Category Archives: B - READING - Page 41

14668. (Martin Brauen) Dreamworld Tibet

Of all places in the world, Tibet has attract­ed the most fan­tas­tic mys­ti­fi­ca­tion. Mar­tin Brauen’s book is a study of the bizarre images, dreams, and super­nat­ur­al fan­tasies that peo­ple have pro­ject­ed on this land. He explores the var­i­ous themes, start­ing with Renais­sance spec­u­la­tion about a hid­den Chris­t­ian king­dom in the Himalayas, and pro­ceed­ing through the fan­tasies of Madame Blavatsky and her Theosophists; the fic­tion­al Shangri-la of James Hilton’s Lost Hori­zon (and the won­der­ful Frank Capra film made from it); the racist pseu­do-sci­ence of the Nazis, who were fas­ci­nat­ed with Tibet; the absur­di­ties in the immense­ly pop­u­lar books by “Lob­sang Ram­pa”; to mod­ern adver­tiz­ing that exploits the image of the Dalai Lama, and cur­rent movies that still insist on see­ing only the reli­gious and “spir­i­tu­al” side of Tibetan life.

The author is not actu­al­ly angry about all this non­sense, but he is painful­ly aware that few peo­ple are inter­est­ed in the real­i­ty of Tibet, or the peo­ple of Tibet. Read more »

14667. (Tab Hunter & Eddie Muller) Tab Hunter Confidential

06-05-13 14667. (Tab Hunter & Eddie Muller) Tab Hunter ConfidentialI was sur­prised at how much I learned about how Hol­ly­wood works from this biog­ra­phy of a star of the 1950’s. Tab Hunter was a “heart-throb”, an actor who was mar­keted for his hand­some­ness. I frankly don’t find his kind of looks very attrac­tive, but many peo­ple do. His auto­bi­og­ra­phy is “co-authored”, prob­a­bly mean­ing that Hunter was exten­sively inter­viewed, pro­vided tape record­ed rem­i­nis­cences, and the “co-author” put it togeth­er in first-per­son voice. It’s a per­fectly valid way for an actor, who doesn’t hap­pen to be an expe­ri­enced writer, to tell his sto­ry. In this case, the result seems to be unusu­ally hon­est. Hunter stum­bled into movie act­ing, and was ini­tially suc­cess­ful because of his looks. He was gay, and went through the com­plex­i­ties, strate­gies, and per­ils that gay actors had to face in the 1950s. What it par­tic­u­larly charm­ing about the nar­ra­tive is the fact that Hunter (real name Arthur Andrew Kelm), who had an impov­er­ished child­hood in a rather dis­func­tional sin­gle-par­ent fam­ily, was in per­son a rather bash­ful, ret­i­cent, and psy­cho­log­i­cally con­ser­v­a­tive per­son, more com­fort­able with hors­es than peo­ple. His whole­some, boy-next-door image was not an act. How­ever, he was able to attract peo­ple like Antho­ny Perkins and Rudolf Nureyev as lovers. He moved eas­ily in sophis­ti­cated cir­cles in the the­atre, and in Europe’s high soci­ety, with­out alter­ing his per­sona. His act­ing career has nev­er been tak­en seri­ously, though he did some fine work on the stage and in tele­vi­sion, and clear­ly cared deeply about his craft. He strug­gled to get roles that didn’t con­sist most­ly of pos­ing shirt­less. But in the end, he was done in by cul­tural shifts that put his image out of fash­ion. His most intel­li­gent career move was to appear in John Waters’ 1980 low bud­get cult film, Poly­ester. That, and pub­licly com­ing out of the clos­et, won him the respect he had nev­er got­ten as a teen idol. The book is not vin­dic­tive, but it gives a very believ­able account of some of the nas­tier things that went on in the film indus­try in the 1950’s and 1960’s.

