tag:blogger.com,1999:blog-60275824334822212862024-03-15T18:11:20.581-07:00Five Willows nonfictionInteresting nonfiction articles, interviews, and tidbitskoon woonhttp://www.blogger.com/profile/10570460211753996634noreply@blogger.comBlogger20125tag:blogger.com,1999:blog-6027582433482221286.post-72667836830823438102024-03-15T10:51:00.000-07:002024-03-15T10:57:20.622-07:00Personal Essay by Rick Fordyce in the Seattle Times3/9/24, 10:22 AM The Seattle Times
https://replica.seattletimes.com/html5/reader/production/default.aspx?pubname=&pubid=84d463e0-c035-4c49-902d-95c722bfe073 1/3
Even on Cape Cod, the smell of cedar
takes me back to Granite Falls
MY TAKE | Personal essays
BY RICK FORDYCE - SPECIAL TO THE SEATTLE TIMES
Do you believe in fate? I don’t.
But maybe I should, given how it all began.
I was 19 when I went to the Fremont bar, the one that on Wednesday nights
had a live band and cheap beer and would take any fake ID under the sun. I
saw the girl in the corner who was not dancing, downed my beer and after a
brief introduction, onto the dance floor we strode.
It was a few dates later that I was introduced to her older brother, who
happened to drive a supply truck for an Eastside roofing company — for all
those hundreds and hundreds of cedar-shake roofs. His regular helper was
out, he needed one for the next day and off I went.
There’s been no turning back. At first, in that winter of 1972, the job took us
all over the Eastside, from Bothell to Renton, with Kirkland, Bellevue and
Issaquah in between; a carpet of tract houses unrolling over forests and
farms from the shores of Lake Washington to the Cascade Mountains.
We started early from the tiny office in Kirkland — 7 a.m., which for a 19-
year-old stoner was a challenge.
First, it was over to the supply yard, where a forklift loaded the flatbed with
enough bundles of cedar shakes for two or three houses.
It is one of the purest smells I know of, freshly split cedar; slightly pungent,
almost intoxicating when inhaled, a doorway into a world outside of which
nothing else exists.
And then it was off in the truck to Newport Shores or Somerset or Juanita or
Yarrow Point. I’d back the truck up to the newly framed house, put a plank
across and handcarry 20 or 30 50-pound bundles of fresh-split cedar shakes
onto the roof, slatted so that the cedar could breathe because it still sought
oxygen.
And then there were the shake mills of North Bend and Granite Falls. Over
time, when the Kirkland yard ran out, they trusted me to drive the 40 miles
up Highway 9 to Granite Falls, where the shake mill sat at the base of the
Mountain Loop Highway.
I grew up around the University District of Seattle, which in 1972 looked like
a university district, but the shake mill in Granite Falls, which in one form or
another had been there since 1900, looked like 1900. Into the muddy yard I
pulled the truck, and into the office with the order I went, and then drove the
truck to the splitting shed where the pallets of bundles awaited. And it was
there that I could catch a glimpse into the shed of the work crew as they split
the shakes.
In that winter of 1972, the Burt Reynolds movie “Deliverance” was playing in
theaters, and had the director ever needed extras to populate the
Appalachian hills that the cast wandered into, they could not have done
better than the older crew members of the Granite Falls mill. Few had all 10
fingers; their grins, aimed at the green city kid, revealed teeth — those that
were remaining — of yellow-green, stained by cigars, the glowing stubs of
which angled out through the whiskers of their mouths. Clothing, in warmer
weather, was denim and flannel but in the rainy winter months, old, dark,
bulky coats, stitched and patched, covered the multiple layers underneath.
Muddy boots, and, on some, a pointed wool cap, completed their work garb.
The enormous old growth cedar trees that once carpeted the Northwest coast
are largely gone, but homes were made to last. By the 1970s, the use of the
last of the true old growth for cedar shakes was ending. Before then, that was
all that was used and driving around rural Puget Sound one would frequently
see a long-ago collapsed barn, or shed or cabin with a still functioning roof.
Raining out? No problem, salmon supper’s at noon in my great-great-great greatgrandfather’s longhouse,
one Indigenous citizen may have said to
another, back in the day.
I will still occasionally put on a red cedar roof, but only in the wealthiest of
neighborhoods, as the price of cedar shingles is now prohibitive despite the
use of the inferior quality new growth.
Back east on Cape Cod, where once upon a time my shingling trade migrated,
the occasional red cedar roof comes along in the wealthiest of ocean-view
neighborhoods.
There, overlooking the Atlantic Ocean, when I open a bundle and the
wondrous smell of cedar fills the air, I will snatch the small white label as it
blows away and read the mill location, which now is usually Forks, 3,000
miles away. But sometimes the label will say “Granite Falls.” And I
remember it all began on a dance floor in Fremont.
Rick Fordyce is a Seattle native and third generation Washingtonian. He is
the author of three books of fiction, including “I Climbed Mt. Rainier With
Jimi Hendrix’s High School Counselor and Other stories of the Pacific
Northwest.” He lives in Seattle and on Cape Cod.koon woonhttp://www.blogger.com/profile/10570460211753996634noreply@blogger.com0tag:blogger.com,1999:blog-6027582433482221286.post-61145204461949900792022-01-13T01:34:00.002-08:002022-01-13T01:34:23.962-08:00A letterof intent ___________________ koon woon<p> </p><p class="MsoNoSpacing" style="tab-stops: center 3.25in;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;">Statement of Purpose<span style="mso-tab-count: 1;"> </span><o:p></o:p></span></p>
<p class="MsoNoSpacing"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;">MA
English <o:p></o:p></span></p>
<p class="MsoNoSpacing"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;">Koon
Woon<o:p></o:p></span></p>
<p class="MsoNoSpacing"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;">January
12, 2022<o:p></o:p></span></p>
<p class="MsoNoSpacing"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;"><o:p> </o:p></span></p>
<p align="center" class="MsoNoSpacing" style="text-align: center;"><b><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;">Statement of
Purpose<o:p></o:p></span></b></p>
<p align="center" class="MsoNoSpacing" style="text-align: center;"><b><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;"><o:p> </o:p></span></b></p>
<p class="MsoNoSpacing"><b><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span></span></b><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;">Today, at the age of seventy-two, what can
an advanced degree in English literature do for me? Surely the practical uses
of this advanced degree will be limited. So, I need to ask myself the purpose
of literature itself. For me, literature is the closest thing to a description
and guidebook to the human enterprise. Civilizations rise and fall, people are
displaced, blend together, and people start or abandon different social,
political, and aesthetic enterprises. What is touted in one era may be of
little regard in another. How a people and an empire be measured as great or as
pernicious depends on the point of view. But in its basic premises, literature
for me is more than a sociological or a biological study of humans in groups.
It is a record and sometimes a debate over vying thoughts, insights, and beauty
that capture all aspects of the human enterprise in literary forms, such as
novels, poems, plays, and other works<o:p></o:p></span></p>
<p class="MsoNoSpacing"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;"><o:p> </o:p></span></p>
<p class="MsoNoSpacing"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span>America, a relatively newcomer on world
stage as an empire and civilization, but no one refutes the fact that it is the
most powerful of nations the world as ever seen. The best descriptions of it is
a democracy, a land of many voices, harmonious as well as cacophonous. Its
spirit has been fair and generous. It has stood up to oppression of many kinds
for itself and for weaker entities. Its reach and projection by land, air, sea,
and space is truly remarkable. And that “policeman of the world” is never
asleep in advocating and defending democracies. Its adversaries ought to
tremble in his boots when he just think of a fleet of aircraft carriers. On the
other hand, power can be misused when its deployment is easier to be unleashed
rather than diplomacy or cooperation It can be like “a bull in a china shop”
breaking fragile things of value without even the conception of it.<o:p></o:p></span></p>
<p class="MsoNoSpacing"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;"><o:p> </o:p></span></p>
<p class="MsoNoSpacing"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span>I was born in a small village in China
that had no running water or electricity, I was in China as a small boy during
the Korean War and its aftermath when China was not a member of the UN and was
viewed as an enemy of the United States. When famine and bad governmental
policies ravaged China in the late 1950s, no one came to its aid and over 40
million Chinese starved to death. The excuse was simple enough. It was a
Communist country. Then in 1960, I immigrated alone to join my family who was
already in America. This oddity and inconvenience is a result of the
immigration and racial injustices done to the Chinese in this country. One only
needs to look up The Chinese Exclusion Act in US history.<o:p></o:p></span></p>
<p class="MsoNoSpacing"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;"><o:p> </o:p></span></p>
<p class="MsoNoSpacing"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span>But this is not the reason I want to study
American literature in UNO. I don’t want to embarrass anyone or myself to say
that I had my share of bad luck with mental illness and consequently been
homeless 3 times, locked up in psychiatric hospitals, and relegated to halfway
houses. Nor do I want to complain about living in a tenement for seven years in
a 10’ x 10’ room, wherein I cook, ate, slept, and studied for 7 years, and
wrote an award-winning book of poems that was used as instructional material in
college. And I washed my laundry by hand and hung it to dry in my room. The
reason I want to study American literature is to ground myself better in it and
hopefully contribute something of my own. If America is great, let’s keep it
great.<o:p></o:p></span></p>
<p class="MsoNoSpacing"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;"><o:p> </o:p></span></p>
<p class="MsoNoSpacing"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNoSpacing"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;"><o:p> </o:p></span></p>
<p class="MsoNoSpacing"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>koon woonhttp://www.blogger.com/profile/10570460211753996634noreply@blogger.com1tag:blogger.com,1999:blog-6027582433482221286.post-43815852349571970172022-01-07T11:23:00.001-08:002022-01-07T11:23:08.201-08:00"The Warsaw Pact" by Koon Woon<p> </p><p class="MsoNoSpacing"><b><span style="font-family: "Aparajita",serif; font-size: 14.0pt;">The
Warsaw Pact<o:p></o:p></span></b></p>
<p class="MsoNoSpacing"><b><span style="font-family: "Aparajita",serif; font-size: 14.0pt;"><o:p> </o:p></span></b></p>
<p class="MsoNoSpacing"><span style="font-family: "Aparajita",serif; font-size: 14.0pt;">There
are losers from Eastern Europe living in this apartment building, as well as
Asians, and Blacks and a couple of indigenous people. We are sometimes a
conflicting community. But the Whites, albeit poor, rule. The Russian is seldom
home for this reason? I am China-born Chinese and my age should command
respect, but it doesn’t. Things are not like they are in the old country. <o:p></o:p></span></p>
<p class="MsoNoSpacing"><span style="font-family: "Aparajita",serif; font-size: 14.0pt;"><o:p> </o:p></span></p>
<p class="MsoNoSpacing"><span style="font-family: "Aparajita",serif; font-size: 14.0pt;">In
some ways, this is a Jean-Paul Sartre story. There are a few viable exits and so
we wait for Godot. Sometimes one can smell death coming on and sometimes one
can narrow it down to which of the nine floors. And when an occupant is not
seen for a prolonged period of time, their worried relatives will find a
putrefying mess in that room. And so it goes, Kurt Vonnegut Jr.<o:p></o:p></span></p>
<p class="MsoNoSpacing"><span style="font-family: "Aparajita",serif; font-size: 14.0pt;"><o:p> </o:p></span></p>
<p class="MsoNoSpacing"><span style="font-family: "Aparajita",serif; font-size: 14.0pt;">It
seems though that the formula 3% Chinese living here is both admired and
resented. According to Emily the Black lady with one functioning eye, the Whites
and the Chinese got all the money. It could be so, but the Chinese who don’t
play along with the white agenda remain in Chinatown, where massage parlors
mushroom in recent times when smuggled aliens are well hidden in the Chinatown conclave
where the police seldom assess unless it is horrendous enough of a crime such
as Wah Mee.<o:p></o:p></span></p>
<p class="MsoNoSpacing"><span style="font-family: "Aparajita",serif; font-size: 14.0pt;"><o:p> </o:p></span></p>
<p class="MsoNoSpacing"><span style="font-family: "Aparajita",serif; font-size: 14.0pt;">There
are all kinds of misconceptions here, of course. Approximately half of the people
here are disabled and of those, half are mentally ill, and the other half are
seniors enough they either don’t care or unable to care. But it is like Roethke’s
“Root Cellar,” the Congress of stink here struggles to survive.<o:p></o:p></span></p>
<p class="MsoNoSpacing"><span style="font-family: "Aparajita",serif; font-size: 14.0pt;"><o:p> </o:p></span></p>
<p class="MsoNoSpacing"><span style="font-family: "Aparajita",serif; font-size: 14.0pt;">(To
be continued…)<o:p></o:p></span></p>
<p class="MsoNoSpacing"><span style="font-family: "Aparajita",serif; font-size: 14.0pt;"><o:p> </o:p></span></p>
<p class="MsoNoSpacing"><span style="font-family: "Aparajita",serif; font-size: 14.0pt;">-
Koon Woon<o:p></o:p></span></p>
<p class="MsoNoSpacing"><span style="font-family: "Aparajita",serif; font-size: 14.0pt;">January
7, 2022<o:p></o:p></span></p>
<p class="MsoNoSpacing"><span style="font-family: "Aparajita",serif; font-size: 14.0pt;"><o:p> </o:p></span></p>
<p class="MsoNoSpacing"><span style="font-family: "Aparajita",serif; font-size: 14.0pt;"><o:p> </o:p></span></p>koon woonhttp://www.blogger.com/profile/10570460211753996634noreply@blogger.com0tag:blogger.com,1999:blog-6027582433482221286.post-41492387226786859772021-12-29T16:20:00.003-08:002021-12-29T16:20:48.657-08:00Lewton Jones<p> </p><p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;">Lewton
Thomas Jones <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">19<sup>th</sup> Century
American Poetry<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Graduate Paper <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;"><o:p> </o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Edgar Allen Poe and Emily
Dickinson wrote poems that explored the idea of death. Two poems that I will
discuss by these two poets are “Because I could Not Stop for Death” by Dickinson
and “Spirits of the Dead” by Poe. I will compare these two poems and hopefully
give insights in how these two poets used language in poetic form to try and
understand death. The poems will be examined line by line and commented upon.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;">Line
one in the poem “Because I Could not Stop for Death” begins; <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;"><span style="mso-spacerun: yes;"> </span>“Because I could not stop for
Death, He kindly stopped for me.” <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;">Poe’s
poem “Spirits of the Dead” begins with; <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;"><span style="mso-spacerun: yes;"> </span>“Thy soul shall find itself
alone ‘Mid dark thoughts of the grey tomb-stone.”<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;"><span style="mso-spacerun: yes;"> </span>The first line in Dickinson is a statement
that appears first person. Death is personified as a courteous being that
treats her kindly even though she would not stop for it. The word “because”
implies that she the speaker is in need of explaining why she could not stop
for death. Poe’s first line implies second person being addressed --probably
the reader. He writes that the soul shall find itself alone. The word soul
implies a spiritual difference to the body. (Biblically) The soul is alone and
has “deep thoughts of the grey tombstone” which assumes that the soul can
contemplate its own grave and is alone. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;">The
second lines of Dickinson’s poem continue; <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;"><span style="mso-spacerun: yes;"> </span>“The carriage held but just
our selves And Immortality.”<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;"><span style="mso-spacerun: yes;"> </span>She creates a view of a carriage which might
be a coffin or at least a metaphor for some transfer to somewhere. She uses the
word “held” which implies a secured state of being as well as “ourselves” which
seems to mean all people. Dickinson separates death from immortality, however,
and it appears to be a passenger. Poe’s second lines in “spirits of the Dead”
feel lonelier than Dickinson’s; <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;"><span style="mso-spacerun: yes;"> </span>“Not one, of all the crowd,
to pry Into thine hour of secrecy.” <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;">Poe
suggests that the soul is not privy to any clues of death as it is in a crowd
of other spirits who don’t have any knowledge of <i style="mso-bidi-font-style: normal;">your</i><span style="mso-spacerun: yes;"> </span>death ,which is a
secret.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;">The
third line (2<sup>nd </sup>Stanza) in Dickinson’s poem continues; <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%; margin-left: 51.0pt;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;">“We slowly drove, he knew no haste, And I had put away
My labor and my leisure too,<span style="mso-spacerun: yes;"> </span>For<span style="mso-spacerun: yes;"> </span>his<span style="mso-spacerun: yes;">
</span>civility.” <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;">The
carriage on this journey is in no hurry-- in fact there is no indication of no
real urgency (“no haste”). We assume that death is the driver and is a civil
one, -- as the voice in the poem relaxes from earthly duties such as work into
more leisurely<span style="mso-spacerun: yes;"> </span>things in life. Death is
polite for Dickinson so far in the poem. Poe’s next lines - (2<sup>nd</sup>
stanza), seems to suggest a certain empathy from the other side as well; <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;"><span style="mso-spacerun: yes;"> </span>“Be silent in that solitude,
which is not loneliness.” <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;">To
be silent sounds like a suggestion to be patient or submissive to the soul’s
inevitable journey. The difference between Poe and Dickinson is that Poe’s
death so far is invisible and dreamlike whereas Dickinson’s seems to represent
real objects and real people we are more likely to encounter in our waking
reality. Poe suggests some ambiguous kindness in that the solitude presented is
not lonely. The next lines explain why; <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;"><span style="mso-spacerun: yes;"> </span>“For then The Spirits of the
dead, who stood In life before thee,<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;"><span style="mso-spacerun: yes;"> </span>are again In death around thee,
and their will Shall overshadow thee; be still.” <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;"><span style="mso-spacerun: yes;"> </span>When Dickinson refers to others as ourselves,
Poe in these lines sees the other participants in this realm as spirits who
stood before him that could be people who are no longer living or other
strangers. The uniting of the dead surrounds the lone soul in Poe’s lines with
a will or power to put darkness around you (“overshadow) which tells you to be
still. Even when Poe suggests a natural connection with other spirits, his
images of death are more ominous than Dickinson’s so far in these two poems.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;">In
stanza three Dickinson writes;<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;"><span style="mso-spacerun: yes;"> </span>“We passed the school, where
children strove At recess, in the ring; <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;"><span style="mso-spacerun: yes;"> </span>We passed the fields of
grazing grain, We passed the setting sun.”<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;"><span style="mso-spacerun: yes;"> </span>Dickinson appears to be looking at scenes of
her life, her childhood in regard to recess and being in a ring. The next line
could be about fruition or maturity such as the harvest of fields of wheat or
grain. The word “passing” suggests dying and is used in that way when someone
dies. The sun setting is the end of the day or the end of the speaker’s life .
In comparison, Poe’s first lines in the third stanza the poet say;<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;"><span style="mso-spacerun: yes;"> </span>“The night, though clear,
shall frown, And the stars shall not look down<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;"><span style="mso-spacerun: yes;"> </span>From their high thrones in
heaven.”<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;">Poe’s
‘place in time’ is dark like the night, and even though you can then imagine
the night ‘frowning’ as if in an unfriendly look to the lonely soul. This soul
has come into a void which has no stars unlike the night which was heavenly
before death with stars shining down. Poe is describing death at this point of
the poem as an unsure deliverance to a strange place, whereby Dickinson has no
fear in her visions thus far.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;">The
fourth stanza of Dickinson continues the poem’s direction; <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;"><span style="mso-spacerun: yes;"> </span>Or rather he passed
us; The dews grew quivering and chill, <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;"><span style="mso-spacerun: yes;"> </span>For only gossamer
my gown, My tippet only tulle.” <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;">Dickinson
now suggests a discomfort that is she is chilly because she is not warmly
dressed. Her garments are more appropriate for a wedding which could mean a new
beginning rather than a funeral or ending. She seems to welcome death as her
new life. The ’he’ in her line could be a male suitor who controls the action
in her passing or death in accordance with God. Poe using the word heaven
suggests the same sentiment. Both poets have a sense of providence. Poe’s next
lines from stanza four confer with this notion; <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;"><span style="mso-spacerun: yes;"> </span>“With light like hope to
mortals given” <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;">He
then darkens this providence with the next lines; <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;"><span style="mso-spacerun: yes;"> </span>“ But their red orbs,
without beam, <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;"><span style="mso-spacerun: yes;"> </span>To thy weariness shall
seem <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;"><span style="mso-spacerun: yes;"> </span>As a burning and a fever
Which would cling to thee for ever.”<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;"><span style="mso-spacerun: yes;"> </span>The red orbs (stars) could be the eyes of the
dead /spirits around the soul which are now very tired (rather than chilled
like Dickinson) rather hot like a burning (Hell?) “like a fever” which grabs
onto the soul forever. Poe might be describing death or the consequences which
wait for the soul after death. Poe’s death feels much more dramatic and
solitary than Dickinson’s at this point in the two poems.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;">The
fifth stanza of Dickinson’s poem on death says; <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;"><span style="mso-spacerun: yes;"> </span>“We paused before a house
that seemed A swelling of the ground; <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;"><span style="mso-spacerun: yes;"> </span>The roof
was scarcely visible, The cornice but a mound.” <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;">Dickinson
seems comfortable with her death in these lines about where her new house or
grave is to be.<span style="mso-spacerun: yes;"> </span>She has personified
death and cannot stop him. It appears to be a sort of house that is seen from a
distance in relation to her unexpected death. She is unprepared and getting
closer which is a little frightening. The roof could be the grave stone over the
mound of earth. Dickinson however is much more stoic than Poe and less
dramatic. She accepts her plot in the earth. Poe seems to be a wandering spirit
in an unknown place. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;">The
fifth stanza in Poe’s poem on death concludes; <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;"><span style="mso-spacerun: yes;"> </span>“Now are thoughts
though shalt not banish,<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;"><span style="mso-spacerun: yes;"> </span>Now are visions
ne’er to vanish; from thy spirit shall they pass No more,<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;"><span style="mso-spacerun: yes;"> </span>like dew-drop from
the grass.”<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;">The
word “now” is in present tense, implying that the place is present, as well.
The thoughts of the soul continue forever as well as one’s visions-- which for
Poe were not very forgiving considering his tortured life. The things which you
bring from this life into the next are permanent for Poe.<span style="mso-spacerun: yes;"> </span>Unlike Dickinson’s final death home, his
version of death was one of no rest. Poe’s imagery, such as in the’ sparkle of
dew on the grass’ (stars) is poetic, and its poetic ‘beauty’ could also follow
the soul into the next world, although he continues with his ominous settings. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;">The
last stanza in Dickinson’s poem “Because I Could not Stop for Death concludes
with; <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;"><span style="mso-spacerun: yes;"> </span>“Since then ‘tis
centuries, and yet each Feels shorter than the day<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;"><span style="mso-spacerun: yes;"> </span>I first surmised the
horses’ heads Were toward eternity.” <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;">Time
stands still in Dickinson’s death as centuries pass and she sleeps away.<span style="mso-spacerun: yes;"> </span>She also remembers the journey to death in
the carriage with the horses’ heads as a projection to where her soul was going
which was eternity. She seems to say that eternity is inevitable and defies
explaining anymore in earthly terms anymore<span style="mso-spacerun: yes;">
</span>than the narrative description of directions that a horse in this
corporal life might take. When Dickinson uses the word “surmised” we assume
that a material brain was postulated something. If Dickinson is already dead
then the interior mind talking is really her soul which is really living in her
poem and its words. It is possible that she wrote the poem in speculation it
would be read after her death as a musing on where she will be. Her overall
theme seems to be that death is not to be feared which is quite different than
Poe’s. Dickinson sees death as a natural part of the endless cycle of nature.
Her personality and religious beliefs may also reflect her intentions in the
poem. Dickinson was a spinster-- reclusive and introspective --and tended to
write about her isolation and death, but she was also a Bible reader and a
Christian and that could explain her optimism about dying and seeing death as a
friend. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;"><o:p> </o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;">The
last stanza of Poe’s Poem “Spirits of the Dead” suggests a different view; <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;"><span style="mso-spacerun: yes;"> </span>“The breeze, the
breath of god, is still, And the mist upon the hill<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;"><span style="mso-spacerun: yes;"> </span>Shadowy,
shadowy, yet unbroken, Is a symbol and a token. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;"><span style="mso-spacerun: yes;"> </span>How it hangs
upon the trees, A mystery of mysteries.”<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;"><span style="mso-spacerun: yes;"> </span>Once again we see Poe’s writing style as much
more dramatic than narrative as Dickinson’s, as well as his vision of death.
The description of the place of death for Poe is spooky and feels gothic but he
refers to God having a breath which presumes a life force like the Holy Spirit
which is Christian in context. Poe’s eternity is still—and, unlike Dickinson,
he was concerned with ,though natural, yet somewhat uncomfortable visuals
surrounding the actual grave, which embellishes the place where the dead are in
waiting. The “token” could be a symbol for the living to witness. Poe’s is
shadowy and with the repetition it underscores this gloomy place where trees
stand above graves. Poe used words for effect more than meaning so it is the poem
itself that holds the meaning. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;">The
last line “A mysteries of mysteries” is different than Dickinson’s conclusion
which states that she understands how time works and how she will feel in her
resting place. Poe compares the hell and heaven in this life as counterpoints
to what is to become and concludes that both are synonymous in meaning: “High
thrones in the heaven’ and “red orbs, without beam. “ The rest is imagery for
Poe, who unlike Dickinson, kept the poem independent of the didactic and the
philosophic truth construct. He felt poems should be short and build to a high
point and then end. Dickinson wrote her poems almost biographically. Death
could be the ultimate drama for Poe in his poem while Dickinson might have just
liked the word play using death as a gentleman coming to see her to take a ride
in his carriage and possibly marry.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;"><span style="mso-spacerun: yes;"> </span>Dickinson seems confessional in her view of
death while Poe is entertaining the reader with his vision of it because for
Poe only the spirits of the dead know the answers where as Dickinson seems
convinced that she can see through the veil of life’s question via her academic
intellectualism and poetic use of language. For Dickinson the contemplation
regarding death in the poem “Because I could not Stop for Death” is an experience
she is looking back on; “tis centuries”. Poe was pursuing death simply by his
lifestyle. His poetry was a livelihood as well as an art form. Dickinson used
poetry to imitate life and was free to write without it needing to provide her
sole<span style="mso-spacerun: yes;"> </span>financial source of survival. Poe
was in the public eye and his internal thoughts needed to be at least
entertaining. Dickinson had the interior privilege due to a secure life at
Amherst to muse upon life at a distance and keep her sensitivity in a drawer.
Death was a visitor for Emily but for Poe it was a continuation of his fight
with God and the suffering and fear of loss. Emily suffered from the death of
loved ones as well, but she was not in the trenches of everyday life in so much
the way Poe was.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;">In
conclusion, it is possible within these poems to get a glimpse of how people
like Poe and Dickinson viewed death. In the two poems discussed, we can surmise
that they both were poetically preoccupied with death personally and they
expressed it so in their work. Death was a suitor in a carriage for Dickinson
and for Poe it was a graveyard dark with spirits. In both poems death is
present in the here and after. They are interior poems, describing death in an
abstract way using nature and human made symbols as their metaphors.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;"><span style="mso-spacerun: yes;"> </span>In a letter Dickinson wrote; “A single thread
joins mighty to meek. Death, Exhilaration and the Perfidies of the Universe
make companions of housewife and statesman. Thought and Soul-Companions share a
solitary room. It’s a Window a mirror, its door defy the key no gate secure
it’s garden except Eternity.” (August 1, On the Death of Abraham Lincoln)
Bauldelaire said of Poe” It is this admirable, this immortal instinct of the
beautiful which makes us consider the earth and its spectacles as a revelation
as something in correspondence with heaven. The insatiable thirst for
everything that lies beyond, and that life reveals is the most living proof of
our immortality. It is at the same time by poetry and through poetry, by and
through music that the soul glimpses the splendors of the tomb. Edgar Allen Poe
was also absorbed by the idea of unity-a fond dream.” (Bauldelaire on Poe 1952
Pg 140-142))<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;"><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt;"><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt;"><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>koon woonhttp://www.blogger.com/profile/10570460211753996634noreply@blogger.com0tag:blogger.com,1999:blog-6027582433482221286.post-74018038517188207042021-12-26T23:19:00.002-08:002021-12-26T23:19:14.342-08:00koon woonWalking randomly in the snow in search of memories
There have only been a few serious snows in my life. I left home during the first heavy snow. Things were becoming unbearable. The rebellion was internalized. I had no friends to share inner pains. I would drive from Aberdeen to Ocean Shores and back; or; sixty miles for no reason and to nowhere. The car was a symbol of freedom, but it was unearned freedom. I loaded some blankets in my car and drove off to Seattle. I was looking for love, the kind I did not find until my present snow, the one I was walking in today. It spans an interval of fifty years.
What I watched: Dr. Zhivago, where human legs protrude from the snow.
What I heard was a calm silence.
I first stayed with PaTrick and William E in Wallingford. Someone else was paying for the rent of the house. I believe it was John who worked for Boeing.
There was a lot of dope, including laughing gas. But Hayceed beat his woman who was always topless. He said he was a poet and read his poems at the Last Exit coffeehouse on Wednesday nights.
I was frightened, more or less, and so I moved out to Freemont when I got an apartment above a tavern.
That year, Aurora Avenue was impassable. Buses even stop serving, I was stuck in the snow and I walked across Aurora to buy cooking utensils and groceries. I got no mail for several weeks. I was isolated and lonesome beyond belief.
(Snows):
Freemont 1969
LLL 1980
Mrs. Wong’s rooming house 1985
West Seattle Alaska House Apts. 2021.
I was looking for love and I did not find it for fifty years. It was not romantic love. It was more like The Woman of the Dunes.
Now I realize that love is antientropic but it runs downhill with the ease of gravity.
koon woonhttp://www.blogger.com/profile/10570460211753996634noreply@blogger.com0tag:blogger.com,1999:blog-6027582433482221286.post-56893173008801913682021-04-10T16:35:00.001-07:002021-04-10T16:35:17.187-07:00Lewton Jones' on deconstructing Plato<p> </p><p align="right" class="MsoNormal" style="text-align: right;">Lewton Thomas Jones<o:p></o:p></p>
<p align="right" class="MsoNormal" style="text-align: right;">Philosophy of
Literature<o:p></o:p></p>
<p align="right" class="MsoNormal" style="text-align: right;">Dr. Smyth<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p align="center" class="MsoNormal" style="text-align: center;">Deconstructing Plato<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">Plato was a sophist first most and a changeling of
socio-political dialect.<span style="mso-spacerun: yes;"> </span>He tells us in
The Apology that he was present in court at the trial of his mentor Socrates,
he also says he was one of the friends who offered money to help Socrates.<span style="mso-spacerun: yes;"> </span>In the Phaedo he appears that he was absent
from the taking of poison by Socrates in prison due to being sick at the
time.<span style="mso-spacerun: yes;"> </span>Was this just artistic
literature?<span style="mso-spacerun: yes;"> </span>We need to dig deep to find out
who Plato really was and what motivated him and understand what appears to be a
very strange metamorphis concerning the stages in his life.<span style="mso-spacerun: yes;"> </span>Xenophon mentions that Plato was in the inner
Socratic circle.<span style="mso-spacerun: yes;"> </span>Aristotle writes that
as a young man Plato had been a pupil of the Heractitean philosopher
Cratylus.<span style="mso-spacerun: yes;"> </span>Plato, according to the
Alexandrian chronologists, was born in 427 BC and died in 346 BC aged
eighty-one.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">Plato lived during the Peloponnesian war during the
oligarchy of the “Thirty” set up by the Spartan in Athens at the end of the
war.<span style="mso-spacerun: yes;"> </span>Plato seems to have two faces.<span style="mso-spacerun: yes;"> </span>In his dialogues to Charmides and Gridas
(friends of Socrates?) he alludes that he was a close relative of the “two”
oligarchs which seem to be the genesis to his extreme rules regarding Athena
democracy.<span style="mso-spacerun: yes;"> </span>Plato traveled after
Socrates’ death, visiting Megara and his friend Eucleodes.<span style="mso-spacerun: yes;"> </span>He visited Cyrene for mathematical
camaraderie with Theodorus.<span style="mso-spacerun: yes;"> </span>He went to
Egypt acquiring priestly knowledge.<span style="mso-spacerun: yes;"> </span>In Italy
he mingled with the Pythagoreans.<span style="mso-spacerun: yes;"> </span>He is
even rumored to have visited the Persian Magi and other magis. This hardly
sounds like the doubting philosopher who uses Socratic dialogue to show that
nobody really knows anything. Plato was calculated and aware of power. <o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">In the Symposium we are told philosophy is a love of wisdom
(not superstition or political dogma).<span style="mso-spacerun: yes;"> </span>It
is about passion, truth, and _____ i.e., the collect of the human soul.<span style="mso-spacerun: yes;"> </span>(A soul according to Plato is in distress
with “a half formed idea” . . . is likened to the pains of childbirth, and the
philosopher is presented, in his relation to his disciples, as the midwife of
the spirit.<span style="mso-spacerun: yes;"> </span>His task is not to think for
other men, but to help them to bring their own thoughts as birth.”<span style="mso-spacerun: yes;"> </span>“Philosophy is, in Plato’s eyes, ‘a way of
life,’ a discipline for character no less than for understanding.”<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">*The mind of Plato<o:p></o:p></p>
<p class="MsoNormal">A.E. Taylor Pg. 35 <o:p></o:p></p>
<p class="MsoNormal">1922 Constable and Co. University of Michigan Press <o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">He speaks of mimesis in his Theory of Education, i.e., like
is known by like. *<span style="mso-spacerun: yes;"> </span>His theory of
education is dominated by the thought that the mind itself inevitably
“imitates” the character of the thing it habitually imitates.”<span style="mso-spacerun: yes;"> </span>That said, let us see Plato as the
manifestation of his ideas and their true fruition. * “Just because the
aspiration after wisdom is the fundamental expression of the mind’s true
nature, it cannot be followed persistently without resulting in a
transfiguration of the mind’s true nature (Plato):<span style="mso-spacerun: yes;"> </span>Its ultimate affect is to reproduce in the
individual soul those very features of law, order, and rational purpose which
the philosopher’s contemplation reveals as omnipresent in the world of genuine
knowledge”<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">This individual soul I see is Plato’s own reflection.<span style="mso-spacerun: yes;"> </span>It is the transference of Sophist, empirical
visions towards the world outside.<span style="mso-spacerun: yes;"> </span>In
this case Greece and Athens.<span style="mso-spacerun: yes;"> </span>It could be
described as an intellectualism emotion, a passion for inner truth.<span style="mso-spacerun: yes;"> </span>The soul for Plato has to do with his
imitation of Socrates and his interrogation methodology.<span style="mso-spacerun: yes;"> </span>Plato’s vision of morality is based on his
idea that knowledge can be known by the virtuous.<span style="mso-spacerun: yes;"> </span>The danger here of course is that those who
aren’t virtuous in Plato’s world are seen as lawless and ignorant to the
truth.<span style="mso-spacerun: yes;"> </span>This changeling imitator of
metaphysics is Plato who doesn’t see science as a possibility without knowing
the “character of things.”<span style="mso-spacerun: yes;"> </span>This is
accomplished by dogma which eventually is the world Plato logically assumes is
necessary.<span style="mso-spacerun: yes;"> </span>Plato sees mimesis as
everyday “opinions” a lot of dissonant and changing beliefs in contradiction
with themselves.<span style="mso-spacerun: yes;"> </span><o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">Science, as we know, has fixed, consistent truths, absolute,
grouped and joined by logic and necessity.<span style="mso-spacerun: yes;">
</span>Deduced from true principles.<span style="mso-spacerun: yes;"> </span>To
accommodate this need for science, Plato writes his “Theory of Ideas.”<span style="mso-spacerun: yes;"> </span>He is echoing two premises.<span style="mso-spacerun: yes;"> </span>(1) Heracliteansism and Socrates.<span style="mso-spacerun: yes;"> </span>The flux and motion of things and the universality
of truth.<span style="mso-spacerun: yes;"> </span>We basically just imitate
Plato’s supra-physical world in our everyday life activity.<span style="mso-spacerun: yes;"> </span>We become changelings like Plato, thereby
making sure he is not alone in the world and in fact the mind-god of our
collective consciousness.<span style="mso-spacerun: yes;"> </span><o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">It is Plato who tells us what we need to know about why we
are here-this smacks of Stalinism.<span style="mso-spacerun: yes;">
</span>Stalin’s biggest achievement in control was to use philosophy to
convince people they need not look outside society or control.<span style="mso-spacerun: yes;"> </span>The fixed power is there to be imitated as we
actively learn to obey it and grow to like it.<span style="mso-spacerun: yes;">
</span>We, as misguided thinkers in Plato’s view, are to strive to understand
exact ideas even if we are really relegated to create approximate and imperfect
resemblances of Plato’s world of ideas.<span style="mso-spacerun: yes;">
</span>A.E. Taylor writes – Science is assuredly something more than true
opinion; it deals with things which cannot be perceived by the senses, but only
conceived by thought.”<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">This rationality and its sense of external logic appealed to
Plato because now ideas do exist.<span style="mso-spacerun: yes;">
</span>Literature, poetry, and art, are just imitators of this purity.<span style="mso-spacerun: yes;"> </span>Plato, we can guess, wasn’t good enough at
comedy, satire, and tragedy to write literature or poetry so it must exist
before it creates something.<span style="mso-spacerun: yes;"> </span>This
consistency is not a consistency for Plato.<span style="mso-spacerun: yes;">
</span>Venus DeMilo would be a copy of beauty to Plato who saw beauty as
something identified from an idea or distal form just as with virtue.<span style="mso-spacerun: yes;"> </span>In Platonic language a thing or person who is
beautiful may become unbeautiful by not participating with beauty which in
itself, according to Plato, never begins or stops.<span style="mso-spacerun: yes;"> </span>The perfect triangle world of Plato puts man
as just man itself.<span style="mso-spacerun: yes;"> </span>Plato, as we know,
uses his mind to exalt ideas, yet he is imitating the logic of his
predecessors, i.e., the sophists, the pythorgeans, the logicians, etc.<span style="mso-spacerun: yes;"> </span>He simply replaced dialogue with a stoic
objective quality control.<span style="mso-spacerun: yes;"> </span>This thinking
becomes a political idea.<span style="mso-spacerun: yes;"> </span>Creativity is
out and obedience is in.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal" style="margin-left: 3.0pt;">Pg. 154 Plato: To Totalitarian or
Democrat<o:p></o:p></p>
<p class="MsoNormal" style="margin-left: 3.0pt;">Thomas Landon Thorson <o:p></o:p></p>
<p class="MsoNormal" style="margin-left: 3.0pt;">1963 Prentice-Hall, Inc. <o:p></o:p></p>
<p class="MsoNormal" style="margin-left: 3.0pt;">Englewood Cliffs, NJ<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">“The most striking difference between classical political
philosophy and present-day political science is that the latter is no longer
concerned at all with what was the guiding question for the former:<span style="mso-spacerun: yes;"> </span>The question of the best political
order.<span style="mso-spacerun: yes;"> </span>On the other hand, modern
political science is greatly preoccupied with a type question that was of much
less importance to classical political philosophy: questions concerning method.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">Greek semantics via Plato created the need for method.<span style="mso-spacerun: yes;"> </span>By imitating Plato’s language of reflective
perfection, the Western world has become a system of political consciousness
operating in a speculative language of an assumed virtuous priori.<span style="mso-spacerun: yes;"> </span>This is our manifest destiny it would
seem.<span style="mso-spacerun: yes;"> </span>Anything that just describes the
world such as poetry or literature is unfunctional because it is not ruled by
political functionality.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">Plato wanted philosophers to control the policies.<span style="mso-spacerun: yes;"> </span>In his letter VII Plato writes “and so I was
forced to extol true philosophy and to declare that through it alone can real
justice both for the state and for the individual be discovered and
enforced.<span style="mso-spacerun: yes;"> </span>Mankind (I said) will find no
cessation from evil until either the real philosophers gain political control
or else the politicians become by some miracle real philosophers.”<sup>1</sup><o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">Plato had a contempt for the working population R.H.S.
Crossman writes* (pg19).<span style="mso-spacerun: yes;"> </span>“It is clear
that the shortcomings of the antidemocratic revolution were the first great
disappointment of Plato’s life.<span style="mso-spacerun: yes;"> </span>Now he
realized that ‘gentleman’ could behave worse than the demagogues of the
proletariat.”<span style="mso-spacerun: yes;"> </span>(Eros and the party at the
Symposium attest to this.)<span style="mso-spacerun: yes;"> </span>Crossman goes
on to say “this did not alter Plato’s profound contempt for the working
population.<span style="mso-spacerun: yes;"> </span>Plato remained an
aristocrat, convinced that the peasant, the craftsman, and the shopkeeper were
incapable of political responsibility.<span style="mso-spacerun: yes;">
</span>Government was the prerequisite of the gentry, who did not need to earn
a living and could therefore devote their lives to the responsibilities of war
and politics.<span style="mso-spacerun: yes;"> </span>Plato had a special word,
banausic, to express his contempt for their menial occupations.” (pg 19)<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">We can see this is imitated today by the “experts” hired by
the rich to explain to us what is going on in the “real” world.<span style="mso-spacerun: yes;"> </span>Western civilization still imitates much of
Plato’s ideas, politically, culturally, and scientifically today.<span style="mso-spacerun: yes;"> </span>The new Realists of 1912 made a futile
attempt to stop this madness when they proclaimed “the independence of what is
known from the knower.”<span style="mso-spacerun: yes;"> </span>Their first
polemic was that idealists (Plato would be one) made illicit use of the fact of
over egocentric predicament to argue fallaciously from the tautology that
everything that is known is known to the conclusion that everything that is –
is known.<span style="mso-spacerun: yes;"> </span>Of course the dye had been
cast on Western consciousness so that thinking like this was considered
illusionary, etc.<span style="mso-spacerun: yes;"> </span>Plato would agree, I
am sure.<span style="mso-spacerun: yes;"> </span><o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">Aristotle said of mimesis – that art imitates nature thereby
one actions of the character, brings out the universal, whereas Plato had a low
opinion of most art forms because of their imitative nature; removing them from
as he said from “truth,” or the “real” thing.<span style="mso-spacerun: yes;">
</span>In the Republic Book 3, 395 Plato also warns that bad qualities may rub
off on the artist who imitates a bad character.<span style="mso-spacerun: yes;">
</span>He goes on to show the contrast between mimesis and diegesis
(narrative).<span style="mso-spacerun: yes;"> </span>His point is to show there
is more of a distance between the storyteller and the story told.<span style="mso-spacerun: yes;"> </span>This would apply to Plato’s use of showing us
who Socrates was as well.<span style="mso-spacerun: yes;"> </span>Once again we
can see the nature of Plato.<span style="mso-spacerun: yes;"> </span>He does not
practice what he preaches.<span style="mso-spacerun: yes;"> </span>It would seem
he has a sociopathic distance from whoever he speaks to.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">Plato Unmasked<o:p></o:p></p>
<p class="MsoNormal">Keith Quincy<o:p></o:p></p>
<p class="MsoNormal">Eastern University Press © 2003 Keith Quincy<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">In the Philosopher’s Education, Chapter 10, in the dialectic
Socrates says to Glaucan: Mathematics, geometry, and other studies have a
defect.<span style="mso-spacerun: yes;"> </span>They begin with certain
unexamined assumptions, employ them as axioms, and make deductions from them,
creating a vast tissue of deductive reasoning, all of it consistent and
logically water tight, but resting on unexamined ideas.<span style="mso-spacerun: yes;"> </span>It’s the function of the dialectic to examine
those assumptions, and many others.<span style="mso-spacerun: yes;">
</span>Asking why and how they can be shown true by demonstrating that they are
deducible from higher order ideas or forms, ascending one scale until the one
idea, that of the good, is reached, from which all other ideas may be
deduced.<span style="mso-spacerun: yes;"> </span>Glaucan responds: A noble
undertaking.<span style="mso-spacerun: yes;"> </span>Socrates responds: not
everyone can manage it.<span style="mso-spacerun: yes;"> </span>We have to weed
out the unfit.”<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">The question I would ask is who is saying this, Plato or
Socrates?<span style="mso-spacerun: yes;"> </span>Who is the unfit?<span style="mso-spacerun: yes;"> </span>Where is the good to imitate?<span style="mso-spacerun: yes;"> </span>It is a changeling we call Plato wearing a
thousand masks and propelling humanity into a false consciousness that
remembers nothing of history but continually repeats its mistakes.<span style="mso-spacerun: yes;"> </span>What is the philosophy of literature?<span style="mso-spacerun: yes;"> </span>You are reading it, but my imitation is
unique because I did not know Plato or Socrates.<span style="mso-spacerun: yes;"> </span>Just like Aristophanes, I will have to create
comedy in this linguistic tragedy.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">Kierkegaard<o:p></o:p></p>
<p class="MsoNormal">Translated by Lee M. Hollander<o:p></o:p></p>
<p class="MsoNormal">University of Texas Press 1923 – 1960<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">Kierkegaard says of Plato ____ He sees love as comical like
Aristophanes.<span style="mso-spacerun: yes;"> </span>It is a category of contradictions.<span style="mso-spacerun: yes;"> </span>Kierkegaard says “what I shall demonstrate
now is that love is comical. (pg 54) By love I mean the relation between man
and women.<span style="mso-spacerun: yes;"> </span>I am not thinking of Eros in the
Greek sense which has been extolled so beautifully by Plato, who, by the way is
so far from considering (Symposium Ch 9) the love of woman that he mentions it
only in passing, holding it inferior to the love of youths. (12).<span style="mso-spacerun: yes;"> </span>I say love is comical to a third person.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">It is Plato’s dietetic nature that he tries to put Eros into
the pure forms such as a Platonic love.<span style="mso-spacerun: yes;">
</span>Kierkegaard goes on – (Pg 55) (Symposium, Ch 29) if one should answer
Plato about love, i.e., that one is to love what is good, one has in taking
this single step exceeded the bound of the erotic.<span style="mso-spacerun: yes;"> </span>The answer may be offered, perhaps that one
is to love what is beautiful.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">Plato’s absolute virtue in idea or form needs laws to
protect it because it merely invitation and subject to Eros and logos which he
acknowledges as the ultimate interactions to virtue and truth.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">Kierkegaard (Pg 55) from the (Symposium Ch 24) continues
“again if I should refer the erotic element to the bisection of which
Aristophanes tells us (15) when he says that the gods cut a man into two parts,
as one slit flounders, and that these parts thus separated sought one
another.<span style="mso-spacerun: yes;"> </span>There is no reason for the
thought to stop at this point.<span style="mso-spacerun: yes;"> </span>The gods
might divide man into three parts.<span style="mso-spacerun: yes;">
</span>Kierkegaard concludes, “as I said that love renders a person ridiculous
if not in the eyes of others then certainly in the eyes of the gods”<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">Hereby we have the symposium with Socrates looking like a
babbling clown cajoling about Eros, according to Plato.<span style="mso-spacerun: yes;"> </span>The philosopher as a two-headed Janus clown,
one profound, one subject to the whim of a flesh party.<span style="mso-spacerun: yes;"> </span>Where is Plato’s ideal goodness?<span style="mso-spacerun: yes;"> </span>Do poets represent the illogical that
permeates Plato and Socrates in these dialogues?<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">AC. Grayling<o:p></o:p></p>
<p class="MsoNormal">What is Good<o:p></o:p></p>
<p class="MsoNormal">Weidenfeld & Nicolson © 2003 London<o:p></o:p></p>
<p class="MsoNormal">Page 106<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">“Among many Christian Renaissance thinkers the ethics of
Plato seemed far more congenial than those of Aristotle.<span style="mso-spacerun: yes;"> </span>Two aspects of his views made him
attractive.<span style="mso-spacerun: yes;"> </span>One was his claim that the
form of the good is the highest being, and that the supreme good consists of
the contemplation with it.<span style="mso-spacerun: yes;"> </span>Naturally the
Rennaissance admirers of Plato such as Marsilio Ficino identified the form of
the good with God.<span style="mso-spacerun: yes;"> </span><o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">God, for Plato, was the laws he imitated or wrote.<span style="mso-spacerun: yes;"> </span>He could not empirically operate as a true
philosopher without reaching for a dogmatic proof.<span style="mso-spacerun: yes;"> </span>The poets were a reflection of his own
imitation of truth.<span style="mso-spacerun: yes;"> </span>At least they knew a
narrative was an expression of one’s self.<span style="mso-spacerun: yes;">
</span>Plato, like Freud, felt that he spoke for the entire mind of the
universe.<span style="mso-spacerun: yes;"> </span>The Protestant religion
reflected Plato’s goodness as A.C. Grayling writes – “By one getting of money,
by honest endeavor in trade and commerce, a respectable sign of God’s favor,
even if such a life was not quite the best that could be envisioned.<span style="mso-spacerun: yes;"> </span>Plato’s semantics became the Western irony,
no longer just philosophy but religion itself.<span style="mso-spacerun: yes;">
</span>A great imitated imitation of abstract tit for tat.”<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">Aristotle sought metaphysics and common knowledge, breaking
away from Plato’s elite revelations toward “fixing” other’s minds.<span style="mso-spacerun: yes;"> </span>“A.C Grayling writes, “Another point of
disagreement (with Aristotle) was Aristotle’s claim that since reason is the
highest of man’s qualities one best life for man is the life of
contemplation.<span style="mso-spacerun: yes;"> </span>“Let’s get back to Homer
(presocratic).”<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">Homer was an influence on Plato – Homer who by saying
Okeanos begetter of god’s and mother teth’s declared all things be the
offspring of flux and motion.<span style="mso-spacerun: yes;"> </span>Plato
didn’t think Homer is the forerunner – Hericlitus was aware of this when he
said “You can’t step in the same river twice.”<span style="mso-spacerun: yes;">
</span>Plato moved away from the kinetic life to present static narratives that
presupposed a priori that only he and Socrates understood.<span style="mso-spacerun: yes;"> </span>Aristophanes was able to breathe life into
Socrates by showing the humor of the man himself versus the icon of the cave
and sage indirect.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">The Presocratic Philsophers<o:p></o:p></p>
<p class="MsoNormal">B.G.S. Kirk<o:p></o:p></p>
<p class="MsoNormal">Cambridge University Press © 1957; 1983<o:p></o:p></p>
<p class="MsoNormal">Page 278<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">“All things are full of gods Aristotle says in the deanina
about Thales vision of the whole world as somehow alive and animated.”<span style="mso-spacerun: yes;"> </span>I submit that poetry is what describes this
animation.<span style="mso-spacerun: yes;"> </span>Shelly called this embellishing
the mute phenomena which can only truly exist when a poet sees it.<span style="mso-spacerun: yes;"> </span>The poet creates its metaphorical
presence.<span style="mso-spacerun: yes;"> </span>Just as Shelley also described
the soul within a soul in his poem “Epicpsychideon.”<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">The Sophisi<o:p></o:p></p>
<p class="MsoNormal">Pg 328<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">“Aristotle in the Sophist says that Empedocles was the first
to discover rhetoric and Zeno the first dialectic. – By didactic Aristotle has
in mind the sort of philosophical interrogation pursued by Socrates in the
early Platonic dialogues.”<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">The question elicits from his interlocutor assent to an
endox on a belief in good standing accepted by everyone or most people or the
experts, which he then forces him to abandon whether by reducing it to
absurdity or by showing that it conflicts with the beliefs the interlocutor
holds.<span style="mso-spacerun: yes;"> </span>If one suspects the motives or
the tactics of the questioner one will be inclined to change him with being a
mere controversialist (antilogikos) which is what Plato had in mind when he
describes Zeon in the Phaedrus.<span style="mso-spacerun: yes;"> </span>Do we
not then ____ this eleatic Palmedis argues with such skill _____ the same
things appear to his listeners to be both like and unlike, both none and many,
both at rest and in motion?<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">Plato can’t find logos in this ebb and flow of human
relation.<span style="mso-spacerun: yes;"> </span>He is isolated from the human
stage itself and the person he writes Socrates about was in the middle of human
folly it seems all the time.<span style="mso-spacerun: yes;"> </span>Plato has
the same paralysis James Joyce said of the Irish, the inability to free
yourself from that which imprisons you.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">Jacques Derrida of Grammatology<o:p></o:p></p>
<p class="MsoNormal">Translated by Gayatri Chakravorty Spivak<o:p></o:p></p>
<p class="MsoNormal">John’s Hopkins University Press<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">Jacques Derrida writes, “Knowledge is not a systematic
tracking down a truth that is hidden but may not be found.<span style="mso-spacerun: yes;"> </span>It is rather the field of free play, that is
to say, a field of infinite substitutions, the closure of a finite ensemble.”
