Jimmy Stewart’s Come Hither Look

I tried to resist it—I really did. Yesterday, I saw another sexy planet, this time on CNN’s website, a beautiful purple Neptune-like exoplanet. I don’t even know where in the universe it is, but, wow, what a stunner. However, in my attempts to live a balanced life and not fall under the sway of just any importuning god or goddess that beckons, I resolutely closed that CNN window and looked for something else to post. This morning, though, I was still thinking about that beautiful planet and just knew somehow that I’d find enough purple desserts to make anyone weak in the knees if I spent a few minutes looking. Sure enough, purple is an unforgettably gorgeous and dramatic dessert color. It turns out that there are plenty of purple cakes, purple pies, purple macarons, and purple ice creams . . .  And all of them are lookers. My goodness me—who knew?

I’m not sure I can analyze the reasons purple is so devastating in this regard, and I don’t really want to. It should be used more often in cooking, in my opinion, but maybe it wouldn’t have as much impact if it wasn’t so unexpected. Purple is very close to blue on the color spectrum, and both are surprisingly mouth-watering when used in certain ways with food. My mini-photo essay on the sexy Neptune-like planet and a train of accompanying desserts can be found on Wordplay’s Facebook page. There were many other photos I could have included, but you’ll see that for yourself if you go out looking for them.

Eros is really getting to be a problem here on Wordplay, but I haven’t paid Aphrodite her due in a while, and everyone who knows anything about mythology knows how mad that makes her and the lengths she’ll go to when she feels neglected. She’s getting her revenge on me now. Once you open yourself up to it, you start to notice just how beautiful the world is every day, in many ways, despite the ugliness we all have to deal with. Eros is always thrumming along in and behind things, but if you ignore it, it stops paying court to you. I came across a photo of actor Jimmy Stewart on the Internet a few weeks ago, and while I always liked him, I never thought of him as sexy. But suddenly, after a couple of weeks of these erotic planets and Aphrodite-induced dessert binges, I started realizing just how handsome he is in that picture, and it’s just a subtle thing, really, something in his eyes and his smile.

I’m including the picture here, and you’re welcome to agree with me or to disagree about Mr. Stewart’s charms, but if you can withstand the sight of a bunch of artfully scattered pink and purple macarons with flower petals against a dark background, you’re a better person than I am.

Jimmy Stewart. Photo courtesy of Sotheby’s International Realty/Getty Images

The Eros of Planet Raphael

On Wordplay’s Facebook page, we have been visited lately by a rather persistent Aphrodite who keeps making her presence known via images of luscious desserts and sexy planets (yes, you read that right). Here at Wordplay, we take responsibility for noticing and commenting on these aphrodisiacal moments that keep appearing in our culture, but did we invent them? No, we did not. Aphrodite is much older than anybody here, including Wordplay, and Wordplay is practically Methusaleh (we remember Beatlemania: think of that). Perhaps we will take credit for letting our imagination run and associating one thing with another in ways that might not have occurred to someone else.

We admit to always having had an eye for beautiful desserts, but sexy planets? As you know from reading our blog, we have an interest in both astronomy and the mythology of the night sky. Many celestial objects are named for gods, goddesses, and other mythical creatures, and it’s not surprising that some of the attributes of these mythic beings cling here and there to their namesakes. We respect scientific objectivity and understand that the methods and objectives of science and mythology do not always coincide, but we suspect that scientists are just as human as anyone else and (at least some of the time) respond to the “romance” of the night sky as well as its “objective reality”: the seductive quality of moonlight, the impulse to wish on a falling star, the allure of celestial visions swimming far out in space and brought into focus only with the aid of high-powered telescopes.

I am sure there are scientific reasons why astronomers and astrophysicists would apply filters that cause images of the planets to become saturated with certain colors, but the eye of imagination responds to the color’s allure, not the technical rationale for using it. When an artist’s rendering of a celestial object lovingly emphasizes its beauty, I assume that the artist is bringing Eros to bear on his or her work. This would explain why I look at an image of the planet Jupiter depicted in swirls of brown and cream by the Mabuchi Design Office/Astrobiology Center of Japan and see a cream puff or tiramisu, and why a rendering of a blue planet with the irresistible name of GJ 3512b seems to beckon like a love god.