14554. (Michel Tremblay) Quarante-quatre minutes, quarante-quatre secondes

PARIS - OCTOBER 19: (FILE PHOTO) Canadian author Michel Tremblay poses while at the Book Fair America in Paris,France on the 19th of October 2002. (Photo by Ulf Andersen/Getty Images)Michel Trem­blay is a giant in Cana­dian lit­er­a­ture, but anglo­phone read­ers are gen­er­ally only famil­iar with his plays. Les Belles-Soeurs (“The Sis­ters-in-Law”) trans­formed french-lan­guage the­atre in Cana­da. He was def­i­nite­ly a van­guard, writ­ing vivid­ly in a col­lo­quial Cana­dian, and explor­ing new sub­ject mat­ter. Over the years, Trem­blay built up a huge cor­pus of work, includ­ing many nov­els and tele­vi­sion dra­mas in addi­tion to the plays, a “comédie humaine” from the sinews of Mon­treal. Trem­blay is an odd­ity, an open­ly gay author who is best known for his under­stand­ing of women. Sat­is­fy­ingly com­plex roles for female actors are hard to find on the stage, and Trem­blay has earned their grat­i­tude and respect.

This is the first of his nov­els that I’ve read. The main char­ac­ter is a singer whose career stalled after a sin­gle album. The book focus­es on the peri­od in the ear­ly 1960s when Montreal’s music scene was espe­cially vital. Félix Leclerc, Gilles Vigneault, Monique Leyrac, Clé­mence Desrochers, Claude Léveil­lée and oth­ers were cre­at­ing fab­u­lous songs, many of them with extra­or­di­nar­ily beau­ti­ful lyrics*. Trem­blay inter­weaves his­tory and fic­tion del­i­cately. The prose style is very, very Cana­dian, anchored in real speech and real thought, with­out any affec­ta­tions. The peo­ple are com­plete­ly believ­able. The sto­ry is struc­tured as an album: ten songs, ten sit­u­a­tions, ten med­i­ta­tions on what might have been. It explores some­thing hard­ly touched on by writ­ers, the soul search­ing of a life that is nei­ther trag­ic nor tri­umphant, but caught, like most of us are, some­where in between. Read more »

14658. [2] (William Shakespeare) Henry V [play]

At first glance, Hen­ry V seems to be one of Shakespeare’s sim­pler plays. It is often inter­preted as straight­for­ward patri­otic pro­pa­ganda. Lau­rence Olivi­er treat­ed it more or less this way in his bril­liant 1944 film ver­sion. But the play con­tains many ele­ments that don’t fit into this inter­pre­ta­tion. I’m more inclined to see it as a study of how a charis­matic fig­ure can delude oth­ers and him­self, using var­i­ous tech­niques of manip­u­la­tion. Shake­speare was always aware of these tech­niques. Marc Antony’s speech to the plebs in Julius Cae­sar is prac­ti­cally a text­book on how to manip­u­late a crowd. Hen­ry uses sim­i­lar meth­ods to keep his war in France rolling, and Shake­spear iron­i­cally points out the end results for the ordi­nary men who are caught up in his ambi­tions. He does this very sub­tly, how­ev­er. The play also con­tains the ances­tor of all those Amer­i­can World War II movie scenes where the infantry pla­toon has a guy from Texas, a guy from Iowa, a guy from New Eng­land, and a guy from Brook­lyn, each with his accent and com­ic shtick. In this case, it’s Gow­er (Eng­lish), Fluellen (Welsh), Mac­mor­ris (Irish) and Jamy (Scot­tish) each play­ing out their eth­nic stereo­types which, appar­ent­ly, have remained unchanged for the last five hun­dred years.

14657. (Dan O’ Neill) The Firecracker Boys

06-05-05 READ 14657. (Dan O’ Neill) The Firecracker Boys pic 1

Edward Teller in a Lawrence-Liv­er­more Labs pub­lic­i­ty photo.

In 1958, the Atom­ic Ener­gy Com­mis­sion made a con­certed effort to con­vince the cit­i­zens of Alas­ka to allow them to explode a series of nuclear weapons on the north­west­ern coast of that state. The effort was direct­ed by Edward Teller, the “father of the hydro­gen bomb”, who trav­elled to Alas­ka to pro­mote the idea. Teller was a for­mi­da­ble oppo­nent of the nuclear test ban treaty. Pres­i­dent Eisen­hower, already extreme­ly dis­trust­ful of what he was already begin­ing to think of as the “mil­i­tary-indus­tri­al com­plex” and expe­ri­enced in the real pol­i­tics of war, was not swayed against the treaty, but he was amenable to Teller’s claims that nuclear weapons could be used for peace­ful pur­poses. The Alas­ka project was at first dubbed “Ploughshare” and then lat­er changed to “Char­i­ot”.

