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[ by Charles Cameron — from tree-planting in the millions, via Tolkien’s ents in entmoot mode, to the Yukon, science-fiction time-travel, and a Greta Thunberg lookalike ]
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A couple, Brazilian photographer Sebastião Salgado and his wife, planted 20 million trees in 20 years. Some of their product is visible in this photographic DoubleQuote

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Simply and factually, two states of a hillside are connected by twenty years of planting, similarly but more personally, a photographer and his wife are connected by love and marriage nurtured by their lives together, more abstractly two nodes in a network are connected by edges, in each case, the connections in a network are the strength of that network..

And in this case, trees are the result of planting over time, and over time this marriage of two persons is no doubt deepened. They make a difference, and if a hundred thousand, scattered across the habitable globe, followed their example, the impact would be considerable.

Consider also that in the view of a German scientist whose ideas are, according to the Smithsonian, “shaking up the scientific world”. Anthropomorphosizing more than a little, the Smithsonian writer tells us:

Wise old mother trees feed their saplings with liquid sugar and warn the neighbors when danger approaches. Reckless youngsters take foolhardy risks with leaf-shedding, light-chasing and excessive drinking, and usually pay with their lives. Crown princes wait for the old monarchs to fall, so they can take their place in the full glory of sunlight. It’s all happening in the ultra-slow motion that is tree time, so that what we see is a freeze-frame of the action.

20,000 trees must have quite a conversation.

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Entmoot

Cue JRR Tolkien on the tree-like Ents, the ancient and wise guardians of trees and forests introduced in volume 2 of the Lord of the Rings:

Quickbeam, for example, guarded rowan trees and bore some resemblance to rowans: tall and slender, smooth-skinned, with ruddy lips and grey-green hair. Some ents, such as Treebeard, were like beech-trees or oaks. But there were other kinds. Some recalled the chestnut: brown-skinned Ents with large splayfingered hands, and short thick legs. Some recalled the ash: tall straight grey Ents with many-fingered hands and long legs; some the fir (the tallest Ents), and others the birch, … and the linden.

A gathering of the ents is called an Entmoot. Tolkien quotes Treebeard:

The ents have not troubled about the wars of men and wizards for a very long time. But now something is about to happen that has not happened for an age… Ent Moot. [ … ] Beech, oak, chestnut, ash… Good, good, good. Many have come. Now we must decide if the ents will go to war.

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By way of a bookend to this post, here’s a DoubleQuote in images of Greta Thunberg and a 1898 lookalike in a photo from the Yukon:

As usual, parallelisms promote speculation — in this case, the laughable, laudable conspiracy theory that Thunberg is a time traveler.

Conspiracy! Science fiction!

The suggestion is that Greta traveled back from our time, when she despaired of our efforts to reverse human-caused climate change, to the Yukon of 1898, where she set about reversing the problem at its time and place origin. Exactly why human-caused climate change should have started in the Yukon in 1898 is not clear, nor can we understand how, if she began her efforts at reversing the progressive wasting of earth by human impact back in 1898 and had had no notable impact on that process by now, as revealed in the 1898 and 2019 photos of Ms Thunberg.. that too is unclear.

Fabulation, however, is fabulpous by dedfinition — so we record this conspiracy here.

Readings:

HuffPost, Photo From 1898 Sparks Hilarious Theory That Greta Thunberg Is A Time-Traveler

Owen Sound Sun Times, Greta Thunberg look-alike in 1898 Yukon gold rush photo has sparked time-travel conspiracies

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Okay, here’s a suggestion:

Greta Thunberg — or the Entmoot , for that matter — might suggest we plant trees:

Plant for yourself:

But be warned

As we plant trees, we must avoid planting monocultures, and ensure we plant variety, as The Economist suggests.

[ by Charles Cameron — continuing the series, with a choice gobbet of Updike ]
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from Meet the Press, 10/21/2018

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I continue to find the close reading of metaphors an invaluable analytic tool, and one that is also of interest to me personally, for writerly, poetic purposes. I’ve expanded my search from its original focus on games — specifically including sports, theater, war games &c as metaphors for politics — to cover something I’ll characterize as fine writing — giving me the ability to note and quote across a wider range of topics and usages.

