Kubrick

by **Rigorous Intuition** » Sun Dec 11, 2005 1:32 pm

From <a href="http://www.fulltable.com/VTS/m/mz/m.htm" target="top">Mazes and Labyrinths</a>: "The best of modern mazes e.g.The Private Maze at Troy Farm, Somerton, a classical turf maze": <img src="http://img.photobucket.com/albums/v226/JeffWells/subalbum1/somertonmaze.jpg" style="border:0;"/> From <a href="http://www.sacred-texts.com/etc/ml/ml14.htm" target="top">www.sacred-texts.com</a>: "At Somerton, near Banbury, Oxfordshire, there has been well preserved a very good "Troy-town" (Fig. 69), of a plan which recalls that on the tiles of Toussaints Abbey. It is situated in the garden of a farm-house, named after it "Troy," and is surrounded by beautiful trees and shrubs." Tile from Toussaints Abbey: <img src="http://www.sacred-texts.com/etc/ml/img/fig056.jpg" style="border:0;"/> Edited by: <A HREF=http://p216.ezboard.com/brigorousintuition.showUserPublicProfile?gid=rigorousintuition>Rigorous Intuition</A> at: 12/11/05 10:39 am

by **morganwolf** » Sun Dec 11, 2005 2:31 pm

<blockquote>Quote:<hr>One other observation about Zeigler: He was little people in this group if anything. His references to 'these' people contained as much dread in his description as threats to the doctor. Maybe this is why they sent him direct to deal with Cruise; he's rank was a low one, and subject to the performance of menial tasks like intimidation of potential threats to the group's secrecy.<hr></blockquote> You're right on about this. I don't see Ziegler, for all his wealth, as being 'part of' this group. He is trying to move upward, though, which explains his rage at being made to "look like an asshole" because of Nick's disclosure of the ritual to Bill. His next degree of Masonry is at stake, perhaps, unless he can control Dr. Bill. Structurally, I see him as a mediator between Bill's world and that of the elite. Alice's condition: I agree with those of you who think Alice has repressed memory syndrome. When I first viewed this film, I was certain that Alice had been present at the ritual because of her uncanny ability to relate the details of it to Bill. My other hypothesis was that Alice was able to do remote viewing and 'saw' this while in an altered dream state. How could she have known what went on unless she'd been there, or someplace like it? 3 Laughs of Alice - I noticed there are 3 distinct instances where she laughs, and each laugh is slightly different in tone/duration: 1. When she's drunk on champagne, in the arms of the Hungarian. Short, self-conscious giggles, more or less flirtatious but it sounds like a much younger woman laughing in the presence of an older, more sophisticated man. 2. When she's stoned on pot, laughing at her husband's absolute belief in her fidelity ("No, Alice, I'm sure of you.") Out of control laughter, compulsive, 'fit-like', as if she never had pot before (although Bill tells us he's seen this before: "Now we get the fucking laughing fit, right?). 3. When she's dreaming about fucking other men and humiliating her husband (total recall, at this point?). Laughter is eerily long, drawn out, finally interrupted by Bill. Her shock upon awakening is immediate, as someone coming out of a trance. None of these laughs, as they are situated, are healthy. Rather, they reflect a deep neurosis and possible pathology. The rest of this post involves bits of stuff I caught last night, during yet another viewing. Xmas trees, Marion, and the "feel" of old Europe: (My previous post from Helmetag's analysis provides the background on EWS's seasonal mise en scene): Again, lit tree in nearly every scene. There is a even a Christmas tree in the dead guy's bedroom. Speaking of which -- the entire interaction with Marion was bizarre. She acts like a woman who is desperate for rescue. She appears to have no freedom or individual pursuits outside of duty to her father and to her fiance, Carl (for some reason, I thought he spelled it with a 'K' until I saw the screenplay). Carl is an odd sort; acts vaguely sinister, as though he controls her. Marion tells Bill he's a math professor and that they are moving to Michigan once they clear out her father's things. She would be more out of place in