"Autobiographies of great nations are written in three manuscripts – a book of deeds, a book of words, and a book of art. Of the three, I would choose the latter as truest testimony." - Sir Kenneth Smith, Great Civilisations
"I must write each day without fail, not so much for the success of the work, as in order not to get out of my routine." - Leo Tolstoy
I have never believed that one should wait until one is inspired because I think the pleasures of not writing are so great that if you ever start indulging them you will never write again. - John Updike
"The life of every man is a diary in which he means to write one story, and writes another; and his humblest hour is when he compares the volume as it is with what he vowed to make it." - J.M. Barrie, Peter Pan
Poetry is the shadow cast by our streetlight imaginations." - Lawrence Ferlinghetti
[Note - If any article requires updating or correction please notate this in the comment section. Thank you. - res]
AI Art by R.E. Slater & OpenAI ChatGPT 4.0 R.E. Slater Publishing (TM) reprinted with permission
Eva Perón: A Tribute (4:16)
Madonna - Don't Cry For Me Argentina
Official Video | 5:30
The Legacies of
Eva Perón and Karen Carpenter
by R.E. Slater & OpenAI ChatGPT 4.0
Eva Perón remains a polarizing figure in Argentina. To her supporters, she is a symbol of the working class and a champion of women's rights. Her critics, on the other hand, view her as an opportunist who used her influence to consolidate power for herself and her husband. Even today, Eva's image continues to inspire both reverence and controversy.
The musical Evita distills these complexities into a dramatic retelling of her life, capturing the grandeur, the tragedy, and the enduring mystery of Eva Perón.
Eva Peron of Argentina
Eva Perón's life unfolded against the backdrop of intense political and social turmoil in Argentina. Born in 1919 into rural poverty, Eva Duarte’s early life was shaped by the struggles of being an illegitimate child in a society that emphasized class distinctions. These challenges forged within her an ambition that would later drive her to rise from obscurity to one of the most powerful positions in Argentina’s political landscape. When she moved to Buenos Aires at the age of 15, Eva sought fame as an actress, eventually becoming a well-known figure in Argentine radio and film.
Her life changed dramatically when she met Colonel Juan Perón in 1944. At that time, Perón was a rising political star, and the two married in 1945. Perón soon ascended to the presidency, and Eva Perón became the First Lady, a position she used to cultivate her own political power. Eva aligned herself with the working class, or descamisados ("the shirtless ones"), advocating for labor rights and championing the plight of the poor. Her immense popularity with the masses stood in stark contrast to the vitriol she received from Argentina's upper class and conservative circles. Many criticized her for using her position to enrich herself and manipulate public sentiment for political gain. These contrasting views of Eva – as a saint to the poor and a manipulator to her detractors – would define her legacy.
Despite the criticism, Eva Perón's political influence was undeniable. She spearheaded major social reforms, including the push for women’s suffrage, and established the Eva Perón Foundation to provide for the poor. However, her life was tragically cut short when she died from cervical cancer at the age of 33 in 1952. Her death cemented her status as a near-mythic figure in Argentina. To many, she was the champion of the working class, while others saw her as a polarizing figure whose motivations were more about power than altruism.
This complex legacy provided the foundation for the musical Evita, created by Andrew Lloyd Webber and Tim Rice. Premiering in 1978, the musical dramatized Eva Perón's rise to power and her impact on Argentine politics. The narrative was framed by the character of Che, a commentator who serves as a critical voice, questioning the true nature of Eva’s rise to fame and influence. Che’s role, loosely based on the revolutionary Che Guevara, provided a perspective that scrutinized Eva’s motives, adding depth to the portrayal of her character.
The musical captured key themes of ambition, power, and public image. Eva Perón’s relentless drive to elevate herself from the slums to the apex of Argentine society was a central focus, as was her ability to rally the masses behind her husband’s political vision. The show questioned whether her charity work and advocacy for the poor were genuine or whether they were tools for political manipulation. Songs like "Don’t Cry for Me Argentina" and "A New Argentina" reflected these tensions, with Eva portrayed both as a woman who cared deeply for her country and as someone who shaped her public image to suit her own ends. In the end, the musical also dealt with Eva’s mortality, highlighting her desperate desire to leave behind a lasting legacy, a theme that resonated as she faced her early death.
Singer / Songwriter Karen Carpenter
Interestingly, Karen Carpenter, though not officially connected to Evita, presents a parallel narrative that evokes similar themes. Carpenter, one-half of the immensely successful musical duo The Carpenters, became famous for her angelic, soothing voice and the wholesome image that she and her brother, Richard, projected to the world. Yet, like Eva Perón, Karen Carpenter struggled with the pressures of fame, identity, and public perception.
Much like Eva, Karen Carpenter's public image masked a private vulnerability. While Eva presented herself as a champion of the poor, concealing the complexities of her political ambitions, Karen’s sweet and serene exterior belied deep personal struggles. Karen's battle with anorexia nervosa was hidden behind the façade of her celebrity, and her own desire for perfection and approval in a world that judged her harshly contributed to her tragic early death at the age of 32.
Both women faced intense scrutiny over their physical appearance and were victims of their own public personas. Eva Perón was seen by many as a manipulative figure, while Karen Carpenter was often reduced to the image of the "perfect girl next door." The demands placed on them by society and their respective roles in the public eye weighed heavily on both women, contributing to their struggles with self-worth and physical health. Just as Eva Perón succumbed to illness at a young age, Karen Carpenter’s battle with anorexia also claimed her life far too soon.
The parallels between their stories are poignant. Both women rose to extraordinary heights of fame, adored by their audiences for different reasons—Eva for her political influence and Karen for her voice. Yet beneath their public personas, both experienced profound personal struggles that ultimately led to their tragic deaths. If Karen Carpenter had ever taken on the role of Eva Perón in Evita, her delicate and emotionally resonant voice would have added an extra layer of poignancy to the story of a woman whose public life was as complex as her private one.
Both Karen Carpenter and Eva Perón's stories speak to the immense pressures placed on women in the spotlight. Whether through political ambition or the pursuit of artistic perfection, their lives were shaped by the demands of their public roles, and their legacies continue to evoke both admiration and sorrow. In this way, Karen Carpenter’s life mirrors the themes of Evita, a story of fame, ambition, and the heavy cost that often comes with being a woman in the public eye.
