It happened that the ship, gaining her port, was moored to the dock on a Fourth of July | From Herman Melville’s Israel Potter

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It happened that the ship, gaining her port, was moored to the dock on a Fourth of July; and half an hour after landing, hustled by the riotous crowd near Faneuil Hall, the old man narrowly escaped being run over by a patriotic triumphal car in the procession, flying a broidered banner, inscribed with gilt letters:

“BUNKER-HILL
1775.
GLORY TO THE HEROES THAT FOUGHT!”

It was on Copps’ Hill, within the city bounds, one of the enemy’s positions during the fight, that our wanderer found his best repose that day. Sitting down here on a mound in the graveyard, he looked off across Charles River towards the battle-ground, whose incipient monument, at that period, was hard to see, as a struggling sprig of corn in a chilly spring. Upon those heights, fifty years before, his now feeble hands had wielded both ends of the musket. There too he had received that slit upon the chest, which afterwards, in the affair with the Serapis, being traversed by a cutlass wound, made him now the bescarred bearer of a cross.

For a long time he sat mute, gazing blankly about him. The sultry July day was waning. His son sought to cheer him a little ere rising to return to the lodging for the present assigned them by the ship-captain. “Nay,” replied the old man, “I shall get no fitter rest than here by the mounds.”

But from this true “Potter’s Field,” the boy at length drew him away; and encouraged next morning by a voluntary purse made up among the reassembled passengers, father and son started by stage for the country of the Housatonie. But the exile’s presence in these old mountain townships proved less a return than a resurrection. At first, none knew him, nor could recall having heard of him. Ere long it was found, that more than thirty years previous, the last known survivor of his family in that region, a bachelor, following the example of three-fourths of his neighbors, had sold out and removed to a distant country in the west; where exactly, none could say.

He sought to get a glimpse of his father’s homestead. But it had been burnt down long ago. Accompanied by his son, dim-eyed and dim-hearted, he next went to find the site. But the roads had years before been changed. The old road was now browsed over by sheep; the new one ran straight through what had formerly been orchards. But new orchards, planted from other suckers, and in time grafted, throve on sunny slopes near by, where blackberries had once been picked by the bushel. At length he came to a field waving with buckwheat. It seemed one of those fields which himself had often reaped. But it turned out, upon inquiry, that but three summers since a walnut grove had stood there. Then he vaguely remembered that his father had sometimes talked of planting such a grove, to defend the neighboring fields against the cold north wind; yet where precisely that grove was to have been, his shattered mind could not recall. But it seemed not unlikely that during his long exile, the walnut grove had been planted and harvested, as well as the annual crops preceding and succeeding it, on the very same soil.

Ere long, on the mountain side, he passed into an ancient natural wood, which seemed some way familiar, and midway in it, paused to contemplate a strange, mouldy pile, resting at one end against a sturdy beech. Though wherever touched by his staff, however lightly, this pile would crumble, yet here and there, even in powder, it preserved the exact look, each irregularly defined line, of what it had originally been—namely, a half-cord of stout hemlock (one of the woods least affected by exposure to the air), in a foregoing generation chopped and stacked up on the spot, against sledging-time, but, as sometimes happens in such cases, by subsequent oversight, abandoned to oblivious decay—type now, as it stood there, of forever arrested intentions, and a long life still rotting in early mishap.

“Do I dream?” mused the bewildered old man, “or what is this vision that comes to me of a cold, cloudy morning, long, long ago, and I heaving yon elbowed log against the beech, then a sapling? Nay, nay, I cannot be so old.”

“Come away, father, from this dismal, damp wood,” said his son, and led him forth.

Blindly ranging to and fro, they next saw a man ploughing. Advancing slowly, the wanderer met him by a little heap of ruinous burnt masonry, like a tumbled chimney, what seemed the jams of the fire- place, now aridly stuck over here and there, with thin, clinging, round, prohibitory mosses, like executors’ wafers. Just as the oxen were bid stand, the stranger’s plough was hitched over sideways, by sudden contact with some sunken stone at the ruin’s base.

“There, this is the twentieth year my plough has struck this old hearthstone. Ah, old man,—sultry day, this.”

“Whose house stood here, friend?” said the wanderer, touching the half-buried hearth with his staff, where a fresh furrow overlapped it.

“Don’t know; forget the name; gone West, though, I believe. You know ’em?”

But the wanderer made no response; his eye was now fixed on a curious natural bend or wave in one of the bemossed stone jambs.

“What are you looking at so, father?”

“‘Father!’ Here,” raking with his staff, “my father would sit, and here, my mother, and here I, little infant, would totter between, even as now, once again, on the very same spot, but in the unroofed air, I do. The ends meet. Plough away, friend.”

Best followed now is this life, by hurrying, like itself, to a close.

Few things remain.

He was repulsed in efforts after a pension by certain caprices of law. His scars proved his only medals. He dictated a little book, the record of his fortunes. But long ago it faded out of print—himself out of being—his name out of memory. He died the same day that the oldest oak on his native hills was blown down.

From Herman Melville’s novel Israel Potter: His Fifty Years of Exile

“…the amazing, world-reversing night of Fourth of July Eve 1899″ (Pynchon’s Against the Day)

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For years after, there were tales told in Colorado of the amazing, world-reversing night of Fourth of July Eve 1899. Next day’d be full of rodeos, marching bands, and dynamite explosions—but that night there was man-made lightning, horses gone crazy for miles out into the prairie, electricity flooding up through the iron of their shoes, shoes that when they finally came off and got saved to use for cowboy quoits, including important picnic tourneys from Fruita to Cheyenne Wells, why they would fly directly and stick on to the spike in the ground, or to anything else nearby made of iron or steel, that’s when they weren’t collecting souvenirs on their way through the air—gunmen’s guns came right up out of their holsters and buck knives out from under pants legs, keys to traveling ladies’ hotel rooms and office safes, miners’ tags, fencenails, hairpins, all seeking the magnetic memory of that long-ago visit. Veterans of the Rebellion fixing to march in parades were unable to get to sleep, metallic elements had so got to humming through their bloodmaps. Children who drank the milk from the dairy cows who grazed nearby were found leaning against telegraph poles listening to the traffic speeding by through the wires above their heads, or going off to work in stockbrokers’ offices where, unsymmetrically intimate with the daily flow of prices, they were able to amass fortunes before anyone noticed. .

A passage from Thomas Pynchon’s novel Against the Day.

This poor uncle, full of patriotism, opened his mouth to hurrah, and a rocket went down his throat | Mark Twain

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Our Ambassador has spoken of our Fourth of July and the noise it makes. We have got a double Fourth of July—a daylight Fourth and a midnight Fourth. During the day in America, as our Ambassador has indicated, we keep the Fourth of July properly in a reverent spirit. We devote it to teaching our children patriotic things—reverence for the Declaration of Independence. We honor the day all through the daylight hours, and when night comes we dishonor it. Presently—before long—they are getting nearly ready to begin now—on the Atlantic coast, when night shuts down, that pandemonium will begin, and there will be noise, and noise, and noise—all night long—and there will be more than noise there will be people crippled, there will be people killed, there will be people who will lose their eyes, and all through that permission which we give to irresponsible boys to play with firearms and fire-crackers, and all sorts of dangerous things: We turn that Fourth of July, alas! over to rowdies to drink and get drunk and make the night hideous, and we cripple and kill more people than you would imagine.

We probably began to celebrate our Fourth-of-July night in that way one hundred and twenty-five years ago, and on every Fourth-of-July night since these horrors have grown and grown, until now, in our five thousand towns of America, somebody gets killed or crippled on every Fourth-of-July night, besides those cases of sick persons whom we never hear of, who die as the result of the noise or the shock. They cripple and kill more people on the Fourth of July in America than they kill and cripple in our wars nowadays, and there are no pensions for these folk. And, too, we burn houses. Really we destroy more property on every Fourth-of-July night than the whole of the United States was worth one hundred and twenty-five years ago. Really our Fourth of July is our day of mourning, our day of sorrow. Fifty thousand people who have lost friends, or who have had friends crippled, receive that Fourth of July, when it comes, as a day of mourning for the losses they have sustained in their families.

I have suffered in that way myself. I have had relatives killed in that way. One was in Chicago years ago—an uncle of mine, just as good an uncle as I have ever had, and I had lots of them—yes, uncles to burn, uncles to spare. This poor uncle, full of patriotism, opened his mouth to hurrah, and a rocket went down his throat. Before that man could ask for a drink of water to quench that thing, it blew up and scattered him all over the forty-five States, and—really, now, this is true—I know about it myself—twenty-four hours after that it was raining buttons, recognizable as his, on the Atlantic seaboard. A person cannot have a disaster like that and be entirely cheerful the rest of his life. I had another uncle, on an entirely different Fourth of July, who was blown up that way, and really it trimmed him as it would a tree. He had hardly a limb left on him anywhere. All we have left now is an expurgated edition of that uncle. But never mind about these things; they are merely passing matters. Don’t let me make you sad.

From a July 4, 1907 toast Twain delivered at an American Society banquet in London.

Posted in Art

Book buying in Boston blog

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We spent most of the last week of June in Boston, a city I’d never visited before. The trip was ostensibly a birthday present for my son, who wanted to see one of his favorite noisy rock bands play, but it was also an excuse to exit the dreadful cruel wet heat of Florida summer. We stayed in the Back Bay neighborhood and did many of the requisite touristy things one expects of touring visitors, but also just soaked in the city’s vibes. The city was slammed with soccer — or football, excuse me — look, the city of Boston was crammed with World Cup goers, fans from all over it seemed, as well as localish folks who attended the France-Norway match in their New England Patriots gear. The general attitude of the city and its people seemed unexpectedly positive and generally very friendly. When I told a driver that I was surprised at how friendly everyone seemed, he told me that It’s because it’s the summer; it’s because you’re a tourist. (I had always thought that everybody hates a tourist.)

Boston is larded with good schools and good health care and just generally a lot of brains and history and such, which means a lot of bookstores, too many to get to, but I tried.

Brattle Book Shop is probably the most famous bookstore in Boston. The ground floor has a nice selection of used fiction, including curated and inexpensive mass market paperbacks (mostly sci-fi). The third floor is where the real magic is — rare and signed editions, not unreasonably priced, but I couldn’t find anything I had to have. (The truth is I like to stumble upon something odd in the wild. The hunt isn’t really fun when it’s already neatly bagged up and labeled for you.) I probably could’ve spent another hour at Brattle, but my scanning the bargain books carted outside was cut short by my hungry hungry teenagers.

I had better luck hunting a few days later at Harvard Book Store in Cambridge. I picked up a handsome and inexpensive (and frankly unread) copy of John A. Williams’ novel Captain Blackman. I actually read and reviewed Captain Blackman earlier this month; I’d been looking for a copy for awhile and eventually just checked it out from the library after I finished Williams’ most famous novel The Man Who Cried I Am. From my review Captain Blackman:

Captain Blackman is an astounding, imaginative, and appropriately angry synthesis of Black military history in the United States. It blends genre elements from war novels, science fiction, Westerns, political and economic theory, and even romance novels, and cites heavily from a range of historical documents. It’s very smart and often very funny, at times quite horny, and even surreal. It’s baggy and ambitious and rich and encyclopedic. I loved it.