Michigan than NYC. Last, she reeks of 'Old Europe' - as do many of Ziegler's friends (Sandor). Another 'old European' is Milich (whose name was Gibson in the orginal screenplay). Sonata Cafe: There is a sign on the wall behind Bill as he descends the stairway - "All Exits Are Final." You said it! Ritual/Somerton: Does Mandy's headdress distinguish her as "the sacrifice" - she stands out among all the women in the circle? Was her death prearranged, as Ziegler insists? If so, she doesn't appear to know it. She warns Bill that their lives 'could be' at risk because of his interference. I noticed that Nick is led out formally, after the orgy, down a long hallway, still blindfolded, his hand resting comfortably on the escort's arm. At this point, Nick is still "in the dark" about his impending punishment, but soon, he and Bill will face an almost simultaneous reckoning with the elite goon squad. (Are they twin opposites, as in Apollo/Dionysus?) Dr. Bill Harford, Hero: I was struck by the hero-worship displayed by the women Bill interacts with in his "role" as a doctor. The first is Marion, who declares her love for him despite knowing nothing about him. The second is the model who thanks Bill for lending his hanky. The third is Mandy, who ends up sacrificing herself for him after he saves her at Ziegler's party. The fourth is Domino, who tells her roommate, Sally, about him. Presumably, she mentions the $150 he gave her even though the trick was never turned. The roommate conversation occurs somewhere between Domino finding out her HIV test results and leaving the apartment. Sally says: "You're Bill? THE Bill? You're the doctor who was here last night?" Only Alice sees Bill's flawed, human side. Over the Rainbow: This is the knock your socks off part. I saw something last night that I'd never seen. In Bill's scene with Sally, Domino's roommate, a rainbow is projected across his back. A light is refracted in such a way that the rainbow stays across his back until he sits down at the table with her, to hear the news about Domino's HIV test. At the moment Sally breaks the embrace and BIll moves toward the table, the rainbow goes down, out of the frame. Lucky to Be Alive: I caught the irony of this headline the very first viewing. Almost thought it was too explicit. This time, I stopped the frame on the newspaper article to see if I could read the text. Whaddya know! It's possible to read almost all of it. The article mentions Amanda Curran's sister, who thought the death "must have been an accident" because she was very happy. It goes on to say there was no way of knowing if someone was with Mandy "at the time of her overdose" (*I think Ziegler might have been; how else did he know the door was locked from the inside? Classic Sherlock Holmes question.) Repetition theme mirrored in the newspaper's type-o: In the "Beauty Queen" article, there are two lines of text that are repeated, a type-o that mirrors the film's constant verbal repetitions. I saw the paper article twice and looked for this both times in case it was a goof! Sure enough, it was there in both scenes. First, when Bill reads the article, and again, when Ziegler looks at it. The lines of text are in the middle column, halfway down. The text reads exactly this way: "It was unclear if anyone was in the room with her at the time she ingested the drugs. her at the time she ingested the drugs" Bill hears voices: Mandy's voice over occurs in the morgue scene. "Because it could cost me my life, possibly yours." Bill then leans over, almost ready to (ritually?) kiss her. He stops, almost like he's snapping out of a trance, or some kind of programmed behavior. Bill's folded arm posture: Dr. Bill folds his arms in a professional way when dealing with Ziegler and his other patients. In the end, he folds his arms in this fashion while walking through the toy store with Alice and Helena. He looks very strange standing around like that, and doesn't drop his arms until Alice 'cues' him that things will be okay between them. Then, his arms fall straight and limp. That's it from me for a while. Great stuff, amazing thread. Thanks to Ted the Dog for starting it and for all who've participated. I really enjoyed it.