My last post in the series ran to 18 comments, each one containing a couple of dozen or so instances of metaphor or fine writing, and I don’t expect my expanded search criteria to expand my actual collection — if anything I hope to cut back in favor of writing other things. But when MSNBC’s Meet the Press splashes a great End Game banner on my screen, as it did today, see above, I still won’t be able to resist.

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On the subject of fine writing, though, how’s this?

Dorothy Dotto, thirty-eight, happily married for nineteen years, the mother of three, a member of the Methodist Church, the Grange, and the Ladies’ Auxiliary. She lives, and has lived all her life, in the town of Elm Corners, somewhere in the Corn Belt; as a child, she won seven consecutive pins for perfect Sunday school attendance, and she graduated with good grades from a public school where the remarkable truthfulness of George Washington and the durable axioms of Benjamin Franklin were often invoked. Her father, Jesse, who is retired but still alive (bless him), for forty years kept above his desk at the feed mill a sign declaring, “Honesty Is the Best Policy.”

That’s John Updike, describing “the unimaginably tactful and delicate process whereby the housewife next door was transmogrified into a paid cheat” in what in retrospect looks like a major turning point in the American psyche — the loss of innocence that occurred when it was revealed that many hundreds of Dorothy Dottos had been suborned into a grand cheating system in what’s now known as the 1950s quiz show scandals:

The American quiz show scandals of the 1950s were a series of revelations that contestants of several popular television quiz shows were secretly given assistance by the show’s producers to arrange the outcome of an ostensibly fair competition. The quiz show scandals were driven by a variety of reasons. Some of those reasons included the drive for financial gain, the willingness of contestants to “play along” with the assistance, and the lack of then-current regulations prohibiting the rigging of game shows.

Back to Updike:

Now, as we remember the flavor and ethos of that innocent era, we realize that the contestants, aside from their freakish passion for Hittite history or skeet-shooting statistics, were meant to be us — you and me and the bright boy next door. This was America answering. This was the mental wealth behind the faces you saw in a walk around the block.

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Okay, game shows, in addition to Updike’s undoubtedly fine writing, that’s a game reference. But a loss of American innocence? That’s not nothing. That’s something worth pondering..

In fact, a loss of innocence is fundamentally a loss of the default assumption of trust — and isn’t it precisely the loss of trust that leads to all those conspiracist theories of a mysterious “They” who run “our” world, Skull and Bones, the Bohemian Club, No Such Agency, whoever — and the ensuing distrust of and between political paetiues, leading us eventually to today’s:

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And how’s that for a delicious paradox? The United States are now Divided as to whether they’re divided or united — with divided in the majority..

Okay, loss of innocence, let alone loss of virginity, may be strong language to describe the impact of those 1950s quiz show scandals on the American psyche — but something broke, a ratchet slipped, and perhaps we haven’t been quite the same since.

In any case, I’ll be collecting my usual snippets and gobbets of this and that — often sports, politics, war or strategy related, but also just plain curious or fine stuff — here in the comments section. And oh, btw, I’ve been misspelling gobbet as gobbit for years hereabout: forgive me, it’s spelt (spelled?) with an e, and means a chunk, primarily of meat or writing — no Gandalfian echo intended.

Ad now, as my friend David Ronfeldt would say, Onwards!

[ by Charles Cameron — music as endangered yet transcendent species ]
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The abuse:

http://www.miamiherald.com/news/nation-world/world/americas/guantanamo/article160037809.html

The use:

or for that matter:

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There’s no doubt but that Arvo Pärt‘s Miserere fully comprehends the dark, dismaying aspects of contemporary life, hence the inclusion of fragments of the Dies Irae, but it comprehends the darkness in a manner that in calling for mercy transcends it, recalling the Music of the Ainur in Tolkien‘s Silmarillion — and the Prologue to John’s Gospel, offering the natural obverse to John 1.5: “And the light shineth in darkness; and the darkness comprehended it not.”

