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The Pirates of Somalia

Cast: Evan Peters, Al Pacino, Melanie Griffith, Barkhad Abdi, Russell Posner, Coral Pena, Aidan Whytock, Philip Ettinger, Darron Meyer

trailer for The Pirates of Somalia, directed by Bryan Buckley, screenplay by Bryan Buckley, inspired by Jay Bahadur (2017)
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Enoch Arden

Long lines of cliff breaking have left a chasm;
And in the chasm are foam and yellow sands;
Beyond, red roofs about a narrow wharf
In cluster; then a moulder'd church; and higher
A long street climbs to one tall-tower'd mill;
And high in heaven behind it a gray down
With Danish barrows; and a hazelwood,
By autumn nutters haunted, flourishes
Green in a cuplike hollow of the down.

Here on this beach a hundred years ago,
Three children of three houses, Annie Lee,
The prettiest little damsel in the port,
And Philip Ray the miller's only son,
And Enoch Arden, a rough sailor's lad
Made orphan by a winter shipwreck, play'd
Among the waste and lumber of the shore,
Hard coils of cordage, swarthy fishing-nets,
Anchors of rusty fluke, and boats updrawn,
And built their castles of dissolving sand
To watch them overflow'd, or following up
And flying the white breaker, daily left
The little footprint daily wash'd away.

A narrow cave ran in beneath the cliff:
In this the children play'd at keeping house.
Enoch was host one day, Philip the next,
While Annie still was mistress; but at times
Enoch would hold possession for a week:
`This is my house and this my little wife.'
`Mine too' said Philip `turn and turn about:'
When, if they quarrell'd, Enoch stronger-made
Was master: then would Philip, his blue eyes
All flooded with the helpless wrath of tears,
Shriek out `I hate you, Enoch,' and at this
The little wife would weep for company,
And pray them not to quarrel for her sake,
And say she would be little wife to both.

But when the dawn of rosy childhood past,
And the new warmth of life's ascending sun
Was felt by either, either fixt his heart
On that one girl; and Enoch spoke his love,
But Philip loved in silence; and the girl
Seem'd kinder unto Philip than to him;
But she loved Enoch; tho' she knew it not,
And would if ask'd deny it. Enoch set
A purpose evermore before his eyes,
To hoard all savings to the uttermost,
To purchase his own boat, and make a home

[...] Read more

poem by Alfred Lord Tennyson
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Sestina Otiosa

Our great work, the Otia Merseiana,
Edited by learned Mister Sampson,
And supported by Professor Woodward,
Is financed by numerous Bogus Meetings
Hastily convened by Kuno Meyer
To impose upon the Man of Business.

All in vain! The accomplished Man of Business
Disapproves of Otia Merseiana,
Turns his back on Doctor Kuno Meyer;
Cannot be enticed by Mister Sampson,
To be present at the Bogus Meetings,
Though attended by Professor Woodward.

Little cares the staid Professor Woodward:
He, being something of a man of business,
Knows that not a hundred Bogus Meetings
To discuss the Otia Merseiana
Can involve himself and Mister Sampson
In the debts of Doctor Kuno Meyer.

So the poor deluded Kuno Meyer,
Unenlightened by Professor Woodward --
Whom, upon the word of Mister Sampson,
He believes to be a man of business
Fit to run the Otia Merseiana --
Keeps on calling endless Bogus Meetings.

Every week has now its Bogus Meetings,
Punctually convened by Kuno Meyer
In the name of Otia Merseiana:
Every other week Professor Woodward
Takes his place, and, as a man of business,
Audits the accounts with Mister Sampson.

He and impecunious Mister Sampson
Are the mainstay of the Bogus Meetings;
But the alienated Man of Business
Cannot be allured by Kuno Meyer
To attend and meet Professor Woodward,
Glory of the Otia Merseiana.

