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March 21, 1991 Film | Movie Review
McCarthyism Made Simple
By Jonathan Rosenbaum @JonathanRosenba
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GUILTY BY SUSPICION
*** (A must-see)
Directed and written by Irwin Winkler
With Robert De Niro, Annette Bening, George Wendt, Patricia Wettig, Sam Wanamaker, Barry Primus, Gailard Sartain, Chris Cooper, Ben Piazza, and Martin Scorsese.
There are plenty of bones one can pick with Guilty by Suspicion, the first Hollywood feature devoted in its entirety to the film-industry blacklist (The Front dealt with TV). Of course there are plenty of bones one can pick with just about any movie, if one is so inclined. But critics, at least, seem more inclined to be so inclined with movies that deal with political subjects. This is not to say that most critics reprove such movies on political grounds; on the contrary, they usually harp on other aspects. But one still winds up feeling that it's frequently the politics that gets their hackles up.
Having seen this movie more than a week later than most of my colleagues, due to some interesting circumstances that I'll discuss later, I've had ample opportunity to read and (more often) hear some of their carping, most of it hyperbolic invective about the acting and directing. Some of them have expressed so much antipathy for the picture that I went to the first screening at Webster Place last weekend expecting the worst. I emerged with some misgivings, but still I was deeply moved, and in a way that none of what I'd heard and read had led me to expect. Yes, the picture is flawed, but it is still something unusual in contemporary movies, a work that deserves to be called honorable, and not only in its intentions. Instead of coming out of the theater feeling that I'd been taken to the cleaners--a not uncommon feeling at a time when uncritical celebrations of the FBI like Mississippi Burning and The Silence of the Lambs are widely applauded as models of progressive thinking--I felt, on the contrary, that I had spent a couple of hours with a sensibility that is relatively humane, intelligent, and civilized--not brilliant or pyrotechnical, but still a sensibility that had something to say, knew how to say it, and hadn't bored or insulted me in the process. And if audience vibes are anything to go by, I felt that many of those at the same screening experienced the same honesty and directness. (None of them, so far as I know, were critics.)
I do have my own objections to Guilty by Suspicion, and one of them is fundamental if not all-encompassing. But let me deal with my minor cavils first. While the handling of period (1951-52) decor, dress, and Hollywood social ambience seems fairly judicious, the characters' speech--especially the slang they use--has more to do with the 70s or 80s than with the 50s. And when it comes to specific references to events, films, and directors of the period--some of them direct, some of them indirect--one has to grant the picture a certain license with the details. For example, when we see Ethel and Julius Rosenberg about to be executed, the year is 1952, not 1953 as it should be. In scenes set in 1951, Gentlemen Prefer Blondes (1953) and The Boy With Green Hair (1948) are both in production, and while the production date of High Noon is correct (1952), the movie is oddly converted into a Monogram quickie without star actors. Martin Scorsese plays a character clearly meant to suggest Joseph Losey (who directed The Boy With Green Hair), but he doesn't seem very much like him. (A Broadway stage director named Abe Barron is clearly based on Abe Burrows; the character of Dorothy Nolan, played by Patricia Wettig, is derived from Dorothy Comingore, who played Kane's second wife in Citizen Kane; Nolan's husband Larry, played by Chris Cooper, seems a fusion of Comingore's husband Richard Collins and actor Larry Parks.) Another oddity is the overall absence of Jews in this portrait of early 50s Hollywood; it will seem especially peculiar to anyone who believes that anti-Semitism played a role in the cold war hysteria that made the blacklist possible.
Although the writer-director, Irwin Winkler, is a distinguished and capable producer (his credits include Point Blank, Raging Bull, Round Midnight, and GoodFellas, as well as vehicles for Elvis Presley and Sylvester Stallone), his writing and directing skills don't seem exceptional here; mainly they're adequate, and at times--notably in the handling of Dorothy Nolan's tragic fate--they are forced and strained. Winkler's big failure, however, is a conceptual one. My major objection to Guilty by Suspicion is that it oversimplifies certain aspects of the Hollywood blacklist in order to tell a more legible and palatable story.
The project started out as a film to be produced by Winkler, scripted by Abraham Polonsky (one of the most talented victims of the blacklist), and directed by Bertrand Tavernier. The key inspiration for the story was the figure of John Berry, a blacklisted American director who, like many others--Cyril Endfield, Joseph Losey, and Jules Dassin are the first three who come to mind--was forced to emigrate to Europe in order to continue working. As the project developed, Berry--who is still directing abroad today, and who I had the pleasure of meeting at the Rotterdam film festival six weeks ago during a retrospective of his work--remained the principal model, but Tavernier dropped out when the decision was made to set the story in the U.S. rather than France. Polonsky remained as a major source of information about the blacklist, but he too eventually departed because he disagreed with Winkler's approach to the story.
According to a recent article in the Los Angeles Times, "Polonsky completed a screenplay about an American Communist who succeeded in holding onto his political beliefs but ultimately was forced into exile in France." The same article reports that Polonsky not only withdrew his name from Winkler's script, but also refused an executive producer credit on the film, even though it would have paid him a handsome fee. The hero of Winkler's film, David Merrill (Robert De Niro), is basically a liberal who attended two or three Communist meetings during the Depression (until he was thrown out of one for his opinions), but is not especially political otherwise, at least until the House Committee on Un-American Activities forces him into a political position by asking him to inform on his friends. He's a victim of the blacklist mainly because he wants to go on practicing his profession but refuses to give names to the committee. One isn't made to feel that he has a political voice that the committee has silenced; his voice is simply the voice of decency, suggesting Joseph Welch at the Army-McCarthy hearings--a parallel that is drawn overtly through a couple of the lines Merrill speaks at his own hearing, the last and most effective scene in the film.
It's certainly true that a good many Hollywood careers were destroyed in just this fashion, brutally and arbitrarily, because certain liberals refused to squeal on their friends. (Many more people, who agreed to give names, went back to work and often flourished: three well-known examples are director Elia Kazan, screenwriter Budd Schulberg, and actor Lee J. Cobb, all of whom worked on On the Waterfront in 1954--a film that not coincidentally extols the virtues of ratting on one's friends.) It's also true that the received wisdom about this era is that most of the blacklist victims weren't especially political.
But some recent research by two resourceful film scholars and filmmakers, Thom Andersen and Noel Burch (who are planning a film on the subject), suggests that although many interesting books have been written about the blacklist, the political content of preblacklist films by subsequently blacklisted Hollywood professionals hasn't really been considered in depth at all. Andersen and Burch have cogently argued, for that matter, that such remarkable and neglected films as Endfield's Try and Get Me! (1951), Losey's The Prowler (1951), Berry's From This Day Forward (1946), and Dassin's Thieves' Highway (1949)--to cite only a few of their many examples--offer radical critiques of American life, not namby-pamby liberal bromides. This suggests, in other words, that the blacklist and the McCarthy witch-hunts of the same period were evil not only because they indiscriminately destroyed individuals who refused to betray their friends, liberals as well as radicals, but also because they constituted a highly effective form of ideological warfare.
How effective was this warfare? Effective enough, I would argue--given the thousands of individuals who lost their friends, their livelihoods, or both--to demoralize the "old left" so thoroughly that it never fully recovered from the experience; effective enough, in this regard, to make truly leftist filmmaking in Hollywood seem highly suspect ever since (neither Endfield nor Berry is mentioned once, even in passing, in such books as The American Cinema, Kings of the Bs, or The Hollywood Social Problem Film); effective enough not only to make Guilty by Suspicion circumspect (and therefore highly compromised) about such matters, but also to make some critics uneasy about the movie even in its compromised, nonconfrontational form.
