Sunday Plans

No one knows who the solitary man smoking a cigar in this paintings by Edward Hopper titled  “Sunday”  was, but for many viewers he embodies the ennui of a Sunday morning. Painted  in 1926, the work has often been seen as symbolic of isolation and disconnection in the American city.

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And the Moon Be Still as Bright

Regular visitors to TBTP may recall my many posts about the novels and short stories by the great American writer Ray Bradbury. One of the first sci-fi gems of his that I remember reading as a young child is the powerful collection titled The Martian Chronicles.

 Lately, I have been thinking about one especially moving, disturbing, and oddly relevant chapter called “And the Moon Be Still as Bright,” a powerful and emotional tale about a crew of Earth astronauts who discover the extinction of the Martians. They discover that the entire Martian population was wiped out by chickenpox, contracted from humans who visited the planet on previous expeditions. Most of the crew shows no remorse and in fact isn’t bothered at all by the tragedy. Their response is to party and to celebrate the team’s successful landing. However, one member does not participate in the festivities, instead he contemplates the thought of how such a mighty civilization could be taken down so easily by a similar pandemic on Earth. This crew member, named Spender, eventually deserts the crew to explore Martian ruins and becomes enamored with the Martian’s once spectacular civiliztion. He later returns to the landing site and kills most of his team, intending to stop the colonization of Mars in order to preserve its fallen civilization.The crew’s captain is forced to shoot Spender to prevent more loss of life.

One of my favorite versions of The Martian Chronicles is the 1974 Limited Editions Club publication with  dramatic, full-color illustrations by Joseph Mugnaini. The special edition was limited to 2,000 copies and is now a sought after collector’s copy.

 

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Primary Source

It’s now possible to read one of the oldest books of English literature in the world  online.The Exeter Book is a 1oth century anthology of poetry in Old English and one of  only four manuscript books containing virtually all the English literature that has survived from the Anglo-Saxon period.

Written by an anonymous scribe around 960-980 in the southwest of England, it has been kept in the Exeter Cathedral since the eleventh century. Five years ago, it was added to the UNESCO Memory of the World Register as an example of documentary heritage of outstanding global significance.

Although it is incomplete and damaged in a few places, its 123 written leaves are generally very well preserved. The most of the content is made up of 95 poetic riddles and 40 poems and elegies, two of which – Juliana and Christ II (The Ascension) – are signed by one of the very few named Anglo-Saxon poets, Cynewulf. Other poems include The Ruin, The Wanderer, and The Wife’s Lament. It also features considerable contemporary Anglo-Saxon imagery marginalia, virtually invisible until revealed by digitization process.

“These drypoint images made with a pen nib or fine wooden point but no ink have become like an etching,” said professor James Clark, from the University of Exeter, who has led the research alongside digital specialists based in the university’s digital humanities lab. “They are only visible under very bright light, and high resolution imaging shows them clearly for the first time. We think these drawings would have been more visible when the book was newer, but grease and discoloration have made them harder to see.”

This digital copy also enables readers to see how the original parchment was made from different animal skins, home in on individual letterforms including runes, as well as corrections and editorial additions.

“The Exeter Book has been the jewel in the crown of Exeter Cathedral for nearly a thousand years,” said Ann Barwood, canon librarian of Exeter Cathedral. “The cathedral’s challenge has always been to keep it safe, while also finding ways to share it with the world.”

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Freedom is a Fable

Freedom, A Fable: A Curious Interpretation of the Wit of a Negress in Troubled Times.Illustrated book with offset lithographs on paper and laser-cut pop-up paper silhouettes, 1997.

I have always been emotionally moved by Kara Walker’s powerful art work, especially her intense silhouette murals. This short story, her first work in book format, is illustrated with pop-up versions of Walker’s famous silhouettes. At first it appears to be a vintage children’s book but is actually a contemporary tale of racism and gender discrimination. Set in the Civil War era, Freedom, A Fable tells the story of a female slave who is granted emancipation but still experiences oppression, discovering that freedom is indeed a fable. Walker’s story addresses the persistence of negative stereotypes that emerged in the minstrel shows, novels, and artworks of the eighteenth and nineteenth centuries. It also draws upon 19th century novels and memoirs written by former slaves. By presenting her work as a book—an intimate object meant to be held, read, and paged through—Walker implicates us in the corrosive narrative of racism in America.

