The Frogs Have More Fun...

Flowers



"All the names I know from nurse:
Gardener's garters, Shepherd's purse,
Bachelor's buttons, Lady's smock,
And the Lady Hollyhock.

Fairy places, Fairy things,
Fairy woods where the wild bee wings,
Tiny trees for tiny dames.
- These must all be Fairy names !"

(from Child's Garden of Verses
by R.L. Stevenson)


"Anyone can write a short-story.
A bad one, I mean."

(R.L. Stevenson)
----------------

"Science without conscience is the Soul's perdition."
- Francois Rabelais, Pantagruel
- Acc to/above is citated from: Medical Apartheid. The dark history of Medical Experimentation on Black Americans from Colonial Times to the Present, by Harriet A. Washington (Doubleday ; 2006 ; p. 1.)

----------------
"In the high society of the first half of the century, marriage, despite it's bestowal status upon the wife, was the most absurdity. Marriage, conferring instanteous rank or money, ... lost most of its prestige and moment right after the wedding. ...By the end of the century, spurred by Rousseau's moralistic Nouvelle Hèloíse, a contrary cult, that of virtue, arose. After 1770 conjugal and maternal love became not merely admissible, but, for some, moral imperatives. ...

[...]
...Rousseau, who sought for himself the crown of morality in ostensibly defending marriage, presents in his Nouvelle Hèloíse the most enticing and extended defense of illicit love ever penned. The root of the problem is that as the century progressed sensibility became confused with morality: passionate feeling, if expressed in a highly civilized mode with grace and nuance, makes us forgive the Rousseau of The Confessions, for example, his pettiness, his jealousies, his betrayals. This moral-amoral byplay, present already in the novels of Richardson, was to be more intense as the century unfolded."
-
Madelyn Gutwirth : Madame De Staèl, Novelist. The emergence of the Artist as Woman (10,15.)

;
"...As the social contract seems tame in comparison with war, so fucking and sucking come to seem merely nice, and therefore unexciting. ... To be 'nice', as to be civilized, means being alienated from this savage experience - which is entirely staged. [...] The rituals of domination and enslavement being more and more practiced, the art that is more and more devoted to rendering their themes, are perhaps only a logical extension of an affluent society's tendency to turn every part of people's lives into a taste, a choice; to invite them to regard their very lives as a (life) style." - Susan Sontag , on 'Fascinating Fascism' (-74; p 103;104-5 at Under the sign of Saturn)
; "Anyone who cannot give an account to oneself of the past three thousand years remains in darkness, without experience, living from day to day." (Goethe) - as cited by Sontag (on same compile; p. 137.)

;
"It is widely accepted that we are now living in the 'Anthropocene', a new geological epoch in which the Earth's ecosystems and climate are being fundamentally altered by the activities of humans. I loathe the term, but I can't deny that it's appropriate."
; (Goulson), Silent Earth : Averting the Insect Apocalypse (2021; p 47.)
;
"It is sometimes said that humanity is at war with nature, but the word 'war' implies a two-way conflict. Our chemical onslaught on nature is more akin to genocide. It is small wonder that our wildlife is in decline."
; (Goulson, 2021 ; 118.)
;
----------------
"If we believe absurdities, we shall commit atrocities." (Voltaire)
- Citated from; (Joy, Melanie), Why We Love Dogs, Eat Pigs and Wear Cows : An Introduction to Carnism(2010; p. 95.)
;

"In the presence of the monster, you have eyes and ears for nothing else."
; (Flora Tristan) : London Journal of Flora Tristan: the Aristocracy and the Working Class of England ; 1842-edit. (tr: 1982. ; p. 71.)

;
"Every minority invokes justice, and justice is liberty.
A party can be judged of only by the doctrine which
it professes when it is the strongest."
Mdme de Staêl
(on) 'Consideration sur le Révolution de la Francaise' [1818]


5/14/09

MuleSkinner Book Recommendations #16

Donald Duck in Ancient Persia

(Carl Barks, p. 1950)


[Recommendation 6/2009]


Having arrived this far (the 16th book recommendation) and now noticing that we've not yet included but only one from comics. So, this matter in need of settling, we'll put the comics review next and leave the cook books et pseudo sciences for later time. If familiar with Carl Barks stories, our story chosen perhaps appears not much a surprise: The selected strip, superior in tale and drawing in my opinion, is quite an obvious selection. But why, I'll try to explain with few words, though, actually the story speaks best for itself. (Also worth noticing, the version published in comics magazines has richer detailed drawing and it's colors are also somewhat better than usually in the reprints.)

First to mention that it's not always counted in the most beloved series by Barks, perhaps it's even a bit over-looked from those created during his best period (from 1950-60 around, I think). Also, it's rather darker and gloomy by subject than most. The origins of Donald Duck in Ancient Persia(1950) are lot in horror fiction. This shows fx in following themes: the Mad Scientist, mythical ancient city hidden under desert sands, the dehydrated people of that city. It may have had some origins in the old time classic tombs-and-treasures-pulp fiction too, like the magazines articles and short-stories about Pharaoh's curse (...well, The Mummy's Ring (1943) actually feels a story more in debt to those.) A typical feature, also found in many of the other early stories is the unsolved mystery and/or treasure hunt; as for example The Seven Cities of Cibola (1954). And, similarly common theme is travels to dreamlands/far away places; also fx in The Magic of Hourglass (1950), Race to the South Seas (1948) and Tralla-La, (1953). After Scrooge's appearance, this theme often is also related to his efforts for to collect more capital/protect his square box filled with that.


