Jacki Kellum

Juxtapositions: Read My Mind

Category: New York

Breakfast at Tiffany’s Quotes with Page Numbers – Truman Capote’s Experiences of New York City

Notes from the Book Breakfast at Tiffany’s

“Songs of Innocence and of Experience[1] is an illustrated collection of poems by William Blake. It appeared in two phases. A few first copies were printed and illuminated by William Blake himself in 1789; five years later he bound these poems with a set of new poems in a volume titled Songs of Innocence and of Experience Showing the Two Contrary States of the Human Soul.” Wikipedia

Blake wrote The Lamb, which is the essence of mankind’s pure, innocent nature, and as contrast, he wrote The Tyger, which is representative of mankind’s almost hardened and wicked nature. Close to the end of the poem, he asks the question:

When the stars threw down their spears
And water’d heaven with their tears:
Did he smile his work to see?
Did he who made the Lamb make thee?

Question: Did the same Capote write both In Cold Blood & Breakast at Tiffany’s.

Truman Capote has a simple but powerful way of talking about the places where he has lived, and the book and movie Breakfast at Tiffany’s is an example of the author’s ability to do just that. Unfortunately, too many people only know of the Truman Capote who wrote In Cold Blood, but I venture to say that the author’s book about the brutal killings in Kansas is totally unlike the rest of his writing and probably unlike Capote himself.

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Capote also wrote The Grass Harp, which was made into a movie, and in my opinion, The Grass Harp is more representative of Capote than In Cold Blood.

“Set on the outskirts of a small Southern town, The Grass Harp tells the story of three endearing misfits—an orphaned boy and two whimsical old ladies—who one day take up residence in a tree house. As they pass sweet yet hazardous hours in a china tree, The Grass Harp manages to convey all the pleasures and responsibilities of freedom. But most of all it teaches us about the sacredness of love, “that love is a chain of love, as nature is a chain of life.”

“This volume also includes Capote’s A Tree of Night and Other Stories, which the Washington Post called “unobtrusively beautiful . . . a superlative book.” Amazon

Truman Capote’s  A Christmas Memory is also representative of his typically sweet and nostalgic, memoir style of writing:

“First published in 1956, this much sought-after autobiographical recollection from Truman Capote (In Cold BloodBreakfast at Tiffany’s) about his rural Alabama boyhood is a perfect gift for Capote’s fans young and old.

“Seven-year-old Buddy inaugurates the Christmas season by crying out to his cousin, Miss Sook Falk: “It’s fruitcake weather!” Thus begins an unforgettable portrait of an odd but enduring friendship and the memories the two friends share of beloved holiday rituals. ” Amazon

[By the way, if you buy the correct volume of Breakfast at Tiffany’s, A Christmas Memory is included in the volume].

A Thanksgiving Memory is also representative of Capote’s lyrical reminiscences.

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“A Christmas Memory,” “One Christmas,” and “A Thanksgiving Memory.” All three stories are distinguished by Capote’s delicate interplay of childhood sensibility and recollective vision.

“Available for the first time in a single volume are the three holiday stories that Truman Capote regarded as among his greatest works of short fiction. Two of these childhood memoirs – “A Christmas Memory” and “The Thanksgiving Visitor” – center on the author’s early years with a family of distant relatives in rural Alabama. Both pay loving tribute to an eccentric old-maid cousin, Miss Sook Faulk, who became his best friend. In “A Christmas Memory”, Miss Sook, Buddy (the narrator), and their dog, Queenie, celebrate the yuletide in a hilariously tipsy state. In the poignant reminiscence “One Christmas”, six-year-old Buddy journeys to New Orleans for a reunion with his estranged father that shatters many illusions. And in “The Thanksgiving Visitor”, Miss Sook invites the school bully, Odd Henderson – called by Buddy “the meanest human creature in my experience” – to Thanksgiving dinner.” Amazon

In the same way that some of the best of Capote’s writing shares memories of his childhood homes, Breakfast at Tiffany’s captures Manhattan in New York City, which was also Capote’s home for a while, and in my opinion, Audrey Hepburn was the perfect person to capture the quiet coziness of Capote’s writing style. It is interesting that Truman Capote had wanted Marilyn Monroe to play the part of Holly Golightly in the movie Breakfast at Tiffany’s. In the book, Capote describes Holly as having albino blonde hair. I read the book after I watched the movie, and I am glad that I did.  In my opinion, Audrey Hepburn is the quintessential Holly Golightly, and I enjoyed reading the book with an image of Audrey Hepburn in mind.

