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Pope tells Ireland he's shamed by Church's abuse failures
Collins past year resigned from a Vatican commission on child protection set up by the Pope over its failure to take action. "The failure of ecclesiastical authorities - bishops, religious superiors, priests and others - to adequately address these repugnant crimes has rightly given rise to outrage, and remains a source of pain and shame for the Catholic community", he told them.
New York AG plans criminal investigation into Michael Cohen's taxes
Defending himself in a Fox News interview , Trump sounded like a nervous hoodlum as he attacked Cohen for "flipping", that is, telling prosecutors what they want to hear in exchange for a lenient sentence. Bogus invoices that allegedly concealed the nature of the payments could further focus direct prosecutorial scrutiny on both Trump's company and his campaign.
Manhattan DA Considering Criminal Charges Against Trump Organization: NY Times
But as the perhaps the longest-serving employee in the Trump family business, he is rich repository of knowledge, and the idea of him answering questions to investigators under oath poses a new danger for the President as federal prosecutors in Washington and Manhattan dig deeper into Mr Trump's business affairs.
Sears Closing 46 More Stores
A small group of stores were initially pulled from the May list for further evaluation. Unfortunately, the plan for a leaner, more efficient Sears hasn't worked up to this point, and analysts see little reason to suspect closing more stores will change Sears' fate.
Putin says latest USA sanctions senseless
Vice President Mike Pence and Secretary of State Mike Pompeo. Themes like "strategic stability, regional security", the situations in Syria and Ukraine as well as bilateral relations between Russian Federation and the United States are expected to be discussed during the meeting, Patrushev added.
Outa hopeful state capture inquiry will see looted money recovered
Former president Jacob Zuma's lawyers have asked for more time to peruse documentation that will help them to prepare a defence against those accusing their client of enabling state capture . Accusations of graft dogged Mr Zuma's presidency before he was forced to step down in February. This commission will do its job properly. The inquiry panel does not have powers to arrest or prosecute but the evidence it collects can be used in any future prosecution.


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Craft A Brew Coupon Code
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Like this post and don't want to miss more like it? Be sure to sign up for my newsletter at the end! Slow-baked in a French oven, this braised chipotle chili will fill your home with savory aromas and your belly with warming comfort. It's perfect for chilly days that beg for hoodies, hot beverages, and snuggly blankets. Trim Healthy Mamas can make this to suit S (low carb) or… Continue Reading
Quick and Meaty Instant Pot Chili – Busy Day Helper
Cold winter months are perfect for hearty soups and stews. This Quick and Meaty Instant Pot Chili is easy to prepare and guaranteed to satisfy. Trim Healthy Mama friendly for S, E, or FP! It's Time for Supper. What to make? If you've been busy running errands, running after little ones, or just running around like mad trying to get things done you need a quick dinner solution! This meaty… Continue Reading
Low Carb Baked Cheesy Beef and Pepper Dip
We had a Super Bowl party at our house this year, but I just came for the food. Well, ok, time with family was part of it too. But I really don't see the point or attraction of football. I can think of about nine million other things to do besides watch football. Like eat yummy foods. That's always way more fun than organized sports for me. If eating… Continue Reading
Easy Grain Free Venison Meatballs
Meatballs, without breadcrumbs? Can you DO that? Why yes, yes you can! And, as I discovered today when making these easy grain free venison meatballs, you don't actually need anything to replace breadcrumbs if you have to eat gluten free. I've used oats, leftover quinoa and even psyllium husk as "binders" but really, you don't even need any kind of breadcrumb-like substance. All you need is some quality meat, an egg,… Continue Reading
Spaghetti Soup – S, E or FP
Yesterday, I wrote about repurposing…or Making Do With What We Have. Ironically, that's just what I had to do when making supper later. The result is this deliciously easy Spaghetti Soup! Wait…it's hot and humid out (or so I hear), why on earth am I making soup? Well, because when I went to make spaghetti sauce, for some reason I grabbed the tomato juice from my pantry instead of… Continue Reading
Jalapeno Burger with Sriracha Burger Sauce {THM S, Low Carb, Keto}
This spicy Jalapeno Burger is perfect for summer grilling (and just as delicious cooked on a stove top). The creamy Sriracha Burger Sauce adds another layer of delicious heat. Trim Healthy Mamas will love these S-style burgers as well as low-carbers and keto peeps. Get your spicy burger on! Ever have your tastes completely change? Something happened to me a few years ago. I began to develop a taste for… Continue Reading


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(thriller, David Oyelowo, Charlize Theron) – This dim comedy thriller is about a company guy whose trip to Mexico faces a person catastrophe following Yet another until eventually he is a desired fugitive. I'll give this a shot. DVD Only
Following tugging at heartstrings with Danny's stop by to Linda's grave, abruptly assassinating Erin's boss, Monica Graham, after which investing Considerably of the next 40 minutes fretting around which Reagan may well land from the vengeful gunman's crosshairs, viewers ended up in all probability and understandably spun up. Proper around and like a sequence in which Jamie (performed by Will Estes) arrived thisclose
Peter makes use of his recollection from the Bowman case to guide the team to Daniel Hicks, who was to acquire the designer virus prior to he as well reworked. Hicks, now transformed, escapes. The workforce finds out which the Hicks creature is nocturnal and can fly. Lincoln prospects the workforce to prevent the creature in addition to a girl who was caring for it. The creature is killed, while the lady is not able to provide answers about wherever the designer virus originated from. Phillip Broyles tells Olivia that even though she might be losing Component of her memories, she is still an asset and is permitted back to Lively duty. The episode finishes on a expose of the container ship that contains a number of other reworked individuals and also other creatures at sea.
Danny attends for the murder of a preferred bouncer exterior a nightclub, although Frank deals with controversy when it's uncovered that his former companion is artificially tampering with arrest records.
He operates his Division as diplomatically as he operates his household, even when dealing with the politics that plagued his unapologetically Daring father, Henry, for the duration of his stint as Main.
Holbrook has appeared on Ny city stages often times, typically in boxy black-walled rooms with impeded views, and also in larger venues, which includes not less than one Off-Broadway house. Desires of undertaking inside a Broadway musical are more likely to go unrealized, at the least partly for the reason that he is not qualified. Holbrook is founder and CEO in the online video creation studio ActorIntro.com which focuses primarily on creating online video advertising resources for actors and Many others who will be needy of awareness. .
14.08.2014 · Reply Random I actually hope that they might at the very least publish the second season in english sub simply because so Many individuals enjoys Blue Exorcist. The series just can't end by destroying a portal and Allow Satan go it just can't conclude like that :'( I like Blue Exorcist Hello Ya it could possibly't stop that way that's stupid i nevertheless Believe soul eater should have A different season due to the lame punch they can't end blue exorcist like it is currently. What transpired to killing satan?
Sam Swift, the previous star of a success cop series whose epic breakdown is broadcast to the public and sends her to rehab. Desperate to restart her job, she talks…
Despite the absence of Peter, the bridge has created a healing effect on the parallel universe, and each Fringe groups take care of their former differences and begin to operate collectively.
A passenger, Marshall Bowman, on the plane transforms into an odd beast, as a result of a "designer virus" with which he has become injected. Peter recognizes this as a scenario from his first timeline but With this timeline, Bowman under no circumstances completely transformed on the airplane, making it possible for it to land safely. Even so, even though less than investigation via the TSA, Bowman transformed and attacked the agents prior to dying. In the meantime, Olivia, Blue Bloods dvd acquiring approved the replacement of her Recollections with Those people from Peter's unique timeline, is decided for being unfit for discipline do the job simply because she can't try to remember her "authentic" previous. Lincoln Lee is set in control of the Fringe staff.