I also picked up a copy of Joseph McElroy’s novel Actress in the House. About five years ago, maybe more, I came across a cache of maybe five or six McElroy’s novels at my favorite used bookstore and didn’t pick them up, and have since regretted it. When I opened it to check the price I was surprised to find it signed by the author (and not anywhere close to Brattle prices):

I visited a few other book stores, mostly incidentally, including Trident Booksellers and Beacon Hill Books (a cute spot but not all my vibe). And on my walk through the Freedom Trail I got to visit the storied and venerable Old Corner Bookstore, an American literary landmark that was once home to the publishing house Ticknor and Fields, which published titles by luminaries like Longfellow, Hawthorne, Thoreau, Emerson, Stowe, and Twain.

It is now a fucking Chipotle.

Thankfully the Central Library in Copley Square remains bibliocentered and not burritocentered. I enjoyed the zine collection in the modern wing of the library, but it’s the old library that really blew me away (particularly John Singer Sargent’s Triumph of Religion series of murals on the third floor). I even made a little time to check on my boy Ruggles’ ancestry while I was in the library–

–but it was closing before I could get much farther. It’s good to leave something for a future visit I suppose.

“I’ll be dead very soon” | Valedictory visit with William T. Vollmann

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Detail from photograph of William T. Vollmann by Alexander Sorondo

Just over a year ago, Alexander Sorondo published a long profile of William Vollmann in The Metropolitan Review. Today, at his website Big Reader Bad Grades, Sorondo has published an account of his recent visit to Vollmann out in Sacramento. Titled “We Always Leave Things Unfinished,” and ostensibly about Vollmann’s forthcoming CIA novel A Table for Fortune, Sorondo’s piece reads like a valediction to a departing hero. Vollmann, sick with cancer, laments his “chemo mind” throughout the interview — less a formal interview, really, than Sorondo taking with a brilliant and tired mind — he, Sorondo, captures in words what I think hanging out with Vollmann for a spell might feel like. Anger, sadness, and resignation weaves through the piece, but it’s leavened with moments of bright cheer (Vollmann blithely greeting everyone he passes) or deadpan humor. Consider this passage, where Vollmann recounts what has to have been the worst year of his life, beginning with the death of his daughter:

“In twenty-twenty-twooo,” like he’s climbing down into the memory, Lisa died, Viking fired me, and—for some reason I don’t understand—Ohio State fired me.” The school had been buying his manuscripts. That amounted to “ten thousand a year…less twenty percent for my manuscript dealer.”

We sit with that a moment. I’m thinking back to the profile I wrote last year. Trying to remember if he’s reciting these losses by sequence or scale.

“You got hit by a car, too, right?”

“Yeah that too.”

There’s so much pain and loss there, but the last bit of dialogue made me laugh out loud.

Perhaps the saddest bit in the interview, from a selfish reader’s perspective, is Vollmann acknowledging that he will likely not finish what is arguably his most ambitious project:

“Do you feel any pressure to finish Seven Dreams?”

“I’m not gonna touch it.” Resigned and certain. He says finishing even one of the two remaining volumes would likely take “more time than I have left.” Plus the fights it’ll prompt with his publishers. “About a quarter of the last one is completed, and then much less of the other one.”

“I don’t want it to come out looking like a piece of crap so,” he flaps a hand, hits a thigh, “just forget it.”

Check out Sorondo’s profile, “We Always Leave Things Unfinished.”

Sunday Comix

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“I Don’t Get It” by Robert Crumb, published in Mystic Funnies #1, Alex Wood, 1997.

Read “Rogue Tomato,” a surreal sci-fi story by Michael Bishop

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“Rogue Tomato”

by

Michael Bishop

THE METAMORPHOSIS OF PHILIP K.

When Philip K. awoke, he found that overnight he had grown from a reasonably well shaped, bilaterally symmetrical human being into . . . a rotund and limbless planetary body circling a gigantic gauzy-red star. In fact, by the simple feel, by the total aura projected into the seeds of his consciousness, Philip K. concluded that he was a tomato. A tomato of approximately the same dimensions and mass as the planet Mars. That was it, certainly: a tomato of the hothouse variety. Turning leisurely on a vertical axis tilted seven or eight degrees out of the perpendicular, Philip K. basked in the angry light of the distant red giant. While basking, he had to admit that he was baffled. This had never happened to him before. He was a sober individual not given to tippling or other forms of riotous behavior, and that he should have been summarily turned into a Mars-sized tomato struck him as a brusque and unfair conversion. Why him? And how? “At least,” he reflected, “I still know who I am.” Even if in the guise of an immense tomato he now whirled around an unfamiliar sun, his consciousness was that of a human being, and still his own. “I am Philip K. and somehow I’m still breathing and there must be a scientific explanation for this” is a fairly accurate summary of the next several hours (an hour being measured, of course, in terms of one twenty-fourth of Philip K.‘s own period of rotation) of his thought processes.

AS I LIVE AND BREATHE

Several Philip K.-days passed. The sufferer of metamorphosis discovered that he had an amenable atmosphere, a topological integument (or crust, although for the skin of a void-dwelling variety of Lycopersicon esculentum the word crust didn’t seem altogether appropriate) at least a mile thick, and weather. Inhaling carbon dioxide and exhaling oxygen, Philip K. photosynthesized. Morning dew ran down his tenderest curvatures, and afternoon dew, too. Some of these drops were ocean-sized. Clouds formed over Philip K.‘s equatorial girth and unloaded tons and tons of refreshing rains. Winds generated by these meteorological phenomena and his own axial waltzing blew backward and forward, up and down, over his taut ripening skin. It was good to be alive, even in this disturbing morphology. Moreover, unlike that of Plato’s oysters, his pleasure was not mindless. Philip K. experienced the wind, the rain, the monumental turning of himself, the internal burgeoning of his juices, the sweetness of breathing, and he meditated on all these things. It was too bad that he was uninhabited (this was one of his frequent meditations), so much rich oxygen did he give off. Nor was there much hope of immediate colonization. Human beings would not very soon venture to the stars. Only two years before his metamorphosis Philip K. had been an aerospace worker in Houston, Texas, who had been laid off and then unable to find other employment. In fact, during the last four or five weeks Philip K. had kept himself alive on soup made out of hot water and dollops of ketchup. It was—upon reflection—a positive relief to be a tomato. Philip K. inhaling, exhaling, photosynthesizing, had the pleasurable existential notion that he had cut out the middleman.

THE PLOT THICKENS

Several Philip K.-months went by. As he perturbated about the fiery red giant, he began to fear that his orbit was decaying and that he was falling inevitably, inexorably, into the furnace of his primary, there to be untimely stewed. How large his sun had become. At last, toward the end of his first year as a planetary tomato, Philip K. realized that his orbit wasn’t decaying. No. Instead, he was growing, plumping out, generating the illimitable juiciness of life. However, since his orange-red epidermis contained an utterly continuous layer of optical cells, his “eyes,” or The Eye That He Was (depending on how you desire to consider the matter), had deceived him into believing the worst. What bliss to know that he had merely grown to the size of Uranus, thus putting his visual apparatus closer to the sun. Holoscopic vision, despite the manifold advantages it offered (such as the simultaneous apprehension of daylight and dark, 360-degree vigilance, and the comforting illusion of being at the center of the cosmos), could sometimes be a distinct handicap. But though his orbit was not decaying, a danger still existed. How much larger would he grow? Philip K. had no desire to suffer total eclipse in a solar oven.

Continue reading “Read “Rogue Tomato,” a surreal sci-fi story by Michael Bishop” →

Legman assman bustman, abominable Henry | John Berryman

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“Legman assman bustman, abominable Henry”

(from Henry’s Fate and Other Poems)

by

John Berryman

Legman assman bustman, abominable Henry
wandered thro’ France & Italy agog:
my God what visible places.
Everywhere he studied with both his eyes the faces
of those whose fates were his, like a Sligo bog
to be cut & burnt, or be

flourisht amongst great clouds for a long time
ah next San Marco choiring, who was cut off
just ere he finisht his work,
Henry’s destiny? He fought it tooth & rime
country to country, hanging on. When he’s had enough
he’ll mount into the dark

but not (praise Serenissimo) until
tranquil in Athens to the final touch
he takes his restless labour.
O he is not working as at the mill
nor is he working yet for any neighbour
save two, whom with the future he counts on much.

Pause — Rosa Loy

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Pause, 2019 by Rosa Loy (b. 1958)

Lithogenesis (Book acquired, mid-June 2026)

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Lithogenesis is by Rainer J. Hanshe “with flares of” Dejan Lukić. The book, subtitled A Choral Poetics of Accretion, Rupture, & Becoming, is forthcoming from Contra Mundum. Their description:

Lithogenesis: A Choral Poetics of Accretion, Rupture, & Becoming announces a radical reconfiguration of writing — not as expression, but as mineral formation, as geophonic resonance. It begins from the conviction that language is not a human construct but an elemental process through which matter listens, dreams, and becomes. Against the anthropocentric myth of linguistic mastery, this work proposes a choral poetics wherein stone, soil, water, and stellar plasma each sound through the human sensorium.

Drawing upon Hölderlin’s seismic attunement, Nietzsche’s solar metamorphosis, Artaud’s telluric scream, and Deleuze and Guattari’s planetary becomings, this poetics unfolds as a living continuum between geologic & cosmologic consciousness. From Empedocles to Baudelaire to Carmelo Bene, lithogenetic poetics listens to a subterranean lineage — the poets of pressure, fracture, and resonance — who wrote with the earth rather than upon it.

Central to its proposition is the concept of allogenic writing — writing that originates elsewhere, transported like a stone across strata, containing alien inclusions. This notion emerges in explicit opposition to automatic writing, whose psychical automatism remains confined within the human nervous system. Lithogenesis moves far beyond such limitations: it is not the unconscious that writes, but the earth itself, the cosmic forces inscribed through us.

Portraits of Kafka and His Father — José Luis Cuevas

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Portraits of Kafka and His Father, 1957 by José Luis Cuevas (1934–2017)

Sunday Comix

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From Mi pequeño (Mon fiston) by Olivier Schrauwen, Norma Editorial, 2009.

A review of Captain Blackman, John A. Williams’ postmodern novel of a Black soldier unstuck in time

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In his contemporary review of John A. Williams’ 1972 novel Captain Blackman, George Davis wrote that “One of the major burdens for the black novelist is that he has to correct so much accepted history.” This is the quest of both Williams and Captain Abraham Blackman: to correct so much accepted history; specifically, to correct the accepted and misinformed mainstream history of Black soldiers in America.

And the novel succeeds. Captain Blackman is an astounding, imaginative, and appropriately angry synthesis of Black military history in the United States. It blends genre elements from war novels, science fiction, Westerns, political and economic theory, and even romance novels, and cites heavily from a range of historical documents. It’s very smart and often very funny, at times quite horny, and even surreal. It’s baggy and ambitious and rich and encyclopedic. I loved it.

Our titular hero is Abraham Blackman. If the name strikes a reader as overly allegorical, let it go; get used to it. Williams has larded his novel with names that are clearly analogs or allegories of historical figures and contemporary writers (including not-so-sly references to Chester Himes, E.L. Doctorow, and others). Blackman’s nemesis is one Ishmael Whittman. Make of that what you will. 

Blackman is an Army Captain serving in the Vietnam War at the novel’s outset. He’s extraordinarily popular with the soldiers under his command, who religiously attend his seminars on Black military history (much to the chagrin of Major Whittman). Blackman also inspires his soldiers with his enormous size, physical strength, and bravery — he’s almost a superhero. In the novel’s opening pages, Blackman is terribly wounded while drawing enemy fire away from his squad and loses consciousness. 

