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May 06, 2003HORSEFEATHERS GOES TO THE MOVIES: TWO WINNERSMay 5, 2003 Yale Kramer Sorry, no great explosions, no tortuous car chases, or bone crushing body blows, no heists, soft-core pornography, sad, charming poets dying slowly of AIDS, or extra terrestrials. Just birds and words. But what birds and words. BIRDS The first film, “Winged Migration,” is the story of those races of birds that must fly north every Spring to the Arctic Circle and south every Fall to warmer climes (in the northern hemisphere and the reverse in the southern hemisphere). They must do this in order to survive and procreate. There is really nothing technical or scientific that is added by way of explanation in the film except for the names of the species of birds that are shown. This is really not a film about natural science at all—only about the beauty and power of nature. We are given a glimpse into the cruel, remorseless life cycles of these migratory birds who must fly thousands of miles twice each year in order to go on flying thousands of miles twice each year. I suppose in between these migrations there is time for family life and some cavorting, and we are shown some of these scenes as well. But the power of the film comes from the depictions of the relentless and impartial forces of nature at work in these migrations. Awe-inspiring, I suppose, is the word that best conveys the impact of this film. First there is the beauty and strangeness of each of the dozens of species shown. The way they look and walk and fly, take-off and land, communicate with each other, nurture their young and die. The uniqueness and variation is stunning. Then there is the breathtaking photography. The innumerable shots of the birds in flight, from above, below, from outer space, from every conceivable compass point and over every kind of terrain. And at the other extreme, the incredible ultra close-ups of feeding baby birds and hatching chicks and courtship rituals. One can hardly do anything but gape in wonder. Then there are the compelling shots of glaciers breaking off, the wrath of ocean storms in winter, the frightening power of landslides after a blizzard making us feel quite small and weak. And finally there is the awesome technique involved with the making of this film. The pictures make it seem as though you are one of the birds flying alongside your bird comrades. In one shot it’s as though you were flying on the back of one of the birds. Apparently these shots were taken by many different teams of pilots and photographers hanging out of gliders, balloons, and ultra-light aircraft to create these mind-boggling scenes. While you are watching the movie you are totally unaware of the intervening presences of those who are bringing us these scenes, but afterward we realize what heros these people are and we take some pride in the fact that they were able to face and defy nature. The net effect of this powerful movie is to give one a little perspective about where we fit in the ultimate scheme of things. See it, but see it in a movie theatre rather than on a TV screen. WORDS Then there is “Spellbound.” This one is the story of 8 kids from all over the United States who are headed to Washington D.C. to participate in the annual National Spelling Bee. They come from families of all classes and varieties of backgrounds. They, families and kids, are all yearning for the title of champion speller of the U.S. Of course what makes this movie so good is that it’s not about spelling at all, but about people, the kids and their families. How they go about preparing for this big moment in their lives, what winning means to them, and how they take defeat and triumph. It’s always interesting to see a variety of individuals respond to the same stimulus, but this situation is even more fun because the film shows the family environments of the kids, what their teachers say about them, and what part their parents have played in their lives. The film is low-keyed, but enjoyable from start to finish and full of touching and funny moments. And there isn’t a single bird to be seen in the whole movie. These two films are a perfect double feature. The first gives you some tragic perspective about your place in the universe—we are an insignificant grain of sand in the pitiless workings of nature. We are a blink in time and tears for us will be washed into the vast oceans over which fly millions of heedless creatures. The second brings us back to the comedic warmth and comfortable follies of our human nature. It shows us what silly, pathetic, lovable creatures we are—that some of us are led to migrate annually to Washington. D.C. in order to reach for the American Dream. Let’s all huddle together and laugh and cry. October 31, 2002FOUR FEATHERS PART 3TWO CHEERS FOR BRITISH COLONIALISM YALE KRAMER Vice-President Spiro T. Agnew, our nation's highest ranking political jailbird, invented an appellation, one of many, to describe that group of self-appointed social critics found among the media--journalists, writers, actors, actresses, directors, academics, and professional activists--the Nattering Nabobs of Negativism. This unthinking anti-Americanism derived from the vestigial cliches of communism and the cold war was bad enough in the seventies. But now the flies have taken over the flypaper. You can't spit anymore without hitting one or another of the anti-American