Moby Dick लेबल असलेली पोस्ट दाखवित आहे. सर्व पोस्ट्‍स दर्शवा
Moby Dick लेबल असलेली पोस्ट दाखवित आहे. सर्व पोस्ट्‍स दर्शवा

२७ जुलै, २०२४

"It’s true that Captain Ahab can seem quite Trumpian..."

"... never more so than in the unnerving chapter titled 'The Quarter-Deck,' when he persuades the polyglot crew of the Pequod that his own private grievance against Moby Dick—for having 'dismasted' him off the coast of Japan—is theirs, and that mere profit in barrels of whale oil pales in comparison to the chance to eliminate the evil White Whale himself. 'I came here to hunt whales, not my commander’s vengeance,' says Starbuck, the voice then and now for narrow business interests. To which Ahab replies in his lordly way, 'Talk not to me of blasphemy, man; I’d strike the sun if it insulted me.' As Ahab’s unhinged rhetoric escalates, even the reasonable Ishmael, schoolteacher turned sailor, surrenders to the manic mood. 'A wild, mystical, sympathetical feeling was in me,' he confesses. 'Ahab’s quenchless feud seemed mine.'"

Writes Christopher Benfey, in "Siding with Ahab/Can we appreciate Herman Melville’s work without attributing to it schemes for the uplift of modern man?" (NYRB).

I wonder what Benfey thinks of Trump, because he seems to disapprove of the many critics who see "Ahab as the totalitarian tyrant menacing democratic freedom in the form of…Ishmael." Why don't readers "align themselves with Ahab"? The crew aligns with Ahab. And:
Not that Ahab isn’t appalling and even, at times, criminal. So is Macbeth; so is Othello. But do we really want our works of the imagination to mirror our own best selves, responsible and even-tempered, doing our small part to make the world a better place?

७ फेब्रुवारी, २०१९

"I browsed around and met Izzy Young, the proprietor. Young was an old-line folk enthusiast..."

"... very sardonic and wore heavy horn-rimmed glasses, spoke in a thick Brooklyn dialect, wore wool slacks, skinny belt and work boots, tie at a careless slant... There were a lot of esoteric folk records... Extinct song folios of every type—sea shanties, Civil War songs, cowboy songs, songs of lament, church house songs, anti–Jim Crow songs, union songs—archaic books of folk tales, Wobbly journals, propaganda pamphlets about everything from women’s rights to the dangers of boozing, one by Daniel De Foe, the English author of Moll Flanders... Izzy had a back room with a potbellied wood-burning stove, crooked pictures and rickety chairs.... The little room was filled with American records and  a phonograph. Izzy would let me stay back there and listen to them. I listened to as many as I could, even thumbed through a lot of his antediluvian folk scrolls. The madly complicated modern world was something I took little interest in. It had no relevancy, no weight. I wasn’t seduced by it. What was swinging, topical and up to date for me was stuff like the Titanic sinking, the Galveston flood, John Henry driving steel, John Hardy shooting a man on the West Virginia line.... [Izzy would] write about me in his diary. I couldn’t imagine why. His questions were annoying, but I liked him... Had also instructed me to be kind because everyone you’ll ever meet is fighting a hard battle. I couldn’t imagine what Izzy’s battles were. Internal, external, who knows? Young was a man that concerned himself with social injustice, hunger and homelessness and he didn’t mind telling you so. His heroes were Abraham Lincoln and Frederick Douglass. Moby-Dick, the ultimate fish story, was his favorite tall tale...."

From Bob Dylan, "Chronicles: Volume One." I looked that up because I read in the newspaper "Izzy Young, whose New York music shop was ‘the citadel’ of folk revival, dies at 90" (WaPo).

१ ऑगस्ट, २०१७

"What do you think the difference is between a tourist and a traveler?"

