Deciding Not to Be a Bitch – The Sun Also Rises (Final)

Gertrude Stein
Wikipedia: – Gertrude Stein in 1924 with Hemingway’s son Jack. She coined the phrase “Lost Generation”. Read more here.

Americans were drawn to Paris in the Roaring Twenties by the favorable exchange rate, with as many as 200,000 English-speaking expatriates living there….Many American writers were disenchanted with the US, where they found less artistic freedom than in Europe. (For example, Hemingway was in Paris during the period when Ulysses, written by his friend James Joyce, was banned and burned in New York.)

Hemingway scholar Wagner-Martin writes that Hemingway wanted the book to be about morality, which he emphasized by changing the working title from Fiesta to The Sun Also Rises. Wagner-Martin argues that the book can be read either as a novel about bored expatriates or as a morality tale about a protagonist who searches for integrity in an immoral world – Wikipedia

Today is our final encounter with Ernest Hemingway’s The Sun Also Rises. The last time we visited this book we looked at our protagonist’s reflections on what it was like to be back in France after the week of fiestas and watching the running of bulls in Spain. This week we look once again at the aftermath of the fiesta. As Jake is about to return to Paris, he receives a telegram from Lady Brett Ashley asking for help; she had run off to Madrid to join her young bullfighter lover Romero. Jake finally meets up with the disheveled Brett at her hotel.

She looked away. I thought she was looking for another cigarette. Then I saw she was crying. I could feel her crying. Shaking and crying. She wouldn’t look up. I put my arms around her.

“Don’t let’s ever talk about it. Please don’t let’s ever talk about it.”

“Dear Brett.”

“I’m going back to Mike.” I could feel her crying as I held her close. “He’s so damned nice and he’s so awful. He’s my sort of thing.”

She would not look up. I stroked her hair. I could feel her shaking.

“I won’t be one of those bitches,” she said. “But, oh, Jake, please let’s never talk about it.”

We left the Hotel Montana. The woman who ran the hotel would not let me pay the bill. The bill had been paid.

“Oh, well. Let it go,” Brett said. “It doesn’t matter now.”

We rode in a taxi down to the Palace Hotel, left the bags, arranged for berths on the Sud Express for the night, and went into the bar of the hotel for a cocktail. We sat on high stools at the bar while the barman shook the Martinis in a large nickelled shaker.

“It’s funny what a wonderful gentility you get in the bar of a big hotel,” I said.

“Barmen and jockeys are the only people who are polite any more.”

“No matter how vulgar a hotel is, the bar is always nice.”

“It’s odd.”

“Bartenders have always been fine.”

“You know,” Brett said, “it’s quite true. He is only nineteen. Isn’t it amazing?”

We touched the two glasses as they stood side by side on the bar. They were coldly beaded. Outside the curtained window was the summer heat of Madrid.

“I like an olive in a Martini,” I said to the barman.

“Right you are, sir. There you are.”

“Thanks.”

“I should have asked, you know.”

The barman went far enough up the bar so that he would not hear our conversation. Brett had sipped from the Martini as it stood, on the wood. Then she picked it up. Her hand was steady enough to lift it after that first sip.

“It’s good. Isn’t it a nice bar?”

“They’re all nice bars.”

“You know I didn’t believe it at first. He was born in 1905. I was in school in Paris, then. Think of that.”

“Anything you want me to think about it?”

“Don’t be an ass. Would you buy a lady a drink?”

“We’ll have two more Martinis.”

“As they were before, sir?”

“They were very good.” Brett smiled at him.

“Thank you, ma’am.”

“Well, bung-o,” Brett said.

“Bung-o!”

“You know,” Brett said, “he’d only been with two women before. He never cared about anything but bull-fighting.”

“He’s got plenty of time.”

“I don’t know. He thinks it was me. Not the show in general.”

“Well, it was you.”

“Yes. It was me.”

“I thought you weren’t going to ever talk about it.”

“How can I help it?”

“You’ll lose it if you talk about it.”

“I just talk around it. You know I feel rather damned good, Jake.”

“You should.”

“You know it makes one feel rather good deciding not to be a bitch.”

“Yes.”

“It’s sort of what we have instead of God.”

