Tuesday, February 24, 2015
The Shasta Caper, final chapter, Sixty-Nine
Chapter Sixty-Nine
Samuel was the first up, even though Robin and Smarn were
usually the early ones up, he beat them by several hours.
A lot of the things he had seen and been shown since they
had begun this journey had seemed a bit peculiar and off at times. He had let
his Detective mind kind of tune out during all of it, but it had been hacking
away in the background, tossing up bits and pieces from time to time for him to
ponder. He didn't bother Jimbo with his doubts or his concerns, because he had
his heart and hands full with Nanny, who was would've kept any honery Texan
busy, even one as outrageous as Jimbo tended to be...all blustery, hands on,
get dirty and kick their butts action kind of guy that he was.
But Samuel, while he wouldn't eschew action, usually
preferred to figure things out before jumping into action. He had been pretty
much corralled into action since he had met the Lady Marantha at the Denny's.
He wasn't angry with either Nanny or Jimbo. He wouldn't take
back everything they'd done, even the scarier parts of it if he had a choice to
do so. So it was with somewhat of a heavy heart for many various reasons that
he climbed down from the tree house and headed along the criss crossing bridges
of the lake to the highest islet.
It had caught his attention all along. Something about it
bothered him, but he couldn't put it into words just yet.
He reached the middle of the lake and the highest islet and
stopped at its base. It was the prettiest of them, topped by beautiful rows of
flowers that cascaded down its sides with benches between the rows for visitors
to enjoy their beauty and fragrance.
Daisies, petunias, marigolds, sunflowers, roses of every hue
of the rainbow, azalea, orchids. Just about every kind of flower imaginable,
all growing in one spot, all growing in the same conditions, which should,
theorhetically, of course, been impossible.
He went up row by row, allowing the scent of the flowers to
soothe his troubled soul. For troubled it was. He suspected there was a lot
more going on than anyone had told him or Jimbo, and that there was much yet
that remained hidden. When he had put his nose to the last violet colored
rose...which had been divine...and reminded him of Hawaii and the beautiful
orchids there...he reached the summit, where a single bench sat alone and
uninhabited. A small fire burned next to it, fed by a channel of fuel that was
piped from underground somewhere and fed it.
Yes, Robin's world was far more advanced than it seemed at
first. Trees that could mold beds to your sleeping needs, flowers that didn't
need special growing circumstances, psychic abilities in almost all the people
he'd met...even the tiny elephants, which brought a smile to his face, who he
just saw were now trailing him, the Mother Elephant sniffing the ground, then
trumpeting to those in the rear to follow her.
They finally reached the islet he sat at the top of. The
Mother Elephant raised her nose in greeting and he could swear that one of her
eyes had just winked at him.
She turned around and her babies formed a line of defense
about the islet, though what they might be defending it from he didn't know.
"Interruption, Sam." Al told him as he
materialized on the bench next to
Samuel.
Marilyn appeared
next, dressed in a lovely all yellow summer dress and yellow shoes, with a
yellow bow in her hair. She flashed him one of her usual dazzling smiles, and
sat down next to Al on the grass next to him. She took out a half-darned
sweater and began darning it as they spoke, her eyes on them and her work as
well. She never missed a thing, even though she was usually the quieter of the
two.
Anyone who mistook her for stupid or not so smart, had been
so wrong, this woman was one of the sharpest cookies ever born. She had just
been born too soon.
Sam eyed Al thoughtfully. "This is the moment, isn't
it?"
Al nodded his head. "I'm sorry, Sam, but it had to be
done this way, or you wouldn't have come this far."
"Far to do what?"
Samuel waited.
Albert Einstein, one of the greatest minds ever born on
Earth, the ghost of him, the angel he had become frowned. "That which is
right."
Samuel felt a chill go up his spine. It was reckoning time.
Always was. There was some kind of lesson he was supposed to get from all of
this that he had been missing because of all the diversions going on...the Nazi
attacks, the monster in the snow...the past life regressions. He felt like a
sponge that was full to bursting and he had to be squeezed or he would explode.
"None of this is real, is it?" Samuel finally
asked.
"Oh, it's real all right." Al answered brightly,
but just not as real as it seems at first.