This is something I originally posted 4 years ago, at a time when I had the comments turned off. I wanted to read it again and think about the subject, and since I never exposed it to comments the first time, I thought I'd post it again here today:
"I think a tourist is usually someone who is on a time budget. A tourist is out to see sights, usually which have been enumerated for him in a guidebook. I think there’s a deeper degree of curiosity in a traveler."

So it's a continuum, and if you want to move to the extreme good side of that continuum, perhaps you ought never to leave your home town. The quote is from Philip Caputo, author of "The Longest Road: Overland in Search of America, From Key West to the Arctic Ocean," and he's dialoguing with William Least Heat-Moon, author of "Blue Highways: A Journey into America."

Heat-Moon reframes the tourist/traveler distinction in terms of destinations: "let’s pick Arizona — those tourists are likely to head for the Grand Canyon, whereas a traveler in Arizona might light out for Willcox. Why somebody would want to visit Willcox, I don’t know, other than to see what’s there. Ask questions: Who was Willcox? What kind of place is it? A tidy little place, by the way."

You go to all that effort to drive way the hell out somewhere, and then you just check out some little towns? Why didn't you just go to all the little places within a close radius of your hometown? That's what doesn't make sense. Heat-Moon comes right out and admits he sees no sense in his own idea.

३० सप्टेंबर, २०१६

Goodbye to Mr. Tucker.

My high school English teacher. Unforgettable classes. If only I could say my lines from Marbury v. Madison the way he could do "Moby Dick."

१ जानेवारी, २०१६

"People, people this isn't even my dog, I found this picture on fascistbook, stole it, and decided to use it in a prank to fool these religitards."

"So I did, and low and behold idiots left and right fall for it, and those that didn't, seem to think they have a superior intelligence or something, for pointing out the obvious. Keep in mind, I never told a single soul to like this, that is their choice, I don't give a f*ck either way."

The originator of badly-burned/ham-on-face dog explains himself and is quoted at Snopes, which gives a big FALSE to the rumor that the dog's face was burned.

Discussed yesterday on this blog at "Millions Of Prayers Go Out To Dog Afflicted With Ham On Face."

ADDED: The expression is "lo and behold," not "low and behold." It's a Bob Dylan song, "Lo and Behold":
“What’s the matter, Molly, dear? What’s the matter with your mound?”
“What’s it to ya, Moby Dick? This is chicken town!”
Lo and behold! Lo and behold! Lookin’ for my lo and behold
Get me outa here, my dear man!
AND: "Lo" is a very old interjection, going all the way back to "Beowulf." It just means look. So "lo and behold" means look and see.  Here's how Tennessee Williams used it in "Streetcar Named Desire":
"You come in here and sprinkle the place with powder and spray perfume and cover the light-bulb with a paper lantern, and lo and behold the place has turned into Egypt and you are the Queen of the Nile!"
Now just say that in your best Marlon Brando voice. Put some ham on your face and talk like Marlon Brando.

४ ऑक्टोबर, २०१५

"I just do my work, and I work every day, and my ambition is just to do something better than I last did."

"I’d like to write something as great as ‘Pinocchio’ or ‘Little Women.’ I won’t say ‘Moby-Dick’ because that’s impossible. I’d like to write a book that everybody loves. I’d like to take a picture that someone wants to put above their desk so they can look at it while they’re writing a letter or doing whatever they’re doing while sitting at their desk. I’d like to do a painting that would astonish people."

Says Patti Smith, quoted in the NYT in an article that coincides with the publication of her new book "M Train." We're told the book is "elegiac," and the author of the piece, Penelope Green, seems to be trying to write in an elegiac manner. For example:
Meanwhile, her cat throws up on her pillow. Her clothing betrays her; her pockets are torn. Her shoelaces come undone and trail in rain puddles. Her socks get tangled in her jeans, and escape at inopportune moments. Walking through Washington Square, a lone sock breaks free from her pants (stuck there from the night before), and a giggling teenager returns it to her. Small losses echo the larger ones: She is undone when a woman commandeers “her” regular table in her favorite neighborhood cafe, retreating to the bathroom and wishing upon the interloper a spectacularly gruesome death, like a victim in one of her beloved crime dramas.