What happens next is a matter of interpretation. The most surface -level interpretation might be something like this: The rest of the novel takes place as a series of dream episodes, in which Blackman experiences a metaphorical eternal return, soldiering throughout earlier American wars. These episodes are anchored by periodic returns to the contemporary Vietnam War setting, in which Blackman’s charges (and his love interest) worry about his future. A second interpretation might go something like this: Abraham Blackman is unstuck in time. He is a mythical figure experiencing a literal eternal return; he is on a mission to not only correct the accepted history of Black Americans that has been so heavily-inked by white supremacy, but to actually thwart that white supremacy.

In any case, iterations of Blackman move through American history: the Revolutionary War, the War of 1812, the Civil War, the Plains Wars, the Spanish American War, and so on. In each new war an old pattern repeats: Black soldiers serve bravely but are denied trust, recognition, and justice. Blackman sees Black Americans sent into battle under degrading conditions, watches atrocities committed against Black troops, and encounters moments when official history conceals or distorts what happened.

The racist, imperialist mentality Williams critiques finds its anchor in Blackman’s enemy, Major Ishmael Whittman, who appears in multiple historical settings, making him less an ordinary rival than a continuing force of oppression that Blackman cannot escape (and will eventually have to defeat). Other figures sharpen the conflict reverberating through time, like Blackman’s love interest, Mimosa Rogers, who appears across periods as a strong, self-protective woman who urges him to endure and resist. Lieutenant Luther Woodcock is a younger Black soldier shaped by Blackman’s teaching, while Robert Doctorow is one of the men Blackman tries to educate about racism. Blackman is not just a fighter, but also as a mentor and interpreter of history, a sort of warrior monk who protects, reveals, and shares a marginalized tradition. He sees himself as “a black man barreling through centuries of monumental and ritualized taboo to revenge himself.”

The novel’s trajectory reveals a paradox that Blackman comes to realize passing through war after war: Black military service has been essential to the nation and yet repeatedly erased or exploited. Blackman recognizes the inertia of this paradox, but anticipates its ultimate reversal: “We’re all trapped by our history; playing games, doing the easiest and the most obvious, but one day that’ll change and it’ll be terrible to see.”

Playing games — yes, for Blackman, here is another paradox: war is serious, deadly, but ultimately a game with no real winner. He meets a child soldier in the Spanish Civil War:

Jesus, Blackman thought. What was he thinking, how awful that the kid was here? Still thinking of noble, right-aged soldiers who never got killed messily? Still thinking of right making might? Since when did old men fight wars? And hadn’t it happened before, at Marathon, in Zululand? Wherever men fought, there you found the boys also. War was the big game humans played, and when one was over, the corpses buried, the hardware of murder sold to lesser countries for lesser wars, they began still another game.

The chapters of Captain Blackman concerning the Spanish Civil War are particularly interesting; it’s the only war that Blackman fights in in which he is not a U.S. soldier. He chooses to go to the war, with his friend Doctorow, out of the hope that

there in the land of Cervantes could flourish, if not murdered, the kind of life they believed America should’ve been able to offer its citizens. There was where fascism, racism and economic inequality could be beaten back; there the people could beat the big money. …They reinforced one another, finally, with Blackman concluding that he could fight American lynch law by fighting Spanish fascism; Doctorow concluding that he could fight international anti-Semitism by volunteering for the Republic, one which surely would, after five hundred years, renounce its official anti-Semitism.

Williams’ novel underscores the cyclical nature of war even as it highlights values that are worth fighting for — and values that merit violent resistance. It’s been over a half-century since Captain Blackman’s publication, and we see full-throated fascism not just “on the rise,” but practiced by our government.

Indeed, while reading Captain Blackman I found myself repeatedly jotting down notes on page after page that amounted to, No different today. The book’s last chapter features a particularly remarkable section, “Blackman’s Cadence”; these lines struck me hard in the face:

What nation today could afford to take on the problems of a vassal state won by conquest, when it’s so goddamn clear that no state that now exists is even close to solving its own internal problems? And we’d have to teach this: If America could make military power relevant to political bargaining with other superpowers, couldn’t we, once that military power was in our hands, or short-circuited by us, bargain politically for all we never got? Wasn’t America more vulnerable now than at any other time in history, man, since all aspects of its society were gathered at the toe-jam-smelling feet of its military monuments? Neutralize that power and what have you? The world’s strong boy unmasked as an impotent masturbator.

“The world’s strongest boy unmasked as an impotent masturbator” is a deadly zinger. But it’s the opening sentiment of the paragraph that’s so plainly horrific. The warmakers — not the children who fight the wars or die in them, but the warmakers — have no interest in resolving anyone’s problems. We know that Power will not resolve the problems of a conquered vassal state because Power will not resolve its own problems.

Blackman’s solution to all of this — well, look, I won’t spoil it — I loved the end of the novel. Williams could have done anything there but what he did was extraordinary, especially given the ambiguous, paradoxical interpretations that the novel presents? Was it all a dream — or a nightmare rather?

I read Captain Blackman immediately after finishing The Man Who Cried I Am, the 1967 novel Williams is most famous for. Both are excellent, and The Man Who Cried I Am is probably a better novel, more intimate and frankly somber, but I enjoyed Captain Blackman more — it’s the riskier book: uneven at moments, perhaps, but powerful because its mix of genres mirrors the scale and instability of the history it is trying to tell.

It’s worth noting that Captain Blackman was published the same year as Ishmael Reed’s classic Mumbo Jumbo, and while it doesn’t telegraph the same slapstick energy, it nevertheless reverberates with a similar surreal edge. Leon Forrest would publish There Is a Tree More Ancient Than Eden, just the next year, another experimental novel concerning eternal return, memory, and history. Williams’ novel also strongly recalled Thomas Pynchon’s treatment of both race and war, particularly in Gravity’s Rainbow and V.

Captain Blackman deserves to be read not as a historical curiosity but as one of the great American war novels of the postwar period: formally restless, intellectually combative, and still electrifying in its anger. Williams turns historical fiction into a struggle over memory itself, insisting that Black military service cannot be separated from the long history of American betrayal. If the novel is uneven, that unevenness is bound up with its ambition. Williams’ novel breaks open “official” accepted history and forces something truer out of it. Very highly recommended.

“Just because the Founders said it hardly makes it so” | William T. Vollmann rakes through “American Ephemera” in a new long essay for the US’s semiquincentennial

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Shadows of Liberty, 2016, by Titus Kaphar (b. 1976)

William T. Vollmann has published a long essay, “American Ephemera,” in the latest issue of Harper’s. The essay is larded with citations, illustrations, and other “ephemera.” Here are the opening paragraphs of Vollmann’s preamble to the essay, “An Explanation”:

What dimensions has our America? I propose to offer you this antique measuring stick, with a few of my own prejudices rudely gashed in.

Just because the Founders said it hardly makes it so. Moreover, just because I have read some of them here and there hardly proves that I understand them. Fifty years after the signing of the Declaration of Independence, the Supreme Court’s longest-serving chief justice expressed sour expectations of my abilities: “Those who follow us,” wrote John Marshall, “will know very little of the real transactions of our day, and will have very untrue impressions respecting men and things. Such is the lot of humanity.” Indeed it is. Picking through his relics, I uncover one such disarticulated “real transaction,” dated 1788: “He told us that the principal danger arose from a government which, if adopted, would give away the Mississippi.” Tucking that item back into its coffin of irrelevance, I rake through kindred ephemera, hoping for something to serve our day—for although Marshall could hardly foresee my real transactions, maybe it will suffice that he loved the Constitution, hoped it would endure while fearing it wouldn’t, and did his best to operate its checks and balances with impartial fairness and benevolence: “a government of laws, and not of men.”

By “men” he meant white men who ideally would be Christian property owners. He owned slaves, whose humanity he acknowledged without opening his eyes to their rights. He married his Polly, loved her until the end, trusted her advice, but never thought her fit to vote. Well, the world changes; what else can it do? “It is not for the dead to give laws to the living,” remarked John Quincy Adams. “Prospective legislation upon the most uncertain of contingencies . . . is the broken column and mutilated inscription of Eternal Rome.” But since an array of brave, well-meaning, and often divergent minds (consider the bad blood between Marshall and Thomas Jefferson, with whom John Adams also feuded) could construct a triple-walled fortress of coherence in which our freedoms could dwell, and since, in this two-hundred-fiftieth year since 1776, the house still stands, improved by amendments and, thanks to its separation of powers, only partially corrupted, then I say the Founders built awfully well, at least for me. If I were black, or a woman, I might feel less grateful. All the same, they introduced the notions of equal rights and equal representation, leaving to us, as ancestors will, the task of making their house less imperfect. They knew “the lot of humanity,” the slime within us, for it was in them also.