elite. They fancy themselves the gatekeepers of popular culture, and their spirit is dominated by an antagonism towards a group of overlapping concepts centering around heterosexuality and the father: masculinity, assertiveness, competitiveness, inequality between people, authority, paternalism, patriotism, and private property. If they had their wish we would all be one inoffensive shade of brown, and live in a flower-child world of socialism without private property or competition of any sort, and we would all be androgynous and without any personal claims on one another. And, of course, anything that can be derived from this set of taboos also becomes taboo. History, for instance, since it represents the work of dead white males and is valued by the white male establishment must be devalued and disavowed. And that is how a politically innocent novel like "Four Feathers" came to be transformed into a lesson on anti-colonialism. "Movies are for entertainment, messages should be delivered by Western Union." This was the advice given by the Yogi Berra of Hollywood, Samuel Goldwyn, when he had read the script of an ardent young writer who wanted to express his views about serious social issues in his screenplay. Shekhar Kapur, the Indian filmmaker who directed "Four Feathers," must have been too young and far away to have heard Goldwyn's advice, because his new movie has more messages than the internet. Unfortunately the messages are neither new or true. He and his writers, Hossein Amini and Michael Schiffer, are anti-colonial, anti-authority, anti-British and multicultural--exactly the kind of cliched thinking you would expect from contemporary filmmakers (as distinct from old fashioned movie makers) who fancy themselves social critics. The trouble is that they are compelled to sacrifice not only artistic meaning, but what is worse, almost all aspects of historical truth. There is hardly a scene in this historical epic that is not a distortion of history. Kapur has tried to shift the focus of the book--which is completely devoid of political values--from a story about individuals to a tract against British manners, morals, and politics. Incoherent about what it wants to be, it is neither artfully critical of British attitudes as was "Oh, What a Lovely War," nor is it a grand adventure tale about a flawed hero. There is only one major character in the film who is worthy of our admiration, interest and respect: Abou Fatma, the black slave. All of the other male characters are white, British, and despicable. The young officers are callow, cruel, feckless, and stupid, except for Feversham himself, who once he gets to the Sudan becomes more or less of a basket case and pitiable. The older British characters are pompous, supercilious fools or treacherous hypocrites. There isn't one redeeming quality to be found among the white cast. The movie suggests over and over that the war that is being pursued by the British is an immoral colonial struggle. That the Brits are trying to defeat an uprising of oppressed, exploited natives in order to maintain Britain's Empire. This is so far from the truth that some clarification is in order. The movie takes place around the time of the fall of Khartoum in 1885. At that time all of Sudan was threatened by a warlike charismatic Muslim leader--a religious fanatic who declared himself the messiah (The Mahdi). The Mahdi's aim was to lead his army of followers on a jihad to rid the Sudan of all unbelievers and foreigners who did not believe that he was the messiah. Contrary to the distortions of the movie, the Sudan was not part of the British empire. It was, in fact, governed fecklessly by the Egyptians. Gladstone, the British Prime Minister at that time, wanted nothing at all to do with the Sudan and sent General Charles Gordon to Khartoum for one purpose and one purpose only, and that was to organize a rescue of British, European, and Egyptian nationals who were still left in Khartoum. He was sent without an army and his mission was to lead them out and north back to Cairo. This he was unable to do because by the time he arrived in Khartoum the forces of the Mahdi had cut off all escape routes. More than anything, Gladstone and his government wanted to extricate themselves from the Sudan without sending forces to rescue Khartoum. The problem was that English public opinion was strongly opposed to letting Khartoum fall to the Mahdi with the possible loss of thousands of lives. Contrary to the distortions of the movie, British intentions were not to exploit and oppress the natives of the Sudan but to rescue those threatened by them. Gladstone temporized for months but was finally forced to send a rescue expedition which, when it eventually arrived, was about a week too late. There was no one left to rescue and the head of General Gordon had already been separated from his body and brought to the Mahdi. Having no further mission in the Sudan, the rescue forces removed to Cairo in the north. Contrary to the distortions of the movie there was no British Army that was defeated in any battle in the Sudan--ever. The rescue forces encountered the Mahdi's army on one or two occasions on their way to Khartoum and sustained about 100 casualties, but there was never even a remote possiblity of serious British loss. The movie, however, depicts with relish the near total destruction of the vaunted British tactical Square. Kapur lovingly shows the