In thinking about planet GJ 3512b (which I would probably name “Raphael”), I realized I’d been presented with a challenge. Some of the other planets were photographed or drawn with warm colors more associated with food and appetite, while GJ 3512b was enticingly swathed in bands of blue. Since blue is a “cool” color, more associated with spirit than with carnality, I wondered at the source of the allure. In looking at images of the color blue (and that was how I started my search), I realized almost immediately that while blue is indeed cool, it is somehow hot at the same time. This is perhaps not as strange as it seems if you think about the sensation in your fingers after you’ve been holding an ice cube: the intense cold almost feels like heat, in some contradictory-but-true sense. There’s a yin and yang to heat and cold, and they blend into one another. Robin’s egg blue may seem like an innocent color, one you might use in a child’s room, but there’s also the smoky blue of jazz.

I remember once being inspired to write a poem about the color blue, trying to interpret it through each of the senses (what it sounds like, what it tastes like, etc.), through a sort of applied synesthesia. (I did it on my lunch hour; yes, I suppose you have a lot of pent-up creativity when you’re surrounded by dusty law books all day.) I thought about that when putting together my photo essay on the erotic qualities of the color blue. To me, it’s as if, instead of throwing down an apple, Paris threw down three planets and asked, “Which is the fairest?” In the end, I’m not quite sure blue didn’t win out over some of the warmer colors, the blush pinks and the cafe au lait browns, because I kept finding more and more images of blue, all steeped with an intense allure, many more than I could use.

Here, then, is a supreme paradox in nature: how cool is, in reality, underneath it all, warm. (But props to blush pink and cafe au lait brown, too, for giving blue a run for its money.) It would be interesting to go through all of the colors like this and run a similar experiment. I suspect they all have the potential to be cool or hot; perceptions that assign this or that quality to certain colors are, to some extent, arbitrary. Eros is in the eye of the beholder.

"The Truman Show" -- A Fairy Tale for the Media Age

I've been thinking this week about Peter Weir's film The Truman Show. It's been so much on my mind that it seems right, without further ado, to share an analysis of the film that I once wrote for a class. I actually did two papers, one from a Freudian and one from a Jungian perspective. I thought both were good, but I got an A on one and a B+ on the other; the B+ paper is the one I'm excerpting here, with an ending taken from the other paper.

Director Peter Weir's captivating and quirky tale, The Truman Show, tells the story of Truman Burbank, the hapless hero who's totally in the dark concerning the truth of his own life. He's the subject of a 24-hour-a-day television "reality show" dreamed up by director-genius Christof. Truman's parents, his wife, his best friend, everyone around him, are all actors, and his life is a set-up. Viewers all over the world tune in to see Truman deal with such situations as the "death" of his father, his school years, his marital tensions, his job, and his escapades with pal Marlon, all of which are carefully scripted episodes. The real story begins when Truman starts to wake up to what's happening and tries to break out of the role that's been written for him.

At first, it's the dullness of a round of days in which each seems much like the one before that begins to wear on Truman. In the time-honored tradition of a situation comedy, he endures endlessly repetitious set-ups and pratfalls involving the neighbors, the local grocer, his mother, and his wife. Eventually, a series of mischances gives him an alarming realization that things revolve around him in a peculiar way. He's nearly hit on the head by a falling stage light. He tunes into a frequency on his car radio in which technicians and stagehands seem to be talking about him. His unscheduled appearance in a building leads him to a backless elevator and a glimpse of things behind the scenes, including caterers. He begins to put together odd incidents from the past in which bits of the truth are apparent. One day, he sees the man he thought of as his father, supposedly dead, now in the role of an extra walking down the street.

As the director tries more determinedly to keep Truman in the dark, Truman becomes bolder about testing reality for himself. Despite the attempts of the other actors to convince him that things are what they seem to be, Truman executes an escape plan leading to the last place Christof thinks of looking for him: the sea. For Truman's long-standing fear of the water, engineered to keep him from roaming off the set, seems to negate the possibility of his ever attempting to leave his island. Once he manages to break out, he finds that the world is both larger and smaller than he realized--larger in the sense that his life is his own if he chooses to seize it, and smaller because (literally) he has been living his life on a Hollywood set whose horizon is a painted backdrop.

Truman is a stand-in for each of us in our journey toward Selfhood. He suggests the archetypal Divine Child in his obscure beginnings. Though to himself Truman is nothing special, his smallest doings are followed by millions of viewers around the world, so that his power and reach are almost supernatural. He has retained a childlike quality even in adulthood, a sunny innocence in the face of the deceit practiced all around him. If, as Jung said, the Divine Child represents the future, Truman personifies unawakened potential in its purest form.

Truman's push toward Selfhood is nearly dormant in the beginning as seen by his acquiescence to the subtle and not-so subtle manipulations of the director and actors. He has been content to live in Jung's "unconscious identification with the plurality of the group." He is so far from knowing himself that when he looks in the mirror every morning, he doesn't realize he is looking into a camera, on the other side of which are the technicians and directors who are actually running his life. "Do you think he can see us?" asks one abashed technician when confronted by Truman's steady but unknowing gaze.

