Friday, July 27, 2007

The Power of Quasimodo


I have found a new passion.

I am currently reading Victor Hugo’s The Hunchback of Notre-Dame (a title Hugo despised, preferring the French title Notre-Dame de Paris). Thanks to numerous movies (1923, 1939, 1956, 1982, 1996), most people have an idea of the story of Quasimodo, Esmeralda, her little goat Djali, Phoebus, Frollo and the poet Gringoire, but it is often a distorted version.

The literary bellringer of Notre-Dame, Quasimodo [for those non-French like me, it's "Kazimoto"], was named after the first Sunday after Easter when newborn babies were abandoned at Notre-Dame. He was 4 and considered by those who saw him a monster. During the majority of the novel he is twenty, with a shock of red hair on an over-sized head, his left eye small and the right eye covered over by an egg-shaped wart, teeth protruding from his horse-shoe shaped mouth, bandy-legs, lame, deaf from the bells, and malevolent. As Hugo describes him:

Rather, let us say, his whole person was a grimace. An enormous head covered with red bristles; between the shoulders a great hump balanced by one in front; a system of thighs and legs so curiously misplaced that they only touched at the knees, and, viewed from the front, appeared like two sickles joined at the handles; huge splay feet, monstrous hands, and, with all this deformity, a nameless impression of formidable strength, agility, and courage—strange exception to the eternal rule, which decrees that strength, like beauty, shall be the outcome of harmony.


Such was he whom the Fools had chosen for their Pope. He looked like a giant broken and badly repaired.



Quasimodo falls in love with Esmeralda, a 16-year-old gypsy after whom all men seem to lust. The man she loves, Captain of the Guards Phoebus, already has a fiancé who is older than Esmeralda, named Fleur-de-Lys. Claude Frollo, idolized by Quasimodo, is a gifted scholar and churchman who learns love by caring for his rebellious orphaned younger brother and Quasimodo, but then he finds himself lusting after the young gypsy. Finally, Gringoire is a poet vagabond whom Esmeralda marries to save from being hanged by thieves.

I came to read the novel by one of those circuitous serendipitous internet journeys which Google seems to delight in providing. I was on YouTube.com looking for snippets from Hairspray, which I saw last week and truly enjoyed. That search led somehow to Lara Fabian’s I Will Love Again. After watching her video Le Difference, I next found a duet of the same song between Fabian and Patrick Fiorri. Not having heard of Fiorri, I checked his other links, which brought me to Belle from the 1998 musical, Notre Dame de Paris. If you are like me, you don't know about this musical either. Bewitched by Garou’s appropriately gravelly voice [Hugo describes Quasimodo's voice as "harsh and gutteral"], I found myself drawn into the pathos of the bell-ringer's plight. I spent one afternoon this week watching every clip I could find from it.

The 1998 French-Canadian musical Notre Dame de Paris debuted in Paris and had the most successful first year of any musical, according to the Guinness Book of Records. If you haven’t heard the musical, promise me you will check out each of the following numbers before you judge it:


  • Temps de Catedrali--Notre Dame de Paris, song 1


  • Belle--Notre Dame de Paris, song 19


  • Les Cloches--Notre Dame De Paris Act 2 Song 2





    One of Hugo’s most stirring moments (showing Hugo’s power of description) comes in Book IV, Chapter 3, the chapter on Quasimodo and his bells, especially his riding the Big Maria, becoming the soul of the cathedral. The song captures that same intensity of feeling.


  • Les Oiseaux Qu’on Met En C--Notre Dame De Paris Act 2 song 4


  • Liberes--Notre Dame De Paris Act 2 Song 14

  • Lune--Notre Dame de Paris Act 2 song 15


  • Danse Mon Esmeralda--Notre Dame de Paris Act 2 song 23


Note: one of the conventions of this production that I had to get used to is the use of head mikes. Ignore them and enjoy the music.

To see a Russian interpretation of Belle, check out http://www.youtube.com/watch?v=Ele36V1_ECU

Finding the clips from the musical on YouTube spurred me on to not only order the DVD but also to read the original book for the first time. Hugo’s book was published the year after his infamous play Hernani was presented (and created one of the first riots that a performance has produced between the Classicists and the Romantics). Hugo was calling for a new kind of literature (Romanticism) which began to look at lower classes and the grotesque.

Hugo is a great storyteller once you get through his love of local color and travelogue detail. Rising above it all is the passion of the tortured Quasimodo which definitely rings true and his love for Esmeralda which brings a humanity to the grotesque. If you haven’t read the book, pick it up tomorrow. This English teacher will be delighted.

The Hunchback of Notre-Dame (Signet Classics)

Thursday, May 24, 2007

Enjoying Shrek 3

One of my freshman's reviews of Shrek 3 was that it wasn't very funny, so I was bit cautious when I went to see the movie today. After seeing the movie I understand why she would feel the way she did--and why I totally enjoyed the film.

The film feels much less a kid's movie than the first two films. Like before, there are all sorts of visual quotes and references that knowledgable adults could enjoy. At one point, for example, as Prince Charming is preparing a stage production, a group of dancers in the background are doing a Chorus Line routine while Charming wears pink dancer's warmers. At another point, Shrek, who has gone to find Arthur (as in Camelot/King etc.), finds him jousting with --and losing to-- Lancelot. Artie has a thing for Gwen. When they come across Merlin, he's projects himself like the Wizard of Oz and wears a hospital gown length robe. I'm sure that since many high school kids have only vague ideas of who Lancelot and Guenivere are, the humor is lost on many kids.

One of the things I enjoyed seeing as a graphic artist were the textures--the beautifully modeled skins of the people and Shrek, Shrek's knitted shirt and homespun clothing, the hair of Charming and Artie-- and the detailed matte paintings.

I had fun with the film and laughed a lot.

Thursday, May 17, 2007

The Lessons of Dickens' Christmas Carol


When I was around 9 or 10 years of age, my mother took me to see a lavish production of Charles Dickens' A Christmas Carol at the Bloomington [Illinois] Scottish Rite Consistory. The Consistory was—to my young mind—a huge theatre and the play seemed peopled with hundreds. It proved one of the cherished memories of my youth. I remember being vaguely disappointed as an adult with the more modest production Goodman Theatre presents in Chicago.


The 1950's script as I think back on it might have come directly from Dickens' novel. It was all there—from Scrooge's small office and his bedroom to a vast Anglican Church scene where Tiny Tim and Bob Cratchit attend and watch a Christmas Eve service. I remember I was amazed at the number of people on stage and how vast the whole thing seemed—complete with procession of priest, acolytes, swinging censures and rich fabrics. The warehouse scene with the dancing was another favorite memory. Whether I have added actors over the years or whether it was a cast of hundreds, I don't really know. But I can still see some of the moments some 52 years later.


Currently I am teaching British Literature at St. Ignatius College Preparatory High School in Chicago. Finishing up with the Romantic authors, I could not ignore Dickens, but with only a few weeks left to the semester, his long works seemed too complex for the time frame. I chose to teach A Christmas Carol for several reasons: it was short, it is an iconic work that still shows off Dickens' humor and plotting, and Dickens' messages seem to reinforce the school's focus on social justice.

