tag:blogger.com,1999:blog-230115322024-03-07T02:26:45.622-05:00Old SmileyFilms, books, current events, my life and times.Hugh Ruppersburghttp://www.blogger.com/profile/13754821511543584868noreply@blogger.comBlogger1047125tag:blogger.com,1999:blog-23011532.post-33175907112459137442023-08-30T17:08:00.001-04:002023-08-30T17:08:15.342-04:00The Braindead Megaphone, by George Saunders<p><span style="font-family: Calibri, sans-serif;">This collection of</span><span style="background-color: white; font-family: Calibri, sans-serif;"> nonfiction essays by George Saunders is one of the best things I’ve read lately. Saunders takes an off-kilter, tongue in cheek, satirical attitude towards such subjects as the border crisis, a boy in Nepal who has fasted and meditated for seven months, the invention of Dubai, the failure of the media, and so on. He refuses to be serious about anything, yet he is always, or almost always, deadly serious. His essays on</span><span style="font-family: Calibri, sans-serif;"> </span><i style="font-family: Calibri, sans-serif;">Huck Finn</i><span style="background-color: white; font-family: Calibri, sans-serif;">, Donald Barthelme, and Kurt Vonnegut were excellent. I’ve read his novel and several story collections, but this book particularly impressed me.</span></p>Hugh Ruppersburghttp://www.blogger.com/profile/13754821511543584868noreply@blogger.com0tag:blogger.com,1999:blog-23011532.post-52406769828164309672023-08-30T17:03:00.000-04:002023-08-30T17:03:45.721-04:00Birnam Wood, by Eleanor Catton<p><span style="font-family: Calibri, sans-serif;">This novel of ideas doesn’t work for me. A billionaire capitalist vs. environmental activists. The billionaire is the bad guy, though he nearly convinces the activists of his good intentions. No one in this novel is particularly admirable—everyone has a weakness, or several weaknesses, or worse.</span><span style="font-family: Calibri, sans-serif;"> </span><span style="font-family: Calibri, sans-serif;"> </span><span style="font-family: Calibri, sans-serif;">The action seems to move towards some sort of crisis but then simply falls apart, as if the writer knew she had to bring things to a close but didn’t know how. The end is laughably bad.</span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;"><o:p></o:p></p>Hugh Ruppersburghttp://www.blogger.com/profile/13754821511543584868noreply@blogger.com0tag:blogger.com,1999:blog-23011532.post-58995077429190254282022-11-17T09:52:00.002-05:002022-11-17T10:00:03.160-05:00Comments on receiving the Lindberg award<p><span style="font-family: times; font-size: medium;">I am honored and pleased to receive this award. I am humbled by the names of those who received it before me. This award recognizes, I think, my work as an editor and promoter of writers in this state. I want to acknowledge all the people and organizations that have also engaged in the same work because I am only one of many. My mother was the first person who encouraged me, as a young reader, to pay attention to Georgia writers. Stan Lindberg’s effort as editor of the <i>Georgia Review</i>, and his Roots in Georgia symposium in 1984, helped me begin to think of the importance of writers in this state. It means a great deal to be receiving an award that is named for him. I am indebted to Stan, and to Steve Corey after him, for all their good work. I am grateful to writers in this state and elsewhere, to the Georgia Room librarians, and to my colleagues in the English department and elsewhere for making me aware of worthy writers and books. Throughout my career I have had the privilege of working with the University of Georgia Press, the UGA libraries, the New Georgia Encyclopedia, and the Georgia Writers Hall of Fame. The UGA Press in particular has been a valued partner. They along with journals such as the <i>Five Points Review</i>, the Decatur Book Festival, the Georgia Center for the book, the Georgia Writers Association and their annual Georgia Author of the Year awards, the Georgia Writers Museum and many other teachers and writers and readers and festivals and organizations and museums and libraries have contributed so much to bringing the diverse range of writers in this state to the attention of readers. </span></p><p><span style="font-family: times; font-size: medium;">Because the Friends of Georgia Libraries are one of the sponsors of this event, I want to say a few words about books, and about libraries. Libraries in this state make books by Georgia writers available to the reading public, host events, and in other ways keep the spirit and the letter of good writing alive. On their shelves many readers, young and old, encounter the writers of this state and the nation and the world for the first time. At a time when the value of literature has come under attack from some quarters, it is important that we do all we can to support and defend the work that libraries and librarians do. From the first time I entered the College Park Georgia Public Library as a child, libraries for me have been free and unfettered places of discovery. Through books I found there, in my high school library, in the Carnegie Library in Atlanta, and the UGA libraries here in Athens, I learned about my state, our nation, its history, science, the universe, and myself. Although many people over the years recommended books that I should read, no one has ever told me what I couldn’t read. No one prevented me from reading. No one threatened the librarians at the libraries I visited. Books of all sorts, and libraries, are a cornerstone of our democracy and our nation, and of what it means to be enlightened and civilized. We need to make sure that everyone, especially young readers, continues to have free access to them. </span></p><p><span style="font-family: times; font-size: medium;">Before I finish, I want to mention one person who had great relevance to the Lindberg Award and who was always encouraging to me and many others. I am speaking of Terry Kay, whose writing, kindness, and belief in the importance of literature did so much to enrich the writing environment in this state. He was a generous man whose absence I and many others mourn. </span></p><p><span style="font-family: times; font-size: medium;">Once again, I am deeply grateful for this award. I thank the Stanley W. Lindberg Award Foundation Board of Directors, the Friends of Georgia Libraries, and Toby Graham and the UGA Special Collections Libraries for sponsoring this event. I especially thank my wife Tricia and my family members for their presence here tonight, and to all of you for being here as well. Thank you.</span></p><p><span style="font-family: times; font-size: medium;"><br /></span></p><p><br /></p>Hugh Ruppersburghttp://www.blogger.com/profile/13754821511543584868noreply@blogger.com0tag:blogger.com,1999:blog-23011532.post-39708455793539533372019-05-10T15:29:00.000-04:002019-05-17T15:29:43.660-04:00Captain Marvel<div class="MsoNormal" style="line-height: 18.0pt; margin-bottom: 7.0pt; mso-line-height-rule: exactly; tab-stops: .25in .5in .75in 1.0in 1.25in 1.5in 2.0in 2.5in 3.0in;">
<span style="font-family: "Palatino-Roman",serif; font-size: 13.0pt; mso-bidi-font-family: Palatino-Roman; mso-bidi-font-size: 12.0pt;">Usually, the best super hero films are
about origins.<span style="mso-spacerun: yes;"> </span></span><i style="mso-bidi-font-style: normal;"><span style="font-family: "Palatino-Italic",serif; font-size: 13.0pt; mso-bidi-font-family: Palatino-Italic; mso-bidi-font-size: 12.0pt;">Captain
Marvel</span></i><span style="font-family: "Palatino-Roman",serif; font-size: 13.0pt; mso-bidi-font-family: Palatino-Roman; mso-bidi-font-size: 12.0pt;"> (2019;
dirs. Anna Boden, Ryan Fleck) is definitely an origin story.<span style="mso-spacerun: yes;"> </span>But it’s not as straightforward as most: it
uses jumbled chronology and suppressed memories.<span style="mso-spacerun: yes;"> </span>It’s about the main character discovering who
she was in the past as well as who she is in the present.<span style="mso-spacerun: yes;"> </span>She remembers nothing of her past. It’s also
about her discovery of her super powers, which are considerable. This makes the
film more interesting than I would expect.<span style="mso-spacerun: yes;">
</span>It’s also delivers a not too subtle message about political points of
view and oppressed minorities.<span style="mso-spacerun: yes;"> </span>In this
case, the Kree, an alien race to which the main character belongs, is
attempting to exterminate the Skrulls. The plot is more involved than I’ve made
it out to be, so I’ll stop the summary there.<span style="mso-spacerun: yes;">
</span><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 18.0pt; margin-bottom: 7.0pt; mso-line-height-rule: exactly; tab-stops: .25in .5in .75in 1.0in 1.25in 1.5in 2.0in 2.5in 3.0in;">
<span style="font-family: "Palatino-Roman",serif; font-size: 13.0pt; mso-bidi-font-family: Palatino-Roman; mso-bidi-font-size: 12.0pt;">Captain Marvel is so powerful that there’s
hardly any question as to who will win in her various conflicts in the film—her
side always wins, though because she doesn’t initially know how to use her
powers, what she can do to her enemies isn’t always exactly clear.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 18.0pt; margin-bottom: 7.0pt; mso-line-height-rule: exactly; tab-stops: .25in .5in .75in 1.0in 1.25in 1.5in 2.0in 2.5in 3.0in;">
<span style="font-family: "Palatino-Roman",serif; font-size: 13.0pt; mso-bidi-font-family: Palatino-Roman; mso-bidi-font-size: 12.0pt;">Captain Marvel is a woman.<span style="mso-spacerun: yes;"> </span>Not many super heroes are. The film deftly
avoids assigning stereotypical female traits to her. She is firm, self-assured,
and forceful. She shows little emotion, although she does show anger and concern
about the alien race in danger of extermination.<span style="mso-spacerun: yes;"> </span>The film ensures that she is attractive in
her super hero suit.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 18.0pt; margin-bottom: 7.0pt; mso-line-height-rule: exactly; tab-stops: .25in .5in .75in 1.0in 1.25in 1.5in 2.0in 2.5in 3.0in;">
<span style="font-family: "Palatino-Roman",serif; font-size: 13.0pt; mso-bidi-font-family: Palatino-Roman; mso-bidi-font-size: 12.0pt;">What will our hero do after this film
ends? We see her briefly in </span><i style="mso-bidi-font-style: normal;"><span style="font-family: "Palatino-Italic",serif; font-size: 13.0pt; mso-bidi-font-family: Palatino-Italic; mso-bidi-font-size: 12.0pt;">The Avengers: Endgame</span></i><span style="font-family: "Palatino-Roman",serif; font-size: 13.0pt; mso-bidi-font-family: Palatino-Roman; mso-bidi-font-size: 12.0pt;">, but she departs before she can defeat
Thanos, leaving that to others of the group.<span style="mso-spacerun: yes;">
</span>She definitely doesn’t fit in as well as other Avenger members, and tin
one brief scene other members of the group talk her into joining them. The fact
that she doesn’t employ all her powers to destroy Thanos just doesn’t make
sense.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 18.0pt; margin-bottom: 7.0pt; mso-line-height-rule: exactly; tab-stops: .25in .5in .75in 1.0in 1.25in 1.5in 2.0in 2.5in 3.0in;">
<span style="font-family: "Palatino-Roman",serif; font-size: 13.0pt; mso-bidi-font-family: Palatino-Roman; mso-bidi-font-size: 12.0pt;">The digital effects are extensive and
spectacular.<span style="mso-spacerun: yes;"> </span>DGI technology has advanced
so far that you hardly notice the fantasy and the comic book universe.<span style="mso-spacerun: yes;"> </span>The colors and visual design of this film are
distinctive. It was fun to watch and entertaining overall.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 18.0pt; margin-bottom: 7.0pt; mso-line-height-rule: exactly; tab-stops: .25in .5in .75in 1.0in 1.25in 1.5in 2.0in 2.5in 3.0in;">
<span style="font-family: "Palatino-Roman",serif; font-size: 13.0pt; mso-bidi-font-family: Palatino-Roman; mso-bidi-font-size: 12.0pt;">Samuel Jackson plays Nick Fury, Captain
Marvel’s close ally.<span style="mso-spacerun: yes;"> </span>He’s been digitally
altered in the film to look like a man in his 30s.<span style="mso-spacerun: yes;"> </span>The transformation is convincing, yet his
character seems artificial in a certain way, especially his face. The jive
turkey lines he delivers don’t help.<o:p></o:p></span></div>
<!--EndFragment--><br />Hugh Ruppersburghttp://www.blogger.com/profile/13754821511543584868noreply@blogger.com0tag:blogger.com,1999:blog-23011532.post-92105956608090931592019-05-07T16:42:00.000-04:002019-05-17T15:14:49.412-04:008 1/2<div class="MsoNormal" style="line-height: 110%; margin-bottom: 5.0pt; tab-stops: .25in .5in .75in 1.0in 1.25in 1.5in 2.0in 2.5in 3.0in;">
