d……………
o………..c
……….o
v…….t
e……e
Integument
c h p
o o h
l p y
o p l
n o l
u l i
s e s
commination
……………lust
………….ro
…………nhou
………..sebu
……….ngab
………un
……..g
…….a
……

rc
r…c
e……..r
b……….e
i…………e
t……………k
p……….…….//////… A
a………………………..m
i……..……………///. a
e…….………….////..r
s……Mexico ………r
Menudo is time.iv
………..
………..

.ria. sessility. Mary Nolan.

I’d held off watching Orson Welles’ version of The Trial for a time, having a vague recollection that Milan Kundera spoke ill of it — for being unfaithful to the idea of the original– in his Testaments Betrayed.

I now wish I had Testaments Betrayed on hand still, because I recently watched the Welles version and it seemed to me quite a good attempt at retelling the story and not glaringly unfaithful to the spirit of the book.

In any event, one idea that occurred to me while watching the Welles movie was that the most faithful movie version of a Kafka novel might be an attempt at a montage or conglomeration of the three of them, with some of the short stories included. (Maybe Fellini’s “director’s notes” would be a model to follow). Not an attempt to tell any of their plots, mind you, but an attempt to give an overall account, a complete account, of the identity or character of K. A movie of the distilled Complete Works of Kafka (for example, opening like the Castle then closing like the Metamorphosis or Hunger Artist then having some Trial and Penal Colony and Diary and Castle in between, with appearances from the Oklahoma Theater troupe.) (Maybe –no, on second thought this would entirely spoil the conceit– it would be put on by the Oklahoma Theater troupe.)

A passing glance at the interracial relationships in Jackie Brown—

….. Black Male/ black male: Odelle and Beaumont

….. Black Male/ black female: Odelle and Jackie

….. Black Male/ white female: Odelle and Melanie

….. Black Male/ white male: Odelle and Luis; Max and Winston

….. White male/ black female: Max and Jackie

….. White male/ white female: Luis and Melanie

….. White male/ white male: the feds, Mark and Ray.

I can’t recall there being an instance of two white women together, but at one of the mall drop-off scenes there were three black ladies briefly in each other’s company, and Melanie and Jackie also briefly meet a couple times.

— Moses’ Name:

The biblical text explicitly etymologizes the name Mošeh משה as a derivation of the root mšh משה “to draw”, in Exodus 2:10:

"[...] she called his name Moses (משה): and she said, Because I drew him (משיתהו) out of the water." (KJV).[5]

The name is thus suggested to relate to drawing out in a passive sense, “the one who was drawn out”. Those who depart from this tradition derive the name from the same root but in an active sense, “he who draws out”, in the sense of “saviour, deliverer”.

In the septuagint the word for ‘drawing out’ is αναιρεω, whose primary senses, ‘to draw up’ and ‘to kill’, are both used –as well as oddly repeated– in Exodus 2:5-15 (perhaps meant to hint at something of the character of Moses?). A list:

2:5 pharoh’s daughter orders her maid to take up the ark in which Moses has been set.

2:10 Pharoh’s daughter names the child Moses because she took him up from the water.

1:14 (two mentions) A Hebrew asks Moses will he slay him as he yesterday slayed an Egyptian. *

5:15 Pharoh sought to slay Moses. …

———-
Wonder if αναιρεω operates as a contronym here. (Maybe “Moses” itself/ himself has that quality.) (Or — not just the passive/active sense described in the wikipedia article but — a confluence of passive/ active on top of a contrynimic idea — he who is saved and he who prevents being saved (through slaying.))

* When Moses actually slays the Egyptian, the word used is not αναιρεω but πατασσω (“hit, beat”).

While the situation is uncommon, Nahwa is not the only exclave in the world surrounded by another enclave… Nahwa & Madha

*

My Rifle, Pony, and Me ; color pillow shots; * ; Menippus ; Joe Miller ;

A list drawn up while making notes on the theme of money in ‘To Have and Have Not‘…
______________________________________
Cost to leave port of Fort-de-France … 5 francs

Cost of gas for Morgan’s boat … 28 cents/ gallon

Morgan’s guess as to cost of gassing up his boat (40 gallons) … $11.20

Money Johnson gives Morgan for gas (tells Morgan to put the change against what he owes)… $15

Wage of Horatio (works baiting hooks on Morgan’s boat)… $1/ day

What Morgan charges Johnson for his fishing excursions: $35/ day

Cost of the rod and reel Johnson loses… $275

According to Morgan, what Johnson owes Morgan for 16 days on the boat … $560

What Morgan charges Johnson for the loss of the tackle and the 16 days (rounding down for what Johnson’s already paid)… $825

Found in Johnson’s Wallet… $60 cash, $1400 in American traveler’s checks, and a plane ticket

What French resistance will pay Morgan for his services… 2500 franks

What Morgan says 2500 franks equals in U.S. dollars… $50

(Morgan later buys a plane ticket with the amount he’s given by the resistance as a fee)

The money that’s “just enough to be able to say no if I want to” (Slim’s traveling money)… $30

Morgan’s bill at the hotel … 6,356 Francs

(Assuming the exchange rate used previously of 50:1 is correct, in dollars his hotel bill amounts to $127.12)

Renard’s attempt to pay off Morgan … $500

Renard’s final offer … $825 Johnson owed Morgan + $500 + Morgan’s impounded money.

Amount named in Cricket’s “Hong Kong Blues” (*) … $50 (“I need someone to lend me a fifty dollar bill and then/ I’ll leave Honk Kong far behind me for happiness once again.”)

