All Felled

"THEY PAVED PARADISE...WITH A PINK HOTEL"
AND PURPLE CARS
~ ACCUSTOMED, CEREMONIOUS, OR NOT ~

Painting by Leonard Orr
~ acrylic on canvas ~
Pick your own "excellent titles; you cannot be wrong."

"They paved paradise and put up a parking lot
With a pink hotel, a boutique, and a swinging hot spot . . .

They took all the trees, and put 'em in a tree museum
And they charged the people a dollar and a half to see them
No, no, no
Don't it always seem to go
That you don't know what you got 'til it's gone
They paved paradise, and put up a parking lot . . ."

from the song "Big Yellow Taxi"
written, composed, and originally recorded in 1970
by Canadian singer-songwriter Joni Mitchell (b 1943)
With Joni Mitchell's song running through my head, I scrolled through the paintings of Leonard Orr until I found the perfect match - up. Thanks to Len -- professor, poet, artist, friend -- for sharing his vivid visions, allowing his audience an infinite range of interpretation, and allowing me the freedeom to title these paintings with completely unexpected new readings. In the abstract painting above, I saw the parking lot, filled with cars and pink boutiques and a couple of tree museums. In the paintings below, I found leaves, leaping and growing green, and a shadowy blue river bank.

Thanks for this post also go to Matt O'Neill -- former Dubliner, current chef, poet, friend -- for pointing out to me that of all the authors mentioned on my blogs, Gerard Manley Hopkins is sadly under-represented. I am grateful to Matt for this accurate editorial observation -- time to rectify! Now is the time to branch out beyond the often anthologized "Margaret are you grieving" and "Send my roots rain."

Matt said "Binsey Poplars" was his favorite. Years ago, he had memorized it and never forgotten the trees:
" . . . That dandled a sandalled
Shadow that swam or sank
On meadow and river and wind-wandering weed-winding bank."
Upon reading the poem, I saw an immediate connection to "Big Yellow Taxi." Like Mitchell, Hopkins is protesting the removal of the trees in the name of industrial progress: in 1879 for the railway; in 1970 for a parking lot. Separated by a century, both writers despair for the Earth. Mitchell mourns the loss of "paradise," what Hopkins calls the "sweet especial rural scene."

The poet's favorite poplar trees (aka "aspens") have all been chopped down, the entire grove: "All felled . . . Not spared, not one." And worse yet, "After-comers cannot guess the beauty been." Those who pass by today, if they were not previously familiar with the Binsey poplars, will not even be able to imagine what they are missing. In Mitchell's song, the one forlorn consolation is that for a small fee you can catch a glimpse of former times at the "tree museum."

Binsey Poplars

felled 1879

My aspens dear, whose airy cages quelled,
Quelled or quenched in leaves the leaping sun,
All felled, felled, are all felled;
Of a fresh and following folded rank
Not spared, not one
That dandled a sandalled
Shadow that swam or sank
On meadow and river and wind-wandering weed-winding bank.
O if we but knew what we do
When we delve or hew —
Hack and rack the growing green!
Since country is so tender
To touch, her being só slender,
That, like this sleek and seeing ball
But a prick will make no eye at all,
Where we, even where we mean
To mend her we end her,
When we hew or delve:
After-comers cannot guess the beauty been.
Ten or twelve, only ten or twelve
Strokes of havoc unselve
The sweet especial scene,
Rural scene, a rural scene,
Sweet especial rural scene.

Gerard Manley Hopkins (1844 – 1889)

A few closing connections from . . .
1. Matthew O'Neill's poetic cookbook, The Seasons at Walden Inn:
Signature Recipes from an Elegant Country Inn (1997)

Seasons at Walden

The seasons, like a lilting carousel of
ponies winding 'round the Walden Inn,
are turning through life's carnival
of changlessness and change.

Spring is wobbly with hope, its
ride a bit uneven, like someone
shook out a bag of butterflies
found sleepig somewhere
deep in Winter's wrinkled husk. . . .

March
brings to mind Ireland and St. Patrick's Day. It is the bridge betweenthe last protestations of a dying winter and a Spring spilling out on wobbly Kelly green legs. . . .

and

2. Leonard Orr's first volume of poetry, Why We Have Evening (2010):

Spring Planting

It is time for preparing the garden again,
time to fix the fence and sprinklers, add compost,
remove all the fall and winter debris.
More aesthetic than practical, I select vegetables
by their physical appearance, by their sexual resonance. . . .

Raking and smoothing the rich soil
my mind soon drifts toward earthy matters.
If I could escape discovery, I would lie down on the bed,
flat on my back, slowly place my arms toe-ward and then
darg them in bold curves through the fertile ground.
Then jumping off, I'd sneak away and watch
as later you would find the imprinted dirt archangel.
I will have you in mind when I plant the tomatoes
with their soft, smooth skin, their blusing color,
their compelling and lingering taste, their modesty.

How blatant should I make my raised bed, since
even young people, wlaking by on the sidewalk,
might see through the many holes and gaps in the cedar fence
yellow-neck squash flirting with the Brussels sprouts,
Japanese eggplant, thick fingers intertwined with vines?

Next Fortnightly Post
Thursday, April 14th

Between now and then, read
THE QUOTIDIAN KIT ~ "Limelight"
my shorter, almost daily blog posts
www.dailykitticarriker.blogspot.com

Looking for a good book? Try
KITTI'S LIST
my running list of recent reading
www.kittislist.blogsppot.com

The Essential Sincerity of Falsehood

TRUE ~ FALSE
ACCUSTOMED, CEREMONIOUS

As heaven and earth are not afraid,
and never suffer loss or harm,
Even so, my spirit, be not afraid. . . .

As truth and falsehood have no fear,
nor ever suffer loss or harm,
Even so, my spirit, be not afraid.

~ paintings by Leonard Orr ~
~ poetry from the Atharva Veda * ~


"For there is no lie that contains no part of truth."
Tennessee Williams 1911 – 1983
from "The Summer Belvedere" **

Over the past few years, I have attempted to define modernism (In A Handful of Dust) to sketch a profile of the Heroine of Sensibility, and to trace the concept of human emotion as a constant quantity, perpetually Advancing & Receding -- all by analyzing the primary texts of modern literature. In this post I apply the same strategy to a related theme: the endless tension between truth and falsehood, virtue and vice. Does one advance as the other recedes, or do they always co-exist, two sides of the same moon or the same medal? The following passages -- from fiction, poetry, and prose -- reveal the views of several modern authors:

“I was made to look at the convention that lurks in all truth and on the essential sincerity of falsehood. He appealed to all sides at once — to the side turned perpetually to the light of day, and to that side of us which, like the other hemisphere of the moon, exists stealthily in perpetual darkness, with only a fearful ashy light falling at times on the edge.”Joseph Conrad (1857 – 1924)
from Lord Jim (emphasis added)

"No themes are so human as those that reflect for us, out of the confusion of life, the close connection of bliss and bale, of the things that help with the things that hurt, so dangling before us forever that bright hard medal, of so strange an alloy, one face of which is somebody's right and ease and the other somebody's pain and wrong."Henry James (1843 – 1916)
from the "Preface" to What Maisie Knew

