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So i translated Street Style patch notes into multiple different languages using Google Translator (things get a little bit interesting in the middle)
Last Event: Street Style
Get ready for new features.
The government announces historic trips! Rental homes with jobs that are difficult to sell other packages. The badge also includes gifts such as the Twilight Spray Vogue and the Street Pop Music Pack. Even the way to run these amazing things will end.
Style package style
Leo: 400 cups
In the following way
Spill the way.
Mayfield bond street
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In the following way
Paradise skin style
In Pondel Style Announced
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In the following way
Reset roaming, emulation
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The soil sucks the clay.
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Pumping machine compass
Cards and cards with pictures
Good friends, moving avatars
Venus, 3D spray
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Select a message from the popup.
You can log in for a long time and use symbols in your account at the same time. This provides the flexibility you expect from the right settings, but only one of the signals. After saving a new popup window, you cannot restore it.
The ground floor of the hall has now become the starting point for organizing an event. Repeat the process and connect again.
The ping device stops working.
A dialog box appears between 100 milliseconds and 25 seconds. It affects the lower part of the health of the muscles.
<100 ms - no answer
100-175 ms color signal
175 ms - increaseQR Help helps you manage your account.
Forum content is a key element for displaying a Q pop template for Google, Facebook and HiRes. Close third-party content on your computer. When you call, you need to send a QR code to your ID and send a message to Google, Facebook and HiRez.
Select Support to define trusted members of the group and display a specific icon with the name.
Help your mobile phone choose a player.
Create a popup window with the name of the popup window and select the desired popup window.
Nowadays, the most popular games are on the touch screen.
In the past, if possible, you need to take a break in the game to “pay for” an appointment. There is currently a Launch / Post button on the menu that works on this topic!
Superior Integrated Product Design
In general, the improvement in contrast is enhanced by the lighting designer. Use pop-ups to reduce the amount you can adjust using the screen.
Extended word 1P
At first I left a slaughterhouse with an ax to get a small room in the room. Increase the range of light.
New DLC - Atlas
War with the army.
Discover the troops of the Atlantic Corps. Fight in the dark and save the monkey in a crown of beauty. There are about 60,000 gold coins in this bottle. It is enough to put the atlas above.
Discover: your golden card!
Phone: 7.99 USD
Update: The first item was originally worth $ 4.99 from the Atlas Corps DLC.
The true warrior Drogez
Get up in the Pyrenees and fight the Pirate Warriors and fight Avicen's supporters! Check out the free standard tasks for Drogoz FREE and Twitch Prime in April!
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Steam, Microsoft or Sony and Hi-Rez.
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This unique site was created in April. Pyre Warrior Drogoz has not yet received the SMIT Twitch Prime package.
Reserved for level 50 as Vivian
Voice Master Pacakai offers 200 crystals and 60,000 gold medals.
New trading system on this day
The statue was married to Fernando.
Nose or nose.
Improved Games - Travel Tips
There is no limit to how you think. Security and protection is now safe.
Excerpt: the free implementation of these mechanisms causes differences and confusion among many players. Results: Mojo Negative Point, Moji Snack
Between 4900 and 4500
Editors practice: This is a more important and healthy life because of self-esteem and surprise. The necessary connection in the first line says that the direction of the body handles other things in the right sense. If this definition is reached and reaches maximum performance, change this change.
Drogoz increases only if the plan is used immediately after development.
Gender is increased by 8% and 15%.
Developer Commentary: The most important change is the magnitude of the reflections of Propel and Drogozine (the first step of the Lord).
Art exhibition showing the intensity of stars
There is a big complaint.
2 seconds 2 seconds More than 1 second
The developer explains: The other half of the print is often used to kill, but at the highest level. In general, it is very important for the dispute.
See articles about Koga
50% 30% 30% Decreased Bonus
Programmer Comments: Hi! The expansion has improved significantly due to the unique capabilities of each master.
Poor growth / from 2% to 5%
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Publish to developer: the worst rating.
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Programmer's note: Society brought good things and showed weakness as one of the talents / skills of Maeves and one of the most popular musical instruments. These changes will solve these problems.
This function cannot be fully encoded using the CC code.