English redcoats falling apart and panicking before the power of the Mahdi's army. If you will believe and testify that there is no god but Allah, and that Mohammed is the apostle of Allah... and become subject to my rule, I will receive you and give you tidings of prosperity and safety from the torments of the fire. You will be secure and content. What is for me will be for you; what is against me will be against you. A love in Allah will arise between us, and He will pardon you all the sins you have committed in the time of your unbelief. . . . But if you refuse ... then know that you are in great error...For the men of the Mahdi are men of iron. Allah gave them a nature to love death. He made it sweeter for them than cool water to the thirsty. Hence are they terrible to the unbelievers...They care not for the life of this world, the transient...but they look instead for eternal bliss and dainty living to be allotted to them in the world to come.... In 1889 the Khalifa ordered an invasion of Egypt that ended in the defeat of one of his armies and signalled a wake-up call to the Egyptians and their protectors, the British. In 1896 the British government authorized Horatio Herbert Kitchener to launch a campaign to reconquer Sudan for the Egyptians. It took almost two years to train and transport a large army 1600 miles south to Omdurman, where the Khalifa had decided to make his stand. On September 2, 1898, the Khalifa committed his 52,000-man army to a frontal assault against the Anglo-Egyptian force, consisting of 8,000 British troops and 17,000 well-trained Egypitians who were massed on the plain outside Omdurman. The outcome was never in doubt, largely because of superior British firepower. During the five-hour battle, about 11,000 Mahdists died. AngloEgyptian losses amounted to 48 dead and fewer than 400 wounded. Many in Sudan welcomed the downfall of his regime. For twenty years it had been a fragmented theocratic kleptocracy whose main industries were religious conversion, plunder, and slave trading. Sudan's economy had been all but destroyed during this time and the population had declined by approximately one-half because of famine, disease, persecution, and warfare. Moreover, none of the country's traditional institutions remained intact. Tribes had been divided in their attitudes toward Mahdism, religious brotherhoods had been weakened, and religious leaders had vanished. In January 1899, an Anglo-Egyptian agreement restored Egyptian rule in Sudan but as part of a joint authority, and Britain assumed responsibility for governing the territory on behalf of the khedive. After restoring order and the government's authority, the British dedicated themselves to creating a modern government. Five thousand men were set to work rebuilding Khartoum, new streets were laid out, 7,000 trees were planted and government buildings were built. More than a hundred thousand pounds was subscribed by the British public to build what is now the University of Khartoum. Among other important changes jurists adopted penal and criminal procedural codes similar to those in force in British India, commissions established land tenure rules, and the rate of taxation was fixed for the first time in Sudan's history. Early attempts at eliminating slavery and slave trading were baffled because these practices were so widely accepted and were the basis of so much of the economy; eventually it was decided that abolition was best accomplished gradually, and it was not until 1940 that slaving was eliminated under the British. During the first two decades of British rule, economic development occurred only in the Nile Valley's settled areas. The British extended telegraph and rail lines to link key points in northern Sudan but services did not reach more remote areas. An irrigation dam near Sannar, completed in 1925, brought a much larger area in Al Jazirah under cultivation. Planters were able to send cotton by rail from Sannar to Port Sudan for shipment abroad. This eventually made cotton the mainstay of the country's economy and turned the region into Sudan's most densely populated area. Perhaps Britain's most important legacy was the development of a sound government administration. At first all the senior officials were British and the minor officials were Sudanese, but gradually the Sudanese Civil Service developed a cadre of honest, hardworking young men who came to be Sudan's governmental elite in the late 1920s and 1930s. The mainstream of political development, occurred among this educated class, those who had careers in the central administration and envisioned an eventual transfer of power from British colonial authorities to their class. And as Kipling had predicted, "In due time the demand will go up 'the Sudan fer the Sudanese' ." This happened soon after the end of World War II, and on January 1, 1956 Sudan became completely independent. Fifty years is perhaps too soon after independence for the Sudanese to acknowledge their debt to British paternalism. The British, in 1899--seeing that Sudan was weakened, a threat to Egypt no longer, and seeing that it was economically worthless, the hell-hole of the universe, made up of little more than swamps in the south and deserts in the north--could have, should have gone home and had a cup of tea. In 1899 Sudan was a starving, primitive, fragmented country, presenting nothing but insurmountable problems. Or they could have plundered