“Some people have God,” I said. “Quite a lot.”

“He never worked very well with me.”

“Should we have another Martini?”

The barman shook up two more Martinis and poured them out into fresh glasses.

“Where will we have lunch?” I asked Brett. The bar was cool. You could feel the heat outside through the window.

“Here?” asked Brett.

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Posted in Reading

Autumn Leaves (2015) – Bob Dylan

Bob_Dylan_-_Shadows_in_the_Night

According to Bob Dylan, a singer has to have lived a little to get to the song’s meaning. “You sing that and you have to know something about love and loss and feel it just as much,” Dylan told AARP magazine, “or there’s no point in doing it. It’s too deep a song. A schoolboy could never do it convincingly.”
– The Financial Times ‘Autumn Leaves – the song about death that lives on‘

Last time we explored Eva Cassidy’s Autumn Leaves, today it is Bob’s turn. Bob Dylan’s version of Autumn Leaves was released on his 2015 Shadows in the Night. I’ve written about Shadows before. I consider it a modern masterpiece from Bob – certainly a top tier album from him. The Irish Times hit the nail on the head in their review:

Those who complain that Dylan can’t sing are treated to a masterclass in timing, phrasing, nuance and interpretation. Even the cracks in his voice leave a poignant trail.
– Irish Times

Bob unearthed 10 traditional crooner standards made popular by Frank Sinatra in Shadows in the Night. Bob said this in a press statement at the time of its release:
’I don’t see myself as covering these songs in any way. They’ve been covered enough. Buried, as a matter a fact. What me and my band are basically doing is uncovering them. Lifting them out of the grave and bringing them into the light of day‘.

His rendition of Autumn Leaves is wonderful, and it demonstrates this exercise of his vocal technique whereby it’s an intimate, almost whispering in your ear delivery, where every intake and outtake of breath makes us think he is singing to us individually.

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Posted in Music

29/10 – 4/11/19 Bartholomew Baggins, The Lighthouse and UFOs

news on the march

Welcome to Monday’s News on the March – The week that was in my digital world.

Article by Bruce Goodman at Weave a Web:

I suggested to Bruce the opening sentence of this story. It still makes me chuckle when I reread it.

He lived on hills resembling ‘The Shire’ and his feet were covered with curly hair. His name was Bartholomew Baggins and his solo mother always said that his father was a hobbit. He thought it was a big fib, but now that he’d reached puberty he began to suspect, with his hairy feet, that what his mother claimed was true...… (read more).

Movie review by Reely Bernie:

Two grown men are stranded on a remote island with flatulence abound. This is not going to be a popular mainstream movie.

Add black and white photography, an alien dialect of 1890s New England, and the claustrophobia of a shoddy lighthouse, most Marvel Comic Universe fanatics will tear their hair out..…Read more

Poem at Mike’s Manic Word Depot:

she
was a stick of dynamite
i
was just an errant spark
in the long cold night
of another wasted weekend.… (Read more).

Short story by Intellectual Shaman:

I was grading murder essays in my cramped office and all of my students would be caught because their creative crimes were constructed from their TV imaginations. Technology had too much emphasis in their stories; they didn’t realize the power of their own minds.…. (Read full story)

You tube interview at Powerful JRE:

I am a very big skeptic of UFO sightings and such, but this is hands down the most credible testimony, evidence and witness I have ever seen of a UFO sighting.

Commander David Fravor is a retired US Navy pilot, who has a close encounter in 2004 with the so-called Tic Tac UFO, and Jeremy Corbell is a contemporary artist and documentary filmmaker. (Watch full interview)

news on the march the end

Posted in News

Autumn Leaves (1998) – Eva Cassidy

Eva_Cassidy_-_Songbird

This mournful minor-key melody was written by the French-Hungarian composer Joseph Kosma for the ballet Le Rendez-vous, performed in Paris at the end of the second world war. The song transcends genre and has been covered hundreds of times in the decades since. The version I want to explore today is Eva Cassidy’s although I also have Bob Dylan’s splendid version from his classic album Shadows in the Night in my music library.

