Resources

The Lives of Artists

Systems of Surveillance

• preface
• cover
• scene one
• aria
• scene two
• scene three
• quartet
• scene four
• Uncle Roger's soliloquy
• scene six
• scibe's aria
• arioso
• reprise

If the story at times seems difficult for a wedding celebration,
it should be remembered that many of the characters are victims
of wargame and intelligence agency interference in their lives.
They know this, but they do not want such interference to mean that
their happiness, the joy of living, the enjoyment of their own wedding
has been taken.

Homer, The Odyssey, translated by W.H.D. Rouse,
New York and Scarborough, Ontario, 1937
from the chapter "Sports in Phaiacia", p. 99
The words about the Trojan War are spoken by
Alkínoös, King of Phaiacia, to Odysseus
before his return to Ithaca.

Growing up in New England, the history of the Pilgrims was an important part of
my experience. But the story of the lost colony of Roanoke and the search for the
unknown journey of Virginia Dare that now wind through The Wedding Celebration
of Gunter and Gwen were not an integral part of my view of American history
until, in the course of writing this work, I began to metaphorically decipher
my own deeply scarred body, the result of the many accidents I had endured --
from the repeated bicycle crashes at the same place on the same hill;
to the accident on a moped bicycle, in which a station wagon
ran into me while I was stopped at a stop sign; (thrown to the street during rush hour,
I thought I was dead when I saw the wheels of a car about to run me over)
to the accident walking my bicycle in a crosswalk in Tempe, AZ, in which a car ran
directly into me; my artery was severed; my leg was broken in thirteen places. And the
resultant scars are so terrible that I seldom bare my once attractive leg.

The narrative postulates that metaphorical hypertextual connections have driven a relentless
interface that has been imposed on the lives of certain people. Because this interface is
programmed in hypertext; it can be deciphered by following the kind of vague link that
might be created by a primitive artificial intelligence program. (or set of instructions)
For instance, since the bicycles I rode were mostly Raleighs, I tracked a cluster of
vague metaphorical links and began to explore Sir Walter Raleigh and his pivotal role
in the first English Colonies in America.

'Yes,' Dorothy continued, 'and in these times
on May 8, 1587, over 100 people sailed out of England
bound for the New World.
The colony was put together by Sir Walter Raleigh
and led by artist John White.'"

The story was compelling, as was the fate of Sir Walter Raleigh. Raleigh was beheaded
at Whitehall Palace in 1618.

In contemporary response to Raleigh's terrible fate, the narrative warns that brain scanning
technologies are being developed across our country, and we have been given no way of detecting
their use, or of protecting ourselves from the possibility that unscrupulous researchers or
intelligence agents could access our minds without our consent. If not precisely the equivalent
of the barbaric beheadings in 16th century religious and imperial warfare, or of the display of
the heads of Irish rebels on London Bridge, nevertheless, the potential for the barbarous theft
of our private thoughts is of serious concern.

The information is disclosed in personal histories; the information is disclosed in
art, literature, and music.

Thus, following a hypertextual trail through my life, from conception in a wartime Army tent
city, to marriage in Nürnberg, Germany, near the home of Reformation artist
Albrecht Dürer, it was possible that extraordinary personal histories -- not just mine,
but also the stories of the lives of certain other people -- conveyed an imposed meaning,
and at the same time, because of the visionary ways in which artists observe society,
I looked both at the lives of artists and at how artists have documented alternative histories.

I began to retrace the metaphorical trail of my own life in the notes for Revelations of Secret
Surveillance. Now, as a narrative device, I explored certain seemingly peripheral aspects of my life.
For instance, recollecting the life of Captain Corcoran in Gilbert and Sullivan's
HMS Pinafore, a role that I sang at a summer camp for girls, I looked at the possible role of
changeling children in covert histories. The plot of HMS Pinafore revolves around children
mistakenly exchanged at birth. Thus, for narrative purposes, I recollected the playing of this role
in terms of whether or not the covert interference in families that Gilbert and Sullivan conveyed
in so many of their works had played a real part in our histories that was not commonly known.

Of Irish and Italian parentage, Sullivan died at age 58 while composing Irish music
for the opera The Emerald Isle.

And in lives such as mine, I explored a metaphorical imposed meaning that could be
looked at in the same light as that of the maps and artifacts that lead us on a
trail to discover the hidden narratives of this country's history, such as the map of
Viking exploration of the Americas in the Yale Library or the image of a Templar Knight
on a rock ledge in Westford, Massachusetts. Regardless of their origins, their meaning
is "look here, there is some aspect of our history that should be re-examined".