James Joyce’s Ulysses, but just the punctuation

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. . . . . , . — — ! , ! , . , . . ? . . — — – , ! – , ! . . . . , , ! — — ! , , , , , , , , ‘ , , , , , , , , , , . . . — — ! ! . . . . . . , , , , , . — — ! . , . . ! . . , ! . , , , , , , , , , , , , . ‘ , . , , , , . , , . . . . . , . , , , . ‘ , . , , . , , , , . . — — , , . ‘ , , . , , . . . . . , , . . . , , ‘ . . . ‘ : ‘ ‘ . . , , , , ‘ , , ‘ . , , , , , , , , , , ‘ , ‘ , . – – : . . . . . . . , , , . . . ‘ . . . . . , . ‘ , , , , . , , , . . . . . : . . . . . . . . , ‘ ! . . : . . . . . . : . . . . : ‘ . . , . ? . . . , , . — — ‘ , , . : . . . . . , , : , , : , : : , : : , , : , : : . . . . . . . . . , . — — , , . . . . . ? . , : . ‘ . — — , . — — , . . . . : . . . . . ‘ . : . . ‘ . : , . . ‘ . ‘ . . , . . . : : . , , , . . ‘ . . , . . . . . , , , . . . , . . . . . . , , , . . , , , . . , , . . . , , , . ‘ , , . , , . ! ! . ! . . . ‘ , . . ‘ . . , : . : . . ? . . . . . . . . , . . . . . . . . ‘ . . . : . . . . ? , ? . ? ? , . . , , . . . . . . . . . . . . . ? ‘ . ‘ , . ‘ . . ? 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. , , . — — , , . : — — . , : — — ‘ . — — , , , . ‘ ‘ . — — , , . — — , . — — ‘ ? . — — , . — — , , . ‘ , ? . — — , , . ? ? ? , , . . , , ( ) . , , . . , . . , . , . , , , , , , , ‘ , , , , ‘ , , ‘ , , , ‘ , , , , , , , , , , . , . , , , , , , , , , , ‘ , , , . , , , , , , , , , , , , , . , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ‘ , ‘ . , . . , ‘ . . — — ‘ , . — — , ? . — — , . ‘ . — — , , ‘ . ‘ , ? ‘ , : . ‘ : . — — ‘ , , . . , . , . , , ‘ . , ‘ . : — — , , ; , ‘ : . ‘ , ? , , , , ‘ , , . ? . , , : , , : , , . . . — — , , . — — . , , : , , : , , , , . ‘ , , ! ‘ , ? — — , , , . . , . — — , , . — — , , . . ! ! ‘ ! . . , , , , , , . ‘ , . ‘ . ‘ . , , . . — — , . . ‘ . : . . . . — — ? . — — , , . — — ! . ‘ . — — , . — — ? . — — , . ‘ ‘ ‘ . , ‘ . . : . . — — ? . — — , , . ? — — , . ? . , , . ! . ‘ . . . . . . . — — ? . ? — — , , . ‘ , . , , . , , , , , , . , ‘ ‘ , . , , , , , , , , , , , , , , , . — — ‘ , , ? — — ‘ ? . — — , , . , ‘ . ‘ . . . — — ? . — — , . . . — — ? . . ‘ ‘ : — — ‘ , ? — — ‘ , . . . . . — — ? , . ? — — , . — — ? . — — , . ? — — ‘ ‘ ? . — — ! . — — , . — — ‘ , , . — — ‘ ? . — — , , . — — ? . , . . . ? . . . , ‘ . . . ? ? — — ? . ‘ . . . ? — — ! . ‘ . — — , . . — — ? . — — , . , . — — ! . . , . . . . , , , . . . : , , . . . ‘ . , . . ‘ ‘ , , . ‘ . . . : ‘ , . : . , , : , , . — — , , . — — ? . — — , . ‘ . , , . . , . — — ! . . , , ‘ : — — ? — — , . — — , , ? — — , , , . ‘ . . — — ‘ , , . , ‘ . , ‘ . — — , , , . . . , , ‘ , , , , , . — — , , . ‘ , , . . . — — , , ‘ , . ‘ . — — , ‘ , , . , ? . , . , . . . . — — , , . — — . . . . . . — — , . — — . . . . . . . — — , , ‘ , , . . , . — — , . — — , . , , , . , , , ? , ‘ ‘ ‘ . , ‘ . — — , , . . — — ‘ , , . ‘ . , . : , . ‘ ‘ . — — ‘ ‘ , . — — ‘ ? . — — ‘ ‘ , . — — ? . — — ‘ , . , . . — — , , . — — , . ‘ , ‘ , . . . . , , , . , , . . . . : — — ! , ! ! ! ! , ‘ : . ‘ . , . , . , , ‘ . , , . ! . . , , , ‘ , ‘ , , ‘ ‘ . , . ‘ ? . , , ‘ ‘ , ‘ , . ! — — , . — — , , . — — ‘ , . . . . — — ! . ! . . . . . ‘ . . – – – – – – – . . ‘ . . , , ( ) , , , – , , . , , , , , , , , , , , – , . . 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( . . ) — — ‘ , , . . . . , ? — — , , . . — — , , . . — — ? . — — , . ‘ . ? . ‘ . : , . ? ‘ . ‘ . ‘ ‘ , – , , , . . , , . , ‘ , , , . . , , , , ‘ ( ) . – . , , . . . , . . , . . . ; . , . . ; . . . , . . . ; . . , . . ; . . , . . ; . . . , . . . ; . . . , . . ; . . , . . . . ; . . , . . . ; . . , . . ; . , . . ; . , . . ; . , . . ; . , . . ; . . , . . . ; . . , . . ; . . . , . . ; . . , . . ; . ‘ , . . ; . . . , . . . ; . . . , . . ; . . . , . . ; . , . . ; . . , . . . , . , . , . — — , , – ? — — , . — — , . — — ? ? . : — — , , . — — , , . . — — , . ‘ . . — — , . , : — — , ‘ , ? — — , . . . . , , , . . , ‘ . . , ‘ , . , ‘ . , . . , , . , , , . . . . ‘ ‘ , . . ‘ . — — , . ‘ . — — , . ‘ ? — — ? . , . ‘ . , , . . — — . , ‘ ? . — — ? . ‘ , . . ‘ . . . ‘ . . . ‘ . . , . ? , . ? ‘ ‘ , . ‘ . ‘ , . . : . : . , ‘ ‘ , , ‘ , . — — , . — — , . — — , . — — , . — — , . — — , . . ‘ , ? — — , . . . . — — ? . — — , . . ‘ , , . — — , . ? . . . ‘ . , , . – . ‘ , ? , . , . , ‘ , ‘ . — — ? . . : . — — , . . . — — , . . — — , , . , ‘ . — — , ? . , , . — — ? . ‘ . — — , , . — — , . . . . : . — — ! , . ‘ ? . . — — , . . , . — — , , . — — , , , . — — , . . — — ? . . . . — — , . ‘ . — — , . — — ‘ , . , . . . , . ‘ . ‘ , , , , . , ? , , , . — — , . . , . . . . , . ? . , ‘ . — — , , , . — — , , . . — — – , . — — ? . , , . — — ? . — — , . . , ‘ . ? ? . ? , , , . . . , . — — ? . — — , . — — , , . — — , . , , ‘ . — — , . ‘ ‘ , . : — — ! ! ? , ? — — , . . — — ! ! , . , , ‘ . , , ! ! . , , , . , , , , , , , , , , . . ‘ . , , , . . , , . . . — — , , . , ‘ . ‘ . — — , , , . ‘ . — — , . — — , , . . — — , ‘ , , . ‘ , . — — , . — — , . — — , . . . . . — — , . . , ‘ , . — — , , ‘ ‘ . — — , , , . — — , . . . . . , , . , . . — — , , , ! — — ‘ , , . , ? . — — , , ‘ ? ? ‘ , , , , , , , , , , . — — ‘ , . . . . , , , . — — , , . ! ‘ ! . . ‘ . — — , . . . . . — — ‘ , . . ‘ ‘ . : — — . : — — ! ! , , , , , . — — ‘ , . . — — , . — — , ? . — — , , . . . — — ‘ ? . — — , . ‘ . . — — , , . ‘ . — — , . . , . , . , . , . . — — , , . — — , . ‘ . . . . — — , , ‘ ‘ . — — , . ‘ – ‘ , . , ? , ! , , . , , ? , . , , , , , , , . ? ‘ ? — — ‘ , , . , , . ‘ . . . — — , , . , . — — , . , , . , , , , , , , , , , , , , , , , , , , , , , – , , , , . , ‘ , , , , . , , , , . , , , . , , , , , , . . — — , . , , . — — , . — — , , . , , , , , , , ‘ ‘ . , , , ‘ , , , , , . . . . . ‘ . — — , , . ? — — , , . — — , , , . ! ? — — , , . . , . . , , . : , . . , . — — , , ? — — ‘ , . . ‘ . . , , . — — , , ‘ . : — — ‘ . . — — ‘ , , . , ‘ . ‘ . — — , . — — , , . . , , , , , , , , , , , , , . — — , , ‘ . ‘ ? ‘ ? ‘ ‘ . — — ‘ , . . . . . . , . . . , , , . — — , . . . . — — , , . . — — , . . . , . , ? ‘ , , . ? — — ! . ! ? . ‘ ‘ ? . — — , , . — — , , ‘ ‘ ? , , , , . — — , . . . — — , . ‘ . – ! — — , , , ‘ . , . — — , . . . : — — ‘ . — — , ? . — — , , . . — — ? . — — , , . . — — , . . — — , , . . — — ? . — — , . — — ? . — — ? . . — — , , , , ‘ ‘ ‘ . , : — — . — — , . — — ? . — — , . . . , , . — — , , , . — — , , . . , , . , , , , ( , ) , . , , . , , , , , ‘ , , , , ( ) , ‘ , , ‘ , , ‘ , , , ‘ , , , , , , , ‘ , . ‘ , , , ‘ , , , , , ‘ — — . — — , . ? — — ‘ , , . — — , , . . . . , . — — , . . . . . , , , . — — ? . — — ‘ , . — — , . . ‘ . . . , ‘ , , ‘ . , , . — — ‘ , . , , , . ‘ , . ‘ . — — ? . — — , . . , . . ‘ . . ‘ ? . — — , . . — — , . ‘ ‘ . . — — ? . . , ! ‘ . . . . . . . . . , , , . . . . . . . . — — , , , . , . — — , , . — — , . . — — , , . ? ! ‘ ? — — ‘ ? . : — — , , . , , , , , , ‘ , , , . , , ‘ , , , . — — , . ‘ . . — — , . . — — ? . — — , . ‘ . ‘ : . — — , . — — ‘ ‘ , . . — — , . . , ‘ . ‘ ? — — , . ‘ . — — , ‘ , . . . — — ‘ , , . — — ? . — — , . . ‘ . — — ? , ? — — ‘ ‘ , . . . ‘ . . — — ‘ , . — — , , . . — — , . ‘ . ( ) ( ) ( ‘ ) ( ) ( ) ( , ) ‘ ‘ ( ! ) ( , ) ( ! ) ( ! ! ) ( ‘ ) ( ! ) . , , . . , . . . . , , , . . . . . , ‘ ‘ ‘ . — — , ‘ , . ‘ ‘ , . , ‘ , ‘ . . — — , ! , . ! ! . , . — — , , . — — , ! . . . — — , , , . . — — , ? , , ‘ , ? ‘ . — — , , . ‘ ( ! ) . ‘ ( ! ) . — — ! , . ? : — — , , , , , ‘ , ‘ , , ? — — ! . . ! — — ! . , ! ‘ . . — — ? . . — — ‘ , , ? — — ‘ , . . — — ? . — — , . ‘ . — — , , ‘ ? — — ? . . , ‘ . — — ? . ? , . — — ? . . — — ‘ , . — — ‘ , , . . — — ‘ ? . — — , . . , ‘ . , . — — ‘ ! . ! — — , ‘ , . . — — , . . , ‘ . , , ‘ . — — , . — — , , , . ‘ . — — , . . — — ? . — — , . — — , , . — — ? . , ‘ . . . ‘ ? ‘ . , . . . . — — , . ? ‘ . — — ‘ , . ‘ . ! . . — — , ? . — — , . . . . . — — , ? ? , . — — , , . — — , , . . — — , . — — ‘ , . , , , , , , , : , , , , , , , , , : , : , , , , , : , , : . : : . , : . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ‘ . . . . . . . . . . . . . . . . . . . . – . . . , . . . . . . . . . . . . . . . . . . , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ‘ , , , , , , , . ‘ , , , , , , , , , , , . , ‘ . , , , , , , , , , . . — — . — — . — — . — — . : — — , , : . — — , . — — , , . — — , , . . . — — , , . ‘ . . . — — , , ‘ . . . . ! ‘ ! . . . — — ‘ , . — — , . — — , , . . — — ‘ , , . ‘ . . — — , . , . — — , . , , . , , . , , . , : . , , , , , . — — , . : — — ! , ‘ ‘ . , ‘ . , ‘ , . , , : — — , ! , ! : — — . . . — — , . ‘ . . — — ? . — — , , . . . , . — — , , ‘ . , ‘ . . — — ! ! . , ‘ , , – ( ) . . , , , , , . , , ‘ . , , , , , , , , , ‘ , , . , , , , , . , ! ! . , ‘ , ‘ : — — ? . . . — — , , ‘ . ‘ . — — , , . ! . ‘ . , . . . , ‘ , , . ‘ , . , , . . , , , , , ‘ , . . . , , , , . . , , , , ‘ . . . , , , . . , . . , . . , . . , . . . , . . , . . , . . , . . . , . . . , . . . , . . . . , . . , . . , . . . , . . . . , . . . . , . . . . . . . . . . . , ‘ , , . . ? , , . . — — , , ? : — — , ! , ! . ! , , . , , . , , , . , : ! ! : ! ! , , ‘ . . , , , , , , . , . , , , . . . . , . , , , . . , , . . — — , , . , . . : — — . , . ! , . , , . , , . . . . . , ‘ , ( ! ) . . — — , , . ! , , . . ‘ . . – ‘ – ‘ . ‘ , . — — ! . : — — ‘ ? ? — — , . ? — — , . — — ? . — — , . — — , . ‘ . ‘ . — — , . ‘ ‘ ‘ . ? , , , , . , , . , ‘ . ‘ , . . , , ( ) ‘ . . . , . . , , , , , . ? ‘ , . . , , , , . ? . ‘ . . , . ‘ , , ‘ . . . : . . , – , ‘ . ‘ . . . . , , . . . , , ‘ . . 