(posts) a quote from Middlemarch by George Eliot (true name Mary Anne Evans)

"That element of tragedy which lies in the very fact of frequency, has not yet wrought itself into the coarse emotion of mankind; and perhaps our frames could hardly bear much of it. If we had a keen vision and feeling of all ordinary human life, it would be like hearing the grass grow and the squirrel’s heart beat, and we should die of that roar which lies on the other side of silence. As it is, the quickest of us walk about well wadded with stupidity."

 

something about Ernest Hemingway's "A Farewell to Arms"

Ernest Hemingway's A Farewell to Arms looks back at a love that fought in World War I. The lovers are Frederic Henry and Catherine Barkley. Here is Fredric beginning his relationship with Catherine:

I thought she was probably a little crazy. It was all right if she was. I did not care what I was getting into. This was better than going every evening to the house for officers where the girls climbed all over you and put your cap on backward as a sign of affection between their trips upstairs with brother officers. I knew I did not love Catherine Barkley nor had any idea of loving her. This was a game, like bridge, in which you said things instead of playing cards. Like bridge, you had to pretend you were playing for money or playing for some stakes. Nobody had mentioned what the stakes were. It was all right with me.

This passage stuck with me. Through most of the novel, I wondered if Frederic and Catherine really loved each other—or, at least, whether each loved the other at the same time. I thought that maybe they were lonely and scared and just wanted to love and comfort someone. She seemed to doubt his sincerity, and he seemed to be either keeping his distance or trying to persuade himself she was something more than she was. Then, by the end, their love—which of course is borne of loneliness and fear—becomes painfully real.

Catherine may be crazy, but she is a great and complicated character. She knew all along that their relationship was doomed.

I held her close against me and could feel her heart beating and her lips opened and her head went back against my hand and then she was crying on my shoulder.

"Oh, darling," she said. "You will be good to me, won't you?"

What the hell, I thought. I stroked her hair and patted her shoulder. She was crying. "You will, won't you?" She looked up at me. "Because we're going to have a strange life."

And one of my favorite Hemingway passages is this exchange between Catherine and Frederic:

"We won't fight."

"We mustn't. Because there's only us two and in the world there's all the rest of them. If anything comes between us we're gone and then they have us." 

"They won't get us," I said. "Because you're too brave. Nothing ever happens to the brave."

"They die of course."  

"But only once." 

"I don't know. Who said that?"  

"The coward dies a thousand deaths, the brave but one?" 

"Of course. Who said it?" 

"I don't know." 

"He was probably a coward," she said. "He knew a great deal about cowards but nothing about the brave. The brave dies perhaps two thousand deaths if he's intelligent. He simply doesn't mention them." 

 

Note:  A Farewell to Arms was published in 1929.

(posts) rhetoric

After the space shuttle Challenger explosion in 1986, President Ronald Reagan remarked, "We will never forget them, nor the last time we saw them, this morning, as they prepared for their journey and waved goodbye and slipped the surly bonds of earth to touch the face of God."

High Flight
   by John Gillespie Magee, Jr

Oh! I have slipped the surly bonds of earth,
And danced the skies on laughter-silvered wings;
Sunward I've climbed, and joined the tumbling mirth
Of sun-split clouds, --and done a hundred things
You have not dreamed of --Wheeled and soared and swung
High in the sunlit silence. Hov'ring there
I've chased the shouting wind along, and flung
My eager craft through footless halls of air...
Up, up the long, delirious, burning blue
I've topped the wind-swept heights with easy grace
Where never lark or even eagle flew --
And, while with silent lifting mind I've trod
The high untrespassed sanctity of space,
Put out my hand, and touched the face of God

 

something about Tim Weiner’s “One Man Against the World: The Tragedy of Richard Nixon”

One Man Against the World takes aim at Richard Nixon and fires off damning details about the 37th US President's moves on Watergate and the Vietnam War. The author, former New York Times national security reporter Tim Weiner, is not kind to Nixon. In these pages we follow the words and actions of a man who is as ruthless, secretive, and calculating when negotiating his own government as he was bombing Southeast Asia. The usual suspects populate the narrative: Nixon's assistant John Ehrlichman, Attorney General John N. Mitchell, Chief of Staff H. R. Haldeman, White House Counsel John Dean, and National Security Advisor Henry Kissinger.

Although many of these events have already been chronicled, Weiner adds to the canon of Nixon-oriented literature details and quotes derived from newly available sources, including Nixon's infamous White House tapes. I enjoyed reading this fast-paced account.


Notes:

• The list of convictions and sentencing terms at the end of the book was an effective way of punctuating the narrative. 
• Democrats controlled both houses of Congress during Nixon's tenure.

"Nixon's The One," Harry Shearer (episode 5 of 6) 

Loss

Philip Seymour Hoffman, 1967-2014

 

 

 

 

 

 

 

 

 

Love Liza

The film Love Liza depicts the struggles of a new widower, his name is Wilson, played flawlessly by Phillip Seymour Hoffman. Watching, I wondered if the film's use of comedy was aimed at emotionally rattling viewers. By letting me voyeuristically watch Wilson's most vulnerable moments, the film made me vigilantly aware of his intense loss, sadness, and isolation. But in and between tragic scenes, I often found myself laughing. The laughing always felt inappropriate, and quickly gave way to the uneasy silence after the laugh. Uneasy silence and inappropriateness are two grand understatements of what I imagine Wilson felt: This feels wrong, I feel wrong, I should not be feeling this. The film has one pivotal scene that speaks to this interpretation: In it, Wilson is seated with co-workers at the office where he works, and one co-worker is sharing an anecdote. A few co-workers chuckle when she finishes, but then Wilson lets go a long, uninterrupted laugh that continues after his tense co-workers have silently excused themselves. It is a laugh over a cry. Love Liza very powerfully relates that feeling and mania.