Why, for instance, was I baptized Episcopalian? Although I am now a member of the Episcopal
Church, the Church of George Washington, my parents were Congregational and Unitarian, and
I was brought up Unitarian. That it was wartime does not really explain my baptism in 1942
at St. John's in Cambridge, Massachusetts. It was not as if there were no Unitarian and
Congregational churches in the area. But my parents are both dead, and I cannot ask them why
this happened.

Perhaps, if looked at in terms of understanding less explored aspects of early American
history, this baptism is a way of understanding that in the era in which our country was founded,
many people had to hide their actual religious faiths, i.e. it appears that Virginia Dare --
the granddaughter of artist John White -- was baptized in a Church of England service, but it is not
out of the question that her parents were either non-conformist Protestants or Catholics. The fact
that Mary Queen of Scots had been beheaded only a few months earlier in February of 1587, as the
result of a plot (not of Mary's making) to assassinate Queen Elizabeth, would have been unsettling
to English people of all faiths. It was not an era where you could be sure that what you believed
would remain the "safe" religion. If the Roanoke colonists were either Separatist Protestant or
Catholic, that might be one explanation for the disregard of their welfare.

Or perhaps we should explore the idea that there may have been secreted children in eras where
there was no telling what could happen to the Little Princes or the children of Dissidents.
In such cases, clues to their identity might have been "planted" on children hidden in
foster families, and the histories of persecution in Renaissance England might be recorded
in personal as well as public records.

But to look at it in another way, one might metaphorically compare the insidious atmosphere
of double agents and provocateurs -- that contributed to the unwarranted death of
Mary Queen of Scots -- with the extreme life interference suggested by the idea that in
order to secretly record the way they have interfered in many other lives, a covert empire
of rogue intelligence agents has altered and "written on" the lives of certain innocent
civilians. In a work that looks at the potential for life interference and harassment
that surveillance engenders, the possibility is at the very least symbolic of how extreme
surveillance could lead to a theater of real lives.

To return to the name of the Church where I was baptized, perhaps the introduction
of St. John -- beheaded for his faith -- reminds us that the taking of heads, echoed in the
potential for covert use of mind invasive technologies is contrary to our beliefs, be they based
on religious faith or on the inviolacy of the soul.

Indeed, because brain scanning and control technologies are more advanced than is generally
known or supposed; the possibility that governments could impose them not only on military
combatants but also on civilians -- including artists, spiritual leaders, activists,
critics of the military, and personal enemies -- is of serious concern. The people
who gather together in The Wedding Celebration of Gunter and Gwen are working to
overcome extreme surveillance including the secret misuse of brain scanning and
other invasive neuro-technologies.

For instance, as I noted in Revelations of Secret Surveillance, "...In the early 1990's, when I
was writing The Yellow Bowl, I bought a coffee cup in a thrift shop. As is not unusual with
artists, I was using this cup -- which was imprinted with the insignia of the NASA Johnson Space
Center in Houston -- when I was doing some writing in my home. Thus, I incorporated it as a part of
a scene that began the work."

Although, an artist's work itself is always his or her own creation and his or her own
interpretation of inspiration and observation, regardless of whether or not there was interference,
for the reasons stated in the opening passage to this section, the imagery in certain artworks may
reflect a kind of induced documentation of events in history that might otherwise not be recorded.
The observance of this possibility does not reflect a condoning of interference in the lives and
work of artists. Indeed, the surveillance that has engendered such interference may all too
often have resulted in serious difficulties in the lives of artists. Nevertheless,
for the purposes of this narrative, certain potentially induced imagery has been explored.

In the 1941 film The Maltese Falcon, (based on Dashiell Hammett's book)
the plot revolves around the falcon sculpture. In the milieu where the story takes place,
the sculpture is not valued because it does not contain jewels. Yet, as an artist and arts advocate,
I had always thought that it had a meaning in itself. Perhaps it was made by an artist; perhaps there
was significance in the lead of which it was made: the material evocative both of the shelter of
ancient cathedral roofs and of the destruction of bullets.

Perhaps the central image of The Maltese Falcon is potent in its reminder of
the name of the first Pilgrim child born in America -- Peregrine White born in November,
1620, on shipboard off the coast of Cape Cod -- and in its echo of the Maltese Cross that
John White asked the Roanoke Island colonists to carve on a tree if they were in danger
or, given the supposed Templar origins of the sculpture, of the name of a real Templar ship:
The Falcon.

