3.2.2025 – be dizzy now turn

be dizzy now turn
your head upside down see how
world looks upside down

Spring is when the grass turns green and glad.
Spring is when the new grass comes up and says, “Hey, hey!
Hey, hey!”
Be dizzy now and turn your head upside down and see how
the world looks upside down.
Be dizzy now and turn a cartwheel, and see the good earth
through a cartwheel.

Tell your feet the alphabet.
Tell your feet the multiplication table.
Tell your feet where to go, and, and watch ‘em go and come back.

Can you dance a question mark?
Can you dance an exclamation point?
Can you dance a couple of commas?
And bring it to a finish with a period?

Can you dance like the wind is pushing you?
Can you dance like you are pushing the wind?
Can you dance with slow wooden heels
and then change to bright and singing silver heels?
Such nice feet, such good feet.

Lines Written for Gene Kelly To Dance To by Carl Sandburg as published in The Complete Poems of Carl Sandburg (revised and updated).

Dancing feet?

Such good feet?

Spring is when the grass turns green and glad.

Spring is when the new grass comes up and says, “Hey, hey!
Hey, hey!”

Spring is when the new grass puts so much pollen in the air that I am dizzy now and I turn my head upside down and see how the world looks upside down and can’t breath and think my head is going to explode.

I can’t dance a question mark?

I can’t dance an exclamation point?

I can’t dance a couple of commas?

And I can’t bring it to a finish with a period?

I can’t even breath.

2.2.2025 -growing good of the world

growing good of the world
is partly dependent on
unhistoric acts

Adapted from the line:

The growing good of the world is partly dependent on unhistoric acts; and that things are not so ill with you and me as they might have been, is half owing to the number who lived faithfully a hidden life, and rest in unvisited tombs.

In the George Eliot Novel, Middlemarsh.

According to Wikipedia, Middlemarch, A Study of Provincial Life is a novel by English author George Eliot. It appeared in eight installments (volumes) in 1871 and 1872. Set in Middlemarch, a fictional English Midlands town, in 1829 to 1832, it follows distinct, intersecting stories with many characters. Issues include the status of women, the nature of marriage, idealism, self-interest, religion, hypocrisy, political reform, and education. Leavened with comic elements, Middlemarch approaches significant historical events in a realist mode: the Reform Act 1832, early railways, and the accession of King William IV. It looks at medicine of the time and reactionary views in a settled community facing unwelcome change. Eliot began writing the two pieces that formed the novel in 1869–1870 and completed it in 1871. Initial reviews were mixed, but it is now seen widely as her best work and one of the great English novels.

Notice the pronoun in the last sentence.

… now seen widely as her best work and one of the great English novels.

You see, George Eliot was the pen name of one Mary Ann Evans.

Who, again according to Wikipedia, … was known by her pen name George Eliot, was an English novelist, poet, journalist, translator, and one of the leading writers of the Victorian era.[3] She wrote seven novels: Adam Bede (1859), The Mill on the Floss (1860), Silas Marner (1861), Romola (1862–1863), Felix Holt, the Radical (1866), Middlemarch (1871–1872) and Daniel Deronda (1876). As with Charles Dickens and Thomas Hardy, she emerged from provincial England; most of her works are set there. Her works are known for their realism, psychological insight, sense of place and detailed depiction of the countryside. Middlemarch was described by the novelist Virginia Woolf as “one of the few English novels written for grown-up people” and by Martin Amis and Julian Barnes as the greatest novel in the English language.

Pronouns.

Really?

The number of headlines today that start with that man’s name is beyond understand until you grasp, that is what they want.

LOOK AT THE MAN behind the curtain.

WATCH WHAT he is doing, while the real people in charge remove pronouns and other acts so egregious it is beyond words.

And as long as the focus is on that man, they are winning.

Even this morning, the Toronto Star led with, WHO WILL STAND UP TO THAT MAN …

As long as the focus is on the man, the real damage and the real danger is hidden, right there in plain sight.

I guess it is right that the growing good of the world is partly dependent on unhistoric acts; and that things are not so ill with you and me as they might have been, is half owing to the number who lived faithfully a hidden life, and rest in unvisited tombs.”


1.31.2025 – laissez faire and let

laissez faire and let
laissez faire what I believe in
fits just right today …

I do miss what someone like Thurber would have done with the current political climate.

I once said that the New Yorker was the Saturday Night Live of its era …

I’ll stand with that.

After all, laissez faire and let laissez faire!

Bella Ciao Baby!

Check out all the Thurber drawings at https://muggsandrex.wordpress.com/

1.28.2025 – misanthropy plus

misanthropy plus
anger characteristic
bleak fatalism

In 1930, James Thurber published a book of drawings titled The Last Flower.

