Saturday Night at the Movies: “Beat the Devil”

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httpv://www.youtube.com/watch?v=uzrhHb1ooZo&ob=av1e

(Not embedded: Click the image above and then hit the YouTube link.  This version is of a very high quality: excellent sound and picture.)

Frye seemed to like going to the movies, and he regularly mentions during his diary writing years (intermittently between 1942 and 1955) what he’d seen on a Saturday night at a time when double bills were still the norm.  One of the oddball classics of the era was John Huston‘s Beat the Devil (1953).  Maybe “John Huston’s Beat the Devil” doesn’t really cover it.  In point of fact, it was co-written with Huston by the very young Truman Capote, who leaves a distinctive mark upon this shaggy dog story which proceeds on the assumption that it is the journey not the arrival that matters, but then barely manages to go anywhere at all.  In point of fact, it has such a tremendous cast — Humphrey Bogart, Gina Lollobrigida, Robert Morley, Peter Lorre, Ivor Bernard — that it’s hard to imagine the movie having any life without them.  And, in point of fact, that’s before you even factor in Jennifer Jones, who is so wonderful that she almost steals the entire movie from this pretty formidable ensemble.  (In point of fact, she makes the phrase “in point of fact” all her own as a leitmotif for escalating delirium.)

Now it’s true that the film depicts the last gasp of Old World colonialism, when European scoundrels could still saunter into Africa and expect to make personal fortunes by foul means (and, yes, there’s a cringe-inducing amount of Orientalism at work too in the depiction of the Arab characters).  But the white mischief on display here is absurd and is foiled at every turn as though that were an inevitability.  At least one tragic historical cycle had come all the way round to farce, and the film — released just a few years after the end of the Second World War — captures that, if only on a hunch.

In a nice coincidence, Capote’s birthday was on Thursday.

Mass Extinction Event

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Recently the hard drive on my primary computer seized up.  While most of my important files were backed up, my email was not, and so I lost everything, including email addresses.  So, if you know me and are seeing this message, drop me a line at my home email address.

From Brock to Oxford and Beyond: A Lesson in Mentorship

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In 2006, on the advice of a professor at Queen’s University, I began a second Masters degree in Studies in Comparative Literatures and Arts at Brock University.  It was at there that I met Dr. Cristina Santos, who would become the supervisor of my research, and, although I am no longer at Brock, she has continued to mentor me.

When I left Brock, it was with scholarly skills I had developed only because Professor Santos encouraged me to push the boundaries of my research, to dig deeper into the questions I was considering, and to read texts closely, textually, hermeneutically.

Earlier this year, while I was teaching as a part-time instructor at Brock University, she encouraged me to submit an abstract for a conference at Oxford University.  Writing abstracts for this particular conference was a key part of the course she was teaching – a course I had taken three years earlier.  That course is to prepare students for an academic career: writing abstracts, writing lectures, writing articles.

Needless to say, I submitted an abstract which was later accepted by the conference committee, and, thanks to the good advice of my mentor, I travelled to Oxford University where I presented my current research.  But I didn’t travel alone.  When I arrived at Oxford, I realized that I was accompanied by several of Professor Santos’ students, and we were all participating in a conference that she had encouraged us all to attend.

The lessons of mentorship, as I have learned, extend far beyond the one or two years we spend at a university.  As Cristina Santos demonstrates by her exceptional example, mentorship extends far beyond the one or two years we study with a supervisor.  Mentorship is a continued commitment to students and their scholarship.

Wallace Stevens

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httpv://www.youtube.com/watch?v=MM7LrsIhWqc

One of Frye’s favorite poems, “The Snowman,” read by the author

Today is Wallace Stevens‘s birthday (1879-1955).

Frye, in various interviews, on the imperfect as paradise:

Wallace Stevens says “the imperfect is our paradise.”  And that means that any paradise you would try to reach would be an anticlimax.  The real paradise is something you can dream of but it’s no longer there.  (CW 24, 882)

When Stevens wrote that, he was writing a poem called Sunday Morning, in which a woman stays home from church and tries to rationalize the fact that she doesn’t want to go to church.  One of the things she comes up with is the feeling that you cannot imagine a complete happiness or complete beauty apart from change, and that in the world as we know it, change ends inevitably in death.  It is true that the imperfect is our paradise, but most religions, including Christianity, say that all change doesn’t have to be a change in the direction of death.  (CW 24, 561)

The same thing happens when in Wallace Stevens I discover the line “the imperfect is our paradise” — here I immediately understand that a paradox is involved between the word “imperfect” in the negative sense, in the sense of “something less than perfect,” and “imperfect” in the sense of openness, of continuity.  That kind of polysemy, I think, is imbedded in the whole conception of figurative language.  The critic cannot deal with literature unless he has at least some idea about the different viewpoints that can be gathered around any critical theme, exemplified, among other ways, by the different referential contexts of the same word. (CW 24, 1085)

14,000 Visits in September

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That number surpasses our previous high of 10,000 visits in a single month, which we’ve hit a couple of times.  Those 14,000 visits, by the way, include almost 50,000 page views. We are of course delighted and have no reason to think that we are anywhere near topping out.