Danny and Jackie believe a vigilante is around the free when two independent taking pictures victims are each unveiled being members of a 4-man team who gang-raped a youthful lady but were being released on account of inconclusive proof. Erin faces her ex-partner Jack Boyle (Peter Hermann) in court and advises him versus having Nicky's hopes up Along with the information that he might be transferring back again to New York.
all so it wouldn't be smart to destroy Satan since the exhibit Evidently states they the 2 worlds are mirrors of each other so if you wipe out among the worlds would you wipe out each as end result
31.08.2014 · Reply TheRadicalNinja Mephisto built a deal with that previous person for immortality in Trade for his soul in the final episode. If there isn't a 2nd season we received't know the way that pans out. Maybe Have a very 2nd season where he goes rogue and takes advantage of the aged person being a servant.
He highlighted "The top of All Items" as the very best of your season, expressing it experienced "Totally amazing composing and intelligent plot twists". The episodes "A brief Story About Adore" and "Letters of Transit" ended up also named standouts, While using the latter episode being known as "intriguing and Daring". He also relished the return of William Bell (Leonard Nimoy), calling it "the greatest and most welcome shock from the season". He concluded in expressing The 2-section finale wrapped up "adequately", but felt the greatest toughness was the establishing for the ultimate season, with the whole world we noticed in "Letters of Transit".[34]
- 103 Visitors


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The air is getting crisp and the leaves are starting to turn. Guess what time of year it is? You guessed it...fall is beginning to creep across the New England part of the United States...ahhhhh!
Fall means baseball and colored leaves; chipmunks and squirrels hiding nuts; the smell of campfires and fireplaces and, of course, fall means a return to regular horseback riding. I LOVE riding. I LOVE the choppy, crazy rocking horse feeling of cantering across the ring and the "heart in your throat, chest clutching" feeling of sailing over jumps. I LOVE the sound of horse teeth crunching carrots and sloppy, wet horse "kisses."
I LOVE, LOVE, LOVE, LOVE horses...but I don't want one of my own. I have watched the owners and their horses at the barn each week. I see how much time it takes to truly take care of a horse and well, I am just not that dedicated! I have lots of stuff I need to do...school, homework, sports, and now, horseback riding. Nope, no horses for me!
I'm glad I learned about the work and time owning a horse takes. My mom says it is a sign of "maturity"-hmmm, I'm not sure if she's right, but that's okay. There is a story on the Café called "A Horse for Annie Mae" by Laura Wolfe that I love because the main character really is a lot like me. It is about a girl who desperately wants a horse but can't have one. Click here and read about it.
Happy Early Fall, Everyone!!
Thursday, September 19, 2013
Posted by Cookie at 6:37 AM
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Residental Treatment | Pasadena, California
The Elijah House | MIA's Luxury Rehab
Our residential treatment facility offers the amenities and environment of a luxury rehab at a fraction of the cost and most insurances are accepted. This beautiful and comfortable alcohol and drug rehab center sit in sunny Pasadena, California where clients complete medical detox, residential treatment, and sober living before coming home to St. Louis to complete our local outpatient addiction treatment program.
Why Residential Treatment? Why California?
MIA's core St. Louis outpatient rehab programs were designed because treatment is most successful when completed in an individual's natural environment. However, there are situations where clients benefit from being removed from their environment for a period of time to develop a stable platform with which they can enter back into their environment and continue care. For this reason, MIA has partnered with one of the highest quality and most cost-effective residential programs in the United States. This program is an extension of our high-quality care in St. Louis, providing a comprehensive approach while ensuring that quality services accompany service delivery.
Ease of Access & Logistics
Individual's and families dealing with addiction have enough on their minds. For this reason, clients attending our residential program have peace of mind as we facilitate everything from traveling to treatment, returning home from treatment, and the treatment plan upon return from residential care. MIA facilitates and pays for all travel arrangements so the client's and their families' only focus is on their recovery and well-being. Once in California our staff will personally meet the client at the airport and continue to ensure a stress-free and accessible nature as we provide the highest quality residential care.
How to Get Started
Because we pride ourselves on accessibility, adaptability, responsiveness, and compassion simply call to set-up a consultation and MIA will take care of the rest. Our staff will gladly sit with you and your family to discuss the treatment continuum, answer questions, and begin your recovery process.


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Maxine Bodman of West Palm Beach had the highest qualifying series and advanced to the final of the Palm Beach County Women's Bowling Association 200 Club tournament.
Bodman had a 628 scratch and 726 handicap at the qualifying tournament at Eddie Arnold's Delray Beach Bowl. She will meet Kathryn Brigham of Lake Worth in the final, which will be April 28 at Lake Worth Lanes at 2 p.m. Brigham had a 586 scratch and 691 handicap series to lead the qualifiers at Verdes Tropicana Lanes.
Finishing after Bodman were Diane McLeod of Boca Raton (599 scratch, 709 handicap), Irma Zarcone of Delray Beach (463/638), Carol Sue Horger of Lake Worth (509/638) and Gracelyn Ross of Delray Beach (468/619).
Finishing after Brigham at Verdes Tropicana Lanes were Gwendolyn Ferguson (566/669), Joyce Oliveira (549/666), Theresa Depka (471/660), Susan Walborn (512/656) and Marion Boden (532/656).
The tournament, which drew 130 entrants, is sanctioned by the Women International Bowling Congress.
The West Palm Beach Recreation Department is accepting registrations for the first Family Classic Sunday at Howard Park. The Family Classic is designed for a group of three family members or friends to participate as a team in several vvents.
Registration forms can be obtained at all city parks, the Neighborhood Housing Services office, all Family Classic sponsors and at the West Palm Beach City Hall Recreation office.
The three-member team can be composed of family members, a neighbor or other friends. Each team must comprise either two males and one female or two females and one male. One team member must be 8-12 years old, another 13-25 years old and the third 26 or older. An alternate may be used in the oldest category if desired.
Plan to bring a blanket along for afternoon entertainment. Awards will be presented on site to all team members of the top three teams. The first entertainment group on stage will be Shuffling Shoe Cloggers at 1 p.m. At 2 p.m., the band Window will perform. The Pizzazz Choir from Palm Beach Gardens High School will perform at 3:30 p.m.
The Boynton Beach Recreation and Park Department is offering a gymnastics class on Saturdays beginning at 9 a.m. in the Congress Middle School Gym. The class is for children 5 to 16. Sue Kreider is the instructor. The fee for the class is $16. For more information call Dave Moss at 734-8112.
The Boynton Beach Recreation and Park Department is now organizing, along with Miller Beer, a benefit softball tournament for the weekend of April 26, 27 and 28 at Caloosa Park. There will be a double-elimination tournament for women's teams and for B and C men's teams. The Entry fee is $100 per 15-member team, including manager.
Proceeds from the tournament will be given to "Horses and Handicapped" plus "Horizons," a program for disabled children and adults. Registration forms are now available at the Recreation and Park Department offices, 116 S. Seacrest Blvd.
Trophies will be awarded to the top three teams in each division, plus individual prizes for each player on the championship team. There will also be a barbecue April 27. For more information, call Jim Patterson at 734-8112.
The Boynton Beach Recreation and Park Department is organizing its Men's Slowpitch Softball B and C Leagues for the spring season. The Registration fee is $175 for Boynton Beach resident teams and $250 for non-resident teams. Registration is limited to the first 24 teams.
Registration is continuing, beginning at 8 a.m., at the Recreation and Park Department's Administrative Office, 116 S. Seacrest Blvd. Games will be played on either Monday and Wednesday nights or Tuesday and Thursday nights. The league begins May 13.
The West Palm Beach Recreation Department is planning the upcoming National Junior Tennis League beginning June 17 and ending Aug. 9. The nationally run program for boys and gills ages 8 to 18 is based on basic skills, with instruction emphasized.
Applications are now being accepted for tennis instructors at five area tennis facilities. Openings are available at South Olive, Phipps, Howard, Gaines and Currie parks. Those interested in applying should contact Rhonda Barona or Robin DiMona at 659-8077.
The first annual Golf Tournament for the benefit of Youth Services and Anti- Defamation League of B'nai B'rith will be May 2 at 9 a.m. at the Indian Spring Country Club. Entries will be limited to the first 150.
The entry fee is $40 for golf and $22.50 for the lunch. For more information contact Dr. A. Rogoff at 734-5754.