it or found some ingenious way of exploiting its hapless natives. But the British didn't do either of those things. Some crazy non-European, British sense of rightness and responsibility kicked in. Perhaps Churchill said it best in his history of the Sudan War, The River War: "What enterprise that an enlightened community may attempt is more noble and more profitable than the reclamation from barbarism of fertile regions and large populations? To give peace to warring tribes, to administer justice where all was violence, to strike the chains off of the slave, to draw richness from the soil, to plant the earliest seeds of commerce and learning, to increase in whole peoples their capacities for pleasure and diminish their chances of pain--what more beautiful ideal or more valuable reward can inspire human effort? The act is virtuous, the exercise invigorating, and the result often extremely profitable." In the period from 1899 through 1955, the Brits abolished slavery--a practice that had gone on for hundreds of profitable years--rebuilt Khartoum, established an educational system, built railroads, a telegraph, roads, an airport, an irrigation system that reclaimed millions of acres, established a solvent economy, provided a peaceful and stable existence, established an educated class of governors, eliminated famine, and increased the population. Now, let's see what happened after the Sudanese rid themselves of their colonial oppressors. Two years after the Sudanese achieved independence as a parliamentary republic, General Ibrahim Abboud led a military coup that ended the parliamentary system. In the meantime the Black south, mostly Christian and traditional in religious belief, revolted against the Muslim northern government. Unable to improve the weak economy or end the southern revolt, Abboud agreed to re-establish a civilian government in 1964. This was followed by another military coup in 1969. This time a leftist government was established which banned all political parties and nationalized industries and banks. In 1973 a "peoples congress" was elected to draw up a new constitution. This done, more groups and sub groups were formed, some military, some relgious, a veritable alphabet soup of revolutionary political parties. This round of fighting for power continued for another ten years until 1983 when open war between the north and the south--between the muslims and the Blacks--broke out in an uncontainable way. Since then--for the past 19 years--the longest war in modern African history has been going on. Since the begining of independence more than 5,000,000 people have died in various wars and revolutions. At this time there is no economy to speak of because there is no stability. The Blacks can choose between living in their own habitat which is bombed and sown with land mines constantly by the Sudanese government dominated by Muslim Arabs, or flee to the area around Khartoum as refugees subject to violence, rape, abduction, looting, and exploitative labor situations which are not much different than they were in the 19th century when slavery was dominant. The fact is that there are some forms of empire and colonialism that are good and some that are bad and some in between. It is also true that there are times when colonies are ripe for independence and times when independence is premature and it is sometimes hard to tell when the time is ripe. Had the makers of "Four Feathers" spent less time in film school and more time studying history they might have made a better film. October 23, 2002FOUR FEATHERS PART 2IT'S HARD TO BE A MAN YALE KRAMER     What relevance does the new film "Four Feathers" have for us today? There are some similarities in the situations faced by America at the beginning of the twenty-first century and Great Britain towards the end of the nineteenth. In their respective times they are/were the most powerful nations in the world. Their respective interests are/were threatened and then attacked unexpectedly by an unconventional army of Islamic fanatics in the Middle East led by a charismatic leader. Although much of the novel "Four Feathers" is set in Sudan during a period of Britain's military involvment there, it is not a "war novel." There are no battle scenes, no shots are fired in anger, in fact no fighting of any kind takes place. It is essentially a psychological novel with a touch of romance and a dollop of adventure in an exotic military setting. When I say "psychological" I don't mean Dostoyevski or Proust. Alfred Edward Woodley Mason was a Victorian Englishman. And there is just so much psychology to be found in a Victorian Englishman. In the current version of "Four Feathers" there is a written explanation of the meaning of the symbol of the white feather even before the story begins. The explanation is repeated during an early scene in which Harry Fevesham receives the feathers from his brother officers. These explanations are obviously for the sake of an audience that is unfamiliar with the icons and rituals of honor and dishonor. In the original--the novel--there is no explanation; the gesture is understood by characters and readers alike. This is true as well for the Korda film version. Even as late as 1939 audiences understood that a white feather meant that you were a coward. What has happened in the intervening 60 years to make cowardice, dishonor, and manliness such alien ideas? Is there any question that