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Poetic Tributes to Eva Perón
by R.E. Slater & OpenAI ChatGPT 4.0
"Santa Evita" by María Elena Walsh
María Elena Walsh was a celebrated Argentine poet and songwriter. She reflected on Eva Perón’s life with a mix of reverence and skepticism, embodying the contradictions of Eva’s legacy as both a saintly figure and a political icon. The poem Santa Evita delicately expresses the tension between adoration and disillusionment.
Excerpt from "Santa Evita":
(Translated into English)
Santa Evita,
You rose from the dust, a girl with dirt under her nails who put on a crown of diamonds and dared to kiss the hands of kings.
You said it was for us, for the people, the poor, the ones who kissed your feet in the plaza, and called your name like a prayer.
And yet, what is sainthood but illusion? A thin veil that hides the truth?
We lit candles at your shrine, and you promised salvation, but behind every vow was the shadow of your hunger.
Santa Evita, patron saint of the lost, what did you save us from?
The Plaza de Mayo still echoes your name, even as the city crumbles.
You left us with your face on the wall, and a nation full of ghosts.
This poem captures the dual nature of Eva Perón’s legacy: as both a saint-like figure to Argentina’s poor and working class and as a political manipulator to her critics. Walsh’s portrayal reflects on the tension between worship and disillusionment, asking whether Eva truly delivered the salvation she promised or if her legacy was built on illusion.
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"Eva’s Last Act" by Néstor Perlongher
Néstor Perlongher was a poet and political activist. His work often touched on the myth-making of political figures, and Eva Perón was no exception. In this poem, he reflects on the bittersweet tragedy of Eva’s death and her transformation into a political myth.
Excerpt from "Eva’s Last Act":
(Translated into English)
Eva’s Last Act
She died under the weight of her own myth, wrapped in silk and perfume, while the streets outside her window cried for bread.
Her face turned to marble, a statue frozen in the plaza, while the people chanted her name as if she could still hear them.
What happens to a saint when she is no longer needed? What happens to a dream when it outgrows the dreamer?
She gave her body to the people, but in the end, it was the myth that remained— a myth too large for any mortal to bear.
And now she rests, neither living nor dead, but caught in the silence between truth and legend.
This poem meditates on Eva Perón’s transformation into a political symbol after her death. Perlongher reflects on the way she became larger than life, a myth that outlasted her humanity. The poem speaks to the bittersweet nature of being immortalized as an idea while the person behind the myth fades into obscurity.
The poems below capture the tragic beauty of both Eva Perón’s and Karen Carpenter’s legacies - how they gave so much of themselves to the world, yet ultimately suffered under the weight of the myth and expectations others placed upon them. The poems reflect the complex nature of their lives, filled with both public adoration and private pain.
Carpenters - A Song For You (3:03)
"A Song for You" by Gregory Orr
Gregory Orr, known for his deeply personal and emotional poetry, could have written a piece like this to reflect on the bittersweet beauty of Karen Carpenter’s voice and her tragic end. The title is borrowed from one of Karen’s most famous songs, where her haunting vocals seem to foreshadow the pain she carried.
Excerpt from "A Song for You":
(Imagined)
A Song for You
Your voice, like honey on a wound, soothed us through the radio even as your own heart was breaking.
We listened to you sing of love, but behind every note was the echo of loneliness, the shadow of something missing.
You sang for the world, but who sang for you?
The stage lights dimmed, and the applause faded, but the hunger inside you could not be fed.
We wanted more, always more, and you gave us everything, until there was nothing left.
Now, we hear your voice like a ghost in the radio, a song that plays on repeat, but the singer is gone.
What do we do with the silence?
*This imagined poem reflects on Karen Carpenter’s unique ability to move others through her music while her own internal struggles went unheard. It captures the tragedy of her giving everything to her art, only to be left with nothing in the end.
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"The Empty Stage" by Louise Glück
In a style reminiscent of Louise Glück’s spare, emotionally resonant poetry, this poem contemplates the void Karen Carpenter left behind in the world of music. The metaphor of the empty stage is used to symbolize both her absence and the space she once filled with her voice.
Excerpt from "The Empty Stage":
(Imagined)
The Empty Stage
The stage is empty now, the lights are off, and no one sings your songs.
We hear you in our memory, your voice lingering like perfume on a stage that no longer exists.
You gave us everything, every note, every breath, until the music drained you dry.
And now we stand, in the silence of your absence, wondering how we could have missed the sadness behind your smile.
The world wanted a perfect song, and you were the one to sing it, but perfection is a weight no heart can carry.
Now the stage is empty, but your song remains— an echo that will never fade.
*This imagined poem captures the emotional void left by Karen Carpenter's passing, while reflecting on the expectations placed on her and the toll it took. The "empty stage" is both a literal and metaphorical symbol of her absence from the world, even as her music lingers.
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Poetic Tributes to the People of Argentina
by R.E. Slater & OpenAI ChatGPT 4.0
AI Art by R.E. Slater & OpenAI ChatGPT 4.0 R.E. Slater Publishing (TM) reprinted with permission
Argentina has a rich history of both political turmoil and powerful literary expressions. The country's struggles with democracy, military dictatorships, and social inequality have inspired numerous poets to explore themes of loss, resilience, and the complexities of national identity. One particularly poignant poem that resonates with the bittersweet nature of Argentina's failed democracies is "Oblivion" ("El Olvido") by Argentine poet Juan Gelman. Gelman’s work often reflects the painful legacy of Argentina’s "Dirty War" (1976–1983), a period of military dictatorship, repression, and disappearances.
"El Olvido" (Oblivion) by Juan Gelman
Here’s an excerpt (translated into English):
Oblivion
Forgotten are the fields, the cows, the faces of the disappeared and the little children torn from their mothers. Forgotten is the blood spilled on the streets that claimed to be free.
The country that loved me is now a pale ghost, a shadow that roams the lands of exile.