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Delay after trial
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Ammunition signals, such as Grokhkin, shock wave, pulse rate horizon. Debt roots (Grover Talent) and Jacot (Iman Talent).
This technology has returned to military technology. Now you can deprive Warder of the locker that controls the existing vehicle.
Players cannot imagine their own minds. (Kiliya, Styx, Victor)
Players can not change their minds.
Our bonds are always attacked when another debtor is chosen.
If you choose MVP to verify the issue, you can choose when choosing a loan.
Gift Cards support publisher performance / functionality.
This problem is sometimes questionable and can be unpleasantly critical if it is quickly launched on the battlefield.
Installation kits cannot be installed using the robot leader / brand function.
To change the map from the list, the cursor does not move to the background page.
This item refers to a solution that changes 1p and 3p, respectively, for accurate price changes.
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In the context of a conflict, some owners often play with the weapon of interest.
If you close an item with the button, separated by the search button next to the mute, the field will change.
A problem appears that appears next to the icon.
Development of syringes Omega.
The result is the result of repeated player searches.
How to change the risk of changing electronic games.
Troubleshoot when the cart is on rollers behind the player’s front wheels after entering.
After the end of the game, the situation changes when you try to switch links after the end of the first game.
In addition to translation into Russian archives.
The result is a sound when opening the box.
Buy a recording and create a problem that disrupts the audio tool.
The correct words of the players complain about their decision.
Problems with the activation of the test function allow the player to play games half a day and a half.
This problem can be solved only when the player plays for the top 100 leaders.
There are places in this field where you can sell the names of the sellers in the cabin and provide accurate information about the integrity of the user interface.
The end of the problem that affects the "5 Invalid Content" feature is the use of the directory.
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The problem was saved when the store is incompatible.
We have just reported a problem with the word "no media" in the German game.
This field is designed so that the PS4 player can sometimes play "Do not respond to cookies" with a missing note.
The leaders in the rankings will once again prepare a list of rating versions to determine the performance of the debt. [No, I want to do it with you!]
Interview about the competition "Ten sets of makeup."
If the driver status is associated with the basket, place the case.
If the status of the controller is connected to the basket, leave the case.
On the moon
The last thing that makes the castle bay
After the crisis of the healing process, it was a crisis.
The case narrows when the light in the line is heavier than the light of Hunsmann, the Fallen, and the Killer of the Gods.
Limit the results of continuous animation after updating the download.
Imagine that you just got acquainted with the old weapon manufacturer Atlas (he did not use the offer).
If the Atlas engineer is concerned, check the problem again with the score / score.
Problems requiring confirmation of arrest may be interrupted.
In an interview with Atlas, I received an interview in French with the Apocalypse, which tried to change Atlas's health with a “lesson” rather than “the most expensive”.
Detonation of bomb
The beauty of the universe and the problem of the English language are broken.
Wheelchairs are sent to victims and are created in many areas related to appropriate living conditions (eg, snow, airplanes, etc.).
Now, this training is the light of the artistic force associated with the strongest symptom, breaking the brain and the breath of the wind.
Limit your results if you continue to work as part of the problem at the appropriate level.
Your health improves with cards.
Totem does not show the VFX lamp. Vaccines are suitable for change.
Effect of Pyreball Approximately 1.2, if the user selects exactly one inch.
Problems can be fixed by leaving Astral Mark VFX aside.
We solved the problem to allow the visual effect of 3P penetration after the teenager fell.
Solutions involve getting prices at prices.
The problem is that Rex customers do not need to intervene in cash compensation.
Conflict resolution in documents "Out of the office" has a significant impact on the problem.
Prowl Keep a special occasion that can be a short-term bonus on your plate.
Prowl Maevele complained about the appropriate premium to the interest rate.
The result is a demonstration aimed at pumping pumpkins and karma into a VFX attack on the field.
The problem was solved when silence is damaged. The user is ignored, but the user is talking about server permissions.
Please note that an error occurred while using the user interface for a long time.
If the living room or dressing room dies, the final result coincides with the final result.
Enter the results that Sivan can generate after the new step.
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Making decisions, including long-term abuse, is a violation of the loan.
He uses Khan to complete the camera solution and decides to return to him.
This is when the party is in shock, when Han fights.