"A test?"
Al didn't say anything.
Then Samuel began weaving through his mind all the events
that led to this point in time. "The touch from Lady Marantha was the
trigger, wasn't it?"
"Yes. And have you figured out who she is?" Al
asked, his eyes watching Samuel for any sense of confusion or digression from
the topic.
Samuel put his head in his hands.
"Mother."
"Yes." Albert answered, a tinge of sadness in his
voice.
Samuel looked up, but Albert wasn't sad looking. He had a
glance that was filled with pride and purpose. "Samuel, you've been
hanging onto her since she crossed over. You know you can't do that. Your
mission on Earth is too important to live in the past. You're still a young
man. You have a whole world. A whole universe to explore yet. And it's
so........vast."
Albert touched Samuel on his forehead. Not physically, but
with a spiritual touch and Samuel felt a dazzling spiral of colors open up in
front of him.
Lady Marantha stepped out of them and stood before him,
smiling. Then as he stared hopefully, she began to transform into his mother as
he remembered her. Tall, proud, smiling, her warmth like a minature sun shining
in the day.
"I love you, Sammie." She told him.
He rose from the bench and reached to hug her. She backed
off.
"I'm sorry, son, but I'm not really physical
anymore."
"But you touched me before!" He pleaded to her.
"Yes. But that was God's touch not mine."
"I miss you so, so much." He said, his eyes
watering with a flow of tears.
"And I am so, so proud of you, my son. So very, very
proud. You have become everything a mother could ever have hoped for and so
much more."
"But all of this..." He gestured to the world
about him. "Why here? Why now?"
"Haven't you known all along?"
And yes he had. Nanny looked too much like someone he had
loved with all his heart. It just hadn't occurred to him that it was his
mother, because she had altered her appearance in so many ways.
"Then Nanny?"
"She's real, Sammie. She's your sister. From my first
marriage. That is why you felt so close to her from the very beginning and why
you've felt certain feelings so strongly as you get to know her."
"Her wit."
"Your father's."
"Her beauty."
"Your father and his first wife."
"Her spunkiness."
"All yours, Sammie." She laughed. "All yours. Why else do you think Jimbo loves you
so much? He doesn't give a horse's tail for the spiritual side of your life.
It's you he cares about, your
lightheartedness, your dedication...your drive to
do what is right. It brings out the best in him, it honors his own soul's
determination to do what is right."
She smiled gently, then began to fade. "But there's
more."
Samuel tried to stop her, but his hands passed right through
her.
"I love you, Sammie. I always will. Listen to Albert.
He's not half bad for an angel kind of guy."
Albert broke into laughter and gave her a wave. "And
you're not so bad yourself, madam."
She smiled at him, then extended her hand out towards
Samuel, who reached out to touch it. Their fingertips touched and a spark
ignited.
WHAM!
Monday, February 23, 2015
Chapter Sixty-Eight, Part Two
Chapter Sixty-Eight, Part Two
Jimbo laughed.
Robin gave him a scowl.
"Sorry."
"Accepted." Though Robin obviously still had some
reservations about the apology.
Smarn clapped a hand on Robin's shoulder. "When he
first came here, he had a tall friend, much like I."
Robin's face became clouded with sorrow for a moment. His
eyes glistened moistly.
"I'm sorry, Robin." Nanny said, touched by his
open feelings.
"Smarn became a replacement of sorts for the loss of my
then friend, Little John. He was one of the first to fall to those
above..."
Smarn nodded. "And Robin would have died also, but I
saved him. He and the rest of his merry men."
Jimbo gasped. "You are that Robin Hood!"
"Yes. But legends have it all wrong. I didn't rob the
rich to give to the poor. I robbed the rich to teach them humility. I just
happened to also give their wealth to the poor in addition to that."
"And if you had it to do all over again?" Nanny
asked.
"I'd reverse the order, but the results would have been
the same."
"No." Smarn answered. "You would have been
far more humble when you came here."
Robin gave Smarn a surprised look. "You've been holding
out on me, big fellow."
"Smarn big. Not dumb!"
Robin gave Smarn a hug. "You're a true friend."
Smarn hugged him back a moment, then pushed him away.
"Stop, before I flood the lake."
