A proposed course taught at a major university
“even when the haters come after us and try to shut us up just because we are women.”
This morning I awoke with instructions from my subconscious that bid me to become a College Professor after authoring a laborious book on…..Wittgenstein, ZARDOZ, and Pulp Fact. I just lie there, wiping the sleep from my eyes, asking the question I ask almost every morning;
Most of my readership will not fathom this post unless you know something about ZARDOZ that Boorman suggests is a Arthurian Tale.
The Monster of My Id now went after my old nemesis, Ed Ray, the President of Oregon State, who fell for The Big Gag, and removed the name of my kin Senator Thomas Hart Benton from a hall on his campus. Then my post on Synchronistic Art that intrigued the artist Thomas Hart Benton, came up. I looked at the protests of Chicanos and Native Americans over a mural in Santa Monica, that could be the ‘Beginning of The End of Civilization as we know it. I suspect this demonstration is the model for the Insurrectionist Attack on our Nation’s Capitol, that appears to have been instigated by a group of women who were sending this message all over social media.
“even when the haters come after us and try to shut us up just because we are women.”
The question I will be asking MY CLASS, is….
“Did Putin’s Cozy Bear Cyber Warriors come up with this GREAT INCITEFL, PULP FICTIONAL, AND HISTORIC LINE?”
I will call upon everyone of my students to give their confused opinion, then I will go to the blackboard with my magical piece of white chalk – and enlinghten them!
“even when the haters come after us and try to shut us up just because……..WE ARE CHRISTIANS.”
There is evidence Christian Think Tanks are producing Christian Propaganda aimed at agitating Christians, and getting them to commit acts of violence in order to protect Christian Women. Since June 6th. members of Facebook who identified themselves as Knights Templar, have faded into the background. This suggests there was a Covert Christian Crusade afoot, that was employing stealth for various reasons, that needs a thorough study by a Major University. and….I am The Chosen One!
I will then ask my class if anyone has a problem with studying Christian Propaganda, which will entail looking at the possibility Christianity is….PULP FICTION?
What I will explore is the real possibility a Christian Think Tank has declared the United States Government – THE CENTER OF THEIR CHURCH – so there will no longer be separation of church and state, and, indeed, after Christian Nationalism has taken over our Democracy, they will cast out renegades, those who refuse to join them, or, are imposters in the Vortex. At the end of the semester there will be a graduation ceremony that will last three days, where each student writes a essay on why they will not Meditate On Second Level. I would like to see this casting out taking place in front of the Knight Library. Every student will author a paper on how they would create a vortex. Also, they will author a small chapter on my Bond Characters found in ‘The Royal Janitor’.
Here is my most eager student, Miriam Starfish Christling. As professor John von Bond, I have no idea Miriam is the most lethal assassin in the world, who hypnotizes her prey with a story about a fish that lives in the deepest lake in Russia – if not the world! She is…..The Death! One false statement, one fake utterance, could mean the end of Professor Bond – who makes the mistake of buying Starfish a Zig Zag Beer at….The Bum’s Rush Cafe! Starfish hates the story of Little Red Riding Hood’ because any young girl can see right through the wolf, especially if she has Russian blood in her veins. Starfish is not a pessimist. Quite the contrary. Death is not a pessimist, either. Death allows for all the wondrous things life has to offer, knowing….death is one of them!
Above is a painting of the Chappaqua campground in Ventura that my grandfather mentions in his story ‘Camping On Anacapa’. I suspect Royal and members of the Black Mask founded their own Chappaqua for Pulp Fiction Authors. My class will trace the gun we see Norbert Davis holding as he sits next to my grandmother, Mary Magdalene Rosamond on Saint Croix Island. We will study how a Pulp Vortex was created around Roger Craig and the Bond movie ‘No Time To Die’ after COVID-19 shut down the normal and accepted way movie goers receive a new movie into THE PUBLIC. What was fiction took on a reality of its own, where the actor that plays James Bond, becomes a Historic James Bond, a new figurehead that was born of necessity. If Ludwig Wittgenstein were alive, he would study this Pulp Fact that replaced millions of people buying a ticket to the picture show.