"The speaking subject is not, however, identical with the subjectivity of the author as an actual historical person; it corresponds, rather, to a very limited and special aspect of the author's total subjectivity; it is, so to speak, that 'part' of the author which specifies or determines verbal meaning. This distinction is quite apparent in the case of a lie. When I wish to deceive, my secret awareness that I am lying is irrelevant to the verbal meaning of my utterance. The only correct construction of my lie is, paradoxically, to view it as being a true statement, since this is the only correct construction of my 'verbal intention.' Indeed, it is only when my listener has understood my meaning (presented as true) that he can judge it to be a lie. Since I adopted a truth - telling stance, the verbal meaning of my utterance would be precisely the same, whether I was deliberately lying or suffering from the erroneous conviction that my statement was true."E. D. Hirsh, Jr. (b 1928)
from his essay "Objective Interpretation" (1114 - 1115)

"Nothing is simple.
Every wrong done has a certain justice in it,
and every good deed has dregs of evil."
H. G. Wells (1866 – 1946)
from Tono - Bungay, 226


"There is so much truth in all different sides of things."
Ivy Compton - Burnett (1884 – 1969)
from Manservant and Maidservant (133)


"To Sir Edgar it confirmed his view that in the Divine Order
every vice - even Clun's arrogance - had its virtuous purpose."
Angus Wilson (1913 – 1991)
from Anglo - Saxon Attitudes (324)


"The negative trait that you might dislike in a loved one is
quite probably the flip - side of a positive trait that you admire."
Summarized from the work of Harriet Lerner (b 1944)
see Dance of Anger & Dance of Intimacy

The Essential Stupidity of Courage?

Next Fortnightly Post
Sunday, June 14th

Between now and then, read
THE QUOTIDIAN KIT
my shorter, almost daily blog posts
www.dailykitticarriker.blogspot.com

Looking for a good book? Try
KITTI'S LIST
my running list of recent reading
www.kittislist.blogspot.com

As truth and falsehood have no fear

*A Charm Against Fear

As heaven and earth are not afraid,
and never suffer loss or harm,
Even so, my spirit, be not afraid.

As day and night are not afraid,
nor ever suffer loss or harm,
Even so, my spirit, be not afraid.

As sun and moon are not afraid,
nor ever suffer loss or harm,
Even so my spirit, be not afraid.

As truth and falsehood have no fear,
nor ever suffer loss or harm,
Even so, my spirit, be not afraid.

As what has been and what shall be fear not,
nor ever suffer loss or harm,
Even so, my spirit, be not afraid.

Book 2, Hymn XV, from the Atharva Veda
composed 1200 BC ~ 1000 BC

For there is no lie that contains no part of truth.

**The Summer Belvedere
I
Such icy wounds the city people bear
beneath brown coats enveloping withered members!
I don't want to know of mutilations

nor witness the long-drawn evening debarkation
of warm and liquid cargoes in torn wrappings
the ships of mercy carry back from war.

We live on cliffs above such moaning waters!

Our eyeballs are starred by the vision of burning cities,
our eardrums shattered by cannon.
A blast of the dying,
a thunder of people who cannot catch their breath

is caught in the mortar and molded into the walls.

And I, obsessed with a dread of things corroded,
of rasping faucets, of channels that labor to flow
have no desire to know of morbid tissues,
of cells that begin prodigiously to flower.

There is an hour in which disease will be known
as more than occasion for some dim relative's sorrow.
But still the watcher within my soundless country
assures the pendulum duties of the heart
and asks no reason but keeps a faithful watch

as I keep mine from the height of the belvedere!

And though no eyrie is sacred to wind entirely,
a wall of twigs can build a kind of summer.

II
I asked my kindest friend to guard my sleep.

I said to him, Give me the motionless thicket of summer,
the velvety cul-de-sac, and quiet the drummer.

I said to him, Brush my forehead with a feather,
not with an eagle's feather, nor with a sparrow's,
but with the shadowy feather of an owl.

I said to him, Come to me dressed in a cloak and a cowl,
and bearing a candle whose flame is very still.

Our belvedere looks over a bramble hill.

I said to him, Give me the cool white kernel of summer,
the windless terminal of it, and calm the drummer!

I said to him, Tell the drummer
the rebels have crossed the river and no one is here
but John with the broken drumstick and half-wit Peg
who shot spitballs at the moon from the belvedere.

Tell the feverish drummer no man is here.
But what if he doesn't believe me?
Give him proof!
For there is no lie that contains no part of truth.

And then, with the sort of courage that comes with fever,
the body becoming sticks that blossom with flame,
the flame for a while obscuring what it consumes,
I twisted and craned to peer in the loftier room--

I saw the visitor there, and him I knew
as my waiting ghost.

The belvedere was blue.

III
I said to my kindest friend, The time has come
to hold what is agitated and make it still.

I said to him, Fold your hands upon the drum.

Permit no kind of sudden or sharp disturbance
but move about you constantly, keeping the guard
with fingers whose touch is narcotic, brushing the walls
to quiet the shuddering in them,
drawing your sleeves across the hostile mirrors
and cupping your palms to breathe upon the glass.

After a while anxiety will pass.

The time has come, I said, for purification.

Rub out the lewd inscriptions on the walls,
remove the prisoners' names and maledictions,
for lack of faith has left impurities here,

and whisper faith to the summer belvedere.

Draw back the kites of hysteria from the sky,
those struggling fish draw back from their breathless pool,
and whisper assurances cool
to the watchful corners, and whisper sleep and sleep
along the treads of the stairs, and up the stairwell,

clear to the belvedere, yes, clear up there, where giggling John
stood up in his onionskin of adolescence
to shoot spitballs at the moon from the captain's walk.

And then, at the last, he said, What shall I do?
The sweetest of treasons, I told him. Lean toward my listening ear
and whisper the long word to me,
the longest of all words to me,
the word that divides the sky from the belvedere.

by Tennessee Williams (1911 - 1983)
American Playwright
Twice awarded the Pulitzer Prize for Drama
Twice awarded the New York Drama Critics' Circle Award

Advancing & Receding

VIBRANT HORIZON, ACCUSTOMED, CEREMONIOUS

Red Sky ~ or ~ Red Sea?
Advancing ~ or ~ Receding?
Painting by Leonard Orr

An literary exploration of the intriguing concept
of a perpetual redistribution of human emotion:

"We seem to have learned of the horizon
the art of perpetual retreating and reference."
~ Ralph Waldo Emerson ~
from "Experience" ~ 1844

"It was the tragic part of happiness;
one's right was always made of
the wrong of some one else."
~ Henry James ~
Portrait of a Lady (Chapter 35, 357) ~ 1888


"The tears of the world are a constant quantity.
For each one who begins to weep
somewhere else another stops.
The same is true of the laugh."
~ Samuel Beckett ~
from Waiting for Godot ~ 1953
See also:
Seen Through Tears & To Cry Or Not To Cry

"Every moment of one's existence
one is growing into more or retreating into less.
One is always living a little more or dying a little bit."
~ Norman Mailer ~
from Advertisements for Myself ~ 1959

"As in the fusion with Mercer, everyone ascended together or, when the cycle had come to an end, fell together into the trough of the tomb world. Oddly, it resembled a sort of biological insurance, but double-edged. As long as some creature experienced joy, then the condition for all other creatures included a fragment of joy. However, if any living being suffered, then for all the rest the shadow could not be entirely cast off. A herd animal such as man would acquire a higher survival factor through this..."

~ Philip K. Dick ~
from Do Androids Dream of Electric Sheep? ~ 1968

"So how do we seize the past? As it recedes, does it come into focus? Some think so. We know more, we discover extra documents, we use infra - red light to pierce erasures in the correspondence, and we are free of contemporary prejudice; so we understand better. Is that it? I wonder. . . .