There is no fear of that yet, since Truman's ego is so split off from his unconscious that he is totally identified with his social role. There's an implication that any mild attempts Truman has made at independent growth or assertion have met with disapproval or even disaster in the past. He is oblivious to all the signs that indicate his predicament until he meets Sylvia, who goes against the script by falling for him.

Before being booted from the show (the director has recognized Sylvia's power over Truman), Sylvia tries to tell him the truth about who he is and what's happening. This scene takes place near the ocean, symbol of the primordial source of life and the unconscious. Truman is afraid of the water to the point of being unable to cross a bridge (representing both initiation and its hazards), and this fact has been largely responsible for his failure to realize that he is living on a set. Even though he and Sylvia are parted, he thinks of her constantly, and spurred by an intense desire to be reunited with her, he begins to dream of leaving Seahaven.

When Truman hatches a plan to escape the set, he goes to the basement of his home, where all of his childhood treasures and relics of the past are kept. It has been obvious for some time that Truman is most himself when he retreats to this private world, and it now becomes the springboard for his escape. Out of view of the camera, he makes a break for it by climbing a ladder. A means of egress between the unconscious, "basement" part of himself and his "daylight" ego has been found and moves Truman toward greater consciousness. But to truly change, he still has to cross the ocean that has always terrified him.

For years, Truman believed himself responsible for the death of his father in a boating accident. His realization that this is false now enables him to see a boat not as a symbol of guilt but as a transport that can take him to freedom. In crossing the sea, he is reborn to a more self-determined life, and the boat becomes a womblike vessel of safety that carries him through a special effects storm. Once he weathers the crisis, he realizes that the sea--as well as the painted backdrop he eventually crashes into--represent only the early stages of his journey. The ocean had seemed limitless to Truman when he stood on the shore, but he is just beginning. When he reaches the stage door, it leads into darkness.

In the act of passing through it, Truman enters the unknown territory of authentic life, where nothing is guaranteed. Sylvia, however, has been watching in suspense along with everyone else, and leaves her television, running out of the house to find him. Truman is about to enter her territory.

Though the imaginary television audience in the film--and we viewers of the film--have been complicit in the conspiracy against Truman by the very act of watching, another truth is revealed at the end of the story. We are each Truman in our own way, and our glee at his triumph expresses our own deep yearning for Eros and a more vital, authentic existence than the one we may have settled for. After all, if Truman can do it, so can we.

Who's Afraid of Aphrodite Wolf?

This year I may have set a record for number of books started but not read all the way through. Normally, it's rare for me to pick a book that I can't hang with to the end, but within the last month I've returned at least three to the library unfinished. One of them I started twice and even got most of the way through before deciding it was a bit too gloomy for a love story. A couple of others had mythological themes that seemed promising at first but lost me for one reason or another.

I seem to have more problems finishing books written within the last few years than I do with earlier ones. I perceive this to be a reflection of the unsettled times we're living in, which somehow find their way into even the most innocuous of stories, tales of romance, adventure, and suspense. It's not a reflection on the capabilities of the writers, but more a problem with my thinking I'm getting one kind of book and finding I've gotten another. It's also been the case that I didn't finish a book (Jake Arnott's The House of Rumour) because the theme, though adeptly handled, was rather dark. (This I consider to be my own judgment and not the fault of the author.)

It's one thing to be topical and another to be memorable. Occasionally, one stumbles upon a book that seems to reflect the tenor of the times unflinchingly, and one comes away the better for it. The author performs a kind of alchemical magic on contemporary themes so that they are recognizable but transmuted, a remarkable sea change akin to Heart of Darkness morphing into Apocalypse Now. I've seen it in authors like Jane Smiley, Donna Tartt, Mark Helprin, and Ian McEwan, as well as in writers previously unknown to me whose works came back to haunt me later, like Lorrie Moore, Amor Towles, and David Mitchell. (Bark, anyone? Rules of Civility? The Thousand Autumns of Jacob de Zoet?)

If I were to name a mythological idea that seems common to many of these authors' recent works, I would mention some darkness around issues of Eros. Is that surprising? You may ask what that has to do with contemporary American/world affairs, which seem on the evidence to be caught up in much drier and more prosaic issues of power and money. I agree, but for whatever reason, content connected to a disturbed Eros crops up in many of the recent works of fiction I've seen. Of course, surface content often obscures latent content, in both life and fiction, and never does a theme appear in isolation. Eros and power, and Eros and money, in particular, tend to be quite combustible combinations.