image: Iraqi Kurds hold photos of victims of poison gas attacks in 1988. A lawyer set to defend Saddam Hussein said Iran and not the deposed Iraqi leader was to blame for massacres among the country’s Kurdish and Shiite communities.(AFP/ANP/File/Ed Oudenaarden)
Cross-posted at DailyKos, Booman Tribune, European Tribune, and My Left Wing.
image and poem below the fold
aesop revised by archy
by Don Marquis
a wolf met a spring
lamb drinking
at a stream
and said to her
you are the lamb
that muddied this stream
all last year
so that i could not get
a clean fresh drink
i am resolved that
this outrage
shall not be enacted again
this season i am going
to kill you
just a minute said the lamb
i was not born last
year so it could not
have been i
the wolf then pulled
a number of other
arguments as to why the lamb
should die
but in each case the lamb
pretty innocent that she was
easily proved
herself guiltless
well well said the wolf
enough of that argument
you are right and i am wrong
but i am going to eat
you anyhow
because i am hungry
stop exclamation point
cried a human voice
and a man came over
the slope of the ravine
vile lupine marauder
you shall not kill that
beautiful and innocent
lamb for i shall save her
exit the wolf
left upper exit
snarling
poor little lamb
continued our human hero
sweet tender little thing
it is well that i appeared
just when i did
it makes my blood boil
to think of the fright
to which you have been
subjected in another
moment i would have been
too late come home with me
and the lamb frolicked
about her new found friend
gambolling as to the sound
of a wordsworthian tabor
and leaping for joy
as if propelled by a stanza
from william blake
these vile and bloody wolves
went on our hero
in honest indignation
they must be cleared out
of the country
the meads must be made safe
for sheepocracy
and so jollying her along
with the usual human hokum
he led her to his home
and the son of a gun
did not even blush when
they passed the mint bed
gently he cut her throat
all the while inveighing
against the inhuman wolf
and tenderly he cooked her
and lovingly he sauced her
and meltingly he ate her
and piously he said a grace
thanking his gods
for their bountiful gifts to him
and after dinner
he sat with his pipe
before the fire meditating
on the brutality of wolves
and the injustice of
the universe
which allows them to harry
poor innocent lambs
and wondering if he
had not better
write to the paper
for as he said
for god s sake can t
something be done about
it
– – –
There’s much more about archy and Don Marquis here
Don Marquis (was the) creator of Archy and Mehitabel…(and) a writer for The Evening Sun in New York when, in 1916, he introduced Archy the cockroach in his daily column, The Sun Dial. For six years Archy’s prodigious output found a home in The Evening Sun (later renamed The Sun), and for four years after that in the New York Tribune. When Marquis left newspapering in 1926 he took Archy with him, to Collier’s magazine and a handful of others. In all, he wrote nearly 500 sketches featuring Archy, Mehitabel, Pete the pup, Freddy the rat, and assorted fleas, spiders, ghosts and martians. The vast majority of the sketches were written under daily deadline pressure, but the simplicity of their style and the humanness of cockroach and cat give them timeless appeal.
“expression is the need of my soul,” declares Archy, who labored as a free-verse poet in an earlier incarnation. At night, alone, he dives furiously on the keys of Don Marquis’ typewriter to describe a cockroach’s view of the world, rich with cynicism and humor. It’s difficult enough to operate the typewriter’s return bar to get a fresh line of paper; all of Archy’s dispatches are written lowercase, and without punctuation, because he is unable to hit both shift and letter keys to produce a capital letter.
“boss i am disappointed in some of your readers,” he writes, weary of having to explain the mechanics of his literary output. ” … they are always interested in technical details when the main question is whether the stuff is literature or not.”
It is.
…Those who might think there’s little substance to Archy’s lowercase commentary haven’t read enough. Archy and Mehitabel are remembered as comic characters, but often Don Marquis’ light verse was a veneer on blunt social criticism. The teens through the mid-1930s were tumultuous times, witnessing a world at war, wrenching fights for labor rights and women’s suffrage, the excesses of the ’20s, and the crushing poverty of the Depression. Marquis used his newspaper and magazine columns to comment on the events of the day, good and bad, exposing a progressive heart and an increasingly cynical soul. Archy, the vers libre bard, was an eloquent mouthpiece.
– – –
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