Eva Cassidy has the most astounding female voice I’ve ever heard in contemporary music, yet she tragically passed away without finding commercial success in her lifetime. I find her voice ‘angelic’ and richly soul driven. She died of melanoma in 1996 at the age of 33 and was virtually unknown outside of her native Washington D.C. Fortunately we are blessed to have many live and studio recordings of her songs.

Wikipedia – Two years after her death, Cassidy’s music was brought to the attention of British audiences, when her versions of “Fields of Gold” and “Over the Rainbow” were played by Mike Harding and Terry Wogan on BBC Radio 2. Following the overwhelming response, a camcorder recording of “Over the Rainbow“, taken at Blues Alley in Washington by her friend Bryan McCulley, was shown on BBC Two’s Top of the Pops 2. Shortly afterwards, the compilation album Songbird climbed to the top of the UK Albums Chart, almost three years after its initial release. The chart success in the United Kingdom and Ireland led to increased recognition worldwide. Her posthumously released recordings, including three number-one albums and one number-one single in the UK, have sold more than ten million copies. Her music has also charted within the top 10 in Australia, Germany, Norway, Sweden and Switzerland.

There is a wonderful page at Eva Cassidy’s web site about her connection with Autumn Leaves, which includes the recording process and her Seasonal Affective Disorder and NOT enjoying ‘fall’!:

Eva’s mother, Barbara Cassidy, told the authors of the Songbird biography that “[Eva] had Seasonal Affective Disorder. When it became September, the days got shorter and she said, ‘Mom, I can’t really enjoy fall, as beautiful as it is, because I know winter is coming.’” One can only speculate about what the song “Autumn Leaves” meant to Eva, but perhaps its seasonal melancholy resonated with her own regret about the falling leaves. Or was it a more eternal metaphor? We’ll never know.

Since you went away
The days grow long
And soon I hear old winter’s song
But I miss you most of all
My darling
When autumn leaves start to fall….

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Posted in Music

Ida (2013) – Pawel Pawlikowski (Friday’s Finest)

Ida

Ida is a Polish movie which won the 2015 Academy Award for Best Foreign Language Film. It is set in Poland in 1962. It tells of the story of a young woman is about to take her vows as a Catholic nun. She was orphaned as an infant after the German occupation in World War II. Before taking her vows she is mandated to see her Aunt who is her only living relative. Her Aunt ‘Wanda’ reveals to Ida that she is in fact Jewish and alludes to a great tragedy which befell on her family.

The duration is just 82 minutes and so little is said throughout, but the words which are spoken are necessary and poignant. Sometimes less is better and Ida is a great demonstration of the effectiveness of minimalist cinema. The road trip shared by the quiet, morally virtuous Ida and her verbose, narcissistic and promiscuous aunt played magnificently by Aguta Kulesza is captivating viewing. They complement each other wonderfully.
Ida’s Aunt continually tempts Ida to defrock herself as it were:

Wanda (Aunt) – You have such a nice dimple.
– Three when you smile.
– Men will go crazy.
– Do you have sinful thoughts sometimes?
Ida – Yes.
Wanda – About carnal love?
Ida – No
Wanda – That’s ashame.
– You should try
– Otherwise what sort of sacrifice are these vows of yours?

According to Wikipedia: Pawlikowski had difficulty in casting the role of Anna/Ida. After he’d interviewed more than 400 actresses, Agata Trzebuchowska was discovered by a friend of Pawlikowski’s, who saw her sitting in a cafe in Warsaw reading a book. She had no acting experience or plans to pursue an acting career. She agreed to meet with Pawlikowski because she was a fan of his film My Summer of Love (2004).

Agata Trzebuchowska’s delivers a very commendable debut performance, but Agata Kulesza (The aunt) is absolutely right in every part of her role as Aunt Wanda. She is so whole and complex inside a movie that doesn’t otherwise spend lengths on character’s backgrounds. She just draws you inside, whether you know her story, her past, her issues or not. A jaw-dropping performance.

Shot in gorgeous black and white, this film is a disconcerting beauty while remaining simple and pure, with a neat photography, elegant and appropriate framings highlighting the emptiness and the sadness of certain existences, and a careful treatment of natural light. Overall, I was touched by its delicateness, simplicity, great photography, splendid script and nuanced acting.