“The past is a distant, receding coastline, and we are all in the same boat. Along the stern rail there is a line of telescopes; each brings the shore into focus at a given distance. If the boat is becalmed, one of the telescopes will be in continual use; it will seem to tell the whole, the unchanging truth. But this is an illusion; and as the boat sets off again, we return to our normal activity: scurrying from one telescope to another, seeing the sharpness fade in one, waiting for the blur to clear in another. And when the blur does clear, we imagine that we have made it do so all by ourselves.

"Does the world progress? Or does it merely shuttle back and forth like a ferry?" (100, 101, 105)

~ Julian Barnes ~
Flaubert's Parrot ~ 1984


"Their happiness is not her unhappiness. Unless it is.
What if there is only an equal ratio of happiness to
unhappiness in the world at any given time?"
~ Gabrielle Zevin ~
The Storied Life of A. J. Fikry ~ 2014


"But life is not a zero - sum game.
There isn't a limited quantity of success or happiness,
meaning that if one person achieves something,
the rest of us take an automatic step backward."
~ Natalie Hanes ~ "Introduction" ~ 2015
to Extracts from The Second Sex
by Simone de Beauvoir ~ 1949

“It is because the human spirit knows, deep down, that all lives intersect. That death doesn't just take someone, it misses someone else, and in the small distance between being taken and being missed, lives are changed.

"You say you should have died instead of me. But during my time on earth, people died instead of me, too. It happens every day. When lightning strikes a minute after you are gone, or an airplane crashes that you might have been on. When your colleague falls ill and you do not. We think such things are random. But there is a balance to it all. One withers, another grows. Birth and death are part of a whole.” (48 - 49)

~ Mitch Albom ~
from The Five People You Meet in Heaven ~ 2003


"It's the universe showing us that we're all connected
and feel the love, happiness, and pain oif one another
-- we just have to be ready to listen."
~ Peggy Carriker Rosenbluth ~ 2014


"One fire burns out another's burning.
One pain is lessened by another's anguish.
Tut man, one fire burns out another’s burning.
One pain is lessened by another’s anguish.
Turn giddy, and be helped by backward turning.
One desperate grief cures with another’s languish.
Take thou some new infection to thy eye,
And the rank poison of the old will die."
~ Shakespeare ~
Romeo & Juliet ~ 1597
Quoted by Peter Abernathy in Westworld ~ 2016

Green Bird ~ and / or ~ Green Fish?
Sky ~ and / or ~ Sea?
Painting by Leonard Orr

*******************

Thanks Len for multiple appearances on my blogs!
Previously Posted Paintings & Poetry:

Fortnightly
Capturing the Ginkgo Light
Like An Ant
I Will Show You Modernism In A Handful of Dust
The Ides of Whatever
Advancing & Receding
2020 ~ The Essential Sincerity of Falsehood

Quotidian
End of Summer Sounds
Golden Paintings by Leonard Orr
Excellent Images
Happy Birthday Dylan Thomas
The same war continues . . .
The Magpie Waiting for his Beautiful Partner
An Ant and a Grain of Sand
Bursting Into Light
Sun ~ Flower ~ Moon
Days of Optimism
Life Without Poetry
What To Do
Star - Spanlged But Unsingable
That Lost Time & Place

Book List
Lovely As A Tree
Evening ~ Timing ~ Floating: Poetry by Leonard Orr

Poems: "Past Tense, Future Tense" ~ "Yiddish for Travellers"
"The Loop" ~ "Desperate Times" ~ "Optimist" ~
"Sun and Wheatfields" & "Russian Olives" ~ "Monet's The Magpie"
SEE YOU IN TWO WEEKS ON MY
Next Fortnightly Post
Tuesday, August 14th

Between now and then, read
THE QUOTIDIAN KIT ~ Pie Safe
my shorter, almost daily blog posts
www.dailykitticarriker.blogspot.com

Looking for a good book? Try
KITTI'S LIST
my running list of recent reading
www.kittislist.blogspot.com

The Ides of Whatever

A TIME WHERE ALL'S ACCUSTOMED, CEREMONIOUS
Posting a day late in honor of the time - honored
historic and historical Ides of March.

I came across this mysteriously annotated sugar packet when cleaning out my backpack the other day. How can I explain it? I searched my mind but drew a blank. It seems that once again I've written a note to myself yet completely forgotten what it was that I intended to remember. I can only assume that at some point in my travels, a stray thought crossed my mind -- something about "The Present" -- and, having a pen in hand but no paper, I jotted down a note to myself on the nearest portable surface -- thank goodness for the ubiquity of sugar packets!

It wouldn't be the first time! A friend of mine at Notre Dame asked me once how I could write down so little, and I assured her that I would retain what I needed to know. She couldn't believe that sometimes I didn't even have a notebook, and she liked to say that if I suddenly needed to write something down, I would just reach back and tear the label from my tee - shirt and jot down a word or two for future reference. I never really did that, but I liked that story!

Alas, despite my best intentions, I am unable to interpret the sugar packet message, sent by my very own self from the past into the future, never to be understood in the present. I am not alone, however; Joan Didion's journal entry -- "dinner with E, depressed" -- suffers the same indecipherable fate:

Who is E?
Was this "E" depressed,
or was I depressed?
Maybe one day my sugar packet message will reveal itself to me. Was I thinking of a gift for someone -- a present to purchase, wrap, send, or bring to a party? Was it perhaps a self - actualizing reminder to stay focused on the time at hand, to live in the present moment. One thing I know for sure, I will never solve this riddle by staring at the sugar packet, so I think it is about time to move on to some prose and poetry about time.

"Lets look to the past only as it gives us pleasure.
And look to the future only as it gives us hope."
from Death Comes to Pemberley (2011)
by P. D. James (1920 - 2014)

Jane Austen version:
"Think only of the past as its
remembrance gives you pleasure."
So often we are impatient for time to pass. Years ago, in a book from childhood, I read a story that warned against such impatience. I have lost all the details -- title, author, plot; yet one scene has stayed with me, though I can no longer recall the names of the characters: the grandchildren are piled into a one - horse open sleigh, riding over the river and through the wood with their grandfather. Excited for their destination, they start wishing they were already there, but the grandfather warns: "You must never wish the time away!" How often that line has come back to me!

Even so, we sometimes wish for the time to fly. The Here and Now can drive us a little crazy -- making us tense, so to speak! It might be that you are not really into the Ides of March, or the Ides of He Who Must Not Be Named, or the Ides of Whatever. Maybe March just isn't your favorite month, as was certainly the case for one of my favorite Philadelphia columnists Karen Heller (now of the Washington Post). In her humorous essay "Nine days to go," she gloomily describes the final days of February:

You must not fight February but embrace it like the cold, wet, aging testy, mangy, drooling gray mutt that it is. February is here to make us appreciate May . . . How can you love May when you haven't Februaryed in grand style? And so we wallow and we wait knowing that only this month could deliver a comeback, a punchline, a headache as nasty and wicked and ugly as February.
March. ~ from the Philadelphia Inquirer, mid 1990s

Poet Leonard Orr shares the negative sentiment, suggesting "daychotomies" or "weekectomies" to get through the offending times, going so far as to eliminate entirely The Month That Must Not Be Named. Even the title offers some alternatives to the Present Tense:

Past Tense, Future Tense
My naive calendar has so much sadness now
I could not stand it. Little did I know,
little did I know. I snipped away the foul days.
I completely excised whatever was that
month after February, its name I will not mention.
If it comes up accidentally, I drown it out
with whirling greigers and stamping feet. April
turned out far better, though individual days
when we could not be together, these I carefully
snipped away, performing daychotomies,
weekectomies, and sutured the ragged sad edges
together, wetting the wounds as needed
with my abundant fluids, all my excess. I expanded
those few times we were together, those dates
receiving hour - augmentations; I botoxed my tongue,
the tips of my fingers, to seal inside me those
recollections of you, the spectacular aerie,
the tiny bits of time, ticking, always ticking.
May and the first days of June, little did I know,
little did I know, so wonderful and blissful,
joyful in my last days, my running out of sand,
and now these blanks of time, soggy, unprinted
months with no days, no light, no passionate glowing.
(emphasis added)