One critic credits Dickens with single-handedly “saving” Christmas. His work, which was quite popular from its publication in 1843 onward, helped define many of our concepts of what “keeping Christmas” in one's heart means.

As one of the culminating activities for my students, I had them list as many of the lessons as they could that Dickens teaches us. Here are only a few—some students came up with 50:

  • Lesson One: The needy are our responsibility.

Before Marley appears, Scrooge shows his reaction toward the poor and mankind in the scene with the men soliciting donations.

“At this festive season of the year, Mr. Scrooge,” said the gentleman, taking up a pen, “it is more than usually desirable that we should make some slight provision for the Poor and destitute, who suffer greatly at the present time. Many thousands are in want of common necessaries; hundreds of thousands are in want of common comforts, sir.”

“Are there no prisons?” asked Scrooge.

“Plenty of prisons,” said the gentleman, laying down the pen again.

“And the Union workhouses?” demanded Scrooge. “Are they still in operation?”

“They are. Still,” returned the gentleman, “I wish I could say they were not.”

“The Treadmill and the Poor Law are in full vigour, then?” said Scrooge.

“Both very busy, sir.”

“Oh! I was afraid, from what you said at first, that something had occurred to stop them in their useful course,” said Scrooge. “I'm very glad to hear it.”

“Under the impression that they scarcely furnish Christian cheer of mind or body to the multitude,” returned the gentleman, “a few of us are endeavouring to raise a fund to buy the Poor some meat and drink, and means of warmth. We choose this time, because it is a time, of all others, when Want is keenly felt, and Abundance rejoices. What shall I put you down for?”

“Nothing!” Scrooge replied.

“You wish to be anonymous?”

“I wish to be left alone,” said Scrooge. “Since you ask me what I wish, gentlemen, that is my answer. I don't make merry myself at Christmas and I can't afford to make idle people merry. I help to support the establishments I have mentioned—they cost enough; and those who are badly off must go there.”

“Many can't go there; and many would rather die.”

“If they would rather die,” said Scrooge, “they had better do it, and decrease the surplus population. Besides—excuse me—I don't know that.”

“But you might know it,” observed the gentleman.

“It's not my business,” Scrooge returned. “It's enough for a man to understand his own business, and not to interfere with other people's. Mine occupies me constantly. Good afternoon, gentlemen!”

Marley tells us that it is our duty “to walk among mankind” doing good while we are alive. If we don't we'll be forced to do it after death.

“Oh! captive, bound, and double-ironed,” cried the phantom, “not to know, that ages of incessant labour by immortal creatures, for this earth must pass into eternity before the good of which it is susceptible is all developed. Not to know that any Christian spirit working kindly in its little sphere, whatever it may be, will find its mortal life too short for its vast means of usefulness. Not to know that no space of regret can make amends for one life's opportunity misused! Yet such was I! Oh! such was I!” … “Mankind was my business. The common welfare was my business; charity, mercy, forbearance, and benevolence, were, all, my business.”

  • Lesson Two: Remember the past.

Early on in his encounter with the Ghost of Christmas Past, Scrooge returns to the school where he was deserted as a boy. Scrooge cries during the scene.


The Spirit gazed upon him mildly. Its gentle touch, though it had been light and instantaneous, appeared still present to the old man's sense of feeling. He was conscious of a thousand odours floating in the air, each one connected with a thousand thoughts, and hopes, and joys, and cares long, long, forgotten!

“Your lip is trembling,” said the Ghost. “And what is that upon your cheek?”

Scrooge muttered, with an unusual catching in his voice, that it was a pimple; and begged the Ghost to lead him where he would.

“You recollect the way?” inquired the Spirit.

“Remember it!” cried Scrooge with fervour; “I could walk it blindfold.”

“Strange to have forgotten it for so many years!” observed the Ghost.

In a wondrous scene, Scrooge sees his younger self reading and outside the window can be seen the book companions who kept him company--Ali Baba, Valentine and Orson, the Parrot, Robin Crusoe and others. He finds himself thinking of a young boy caroler who he treated badly. He delights in watching Fezzwig's party. He feels the loss of the woman he loved. The past lessons show him all he has missed.


  • Lesson Three: Celebrate the season with song and music.

Early on Scrooge encounters a caroler already mentioned:

Foggier yet, and colder. Piercing, searching, biting cold. If the good Saint Dunstan had but nipped the Evil Spirit's nose with a touch of such weather as that, instead of using his familiar weapons, then indeed he would have roared to lusty purpose. The owner of one scant young nose, gnawed and mumbled by the hungry cold as bones are gnawed by dogs, stooped down at Scrooge's keyhole to regale him with a Christmas carol: but at the first sound of

"God bless you, merry gentleman! May nothing you dismay!"

Scrooge seized the ruler with such energy of action, that the singer fled in terror, leaving the keyhole to the fog and even more congenial frost.
When returning with Christmas Past to Old Fezzwig's, he watches several dances, which delight Fezzwig's employees.

There were more dances, and there were forfeits, and more dances, and there was cake, and there was negus, and there was a great piece of Cold Roast, and there was a great piece of Cold Boiled, and there were mince-pies, and plenty of beer. But the great effect of the evening came after the Roast and Boiled, when the fiddler (an artful dog, mind! The sort of man who knew his business better than you or I could have told it him!) struck up “Sir Roger de Coverley.” Then old Fezziwig stood out to dance with Mrs. Fezziwig. Top couple, too; with a good stiff piece of work cut out for them; three or four and twenty pair of partners; people who were not to be trifled with; people who would dance, and had no notion of walking.

As he watches his nephew Fred and his house celebrate, they finish dinner and turn to music.

After tea, they had some music. For they were a musical family, and knew what they were about, when they sung a Glee or Catch, I can assure you: especially Topper, who could growl away in the bass like a good one, and never swell the large veins in his forehead, or get red in the face over it. Scrooge's niece played well upon the harp; and played among other tunes a simple little air (a mere nothing: you might learn to whistle it in two minutes), which had been familiar to the child who fetched Scrooge from the boarding-school, as he had been reminded by the Ghost of Christmas Past. When this strain of music sounded, all the things that Ghost had shown him, came upon his mind; he softened more and more; and thought that if he could have listened to it often, years ago, he might have cultivated the kindnesses of life for his own happiness with his own hands, without resorting to the sexton's spade that buried Jacob Marley.

  • Lesson Four: Decorate your houses.


The shock of the Ghost of Christmas Present for Scrooge is that his home is for the first time decorated for the season.


It was his own room. There was no doubt about that. But it had undergone a surprising transformation. The walls and ceiling were so hung with living green, that it looked a perfect grove; from every part of which, bright gleaming berries glistened. The crisp leaves of holly, mistletoe, and ivy reflected back the light, as if so many little mirrors had been scattered there; and such a mighty blaze went roaring up the chimney, as that dull petrification of a hearth had never known in Scrooge's time, or Marley's, or for many and many a winter season gone. Heaped up on the floor, to form a kind of throne, were turkeys, geese, game, poultry, brawn, great joints of meat, sucking-pigs, long wreaths of sausages, mince-pies, plum-puddings, barrels of oysters, red-hot chestnuts, cherry-cheeked apples, juicy oranges, luscious pears, immense twelfth-cakes, and seething bowls of punch, that made the chamber dim with their delicious steam. In easy state upon this couch, there sat a jolly Giant, glorious to see; who bore a glowing torch, in shape not unlike Plenty's horn, and held it up, high up, to shed its light on Scrooge, as he came peeping round the door.

