“The bad are frequently good enough to let you see how bad they are, but the good as frequently endeavor to get between you and themselves.” (Thoreau, Journals.)

“On the contrary, he whose soul expects an eternal happiness, has always present in himself that which is valid in itself, and against which all the petty appears as the petty. He is constantly influenced by an aspiration which does not bring him into conflict with anyone, or with anything earthly, whose possession does not exclude anyone else. That is, he can lose the earthly, and if he loses it in the right way, then its loss will make the difficult easier, so that a camel can go through the eye of a needle; and he will not wish to exclude anyone, if he himself is anxious in the right way.” Kierkegaard, The Expectation of an Eternal Happiness.

Some instances of children and violence –well, really, young girls and violence– from the first volume of Kill Bill:

• Black mamba is with child when attacked by Bill and his cohort, and is traumatized (on waking from her coma) to discover her pregnancy has been terminated (though that turns out not to be true.).
• Black mamba kills Copperhead in front of her daughter (aged four). Children’s toys are prominent outside the home. A school bus appears while the two are fighting.
• As a child, Cottonmouth watches her parents being murdered, and (still a child) she kills their murderer, who is a pedophile. (This segment is told in the form of a cartoon/ animation, itself perhaps suggesting childhood.)
• Cottonmouth’s bodyguard is notably young herself, 17 we’re told, and carrying herself still more girlishly — Black Mamba offers her a chance to escape without fighting/ violence. (“Charlie Brown” in these scenes again evokes the cartoon/ the comics.)
• “Silly rabbit, Trix are for kids.” The phrase spoken by both Black Mamba and Cottonmouth suggests childhood/ a shared sense of childhood.
• Black Mamba spares one of the crazy 88’s, who is a young boy. After spanking him with a sword, she sends him home to his mother.

Although the theme is mainly absent from Kill Bill’s 2nd volume, it reappears in the final chapter when The Bride and B.B engage in a mock gun battle and later watch Shogun Assassin. A distinction might be made (as Tarrentino himself appears to do in this youtube) between BB’s engagement with portrayals of violence, “fake violence”, and the girls of Volume 1, who have dealt with the real thing.

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Tropic of Cancer. “And inevitably there always crept into our discussions the figure of Whitman, that one lone figure which America has produced in the course of her brief life. In Whitman the whole American scene comes to life, her past and her future, her birth and her death. Whatever there is of value in America Whitman has expressed, and there is nothing more to be said. The future belongs to the machines, to the robots. He was the poet of the body and soul, Whitman. The first and last poet. He is almost undecipherable today, a monument covered with rude hieroglyphs for which there is no key. It seems strange almost to mention his name over here. There is no equivalent in the languages of of Europe for the spirit which he immortalized. Europe is saturated with art and her soil is full of dead bones and her museums are bursting with plundered treasures, but what Europe has never had is a free, healthy spirit, what you might call a MAN. Goethe was the nearest approach, but Goethe was a stuffed shirt, by comparison. Goethe was a respectable citizen, a pedant, a trade-mark, with the double eagle. The serenity of Goethe, the calm, Olympian attitude, is nothing more than the drowsy stupor of a German burgeois deity. Goethe is an end of something, Whitman is a beginning.”

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Amarcord (noticed that the man on top of the bonfire at the burning of the winter witch is like Uncle Teo up the tree — and the ladder image appears in each of these scenes also.)

*

The man on the bonfire is commanding while Uncle Teo is plaintive. “I have, I want, I command” –something like this says the man on top of the bonfire, the one that seats the witch of winter to be burnt –but– “I want a woman!” cries Uncle Teo. The man on the bonfire can’t come down (though wanting to) while Uncle Teo won’t come down (though this is required). (Is the dwarvish nun comparable to the witch of winter?)

(The stones in Uncle Teo’s pockets remind of the stone sucking in Molloy.)

(The farts sound like the motorcars and the motorbiker is called “The Fart.” Fart sounds interrupt the scholar speaking of the past. Our appreciation of or reverence for the past is interrupted by the body’s demands. But the machine/ technology, is demanding like the body.)

*
also in Amarcord in the figure of the father was perhaps a demonstration of a principle I recall Zizek or another having talked about: somehow the vehemence and violence of an authority figure is the display of his real impotence –by showing us his fury he shows us also the limits of his power. While the truly powerful and frightening authority figures are reserved, quiet — the nazis who interrogate the father. We can’t see their power’s limits.

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Though it was only functional for a few decades, for more than 1,000 years it was the longest arch bridge in both total and span length …

Ulysses (127):

–Ohio! the editor crowed in high treble from his uplifted scarlet face. My Ohio!
–A Perfect cretic! the professor said. Long, short, and long.

