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John William Tuohy lives in Washington DC

18-Year-Old Ernest Hemingway in Italy During World War



Excerpt: For Whom The Bell Tolls


He lay flat on the brown, pine-needled floor of the forest, his chin on his folded arms, and high overhead the wind blew in the tops of the pine trees. The mountainside sloped gently where he lay; but below it was steep and he could see the dark of the oiled road winding through the pass. There was a stream alongside the road and far down the pass he saw a mill beside the stream and the falling water of the dam, white in the summer sunlight.
"Is that the mill?" he asked.

"Yes."

"I do not remember it."

"It was built since you were here. The old mill is farther down; much below the pass."

He spread the photostated military map out on the forest floor and looked at it carefully. The old man looked over his shoulder. He was a short and solid old man in a black peasant's smock and gray iron-stiff trousers and he wore rope-soled shoes. He was breathing heavily from the climb and his hand rested on one of the two heavy packs they had been carrying.

"Then you cannot see the bridge from here."

"No," the old man said. "This is the easy country of the pass where the stream flows gently. Below, where the road turns out of sight in the trees, it drops suddenly and there is a steep gorge — "

"I remember."

"Across this gorge is the bridge."

"And where are their posts?"

"There is a post at the mill that you see there."

The young man, who was studying the country, took his glasses from the pocket of his faded, khaki flannel shirt, wiped the lenses with a handkerchief, screwed the eyepieces around until the boards of the mill showed suddenly clearly and he saw the wooden bench beside the door; the huge pile of sawdust that rose behind the open shed where the circular saw was, and a stretch of the flume that brought the logs down from the mountainside on the other bank of the stream. The stream showed clear and smooth-looking in the glasses and, below the curl of the falling water, the spray from the dam was blowing in the wind.

"There is no sentry."

"There is smoke coming from the millhouse," the old man said. "There are also clothes hanging on a line."

"I see them but I do not see any sentry."

"Perhaps he is in the shade," the old man explained. "It is hot there now. He would be in the shadow at the end we do not see."

"Probably. Where is the next post?"

"Below the bridge. It is at the roadmender's hut at kilometer five from the top of the pass."

"How many men are here?" He pointed at the mill.

"Perhaps four and a corporal."

"And below?"

"More. I will find out."

"And at the bridge?"

"Always two. One at each end."

"We will need a certain number of men," he said. "How many men can you get?"

"I can bring as many men as you wish," the old man said. "There are many men now here in the hills."

"How many?"

"There are more than a hundred. But they are in small bands. How many men will you need?"

"I will let you know when we have studied the bridge."

"Do you wish to study it now?"

"No. Now I wish to go to where we will hide this explosive until it is time. I would like to have it hidden in utmost security at a distance no greater than half an hour from the bridge, if that is possible."

"That is simple," the old man said. "From where we are going, it will all be downhill to the bridge. But now we must climb a little in seriousness to get there. Are you hungry?"

"Yes," the young man said. "But we will eat later. How are you called? I have forgotten." It was a bad sign to him that he had forgotten.

"Anselmo," the old man said. "I am called Anselmo and I come from Barco de Avila. Let me help you with that pack."

The young man, who was tall and thin, with sun-streaked fair hair, and a wind- and sun-burned face, who wore the sun-faded flannel shirt, a pair of peasant's trousers and rope-soled shoes, leaned over, put his arm through one of the leather pack straps and swung the heavy pack up onto his shoulders. He worked his arm through the other strap and settled the weight of the pack against his back. His shirt was still wet from where the pack had rested.

"I have it up now," he said. "How do we go?"

"We climb," Anselmo said.

Bending under the weight of the packs, sweating, they climbed steadily in the pine forest that covered the mountainside. There was no trail that the young man could see, but they were working up and around the face of the mountain and now they crossed a small stream and the old man went steadily on ahead up the edge of the rocky stream bed. The climbing now was steeper and more difficult, until finally the stream seemed to drop down over the edge of a smooth granite ledge that rose above them and the old man waited at the foot of the ledge for the young man to come up to him.

"How are you making it?"

"All right," the young man said. He was sweating heavily and his thigh muscles were twitchy from the steepness of the climb.

"Wait here now for me. I go ahead to warn them. You do not want to be shot at carrying that stuff."

"Not even in a joke," the young man said. "Is it far?"

"It is very close. How do they call thee?"

"Roberto," the young man answered. He had slipped the pack off and lowered it gently down between two boulders by the stream bed.

"Wait here, then, Roberto, and I will return for you."

"Good," the young man said. "But do you plan to go down this way to the bridge?"

"No. When we go to the bridge it will be by another way. Shorter and easier."

"I do not want this material to be stored too far from the bridge."

"You will see. If you are not satisfied, we will take another place."

"We will see," the young man said.

He sat by the packs and watched the old man climb the ledge. It was not hard to climb and from the way he found hand-holds without searching for them the young man could see that he had climbed it many times before. Yet whoever was above had been very careful not to leave any trail.

The young man, whose name was Robert Jordan, was extremely hungry and he was worried. He was often hungry but he was not usually worried because he did not give any importance to what happened to himself and he knew from experience how simple it was to move behind the enemy lines in all this country. It was as simple to move behind them as it was to cross through them, if you had a good guide. It was only giving importance to what happened to you if you were caught that made it difficult; that and deciding whom to trust. You had to trust the people you worked with completely or not at all, and you had to make decisions about the trusting. He was not worried about any of that. But there were other things.

This Anselmo had been a good guide and he could travel wonderfully in the mountains. Robert Jordan could walk well enough himself and he knew from following him since before daylight that the old man could walk him to death. Robert Jordan trusted the man, Anselmo, so far, in everything except judgment. He had not yet had an opportunity to test his judgment, and, anyway, the judgment was his own responsibility. No, he did not worry about Anselmo and the problem of the bridge was no more difficult than many other problems. He knew how to blow any sort of bridge that you could name and he had blown them of all sizes and constructions. There was enough explosive and all equipment in the two packs to blow this bridge properly even if it were twice as big as Anselmo reported it, as he remembered it when he had walked over it on his way to La Granja on a walking trip in 1933, and as Golz had read him the description of it night before last in that upstairs room in the house outside of the Escorial.