The cautiousness of Winkler's script centers on the hero's sense of vocation: David Merrill, a highly respected director who simply wants to work, is an artist largely because he isn't much concerned with politics; as the film takes great pains to show us, plotting out storyboards is his business, not thinking about the way people live. Yet it was clear from the hours I spent with John Berry in Rotterdam that what mattered and still matters to him about his own best pictures, such as From This Day Forward and Claudine (the latter his first postblacklist American feature, released in 1974)--both of which he saw at the festival for the first time since they were released--is the knowledge, feeling, and insight they impart about what it means to be poor in a big city.
Both movies are concerned specifically with the bureaucratic obstacles that poor people face--From This Day Forward focuses on the postwar adjustments of a struggling white couple on the job market (Joan Fontaine and Mark Stevens), while Claudine concerns the comic struggles of a black couple (welfare mother Diahann Carroll and garbageman James Earl Jones) with the welfare system. And Berry's mise en scene is wholly a function of his understanding of what his characters are up against, not his capacity to draft pretty pictures a la Hitchcock on a sketch pad. Originally a theater person (he began as a member of Orson Welles's Mercury Theatre in the 30s), Berry, like Polonsky and John Garfield, is a specifically urban type whose talent is virtually indistinguishable from his street smarts; in Guilty by Suspicion, De Niro's David Merrill may sport a Garfield haircut, but he barrels around Hollywood in a snazzy white convertible, and we're asked to believe that one of his biggest personal tragedies is having to part with that car.
At most the film implies that the Hollywood blacklist may have stifled social criticism, but it doesn't really show us any social criticism being stifled, and it doesn't quite argue that social critics--assuming that any existed--were innocent either (although, according to the Bill of Rights, they were). In fact, when push comes to shove, the movie doesn't deal with the question of social criticism at all, except to indict the blacklist as an insane, destructive force (which it was). Emotionally speaking, the attention that might have been paid to the political thinking of Merrill is supplanted by his relationships with his ten-year-old son (Luke Edwards) and his estranged wife (Annette Bening), and these relationships are shown to be essentially devoid of political associations as well.
The closest the film comes to showing the effect of cold war hysteria on Merrill's son is a sequence when he is watching a TV report on the soon-to-be-executed Julius and Ethel Rosenberg, including their two soon-to-be-orphaned sons; this leads the boy to ask his father fearfully if he's about to be killed as well. As it happens, I was ten myself that summer, and I recall seeing the headline "ROSENBERGS EXECUTED" on a family trip to Washington, D.C.; struck by the resemblance of "Rosenberg" to "Rosenbaum," and upset to the point of tears about the two little boys who'd just lost their parents, I plied my own liberal father with troubled questions. Two months later, however, in a Times Square arcade, I was about to have a fake newspaper headline made up bearing my name, and asked my father for a suggestion. He proposed "JONNY ROSENBAUM CAPTURES RED SPIES!" It seemed like a wonderful idea at the time, and I still have the newspaper to prove it. So the same Jonny Rosenbaum who wept for the Rosenberg boys in June was quite delighted with the fantasy of capturing their parents single-handedly in August: it was part of the everyday insanity of that period, roughly comparable to the wild standing ovation George Bush recently got in Congress (from adults, I should add) when he declared that this country has the strongest economy in the world. It seems to me, in other words, that Guilty by Suspicion falters by localizing its subject in a few easy targets--restricting the insanity of America in the early 50s to a few FBI agents, HUAC hearings, and frightened studio executives, without admitting that the fantasies of the period seeped much deeper than that into the everyday and unexceptional textures of American life.
Having said this much, I still value Guilty by Suspicion highly for broaching and dramatizing other major aspects of the blacklist. As one critic friend has rightly pointed out, the film is slightly marred by a disturbing double standard: it comes close to exonerating the studio head Darryl F. Zanuck (played here by Ben Piazza) because he acknowledges the odiousness of the witch-hunts as he goes along with them, while at the same time it castigates a fictional small-time producer (played by real-life producer Gene Kirkwood) for bending to the same pressures. Still, it gives us some notion of how fully producers at opposite ends of the economic scale were implicated in the same diabolical process, and for this and other vivid details it deserves to be congratulated.
Perhaps the most painful and demoralizing single moment in the film occurs when Merrill's best friend, a screenwriter named Bunny Baxter, is asked to name names himself, and asks Merrill if he can include his name: "Please, please," he asks his friend in tears. "What's the difference? You're dead already." The sharp intakes of breath and cries of pain I heard all around me in the audience told me that, at least on a personal and emotional level, the true debasement and horror of the blacklist had somehow registered.
How can we account for the fact that so many principled people caved in to HUAC? Perhaps one could argue that Winkler's main interest is telling us not what it meant to be blacklisted but what it felt like. If that was his intention, I think he succeeded pretty well--something that I can say with some pretense of authority, because I've recently had my very own experience of being blacklisted, or at least blackballed, albeit in a very minor way. Curiously enough, this experience came from the Chicago office of Warner Brothers, the film company that's distributing Guilty by Suspicion.
A few weeks ago, a film-critic friend called to reschedule a lunch date because he wanted to attend a screening of New Jack City that had just been set up by Warner. I hadn't been invited to the screening, and when I expressed interest in it my friend suggested I call Warner's local publicity man, but asked me not to reveal who had told me about the screening. The publicist, a Warner employee since the late 50s who previously worked for the FBI (I'm told that he began his association with the company by working on The FBI Story [1959] in some advisory capacity) is known among Chicago film critics for his eccentric manner in handling press screenings. (To cite only one instance, Chicago is probably the only major city in the U.S. where Bird didn't have a press show; a few critics were admitted at the last minute to a special screening sponsored by the Film Center, but I had to drive out to the suburbs after the film opened in order to see it properly in stereo.)
When I called the Warner publicist was out, so I asked his assistant if I could attend, and she didn't imagine there would be any problem. About an hour later my phone rang, and when I picked it up the publicist began screaming at me and demanding to know who had told me about the New Jack City screening. I said I didn't remember, and when he persisted in badgering me I came up with the name of one of the most prominent local critics--not the one who had told me, but one who I thought was least likely to be hurt by being named. "You're lying!" the publicist screamed, and went on to explain why he knew I was lying before hanging up on me. A few minutes later he rang up again and screamed at me some more. I told him that I had only called in the first place to ask if I could attend the screening, and if he didn't want me to come, I wouldn't. He said he didn't want me to and hung up again; I was subsequently removed from the Warner press-show list, which is why I didn't make it to the advance screening of Guilty by Suspicion.
One thing this experience taught me was that, no matter how principled one may claim or aspire to be, when push comes to shove it's easy to find oneself in the demoralizing position of grasping for straws, even in a situation as relatively trivial as this one. I may not have buckled by supplying the publicist with the name he was demanding, but I certainly didn't behave heroically. Faced with the danger not of losing my livelihood but merely of losing my access to Warner press screenings (which I wound up losing anyway), I didn't defy my interrogator by refusing to answer--as David Merrill and several real-life film people did--but lied instead, not once but twice.
By alluding to the publicist's former association with the FBI, I merely want to suggest the aggressiveness of his manner; I don't want to employ any McCarthyite tactics myself by implying through this that he was involved in the Hollywood blacklist. (Warner Brothers as a studio had a pretty terrible blacklist record, but it would be hypocritical and unethical to assign any guilt by suspicion in this regard.) I should also acknowledge that this individual's behavior is aberrant rather than typical in this day and age; but such behavior was equally aberrant before the blacklist took hold, and I can now easily imagine how unexpected the initial interrogations must have been for the first people who were called up. (Garfield was one of these, and while he refused to give names, he didn't live long afterward. Polonsky, who featured Garfield in his 1948 masterpiece Force of Evil, put it succinctly: "He defended his streetboy's honor and they killed him for it.")
