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Slammin' John Monolith Poem

In Memory of Sigmund Freud When there are so many we shall have to mourn, when grief has been made so public, and exposed to the critique of a whole epoch the frailty of our conscience and anguish, of whom shall we speak? For every day they die among us, those who were doing us some good, who knew it was never enough but hoped to improve a little by living.

Such was this doctor: still at eighty he wished to think of our life from whose unruliness so many plausible young futures with threats or flattery ask obedience, but his wish was denied him: he closed his eyes upon that last picture, common to us all, of problems like relatives gathered puzzled and jealous about our dying.

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For about him till the very end were still those he had studied, the fauna of the night, and shades that still waited to enter the bright circle of his recognition turned elsewhere with their disappointment as he was taken away from his life interest to go back to the earth in London, an important Jew who died in exile.

Only Hate was happy, hoping to augment his practice now, and his dingy clientele who think they can be cured by killing and covering the garden with ashes. They are still alive, but in a world he changed simply by looking back with no false regrets; all he did was to remember like the old and be honest like children. He wasn't clever at all: he merely told the unhappy Present to recite the Past like a poetry lesson till sooner or later it faltered at the line where long ago the accusations had begun, and suddenly knew by whom it had been judged, how rich life had been and how silly, and was life-forgiven and more humble, able to approach the Future as a friend without a wardrobe of excuses, without a set mask of rectitude or an embarrassing over-familiar gesture.

No wonder the ancient cultures of conceit in his technique of unsettlement foresaw the fall of princes, the collapse of their lucrative patterns of frustration: if he succeeded, why, the Generalised Life would become impossible, the monolith of State be broken and prevented the co-operation of avengers. Of course they called on God, but he went his way down among the lost people like Dante, down to the stinking fosse where the injured lead the ugly life of the rejected, and showed us what evil is, not, as we thought, deeds that must be punished, but our lack of faith, our dishonest mood of denial, the concupiscence of the oppressor.

But he wishes us more than this. To be free is often to be lonely. He would unite the unequal moieties fractured by our own well-meaning sense of justice, would restore to the larger the wit and will the smaller possesses but can only use for arid disputes, would give back to the son the mother's richness of feeling: but he would have us remember most of all to be enthusiastic over the night, not only for the sense of wonder it alone has to offer, but also because it needs our love.

With large sad eyes its delectable creatures look up and beg us dumbly to ask them to follow: they are exiles who long for the future that lives in our power, they too would rejoice if allowed to serve enlightenment like him, even to bear our cry of 'Judas', as he did and all must bear who serve it. One rational voice is dumb. Over his grave the household of Impulse mourns one dearly loved: sad is Eros, builder of cities, and weeping anarchic Aphrodite.

Auden The Fall of Rome for Cyril Connolly The piers are pummelled by the waves; In a lonely field the rain Lashes an abandoned train; Outlaws fill the mountain caves. Fantastic grow the evening gowns; Agents of the Fisc pursue Absconding tax-defaulters through The sewers of provincial towns.

Private rites of magic send The temple prostitutes to sleep; All the literati keep An imaginary friend. Unendowed with wealth or pity, Little birds with scarlet legs, Sitting on their speckled eggs, Eye each flu-infected city. Altogether elsewhere, vast Herds of reindeer move across Miles and miles of golden moss, Silently and very fast.

Floyd's journey to Space Station One is depicted with awareness of fine points such as the experience of a Space Shuttle launch , the adhesive sauces used to keep food firmly in place on one's plate, and even the zero-gravity toilet.

Racism – The Great Societal Monolith

Over the course of the novel, several minor characters either appear very briefly or are named only in passing, including other man-apes, spaceflight staff, lunar station security, and Discovery crew members. Among the novel's minor characters, some of the more consequential are listed below often having direct film equivalents, or else being recurring characters in the Odyssey novel series.

A sequel to the book, entitled Odyssey Two , was published in and adapted as a motion picture in Clarke went on to write two more sequel novels: Odyssey Three and The Final Odyssey To date, [update] the last two novels have yet to be adapted as films. James Blish commented that while Clarke's narrative provided essential elements of the story that Kubrick ignored or glossed over, "The novel has very little of the poetry of the picture" and "lacks most of the picture's strengths", but that "it has to be read before one can understand the picture".

Eliot Fremont-Smith reviewed the book positively in the New York Times , stating that it was "a fantasy by a master who is as deft at generating accelerating, almost painful suspense as he is knowledgeable and accurate and fascinating about the technical and human details of space flight and exploration". Although the novel and film were developed simultaneously, the novel follows early drafts of the film, from which the final version of the film deviated.

The most notable differences are a change in the destination planet from Saturn to Jupiter , and the nature of the sequence of events leading to HAL's demise. Stylistic differences may be more important than content differences. Of lesser importance are the appearance of the monolith, the age of HAL, and the novel giving names to various spacecraft, prehistoric apes, and HAL's inventor. Stylistically, the novel generally fleshes out and makes concrete many events left somewhat enigmatic in the film, as has been noted by many observers.

