The longest period of fasting was fixed by his impresario at forty days, beyond that term he was not allowed to go, not even in great cities, and there was good reason for it, too. Experience had proved that for about forty days the interest of the public could be stimulated by a steadily increasing pressure of advertisement, but after that the town began to lose interest, sympathetic support began notably to fall off; there were of course local variations as between one town and another or one country and another, but as a general rule forty days marked the limit.
—Franz Kafka, “A Hunger Artist,” trans. Willa and Edwin Muir
Author: David Gorsline
The Last Cargo Cult
For a man who spends two hours sitting behind a desk and talking, Mike Daisey reveals an energy and grace in his movement worthy of a tai chi chuan master. Steepling his fingers to make a point, then softly melting them to the side, storyteller Daisey explores in his current offering at Woolly Mammoth the peculiarities of the natives in the islands called Vanuatu and the big island called Long, and shows them to be hilariously ridiculous in equal measures.
If his analysis of the past years’ financial embarrassments is rather glib, bad economics, Daisey’s perception that we experience the spongy bottom of the current recession to be disappointingly mild—in his word, “AWK-ward,”—is acute. And his parsing of the false egalitarianism at a New England liberal arts college into the contents of the boxes unloaded by each arriving freshman, some of them with technological riches that inspire him to say, “our shit is AWESOME,” is well executed.
He is better off on his trip to a speck of land in the South Pacific, the island of Tanna, to observe the playing out of an annual rite, part village festival, part perverse appropriation of Western culture. At one point in the spectacle, a man is chased in circles by another man, the pursuer wearing a fright mask from the movie Scream: this is explained to Daisey by an interpreter as “President Obama being chased by a dragon.” Oh-kayy. Daisey, a generously proportioned man, figures that he is a match for anything unusual or unpleasant on offer by Tanna’s cuisine. But, as he comically bellows in a richly modulated voice, “the fermented yam paste proved me wrong.”
It’s Daisey’s control of his polychrome voice, which can range from the avuncularity of Garrison Keillor to the manic jeremiads of Chris Farley, often in the same paragraph, sometimes in the same sentence, that makes for such an entertaining evening.
- The Last Cargo Cult, created and performed by Mike Daisey, directed by Jean-Michelle Gregory, Woolly Mammoth Theatre Company, Washington
Carderock
The weather was once again kind to us, this time for our first field trip in winter woody plant ID (trees mostly, and some shrubs). We worked a short bit of the towpath of the (still iced-over) C&O Canal and the B section of the Billy Goat Trail in the Carderock Recreation Area, on the Maryland side of the Potomac just outside of the Beltway. Elizabeth Rives is teaching the class, and she’s started us out with the opposite-branching trees. So we spent time with various maples, ashes, and Flowering Dogwood (Cornus florida) today. I found that ID’ing one particular dogwood that wasn’t showing many buds to be a particular stumbling block.
We also looked at a Bitternut Hickory (Carya cardiformis) example, with its strongly yellow buds; the many-synonymed Musclewood (Carpinus caroliniana); Eastern Hophornbeam (Ostrya virginiana), a shaggy-barked catkin-bearing member of the birch family; Hackberry (Celitis occidentalis) with a corky bark that isn’t spongy like an elm. One more opposite-branching shrub was Black Haw Virburnum (Vibirnum prunifolia). Black Walnut (Juglans nigra) is allelopathic, but colonies of PawPaw (Asimina triloba) can tolerate it as a neighbor; the walnuts we saw didn’t look very purplish in the bark to me. The easy-fun tree for everyone was the shrubby Bladdernut (Staphylea trifolia), with its seeds rattling around in capsules that look like a fat man’s pants.
We previewed the oaks, on which we will spend a lot more time later. Bonus tree for the trip was a huge American Linden (Tilia americana). Bonus birds for the trip were a couple of Bald Eagles making their way down the river, seen fairly easily from our lunch break spot up on the rocks.
Dickens decoded
At the present time, in the dark little parlour certain feet below the level of the street—a grim, hard, uncouth parlour, only ornamented with the coarsest of baize table-covers, and the hardest of sheet-iron tea-trays, and offering in its decorative character no bad allegorical representation of Grandfather Smallweed’s mind—seated in two black horse-hair porter’s chairs, one in each side of the fireplace, the superannuated Mr and Mrs Smallweed wile away the rosy hours.
—Bleak House, ch. 21, p. 343
Wile away: eggcorn or no? Arnold Zwicky isn’t so sure. My edition is merely the 1971 Penguin paperback, and doesn’t offer any editorial suggestions about Dickens’ intentions. There are many versions of the book online that amend the phrase to the more widely accepted while away.