Perhaps the worst aspect of the blacklist was its eventual capacity to turn such aberrance into the norm, an everyday part of life, thereby creating a climate that we're still recovering from in some ways. The fact that Guilty by Suspicion has been made at all shows to what extent we've recovered; the fact that it leaves so much of the story still untold shows to what extent we haven't.
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Raymond Loewy celebrated in a Google doodle
Designs include the Coco-Cola bottle, an S1 steam locomotive, Shell logo and the Lucky Strike cigarette packet
Gallery: See some of the father of industrial design's most famous creations
Guardian staff
Tue 5 Nov 2013 03.24 EST First published on Tue 5 Nov 2013 03.24 EST
Google's doodle celebrating the birth of Raymond Loewy, who died in 1986 at the age of 92. Photograph: Google
Google's latest doodle celebrates the birthday of Raymond Loewy, the late industrial designer of the Coca-Cola bottle who was also involved in creating the Shell, Exxon, TWA and former BP logos.
Loewy's slenderised design for an S1 steam locomotive that saw service in the eastern US forms the basis of the doodle.
Described by admirers as the "father of industrial design", Loewy, who died in 1986 at the age of 92, was responsible for other notable symbols including the Lucky Strike cigarette packet.
Born in France, he emigrated to the US in 1919 after completing his engineering studies at the Université de Paris and École de Laneau.
After working in New York as a shop window decorator for Saks Fith Avenue and Macy's, he drew for Vogue, Harper's Bazaar and Vanity Fair before moving into industrial design towards the end of the 1920s.
Along with designing locomotives for the Pennsylvania Railroad Company, he was responsible for vehicles such as the Hupmobile (1934) for the Hupp Motor Company and the streamlined Greyhound buses.
One of his longest and most fruitful relationships was with the car maker Studebaker, and he was involved in the 1960s in designing the Avanti, a luxury coupe.
He retired at the age of 87 in 1980 and returned to France, where he died at his Monte Carlo residence in 1986.


This coming Thursday will be my last day working for Schlumberger (Slb) after 24 years. When you hear people say "it went in a blink of an eye", I can't tell you how much of an understatement that is. It truly seems like last week I started my career here. In the future, I'm sure I can fill a couple of these with stories of my career, but I think I'll keep this to a short (relatively) recap.
I graduated from University in 1992 when I was 32 years old. I had decided to go back to school when I got out of the Navy in 1988 and entered the workforce 4 years later with an engineering degree, competing for jobs with smart energetic young 22 year-olds. It probably didn't hurt that I was an energetic 32 year old with great grades and a impressive sounding military background. I didn't really realize it at the time, but it was hard for the kids to compete with "I spent the last 8 years running, training people on, and then supervising the operation of nuclear power plants in the US Navy." I will say that when the Slb recruiter told everyone what the job was like at a recruiting information session I was invited to, that jobs that could sometimes last over 24 hours in duration with the engineer having to be awake for the entire job, I didn't really think they were interested in a 32 year old (my personal record when I was in the field was between 50 and 52 hours awake on a single job). So I took the opportunity to drink their free beer, not realizing that I was drinking with the Slb guy making the hiring decisions. Because hey, university student with access to free beer? It was like I was in heaven. Anyway, after a lengthy recruiting process I ended up being hired in Feb of 1992 and started my career in June of the same year.
After 6 months or so of training, I worked as a field engineer for 4 years. Which basically means I was away from home about 2/3 of the time, and in a pretty constant state of exhaustion. During that time my wife and I had our 3 kids, with Jackie as pretty much a single parent. I can't imagine going back to that life, but I did make some great and lasting friendships. In many ways it was like the military in that your workmates are also your best friends and the people you do everything with, or at least for all the young single folks. Being married and older (not that my age was ever an issue) put me slightly out of that scene.
After my field career ended (because my wife said it needed to end!) I had an 18 month management stint in Edmonton. Back in those days they tried to limit the front line management jobs to 18-24 months because of burnout. They found that if they left people in those jobs more than a couple of years they started to quit in large numbers. I think I peaked at around 60 people working for me. You basically lived life with a phone welded to your ear. Our office had 3 phone lines and it was in no way uncommon for all three lines to be for me, plus my cell. Add to that midnight calls to come in to work to load tools for one of your crews on a jobsite and it makes for another job where sleep was a scarce commodity. But I gotta say it was oddly satisfying. I think in the entire time I was there, I had less than a handful of people quit, and the operation grew in size every year. I do think I single-handedly improved the profit margin of the du maurier tobacco company.
From there we hit the first downturn and I was beyond lucky to get transferred to one of our product centers in Houston, very near my home town and my family. I did everything from run an assembly lab for some very cool new tools, operations support, equipment qualification and testing, and became an "expert" in facilitating reliability and failure mode studies. I use "expert" in a somewhat sarcastic sense. Really, you only have to do something one or two times to be the expert if no one else has ever done it. I did learn that if you say things with a force of conviction people believe you, even if you are totally making it up as you go along. And no, I didn't teach that to Trump-though he is the master at it now.
As I changed jobs within the product center, I seemed to gravitate to jobs that were new to my company. I also consistently ended up in jobs where I was a department of one in some ways. This tended to mean I had no one reporting to me, which I loved, with bosses that didn't really know what is was I was doing, which I really, really loved. I've never been the best at being managed, I'm too opinionated and convinced I know the best way to do anything to allow a boss to tell me what to do, even though I rarely actually know the best way. Fortunately, as long as I got results, the boss left me alone. (I did have an appraisal once that said: "tends to ignore objectives, but makes up his own") So I became accustomed to being mostly autonomous within a big (we were around 80K employees at the time I think) bureaucratic organization. I was lucky enough to pretty much stay out of the bureaucracy, which I loved most of all. But after 7 years of working only with internal Slb issues, I wanted to get back in contact with the field and the customer, without actually going back to the field. In 2005 I took a transfer to sales here in Calgary, reluctantly leaving my Texas family, but looking forward to the new challenges, mostly.
To say I was apprehensive about sales would be another massive understatement. Like most of us, I didn't have the most favorable image of what sales was. I was not sure I would look good in a Herb Tarlek suit! Around the same time, I was somewhat concerned about not only my bald head, but my prematurely gray head (and really, I still am pretty choked at my Creator over that. Seriously Dude, prematurely bald and prematurely gray? Don't You think that is a bit mean, not to mention not that creative?) . Who would buy from a old looking bald gray guy. So I decided to dye my hair, which is a whole other story. End of the story was I only did it once, and allowed myself to revert back to bald and gray instead of bald and ugly brown dye. Honestly, I could do multiple articles on me and my lack of hair over the years. Maybe I'll do that next.
To get back on track, I got to Calgary not 100% sure I had made the right choice. I was wrong. As it turned out, sales has been the perfect job for me. Nobody reporting to you. If you are good at it, management leaves you almost completely alone. As you are in the role longer, you become the sage adviser (work mates reading this are spitting out their cheerios about now at the thought of me being "sage") to both your customers and to your organization. As management gets transferred in and out, you become the institutional knowledge. You get to influence decisions on the direction of your company without any of the pesky responsibility. Keep the money coming in and everyone is happy. Oh, and trust me, there is little better in life than a generous expense account.
That and you get to work with the best people imaginable. Smart, dedicated, and above all, funny! I don't know what it is about the sales job, but most everyone has a sense of humor. I've never been anywhere that people laugh more, at least since I was young in the Navy. I have worked with great people in all my incarnations in Slb, but sales has been by far my favorite. I honestly cannot imagine working with a better group of people, even though so few of them are left.