by **hanshan** » Sun Dec 11, 2005 3:10 pm

take two: <a href="http://www.storyofo.co.uk/Eyes%20Wide.html" target="top">Les couloirs du merveilleux</a> The femme-enfant, the doll-fetish, the mask, Alice in a wonderland of de Sade ..... With Eyes Wide Open STEFAN finds his way to the mindscape of the Surrealists... <blockquote>Quote:<hr>"Twenty-four browned-skinned slaves rowed the splendid galley which was to bring Prince Amgiad to the palace of the caliph..." thus begins RHAPSODY - A Dream Novel by Arthur Schnitzler 1, otherwise known as TRAUMNOVELLE, the novel first published in 1926 upon which is based the thirteenth and final movie from Stanley Kubrick EYES WIDE SHUT starring Tom Cruise and Nicole Kidman. Schnitzler opens Traumnovelle with a little girl reading aloud to her parents at bed-time from a nursery book, anticipating Andre Breton's gallery catalogue prose of ten years later , "From the book of children's images to the book of poetic images GRADIVA". For Breton and his group of surrealist poets and artists 'Gradiva' was the ultimate femme-enfant or child-woman. "Splendid in walking", she held the promise of a bridge between dream and reality. In Traumnovelle it is the young mother of the child, Albertina, who will later dream of galley slaves and of a fantastic walled city in which her husband Fridolin finds himself naked, pursued, captured, taken to a queen's cellar dungeon to be whipped and ultimately crucified in front of Albertina and her lover. emphasis added<hr></blockquote> <blockquote>Quote:<hr>Few fetish/ sm readers would dispute the connection between fetish, bdsm, and dungeons and subterranean labyrinths, corridors du merveille - of deSade perhaps. And it is without doubt that the general populace has an attraction to such things whether they would like to admit it or not.<hr></blockquote> <blockquote>Quote:<hr>We can celebrate Kubrick's casting genius in Kidman's riveting performance. Her persona is ideally suited to the text of the original novel. In the book Schnitzler continuously describes his female characters as "a young and charming girl, still almost a child..." or " quite a young girl, possibly fifteen years old, with loose blonde hair hanging over her shoulder and on one side over her delicate breast.." Eighteen months ago it would have been unacceptable to examine Kidman's 'baby-doll' little-girl sexuality. In the present climate when the latest issue of the new fashion magazine It (£50 from your local supplier) celebrates 'Innocence', and psychologist Nancy Etcoff purports, "Women compete in the mating world for men whose brains are hard wired to find nubile teenagers highly desirable and beautiful", we can perhaps relax a little over those drawings of Schiele's and Klimt's young female models and the work of artists who succeeded them such as Hans Bellmer and the Surrealists who celebrated the femme-enfant in prose, paintings and sculptures. At the new home for the Tate Gallery's modern collection opening in London in May 2000 we can anticipate the retrieval from storage of Bellmer's Doll of 1936, an erotically charged female double-torso in painted aluminium, seen only outside of Britain for at least the last ten years.<hr></blockquote> <div style="text-align:center">Images of beauty are locked into the childlike". Eileen Bradbury psychologist to facelift patients.</div> <blockquote>Quote:<hr>Researching her book Survival of the Prettiest Nancy Etcoff discovered fellow psychologist Victor Johnston's computer program that "breeds" faces composed from the choices of thousands of users rating in order of beauty a series of randomly selected facial images on his website. Invariably the image created has the lips of a 14-year old and the eye-to-chin distance of an 11-year-old. Similarly a computer fed the details of cover girls from Vogue and Cosmopolitan guestimated their ages as between six and seven. We are back in the territory of Bardot and the Lolita syndrome! Alice in Wonderland gets a look in here too (the Albertina of TRAUMNOVELLE becomes 'Alice' in the film). The Surrealists loved Alice and no doubt Lewis Carroll sat comfortably beside de Sade upon the bookshelf of Surrealist leader Andre Breton, - merveilleux dreamscapes both.