Spring swimming lessons will begin at the Aqua Crest Pool in Delray Beach Tuesday. There will be lessons for infants, pre-schoolers, beginners and adults. For more information call the pool at 278-7104.
The West Palm Beach Recreation Department will sponsor several softball leagues this summer. Organizational meetings for these leagues will be May 1 at the Howard Park Arts and Crafts Center at Lake Avenue and Okeechobee Boulevard.
The Men's A, B, C and Sunday Night leagues will meet at 7:30 p.m. The Church League will meet at 8:15 p.m. Call 659-8077 for more information.
The West Palm Beach Recreation Department is looking for people interested in keeping score for softball leagues at Gaines, Howard and Phipps parks. Responsibilities include keeping game scores during league play, minor field maintenance duties, supervision of league standings and general roster supervision.
Applications are being accepted Monaay through Friday from 8 a.m. to 5 p.m. in the City Hall Recreation Office. For more information call 659-8077.
A Summer Day Camp at John Prince Park for children age 5 to 12, Monday through Friday, 9 a.m. to 4 p.m. or 7:45 a.m. to 5:15 p.m., will begin June 17 and will run through Aug. 16. The camp runs in three-week sessions. For registration information call Barbara Carioba at 964-4420.
A volleyball camp at the Santaluces High School gym for youths in junior and senior high school age groups will be held July 24-28. The camp will feature area coaches giving instruction. For more information call Barbara Carioba at 964-4420.
Despite having the second-best score, Diane McLeod of Boca Raton isn't eligible to compete in the final of the Palm Beach County Women's Bowling Association 200 Club tournament.
Only the first-place finisher from each division advanced to the final, scheduled for 2 p.m. April 28 at Lake Worth Lanes.
McLeod had a 599 scratch and a 709 handicap for her three-game series, but finished behind Maxine Bodman of West Palm Beach, 628 scratch and 726 handicap, at the qualifying tournament at Eddie Arnold's Delray Beach Bowl.
Joining Bodman in the final will be Kathryn Brigham of Lake Worth, who had a 586 scratch and 691 handicap series to lead the qualifiers at Verdes Tropicana Lanes.
Finishing after Bodman and McLeod were Irma Zarcone of Delray Beach (463/ 638), Carol Sue Horger of Lake Worth (509/638), and Gracelyn Ross of Delray Beach (468,619).
Finishing after Brigham at Verdes Tropicana Lanes were Gwendolyn Ferguson (566/669), Joyce Oliveira (549/666), Theresa Depka (471/660), Susan Walborn (512/656) and Marion Boden (532/656).
The tournament, which drew 130 entrants, is sanctioned by the Women International Bowling Congress.
Some top bowling results from last week:
Nancy Stiefvater, who has a 139 average, bowled a 514 series with games of 157, 192 and 165 at Eddie Arnold's Delray Beach Bowl.
Bob Jackson, who has a 162 average, had a 610 series with games of 198, 225 and 187.
At least 800 participants are expected to compete Sunday in the first triathlon of the United States Triathlon Series at 7:30 a.m. in Fort Lauderdale. The triathlon will consist of a 1.5-kilometer swim, a 40-kilometer bike ride and a 10-kilometer run.
The swim will begin at the Jolly Roger Hotel on Tera Mar Street with the transition between the swim and bike ride at the corner of Seabreeze and Southeast Fifth Street. The run ends at the International Swimming Hall of Fame complex.
There is a $40 entry fee in an age group, a $50 entry fee for professionals and a $75 entry fee for relay teams. All entries must be in by Saturday at the Swimming Hall of Fame.
For more information, call Colleen Mahoney or Bob Duenkel at 462-6536.
Greens fees will be slashed to $7 for Delray Beach residents and $10 for non- residents effective May 1 at the Delray Beach Municipal Golf Course.
The rates will be in effect until Oct. 1, and compare with a normal winter rate of $12 for city residents and $15 for non-residents.
For more information on rates and membership, call 278-0315.
A "Sporting Life" exhibit, sponsored by the Science Museum of West Palm Beach, will be on display today through April 30 at the Singing Pines Museum, 498 Crawford Blvd., Boca Raton. Donation is 25 cents for children, $1 for adults. For more information, call 368-6875.
Chuck Narvin will conduct a free tennis clinic at Gleneagles Country Club April 27 at 11 a.m.
Narvin, the Gleneagles director of tennis, will be joined by Spike Gurney, president of the Florida Professional Tennis Association, Richard Verzaal, regional vice president of the United States Professional Tennis Association and Astrid Suurbeek, the No. 1 player in the United States in the 35-and-over division.
The clinic will feature lectures, question-and-answer sessions with the pros and court drills.
Gleneagles is on Atlantic Boulevard, a half-mile east of Florida's Turnpike and five miles west of Interstate-95. For more information, call 498-2101.
The second in a series of monthly lectures on fitness and sports will be at 7 p.m. April 29 at Atlantic High School in Delray Beach.
The series is sponsored by Aqua Crest Pool. For more information and to register for the series, call 278-7104.
The American Lung Association's 1985 Golf Privilege Card is available. The $20 card waives greens fees at 69 golf courses, including 25 in Palm Beach County.
The card is valid from May 1 to Oct. 31, except for a few courses. Golf cart rental is required, but not included.
The courses in Palm Beach County are: PGA National, Belle Glade Municipal, Belevedere Golf Club, Boca Raton Country Club (excecutive course only), Boca Raton Municipal, Boca Teeca, Boca West, Cypress Links, Delray Beach Municipal, Forest Hill Golf Club, Hunter's Run, Indian Creek, Indian Trail, Jupiter Dunes, Kings Point, Lake Worth Golf Club, Lone Pine Golf Club, Lucerne Lakes, North Palm Beach Country Club, Palm Beach Lakes Golf Club, Red Reef Municipal, Royal Palm Beach Country Club, Stonewall Country Club, Villa Del Ray Golf Club and West Palm Beach Country Club.
For more information, contact the American Lung Association at 659-7644 or call any of the golf courses.
The YMCA of Boca Raton Swim Team is seeking interested boys and girls ages 3 to 18 to compete against other teams in the Gold Coast area. For more information, contact Barbara Bertram or Patty Kelly at 392-0090.
The South County Seahawks Swim Club of Delray Beach is looking for swimmers. The club competes in meets in Palm Beach, Broward and Dade counties. Members practice at the Aqua Crest Pool in Delray Beach from 5 to 7 p.m. daily. For more information, call Ken Caplin at 278-7104.
Steve Tiberi On Recreation is a regular feature of Palm Beach/Plus. All information for the column, including recreation league standings and competition results, should be sent to Steve Tiberi, Sun-Sentinel, 2609 Woolbright Road, Boynton Beach, Fla. 33436.


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Peer reviewed
Direct link
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ERIC Number: EJ949964
Record Type: Journal
Publication Date: 2006-Nov
Pages: 9
Abstractor: As Provided
Reference Count: 0
The Development of Emotion-Processing in Children: Effects of Age, Emotion, and Intensity
Herba, Catherine M.; Landau, Sabine; Russell, Tamara; Ecker, Christine; Phillips, Mary L.
Journal of Child Psychology and Psychiatry, v47 n11 p1098-1106 Nov 2006
Background: This study examined the effects of age and two novel factors (intensity and emotion category) on healthy children's developing emotion-processing from 4 to 15 years using two matching paradigms. Methods: An explicit emotion-matching task was employed in which children matched the emotion of a target individual, and an implicit task whereby participants ignored the emotive facial stimulus and matched identity. Four intensities (25%, 50%, 75%, and 100%) for each of five emotion categories (sad, anger, happy, fear, and disgust) were included and provided a novel avenue of emotion-processing exploration. Results: Increasing age significantly improved children's performance on both tasks, particularly for fear and disgust. Age was not associated with more subtle processing (i.e., lower intensity of expression). When explicitly matching emotion expressions, increasing intensity was associated with improved performance. When matching identities (implicit emotion-matching), emotion category and intensity influenced task performance. Sex effects were minimal. Conclusions: In children, age, facial expression intensity and emotion category are important for predicting accuracy on emotion-processing tasks. Emotion category and expression intensity differentially affect performance on explicit and implicit emotion-processing tasks.