But, actually the only Barks story I find slightly comparable with the one in question here is The Terror of the River, noticeably originating from as early as 1946 (and indeed Donald appears a bit pre-Barksian in it). Possibly the similarity in stories is based on that the main crook in both is a lunatic of some kind. None from the other early villains appear presented quite similarly; just think of fx Black Pete (Donald Duck and Pirate's Gold, -42 ; Frozen Gold, -44), or Blacksnake McQuirt (Sheriff of Bullet Valley -48), or Sylvester Sharky and Azure Blue (The Golden Helmet -52) - All more or less cruel, but not any kind of mad men. Or, that aggravated stereotypical figure from African medicine man: Foola Zoola (Voodoo Hoodoo, -49). He may be a revengeful character, but not any mental maniac either. And neither any from those later introduced and more or less regularly used criminals/villains like Beagle Boys, Soapy Slick, Magica de Spell quite fills the criteria to justify for that characterization.


That said we can briefly describe the plot by few words: Mad Scientist captures Donald and the boys in purpose to bring them with himself to excavate the ruins of an ancient Persian city, Itsa Faka (Barks invented pseudonym). With the aim to bring back alive dehydrated citizens of Itsa Faka, he then carries out this experiment on a bath filled with special liquid by directing for that an electricity voltage burst (apparent loan from Frankensteinerian themes and myths) – and Voila! Miracle is been fulfilled and the King of Itsa Faka with his daughter (ao) brought back from behind thousands of years. As the story continues also an ancient prince, an exact copy of Donald by outer appearance, is revived from dust. Later he then tries to perform Donald in the eyes of the Nephews with purpose of getting away from his own weddings with kings daughter...


Prince's character is perhaps some early formation/similarly parallel figure to Donald like Gladstone; although Gladstone had been created couple years before already, in 1948. Concerning this story, some of the Prince's remarks from the outside (modern) world are masterful in the way they connect the story's historical backgrounds to present days. I'm not quite certain if the places and decoration of the city are drawn faithful to archaeological founds in detail, but I suppose so because those often are in Bark's comic stories (doesn't here matter that much, actually). Anyway, the chambers and tunnels in that ancient city success to give very truthful impression.



Among the enchanting features is also that story stands out from the more typical uses of pictorial narration: There's plenty of imaginatively drawn pages, where fx the places and landscape are given more emphasis (fx. The first view from the Mad Scientist's house; the ancient ruins and catacombs where Donald and Nephews are brought by the scientist, the oil-pipe in the middle of deserts outside those ruins).


From the books and papers, most precisely the volume Carl Barks and the Disney Comic Book: Unmasking the Myth of Modernity (by Tom Andrea), we then notice that the story's themes are connected to more recent days (its creation decade, the 1950s) in other ways too. Things like dehydration of people and radium vapor used for that at Donald Duck in Ancient Persia reflect those fears and threats of the modern times. But, I don't actually feel liking to speculate with those underlying themes too much. It's probably because I don't want to contemplate the contents of Barks stories, but just read them as they are, comics. In times when it appeared Barks creations and comics magazines in general weren't possibly that preserved and valued works of art. More like – as Andrea also mentions – those were for the general public just a stuff to read and then throw away, used like paper napkins, toothpicks or something like. In more recent times, older(the good ones if compared to most of the present days crap) cartoons and flicks, but especially the Bark's comic art have received their well-deserved place as cultural heritages. And so, as result the better ones from newer Duck comics more often than as exception use allusions and jokes pointing to that old 'golden age in comics'.


Probably there's opinions fromthe best/favorite stories as many as the readers. And as well, Bark's duck comics/Disney's animated creations concerned, there's almost theological field of study and hobbyists. But, I think it suffices us here to mention lastly that in Unca Carl's most stories the best part is that there's always some kind of lesson, often presented in the final pictures of the story(sometimes not). And after all comics were at that time considered mostly as children's entertainment (read as well by the adults), which perhaps makes them remind fairy-tales in many ways. But what makes them just so good, is that the 'lesson' or 'message' is always hidden inside the story, and not brought too much in the forefront. Also, as well important, the story isn't ever just a simple run-through of fast-and-furious-scenes in queue.


Finally, returning to our original subject, Donald Duck in Ancient Persia. Just for the fun of it, we can quite well then end this post with that hilarious pic where Donald and "The counterfeit" are pointing towards each other, trying to assure others of being the 'real one' (and not the prince of Itsa Faka)...it kind of emphasizes the variability of borders between reality and fiction. (Though I also think, that thr actual peak in story is reached when king of Itsa Faka, just after been brought back to life, says as his first sentence to Mad Scientist that he's not too sure if to thank or kick him.) But just as good is...well, nevermind the rest, but the story indeed is very good...


---


In the end of this recommend, we can also mention that valuable database in Barksology; the Duckstories. It contains fx publishing dates for those stories and adventures. There's other sources in web of course, one of them the INDUCK, another vast database (but we haven't had time to check it yet.)