See also:   [Pablo Picasso]]


On this page: {} {World War I} {Un-Reality Continues in War Effort} In the superb book on the seige on Paris (1870-1871), [John Milner] (also, [Note 2]) has this to say: 'This is a book of misery, ruins, and blood' [1] is how Armand Dayot, Director of Fine Arts, described his publication in 1901 which recorded the events of 1870 and 1871 in France. The period is brief, barely 316 days of rapidly shifting political allegiances and events. But this was a period of radical imbalances of power in which the whole political spectrum in France was active and in contention: [Royalists], [Imperialists, [Bonapartists, [Republicans, [Communists, and [Anarchists fought it out. In addition, France went to war with Prussia providing crises after crises from Strasbourg in the east to Paris itself and to many other areas too." [Op. Cit [2], P.ix (preface)] [1] A. Dayot, L'Invasion, le Siège, et la Commune, Paris 1871, (Paris, 1901), P. 1. (as noted in [2]). [2] "Art, War, & Revolution in France 1870-1871: Myth, Reportage, and Reality", John Milner, ISBN 0.300.08407.2 (New Haven & London, 2000).

Un-Reality Continues in War Effort

I'm not sure why this struck me as odd [actually i do, since i have kids as well, i can well imagine this *being* me], since i'm supposed to be writing some more notes on Bud Powell, anyway... From "Quick", published by Laura Gordon as an alternative by Dallas Morning News. BEGIN BLOCK QUOTE [P. 4]

Civilians Killed by Mistake

BAGHDAD, Iraq - U.S. soldiers fired on a civilian vehicle because they feared it might hold a suicide bomber, killing two adults and a child, American officials said. The troops fired on teh car because it was moving erratically outside a U.S. base, said Maj. Steven Warren. "It was one of those regrettable, tragic incidents." Dr. Ahmed Fouad at the city mourgue gave a higher toll, saying five people -- including three children -- died. END BLOCK QUOTE Odd, that number 3 or 5, don't you think? And the bit about "civilians killed by mistake", you'd think that this sort of thing would have been going on all along. But, now "all of a sudden" such incidents are being reported in the news paper. Consider also (on the same page) the following: BEGIN BLOCK QUOTE [P.4]

Cheney denounced war criticism

WASHINGTON -- Vice President Dick Cheney yesterday [Monday, Nov. 28, 2005] accused critics of "corrupt and shameless" revisionism in suggesting the White House misled the nation in a rush to war, the latest salvo in an increasingly acrimonious debate over pre-war intellegence. Cheney also denounced proposals for a quick U.S. withdrawal from Iraq as "a dangerous illusion" and dismissed the failure to find weapons of mass destruction. "We never had the burden of proof," he said. END BLOCK QUOTE Curiousier and Curiosier said Alice [in Wonderland]. Hmm, let's see revisionism? As I recall Colin Powell held up those fuzzy photos in the United Nations as "proof" that there were weapons of mass destruction. And it was either Mr. Bush or Mr. Cheney that said "there is no question of it" [ie, that there were weapons of mass destruction], and something to the effect that "of that there can be no debate" (not an exact, but the text recapitulates (not revises negative-time-wise) the memory of what i (we?) recall as happening). And if that was given "as proof", then how is it that they did not have the "burden of proof"? Perhaps the white rabbit hid the proof (after the magic mushrooms ate the weapons of mass deception, and ultimately one must wonder about the Kings Head Wonder Lettuce and does a pome rheally not qhave to rhyme? Or was it all just a dream. No dear, it's no dream: 15_000 American troops are coming home (and those are the ones that are alive, but injured *physically* (or at least injured seriously *emotionally* (it all seemed clear at the time) [listening to "Impressions" by Coltrane]

World War I

One of the fall-outs of WW I was the various ways that people in the war viewed it as it was going on. Like modern artists and intellectuals, Léger embraced the war, believing that it would clean out the cob-webs of aristorcratic control and class war-fare that had marred the history of modern Europe. [P.163, in "Modern Art: 1851-1929" by Richard R. Brettell, ISBN 0.19.284220.X, Oxford, 1999]


Important Works