L'INCONNUE DE LA SEINE

Do you know about her?

The story goes like this . . .


In the 1880s the corpse of a young girl was found floating in the
Seine.  The body showed no marks of violence, so it was assumed the
girl committed suicide.  She was never identified.


Apparently
a doctor working in the Paris morgue was so taken by her beauty that he
made a death mask of her face.  Somehow copies of the death mask
started circulating — Romantic artists in particular fell in love with
it and hung it on the walls of their studios.  When people couldn't get
copies of the cast they settled for photographs of it, and some artists
even made new sculptures based on the photographs.  It became a cult
object.  L'Inconnue de la Seine — the Unknown Girl of the Seine, as she
came to be called — was mentioned in a number of works of 20th Century
literature.


However . . .

. . . modern experts say
that the original cast could not possibly be a death mask, especially
one taken from a corpse which had spent any time in water, because it's
too detailed and the skin is too firm and full over the skull.  They
say it was made from a living model, probably around sixteen years of
age.


The true model, like the original corpse, has never been identified.



André
Bazin said that a film image has the same relationship to the reality
it records that a death mask has to the face of the corpse it's taken
from — a kind of shared “identity” based on a strict point to point
correspondence.  Glamorizing a dead girl by worshiping a cast of her
face may seem like a Victorian eccentricity — but in our time we
worship the images of long-dead movie stars in just the same way.  The
photographic “casts” of their faces and forms, in motion no less, still
have glamor . . . and it's partly the glamor of loss, of death.



The “death mask” of L'Inconnue de la Seine had a certain false piquance
supplied by the fact that it was, in fact, a life mask.  (“So alive — even in death!”)  It's a
different kind of object in our time, because the living girl whose
face it reproduced has long since died.  But she was a star in her time
— and remains one, like Judy Garland, Marilyn Monroe . . . and, in her own more sublime and serious way, Neda.

ONE LIFE

The unarmed woman in the picture above was shot dead on the streets of Tehran today.  She was apparently standing off to the side with her father watching the protests when she was shot through the chest by a member of the official “militia” on a nearby rooftop.  I wonder how this brave and devout fellow is sleeping tonight.  I wonder how the sick, wicked old men who unleashed this horror are sleeping tonight.

It has been reported that the name of the murdered women is Neda — which is Farsi for “voice”.  It has not been silenced.  Her name has flown around the world on the Internet with the speed of angels in flight.  Pictures of her bloody face have been taken up by the protesters in Iran as a symbol of their rising.

I'm sorry to post it here — I know it's hard to look at — but it helps me realize that the hands reaching down to save her must be our hands, too.  We are all Iranians now.  An anonymous Tweet from someone in Iran:

I had one vote.  I gave it to Mousavi.  I have one life.  I will give it for freedom.

In terrible moments like this we realize how important and powerful one life can be.

Mousavi says he is ready for martyrdom.  Will the sick, wicked old men demand that of him?  If so, they will join the dust heap of history far quicker and far sooner than anyone could have imagined ten days ago.

ONE WORLD, ONE CULTURE, ONE HOPE

A protester on the streets of Iran this week holding up a hand puppet with a sign that reads:

Real face of a liar dictator.



If you're the praying sort, pray for those on the streets of Iran today.  If not, keep your fingers crossed.

A VOICE CRYING OUT IN THE DESERT

John Ensign is one of my Senators here in the great state of Nevada.  For years he's been speaking out forcefully against the legal recognition of same-sex unions, on the grounds that it represents a threat to the sanctity of traditional marriage.

Some might say that he has pontificated self-righteously on the subject, but you have to understand that John saw legal same-sex unions as a clear and present danger to the very foundations of human civilization.

Recent events have tended to confirm his view beyond a reasonable doubt.

When John heard that Vermont, Maine and Iowa (of all places!) had recognized same-sex unions he immediately began fucking someone who was not his his wife.  Who can blame him?  If two fags in Iowa could get the same civil benefits of marriage that used to be reserved for heterosexual couples exclusively, what possible motivation remained for John to honor the sanctity of his own marriage vows?