The project was to use nuclear weapons to exca­vate a huge har­bour in a place where it had no con­ceiv­able eco­nomic util­ity, and where it would wreak spec­tac­u­lar destruc­tion of both the ecosys­tem and the human com­mu­nity. It was pro­moted to the Alaskans with raz­zle-daz­zle, con­stantly chang­ing jus­ti­fi­ca­tion, and a land­slide of bare-faced lies. Teller him­self appears to have been an almost path­e­l­og­i­cal liar. Alaskans were told the most fan­tas­tic and absurd things imag­in­able, any con­coc­tion of untruths and half-truths that would pla­cate doubts or shut up oppo­si­tion. Pre­dictably, the local Cham­ber of Com­merce types, the Press, and State leg­is­la­tors jumped on the band­wagon. Here is an exam­ple of the kind of think­ing dis­played by the Anchor­age Times: “Ask­ing Alaskans for a deci­sion on this pro­posed atom exper­i­ment is like a doc­tor ask­ing his patient whether he wants an oper­a­tion. The eas­i­est answer is ‘no’. The doc­tor usu­ally tells the patient he must have one for his own good, and the patient does as the doc­tor says. The atom sci­en­tists are the doc­tor in this case. If they say that ade­quate safe­guards for life and prop­erty have been pro­vided, how can lay­men say oth­er­wise?” Wow, there’s some rugged indi­vid­u­al­ism and crit­i­cal jour­nal­ism for you. Read more »

Tuesday, May 2, 2006 — Death of Jane Jacobs

06-05-02 BLOG Tuesday, May 2, 2006 - Death of Jane JacobsJane Jacobs died last week. I did not always agree with her ideas, but I always had tremen­dous respect for her intel­lect and integri­ty. She was among the century’s most bril­liant and orig­i­nal thinkers, and her pres­ence alone made my city of Toron­to an impor­tant intel­lec­tu­al center.

She was born in 1916, in Scran­ton Penn­syl­va­nia. Her first, and best-known book, The Death and Life of Great Amer­i­can Cities, was pub­lished while she still lived in New York City. It rev­o­lu­tion­ized think­ing about urban plan­ning and the nature of city neigh­bour­hoods. But her sub­se­quent books are equal­ly impor­tant. They log­i­cal­ly moved from the small scale ques­tions she began to ask, such as “why is one street pop­u­lar and safe, and anoth­er shunned and dan­ger­ous?”, through pro­gres­sive­ly larg­er issues of macro-eco­nom­ics, and final­ly to unex­plored areas of ethics. She moved to Toron­to, with her archi­tect hus­band, in 1969, large­ly because of her oppo­si­tion to the Viet­nam War. Once in Toron­to, she quick­ly became a pub­lic fig­ure, spear­head­ing oppo­si­tion to urban poli­cies that had already crip­pled many Amer­i­can cities. Thanks to her influ­ence, Toron­to avoid­ed many of these dis­as­ters. Like any tru­ly good thinker, she man­aged to be arrest­ed at least twice, but she was nev­er an enthu­si­ast for the pos­es and pre­tens­es of the pro­fes­sion­al “activist”. What she was good at was look­ing at the real world with­out the fil­ter of ide­o­log­i­cal ortho­doxy, and then writ­ing down her com­mon-sense con­clu­sions with in a clear, sim­ple style, more akin to the work of Mon­taigne than to the obscu­ran­tist fash­ions of her time. So it didn’t sur­prise me when I learned that, as a lone­ly child, she amused her­self by car­ry­ing on imag­i­nary con­ver­sa­tions with Thomas Jef­fer­son, Ben­jamin Franklin, and an Anglo-Sax­on chief­tain named Cerdric.

