Theatre / Theater another work about work

[alice wellintown]

Henry Adams visits Jim Fisk, but the New York side of the story helped
him little, "he needed to penetrate the political mystery..." Young P
mixes in the biographicals and historicals and the textuals and then
Pinches artesticals; this is his method and here we can not quite make
out that theatre from the theater by blocking it cause it don't
square. The Education helps, but the irony in P's use of the
Education, and in his use of all other sources, but Th Education is a
special case, is that just when we think we've learned a lesson, we
come to realize that it is not worth very much becuse its out-dated or
it doesn't apply to a new and evolving world. One of the reasons
explosives, though they may need a chemist, a physicist, a
spiritualist to explain them, teach most is that theyct as a metaphor
for, as Ian suggested, the mind warping impact of a world where things
fall apart and the cre can not hold. So yeah, two, at least two opera
houses are in play here, one built by Fisk and Grant gold, the other
built by Ismail with Suez debts. A quick look at these two men, Fisk
and Ismail may be useful. Fisk, for example was murdered and he was
married to young (15 years) orphan, a cousin…blah blah…

What is not so obvious here is the story of labor; how the workers
liked Fisk, for example. We say that these giant magnets built these
opera houses, these theatres, but real men did the work and dies in
the theaters of war. And then there is Adams who begins, much like
Oedipa, on a quest to discover his country, to understand the men and
women that are America and ends up learning more and less than he
thought possible in a life time. Adams is pushed, by the Republicans,
by his conservative connections, to the radicals; here he finds that
the lot is for sale. But the workers had little time for opera or
satire or even tragedy. No branch of government, not even the courts,
would save these poor fellows.
Between the Executive and the Legislature, citizens could have no
Rights; they were at the mercy of Power. They had created the Court to
protect them from unlimited Power, and it was little enough protection
at best. Adams wanted to save the independence of the Court at least
for his lifetime, and could not conceive that the Executive should
wish to overthrow it.

For satirists or comedians, the study was rich and endless, and they
exploited its corners with happy results, but a young man fresh from
the rustic simplicity of London noticed with horror that the grossest
satires on the American Senator and politician never failed to excite
the laughter and applause of every audience. Rich and poor joined in
throwing contempt on their own representatives. Society laughed a
vacant and meaningless derision over its own failure. Nothing remained
for a young man without position or power except to laugh too.
Yet the spectacle was no laughing matter to him, whatever it might be
to the public. Society is immoral and immortal; it can afford to
commit any kind of folly, and indulge in any sort of vice; it cannot
be killed, and the fragments that survive can always laugh at the
dead; but a young man has only one chance, and brief time to seize it.
Any one in power above him can extinguish the chance. He is horribly
at the mercy of fools and cowards. One dull administration can rapidly
drive out every active subordinate. At Washington, in 1869-70, every
intelligent man about the Government prepared to go. The people would
have liked to go too, for they stood helpless before the chaos; some
laughed and some raved; all were disgusted; but they had to content
themselves by turning their backs and going to work harder than ever
on their railroads and foundries. They were strong enough to carry
even their politics. Only the helpless remained stranded in
Washington.