I don't want to sound like I'm whining about the fate of the oil industry. It will mostly fall on deaf ears for those of you not involved. It does me no good to tell you how hard we all work because our image is being constantly tarnished, sometimes legitimately, more often not. What I can tell you is that while the good times can be good (and I would be stupid to deny that!), the bad times are equally bad. In this downturn, we have lost abut 80% of our sales force. I don't know the exact numbers, but we were somewhere around 25-30 sales people on my floor at the latest peak. With me being let go, we are down to 5. I don't know many industries who cope with that sort of staffing change. It is truly sad to be a part of. Some very, very good people are out there looking for work in a city built on oil. Not the best prospects.
I have nothing but great things to say about how my company handled this. While I wish I was staying, I totally understand the decision. They were down to letting the old guy with all the contacts and experience go, who at the best would be here for another 6 or 7 years, or letting go one of the much younger but still very effective sales people. I would likely had made the same decision. We have nothing but the best left here. There were no good choices and I feel sorry for the guys left making these decisions.
So to all my coworkers past and present-thank you. I'm not going to lie and say I loved every minute of it, but I loved a vast majority of the minutes. I know everyone says they got to work for and with the best people. Most of them are just saying that. I'm not, I really did get to work with the best people. And who knows, when this thing turns around I'm sure I'll turn up somewhere. I'm way to young to call it quits.
In the meantime, I look forward to my adventures over the next several months. I know a Belize trip will be in there. I'm in discussions on a job at a golf course. Minimum wage, but free golf! Bow River fish should be concerned as they will be getting a log of my attention. My daughter wants to hike. I have a couple of bike trips planned. My wife is waiting to give me "the list". I did make her promise to wait a few weeks. Not sure if I'll like this retirement thing, but I plan to give it an effort. But I will be hedging my bet somewhat and forming a consulting company. I do need a name…….
Man you like to write as much you like to talk, I have the privilege to know you for the last couple years and a little better a few months ago when I selected you to be part of my team, you are a very amazing and cool person, and I wish you the best in your new adventures, now you will have lots of time for a midday coffee at the pro bowl shop if you get the approval from Richard Huzina, you need to know is a selected group of people. Congratulations for all your success !!!
Thanks Ruben, I think. As a retired person I can't afford my own coffee, so will gladly drink yours!
How about "Match the Hatch Consulting"?
Rick, your writing never ceases to amaze me and this one highlights your positive, generous and grateful nature. I couldn't be more proud. I know the future presents challenges for you but I know you will approach them with the same qualities expressed in this piece. Carpe firm, dear!
Yeah, you kinda have to say that.


This site's main purpose is to debunk ineffective methods marketed as "cures." If you or a loved one is diagnosed with cancer, investigate carefully and don't let fear or desperation cloud your judgment.
Portions of Cancer Treatment Watch are updated several times a year.


Make your own natural cleaning products with items you already have in your home or are very inexpensive to buy.
You will know exactly what is in your cleaner since you are using all natural ingredients, you will avoid chemicals and also safe money in the process!
Combine 2 tbsp of lemon juice, 1 tbsp of white vinegar and 1 cup of hot water in a spray bottle. Shake and start cleaning.
Mix 1 cup of borax, 1 cup of baking soda, 1/2 cup of kosher salt and 1/4 cup of unsweetened lemonade flavored Kool Aid (for citric acid).
Shake or mix it up and add 1 tbsp per load to get dishes nice and shiny.
Combine 4 cups of hot water, 1 cup of lemon Juice, 3 cups of vinegar and 1/4 cup of liquid dish washing soap in a container, mix thoroughly and add to Spray Mop's Container.
Save a Foam Dispenser Container, add 1 tbs of liquid dish soap and fill up with water, the trick is the pump itself, not the soap to create the foam.
Mix 1 part Hydrogen Peroxide, 1 part Baking Soda and 2 parts water in a spray bottle. Apply to stains before washing.
Pour 1 cup of baking soda, 1 cup of salt and 1/2 cup of vinegar into the drain. Let sit for 5 minutes. Add 1/2 cup of lemon juice. After 15 minutes pour 2 cups of boiling water down the drain to flush.


Many Functions like wedding,House opening,Birthday Functions,Corporate Gifts.
Mini lunch bag is used for multiple things like return gifts,birthday gifts,wedding anniversary.
Bag has a zip for the closure of the bag and has cotton tape handles for easy carrying.
Bag color can be customized as well as the print on it can be customized according to your requirements.


Tom Orsborn Oct. 25, 2015 Updated: Oct. 25, 2015 9:45 p.m.
"Is he still here? How is he?" the power forward said.
The answers are, yes, Bass continues to call San Antonio home and, at 86, he's doing well, although he admits it's becoming more difficult for him and his wife, Pat, to make it to the AT&T Center to catch a game.
But with the addition of West to the Spurs' roster, Bass just might journey to the arena a time or two this season to see a player who represents the last of the many smart personnel decisions he made during his almost four decades in pro basketball.
Bass spent 20 seasons with the Spurs, mainly as general manager, before joining the Charlotte Hornets in 1995. He was GM of the New Orleans Hornets (now Pelicans) when they selected West with the 18th overall pick in the 2003 NBA draft following his stellar senior season at Xavier (Ohio).
All-America selection for the 2002-03 season, West garnered two of the five major college basketball player of the year honors after scoring in double figures in all 32 games and finishing fifth in the nation in rebounding.
Despite that impressive résumé, it was somewhat of a bold pick for Bass after many teams told West they feared he would be a pedestrian player because he didn't fit the prototype of a modern NBA power forward.
That team turned out to be the Hornets, who wanted him for his offensive skills as much as his rebounding.
On draft night, Bass said he expected West to make an immediate impact.
West's character also appealed to Bass.
"He was just a good guy — very good — to have on your team, in your locker room," Bass said.
West, 35, hasn't forgotten Bass' faith in him.
But not Bass, who won the NBA's executive of the year award in 1997 with the Hornets and in 1990 with the Spurs and is famous for his legendary decision to move 6-7 George Gervin from small forward to shooting guard during the 1975 ABA playoffs. Gervin remained at the spot the rest of his Hall of Fame career, which included four NBA scoring titles.
West said he worked out for about 15 teams before he auditioned with the Hornets.
Another reason West liked Bass was his connection to the Spurs. A New Jersey native, West grew up idolizing David Robinson, whom Bass selected No. 1 overall in 1987 as GM of the Spurs.
Bass joined the Spurs in December 1974, when he replaced Tom Nissalke as coach. He also served as the team's GM, assistant to the chairman, interim coach on three different occasions and vice president of basketball operations before joining the Charlotte Hornets' front office in 1995.
After retiring in 2004 following nine seasons with the Hornets, Bass continued to follow West, who played eight seasons for the Hornets before signing with the Indiana Pacers during free agency. West averaged 17.1 points or better in each of the final six campaigns with the club and was an All-Star in 2008 and 2009, when he averaged more than 20 points and 8 rebounds each season.
Should Bass make it to the AT&T Center this season, look for another warm reunion to occur.


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Special Guests for Hyndburn Sports Awards Announced
Nominations continue to flood in for this years' Hyndburn Community Sports Awards. The event, which takes place at The Ballroom at Accrington Town Hall in September this year, is a celebration of local sporting achievements from athletes, coaches, volunteers, teams, clubs and schools across Hyndburn, organised by Hyndburn Leisure.
The awards are run by Hyndburn Leisure. Anne Elwood, Board Member at Hyndburn Leisure and Champion for the local awards said, "We like to make the awards great by inviting along a special guest to talk about their sporting achievements. We can now announce that this year there won't be a special guest………………….instead there will be two! Craig Heap, Commonwealth Gold Medal Winning Gymnast and Stacey Copeland, International Footballer and Boxer!"
Not only will Craig and Stacey be speaking at the awards, they've also offered to visit some local school children while they are in town. For a school to be in with a chance of winning a visit with Stacey or Craig, nominate your school for Primary or Secondary School of the Year award and look out for more details on Hyndburn Leisure's Facebook Page!