American Manhood is on the ropes? A flock of books--some of- them powerful best sellers--on the subject of how to be a man bespeak a perplexity of spirit in men these days. Dazed and disoriented by the cultural upheavals of the last decade or two, men no longer seem to know whether they are coming or going (no pun intended). Women are wearing Jockey shorts and flying F-18s, men are wearing earrings and raising children. Outward manifestations merely? Or do they and countless other trivialities of the current scene, including the latest, mixed-up version of the "Four Feathers," imply a serious psychological drift toward androgyny? From there it was only a short step for Metro-Goldwyn-Mayor and Warner Brothers to introduce you to Spencer Tracy, who, fighting against insurmountable odds, invented the electric light, and Paul Muni, who, against even greater insurmountable odds, invented Pasteurization and the treatment for rabies, which led you naturally to the rest of Paul De Kruif's wonderful "Microbe Hunters"--scientist heroes, all of whom were patient, determined, resourceful, and adventuresome. That's how I found out how to be a man when I was a boy. Nowadays I can see that it's harder. Cultural gurus tell us that a sea change has occurred in the last decade or two. With the end of the sixties and the emergence of the radical feminists, the sexual revolution, and the gay activist movement, what may be an inevitable drift toward androgyny appears to have accelerated. What Professor Gilmore has found out about manhood is, first of all, that in most societies manhood is a challenge, a test. Since life is for the most part nasty, mean, brutish, and often short, males must be forced by inner sanctions and outer conventions to assume their social roIes. And manhood is that ensemble of inner sanctions and ideals and outer conventions which gradually develops in each culture in order to inspire boys to become "real" men. This ensemble of values and mores is akin to an ideology--a gender ideology--that is both socially inspiring and morally compelling. Each culture provides an unwritten script by which the male children and adolescents can guide themselves or be guided by elders. Although each culture allows some individual expression--some more, some less--in the enactment of the manhood script, it must be followed in general, and the culture provides serious sanctions if it is not. Gilmore found that there is a spectrum along which these manhood ideologies fall. At one end of the scale there are the machismo ideologies; at the other are the much rarer (perhaps anomalous) "flower-children" ideologies in which there is little social distinction between the sexes and all forms of assertiveness are taboo. Between these poles are cultures that provide their men with somewhat more complex scripts that to partake of both ends of the spectrum, like those of modern urban America. In America, there is also a variation in manhood ideologies along socio-economic lines--working-class patterns at the machismo end of the spectrum and upper-class patterns at the androgynous end. Gilmore found that whatever differences exist between the varied expressions of manliness, certain essential similarities remain--the universal components of manhood. "To be a man in most of' the societies we have looked at, one must impregnate women, protect dependents from danger, and provision kith and kin.... `Real' men are expected to tame nature in order to recreate and bolster the basic kinship units of their society; that is, to reinvent and perpetuate the social order... to create something of value from nothing." These three imperatives of manliness--impregnation, protection, and production--are difficult, sometimes dangerous, and highly competitive, and boys and men must be induced to master their anxieties and give up the narcissistic pleasures of childhood in order to face pain, hardship, and even death willingly. And it is the whole ideology of manhood from childhood to adolescence that helps to achieve this difficult transformation. In the light of Professor Gilmore's researches Harry Fevesham's behavior is more understandable. The novel suggests that Harry has been powerfully influenced by his sensitive mother and that this influence has tended to undermine an appreciation for the sterner values of his father. Thus his "manhood ideology" has been compromised. If his father had not been a courageous military officer and a strong influence in the family Harry would have not had a problem, he'd have become a poet or philosopher. But as things develop in the novel part of him wants to be like his beloved mother and part like his admired and feared father. The novel turns out to be a "becoming a man" novel, and the rest of the story is devoted to this passage--his transformation. DON'T MISS IT! NEXT WEEK--THE CONCLUSION TO FOUR FEATHERS PART III: TWO CHEERS FOR THE BRITISH
October 15, 2002FOUR FEATHERSPART I: True or False