<hr></blockquote> <blockquote>Quote:<hr>The Surrealists also championed the French poet Baudelaire who in the previous century had written, 'Woman is the being who projects the greatest shadow or the greatest light into our dreams."2 The Surrealists saw 'woman' as being in closer touch than man with the desired irrationality of the dream and therefore a muse who might lead them towards artistic creativity. As femme enfant or child-woman she combined two beings with privileged access to the marvellous fusing elements from both womanhood and childhood.The child-woman was a figure of fascination for the Surrealists, who wrote abundantly on her attractions. Young, naive and in touch with her own unconscious, the femme-enfant appeared on the cover of La Revolution surrealiste in October 1927 in a school uniform, at a child's desk, taking dictation from her own or someone else's imagination. Ten years later surrealist leader Andre Breton would open the Gradiva gallery the name of which was derived from Freud's published analysis of the German short story Gradiva: A Pompeiian Fantasy by Wilhelm Jensen. Gradiva "splendid in walking" (leading her admirers towards the desired marvellous) was thus venerated as a femme-enfant who existed on the borders of "utopia and truth", and formed "the bridge which links dreaming to reality..." 3 emphasis added<hr></blockquote> <blockquote>Quote:<hr>There is of course, a sadistic twist to this muse of male fantasy. As Simone de Beauvoir has pointed out, female 'virginity' invites male conquest and suggests the need for a man to reveal to the woman her own sexuality. Her attraction lies within her presumed incompleteness and the more immaculate or inaccessible the woman, the more she is deemed to invite profanation.<hr></blockquote> <blockquote>Quote:<hr>Bellmer asked, "Would it not be in the very reality of the Doll that the imagination would find the joy, the ecstasy and the fear that is sought?" and he set about constructing an adolescent doll that would be a reincarnation of the little girls who had played with him in his secret garden, the 'green paradise of childhood loves' of Baudelaire's wistful longing.<hr></blockquote> <div style="text-align:center">"If one tendency within Surrealism's 'merveilleux sexuel' aspires to the ideals of courtly love, the other descends into the noxious basements and torture chambers of the Marquis de Sade." Robert Short DADA & SURREALISM</div> <blockquote>Quote:<hr>Bellmer's Doll was the ideal surrealist object. It was altogether a symbol of revolt against society, of a breaking with the overbearing influence of a domineering father, and a "signature to a pact with the inner life".<hr></blockquote> <div style="text-align:center">"I agree with Georges Bataille that eroticism relates to a knowledge of evil and the inevitability of </div> Hans Bellmer[/center] <blockquote>Quote:<hr>The chaste eroticism of Traumnovelle never allows full consummation with the surreal perversities hinted at by its preoccupation with fancy dress, carnival and masquerade. EYES WIDE SHUT drops the novel's monk and nun costumes in favour of Venetian masks and tricorn hats, acknowledging perhaps the revival of carnival in Venice since 1979. The intention is the same, the mask being both a means to anonymity and therefore a liberation from inhibition, and a way of creating mystery, rich as it is with erotic power and associations with "torturers, executioners, and burglars".7 The recurring theme of EYES WIDE SHUT is invitation and denial. The mask is perhaps the film's controlling motif. The mask as we know, invites seduction and hints at menace. The master, or mistress has power over the slave who may also be masked, implying the status of victim. Whatever treatment the victim anticipates from his or her executioner might either be proffered or denied.<hr></blockquote> <div style="text-align:center">" Surrealism combined two of the principal liberation struggles of this century: that of desire and that of women." Robert Short</div> <blockquote>Quote:<hr>Surrealism" writes Whitney Chadwick, "offered many women their first glimpse of a world in which creative activity and liberation from family-imposed social expectations might coexist..." The story of the women artists associated with Surrealism is one of personal rebellion and a struggle for independence which places them on the outside edge of the surrealist circle. Surrealism provided, nevertheless, a supportive environment for their exploration of individual reality and the intriguingly beautiful Leonor Fini (1918-1996 ) was one artist who took full advantage of its platform to liberation.