Self-portrait with parrots, 1941.
Click on the image to enlarge.
People think Obama is going to come out swinging in the next debate with Romney and make a bid to turn things around. Don’t count on it. Obama doesn’t care about this country. He doesn’t care about The Constitution. He doesn’t care about democracy. He’s going to be richer than Croesus when he leaves office and cashes in his chips with corporate America. Does anyone seriously think he cares about being the spokesmodel for the plutocracy for another four years? Why should he? His campaign managers care, because it means jobs for them in a second Obama administration, but Obama doesn’t need a job again as long as he lives. You saw the real man in the first debate — a guy who’s bored to tears with being President, who’s ready to get paid off.
. . . by Robert Louis Stevenson, written during a serious illness some years before his death, as his own epitaph:
Under the wide and starry sky
Dig the grave and let me lie:
Glad did I live and gladly die,
And I laid me down with a will.
This be the verse you ‘grave for me:
Here he lies where he long’d to be;
Home is the sailor, home from the sea,
And the hunter home from the hill.
It is indeed ‘graved on his tomb (above) on the Samoan island of Upolu, where Stevenson spent his last years.
This is the view from the tomb:
The bas-relief portrait of Stevenson above is by Augustus Saint-Gaudens. You can click on the image to enlarge it.
. . . into dark places.
Above, a 15-foot painting of a very small fish — part of a new collection just unveiled by the mysterious Rebecca Rebouché. You can see the whole collection here — The Unlikely Naturalist.
[Image © 2012 Rebecca Rebouché]
More on Ms. Rebouché’s work here . . .
Paul Zahl reflects on what’s not being talked about in this year’s campaign for President — basically, everything that’s really important:
In the 1982 movie entitled Missing, directed by Costa Gavras, the “Ed Horman” character, played by Jack Lemmon, says to two U.S. Embassy culprits, “At least I live in a country where people like you can be prosecuted for crimes like this one.”
The line becomes ironic, as no one from our country ever was prosecuted for complicity in the murder of Mr. Horman’s son, Charles, in the aftermath of the coup against Salvador Allende in l973 in Chile. The complicity of United States officials in Santiago was later confirmed when a previously classified State Department memo was released during the Clinton administration.
Because Jack Lemmon’s performance as “Ed Horman” is so poignant and so real, it is hard not to identify with him, the grieving father, a devout Christian Scientist businessman from New York City, no matter what your politics are. You identify with the human drama — it really happened, and I myself knew Ed Horman and Charles personally — and you are filled with feeling for him, and you agree with his indignation. He left Chile with the faith that justice would be done, at least in America. It wasn’t. Justice was never done. Mr. Horman died without seeing justice done on behalf of his son.
And what about the violators of habeas corpus at Guantanamo Bay? And the makers and approvers of the “hit lists” of people to be eliminated without capture during an undeclared war? And the idea that extreme distanced combat, conducted by robots and therefore as impersonal as you could almost possibly get, is a good thing? (I grant you, it is an expedient thing.)
Or our “hit makers'” confidence that the lynching of a North African dictator without a trial, in the immediate aftermath of a US drone attack, was justified? (What did our forefathers and foremothers fight for in 1776? Why did they come here?) Or the people who decided to assassinate a world-historical terrorist, no matter how heinous his crimes, without even the possibility of a trial? (Why did this country take the trouble to try war criminals in 1945 and 1946 at Nuremberg? We knew they were guilty. Why try them? I ask you.)
Poor Ed Horman in retrospect! “I knew him, Horatio.” I remember the week that Charles, the Hormans’ only child, was accepted at Harvard College. Mr. Horman was as proud and beaming a father as you could ever see.
Last night, after my wife and I had watched Missing, viewing the movie doubles for people I grew up with, I went over to the bookshelf where I keep my childhood books. There it was: Howard Pyle’s Men of Iron.
The plate inside simply reads: “This Book Belongs to Charles Horman.” (I’d written my own name in pencil over his — I was about seven.) Charles’ plate has a drawing of a dog over it, the kind of drawing he liked so much, the kind of drawing that his Jack Lemmon father, at the end of the tale, is gathering up to take back home, to his mother.
It seems that our two, or is it four candidates to become President of the United States agree on a point that cries out from the earth for debate. They agree about drones, and Executive decisions to kill without trial (and without oversight), and “Let’s lock the door and throw away the key now” (Jay and the Americans).
Why is there no debate on the new American morality? It has nothing to do with sex and nothing to do with food. It has to do with Double O Seven — the license to kill. On that point, on who exactly is “like a tree planted by the waters” (Psalm 1:3), there is no difference at all.
Click on the image to enlarge.
This is my favorite Rockwell Saturday Evening Post cover. It’s important to know that it was published during WWII. The soldier nuzzling with his sweetie is on leave, perhaps going back to hell soon — which adds a poignant extra dimension to the wistful gaze of the little girl trying to process the romantic embrace.
One’s eye goes first to the little girl’s face, because it’s the only face clearly visible and thus dominates the composition, but her red coat is echoed in the red ticket stub on the back of the seat in the foreground and the red lining of the soldier’s coat hanging by the window, drawing our eye schematically towards what the girl is looking at.
Below is one of the photographs Rockwell had taken on which he based his painting:
Rockwell “directed” his images much as a film director might — the main structure of his dramatic compositions was created for a camera with the narrative content firmly in mind, but then “art-directed” and cast with extras for the final scene, rendered in color and “lit” with the brush and paint for maximum visual impact. The result is a kind of über-photograph, realistic as a movie image on one level but with a heightened magical appeal that transcends the merely photographic, which can also be said of images from most of the films created in the golden age of Hollywood’s studio era.