Kuno Meyer! Great Professor Woodward!
Bogus Meetings damn, for men of business,
Mister Sampson's Otia Merseiana.

poem by Sir Walter Raleigh
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Mr. Fink's Debating Donkey

Of a person known as Peters I will humbly crave your leave
An unusual adventure into narrative to weave
Mr. William Perry Peters, of the town of Muscatel,
A public educator and an orator as well.
Mr. Peters had a weakness which, 'tis painful to relate,
Was a strong predisposition to the pleasures of debate.
He would foster disputation wheresoever he might be;
In polygonal contention none so happy was as he.
'Twas observable, however, that the exercises ran
Into monologue by Peters, that rhetorical young man.
And the Muscatelian rustics who assisted at the show,
By involuntary silence testified their overthrow-
Mr. Peters, all unheedful of their silence and their grief,
Still effacing every vestige of erroneous belief.
O, he was a sore affliction to all heretics so bold
As to entertain opinions that he didn't care to hold.

One day-'t was in pursuance of a pedagogic plan
For the mental elevation of Uncultivated Man
Mr. Peters, to his pupils, in dismissing them, explained
That the Friday evening following (unless, indeed, it rained)
Would be signalized by holding in the schoolhouse a debate
Free to all who their opinions might desire to ventilate
On the question, 'Which is better, as a serviceable gift,
Speech or hearing, from barbarity the human mind to lift?'
The pupils told their fathers, who, forehanded always, met
At the barroom to discuss it every evening, dry or wet,
They argued it and argued it and spat upon the stove,
And the non-committal 'barkeep' on their differences throve.
And I state it as a maxim in a loosish kind of way:
You'll have the more to back your word the less you have to say.
Public interest was lively, but one Ebenezer Fink
Of the Rancho del Jackrabbit, only seemed to sit and think.

On the memorable evening all the men of Muscatel
Came to listen to the logic and the eloquence as well
All but William Perry Peters, whose attendance there, I fear.
Was to wreak his ready rhetoric upon the public ear,
And prove (whichever side he took) that hearing wouldn't lift
The human mind as ably as the other, greater gift.
The judges being chosen and the disputants enrolled,
The question he proceeded _in extenso_ to unfold:
'_Resolved_-The sense of hearing lifts the mind up out of reach
Of the fogs of error better than the faculty of speech.'
This simple proposition he expounded, word by word,
Until they best understood it who least perfectly had heard.
Even the judges comprehended as he ventured to explain
The impact of a spit-ball admonishing in vain.
Beginning at a period before Creation's morn,
He had reached the bounds of tolerance and Adam yet unborn.

[...] Read more

poem by Ambrose Bierce
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Melanie

Watching, driving thru the night, Im all alone
Empty endless road, a thousand miles to go
Midnight five million thoughts are passing in a row
Will you still be waiting there God only knows
I can still see your face in my mind, with every turn I take
The wind through my heart feels so cold, as it calls out your name
Melanie, nothing but the touch of your hand can rescue me
Oh, melanie, reach inside this emptiness and you can set me free
Morning, suns in my eyes, Im tied to your soul
One chance, one solitary life, how could I let you go
Got a phone call, or was it a dream, a voice spoke to me
I could swear it was you that I heard crying desperately
Melanie, nothing but the touch of your hand can rescue me
Oh, melanie, reach inside this emptiness and you will set me free
I can still see your face in my mind, with every turn I take
The wind through my heart feels so cold, as it calls out your name
Melanie, nothing but the touch of your hand can rescue me
Oh, melanie, reach inside this emptiness and you will set me free
Melanie, nothing but the touch of your hand can rescue me
Oh, melanie, reach inside this emptiness and you will set me free

song performed by Toto
Added by Lucian Velea
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The Scotch Ballad

Ah, EVAN, by thy winding stream
How once I lov'd to stray,
And view the morning's redd'ning beam,
Or charm of closing day!

To yon dear grot by EVAN'S side,
How oft my steps were led;
Where far beneath the waters glide,
And thick the woods are spread!

But I no more a charm can see
In EVAN'S lovely glades;
And drear and desolate to me
Are those enchanting shades.

While far--how far from EVAN'S bowers,
My wand'ring lover flies;
Where dark the angry tempest lowers,
And high the billows rise!

And O, where'er the wand'rer goes,
Is that poor mourner dear,
Who gives, while soft the EVAN flows,
Each passing wave a tear?

And does he now that grotto view?
On those steep banks still gaze?
In fancy does he still pursue
The EVAN'S lovely maze?

O come! repass the stormy wave,
O toil for gold no more!
Our love a dearer pleasure gave
On EVAN'S peaceful shore.