As a result, critical or minor damage is delayed, and termination stops, and the final path becomes inaccessible.
The risk of replacing a loan for a loan was higher than at the Battle of Victor.
This may have an impact after the financial card has been activated and provided.
Annoying due to Vivian Omega removes the Omega Switch optics to improve the quality of the fundamentals at a lower level.
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[Khan] A lot of graves can cut anything in the game, and you can draw squares with unknown stunts.
Indeed, no matter how serious the situation.
Kinesi Mines can continue to play for the players of the genius Kinesi
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I'm sure most of you have seen this, or are aware of it. I think it's worth seeing again, maybe especially now. I transcribed most of it, Delillo and the excerpts from his novels. It's powerful as a film, but Delillo is always just as powerful in text. I hope this finds you well.
“The Image, the Word, and the Gun”
BBC Omnibus, Season 29, Episode 5, aired 27 September 1991
Bee Bee Cee one “Omnibus” with the leading American novelist, Don Delillo, who explores the idea that constant, grave news coverage by the media may have replaced the novel as the tragic narrative of today.
Don Delillo writes dangerous fiction. He’s been called, “America’s leading contemporary novelist”. His ten novels come directly out of the flow of recent history; the Kennedy assassination, toxic fallout, acts of terrorism. These are all part of the running news against which his books are set. This film was developed in close collaboration with Delillo, who wanted to use the documentary form to explore the relationships between gunmen and the novelist, words and images, and the power of news and our obsession with apocalypse. Doing so, he asks, “What effect can a novelist have on a culture where terrorists seem to have hijacked the world’s narrative?”.
Title: “The Word, The Image, and The Gun”
“This was the year he rode the subway to the ends of the city, two hundred miles of track. He liked to stand at the front of the first car, hands flat against the glass. The train smashed through the dark. People stood on local platforms staring nowhere, a look they’d been practicing for years. He kind of wondered, speeding past, who they really were. His body fluttered in the fastest stretches. They went so fast sometimes he thought they were on the edge of no-control.”
Isolation, solitude, secret plotting. A novel is a secret a writer may keep for years before he lets it out of his room. Writers in hiding, writers in prison. Sometimes their secrets turn out to be dangerous to the state machine. For most writers in the West, of course, this danger is extremely remote. The cells we live in are strictly personal constructions.
Let’s change the room slightly and imagine another kind of apartness. The outsider who builds a plot around his desperation. A self-watcher. A lonely young man living in a fiction he hasn’t bothered to put down on paper. But this doesn’t mean he isn’t organized, he organizes everything. This is how he keeps from disappearing. His head is filled with dangerous secrets and he may finally devise a way to come out of his room. He invents a false name, orders a gun through the mail, then looks around for someone famous he can shoot.
“Plots carry their own logic. There is a tendency of plots to move toward death. He believed that the idea of death is woven into the nature of every plot. A narrative plot no less than a conspiracy of armed men. The tighter the plot of a story, the more likely it will come to death.”
For me, the assassination of President Kennedy was a rumble that gathered momentum over the years. It’s present in my early work, here and there. My first novel ends in Dealey Plaza in Dallas, the main character retracing the motorcade route in his rented car. I think it’s true that none of my novels could have been written in the world that existed before the assassination. In my fiction there seems to be a sense of danger everywhere, of something unraveling.
When Kennedy was shot, something changed forever in America. Something opened up a sense of randomness, deep ambiguity. We lost the narrative thread. See, this is what happened, the assassination left an emptiness that made everything plausible, made us susceptible to the most incredible ideas and fantasies.
We couldn’t seem to find out what happened on even the most basic level. How many gunmen? How many shots? How many wounds on the President’s body? There was no coherent reality we could analyze and study. So, we became a little paranoid. We developed a sense of the secret manipulation of history. You know, “there’s something they aren’t telling us.”. Documents, lost or destroyed. Official records, sealed for fifty years. A number of very suspicious murders and suicides. Since Dallas, we see conspiracy everywhere.
Before it happened, we were much more self-assured. I think we felt especially blessed.
“I’m confident, as I look to the future, that our chances for security, our chances for peace, are better than they’ve been in the past and the reason is, because we’re stronger.”
