Tuesday, August 21, 2012

Batty


While I was attending our neighborhood street fair in Multnomah Village with my kids and mother-in-law, a boy in the parade who was there to represent a local toy store handed me a Magic: The Gathering playing card that featured Vampire Bats. It had on it a picture of a pretty evil-looking bat flying in front of a full moon and a few game related directions that, of course, meant nothing to me. However, beneath the directions was this rather unlikely quote: "For something is amiss or out of place / When mice with wings can wear a human face." It comes from Theodore Roethke's poem "The Bat". What a delightful surprise to get a bit of fabulous poetry at such an unlikely moment--and from one of our own regional poetic superstars at that. Good on you, Magic: The Gathering. Here's the poem:



The Bat
Theodore Roethke

By day the bat is cousin to the mouse.
He likes the attic of an aging house.

His fingers make a hat about his head.
His pulse beat is so slow we think him dead.

He loops in crazy figures half the night
Among the trees that face the corner light.

But when he brushes up against a screen,
We are afraid of what our eyes have seen:

For something is amiss or out of place
When mice with wings can wear a human face.




~cd

Friday, July 13, 2012

The other day I heard an NPR story on how in Russia today (yes, 2012) the Beatles are being blamed by some in positions of authority for the nation's drug problems. Yes, you read that correctly. Apart from the absurdity of the accusation, the story dipped into this further bit of absurdity: A Russian navy band playing "Let It Be" to an enthusiastic crowd who clearly must be made up of stone-deaf people. (Or just stoned people, given the story's theme.) Evidently this has been often cited as the Worst Beatles Cover Ever. I'm inclined to agree. And take a good look at the vocalist: I think Newt Gingrich has been moonlighting. ~cd

Thursday, July 12, 2012


I have come across, via Netflix, a funny curio for Orson Welles completists: A short-lived British TV series from the 1950's called Around the World with Orson Welles. It seems there were only a handful of episodes produced, and the "world" was western Europe, but what the hey. In one episode he visits artists and poets on the Boulevard St. Germain, in another he chats with pensioners in a London soldiers' home, in another he observes a Madrid bullfight, and in another he visits Basque country. All in all, it is a rather low-key show--Welles is being his charming, quirky self, performing chatty and good-natured interviews, sharing a laugh with people, and having a good time letting his hair down. It's nice to see another angle of this multi-faceted man. His native intelligence and good humor are on full display. I wish there were more programs like it today...and, no, reality TV doesn't cut it. I mean, it's Orson Welles for crying out loud! ~cd

Saturday, June 2, 2012

p-p-p-p, p-p-p-p, Pingu! Pingu!


I've fallen in love with Pingu, an animated TV series from Switzerland that was broadcast, chiefly, in the 80's and 90's with a brief revival in the mid oughts. The show concerns itself with the shenanigans of a young penguin (titular) and his family and friends. It's all done in very spare, sometimes crude, claymation, but it's charming and often hilarious. The voice work--all grumbles, screeches, and babble--is perfect and by itself very funny. The show is for kids, but I think grown-ups will get a kick out of it too. You can find a batch of episodes (all around 5 minutes long) on Netflix, but Net searches will bring up some bits on Youtube and a bunch of web stuff that's more contemporary--games, merchandise, and other nonsense. From what I can see, the best of Pingu  is the old, creaky animation: very Euro, very silly, utterly delightful. Check out this episode, "Pingu Goes Fishing":


And what's a cute little Eurokid cartoon without a Hasselhoff connection? That's right. Check this out too:



Now get THAT out of your head!

~ C.D.

Wednesday, May 2, 2012


Powell’s City of Books recently added this oddity to the Pearl Room on its fourth floor: a section marked, “From the Library of Anne Rice.” You may read about it in detail here, but in a nutshell it offers several shelf-loads of books from that author’s personal collection, all for sale. The books have her personal ex libris sticker affixed inside (a simple gold rectangle the size of your thumb featuring the words “From the Library of Anne Rice” and a facsimile of her signature) and many even have call letters taped to their spines. Interestingly, most of what Powell’s offers are books which seem to be related to Rice’s recent forays into historical fiction, since almost all of them are concerned with Judaism and Christianity: theological works, historical investigations, Biblical commentaries, surveys of religious art, etc. Many of the books have her own marginalia in them, and, not surprisingly, those volumes have been priced more highly than others. All in all, it’s an impressive collection and, if Rice did in fact read them, an indication that she is a very careful, diligent, and comprehensive researcher.
     When I first encountered this collection, I was bemused by it, I suppose, but didn’t buy anything—I didn’t much see the point in owning what I've since learned is called an “association copy,” that is, a book a famous author once owned and, presumably, read. After all, I wasn’t even much of a Rice fan, although I did enjoy the first two vampire novels (the others I couldn’t finish). But after a while the idea grew on me. After about a week’s worth of hemming and hawing, I eventually picked out a 1983 paperback copy of that classic of bogus history Holy Blood, Holy Grail by Michael Baigent et al. for $6.95. The purchase was largely a lark; it was about the least expensive book in the collection (no signature, marginalia, or underlined passages) and my intention was to send it to a friend who is a fan of Rice and Dan Brown (though she admits the latter is rubbish).  Even so, when I made the purchase I couldn’t help but feel a bit self-conscious and silly. I couldn’t look the cashier in the eye, and I exited quickly, as if I were a 16 year-old buying his first Playboy. I felt a little dirty. Why?
     Aside from the fact that Holy Blood, Holy Grail is a monument of stupidity and that my buying it was a mark of conspicuous consumption (I'm sure the homeless fellow outside could have put that $6.95 to a better use), I guess I didn't want that cashier to think I was some dimwit fanboy who would buy such a thing solely for the reason Anne Rice once owned it! I have a number of association copies in my own library, but all of them were incidental purchases--meaning I wanted the book itself foremost, and the fact that it had been owned by a famous person, another author, or a person who was integrally associated with the book was only a secondary consideration. For, indeed, isn't the whole notion that a book is somehow more valuable because Anne Rice owned it or read it or fondled it really rather asinine? But wait--what if the book had been owned by, say, William Faulkner, bore his ex libris inside the front cover, and was a copy of, oh, Ernest Hemingway's Death in the Afternoon? Might I feel the same way? If I could easily afford it, would I buy it?
     At the end of the day, this question reminds me of those dilemmas so common in the art world: We don't really know if that is an authentic Leonardo or a copy, but by consensus the art historians believe it most likely is; therefore, the same painting that drew little attention two years ago is now hailed a masterpiece and its value has increased a thousand fold. Value is always relative; seeing is perceiving. Hamlet said it best: "For there is nothing either good or bad but thinking makes it so."
     The same could be said of acquiring a book that once belonged to Anne Rice or just about any other famous person. As one shopper on the Powell's website put it: "[They] are a treat to read just because I know where they came from."