Lyndsey Sims, Chief Executive of Hyndburn Leisure said, "There's still time to nominate someone deserving of an award. There are 11 award categories this year, and we want to showcase the best of the best in Hyndburn to go on to represent us at the Lancashire Awards. The awards are.
Volunteer of the Year– These awards are to recognise the volunteers who have given up their free time to volunteer in sport. Sport in Britain depends on volunteers and these people help to sustain sporting opportunities for all.
Young Achiever of the Year sponsored by Beever and Struthers– These awards are given to the most talented performers across the district, who show exceptional dedication to their sport and have the potential to perform at the highest level.
Coach of the Year sponsored by Masterground Services– These awards are made to coaches throughout the district who have given up their time and invested their expertise, selflessly, to help those interested in sport to develop their talent and to realise its fullest potential.
Community Club of The Year sponsored by Forbes Solicitors– These awards are given to active and well run sports clubs that have undertaken great work in running development programmes which attract and encourage new participants, particularly those from under-represented groups, and which help their members to develop their sports potential
Community Project of the Yearsponsored by Studio – This award is given to an innovative project that has helped to regularly increase and sustain participation in sport and physical activity and provide alternative opportunities for people to get active.
Lifetime Achievement Award– This award is for an individual (20+ years) who has shown a consistent lifetime commitment and made a major contribution to community sport.
Primary School of The Year sponsored by Accrington Stanley Community Trust– This award is given to a Primary School that has excelled in school sport and physical activity over the last 12 months. Community links and the impact of sport has made them stand out.
Secondary School of The YearSponsored by Accrington and Rossendale College – This award is given to a Secondary School that has excelled in school sport and physical activity over the last 12 months. Community links and the impact of sport has made them stand out.
Service to Under-represented groups– This award is given to an individual, administrator, coach or official who has made a highly significant voluntary contribution to disability sport.
Inspire Award (Donated by Anne Ellwood)– This is a local award award is given to an individual who has volunteered in the community to inspire others to participate in sport. For individuals not involved in a community sports club.
Changing Lifestyle Award Sponsored by Technogym- This is a local award to celebrate those who have made big changes to their lifestyles through sport or physical activity
Nominations are open until 31st July and can be made by visiting https://www.lancashiresportsawards.co.uk/nominate/
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I'm trying to find the silver lining in a 10 day weather forecast that doesn't show any temperatures above freezing. I know there must be one. Oh, yes! I can dig in to my plans for 2018 (and daydream about spring a little while I'm at it.).
Do you do New Year's resolutions? I have a few sewing goals I would like to meet this year. Let's call them resolutions and make it official.
Keep up with alterations and repairs. By the end of January, I will get to the bottom of my mending pile.
Upcycle more. Repurpose or rehabilitate those fabric items that need a new life.
Incorporate trims, embellishments, and decorative techniques in my designs.
I have a few goals for SeeCindySew as well.
Bring you great images of works in process and finished items by improving my photography.
Establish a regular schedule for posts.
Last year, my goal was to get organized. I'm checking that one off. Now I just need to keep it like this! Did I ever mention I love blue tape?
Do you have sewing goals this year?
Happy new year, readers! And happy sewing as well!


Winter Wonderland. Winter is perfect time to do maternity pictures. Its magic and very unique. Mae was such a trooper and was great sport. She is absolutely gorgeous! Cant wait to meet your little bundle of joy.


GDB provides the following ways to control how arrays, structures, and symbols are printed.
You can use `set print address off' to eliminate all machine dependent displays from the GDB interface. For example, with print address off, you should get the same text for backtraces on all machines--whether or not they involve pointer arguments.
Show whether or not addresses are to be printed.
Tell GDB to print the source file name and line number of a symbol in the symbolic form of an address.
Do not print source file name and line number of a symbol. This is the default.
Show whether or not GDB will print the source file name and line number of a symbol in the symbolic form of an address.
Another situation where it is helpful to show symbol filenames and line numbers is when disassembling code; GDB shows you the line number and source file that corresponds to each instruction.
Tell GDB to only display the symbolic form of an address if the offset between the closest earlier symbol and the address is less than max-offset. The default is 0, which tells GDB to always print the symbolic form of an address if any symbol precedes it.
Ask how large the maximum offset is that GDB prints in a symbolic address.
Warning: For pointers that point to a local variable, `p/a' does not show the symbol name and filename of the referent, even with the appropriate set print options turned on.
Pretty print arrays. This format is more convenient to read, but uses more space. The default is off.
Return to compressed format for arrays.
Show whether compressed or pretty format is selected for displaying arrays.
Set a limit on how many elements of an array GDB will print. If GDB is printing a large array, it stops printing after it has printed the number of elements set by the set print elements command. This limit also applies to the display of strings. When GDB starts, this limit is set to 200. Setting number-of-elements to zero means that the printing is unlimited.
Display the number of elements of a large array that GDB will print. If the number is 0, then the printing is unlimited.
Cause GDB to stop printing the characters of an array when the first NULL is encountered. This is useful when large arrays actually contain only short strings. The default is off.
Show which format GDB is using to print structures.
Print using only seven-bit characters; if this option is set, GDB displays any eight-bit characters (in strings or character values) using the notation \nnn. This setting is best if you are working in English (ASCII) and you use the high-order bit of characters as a marker or "meta" bit.
Print full eight-bit characters. This allows the use of more international character sets, and is the default.
Show whether or not GDB is printing only seven-bit characters.
Tell GDB to print unions which are contained in structures. This is the default setting.
Tell GDB not to print unions which are contained in structures.
Print C++ names in their source form rather than in the encoded ("mangled") form passed to the assembler and linker for type-safe linkage. The default is on.
Show whether C++ names are printed in mangled or demangled form.
Print C++ names in their source form rather than their mangled form, even in assembler code printouts such as instruction disassemblies. The default is off.
Show whether C++ names in assembly listings are printed in mangled or demangled form.
Allow GDB to choose a decoding style by inspecting your program.
Decode based on the GNU C++ compiler (g++) encoding algorithm. This is the default.
Decode based on the HP ANSI C++ (aCC) encoding algorithm.
Decode based on the Lucid C++ compiler (lcc) encoding algorithm.
Decode using the algorithm in the C++ Annotated Reference Manual . Warning: this setting alone is not sufficient to allow debugging cfront-generated executables. GDB would require further enhancement to permit that.
If you omit style, you will see a list of possible formats.
Display the encoding style currently in use for decoding C++ symbols.
When displaying a pointer to an object, identify the actual (derived) type of the object rather than the declared type, using the virtual function table.
Display only the declared type of objects, without reference to the virtual function table. This is the default setting.
Show whether actual, or declared, object types are displayed.
Print static members when displaying a C++ object. The default is on.
Do not print static members when displaying a C++ object.
Show whether C++ static members are printed, or not.
Do not pretty print C++ virtual function tables.
Show whether C++ virtual function tables are pretty printed, or not.


Move over flower bouquet and make way for Harvest, the ultimate Vege Bouquet in town! Surprise them with Harvest and they'll thank you for this healthy food source!
· Contains Asparagus, Bell Pepper, Broccoli, Button Mushrooms, Carrots, Chilies, Eggplant, Long Beans, and Leek.
· Wrapped with Kraft Paper and Strings.


With its grassy leaf, cymbidium differs just a little from other orchids. This orchid is native to cool as well as tropical regions, such as Nepal, Vietnam, Taiwan, Australia, and the Himalayas. Due to the cooler temperatures outside, cymbidium will flower in the fall, winter, or spring, depending on the species. During its flowering period, it does well in the living room. In the summer, this orchid prefers a sheltered spot in the garden.
Temperature: Around 15 degrees Celsius. You can leave cymbidium outside under cover in the summertime.
