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photo by Beowulf SheehanINTERVIEW: Scott Cheshire, author of High as the Horses' Bridles J.T. Price July 6, 2014 Conversations, Interviews4 Comments Those who know Scott Cheshire know the sort of decency he exudes, a kind inseparable from that of a searcher who has seen the precipice and taken true gauge of its depths. High as the Horses' Bridles is a torrential debut novel. It's bold. It's substantive. It's formally inventive. From within the whirly circles of the NYC literary scene, it can sometimes appear that writers shun serious treatment of the day's banner subjects, those scrolled across the country at large, even one as wide and clear and pervasive as evangelical Christianity. Are we daunted? Over the span of centuries, stories have a way, it seems, of slipping into religious texts and leaving their individual authors behind. This past Father's Day (apropos, it turns out, for High as the Horses' Bridles), I had the distinct pleasure of chatting by email with Scott. We talked the Book of Revelation, humor, rewriting, and what science and faith might have to say to each other. – J.T. Price J. T. Price: In the mode of Galifianakis, I'll start by asking, Why horses? Why a novel about horses?Scott Cheshire: I have never heard of this Galifianakis. I assume he's a lesser Greek poet, or something…JTP: Yeah, renown for a collaborative epic poem called The Hangover…SC: It's actually a very good question. I never set out to write a book with "horses" in the title, and while I did write a book in which there are horses, it's certainly not about horses. It's about a troubled family, and it's about religious legacy, a struggle with faith, and the difficult reuniting of a father and son—all of that, and yet the kernel of all that drama is an apocalyptic vision the son, Josiah, has, as a boy. The vision of a horse. Something I've not yet really considered, I guess, is why the vision of a horse?JTP: If you don't mind… I've actually got a page marked, from the later stages of the book. (Breaking the Galifianakis mold…) This is the estranged wife of the protagonist asking the same question: "But why horses? Why not as high as tank treads, if this is supposed to impress me? Or high as a Chevrolet's side mirrors, and for two thousand years the faithful are wondering, What's a side mirror? What's a Chevy?"SC: I like to think it's a funny book, and maybe those lines give a sense of that, so thanks for bringing them up. I guess the answer to all this is partly the wonderfully anachronistic image of a warhorse. I mean, if there is a Second Coming it somehow makes sense that it would happen via horse, a great white horse. And yet horses also suggests a woefully ill-prepared return to battle. At least, if you read the image literally, which most believers do. That's the fascinating and self-defeating essence of prophecy: it's of its time, so it dates.As far as giving the book its title, there were a few contenders.Flannery O'Connor says: "The only way to learn to write short stories is to write them, and then try to discover what you have done." I would dare go a bit further, and say it's not only how I learned to write, but it's how I will always write. I write, and only discover what's there afterward. In this case, I discovered horses, among other things. They figured in the book in a sort of mysterious way, even for me. Plus it's a damn good phrase, and I can say that because it isn't mine. It comes from Revelation.JTP: Now, as psychoanalyst or self-realization guru: how greatly did the Book of Revelation shape your own childhood, your expectations of the adult world? How fluent are you with it now? And did you find yourself returning to those pages while writing High As The Horses' Bridles? How did those successive returns feel?SC: Revelation looms large for me, always has since childhood. We read and studied it weekly at church, probably more than any other book. And for that I guess it gave me a rather apocalyptic perspective on the world. More than most, I guess, but not nearly as much as some.Harold Bloom has a good book about American Christianities (of which there are many) called The American Religion, and in it he calls Revelation "the preferred text," for some sects. He also calls it a "nightmare of a book." He's right on both counts, but I also think he sells the book way short. Nightmares come in all forms, and Revelation is one to which we all collectively and perennially return. And I do mean all of us. There's something disturbingly attractive about the violently apocalyptic endgame scenario.JTP: Sort of the Reservoir Dogs, video game final level, 'guess I'll end the novel in a melee like Bonfire of the Vanities' phenomenon? The Book of Revelation being a foundational text in that regard…SC: Absolutely. There is something gloriously and strangely legitimizing about it. Before I started the book, I hadn't looked at Revelation for years, decades, even. But at some point I realized it was in some ways the book from which this novel comes. And so I had to return to it, reconsider