In chapter 38, Mr. Guppy is hypermeticulously securing an oral witness (Caroline) to a renunciation of a marriage proposal:
‘Married woman, I believe?’ said Mr Guppy. ‘Married woman. Thank you. Formerly Caroline Jellyby, spinster, then of Thavies Inn, within the City of London, but extraparochial; now of Newman Street, Oxford Street. Much obliged.’ (p. 602)
A dictionary and some thought gives us extraparochial as “outside of any church parish.” So before she married Turveydrop, Caroline lived in a place within the City that was not part of any parish. But the connotations of this term run deeper, when we consider Dickens’ (who composed Bleak House in the early 1850s) steady theme of providing for the poor. A UK government guide to 19th century census reports elaborates:
Besides parishes, with their tythings or townships and chapelries, there were also many places in England and Wales not contained in the limits of any parish. These extra-parochial places had inherited an independence by which they enjoyed virtual exemption from taxation; from maintaining the poor, since there was no Overseer on whom a Magistrate’s Order could be served; from the Militia Laws because there was no Constable to make returns; and from repairing the highways, because there was no official surveyor….
In 1857 the peculiar privileges enjoyed by extra-parochial places were curtailed under an Act ‘to provide for the Relief of the Poor in Extra-Parochial Places’ which decreed that places named extra-parochial in the 1851 Census report were to be deemed parishes for this purpose and to have Overseers appointed for them by the Justices of the Peace. In the case of extra-parochial places covering a very small piece of land, the place was annexed to an adjoining parish, if the consent of the owners and occupiers of two-thirds in value of the land was forthcoming. Special provision was made for the particular cases of the places in London termed the Inner Temple, the Middle Temple and Gray’s Inn where the officer acting for the time being as Under Treasurer, and the Registrar in Charterhouse were appointed Overseers. This act did not apply to places not specified as extra-parochial in the census reports. In these cases the act was merely permissive and, therefore, largely inoperative. In a later Act of 1868 it was declared that every extra-parochial place existing on 25 December 1868, should be added to the next adjoining civil parish which had the longest common boundary. In spite of these acts there are still some places in England and Wales which are extra-parochial from civil parishes. They are all islands or lighthouses which were probably overlooked in the act since they were not contiguous with any parish and, therefore, could not be added to any. There are also still many extra-parochial places from ecclesiastical parishes which enjoy special privileges under Church laws or custom.
Yes, I’m a little woozy after reading that, too. According to a Wikipedia article stub, certain places in the City are yet today considered extraparochial. Something to do with the Knights Templar, ’nuff said.
Welcome to this situation
Arthur Lubow profiles Tino Sehgal, zero-impact conceptual artist/sculptor/choreographer.
Unlike so much of contemporary art, Sehgal’s art evokes passionate reactions among the unschooled as well as the cognoscenti. Anyone who has seen the onlookers trudging passively through an art museum (all too often the Guggenheim ramp resembles the humane cattle slaughterhouses designed by Temple Grandin) can appreciate the achievement. What fascinates me about Sehgal is that working only with human clay, he can call forth thoughtful and visceral responses from people who remain unmoved by more conventional paintings and sculptures. When I expressed this to him, he laughed at me. “I’m more ambitious than that,” he said. “That’s too little of a game.”
Advice to the players
Actors, you have to make a decision: When I come back to life, how do I feel about this?
—adjudicator Libby Anne Russler, 2010 MCTFA
Pocket change
The neglected tropical diseases (NTDs) don’t necessarily kill: they maim, blind, and stunt the world’s poor. It’s estimated that of the world’s bottom billion in poverty, at least everyone is afflicted with at least one of these nasties, from hookworm infection to dengue hemorrhagic fever to lymphatic filariasis. Most of these diseases can be controlled, even eradicated, for as little as 50 cents a person, according to Peter Jay Hotez and the Sabin Vaccine Institute. That’s not 50 cents a day, that’s 50 cents a life.
Some links: 42
A few weeks ago, Bas Bleu retraced the track of a bicycle trip she took across France 30 years ago, this time en voiture. I’m reading her reports completely out of order, chronologically and geographically, but I don’t think it matters. You could pick up the thread with her in Bordeaux, perhaps.
Show Boat
Kern and Hammerstein’s breakthrough musical gets a simplified and trimmed production in Arlington. This 1927 show from the novel by Edna Ferber shows the traces of turn of the century operetta and music hall—songs that don’t fit into a simple verse-chorus structure are plentiful and two songs of the period are interpolated—even as it takes on social issues, chief among them race and class relations. Plays that capitalize on backstage shenanigans are so common as to pall (if I see one more riff on Moon Over Buffalo I can’t be held responsible for my actions), but the current piece, which follows 40 years in the life of a Mississippi River show boat of traveling players (something like vaudeville with a paddewheel), is still charming.
