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Word-worthy Pictures

Chris Ware's comic art

Tim Marchman, in the “New York Post”, has an excellent review of Chris Ware’s comic work. Tim discusses the various things that word novelists can do and those that graphic novelists can do; it’s not that the graphic novel is the better device, but that Chris Ware is a very very fine graphic novelist, better at what he does than most of his contemporaries who are word novelists are at what they do.

Lamenting the absence of qualities in contemporary novelists basically amounts to lamenting the lack of ideas, and, more importantly, the lack of ideas expressed as emotions. These are just what you find in Chris Ware’s Acme Library of Novelty, an anthology of comic strips that was the best fiction of the season. His ideas are all about the way technology is alienating us not only from our own potential but from our ability to imagine it—the major subject of our time. While the emotional range of his work is in some ways limited, mainly playing variations on a few themes of aching emptiness, regret, shame, cruelty and remorse, that’s fitting given his themes and the contours of his medium. (It also exceeds the range of most novelists working in prose, who display little beyond a smug, preening vanity.)

Here’s a link to Fantagraphics Chris Ware page. And if you haven’t read Ware’s great comic novel from several years ago, “Jimmy Corrigan: The Smartest Kid on Earth”, read it now.

Thanks to Boing Boing for the link.

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School of Morals

Philip PullmanLast week’s issue of The New Yorker had a fine article on Philip Pullman, whose superb trilogy, His Dark Materials, makes Narnia and Harry Potter look like, well, kids’ books by comparison. The article calls the trilogy “the first fantasy series founded upon the ideals of the Enlightenment rather than upon tribal and mythic yearnings for kings, gods, and supermen”. A thrilling plotline, inventively developed, complex and sympathetic characters, and a prose style that refuses to condescend to its adolescent audience all combine to make Pullman’s books a rich reading experience. And it’s an experience that’s carefully tailored to improve the moral education of its readers.

The New Yorker article covered a speech that Pullman made at the University of East Anglia on the subject of “Religion and Education”. Pullman’s speech contrasted morality as it’s preached by theistic religion—morality based on fear, focussed on sexuality, obsessed by God—with the lessons in behavior that are transmitted through stories with “morals”—lessons about acting decently, thoughtfully, independently, with kindness and courage.

In his speech, Pullman contended that the literary School of Morals is inherently ambiguous, dynamic, and democratic: a “conversation.” Opposed to this ideal is “theocracy,” which he defined as encompassing everything from Khomeini’s Iran to explicitly atheistic states such as Stalin’s Soviet Union. He listed some characteristics of such states—among them, “a scripture whose word is inerrant,” a priesthood whose authority “tends to concentrate in the hands of elderly men,” and ‚”a secret police force with the powers of an Inquisition.” Theocracies, he said, demonstrate “the tendency of human beings to gather power to themselves in the name of something that may not be questioned.”

This impulse toward theocracy, he announced at the end of his speech, “will defeat the School of Morals in the end.” He sounded oddly cheerful making this prediction; in his books, Pullman enjoys striking a tone of melancholy resolve. He continued, “But that doesn’t mean we should give up and surrender. . . . I think we should act as if. I think we should read books, and tell children stories, and take them to the theatre, and learn poems, and play music, as if it would make a difference. . . . We should act as if the universe were listening to us and responding. We should act as if life were going to win. . . . That’s what I think they do, in the School of Morals.”

Consider the marks of a theocracy as Pullman identifies them. And then consider the behavior of the anointed leader of our country and the elderly men who surround and advise him. His Dark Materials ends with a difficult journey through a cold dark land, and an achingly sorrowful sacrifice. Are we prepared to make such a sacrifice to save our enlightenment values from the theocracy that threatens to destroy them?

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reject the one true God
respect rationality

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Kate Moss

Her sad story brings to mind this lovely poem by W.B. Yeats.

Kate Moss

A Prayer for My Daughter

Once more the storm is howling, and half hid
Under this cradle-hood and coverlid
My child sleeps on. There is no obstacle
But Gregory’s wood and one bare hill
Whereby the haystack- and roof-levelling wind,
Bred on the Atlantic, can be stayed;
And for an hour I have walked and prayed
Because of the great gloom that is in my mind.