(Ed 423, SE 260) (Pg 220 Portrait of an Artist) (Pg xix Translators
preface).<span style="mso-spacerun: yes;"> </span>James Joyce wrote, “I shall be
a priest of eternal imagination transmuting the daily bread of life into
everlasting life, I will use my wit, my cunning and the smithy of my soul to
create the uncreated conscious of my race.”<span style="mso-spacerun: yes;">
</span>Unlike Plato, Joyce knew that experience had a cognition that ceded
Platonic dialogue for it called into being a life with presence and
consciousness.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">Experience for Jacques Derrida he says (Pg xvii) “as for the
concept of experience, it is most unwieldy here.<span style="mso-spacerun: yes;"> </span>Like all the notions I am using, it belongs
to the history of metaphysics and we can only use it under erasure.<span style="mso-spacerun: yes;"> </span>“Experience” has always designated the
relationship with presence, whether that relationship had the form of
consciousness or not. (Eros; Plato’s perfect love comes to mind for me here) –
he goes on – yet we must by means of the sort of contortion and contention that
discourse is obliged to undergo, exhaust the resources of the concept of
experience before attaining and in order to attain by deconstructing its
ultimate foundation.<span style="mso-spacerun: yes;"> </span>It is the only way
to escape “empiricism” and the naive critiques of experience at the same time
(89.60). Pg 127.<span style="mso-spacerun: yes;"> </span><o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">Regarding forms or ideas that Plato was in the wise to –
Levis Strauss writes the symbol had been borrowed but the reality remained
quite foreign to them.<span style="mso-spacerun: yes;"> </span>Even the
borrowing had a sociological rather than intellectual object.<span style="mso-spacerun: yes;"> </span>For it was not a question of knowing specific
things or understanding them or keeping them in mind, but merely of enhancing
the prestige and authority of one individual or one function at the expense of
the rest of the party.<span style="mso-spacerun: yes;"> </span>Plato’s idea that
poets were just imitators and philosophers were the real thing is suspect when
we think of Socrates and Plato in a kind of cult of fame announcing all
phenomena which they discovered first or claim to have.<span style="mso-spacerun: yes;"> </span>When we deconstruct Plato we see that he is
an imitator just like the poets he condemns as superficial agents of
truth.<span style="mso-spacerun: yes;"> </span>(Pg 48 & 49)<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">Friedrich Nietzsche<o:p></o:p></p>
<p class="MsoNormal">J.P. Stern<o:p></o:p></p>
<p class="MsoNormal">Frank Kermode<o:p></o:p></p>
<p class="MsoNormal">Penguin Books<o:p></o:p></p>
<p class="MsoNormal">N.Y. © 1978<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">Nietzsche writes about the birth of tragedy as a duality of
the Dionysian (Eros) and the Apollonian (order).<span style="mso-spacerun: yes;"> </span>He feels that “when the Dionysian element
rules, ecstasy and inchoateness thereafter:<span style="mso-spacerun: yes;">
</span>When the Apollonian predominates the tragic feeling recedes.<span style="mso-spacerun: yes;"> </span>Plato at least, according to Aristophanes was
justifying Socrates as a Dionysian player who not only played at Eros but
rejected the Apollonian order with laws.<span style="mso-spacerun: yes;">
</span>He deconstructed the Socratic world of thought and made it into a city
where laws controlled unvirtuous people.<span style="mso-spacerun: yes;">
</span>This need for balance was the swing in Greek culture Nietzsche talks
about when he says “The balance is achieved for the first time in Aescylus, and
then again in Sophocles: by the time Euripides and Socrates come to dominate
the literacy scene, the Dionysian element is authenticated and at last all but
completely suppressed.”<span style="mso-spacerun: yes;"> </span>Enter Plato who
creates a Socrates he merely writes about and imitates as a passing of the
torch of knowledge as Nietzche states, “in the Bacchal the thwarted god takes
his revenge.<span style="mso-spacerun: yes;"> </span>Nietzche goes on, “the
decline of Greek tragedy begins when creative ecstasy is suppressed and has to
give way to cold calculation.<span style="mso-spacerun: yes;"> </span>We see
Plato as one comic tragic imitation of what was once Greek.”<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">Nietzche goes on to say, “now the old myths ceased to be
experienced as parts of an ecstatic religious ritual and become objects of
rational analysis; the gods and their stories come to be judged according to
the prosy maxims of reasoned justice.”<span style="mso-spacerun: yes;">
</span>In order for Plato to conquer poetry, comedy, tragedy, and literature he
needed to claim philosophy as the true knowledge.<span style="mso-spacerun: yes;"> </span>He then created a world that fit his
imitation of a Greek city.<span style="mso-spacerun: yes;"> </span>It was now a
Utopia for the guardians of his ideas of what a city should be. Socrates is no
longer doubting for us,instead we have an artificial philosopher who modifies
information to fit the needs of his own logos.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">Nietzsche feels that art is one of “the ruses of life;
tragedy has always had a vital function: to protect men from a full knowledge
of the life destroying doom that surrounds them.”<span style="mso-spacerun: yes;"> </span>Nietzsche sees “Euripides and Socrates ugly
and artistically unified.”<span style="mso-spacerun: yes;"> </span>The Platonic
dialogue to him is an “effective parody which in their superficiality and
optimism no longer acknowledge the reality of the abyss of suffering.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">In conclusion, Plato needs to be deconstructed to allow life
to breath.<span style="mso-spacerun: yes;"> </span>He is an obstacle to
discovery.<span style="mso-spacerun: yes;"> </span>His is the knowledge of
stagnation and imitation.<span style="mso-spacerun: yes;"> </span>He is the seed
of Western tyranny and state control.<span style="mso-spacerun: yes;"> </span>He
lets mind control replace speculation.<span style="mso-spacerun: yes;">
</span>Derrida sums it up very well. (Pg 139)<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">Jacques Derrida<o:p></o:p></p>
<p class="MsoNormal">Dissemination<o:p></o:p></p>
<p class="MsoNormal">University of Chicago Press © 1981<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">“Undecidedly, mimesis is akin to the pharmakon.<span style="mso-spacerun: yes;"> </span>(Plato as metaphor)<span style="mso-spacerun: yes;"> </span>no ‘logic,’ no ‘dialectic,’ can consume its
reserve even though each must endlessly draw on it and seek reassurance on
it.<span style="mso-spacerun: yes;"> </span>“As it happens, the techniques of
imitation, along with the simulacrum has always been in Plato’s eyes manifest
by magical, thawmaturgical.” <o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">We must deconstruct Plato to protect us from the past so we
don’t imitate it for the present or for the future.<span style="mso-spacerun: yes;"> </span>Plato is just a name; a word; a self-proclaimed
man of importance.<span style="mso-spacerun: yes;"> </span>The city is still the
city of individuals free to think.<span style="mso-spacerun: yes;"> </span>Let
the self be the self.<span style="mso-spacerun: yes;"> </span>Plato was an idea,
a formed a triangle of imprisonment . . . a much to do about nothing . . . a
spectre of double vision announcing its presence through writing and
ideas.<span style="mso-spacerun: yes;"> </span>Anointing us in repetitive idioms
that are mere echoes of the original moment.<o:p></o:p></p>koon woonhttp://www.blogger.com/profile/10570460211753996634noreply@blogger.com0tag:blogger.com,1999:blog-6027582433482221286.post-65587125964587153002020-11-25T17:12:00.001-08:002020-11-25T17:12:15.135-08:00Lew Jones' paper<p></p><p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt;">Lewton Thomas Jones <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt;">19<sup>th</sup> Century European Art<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt;">Lee Stewart<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt;">Graduate Paper<span style="mso-spacerun: yes;"> </span>May
22,2011<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt;"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt;"><o:p> </o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;"><span style="mso-spacerun: yes;"> </span><b style="mso-bidi-font-weight: normal;"><u>The Sower—From Millet to Van Gogh<o:p></o:p></u></b></span></i></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;"><span style="mso-tab-count: 1;"> </span>Vincent
Van Gogh had a childlike respect for the work of Jean Francais Millet,
particularly the painting <i style="mso-bidi-font-style: normal;">The Sower</i>. Van
Gogh’s own poverty and Dutch religious background helped him identify with
farming subjects as in the metaphorical image of a sower. Specifically, he identified
with Millet’s striding boy intent on doing God’s harvesting in his painting, <i style="mso-bidi-font-style: normal;">The Sower</i>. The influence Millet had upon
Van Gogh that can’t be ignored. The great compassion Millet felt for peasants
working the soil is the main connection that Millet and Van Gogh shared. Both
painters came from religious working class backgrounds but their beliefs in
artistic expression were very different. Millet chose to paint in the style of
the Barbizon school while Van Gogh was largely self-taught with some training
in the Netherlands. It was in Paris where Van Gogh met the Impressionists who
influenced him to go beyond his Dutch background and his mimetic connection to
Millet. However, it is the radical transformation evidenced in Van Gogh’s version
of <i style="mso-bidi-font-style: normal;">The Sower</i> that clearly defines
their differences. Although Van Gogh copied Millet’s <i style="mso-bidi-font-style: normal;">The Sower</i> several times, it was in sunny Arles that Van Gogh’s
theories about color and expression truly manifested a shift in consciousness. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;"><span style="mso-tab-count: 1;"> </span>The
Biblical Sower in Matthew was an influence to both artists with its religious
identification with peasantry—by virtue of their position socially they appear
virtuous and godly in their connection to the fertility of the Earth. It is
here that they shared a commonality. The parable of the sower is a parable of
Jesus’ found in the Bible<b style="mso-bidi-font-weight: normal;">. </b>In Matthew
13:1-23<b style="mso-bidi-font-weight: normal;">,</b>Jesus tells of sowing the
earth: “Some seed fell by the wayside; and the birds devoured them, Some fell
on stony places, where they did not have much earth, But when the sun came up
they were scorched, and because they had no root they withered away. And some
fell among thorns, and the thorns sprang up and choked them. But others fell on
good ground and yielded a crop, some a hundredfold, some sixty, some thirty. He
who has ears let them hear.” This is allegorically infusing the connection that
man has with God through the fertility of spiritual growth.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;"><span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span>Millet celebrated the movement of raw life
visually transforming the fields into one moment of man communing with nature.
Millet gave nobility to the peasant. Van Gogh was fond of Millet mostly because
of his strong symbolism showing man in the midst of nature and his task of
bringing life to the soil. Millet is famous for saying, ”I was born a peasant
and shall die a peasant.” Van Gogh consistently identified with the peasant
class and similar to Millay ascribed to the notion that laborers and farmers
were noble and godly. In 1885 Van Gogh wrote to his brother Theo, “Millet is
father Millet, counselor and mentor in everything for young artists.” Van
Gogh’s real father was an evangelistic preacher who never supported Van Gogh’s
art and one of the catalysts for Van Gogh’s liberation of color, which can be
seen in his 1888 The<i style="mso-bidi-font-style: normal;"> Sower</i>.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;"><span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span>There is a mimetic message that both Millet
and Van Gogh adhered to, and though both were inspired, they painted the
parable very differently. Van Gogh loved Millet and copied <i style="mso-bidi-font-style: normal;">The Sower</i> and many other paintings by Millet. There was a primary
difference between them, which was Van Gogh’s radiant individualism, and his
break from the academic figurative rules, which, unlike Millet, he no longer continued
to follow. <span style="mso-spacerun: yes;"> </span>The symbolic focus on a
solitary figure without high social ranking was a driving force in both of the
paintings. Millet painted <i style="mso-bidi-font-style: normal;">The Sower</i>
in 1850 while Van Gogh painted his in 1888. Millet was a Realist painter whereas
Van Gogh was an Expressionist with a connection to Impressionism. Van Gogh used
Millet’s metaphor of <i style="mso-bidi-font-style: normal;">The Sower</i> as a
catalyst for a new vision in painting where color triumphs over form and
message<b style="mso-bidi-font-weight: normal;">). ”</b>Ultimately, it was the
sun of Arles that for Van Gogh was a life-giving force. <i style="mso-bidi-font-style: normal;">The Sower</i>, a work executed in the blaze of the Arles summer,
reflects a quantum leap in artistic self-revelation.<span style="mso-spacerun: yes;"> </span>Its theme was a hallowed one in nineteenth-century
painting-- the cyclical motif of harvesting and reseeding the earth, and, the sower,
himself. It is a figure transformed by Van Gogh from copying one of his idols,
Millet.”<b style="mso-bidi-font-weight: normal;"> </b>(Rosenblum-Janson Pg.429)<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;"><span style="mso-tab-count: 1;"> </span>Van
Gogh’s painting of <i style="mso-bidi-font-style: normal;">The Sower</i> depends<b style="mso-bidi-font-weight: normal;"> </b>entirely on colors/perspective. It was
painted in Provence, where he had gone in search of stronger light and more
vivid colors. He saw the south as an unspoiled paradise. The canvas is
dominated by two complimentary tints: the violet of the field and man and the
yellow of the sky and corn. The sower’s clothes have the same tones as the
nature that surrounds him. He is identifiable as nature without being separate
or as a counterpoint... It is <i style="mso-bidi-font-style: normal;">all</i>
God. The figure in Van Gogh is not centralized--instead, the sun is central, as
if the bright, yellow eye of God (yellow is the most <i style="mso-bidi-font-style: normal;">visible</i> of all colors, and the color of Van Gogh’s house in Arles).
The dazzling array of sunlight and the grass are the brushstrokes of a new
creator-Van Gogh, himself. “The sun is a symbol of beneficial life that
permeates everything the eye sees”. (Argan Pg. 94<b style="mso-bidi-font-weight: normal;"> )</b> <span style="mso-spacerun: yes;"> </span>In Arles, Van Gogh further
pursued his stated belief that “color expresses something in itself.” (Wallace,
Robert Pg. 102 ). Millet’s <i style="mso-bidi-font-style: normal;">The Sower</i>
is drab in contrast and was railed by the critics as being violent and brutal.
It is a vision of a proud, striding peasant in an arduous work pose. There is
no grand light or vegetation. It is as barren as the parable in the bible. It
is a story with a narrative of truth and little more. Van Gogh’s <i style="mso-bidi-font-style: normal;">The Sower</i> is, on the other hand, exuberant
in artistic revelation and transcends the figurative. The reason for this
departure from his traditional Dutch artistic sensibilities (He admired
Rembrandt’s portraits of the poor, and this may account for the darkness of his
Dutch years palette (i.e., <i style="mso-bidi-font-style: normal;">The Potato
Eaters)</i> began when Van Gogh went to Paris and began to socialize with
members of the art community such as Gauguin, Pissarro, Seurat and
Toulouse-Lautrec.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;"><span style="mso-tab-count: 1;"> </span>Van
Gogh’s <i style="mso-bidi-font-style: normal;">The Sower</i> was completed in
1888. Millet died in 1875, Van Gogh’s well-appreciated “art father figure” was
no longer there, and after over twenty copies of Millay’s work Vincent was now
his own man. Van Gogh’s electric and mise-en-scene vision of <i style="mso-bidi-font-style: normal;">The Sower</i> is different that Millet’s
rigid, striding hero placed in a <i style="mso-bidi-font-style: normal;">natural</i>
setting. Van Gogh’s <i style="mso-bidi-font-style: normal;">The Sower</i> is subsumed
in color radiating chromatically in an earth world engaging him. “<i style="mso-bidi-font-style: normal;">The Sower</i> pits the powerful violet of a
freshly plowed field against the bright yellows of standing wheat and a
sun-filled sky. The sower himself seems a bridge between these strong colors;
his body blends with the field while his eyes are at the level of the yellow
horizon. The short, almost harsh brush strokes heighten the tensions created by
the colors<b style="mso-bidi-font-weight: normal;">.” </b>(Wallace PG. 102)<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;"><span style="mso-tab-count: 1;"> </span>Van
Gogh’s intentions and ideas in painting a copy of Millet’s The<i style="mso-bidi-font-style: normal;"> Sower</i> can be best understood and
interpreted in his revealing letters to his brother and confidante, Theo. The
difference in the two ‘<i style="mso-bidi-font-style: normal;">Sowers</i>’ is
very distinct. Although Van Gogh praises Millet as a basis for sound poetry; ”Ce
qui ne passe pas dans ce qui passé” (it exists) Van Gogh writes to Theo “And
what Michelangelo said in a splendid metaphor, I think Millet has said without
metaphor, and Millet can perhaps teach us to see, and get “a faith.” If I do
better work later on, I certainly shall not work differently than now, I mean
it will be the same apple, though riper.” (Roskill- pg.223 ) <i style="mso-bidi-font-style: normal;">The Sower</i> that Van Gogh painted is a
riper apple than Millet and it blossoms into an entire new direction for
painting. The catalyst for <i style="mso-bidi-font-style: normal;">The Sower,</i>
while biblical, is Van Gogh’s response to Millet and the random fractal
impulses that emerged from Van Gogh’s hand. In his letter to Theo Van Gogh
explains this seemingly randomness; I must warn you that everyone will think I
work too fast. Don’t you believe a word of it. Is it not emotion, the sincerity
one’s feeling for nature that drives us?” (Wallace Pg. 91 )<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><b style="mso-bidi-font-weight: normal;"><span style="font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;"><span style="mso-tab-count: 1;"> </span></span></b><span style="font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;">Van Gogh depicted
birds descending to feast on the seeds as <i style="mso-bidi-font-style: normal;">The
Sower</i> casts the new seeds that vibrate in dabs of blue and yellow. This
refers to the sower parable of Jesus—yet, Van Gogh’s burning sun dominates the
yellow sky, suggesting a warm pantheistic god. The vertical impasto strokes
draw the stalks of grain, as thickly brushed sunrays spear through the
background. In contrast, Millet’s <i style="mso-bidi-font-style: normal;">The
Sower</i> is kinetic in posture but static in its realism<b style="mso-bidi-font-weight: normal;">. </b>Realism (often used to mean naturalism) implies a desire to
depict things accurately and objectively <b style="mso-bidi-font-weight: normal;">.</b>Its
message could be interpreted as an academic response to academic rules. Van
Gogh was working outside of these rules. Peasants were much closer to how Van
Gogh saw himself, and how people responded to his somewhat motley presence.
Millet identified himself as a peasant, but in fact was financially comfortable
in his later life. Vincent was a peasant literally and figuratively-- with painting
his way of augmenting<b style="mso-bidi-font-weight: normal;"> </b>the nobility
of a simpler life. The active images in Van Gogh’s <i style="mso-bidi-font-style: normal;">The Sower</i> shows a painter parodying nature. This was the painter’s
decision to imitate reality or reject it all together. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;"><span style="mso-tab-count: 1;"> </span>Van
Gogh insisted he painted intrinsically what he saw and abstraction was not his
goal. His goal was to tell the truth about life’s energy. Van Gogh’s
perceptions were a true reflection of who <u>he</u> was, which was an
individual, an expressionist and an artist.<span style="mso-spacerun: yes;">
</span>He wrote Theo stating; “If I have to *paint in the abstract I would
rather not paint at all”. (Roskill Pg.336) Van Gogh was a Dutch painter and
Millet was French, and the Dutch painted dark and the French lighter. Van
Gogh’s reaction to sunny Arles was to illuminate the very nature of his own
being and that, which was in front of him. Mllet sought to focus on only one
subject as a figurative composition.<b style="mso-bidi-font-weight: normal;"> </b>Van
Gogh’s The<i style="mso-bidi-font-style: normal;"> Sower</i> was a daring
departure from Millet but also from Jules Bastien-Lepage .The peasantry Lepage
identified with was connected to his having been raised in a farming town, as
well. These same agricultural themes inspired Millet, which led to Van Gogh’s inspiration<b style="mso-bidi-font-weight: normal;"> </b>from both painters. <span style="mso-spacerun: yes;"> </span>Lepage, like Millet expressed the bleakness in
hard work even with all of its virtue and honesty. The man carrying sticks on
his back by Lepage is akin to the stylized model that Millet used is his
version of <i style="mso-bidi-font-style: normal;">The Sower</i><b style="mso-bidi-font-weight: normal;">. </b>Van Gogh, like Lepage and Millet<b style="mso-bidi-font-weight: normal;">,</b> chose to lend compassion to the
pathetic, weary features of man as a beast of burden. These are just three of
the artists who were influenced by the biblical parable of the sower.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;"><span style="mso-tab-count: 1;"> </span>The Sower</span></i><span style="font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;"> by Van
Gogh was executed in the blazing Arles sunshine, a life-giving force. This was
a quantum leap in artistic revelation. The previous cyclic harvesting theme has
miraculously become the emotional property of the artist. Vincent’s <i style="mso-bidi-font-style: normal;">The Sower</i> re-seeds the earth but is
absorbed in a color play that now transcends art that is beyond God and nature.
The artist is the total revealer of phenomena while the figurative academic rules
are swallowed up by the power of Futuristic-Expressionism right on the edge of
the Symbolist movement.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;">The yellow bountiful sun of Van
Gogh’s design is centralized like a religious altar-- glowing in a thick paint<b style="mso-bidi-font-weight: normal;"> </b>of artistic genesis.<b style="mso-bidi-font-weight: normal;"> </b>The conventions of perspectives are
further challenged with an impressionistic pigment of purple counterpointing
yellow. The moral and socialist image of Millet’s The<i style="mso-bidi-font-style: normal;"> Sower</i> is absorbed into a new vision of painting-- one that is
psychological and compresses images into a continuous weave of paint intending to
collide courageously with the past. In a letter to Theo,<span style="mso-spacerun: yes;"> </span>“ And I should not be surprised if The
Impressionists soon find fault with my way of working, for it has been
fertilized by the eyes of Delacroix rather than by theirs. Because, instead of
trying to reproduce exactly what I have before my eyes, I use color more
arbitrarily so as to express myself forcibly.” (Roskill Pg.277)<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;"><o:p> </o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;"><span style="mso-tab-count: 1;"> </span>In
Millet’s <i style="mso-bidi-font-style: normal;">The Sower</i>, the figure of the
sower is moving but he sky and the land are flat dull colors. It is a symbol of
an animated figure with the social responsibility to work. The private
collectors would regard the painting as “dark” and “ugly.”” Millet’s <i style="mso-bidi-font-style: normal;">The Sower</i> is an invented sower who is
burdened with the artist’s thoughts; but he is a creeping shadow on a ploughed field,
which is only a field of subjective memory. Clad in the costume of the
proletariat he casts the seeds on to an ambiguous dark hill with a soft, looming
sky suggesting hope. These are not <i style="mso-bidi-font-style: normal;">his</i>
seeds, nor <i style="mso-bidi-font-style: normal;">his</i> fields—but, probably
God’s sky (Millet unwittingly created a poster child for Socialism!). In
Vincent Van Gogh, <i style="mso-bidi-font-style: normal;">A Biography</i>, Julius
Meire Graefe observes,“ Another peasant ploughs near the horizon with his oxen,
or rather there is a silhouette plough with motionless animal silhouettes, in
front of a sky canvas in which birds cut out of paper attempt to flap their
immoveable wings.” (Graefe Pg 125) In Van Gogh’s’s <i style="mso-bidi-font-style: normal;">The Sower</i> a peasant strides across a field of kinetic soil and a yellow,
pulsating sky with a power of movement carrying the viewer. “Hundreds of Sowers
were embodied in one figure. He strides along, not for you, not for art, not
for Van Gogh, but for his work, with every nerve stretched to its purpose and
every limb and every rag on his body forming part of the action.” (Graefe Pg.25)
The field is all radiant and plowed in Van Gogh’s Sower and the seeds are
thrown symbolically unto life itself. <i style="mso-bidi-font-style: normal;">The
Sower</i> has become a historical everyman tilling in a linear cyclical ebb and
flow. <b style="mso-bidi-font-weight: normal;"><o:p></o:p></b></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;"><span style="mso-tab-count: 1;"> </span>The
lines and colour in Van Gogh’s <i style="mso-bidi-font-style: normal;">The Sower</i>
have an ephemeral value created as solid structure. “Millet’s <i style="mso-bidi-font-style: normal;">The Sower</i> belongs to the other days, to
the days of Millet’s bourgeois symbolism. Van Gogh’s matter-of-factness and his
heroic simplicity are such that in a few centuries his copies will be regarded
as the originals, and Millet’s originals as weak imitations.” (Graefe Pg. 26).
Vincent would write to Theo;” The little house in which Millet lived, I have
never seen it, seen it, but I imagine that those four little human nests are of
the same kind.” (Roskill Pg. 230). The motif of the sowing countryman came
about early in Van Gogh’s Dutch period (<i style="mso-bidi-font-style: normal;">Potato
Eaters</i>) and was bolstered by Millet’s example. In Arles 1888 we can see how
Van Gogh was influenced by Gauguin and Japanese painting with its diagonal tree
similar to Gauguin’s <i style="mso-bidi-font-style: normal;">Jacob Wrestling with
the Angel</i> (1888)—however, the broken-off branch is typical of the trees Van
Gogh developed in Holland. (Hammacher Pg.99)<b style="mso-bidi-font-weight: normal;"> </b>The move to Arles brought a fresh perspective, as we have seen. <i style="mso-bidi-font-style: normal;">The Sower</i> contrasts loud violet tilled
soil<b style="mso-bidi-font-weight: normal;"> </b>counterpointed by warm yellow
wheat and sunburst<b style="mso-bidi-font-weight: normal;">.</b> Van Gogh’s <i style="mso-bidi-font-style: normal;">The Sower</i> is at the right corner of the
painting-- unlike Millet’s which dominates the entire canvas. Millet’s <i style="mso-bidi-font-style: normal;">The Sower</i> seems like a socialist strut
compared to Van Gogh’s similarity to an eidetic phenomenological reduction as
described by the philosopher, Husserl 1859). Millet is mimetically inspired
while Van Gogh is an inventor of a new mimesis, while still maintaining the
original epistemology.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;"><span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span>In Van Gogh’s painting, the body of the <i style="mso-bidi-font-style: normal;">The Sower</i> appears to be a connection
between the two complementary colors. The boy in Van Gogh’s painting blends into
the field, but his eyes are fixed into the horizontal sky. There is a tension
in Van Gogh’s painting that Millet might not have used. The tension for Millet
was the bourgeois response to his lionizing a peasant in a tense political
atmosphere of power protectionism. Van Gogh’s brush strokes do seem harsh and
quick. The cold French hill in which Millet placed his sower is very different
from the heated, flat heaven within Van Gogh’s sower strides. When Van Gogh
arrived from Paris to Arles in February, everything was blossoming. Gone were
the grays of The Netherlands.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;"><span style="mso-spacerun: yes;"> </span>Van Gogh wrote to Theo from Arles;” Those who
don’t believe in this sun are infidels.” (Rosskill August 1888). The excitement
of the countryside is expressed in as if the fields were alive with its growing
crops, cobalt skies and the land shimmering, glowing and vibrating. Van Gogh
celebrated and loved the drama of nature while Millet used it as a backdrop for
his narratives. Millet’s <i style="mso-bidi-font-style: normal;">The Sower</i> trods
a proud burden mandated by the inevitability of nature and the necessity of
work. “Vincent probably led a double existence in Arles. Perhaps everybody in
similar circumstances would have done the same. His painting was a sensuous
surrender to a strange form of nature, really a wild orgy. ”(Graefe<b style="mso-bidi-font-weight: normal;"> </b>Pg.66) Paris was a different mind-set
where art was its own subject with schools and salons Millet and Van Gogh were
privy to (as well as their colleagues). “In Arles there were Arlesian men and
women, mountains, the sky and colors—things that had to be accepted in silence.
In Arles everything was still shapeless and unpainted.” (Graefe Pg.66)<b style="mso-bidi-font-weight: normal;"><o:p></o:p></b></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;"><span style="mso-tab-count: 1;"> </span>Although
it is true that Van Gogh was also a disciple of Rembrandt and Delacroix, his
drawings are organized and mechanical yet coaxed by creativity. His was a
responsibility of moral intrigue and the human condition. Unlike Millet, Van
Gogh’s color dominated his feelings and emotions. “His was the result of
profound self-intuition and experience, he was a naturalist of the first
water.” (Graefe Pg.68) <i style="mso-bidi-font-style: normal;">The Sower</i> was
in many ways Van Gogh himself projected onto the canvas-- guiltless and happy
as the paint around him. He once said he could live without God but not without
creativity. The biblical sower is a sublimated symbol of that statement and one
that consumed Van Gogh until his death. “He possessed a number of undeveloped
intellectual aspirations, which might have stood him in great stead, but he put
them on one side because he considered them unpure.” (Graefe Pg.68)<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;"><span style="mso-tab-count: 1;"> </span>The
<u>individual</u> was Emile Zola’s claim to artistry, but one that Van Gogh
would personify past the Impressionist and Expressionist timeline. In a letter
to Theo Van Gogh wrote; “Zola says,” Moi artist, je veut vivre tout haut-veut
vivre” (I as an artist want to live as vigorously as possible-I want to live) without
mental reservation-naïve as a child. No, not as a child, as an artist-with good
will, however my life presents itself. Now look at all those studied little mannerisms,
all that convention, how exceedingly conceited it really is, how fundamentally
wrong is the man who doesn’t feel himself small, who does not realize he is but
an atom.” (Holt Pg.474) Van Gogh’s <i style="mso-bidi-font-style: normal;">The Sower</i>
is as vigorous as any peasant could be illustrated. He has taken the viewer
from a grain of sand into the infinite universe.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;"><span style="mso-tab-count: 1;"> </span>The Sower</span></i><span style="font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;"> could very
well be an individual creation inspired by God, life, and art, or Van Gogh’s
creation alone. Van Gogh created a reality that sublimated his feeling of being
a failure at life. In 1880 after failing at teaching, gallery work and
preaching he had decided to channel his passion for humanity. He had already
studied and copied Rembrandt and the dark Dutch style. He needed the freedom to
personalize a painting like<i style="mso-bidi-font-style: normal;"> The Sower</i>.
He no longer followed the Masters—instead he gravitated to a radical and
different way to paint. In Paris, he was influenced by Seurat’s pointillism/divisionism.
Before Paris, Japanese prints and its lines and colors influenced him. He had
dabbled in Impressionism but it wasn’t enough. He wanted the pure force of
emotion with powerful color and thick swirls. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;"><span style="mso-tab-count: 1;"> </span>Millet,
with his choice of muddy/earthy tones, portrayed the sower as a stocky,
well-built young man –implying a certain working-class nobility and this
characterization came to be associated with the Social Realist movement. This
nobility if viewed from the perspective of Social Realism creates even more
meaning. The peasant can be viewed as a sower of social justice or a voice for
the lower classes yearning for social mobility and expressing this is social
protest and descent. The bright sun of Millet’s <i style="mso-bidi-font-style: normal;">The Sower</i> could indicate that he has the forces of social justice
on his side. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;"><span style="mso-tab-count: 1;"> </span>Van
Gogh displayed a kinship of anger and ruthless reality that was different than
Millet’s. Van Gogh tried to be artistically obsequious by signing his name
Atelier Vincent, and even signed some of his drawings with the new name. He came
to the conclusion that there was not a market for pictures of peasants unless
he said,”they were--perfumed.” In another letter to Theo Van Gogh writes:<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;"><span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span>I can see that even Millet, just because he
was so serious, couldn’t help keeping good <span style="mso-tab-count: 1;"> </span><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;"><span style="mso-tab-count: 1;"> </span>courage.
That is something peculiar, not in all styles of painting. Those who seek real <span style="mso-tab-count: 1;"> </span><span style="mso-tab-count: 1;"> </span>simplicity
are themselves so simple and their view of life is so full of willingness and <span style="mso-tab-count: 1;"> </span>courage, even in hard times. It must
be-“une revolution qui est, puisqu’il faut qu’elle <span style="mso-tab-count: 1;"> </span>soit.” <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;">(Roskill 1888) Van Gogh further purified
the work of Millet-- taking it from a static painting to a living color field.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;"><span style="mso-tab-count: 1;"> </span>Millet
once wrote; ”Art began to decline from the moment that the artist did not learn
directly and naively upon the impressions made by nature. Cleverness naturally
and rapidly took the place of nature, and decadence then began…at the bottom of
it always comes this; a man must be moved himself in order to move others.”(Ruskinp124-129).
Van Gogh’s <i style="mso-bidi-font-style: normal;">The Sower</i> was his first
attempt to make an original contribution to Modern Art since his art studies in
Paris. What made it original and unlike Millet was the violent juxtaposition of
bold colors—which were yellow and violet. He was clearly moved by Millet’s
subject and the effect on its time. It was the message that drove him to
imitate but he was approaching it from a very apprehensive place. He wrote to
Theo in 1888, “The sketch keeps tormenting me…and I wonder whether I should
tackle it seriously and make a terrific painting of it. My God! How I should
like that.” (Roskill 1888)<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;"><span style="mso-tab-count: 1;"> </span>The
solitary man in both paintings has new meaning in Van Gogh’s Sower he as taken epistemology
back to the cave paintings and then to the future. This work appears unimpeded,
without pretense and suddenly freed art from academic perspective and
appropriate color. It is a new language. Van Gogh had imagined the ultimate
masterpiece as speaking<span style="mso-spacerun: yes;"> </span>“a symbolic
language through colour alone”. And in this sense, it would truly be a modern
piece. He wrote in a letter to Theo in 1888, “ Could <i style="mso-bidi-font-style: normal;">The Sower</i> be painted in color, contrasting violet and yellow
together, for example—Yes or no? Yes, of course. Well do it then! Yes—that’s
what Pere’ Martin said, too: “Il faut faire le chef-d’ouevre”. (Roskill 1888)<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;"><span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span>Millet’s <i style="mso-bidi-font-style: normal;">The
Sower </i>has now been transformed into a fractal mirage of thick paint
animating textures and de-constructing the figurative. 1888 was a time of
change in the world. An inflorescence of new ideas and paradigms were constantly
being introduced. Darwin, Marx, the Industrial Revolution as well as the advent
of photography (which was <i style="mso-bidi-font-style: normal;">supposedly</i>
infinitely reproducible) changed the way people looked at the world and art. Van
Gogh was compelled to stay informed of these shifts, but was foremost a
painter. The world’s progress was not as important to him as his own artistic
progress. He saw cities as being unclean and superficial. He wrote to Theo; “It
is curious that my painted studies seem darker in town than in the country.” (Roskill,
Antwerp, end of Dec. 1885). In the country he could create using light itself
as a pallet. It was life giving and the light gave to him joy and inspiration
and so it<b style="mso-bidi-font-weight: normal;"> </b>was Arles that became his
muse. His world was a world of pure creativity and he had no peers that could
follow him.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;"><span style="mso-spacerun: yes;"> </span>In a letter to Theo he writes;” “Oh, my dear
boy, sometimes I know so well what I want. I can very well do without God both
in life and in my painting, but I cannot, ill as I am, do without something
which is greater than I, which is my life-the power to create.” (Roskill-Arles,
early September 1888). Van Gogh was seriously concerned how other artists
viewed and criticized his work-- and it must have hurt deeply when Cezanne told
him “you paint like a mad man.” It is good that Millet never saw Van Gogh’s version
of <i style="mso-bidi-font-style: normal;">The Sower</i> for he might have had a
hard time understanding the translucent energy of Van Gogh’s work as well.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;"><o:p> </o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;">*Van Gogh referred to his own
painting <i style="mso-bidi-font-style: normal;">The Sower</i> as “a failure and
a glorified study”. (Roskill June 24,1888) Although it is said that imitation
is the highest form of flattery, Van Gogh deconstructed Millet’s balanced
figurative statement into a radical experiment of color and emotional
intelligence whose departure from convention still resonates and documents a
quantum leap towards Modern Art (i.e., Symbolism. Cubism). The student has
become the master. Van Gogh however was unsure of his direction like most
visionaries and carried doubt with him always. In a letter to Theo, Van Gogh
asks; “Did Pissarro say anything about <i style="mso-bidi-font-style: normal;">The
Sower</i>? Afterwards, when I have gone further in these experiments, <i style="mso-bidi-font-style: normal;">The Sower</i> will still be the first attempt
in that style.” (Roskill 289-Arles, September 8, 1888). That style Van Gogh differentiated
him not only from Millet but the Impressionists and Post-Impressionists. The
direction was his and his alone and one that created great quarrel with
Gauguin. <span style="mso-spacerun: yes;"> </span>He writes, “I have tried to
express the terrible passions of humanity by means of red and green. The room
is blood red and dark yellow with a billiard table in the middle there are four
lemon-yellow lamps with a glow of orange and green. Everywhere there is a clash
of the most alien reds and greens, in violet and blue”.<span style="mso-spacerun: yes;"> </span>(Roskill,Arles September 8, 1888) Van Gogh
changed the previous narratives of composition and nature into a language of
color theory.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;"><span style="mso-tab-count: 1;"> </span>Van
Gogh’s father was a minister and clashed with the young Van Gogh’s passionate
artistic temperament. He wrote Theo that his father’s righteousness turns everything
that is light into darkness. The Dutch influence was replaced at the end of his
life with a new art and a self-exiled determinism. “ He longed for the world of
men. Life without them was blank. Vincent demonstrated this theme in three of
four professions .He will appear in his relations to his parents, his brother, the
women he loved, his teacher and his friend. These relationships, apart from the
one to his brother, all alike ended in failure<b style="mso-bidi-font-weight: normal;">.” (Graefe <span style="mso-spacerun: yes;"> </span>Pg.1)<o:p></o:p></b></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;"><o:p> </o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;"><span style="mso-tab-count: 1;"> </span>If
we psychoanalyze Van Gogh’s <i style="mso-bidi-font-style: normal;">The Sower</i>
we see a boy. He is planting seeds playfully absorbed in abstract color.<b style="mso-bidi-font-weight: normal;"> </b>This separation from the Bible is an
important difference in Millet’ <i style="mso-bidi-font-style: normal;">The Sower</i>
which was <i style="mso-bidi-font-style: normal;">meant</i> to be biblical<b style="mso-bidi-font-weight: normal;">.</b> This can be observed in a letter to
Theo stating,” I have worked in the olive groves, because they have (Bernard
and Gauguin) maddened me with their Christs in the Garden, with nothing really
observed. Of course with me there is really no question of doing anything from
the Bible.” (Roskill Arles 1889) <span style="mso-spacerun: yes;"> </span>The boy
called Vincent is free at last. Free to express his soul as only he knows how
it experiences life.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;">In conclusion, <i style="mso-bidi-font-style: normal;">The Sower</i> by Van Gogh is not a copy of Millet but rather an
extension of purpose and therefore a transformation. The bold stance of
Millet’s <i style="mso-bidi-font-style: normal;">The Sower</i> was meant be held
up in the salons and exhibitions as the triumph of noble peasantry via biblical
imitation and association. Van Gogh’s <i style="mso-bidi-font-style: normal;">The
Sower</i> is a smile of light that resonates with the sun<b style="mso-bidi-font-weight: normal;">. </b>It is a clarion call to freedom of expression. It is art for art’s
sake to the tenth power. It is free from the pin- point accuracy and approval
of his critics<b style="mso-bidi-font-weight: normal;">.<o:p></o:p></b></span></p>
<p class="MsoNormal" style="line-height: 200%;"><b style="mso-bidi-font-weight: normal;"><span style="font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;"><o:p> </o:p></span></b></p>
<p class="MsoNormal" style="line-height: 200%;"><b style="mso-bidi-font-weight: normal;"><span style="font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;"><span style="mso-spacerun: yes;"> </span></span></b><span style="font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;">If being an artist is to be
representative and concise, Millet is the victor. If an artist is one who
sacrifices his soul for purpose it is Van Gogh. The laughing sun in Van Gogh’s <i style="mso-bidi-font-style: normal;">The Sower</i> is the laughter in Van Gogh’s
heart in which he could create a world where creativity exists for its own sake
and can therefore be the bread of life and the creator of new consciousness. Van
Gogh transformed the fertile seed of Millet’s ground and grew a new hybrid of
visual art in motion. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;">Unfortunately, Van Gogh did not
live to see his extraordinary contribution to art, but he intuitively
understood the consequences of originality. In his last letter to Theo he
writes;<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;">“ Well, my own work, I am risking
my life for it and my reason has half-foundered owning to it—That’s all right,
but you are not among the dealers in men so far as I know, and you can choose
your side. I think, acting with true humanity, but what’s the use?”(Roskill Pg.340,July
1890)<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;"><o:p> </o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;">…And now we are left to marvel at
the colors of his brave, exquisite and elegant humanity.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;">Je sais ou’ se tou’ve Paris-Dans le
coueur de Vincent.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;"><o:p> </o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;"><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;"><o:p> </o:p></span></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><u><span style="font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt;">Bibliography<o:p></o:p></span></u></b></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt;">Argan, Carlo<i style="mso-bidi-font-style: normal;">, Art
Classics, Van Gogh </i>Rizzoli<i style="mso-bidi-font-style: normal;">, </i>International
Public, Inc., 2004, New York City, NY<span style="mso-spacerun: yes;">
</span>(Pg. 94)Print<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt;"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt;">Bolton, Roy <i style="mso-bidi-font-style: normal;">A Brief
History of </i>Painting Magpie Books, Constable & Robinson Ltd, 2006, London
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<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt;"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt;">Graefe, Julius Meier, Vincent<i style="mso-bidi-font-style: normal;"> Van Gogh, A Biography,</i> 1987,Dover Publications, Inc.,<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt;">New York City, London (Pg 1,25,26,66,68,125) Print<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt;"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt;">Hammacher, A.M., <i style="mso-bidi-font-style: normal;">Vincent
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New York, NY (Pg.99) Print<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt;"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt;"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt;">Janson, H.W., Rosenblum, Robert, <i style="mso-bidi-font-style: normal;">19th Century Art</i>, 1984, Harry N. Abrams, Inc., New York, NY and
Great Britain (Pg.429)<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt;"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt;">Holt, Elizabeth G., <i style="mso-bidi-font-style: normal;">From
The Classicists to the Impressionists, </i>Vol lll,<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt;">1966, Anchor Books, Garden City, NY (Pg. 474) Print <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt;"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt;"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt;">Roskill, Mark, <i style="mso-bidi-font-style: normal;">The
Letters of Vincent Van Gogh</i> 1927, Constable and Co., New York, NY (Pg.230,
277,289,340…others by date of letter) Print<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt;"><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt;">Wallace, Robert, <i style="mso-bidi-font-style: normal;">The
World of Van Gogh</i>, 1969, Time-Life Books, Inc., Alexandria, VA<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt;">Pg 91, 102) Print<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt;"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt;"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt;"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt;"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt;"><o:p> </o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;"><o:p> </o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;"><o:p> </o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-size: 12.0pt; line-height: 200%; mso-bidi-font-size: 11.0pt;"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt;"><o:p> </o:p></span></p><br /><p></p>koon woonhttp://www.blogger.com/profile/10570460211753996634noreply@blogger.com0tag:blogger.com,1999:blog-6027582433482221286.post-55014684636193661862019-12-01T18:39:00.001-08:002019-12-10T12:44:52.206-08:00Koon Woon ------------ TOO LONG OF A STORY (dispatches from the mental health system)First couple of pages from the first draft:<br />
<br />
<b><span style="font-family: "Garamond",serif; font-size: 12.0pt;">The
Conard File</span></b><span style="font-family: Garamond, serif; font-size: 12pt;">
[begin November 15, 2019]:</span><br />
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<span style="font-family: "Garamond",serif; font-size: 12.0pt;">(Dispatches
from the mental health system)<o:p></o:p></span></div>
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<span style="font-family: "Garamond",serif; font-size: 12.0pt;">Sarah
made her first batik and gave it to me as a present. It was a fish. She was
unilaterally in love with me. She was 43 and I was 28 and this was in San
Francisco. We were residents of the halfway house Conard for mentally ill
people. <o:p></o:p></span></div>
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<span style="font-family: "Garamond",serif; font-size: 12.0pt;">Before
I moved in I was at the Chinatown YMCA, renting by the month. My father had put
me there after I was released from Napa State Hospital. The year was 1977 and I
already been homeless once. When I lived at the YMCA I ate mostly Chinese
cream-filled buns at a pastry shop at Wavery Lane, an alley off of Grant
Avenue, the main street of Chinatown. My father had given me $1,000 and some
nice clothes. He figured that I would bounce right back into economic life, but
I disappointed him, because even at age 70 today, I never made it back to the
workforce. <o:p></o:p></span></div>
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<span style="font-family: "Garamond",serif; font-size: 12.0pt;">How
do you account for yourself, mister? When I take occupational preference and
skills tests I always get accounting and it tells me to work for the FBI and
the CIA. A bit of forensic accounting will flush out the criminals and their
money trail. I smell the money, I smell the green. It is because I am good in
math. But such a job is drudgery as far as I am concerned and it is not that I
am unable to work physically or mentally, but it is that I am emotionally
unable to work. And there is a reason for it. <o:p></o:p></span></div>
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<span style="font-family: "Garamond",serif; font-size: 12.0pt;">“They
told him to go back to work, and he pleaded that he wasn’t ready. They said
that his disability compensation was over and he needed to go back to work. That
night he jumped off the roof and died.” It was not Franz Kafka who juried his
disability; it was the State. And the man who related this story was the brother
of the said dead man. This was not a major event in a big US city. It was the
small town of Aberdeen. When logging and fishing ceased in this small town,
there were a lot of alcoholism, teen pregnancy, and crime. I lived here and
when I was very young, I started working. An independent contractor was my
first job at age 12. I had a paper route. Then the jobs got heavier and heavier
but that wasn’t why I broke down. <o:p></o:p></span></div>
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<span style="font-family: "Garamond",serif; font-size: 12.0pt;">It
was a built-in genetic time bomb. It reminds me of the cartoon in a terrorist
training camp. The teacher demonstrating suicide bombing said to the student
terrorists around him and said, “Now watch very carefully! You are only going
to see this once!”<o:p></o:p></span></div>
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<span style="font-family: "Garamond",serif; font-size: 12.0pt;">And
when I was exploited by my family and the State sufficiently I judiciously
broke down. Even a machine needs oiling but I was not perceived to have any
needs. And when one is pulled from both ends vigorously enough, he will snap in
the middle. All that is left of this man now is the sad and urgent lesson not
to treat others this way. For in the long run, you cannot whip the horse
forever to go at top speed and never feed it grass. But maybe “grass” was part
of the problem. The government didn’t take care of its youths well enough and
offers no guidance. Thrown to wolves are many young and impressionable young
men and women. They are sold a false paradise. <o:p></o:p></span></div>
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<span style="font-family: "Garamond",serif; font-size: 12.0pt;">Meanwhile,
at Conard, Ben found the suicide note. John had left a big pot of spaghetti in
the basement kitchen sink and it was turning green on red. He had not been seen
for over 72 hours and so Mrs. Wake the director called the police and they
found John walking towards the Golden Gate Bridge. He was taken to SF General
for observations. This was a blow to the Conard management. They did not screen
carefully enough and this is a statistic they didn’t want. Government grants
and private donations depend on what kind of positive reports Conard can give
them for their money. Everybody’s motive seems pure enough – the patients want
to get well, the staff want to have success stories, and the donors really want
to feel they make a difference. And so Dr. Stone the consulting psychiatrist came
and address the group meeting, a pep talk.<o:p></o:p></span></div>
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<span style="font-family: "Garamond",serif; font-size: 12.0pt;">Every
resident had a psychiatrist of their own or have a day-treatment program at a
mental health center. When I first moved in my psychiatrist, Ron Smothermon,
was writing a book and he gave me chapters to read as he drafts them. It was a
book about relationships. Ron obtained his medical degree from a Texas
university and he was a firm believer in medication. Back in 1977, many
psychiatrist and therapists thought that talk-therapy was efficacious. But now
I can see that you can talk with me all day, and if my brain was scrambled by defective
biochemistry, you will simply make no sense to me. I would be lost to delusions
and illusions, not to mention inappropriate elations and depressions. I might
not even feel I had a reason to live. Some honestly didn’t feel that way or
felt that no one cared and so like John they would be thinking about walking
towards the Golden Gate Bridge. <o:p></o:p></span></div>
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<span style="font-family: "Garamond",serif; font-size: 12.0pt;">But
for the rest of us, Conard was a reprieve. The rent was cheap, we had 24/7
supervision, we had each other, including the Yale dropout James who took Janie
by the hand and used my room for sex, because Jim and Janie’s roommates were
home and my roommate Allen the photographer wasn’t. I couldn’t refuse them
because they had an urgent need. Sex and sexuality were quite open for just a
decade ago, all the flower children descended on San Francisco. I was there
that time too. I spent two summers 1969 and 1970 at North Beach which borders
Chinatown and the Italian neighborhood. I had gone down there because my
hometown friend from Aberdeen was there. He was gay and had a partner. Due to
my puritanical training as a Chinese kid of Confucian parents I did not take
part in sex of any kind, not yet, and there was a horrendous opportunity for heterosexual
as well as gay sex, because in San Francisco the women outnumbered the men and
so many men were gay. At least that was what seemed to be the case. <o:p></o:p></span></div>
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<span style="font-family: "Garamond",serif; font-size: 12.0pt;">Conard
itself is an old Victorian house that survived the 1903 San Francisco
earthquake. It had been a hotel for world travelers. It is so interesting that
the electrical outlets were still capped by a steel cover because they back in
1903 believed that electricity would “leak” the same way that natural gas would
leak. It consisted of three floors and a basement. As far as the patients were
concerned, the third-floor kitchen was the “intelligentsia” of Conard. It was
here when Maria the well-bosomed woman of Greek descent asked me whether I
liked Chinese girls or American. I said I didn’t know. I was that naïve. I said
I didn’t know and that was one reason why I was at Conard. She had a different
motive though. She was deciding between me or Ben. Ben is younger than Maria
but he was the loud type and his father was some kind of military big shot. The
only time Ben showed any deference to anyone was when I was demonstrating my martial
arts kick in the house’s main living room. He said, “I wouldn’t want to walk
into that.” So, Maria and Ben became a couple and rode around on his
motorcycle. Yes, people pair off and change partners once in a while. My turn
will eventually come with Loraine. <o:p></o:p></span></div>
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<span style="font-family: "Garamond",serif; font-size: 12.0pt;">I
don’t want the reader think that all this is amounts to no more than sex and
suicides. But since most of the people at Conard are from their twenties to
their forties, with most of the in their late twenties, and mental illness was
quite new and in most ways unexpected, some, like me, thought it was just an
inconvenient stage of life, like the acne stage of their late teens. And the
management at Conard had “great expectations” of us [you know, that is the only
thing about Charles Dickens that I could ever empathize with]. I found out that
I could go to Cogswell College on a CETA scholarship and so I went there and
majored in Safety Engineering. One of the courses was industrial chemistry, and
we learned about the many ways to put out chemical and electrical fires. We
even make plastic. But let me tell you, having a mentally ill guy in the chem
lab was taking a chance. I could have easily dumped some acid into another
container of acid and have it splatter on everyone’s flesh. I almost did that. All
my classmates ignored me until the teacher said that “one student” made a super
improvement from the first exam grade to the second, and by then, valences and
orbitals were above everyone’s head, and so they all wanted me to have a cram
session for the final. This kind of utilitarian friendship I did without. <o:p></o:p></span></div>
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<span style="font-family: "Garamond",serif; font-size: 12.0pt;">The
chemistry thing goes back to my high school in Aberdeen. Since working in our
family restaurant beginning at age twelve and assuming full responsibility in
the kitchen by age sixteen, I learned to cook. And high school chemistry was
just like cooking but with Bunsen burners instead of a wok. And since I was
good in math, algebra especially, I can balance chem equations well. All the
girls wanted to be my lab partner. Again, you see how naïve I was? I didn’t ask
them out for a hamburger but instructed them how to write the lab report. I
never like this kind of paperwork. And I ended up with the highest grade and
reputation in high school and the chem teacher, Mr. Sieler, gifted me with a
set of chem handbooks with my name engraved in gold on the cover. And I was selected
as one of six people from our high school to attend a special conference by MIT
in Seattle. I was impressed of course, but later, when I applied to MIT, I
wrote that I would either study electrical engineering or literature. I was summarily
rejected. I very much doubt if I would have succeeded there being born a
village boy who tracks mud into your dining room. I think had I been accepted
to MIT, my mental illness would either never have occurred or that it will
never be discovered by others, unless I was in a Walmart shopping mall. <o:p></o:p></span></div>
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<span style="font-family: "Garamond",serif; font-size: 12.0pt;">But
here at Conard I studied chemistry with a little woman sitting on my lap in the
third-floor kitchen. Her name was Iris and she was of French descent. She said
that her father used to dress her in tights and take her to parties where she
would strum the guitar and sing “Five Hundred Miles.” The reason she was at Conard,
she said, was because she experienced a catatonic state. She didn’t mind it when
I fondled her breasts and at the same time, drink ice water, and work on
chemistry problems. Keller would be beside himself with jealousy and demanded
to know why she wouldn’t’ let him do that. In so many words, she thought Keller
was vulgar. One truth was, and nobody besides my psychiatrist and Iris knew, I
couldn’t get a boner. Iris felt safe enough to have her tits fondled. Those
medicines can castrate you better than saltpeter. I was on Mallarill. On 300 mg
a day to be exact. That doesn’t mean that you don’t think about sex, but it is
useless thought.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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koon woonhttp://www.blogger.com/profile/10570460211753996634noreply@blogger.com2tag:blogger.com,1999:blog-6027582433482221286.post-5886835383125306672019-10-24T03:07:00.002-07:002019-10-24T03:07:15.801-07:00Lew Jones -------------- Ishtar Film Theory<br />
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<span style="font-family: "Cambria",serif; font-size: 12.0pt; line-height: 115%;">Lewton Thomas Jones<o:p></o:p></span></div>
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<span style="font-family: "Cambria",serif; font-size: 12.0pt; line-height: 115%;">Graduate Film Theory<span style="mso-spacerun: yes;"> </span></span><o:p></o:p></div>
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<span style="font-family: "Cambria",serif; font-size: 12.0pt; line-height: 115%;"><span style="mso-spacerun: yes;">
</span>ISHTAR THE LAST GREAT AMERICAN NOVEL</span><o:p></o:p></div>
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<span style="font-family: "Cambria",serif; font-size: 12.0pt; line-height: 200%;">The movie <u>Ishtar</u> by Elaine
May is a comedy starring Warren Beatty and Dustin Hoffman. The plot went
something like this~ Two struggling songwriters meet by circumstance in New
York and begin doing their own unpolished songs like ‘Dangerous business,’
‘Software,’ and Wardrobe of Love’ (We’re Just as good as Paul Simon or Bruce
Springsteen) w/their spouses along for a tortuous ride. They get a music agent
named Marty Freed (Jack Weston). After getting a bad response from an open-mike
Marty tells them he can book them out of the country. Elaine May takes Rogers
and Clarke to Morocco and finally to Ishtar. They meet a left-wing agent (May
was considered a Commie in the 50’s) named Shirra Assel (Isabelle Adjani) then
a CIA agent Jim Harrison (Charles Grodin) never suspecting they are carrying
the map that will inflame the middle east. The Emir wants them dead and all
they want to do is get booked at a club and cut an album. As comedy Ishtar
falls into several genres. The film is May’s attempt at new fetish comedy in
that marriage is in the narrative (Gerald Mast 458) despite the obstacles
creates a wedding of sorts, even though both of their spouses are gone but the
songwriting duo and Shirra Assel are wed metaphorically with their goals. (pg
459)Gerald Mast describes this type of comedy as; “after successfully combating
terrible foes, the protagonist earns both life and love as his rewards.” This
is the typical plot of melodrama.”<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Cambria",serif; font-size: 12.0pt; line-height: 200%;"><span style="mso-spacerun: yes;"> </span><u>Ishtar</u> is also a parody /comedy as
it was intentionally similar to <u>Romancing The Stone, </u>but as mock-up in
its style. The third comedic style you find is <i>The reductio ad absurdum </i>which
Gerald Mast describes as; “A simple human mistake or social question is
magnified, reducing the action to chaos and the social question to absurdity.”