When the cafe closes, its owner gave Ms. Smith that table and chairs. These and other totems are in the bungalow... A Chinese rug rescued from her townhouse on the edge of Greenwich Village, where she has lived since the late ’90s, because the cats were urinating on it....

१४ मे, २०१४

"He began to think that food was an inefficient way of getting what he needed to survive."

"It just seemed like a system that’s too complex and too expensive and too fragile," said Rob Rhinehart, post-food entrepreneur, featured in this really interesting New Yorker article, "The End of Food/Has a tech entrepreneur come up with a product to replace our meals?"

His product — to supersede all your ramen and frozen quesadillas — is Soylent. And he doesn't care about your negative associations with the name for his product.
Rhinehart said that he liked the self-deprecating nature of the name, and the way it poked fun at foodie sensibilities: “The general ethos of natural, fresh, organic, bright—this is the opposite.”

Anyway, he said, a lot of young people never got the memo about Soylent Green’s being people. “If you Google ‘Soylent,’ we’re in front of the movie.” He added, “Remember, Starbucks was the guy from ‘Moby-Dick.’ ”

११ जुलै, २०१३

"What do you think the difference is between a tourist and a traveler?"

"I think a tourist is usually someone who is on a time budget. A tourist is out to see sights, usually which have been enumerated for him in a guidebook. I think there’s a deeper degree of curiosity in a traveler."

So it's a continuum, and if you want to move to the extreme good side of that continuum, perhaps you ought never to leave your home town. The quote is from Philip Caputo, author of "The Longest Road: Overland in Search of America, From Key West to the Arctic Ocean," and he's dialoguing with William Least Heat-Moon, author of "Blue Highways: A Journey into America."

Heat-Moon reframes the tourist/traveler distinction in terms of destinations: "let’s pick Arizona — those tourists are likely to head for the Grand Canyon, whereas a traveler in Arizona might light out for Willcox. Why somebody would want to visit Willcox, I don’t know, other than to see what’s there. Ask questions: Who was Willcox? What kind of place is it? A tidy little place, by the way."

You go to all that effort to drive way the hell out somewhere, and then you just check out some little towns? Why didn't you just go to all the little places within a close radius of your hometown? That's what doesn't make sense. Heat-Moon comes right out and admits he sees no sense in his own idea.

Here are these 2 big travel writers, and they trash the tourism and hew to the old cliché that one ought to be a traveler, not a tourist. But they can't really explain the worth of this travel that isn't tourism. Unspoken is the reality that for each of them, travel is their work, if they are travel writers. Those who get paid for a particular type of work may find it hard to explain the value of the activity to someone who isn't getting paid but must in fact pay.

They do recommend writing as a way to "deepen the travel" — but writing is a way to deepen whatever it is you do, wherever you are. How do you decide what it is you will do? Let's say you buy into the importance of depth. Is traveling around, going slowly, going to small places, journaling, really worthwhile? Most of our depth comes from the life we live at home, and if we were really observant we would never run out of things to perceive and contemplate at  home.