The Hobbit: An Unexpected Journey a film by Peter Jackson

The Hobbit:Or There and Back Again by J.R.R. Tolkien 

Last night, I took the kids and my nephew to see The Hobbit. In essence, it was less the classic tale woven by J.R.R. Tolkien than a sequel to The Avengers with a cast of Dwarves.

Peter Jackson has made, as he did with The Lord of the Rings movie trilogy, a visually stunning film with The Hobbit. Jackson once again excelled at translating many physical settings of Tolkien’s Middle-Earth into screen reality. Erebor looks the way you would expect an age-old Dwarven kingdom should. Dol Guldor (alluded to ever so briefly in the book) appears to be the place of dread that would attract a great malevolent spirit like Sauron, This extends to some of the characters; the Great Goblin’s semi-comic personage manages to capture some of the original charm of The Hobbit as a children’s story before it later became part of the narrative for Tolkien’s larger and darker romantic epic, The Lord of the Rings.

Unfortunately, the tendency that Jackson demonstrated as the films of The Lord of the Rings progressed,to take ever greater artistic liberties with Tolkien’s story, have, with his swollen ego, run riot in The Hobbit. The primary antagonist in the film, Azog the Orc chieftain is lifted from other Tolkien material, given mutant powers, a scary metal hand and an albino warg by Jackson and is brutally imposed on the story. The wizard Radagast the Brown, whose head for some reason is encrusted with bird crap, gets much screen time as he  zips around Middle-Earth like Mario Andretti on a sleigh pulled by magical bunnies when he is not getting high on ‘shrooms.

What began as a necessary fleshing out of narrative allusions and foreshadowing to effectively translate literature into a movie ended up as Jackson’s sheer invention and gratuitous abuse of the characters, all of whom sword fight more often than Conan the Barbarian and more bloodily than Leonidas. If Thorin had shouted in the midst of battle with the Goblins, “Dwarves! Tonight we dine in Mordor!” no one in the audience would have been the least bit surprised.  Zorro and the Three Musketeers had less skill with a blade in hand-to-hand combat than do these Dwarves, Gandalf or at times, Bilbo Baggins.

The only scenes where Jackson manages genuine fidelity to the story are the ones with Gollum, Bilbo and their Riddle-Game – perhaps out of fear of trivializing his previous movies, Tolkien’s actual dialogue and plot  enters the script before vanishing again into a Jacksonian cinematic homage to every American action movie ever made. No wonder Christopher Tolkien looks on with weary despair.

There’s a name for this kind of genre….

Fan fiction.

CHILDREN OF HURIN II: A SPENGLERIAN TAKE

I do not often link to the Asia Times anonymous essayist “Spengler” ( though I do read him on occasion) but who knew that the man ( assuming he is a man) was a fellow Tolkien fanatic ? He gets things mostly right in my view and I’m not inclined to nitpick tonight.

“Tolkien’s Christianity and the pagan tragedy“

“Tolkien’s popular Ring trilogy, I have attempted to show, sought to undermine and supplant Richard Wagner’s operatic Ring cycle, which had offered so much inspiration for Nazism. [1] With the reconstruction of the young Tolkien’s prehistory of Middle-earth, we discern a far broader purpose: to recast as tragedy the heroic myths of pre-Christian peoples, in which the tragic flaw is the pagan’s tribal identity. Tolkien saw his generation decimated, and his circle of friends exterminated, by the nationalist compulsions of World War I; he saw the cult of Siegfried replace the cult of Christ during World War II. His life’s work was to attack the pagan flaw at the foundation of the West.

“Alone among 20th-century novelists, J R R Tolkien concerned himself with the mortality not of individuals but of peoples. The young soldier-scholar of World War I viewed the uncertain fate of European nations through the mirror of the Dark Ages, when the life of small peoples hung by a thread,” I wrote in an earlier essay. [2] Christianity demands of the Gentile that he reject his sinful flesh and be reborn into Israel; only through a new birth can the Gentile escape the death of his own body as well as the death of his hopes in the inevitable extinction of his people.”

Read the rest here.

(Hat tip to my friend Lexington Green)