We can see in Ishtar shades of Ionesco-Chairs, Sartre’s No Exit and Stoppard’s
Rosencrantz and Guilderstern are Dead. Not to mention Anton Chekov the father
of ‘realistic absurdism.’ Ishtar is didactic<span style="mso-spacerun: yes;">
</span>(pg 460) Mast points out; “The typical progression of such a plot rhythmically
is from one to infinity. Perfect for revealing the ridiculousness of social or
human attitudes, such a plot frequently serves a didactic function.” Elaine May
takes the dream of being songwriters to the point of manic obsession. Hoffman
and Beatty’s characters are willing to lose everything, their spouses, their
homes, their passports and even their lives to get to the vanishing point.
Another comedic style we see is called ‘riffing’ or what (462) Mast describes
as; ‘goofing’ or ‘miscellaneous bits,” or improvised and anomalous gaggery.”
May was an expert in this style; coming from the comedy team Nichols and May.
She was a woman intellectual during television in the 1950’s. Mast (462)
continues; “The Sennet/paraody riffing films take some initial situation-perhaps
a place (Ishtar in this case) and then run off a series of gags that revolve
around this central situation.” Woody Allen a peer to May comes to mind
regarding this style. The semiotics of a film reveal its nature by introducing
us to the characters of the film and we as spectators then identify the scene
as comic. We as spectator are ready to follow the genre with this in mind.</span><o:p></o:p></div>
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<br /></div>
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<span style="font-family: "Cambria",serif; font-size: 12.0pt; line-height: 200%;">The goddess Ishtar is a goddess
of fertility, love, war, romance and adventure and is equivalent to Venus,
Kali<span style="mso-spacerun: yes;"> </span>and Isis. Elaine May’s <u>Ishtar </u><span style="mso-spacerun: yes;"> </span>is a movie that in theory is both mythology
and contemporary realism via the use of the apparatus and the jingle of big
business.<span style="mso-spacerun: yes;"> </span>The Elaine May <u>Ishtar</u><span style="mso-spacerun: yes;"> </span>was a movie of huge proportions<span style="mso-spacerun: yes;"> </span>costing 51 million dollars in 1987. It was 23
million over its original budget. Key terms in film theory immediately pop
up-‘excess, auteur, feminism and production. When Warren Beatty is thrown in
the equation as co-producer we think of ‘perfectionist’ and Hollywood star and
womanizer. Add Dustin Hoffman to Ishtar and we have a montage of great interest
and possibility in the brew.<span style="mso-spacerun: yes;"> </span>The excess
began from the beginning; for example, Columbia spent 8 million dollars on
advertising, prints, promotion and publicity. (NY Times 87) The question arises;
how did a movie that was scheduled to cost 28 million go so wildly over
budget?<span style="mso-spacerun: yes;"> </span>The Hollywood Reporter called it
in 1987; “Colossally dunderheaded.”<span style="mso-spacerun: yes;"> </span>The
Daily News said; “A half -baked comedy that somehow turned into a runaway ego
trip.” The Los Angeles Herald Examiner called it; “a piffle with a 40
million-plus price-tag.” Those who hated it even before it came out probably
didn’t like Elaine May anyway. Janet Maslin of the New York Times admitting a
lot of monotony in the film said; “The best is funny, sly, cheerful and here
and there even genuinely inspired.” The stars of the movie appealed to an older
audience. Columbia’s distribution president James Spitz at the time said; “We
did very good business in Los Angeles, but it was a disaster of major proportions
in Chicago. The cultural semiotics obviously played on the star appreciation in
Los Angeles where Chicago didn’t care it would seem.<span style="mso-spacerun: yes;"> </span>Spitz went on to say; “When Siskel and Ebert
got through with the movie, nobody-and I mean nobody-came to see it.” The
inside info was that Warren Beatty proposed the film to Guy McElwaine,
Columbia’s chairman. The idea presented was a comedy with Beatty and Hoffman
directed by improvisation comedian/auteur Elaine May. It was whispered that Mr.
Mc Elwaine purchased I<u>shtar without a script.”</u><span style="mso-spacerun: yes;"> </span>The Hollywood model for making a movie was
activated by Beatty and Hoffman getting 5.5 million each, plus Beatty getting
$500,000 for producing. Elaine May got $1.5 million for writing the script and
directing. The movie budget <span style="mso-spacerun: yes;"> </span>was $14
million without the camera being turned on. A metaphoric apparatus was at play
in Ishtar. The trio of equal force have all been dubbed perfectionists. Their
differing views almost created a static mise en scene. The word on the street
was that each star and the director worked on their own final cuts of the film
once during the editing. Plus there were three separate teams of editors
working all day getting paid double time, triple time, and the most expensive
of all golden time. If that excess wasn’t enough Beatty didn’t approve the
poster until a year later –six weeks before it opened.<span style="mso-spacerun: yes;"> </span></span><o:p></o:p></div>
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<span style="font-family: "Cambria",serif; font-size: 12.0pt; line-height: 200%;"><span style="mso-spacerun: yes;"> </span>Elaine May was originally with Mike
Nichols as a leftist comedy team.<span style="mso-spacerun: yes;"> </span>The
joke of this movie would be as Deleuze’s notion of political cinema; “If there
were a modern political cinema it would be on this basis; the people no longer
exist, or not yet.” Elaine May’s profile in society as a woman film maker could
be viewed in the feminist dogma as ‘victim.’ Laura Marks argues;“ The element
of communal experience that is implicit in Bergson’s theory of perception
necessarily informs the process of cinematic spectatorship as well. Perception
is never a purely individual act but also an engagement with the social and
cultural memory.”<span style="mso-spacerun: yes;"> </span>We see cultural
semiotics already in post production ie. the level of fiction, organization, of
film content . Rutsky regarding film analysis states; “The context in which a
film is made determines how it is made. It is therefore a mistake to neglect
examining a film’s context or to treat contextual analysis, as merely “extra
work” …(which leads to excess). I<u>shtar</u> was imitating the comedy of life
which is its tragic absurdity. It deals with show business, the military
Industrial Complex, cultural screwball and the demise of <u>The Great Amercian
Novel</u> which Norman<span style="mso-spacerun: yes;"> </span>Mailer said
couldn’t be wrote anymore, because of our fragmented society. Elaine May in a
comedic brushstroke reveals that mediocrity is the gel that holds us together
today. The film is prophetic of the Bush Iraq invasion. Rutsky, goes on to say;
“The production of a film is the situation when financed and produced. Films
financed and produced by major Hollywood studios are, for example, subject to a
range of influences and pressures that affect the film’s ultimate form. Financial
pressures and creative vision are in many ways, structurally at odds in this
process and the negotiation of these conflicts cannot help but define the
resulting film. Often this process has been seen in terms of a conflict between
the vision of the auteur and the restrictive structures of Hollywood.” No none
could have predicted the cult status that <u>Ishtar </u>receives today. Elaine
May a known esoteric and no stranger to sarcasm. In her film a New<u>Leaf</u>
she shows how people will react to money and power through Walter Mathau’s
character. (who will kill to get his money until love stops him.) The
impression of reality takes away the psychosis of false desire. This style
could be her signature as director/ auteur.</span><o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Cambria",serif; font-size: 12.0pt; line-height: 200%;"><span style="mso-spacerun: yes;"> </span>The goal of Elaine May’s characters in<u>
Ishtar </u>is to become ‘famous’ at least with Lyle and Chuck (Beatty and
Hoffman). Chuck is or ‘The Hawk’ is willing to give this dream up temporarily
after gazing at Shirra<span style="mso-spacerun: yes;"> </span>Assel’s breast
(People’s Party in middle East) in the airport in Morocco. The feministic humor
is in a soft Marxist way revealed in this scene. The Wikipedia defines the
Apparatus theory as; “The cinema is by nature ideological because its mechanics
of representation are ideological.” The breast is in fact an ideological and
cultural exchange if not mythological and psychoanalytic.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Cambria",serif; font-size: 12.0pt; line-height: 200%;">The dominant ideology of the
culture within the viewer is in this case the goddess of past and present as
revealed by the apparatus.<span style="mso-spacerun: yes;"> </span>Ideology is
not imposed on cinema however it is part of its nature.<span style="mso-spacerun: yes;"> </span>The best joke is that when Lyle touches her
breast after he mistakes Shirra Assel for a guy.<span style="mso-spacerun: yes;"> </span>The screwball nature of the film is the left
breast (Marxist) is gazed by Chuck and the right (Capitalist) breast is not
seen but is felt up. This is Elaine May coupling. It is all part of the goddess
and the modernistic connection to that which serves the primal functions. The
woman is the image and the look, but only in regards to the goals, of the
characters. The suspicions are released as Lyle is advised by Shirra Assel to go
to the market ask for Mohammed and buy a blind camel. Chuck (Hoffman) is
accepting money from the CIA (Grodin) who helped him get his passport back.
Perception is May’s way of joining the paralleling of plot and sub plot. We as
the spectators know that Lyle and Chuck are hiding in their new roles from each
other. It is the shift from New York to Morocco that flips this perspective and
why it created detractors. Unlike the Hope Crosby travel movies Elaine May has
cast an existential paradox in the montage. This as film theory is‘variety’
-(151 Anatomy of Film) Bernard Dick writes; “A great director need not have a
wide repertoire of themes; there is a difference between a varied body of work
and a varied number of themes. The same scenes can occur within that body of
work, repeated or modified to fit the particular type of film.” The style of
Elaine May is repetitive in that she enjoys revealing absurdity in narration
and action. She uses language as a sort of contradiction of purpose. In the
auctioneer scene Chuck (Hoffman sells guns to the runners as Lyle (Beatty)
relays the nonsensical yelling with positive responses. May shows us a parallel
to the breast scene how desire can transcend language . When you need water or
your life is in danger you will reach out in primal way to simply communicate
any way you can. The mise en scene is the reality of whatever culture one is
caught up in. It dominates the air with language. Wittgenstein wrote; “Language
is the mirror to Society.” Godard would see this as the reflection of reality
on itself. Orson Wells once said; “I believe a work is good to the degree that
it expresses the man who created it.” In May’s case the woman who created
it.<span style="mso-spacerun: yes;"> </span>The Hope Crosby road films are a
genre that Elaine May modeled Ishtar after. Ishtar fell into Becket’s <u>Waiting
For Godot</u> with cinematic humor at play in the desert scene with the blind
camel. (the beads didn’t shine like they were told)<span style="mso-spacerun: yes;"> </span>The desert’s existential overtones were never
intended in the early road movies. This analogy can be seen (text 693) in what
Thomas Schatz describes; “Although verbal language systems are essentially
neutral and meaningless, film genres are not. As a system English grammer is
not meaningful either historically or in socially specific terms. It is manipulated
by a speaker to make meaning.”</span><o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Cambria",serif; font-size: 12.0pt; line-height: 200%;">The inability to speak Arabic but
able to communicate is May’s way of injecting the entertainment communication
she is versed in, which is comedy of the absurd. Like Anton Chekov ‘The father
of realistic absurdism.” May creates a story too real to not evoke laughter.
(692 Text) –Schatz states; “Among other things, the commercial film is a
communication system- it structures and delivers meaning. Throughout its
history, evocative phrases like “the grammar of film” and “the cinematic
language system” have suggested that filmic communication is comparable to
verbal communication.”<u> Ishtar </u>is a movie about communication whether it
be chuck and Lyle singing bad songs in clubs or the CIA cutting deals with
Shah. The climax of course is the map that will inflame the Middle East brought
by the two messengers. It would seem that to succeed in the arts you need to go
to an oil rich Arabian site find something of huge historical value and black
mail two cultures in order to get a recording contract. Bordwell (text 775)
says; “The classic narrative cinema –paradigmatically, studio feature film
making in Hollywood since 1920-rests upon particular assumptions about the
narrative structures, cinematic style, and spectorial activity.” In regards to
art as a mode of cinema May would agree that a narrative is a way to create art
as life.and vice versa. Ishtar is definitely political social satire her
trademark since television in the 1950’s. Bordwell goes on to say; “Identifying
a mode of production/consumption does not exhaustively characterize the art
cinema, since the cinema also consists of formal traits and viewing
conventions.” <u>Ishtar</u> was labeled “Hollywood” from the get go so it was
placed with less than artistic high art. The spectator understands the
communication of the film which commercial. It is in retrospect especially
after the invasion of Iraq that the viewer is privy to the information and
chaotic intentions that Elaine May put into her script. The spectator is
educated by the realism of an historical fact and can now understand the
consequence of bad communication. </span><o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Cambria",serif; font-size: 12.0pt; line-height: 200%;"><span style="mso-spacerun: yes;"> </span>A filmmaker’s unconscious mind and the
psychological mechanisms effect the viewing process<span style="mso-spacerun: yes;"> </span>Baudry asserts. “The union of semiology which
is psychoananalytic is concerned with the symbolic science of cinema or
semiology of the cinema” according to Metz. In Ishtar Elaine May has
similarities to Marxist philosopher Louis Althusser who believed that
individuals as ‘subject’ think they are creative agents much like Beatty and
Hoffman’s characters (songwriters). They enjoy the very experience that
subjugates them. This is even more true when they are being chased by the CIA
and the Middle East for mistaken identity. For Baudry this self-mis-recognition
is what Lacan called the ‘mirror phase.’ We watch the music careers of Chuck
and Lyle as spectators with a sense of power because we identify with the
apparatus as voyeur. It is not really us that are so untalented. We watch the
film as optic judges which Baudry defines as ; “artificial halluncinatory
psychosis of the cinema apparatus.” The dream of being famous is what Freud saw
as a biographic psychoanalysis that is using the dream as metaphor. <u>Ishtar</u>
as a film about losers and in reality becoming a loser film becomes cult like
because reality is in conformity to our inner dreams. It serves as a mirror
through which the spectator can identify their self as a coherent and
omnipotent ego able to judge what is good and what talent is. People can sit in
the theater or watch Ishtar like gods with the camera activity hidden. Elaine
May as film maker uses her unconscious mind to reveal the psychological
mechanisms in the viewing process or what Baudry calls; “more than real or
perspective artificalis, the mystic writing pad, the cave or mimesis.’ Elaine
May helps us to understand our past as film stops being special and becomes
temporal or as Deleuze says; “It is through the camera that we have to live in
a universe that is metacinamatic.” This lets the spectator into all kinds of
virtual past and future images which are stored-actual-present images
constantly generated with both types mutually influencing one another. In
Elaine May’s script we can in this sense come to understand the past, present
and future through camera consciousness which has entered our perception.
Shapiro states; “experiencing events critically in the present is made possible
not by the exercise of a faculty of judgment, that is: to integrate with
cognitive function but by a cinematographic apparatus.” The confusion of
American culture and Arabic culture in I<u>shtar</u> is to understand
contemporary culture and its parts and futures and necessitates a development
of a camera consciousness. Otherwise we are lost in imperialistic voyeurism and
blatant dumb down humor to benefit those ignorant to the joke. It is easier for
May to use film and editing to jump between layers of time as well as the
actual and the virtual, immersion where the past, present and future coexist.
Ishtar starts with the mundane lives of two characters who want to be in show
business with the song; “telling the truth can be dangerous business, honest
and popular don’t go hand in hand, if you admit that you play the accordion, no
one will hire you in a rock and roll band, but we can sing our hearts out, and
if we are lucky the neighbors won’t complain.” (song Dangerous Business) The
scenes are broken up in flash backs and then a geographical jump to a totally
foreign culture but they maintain this dream that is like the film/Hollywood.
It is in various as well as linearly another world with a transcendental world
of difference, like Oz when Dorothy leaves Kansas in a dream. </span><o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Cambria",serif; font-size: 12.0pt; line-height: 200%;">There is the real and unreal
images where only the actual is in the physical present as we follow Chuck and
Lyle on their path to stardom and intrigue. This is the l’actuel et le virtuel.
As Baudry sees it; “ Every actual image is surrounded by a fog of virtual
images.” We can’t see the vision of Chuck and Lyle’s dream in Ishtar but we
know it there by their actions and the narrative at play. All our perceptions
are like particles that construct and deconstruct themselves from frame to
frame as our real object-mirror-object. The screen comes alive with sound that
is culturally contemporary and we join in to laugh or judge the movie I<u>shtar</u>.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Cambria",serif; font-size: 12.0pt; line-height: 200%;"><span style="mso-spacerun: yes;">
</span>The sound narrative in <u>Ishtar</u> is a musical sound track but it
also is a cultural exchange as we see Chuck and Lyle bumbling through the
streets of Morocco. Charles Grodin as a CIA agent enters Chuck’s room and says,
“Hi I’m an American, I heard you were here too.” He has Chuck give his
autograph for his son and tells him to keep the pen which is a bug. Privacy is
the issue and the idea that if you are American you will be watched if you go
outside the language of one’s reality. Doane sees this as,” the voice in
humans” or the fantasmatic in cinema where sound is married to image. Doane
feels it is technicians and presence that make sound marketable and closer
where the sound seems anchored in space. She sees this as ‘body oppression’
with characters and spectators (with topology) are the server spaces. Chuck is
the servant to the CIA in <u>Ishtar</u> in a representational illusion of place
or as Doane says; “A disconnected bulb for enunciation mise en scene
perpetuating the image of unity.” The CIA in Elaine May’s film is there to give
it a controlling tone of oppression but distance for the viewer. </span><o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Cambria",serif; font-size: 12.0pt; line-height: 200%;">There is a scene in I<u>shtar</u>
where Chuck is negotiating in the customs room to get another passport. He
realizes that he made a mistake and jumps up a punches the wall which turns out
to be very thin with a stranger looking in. It is slapstick in a sense but it
also reveals to the spectator that even in the movie the apparatus or what
seems hidden is a prop of sorts. Belton says; “You can’t conceal the artifice,
effacement is never totally successful, it reveals itself in a kind of
transformed state in the aesthetics and stylish practices that grow out of the
work.” Elaine May is a comedian foremost and understands absurdism and
existentialism which are in play all over <u>Ishtar.</u> The sound track in<u>
Ishtar</u> pervades an almost anthem of mediocrity making a nonsensical
connection to the reality of show biz and what we perceive as spectators.
Belton sees sound technology; “as transparent or not inevitable revealing its
own presence in the form of consciousness that intervenes between one spectator
and the original sound…transmit and transform, the cinema remains the
phenomenological par excellence, it weds or collapses consciousness with the
world.” <u>Ishtar</u> received no Oscar awards but it received three Razzie
Awards, ‘Worst Director-Elaine May, Worst Producer-Warren Beatty and Worst
Screen Play-Elaine May. In defense Warren Beatty said; “Ishtar is a very good,
not very big, comedy, made by a brilliant woman, and I think it’s funny.”
Dustin Hoffman commented; ”There’s an underlying message to that movie, you
know, that I think made it worth doing, and I would do it again in a
second.”<span style="mso-spacerun: yes;"> </span>Elaine May in an interview with
Mike Nichols said that she has met many people who say they hate Ishtar but
never actually saw it. In the New York Times June 1, 1987 (Late City Final
Edition) David Chasman, a long time studio executive commented; “The 94 day
shooting day shooting schedule was not out of line for a major movie, but it
was out of line for a supposedly small comedy.” He went on to say; “The villain
is not the unfortunate star but the irresolute, weak, and indecisive executive.
Artists aren’t supposed to be responsible. Executives are supposed to make
shrewd judgments.” It is possible that post production editing could have make
her mirror of reality more palatable, but the slow dance on the killing ground
clowing would not existed. The auteur status of Elaine May was left unsullied
and film theory has a new icon of contradictions to add to the pile.<span style="mso-spacerun: yes;"> </span></span><o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Cambria",serif; font-size: 12.0pt; line-height: 200%;"><span style="mso-spacerun: yes;"> </span>In regards to Hollywood genres <u>Ishtar</u>
was expected to fall into that mold and when it didn’t it was condemned. The
comedy that Elaine May is known for is improvisation or free association. When
humor is sophisticated as much of it is in <u>Ishtar</u> you need a select
audience. A Hollywood audience especially at the time saw no humor in failing
songwriters or U.S. dealings in the Middle East. May told Mike Nichols in a
recent interview that she modeled the movie around the Iran-Contra, Reagan
time.(she missed Trump/Syria/Kurds) The prophetic truth was soon to be revealed
with Star Search, George Bush w/ son, all compelled to act out the movie<span style="mso-spacerun: yes;"> </span>Ishtar with zest and gusto to a sea of
television viewers in the early 90’s and 2004. The Hollywood of 1987 is much
different to the one after 911 as well. Thomas Schatz (pg. 691 Text) states;
“There is a sense, then in which a film genre is both a static and a dynamic
system. On the one hand, it is a familiar formula of interrelated narrative and
cinematic components that serves to continually reexamine some basic cultural
conflict.” In regards to typecasting a genre as say ‘Hollywood’ Schatz<span style="mso-spacerun: yes;"> </span>goes on to say; “ For as one sees more genre
films, one tends to negotiate the genre less by its individual films than by
its deep structure.” The playfulness in Elaine May’s script was in contrast to
what a ‘road movie’ or a Hollywood comedy should be. The language had a
different tone in <u>Ishtar</u> and this for May was true to the nature of the
comedy. Schatz might agree when he says (Pg693 text), “A film genre,
conversely, has come into being because of its cultural significance as a
meaningful narrative system.” Elaine May who uses language to go out of genre
would lend her prowess to the verbal narrative. Regarding this Schatz says;
“Whereas a verbal statement represents a speaker’s organization of neutral
components into a meaningful pattern, a genre film represents an effort to
reorganize a familiar, meaningful system in an original way.” May’s originality
is never in question and her script in <u>Ishtar</u> is all about the female
role and the outside inside Godardian dance into the real. </span><o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Cambria",serif; font-size: 12.0pt; line-height: 200%;"><span style="mso-spacerun: yes;"> </span>Feminism was not the driving force with
Elaine May because she felt comfortable interacting with men and regarded their
burden as universal. We can see this in her empathy for the male characters who
follow their art just may did and the repercussions on their relationships.
Willa leaves Lyle and Carol leaves Chuck (Hawk). The idea here is dedication to
the craft as May sees it creates a different marriage which is show business.
When Chuck arrives too save Lyle from his bad versions of Simon and Garfunkle,
they highlight the night with a sing a long- There’s No Business Like Show
Business.” This is not to say<span style="mso-spacerun: yes;"> </span>May’s
unaware of the gazing at Shirra Assel by Chuck and Lyle. Shirra Assel is a
protagonist for her own country as a left wing agent to unseat the Shah. There
is a Jewish spin on the film’s idiom and linguistic stasis concerning cultural
repression, but Elaine May lets the action pull the film along till all three
get what they want. For Shirra Assel it is equal rights for her people. The
only way to secure human dreams however is to get control with a map of
antiquity that will inflame the Middle East if the wrong hands get it. This
political positioning<span style="mso-spacerun: yes;"> </span>according to Stam
and Spense (Pg 885 Text) is described as; “Satirical or parodic films, in the
same way, may be less concerned with constructing positive images than with
challenging the stereotypical expectations an audience may bring to a film.” In
response to the Arabic images in Ishtar (pg 887) Stam and Spense write;
“Western attitudes toward non-western peoples are also played on here. Hassiba
is first seen in traditional Arab costume, her face covered by a veil.” Shirra
Assel is veiled and both lyle and Chuck first mistake her for a boy.<span style="mso-spacerun: yes;"> </span>Stam and Spense continue (887); “So dressed
she is a reminder of Arab women in other films who function as a sign of the
exotic.” May gets this joke and uses it to say that women are empowered by
their own circumstances and not by western standards. Shirra Assel tells Lyle
who says he will see her again soon; “you are such an American, this is a very
old culture you are in.” This point of view is addressed by May in many scenes
of <u>Ishtar’s contemporary antiquity</u>. The line that chuck wisely proclaims
to Lyle in their earlier meetings: ‘That’s because most men choose to live
their lives in quiet desperation.” Lyle (Beatty) responds in a Texas drawl;
“Boy you can say that again.”The advantage of colonial privilege is apparent in
<u>Ishtar</u> and would be suspect by audiences today due to a younger audience
with coined diversity tattoos rampant. Elaine May’s humor doesn’t change the
fact but it creates a laugh like Chaplin, she has brought empathy into the dark
cave of spectatorship. Stam and Spense (Pg 888) write; “The question of the
point of view is crucial then, but it is more complex than at first appear. The
granting of point-of-view shots to the oppressed does not guarantee a
non-colonial perspective.” Elaine May greatest accomplishment in <u>Ishtar</u>
was to create a movie that takes reality and through a series of montages
deconstructs the deconstruction dogma of the new insecure rules in art. It is
better that it failed than succeeded commercially because its biggest trick was
to neutralize the idea of war and conflict as being nothing more than people’s
need for fame, power and<span style="mso-spacerun: yes;"> </span>marriage of
cultures.<span style="mso-spacerun: yes;"> </span>(Mast 75) Eisenstein in regards
to montage and conflict<span style="mso-spacerun: yes;"> </span>says that; “ a
montage is characterized by collision. By the conflict of two pieces in
opposition to each other.” Ishtar is full of this conflict, first personally
then culturally. Eisenstein says; “So montage is conflict.” May as auteur was
examining her own conflicts in Ishtar either, as a women spectator,entertainer
or social political comedian. Her cinematographer <i style="mso-bidi-font-style: normal;">language</i> is about the relevance. De Saussure’s project of general
semiotics states; “to study the ordering and functioning of the main signifying
units used in the filmic message.” (103 Mast)<span style="mso-spacerun: yes;">
</span>May used Ishtar as a didactic narrative for the first gulf war. She did
this by showing us the American dream and then the Middle East dream. May’s
connotation and denotation brought these signs together. The viewer can decide
if it’s funny or boring as many did though some didn’t.<span style="mso-spacerun: yes;"> </span>Metz writes; “The study of connotation brings
us closer to the notion of the cinema as an art (the seventh art). As I have
indicated elsewhere in more detail, the art of film is located on the same
semiological “plane” as literary art.” May’s script depended on the star power
of Beatty and Hoffman. Her cinematographic style was philosophical,
humanitarian and ideological in a comedic atmosphere of semiological material.
The editing in Ishtar was a big problem as Metz explains; (109<span style="mso-spacerun: yes;"> </span>Mast) “ Human intervention, which carries
some elements of a proper semiotics, affects only the level of connotation
(lighting, camera angle, photographic effects,” and so on.” Sequence needs the
apparatus to be in harmony with the creative process and <u>I<i style="mso-bidi-font-style: normal;">star</i> </u><span style="mso-spacerun: yes;"> </span>survived this as a cult DVD but a movie
disaster. Metz says; “ (119 Mast) “The filmic “shot” therefore resembles the
statement rather than the word. Nevertheless, it would be wrong to say that it
is equivalent to the statement.” “For there are still great differences between
the shot and the linguistic statement.” </span><o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Cambria",serif; font-size: 12.0pt; line-height: 200%;">The ideological content of <u>Ishtar
</u>was similar to the question (22 Mast) Bazin asks; “What is Cinema?”</span><o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Cambria",serif; font-size: 12.0pt; line-height: 200%;">He states; “The cinema owes
virtually nothing to the scientific spirit.” May would agree, sometimes when
its ‘art for art sake’ the apparatus and the rest are along for the ride and
the artist takes the abuse at the end. May provided the viewer with a high profile
of satire and exposure of dominant ideologies in a very funny way but didn’t
have an audience of artists to catch all the symbols on display. (25Mast) Bazin
describes it very well : “There are numberless writings, all of them more or
less wildly enthusiastic, in which inventors conjure up nothing less than a
total cinema that is to provide that complete illusion of life which is still a
long way away.” May brought America too close to a reality that we cared little
about in Morocco and an American karaoke culture that judges and is hateful of
its own reflection. Rochelle O’Gorman (Amazon. Com Editorial Reviews) wrote; “<u>Ishtar</u>
torpedoed May’s career as a director plus May’s unwillingness to make nice with
Hollywood.” Gorman went on to say; “If this comedy had been made by unknowns,
it would have simply faded into the obscurity it deserves, the fuss came about
because May squandered much talent and a ridiculously large budget.” Let us go
to circa 2008 and see the reality of this CIA/ military Industrial Complex/ The
New Show Business (Star Search etc.)/Middle East Oil OPEC world and then judge
Ishtar on this criteria. It would seem that May it would seem is a prophet or
an artistic visionary who depicted in <u>Ishtar</u> the false mirror of what we
call ‘art’ or the ‘profound’ or as Kracauser (Text pg. 153-1960) writes; “If a
film is an art at all, it certainly should not be concerned with the
established arts.” We now see <u>Ishtar </u>as a ‘cult film’ regarded as ‘film
art’ as opposed to traditional art or outside the mock documentary genre.
Gorman states; “Ishtar is a parody of Orientalism, American identity, politics
and popular culture.” In regards to the Hope/Crosby and Nichols/May duos Gorman
writes; “If Abbott and Costello had made this flick it might have worked.” I
would disagree because may was on the other side of comedy with a wit that is
only found in the brilliant Jewish history of comedy. The fact that May was
Jewish made the Middle East closer to the sensibilities of her own world of
spectator-ship. What May did with Ishtar was sublimate her own show biz
experiences with the politics and psychology towards a world with higher IQ’s.
She carries us to a better awareness for the general audience. The failure of
Ishtar is the success of writing a nonsensical script. How do you write the
Great American Novel in the metaphorical sense? The answer for the spectator is
simply to show that what ties us together at this point is ‘mediocrity’ in the
arts, in politics, in religion, in contemporary society today. May’s script may
very well be the last ‘Great American Novel.’ The art of film is now invisible
to the masses but mediocrity holds the show together. We see this when Lyle and
Chuck get their recording contract by cutting a deal with the CIA and the
Middle East. Parker Tyler( Film Theory #2 pg 45) writes; “If we scrutinize the
practice of film criticism, even in superior places, we find the better fiction
films frequently reviewed as if they were novels cast in sequences of pictorial
and aural illustrations…Naturally, critics don’t always consciously commit
themselves to an inevitable parallelism of film with literature and the stage.”
(Pg 45 text #2)Tyler goes on to say; “A whole book has been written by a
well-meaning and cultivated scholar about the methods by which film converts a
novel into its own technical idiom.”<span style="mso-spacerun: yes;">
</span>(George Bluestone’s book –Novels into Film, University of California
Press, 1961).</span><o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-family: "Cambria",serif; font-size: 12.0pt; line-height: 200%;">In conclusion Elaine May is a
transcended feminist auteur of high merit who through language and high comedy
wrote a social political psychoanalytic<span style="mso-spacerun: yes;">
</span>script that bombed at the box office but accomplished a place in the
arts as literature.<span style="mso-spacerun: yes;"> </span><u>Ishtar</u> has
become a cliché for failure just as the last administration and their policies
and philosophies have become. May was concerned about Bush senior and his
Iran-Contra excesses and with this movie she has left an historical film for
the gene pool to gag on. I don’t think she was concerned about film theory when
she created this celluloid novel but it falls into a place of intellectual
discussion anyway. The rejection of <u>Ishtar</u> was the rejection of the
mirror that parallels the world of today. Johnathan Rosenbaum (Internet
Johnathon Rosebaum.com) writes; “I am willing to concede that Elaine May’s
fourth feature (Ishtar) is less strong than the three that preceded it. But
because I regard May as a major American writer-director and Ishtar as a movie
that in no way betrays her uncommon talents, I would have included this title
on my list even if it hadn’t sparked off a lynch-mob frenzy in the media.”
May’s integrity is obviously looked on well in the know. In film we do have the
message which begins with the press releases. We as spectator are involved in
the psychological and social semiotics of the introduction of a film. Rosenbaum
continues; “Most of the bile was occasioned by the film’s large budget and its
producer and costar Warren Beatty’s handling of the press, both of which are so
irrelevant to the film’s<span style="mso-spacerun: yes;"> </span>merits that
seem beneath discussion.” The expectations and the audience are influenced by
the lords of the apparatus god or the corporation. Rosenbaum writes; “If money
is a ‘real’ issue, why is much lesser talent like woody Allen given a free ride
and everyone’s blessings for shooting his ludicrous September script twice,
with larger separate casts?<span style="mso-spacerun: yes;"> </span>The female
victim wouldn’t appeal to May but she as feminist theory shows is not playing
the traditional game as expected by a woman in the film industry. May’s
wonderful sense of absurdity is apparent when Rosenbaum describes her at the
screening; “A prominent LA publicist told me that she (May) got into trouble
with some of her friends simply by laughing at the movie at a press screening.”
He goes on; “As I’ve had occasion to argue elsewhere, May strikes me as the
closest thing we have to Eric von Stroheim-not merely as an outlaw
perfectionist and obsessive truth-teller (telling the truth can be dangerous
business,” runs the theme song of Ishtar; “honest and popular don’t go hand in
hand’) with the darkest view of the American Dream around, but in the very
progression of her work.” (all quotes page 4) Rosenbaum summarizes May’s film
as; “a subversion of Hollywood fantasy from within, set in a mythical country.”
May is beyond American political correctness and sustainable consumptive up, up
with people smoke screens. She is the true radical and has created a cult
classic in a genre all to itself. Rosenbaum sums this up; “Perhaps the most
subversive thing about Ishtar is not so much failure or mediocrity of her
bumpkin heroes (Beatty and Dustin Hoffman, cast against type in Strheim-like
fashion), or the havoc created by their Reagonite ignorance in the third world,
with politics and show biz turned into mindless equivalents, as the fact that
she loves them just the same as with Bertolucci, her simultaneous contempt and
affection for the monstrous demands to be read, like her ferocious wit, as
intricate auto-critique.” May is the comedian of true empathy Promethean and
Chaplin in nature, and, <u>Ishtar</u> is her wonderful Trojan Horse delivered
to the dark cubicle of spectatorship. The great surprise is that she wants a
laugh rather than a war.</span><o:p></o:p></div>
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<div class="MsoListParagraphCxSpFirst" style="line-height: 200%; margin-left: 20.25pt; mso-add-space: auto; mso-list: l0 level1 lfo1; text-indent: -.25in;">
<!--[if !supportLists]--><span style="font-family: "Cambria",serif; font-size: 12.0pt; line-height: 200%; mso-bidi-font-family: Cambria; mso-fareast-font-family: Cambria;"><span style="mso-list: Ignore;">1.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]--><span style="font-family: "Cambria",serif; font-size: 12.0pt; line-height: 200%;">Film Theory and Criticism, Mast and Cohen, New
York , Oxford University Press, London 1974, Toronto<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-left: 20.25pt; mso-add-space: auto; mso-list: l0 level1 lfo1; text-indent: -.25in;">
<!--[if !supportLists]--><span style="font-family: "Cambria",serif; font-size: 12.0pt; line-height: 200%; mso-bidi-font-family: Cambria; mso-fareast-font-family: Cambria;"><span style="mso-list: Ignore;">2.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]--><span style="font-family: "Cambria",serif; font-size: 12.0pt; line-height: 200%;">Film Theory and Criticism, Marshal Cohen, Leo
Baudy, New York, Oxford University Press, 2004<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-left: 20.25pt; mso-add-space: auto; mso-list: l0 level1 lfo1; text-indent: -.25in;">
<!--[if !supportLists]--><span style="font-family: "Cambria",serif; font-size: 12.0pt; line-height: 200%; mso-bidi-font-family: Cambria; mso-fareast-font-family: Cambria;"><span style="mso-list: Ignore;">3.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]--><span style="font-family: "Cambria",serif; font-size: 12.0pt; line-height: 200%;">Turning Point in Film History-Andrew J. Rausch,
Citadel Press, Kensington Publishing, New York, 2004<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-left: 20.25pt; mso-add-space: auto; mso-list: l0 level1 lfo1; text-indent: -.25in;">
<!--[if !supportLists]--><span style="font-family: "Cambria",serif; font-size: 12.0pt; line-height: 200%; mso-bidi-font-family: Cambria; mso-fareast-font-family: Cambria;"><span style="mso-list: Ignore;">4.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]--><span style="font-family: "Cambria",serif; font-size: 12.0pt; line-height: 200%;">The American Film Institute Desk Reference,
Dorling Kindersley Publishing Inc. 375 Hudson Street, New York 2002<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpLast" style="line-height: 200%; margin-left: 20.25pt; mso-add-space: auto; mso-list: l0 level1 lfo1; text-indent: -.25in;">
<!--[if !supportLists]--><span style="font-family: "Cambria",serif; font-size: 12.0pt; line-height: 200%; mso-bidi-font-family: Cambria; mso-fareast-font-family: Cambria;"><span style="mso-list: Ignore;">5.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]--><span style="font-family: "Cambria",serif; font-size: 12.0pt; line-height: 200%;">Movie Making Course, Chris Patmore, Quatro
Educational Series, 2005<o:p></o:p></span></div>
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<br />koon woonhttp://www.blogger.com/profile/10570460211753996634noreply@blogger.com0tag:blogger.com,1999:blog-6027582433482221286.post-83614462383569962102019-02-17T18:12:00.002-08:002019-02-17T18:12:32.016-08:00Long war of attrition with China<br /><a href="http://www.tomdispatch.com/post/176528/tomgram%3A_michael_klare%2C_a_long_war_of_attrition/#more">http://www.tomdispatch.com/post/176528/tomgram%3A_michael_klare%2C_a_long_war_of_attrition/#more</a>koon woonhttp://www.blogger.com/profile/10570460211753996634noreply@blogger.com0tag:blogger.com,1999:blog-6027582433482221286.post-25515930343638656372019-01-15T04:45:00.001-08:002019-01-15T04:45:21.214-08:00Naw' leans Revisited<div class="gs" style="background-color: white; color: #222222; font-family: Roboto, RobotoDraft, Helvetica, Arial, sans-serif; margin: 0px; padding: 0px 0px 20px; width: 1110.03px;">
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<span style="font-family: "Times New Roman", serif; font-size: 12pt; line-height: 18.4px;">Naw’leans Revisited</span></div>
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<span style="font-family: "Times New Roman", serif; font-size: 12pt;">It was a return trip, a bucket list type of thing. My memories had faded of this city, home of a favorite author, full of amazing architecture and wonderful food. A steamboat sung and paddled on the Mississippi, memories of the riverbank quickly replaced by many closed factories with bent piers devoid of ships. The open French market bustled with life, baskets and open-jawed baby alligator heads with glass eyes, petrified bird claws at voo-doo stands, the aroma of Beignets from <i>Café DuMonde</i> wafting through the air, cups of steaming café au lait in every hand, even my own.</span></div>
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<span style="font-family: "Times New Roman", serif; font-size: 12pt;">In a sidewalk doorway, his face importune, I noticed dirt-smudged cheeks, a gaunt frame like rickety scaffolding. A small black dog and he huddled together, a worn blanket around them both, friends under a gray sky, as a chill day threatened rain. <i>Anything will help</i>, on a sign handwritten at his feet. I handed him my still-wrapped Muffuletta sandwich.</span></div>
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<span style="font-family: "Times New Roman", serif; font-size: 12pt;">Walking on past loud clubs, <i>Crazy Corner</i> and <i>House of Blues</i>, past street musicians, raucous with rhythm and laughter, my thoughts were askew, in contrast to the homeless man and dog. What had I expected in this, the city of endless drinking and music? Not the abject poverty, not boarded up houses, long abandoned, several years after Katrina. As I moved slowly along streets full of still-ruined buildings and cars up on blocks, I saw children playing innocently alongside parents, faces deeply lined with despair.</span></div>
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<span style="font-family: "Times New Roman", serif; font-size: 12pt;">One building, a massive wall crumbling to pale powder – chalky white, flakes of pink lay in slivers on the dark pavement. I look up at this old hulk, bricks a sun-faded russet, with loose fine dust barely holding between the courses, a mortarous barrage waiting to rain down;</span><span style="font-family: "Times New Roman", serif; font-size: 12pt;">once standing steadfast against winter storms, now broken free under the hot sun, baking dry any last remnants of moisture. The wall appears to slough off in a shower of forgotten fragments, an exfoliation of time, exposing an under-layer anxious to be seen.</span></div>
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<span style="font-family: "Times New Roman", serif; font-size: 12pt;"> </span><span style="font-family: "Times New Roman", serif; font-size: 12pt;">Finally, I saw a young man with a crudely drawn sign on cardboard, “Poetry on Demand”. He was poised on a stool; in front of him was a fruit crate on which balanced an old manual </span><i style="font-family: "Times New Roman", serif; font-size: 12pt;">Smith-Corona</i><span style="font-family: "Times New Roman", serif; font-size: 12pt;"> typewriter. Being a poet myself, I was intrigued and allowed him to create in five minutes, a poem describing my visit to this famed city. On a scrap of paper, brilliant words shouted words of my life, a lone poet wandering streets filled with happy travelers, feeling somehow out of place, feeling more drawn to a homeless man and his dog and a student selling poems. I handed him some money, knowing I would return home with a souvenir much more me than a sequined tee shirt.</span></div>
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<span style="font-family: "Times New Roman", serif; font-size: 12pt;">Julie A. Dickson</span></div>
<div class="m_-5644285171495838689ydp6207ab3bMsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<span style="font-family: "Times New Roman", serif; font-size: 12pt;">Exeter, NH</span></div>
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koon woonhttp://www.blogger.com/profile/10570460211753996634noreply@blogger.com1tag:blogger.com,1999:blog-6027582433482221286.post-3779122343952083592017-10-20T11:01:00.003-07:002017-10-20T11:05:14.703-07:00Vignette and poem by Julie A. Dickson<div class="MsoNormal">
Mayonnaise Memories</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I was sixteen wearing a Howard Johnson’s turquoise and white
checked uniform. Reaching over into the freezers, making sundaes and serving
fries resulted in my arms being painted in sticky splotches with ice cream and
catsup. At work, we wiped down tables with rags and our hands smelled of old
milk and bleach. As I drove myself home, yawning at 10 pm, I would find a spot
I missed; like glue the chocolate and strawberry stuck on my elbow. My shoes felt
tacky on floor of my car. My whole life felt sticky during those years
waitressing.</div>
<div class="MsoNormal">
Later, I traded in ice cream for gasoline. I stood outdoors
in summer heat and bitter cold, gas pump in hand beside countless cars and
trucks, gas burping like backwash onto my hands. Henry Cain drove a dark blue
Porsche. The gas fill was on the top and I had to hold the nozzle carefully
while he stood watching his precious car. I guessed it was paid for by <i>Cain’s</i> Mayonnaise since the factory was
nearby. I wiped gas droplets from my hands and accepted the 35 cents per gallon
that he handed to me with a smile. My hands smelled perpetually of gasoline, no
matter how often I washed them, or covered them with gloves. At night, I used
to stand under a hot shower to escape from the gas fumes that seemed to stay in
my nose for hours.</div>
<div class="MsoNormal">
In a home stocked with <i>Miracle
Whip</i>, the word mayonnaise was a like profanity to my mother. Her jar of <i>Miracle Whip</i> stood proudly inside the
refrigerator door and found itself in egg salad, tuna salad and on sandwiches.
I didn’t taste mayonnaise until I had met Henry Cain and bought my own jar,
placing it next to my mother’s <i>Miracle
Whip</i> inside her refrigerator. Anyone listening would have thought I had
committed a grievous offense; her remarks and chides echoed through the house.