2 of my favorite quotes are on this topic. First, from my favorite movie "My Dinner with Andre":
I mean, you know, there was a time when you could have just, for instance, written, I don't know, Sense and Sensibility, by Jane Austen! 
Talk about close observation, sharp writing, and sticking within a short radius at home.
And I'm sure the people who read it had a pretty strong experience. I'm sure they did. I mean, all right, now you're saying that people today wouldn't get it, and maybe that's true, but, I mean, isn't there any kind of writing, or any kind of a play that--I mean: isn't it still legitimate for writers to try to portray reality so that people can see it? I mean, really! Tell me: why do we require a trip to Mount Everest in order to be able to perceive one moment of reality? I mean...I mean: is Mount Everest more "real" than New York? I mean, isn't New York "real"? I mean, you see, I think if you could become fully aware of what existed in the cigar store next door to this restaurant, I think it would just blow your brains out! I mean... I mean, isn't there just as much "reality" to be perceived in the cigar store as there is on Mount Everest? I mean, what do you think? You see, I think that not only is there nothing more real about Mount Everest, I think there's nothing that different, in a certain way. I mean, because reality is uniform, in a way. So that if you're--if your perceptions--I mean, if your own mechanism is operating correctly, it would become irrelevant to go to Mount Everest, and sort of absurd! Because, I mean, it's just--I mean, of course, on some level, I mean, obviously it's very different from a cigar store on Seventh Avenue, but I mean...
The other quote is from one of my favorite books, "Walden," by Henry David Thoreau: "I have travelled a good deal in Concord..." Concord! Not even Massachusetts. Concord. Of course, he didn't have a car.

But then again, he didn't have the internet.

Unspoken: Does Althouse ever leave Madison?

ADDED: A reader quotes my "Those who get paid for a particular type of work may find it hard to explain the value of the activity to someone who isn't getting paid but must in fact pay" and says that "made me think of this sublimely wonderful passage from Moby Dick":
Again, I always go to sea as a sailor, because they make a point of paying me for my trouble, whereas they never pay passengers a single penny that I ever heard of. On the contrary, passengers themselves must pay. And there is all the difference in the world between paying and being paid. The act of paying is perhaps the most uncomfortable infliction that the two orchard thieves entailed upon us. But being paid, -- what will compare with it? The urbane activity with which a man receives money is really marvellous, considering that we so earnestly believe money to be the root of all earthly ills, and that on no account can a monied man enter heaven. Ah! how cheerfully we consign ourselves to perdition!

२४ जानेवारी, २००९

"I am alive" — a literary sentence in the comments to the bookstore thread — tells a harrowing real-life story.

We were in the middle of talking about the emptiness of the emporium, when Zachary Paul Sire wrote:
Off topic, but thought you all should know: I am alive.
Poor Zachary had a ruptured spleen, and in valiant, bloggerly style, blogged it, with photos of himself — in a hospital gown — taken at arm's length. Perhaps the blogosphere is full of photo-essays showing the details of emergency rooms, not to mention accident scenes — wounds and all. (Point to some!)

I once posted "I just wrecked my car!" — and, though I blogged about how, almost immediately, I thought about blogging the accident, I did not get out my camera to get the photos. (Later, at the wrecker's, I got the photos.) So I admire Zachary's presence of mind in taking those photos, especially since he was in pain — though presumably he was also bored and, unlike me at the car crash, not in the presence of victims, police, and EMTs who would have thought ill of me if I'd displayed a hearty bloggerly spirit. (In case you're wondering why my readers didn't seem to give a damn back then, I didn't have commenting turned on.)

Anyway, I love Zachary's intrusion into the late night thread to tell us about his situation. When you go to comment on my blog, you can see that part of the instructions for commenting are: "You can digress, but digress creatively. Amuse us!" So OT was OK. And maybe I should rethink "amuse." Another reason to rethink "amuse" is that people — probably remembering Queen Victoria's most famous quote "We are not amused" — think I'm using the royal "we." I'm not. And actually, neither was Victoria. But speaking of memorable lines... I love "I am alive." It's one of those very short sentences that feel entirely literary.

Is it a famous quote? I Google and see it's at least a video game.

But it has the feeling of something old, something I read long ago. Is it the last line of Daniel DeFoe's "A Journal of the Plague Year"? The e-text is on-line. So:
A dreadful plague in London was
In the year sixty-five,
Which swept an hundred thousand souls
Away; yet I alive!
Yet I alive! I love that.

Is it "Moby Dick"?
The drama's done. Why then here does any one step forth?—Because one did survive the wreck.