it, and re-familiarize myself with its pages. I found the best way to do that was to immerse myself in the history of the book, remove it from its contemporary cultural trappings—which incidentally have almost nothing at all to do with the genesis of the work.JTP: You're reminding me of an excellent essay of yours on the subject…SC: Well, thanks for saying that. Writing that essay was difficult, mostly because it was the first time I tried to honestly ask myself the question: why am I writing this novel? I had deliberately buried myself in the work of a few modern scholars, studies of American religious history, eschatology, and the ancient apocalyptic form. My shelves are stuffed with them. Writing the essay felt like the first time I'd come up for air. At some point I realized, wait a second, Revelation is basically just a dream. It's a dream of vengeance and reward, at its core. And I get that. I think we all do.JTP: Apocalypse fiction is hot (or is it cold?). Some of the contemporary treatments are fantastical or readymade allegories, while others provide much more disturbingly plausible scenarios. In contrast, your novel feels like a kind of patient zero study, one that parses underlying sources of doomsday visions, in both their individual and collective form. The wild world-historical impossibility of the question aside, what is it about visions of apocalypse that won't leave us — I mean, the human species — alone? Dogs, for example, probably don't have the same preoccupation. Although I guess I can't be sure.SC: This is the big question, isn't it? Why? I think the answer is pretty simple: it makes sense. That is to say, it makes time itself make sense. It gives existence narrative form. Closure. It's no accident the Bible ends with Revelation. Any first year MFA student would say, I think, End it here. JTP: Or there'd be a comment, 'Um, the tone shifted here a bit and made me feel kicked out of the story…'SC: Yes! Or something like—I get that He's out to end the world, and all, but I don't know what He really wants, you know?The ancients used to write these stories and deliver them aloud during wartime, including Revelation. It was therapeutic. And who doesn't like a little drama? A little blood? Apocalypse is the über-action scene. And I for one love those movies, even the bad ones. They get my cash every time.In my book, apocalypse works just this way for Josiah's father, who desperately wants it all to make sense, especially after losing his wife. And when she passes, that apocalyptic longing is entirely domesticated. He tries to bring it on himself, within his very own home. It should also be said that, in the classic sense, the End is essentially just the Beginning. Even Revelation ends on a note of hope. The Future will be Better. Next time! And this can be comforting when you lose a loved one. As far as Josie, well, I think he's trying to dismantle the apocalyptic mindset. And it's hard. As far as dogs: my pug, Olive, I pray fears nothing at all.JTP: Josiah Laudermilk, aka Josie, your protagonist: where did you find him? A Queens-raised childhood biblical prodigy turned successful young California beach-town entrepreneur. When we make his grown acquaintance, he is flagging on multiple fronts: romantic, familial, and, prior success aside, professional… SC: Well, it might seem exotic to some that I was a kid preacher, but in that community everyone was expected at some point to preach and deliver sermons, especially the boys. So it seemed natural to me to use that history, and it weirdly made sense for the reader. I wanted the opening scene to feel grand and new, and less and less alien for the reader. A young boy on the occasion of his first large-scale sermon would experience the scene in just that way, hence young Josiah.JTP: It's interesting, that scene, I felt almost like we were inside the mind of the adult Josiah as he attempts to reconstruct this incredibly powerful experience from his childhood in minute detail. The sense of time passing slows down…SC: Oh man, I love you saying that, because that is exactly how I imagined it. In fact, as far as I'm concerned that whole first section is a first-person narrative. "First-person removed," we'll call it. I think I just invented a newish perspective. That whole section is a movement from third to first, from "them" to "me." It embraces the other. He's claiming his personal history.On the other hand, making the leap to adult Josiah was difficult, for lots of reasons. One being: how do you make something not happening (the end of the world) dramatically interesting? And can it sustain a whole book? And so I started thinking about the thousands of people whom every time are disappointed by yet another failed religious End Times prophecy—which happened recently, in 2011, with Harold Camping and his followers. That whole non-shebang definitely played a part in why I wrote the essay you brought up earlier. Of course, for lots of believers it's simply a matter of reworking the numbers, and deciding on a "more precise" date. But for others it means the end to their