A paper will be submitted on what the student thinks is going on at the end of the movie ZARDOZ. Why are people of the vortex begging the ARMED MASKED MEN to shoot them? For several moths I have been wondering why many people, many Christians refuse to be vaccinated. Are they begging TO DIE? This morning a clue came to me as I awoke. Are Christians afraid their chance for eternal life be taken from them if they accept a secular scientific solution for THE PLAGUE which is a Biblical noun like leper. For the reason Jesus – personally fails to give a thorough discourse on Immortality – much of Christendom has had to rely on the paganist teaching of Saint Paul, who invented Anti-Semitism. This is to say Pagan Voo-Dooism is alive and well – and being exploited in highly clever Christian Think Tanks.
My course will be the best College Course – EVER! I had a revelation that I do not have to author a text book, because, my newspaper-blog is my PULP FACT TEXT. Pulp Fact Newspaper is a new term.
I will have members of my class dress like Zed and wander the Univeristy of Oregon shouting his name;
Every student will make their own Zed mask.
“The fact that Wittgenstein’s attempt to get in touch with Davis failed is tragic somehow. If anyone could have helped Norbert Davis then, in my view, it was Ludwig Wittgenstein. He was an influential philosopher who managed throughout his entire life to rope his wealthy friends and relatives into supporting hapless individuals, in particular writers and artists.”
The 11 subpoenas sent this week went to people who organized or worked at the rally at the Ellipse where Trump encouraged the crowd to march to the Capitol and told them “you’ll never take back our country with weakness. You have to show strength, and you have to be strong.”
Boorman was inspired to write Zardoz while preparing to adapt J. R. R. Tolkien‘s The Lord of the Rings for United Artists, but when the studio became hesitant about the cost of producing film versions of Tolkien’s books, Boorman continued to be interested in the idea of inventing a strange new world. He wrote Zardoz with William (Bill) Stair, a long time collaborator. Boorman said that he “wanted to make a film about the problems of us hurtling at such a rate into the future that our emotions are lagging behind.” The original draft was set five years in the future and was about a university lecturer who became obsessed with a young girl whose disappearance prompted him to seek her out in the communes where she had lived. Boorman visited some communes for research, but decided to set the story far in the future, when society had collapsed.
In the audio commentary Boorman says he developed the emergent society, focusing on a central character “who penetrated it. He’d be mysteriously chosen and at the same time manipulated — and I wanted the story to be told in the form of a mystery, with clues and riddles which unfold, the truth slowly peeled away.” The script was influenced by the writings of Frank L. Baum, T.S. Eliot and Tolkien, and drew inspiration from medieval Arthurian quests. “It’s about inner rather than outer space,” said Boorman. “It’s closer to the better science fiction literature which is more metaphysical. Most of the science fiction that gives the genre a bad name is adventure stories in space clothes.”
1. pulp – a publication, such as a magazine or book, containing lurid subject matter.
2. fiction – a literary work whose content is produced by the imagination and is not necessarily based on fact.
Hundreds of health care workers across the country are being fired or suspended in droves for not complying with COVID-19 vaccine mandates.
The power of the “Women for America First” coalition should not be underestimated. Millions of women – many who never before had a voice in politics – have come together in our 21st century suffrage movement. We’re keeping this movement together by giving women the tools and a safe place to speak out – even when the haters come after us and try to shut us up just because we are women.
In this case, the lesser-known Cozy Bear is said to be the main culprit. It is formally known as ATP29 where APT stands for advanced persistent threat.
Over the last few months, Cozy Bear hackers allegedly used spear phishing and custom malware software to try to extract files crucial to developing a vaccine.
“This latest campaign fits with their modus operandi of disruption, stealing intellectual property, and sowing distrust in democracy,” said Andrew Tsonchev, director of technology at security firm Darktrace.
- Yesterday I owned a very clear picture of Garth and Drew Benton in Christine Benton’s home, while my family was at the funeral. I just woke up from my old man nap, and I was at 13th. Street where I lived with The Loading Zone. The young Rena was asleep in the attic room. I couldn’t wait to see her face again. I awoke, and, I was just dreaming.
I have conducted the most magnificent piece of Detective Work – in history! I own the view of my destiny from my grandparents eyes. I have overcome one of the greatest obstacles a human being can encounter. Total Illusionists had invaded the World of Art and Literature, and I exposed them. I uncovered them. Now, I will bury them in a great work of literature. True History and True love of art, will be cleansed.