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( ) . ! , , ‘ , , . ‘ . – . . ‘ ‘ , , , , . , . ‘ ‘ , . . ‘ , . . . . ‘ . . . . ‘ . ‘ . — — , . . . . , , . , , . , , , , , , , . , , ‘ . . , . ! , , ‘ ! . — — , . . , , , . — — . , , . : — — . . , , , , , . , , . . , . . , , . , . , , ? . , , , ‘ . , , . . , , . . . – . , , . , , , , , , . . . , ‘ , , . , , , , , . . . . : . , , , ‘ ‘ , . . , , ‘ , , , , . ‘ . . . , . . — — ! ! ! ! ‘ . , ‘ ‘ . ‘ . . ! . , , , , , ‘ ‘ ‘ . ‘ ‘ , ‘ , , ( ! ) . . , ‘ — — , , . . . . . ‘ . , , , . – . : — — . — — ? . . ‘ . , , , . . — — , , ‘ ‘ . , , , . . , , , . , . . . ‘ . . . , . ‘ ‘ . , , . ‘ ‘ . . . — — , . ‘ , , , . . . . — — , , , , . ‘ . , , . . . . ‘ , , , , , . . , , , , . — — ! ! . . . ‘ . , , , , , . , . – . , , . , , , , , ‘ . , ? , , , ? , , , , . , . . . . . . , . — — ? ? . , ‘ , . , : . . . . . , , . ! , , , . . , , . ‘ ‘ : — — , , ! , . — — ‘ , . , , ‘ . — — , , . ‘ . . . . . , , . , , . , , , . . – , , , , , , ‘ . . ‘ , , ‘ . , , , , , , . , , , , , , , , , , , , , , , , – ‘ ‘ ‘ , . , , , ‘ , , , . ! ! ! ! ! , , , , , ! : . ! , , . . ( ) , . ! ? , , ? ! ! , . ? , . , , ‘ . , : : — — ! ! ‘ . . . , ‘ . . ‘ . . ? . , , , , . . , , . , , , . , , , . . — — . . . ? . ‘ ! ! . ! ‘ ‘ . . . . . ‘ . . ‘ . . . , , . . ? , . . . . . ? ? , . . ‘ . ‘ , ? . . . . ‘ . . ‘ . , . . . . . . . . ‘ . , . ‘ . . ? , . : . . ‘ . ? . . ‘ . ‘ . . ‘ . . . . . : , . . ? . . . , . . . ‘ . : , : . . ‘ . . . . . . , ‘ , . , , ‘ . . . ‘ . ‘ ? . , . ! , ! ? ? , , . ‘ . ‘ . . . ? ‘ . ! ‘ . . . . ! , ‘ ! . . ‘ . . , . . ‘ . . . . ? . : . . . ? ? . . . . . . , . . . ‘ . , . . . ‘ . . . , , . . ‘ . ? . ? . ‘ , , , . ? . . : . ? ‘ . . , . : ‘ . . . . . . . , ? , . . . . ! . , . . . . ‘ . . . , ‘ ? . , , , , . . . , , . . . . . , . . ‘ . ‘ . . ‘ . . . . ? ‘ . . ‘ . . ‘ . : , ‘ : . . ! . . . . ‘ . ! ‘ . . . . ‘ . , ! ! ‘ . . . . ‘ . . . . . , ‘ . , . . ? . ‘ . . . , : , . . . . . , . . . ? , , . . . . , , . . . , . . . . . . . . . . . . , . , , . . ‘ . , . . . . . ‘ . , , ? ‘ . , . . . , , . . ‘ . ‘ . , , . , . ‘ . ? . ‘ . . ? ! . . . ‘ . . . , , . , . ? ‘ . , , . . . ‘ . ‘ ‘ , ! . . . , . , , . ? . . , ‘ ! ‘ , . . . ? . . . . , . . . , . . . . . . . ! . , . , , . . ? ! ! ! . . , , . . ! . ‘ , ‘ . . , . ! . . , . . ‘ . . . . . ‘ ? , . ‘ . . . . . . . . ‘ . ‘ ‘ . . . ‘ . . , . . ‘ . , , , . ‘ . . , . . . . ‘ . , . . , . , . : ? . . . ‘ . ‘ . ‘ . . , . . . , . . , ‘ . ‘ . ‘ , . . ‘ . , , . . . . . . . . . . ! . . . . . . , , . ‘ , . . . . . . , ‘ . . ‘ . ‘ , . . . . . . . . , . ‘ , , , , . . . . . . , , , . . . . . . . . . . ‘ . ‘ , . . . . . . . ‘ . . ‘ . ? ? . ? . , . ‘ . : . . , . . , . . . , ? ? . ‘ . ‘ . . ? , . ‘ . , . , , . . ‘ , , ‘ , , . . . . . : , . . . . . . . . . . . . . . . . ? . . , . . , . ‘ . , , . . . ? . ! . . ? . ? . . , . . . . . , , ? . , . . ‘ . . . . . . . . . . . , ‘ . . . . . . ‘ . . . ‘ . . ? ? , . . . . . . ‘ . . . . : . . . . , . . . . ‘ ? ‘ . . , . . . . . . . . . ‘ . ‘ . . . . . . . , , , , . . . . . . , : . . . . . . . . . . ! . . . . : , , , , , , . . ? ‘ . . ‘ . ? . . . ? . . . . , . . , , . . . . , . . . . , ‘ . . . . ‘ , . : . . ‘ . . , , , , , , . ‘ . . . . . ‘ . , , . ? . . . . . . . , . . . : ‘ . : . . ? . , . . . . . . . . . . . . . . ‘ . ? . ‘ ‘ . : , , , , , . . . . , . , . . ‘ . . . . . : ‘ . : . : . . . . . . . . . . ? ? . ‘ , . ? . . . . . . . . . . , . . . . . . . . . . , ‘ ‘ . . ‘ . . . ‘ . . . . ‘ . . , ? . . . . , . . . . , . . . . . . . . ‘ ‘ . . ‘ ‘ . ? . . . ! ‘ . . ‘ . ? . , . . . . . . . , . . , . ! , ! , , . . . ‘ . . . . . ? . ‘ . . . ‘ ‘ . . . , , , ‘ . ? , , , , ‘ , . , . ‘ , , . , : . ‘ : : . , , ‘ , ‘ . ‘ . , , : , ! ! ‘ . , . , . , , ( ) , . , , . , . , . . . . . ‘ , . . . . . . , . , . , . ‘ . . . . ‘ . ! ! . . . ‘ . ? . . . . ! . . . . ? ? . . . . : . . . . . . . , . . ? . , , . . ! . . . . ‘ ‘ . . . , . . , , . ‘ . , . . ? . . . . . , . . . . ‘ . ‘ . , , , , , ‘ . ‘ . . . . ? . . . . . . . . . – – , . . . . . . ‘ . . . . . ‘ . ‘ . . ‘ . ? ? . . . ‘ . . . . , . ‘ , , . , , . : . , . . . : . . , . . . ? . . . . . ? ? . ‘ . . . ‘ . . . . ‘ ? . . . ? . ‘ . . . ‘ . . . ? . , . . . ? . ‘ ? . ! . . ? . . . ? . . . ? . . . . . . , , , , . . , ! ‘ . . . . . . . . . . . . ‘ . . . . , . ‘ . . ‘ . . , . . . . . . . . . . ‘ . , . . . ‘ , . . . . . . . . . . . . , , , . . ‘ ‘ . . . , , .  . . . , , , . , , , . , , , . ! ! ! ‘ ‘ ‘ . ‘ ‘ ? , , , , . , , , , , ‘ , ‘ , ‘ , . ( ) . , , . , ! . . . , : , , , , , . ‘ . ‘ . . . . ‘ . , . , : . , . . , ‘ . . ‘ . ‘ . ‘ . . . , , . , . . . ‘ ‘ . . , , ‘ . , ‘ . . , . . , , ‘ . . . ‘ . . ‘ . . . . . . . . . . . . . . . . . . . . . . , , . , , . . . , , . , . , , , , ‘ . ‘ . ‘ . . , , ‘ , , , , ( , , ) . . . , , . . , ( ‘ ) . , , . . . , , . . . : , , . , , . , , , , , ? , , , . . . . ‘ , , , . . , , , , , , , , . ‘ ‘ , . . , , , , , , . , , , , , . . . ‘ , , ( ) ‘ ( ) . , , . , , ‘ . . . . , , . . : , , ‘ ‘ . ? ‘ . . ‘ . . . , , , , , , , , , , , . . , , , , , , . ‘ ‘ , ! . . , , , , . . , . : , , . , , , , , , , , , , , , , , , , ‘ . ‘ . , , ‘ , . , , , . . , , , , , . ‘ : , . . , , , , , , , , . . , , . . , , , . . , , . , . , , , . , , . , , : , . ? , , , . : . : . , , ‘ . ( ) . ‘ . , . : , , , , , , , : . , , , : , . . , , , , , , . , ‘ . , , . : . . . . . . ‘ . , , , ‘ , , , , , , . ‘ ‘ ? , . ? . ? . , , ? ? , ( ) . . ? . – – , ? , , , – – – , , , , – – – , , . – – – ( , ) . – – , , – – – , , , , , . , , , , , . , , . . , , , ‘ , , , . . . , , . , , , , , , , , . , , ‘ , . . . ‘ ( ) . ‘ ‘ ‘ ( , , ) . ( ) ‘ , ‘ , , , , ‘ . . ‘ , , . , ‘ , . , , . , . , . . , , , , , , ‘ , , , . ‘ , , ‘ ‘ . , . ‘ ( ‘ ) . ‘ ( ) ‘ . , . , , , ‘ , , , , . ‘ , ‘ . , , . , , , ( ) , ‘ . , , , . ‘ . , . , , , . , , , , ‘ ‘ . . , , , ? , . ‘ , . , , , ‘ . , . ‘ . , ‘ , , , . , , , . ‘ ‘ , . , , , . , . , , . , , , , , , . , , , . , , . , , ‘ , . , , , , . : , , ‘ . ( ) . ‘ . , , ( ) , : , . , , ‘ ‘ . , , ‘ , . ‘ , , . , , ( ) , , . , , ‘ . , , ‘ , . , . , , , , , , , , , , , , , , , , , . , , : — — ‘ . ‘ ‘ . , , , , . . ‘ : . . . , , . , , , . . , , . ‘ . , , , , . , , : , , , , , , . ( ) , , , , . . , , . , , . , , . . , , , ‘ . ‘ , . , , : , , , , , . , , . , , , . , , , , , , , ? , , , , , ‘ , , , ‘ ( ) . , , , , , , , . , , , ( ‘ ‘ ) : ‘ . . . , , , , , ( ) . , , , . . . , , , , . , , , , , . , , , , ( ) , , ‘ , , , . , . , , ! . , , . , , , . , , . . ! . ! . , , . , , , , , , , . , ! , , , ( ) , , , , . , , , . ! ! . . , , . . , ( ) , , , , , , , . , ( , , , ) , . . . . , , , , . . , , . ! ‘ . , ? ? ‘ , , . . , ‘ . . , , , , ! ! , ‘ . , ‘ , ! , , . ‘ . , , . . , , , , , , . , , . . ? , , ? ? ! . . , ( ) . , , . , , . , , : : : . , , ‘ , ‘ . , , , , , . ( ) : , , , . , , ( ) . , ‘ , , , . , , , ( ) . ‘ . , , , , , , , . . ‘ , ‘ . . , , , , ( ) . , , , , . , , . , , , , , ? ? ? ? , , ? , , ( ) . , . , , , , , ! , ‘ , , ! ‘ . . ? . . . , , , , , . , . ‘ , , , . , , . . : , , , , , , ‘ , , , , ( ) ( ) , , , ( ) , , , , , , — — . , , , , . , , , ‘ , ( ) . , , . , , , . . , . , , . , , , , . ‘ . . . . . ! ! , . , , . , , , , . , . . ! . . , , , ? , ‘ , . . , , ( ) , ( ) , . ! . . . . ! ! ! . : . . . , : ! : . . , , . . . . . . . . . . . . . ‘ . ? , , . , , , , . . . , , ( , ! ) , . , , , , , ‘ . , , ( , ! ) , , , , ( ) , ( ! ! ) , ( ? ! ) . , , , , , , ‘ ( , , ) , . , , , , . . ? . , , . 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( . ) : ( . ) ? : ( . ) . : . ( ‘ : . . . , , , , . . ) : ( . ) , ! : ( . ) ‘ . . ( . , , , , , . . , . . ) : . ‘ . . ‘ ‘ ‘ ‘ . , . . . ( , ‘ , , . ) ? : ( . ) ! . ‘ . . . . ! : , , . ? ! : ! : ‘ . ( . ) . . . : ? . ‘ . : ( . ) . . . . . . : ? ( . ) : ( . ) , , , , , . . . ‘ . . ! : ( . ) , ? : ( . ) , . ( . ) : . : ! : ( . ) ! : ( . ) , . , ‘ . ( , , , . ) : . . . . ( . ) : , . ( , , , . ‘ . , , . , , , , , . ) : ? : ( , , , , , . ) ! ‘ ! ‘ ! ‘ ! ( . ) , ! ( . . ) ! ( , . ) ! ( , , . . ) : ( , . ) ! ( . . . ) : ! . . . ( . , . , ‘ , , , , . ) : ( . ) ‘ , , ? ( , ‘ , ‘ , . , , . . ) : , , . , , , , . , . , . ‘ . . ‘ . . . , . . ? ? , , , , , , ‘ . ? . . . , . , , . ? . , , . ? ‘ , . . ‘ . ‘ . , . . . . , , . . , ? . . . ? ‘ . . , . ( . ) . . ! ( . ) . . . : ( . ) . . . ( . ) : ( , . ) ! : ( , , , . ) , , . , , . . ‘ , , . , . ( . ) , . – : . . . ‘ . . – : . – : ‘ . . : , . . ( , , , , , , , ‘ , , , . ) : ( . ) . : ( , . ) . . . 