Leave not my breaking heart to mourn
The joys so long denied;
Ah, soon to those green banks return,
Where EVAN meets the CLYDE.

poem by Helen Maria Williams
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Melanie

Melanie is sweet
A vision on her feet
So young so fair
A bridge of iron
Standing tall between two parted spheres
Shes a novelty of reality
Though she tried so hard
My sweet darling melanie
Shes glad for what shes had
Her mom and several dads so she complained
This modern love affair
With life can really get you down
Shes a novelty of reality
But she tried so hard my sweet darling melanie
Ooh but life goes on
Ooh the same old song
Ooh but loves in search of mystery
So you worked so hard my sweet darling melanie
Over the horizon
Birds of paradise sit in her eyes
You can feel forever on her sweet and silken sighs
Shes novelty of reality
So she tried so hard my sweet darling melanie
Na, na, na
Shes novelty of reality
So she tried so hard my sweet darling melanie
So she tried so hard my sweet darling melanie
Na, na, na...

song performed by Donna Summer
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The Woful Tale Of Mr. Peters

I should like, good friends, to mention the disaster which befell
Mr. William Perry Peters, of the town of Muscatel,
Whose fate is full of meaning, if correctly understood
Admonition to the haughty, consolation to the good.

It happened in the hot snap which we recently incurred,
When 'twas warm enough to carbonize the feathers of a bird,
And men exclaimed: 'By Hunky!' who were bad enough to swear,
And pious persons supervised their adjectives with care.

Mr. Peters was a pedagogue of honor and repute,
His learning comprehensive, multifarious, minute.
It was commonly conceded in the section whence he came
That the man who played against him needed knowledge of the game.

And some there were who whispered, in the town of Muscatel,
That besides the game of Draw he knew Orthography as well;
Though, the school directors, frigidly contemning that as stuff,
Thought that Draw (and maybe Spelling, if it pleased him) was enough.

Withal, he was a haughty man-indubitably great,
But too vain of his attainments and his power in debate.
His mien was contumelious to men of lesser gift:
'It's only _me_,' he said, 'can give the human mind a lift.

'Before a proper audience, if ever I've a chance,
You'll see me chipping in, the cause of Learning to advance.
Just let me have a decent chance to back my mental hand
And I'll come to center lightly in a way they'll understand.'

Such was William Perry Peters, and I feel a poignant sense
Of grief that I'm unable to employ the present tense;
But Providence disposes, be our scheming what it may,
And disposed of Mr. Peters in a cold, regardless way.

It occurred in San Francisco, whither Mr. Peters came
In the cause of Education, feeling still the holy flame
Of ambition to assist in lifting up the human mind
To a higher plane of knowledge than its Architect designed.

He attended the convention of the pedagogic host;
He was first in the Pavilion, he was last to leave his post.
For days and days he narrowly observed the Chairman's eye,
His efforts ineffectual to catch it on the fly.

The blessed moment came at last: the Chairman tipped his head.
'The gentleman from ah-um-er,' that functionary said.
The gentleman from ah-um-er reflected with a grin:
'They'll know me better by-and-by, when I'm a-chipping in.'

[...] Read more

poem by Ambrose Bierce
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Philip, My King

Look at me with thy large brown eyes,
Philip, my king!
Round whom the enshadowing purple lies
Of babyhood's royal dignities.
Lay on my neck thy tiny hand
With love's invisible scepter laden;
I am thine Esther to command
Till thou shalt find a queen-handmaiden,
Philip, my king.

O the day when thou goest a-wooing,
Philip, my king!
When those beautiful lips are suing,
And some gentle heart's bars undoing,
Thou dost enter, love-crowned, and there
Sittest love-glorified. Rule kindly,
Tenderly, over thy kingdom fair,
For we that love, ah! we love so blindly,
Philip, my king.

Up from thy sweet mouth, - up to thy brow,
Philip, my king!
The spirit that there lies sleeping now
May rise like a giant and make men bow
As to one heaven-chosen among his peers.
My Saul, than thy brethren taller and fairer,
Let me behold thee in future years! -
Yet thy head needeth a circlet rarer,
Philip, my king.

