Thursday, January 4, 2024

Quote of the Day (Edgar Allan Poe, With Unexpected Fodder for a Controversial Film)

“Thus I pacified Psyche and kissed her,
And tempted her out of her gloom—
And conquered her scruples and gloom;
And we passed to the end of the vista,
But were stopped by the door of a tomb—
By the door of a legended tomb;
And I said: ‘What is written, sweet sister,
On the door of this legended tomb?’
She replied: ‘Ulalume -Ulalume—
'Tis the vault of thy lost Ulalume!’"—American poet and short-story writer Edgar Allan Poe (1809-1849), “Ulalume”

It’s possible that I read this poem a very long time ago, but I forgot about it until it was used, to very sly effect, in Stanley Kubrick’s 1962 film adaptation of Vladimir Nabokov’s novel Lolita.

This poem does not appear in the novel, but Edgar Allan Poe is very much present. What Nabokov uses as his point of reference is the poet’s “Annabel Lee.”

I’m not sure why Kubrick substituted “Ulalume” for “Annabel Lee,” but I’ll hazard a guess. In the novel, Lolita reminds Humbert Humbert of his long-lost love, Annabel Leigh.

Kubrick had to run a legendary censorship gauntlet to get Lolita released at all. (Indeed, its poster featured the memorable tagline, “How did they ever make a movie of Lolita?”) 

A couple of the most memorable lines from “Annabel Lee”—"I was a child and she was a child,/In this kingdom by the sea”—would only have reinforced the qualms of anyone asked to okay for general release a film featuring an unnatural relationship between an older man and a child.

Instead, in the film, the Poe allusion functions simultaneously as satiric and tragic.

The satire comes at the expense of Humbert, who offers a literary lesson to the vulgar American girl who has caught his gaze, Lolita. (James Mason and Sue Lyon, in the accompanying picture, played the two.)

The visiting European professor can’t help but reveal his pretentiousness by identifying the poem’s author as “the divine Edgar”—no last name needed!—and by pointing out how “my favorite poet” “emphasizes” and “twists” certain words.

It’s all a bit much for Lolita: “Well, I think it's a little corny, to tell you the truth.”

At the same time, the first four lines quoted above parallel what the deviant Humbert hopes to do with Lolita as his own goddess of beauty, particularly in the seduction verbs chosen: “pacified,” “kissed,” “tempted,” and “conquered”—all moving through “the end of the vista,” or the cross-country trip in which he kidnaps her.

But it can’t end well for Lolita, who is fated, like Ulalume, to end up in “this legended tomb”—leaving the seducer and abuser Humbert desolate in knowing that, in robbing her of innocence, he has played an inexpungible part in her tragedy.

(For a fascinating take on how Kubrick and producer James B. Harris edited down Nabokov's 400-page long adapted screenplay until only 20 percent was left, see Koraljka Suton's October 2022 post from the blog "Cinephilia and Beyond.")


Wednesday, January 3, 2024

Photo of the Day: Manhattan School of Music, NYC

I took the attached photo in mid-November, when I met a friend for lunch just off the Columbia University campus. Afterward, I walked around the Morningside Heights neighborhood.

Eventually I saw a sign for Manhattan School of Music (MSM). Curious, at least partly because my high school friend Mike went on to graduate from there, I ambled over to the school’s location at 122nd Street and Claremont Avenue in New York.

Mike was, and remains, a highly talented musician, and this private music conservatory sounds just like the place for him. It offers bachelor's, master's, and doctoral degrees in classical and jazz performance and composition, as well as a bachelor's in musical theater.

Besides Mike, MSM graduates have included jazz/pop musicians or singers Harry Connick Jr., Herbie Hancock, Max Roach, Jane Monheit, Rupert Holmes, and Nellie McKay, and classical music professionals such as John Corigliano and Dawn Upshaw.

Oh, yes—and how can I forget my favorite, the peerless Yankee outfielder and ace guitarist, Bernie Williams?

MSM has changed its name, location, and size in a bit more than a century of existence. It was founded by pianist-philanthropist Janet Daniels Schenck in 1918 as an outgrowth of her work volunteering at the Union Settlement at East 104th Street, with young musicians offering music lessons to the immigrant population of the neighborhood. It became known by its current name in 1938, and around the same time moved to a new building and concert hall on 105th Street.