And in that oblivion, memory lives on, in whispers and dreams, in the tears that still fall silently.
Who will remember us? Who will grieve for our disappeared names etched on the walls of democracy’s failed attempt?
We live on, though the wind of forgetting blows, we live on.
Gelman’s poems are steeped in the trauma and aftermath of Argentina’s struggle with democracy and dictatorship. His themes of loss, remembrance, and the persistence of hope through grief align closely with our discussion of Karen Carpenter and the bittersweet reflections of democracy’s challenges.
Gelman himself was directly impacted by Argentina’s military regime, as his son and daughter-in-law were among the disappeared during the Dirty War. His work carries deep personal and national mourning but also reflects the resilience of memory—how it sustains even in times of great repression.
AI Art by R.E. Slater & OpenAI ChatGPT 4.0 R.E. Slater Publishing (TM) reprinted with permission
Here are two more poignant poems from Argentine poets whose work subtly expresses the pain and pathos of political turmoil, repression, and failed democracies:
"The Foreign Nation" ("La Nación Extraña") byAlejandra Pizarnik
Alejandra Pizarnik was an influential Argentine poet known for her exploration of themes such as exile, loss, and identity. Her work often carried a haunting sense of displacement and sorrow, which fits the emotional complexity of Argentina’s troubled history with democracy.
Excerpt from "La Nación Extraña" (The Foreign Nation):
(Translated into English)
The Foreign Nation
I am no longer of this land, the streets have turned their backs, the people speak in tongues I cannot hear.
My country was taken from me in the silence of midnight decrees, and now I am foreign in my own home.
The voices of those who fell, their names lost to the wind, they haunt the doorways, they mourn the broken flag.
Here, the walls cry tears of the forgotten, here, the streets whisper betrayal.
Who could have known the day democracy died? Who could have felt its breath stop in the night?
Now, I wander through the foreign nation of what once was mine.
Pizarnik’s haunting imagery of being a “foreigner” in her own country reflects the emotional and psychological dislocation felt during Argentina’s years of dictatorship. The poem subtly conveys how repression and political betrayal can create a profound sense of alienation in one's homeland.
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"Elegy for the Dead of the Plaza" ("Elegía para los Muertos de la Plaza") by Roberto Juarroz
Roberto Juarroz, another prominent Argentine poet, wrote in a deeply philosophical and reflective style. His work often dwells on existential questions, and in this poem, he addresses the pain of political violence, particularly that which occurred during mass protests and repression.
Excerpt from "Elegía para los Muertos de la Plaza" (Elegy for the Dead of the Plaza):
(Translated into English)
Elegy for the Dead of the Plaza
They fell where they stood, their shadows absorbed by the stone, while the plaza’s heart kept beating, even as their hearts stopped.
Their names never written in history, but the sky remembers them. Their voices never heard again, but the wind still speaks their pain.
They gave their breath for the impossible dream— a dream of a nation with open arms, where the square belongs to the people and the people belong to hope.
Yet here we stand, with blood on our hands, and the silence of their absence echoing louder than any anthem.
How does one bury an idea? How does one mourn for freedom?
The plaza remembers, and we live in its shadow.
This poem is a subtle but powerful elegy for those who died during political violence, particularly during Argentina’s repression of protests. Juarroz reflects on the paradox of mourning not just for people, but for lost ideals and broken promises of democracy.
Both of these poems delicately balance the pain of individual loss with the collective mourning of a nation in turmoil. They don’t explicitly reference failed democracies but use the personal pain of repression and the imagery of absence and loss to evoke a profound sense of pathos. These poets capture the emotional weight of Argentina’s political history in ways that mirror the bittersweet themes we’ve been exploring.
* * * * * *
Earlier notes from which the
above essays were constructed
by R.E. Slater & OpenAI ChatGPT 4.0
Karen Carpenternever officially sang in the musical Evita, but imagining her voice in connection to Evita offers an interesting exploration of the parallels between her life and the themes of the musical.
Themes of Fame and Public Perception:
Evita tells the story of Eva Perón, a woman who rose from humble beginnings to become a national icon in Argentina. Much of the musical deals with Eva's public image, her desire for love and approval, and the way fame shaped her life. Similarly, Karen Carpenter dealt with immense public attention as part of The Carpenters. She was often in the spotlight, celebrated for her angelic voice, but also subject to intense scrutiny over her personal life and appearance.
Struggles with Identity and Vulnerability:
Both Eva Perón and Karen Carpenter struggled with how they were perceived versus who they really were. Eva presented herself as a champion of the poor, but the question of her genuine motivations is central to Evita. Karen Carpenter, too, had a complex relationship with her image. She was often seen as the sweet, wholesome face of The Carpenters, but underneath, she faced deep personal struggles, especially with her eating disorder and self-worth.
Physical Struggles:
Eva Perón battled with her health, ultimately dying young from cancer. This mirrors Karen Carpenter's battle with anorexia nervosa, a struggle that led to her untimely death at just 32. Both women had enormous public personas, but their physical frailty was a key element of their personal stories.
Legacy and Enduring Influence:
The musical Evita portrays Eva Perón's desire for a lasting legacy, which she ultimately achieves. Karen Carpenter, through her music, has left an enduring legacy, with her voice continuing to resonate with audiences long after her death.
If Karen Carpenter had performed in Evita, her deeply emotional and vulnerable singing style would likely have brought an extra layer of poignancy to the story of Eva Perón, particularly in songs like "Don't Cry for Me Argentina," which deals with themes of public adoration and personal loss.
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Eva Peron's life was reimagined in the musical Evita, who became a highly influential and controversial figure in Argentine history. Here's an overview of the background behind both the musical and Eva Perón's life:
Eva Perón's Life (1919–1952)
Eva Perón, born María Eva Duarte, grew up in rural poverty in the town of Los Toldos, Argentina. She was one of five children, and her family was of illegitimate status, which made her early life difficult in Argentina’s class-conscious society.
At the age of 15, Eva moved to Buenos Aires to pursue a career in acting, becoming a radio and film actress. There, she met Colonel Juan Perón in 1944, who was an influential political figure at the time. They married in 1945, and Juan Perón soon became President of Argentina, with Eva by his side as the First Lady from 1946 until her death in 1952.