“It was a warm evening, nearly summer, and she wore a slim cool black dress, black sandals, a pearl choker. For all her thinness, she had an almost breakfast-cereal air of health, a soap and lemon cleanness, a rough pink darkening in the cheeks. Her mouth was large, her nose upturned. A pair of dark glasses blotted out her eyes. It was a face beyond childhood…. I thought her anywhere between sixteen and thirty, as it turned out, she was shy two months of her nineteenth birthday.” p. 12

“She was never without dark glasses, she was always well-groomed, there was a consequential good taste in the plainness of her clothes….One might have thought her a photographer’s model, perhaps a young actress….” p. 14

“I discovered, from observing the trash-basket outside her door, that her regular reading consisted of tabloids and travel folders and astrological charts; that she smoked an esoteric cigarette called Picayunes; survived on cottage cheese and melba toast….” p. 15

 

“It was a warm evening, nearly summer, and she wore a slim cool black dress, black sandals, a pearl choker. For all her thinness, she had an almost breakfast-cereal air of health, a soap and lemon cleanness, a rough pink darkening in the cheeks. Her mouth was large, her nose upturned. A pair of dark glasses blotted out her eyes. It was a face beyond childhood…. I thought her anywhere between sixteen and thirty, as it turned out, she was shy two months of her nineteenth birthday.” p. 12

“She was never without dark glasses, she was always well-groomed, there was a consequential good taste in the plainness of her clothes….One might have thought her a photographer’s model, perhaps a young actress….” p. 14

“I discovered, from observing the trash-basket outside her door, that her regular reading consisted of tabloids and travel folders and astrological charts; that she smoked an esoteric cigarette called Picayunes; survived on cottage cheese and melba toast….” p. 15

“Also she had a cat and she played the guitar.

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“On days when the sun was strong, she would wash her hair, and together with the cat, a red-striped tom, sit out on the fire escape thumbing a guitar while her hair dried.” p. 16.

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Breakfast at Tiffany’s is a movie that was released in 1961. It is based on Truman Capote’s novella by the same name.

[Most of us know that Audrey Hepburn made fashion history in the black dress and sunglasses that she wore in the film. Like most people, I have long associated the fashion staple the little black dress with Audrey Hepburn and the movie Breakfast at Tiffany’s, and when I as a child, I memorized the theme song “Moon River” and learned to play it on several instruments. In many ways, I grew up with Breakfast at Tiffany’s and I could have sworn that I had seen the movie before, but until recently, I had not.  I decided that I needed to correct that mistake, and I am glad that I did.]

[“The song ‘Moon River’ was written especially for Audrey Hepburn, since she had no training as a singer. The vocals were written to be sung in only one octave. The famous black dress worn by Audrey Hepburn in the opening scenes of this movie was sold for $807,000 on December 4, 2006 at Christie’s Auction House in London, making it the second most expensive piece of movie memorabilia ever sold.” Read More Here]

[“Tiffany’s flagship store (since 1940) is located at the corner of Fifth Avenue and 57th Street in Manhattan, New York City. The former Tiffany and Company Building on 38th Street is on the U.S. National Register of Historic Places. The polished granite exterior is well known for its tiny window displays. The store has been the location for a number of films including Breakfast at Tiffany’s, Sweet Home Alabama and Sleepless In Seattle.” Read More Here]

As I said before, Breakfast at Tiffany’s is largely about the period when Manhattan was Capote’s home:

“I am always drawn back to places where I have lived, the houses and their neighborhoods. For instance, there is a brownstone in the East Seventies where, during the early years of the war, I had my first New York apartment. It was one room crowded with attic furniture, a sofa and fat chairs upholstered in that itchy, particular red velvet that one associates with hot days on a train. The walls were stucco, and a color rather like tobacco-spit. …The single window looked out on a fire escape. Even so, my spirits heightened whenever I felt in my pocket the key to this apartment; with all its gloom, it still was a place of my own, the first, and my books were there, and jars of pencils to sharpen, everything I needed, so I felt, to become the writer I wanted to be.

“It never occurred to me in those days to write about Holly Golightly….” – Truman Capote –Breakfast at Tiffany’s page 3

“Outside, the rain had stopped, there was only a mist of it in the air, so I turned the corner and walked along the street where the brownstone stands. It is a street with trees that in the summer make cool patterns on the pavement; but now the leaves were yellowed and mostly down, and the rain had made them slippery, they skidded underfoot. The brownstone is midway in the block, next to a church were the blue tower-clock tolls the hours.” Breakfast at Tiffany’s, p. 10

 

In 1961, I was 11-years-old, and I was growing up in rural Southeast Missouri–which is a world away from New York City. I did not visit New York City until 2010, and in an odd way, I am glad that I did not watch Breakfast at TIffany’s until after I had become familiar with the Big Apple. My current home is very close to New York, and I visit the city often. As the film opens, a cab makes its way from Tiffany’s to Holly’s apartment, and it follows a route along what has become my favorite walkway in NYC. Breakfast at Tiffany’s was filmed over half a century ago, the New York City that it captures is very much the same now as it was then, and I loved seeing the NYC that is captured in the film Breakfast at Tiffany’s.