I am not a big fan of jazz but the choice of Coltrane’s jazz music for parts of this film really let you feel what jazz is all about, it was beautiful. I’ll leave you with this music from the film:

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Posted in Movies and TV

Aubury (1972) – Bread

Aubrey - Bread

Keep the tissue box handy because we are going to visit this soft love ballad hit released by the band Bread on their 1972 album Guitar Man. David Gates wrote and composed the song after watching Breakfast at Tiffany’s which starred of course the irrepressibly beautiful Audrey Hepburn. Note that the name of the song and the actress are not the same. According to wikipedia – it swapped the assumed gender of the name Aubrey, nearly extinguishing its use as a male name and popularizing it as a female one. Actress Aubrey Plaza is named after the song.
The single lasted 11 weeks on the Billboard Hot 100 chart, peaking at number 15.

I keep this song in my music library mainly for nostalgic purposes. I listened to Bread and this song a lot in my youth. He sings about this unrequited love for a girl named Aubrey, but the lyrics suggest it was about someone he perhaps never knew. It is renowned as one of Bread’s most beautiful, yet melancholic, songs. I’m not a big fan as I used to be, but when I hear it now sometimes it evokes memories that were once forgotten; like dipping yourself in magic water and the memories are so thick, reminding me of all that was once unspoiled.

But how I miss the girl
And I’d go a million times around the world just to say
She had been mine for a day

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Posted in Music

Camino Real (Royal Road) – The Road Between Barichara and Guane

For this Wednesdays’ literature quote we are going to take a different route again. Years ago I wrote an article for a travel web site which described 5 relatively obscure places to visit in Colombia.

My introduction was as follows:
If it’s life you want, then its life you will get. Colombia is one of the world’s five richest countries in biological diversity, coupled with its unspoilt colonial heritage and colourful festivals. As the Colombian travel slogan says ‘the only risk is wanting to stay’.

One of those places in that article is called ‘Camino Real’. Well it’s not so much a place as it is a centuries old 10 kilometer path made out of stone. The experience of walking ‘Camino Real’ was unlike any other. I described it in the article ‘as an almost surreal experience; a pilgrimage into a different age’. I felt as though I had stepped knee-deep into a Robert Frost poem.

Below are some photos of ‘Camino Real‘ from fellow blogger notesfromcamelidcountry trip to ‘Camino Real’ used with his expressed permission. For more photos and description of the towns that connect the walk I recommend you visit his marvelous travel blog:

This slideshow requires JavaScript.

Mending Wall

Something there is that doesn’t love a wall,
That sends the frozen-ground-swell under it,
And spills the upper boulders in the sun;
And makes gaps even two can pass abreast.
The work of hunters is another thing:
I have come after them and made repair
Where they have left not one stone on a stone,
But they would have the rabbit out of hiding,
To please the yelping dogs. The gaps I mean,
No one has seen them made or heard them made,
But at spring mending-time we find them there.
I let my neighbor know beyond the hill;
And on a day we meet to walk the line
And set the wall between us once again.
We keep the wall between us as we go.
To each the boulders that have fallen to each.
And some are loaves and some so nearly balls
We have to use a spell to make them balance:
‘Stay where you are until our backs are turned!’
We wear our fingers rough with handling them.
Oh, just another kind of out-door game,
One on a side. It comes to little more:
There where it is we do not need the wall:
He is all pine and I am apple orchard.
My apple trees will never get across
And eat the cones under his pines, I tell him.
He only says, ‘Good fences make good neighbors.’
Spring is the mischief in me, and I wonder
If I could put a notion in his head:
‘Why do they make good neighbors? Isn’t it
Where there are cows? But here there are no cows.
Before I built a wall I’d ask to know
What I was walling in or walling out,
And to whom I was like to give offense.
Something there is that doesn’t love a wall,
That wants it down.’ I could say ‘Elves’ to him,
But it’s not elves exactly, and I’d rather
He said it for himself. I see him there
Bringing a stone grasped firmly by the top
In each hand, like an old-stone savage armed.
He moves in darkness as it seems to me,
Not of woods only and the shade of trees.
He will not go behind his father’s saying,
And he likes having thought of it so well
He says again, ‘Good fences make good neighbors.’