Perhaps it reminded me of the white Falcon that my then husband, Jim Malloy, and I drove across
America in the late 1960's until we reached Colorado.

Or, looking at this central imagery in terms of England in the era of the first English
settlements in America, the lead, of which the sculpture was actually made, evokes the
strength of character of tortured Lutheran woman writer Anne Askew, who was covered in
gunpowder before Henry VIII had her burned at the stake in 1546.

It also evokes the gunpowder smoke that -- in 1545, the year before Anne Askew was murdered
-- helped the Scots in their victory over the English at Ancrum Moor. In that battle, part of
the campaign known as "The Rough Wooing", (in which Henry VIII sought to forcefully betroth
his child Prince Edward to the baby Mary, Queen of Scots) the brutal English Army had terrorized
the country, and they greatly outnumbered the Scots. According to legend, a woman, my mother
Barbara Lillard Powers' ancestor, Maid Lilliard, was instrumental in the Scottish victory.
Many of the histories have suppressed her role, but there is an ancient memorial to
Maid Lilliard at the site of the battle in the Scottish Borderlands.

And ever on my mind were the possibly intertwined covert histories:
of the continual persecution of the children of enemies;
of the protection of endangered bloodlines in foster families;
(or, conversely, the placing of certain bloodlines in situations
of increased danger)
of the practice of "writing" secret histories in altered lives;
of the invasive role of surveillance in this process;
and of the potential for interference on the lives of innocent civilians
that such surveillance could engender.

Thus, following the chain of accidents in my childhood, I came to an event, sometime
in the 1950's. I was riding in the back seat of our old "woody" station wagon when the
back door flew open, and I fell from the moving car onto the road. We were downtown,
on a hill, just above the main street. The accident was traumatic. I wasn't badly hurt,
but no one understood how the door could have opened.

It would seem an insignificant incident, but I was disturbed when in the course of research
into the lives of artists, I found the 1936 portrait of photographer Dorothea Lange,
in which she sits on a "woody" vehicle much like ours, and its back door is wide open.
In a normal life interface the fact of this portrait photo, the fact that my father,
was called "Lang" by many of his friends, and the resemblance of his face to that of
the woman in Lange's Migrant Mother would seem coincidental.
But in my scarred life, the connection was unsettling.

In Dorothy's words in Celebration: "And so in search of Virginia Dare, I looked
at the stories of two very different women who led heroic lives. How they met in the
Central Coast of California."

The Wedding Celebration of Gunter and Gwen was designed for a standard laptop
screen and the browser Mozilla. It will also run on Netscape or Microsoft
Explorer, and it can be read on any size screen. However, the audio works better on
Mozilla, and -- because laptops are more comfortable for extended reading --
the screen design is visually more satisfying on a laptop.

By clicking on the icons representing the guests, you move through
the story like a guest at a party -- speaking to some people,
overhearing the conversations of others. As if at a real party,
you are invited to either stay for only a short time or to spend a
longer time. As at any party, where many of the guests are strangers,
you are likely to discover only a few of the mysteries of their lives.
Although it is designed to be read as a hyperfiction, The Wedding Celebration
of Gunter and Gwen utilizes elements of Opera libretto. Thus the text
is created with recitative, aria, and arioso. In contrast to the scenes, that are
composed with recitative, the arias, the quartet, Uncle Roger's
soliloquy and the concluding arioso provide lyrical and/or sustained
narrative content. Readers who prefer a clear narrative thread are welcome
to begin with these sections and then return to the more diffuse recitative scenes.
Such reader freedom to shape the experience of the story is one of the joys of
hyperfiction.

A somewhat sequential path through the work can be followed by clicking
on the space bar at the bottom of each screen of text. The different sections
that comprise the work can be accessed from the menu on the left-hand side.

"How the history of covert life interference has informed the situation
is also important in understanding the difficult truths that the narrative confronts..."

The opening words -- changed in January 2009 to better introduce the
narrative as a whole -- are spoken by the Irish American poet, Cassie,
who is the main narrator of Ask for Sanctuary, my first work in the series
that includes Revelations of Secret Surveillance, Concerto for Narrative Data,
and The Wedding Celebration of Gunter and Gwen.