President: Royal Rosamond Presshttps://rosamondpress.com/2021/06/26/spy-island-authors/embed/#?secret=NNhulMYW3D
Ludwig Wittgenstein and Norbert Davis
1. Introduction: Wittgenstein read Davis
Thanks a lot for the detective mags. I had, before they arrived, been reading a detective story by Dorothy Sayers, and it was so bl… foul that it depressed me. Then when I opened one of your mags it was like getting out of a stuffy room into the fresh air. And, talking of detective fiction, I’d like you to make an enquiry for me when once you’ve got nothing better to do. A couple of years ago I read with great pleasure a detective story called Rendezvous With Fear by a man Norbert Davis. I enjoyed it so much that I gave it not only to Smythies but also to Moore to read and both shared my high opinion of it. For, though, as you know, I’ve read hundreds of stories that amused me and that I liked reading, I think I’ve only read two perhaps that I’d call good stuff, and Davis’s is one of them. Some weeks ago I found it again by a queer coincidence in a village in Ireland, it has appeared in an edition called ‘Cherry Tree books’, something like ‘Penguin’. Now I’d like you to ask at a bookshop if Norbert Davis has written other books, and what kind. (He’s an American.) It may sound crazy, but when I recently re-read the story I liked it again so much that I thought I’d really like to write to the author and thank him. If this is nuts don’t be surprised, for so am I. I shouldn’t be surprised if he had written quite a lot and only this one story were really good.
This letter is quoted in Norman Malcolm’s book Ludwig Wittgenstein: A Memoir. Malcolm added the following footnote after Norbert Davis’s name: “As I recall, I was unable to obtain any information about this author.”
The American philosopher Norman Malcolm was a student of Wittgenstein’s at Cambridge and later became a much esteemed correspondence partner and supplier of the latest detective pulps from the United States. It would appear, however, that Malcolm did not take his friend Ludwig’s desire to read more by Davis all that seriously. In 1948 he could have got hold of some short stories and books by Norbert Davis without much difficulty. After years of writing for the pulp magazines, Davis had managed in the 1940s to have his detective stories published in book form. Between 1943 and 1947 four such books appeared: The Mouse in the Mountain (1943; the paperback issues were called Rendezvous with Fear and Dead Little Rich Girl); Sally’s in the Alley (1943); Oh Murderer Mine (1946); Murder Picks the Jury (1947).
No more books followed. In 1949, at the age of 40, Norbert Davis took his life.
The fact that Wittgenstein’s attempt to get in touch with Davis failed is tragic somehow. If anyone could have helped Norbert Davis then, in my view, it was Ludwig Wittgenstein. He was an influential philosopher who managed throughout his entire life to rope his wealthy friends and relatives into supporting hapless individuals, in particular writers and artists.
Wittgenstein’s enthusiasm for Norbert Davis’s first novel is understandable. This particular novel betrays, as do other texts by Davis, a similar mode of thinking and writing, a kind of elective affinity to Wittgenstein’s own work. What is more, in his earlier years Wittgenstein had been repeatedly haunted by thoughts of suicide. Three of his brothers had ended their lives by suicide. In fact, suicide was part and parcel of the whole milieu in which he spent his earlier life in Austria . In his biography, Ray Monk refers to that milieu as a “Laboratory for Self-destruction.”
Today, a half a century later, it is impossible to make up for Malcolm’s neglect to inquire about Davis and so historically cancel out that non-encounter between him and Wittgenstein. It is possible, however, to address the question of why Wittgenstein estimated Norbert Davis’s novel so highly that he felt a need to thank him personally for it.
2. Wittgenstein as a culture lover and crime fiction reader
In 1948, three years before his death, Wittgenstein was a famous philosopher who was supported by people like Bertrand Russell, George Moore, John Maynard Keynes, and not least, by his siblings in Austria. He came from one of the richest and culturally most influential families in Vienna at the end of the Austro-Hungarian Empire. Brahms, Mahler, Klimt, and Grillparzer were just some of the guests to visit the Wittgenstein home. Ludwig’s older brother Paul became a famous pianist. It was for him that Ravel composed his “Piano Concerto in D Major for Left Hand”; Paul Wittgenstein had lost his right arm in the First World War.
As a child already, Ludwig Wittgenstein had got to know and love the literature and music of the German speaking region, maintaining throughout his whole life a particular leaning towards classical music. As for literature, he was especially taken by the works of Goethe, Mörike, Keller, Hebel, Lenau, and Nestroy, though he also liked Tolstoy, Dostoievski, Sterne, Lewis Carrol, Dickens, and the young Joyce. In 1914, through the editor of the Austrian magazine Der Brenner, Wittgenstein had a donation of 100,000 Kronen (about €100,000 today) distributed among “penniless Austrian artists,” including, among others, Rilke, Trakl, Lasker-Schüler, Kokoschka, Haecker, and Däubler.