<span style="font-family: "times" , "times new roman" , serif; font-size: 12.0pt; line-height: 110%;">Fellini’s
great film <i style="mso-bidi-font-style: normal;">8 1/2</i> (1963) is a
dreamlike, surreal vision of a director, Guido Anselmo (Marcello Mastroianni),
at mid-career and mid-life.<span style="mso-spacerun: yes;"> </span>He fears he
has exhausted his creative impulse and that he has nothing left to say.<span style="mso-spacerun: yes;"> </span>His marriage is a shambles, and his wife is
ready for divorce. When the film begins, after a dreamlike scene in which he is
trapped in his car filling up with gas on an expressway, while everyone in the
cars around him stare at him ominously, he is staying at a sanatorium or a rest
home.<span style="mso-spacerun: yes;"> </span>Either he recovering from nervous
exhaustion or is an alcoholic trying to dry out. Though he is there for a rest,
to recover, his entire film crew seems to have accompanied him, especially his
producers, who are pressuring him to make decisions and to choose a cast for a new
film.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 110%; margin-bottom: 5.0pt; tab-stops: .25in .5in .75in 1.0in 1.25in 1.5in 2.0in 2.5in 3.0in;">
<span style="font-family: "times" , "times new roman" , serif; font-size: 12.0pt; line-height: 110%;">Everyone
is pressuring Guido—guilt about his marriage, memories of his parents and their
extractions, childhood memories, women he has slept with or is sleeping
with.<span style="mso-spacerun: yes;"> </span>These figures appear and
disappear, mostly in Guido’s fevered imagination, sometimes in reality.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 110%; margin-bottom: 5.0pt; tab-stops: .25in .5in .75in 1.0in 1.25in 1.5in 2.0in 2.5in 3.0in;">
<span style="font-family: "times" , "times new roman" , serif; font-size: 12.0pt; line-height: 110%;">Everyone
is trying to compel Guido to do or be something he is not.<span style="mso-spacerun: yes;"> </span>That struggle between the expectations and
desires of others, in conflict with his own self, is at the core of the film.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 110%; margin-bottom: 5.0pt; tab-stops: .25in .5in .75in 1.0in 1.25in 1.5in 2.0in 2.5in 3.0in;">
<span style="font-family: "times" , "times new roman" , serif;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 12.0pt; line-height: 110%;">8 1/2</span></i><span style="font-size: 12.0pt; line-height: 110%;"> doesn’t distinguish
among dreams, memories, hallucinations, fantasies.<span style="mso-spacerun: yes;"> </span>One can sometimes tell the difference, but
not always, and such distinctions are irrelevant in the film—all these
impressions and sensation, real or imagined, make up Guido’s life. He contends
with them all.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 110%; margin-bottom: 5.0pt; tab-stops: .25in .5in .75in 1.0in 1.25in 1.5in 2.0in 2.5in 3.0in;">
<span style="font-family: "times" , "times new roman" , serif; font-size: 12.0pt; line-height: 110%;">Guido’s
struggle is with his authentic self and his impulses.<span style="mso-spacerun: yes;"> </span>As a director, he is constantly creating
fictions, illusions, lies.<span style="mso-spacerun: yes;"> </span>He lies to
everyone constantly, including his wife, his producers, and women he wants to
seduce (he suggests that there is a role for them in his films). He lies to
himself.<span style="mso-spacerun: yes;"> </span>The film he is being pressured
to make involves a rocket ship and a plot about people in a post-atomic
apocalyptic world escaping to another planet.<span style="mso-spacerun: yes;">
</span>It’s not entirely clear to me whether the film is a genuine plan or a kind
of inauthentic joke, the sort of commercial film his producers believe will
earn money.<span style="mso-spacerun: yes;"> </span>He doesn’t seem to think
much of the film itself, but he feels pressured to make it. Symbols and images
of fiction abound: masks, backdrops, portraits, clowns, the huge artificial
launch tower from which the movie rocket ship is supposed to launch.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 110%; margin-bottom: 5.0pt; tab-stops: .25in .5in .75in 1.0in 1.25in 1.5in 2.0in 2.5in 3.0in;">
<span style="font-family: "times" , "times new roman" , serif; font-size: 12.0pt; line-height: 110%;">It’s
difficult not to suppose that <i style="mso-bidi-font-style: normal;">8 1/2</i>
is Fellini’s self-critique.<span style="mso-spacerun: yes;"> </span>I don’t know whether there is a factual basis for that notion, but Guido’s role as a
famous director like Fellini supports the idea. The film that Guido is trying
to make (or avoid making) is his own self-critique as well.<span style="mso-spacerun: yes;"> </span>It uses material from his own life, his
marriage, his doubts.<span style="mso-spacerun: yes;"> </span>So that <i style="mso-bidi-font-style: normal;">8 1/2</i> is a meta film twice over: a
director’s critique of his life and vocation in the form of a film about an
artist making a film that is his own self-critique.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 110%; margin-bottom: 5.0pt; tab-stops: .25in .5in .75in 1.0in 1.25in 1.5in 2.0in 2.5in 3.0in;">
<span style="font-family: "times" , "times new roman" , serif; font-size: 12.0pt; line-height: 110%;">Cinematography
is a major aspect of this film.<span style="mso-spacerun: yes;"> </span>Fellini
especially favors long shots down hallways or in a forest or an enclosed
square. I never fully appreciated Marcello Mastroianni until I saw this film:
he inhabits his character fully. Nina Rota’s score is a strong element as well.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 110%; margin-bottom: 5.0pt; tab-stops: .25in .5in .75in 1.0in 1.25in 1.5in 2.0in 2.5in 3.0in;">
<span style="font-family: "times" , "times new roman" , serif; font-size: 12.0pt; line-height: 110%;">The
final scene is intriguingly glorious. This great film alone justifies Fellini’s
reputation. It has influenced such filmmakers as Robert Altman, David
Lynch,<span style="mso-spacerun: yes;"> </span>Woody Allen, Terry Gilliam, and
many others.<sup><span style="mso-special-character: footnote;"><a href="https://www.blogger.com/blogger.g?blogID=23011532#_ftn1" style="mso-footnote-id: ftn1;" title=""><!--[if !supportFootnotes]--><sup><span style="font-size: 12.0pt;">[1]</span></sup></a></span></sup></span></div>
<div style="mso-element: footnote-list;">
<!--[if !supportFootnotes]--><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: inherit;"><br clear="all" /></span>
</span><br />
<hr align="left" size="1" width="33%" />
<!--[endif]-->
<br />
<div id="ftn1" style="mso-element: footnote;">
<div class="Footnote">
<span style="font-family: "times" , "times new roman" , serif;"><a href="https://www.blogger.com/blogger.g?blogID=23011532#_ftnref1" name="_ftn1" style="mso-footnote-id: ftn1;" title=""><sup><span style="font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><sup><span style="font-size: 12.0pt;">[1]</span></sup><!--[endif]--></span></span></sup></a><span style="font-size: 12.0pt;"> </span><span style="font-size: 12.0pt;">See </span><u style="text-underline: #0000E9;"><span style="color: #0000e9; font-size: 12.0pt;"><a href="https://www.bfi.org.uk/news-opinion/news-bfi/lists/8-films-inspired-8"><span style="color: #0000e9;">https://www.bfi.org.uk/news-opinion/news-bfi/lists/8-films-inspired-8</span></a></span></u><u style="text-underline: #0000E9;"><span style="color: #0000e9; font-size: 13.0pt;"><o:p></o:p></span></u></span></div>
</div>
</div>
<!--EndFragment--><br />Hugh Ruppersburghttp://www.blogger.com/profile/13754821511543584868noreply@blogger.com0tag:blogger.com,1999:blog-23011532.post-37239529161501686832019-05-05T12:29:00.000-04:002019-05-17T12:30:48.965-04:00Down and Out in Paris and London, by George Orwell<div class="MsoNormal" style="margin-bottom: 5.0pt; tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 3.5in 280.0pt 308.0pt 336.0pt;">
<span style="font-family: "palatino-roman" , serif; font-size: 13.0pt;">Orwell describes this book, published in
1933, as a study in poverty. By this he means his own poverty while living as a
young man in Paris and next in London. He does not explain the reasons for his
plight, nor does he suggest how he ultimately extricates himself from the
situation. This is effective: the focus falls solely on his own experiences
within a particular span of time.<span style="mso-spacerun: yes;">
</span>Presumably he is a struggling writer, because he mentions several
writing assignments he has had in the past.<span style="mso-spacerun: yes;">
</span>In Paris he is most concerned with finding work at a restaurant or
hotel.<span style="mso-spacerun: yes;"> </span>His goals aren’t high.<span style="mso-spacerun: yes;"> </span>In London, after a period of unemployment, he
finds work looking after what he refers to as a “moron.” As it turns out,
Orwell deliberately placed himself in poverty-stricken environments during the
late 1920s so that he could experience living in poverty; at points he actually
did lack funds.<span style="mso-spacerun: yes;"> </span>In any case, the
narrator of this book is a semi-fictional version of the author.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 5.0pt; tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 3.5in 280.0pt 308.0pt 336.0pt;">
<span style="font-family: "palatino-roman" , serif; font-size: 13.0pt;">Orwell’s descriptive powers are striking. His
descriptions of the rooms he rents in Paris and the restaurant he works in, the
flop houses where he stays in London, are vivid.<span style="mso-spacerun: yes;"> </span>No one would eat at a Parisian restaurant
after reading his account of the place where he worked as a dishwasher and
errand boy. The flophouses where he stays in London in conditions of deplorable
squalor seem straight out of the 18<sup>th</sup> century. Numerous character
portrayals occur throughout the book.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 5.0pt; tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 3.5in 280.0pt 308.0pt 336.0pt;">
<span style="font-family: "palatino-roman" , serif; font-size: 13.0pt;">Although Orwell seems to be flirting
during this period of his career with socialism or communism, he does not
stress any particular viewpoint.<span style="mso-spacerun: yes;"> </span>Instead
he emphasizes the helpless plight of the poor, ignored by government, exploited
by charities and religious groups that supposedly care for them, taken advantage
of by anyone with more money or privilege. <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 5.0pt; tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 3.5in 280.0pt 308.0pt 336.0pt;">
<span style="font-family: "palatino-roman" , serif; font-size: 13.0pt;">Casual anti-semitism frequently
surfaces.<span style="mso-spacerun: yes;"> </span>Individuals may be referred to
as “Jews” and are described with stereotypical Jewish characteristics.<span style="mso-spacerun: yes;"> </span>One could write this off as the endemic
anti-semitism of the times in which Orwell lived, though he did not resist
expressing it.</span></div>
Hugh Ruppersburghttp://www.blogger.com/profile/13754821511543584868noreply@blogger.com0tag:blogger.com,1999:blog-23011532.post-18415294802244704822019-05-04T15:45:00.000-04:002019-05-17T15:48:37.949-04:00Avengers: End Game<div class="MsoNormal">
<span style="font-family: "palatino-roman" , serif; font-size: 13.0pt;">In this
three-hour film, <i>Avengers: Endgame</i> (2019; dir. Joe Russo,
Anthony Russo), the first hour is relatively slow. Then things speed up. The
film picks up some years (five?) after the end of the last installment, <i>Avengers:
Infinity Wars</i> (2018), when half the population of the earth, including
many Avengers, vanished into dust, the consequence of Thanos’ desire to improve
the planet by depopulating it. The agenda of this film is three-fold: bring the
plot-line of the Avengers series to an end, resurrect those who were dust bound
at the end of the last film, and allow graceful ways for certain of the
characters—Ironman (Robert Downey, Jr.), Captain America (Chris Evans), Black
Widow (Scarlett Johansson), and others to exit the scene. (Surely the actors must
be sick of these films). A lot of loose ends are tied together and, perhaps
unfortunately, readiness is made for a new series.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "palatino-roman" , serif; font-size: 13.0pt;">The
film is entertaining. The plot is absurd, but absurdity is not the point here.
