Posts Tagged ‘lions’
September 30, 2015 | by Dan Piepenbring
- Fact: the American newspapers and gazettes of the nineteenth century had names that absolutely trounced their present-day counterparts where liveliness and creativity are concerned (with the exception of the Modesto Bee, which remains a truly great paper title). In simpler times, you could spend your mornings over the Horseneck Truth Teller and Gossip Journal, Estabrook’s Great Public Chowder, Steven H. Branch’s Alligator, and the Striped Pig, among others.
- For a different kind of nostalgia, contemplate MacGyver, which hit the airwaves thirty years ago and has left in its wake a mess of nerdy white-male heroics and misplaced, quasi-racist adventure: “MacGyver embraces its own insistent loneliness to an absurd degree. And that, in turn, makes the whole show feel distinctly retrograde … MacGyver sags under the weight of its old-school definition of heroism. It glorifies the single man—the single mullet—while treating other people as victims and saps.”
- Not dissimilarly: in a new book, Lions in the Balance, Craig Packer attempts to careen between the MacGyver-esque machismo of those who hunt lions in the Serengheti and the “communal emotionalism” that so often animates conservation movements. “It is his position, as the story begins, that the lions of the Serengeti need sport hunters to survive; that Cecils must die if prides are to endure … In his quest to restructure incentives, in his willingness to take the long view, in his commitment to numbers over narrative, Packer deems himself ‘ultimately alone.’ ”
- Trying to build a brand of one? Of course you are! This is the age of the brandividual. Let me tell you a few things you already knew, though: it’s a futile project, authenticity is a myth, and branding strategists are working to make our society a waking nightmare of empty professionalism. “I don’t think it’s possible to appeal to everyone and still be authentic, let alone unique. When [my branding strategist] declared my web-site font ‘almost hippie-dippy,’ I couldn’t help but get a bit defensive. So what if it is? My truest self does not use ‘impact as a verb.’ My truest self likes to be catty about former employers that have done me wrong, not write pleasant summaries of what I was able to achieve while working there. My truest self is sending GIFs to my friends, not cheerfully influencing strangers’ thoughts.”
- Today in new and novel uses for the black crayon: Richard Serra’s strangely affecting “Ramble Drawings” are seventy-four works on paper, all “variations on Malevich’s square, stretched out and pressed with black lithographic crayons to achieve different textures: oily, streaky, pocked, solid. The pictures, stacked like rows of large, incongruous industrial cement bricks across the gallery walls, are anything but monotonous, however. Black never looked so colorful.”
March 2, 2015 | by Sadie Stein
“In like a lion, out like a lamb” has always seemed a straightforward enough proverb: when March starts, it’s still winter, and by the end of the month spring has begun. True, in many climates the weather hasn’t quite reached the lamb stage by the end of the month—it’s more like a surly cat, maybe, or one of those awful territorial honking geese. But we get the idea. I have seen the phrase referred to as an “eighteenth-century saying” in more than one unreliable Internet source, while Wikipedia calls it “an old Pennsylvania” saw.
As it turns out, there are a few origin theories. There’s the stars, for one. At this time of year, Leo is the rising sign; by April, it’s Aries. (“Kid” just doesn’t have quite the same ring as “lamb,” though.) Some have pointed out that Jesus arrives as the sacrificial lamb, but will return as the Lion of Judah. Which, weather-wise, means a false spring. Read More »
December 4, 2014 | by Dan Piepenbring
Rainer Maria Rilke was born on this day in 1875. The below is excerpted from “The Lion Cage,” one in a series of Rilke translations by Stephen Mitchell in our Summer 1989 issue.
She paces back and forth around him, the lion, who is sick. Being sick doesn’t concern him and doesn’t diminish him; it just hems him in. The way he lies, his soft bent paws intentionless, his proud face heaped with a worn-out mane, his eyes no longer loaded, how is erected upon himself as a monument to his own sadness, just as he once (always beyond himself) was the exaggeration of his strength.
[…] But he just lets things happen, because the end hasn’t yet come, and he no longer exerts any energy and no longer takes part. Only far off, as though held away from himself, he paints with the soft paintbrush of his tail, again and again, a small, semicircular gesture of indescribable disdain. And this takes place so significantly that the lioness stops and looks over: troubled, aroused, expectant.
But then she begins her pacing again, the desperate, ridiculous pacing of the sentinel, which falls back into the same tracks, again and again. She paces and paces, and sometimes her distracted mask appears, round and full, crossed out by the bars.
She moves the way clocks move. And on her face, as on a clock dial which someone shines a light onto at night, a strange, briefly shown hour stands: a terrifying hour, in which someone dies.
May 9, 2014 | by Dan Piepenbring
This week, Project Gutenberg made available Acrobats and Mountebanks, an 1890 book that explores the circuses, fairs, carnivals, and hippodromes of nineteenth-century France. Written by Hugues Le Roux and Jules Garnier, and translated from the French by A. P. Morton, the book features 233 illustrations of clowns, trainers, tamers, equestrians, equilibrists, acrobats, gymnasts, contortionists, fortune-tellers, dwarves, elephants, carousels, Ferris wheels, and all the trappings of classic mountebankery. It’s worth perusing for the drawings, a selection of which are presented above—but it’s also, after more than a century, still an astonishingly funny read, full of sharp observations and acerbic asides. Here, for instance, is a passage on dwarves:
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No one should wonder at the fact that many people are more interested in the abnormal than in the beautiful. But this trait being once recognised, the dwarf is more wonderful than the giant; man is such a complicated machine, that in watching these microscopic creatures who gesticulate and speak like ourselves, we feel something of the same astonishment that would strike us if we found the seconds marked by a miniature watch which we could only see through a magnifying glass. For this reason the dwarf show is one of the most popular booths in the fair.
Every one knows that there are two kinds of dwarfs—those who are naturally dwarfs, and those who, as children, were at first of average size and growth, but whose development was abruptly checked. In their case the limbs which no longer grew, were yet capable of enlargement. As a rule the head is enormous. Monsieur François, from the Cirque Franconi—the partner of Billy Hayden the clown, the tiny circus rider—is a typical specimen of this class of dwarfs, who are called noués to distinguish them from the perfect miniature of humanity. They are physically deformed, but in all other respects they resemble other men. François, for instance, is very intelligent. I shall always remember our first interview two years ago in Erminia Chelli’s box at the Cirque d’Eté.
“How old are you, Monsieur François?”
“I am older than you are, M. François; yet, as you know, I am not celebrated.”
M. François shook his head … “You see not every one can be a dwarf.”