faith, and what a terrible and conflicted sense of disappointment that must be. To me, that was an interesting problem. How do you un-know what you thought you knew? Josie (no longer Josiah) attempts to un-know, and he grapples with and reads the physical world as he becomes newly accustomed to it. He made me see the daily world around me in brand new ways. It was a thrilling perspective to write from, and not entirely unfamiliar.JTP: The story unlocks in the manner of a nesting doll: one enormously pivotal scene opening to reveal successive stages in the lives of Josie and his family and friends. Over the novel's course, time seems somehow to both advance and retreat while the narrative layering deepens. I wonder if you could talk a little bit about the structure? SC: The structure of the book was absolutely its most difficult aspect. I wanted to figure out a way of denying the book a linear narrative because I felt that otherwise it would be too sympathetic to the apocalyptic model of time. Beginning. Middle. End.The middle section, called "The Ends," at some point started taking on a circular shape, constantly doubling back on itself, which if I'm honest is closer to how I experience the world, anyway. The past and the immediate past are always alive in the present, and I'm ever trying to reconcile the two. Josie experiences the world in just that way, constantly circumnavigating what it means to be alive at any given moment. It also became a way of creating dramatic tension, casting Josie in the "now," with few cues to the reader of how he got there. The last thing I wrote was the closing section of the book and yet it might be called the beginning proper of the novel. We go back in time and place. Which ultimately felt right, making the whole book something of a circle.JTP: For all the gloom and foreboding suggested by your big subject, there is no shortage of humor or emotionally articulate exchanges to accompany the darker atmospherics. Even the most desolate of occurrences (and, yea, desolation there is) seems informed by almost its opposite. Does this sort of sensibility approach a world-view?SC: It is, for me anyway, and for the longest time the book did not reflect that. It was much darker, or at least as dark with very little comic relief. And then at some point I gave the manuscript to my friend Alex Gilvarry, who is not only a fantastic novelist, but also one of the funniest writers and people I know. He read it and said, "You know in real life you make me laugh, you're funny. But this is not funny. At all. You should make it more like you." That changed the book tremendously, and I might even say changed me as a writer. I let Josie be both morbid and funny. A good mix, I think. I mean life is funny—and sometimes it's ugly, sad, tragic, and painful, but also funny. Maybe it's my way of dealing with the world. William James says a fundamental difference between the religious and the non-religious is their respective relationship to the universe. The religious agree with it. The non-religious agree to it.JTP: At one with the flow versus making an idiosyncratic path despite it? Or is that too simplistic?SC: Not at all. The lazier critical take on the apocalyptic perspective is "they're just doing what they're told." But it's a perspective on the world that takes a lot of deliberate mental work. As far as I'm concerned, I'm of the latter persuasion. I agree to it all, yes, but reluctantly, and not without laughing.JTP: I've read a fair amount of fiction and watched with dispassion as the epiphany, James Joyce-model, goes in and out of style. If I may say so, you have achieved some higher-level proficiency with the dramatic epiphany. Josie, it seems like, is capable of experiencing epiphanies within epiphanies. What I mean to say is you dramatize the need to believe with remarkable acuity. How about that? SC: I like it! And I assume you know that super essay by Charles Baxter, "Against Epiphanies," in which he says if life were truly like most American "literary" fiction then it must be the case that people all over the country are struck with epiphanies all day long and everywhere.JTP: Yes, great observation from a great essay.SC: This is palpably not the case.How many epiphanies have I had in my life thus far? Any? Maybe one. And even that one came on more like slow-heating water just about to boil a frog. All of a sudden, it hit me—so I jumped before the situation killed me. The formal literary epiphany, The Wonder Years-like sudden realization occurring on a regular basis does not resemble any conscious reality I know of. And yet there is something to the consciousness of a person who tries to be alive to every moment as he can. This inevitably fails, sure, but it's still a viable, if unsustainable, tack. This is Josie's mission, and it's a classically apocalyptic one, which, lest we forget, comes from the Greek for revelation, "a removing of the veil." Which sounds a hell of a lot like epiphany. The difference being Josie's attempt is deliberate. The classic and not always believable literary epiphany is