Some of the cast manage the challenge of aging four decades in the course of the evening more gracefully than others. Delores King Williams’s Queenie, of the supple voice, is a pleasure to listen to. She’s part of the most energetic and enjoyable number of the show, the playful “Can’t Help Lovin’ Dat Man” from Act 1. The dancing in this number is modest, but appropriate to its time. Elsewhen in the show, swing player Patrick Cragin, playing the role of hoofer and stage villain Bobby Smith last Saturday night, also shows some fancy tapping.
The show’s signature song, “Old Man River,” is a lovely piece, but I found the choice to reprise it twice (with little change in emotional temperature) a bit odd while chunks of plot were clearly jettisoned in Act 2 to keep the running time down. When Joe (amiable VaShawn McIlwain) takes the dynamics of “I’m tired of living,/And scared of dying” to a 10 the first time through, there isn’t any place for him to go. Notwithstanding, music director Jon Kalbfleisch’s orchestra of fourteen supports him with one clean, clear voice.
- Show Boat, music by Jerome Kern, book and lyrics by Oscar Hammerstein II, based on the novel by Edna Ferber, directed by Eric Schaeffer, Signature Theatre, The Max Theater, Arlington, Virginia
Onh honh HONH
Easy pickins
Over the holidays, Leta’s family told me about a natural phenomenon more or less peculiar to Mobile Bay. From time to time during the summer months, low oxygen levels in the bay drive the resident fish and shellfish up into the shallows of the eastern shore. The swimmers arrive in such numbers that hungry Alabamans come down to the beach with washtubs to collect a jubilee of easy-to-catch seafood. Harold Loesch and Edwin May have studied the phenomenon and written it up in journal articles. Conditions that seem to promote the (usually pre-dawn) event: winds out of the east and a rising tide.
Upcoming: 20
I received a flashed version of my judging assignments for WATCH this year. Lots of Bills, some old friends (the evergreen TBD tallest among them), some new releases, and two of the increasingly popular Really? A Musical of That?.
- Reefer Madness, the Musical, Studney and Murphy
- The Lion in Winter,
WilliamJames Goldman - I Love You, You’re Perfect, Now Change, DiPietro and Roberts
- The Miracle Worker, William Gibson (no, not that one)
- As You Like It, William Shakespeare
- Evil Dead, the Musical
- Company, Stephen Sondheim
- A Party to Murder, Kash and Hughes
- The Pajama Game, Adler and Ross
- Little Women
I haven’t auditioned for anything yet, but scheduling and interest conflicts are sure to arise. Let the trading begin!
Upcoming: 19
Volunteer birders in the Mid-Atlantic, lower Midwest, and South are asked to submit observations (positive and negative) of Rusty Blackbirds (Euphagus carolinus) during this year’s blitz, 30 January through 15 February. It’s dead simple: check your favorite wet woodland (or other suspected hotspot) and submit your data to eBird!
Powerful Kramler: Nabokov decoded
Kinbote writes of dialling 11111 to summon first responders to the scene of the shooting (“I then dialled 11111 and returned with a glass of water to the scene of the carnage,” Vladimir Nabokov, Pale Fire, note to line 1000). At the time of these events, various countries were beginning to adopt 3-digit emergency telephone numbers, following the lead of Britain’s 999. New Zealand introduced a 111 emergency number in 1958; the year before, California rolled out a ZEnith 1-2000 (presumably one asked for rather than dialled this number, since Z is not assigned a digit on the telephone dial); Australia adopted 000 in 1961. Use of 11111 for emergency purposes is undocumented, as far as my searches go.
Old World/New World: “…the disguised king’s arrival in America where he descended by parachute from a chartered plane piloted by Colonel Montacute, in a field of hay-feverish, rank-flowering weeds, near Baltimore whose oriole is not an oriole.” (note to line 691) As is often the case, a New World family of birds (the black and yellow Icteridae, “jaundiced ones”) is not closely related to its Old World namesake, in this case the orioles, family Oriolidae.
Nabokov appears to have introduced two coinages in the book, one by Shade (“And that odd muse of mine,/My versipel, is with me everywhere,/In carrel and in car, and in my chair.” [ll. 946-948]) and one by Kinbote (“The Shades were out, said the cheeky ancillula, an obnoxious little fan who came to cook for them on Sundays and no doubt dreamt of getting the old poet to cuddle her some wifeless day.” [note to line 802]). Versipel is glossed as a back-formation from versipellous, “changeable; protean; having a form, nature or appearance that changes often.” Ancillula is from the Latin, and is a diminutive of ancilla, “handmaid.”
Fabulous theater town
Potomac Stages takes its last call. Well done, Brad, David, and William!