Imaginary

Film and Stage

• The Flamingo Kid: initiative with a question mark

Fictional Narratives

From time immemorial, M. sur M. had had for its special industry the imitation of English jet and the black glass trinkets of Germany. This industry had always vegetated, on account of the high price of the raw material, which reacted on the manufacture. At the moment when Fantine returned to M. sur M., an unheard-of transformation had taken place in the production of "black goods." Towards the close of 1815 a man, a stranger, had established himself in the town, and had been inspired with the idea of substituting, in this manufacture, gum-lac for resin, and, for bracelets in particular, slides of sheet-iron simply laid together, for slides of soldered sheet-iron.  This very small change had effected a revolution.  This very small change had, in fact, prodigiously reduced the cost of the raw material, which had rendered it possible in the first place, to raise the price of manufacture, a benefit to the country; in the second place, to improve the workmanship, an advantage to the consumer; in the third place, to sell at a lower price, while trebling the profit, which was a benefit to the manufacturer.  Thus three results ensued from one idea.  In less than three years the inventor of this process had become rich, which is good, and had made every one about him rich, which is better. He was a stranger in the Department. Of his origin, nothing was known; of the beginning of his career, very little. It was rumored that he had come to town with very little money, a few hundred francs at the most.  It was from this slender capital, enlisted in the service of an ingenious idea, developed by method and thought, that he had drawn his own fortune, and the fortune of the whole countryside.  On his arrival at M. sur M. he had only the garments, the appearance, and the language of a workingman.  It appears that on the very day when he made his obscure entry into the little town of M. sur M., just at nightfall, on a December evening, knapsack on back and thorn club in hand, a large fire had broken out in the town-hall. This man had rushed into the flames and saved, at the risk of his own life, two children who belonged to the captain of the gendarmerie; this is why they had forgotten to ask him for his passport. Afterwards they had learned his name. He was called Father Madeleine. [Victor Hugo, Les Misérables (1862), Volume I – Fantine; Book Fifth – The Descent Begins, Chapter I, The History of a Progress in Black Glass Trinkets.]

Saul Bellow re-invented the American novel.

• Saul Bellow, The Adventuresof Augie March (1953) {review}.
• Saul Bellow, Seizethe Day (1956) {review}.
• Saul Bellow, Herzog(1964) {review}. Herzog earned Bellow a U.S. National Book Award and a Prix International award.
• Saul Bellow,  Sammler’sPlanet (1970). This book won wide critical acclaim, and the 1971 National Book Award for Fiction in the United States.
• Saul Bellow, Humboldt’sGift (1975). A 1976 Pulitzer Prize topped the accolades accorded to this work.
• Saul Bellow, Ravelstein(2000) {review}.

Music: Composers, artists, and major works

Showpieces for violin, performed by:

• Fritz Kreisler
• Itzhak Perlman
• Arthur Grumiaux
• Jascha Heifetz
• Salvatore Accardo
• Jaime Laredo
• Various artists

Violin showpieces composed by:

• Henryk Wieniawski

Albums:

• The Tubby Hayes Sextet, “Tubby the Tenor”, originally issued as “Tubbs in N.Y.” (1961): the value is best illustrated by Hayes’ forward and assertive sax playing, and also the playing of side men Clark Terry and Eddie Costa.
• Charles Lloyd Quartet, “Montreux Jazz Festival 1967” (1967): four great jazz artists, each taking his turn soloing, and contributing to group play
• Ensemble albums by Harold Land, including “Westward Bound”, “The Fox”, “West Coast Suite” and “A New Shade of Blue”