I watched Doctor Zhivago tonight. Keira Knightley as Lara. Hans Matheson as Yuri Zhivago. It’s a well done TV miniseries from 2002. Moving, especially at the end. It’s not David Lean. But it works in its own way. Expanded, because of the extra time. And updated to allow for more modern depictions of the love affair.
Many things jumped out at me. But especially this: brief, ecstatic joy in the middle of a sea of sorrow. The embrace of that joy. Being consumed by it, perhaps because it is so brief. As is life. Especially life in the middle of revolution and civil war.
I had several eureka moments when I was a kid, regarding organized religion. These led to various breakaways and new directions, which I developed as I aged. No straight lines to some predetermined goal, to be sure. No easy paths to easy answers. There were always surprises and readjustments, new realizations of past errors, and new understandings of previous ignorance regarding this or that view held by others. And I tried to remain humble in the face of the mystery of why religions developed as they did and why they are so important to so many.
I always find it interesting to discover mergings, connections, and cross-fertilization across the arts. Fusions, juxtaposition, new combinations. And one of the most interesting of these, for me, is when Rock stars are influenced heavily by great novelists, poets and philosophers. Especially if the range is wide, and influence is not just on the surface. One such case was Jim Morrison ofThe Doors.
Morrison lived the life of a nomad, growing up with a father in the military who eventually became an admiral. They moved frequently. Perhaps that nomadic existence pushed Morrison into the philosophy of Nietzsche, another wanderer, and into the poetry of Rimbaud, who may have set records along those lines. . . . Read more. “Break on Through!”
Tori Amos is one of my favorite Alt-rock divas. Of course, the word “diva” doesn’t really fit her. In our pop culture, it has too many negative overtones to apply to such a refreshingly eccentric woman. It has too many negative undertones to apply to a tremendously creative artist who constantly evolves, sheds old skin for new, and never seems afraid. Of anything.
I’ve been a big fan since 1992 when her second album came out. One listen to her Little Earthquakes and I could tell that she was “for real” and uniquely capable of merging classical piano, deeply emotional and personal songwriting, with ethereal harmonies and moving melodies. It also helped that she was a hometown girl in a sense. . . . Read more. “The Many Little Earthquakes of Tori Amos”
When a society is wealthy, it takes on new responsibilities. New possibilities and opportunities open up for it. It has the potential to increase its own wealth and well-being many times over, if it just thinks ahead of itself and its own instant gratification. If it just thinks ahead of itself and its desire for personal gratification. If it just thinks ahead of now.
If the people of this wealthy society unite in common cause, they can do things that are impossible alone. They can do things that are impossible for individuals alone. They can even do things that are impossible for large institutions alone, or groups of those institutions. . . . Read more. “The New Atlantis”
It’s not often that a great writer’s life is more interesting in some ways than his books. But that’s the case with Pramoedya Ananta Toer. Born on the island of Java in 1925, Toer lived through several revolutions and national rebellions, participated in a few himself, and was imprisoned both by the Dutch colonial government and then later by the Suharto regime.
While in jail during his first imprisonment in 1947-49, he wrote his first novel, The Fugitive. During his second imprisonment, this time by the Suharto regime in 1965, he accomplished something even more amazing. Denied pen and paper, he managed to construct a tetralogy, recite it to his fellow prisoners, and eventually get it down on paper and published after his release in 1979. . . . Read more. “Pramoedya Ananta Toer”
All art is paradox. But Rothko, perhaps more than any other modern painter, embraced the paradox and threw it profoundly in our faces.
The canvas is flat. You can’t enter it. You can’t go through it, if it’s hanging on the wall. At least without injury and perhaps a heavy bill from the gallery. But Rothko continuously tells the audience to do just that. Embrace the painting, enter it, walk into it, let it engulf you and torture you and shake you. Shake the core of you. He wants the painting to be a plane and an entrance way in the same bright moment. . . . Read more. “Rothko’s Paradox”
Roberto Arlt was born in Buenos Aires, Argentina, in 1900. His parents were German immigrants and German was the language spoken at home. They were poor. Long term formal education was pretty much out of the question, so Roberto took to the streets at an early age and learned there and in the library. He read a lot of Russian literature, especially Dostoevsky and Tolstoy. I can see Raskolnikov in his books, and Dostoevsky hovering over them, though Arlt puts less anger and despair on the page. Ezra Pound would have said of Arlt, if he had known him, that he modernized himself.
It was also the case that he made his own way in society with little help, working hard at an early age, writing for newspapers, later joining the military, and then taking odd jobs here and there until his career in journalism started paying some dividends. . . . Read more. “The Seven Madmen”