“A trisyllabic metrical foot having an unaccented or short syllable between two accented or long syllables, as in Peter Pan.” Also called amphimacer. (Dic.) (wiki.) Apelles (an ancient Greek painter) Ras Siyyan, Sawabi islands, Bab-el-Mandeb ( some areas of South East Asian geography); a story about Apelles pertaining to his rival Protogenes —

Apelles travelled to Protogenes’ home in Rhodes to make the acquaintance of this painter he had heard so much about. Arriving at Protogenes’ studio, he encountered an old woman who told him that Protogenes was out and asked for his name so she could report who had enquired after him. Observing in the studio a panel Protogenes had prepared for a painting, Apelles walked over to the easel, and taking up a brush told the servant to tell Protogenes “this came from me,” and drew in colour an extremely fine line across the panel. When Protogenes returned, and the old woman explained what had taken place, he examined the line and pronounced that only Apelles could have done so perfect a piece of work; Protogenes then dipped a brush into another colour and drew a still finer line above the first one, and asked his servant to show this to the visitor should he return. When Apelles returned, and was shown Protogenes’ response, ashamed that he might be bettered, he drew in a third colour an even finer line between the first two, leaving no room for another display of craftsmanship. On seeing this, Protogenes admitted defeat, and went out to seek Apelles and meet him face-to-face

(Somewhat evokes the story of Giotto’s red circle).

*
It is an interesting question “who” is even speaking
when a business corporation places an advertisement that
endorses or attacks a particular candidate. Presumably it
is not the customers or employees, who typically have no
say in such matters. It cannot realistically be said to be
the shareholders, who tend to be far removed from the
day-to-day decisions of the firm and whose political prefer­
ences may be opaque to management. Perhaps the officers
or directors of the corporation have the best claim to be
the ones speaking, except their fiduciary duties generally
prohibit them from using corporate funds for personal
ends. Some individuals associated with the corporation
must make the decision to place the ad, but the idea that
these individuals are thereby fostering their self­
expression or cultivating their critical faculties is fanciful.
It is entirely possible that the corporation’s electoral mes­
sage will conflict with their personal convictions. Take
away the ability to use general treasury funds for some of
those ads, and no one’s autonomy, dignity, or political
equality has been impinged upon in the least.

(From Judge Stevens’ dissent, Citizen’s United)

“Francis said he did not want the crowd to see him as a smiling ‘cordial manager of the Church who comes here and says to you “have courage.”‘ He added: ‘I don’t want this. I want this courage to come from inside me and push me to do everything I can as a pastor and a man.'” (ALJAZEERA) “Francis […] ended his improvised speech with a prayer asking God to ‘give us work and teach us to fight for work.’

*

(On the assumption that you view standing armies as needed, and perhaps even if not, I think the Swiss Defense Minister here has it right about the draft –everyone should be in some way involved in the defense of the nation of which they are part– though it is probably more important to the social fabric of that nation than to the nation’s defense or to the individual’s development; and though, in the case of the United States, there’s been a disruption between the idea of The Military and the idea of mere Defense –would Iraq have happened if there had been a draft? That is, maybe universal membership in the army creates more peace than do pacifists):

“Abolishing military service would break the genuine link uniting the people and the army,” Defense Minister Ueli Maurer warned ahead of the vote, referring to the unifying force of compulsory military service in a country divided by language and widely varying incomes” (LA TIMES)

Fresh from looking into ‘beautiful’ in The Golden Bowl the word remained in mind while I read The Ambassadors, where I found some interesting usages of it –and sometimes similarly paired with ‘wonderful’– though by no means so profuse as I had found in the former volume.

A similarity I did note between the two books was how each hung on a somewhat strained plot device, a very unlikely event; in each book James seems well aware himself of how strained the plot point he employs must seem, though he doesn’t apologize; in each case it is somewhat ambiguous if James leans on this device out of necessity, or design. (In The Golden Bowl, it is Maggie happening into the same curiosities shop as the Prince and Charlotte, and the store owner happening to recall the Prince and Charlotte; in The Ambassadors, it is how Strether chances upon the same country inn that Chad and Marie are staying at.)

*
well, actually more of ‘beautiful’ here than I thought, as I now see searching via computer the Gutenberg version

Formica laminate was invented in 1912 by Daniel J. O’Conor and Herbert A. Faber, while working at Westinghouse. They filed for a patent on it on 1 February 1913.[1][2] They originally conceived it as a substitute for mica used as electrical insulation, made of wrapped woven fabric coated with Bakelite thermosetting resin, then slit lengthwise, flattened, and cured in a press.….Formica(etym.)

evulsion; hoyden ; Edward Dickinson Baker ; korban ; “white telephones” ; Homer Rodeheaver ; baldric ; Coenties Slip; Mountain pine beetle; Battle of Bosworth Field

the entire earth one unbroken machined de-mountained dis-rivered expanse of concrete paving protuberanceless by tree or bush or house or anything which might constitute a corner or a threat to visibility (Faulkner, A Fable, quoted)

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