My father intervened and settled the mayonnaise issue – he saw no harm in it,
but he did expect me to pay for it myself if I needed such a luxury.<a href="https://draft.blogger.com/null" name="_GoBack"></a></div>
<div class="MsoNormal">
I finally moved onto to another restaurant position before
leaving home and there I served seafood with homemade tartar sauce made with <i>Cain’s</i> Mayonnaise and pickle relish. So
many jars of mayonnaise and I never once bought <i>Miracle Whip</i> after I left home. The lingering odor that followed me
home was fryolator grease but at least I had the taste of mayonnaise to savor
and remember.</div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
Julie
A. Dickson</div>
<br />
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Exeter,
NH</div>
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<br /></div>
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<br /></div>
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The House I once Lived In</div>
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<br /></div>
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The green house with white shutters still stands, </div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
even though the apple tree is long gone from </div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
the front yard, replaced by a disappointing</div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
circle of dirt filled with geraniums – not what</div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
my father had in mind when he planted the apple tree.</div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
His first crop yielded a single yellow apple, which</div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
my mother cut into quarters for us to share,</div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
its crisp sweetness left us wishing for more.</div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
The house looks smaller now, a ranch home</div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
nestled in a neighborhood with one hundred</div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
similar houses, lined up in identical blocks.</div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
I look up at my former bedroom window,</div>
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underlined by a white flower box- empty now.</div>
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My mother would have mourned the absence</div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
of the flowers, we always planted there.</div>
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I recall my brother and I hanging out our windows,</div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
side by side, talking well after bedtime.</div>
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He kept a treasure box hidden in the flower box</div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
and one spring we discovered it, rusted </div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
and forgotten after being buried in snow.</div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
Just now, the front door opens and from </div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
my parked car, I see a woman peering out</div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
at me, suspiciously. I wave, as if my friendly smile</div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
will assuage her uncertainty. She waves back</div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
as I leave my car and call out, “I used to live here”</div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
trailing off, hoping she will excuse my intrusion.</div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
Instead she beckons me closer and invites me inside.</div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
Really? I am shocked that, as a stranger she allows</div>
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me entrance and I slowly step into the house </div>
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I once lived in.</div>
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The furniture is new and not at all like when </div>
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I was a child, the old brown davenport missing.</div>
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Gone was the dining room table where my mother</div>
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set out Sunday meals and birthday cakes.</div>
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Silently, the woman escorts me down the hall,</div>
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where, instead of the ballerina wallpaper I remember,</div>
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a brightly painted bedroom greets me. I smile.</div>
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<br /></div>
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Walking to the window, I see my car, the yard</div>
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empty of my father’s apple tree and finally, </div>
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I slowly lean forward to make sure that </div>
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my brother’s treasure box is really gone.</div>
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Julie
A. Dickson<a href="https://draft.blogger.com/null" name="_GoBack"></a></div>
koon woonhttp://www.blogger.com/profile/10570460211753996634noreply@blogger.com0tag:blogger.com,1999:blog-6027582433482221286.post-29341261181945171432017-08-18T07:53:00.000-07:002017-08-18T07:56:05.165-07:00Julie A. Dickson ----- two nonfiction pieces<br />
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<span id="m_6242903571087111442yui_3_16_0_ym19_1_1503046882304_4567" style="font-family: "times new roman"; font-size: small;"><br /></span></div>
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<span id="m_6242903571087111442yui_3_16_0_ym19_1_1503046882304_4569" style="font-family: "arial" , sans-serif; font-size: 12pt; line-height: 24px;">Torturous Vessel<span id="m_6242903571087111442yui_3_16_0_ym19_1_1503046882304_4570"> </span><span id="m_6242903571087111442yui_3_16_0_ym19_1_1503046882304_4571"> <wbr></wbr> </span></span></div>
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<span id="m_6242903571087111442yui_3_16_0_ym19_1_1503046882304_4577" style="font-family: "times new roman"; font-size: small;"><br /></span></div>
<div id="m_6242903571087111442yui_3_16_0_ym19_1_1503046882304_4578" style="font-family: "lucida console", sans-serif; font-size: 13px; line-height: 19.5px; margin: 0in 0in 0pt;">
<span id="m_6242903571087111442yui_3_16_0_ym19_1_1503046882304_4579" style="font-family: "arial" , sans-serif; font-size: 12pt; line-height: 24px;">A bouquet sat centered on the kitchen table, my eyes studying the lead crystal vase that had belonged to my mother. The etched wide square vase was so heavy, I dared not carry it with one hand. My mother’s voice [long gone] echoed in my head <i id="m_6242903571087111442yui_3_16_0_ym19_1_1503046882304_4580">– two hands</i>!</span></div>
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<span id="m_6242903571087111442yui_3_16_0_ym19_1_1503046882304_4582" style="font-family: "times new roman"; font-size: small;"><br /></span></div>
<div id="m_6242903571087111442yui_3_16_0_ym19_1_1503046882304_4583" style="font-family: "lucida console", sans-serif; font-size: 13px; line-height: 19.5px; margin: 0in 0in 0pt;">
<span id="m_6242903571087111442yui_3_16_0_ym19_1_1503046882304_4584" style="font-family: "arial" , sans-serif; font-size: 12pt; line-height: 24px;">The vase had been a familiar sight, often filled and refilled with garden- cut flowers, roses from my father, even weeds lovingly picked by me and presented to my mother. Pussy willows, golden rod and wild daisies were equally displayed in her favorite vase, no preferential treatment for roses over weeds. We all knew she loved flowers, especially yellow and purple which are also my favorites. Ground violets, too small for the vase often floated in a low dish. She always loved fresh flowers of any variety.</span></div>
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<span id="m_6242903571087111442yui_3_16_0_ym19_1_1503046882304_4590" style="font-family: "times new roman"; font-size: small;"><br /></span></div>
<div id="m_6242903571087111442yui_3_16_0_ym19_1_1503046882304_4591" style="font-family: "lucida console", sans-serif; font-size: 13px; line-height: 19.5px; margin: 0in 0in 0pt;">
<span id="m_6242903571087111442yui_3_16_0_ym19_1_1503046882304_4592" style="font-family: "arial" , sans-serif; font-size: 12pt; line-height: 24px;">Ironically, the only flowers I received as an adult were presented as a silent apology. Yes, he went too far at times. An acid remark caustically emitted, a hastily hurled comment in my direction as I cringed, closed my eyes or looked down. The words entered my ears, cutting through tissue and bone as though on a direct course to my heart, already scarred and scabbed over from frequent attacks.</span></div>
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<span id="m_6242903571087111442yui_3_16_0_ym19_1_1503046882304_4598" style="font-family: "times new roman"; font-size: small;"><br /></span></div>
<div id="m_6242903571087111442yui_3_16_0_ym19_1_1503046882304_4599" style="font-family: "lucida console", sans-serif; font-size: 13px; line-height: 19.5px; margin: 0in 0in 0pt;">
<span id="m_6242903571087111442yui_3_16_0_ym19_1_1503046882304_4600" style="font-family: "arial" , sans-serif; font-size: 12pt; line-height: 24px;">Somewhere in the past, perhaps when I was a teen, I felt so utterly diminished and rejected that a trap door slammed shut. My heart was broken, carelessly cast aside and lay covered, protected as beneath a plywood floor, constructed from necessity. <i id="m_6242903571087111442yui_3_16_0_ym19_1_1503046882304_4601">You cannot hurt me</i>, my heart seemed to murmur so that only I heard, like a whispered voice in the wind-rustled grasses beneath my feet. <i id="m_6242903571087111442yui_3_16_0_ym19_1_1503046882304_4602">It’s too late,</i> the voice spoke – how can harsh words enter now, after that time when I was younger and after previous years of hearing the condescending tones of my father? The current spoken words of my husband were familiar; they spoke of my lack of value, my uselessness.</span></div>
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<span id="m_6242903571087111442yui_3_16_0_ym19_1_1503046882304_4608" style="font-family: "times new roman"; font-size: small;"><br /></span></div>
<div id="m_6242903571087111442yui_3_16_0_ym19_1_1503046882304_4609" style="font-family: "lucida console", sans-serif; font-size: 13px; line-height: 19.5px; margin: 0in 0in 0pt;">
<span id="m_6242903571087111442yui_3_16_0_ym19_1_1503046882304_4610" style="font-family: "arial" , sans-serif; font-size: 12pt; line-height: 24px;">Instead of a beautiful lead crystal vase that my mother cherished, all I saw before me was a torturous vessel filled with silence. Six red carnations did not speak, but I heard the feeble excuses and promises they represented. They arrived wrapped in green tissue with a packet of nourishment, as if by dropping granules of white powder into water, all could be made right.</span></div>
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<span id="m_6242903571087111442yui_3_16_0_ym19_1_1503046882304_4616" style="font-family: "times new roman"; font-size: small;"><br /></span></div>
<div id="m_6242903571087111442yui_3_16_0_ym19_1_1503046882304_4617" style="font-family: "lucida console", sans-serif; font-size: 13px; line-height: 19.5px; margin: 0in 0in 0pt;">
<span id="m_6242903571087111442yui_3_16_0_ym19_1_1503046882304_4618" style="font-family: "arial" , sans-serif; font-size: 12pt; line-height: 24px;">Wordlessly, a bunch of flat green ferns with red carnations were left on the table as he passed through the kitchen. I watched him recede into the living room. Unwrapping the flowers felt akin to removing a bandage from a not-yet-healed wound, the red carnations like blood-droplets. I smiled ironically that for over twenty years, he did not remember my favorite flowers – daffodils, yellow tulips and roses. [<i id="m_6242903571087111442yui_3_16_0_ym19_1_1503046882304_4619">Carnations were his mother’s favorite flower</i>] Instead, stood before me, blood-red flowers that seemed to call out in horror from the battlefield of my life. The wounded and bleeding hopes were set before me as a reminder.</span></div>
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<span id="m_6242903571087111442yui_3_16_0_ym19_1_1503046882304_4625" style="font-family: "times new roman"; font-size: small;"><br /></span></div>
<div id="m_6242903571087111442yui_3_16_0_ym19_1_1503046882304_4626" style="font-family: "lucida console", sans-serif; font-size: 13px; line-height: 19.5px; margin: 0in 0in 0pt;">
<span id="m_6242903571087111442yui_3_16_0_ym19_1_1503046882304_4627" style="font-family: "arial" , sans-serif; font-size: 12pt; line-height: 24px;">Impulsively, I tore the carnations from the vase, dripping water across the kitchen floor. I threw them unceremoniously into the sink, stuffing them into the drain and turning on the disposal unit, grinding them into red mush. I stood leaning against the kitchen counter, feeling relief. With the blood washed away, the torturous vessel was restored to the lead crystal vase that my mother loved.</span></div>
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<span id="m_6242903571087111442yui_3_16_0_ym19_1_1503046882304_4633" style="font-family: "times new roman"; font-size: small;"><br /></span></div>
<div id="m_6242903571087111442yui_3_16_0_ym19_1_1503046882304_4634" style="font-family: "lucida console", sans-serif; font-size: 13px; line-height: 19.5px; margin: 0in 0in 0pt;">
<span id="m_6242903571087111442yui_3_16_0_ym19_1_1503046882304_4635" style="font-family: "arial" , sans-serif; font-size: 12pt; line-height: 24px;">From the living room called a disembodied voice, “What’s for supper?”</span></div>
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<span id="m_6242903571087111442yui_3_16_0_ym19_1_1503046882304_4641" style="font-family: "times new roman"; font-size: small;"><br /></span></div>
<div id="m_6242903571087111442yui_3_16_0_ym19_1_1503046882304_4642" style="font-family: "lucida console", sans-serif; font-size: 13px; line-height: 19.5px; margin: 0in 0in 0pt;">
<span id="m_6242903571087111442yui_3_16_0_ym19_1_1503046882304_4643" style="font-family: "arial" , sans-serif; font-size: 12pt; line-height: 24px;">Julie A. Dickson</span></div>
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<span id="m_6242903571087111442yui_3_16_0_ym19_1_1503046882304_4647" style="font-family: "arial" , sans-serif; font-size: 12pt; line-height: 24px;">Exeter, NH</span></div>
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<span id="m_6242903571087111442yui_3_16_0_ym19_1_1503046882304_4649" style="font-family: "times new roman"; font-size: small;">------------------------------<wbr></wbr>-------</span></div>
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<span id="m_6242903571087111442yui_3_16_0_ym19_1_1503046882304_4729" style="font-family: "calibri"; font-size: large;">Squirrel Arrestor<span id="m_6242903571087111442yui_3_16_0_ym19_1_1503046882304_4730"> <wbr></wbr> </span></span></div>
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<span id="m_6242903571087111442yui_3_16_0_ym19_1_1503046882304_4736" style="font-family: "calibri"; font-size: large;">In no way did my father think of himself of an inventor. The 50-pound sack of sunflower seeds in a covered metal trash can to protect them from pesky rodent invasions in our garage.</span></div>
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<span id="m_6242903571087111442yui_3_16_0_ym19_1_1503046882304_4739" style="font-family: "calibri"; font-size: large;">Moving from Western New York State suburbia- a heavily wooded area of New England was appealing to my parents. The bird feeder became of my father’s hobbies. Standing his post at the kitchen window, armed with <i id="m_6242903571087111442yui_3_16_0_ym19_1_1503046882304_4740">Peterson Field Guide to Birds of Eastern and Central North America,</i> he identified nuthatches, woodpeckers and blue jays. Notes were kept, bookmarks saved pages of every newly discovered bird. An LP record of Audubon bird calls sat in the living room console stereo; family sat around the room identifying the songs of cardinals and sparrows with as much enthusiasm as we could muster.</span></div>
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<span id="m_6242903571087111442yui_3_16_0_ym19_1_1503046882304_4743" style="font-family: "calibri"; font-size: large;">The resident challenger of Ornithology was the common grey squirrel, long of tail and acrobatic in nature. Squirrels could jump through the air from the roof, grasping the feeder while waiting for the violent swaying to subside; and then contorted into impossible positions; they hung upside down to dump the contents to the ground. Flinging themselves below, the seed-fest would begin. All song birds within a mile radius were scared off, much to my father’s dismay.</span></div>
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<span id="m_6242903571087111442yui_3_16_0_ym19_1_1503046882304_4746" style="font-family: "calibri"; font-size: large;">Knocking on the kitchen window had no effect. Cracking seeds and stuffing them into already fat cheeks, Mr. Squirrel ignored my father. Running out the back door sent the squirrel lunging for the nearest tree until the intruding human disappeared into the house, when he would return to the seed pile persistently. A hanging feeder from tree branches, attached to a window ledge, or set atop a pole – the squirrels found them all.</span></div>
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<span id="m_6242903571087111442yui_3_16_0_ym19_1_1503046882304_4749" style="font-family: "calibri"; font-size: large;">Captured in a <i id="m_6242903571087111442yui_3_16_0_ym19_1_1503046882304_4750">Havahart</i> trap, transported 3 miles away, where my father sprayed a-bit of white paint on each squirrel’s tail-tip resulted only in the knowledge that squirrels traveled farther than 3 miles. My father stared incredulously out the kitchen window at the white-tipped scoundrel eating his bird seed!</span></div>
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<span id="m_6242903571087111442yui_3_16_0_ym19_1_1503046882304_4753" style="font-family: "calibri"; font-size: large;">The solution to his problem came in the form of a metal trash can lid. A round hole drilled in the center, the lid was affixed to the pole 12 inches below the bird feeder, pole set away from roof and branches. This design worked reasonably well, diverting even the cleverest squirrel from reaching the feed, except for morsels scattered by the messy blue jays. My father was the true- inventor of the squirrel arrestor; he just didn’t apply for a patent. Many years later he purchased a conical squirrel arrestor fashioned from sheet metal and the old trash lid was returned to its can, with duct tape covering the hole.</span></div>
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<span id="m_6242903571087111442yui_3_16_0_ym19_1_1503046882304_4759" style="font-family: "calibri"; font-size: large;">Julie A. Dickson</span></div>
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<span id="m_6242903571087111442yui_3_16_0_ym19_1_1503046882304_4762" style="font-family: "calibri"; font-size: large;">Exeter, NH</span></div>
koon woonhttp://www.blogger.com/profile/10570460211753996634noreply@blogger.com0tag:blogger.com,1999:blog-6027582433482221286.post-46552156823660164692017-04-02T02:56:00.002-07:002017-04-02T02:59:38.840-07:00The Hand ----- by Julie A. Dickson<span style="font-family: Verdana, sans-serif; font-size: large;"><br /></span>
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<span id="m_-5071710041289687850yui_3_16_0_ym19_1_1490997606448_25677" style="font-family: Verdana, sans-serif; font-size: large; line-height: 14.2667px;">The Hand<span id="m_-5071710041289687850yui_3_16_0_ym19_1_1490997606448_25678"> <wbr></wbr> <wbr></wbr> </span>Julie A. Dickson</span></div>
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<span id="m_-5071710041289687850yui_3_16_0_ym19_1_1490997606448_25684" style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
<div id="m_-5071710041289687850yui_3_16_0_ym19_1_1490997606448_25685" style="margin: 0in 0in 8pt;">
<span id="m_-5071710041289687850yui_3_16_0_ym19_1_1490997606448_25686" style="font-family: Verdana, sans-serif; font-size: large; line-height: 14.2667px;">The entire doorway from the garage to our den seemed to fill with his presence. From where I sat across the room, no light was visible around the large form that was my father. Without a word, he swept the hat from his head in a familiar arc, to place it on its hook, his expression unreadable. My mother called her greeting from the kitchen; my younger brother bounced up from his chair.<span id="m_-5071710041289687850yui_3_16_0_ym19_1_1490997606448_25687"> </span>I was silent.</span></div>
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<span id="m_-5071710041289687850yui_3_16_0_ym19_1_1490997606448_25689" style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
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<span id="m_-5071710041289687850yui_3_16_0_ym19_1_1490997606448_25691" style="font-family: Verdana, sans-serif; font-size: large; line-height: 14.2667px;">My brother could never stay quiet. Even when my mother warned, his mouth seemed to babble on like the engine of our car after the key was turned off. The hand darted forward and so quickly made contact with my brother’s face that his words became screams while I shrank back on the couch, making myself small. My mother put down her dish towel and closed her eyes.</span></div>
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<span id="m_-5071710041289687850yui_3_16_0_ym19_1_1490997606448_25693" style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
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<span id="m_-5071710041289687850yui_3_16_0_ym19_1_1490997606448_25695" style="font-family: Verdana, sans-serif; font-size: large; line-height: 14.2667px;">I knew the power of my father’s hand, having seen it suddenly extend into the backseat of the car, often striking out at innocent chatter. I learned to sit behind my mother, shrinking back into the dark corner, hopefully out of reach and I knew silence was also my ally; not that any of these protected me completely, so quick was his temper to rise like a switched on light or a bedsheet snapped open.</span></div>
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<span id="m_-5071710041289687850yui_3_16_0_ym19_1_1490997606448_25697" style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
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<span id="m_-5071710041289687850yui_3_16_0_ym19_1_1490997606448_25699" style="font-family: Verdana, sans-serif; font-size: large; line-height: 14.2667px;">His hands, encased in work-gloves, often carried armloads of firewood, bound for a basket beside the woodstove that now stood quietly cold beside him. At times, I saw his hands wrapped around the handle of a rake, moving methodically away and back towards him with rhythmic precision, until he paused to wipe sweat from his forehead before it reached his eyes. My father sought the outdoors, where in solitude with leaves and wood, he seemed to distance himself from the world.</span></div>
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<span id="m_-5071710041289687850yui_3_16_0_ym19_1_1490997606448_25701" style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
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<span id="m_-5071710041289687850yui_3_16_0_ym19_1_1490997606448_25703" style="font-family: Verdana, sans-serif; font-size: large; line-height: 14.2667px;">This volatile man could hum and rake in the yard, could make leaf piles for me to leap into with the same hand provoked by my brother. Why then did he continually support my brother’s irresponsibility, that hand bearing money to feed his constant demands, while ignoring my quiet acquiescence, my complacency? I was confused at the violence of his hand, the dichotomy of perverse generosity. Did being a girl make me inconsequential like my mother, while the rebellious nature of my brother was simultaneously assaulted and rewarded so many times?</span></div>
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<span id="m_-5071710041289687850yui_3_16_0_ym19_1_1490997606448_25705" style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
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<span id="m_-5071710041289687850yui_3_16_0_ym19_1_1490997606448_25707" style="font-family: Verdana, sans-serif; font-size: large; line-height: 14.2667px;">My father’s hand sometimes held both a glass of scotch and a lit cigarette as the ice rattled on the way to his lips. I would stare at that hand, studying his large meaty fingers, in contrast to the smooth, quiet hands of my mother that I could easily envision taking a roast from the oven or wiping dishes dry. His hand spoke an immense presence, like a barely held-back caged beast, biding time before lashing out.</span></div>
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<span id="m_-5071710041289687850yui_3_16_0_ym19_1_1490997606448_25709" style="font-family: Verdana, sans-serif; font-size: large;"><br /></span></div>
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<span id="m_-5071710041289687850yui_3_16_0_ym19_1_1490997606448_25711" style="font-family: Verdana, sans-serif; font-size: large; line-height: 14.2667px;">I envisioned my father being held captive by his highly stressful job; his refuge was working outdoors, away from contract negotiations where those hands pounded typewriter keys and tightly grasped a telephone receiver.<span id="m_-5071710041289687850yui_3_16_0_ym19_1_1490997606448_25712"> </span>Those too-soft indoor hands had to be insulated by gloves- protected from the harsh outdoor environment that he loved. I learned from those gloves; the insulation I wore against my father’s harshness was my mother, shrinking in her shadow, watching for signs of danger and taking cues from her practiced eye.</span></div>
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<span id="m_-5071710041289687850yui_3_16_0_ym19_1_1490997606448_25716" style="font-family: Verdana, sans-serif; font-size: large; line-height: 14.2667px;">Once my family attended a magic show. I watched carefully as the magician’s left hand rose, leading the audience’s eye away from his right hand, which covertly dropped a coin into his pocket. The two hands then quickly swiped across each other, and the coin was gone! Was I the only one who had seen, who had not been fooled by his sleight of hand?</span></div>
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<span id="m_-5071710041289687850yui_3_16_0_ym19_1_1490997606448_25720" style="font-family: Verdana, sans-serif; font-size: large; line-height: 14.2667px;">As my father’s hand rose smoothly to place his hat carefully on a hook, my eyes trained to follow the movement like in the magic show, to be transfixed by the illusion, I wasn’t fooled. There was no magic, no sleight of hand, as I knew well the alter-ego of that other unpredictable hand.</span></div>
koon woonhttp://www.blogger.com/profile/10570460211753996634noreply@blogger.com0tag:blogger.com,1999:blog-6027582433482221286.post-84547596114494337832017-02-07T02:58:00.001-08:002024-03-15T11:58:18.909-07:00Notes on the Metaphor by Koon Woon<div align="right" class="MsoNoSpacing" style="line-height: 200%; text-align: right;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">Woon
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<span style="font-family: "times new roman" , "serif"; font-size: x-large; line-height: 200%;"><b>Notes on the Metaphor:</b></span><br />
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">This is a paper I wrote for a class, which includes 3 readers' comments:</span><br />
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Hi. <img alt="😊" class="m_-1204294504377923534EmojiInsert CToWUd" id="m_-1204294504377923534OWAEmoji272566" src="https://mail.google.com/mail/u/1/?ui=2&ik=355d4e16a9&view=fimg&th=159e057b05b4fd41&attid=0.1&disp=emb&attbid=ANGjdJ-gohXQKt-OLnWN-e1hL94l_v8gZRiGrsbVOnbOWPr8fKczP3QIL5DxTfJTotz78udp0fNB6EXqaiLy4Oryi6DnJxTZ-VJJ5JfeQLKGZ0Bi2d2AIMNhyZk0cZY&sz=s0-l75-ft&ats=1486664149550&rm=159e057b05b4fd41&zw&atsh=1" style="vertical-align: bottom;" /> The readers have sent me their comments. Thanks!</div>
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Reader1: <span style="font-family: Times New Roman;"></span></div>
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<span style="font-family: Times New Roman;">Koon Woon: Examination of the Metaphor in Three Modes</span></div>
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<span style="font-family: Times New Roman;">An interesting exploration of the concept of metaphor that goes beyond the simple literary analysis, but also provides evidence of critical thinking and analytical skill. The citation of Lakoff and Johnson is key in this exploration, but I would suggest adding Roman Jakobson’s seminal study “Two Aspects of Language and Two Types of Aphasic Disturbances,” in which he situates metaphor against metonymy as fundamental poles of language. In addition, Paul de Man, especially in Allegories of Reading and “Rhetoric of Temporality,” identifies the privilege according to metaphor by the Romantics, as does Jonathan Culler in Pursuit of Signs. For a poet, even more than his contemporary Frost, Wallace Stevens grapples significantly with metaphor (see his essay “Three Academic Piece” and poems such as “Notes Toward a Supreme Fiction” where he writes of the sun “Phoebus is dead//But Phoebus was/A name for something never could be names…The sun/Must bear no name, gold flourisher, but be/In the difficulty of what it is to be”—“Phoebus” does not work as metaphor as neither does “gold flourisher”—because, for Stevens, the sun can only be seen in its being; it cannot be named—as it cannot be seen with the naked eye.</span></div>
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<span style="font-family: Times New Roman;">Reader 2:</span></div>
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<span style="font-family: 'Times New Roman', serif; font-size: 11.5pt;">Comments for Woon:</span></div>
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<span style="font-family: 'Times New Roman', serif; font-size: 11.5pt;">This piece is an intriguing and thought-provoking meditation on the relationship between metaphor and thought. That the paper is wide-ranging is a testament to the inquiring and expansive mind of the author rather than a serious flaw (as the writer seems to suggest in his Reaction). I see this as the beginning of a quest to understand a number of complex interrelations rather than an endpoint, and the occasional tangents, in my opinion, do not distract from that main thrust.</span></div>
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<span style="font-family: 'Times New Roman', serif; font-size: 11.5pt;">Reader 3:</span></div>
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<span style="font-size: 12pt;"><span style="font-family: Calibri;">Thank you for the opportunity to read your thesis. I feel like I learned a lot about you, in the process.</span></span></div>
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<span style="font-size: 12pt;"><span style="font-family: Calibri;">Overall, I came away impressed by the lucidity of your writing. I appreciate your main claim that metaphor isn’t just a literary device, but a deeply embedded cognitive and cultural way of being and thinking about our world. In some respects, it takes literature off its pedestal, by considering in more profound and fundamental respects the ways in which metaphor is embedded into our language and culture. You provide the foundation for this thesis through a review of what I’m assuming is only some of the literature on this subject.</span></span></div>
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<span style="font-size: 12pt;"><span style="font-family: Calibri;">I find myself thinking about what you might want to do next in this area, for if anything, this project seems well-informed but preliminary. I imagine that there are many possibilities for projects that reach across the disciplines and professions you mention in your thesis. The question is whether you would like to develop a project in cultural metaphorical thinking that can build upon what you review here. Such a project would need to offer something new, to address an aspect in history or current society that can draw upon all that you’ve read while offering an original project. Again, there are probably many possibilities.</span></span></div>
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<span style="font-size: 12pt;"><span style="font-family: Calibri;">As a side note, I did some Googling of you and discovered that you are published with Kaya Press. It turns out that the editor of the press, Sunyoung Lee, was a classmate of mine when I pursued my MFA at UC-Irvine many years back. Interesting connection!</span></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">Koon Woon<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">Dr. Hutchison<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">ENG 874<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">20 December 2016<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">Examination
of the Metaphor in Three Modes: Philosophical, Conceptual, and Poetic<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">REFLECTION<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> My program of study is Literary Arts in
the Master of Liberal Arts (MLS) program at Fort Hays State University. My
culminating project is the nature and use of the <b>metaphor</b>. Reflecting upon the skills and habits required for this
study, I have identified several courses in the MLS program at Fort Hays State
University that were most helpful to me to prepare for this culminating
project. These courses are: Ways of Knowing in Comparative Perspective (Fall,
2011), Origins and Implications of the Knowledge Society (Fall, 2011),
Information Literacy, (Fall, 2013), Topics in English: The Classics and You,
part II (Fall, 2011), Topics in English: Modern American Poetry (Fall, 2012),
Topics in English: World Drama (Spring, 2013), and Studies in Literature:
Theory and Application (Spring, 2014). Each of these classes provided me with
the necessary perspective, essential information, and the skills to complete
not only my current project but future projects as well.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> Although I have been studying, writing,
and publishing poetry at an amateur level for several decades, it is here at
Fort Hays State University that all my knowledge cohered. I will take more
advanced courses and engage in self-study to tackle more erudite and
specialized writing and literary arts projects, and all the courses listed here
will be invaluable. The poetry I have written was mostly for my own psychic
relief and enjoyment among a small circle of friends and an <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">Woon
2<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">occasional publication
in a small literary journal somewhere. Because I have a form of mental illness,
schizoaffective disorder, I have used poetry as my therapy, and later on in my
paper I will discuss how that has helped not only persons afflicted with
thought and affective disorders, but also poetry opened the minds, hearts, and
souls of those who make an earnest effort to comprehend it. It is also here at
Fort Hays State University that I learned professionalism in my written work
and earned the confidence that I can be a professional literary critic and
editor. Even though I have acted as editor and publisher of poetry in my own <i>Chrysanthemum</i> poetry zine and my small
literary press, Goldfish Press, as a presenter of poetry readings, and as judge
for poetry contests, I did not have the precise and professional language and
work habits to go along with those tasks. Again, my studies at Fort Hays State
University will give me the tools and the necessary confidence to excel in
these undertakings. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> Prior to my enrollment at Fort Hays State
University, I have studied some formal academic philosophy in the analytic mode
such as metaphysics, philosophic logic, the philosophy of language and the
philosophy of mind. I was taught and persuaded to think in abstract terms and
to ask and to ponder such questions as the nature of meaning and the nature of
consciousness. And so when I enrolled in Dr. Tim Murphy’s class on Ways of
Knowing in Comparative Perspective, I had a review of logic as to be able to
say what are valid arguments and sound arguments. And how we can know and come
to know things through various modes such as a scientific, mathematical,
ethical, aesthetic, or even an indigenous way of knowing. As an illustration of
an instance of indigenous ways of knowing, two students at the University of
Washington had made a video that accompanied one of my poems from my published
book of <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">Woon
3<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">poetry <i>The Truth in Rented Rooms</i> (Kaya, NY, NY,
1998). The video is on Youtube through the following link: </span><a href="https://www.youtube.com/watch?v=Wtrkcz5QckQ"><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">https://www.youtube.com/watch?v=Wtrkcz5QckQ</span></a><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"><o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> In addition to logic and ways of knowing,
in Dr. Murphy’s class we also studied aesthetic theory as to what determines
the value of a work of art; whether it is the art object, the artist, or the
viewer. We studied the aesthetic theory of Clive Bell of the <i>Bloomsbury Group</i> who were followers of
the Cambridge philosopher and teacher G.E. Moore. Bell promoted his theory of
formalism and defended abstract art (in his book, <i>Art, </i>1914) claiming that there is a unique aesthetic emotion in the
visual arts which depends on “forms and relations of forms (including lines and
colors) which elicits an aesthetic response in the viewer that is not to be
confused with other emotions.” Tolstoy, on the other hand, was more concerned
with the moral message that is transmitted from the work of art to the feelings
of truth that connects humanity (in his <i>What
Is Art? XX).</i> He rejected any view of objective beauty because he believed
that the appreciation of art is in the subjective perception of the viewer. I
myself am more persuaded by a <i>didactic</i>
view that art should teach us how to live and get along with others, and I
agree with Tolstoy that when art is practiced by the “professional” artist, it
tends to be disingenuous. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> The class I was taking concurrently
alongside Dr. Murphy’s class was Dr. Marthann Schulte’s Origin and Implication
of the Knowledge Society. In Dr. Marthann’s class, I learned how to search for
information and learned how to use the Internet advantageously. I used the
technique of the “snowball” effect of gathering information. It is to start off
with some small set of individuals who might be helpful to my search, and from
them, develop links to other individuals or sources of information. This method
rapidly generates a pool of potential leads, in a manner that a snowball grows
bigger and faster. And as a contributing
editor to the international <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">Woon
4<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">anthology<i> A Long and Windy Road</i>, I was largely
responsible of picking world-wide a set of Chinese Diaspora poets and fiction
writers of the generation born 1940 to 1960. I began by making inquires to
poets and writers that are associated with academia or publishing houses and I
asked them to recommend other writers they knew. In this way, the list rapidly
grew and I was able to reach some internationally-renowned writers and poets.
And of course I relied partly on my own knowledge of certain writers/poets that
I have read in this category.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> To be “a man of letters,” it is necessary
for me to read and study from past masters and to locate them in their
historical periods to view the legacy that they have left for posterity. What
more joy is there than studying the Classics? So, for my first literature class
at Fort Hays State University, I had the luck and the opportunity to study with
Dr. Michael F. Meade in a course <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">named just that: The
Classics and You: Part II. Here I learned from a variety of great Western
writers, poets, playwrights, their literary philosophies, contributions to
their genres, and their legacies. I have learned from Dr. Meade that there are
reasons and beliefs behind literary movements and there are strong and unusual
personalities behind them. From Dr. Meade, I have taken the Classics, World
Drama, American Drama, and Modern American Poetry. What is encouraging is that
there is room for me in the American poetry idiom. Dr. Meade renewed my
interest in literature that had lay fallow for many years because many of the
past professors I had were narrow in their field, whereas Dr. Meade not only
encourages original and creative work, he is also a champion for diversity
without sacrificing the rigor for literary excellence. It has been a joy to
craft explanations and arguments for my interpretation of what we have been
studying. Here I learn the possibility that I can be a part of this historical
dimension. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">Woon
5<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> Finally, I took Studies in Literature:
Theory and Application from Dr. Eric Leuschner. This is an in-depth study of
specific critical theories that could apply throughout all our literature
courses. We have many approaches to reading a literary text. Among these, for
example, are Formalism, Reader’s Response, New Criticism, Structuralism,
Marxism, Post-Colonialism, Feminism, and Deconstructionism and more. The
purpose to this rigorously taught class by Dr. Leuschner is to broaden the
reader’s response to the writer’s and the text’s message, delivery,
implications, and appreciation. It calls for close readings and critical
thought. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> Armed now with these research techniques,
logical thinking, knowledge, and theories, I embarked on a study of the<b><i>
metaphor</i></b>. How this came about was that I was asked to be a presenter at
a four-day poetry festival in western Washington State at the Skagit River
Poetry Festival in early part of 2016. I was asked to present a workshop on
poetry – how to understand <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">and appreciate it, and
how to write and innovate in this genre. The workshop participants were to
include high school and college students, as well as veteran poets. Since I
have a background in the philosophy of language and poetry is all language, I
originally decided to give a workshop on how to write better poetry by
understanding what it is that we are doing with language when we write poetry.
As I tried to write a prospectus for the workshop, I realized that the topic is
too broad. And so I asked myself, “What can I do to narrow it down and still
make this workshop distinctive and useful?” <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> Then I recall that in Modern American
Poetry, the seminal course I took under Dr. Meade, the thing that impressed me
the most was the striking ways poets used metaphors to bring home a comparison
between two similar ideas that are in different domains. For example, the
metaphor (my own), “A cup is a handle on a volume,” compares a concrete object,
a cup, such as a coffee <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">Woon
6<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">cup, to something
abstract – volume. While a cup is bounded by physical dimensions and weight, a
volume is shapeless and unbounded, that is, unbounded until some object
circumscribe its physical extension. But a cup is also a unit of measure, such
as a cup of flour or sugar in the recipe that is called as ingredients to a
cake. Therefore, we are “carving out” a unit of volume<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">with the coffee cup or
the measuring cup. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> Think also of this passage from the <i>Tao Te Ching,</i> the Chinese philosophical
classic from 500 B.C., reputedly written by the legendary sage Lao Tzu, “Shape
clay into a vessel; / It is the space within that makes it useful.” Therefore,
“carving out and defining” a volume makes it useful. The passage continues,
“Cut doors and windows for a room; / It is the holes which make it useful” (Lao
Tzu 11). This is the converse of the previous example of the vessel, because
now a bounded volume of space, i.e., the room, is not useful unless it is
joined to unbounded space via the doors and windows. “Therefore profit comes
from what is there; / Usefulness comes from what is not there.” And so now we
have two ways of looking at space – space is useful when it is bounded and
accessible as in the door and window that can enter the room, and space is not
useful when it is bounded and not accessible if there were no door or windows
to the room. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> This
example illustrates the fact that we use language daily and poetry is one
hundred per cent language. The poem depends on the elements of language such as
syntax, semantics, figures of speech and especially metaphors. The poem is
fresh and powerful when it enables us to see the world in a different light.
The poet does this by following the rules of language and the pragmatics of
language to communicate, but he can also deviate from these rules. According to
Dylan Thomas, “A good poem helps to change the shape and the significance of
the universe, <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">Woon
7<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">helps to extend
everyone’s knowledge of himself and the world around him” (Runcie).<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">Coleridge goes further
to claim that “no man was ever a great poet without at the same time a great
philosopher” (Goodreads).<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> With my background in academic philosophy,
I had found the various schools of literary criticism in Dr. Leuschner’s course
very interesting and horizons expanding. I believe that a reader is better off
knowing some philosophy of language, because for one thing, it drives the
various literary theories. Great American poets such as Emily Dickinson, Robert
Frost, Wallace Stevens, Donald Justice, and Theodore Roethke all have changed
the way we see and feel about ourselves and our world by their ground-breaking
use of language, especially their vivid and astounding metaphors. In Emily
Dickinson, she “taste[d] a liquor never brewed” (Dickinson 214). In Robert
Frost, he took “the road less traveled by.” And in Theodore Roethke, “in a dark
time the eye begins to see.”<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> However, there is a reverse process to the
metaphor – to deconstruct it to see what it implies in such political metaphors
as “War on Terror.” When one thinks about it, this war on terror, like the war
on drugs, we are responding to a small terror with a larger terror, since war
is a very large and catastrophic terror. What’s more, what is implicit in that
metaphor is that we have the higher moral ground. We need not know the genesis
of terror and terrorists, but we will bomb them back to the Stone Age.
Therefore, the poetic metaphor is powerful and cognitively and emotionally
expanding. And with the previously mentioned courses at Fort Hays State
University, under the very high quality teaching of my various professors, I
feel ready to tackle the poetic metaphor.<o:p></o:p></span></div>
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8<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">ABSTRACT<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> “Examination of the Metaphor in Three
Modes: Philosophical, Conceptual, and Poetic”<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> The metaphor is fecund, powerful, and
versatile in our use of language. Great minds since the time of Aristotle have
found the metaphor to be of great value in expressing similarities between
concepts which we cannot say in a literal way. Present day studies of the
metaphor take<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">in accounts of mind,
language, and models of the world. New thoughts and linguistic expressions are
being created by the use of the metaphor every day. New metaphors are “born”
each day from language use as old ones become dead and recede away. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> Poetry is the hotbed of metaphors.
Robert Frost claims that poetry is essentially metaphor and even thinking is
largely metaphor. Present day cognitive science has conceptual models of the
metaphor. Even in psychotherapy metaphor is useful. This paper examines the
various modes of metaphor creation and use, and at the same time warns us to be
cautious to accept someone else’s characterization of things like gifting us
with a Trojan Horse. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">RESARCH<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> In this paper I will examine the <b>metaphor</b> in three modes – philosophic,
conceptual and poetic, what they are, and how they are used and why it is
important to have a better understanding of them. I also need to distinguish
the differences between metaphor and irony, metaphor and analogy, metaphor and
simile, and finally, though very obvious, metaphor and literal language. The metaphor,
a way of saying something with something else, or, X=Y, has been known probably
as long as we possessed language, at the very least since the ancient Greeks,
as Aristotle had catalogued it. The conceptual metaphor came to be a mode of
linguistic analysis after the 1950’s due to the emergence of analytic
philosophy early in the twentieth century, largely at Cambridge University in
England by Bertrand Russell and Ludwig Wittgenstein. And lastly, even though we
can recognize, interpret, and invent metaphors, we still do not know its deep
mechanism because it is in the realm of language; and language, thought, and
mind are all intricately linked. With the development of computer models, mind
models, and brains studies or neuroscience, we come closer to some
understanding of the metaphor but much work needs to be done, and the prize of
understanding its exact mechanism can be a “big win” in terms of
self-understanding and a window into the minds of others through their use of
language, primarily the metaphor. Let’s strive for that “win.”<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> There seems to be a link among philosophy
of language, cognitive psychology, and poetry that is as fundamental as the
properties of the mind but yet as ineffable as déjà vouz. Something that may
fall in and perhaps fill this gap is the<b>
</b>poetic metaphor or just generally the metaphor. <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">There are some basic
questions that we must mention, though we are in no position to even attempt to
answer them, because these questions are as fundamental as what our proper
relation <o:p></o:p></span></div>
<div align="right" class="MsoNoSpacing" style="line-height: 200%; text-align: right;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">Woon
10<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">to the “world” is, and
all sorts of epistemological and metaphysical questions that arise from that
relationship. The first question is what is the relation between the “world”
and our “mind”? Some philosophers say that the world is mind-independent. This
is the view that Science takes and it produced many wonderful, repeatable
experiments and results that we accept as “natural.” This “mind-independent”
view says that the laws of nature, i.e., the physical laws as obtained by
physics will exist and operate regardless whether we human beings are here or
not. But throughout history, we had to modify some of our conception of the
world. We used to think of the world as being flat or that the sun orbited
around the earth, but experimental and conceptual evidences have talked us out
of that. But some problems remain. We, even in science, formulate “models” of
the things we investigate. Examples abound – we think of an atom as electrons
orbiting around a nucleus, similar to our planetary motions. In reality,
however, the electrons form a “cloud” around the nuclear such that the closest
distance could be the stadium of the ball park and the furthest distance the
electron from the nucleus may be as far away as the periphery of the United
States. <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> The German philosopher Immanuel Kant<span style="background: white;"> addresses the question “What can we know?” The
answer, if it can be stated simply, is that our knowledge is constrained to
mathematics and the science of the natural, empirical world. It is impossible,
Kant argues, to extend knowledge to the supersensible realm of speculative
metaphysics. The reason that knowledge has these constraints, Kant argues, is
that the mind plays an active role in constituting the features of experience
and limiting the mind’s access only to the empirical realm of space and time.</span>
The Heisenberg Uncertainty Principle states that the position and momentum of a particle cannot both be measured exactly
at the same time. Therefore, there is a margin of precision in measurements <o:p></o:p></span></div>
<div align="right" class="MsoNoSpacing" style="line-height: 200%; text-align: right;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">Woon 11<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">we are limited in obtaining. And this has to do with the laws of physics
itself, and so if we are to believe in a mind-independent world, our
instruments of measuring nature will always have a margin of error. This is
further compounded by the fact that</span><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> our concepts of the
world will bind us to observations that are consistent with those concepts
only. That is why, from time to time, our concepts change or expand and become
more generalized, as in the case that Newtonian physics gave way to Einstein’s
theories of relativity, special and general.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> The phenomenon of metaphor is far more
prevalent than is generally acknowledged by philosophers; and it raises two
questions: what is metaphorical meaning”? And how do hearers grasp metaphorical
meaning as readily as they do? Because philosophers have a bias for literal
language, priding themselves to be precise and discerning, hairsplitting as it
were, when they use language, the metaphor is a monkey wrench in the soup. “But
the bias is only a bias: sentences are very often used in perfectly ordinary
contexts with other than their literal meanings” (Lycan 309). As a matter of
fact, virtually every sentence produced by any human being contains importantly
metaphorical or some other figurative elements.
<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> The claim that almost every sentence
contains figurative elements is widely conceded because of the prevalence of
many “dead metaphors,” that is, phrases there were once novel metaphors but
from overuse have turned into clichés and now mean literally what they used to
mean metaphorically. When we speak of a river’s “mouth,” for example, no one
now would be directed by this to visualize a human or animal mouth. Another
example may be “the fence runs along the lake.” It is obvious that a fence
cannot run like an animal or a person and we do not conjure such a mental
picture now when we hear the word “runs” in this context. James Geary shows, in
his book, <i>I Is An Other, </i>that
metaphors are not rhetorical thrills at the edge of how we <o:p></o:p></span></div>
<div align="right" class="MsoNoSpacing" style="line-height: 200%; text-align: right;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">Woon
12<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">think, they are the
very heart of it. “Metaphors live a secret life all around us. We utter about
one metaphor for every ten to twenty-five word, about six metaphors a minute”
(5). The following is the first sentence of Abraham Lincoln’s Gettysburg
Address (the metaphors are in italics):<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> “Four scores and seven years ago, our
<i>fathers brought forth</i>, upon this
continent, a new<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> nation, <i>conceived</i> in liberty, and dedicated to the proposition that “all
men are created <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> equal.” <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> The two main metaphors in Lincoln’s
opening line of 30 words (one metaphor every fifteen words) both describe
America in terms of conception and birth. Indeed, the entire speech is only <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">243 words long and is a
single extended metaphor about how nations are like individuals are conceived,
born, fight, and die (7). I might add parenthetically, that <i>metaphors</i> themselves also are conceived,
born, fight, and die, in print and in usage otherwise.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> I like to give another example of a
metaphor and this one is unusual in the sense that it is just one word, but it
really is two ideas that needs “unpacking.” Heidegger in his <i>Magnus Opum, Being and Time,</i> uses the
word “unveiling” or “reveal,” (Heidegger 307) to mean to undisclosed the <i>factiveness</i>, or the real state of Dasein
(a being-in-the-world, that is, we are already in the world whenever we talk
such terms as our existence). Moreover, we are already in a situation that we
are “thrown into” by the accident of birth and circumstances and exist in our
present situation or “equipment whole.” He used the analogy of “the workshop”
wherein we are pounding away with a hammer when suddenly the handle of the
hammer breaks, forcing us to be idle. It is at such times we contemplate our
activities and survey what it is we are doing. The literal meaning of “unveil”
is to “lift the veil” so that we can see the face, but metaphorically, it can
mean a host of things, such as dysfunctions or breakdowns in our everydayness
or our <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">Woon
13<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">civilization itself is
revealed to us. This is to say that we can go along willy-nilly doing all the
things that we normally do until something “breaks down,” and thus forces us to
confront ourselves. Thus, metaphors can appear very simple but their profundity
is revealed to us when we give them a context which all their nuances come
forth to interplay. <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%; tab-stops: right 6.5in;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> Another example may be the Ezra Pound
poem, “In a Station of the Metro:” where <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%; tab-stops: right 6.5in;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> The Apparition of these faces in the
crowd;<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%; tab-stops: center 3.25in;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> Petals on a wet, black bough. <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%; tab-stops: center 3.25in;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> (DiYanni 348)<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%; tab-stops: center 3.25in;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> The verb “to be” is missing and two images
are just juxtaposed to form a resemblance and a contrast. This “likening” takes
place in the mind and the compression of images give it an emotional
significance. I will return to this point later when we discuss how poetry,
which is primarily metaphors, according to Frost, and how this can be
therapeutic, not only in the sense of improving mental clarity and stability,
but also how it can be a “cure” for civilization’s neuroses. <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%; tab-stops: 170.25pt;">
<b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">What is a Metaphor?<o:p></o:p></span></b></div>
<div class="MsoNoSpacing" style="line-height: 200%; tab-stops: 170.25pt;">
<b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">
</span></b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">George Lakoff and Mark Turner in <i>More than Cool Reason</i>, first defined
what is <i>not</i> metaphorical. “If a
concept is to be understood and structured on its own terms – without making
use of structure imported from a completely different conceptual domain – we
will say that it is not metaphorical”(57).<b><o:p></o:p></b></span></div>
<div class="MsoNoSpacing" style="line-height: 200%; tab-stops: 175.5pt;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> A metaphor is a figure of speech that is
an implied comparison between two things that offers “a way of seeing one thing
in terms of another” (Parini 66). A metaphor is to be distinguished from a
simile in that the latter is a comparison using the words “like” or “as.” One
metaphor often quoted is from <i>Romero and
Juliet</i>, where Romero compares Julies to the sun:<o:p></o:p></span></div>
<div align="right" class="MsoNoSpacing" style="line-height: 200%; tab-stops: 175.5pt; text-align: right;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> Woon 14 <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%; tab-stops: 175.5pt;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> But soft, what light through yonder window
breaks?<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%; tab-stops: 175.5pt;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> It is the east and Juliet is the sun!<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%; tab-stops: 195.0pt;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> (<i>Romeo
and Juliet, 2.2. 2-3) <o:p></o:p></i></span></div>
<div class="MsoNoSpacing" style="line-height: 200%; tab-stops: 195.0pt;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> Philosophers like language to be literal
as they are wont to think that literal speech is the default while metaphoric
utterances are occasional aberrations, made mainly by poets and poets manqué.
To begin to get some rough idea what is a metaphor, we first note that a
metaphor is not an <i>idiom</i>. Moran (3)
uses the idiom that “so and so kicked the bucket;” or “somebody bought the
farm” to indicate that someone had died. Even though in these two instances, we
do not mean the <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%; tab-stops: 195.0pt;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">literal
contents of these statements, in the manner that a metaphor, such as “Juliet is
the sun” is also not to be taken literally. The distinction is that in the case
of the idiom, it is linguistically primitive in the sense that the entire idiom
is one chunk of semantics, and unlike the metaphor, “they are simply taught to
us as wholes, rather than being a matter of interpretation on an occasion (4).
“An idiom’s meaning is simply <i>given</i>:
there is no ‘open-ended’ quality to the idiom’s meaning, no special suggestiveness,
and no call for its creative elaboration” (4). The reader can think of an idiom
as sort of like a molecule, which loses its definition and properties once it
is broken into its constituent parts, which are atoms, which can have entirely
different chemical properties than its composite, the molecule; for example,
water is a liquid at room temperature, but when it is separated into its
components, it is two gases, hydrogen and oxygen. We should also make a passing
remark that a metaphor is not a code word. A code word generally bears no
relation to what it stands for. It is something agreed by two or more persons
that it does not mean its appearance. Two people may be speaking in a group of
people and may have agreed on the word “martini” to mean “Martin is here. Let’s
pretend we don’t see him.” Or <o:p></o:p></span></div>
<div align="right" class="MsoNoSpacing" style="line-height: 200%; tab-stops: 195.0pt; text-align: right;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">Woon 15<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%; tab-stops: 195.0pt;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">in
the case of the “code talkers,” the Navaho Indians were utilized to speak their
dialect while communicating military things in the Pacific islands war with
Japan in World War II, but since the Japanese had no knowledge of Navaho
dialect, they were completely in the dark as to what was communicated. <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%; tab-stops: 195.0pt;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> Another question: can a metaphor be
replaced by a literal description or narrative? Some philosophers, the early
logical positivists, thought not. They believe in <i>verificationism”,</i> that is to say, whatever “truths” supposedly
exhibited by a statement needs to be given a procedure to verify it. If
something cannot be so “verified,” then that statement is said to be
meaningless. For <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%; tab-stops: 195.0pt;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">example,
we might be able to say “the present King of France.” But no such entity exists
and so we say that the declarative statement is meaningless, for it fails to
verify such a person. Later on, even noted philosophers, such as Donald
Davison, believe that a metaphor is meaningless if we were to say they have
open-ended meanings, and the only meaning it has is the literal words that it
is made of, despite sounding totally ridiculous in some cases (Lycan 241). For
example, “Juliet is the sun” would just <i>mean</i>
that Juliet the girl is taken to mean that star of our solar system, which in
this kind of literal rendering, sounds very bizarre. Nevertheless, that is how
Davidson would interpret this metaphor. This generates a lot of discussion in
philosophical circle, but the poets would not bother with such worries, they
would just go about their business writing and interpreting metaphors as they
have not heard a thing that Davison had said.
<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%; tab-stops: 175.5pt;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> When we resort to using metaphor, we
contrive to talk about two different and disparate subject matters, mingling
them to rich and unpredictable effect. The primary subject of a metaphor is
called a <i>tenor</i>, that which is the
subject matter already under discussion. The young girl Juliet is the tenor in
Romeo’s metaphor. The secondary or the <i>vehicle</i>
is the newly <o:p></o:p></span></div>
<div align="right" class="MsoNoSpacing" style="line-height: 200%; tab-stops: 175.5pt; text-align: right;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">Woon 16<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%; tab-stops: 175.5pt;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">introduced
subject matter with the view to enriching our resources for thinking and
talking about the first (SEP 2). We are in effect saying that X is Y. But of
course, X is not identical to Y for otherwise we simply have X is X. We are
really analogizing or likening properties of X to properties of Y, and usually
going from the more concrete to the more abstract. In this example of my own: a
cup is a handle on a volume, I am likening how holding a cup of something, say
coffee, I have a “handle” on a volume; that is to say, I have made “volume”
more tangible, less abstract. Or to take another example of mine: the metaphor
is the dark horse of language. By this I mean to say that the most fecund
figure of speech is the metaphor and it is the “winner” in <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%; tab-stops: 175.5pt;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">language
use in the sense that just when we think that language is “dead,” a new
metaphor pops up and renews our perception of language. As a matter of fact and
which we will discuss next, language expands by the invention of metaphors. <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%; tab-stops: 175.5pt;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> <b>How to
View the Metaphor: <o:p></o:p></b></span></div>
<div class="MsoNoSpacing" style="line-height: 200%; tab-stops: 175.5pt;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> First we will consider the metaphor as a
concept that is in one domain being mapped into another domain. We will give an
example to flesh out this statement. All of us have a conceptual system (Lakoff
& Johnson 3) and it is not something that we are always aware of.
Nevertheless, this system which guides our actions and thoughts is “conceptual
in nature (3) and this is primarily based on the basis of linguistic evidence
(4). In<span class="apple-converted-space"> </span></span><a href="https://en.wikipedia.org/wiki/Cognitive_linguistics" title="Cognitive linguistics"><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">cognitive linguistics</span></a><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">,<span class="apple-converted-space"> </span><b>conceptual metaphor</b>, or<span class="apple-converted-space"> </span><b>cognitive metaphor</b>, refers to
the understanding of one idea, in<span class="apple-converted-space"> </span></span><a href="https://en.wikipedia.org/wiki/Conceptual_framework" title="Conceptual framework"><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">conceptual domain</span></a><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">,
in terms of another. An example of this is the understanding of<span class="apple-converted-space"> </span></span><a href="https://en.wikipedia.org/wiki/Quantity" title="Quantity"><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">quantity</span></a><span class="apple-converted-space"><span style="font-size: 12.0pt; line-height: 200%;"> </span></span><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">in
terms of<span class="apple-converted-space"> </span></span><a href="https://en.wikipedia.org/wiki/Direction_(geometry)" title="Direction (geometry)"><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">directionality</span></a><span class="apple-converted-space"><span style="font-size: 12.0pt; line-height: 200%;"> </span></span><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">(e.g.
"the price of peace is rising"). A conceptual domain can be any
coherent organization of human experience. The regularity with which different
languages employ the same metaphors, which often appear to be perceptually<span style="color: #252525;"> based, has led to the hypothesis that the <o:p></o:p></span></span></div>
<div align="right" class="MsoNoSpacing" style="line-height: 200%; tab-stops: 175.5pt; text-align: right;">
<span style="color: #252525; font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">Woon 17<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%; tab-stops: 175.5pt;">
<span style="color: #252525; font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">mapping between conceptual domains corresponds to neural
mappings in the brain.</span><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> This idea, and a detailed examination
of the underlying processes, was first extensively explored by<span class="apple-converted-space"> </span></span><a href="https://en.wikipedia.org/wiki/George_Lakoff" title="George Lakoff"><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">George
Lakoff</span></a><span class="apple-converted-space"><span style="font-size: 12.0pt; line-height: 200%;"> </span></span><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">and<span class="apple-converted-space"> </span></span><a href="https://en.wikipedia.org/wiki/Mark_Johnson_(professor)" title="Mark Johnson (professor)"><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">Mark Johnson</span></a><span class="apple-converted-space"><span style="font-size: 12.0pt; line-height: 200%;"> </span></span><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">in
their work<span class="apple-converted-space"> </span><i>Metaphors We Live
By.</i> <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%; tab-stops: 175.5pt;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> Most of us, especially English
literature majors, know what a metaphor is, or think that we do. We will show
by the end of this paper that our knowledge<i>
</i>of metaphors is still <i>ad hoc</i>,
that is, not complete, even though the ancient Greek poet Homer and Chinese
writers of the <i>Tao Te </i>Ching around
2,500 years ago used metaphors quite conspicuously. Robert Frost, the
quintessential American poet said, “What I am pointing out is that unless you
are at home in the <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%; tab-stops: 175.5pt;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">metaphor,
unless you have had your proper poetic education in the metaphor, you are not
safe anywhere (Frost, “Education by Poetry,” 5).<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">Is Frost joking or is
he giving us a measured warning? It certainly is a huge claim. We will take him
seriously until proven otherwise. And as we will see, we are going to go on an
intellectual excursion because of this “little claim” by Frost, and like
Frost’s taking “the road less traveled” (Frost, <i>Mountain Interval</i>, 1912), we will be better off both intellectually
and pragmatically for it. We will argue in this paper, that if anything, we
need to even go beyond Frost to state the importance of the poetic metaphor.
Frost said that he can find metaphorical ways of thinking and speaking in every
discipline with the possible exception of mathematics. My claim is that any
language, mathematics included, will have metaphors from usage, and in this
particular case, the idea of a “homomorphism” fills the job. A homomorphism is
a “mapping” or setting to corresponding structures of one object in one space
to another object in another space that preserves the correspondences (Enderton
89). For example, a toothpick model <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<br /></div>
<div align="right" class="MsoNoSpacing" style="line-height: 200%; text-align: right;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">Woon
18<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">of a building can be
mapped into the steel structures of a building downtown. Another everyday
example is the use of mathematics to model physical quantities. For example, in
physics, it is very difficult to determine what the nucleus of an atom contains
of various elementary particles. We can bombard the nucleus with atomic
particles say protons. This will result in a scattering on an X-ray film or
tracks in a “cloud chamber.” We then make a mathematical model of the
scattering as a homomorphic image. Then, by performing the mathematics, we can
rule out cases what the scattering results are not. And thus we reduce the
problem by an order of magnitude, which makes our work easier. Before we get
into the academic rigors of discussing the poetic <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">metaphor in its
philosophical, linguistic, literary, and even therapeutic dimensions, we will
first give a broad outline of what it is we are dealing with here in this
paper. <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> The conceptual metaphor theory of Lakoff
and Johnson has its critics. Kovecses (168) writes that the most often heard
criticism is that the researchers set up conceptual metaphors on the basis of
intuition and on dictionaries or lexicons and some linguistic examples that they
arrived at the following example: the
word “boil’ means “to be very angry, “explode” means to “lose control of the
anger,” “hotheaded” means “someone who loses control over anger quite easily
and so the researcher concludes that there is a conceptual metaphor we call
ANGER IS A HOT FLUID IN A CONTAINER (Lakoff & Kovecses, 1987), which is
rather silly because anger is not a fluid in a container. In another example
from Lakoff & Johnson, we find the metaphor ARGUMENT IS WAR based on the
following everyday language by a variety of expressions:<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> ARGUMENT IS WAR<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> Your claims are <i>indefensible.<o:p></o:p></i></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<i><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> </span></i><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">He <i>attacked every weak point</i> in my argument.<o:p></o:p></span></div>
<div align="right" class="MsoNoSpacing" style="line-height: 200%; text-align: right;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">Woon
19<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> His criticisms were <i>right on target</i>. <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> I <i>demolished
</i>his argument.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> You disagree? Okay, <i>shoot!<o:p></o:p></i></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> Lakoff and Johnson ask us to note that we
don’t just <i>talk</i> about arguments in
terms of war; we actually win or lose arguments (4). However, one can also say
ARGUMENT IS CHARITY:<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> His criticisms were very <i>helpful</i>.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> Your disagreements were <i>enlightening</i>. <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> Our differences led to a better <i>understanding.<o:p></o:p></i></span></div>
<div class="MsoNoSpacing" style="line-height: 200%; tab-stops: right 6.5in;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> The point I am making here is that our use
of the metaphor can be culturally conditioned. Given the fact that the US had
been in constant war since its inception (except for a fraction of its 300 plus
years of history), I think war is so much of our conditioning that naturally we
assume that war is the normal state of things. I also wonder how many countries
use the metaphor LOVE IS WAR as often as Americans do – to wit, “everything is
fair in love and in war.” The use of war in a metaphor extends even in commerce
– TRADE IS WAR.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> We will now give a little history
of the metaphor. The ancient Greek philosophers knew what a metaphor was. <span style="color: #1a1a1a;">According to Aristotle (<i>Poetics</i> 21), a
metaphor is “the application of an alien name by transference either from genus
to species, or from species to genus, or from species to species, or by
analogy, that is, proportion”. He exhibited four types of “metaphors” but only
the fourth one resembles what we nowadays consider a metaphor. And it was an
analogy sort of like this: <span style="letter-spacing: .25pt;">Old age to life as the evening is to day.</span> </span>But
for over two-thousand years, practically no serious discussions in philosophy
were devoted to the metaphor. Max Black,
the logician and philosopher succinctly stated, “To draw attention to a
philosopher’s <o:p></o:p></span></div>
<div align="right" class="MsoNoSpacing" style="line-height: 200%; text-align: right;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">Woon
20<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">metaphor is to belittle
him – like praising a logician for his beautiful handwriting” (<i>Metaphor </i>273). That is because Western
philosophy prides itself in having a precise language, where each term is
totally discernible from other terms, but the metaphor is a wild horse to tame
indeed since one cannot definitely accord it meaning or that its meaning is
open-ended. It was more or less in the realm of poetry that poets tossed the
metaphor around. A recent philosophical study of the metaphor was instigated by
Max Black (272). Black here considers a metaphor, let’s say the following: “The
chairman plowed through the meeting.” If this sentence is translated word for word
into a foreign language, we would like to say that it is the same metaphor, and
so to call a <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">sentence an instance of
a metaphor is to say something about its <i>meaning</i>,
and not about its grammatical or phonetic forms. Therefore, argues Black,
“metaphor” must be classified as a term belonging to “semantics” and not to
“syntax” (276).<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> Lakoff and Johnson gave a huge boost to
the interest of the metaphor with their book <i>Metaphors We Live By,</i> in which they claim that “Our ordinary
conceptual system, in terms of which we both think and act, is fundamentally
metaphorical in nature” (3). And since then, the study of the metaphor
proliferated like nobody’s business. There is the joke that if the number of
students of metaphor grow at the rate it is growing now, then in 2039, there
will be more scholars the metaphor that the population of world (Wayne Booth, <i>Metaphor as Rhetoric</i>, as quoted by of
Peter Norvig, U.C. Berkeley, in “Review of Metaphors We Live By,”http://norvig.com/mwlb.html).