Vermont, Maine, Iowa — please, in the name of all that's holy!  Repeal your laws recognizing same-sex unions now and help save John Ensign's marriage before it's too late!



John is not a bad person.  He's stepped up to the plate, taken responsibility and expressed contrition for his actions.  All it took for him to do this was a threat of blackmail.  If rumors of other “indiscretions” prove to be true, I'm sure he'll express the same contrition for each of them — all in good time . . . just as soon as the gentle prod of blackmail is applied.

Meanwhile . . . for shame, Iowa — for shame!

A TOUCH OF ROMANCE FOR TODAY

The illustration above for a romance story in a women's magazine from 1959 (I'm not sure which one) was done by Coby Whitmore, who specialized in such stories and in magazine ads for women's products.

Whitmore was part of a new wave in magazine illustration in the late Forties that broke away from the Norman Rockwell school — but not too far.  The artists of this generation still relied on an almost photorealistic draftsmanship but began to get freer, more painterly, with the treatment of the surface of the image and moved towards bolder graphic effects in the overall design.  Backgrounds often became highly abstracted — a contrast to the meticulously rendered environments of Rockwell's most characteristic work.  The image below is an illustration for a romance story in a 1957 issue of Good Housekeeping:

The images of the new-wave artists still had a strong narrative element but it was more intimate, trying to capture fleeting moments and moods, focusing on the characters depicted with a view to glamorizing them.

This approach would come to dominate pulp-fiction paperback covers in the late Fifties and Sixties and informs the style of artists like Robert McGinnis.  It's also related to the photorealistic but graphically striking soap-opera comic strips of the Fifties like Mary Perkins On Stage.

CHRISTMAS WITH KEROUAC: THE NAZARETH PRINCIPLE


                                                                  [Jack Kerouac, photograph with annotations by Allen Ginsberg]

I pulled into Nazareth, I was feelin' 'bout half past dead.


                                     — Robbie Robertson



Paul Zahl and his wife Mary recently moved from Maryland to Florida. 
On the road with a friend, hauling his belongings south, Paul had a
rendezvous with the Ghost of Christmas Past:



Our son Simeon says that faith is summed up in something he calls the
“Nazareth principle”.  This refers to the question in the New Testament
where someone scoffs at Jesus the carpenter by asking, “Can anything
good come out of Nazareth?”



The idea was that Nazareth was a city, in the region of Galilee, which
was known for its “mixed-blood” and therefore suspect practice of
Judaism.  Because the carpenter/prophet came from Nazareth, didn't that
disqualify him from being the real thing?



Yet as Simeon says, in life — time after time — the best things come
from the unlikeliest places.  And this “Nazareth principle” extends to
the fact that out of trouble and wounds, disappointments and closed
doors, come often the actual breakthroughs of personal life.



 


I just saw this “Nazareth principle” up close and personal on a visit
to the town of Rocky Mount, North Carolina.  A friend of mine and I
were driving a rental truck from Washington, D.C. to Orlando, Florida
and I decided to try to find and see a place I dearly love, in my
heart.  This is the house where Jack Kerouac used to come at Christmas
during the mid-1950s in the midst of his wild ride of a life.  Whether
Kerouac was in Manhattan, San Francisco, or Mexico City, he always
hitchhiked his way back home for Christmas.  And home for Kerouac was
wherever his mother, “Memere”, was.


 


Because Kerouac's sister, Caroline, and her husband Paul, and their
little boy Paul were living in Rocky Mount for a period of years, home
for Christmas meant there.




This was Kerouac's most intense Buddhist phase, which also meant a 24/7
dialogue with Christianity, his inherited religion.  The weeks in Rocky
Mount are described in great detail in his notes on religion, which
were published posthumously as
Some of the Dharma.  Kerouac would
meditate almost every night in Twin Pine Grove behind his sister's
house, and write down every single word and vision that occurred to him.


He also composed his book
Visions of Gerard at the kitchen table in Rocky Mount.


 


So I wanted to see where these great words came to him, to “heav'n's
recording angel” — Allen Ginsberg's phrase for his friend Jack Kerouac.
  [Below, a very young Allen Ginsberg:]

But I had no address.