Judy Powers (now Judy Powers Malloy) violin, drawn at Middlebury College,
Middlebury, VT, circa 1962
Glockenspiel melody - based on improvised violin and piano exercises,
written and played by Judy Malloy

"From the Personal Digital Assistant in her pocket,
we heard the unexpected sound of silver bells.
Papageno's silver bells, Tamino's magic flute, a chorus of voices:
'Silberglockchen, Zauberfloten.'
Silver bells. Magic flute."

With its enigmatic plot -- including Sarastro's hypocritical abduction of
Pamina "for her own good"; his placing her under the guard of a
rapist; the Queen of the Night's cowardly evasion of fighting her own
battles; the malicious, life endangering initiations Sarastro imposed on
Tamino; and Sarastro's emphasis on sacrifice as the means to a happy ending
-- Wolfgang Amadeus Mozart and Emanuel Schikaneder's The Magic Flute is, in
addition to its splendid music, a potentially interesting document in literary
explorations of systems of life interference.

The Magic Flute's tribute to the magic of art and music is forever relevant.
Without music, Pamina and Tamino might not have survived Sarastro's trails,
but tragically, Mozart died at age 36, only a few months after The Magic Flute
was first produced.

"I went into my study," Sid said,
"and both volumes of Vasari's Lives of the Artists
were lying side by side on my desk.
I didn't remember putting them there."

scene one - notes and references

• Anthony Cave Brown, The Last Hero: Wild Bill Donovan,
  NY: Times Books, 1982

• Giorgio Vasari, "Masaccio", in Giorgio Vasari, Lives of the Artists,
  A Selection Translated by George Bull. Vol I, London: Penguin Books, 1971.
  pp. 124-132. A different translation is available online at
  http://rubens.anu.edu.au/raider4/texts/vasari/vasari.masaccio.html
  (Australian National University ArtServe)
  Vasari is a rich source of primary information about the lives of artists,
  and connections with their work and what happened in their lives.
  

• Feuchtwanger Memorial Library, Exiled German-Speaking Intellectuals in Los Angeles -- http://www.usc.edu/libraries/archives/arc/libraries/feuchtwanger/exiles/index.html
  This website is hosted by the Feuchtwanger Memorial Library, a collection
  donated to the University of Southern California by German exile writer
  Lion Feuchtwanger's widow, Marta Feuchtwanger.

"...the religious turmoil in 16th and 17th century England,
the parallels between what happened then
and what we see happening in this country now.

The Natives had been friendly in initial expeditions,
but they had been unfairly attacked after the small indiscretion of the
theft of a silver cup. The colonists were supposed to be taken to
Chesapeake Bay, but they were left instead in a precarious position
on Roanoke.

Exactly three years after the birth of their first child, Virginia Dare,
the entire colony had disappeared.

That this history still has relevance will be seen in the story that begins
with Dorothy's aria.

• David Stick, Roanoke Island, The Beginnings of English America,
  Chapel Hill and London: Universiity of North Carolina Press, 1983.

  The expulsion from the Garden of Eden aspect of the story of Roanoke
  is foreshadowed in the episode of the poisonous green apples that sickened the
  Roanoke colonists in St. Croix, shortly before they arrived at the American mainland.
  (Stick, p. 162)

• U. S. National Park Service, Roanoke Revisited
  http://www.nps.gov/archive/fora/roanokerev.htm

• Virtual Jamestown, "John White Drawings/Theodor De Bry engravings"
  http://www.virtualjamestown.org/images/white_debry_html/introduction.html

• Anne Askew
  http://www.enotes.com/literary-criticism/askew-anne (eNotes)
  _ http://www.spartacus.schoolnet.co.uk/TUDaskew.htm (Sparticus)

  notes

  The description of scibe's scars roughly matches the
  scars on my leg after I was run down while walking a bicycle in
  a crosswalk in 1994.

  This part of the story, what scibe's role is, how her story relates
  to Dorothy's story is not yet told, but it is likely to be a subject
  of my future work. The interjection of the resemblance of scibe's leg
  to the legs of the male figures of Theodor De Bry engravings of
  John White's drawings of Roanoke parallels my own similar and disconcerting
  discovery during the research for Celebration. Like scibe, I do not
  at this time have an explanation for all that has occurred. But paralleling
  the moment when Papageno meets Papagena in Mozart's The Magic Flute,
  there is now an expectation that the story will pick up this thread.