"To blow the bridge is nothing," Golz had said, the lamplight on his scarred, shaved head, pointing with a pencil on the big map. "You understand?"

"Yes, I understand."

"Absolutely nothing. Merely to blow the bridge is a failure."

"Yes, Comrade General."

"To blow the bridge at a stated hour based on the time set for the attack is how it should be done. You see that naturally. That is your right and how it should be done."

Golz looked at the pencil, then tapped his teeth with it.

Robert Jordan had said nothing.

"You understand that is your right and how it should be done," Golz went on, looking at him and nodding his head. He tapped on the map now with the pencil. "That is how I should do it. That is what we cannot have."

"Why, Comrade General?"

"Why?" Golz said, angrily. "How many attacks have you seen and you ask me why? What is to guarantee that my orders are not changed? What is to guarantee that the attack is not annulled? What is to guarantee that the attack is not postponed? What is to guarantee that it starts within six hours of when it should start? Has any attack ever been as it should?"

"It will start on time if it is your attack," Robert Jordan said.

"They are never my attacks," Golz said. "I make them. But they are not mine. The artillery is not mine. I must put in for it. I have never been given what I ask for even when they have it to give. That is the least of it. There are other things. You know how those people are. It is not necessary to go into all of it. Always there is something. Always some one will interfere. So now be sure you understand."

"So when is the bridge to be blown?" Robert Jordan had asked.

"After the attack starts. As soon as the attack has started and not before. So that no reinforcements will come up over that road." He pointed with his pencil. "I must know that nothing will come up over that road."

"And when is the attack?"

"I will tell you. But you are to use the date and hour only as an indication of a probability. You must be ready for that time. You will blow the bridge after the attack has started. You see?" he indicated with the pencil. "That is the only road on which they can bring up reinforcements. That is the only road on which they can get up tanks, or artillery, or even move a truck toward the pass which I attack. I must know that bridge is gone. Not before, so it can be repaired if the attack is postponed. No. It must go when the attack starts and I must know it is gone. There are only two sentries. The man who will go with you has just come from there. He is a very reliable man, they say. You will see. He has people in the mountains. Get as many men as you need. Use as few as possible, but use enough. I do not have to tell you these things."

"And how do I determine that the attack has started?"

"It is to be made with a full division. There will be an aerial bombardment as preparation. You are not deaf, are you?"

"Then I may take it that when the planes unload, the attack has started?"

"You could not always take it like that," Golz said and shook his head. "But in this case, you may. It is my attack."

"I understand it," Robert Jordan had said. "I do not say I like it very much."

"Neither do I like it very much. If you do not want to undertake it, say so now. If you think you cannot do it, say so now."

"I will do it," Robert Jordan had said. "I will do it all right."

"That is all I have to know," Golz said. "That nothing comes up over that bridge. That is absolute."

"I understand."

"I do not like to ask people to do such things and in such a way," Golz went on. "I could not order you to do it. I understand what you may be forced to do through my putting such conditions. I explain very carefully so that you understand and that you understand all of the possible difficulties and the importance."

"And how will you advance on La Granja if that bridge is

blown?"

"We go forward prepared to repair it after we have stormed the pass. It is a very complicated and beautiful operation. As complicated and as beautiful as always. The plan has been manufactured in Madrid. It is another of Vicente Rojo, the unsuccessful professor's, masterpieces. I make the attack and I make it, as always, not in sufficient force. It is a very possible operation, in spite of that. I am much happier about it than usual. It can be successful with that bridge eliminated. We can take Segovia. Look, I show you how it goes. You see? It is not the top of the pass where we attack. We hold that. It is much beyond. Look — Here — Like this — "

"I would rather not know," Robert Jordan said.

"Good," said Golz. "It is less of baggage to carry with you on the other side, yes?"

"I would always rather not know. Then, no matter what can happen, it was not me that talked."

"It is better not to know," Golz stroked his forehead with the pencil. "Many times I wish I did not know myself. But you do know the one thing you must know about the bridge?"

"Yes. I know that."

"I believe you do," Golz said. "I will not make you any little speech. Let us now have a drink. So much talking makes me very thirsty, Comrade Hordan. You have a funny name in Spanish, Comrade Hordown."

"How do you say Golz in Spanish, Comrade General?"

"Hotze," said Golz grinning, making the sound deep in his throat as though hawking with a bad cold. "Hotze," he croaked. "Comrade Heneral Khotze. If I had known how they pronounced Golz in Spanish I would pick me out a better name before I come to war here. When I think I come to command a division and I can pick out any name I want and I pick out Hotze. Heneral Hotze. Now it is too late to change. How do you like partizan work?" It was the Russian term for guerilla work behind the

lines.

"Very much," Robert Jordan said. He grinned. "It is very healthy in the open air."

"I like it very much when I was your age, too," Golz said. "They tell me you blow bridges very well. Very scientific. It is only hearsay. I have never seen you do anything myself. Maybe nothing ever happens really. You really blow them?" he was teasing now. "Drink this," he handed the glass of Spanish brandy to Robert Jordan. "You really blow them?"

"Sometimes."

"You better not have any sometimes on this bridge. No, let us not talk any more about this bridge. You understand enough now about that bridge. We are very serious so we can make very strong jokes. Look, do you have many girls on the other side of the lines?"

"No, there is no time for girls."

"I do not agree. The more irregular the service, the more irregular the life. You have very irregular service. Also you need a haircut."

"I have my hair cut as it needs it," Robert Jordan said. He would be damned if he would have his head shaved like Golz. "I have enough to think about without girls," he said sullenly.

"What sort of uniform am I supposed to wear?" Robert Jordan asked.

"None," Golz said. "Your haircut is all right. I tease you. You are very different from me," Golz had said and filled up the glasses again.

"You never think about only girls. I never think at all. Why should I? I am Général Sovietique. I never think. Do not try to trap me into thinking."

Some one on his staff, sitting on a chair working over a map on a drawing board, growled at him in the language Robert Jordan did not understand.

"Shut up," Golz had said, in English. "I joke if I want. I am so serious is why I can joke. Now drink this and then go. You understand, huh?"