Seriously though, we are entering a new age where many previously unrelated
disciplines are merging together. These are philosophy, linguistics, cognitive
psychology and neuroscience, anthropology, computer science, artificial
intelligence, <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<br /></div>
<div align="right" class="MsoNoSpacing" style="line-height: 200%; text-align: right;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">Woon
21<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">and logic are all
combining forces to investigate the brain/mind, thinking, language, and
creativity.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> First, since the poets have for over 2,000
years after Aristotle have been writing and communicating via metaphors from
Homer to Shakespeare to the Beats and to postmodern poetry; we at least know
that we can write metaphors. So, let us take a few examples in ordinary verse
writing and glean some properties of metaphors, to evaluate their contribution
to literature, to language, to thought, and to discover some knowledge of their
structure and relationships to various domains of expressions and inquiry. We
shall begin by studying three well-known poems <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">by three very
well-known poets. I will analyze the “depth” we must go to obtain the
metaphorical <i>meaning</i> that is conveyed
by word choices and their arrangements. <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">Sylvia
Plath<o:p></o:p></span></b></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> Metaphors<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> I’m a riddle in nine syllables,<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> An elephant, a ponderous house,<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> A mellow strolling on two tendrils.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> O red fruit, ivory, fine timbers!<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> This loaf’s big with its yeasty
rising. 5<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> Money’s new-minted in this fat purse.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> I am a means, a stage, a cow in a
calf.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> I’ve eaten a bag of green apples,<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> Boarded the train there is no getting
off.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%; margin-left: 143.25pt;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">---
Sylvia Plath <o:p></o:p></span></div>
<div align="right" class="MsoNoSpacing" style="line-height: 200%; text-align: right;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> Woon 22 <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> (DiYanni 43)<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> This poem has “consciousness” in the
sense that it is self-referential of the poet. It does not take much reflection
on the reader’s part to see that it is about the nine months of pregnancy. But
what does Plath say about her pregnancy? Is she glad? Is she upset? Or is she
resigned? The first line, “I am a riddle in nine syllables” challenges the
reader to figure out the riddle. Apparently the riddle can be merely stating
her pregnancy. But there is more. Men often say that they don’t understand
women, that women are a riddle, and I get the feeling that she is saying men
don’t understand women because they have little or no empathy for women, and in
a sense also for the <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">bearing and giving life
itself. Juraslov Seifert has said, “Women do us the least harm” (<i>Casting of the Bells</i>, The Spirit that
Moves Us Press). And the last two lines of the poem, Plath said she has eaten a
bag of green apples; maybe this is the biblical reference to the Garden of
Eden, where eating of apple is knowledge
of sin, and that she says in a mocking tone that she has derailed paradise by
eating a whole bag of green apples and that boarding the train and no getting
off, meaning on the one hand, motherhood is nonreversible, and on the other
hand, “civilization” starts now and it is not all good, and not only would she
have to endure it, but the child she is carrying is subject to the same fate –
mortality. This is my own interpretation of the poem, just to illustrate
rightly or wrongly, from a reader’s response approach and necessarily
subjective, that to understand a metaphor, one needs to go deeper into it,
because poems can be construed as one metaphor. I will have more to say about
that in a bit when I talk about the linguistic analysis of metaphors. <o:p></o:p></span></div>
<div class="MsoNoSpacing">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"> Another example is Theodore Roethke’s<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Theodore Roethke<o:p></o:p></span></b></div>
<div class="MsoNoSpacing">
<br /></div>
<div align="right" class="MsoNoSpacing" style="line-height: 200%; text-align: right;">
<span class="hdg"><span style="border: 1pt none windowtext; font-size: 12pt; line-height: 200%; padding: 0in;"> Woon 23 <o:p></o:p></span></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span class="hdg"><span style="border: 1pt none windowtext; font-size: 12pt; line-height: 200%; padding: 0in;"> In a Dark Time</span></span><span style="color: #404040; font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"><o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="color: #404040; font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> In a dark time, the eye begins to
see,<span class="apple-converted-space"> </span><o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="color: #404040; font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> I meet my shadow in the deepening
shade; <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="color: #404040; font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> I hear my echo in the echoing wood—<span class="apple-converted-space"> </span><o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="color: #404040; font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> A lord of nature weeping to a tree.<span class="apple-converted-space"> </span><o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="color: #404040; font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> I live between the heron and the
wren, <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="color: #404040; font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> Beasts of the hill and serpents of
the den.<span class="apple-converted-space"> </span><o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="color: #404040; font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="color: #404040; font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> What’s madness but nobility of soul?<span class="apple-converted-space"> </span><o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="color: #404040; font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> At odds with circumstance? The day’s
on fire! <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="color: #404040; font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> I know the purity of pure despair,<span class="apple-converted-space"> </span><o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> My shadow pinned against a sweating
wall. <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="color: #404040; font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> That place among the rocks—is it a
cave, <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="color: #404040; font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> Or winding path? The edge is what I
have.<span class="apple-converted-space"> </span><o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<br /></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="color: #404040; font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> A steady storm of correspondences!<span class="apple-converted-space"> </span><o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="color: #404040; font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> A night flowing with birds, a ragged
moon, <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="color: #404040; font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> And in broad day the midnight comes
again! <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="color: #404040; font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> A man goes far to find out what he
is—<span class="apple-converted-space"> </span><o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="color: #404040; font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> Death of the self in a long, tearless
night, <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="color: #404040; font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> All natural shapes blazing unnatural
light.<span class="apple-converted-space"> </span><o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<br /></div>
<div align="right" class="MsoNoSpacing" style="line-height: 200%; text-align: right;">
<span style="color: #404040; font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> Woon 24 <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="color: #404040; font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> Dark, dark my light, and darker my
desire. <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="color: #404040; font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> My soul, like some heat-maddened
summer fly, <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="color: #404040; font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> Keeps buzzing at the sill. Which I is<span class="apple-converted-space"> </span><em><span style="border: none windowtext 1.0pt; mso-border-alt: none windowtext 0in; padding: 0in;">I?</span></em><span class="apple-converted-space"> </span><o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="color: #404040; font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> A fallen man, I climb out of my
fear. <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="color: #404040; font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> The mind enters itself, and God the
mind, <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="color: #404040; font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> And one is One, free in the tearing
wind.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">The first line of this
poem, “In a dark time, the eye begins to see,” why is it in the singular? Why
only one eye? There is a proverb, “In the land of the blind, the one-eye man is
king.” [Also, this occurred to me as of late. The sniper’s eye is training on
the target in the impending darkness of death]. One could also play around with
the homonyms “eye” and the first-person singular “I.” And there may be more
than one “I” as in the last line of the poem, “Which I is <i>I</i>?” And what does the eye see then? I will not use a strictly
formalism interpretation of this poem, and I will draw on Roethke’s background
a bit. Following the reader’s response subjectivism of Wolfgang Iser (Bresler
78), I will actively use my own experiences to interpret this poem by Roethke. <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> “I meet my shadow in the deepening shade;”
this second line of the poem continues with the theme of “dark time.” What does
Roethke refer to here? Is he referring
to a perverse political climate or economic hard times? From biographical
materials, Roethke suffered manic/depressive illness, and so this is probably
episodes of depressions. The first two lines of the second stanza are
interesting. He claims that his illness is actually a mark of nobility and the
world is unable to fathom his privileged position, nay, not only that, but to
put great odds in his way. To continue with my subjective reading, I would say
that the nobility often inbreed, as in ancient Egypt where brothers can marry
sisters, and in Europe where the Anglo-Saxon nobility <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<br /></div>
<div align="right" class="MsoNoSpacing" style="line-height: 200%; text-align: right;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">Woon
25<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">married each other with
close gene pools. And so madness or deformity is often the result of such
inbreeding. <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> This poem is a juxtaposition of many
images that conflict and amplify the moods and feelings of manic/depressive
illness. The poet, Roethke himself in this instance, claims that this condition
gives him more depth and insight into identity, claiming that the conventional
life does not let him go far enough to find who he is. Some of the words used
for his depressive spells are “shade,” “dark,” and “purity of despair.” Some of
the words used to describe his manic moods were “fire,” ‘storm,” “blazing,” and
“buzzing.” The last two lines of the poem, “The mind enters itself, and God the
mind, / And one is One, free in the tearing wind,” tells us that he embraces
all <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">the contradictions and
paradoxes of who he is. This poem can be an illustration or a metaphor for his
manic / depressive illness. However, there seems to be a moral message of
Roethke saying that he “goes far to find what he is,” meaning here that he does
not accept the label mentally ill “lying down,” he worked hard and “went far”
to embrace not only himself all the psychological aspects that he is as a
result of mental illness, but also to embrace that “all is One,” to show
solidarity with all of humanity, somewhat reminiscent of the Buddhist concept
we are all one soul.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> The reader can see here that the poem goes
from a despairing mood to one of triumph. When a poem is worked through, we
transform ourselves through the working out of the poem. We, in a manner of speaking,
talked our troubles out, as a rich client will pay a psychoanalyst to listen.
For the more financially modest persons we have a blank sheet of paper to
listen to our pen. For this reason, the magazine <i>Poets & Writers</i>, had asked me to blog for them (<i>Poets & Writers</i> 10.7.13 Koon Woon on
Poetry as a Survival Technique). I said in my blog that I worked through <o:p></o:p></span></div>
<div align="right" class="MsoNoSpacing" style="line-height: 200%; text-align: right;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">Woon
26<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">many of the difficult
feelings of mental illness utilizing poetry. This illustrates the ability of
the human mind to transform a certain metaphor of itself to a different one,
from bondage to the psychological dysfunction or addiction to a healthier model
of the personality. This idea will be elaborated more fully in another section
of the paper. <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> <b>Robert
Frost</b><o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> The Road Not Taken<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> Two roads diverged in a yellow wood,<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> And sorry I could not travel both<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> And be one traveler, long I stood<o:p></o:p></span></div>
<div align="right" class="MsoNoSpacing" style="line-height: 200%; text-align: right;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> And looked down one as far as I could<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> To where it bent in the undergrowth;<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<br /></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> Then took the other, as just as fair,<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> And having perhaps the better claim,<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> Because it was grassy and wanted
wear;<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> Though as for that the passing there<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> Had worn them really about the same,<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<br /></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> And both that morning equally lay<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> In leaves no step had trodden black.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> Oh, I kept the first for another day!<o:p></o:p></span></div>
<div align="right" class="MsoNoSpacing" style="line-height: 200%; text-align: right;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> Woon 27<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> Yet knowing how way leads on to way,<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> I doubted if I should ever come back.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<br /></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> I shall be telling this with a sigh<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> Somewhere ages and ages hence:<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> Two roads diverged in a wood, and I
---<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> I took the one less traveled by,<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> And that has made all the difference.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> (DiYanni 48)<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> David Orr, the author of the book, <i>The Road Not Taken</i>, says in the
September 11, 2015 issue of <i>The Paris
Review</i>, “This poem plays a unique role not simply in American literature,
but in American culture and in world culture as well” (3). The signature
phrases of this poem grace many artifacts, speeches, commercials, to
televisions shows, such as <i>The Twilight
Zone</i>, and “<i>Battlestar Galactica</i>,
as well as video games, and anything that sells. And if one were to do a Google
search for a poem and the frequency it is “hit,” “The Road Not Taken” scores a
48 and T.S. Eliot’s “The Waste Land” comes a distant second at 12, while
Pound’s “Station of the Metro” only scores a 2. But also outside of poetry, the
search worldwide has “Road Not Taken” at 47 to Bob Dylan’s “Like a Rolling
Stone” a distant second again at 19, with “Psycho” by Hitchcock at a mere 14. <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> This poem is normally taken to be
self-assertion that becomes triumphant (“I took the one less traveled by”), but
the poem’s two literal lines seem completely at odds with this interpretation. <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<br /></div>
<div align="right" class="MsoNoSpacing" style="line-height: 200%; text-align: right;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">Woon
28<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">The protagonist of the
poem tells us that the two paths “equally lay / in leaves” and “the passing
there / Had worn them really about the same.” And so the two roads are <i>equally</i> traveled. The <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">two roads are
interchangeable (5). What has happened? This is either a flat-out contradiction
or irony. Irony is not taken literally the same way as a metaphor is not to be
taken literally. But irony has <i>closure</i>;
it means something definite – it’s the assertion’s opposite meaning and the
interpretation is <i>not open-ended</i> as a
metaphor is. Therefore, this poem is really a trick, a wolf in a sheep’s
clothing, as Orr quoting the critic Frank Lentricchia say, “It [this poem] may
be the best example of all of American <i>culture</i>
of a wolf in sheep’s clothing.” Finally, we conclude that Frost did not <i>deceive</i> us; we were too eager to see
what we wanted to see – the triumph of the individualist spirit. <b><o:p></o:p></b></span></div>
<div class="MsoNoSpacing" style="line-height: 200%; tab-stops: right 6.5in;">
<b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">Applications of Metaphors: <o:p></o:p></span></b></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">Spying:<o:p></o:p></span></b></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> Recall that Frost says that one is not
safe anywhere without some facility with the metaphor.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">(reference). Robert
Frost cautioned us back in 1931 that we are not safe anywhere without an
understanding of the metaphor. An article appearing in the “<i>Atlantic Monthly</i>,” “Why Are Spy
Researchers Building a ‘Metaphor Program’?” exposes that “a small research arm
of the U.S. government’s intelligence establishment wants to understand how
speakers of Farsi, Russian, English, and Spanish see the world by building
software that automatically evaluates their use of metaphors (The Atlantic, May
25, 2011). The budget is almost one billion dollars given in contracts by the
NSA and the CIA to language translation teams such as Applied Research
Associates, a 1,600-strong research company. It is hoped that the program will
exploit the fact metaphors are so pervasive in everyday talk that data mining
them will reveal the underlying <o:p></o:p></span></div>
<div align="right" class="MsoNoSpacing" style="line-height: 200%; text-align: right;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">Woon
29<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">beliefs and worldviews
of members of a culture (2). Before we can evaluate the plausibility of such a
program, we need to talk about the Chinese Room Problem as the celebrated
thought experiment of the American philosopher John Searle. <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> The Chinese Room experiment basically is a
scenario set up like this: A man is in a room who does not know the Chinese
language but he has many dictionaries, tables, and cross-reference between
Chinese and English. There is an incoming slot to the room for the man in which
a text is Chinese is fed. And there is an outgoing slot where the man outputs
his “translation” of Chinese, which he has “translated” into English by the
various tables and dictionaries in his room. A bilingual Chinese person then
compares the input text in Chinese and the output text in English and finds it
satisfactory. The question now is: Does the man in the room know Chinese?
Knowing this set-up, we of course say no. But what about the bilingual Chinese
person who does not know who or what is in the room and whether that person or
machine knows or does not know Chinese or the fact that there is a roomful of
cross-references. <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> Now imagine that the “Metaphor Program” is
able to “translate” or “interpret” metaphors speakers of a language use; this
is asking the metaphor program to know what the thought process is from what a
speaker of a language utters. This means we have an algorithm to scan the
entire target language as it has been kept as data and to be able to decide
which phrase is a metaphor and what is in the speaker’s mind. This presents the
undecidable question of the Chinese Room experiment of John Searle again. This
time it is phrased differently. This time we ask how can the machine “know”
when it is correct. The whole point of the Chinese Room experiment is that the
bilingual Chinese-speaking person who examines the input and output <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<br /></div>
<div align="right" class="MsoNoSpacing" style="line-height: 200%; text-align: right;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">Woon
30<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">texts is a <b>human!</b> This is the classic case of GIGO
or “Garbage in and Garbage out.” The machine is only as smart as its
programmer. <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> The “believer” is not to be deterred. He
will quote that the computer has already beaten the world champion chess and Go
players. And in time, it will be able to parse a language for metaphors and
catalogue them in the manner of Lakoff and Johnson to reveal our mindset when
we use metaphors, such as Argument Is War, Time Is Money, or Love Is a Journey,
etc. However, this is a different sort of activity altogether. In chess and Go,
we have an end result we are seeking and we know what it is by “winning” or
losing such a parlor game. The metaphor is open-ended and thus ambiguous and
undecidable. Remember that it is context dependent. So, it will have a different
propositional content given different contexts. For reasons too technical for
this paper, we will leave the question whether John Searle is right about
whether the Chinese Room problem is a refutation of “strong artificial
intelligence.” <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">Education:</span></b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"><o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> Robert Frost, when addressing Amherst
College in 1931, delivered this essay, “Education by Poetry,” in which he said
that he would throw away all the intellectual enthusiasm like the spectrum of a
prism except “enthusiasm tamed by metaphor.” He believed that we need to
understand the discreet use of metaphor, other people’s and our own, unless we
have had a proper education in poetry. Poets begin with very trivial metaphors,
he said, and go on to the most profound thinking that we have (3). “What I am
pointing out is that unless you are at home in the metaphor, you are not safe
anywhere…Because [if] you are not at ease with figurative values: you don’t
know the metaphor’s strength and its weakness (5). He goes on to say that <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<br /></div>
<div align="right" class="MsoNoSpacing" style="line-height: 200%; text-align: right;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">Woon
31<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">“thinking” is largely
metaphor. We come closest to the poets and writers when we understand their
metaphors and thus we come close to their thinking and wisdom (8). Frost also
mentions that our scientific models of the universe are also metaphors; for
example, thinking the world as a thermodynamic machine. But Frost also cautions
that all metaphors break down somewhere, when the likeness is forced or
exaggerated. The metaphor is a “likeness” and not an identity and thus one must
know how far “to ride” the metaphor. Therefore, one must be wary when hearing
the metaphor of others, e.g., try this – “The War on Drugs.” Here what slips
into our mind is that the drug problem is so severe that we must go all out
against it. But how far before this metaphor breaks down? It might be the case
of killing the patient to relieve one of the diseases. <o:p></o:p></span></div>
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<b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">Metaphors’
Curative Values:</span></b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"><o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> Speaking of personal experiences, I have
used poetry as a means to alleviate severe symptoms of my prolonged
schizoaffective illness since its inception in my mid-twenties. Those
depressions and anxieties were feelings of brittleness as a junk car rusting in
a junkyard. Who can identify with a rusting junk car with broken rear view
mirrors imprisoned in the cemetery of broken down cars? One would like horses and
pasture but no, just the vacant, empty, voiceless rusting abandoned cars
stripped of whatever was left of their useful machinery. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> According to some historians and
philosophers of science, attention is drawn to the idea that, just as the facts
and methods of any scholarly discipline are to be understood as shaped by
larger and larger theories and eventually by worldviews (Lyddon, 442).
According to this perspective, one domain of therapeutic counseling is that
different views of human change are subscribed to by different schools and
personalities of the therapists. This underlying set of assumptions of the <o:p></o:p></span></div>
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32<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">world is called the
root metaphor theory. This is essentially a way to view the phenomenon of the
illness in various ways which then is reflected in the course of treatment. It
is almost like <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">learning a new
language, where the patient learns the lingo of the school of therapy and
almost as if “playing along” to their “fiction of him. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> Sometimes, however, the patient comes to
the therapist with a metaphor of his own illness. A paranoid, suspicious
patient may have a delusion that there is a knife that someone has stabbed him
with and left in his back. It would be incorrect pragmatically if the therapist
were to say, “I do not see such a knife in your back.” The therapist should not
“deny” this but say to the patient, “It is only a small knife and I will pull
it from your back.” <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> Milton Erickson, the famous psychiatrist
and hypnotist, when confronted by a mental hospital who claimed to be Jesus
Christ, did not argue or try to disillusion the man but said to him <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">instead, “Then, I
understand you know something of carpentry”? The mental patient said that he
did. And so Erickson arranged to have a job in the mental hospital where the mental
patient played out his “metaphor” of being the Son of God and a useful
carpenter at the hospital (Hanlon 16). <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">Woon
33<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">REACTION<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> After some thoughts about the
metaphor, as it is represented and discussed in different academic realms of
philosophy of language, cognitive science, and in poetry, but mainly in poetry,
I become aware where some avenues where my investigations could lead. The first
is to post in the Academia website where fellow students and professors may
read it and react to it, as a topic to be discussed in literary workshops, or
as a foothold in the application of the poetic metaphor in the philosophy of
language to try to overcome some of the shyness philosophers of language
reluctant to investigate this “dark chapter” of language. It is my hope that my
cursory paper will stimulate more thought and generate more curiosity into the
enchantment of language, which is a human necessity, and which is at the same
time, a very high art. Therefore, I feel that my work should be shared with a
larger audience, both students and scholars of the humanities and those of the
cognitive sciences and those in the rarefied field of philosophy.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> What I hope also is that the readers are
stimulated to create a poetry that is rich in metaphors, to expand the already
language-rich and symbol-rich of some of the finest poetry ever written and to
do it with such an affective content that the readers can easily identify with
the emotive messages and renditions of well-chosen words that not only open
one’s doors of perception but also in so doing, invite the readers to enrich
their empathy and sympathy of those who write to communicate volumes of meaning
and to leave ineffable messages of good will that we are as one race of people
despite outward appearances of differences. And to make poetry matter as one
saying has been quoted, “An ulcer, sir, is an unwritten poem.” <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> For those who are aware of the powers of
the word and those that are strongly affected by its curative properties, the
metaphor, as Robert Frost has said, “one is not safe anywhere if one does <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">Woon
34<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">not understand the
metaphor,” he might have said, in addition, one is likely to be more
open-minded and sensitive to the world around one, knowing that metaphors are
not what they seem, in the way that the appearance is not the reality as Arthur
Schopenhauer said of the world. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> Originally this fascination with the
metaphor grew out of an invitation to a poetry festival as a presenter of the
art and discipline of writing poetry. I was to hold workshop and teach high
school and college students, and practicing published poets in the intricacies
of the metaphor. When a friend, who is both a poet and a cognitive
psychologist, heard of my contemplated task, he proposed that we write a book
for the MIT press, showcasing the power and the versatility of the metaphor and
to bridge the gap between the humanities and the cognitive sciences. We both
were enamored by the idea and went at it with glee and vigor. However, as we
dig deeper and deeper into it, I found that not only we, but also not many
philosophers or cognitive scientists, knew much about the metaphor. The problem
was further complicated by the logical foundation of such an inquiry. My friend
and co-author chose to examine the laboratory studies of the metaphor, by
generating from experiments done with college students the statistical measures
of such things as what parts of the brain are activated by the exposure to
metaphors and the time it took to recognize a metaphor. I, on the other hand,
was more interested in the philosophical and epistemological foundation of such
an investigation. What assumptions are we making about <i>cognition, translation, meaning, </i>and <i>models </i>of the brain and how is that similar or different from our
concept of <i>mind.</i> What assumptions are
we making about the relationship between mind and the world? Can we ever say with any degree of certainty
that our models of the world is what it is if the world is mind-independent.
There were all sorts of questions like these, and I was unable to answer them
without committing myself to serious and prolonged studies. Hence, I aborted <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">Woon
35<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">my part of the book
project and set myself to delve into this investigation further. I reason that
it is no shame to admit what one does not know. As opposed to my friend, I
needed an analytical model of mind, language, and the dynamics of the metaphor
and that would mean that I commit to some brand of metaphysics. What is there
really in the world? And is my description of it doing it any justice? I then
saw that generating data per se is not really where our work should lie. <i> </i><o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> Having been most of my life employed in
blue-collar labor such as the US post office, furniture factory, and culinary
work, especially in culinary work, I have a practical bend and I like to see
theories applied to the real world – the proof is in the pudding. Despite my
background in mathematics and in philosophy, I like to work in applied areas of
knowledge, and my background in mathematics and philosophy was merely to make
my applications more coherent and precise. I also have done some graduate work
in Whole Systems Design, where the methodology is to use feedback and control
mechanisms to diagnose, analyze, and to repair entire systems, be it a
white-collar organization, an accounting problem, or the running of a
warehouse, since these ultimately human organizations follow paradigms or
archetypes. Problems can be traced to various components, that is, their
control and feedback mechanisms. Such diagnoses can be given descriptive names
such as “the limits of growth,” “unintended consequences,” “accidental
adversaries,” and so forth where the problem can be isolated and fixed. What my
friend the co-author and I had encountered was the problem of “accidental
adversaries,” because being a psychologist and having little background in
literary theory, he is very much a “formalist” and very much patronizing of my
mental illness, albeit many first rate poets and writers are mentally ill, or
at some ways at odds with the everyday machinery of the <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">Woon
36<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">world. And since he had
been a professor for thirty-odd years, he tended to be professorial. He quoted
Robert Frost who derided poets who work in free-verse as “playing tennis with
the net down.” I, on the other hand, saw such blind adherence to formal poetry
and regulated verse as a “straightjacket” based on my experiences of the
world’s misunderstanding, and I reacted negatively to these biases. Friction
arose and we became “accidental adversaries” as being in academia, he is competitive
as a matter of a survival mechanism in that kind of setting. Because of the
organization needed to write and present many academic papers because of the
“publish or perish” environment he is in, he already outlined the book before
writing, and just thrust the agenda to me. But being a generative artist, I
work heuristically and am open to ideas as they come to me. Therefore, our work
habits clashed. We reached an impasse and I bowed out of the book contract. <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> Another problem was that after surveying
the literature available on the poetic metaphor I found in Lakoff and Johnson a
mere taxonomy of this figure of speech. Even though some of their categories
had wide application and seemingly convincing that they share a “family
resemblance,” but in fact they merely categorize the metaphors they found
without going to the root, sort of seeing a light show without knowing optics.
A much stronger approach would be “causal,” where the researcher can identify
the births of metaphors as they are being mapped from one conceptual domain to
another. Since we are mapping something more concrete to something more
abstract, the “carry-over” of the concrete from the originating domain will in
some sense “flesh out” the destination conceptual domain. An example of mine
would be, “If you can’t stand the heat, get out of the kitchen.” Here, we do
have a very tangible situation of a hot kitchen being mapped into a situation
that is perilous in some ways. One can also see that <o:p></o:p></span></div>
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37<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">this metaphor is
open-ended; that is to say, one can collaborate and evoke other situation where
it is good to abandon.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> As the Tao Te Ching said in 500 B.C.,
“Ever desiring, one sees the manifestations. Ever desireless, one sees the
mystery.” What my co-author wanted is the “manifestations” while I was seeking
the “mystery.” And my friend, having taught so many capable students and had
become distinguished professor at a prestigious large public university, his
job was just that – professing. So, all the time, I did not feel like he was
treating me as his equal. Had he been a better psychologist, he would have
“given” me the feeling that I was valuable, and not just some patronized
disabled individual as an adjunct to the writing of the book. Perhaps I am a little
sensitive because my father was a blue-collar, self-made and self-employed man,
that in order to cover up for his lack of education and prestige in the world,
would say to me, “I don’t know how much a professor makes, but I make
thirty-thou.” He also likened a professor with “so many degrees after their
name he is like a monkey with many tails.” Needless to say, even though my
basic instinct had been to be a scholar, my father had deflated that ambition
of mine that it is not only sad, but kind of a parallel what some professors do
to their better students – to see them as a potential threat. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> So, this leaves me somewhere still as
everybody got to be somewhere sometime. It is to trust my instincts and my
unconscious mind. I have produced two award-winning books of poetry and one
memoir that was funded by a grant from the Office of Arts & Culture of the
City of Seattle. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">Quite often, artists
and visionaries can see and feel what others cannot see and feel until a much
later time. My need is to trust myself as a generative artist and to
investigate the subject of the metaphor in my “work” of writing poetry. The
maxim, “the eye finds what the heart seeks” is as <o:p></o:p></span></div>
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38<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">clear and all-embracing
as any philosophical treatise or brain scan of the metaphor as it is being
discovered by the poet. The Chinese Book of Odes, compiled by Confucius is
3,000 years old, and it states that “poetry is where one’s heart wants to go.”
And those were the dying words that my Uncle in China said to me over the cell
phone that bridged some 12,000 miles. Analytics, while well-reasoned and even
elegantly stated at times, is no match for what comes from the depth of being. <o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> One of the pragmatic results of working on
this project is that I volunteered to teach poetry at a senior center. I have
as of now six students who are senior citizens in their sixties and seventies
whose interest now in poetry is not for bread or a feather in their cap. They
are here to enrich their lives as quality is quite often lacking in this American
consumerism, especially one’s own generative art. In a sense, they are very
surprised by the way they can express themselves in a language that they spoke
and written all their lives but now viewing it like for the first time. I even
applied and will obtain a grant from Poets & Writers, Inc., a charitable
organization that supports and advances poetry and writing. This grant I will
plow back to our group as rental for classroom space at the senior center and
pay for such small items as Xeroxing costs and paper clips and so on. I do not
aspire to teach younger people with ambitions to become <i>famous </i>writers, because being famous can be merely topical.
Instead, I want writers to write from the heart. The older citizens have
experienced much of the world in their retirement years and for some of them,
this is the first time they are exposed to and committing themselves to the
production of art, written art that is. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> Studying the metaphor has also opened my
eyes to what is published out there on “scholarly” subjects. Using my culinary
experience as a comparison, some of the papers have very high-<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;">sounding names and
technical terms, but to me, a can of chili is a can of chili, never mind the
fact that it contains Jalapeño that can really “zing.” I discover that many
writers hide behind their words much like an ink fish, which uses ink to
camouflage itself. There is also a bandwagon effect – when a subject is hot,
everyone is in hot pursuit.<o:p></o:p></span></div>
<div class="MsoNoSpacing" style="line-height: 200%;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> I had a lot of trouble writing this paper.
It is really the third topic I have chosen and worked on and with the first two
topics abandoned. My mistake is to be too broad and not focusing. It is my
regret that I did not plan this paper properly and also had tried to do more
than what I was capable of doing, not from an inherent inability but from lack
of proper organization and discipline. It is also a lesson that I learned that
some things are not suited to my personality and my illness. I wrote poetry
largely because it is short for the most part for poems that I have the
attention span to read and remember. Here I should just limit to one section or
one theme / topic, such as why Frost said that poetry is largely metaphor and
thinking is largely metaphor. Or, I could have focused on the role of
conceptual metaphors in our everyday thinking. And also to deconstruct some of our hidden assumptions
about the world and dangerously lull ourselves into believing that a metaphor
is truth itself. The experiment some cognitive psychologists have done is
enlightening. They present the urban crime problem to two groups of students
with one description by the metaphor “urban crime is a wild animal” while to
the other group of students they presented the metaphor for urban crime as
“urban crime is a virus.” Those who were presented the wild animal metaphor
opted for more strict police enforcement and higher criminal penalties, whole
those students who were present the metaphor of crime as a virus were more
lenient and advocated prevention as opposed to punishment. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 200%;"> In the course of researching for this
paper, I found out that now a Ph.D. degree in psychology is now available for
Media Psychology. Now, the metaphor being sometimes shocking in the sense of
revealing to ourselves how we can grossly misrepresent the world, this is a
serious point to ponder, especially when loud sound bites come out of the
television tube and in mass sporting events, the spectators of a football game
will yell, whatever they will yell, such as “crush those guys”! The Atlantic
Monthly article on the NSA and CIA trying to fathom peoples’ minds by what they
say or write is again a double-edged sword. On the one hand, by ferreting out
metaphors or hostile groups we can spot terrorism, but on the other hand, our
own government can find more and efficient ways to control us. Just knowing
this reinforces the saying, “The price of freedom is eternal vigilance.”<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Works
Cited<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Aristotle, <i>Poetics. </i>Written 350 B.C.E. Trans. S. H.
Butcher. Section 3. Part 21.<Classics.mit.edu/ <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"> Aristotle/poetics.3.3html><o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Black, Max. <i>Metaphor. Proceedings of the Aristotelian
Society</i>. New Series. Vol. 55 (1954 – <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"> 1955). pp. 273-294. Web. 20 December
2016.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Booth, Wayne. <i>Metaphor as Rhetoric</i>, as quoted by of
Peter Norvig, U.C. Berkeley, in “Review <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"> of Metaphors We Live By.” </span><a href="http://norvig.com/mwlb.html"><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">http://norvig.com/mwlb.html</span></a><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"><o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"> Longman. 2011. Print.<o:p></o:p></span></div>
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San Diego. Academic Press. 1972. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"> Print.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Frost, Robert.
“Education by Poetry.” <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"> <</span><a href="http://www.en.utexas.edu/AMLIT/AM/ITPRIVATE/SCANS/EDBYPO.html"><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">WWW.EN.UTEXAS.EDU/AMLIT/AM/ITPRIVATE/SCANS/EDBYPO.html</span></a><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">> Web. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"> 20 Dec. 2016.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Geary, James. <i>I Is An Other: The Secret Life of Metaphor
And How It Shapes The Way We See<o:p></o:p></i></span></div>
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<i><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"> The World.</span></i><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">
New York. Harper Perennial. 2011. Print. <i> <o:p></o:p></i></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Hanlon, Bill. <i>Evolving Possibilities: Selected Papers of
Bill Hanlon. </i>Eds. O’Hanlon, Stephanie, <o:p></o:p></span></div>
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Brunner / Mazel. 1999. Print. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Heidegger, Martin. <i>Being And Time.</i> Trans. Macquarrie, John
and Robinson, Edward. New York.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"> Harper-Collins. 1962. Print.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Lakoff, George, and
Johnson, Mark. <i>Metaphors We Live By. </i>Chicago.
Chicago UP. 1980. Print.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Lakoff, George, and
Turner, Mark. <i>More Than Cool Reason: A
Field Guide to Poetic Metaphor.</i><o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"> Chicago. Chicago UP.1989. Print. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Lycan, William G. <i>Philosophy of Language: A Contemporary
Introduction. </i>London. Routledge.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"> Woon 42 <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"> 2000. Print.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Lyddon, William J.
“Root Metaphor Theory: A Philosophical Framework for Counseling and <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"> Psychotherapy. <i>Journal of Counseling and Development / </i>April1989 / Vol. 67. pp.442
– <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Moran, Richard.
“Metaphor” From: <i>Companion to the
Philosophy of Language. </i>Wright, Crispin<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"> and Hale, Bob, eds. (Blackwell 1995).<o:p></o:p></span></div>
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Review.</i> 15 Sept. 2015. Web.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"> 20 Dec. 2016.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Parini, Jay. <i>Why Poetry Matters.</i> New Haven. Yale
UP.2008. Print.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Plath, Sylvia.
“Metaphor.” <i>Modern American Poets: Their
Voices and Visions.</i> Ed. DiYanni, <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"> Robert. New York. McGraw-Hill. 1994.
Print.<i><o:p></o:p></i></span></div>
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Station of the Metro.” <i>Modern American
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McGraw-Hill. 1994. Print.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Roethke, Theodore. <i>The Collected Poems of Theodore Roethke. </i>New
York. Anchor Books.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"> 1966. Print.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Runcie, Charlotte. <i>Dylan Thomas: best poems and quotes – which
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Samuel Taylor
Coleridge. Quotes. <i>Goodreads. </i>Web. 21 Dec. 2016.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Tsu, Lao. <i>Tao Te Ching. </i>Trans. Feng, Gia-Fu, and
English, Jane. New York. Vintage. 1997. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"> Print.<o:p></o:p></span></div>
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koon woonhttp://www.blogger.com/profile/10570460211753996634noreply@blogger.com2tag:blogger.com,1999:blog-6027582433482221286.post-82380507104497723332016-06-02T16:18:00.001-07:002016-06-03T08:26:25.767-07:00Open letter to President Xi of China and other interested parties<h2 class="date-header" style="background-color: #66bb33; color: #336600; font-family: Georgia, Utopia, 'Palatino Linotype', Palatino, serif; font-size: 18px; font-stretch: normal; font-weight: normal; margin: 0px 0px 0.5em; min-height: 0px; position: relative;">
Thursday, June 2, 2016</h2>
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<a href="http://henrymingding.blogspot.com/2016/06/protection-racketeering-open-letter-to.html" style="color: #993322; text-decoration: none;">Protection Racketeering ---- Open letter to President Xi of China and other interested parties</a></h3>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: medium;">There is a nut, who should be evaluated by mental health agencies, named Mar or Ma who stops me when I walk on 18th Ave. South in Seattle and talks about protection racketeering.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: medium;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: medium;">President Xi, as you know, we villagers do not go to the police. But we know you have sensors in Seattle.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: medium;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: medium;">And by the time I post this post, you probably already know all the facts of the case. Do what is appropriate.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: medium;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: medium;">The first thing to do is to clamp down on gambling. As the philosopher John Searle says, gaming is a grim business for some. If they lost too much they want others to bail them out.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: medium;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: medium;">It is better to cure them of their bad habits then it is for the law-abiding citizens to rescue them.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: medium;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: medium;">Sincerely, </span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: medium;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: medium;">Koon Woon </span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: medium;">aka Lock Kau Koon</span></div>
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koon woonhttp://www.blogger.com/profile/10570460211753996634noreply@blogger.com0tag:blogger.com,1999:blog-6027582433482221286.post-64421077596159809142015-12-03T03:43:00.001-08:002015-12-03T03:43:08.354-08:00Russia Joins China in Space Weapons<div id="header" style="background-color: white; font-family: Arial, Helvetica, sans-serif; font-size: 14px; margin: 0px;">
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Washington Left in the Dust: Russia Flies Strategic Space Warfare Missile</h1>
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<a href="http://www.globalsecurity.org/space/world/russia/asat.htm" style="color: #913100; font-size: 13px; font-weight: bold; text-decoration: none;" title="Russia and Anti-Satellite (ASAT) Programs">In-Depth Coverage</a></div>
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22:15 02.12.2015(updated 23:37 02.12.2015)</div>
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<strong>Moscow carried out the first successful flight test of its new anti-satellite missile last month, becoming just the second nation to arm its military with space warfare weapons.</strong></div>
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Russia's direct ascent anti-satellite missile, known as Nudol, was <a class="itxtnewhook itxthook" href="http://www.globalsecurity.org/space/library/news/2015/space-151202-sputnik01.htm?_m=3n%2e002a%2e1580%2ejm0ao07ngd%2e1g8v#" id="itxthook0" rel="nofollow" style="background-color: transparent; background-image: none; border: 0px none transparent; color: #913100; cursor: pointer; display: inline; padding: 0px; text-decoration: none;"><span class="itxtrst itxtrstspan itxtnowrap" id="itxthook0p" style="background-color: transparent; border: 0px; bottom: auto; display: inline !important; float: none !important; font-family: inherit; font-size: inherit; height: auto; left: auto; line-height: normal; margin: 0px !important; padding: 0px !important; position: static; right: auto; text-align: left; top: auto; white-space: nowrap !important;"><span class="itxtrst itxtrstspan itxtnowrap itxtnewhookspan" id="itxthook0w" style="background-color: transparent; border-color: transparent transparent rgb(0, 204, 0); border-style: none none solid; border-width: 0px 0px 1px; bottom: auto; color: #009900; display: inline; float: none; font-family: inherit; height: auto; left: auto; margin: 0px !important; padding: 0px 0px 1px !important; position: static; right: auto; text-decoration: underline !important; top: auto; white-space: normal;">successfully</span><img class="itxtrst itxtrstimg itxthookicon" id="itxthook0icon" src="http://images.intellitxt.com/ast/adTypes/icon1.png" style="background-color: transparent; border: 0px !important; bottom: auto; display: inline !important; float: none !important; height: auto !important; left: auto; margin: 0px !important; max-height: none; max-width: none !important; padding: 0px 0px 0px 4px !important; position: static; right: auto; top: auto; vertical-align: baseline !important; white-space: normal; width: auto !important;" /></span></a> tested on November 18, according to defense officials familiar with reports of the test. It was the first successful test in three attempts, the Washington Free Beacon reported.</div>
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Russia now <a class="itxtnewhook itxthook" href="http://www.globalsecurity.org/space/library/news/2015/space-151202-sputnik01.htm?_m=3n%2e002a%2e1580%2ejm0ao07ngd%2e1g8v#" id="itxthook1" rel="nofollow" style="background-color: transparent; background-image: none; border: 0px none transparent; color: #913100; cursor: pointer; display: inline; padding: 0px; text-decoration: none;"><span class="itxtrst itxtrstspan itxtnowrap" id="itxthook1p" style="background-color: transparent; border: 0px; bottom: auto; display: inline !important; float: none !important; font-family: inherit; font-size: inherit; height: auto; left: auto; line-height: normal; margin: 0px !important; padding: 0px !important; position: static; right: auto; text-align: left; top: auto; white-space: nowrap !important;"><span class="itxtrst itxtrstspan itxtnowrap itxtnewhookspan" id="itxthook1w" style="background-color: transparent; border-color: transparent transparent rgb(0, 204, 0); border-style: none none solid; border-width: 0px 0px 1px; bottom: auto; color: #009900; display: inline; float: none; font-family: inherit; height: auto; left: auto; margin: 0px !important; padding: 0px 0px 1px !important; position: static; right: auto; text-decoration: underline !important; top: auto; white-space: normal;">joins</span><img class="itxtrst itxtrstimg itxthookicon" id="itxthook1icon" src="http://images.intellitxt.com/ast/adTypes/icon1.png" style="background-color: transparent; border: 0px !important; bottom: auto; display: inline !important; float: none !important; height: auto !important; left: auto; margin: 0px !important; max-height: none; max-width: none !important; padding: 0px 0px 0px 4px !important; position: static; right: auto; top: auto; vertical-align: baseline !important; white-space: normal; width: auto !important;" /></span></a> China as the only nations with strategic space warfare weapons. In October, China conducted a flight test of its anti-satellite missile, the Dong Neng-3 direct ascent missile.</div>
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Analysts say anti-satellite missiles could cripple US intelligence, <a class="itxtnewhook itxthook" href="http://www.globalsecurity.org/space/library/news/2015/space-151202-sputnik01.htm?_m=3n%2e002a%2e1580%2ejm0ao07ngd%2e1g8v#" id="itxthook2" rel="nofollow" style="background-color: transparent; background-image: none; border: 0px none transparent; color: #913100; cursor: pointer; display: inline; padding: 0px; text-decoration: none;"><span class="itxtrst itxtrstspan itxtnowrap" id="itxthook2p" style="background-color: transparent; border: 0px; bottom: auto; display: inline !important; float: none !important; font-family: inherit; font-size: inherit; height: auto; left: auto; line-height: normal; margin: 0px !important; padding: 0px !important; position: static; right: auto; text-align: left; top: auto; white-space: nowrap !important;"><span class="itxtrst itxtrstspan itxtnowrap itxtnewhookspan" id="itxthook2w" style="background-color: transparent; border-color: transparent transparent rgb(0, 204, 0); border-style: none none solid; border-width: 0px 0px 1px; bottom: auto; color: #009900; display: inline; float: none; font-family: inherit; height: auto; left: auto; margin: 0px !important; padding: 0px 0px 1px !important; position: static; right: auto; text-decoration: underline !important; top: auto; white-space: normal;">navigation</span><img class="itxtrst itxtrstimg itxthookicon" id="itxthook2icon" src="http://images.intellitxt.com/ast/adTypes/icon1.png" style="background-color: transparent; border: 0px !important; bottom: auto; display: inline !important; float: none !important; height: auto !important; left: auto; margin: 0px !important; max-height: none; max-width: none !important; padding: 0px 0px 0px 4px !important; position: static; right: auto; top: auto; vertical-align: baseline !important; white-space: normal; width: auto !important;" /></span></a>, and communications capabilities that are critical for both military operations and civilian infrastructure.</div>
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The Russian test is a concern for Washington, Representative Mike Pompeo, a Kansas Republican, told the paper.</div>
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'As President Obama cuts our defense <a class="itxtnewhook itxthook" href="http://www.globalsecurity.org/space/library/news/2015/space-151202-sputnik01.htm?_m=3n%2e002a%2e1580%2ejm0ao07ngd%2e1g8v#" id="itxthook3" rel="nofollow" style="background-color: transparent; background-image: none; border: 0px none transparent; color: #913100; cursor: pointer; display: inline; padding: 0px; text-decoration: none;"><span class="itxtrst itxtrstspan itxtnowrap" id="itxthook3p" style="background-color: transparent; border: 0px; bottom: auto; display: inline !important; float: none !important; font-family: inherit; font-size: inherit; height: auto; left: auto; line-height: normal; margin: 0px !important; padding: 0px !important; position: static; right: auto; text-align: left; top: auto; white-space: nowrap !important;"><span class="itxtrst itxtrstspan itxtnowrap itxtnewhookspan" id="itxthook3w" style="background-color: transparent; border-color: transparent transparent rgb(0, 204, 0); border-style: none none solid; border-width: 0px 0px 1px; bottom: auto; color: #009900; display: inline; float: none; font-family: inherit; height: auto; left: auto; margin: 0px !important; padding: 0px 0px 1px !important; position: static; right: auto; text-decoration: underline !important; top: auto; white-space: normal;">budget</span><img class="itxtrst itxtrstimg itxthookicon" id="itxthook3icon" src="http://images.intellitxt.com/ast/adTypes/icon1.png" style="background-color: transparent; border: 0px !important; bottom: auto; display: inline !important; float: none !important; height: auto !important; left: auto; margin: 0px !important; max-height: none; max-width: none !important; padding: 0px 0px 0px 4px !important; position: static; right: auto; top: auto; vertical-align: baseline !important; white-space: normal; width: auto !important;" /></span></a> and seeks to ally with Putin, the Russians continue to develop their technological abilities to weaponize space and to take out our national technical means – kinetically and through cyber,' said Pompeo, a member of the House Permanent Select Committee on Intelligence.</div>
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'We can foolishly turn a blind eye to these developments, or acknowledge this threat and develop our own capabilities to ensure that our satellites – military and <a class="itxtnewhook itxthook" href="http://www.globalsecurity.org/space/library/news/2015/space-151202-sputnik01.htm?_m=3n%2e002a%2e1580%2ejm0ao07ngd%2e1g8v#" id="itxthook4" rel="nofollow" style="background-color: transparent; background-image: none; border: 0px none transparent; color: #913100; cursor: pointer; display: inline; padding: 0px; text-decoration: none;"><span class="itxtrst itxtrstspan itxtnowrap" id="itxthook4p" style="background-color: transparent; border: 0px; bottom: auto; display: inline !important; float: none !important; font-family: inherit; font-size: inherit; height: auto; left: auto; line-height: normal; margin: 0px !important; padding: 0px !important; position: static; right: auto; text-align: left; top: auto; white-space: nowrap !important;"><span class="itxtrst itxtrstspan itxtnowrap itxtnewhookspan" id="itxthook4w" style="background-color: transparent; border-color: transparent transparent rgb(0, 204, 0); border-style: none none solid; border-width: 0px 0px 1px; bottom: auto; color: #009900; display: inline; float: none; font-family: inherit; height: auto; left: auto; margin: 0px !important; padding: 0px 0px 1px !important; position: static; right: auto; text-decoration: underline !important; top: auto; white-space: normal;">commercial</span><img class="itxtrst itxtrstimg itxthookicon" id="itxthook4icon" src="http://images.intellitxt.com/ast/adTypes/icon1.png" style="background-color: transparent; border: 0px !important; bottom: auto; display: inline !important; float: none !important; height: auto !important; left: auto; margin: 0px !important; max-height: none; max-width: none !important; padding: 0px 0px 0px 4px !important; position: static; right: auto; top: auto; vertical-align: baseline !important; white-space: normal; width: auto !important;" /></span></a> – are not susceptible to attack or blackmail.'</div>
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Former Pentagon official Mark Schneider said the Russian test highlights the failure of the <a class="itxtnewhook itxthook" href="http://www.globalsecurity.org/space/library/news/2015/space-151202-sputnik01.htm?_m=3n%2e002a%2e1580%2ejm0ao07ngd%2e1g8v#" id="itxthook5" rel="nofollow" style="background-color: transparent; background-image: none; border: 0px none transparent; color: #913100; cursor: pointer; display: inline; padding: 0px; text-decoration: none;"><span class="itxtrst itxtrstspan itxtnowrap" id="itxthook5p" style="background-color: transparent; border: 0px; bottom: auto; display: inline !important; float: none !important; font-family: inherit; font-size: inherit; height: auto; left: auto; line-height: normal; margin: 0px !important; padding: 0px !important; position: static; right: auto; text-align: left; top: auto; white-space: nowrap !important;"><span class="itxtrst itxtrstspan itxtnowrap itxtnewhookspan" id="itxthook5w" style="background-color: transparent; border-color: transparent transparent rgb(0, 204, 0); border-style: none none solid; border-width: 0px 0px 1px; bottom: auto; color: #009900; display: inline; float: none; font-family: inherit; height: auto; left: auto; margin: 0px !important; padding: 0px 0px 1px !important; position: static; right: auto; text-decoration: underline !important; top: auto; white-space: normal;">United</span><img class="itxtrst itxtrstimg itxthookicon" id="itxthook5icon" src="http://images.intellitxt.com/ast/adTypes/icon1.png" style="background-color: transparent; border: 0px !important; bottom: auto; display: inline !important; float: none !important; height: auto !important; left: auto; margin: 0px !important; max-height: none; max-width: none !important; padding: 0px 0px 0px 4px !important; position: static; right: auto; top: auto; vertical-align: baseline !important; white-space: normal; width: auto !important;" /></span></a> States to prepare for space warfare.</div>
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'There is an enormous asymmetry in play regarding space weapons,' said Schneider, now with the National Institute for Public Policy.</div>