Smarn wiped at his eyes and began walking back to their
home. Robin watched, his eyes warm with affection. "I will truly miss him
when he's gone."
"He's leaving?" Jimbo asked.
"Yes. Quest."
"Quest?" Samuel asked. "For what?"
"The greatest treasure on earth and in it."
"What could that possibly be?" Nanny asked.
Robin didn't answer. He looked again at the dark spot in the
sky. "We must leave soon. You have someone to meet before you
return."
And Robin said no more, but they could tell a great sadness
had descended upon his soul. Maybe even greater than the loss of his loved
ones.
Nanny hovered close to Jimbo, feeling a need for his warmth
at that time.
Samuel had Al and M, who were dancing ahead of them,
laughing and playing like small children.
"I love your friends." Robin said as they neared
his treehome.
"You can see them?" Samuel asked.
"Can you see mine? I think you can."
"But Methusaleh is alive."
"Yes, Samuel, as all life is ever alive, but not
necessarily of the same vibration or frequency. Some are still of the earth,
but some are of the spirit and can become solid for a time to do the work
needed of them."
Samuel thought about that. That would explain much. He
hadn't been able to use his detective abilities so much on this journey, but it
was all beginning to add up and make sense. And the picture it pointed to was a
much larger one than he could ever have imagined.
Robin understood his thoughts.
"It's all right, my friend, even the greatest of minds
are nothing next to that of the Ancients. Those who have come before and gone
to the Allness."
With those words spoken he entered the base of the tree home
and everyone followed him up to their sleeping berths, where they all went to
bed immediately, each seeking the solace of their own thoughts and to what the
morrow would bring.
How to Draw Rainforest Trees
Sunday, February 22, 2015
Charlie Chan at the Wax Museum Movie
When Film Noir Detective stories were at their height, a Chinese detective rose to fame in the theaters, even though he was not truly Chinese.
But a far better job of the history of this detective is found in Wikipedia, which I have pasted below from their site.
The character of Charlie Chan was created by Earl Derr Biggers. In 1919,[2] while visiting Hawaii, Biggers planned a detective novel to be called The House Without a Key. He did not begin to write that novel until four years later, however, when he was inspired to add a U.S. Chinese police officer to the plot after reading in a newspaper of Chang Apana (鄭阿平) and Lee Fook, two detectives on the Honolulu police force.[3] Biggers, who disliked the Yellow Peril stereotypes he found when he came to California,[4] explicitly conceived of the character as an alternative: "Sinister and wicked Chinese are old stuff, but an amiable Chinese on the side of law and order has never been used."[5]
The "amiable Chinese" made his first appearance in The House Without a Key (1925). The character was not central to the novel and was not mentioned by name on the dust jacket of the first edition.[6] In the novel, Chan is described as walking with "the light dainty step of a woman"[7] and as being "very fat indeed ... an undistinguished figure in his Western clothes."[8] According to critic Sandra Hawley, this description of Chan allows Biggers to portray the character as nonthreatening, the opposite of evil Chinese characters, such as Fu Manchu, while simultaneously emphasizing supposedly Chinese characteristics such as impassivity and stoicism.[9]
Film, radio, and television adaptations[edit]
Films[edit]
The first Charlie Chan film was The House Without a Key (1926), a ten-chapter serial produced by Pathé Studios, starring George Kuwa, a Japanese actor, as Chan.[10] A year laterUniversal Pictures followed with The Chinese Parrot, starring Japanese actor, Kamiyama Sojin, in the starring role.[10] In both productions, Charlie Chan's role was minimized.[11]Contemporary reviews were unfavorable; in the words of one reviewer, speaking of The Chinese Parrot, Sojin plays "the Chink sleuth as a Lon Chaney cook-waiter ... because Chaney can't stoop that low."[12]