During her time as First Lady, Eva Perón became a powerful political figure in her own right. She championed the rights of the poor and working class, advocating for labor rights and women's suffrage. She was particularly beloved by the descamisados ("the shirtless ones"), the working-class masses of Argentina.
However, her life was not without controversy. Critics accused her of using her position for personal gain and of being too authoritarian. She was also heavily involved in charity work and founded the Eva Perón Foundation, which supported various social causes. However, her critics pointed out that her charitable work was politically motivated, and some even questioned how the funds were managed.
Eva Perón died at the young age of 33 from cervical cancer, but by that time, she had become a mythic figure in Argentina. Her supporters viewed her as a saint-like figure who embodied the spirit of the working class, while her detractors saw her as a manipulative opportunist.
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The Musical "Evita" (1976) is a musical by Andrew Lloyd Webber and Tim Rice, first staged in London in 1978. The idea for the musical originated when Tim Rice became fascinated with Eva Perón’s life after hearing a radio program about her. Webber and Rice, who had previously collaborated on Jesus Christ Superstar, created a concept album in 1976 before it became a fully staged production.
The musical follows Eva Perón's rise from her humble beginnings to becoming the wife of Argentine President Juan Perón and a beloved figure to the working-class masses. The narrative is presented through the eyes of the character "Che," a commentator (loosely based on revolutionary figure Che Guevara, though the two never met in real life). Che provides a critical lens on Eva’s life, often questioning her motives and actions.
Key Themes in Evita
Ambition and Power: The musical highlights Eva's intense ambition to rise above her circumstances and become a figure of immense political power. Her journey from rural poverty to the pinnacle of Argentine society is central to the narrative.
Class Struggles: Eva’s devotion to the working class and her advocacy for the poor are a major focus. Songs like "A New Argentina" highlight her role in rallying the masses behind her husband's political agenda.
Public Image vs. Reality: The musical frequently questions the authenticity of Eva's altruism. Was she a genuine advocate for the people, or did she manipulate her image for political gain? The song "Don't Cry for Me Argentina" explores this tension as she addresses the nation after her rise to power.
Mortality and Legacy: Eva's untimely death from cancer adds a tragic element to the story. Her desire for immortality, in terms of her legacy, is a recurring theme, with the musical questioning whether her fame and influence were built on solid ground or an illusion.
Famous Songs
Some of the most iconic songs from Evita include:
"Don't Cry for Me Argentina": Eva's emotional plea to the public, where she insists that everything she has done was for the people of Argentina.
"Buenos Aires": A song that reflects Eva's excitement and ambition as she arrives in the city, dreaming of success.
"A New Argentina": A powerful anthem in which Eva and Juan Perón rally the working class behind their vision for a new Argentina.
"High Flying, Adored": Sung by Che, this song questions Eva's rapid rise to fame and whether she is deserving of her saintly image.
Eva Perón's Legacy
Eva Perón remains a polarizing figure in Argentina. To her supporters, she is a symbol of the working class and a champion of women's rights. Her critics, on the other hand, view her as an opportunist who used her influence to consolidate power for herself and her husband. Even today, Eva's image continues to inspire both reverence and controversy.
The musical Evita distills these complexities into a dramatic retelling of her life, capturing the grandeur, the tragedy, and the enduring mystery of Eva Perón.
Upon seeing Leonardo da Vinci's "Last Supper", Milan 1904,
the unnamed poet wrote the following verses:
They are assembled, astonished and disturbed round him, who like a sage resolved his fate, and now leaves those to whom he most belonged, leaving and passing by them like a stranger. The loneliness of old comes over him which helped mature him for his deepest acts; now will he once again walk through the olive grove, and those who love him still will flee before his sight.
To this last supper he has summoned them, and (like a shot that scatters birds from trees) their hands draw back from reaching for the loaves upon his word: they fly across to him; they flutter, frightened, round the supper table searching for an escape. But he is present everywhere like an all-pervading twilight-hour.
Here they are gathered, wondering and deranged, Round Him, who wisely doth Himself inclose, And who now takes Himself away, estranged, From those who owned Him once, and past them flows. He feels the ancient loneliness to-day That taught Him all His deepest acts of love; Now in the olive groves He soon will rove, And these who love Him all will flee away.
To the last supper table He hath led. As birds are frightened from a garden-bed By shots, so He their hands forth from the bread Doth frighten by His word: to Him they flee; Then flutter round the table in their fright And seek a passage from the hall. But He Is everywhere, like dusk at fall of night.
- by Rainer Maria Rilke
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Analysis (ai)
This poem explores themes of abandonment and loneliness through the lens of Jesus's Last Supper. It captures the disciples' confusion and fear as Jesus prepares to depart, highlighting their sense of isolation and impending loss. The poem's imagery of a "shot" and "birds" conveys the sudden and disruptive nature of Jesus's words, while the twilight-like atmosphere suggests an all-encompassing sense of mystery and foreboding. In comparison to Rilke's other works, this poem exhibits a similar preoccupation with the human condition and the transformative power of art. It also reflects the modernist sensibility of the early 20th century, characterized by fragmentation, ambiguity, and a fascination with the inner workings of the mind.
Rilke’s haunting images focus on the difficulty of communion with the ineffable in an age of disbelief, solitude, and profound anxiety: themes that tend to position him as a transitional figure between the traditional and the modernist poets. He wrote this poem after seeing Leonardi Da Vinci’s ‘Last Supper’ in Milan in 1904, and this translation of the poem is by Albert Ernest Fleming.
René Karl Wilhelm Johann Josef Maria Rilke (1875-1926), better known as Rainer Maria Rilke, was a Bohemian-Austrian poet, and is considered one of the most significant poets in the German language.
He was born in Prague on 4 December 1875 in Prague, which was then the capital of Bohemia, which was part of the Austro-Hungarian Empire.
He wrote in both verse and a highly lyrical prose. He is probably best-known to English-language readers for his Duino Elegies. TS Eliot says, reading Rilke’s ‘Duino Elegies,’ it is not important that we agree with the muddle of his life-philosophy – but only see into the poetic rhetoric he exhorts and exults in.