 


What I did have was a photograph of the house, taken by a local
journalist and published on her blog.  I also knew that the house was
in a section of Rocky Mount about three miles outside of town which
used to be called Big Easonburg Woods but is now called West Mount.  This
is all that my friend Michael McDowell and I had to go on — the name
for the neighborhood and a photograph of a tiny frame house painted
blue-gray with purple shutters.


 


So we pulled our Budget truck off Route 95 and made our way to a long
road called West Mount Drive, then just started driving and looking.  There
were a lot of big trucks and no one had any patience with our little
moving van with its caution lights flashing.  We drove about a mile and
saw several houses that might have been the one.  And then . . .


                                                    [Photo © Marion Blackburn]


I saw it!  The handicapped ramp and the colors exactly as in the photograph.


 


At the corner of Cameron Street and West Mount Drive sits the house in
which God spoke to Jack Kerouac.  Or at least that is how I see it. 
The jungled grove of pine trees is right behind the house, there is a
gas station just yards away (in Kerouac's day this was a “cracker”
country store as he described it), and a few small brick bungalows sit
on a dead-end road behind the home.  They each have a satellite dish
and each one looks as if it were built in the mid-1960s.


 


I didn't dare to knock on the door — the house is obviously lived in,
with children's toys scattered in the small backyard — but asked about
it at the gas station.  The man at the desk had never heard of
Kerouac.  Yet this was definitely the house.  I had read about it on
another Kerouac blog, in which the fan had found himself unwelcome when
he looked inside.  But the pictures all matched.


                    [Photo © Daniel Barth]

 


We parked our truck, I walked around, meditated for five minutes — it
was about 100 degrees — and envisaged our man walking around with his
poncho and his dog between two a.m. and five a.m. on those cold
December and January nights in 1956.  That the genius, like the Son of
Man, had “no place to lay his head” except for this tiny little spot in
the “back of beyond”, is simply an astonishing fact of human existence
and history.



 


I don't know if you've ever had the chance to read
Visions of Gerard,
but it is sublime.  It tells the story of the death of Jack's older
brother at age nine, in Lowell, Massachusetts — a kind of saint, this child.  And
the author gives his tale and his interpretation of the tale absolutely
everything he has.  It is a masterpiece that I recommend to everyone,
especially if religion interests you.  On one page Jack is a
Samsara-diagnosing Buddhist; on another, a Crown of Thorns Christian, of
piercing conscience and intention.  And he wrote the inspired little
book at the kitchen table of this house on West Mount Drive at the
corner of Cameron Street.


 


Later that night, Michael and I stopped at the house of friends in the
Low Country of South Carolina.  It was and is one of that region's most
beautiful and soulful plantations, an ante-bellum house of exquisite
taste and proportions.  We had a wonderful time, with lovely,
thoughtful people.



 


But I myself was still in Rocky Mount!  How could it be that “God”/A
Higher Power/Karma/The Father of All could have set up a world in which
one of His finest and most gifted spirits would have no settled home
save this tiny refuge, covered now,
and even then, with the dust of passing trailers and trucks and “Dukes
of Hazard” Corvettes.  Yet that's the way it really is.  And there is
something to this affinity with a Man of Sorrows that struck me on
Monday afternoon, and definitely struck Kerouac even back then as he
wrote his notes in the Carolina dawn, which mirrors the facts of
suffering life.


 


Nowhere could the Nazareth principle be more concrete than in Rocky
Mount, North Carolina, off Wesleyan Boulevard on that long industrial road which
cuts through Big Easonburg Woods.

Jack Kerouac rests far from Rocky Mount, in Lowell, Massachusetts, where his grave (above) is also a place of pilgrimage, but you just know that his restless spirit is still on the road — that we're likely to encounter it anywhere, from Bodh Gaya to Nazareth to West Mount Drive.

[Note:  Fans of Paul Zahl's contributions to this site can now find all his articles (and one about him) at The Zahl File, in the category list to the left.]

A MEXICAN LOBBY CARD FOR TODAY

Mexican lobby cards have a wonderful sort of honesty.  The colorful illustration promises magic, the photographic insert confesses to the kind of banality one will likely find in the film itself.

