LINES OF THE DAY

". . . But the past does not exist independently from the present. Indeed, the past is only past because there is a present, just as I can point to something over there only because I am here. But nothing is inherently over there or here. In that sense, the past has no content. The past -- or more accurately, pastness -- is a position. Thus, in no way can we identify the past as past." p. 15

". . . But we may want to keep in mind that deeds and words are not as distinguishable as often we presume. History does not belong only to its narrators, professional or amateur. While some of us debate what history is or was, others take it into their own hands." p. 153

Silencing the Past: Power and the Production of History (1995) by Michel-Rolph Trouillot

Thursday, August 6, 2009

“Mais oui,” the young Lord Greystoke said . . . .

This summer in Paris Tarzan is the subject of a show at the Musée du Quai Branly. Incidentally, in England “Me Cheeta,” the comic “autobiography” of Tarzan’s sidekick, now a septuagenarian, was a finalist for the Man Booker Prize. The article further points out, amusingly, that the French have stuck Tarzan in a semiotic jungle.

"Its organizers cogitate, with Gallic élan, on Tarzan’s proto-environmentalism; his philosophical roots in Rousseau and the 19th-century nudist movement; his literary antecedents in Kipling and H. M. Stanley; and his mythological reliance on the stories of Hercules and Romulus and Remus. The exhibition also makes hay about the first words Tarzan uttered not in ape grunts but the language of civilized men:

“Mais oui,” the young Lord Greystoke said.


The exhibition’s principal curator, Roger Boulay, stressed how not just Tarzan films but also comics and books became a barometer of shifting political and social standards, in France no less than in America. The blue-blood colonialist defending Africa for white people for years played off against this country’s foreign escapades as well as its anxieties about miscegenation. Expurgated and unexpurgated versions of the comic strip were published here, one with Jane dressed for innocent French youngsters, the other with her in nature’s own to please more seasoned aficionados. An alliance of French Catholics and Communists eventually pushed through a law that, for a while, purged Tarzan from French movie theaters.

“For the Catholics it was the nudity,” Mr. Boulay explained. “For the Communists it was the fact that he was a violent, unemployed aristocrat who ate bananas.”

In America, Tarzan on screen, as he did in some of the later Burroughs books, went the way of late Dick Tracy in the funny pages. By the 1970s Tracy was battling outer space criminals on the Moon in a rocket-powered garbage can. Tarzan vanquished Vikings and ancient Romans and during World War II joined the Foreign Legion to fight the Japanese on Sumatra.

The exhibition ends with a French television advertisement for men’s perfume, directed by the great Jean-Paul Goude, from 2005. A male model joins leopards and monkeys drinking at a watering hole. “Guerlain Homme,” a voice-over intones. “For the animal in you.” It’s a throwback to the Tarzan who hadn’t yet morphed into a time-traveling Superman.

That’s one plausible explanation for the show’s popularity: fondness for a gadgetless hero from the days before “Transformers: Revenge of the Fallen.”

There’s also the cachet of the eco-warrior, which the exhibition pushes hardest and which plays well here in France: Tarzan protecting the jungle from greedy commercial interests. But Libération no doubt had it right. The Parisian boys glued the other morning to a video monitor playing a clip from “Tarzan and His Mate” (1934) didn’t seem to be rapt by the concept of environmental preservation."

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