"The development of invasive technologies," Sid was saying.
"The perceived need to test them on human subjects."

scene two - notes

While composing the layered narratives in Celebration I was reminded
of a silver cup that I received as a child. I was born in 1942, about one
month after Pearl Harbor. I relate this incident not to cause offense;
it was after all my name. Nevertheless, the recollection of my initials
J.A.P. on this cup still invokes in my mind the mystery of why no one
noticed their import. Perhaps it is why I so strongly identify with the
feeling of being -- as the Japanese Americans were in California --
unfairly incarcerated. Metaphorically, it is as if thus labeled in war time,
my life was altered on the day I was born.

• Eileen Welsome. The Plutonium Files: America's Secret Medical Experiments
  in the Cold War, NY: Random House, 1999
  Experiments by Joseph Hamilton and his colleagues in Berkeley are documented
  in Chapter 9: "Next in Line: Arthur and Albert" pp. 88-96.

• Will Grover, "All the Easy Experiments, A Berkeley professor, dirty bombs,
  and the birth of informed consent, Berkeley Science Review --
  http://sciencereview.berkeley.edu/articles.php?issue=9&article=plutonium

• Jim Garrison, On The Trail Of The Assassins, Sheridan Square Press, 1988

"A long time ago, there was a book, a codex
or so I imagine," he said. "It was kept in certain monasteries,
or perhaps it was memorized by a few select members of certain orders,
as were many texts in those days.
The body of the book contained strategies
for controlling the people in the neighboring villages.
Some of these strategies were handed down from ancient lore
and others were developed when the Inquisition went underground.
The people in the village did not know that this system existed,
but there was a folk lore that things happened to people
who challenged the Church or its structure.

scene three - notes and references

• Giorgio Vasari, "Pietro Perugino", in Giorgio Vasari, Lives of the Artists,
  A Selection Translated by George Bull. Vol II, London: Penguin Books, 1971.
  pp. 87-103.

"....The story that Shakespeare's father was the magistrate in charge
when Catholic paintings in the Stratford Guild Chapel were whitewashed...."
The echoing of Pietro's Combat of Love and Chastity in
Shakespeares commission for the sonnets, is of interest.

• Stephen Greenblatt, Will in the World, How Shakespeare Became Shakespeare,
  NY, London: W.W. Norton & Company, 2004
  Chapter 3, "The Great Fear" contains a good description of covert religious warfare
  in England in Shakespeare's era, as well as an account of the "reparations" in the Guild Chapel. pp. 87-117.

• "Shakespeare's Ancestry", NPR April 15, 2000 interview with Richard Owen of the
  Times of London about Martino Iuvara's theory of Shakepeare's Sicilian ancestry.
  http://www.npr.org/tehttp://www.virtualjamestown.org/images/white_debry_html/introduction.htmlmplates/story/story.php?storyId=1072976

  A possible role of Court tutor John Florio as a "go-between" and/or funder
  could be explored.

• "English Bible History" -- http://www.greatsite.com/timeline-english-bible-history/

"How then did Poseidon control the weather?
How then did Athena put thoughts into the minds of men,
control their waking and their sleep, take the shape of their friends,
give courage or invisibility?

Like certain works of hyperfiction, the quartet points to a thicket of hyperlinked
narrative information that reflects the conflicting threads which wove the cultural
history of Renaissance England at the time of the English colonization of America.
Whether or not the possible true existence of these hyperlinks reflects the early use
of a primitive computer program-like set of instructions is a matter of speculation.
• Homer, The Iliad: The Story of Achilles, translated by W.H.D. Rouse. A Mentor Book.
  New York: New American Library, 1938.
  

• Homer, The Odyssey, translated by W.H.D. Rouse. A Mentor Book.
  New York: New American Library, 1937.
  The passage that Dorothy quotes about brain machine interface control in Phaiacian ships
  is on page 99.

• Heinrich Schliemann, Troy and Its Remains: A Narrative Researches
  and Discoveries Made on the Site of Ilium and in the Trojan Plain, Dover,
  June 1994.

  Dorothy's account is based on my father's reading The Odyssey and
  The Iliad to me when I was a child, and on my reading of Schliemann's
  account of the discovery of Troy when I was a student at Middlebury College.
  The edition of Schliemann cited is obviously not the version that I read in 1963
  or 1964. I don't know what edition that was. The Dover version was published a
  month before I was run down in Tempe, AZ in July 1994.

• Ronald Howard, In Search of My Father, St. Martin's Press, 1981.
  Written by his son, journalist/actor/art gallery owner Ronald Howard, this book
  details the career and last months of British Actor, Leslie Howard, 1893-1943.