  • Lesson Five: Celebrate with feasting.

Christmas dinners are lush affairs for Dickens.


The brightness of the shops where holly sprigs and berries crackled in the lamp heat of the windows, made pale faces ruddy as they passed. Poulterers' and grocers' trades became a splendid joke: a glorious pageant, with which it was next to impossible to believe that such dull principles as bargain and sale had anything to do. The Lord Mayor, in the stronghold of the mighty Mansion House, gave orders to his fifty cooks and butlers to keep Christmas as a Lord Mayor's household should; and even the little tailor, whom he had fined five shillings on the previous Monday for being drunk and bloodthirsty in the streets, stirred up to-morrow's pudding in his garret, while his lean wife and the baby sallied out to buy the beef.

Even the poor Cratchits can enjoy a feast of goose:

There never was such a goose. Bob said he didn't believe there ever was such a goose cooked. Its tenderness and flavour, size and cheapness, were the themes of universal admiration. Eked out by apple-sauce and mashed potatoes, it was a sufficient dinner for the whole family; indeed, as Mrs. Cratchit said with great delight (surveying one small atom of a bone upon the dish), they hadn't ate it all at last! Yet every one had had enough, and the youngest Cratchits in particular, were steeped in sage and onion to the eyebrows!

The goose is followed by the revered plum pudding:

Hallo! A great deal of steam! The pudding was out of the copper. A smell like a washing-day! That was the cloth. A smell like an eating-house and a pastrycook's next door to each other, with a laundress's next door to that! That was the pudding! In half a minute Mrs. Cratchit entered—flushed, but smiling proudly—with the pudding, like a speckled cannon-ball, so hard and firm, blazing in half of half-a-quartern of ignited brandy, and bedight with Christmas holly stuck into the top.

Oh, a wonderful pudding! Bob Cratchit said, and calmly too, that he regarded it as the greatest success achieved by Mrs. Cratchit since their marriage. Mrs. Cratchit said that now the weight was off her mind, she would confess she had had her doubts about the quantity of flour. Everybody had something to say about it, but nobody said or thought it was at all a small pudding for a large family. It would have been flat heresy to do so. Any Cratchit would have blushed to hint at such a thing.

  • Lesson Six: Honor the family.

The scenes with the Cratchits and Fred and his wife show the depth of feeling that families bring their members.

  • Lesson Seven: Protect children.


The Ghost of Christmas Present reveals two children under his long green gown.


“They are Man's,” said the Spirit, looking down upon them. “And they cling to me, appealing from their fathers. This boy is Ignorance. This girl is Want. Beware them both, and all of their degree, but most of all beware this boy, for on his brow I see that written which is Doom, unless the writing be erased. Deny it!” cried the Spirit, stretching out its hand towards the city. “Slander those who tell it ye! Admit it for your factious purposes, and make it worse. And bide the end!”

“Have they no refuge or resource?” cried Scrooge.

“Are there no prisons?” said the Spirit, turning on him for the last time with his own words. “Are there no workhouses?”


One of the most touching scenes no one usually knows from the book is Bob Cratchit sitting alone with Tiny Tim's dead body, having returned from looking at the grave where he will be placed.

He left the room, and went up-stairs into the room above, which was lighted cheerfully, and hung with Christmas. There was a chair set close beside the child, and there were signs of some one having been there, lately. Poor Bob sat down in it, and when he had thought a little and composed himself, he kissed the little face. He was reconciled to what had happened, and went down again quite happy.

[It is this scene of true pathos and emotion for Tim's loss that makes such a heart-felt contrast to Scrooge's discovery of the deserted and empty rooms where his body lies. No film has chosen to show this scene, but the power of it shows Dickens' wisdom in including it.]


  • Lesson Eight: Forgive others.

Fred forgives his uncle his eccentricities and on Christmas Scrooge is quickly accepted as part of Fred and his wife's family.


  • Lesson Nine: Take care of others.

Some of Dickens' contemporaries were shocked and uncomfortable with his was suggestion of the duty of employers have toward their employees.

“A merry Christmas, Bob!” said Scrooge, with an earnestness that could not be mistaken, as he clapped him on the back. “A merrier Christmas, Bob, my good fellow, than I have given you, for many a year! I'll raise your salary, and endeavour to assist your struggling family, and we will discuss your affairs this very afternoon, over a Christmas bowl of smoking bishop, Bob! Make up the fires, and buy another coal-scuttle before you dot another i, Bob Cratchit!

  • Lesson Ten: Empathize with the lives of others.

Scrooge worries about the illness of Tiny Tim. With Belle and her husband he learns all he might have had with children.


  • Lesson Eleven: Spread peace and joy.


This might be interpreted as entertain others, laugh and celebrate with games and laughter. Fred and his household play blind-man's bluff, forfeits, How, When, & Where, and Yes or No:


It was a Game called Yes and No, where Scrooge's nephew had to think of something, and the rest must find out what; he only answering to their questions yes or no, as the case was. The brisk fire of questioning to which he was exposed, elicited from him that he was thinking of an animal, a live animal, rather a disagreeable animal, a savage animal, an animal that growled and grunted sometimes, and talked sometimes, and lived in London, and walked about the streets, and wasn't made a show of, and wasn't led by anybody, and didn't live in a menagerie, and was never killed in a market, and was not a horse, or an ass, or a cow, or a bull, or a tiger, or a dog, or a pig, or a cat, or a bear. At every fresh question that was put to him, this nephew burst into a fresh roar of laughter; and was so inexpressibly tickled, that he was obliged to get up off the sofa and stamp. At last the plump sister, falling into a similar state, cried out:

“I have found it out! I know what it is, Fred! I know what it is!”

“What is it?” cried Fred.

“It's your Uncle Scro-o-o-o-oge!”

Which it certainly was. Admiration was the universal sentiment, though some objected that the reply to “Is it a bear?” ought to have been “Yes;” inasmuch as an answer in the negative was sufficient to have diverted their thoughts from Mr. Scrooge, supposing they had ever had any tendency that way.

“He has given us plenty of merriment, I am sure,” said Fred, “and it would be ungrateful not to drink his health. Here is a glass of mulled wine ready to our hand at the moment; and I say, ‘Uncle Scrooge!' ”

“Well! Uncle Scrooge!” they cried.


Later, in his long evening with the Ghost of Christmas Present, Scrooge sees other happy families celebrating.

Much they saw, and far they went, and many homes they visited, but always with a happy end. The Spirit stood beside sick beds, and they were cheerful; on foreign lands, and they were close at home; by struggling men, and they were patient in their greater hope; by poverty, and it was rich. In almshouse, hospital, and jail, in misery's every refuge, where vain man in his little brief authority had not made fast the door, and barred the Spirit out, he left his blessing, and taught Scrooge his precepts.

  • Lesson Twelve: Learn from one's mistakes.