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( ‘ . , , . , , , . ) : . . . . . : . ( . ) ‘ : ! ( . ) : ( . ) . , , . . : . : ( . ) . : ( . ) ‘ ‘ . . : . ‘ . : . . ( , , , , . , , , , . . . . , : ) : . ( , , . , , , , : ) , , ‘ . ( . , , : ) ‘ . , . ‘ . ( , , , . , , , , , , . , , : ) , , ! ( . ) : ! : . ( . , , . ) : ( . ) ! . ‘ . : ( , . ) ? ? ? ? : ( . ) . ( , . ) ? ( . . ) ? ( , . . . . . ) ! ( . . ) : ( . ) . . . ‘ . ‘ . : ( ‘ , , . , . ) , , , , ! ( . ‘ . , . . ) : ( . ) . : ‘ . ! ( . ) : ( . ) ? . . ? . . . ‘ , . . . ( . ) , . . . . . . . . ( . , , . , , . . . . , . . ) : ! ‘ . ( . . . . ) : ( , . ) , . : . , . . . : ( , . ) . . : ( . ) . : ( , . ) ? : . . : ( . ) ? ? ? ( , . ) : ( . ) . . : ( . ) . . . : ( . ) . . , , . , , . . . . , , . . . , , , . ‘ . . . ( . ) ! : ( , . ) . . ‘ . . : ( . ) . . . : ( . ) ? . , , . . : ( . ) . : ( . ) . : ( . ) . : ( , . ) . ‘ . . . . . . ! ( , , , . , , , . ) : ( . ) ‘ ‘ , , , , . , . : . . : ( . ) ? : , , ‘ . : . . . . . . . . . ! 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( , , , , , , , . ) : ! . ! ( . ) : ( , , , , . ) ! ! ! ‘ . ( . ) ! : ! : ( . ) , . . ( . , . ) ? : ( , . ) ? ? : ( . ) , . . : . : ( . ) , ! : . . . . . . . , , ‘ : . . . . . ‘ . . , ? ( , , . ) : ( , . ) . . : . . . ( . ) . . ‘ . . . ( , , , . ) : ( . ) ! ! : ( , , . ) . . ( . ) . . . . ‘ . ( , , ‘ . ) : ! ( ‘ , . ) : ( , , , , . ) , , , . . . . : . ! : ( . ) , , . . . ( , . ) . . . . . ? : ( . ) , . . . . ‘ , ‘ . : . . ( . ) ! : ( . ) . ! . ( . ) , . . . ? ( , . ) : ( . ) . : . ( . ) : ( . ) ! ! : ( . ) . : ( , , . ) ! ! ! : . . , , , . , . . : . : ! , ! : ( , ‘ , , , . ) . . . . . ( , . ) . ‘ . ( . . ) : ! ( , , . ) : , ‘ , , . : ( . ) . . , ? . : ( , . ) ! : ( , . ) ! ! ( . ) ! . ( . ) . , ‘ . . . . . ( , , . ) ! : ( , . ) ! ! ‘ ! , . . , ? ? ? ( . ) , , , , ? : ( , , . ) . . . ! : ( . ) ‘ . . . . ‘ ? ? , . ( . ) ? . , ? , . ( . ) . . . . . ( . ) : ‘ . : ( , . ) . . . . . . , ‘ . ‘ . : ( . ) ‘ , . ( . ) ! : ( . ) , ‘ . . : , ! ! : , ! ! : ( . ) ? : . . ( . ) ‘ . ( . ) ? ‘ ? 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( , , , , , . , . . , , , , . ) : ( . ) ! ! ! ! ( , , , , . , , , . ) : . : ? : , ! : , ! : . ( . , , , , . . ) : ! ! ! ! ! ( , , . , . , . . ) : ! ! : ( , . ) ! : ! ! ! ! ( , , , , , . ) : ‘ ! ( , . . ) : ! ! ! ! ! ( , , . . ) : ! ! ! ! : , , ! : ( . ) , ! ( . . ‘ . ‘ . ) : ‘ . : . ! ( . ) : ! ( ‘ , . . . . ‘ , . ) : ‘ . ( . ! ) : ! ! ! ! : ‘ ! : . ( ‘ , , , , , , . ! . ‘ . . . . ! ) ( . . . . . . . . ) : ! ( ‘ , , , , , . . . . ) : . . . . . . ( , ‘ ‘ , , . ) : ‘ . ! . ( . ) ! : ( ‘ . ) . . : ( . ) , ? . ‘ ? : ( . ) ! . . ( . ) ! . : ( , . ) , . . . . : ( , . ) , . . , . . : ( . ) . ‘ . : ( . ) , , . . : ? ? . ‘ . , . : ! ! : . . , , , , . : ( . ) ‘ ! : ( . ) ! ‘ . : ( . ) . : ( . ) ! , ! : ( . ) ! ! . : ( , . ) ! ( ‘ . ) ‘ ! ( ‘ . ) : ( . ) ! ( . ) : ( . ) ? : , ! ! . ! : . . ( . ) : ( , . ) , ! , ! : ! ! ! , , ! ‘ ! : ( . ) , , ! , . : ! ( . ‘ , , , . ) : ! : ! : ( ‘ . ) ! ! ‘ ! : ! ( , , , , . ) : ( . ) ! ( . . . , . ) : ( , . ) . : ( . ) . ‘ . : ? ( ‘ . ) , . ‘ . : ( , . ) , ? : . : ( , . ) ‘ ? . ‘ . : ( ‘ . ) ? ? ‘ ? ‘ . . . ? : ( . ) , . ‘ . . : ( , . , . . ) ‘ . . . . : ( . ) ! ‘ ! : ( . ) . ‘ . ! : ( , . ) ? : ? : , . . ‘ . . . ( . ) ? . ‘ . : ( . ) . . ? ? ‘ ! , ! ( . ) ! ! : ( . ) ? ( . ) . : ( . ) . ! : ( . ) ‘ . : ? ? ( . ) ‘ . ? . ( . . , . , . . . . . . . . . . , , ‘ . , . . , , , , , , , , , , , . , , , , . , , , , , , ‘ . : , , , , , . . , , , ‘ , , ‘ , , , , , , , , , , , , , , , ‘ , , , , . . , , , , , , , , , , . . ‘ , , , , , , , , , ‘ , , , , , , – ‘ , , , , , , , , , , , ‘ , , , , , , , , , , , , , , , . ) : ( . ) ‘ ! ! ! ! ! ! ! ( , ! ! . ) : ( , . ) . . . . . : ( . ) ? : . . . : , ‘ . . . ‘ . ‘ ? . : — — , . ‘ ‘ ‘ . : ( ‘ ‘ . ) , . ( . ) . . : . : , . . : ‘ , . , . : ( . ) ? : ( , , . ) . : , . : ( . ) ‘ . . . . : ( . ) , . : ( . ) ? . . . . : ( , . ) , , , ? : ( . ) ? . . , . ( . ) . . ( . ) . ? : ( , . ) . ‘ , . . . ( . ) : ( , ‘ . ) , , . : ( . ) ? ( . ) ? ( . ) ‘ . . ( . ) : ( . ) . : ( . ) . . . , , . 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( – ‘ ‘ ) ( . . ) ‘ . . ‘ , , , . , , , , , , , , , . , , , , , , , . , , , ‘ ‘ . , , , – – , , . ? . , , – , , . , , . . , . , , – – – . , , . , , , , , , ‘ , ‘ , , ‘ , , ‘ , , , , , ‘ . , , . , , . , , . — — , , . , , . , , . , . — — . . . . — — . , . . , . ! . . — — ‘ , , . , . — — ‘ , . . . , , , , – – , , , . , , , ‘ . , ! . , , ‘ . , , . , , , , , , . — — , , . . . — — ? . , , , . — — , ‘ , , , , , , . — — ? . ? – : — — ‘ , , . . , . , , , , . , , , , , , . . , , , , . . , , , , , , , , , , . — — , , , , ‘ . ‘ . ‘ , . . ‘ , , ‘ . — — ? , , , , , , . — — , , , ? ‘ , . . — — , , . . ‘ . . , . ‘ ‘ . — — , . . , , . , . — — ? . , , . . . — — , , . . , , , , , . ‘ – – , . — — , , , . ‘ . . , . . — — , . — — ‘ ? . — — ? . — — , , , . . . : — — , . . , , , , , , , . , , , ( . ) . , . ‘ ‘ ‘ ( , ) , , , . , , ‘ . , ‘ . — — , . — — , , , , . ! . . . . , : — — . . . . , , ( ) , , , , , , , . , , . — — , , , . , , , , , . . , . ? , : — — . , , , , , . , : — — ? ‘ . , , , . , , , , , ‘ . — — , , , . , , . — — ? , . ‘ . ‘ ‘ , , . , , ‘ , , , , ‘ . ‘ , ? . . ‘ ‘ . – ‘ . . — — ‘ , , . ( ) . , , , ( ) . , , . , , , . ‘ . , , ‘ – . — — , . . — — ‘ , , ‘ , , . . . — — , . , . ‘ . . , , . — — ‘ , . ? . . . . , , . , , , ( ) . , , , . ‘ . — — , ‘ ‘ , . , , . , , , . , , , ‘ , , , , , . ‘ . ( , , , , , , , ) , . , , . — — , , , , , . , . , , , . , ( ) , . . . . , , . . ‘ . — — , , . . — — , . — — , , . — — ‘ , . . , , . , . ‘ . . , ‘ . , , ‘ , . , , , ‘ . , , , , , . . , , , , , . ‘ , . ( ) , . . . . . , ‘ , . , , . . . — — , . , , . ‘ , , , . , , , , . , , , . . , , , , , . . — — , — — . , , . , . . , , . , ? , , ‘ , . — — , ? , . . ‘ ( ) , . – – , , , : — — ‘ ‘ . , ! , ! . – – , , , – ‘ , , , , . . , , . ? , , , , . . , . . , , , , . : . , , . . , . — — , , . . — — ‘ ? . ? ‘ ? . — — , , , . — — ‘ , . . ‘ . ? , , . , , , ‘ . , , , , . , , , , . , , , , , . , ? , , , , , , , , , , . , ‘ , ( . ) ‘ , ‘ ‘ , . . , , ( ) , , ( , , ) , , , , ( ) , , , – – , , , , , . , – – , . . , . , , , . . . . , . . — — , , . . , , ‘ . . . ‘ . ? ‘ . — — , , , , . — — , . , . , , , . . ‘ . . . . ‘ , . — — ‘ , , ‘ . , , , . . — — , . ‘ . . . , , , , , , , . — — , . , … , … … — — , ‘ , . , . , , , , . ? . . ‘ . , , . , , . . ‘ . ‘ ‘ ‘ , . ‘ . . ‘ . ‘ , , , , , , . ‘ ‘ . ‘ ‘ . . , , . , , . , , . , , . ‘ , . — — , , . , . , , , . — — , , , . . . ‘ . . , , . . ? , . . — — , , . — — , . — — , , . — — , , . . , ‘ . . . . ? , , , : — — ‘ . . , , , ‘ . . . ‘ . , , , , . ‘ , , , , ( ) . , , , . , , , , , , , , , , . , , , , , , , . , , . , . , . . . , , , , . , , , , , , , , . , , . , . ( ) . , , ‘ . , , , , . ‘ , . . , . , . , . . . . . , . ‘ . ‘ . . . . . . . . , , . . — — ( ) , , , . . , , ( ) . . ‘ , . : . ( ) , ( – – ) , . , , , , / ( ‘ ) , , . . , . . , . , ‘ , . , ‘ , — — ‘ . . ( ) . . ‘ . . , , ( ‘ ) . . . , , . — — , , ? : . — — . , ( ) ‘ . . ( ) , . . . . ‘ , . . – , , ( . ) . ‘ ( . ) . . ‘ . , ( ) . . ‘ , , ‘ . ‘ / . ‘ . . . : ‘ ( ) . . . . ‘ , . . — — , , , . — — ? , , . , , : . . . . – . . ‘ . . . , . . . ( ) . , , , . . . , . , , , ‘ , . , , . . . . . , , , , , : ‘ . . ‘ . , . , , , , ‘ , , , , , , : , . , , , . — — , , , . . — — , – , . ‘ . ‘ . . — — , – – , . . , , , , . , , . , , , , , , , , , , . , , , , , , ‘ . , , . , , ? . , . , ( , , ) ( , , ) , , , , , , ‘ . . . , , , , , . , , , , , ‘ , , . — — , , , . , ‘ . — — ‘ , , . — — ? , , . , , . , . , , , . — — , , , , ? , , , , , , , , , , . ( ‘ ) , , , , , , ‘ , . — — , , . . . . , , . . , , , . , , , , , , . , , , , . , , , ‘ ( ! ) . ‘ . ‘ , , , . . , . . , , ‘ . , , . ? ( ) . , , , ‘ . , , . ? . , , . ‘ , , . , , . , , ‘ ‘ , , ( ‘ ) ( ) ‘ ‘ . , , . ‘ , . ( ‘ ) , , ( ) , , , ‘ ‘ , : , , , , . , , , , , , ‘ , . , , ‘ , , , , , , , . , , . ‘ , ( ) , ‘ . , , . ‘ , , . — — ‘ ? . — — , . — — ! . , ‘ ! — — , , . . ‘ , , . ( ) . , , ‘ , , , ‘ , ( , , , , ) , ‘ , , , ( ) , , , , , . , , , . ( ) ( ) ( ) , , . . , . . ‘ , , ‘ , , , . , , ‘ . , , ‘ ‘ ‘ , ( ‘ ) ‘ , . . . . . – – . — — , , ‘ . . ‘ . ? . ‘ . , , , , ‘ . — — , ‘ , . ( ‘ ) , ( ) , , , , , , , , , , , . . ‘ , , . , , ‘ . . ‘ . . — — , , , . — — , . . — — ? . — — , , , , . . , . . , , , ( ) , , , . , , , , , ( , ) , , , , , . — — , . . , , , , . — — , . , , . ‘ , : — — . , , ‘ , , , , , . . — — ( ) , , , . ‘ . . ‘ . . ‘ . — — , , . , . , , , , . , . , , , , . , , – ‘ , ‘ ‘ , , , , . . ‘ , , , , , , , , ‘ , , . . , , , , . , , ‘ , ‘ , , , , , , , ‘ , , , , . , , ‘ ‘ , , , , , , . , ( ) , , ‘ . , , , . , , , . , , , , ‘ , : — — . . . , , , , , , , . ‘ , , . , . , , ‘ , , . ‘ , , . , . , , , . ‘ . — — ‘ ? , ! , , , . , , . , ‘ , ‘ , , . , . , , : . . , , . , , , , , . . ( ) , , , ‘ , . , , , , , — — , , , , . , . , , . . , , , , ‘ . , ‘ , , , , , , , , . , , . , , , . . ( ) , , , , , , ‘ ‘ , . , , , , , . , , . ( ) , . , , , , , , , , , . . , , , , , , , , , . ( , , ) , ‘ , , , ‘ . ? , : , , , ‘ : , , , , , . , , ‘ , . ? , , , , , , , , , , , , , , , , , , , ‘ . ? , . , . , , . . ? ‘ ‘ . ‘ , , , ( ” . . ) , . , , ( ) ‘ . ? . ? ‘ ‘ . , , . , , . , ‘ . ( ) , ( ‘ ) , . , , , , , , ? . ? : : . ? , , . ? . ? . , ( ) , ? . . ‘ ? . , , , , . ? ‘ , , , , , , ( , ) , , , , , , , . ? , , , , , , , . ? , , , . ? . . , . ? , , ‘ ‘ . ? , , , , , ‘ ‘ , , . ? , , , , , : , , , : ‘ : , ( ) , : , , : , , ‘ , ‘ , : ( ) ‘ . ? , , ‘ . ? ( ) : ( ) . ? , . ? . , , , , , , , , , / , , . . , ( ) , , , , , , , , , . , , , , , ? : : ‘ : : : : : : : : , : : : : : : : , , : : : : : , , : , , , , , , , , , , , , , , , , , : : , , , : , : : : , , , : , , : : , , , , , , : : : , , : , , , , , , : , , , : : ( , ) , , , : % : , , , . , ? ‘ , , ( ) , , , . ‘ ? , , ( ) , , . , , ? . ? : , , . ? , . ? . , , , ( ) , . ( ) , , , , , , , , . ? . ? . ? : : : : , , , ‘ , , , , , , : . ? . ( ) ? , , , , , . , , ? , , , , , , , , ( ) . , , , ‘ , , ‘ , , ‘ , ‘ / – , , , , , , , , , , , ‘ , , , , ‘ ‘ , , , , . ( ) . ? , , . ? , , , , , ‘ , . , , ? ‘ , : ‘ , : ‘ , ‘ ( ) , , : . . ( ) , , , . ( ) , ‘ ( ) , , , , . ? . ? , , , . ? . . . ? , , ‘ , . ? , ( ) , , , ( ) . ? , ‘ , . , ? / ‘ . ‘ , . ? , , , ‘ , , . ? . ? , , , . , , / – , / – / , ? ‘ . , . . ? , , , . ? , . . ( ) ( ) ? . . . . . ( . . ) , , , , , , , , , , , , ( ) ( . , , . , , , ) , ? , , ( , ) : , ( ) ( ) : , : , ‘ – , – , – ‘ – , – , – ( ) : , ‘ ( ) : , , , , , , , . ? ‘ . ‘ . / / , , , , , , , , , , , , . . , , , , . . ? , , , . ? . ‘ , , , , , ‘ , . ‘ , ‘ ‘ , . ? , , , , . ? ( ) , , ‘ , ‘ , , , . ? , , , , ‘ , , , , , , . ? , , , , , , , , . ? , , , , : , , , . ? , , , ‘ , , , . ? . ? . , , ‘ ‘ ‘ ‘ ? . , , ? , ( ) , , , , , ( ) ( ) . , , ( ) . , , ? ( ) , . . , , , , ‘ , , , , . . , , . ( ) . . , , , . ? ‘ . , , , , . ? . ? . . , , ? , , , , , , , , , . ? , , , , . , , , , , . ? . , ‘ , , / ‘ , , : , ( ) , ( ) , , , . ? . . ‘ / — — . . . . ? . – , . : , . ( ) . ( ) . ( , ) . ? ‘ ? . . , ‘ , , , . , . . , , , . . , . . . . . . , , ? , , . ? . . . . . . . . . . . . . . . . . . . . . . . . . . ? , : ‘ , ‘ , ‘ . ‘ . . . ? ‘ , , , ( ) , , ( ) ( . . . , , ) , , . . . , ( , , , ) , , , . ? . ? ‘ ‘ . , ? , , ( . . ) , , , , ( ) , ‘ , , , , , , ( . ) , . . . , . . . , , ? . ? ( , , , , , , , , , , , ) : , : , , , : : : : , : , , : . ( ) ? . , . , , , . . , , . : ( ) , ( ) . , ? , . , . ? . : , , : ‘ . ? , , , , , , , . ? . ? , , , , , . ‘ ? , , , ( ) ( ) ( ) ( ) . , , , , , , ? , . ? ( ) , ( ) , ( ) , ( , ) . ? : , , , ( , , , , ) . : , ‘ ‘ ( ) . ? . , ( ) ( ) , , , , , , , ( ) , , , , , . , , ? , . ? , , : , , , , , : , , , , , , , , ( ) , , , , , , : , , : ( . ‘ ) ( ‘ ) : : . , ? , , . ? . ? . ? ( ) ( ) . ‘ ? , . ‘ ? . ‘ ? . ‘ ‘ ? , ‘ : , , , . , ‘ : . ? , , : , . . , . , . . , , . . , : , , . . , , . . , : , , , ( ” ) , . ? , , , , , , , , . ( ) . . ‘ ‘ . ‘ . ? . , , . ( ) . ‘ . ” , , , . ” ‘ ‘ . ‘ . ” . . ‘ . ? . , ‘ , . ‘ . , , . . , , . , , , , , . ( ) ? . ( , ) ? . ( ) ? : , , , , , , , . ( ) ? : , , : , , . : , , , , , , , , , . ? , , ( ) . ? . . : , , , : , , : , , , , , , , , , , . ? , , . ? . ‘ , , ( ) . , , ( ) . , , ( ) . , , ? , . , ? . , ? , ( ) ( ) . , . ? , , , . ? ( ) . , ‘ , , ( ) . , , , ( ) . , , ( ) ( ) ( ) . , , , , , . ( ) , ) , , ? : ) , , , : ) , , , , , , / . ? : . : , . : , , , . , , , , , ? ( ) ( ) . ? : . : , . : , . ‘ ? , . ? , , . ? ( ) , , ( ) . ? , , , . ? , , ( – – ) , , . , , , , , , , ? , . , . , , ( ) , , ( . . , ) , , , , , , , , , ( ) . ? : ‘ , , , , , ( ) ( ‘ ) . : ( ) ( / – ) . . , , , , , , , . ‘ ? . ‘ ? . ? , . , ? , , : : , : ( ) : , : , , : : : , , . ? . ? . ? . . ? . , ? ? , : : . ? . . ? . , , , , , ? . ? : , : , : ( ) ( , , , , ) : : : : : : , , , . ? : , , , , , , , : : , , , , , , , . ? , . . , , , , , , , , , , , , , , . , , , ? . , , , , , , , , , , , , , . ? . ? ( , , , , ) : : : : ‘ : : : : : : , , , , , : : : : : . ( , ) : : : ( ) ( ) ( ) ( ) ( ) , , , : , , , , , , , , , . ( ‘ ) , ? , , , . , : : , : . ? . ? : , , , . ? : : : : , , : : : : , , , , : : : : , : , , : , : , . ‘ , ‘ , ? ( ) ( ‘ ) ‘ , , , . , ( ) , , ? : : : : . ? , . ? ‘ , ‘ , , , , , , , ‘ , ‘ , . ? , , , : ‘ , , , ( ) , : ‘ , , . ? : , , , , , , . : ( , ) , , , . ? . ? , , , . , , ? , , . , ( ) ? . ? : . . . . : , , , . ? ( ) , ( ) , ( ) , ( ) , ( ) , ( ) , ( ) , ( ) , ( ) , ( ) . , ? , ‘ . , ? , , : . ? : ( , ) , ( , ) , . ( , ) , ( , ) , ( , ) , ( , ) . ? , , . ? , , , , , , , . ? , , , , , , . ? , , , . , , , , . ? , , . . ( ) : : ( ) : . . : , , , , . : , , , . ? , , , , . ? ( ) , ‘ , , ‘ ( . , . . , ) , , , , , , . ? , : , : , : , : , ‘ : , . ? , , , , ( ) , , , , , , . ? . , , ? , . . . , : , : , . ? . . ? ( ) ( ) . ( ) ? . ‘ ‘ . ( ) ? . . ? . . ‘ , . ‘ ‘ ( . ) . ‘ ( , ) . ( ) . ( , ) . ‘ ( ) . ( ) . ‘ . . ( , , . ) . ( ) . ( ) . ‘ ( , ) . – . , , , ( ) , , ( , ) . ” ” ( , ) . ( ) . ‘ ( , , , ) . ( , , . ) . ‘ – ( , , , , ‘ , , ) . ( , , , ‘ ) . ( , , , , , ‘ , , ) . ( ) . ( , , ) . ( ) . . . . . , . ‘ , , , , , , , , , , , , . ? , : : : , . ? ‘ – . ? ( ) , , ( ) . , , ? , : , , , , , , . ? , , , , , , , , . . , ‘ . ? ( ) ( ) , . ? , , . , , , , , . , , . ? ( ) . , , , . ( ) , ( ) ( ) , . . . . . — — — — ‘ — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — ‘ — — — — ‘ — — — — ‘ — — — — — — — — — — — — ( ) — — — — — — — — — — — — — — — — — — — — — — . . . — — — — . ‘ — — — — ( ) — — — — — — — — — — — — — — — — — — ? , , , , , , , , , , , , , , , , . ? , , ‘ , . ? , , , , ( ) , , , , , , , , ( ) , , , , , , , , , , ( . . , , , , , ) , , , ( ) , , , , ‘ , , , , , , , , , , , , , , , , ( , , ) , ( ) , / – , , , , , , , , : , , : , , , , , : , : ‘ , ( , , , ( ) ( ) ‘ ) , , , , , , ( ) , ( ) , . ? , , , , , , , , , , , , , ( . ( ) , , , ) , , , , . ? , , , , , , , , , , , , , , , , , . ? , , , ( ‘ ‘ ) , , , , , . ? . , , , ( , ) . ? . ‘ . . ? , / , , , , , , , , , , . ? , , , . ? : , , , ( ) , ‘ ( ) . : : : , , , , , , , . ? , , , . . , – – , . ? , , , , , , ( ) , ( , . , . . , . . , . . , . . . ( ) , , ) ( ) . ? : , , , , , . , , ( ) , ( , ) , ( ) , , , , , . . ( ) ( ( ) ) . ( ) ( . . ) , . , , , . . . ‘ , , ( . . ) , , ( . . , . . ) , , ( ) , , , ( ) . ? ( ) , , / , , % ( ‘ ) , / , . / % , , , , , , . ? ( ) . . ( ) , . . . ( ) . ( , ( , , , , : , , , , , : , , , , , , ) , , ) : ( ) , ( ) , ( , , ) , ( ) . ‘ % , , ( ) . / ( / , / , , , , , , ) . . , , , . ? , , , , . , . , , , , , , , . ( ) , , , , . ? ( ) , , . . . . , , , , , , , , . . , , , , ( / – , ( ) ) . , . ( ) ( , , ) , ( ) , , , , , , , , , ( ) , , , , , , , , , , , ‘ , , , ‘ . ? , , ‘ ‘ , ( , , , , , , ) , , . ? . ? . ? / , . . ‘ . . ? , . ? , , , . ? ‘ , ( ) , , , , , , : , : , , , , : + . , : , : , ‘ , . , , , : ” ” , : : ( ) ‘ ( ) : , , . ‘ , , : , , , : : , ( ) , : , ( ) , : , , , / . . . , , , / . . . ‘ : ( ) . . / . . / . . / . : , ‘ : : , , . . , , , . . : , , : – : : : ) ( , ) ( , ) ) ( , ) ( , ) , , . . , , , . . : : , , : , ‘ – ‘ ( ‘ / – , ‘ / – ) . / , , / , , : , ‘ , , , , , ( ) . ( ) : . . , , , , , / . , ‘ . , . . . ? . , , , , , , , . ‘ ? ! ! ? ( . . . . ) ( . . ) . ? , , , ( , ) , , ( ) , , ( , ) . ? , , , , . ? : : ‘ , ( ) , , – – , , , ( ) – – – – , : , / , ‘ : – – ( , , ) , : , % ( ) ( ) : ‘ ( ) , : . . , , , , , . ( ) ? ( ) , , . ( ) : ‘ , , , : : . ? . . . . . . . . . . . . . . . . . . , . . . . . . . . . . . . . . . . . . . . . ? , , , , , : , : , : , . ? . ? : , : : : : . ? , . ( ) ? ( ) ( ) , , , , , , ( , , ) , ( , ) . ( ) ( ) . ? : . ? . . . ? , . ? , , . , , . , : : , , . : / , , , , , , , ‘ , , , , , . : ‘ ( ) , , ‘ . : . ? , , , , , , , . ? ( ) : ( ) . ? , . ? . . . ? , , , , , , , , , . ? , . ? , , , ‘ , , , , , ‘ , ‘ , , . ? ( , , , , , . . , , ) , , ( , ) , ( ) , ( ) , ( ) , , ( ‘ ) , ( ) , ( ) , ( ) , ( ) , . , ? , , , . , , , , . ? , , , , , ( ) , / , , , , . . ? . . ? , . , , . ? , , , , , , , , . , , . , , , , , ( ) . ? . , , ? , : , : , : , : , : ( ) ( ) , : , , . , ? , ( ) ( ) , , ( ) ( ) . , , , , ? ( ) : ( ) : ( ) : ( ) : ( ) : ( ) : ( ) : , ‘ , ( ) : ( ) : ‘ ( ) : , , ( ) : ( ) : ( ) : , , , ( ) : ‘ , ( ) . ? . , , , , ? ‘ ? , , ? ? , , , , , ? : ( , , , , , . . ) : : ( ) , , , , . , , ? , , , , ‘ . ? , , , , , : , , , , , . ? ‘ , , ‘ , , , ‘ , , , , , , , , . . . ( ) . ? , , , , ‘ . , , , , , , , , , ( , ) , ( , ) . ‘ ? , , , , , . ? , ( ) : , , : , : , : , , , . , , ? , , , , , , , , , , , . ? , , , . ? , , ‘ , , , , , ‘ , ‘ , , ( ) , , , , , , , ( ) , , , , , , , . ( ) . ? ( ) , ( ) , ( ) , ( ) . , ? , , , , , , . ? , , , . ? , . ? , . ( ) ( ) , , . , , . ? ) , , , ) , , ) , , ) , , , ) , , . ? , , . . , , , , , , , , , , , , , , , , , , , , , , , , , , ‘ , , , , . , , , , , , . , . , ? ( ) ( ) ( ) . , ? , , . , . , . ( ) ( ) , . ( ) , . , . , , , ( , : , ) , , , , , . , , ? : : : : : : ( , ) ( , ) : : : : : : . , , ? , ( , , , ) , , , , , . ? : : : : . ? , , , . ? : : : : . ? , , , . ? : , , , , , , ( ) , . : , , , , , ‘ ( ‘ ) , , , , , , ( ) , , , , ( ) , , . ? . ? , . ? ( ) , . , , , , , . , ( ) , , , , , . , , , , , , , ( ) , . ? , , , , , . ‘ ‘ ? , . ? , . . . : , . . . : , . , , . : . ? . , , . ? : , , , , , – , , , . : , , , , , , . ? ? . . ? . ? ‘ ‘ . ?  / / / / – — — ‘ . / – / – / / / / – / . – – –