I first read her work when I was a teenag­er. One sen­tence of hers had a pro­found impact: “There is a qual­i­ty even mean­er than out­right ugli­ness or dis­or­der, and this mean­er qual­i­ty is the dis­hon­est mask of pre­tend­ed order, achieved by ignor­ing or sup­press­ing the real order that is strug­gling to exist and to be served.” Remem­ber­ing this sen­tenced saved me many times from being tak­en in by the waves of fake “ratio­nal­ism”, pseu­do-sci­ence, and mys­ti­cism mas­querad­ing as rea­son, that char­ac­ter­ized the cen­tu­ry I grew up in. John Sewell, the may­or of Toron­to who actu­al­ly took her ideas seri­ous­ly, did not waste time explain­ing her writ­ings, or their mean­ing. Instead, he spoke of her as a charm­ing din­ner com­pan­ion, addict­ed to sweets (espe­cial­ly but­ter tarts), and relent­less­ly curi­ous and ques­tion­ing. Sewell was even­tu­al­ly oust­ed by an alliance of devel­op­ers, cor­rupt police, and sleazy politi­cians, but in his term in office, Toron­to blos­somed, while oth­er North Amer­i­can cities sank into decay and chaos. Many cred­it this pos­i­tive era to her influ­ence. The sad thing is that Jane’s strug­gle will go on in a new form. In all like­li­hood, her ideas will be over­sim­pli­fied and grotesque­ly dis­tort­ed, and used by some future gen­er­a­tion to do harm. That is the most hor­ri­ble thing about being an orig­i­nal thinker.

READINGAPRIL 2006

(Dr. Seuss & Alexan­der Abing­don) The Omnibus Boners:
. . . . 14638. (Dr. Seuss & Alexan­der Abing­don) Bon­ers, Being a Col­lec­tion of Schoolboy
. . . . . . . . . Wis­dom, or Knowl­edge as it is Some­times Writ­ten, Compiled
. . . . . . . . . from Class­rooms and Exam­i­na­tion Papers by Alexan­der Abingdon &
. . . . . . . . . Illus­trat­ed by Dr. Seuss
14639. (Dr. Seuss & Alexan­der Abing­don) More Boners
14640. (Dr. Seuss & Alexan­der Abing­don) Still More Boners
14641. (Osamu Tezu­ka) Phoenix ― A Tale of the Future [graph­ic novel]
Read more »

14653. (Lili Réthi & William W. Jacobus) Manic 5: The Building of the Daniel Johnson Dam

06-04-26 READ 14653. (Lili Réthi & William W. Jacobus) Manic 5 The Building of the Daniel Johnson Dam pic 1

Giant hydro-elec­tric dams are not exact­ly a pop­u­lar sub­ject, these days, but, eco­log­i­cal con­sid­er­a­tions aside, the build­ing of Man­ic 5 cer­tainly pro­vides a heavy dose of awe and romance. Few tourists take the trou­ble to jour­ney into the remote dis­trict in North­ern Que­bec where this huge struc­ture is. It’s not just the gigan­tic sta­tis­tics (even the 735,000-volt trans­mis­sion lines were an engi­neer­ing achieve­ment on an unprece­dented scale), but the human dra­ma of its con­struc­tion. The authors cap­ture this in both prose and about a hun­dred beau­ti­ful draw­ings. Lili Réthi, who looked some­thing like Miss Marple, was one of the great­est archi­tec­tural and engi­neer­ing artists, and she died short­ly after com­plet­ing the Man­ic 5 draw­ings. Her work, which is of great artis­tic val­ue in my view, is known only to archi­tects and engineers.

06-04-26 READ 14653. (Lili Réthi & William W. Jacobus) Manic 5 The Building of the Daniel Johnson Dam pic 2

The reser­voir cre­ated by Man­ic 5 is even more inter­est­ing than the dam. Any­one who has spent any time in Earth orbit is quite famil­iar with it, since it stands out like a bull’s‑eye, seen from space. The project flood­ed the impact crater cre­ated by a five km wide aster­oid that struck Que­bec towards the end of the Tri­as­sic. The Man­i­coua­gan lake acts as a giant hydraulic bat­tery for Hydro-Que­bec. In the peak peri­od of the win­ter cold, the tur­bines are run all the time at peak load to meet the mas­sive elec­tri­cal heat­ing needs of the province. Dur­ing the sum­mer, the sur­plus is sold to the New Eng­land grid. The island inside the lake is larg­er than Rhode Island. Some of the lakes with­in the island with­in the lake have large islands in them. As far as I know, there are no inhabitants.