"Yes," Robert Jordan had said. "I understand."

They had shaken hands and he had saluted and gone out to the staff car where the old man was waiting asleep and in that car they had ridden over the road past Guadarrama, the old man still asleep, and up the Navacerrada road to the Alpine Club hut where he, Robert Jordan, slept for three hours before they started.

That was the last he had seen of Golz with his strange white face that never tanned, his hawk eyes, the big nose and thin lips and the shaven head crossed with wrinkles and with scars. Tomorrow night they would be outside the Escorial in the dark along the road; the long lines of trucks loading the infantry in the darkness; the men, heavy loaded, climbing up into the trucks; the machine-gun sections lifting their guns into the trucks; the tanks being run up on the skids onto the long-bodied tank trucks; pulling the Division out to move them in the night for the attack on the pass. He would not think about that. That was not his business. That was Golz's business. He had only one thing to do and that was what he should think about and he must think it out clearly and take everything as it came along, and not worry. To worry was as bad as to be afraid. It simply made things more difficult.

He sat now by the stream watching the clear water flowing between the rocks and, across the stream, he noticed there was a thick bed of watercress. He crossed the stream, picked a double handful, washed the muddy roots clean in the current and then sat down again beside his pack and ate the clean, cool green leaves and the crisp, peppery-tasting stalks. He knelt by the stream and, pushing his automatic pistol around on his belt to the small of his back so that it would not be wet, he lowered himself with a hand on each of two boulders and drank from the stream. The water was achingly cold.

Pushing himself up on his hands he turned his head and saw the old man coming down the ledge. With him was another man, also in a black peasant's smock and the dark gray trousers that were almost a uniform in that province, wearing rope-soled shoes and with a carbine slung over his back. This man was bareheaded. The two of them came scrambling down the rock like goats.

They came up to him and Robert Jordan got to his feet.

"Salud, Camarada," he said to the man with the carbine and smiled.

"Salud," the other said, grudgingly. Robert Jordan looked at the man's heavy, beard-stubbled face. It was almost round and his head was round and set close on his shoulders. His eyes were small and set too wide apart and his ears were small and set close to his head. He was a heavy man about five feet ten inches tall and his hands and feet were large. His nose had been broken and his mouth was cut at one corner and the line of the scar across the upper lip and lower jaw showed through the growth of beard over his face.

The old man nodded his head at this man and smiled.

"He is the boss here," he grinned, then flexed his arms as though to make the muscles stand out and looked at the man with the carbine in a half-mocking admiration. "A very strong man."

"I can see it," Robert Jordan said and smiled again. He did not like the look of this man and inside himself he was not smiling at all.

"What have you to justify your identity?" asked the man with the carbine.

Robert Jordan unpinned a safety pin that ran through his pocket flap and took a folded paper out of the left breast pocket of his flannel shirt and handed it to the man, who opened it, looked at it doubtfully and turned it in his hands.

So he cannot read, Robert Jordan noted.

"Look at the seal," he said.

The old man pointed to the seal and the man with the carbine studied it, turning it in his fingers.

"What seal is that?"

"Have you never seen it?"

"No."

"There are two," said Robert Jordan. "One is S. I. M., the service of the military intelligence. The other is the General Staff."

"Yes, I have seen that seal before. But here no one commands but me," the other said sullenly. "What have you in the packs?"

"Dynamite," the old man said proudly. "Last night we crossed the lines in the dark and all day we have carried this dynamite over the mountain."

"I can use dynamite," said the man with the carbine. He handed back the paper to Robert Jordan and looked him over. "Yes. I have use for dynamite. How much have you brought me?"

"I have brought you no dynamite," Robert Jordan said to him evenly. "The dynamite is for another purpose. What is your name?"

"What is that to you?"

"He is Pablo," said the old man. The man with the carbine looked at them both sullenly.

"Good. I have heard much good of you," said Robert Jordan.

"What have you heard of me?" asked Pablo.

"I have heard that you are an excellent guerilla leader, that you are loyal to the republic and prove your loyalty through your acts, and that you are a man both serious and valiant. I bring you greetings from the General Staff."

"Where did you hear all this?" asked Pablo. Robert Jordan registered that he was not taking any of the flattery.

"I heard it from Buitrago to the Escorial," he said, naming all the stretch of country on the other side of the lines.

"I know no one in Buitrago nor in Escorial," Pablo told him.

"There are many people on the other side of the mountains who were not there before. Where are you from?"

"Avila. What are you going to do with the dynamite?"

"Blow up a bridge."

"What bridge?"

"That is my business."

"If it is in this territory, it is my business. You cannot blow bridges close to where you live. You must live in one place and operate in another. I know my business. One who is alive, now, after a year, knows his business."

"This is my business," Robert Jordan said. "We can discuss it together. Do you wish to help us with the sacks?"

"No," said Pablo and shook his head.

The old man turned toward him suddenly and spoke rapidly and furiously in a dialect that Robert Jordan could just follow. It was like reading Quevedo. Anselmo was speaking old Castilian and it went something like this, "Art thou a brute? Yes. Art thou a beast? Yes, many times. Hast thou a brain? Nay. None. Now we come for something of consummate importance and thee, with thy dwelling place to be undisturbed, puts thy fox-hole before the interests of humanity. Before the interests of thy people. I this and that in the this and that of thy father. I this and that and that in thy this. Pick up that bag."

Pablo looked down.

"Every one has to do what he can do according to how it can be truly done," he said. "I live here and I operate beyond Segovia. If you make a disturbance here, we will be hunted out of these mountains. It is only by doing nothing here that we are able to live in these mountains. It is the principle of the fox."

"Yes," said Anselmo bitterly. "It is the principle of the fox when we need the wolf."

"I am more wolf than thee," Pablo said and Robert Jordan knew that he would pick up the sack.

"Hi. Ho...." Anselmo looked at him. "Thou art more wolf than me and I am sixty-eight years old."

He spat on the ground and shook his head.

"You have that many years?" Robert Jordan asked, seeing that now, for the moment, it would be all right and trying to make it go easier.

"Sixty-eight in the month of July."