The current version--without a single English man or woman playing a major role--I found, had been transformed into a confused hodge-podge of anti-British, anti-colonial moralizing; a sermon in multicultural cliches. More important, it bears little or no relation to either the spirit or point of the novel on which it purports to be based. And what is worse is that the anti-Western propaganda is, like all propaganda, based on lies and distortions. (It reminded me, in subtler form, of the anti-semitic film that the Nazis produced called "The Eternal Jew" in which Jews are depicted as disgusting, base creatures akin to rodents.) There are many literary and historical vehicles that are available for film adaptation that might allow for a depiction of the complex truths about British colonialism--but "Four Feathers" is not one of them. Surely the producers, director, and writers wanted it both ways--to get their pseudo-moral/political rocks off and at the same time have a big slice of the pie by trying to sell the movie as a rousing adventure-romance like the 1939 version was. They will no doubt die painful deaths and be consigned to the eleventh circle of hell where motion picture movers and shakers spend an eternity making deals that never come to fruition. The current version of "Four Feathers" is actually its seventh incarnation. The first in 1915 and the second in 1921 were, of course, silent. The third, in 1929, had sound effects and music, but no spoken dialogue. None of these were more than primitive versions of the story and are antiques, unavailable for current viewing. The 1939 version was next and still remains the best. Not a great film, but a grand one. (This was followed, in 1955, by a degraded version of the last one with the same script but a different cast and title--"Storm over the Nile"-- and produced to exploit the then new "wide-screen" format (Cinemascope). Then, in 1977, still further down on the food chain, came a "made for TV" version.) Although much simplified and condensed, the 1939 version, produced by that great Hungerian monger of British myth, Alexander Korda, was close in spirit to the original novel. It tells the story of Harry Feversham, his close friend and fellow officer in the British army, Jack Durrance, and the beautiful young woman they both love, Ethne Willoughby. She, tender hearted and caring, but faithful to the values of her father, a retired general in the army, holds Durrance in high regard as a friend, but has given her heart to Harry Fevesham. Harry is a complicated young man. While his brother officers enjoy drinking and the rough and tumble of sports and army life, Harry enjoys poetry and music--definitely a bit of a softy underneath that handsome Lieutenant's uniform. He is product of both his parents: on the one side he is the heir of a long tradition of military heroes and the only son of a courageous but overbearing father who expects him to carry on the tradition; his mother, wholly different from his father, "remarkable for the refinement of her intellect as for the beauty of her person." Harry is closer to his mother, perhaps too close. She dies during his childhood, all through which he has been haunted by fears of battle and cowardice. All of this is only hinted at in the movie, but it gives a clue to his actions after he becomes engaged to Ethne. Soon after the announcement of his engagement and right after he hears that his regiment is off to the wars in Sudan to rescue General Gordon in Khartoum he has a crisis of courage and in an act he comes to regret, resigns his commision and leaves the army. When his brother officers hear this, three of them send him a white feather--an accusation of cowardice--and when Ethne hears of this she is astonished and humiliated and adds a fourth feather. Harry becomes a social pariah and spends the rest of the movie trying to redeem himself by going to the Sudan and proving his own courage by rescuing Durrance and the other two officers who had sent him the white feathers. Through much guile and suffering he manages to do this, but, alas he appears to have lost his chances with Ethne. Durrance has returned to England blind and Ethne feels out of a sense of duty that she must marry him. But when Harry returns and redeems himself in Ethne's eyes Durrance sacrifices his love of Ethne and bows out of the picture. A sad but happy ending. The novel on which these seven films have been based was written in 1902 by A.E.W. Mason and has, since then, never been out of print. Mason was born in London in 1865 and raised in a middle-class family. His father was an accountant and his mother a homemaker. He graduated from Oxford in 1888 and became an actor. While in the theatre he began to write plays and eventually turned to writing fiction. He became a gifted writer of adventure and detective novels. His most famous novel and the one that has stood the test of time is "Four Feathers." Having achieved fame and fortune by the time he was 38, he did not stop there. A tremendously energetic man, he was a sportsman, loved mountain climbing, hunting, and riding. An entertaining social companion and a great raconteur, he was socially in demand wherever he was known. He had a successful career in politics as a Member of Parliament, and during World War I served as an infantry officer until he became a spy for the newly established Secret Service. In 1937 he was offered a knighthood but, perhaps characteristically, turned it down. He died in 1948 after living to see "Four Feathers" filmed four times. The questions remain: Why has this novel prevailed for over a hundred years despite the fact that it is not thought to be a very distinguished literary work? What is there about it that continues to capture the popular imagination? Is there any truth value at all in the current version? NEXT WEEK FOUR FEATHERS PART II: IT'S HARD TO BE A MAN << Back to Horsefeathers |