accidental. It suddenly just happens. It's pretty passive. Josie, on the other hand, is actively looking for ways to make the physical world around him deliver a new experience, to learn from it. This is how he hopes to redeem himself, I think, in the eyes of his business partner, his ex-wife, and his father. JTP: A semi-obscure writer once wrote, "A novel might be the brilliant lived sermon that found no root in organized religion as currently composited." Is there anything to this theory, do you think? SC: I believe the writer is Price—J. Now him, I've heard of. And I've actually read the article, more than once. Why? Because a question I've been taken with for many years is at the heart of that lovely phrase. You often hear people, usually non-religious people, say things like 'Love is my religion,' or 'Music is my religion,' even 'Food is my religion.' And of course I've heard writers say 'Writing is my religion.'JTP: 'Baseball is my religion.' 'Used bookstores are my religion.' 'The internet is my religion.'SC: And more to the point: why does this get my goat? I think it's because it seems too easy a way out of having to debate a subject or answer a question directly. It's a way to avoid thinking about what you actually think.JTP: You mean in the sense that by switching out the context, whatever is under discussion suddenly melts into air?SC: Exactly. But I'm also inclined to agree. If, as James says, the religious agree with the universe, well, there is little better way to agree with a universe, or a even a world, than to write a novel. Hell, you're creating the thing. That is a godly move. Not to mention all the ritual that generally goes with writing. Most of the writers I know are ritualistic, which is not to necessarily say disciplined. I have rules by which I write (when I write, when I don't), rules for what I do before and after I write. I have totems. These are all religiously inflected inclinations. Perhaps the least religious aspect of writing is the solitude. There is no community, at least not involved in the act of writing anyway. In this way the public reading, especially something like the marathon readings mentioned in that piece, do resemble a religious service. It's communal. Then again, James famously defines religion as "the feelings, acts, and experiences, of individual men in their solitude, so far as they apprehend themselves to stand in relation to whatever they consider the divine." Solitude! And if that doesn't sound like a writer I don't know what does. You see my problem here. JTP: There's definitely a tension. Published in 1941, Virginia Woolf's final novel Between the Acts explores the overlap between faith, technological progress, and the performing arts in a small town theatrical production, a play meant to reprise the entirety of Britain's history in the shadow of WWII. As the show on the village green approaches the modern moment, an audience member observes, "It's odd that science, so they tell me, is making things (so to speak) more spiritual…" This observation also appears key to the thematics of High as the Horses' Bridles… I should note too, that Woolf complicates things, true to form, by having another attendee remark, "If one spirit animates the whole, what about the aeroplanes?" (Aeroplanes. Why did people ever stop calling them that — and in what spirit?) SC: I hear you. It's a very pretty word. And I have not read the book, but I will, so I can sound smarter the next time I'm asked this question. I will say this, though, about the notion and the apparent dichotomy between science and spirit: it's all about wanting to know, wanting to transcend the known limits of humanity, as such, and really know, you know? I remember reading William Gibson's Neuromancer and thinking, 'all of this comes from Revelation.' Even his physical description of cyberspace I'm convinced was artfully stolen from the Bible. As technophilic as that book is, and yes it's sort of the extreme example, it uses the very skin it claims to slough off and tells pretty much a story of religious spiritual ascent. Very strange. As far as literal science, well, it's certainly taken on some new dimensions that present a more supernatural picture, no? Other dimensions. Other universes. Other types of time. Frankly, I think it's a terrific time to be alive, and the things we learn every day, even a mere glimpse at deep-space photography, or a short article on quantum physics for a layman like me, outstrips and outdoes the very dated notion of God so many cling to. That old God is actually not enough to contain what we know about the universe. Maybe it's high time we redefine God, or better yet leave the idea indefinable, which seems better suited to the idea of God to begin with.JTP: Today is Sunday and also Father's Day, which seems somehow apropos in light of your novel's principal themes. The fraying and mending of a father-son bond, specifically in regard to religious identification, comprises the crux of the story. Where does June 15th, 2014 find Scott Cheshire?SC: This is a deeply personal question and I welcome