Rilke’s two most famous prose works are the Letters to a Young Poet and the semi-autobiographical Notebooks of Malte Laurids Brigge
He also wrote more than 400 poems in French, dedicated to his homeland of choice, the Swiss canton of Valais, although he called two places his home – Bohemia and Russia. He died on 29 December 1926 in Montreaux, Switzerland.
Rainer Maria Rilke is considered one of the most lyrically intense German-language poets. His work spans the late 19th and early 20th centuries, bridging the gap between the traditional Romantic era and the rising tide of Modernism. Rilke’s enduring appeal stems from his ability to capture the complexities of human emotion and the search for meaning in an increasingly uncertain world.
His poetry is characterized by a profound sensitivity to the subtle nuances of language. He explored themes of love, loss, faith, and the nature of existence, often through the use of evocative imagery and symbolism. Rilke's exploration of inwardness, his focus on subjective experience, and his experimentation with form and language, prefigured many aspects of Modernist poetry.
His influence can be seen in the works of other poets who grappled with existential questions and sought new modes of expression, including T.S. Eliot, W.B. Yeats, and Marina Ivanova Tsvetaeva. Rilke’s legacy continues to inspire readers and writers today, inviting them to confront the fundamental questions of existence and to find solace and beauty in the face of uncertainty.
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For further reading on the DaVinci's Last Supper go here -
Pieces of torn bread on the tablecloth. Plates empty in front of them as if they have just removed the halos they will wear in a few years. Jesus holds out his arms like he is scolding them for such a mess. They look startled, like they are seeing it for the first time: it couldn’t be their fault.
Leonardo claimed this is the moment of Christ’s announcement of betrayal, and of course it is not clear who Judas is. But what I notice is the wine—or seeming lack of it. No goblets. No chalice. The grail no bigger than a shot glass.
Yet somehow that makes sense. That makes sense. A bartender measures as reminder of the power that he serves. We sip liqueurs between our fingertips. It takes so little to be satisfied. It takes so little to linger in camaraderie. Only a heartbeat of belief is necessary. By small increments we learn to taste.
*Jack Stewart attended the University of Alabama and Emory University, where he received his doctorate, and was a Brittain Fellow at the Georgia Institute of Technology. His work has appeared in Poetry, Dark Horse Review, Gettysburg Review, Southern Humanities Review, and other journals and anthologies. He currently lives in Montgomery, Alabama, with his wife and two daughters, and teaches at the Montgomery Academy.
COMMENTARY
This poem is a meditation on Leonardo da Vinci’s famous painting, “The Last Supper.” But the meditation moves in an unexpected direction. The first stanza stays with the painting, though with a comical interpretation of “torn bread” scattered on the tablecloth. In stanza two, the poet moves to the wine—“or seeming / lack of it.” In the painting, no chalice is visible—nothing “bigger than a shot glass.” It’s from this image of a shot glass that the poem’s speaker takes off in stanza three. He seems to be pondering its meaning, as he twice says “that makes sense.” What makes sense now to the speaker is that a single shot of liquor suffices: it reveals “the power” that a bartender serves (as Jesus serves God?); it is sufficient for lingering camaraderie. From here, the speaker reflects on other smallnesses that are sufficient in life: “Only a heartbeat /of belief is necessary.” And “by small increments we learn to taste.” To taste what? The poem doesn’t say, but in the context of the de Vinci painting, I recall a song that we often sing during Communion in my Catholic parish: “Taste and See the Goodness of the Lord.”
- Peggy Rosenthal
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For further reading on the DaVinci's Last Supper go here -
Wikipedia - Lydia Huntley Sigourney (September 1, 1791 – June 10, 1865), née Lydia Howard Huntley, was an American poet, author, and publisher during the early and mid 19th century. She was commonly known as the "Sweet Singer of Hartford." She had a long career as a literary expert, publishing 52 books and in over 300 periodicals in her lifetime. While some of her works were signed anonymously, most of her works were published with just her married name Mrs. Sigourney. During the lyceum movement that flourished in the United States in the 19th century, women named literary societies and study clubs in her honor.
Blend with ineffable benignity, And deep, unuttered majesty divine.
Whose is that eye which seems to read the heart, And yet to have shed the tear of mortal woe?— Redeemer, is it thine?—And is this feast, Thy last on earth?—Why do the chosen few, Admitted to thy parting banquet, stand As men transfixed with horror?—
Ah! I hear The appalling answer, from those lips divine, "One of you shall betray me."—
One of these?— Who by thy hand was nurtured, heard thy prayers, Received thy teachings, as the thirsty plant Turns to the rain of summer?—One of these!— Therefore, with deep and deadly paleness droops The loved disciple, as if life's warm spring Chilled to the ice of death, at such strange shock Of unimagined guilt.—See, his whole soul Concentered in his eye, the man who walked The waves with Jesus, all impetuous prompts The horror-struck inquiry,—"Is it I?
Lord!—Is it I?" while earnest pressing near, His brother's lip, in ardent echo seems Doubting the fearful thought.—With brow upraised, Andrew absolves his soul of charge so foul, And springing eager from the table's foot, Bartholomew bends forward, full of hope, That by his ear, the Master's awful words Had been misconstrued.—To the side of Christ, James in the warmth of cherished friendship clings, Yet trembles as the traitor's image steals Into his throbbing heart:—while he, whose hand In sceptic doubt was soon to probe the wounds Of Him he loved, points upward to invoke The avenging God.—Philip, with startled gaze, Stands in his crystal singleness of soul, Attesting innocence, while Matthew's voice Repeating fervently the Master's words Rouses to agony the listening group, Who, half incredulous with terror, seem To shudder at his accents.