"If we should ever see that month," said Pablo. "Let me help you with the pack," he said to Robert Jordan. "Leave the other to the old man." He spoke, not sullenly, but almost sadly now. "He is an old man of great strength."

"I will carry the pack," Robert Jordan said.

"Nay," said the old man. "Leave it to this other strong man."

"I will take it," Pablo told him, and in his sullenness there was a sadness that was disturbing to Robert Jordan. He knew that sadness and to see it here worried him.

"Give me the carbine then," he said and when Pablo handed it to him, he slung it over his back and, with the two men climbing ahead of him, they went heavily, pulling and climbing up the granite shelf and over its upper edge to where there was a green clearing in the forest.

They skirted the edge of the little meadow and Robert Jordan, striding easily now without the pack, the carbine pleasantly rigid over his shoulder after the heavy, sweating pack weight, noticed that the grass was cropped down in several places and signs that picket pins had been driven into the earth. He could see a trail through the grass where horses had been led to the stream to drink and there was the fresh manure of several horses. They picket them here to feed at night and keep them out of sight in the timber in the daytime, he thought. I wonder how many horses this Pablo has?

He remembered now noticing, without realizing it, that Pablo's trousers were worn soapy shiny in the knees and thighs. I wonder if he has a pair of boots or if he rides in those alpargatas, he thought. He must have quite an outfit. But I don't like that sadness, he thought. That sadness is bad. That's the sadness they get before they quit or before they betray. That is the sadness that comes before the sell-out.

Ahead of them a horse whinnied in the timber and then, through the brown trunks of the pine trees, only a little sunlight coming down through their thick, almost-touching tops, he saw the corral made by roping around the tree trunks. The horses had their heads pointed toward the men as they approached, and at the foot of a tree, outside the corral, the saddles were piled together and covered with a tarpaulin.

As they came up, the two men with the packs stopped, and Robert Jordan knew it was for him to admire the horses.

"Yes," he said. "They are beautiful." He turned to Pablo. "You have your cavalry and all."

There were five horses in the rope corral, three bays, a sorrel, and a buckskin. Sorting them out carefully with his eyes after he had seen them first together, Robert Jordan looked them over individually. Pablo and Anselmo knew how good they were and while Pablo stood now proud and less sad-looking, watching them lovingly, the old man acted as though they were some great surprise that he had produced, suddenly, himself.

"How do they look to you?" he asked.

"All these I have taken," Pablo said and Robert Jordan was pleased to hear him speak proudly.

"That," said Robert Jordan, pointing to one of the bays, a big stallion with a white blaze on his forehead and a single white foot, the near front, "is much horse."

He was a beautiful horse that looked as though he had come out of a painting by Velásquez.

"They are all good," said Pablo. "You know horses?"

"Yes."

"Less bad," said Pablo. "Do you see a defect in one of these?"

Robert Jordan knew that now his papers were being examined by the man who could not read.

The horses all still had their heads up looking at the man. Robert Jordan slipped through between the double rope of the corral and slapped the buckskin on the haunch. He leaned back against the ropes of the enclosure and watched the horses circle the corral, stood watching them a minute more, as they stood still, then leaned down and came out through the ropes.

"The sorrel is lame in the off hind foot," he said to Pablo, not looking at him. "The hoof is split and although it might not get worse soon if shod properly, she could break down if she travels over much hard ground."

"The hoof was like that when we took her," Pablo said.

"The best horse that you have, the white-faced bay stallion, has a swelling on the upper part of the cannon bone that I do not like."

"It is nothing," said Pablo. "He knocked it three days ago. If it were to be anything it would have become so already."

He pulled back the tarpaulin and showed the saddles. There were two ordinary vaquero's or herdsman's saddles, like American stock saddles, one very ornate vaquero's saddle, with hand-tooled leather and heavy, hooded stirrups, and two military saddles in black leather.

"We killed a pair of guardia civil," he said, explaining the military saddles.

"That is big game."

"They had dismounted on the road between Segovia and Santa Maria del Real. They had dismounted to ask papers of the driver of a cart. We were able to kill them without injuring the horses."

"Have you killed many civil guards?" Robert Jordan asked.

"Several," Pablo said. "But only these two without injury to the horses."

"It was Pablo who blew up the train at Arevalo," Anselmo said. "That was Pablo."

"There was a foreigner with us who made the explosion," Pablo said. "Do you know him?"

"What is he called?"

"I do not remember. It was a very rare name."

"What did he look like?"

"He was fair, as you are, but not as tall and with large hands and a broken nose."

"Kashkin," Robert Jordan said. "That would be Kashkin."

"Yes," said Pablo. "It was a very rare name. Something like that. What has become of him?"

"He is dead since April."

"That is what happens to everybody," Pablo said, gloomily. "That is the way we will all finish."

"That is the way all men end," Anselmo said. "That is the way men have always ended. What is the matter with you, man? What hast thou in the stomach?"

"They are very strong," Pablo said. It was as though he were talking to himself. He looked at the horses gloomily. "You do not realize how strong they are. I see them always stronger, always better armed. Always with more material. Here am I with horses like these. And what can I look forward to? To be hunted and to die. Nothing more."

"You hunt as much as you are hunted," Anselmo said.

"No," said Pablo. "Not any more. And if we leave these mountains now, where can we go? Answer me that? Where now?"

"in Spain there are many mountains. There are the Sierra de Gredos if one leaves here."

"Not for me," Pablo said. "I am tired of being hunted. Here we are all right. Now if you blow a bridge here, we will be hunted. If they know we are here and hunt for us with planes, they will find us. If they send Moors to hunt us out, they will find us and we must go. I am tired of all this. You hear?" He turned to Robert Jordan. "What right have you, a foreigner, to come to me and tell me what I must do?"

"I have not told you anything you must do," Robert Jordan said to him.

"You will though," Pablo said. "There. There is the badness."

He pointed at the two heavy packs that they had lowered to the ground while they had watched the horses. Seeing the horses had seemed to bring this all to a head in him and seeing that Robert Jordan knew horses had seemed to loosen his tongue. The three of them stood now by the rope corral and the patchy sunlight shone on the coat of the bay stallion. Pablo looked at him and then pushed with his foot against the heavy pack. "There is the badness."