NB: If you subscribe to TBTP by email, you may need to click on the short url at the bottom of you message to play the video above.

 

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Restoring Rome

During the past few weeks, I have been pondering a story from the news about a project to restore parts of the ancient Roman Colosseum and open those areas to tourists. The story claimed that for the first time ever, the sections below Rome’s Colosseum, where gladiators and animals waited before combat, will be opened to the public.

The $30 million project, which is being funded by a corporate donation from the Italian fashion brand Tod’s, will complete an extensive renovation of the hypogea—an  area comprising the subterranean pathways —was announced with much fanfare in a ceremony in June. Wooden walkways have been installed throughout the underground structure, making it accessible to visitors for the first time in the Colosseum’s nearly 2,000-year history.

My confusion stems from the fact that I remember touring the hypogea and other underground areas of the Colosseum forty years ago on my first visit to Rome. So, either my memory is faulty or in the past it was possible to explore at least some of the underground sections of the ancient building. If you’ve been to Rome’s most famous monument, and if you’ve visited the hypogea please let me know.

 

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Summer Reading List

Once again Barack Obama has released his summer reading list. On Facebook, he wrote, “Whether you’re camped out on the beach or curled up on the couch on a rainy day, there’s nothing quite like sitting down with a great book in the summer. While we were still in the White House, I began sharing my summer favorites–and over the years, it’s become a little tradition that I look forward to sharing with you all. So without further ado, here are some books I’ve read recently. Hope you enjoy them as much as I did.”

At Night All Blood Is Black by David Diop
Land of Big Numbers by Te-Ping Chen
Things We Lost to the Water by Eric Nguyen
Empire of Pain by Patrick Radden Keefe
Leave the World Behind by Rumaan Alam
Project Hail Mary by Andy Weir
Klara and the Sun by Kazuo Ishiguro
The Sweetness of Water by Nathan Harris
When We Cease to Understand the World by Benjamín Labatut
Intimacies by Katie Kitamura
Under a White Sky: The Nature of the Future by Elizabeth Kolbert

I’ve read three of the selections on President Obama’s list. Two were hits and one was a disappointing miss. I won’t say which one I wouldn’t recommend, but I expected more from an author who won a Nobel Prize for Literature.

 

 

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Chill Out

I have never visited the little fishing village of Polperro in Cornwall, UK, but it has been highly recommended to me over the years. The very chill, hour-long video of the village (below)is incredibly relaxing and meditative. There is no narative, no travelog, just the ambient sounds of birds, wind, and water.

NB: if you subscribe to TBTP via email, he video may not appear. Just click on the short url link at the bottom of the email.

 

 

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Nemo me impune lacessit

In this age of mindless memes, it’s refreshing to run across an unexpected Edgar Allan Poe reference. While not as well known as the Murders in the Rue Morgue or the Tell- Tale Heart, The Cask of Amontillado is just as chilling on a hot summer day.

THE CASK OF AMONTILLADO

By Edgar Allan Poe – Published 1847

The thousand injuries of Fortunato I had borne as I best could, but when he ventured upon insult I vowed revenge. You, who so well know the nature of my soul, will not suppose, however, that gave utterance to a threat. At length I would be avenged; this was a point definitely, settled –but the very definitiveness with which it was resolved precluded the idea of risk. I must not only punish but punish with impunity. A wrong is unredressed when retribution overtakes its redresser. It is equally unredressed when the avenger fails to make himself felt as such to him who has done the wrong. It must be understood that neither by word nor deed had I given Fortunato cause to doubt my good will. I continued, as was my in to smile in his face, and he did not perceive that my to smile now was atthe thought of his immolation.