Water: This orchid should not be overwatered. It is sufficient to water it once every seven to nine days. Water cymbidium only once its soil is almost dry. This can easily be determined by means of a skewer. Stick the skewer in the soil and retrieve it occasionally. Cymbidium requires water if the skewer is dry.
Fertiliser: Twice per month, feed cymbidium our special orchid fertiliser 'Groei en bloei'.
Soil: It is important to replant cymbidium once every three to four years in orchid potting mix. For cymbidium, the Orchideeën Hoeve has put together a well-aerated mix of bark, coco, and peat. This mix is available at our shop.
After flowering: When the flower has finished flowering, cut off the flower's stem at its base. Place cymbidium in a spot with as much light as possible. The orchid will generate another stem from a new shoot. This will take approximately eight to twelve months.
Tip for repotting: Cymbidium can be repotted in a larger pot if the orchid's roots are healthy. However, if the roots are soft and/or decayed, it is recommended to remove those parts and to repot the orchid in the same pot. Tearing/dividing is also an option once cymbidium has grown beyond the edge of the pot. Divide a single plant into two plants, at the most. Next, place these plants in a pot of the same size.
Please note: Mainstream flower pots are not suitable for cymbidium. They are best planted in a pot specifically designed for orchids. These pots contain many holes providing proper drainage of excess water.


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Reed Richards, Psychohistory, and History-as-Science
Posted on February 1, 2007 by Timothy Burke
I have always been fond of the comic-book character Reed Richards, aka "Mr. Fantastic". If you haven't encountered the character before, his superpower is actually rather secondary to his appeal as a character. (He can stretch his rubbery body, a power that is normally associated with humorous characters in comics.) The character is more defined by his personality and outlook: he is a classic absent-minded professor, an egghead, a supremely gifted but often otherworldly scientist. He's basically the kind of pop-culture scientist who would show up in fifties and sixties monster movies, smoking a pipe and Nobel-prize brilliant in all possible scientific disciplines from physics to engineering to biology.
This has something to do with my (and many other readers') disenchantment with the current comic-book series Civil War, in which Reed Richards is basically acting more like a villainous mad scientist, in defiance of about forty years of storytelling. I'd second the core complaint that it's a story in which characters are being made to do whatever the plot idea requires them to do, without much thought being given to the why and wherefore. This leaves later writers to clean up the mess. In the case of Reed Richards, the first pass at explaining his actions was frankly stupid and unconvincing (that he had an uncle who was persecuted by Joe McCarthy, which taught young Reed that one should always slavishly obey one's government). The second pass made more sense in terms of the character: that Reed Richards has been experimenting with Asimov-style psychohistory (rather than psychohistory in the psychoanalytic sense), and has discovered that the government's attempt to control superpowered humans is preferable in its long-term consequences to a failure to do so, however difficult the short-term problems might seem.
This is all a roundabout way, via comics geekery, to raise the topic of psychohistory as Asimov described it. When I was a kid, I found it implausible in a way I couldn't fully think through, even if Asimov did some fun things with the concept in fictional terms. Seen historiographically, it has some obvious links to the real-world hubris of modernization theory and some of the headier claims made in the 1960s that history would become more scientific through the extensive use of cliometrics. In the context of the times, you can sympathize with an author like Asimov clearly hoping for or even vaguely believing that his fictional vision might eventually become real in some respect. Even so, in the original Foundation trilogy, he eventually introduced a hidden group of telepathic humans who helped to control individual actions so that they continued to conform with Hari Seldon's psychohistorical plan for a future galactic society.
I do still run into scholars and intellectuals, some natural scientists and others social scientists, who have affection for Asimov's idea of psychohistory, and a few who even still think that something like it is highly possible. This really bugs me, just as the portrayal of Reed Richards bugs me. It's partly because quite aside from questions of truth and plausibility, psychohistory is an imaginative effluvia of the authoritarianism of high modernist planning. It comes out of that moment where some intellectuals and officials really believed they could design the future and have human beings predictably align themselves with their grand visions. Hari Seldon is a science-fictional Le Corbusier. When Asimov wrote Foundation, you couldn't blame him for clinging to a heroic vision of lone-genius-designs-the-future, but when I meet someone today who still seems misty-eyed about the idea, it gives me the creeps. It's annoying even coming from a fictional character like Reed Richards. If the guy is a brilliant cutting-edge scientist (even of the comic-book kind), then he shouldn't be scribbling equations on the wall that allegedly demonstrate beyond a shadow of a doubt what the future holds. He should know that complex emergent systems (which surely human society in the real world is, and equally surely a fictional human society with mutants who have powers that range from having sticky frog tongues to making suns go supernova would be) can only be described much more tentatively and probabilistically.
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18 Responses to Reed Richards, Psychohistory, and History-as-Science
The Constructivist says:
Two quick comments on this: when I taught Asimov, it occurred to several students and myself that he was trying to one-up Marxist theories of history, which makes Kim Stanley Robinson's Red Mars idea that history has an inertia to it and escape velocity is difficult to achieve (somewhere early in the novel) an interesting response to the Foundation series. But even more interesting, IMHO, is Dan Simmons's attempt to fuse the predicting the future conceit with the AI-human symbiosis/conflict plot in his Hyperion series. I see his efforts as an attempt to rewrite Foundation for a post-Vietnam audience.
At the same time, I am more and more convinced by my students' love of Asimov (it stood up surprisingly well to both Gibson and McHugh that semester, in both sections) that there's some very interesting historical commentary going on in it. Not just Cold War, but he also seems to be plugged into some of Japan's early development strategies.
I was too lazy when I taught the course to look up any of this, but I'm sure there have been and remaining possibilities for interesting attempts to historicize the Foundation series and its later interlocutors.
Timothy Burke says:
See, this is an interesting thing, because it's been argued before that Asimov was trying to appropriate Marxism. I see that only inasmuch as a lot of high-modernist planning derived some of its authority from statist Marxism. Certainly Hari Seldon doesn't seem to me to be a revolutionary figure: he's a much more bloodless, intellectualized kind of figure. And psychohistory as Asimov offers it actually has what I think (most) political Marxism has historically lacked and struggled with, an (off-stage) reconciliation of individual action/consciousness and large-scale social change. Course ultimately he does it via the telepathy of the Second Foundation.
withywindle says:
Now, I had a rather different take on the Foundation Trilogy. It seemed to me that Asimov was having fun first postulating the concept, kicking it around the block, and finally exploding it with the Mule–that wonderful moment when the hologram of Hari Seldon appears, and starts spouting stuff that no longer has anything to do with what's going on. In the guise of "superhuman mutant," that still struck me as a very powerful statement of the ability of individual humans to affect history. Now, the last bit with the brainwashing Second Foundation somewhat undercuts the idea of Asimov promoting the power of individual humans, etc.–but it also brings out and makes explicit that the Dictatorship of the Telepathiat is controlling those supposedly inevitable laws of psychohistory. The moral valence on the authoritarian elite is a bit wobbly, but at least there are no illusions. That makes it seem a great deal better than, oh, van Vogt's *Slan*. (The slogan "Fans are Slans" I find one of the more repulsive and creepy in the world.)
Follow-up one: Have you read Norman Spinrad's *The Iron Dream*?–"Adolf Hitler's Hugo-Award winning Science Fiction Novel!"–more than a little like van Vogt.
Follow-up two: Whoever was that Marxist who did a literary biography of Heinlein pointed out that in *If This Goes On–*, the version we're now familiar with has a loveable old Vermont type saying we can't brainwash the people back to liberty–but that the original version of the story said, yes we can and yes we should. An interesting shift.
Have read Iron Dream, but haven't read Slan, so can't comment on that aspect. The technological acceleration that Spinrad shows as AH's fantasies in the last chapters of Iron Dream is an interesting counterpoint to the whole singularity business.