"I come only for my duty," Robert Jordan told him. "I come under orders from those who are conducting the war. If I ask you to help me, you can refuse and I will find others who will help me. I have not even asked you for help yet. I have to do what I am ordered to do and I can promise you of its importance. That I am a foreigner is not my fault. I would rather have been born here."

"To me, now, the most important is that we be not disturbed here," Pablo said. "To me, now, my duty is to those who are with me and to myself."

"Thyself. Yes," Anselmo said. "Thyself now since a long time. Thyself and thy horses. Until thou hadst horses thou wert with us. Now thou art another capitalist more."

"That is unjust," said Pablo. "I expose the horses all the time for the cause."

"Very little," said Anselmo scornfully. "Very little in my judgment. To steal, yes. To eat well, yes. To murder, yes. To fight, no."

"You are an old man who will make himself trouble with his mouth."

"I am an old man who is afraid of no one," Anselmo told him. "Also I am an old man without horses."

"You are an old man who may not live long."

"I am an old man who will live until I die," Anselmo said. "And I am not afraid of foxes."

Pablo said nothing but picked up the pack.

"Nor of wolves either," Anselmo said, picking up the other pack. "If thou art a wolf."

"Shut thy mouth," Pablo said to him. "Thou art an old man who always talks too much."

"And would do whatever he said he would do," Anselmo said, bent under the pack. "And who now is hungry. And thirsty. Go on, guerilla leader with the sad face. Lead us to something to eat."

It is starting badly enough, Robert Jordan thought. But Anselmo's a man. They are wonderful when they are good, he thought. There is no people like them when they are good and when they go bad there is no people that is worse. Anselmo must have known what he was doing when he brought us here. But I don't like it. I don't like any of it.

The only good sign was that Pablo was carrying the pack and that he had given him the carbine. Perhaps he is always like that, Robert Jordan thought. Maybe he is just one of the gloomy ones.

No, he said to himself, don't fool yourself. You do not know how he was before; but you do know that he is going bad fast and without hiding it. When he starts to hide it he will have made a decision. Remember that, he told himself. The first friendly thing he does, he will have made a decision. They are awfully good horses, though, he thought, beautiful horses. I wonder what could make me feel the way those horses make Pablo feel. The old man was right. The horses made him rich and as soon as he was rich he wanted to enjoy life. Pretty soon he'll feel bad because he can't join the Jockey Club, I guess, he thought. Pauvre Pablo. Il a manqué son Jockey.

That idea made him feel better. He grinned, looking at the two bent backs and the big packs ahead of him moving through the trees. He had not made any jokes with himself all day and now that he had made one he felt much better. You're getting to be as all the rest of them, he told himself. You're getting gloomy, too. He'd certainly been solemn and gloomy with Golz. The job had overwhelmed him a little. Slightly overwhelmed, he thought. Plenty overwhelmed. Golz was gay and he had wanted him to be gay too before he left, but he hadn't been.

All the best ones, when you thought it over, were gay. It was much better to be gay and it was a sign of something too. It was like having immortality while you were still alive. That was a complicated one. There were not many of them left though. No, there were not many of the gay ones left. There were very damned few of them left. And if you keep on thinking like that, my boy, you won't be left either. Turn off the thinking now, old timer, old comrade. You're a bridge-blower now. Not a thinker. Man, I'm hungry, he thought. I hope Pablo eats well.

Architecture design by William Russell Everett, 1951...wow, just wow


American Folk: Ian & Sylvia (Who are Canadian but...)



Ian & Sylvia were one of the most successful folk duos of the 1960s and '70s. They worked with fellow Canadian Gordon Lightfoot, and also recorded several original and traditional folk songs.







Could not agree more.



What can be better than to get a book out on Saturday afternoon and thrust all mundane considerations away until next week.- C.S. Lewis



Andy Goldsworthy






Andy Goldsworthy OBE (born 26 July 1956) is a British sculptor, photographer and environmentalist who produces site-specific sculptures and land art situated in natural and urban settings. He lives and works in Scotland. From the age of 13 he worked on farms as a laborer. He has likened the repetitive quality of farm tasks to the routine of making sculpture: "A lot of my work is like picking potatoes; you have to get into the rhythm of it."






Scientists reveal first-ever photo of a solar system like ours




Scientists have captured the first direct image of a solar system that closely resembles our own. The new image is a family portrait of sorts, showing two giant exoplanets orbiting a young, sun-like star, roughly 300 light years away.
The picture was taken using the European Southern Observatory's Very Large Telescope, located in Chile's Atacama Desert. According to a new study in the Astrophysical Journal Letters, the system will help astronomers better understand how our solar system formed and evolved
The star, known as TYC 8998-760-1 and located in the Southern constellation of Musca, is only 17 million years old, which researchers called a "very young version of our own sun." Comparatively, the sun is roughly 4.6 billion years old.
Both planets orbiting the star, dubbed TYC 8998-760-1b and TYC 8998-760-1c, are suspected to be gas giants, meaning they are composed primarily of gases like helium and hydrogen. However, they are much further away from their host star than our gas giants Jupiter and Saturn, at distances of 160 and about 320 times the Earth-sun distance. They are also much heavier than the gas giants in our solar system.
The image shows the two planets, which appear as two bright points of light, distantly orbiting their parent star, located in the upper left corner. Because they formed so recently, they still glow brightly enough to be seen from Earth. This image, captured by the SPHERE instrument on ESO's Very Large Telescope, shows the star TYC 8998-760-1 accompanied by two giant exoplanets. ESO/BOHN ET AL.
It marks the first time astronomers have observed more than a single planet orbiting a star similar to the sun. Only two similar systems have ever been previously observed — both with stars uniquely different to ours.
"This discovery is a snapshot of an environment that is very similar to our Solar System, but at a much earlier stage of its evolution," lead researcher Alexander Bohn, a PhD student at Leiden University in the Netherlands, said in a press release.
Co-author Matthew Kenworthy, an associate professor at Leiden University, said that these kinds of direct observations are crucial in the hunt for planets that can support life. "Even though astronomers have indirectly detected thousands of planets in our galaxy, only a tiny fraction of these exoplanets have been directly imaged," he said.
Only a few dozen of the exoplanets so-far discovered have been directly imaged, according to NASA. Scientists hope that further research will reveal if the young planets formed at their current location or migrated from somewhere else — and how they might interact with each other.