<hr></blockquote> <div style="text-align:center">Leonor Fini</div> <img src="http://spaightwoodgalleries.com/Media/Fini/Fini_Prison_Zigrifine.jpg" style="border:0;"/> <blockquote>Quote:<hr>Born in Buenos Aires and raised in Trieste, Fini was committed to sexuality as a form of revolution. She demanded sexual freedom and her bisexuality is still misinterpreted today.8 Cultivating her own individuality she placed her self-image at the centre of her extraordinary paintings and strode into the lives of the Surrealists in 1936 "dressed in a cardinal's scarlet robes, which she had purchased in a clothing store specialising in clerical vestments".9 The Surrealist love of costume proved a perfect stage for the uninhibited behaviour of Fini and her compatriots. Urged to remove a heavy fur coat on a warm summer's evening Fini did so to reveal she was naked beneath. On another occasion she attended a Surrealist party for which the guests were instructed to appear nude from chest to thigh, wearing knee-length white boots and a cape of white feathers.<hr></blockquote> <blockquote>Quote:<hr>Of the small group of women whose admiration for de Sade filtered into their paintings Fini alone participated fully in the sadian universe of the male Surrealist. In 1944 she used images from de Sade's Juliette to portray the sexual power of women, acknowledging de Sade's claim, unusual for his time, for the right of women to sexual freedom. Paralleling Bellmer's drawings Fini in her illustrations to Juliette sought to prove that women's sexual needs may be even more demanding and her capacity for cruelty even greater than man's. Advancing in her life and art the notion of the absolute woman, beautiful and imperious Fini chose on one occasion to wear a costume comprising white satin gloves and the mask of an owl anticipating by just six years the closing chapter of Histoire d'O by Pauline Reage (Dominique Aury). It is a powerful image and although we find Whitney Chadwick at pains to point out Fini's "refusal to depict women as submissive" she makes no mention of the illustrations Fini made some years later for a deluxe edition of Histoire d'O. The image of 'O', taken to a party at the end of the novel dressed as an owl and thus reclaiming her imperious nature despite her degradations at the hands of her lovers and gaolers, is a powerful one. Could this have been the element which attracted Fini? Indeed the owl mask in the 1975 Just Jaekin film Histoire d'O is so obviously based upon the mask of Fini one might wonder whether some complicity had existed between the writer, the artist , Jeakin and the French publisher Jean-Jacques Pauvert, had not Reage/Aury written in her preface to Retour a' Roissy ('A Girl in Love'); "Nor did I make up - steal, rather, for which I ask her belated pardon, but the theft was committed out of adoration - the Leonor Fini masks..."<hr></blockquote> <div style="text-align:center"> 'The Surrealists' passionate invocation of the irrational creates a link between the Gothic aesthetic, Freudian theory and the dream-like qualities of the cinema.' Laura Mulvey FETISHISM AND CURIOSITY</div> <blockquote>Quote:<hr>There is little wonder the Surrealists both admired and used the cinema as a way of materialising the dream life. 'From the instant he takes his seat,' wrote Breton, 'to the moment he slips into a fiction evolving before his eyes the spectator passes through a critical point as captivating and imperceptible as that uniting waking and sleeping.' And Brunius has described cinema as 'an involuntary simulation of a dream. The darkness of the auditorium, tantamount to closing the eye-lids on the retina...'. 10 The illusion and the suspension of disbelief specific to the cinema has been compared as similar to the mechanism of fetishism. I remember some members of the audience at a screening in London of Jeakin's Story of O laughing at the image of O on her way to the closing moments of the film dressed in the owl mask. In the same way there has been some derisory laughter amongst audiences for WIDE EYES SHUT. This is a protective, self conscious form of tittering that in the darkened auditorium momentarily defies illusion and the suspension of disbelief. The mask slips a little and the master loses a little of the power allowed the master by the submissive. Should the audience blame Kubrick or itself for such laughter in the dark? A mask is an unsettling leitmotif. Kubrick must have known this and surely acknowledges this controlling image in the film's title WIDE EYES SHUT. After all, masks in themselves are unable to see anything despite having eyes wide open.O<hr></blockquote> ....