How to get to Camino Real: Frequent buses travel north from Bogota to Bucaramanga or you may decide to stay in San Gil situated just 10 kilometres from Barichara. Alternatively, fly directly to Bucaramanga and take a bus south 1.5hours to Chicamocha or San Gil.

Posted in Reading, Reflections

Arthur McBride (1992) – Bob Dylan

Bob Dylan in Sydney (Idiot Wind) 1992
Bob Dylan in Sydney 1992
Oh, me and my cousin, one Arthur McBride
As we went a-walkin’ down by the seaside
Now mark what followed and what did betide
For it bein’ on Christmas mornin’
Now, for recreation, we went on a tramp
And we met sergeant Napper and corporal Vamp
And a little wee drummer intending to camp
For the day bein’ pleasant and charmin’

We have another 19th century Irish Ballad coming to you today, this time it is Arthur McBride by Bob Dylan from his 1992 album Good as I Been To You. According to Wiki: it was first collected around 1840 in Limerick by Patrick Weston Joyce; also in Donegal by George Petrie. The song expressed the sentiment that not all the young Irish were willing to fight war for the British crown. The song can be narrowly categorized as an “anti-recruiting” song, a specific form of anti-war song, and more broadly as a protest song.

It took me some time to appreciate the album Good as I Been To You. Some songs made an immediate impact like Jim Jones and Canadee i-o, but others like Arthur McBride and Hard Times were an acquired taste. The album is composed entirely of traditional folk songs and it’s also his first album not to feature any original songs since Dylan 1973. I really admire his guitar playing on this album. I haven’t really heard the acoustic guitar played like that before. How Dylan strums and picks the guitar can’t be replicated – Good as I Been To You is surely the best testament to that! It’s his first solo acoustic album since Another Side of Dylan in 1964. Good as I Been To You also resurrected Dylan with critics after getting panned for Under the Red Sky.

Bob_Dylan_-_Good_as_I_Been_to_You

I really like what Dylan has done with this old Arthur McBride song. The timbre of his voice and focus of his phrasing really elevates this song. He of course sung traditional folk songs all the time in his early years, but they were more topical / political in nature where as this compilation go back at least a century. Dylan mentioned once in an interview that he could have imagined himself being a heroic military officer dying on a battlefield somewhere. Arthur McBride and Good as I Been To You overall seems to be him tapping into this very – very old folkloric wellspring when people were behest to destitution and war – ‘hard times’ if you will. When you listen to these tracks sometimes you catch a glimpse of what it must have ‘really’ been like back then. Dylan’s music has always been a portal to another time in our history. Like how David Sexton pointed out in his review of the album “Dylan sounds now, in comparison to his younger self, like one of those ghosts, but a powerful ghost.‘

I really like Rosanne Cash’s story about Paul Brady’s recording of Arthur McBride (see video here). She wrote a blog post for the New York Times and below were her remarks about it:

‘The first thing my husband, John Leventhal, ever gave me, shortly after we met, was a cassette mix tape he had put together of some of his current favorite songs. On that tape was Paul Brady’s eight-verse version of “Arthur McBride,” a gorgeous, lilting Irish folk song…
I must have listened to “Arthur McBride” a thousand times. It made me want to marry John Leventhal. I did marry him. A couple of years after that, we went together to Aberdeen, Scotland, to tape “Transatlantic Sessions,” a music show that puts American and Scottish and Irish musicians together to see what they will come up with. I sat on the floor in the corner of a little room at an inn where we were taping, a few feet from Paul Brady, with no one else in the room but him and the camera operators, and listened to him sing “Arthur McBride.” It remains one of the greatest live performances I’ve ever seen, and a moment I’ll never forget.’

Dylan’s Arthur McBride has just been recently made available on you tube:

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Posted in Music

22/10 – 28/10/19 Rick Danko, Freeze, Blog-Notes and Adam Scott

news on the march

Welcome to Monday’s News on the March – The week that was in my digital world.