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'For decades the Congress has prevented the US from putting weapons in space and even developing a ground-based ASAT capability,' Schneider said. 'There is no such constraint upon the Russians and Russia violates arms control treaties when this is in their <a class="itxtnewhook itxthook" href="http://www.globalsecurity.org/space/library/news/2015/space-151202-sputnik01.htm?_m=3n%2e002a%2e1580%2ejm0ao07ngd%2e1g8v#" id="itxthook6" rel="nofollow" style="background-color: transparent; background-image: none; border: 0px none transparent; color: #913100; cursor: pointer; display: inline; padding: 0px; text-decoration: none;"><span class="itxtrst itxtrstspan itxtnowrap" id="itxthook6p" style="background-color: transparent; border: 0px; bottom: auto; display: inline !important; float: none !important; font-family: inherit; font-size: inherit; height: auto; left: auto; line-height: normal; margin: 0px !important; padding: 0px !important; position: static; right: auto; text-align: left; top: auto; white-space: nowrap !important;"><span class="itxtrst itxtrstspan itxtnowrap itxtnewhookspan" id="itxthook6w" style="background-color: transparent; border-color: transparent transparent rgb(0, 204, 0); border-style: none none solid; border-width: 0px 0px 1px; bottom: auto; color: #009900; display: inline; float: none; font-family: inherit; height: auto; left: auto; margin: 0px !important; padding: 0px 0px 1px !important; position: static; right: auto; text-decoration: underline !important; top: auto; white-space: normal;">interest</span><img class="itxtrst itxtrstimg itxthookicon" id="itxthook6icon" src="http://images.intellitxt.com/ast/adTypes/icon1.png" style="background-color: transparent; border: 0px !important; bottom: auto; display: inline !important; float: none !important; height: auto !important; left: auto; margin: 0px !important; max-height: none; max-width: none !important; padding: 0px 0px 0px 4px !important; position: static; right: auto; top: auto; vertical-align: baseline !important; white-space: normal; width: auto !important;" /></span></a> to do so and they find ample opportunity to do this.'</div>
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A February 2015 unclassified Defense Intelligence Agency report to the Congress stated that 'Chinese and Russian<a class="itxtnewhook itxthook" href="http://www.globalsecurity.org/space/library/news/2015/space-151202-sputnik01.htm?_m=3n%2e002a%2e1580%2ejm0ao07ngd%2e1g8v#" id="itxthook7" rel="nofollow" style="background-color: transparent; background-image: none; border: 0px none transparent; color: #913100; cursor: pointer; display: inline; padding: 0px; text-decoration: none;"><span class="itxtrst itxtrstspan itxtnowrap" id="itxthook7p" style="background-color: transparent; border: 0px; bottom: auto; display: inline !important; float: none !important; font-family: inherit; font-size: inherit; height: auto; left: auto; line-height: normal; margin: 0px !important; padding: 0px !important; position: static; right: auto; text-align: left; top: auto; white-space: nowrap !important;"><span class="itxtrst itxtrstspan itxtnowrap itxtnewhookspan" id="itxthook7w" style="background-color: transparent; border-color: transparent transparent rgb(0, 204, 0); border-style: none none solid; border-width: 0px 0px 1px; bottom: auto; color: #009900; display: inline; float: none; font-family: inherit; height: auto; left: auto; margin: 0px !important; padding: 0px 0px 1px !important; position: static; right: auto; text-decoration: underline !important; top: auto; white-space: normal;">military leaders</span><img class="itxtrst itxtrstimg itxthookicon" id="itxthook7icon" src="http://images.intellitxt.com/ast/adTypes/icon1.png" style="background-color: transparent; border: 0px !important; bottom: auto; display: inline !important; float: none !important; height: auto !important; left: auto; margin: 0px !important; max-height: none; max-width: none !important; padding: 0px 0px 0px 4px !important; position: static; right: auto; top: auto; vertical-align: baseline !important; white-space: normal; width: auto !important;" /></span></a> understand the unique information advantages afforded by space systems and are developing capabilities to deny US use of space in the event of a conflict,' Schneider added.</div>
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koon woonhttp://www.blogger.com/profile/10570460211753996634noreply@blogger.com0tag:blogger.com,1999:blog-6027582433482221286.post-48703206432618810832015-06-11T00:43:00.000-07:002015-06-11T00:43:17.258-07:00Alfred McCoy of THE NATION: Will the 21st Century Pit the US against China?<br />
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Will the 21st Century Pit Washington Against China?</h2>
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The drawbacks of Washington’s grand strategy for global dominion.</div>
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<a href="http://www.thenation.com/authors/alfred-mccoy" style="color: #46607b; text-decoration: none;"><span property="dc:creator">Alfred McCoy</span></a> </div>
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<span class="article-date" style="color: #cccccc;">June 8, 2015</span> </div>
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<em style="padding: 0px 3px 0px 0px;">US President Barack Obama at the Great Hall of the People in Beijing, China on November 17, 2009 (Reuters/Jason Lee)</em></div>
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<em style="padding: 0px 3px 0px 0px;">This article originally appeared at <a href="http://www.tomdispatch.com/" style="color: #526a83;" target="_blank">TomDispatch.com</a>. To stay on top of important articles like these, sign up to receive the <a href="https://app.e2ma.net/app/view:Join/signupId:43308/acctId:25612" style="color: #526a83;" target="_blank">latest updates from TomDispatch.com</a>.</em></div>
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For even the greatest of empires, geography is often destiny. You wouldn’t know it in Washington, though. America’s political, national security, and foreign policy elites continue to ignore the basics of geopolitics that have shaped the fate of world empires for the past 500 years. Consequently, they have missed the significance of the rapid global changes in Eurasia that are in the process of undermining the grand strategy for world dominion that Washington has pursued these past seven decades.</div>
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A glance at what passes for insider “wisdom” in Washington these days reveals a worldview of stunning insularity. Take Harvard political scientist Joseph Nye, Jr., known for his concept of “soft power,” as an example. Offering a simple list of ways in which he believes US military, economic, and cultural power remains singular and superior, he <a href="http://www.amazon.com/dp/0745690076/ref=nosim/?tag=tomdispatch-20" style="color: #526a83;">recently argued</a> that there was no force, internal or global, capable of eclipsing America’s future as the world’s premier power.</div>
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For those pointing to Beijing’s surging economy and proclaiming this “the Chinese century,” Nye offered up a roster of negatives: China’s per capita income “will take decades to catch up (if ever)” with America’s; it has myopically “focused its policies primarily on its region”; and it has “not developed any significant capabilities for global force projection.” Above all, Nye claimed, China suffers “geopolitical disadvantages in the internal Asian balance of power, compared to America.”</div>
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Or put it this way (and in this Nye is typical of a whole world of Washington thinking): with more allies, ships, fighters, missiles, money, patents, and blockbuster movies than any other power, Washington wins hands down.</div>
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If Professor Nye paints power by the numbers, former Secretary of State Henry Kissinger’s latest tome, modestly titled <a href="http://www.amazon.com/dp/1594206147/ref=nosim/?tag=tomdispatch-20" style="color: #526a83;"><em style="padding: 0px 3px 0px 0px;">World Order</em></a> and <a href="http://www.wsj.com/articles/book-review-world-order-by-henry-kissinger-1409952751" style="color: #526a83;">hailed</a> in reviews as nothing less than a revelation, adopts a Nietzschean perspective. The ageless Kissinger portrays global politics as plastic and so highly susceptible to shaping by great leaders with a will to power. By this measure, in the tradition of master European diplomats Charles de Talleyrand and Prince Metternich, President Theodore Roosevelt was a bold visionary who launched “an American role in managing the Asia-Pacific equilibrium.” On the other hand, Woodrow Wilson’s idealistic dream of national self-determination rendered him geopolitically inept and Franklin Roosevelt was blind to Soviet dictator Joseph Stalin’s steely “global strategy.” Harry Truman, in contrast, overcame national ambivalence to commit “America to the shaping of a new international order,” a policy wisely followed by the next 12 presidents.</div>
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Among the most “courageous” of them, Kissinger insists, was that leader of “courage, dignity, and conviction,” George W. Bush, whose resolute bid for the “transformation of Iraq from among the Middle East’s most repressive states to a multiparty democracy” would have succeeded, had it not been for the “ruthless” subversion of his work by Syria and Iran. In such a view, geopolitics has no place; only the bold vision of “statesmen” and kings really matters.</div>
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And perhaps that’s a comforting perspective in Washington at a moment when America’s hegemony is visibly crumbling amid a tectonic shift in global power.</div>
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With Washington’s anointed seers strikingly obtuse on the subject of geopolitical power, perhaps it’s time to get back to basics. That means returning to the foundational text of modern geopolitics, which remains an indispensible guide even though it was published in an obscure British geography journal well over a century ago.</div>
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<strong>Sir Halford Invents Geopolitics</strong></div>
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On a cold London evening in January 1904, Sir Halford Mackinder, the director of the London School of Economics, “entranced” an audience at the Royal Geographical Society on Savile Row with a paper boldly <a href="http://www.jstor.org/stable/3451460?seq=1#page_scan_tab_contents" style="color: #526a83;">titled</a> “The Geographical Pivot of History.” This presentation evinced, said the society’s president, “a brilliancy of description… we have seldom had equaled in this room.”</div>
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Mackinder argued that the future of global power lay not, as most British then imagined, in controlling the global sea lanes, but in controlling a vast land mass he called “Euro-Asia.” By turning the globe away from America to place central Asia at the planet’s epicenter, and then tilting the Earth’s axis northward just a bit beyond Mercator’s equatorial projection, Mackinder redrew and thus reconceptualized the world map.</div>
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His new map showed Africa, Asia, and Europe not as three separate continents, but as a unitary land mass, a veritable “world island.” Its broad, deep “heartland”—4,000 miles from the Persian Gulf to the Siberian Sea—was so enormous that it could only be controlled from its “rimlands” in Eastern Europe or what he called its maritime “marginal” in the surrounding seas.</div>
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The “discovery of the Cape road to the Indies” in the sixteenth century, Mackinder wrote, “endowed Christendom with the widest possible mobility of power… wrapping her influence round the Euro-Asiatic land-power which had hitherto threatened her very existence.” This greater mobility, he later explained, gave Europe’s seamen “superiority for some four centuries over the landsmen of Africa and Asia.”</div>
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Yet the “heartland” of this vast landmass, a “pivot area” stretching from the Persian Gulf to China’s Yangtze River, remained nothing less than the Archimedean fulcrum for future world power. “Who rules the Heartland commands the World-Island,” went Mackinder’s later summary of the situation. “Who rules the World-Island commands the world.” Beyond the vast mass of that world island, which made up nearly 60% of the Earth’s land area, lay a less consequential hemisphere covered with broad oceans and a few outlying “smaller islands.” He meant, of course, Australia and the Americas.</div>
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For an earlier generation, the opening of the Suez Canal and the advent of steam shipping had “increased the mobility of sea-power [relative] to land power.” But future railways could “work the greater wonder in the steppe,” Mackinder claimed, undercutting the cost of sea transport and shifting the locus of geopolitical power inland. In the fullness of time, the “pivot state” of Russia might, in alliance with another power like Germany, expand “over the marginal lands of Euro-Asia,” allowing “the use of vast continental resources for fleet-building, and the empire of the world would be in sight.”</div>
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For the next two hours, as he read through a text thick with the convoluted syntax and classical references expected of a former Oxford don, his audience knew that they were privy to something extraordinary. Several stayed after to offer extended commentaries. For instance, the renowned military analyst Spenser Wilkinson, the first to hold a chair in military history at Oxford, pronounced himself unconvinced about “the modern expansion of Russia,” insisting that British and Japanese naval power would continue the historic function of holding “the balance between the divided forces… on the continental area.”</div>
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Pressed by his learned listeners to consider other facts or factors, including “air as a means of locomotion,” Mackinder responded: “My aim is not to predict a great future for this or that country, but to make a geographical formula into which you could fit any political balance.” Instead of specific events, Mackinder was reaching for a general theory about the causal connection between geography and global power. “The future of the world,” he insisted, “depends on the maintenance of [a] balance of power” between sea powers such as Britain or Japan operating from the maritime marginal and “the expansive internal forces” within the Euro-Asian heartland they were intent on containing.</div>
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Not only did Mackinder give voice to a worldview that would influence Britain’s foreign policy for several decades, but he had, in that moment, <a href="http://www.jstor.org/stable/3451459" style="color: #526a83;">created</a> the modern science of “geopolitics”—the study of how geography can, under certain circumstances, shape the destiny of whole peoples, nations, and empires.</div>
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That night in London was, of course, more than a long time ago. It was another age. England was still mourning the death of Queen Victoria. Teddy Roosevelt was president. Henry Ford had just opened a small auto plant in Detroit to make his Model-A, an automobile with a top speed of 28 miles per hour. Only a month earlier, the Wright brothers’ “Flyer” had taken to the air for the first time—120 feet of air, to be exact.</div>
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Yet, for the next 110 years, Sir Halford Mackinder’s words would offer a prism of exceptional precision when it came to understanding the often obscure geopolitics driving the world’s major conflicts—two world wars, a Cold War, America’s Asian wars (Korea and Vietnam), two Persian Gulf wars, and even the endless pacification of Afghanistan. The question today is: How can Sir Halford help us understand not only centuries past, but the half-century still to come?</div>
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<strong>Britannia Rules the Waves</strong></div>
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In the age of sea power that lasted just over 400 years—from 1602 to the Washington Disarmament Conference of 1922—the great powers competed to control the Eurasian world island via the surrounding sea lanes that stretched for 15,000 miles from London to Tokyo. The instrument of power was, of course, the ship—first men-o’-war, then battleships, submarines, and aircraft carriers. While land armies slogged through the mud of Manchuria or France in battles with mind-numbing casualties, imperial navies skimmed over the seas, maneuvering for the control of whole coasts and continents.</div>
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At the peak of its imperial power circa 1900, Great Britain ruled the waves with a fleet of 300 capital ships and 30 naval bastions, bases that ringed the world island from the North Atlantic at Scapa Flow through the Mediterranean at Malta and Suez to Bombay, Singapore, and Hong Kong. Just as the Roman Empire enclosed the Mediterranean, making it <em style="padding: 0px 3px 0px 0px;">Mare Nostrum</em> (“Our Sea”), British power would make the Indian Ocean its own “closed sea,” securing its flanks with army forces on India’s Northwest Frontier and barring both Persians and Ottomans from building naval bases on the Persian Gulf.</div>
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By that maneuver, Britain also secured control over Arabia and Mesopotamia, strategic terrain that Mackinder had termed “the passage-land from Europe to the Indies” and the gateway to the world island’s “heartland.” From this geopolitical perspective, the nineteenth century was, at heart, a strategic rivalry, often called “the Great Game,” between Russia “in command of nearly the whole of the Heartland… knocking at the landward gates of the Indies,” and Britain “advancing inland from the sea gates of India to meet the menace from the northwest.” In other words, Mackinder concluded, “the final Geographical Realities” of the modern age were sea power versus land power or “the World-Island and the Heartland.”</div>
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Intense rivalries, first between England and France, then England and Germany, helped drive a relentless European naval arms race that raised the price of sea power to unsustainable levels. In 1805, Admiral Nelson’s flagship, the HMS <em style="padding: 0px 3px 0px 0px;">Victory</em>, with its oaken hull weighing just 3,500 tons, sailed into the battle of Trafalgar against Napoleon’s navy at nine knots, its 100 smooth-bore cannon firing 42-pound balls at a range of no more than 400 yards.</div>
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In 1906, just a century later, Britain launched the world’s first modern battleship, the HMS<em style="padding: 0px 3px 0px 0px;">Dreadnought</em>, its foot-thick steel hull weighing 20,000 tons, its steam turbines allowing speeds of 21 knots, and its mechanized 12-inch guns rapid-firing 850-pound shells up to 12 miles. The cost for this leviathan was £1.8 million, equivalent to nearly $300 million today. Within a decade, half-a-dozen powers had emptied their treasuries to build whole fleets of these lethal, lavishly expensive battleships.</div>
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Thanks to a combination of technological superiority, global reach, and naval alliances with the US and Japan, a <em style="padding: 0px 3px 0px 0px;">Pax Britannica</em> would last a full century, 1815 to 1914. In the end, however, this global system was marked by an accelerating naval arms race, volatile great-power diplomacy, and a bitter competition for overseas empire that imploded into the mindless slaughter of World War I, leaving 16 million dead by 1918.</div>
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<strong>Mackinder’s Century</strong></div>
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As the eminent imperial historian Paul Kennedy once <a href="http://www.theguardian.com/world/2004/jun/19/usa.comment" style="color: #526a83;">observed</a>, “the rest of the twentieth century bore witness to Mackinder’s thesis,” with two world wars fought over his “rimlands” running from Eastern Europe through the Middle East to East Asia. Indeed, World War I was, as Mackinder himself later observed, “a straight duel between land-power and sea-power.” At war’s end in 1918, the sea powers—Britain, America, and Japan—sent naval expeditions to Archangel, the Black Sea, and Siberia to contain Russia’s revolution inside its “heartland.”</div>
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Reflecting Mackinder’s influence on geopolitical thinking in Germany, Adolf Hitler would risk his Reich in a misbegotten effort to capture the Russian heartland as <em style="padding: 0px 3px 0px 0px;">Lebensraum</em>, or living space, for his “master race.” Sir Halford’s work helped shape the ideas of German geographer Karl Haushofer, founder of the journal <em style="padding: 0px 3px 0px 0px;">Zeitschrift für Geopolitik</em>, proponent of the concept of<em style="padding: 0px 3px 0px 0px;">Lebensraum</em>, and adviser to Adolf Hitler and his <a href="http://en.wikipedia.org/wiki/Deputy_F%C3%BChrer" style="color: #526a83;">deputy führer</a>, Rudolf Hess<em style="padding: 0px 3px 0px 0px;">.</em>In 1942, the Führer dispatched a million men, 10,000 artillery pieces, and 500 tanks to breach the Volga River at Stalingrad. In the end, his forces suffered 850,000 wounded, killed, and captured in a vain attempt to break through the East European rimland into the world island’s pivotal region.</div>
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A century after Mackinder’s seminal treatise, another British scholar, imperial historian John Darwin, argued in his magisterial survey <a href="http://www.amazon.com/dp/1596916028/ref=nosim/?tag=tomdispatch-20" style="color: #526a83;"><em style="padding: 0px 3px 0px 0px;">After Tamerlane</em></a> that the United States had achieved its “colossal Imperium… on an unprecedented scale” in the wake of World War II by becoming the first power in history to control the strategic axial points “at both ends of Eurasia” (his rendering of Mackinder’s “Euro-Asia”). With fears of Chinese and Russian expansion serving as the “catalyst for collaboration,” the US won imperial bastions in both Western Europe and Japan. With these axial points as anchors, Washington then built an arc of military bases that followed Britain’s maritime template and were visibly meant to encircle the world island.</div>
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<strong>America’s Axial Geopolitics</strong></div>
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Having seized the axial ends of the world island from Nazi Germany and Imperial Japan in 1945, for the next 70 years the United States relied on ever-thickening layers of military power to contain China and Russia inside that Eurasian heartland. Stripped of its ideological foliage, Washington’s grand strategy of Cold War-era anticommunist “containment” was little more than a process of imperial succession. A hollowed-out Britain was replaced astride the maritime “marginal,” but the strategic realities remained essentially the same.</div>
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Indeed, in 1943, two years before World War II ended, an aging Mackinder <a href="http://thediplomat.com/2015/03/halford-mackinders-last-view-of-the-round-world/" style="color: #526a83;">published</a> his last article, “The Round World and the Winning of the Peace,” in the influential US journal <em style="padding: 0px 3px 0px 0px;">Foreign Affairs</em>. In it, he reminded Americans aspiring to a “grand strategy” for an unprecedented version of planetary hegemony that even their “dream of a global air power” would not change geopolitical basics. “If the Soviet Union emerges from this war as conqueror of Germany,” he warned, “she must rank as the greatest land power on the globe,” controlling the “greatest natural fortress on earth.”</div>
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When it came to the establishment of a new post-war <em style="padding: 0px 3px 0px 0px;">Pax Americana</em>, first and foundational for the containment of Soviet land power would be the US Navy. Its fleets would come to surround the Eurasian continent, supplementing and then supplanting the British navy: the Sixth Fleet was based at Naples in 1946 for control of the Atlantic Ocean and the Mediterranean Sea; the Seventh Fleet at Subic Bay, Philippines, in 1947, for the Western Pacific; and the Fifth Fleet at Bahrain in the Persian Gulf since 1995.</div>
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Next, American diplomats added layers of encircling military alliances—the North Atlantic Treaty Organization (1949), the Middle East Treaty Organization (1955), the Southeast Asia Treaty Organization (1954), and the US-Japan Security Treaty (1951).</div>
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By 1955, the US also had a global network of 450 military bases in 36 countries aimed, in large part, at containing the Sino-Soviet bloc behind an Iron Curtain that coincided to a surprising degree with Mackinder’s “rimlands” around the Eurasian landmass. By the Cold War’s end in 1990, the encirclement of communist China and Russia required 700 overseas bases, an air force of 1,763 jet fighters, a vast nuclear arsenal, more than 1,000 ballistic missiles, and a navy of 600 ships, including 15 nuclear carrier battle groups—all linked by the world’s only global system of communications satellites.</div>
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As the fulcrum for Washington’s strategic perimeter around the world island, the Persian Gulf region has for nearly 40 years been the site of constant American intervention, overt and covert. The 1979 revolution in Iran meant the loss of a keystone country in the arch of US power around the Gulf and left Washington struggling to rebuild its presence in the region. To that end, it would simultaneously back Saddam Hussein’s Iraq in its war against revolutionary Iran and arm the most extreme of the Afghan mujahedeen against the Soviet occupation of Afghanistan.</div>
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It was in this context that Zbigniew Brzezinski, national security adviser to President Jimmy Carter, unleashed his strategy for the defeat of the Soviet Union with a sheer geopolitical agility still little understood even today. In 1979, Brzezinski, a déclassé Polish aristocrat uniquely attuned to his native continent’s geopolitical realities, persuaded Carter to <a href="http://www.independent.co.uk/news/terror-blowback-burns-cia-1182087.html" style="color: #526a83;">launch Operation Cyclone</a> with massive funding that reached $500 million annually by the late 1980s. Its goal: to mobilize Muslim militants to attack the Soviet Union’s soft Central Asian underbelly and drive a wedge of radical Islam deep into the Soviet heartland. It was to simultaneously inflict a demoralizing defeat on the Red Army in Afghanistan and cut Eastern Europe’s “rimland” free from Moscow’s orbit. “We didn’t push the Russians to intervene [in Afghanistan],” Brzezinski<a href="http://www.globalresearch.ca/articles/BRZ110A.html" style="color: #526a83;">said</a> in 1998, explaining his geopolitical masterstroke in this Cold War edition of the Great Game, “but we knowingly increased the probability that they would… That secret operation was an excellent idea. Its effect was to draw the Russians into the Afghan trap.”</div>
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Asked about this operation’s legacy when it came to creating a militant Islam hostile to the US, Brzezinski, who studied and frequently cited Mackinder, was coolly unapologetic. “What is most important to the history of the world?” he asked. “The Taliban or the collapse of the Soviet empire? Some stirred-up Moslems or the liberation of Central Europe and the end of the Cold War?”</div>
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Yet even America’s stunning victory in the Cold War with the implosion of the Soviet Union would not transform the geopolitical fundamentals of the world island. As a result, after the fall of the Berlin Wall in 1989, Washington’s first foreign foray in the new era would involve an attempt to reestablish its dominant position in the Persian Gulf, using Saddam Hussein’s occupation of Kuwait as a pretext.</div>
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In 2003, when the US invaded Iraq, imperial historian Paul Kennedy returned to Mackinder’s century-old treatise to <a href="http://www.theguardian.com/world/2004/jun/19/usa.comment" style="color: #526a83;">explain</a> this seemingly inexplicable misadventure. “Right now, with hundreds of thousands of US troops in the Eurasian rimlands,” Kennedy wrote in the<em style="padding: 0px 3px 0px 0px;"> Guardian</em>, “it looks as if Washington is taking seriously Mackinder’s injunction to ensure control of ‘the geographical pivot of history.’” If we interpret these remarks expansively, the sudden proliferation of US bases across Afghanistan and Iraq should be seen as yet another imperial bid for a pivotal position at the edge of the Eurasian heartland, akin to those old British colonial forts along India’s Northwest Frontier.</div>
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In the ensuing years, Washington attempted to replace some of its ineffective boots on the ground with drones in the air. By 2011, the Air Force and the CIA had <a href="http://www.tomdispatch.com/blog/175454/tomgram%3A_nick_turse%2C_mapping_america%27s_shadowy_drone_wars" style="color: #526a83;">ringed</a> the Eurasian landmass with 60 bases for its armada of drones. By then, its workhorse Reaper, armed with Hellfire missiles and GBU-30 bombs, had a <a href="http://www.tomdispatch.com/archive/175489/" style="color: #526a83;">range</a> of 1,150 miles, which meant that from those bases it could strike targets almost anywhere in Africa and Asia.</div>
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Significantly, drone bases now dot the maritime margins around the world island—from Sigonella, Sicily, to Icerlik, <a href="http://www.washingtonpost.com/world/national-security/us-military-drone-surveillance-is-expanding-to-hot-spots-beyond-declared-combat-zones/2013/07/20/0a57fbda-ef1c-11e2-8163-2c7021381a75_story.html" style="color: #526a83;">Turkey</a>; Djibouti on the Red Sea; Qatar and Abu Dhabi on the Persian Gulf; the Seychelles Islands in the Indian Ocean; Jalalabad, Khost, Kandahar, and Shindand in<a href="http://foreignpolicy.com/2012/05/29/where-the-drones-are/" style="color: #526a83;">Afghanistan</a>; and in the Pacific, Zamboanga in the Philippines and Andersen Air Base on the island of <a href="http://www.suasnews.com/2015/03/34634/new-drone-to-be-deployed-to-guam/" style="color: #526a83;">Guam</a>, among other places. To patrol this sweeping periphery, the Pentagon is spending $10 billion to build an armada of 99 Global Hawk drones <a href="http://foxtrotalpha.jalopnik.com/why-the-usafs-massive-10-billion-global-hawk-uav-was-w-1629932000" style="color: #526a83;">equipped</a> with high-resolution cameras capable of surveilling all terrain within a hundred-mile radius, electronic sensors that can sweep up communications, and efficient engines <a href="http://www.spacewar.com/reports/Northrop_Grumman_Global_Hawk_Unmanned_Aircraft_Sets_33_Hour_Flight_Endurance_Record_999.html" style="color: #526a83;">capable</a> of 35 hours of continuous flight and a range of 8,700 miles.</div>
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<strong>China’s Strategy</strong></div>
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Washington’s moves, in other words, represent something old, even if on a previously unimaginable scale. But the rise of China as the world’s largest economy, inconceivable a century ago, represents something new and so threatens to overturn the maritime geopolitics that have shaped world power for the past 400 years. Instead of focusing purely on building a blue-water navy like the British or a global aerospace armada akin to America’s, China is reaching deep within the world island in an attempt to thoroughly reshape the geopolitical fundamentals of global power. It is using a subtle strategy that has so far eluded Washington’s power elites.</div>
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After decades of quiet preparation, Beijing has recently begun revealing its grand strategy for global power, move by careful move. Its two-step plan is designed to build a transcontinental infrastructure for the economic integration of the world island from within, while mobilizing military forces to surgically slice through Washington’s encircling containment.</div>
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The initial step has involved a breathtaking project to put in place an infrastructure for the continent’s economic integration. By laying down an elaborate and enormously expensive network of high-speed, high-volume railroads as well as oil and natural gas pipelines across the vast breadth of Eurasia, China may realize Mackinder’s vision in a new way. For the first time in history, the rapid transcontinental movement of critical cargo—oil, minerals, and manufactured goods—will be possible on a massive scale, thereby potentially unifying that vast landmass into a single economic zone stretching 6,500 miles from Shanghai to Madrid. In this way, the leadership in Beijing hopes to shift the locus of geopolitical power away from the maritime periphery and deep into the continent’s heartland.</div>
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“Trans-continental railways are now transmuting the conditions of land power,” wrote Mackinder back in 1904 as the “precarious” single track of the Trans-Siberian Railway, the world’s longest, reached across the continent for 5,700 miles from Moscow toward Vladivostok. “But the century will not be old before all Asia is covered with railways,” he added. “The spaces within the Russian Empire and Mongolia are so vast, and their potentialities in… fuel and metals so incalculably great that a vast economic world, more or less apart, will there develop inaccessible to oceanic commerce.”</div>
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Mackinder was a bit premature in his prediction. The Russian revolution of 1917, the Chinese revolution of 1949, and the subsequent 40 years of the Cold War slowed any real development for decades. In this way, the Euro-Asian “heartland” was denied economic growth and integration, thanks in part to artificial ideological barriers—the Iron Curtain and then the Sino-Soviet split—that stalled any infrastructure construction across the vast Eurasian land mass. No longer.</div>
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Only a few years after the Cold War ended, former National Security Adviser Brzezinski, by then a contrarian sharply critical of the global views of both Republican and Democratic policy elites, began <a href="http://www.takeoverworld.info/Grand_Chessboard.pdf" style="color: #526a83;">raising</a> warning flags about Washington’s inept style of geopolitics. “Ever since the continents started interacting politically, some five hundred years ago,” he wrote in 1998, essentially paraphrasing Mackinder, “Eurasia has been the center of world power. A power that dominates ‘Eurasia’ would control two of the world’s three most advanced and economically productive regions… rendering the Western Hemisphere and Oceania geopolitically peripheral to the world’s central continent.”</div>
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While such a geopolitical logic has eluded Washington, it’s been well understood in Beijing. Indeed, in the last decade China has launched the world’s largest burst of infrastructure investment, already a trillion dollars and counting, since Washington started the US Interstate Highway System back in the 1950s. The numbers for the rails and pipelines it’s been building are mind numbing. Between 2007 and 2014, China <a href="http://news.xinhuanet.com/english/photo/2015-01/30/c_133959250.htm" style="color: #526a83;">criss-crossed</a> its countryside with 9,000 miles of new high-speed rail, more than the rest of the world combined. The system now <a href="http://www.highbeam.com/doc/1G1-402875735.html" style="color: #526a83;">carries</a> 2.5 million passengers daily at <a href="http://news.xinhuanet.com/english2010/sci/2010-05/27/c_13319787.htm" style="color: #526a83;">top speeds</a> of 240 miles per hour. By the time the system is <a href="http://www.forbes.com/sites/sarwantsingh/2014/07/17/china-high-speed-rail-juggernaut-while-most-of-us-stands-by-and-waves-but-not-elon-musk-part-1/" style="color: #526a83;">complete</a>in 2030, it will have added up to 16,000 miles of high-speed track at a cost of $300 billion, linking all of China’s major cities.</div>
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Simultaneously, China’s leadership began collaborating with surrounding states on a massive project to integrate the country’s national rail network into a transcontinental grid. Starting in 2008, the Germans and Russians joined with the Chinese in launching the “Eurasian Land Bridge.” Two east-west routes, the old Trans-Siberian in the north and a new southern route along the ancient Silk Road through Kazakhstan are meant to bind all of Eurasia together. On the quicker southern route, containers of high-value manufactured goods, computers, and auto parts<a href="http://www.dbschenkerusa.com/ho-en/news_media/press/news/2728098/china_train.html" style="color: #526a83;">started</a> travelling 6,700 miles from Leipzig, Germany, to Chongqing, China, in just <a href="http://www.nytimes.com/2013/07/21/business/global/hauling-new-treasure-along-the-silk-road.html" style="color: #526a83;">20 days</a>, about half the 35 days such goods now take via ship.</div>
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In 2013, Deutsche Bahn AG (German Rail) began <a href="http://allportcargoservices.com/retailnews/allport-knowledge/regulatory-news/china-to-germany-freight-train-makes-maiden-journey/801621580" style="color: #526a83;">preparing</a> a third route between Hamburg and Zhengzhou that has now cut travel time to just 15 days, while Kazakh Rail <a href="http://www.reuters.com/article/2013/06/10/us-kazakhstan-railway-idUSBRE9590GH20130610" style="color: #526a83;">opened</a> a Chongqing-Duisburg link with similar times. In October 2014, China announced <a href="http://www.businessinsider.com/afp-china-russia-mull-high-speed-moscow-beijing-rail-line-report-2014-10" style="color: #526a83;">plans</a> for the construction of the world’s longest high-speed rail line at a cost of $230 billion. According to plans, trains will traverse the 4,300 miles between Beijing and Moscow in just two days.</div>
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In addition, China is building two spur lines running southwest and due south toward the world island’s maritime “marginal.” In April, President Xi Jinping <a href="http://www.bbc.com/news/world-asia-32377088" style="color: #526a83;">signed</a> an agreement with Pakistan to spend $46 billion on a China-Pakistan Economic Corridor. Highway, rail links, and pipelines will stretch nearly 2,000 miles from Kashgar in Xinjiang, China’s westernmost province, to a joint port facility at Gwadar, Pakistan, opened back in 2007. China has <a href="http://www.dawn.com/news/238494/gwadar-port-inaugurated-plan-for-second-port-in-balochistan-at-sonmiani" style="color: #526a83;">invested</a> more than $200 billion in the building of this strategic port at Gwadar on the Arabian Sea, just 370 miles from the Persian Gulf. Starting in 2011, China also began <a href="http://www.economist.com/node/17965601?story_id=17965601" style="color: #526a83;">extending</a> its rail lines through Laos into Southeast Asia at an initial cost of $6.2 billion. In the end, a high-speed line is expected to take passengers and goods on a trip of just 10 hours from Kunming to Singapore.</div>
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In this same dynamic decade, China has constructed a comprehensive network of trans-continental gas and oil pipelines to import fuels from the whole of Eurasia for its population centers—in the north, center, and southeast. In 2009, after a decade of construction, the state-owned China National Petroleum Corporation (CNPC) <a href="http://www.youroilandgasnews.com/cnpc+announces+kenkiyak-kumkol+section+of+kazakhstan-china+oil+pipeline+becomes+operational_35798.html" style="color: #526a83;">opened</a> the final stage of the Kazakhstan-China Oil Pipeline. It stretches 1,400 miles from the Caspian Sea to Xinjiang.</div>
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Simultaneously, CNPC collaborated with Turkmenistan to <a href="http://uk.reuters.com/article/2009/12/12/china-kazakhstan-idUKGEE5BB01D20091212?sp=true" style="color: #526a83;">inaugurate</a> the Central Asia-China gas pipeline. Running for 1,200 miles largely parallel to the Kazakhstan-China Oil Pipeline, it is the first to bring the region’s natural gas to China. To bypass the Straits of Malacca controlled by the US Navy, CNPC <a href="http://www.forbes.com/sites/ericrmeyer/2015/02/09/oil-and-gas-china-takes-a-shortcut/" style="color: #526a83;">opened</a> a Sino-Myanmar pipeline in 2013 to carry both Middle Eastern oil and Burmese natural gas 1,500 miles from the Bay of Bengal to China’s remote southwestern region. In May 2014, the company <a href="http://www.bbc.com/news/business-27503017" style="color: #526a83;">signed</a> a $400 billion, 30-year deal with the privatized Russian energy giant Gazprom to deliver 38 billion cubic meters of natural gas annually by 2018 via a still-to-be-completed northern network of pipelines across Siberia and into Manchuria.</div>
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Though massive, these projects are just part of an ongoing construction boom that, over the past five years, has woven a cat’s cradle of oil and gas lines across Central Asia and south into Iran and Pakistan. The result will soon be an integrated inland energy infrastructure, including Russia’s own vast network of pipelines, extending across the whole of Eurasia, from the Atlantic to the South China Sea.</div>
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To capitalize such staggering regional growth plans, in October 2014 Beijing announced the establishment of the Asian Infrastructure Investment Bank. China’s leadership sees this institution as a future regional and, in the end, Eurasian alternative to the US-dominated World Bank. So far, despite pressure from Washington not to join, 14 key countries, including close US allies like Germany, Great Britain, Australia, and South Korea, have <a href="http://www.nytimes.com/2015/04/03/world/asia/china-asian-infrastructure-investment-bank.html?_r=0" style="color: #526a83;">signed</a> on. Simultaneously, China has begun building long-term trade relations with resource-rich areas of Africa, as well as with Australia and Southeast Asia, as part of its plan to economically integrate the world island.</div>
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Finally, Beijing has only recently revealed a deftly designed strategy for neutralizing the military forces Washington has arrayed around the continent’s perimeter. In April, President Xi Jinping announced construction of that massive road-rail-pipeline corridor direct from western China to its new port at Gwadar, Pakistan, creating the logistics for future naval <a href="http://www.janes.com/article/48464/plan-to-deploy-range-of-warships-in-indian-ocean-says-china-s-defence-ministry" style="color: #526a83;">deployments</a> in the energy-rich Arabian Sea.</div>
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In May, Beijing escalated its claim to exclusive control over the South China Sea, <a href="http://fas.org/blogs/security/2014/04/chinassbnfleet/" style="color: #526a83;">expanding</a>Longpo Naval Base on Hainan Island for the region’s first nuclear submarine facility, accelerating its <a href="http://www.nytimes.com/2015/04/09/world/asia/new-images-show-china-literally-gaining-ground-in-south-china-sea.html?_r=0" style="color: #526a83;">dredging</a> to create three new atolls that could become military airfields in the disputed Spratley Islands, and formally <a href="http://www.cnn.com/2015/05/20/politics/south-china-sea-navy-flight/" style="color: #526a83;">warning</a> off US Navy overflights. By building the infrastructure for military bases in the South China and Arabian seas, Beijing is forging the future capacity to surgically and strategically impair US military containment.</div>
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At the same time, Beijing is developing plans to challenge Washington’s dominion over space and cyberspace. It expects, for instance, to <a href="http://news.xinhuanet.com/english/china/2013-12/27/c_133001847.htm" style="color: #526a83;">complete</a> its own global satellite system by 2020, offering the first challenge to Washington’s dominion over space since the United States<a href="http://fas.org/spp/military/program/com/dscs_1.htm" style="color: #526a83;">launched</a> its system of 26 defense communication satellites back in 1967. Simultaneously, Beijing is <a href="http://www.nytimes.com/2013/02/19/technology/chinas-army-is-seen-as-tied-to-hacking-against-us.html" style="color: #526a83;">building</a> a formidable capacity for cyber warfare.</div>
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In a decade or two, should the need arise, China will be ready to surgically slice through Washington’s continental encirclement at a few strategic points without having to confront the full global might of the US military, potentially rendering the vast American armada of carriers, cruisers, drones, fighters, and submarines redundant.</div>
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Lacking the geopolitical vision of Mackinder and his generation of British imperialists, America’s current leadership has failed to grasp the significance of a radical global change underway inside the Eurasian land mass. If China succeeds in linking its rising industries to the vast natural resources of the Eurasian heartland, then quite possibly, as Sir Halford Mackinder predicted on that cold London night in 1904, “the empire of the world would be in sight.”</div>
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<a href="http://www.thenation.com/authors/alfred-mccoy" style="color: #46607b; text-decoration: none;"><span property="dc:creator">Alfred McCoy</span></a> </div>
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<span class="article-date" style="color: #cccccc;">June 8, 2015</span> </div>
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koon woonhttp://www.blogger.com/profile/10570460211753996634noreply@blogger.com0tag:blogger.com,1999:blog-6027582433482221286.post-49004921345902060892015-01-05T19:48:00.004-08:002020-02-07T05:50:28.043-08:00Frank Chin INTERVIEW with Koon Woon<div class="MsoNormal" style="background: white;">
<b>`SEPTEMBER 5, 2007<br />
<br />
KOON WOON (1949- )<br />
<br />
<br />
For some reason he’s dropped his family surname Locke (Horse with a woman on
top of a mouth) from his name Gok in Cantonese or Kuo (nation) in Mandarin.
Kuan ( Lum on the left. Don’t know meaning). Locke Gok Kuan born in the <st1:placetype w:st="on">village</st1:placetype> of <st1:placename w:st="on">Nom On</st1:placename>
became Koon Woon when he came into the <st1:country-region w:st="on"><st1:place w:st="on">United States</st1:place></st1:country-region> by plane in
1960.<br />
<br />
CHIN: OK this is once again. It’s uh August…Septempber. September what?<br />
KOON WOON: 5th.<br />
<br />
CHIN: September 5th…<br />
<br />
K: 2007. Wednesday, at the <st1:country-region w:st="on"><st1:place w:st="on">Panama</st1:place></st1:country-region>
Coffee Tea…Coffee or Tea House…<br />
<br />
C: Right.<br />
<br />
K: 605<br />
<br />
C: …and a half…<br />
<br />
K: 605 1/2<br />
<br />
K: <st1:street w:st="on"><st1:address w:st="on">South Main Street</st1:address></st1:street>…<br />
<br />
C: in <st1:city w:st="on"><st1:place w:st="on">Seattle</st1:place></st1:city>.
A little overcast. With Koon Woon and Frank Chin. Uhhh. Well, let’s start at
the beginning. With your name. So, I see the “mah”<br />
<br />
K: Lok. Kok<br />
<br />
C: Yeah.<br />
<br />
K: No, I mean…I think it’s Lawk.<br />
<br />
C: Lawk tawk is a camel. And lawk is a part of a camel?<br />
<br />
K: Gradations of a camel, or a white horse with a black mane.<br />
<br />
C: Gawk, the nation or country. And Koon (kuen).<br />
<br />
K: (cellphone gives an orchestra. Kooon answers ) Hi Betty. … We’re in the
middle of an interview, Betty. … Okay.<br />
<br />
C: So…Eh! So…you learned to write before you went to school.<br />
<br />
K: No, actually I learned to…I went to grade school in <st1:country-region w:st="on"><st1:place w:st="on">China</st1:place></st1:country-region> for five
years. So I learned it there. I learned ahh…what I did learn,<br />
<br />
I learned how to play poker before I went to school.<br />
I became the best poker player in my village. And I became the poker player in
my grade school.<br />
<br />
But the thing I was best at was mathematics. I was the best student in
mathematics in my gradeschool in <st1:country-region w:st="on"><st1:place w:st="on">China</st1:place></st1:country-region>. The best in uh <st1:city w:st="on">Canton</st1:city>, and the best in <st1:place w:st="on">Hong Kong</st1:place>,
in the private school I went to.<br />
<br />
And when I came to the <st1:country-region w:st="on"><st1:place w:st="on">United
States</st1:place></st1:country-region>, I was the 2nd best in the high
school. They found my math was so good that the uh MIT asked me to join them a
year early out of high school.<br />
<br />
Today…Unfortunately I had a genetic defect which caused mmental illness in my
twenties. And I’ve been on medication ever since. My late twenties. So that
chapter of my just sort of evaporated.<br />
<br />
C: Explain how your uncle taught you to write “Liao”<br />
<br />
K: Well actually I went to my…The grade school I went to was in my
grandmother’s village. My maternal grandmother’s village. And one of clansman,
the teacher that taught to write…to remember how to write the last name “Liao”
He says…He says, “One point. One horizontal stroke. One slant to the left. Two
half moons. One person. And three half persons.” So if you follow that
instruction in Chinese you would have the character “Liao”which is just a
family surname. There’s no other indication in the dictionary having any other
kind of meaning.<br />
<br />
C: What was your village name?<br />
<br />
K: <st1:country-region w:st="on"><st1:place w:st="on">Nam</st1:place></st1:country-region>
On. Which means “South Peace.”<br />
<br />
C: Where was the village in relation to Kuangzho?<br />
<br />
K: Okay. The village is in the Sirbo district of Toishan County. Toishan County
is about 100 miles southwest of Kuangchow, which used to be <st1:city w:st="on"><st1:place w:st="on">Canton</st1:place></st1:city>. Called <st1:place w:st="on"><st1:city w:st="on">Canton</st1:city></st1:place>.<br />
<br />
C: What was the climate there like?<br />
<br />
K: It’s semi tropical. And we go things with you get think…the tip of a… you know
the bottom part of this country…part of <st1:country-region w:st="on"><st1:place w:st="on">Mexico</st1:place></st1:country-region>…semi-tropical. We have lot
of… it’s hot and humid. And it’s uhh we get monsoons in May an’ which literally
floods the whole villages. There be water everywhere. You can’t see land at
all. The wells would be flooded. The pond would be flooded. The road would be
flooded. The rivers would be flooded. So you can’t see where you’re going. Then
theoretically you could catch a fish outside your own house…with a…with a net.
The all the rivers have overflowed. So when the monsoon recedes the water’s
trapped in the rice paddies. The rice paddies have dikes in them.<br />
<br />
C: Right.<br />
<br />
K: So some of the fish gets trapped in the rice paddies. So when the you and so
when the sun comes out, you know, when the weather gets hot, the fish will swim
up near the surface groggy headed, so you just go to with a bucket and
pickemup, and bring your bucket. That’s your biggest harvest of fish a
year.<br />
<br />
C: Monsoon season’s what?<br />
<br />
K: About May. Chinese calendar May.<br />
<br />
C: And the paddy…<br />
<br />
K: The water recedes from the monsoon and some of the water be trapped in the
rice paddies. And so he can plant rice seedlings in the mud.<br />
<br />
C: And other things in the village?<br />
<br />
K: We well…green gardens, we have dry gardens, and we grew seasonal vegetables.
We grew bok choy, lettuce, winter melon, peas and corn things like that. Then
we grow dry…in the dry garden we grow yams and peanuts and things like
that.<br />
<br />
C: Would there be different levels?<br />
<br />
K: Terrace? No. No. No. We would put the gardens right next to the village
pond. So we could dip the sprinkler in the village pond and sprinkle water in
the garden, and later the water would flow right into the village pond. And so
I did that twice a day, for my grandmother, uh… watered her plants.<br />
<br />
C: Was there a brick wall around your village?<br />
<br />
K: On one side of it, there’s a brick wall, but not, I mean there’s no doors or
anything. Just a brick wall. The wall. The next village. So, it demarcated the
next village. But parts of the village is open, you know. Completely
open.<br />
<br />
C: And you said the Manchus had uhhhh<br />
<br />
K: Oh, yeah. We were talking about the uhhh. The manchus conquered <st1:place w:st="on"><st1:country-region w:st="on">China</st1:country-region></st1:place>,
but uhh where we were, the southern coast revolted. Some of the people driven
to <st1:country-region w:st="on">Formosa</st1:country-region>, what was still
called <st1:place w:st="on"><st1:country-region w:st="on">Formosa</st1:country-region></st1:place>.
Or <st1:place w:st="on"><st1:country-region w:st="on">Taiwan</st1:country-region></st1:place>
these days. So the…the Manchus are afraid that these people will come back and
revolt again. So they import a lot of northerners, to southern <st1:country-region w:st="on"><st1:place w:st="on">China</st1:place></st1:country-region>. And
they’re they’re a different tribe of people, they’re much taller. They’re
called the Hakka. That’s what they’re called. Hakka.<br />
<br />
So the uhh constant struggle between the Hakka and the local people….in the
late...in the early 1800’s is sort of a war between the Hakka and indigional
people. And so a lot of people…the salmon decided…a lot of people from my area
of <st1:country-region w:st="on">China</st1:country-region> emigrated to the <st1:place w:st="on"><st1:country-region w:st="on">United States</st1:country-region></st1:place>.
And so that’s why you find so many Toisahnese in these country. Original
founders of this country were Toisahnese.<br />
<br />
C: So, you were born in <st1:country-region w:st="on"><st1:place w:st="on">China</st1:place></st1:country-region>.<br />
<br />
K: Yes.<br />
<br />
C: And you came over…<br />
<br />
K: 1960.<br />
<br />
C: And you were how old?<br />
<br />
K: I was almost 12. I was 11 in ten months….eight months or something…I came on
Halloween night, in China. And I came to the <st1:place w:st="on"><st1:country-region w:st="on">United States</st1:country-region></st1:place>, it was still
Halloween night, although it was twelve hours later, cuz of the time
differential, so I gained a day.<br />
<br />
C: Do you remember a story of how people were made?<br />
<br />
K: Yes. How people were made. That’s uhh sort of like a uhh…I don’t remember,
but my mother told me in this country…the people told me in the village, but
the god that made people, you know, I guess he was lonely, so he made people
out of dough, so he put’em in the oven to bake’em to make’em come alive. The
first batch he put in, he took’em out too soon. So they’re white people. So,
the second batch he said I gotta leave a little longer. So he took’em out, they
became the black people. The third batch he put in, he time it just right, it
came out that they’re Asian people. Heh Heh. So that’s reverse racism.<br />
<br />
C: Did you come directly from the village to <st1:country-region w:st="on"><st1:place w:st="on">America</st1:place></st1:country-region> or were there steps in
between?<br />
<br />
K: There were steps in between. The immigration was very stringent at that
time, because in the <st1:country-region w:st="on">United States</st1:country-region>
and <st1:country-region w:st="on"><st1:place w:st="on">China</st1:place></st1:country-region>
they’re very hostile relationship. So we had to…even back in the village when I
was a little boy nine years old, we were, you know, doing the paperwork to get
out of China. So like then we have to go to <st1:city w:st="on"><st1:place w:st="on">Canton</st1:place></st1:city>, the City Kuangchow, for two years to
continue the paperwork there. I lived in <st1:city w:st="on"><st1:place w:st="on">Canton</st1:place></st1:city>
for two years. The we finally was able to make it out to <st1:place w:st="on">Hong
Kong</st1:place>. We waited ten months in Hong Kong before allowed to leave
the country come to the <st1:country-region w:st="on"><st1:place w:st="on">United
States</st1:place></st1:country-region>.<br />
<br />
C: What were conditions like in Kwangzhao?<br />
<br />
K: <st1:place w:st="on">Kwangchow</st1:place> was a Mao Tse-tung’s Five Year
Great Leap Forward plan. He wanted to quickly industrialize <st1:country-region w:st="on">China</st1:country-region>, because at that time the United States
were flying B-2 (Sic) bombers or…with nuclear weapons over <st1:country-region w:st="on"><st1:place w:st="on">China</st1:place></st1:country-region>. You
don’t have to believe me, you can ask other people who actually flew those
planes. I have a guy a editorial….a editor of the HASMET Magazine in <st1:state w:st="on">New York</st1:state>, upstate <st1:state w:st="on"><st1:place w:st="on">New
York</st1:place></st1:state>, he told me, that he flew one of those planes.
B-52’s whatever they were called, you know, over <st1:country-region w:st="on">North
Korea</st1:country-region> and <st1:country-region w:st="on"><st1:place w:st="on">China</st1:place></st1:country-region>.
With lethal weapons on them.<br />
<br />
C: Wow!<br />
<br />
K: Uh yeah. We uh the newspaper announce everday “The <st1:country-region w:st="on"><st1:place w:st="on">US</st1:place></st1:country-region> has violated
our airspace for the 155th time! When are we going to do something about
it?”<br />
<br />
(HUGE LAUGHTER)<br />
<br />
Course, they couldn’t do anything about it, so Mao Tse-tung wanted to quickly
industrialize <st1:country-region w:st="on"><st1:place w:st="on">China</st1:place></st1:country-region>
and build a modern army. So he got all the people from the villages to go to
the cities to take on the industry…unit. In the… So as a consequence in the not
many people were farming the land and they were also hit with a –bike- bad
famine day. So a lot of people starve to death. The food was rationed, and we had
to stand in line. We were issued food rations. Besides paying for the food. I
had to stand in line for my grandmother’s food. Couple hours in the morning
just to buy food.<br />
<br />
C: And what would the food be?<br />
<br />
K: Well, you were rationed, right? Four ounces of meat a week, or something.
(Train horns) And you would just get rice. And the you know that’s bo(?) a lot.
But you couldn’t very much, you know.<br />
<br />
C: Was the rice in Guangzhao as good as the rice in the village?<br />
<br />
K: Well. I suppose that’s where it came from. It’s just as good. But thing is,
you know what the congee is right?<br />
<br />
C: Yes.<br />
<br />
K: Those are the years we ate a lot of congee.. So you’d be eating essentially
water. To make the water…the rice go a long way, you just make congee.<br />
<br />
C: So, you were in Guangzhao two years?<br />
<br />
K: Two years. Yes. Some of the time was okay. I mean, there was food one year.
But one year was rationed. Yeah.<br />
<br />
CHIN: How did you spend your time.<br />
<br />
K: Well, school and at the uh…We had the, you know, <st1:country-region w:st="on"><st1:place w:st="on">China</st1:place></st1:country-region> was in the socialist era, at
that time, so, okay, we had uh..we had to like a…we had to work for the school.
We had to volunteer. We had to help campaigns and like I myself and a bunch of
other boys we issued tickets with the people spit on the street. We went out and
to make fly swatters. We killed flies …on the street. And we helped the uhh
drain, you know, standing water. We were janitors for the school. We work half
a day for the school, shelling peanuts or scraping bottle caps and… do various
things like that, and the uh. But, I remember one thing, I was kept after
school to do math. I said, you know, I says, I don’t seem to have trouble with
math. That I would keep… They keep me after school with a couple of kids. Cuz I
was exceedingly good in math, where they were teaching me complex fractions and
things like that…so…So when I got to this country, I you know, they put me in
the third grade, and say, you know, I didn’t have to think. You know, I was
still…They were still learning the multiplication table I learned in the first
grade in <st1:country-region w:st="on"><st1:place w:st="on">China</st1:place></st1:country-region>.<br />
<br />
C: How large were the classes in <st1:country-region w:st="on"><st1:place w:st="on">China</st1:place></st1:country-region>?<br />
<br />
K: In the village we had fifty…We just…all the villages we just have one
school. All the villages we just have one school, the several villages, so
maybe a coupe hundred people in the whole school. So the fifth grade, that
would be about, I know, about thirty or forty people a…a room.<br />
<br />
In the <st1:place w:st="on">Kwangchow</st1:place>…the students..we had about,
um maybe about twenty thirty people in the classroom. Yeah.<br />
<br />
C: Were the teachers women teachers or men teachers?<br />
<br />
K: Both women and men. Yeah.<br />
<br />
C: What was the etiquette in the classroom?<br />
<br />
K: Uh Well, uh…in…in… In Kuangchow…In… In the village it was kind of a, you
know casual. In <st1:place w:st="on">Kwangchow</st1:place> it was very strict.
We had to sit with our hands behind our back. We could not speak, and we could
not, you know, pass notes. And when you want to speak, in the class, you have
to raise your hand. You get recognized by the teacher, and you have to stand
up. And you have to say what you want to say, as quickly and as succinctly as
possible.<br />
<br />
And as soon as you say, you have to sit down. And the teacher will make an
account of what you say, and then nobody else can speak in response to what you
say, unless they’re recognized by the teacher.<br />
<br />
C: Hmmm!<br />
<br />
K: However! After school, then you go …you split into study groups, and you
quiz each other. What you learned of… <st1:country-region w:st="on"><st1:place w:st="on">uk</st1:place></st1:country-region>….during the day.<br />
<br />
C: Hmmm!<br />
<br />
K: And the teacher would not, you know, would not correct you, or anything like
that. So, it was a good learning experience. But the reason we, you know, we
had this…raise our hand is to learn discipline, is to learn to pay
attention.<br />
<br />
C: So these groups…did you find yourself becoming a teacher of math?<br />
<br />
K: Well. Actually, we uh…Actually, we…we didn’t have a study groups in
math.<br />
<br />
C: Umm.<br />
<br />
K: Because as Uh. Yeah. We did have study groups like uh, you know,
“literature”<br />
<br />
C: Mmmm!<br />
<br />
K: or umm “History” or something like that. …was open to interpretation.<br />
<br />
C: Umm hmmm.<br />
<br />
KOON: Math is, you know, either you got it right, you got it wrong.<br />
<br />
C: Right.<br />
<br />
K: So, you don’t argue with somebody about it. You know?<br />
<br />
C: You talked about Monkey.<br />
<br />
K: Yes.<br />
<br />
C: Yeah. Uh, Uhh. When did you encounter Monkey?<br />
<br />
K: I believe I read the JOURNEY TO THE WEST. Three sets of books, right? In the
<st1:city w:st="on"><st1:place w:st="on">Canton</st1:place></st1:city> Public
Library. It was between 9 and 11. In <st1:city w:st="on"><st1:place w:st="on">Canton</st1:place></st1:city>.
I was too young to check books out at the library, so I had to go to library to
read it every day. It’s a real fascinating book, you know, cuz it’s all about
fantasy and it’s all about supernatural, well you know, tales. So that was just
like…Children like comic books. The kids in this country.<br />
<br />
CHIN: SAI YOW GAY has another meaning?<br />
<br />
KOON: It sounds to me in Toishanese as Say Yow Gay. Say means, you know the
number four. Well, West (say) sounds like the number four. Which means “Death”
in Chinese.<br />
The Tibetan Book of the Dead, is like that…the journey of the Dead. Cuz sounds
to me in my own mind, sounds like…Journey of the Dead. Which to me in Buddhism,
you know like uh, Buddhism, the whole idea of Buddhism is to reach
enlightenment, you know, after suffering becuz we have suffered because of the
human body.<br />
<br />
The Human body is just like a corpse. You carry it around, you know, it’s a
burden of a body. You carry it around like a corpse.<br />
<br />
We feed it, you know. Especially those indulgent people, you know, they eat all
those fatty food, drink a lot of whiskey, smoke a lot cigarettes, all those
vices, you know.<br />
<br />
C: Everything I do.<br />
<br />
When we met you were living across the street at the International
Terrace.<br />
<br />
KOON: Yes.<br />
<br />
CHIN: And now you’ve been moved out.<br />
<br />
KOON: I moved out. Yes. I moved out.<br />
<br />
CHIN: What was behind that?<br />
<br />
KOON: Well. Okay. I got a notice, one day. Says that the uh from the property
manager, she said, “I got the notice on you. You’re being investigated for
fraud and perjury.”<br />
<br />
C: Hmm!<br />
<br />
KOON: And then, uh, “You have 3 days to bring us your financial records.” So, I
thought that was very strange, that the uh, that I had only three days to gather
up my things to uuh for a, you know, from a uh fraud investigation.<br />
<br />
C: Right.<br />
<br />
K: And then uh..I didn’t show up because uh uh because I was so upset, I was
meditating to my computer. My computer has a meditation website that sounds of
medidating and I fell asleep at the hour I was supposed go down to the office,
in the building to do the interview.<br />
<br />
And they didn’t call my room. They didn’t call my phone number. And they didn’t
come to my door, to knock on my door, to get me down there. So, I missed the
meeting.<br />
<br />
So, they send me another letter. This time they gave me a date, you know, to
come down. It was this time was a more “Notice.” But still I had no idea of
what they were looking for. So, so I considered that a fishing expedition.