……..trucial Christian nameumiakgrain
……..…Of or ………………………………… rust
……..……..pertaining to
……..…………….. a truce.…..(vocal cords)
……..Ribollita……..silly………… and
……..Ribollita……..silly………… the space
……..Syrinx……..glottis
……..silly…………between the
……..Lu……..psychotechnique…… folds
……..largest volcanic eruptions. ate
……..paroemiographergovernor.._*

Close Encounters of The Third Kind… An art theme emerges here through repeated references to painting, sculpture and music, –and the appearance of Francois Truffaut– which is further emphasized by the Dreyfuss character seeming at times the paradigmatic tormented artist type, acting in a madcap, asocial manner. But then, against this apparent art theme, is the Dreyfuss character’s explicit assertion (when speaking to the Truffault character no less) that he’s not an artist — (could this be Spielburg explaining himself and justifying his sort of movie-making to Truffault?)– art, for the Dreyfuss character, seems only a part of a larger process of getting at something that exists outside of art….

Devil’s Tower.

.S
..t.
…Cl
….ai
…..r
……T
…….u
……..nn
………e
……….l
………..T
…………un
………….ne
…………..l
……………of
…………….E
……………..u
………………p
……………….al
……………….inosst.clairtunnel,tunnelof eupalinos, trencher,Bell-ringer
…………….Tr
…………,.e
…………n
………..c
……….he
………rb
……..e
…….ll
……r
…..in
….ge
…r
..o
.n
s
en

Greek to English (prototype)

φιλοπολέμος ……αὐγῇ ….. μαργαριτας

πταρμον ……….. ἕλοιμί / ἁλοίην

πᾶςα ἡ πόλις = ? ……….. οκνηρος
πᾶςα πόλις = ? ……….. ἄχος / ἄχθος
ἡ πᾶςα πόλις = ?……….. ἐχῖνος

“δια μου κεφαλας φλοξ ουρανια βαιη”

παραλλαγη -ης …. ὄνθος.. κρεμμανυμι

αποσκιασμα -ατος ….. ὄρσεο…..κναω

………………..

*
* *
* * * * * * * * * * * *
* Poor naked wretches, wheresoe’er you are, *
* That bide the pelting of this pitiless storm, *
* How shall your houseless heads and unfed sides, *
* Your loop’d annd window’d raggedness, defend you *
* From seasons such as these? O, I have ta’en *
* Too little care of this! Take physic, pomp; *
* Expose thyself to feel what wretches feel, *
* That thou mayst shake the superflux to them,*
* And show the heavens more just. *
***
**
*
King
Lear………
One………………..
bird ………………
was……………..
tracked …………….
flying 12,…………….
000 miles…………….
over……………..
the course……………
of the ye………….
ar, and up……….
to 1,100…….
miles i…..
n on..e
..dayrote

English to Greek List (prototype)

Jug ……………… Sneeze .,….. Fond of war

“all the city” ….. “the whole city” ….. dung

shadow, darkness . to boil . pain, distress

variation, change…………….. burden, load

Rising (of sun).. 2nd sing. aor. imp. ὄρνυμι

1st sg aor opt act of ἁλίσκομαι //… pearl
(To be taken, fall in an enemies hands) ….

To scrape ………..///………….. to hang up

Through my head walks a heavenly fire.

….*..…*…* *.\.*
*……* …… *….*
Big Five….The Old Man is probably ….……*
less than 400 years old and may not ……………*
get much older (old man of hoy)….……*
*……* …… *….*
….*..…*…* *.\.*

Margaret / Margarita. (μαργαριτας -ου, m. pearl.) Matthew 7.6 μη δωτε το αγιον τοις κυσιν μηδε βαλητε τους μαργαριτας υμων εμπροσθεν των χοιρων

KJV: Give not that which is holy unto the dogs, neither cast ye your pearls before swine …

Against the Day, 545:

She pressed his hand and was gone in a mist of vetiver, abruptly as the other evening.

Vetiver:

1. the long, fibrous, aromatic roots of an East Indian grass, Vetiveria zizanioides, used for making hangings and screens and yielding an oil used in perfumery.
2. Also called khus-khus. the grass itself.

n. Fennoscandia. Pyrometer…….
s…………………………………o
c…………………………………d
o…………………………………h
r…………………………………i
i…………………………………d
…………………………………h
a…………………………………a
c…………………………………r
…………………………………m
…………………………………a

passival (the middle voice)

imbrued

indurate

Troezen

Bay of Fundy (*) Gulf of Maine

Greek Anthology, 6.85. Τον θω, και τας κνη, ταν τ’ ασπιδα, και δορυ, και κρα, Γορδιοπριλαριος ανθετο Τιμοθεω

*
θω < θωραξ (breastplate).κνη < κναω (scrape) (shin or ankle guard?). κρα < κρανος (helmet).
*
My breastplate, my ankle grieves, my shield, and spear, and helmet, Gordioprilarious dedicates to Timothy.
*
W.R. Paton translation. “His breaster and leggers and shield and spear and heller Captain Gordy dedicates to Timothy.”

Paton further notes: “He is making fun of the speech of the barbarian soldiers, chiefly Goths at this date (fifth century), of which the Byzantine forces for the most part consisted. Τιμοθεω is a blunder for the name of some god. The officer was of rather high rank, a primipilarius.” (primipilarius)

ἀλλ᾽ ἧμαι παρὰ νηυσὶν ἐτώσιον ἄχθος ἀρούρης

But I sat by the ships, a useless burden on the earth. Iliad 18.104.

ὄρσεο Πηλεΐδη, πάντων ἐκπαγλότατ᾽ ἀνδρῶν

Iliad 18.170 / Butler

“used by Hom. in imper. ὄρσεο, up! arise! (like ἄγε and ἴθι) in exhorting”