it. Here is where I am: I'm in my living room, answering these lovely and thoughtful questions, happy to have a reader take my work seriously. After all, that's why it's there. It's my opening gambit in what I hope proves to be a good and long conversation. My wife is out for a run. The pug is asleep by the air conditioner. Snoring. And I spoke with my father just a few hours ago. He is reading my book right now and is reading, he tells me, every page twice. Once so he can hear my voice, and, once again, so he can follow the story. I think that's beautiful, and I thanked him for it.For a long time I was afraid to send the book to my dad, or my mom for that matter. There was the typical fear of the first novelist. Will they understand this is not about them? That it comes from me, yes, but it's not me? But I was mostly afraid because of the subject matter. My parents are deeply and proudly religious, as they should be. And so I feared a book that examined one facet of the American religious life would offend. It did not. It does not. I asked my father if he remembered the story of Jacob wrestling with the angel. I said writing this book was my wrestling with angels, if that makes any sense. He said of course it did. And then he said I'd made them proud.It's a good day. 4 Responses Vol. 1 Brooklyn | Morning Bites: Scott Cheshire, Kyle Minor, Brutalist Classics, Talking "Two Serious Ladies," and More July 8, 2014 […] As the Horses' Bridles is out today. He contributed an essay to The Begats, and talked with Electric Literature. We'll have an interview with him in the coming […] Reply Book Notes - Scott Cheshire "High as the Horses' Bridles" | IndieNation July 16, 2014 […] Brooklyn Rail interview with the author Electric Literature interview with the author […] Reply Book Notes - Scott Cheshire "High as the Horses' Bridles" | barzany.combarzany.com July 16, 2014 […] Brooklyn Rail interview with the author Electric Literature interview with the author […] Reply Ebook Notes – Scott Cheshire "Excessive because the Horses' Bridles" | JanNews Blog July 17, 2014 […] Brooklyn Rail interview with the author Electric Literature interview with the author […] Reply Leave a Reply Cancel ReplyYour email address will not be published.Name* Email* WebsiteComment Notify me of follow-up comments by email. Notify me of new posts by email.
Vol. 1 Brooklyn | Morning Bites: Scott Cheshire, Kyle Minor, Brutalist Classics, Talking "Two Serious Ladies," and More July 8, 2014 […] As the Horses' Bridles is out today. He contributed an essay to The Begats, and talked with Electric Literature. We'll have an interview with him in the coming […] Reply
Book Notes - Scott Cheshire "High as the Horses' Bridles" | IndieNation July 16, 2014 […] Brooklyn Rail interview with the author Electric Literature interview with the author […] Reply
Book Notes - Scott Cheshire "High as the Horses' Bridles" | barzany.combarzany.com July 16, 2014 […] Brooklyn Rail interview with the author Electric Literature interview with the author […] Reply
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Product News: Computer Hardware & Peripherals
Video Compression XMC Module supports IPv4 and IPv6.
Press Release Summary:
October 17, 2012 - Featuring H.264 video compression/decompression technology, Model ICS-8580 can capture video inputs and archive or stream them over Ethernet, managing multiple streams and performing manipulation, conversion, compression, storage, decompression, and video display with minimal consumption of bandwidth or disk space. Base level support for Camera Link® serial communication protocol standard means module can be configured to support almost any camera input and system configuration.
Original Press Release
GE Announces Upgrade to Video Compression Module to Enhance Connectivity and Flexibility
Press release date: October 9, 2012
• Range and number of supported cameras extended
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HUNTSVILLE, AL - GE Intelligent Platforms today announced an enhanced version of the ICS-8580 rugged high definition video compression XMC module. The unit allows very high quality moving images to be captured, transmitted and stored with very low latency and with minimal consumption of precious bandwidth or disk space – meaning that actionable information is received more quickly and efficiently.
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Also new for the ICS-8580 is support for IPv6, the Internet Protocol that will ensure the longevity of IP-based networking by allowing a significantly larger number of the IP addresses on which the Internet is based. This is in addition to the ICS-8580's support of IPv4.
The ICS-8580 can capture video inputs and archive or stream them over Ethernet, managing multiple streams and performing capture, manipulation, conversion, compression, storage, decompression and video display. It is rugged, compact, light-weight and consumes little power, enabling it to be easily deployed in systems destined for deployment in harsh environments that are constrained by size, weight and power (SWaP).
