Tag Archives ⇒ AMC

Nostalgia comes early

November 25, 2013
· Martin Kelley

One of the most famous scenes in the AMC show Mad Men comes near the end of sea­son one. Kodak has asked the adver­tis­ing firm to cre­ate a cam­paign around a new slide pro­jec­tor that has a cir­cu­lar tray. Don Drap­er presents the Carousel and gives a nostalgia-steeped pre­sen­ta­tion that use his per­son­al pho­tographs to move both the Kodak execs and the view­ers at home, who know that these semi-focused pic­tures will soon be all that left of his dis­in­te­grat­ing family.

No falling apart fam­i­ly for me, but I find myself already feel­ing nos­tal­gic for a fam­i­ly vaca­tion to Dis­ney World that doesn’t start for anoth­er six days. I’ve recent­ly been look­ing through our Flickr archive of past trips (four for me) and real­ize that they are our Carousel. The start with my fiancee tak­ing a cyn­i­cal me on my first trip. Lat­er vis­its bring kids to the pho­to­graph­ic line­up: newly-found legs to run, the joys of messy ice cream, the scare of not-very-scary rides and the big eyes of parades all run through the sets.

In less than a week we’ll start a new set. There will be two new chil­dren in this one. “The babies” are both walk­ing and tod­dling and are at their peak of baby pho­to­genic cute­ness. The old­er two are real kids now and the eldest is start­ing to show ear­ly glimpses of teenage-hood: eye-rolling, exha­la­tion of air (“uh!”) to show dis­ap­proval of incon­ve­nient parental instructions.

Icon­ic fam­i­ly pic­tures will hap­pen. Since our last vis­it five years ago, my wife’s lost her father to can­cer and my mother’s been slip­ping into the for­get­ful­ness of Alzheimer’s. As the wheel of life turns it some­how becomes more pos­si­ble to see our­selves as part of the turn­ing Carousel. Some decades from now I can imag­ine myself going through these pic­tures sur­round­ed by indulging chil­dren and antsy grand­chil­dren, exclaim­ing “look how young every­one looks!”

Theo and Francis, Dec 2008
Theo (then 5) and Fran­cis (3) zonked out after a long day in 2008. Hard to believe they were ever this cuddly.

 

Update post-trip:

There are 104 pic­tures from this trip in our pub­lic Flickr set, with one of our four kids hold­ing hands as they walk to the pool a stand­out icon­ic shot of their child­hood together:
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“Heart of Darkness” by Joseph Conrad, 1902

July 8, 2012
· Martin Kelley

I began Con­rad’s clas­sic tale as a follow-up to last mon­th’s State of Won­der by Ann Patch­ett. Her hero­ine trav­eled to the most remote reach­es of the Ama­zon; all sto­ries that make the trip from the bland­ness of civ­i­liza­tion (Min­neso­ta in Patch­et­t’s case) owe a debt to Con­rad’s clas­sic tale of a steam­boat trip far up the Con­go River.

The book cer­tain­ly has its odd­i­ties, start­ing with the nar­ra­tive voice: we are lis­ten­ing to a sto­ry told aboard a ship on the Thames that is wait­ing for a change of tide to send it on its way out to sea. The narrator-within-the-story, Mar­lowe, tells the entire tale in flash­back, with Con­rad only occa­sion­al­ly com­ing up for air to the deck of the Thames boat (Heart of Dark­ness was writ­ten as a three-part ser­i­al; I assume these nar­ra­tive breaks are the stitch­ing between installments).

I had heard much about this book over the years so I was curi­ous to see the exact nature of the deprav­i­ties upon which the infa­mous Kurtz had indulged him­self. But two-thirds of the way through the book I real­ized we were nev­er to real­ly learn them. We know there’s a remote camp by a lake and an African tribe that regards him as some kind of demi-god, and we hear tell that he’s law­less toward oth­er Euro­peans and single-minded in his quest for ivory. But these are all bare­ly more than hint­ed glimpses.

blankThe sto­ry turns out to be not so much about Kurtz as it is about Mar­lows’ imag­in­ings as he gets deep­er into the con­ti­nent and gath­ers clues about the mys­tery man at the top of the riv­er. I found this to be a relief, as Con­rad seems almost as unin­ter­est­ed in flesh­ing out the Africans along the way. Kurtz is a bril­liant civ­i­lized man; in the jun­gle his sav­agery is unleashed and he becomes a force unto himself.

I had to deal with a being to whom I could not appeal in the name of any­thing high or low. I had, even like the n******, to invoke him – him­self his own exalt­ed and incred­i­ble degra­da­tion. There was noth­ing either above or below him, and I knew it. He had kicked him­self loose of the earth. Con­found the man! he had kicked the very earth to pieces. He was alone, and I before him did not know whether I stood on the ground or float­ed in the air.

Yes, this is a work­ing def­i­n­i­tion of a psy­chopath. If this were a mod­ern Show­time or AMC tele­vi­sion show, this would be the start of the action: the pro­duc­ers, writ­ers, and actors would leave lit­tle gore or deprav­i­ty to the imag­i­na­tion. But for Con­rad this is the moral­i­ty tale at the heart of the book. Short­ly after being found, Kurtz con­ve­nient­ly dies and our nar­ra­tor sails back down­stream, going (we are help­ful­ly told) twice the speed as before, back out to the ocean and civilization.

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