I have walked and prayed for this young child an hour
And heard the sea-wind scream upon the tower,
And under the arches of the bridge, and scream
In the elms above the flooded stream;
Imagining in excited reverie
That the future years had come,
Dancing to a frenzied drum,
Out of the murderous innocence of the sea.

May she be granted beauty and yet not
Beauty to make a stranger’s eye distraught,
Or hers before a looking-glass, for such,
Being made beautiful overmuch,
Consider beauty a sufficient end,
Lose natural kindness and maybe
The heart-revealing intimacy
That chooses right, and never find a friend.

Helen being chosen found life flat and dull
And later had much trouble from a fool,
While that great Queen, that rose out of the spray,
Being fatherless could have her way
Yet chose a bandy-leggd smith for man.
It’s certain that fine women eat
A crazy salad with their meat
Whereby the Horn of Plenty is undone.

In courtesy I’d have her chiefly learned;
Hearts are not had as a gift but hearts are earned
By those that are not entirely beautiful;
Yet many, that have played the fool
For beauty’s very self, has charm made wise,
And many a poor man that has roved,
Loved and thought himself beloved,
From a glad kindness cannot take his eyes.

May she become a flourishing hidden tree
That all her thoughts may like the linnet be,
And have no business but dispensing round
Their magnanimities of sound,
Nor but in merriment begin a chase,
Nor but in merriment a quarrel.
O may she live like some green laurel
Rooted in one dear perpetual place.

My mind, because the minds that I have loved,
The sort of beauty that I have approved,
Prosper but little, has dried up of late,
Yet knows that to be choked with hate
May well be of all evil chances chief.
If there’s no hatred in a mind
Assault and battery of the wind
Can never tear the linnet from the leaf.

An intellectual hatred is the worst,
So let her think opinions are accursed.
Have I not seen the loveliest woman born
Out of the mouth of Plenty’s horn,
Because of her opinionated mind
Barter that horn and every good
By quiet natures understood
For an old bellows full of angry wind?

Considering that, all hatred driven hence,
The soul recovers radical innocence
And learns at last that it is self-delighting,
Self-appeasing, self-affrighting,
And that its own sweet will is Heaven’s will;
She can, though every face should scowl
And every windy quarter howl
Or every bellows burst, be happy still.

And may her bridegroom bring her to a house
Where all’s accustomed, ceremonious;
For arrogance and hatred are the wares
Peddled in the thoroughfares.
How but in custom and in ceremony
Are innocence and beauty born?
Ceremony’s a name for the rich horn,
And custom for the spreading laurel tree.

William Butler Yeats, June 1919

observe the passing scene
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Spring

Edna St. Vincent Millay(At home, Spring has been around a while, and is close to turning hot into Summer. But we are in Maine, where Spring comes late, and these pictures, which I took last week on a cool foggy morning, reminded me of Edna St. Vincent Millay’s wonderful little poem…)

Red leaves opening stickily

Spring

To what purpose, April, do you return again?
Beauty is not enough.
You can no longer quiet me with the redness
Of little leaves opening stickily.
I know what I know.
The sun is hot on my neck as I observe
The spikes of the crocus.
The smell of the earth is good.
It is apparent that there is no death.
But what does that signify?
Not only under ground are the brains of men
Eaten by maggots,
Life in itself
Is nothing,
An empty cup, a flight of uncarpeted stairs.
It is not enough that yearly, down this hill,
April
Comes like an idiot, babbling and strewing flowers.

From Second April, by Edna St. Vincent Millay
Strewn flowers

love Maine
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Isaac Newton

Isaac Newton

I just finished Isaac Newton, by James Gleick. Gleick writes with exceptional grace; the book is small; the notes are entertaining and unobtrusive; and the subject is fascinating: all that commends the book.

There’s never been anyone like Isaac Newton. He claimed, famously, insincerely, in language that Gleick shows most entertainingly to have been plagiarized from one of several contemporary sources, that if he saw farther than other men, it is because he “stood on the shoulders of giants”. But the truth is that lots of Newton’s predecessors and contemporaries had climbed onto those same shoulders, and none saw what Newton saw. They couldn’t have, because it wasn’t there until Newton put it there. He didn’t “discover” gravity; he invented it. He invented the term and the concept that the term referred to, and to make the concept work, he had to invent the concepts of “space”, and “mass”, and “time” (at least in our modern sense of the term—a precisely, minutely measureable succession of moments), along with the method of the calculus to do the necessary math.

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