Vincent LeBrutto has noted that the novel has "strong narrative structure" which fleshes out the story, while the film is a mainly visual experience where much remains "symbolic". In the film, Discovery ' s mission is to Jupiter, not Saturn. Kubrick used Jupiter because he and special effects supervisor Douglas Trumbull could not decide on what they considered to be a convincing model of Saturn's rings for the film.

ABOUT – Monolith Volume

Trumbull later developed a more convincing image of Saturn for his own directorial debut Silent Running. The general sequence of the showdown with HAL is different in the film from in the book. HAL's initial assertion that the AE unit will fail comes in the film after an extended conversation with David Bowman about the odd and "melodramatic" "mysteries" and "secrecy" surrounding the mission, motivated officially because HAL is required to draw up and send to Earth a crew psychology report.

In the film, Bowman and Poole decide on their own to disconnect HAL in context of a plan to restore the allegedly failing antenna unit. If it does not fail, HAL will be shown to be malfunctioning. In Clarke's novel, ground control orders Bowman and Poole to disconnect HAL, should he prove to be malfunctioning a second time by predicting that the second unit is going to go bad. However, in Clarke's novel, after Poole's death, Bowman tries waking up the other crew members, whereupon HAL opens both the internal and external airlock doors, suffocating these three and almost killing Bowman. The film has Bowman, after Poole's murder, go out to rescue him.

HAL denies him reentry and kills the hibernating crew members by turning off their life-support. In the sequel Odyssey Two, however, the recounting of the Discovery One mission is changed to the film version. The film is generally far more enigmatic about the reason for HAL's failure, while the novel spells out that HAL is caught up in an internal conflict because he is ordered to lie about the purpose of the mission. Because of what photographed well, the appearance of the monolith that guided Moon-watcher and the other 'man-apes' at the beginning of the story was changed from novel to film.

In the novel, this monolith is a transparent crystal; [15] In the film, it is solid black. While it is stated in the book that the ratio of the dimensions of the monolith are supposed to be , or the first 3 integral numbers squared, the shape of the actual monolith seen in the movie does not conform to this ratio. A ratio of would produce an object that appears thick, wide, and squat. Kubrick wanted something taller and thinner, which he felt would be more imposing. Measurements taken from movie frames show that the movie monolith has dimensions approximately in the ratio 0.

In the book, HAL became operational on 12 January , but in the movie the year is given as The name of the Saturnian moon Iapetus is spelled Japetus in the book. This is an alternative rendering of the name, which derives from the fact that "consonantal I" often stands for "J" in the Latin language see modern spelling of Latin. In his exhaustive book on the film, The Making of Kubrick's , [17] author Jerome Agel discusses the point that Iapetus is the most common rendering of the name, according to many sources, including the Oxford English Dictionary.

He goes on to say that "Clarke, the perfectionist", spells it Japetus. Agel then cites the dictionary that defines jape as "to jest; to joke; to mock or make fun of". He then asks the reader, "Is Clarke trying to tell us something? Clarke himself directly addressed the spelling issue in chapter 19 of The Lost Worlds of , [18] explaining that he simply and unconsciously used the spelling he was familiar with from The Conquest of Space by Willy Ley and Chesley Bonestell , presuming that the "J" form is the German rendering of the Greek. The film was released in resulting in movie tie-in editions of both the and novels.

At the time Signet Books reported that over 2. From Wikipedia, the free encyclopedia. This section possibly contains original research. Please improve it by verifying the claims made and adding inline citations. Statements consisting only of original research should be removed.

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March Learn how and when to remove this template message. Retrieved 4 October Clarke, 90; scientific visionary, acclaimed writer of ' A Space Odyssey ' ". Los Angeles Times. Retrieved 23 March Locus Magazine. Ebert, Roger English Jam May Highway Chase. Oh well Either way, I'm back in my car Carelessly freefalling from nowhere Weapons, glass, blood droplets, pocket change, pedestrians Continue reading Sam Hawkins Mar Stone of St. Croix Island. In my hand the stone had kept all of its mouths sewn shut, holding its amalgamated story, and likewise in the car, on the plane, through US Customs where it was not in the least suspected.

A thumbnail identity I now should guess at, marking an old date, and fixing it to, with reasonable estimate, a map location: Plot No. The stone like a bleached out mini-monolith, square rectangular, could be stood on end; was swollen at its center like a pulled cork. What could have moved this sequestered world to opening? That was not for me to exactly discover, except what came on Christmas Day, two days after my returning. Slave watercourses, the sight of innumerable Dutch ships, ballasted with human flesh and hewn rock for sugar works buildings.

Flecks of spirit splayed on vegetation. A mongrel dog barked beyond the windless wall of sugarcane in centipede and mosquito heat. Seaside, beautiful seaside impressions; distant coral light shadows, etched deep azure; snowy colored breakers that pencil-marked the sea. The staid, vibrant, mocking power of visual symphony backdrop. So little of aid for the slaves, but for those dangerous secrets, un-housed in the fallen coolness of the night: demonstratively crystalline heaven of stars; a ragged moon, clouds scudding eastward toward Africa.

Christmas morning, 5 a. I had awakened from a stuck place, shapeless and dark, half in dreaming and half knowing I was in no dream. I was sobbing, yet strangely, because there were no tears.

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