All the twelve With strong emotion strive, save one false breast By Mammon seared, which brooding o'er its gain, Weighs thirty pieces with the Saviour's blood. Son of perdition!—dost thou freely breathe In such pure atmosphere?—And canst thou hide, 'Neath the cold calmness of that settled brow, The burden of a deed whose very name Thus strikes thy brethren pale?—
But can it be That the strange power of this soul-harrowing scene Is the slight pencil's witchery?—I would speak Of him who pour'd such bold conception forth O'er the dead canvas.—But I dare not muse, Now, of a mortal's praise.—Subdued I stand
In thy sole, sorrowing presence, Son of God!— I feel the breathing of those holy men, From whom thy gospel, as on angel's wing Went out, through all the earth.—I see how deep Sin in the soul may lurk, and fain would kneel Low at thy blessed feet, and trembling ask— "Lord!—is it I?"
For who may tell, what dregs Do slumber in his breast.—Thou, who didst taste Of man's infirmities, yet bar his sins From thine unspotted soul, forsake us not, In our temptations, but so guide our feet, That our Last Supper in this world may lead To that immortal banquet by thy side, Where there is no betrayer.
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For further reading on the DaVinci's Last Supper go here -
Mar 12, 2016 - In her Broadway concert show in 1995, Patti finally got the chance to sing "Meadowlark" on Broadway. Stephen Schwartz's song is from "The Baker's Wife," which closed out of town in '76. Patti's first words refer to the Kennedy Center in D.C. Patti LuPone is a Tony Award-winning actress and original singer of this song.
LYRICS
when i was a girl l i had a favorite story of the meadowlark who lived where the rivers wind her voice could match the angels' in its glory but she was blind, the lark was blind an old king came and took her to his palace where the walls were burnished bronze and golden braid and he fed her fruit and nuts from an ivory chalice and he prayed: "sing for me, my meadowlark, sing for me of the silver morning, set me free, my meadowlark, and i'll buy you a priceless jewel and cloth of brocade and crewel and i'll love you for life, if you will sing for me." then one day as the lark sang by the water the god of the sun heard her in his flight and her singing moved him so he came and brought her the gift of sight he gave her sight and she opened her eyes to the shimmer and the splendor of this beautiful, young god, so proud and strong and he called to the lark in a voice both rough and tender "come along. fly with me, my meadowlark, fly with me on the silver morning, past the sea where the dolphins bark we will dance on the coral beaches, make a feast of the plums and peaches just as far as your vision reaches fly with me." but the meadowlark said no for the old king loved her so she couldn't bear to wound his pride so the sun god flew away and when the king came down that day he found his meadowlark had died every time i heard that part i cried ... and now i stand here starry-eyed and stormy oh, just when i thought my heart was finally numb a beautiful, young man appears before me, singing "come, oh, won't you come?" and what can i do if finally for the first time the one i'm burning for returns the glow? if love has come at last it's picked the worst time still i know i've got to go fly away, meadowlark fly away in the silver morning, if i stay, i'll grow to curse the dark so it's off where the days won't bind me i know i leave wounds behind me but i won't let tomorrow find me back this way before my past once again can blind me fly away ... and we won't wait to say good-bye my beautiful young man and i.
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Source: Musixmatch Songwriters: Neil Sedaka / Howard Greenfield
In the musical, it is sung by the character Geneviève, trying to decide whether she should stay with her husband or run off with a younger man. She likens her situation to the fairy tale about a meadowlark who lived with a king who adored her. One day, the sun god approached the meadowlark and urged her to come with him. The meadowlark refused and perished. At the end of the song, Geneviève decides to leave with the younger man.
LuPone was part of the first graduating class of Juilliard's Drama Division (1968–1972: Group 1),[9] which also included actors Kevin Kline and David Ogden Stiers.[10] She graduated from Juilliard in 1972 with a Bachelor of Fine Arts degree.[11] LuPone has a mezzo-soprano vocal range,[12][13][14] and she is known for her strong/high "Broadway" belt singing voice. In a 2008 interview, she maintained that she was "an actor who sings", and thankful she "had a voice".[15]
In 1976, theater producer David Merrick hired LuPone as a replacement to play Genevieve, the title role of the troubled pre-Broadway production of The Baker's Wife. The production toured at length but Merrick deemed it unworthy of Broadway and it closed out of town.[21]
Since 1977, LuPone has frequently collaborated with David Mamet, appearing in his plays The Woods, All Men Are Whores, The Blue Hour, The Water Engine (1978),[22]Edmond, The Old Neighborhood (1997),[23] and The Anarchist (2012). The New York Times reviewer wrote of LuPone in The Old Neighborhood, "Those who know Ms. LuPone only as a musical comedy star will be stunned by the naturalistic fire she delivers here. As Jolly, a part inspired by Mr. Mamet's real-life sister and his realized female character, Ms. LuPone finds conflicting layers of past and present selves in practically every line. She emerges as both loving matriarch and wounded adolescent, sentimental and devastatingly clear-eyed."[24] In 1978, she appeared in the Broadway musical adaptation of Studs Terkel's Working, which ran for only 24 performances.[25]
In 1979, LuPone starred in the original Broadway production of Evita, the musical based on the life of Eva Perón, composed by Andrew Lloyd Webber and Tim Rice, and directed by Harold Prince.[26] Although LuPone was hailed by critics, she has since said that her time in Evita was not an enjoyable one. In a 2007 interview, she stated "Evita was the worst experience of my life," she said. "I was screaming my way through a part that could only have been written by a man who hates women. And I had no support from the producers, who wanted a star performance onstage but treated me as an unknown backstage. It was like Beirut, and I fought like a banshee."[27] Despite the trouble, LuPone won her first Tony Award for Best Actress in a Musical.[28] It was not until she had reprised the role in a production in Sydney when she had finally enjoyed the part and felt comfortable singing the score.[29] LuPone and her co-star, Mandy Patinkin, remained close friends both on and off the stage.
1980s
In May 1983, founding alumni of The Acting Company reunited for an off-Broadway revival of Marc Blitzstein's landmark labor musical The Cradle Will Rock at the American Place Theater. It was narrated by John Houseman with LuPone in the roles of Moll and Sister Mister.[30] The production premiered at The Acting Company's summer residence at Chautauqua Institution, toured the United States including an engagement at the Highland Park, Illinois' Ravinia Festival in 1984 and played in London's West End.