  Commentary

  According to Howard's son's account, (it does not appear that he knew that British
  Intelligence was aware the plane was going to shot down) Leslie Howard was not originally
  scheduled to be on this flight. The airline received a call saying that Howard
  and Alfred Chenhalls, whose company was a financial advisor to film and theatre people,
  had priority. It does not appear that Howard and Chenhalls initiated the call.
  Three passengers were taken off - a boy, (the son of a Major in the foreign office)
  his nanny, and Father A.S. Holmes, Vice-President of the R.C. English College.

  In addition to Leslie Howard, who was Jewish Hungarian and had been making films
  promoting the British cause, and Jewish advocate Wilfrid Israel, who knowledge of details
  of the Holocaust, the other people who were killed included K. Stonehouse, Washington
  correspondent of Reuters; Mrs C.A. Paton, wife of the Cuban Consul in Liverpool;
  (also a late addition) T.M. Shervington, Shell Manager in Lisbon; (sponsored by the
  Ministry of Fuel and Power) and mining engineer Ivan Sharp, who had been negotiating
  wolfram exports to the UK for the manufacture of armaments. Wilfrid Israel was traveling
  for the Jewish Refugee Mission. He had saved many families from the death camps and was
  working to organize the movement to Palestine of the 1,500 Jewish refugees in transit
  camps in Spain and Portugal.

• Donald E. Wilkes, "The Assassination of Ashley Wilkes", The Athens Observer, June 8, 1995. http://www.law.uga.edu/academics/profiles/dwilkes_more/other_1ashley.html
  (The University of Georgia School of Law)
  "...When the Ultra secret was disclosed long after WW2 ended, the public learned
  that the Allies had broken the Nazi codes for most of the war.
  Subsequently it was also revealed that the British had known in advance of
  possible German plans to intercept the airliner. To avoid compromising
  the Ultra secret, the British did not pass on their knowledge to the airline.."

• HV Morgan's Britain, selected by Gilbert Carter, A Giniger Book,
  published in Association with London: Methuan & Co, 1969.
  Certain stories from British history that Morgan brings to life in this legend-laden
  journey are of interest in the saga of Virginia Dare, the first child born in America to
  British parents - for instance, how Edward I subdued the Welsh Chieftons and then
  sent his pregnant Queen, Eleanor of Castile, to Caernarvon in Wales so that an heir
  would be born on Welsh soil. pp. 116-117. And perhaps the centuries long underground fight
  of the Red and White dragons, as set forth by Merlin, (pp.117-118) is a potent metaphor
  for the covert battles of intelligence agents in 16th century England that seemingly
  linger in contemporary America.

  William Shakespeare, The Tempest, in The Complete Works of William Shakespeare,
  NY, Avenel Books, 1975. pp. 1-22. Probably written 1610-1611 and first published in 1623.
  Probably based on accounts of the wreck of the Sea Venture on the coast of Bermuda
  the survival of all its passengers, and on the reports of demons in Bermuda.

"This theory of the incredible trajectory
of the so-called magic bullet that killed President Kennedy
it reminds me of the remote contolled 'Goliaths'
that the Nazis used during World II," Gunter said.
"...We are looking for a man with a gun, or men with guns,
but anyone could have activated a remote control bullet
from anywhere in Texas within range of the technology."

scene four - notes and references

• David A. Vise, The Bureau and the Mole, the Unmasking of Robert Philip Hanssen,
  the Most Dangerous Double Agent in FBI History, NY, Atlantic Monthly Press, 2002.
  This account of FBI Agent Hanssen's life is of particular interest because it details
  his`involvement with Opus Dei, and his two-faced pretense of morality. Hanssen wrote
  pornography, went to strip joints, and let his friend, Jack Hoschouer (in the Armed Forces
  in Germany) watch he and his wife making love on closed circuit video, unbeknownst to his wife.