Article by Cincinnati Babyhead:

I think you all know that CB is a big fan of The Band. When I went to see “The Last Waltz there’s a scene where Martin Scorsese is walking through a recording studio with Rick Danko talking about what he, Danko is up to. Rick ends up sitting at the control board in the mixing room and says in his laid back way “Just making music”. The scene is then taken over by a song I had never heard before. It’s Danko singing and I had to find that record. I did and this is the album that it’s on. The song was ‘Sip The Wine”. I still get a few chills when I hear it..… (read more).

Article by J Nicholas Price at The Hofflebrock:

I’m stuck on this idea about being able to freeze time for a few seconds whenever I want. I’m stuck thinking that this could go somewhere other than the standard super(anti)hero vigilante badassery. I’m stuck with my mind half in the gutter thinking of ways a person could use this in the (new)age old trope of time freeze fuckery. It all seems fairly cliché, but in a bad way. In an easy way. In a I’d write it to make money, not to satisfy my writerly soul sort of way.…Read more

Article by Nadine at Bloomwords:

15:38. Why do I feel so blocked again, from posting on this site? I think it’s because I no longer understand its purpose.

When I started my second blog on WordPress, that purpose seemed clear; it was to engage with the extension of the word “sober.” Sober: this word I had long detested and written off. “Serious, sensible, and solemn.” Oh no, I wanted no sombre feeling, I wanted only playfulness, wildness, cheerfulness. But finally, I had neither extreme, so I decided to relax on my linguistic nitpicking, and go for “sobriety,” after all; a further-developed word, that seemed inherently cheerful and optimistic, had a natural joyful ring. The jury’s still out on its future; it lives only in the present day.… (Read more).

Poem by Intellectual Shaman:

I would rather be

where the air is thin

and the invisible wind

bangs the hinges of a rusty door

deep in the mountains

where the crowds don’t go.

How much traffic have we seen

or arguments heard?…. (Read full poem)

You tube interview by Netflix is a Joke:

Adam Scott sat down with Zach Galifianakis to discuss whether or not Martin Scorsese remembers him and if he can give a smile that doesn’t say, “I just fucked your girlfriend.” (Watch full interview)

news on the march the end

Posted in Music, News

At The Mid Hour of Night (2017) – Eleanor McEvoy

Eleanor McEvoy

At The Mid Hour of Night is an old Irish love ballad written in the 1800s by Thomas Moore who was himself a poet, a sweet-voiced singer and accomplished musician. He is now best remembered for the lyrics of “The Minstrel Boy” and “The Last Rose of Summer”. Irish singer Eleanor McEvoy went to task to reinterpret some of Thomas Moore’s material for her album The Thomas Moore Project. Set in music these incredible lyrics are really pleasant to hear in Eleanor’s voice as part of the vast Irish folklore.

Eleanor McEvoy if you don’t know composed the song Only A Woman’s Heart, title track of A Woman’s Heart, the best-selling Irish album in Irish history. Only A Woman’s Heart will appear later in this music library’s project.

Wikipedia states: McEvoy’s life as a musician began at the age of four when she began playing piano. At the age of eight she took up violin. Upon finishing school she attended Trinity College, Dublin where she studied music by day and worked in pit orchestras and music clubs by night. McEvoy graduated from Trinity with an Honors Degree in music, and spent four months busking in New York City. In 1988, she was accepted into the RTÉ National Symphony Orchestra where she spent four years before leaving to concentrate on songwriting.

She built up a following in clubs in Dublin with her three piece band…During a solo date in July 1992, she performed a little-known, self-penned song, “Only a Woman’s Heart”. Mary Black, of whose band McEvoy was a member, was in the audience and invited her to add the track to an album of Irish female artists. The album was subsequently titled A Woman’s Heart and the track was released as the lead single.

A few days before A Woman’s Heart was released, Tom Zutaut A & R from Geffen Records, who had previously signed Guns & Roses, Mötley Crüe, and Edie Brickell, offered McEvoy a worldwide recording deal after watching her perform at The Baggot Inn in Dublin.

At the mid hour of night when stars are weeping, I fly
To the lonely vale we lov’d when life shone warm in thine eye;
And I think that if spirits can steal from the region of air,
To revisit past scenes of delight; thou wilt come to me there,
And tell me our love is remember’d even in the sky.

Posted in Music

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