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In video capture and transmission, the primary challenge is how to maintain video quality in order to maximize critical detail while minimizing the use of bandwidth by implementing highly efficient algorithms: transmitting 'raw,' unprocessed high definition video data at very high speed requires bandwidth that is rarely available in, for example, air-to-ground applications. Similarly, storage of high definition video data – for later review and analysis, for example - in its uncompressed form can require terabytes of disk space.
The ICS-8580 features H.264 video compression/decompression (codec) technology, which is widely regarded as being the optimum solution: it is considered to be up to three times as efficient as other codec solutions, allowing vital image detail to be retained while occupying the minimum possible bandwidth or storage.
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About GE
GE (NYSE: GE) works on things that matter. The best people and the best technologies taking on the toughest challenges. Finding solutions in energy, health and home, transportation and finance. Building, powering, moving and curing the world. Not just imagining. Doing. GE works. For more information, visit the company's website at www.ge.com.
For more technical information: http://defense.ge-ip.com/account/download/12171/3525
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At least five people were killed and more than 80 wounded on Wednesday in a twin suicide attack near the Iranian cultural centre south of the Lebanese capital Beirut, security and medical officials said.
Witnesses said the area of Beir Hassan, which is also home to the Kuwaiti embassy, was rocked by two near-simultaneous explosions.
The blasts hit a security checkpoint near the Iranian cultural centre and a major sweets shop nearby, an Army officer at the scene told DPA.
A witness said the suicide bomber at the checkpoint blew himself up after a policeman looked at him suspiciously. The officer was among those killed.
The Lebanese Army confirmed in a statement that the explosion had been caused by a twin suicide bombing.
George Kettneh, the head of the Lebanese Red Cross, said the wounded included children at an orphanage in the area.
"Some of the wounded are listed in critical condition," he told DPA.
The al-Qaeda-linked Brigades of Abdallah Azzam claimed responsibility for the attack.
"We are continuing our fight against Iran and their militia (Hezbollah) in Lebanon until they withdraw from Syria," the group tweeted.
Prime Minister Tammam Salam condemned what he called a "terrorist" attack.
"The message has been received and we'll respond to it with more unity and solidarity, and by holding on to our civil peace and rallying around our army and security forces," he said in a statement.
The Iranian embassy said none of its staff had been seriously wounded in the attack.
Keywords: Lebanon explosion, south Beirut, bomb explosion, Beir Hassan


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I take a box.....never had a problem..........maybe I've been lucky..........Wilba.
Yes, 2 x std bottle, they're not daft. I don't know if you'd get away with one-litre bottles, but my experience that the stuff sold in 1 ltr bottles is pretty naff stuff. Perhaps one 2 litre box instead of 2 bottles, but there's not many 2 ltr boxes. Mebbe even a single 3ltr box "cos that's all the shop sold" & said with an engaging smile? ............ Chris.
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Archive Page - 08/16/13 41 years, 2,180 covers and 55,277 stories from PEOPLE magazine's history for you to enjoy
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- January 13, 1997
- Vol. 47
- No. 1
A Thousand Oaks, Calif., judge sentenced actor Sasha Mitchell, 29, former costar of ABC's Step by Step, to 180 days in jail for violating terms of the probation he received in 1995 for kicking and slapping his then-pregnant wife, Jeanette. Mitchell moved from Los Angeles to Franklin County, Tenn., last summer, skipping court-ordered domestic-violence counseling and probation meetings in California.
Dave Thomas, 64, founder of Wendy's and TV pitchman for the fast-food chain, underwent quadruple-bypass heart surgery on Dec. 20 at an undisclosed Florida hospital to clear clogged arteries. A Wendy's spokesman said doctors expect Thomas to make a full recovery....
Songbird Whitney Houston, 33, who was expecting a second child with her husband, R&B singer Bobby Brown, 27, in July, suffered a miscarriage on Dec. 19. Meanwhile, after a four-month investigation, Brown has been slapped with two drunk-driving related charges by Hollywood, Fla., police. The charges follow an August incident in which Brown jumped the curb in Houston's Porsche and ran into some hedges and a sign. Brown could face up to nine months in jail and a $1,000 fine on each offense.
Former Olympic figure skater Nancy Kerrigan, 27, and her husband and manager, Jerry Solomon, 42, welcomed their first child, a 7-lb. 10-oz. boy, Matthew, on Dec. 17 in Boston....