• Aldrich Ames -- http://en.wikipedia.org/wiki/Aldrich_Ames (Wikipedia)

  "Knowing what I know about the technologies they use,
  it is impossible that some top FBI officials did not know that he was
  selling out his fellow agents to the Russians."
  An incident related in Fred J. Cook, The FBI Nobody Knows, (NY: Pyramid Books,a
  1964 p. 18-20) is of interest. After FBI Special Agent Skip Gibbons was instrumental in
  catching a Russian spy, Gibbons was persecuted by the FBI, receiving 5 disciplinary
  transfers. Cook also reports that as a result of FBI infiltration, the FBI
  became a dominant force in the Communist party. (pp. 37-38) and in some cases
  FBI agents seemed more loyal to the Communist party than the FBI. (p. 93)

  "....an etching of the Citadel of Quebec,
  the one-time British fortress that still stands in French Canada...."
  The etching to which scibe refers is "Citadel of Quebec". scibe does not mention
  the striking Z shape on the hillside under the Citadel --
  http://www.neartexchange.com/artist.php?id=690&d=1
  (New England Art Exchange)

  As does scibe, I own a small etching by Thomas R. Manley. I think
  I bought it at an auction in Vermont. I had it framed when I lived in Ipswich.
  It is of a river or canal. The scene that the Citadel of Quebec etching depicts
  was as familiar to me as it was to scibe. I still recall the shock of recognition
  when I saw it.

• Eileen Welsome, "Ebb Cade" pp. 82-87 The Plutonium Files:
  America's Secret Medical Experiments in the Cold War, NY: Random House,
  1999. pp. 82-87 Ebb Cade, an African American construction worker in Oak Ridge,
  TN, was intentionally injected with a large does plutonium without his consent
  after he was in a traffic accident.

• Jennet Conant, Tuxedo Park, A Wall Street Tycoon and the Secret
  Palace of Science That Changed the Course of World War II, (New York:
  Simon Schuster, 2002). pp. 108-132 This chapter of a biography of Alfred Loomis
  details his experiments with reading brain waves, that began in the 1930's before he
  became a major player in defense research and development during World War II.

• Peter Gay, Mozart, London: Weidenfeld and Nicolson, 1999

• William Stevenson, A Man Called Intrepid, Guilford, CT,
  The Lyons Press, 1976. Camp X is profiled in Chapter 25: pp. 187-200

• Remote control- http://en.wikipedia.org/wiki/Remote_control (Wikipedia)

• JFK
  http://www.oscarworld.net/ostone/default.asp?PageId=15
  (OLIVER STONE A Web Page by Jason O'Brien)
  JFK was based on Jim Garrison's On the Trail of the Assassins

• Inaugural Address of President John F. Kennedy, Washington, D.C., January 20, 1961
  http://www.jfklibrary.org/Historical+Resources/Archives/Reference+Desk/Speeches/JFK/003POF03Inaugural01201961.htm

"...You should know that everyone in Congress,
who works on defense and intelligence committees
knows they are using these technologies against civilians.

"While you are being hurt for what you write,
you can make your own judgments about the Congressmen, the Attorney General
and the President and his lawyers,
who are insisting that illegal intelligence agency operations
should be concealed."

scene five: "Uncle Roger's Soliloquy" - notes and references

• Beck, Alfred M., Hitler's Ambivalent Attache, Lt. Gen. Friedrich
  von Boetticher in America, 1933-1941, Washington, DC: Potomac Books, 2005. p. 164

• Linda Hunt, Secret Agenda, The United States Government, Nazi Scientists,
  and Project Paperclip, 1945-1990. St. Martin's Press, 1991.
  A well-documented and comprehensive account that documents the bringing to this
  country of over 1000 scientists and researchers and their dependents under
  Operation Paperclip which recruited Nazi war criminals. (out of print)

• National Security Archive, "The CIA and Nazi War Criminals" --
  http://www2.gwu.edu/~nsarchiv/NSAEBB/NSAEBB146/index.htm

  "The technologies of the Egyptian priests, set forth in the story of Moses"

• "Exodus", The Holy Bible
  "Take thy rod and cast it before Pharoah, and it shall become a serpant"

• "Light of the Pharoahs" -- http://doernenburg.alien.de/alternativ/dendera/dend03_e.php (Frank Dörnenburg)

• Christoper Dunn
  http://www.gizapyramid.com/BIO-Dunn.htm (Great Pyramid of Giza Research Association)

• Giorgio Vasari, "Botticelli", in Giorgio Vasari, Lives of the Artists,
  A Selection Translated by George Bull. Vol I, London: Penguin Books, 1971.
  pp. 224 - 231
  

• Robert Baer, See No Evil: The True Story of a Ground Soldier
  in the CIA's War on Terrorism, NY: Three Rivers Press, 2003

• "Impressment" -- http://en.wikipedia.org/wiki/Impressment (Wikipedia)
  The British Navy's impressment of over 6,000 American sailors
  was one of the causes of the War of 1812.