It is in the presence of the final spirit that Scrooge realizes his lessons.

“Spirit!” he cried, tight clutching at its robe, “hear me! I am
not the man I was. I will not be the man I must have been but for this
intercourse. Why show me this, if I am past all hope!”

For the first time the hand appeared to shake.

“Good Spirit,” he pursued, as down upon the ground he fell before it: “Your nature intercedes for me, and pities me. Assure me that I yet may change these shadows you have shown me, by an altered life!”

The kind hand trembled.

“I will honour Christmas in my heart, and try to keep it all the year. I will live in the Past, the Present, and the Future. The Spirits of all Three shall strive within me. I will not shut out the lessons that they teach. Oh, tell me I may sponge away the writing on this stone!”

And Scrooge does, of course. He learns the lessons well, and according to Dickens, “ it was always said of him, that he knew how to keep Christmas well, if any man alive possessed the knowledge.”

Friday, February 02, 2007

Researching Family

I’m a genealogist. I couldn’t have escaped from being one. My mother made scrapbooks after scrapbooks, her mother neatly put together photo albums with the names neatly written in, and my father’s mother created two notebooks with both her family lines. My interest was sparked when my maternal grandmother was diagnosed with breast cancer and I realized her knowledge of the family would disappear unless I got her to talk. She kept resisting saying she didn’t know any stories about the family. So I tricked her. I got the oldest family album and asked her to tell me about the people in the pictures. I sat with a tape recorder and began an in-depth introduction to my family.

Four months ago, I realized I had misplaced the research that took me almost 10 years to collect. Using Ancestry.com, I began to reconstruct that research. After four months I have more than I had—and I didn’t have to drive three states like I did then. [Plus back in the 1970s I didn’t have the 1900, 1910, 1920 & 1930 censuses available.] Ever the researcher, I’m as interested in my collateral ancestors as I am my direct lines. So far I’ve connected 4100 names—and I’m still working. I even have four Revolutionary War soldiers. I’ve used censuses, obituaries, news articles, family histories, photographs, tombstones, public records—and the search continues. As any genealogist can appreciate, I stand on the shoulders of all those who went before and kept records.

Feeling the need to renew my roots, I visited my hometown yesterday, photographing the locations of my ancestors and the graves of 4 great-great-grandparents and 8 great-great grandparents and their children. I began at a small country cemetery, Evergreen, in Lawndale Township, McLean County, Illinois. With probably fewer than 125 graves, the solitary tree and melancholy tombstones stand alone among the flat barren cornfields. (In fact, I could see the cemetery long before I reached by the lone wild pine tree that towers over it.) When I first visited the cemetery in 1973, I found the family tombstones without a problem and was able to read them. Since that visit, some local yahoos have knocked over all the smaller stones so that many are broken and some are no longer readable, making the place feel even more melancholy.
Driving back into Lexington, I stopped at The Fort, home of the Lexington Genealogical & Historical Society. Spearheaded by the late Verda Gerwick, known locally as the “tombstone chaser,” this hidden gem provides the serious genealogist working on McLean, Livingston, Ford, and Woodford a wealth of information. In what other location could you find cemetery records that include the person’s obituary? Back in the early 1970s when the LGHS began publishing their magazine, I enthusiastically edited the first issue for Verda. She helped inspire me to enjoy the thrill of the research, connecting names to facts. It was a delight to spend a couple of hours with volunteer and president, Dennie Hieronymus. [Check out their website at http://www.lexingtonillinois.org/fort/.}


Returning home I felt recharged and ready to continue the hunt.

Monday, December 11, 2006

My Christmas Letter



For those who I don't have addresses for, here's my Christmas letter for you. The paper dolls at left are the start of a Santa Claus set I hope to offer soon.
2007 is almost here and I can’t use the excuse that the semester’s end has delayed me writing my Christmas letter. I thought retirement was supposed to mean one slowed down, but that hasn’t been true for me.

My year’s first surprise was appendicitis in February. I was out of school for about four weeks as the doctor let the incision heal from the inside out—the appendix had perforated and he didn’t want to risk infection. Two major operations within eight months (I had the triple bypass last year) made for an interesting re-evaluation of my priorities.
I presented my final play at Rich East, doing The Skin of Our Teeth. The students gave me the best gift a cast could have given—they bought a journal and everyone wrote a page speaking directly to me. I had to fight back the tears, feeling like Sally Field receiving her Oscar. As a friend used to remind me, “It doesn’t jingle, but it feels good.”

At the end of May I officially retired from Rich East High School after a total of 39 years of teaching—with 36 of those in Park Forest. I was sure I was going to jump right back into teaching, but nothing substantial appeared — and then I found I liked having my own time schedule and doing what I wanted to and not having to drive two hours to work each day.

As summer began things weren't much different. My garage sale hunts continued with my friends Janet and Kathy. No summer Saturday is complete without a couple of hours searching for finds. Unfortunately this year did not turn out as productive as some of the previous years have. I wondered if in these economically challenging times whether people are keeping more of the good stuff for themselves because they aren’t buying as much. I also did some professional cantoring which provided some good spending money.

It wasn’t until September that I began to really appreciate retirement. As school began in Park Forest, I was relaxing in the mountains of New York. When I returned home a new routine was established.

So what do I do with my time, you ask? Every day begins with a walk over to my local Starbucks where I have friends I see regularly. When they talk about a Starbucks community, I can attest to that. I also use the morning time to read.

During the summer and the fall my Creative Muse took possession of me, concentrating on stretching my computer art doing paper dolls which I now sell. I have done about 60 panels so far this year. If you want to see them, check out here. I even got paid to do a program for St. Bernardine’s Women’s club on the paper dolls. (If you know anyone who might be interested in having me speak, let me know.) I now find myself a professional artist and lecturer.

I also worked at honing my photography and writing skills, keeping this blog online and a posting my photographs.

Each Monday evening I’ve been involved with Heritage Chorale (a community chorus of about 50) and every Wednesday evening I have hand-bell and adult choir rehearsals at church. Each Sunday I sing at least one Mass.

During the last couple of months I got back into genealogical research. In the distant 1970s I did many of my lines—in fact I got my mother into DAR and myself into SAR and even wrote a book on the Harness line. Recently I joined Ancestry.com which has all census records up to 1930 and extensive ship docket records. After finding my mother's ship crossing to England in 1937, I was hooked again and started updating what I had. It's now evolved into a major research project. I like that it can be online so that anyone who uses Ancestry.com can access the information. Hopefully I will be able to publish more information before the year is out.

While some new opportunities have arisen at some local schools and I may get back into teaching, I have to say I am protective of my new freedom.

I also have done several trips this year, having visited my friend Jon and his family in New York several times. I'll return on Christmas Day for a visit.

Well, Sunday was the second Sunday of Advent and this year there are really only three Sundays of Advent with the fourth Sunday being Christmas Eve. I am still head of Art and Environment and we’ll be scurrying around on Sunday afternoon after the last Mass trying in 3 hours to get everything set up for the evening service. (I console myself that at least I don’t have to do 12 Masses like my friend Jon.)

I hope you are doing well and that the coming year will bring health and happiness. Write soon.