Central Park is one of my very favorite places, and part of Breakfast at Tiffany’s is filmed there.

Bandshell, Central Park (from 66th to 72nd Street) Manhattan

Conservatory Water, Central Park (from 72nd to 75th Street) Manhattan.

“That Monday in October, 1943. A beautiful day with the buoyancy of a bird. …

“We ate lunch at the cafeteria in the park Afterward, avoiding the zoo (Holly said she couldn’t bear to see anything in a cage)…. Leaves floated on the lake; on the shore, a park-man was fanning a bonfire of them, and the smoke, rising like Indian signals, was the  only smudge on the quivering air. Aprils have never meant much to me, autumns seem that season of beginning, spring; which is how I felt sitting with Holly on the railings of the boathouse porch. I thought of the future, and spoke of the past. Because Holly wanted to know about my childhood. She talked of her own, too; but it was elusive, nameless, placeless, an impressionistic recital, though the impression received was contrary to what one expected, for she gave an almost voluptuous account of swimming and summer, Christmas trees, pretty cousins and parties: in short, happy in a way that she was not, and never, certainly, the background  of a child who had run away.” p. 51

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‘Passing a Woolworth’s, she gripped my arm: ‘Let’s steal something,’ she said, pulling me into the store, where at once there seemed  a pressure of eyes, as though we were already under suspicion. ‘Come on. Don’t be chicken.’ She scouted a counter piled with paper pumpkins and Halloween masks. … Holly picked up a mask and slipped it over her face; she chose another and put it on mine; then she took my hand and we walked away. It was as simple as that.

“Outside, we ran a few blocks, I  think to make it more dramatic….p. 52

“We wore the masks all the way home.” p. 53.

During the early part of the film, Cat is the only character who wasn’t wearing a mask. But the true monsters of the film are its rats, and the depth of the movie revolves around Holly’s discoveries about them.

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Holly’s goodbye letter from José:

“My dearest little girl, I have loved you knowing you were not as others. But conceive of my despair upon discovering in such a brutal and public style how very different you are from the manner of woman a man of my faith and career could hope to make his wife. … So I hope you will find it in your heart not to condemn me I have my family to protect, and my name, and I am a coward where those institutions enter. Forget me, beautiful child. I am no longer here I am gone home.” p. 94

“All right, he’s not a rat without reason. A super-sized King Kong-type rat like Rusty…. I did love him. The rat” p. 94

“All right — so he’s not a regular rat, or even a super rat. He’s just a scared little mouse. But — oh, golly, gee, damn!” Movie quote

Neither the book nor the movie are perfect. The book is plagued with politically incorrect references to “dykes” and “les negres,” and the movie suffers from some very weak scenes in which Mickey Rooney poorly plays a China Man. Those scenes are embarrassingly inappropriate now.

I’m glad that I stuck with the film through the rough patches, however, and into the relationship that develops between Hepburn and George Peppard. This relationship and Holly’s struggles with “the Reds” is the meat of the film.

Holly Golightly: You know those days when you get the mean reds?
Paul Varjak: The mean reds, you mean like the blues?
Holly Golightly: No. The blues are because you’re getting fat and maybe it’s been raining too long, you’re just sad that’s all. The mean reds are horrible. Suddenly you’re afraid and you don’t know what you’re afraid of. Do you ever get that feeling?
Paul Varjak: Sure.
Holly Golightly: Well, when I get it the only thing that does any good is to jump in a cab and go to Tiffany’s. Calms me down right away. The quietness and the proud look of it; nothing very bad could happen to you there. If I could find a real-life place that’d make me feel like Tiffany’s, then – then I’d buy some furniture and give the cat a name!

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“Angst. But what do you do about it?”

“Well, a drink helps.”

“I’ve tried that. I’ve tried aspirin, too…

“What I’ve found does the most good is just to get into a taxi and go to Tiffany’s. It calms me down right away,  the quietness and the proud look of it: nothing very bad could happen to you there, not with those kind men in their nice suits, and that lovely smell of silver and alligator wallets. If I could find a real-life place like Tiffany’s then I’d buy some furniture and give the cat a name.” p. 38.

“Didn’t I tell you this was a lovely place?”

“Do they still really have prizes in Cracker Jack boxes?” “…Oh; yes.” “That’s nice to know… It gives one a feeling of solidarity, almost of continuity with the past, that sort of thing.”