It hardly matters, since the rumba in question will undoubtedly be caliente.

A THOMAS EAKINS FOR TODAY

“Taking the Count”, from 1896 — one of several very cool Eakins works depicting “the ring”.

Eakins had a decidedly non-Romantic attitude towards his subjects, which attracted a lot of criticism from the art establishment of his day.  As a teacher at the Pennsylvania Academy Of the Fine Arts he preferred to have his students draw from nude models rather than from plaster casts and was ultimately fired for removing the loincloth from a male model while female students were present.  This contrarian strain has given him a bona fides with modern critics — he's one of the few Victorian academic painters it is fashionable to admire.

Whatever.

JUST BEFORE JAZZ

Thomas Riis's fascinating book Just Before Jazz examines the influence of black composers and performers on American musical theater between 1890 and 1915 — that is, just before the era in which the modern book musical began to take shape.

The songs of black composers were very similar in many ways to the popular songs written by white composers, even the white composers of operettas.  A number of black composers in this period (like Will Marion Cook, below) were highly sophisticated, classically trained musicians, capable of writing and performing in any style.  (Many of them were “slumming” in popular theater because of barriers to their involvement in more refined areas of practice.)

What distinguished their work was the incorporation of the sort of syncopations found in ragtime, which became a popular sensation around the turn of the century.  Their work didn't emphasize such syncopations to the degree that ragtime did — they were more like stylistic inflections — but they thrilled audiences of the time.

Among the most popular songs in this period, an astonishing percentage were written by black composers, and they included not only minstrel-type songs but ethnically neutral ones.  It was the purely rhythmic lilt that made the difference.

Almost all of these songs were first done for musical shows originating in New York City, often in Broadway productions, leading Riis to argue that black composers bear the primary credit for introducing black musical strains into the American musical.  Berlin and Kern and Gershwin weren't “reaching down” into an exotic black musical culture for inspiration — they were responding, artistically and commercially, to developments in the world of musical theater all around them.

You have to wonder why these black composers aren't better known today.  Partly it's because the lyrics of many of their songs are offensive to modern ears — the “coon song” was a typical genre, with its caricatures derived from minstrel shows.  As black songwriters became more powerful, however, they toned down the uglier aspects of these caricatures, leaving stereotypes comparable to those attached to other ethnic groups like the Irish and the “Dutch” (as Germans were once called.)  These stereotypes aren't congenial to our present tastes, perhaps, but they aren't exactly vicious, either.

More importantly, these black composers failed to achieve wider celebrity, and failed to enter our cultural memory, because they could not participate fully in the flowering of musical comedy in the later decades of the 20th Century.  Their songs were bought and performed by white performers in vaudeville, were sometimes interpolated into shows with white casts and were disseminated nationally via sheet music, but in the theater, they wrote primarily for all-black shows.  Broadway had a place for such shows, but it was a limited place.

Black composers were very rarely hired to provide complete musical programs for shows with white casts — they never became part of the mainstream of producers, musicians and writers who created the ordinary run of Broadway musicals.  White composers adapted the style of their black peers within an establishment that stayed predominantly white.

So today, when we hear Judy Garland and Margaret O'Brien singing “Under the Bamboo Tree” in the movie musical Meet Me In St. Louis, we likely have no idea that this song, a monster hit in 1903, with a tune that is still familiar and still infectious, melodically and rhythmically, was written by three black men, James Weldon Johnson, his brother Rosamond Johnson and Bob Cole.  Below, a portrait of Cole and Rosamond Johnson:

But the past, of course, as an old Russian saying has it, is always unpredictable.

A ROOM SOMEWHERE

I'm a child of rock and roll.  The first song I remember hearing on the radio, when I was seven years-old, was Elvis Presley's “All Shook Up”.  I don't have a distinct memory of hearing “Hound Dog”, which came out a year earlier, on the radio but I remember some of the cultural fall-out it caused.  I lived in a tiny town in rural North Carolina at the time, and a kid in my first-grade class who lived on a nearby farm brought his guitar to school one day and played the song for us.  I guess it was the first time it dawned on him that knowing how to play the guitar might be seen as a cool thing by his peers.