~ Leonard Orr ~
from his collection Why We Have Evening
P.S.
Political Post Script for
The Ides of Trump

My postcard messasges:
1. Stop Gerrymandering
2. Protect Planned Parenthood & Roe v. Wade
3. Don't Build the Wall
4. Remember the traditional motto of our country:
E Pluribus Unum
5. Honor the Statue of Liberty:
"Give me your tired your poor . . . the homeless . . .
I lift my lamp beside the golden door."
SEE YOU IN TWO WEEKS ON MY
Next Fortnightly Post
Tuesday, March 28th

Between now and then, read
THE QUOTIDIAN KIT
my shorter, almost daily blog posts
www.dailykitticarriker.blogspot.com

Looking for a good book? Try
KITTI'S LIST
my running list of recent reading
www.kittislist.blogspot.com

Light as a Feather

A HOUSE WHERE ALL'S ACCUSTOMED, CEREMONIOUS

Have nothing in your house that you do not know to be useful,
or believe to be beautiful. ~William Morris

Beautiful and useful: my favorite china pattern
~ Chinese Legend (pastel Blue Willow with red accents) ~
which looks perfect against red silk elephants from Thailand!
Thanks Sandy S-K!

Or this exotic white / gold / silver summer bedding ensemble
from the United Arab Emirates. Thanks Vickie Amador!

*******************

For one thing,
there is too much luggage,
and you’re truly lugging it —
you and, it seems, everyone.

What is it, that you need so badly?
Think about this.

from the poem "Logan International"
by Mary Oliver
in her book Thirst
Now, what to do about all those items that are neither beautiful nor useful? Somehow it seems that life has become a perpetual project of sorting the wheat from the chaff, trying to ~ simplify, simplify, simplify ~ by donating or throwing away. Mary Oliver's question ~ "What is it, that you need so badly?" ~ reminds me of the old Egyptian rule that you could only enter the afterworld if Osiris weighed your heart and found it to be lighter than a feather.

This ancient legend received a new twist in the 1983 Sesame Street special, Don't Eat the Pictures (which I mentioned last month on my Quotidian Blog). Cookie Monster and friends spend the night -- In a Museum! -- the Metropolitan Museum of Art -- and meet a little Egyptian prince who haunts the Temple of Dendur because he is under a spell that prevents him from joining his parents in the afterlife.

Big Bird, Mr. Snuffleupagus, and Prince Sahu
Snuffy offers Sahu a ride, and Big Bird sings a hopeful song::

"You're Gonna Be a Star"
Shining in the sky
Bright and proud, way up high.
You're gonna be a star
Somewhere in the blue
There's a spot just for you!

The moon will be there beside you
When everyone's counting sheep
A fluffy white cloud will hide you
Whenever you go to sleep

A shiny little star
Is what you're gonna be--
Just you wait and see!

You're gonna be a star
Shining in the sky
Bright and proud, way up high.
You're gonna be a star
Somewhere in the blue
There's a spot just for you!

At night when the sky is clearing
You'll talk with the other stars
I bet you'll be overhearing
What Jupiter said to Mars!

A shiny little star
Is what you're gonna be--
Just you wait and see!

Standing Before Osiris With a Heavy Heart

*******************
My heart was not lighter than feather twelve years ago, when we made the big move from Philadelphia back to Indiana (in Spring 2004). When we first moved out to Philly (from Indiana, in Spring 1993), we didn't have so much to take with us, but we managed to accumulate a lot in our eleven years there, and it couldn't all come back to the Midwest with us. When packing, I tried to put all of our belongings to the "light as a feather" test. If they failed, then they did not get to accompany us to our next life!

In preparation for that move, I bid farewell to stacks of old bedspreads and beach towels (including two big black garbage bags full to our vet, who was collecting nesting material to make snug winter beds for the pets), tons of books (some via amazon used), a couple of poorly made small bookshelves and scratched up end tables, video cassettes, Sam's outgrown clothes (previously worn by Ben), Christmas decorations (yes, I was able to part with one large shopping bag of the cheaper, plastic variety -- none of my treasures, of course), a few puzzles and games and toys that I didn't think Ben and Sam would ever play with again. One way or another, it all made its way out the door -- over to St. Peter's School (some, that I knew the little kids would like, went straight to the Pre - K; some to the basement for the next year's annual rummage sale), or to our local Goodwill equivalent -- a store called the Second Mile Center, or to the curbside -- an extremely efficient market for the transference of goods in Philadelphia.

It's true, I cried real tears over some of the special toys, like the wooden zoo that had simply never appealed to the boys, even though to me it had represented the ideal hands - on childhood experience that I dreamed of creating for them. I guess that's the hard part -- not just boxing up the stuff, but passing on the dreams in hopes that someone else will find a use for them. It wasn't easy at first, but once I got going, I felt good about the idea of not bringing so much excess baggage back to Indiana! It's always tough for a sentimental fool like me to part with my belongings but always nice to lighten the load. When we arrived in Indiana, more things had to go; despite our heavy - duty downsizing, we realized we had still brought too much.

We've now been back in Indiana for as long as were in Philadelphia (a year longer, actually), so it is definitely time for another purge. A few of my friends swear by the latest trends: Marni Jameson's Downsizing The Family Home: What to Save, What to Let Go or Marie Kondo's The Life-Changing Magic of Tidying Up: The Japanese Art of Decluttering and Organizing; but I think between William Morris ("beautiful or useful") and the Tao of Big Bird ("lighter than a feather") I have all the inspiration I need. (I have also been intrigued by Kate Bingaman-Burt's Obsessive Consumption: What Did You Buy Today? -- a kind of "pain of payment" awareness - raising project, like the practice of meticulously verifying every credit card purchase or, better yet, using cash instead of credit.)

I like what my friend Len wrote a couple of summers ago about growing lighter and lighter as he gave away his earthly goods:

I enjoyed clearing out my closets of all the clothes I haven't worn since I moved to this house three years ago: sports jackets, pants, ties, regular jackets, shoes obtained online that never fit well, the ugly, the old-fashioned, the back-up administrating garb, the inexplicable purchases. I dropped these off at the donation center and then went back to give them the bicycle. In this mood, I began clearing expired foods (making an emergency batch of tofu-tidbits just six hours away from expiring--my name is Danger!). I plan not to go beyond my house and backyard tomorrow: there is so much more to cull, clean, and clear out, now that I am in this groove.

Tabula rasa: I had to replace my old, dying cellphone; the young technician supposedly copying the contacts and calendar and other information from my old phone suddenly panicked when he saw I did not have a "cloud app." He had to make a call to someone and kept trying. After five attempts, he handed it to me in triumph and said it was perfect; he said I should have told him I had deleted my contacts! In keeping with my general cleaning and emptying, I took the blank phone as an opportunity: gone were all of the people and places I had for short-term purposes, from different places I had lived, from my administrative work. Gone were the retired, the moved, the unpleasant, and the dead. It was as if a great cleansing religious ceremony had been undertaken and my contacts now were made pure. I start from this beginning and add as needed. . . .

Plus Some Witty Facebook Responses:
Denice Laws Davies: "I felt that way after giving away my teenage record collection."