[I don’t want to completely destroy the film for people who haven’t seen it yet, but the message lies within Holly Golightly’s attempts to deny what is and is not valuable in life. Because of the honest way that Capote created Holly Golighty, Breakfast at Tiffany’s is much more than Romantic Comedy [a genre that I usually detest]. For several minutes into the film, I thought that the movie was going to be silly, but by the end, I was in tears. Holly Golightly is a well-developed character. She is a hayseed who has escaped to New York City and who is caught in the fruitless snare of trying to play the part of someone that she can never be.]

“…the kid’s fifteen But stylish: she’s okay, she comes across. Even when she’s wearing glasses this thick; even when she opes her mouth and you don’t know if she’s a hillbilly or an Okie or what. I still don’t. My guess, nobody’ll ever know where she came from. She’s such a goddamn liar, maybe she don’t know herself any more. But it took us a year to smooth out that accent. How we did it finally, we gave her French lessons: after she could speak French, she could imitate English.” p. 30.

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“But Doc, I’m not fourteen anymore, and I’m not Lulamae. But the terrible part is (and I realized [p. 69] it while we were standing there) I am. I’m still stealing turkey eggs and running through a brier patch. Only now I call it having the mean reds” pgs 69-70.

“Never love a wild thing….That was Doc’s mistake. He was always lugging home wild things. A hawk with a hurt wing. One time it was a full-grown bobcat with a broken leg. But you can’t give your heart to a wild thing: the more you do, the stronger they get until they’re strong enough to run into the woods. Or fly into a tree. Then a taller tree. Then the sky. That’s how you’ll end up…if you love a wild thing. You’ll end up looking at the sky.

. . .

“…it’s better to look at the sky than live there. Such an empty place; so vague. Just a country where the thunder goes and things disappear.” p 70

“No matter where you run, you just end up running into yourself.” [movie[

If you have Amazon Prime, you can watch the movie Breakfast at Tiffany’s and several other related features free Here.

“She’s a phony. But she’s a real phony. You know why? Because she honestly believes all this phony junk that she believes.”

“Promise me one thing: don’t take me home until I’m drunk — very drunk indeed.”

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Holly Golightly’s relationship with Peppard develops slowly:

“For I was in love with her. Just as I’d once been in love with my mother’s elderly colored cook and a postman who let me follow him on his rounds and a whole family named McKendrick. That category of love generates jealousy, too.” p. 72

“Those final weeks, spanning end of summer and the beginning of another autumn, are blurred in memory, perhaps because our understanding of each other  had reached that sweet depth where two people communicate more often in silence than in words: an affectionate quietness replaces the tensions, the unrelaxed chatter and chasing about that produce a friendship’s more showy, more in the surface sense, dramatic moments. … we spent entire evenings together during which we exchanged less than a hundred words; once, we walked all the way to Chinatown [p. 79] … then moseyed across the Brooklyn Bridge, and on the bridge, as we watched seaward-moving ships pass between the cliffs of burning skyline….

“So the days, the last days, blow about in memory, hazy, autumnal, all alike as leaves: until a day unlike any other I’ve lived.

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“The stables–I believe they have been replaced by television studios–were on West Sixty-sixth Street. Holly selected for me an old sway-back black and white mare: ‘Don’t worry, she’s safer than a cradle.’” p. 82

I have watched Breakfast at Tiffany’s repeatedly now, and every time “Moon River” begins to play, I get cold chills. I love the way that the film opens on a surrealistically empty New York City Fifth Avenue, and the way that the taxi cab drives you down to Holly Golightly’s apartment. I have walked that same route so very many times that i have nearly memorized it, and the book does allow you glimpses into Manhattan and NYC, but the movie is distinguished from the book in the way that it ends with the cat:

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“She was still hugging the cat. ‘Poor slob,’ she said, tickling his head, ‘poor slob without a name. But I haven’t any right to give him one: he’ll have to wait until he belongs to somebody. We just sort of took up by the river one day, we don’t belong to each other: he’s an independent, and so am I. I don’t want to own anything until I know I’ve found the place where me and things belong together. I’m not quite sure where that is just yet. But I know what it’s like.’ She smiled, and let the cat drop to the floor. ‘It’s like Tiffany’s,’ she said.” p. 37

[Holly Golightly decides to run away from all of her troubles and asks her writer friend (the George Peppard character) to

gather her belongings and cat and to bring them to the bar, for her escape].

“The sky was red Friday night, it thundered, and Saturday, departing day, the city swayed in a squall-like downpur. Sharks might have swum through the air….” p.. 98

“Stumbling skidding up and down the fire escape between Holly’s apartment and mine, wind-blown and winded and wet to the bone (clawed to the bone as well for the cat had not looked favorably upon evacuation, especially in such inclement weather) I managed a fast, first-rate job of assembling her going-away belongings. I even found the St. Christopher’s medal. Everything was piled on the floor of my room, a poignant pyramid of brassieres and dancing slippers and pretty things I packed in Holly’s only suitcase. There was a mass left over that I had to put in paper grocery bags. I couldn’t think how to carry the cat; until I thought of stuffing him in a pillowcase.