Numerous high-production value, enhanced CGI action moments hold your
attention. Quantum mechanics come briefly and unscientifically into play—pay no
attention to scientific inaccuracy. The loose-end tying becomes tedious. One
character throws herself off a precipice so that her partner can return to his
family. Another character time travels into the past, marries his sweetheart,
and returns to the future (the present-time) an old man. Ironman’s artificial
heart wears out after a prolonged battle with the forces of Thanos. To show
that this is a film which respects diversity, a group of superhero women go on
the attack against Thanos. Characters from <i>Black Panther</i> (2018)
also appear, and there’s a brief glimpse of Stan Lee. The film left me
exhausted and stuporous. The ponderous funeral for Ironman, which allowed all
the surviving characters to reunite one last time. Last time, that is, before
the next series of films begins.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<!--EndFragment--><br />Hugh Ruppersburghttp://www.blogger.com/profile/13754821511543584868noreply@blogger.com0tag:blogger.com,1999:blog-23011532.post-73296552833853754862019-04-21T11:31:00.000-04:002019-05-17T11:45:05.698-04:00American Moonshot: John F. Kennedy and the Great Space Race, by Douglas Brinkley<div class="p1">
<span style="font-family: inherit;"><i>American Moonshot: John F. Kennedy and the Great Space Race</i>, by Douglas Brinkley (2018), interweaves a biography of the president with the history of American interests in space and of the Apollo moon.<span class="Apple-converted-space"> </span>Kennedy’s speech about choosing to go to the moon “because it is hard” is one of his most famous.<span class="Apple-converted-space"> </span>His advocacy for the Apollo program in Congress and with the American people certainly got the program funded and underway, even as the budget for NASA expanded and became a matter of controversy. Kennedy was not an advocate in the beginning. When he became its champion, he did so because it would advance his campaign for the presidency.<span class="Apple-converted-space"> </span>But for Kennedy the race to the moon also represented an effort to show the world that American democracy was superior to communism, event though in the 1950s and early 60s the Soviets appeared to lead the Americans in the exploration of space.<span class="Apple-converted-space"> In contrast to the secretive Russian program, t</span>he Apollo program operated in a relatively open manner, and details about the program were regularly shared with the public.<span class="Apple-converted-space"> </span></span><br />
<span class="Apple-converted-space" style="font-family: inherit;"><br /></span></div>
<div class="p1">
<span style="font-family: inherit;">Kennedy based his advocacy of the space program on the premise that the Soviet Union had considerably more nuclear-tipped missiles than the U.S.<span class="Apple-converted-space"> </span>The Soviets were more advanced in rocketry, he argued, and the U. S. had to catch up.<span class="Apple-converted-space"> </span>It was a matter not only of national pride but of strengthening the U. S. position in the world. The so-called gap was a myth, a fabrication, as Brinkley convincingly shows. As his presidency moved forward, Kennedy came to embrace the space program as a great adventure, as a scientific effort, a research program, and a transformational step forward in human history. Publicly, Kennedy spoke of the space program as a civilian effort, not a military one, and throughout his short presidency he continually resisted efforts by the Air Force to take control of NASA. Privately, he knew that the benefits of NASA research in rocketry, space, and related fields would benefit the military.</span><br />
<span style="font-family: inherit;"><br /></span></div>
<div class="p1">
<span style="font-family: inherit;">Lyndon Johnson was also a fierce advocate for the space program.<span class="Apple-converted-space"> </span>He had his own political motivations, but he also believed in the Apollo program as a scientific project.<span class="Apple-converted-space"> </span>His support and lobbying helped secure funding in Congress.<span class="Apple-converted-space"> </span>Kennedy took credit for the space program in its early stages, but Johnson deserved credit too.</span><br />
<span style="font-family: inherit;"><br /></span></div>
<div class="p1">
<span style="font-family: inherit;">The book seems extensively researched: Brinkley had previously written books about Kennedy. He relies on interviews with members of the Kennedy administration and the space program, letters, tapes and transcripts, study of Kennedy and NASA archives and the works of other scholars. Still, the entanglement of Kennedy’s biography with the story of the American space program doesn’t entirely succeed.<span class="Apple-converted-space"> </span>The account of Kennedy’s life seems fairly basic, and the discussion of the race to the moon lacks much scientific detail. A certain shallowness results. For a detailed biography of Kennedy or history of the moon program, one must look elsewhere.<span class="Apple-converted-space"> </span></span></div>
Hugh Ruppersburghttp://www.blogger.com/profile/13754821511543584868noreply@blogger.com0tag:blogger.com,1999:blog-23011532.post-9618765367133824342019-03-22T12:34:00.000-04:002019-05-16T17:14:55.242-04:00Bumblebee<div class="MsoNormal">
<span style="font-family: "arialmt" , sans-serif; font-size: 12.0pt;">The New York </span><i style="mso-bidi-font-style: normal;"><span style="font-family: "arial-italicmt" , sans-serif; font-size: 12.0pt;">Times</span></i><span style="font-family: "arialmt" , sans-serif; font-size: 12.0pt;"> review
suggested that </span><i style="mso-bidi-font-style: normal;"><span style="font-family: "arial-italicmt" , sans-serif; font-size: 12.0pt;">Bumblebee </span></i><span style="font-family: "arialmt" , sans-serif; font-size: 12.0pt;">(2018; dir. Travis Knight)
was, at last, a “good” entry into the Transformers film franchise.<span style="mso-spacerun: yes;"> </span>That’s setting a low bar.<span style="mso-spacerun: yes;"> </span></span><i style="mso-bidi-font-style: normal;"><span style="font-family: "arial-italicmt" , sans-serif; font-size: 12.0pt;">Bumblebee</span></i><span style="font-family: "arialmt" , sans-serif; font-size: 12.0pt;"> is entertaining on a
certain level, especially a kid’s level. In Hailee Steinfeld, who plays the
main character Charlie, it offers a winning actress.<span style="mso-spacerun: yes;"> </span>It’s a modern-day film about a teenage girl
coming to terms with her father’s death and her mother’s marriage to a new
husband (who is something of a geek). It also breaks conventions: Charlie is a
so-called tomboy who is repairing her dead father’s Corvette, trying to make it
run.<span style="mso-spacerun: yes;"> </span>She doesn’t care about clothes and
she’s not boy crazy. She does become friends with a young man recently arrived
in her neighborhood.<span style="mso-spacerun: yes;"> </span>There might be a
future relationship between them, but it’s clearly in the future, beyond the
end of the film. She rebuffs his attempt to hold her hand at the end of the
film, explaining that “It’s too soon.” Charlie wants her own car and when she
runs across an old and battered VW in a local junkyard, she takes it home and
soon discovers that it is an Autobot, sent to Earth by the Autobot leader (I
assume Optimus Prime) after a major defeat in battle by the Decepticons.<span style="mso-spacerun: yes;"> </span>One can predict the plot from there.<span style="mso-spacerun: yes;"> </span>The Decepticons detect the lost Autobot’s
signal and head to Earth to destroy it.<span style="mso-spacerun: yes;">
</span>The autobot, whom Charlie names Bumblebee because of the hive of bees
living in the car when she found it, summons the other Autobots to help defend
the Earth, their last hope for survival.<span style="mso-spacerun: yes;">
</span>And so on. The special effects are good enough.<span style="mso-spacerun: yes;"> </span>The action is more or less constant once
we’re midway through the film.<span style="mso-spacerun: yes;"> </span>Hailee
Steinfeld is a relatively good actor. And everyone chips in to defeat the nasty
Decepticons.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "arialmt" , sans-serif; font-size: 12.0pt;">The story of a young person who befriends an
alien recalls the film </span><i style="mso-bidi-font-style: normal;"><span style="font-family: "arial-italicmt" , sans-serif; font-size: 12.0pt;">E. T.: The Extraterrestrial</span></i><span style="font-family: "arialmt" , sans-serif; font-size: 12.0pt;">, and the
loose parallels between the two films are evident throughout, enough so that I
recognized them before reading about in the </span><i style="mso-bidi-font-style: normal;"><span style="font-family: "arial-italicmt" , sans-serif; font-size: 12.0pt;">NYT</span></i><span style="font-family: "arialmt" , sans-serif; font-size: 12.0pt;"> review.<a href="https://www.blogger.com/blogger.g?blogID=23011532#_ftn1" name="_ftnref1" style="mso-footnote-id: ftn1;" title=""><sup><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><sup><span style="font-family: "arialmt" , sans-serif; font-size: 12.0pt;">[1]</span></sup><!--[endif]--></span></sup></a><span style="mso-font-kerning: .5pt;"><o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div style="mso-element: footnote-list;">
<!--[if !supportFootnotes]--><br clear="all" />
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<!--[endif]-->
<br />
<div id="ftn1" style="mso-element: footnote;">
<div class="Footnote">
<a href="https://www.blogger.com/blogger.g?blogID=23011532#_ftnref1" name="_ftn1" style="mso-footnote-id: ftn1;" title=""><sup><span style="font-family: "arialmt" , sans-serif; font-size: 12.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><sup><span style="font-family: "arialmt" , sans-serif; font-size: 12.0pt;">[1]</span></sup><!--[endif]--></span></span></sup></a><span style="font-family: "arialmt" , sans-serif; font-size: 12.0pt;"> </span><u style="text-underline: #0000E9;"><span style="color: #0000e9; font-family: "times-roman" , serif; font-size: 12.0pt;"><a href="https://www.nytimes.com/2018/12/18/movies/bumblebee-review.html"><span style="color: #0000e9;">https://www.nytimes.com/2018/12/18/movies/bumblebee-review.html</span></a></span></u><u style="text-underline: #0000E9;"><span style="color: #0000e9; font-family: "arialmt" , sans-serif; font-size: 12.0pt;"><o:p></o:p></span></u></div>
</div>
</div>
<!--EndFragment--><br />Hugh Ruppersburghttp://www.blogger.com/profile/13754821511543584868noreply@blogger.com0tag:blogger.com,1999:blog-23011532.post-4437855672387540302019-03-21T11:48:00.000-04:002019-05-17T11:49:58.052-04:00Ralph Breaks the Internet <div class="MsoNormal">
<span style="font-family: "helvetica"; font-size: 12.0pt;">I liked </span><i style="mso-bidi-font-style: normal;"><span style="font-family: "helvetica-oblique" , sans-serif; font-size: 12.0pt;">Ralph Breaks the Internet</span></i><span style="font-family: "helvetica"; font-size: 12.0pt;">
(2018; dir. Phil Johnston and Rich Moore) better than the original </span><i style="mso-bidi-font-style: normal;"><span style="font-family: "helvetica-oblique" , sans-serif; font-size: 12.0pt;">Wreck It
Ralph</span></i><span style="font-family: "helvetica"; font-size: 12.0pt;">. Both are about 1980s video game characters with real world
problems.<span style="mso-spacerun: yes;"> </span>Ralph (John C. Reilly) is best
friends with Vanellope (Sarah Silverman), a driver in a children’s racing
game.<span style="mso-spacerun: yes;"> </span>She grows bored with her life and
wants excitement and goes looking for it on the Internet.<span style="mso-spacerun: yes;"> </span>Ralph is sympathetic but also hurt that she
needs more than their friendship.<span style="mso-spacerun: yes;"> </span>He
accompanies her to the Internet, where she looks for her true calling. I would
say first of all that this film gives a witty and fairly acute visual introduction
to what the Internet is and how it works.<span style="mso-spacerun: yes;">
</span>Many cultural references and inside jokes keep the film interesting for
adult viewers.<span style="mso-spacerun: yes;"> </span>There’s a lot of action,
speed, and tension, which keeps it interesting for all viewers. In a sense this
is a buddy film.<span style="mso-spacerun: yes;"> </span>It’s also about a
character who wants to break free from her old life and find a new one.<span style="mso-spacerun: yes;"> </span>And finally, it’s about friendship.<span style="mso-spacerun: yes;"> </span>How does one friend who is happy with his
life exactly as it is honor his friendship with a friend who wants something new?