... So, floating on the margin of the ensuing scene, and in full sight of it, when the halfspent suction of the sunk ship reached me, I was then, but slowly, drawn towards the closing vortex. When I reached it, it had subsided to a creamy pool. Round and round, then, and ever contracting towards the button-like black bubble at the axis of that slowly wheeling circle, like another Ixion I did revolve. Till, gaining that vital centre, the black bubble upward burst; and now, liberated by reason of its cunning spring, and, owing to its great buoyancy, rising with great force, the coffin life-buoy shot lengthwise from the sea, fell over, and floated by my side. Buoyed up by that coffin, for almost one whole day and night, I floated on a soft and dirgelike main.
Perhaps you can help me find "I am alive" (and things close to it) in literary — or cinematic or video-game-ic — works of art. Don't talk about statements in the third person. The first-person statement is the interesting thing here. If you are not alive, you are in no position to comment. By the same token, to say anything is to say "I'm alive." What prompts the always-true words "I am alive" is the consciousness that you might not have been able to say it (or anything else). While it is always within our mental grasp to be suddenly intensely impressed by the vivid fact of being alive, we don't — we could! — say it out loud or write it down... in the comments section of someone else's blog.

Or, no, there is a second reason to say "I am alive." You might need to cry out to someone who thinks you are dead. DeFoe tells of a piper, who went door to door for food and drink "and he in return would pipe and sing and talk simply." But times were hard, and he'd nearly starved, "and when anybody asked how he did he would answer, the dead cart had not taken him yet, but that they had promised to call for him next week." One night, he'd finally gotten some drink, and he was lying drunk in a doorway where the people inside "hearing a bell which they always rang before the cart came, had laid a body really dead of the plague just by him, thinking, too, that this poor fellow had been a dead body, as the other was, and laid there by some of the neighbours." A man named John Hayward loaded both bodies onto the cart:
From hence they passed along and took in other dead bodies, till... they almost buried him alive in the cart; yet all this while he slept soundly. At length the cart came to the place where the bodies were to be thrown into the ground, which, as I do remember, was at Mount Mill; and as the cart usually stopped some time before they were ready to shoot out the melancholy load they had in it, as soon as the cart stopped the fellow awaked and struggled a little to get his head out from among the dead bodies, when, raising himself up in the cart, he called out, 'Hey! where am I?' This frighted the fellow that attended about the work; but after some pause John Hayward, recovering himself, said, 'Lord, bless us! There's somebody in the cart not quite dead!' So another called to him and said, 'Who are you?' The fellow answered, 'I am the poor piper. Where am I?' 'Where are you?' says Hayward. 'Why, you are in the dead-cart, and we are going to bury you.' 'But I an't dead though, am I?' says the piper, which made them laugh a little though, as John said, they were heartily frighted at first; so they helped the poor fellow down, and he went about his business.
But I an't dead though, am I? It's a terrifying question to have to ask, but, thank God, the answer is always "yes."

१९ जानेवारी, २००९

"We're wrapping up a presidency led me a man his own team has described as 'not a big reader.'"

And we're reading a post by a blogger — Steve Benen — who is not a big proof-reader.

Let's put aside the issue of whether George Bush is a big reader or not. (Karl Rove says he is. Richard Clarke said he's not.) I'd like to talk about the front-page NYT article that Benen links to, about what a different kind of reader Barack Obama is. Michiko Kakutani writes:
Mr. Obama tends to take a magpie approach to reading — ruminating upon writers’ ideas and picking and choosing those that flesh out his vision of the world or open promising new avenues of inquiry.

His predecessor, George W. Bush, in contrast, tended to race through books in competitions with Karl Rove.... or passionately embrace an author’s thesis as an idée fixe. Mr. Bush and many of his aides favored prescriptive books — Natan Sharansky’s “Case for Democracy,” which pressed the case for promoting democracy around the world, say, or Eliot A. Cohen’s “Supreme Command,” which argued that political strategy should drive military strategy. Mr. Obama, on the other hand, has tended to look to non-ideological histories and philosophical works that address complex problems without any easy solutions, like Reinhold Niebuhr’s writings, which emphasize the ambivalent nature of human beings and the dangers of willful innocence and infallibility.