In 1929, the Fox Film Corporation opted Charlie Chan properties and produced Behind That Curtain, starring Korean actor E.L. Park.[13] Again, Chan's role was minimal, with Chan appearing only in the last ten minutes of the film.[13] Not until a white actor was cast in the title role did a Chan film meet with success,[14] beginning with 1931's Charlie Chan Carries On, starring Swedish actor Warner Oland as Chan. Oland, who claimed some Mongolianancestry,[15] played the character as more gentle and self-effacing than he had been in the books, perhaps in "a deliberate attempt by the studio to downplay an uppity attitude in a Chinese detective."[16] Oland starred in fifteen Chan films for Fox, often with Keye Luke, who played Chan's "Number One Son", Lee Chan. Oland's "warmth and gentle humor"[17] helped make the character and films popular; the Oland Chan films were among Fox's most successful then,[18] attracting "major audiences and box-office grosses on a par with A's"[19] and "[keeping] Fox afloat" during the Great Depression.[20]
Oland died in 1938, and the Chan film, Charlie Chan at the Ringside, was rewritten with additional footage as Mr. Moto's Gamble, an entry in the Mr. Motoseries, another contemporary series featuring an East Asian protagonist; Luke appeared as Lee Chan, not only in already shot footage but also in scenes with Moto actor Peter Lorre. Fox hired another white actor, Sidney Toler, to play Charlie Chan, and produced eleven Chan films through 1942.[21] Toler's Chan was less mild-mannered than Oland's, a "switch in attitude that added some of the vigor of the original books to the films."[16] He is frequently accompanied, and irritated, by his Number Two Son, Jimmy Chan, played by Sen Yung.[22]
When Fox decided to produce no further Chan films, Sidney Toler purchased the film rights.[21] Producers Philip N. Krasne and James S. Burkett of Monogram Pictures produced and released further Chan films, starring Toler. The budget for these films was reduced from Fox's average of $200,000 to $75,000.[21] For the first time, Chan was portrayed on occasion as "openly contemptuous of suspects and superiors."[23] African-American comedic actor Mantan Moreland played chauffeur Birmingham Brown in 13 films (1944-1949) which led to criticism of the Monogram films in the forties and since;[23][24] some call his performances "brilliant comic turns",[25] while others describe Moreland's roles as an offensive and embarrassing stereotype.[24] Toler died in 1947 and was succeeded by Roland Winters for six films.[26] Keye Luke, missing from the series after 1938's Mr. Moto rework, returned as Charlie's son in the last two entries.
Spanish-language adaptations[edit]
Three Spanish-language Charlie Chan films were made in the 1930s and 1950s. The first, Eran Trece (There Were Thirteen) (1931), is a Spanish-language version of Charlie Chan Carries On (1931). The two films were made concurrently and followed the same production schedule, with each scene filmed twice the same day, once in English and then in Spanish.[27]The film followed essentially the same script as the Anglophonic version, with minor additions such as brief songs and skits and some changes to characters' names (for example, the character Elmer Benbow was renamed Frank Benbow).[28] A Cuban production, La Serpiente Roja (The Red Snake), followed in 1937.[29] In 1955, Producciones Cub-Mex produced a Mexican version of Charlie Chan called El Monstruo en la Sombra (Monster in the Shadow), starring Orlando Rodriguez as "Chan Li Po" (Charlie Chan in the original script).[29] The film was inspired by La Serpiente Roja as well as the American Warner Oland films.[29]
Chinese-language adaptations[edit]
During the 1930s and 1940s, five Chan films were produced in Shanghai and Hong Kong. In these films, Chan owns his detective agency and is aided, not by a son, but by a daughter, Manna, played first by Gu Meijun (顾梅君) in the Shanghai productions and then by Bai Yan (白燕) in postwar Hong Kong.[4]
Chinese audiences also saw the original U.S. Charlie Chan films. They were by far the most popular U.S. films in 1930s China and among Chinese expatriates; "one of the reasons for this acceptance was this was the first time Chinese audiences saw a positive Chinese character in a U.S. film, a departure from the sinister East Asian stereotypes in earlier movies like Thief of Baghdad and Welcome Danger, which incited riots that shut down the Shanghai theater showing it." Oland's visit to China was reported extensively in Chinese newspapers, and the actor was respectfully called "Mr. Chan".[4]
Modern adaptations[edit]
In Neil Simon's Murder By Death, Peter Sellers plays a Chinese detective called Sidney Wang, a parody of Chan.