“Never mind why, but once I walked from New Orleans to Nancy’s Landing, Mississippi, just under five hundred miles. It was a light-hearted lark compared to the journey to Joe Bell’s bar The guitar filled with rain, rain softened the paper sacks, the sacks split and perfume spilled on the pavement, pearls rolled in the gutter: [p. 99] while the wind pushed and the cat scratched, the cat screamed–but worse, I was frightened, a coward to equal José: those storming streets seemed aswarm with unseen presences waiting to trap, imprison me for aidng an outlaw.”

. . .

And the cat, released, leaped and perched on her shoulder: his tail swung like a baton conducting rhapsodic music. Holly, too, seemed inhabited by melody, some bouncy bon voyage ompahpah.” p. 100

. . .

“…and we pulled to the curb of a street in Spanish Harlem. A savage, a garish, a moody neighborhood garlanded with poster-portraits of movie stars and Madonnas. Side-walk litterings of fruit-rind and rotted newspaper were hurled about by the wind, for the wind still boomed, [p.101] though the rain had hushed and there were bursts of blue in the sky.

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“Holly stepped out of the car; she took the cat with her. Cradling him, she scratched his head and asked. ‘What do you think? This ought to be the right kind of place for a tough guy like you. Garbage cans. Rats galore. Plenty of cat-bums to gang around with. So scram,’ she said, dropping him, and when he did not move away, instead raised his thug-face and questioned her with yellowish pirate-eyes, she stamped her foot: ‘I said beat it!’

. . .

“I was stunned ‘Well, you are. You are a bitch.’ ” p. 102

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“…Where’s the cat?”

“Oh, cat.” [How the movie ends, but not how the book ends]

Breakfast at Tiffany’s is not a GREAT book, and it is not a GREAT movie either. But because I had connected with the movie, I read the book, and I liked them both. The movie’s cat scene is unforgettable, and it is definitely the part of the movie where I knew that the movie “had” me.

Breakfast at Tiffany’s the movie was released at a time when there were only a few super movies. Gone with the Wind and The Wizard of Oz were exceptions to that rule. I read Margaret Mitchell’s book Gone with the Wind when I was 16, and I enjoyed it, but I loved the movie. I am still trying to wade through reading the books of The Wizard of Oz, but I have watched the movie numerous times. I credit The Wizard of Oz with helping me become the person who I have become. When I was a young child, I watched that movie with my dad and when I was a young child, I learned how to distill the magic that runs parallel to existence. When I was a little girl, my third grade teacher gave me my own copy of the book Louisa Mae Alcott. It was a biography, and it was the first real book that I had owned. No doubt, that book and that teacher changed my life, but it is through the movies along my way that I have discovered magic.

©Jacki Kellum August 31, 2017

Memorize

How to Cut or Trim Away Parts of a Video in Movie Maker and How to Fade

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A couple of days ago, I was in New York City and with my iPhone 7s Plus, I captured a few seconds of video footage. Before that day, I had been afraid to use the video feature of my iPhone. It was very simple, and I wish that I had recorded for a longer time. When I got home, I had to figure out how to Upload the video to Youtube. The initial video caught the top of a bald man’s head, and it ended abruptly. I learned how to edit the video to eliminate those issues, and this is what I learned:

To get the movie on my computer, I used the free software Clip Grab and saved it in a file that I prepared for it on my computer.

I opened Movie Maker [also a free program].  I clicked on “Home,” and then I selected “Add videos and photos.”

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From the file where it was saved, I clicked “Open.”

The bald head is at the very end.

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I manually slid the video to before the moment that the bald head appeared.

trim3

I right-clicked on the video’s actual timeline, and I selected “Split.”

trim4

After you select “Split,” you will see that the video has two distinctive parts

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I did not want the last part, and I clicked on that portion and then clicked “Delete” on my computer.

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When I saved the edited video, I changed the name of the edited version, thus preserving the original, tool.

I did not like that the music did not fade and that it ended abruptly. To fix that problem,

Beneath the word “File,” I selected “Fade” and I applied the Fade at a Medium rate.

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Go to File – Save Movie – Recommended for this project.

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After the file was saved to my computer, I Uploaded it from my Youtube page.

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After the tags and the title were added, I clicked “Publish.”

The following is the Edited Video:

The Following is the movie before the edits.

©Jacki Kellum December 4, 2016

Descriptive Writing – Sense of Place – Setting of the Upstate Area of New York in the James Fenimore Cooper Leatherstocking Tales

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“As this work professes, in its title-page, to be a descriptive tale, they who will take the trouble to read it may be glad to know how much of its contents is literal fact….But in commencing to describe scenes, and perhaps he may add characters, that were so familiar to his own youth, there was a constant temptation to delineate that which he had known, rather than that which he might have imagined….