He had a weak point –this Fortunato –although in other regards he was a man to be respected and even feared. He prided himself on his connoisseurship in wine. Few Italians have the true virtuoso spirit. For the most part their enthusiasm is adopted to suit the time and opportunity, to practise imposture upon the British and Austrian millionaires. In painting and gemmary, Fortunato, like his countrymen, was a quack, but in the matter of old wines he was sincere. In this respect I did not differ from him materially; –I was skilful in the Italian vintages myself, and bought largely whenever I could. It was about dusk, one evening during the supreme madness of the carnival season, that I encountered my friend. He accosted me with excessive warmth, for he had been drinking much. The man wore motley. He had on a tight-fitting parti-striped dress, and his head was surmounted by the conical cap and bells. I was so pleased to see him that I thought I should never have done wringing his hand. I said to him –“My dear Fortunato, you are luckily met. How remarkably well you are looking to-day. But I have received a pipeof what passes for Amontillado, and I have my doubts.”

“How?” said he. “Amontillado, A pipe? Impossible! And in the middle of the carnival!””I have my doubts,” I replied; “and I was silly enough to pay the full Amontillado price without consulting you in the matter. You were not to be found, and I was fearful of losing a bargain.” “Amontillado!” “I have my doubts.” “Amontillado!” “And I must satisfy them.” “Amontillado!” “As you are engaged, I am on my way to Luchresi. If any one has a critical turn it is he. He will tell me –” “Luchresi cannot tell Amontillado from Sherry.” “And yet some fools will have it that his taste is a match for your own. “Come, let us go.” “Whither?” “To your vaults.” “My friend, no; I will not impose upon your good nature. I perceive you have an engagement. Luchresi–” “I have no engagement; –come.” “My friend, no. It is not the engagement, but the severe cold with which I perceive you are afflicted. The vaults are insufferably damp. They are encrusted with nitre.” “Let us go, nevertheless. The cold is merely nothing. Amontillado! You have been imposed upon. And as for Luchresi, he cannot distinguish Sherry from Amontillado.” Thus speaking, Fortunato possessed himself of my arm; and putting on a mask of black silk and drawing a roquelaire closely about my person, I suffered him to hurry me to my palazzo.

There were no attendants at home; they had absconded to make merry in honour of the time. I had told them that I should not return until the morning, and had given them explicit orders not to stir from the house. These orders were sufficient, I well knew, to insure their immediate disappearance, one and all, as soon as my back was turned. I took from their sconces two flambeaux, and giving one to Fortunato, bowed him through several suites of rooms to the archway that led into the vaults. I passed down a long and winding staircase, requesting him to be cautious as he followed. We came at length to the foot of the descent, and stood together upon the damp ground of the catacombs of the Montresors. The gait of my friend was unsteady, and the bells upon his cap jingled as he strode. “The pipe,” he said. “It is farther on,” said I; “but observe the white web-work which gleams from these cavern walls.” He turned towards me, and looked into my eves with two filmy orbs that distilled the rheum of intoxication.

“Nitre?” he asked, at length. “Nitre,” I replied. “How long have you had that cough?” “Ugh! ugh! ugh! –ugh! ugh! ugh! –ugh! ugh! ugh! –ugh! ugh! ugh! –ugh! ugh! ugh!” My poor friend found it impossible to reply for many minutes. “It is nothing,” he said, at last. “Come,” I said, with decision, “we will go back; your health is precious. You are rich, respected, admired, beloved; you are happy, as once I was. You are a man to be missed. For me it is no matter. We will go back; you will be ill, and I cannot be responsible. Besides, there is Luchresi –” “Enough,” he said; “the cough’s a mere nothing; it will not kill me. I shall not die of a cough.” “True –true,” I replied; “and, indeed, I had no intention of alarming you unnecessarily –but you should use all proper caution. A draught of this Medoc will defend us from the damps. Here I knocked off the neck of a bottle which I drew from a long row of its fellows that lay upon the mould.

“Drink,” I said, presenting him the wine. He raised it to his lips with a leer. He paused and nodded to me familiarly, while his bells jingled. “I drink,” he said, “to the buried that repose around us.” “And I to your long life.” He again took my arm, and we proceeded. “These vaults,” he said, “are extensive.” “The Montresors,” I replied, “were a great and numerous family.” “I forget your arms.” “A huge human foot d’or, in a field azure; the foot crushes a serpent rampant whose fangs are imbedded in the heel.” “And the motto?” “Nemo me impune lacessit.” “Good!” he said. The wine sparkled in his eyes and the bells jingled. My own fancy grew warm with the Medoc. We had passed through long walls of piled skeletons, with casks and puncheons intermingling, into the inmost recesses of the catacombs. I paused again, and this time I made bold to seize Fortunato by an arm above the elbow.