• Charles Berlitz with the collaboration of J. Manson Valentine,
  The Bermuda Triangle Garden City, NY: Doubleday, 1974.

• Darwin Porter and Danforth Prince, Frommer's Bermuda 2006
  Hoboken, NJ: Wiley, 2006. pp 225-229

• First Invasion: The War of 1812, The History Channel --
  http://www.historychannel.com/

• E. Howard Hunt, Give Us This Day, NY, Popular Library, 1973.

• Mark Follman, The Bush code of secrecy - How the White House is
  covering up CIA abductions, brutal interrogations and spying on Americans,
  Salon.com, June 23, 2006 -- http://www.salon.com/news/feature/2006/06/23/state_secrets/

• "We have already looked at Bill Stephenson,
  head of BSC, the British intelligence service
  that was allowed to infiltrate this country during World War II"
  Unle Roger refers to the discussions about Stephenson in Revelations of Secret Surveillance

• William Stevenson, A Man Called Intrepid, Guilford, CT,
  The Lyons Press, 1976.
  In which British Intelligence boasts about subverting American democracy
  including murdering alleged spies on American soil without the benefit of a
  trial.

• Mahl, Thomas, Desparate Deception, British Covert Operations in
  the United States, 1939-44, Brassey's, 1998.

• Hyde, H. Montgomery, The Quiet Canadian, the Secret Service Story of Sir William
  Stephenson, Constable, 1962. Confirms some of the incidents and the general behavior pattern of BSC
  that is documented in Stevenson and Mahl.

• "...In my experience, British officials do not recommend the Irish
  for such positions. Particularly those whose family gave sanctuary
  to Irish Independence leaders..."
  Donovan's Grandfather's association with the Fenians and his sheltering of
  Irish Independence leaders is covered in Anthony Cave Brown, The Last Hero:
  Wild Bill Donovan, NY: Times Books, 1982. pp. 15-16. As Uncle Roger states,
  Donovan himself was the commanding officer of the New York 69th Regiment of
  'The Fighting Irish'.

• In Richard Dunlap, Donovan, America's Master Spy, (Chicago, NY, SF:
  Rand McNally & Co, 1982) Dunlop, whose account is for the most part a whitewash
  of Donovan's COI/OSS career, quotes the diary of Brig. General Raymond Lee
  (military attache in London) as saying that Donovan "...does not seem to have
  any particular fondness for the Free State". (p. 242) Dunlop also relates that at
  a lunch with Irish Prime Minister Eamon de Valera and the Cardinal from Northern
  Ireland, who remarked, according to Dunlap, that "he did not see much difference
  between a Nazi victory and British dominion," Donovan became very angry and
  "blistered the churchman with his opinion of the anti-British myopia shown by
  some Irish." (p. 271)
  Note

  In Bruce Page, David Leitch, Phillip Knightley, The Philby Conspiracy
  (Garden City, NY, Doubleday & Company, 1968) the authors write of the difficulty of
  knowing what agents are doing: "...the Philby controversy revolved around the fact
  that, like all other spies and agents, his loyalty, short of simple faith, could only
  be tested by making an elaborate profit and loss account of his operations." (p. 253)
  

  Perhaps that is at the core of the problems with deciphering intelligence agency operations.

"as if DARPA-funded researchers were experimenting
with how to control soldiers
and had learned how to co-opt our internal voices.
Every moment of my life, I have to endure it"

scene six - notes and references

• Current research and development in mind invasive technologies is documented in
  Systems of Surveillance

• Although the fictional circumstances are somewhat different --
  for instance neither of my grandfathers was a defense scientist --
  the images and narrative in the artists book that Gwen's
  mother created are based on my own experience and memory.
  

  My father did pose for Orozco's mural at Dartmouth.
  (That the Dartmouth football team -- it could have been the hockey team;
  I do not remember which of the teams my father played on at Dartmouth
  posed for this mural -- was the pile of bodies in one of the sections of the mural
  always made me wonder if some visiting Princeton or other Ivy League scholar had
  suggested this. Ivy League sports were taken very seriously
  in those days.)

"... a parallel era in a different place,
the seventies in San Francisco,
of the Grateful Dead and how the community that they created around their music
brought people together."

For the musicians, writers, and artists of all kinds,
whose careers have been diverted or interrupted,
the violin that so many years ago I drew inadvertently without strings,
is symbolically restrung in this scene.