Download American silence by Zeese Papanikolas MA BA PDF
By Zeese Papanikolas MA BA
In American Silence , a supplement to his past learn Trickster within the Land of desires , Zeese Papanikolas investigates a few major American cultural artifacts and the lives in their makers. For Papanikolas, either the personal mess ups and public successes of Clarence King, Henry Adams, Gertrude Stein, Ernest Hemingway, Raymond Chandler, and Hank Williams resonate with silences.
summary: In American Silence , a supplement to his prior examine Trickster within the Land of desires , Zeese Papanikolas investigates a few major American cultural artifacts and the lives in their makers. For Papanikolas, either the personal disasters and public successes of Clarence King, Henry Adams, Gertrude Stein, Ernest Hemingway, Raymond Chandler, and Hank Williams resonate with silences
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T At the very brink of the fall a few twisted evergreens cling with their roots to the rock, and lean over the abyss of foam with something of that air of fatal fascination which is apt to take possession of men . . Incessant roar, reinforced by a thousand echoes, ﬁlls the cañon. 27 It as if the ground had suddenly rent and called up this interior hell. And, perhaps, for King, in some sense it had. ” He was a man who had come away from some interior brink. Deep under the debonair and insouciant leader of men, the leader ready with the right quip to lighten a cheerless bivouac or an empty plate, there was another man.
Chinese urns and antique altar cloths. indd 43 T 1/16/2007 3:29:28 PM 0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 and the two precious Turners. He sat for Zorn as if he were already a magnate. He spent like a Maecenas, left his ofﬁces to their own devices, and was cheated by his bookkeeper. His friend Henry James saw him as a “queer, incomplete, unsatisfactory creature . . ”28 And in the end, what had he accomplished? His affairs sank into ruin. He poured other people’s money into his failing mines until there was no more to pour.
The shutter opened, swallowing the immense, empty ﬂood of light, then it blinked closed. Somewhere in the Carson Sink he photographed the ambulance he had converted into a mobile darkroom. Lost beside a dune, the mules look like toys in the sand. Footprints lead from the bottom edge of the photograph to the ambulance, connecting it to the world of men, but we know they will be blown away. There are a few tranquil lakes in O’Sullivan’s photographs, a few timeless rivers; the rest is a desiccated and awful land that lays itself open as if it were ﬂayed.