Descriptors: Nonverbal Communication, Fear, Emotional Response, Cognitive Processes, Age Differences, Task Analysis, Psychological Patterns, Correlation, Gender Differences
Wiley-Blackwell. 350 Main Street, Malden, MA 02148. Tel: 800-835-6770; Tel: 781-388-8598; Fax: 781-388-8232; e-mail: firstname.lastname@example.com; Web site: http://www.wiley.com/WileyCDA/
Publication Type: Journal Articles; Reports - Research
Education Level: N/A
Audience: N/A
Language: English
Sponsor: N/A
Authoring Institution: N/A


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back of the napkin #96
December 12, 2018
back of the napkin #95
December 05, 2018
just write
November 03, 2018
Writers write. It's as simple as that. Good writers tend to write a lot. That's a big part of how they became "good" writers. If you aspire to become a writer, or if you're already a writer and you want to improve your craft, the only way to ensure you'll make progress is to put your butt in a chair and your fingers on a keyboard.
-Josh Langston
back of the napkin #93
October 24, 2018
back of the napkin #92
October 17, 2018
living and thinking
October 14, 2018
back of the napkin #91
October 10, 2018
back of the napkin #89
September 26, 2018
the world's story
September 24, 2018
"A child may ask, 'What is the world's story about?' And a grown man or woman may wonder, 'What way will the world go? How does it end and, while we're at it, what's the story about?'
"I believe that there is one story in the world, and only one, that has frightened and inspired us, so that we live in a Pearl White serial of continuing thought and wonder. Humans are caught — in their lives, in their thoughts, in their hungers and ambitions, in their avarice and cruelty, and in their kindness and generosity too — in a net of good and evil. I think this is the only story we have and that it occurs on all levels of feeling and intelligence. Virtue and vice were warp and woof of our first consciousness, and they will be the fabric of our last, and this despite any changes we may impose on field and river and mountain, on economy and manners. There is no other story. A man, after he has brushed off the dust and chips of his life, will have left only the hard, clean questions: Was it good or was it evil? Have I done well — or ill?"
- John Steinbeck
one grand complicated piece of celestial machinery
September 20, 2018
"There are no iron tracks with bars and bolts to hold the planets in their orbits. Freely in space they move, ever changing but never changing; poised and balancing; swaying and swayed; disturbing and disturbed, onward they fly, fulfilling with unerring certainty their mighty cycles. The entire system forms one grand complicated piece of celestial machinery; circle within circle, wheel within wheel, cycle within cycle; revolutions so swift as to be completed in a few hours; movements so slow that their might periods are only counted by millions of years."
- Charles H. Spurgeon
NOTE: I found this quote while studying Psalm 136, in reference to God's creation of the worlds by wisdom.
back of the napkin #88
September 19, 2018
wisdom on Wisdom
September 16, 2018
My pastor is preaching a series of theme sermons from Proverbs. I found this among my emails; I'll just stick it here...
Wisdom is more than mere intelligence. There are plenty of intelligent fools.
Wisdom is the ability to make sound decisions.
It involves empathy and compassion.
It involves real world experience.
It involves imagination.
It involves the ability to connect dots across multiple disciplines.
It involves the ability to break complex situations down into simple ways of understanding and application.
And above all, it involves self-knowledge and self-control.
back of the napkin #84
August 15, 2018
back of the napkin #82
July 25, 2018
June 03, 2018
"Yet man dies not whilst the world, at once his mother and his monument, remains. His name is lost, indeed, but the breath he breathed still stirs the pine-tops on the mountains, the sound of the words he spoke yet echoes on through space; the thoughts his brain gave birth to we have inherited to-day; his passions are our cause of life; the joys and sorrows that he knew are our familiar friends—the end from which he fled aghast will surely overtake us also!
"Truly the universe is full of ghosts, not sheeted churchyard spectres, but the inextinguishable elements of individual life, which having once been, can never die, though they blend and change, and change again forever."
-H. Rider Haggard, King Solomon's Mines
back of the napkin #79
May 30, 2018
May 27, 2018
Patience is drawing on underlying forces; it is powerfully positive, though to a natural view it looks just sitting it out. How would I persist against positive eroding forces if I were not drawing on invisible forces? And patience has a positive tonic effect on others; because of the presence of the patient person, they revive and go on, as if he were the gyroscope of the ship providing stable ground. But the patient person himself does not enjoy it. -- Paul Goodman


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Blue Letter Bible offers several daily devotional readings in order to help you refocus on Christ and the Gospel of His peace and righteousness.
Recognizing the value of consistent reflection upon the Word of God in order to refocus one's mind and heart upon Christ and His Gospel of peace, we provide several reading plans designed to cover the entire Bible in a year.
But now He has obtained a more excellent ministry, inasmuch as He is also Mediator of a better covenant, which was established on better promises. (Hebrews 8:6)
In every way, the new covenant of grace is a better covenant than the old covenant of law. "But now He has obtained a more excellent ministry, inasmuch as He is also Mediator of a better covenant." We have considered some of the better aspects of living under grace: a better High Priest to minister to us, a better sacrifice for sins, a greater intimacy with God, and spiritual substance instead of mere shadows. Another better aspect of grace is that it "was established on better promises." To this excellent reality, we will now give continuing attention over many days.
Under the old covenant of law, a basic promise is stated repeatedly. It is present in the first giving of the law, when the children of Israel were delivered from bondage in Egypt. "You shall therefore keep My statutes and My judgments, which if a man does, he shall live by them" (Leviticus 18:5). It was present when the law was given again to Israel, as they were preparing to enter the promised land. "Now it shall come to pass, if you diligently obey the voice of the LORD your God, to observe carefully all His commandments which I command you today, that the LORD your God will set you high above all nations of the earth" (Deuteronomy 28:1). At this time, a corollary promise of warning was made. "But it shall come to pass, if you do not obey the voice of the LORD your God, to observe carefully all His commandments and His statutes which I command you today, that all these curses will come upon you and overtake you" (Deuteronomy 28:15).
The basic promises of the law can be summarized as "do this, and you will live." The promises under the law are contingent upon the performance of man. If man is able to keep the law, the promises of life and blessing will be fulfilled. Ultimately, the children of Israel demonstrated the inability of man to live up to the standards of God's holy law. "Notwithstanding, the children rebelled against Me; they did not walk in My statutes, and were not careful to observe My judgments, 'which, if a man does, he shall live by them'" (Ezekiel 20:21).
The promises under grace are immeasurably better than those under law, because they do not depend upon man's performance. "I will make a new covenant… I will put My law in their minds…I will be their God…I will forgive their iniquity, and their sin I will remember no more" (Jeremiah 31:31-34).
Dear Lord, I rejoice over the new covenant of grace. How wonderful it is to live under promises that do not depend upon my ability to perform. Lord, I put my trust in You to fulfill Your promises in my life. Through Christ I pray, Amen.
The Blue Letter Bible ministry and the BLB Institute hold to the historical, conservative Christian faith, which includes a firm belief in the inerrancy of Scripture. Since the text and audio content provided by BLB represent a range of evangelical traditions, all of the ideas and principles conveyed in the resource materials are not necessarily affirmed, in total, by this ministry.
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By W. B. Yeats
In 1895 the thirty-year-old W.B. Yeats, already proven as one in every of Ireland's major poets and folklorists, released this notable choice of Irish verse as a part of his crusade to set up a convention of Irish poetry healthy for the sunrise of a brand new age in Ireland's heritage. This Routledge Classics version, whole with a especially commissioned advent through acclaimed author and critic John Banville, is key analyzing for all who delight in stable literature.