Maybe this was a fairy tale we told ourselves, but it seemed to work. And Kennedy himself was a sign of our specialness. Certainly, we had greater faith in government before he was killed. This faith was deeply damaged, not only by the official handling of the investigation but by later revelations concerning JFK’s own administration. So even the myth of a noble President, shot down by some malcontent, became a little difficult to sustain. Bad news everywhere.
Finally, I thought I might just walk right into the middle of it. Do a novel about the assassination. I thought I would try to provide a narrative we’d lost somewhere in the chaos. Not an explanation for every confused human motive and certainly not a denial of the chaos but, maybe some element of safety. A way out of the endless unknowing. If we can’t find the solution, let’s imagine one.
Many things might possibly go wrong. The story had too many people, too many wandering lives and subplots and major themes. Too many things feeding in: Bay of Pigs, the U-2 incident, organized crime, civil rights. But finally, it was the characters who drew me in. Not the characters I would create for, “Libra” which is my ninth novel, but the ones already there. All those lives that were part of the record. Rich, strange, and very often, tortured lives. Not just the major faces, but characters at the edges, and on the edge. Lonely, violent, deeply American lives.
The accused assassin was my route into the book. I needed to find a voice for Lee Oswald.
Oswald and I lived near each other in the Bronx in 1953. I was 16 at the time and he was 13, and I didn’t know him – but I was certainly startled to find out about the connection. His mother, Marguerite, put him in the car, an old Dodge, and they drove all the way to New York from Texas because, her oldest son was stationed at a military base nearby.
Oswald was a lifelong expatriate, really: Louisiana, Texas, New York, Japan in the Marines, Moscow and Minsk as a defector. I don’t think it’s simplistic to say his life was defined by books and guns. He had trouble reading but was clearly drawn to books – filled out an application once and said he wanted to write short stories on contemporary American life.
He’d go to the library and take out books he knew President Kennedy had read and liked. He read Mao Zedong because Kennedy had. He read Ian Fleming. He went to the library to get, “The White Nile” because he knew Kennedy had read it, but it was out. He got, “The Blue Nile” instead. And he ended up in the Texas School Book Depository, a rifle in his hands, books all around him.
Was he a lone gunman or one element in a conspiracy?
When I wrote from his viewpoint, I wanted a language that seemed in danger, a little jumpy. A language unsure of itself. He was a scattered man, trying to put himself together.
Two kinds of solitaries plotting. The novelist wants to reveal consciousness, examine human possibility. The novelist is the natural defender of the self. Each writer is his own language. I think it’s possible to say a novelist builds himself, word by word. He needs ego, self-confidence. A certain vanity and arrogance to risk two, or three, or ten years on a book. A secure sense of himself.
The lone, disaffected gunman is probably living on the edge of selfhood. Dangling, thin-boundaried. Not fully formed. His own fictions, his plots, schemes, tend to narrow the world. Reduce the world. In some cases, to two people. Just him, in his sixth-floor perch, and the charismatic leader riding by in the blue limousine.
Lee and his Russian wife, a young woman who’d envisioned the consumer paradise and ended up getting slapped around by her underpaid and sometimes, out-of-work, husband. Lee could not provide, makes you lonely not to have the things you see around you all the time, keeps you from being whole.
And what about the man who’s privileged? It isn’t his money, or high office, or beautiful wife, it’s that electronic glow he emits, it’s that inspired gift, or power. The way he rides through the lights, looking just like his photographs.
As things got worse for Lee, he began to see himself in the President. His life, by this time, was unraveling. I think he’d wandered outside history and into fantasy, into coincidence.
“The first movie was Suddenly. Frank Sinatra is a combat veteran who comes to a small town and takes over a house that overlooks the railroad depot. He is here to assassinate the President. Lee felt a stillness around him. He had an eerie sense he was being watched for his reaction.”
“He felt connected to the events on the screen. It was like secret instructions entering the network of signals and broadcast bands, the whole busy air of transmission. Marina was asleep. They were running a message through the night and into his skin.”
“The streets were dark. The house was dark except for the flickering screen. An old scratchy film that carried his dreams. Perfection of rage, perfection of control, the fantasy of night.”
“Lee felt he was in the middle of his own movie. They were running this thing just for him.”