The film takes the view that friendships must be pliant and accepting of
change, and that two friends don’t necessarily have to share the same physical
space all the time.<span style="mso-spacerun: yes;"> </span>Ralph and Vanellope
become long-distance friends.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "helvetica"; font-size: 12.0pt;">I especially liked the cheeky way in which </span><i style="mso-bidi-font-style: normal;"><span style="font-family: "helvetica-oblique" , sans-serif; font-size: 12.0pt;">Ralph
Breaks the Internet</span></i><span style="font-family: "helvetica"; font-size: 12.0pt;"> makes fun of Disney characters (this is a
Disney film).<span style="mso-spacerun: yes;"> </span>In one scene Vanellope
finds herself alone with all the Disney princesses—from Snow White and
Cinderella to Pocahontas to Belle.<span style="mso-spacerun: yes;"> </span>They
are all preening narcissists, as one might expect, but in the end they rise to
the call of sisterhood. It’s good to see a Disney film with a sense of
self-referential humor.</span></div>
Hugh Ruppersburghttp://www.blogger.com/profile/13754821511543584868noreply@blogger.com0tag:blogger.com,1999:blog-23011532.post-16115928280136387922019-02-27T12:15:00.000-05:002019-05-17T12:17:55.355-04:00The Library Book, by Susan Orleans<div class="MsoNormal">
<span style="font-family: "helvetica"; font-size: 12.0pt;">One way to describe Susan Orleans' </span><i style="mso-bidi-font-style: normal;"><span style="font-family: "helvetica-oblique" , sans-serif; font-size: 12.0pt;">The
Library Book</span></i><span style="font-family: "helvetica"; font-size: 12.0pt;"> (2018) is obsession.<span style="mso-spacerun: yes;"> </span>Another is free association.<span style="mso-spacerun: yes;"> </span>The catalyst for the book is the fire that
destroyed much of the Los Angeles Library in 1987, burning or damaging some
900,000 books.<span style="mso-spacerun: yes;"> </span>Obsession or free
association, this fascinating book touches on or explores the place of
libraries in society, especially American society, their history, their
nature.<span style="mso-spacerun: yes;"> </span>It examines the lives of the
directors of the library, one of whom in particular, Henry Lummus, is a
fascinating if not bizarre American figure.<span style="mso-spacerun: yes;">
</span>Other topics are arson, the role of women in libraries, criminal
investigations, street people.<span style="mso-spacerun: yes;"> </span>Orleans
weaves in aspects of her own life, especially her mother, who suffered from
Alzheimer’s disease and who died midway through the book’s writing.<span style="mso-spacerun: yes;"> </span>Libraries are a cultural memory.<span style="mso-spacerun: yes;"> </span>They preserve the record of a culture when
memories disappear because of disease or death. For this reason, Orleans
associates the burning of a library as a heinous act which destroy those
memories.<span style="mso-spacerun: yes;"> </span>She notes how dictators have
used the destruction of libraries as a method of oppression.<span style="mso-spacerun: yes;"> </span>She cites the Nazis, who destroyed as many
books of Jewish culture, religion, and history as possible in its campaign to
eradicate Judaism.<span style="mso-spacerun: yes;"> </span>She also focuses on
the character Harry Peake, briefly arrested as a suspect in the library
fire.<span style="mso-spacerun: yes;"> </span>She examines his life in some
detail and the argument for and against his having started the fire.<span style="mso-spacerun: yes;"> </span>She cannot decide herself.<span style="mso-spacerun: yes;"> </span>She notes that the science behind arson is
suspect, and that arson is often a cause resorted to by investigators who can’t
find any other explanation for a fire.<span style="mso-spacerun: yes;">
</span>(She notes that shaken baby syndrome has been used in a similar way).</span></div>
Hugh Ruppersburghttp://www.blogger.com/profile/13754821511543584868noreply@blogger.com0tag:blogger.com,1999:blog-23011532.post-61450445195750219912019-02-22T12:36:00.000-05:002019-05-15T12:37:31.577-04:00Margaret Louise Caruthers Ruppersburg
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<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 3"/>
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<!--StartFragment-->
<br />
<div class="MsoNormal" style="margin-bottom: 6.0pt;">
Margaret Louise Caruthers
Ruppersburg died on February 22, 2019, at the age of 91. Most recently she resided
at St. Anne’s Terrace, Atlanta, where she had lived for nine years.<span style="mso-spacerun: yes;"> </span>For much of her life she lived in College
Park, Georgia, where she raised her six children: Hugh Michael Ruppersburg of
Athens (Tricia), Margaret Anne Watkins (Joe) of Sandy Springs, Karen Lynn
Keenum (Ty) of Sandy Springs, Nan Renee Hudson (Tom) of Black Mountain, NC, Luke
Caruthers Ruppersburg of Sugar Hill, and Elizabeth Finley King (Bill) of
Elkins, WV. She had fifteen grandchildren: Bill Watkins, Michael Ruppersburg
(Sarah), Emily Hudson (Bryan Quintana), Chris Keenum (Ann), Claire Watkins
(Adam Dwyer), Margaret Hudson, Charles Ruppersburg (Chelsey), Patrick Keenum
(Caroline), Andy Watkins (Amanda), Camille Hudson (Bryan Simmons), Max
Ruppersburg, Elizabeth King, Luke Ruppersburg, Jr., Walter King, and Julia
Ruppersburg. <span style="mso-spacerun: yes;"> </span>She had seven great
grandchildren. During her last days, she called her children and grandchildren “my
crowning glory.”<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt;">
Margaret was born on July 2,
1927, in Beaumont, Texas.<span style="mso-spacerun: yes;"> </span>She was the
only child of Luther Lawrence Caruthers (a crop duster and later a pilot for
Delta Airlines) and Gussie Maxwell Caruthers (a schoolteacher and mother). As
the daughter of a pilot who dusted crops across the southeast, Margaret moved often
during her childhood.<span style="mso-spacerun: yes;"> </span>She remembered attending
thirteen different schools in one year. In 1939, her family settled in College
Park, Georgia.<span style="mso-spacerun: yes;"> </span>At the age of 12 she
attended the premier of <i style="mso-bidi-font-style: normal;">Gone with the Wind</i>
and wrote a short article about it for a local newspaper. She played the
accordion and once a week rode the bus from College Park to Atlanta to play
with a large accordion choir for young women.<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt;">
During World War II Margaret
volunteered for the Red Cross. She attended Richardson High School and then
College Park High School, where she graduated first in her class in 1944. She
went on to study journalism at the University of Georgia, graduating in 1948.<span style="mso-spacerun: yes;"> </span>At UGA she belonged to Pi Phi sorority and
served a year as president. She was inducted into Mortar Board, Pi Kappa Phi,
and Alpha Lambda Delta honor societies and was a staff member for the college
yearbook, newspaper, and magazine. After graduation she worked several years for
Davison’s department store in Atlanta and edited the company newspaper.<span style="mso-spacerun: yes;"> </span>The Magnolia Tea Room at Rich’s was one of
her favorite places.<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt;">
In 1949 Margaret married Hugh
Ruppersburg of College Park.<span style="mso-spacerun: yes;"> </span>Her good
friend Lucille, Hugh’s sister, had introduced them. <span style="mso-spacerun: yes;"> </span>Children began arriving in 1950.<span style="mso-spacerun: yes;"> </span>The marriage ended in 1976.<span style="mso-spacerun: yes;"> </span>Margaret raised her six children on a tight
budget, but she made sure they could pursue their interests.<span style="mso-spacerun: yes;"> </span>She saw that they had music lessons, played sports,
took ballet lessons.<span style="mso-spacerun: yes;"> </span>She took them to
the local library often and encouraged their reading. She attended any event in
which they had a part.<span style="mso-spacerun: yes;"> </span>She welcomed their
friends into the house and gave them a place to sleep if they needed it. <span style="mso-spacerun: yes;"> </span>She befriended neighborhood children. She was
president of the PTA and often a room mother. She was good at tolerating, overlooking,
and forgiving the various foibles of her offspring. She especially stressed
education: all of her children graduated from college. Long after they had
grown up and left home, she continued supporting and encouraging them. Later in
their lives, they did their best to thank her.<span style="mso-spacerun: yes;">
</span><o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt;">
Margaret had a warm sense of
humor and was a model of courtesy and grace.<span style="mso-spacerun: yes;">
</span>She loved playing bridge with her friends. She enjoyed reading, socializing,
baking, and following the news. She was a lifelong Democrat but generally kept
her politics to herself, except among her children. For most of her adult life
she attended First Methodist Church of College Park, where she taught Sunday
School and kept the nursery. For several years she was a substitute teacher at Woodward
Academy, where she also volunteered her time.<span style="mso-spacerun: yes;">
</span>After her father’s death in 1967, she managed his four greenhouses and grew
orchids which she sold to local florists. She kept books for her husband’s
business and then for her son Luke when he took it over. She sewed clothes,
knitted sweaters and stockings, and smocked dresses for her grandchildren.<span style="mso-spacerun: yes;"> </span>She was a serious fan of crossword puzzles
and <i style="mso-bidi-font-style: normal;">Jeopardy</i>.<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt;">
Each summer for more than 40 years,
Margaret’s children and grandchildren vacationed with her for a week on the
Florida Coast, first at Destin Beach and then on St. George Island.<span style="mso-spacerun: yes;"> </span>She enjoyed the fun and uproar of these
gatherings. <span style="mso-spacerun: yes;"> </span>She loved sitting on the
beach, sipping a glass of Chardonnay. <o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt;">
Margaret was the heart of a
family that loved her dearly and cannot begin to imagine her absence.<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt;">
<br /></div>
<!--EndFragment--><br />Hugh Ruppersburghttp://www.blogger.com/profile/13754821511543584868noreply@blogger.com0tag:blogger.com,1999:blog-23011532.post-18581164554861986802019-02-15T17:11:00.000-05:002019-05-16T17:37:54.590-04:00The Green Book<div class="MsoNormal" style="margin-bottom: 10.0pt;">
<span style="font-family: "arial" , sans-serif; font-size: 12.0pt;">The controversy surrounding <i style="mso-bidi-font-style: normal;">The Green Book</i> (2018; dir. Peter
Farrelly) mainly centers on how the film enacts a pattern often seen in films
and fiction about race in the United States.<span style="mso-spacerun: yes;">
</span>The typical scenario in these films concerns a black character (usually
a man) who works for or with a white character (of either gender).<span style="mso-spacerun: yes;"> </span>The white character is usually a person with
more power and wealth than the black character. At first both characters are suspicious of each other, but over a period of time, they
become friendly, and their friendship helps the white character escape his
racism or solve other problems.<span style="mso-spacerun: yes;">
