Neutral Tones

This semester, and last, I assigned--among other things--Thomas Hardy's poem "Neutral Tones" in my intro literature classes. 

We stood by a pond that winter day,
And the sun was white, as though chidden of God,
And a few leaves lay on the starving sod;
—They had fallen from an ash, and were gray.

Your eyes on me were as eyes that rove
Over tedious riddles of years ago;
And some words played between us to and fro
On which lost the more by our love.

The smile on your mouth was the deadest thing
Alive enough to have strength to die;
And a grin of bitterness swept thereby
Like an ominous bird a-wing …

Since then, keen lessons that love deceives,
And wrings with wrong, have shaped to me
Your face, and the God-curst sun, and a tree,
And a pond edged with grayish leaves.

Where I live, and where I rode yesterday, can hardly be compared to Hardy's Wessex countryside--which, actually, wa even deader than the love lamented by the speaker of his poem.  Wessex was an Anglo-Saxon kingdom the Danes invaded a millenium before Hardy started writing.  Today it consists of Dorset, where Hardy lived most of his life, and neighboring counties in southern England.

But we are entering our season of "neutral tones":  the incandescent of Fall has burned away, and even the lastflickering and smoldering hues of dying embers have faded away.  Here in New York, we can see some of those "neutral tones" in the trees, even in the light of the sky--and manmade structures:

It wasn't particularly cold, though the temperature was beginning a precipitous drop, propelled by the wind, that would continue through the night and this morning.  So, I was the only cyclist--and one of only a few people--on the waterfront park just south of the Brooklyn Bridge.

I am not lamenting a lost love--or much of anything, really--right now.  I am just tired from the heavy workload I took on during the past few months--and from the election and the ensuing tumult.  All right, maybe I am ruing the relative civility, and concern for the truth-- or, at least, the appearance of those things-- of the past few years.

The other night, I was having a conversation with someone I've come to know a bit during the past few months.  We both agreed that we are now in a completely different world from the one in which we first met:  as I recall, some time late in the summer.  We can see it in the faces of people; most important, we can feel it, we agreed:  the air of resignation and defeat in places like the neighborhood in which I work, and the belligerence (manifested in an increasing number of attacks against people who are, or look like, Muslims, LGBT people or anyone Trump scorned or mocked) in other places.  

"But you know, we created all of that.  Everyone did.  Just as Americans created the Soviet Union as much as those folks in the Kremlin did."

I reflected on that observation as I stopped along the Brooklyn waterfront.  Obviously, humans created that bridge--which I love.  But we also made the "neutral tones" of that sky and the trees.  The hues were those of winter until we made them neutral--when, as in Hardy's poem, love is lost or, worse, abandoned. 

I had another insight, for whatever it's worth, about why Christian (white ones, anyway) and Jewish fundamentalists voted for Trump.  He famously declared climate change a "hoax".  (His unique spin, of course, was to attribute the ruse to the Chinese.) The religious folk might not like the fact that he made much of his fortune from casinos and other unsavory businesses, and that he's been married three times--or that his views on abortion are those of the last person who discussed the issue with him.  But what he said about climate change aligns completely with the most fundamental tenet of Abrahamic religions (as I understand them, anyway):  that of God's sovereignty.  That notion is challenged, to say the least, if you believe that human-generated pollution can cause a rise in sea levels and average temperatures, and can wipe out entire species. 

And to think that Trump came from the same city I inhabit!

Then again, I don't think he ever took a bike ride along the Brooklyn waterfront on a winter afternoon--and saw what I saw.

Campagnolo's Coelacanth

The first time I saw this, I thought I was looking at the bike of someone whose dollars spent exceeded the number of miles ridden on his bike.  I mean, who else would have a Campagnolo quick-release lever in that position?

A second glance revealed, of course, that it wasn't a quick-release lever.  But could that be...a coaster brake hub?...I wondered.  

I thought I knew Campy stuff pretty well. Even though I never rode BMX, I knew the legendary Italian company made some of the best components available for that kind of riding. I also remember their short-lived mountain bike lineup (Euclid).  I even recalled  that they made parts for aircraft and NASA spacecraft as well as race cars and motorcycles.  And, oh, yes, let's not forget those big corkscrews--the gold plated ones, especially.

It's yoooge.  I mean, BIG.

