{"id":61363,"date":"2018-11-19T05:11:11","date_gmt":"2018-11-19T05:11:11","guid":{"rendered":"http:\/\/zenpundit.com\/?p=61363"},"modified":"2018-11-19T05:13:02","modified_gmt":"2018-11-19T05:13:02","slug":"war-like-posture-and-other-metaphors","status":"publish","type":"post","link":"https:\/\/zenpundit.com\/?p=61363","title":{"rendered":"War like posture and other metaphors"},"content":{"rendered":"

[ by Charles Cameron<\/strong> — continuing the search, plus mckibben & a touch of dylan as a sunday surprise ]
\n.<\/p>\n

First a chyron, based on Trump’s words:<\/p>\n

\"\"<\/p><\/blockquote>\n

Fascinating article: The Dawn of the Intra-Family Political Attack Ad<\/a><\/p>\n

In August, Glosser published an essay in Politico magazine chiding his nephew by sharing the family\u2019s own immigration story as Jews who fled the shtetls of Eastern Europe. \u201cI have watched with dismay and increasing horror as my nephew,\u201d Glosser wrote, \u201can educated man who is well aware of his heritage, has become the architect of immigration policies that repudiate the very foundation of our family\u2019s life in this country.\u201d<\/p><\/blockquote>\n

Is House of Cards<\/strong> a poem, then?<\/p>\n

Doug Stamper is the dog.<\/p>\n

In the opening moments of Netflix\u2019s House of Cards premiere episode from 2013, Frank Underwood (Kevin Spacey) hunched over a dog that\u2019d been injured by a car. \u201cThere are two kinds of pain,\u201d he said into the camera. \u201cThe sort of pain that makes you strong, or useless pain, the sort of pain that\u2019s only suffering. I have no patience for useless things. Moments like this require someone who will act, who will do the unpleasant thing, the necessary thing.\u201d<\/p>\n

He then broke the dog\u2019s neck. \u201cThere,\u201d he said. \u201cNo more pain.\u201d<\/p>\n

In the final moments of the final episode of House of Cards\u2014which occurs in a truncated season made after Spacey left the show due to allegations of sexual misconduct\u2014the president, Claire Hale Underwood (Robin Wright), cradles her dead husband\u2019s henchman, Doug Stamper (Michael Kelly), in her lap. She has just stabbed him in the belly with a letter opener after he nearly slit her throat with it. Underwood puts her hand over his mouth and nose and tells him that everything\u2019s going to be okay. His eyes close. \u201cThere, no more pain,\u201d she says. Her eyes flick toward the camera. The credits roll.<\/p>\n

Some sort of rhyming is going on here, clearly, but does the poem mean anything?<\/p><\/blockquote>\n

That “rhyme” is a DoubleQuote, really — a thought-rhyme if you like, and on a technical film-making sense a clever twist to end on. Not so much a synchronicity or coincidence, more a twist of authorial fate.<\/p>\n

**<\/p>\n

Twists of fate, eh? And tangled up in blue? Here are two recent Dylan pieces to note:<\/p>\n

\n
  • New Yorker<\/strong>, Bob Dylan\u2019s First Day with \u201cTangled Up in Blue\u201d<\/a>\n
  • New Yorker<\/strong>, Bob Dylan\u2019s Masterpiece Is Still Hard to Find<\/a><\/li>\n<\/blockquote>\n

    **<\/p>\n

    Bill McKibben<\/strong>, with a s game \/ play metaphor that derives its strength from the topic, not from the metaphoric play:<\/p>\n

    In the face of our environmental deterioration, it\u2019s now reasonable to ask whether the human game has begun to falter\u2014perhaps even to play itself out.<\/p><\/blockquote>\n

    That’s from How Extreme Weather Is Shrinking the Planet<\/a> — see also THE END OF NATURE<\/a>.<\/p>\n

    Early and late, McKibben has been one of the voices crying that the wildness is shronking — from within the shrinking wilderness..<\/p>\n

    Wilderness \/ wildness<\/strong> yes, that’s deliberate..<\/p>\n

    **<\/p>\n

    & by way of a Sunday surprise<\/strong>, here’s some extraordinary music<\/strong> for whenever you need extraordinary, need music — twists of tangled blue fate<\/strong> included:<\/p>\n