by **Col Quisp** » Sun Dec 11, 2005 3:13 pm

There's a number "33" on a building Bill passes in the Village!

by **Rigorous Intuition** » Sun Dec 11, 2005 3:34 pm

on Bill's second visit, after his father offers her ("It needn't be a costume.") It can't be fully captured in a still, but viewed in the film her features remain strikingly impassive. <img src="http://img.photobucket.com/albums/v226/JeffWells/subalbum1/ews-sobieski3.jpg" style="border:0;"/>

by **Rigorous Intuition** » Sun Dec 11, 2005 3:58 pm

Are those masks strung down the wall, partially obscured by her father's head? There's a pink one hanging on the chalkboard. <img src="http://img.photobucket.com/albums/v226/JeffWells/subalbum1/ews-daughtersroom.jpg" style="border:0;"/>

by **Et in Arcadia ego** » Sun Dec 11, 2005 4:24 pm

I don't know what that is, but it doesn't look like a mask to me..I did some PS tricks and it looks like an amorphous lump of something or the other..Doesn't resemble anything so much as an inside out ear.. Whatever it is, it doesn't look kidlike. edit: keep in mind, my impression is more than likely tainted by the discussions at hand..But it definately doesn't look like a mask to me. Edited by: <A HREF=http://p216.ezboard.com/brigorousintuition.showUserPublicProfile?gid=etinarcadiaego@rigorousintuition>et in Arcadia ego</A> at: 12/11/05 1:36 pm

by **Rigorous Intuition** » Sun Dec 11, 2005 4:42 pm

No, not the amorphous lump (it does look ear-like). I mean this: <img src="http://img.photobucket.com/albums/v226/JeffWells/subalbum1/helena-glasses.jpg" style="border:0;"/> I don't think those are glasses. Looks like they're hanging from a ribbon, so that would make them part of a costume.

by **Sweejak** » Sun Dec 11, 2005 4:54 pm

Holy shirt, am I seeing things? <a href="http://en.wikipedia.org/wiki/The_Ambassadors_(Holbein)">en.wikipedia.org/wiki/The..._(Holbein)</a> and <a href="http://tinyurl.com/8m6av">tinyurl.com/8m6av</a> <blockquote>Quote:<hr>The skull, rendered in anamorphic perspective, another invention of the Early Renaissance, is meant to be nearly subliminal as the viewer must approach the painting nearly from the side of the painting to see the form morph into a completely accurate rendering of a human skull.<hr></blockquote> It looks very similar to the blob hanging from the chalkboard? Edited by: <A HREF=http://p216.ezboard.com/brigorousintuition.showUserPublicProfile?gid=sweejak@rigorousintuition>Sweejak</A> at: 12/11/05 1:58 pm

by **Pants Elk** » Sun Dec 11, 2005 6:28 pm

I have, after much fannying around, managed to grab a screen shot of the eye on Dr Bill's back, and enhance it in iPhoto (this isn't retouching - it just does something technological I don't understand to make the image clearer), and it's as clear as day. But now I find I can't post it here - I can only post images that have a URL? Nuts.

by **Et in Arcadia ego** » Sun Dec 11, 2005 6:48 pm

Pants, make an(free) account on www.putfile.com and you can upload it there and then post the url here. That's what I did with the chanting mp3 early in this thread. Alternatively, you can emial the image to one of us and we can host it for you. Lemme know via PM if you need more help.

by **casperblackeyes** » Sun Dec 11, 2005 8:36 pm

very interesting. here's my two cents: Does anyone remember the scene towards the end of the Shining when Shelly Duvall's character is running scared? she happens upon what looks like a masked member of the ball performing a sex act. Remind you of anything. Also, in the last shot of the Shining the song playing is 'strangers in the night' or something similiar. It sounds alot like the song being played in EWS as Dr. Bill is being taken to see Red Cloak. Does anyone know? I remember thinking that EWS felt similiar to the Shining when I first saw it. There are definite parrallels in husband/father characters exploring the treacherous unknown of high society. Also, there is a mask on the dresser/nightstand next to Marion's dead father. More masks hanging on the walls of Domino's apt.