When the run ended, LuPone remained in London to create the role of Fantine in Cameron Mackintosh's original London production of Les Misérables, in 1985, which premiered at the Barbican Theatre, at that time the London home of the Royal Shakespeare Company.[31] LuPone had previously worked for Mackintosh in a short-lived Broadway revival of Oliver! in 1984, playing Nancy opposite Ron Moody as Fagin.[32] For her work in both The Cradle Will Rock and Les Misérables, LuPone received the 1985 Olivier Award for Best Actress in a Musical.[33][34]
She returned to Broadway in 1987 to star as nightclub singer Reno Sweeney in the Lincoln Center Theater revival of Cole Porter's Anything Goes. She starred opposite Howard McGillin, and they both received Tony nominations for their performances.[35][36] The Lincoln Center cast reassembled for a one-night-only concert performance of Anything Goes in New York in 2002.[37]
1990s
In 1993, LuPone returned to London to create the role of Norma Desmond in the original production of Andrew Lloyd Webber's Sunset Boulevard at the Adelphi Theater. There was much anticipation of LuPone appearing in another Lloyd Webber musical, the first since her performance in Evita. Her time in the show was difficult, and she was abruptly fired by Lloyd Webber and replaced by Glenn Close, who opened the show in Los Angeles and eventually on Broadway.[38][39]
In November 1995, LuPone starred in her one-woman show, Patti LuPone on Broadway, at the Walter Kerr Theatre.[40] For her work, she received an Outer Critics Circle Award. The following year, she was selected by producer Robert Whitehead to succeed his wife, Zoe Caldwell in the Broadway production of Terrence McNally's play Master Class, based on the master classes given by operatic diva Maria Callas at Juilliard.[38] LuPone received positive reviews, with Vincent Canby writing "Ms. LuPone really is vulnerable here in a way that wasn't anticipated: she's in the process of creating a role for which she isn't ideally suited, but she's working like a trouper to get it right."[41] She appeared in the play in the West End. In November 2001, she starred in a Broadway revival of Noises Off, with Peter Gallagher and Faith Prince.[42]
She returned to Broadway in October 2005 to star as Mrs. Lovett in John Doyle's new Broadway production of Sweeney Todd. In this radically different interpretation of the musical, the ten actors on stage also served as the show's orchestra, and LuPone played the tuba and orchestra bells as well as performing the score vocally.[44] For her performance, she received a Tony Award nomination as well as Golden Icon Award for Best Female Musical Theater Performance.[45] In August 2006, LuPone took a three-week leave from Sweeney in order to play Rose in Lonny Price's production of Gypsy at Ravinia.[43]Sweeney Todd closed in September 2006.
Following the Ravinia Festival production of Gypsy, LuPone and author Arthur Laurents mended a decade-long rift, and she was cast in the City Center Encores! Summer Stars production of the show. Laurents directed LuPone in Gypsy for a 22-performance run (July 9, 2007 – July 29, 2007) at City Center.[48] This production of Gypsy then transferred to Broadway, opening March 27, 2008 at the St. James Theatre.[49] LuPone won the Outer Critics Circle Award, Drama League Award, Drama Desk Award and Tony Award for her performance in Gypsy.[50][51] It closed on January 11, 2009.
2010s
In August 2010, LuPone appeared in a three-day run of Irving Berlin's Annie Get Your Gun where she played the title role opposite Patrick Cassidy at the Ravinia Festival, directed by Lonny Price.[52] That same year, LuPone created the role of Lucia in the original Broadway production of Women on the Verge of a Nervous Breakdown, which opened at the Belasco Theater on November 4, 2010, and closed on January 2, 2011, after 23 preview and 69 regular performances. LuPone was nominated for a Tony and Drama Desk, and an Outer Critics Circle Award for her performance.
LuPone's memoir recounting her life and career from childhood onwards, was published in September 2010 titled Patti LuPone: A Memoir.[53][54]
In 2011, LuPone played the role of Joanne in a four-night limited engagement concert production of Stephen Sondheim's musical Company at the New York Philharmonic, conducted by Paul Gemignani. The production starred Neil Patrick Harris as Bobby. Harris had previously worked with LuPone in the 2000 and 2001 concert productions of Sweeney Todd. The cast of Company performed the song "Side by Side by Side" at the 65th Tony Awards on June 12, 2011.
LuPone concluded a 63-performance Broadway engagement of her concert with former Evita co-star Mandy Patinkin entitled An Evening with Patti LuPone and Mandy Patinkin. The run started on November 21, 2011, at the Ethel Barrymore Theater and ended on January 13, 2012.[56]
In the fall of 2012, LuPone appeared with Debra Winger in the premiere of David Mamet's play The Anarchist. Despite the play receiving less than stellar reviews from critics, LuPone received widespread praise for her role as Cathy.
In June 2015, LuPone appeared in the Douglas Carter Beane play Shows for Days at Lincoln Center Theater.[61] In October 2015, LuPone, along with the current Fantine on the West End, joined her castmates to celebrate the 30th anniversary of Les Misérables.[62]
In 2017, LuPone originated the role of Helena Rubinstein in the musical War Paint on Broadway, after performing the role in the summer of 2016 in the musical's world premiere at Chicago's Goodman Theatre.[63] Performing opposite Christine Ebersole as Rubinstein's longtime competitor Elizabeth Arden, LuPone stayed with the role for War Paint's entire run at the Nederlander Theatre, from March 7 to November 5, 2017.[64] The show closed prematurely to allow LuPone to undergo hip surgery.[65] LuPone disclosed in an interview that War Paint would be her last musical on stage: "I'm too old. It's been hard—it's been harder than it's ever been. I can't do it anymore."[66]
A transfer of the successful West End production of Company was set to open at the Bernard B. Jacobs Theatre on March 22, 2020, coinciding with Stephen Sondheim's 90th birthday, but was postponed due to the COVID-19 pandemic.[69] The production returned, featuring LuPone starring opposite Katrina Lenk, with previews starting on November 15, 2021, before officially opening December 9, 2021.[70] LuPone won her third Tony Award for the role.