“Otsego….lies among those low spurs of the Alleghanies which cover the midland counties of New York, and it is a little east of a meridional line drawn through the centre of the State. As the waters of New York flow either southerly into the Atlantic or northerly into Ontario and its outlet, Otsego Lake, being the source of the Susquehanna, is of necessity among its highest lands….

“Otsego is said to be a word compounded of Ot, a place of meeting, and Sego, or Sago, the ordinary term of salutation used by the Indians of this region. There is a tradition which says that the neighboring tribes were accustomed to meet on the banks of the lake to make their treaties, and otherwise to strengthen their alliances, and which refers the name to this practice.” Pioneers – Introduction

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[Cooper is describing the area of Council Rock, which is the area where he grew up. James Fennimore Cooper wrote The Last of the Mohicans and several other books that were set in the area around his home in upstate New York. In one of the books, he wrote about how the Native Americans would canoe to a big boulder to meet. This big boulder is Council Rock, which is an actual rock that is very near Cooper’s childhood home. The description of the rock in Cooper’s writing of historical fiction is beautiful and when we know that Cooper had first-hand experiences with the rock, we have little doubt that in writing what is supposedly fiction, Cooper was describing from his own memories.]

“Near the centre of the State of New York lies an extensive district of country whose surface is a succession of hills and dales, or, to speak with greater deference to geographical definitions, of mountains and valleys. It is among these hills that the Delaware takes its rise; and flowing from the limpid lakes and thousand springs of this region the numerous sources of the Susquehanna meander through the valleys until, uniting their streams, they form one of the proudest rivers of the United States. The mountains are generally arable to the tops, although instances are not wanting where the sides are jutted with rocks that aid greatly in giving to the country that romantic and picturesque character which it so eminently possesses. The vales are narrow, rich, and cultivated, with a stream uniformly winding through each. Beautiful and thriving villages are found interspersed along the margins of the small lakes, or situated at those points of the streams which are favorable for manufacturing; and neat and comfortable farms, with every indication of wealth about them, are scattered profusely through the vales, and even to the mountain tops. Roads diverge in every direction from the even and graceful bottoms of the valleys to the most rugged and intricate passes of the hills. …Only forty years have passed since this territory was a wilderness.” Pioneers – Chapter 1 – Opening Lines

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“There was glittering in the atmosphere, as if it was filled with innumerable shining particles; and the noble bay horses that drew the sleigh were covered, in many parts with a coat of hoar-frost. The vapor from their nostrils was seen to issue like smoke; and every object in the view, as well as every arrangement of the travellers, denoted the depth of a winter in the mountains. The harness, which was of a deep, dull black, differing from the glossy varnishing of the present day, was ornamented with enormous plates and buckles of brass, that shone like gold in those transient beams of the sun which found their way obliquely through the tops of the trees. Huge saddles, studded with nails and fitted with cloth that served as blankets to the shoulders of the cattle, supported four high, square-topped turrets, through which the stout reins led from the mouths of the horses to the hands of the driver, who was a negro, of apparently twenty years of age. His face, which nature had colored with a glistening black, was now mottled with the cold, and his large shining eyes filled with tears; a tribute to its power that the keen frosts of those regions always extracted from one of his African origin. Still, there was a smiling expression of good-humor in his happy countenance, that was created by the thoughts of home and a Christmas fireside, with its Christmas frolics. The sleigh was one of those large, comfortable, old-fashioned conveyances, which would admit a whole family within its bosom, but which now contained only two passengers besides the driver. The color of its outside was a modest green, and that of its inside a fiery red, The latter was intended to convey the idea of heat in that cold climate. Large buffalo-skins trimmed around the edges with red cloth cut into festoons, covered the back of the sleigh, and were spread over its bottom and drawn up around the feet of the travellers—one of whom was a man of middle age and the other a female just entering upon womanhood. The former was of a large stature; but the precautions he had taken to guard against the cold left but little of his person exposed to view. A great-coat, that was abundantly ornamented by a profusion of furs, enveloped the whole of his figure excepting the head, which was covered with a cap of mar ten-skins lined with morocco, the sides of which were made to fall, if necessary, and were now drawn close over the ears and fastened beneath his chin with a black rib bon. The top of the cap was surmounted with the tail of the animal whose skin had furnished the rest of the materials, which fell back, not ungracefully, a few inches be hind the head. From beneath this mask were to be seen part of a fine, manly face, and particularly a pair of expressive large blue eyes, that promised extraordinary intellect, covert humor, and great benevolence. The form of his companion was literally hid beneath the garments she wore. There were furs and silks peeping from under a large camlet cloak with a thick flannel lining, that by its cut and size was evidently intended for a masculine wearer. A huge hood of black silk, that was quilted with down, concealed the whole of her head, except at a small opening in front for breath, through which occasionally sparkled a pair of animated jet-black eyes.