In 1980, Jerry Sherlock began production on a comedy film to be called Charlie Chan and the Dragon Lady. A group calling itself C.A.N. (Coalition of Asians to Nix) was formed, protesting the fact that non-Chinese actors, Peter Ustinov and Angie Dickinson, had been cast in the primary roles. Others protested that the film script contained a number of stereotypes; Sherlock responded that the film was not a documentary.[30] The film was released the following year as Charlie Chan and the Curse of the Dragon Queen and was an "abysmal failure."[31][32] An updated film version of the character was planned in the 1990s by Miramax. While this Charlie Chan was to be "hip, slim, cerebral, sexy and... a martial-arts master,"[32] nonetheless the film did not come to fruition.[32] Actress Lucy Liu is slated to star in and executive-produce a new Charlie Chan film for Fox.[33] The film has been in preproduction since 2000; as of 2009 it is was slated to be produced.[34]
Radio[edit]
On radio, Charlie Chan was heard in several different series on three networks (the NBC Blue Network, Mutual, and ABC) between 1932 and 1948.[35] Walter Connolly initially portrayed Chan on Esso Oil's Five Star Theater, which serialized adaptations of Biggers novels.[36] Ed Begley, Sr. had the title role in N.B.C.'s The Adventures of Charlie Chan (1944–45), followed by Santos Ortega (1947–48). Leon Janney and Rodney Jacobs were heard as Lee Chan, Number One Son, and Dorian St. George was the announcer.[37] Radio Life magazine described Begley's Chan as "a good radio match for Sidney Toler's beloved film enactment."[38]
Television adaptations[edit]
- In 1956-57, The New Adventures of Charlie Chan, starring J. Carrol Naish in the title role, were made independently for TV syndication in 39 episodes, by Television Programs of America. The series was filmed in England.[39] In this series, Chan is based in London rather than the United States. Ratings were poor, and the series was canceled.[40]
- In the 1960s, Joey Forman played an obvious parody of Chan named "Harry Hoo" in two episodes of Get Smart.
- In the 1970s, Hanna-Barbera produced an animated series called The Amazing Chan and the Chan Clan. Keye Luke, who had played Chan's son in many Chan films of the 1930s and '40s, lent his voice to Charlie, employing a much-expanded vocabulary. The series focused on Chan's children, played mostly by U.S. East Asian child actors. The title character bears some resemblance to the Warner Oland depiction of Charlie Chan. Jodie Foster alternated with Leslie Kumamota in voicing Chan's daughter Anne.[41]
- The Return of Charlie Chan, a television film starring Ross Martin as Chan, was made in 1971 but did not air until 1979.
Comics and games[edit]
A Charlie Chan comic strip, drawn by Alfred Andriola, was distributed by the McNaught Syndicate beginning October 24, 1938.[42] Andriola was chosen by Biggers to draw the character.[43] Following the Japanese attack on Pearl Harbor, the strip was dropped in May 1942.[44]
Over decades, other Charlie Chan comic books have been published: Joe Simon and Jack Kirby created Prize Comics'Charlie Chan (1948) which ran for five issues. It was followed by a Charlton Comics title (four issues, 1955). DC Comicspublished The New Adventures of Charlie Chan,[45] a 1958 tie-in with the TV series; the DC series lasted for six issues. Dell Comics did the title for two issues in 1965. In the 1970s, Gold Key Comics published a short-lived series of Chan comics based on the Hanna-Barbera animated series.
In addition, a board game, The Great Charlie Chan Detective Mystery Game (1937),[46] and a Charlie Chan Card Game(1939), have been released.