Between 1926 and 1928, Wittgenstein, together with Paul Engelmann, a disciple of the modernist architect Adolf Loos, supervised the construction of the so-called Wittgenstein Palais on Kundmanngasse in Vienna for his sister Gretl. Both the exterior and the interior of the house were designed in a style similar to that of Loos and the Bauhaus. Once his tasks were completed, Wittgenstein liked to go and see westerns, above all Tom Mix films, together with Engelmann. Later, in Cambridge, he developed an enthusiasm for American review films which he preferred to watch from the front row of the cinema.
It cannot be established conclusively when exactly Wittgenstein began reading crime fiction, though it had definitely become a fixed component of his reading material after his return to Cambridge in 1929. His preference was for Street & Smith’s Detective Story Magazine, a monthly pulp magazine which he read, more or less regularly, up until his death. Wittgenstein liked this magazine so much that he quoted it in the last lecture he gave as a fellow of Trinity College. That is not all. In his letters to Norman Malcolm he mentions several times how important the magazine was for him, much more important than the leading philosophy magazine of the time, Mind. In the context of paper rationing in England he wrote to Malcolm on 8.9.1945: “Thanks a lot for the mags. … The one way in which the ending of Lend-Lease really hits me is by producing a shortage of detective mags in this country. I can only hope Lord Keynes will make this quite clear in Washington. For I say: if the U.S.A. won’t give us detective mags we can’t give them philosophy …”
A letter dated 15.3.1948 contains the following lines: “Your mags are wonderful. How people can read Mind if they could read Street & Smith beats me. If philosophy has anything to do with wisdom there’s certainly not a grain of that in Mind, and quite often a grain in the detective stories.”
Mind came off even more negatively in another comparison made in his letter of 30.10.1945: “If I read your mags I often wonder how anyone can read Mind with all its impotence and bankruptcy when they could read Street & Smith mags. Well, everyone to his taste.”
Wittgenstein’s preference in crime fiction was not exclusively for “hard-boiled detective stories,” as Ray Monk’s biography would have us believe. M. O’C. Drury, a close friend of Wittgenstein’s, recalled a conversation he once had about crime fiction with Wittgenstein in 1936 during which Wittgenstein praised Agatha Christie, claiming that it required a specifically English talent to be able to write such books. For Wittgenstein, Christie’s crime stories were a pure delight. Not only were the plots cleverly worked out, the characters too, were so well portrayed that they seemed like real people. On once being recommended to read Chesterton’s Father Brown stories, Wittgenstein turned up his nose: “Oh no, I couldn’t stand the idea of a Roman Catholic priest playing the part of a detective. I don’t want that.”
In light of that conversation with Drury in the mid-1930s, it can be safely assumed that Wittgenstein’s taste complied with that of his time, and that he therefore partook of all the developments in crime fiction. His liking for the more modern literary style of the hard-boiled detective stories probably developed when they had made their way into almost all the crime story magazines, including Street & Smith’s Detective Story Magazine – on the model of the Black Mask. As Ray Monk points out, in the 1930s and 40s, Detective Story Magazine carried works by Black Mask authors such as Raymond Chandler, Carroll John Daly, Erle Stanley Gardner, Cornell Woolrich and Norbert Davis. Wittgenstein, however, always speaks of detective stories, which would lead one to presume that the other sub-genres in crime fiction, such as gangster or action stories and psycho-thrillers, did not appeal to him as much. Most of the detective stories of the hard-boiled school had basic elements in common with the classical whodunits, so that the change in the reading public’s habits could take place gradually.
3. The characteristic features of Norbert Davis’ detective stories
Norbert Davis was no realist. He was not interested in depicting reality in the raw, nor in presenting characters, scenes and dialogues that seemed as if they were borrowed from harsh everyday life. What characterises Davis as a hard-boiled writer is the cutting and curt linguistic and narrative style he chose in order to portray a thoroughly corrupt and violent world. Often the vocabulary is bold and simple, the short, precise sentences stylistically well honed.