It's also been dog's years since I read Foundation, but I do seem to recall an interview or essay in which Asimov said that he hadn't planned Foundation as a trilogy (much less a second one), so he was having to write himself out of holes that he had dug early on in the story, and that if he had conceived it as a trilogy from the get-go, it would have been set up very differently. I wish I had some semblance of a memory of where I read that, but I don't.
Have you read Cordwainer Smith's Instrumentality of Mankind stories? The individual stories are much stranger than anything of Asimov's I can remember reading. There is, however, a narrative arc of a caste guiding history. On the other hand, Smith brings the amorality required by such a task front and center. The Lords and Ladies of the Instrumentality end up barely human themselves, and the utopia they bring about has numerous dark sides. At the conceptual turning point, the Instrumentality brings back much of the disorder its earlier phases had sought to stamp out. Smith is not a linear storyteller, and he died relatively young after starting late to publish SF, so the Instrumentality is never more than sketched.
hestal says:
The thing I remember about "Foundation" is that I did not like it and stopped reading it. It was just a longer version of "Ralph 124C41+"
If the future cannot be engineered then we are doomed as a species. If we are unable to anticipate the consequences of our actions then, Rumsfeld, Rice, and Bush are right, "We only have to be wrong once."
My experiences in the computer world give me hope. Twenty-three years ago I developed a precursor system to the computers today that are collections of microprocessors working in parallel to solve a single problem. I called the individual processors "robots" and established a set of rules whereby each robot could decide which of many problems to work on, when to start and when to stop working, which part of the collective data sets to use, and whether to accept requests from other robots or humans. The system was started to serve a small business of $8 million annually. As the business grew I simply added more processors. In 48 months the company grew to over $500 million with 1.4 million customers, a sales force of over 300 thousand and 1,700 processors. We never bought a mainframe.
The point of this bragging is that the combined power of these robots far exceeded the power of mainframes available at the time. So the lone-genius approach to engineering our future, I agree, will not work. But I think that the combined intellectual power of our species can do a great deal toward planning the future. What we are missing right now is a way to let all that brainpower work on a single problem.
In my robot world we were able to solve problems that could not be done by a mainframe. We could overpower them and shorten dramatically the time to solution, or we could test more ideas more quickly and shorten the time to new methods, and we could serve our customers better by actually running some critical functions so quickly that we could check the results again and again before we had to stop. Most commercial enterprises, even today, get only one bite at the apple.
I believe that we are on our way to developing methods permitting people to work together in solving problems. We have such problem-solving being used in science and the pace is accelerating, and we see the need for it in the breakdown of our private and public institutions. The recent book "The Broken Branch," catalogues the many sins of the Congress and, of course proposes no solutions. The reason for this breakdown is that Congress and the rest of our Federal System comprise a huge bottleneck, a choke point, that stops progress. By moving our system to direct democracy in which people can see public wishes translated into public policy, in a timely way, will lead to great and rapid improvements. We will not recognize America, and that is the only prediction that can safely be made.
As I was checking my Yahoo email I saw a news item just now about Penguin books new idea. They have set up a site for writing a novel by collaboration. The site is "www.amilliionpenguins.com" I kind you not.
On Cordwainer Smith: Yes, I've read the Instrumentality series, and think they're largely brilliant–although perhaps a little repetitive toward the end. Mind you, one of the reasons I like it is that it is also brilliant Christian SF–I think "The Dead Lady of Clown Town" illustrates that best. And since his managerial elite is also, distantly, a Chinese elite, it gives you a sharp insight on how mangerialism ends up sooner or later in bureaucratic authoritarianism. I was also struck by how he emphasizes pain and human cost even in the dizzying far-future–it's a sombre counterpoint to technological utopianism throughout. If ever I teach a course in SF, he is so on the syllabus …
Swarthmore's SF society has the Cordwainer Bird Memorial Library on campus, as partial homage …
Now, since I'm a *historian* SF geek, I've always taken great delight in the fact that I actually read a book by Paul Linebarger before I read a book by Cordwainer Smith–I used his biography of Sun Yat-Sen (his godfather, I believe!) for a paper I did back in the 8th grade.
abstractart says:
"Cordwainer Bird" is actually a far more direct reference to Harlan Ellison's famous pseudonym, although Paul M. A. Linebarger's more well-known pseudonym certainly may have been one of Ellison's inspirations.
If the biography you're talking about is Sun Yat-Sen and the Chinese Republic, that was done by his father, Paul M. W. Linebarger, Sun's friend and confidant — it was written in 1925, when Paul M. A. was only 12. Paul M.A. is the one who wrote the later book about the Three People's Principles, though.
What's interesting about the Foundation series is that geeks loyal enough to read the somewhat poorly-received latter-day sequels Asimov did to the series can see how he acknowledged the problems with both visions of the Foundation. The main plot of the latter Foundation novels is about Golan Trevize, our protagonist, being manipulated into making a choice between three possible futures for humanity. One is the original idea of psychohistory, a real, normal human history that's been engineered to grant the best possible outcome — the First Foundation. The next is Asimov's modified, compromised idea of psychohistory, a managed, authoritarian state controlled by a telepathic caste — the Second Foundation. The last, and the one which Asimov has his protagonist choose, is a much more daunting idea — hooking up all of human life into a single organismal hivemind, Galaxia.
Asimov's reasoning is that no matter how well-set-up the First Foundation is, there are so many inherent instabilities in normal human society that it will inevitably collapse. The Second Foundation, by contrast, can only lead to stasis and decay by locking humanity into a state of being controlled by blind, inflexible laws. Only Galaxia, by being a singular, self-repairing, self-modifying organism, can allow for dynamic growth and change in response to new threats while still maintaining the self-control necessary to prevent catastrophic failure like the fall of the Galactic Empire.
It's an interesting take, and one that's been explored a lot by the "fan fiction" sequel/prequels other writers have done to the Foundation series after Asimov's death. My favorite is David Brin's Forward the Foundation, which more or less confronts head-on the fact that any of Asimov's proposed futures don't do a whole lot for the idea of human freedom of choice.
Yes, though the sequels are leaden, you can really see Asimov thinking through the flaws of psychohistory and Seldon's vision (which turns out to be partly Daneel Olivaw's vision). I guess Reed Richards didn't read that far.
Gavin Weaire says:
Like Doug, I haven't read the Foundation books for a *long* time. But IIRC, a fairly big part of the literary effect of "psychohistory" is due to the point-for-point transferring of details from Gibbon. One accepts that prediction "works" for the novel because prediction here =our memory of a recognizable "real" history. Otherwise psychohistory would collapse under its basic silliness.
And it *has* to be Rome. We're prepped to accept that the fall of the Roman Empire can be used as a predictive model for the fall of a Galactic Empire because it gets used rhetorically that way all the time as a "dire warning of what will happen if we don't do X." Few other historical events have this much rhetorical power.
This connects with one of the posts that hooked me on this blog – the one about the BBC/HBO's "Rome" and the fact that no-one "owns" ancient Rome.
Re Linebarger: I've been living a lie since the eighth grade! I plead natural error … Paul Linebarger, Chinese history, who else could it have been? Oy, I'll never be able to use that anecdote again … and, yes, Cordwainer Bird through Harlan Ellison, who I believe did choose the name as an homage to Cordwainer Smith. I confess when I wrote the last post, I'd forgotten the Ellison bit. This, doubtless, is because I like Smith's writings more than Ellison's.
Now that you mention Brin, his Uplift Series also has commentary on the Gaia-Galaxia idea.
Gavin: how much does the average SF reader now know about the fall of Rome? Insert generic gloomy comments about historical knowledge nowadays–with the specific thought that SF readers in 1940 might have been a lot more familiar with their Gibbon and their Roman history than SF readers nowadays. I know there are TV shows and movies about Rome, but how many of them lately actually cover its decline? *Gladiator* only got us as far as Commodus.