Okay? The uh …You know. The…Legally you call “fishing expedition.” Where you’re
just trying to gather information on somebody. Hopefully you find something
derogatory or detrimental to that person.<br />
<br />
So, the uh. So I brought all my financial records. And they said, you know, uh,
“It seems like you have extra money. That you’re not reporting.”<br />
<br />
So, I said, “Well, you know, as you can see, these are debts. These are credit
card debts. These are student loans. And none of this would be considered
income.”<br />
<br />
And they said, “Well, you have a trust. Don’t you?”<br />
<br />
I said, “Yes, I…here’s the paper to the trust. And then uh…And then later on,
they says, “How come you didn’t report your trust?”<br />
<br />
I said, “I report my trust every year that they income review.”<br />
<br />
And that they said, “We don’t have any record of it.”<br />
<br />
I said, “Now look at the logic of the situation. It does not mean that I
burglarized you place and removed all the records, right? It could mean that
you removed all the records. It could mean that you never put the records
there. Okay? Just because you don’t have the records, doesn’t mean that I
didn’t give you the records. Okay?”<br />
<br />
So, they said they have no records. However! Uh. My room was burglarized, and
the checks to my trust were stolen. So, I had to change the account to my
trust. And then they uh…At the bank. They have records of it at the bank. And
then they come back to me later, subsequent time, <st1:city w:st="on"><st1:place w:st="on">Seattle</st1:place></st1:city> Housing they says to me, says, “How
come you changed your trust account?”<br />
<br />
Now how would they know I changed it unless they had the old account and new
account?<br />
<br />
Chin: Mmm!<br />
<br />
KOON: So they have records of my trust.<br />
<br />
CHIN: Right.<br />
<br />
KOON: They. So they…they uh you know they made a mistake that they contradicted
themselves.<br />
<br />
CHIN: Right.<br />
<br />
KOON: So they do have proof. They do have records of my trust. So.<br />
<br />
CHIN: Who runs the…<br />
<br />
KOON: The property managers that I was dealing with, her name is Pamela
Rohrbeck. And she is charge of several sites, besides this one.<br />
<br />
CHIN: For…<br />
<br />
KOON: <st1:city w:st="on"><st1:place w:st="on">Seattle</st1:place></st1:city>
Housing Authority, which is now just managing the property for a private owner.
Because the building has been privatized. The <st1:city w:st="on"><st1:place w:st="on">Seattle</st1:place></st1:city> Housing Authority is part of…HUD…I
believe. And then uh the jurisdiction of HUD, which is a federal agency,
although the HUD Director, I understand is appointed by the mayor. But once
appointed by the mayor he no longer answers to HUD….I mean, to the mayor, he
answers to HUD which is directly controlled by the White House.
Ultimately.<br />
<br />
CHIN: Um! And HUD can sell the building or convert it to condos or do anything
they want?<br />
<br />
KOON: Uh! Let’s see. Now the uh. Well the…Actually it’s owned by a private
owner. The private owner, if they have approval by HUD, I imagine they can
convert it to condominiums, you know with the…because they’re the legal owners
now.<br />
<br />
CHIN: Uh huh.<br />
<br />
KOON: And act…actually probably because…they probably could even uh, you know,
stop <st1:city w:st="on"><st1:place w:st="on">Seattle</st1:place></st1:city>
Housing from managing it. And if they can just pull from under out under them…I
think the legal …the legal loophole is that you get uh they get these buildings
for provide low income housing to serve people for tax credit. So that’s what
the incentive…you know, providing low income housing. But ah but they… but…but
the way I figure it, I might wrong on this…they say they get the buildings for
free over a mil a certain number of years, because they don’t have to pay
taxes. You know, they get tax cuts. So they actually acquire the buildings for
free.<br />
<br />
CHIN: Hmm!<br />
<br />
KOON: Now you. Just take a step back. It means the political cronies of George
W. Bush gets these buildings for free.<br />
<br />
CHIN: How many tenants in the building?<br />
<br />
KOON: It’s approximately a hundred units, so most of the units have one or two
people so maybe about a hundred to about a hundred and twenty people.<br />
<br />
CHIN: And are they all low income people…or what are they?<br />
<br />
KOON: They all low-income people. Now, they’re kicking out the people who they
[think] have more money. They think they have more money, so they kicking out.
Well they actually didn’t kick me out. They said I no longer qualify for rent
subsidy. So I will have to pay the market rate, which is $1200. a month. Before
that I was paying $154. a month.<br />
<br />
C: The building you saved. Let’s talk about that. That’s located where?<br />
<br />
K: <st1:street w:st="on"><st1:address w:st="on">2016 1/2 7th Avenue South</st1:address></st1:street>.
Called the Republic Hotel. Built in the 1920’s and the 1930’s.<br />
<br />
C: It had cockroaches and mice…?<br />
<br />
K: When I first moved in it was an empty room with a cot and one small table.
Um I said, you know I looked at the small table said the … that would be a nice
place to put the typewriter. Maybe I will take this room, since rent is only
$60. a month, for a single occupant.<br />
<br />
After I start cooking I had a lot of uninvited guests. They stay with me.
Cockroaches and mice.<br />
<br />
C: What did you have to cook on?<br />
<br />
K: I have a hot plate. That didn’t come with the room. I had to borrow from my
mother…the hotplate. But they do have one of the washbasins in the corner of
the room. It used to be like a single room hotel for travellers.<br />
<br />
C: Bathoom down the hall?<br />
<br />
K: Yes, bathroom down the hall. And a tubroom down the hall.<br />
<br />
C: Was that clean?<br />
<br />
K: Well, the relatively, for, you know, that kind of rent. However there was a
95 year old man, living you know there. He had to climb…there’s no elevator. He
had to climb the stairs every day. But you know, several people in their
eighties, you know had to climb the stairs everyday.<br />
<br />
C: Rents were so low, was it all Chinese…<br />
<br />
KOON: They owned by several family associations, because they let the relatives
rent there first. Okay?<br />
<br />
C: Right.<br />
<br />
K: It just so happens though, my mother’s cousin is part owner of that
building.<br />
<br />
C: Um.<br />
<br />
K: So they let me live there.<br />
<br />
C: What happened to the bulditng to cause you to save it?<br />
<br />
K: Well, the uh owners decided to uh uh renovate so that’s because of
incentive, because they can get a matching fund from the city. Which, I don’t
know what it is, I just make a rough guess, they you know, Needs over a hundred
thousand dollars.<br />
<br />
They found out I was a writer that wrote for the <st1:city w:st="on"><st1:place w:st="on">Seattle</st1:place></st1:city> Chinese Post. So they said, well, you
know, Koon, You know, you know you do an article for us. How were going to, you
know, upgrade the living conditions of the dependents.<br />
<br />
So I say “Yeah, that’s a good idea.” And they took me out to dinner, you know,
the people, the housing people of <st1:place w:st="on">Chinatown</st1:place>.
Couple of young people. Those people that come to <st1:place w:st="on">Chinatown</st1:place>
to do good, you know. They mainly they come here to do good for themselves, you
know.<br />
<br />
So they says, “Koon, were going to make you the manager. When after we renovate
it.”<br />
<br />
“That sounds good, you know.”<br />
<br />
The rooms are going to be bigger. You know, more modern, you know. All that.
Then I thought about it a little while. “But what about those guys that can’t
come back that can’t afford the rent. There’ll be fewer people living because
the rooms will be bigger. And what about future immigrants who, you know, come
here to live? And I know that the reason people living here like my cousin’s
living here, that they want to save money on the rent, so they can buy a house.
For the future, you know, so they can have kids, and grandkids in this country.
So they want a house, you see.<br />
<br />
So, I said, for these and other reasons, Maybe it’s not a such a good idea to
renovate.<br />
I uh spoke up against it. The tv station KOMO caught the news of the story
somehow, I don’t know how, but they came to interview me on Prime Time Newstime
three days in a row. They filmed my room. It just so happened they filmed my tv
my little tv I got for ten dollars in my room. There’s cockroach walking on the
tv screen. They filmed that on Prime Time Newstime.<br />
<br />
CHIN: What year is this?<br />
<br />
KOON: This is 1992, I believe. Remember, I was not well at that time. And my
psychiatrist, you know , he uh, he said, you know, “Koon,” you know, “You’re
writing so well. I don’t believe you have mental illness. At least not
schizophrenia. I think you’re pure bipolar. You really don’t need
anti-psychotic medication. We think your lithium will do.” So he took me off my
anti-psychotic medication. I slowly went off the deep end, you know, I became
psycotic.<br />
<br />
Then I went into the hospital. When I went into the hospital, they put an
eviction notice on my room. So, I came home, I was evicted. The deputy the
sheriff’s deputy came to see me and says, “You know, I didn’t really want to do
this to you Mr. Woon. This is my job.”<br />
<br />
I said, “That’s all right. In <st1:country-region w:st="on"><st1:place w:st="on">China</st1:place></st1:country-region>,
we do not kill the policeman, we kill the mayor.”<br />
<br />
(LAUGHTER)<br />
<br />
C: And so you on tv for three days. What was the reporter from KOMO<br />
<br />
KOON: Yeah. She was a Chinese woman.<br />
<br />
CHIN: What was her name?<br />
<br />
KOON: I can’t remember now.<br />
<br />
CHIN: And uhh<br />
<br />
KOON: The funny incident was I considered myself a poet at that time. So I
said, “I want to read a poem on tv. I think it’s relavent.” Well, one point of
the poem is about the Republicans, were in power at that time, disappeared. One
of the poem says, “Have the art/ Have the fart/Love and leave these
lands..”<br />
<br />
(LAUGHTER)<br />
<br />
And then she says. “Oh we haven’t got time for a whole poem. Maybe just read
half a poem.”<br />
<br />
(laughter)<br />
<br />
CHIN: Were these poems in a book of yours?<br />
<br />
KOON: No not that poem. One’s lost. When I was evicted I placed everything was
lost. Except a doctor’s stub, kept the uh At Luke’s Pharmacy I gave to my…I get
my medicine there I said, “Judy,” you know, she works there. “Can you keep this
box of stuff for me till I get…come ad pick it up?” She kept it there for me a
long time. So I went back and got it.<br />
<br />
CHIN: Hmmm! Ahh! Yeah.<br />
<br />
KOON: But I lost a lot of writing that way.<br />
<br />
CHIN: The book…I forget the name of the book that you…you gave me<br />
<br />
KOON: THE TRUTH IN RENTED ROOMS? You mean my book?<br />
<br />
CHIN: Yeah.<br />
<br />
KOON: My poetry book. THE TRUTH IN RENTED ROOMS.<br />
<br />
CHIN: Did you write about your rented room at the Republic Hotel?<br />
<br />
KOON: There’s a poem in there called A MOMENT IN MY RENTED ROOM. I compare
myself to the astronaut. The room’s so small it’s like being in a space
capsule.<br />
<br />
ťťťťťťťťťťťťťťťťťťť<br />
<br />
A Moment in my rented room<br />
<br />
I sometimes think of myself as an astronaut<br />
In my compact, rented room and look upon the bookshelf<br />
With its deep mathematics books for deeper space<br />
As from a voyage one cannot return.<br />
Then multiply by serval million men who cannot marry,<br />
Men who cannot own home, or work, or go to college.<br />
This is almost equal to the space effort.<br />
But why all that money? I can go to Pluto bu just<br />
Being in a bad mood.<br />
<br />
Sometimes I think of the loneliness of deep space<br />
In my rented room. The neighbors have busily gone off<br />
To Epsilon Centauri or Galaxy X-2137 or to the 7-Eleven.<br />
Sometimes I look at my 16-oz. Jar of coffee, I know<br />
What the minimum daily requirements are. Cybernetics<br />
Steers me to avoid collisions with black holes or stars,<br />
And my hot plate sustains me with pinto beans and bacon rinds,<br />
And on my mini-stereo, always the Blue <st1:place w:st="on">Danube</st1:place>.<br />
<br />
It is rainy today. My room is a bastion. I am filing<br />
The sparse bars of prison. I am building a mental atom bomb.<br />
I am designing spaceships. Multiply this by several million.<br />
<br />
ťťťťťťťťťťťťťťťťťťť<br />
<br />
CHIN: What were the dimensions of your room?<br />
<br />
KOON: About 10 x 12. I did all my cooking, eating, writing. I did my laundry.
If the wet be out, I hang my laundry up, in the room, to dry.<br />
<br />
I lived there for seven years. I was helping other people live there. I helped
with things from the Government. My uncle family, my uncles younger brothers
whole family came here, they lived there [at the Republic?] I taught my two
cousins ESL and I taught a couple other women ESL for two years. No pay. Just
volunteer. I did all the uh you know the financials… you know uhh legal errands
for them. I took them to school. I took them to get jobs. I did everything like
that. I helped them get adjusted to life in <st1:country-region w:st="on"><st1:place w:st="on">America</st1:place></st1:country-region>.<br />
<br />
CHIN: You said you worked in restaurants.<br />
<br />
KOON: Yes. I began working in restaurants 12 years old. That’s my family
business. The whole thing is I learned how to do sidework, wash dishes, cook,
wait on tables, manage restaurant. I essentially didn’t quick work in
restaurants. I was drunk 28 years old. (??) And even when I was a mental
patient and in a health clinic, I volunteered to cook lunch. I cooked for 30
people in two hours time. All by myself. But we’d order the food, and cook the
food, and served it, all in two hours. 30 people.<br />
<br />
Yeah, in <st1:city w:st="on"><st1:place w:st="on">Seattle</st1:place></st1:city>.
Dotel. CDC Dotel. That’s the worst characters in the mental health
system.<br />
<br />
CHIN: What’s CDC?<br />
<br />
KOON: Psychiatric Community Center or clinic Community Psychiatric Clinic or
something like that.<br />
<br />
CHIN: You said you worked in San Francisco also<br />
<br />
KOON: Yes, in…in a restaurant. Soo it’s….A Chinese-Filipino restaurant.<br />
<br />
CHIN: Where was this restaurant locacated?<br />
<br />
KOON: At Battery and <st1:state w:st="on"><st1:place w:st="on">California</st1:place></st1:state>.
Financial District.<br />
<br />
CHIN: How long did you work there?<br />
<br />
KOON: I worked there for about six months.<br />
<br />
CHIN: So you were right here in <st1:place w:st="on">Chinatown</st1:place>.<br />
<br />
KOON: Yeah. Yeah. In <st1:place w:st="on">Chinatown</st1:place>. I lived in the
<st1:street w:st="on"><st1:address w:st="on">Grant Avenue</st1:address></st1:street>.
I stayed with my aunt. She had a flat on <st1:street w:st="on"><st1:address w:st="on">Grant Avenue</st1:address></st1:street>. 1362 Grant Avenue…something
like that. <st1:street w:st="on"><st1:address w:st="on">1632 Grant Avenue</st1:address></st1:street>.
That was <st1:place w:st="on"><st1:placename w:st="on">North</st1:placename> <st1:placetype w:st="on">Beach</st1:placetype></st1:place>. Cuz you know that place very
well.<br />
<br />
CHIN: OH! YOU’RE A POET.<br />
<br />
KOON: Right.<br />
<br />
CHIN: YOU’RE RIGHT THERE IN <st1:place w:st="on"><st1:placename w:st="on">NORTH</st1:placename>
<st1:placetype w:st="on">BEACH</st1:placetype></st1:place>.<br />
<br />
KOON: That was before I did any literature. At all. I went there mainly to uh
Ferlinghetti’s bookstore after uh you know after work to read psychology books.
Because I was slowly going crazy. I didn’t know I was going crazy. But, I knew
something was wrong. I was trying to read psychology books trying to figure
myself out.<br />
<br />
CHIN: Compare Chinatown <st1:city w:st="on">Seattle</st1:city> with <st1:city w:st="on"><st1:place w:st="on">San Francisco</st1:place></st1:city>. Was <st1:city w:st="on"><st1:place w:st="on">San Francisco</st1:place></st1:city> more
Chinese or less Chinese?<br />
<br />
KOON: More Chinese. More Chinese. More real. You know, but, however, it’s hard
to make a living there. Because, you know, whenever you’re more people
competition labor competition keener. Wages are lower, you know, and the living
space is smaller you know, and then here uhh it’s not as much commerce but
fewer people here. And then people can get jobs outside of <st1:city w:st="on">Seattle</st1:city>’s
<st1:place w:st="on">Chinatown</st1:place>.<br />
<br />
CHIN: Did you enjoy <st1:city w:st="on"><st1:place w:st="on">San Francisco</st1:place></st1:city>?<br />
<br />
KOON: Yes, I did. The part of the time I was crazy. I was hospitalized. I was
released out I lived in a half-way house in a Jackson and Fillmore, I
believe.<br />
<br />
CHIN: Oh, yeah.<br />
<br />
KOON: You know where that is right? I lived there old Victorian house with 30
other uh you know, a colony there. Was called the Connor House. The cream
of the crop of halfway houses. The uh…These are dropouts from <st1:city w:st="on">Columbia</st1:city>,
<st1:city w:st="on"><st1:place w:st="on">Berkeley</st1:place></st1:city>, uh
Yale<br />
<br />
CHIN: Huh!<br />
<br />
KOON: <st1:place w:st="on"><st1:placename w:st="on">Mills</st1:placename> <st1:placetype w:st="on">College</st1:placetype></st1:place>…I mean, I was with those ivy
league schools…or kids. And I had the most money!<br />
(Laughs)<br />
CHIN: Hmm<br />
<br />
KOON: Cuz I knew how to make money. I worked at a donut shop at night, nearby.
In one of the poems of my book is a …it’s called THE SPY’S RELIABLIBITY. It’s
based on my experience working at donut shop at night.<br />
<br />
CHIN: Ah ha<br />
<br />
KOON: You know why?<br />
<br />
CHIN: Why?<br />
<br />
KOON: Because there was uh there was actually Iranian chess master went there
to play….chess. He was…he was whisper to me, he says, “They give me a drugs.
‘nd they’re…They’re trying to control your mind.<br />
<br />
(LAUGHTER)<br />
<br />
ťťťťťťťťťťťťťťťťťťť<br />
The Spy’s reliability…<br />
<br />
He was at the corner donut shop; that was his assignment. He watched the
donut-maker Buck and the chess players, in particular the Iranian chess master;
the other hangers-on, the drug dealers and so forth were only of minor
importance. He comes in the day, ostensibly to pay chess and talk of
psychotherapies. At night he comes, ostensibly to read a book on economics by
Samuelson. Everyone knows he is a spy, however, since most of them are spies
themselves, and it takes one to know one, as the saying goes. The Fillmore
District was full of spies, because the newspapers were a printed there, in all
languages that were popular in the city.<br />
<br />
He plays chess sometimes in off-hours at night, and on weekends when he
pretends he can’t sleep in his rooming house nearby, he comes to see Buck, to
play chess and say his school books are driving him crazy. He purposely loses
to Buck, a black guy who never really had time to study chess, and Buck will
feel good and whisper things to him, that there’s saccharine in the donuts in
place of sugar, and that this little donut shop is really owned by a black
church, not the little black guy they called Steve. The spy never seems to be prying.
He always seems to be unimpressed, so that Buck tells more and more, juicier
and juicier tidbits, hoping to make him happy…<br />
<br />
The spy himself has had no communications with command for a long time. There
could have been changes in command structure or channels of communication,
breakdowns, paralysis due to infiltrations by hostile forces, or just an
inadvertent oversight, meaning he is lost in the paperwork. Or, the most
satisfactory explanation to him, he is so deep in the bowels of the investigations
that he is miles under ground, beneath the beds of rivers and dinosaur fossils,
so close to the fire itself that they don’t dare jeopardize his cover…<br />
<br />
The Iranian chess master plays the other players blindfolded, ten at a time,
while smoking imported Iranian cigarettes. He of course has no chessboard; he
just shouts his moves, the mind is all. The other players play him for money
and they smoke Marlboros and Camels and Kents and drink coffee and eat
saccharine donuts at the little tables in the Fillmore and Vallejo donut shop
while cars go in four directions outside, occasionally a thug-thug teenaged
music car slouches around the street corner slowly, like Yeat’s Beast in his
metaphysical poem to be reborn. The Iranian loses all ten games, and pays the
money that has been wagered. It seems the money has petroleum stains on it. The
Spy makes note of it.<br />
<br />
Usually, unless one’s a mole, a spy is to be transferred frequently so that his
objectivity and consequent usefulness is not jeopardized by inadvertent and
undesirable attachments to his subjects. So, since the spy hasn’t been notified
of nay transfers, in fact, has had no communications whatsoever, he begins to
think his cover has been blown, in a deep and profound way that could damage
the entire apparatus, and more and more, he comes to the unattractive but
forced conclusion that he’s been written off, forgotten and abandoned, and
therefore he is free at last, to see what he sees without a fixed format of
interpretation, to simply live among the people as if they were his brothers
and sisters. It is difficult to say which is the cause and which the effect,
the net result in that when Buck asks him to play chess, he says yes. He’s no
longer reliable…<br />
<br />
ťťťťťťťťťťťťťťťťťťť<br />
<br />
CHIN: Did the fact there were more people more Chinese around did you find that
stimulating or depressing?<br />
<br />
KOON: Well I think in uh in <st1:city w:st="on"><st1:place w:st="on">San
Francisco</st1:place></st1:city>, you know, there’s uh…uh…uh. Things are more
open. Everything’s open. Life styles. Uh, you know. Different persuasions.
Different philosophies. All things are more open. Different cultures. More open
than…<st1:city w:st="on"><st1:place w:st="on">Seattle</st1:place></st1:city>.
Little bit more. <st1:city w:st="on"><st1:place w:st="on">Seattle</st1:place></st1:city>’s
you know quite liberal in the old days. Now it’s got too much political
correct.<br />
<br />
(CHIN LAUGHS)<br />
<br />
CHIN: In the old day’s it was more liberal. When were the old days?<br />
<br />
KOON: Well, you know, you were here, back in the late 60’s early 70’s. That’s
when you wrote for the <st1:city w:st="on"><st1:place w:st="on">SEATTLE</st1:place></st1:city>
Magazine. I remember you then… The first time I saw you, you were at the Sky
[River] Folk Rock Festival playing the flamingo guitar with a bunch of gypsies.
And the second time I saw you was at the Last Exit on <st1:place w:st="on">Brooklyn</st1:place>.
And somebody says well that’s Frank Chin, he’s a…he’s a writer of the <st1:city w:st="on"><st1:place w:st="on">SEATTLE</st1:place></st1:city> magazine.<br />
<br />
CHIN: Hmm<br />
<br />
KOON: He was my next door neighbor from Aberdeen, Washington. He was in
English. He was an English major. I was a math major, so I didn’t, I was not
into literature at that time, so. I was not into literature at al until I was
30. That’s because, after mental illness I had such, you know, difficult
feelings.<br />
<br />
CHIN: UM HMM.<br />
<br />
KOON: I would try to write in my diary, you know, “I feel so terrible. I wonder
why” ‘nd this and that. “If I had…If I could do this, I would do this.” “I hope
things will be better tomorrow.” Jus’ Jst write down my feelings. And over a
five year period, I started writing little images. “If that is a toilet, I’m
flushed.” That’s how my poetry started. Really bad, like that, you know? As bad
as toilet unflushed. That’s how my poetry grew.<br />
<br />
CHIN: Right.<br />
<br />
KOON: Then in 1985 decide to take a poetry workshop from uh Nelson Bentley at <st1:place w:st="on"><st1:placetype w:st="on">University</st1:placetype> of <st1:placename w:st="on">Washington</st1:placename></st1:place>. The first month I was there,
some kids in the room started a magazine. So they said, Well, Can we have one
of your poems? You know it was with in the first year they published. And then
they uh Then I decide to enter the Bumbershoot. I was chosen at Bumbershoot. I
was the kind of people as one of the three chosen. So. Bentley says, “Well, you
know, maybe you should uh, you know, try your hand at poetry. And then uh. That
was 1985. I didn’t collect enough poems until 1998, to have my first book
published. And so far it’s the only book I got published.<br />
<br />
CHIN; Uh huh.<br />
<br />
KOON: Uh huh.<br />
<br />
CHIN: With what publisher?<br />
<br />
KOON: Kaya in <st1:city w:st="on"><st1:place w:st="on">New York city</st1:place></st1:city>.
Which is mainly a publisher of Asian diaspora.<br />
<br />
CHIN: What was the first thing of mine you read? (Laughs) If you have read
anything of mine at all.<br />
<br />
KOON: Yeah, I think I read uh . I don’t remember if I read the whole thing was
The CHICKECOOP CHINAMAN<br />
<br />
CHIN: Yeah. Yeah. Yeah. How did that strike you?<br />
<br />
KOON: Well you know uh. I really don’t remember. Mental illness did a lot of
things to my memory. The years of my life I don’t remember. Back in 1996, I was
convinced I killed two people in my sleep. But don’t remember who. For two
years I was absolutely convinced I killed two people.<br />
<br />
CHIN: Wow!<br />
<br />
KOON: I walked around every day. I wonder, you know, if they’re going to get
me. Get me for it, you know. So I must’ve killed ‘em in my sleep.<br />
<br />
CHIN: Wow!<br />
<br />
KOON: I threw them off my roof. I know I did. You know, so.<br />
<br />
CHIN: My writing drove you crazy!<br />
<br />
(HUGE LAUGHTER)<br />
<br />
I thank you for remembering me. The Last Exit. Wow.<br />
<br />
KOON: See the things that are a long time ago remember better than things
recently. That’s that’s. I think I got electric shock treatments. That’s what
that’s something, you get a short term memory.<br />
<br />
CHIN: You, yourself play guitar…<br />
<br />
KOON: Yes. I play the blues. Folk and blues and rock’n’roll, yeah. I gave you a
cd you can play it yeah.<br />
<br />
CHIN: I sent it home already.<br />
<br />
KOON: (Sings) Unchain my heart/ Baby let me be/ Darling you don’t care about
me/ Unchain my heart/ Baby, set me free…<br />
<br />
CHIN: Now, we’ll see if we got anything.<br />
<br />
CHIN; Anything I missed?<br />
<br />
KOON: We can make aother session sometime. You can go over your notes and then
see what else you need and talk about some more. Yeah.<br />
<br />
CHIN: Oh, ah! You said the Locke family is settled mainly in <st1:city w:st="on">Seattle</st1:city>…<br />
<br />
KOON: Oh, ahh… in the state of <st1:state w:st="on"><st1:place w:st="on">Washington</st1:place></st1:state>.
It started in Hoquiam my great grandfather’s the godfather of the Locke family.
He came to <st1:place w:st="on"><st1:city w:st="on">Hoquiam</st1:city>, <st1:state w:st="on">Washington</st1:state></st1:place>. The mayor of <st1:place w:st="on"><st1:city w:st="on">Hoquiam</st1:city> , <st1:state w:st="on">Washington</st1:state></st1:place>
when was to his village is because, five hundred men to come over here. One of
them was Gary Locke’s grandfather.<br />
<br />
CHIN: One was Gary Locke’s grandfather.<br />
<br />
KOON: That’s right. My great grandfather brought him over here.<br />
<br />
CHIN: Okay Gary Locke’s grandfather<br />
<br />
KOON: Yeh.<br />
<br />
CHIN: is different from your grandfather.<br />
<br />
KOON: Right. But they’re the same clan. The Locke clan.<br />
<br />
CHIN; And there are other Locke’s in the area?<br />
<br />
KOON: Yeah, there many Lockes that settled in the small towns. <st1:city w:st="on"><st1:place w:st="on">Aberdeen</st1:place></st1:city>. Hoquiam. Satsup, Raymond,
Centralia, you know, <st1:city w:st="on">Elmira</st1:city> and uh up in <st1:city w:st="on"><st1:place w:st="on">Seattle</st1:place></st1:city>. Then it branched
out to <st1:state w:st="on"><st1:place w:st="on">California</st1:place></st1:state>.
In fact the main manager at <st1:city w:st="on">San Francisco</st1:city> <st1:place w:st="on">Chinatown</st1:place>, was a Locke, was a relative of mine. He was
responsible for the Miss Chinatown Pageant in <st1:city w:st="on"><st1:place w:st="on">San Francisco</st1:place></st1:city>.<br />
<br />
CHIN: And so. Does the Locke family in <st1:state w:st="on"><st1:place w:st="on">Washington</st1:place></st1:state>
duplicate the Locke family in the vailage?<br />
<br />
KOON: They’re all descendants from the people in the three villages. The Locke
family in the villages, in <st1:country-region w:st="on"><st1:place w:st="on">China</st1:place></st1:country-region>.<br />
<br />
CHIN: So there Locke famiy in three villages. What are the names of the three
villages?<br />
<br />
KOON: I can’t remember. Two I don’t remember. The third…Nom On, is my village.
See Non is the next village. I don’t remember the third one.<br />
<br />
CHIN: It’s all around Toishan?<br />
<br />
KOON: Yes, in Toishan county. Just like we have <st1:place w:st="on"><st1:placename w:st="on">King</st1:placename> <st1:placetype w:st="on">County</st1:placetype></st1:place>
here. Most of the Chinese immigrants in this country are originally from
Toishan because. They had kind of a war there. And they had a famine very badly
one year, so they all came <st1:country-region w:st="on"><st1:place w:st="on">America</st1:place></st1:country-region>.<br />
<br />
CHIN: My geography sort of messed up so, I know in <st1:place w:st="on"><st1:placename w:st="on">Kwangtung</st1:placename> <st1:placetype w:st="on">Province</st1:placetype></st1:place>
there’s Chungshan…<br />
<br />
KOON: Chungshan is next to us.<br />
<br />
CHIN: AHH!<br />
<br />
KOON: Next to Toishan. Un hmm.<br />
<br />
CHIN: And theres Lihoi?<br />
<br />
KOON: Lihoi…?<br />
<br />
CHIN: Jihoy?<br />
<br />
KOON: Since I left China at 11, I don’t know much geography.<br />
CHIN: Your life in the village was really all in the village or how far out of
the village did you travel? Say you were going on a holiday…<br />
<br />
KOON: Well we generally. I go my maternal. My mother’s side of the family.
That’s just three miles away. I would walk there and see my uncles. Usually
people, in the old days, people usually very seldom more than a hundred miles
from their own place. Because the transportation and communications so
poor.<br />
<br />
I did not leave my village at all until we went to..immigrated to <st1:city w:st="on"><st1:place w:st="on">Canton</st1:place></st1:city>. Which is like a
hundred miles away.<br />
<br />
CHIN: When you walked 3 miles to wherever you walk, did you walk alone?<br />
<br />
KOON: Yeah. It was safe. I mean it was safe at that time yeah. It was under
Communism. There’s only one scary part, there was a…house you know that didn’t
seem much windows that it was very dark inside. And people whisper to you, to
kids, says uh, you know, “Be careful you walk by there. Fot mahngs live there!”
What the hell’s a fot mahng? I never until about now, you know it’s a crazy
person. They lock’em up. They don’t have mental hospitals. They just lock’em up
in a house somewhere and they feed’em, you know. And come to think of it I’m a
fot mahng myself.<br />
<br />
(LAUGHTER)<br />
<br />
CHIN: Luckily you have a house with windows. Could you see mountains from where
you were?<br />
<br />
KOON: Uhh let’s see. No. Hills. Just hills. Toishan means “a raised mound”
Elevated mound.<br />
<br />
CHIN: Oh, “Sahn” mountain.<br />
<br />
KOON: Yeah. Hills. Toishan.<br />
<br />
CHIN: You could see the <st1:place w:st="on">Pearl River</st1:place>?<br />
KOON: Not from where I was. We have to go to <st1:city w:st="on"><st1:place w:st="on">Canton</st1:place></st1:city>. We lived in <st1:city w:st="on">Canton</st1:city>
for two years, actually swim in the mouth of the <st1:place w:st="on">Pearl
River</st1:place>. We saw dragonboat races…in the uh in the uh <st1:place w:st="on">Pearl</st1:place> River.<br />
<br />
CHIN: Do you remember Chinese New Years?<br />
<br />
KOON: Yeah, Yeah. That’s the big thing in the kid’s life. You get ‘lucky
money,’ I mean that’s about the only time you get big money, that’s the only
time you play poker for real.<br />
<br />
(Laughter)<br />
<br />
CHIN: Did they have celebrations did you do lion dances or dragon…<br />
<br />
KOON: Well not in the villages too much. I think the women did the flower drum
songs there were the girls who were dressed up and put on their drums and dance
and play the drums. I think the men did the acrobatics the tai-chi the kung fu
whatever. Rumor has it my dad always carried the first flag in the village,
during the holidays. He was uh this is what my maternal grandmother says, you
know how the Chinese talk, they talk indirectly.<br />
<br />
CHIN: Right.<br />
<br />
KOON: The doorway has a little… jamb atop you know.<br />
<br />
CHIN: Yeah.<br />
<br />
KOON: You’re tall for a Chinese, right? You’re fairly tall right? My dad’s not
that tall, he’s only five eight. So he’s not as tall as the door…the top the
door right?<br />
<br />
But my grandmother would say to me, she says, “You’re father’s so tall, that
when he goes through the door, he has to nod [lower] his head.” What she’s
saying to me is, “He is the leader. When people see him they have to nod their
head.” Chinese…everything like that. Coding. They do not let you know for sure
what they mean. So all your life you cannot know for sure what’s happening. If
you know that’d be a danger to yourself.<br />
<br />
CHIN: Did you bai sun to the family?<br />
<br />
KOON: Oh, yeah, yeah, yeah. Right! Right!<br />
<br />
CHIN: Describe that. Did you set out tea for the dead?<br />
<br />
KOON: Oh yeah, we uh. Generally you boil a chicken with the head on it.
And then ah (coffeehouse is filling up.) And then you bring uh, you know,
food and you make offering…incense and you put your hands together and you
supplicate several times. And then you uh…after you uh…after your prayers and
then you can share the food. And you get to eat the food there.<br />
<br />
CHIN: ALL YOU HAVE TO DO IS PRPARE A CHICKEN AND RICE?<br />
<br />
KOON: Mostly chicken, yeah. Anything that you like to eat that’s good. Is it a
good food. Suppoesdly your ancestors and supposedly in Heaven they cannot eat
but they can…they live off the fragrance. The incense fragrance is a food. So
that’s how they could eat.<br />
<br />
And you could anything that you eat they want to use in heaven, you make paper
offerings and burn them, right?<br />
<br />
CHIN: Right.<br />
<br />
KOON: You burn money. Hell Bank Notes and things like that.<br />
<br />
CHIN: Yes. Okay. Ah! There’s a map over there. Yeah. Yeah.<br />
<br />
KOON: You know what ThinkingChicken means, Frank, you know your … your ….<br />
<br />
CHIN: My e-mail address?<br />
<br />
KOON: Do you know what that comes from?<br />
CHIN: ThinkinChicken?<br />
<br />
KOON: Yeah.<br />
<br />
CHIN: No.<br />
<br />
KOON: You don’t know where that comes from? What do you call that when you know
something by …by sixth sense. What do you do you know that. ESP? What do you
call that?<br />
<br />
CHIN: Awww!<br />
<br />
KOON: When you know something by ESP? You know what I mean. Like a mindreader,
you know, right?<br />
<br />
In <st1:country-region w:st="on">China</st1:country-region>, our teacher said,
“Look at <st1:country-region w:st="on"><st1:place w:st="on">China</st1:place></st1:country-region>.
That’s the shape of a rooster.” See that’s the head of a rooster. That’s a
chicken, man! Do you know what chicken means? In <st1:country-region w:st="on"><st1:place w:st="on">China</st1:place></st1:country-region>?<br />
<br />
CHIN: No.<br />
<br />
KOON: Nay Hew hong goy muh? Goy!<br />
<br />
CHIN: Goy?<br />
<br />
KOON: Goy means strategy!<br />
<br />
CHIN: Awww!<br />
<br />
KOON: Thinking chicken, man! Chinese strategy!<br />
<br />
CHIN: (LAUGHS) WOW! I did’nt know that…I thought that…yeah. So, I just hit on a
name. And it turned out to be a good name.<br />
<br />
KOON: That’s the way language works.<br />
<br />
CHIN: Yes.<br />
<br />
KOON: If you’re a Polick you pick that up<br />
<br />
CHIN: Cuz you know, come with me, (walks across room to globe) look at the map.
Now I see this as a camel’s head.<br />
<br />
KOON: Uh huh.<br />
<br />
CHIN: And the Yellow the Wong Haw is…forms the camel’s back.<br />
<br />
KOON: Um hmm.<br />
<br />
CHIN: And Leongshan Marsh is right there.<br />
<br />
KOON: Um hmm. Um hmm.<br />
<br />
CHIN: But look at where the camel’s looking. Right at <st1:country-region w:st="on"><st1:place w:st="on">Korea</st1:place></st1:country-region>.<br />
<br />
KOON: Uh huh. Well, before this is the rooster. The head here.<br />
<br />
CHIN: Yeah.<br />
<br />
KOON: Now, when you got a Mongol sitting on your chicken what do you do?
(pause) That’s time to worry, buddy!<br />
<br />
(LAUGHTER)<br />
<br />
CHIN: It seems there dual meanings for everything you can say or or or…<br />
<br />
KOON: But that’s Taoism. That’s the Tao. That’s the Tao.<br />
<br />
You know the particle at the end of a sentence. They said they all say “um-muh”
“how um how ah.”<br />
<br />
CHIN: Oh oh! You said uh. There was. “Sick jaw fon may uhh.”<br />
<br />
KOON: Um hm.<br />
<br />
CHIN: And the answer is…<br />
<br />
KOON: Gee gun uhh.<br />
CHIN: Jur (the city dialect) gun uhh.<br />
<br />
Oh, what’s that mean?<br />
<br />
KOON: Gee is control. Aw means the chairman. The chairman of the control. Means
uh it’s under control. I’m handling it okay. It means. “Have you eaten yet?”
“Did you overcome?”<br />
<br />
CHIN: Aha.<br />
<br />
KOON: When people when they finish. They go (claps hands) Heck guh luh! That
means “Done!”<br />
<br />
CHIN: I thought it was. “Let’s eat!”<br />
<br />
KOON: When they finish doing something they say (clap hands) “Heck luh.” If you
ask them if you build a house, “Heck luh. Jang goong luh.”<br />
<br />
CHIN: I’m ashamed to say I guess I don’t know Chinese at all.<br />
There’re these other shadow meanings or other meanings<br />
<br />
KOON: I urge you to read, just if you have time, one of these days, read
Wittgenstein what he means by private language. All language. It’s a hopeless
task for philosophers who have a hundred years to invent a perfect language
with every grammatically correct sentence has a definite meaning.<br />
<br />
But it was a futile effort because every language would generate its own
metaphors in time. That’s the darkhorse of language out there.<br />
<br />
If it’s in use long enough it will generate metaphors. In the country evolving
language constantly.<br />
<br />
CHIN: Right.<br />
<br />
KOON: If you read the Tao te Ching. There’s a lot of hidden language in the Tao
De Ching. “Ruling a large nation is like cooking a small fish.”<br />
<br />
What does cooking a small fish in Chinese Cantonese. “Gee siyew yur..” Siyew
yur (small fish) means “small talk” means “conspiracy” controlled conspiracy.
“Ruling the big country is to control the conspiracies.”<br />
<br />
Chinese languages. There are 50 thousand characters in the dictionary,
approximately. To be a literate person you need about five thousand of them. So
a lot of words, you know, these bigger words I only went to five years of
British school. And I only speak to my parents and they speak to me like a
little kid. So a lot of adult words I don’t understand.<br />
<br />
However there are things I understand that even a scholar don’t
understand.<br />
<br />
Depends on what kind of background ….of family background comes up.<br />
<br />
CHIN: Ah, let’s see… “mo bahn fot.”<br />
<br />
KOON: Means uh, “without…” “unable to do something” without the ability to
..without the means to do something.”<br />
<br />
CHIN: Does it have another meaning?<br />
<br />
KOON: Uh…Mo bon fot. Means….uh No method to do something. Uh…generally that’s
pretty neutral. When you say that. There’s another way of saying that. “Oy mo
nung jaw” Which means I love to do it but I can’t help it.” I mean, “I’m not
able to… I sure wish I could help you but I can’t.” “Oy mo mung jaw.”<br />
<br />
That’s a more polite way of saying.<br />
<br />
CHIN: When did your grandmother die?<br />
<br />
KOON: She died when I was….I think she died in about 1975 at 83 age 83…I was
like 27.<br />
<br />
I’ll tell you something, very strange. That night I had a dream. I saw an old
woman laying down on a dead floor to sleep. I said isn’t that kind of strange,
the floor is cold, you know. Sleeping on a dirt floor is kind of cold. So I put
a blanket over her.<br />
<br />
And two weeks later, my parents told me that my grandmother had died…that
night! That very night!<br />
<br />
CHIN: Were you closer to your grandmother or to your parents?<br />
<br />
KOON: My grandmother, yeah. My poem THE MEMORY OF THE HANDS is in the <st1:city w:st="on"><st1:place w:st="on">SEATTLE</st1:place></st1:city> REVIEW. Nelson
Bentley put that in there. He says. “We’re very lucky to get this poem.” So…
“Very lucky to get this poem.”<br />
<br />
It’s about me and my grandmother leaving <st1:country-region w:st="on"><st1:place w:st="on">China</st1:place></st1:country-region>.<br />
<br />
ťťťťťťťťťťťťťťťťťťť<br />
The Memory of hands<br />
In memory of my grandmother<br />
<br />
I. In Water Buffalo Time<br />
<br />
Honey-Auntie collects bees in her palm:<br />
When she says Go! They fly off to sue the flowers,<br />
And when she says Come back! They roll their honey-<br />
Bellies in her hand.<br />
<br />
Uncles arc in race paddies, itching where leeches suck<br />
Their legs.<br />
<br />
I sprinkle Grandmothers’s garden of bokchoy, cabbages,<br />
And wintermelons heavy like little buddhas.<br />
<br />
Grandmother gets wood and gossip from Firewood-auntie,<br />
And pays her a few bronze coins to light incense.<br />
Both women’s husbands died three decades ago.<br />
Leaving them the void of Confucian hands.<br />
<br />
At dusk my grandmother trots out in her bound feet to retrieve<br />
The drying vegetables hung on a bamboo pole like the character<br />
Jen (people).<br />
<br />
The sun drops behind the last rice paddy<br />
As the water buffalo sinks in the vegetable pond,<br />
Dropping dung for black shrimps.<br />
And at last grandmother draws the mosquito net<br />
In the lychee-pit night.<br />
<br />
II. Sampan<br />
<br />
A journey in yellow water. I am sick<br />
And grandmother tells me to think of not moving.<br />
Think of a place far away like Gimshan, she says.<br />
Do not move against the river and you will be still.<br />
Your head was so big we used forceps,<br />
And now you are a cavern<br />
For three bowls of rice and pig’s feet stewed in rice vinegar!<br />
<br />
Grandmoter is not moving although the boat moves.<br />
She tells me to think of lemon.<br />
<br />
The boatman, pushing the river bottom with his long bamboo pole,<br />
Carries all the land he cares for in his sampan.<br />
As I become better, I awe at his calves.<br />
<br />
The river I know must have fish.<br />
The fish must look up at the shadow that moves.<br />
The fish move in a moving river,<br />
But I am stil because grandmother is still.<br />
<br />
We are leaving the village for <st1:city w:st="on"><st1:place w:st="on">Canton</st1:place></st1:city>.<br />
The chrysanthemums are in bloom just now.<br />
And Gimshan is where I must soon go.<br />
<br />
III. The World’s Longest Alley<br />
<br />
For a snip of cloth Grandmother took my hand<br />
And led through bicycle-laden streets,<br />
Past shoppers by fours, past wine and vinegar stores.<br />
Buses overtook us.<br />
And finally, walking as far as three rolls<br />
Of cloth would unroll,<br />
We arrived at the entrace of the world’s longest alley,<br />
Where vendors on both sides set up<br />
Painted fans, brilliantly glazed pottery,<br />
And cloth of every color<br />
As they haggled with shoppers,<br />
Squeezing the alley like a tourniquet on a blood vessel.<br />
<br />
Grandmother: “The five colors blind the eye!”<br />
But she doesn’t heed Lao Tsu and slides her fingers<br />
On the rolls of exquisite cloth.<br />
We hear it is exported.<br />
<br />
But there are no candy vendors, though there’s a man<br />
Who has taught his monkey to beg with a tipped hat.<br />
<br />
The alley is long as a conversation with a river.<br />
In the colorful blur, she assents to an ice-cream bar.<br />
I am then happy for coming along,<br />
For the first time I see<br />
Grandmother as a maiden of sixteen,<br />
Her young eyes dazzled by the dowry of cloth.<br />
<br />
IV. The Momory of Hands<br />
<br />
If you fold a piece of paper once, then unfold it,<br />
It will tend toward the folded position. That’s because<br />
The paper has “memory.”<br />
<br />
The memory of hands, of ancient vine,<br />
My monsoon eyes, my face, tilled by fingers.<br />
A chicken plucked gently naked.<br />
Hands , unable to sign a legal signature,<br />
Close the fan,<br />
And draw the mosquito net.<br />
<br />
At the <st1:place w:st="on"><st1:placename w:st="on">Hong Kong</st1:placename> <st1:placename w:st="on">International</st1:placename> <st1:placetype w:st="on">Airport</st1:placetype></st1:place>,
I took a mental<br />
Photograph fo my grandmoter. A young gir swrings free of<br />
Her mother’s hand and runs along, laughing.<br />
<br />
Her index finger wrote a whorl on my back to designate an ox.<br />
My hands, curved upward to suggest valley of space,<br />
Would squeeze water,<br />
Would cling to ancient vine,<br />
Would throw<br />
A marble across the river.<br />
<br />
The loudspeaker aannounces, announces last call, last call,<br />
Third-aunt says hurry, hurry, or you will miss your future.<br />
<br />
The past folds up like an origami bird,<br />
Will not dissolve like candy.<br />
Grapes cling to the vine, hands weave bamboo baskets,<br />
Hands supplicate and light incense,<br />
Buddha holds her in his palm.<br />
I fold paper for hands of ancient vine,<br />
Hands that couldn’t come along.<br />
And hands will open gates if I should return.<br />
<br />
ťťťťťťťťťťťťťťťťťťť<br />
<br />
CHIN: How old were you when you were reunited with your parents?<br />
<br />
KOON: I was twelve. Eleven something. Yeah. 1960.<br />
<br />
CHIN: And did you have good relations with your parents?<br />
<br />
KOON: Over the years I became, you know, more distant from them because of the
uh, you know, Chinese family, are patriarchal, they own it, they want you
to…You know, the first generation immigrants, they want you to go to the
restaurant business or real estate. Okay? I was like you, I wanted to be a, I
don’t know, I wanted to be mathematician. They didn’t see anything in that.
They said to me, my dad always say, “How much does a professor make? I make 30
thousand a year!” You know. At that time PhD’s were making 17 thousand a year.
He says. “I make 30 thousand a year! I mean, How much does a professor make?”
and he’s always saying, when I read books, novels and stuff like that for
school, he says, you know. “You’re always doing things that don’t need to be
done.”<br />
<br />
CHIN: Umm.<br />
<br />
KOON: You know, I was trying to play the guitar, I was trying to read books,
trying to learn how to play chess. He says, “You’re always trying to do things
that don’t need to be done.”<br />
<br />
CHIN: How do you say that in Chinese?<br />
<br />
KOON: “Seng yee do um hung soy guh!”<br />
<br />
CHIN: Ah!<br />
<br />
KOON: Seng yee dole um hung soy guh<br />
<br />
CHIN: Um hung soy guh.<br />
<br />
KOON: Um hung soy guh.<br />
<br />
CHIN: Huh! Aha! Did your mother participate in judging you?<br />
<br />
KOON: Yah! Yeah. She’s at that…she uh she said that…she just wanted me to make
so much money, so I just got mad, I says, “Okay, by the time I’m thirty I’m
going to have a million dollars. Will you be happy then?”<br />
<br />
Course, I’m never going to have a million dollars.<br />
<br />
CHIN: (laughs) Yeah. Join the club.<br />
<br />
KOON: But uh one of my brothers did have a million and when he got a divorce,
his wife got half of it. So, you know what he did? He remarried her!<br />
<br />
(Laughs)<br />
<br />
CHIN: So your brothers and sisters were born in <st1:country-region w:st="on"><st1:place w:st="on">America</st1:place></st1:country-region>?<br />
<br />
KOON: Um hmm.<br />
<br />
CHIN: Are you close to any of them?<br />
<br />
KOON: No, not really. Not really. Over the years because the financial
transactions in the family. Well…I don’t want to get too much into that part of
it because I don’t have all the facts.<br />
<br />
CHIN: So let’s stick with your uhhh. You say you’re publishing magazines and
and uh…<br />
<br />
KOON: I did. I did. The uh now I’m not uh. I’m completely in debt. Heavily into
debt. And then I…I thought it was easy, you know, if you get a good author, you
know, it’ll sell like hotcakes. I mean, you know, maybe a big publisher, you
know, will buy your copyright. Sell like hotcakes.<br />
<br />
So that sort of thing. I knew nothing about it. I get hypomania. I still get
hypomania, when my judgement’s kind of impaired. I spend too much money. I do
things…the thing about me is I was born a village boy, when I give my word, I
follow my word. To the tee. I promise somebody that I’d do something even
though it was made out of bad judgement I still try to fulfill my obligation.
So. That’s the way I am. So.<br />
<br />
CHIN: What’s the difference between you …yeah…what’s the difference between you
and me? We both say we’re Chinese.<br />
We’re both Chinese-American.<br />
<br />
KOON: The thing is, Frank, the uh. I don’t know who wrote that poem, but uh,
something to the effect that something about, you’ll walk into a room one day.
You’ll see your friends there. And they all have their seats. Everyone’s got
their own place in the universe. So the you’re Chinese, I’m Chinese, you’re a
liitle bit different than me, in the Chinese way. I’m a little bit different
than you, in Chinese way. That doesn’t mean you’re a worse Chinese you’re not
as qualified Chinese as I am. Or I’m a better Chinese than you are. You’re
obviously more noted About the Chinese in this country, than I am. And you
know, and so. In that way you’re better Chinese because you’re uh I mean, you
more, I mean,have spread the word about China…your version of it, I mean, which
is good, I mean it’s like, I mean, they would, okay, et me. Let me put it in
terms of uh an anecdote, Okay? We have a Chinese-American restaurant. What in
the old days we called a chop suey house, okay? The people that used to eat in
a chop suey house, they’d come to eat chop suey and chow mien, right?<br />
<br />
If you give ‘em some real Chinese food, and “What is this garbage! I don’t
wanta have to…I don’t order.” And “This is not Chinese food!” I mean, “That’s
something you eat. But it’s not what I eat. It’s not what I consider Chinese
food.” You see? See what I mean? If I give’em the real stuff they would think,
they would not take it, see. You give’em the stuff….you lead them in. See? You
lead them to me. I give’em the real stuff.<br />
<br />
(Laughter)<br />
<br />
CHIN: Yeah.<br />
<br />
KOON: Yeah I mean. That’s the way it goes. You don’t wanta. I mean when you
want to send a Chinese ambassador overseas, he has to speak English. He’s got
to present the good side of <st1:country-region w:st="on"><st1:place w:st="on">China</st1:place></st1:country-region>
to people. He doesn’t say, well you know, <st1:country-region w:st="on"><st1:place w:st="on">China</st1:place></st1:country-region>’s just as bad as you guys.
You are criminals, you have racism, you have this and that. We got arsonists,
and we have disaster on our mind! We sell fake blood in hospitals. You know.
You want to come <st1:country-region w:st="on"><st1:place w:st="on">China</st1:place></st1:country-region>
to do business?<br />
<br />
(Laughter)<br />
<br />
They say “Oh, we can give you tax credit. We can give you credit breaks. We can
subsidize your company. We’ll give you loans. You know. You come to help us
develop our country.<br />
<br />
You coming to help us, man. We want you in <st1:country-region w:st="on"><st1:place w:st="on">China</st1:place></st1:country-region>. See? But…but that’s the way
it is in the world.<br />
<br />
CHIN: Have you been mistaken for Gary Locke?<br />
<br />
KOON: Not mistaken, but they uh they uh maybe a couple of times, people uh when
I mentioned I’m related to him they will say, “You look alike.”<br />
<br />
CHIN: Do you have any contact with him?<br />
<br />
KOON: Not since he threatened to put me in jail.<br />
<br />
(Laughter)<br />
<br />
CHIN: Oh!<br />
<br />
KOON: He called the cops on me. They came up to my room to try to arrest
me.<br />
<br />
CHIN: This was when…When?<br />
<br />
KOON: No, in 1992. I was going off the deep end, because my doctor told me I’m
mensan (?)<br />
<br />
CHIN: Which room?<br />
<br />
KOON: Well at the uh at the uh Republic Hotel. The tenement building. He was
King County Executive at that time.<br />
<br />
And he said. You know, I call him up on the phone every morning. I says uh. He
says uh. He said, “Rumor has it your <st1:country-region w:st="on"><st1:place w:st="on">America</st1:place></st1:country-region>’s best
mathematician.”<br />
<br />
I said, “Yeah, provided you’re the President of the <st1:country-region w:st="on"><st1:place w:st="on">United States</st1:place></st1:country-region>.”<br />
<br />
(Laughter)<br />
<br />
CHIN: You know when I first met him. He was a student at <st1:place w:st="on"><st1:placename w:st="on">Franklin</st1:placename> <st1:placename w:st="on">High School</st1:placename></st1:place>.
And we got to talking he doesn’t remember it but he said that he wanted to be
President of the <st1:country-region w:st="on"><st1:place w:st="on">United
States</st1:place></st1:country-region>. And after seeing him, his career his
rise through politics and his developing charm…and he really is, he’s developed
this quality. I…I think he could be President of the <st1:country-region w:st="on"><st1:place w:st="on">United States</st1:place></st1:country-region>.<br />
<br />
KOON: Yeah. Yeah. He could be. The only thing is the uh, you know how it is,
the uh is not ready for a minority, is not ready for a woman. At this
point.<br />
<br />
CHIN: I think what’s holding him back, is there are no newspapers in town,
here. I mean no Chinese newspapers …the Chinese newspapers the Japanese
newspapers really aren’t real.<br />
<br />
But you say you used to write for the Chinese Post?<br />
<br />
KOON: In the English version. They become now days in a weekly, you know.<br />
<br />
I was the first reporter for them. Assunta Ng. Assunta Ng. But she just wanted
me to write tourist articles. I wrote a story on jade, Chinese museums, Chinese
furniture things like that.<br />
<br />
I did have a uh Asian American writers, the <st1:city w:st="on"><st1:place w:st="on">Seattle</st1:place></st1:city> area, the special issue. I don’t
think you were in town, at that time.<br />
<br />
CHIN: How much did she pay you?<br />
<br />
KOON: Thirty dollars an article. That was a lot of money back then. 1990…I mean
for me I was only getting SSI was three hundred dollars a month. So that’s one
tenth my income for a week’s work. You know. cuz it took me a long time to
write. I’ve always been a slow writer.<br />
<br />
I’d research my stuff well. And I’d, you know, she said, “You know, you’re a
good writer, but you’re too slow. I’d better let you go.”<br />
<br />
You know she has got to have the article every month every week, you
know.<br />
<br />
CHIN: So you know Assunta.<br />
<br />
KOON: She said… she was a little bit afraid of me, because at the uh when I
went off the deep end, I uh, I wanted them to put an ad in the paper. “My
father’s name is not Fay Lung Woon but George Bush is the President of the <st1:country-region w:st="on"><st1:place w:st="on">United States</st1:place></st1:country-region>.”