Diane Prokop: You are a brave man.

Leonard Orr: "Bravery does not enter into it. There was not much that could be done. I think the best analogy is Leopold Bloom's rising above the adversities of his life through "equanimity," before he goes to sleep at the end of Ulysses."

Diane Prokop: "I am a stranger to equanimity these days."

Andrea Livingston: "I like the idea of deleting all "unpleasant" contacts from my cellphone's memory and sending them to a "cloud" somewhere, similar to what happened in the film Eternal Sunshine of the Spotless Mind."

Kitti: "My favorite: 'inexplicable purchases'! I also like this list; there's just something about it that I keep returning to: 'Gone were the retired, the moved, the unpleasant, and the dead.' "

Leonard: "Separated out, it does sound idyllic (or an echo of the end of Dubliners)."

Kitti Carriker: Or the preface of Edwin Mullhouse
(see Comment below)

P.S.
Here's an even better way to decrease our accumulations
and the task of ridding ourselves of them --
don't buy them in the first place!

"Look at your own mind.
The one who carries things thinks he's got things,
but the one who looks on sees only the heaviness.
Throw away things, lose them, and find lightness."
~ Ajahn Chah ~
SEE YOU IN TWO WEEKS FOR MY
Next Fortnightly Post
Tuesday, June 14th

Between now and then, read
THE QUOTIDIAN KIT ~ Willow Willow Willow
my shorter, almost daily blog posts
www.dailykitticarriker.blogspot.com

Looking for a good book? Try
KITTI'S LIST ~ The Swedish Death Cleanse
my running list of recent reading
www.kittislist.blogspot.com

I Will Show You Modernism In A Handful of Dust

WHERE ALL'S ACCUSTOMED, CEREMONIOUS

Painting by Leonard Orr ~ Handful of Dust in the Wind
Mimi Allin writes:
"land sky heaped feathered leading discouraging
porcupined lit bloated muffled"
This Fortnightly's connections are all about the Ache of Modernism, the sudden tortured awareness of the unlived life, the life which dared nothing -- or not enough. As Carolyn Heilbrun writes of D. H. Lawrence (1885 - 1930): " . . . he understood that the mortal risk was not, or was no longer, death; it had become the possibility that life, the lived life, might be evaded." Historical discontinuity, alienation, asocial individualism, existentialism, melancholy -- these were the issues at hand. Horror to horror. Dust to dust.

Unlike the Romantic movement, which can be dated from a specific event -- the publication in 1798 of the Lyrical Ballads, Modernism begins less deliberately (unless you ask Virginia Woolf; more on this next time). There is not an initial document, such as the "Preface to the Lyrical Ballads," which sets forth the tenets of Modernism and heralds a movement to which writers may rally. Instead, one must look in the works themselves to locate the key concepts shaping the tone of the canon. In chronological order, here are a few of my favorites:

Joseph Conrad / Heart of Darkness (1902):
"He cried in a whisper at some image, at some vision, —
he cried out twice, a cry that was no more than a breath —
'The horror! The horror!'" [emphasis added]

Henry James / "The Beast in the Jungle" (1903):
"So he saw it, as we say, in pale horror, while the pieces fitted and fitted. . . . It was the truth, vivid and monstrous, that all the while he had waited the wait was itself his portion. This the companion of his vigil had at a given moment made out, and she had then offered him the chance to baffle his doom. One’s doom, however, was never baffled . . . The escape would have been to love her . . . This horror of waking-- this was knowledge, knowledge under the breath of which the very tears in his eyes seemed to freeze." [emphasis added]

E. M. Forster / Howards End (1910):
"Only connect the prose and the passion, and both will be exalted, and human love will be seen at its height. Live in fragments no longer. Only connect, and the beast and the monk, robbed of the isolation that is life to either, will die.” [emphasis added]

T.S. Eliot / The Wasteland (1922):
" . . . I will show you something different from either
Your shadow at morning striding behind you
Or your shadow at evening rising to meet you:
I will show you fear in a handful of dust. [emphasis added]

Jessamyn West / The Friendly Persuasion (1945):
"He, a live man, to die. He extended his hand, recalling its cunning, marveling at the way stiff, unpliable bones could be so cushioned and strung together as to be capable of music, of grafting a tree, of lifting a foal from it's mother's torn flesh -- and that hand to be dust. And the enemy present . . . He saw objects two ways, now, both as more beautiful and more pitiable: those which would stay, endure beyond men, stones, trees, the moving air, had new beauty, that of their own endurance and of his leaving; but men and women were more pitiable . . . Man's a sizeable hulk reared - up on his wagon seat and pulled about the earth by horses; dead, no more'n a spoonful of dust, not enough, spread thin, to take a small - sized horse track" (147 - 150). [emphasis added]

Jack Schaefer / Shane (1949 novel / 1953 film):
In the iconic closing scene, Shane bids farewell and rides off into the valley, ignoring young Joey's desperate cries of "Shane, come back!"

In his memoir 700 Sundays, Billy Crystal writes of the equally iconic moment in his childhood when none other than the legendary Billie Holiday (who was friends with his father) took him to see Shane at the movie theater. As the movie draws to a close and Shane rides off into the sunset, "Miss Billie whispered in my ear, 'He ain't never coming back'" (48).

Alan Sillitoe / "The Fishing Boat Picture" (1959):
"Then optimism rides out of the darkness like a knight in armour. If you loved her... (of course I bloody-well did)... then you both did the only thing possible if it was to be remembered as love. Now didn't you? Knight in armour goes back into blackness. Yes, I cry, but neither of us did anything about it, and that's the trouble." [emphasis added]

Iris Murdoch / The Black Prince (1973):
"The whole room breathed the flat horror of genuine mortality, dull and spiritless and final . . . (38)
"You understand nothing of -- the horror -- no wonder you can write real books -- you don't see -- the horror -- (224, emphasis added)
"The evening was overcast . . . I could smell dust, as if the quiet tedious streets all around me had dissolved into endless dunes of dust. I thought about this morning and how we had seemed to have all the time in the world. And now there seemed to be no more time. I also thought that if only I had had the wit . . . (285)
I awoke to a grey awful spotty early morning light which made the unfamiliar room present in a ghastly way. The furniture was humped shapelessly about me . . . Everything seemed to be covered with soiled dust sheets. . . . I experienced horror, then memory." (341)

William Stafford / "A Ritual To Read To Each Other"
(1977, or somewhat earlier):

If you don't know the kind of person I am
and I don't know the kind of person you are
a pattern that others made may prevail in the world
and following the wrong god home we may miss our star.

For there is many a small betrayal in the mind,
a shrug that lets the fragile sequence break
sending with shouts the horrible errors of childhood
storming out to play through the broken dyke.

And as elephants parade holding each elephant's tail,
but if one wanders the circus won't find the park,
I call it cruel and maybe the root of all cruelty
to know what occurs but not recognize the fact.

And so I appeal to a voice, to something shadowy,
a remote important region in all who talk:
though we could fool each other, we should consider--
lest the parade of our mutual life get lost in the dark.