Read or Download A Book of Irish Verse PDF
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Oliver Goldsmith THE VILLAGE PREACHER From the 'Deserted Village' Near yonder copse, where once the garden smil'd, And still where many a garden flower grows wild; There, where a few torn shrubs the place disclose, The village Preacher's modest mansion rose. A man he was to all the country dear, And passing rich with forty pounds a year; Remote from towns he ran his godly race, Nor e'er had changed, nor wish'd to change, his place Unpractis'd he to fawn, or seek for power, By doctrines fashion'd to the varying hour; 2 oliver goldsmith Far other aims his heart had learn'd to prize, More skill'd to raise the wretched than to rise.
He sleeps, the great O'Sullivan, where thunder cannot rouse— Then ask yourself, should you be proud, good Woman of Three Cows? O'Ruark, Maguire, those souls of fire, whose names are shrined in story— Think how their high achievements once made Erin's greatest glory— Yet now their bones lie mouldering under weeds and cyprus boughs, And so, for all your pride, will yours, O Woman of Three Cows! Th' O'Carrols, also, famed when fame was only for the boldest, Rest in forgotten sepulchres with Erin's best and oldest; Yet who so great as they of yore in battle or carouse?
John Philpot Curran THOU CANST NOT BOAST Thou canst not boast of Fortune's store, My love, while me they wealthy call: But I was glad to find thee poor, For with my heart I'd give thee all, And then the grateful youth shall own, I loved him for himself alone. But when his worth my hand shall gain, No word or look of mine shall show That I the smallest thought retain Of what my bounty did bestow: Yet still his grateful heart shall own, I loved him for himself alone. Richard Brinsley Sheridan KATHLEEN O'MORE My love, still I think that I see her once more, But, alas!


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[UCLA-USC Thanksgiving Eve Ball, Los Angeles, California, October 10, 1963]
Rafu Shimpo
[ bio ]
Toyo Miyatake Studio
[ bio ]
Los Angeles, Calif.,
October 10, 1963
Photograph by Toyo Miyatake Studio, Gift of the Alan Miyatake Family
1 negative : b&w; ; 4 x 5 in.
Published in Rafu Shimpo, October 26, 1963.
University of California, Los Angeles (UCLA)-University of Southern California (USC) Thanksgiving Eve Ball Committee chairman, Lloyd Nakatani presents complimentary bids to the annual dance to Tosh Terazawa of the Japanese American Community Services of Southern California (JACS), Los Angeles, California, October 10, 1963. Smiling man in dark suit holds tickets in his proper left hand as a smiling young man in black rimmed eyeglasses, crewcut and jacket and necktie holds check proper right hand.
Typed on original envelope: UCLA-USC Thanksgiving Eve Ball -- Presentation of JACS Check by Toshi Terasawa to UCLA.
The proceeds of the Nisei UCLA-USC Thanksgiving dance scheduled for November 27, 1963 went to JACS.
All requests for permission to publish, reproduce, or quote from materials in this collection must be submitted to the Collections Management & Access Unit at the Japanese American National Museum (firstname.lastname@example.com).


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See also CATHERINE DENEUVE, OR COLD FIRE: REPULSION, BELLE DE JOUR, TRISTANA | NYMPHOMANIAC, OR THE SOLITUDE OF DESIRE | THE BITTER TEARS OF PETRA VON KANT | TAXI TO PORTUGAL | CAT PEOPLE | DAMNATION | IN THE REALM OF THE SENSES | LAST TANGO IN PARIS | TEOREMA | THE MOTHER AND THE WHORE | FELLINI'S CASANOVA | JE T'AIME MOI NON PLUS and CUL DE SAC.
Isabelle Adjani in The Story of Adèle H. | Possession | Adolphe
Film Actresses & Global Classics
In this series I offer my reflections on actresses and their most compelling performances in (mostly) classics of global cinema.
Isabelle Adjani with a portrait of her father | Photo: Banier
Isabelle Adjani, 'La Passion Amoureuse' | Photo: André Rau
Of the outstanding actress from the mid-sixties to today, the ones who move me most are the ones who have the feu sacré, that magical alliance of talent and intensity that, beyond making a performance compelling, carries it into the sublime. I'm thinking of Vanessa Redgrave and Glenda Jackson, Liv Ullmann and Margit Carstensen, Isabelle Huppert and Nicole Kidman, and above all, Isabelle Adjani. Why Adjani above all? Simply because of her incandescence in walking the knife-edge of the feminine, finding resonances between her life and her roles that make her heroines luminous. Never power without vulnerability, never experience without innocence, never achievement without challenge: with these intuitions her acting is infused, and when she uses them to portray a woman in love, she is, as an actress, untouchable. Love, the feminine, acting—these are the themes I will address in this post on Isabelle Adjani and The Story of Adèle H. (François Truffaut, 1975), Adolphe (Benoit Jacquot, 2002) and Possession (Andrzej Zulawski, 1981).
Isabelle Adjani, 2018
Isabelle Adjani | Photo: Karl Lagerfeld
An art form yields the fullness of its potential only when the artist plays to the form's distinctive traits. Thus painting is most painterly when it renounces illustration, literature is most literary when it pushes toward the origin of language, and architecture, as Peter Eisenman has said, 'only begins once all the functions have been fulfilled'. What, then, of acting? An actress' medium is her body/voice. She is most effective when, maintaining a tension between meaning and the mysterious, she uses her body/voice to connect with the spectator's fears and desires. As she is both herself and another, she will at once attract and repel as she conjures the uncanny. And since she is an interpreter, she will work with a director to embody a text. Her art thus lies at one remove from the director and at two from the writer: she can deliver its full potential only when both writer and director are sufficiently challenging. The writers and directors of the films in question meet this criterion, so I include their contribution when I speak of Adjani's acting.
The Story of Adèle H., Adolphe and Possession are all stories of morbid love. Morbid love? What lover has not gone to 'extraordinary' lengths to win their beloved? What beloved has not had trouble accepting their lover's feelings have changed? What lover has not felt confined in a couple and wanted to get out? And therein lies Adjani's genius: She shows us the fine line between 'morbid' love and the 'normal' kind. Indeed, as the films make clear, every symptom is an attempt at self-cure, and so the difference between 'morbid' and 'normal' love comes down to the lover's 'choice of symptom'. Psychoanalytic theory of the couple need not concern us here; suffice it to say, with Joyce McDougall in Plea for a Measure of Abnormality, that 'normopathy', the fear of individuality, is a symptom like any other, except for the fact that it is generally invisible because the normopath, by definition, 'is like everybody else'. All Adjani's heroines proudly declare (as in the Kinks' song), 'I'm not like everybody else'. They are true individuals. They have more split than fit, they don't conform, and thanks to them our 'normality' is thrown into question. Is that not the very function of art? To confront us with our own individuality? Whether we assume it or not is up to us. Normopaths don't, and by definition they make up the majority. Here are three films, then, for the 'happy few' that make up the minority.
Isabelle Adjani, The Story of Adèle H., François Truffaut
Isabelle Adjani and François Truffaut
The Story of Adèle H. is based on Frances Vernor Guille's edition of Adèle Hugo's diaries. In the foreword to the English version of the script (Grove Press, 1976), Truffaut writes that, ever since The Wild Child (based on Dr. Jean Itard's memoir), he had been 'fascinated by the creative process of using real-life events as a basis for a fiction that would not distort the authenticity of the source material'. This documentary dimension of the film (to Méliès Truffaut has always preferred the brothers Lumière) is certainly part of the film's power, but what makes the film so moving is Isabelle Adjani's incarnation of Adèle.
Just what, in fact, is Adèle's story? It goes like this. Obsessed, and later consumed, by her one-way passion for Lieutenant Albert Pinson, Adèle crosses the Atlantic, from Guernsey to Halifax (where Pinson is now stationed), and attempts to make him marry her. For him, their brief relationship in Guernsey was of no consequence; for her , it holds out nothing less than the promise of redemption. In Adèle's pursuit of Pinson, as Truffaut puts it his foreword, 'every word she utters and every move she makes is related to her fixation; though she fights a losing battle, she is constantly active and inventive'. All to no avail: Pinson rejects her every advance, all her carefully-crafted stratagems. When she pleads with him to simply let her love him, that too is—'naturally'—rejected. When Pinson's regiment is transferred to Barbados, Adèle follows him there; exhausting her resources, she falls deeper into madness as her love remains unrequited. Finally, utterly destitute after nine years of fruitless wandering, she is accompanied back to France by a local woman. There, her family quickly has her interned in an asylum where, gardening and playing the piano, she lives out the remainder of her life.