- A wreath not of gold, but palm. One day,
Philip, my king!
Thou too must tread, as we trod, a way
Thorny and cruel and cold and gray:
Rebels within thee, and foes without,
Will snatch at thy crown. But march on, glorious,
Martyr, yet monarch! till angels shout,
As thou sittest at the feet of God victorious,
'Philip, the king!'

poem by Dinah Maria Mulock Craik
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Lady Maggie

You must not call me Maggie, you must not call me Dear,
For I'm Lady of the Manor now stately to see;
And if there comes a babe, as there may some happy year,
'Twill be little lord or lady at my knee.

Oh, but what ails you, my sailor cousin Phil,
That you shake and turn white like a cockcrow ghost?
You're as white as I turned once down by the mill,
When one told me you and ship and crew were lost:

Philip my playfellow, when we were boy and girl
(It was the Miller's Nancy told it to me),
Philip with the merry life in lip and curl,
Philip my playfellow drowned in the sea!

I thought I should have fainted, but I did not faint;
I stood stunned at the moment, scarcely sad,
Till I raised my wail of desolate complaint
For you, my cousin, brother, all I had.

They said I looked so pale—some say so fair—
My lord stopped in passing to soothe me back to life:
I know I missed a ringlet from my hair
Next morning; and now I am his wife.

Look at my gown, Philip, and look at my ring,
I'm all crimson and gold from top to toe:
All day long I sit in the sun and sing,
Where in the sun red roses blush and blow.

And I'm the rose of roses says my lord;
And to him I'm more than the sun in the sky,
While I hold him fast with the golden cord
Of a curl, with the eyelash of an eye.

His mother said 'fie,' and his sisters cried 'shame,'
His highborn ladies cried 'shame' from their place:
They said 'fie' when they only heard my name,
But fell silent when they saw my face.

Am I so fair, Philip? Philip, did you think
I was so fair when we played boy and girl,
Where blue forget-me-nots bloomed on the brink
Of our stream which the mill-wheel sent a whirl?

If I was fair then sure I'm fairer now,
Sitting where a score of servants stand,
With a coronet on high days for my brow
And almost a sceptre for my hand.

[...] Read more

poem by Christina Georgina Rossetti
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Song

I.

Slow spreads the gloom my soul desires--
The sun from India's shore retires--
To EVAN'S banks with temp'rate ray,
Home of my youth! he leads the day.
O banks to me for ever dear!
O stream, whose murmurs still I hear!
All, all my hopes of bliss reside
Where EVAN mingles with the CLYDE .

II.

And she in simple beauty drest,
Whose image lives within my breast,
Who trembling heard my parting sigh,
And long pursued me with her eye!
Does she, with heart unchang'd as mine,
Oft in the vocal bowers recline?
Or where yon grot o'erhangs the tide,
Muse, while the EVAN meets the CLYDE ?

III.

Ye lofty banks that EVAN bound,
Ye lavish woods that wave around,
And o'er the stream your shadows throw,
Which softly winds so far below--
What secret charm to mem'ry brings
All that on EVAN'S border springs?
Sweet banks!--ye bloom by MARY'S side!
Blest stream!--she views thee haste to CLYDE!

IV.

Can all the wealth of INDIA'S coast
Atone for years in absence lost?
Return, ye moments of delight,
With richer treasures bless my sight!
Swift from this desert let me part,
And fly to meet a kindred heart!
Nor more may aught my steps divide
From that dear stream which flows to CLYDE.

poem by Helen Maria Williams
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It's Over

Si te vas, yo ser,
como un da olvidado,
flotando, en las tinieblas,
sin poder ver la luz...
Sin t yo morir,
de pena de saber,
que siempre estar,
extrandote...
Si te vas, mi propio llanto
ayudar, a ahogar,
el dolor, que me quema,
que acaba con mi alma...
Sin t yo morir,
de pena de saber,
que siempre estar,
extrandote...
Y no podr sobrevivir,
amarte tanto y verte ir,
eres mi sangre, eres mi piel,
eres mi mundo, eres mi ser,
y slo en t quiero creer...
Sin t yo morir,
de pena de saber,
que siempre estar,
extrandote...
Sin t yo morir,
de pena de saber,
que siempre estar,
extrandote...
Yo morir y llorar sin ti...
morir y llorar sin ti...
sin ti...
si t te vas...
Gustavo Pereira
cenoura@infonet.com.py

song performed by Yes
Added by Lucian Velea
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It's Over