</span>Sometimes such narratives are termed black redemption or black messiah
narratives.<span style="mso-spacerun: yes;"> </span>Examples include <i style="mso-bidi-font-style: normal;">Intruder in</i> <i style="mso-bidi-font-style: normal;">the</i> <i style="mso-bidi-font-style: normal;">Dust </i>(1949),<i style="mso-bidi-font-style: normal;"> The Defiant Ones </i>(1958), <i style="mso-bidi-font-style: normal;">Driving Miss Daisy </i>(1989), <i style="mso-bidi-font-style: normal;">The Secret Life of Bees </i>(2008).<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">The
Green Book </i>has frequently been compared to<i style="mso-bidi-font-style: normal;"> Driving Miss Daisy, </i>in which an elderly racist Southern woman
gradually becomes friends with the black man whom her son has hired as her
driver.<i style="mso-bidi-font-style: normal;"> </i>In the final scene of the film,
Daisy, senile and living in an extended care facility, tells Hoke that he is
“my best friend.” (The scene uncomfortably anticipates an extended scene in
Spike Lee’s <i style="mso-bidi-font-style: normal;">Four Little Girls</i> (1997)
in which a feeble and elderly George Wallace describes his affection for the
black man who has been hired as his caregiver.) These black redemption
narratives are supposed to make white viewers feel better about their racist
past.<span style="mso-spacerun: yes;"> </span>Critics argue that they don’t
reflect the reality of racism in America and that they tend to focus on the
white characters rather than the black ones. <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 10.0pt;">
<i style="mso-bidi-font-style: normal;"><span style="font-family: "arial" , sans-serif; font-size: 12.0pt;">The Green
Book</span></i><span style="font-family: "arial" , sans-serif; font-size: 12.0pt;">
reflects this pattern.<span style="mso-spacerun: yes;"> </span>But there are
also significant differences.<span style="mso-spacerun: yes;"> </span>The driver
is a white working-class New Yorker (Frank "Tony Lip" Vallelonga,
played by Viggo Mortensen) and the man whom he is hired to work for (both as
driver and body guard) is an accomplished black classical pianist, Don Shirley
(played by Mahershala Ali).<span style="mso-spacerun: yes;"> </span>Shirley is
the person in power.<span style="mso-spacerun: yes;"> </span>He looks down on
Tony as uneducated and crude.<span style="mso-spacerun: yes;"> </span>Tony, in
turn, doesn’t know much about black people and is as a result a casual
racist.<span style="mso-spacerun: yes;"> </span>In the film, the pianist helps
his driver learn about black men as human beings, introduces him to racism in
the South, and helps him appreciate classical music and friendship.<span style="mso-spacerun: yes;"> </span>In turn, the driver helps introduce the
pianist to black culture in terms of soul food and the blues (why a New York
Italian would know much about the blues and soul food isn’t explained). The
scene in which he changes his mind and visit’s Tony’s apartment, where he is
welcomed by family and friends, seals the deal between these two different
men.<span style="mso-spacerun: yes;"> </span>It is also one of the most
questionable scenes in the film. This scene is certainly possible, but it’s
difficult to imagine that it would happen.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 10.0pt;">
<span style="font-family: "arial" , sans-serif; font-size: 12.0pt;">There’s another issue.<span style="mso-spacerun: yes;"> </span>Neither Tony nor Shirley is characteristic of
the group he represents.<span style="mso-spacerun: yes;"> </span>Tony has little
knowledge of African Americans.<span style="mso-spacerun: yes;"> </span>His
racism is evident but not especially strong.<span style="mso-spacerun: yes;">
</span>He’s an Italian New Yorker: not a Southerner. Shirley is a talented,
highly accomplished pianist—wealthy and privileged. Although he lives in a
racist time, his money and talents insulate him from a lot of it (though not
all).<span style="mso-spacerun: yes;"> </span>He’s also gay, and he suffers for
that when he is caught in a public restroom with another man.<span style="mso-spacerun: yes;"> </span>(Tony convinces the police not to arrest him,
explaining to Shirley that he’s seen a lot in the bars he’s worked, and he
doesn’t seem especially surprised or shocked). My point: both characters are
more complicated that it might first seem, and they fit as a result uneasily
into the identities many critics assign them.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 10.0pt;">
<span style="font-family: "arial" , sans-serif; font-size: 12.0pt;">Despite these shortcomings, especially the
simplistic reflection of race relations in America, the film offers an
entertaining and warm comedy about friendship. It gives a broad view of racism
in the American south during the late 1950s. It doesn’t advance the examination
of race and racism in American films.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 10.0pt;">
<span style="font-family: "arial" , sans-serif; font-size: 12.0pt;">The acting by Mortensen and Ali is excellent.
Mortensen was nominated for the Best Actor Oscar for his role, while Ali was
nominated for Best Supporting actor (he won).<span style="mso-spacerun: yes;">
</span>Their roles are of equal importance in the film, and they share
relatively equal screen time.<span style="mso-spacerun: yes;"> </span>Why wasn’t
Ali nominated for Best Actor rather than Best Supporting Actor?<o:p></o:p></span></div>
<!--EndFragment--><br />Hugh Ruppersburghttp://www.blogger.com/profile/13754821511543584868noreply@blogger.com0tag:blogger.com,1999:blog-23011532.post-446164242108012172019-02-15T15:12:00.000-05:002019-05-17T15:14:03.845-04:00The End of the Affair, by Graham Greene<div class="MsoNormal">
<span style="font-family: "helvetica"; font-size: 12.0pt;">Maurice Bendrix is one of the angriest
narrators I’ve encountered. He’s angry at his dead lover, Sarah Miles, for
abandoning him.<span style="mso-spacerun: yes;"> </span>He’s angry at her
husband for his passive acceptance of their infidelity, even for taking him
into his home as a flat mate after her death.<span style="mso-spacerun: yes;">
</span>His anger renders all his judgments suspect.<span style="mso-spacerun: yes;"> </span>In the end, he finds that he has misjudged
and misunderstood Sarah.<span style="mso-spacerun: yes;"> </span>He
misrepresents her religious inclinations to the priest who wants to give her a
Catholic burial.<span style="mso-spacerun: yes;"> </span>As an agnostic, even an
atheist, he resists to the end acknowledging that she had become a believer
seeking to connect or reconnect with the Catholic church.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "helvetica"; font-size: 12.0pt;">Despite his anger and his meanness, Bendrix is
a powerful narrator.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span style="font-family: "helvetica"; font-size: 12.0pt;">The
End of the Affair </span></i><span style="font-family: "helvetica"; font-size: 12.0pt;">(1961) is a religious novel masquerading as a
story about an adulterous affair.<span style="mso-spacerun: yes;"> </span>For
its time, it’s fairly graphic about the details.<span style="mso-spacerun: yes;"> </span>The novel takes place during the Second World
War.<span style="mso-spacerun: yes;"> </span>While Sarah is with Bendrix in his
flat, a V-1 bomb strikes the house.<span style="mso-spacerun: yes;"> </span>She
finds him under a fallen door and assumes he is dead.<span style="mso-spacerun: yes;"> </span>She prays to God, whom she half believes in,
to let him live.<span style="mso-spacerun: yes;"> </span>The next moment he
appears, covered with dust and alive. In her prayer she promised God that if he
allows Bendrix to live, she would leave him because it would mean that God is
real and that their affair is a sin.<span style="mso-spacerun: yes;"> </span>She
abides by her promise and returns to her husband.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "helvetica"; font-size: 12.0pt;">The crisis of faith is first of all Sarah’s.
Her lover’s survival of the bombing brings her to believe. But it is also that
of Bendrix, who can’t accept Sarah’s conversion and who resists to the end
acknowledging it or its possible meaning for him.<span style="mso-spacerun: yes;"> </span>He becomes all the angrier when he reads her
journal and discovers why she left him and that she still loved him. He is
angriest of all, ironically, at the God in whom he doesn’t believe.<o:p></o:p></span></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span style="font-family: "helvetica"; font-size: 12.0pt;">The
End of the Affair</span></i><span style="font-family: "helvetica"; font-size: 12.0pt;"> was an intense, powerful novel.<span style="mso-spacerun: yes;"> </span>Bendrix himself is a novelist.<span style="mso-spacerun: yes;"> </span>A little research revealed that Greene drew
for this novel from an affair he had with the woman to whom it is dedicated. He
significantly changed some details.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "helvetica"; font-size: 12.0pt;">My previous encounters with Greene were with <i style="mso-bidi-font-style: normal;">The Power and the Glory </i>(1940)<i style="mso-bidi-font-style: normal;">, </i>which I barely remember, and <i style="mso-bidi-font-style: normal;">The Comedians </i>(1966), which did not
impress me, though I read it at an age when I could hardly have appreciated it.<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">The End
of the Affair </i>convinces me to reread <i style="mso-bidi-font-style: normal;">The
Power and the Glory</i> again and to read other novels by Greene.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal">
<br /></div>
<!--EndFragment--><br />Hugh Ruppersburghttp://www.blogger.com/profile/13754821511543584868noreply@blogger.com0tag:blogger.com,1999:blog-23011532.post-9617108119767208432019-02-05T11:03:00.000-05:002019-05-17T11:04:24.617-04:00The Dry, by Jane Harper<div class="MsoNormal" style="margin-bottom: 6.0pt;">
<span style="font-family: "helvetica"; font-size: 12.0pt;">Like many murder
mysteries, </span><i style="mso-bidi-font-style: normal;"><span style="font-family: "helvetica-oblique" , sans-serif; font-size: 12.0pt;">The
Dry</span></i><span style="font-family: "helvetica"; font-size: 12.0pt;"> by Jane Harper (2017) begins with a murder—a brutal triple
murder:<span style="mso-spacerun: yes;"> </span>a farmer, his wife, and their
teenaged son. Adam, a former friend of of the farmer, returns to town for the
funeral. Everyone in town believes that the farmer, Luke, killed his wife and son.<span style="mso-spacerun: yes;"> </span>Certain details don’t make sense, both to the
local police officer and to Adam, who is a financial detective back in
Melbourne.<span style="mso-spacerun: yes;"> </span>He stays in town for a few
extra days to help with the investigation and gradually finds himself deeply drawn
into solving the mystery of the murders. <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt;">
<span style="font-family: "helvetica"; font-size: 12.0pt;">Almost everyone in the
novel has a back story.<span style="mso-spacerun: yes;"> </span>Some of them are
relevant.<span style="mso-spacerun: yes;"> </span>Others are not.<span style="mso-spacerun: yes;"> </span>A sub-plot that parallels the present-time
plot involves Adam’s 16-year old girlfriend who drowned 20 years before the
present time.<span style="mso-spacerun: yes;"> </span>As her boyfriend, and
because a note with his name on it found when her body was recovered, everyone