Two Moons





AS WE TOPPED THE LOW, pine-clad ridge and A looked into the hot, dry valley, Wolf Voice, my Cheyenne interpreter, pointed at a little log cabin, toward the green line of alders wherein the Rosebud ran, and said: "His house -- Two Moon."

As we drew near we came to a puzzling fork in the road. The left branch skirted a corner of a wire fence, the right turned into a field. We started to the left, but the waving of a blanket in the hands of a man at the cabin door directed us to the right. As we drew nearer we perceived Two Moon spreading blankets in the scant shade of his low cabin. Some young Cheyennes were grinding a sickle. A couple of children were playing about the little log stables. The barn-yard and buildings were like those of a white settler on the new and arid sod. It was all barren and unlovely -- the home of poverty.

As we dismounted at the door Two Moon came out to meet us with hand outstretched. "How" he said, with the heartiest, long-drawn note of welcome. He motioned us to be seated on the blankets which he had spread for us upon seeing our approach. Nothing could exceed the dignity and sincerity of his greeting.

As we took seats he brought out tobacco and a pipe. He was a tall old man, of a fine, clear brown complexion, big-chested, erect, and martial of bearing. His smiling face was broadly benignant, and his manners were courteous and manly.

While he cut his tobacco Wolf Voice interpreted my wishes to him. I said, "Two Moon, I have come to hear your story of the Custer battle, for they tell me you were a chief there. After you tell me the story, I want to take some photographs of you. I want you to signal with a blanket as the great chiefs used to do in fight."

Wolf Voice made this known to him, delivering also a message from the agents, and at every pause Two Moon uttered deep-voiced notes of comprehension. "Ai," "A-ah," "Hoh,"-these sounds are commonly called "grunts," but they were low, long-drawn expulsions of breath, very expressive.
Then a long silence intervened. The old man mused. It required time to go from the silence of the hot valley, the shadow of his little cabin, and the wire fence of his pasture, back to the days of his youth. When he began to speak, it was with great deliberation. His face became each moment graver and his eyes more introspective.

"Two Moon does not like to talk about the days of fighting but since you are to make a book, and the agent says you are a friend to Grinnell (George B. Grinnell, whom the Cheyennes, Blackfeet, and Gros Ventres love and honor), I will tell you about it-the truth. It is now a long time ago, and my words do not come quickly.

"That spring [1876] I was camped on Powder River with fifty lodges of my people -- Cheyennes. The place is near what is now Fort McKinney. One morning soldiers charged my camp. They were in command of Three Fingers [Colonel McKenzie]. We were surprised and scattered, leaving our ponies. The soldiers ran all our horses off. That night the soldiers slept, leaving the horses one side; so we crept up and stole them back again, and then we went away.

"We traveled far, and one day we met a big camp of Sioux at Charcoal Butte. We camped with the Sioux, and had a good time, plenty grass, plenty game, good water. Crazy Horse was head chief of the camp. Sitting Bull was camped a little ways below, on the Little Missouri River.
"Crazy Horse said to me, `I'm glad you are come. We are going to fight the white man again.'
"The camp was already full of wounded men, women, and children.

"I said to Crazy Horse, `All right. I am ready to fight. I have fought already. My people have been killed, my horses stolen; I am satisfied to fight'.

Here the old man paused a moment, and his face took on a lofty and somber expression.
"I believed at that time the Great Spirits had made Sioux, put them there," he drew a circle to the right "and white men and Cheyennes here," -- indicating two places to the left -- `expecting them to fight. The Great Spirits I thought liked to see the fight; it was to them all the same like playing. So I thought then about fighting." As he said this, he made me feel for one moment the power of a sardonic god whose drama was the wars of men.
Northern Cheyenne War Chief Two Moon in 1879, three years after the Battle of the Little Big Horn"About May, when the grass was tall and the horses strong, we broke camp and started across the country to the mouth of the Tongue River. Then Sitting Bull and Crazy Horse and all went up the Rosebud. There we had a big fight with General Crook, and whipped him. Many soldiers were killed -- few Indians. It was a great fight, much smoke and dust.
"From there we all went over the divide, and camped in the valley of Little Horn. Everybody thought, `Now we are out of the white man's country. He can live there, we will live here.' After a few days, one morning when I was in camp north of Sitting Bull, a Sioux messenger rode up and said, `Let everybody paint up, cook, and get ready for a big dance.'

"Cheyennes then went to work to cook, cut up tobacco, and get ready. We all thought to dance all day. We were very glad to think we were far away from the white man.

"I went to water my horses at the creek, and washed them off with cool water, then took a swim myself. I came back to the camp afoot. When I got near my lodge, I looked up the Little Horn towards Sitting Bull's camp. I saw a great dust rising. It looked like a whirlwind. Soon Sioux horseman came rushing into camp shouting: 'Soldiers come! Plenty white soldiers.'
"I ran into my lodge, and said to my brotherin-law, 'Get your horses; the white man is coming. Everybody run for horses.'

"Outside, far up the valley, I heard a battle cry, Hay-ay, hay-ay! I heard shooting, too, this way [clapping his hands very fast]. I couldn't see any Indians. Everybody was getting horses and saddles. After I had caught my horse, a Sioux warrior came again and said, 'Many soldiers are coming.'

"Then he said to the women, 'Get out of the way, we are going to have hard fight.'
"I said, `All right, I am ready.'

"I got on my horse, and rode out into my camp. I called out to the people all running about: `I am Two Moon, your chief. Don't run away. Stay here and fight. You must stay and fight the white soldiers. I shall stay even if I am to be killed.