I remember seeing Elvis perform the song on the Ed Sullivan show, later that year.  A year after that, Jailhouse Rock was the first movie I was ever allowed to go see at night.

I can't say, though, that any of Elvis's songs got to me at that age.  They were just part of the landscape — part of the soundtrack of everyday life.  I didn't really start to appreciate Elvis until I was in my twenties, and didn't own recordings of any of those early hits until then.

The first popular music that got to me came on an LP record.  It was the first LP record my family ever owned, bought to play on our first record player, which my dad brought home as a surprise one day in 1956 and which looked something like this:

It's possible that the LP came with the set, but more likely that my dad bought the player so he could listen to the LP.  It was the Broadway cast recording of My Fair Lady.

This LP was even more popular than Elvis's LPs back then — the My Fair Lady cast recording still holds the record for the most weeks on Billboard's top forty charts.  If my dad bought our first record player just so he could hear it, I'm sure he was doing what tens of thousands of other Americans were doing at the same time.

The extended-play LP — which could fit 26 minutes of music on a side — was only four years old in 1956.  It was developed primarily to fit all the songs from a typical musical on one record, and it was the cast recordings of popular musicals like Kiss Me Kate and My Fair Lady that really established the format.

My dad loved the recording of My Fair Lady and played it over and over.  The song I remember him liking the most was “A Hymn To Him”, with the refrain “Why can't a woman be more like a man?”  The song that got to me was “Wouldn't It Be Loverly?” with its sweet melody and its air of longing:

All I want is a room somewhere,
Far away from the cold night air,
With one enormous chair —
Oh, wouldn't it be loverly?

I'm not sure what I might have been longing for back in those happy times, but the feeling of it struck a chord.

My family always bought the recordings of the big hit Broadway shows — The King and I, Flower Drum Song, Camelot, The Sound Of Music, Funny Girl.  I always loved them, played them over and over, found myself touched by the ballads in particular.  For all that, I never thought of Broadway show tunes as “my music” — when I got to the age when I could choose my own records to buy, they were records of folk and then rock music.  The show tunes were just hidden away somewhere in my heart . . .

. . . until one day, very late in life, I realized what they'd meant to me, what good companions they'd been, what good companions they are and always will be.

“Wouldn't It Be Loverly?” from that 1956 LP still takes me back with uncanny efficiency to the den in my family's house in Belhaven, North Carolina where I first heard it at the age of six.  No other version of the song does this.

Julie Andrews, by the way, was only twenty years-old when she recorded it:


SERUM TO CODFISH COVE (PAGE TEN)

The tenth and final page of “Serum To Codfish
Cove” by the legendary Carl Barks, found on Rodney Bowcock's Comics and Stories blog, which
Mr. Bowcock has sadly just abandoned.

All ends well, of course, though Donald is soon back to his old ways . . . because nothing ever changes too much in Duckburg.

This delightful work has been posted as a tribute to Barks and Mr. Bowcock, whose blog will be missed.

SERUM TO CODFISH COVE (PAGE NINE)

The ninth page of “Serum To Codfish
Cove” by the legendary Carl Barks, found on Rodney Bowcock's Comics and Stories blog, which
Mr. Bowcock has sadly just abandoned.

I said in my comments on the previous page of this story that Donald's
repentance resolved the moral aspect of the fable — the boasting that led Donald into the mess he's in.  He's gotten his comeuppance and he knows it.  This wasn't the moral climax of the tale, though, which comes here, when the nephews decide to give all the credit for their actions to Donald.  This will lead to a final ironic twist in the next and concluding page.

Great cut between the third and fourth panels above.  As usual when the action gets intense, Barks plays with the panel borders to indicate dislocation.  Notice how the head of the spy in the third panel actually violates the border of the first panel, which suggests at first glance that the spy is within the nephews' line of sight, even though he isn't literally sharing the space depicted in the panel.

Stay tuned for the final page of this delightful work, posted as a tribute to Barks and Mr. Bowcock, whose blog will be missed.