thinks Adam killed her.<span style="mso-spacerun: yes;"> </span>He and his
father left town as a result. Now that he is back in town, the old suspicions
return.<span style="mso-spacerun: yes;"> </span>He encounters considerable hostility.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt;">
<span style="font-family: "helvetica"; font-size: 12.0pt;">The novel is told in the
present time with flashbacks to the past.<span style="mso-spacerun: yes;">
</span>Possible leads turn out to be false. A character who seems to have been
wholly uninvolved in the murder emerges in the last few chapters as the
murderer. <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt;">
<span style="font-family: "helvetica"; font-size: 12.0pt;">The main interest in </span><i style="mso-bidi-font-style: normal;"><span style="font-family: "helvetica-oblique" , sans-serif; font-size: 12.0pt;">The Dry</span></i><span style="font-family: "helvetica"; font-size: 12.0pt;">
is the small town in which it takes place—a town in the isolated Australian
outback, suffering a prolonged drought, in danger of fire.<span style="mso-spacerun: yes;"> </span>A town bully and his friends intimidate
everyone in town. They attack Adam on several occasions. The novel is well done
but conventional.<span style="mso-spacerun: yes;"> </span>It does its job as a
murder mystery.</span></div>
Hugh Ruppersburghttp://www.blogger.com/profile/13754821511543584868noreply@blogger.com0tag:blogger.com,1999:blog-23011532.post-26904879469833521252019-01-29T10:28:00.000-05:002019-05-16T17:15:45.725-04:00Fever Dream, by Samanta Schweblin<div class="MsoNormal" style="margin-bottom: 6.0pt;">
In <i style="mso-bidi-font-style: normal;">Fever Dream </i>(2014), by Samanta Schweblin, who knows what is happening?<span style="mso-spacerun: yes;"> </span>It’s not enough to say nothing is what it
seems.<span style="mso-spacerun: yes;"> </span>There’s no baseline for what is
or isn’t.<span style="mso-spacerun: yes;"> </span>We can guess and speculate,
and we can make assumptions.<span style="mso-spacerun: yes;"> </span>It appears
that the novel is a conversation between a woman named Amanda and a younger
person named David.<span style="mso-spacerun: yes;"> </span>David might be a
child, or an adult.<span style="mso-spacerun: yes;"> </span>He might be Amanda’s
brother.<span style="mso-spacerun: yes;"> </span>He might be real or imagined,
living or dead. Amanda’s daughter is Nina, and as the novel moves on we deduce
that she has disappeared or died.<span style="mso-spacerun: yes;"> </span>Amanda
herself is worried about dying.<span style="mso-spacerun: yes;"> </span>She’s
worrying about worms taking over her body.<span style="mso-spacerun: yes;"> </span>Worms suggest death, mortality.<span style="mso-spacerun: yes;"> </span>Amanda is in fact near death, dying in a
trauma center.<span style="mso-spacerun: yes;"> </span>David seems to be preparing
her for death, and for other realizations. She’s the victim (we think) of
poisoning, environmental poisoning or perhaps deliberate poisoning.<span style="mso-spacerun: yes;"> </span>David was poisoned too, as was Nina.<span style="mso-spacerun: yes;"> </span>David grew sick and nearly died, but a woman
with certain abilities transferred half of his spirit into another body so he
could recover.<span style="mso-spacerun: yes;"> </span>This may have happened to
Nina as well, or she may have died. Carla is Amanda’s mother, whom she reviles and loves.<span style="mso-spacerun: yes;"> </span>Carla rescues David
and takes him to the spirit changer.<span style="mso-spacerun: yes;"> </span>She
may have done the same for Nina.<span style="mso-spacerun: yes;"> </span>The
narrative really does have the quality of a fever dream, a hallucination or a
delirious imagining.<span style="mso-spacerun: yes;"> </span>It’s deftly,
brilliantly executed.<span style="mso-spacerun: yes;"> </span>The tension builds
throughout, even though we’re not sure what generates it.<span style="mso-spacerun: yes;"> </span>The novel is relatively short, fortunately
so, because such a book couldn’t sustain this approach over a greater length.<o:p></o:p></div>
<!--EndFragment--><br />Hugh Ruppersburghttp://www.blogger.com/profile/13754821511543584868noreply@blogger.com0tag:blogger.com,1999:blog-23011532.post-57969455955579162162019-01-28T16:35:00.000-05:002019-01-31T16:36:58.738-05:00Ghost Wall, by Sara Moss<!--[if gte mso 9]><xml>
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<br />
<div class="MsoNormal" style="margin-bottom: 6.0pt; mso-layout-grid-align: none; text-autospace: none;">
<span style="color: black; font-family: "arial" , sans-serif;">A
17-year-old girl named Sylvie narrates<i> Ghost Wall,</i><span style="mso-bidi-font-style: italic;"> by Sarah Moss (2019). Her</span> father is
obsessed with the Iron Age of northern England some 2000 years in the past. This
is the area north of Hadrian’s wall, which separated supposedly uncivilized inhabitants
from the supposedly civilized invading Romans. The girl’s father rules over his
wife and daughter with a tyrannical, abusive hand. His wife has been reduced to
an almost faceless mass of subjugation while his daughter chafes against his
domineering presence in looks for a way to escape. His wife often shows
bruises, and if she violates his rules he whips her violently. The novel takes
place during a two-week long vacation for the family, which the father has
decided they will spend accompanying an experimental archaeology class from a
local college on a retreat where they will try to live like prehistoric men and
women might have lived 2000 years ago. They dig roots, hunt for edible
vegetables, wear rough tunics, and otherwise try to live as ancient people. The
point for the experimental archaeology class is to learn about ancient ways of
life. The point for the father is to exercise his obsessions and to find
further reason to<i> </i>dominate his daughter. <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt; mso-layout-grid-align: none; text-autospace: none;">
<i style="mso-bidi-font-style: normal;"><span style="color: black; font-family: "arial" , sans-serif;">Ghost Wall</span></i><span style="color: black; font-family: "arial" , sans-serif;"> reminds me of William
Golding’s <i>Lord of the Flies</i>, James Dickey's <i>Deliverance</i>, and
Joseph Conrad's <i>Heart of Darkness</i>, all of which show supposedly
civilized humans sink to a state of savagery. Moss<i> </i>frames this narrative
in terms of patriarchy. It is no surprise that the father is obsessed with a
historical period during which women were the chattel of men, subject to
physical abuse and injury, and sometimes death. The men in this novel act out
what they believe to have been ancient rituals and practices while the women
stand off to the side, either looking on in astonishment and disgust or following
the orders the men give them. The narrator's language reflects the brutal
treatment she receives from her father, and also her upbringing in northern
England.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt; mso-layout-grid-align: none; text-autospace: none;">
<span style="color: black; font-family: "arial" , sans-serif;">In
the final scenes the father and the professor leading the students decide to enact
a human sacrifice, and they select Sylvie as the sacrificial victim. They don’t
mean, at least at first, to harm her, but midway through the ceremony the
father has already cut her with a knife. One of the students—the only woman in
the group alerts local constables.<span style="mso-spacerun: yes;"> </span>They
arrive in time to stop the ceremony and arrest the father. They should also
have arrested the professor who encouraged his students to take part and who
did not try to stop the father’s numerous instances of abusive behavior. <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt; mso-layout-grid-align: none; text-autospace: none;">
<span style="color: black; font-family: "arial" , sans-serif;">This
is a powerful and beautifully written novel. About halfway through, during a
scene where the father and professor discuss human sacrifice and the burial of
bodies in peat bogs, you begin to suspect what could happen. The novel’s opening
scene, which describes the ritualistic killing of a young woman two thousand
years in the past, suggested this possibility. Tension grows from the
anticipation and dread the reader feels.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt; mso-layout-grid-align: none; text-autospace: none;">
<span style="color: black; font-family: "arial" , sans-serif;">One
might say that the father’s obsessive behavior and his abuse of his wife and
daughter are simply examples of an extreme form of male behavior. But in this
case, perhaps, the extreme becomes a way of defining the norm. It's also clear
that the father's treatment of his wife and daughter stems from a disgust with female
sexuality.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt; mso-layout-grid-align: none; text-autospace: none;">
<span style="color: black; font-family: "arial" , sans-serif;">The
ghost wall is a symbol that through the title envelops the entire novel.<span style="mso-spacerun: yes;"> </span>A ghost wall is both an echo of the past, and
a persistence of the past.<span style="mso-spacerun: yes;"> </span>It’s a
dividing line between past and present but because it’s ghostly (without form
or matter) it’s no divider at all.<span style="mso-spacerun: yes;"> </span>It links
past and present. Through it the past is continuous with the present, and
practices of the past persist into the present.<span style="mso-spacerun: yes;">
</span>Hence the male characters become so involved in building the ghost wall,
with its animal skulls reminiscent of the human skulls that might have sat atop
it two millennia in the past.<span style="mso-spacerun: yes;"> </span>Its
ghostly nature signifies that male dominance over females in the prehistoric
Iron Age persists in the present.<span style="mso-spacerun: yes;"> </span>Sylvie
who unhappily plays the pretended sacrificial victim in the ceremony is at the
end almost an actual victim.<span style="mso-spacerun: yes;"> </span>But she was
a victim from the start.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt;">
<br /></div>
<!--EndFragment--><br />Hugh Ruppersburghttp://www.blogger.com/profile/13754821511543584868noreply@blogger.com0tag:blogger.com,1999:blog-23011532.post-91330448368391574332019-01-28T11:56:00.000-05:002019-05-17T12:00:00.275-04:00A Manual for Cleaning Women: Selected Stories, by Lucia Berlin<div class="MsoNormal">
<span style="font-family: "arialmt" , sans-serif; font-size: 12.0pt;">Lucia Berlin, in the stories collected in </span><i style="mso-bidi-font-style: normal;"><span style="font-family: "arial-italicmt" , sans-serif; font-size: 12.0pt;">A Manual for
Cleaning Women: Selected Stories </span></i><span style="font-family: "arial" , "helvetica" , sans-serif;">(2015)<span style="font-size: 12pt;">, </span></span><span style="font-family: "arialmt" , sans-serif; font-size: 12pt;">shows a great talent for description. It’s not merely the details
she notices. It's how she presents them, the clarity of her descriptions, the
beauty of her sentences. She's a good writer. Her stories are sometimes as
brief as a couple of pages and sometimes much longer. Many if not most of them
are anecdotes rather than fully developed narratives. Her method is to
introduce a situation, develop one or more characters, and end the story.