Love
David

Sunday, November 12, 2006

Dead Stories: Isaac Harness

Today in the New York Times Magazine, I was struck by a dilemma described by Randy Cohen, The Ethicist, where a man’s friend had died and the dead man’s wife avoided relaying the cause. The man had asked if it was ethical to look up the death certificate. Said Cohen in response:



The dead have no claims to privacy, something reflected not only in ethics but
also in law: you cannot, for example, libel the dead. As Voltaire said: “One
owes respect to the living. To the dead one owes only the truth. And not that
$50 for the lawn mower I supposedly broke.” (Except for this last.)

I was struck by the idea of losing privacy in death and could only be reminded of my own example in researching my mother’s great-great grandfather, Isaac Harness.

Ike Harness was a wealthy and land-rich farmer in McLean County. He had come to his homestead in 1832 with his new wife Betsy and son. He was 22, as was his wife. His son was born three months before the parents married.

Settling in Lexington in a double log cabin near Mackinaw, he and his wife raised 12 children, six of whom survived to adulthood. During the 1830s and 1840s Isaac became a large livestock breeder. By 1850 he went into partnership with Joseph Greenebaum, a Jew, and established clothing stores in Lexington and Pontiac.

In 1851, not long after the death of three children to cholera, Isaac built a two-story residence with an ell for a kitchen and other rooms. One night, as they all slept, a large rat bit the baby and Ike awakened the family declaring, “If the rats are going to eat up the children, it is time for the family to move.” And right then and there they moved to the new house.

In 1854, the railroad went through town making shipping and transportation easier. Ike and his son-in-law William “Hop” Kennedy” ran a general merchandise store. Advertisements for the store claimed: “Our goods are going off like hot cakes before a starving multitude, and at Living Prices!”

About this time the marriage began to unravel. Said Hop Kennedy about Ike, “he commenced leaving by degrees.” Sometime in the early 1860s, as he moved into his 50s, Ike began an affair with a twice-married hotel 30-year-old laundress, Sallie Loving Wiley Tucker, who had a very dubious reputation. She and her husband and family moved into a cabin just 15 steps down the road. Isaac spent a lot of time with the woman, especially when the husband went off to serve in the Civil War. By 1864 the children had sided with their respective parents: three of the children sided with the father, three with the mother.

Harness’s discretion continued to lapse. A former tenant described finding him at his Sallie’s house one Sunday afternoon around 1:00 p.m. He was lying on her bed, which was pulled out into the center of the room; and while they talked, his mistress sat in a chair and fanned him. Betsy had had enough and told her nephew that she’s supply the eggs if he’d get a group to egg the house, where Ike was staying. They also broke down the door with brickbats and rocks. Ike’s response the next day was, “I can put up doors as fast as you fellows can tear them down; I have the money to do it.”

When Sallie’s husband returned after the war, they divorced and, according to gossip, Ike had him run off. Sallie moved away to Chicago in 1868.

During the war, Ike loaned the government money for bonds. In 1867 he used the money, going in with David H. VanDolah, to create Harness, VanDolah & Company. VanDolah dropped out in 1873. Hop Kennedy joined as head cashier.

The final row with Betsy came as she was in the midst of stirring soap. Ike declared, “I am going to leave! I am going to make my words good.” Betsy countered, “You don’t have to—I am going as soon as I get my soap done.” With that Ike left and moved in just down the street with his son-in-law Hop Kennedy. Kennedy tried to enlist VanDolah to help reconcile the couple (since VanDolah was a regular card player at Sallie’s), but VanDolah said, “the old lady didn’t want him; he knew right from wrong as well as I did; he didn’t think he would go back and I talked to the old lady, and she didn’t seem to be reconciled to having him come back and I let it go.”

Harness’s solution was to follow Sallie to Chicago and then move to Missouri. They had to relocate when he was accused of bigamy and asked to move. Settling in Barton County, Missouri, first on a farm and then in Lamar, their life together was just as volatile as his life with Betsy. Harness returned fairly often to look after his business in Lexington.

In 1884, he received a telegram that 74-year-old Betsy was dying. He rushed back to be at her side, but she died before his train arrived. His son reported him holding her and saying, “My wife. Oh, my wife. If you could have lived until I got here—I had something to tell you.”

In 1894, sick with stomach and kidney trouble, aged 84, he left Sallie in Missouri and moved back to live with one of his daughters. He conveyed a deed to “Sarah Harness” for land in Missouri for $66,000, her “dower interest.” When Isaac died in Missouri, Sallie sued his estate as his surviving wife. Although she could produce no proof of a marriage—she claimed proof was destroyed in the Chicago fire—depositions had to be taken from all the children and interested parties. In the end, she failed in her suit. Isaac Harness left an estate valued at $200,000 and the majority of the estate remained undivided for almost fifty years.

I found all this when I was researching the family history. In a courthouse when you look up probate records, you might find less than ¼ of a legal file drawer. The Harness record filled one entire drawer. I was very excited when I went home to tell my mother of my discovery. As I began relating what I had found, she kept nodding. After awhile I realized that she knew all I was telling her. When I confronted her with the fact, she said that she knew all about Isaac Harness. When I asked her why she had never told me the story, she said she thought I was too young. At the time I was 35.

So I'm still pondering whether one’s right to privacy disappears with death. Certainly any modesty we nurture in life disappears the moment our soul leaves our body. And maybe there is no libel after death.

Tuesday, November 07, 2006

A Merman


Cleaning out files, I discovered a picture I did back in 2000 when I was using pen and ink with colored pencil and acrylics.

Saturday, October 28, 2006

Montages of Excess


As I went to see Sophia Coppola’s Marie Antoinette today, I remembered hearing that some critics at Cannes booed the film. Kristen Dunst is reported to have said something like, “At least I can count on my gay fans seeing it.” On that she is probably right. Dressing up as a queen has always drawn big crowds.

The film’s mise en scene—costumes, hair and makeup styles, set designs, and properties were sumptuously realized. Although most people will have little concept of the history of costume being shown, the care and detail the creative staff exhibited was true eye candy for anyone who is fascinated by the 18th century time period--although occasional anachronisms did appear.

But the most distracting element of this seemingly carefully crafted film was the misguided decision to use modern—often very jarring—MTV music. When I taught my History and Thought of Western Man class, I realized that for many teenagers, things that happened 15 years ago seem as distant as those things that were 300 years ago. Some won’t even understand the anachronisms because they don’t know that time period. But do we really need lush visual montages of excess—clothing, food, the indolent partying of the rich-- to such thought-provoking ditties as “I Want Candy” or “Fools Rush In”? As a friend of mine is fond of asking, “What were they thinking??”

The performances of Kristen Dunst and Jason Schwartzman often rose above their script and by the end I appreciated their growth in spite of a shallow script that had the substance of the candy Coppola loved showing.