With the Julliard School going to Lincoln Center, MSM purchased and moved into its Morningside Heights building in 1969. Its growth has not stopped since then, however. A residence hall adjacent to the school opened in 2001, and MSM has continued to add programs.

Today, it numbers more than 950 college students from over 50 countries, and each academic year it offers nearly 800 performances by students and faculty, many of which are free and open to the public. Anyone interested in catching these can click on this performance calendar.

Quote of the Day (Robert Heilbroner, on the Power of Persuasion)

“He who enlists a man’s mind wields a power even greater than the sword or the scepter.”—American economist Robert Heilbroner (1919-2005), The Worldly Philosophers: The Lives, Times and Ideas of the Great Economic Thinkers (1953)

Tuesday, January 2, 2024

This Day in Civil War History (Death of James Longstreet, Lee’s ‘Old War Horse’—and a Scapegoat for Rebel Defeat)

Jan. 2, 1904— Lieutenant General James Longstreet died six days short of his 83rd birthday in Gainesville, GA.  Acclaimed as one of the South’s best and bravest commanders during the Civil War, he ended up ostracized afterward by many comrades-in-arms for non-military reasons like joining the Republican Party, supporting the rights of freed slaves, and writing a defensive memoir in the postwar period.

So strong was the animus against him that the Daughters of the Confederacy voted not to send flowers to his funeral, and it was not until 2005 that he was honored with a statue at Gettysburg—and even then, its organizers stated, it was for his actions during the battle rather than his postwar conduct.

As Nikki Haley’s controversial comments last week about the cause of the Civil War indicate, Americans remain deeply divided about the conflict. And in the last century and a half, few figures have sparked as much division as Longstreet.

Advocates for “The Lost Cause”—the argument that the Confederacy’s role in the war was just and heroic—may have tried to plant disbelief that the conflict resulted from slavery, but they had no doubt that Longstreet had played a crucial role in the South’s eventual loss by carrying out Robert E. Lee’s orders on the third day at Gettysburg with insufficient vigor.

Yet the negative comments about Longstreet emerged overwhelmingly after the guns fell silent rather than before—indeed, Robert E. Lee referred to him affectionately as “my old war horse.”

From First Manassas to Appomattox, Longstreet served in all but one (Chancellorsville) of the major campaigns of the Army of Northern Virginia.

While not as aggressive as Lee’s other corps commander in the first two years of the war, Stonewall Jackson, the bluff, broad-shouldered Longstreet was arguably steadier and more consistent. 

Reflecting his preference for defensive warfare, his network of trenches, fieldworks, and artillery at the Battle of Fredericksburg, for instance, produced so many Federal casualties that it led to Lee’s famous remark, “It is well that war is so terrible, or we should grow too fond of it.”

In May 1864, Longstreet was mistakenly fired on by his own men near the start of the Battle of the Wilderness. Had he died from his wound, as Jackson had done in a similar incident near the same spot the year before, he would have joined Stonewall in the Valhalla of Confederate martyrs.  

Instead, while he could not assist Lee for five months in this critical campaign, he survived, albeit with a right arm paralyzed for life. 

To his own surprise as much as anyone else’s, this diehard who had strongly urged his commander not to surrender at Appomattox started to soften towards the North when he saw Ulysses Grant’s generous peace terms.

Subsequently, in advocating that Southerners should cooperate with the victorious North in rebuilding the region, defending former slaves from threats to their lives and rights, and questioning the ongoing deification of Lee and Jackson, Longstreet was reviled as a traitor—or, in the parlance of the time, a Southern “scalawag” who collaborated with Northern “carpetbaggers” in inflicting a vengeful peace and African-American leaders on whites.

Several factors led to the disaffection that so many Southerners began to feel for Longstreet:

*A June 1867 letter to the New Orleans Times, in which Longstreet advocated obedience to recent Reconstruction legislation—and even join the Republican Party—as a Union victory meant the issues that had divided the country previously were now settled. (See Patrick Young’s Nov. 2019 post from “The Reconstruction Era” blog for the text of the letter, as well as contemporary responses to it.)

*His nomination by his old friend Grant, whom he supported for President in 1868, to be the Surveyor of Customs for the Port of New Orleans, a political appointment seen as being to his advantage.