For it is important that awake people be awake,
or a breaking line may discourage them back to sleep;
the signals we give--yes or no, or maybe--
should be clear: the darkness around us is deep. [emphasis added]

Kansas / "Dust in the Wind" (1977)
Click to listen:
I close my eyes
Only for a moment and the moment's gone
All my dreams
Pass before my eyes with curiosity
Dust in the wind
All we are is dust in the wind

Same old song
Just a drop of water in an endless sea
All we do
Crumbles to the ground, though we refuse to see
Dust in the wind
All we are is dust in the wind

Now don't hang on
Nothin' lasts forever but the earth and sky
It slips away
And all your money won't another minute buy

Dust in the wind
All we are is dust in the wind
Dust in the wind
Everything is dust in the wind

Dust Bowl

SEE YOU IN TWO WEEKS FOR MY
Next Fortnightly Post
Tuesday, July 28th

Between now and then, read
THE QUOTIDIAN KIT
my shorter, almost daily blog posts
www.dailykitticarriker.blogspot.com

Looking for a good book? Try
KITTI'S LIST
my running list of recent reading
www.kittislist.blogspot.com

Handed My Own Life

WHERE ALL'S ACCUSTOMED, CEREMONIOUS
University of Glasgow Coat of Arms

VIA ~ VERITAS ~ VITA
WAY ~ TRUTH ~ LIFE
MENTORS ~ HEROES ~ FRIENDS
[Thanks to Peter Bunder & Good Shepherd for this photo & caption]
Back to school already! The calendar year is nearly two thirds gone, yet in semester - speak the year is just beginning! After a few decades on the academic calendar, it becomes hard to measure time in any other way. I began my Freshman year at Northeast Missouri State in the fall of 1975, finishing four years later with a B.A. in English, one of the mere fifty - two Bachelor of Arts candidates listed on the last page of the graduation program (Spring 1979). My educational goals were not shared by many of my peers (most of whose names were listed among the many hundreds preceding the B.A.'s). While I did not elect to obtain the then popular Bachelor of Science in Education, I somehow or other ended up teaching for a number of years and was imprinted by numerous examples of what it meant to be an educator.

The closest I've come to a mission field was teaching at the Community College of Philadelphia. I taught a class for students who were trying to qualify for Freshman English -- so pre-freshman English. A few had not graduated from high school, but they had special admission status as returning students. A few were traditional students (age 18 or so) who had just not been served well by the Philadelphia public school system. Most were returning students, African American women about my age (late 30s at the time) and many were grandmothers! They were always surprised to learn that I was the mother of toddlers, at my age. I was impressed by the commitment they brought to their course work, and their determination to improve the level of their writing skills. Their dedication was inspiring, and many times they seemed to surprise themselves and each other with the success of their achievements. My last semester there, Spring 1998, I participated in a departmental evaluation, in an attempt to reveal something of how these small successes were accomplished.

Always my goal was to reveal to the students their own capacity for intelligent thought, as mine was revealed to me. In An American Childhood, Annie Dillard vividly describes her initiation into the world of natural science, her early discovery, years before college, "that you do what you do out of your private passion for the thing itself." I love her scenario of revelation, though the indifference of her privileged parents fills me with some misgiving:

“Mother . . . gave me to understand that she was glad I had found what I had been looking for, but that she and Father were happy to sit with their coffee, and would not be coming down [to check out her biology experiment in the basement]. She did not say, but I understood at once, that they had their pursuits (coffee?) and I had mine. She did not say, but I began to understand then, that you do what you do out of your private passion for the thing itself. I had essentially been handed my own life” (148 - 49, emphasis added).

In Homegrown Democrat, Garrison Keillor writes of his education in very similar terms, describing himself as an undergraduate "with no money to speak of and no clear plan for the future but . . . teachers who engage him with gravity and fervor and that's enough. That was the true spirit of the university, the spirit of the professors who loved their work. That was the heart and soul of the place . . . ." He enumerates half a dozen of his most inspirational professors, concluding with a visit to the library where "that Niagara of scholarship holds you in its sway, the deluge and glory of learning, and you begin to see where work and play become one. And imagine working at something you love. And that was how the University of Minnesota gave me life" (94 - 96, emphasis added).

Several times during my undergraduate years, I too was "essentially handed my own life," not just in the English courses which catered to my "private passion" but once in a science class where we learned that "Much knowledge is gained in pursuit of even elusive goals," and once again in music appreciation where the professor explained that "we don't know what we like -- we like what we know" and then proceeded to teach us just how much there was in the world to know and like and love. Not only did I obtain personal attention when necessary, but upon one memorable occasion during my Freshman year when I arrived at an office door at the same time as a classmate, the instructor soon had us tutoring each other. My questions were answered by a peer whose questions in turn I was able to answer! Thus, even in uncertainty, my own competence was reinforced. I learned that I was capable of intelligent thought and that I could impart as well as absorb information. This was an invaluable discovery, which stood me in good stead as an educator. Though it was not always easy, I aimed for a similar transference of accountability during my years as a classroom teacher.

As for my private passion, one of my most rewarding undergraduate challenges was to work as an editor of the student literary magazine, learning to test and question my own critical thinking skills in ways which continue to influence and inform every writing task I undertake. I knew when I arrived at Northeast that I wanted to major in English; and when I took Modern British Fiction, I knew what, one day, my field of specialization would be. Never before had I read such wonderful novels or worked on such exciting assignments! From a handful of professors, I encountered generous and enthusiastic encouragement, and was challenged by their faith in my work and by the valuable information which they choose to share.

Regardless of one's private passion, the public study of language and literature should yield a certain breadth of vision when it comes to solving problems, analyzing common or repeated themes, and dealing with human conflict in a humane way. To portray the inevitable links between existence and language, to create an environment of personal actualization in which a whole and steady vision might be realized, to repair the learned disjunction between speaker and utterance, to not be fooled by wordcraft or lazy thinking -- those were some of my goals as a teacher of English. Particularly in teaching composition it seems important, perhaps it is even a mission to show students how to be responsible to language, to own it, and to overcome indifference.

I pointed out to them the significance of their own authority in what Stanley Fish calls the "interpretive community" and the relevance of their own contributions to the discursive enterprise referred to by Robert Maynard Hutchins as the Great Conversation and the Civilization of the Dialogue:

"How, then, can higher education escape dogmatism, narrowness, the invasion of academic freedom, and failure in its proper intellectual task and still do its duty by morals and religion? A possible answer lies in the Great Conversation. The Great Conversation began with the Greeks, the Hebrews, the Hindus, and the Chinese and has continued to the present day. It is a conversation that deals, perhaps more extensively than it deals with anything else, with morals and religion. The questions of the nature and existence of God, the nature and destiny of humanity, and the organization and purpose of human society are the recurring themes of the Great Conversation.

"There may be many ways in which a college or university can continue the Great Conversation, but it would seem offhand that one of the best ways is through the reading and discussion by all the students of the books in which the Great Conversation has been carried on by the greatest writers and thinkers who have taken part in it. I emphasize discussion because of the contributions that this method makes to the moral and intellectual habits we desire; and I emphasize reading and discussion by all the students and faculty because in this way the formation of a community can be advanced. To continue and enrich the Great Conversation is the object of higher education.

"The Civilization of the Dialogue is the only civilization worth having and the only civilization in which the whole world can unite. It is, therefore, the only civilization we can hope for, because the world must unite or be blown to bits. The Civilization of the Dialogue requires communication. It requires a common language and a common stock of ideas. It assumes that everyone has reason and that everyone can use it. It preserves to all their independent judgment and, since it does so, it deprives any individual or any group of the privilege of forcing their judgment upon any other individual or any other group. The Civilization of the Dialogue is the negation of force. We have reached the point, in any event, when force cannot unite the world; it can merely destroy it. Through continuing and enriching the Great Conversation, higher education not only does its duty by morals and religion; it not performs its proper intellectual task; it also supports and symbolizes the highest hopes and the highest aspirations of humanity."