Bruce Robinson and Isabelle Adjani, The Story of Adèle H., François Truffaut
Clinically, Adèle's obsession is classified as a delusional disorder, a variety of paranoia in which the subject wrongly believes her beloved is in love with her. Hence the name 'erotomania' to describe the condition. Because of its 'disorder-of-passion' dimension (common to all love affairs), psychoanalysts are reluctant to consider erotomania a full-blown psychosis (see, for example, François Perrier's essay on the subject in Le désir et la perversion, an anthology built around the thesis that 'all desire contains a kernel of the perverse', or Clérambault's assertion that 'the delusional person caught up in a passion is delusional only in the domain of their desire'). So, if every symptom is an attempt at self-cure, what in herself is Adèle trying to cure through her erotomania? This question takes us to the heart of The Story of Adèle H.
Viewers will catch the clues at their own pace—like all true artists, Truffaut doesn't tell, he shows—but only the most obtuse spectator will leave the cinema unaware that The Story of Adèle H. is a story of a daughter's unrequited love for her father and its devastating consequences. We see the images in the picture album Adèle shows to Mrs. Saunders; we learn the story of Léopoldine, which Adèle concludes with this retort to her landlady: 'You don't know how lucky you are to be an only child!'. We then witness the first of Adèle's nightmares of drowning, and notice how her terror seems to derive as much from identity loss through merger with her sister as from the horror of suffocation by submersion in water: an omen of her fate as she struggles for a place in her father's heart. Later, we hear what she writes in her journal: 'I denounce the sham of the registry office records and the fraud of identity… I was born of an unknown father, an unknown father, of a completely unknown father'. And thus it becomes clear that Adèle finds it impossible to assume her place in her genealogy, that for her hell is more than 'other people': it is her own family. Her consuming love for Lieutenant Pinson, we come to understand, is an attempt to cure herself of her family trauma.
Adèle showing Mrs. Saunders her Hugo family album
If love is always the repetition of our history of love, then inevitably family experience will interfere in our attempts to love and be loved. Complementing the clues in the film with a visit to the library, we learn that Léopoldine, Victor Hugo's favourite daughter, was named after Léopold, the Hugo's son who had died in infancy. The great poet structured his mourning for his dead daughter (newly wed, she was not yet nineteen when she drowned in the Seine) in a cycle of eighteen poems that quickly became classic, making Léopoldine mythic. Her husband, Charles Vacquerie, unable to save her, chose to drown with her, thus reinforcing the myth of the ill-starred couple. Adèle, before she met Lieutenant Pinson, had been seen as a prospective bride for Vacquerie's brother, Auguste. Moreover, Adèle not only carried the weight of the Hugo name, but also shared her first name with her mother. The daughter who really disappeared, then, was not Léopoldine but Adèle. A skeleton in the family closet, her posthumous life was launched by The Story of Adèle H. Why didn't her father love her 'well enough' (as Winnicott would say)? Firstly, she reminded him that her mother was having an affair at the time (though her paternity was never really in doubt). Secondly, Adèle's living presence awakened her father's memories of his preferred daughter. Finally, the great man feared Adèle's behaviour would put a stain on his name. If the circulation of love in families is always complex, it's nevertheless clear that Adèle was sacrificed to paternal ambition.
Erotomania, like hysteria and anorexia, are 'attempts at self-cure' most commonly found among women. Acting, while not necessarily an 'attempt at self-cure', is, as many directors affirm, an eminently feminine profession. Why? Perhaps because in the feminine there is always something unformed, and this open-endedness creates a space for play and experiment. In the same way that she inhabits her body, the actress can inhabit this space. Isabelle Adjani was nineteen and still living at home with her parents when she began filming Adèle H. Though she'd been acting since she was fourteen and at the Comédie Française since seventeen, she was, by her own account, far from worldly-wise (see Télérama interview [in French]). And yet her performance of Adèle's passion carries utter conviction; she conveys her ecstasy and pride in a manner at once exalting and terrifying.
Isabelle Adjani, L'Histoire d'Adèle H., François Truffaut
How does she do it, what makes her so magnetic? I am tempted to say 'genius' and leave it at that, but 'body/voice' imposes itself: If life in the voice springs from emotion, I can only assume there are vast reserves of feeling in the actress' inner life (one in which her relation to her father, as she declares in this Télérama interview, occupies a primary place). As for the body, Artaud's words come to mind: 'The primal language of the body stops ideas in flight before they transmute into the abstract'. Yes, that's it, the primacy of physicality: 'It is through the skin that the metaphysical will re-enter the mind'. In the theater of cruelty Adjani is in her element. Her body/voice, unremitting in its immediacy, is a lightening rod linking heaven, earth and underworld: whatever the register, she transgresses the 'natural'. Her method as an actress is to break down and regenerate herself; in doing so, she throws into question our self-experience. I, for one, find that exhilarating.
Tomorrow, at daybreak…
Victor Hugo, translated by Richard Jonathan
Tomorrow, at daybreak, when the countryside whitens,
I'll set out. You see, I know you're waiting for me.
I'll go by the forest, I'll go by the mountains,
No longer can I remain far from you.
I'll walk with my eyes fixed on my thoughts,
Seeing nothing around me, hearing no sounds,
Alone, unknown, my back bent, my hands crossed,
Sad, and the day for me will be like the night.
I will look neither at evening's deepening colours,
Nor at the distant sails heading for Harfleur,
And when I arrive, I'll place on your grave
A bouquet of green holly and flowering heather.
Auguste de Châtillon, Léopoldine Hugo, 1835
Demain, dès l'aube…
Victor Hugo
Demain, dès l'aube, à l'heure où blanchit la campagne,
Je partirai. Vois-tu, je sais que tu m'attends.
J'irai par la forêt, j'irai par la montagne.
Je ne puis demeurer loin de toi plus longtemps.
Je marcherai les yeux fixés sur mes pensées,
Sans rien voir au dehors, sans entendre aucun bruit,
Seul, inconnu, le dos courbé, les mains croisées,
Triste, et le jour pour moi sera comme la nuit.
Je ne regarderai ni l'or du soir qui tombe,
Ni les voiles au loin descendant vers Harfleur,
Et quand j'arriverai, je mettrai sur ta tombe
Un bouquet de houx vert et de bruyère en fleur.
Isabelle Adjani, Adolphe, Benoit Jacquot
'It's a terrible misfortune not to be loved when you are in love; but it is a far greater misfortune to be loved passionately when you no longer love.' So says Adolphe (Stanislas Merhar) in voice-over as he is nursed by Ellénore (Isabelle Adjani) after being wounded in a duel he'd fought to defend her honour. His statement captures the dramatic premise of the film, a love story in which lover and beloved are each the other's victim and torturer. The film ends with a funeral procession in the snow-bound wastes of Poland. Cold, lonely, sidereal, that is the feeling Adolphe experiences as Ellénore's death finally ends the struggle between love and freedom that had driven the narrative. Like Adèle H. and, as we shall see, Possession, Adolphe is a film about responsibility in love: ethics is central to all each.