*His leadership of the biracial Louisiana militia and the New Orleans Metropolitan Police—service that came to an end when these forces were overwhelmed in a September 1874 insurrection by thousands of white supremacists at the “Battle of Liberty Place,” requiring federal troop intervention.

* General Jubal Early and William Pendleton, Lee’s artillery chief, castigated Longstreet in the 1870s for not launching a dawn attack on the Union at Gettysburg on the second day of battle. With Lee dead and no other proof available, the charge shouldn’t have stuck (particularly since Early and Pendleton had their own reasons for deflecting attention from their failures during the battle). But with his two critics not letting go—and with Longstreet himself increasingly resentful of how the reputations of Lee and Jackson were being exalted at his expense—the “old war horse” responded in a flurry of charges and countercharges, first in periodicals, then when he was 75 in an 800-page memoir that his enemies mined for inaccuracies and self-serving charges of his own.

For years, the Early-Pendleton side was supported by the likes of Douglas Southall Freeman in his Pulitzer Prize-winning biography of Lee. Only in the 1950s and 1960s did revisionist historians begin to look more critically at Early, Pendleton, and to a lesser extent, Lee.

In the last 40 years, biographers such as William Garrett Piston, Jeffrey Wert, and Cory Pfarr have offered more balanced appraisals of Longstreet’s military record, absolving him of charges of incompetence at Gettysburg and accepting that he was right in strongly urging Lee not to make the last disastrous assault on Day 3. 

This past fall, Univ. of Virginia historian Elizabeth Varon rendered an additional service to scholarship with Longstreet: The Confederate General Who Defied the South, which concentrates more on his postwar career than his service with the Army of Northern Virginia. In the process, it explains how prior misjudgments of Longstreet were based more on politics than on documentation or the context of events.  

But in the court of public opinion, Longstreet may have received significant support less from academic studies than from a 1974 novel. Michael Shaara’s account of the turning point of the war, The Killer Angels, won the Pulitzer Prize for Fiction, was adapted into the 1993 film Gettysburg, and inspired Shaara’s son Jeff to write other novels about the war in which Longstreet figured.

The Killer Angels and Gettysburg have led many readers to reevaluate conclusions about Longstreet that had seemed settled for nearly a century. They argued more convincingly for the general than he was able to do for the last three decades of his life.

Quote of the Day (Joe Queenan, on Things You Can Rely On, No Matter What)

“We have many, many anchors we can cling to during the dark night of the soul. Snickers bars. LeBron….Taylor Swift writing a song about her latest dud boyfriend. Rancid coffee in rural diners. No night life in downtown Minneapolis on Sunday night….Apple being mean to its rivals. Overpriced granola. Sting and Bono doing something pretentious. Waiters asking, ‘Is everything all right…so far?’ Amazon finding new ways to take over the universe.”—Humor columnist Joe Queenan, “Moving Targets”: A Shout-Out to the Same Old Same Old,” The Wall Street Journal, Nov. 22-23, 2014

Yeah, I wondered about that part on Taylor Swift. But it seems that Travis Kelce has only been dating her for a few months—nowhere near the staying power of others on Elle Australia’s indispensable list of the singer-songwriter’s boyfriends over the last 15 years.

The long and short of it is: Queenan’s sentence stays. Let’s see if Mr. Kelce is so lucky.

Monday, January 1, 2024

Quote of the Day (Roger Rosenblatt, on Resolutions for Improving the World)

“What if, instead of planning our exercise regimens, we focused our intentions on all that is undesirable in human activity — wars, bigotry, brutality, the despoiling of the earth — and sought to address it? What if instead of making a milquetoast resolution, we made airtight commitments?...

“The task of improving the world may seem impossible, but it isn’t. All it takes is the proper sequence of correct discrete decisions. Decisions are just resolutions with teeth.”—Essayist Roger Rosenblatt, “Resolve About Something Bigger Than Yourself,” The New York Times, Dec. 30, 2023

Joke of the Day (Morgan Cutolo, With a Resolution for the New Year)

“My resolution was to read more, so I turned on the subtitles on my TV.”— Freelance journalist Morgan Cutolo, “52 New Year’s Jokes That Will Have You Laughing into 2024,” Reader’s Digest, Dec. 28, 2023