News anchor Dina Ruiz, 31, more than made husband Clint Eastwood's day when she gave birth to the couple's first child, an 8-lb. 4-oz. girl named Morgan, on Dec. 12 in Los Angeles. This is the 66-year-old actor-director's fifth child and Ruiz's first....
Sister Act costar Kathy Najimy, 35, and Stomp dancer Dan Finnerty, 26, announced the birth of their first child, daughter Samia Najimy Finnerty, on Dec. 12 in L.A.
Frasier star Kelsey Grammer, 41, and his girlfriend of seven months, film student Camille Donatacci, 28, are engaged to marry next fall. It will be the third marriage for Grammer, who has two daughters, and the first for Donatacci....
Federal Reserve Board Chairman Alan Greenspan, 70, and NBC-TV correspondent Andrea Mitchell, 50, became engaged to marry on Christmas Day. This will be the second marriage for both. The couple, who have been dating for 12 years, have not set a date.
Actress Debra Winger and actor Arliss Howard, both 41, were married over the Thanksgiving holiday in L.A. The couple, who met in 1993 while filming the movie Wilder Napalm, are expecting a baby in June. Winger has a 9-year-old son, Noah, by her ex-husband, actor Timothy Hutton.
Ken Wahl, 39, former star of TV's Wiseguy, was arrested on Dec. 28 in Beverly Hills after he allegedly threatened a hotel bartender with a hunting knife. Police say the bar-keep had refused to continue serving Wahl after the actor apparently became inebriated. Wahl was booked on suspicion of making terrorist threats and released on $150,000 bail.
To Sir with love: England's Queen Elizabeth II is slated to bestow a knighthood on former Beatle Paul McCartney, 54, this year for his considerable contributions to music. Among the 1,034 others commended by the Queen for New Year's honors are musical composer Sir Andrew Lloyd Webber, 48, who will receive a life peerage and will qualify to sit in the House of Lords, and former Dynasty vixen Joan Collins, 63, who will become an Officer of the Order of the British Empire.
On Dec. 16, a Torranee, Calif., judge sentenced freelance photographer Charles Rathbun, 39, to life in prison without possibility of parole for the November 1995 murder of model Linda Sobek, 27 (PEOPLE, Dec. 11, 1995). Rathbun was convicted last November of sexually assaulting and strangling the former Los Angeles Raiders cheerleader after hiring her to pose for magazine photos.
Action film star Jean-Claude Van Damme, 36, filed for divorce from his fourth wife, former model Darcy LaPier, 31, on Dec. 19 in Los Angeles superior court. The couple, married nearly three years and separated since Nov. 1, have a 15-month-old son, Nicholas Francois.
Retired ad executive Neil Reagan, 88, the only sibling of former President Ronald Reagan, died of heart failure Dec. 11 in a San Diego hospital. Reagan was a radio announcer and program director before entering advertising and directed his kid brother in the television series Death Valley Days....
Lyricist Irving Caesar, 101, who cowrote such standards as "Tea for Two" (with Vincent Youmans) and "Swanee" (with George Gershwin), died of undisclosed causes on Dec. 17 at a New York City hospital....
Social critic Vance Packard, 82, whose 1957 bestseller The Hidden Persuaders accused Madison Avenue of manipulating consumers through subtle, barely perceived messages meant to appeal to the subconscious, died on Dec. 12 in Vineyard Haven, Mass., following a heart attack he suffered the previous week. Packard also explored American consumerism, class structure and social alienation in such works as The Status Seekers (1959) and A Nation of Strangers (1972)....
Prince Charles's longtime friend and mentor, South African-born Sir Laurens van der Post, writer, explorer, philosopher and war hero, died on Dec. 15 at his home in London, two days after his 90th birthday. Author of some 25 books, van der Post was imprisoned by the Japanese in Java during World War II, and his experiences were made into the 1983 film Merry Christmas, Mr. Lawrence, starring David Bowie....
Actor Lew Ayres, 88, who originated the Dr. Kildare character on film in 1938, died Dec. 30 in Beverly Hills. Though Hollywood shunned him for being a conscientious objector during World War II, Ayres's service as a medic and chaplain's assistant in the war restored his reputation, and he was nominated for an Oscar for 1948's Johnny Belinda.
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