 

James Joyce’s Ulysses, but just the punctuation.

Sunday Comix

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“Flag” by Noel Freibert. Published in Kramers Ergot #9, 2016, Fantagraphics Books.

RIP David Hockney

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RIP David Hockney, 1937-2026

David Hockney, a prolific giant of the last century, died yesterday at 88. I will leave others with greater expertise to unpack Hockney’s bearing on the (so-called) art world. I do know that people reacted with real emotion to his paintings and drawings. I saw that firsthand on the few occasions I was lucky enough to see a Hockney hanging in a gallery. Below is a slim sample of Hockney’s work, spanning seven decades; it includes a study for his 1973 piece Sun. About ten years ago, I was thrilled to find a large exhibition print of Sun at an estate sale. It’s been hanging on my office wall ever since. I look at it when I feel frustration or anger and it brings me a little ease.

After Blake: Less Is Known Than People Think, 2024
4 Blue Stools, 2014
Arranged Felled Trees, 2008
12 Portraits after Ingres in a Uniform Style, 1999-2000
Slow Rise, 1993
Mum, 1988-1989
Seeing and Blind Masks IV (from Oedipus Rex), 1981
Looking at Pictures on a Screen, 1977
Study for Sun (II), from The Weather Series, 1973
The Enchantress with Baby Rapunzel from Illustrations for Six Fairy Tales from the Brothers Grimm, 1969
Portrait of Nick Wilder, 1966
Domestic Scene, Notting Hill, 1963
Doll Boy, 1960-1961