What’s more, Mr. Obama’s love of fiction and poetry — Shakespeare’s plays, Herman Melville’s “Moby-Dick” and Marilynne Robinson‘s “Gilead” are mentioned on his Facebook page, along with the Bible, Lincoln’s collected writings and Emerson’s “Self Reliance“ — has not only given him a heightened awareness of language. It has also imbued him with a tragic sense of history and a sense of the ambiguities of the human condition quite unlike the Manichean view of the world so often invoked by Mr. Bush.
Is reading to pick out the parts that fit your pre-existing vision more impressive than reading to grasp the author's vision? And, more importantly, since her writing oozes with preference for Barack Obama, why should we believe Kakutani's representation that Bush's books are ideological and Obama's are not?

Finally, there's this notion that fiction reading is what really develops your mind, which, I've long suspected is a pet belief of fiction readers. Immersed in their stories, they imagine — they're so imaginative — that they are better than people who read history and biography and so forth. In any case, Bush did read novels — notably "The Stranger."

But Bush just can't get credit for anything these days, can he?

१६ जुलै, २००५

The color of movies.

Martin Scorsese just came out with two lists of ten films that have the best use of light and color.
English Language Films

1. Barry Lyndon (1975, Dir. Stanley Kubrick; Cin. John Alcott)

2. Duel in the Sun (1946, Dir. King Vidor; Cin. Lee Garmes, Ray Rennahan, Hal Rosson)

3. Invaders From Mars (1953, Dir. William Cameron Menzies; Cin. John F. Seitz)

4. Leave Her to Heaven (1946, Dir. John M. Stahl; Cin. Leon Shamroy)

5. Moby Dick (1956, Dir. John Huston; Cin. Oswald Morris)

6. Phantom of the Opera (1943, Dir. Arthur Lubin; Cin. W. Howard Greene, Hal Mohr)

7. The Red Shoes (1948, Dir. Michael Powell, Emeric Pressburger; Cin. Jack Cardiff)

8. The Searchers (1956, Dir. John Ford; Cin. Winton C. Hoch)

9. Singin’ in the Rain (1952, Dir. Stanley Donen, Gene Kelly; Cin. Harold Rosson)

10. Vertigo (1958, Dir. Alfred Hitchcock; Cin. Robert Burks)


International Films

1. Contempt (1963, Dir. Jean-Luc Godard; Cin. Raoul Coutard; France/Italy)

2. Cries and Whispers (1972, Dir. Ingmar Bergman; Cin. Sven Nykvist; Sweden)

3. Gate of Hell (1953, Dir. Teinosuke Kinugasa; Cin. Kohei Sugiyama; Japan)

4. In the Mood For Love (2000, Dir. Wong Kar-Wai; Cin. Christopher Doyle, Mark Lee Ping-bin; Hong Kong)

5. The Last Emperor (1987, Dir. Bernardo Bertolucci; Cin. Vittorio Storaro; Italy/United Kingdom/China/Hong Kong)

6. Red Desert (1964, Dir. Michelangelo Antonioni; Cin. Carlo Di Palma; France/Italy)

7. The River (1951, Dir. Jean Renoir; Cin. Claude Renoir; India/France/United States)

8. Satyricon (1969, Dir. Federico Fellini; Cin. Giuseppe Rotunno; Italy/France)

9. Senso (1954, Dir. Luchino Visconti; Cin. G.R. Aldo, Robert Krasker, Giuseppe Rotunno; Italy)

10. Shadows of Forgotten Ancestors (1964, Dir. Sergei Paradjanov; Cin. Viktor Bestayev, Yuri Ilyenko; Russia/Ukraine)

This is clearly a very idiosyncratic list. Just look at the dates: Scorsese is pointing to the films that influenced him in his impressionable years. We already knew how gaga he is for "Duel in the Sun" (a cheesy Western sometimes referred to as "Lust in the Dust").