So, the awful thing happened, and it happened on film. The assassination is a home movie called, “The Zapruder Film” after the Dallas dress manufacturer who took his 8-millimeter camera to Dealey Plaza. Eighteen seconds of Zapruder. There are serious students of these 18 seconds, of course. Every blur has been analyzed. There’s a technique called, “blur analysis”.
Our most photogenic President, dying on film.
Maybe I’m wrong about this, but I think the footage comes close to uncovering some secret about the nature of film itself. Film carries something, some mindstream, some myth that may be common to us all. It’s as though the experience of film has acquired a kind of independent existence in our consciousness. It’s that deeply embedded – have to get it on film.
Film is more than the 20th Century art, it’s another part of the 20th Century mind. The 20th Century is “on” film. It’s the “Film Century”. If a thing can be filmed, film is implied in the thing itself. People with wasting diseases allowing themselves to be filmed as they die, people committing suicide on film. Satellite cameras reading your license plate from 300 miles up. Cameras in the uterus, cameras dangling over the doors in every public space we enter. Watching ourselves, constantly being watched.
Images follow us everywhere, come into our rooms, drive with us in the car, come into our beds and help mediate our sex lives. Film creates a kind of dreaming space all of us occupy.
“When I was a teenager, I saw Bert in From Here to Eternity. He stood above Deborah Carr on that Hawaiian beach and for the first time in my life, I felt the true power of the image. Bert was like a city in which we were all living. He was that big. Within the conflux of shadow and time, there was room for all of us and I knew I must extend myself, until the molecules parted, and I was spliced into the image.”
In my first novel, Americana, the hero lives a kind of third-person existence as an ideal figure made up of images, media messages. He’s image haunted. He constantly reinvents himself through film and television from the person he is to the person he would be. This is what media America promises, access to our desires, to our invented selves.
Images mix with reality, they replace reality sometimes. Think of those young men, media poisoned. Men who believe that electronic images contain some element of healing magic, who feel deprived of spiritual sustenance, who try to find their destiny not through religious vocation or high adventure or even somewhere in the alignment of the stars, but through the media, the information grids. As if orbiting satellites contain the true message of who you are and what you must do.
For me, as the writer of novels which, to some extent, find the soul of the culture in filmed images, Oswald is a kind of hinge between the committed political assassin and the lonely movie goer and TV watcher, the celebrity stalker. Stalking a victim is a way of organizing one’s loneliness, making a network out of it, a system of connections.
Arthur Bremer. Nobody remembers Arthur Bremer. The funny, faceless kid who shot Governor Wallace in a shopping center. Where else? Arthur Bremer was moved toward this act when he saw the movie, Clockwork Orange. Bremer’s diary was published and provided inspiration for the movie, Taxi Driver. John Hinkley went to see Taxi Driver and fell in love with a young actress, Jodie Foster. He thought, “I will impress her by shooting the President of the United States, the old actor, Ronald Reagan.”
The years have taught us to feel the terrible chill of random violence, senseless murders, crimes of self-publicity. There’s a kind of soft, dreamy, existential violence that is meant essentially to bolster the faltering self of the gunman.
With widespread political terrorism, we got our narrative back. Calculated acts, not random. Stories played out over days and weeks, played out over years when there are hostages involved. A narrative that horrifies for many reasons, one of them the fact that they’re killing people for its publicity value.
The awful genius of terrorism is that it affects the daily lives of ordinary people, we don’t have to be famous or gifted or powerful. We’re all potential victims, we’re all class enemies. And this shift in the culture was something I wanted to understand.
Mao II excerpt:
“Curious knot that binds novelists and terrorists. In the west, we become famous effigies as our books lose the power to shape and influence. Do you ask your writers how they feel about this? Years ago, I used to think it was possible for novelists to alter the life of the culture. But now bomb makers and gunmen have taken over that territory. They make raids on human consciousness, what writers used to do, before we were all incorporated.
Keep going, I like your anger.
But you know all this, this is why you travel a million miles photographing writers. Because we have given way to terror, to news of terror, news of disaster is the only narrative people need. The darker the news, the grander the narrative. News is the final addiction before what? I don’t know. But you’re smart to trap us in your camera before we disappear.”