by **Et in Arcadia ego** » Sun Dec 11, 2005 8:43 pm

<blockquote>Quote:<hr>Does anyone remember the scene towards the end of the Shining when Shelly Duvall's character is running scared? she happens upon what looks like a masked member of the ball performing a sex act. Remind you of anything.<hr></blockquote> Possibly a seed germinating over the years cuminalting in the masterpiece we've been dissecting. I'd like to thank each and every persom who has contributed to the discussion, and in particular, I'd like to heartily saulte Jeff for doing an even better over-all job of widening my shuttered eyes to a greater perception of Society and it's underpinnings. Cheers everybody, D

by **rain** » Mon Dec 12, 2005 12:12 am

" "So you think you can tell heaven from hell, blue skies from pain . . ." They didn't quite deify the once-robust Felix Polk, who died at age 70. But at this sweet, somber service in the autumn of 2002, fellow therapists spoke lovingly of the warm, wise and demanding man. ... There were no photos of his second wife, Susan Polk. Nor was her name mentioned. Although everyone in the church knew, no one said the obvious: Their marriage had been fraught with internal conflict from the start. Felix had been both her lover and her therapist. They had met when she was a troubled adolescent and he was the mature therapist. A year later, they were having sex. As his fellow therapists knew but kept to themselves, mixing personal relations with professional treatment can be perilous. ... By age 15, her mother says, Susan was becoming a beauty, with pale, creamy skin and dark eyes. When Bolling and her daughter walked down the street together, people's "eyes would drop open as we passed ... Felix was European by bearing and birth, with a gravelly voice and expressive face. Born into an intellectual, affluent Austrian family that owned department stores, his early years were spent in Vienna. His was an idyllic childhood, with a toy train set that had a real steam engine and was big enough for him to ride. ... The family was full of prominent musicians and Jewish aristocrats. "It was the kind of family that if they didn't know Freud, they should have," says Danny Goldstine, chief psychologist at Berkeley Therapy Institute, who befriended Felix while the two were in graduate school together. ... Susan and Felix married in 1982. She was 25 and he was 50. At the time, in addition to his private practice, Felix taught adolescent psychology at the American Schools of Professional Psychology, now Argosy University in Point Richmond, north of Berkeley. (The school deleted his name from its Web site after his death and has refused to take calls about him.) He also had worked occasionally as a consultant for the Alameda County Probation Department, the Family Therapy Institute in Marin County and the Catholic Church, where he counseled priests and nuns. ... By the time mourners filed into the church for her husband's funeral, Susan Polk was residing at the Martinez Detention Facility. If any of them thought that Felix had overstepped his boundaries when he became involved with his second wife, or if they saw it as the therapeutic community's tattered laundry, they kept it to themselves, as they had for three decades. " <a href="http://www.pogash.com/magazine.html">www.pogash.com/magazine.html</a>

by **rain** » Mon Dec 12, 2005 12:53 am

"A dreadful venture thine king Agamemnon! thou that, by promise of thy daughter's hand to the son of the goddess, wert for bringing the maid hither to be sacrificed for the Danai " Iphigenia At Aulis <a href="http://www.sacred-texts.com/cla/eurip/iphi_aul.htm">www.sacred-texts.com/cla/...hi_aul.htm</a>

Kubrick

Somerton

A few more revelations

re:Traumnovelle/ or trauma ville

Speaking of Masons,

Milich's daughter's mask-like face

Helena's room:

Re: Helena's room:

Re: Helena's room:

Re: Helena's room:

Eye On You

Re: Eye On You

the shinnin'

Re: the shinnin'

house calls

'danemark'

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