“The mountain on which they were journeying was covered with pines that rose without a branch some seventy or eighty feet, and which frequently doubled that height by the addition of the tops. Through the innumerable vistas that opened beneath the lofty trees, the eye could penetrate until it was met by a distant inequality in the ground, or was stopped by a view of the summit of the mountain which lay on the opposite side of the valley to which they were hastening. The dark trunks of the trees rose from the pure white of the snow in regularly formed shafts, until, at a great height, their branches shot forth horizontal limbs, that were covered with the meagre foliage of an evergreen, affording a melancholy contrast to the torpor of nature below. To the travellers there seemed to be no wind; but these pines waved majestically at their topmost boughs, sending forth a dull, plaintive sound that was quite in consonance with the rest of the melancholy scene.” Pioneers – Chapter 1

[This post is a work in progress. I am reading all of the books in the Leatherstocking Tales, and I’ll be adding to these observations]

Free Audio Book & Text of The Pioneers by James Fenimore Cooper

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james Fenimore Cooper wrote The Pioneers before he wrote the rest of the books included in The Leatherstocking Tales. The book is set in the 1750s.

“The story takes place on the rapidly advancing frontier of New York State and features an elderly Leatherstocking (Natty Bumppo), Judge Marmaduke Temple of Templeton (whose life parallels that of the author’s father Judge William Cooper), and Elizabeth Temple (based on the author’s sister, Hannah Cooper), daughter of the fictional Templeton. The story begins with an argument between the judge and Leatherstocking over who killed a buck. Through their discussion, Cooper reviews many of the changes to New York’s Lake Otsego, questions of environmental stewardship, conservation, and use prevail….

Analysis
“The Pioneers was the first novel of James Fenimore Cooper’s Leatherstocking Tales series, featuring the character Natty Bumppo, a resourceful white American living in the woods. The story focuses on the evolution of the wilderness into a civilized European-American community. The story takes place in the town of Тempleton, which is said to be modeled after Cooperstown, New York, founded by Cooper’s father after the Revolutionary War..

“Naturalist Ideas: Although not classified as a naturalist novel, Cooper depicts many naturalist based ideas in The Pioneers. His use of language, dialogue and description help to convey this movement within this novel.

“Landscape: In The Pioneers, Cooper thematically debates the complexity of landscape within a new American frontier. The battle between nature and civilization is a constant and competing force within the minds of the characters and in the general surroundings. Cooper evaluates his landscape as one that will be established by a civilization unable to escape its own traits of wastefulness and arrogance.
Characters: Cooper expands the conflict between nature and civilization in his characters. Specifically Cooper writes much more detailed and in depth dialogue for “Natty Bumpo’s” character than he does for any of the others. During these conversations Natty stresses the importance of respecting the land and criticizes the greed and selfishness of mankind. The “civil societal” characters are background characters to Natty’s heroic natural character. He emerges as the antithesis to wastefulness as demonstrated and embodied in the settlers. Cooper’s main theme is wilderness versus established society. While the settlers see wilderness as being tamed by their presence, Natty has a vision of civilized life coexisting with nature. Ideally, he wants to sustain the unique role that this vast unexplored wilderness contributes to the complexity of America.
“It is much better to kill only such you want, without wasting your powder and lead, then to be firing into God’s creatures in such a wicked manner.” (Natty to Judge Marmeduke) – Chapter III, The Slaughter of Pigeons
Description: Alternating between dialogues, Cooper writes vast paragraphs of descriptive writing to paint the natural wilderness. To him, the natural landscape exemplifies a peaceful wilderness. When the dialogue begins, it shows the disruption civilization wreaks on the natural abundance of the wilderness. Cooper contrasts the giving, natural and serene wilderness versus the arrogant and greedy society.” Wikipedia Here

You can read the entire book The Pioners: The Sources of the Susquehanna Free Online by Clicking on the Following Link to Its Location in the Gutenberg Books: http://www.gutenberg.org/files/2275/2275-h/2275-h.htm

When you follow the above link [in a different color], you can click on each chapter, one chapter at a time

You can hear the book on tape, as it was recorded by Librivox. Again, for the Audio Book, click on one of the Parts at a time:

Illustration for Chapter 1.