The novel, Mao II, is about a reclusive writer who escapes the failed novel he’s been working on for many years. He abandons the book and enters the world. It turns out to be the world of political violence. We have novelists and terrorists, words and images. We have crowds everywhere, masses of people in the streets, on television, in stadiums, in great public squares. Crowds of revolutionaries, crowds of mourners. And the novel, in a way, wonders, “who is speaking to these people?” Has the writer lost the ability to shape the way we see and feel? Has he lost his adversarial role? Is the novelist part of the background noise now? Part of the buzz of celebrity and consumerism?
Mao II excerpt:
“You have a twisted sense of the writer’s place in society. You think the writer belongs at the far margin, doing dangerous things. Now the most successful writers make the biggest complainers. The solitude is killing, the nights are sleepless, the days are taught with worry and pain, alone. Alone. Must be hard for you dealing with these wretches, day after day.
Nah, it’s easy. I take them to a major eatery. I tell them their books are doing splendid in the chains. I recommend the roast monkfish with savoy cabbage. I tell them the reprint bidders are howling at the commodity pits. There is mini-series interest, there is audio cassette interest and the White House wants a copy for the den. I say the publicity people are setting up tours. The Italians love the book completely and the Germans are groping for new levels of rapture. Oh my, oh my. And yourself, Charlie?
I’m adjusting to the new style.”
The title, Mao II, comes from a likeness of Chairman Mao by Andy Warhol. Warhol did many pictures of Mao and his silk screens have the effect of floating the image free of history, so that the man steeped in bloody wars and revolutions becomes something else completely, a kind of sacred figure on a painted surface and not very different, at all, from Warhol’s Marilyn, or Elvis.
And what about the novelist? Has he lost his original face? I think everything we do in the west is so readily absorbed by the culture that it’s very difficult for works of art to become dangerous. The culture works in such a way that it has a reflex that enables it to absorb danger as soon as it appears.
Mao II excerpt:
“We’re alone in a room, involved in this mysterious exchange. What am I giving up to you? Then what are you investing me with? Or stealing from me? How are you changing me? I can feel the change, like some current just under the skin. Are you making me up as you go along? Am I mimicking myself? I’ve become someone’s material. Yours, Britta. There’s the life, and there’s the consumer event. Everything around us tends to channel our lives toward some final reality in print or on film. Everything seeks its own heightened version, or put it this way, nothing happens until it’s consumed. Nature has given way to aura. All the material and every life is channeled into, “the glow”. Here I am, in your lens, and already I see myself differently, twice over, or once removed.”
Mao II began with two photographs. For a long time, I had no idea they were connected. I saw the first picture in April 1988, I think it was, front page of the tabloid, New York Post, an elderly man with a look on his face of desperate shock and rage. The man is a writer, J. D. Salinger. Famous, of course, for Catcher in the Rye. And the camera belonged to two people, sent by the Post, to find and photograph him. First picture of Salinger since 1955. I didn’t know why, but I saved this photograph. About six months later, I came across a small, grainy photo in the morning paper. The mass wedding conducted by Reverend Sun Myung Moon of the Unification Church. I saved this picture, too. And eventually I began to think of the novel I was writing as an attempt to understand the connection between these two photographs. The arch individualist, the solitary writer living outside the blur and the waste of endless images. But they found him, they got him.
Ordering a photograph of a famous recluse must be a little like ordering an execution.
Salinger resembles a man who’s fighting for his life and the regimented crowd, learning to dress alike and think alike, brides and grooms actually matched by photographs. Willing to surrender months and years of love and courtship to one moment that looks completely surreal to me, a little like a rehearsal for the end of the world.
There’s something about vast crowds, great masses of people assembled around the enormous image of some dictator or holy man that may make us wonder about the end of individuality. There’s a primal terror in crowds, a sense of all control gone, all distinctions gone. Crowds speak a half language, a language of rote and repetition. Chanted slogans, a single, chanted name, over and over.
Think of crowds on television. The intimate, little screen can give us a sense of millennium, of a messianic future. Each viewer, his own apocalypse. Crowds are terrifying, but maybe beautiful in a way, as well. We desire, at times, to lose ourselves in a crowd. Just identically be carried along, burning away all the pain and anxiety of self. And the struggle, to be who we are.