"I rode swiftly toward Sitting Bull's camp. There I saw the white soldiers fighting in a line [Reno's men]. Indians covered the flat. They began to drive the soldiers all mixed up -- Sioux, then soldiers, then more Sioux, and all shooting. The air was full of smoke and dust. I saw the soldiers fall back and drop into the riverbed like buffalo fleeing. They had no time to look for a crossing. The Sioux chased them up the hill, where they met more soldiers in wagons, and then messengers came saying more soldiers were going to kill the women, and the Sioux turned back. Chief Gall was there fighting. Crazy Horse also.

"I then rode toward my camp, and stopped squaws from carrying off lodges. While I was sitting on my horse I saw flags come up over the hill to the east like that [he raised his finger-tips]. Then the soldiers rose all at once, all on horses, like this [he put his fingers behind each other to indicate that Custer appeared marching in columns of fours]. They formed into three branches [squadrons] with a little ways between. Then a bugle sounded, and they all got off horses, and some soldiers led the horses back over the hill.

"Then the Sioux rode up the ridge on all sides, riding very fast. The Cheyennes went up the left way. Then the shooting was quick, quick. Pop-pop-pop very fast. Some of the soldiers were down on their knees, some standing. Officers all in front. The smoke was like a great cloud, and everywhere the Sioux went the dust rose like smoke. We circled all round them -- swirling like water round a stone. We shoot, we ride fast, we shoot again. Soldiers drop, and horses fall on them. Soldiers in line drop, but one man rides up and down the line -- all the time shouting. He rode a sorrel horse with white face and white fore-legs. I don't know who he was. He was a brave man.

"Indians keep swirling round and round, and the soldiers killed only a few. Many soldiers fell. At last all horses killed but five. Once in a while some man would break out and run toward the river, but he would fall. At last about a hundred men and five horsemen stood on the hill all bunched together. All along the bugler kept blowing his commands. He was very brave too. Then a chief was killed. I hear it was Long Hair [Custer], I don't know; and then the five horsemen and the bunch of men, may be so forty, started toward the river. The man on the sorrel horse led them, shouting all the time.  He wore buckskin shirt, and had long black hair and mustache. He fought hard with a big knife. His men were all covered with white dust.

I couldn't tell whether they were officers or not. One man all alone ran far down toward the river, then round up over the hill. I thought he was going to escape, but a Sioux fired and hit him in the head. He was the last man. He wore braid on his arms. [Note: others said this was a suicide and the American shot himself in the head after he had made his getaway.]
"All the soldiers were now killed, and the bodies were stripped. After that no one could tell which were officers. The bodies were left where they fell. We had no dance that night. We were sorrowful.

"Next day four Sioux chiefs and two Cheyennes and I, Two Moon, went upon the battlefield to count the dead. One man carried a little bundle of sticks. When we came to dead men, we took a little stick and gave it to another man, so we counted the dead. There were 388. There were thirty-nine Sioux and seven Cheyennes killed, and about a hundred wounded.

"Some white soldiers were cut with knives, to makes sure they were dead; and the war women had mangled some. Most of them were left just where they fell. We came to the man with big mustache; he lay down the hill towards the river. (Custer fell up higher on the ridge.) The Indians did not take his buckskin shirt. The Sioux said, `That is a big chief. That is Long Hair.' I don't know. I had never seen him. The man on the white-faced horse was the bravest man.

"That day as the sun was getting low our young men came up the Little Horn riding hard. Many white soldiers were coming in a big boat, and when we looked we could see the smoke rising. I called my people together, and we hurried up the Little Horn, into Rotton Grass Valley. We camped there three days, and then rode swiftly back over our old trail to the east. Sitting Bull went back into the Rosebud and down the Yellowstone, and away to the north. I did not see him again."

 The old man paused and filled his pipe. His story was done. His mind came back to his poor people on the barren land where the rain seldom falls.

"That was a long time ago. I am now old, and my mind has changed. I would rather see my people living in houses and singing and dancing. You have talked with me about fighting, and I have told you of the time long ago. All that is past. I think of these things now: First, that our reservation shall be fenced and the white settlers kept out and our young men kept in. Then there will be no trouble. Second, I want to see my people raising cattle and making butter. Last, I want to see my people going to school to learn the white man's way. That is all."

There was something placid and powerful in the lines of the chief's broad brow, and his gestures were dramatic and noble in sweep. His extended arms, his musing eyes, his deep voice combined to express a meditative solemnity profoundly impressive. There was no anger in his voice, and no reminiscent ferocity. All that was strong and fine and distinctive in the Cheyenne character came out in the old man's talk. He seemed the leader and the thoughtful man he really is -- patient under injustice, courteous even to his enemies.

Two Moon's Story of the Battle, A Cheyenne's account of the Battle of the Little Bighorn. From McClure's Magazine, September, 1898.







Two Moons (1847–1917), was one of the Cheyenne chiefs who took part in the Battle of the Little Bighorn and other battles against the United States Army. (Including the Battle of the Rosebud against General Crook on June 17, 1876, in the Montana Territory)
He the surrendered of his Cheyenne band to Miles at Fort Keogh in April 1877 and enlisted as an Indian Scout under General Miles. Amiable, humorous and with no animosity to whites,  General Miles appointed him head Chief of the Cheyenne Northern Reservation. As head Chief, Two Moons played a crucial role in the surrender of Chief Little Cow's Cheyenne band at Fort Keogh.


Two Moons traveled on multiple occasions to Washington, D.C., to discuss and fight for the future of the Northern Cheyenne people and to better the conditions that existed on the reservation. In 1914, Two Moons met with President Woodrow Wilson to discuss these matters. He was also one of the models selected for James Fraser's famous Buffalo Nickel. Two Moons died in 1917 at his home in Montana at the age of 70. 

Isn't this wonderful?


Russia’s Ussuri Bay was once labeled a hazard because it used to be a Soviet-era dumping ground for broken glass and porcelain. Over time, years of water erosion that transformed the jagged shards into smooth pebbles. Now a protected area, ‘Glass Beach,’ has become popular with tourists from all over the world. 






