church Militant.

Soldier of Fortune,
April 2002

The actor on the cover, Mel Gibson, also serves to illustrate our meditation for today, “Every boy has a daddy.”  See Christopher Noxon’s article in the New York Times Magazine of March 9, 2003:

Is the Pope Catholic… Enough?

Noxon attacks Gibson’s father Hutton — like his son Mel, a Latin-Mass Catholic, and author of

Is the Pope Catholic?

A related “Every boy has a daddy” attack appears in the June 2003 issue of Playboy magazine.  An entertaining excerpt from this attack on Joseph P. Kennedy, father of JFK, may be found at Orwell Today.  

Finally, let us meditate on the ultimate “Every boy has a daddy” attack — by novelist Robert Stone on the alleged father of Jesus of Nazareth:

The New York Times Magazine article mentioned above was prompted, in part, by Mel Gibson’s current movie production, “The Passion,” about the final 12 hours in the (first, or possibly second) life of Jesus.  If I were producing a Passion play, as Peter I would certainly cast Stone.

See also the 11 PM sequel to the above.

ART WARS:

All About Lilith

Today’s birthdays:

Sam Peckinpah (Feb. 21, 1925)
The New Yorker Magazine (Feb. 21, 1925)
Alan Rickman, 57
Kelsey Grammer, 48
Mary Chapin Carpenter, 45
Jennifer Love Hewitt, 24
Charlotte Church, 17

This list suggests that in an ideal future life Sam Peckinpah would direct, and The New Yorker review, a prequel to “All About Eve.”

Casting would be as follows:

Mary Chapin Carpenter as Margo Channing
(originally, Bette Davis)
Charlotte Church as Lilith, sister of Eve Harrington
(originally, Anne Baxter)
Jennifer Love Hewitt as Claudia Casswell
(originally, Marilyn Monroe)
Alan Rickman as Bill Sampson
(originally, Gary Merrill)
Kelsey Grammer as Addison DeWitt
(originally, George Sanders).

Since today is also the anniversary, according to Tom’s Book of Days, of Schultes’s identification of teonanacatl in 1939, the following classic painting, “ Caterpillar’s Mushroom,” by Brian Froud, might be adapted for a poster for our heavenly production*, to be titled, in accordance with celestial fairness doctrines,

All About Lilith 

* A footnote in memory of publicist/producer Jack Brodsky (“Romancing the Stone,” etc.), who died on Tuesday, Feb. 18, 2003 — See the website Eight is a Gate for the mystical significance of the number “78” in Judaism. The New Yorker and Sam Peckinpah were born 78 years ago today.

In the Labyrinth of Memory

Taking a cue from Danny in the labyrinth of Kubrick’s film “The Shining,” today I retraced my steps.

My Jan. 6 entry, “Dead Poet in the City of Angels,” links to a set of five December 21, 2002, entries.  In the last of these, “Irish Lament,” is a link to a site appropriate for Maud Gonne’s birthday — a discussion of Yeats’s “Among School Children.”

Those who recall a young woman named Patricia Collinge (Radcliffe ’64) might agree that her image is aptly described by Yeats:

Hollow of cheek as though it drank the wind
And took a mess of shadows for its meat

This meditation leads in turn to a Sept. 20, 2002, entry, “Music for Patricias,” and a tune familiar to James Joyce, “Finnegan’s Wake,” the lyrics of which lead back to images in my entries of Dec. 20, 2002, “Last-Minute Shopping,” and of Dec. 28, 2002, “Solace from Hell’s Kitchen.”  The latter entry is in memory of George Roy Hill, director of “The Sting,” who died Dec. 27, 2002.

The Dec. 28 image from “The Sting” leads us back to more recent events — in particular, to the death of a cinematographer who won an Oscar for picturing Newman and Redford in another film — Conrad L. Hall, who died Saturday, Jan. 4, 2003. 

For a 3-minute documentary on Hall’s career, click here.

Hall won Oscars for “Butch Cassidy and the Sundance Kid” and “American Beauty,” and may win a posthumous Oscar for “Road to Perdition,” last year’s Irish-American mob saga:

“Tom Hanks plays Angel of Death Michael Sullivan. An orphan ‘adopted’ by crime boss John Rooney (Paul Newman), Sullivan worships Rooney above his own family. Rooney gave Sullivan a home when he had none. Rooney is the father Sullivan never knew. Too bad Rooney is the

Rock Island
branch of Capone’s mob.”

In keeping with this Irish connection, here is a set of images.

“Like a chess player, he knows that to win a tournament, it is sometimes wise to offer a draw in a game even when you think you can win it.”

— Roger Ebert on Robert Duvall’s character in “A Civil Action”

Director Steven Zaillian will take part in a tribute to Conrad L. Hall at the Palm Springs International Film Festival awards ceremony on Jan 11.  Hall was the cinematographer for Zaillian’s films “A Civil Action” and “Searching for Bobby Fischer.” 

“A Civil Action” was cast by the Boston firm Collinge/Pickman Casting, named in part for that same Patricia Collinge (“hollow of cheek”) mentioned above.

See also “Conrad Hall looks back and forward to a Work in Progress.”  (“Work in Progress” was for a time the title of Joyce’s Finnegans Wake.)

What is the moral of all this remembrance?

An 8-page (paper) journal note I compiled on November 14, 1995 (feast day of St. Lawrence O’Toole, patron saint of Dublin, allegedly born in 1132) supplies an answer in the Catholic tradition that might have satisfied Joyce (to whom 1132 was a rather significant number): 

How can you tell there’s an Irishman present
at a cockfight?
     He enters a duck.
How can you tell a Pole is present?
     He bets on the duck.
How can you tell an Italian is present?
     The duck wins.

Backbeat in Heaven

The great musician Lionel Hampton died at about 6:15 a.m. EDT Saturday, August 31, 2002, in New York City’s Mount Sinai Medical Center.

Quincy Jones said, “Heaven will definitely be feeling some backbeat now.” (AP story)

Hampton himself said, “I learned all that in the sanctified church.” (N.Y. Times story)

Can we hear an AMEN?

Yes, we heard an amen… Live from Lincoln Center on PBS from about 10 p.m. to 11 p.m. EDT tonight (Sunday, September 1, 2002), in a live broadcast of the final performance of the musical “Contact.”

Theology was made visible by Colleen Dunn, who appeared as Grace (the girl in the yellow dress). Christ himself was present in the form of a CD of “Do You Wanna Dance?” held aloft by a priest (the after-hours club bartender).

The evening ended with the redemption by Grace of a sinner (a maker of TV commercials) and with (as Quincy Jones noted) a strong new backbeat in heaven.