Mao II excerpt:
“The crowd grew, and clamored, and the body had to be transported to the cemetery by helicopter. There were aerial shots of the burial site, surrounded by crowds. Karen thought they were like pictures of a thousand years ago, some great city falling clamorously to siege. Then, the helicopter landed, and the crowds broke through the barriers. The living were trying to bring the dead man back among them. Karen could not imagine who else was watching this. They could not be real if others watched, if other people watched. If millions watched. If these millions match the numbers on the Iranian plane, doesn’t it mean we share something with the mourners? Knowing anguish, feels something passed between us. Hear the sigh of some historic grief.
She turned and saw Britta leaning back on the far arm of the sofa, calmly smoking. This is the woman who talked about needing people to believe for her, seeing people bleed for their faith. And she is calmly sitting in this frenzy of a nation and a race. If others saw these pictures, why is nothing changed? Where are the local crowds? Why do we still have names, and addresses, and car keys?”
Not so long ago, I think it was possible for a novelist to think that he might influence the consciousness of his time. Today, it’s news that has begun to influence the way we see the world. It’s news that has become so extraordinarily dominant. I think we’ve come to depend on news, the darker, the better. In a way, we need it. Because it is the tragic narrative of our time.
I keep thinking, without too much supporting evidence, that images have something to do with crowds. An image is a crowd, in way. A smear of impressions. Images tend to draw people together, create mass identity. Words. Words and books seem connected to the development of self. The book fits the individual reader. The shape and nature of the book, lines of print. The linear progression of alphabetic marks on the page, here’s a single mind developing, finding its own distinctive shape and nature.
Mao II excerpt:
“Every sentence has a truth waiting at the end of it, and the writer learns how to know it when he finally gets there. On one level, this truth is the swing of the sentence, the beat poised. But deeper down, it’s the integrity of the writer as he matches the language. I’ve always seen myself in sentences. I begin to recognize myself, word by word, as I work through a sentence. The language of my books has shaped me as a man. There’s a moral force in a sentence when it comes out right, it speaks of the writer’s will to live. I’ve worked the sentences of this book long and hard but not long and hard enough, because I can no longer see myself in the language. The running picture is gone. The code of being that pushed me on and made me trust the world. This book and these years have worn me down. I’ve forgotten what it means to write, forgotten my own first rule: keep it simple, Bill.”
Whatever the crowd is, or represents, the writer can’t afford to stand apart from it. I saw an entry recently in the journals of John Cheever and he was writing about an evening he spent in a baseball stadium and glimpse he had, of hundreds of people reaching for a baseball hit into the grandstand. And he said it’s not the writer’s task to describe the thoughts of an adulterous woman, looking out a window at streaks of rain, running down the glass. We need to understand those four hundred people, reaching for the baseball. Those 10, or 20,000 people heading for the exits as the ballgame ends. Moral judgments, Cheever said, embodied in a migratory vastness. So, the writer is in history. Fully engaged in contemporary life, connected to the turmoil, the clash of voices.
Mao II excerpt:
“You know why I believe in the novel? It’s a democratic shout. Anybody can write a great novel. One great novel. Almost any amateur off the street. I believe this. Some nameless drudge, some desperado with barely a nurtured dream can sit down and find his voice and luck out and do it. Something so angelic it makes your jaw hang open. The spray of talent, the spray of ideas. One thing, unlike another. One voice, unlike the rest. Ambiguities, contradictions, whispers, hints.”
With the crowds gone, the city is abandoned to its images. Empty, lonely, and beautiful in a way. Beautifully forlorn. Words dangling in the sky. Words and images, a fragmented image that’s totally familiar to everyone. That doesn’t need translating into Japanese, or Spanish. Brand names, jingles, slogans, news flashes. Every kind of message to gather against the fear, and loneliness of city life.
It’s all language. It’s what a writer uses.
“There was something in Oswald’s face, a glance at the camera before he was shot that put him here in the audience, among the rest of us. Sleepless in our homes. A glance, a way of telling us that he knows who we are and how we feel. Something in the look, some sly intelligence. Exceedingly brief, but far-reaching. A connection, all but bleached away by glare, tells us that he is outside the moment, watching with the rest of us.”