Robert Maynard Hutchins
from Morals, Religion, and Higher Education
In keeping with this focus on dialogue, I stressed the need to adhere to certain objective principles (use of the apostrophe, for example, or the conjugation of verbs!) not merely for the sake of following rules, but so that the students' contributions to the dialogue might be taken seriously; so that they do not undermine their own authority as readers, writers, and speakers; and so that they may learn to make the best use of that "tight economy of energy" which for Mina P. Shaughnessy characterized the transfer of meaning via the written or spoken word. In the developmental courses which I taught, I hoped for my students to discover that expressing themselves verbally went hand in hand with reading and expressing themselves in writing; and I tried to impress upon them that most human endeavor, education in particular, is a verbal undertaking. I urged them to think of each essay as "a try," an attempt to tackle one more problem and eliminate it before confronting another.

Terry Eagleton's Literary Theory: An Introduction contains a structural analysis of the curriculum in which he warns students that literary studies "are a question of the signifier, not of the signified. Those employed to teach you this form of discourse will remember whether or not you were able to speak it proficiently long after they have forgotten what you said." Despite the appeal of Eagleton's analogy, I always was, in fact, keenly interested in what my students had to say; and I continually reminded them that it is for this very reason -- the significance of their message -- that their mode of signification is so important. Myself a student of the message as well as the medium, I have to admire "that rare educator," described by Maya Angelou in I Know Why the Caged Bird Sings "who was in love with information . . . [and desired] to make sure that some of the things she knew would find repositories so that they could be shared again" (209). If, as Angelou suspected, such an impulse was not motivated solely by a love for the students themselves, then certainly it derives from a sincere conviction that they proceed with awareness, as cognizant as possible of their role in creating and naming the world which surrounds them -- a way to give them life, to hand them their own lives!

Henricus de Alemannia Lecturing his Students
from Laurentius de Voltolina, 1350s

For more on higher / liberal education, see
my previous post: "Back to School: A Scent of Knowledge"
and this vintage video: Bryn Mawr College

************************
PS
For a bit of academic humor you might want to try
33 Teachers Who Got The Last Laugh,
or Your Teachers Were Funnier Than You All Along,
which I found to be very entertaining in a Breakfast Club kind of way!
In fact, it reminds me of another movie Class in which the English instructor is handing back papers with a negative remark for each one. When he gets to the last one, his comment is "This one offended ALL my sensibilities." It's been 30 years since I saw this movie -- (warning: it's a stupid movie; so this is not a recommendation) -- but I never forgot that one funny line!

That's the thing about being a student or a teacher: it always seems to involve grading! Reminiscing about these good and bad movies reminded my brother Bruce and me of our best grading stories.

Bruce wrote to say, "I once got a paper back with the international traffic symbol for "No" -- the circle with the slash through it -- covering most of the first page. In one of the few spaces not covered by the circle was the word "NO!" in big red letters. The rest of the pages just had big red Xs from corner to corner. The test was a final that I was required to take, but it wouldn't affect my grade. I only had to get something like a 40% on the final to get an A. So, I just went in and wrote drivel . . . didn't even study. The professor called me into his office and told me something like this: 'I know basically all you have to do is spell your name correctly on this test to get enough points for an A, but you ARE going to take this final.' He gave me an incomplete and I had to go take the finals when we got back from Christmas."

The prize correction / comment, which I still enjoy for it's sheer uselessness: "Revise for smoothness." This is the one and only comment that one of my dissertation readers put on the top of my 300 - page rough draft, without one single mark anywhere throughout the entire document (did he even read it? I think not). Now, whenever Gerry and I hear any piece of totally useless advice, we just say, "Revise for smoothness" (or sometimes "Go Over").

My advisor Leonard Orr (one of the inspiring professors invoked above) gave me some useful advise: He said to wait a couple of days, change a couple of words around, re-submit the paper, and say, "I revised for smoothness." Worked like a charm!

**********************
SEE YOU IN TWO WEEKS FOR MY
Next Fortnightly Post
Thursday, August 28th

Between now and then, read
THE QUOTIDIAN KIT
my shorter, almost daily blog posts
www.dailykitticarriker.blogspot.com

Looking for a good book? Try
KITTI'S LIST
my running list of recent reading
www.kittislist.blogspot.com

Good Intentions

WHERE ALL'S ACCUSTOMED, CEREMONIOUS

Sunrise ~ A New Day
photo taken by Gerry McCartney ~ 22 January 2014
There's no time like January for good intentions. Hearing that phrase reminds me, every time, of the opening parable in The Joy Luck Club about the mother who wanted to bring her daughter a swan from the old country. To her consternation, the swan is seized at customs and she's left with only a single feather to represent her good intentions, her robust hopes reduced to a mere wisp: "For a long time now the woman had wanted to give her daughter the single swan feather and tell her, 'This feather may look worthless, but it comes from afar and carries with it all my good intentions,'" (17).

With each new year, it's good to replenish our optimism and dream big, or as American songwriter Woody Guthrie -- named after Woodrow Wilson -- wrote, dream good!

[Click on notebook for a better view!]
Even printed so neatly by Woody -- and enlarged as much as possible by blogspot -- it's not easy to read this photograph, so here in boldface is Woody Guthrie's New Year's Resolution List, 1942:

1. Work more and better
2. Work by a schedule
3. Wash teeth if any
4. Shave
5. Take bath
6. Eat good — fruit — vegetables — milk
7. Drink very scant if any
8. Write a song a day
9. Wear clean clothes — look good
10. Shine shoes
11. Change socks
12. Change bed cloths often
13. Read lots good books
14. Listen to radio a lot
15. Learn people better
16. Keep rancho clean
17. Dont get lonesome
18. Stay glad
19. Keep hoping machine running
20. Dream good
21. Bank all extra money
22. Save dough
23. Have company but dont waste time
24. Send Mary and kids money
25. Play and sing good
26. Dance better
27. Help win war — beat fascism
28. Love mama
29. Love papa
30. Love Pete
31. Love everybody
32. Make up your mind
33. Wake up and fight
A few years before Guthrie's list, novelist F. Scott Fitzgerald -- named after Francis Scott Key -- compiled a list of directives for his daughter, Frances Scott Fitzgerald, who was eleven years old at the time. Some have seen Fitzgerald's list as fantastic advice whereas others suggest he should have spared his little girl all this terrible advice and, instead, heeded it himself:

Things to worry about:

Worry about courage
Worry about cleanliness
Worry about efficiency
Worry about horsemanship

Things not to worry about:

Don't worry about popular opinion
Don't worry about dolls

[What is Fitzgerald saying? With all due respect, I must object!
Dolls are definitely worth worrying about!]

Don't worry about the past
Don't worry about the future
Don't worry about growing up
Don't worry about anybody getting ahead of you
Don't worry about triumph
Don't worry about failure unless it comes through your own fault
Don't worry about mosquitoes
Don't worry about flies
Don't worry about insects in general
Don't worry about parents
Don't worry about boys
Don't worry about disappointments
Don't worry about pleasures
Don't worry about satisfactions
Things to think about:
What am I really aiming at?

How good am I really in comparison to my contemporaries
in regard to:
(a) Scholarship
(b) Do I really understand about people
and am I able to get along with them?
(c) Am I trying to make my body a useful instrument
or am I neglecting it?
What makes Fitzgerald's fatherly advice of 1933 especially interesting -- in addition to its applicability to his own disposition -- is reading it along side the "Schedule" that he wrote on behalf of his character, Jay Gatsby, in 1925. After Gatsby's funeral, his father, Mr. Gatz sadly shares with Nick Carraway his most treasured keepsake of his son, " . . . a ragged old copy of a book called Hopalong Cassidy":

"Look here, this is a book he had when he was a boy. It just shows you.”