Maybe in the comments you can come up with some alternatives. Is there a movie that springs my mind for its color? Not really. Those extra-vivid Technicolor movies like "Vertigo" and "The Birds" crowd out more subtly colored recent movies that I find more appealing. Any ideas?

२७ फेब्रुवारी, २००५

Podcasting.

I'm not saying I'll ever podcast, but I'm trying to figure out how I would do it with my iBook. I've got a decent microphone, which came with ViaVoice. (ViaVoice -- a dictation to typing program -- made me imagine it would make work wondrously easier. It did not. It just introduced a weird new world of tasks, along with a certain amount of found humor, similar to spellcheck humor, as it heard what you said and guessed what word you meant. It didn't know any of the proper nouns in the cases I was writing about, so the writing was full of ridiculous substitutions. You spend a lot of time correcting errors and trying to get it to understand you. Trying to get an inanimate thing to understand you is a chump's game. It's not going to fall in love with you. My ViaVoice relationship was doomed to remain forever at the dictation-to-typing level.)

I've read you can do the basic recording for podcasting in Garage Band, which is a fancy program designed to do so much more than voice recording. It becomes an effort to get the fancy stuff out of your way just to record. I couldn't figure out how to pause. And then I got distracted by the fancy stuff that was easy to figure out and recorded multiple voice tracks in the manner of Glenn Gould's "Solitude Trilogy" (remember "The Idea of North" in "32 Short Films About Glenn Gould"?).

So I need to be able to pause. Voice activation would be better. And Garage Band doesn't take you from recording to a file you can put up on the blog. I like how easy it is to use iPhoto to get the photos up on the blog (though I must admit it took me a long time to figure out how to do it). Shouldn't podcasting be part of iLife? But iBlog wasn't even an Apple product.

Any advice? I mean simple, Macintosh advice.

UPDATE: A very nice emailer has helped me up to the point where I can record in Garage Band -- the space bar works to pause -- and make an MP3 file by importing it into iTunes and converting it. After that, I'm stymied. I was going to put it onto my Mac.com homepage, but the file is 2 MB and that will use up too much space too quickly. Then there's the whole RSS aspect to it all that I don't even want to think about yet. I hit the wall, tech-wise, for the day just getting this far.

MORE: It troubles me to see how much memory an audio file uses, even saved at a low quality level. A text file of the entire novel "Moby Dick" is less than my little 10 minute blabber. Isn't that just wrong?

२१ मार्च, २००४

What plays did William Faulkner see? What did he read? I hadn't exactly been wondering, but this article by Javier Marías in Threepenny Review (linked by A&L Daily) has some answers:
Faulkner was a taciturn man who loved silence, and he had only been to the theater five times in his entire life: he had seen Hamlet three times, A Midsummer Night's Dream, and Ben Hur, and that was all. He had not read Freud, either, at least so he said on one occasion: "I have never read him. Neither did Shakespeare. I doubt if Melville did either and I'm sure Moby Dick didn't." He read Don Quixote every year.
Ah! I love silence too. And I've been meaning to read Don Quixote ... there's that new translation ...

I liked this part of the article too, about how he lost his job as a post office clerk at the University of Mississippi:
Apparently one of the lecturers there, quite reasonably, complained: the only way he could get his mail was by rummaging around in the rubbish bin at the back door, where the unopened bags of post all too often ended up. Faulkner did not like having his reading interrupted, and the sale of stamps fell alarmingly; by way of explanation, Faulkner told his family that he was not prepared to keep getting up to wait on people at the window and having to be beholden to any son-of-a-bitch who had the two cents to buy a stamp.

Sounds like Newman on Seinfeld ("The Andrea Doria"). I'd watch a sitcom about this Faulkner character. And don't just tell me to watch Barton Fink--Joel Coel is on record saying the John Mahoney character isn't much like Faulkner.