 

Part 1

Part 2 Begins with Chapter 5

Part 3 Begins with Chapter 9

Part 4 Begins with Chapter 13

Part 5 Begins with Chapter 16

Part 6 Begins with Chapter 21

Part 7 Begins with Chapter 27

Part 8 Begins with Chapter 31

Part 9 Begins with Chapter 36

 

Thomas Cole & Hudson River Painters – Art to Match the Romantic Views of the James Fenimore Cooper Leatherstocking Tales

Although Thomas Cole was born in Lancashire, he moved to the USA in 1818 and had settled in New York State by 1825. He is considered to be the founder of the Hudson River Painters, a group of artists who painted the same kind of romanticized, idealized nature that James Fenimore Cooper describes in his books. James Fenimore Cooper, the author of the Leatherstocking Tales–which include The Last of the Mohicans–was born in 1789, and he lived in upstate New York, in the Cooperstown area. James Fenimore Cooper died in  1851, and Thomas Cole died in 1848.

When I am reading James Fenimore Cooper’s books, I love to envision the paintings of Thomas Cole and the other Hudson River Painters.

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Distant View of Niagara Falls – Thomas Cole [Notice the Native Americans overlooking the water–

This could easily be an illustration for a James Fenimore Cooper Book]

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Home in the Woods – Thomas Cole

Working Title/Artist: View on the Catskill—Early Autumn Department: Am. Paintings / Sculpture Culture/Period/Location:  HB/TOA Date Code:  Working Date:  photography by mma, DT2639.tif retouched by film and media (jnc) 8_6_09

Working Title/Artist: View on the Catskill—Early Autumn – Thomas Cole

I love autumn in the Northeastern part of the USA. Every autumn, I dig out my copies of The Legend of Sleepy Hollow and Rip Van Winkle. Those books were written in an area of New York that is near where James Fenimore Cooper lived. I also begin posting all of my favorite Hudson River Paintings, and this year, I am adding Cooper’s Leatherstocking Tales to the mix. It all seems to fit.

In my early college years, I studied the English Romanticists–especially William Blake and William Wordsworth. The American Romantic movement shares some of the same themes–especially the idealization of nature.

©Jacki Kellum September 14, 2016

 

 

I Have Declared September as the Beginning of My New Year – And I Honor September 11th

Today, it is 9 – 11, and I am celebrating  fall and the beginning of my own personal new year. All of us must also honor September 11th as the day that the USA managed to rise from its tragic devastation. Every Year on September 11, I like to play a video showing Liza Minelli and Pavarotti singing New York, New York. It is my Anthem of Survival.

Because September is traditionally the time that school begins and the time to buy new crayons and glue and to get a shiny new ruler–one that isn’t nicked and scratched–I believe that fall should be the time to start a new year. Fall is also the time of the apple harvest, and I associate apples with teachers and  apple pie with mom and the apple tree with the Tree of Life.

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September is also the month of Johnny Appleseed’s birthday. John Chapman was born on September 26, 1774, and he is the fellow who traveled from state to state, sharing apple seeds and a page from his Bible.  Champman always traveled the same route and when he returned from a journey he would recollect the page that he had left before and would leave another in its place. For that reason. John Chapman, who was nicknamed Johny Appleseed, is considered America’s first librarian.

I feel quite sure that most of Johnny’s original apple trees have died, but around each old, dried stump, where the first apple trees were planted, other  apple trees sprang up, and in that way, the USA became an apple-growing country. Johnny Appleseed left other stumps, too. Following Johnny’s example, formal library systems are dotted around the country and all of us bloggers repeatedly share what we know.

But let’s return to apple trees and apples. Because I link apples with the Tree of Life and with schools and teachers and with Mom and her apple pie, I regard apples to be  more than simple pieces of fruit. In my opinion, apples are symbolic of prosperity and growth. And  because the fall is the time for harvesting apples, I see another reason for celebrating my own personal new year during fall, during the time of the apple harvest, and at the time that I honor the fallen on September 11.

Sometimes Rosh Hashanah is celebrated in September, and I had decided that I might simply borrow Rosh Hashanah, the Jewish New Year, for myself, but this year, Rosh Hashanah is in October. I know that several primitive cultures had large festivals in the fall, and I decided that I would research to see if  I could find myself a New Year that would always fall in September, and I found one. The holiday is Enkutatash, and it is celebrated on September 11. Enkutatash is the Ethiopian New Year, and September 11 was the time that terrorists attacked my country.

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All things seem to point to the fact that from this day forward, my personal New Year will be on September 11.  Certainly, I do not celebrate the falling of the towers in NYC, and I do not celebrate the fact that lives were lost on that tragic day. But I do celebrate that, like the Phoenix rising out of the ashes, America has managed to prevail. Tonight, I’ll go down to the water’s edge of my home at the Jersey Shore, and I’ll light a Roman Candle for Life.

“I believe that man will not merely endure: he will prevail.” – William Faulkner

©Jacki Kellum September 11, 2016

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