Still, I had not heard of a Campagnolo coaster brake hub until I saw a photo of it a few years ago.  I have since seen a few more images of it, and a few brief mentions.  I have not, however, found any Campagnolo catalogue or other literature that listed it, or any other information pertaining to it.  When was it made?  Why did Campy begin and cease production of it?  Was its reputation on par with its Super Record racing components?  Or was it like their Delta brake:  a triumph of technology and aesthetics over function?  

Even though the Bike Boom--which made ten-speeds all the rage--exploded during my adolescence, lots of kids still rode bike with coaster brakes.  Even though balloon-tired bikes were falling out of favor with kids my age and adults, lots of kids still looked forward to getting middleweight bikes like the Schwinn Typhoon or Hollywood, which came with coaster brakes.  Even the low-rider "muscle" bikes like Schwinn's Sting Ray were available with coaster brakes as well as with five-speed derailleurs.

Can you imagine kids on some playground trying to one-up each other? "Well, I got a Schwinn!"  "Oh, yeah.  Well, mine has a Campagnolo coaster brake."  What kind of a world would we have?  Hmm...what would the world be like if kids who weren't Italian grew up knowing how to pronounce "Campagnolo"?

From what little I've seen of them, I'd guess that the Campagnolo coaster brake hubs were well-made.  Still, if I were going to build a coaster brake wheel for myself, my first choice would be a US-made Bendix.  I overhauled and fixed enough coaster brakes when I worked in bike shops to see how much better they were than the others, including New Departure or even Sachs-Fichtel or Sturmey-Archer.  Bendix haven't been made in the 'States for about forty years (later ones were made in Mexico), but if you're nice to your bike mechanic, he or she might give you one (or sell it for not very much) out of the parts bin:  Lots of Bendix hubs have been saved from wheels that were otherwise trashed. Still, I've seen them sell for over $100 on eBay!

A few years ago, I briefly rode a Velosteel coaster brake hub.  It's certainly prettier than any other I've seen, even Campy's.   Its beauty is only skin- (or shell- ) deep, though:  Whenever I backpedaled to stop the bike, it seemed that the hub had to find its "sweet spot" before the brake engaged, and when I pedaled again after stopping, I experienced a "dead" stroke of about half a pedal revolution.

If you want a currently-made coaster brake hub, I'd say to buy Shimano's--even though it doesn't have the "cool" factor of Campagnolo's.  Actually, half of the "cool" factor would come from simply finding a Campagnolo coaster brake hub in the first place!

A Clean Sweep For The New Year....In 1898

If you ever want to see or read a Shakespeare play for fun....

Some of you may not believe that such a thing is possible.  You still have nightmares about some English teacher who made you feel foolish for not understanding the language--or, worse, not interpreting something the same way the teacher saw it.

I really try not to be one of those instructors. Really, I do.  And, yes, some students actually enjoy Shakespeare plays after I teach them.

One I have yet to teach, but am sure most students would enjoy, is A Midsummer Night's Dream.  To tell you the truth, what I have always enjoyed about it is that it messes with readers and viewers.  As you might be able to tell, there's a part of me that likes to do just that with people.   Sometimes, anyway.

And how can you not love Puck, the mischievous character who, at the end of the play, suggests to the audience that everything they just saw may be, in fact, only a dream.

(Some have suggested that the hockey puck derives its name from that character, because it is capricious and flighty, and messes with players, especially goaltenders.  Others have said it's a corruption of the "poke" used to strike or push the ball in the game of hurling.)

There was once a magazine named after the Shakespeare's character.  It ceased publication nearly a century ago.  I have seen only reproductions of a few issues.  But, from what I've seen, I'm guessing that it must have been poignant, funny and intelligent:  sort of what a magazine of New Yorker cartoons might be like if their creators (or the magazine's editors) weren't so conscious of the fact that they were New Yorker cartoons.

While most of Puck's cartoons were political editorials were political, the magazine's editorial point of view was non-partisan:  Politicians of all stripes were fair game.  Donald Trump might have pledged to "drain the swamp"; the folks at Puck would have wanted exactly that, as evidenced in this cartoon ushering in the New Year of 1898:

"A Clean Sweep For the New Year".  On a bicycle, yet.  Where are cartoons like that when we need them?