Occasionally he even uses internal rhyme and alliteration: “A Lady gets a Lift,” “Target for Teresa,” “A Break for a Bum,” “Give the Devil his Due,” and “Latin in Art” (from The Adventures of Max Latin). Davis’s dialogues ooze sarcasm. Pathos, sentimentality or naivety‚ of any kind are averse to his hardened protagonists. The best example of this is his private detective Doan. In one scene in The Mouse in the Mountain the bandit Garcia lies dead on the ground after an exchange of shots. A Mexican officer examines him:
“Dead,” said the tall man. “That is unfortunate.”
“For him,” Doan agreed.
Davis’s plots, characters, and basic character constellations betray a marked proximity to the classical whodunits. Figures such as Max Latin or Doan represent a blend of the invariably unequalled master detective and the hard drinking rough-shod private eye. Also borrowed from the tried and tested range of traditional forms are plot elements and scenes such as the configuration of potential perpetrators and victims in a ‘closed society’ (for example, in “Holocaust House”), or the concluding summary by the detective who solves the case before an astonished audience.
Davis’s combination of elements from different narrative styles succeeds because he ironically stretches the forms of both kinds of detective story to breaking point and seasons both plot and dialogue with a touch of humour. The humour of his verbal and situation comedy is often achieved by leaving out elements in customary forms of communication, and especially by taking what people say (but do not necessarily mean) obstinately literally – like a reductio ad absurdum. As a result, Davis’s humour takes on anarchic and bizarre features, similar to those of Marx Brothers films. Here is a sample from “Give the Devil his Due”:
“… You are Max Latin, and you call yourself a private inquiry agent, and you are the undercover owner of this restaurant.”
“Well, how do I do,” said Latin. “I’m glad to know me.”
And another from The Mouse in the Mountain:
“Friend,” said Henshaw, “… I’m in the plumbing business — ‘Better Bathrooms for a Better America.’ What’s your line?”
“Crime,” Doan told him.
“You mean you’re a public enemy?” Henshaw asked, interested.
“There have been rumors to that effect,” Doan said. “But I claim I’m a private detective.”
This clever, laconic, and sarcastic narrative style is surely the main reason why Davis’s novel appealed to Wittgenstein so much. Incidentally, a Davis comment such as “… ‘Latin,’ said Latin” is quite in keeping with Wittgenstein’s “Mr. Scot is no Scot” (in his Philosophical Investigations, part ii).
4. The proximity of Wittgenstein’s mode of thinking, writing, and life to that of the ‘hard-boiled school’
As in both the traditional and the more modern detective stories, the main concern in Wittgenstein’s work is with transparency, with arriving at certainty about facts, at a correct view and elucidation of the real connections by means of eliminating deceptions and apparent constructs. Wittgenstein’s wish was to expose pretence, hypocrisy, puffiness, slovenliness and obscuration, which are as widespread in the realms of philosophy and science as they are in the avaricious world of commerce. He compared many contemporary philosophers to cheats and businessmen who capitalised on poor districts, and saw it as his task to put a stop to such activities by his colleagues.
Given that Wittgenstein’s philosophical work, like the typical detective story, dealt with the exposure of deception, he naturally approached facts in a way that was reminiscent of a detective’s approach to solving problems. §129 of his Philosophical Investigations reads like a summary of Poe’s “Purloined Letter,” a story in which a stolen letter remains concealed from the eyes of the investigators simply by being placed openly on a card-rack, visible to all at any time. Wittgenstein writes: “The aspects of things that are most important for us are hidden because of their simplicity and familiarity. (One is unable to notice something — because it is always before one’s eyes.)”
Individual sentences in §99 of his Philosophical Investigations may even contain an allusion to a typical element of crime fiction, namely, ‘the locked room mystery’: “… if I say >I have locked the man up fast in the room – there is only one door left open< – then I simply haven’t locked him in at all; his being locked in is a sham. … An enclosure with a hole in it is as good as none.”
Are the following lines from §293 of Philosophical Investigations not almost a parodistic portrayal of the typical scene in which the master detective recapitulates the events of the crime before a confounded audience, eliminating a ‘red herring’ that had misled the investigations. “Suppose everyone had a box with something in it: we call it a ‘beetle.’ No one can look into anyone else’s box, and everyone says he knows what a beetle is only by looking at his beetle. – Here it would be quite possible for everyone to have something different in his box. One might even imagine such a thing constantly changing. – But suppose the word ‘beetle’ had a use in these people’s language? – If so it would not be used as the name of a thing. The thing in the box has no place in the language-game at all; not even as a something: for the box might even be empty. – No, one can ‘divide through’ by the thing in the box; it cancels out, whatever it is.