Usually there's no real plot. In some of her stories the narrative develops
through emotional resonances and subtle changes in attitude. Some stories end
with a kind of twist, a form of epiphany, that illuminates the situation or the
people Berlin describes. She returns often to the same characters and
situations, in part because she is drawing from the events of her own life.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "arialmt" , sans-serif; font-size: 12.0pt;">An underlying motif in some of her stories is the
approach of Berlin’s sister towards death from cancer. A group of stories are
set in Mexico or South America, where Berlin lived for periods of her childhood
and adult life. Others occur in Southern California or northern Colorado. They
span a time in Berlin's life from her 20s until just before her death in her
late 60s. Most of her main characters are women, although at least one story
has a male protagonist. Many of the characters are recovering addicts or
alcoholics, or at least they are recovering from failures in their personal
lives. For the most part the stories seem to be autobiographical even when
Berlin goes to some lengths to camouflage the characters. There is a novelty to
the stories in their nuanced treatment of people and difficult situations and
problematic lives. Because Berlin often reuses characters or situations, after
a time the stories blur together.</span></div>
Hugh Ruppersburghttp://www.blogger.com/profile/13754821511543584868noreply@blogger.com0tag:blogger.com,1999:blog-23011532.post-39574183308875787432019-01-25T15:31:00.000-05:002019-05-17T12:01:39.912-04:00The Indispensable Composers: a Personal Guide, by Anthony Tommasini<div class="MsoNormal" style="margin-bottom: 6.0pt; mso-layout-grid-align: none; text-autospace: none;">
<i><span style="color: black; font-family: "arial" , sans-serif;">The
Indispensable Composers: a Personal Guide</span></i><span style="color: black; font-family: "arial" , sans-serif; mso-bidi-font-style: italic;"> (2018), examines</span><span style="font-family: "arial" , sans-serif;"> the composers whom the
author Anthony Tommasini, a New York </span><i style="color: black; font-family: Arial, sans-serif;">Times </i><span style="font-family: "arial" , sans-serif;">music critic, considers to be
the most important in Western music. It is also a kind of memoir in which Tommasini
recollects his musical education, first encounters with great works of music,
his favorite professors, the performers such as Rudolph Serkin who have
influenced him. The book is self-indulgent in this regard, but the personal information give the book an additional layer of interest. </span><span style="font-family: "arial" , sans-serif;">Tommasini devotes each chapter to a different composer or group of composers. There's a certain free-form skipping about as he moves from personal anecdotes to music by the composers to biographical details. Most of those details come from biographies which he scrupulously acknowledges. </span><span style="font-family: "arial" , sans-serif; font-size: 12pt;">The most significant omission among the composers, I thought, was Gustav
Mahler, who is mentioned a few times and whose omission, Tommasini does not
excuse. There are no great revelations here. The book introduces us to the
lives of these composers and their music. You can use it as a guide for
listening, or not.</span></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt; mso-layout-grid-align: none; text-autospace: none;">
<span style="color: black; font-family: "arial" , sans-serif;">I've
often found in music criticism, and this book is no exception, that there is no
good way to describe music in words. One can talk about the key in which a work
is written, the time signature, the dynamics, the tempo. One can point out where
the violins enter or the horn section begins to diminish. But there is no way,
I think, to replicate in words the effects of music. <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt; mso-layout-grid-align: none; text-autospace: none;">
<span style="color: black; font-family: "arial" , sans-serif;">This
book would have been more useful had a set of CDs including the works Tommasini
discusses accompanied it.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt;">
<br /></div>
<!--EndFragment--><br />Hugh Ruppersburghttp://www.blogger.com/profile/13754821511543584868noreply@blogger.com0tag:blogger.com,1999:blog-23011532.post-53024294055679574502019-01-17T15:22:00.000-05:002019-05-17T12:00:50.834-04:00RBG<div class="MsoNormal" style="margin-bottom: 6.0pt;">
<i style="mso-bidi-font-style: normal;">RPG</i> (2018; dirs. Julie Cohen and Betsy West) provides an admiring
overview of the life and career of Supreme Court Justice Ruth Bader Ginsburg.<span style="mso-spacerun: yes;"> </span>Of particular interest is her advocacy for
the rights of women as a lawyer defending cases during the 1960s and 1970s,
then as a member of the US Court of Appeals, and finally as a justice on the
Supreme Court.<span style="mso-spacerun: yes;"> </span>A second stage of her
career began in the 2000s as the Court shifted to the right with the
appointment of conservative justices by George W. Bush.<span style="mso-spacerun: yes;"> </span>In those years she became a strong dissenting
voice on the Supreme Court.<span style="mso-spacerun: yes;"> </span>The
documentary also explores Ginsburg’s private life, especially her fifty-year
marriage to her husband, Martin, who proudly supported his wife and willingly
took a secondary role as her career flourished.<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt;">
The documentary focuses on Ginsburg’s
quiet, reticent style.<span style="mso-spacerun: yes;"> </span>She is not a
firebrand, but her quiet pursuit and defense of cases involving discrimination
on the basis of sex made her one of the most effective and recognized jurists
of the last 100 years.<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt;">
The documentary presents Ginsburg
as something of a 2-dimensional figure.<span style="mso-spacerun: yes;">
</span>You get glimpses of her inner life, of her pleasure in her husband and
family, but it would be useful to have more.<span style="mso-spacerun: yes;">
</span>And it would be useful as well to know more about her profile as a
lawyer in cases that did not involve gender rights (one would assume that there
are some, at least early in her career). <i style="mso-bidi-font-style: normal;">RBG</i>
takes the usual CNN approach to documentaries about famous figures: interviews
with the subject, members of her family, her friends and associates, and photos
and films of important moments in her life.<span style="mso-spacerun: yes;">
</span>Were Ginsburg a less interesting and significant figure, such a format
could prove banal.<span style="mso-spacerun: yes;"> </span>In Ginsburg’s case, the
documentary opens up and explains her life and career and accomplishments.</div>
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</style>Hugh Ruppersburghttp://www.blogger.com/profile/13754821511543584868noreply@blogger.com0tag:blogger.com,1999:blog-23011532.post-44680608403218242452019-01-10T16:06:00.000-05:002019-01-31T16:07:11.513-05:00On Desperate Ground: The Marines at The Reservoir, the Korean War's Greatest Battle, by Hampton Sides
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<span style="color: black; font-family: "Arial",sans-serif;">1. <span style="mso-spacerun: yes;"> </span>Gen. Douglas MacArthur believed that the
invasion of Korea in late 1950 by US and UN forces would be the glorious
culmination of his career. An immense cult of personality surrounded him. He relied
on aides and assistants who told him what he wanted to hear rather than what he
needed to know. Some of his aides were toadies. As a result, he did not receive
(and did not want to hear) intelligence about Korea, especially about the arrival
of 200,000 Chinese soldiers from Manchuria, that would interfere with his plans
for conquering Korea and having troops go home by Christmas.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; text-autospace: none;">
<span style="color: black; font-family: "Arial",sans-serif;">2. At least as far back as World
War II, bad intelligence has been a key factor in drawing US forces into armed
conflicts. Some historians argue that Franklin Delano Roosevelt overlooked
intelligence reports that hinted at a possible attack on Pearl Harbor in
December 1941. Bad intelligence was a constant issue in the Vietnamese
conflict. In 2001 the Bush administration overlooked or ignored intelligence
suggesting the possibility of an attack on the World Trade Center. Incorrect
intelligence about weapons of mass destruction led to the US invasion of Iraq in
2001. A key factor in the campaign that led to the battle for the Choisin
reservoir was faulty intelligence about the presence of Chinese troops. The
fault was not in the intelligence but in the unwillingness of commanding
generals to heed it. Generals in the field knew the Chinese were there, but
their commanding officers regarded their reports as rumors and did not take
them seriously. <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; text-autospace: none;">
<span style="color: black; font-family: "Arial",sans-serif;">3. Major General Edward
Almond was in charge of the campaign and at the same time belonged to
MacArthur's inner circle. He admired the general so deeply that he was willing
to carry out his orders without question. Gen. Oliver Smith, on the other hand,
commander of the UN forces, was an expert in amphibious landings. He was knowledgeable
about tactics and a deep and careful thinker. He intuited and later knew for
certain that the campaign he was assigned to carry out would be difficult if
not impossible. But Gen. Almond regarded his reports as alarmist and until the
late stages of the campaign he ignored them. The rivalry between these two
generals, their mutual dislike for each other, was a major factor in this
campaign. Gen. Smith’s ability to, on the one hand, obey Almond's orders and,
on the other hand, protect his troops was one of the main reasons why the
Choisin campaign was not a complete disaster.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; text-autospace: none;">
<span style="color: black; font-family: "Arial",sans-serif;">4. Ethnic and racial
stereotypes played another role. Gen. Almond was a racist who did not believe
that black or Puerto Rican troops could be good soldiers. He thought the
Chinese were unsophisticated and incapable of carrying out a well-planned
campaign. In fact, the Chinese forces were not well armed or trained, but there
were hundreds of thousands of them. In China the cult of individualism didn't
exist. Chinese generals were willing to expend hundreds and thousands of lives
to achieve their goals in battle. Wave after wave of Chinese soldiers attacked
US and UN forces and were immediately gunned down only to be followed by other troops
who were also gunned down. Some 3000 American deaths resulted from the campaign,
but the toll for the Chinese was 35,000.<o:p></o:p></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; text-autospace: none;">
<br /></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; text-autospace: none;">
<i><span style="color: black; font-family: "Arial",sans-serif;">On Desperate Ground: The
Marines at The Reservoir, the Korean War's Greatest Battle </span></i><span style="color: black; font-family: "Arial",sans-serif; mso-bidi-font-style: italic;">(2018),
by Hampton Sides,</span><span style="color: black; font-family: "Arial",sans-serif;">
moves back and forth between accounts of soldiers in the field to generals in
their offices and homes. Sides illustrates his accounts with specific narratives
of soldiers and officers in the field. This is an approach to narrating a
battle similar to what Mark Bowden uses in <i style="mso-bidi-font-style: normal;">Hue
1968</i> (2017). It makes this informative, carefully researched, and well
written book more accessible for lay readers.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<!--EndFragment--><br />Hugh Ruppersburghttp://www.blogger.com/profile/13754821511543584868noreply@blogger.com0tag:blogger.com,1999:blog-23011532.post-71585683056167956932019-01-09T22:42:00.000-05:002019-02-05T15:42:51.837-05:00Selected Stories of Dorothy Parker<!--[if gte mso 9]><xml>
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<span style="color: black; font-family: "arial" , sans-serif;">Dorothy
Parker’s subject is New York and its social classes. Many of her characters are
from a vaguely defined middle class.<span style="mso-spacerun: yes;">
</span>They’re aware of the upper class but also aware of their inability to
rise economically or socially. They are partially sensible people who lead
dreary lives. The women are defined by dissatisfaction with their station,
their marriages, their futures. In one story a young woman in her late 20s who
after a socially active period of years meets a man and after six weeks marries
him. He is a salesman and a heavy drinker, which she sees no problem with. Theirs
is a marriage of convenience: she wants to get married and so does he. But he
soon grows tired of her, and she finds friends elsewhere. She takes to drink. When
he leaves her, she becomes the lover of a man whom she met at a social
gathering in a neighbor's apartment. He later abandons her, and she has a
series of dreary meaningless relationships with men and finally finds herself
in her 40s exhausted and depressed. She tries to commit suicide but fails.
Parker sees such women as morally empty, as spiritually bankrupt (she would
probably hate that phrase). Another story focuses on a man in his late 40s who
seduces a young woman in her early 20s who works in his office. He is married
and has children. She is, as the story makes out, a virgin who's had no
relationships with anyone. Because she has no experience, she never realizes
his clumsiness or his apparent paunch and succumbs to his entreaties. She becomes
pregnant, and he sees this as a horrible inconvenience and an insult to
himself. Another secretary in the office arranges an abortion, and the young
woman goes home to her family. The man is totally insensible to her feelings
and her situation. It's pretty clear that this event for her has been a
horrible episode. He is glad to have her out of his life. He goes home to his
family and discovers that his wife has allowed his son and daughter to bring a
young dog into their house. He is open to the idea of his children having a pet,
but when he discovers that the dog is a female, he's enraged. He remonstrates
with his wife and tells her that after the children go to bed he will simply
put the animal out the door. The next day they will tell the children it ran
away. His attitude towards the female dog is exactly his attitude towards the
young woman whom he got pregnant. It's a rather obvious parallel on the one
hand, but it's vicious accuracy works well.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt; mso-layout-grid-align: none; text-autospace: none;">
<span style="color: black; font-family: "arial" , sans-serif;">These
stories are well told and skillfully written. Some of them go on too long. The
characters are dry and two-dimensional for the most part, and partially I think
this is Parker’s intent. But it may also be a matter of her disposition as a writer.
One senses that she hates the people she writes about, that she sees them as deserving
targets of sarcasm and irony rather than as human beings.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt; mso-layout-grid-align: none; text-autospace: none;">
<span style="color: black; font-family: "arial" , sans-serif;">The
audiobooks edition of the <i style="mso-bidi-font-style: normal;">Selected Stories
of Dorothy Parker </i>(2018) is narrated by Elaine Stritch. The combination of
Stritch's caustic often sarcastic voice with Parker's satiric, often sarcastic
tone is a problem. It's difficult to separate Parker from Stritch. On the other
hand, if you don't worry about that separation, Elaine Stritch reads the
stories well enough. <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt;">
<br /></div>
<!--EndFragment--><br />Hugh Ruppersburghttp://www.blogger.com/profile/13754821511543584868noreply@blogger.com0tag:blogger.com,1999:blog-23011532.post-30572851127348635542019-01-07T15:44:00.000-05:002019-01-31T15:45:15.156-05:00The Post
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="footer"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index heading"/>
<w:LsdException Locked="false" Priority="35" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="caption"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="table of figures"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="envelope address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="envelope return"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="footnote reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="line number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="page number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="table of authorities"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="macro"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="toa heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 5"/>
<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
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<i style="mso-bidi-font-style: normal;"><span style="color: black; font-family: "Arial",sans-serif;">The Post</span></i><span style="color: black; font-family: "Arial",sans-serif;"> (2017; dir. Steven Spielberg) dramatizes a particular moment in
American history, and as such we need to be concerned with aspects of
authenticity. Two particular elements in <i style="mso-bidi-font-style: normal;">The
Post</i>, which otherwise I greatly enjoyed, have to do with the dye used to
color the hair of some of the male actors and the simulated street
demonstrations. The dyed hair looked flat and fake and called attention to
itself. Take for example the hair of Robert McNamara. The street demonstrations
simply seemed halfhearted and staged.<o:p></o:p></span></div>
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<span style="color: black; font-family: "Arial",sans-serif;">Meryl Streep as Katharine
Graham and Tom Hanks as Ben Bradley give life to this film. They are both
excellent in their roles. They're not merely reading lines. They’re bringing
characters from history to life. We can't know whether these enactments of
historical personages are accurate, but at least they are convincing. What
little I know of Graham and Bradley makes me feel that the presentation of
these characters in the film were on target.<o:p></o:p></span></div>
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<br /></div>
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<span style="color: black; font-family: "Arial",sans-serif;">There are three primary
focuses in <i style="mso-bidi-font-style: normal;">The Post</i>. One is the
publication of the Pentagon papers in 1971. Pilfered by Daniel Ellsberg from
the RAND Institute files, he sent them to the New York <i style="mso-bidi-font-style: normal;">Times</i> and later to the Washington <i style="mso-bidi-font-style: normal;">Post</i>. When the <i style="mso-bidi-font-style: normal;">Times</i>
started to report on them, the government “requested” that it cease
publication. The <i style="mso-bidi-font-style: normal;">Post</i> got its copy of
the papers, sorted through them, and began to summarize them in print. The
second point of focus is the Washington <i style="mso-bidi-font-style: normal;">Post</i>
itself, which in 1971 was not regarded as one of the nation’s leading
newspapers. The film shows how the <i style="mso-bidi-font-style: normal;">Post</i>
under the leadership of Graham decides to publish the Pentagon papers and to defend
its right to publish in court, thereby confirming the importance of the First
Amendment, and also gaining national and international attention for the paper.