He opened it at the back cover and turned it around for me to see. On the last fly-leaf was printed the word Schedule, and the date September 12, 1906, and underneath:

Rise from bed................ 6.00 a.m
Dumbbell exercise and wall-scaling...... 6.15-6.30 ”
Study electricity, etc. ........... 7.15-8.15 ”
Work..................... 8.30-4.30 p.m
Baseball and sports............. 4.30-5.00 ”
Practice elocution, poise and how to attain it 5.00-6.00 ”
Study needed inventions........... 7.00-9.00 ”

GENERAL RESOLVES

No wasting time at Shafters or [a name, indecipherable]
No more smoking or chewing
Bath every other day
Read one improving book or magazine per week
Save $5.00 {crossed out} $3.00 per week
Be better to parents
“I come across this book by accident,” said the old man. “It just shows you, don’t it?”

“It just shows you.”

“Jimmy was bound to get ahead. He always had some resolves like this or something. Do you notice what he’s got about improving his mind? He was always great for that. He told me I et like a hog once, and I beat him for it.”

He was reluctant to close the book, reading each item aloud and then looking eagerly at me. I think he rather expected me to copy down the list for my own use. (173 - 74)

The fatherly pride of Mr. Gatz and the earnestness of sixteen - year - old Gatsby's self - improvement list is heart - breaking, knowing as we do the failure of Gatsby's dream, but his resolve is admirable.

More light - hearted, but equally intense in its own way, is the schedule made by Oskar's friend Klepp in The Tin Drum, written in 1959 by Nobel prize winner Gunter Grass:

"Klepp often spends hours drawing up schedules. . . . This year again Klepp has spent more than two weeks trying to schedule his activities. . . . I looked through his handiwork, there was nothing very new about it:

breakfast at ten;
contemplation until lunchtime;
after lunch a nap (one hour),
then coffee, in bed if transportation was available;
flute playing in bed (one hour);
get up;
play bagpipes while marching round the room (one hour);
more bagpipes out in the courtyard (half an hour).

Next came a two - hour period, spend every other day over
beer and blood sausage and the alternate day at the movies;
in either case, before the movies or over the beer,
discreet propaganda for the illegal Communist Party of Germany,
not to exceed half an hour, mustn't overdo it.

Three nights a week to be send playing dance music at the Unicorn;
on Saturday, beer and propaganda transferred to the evening,
afternoon reserved for a bath and massage in Grunstrasse,
followed by hygiene with girl (three - quarters of an hour)at the "U9,"
then with the same girl and her girl friend coffee and cake at Schwab's,
a shave and if necessary a haircut just before the barber's closing time;
quick to the Photomaton;
then beer, blood sausage, Party propaganda, and relaxation."
I admired Klepp's carefully custom - made schedule, asked him for a copy and inquired what he did to fill in occasional gaps. "Sleep, or think of the Party," he replied after the briefest reflection." (pp 72 - 3)

Contemplation until lunchtime. Very important! I love that! Another favorite is the typical day of a typical student as set forth in Flann O'Brien's comic metafiction, At Swim Two Birds, written in 1939 (and humorously described by my friend Professor Leonard Orr as "a valuable self-help book in the guise of a novel"):

While I was engaged in the spare - time literary activities of which the preceding and following pages may be cited as more or less typical examples, I was leading a life of a dull but not uncomfortable character. The following approximate schedule of my quotidian activities may be of some interest to the lay reader:

Nature of daily regime or curriculum: Nine-thirty a.m.
rise, wash, shave and proceed to breakfast; this on the insistence of my uncle, who was accustomed to regard himself as the sun of his household, recalling all things to wakefulness on his own rising.

10.30. Return to bedroom.

12.00. Go, weather permitting, to College, there conducting light conversation on diverse topics with friends, or with acquaintances of a casual character.

2.00 p.m. Go home for lunch.

3.00. Return to bedroom. Engage in spare - time literary activity,
or read.

6.00. Have tea in company with my uncle, attending in a perfunctory manner to the replies required by his talk.

7.00. Return to bedroom and rest in darkness.

8.00. Continue resting or meet acquaintances in open thoroughfares or places of public resort.

11.00. Return to bedroom." (p 212)
A similar life of spare - time literary activity (my favorite!) is led, apparently, by the two students, Giles and Jesse, in John Galsworthy's 1906 novel, The Man of Property (Book One of the Forsyte Saga):

"These two, Giles and Jesse, were so alike and so inseparable that they were known as the Dromios. They never talked, and seemed always completely occupied in doing nothing. It was popularly supposed that they were cramming for an important examination. They walked without hats for long hours in the Gardens attached to their house, books in their hands, a fox-terrier at their heels, never saying a word, and smoking all the time. Every morning, about fifty yards apart, they trotted down Campden Hill on two lean hacks, with legs as long as their own, and every morning about an hour later, still fifty yards apart, they cantered up again. Every evening, wherever they had dined, they might be observed about half-past ten, leaning over the balustrade of the Alhambra promenade.

"They were never seen otherwise than together; in this way passing their lives, apparently perfectly content." (found in Part III, Chapter 24, "Mrs. Macander's Evidence" p 232; in some editions, p 297).

Even more frivolous than the daily routine of the Dromios is that of the The Lethargarians, Inhabitants of the Doldrums, in The Phantom Tollbooth, one of those novels for kids of all ages, written in 1961 by Norton Juster, illustrated by Jules Feiffer:

"Well, if you can't laugh or think, what can you do?" asked Milo.

"Anything as long as it's nothing, and everything as long as it isn't anything," explained another. "There's lots to do; we have a very busy schedule --

"At 8 o'clock we get up, and then we spend

"From 8 to 9 daydreaming.

"From 9 to 9:30 we take our early midmorning nap.

"From 9:30 to 10:30 we dawdle and delay.

"From 10:30 to 11:30 we take our late early morning nap.

"From ll:00 to 12:00 we bide our time and then eat lunch.

"From l:00 to 2:00 we linger and loiter.

"From 2:00 to 2:30 we take our early afternoon nap.

"From 2:30 to 3:30 we put off for tomorrow what we could have done today.

"From 3:30 to 4:00 we take our early late afternoon nap.

"From 4:00 to 5:00 we loaf and lounge until dinner.

"From 6:00 to 7:00 we dillydally.

"From 7:00 to 8:00 we take our early evening nap, and then for an hour before we go to bed at 9:00 we waste time.
"As you can see, that leaves almost no time for brooding, lagging, plodding, or procrastinating, and if we stopped to think or laugh, we'd never get nothing done."

"You mean you'd never get anything done," corrected Milo.

"We don't want to get anything done," snapped another angrily; "we want to get nothing done, and we can do that without your help."

"You see," continued another in a more conciliatory tone, "it's really quite strenuous doing nothing all day, so once a week we take a holiday and go nowhere, which was just where we were going when you came along. Would you care to join us?" (pp 26 - 7)

No matter how silly or eccentric, each of these schedules offers some truth toward an ordered existence. From Guthrie's determination, to Fitzgerald's didacticism and Gatsby's zeal; from Klepp's obsessions to the students' self - absorption and the Lethargarians' inverse industry, there is an attention to detail and a quest to fill each hour that heightens our own self - awareness as we organize our good intentions for the remainder of the New Year.

Another Sunrise photo by Gerry McCartney

Early Morning View of Navy Pier as seen from
Northwestern University Arthur Rubloff Building / School of Law,
downtown Chicago ~ 30 November 2012
SEE YOU IN TWO WEEKS FOR MY
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Friday, February 14th

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