Stanislas Merhar as Adolphe | Isabelle Adjani as Ellénore
Isabelle Adjani and Stanislas Merhar, Adolphe, Benoit Jacquot
The story is simple, the context complex. First, the story: He decides to seduce her—she resists. He falls in love with her—she keeps her distance. He persists—she gives in. He falls out of love—she falls in. He can neither commit to her nor end their affair—she remains steadfast in her love. He finally decides to leave—she learns of his decision, falls ill and dies. That's the story. Now the context: He is a young man of noble birth and refined sensibility, suspended between his student days and the call of a government career. She is a woman living with a Count and their two children, suspended between respectability and disgrace. He initiates the affair out of boredom; she resists because her social place is precarious. His inability to surrender to love is consistent with the 'exhaustion' of post-revolutionary France, where ideals and faith battle with cynicism and hypocrisy, the corpse of the old world an obstacle to the advent of the new. Her surrender to love—to be with Adolphe she gives up both the Count and her children—is perhaps an attempt to find redemption on her own terms. If this is not the stuff of Racinian tragedy so dear to Isabelle Adjani, it is the kind of material out of which Thomas Hardy wove his 'tragic' novels (Tess and Jude are among Adjani's bedside books—see this interview in Libération.
As you have certainly noticed by now, Ellénore shares with Adèle 'the same impossibility, to the point of madness, to extract herself from a fatal love, to escape from the deceptive object that dominates all her thoughts' (Adjani, Libération). If Adèle's erotomania was an attempt to cure the trauma of being unable to fit into her genealogy, what is Ellénore trying to cure herself of by her self-abasement? What do her pride and wilfulness, her refusal to accept that Adolphe no longer loves her, signify? Ellénore is no Emma Bovary; on the contrary, she is lucid about Adolphe, understanding that his love was, at best, tenuous, and has become mere pity. And yet with a masochism that is very feminine, she accepts humiliation because she can't bear to see him go. Clinically, she is a case of 'love-at-the-mercy-of-passion', seeking fusion with the man she loves because unable to tolerate separation from him. And thus her passion sabotages her love, for love—thanks to the desire that accompanies it—is separation, discord and distance, whereas fusion precludes encounter: it is a lonely place where desire cannot dwell. Hence the sterility of their love affair, with Adolphe dissecting his every feeling and Ellénore wallowing in her suffering.
Stanislas Merhar and Isabelle Adjani, Adolphe, Benoit Jacquot
Isabelle Adjani, Adolphe, Benoit Jacquot
This, then, is the material the actors have to work with. Both Isabelle Adjani and Stanislas Merhar are outstanding in their roles—if Adèle H. is a sonata for solo piano, Adolphe is a sonata for piano and violin—but my task here is to focus on the actress. In Adèle H., Adjani largely submitted to the 'demon of her entrails'; in Adolphe, she trades that 'primitivism' for an art of nuance. Here, her entire body-voice is concentrated in her face. Just as Ingmar Bergman's Persona is, from the perspective of acting, a film about Liv Ullman's face, so Adolphe is a film about Adjani's. All the emotions that punctuate her experience of the affair—curiosity (the first spark of interest); hope and apprehension (the push-and-pull of attraction and retreat); anticipation (the projection into the possible); vigilance (the risk of making oneself vulnerable); ecstasy (bodily surrender, surrender of the self); desire (the rock of possession); contempt (the hard place of reproach); shame (the darkness of delusion); pride (the cold light of lucidity)—all play out in the rose and white of Isabelle Adjani's face. In her serenity she is alert; in her sadness, hopeful. In her grief she is still giving; in her amazement, resigned. Adolphe is chamber music, Adjani the piano, Merhar the violin: In the film Adjani proves that the most formidable musical task for a pianist is not the playing of a bravura piece, but rather to play a slow movement from Beethoven, Mozart or Schubert—to play it well, with perfect nervous and sound control. In a word, the quietness of her acting is astounding. And I, for one, find that exhilarating.
Benoit Jacquot: 'I who took Constant's Adolphe for the definitive book on masculine humanity, I realized, thanks to Isabelle and the film, that something happens through Adolphe that enables one to show a woman in a new light. The book is like a documentary on men, and as such it might fascinate women. Adolphe is Benjamin Constant himself, whereas Ellénore is a fiction, made up of several women that Constant knew. Men always think that women find a certain jouissance (paradoxical pleasure) in being unhappy. They understand their error only when it's too late. That's what Adolphe is about, that time lag before men understand women's reality, their always being too late, and how they're always surprised that they failed to see certain things.'
Translated by Richard Jonathan from Xavier Lardoux, Le Cinéma de Benoit Jacquot (Paris : Éditions PC, 2011) page 134.
Stanislas Merhar, Adolphe, Benoit Jaquot
See also POSSESSION in the WORLD OF MARA MARIETTA.
Isbelle Adjani, Possession, Andrzej Zulawski
'Beauty will be convulsive or will not be at all': Possession, more than any other film I know, incarnates this conception of beauty. To my mind, it is simply the most ravishing love story in the history of cinema, a sublime piece of filmmaking that leaves in the dust the illustrated literature that passes for cinema in the minds of the majority (as I said in the Introduction, Possession is a film for a minority, a 'cult film', but even more than the other two, it is a film for the 'happy few'). In it, Zulawski restores to love its vital, transgressive force, its dimension of awe that overwhelms. And as it is a film about the breakup of a marriage, pain and desolation pervade it: blue is its dominant colour. Blue—paint a wall blue and it is no longer a wall: enter the realm of the surreal, the other side of the looking-glass. Yes, blue awakens a hunger for what surpasses nature: blue is the colour of truth. Which brings us to ethics. In Possession, as in all great works of art, the dynamics of ethics are central. Indeed, with unrelenting courage, the film makes an attempt on the gods. The spiral-staircase scene that closes it, the scene in which the heroine kills herself to join the hero in death, shows the attempt has succeeded (as much as any attempt on the gods can ever succeed—look at the Greeks, look at Shakespeare, look at Beckett's post-tragic drama). Need I add that without Isabelle Adjani (and Sam Neill), the film could never have succeeded as it has?
Sam Neill as Mark | Possession, Andrzej Zulawski | Isabelle Adjani as Anna
Isabelle Adjani and Sam Neill, Possession, Andrzej Zulawski
What's the story? Berlin. 1980. Mark (Sam Neill) returns from a secret assignment to find his wife Anna (Isabelle Adjani) in a state of anxious distraction. Turns out she is having an affair and is impatient to get back to her lover. Alone with their six-year-old son in their apartment, Mark tracks the lover down—his name is Heinrich—only to discover that Heinrich, who'd also been away, has not seen Anna since his return. Mark takes a strong dislike to Heinrich; their arguments turn violent. He then makes it clear to Anna that he wants her back; she, manifestly in the grip of some obsession, can't come back. As she comes and goes over the following weeks, their disputes attain a fever pitch. Anna is evasive; she won't say who her lover is or where they are living. In an attempt to discover just what she is up to, Mark hires a detective agency and, in addition, starts cooperating with Heinrich. After a number of twists and turns, they locate Anna's new apartment. Heinrich visits her first, and is shocked to find she is living with monster, an octopus-like creature. Anna, in a trance-like state, wounds Heinrich with a knife; he calls Mark from a local bar to come and see what he's seen. Mark discovers the monster, then meets Heinrich in the bar and murders him in the basement toilet. He then returns to Anna's apartment and sets the kitchen aflame, thereby destroying the evidence in the refrigerator: Anna had killed the detectives who'd tracked her down. He is clearly on her side now, and is doing everything he can to save her. After more twists and turns, Mark, pursued by the spy network he had worked for, is shot at the top of a spiral staircase. Anne runs to him and, finding him dead, shoots herself. Mark's doppelgänger (Anna too had a double, Helen) then tries to reach the sky through the roof: he falls to his death in the stairwell.