Si te vas, yo ser,
como un da olvidado,
flotando, en las tinieblas,
sin poder ver la luz...
Sin t yo morir,
de pena de saber,
que siempre estar,
extrandote...
Si te vas, mi propio llanto
ayudar, a ahogar,
el dolor, que me quema,
que acaba con mi alma...
Sin t yo morir,
de pena de saber,
que siempre estar,
extrandote...
Y no podr sobrevivir,
amarte tanto y verte ir,
eres mi sangre, eres mi piel,
eres mi mundo, eres mi ser,
y slo en t quiero creer...
Sin t yo morir,
de pena de saber,
que siempre estar,
extrandote...
Sin t yo morir,
de pena de saber,
que siempre estar,
extrandote...
Yo morir y llorar sin ti...
morir y llorar sin ti...
sin ti...
si t te vas...
Gustavo Pereira
cenoura@infonet.com.py

song performed by Yes
Added by Lucian Velea
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The Brus Book VIII

[The king in Kyle]

The king fra Schyr Aymer wes gane
Gadryt his menye everilkan
And left bath woddis and montanys
And held hys way strak till the planys
5 For he wald fayne that end war maid
Off that that he begunnyn had,
And he wyst weill he mycht nocht bring
It to gud end but travalling.
To Kyle went he fryst and that land
10 He maid all till him obeysand,
The men maist force come till his pes.
Syne efterwart or he wald ses
Of Conyngayme the maist party
He gert held till his senyoury.
15 In Bothweill then Schyr Aymer was
That in hys hart gret angre has
For thai off Cunyngame and Kile
That war obeysand till him quhile
Left Inglismennys fewte.
20 Tharoff fayne vengyt wald he be,
And send Philip the Mowbray
With a thousand as Ik herd say
Off men that war in his leding
To Kile for to werray the king.

[Douglas defeats Sir Philip Mowbray at Edirford]

25 Bot James of Douglas that all tid
Had spyis out on ilka sid
Wyst off thar cummyng and that thai
Wald hald doune Makyrnokis way.
He tuk with him all prevely
30 Thaim that war off his cumpany
That war fourty withoutyn ma,
Syne till a strait place gan he ga
That is in Makyrnokis way,
The Edirford it hat perfay,
35 It lyis betwix marrais twa
Quhar that na hors on lyve may ga.
On the south halff quhar James was
Is ane upgang, a narow pas,
And on the north halff is the way
40 Sa ill as it apperis today.
Douglas with thaim he with him had
Enbuschyt him and thaim abaid,
He mycht weile fer se thar cummyng
Bot thai mycht se of hym na thing.

[...] Read more

poem by John Barbour
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Eye in the Sky

Cast: Helen Mirren, Aaron Paul, Alan Rickman, Barkhad Abdi, Jeremy Northam, Iain Glen, Phoebe Fox, Kim Engelbrecht

trailer for Eye in the Sky, directed by Gavin Hood, screenplay by Guy Hibbert (2015)
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Good Time

Cast: Jennifer Jason Leigh, Robert Pattinson, Barkhad Abdi, Ben Safdie, Lucas Elliot Eberl, Phil Cappadora, Buddy Duress, Marcos A. Gonzalez, Cliff Moylan

trailer for Good Time (2017)
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Good Time [trailer 2]

Cast: Jennifer Jason Leigh, Robert Pattinson, Barkhad Abdi, Ben Safdie, Lucas Elliot Eberl, Phil Cappadora, Buddy Duress, Marcos A. Gonzalez, Cliff Moylan

trailer for Good Time (2017)
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Frankly, My Dear

Scarlett O’ and Melanie,
presenting the dichotomies
of feminine near-felony
and law, would need lobotomies
to reconcile. If, frankly, dear,
you give a damn, you must decide
to which of them your heart is near,
allowing it to be your guide,
for if you choose them both the wind
will see that you are gone. Life ain’t
like Hollywood. If you have sinned,
don’t try to make out with a saint,
because there always is a clash
when opposites attempt to meet,
and if they do they tend to crash,
since those who cannot change must cheat.