Modern interpretations and criticism[edit]
The character of Charlie Chan has been the subject of controversy. Some find the character to be a positive role model, while others argue that Chan is an offensive stereotype. Critic John Soister argues that Charlie Chan is both; when Biggers created the character, he offered a unique alternative to stereotypical evil Chinamen, a man who was at the same time "sufficiently accommodating in personality... unthreatening in demeanor... and removed from his Asian homeland... to quell any underlying xenophobia."[47]
Critic Michael Brodhead argues that "Biggers's sympathetic treatment of the Charlie Chan novels convinces the reader that the author consciously and forthrightly spoke out for the Chinese - a people to be not only accepted but admired. Biggers's sympathetic treatment of the Chinese reflected and contributed to the greater acceptance of Chinese-Americans in the first third of [the twentieth] century."[48] S. T. Karnick writes in the National Review that Chan is "a brilliant detective with understandably limited facility in the English language [whose] powers of observation, logic, and personal rectitude and humility made him an exemplary, entirely honorable character."[25] Ellery Queen called Biggers's characterization of Charlie Chan "a service to humanity and to inter-racial relations."[6] Dave Kehr of The New York Times said Chan "might have been a stereotype, but he was a stereotype on the side of the angels."[17]Luke agreed; when asked if he thought that the character was demeaning to the race, he responded, "Demeaning to the race? My God! You've got a Chinese hero!"[49] and "[W]e were making the best damn murder mysteries in Hollywood."[20][50]
Other critics, such as Yen Le Espiratu and Huang Guiyou, argue that Chan, while portrayed positively in some ways, is not on a par with white characters, but a "benevolent Other"[51] who is "one-dimensional."[52] The films' use of white actors to portray East Asian characters indicates the character's "absolute Oriental Otherness;"[53] the films were only successful as "the domain of white actors who impersonated heavily-accented masters of murder mysteries as well as purveyors of cryptic proverbs. Chan's character "embodies the stereotypes of Chinese Americans, particularly of males: smart, subservient, effeminate."[54] Chan is representative of a model minority, the good stereotype that counters a bad stereotype: "Each stereotypical image is filled with contradictions: the bloodthirsty Indian is tempered with the image of the noble savage; the bandido exists along with the loyal sidekick; and Fu Manchu is offset by Charlie Chan."[55] However, Fu Manchu's evil qualities are presented as inherently Chinese, while Charlie Chan's good qualities are exceptional; "Fu represents his race; his counterpart stands away from the other Asian Hawaiians."[43]
Some argue that the character's popularity is dependent on its contrast with stereotypes of the Yellow Peril or Japanese people in particular. U.S. opinion of China and Chinese U.S. citizens grew more positive in the 1920s and 30s in contrast to the Japanese, who were increasingly viewed with suspicion. Sheng-mei Ma argues that the character is a psychological over-compensation to "rampant paranoia over the racial other."[56]
In June 2003, the Fox Movie Channel cancelled a planned Charlie Chan Festival, soon after beginning restoration for cablecasting, after a special-interest group protested. Fox reversed its decision two months later, and on September 13, 2003, the first film in the festival was aired on Fox. The films, when broadcast on the Fox Movie Channel, were followed by round-table discussions by prominent East Asians in the U.S. entertainment industry, led by George Takei, most of whom were against the films.[4] Collections such as Frank Chin's Aiiieeee! An Anthology of Asian-American Writers and Jessica Hagedorn's Charlie Chan is Dead are put forth as alternatives to the Charlie Chan stereotype and "[articulate] cultural anger and exclusion as their animating force."[57] Fox released the restored versions on D.V.D. in 2006;[25] as of mid-2008, Fox has released all of the extant Warner Oland titles and has begun issuing the Sidney Toler series. The first six Monogram productions, all starring Sidney Toler, were released by MGM in 2004.
Some modern critics, particularly U.S. East Asians, dismiss the Charlie Chan character as "bovine" and "asexual",[58] allowing "white America ... [to be] securely indifferent about us as men."[59] Charlie Chan's good qualities are the product of what Frank Chin and Jeffery Chan call "racist love", arguing that Chan is a model minority and "kissass".[60] Fletcher Chan, however, argues that the Chan of Biggers's novels is not subservient to white characters, citing The Chinese Parrot as an example; in this novel, Chan's eyes blaze with anger at racist remarks and in the end, after exposing the murderer, Chan remarks "Perhaps listening to a 'Chinaman' is no disgrace."[61] In the films, both Charlie Chan in London (1934) and Charlie Chan in Paris (1935) "contain scenes in which Chan coolly and wittily dispatches other characters' racist remarks."[17] Yunte Huang manifests an ambivalent attitude, stating that in the USA, Chan "epitomizes the racist heritage and the creative genius of this nation’s culture."[62] Huang also suggests that critics of Charlie Chan may have themselves, at times, "caricatured" Chan himself.[63]
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