“The nitre!” I said; “see, it increases. It hangs like moss upon the vaults. We are below the river’s bed. The drops of moisture trickle among the bones. Come, we will go back ere it is too late. Your cough –” “It is nothing,” he said; “let us go on. But first, another draught of the Medoc.” I broke and reached him a flagon of De Grave. He emptied it at a breath. His eyes flashed with a fierce light. He laughed and threw the bottle upwards with a gesticulation I did not understand. I looked at him in surprise. He repeated the movement –a grotesque one. “You do not comprehend?” he said. “Not I,” I replied. “Then you are not of the brotherhood.” “How?” “You are not of the masons.” “Yes, yes,” I said; “yes, yes.” “You? Impossible! A mason?” “A mason,” I replied. “A sign,” he said, “a sign.” “It is this,” I answered, producing from beneath the folds of my roquelaire a trowel. “You jest,” he exclaimed, recoiling a few paces. “But let us proceed to the Amontillado.””Be it so,” I said, replacing the tool beneath the cloak and again offering him my arm. He leaned upon it heavily. We continued our route in search of the Amontillado. We passed through a range of low arches, descended, passed on, and descending again, arrived at a deep crypt, in which the foulness of the air caused our flambeaux rather to glow than flame.

At the most remote end of the crypt there appeared another less spacious. Its walls had been lined with human remains, piled to the vault overhead, in the fashion of the great catacombs of Paris. Three sides of this interior crypt were still ornamented in this manner. From the fourth side the bones had been thrown down, and lay promiscuously upon the earth, forming at one point a mound of some size. Within the wall thus exposed by the displacing of the bones, we perceived a still interior crypt or recess, in depth about four feet, in width three, in height six or seven. It seemed to have been constructed for no especial use within itself, but formed merely the interval between two of the colossal supports of the roof of the catacombs, and was backed by one of their circumscribing walls of solid granite.

It was in vain that Fortunato, uplifting his dull torch, endeavoured to pry into the depth of the recess. Its termination the feeble light did not enable us to see. “Proceed,” I said; “herein is the Amontillado. As for Luchresi –” “He is an ignoramus,” interrupted my friend, as he stepped unsteadily forward, while I followed immediately at his heels. In niche, and finding an instant he had reached the extremity of the niche, and finding his progress arrested by the rock, stood stupidly bewildered. A moment more and I had fettered him to the granite. In its surface were two iron staples, distant from each other about two feet, horizontally. From one of these depended a short chain, from the other a padlock. Throwing the links about his waist, it was but the work of a few seconds to secure it. He was too much astounded to resist. Withdrawing the key I stepped back from the recess. “Pass your hand,” I said, “over the wall; you cannot help feeling the nitre. Indeed, it is very damp. Once more let me implore you to return. No? Then I must positively leave you. But I must first render you all the little attentions in my power.” “The Amontillado!” ejaculated my friend, not yet recovered from his astonishment. “True,” I replied; “the Amontillado.”

As I said these words I busied myself among the pile of bones of which I have before spoken. Throwing them aside, I soon uncovered a quantity of building stone and mortar. With these materials and with the aid of my trowel, I began vigorously to wall up the entrance of the niche. I had scarcely laid the first tier of the masonry when I discovered that the intoxication of Fortunato had in a great measure worn off. The earliest indication I had of this was a low moaning cry from the depth of the recess. It was not the cry of a drunken man. There was then a long and obstinate silence. I laid the second tier, and the third, and the fourth; and then I heard the furious vibrations of the chain. The noise lasted for several minutes, during which, that I might hearken to it with the more satisfaction, I ceased my labours and sat down upon the bones. When at last the clanking subsided, I resumed the trowel, and finished without interruption the fifth, the sixth, and the seventh tier. The wall was now nearly upon a level with my breast. I again paused, and holding the flambeaux over the mason-work, threw a few feeble rays upon the figure within. A succession of loud and shrill screams, bursting suddenly from the throat of the chained form, seemed to thrust me violently back. For a brief moment I hesitated, I trembled. Unsheathing my rapier, I began to grope with it about the recess; but the thought of an instant reassured me. I placed my hand upon the solid fabric of the catacombs, and felt satisfied. I reapproached the wall; I replied to the yells of him who clamoured. I re-echoed, I aided, I surpassed them in volume and in strength. I did this, and the clamourer grew still.

