So Ab and I went to Ski Sundown today. It was her first time to go skiing. After her lessons, I took her up to the top of the mountain. She skied down like a champ. Watch out, Lindsey Vonn!
We had to take a break every once in a while. . . .
"in an open, honest and direct manner" . . . most of the time
So Ab and I went to Ski Sundown today. It was her first time to go skiing. After her lessons, I took her up to the top of the mountain. She skied down like a champ. Watch out, Lindsey Vonn!
We had to take a break every once in a while. . . .
So last weekend, Michele and Aubrey and I drove down to El Paso for a wedding. Eddie Cartagena and Marissa Hernandez (Michele's niece) got married.
The survivors who take refuge at the Maddison’s include a small-time crook Tony Lamont (Touch Conners, before he became Mike Conners of Mannix fame) and his girlfriend, an aging stripper named Ruby (Adele Jergens). A geologist named Rick (Richard Denning), who carries on his shoulders a man named Radek (Paul Dubov), follows them. Nearly dead, it seems, Radek has a bad case of radiation poisoning. Finally, a crusty old gold prospector, Pete (Raymond Hatton) shows up with his burro, Diablo, in tow. Thrown together by circumstance, the group spends the next several weeks waiting for the radiation to dissipate. Everyone stays inside for the most part, except for Radek who often wanders out at night and whose high roentgen count leads Jim and Rick to wonder why he’s still alive.
But Tony isn’t the only one interested in Louise. With the monster psychically calling to her, she wanders into the woods. When Rick discovers that she’s not in the house, he goes looking and finds her in a pond just out of the reach of the mutant, which seems to be afraid of the water. When Rick fires his rifle at the mutant, he discovers that it’s bullet proof, and he is also forced to take refuge in the pond. Just then, it begins to rain for the first time since the war. Immediately the monster begins to cringe, and it quickly dies. Louise tells Rick that, for some strange reason, she feels sorry for the mutant. And since it “spoke” only to her, viewers are left wondering if the monster was in fact Louise’s fiancĂ©! (Usually, the man turning into a monster is something that happens after the wedding, right?). At any rate, as Rick and Louise return to the house, Tony plans to kill Rick so that he can have the girl for himself. At the last moment though, Jim, lying on the couch with a fatal case of radiation poisoning, pulls a hidden pistol and kills Tony. Afterwards, Rick, Louise, and Jim try to make sense of everything that’s recently happened. Jim says of the monster, That thing was created to live in a poisoned world. The rain came, and it was pure. Louise: Man created it, but God destroyed it. He brought the rain and the fresh air. Moments later, Jim dies, leaving only Rick and Louise. The final scene shows the couple healthy and smiling as they hike out of the valley arm-in-arm.
I've been trying to work on a number of different historical projects lately. I know, I really should focus on just one. But I get distracted. Anyway, one of those projects has to do with feature films of the Cold War era. Here's a review of one of my favorites so far. Spoiler Alert! The first half of what follows is a full synopsis:
Scott’s aide at the Pentagon is Marine Colonel “Jiggs” Casey (Kirk Douglas). Casey admires Scott and shares his mistrust of the Soviets. But unlike the outspoken general, Casey stays clear of any public criticism of the administration. A series of clues leads Casey to an uneasy suspicion about his boss, and he requests a meeting with the president. At the White House, Casey reports what he has recently seen and heard. Finally, when President Lyman presses him to speak candidly, the colonel tells him, “I’m suggesting, Mr. President, there’s a military plot to take over the government.”
Wills, Garry. The Kennedy Imprisonment: A Meditation on Power (Boston, MA: Little, Brown, 1982).Afterwards, I went to see some of the online discussion. What I found was a big disappointment. Not that I went looking for very long, but of the reviews I did come across none of them talked about the political dimension of this film. Why not? (spoiler alert!)
For those who haven't (yet) seen this movie, here's one reviewer's quick take on how it begins: Two U.S. marshals, Teddy Daniels and Chuck Aule, are summoned to a remote and barren island off the coast of Massachusetts to investigate the mysterious disappearance of a murderess from the island’s fortress-like hospital for the criminally insane.