If we are to trust the script, poor little Marie-Antoinette had to give up everything from her previous life, including her little dog, when going to France to be Dauphine. She had to be nude around lots of the unfriendly French court. (Yes, if you are a teenage boy, you may want the chance to see Dunst’s thin derrierre.) Louis, who liked making keys, takes way too long to figure out how to put his key in her lock and so his little fun-loving wife is forced to over-indulge in food, clothing and fun. When Marie’s brother finally explains to Louis how the lock works, Marie finally delivers babies. As a result she is also ripe for the one love affair of her life with a hunky Swedish soldier. The French rabble who have kept an invisible distance, suddenly storm the Bastille while Marie’s daughter is learning croquet. The rabble then move on to Versailles where the king and his queen bear up admirably in spite of having sent off all their friends and allies. When the crowd says they want her dead, she charms the rioters by bowing to them from the balcony—although she does not, as you might have come to expect, break into “Don’t Cry for Me Argentina.” [For a list of the gallimauphry of music chosen, see here.] Dunst and Schwartzman, unfortunately, are not given the chance to do their final noble death scenes because the film ends abruptly as they ride off in carriage to try to escape. But their bedroom at Versailles does the final bow, having been looted by the revolutionaries.


  • Historical fact: If any of my students are reading this, both people in real life lose their heads which are then taken by Madame Tussaud and made into the first wax figures for her popular business. See here.
  • For the controversy over who said, “Let them eat cake” see here.
  • To read an excellent review of the film, check out here.


I must say, my final reaction to the film was to want to read one of the biographies about her. I also was delighted to discover mharrsch’s pictures at Flickr from various art museums. Now that was a find.

Monday, October 16, 2006

Theda Bara's Cleopatra, 1917


This past week I’ve been intrigued by a silent film classic which I will never be able to see, since the last surviving copies of it were destroyed by fire during the 1950s (one of the problems with storing nitrate film which was highly flammable). The 1917 film, considered by some to be Theda Bara’s most important work, was called simply, Cleopatra. Many of the images from the film have become cultural icons (think Bara’s eyes as the logo for the Chicago International Film Festival).

Eve Golden in Vamp: The Rise and Fall of Theda Bara says that Bara did extensive research on Cleopatra before starting the film. Bara herself felt that the production was historically true to its subject. Looking at the production stills, we see more about pre-WWI fantasies than what life in Ancient Egypt was like. Several of Bara’s over 15 costumes exude pre-Hays Office sex -- appropriately, since Bara was considered the ultimate screen “vamp” (short for Vampire, one who like the prey mantis devours the men who love her). In a couple of cases Bara wears a nude body top, but in some stills she looks very nude underneath tissue gauze and chiffon.

Theda Bara as CleopatraOne of the funniest costumes Bara wears looks very pre-art deco with some French high fashion blending into a futuristic “Metropolis” look. Wearing a vulture headdress with two feathers, the look suggests more sophisticated ant than Egyptian queen. Her flimsy blouse disappears into two straps at the open back. A peplum overskirt a la Poiret covers a skirt with stylized Egyptian motifs and shimmering brocade split trains. French designers of the period can be seen in Haute Couture - Designer Dresses from Gazette du Bon Ton.

Most of the production pictures suggest the actors use of the DelSarte method popular during the late 1800s. François Delsarte had created an acting method which utilized a standardized set of stylized gestures to convey emotions. Much of the overly melodramatic acting the early silent films seems to follow this metod.

After researching the film, I created a new series of paper dolls based on Theda Bara and the film. Check out Theda Bara: Just a Nice Jewish Girl from Cincinnati.

Retirement Adjustments

Since I last wrote, I have been adjusting to retirement. Originally I thought I would continue teaching, but nothing appeared and I began dealing with life without a classroom. Once I worked through the Puritan guilt of not “working,” I found myself very busy. To have the freedom to work on my artwork as much as I want seemed incredibly indulgent, but after awhile, when I began selling some of my artwork on Ebay, I realized I have become an artist by profession. Last week I presented a PowerPoint program for the St. Bernardine’s Women’s Club and I realized I could also call myself a lecturer. So for now my retirement feels productive and creative—and I don’t have to get up at 5:20 in the morning to do it.

Wednesday, July 19, 2006

Paper Dolls



About 12 years ago, a friend of mine introduced me to the world of paper dolls. I have always been taken with graphic design and I immediately became an afficiando of such artists as Bruce Patrick Jones, Sandra Vanderpool, Susan Sirkis, Donald Hendricks, and Tom Tierney. Since that time I have worked creating my own.

As I began learning Adobe Photoshop SE2, I realized how layers and brushes would help me. This year I began using Corel Painter IX and have moved into a new phase regarding the paper dolls. I have slowly developed my own style and realized I prefer figures that are no taller than 7 inches. (Maybe a remnant of my working with 1 inch scale miniatures.) This summer, as I entered retirement, I have done over 23 pages of paper dolls and I have lots more I want to do.

To see some of the new works check out the following:

The Great Chill: or Geoffrey Chaucer's Dead and Gone


Geoffrey Chaucer died in 1400. Or maybe it was 1402. According to authors Terry Jones (Monty Python), Robert Yeager, Terry Dolan, Alan Fletcher, and Juliette Dor in Who Murdered Chaucer: A Medieval Mystery, the only certain thing we can be certain of about Chaucer's death is that he disappears from history somewhere between 1400 and 1402. How he died, where he died, or any additional details are lost to history. The authors believe he was murdered.

Chaucer lived in a perilous time to be on the king's pay. King Richard II's throne was usurped by the next King Henry IV, the man responsible for Richard's death. The authors describe the different between the two reigns as something similar to us going from the free and easy 1970s directly into the religious and intellectual conservativism of the 2000s.

Orchestrating the chilling political climate change was Thomas Arundel, the former archbishop of Canterbury, who returned with Henry IV from exile and proceeded to scourge the kind of religious questioning and humanism that had been acceptable behavior in the earlier reign. Thomas Arundel made a formidable adversary toward someone like Geoffrey Chaucer who was in the midst of writing what we know of as The Canterbury Tales, a work which satirizes the Church and its clergy and celebrates "country morals."

Previously reformers like John Wyclif had been proposing changes in the Roman Catholic Church doctrines and practices. Wyclif, for example, had suggested the need for an English translation of the Bible that the common people could read. And that was exactly the problem. Arundel didn't want the common people involving themselves in such things as church doctrine--in fact he was quite content to have his clergy equally ignorant.

Arundel hit upon a strategy to pull the dissenters into line: the charge of heresy and the threat of being burned alive. (This was approximately 10 years before the birth of Joan of Arc.) England had not until then used this Continental approach.

Arundel needed a litmus test to prove their support. That issue was transubstantiation--that's the moment the priest holds up the bread and wine and they become the body and blood of Christ. Before Arundel the people could question whether the moment described is more symbolic than literal. Arundel made it literal. And anyone who couldn't agree was at risk of a fiery send-off.

The book quotes the experience of one knight:
... On the breaking of the bread the knight looked again , and saw with his own eyes, in the hands of the celebrant friar, true flesh, raw and bleeding, divided into three parts.

Interestingly, Arundel begins his reign of benevolent terror just as Chaucer stops writing the Canterbury tales.

I was struck as I read the book by the chilling of the arts and intellectual thought--similar to what we see happening about 100 years later with Savonarola in the Florence of Michelangelo and Botticelli, preaching destruction of all books and art and creating the bonfires of the vanities.

