While today’s posting from Dr. Scolapasta wasn’t characteristic of many of us growing up in the North End in the 1950s, it certainly was typical of the strangenesses that occurred there from time to time.
We could only laugh at them.
But before that, here’s a catchup on Sections 1-9 of “The Goldfinch,” the Donna Tartt novel.
The social workers take Theo for breakfast and explain to him that his mother was found, dead.
They discuss the issue of temporary custody.
They call Theo’s friend, Andy Barbour. Andy's parents, hoping he can help their own son with his adjustment issues, quickly agree to temporarily care for Theo.
Adjustment isn’t easy for anyone.
After some days, Theo returns to school.
His father can’t be found and his only living grandparents are too feeble to care for him.
Theo prefers staying with the Barbours as the least objectionable alternative.
Some days later Theo is taken to a room in his school where he is among a group of police, social workers, school officials, and his temporary caregiver, Mrs. Barbour.
They question him forever, repeating, listening, hoping to jog Theo’s memory.
Theo’s fear that they had discovered the painting missing and suspected him is laid to rest.
He adds little to either their investigation of the incident or to their settling on a place for Theo to call home..
Today is Wednesday, July 11, 2018
Good morning, my friends.
This is my ninety-fourth consecutive daily posting.
It’s 5.14am.Outside it’s thunder and sporadic showers. We are promised an excellent day.
Wikipedia summary of what’s on the screen: On the screen: Gigi is a 1958 American musical-romance film directed by Vincente Minnelli processed using MGM's Metrocolor. The screenplay by Alan Jay Lerner is based on the 1944 novella of the same name by Colette. The film features songs with lyrics by Lerner and music by Frederick Loewe, arranged and conducted by André Previn.
In 1991, Gigi was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant". The American Film Institute ranked it #35 in AFI's 100 Years...100 Passions. The film is considered the last great Metro-Goldwyn-Mayer musical and the final great achievement of the Freed Unit, headed by producer Arthur Freed, although he would go on to produce several more films, including the musical Bells Are Ringing in 1960
I’m at my desk.
Dinner is Chicken, (leftover) with broccoli and the unused lasagna noodles from yesterday’s excellent dinner, poured into excellent popover halves I bought from the Boston Public Market from the popover man.
Last night's dinner with literature-oriented friends was just what I hoped for: low-key with some introductions.
One attendee, Terry Kitchen, a modern folk-singer as well as writer, has promised some information on his book, "The Next Big Thing." Tomorrow,
Nun distributing ‘holy cards,” with pictures of saints or the Virgin Mary or Christ on the cross.
Manny G not accepting.
“Take a card, Manny.”
“What do you men, No?”
“No means I don’t want one.”
“Everybody has one.”
“I don’t want one.”
“Because my old man told me that anything you get for nothing is no fucking good.”
At which point the good sister’s patience at an end, and it being a different era, she goes to the blackboard and returns with the long wooden pointer.
She delivers Joey a few smacks on his shoulder and back.
Joey jumps up, winds up, and slugs the good sister on the side of her head.
Not too damaging, really.
Manny just eight-years-old.
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