And they didn’t to put that ad in there.<br />
<br />
And then I said uh, “Why not?”<br />
<br />
They said uh, “Well we just don’t want to put that ad in there.”<br />
<br />
“Isn’t that against freedom of speech?”<br />
<br />
“You get your lawyer and talk to us.”<br />
<br />
I says, “Okay. When you want a lawyer, you get a lawyer. When I want a lawyer,
I get a gun!”<br />
<br />
(Laughs)<br />
<br />
C HIN: Okay! We got a lot of stuff.<br />
<br />
KOON: Yeah. So anyway, I gotta call somebody.<br />
<br />
CHIN: Do you consider yourself a Buddhist?<br />
<br />
KOON: Well, you know, Frank is uh, you know the philosophies, you know in the
world, that uh could work for a lot of people , you know, in the uh I’m kind of
uh eclectic you know, I mean, the uh. Essentially I believe that if it’s
alternative life, it’d be sort of like string theory, you know. Alternative,
parallel universes. But I don’t know, you know, it’s just mathematically
convenient, I mean. It’s beautiful. To have that kind of conception, that you
know. If you really really attract me, I just say, it’s impossible to
know.<br />
<br />
Okay, let me put it this way.<br />
<br />
There’s a joke that goes like this: Life has always been in doubt. Only fools
assure the case….” You know. Have you seen that? “Yes, absolutely.”<br />
<br />
“Life has always been in doubt. Only fools assure the case. “<br />
<br />
CHIN: Right.<br />
<br />
KOON: Have you heard that? Yes, absolutely. //he visited a mental asylum, asked
the director, How can you tell when you bring somebody in here that he’s really
really crazy?<br />
<br />
He says he’s about appear by the window. There’s a thimble, there’s a dog,
there’s a bucket.<br />
<br />
“Oh I get it.” So the same guy so when I used a symbol to build a backup I used
a bucket.<br />
<br />
No no no, the same guy unplugged the tub because he wanted the seat next to the
window.<br />
<br />
<br />
We walk up past the sign to the empty Tokuda Pharmacy and the other empty
Panama Hotel storefronts up the hill, turn to walk down the broad brick side of
the Panama on what used to be a red brick alley as lick as spit in the rain,
but today the air is humid but not wet. Instead of a wall on the other side of
the <st1:country-region w:st="on"><st1:place w:st="on">Panama</st1:place></st1:country-region>,
was a parking lot. Koon’s voice bounces lightly off elements in the Panama’s
red brick that vibrate to his words about the Chinese tenants of the
International Terrace across the street from Panama’s front, composing a
petition to restore garbage down-chutes on every floor that were a service that
tempted the elderly tenants the tenants getting rickety and rickety to take
apartments and fill the building. Tenants of the fifth, fourth and third floor
should not be forced to walk down to second floor to chute their garbage into
the dumpster, and elevator back up to their floor. The petition was all written
in Chinese and they didn’t want it thrown out because the manager’s don’t know
how to read. So Koon translated the tenants’ petition. And that was when the
managers started to pry him out of the building. We come to <st1:street w:st="on"><st1:address w:st="on">Jackson Street</st1:address></st1:street>. Maynard to the left. <st1:street w:st="on"><st1:address w:st="on">6th Ave</st1:address></st1:street> to the
right. I want noodles at Mike’s Noodles on Maynard. I can see the old half a
block wide and a block long Uwajimaya, now a gallery of Asian antiques. I want
to show Koon the bronze crazy eyed Kwan Kung showing his teeth and holding a
pot of gold ingots in his left hand, disguised as the Buddha of Seven Stars,
symbolized by a pagoda in his fighting right hand, but the pagoda is Monkey in
disguise.<br />
<br />
Have I gone too far in interpreting Kwan Kung? I want to see Koon’s face when I
show him the bronze. I interrupt his story and take him across the street. The
Kwan Kung is gone. He’s been moved to the more expensive store in <st1:city w:st="on"><st1:place w:st="on">Bellevue</st1:place></st1:city>.<br />
<br />
<br />
and left on <st1:city w:st="on"><st1:place w:st="on">Jackson</st1:place></st1:city>
against traffic to Maynard turn right and cross on Maynard to Mike’s Noodle
House.<br />
<br />
ťťťťťťťťťťťťťťťťťťť<br />
KOON: I can sympathize. For ten years, Frank, I uh I couldn’t play the guitar,
either. Cuz the medicine. It gave me no ability to feel. I laid on paper Zombie
I just eat. No appetite, I go to sleep, it’s like passing out on the street or
something. And I’d sleep for 36 hours at a time. And I had anxiety so bad I
couldn’t sit still. I couldn’t stand. I couldn’t wait. I couldn’t read. You
know, I couldn’t listen to music, you know, I couldn’t do anything. Wherever I
am, I want to be somewhere else. Whenever I get there, I want to be somewhere
else. If I was doing one thing, I want to do something else.<br />
<br />
The only thing that saved me was I forced myself to sleep24 hours 36 hours as
long as I sleep just to avoid that anxiety. They tried everything. All the
drugs that they uh, acupuncture , you know, everything, everything. Nothing
worked. Therapy… nothing worked.<br />
<br />
So as I had no feelings, of course, no sexual feelings, no uh, you know, no uh,
. Just total nothing! Just uh total zombie like. And that was not just people
like me, you lived you lived the Thorizine shuffle people like this (he hangs
his arms and lifts and plants his feet) ghosts all day long. I wasn’t so bad. I
was on Lithium I just shake all the time. And people thought I was afraid!
Nervous or scared! I mean, you do feel you’re scared because you’re shaking.
But, am I scared, you know, cuz I’m shaking like a leaf.<br />
<br />
CHIN: WHEN DID YOUR MEMORY BEGIN?<br />
<br />
KOON: About four. Right before I went to school. Because I only remember three
times in the village pond from they pull me out of the village pond, and my
grandmother comes and said uh and she buys, you know, burns incense and pray to
the gods and that they, you know, protect me from falling into the pond again,
you know.<br />
<br />
Then she finally took me to this school. I was four and she begged the teacher.
“My grandson’s not yet five but accept him as a student cuz I can’t watch’em. I
have to go to work in the rice paddies, and this and that. And he might drown
in the village pond.” So then the teacher accepted me. I started school early.
A year. And then I was such a hyperactive kid I never, I remember never be in
my seat. And then finally they have me repeat…I passed kindergarten, then I had
to repeat the first grade cuz I couldn’t, you know, sit still.<br />
<br />
CHIN: HOW MANY STUDENTS WERE IN THE FIRST GRADE WITH YOU? This was right in the
village?<br />
<br />
KOON: Yeah, yeah. In the village school. Yeah. We had to walk uh. Well here’s
the routine in the village. You get up in the morning and you actually cook a
full meal for breakfast, rice and everything. You eat that, and you get one
canteen of water. That’s all you get. One canteen of water. Plastic canteen of
water. Of course it’s boiled water. There’s a lot of germs in it, you know.
Dysentery. All kinds of diseases. That costs money to boil your water. Cuz
where you gonna get the wood. You have to pay for the wood. So it cost you
money. So that all you’re allowed, just one canteen of water to go school. And
that’s all the school allows you to bring. And you have to ratio that for the
whole day in school. So you don’t want to drink it too fast. What people do is
put dessicated plums in there. You had a dessicated plum?<br />
<br />
CHIN: LOM?<br />
<br />
KOON: Mooey. Him shurn mooey. Sweet’n’sour mooey. So you start stretch the
water, cuz there’s a thirst quencher, see?<br />
<br />
CHIN: Him shuren mooey?<br />
<br />
KOON: That’s Toishan. Tim shurn mooey, that’s Cantonese.<br />
<br />
CHIN: I GUESS I SPEAK MORE CANTONESE THAN TOISHANESE.<br />
<br />
KOON: There’s Sam yup Say yup. I don’t know which is which. But it’s pretty
close. When I went in the village in <st1:city w:st="on"><st1:place w:st="on">Canton</st1:place></st1:city>
took me about two months I get used to the Cantonese right away.<br />
<br />
But here when we speak Toishanese, all the Cantonese people, they “Non ting? Ho
non ting. Gaw dee Toishan law. Ho non ting.” It’s “difficult to listen
to.”<br />
<br />
CHIN: OH, “NON TENG.” Yeah. Okay.<br />
<br />
KOON: well let me tell you this, Frank. Being Chinese is not what you look
like. Even you could be a white person. It’s in the heart, man. It’s in the
heart. It’s in the heart, you know why. You, you’re really Chinese. I mean, if
I’m Chinese, you’re Chinese. Now, I say that from my heart.<br />
<br />
Some of my white friends have more Chinese than my brothers. The way they
treated me. I…I wouldn’t call them Chinese.<br />
<br />
It’s like that poem I was trying to write, you know, my grandmother spent 32
years trying to distinguish between us all, you know. It’s like that, I mean,
you know uh. If you’re Chinese you can zone into another Chinese. My uncle, he
immigrated when he was twelve years old to <st1:country-region w:st="on"><st1:place w:st="on">Peru</st1:place></st1:country-region>. He came back…We sponsored him
he came to this country when he was 50. And he said wherever he went, I mean
that he spoke Spanish, man! Pure Spanish! He spoke Chinese perfectly! And
Spanish. Not a word of English. So he goes to <st1:city w:st="on"><st1:place w:st="on">Yakima</st1:place></st1:city> he was supposed to work. He just goes
there. Guess where he went. When he got lost, he went to the police
station.<br />
<br />
Says “I’m looking for so and so. My other relatives in Ellensburg, at a
restaurant there. I’m looking for so and so, so they brought him to the
restaurant.<br />
<br />
CHIN: Okay were in school. How large is the school?<br />
<br />
KOON: Well there’s six grades. There’s a grade school. I was in…first second
grade. Up till the third grade, in the village maybe spend about the first
semester in the third grade, then a maybe about twenty thirty each room, and
then that. But sometimes we have the big room. Like everybody’s in the same
room, I think math. Something like that. I remember. Cuz we had a math bee,
which is like a spelling bee. You go up there, choose sides, you go up there do
problems. I remember I was always the first one chosen.<br />
<br />
Because I last…outlast everybody. I solve all the problems. I never get to sit
down.<br />
<br />
CHIN: WAS IT A TWO STORY BUIDLING OR A <st1:place w:st="on"><st1:placename w:st="on">SINGLE</st1:placename> <st1:placename w:st="on">STORY</st1:placename>
<st1:placename w:st="on">BUILDING</st1:placename></st1:place>?<br />
<br />
KOON: Single story.<br />
<br />
CHIN: Tile roof?<br />
<br />
KOON: Yeah. Yeah. Tile roof. It’s a kind of a maybe built after the Communist
took over. The first thing we did was calisthenics. The whole school did
calisthenics out in the schoolyard, you know?<br />
<br />
CHIN: Concrete blocks?<br />
<br />
KOON: Either brick on the ground or uh dirt ground. I remember uh the back the
school there’s a bunch of trees, you know. I don’t know the big trees got
little berries on them. We called’em yoong see in <st1:country-region w:st="on"><st1:place w:st="on">China</st1:place></st1:country-region>. The teachers would like…cuz
it’s semi-tropical it’s very hot. So we sometimes have a…uh…like a uh
literature class. We have it out underneath a tree. All these kids, you know,
the teacher would tell a story. That was….that was the fun part. Nice and cool.
You don’t have to sit, and you sort of shift around with your friends.<br />
<br />
CHIN: THE <st1:state w:st="on"><st1:place w:st="on">BERRY</st1:place></st1:state>
TREES THAT YOU SAT UNDER. WERE THEY TALL TREES OR<br />
<br />
KOON: They were massive. They’re not too tall but they were. Just
massive.<br />
<br />
CHIN: SPREAD OUT. DID THE BERRIES FALL ON YOU.<br />
<br />
KOON: There were a lot of ‘em on the ground. I don’t know if they fall on you
when you’re just there. But there are a lot of’em on the ground. Yeah.<br />
<br />
CHIN: DID YOU EAT THE BERRIES?<br />
<br />
KOON: No. They were not edible.<br />
<br />
CHIN: WHAT COLOR WERE THEY?<br />
<br />
KOON: They’re red.<br />
<br />
CHIN: AND THE TEACHERS DO YOU REMEMBER ANY TOF THE STORIES THEY TOLD YOU?<br />
<br />
KOON: Well, you know they told us about the uh when the Japanese occupied <st1:country-region w:st="on"><st1:place w:st="on">China</st1:place></st1:country-region>, they uh,
you know, the uh the people had nothing to eat. So cook up their little babies
and ate sold…make candy of them and sold it to some…I don’t know if it’s true
or not, but then you know.<br />
CHIN: YEAH.<br />
<br />
KOON: I don’t know if it’s true or not, but then you know. They tell all kinds
of weird stories. See, they just dramatize how bad the Japanese were, see? You
know. Might not be true. They exaggerate. You know what I mean. Nobody liked
the Japanese at that time.<br />
<br />
(LAUGHTER)<br />
<br />
KOON: That’s another. That’s a tactic…political tactic to shift the blame to
somebody else. Maybe somebody was didn’t like Communism so shifted the blame
on…<br />
<br />
CHIN: ON THE JAPANESE<br />
<br />
KOON: to Japanese. Scapegoating.<br />
<br />
CHIN: AND THERE WEREN’T ANY JAPANESE AROUND?<br />
<br />
KOON: No. No. Absolutely not. Zero.<br />
<br />
CHIN: HOW LONG WAS THE DAY AT SCHOOL?<br />
<br />
KOON: Let’s see, we uh we go there early in the morning. I don’t…Seven or
eight. And then we come home to lunch for an hour. Then we have to go back. And
then uh. Then uh. And then have to. It’s about as long as long as the grade
school year. Except on Saturdays, we have to go half a day. That’s the routine
in <st1:country-region w:st="on">China</st1:country-region> and in <st1:place w:st="on">Hong Kong</st1:place>. You have to go to school half a day on
Saturday.<br />
<br />
CHIN: DID YOU WEAR UNIFORMS?<br />
<br />
KOON: Not in the village in <st1:place w:st="on">Hong Kong</st1:place> I did. I
went to private school in <st1:place w:st="on">Hong Kong</st1:place>.<br />
<br />
CHIN: SAY YOU GOT OUT OF SCHOOL AROUND THREE O’CLOCK.<br />
<br />
KOON: Right. Right.<br />
CHIN: AND YOU GO HOME.<br />
<br />
KOON: Um hmm.<br />
<br />
CHIN: AND WHAT DO YOU DO AT HOME?<br />
<br />
KOON: Well, I didn’t do much. [Chin laughs] But the uh. I had two chores. The
morning I water my grandmother’s garden. And in the evening I water her garden.
The rest of the time I help around the house. Do housework. She’s cooking I do
little things for her, like you know, Sometimes when on holidays we make
pastry. I would get up the same time she gets up. Like three in the morning. Or
four in the morning. Make pastry. That’s why I get up so early these days. I’ve
always been an early riser. I wanta get up early.<br />
<br />
CHIN: SO WHEN YOU GET UP IN THE MORNING DOES THE AIR REMIND YOU OF THE
VILLAGE?<br />
<br />
KOON: Not when I was living in the International Terrace. But here, I’ve only
been here, like, less than two weeks. It reminds me I’ll show you. [pick up and
walk outside] My my uncle’s uh. My uncle Back of my uncle’s house is a bamboo
grove. So… This is not bamboo. But…it reminds me of a bamboo grove.<br />
<br />
CHIN: YES.<br />
<br />
KOON: It’s rectangular like that, see? It’s this, you know, it’s uh like you
know, you know, rectangular. It’s not… thick! You know what I mean?<br />
<br />
So that reminds me of a bamboo grove. I look at that. See the little berries, red
berries, in there?<br />
<br />
CHIN: yeah.<br />
<br />
KOON: That reminds me of the tree at school. I just finished talking about.
So…down toward the whatchacallit the PEARS. And they reminds me of some fruits
and fruit trees. We had a lot of fruit trees in the village. Because it’s
semi-tropical. We had oranges, tangerines and the bananas and all kinds of
stuff. Grapes. Now the ladies grow the grapes there. Grapes in <st1:country-region w:st="on">China</st1:country-region> means “po haw dee” <st1:place w:st="on">Po</st1:place>
hoy dee sounds like “Grandmother’s children.”<br />
<br />
Your mother’s mother is “<st1:place w:st="on">PO</st1:place>”<br />
<br />
CHIN: AH PAW, yeah.<br />
<br />
KOON: “Hie dee” means children. Hie dee.<br />
<br />
Now, in one of my poems I use “Bananas bunched together like family” you know
the uh “Grapes and bananas bunched together like family” so. They grow in
clusters. Then when my dad worked for somebody that exploited him, a Chinese
guy, his uncle, and then he wanted to leave, you know. My… His uncle said,
“Well he can go he’s got so many children clinging onto him like grapes.”<br />
<br />
CHIN: RIGHT<br />
<br />
KOON: You see the grapes cling to the vine, and they drag the vine down.<br />
<br />
CHIN: RIGHT<br />
<br />
KOON: What can my dad do? He’s got so many things pulling him down.<br />
<br />
CHIN: RIGHT<br />
<br />
KOON: Children.<br />
<br />
CHIN: YES.<br />
<br />
KOON: Big responsibility. He’s got eight children.<br />
<br />
CHIN: WOW! Okay. Read one of your poems.<br />
<br />
KOON: I’ll read from my chapbook that I didn’t show you before.<br />
<br />
CHIN; Okay.<br />
<br />
KOON: Some of these are more like Chinese poems. //When my cousin Sue and her
family came to this country, uh. She was 19 er 18 and her sister was uh 17 – 16
and uhm my uncle my mom’s younger brother, and his wife, and that uh..And two
sons came also. So I was in charge of the settling in this country. I got jobs
for them. I taught them English for two years.<br />
<br />
CHIN: WOW!<br />
<br />
KOON: I took care of all the legal the financial paperwork, everything. I
even took’em to job interviews. I did everything for them. And that’s why she
gave her…her son to me as my godson. Henry. So I pretend I was this is was her
talking when she first got to this country, and how different it is from <st1:country-region w:st="on"><st1:place w:st="on">China</st1:place></st1:country-region>.<br />
<br />
In my country, it was not like this,<br />
In my country it was not like this.<br />
Neighbors separated by little white hospital rooms.<br />
But one festival will flowers<br />
paint the color of cooked shrimp.<br />
Lychee pits the dancing eyes of children.<br />
The warm sweet smell of water buffalo dung,<br />
In summer ripe bananas bunched as families.<br />
In my country I was a weaver,<br />
a young girl with budding breasts to hide with a coarse shirt,<br />
We did not read by tungsten light.<br />
We read only the stars and the fireflies.<br />
It was not guilty conversations<br />
that receded the speed of light<br />
but a warm river I warm in the August heat<br />
Electric brains do not warm my blood.<br />
But the receiving of mooncakes and the kite-flying harvest<br />
That’s pure reason a better cluck than roosters or cicadas.<br />
The moon bathes in our cool flowing rivers,<br />
In my burning cheeks surrender to autumn breezes,<br />
It has mathematics the power to reverse what I lost.<br />
It was not snow on Seven Hills. In my country as we have seen<br />
Someone by my heart. Here cousin, take this apple.<br />
It is the only thing I like in this paradise.<br />
In my country, it was like this.<br />
<br />
CHIN: HMM!<br />
<br />
KOON: Pretend it’s my uh cousin Sue that was reading that.<br />
<br />
CHIN: RIGHT.<br />
<br />
//<br />
<br />
CHIN: YOU MENTIONED FIREFLIES. DID YOU HAVE FIREFLIES?<br />
<br />
KOON: Yeah, I used to catch’em and put’em in a little, you know, a little
medicine bottle, and carry it around. First you make a little holes in there.
You know, the cap.<br />
<br />
CHIN: I SAW FIREFLIES IN THE <st1:place w:st="on">MIDWEST</st1:place>. I DON’T
KNOW IT THAT’S TROPICAL OR NOT. WERE THE FIREFLIES SEASONAL?<br />
<br />
KOON: I think so. I remember that. They were seasonal. Yeah. I think they come
out after the harvest. You don’t see them in the winter. But they’re either
spring or the fall.<br />
<br />
CHIN: AND YOU MENTIONED THE SMELL OF <st1:city w:st="on"><st1:place w:st="on">BUFFALO</st1:place></st1:city>
DUNG.<br />
<br />
KOON: Well, it’s clean, you know. They eeno [ only ] eat grass. You know. They
don’t eat other things.<br />
<br />
CHIN: RIGHT.<br />
<br />
KOON: So they…smell clean. And we claimed them. When we see them in the village
yard. They drop some dung in the village yard. We put a stick in it, and we
claim it. This is ours, you know, and we use it for fertilizer.<br />
<br />
CHIN: AHA! SO THERE WERE <st1:city w:st="on"><st1:place w:st="on">BUFFALO</st1:place></st1:city>
IN 1949 IN YOUR VILLAGE?<br />
<br />
KOON: Only one!<br />
<br />
CHIN: ooh, only one! (LAUGHS)<br />
<br />
KOON: That was the communal buffalo. Plow…hauled the wooden plow that plowed
the rice paddies for everybody.<br />
<br />
CHIN: oh, so you didn’t have tractors or<br />
<br />
KOON: No, no. It was a family. One family was responsible for plowing. They
were responsible for taking care of the one buffalo.<br />
<br />
CHIN: AND THE WATER BUFFALO. HE OR SHE WAS WITHOUT A MATE?<br />
<br />
KOON: Yah! In our village. I don’t know what happen…with the situation in the
next village, when you’re a little kid you don’t pay attention to
everything.<br />
<br />
CHIN: DID A <st1:city w:st="on"><st1:place w:st="on">BUFFALO</st1:place></st1:city>
EVER DIE?<br />
<br />
KOON: Oh, yeah. The one we had died. Then we had to get a new cow.<br />
<br />
CHIN: SO WHEN YOU GOT THE NEW BUFFALO IT CAME AS A CALF THEN?<br />
<br />
KOON: // I just read that part okay? Let’s see, uh…. (Reads) The water buffalo
got old and died. It was shared by the whole village. Lucky money for a calf
conscripted. A sad note crept into the men’s drinking songs. (end read)<br />
<br />
But here I have the little, I have the little internal dialogue of the water
buffalo. (Chin laughs) He comes back to the village after a day of work. My dog
cuts in front of’im. So he’s startled like that. Then he goes in there. The
internal dial…the internal monolog.<br />
<br />
CHIN: OKAY<br />
<br />
KOON: Oh beast, I am. Humble beast. Some man, he must have been an emperor. Or
the son of such an emperor, said, “the original son is the mother of the
universe. The sword that divines light from chaos, the mother of all things.
The sun atop the tree is east. The mountains seek comfort in the hills. The <st1:place w:st="on"><st1:placename w:st="on">Yellow</st1:placename> <st1:placetype w:st="on">Peak</st1:placetype></st1:place>
rusts in the valleys. And the valleys beget rivers.<br />
The mountains that descends into the long rails. And the sea mikes looks up for
honks in the darkened earth looks for the moon.<br />
<br />
And lovely grasses, I have for thirty years, first owned by one man then by his
son. While the mountains are unvaried with mud caked on my loins trudging a
maze of rice fields. A block dot against unvarying mountains. The filial
furrows, my eyebrows moisten, the bittersweet song of my masters. Tensile feet
and mud. The fury of work calculated. How many bolts of rice the harvest would
give. A beast is not able to calculate mos, catties and grains. Work begins
when the monsoons recede. In the evening when I’m sufficiently grazed, I sink
into the village pond and drop dung for black shrimp. Yet a man, with all his
skill and an abbacus is afraid of things he cannot see. The man and his family
afraid of dark plumed gods handed down to them by copious amount of incense and
charms. And my mother whose teats I suckled for only a brief while gave not
such dark or thunder to fear. I don’t even fear tigers. And man is cursed with
worry. Thieves because they have too much. Fires because he’s careless.
Indulged because he’s sent to others. But I with the gold pleated sky for a
blanket, sweetsmelling rice straw a bed. And bream from the river. I have recompense
for my toil. With the village symphony of crickets, cicadas and bullfrogs, I
shall say these hoods are as good as Buddhahood.<br />
<br />
And so on and so on…<br />
<br />
CHIN: WE USED TO HAVE FROGS AND I GUESS THEY CAME OUT IN THE SPRINGTIME.<br />
<br />
KOON: Um hmm. Yah! They uh…you know. The uh. You know the gollywogs, you’ve
seen gollywogs?<br />
<br />
CHIN: POLLYWOGS<br />
<br />
KOON: Pollywogs, yeah.<br />
<br />
CHIN: DID YOU HUNT FROGS?<br />
<br />
KOON: We fished for them. The older boys did. I was nine when I left the
village. I tried, but I had no luck. What they do is they catch a little frog.
They cannibals you know.<br />
<br />
CHIN: YEAH.<br />
<br />
KOON: Tie with string. They bob it up and down in the tall grasses. And have
hold net in the other hand. So when the frog jump up and swallow it, they put
the net underneath it and then take it home. That way.<br />
<br />
CHIN: AND HOW BIG WERE THEY?<br />
<br />
KOON: They weren’t very big.<br />
<br />
CHIN: ABOUT THAT BIG?<br />
<br />
KOON: Maybe. At most. At most.<br />
<br />
CHIN: AND THE LEGS WERE ABOUT THAT LONG?<br />
<br />
KOOON: Maybe, yeah. For me was more trouble than it’s worth.<br />
<br />
CHIN: YOUR GRANDMOTHER DIDN’T COOK THEM?<br />
<br />
KOON: She did. She steamed it. You cooked the rice. You put it the on top of
the rice. Then uh steamed it that way, yeah.<br />
<br />
CHIN: WOULD SHE STEAM THE WHOLE FROG, OR DID SHE STEAM JUST THE LEGS?<br />
<br />
KOON: Well she…She’d clean it. Clean the gut out. And then steam the whole
thing, yeah.<br />
CHIN: THE HEAD DOO? WE ALWAYS THREW AWAY THE HEAD.<br />
<br />
KOON: I don’t remember. That. I don’t remember. I don’t particularly like to
eat frogs.<br />
<br />
CHIN: (LAUGHS)<br />
<br />
KOON: Every once in awhile they eat you can get’em in <st1:place w:st="on">Chinatown</st1:place>.<br />
<br />
CHIN: YEAH.<br />
<br />
Koon: Yeah. I like to eat bigger things. Chicken. We had chicken in the
house.<br />
<br />
CHIN: Oh, in the house.<br />
<br />
KOON: Yeah, in the house. We had a…the house was a duplex. The house was like
this. Here’s the entrance here. And here’s the kitchen, here. Here’s the
bedroom here. And there’s a door which we can lock from outside. And here’s the
utility room shared by both duplex owners. In the utility room, there’s a drain
here. The uh the uh… the roof is open, that part of it. Cuz the monsoon, you
know, you don’t want any water to collect too heavily on your roof.<br />
<br />
CHIN: RIGHT.<br />
<br />
KOON: It could damage your roof. So we just let the water just drop right down,
and drain underneath the house. We had the farm implements there. ( ) any
implements. The next door neighbor, who was my father’s cousin’s mother, they
lived there.<br />
<br />
CHIN: WHAT WERE THE FARM IMPLEMENTS?<br />
<br />
KOON: Just hoes. Shovels. Little things. Ordinary gardening.<br />
<br />
CHIN: WERE THEY MANUFACTURED OR …<br />
<br />
KOON: They were manufactured. There was a town nearby. A small town. They call
it Sir Bo Huey. Our district is called Sir Bo. We just go into town and buy
your little. Buy hardware items and medicine and things like that.<br />
<br />
CHIN: SO UH . WHAT TIME OF DAY WOULD YOU GO TO TOWN? WOULD IT TAKE ALL DAY TO
GO TO TOWN?<br />
<br />
KOON: Where we are, just like about a fifteen minute walk…ten fifteen minute
walk, yeah.<br />
<br />
CHIN: WOULD YOU GO ALONE?<br />
<br />
KOON: Oh, you can go alone. It’s completely safe for children at that
time.<br />
<br />
CHIN: WOULD YOU GO WITH A BUNCH OF CHILDREN, FOR FUN?<br />
<br />
KOON: Sometimes. It. On special occasion we go there for fun. You know like uh.
We never did like…After a heavy rain, you know, like uh. Sometimes the river
gets, you know swollen up. We like to go watch the river. We like to watch
people fishing with the net, you know. They uh they lift the net. Tied to a big
bamboo pole, you know, and the net’s like this you know, they lift it. They
wait for awhile. Then bait some fishes, maybe they put a fish head in it or
something in the net or something. Fishnet they just lift it up.<br />
<br />
CHIN: SO IT’S A NET AND WHEN THEY PUT IT DOWN IT BUTTERFLIES OUT,<br />
<br />
KOON: Yes.<br />
<br />
CHIN: AND THEN WHEN THEY LIFT IT UP, THE WINGS…FOLD IN.<br />
<br />
KOON: Yeah, it doesn’t completely fold in, so that, so just lift all the water
so the fish cannot jump back in.<br />
<br />
CHIN: WHAT KIND OF FISH?<br />
<br />
KOON: I don’t remember now. They all kinds of little ones, like uh. There’s
carp. There’s dace. <st1:place w:st="on">Dee</st1:place> eeh cee eeh. There’s
uh I just know the uh. I just remember there’s a catfish. There’s probably
something like perch, you know things like that. There’s there are freshwater
fish where we were.<br />
<br />
CHIN: CATFISH ARE BOTTOMFEEDER<br />
<br />
KOON: Yeah.<br />
<br />
CHIN: PERCH ARE BOTTOMFEEDERS TOO.<br />
<br />
KOON: They eat the shrimp that eat feed off the seaweed, in the ocean,
anywhere. I don’t know what it is with the freshwater perch.<br />
<br />
CHIN: AS THEY GOT BIGGER DID THE TASTE OF THE FISH CHANGE?<br />
<br />
KOON: Yeah, Yeah. Yeah.<br />
<br />
CHIN: AND TASTE MORE MUDDY<br />
<br />
KOON: You mean catfish and carp. After a certain size of carp people don’t
eat’em.<br />
<br />
CHIN: THIS IS A STUPID QUESTION. WERE THERE SUPERSTITIONS ABOUT THE FISH?<br />
<br />
KOON: Ah, let’s see. Carp is supposed to be uh you know you see all these Chinese
uh greetings, you know uh papers? The carp is supposed to be
longe…longevtivity.<br />
<br />
CHIN: LONGEVITY, YES.<br />
<br />
KOON: Yeah, longevity. Ah. Ah. Catfish. I don’t know what that is. I don’t
think there’s anything related to catfish. You know, that reminds me of poem.
Not a poem but a story.<br />
<br />
There’s two kinds of fish. I can only say in Chinese I don’t know what they are
in English. Dot….Dot nguy, tiyew nguy….Dot nguy tiyew nguy.” One of it’s
catfish and one is say carp, okay? Two fish at the in the uh. Supposedly this
guy uh said he could know everything. I mean he uh he could, you know, find
out, you know by uh uh sixth sense whe…where everything is. So the…<br />
<br />
The king! Heard about that. I mean…. He was a con-artist or something like that
okay? So the king…the emperor heard about that, and the emperor, something
along. The story, and the emperor’s gold or something valuable, that belong to
the emperor.<br />
<br />
So the emperor heard about this guy, so he uh. He sent two guys to conscript
him to go the palace. Uh you know…Use his sixth sense to recover his loot or
whatever it was.<br />
<br />
So these two uh I don’t know what you call’em…soldiers? Or whatever they call
them. So he brought this…bring in this guy to the palace. So along the way,
this guy saw a pond. It was being dried up.<br />
<br />
And there was two fish in the bottom of , you know, the mud. So obviously the
water’s gonna be, you know, evaporating and they’ll die there. Just two
fish.<br />
<br />
So he so…So he says…So this guy the uh the seer, right? He says, then well, he
was making the comment about himself. He says uh. When he was talking to the
fish, he says uh, “Ah dot yut say. Ah tiew yut say. Nay say yeh gong wooey.”
Which means the Dot fish will die, the Tiew fish will die. They’ll both die
before I will.”<br />
<br />
However that Dot and Tiew were the surnames of those two soldiers. So they
said, “Maybe he does know! He can predict, you know, what’s going on.”<br />
<br />
So they got scared. You know how they kowtow on the ground? “Please, we’ll help
you.” They the one’s that stole the valuables. They said, “We think we’ll them
back to the emperor. Just don’t tell’m who stole it. We’ll concoct a plan to
give it back to the emperor.”<br />
So, he goes back there. Says, “Oh, yeah. It’s hidden. I don’t know who stole
them, it’s hidden. The emperor get it back, so (he ) declared amnesty.<br />
<br />
But the poetry is this, “Ah Dot yut say. Ah Tiew yat say. Nay say ah gong
wooey.” Which means, in Toisahnese, is “The fish will die before the speaker
says.” But another interpretation….another translation, he said, “They are
staying because he will carve it to happen.” Because he know he stole they
stoled it. It’s accidental that the language is like that. You see what I
mean?<br />
<br />
CHIN: ALMOST<br />
<br />
KOON: You know Chinese have a lot of homonyms. The Chinese language because it
only has so many characters. It cannot create new words like the English
alphabet. You know, just make the word longer, right? You have a new word. They
can create many many new words in the English language.<br />
<br />
But Chinese have so many characters, so they double up meanings for each
character. So they all have the same sound, even though they have different
tones. So they have a lot of homonyms. A lot of the words sound the same, but
they have a lot of different meanings.<br />
<br />
So that’s what in this case, what he just said sounds like something else. So
these guys uh meant thought he meant something else. So they thought he knew
they’d stolen it. And they confessed to him. So that’s what happened.<br />
<br />
CHIN: RIGHT. UH. THE <st1:city w:st="on"><st1:place w:st="on">BUFFALO</st1:place></st1:city>
THAT DIED.<br />
<br />
KOON: yes.<br />
<br />
CHIN: DID YOU EAT IT?<br />
<br />
KOON: Yeah. That was the custom. It was shared by the whole village. And
everybody who ate it contributed money for the new calf.<br />
CHIN: WHAT DID TASTE LIKE?<br />
<br />
KOON: It was tough. You probably have to cook it, you know chop, you know,
mince it up, and chop it and steam it, or something. Cook it with that turnip
or something.<br />
<br />
CHIN: WHAT DO THEY CALL THAT?<br />
<br />
KOON: Ngoy choy. Mooey choy.<br />
<br />
My grandmother like to chop up the beef really…mince it. She steam it with
mooey choy, you know. For me. Yeah. We very seldom eat beef. We’re not in a
grazing area. You know, we just have to, we…we raise pigs and chickens and
fish.<br />
<br />
CHIN: HOW DEEP WAS YOUR POND?<br />
<br />
KOON: Yeah. Yeah. It increased in depth. It was not a vee shape. Parabolic
shape. It was over somebody’s head. We raised fish in it. It was fed by
underground water. Maybe the same water as the well water. So there was a cool
stream of water going into the pond.<br />
<br />
And there was a drainage. To drain into a little creek, and if flows into the
river.<br />
<br />
CHIN: AND YOU SAID WHEN IT FLOODED IN THE MONSOON FISH WOULD GET INTO THE
POND.<br />
<br />
KOON: Also trapped in rice paddies too.<br />
<br />
CHIN: OKAY. IT’S AFTER 3: YOU’RE BACK FROM SCHOOL. YOU’VE HELPED YOUR
GRANDMOTHER.<br />
<br />
KOON: Yeah.<br />
<br />
CHIN: IS IT GETTING DARK?<br />
<br />
KOON: OH WE HAVE SUPERSTITIONS. GHOSTS. Oh, we have superstitions. Ghosts.
Everybody’s claimed they’ve seen a ghost. I never. But a lot people claimed
tey’ve seen a ghost.<br />
<br />
CHIN: HOW DO YOU OCCUPY YOUR TIME, YOU WATCH TV?<br />
<br />
KOON; No tv. No radio. No bicycles. No running water. No electricity. No books
to speak of. Just schoolbooks. Didn’t even have paper. Wrote everything on a
slate. And an abacus that I you know, you know kids don’t to study. Don’t like
to practice.<br />
Just play in the village yard. Games you know like jacks, you know with uh
little rocks. I used to play jacks. Play uh kickball, our version of soccer,
you know like in the village yard. Hide and seek when we’re really small.<br />
<br />
Swimming. Physical activity. Little kids climb trees. Make things out of
bamboo. Popguns out of bamboo.<br />
<br />
CHIN: DID YOU HAVE SNAKES?<br />
<br />
KOON: Yeah, We had snakes. We had regular garter snakes and these innocuous
snakes. But but we had water snakes. They’re poisonous. They swim on top the
water. They’re really scary. And their really swift. Swim right on top the
water. Course they’re not on every pond. Where they are we don’t go near
them.<br />
<br />
//The pond where we swam didn’t have snakes we were careful. There are grown
up, “These ponds off limits.” You know, you don’t go to that pond. Not to swim
anyway. Go to go fishing. We don’t go swimming there.<br />
<br />
And they all say that the uh if somebody’s dies in a pond that’s bad luck to
swim there.<br />
<br />
CHIN: DID YOU HAVE SNAKEHUNTING PARTIES?<br />
<br />
KOON: NO. You know some people make a profession to catch snakes and sell them.
You know. For food. I guess the restaurants you know restaurants in snake
call’em the snakemeat. I’ve never had snakemeat. It just never appealed to
me.<br />
<br />
CHIN: WHAT WAS YOUR FAVORITE MEAL?<br />
<br />
KOON: You know when I was a little boy my favorite food was pigs feet stewed in
rice vinegar. Sweet rice vinegar. With peanuts and lotus needles.<br />
<br />
CHIN: TOMORROW I’M GOING TO SEE ASSUNTA.<br />
//<br />
<br />
CHIN: THERE IS NO SUCH SAYING IN CHINESE AS “THE WORTH OF A WOMAN IS MEASURED
BY THE LOUDNESS OF HER HUSBAND’S BELCH.” BECAUSE WOMEN ALSO EAT. AND BELCH AND
SLURP.<br />
<br />
I think what they’re trying to say is the uh Chinese culture is chauvinistic.
All that crap. I tell you in my family. My mom worked right alongside my dad.
Doing dishes and chores he did, in restaurants, and then she goes home and take
care of the kids. And she has a garden besides.<br />
<br />
In the village you know. Although my grandmother’s feet was bound she was part
of the aristocracy. After the Japanese came, they were poor. They bombed the
distillery, bombed the store. The reduced everything to rubbles. She had to
work. She had to be a peasant. Feet that look like a common ginger. She took
care of me. She loved more than my own parents did.<br />
<br />
She had to work in the rice paddies. She grew her vegetables. She made pastries
to give to a few kids.<br />
<br />
CHIN: There are several books by whites about the agonies suffered by women
with bound feet. Did your grandmother ever complain about her bound feet?<br />
<br />
KOON: Well see at that time when the feet were bound, they’re considered the
part of the upper class. “A woman’s worth” in terms of a dowry. A “Curtain
Marriage” , means marrying for money for position, that was worth more but in
her family what that means, she was not to do peasant work. So her family could
afford it. So at that time you remember <st1:country-region w:st="on"><st1:place w:st="on">China</st1:place></st1:country-region> is a feudal country. So that
was a feudal practice. Okay.<br />
<br />
Do we complain about King Arthur and his practices? No, we don’t. That was the
historical times. That’s what was believed at that time. That was the
socio-economic conditions at that time. I mean that’s how…how…you know the
evolution was at that time the socio-economic system. But we don’t complain
about that. I mean we do, but we don’t. You see what I mean? We have to put
everything in context.<br />
We take things out of context. But because the revolution in <st1:country-region w:st="on"><st1:place w:st="on">China</st1:place></st1:country-region>, the
foreign invasions, and so forth, people have to work even if their feet have
been bound. So of course she would not walk as well as somebody whose feet were
not bound.<br />
<br />
CHIN: DID SHE LOOSEN THE BINDINGS?<br />
<br />
KOON: Oh yeah. Loosened the bindings. But it looks like a common ginger. The
toes overlap each other.<br />
<br />
It’s like in this country if you’re born poor, you’re down in the ghetto and
you need the money to live. And you commit a crime. You go to prison. Twenty
years later they release you. Well,, you’re gonna have that mark on you. That
you’ve been to prison. So they ask you where have you been? What jobs do you
held in the last twenty years?<br />
<br />
It’s the same kind of thing. Social stigma.<br />
<br />
CHIN: HOW OLD WAS YOUR GRANDMOTHER DID SHE COME OVER HERE?<br />
<br />
KOON: No, we couldn’t. … It costs money to bring somebody over here. You have
to support them, see? She was old, and by the time I came, she was in her
sixties. So, the uh…you know…She would not be productive in terms of making
money. And we as a family of ten people with one include income. And that was
being a frycook. Imagine one frycook supporting ten people. So we lived in the housing
projects. So here’s something I tellya. When I was fourteen. My dad was a
partner in a house of prostitution. And I had to help him out. The front…the
cover of the place was a restaurant. I had to help work there after school when
I was fourteen years old.<br />
<br />
I worked there Friday, Saturdays, and Sundays. Work until three in the morning.
That could be explain one of the reasons I have mental problems. I did not have
a regular childhood in this country.<br />
<br />
And another thing was we had some, you know, …problems, with some people when I
was fourteen. And my dad took me aside, says, “The gun is in the dresser. So,
somebody tries to come in the window you shoot’em.”<br />
<br />
CHIN: HMM. WHAT TOWN WAS THIS?<br />
<br />
KIOON: <st1:place w:st="on"><st1:city w:st="on">Aberdeen</st1:city>, <st1:state w:st="on">Washington</st1:state></st1:place>. And the sheriff, you know. Years
later, the sheriff comes to the restaurant. He says, “I Wanta see your
dad.”<br />
<br />
I said, “Well, my dad’s asleep now. So, I don’t want to bother him.”<br />
<br />
So he gets real mad at me, you know. Real mad at me. Cuz I didn’t know the
connection. I didn’t know he was getting paid off for things my dad was doing.
I didn’t know he was getting paid off for things my dad was doing. See Iwas
very naïve, you know. The Chinese have the uh monkey, uh you know uh don’t see,
monkey don’t hear, monkey don’t talk. That’s the Chinese saying.<br />
<br />
CHIN: HOW MANY GIRLS DID YOUR FATHER AND HIS PARTNER RUN?<br />
<br />
KOON: Well actually it was run by a madam. She was half Mexican. Her name was
Sally. There were three girls that were actors. Ginger, Lee, and Suzy. I
remember their names.<br />
<br />
CHIN: WERE THEY CHINESE?<br />
<br />
KOON: No, they were white girls. See my dad and I the restaurant was called the
China Doll Restaurant in <st1:place w:st="on"><st1:city w:st="on">Montesano</st1:city>,
<st1:state w:st="on">Washington</st1:state></st1:place>. Back in 1960… well I
was in the fourth…the 7th grade so I was 14. I came here. See, I was born in
49, so I was 14, so it’d be round 1963 or 64 around there.<br />
<br />
So I used to have to take the bus p to school to go to Montesano ten miles
away, and start working after school. And work till three or four in the
morning. My dad drive me home, and then. I couldn’t sleep. You know, because of
all the tension.<br />
<br />
And my brothers and sister began waking up early in the morning. You know, I’ve
been going… Come Sunday. I go out into the woods by myself. Everything would be
pitch black. I couldn’t see nothing. That’s how bad it was.<br />
<br />
I somehow I just supressed it. I forgot all about it. Then became the star
pupil at school. I don’t know why.<br />
<br />
My dad didn’t want me to join these clubs or turn out for sports after school.
Although I was asked to turn out for swimming. You know, just my dad, you know
like the president of the literary club in high school. I had one meeting after
school. My dad said, “Where’ve you been?”<br />
<br />
I says, “I been… Had a meeting of the literary club.”<br />
<br />
He says, “From now on, you come directly home. You have a family and eight
children. I can’t do it all buy myself. You gotta help me. So you come directly
home.”<br />
<br />
That’s when I realized the uh what kind of burden he had. But you know, but he
wanted me to uh to follow his footsteps. He had six sons. So. My dad is one of
those Confucian guys. He wanta impart back to six sons, right? So he wanted me
to be uh you know. Take over his restaurant someday and expand the
business.<br />
<br />
He took me to the bank after he came back from the <st1:place w:st="on"><st1:placetype w:st="on">University</st1:placetype> of <st1:placename w:st="on">Oregon</st1:placename></st1:place>.
And he took me to talk to the bank manager. The manager says, “Yeah, I can give
you credit for a hundred thou.”<br />
<br />
A hundred thousand dollars back in 1971‘s a lot of money! And my dad says,
“See, the manager trusts us. You don’t have to get an apartment. If you don’t
like the restaurant business you can go into real estate.<br />
<br />
My dad was actively sabotaging my car…college career.<br />
<br />
CHIN: HOW BIG WAS HE? WAS HE TALLER THAN YOU?<br />
<br />
KOON: Yeah, he was 5’ 8”. He’s a musc…not muscular. He was athletic. He was the
captain of the <st1:city w:st="on">San Francisco</st1:city> <st1:place w:st="on">Chinatown</st1:place>
volley ball team. Yeah, he was the number one kung fu guy in the village. He
carried the first flag.<br />
<br />
CHIN: SO HE WAS A MEMBER OF A TONG?<br />
<br />
KOON: Well he’s a member of one Triad. I don’t know how many triad’s there are.
They claim there are 26 triads in <st1:place w:st="on">Hong Kong</st1:place>.
The last time I heard, there might be hundreds now. There might be hundreds in <st1:country-region w:st="on"><st1:place w:st="on">China</st1:place></st1:country-region>.<br />
<br />
The triads were started to overthrow the Manchurian dynasty. But I saw
reference they chart it back to Li Po (700 ad).<br />
<br />
CHIN: AT THE WHOREHOUSE. WERE YOU INITIATED BY ONE OF THE GIRLS?<br />
<br />
KOON: No. No. I was 14. I wanted to, but you know but. 11:13 PMhe girl that I
liked the best was Suzy. She was 20. She helped me wash dishes, after after we
close. I was dead tire. You know I get up at about 6-7 in the morning, work
till three in the morning washing dishes. By hand at that time. She helped me
wash dishes. I liked her quite a bit. She was nice.<br />
<br />
The other girls. They had troubles. The cops start coming in. The madams you
know uh… “Well it’s too hot in here. It’s too cold in here.”<br />
<br />
My dad says, “Oh, she’s taking too much drugs.” Then there’s people that come
in, says, “Oh, I’m the mayor of this town.” “No, I’m the sheriff of this town.”
You never know who they are. They’re drinking. They have the bar there. You
know, never know.<br />
<br />
And they come right through the kitchen they go upstairs the backstairs to the
upstairs.<br />
<br />
CHIN: HOW MANY PEOPLE WERE IN THE KITCHEN?<br />
<br />
KOON: Just me and my dad. We have to take care of like, I don’t know…60 you
know 60 customers. Maybe 60 –80 customers. I don’t know. I mean my dad was
always shouting me. You know, like “Get this thing done! Quick responsible. I’m
waiting for this. I’m waiting for this.”<br />
<br />
Can you imagine that? I’ve only been here for two years two and half years, and
I don’t know English. I’m getting shout at. And the uh you know…<br />
<br />
CHIN: SO SIXTY CUSTOMERS. WERE THEY FOR THE WHOREHOUSE OR THE RESTAURANT?<br />
<br />
KOON: Some was for the whorehouse and some for the restaurant. Some don’t even
know it’s a whorehouse.<br />
<br />
CHIN:<br />
<br />
KOON: Well actually I thought that my dad was just work for the madame as an
employee. But actually later on just recently I figure, well he was actually a
partner.<br />
<br />
The madame got run out of town. She called my dad from somewhere she claims she
was working for Bob Hope. She wanted my dad to work for her.<br />
Who knows? You can’t trust those people.<br />
<br />
CHIN: WAS SHE A GOOD LOOKING WOMAN?<br />
<br />
KOON: No she was in her 50’s. And half Mexican. She wasn’t good looking.<br />
<br />
But I know why she was run out of town.<br />
<br />
The first thing she gave me when she closed shop. She gave me a tape recorder.
She was blackmailing people.<br />
<br />
CHIN: AHH!<br />
<br />
KOON: That’s why she was run out of town. If you pay off the cops, pay off the
mayor, you won’t get run out of town. Even though the people complain. But if
you’re blackmailing people you get run out of town.<br />
<br />
She got greedy, in other words.<br />
<br />
CHIN: YES.<br />
<br />
KOON: <st1:city w:st="on"><st1:place w:st="on">Aberdeen</st1:place></st1:city>
is known for prostitution in the old days.<br />
<br />
CHIN: WHAT DID YOUR FATHER DRESS LIKE?<br />
<br />
//<br />
<br />
KOON: THE ONLY COMPLIMENT I EVER GOT FROM MY MOTHER WAS, “HE DRESS LIKE AN
HONEST MAN.” Losut. Not a showoff. Honest. Just like you, the way you
dress.<br />
<br />
//<br />
<br />
CHIN: WOMEN?<br />
<br />
Well I had this Japanese girlfriend when I came to <st1:city w:st="on"><st1:place w:st="on">Seattle</st1:place></st1:city>. I met her at the Last Exit, as a
matter of fact. Japanese American, she was born here. I was 20. I had a couple
of girls after that, but nobody was a really…most of it’s in my book. Nobody
was…well I had some bad luck. I couldn’t afford to support anybody. Cuz of my
mental illness.<br />
<br />
I had a dream which was to be a mathematician. And I was 28 years old I was
hospitalized and I realized I could never be a mathematician.<br />
<br />
Well there’s one I met in the hospital. She was really. She was from Hong Kong
and she worked for when you get visas, would that be the consulate, the <st1:place w:st="on">Hong Kong</st1:place> consulate.<br />
<br />
The Love this abode contains….<br />
<br />
We have lived in 32 abodes, Susana, red brick, four square,<br />
Nearly a palace, or 32 pages of thin paper, a small book.<br />
<br />
And in each story, there’s an abode of red brick, inside<br />
Which are a set of 32 books, and the love each book contains<br />
<br />
Is more solid than a red brick, and four squares together make<br />
A foundation, and so, Susanna, why did you say our love<br />
<br />
Cannot exist in paper or fenced by red brick, and is that why<br />
You sold jewelry because you were convinced it was good jewelry.<br />
<br />
And stamped visas because we needed more investments in <st1:place w:st="on">Hong
Kong</st1:place>?<br />
<br />
Now I’m alone in a single abode of wood and iron nails,<br />
And lone and lonely the cold air seeps and my pen fails.<br />
<br />
And, Susanna, where are you since the hospital in 1993?<br />
Should I print your last name and shame your father, who took you<br />
<br />
Out to drink with his buddies on the eve of the Chinese New Year?<br />
And wanted to know if I coud get SSI if I went with you<br />
<br />
To PSU? Where I would live and you would annotate my mishaps<br />
In your sociology book; and I would tell you everything about<br />
<br />
“Michellle,” the woman you were so jealous of, and asked me<br />
Is it true. It’s half true, Susanna, and only half, for half of us<br />
<br />
Live in abode s of paper and half of us live in abodes of brick,<br />
And where the truth is, Susanna, is underneath your left breast.<br />
<br />
Where you let me put my right palm in the hospital, because<br />
That’s where your heart is…<br />
<br />
CHIN: WE’RE BACK ON THE FARM. IT’S TIME TO GO TO BED. WHO SAYS IT’S TIME TO GO
TO BED?<br />
<br />
KOON: Well, first of all. You can’t see anymore. So you have to light up the
kerosene lamp. That costs money for the kerosene. If you don’t have money they
won’t let you in again. You have food and have to barter food, for items like
cough (?) We could sell things for a little bit of money. But mainly we
depended the money from my parents, overseas. But we had kerosene lamp. We try
to get to bed as soon as we can. So my grandmother would feed me some cod liver
oil. Rinse it down with some boiled hot water. In the winter that does two
things. That keep you warm while you fall asleep with the hot water. And the
other thing is that the. It rinse down the cod liver oil.<br />
<br />
We sleep with all the clothes on, and socks too. Cuz there’s no indoor heating.
So we sleep with all the blankets we have. And I slept with my grandmother
until I was eleven years old.<br />
<br />
CHIN: OH, SO YOU SLEPT IN THE SAME BED?<br />
<br />
KOON: It’s not a strange a custom. Even kids would sleep with the mother until
they’re eleven twelve years old.<br />
<br />
KoON: The only thing that I remember vividly is cicadas. Cuz they make a lot of
noise. We try to catch’em with uh stick stuff with a long babmboo pole and just
get’em stuck on it. They roast them. They eat’em, you know.<br />
<br />
<br />
CHIN: WHAT’D THEY TASTE LIKE?<br />
<br />
KOON: How’d they taste? Kinda burnt.<br />
<br />
<br />
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