The third focus is Graham herself. She took over control of the Washington <i style="mso-bidi-font-style: normal;">Post</i> after her husband committed
suicide. It's clear in the film that some members of the governing board don't
think she is up to the task: they talk behind her back, they try to convince
her of what she should do. She's also still willing to play her role as a
Washington socialite, a friend of the McNamaras and other people in high
political places. This film dramatizes how she gradually rises to her
responsibility as a newspaper publisher by supporting the publication of the
Pentagon papers even when the existence of her newspaper is threatened by banks
that threaten to remove their financial support. The film takes a specifically
feminist focus. At the end, after the Court has ruled 6-3 in favor of the
Washington <i style="mso-bidi-font-style: normal;">Post</i> and the New York <i style="mso-bidi-font-style: normal;">Times</i>, she walks out of the Supreme
Court building through a crowd of young women who are looking at her with
admiring gazes. They will look up to her as a model for the future. This moment
may be contrived and staged, but it's moving.<o:p></o:p></span></div>
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<span style="color: black; font-family: "Arial",sans-serif;">Bradley and Graham had been
friends with political figures they reported on.<span style="mso-spacerun: yes;"> </span>Bradlee and his wife were close to the
Kennedys, and Graham has many friends in the Nixon administration.<span style="mso-spacerun: yes;"> </span>In the film both come to realize that their
duty as journalists is not to protect friends but rather to present the truth
and serve the nation.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<!--EndFragment--><br />Hugh Ruppersburghttp://www.blogger.com/profile/13754821511543584868noreply@blogger.com0tag:blogger.com,1999:blog-23011532.post-61740745592822993452019-01-07T10:12:00.000-05:002019-05-16T17:40:14.111-04:00Annihilation<!--[if gte mso 9]><xml>
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<br />
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It’s difficult to know what to
make of <i style="mso-bidi-font-style: normal;">Annihilation </i>(2018; dir. Alex
Garland), based on the Jeff VanderMeer Southern Reach Trilogy novels.<span style="mso-spacerun: yes;"> </span>It’s visually striking and intelligent.<span style="mso-spacerun: yes;"> </span>It’s fun to watch.<span style="mso-spacerun: yes;"> </span>Throughout the mood is muted and somber, and
the pace is relatively slow.<span style="mso-spacerun: yes;"> </span>When a
meteor strikes near a lighthouse on the Florida Gulf coast, a slowly expanding
area (“the Shimmer”) begins to grow around it.<span style="mso-spacerun: yes;">
</span>The government begins sending in teams to investigate, but none of them
return.<span style="mso-spacerun: yes;"> </span>The main character is Lena, a genetic
biologist whose husband has been missing for a year after going on one of the
missions to the Shimmer.<span style="mso-spacerun: yes;"> </span>He suddenly
reappears in her kitchen in a dazed state, unable to remember much of what he
has been doing.<span style="mso-spacerun: yes;"> </span>He becomes critically
ill and on the way to the hospital government black-ops take them both into
custody.<span style="mso-spacerun: yes;"> </span>The government has been sending
mission after mission into the Shimmer and all have disappeared. (It seems odd
that the government would do this, sending mission after mission, sacrificing
numerous men, but maybe this is the way of government.) Lena joins the next
expedition, an all-woman team, that goes into the shimmer.<span style="mso-spacerun: yes;"> </span>She hopes to find a way to save her husband
and to explain what happened to him. <o:p></o:p></div>
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In the Shimmer, rules of logic
break down.<span style="mso-spacerun: yes;"> </span>Strangely mutated animals
appear.<span style="mso-spacerun: yes;"> </span>One by one various crew members
are killed or disappear.<span style="mso-spacerun: yes;"> </span>Lena deduces
that in the Shimmer genetic material is passing back and forth among different organisms,
and she realizes that this is happening to her.<span style="mso-spacerun: yes;">
</span>When she manages to escape the Shimmer (we don’t know how she does this),
she recounts her experiences to investigators.<o:p></o:p></div>
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Well, obviously, the Shimmer is
the result of an alien presence.<span style="mso-spacerun: yes;"> </span>(The
scientists claim not to be sure what it is at first, though there’s no question
about it from the start). Scientists are not sure the presence is even aware of
the humans.<span style="mso-spacerun: yes;"> </span>But everywhere the Shimmer touches,
organisms transform. In the film a domestic sub-plot involving marital problems
of Lena and her husband.<o:p></o:p></div>
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Like <i style="mso-bidi-font-style: normal;">2001: A Space Odyssey</i> (1968) and <i style="mso-bidi-font-style: normal;">Close Encounters of the Third Kind </i>(1977), <i style="mso-bidi-font-style: normal;">Annihilation</i> contemplates the implications of aliens on the earth.<span style="mso-spacerun: yes;"> </span>It does so by showing rather than by
explaining.<span style="mso-spacerun: yes;"> </span>We don’t ever see the
aliens, only the effects of their presence.<span style="mso-spacerun: yes;">
</span>We don’t know anything about their intentions.<span style="mso-spacerun: yes;"> </span>We know only that they have arrived.<span style="mso-spacerun: yes;"> </span>In <i style="mso-bidi-font-style: normal;">2001</i>
and <i style="mso-bidi-font-style: normal;">Close Encounters</i> encourage us to deduce
or infer explanations for the alien presences.<span style="mso-spacerun: yes;">
</span>They may remain mysterious, especially in <i style="mso-bidi-font-style: normal;">2001</i>, but at least there is an underlying logic to their
presence.<span style="mso-spacerun: yes;"> </span>In <i style="mso-bidi-font-style: normal;">Annihilation</i> we know nothing.<span style="mso-spacerun: yes;">
</span>As an alternative to exposition and explanation, <i style="mso-bidi-font-style: normal;">Annihilation</i> shows: and it does so impressively.<span style="mso-spacerun: yes;"> </span>The mutated animals, the shimmering
translucence that encloses the Shimmer, other aspects of the alien
presence.<span style="mso-spacerun: yes;"> </span>In the penultimate scenes, we
see protracted sequences in which new beings, doppelgangers of the main
characters, are created using genetic materials from humans and (we assume) the
aliens.<span style="mso-spacerun: yes;"> </span>Again, though these scenes
themselves are dramatic and visually interesting, we don’t exactly know what’s
happening or why.<span style="mso-spacerun: yes;"> </span>These scenes in
particular are not satisfying. <span style="mso-spacerun: yes;"> </span>They are
climactic moments of digital special effects, but what do they signify? Are the
aliens of the Shimmer going to create new humans that replace the old, as in
the various <i style="mso-bidi-font-style: normal;">Invasion of the Bodysnatchers
</i>films? Are they accelerating the process of evolution, as in <i style="mso-bidi-font-style: normal;">2001</i>? These films hint at explanations without
spelling them out.<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">Annihilation </i>is less revealing. In fact, inscrutability seems to be
its method.<o:p></o:p></div>
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The aliens are doing whatever they’re
doing.<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">Annihilation </i>remains intelligent, tantalizing, inscrutable, and
incoherent. <o:p></o:p></div>
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United in a government hospital,
Lena and Kane gaze at each other.<span style="mso-spacerun: yes;"> </span>This
exchange occurs:<o:p></o:p></div>
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Lena: You aren't Kane... are you?<o:p></o:p></div>
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Kane: I don't think so.<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
[pause]<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
Kane: Are you Lena?<o:p></o:p></div>
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Are the original Kane and Lena
intact, infused with new genetic materials that will advance or destroy the
human race? Are they replacements for the originals? We don’t know.<span style="mso-spacerun: yes;"> </span><o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: 6.0pt;">
<br /></div>
<!--EndFragment--><br />Hugh Ruppersburghttp://www.blogger.com/profile/13754821511543584868noreply@blogger.com0tag:blogger.com,1999:blog-23011532.post-90595481105085679632019-01-02T22:25:00.000-05:002019-02-05T15:07:30.372-05:00Crazy Rich Asians<!--[if gte mso 9]><xml>
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How exciting to watch a film about people so rich and
powerful they can pay to have GPS systems "forget" the location of
their family compound. <i style="mso-bidi-font-style: normal;">Crazy Rich
Asians</i> (2018; dir. Jon M. Chu) is basically a Cinderella story. Despite the title, little
of it depends on the ethnicity of the main characters. Most of it depends
on the assumption that you will be dazed and transfixed by the glamour,
and spectacle of the filthy rich. It does draw a distinction between
Asian Americans and native-born Asians, but that distinction matters mostly to the
mother of the leading male character and a few others. It’s mainly an
excuse for the plot. The film depends on your eagerness as a member of the middle
class in America to observe the doings of the rich with their beautiful houses
and luxurious cars and swank bachelor parties held on immense ships.<span style="mso-spacerun: yes;"> </span>The plot involves a young Asian man, Nick
Young (Henry Golding) who has fallen for an Asian-American woman, Rachel Chu (Constance
Wu), raised in modest circumstances in New York.<span style="mso-spacerun: yes;"> </span>(Both are professors at New York University).
He invites her to his home in Singapore to meet his family and attend his best
friend’s wedding. But he doesn’t tell her that he is heir to one of the largest
fortunes in the world.<span style="mso-spacerun: yes;"> </span>I can’t remember
the reason why.<span style="mso-spacerun: yes;"> </span>Maybe he didn’t want to
frighten her off, or maybe he wanted to be sure she fell for him rather than
for his money. When they arrive, Nick’s mother (played effectively by Michelle
Yeoh) pretends to be friendly but finds opportunities to tell Rachel how unfit
she is to marry her son.<span style="mso-spacerun: yes;"> </span>The grandmother,
who also at first seems welcoming, also warns Rachel that she can never marry her
grandson.<span style="mso-spacerun: yes;"> </span>His friends, some of whom had
designs on him, trash her room. She runs away, humiliated and set on returning
to the United States.<span style="mso-spacerun: yes;"> </span>Various
complications follow, but ultimately everything works out.<span style="mso-spacerun: yes;"> </span>This plot is hardly unique.<span style="mso-spacerun: yes;"> </span>The film isn’t unique either.<span style="mso-spacerun: yes;"> </span>Much of the acting is good, the locales are bright
and gaudy and deliberately exotic in a sort of corporate and high fashion way,
but I didn’t find the film entertaining or enlightening. Mainly it provoked in
me deep economic envy.<o:p></o:p></div>
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<br />Hugh Ruppersburghttp://www.blogger.com/profile/13754821511543584868noreply@blogger.com0