* A few weeks ago, a revealing exchange: Rev. Jeremiah Wright, who gives jeremiads blaming whites for black problems, “gives voice to a common black experience . . . [employs] black oratory style . . . uses fiery, incendiary language,” said Deborah Douglas of S-T on the Ch. 11 Carol Marin show Chicago Tonight.
“It really is refreshing to have had that experience,” she also said.
“The malcontents and Obama-haters in the blogosphere will keep this [controversy] alive,” she said later in the show.
“And maybe reporter[s], too,” said Marin, which I first took as a woe-is-us comment but which I think now can be taken as a caution expressed to the somewhat naive Douglas.
* You know how the Sunday bulletin often has a ferverino from the pastor? (Or Saturday’s from the rabbi?) It takes off on Scripture or holy season to make a point that’s a sort of column. Like a sermon but not quite, often because it’s less formal.
It could be that Barack Obama’s church, Trinity UCC on 95th Street in Chi, often has such ferverinos too, though the smart money says it has a political, nay leftist tinge, based on its pastor’s inclination toward rousing rabble with slam-bang language and showmanship.
Well, smart money does it again with the July 22, 2007 inspirational tidbit, a manifesto by Mousa Marzook, “deputy of the political bureau of Hamas, the Islamic Resistance Movement.” that had run in the LA Times on July 10. The bulletin item, on the “Pastor’s Page,” is headed “A fresh view of the Palestinian struggle.”
It’s essentially a propaganda piece, crying for rebuttal from U.S. and Israeli sources, to name only two. But that’s the shape the ferverino took at Trinity UCC on that July Sunday.
* Meanwhile, on the philosophical poetry front, we find the American poet, John Ashbery, featured in the 3/28/08 Times Literary Supplement as portraying “a sad decline” in his latest poems — a decline of life as it happens. Ashbery is 81 and ripe for such considerations.
He gives us a sort of vanity of human wishes in verse, per reviewer Stephen Burt. Paths of glory leading to the grave stuff. Nothing so obvious (or so memorable) as Gray’s “Elegy,” Ashbery being of this century and the last. The pertinent “Elegy” stanza:
The boast of heraldry, the pomp of power,
And all that beauty, all that wealth e’er gave,
Awaits alike th’ inevitable hour:-
The paths of glory lead but to the grave
Ashbery’s work demonstrates the “treasure of memory and bodily impoverishments of late life,” says Burt, a Harvard prof. In this as I understand it, he manifests a sense of being not too much troubled by how the world turns, his world and others’, realizing that others will achieve what he didn’t:
“Those places left unplanted will be cultivated / by another, by others. Looking back it / will seem good”.
Not necessarily, though I have read and heard that Jesuits have plunged creatively and boldly into education of black boys on the West Side — with their new academy in the old Resurrection parish school buildings on Jackson Boulevard. A long time ago, I contributed to this development by writing about and then directing a “summer enrichment program” for such boys at St. Ignatius High School. Warm welcome, therefore, to Chicago Jesuit Academy.
* Staying with TLS, one notes the importance of letters to the editor, from which one can learn a lot. They come bite-size but packed with allusions that tell you something or lead you to something very good. It’s this way in most publications.
In letters people are direct in expression and forthright in exposition. They don’t mince words, or usually don’t or aren’t allowed to, they read well and are not too long. Newspapers and magazines have to know the deal they have — readable stuff that’s free.
For instance, Michael Egan rebutting Bart Van Es in re: “Richard II, Part One” as Shakespeare’s and not someone else’s. In a 2/15/08 essay, Egan had based his argument that Shakespeare wrote this play not “in large part on verbal and character analogues” but “principally, as it should, on the quality of the writing.” He found this Shakespearean and quoted a marvelous speech by the Queen Anne character, beginning:
My sovereign lord, and you true
English peers,
Your all-accomplish’d honours have
so tied
My senses by a magical restraint
In the sweet spells of these your fair
demeanours,
That I am bound and charm’d from
what I was.
Egan also defends his “phrasal analogues,” citing one that’s familiar to most of us, that between a dead man and a doornail:
Lapoole: What, is he dead?
Murderer: As a door-nail, my lord.
– 1 Richard II, V.i.242–3
and
Falstaff: What, is the old king dead?
Pistol: As nail in door.
– 2 Henry IV, V.iii.120–1
How many of you knew the phrase came from William S.?
I learned long ago to look to him for household phrases, when as a Fenwick junior I saw Olivier’s “Hamlet” in a Loop movie house and realized I was hearing phrases I knew. Shakespeare used hackneyed expressions, I thought, until I did the math and decided he’s the one that made them up. Clever fellow.