14652. (Evangeline Walton) Prince of Annwn, the First Branch of the Mabinogion

The Mabino­gion is a com­pi­la­tion of Welsh leg­end that we know from two medieval man­u­scripts, the Llyfr Gwyn Rhy­d­derch (White Book of Rhy­d­derch) and the Llyfr Coch Hergest (Red Book of Hergest). J. R. R. Tolkien was expert in these sources, and it’s not sur­pris­ing that there are echoes of the Mabino­gion in the Lord of the Rings. Evan­ge­line Wal­ton worked more direct­ly with the Welsh mate­r­ial. Prince of Annwn is pret­ty much a retelling of the first tale, “Pwyll, Prince of Dyfed”. She attempts to strike a bal­ance between the orig­i­nal myth­ic style of sto­ry-telling and mod­ern nov­el­is­tic tech­niques. The result is very sat­is­fy­ing. It doesn’t feel “mod­ern”, but it sat­is­fies the mod­ern taste for nar­ra­tive sur­prise and dra­ma. Her vocab­u­lary and phras­ing are well cho­sen: she uses an “ele­vated”, poet­ic prose with­out sound­ing sil­ly, a very dif­fi­cult trick indeed.

I’ve read two dif­fer­ent trans­la­tions of the Mabino­gion (the Ganz and the Jones & Jones ver­sions), so I’m not sure how it comes across to some­one who has nev­er known the mythol­ogy. Wal­ton stays rea­son­ably close to the orig­i­nal, though she throws in a few unre­lated bits from the Irish epics for dra­matic pur­poses. Welsh mythol­ogy is as misty and dis­con­cert­ing as the Welsh land­scape: you can nev­er tell what is sup­posed to be real or dream, nat­ural or super­nat­ural. I spent a week walk­ing through the Welsh moun­tains, and I’m still not sure what actu­al­ly hap­pened to me and what I halu­ci­nat­ed. Walton’s fan­tasy cap­tures that feeling.

14645. (David R. Row) Executed on a Technicality

The last public hanging in the U.S., in Owensboro, Kentucky on June 7, 1936

The last pub­lic hang­ing in the U.S., in Owens­boro, Ken­tucky on June 7, 1936

David Row is a defense lawyer in Texas, the Amer­i­can State where the death penalty’s injus­tice and bar­barism are most glar­ingly evi­dent. The pic­ture of Texas “jus­tice” that he draws makes it clear that there is no more of a judi­cial sys­tem there than in any sleazy Com­mu­nist dic­ta­tor­ship. Since 1996, the Con­ser­v­a­tive move­ment has launched a suc­cess­ful assault on the most fun­da­men­tal prin­ci­ples of com­mon law and lib­erty. Row is work­ing from with­in the sys­tem, and with­in his soci­ety, so his approach to the sub­ject seems rather timid to an out­sider. In his uni­verse, he is fight­ing an uphill bat­tle, like a doc­tor try­ing to con­vince a prim­i­tive tribe that dis­ease is caused by germs, not witch’s curs­es. For that is the real sit­u­a­tion. Eighty per­cent of Amer­i­cans are enthu­si­as­tic sup­port­ers of the death penal­ty, not because of any rea­son­ed analy­sis, but because they are igno­rant sav­ages. They do it for the same rea­son that Aztecs ripped the hearts out of sac­ri­fi­cial vic­tims and the Tal­iban exe­cuted women in foot­ball fields. It is in that kind of social envi­ron­ment that the Con­ser­v­a­tive agen­da of destroy­ing free­dom and civ­i­liza­tion can run ram­pant. To some­one who lives out­side this back­ward world (and out­side the ram­page of crime and sense­less mur­ders that it per­pet­u­ates), it is just embarrass­ing to read a book that shouldn’t have to be written.