I know now what I saw

 

A large white yacht was coming
into the harbor and seven miles
out in the horizon you could
see a tanker, small and neat in
profile against the blue sea,
hugging the reef as she made to
the westward to keep from wast-
ing fuel against the stream.

       This is not Fitzgerald's ending

       for The Great Gatsby. This is

       Ernest Hemingway's for To Have

       and Have Not. A calm settles up-

       on the Keys, yet with a return

       of caution. How the film trans-

       formed what he wrote is famous,

       but it captured what he dreamed,

       and gave one what one saw. This

       wasn't chemistry, it wasn't elec-

       tricity. I saw a kind of caring

       that went far beyond romance, I

       saw the lights go up against a

       world saving fuel.

       

Ernest Hemingway

To Have and Have Not

Charles Scribner's Sons, 1937©

  

Keel up

    

     Topicality, George Smiley remarks
     to Control, is always suspect. If
     anything bears him out, it may be
     the adventitious rabidness with
     which our Tea Party-bitten Repub-
     licans leap at the throat of the
     President, for every breath that
     passes through it. Or it may just
     be the arrival of a revival of a
     fine book on art one day, and the
     demise of an artist by miscalcula-
     tion the next. A newspaper is no
     way to plot a web log, minor craft 
     that it is. Its keel is deflected
     in the shallows.

     One can't renounce the currents,
     but there are charts to keep open,
     temperate channels of fair depth.

     Through it all.

ii   Valéry Lorenzo©

Sean

   

   No. Listen to me, son.

   It's not your fault.

   It's not your fault.

Ben Affleck

Matt Damon

  screenplay

Good Will Hunting

1997©