So I got this in my email account and it concerned me until I took a closer look at the superior grammar skills of the sender



We apologize, this is happening to your account. We've found fraudulent activiy on your last transaction. This is an action to keep our customers doing transaction safely without any problem. We know this is maybe making you frustrating but don't worry, we can help you solve your problem easily.
Follow up this then we can help you solve your problem, otherwise you can still contact us at the bottom of the page. Our customer services can help you 24/7 Online Support.
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*** OPPORTUNITIES FOR PLAYWRIGHTS ***




The Ringwald Theatre is sounding a call for new, original one-act plays to be performed at their annual Gay4Detroit Festival (previously the GPS Festival) in September 2020. The Detroit-area’s only LGBTQ+ short play festival is striving to provide early-career writers the opportunity to see their work produced, giving them what is oft-needed exposure.
The plays submitted should have a performance time of 30 minutes or less and deal directly with issues or characters that are identified as LGBTQ+, or contain a queer sensibility. 

In addition, this year the scripts must exclusively be one- or two-person shows that deal specifically with the quarantine and/or the pandemic.

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The Courtship of Winds publishes poetry, fiction, short dramatic pieces...
We are interested in short verse plays and one-act plays.

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The Dorothy and Lewis B. Cullman Center for Scholars and Writers supports projects that draw on the research collections at The New York Public Library's Stephen A. Schwarzman Building (formerly the Humanities and Social Sciences Library). The Center looks for top-quality writing from academics as well as from creative writers and independent scholars. Visual artists whose projects require extensive use of Library collections are also encouraged to apply. The Center aims to promote dynamic conversation about the humanities, social sciences, and scholarship at the highest level—within the Center, in public forums throughout the Library, and in the Fellows' published work.


*** FOR MORE INFORMATION about these and other opportunities see the web site at https://www.nycplaywrights.org ***


*** ORIGINS OF WESTERN THEATER ***

What Is Theater? Crash Course Theater #1

Welcome to Crash Course Theater with Mike Rugnetta! In this, our inaugural week, we're going to ask the two classic questions about theater. 1.What is theater? And 2. Is it spelled -re or -er? Well, there's a clue to question two in the title of the video. The first question is a little trickier. We'll look at some of the historical definitions of theater, and investigate some of the ways people have thought about theater in different times and places in the world. 


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DITHYRAMB

A dithyramb was a choral hymn sung by fifty men or boys, under the leadership of an exarchon, to honor Dionysus. The dithyramb became a feature of Greek tragedy and is considered by Aristotle to be the origin of Greek tragedy, passing first through a satyric phase. 

More...

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THESPIS

November 23 marks the traditional date when the first ever human being to take the stage and portray someone else other than himself took place.  This person, according to various sources, most notably Aristotle, was a man named Thespis of Icaria. (which is also where we get the word “thespian”, meaning “actor”)  In his first performance as an actor, Thespis supposedly took the stage wearing a mask and portraying the god Dionysus, which was considered by many to be blasphemous.

Before Thespis, performers would take the stage as story tellers and the performances were often choral.  According to Aristotle, Thespis would take the stage actually portraying a single character and would wear different masks, depending on what character he was at that moment portraying.

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TETRALOGY

The Athenian term given to the group of four plays which the poets produced in rivalry with each other at the dramatic contests held at the feast of Dionysus. After the introduction of the satyric drama, this, or a drama of a comparatively cheerful character (such as the Alcestis of Euripides), formed the fourth piece of three tragedies or of a trilogy. By a tetralogy is more particularly meant such a group of four dramas as had belonged to the same cycle of myths, and had thus formed a connected whole. Of such a kind were the tetralogies of Aeschylus. It is doubtful, however, whether he found this type of connected tetralogy already in use, or was the first to introduce it. Sophocles abolished the connexion between the several pieces, and Euripides followed his example. A complete tetralogy is not extant, although a trilogy exists in the Oresteia of Aeschylus, consisting of the tragedies Agamemnon, Choephoroe, and Eumenides; the satyric play appended to it was the Proteus.


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DRAMA CONTEST

In classical Athens, the competitions in tragedy, comedy and dithyramb (choral lyric compositions, nominally in honour of Dionysus), at festivals such as the City Dionysia, were judged by ten-man panels selected by lot from longer lists of nominees; except by a rare accident, the judges would not be professional dramatists or poets, and such expertise as they might possess would only be that of the educated and experienced spectator (like all Athenians holding positions of public responsibility, they would have to be at least thirty years old).  One of Aristophanes’ comic choruses can happily divide the judges into the two classes of “intellectuals” and “those who enjoy a laugh” (of course they solicit the votes of both groups alike).  The judges were under oath to give a fair and impartial decision, but comedy generally assumes that they were very susceptible to evidence of the preferences of those sitting beyond and behind them.

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Deus Ex-Machina” Reconstruction in the theatre of Phlius

In some ancient Greek drama plays, the stage machine used to bring the gods or the heroes of the tragedy on stage, known with the Latin term deus-ex-machina, was used for the solution of an apparently insoluble crisis. A twin-facing stone base was found in the theater of Phlius in Corinthia, Greece, behind the stage building. The existence of similar foundations in other ancient theaters indicates their use for specific purposes connected with the needs of the play. An attempt to reconstruct the mechanism is presented based on archeological evidence and literary descriptions. The reconstructed mechanism was designed for path generation and comprised a single beam with ropes controlling its planar motion and a sidle twin lifting system.

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Cosmic Connection: The Satyr Plays

(Some Images Considered NSFW)
 The Greek tragedies we have portray a world dominated by murder, incest, dragons, and fire—plays that were so jarring they were said to have caused miscarriages in the aisles. With that in mind it’s easy to forget that the Greeks also knew how to have a good time; and what better way to lighten the mood after finding out you’ve been sleeping with your mother than by performing a Satyr play? Satyr Plays, sometimes referred to as the Phallic Plays, are short comedic pieces that were used as a kind of comic relief in between tragedies, especially at competitions, and can be traced back to 500bc.
 A satyr is a half-man half-goat creature that was portrayed as being drunk, very sexual, and generally quite bawdy. The satyr character would sing and dance, drink and orgy, which brings up one of the more important parts of the Satyr Plays: the use of phallic props. Many of the pictures we have now of Satyr plays show satyr creatures with hilariously long phallic props that drag on the ground or that stood completely erect and were used to whack the other satyr players on stage.

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