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

Sunday, June 13, 2021

Red Letter, Er, Red Number Days, They Are Here

      . . . . Am looking at my wall calendar, above the computer desk. 

O my, there are red reminder circles around quite a few dates!  Which hasn't been the case in nearly 16 months, generally speaking.  Additionally, there are the arrows running across a week of dates indicating when el V leaves for Miami, and when he returns. Holy Cow! He has a research residency at the Ayallah Archive at the Florida International University.  This will include giving a webinar while in residence at the Diaz Ayala Center of Florida International University's Cuban Research Institute on Thursday, July 1, at 2 pm Eastern: "Teaching the Cuban Discography: The Archive as Clave." As the title suggests, he's preparing a course in the Cuban discography.

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. . . . The long persistent 'heat dome' disintegrated a couple of days ago.  My toes are confused. After such a nice time of sandal freedom, they are back in sox and boots, with long sleeves and / or light sweater outside. Which means that the coming week looks like 'normal' lovely June weather of earlier years.

Nevertheless, it's difficult to rejoyce too much. The They Sayers are saying covid's here for good. Why yes, just forget about that herd immunity fantasy.  Ain't happening, ain't gonna happen, folks. Why yes, this is no kind of surprise.

Due to Delta spread it does seem the UK isn't going to completely open this week, which is good.  But we're wide open here, so we know what to look forward to.

While the new surges in Southeast Asia are of course hitting hard the factory workers who make everything we USians use.  Again, not a surprise, is this? Along with this is the ever-increasing housing crisis in this nation.  Much of this is caused by capitalism, all right. The wide-spread, grinding, relentless poverty -- just starting with utterly unaffordable housing -- in the USA is a deliberate policy choice:

https://www.nytimes.com/2021/06/13/opinion/stimulus-unemployment-republicans-poverty.html?

And yet so many obscenely wealthy wonder why so many of us believe they are the greatest danger to family, community, society and security ever created.

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. . . .  WATCHING:  Lupin, Part 2, went up on Netflix this weekend. 



My goodness the writers, camera people and editors do tension in this show. It's breathtaking how many narrow escapes upon narrow escapes they can pile up in a single sequence of a single episode.  I've never seen anything quite like this. And while doing so they manage to create visual jokes that add commentary.

For a single sample, in one scene Our Protagonist, Assane Lupin, captured and handcuffed in a police vehicle, stops a station to refuel, naturally requests to use the bathroom -- and of course, hands cuffed behind him, requires assistance from the guardian cop. All through this sequence are people holding hoses and engaged in other activity, that with a restroom in the picture, provides comic, um, er, well ya, relief!  Only the French could have done this so elegantly, subtly, refusing to draw any attention to itself, lacking broad vulgarity (which broad vulgarity, of course the French do as much as every other culture on the planet), while containing wit.

Ya, this show is special in every way, because it is so French, making no gestures toward that blandness of deliberately trying for an international audience. Lupin was conceived from the gitgo for a French audience, not a global one.  The producers are fairly convinced that this is why the show became an unexpected  international blockbuster -- it is relaxed within its French context, from source material to culture to cast, to locations.

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. . . . READING: The Horde: How the Mongols Changed The World (2021) by Marie Favereau. 



Definitely in the top 5 of the books read this year.  I don't like it that I've only a few more pages left to read in this book. It was so pleasant to sink into Eurasia in the era given to us by Chinggis Khan, until the Bubonic Plague and other factors diminished the bloodlines of the Hordes, and the rise of the Ottomans.  Believe it: if you think you know about the Mongols and what they did, you very likely do not, as one learns by reading this book. A solitary sample: how many of us have even considered how much the Hansa trading consortium depended on, and was integrated into the Hordes' commercial system?

Having concluded Justinian's Flea as our bedtime together Read-Aloud, we have embarked on a very old book, recommended by the author of same, but published way back in 1971, Peter Brown's The World of Late Antiquity: AD 150-75. Thus in many ways, presenting a perspective that contemporary scholarship no longer supports. It's a slim book, during which one does frequently observe, "My! how late antiquity has changed in the 21st century!"

We will follow this as our Read-Aloud with The Inheritance of Rome: Illuminating the Dark Ages 400-1000 (The Penguin History of Europe - 2009), by Chris Wickham.  All our faves included -- Goths! Vandals! Mameluks! Mongols! Ottomans!  And most of all, Charlemagne!

I remain puzzled though: why does the Eastern Empire interest me so much less than either the old or new Western Empire, or the Mongols or the Turks?

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* I do not need to be informed that French expression can and does resort to that kind of humor as much as does every other culture in the world. Ha!

1 comment:

Foxessa said...

Ha! The NYer (paywalled) has a piece up on Omar Sy, the actor who plays Assane Lupin.

https://www.newyorker.com/magazine/2021/06/21/the-formidable-charm-of-omar-sy

I love this:

["....The world’s gentlest heist thriller, “Lupin” flatters Sy’s talent like a superfine merino. There he is, doing that nose-scrunch thing he does to express distaste, as if he’s smelled a dirty sock. Tossing carrots into a stockpot with warmhearted paternal swagger. Donning dentures and fake mustaches, reviving a kind of analog fun. Pilfering a Fabergé egg from the big-game-stuffed apartment of the widow of an industrialist from the former Belgian Congo, making a point about colonialism without having to make one. (And slipping in a shout-out to “Les Intouchables,” which also features a Fabergé-egg subplot.) Knocking a bad guy on his back and locking him in the supply closet of a moving train, but never initiating the violence or using a gun, because Sy has five children, ranging in age from three to twenty, and that’s not what he wants them to see on television, especially coming from a Black protagonist. If the antihero has dominated television in recent years, Sy is bringing back the gallant, mass-market leading man." ]