In Thurber’s New Yorker Obituary, EB White wrote. “Although he is best known for “Walter Mitty” and “The Male Animal,” the book of his I like best is “The Last Flower”. In it you will find his faith the renewal of life, his feeling for the beauty and fragility of life on earth.

One week after publication, Life magazine ran a two spread of the drawings and captions under the headline, Speaking of Pictures … Thurber draws a parable on War, that told the story of The Last Flower.

Right now, today, I need a shot of faith the renewal of life, and in a feeling for the beauty and fragility of life on earth.

This is the Life Magazine introduction to the drawings.

The world of James Thurber is a stark soggy word of predatory women, bald bitter little men and melancholy hounds. Created idly on memo pads, long ignored by the New Yorker and doubtfully put into print in 1931, the Thurber cosmology has since been hailed as the creation of a high satirical intelligence. Art critics applaud his economy of line, call him a successor to Picasso and Matisse.

Beneath his cynicism Thurber is an intense, compassionate liberal. When war exploded in Europe he was moved to produce a “parable in pictures,” packed with his characteristic misanthropy plus anger plus a certain bleak fatalism. At his request Harper & Brothers withheld another Thurber volume then ready for release and rushed The Last Flower ($2) into print. Published on Nov. 17, it is sure to land on many a Christmas tree. Below are some of the 50 drawings from the book, with Thurber captions.

You can see the drawings on my James Thurber page, For Muggs and Rex.

1.25.2025 – sunlight and death were

sunlight and death were
upon the earth – no one was
wholly rational

All the way through there were two lines of action going on: the visible one, out in the open, where there were flags and rumbling guns and marching men to be seen, and the invisible one which affected and colored all the rest. Sunlight and death were upon the earth in the spring of 1862, and no one was wholly rational.

On the surface, everything was fine. Nearly two hundred thousand young men had been drilled, disciplined, clothed, armed, and equipped. They innocently thought themselves veterans. They had roughed it for a whole autumn and winter under canvas, knew what it was like to sleep on bare ground in the rain, had learned the intricate, formalized routines by which marching columns transformed themselves into battle lines, and they had been brought to a razor edge of keenness. The great unpredictable that lay ahead of them seemed a bright adventure, for in the 1860s cynicism was not a gift which came to youth free, in advance; it had to be earned, and all illusions had to be lost the hard way.

From Mr. Lincoln’s Army by Bruce Catton (Doubleday & Co., Garden City, NY, 1951).

I got my first Bruce Catton book, Mr. Lincoln’s Army, the book this excerpt comes from when I was around 10 years old.

My Grand father found a pile of books that were being thrown out by the Church Library and he snatched it, telling the folks in charge that he had a grand son who wanted it.

And I did.

I did want it.

Even though I had never heard of it, I knew I wanted it.

I know I read and I have read it several times since, but I cannot imagine what this passage meant to me when I was 10.

Everything, to me, about the Civil War was a bright adventure and maybe still is today.

It remains a bright adventure even after reading the best description of serving in a war, the speech of the deaf old gentleman from Fayetteville, Mr. McRae at the Wilkes’ barbeque in Gone with the Wind when he said, “You fire-eating young bucks, listen to me. You don’t want to fight. I fought and I know. Went out in the Seminole War and was a big enough fool to go to the Mexican War, too. You all don’t know what war is. You think it’s riding a pretty horse and having the girls throw flowers at you and coming home a hero. Well, it ain’t. No, sir! It’s going hungry, and getting the measles and pneumonia from sleeping in the wet. And if it ain’t measles and pneumonia, it’s your bowels. Yes sir, what war does to a man’s bowels—dysentery and things like that—”

But I digress.

What I wonder about today is what would Bruce Catton made of the current state of affairs in the politics of the United States.

After decades of studying and writing about the Civil War Catton wrote, “The dismaying world we confront was given its vast intricacy and its perilous speed by human beings for the benefit of human beings. The one basic resource we have always had to rely on is the innate intelligence, energy and good will of the human race. It is facing an enormous challenge, but then it always has; and it meets each one only to confront another. If now we give way to the gloom of the apostles of catastrophe we are of course in the deepest sort of trouble. The old reliance is at our service. It can bear us up if we put our full weight on it.”

Right now, at this point, it seems that sunlight and death are upon the earth and no one is wholly rational.

We are facing an enormous challenge, but then we always have; and we meet each one only to confront another.

If now we give way to the gloom of the apostles of catastrophe we are of course in the deepest sort of trouble.

The old reliance is at our service.

It can bear us up if we put our full weight on it.