I could not help but make parallels between Jones' book and Al Gore's chilling assessment of global warming, An Inconvenient Truth. Here we go again, I thought. Religious conservatism is trying to put a strangle-hold on scientific research, the arts, the social climate--and the pro-Bush/anti-global warming camp seems intent on stressing, "Don't confuse me with facts." The leaders have followed Arundel and rather than using transubstantiation they have taken up the fire brands of gay marriage and global warming. Archbishop Arundel can only be smiling.

Who killed Chaucer? I think you've already figured out their answer.



I have a new paper doll based on two views of Chaucer. Check here.

Friday, June 09, 2006

Visiting an Old Friend: “A Prairie Home Companion”

I feel like I have just returned from visiting an old friend, having spent a couple of hours laughing, telling jokes, hearing stories, singing together, and reminiscing about old times.

For over two decades my Saturday nights included the radio show, “A Prairie Home Companion”—often as I drove stretches of Illinois’ cornfields. Many countless hours I spent enjoying the music, drawn into the homespun humor and wisdom of Garrison Keillor and his silly but sometimes pithy comment-filled adventures of Detective Guy Noir. Often, in the midst of fairly mundane patter, I’d hear some epigram of the real that would stay with me. I have remembered—perhaps incorrectly, but nonetheless—a Guy Noir story epigram, “I would rather be burnished with use than rusty from neglect.” Another time, I remember a story Keillor told of Lake Woebegone about how a dove rose up to the rafters during one of the Lutheran minister’s sermons and how everyone sat wondering if it was the Holy Ghost having come to visit them. They are stories that the imagination of radio enhances and the show became routine enjoyment for me.

I love how when Keillor’s stories are well told that they suck me into their world. Robert Altman’s new film, A Prairie Home Companion, based on a screenplay by Garrison Keillor, does just that. There are no Lake Woebegone homilies here, but the entire film becomes that extended fictional narrative where anything can happen.

Some of the musical numbers speak so clearly to some place within me that I felt transcended watching them being performed. Merle Streep and Lily Tomlin as the Johnson sisters were a joy to watch—and I found myself actually tearing up on their song about their mother and family moving on, remembering losses I've experienced also.

The movie is, after all, about death—a character dies, the show is to be killed off and the theatre is to be torn down. But the gentle spirit of Keiller keeps it from being too dark. After all, when Dangerous Woman wears a white trench coat “molded so tightly to her body that you can read her underwear,” humor staves off any fear of that Great By and By. Dangerous Woman says not to mourn the passing of an old man but rather rejoice in what he brought you. Is that any different than Emily in “Our Town” asking us to look at what is passing from our lives and hold on to it as long as we can? As the credits began, I felt good about myself… good about the film… good about life.

The music is one of the first reasons to see the film. I’ve already mentioned my admiration for Streep and Tomlin. The singing cowboys Woody Harrelson and John C. Reilly offer two great specialty songs, and even Lindsay Lohan proves that she can belt out with the best of them. The rich husky gospel voice of diva Jearlyn Steele makes you want to join in at the end when she calls you to sing along. I wanted to… I wanted to clap and stomp my feet, but waited to applaud enthusiastically with the rest of the audience at the end.

Watching Altman’s films from McCabe and Mrs. Miller (1971) up to now, I’ve come to expect the characteristic ensemble acting, the overlapping speeches, the improvisational feel, but I don’t recall any film of his capturing the warmth and affirmation of life that this one does. Perhaps when Altman had his heart transplant 11 years ago, he learned how to share what is important with us.

Like Altman who is perhaps investigating his own mortality and Keillor who is investigating the end of 32 years of performing his radio show, I find myself past a triple bypass and the closure (perhaps) of 39 years of teaching. Like Meryl Streep’s character, I want to continue doing farewell tours for long as I can remember the lines. …And this movie helps me realize that goodbyes don’t wipe out the good memories. And sometimes just being and doing and enjoying for as long as you can is enough.


For Altman observations on the film check out below:

Sunday, June 04, 2006

Otto Wagner

At a garage sale yesterday, I found this lovely print of the work of Austrian
Art Nouveau architect, Otto Wagner. Labeled "Galerie fur Werke der Kunst Unserer Zeit" [?Gallery for Art of Our Time], it has wonderful Art Nouveau murals running across the front of the building. They would have been spectacular. I can't find evidence, however, that the piece was more than an academic piece.


I was delighted to find this framed poster--approximately 3 feet wide-- for only $10. The frame alone would have been 10 times that. But it also prompted me to learn more about Wagner's work.

According to information online, Wagner was part of the Vienna Successionists, which included Klimt (of the famous "Kiss") and Hoffman. Wagner has some beautiful designs. I am particularly taken with his three-dimenstional model of the Imperial Entrance Hall of the Academy of Fine Arts of Vienna (1898).



Wagner's poster is a great addition to my office wall.



For more information on Wagner check out:

Tuesday, May 23, 2006

Goodbye GSA

Today I attended my last meeting as sponsor of Rich East's Gay/Straight Alliance. We've had a turbulent history and remain the school and district's "unofficial" club--they let us meet and function as a club but the sponsors are unpaid. But that doesn't matter. What matters is the kids can meet and feel safe.

The GSA began in 2002 as a result of District 227's Multicultural Committee's work on helping gay students. A small committee grew out of a second summer teacher's institute which dealt with training teachers to be more sensitive to the needs of gay students. Ultimately I was selected to be sponsor with Katie Stadt as my co-sponsor.

One of the statements a gay young man at the workshop said was that in his entire education no teacher had ever spoken favorably about a gay author or artist or athelete. "Don't deny us our history," was his empassioned summation.

To learn more about creating the club and the kind of student I would be supporting, I attended a conference that July called Sexual Minority Youth in the Heartland: Issues and Methods for Youth-serving Professionals, at Indiana University, sponsored by the Indiana University Gay, Lesbian, Bisexual, Transgendered Student Support Services. The two-day conference covered such topics as Theories of Sexual Orientation; Safe Schools, Safe Kids, Safe Teachers; Serving Gay Teens at the Library; Cultivating Leadership Skills in GLBT Youth. Former Surgeon General Dr. Joycelyn Elders gave the key-note speech on “Leave No Child Behind: Let’s Get Serious.”

Our first meeting began with five students and six adults. The biggest issue on the kids' minds was the need for a safe school environment for all students, especially gays. The structure for the meetings was established and included: snacks, a sharing of concerns, then discussion of things the club is working on, and finally, a history lesson. Students were assured from the beginning that this was an environment where they could feel safe with any issues.

Eventually the club came up with their purpose:

  • to create a healthy, supportive environment for gay, lesbian, bisexual, transgendered, questioning and straight students and staff;
  • to increase physical and emotional safety for GLBTQS students and staff;
  • to value and affirm GLBT history and provide educational resources for the Rich East community through text, technology, and teaching;
  • to have lots of fun.

In September the students participated in the AIDS walk/run in Chicago. The safe school issue became a political football in January when the school board voted to take down rainbow stickers teachers had placed on their doors to designate "safe zones" for students. Contentous public meetings only emphasized the need for protection of gay students rights. Many of the civic minded students rallied against what they preceived as an injustice and by the end of the year we had had 30 students attend the meetings. The club won the Student Council's Outstanding Club Award--which they've done every year since.