This therefore is an opportune time to solicit posts for our daily blog, contributions to the Denham Library, and articles for our journal.  I think at this point we have a right to guarantee that all contributions will be widely read.

Nuremburg

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httpv://www.youtube.com/watch?v=xcudlm6tPa0&feature=related

Footage of the sentencing of the Nazi leadership

On this date in 1946 the surviving Nazi leaders were sentenced at the Nuremburg Trials.

Frye in “The Knowledge of Good and Evil”:

The Nuremberg and other Nazi trials even raised the question whether a (necessarily hopeless) resistance to the demands of a perverted social order was not only morally but legally binding, and whether one who did not make such a resistance could be considered a criminal. It was feared at the time, no doubt correctly, that the nations who prosecuted these trials would not show enough moral courage to respect this principle where their own interests were involved. In contrast, the more powerful the social structure, the more apt one’s loyalty to it is  modulated from concern to concerned indifference.  The enemy become not people to be defeated, but embodiments to be exterminated.  (Stubborn Structure, 28-9)

Henry IV

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httpv://www.youtube.com/watch?v=GExwDoQEpbc

The closing moments of Shakespeare’s Richard II: the death of Richard and rebellion against the new king, Henry IV

On this date in 1399 Henry Bolingbroke became Henry IV of England after deposing Richard II.

Frye on Shakespeare’s Richard II and 1 Henry IV:

Richard II was, we said, written entirely in verse, the reason being that the action is centred on what is practically a ritual, or inverted ritual: the deposing of a lawful king and the crowning of the successor who has forced him out.  At the beginning of Henry IV, the hangover has set in.  Bolingbroke, realizing that there is nothing worse for a country than a civil war, has determined at the outset to get started on a crusade.  The idea, we said, was partly that God would forgive anyone anything, even the deposing of an anointed kind, if he went on a crusade.  But even more, an external enemy unites a country instead of dividing it.  Shortly before his death, Henry IV tells Prince Henry that when he becomes king he should make every effort to get a foreign war started, so that the nobles will be interested in killing foreigners instead of intriguing against each other and the king — advice Prince Henry is not slow to act on.  But at this point the new king’s authority is not well enough established for a foreign war, much less a crusade.  Henry finds that there are revolts against him in Scotland and Wales, and that many of the lords who backed him against Richard II are conspiring against him now.  So Henry IV contains a great deal of prose, because this play is taking a much broader survey of English society, and showing the general slump in morale of a country whose chain of command has so many weak links.  Falstaff speaks very early of “old father antic the law,” and both the Eastcheap group and the carriers and ostlers in the curious scene at the beginning of the second act illustrate that conspiracy, at all levels, is now in fashion.  (On Shakespeare, 69-70)

“It’s not the policy, it’s not the policy, it’s not the policy”

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httpv://www.youtube.com/watch?v=2EUBNH6D99I

This footage was taken last week after John McCain successfully sabotaged the repeal of Don’t Ask, Don’t Tell, a hypocritical and mean-spirited setback for gay rights in the U.S.  But the video seems to be going viral for reasons you’ll see for yourself as McCain, assailed on all sides by aggressive questions from journalists, goes bananas.  There follows an interview with a discharged air force major who puts the lie to McCain’s assertion that “it’s not the policy” to search out and discharge gay service members.

Tintoretto

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“Women Making Music” (Date unknown)

Today is Tintoretto‘s birthday (1518-1594).

I’ve noticed while trolling for Frye quotes how interesting it is to see who or what he’ll mention in passing to make a larger point, as he does here with Tintoretto.  It’s always easy to get the measure of Frye’s genius in bulk; but there is a particular pleasure in picking it up in the tiniest detail.  And, in a pleasant bit of serendipity, the larger point of the quote below nicely complements the painting above.

Once we have understood the self-imposed limitations of Elizabethan music and realized that its whole spirit is domestic and intimate, that it is Marvell but never Milton, Vermeer but never Tintoretto, Jane Austen but never Tolstoy, we shall accept it for what it is and not indulge in evolutionary reveries. . . We have dropped [the notion of evolution] in literature: we no longer say that poetry has “improved,” that Dryden found it brick and left it marble, or that Pope or Tennyson or anyone else represents centuries of “development.”  We know now that poetry never improves; it only alters.  But musical criticism, owing to the illiteracy of most musicians, has a way of lagging a century or two behind literary criticism, and while the general outlook of Lives of the Poets is dead, that of Johnson’s friend and contemporary Dr. Burney is still alive.  Hence it is generally accepted that everything in Elizabethan music is a crude and unformed beginning of what later composers progressively improved on. (CW 25, 168)