As the story unfolds, viewers encounter a common narrative device: the difference between perception and reality. Things aren't as they seem, which raises the challenge of distinguishing the two.
But here's what I found really strange about most of the interpretations and reviews that I read about this movie. To a one, they all considered Shutter Island a psychological study of the main character. I saw it much more as a political allegory.
Why? Well, for one thing, at least three characters on Shutter Island make references to things like atomic weapons and the House Un-American Activities Committee. Not to mention that at an earlier time in his life, the main character had been one of the American soldiers who liberated the concentration camp at Dachau. Several other related parts of Shutter Island convinced me that this story isn't so much a "psychological thriller" about Teddy Daniels, the main character. Instead, it's more like a parable about the craze-inducing responsibility of being the United States of America, the world's superpower.
For example, why is it significant that the main character was a U.S. soldier in WWII, one who liberated a death camp no less? Sounds like American guilt to me. . . . Sure we got involved in the War. But that was only after Pearl Harbor dragged us in kicking and screaming. By then it was way too late for millions of European Jews. And it wasn't like we hadn't heard news about their plight. We just didn't want to believe it.
The good news, of course, is that we--the good guys with right on our side--successfully ended the war, . . . by dropping atomic bombs on two cities. But we would make up for any sins of omission or commission, we told ourselves. Or at least we could prevent those sorts of ugly things from happening again. How? By becoming vigilant. So vigilant, in fact, that at one point in the 1950s we were more than ready to see a Communist behind every tree. Of course, almost all of these people protested that they weren't Communists. But what would you expect them to say?
At the end of the film, Teddy Daniels, the DiCaprio character with a history he barely knows, has a question: Which would be worse? To live as a monster, or die as a good man? That's the question that won't leave the U.S. alone. Even when America exercises its power with the best of intentions--and our intentions are never so pure as that--it's not uncommon for many thousands of people inside and outside this country to experience our actions as nothing short of monstrous. The movie insinuates that if your American patriotism reacts with thoughts like: "But what about our commitment to international freedom and liberty?" and "What about all of the good that we do?" then you're Teddy Daniels, the man who knows only one part of his story, only one side of his identity.
But what other alternative is there, except for the monster to cease to exist? The ending of the movie insinuates that that is exactly what will happen in the future. The moral order, the law of sowing and reaping will eventually neutralize the United States.
Did anyone else see the film this way? Or should I be committed to the island?


Kennedy, Robert F. Thirteen Days: A Memoir of the Cuban Missile Crisis. Introductions by Robert S. McNamara and Harold Macmillan. New York: W. W. Norton & Company, 1969.
McMillon, Lynn A. Restoration Roots: The Scottish Origins of the American Restoration Movement. Henderson, TN: Hester Publications, 1983.
Gaddis, John Lewis. The Landscape of History: How Historians Map the Past. Oxford: Oxford University Press, 2002.God's gracious protection of sinners
In Genesis 3, after Adam and Eve became the first sinners, they were driven from the Garden of Eden and prevented from eating of the tree of life. What Campbell gathers from this is that God expelled Adam from the garden, lest he should eat the fruit of the tree of life, and become immortal in misery, with no hope of changing or dying. Therefore, like all the acts of the All-wise and Beneficent Creator in dealing with man, it was gracious (82-83). That's a common approach to the passage, which makes perfect sense. I quote it here simply because I love Campbell's expression.
"Let us" in Genesis 1:26-27
In this connection, keeping in mind the form "let us," it will be well to observe, the peculiar and characteristic style of the language employed, which clearly indicates plurality; the doctrine and existence of three persons in the Godhead (84-85). Campbell did not accept all aspects of Trinitiarianism; which is not to say that he didn't accept the biblical doctrine of the Trinity. He did. But I suspect that he didn't use the term "Trinity" in a positive way, and that he didn't because it is not a biblical word.
For the longest time, I've been meaning to read Alexander Campbell's Familiar Lectures on the Pentateuch. He delivered them at Bethany College during the school year of 1859-60, when he was in his early seventies.