Inspired by Michiko Kakutani’s review of Molly Haskell’s “‘Frankly My Dear: Gone With the Wind’ Revisited” (“Frankly My Dear: ” NYT, April 24,2009) :
Just as the dichotomy between Scarlett and Melanie, Rhett and Ashley gave the movie a classic bipolar architecture, so Cukor and Fleming became, in Ms. Haskell’s words, the movie’s stylistic “yin and yang”: Cukor providing “the delicate gradations of feeling between lovers and family” while Fleming supplied the movie’s “bold, sweeping movement through time and history.” At the same time, Ms. Haskell observes, the art director William Cameron Menzies endowed the sprawling opus with a visual coherence: “The expressionistic landscapes and character positionings designed by Menzies and his staff keep certain images as touchstones, in the forefront of consciousness — like the horse collapsing on the bridge, the fire in the background, the use of the new moon, ” even as his masterful use of the new process of Technicolor worked to heighten the drama of the story. In the end the real reason this movie with too many cooks miraculously worked, Ms. Haskell says, was “the fire and desperation of three people with strangely overlapping tastes and eccentricities”: “In ‘Gone With the Wind, ’ Mitchell’s only book, every crisis and trauma of her life is transmuted into narrative; Selznick seized the reins and threw himself into the making of the movie like a man possessed; and Leigh, whose casting was less accidental than legend has it, invested Scarlett with something beyond beauty, something altogether uncanny — a demonic energy, a feverishness that would later tip over into illness and pathology.” All three of these people, Ms. Haskell argues, were “possessed of fire-and-ice opposites that they projected into their lives and careers”: “Leigh, the mesmerizing mixture of bawdy sexpot and exquisite doll, echoed the Scarlett-Melanie sides of Margaret Mitchell, flapper turned matron. Mitchell, in turn, was attracted in fiction and in life to male opposites: the blackguard and the saint (she created one of each; she married one of each) .” As for Selznick, Ms. Haskell says, he liked to cast his protégées as “wide-eyed innocents” or “palpitating sexpots, ” who in turn were attracted “to good boy-bad boy opposites.” “The intensely personal energy of this dividedness, the deep-down tension in Mitchell, Selznick and Leigh between vulgarity and refinement, ” she concludes, “is what gives the archetypes in ‘Gone With the Wind’ their extraordinary human resonance, ” and thanks to the way the three of them threw themselves into the project, “that historical ‘costume’ story” never feels remotely past.

4/24/09

poem by Gershon Hepner
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Scarlett And Melanie

Scarlett O’ and Melanie,
presenting the dichotomies
of feminine near-felony
and law, would need lobotomies
to reconcile. If, frankly, dear,
you give a damn, you must decide
to which of them your heart is near,
allowing it to be your guide,
for if you choose them both the wind
will see that you are gone. Life ain’t
like Hollywood. If you have sinned,
don’t try to make out with a saint,
because there always is a clash
when opposites attempt to meet,
and if they do they tend to crash,
since those who cannot change must cheat.

Inspired by Michiko Kakutani’s review of Molly Haskell’s “‘Frankly My Dear: Gone With the Wind’ Revisited” (“Frankly My Dear: ” NYT, April 24,2009) :
Just as the dichotomy between Scarlett and Melanie, Rhett and Ashley gave the movie a classic bipolar architecture, so Cukor and Fleming became, in Ms. Haskell’s words, the movie’s stylistic “yin and yang”: Cukor providing “the delicate gradations of feeling between lovers and family” while Fleming supplied the movie’s “bold, sweeping movement through time and history.” At the same time, Ms. Haskell observes, the art director William Cameron Menzies endowed the sprawling opus with a visual coherence: “The expressionistic landscapes and character positionings designed by Menzies and his staff keep certain images as touchstones, in the forefront of consciousness — like the horse collapsing on the bridge, the fire in the background, the use of the new moon, ” even as his masterful use of the new process of Technicolor worked to heighten the drama of the story. In the end the real reason this movie with too many cooks miraculously worked, Ms. Haskell says, was “the fire and desperation of three people with strangely overlapping tastes and eccentricities”: “In ‘Gone With the Wind, ’ Mitchell’s only book, every crisis and trauma of her life is transmuted into narrative; Selznick seized the reins and threw himself into the making of the movie like a man possessed; and Leigh, whose casting was less accidental than legend has it, invested Scarlett with something beyond beauty, something altogether uncanny — a demonic energy, a feverishness that would later tip over into illness and pathology.” All three of these people, Ms. Haskell argues, were “possessed of fire-and-ice opposites that they projected into their lives and careers”: “Leigh, the mesmerizing mixture of bawdy sexpot and exquisite doll, echoed the Scarlett-Melanie sides of Margaret Mitchell, flapper turned matron. Mitchell, in turn, was attracted in fiction and in life to male opposites: the blackguard and the saint (she created one of each; she married one of each) .” As for Selznick, Ms. Haskell says, he liked to cast his protégées as “wide-eyed innocents” or “palpitating sexpots, ” who in turn were attracted “to good boy-bad boy opposites.” “The intensely personal energy of this dividedness, the deep-down tension in Mitchell, Selznick and Leigh between vulgarity and refinement, ” she concludes, “is what gives the archetypes in ‘Gone With the Wind’ their extraordinary human resonance, ” and thanks to the way the three of them threw themselves into the project, “that historical ‘costume’ story” never feels remotely past.