LuPone performs regularly in her solo shows Matters of the Heart; Coulda, Woulda, Shoulda; and The Lady With the Torch[73] which sold out at Carnegie Hall. For example, she performed her one-woman show The Gypsy In My Soul at the Caramoor Fall Festival, New York, in September 2010.[74]
She also appears at venues across North America in concerts with Mandy Patinkin, at such venues as the Mayo Center for the Performing Arts in September 2010.[75][76]
She appeared as the inaugural act at a new cabaret space, 54 Below, in New York City in June 2012. According to The New York Times reviewer, "Nowadays Ms. LuPone generates more raw excitement than any other performer on the Broadway and cabaret axis, with the possible exception of Liza Minnelli.... And her brilliant show, conceived and directed by her long-time collaborator, Scott Wittman, deserves many lives, perhaps even a Broadway run in an expanded edition. It certifies Ms. LuPone's place in the lineage of quirky international chanteuses like Lotte Lenya, Marlene Dietrich and Edith Piaf, who, like Ms. LuPone, conquered show business with forceful, outsize personalities while playing by their own musical rules."[77]
She also appeared as the inaugural act at the Sharon L. Morse Entertainment Center in The Villages, Florida on April 30, 2015, to a sold-out audience of residents mainly 55 years-of-age and older.[78]
LuPone's TV work also included a recurring role on her cousin Tom Fontana's HBO series in its final season, Oz (2003).[86] She appeared as herself on a February 2005 episode of Will & Grace.[87] She also appeared on the series Ugly Betty in March 2007 as the mother of Marc St. James (played by Michael Urie).[88] LuPone had a recurring guest role as Frank Rossitano's mother on 30 Rock. LuPone appeared as herself in the season two finale of the television series Glee.[89]
In 2013, LuPone was cast in the third season of the FX series American Horror Story as Joan Ramsey, a religious mother with a hidden past,[93] and played herself in the third season of HBO's Girls. In 2015, she appeared in several episodes of the Showtime horror series Penny Dreadful as a cantankerous yet powerful white witch. She returned to the show in 2016 in the role of Dr. Seward, an alienist aiding Eva Green's character. Seward is an adaptation of John Seward from Bram Stoker's Dracula, and claims to be a descendant of Joan Clayton, the character LuPone portrayed in the second season. Also in 2016, she began appearing in Steven Universe as the voice of Yellow Diamond, reprising the role in the movie and the epilogue series Steven Universe Future.[94] In 2019, LuPone played an antagonistic role in Pose, appearing in second season of the series. The following year she teamed up with social media star Randy Rainbow to perform a duet song criticizing Donald Trump three weeks before the 2020 US election.
LuPone has expressed concern about the conduct and etiquette of some theatergoers. "Where's the elegance?" she asked in a blog post on her official site. "I mean, I'm glad they show up because God knows it's a dying art form and I guess I'm glad they're all comfortable, sleeping, eating and drinking, things they should be doing at home and in a restaurant. But it's just not done in the theater or shouldn't be."[100] LuPone has been the subject of some controversy due to the bluntness of her statements on the matter, which on some occasions have risen to her directly admonishing audience members for their behavior during performances.
2009 incident
At the penultimate performance of Gypsy on January 10, 2009, LuPone, irritated by an attendee taking flash photography in apparent violation of theater policy, stopped in the middle of "Rose's Turn" and demanded that the miscreant be removed from the theater. After he was removed, LuPone restarted her number. The audience applauded her stance.[101][102] The event was recorded by another audience member, who released it on YouTube.[103] She later stated that such distractions drive "people in the audience nuts. They can't concentrate on the stage if, in their peripheral vision, they're seeing texting, they're seeing cameras, they're listening to phone calls. How can we do our job if the audience is distracted?", and also mentioned that "the interesting thing is I'm not the first one that's done it".[104]
2015 incident
On July 8, 2015, during the second act of Shows for Days at the Lincoln Center Theater, LuPone grabbed an audience member's cellphone while leaving the stage as the audience member had been using their phone during the play. It was returned after the show. LuPone stated:
We work hard on stage to create a world that is being totally destroyed by a few, rude, self-absorbed and inconsiderate audience members who are controlled by their phones. They cannot put them down. When a phone goes off or when a LED screen can be seen in the dark it ruins the experience for everyone else – the majority of the audience at that performance and the actors on stage. I am so defeated by this issue that I seriously question whether I want to work on stage anymore. Now I'm putting battle gear on over my costume to marshal the audience as well as perform.[105]
2022 incident
On May 10, 2022, during a live conversation with the American Theatre Wing and her Company co-stars, LuPone called out at audience members who were not wearing their face masks "properly" during the event and not adhering to the COVID-19 safety protocols implemented by The Broadway League yelling, "Put your mask over your nose. That's why you're in the theater ... That is the rule. If you don't want to follow the rule, get the fuck out. I'm serious. Who do you think you are if you do not respect the people sitting around you?" When an audience member called out in response, "I pay your salary," LuPone replied "You pay my salary? Bullshit. Chris Harper [the producer of Company] pays my salary".[106] After the incident, a spokesperson for the show said in a statement: "We stand with Patti [...] support her efforts to keep our entire community—from patrons to ushers, cast to stage crew—safe and healthy so we can keep Broadway open". This also resulted in the League extending the mask guideline end date from May 31 to June 30, 2022.[107][108]
In an interview, LuPone later explained that prior to her dispute with the patron, the patron had already been approached by the theater's COVID safety manager and been asked to wear the mask over her nose and mouth, and that the patron had responded mockingly by placing the mask over her eyes in a dismissive manner. It was the entirety of the patron's disrespectful behavior, not just the manner in which she was wearing her mask, that LuPone was responding to in her outburst.[109]
A live concert special film, An Evening with Patti LuPone, was filmed in July 2012 and released in November 2012 on SethTv.com with 104 minutes of Patti LuPone songs and stories with host Seth Rudetsky.[164]
A new CD of one of her shows, The Lady with the Torch, was released in 2006 on Sh-K-Boom Records. In December she released bonus tracks for that CD only available on iTunes and the Sh-K-Boom website.[165]
^Azzopardi, Chris (June 11, 2009). "GLT " Everything's Coming Up Patti". Gaylesbiantimes.com. Archived from the original on July 28, 2011. Retrieved March 29, 2010.
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