It was now midnight, and my task was drawing to a close. I had completed the eighth, the ninth and the tenth tier. I had finished a portion of the last and the eleventh; there remained but a single stone to be fitted and plastered in. I struggled with its weight; I placed it partially in its destined position. But now there came from out the niche a low laugh that erected the hairs upon my head. It was succeeded by a sad voice, which I had difficulty in recognizing as that of the noble Fortunato.

The voice said– “Ha! ha! ha! –he! he! he! –a very good joke, indeed –an excellent jest. We will have many a rich laugh about it at the palazzo –he! he! he! –over our wine –he! he! he!” “The Amontillado!” I said. “He! he! he! –he! he! he! –yes, the Amontillado. But is it not getting late? Will not they be awaiting us at the palazzo, the Lady Fortunato and the rest? Let us be gone.” “Yes,” I said, “let us be gone.” “For the love of God, Montresor!” “Yes,” I said, “for the love of God!” But to these words I hearkened in vain for a reply. I grew impatient. I called aloud — “Fortunato!” No answer. I called again — “Fortunato!” No answer still. I thrust a torch through the remaining aperture and let it fall within. There came forth in return only a jingling of the bells. My heart grew sick; it was the dampness of the catacombs that made it so. I hastened to make an end of my labour. I forced the last stone into its position; I plastered it up. Against the new masonry I re-erected the old rampart of bones. For the half of a century no mortal has disturbed them. In pace requiescat!

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Always Check Your Bookmarks

Researchers recently discovered an unassuming bookmark in a 19th century French novel that featured three sketches by Vincent Van Gogh. In 1883,  the artist gave a friend the book and more than a century later, researchers discovered that the novel contained a handmade bookmark, with a set of early drawings  by Van Gogh. The three sketches are on a single strip of paper. Each shows a single figure—possibly farmers inspired by characters in the book.

The drawings are on display in “Here to Stay,” an exhibition at the Van Gogh Museum in Amsterdam that features artworks and other items that have entered the museum’s collection over the past decade.

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The Idea of a Forest

THE OTHER TRADITION

John Ashbery

They all came, some wore sentiments
Emblazoned on T-shirts, proclaiming the lateness
Of the hour, and indeed the sun slanted its rays
Through branches of Norfolk Island pine as though
Politely clearing its throat, and all ideas settled
In a fizz of dust under trees when it’s drizzling:
The endless games of Scrabble, the boosters,
The celebrated omelette au Cantal, and through it
The roar of time plunging unchecked through the sluices
Of the days, dragging every sexual moment of it
Past the lenses: the end of something.
Only then did you glance up from your book,
Unable to comprehend what had been taking place, or
Say what you had been reading.  More chairs
Were brought, and lamps were lit, but it tells
Nothing of how all this proceeded to materialize
Before you and the people waiting outside and in the next
Street, repeating its name over and over, until silence
Moved halfway up the darkened trunks,
And the meeting was called to order.
	                              I still remember
How they found you, after a dream, in your thimble hat,
Studious as a butterfly in a parking lot.
The road home was nicer then.  Dispersing, each of the
Troubadours had something to say about how charity
Had run its race and won, leaving you the ex-president
Of the event, and how, though many of those present
Had wished something to come of it, if only a distant
Wisp of smoke, yet none was so deceived as to hanker
After that cool non-being of just a few minutes before,
Now that the idea of a forest had clamped itself
Over the minutiae of the scene.  You found this
Charming, but turned your face fully toward night,
Speaking into it like a megaphone, not hearing
Or caring, although these still live and are generous
And all ways contained, allowed to come and go
Indefinitely in and out of the stockade
They have so much trouble remembering, when your forgetting
Rescues them at last, as a star absorbs the night.


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