If Possession has a certain kinship with the horror film, for Zulawski (as he said in an interview) 'the real horror is when you have a couple that break up and neither one knows why'. Indeed, this is the heart of the film, the driver of the drama: Anna wants both out and in of her relationship with Mark, while Mark, conventional at first in his response to her, ends up loving her more truly than ever before. Their joint death may be seen as a 'black' marriage, the inverse of the wedding-in-white and its promise of living 'happily ever after'. In an earlier Zulawski film, The Devil, there is the line: 'Deprivation is when you live by other people's ideals'. This remark captures the kernel of Zulawski's ethics, and in Mark and Anna's marriage it plays out as the affirmation of individuality, the refusal of alienation. Indeed, if Possession is a fairy-tale, this is its moral: Happiness is hard to come by, the couple is complex, but if you 'take the highway to the end of the night', you just might reach 'the bright midnight' (Jim Morrison). And so Mark, in his growing love for Anna, in his effort to get closer to her, adopts her language (blood, fire, action); he goes down into her darkness in order to bring her into the light (like Orpheus for Eurydice). 'Increase me in bewilderment of you', says the Sufi mystic, and Mark too seems to have adopted this stance, for his faith in Anna becomes absolute. Increasingly attuned to her, they achieve a closeness they never could in their 'white' marriage. Indeed, in the kinetic expression of their emotions all the alternations of fortune that beset any couple resolve themselves. Finally, by choosing the time and manner of their deaths, they steal death's authority; in an ultimate act of self-affirmation (as Catherine Millot wrote of Mishima) they destroy themselves in order to exist.
Isabelle Adjani and Sam Neill, Possession, Andrzej Zulawski
Isabelle Adjani, Possession, Andrzej Zulawski
Now, you must be wondering, just what is that monster all about? There are, of course, no definitive answers. For Zulawski himself, the monster is 'what I found in the attic'. As he explains in an interview with Film Comment (I've edited it slightly, to make it more readable):
I was living in Paris and I went to see Ingmar Bergman's Scenes from a Marriage. It's a brilliant, extremely well-acted film, but I left the cinema feeling empty. I went out and I said, All right, the analysis is perfect. It's cold, it's brilliant, like always. But so what?' I was walking the streets, I remember it was raining, and I said, Look, the beauty of the stories that we tell our children is that there is always something fantastic at the end, something like: 'So they walk along the path and they go into the house… This is the ground floor, this is the kitchen—but what's in the attic?' And I was thinking, Okay, in my story, what kind of attic does it really have? If I go up the stairs out of the realistic realm and into the fantasy, the science fiction, what is the fairy tale? What is the bad element in the fairy tale? So I went into the attic and I found a monster.
In his audio commentary on the German edition of the DVD, Zulawski said that 'the script called for the gooey fluid Adjani gave birth to to be taken home and put in her bathtub, and from there it would take shape into something that evolves into her husband'. In the final scene, Mark's doppelgänger was to have the same green eyes that Helen, Anna's double, has. Technical problems and time constraints, however, made this impossible. Zulawski never forgave the cinematographer for not getting Mark's green eyes right, but regarding the monster, he did 'go with the flow' of special effects artist Carlo Rambaldi's version of the creature.
Isbelle Adjani, Possession, Andrzej Zulawski
Isabelle Adjani and Sam Neill, Possession, Andrzej Zulawski
Here are my speculations on the matter. The monster is Anna's pharmakon, and she herself secretes it. Pharmakon, you may recall, is at once remedy, poison and scapegoat, and for Anna the monster does indeed play all these roles. In his role as remedy, then, what in Anna is the monster an attempt to cure? All we can say is: 'some malaise of marriage'. (Those of you married more than seven years will have no trouble leaving it at that; for the rest of you, check back when you've reached that milestone.) In his role as poison, the monster is the devouring demand, the vampirizing demand—perhaps of sex as a form of self-soothing—to quieten the 'malaise'. And as scapegoat? Perhaps for that something inside her that is killing her, something akin to the violence that consumes Ellénore in Adolphe. Anna, rather than attack herself by falling ill as Ellénore does, attacks the monster in sexual combat. As I said, I'm speculating.
Another hypothesis might be that the monster, for Anna, represents the essence of sex, a fantasy of absolute fulfillment that no human could ever match. He might be the only 'man' Anna could permanently reduce to the body alone. I say this in light of the following remarks from Jan Kott (a theorist of the theater and a compatriot of Zulawski), from 'A Short Treatise on Eroticism' in The Memory of the Body, 1992, pp. 74-75):
The paradox and sadness of eroticism consists in the fact that its absolute fulfillment is not possible. Testing is possible only during the act itself. To possess means just that. But the moment the act is over, the partner and his/her body become separate again. The body is a stranger again, it exists for itself and not for me. The partner, real and created, the partner of the consummated act and the partner of imagination, becomes ambiguous again. He/she has to be tested again. And testing is possible only through a new act, through another appeal to the body. For the body is an essence and there is no other essence apart from the body. But the reduction to essence is possible only for a fleeting moment. The partner escapes again and cannot be permanently reduced to the body alone. This is probably the reason for the failure of every passion, and possibly also for the failure of the phenomenon we call love.
Again, I'm only speculating. (Send a comment via the comment box below if you'd like to offer your own ideas.)
Anna making love with the 'octopus', Possession, Andrzej Zulawski
Isbelle Adjani, Possession, Andrzej Zulawski
How to render convulsive beauty, how to transform desolation into triumph? Adjani's answer is: via what comes naturally to me, via what others call the 'theatre of cruelty'. And that is certainly why Zulawski chose her: her 'marque d'actrice' is the way her body/voice combines primitivism with refinement, the violence of passion with the finesse of lucidity. Zulawski, in his audio commentary on the German edition of the DVD, says 'the actor becomes vulnerable, loveable, because they don't know the source of what they do'. In the Film Comment interview, he says of actors: 'You do it well, you do it right, you pay a heavy price'. And indeed Adjani, after seeing Possession for the first time (she didn't look at the rushes) told Zulawski: 'Your camera had no right to look there where it had insinuated itself' (see article in L'Express).
Be that as it may, her performance in Possession—shamanic, visceral, voodoo—is a landmark of world cinema, and one can only be thankful to her for the way she delivers herself to the camera. The way she simultaneously plays predator and prey, hunted and hunted, is terrifying and exalting. The way she incarnates the feminine, at once virile and vulnerable, is bewitching. Watching her, one's interest never goes slack; like a virtuoso musician executing discord and resolution, she is supreme in veering from seduction to attack. She makes us see that the otherness we fear is in fact something inside ourselves; in wrestling with her ghosts, she haunts us. I, for one, find that exhilarating.
How about you? Leave a comment via the comment box.
Isbelle Adjani, Possession, Andrzej Zulawski
From the audio commentary on the German edition of the DVD. See also 'POSSESSION' in the WORLD OF MARA MARIETTA.
Isabelle Adjani and Sam Neill, Possession, Andrzej Zulawski
Andrzej Zulawski: 'We shot the film an a 34m2 apartment. This claustrophobic element–we live in apartments, yet we have to walk, we have to move–this caged movement of people is one of the keys to Possession. This is exactly the state of mind the couple are in, locked and moving about in this cage, all the time.'
Andrzej Zulawski: 'Sam Neil is the glue holding the film together. Isabelle Adjani comes and goes and appears and disappears and makes a big bang every time she appears, but Sam had to be there all the time and hold the pieces together, by being there all the time.'
Sam Neill, Possession, Andrzej Zulawski
Isabelle Adjani and Sam Neill, Possession, Andrzej Zulawski
Andrzej Zulawski: 'Cinema is an extremely powerful weapon to disturb, to touch, to make people think–it's a primitive force.'
Andrzej Zulawski: ''The story of Possession is the story of my life. It's the only film I've made that is autobiographical. It says something—and this is the reason I wrote it—about my personal problems as a man with a woman I dearly loved. It's a film about a breaking up, about the end of a relationship, a marriage. I'm a strong believer in the couple, in marriage, in children.'
Isabelle Adjani and Sam Neill, Possession, Andrzej Zulawski
By Richard Jonathan | © Mara Marietta Culture Blog, 2017 | All rights reserved


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George H.W. Bush: A Personal Remembrance
"Story in the Public Square" Renews Contract for Year Three with SiriusXM P.O.T.U.S.
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Adjunct Fellow Ray Raymond writes a personal remembrance of President George H.W. Bush. West Point 5 October 1994. It was a cold, grey rainy day. Former President George H.W. Bush was on post to receive the Academy's highest honor, the Thayer Award. Established in 1958, the Thayer Award is given to an American citizen – civilian or military –whose contribution to protecting US national interests embodies West Point's values of … Read More


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