4/24/09

poem by Gershon Hepner
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Cadyow Castle

Addressed to the Right Hon. Lady Anne Hamilton.

When princely Hamilton's abode
Ennobled Cadyow's Gothic towers,
The song went round, the goblet flow'd,,
And revel sped the laughing hours.

Then, thrilling to the harp's gay sound,
So sweetly rung each vaulted wall,
And echoed light the dancer's bound,
As mirth and music cheer'd the hall.

But Cadyow's towers, in ruins laid,
And vaults, by ivy mantled o'er,
And echoed light the dancer's bound,
As mirth and music cheer'd the hall.

Yet still, of Cadyow's faded fame,
You bid me tell a minstrel tale,
And tune my harp, of Border frame.
On the wild banks of Evandale.

For thou, from scenes of courtly pride,
From pleasure's lighter scenes, canst turn,
To draw oblivion's pall aside,
And mark the long-forgotten urn.

Then, noble maid! at thy command,
Again the crumbled halls shall rise;
Lo! as on Evan's banks we stand,
The past returns - the present flies.

Where, with the rock's wood cover'd side,
Were blended late the ruins green,
Rise turrets in fantastic pride,
And feudal banners flaunt between:

Where the rude torrent's brawling course
Was shagg'd with thorn and tangling sloe,
The ashler buttress braves its force,
And ramparts frown in battled row.

'Tis night - the shade of keep and spire
Obscurely dance on Evan's stream;
And on the wave the warder's fire
Is chequering the moonlight beam.

Fades slow their light; the east is grey;
The weary warder leaves his tower;
Steeds snort; uncoupled stag-hounds bay,

[...] Read more

poem by Sir Walter Scott
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Identity of Images (Identité des images)

I am fighting furiously with animals and bottles
In a short time perhaps ten hours have passed one
after another
The beautiful swimmer who was afraid of coral wakes
this morning
Coral crowned with holly knocks on her door
Ah! coal again always coal
I conjure you coal tutelary genius of dreams and my
solitude let me let me speak again of the beautiful
swimmer who was afraid of coral
No longer tyrannize this seductive subject of my
dreams
The beautiful swimmer was reposing in a bed of lace
and birds
The clothes on a chair at the foot of the bed were
illuminated by gleams the last gleams of coal
The one that had come from the depths of the sky and
earth and sea was proud of its coral beak and great
wings of crape
All night long it had followed divergent funerals toward
suburban cemeteries
It had been to embassy balls marked white satin gowns with
its imprint a fern leaf
It had risen terribly before ships and the ships had not
returned
Now crouched in the chimney it was watching for the
waking of foam and singing of kettles
Its resounding step had disturbed the silence of nights
in streets with sonorous pavements
Sonorous coal coal master of dreams coal
Ah tell me where is that beautiful swimmer the swimmer
who was afraid of coral?
But the swimmer herself has gone back to sleep
And I remain face to face with the fire and shall remain
through the night interrogating the coal with wings of
darkness that persists in projecting on my monotonous
road the shadow of its smoke and the terrible
reflections of its embers
Sonorous coal coal pitiless coal

poem by Robert Desnos
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