Withywindle: I haven't read a lot of SF since I was a teenager, so I'm no great expert on SF fans any later than the '80s. I'd say from what experience I do have, that the average SF fan probably knows more about it than most people do – ancient history seems to attract the same sort of personality, and bookish types are always going to know more about history in general.
Anyway, Asimov's "decline and fall of the Roman Empire" is IMO more recognizable from the various popular "falls of Rome" on offer. These are common. Pretty much every modern movement predicting disaster has a "this is exactly why Rome fell!" story somewhere in its arsenal. Entirely bipartisan: as true of environmentalists (Rome fell because of overcultivation led to environmental degradation) as the Christian right (Rome fell because tolerance of homosexuality led to a reduced birthrate).
The one that seems to me particularly prevalent among SF readers, with their techno-libertarian leanings, is all about technological stagnation due to the slavery/oppressive emperors/cultural aversions to technology: horse-collars, steam-engines etc. (This is based on conversations I used to have in another forum – Doug Muir knows exactly where I'm getting this from.) This idea is definitely there in Asimov.
More generally, even if you don't know a lot about the actual history of Late Antiquity, the Foundation narrative is going to feel right from the basic underlying narrative behind all of these: the awful warning represented by Rome, seen as a state that appeared supremely powerful, but whose blindness to its hidden weaknesses destroyed it. N.B. that you are more likely to have this general impression of the topic if you *don't* know much about it.
The Mule = Charlemagne (or Napoleon-as-Charlemagne), surely?
Mohammed, for my money. But we can include both of them in a Pirenne 2-for-1 sale.
I agree that the technological stagnation schtick is most common among SF readers. And for some obvious parallels, Poul Anderson's Polesotechnic-Flandry future history, and H. Beam Piper's Federation-Empire.
That's a nice bundle of semi-contemporary future histories going there. I wonder if we got that burst because that's what Campbell was buying, or if there were other zeitgeistier factors at work. If I remember correctly, the introduction to one of the Piper books talks not only about future histories, but also his drive to explore a "self-reliant man," as an ideal type. (I'd look it up, but I lost basically all my Piper as a result of the move to Germany. I think it was the intro to the mass-market paperback of Empire, but it might also have been the trade-paper edition of Federation.) The argument was that the future history went hand-in-hand with the archetype, and that other authors of the time, notably Heinlein, were also searching for an ideal man as part of the future history. Was it all that common?
Smith didn't do any such thing, but he's such an outlier. And certainly by the time you get to Known Space, the protagonists' flaws are structural elements of the stories, so searching for a role model is not part of the meta-narrative.
(Has anyone here read Lost Pages by Paul di Filippo? Little snippets of alternative history without the zeppelins and with SF personalities in many of them. In one story, it's not John Campbell who takes over at Astounding, but Joseph Campbell in full power-of-myth mode, and who tweaks history here and there through the power of SF.)
Anyway, Asimov and Smith are about steering history, whereas I remember Piper's history as not having anyone trying to do the guiding. Maybe a bit in Federation, but I think his contention is that it can't be done, that certain cycles are inevitable. (I'd say this is pop Gibbon or Spengler, but I haven't read either to know for sure.) Anderson I haven't read; likewise the Dorsai series, if it's even a future history. Known Space doesn't address decline-and-fall, as exploration and integration take up the several centuries that Niven sketches out. In Brin's Uplift setting, humanity is an odd backwater and not the center of all things as it was in the earlier future histories. In the setting for the game Traveller, earth is humanity's original home, but one that's been forgotten. (There's still a rise-and-fall argument going there, because of the general course of galactic civilization, but one without steering.) Other thoughts and examples?
Benjamin Bayley, *The Pillars of Eternity*. A very strange book: our hero suffers ultimate, agonizing pain. He discovers that time is circular, the universe will recur an infinite number of times, so he decides to change history so that he will never experience ultimate pain again. The government bureaucracy, taking an *extremely* long view, decides to try to stop him, since they want to exist the next time the universe spins around. And in the end … anyway, it is a very bizarre take on free will, historical deteminism, and cosmology. I found it very moving, though I suspect I may have a minority taste.
Gary Farber says:
"(The slogan 'Fans are Slans' I find one of the more repulsive and creepy in the world.)"
Claude Degler, and an occasional 13-year-old, aside, that was almost always said ironically, and with humor, you know, going back to its start. No fan who ever dealt with other fans could use it any other way (but I speak from comprehensive knowledge of the fanzines of the Forties and Fifties, not from deduction).
"Whoever was that Marxist who did a literary biography of Heinlein pointed out that in *If This Goes On–*, the version we're now familiar with has a loveable old Vermont type saying we can't brainwash the people back to liberty–but that the original version of the story said, yes we can and yes we should. An interesting shift."
H. Bruce Franklin. However, you neglect to mention that the Heinlein wrote that story entirely, and fairly strictly, from an outline given to him by John W. Campbell, who had intended to write it himself, but couldn't after the publishers of Street & Smith told the editor of Astounding that he could no longer publish fiction while he held the job. Heinlein struggled considerably to eliminate the deeply racist foundation that Campbell laid down, but being constricted by the mandate to not deviate strongly from the outline, was limited in how much he could do. The issue as regards people thinking for themselves was one that bothered Heinlein a lot, and when he got a second pass at the story, outside of Campbell's control and strictures, even though he believed strongly in "not rewriting" a story once it had been sold, he rewrote that part.
Among my sources on this, aside from decades of closely following such information, is my recent reading of a couple of thousand pages of the manuscript of Heinlein's authorized biography (I have a number of different interpretations from the author of some aspects of Heinlein's life, but not about these particular details).
"It's also been dog's years since I read Foundation, but I do seem to recall an interview or essay in which Asimov said that he hadn't planned Foundation as a trilogy"
Well, of course not. There wasn't even a book until many years after the stories were published in Astounding. They're a bunch of novellas, written over years. The "trilogy" was purely assembled years later, for convenience.
"Swarthmore's SF society has the Cordwainer Bird Memorial Library on campus, as partial homage …"
I think Matt Schneck was one of the founders in the early Seventies, though I could be wrong.
"…although Paul M. A. Linebarger's more well-known pseudonym certainly may have been one of Ellison's inspirations."
Of course it was.
"David Brin's Forward the Foundation"
Was one of Asimov's last sequels; Brin had nothing to do with it. I assume you're thinking of Brin's "Foundation's Triumph," which I've not read.
"I wonder if we got that burst because that's what Campbell was buying"
That's a good part of it, certainly.
"The argument was that the future history went hand-in-hand with the archetype, and that other authors of the time, notably Heinlein, were also searching for an ideal man as part of the future history. Was it all that common?"
It was if you wanted to sell to Campbell: who was the leading genre market, that paid the best.
"Smith didn't do any such thing, but he's such an outlier."
And didn't sell to Campbell: H. L. Gold bought his stuff at Galaxy, after Campbell's peak. Although Scanners Live In Vain (which synchronicitly enough, I just made a reference to an hour ago) was published as early as 1950, almost all of "Smith"'s stories appeared between late 1958 and February 1966. Campbell was still editing Analog, but hadn't been leading the field since the late Forties.
"Other thoughts and examples?"
I think you're muddling the concepts of a created universe in which stories take place, and a "future history," a bit, but it's not as if there are strict definitions, to be sure.
Heinlein created the original "Future History" (though sort of partially on Campbell's command/influence/patronage), and it more or less literally drew a line, when he created the original chart with timelines for Campbell, between then contemporary times, and points in the future. Relatively few others have ever done something like that, which is much more specific than simply having a bunch of stories set hundreds of years in the future sharing characters and technology and references.
But, as I said, it's not as if there are rules about this, after all.
"Benjamin Bayley"
Barrington J. Bayley, actually.