My intention yesterday was not to post the Bjorn Andreas Bull-Hansen video. I was thinking that I had put up a reading of Francis Thompson’s ‘The Hound of Heaven’ not long ago, and I ought to do ‘In No Strange Land’ too. Because it’s a lovely poem of faith, possibly even better than the ‘Hound,’ but that’s an apples and oranges thing. (It also inspired the title of a hit movie and song of the 1950s.)
And there were several readings to choose from on YouTube. I sampled them, but they failed to please me. I have strong views on how this poem (which I memorized long ago and can still reel out) ought to be read.
Well, as they say, if you want something done right, you’ll have to do it yourself. And I have the technology.
Above, my reading of ‘In No Strange Land.’ Feel free to share it, if you like.
While Lars is off celebrating the history of one people, let me offer you some history of another people. One tenth of American colonists were from Scottish families who had moved to northern Ireland as pioneer farmers under the British Crown, an effort to quell “the wild Irish.” That effort worked, and Scottish Presbyterians found a measure of freedom and productivity they enjoyed. Then, as Britain has a tendency to do, the ruling class ruined it by raising taxes and trying to quell the Irish even more. The pioneer farmers felt the pressure from these measures and came to America, a place that many were told was free and like paradise.
They came to Pennsylvania first and later to all of the colonies, coloring the culture everywhere. Dr. James G. Leyburn writes, “In many ways the Scotch-Irish pioneers were indeed an augury of Americans-to-be. They were probably the first settlers to identify themselves as Americans—not as Pennsylvanians or Virginians” or any ethnic group. As such, these were colonists most vigorously in favor of rebelling against the British Crown.
“A Hessian captain wrote in 1778, ‘Call this war by whatever name you may, only call it not an American rebellion; it is nothing more or less than a Scotch Irish Presbyterian rebellion.’ King George was reported to have characterized the Revolution as ‘a Presbyterian war’ …” Leyburn says. These British officials saw the American Revolution as a Scottish Presbyterian uprising, which is not one of many characterizations of it, according to Leyburn. No other group of immigrants was accused of fueling the war like these Ulstermen.
Maybe these characterizations were made because it put the American conflict in familiar British terms. England had wrestled against Scottish and Irish independence for generations. Scottish Presbyterians, in particular, had been a torn beneath the crown for a long time because they wouldn’t conform to Anglican unification efforts.
But maybe Leyburn’s depiction of Scotch-Irish influence in America is accurate. He says, “Their daily experience of living on the outer fringe of settlement, of making small farms in the forests, of facing the danger of Indian attack and fighting back, called for qualities of self-reliance, ingenuity, and improvisation that Americans have ranked high as virtues. They were inaugurators of the heroic myth of the winning of the West that was to dominate our nineteenth century history.” They blended with another immigrants, pushing everyone into losing their immigrant labels and becoming simply American. Those labels would return 50-100 years later as people tried to distinguish themselves from new immigrants.
There’s a lot more to the story, which you can read in this American Heritage article taken from Leyburn’s book on the topic.
In other news . . .
Movie Adaptations: Joel Miller talks about The Children of Men as a book and a movie. “We sometimes forget how radically books and movies differ as media. Jumping from one to the other requires significant adjustment. Narration and character development must change, same with the amount of material capable of inclusion.”
YouTube Reaction: How much of YouTube content is reacting to other YouTube content, generating a new form of reality show? Call me Chato, a former TV exec, talks about it.
Today, I’m reading a book I’m enjoying very much. Actually I’m re-reading it – it’s an old favorite. I hope to review it tomorrow.
How’s the writing going? Not bad. Today I got back to laying down text, after several days doing research on Caithness and Orkney, where my characters are bound. I reached 50,000 words, which is half the length I’ve imagined for the book. So that’s on course.
Also, I finished revisions on a magazine article I was commissioned to do. This means, I’m reasonably sure, that I’ll have some money coming in at some point. Also a good thing.
Above, a nice YouTube video I found, on the Library of Alexandria. I remember a teacher in high school telling us about the great tragedy of its loss. According to this presentation, that’s all been overblown. Often by people who have have axes to grind (even some axes I grind myself now and then). But there’s less there than meets the eye, it would appear. No doubt much knowledge has been lost through the centuries, but the cataclysmic holocaust at Alexandria seems to be scholarly folklore.
It’s kind of comforting to know that scholars have their popular fallacies too.
As I read John D. MacDonald’s A Deadly Shade of Gold, which I reviewed yesterday, I was reminded of the 1970 film production of another Travis McGee book, Darker Than Amber. I found that it was on YouTube (in a somewhat muddy recording), and figured I’d watch it. I’d seen it before, on television sometime in the ‘70s, I think. I remembered I liked it. I wondered how it held up.
The answer is, not very well. In my opinion, it should have been called Darker Than Camembert, because there’s a whole lot of cheese goin’ on here.
The movie plot follows the book fairly closely, I’ll give it that. Travis McGee (played by Rod Taylor) is fishing with his friend Meyer (Theodore Bickel) when a girl (Suzy Kendall) drops off a nearby bridge with a weight tied to her ankles (if I recall right, it was a concrete block in the book; here it’s a bodybuilder’s weight). This is the sort of thing that happens to McGee all the time, of course, and he is quickly overboard, diving to free the girl and bring her back to the surface alive. She turns out to be named Vangie, and she’s pretty messed up. She ignores Travis’ safety warnings, and is soon in trouble again. Which puts McGee on a collision course with Terry (the great heavy William Smith in his best paranoid mode), a bodybuilder (probably on too many steroids) who has been working a badger game with Vangie. The film culminates in a brutal fight between McGee and Terry on a cruise ship. (According to Smith’s own statement, Taylor hit him in earnest and he hit back, so the fight you see is genuine. Taylor broke three of Smith’s ribs, while Smith broke Taylor’s nose. Or so the story goes. I can’t imagine hitting William Smith at all, let alone hard enough for him to notice.)
John D. MacDonald hated this movie, and never tired of saying so. He felt that its emphasis was on violence rather than human beings and feelings.
What didn’t I like? For one thing, Rod Taylor wasn’t the right physical type for McGee (Robert Culp, who was also considered for the role, would have been closer to MacDonald’s descriptions). And we see little of the thoughtful McGee in this script, which concentrates on action. Miss Agnes, McGee’s Rolls Royce pickup, is here approximated by an RR with a sort of camper rear-end, clearly built over an intact vehicle.
But the worst part was the whole aesthetic of the thing, I think. 1960s styles, colors, camera angles, music. And to top it all, a particular makeup appliance worn by Smith at the end just looks silly.
Still, if you’d like to see a Travis McGee story on film, you can find it on YouTube. The only other attempt was a TV pilot called Travis McGee, which couldn’t be saved even by the deathless Sam Elliot in the lead. Among its sins – McGee wears a mustache, his houseboat has become a sailboat, and the whole setting has been moved to California.
I didn’t embed the film in this post, because I suspect there may be copyright problems and the whole thing’s likely to be pulled any day now. Cautions for violence and brief nudity.
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