The students elected to designate the rainbow triangle as their official club logo.

The GSA meets every Tuesday (with the exception of the two weeks before a play production). The students remain politically active and have done not only the AIDS walks but The Day of Silence also and displays at the Village Hall during June. While they have learned that often the system doesn't give them what they want, they have also learned to work to change that system.

I'm proud to have been a role model in the process. I had to fight back a lump in my throat as they left.

Monday, May 22, 2006

Facing Retirement

I am retiring from 39 years of public school teaching this Friday, May 26, 2006. It’s a daunting thought to leave Rich East, which has been my teaching home for 36 years. I still believe I have years of teaching to go, but my daily commute involves an hour drive twice a day. Needless to say, the wear and tear on my body and my car is considerable. And after 11 years of it, I need to move into a new phase of my life.

Among the students I teach were seniors who were also facing this expulsion from the womb with a view with trepidation. The last day of class I gave them my words of wisdom… what I’ve learned in the process can be summarized in the following ideas:

Man is a sum of his actions. So say Sartre and Camus in defining existentialism. It is our actions which make clear who we are, not our dreams nor our thoughts. I tell the students a story I read sometime in the distant past (I think it was by Guy Du Maupassant, but don't hold me to it). In the story, a man knows his soul is black, something others would not like. So he dons a mask in public and wears it all the time. The mask is that of a man of virtue—and he goes about doing good constantly, but he know that in his heart he is not. He never takes the mask off. When the man dies his mask is removed—and his face has become the mask. His actions made him who he was... and the man of good was so because he acted like a man of good.

“Acceptance on someone else’s terms is worse than rejection” (Mary Cassatt). For years I spent my life trying to be who others wanted me to be—and the most common feeling I had was discontent because of it. It was not until I broke with my past and began living on my own and accepting who I was that I could really appreciate Cassatt’s advice.

Life is all about change. The world we inhabit changes constantly. As Samuel Beckett says—it oozes and it flows. We sluff off layers of skin; the sun changes position; and the rocks get worn away a little bit more. Relationships daily redefine themselves. And we move forward because that’s the only direction we can go. If we’re lucky, we can smile in the process of following that move.

So when I say goodbye to the room which has been my strength for the last 14 years and the students which have sustained me for much over twice as long, I hope to move on with a sense of awe and wonder at this new chapter in my life.

Sunday, May 07, 2006

Guardian for a New Millenium

Guardian for a New Millenium by David Claudon
Here I was playing with Photoshop CS2, using layers and brushes and a vintage photograph from my collection.

© 2006, David Claudon.

Young Englishman, ca 1890


This portrait uses both Corel Painter IX and Photoshop CS2. The portrait is based on a cabinet card from around 1890. On the back of the card was an advertisement for artist/photographer George Stone, 72 Baron St, Gloucester, England.

© 2006 David Claudon.

Medieval Mourner Pastel Digital Painting

Last year, I visited my friend Jon in New York and we visited the Metropolitan Museum of Art. One of the pictures I took was of this Medieval Mourner statue from around 1450. Experimenting with Corel Painter IX and using Martin Addison's book, Painter IX for Photographers, First Edition : Creating Painterly Images Step by Step , I made this pastel of the picture.

© 2006 David Claudon

Monday, May 01, 2006

Family Album: Britiannia Bray Van Dolah

Britannia Bray Van Dolah My great-great maternal grandmother, Britannia Bray Van Dolah, was born in 1841 in Spencer County, Indiana. In 1853, her father moved to McLean County, Illinois, and proceeded to outlive three wives. Besides farming 160 acres in Martin Township, he taught in a country school.

In 1864, Britannia married Lexington livery and live stock businessman David Hyatt Van Dolah. He supposedly (according to family tradition) had recently paid his brother $300 to fight for him in the Civil War. Britannia and D.H. became doting parents of two sons: James Walter (1865-1936) and Lewis Sheridan "Tad" (1867-1919).

In 1868, D.H., Ike Harness and others founded a bank in Lexington (Harness, Vandolah & Company). As a banker, Van Dolah was a shrewd businessman and amassed a fortune buying and selling land both in Illinois and Missouri. A one point he was said to have owned 2,000 acres in McLean County.

D.H. Van Dolah & Tad From 1878 to 1889, Van Dolah imported French Percheron and Norman draft horses, going to Europe seven times (his wife two). In the picture at left, D.H. is the one with the long beard, while his son Tad lies rakishly at his feet.


According to family tradition, during one such trip D.H. brought back three large diamonds hidden in feed sacks. (Each of my siblings and I inherited one of the diamonds.) It is told that another gift brought from Europe was a beautiful large music box which plays about 8 tunes. The box was a gift for one D.H.'s tellers, Hop (William Hopkins) Kennedy, who had become son James' father-in-law in 1887. (I still own the music box.)

Having traveled abroad, D.H. preferred French crepes for breakfast. One morning "Sis" (as D.H. called her) served him regular pancakes. He stormed out of the house and got in the buggy and began riding around in a circle feeding the pancakes to the pigs. "He was a Tartar," laughed my grandmother, telling the story.

In France around 1897, Britannia admired the French chateau and decided she wanted her husband to build her one. During 1897-1898, the new house--known in Lexington as the "Castle"--was built. Located just west of Lexington the house was the work of Pontiac contractor C. W. Mathewison. Estimates placed the cost of the house between $35,000. and $80,000. Payrolls showed workers earned from 15 to 25 cents per hour. Scaffolds were not permitted to go up outside the house, so they were only used inside the structure.

The 30 room structure had a double-wall constructed of Indiana limestone, Maine granite and Missouri buff brick. The roof was slate.

The house consisted of four stories, complete with a circular oak stairway leading up to the fourth floor grand ballroom. The entrance hall chandelier was brass and custard glass.

According to a news article, "English flocked wallpaper and a pecky cypress ceiling decorate the south drawing room. Special supports were installed for the 300-pound chandelier from a French chateau." The dining room had a Belgian chandelier.

The castle tower contained two round rooms, one used as a study. The second room was a bedroom.

The house was said to have one of the first working elevators in McLean County.

In January 1903 at aged 61, D. H. Van Dolah died of a heart attack.

Britannia on an alligatorBritannia outlived her husband by 27 years, remaining the dominant matriarch of the family throughout. She traveled yearly, but was plagued with ill health the last few years of her life. At right she can be seen on one of her winter trips to Florida around 1912. She sits astride a stuffed alligator. To her right is Ella Kennedy Van Dolah, her son James' wife.

Britannia was 89 at the time of her death in 1930. Said her obituary in 1930:

During the days of her robust health she was a leader in the religious, educational and social affairs of Lexington. She was a member of the Christian Church, the Order of the Eastern Stars and a charter member of the Lexington Woman's Club.

The Van Dolahs are buried in a family section of the Lexington Cemetery (originally known as the Porteus Cemetery). Standing at Britannia's tombstone you can see the house she had her husband build up on a hill to the south-east.

Colorized tintype of Britannia Bray Vandolah, ca. 1868 © 2006 David Claudon. "Castle" picture from Lexington Unit Journal.