Introduction
Popular culture, commonly known as pop culture, is the totality of ideas, perspectives, attitudes, images and other phenomena that are deemed preferred in an informal consensus within the mainstream of a given culture. This is especially true, for my purposes at this website, in the Western culture of the early to mid 20th century and the emerging global mainstream of the late 20th and early 21st century. Heavily influenced by mass media, this collection of ideas permeates the everyday lives of the society. The term "popular culture" itself is of 19th century coinage. In its original use it referred to the education and "culturedness" of the lower classes and the term was first used, as far as I know, in an address at the Birmingham Town Hall in England.[1]
The term began to assume the meaning of a culture of the lower classes separate from and opposed to "true education" towards the end of the century.[2] This usage became established by the antebellum period, that is, the years before the war, before the Civil War. It refers specifically to the period in US history before the Civil War and after the War of 1812, that is, the years 1815-1861. The current meaning of the term, culture for mass consumption, especially originated in the United States and was fully established by the end of World War II. The abbreviated form "pop culture" dates to the 1960s.[3]
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1. Adam Siljeström, The educational institutions of the United States: their character and organization; J. Chapman, "Influence of European emigration on the state of civilization in the United States: statistics of popular culture in America," 1853, p.243; John Morley presented an address on popular culture at the town hall of Birmingham in 1876 dealing with the education of the lower classes.
2. The sentence: "Learning is dishonored when she stoops to attract," was cited in a section "Popular Culture and True Education" in University extension, The American society for the extension of university teaching, 1894.
3. Gloria Steinem, 'Outs of pop culture', LIFE magazine, 20 August 1965, p. 73.
POPULAR CULTURE AND MY WRITING
There is a great deal in popular culture that I have found useful to draw on for this prose-poetic website. Below are an essay and several poems that arose out of what I find to be a rich reservoire of relationships between popular culture and the Baha'i Cause. The essay below is an introduction I wrote to a collection of published articles, 800 words each, which appeared in a newspaper in the town of Katherine in the Northern Territory of Australia between 1983 and 1986. For the most part these were essays on popular culture, high and low culture, serious and the everyday. In these early years of this new millennium these published articles and several others in other media, a total of some 200,000 words, are my major form of published work in the traditional literary forms of: books, journals and newspapers.
MY WRITING IS ALSO ABOUT HIGH CULTURE
I have several books on the Internet but they do not all deal with popular culture. One is entitled: The Emergence of a Baha'i Consciousness in World Literature: The Poetry of Roger White. This book can be found at:
http://bahai-library.com/price_white
or
http://juxta.com/ebooks/the-emergence-of-a-bahai-consciousness-in-world-literature-the-poetry-of-roger-white/
(click on the words Download PDF on the right side of the access page at juxta.com)
Some of my other books on other topics---not on popular culture---can be found at:
http://bahai-library.com/price_mental-health_history_autobiography-memoir
http://bahai-library.com/price_culture_learning_paradigm
http://bahai-library.com/price_pioneering_four_epochs
PHENOMENON AND POPULAR CULTURE
The word “phenomenon”—from the Greek word phainesthai, “to appear,” and related to another Greek word that is the root of the English word “fantasy”—possesses a unique potency in our culture. While scientists may use it to mean anything observable, it is popularly applied to rock stars, movie stars, top athletes, and the like. Even today, in our hype-drenched society, it is not used promiscuously. It is reserved for that special minority of people who seem to have singular talent and potential; for those with the ability, that is, to fulfill our collective fantasies. For more on this subject go to:http://www.nybooks.com/articles/archives/2006/nov/30/the-phenomenon/
AUTOBIOGRAPHY AND POPULAR CULTURE
As I emphasize so often on this website writing is a form of autobiography. A home movie is a motion picture made by amateurs, often for viewing by family and friends. This is also a form of autobiography and it is used mainly by those who prefer a visual account of their life to a literary one. When the hobby began, home movies were produced on photographic film, but availability of video cameras and camcorders and digital storage devices has made the making of home movies easier and more affordable to the average person. The boundaries between consumer movie-making and professional movie-making are becoming increasingly blurred as prosumer equipment, targeted at the video and film production communities, often offers features previously only available on professional equipment. This is yet another form of popular culture and autobiography.
Autobiography is a dominant thread throughout this website, but readers will not be able to find a home movie or any moving set of pictures to locate my life. I do have some moving pictures, some cinematic, material at this site. But it is not about me. The following link provides an example of some of these cinematic resources: http://www.bahaipictures.com/
For a history of the use of home movies go to: Wikipedia. I do have several videos, as I say above, on topics other than my memoirs in different sections of this site from U-tube among other sources. I have also posted several dozen photos at this site and across the internet, at Facebook, Photobucket and a plethora of other sites. When I pass from this mortal coil they will still be there as long as there is some form of internet and a web hosting service that allows people like myself to make their own website accessible via the World Wide Web---after their passing. Web hosts are companies that provide space on a server they own or lease for use by their clients like me. They provide internet connectivity after I have died and a place, a space, for people to read what I have written. For a detailed explanation of this hosting process go to: "Web Hosting Service" at Wikipedia. If I am unable to obtain an inexpensive host for this website(in 2011 the cheapest I could find was $50/annum)this site will disappear after I die. If I am unable to make arrangements with someone to pay for such a host after my demise all my millions of website words will go down the cyberspace gurgler.
TWO FORMS OF AUTOBIOGRAPHY
Everyone from the ordinary middle-class person to rich celebrities now produce home movies. Of course, in third-world countries such things are luxuries and, even in the first, the developed, world, many millions of people have not taken an interest in such forms of entertainment. Such visual resources, for those who do take such an interest, promote new forms of relationships between artists & their audiences, between autobiographers and their readers and they have a strong appeal to the fans of the celebrities and artists, fans who feel intimately connected with their favorite heros and heroines, big names and personalities, idols and icons in the electronic media.
Two students of autobiography, Sidonie Smith, professor of English and women's studies at the university of Michigan and Julia Watson, associate professor of comparative studies at Ohio state university describe two forms of autobiography. One form focuses on the everyday practices of autobiographical narrating, the ordinary lives of people everywhere. Home movies, for the most part, fall into this category. The other form of autobiographical text could be said to have an association with high culture. This latter form of autobiography is, they say, a more artful and analytical, more literary and insightful, autobiography. Such distinctions are somewhat tenuous, though, in our postmodern culture. Ours is a culture that encourages people to draw on a repertoire of multimedia forms for identity construction and definition as well as their personal life-narrative. Videos made about everyday life by our consuming culture connect the formerly elite practice of video-movie-art with more pedestrian uses of the home movie users and their autobiographical lives. Variously positioned autobiographical discourses, like my own, are intended to prompt interventions by others in my everyday life. My literary autobiography is intended, too, to bring like-minded people together. My autobiography positions itself in a host of different ways across the internet at the more than 8000 sites I have joined. It is read, in whole or in part, by an uncounted number of people. In the process, I take part in both forms of autobiography referred to by Smith and Watson.
AUTOBIOGRAPHY IN POPULAR AND HIGH CULTURE
Autobiographies are now found in both high art and in popular culture. They are not limited to either side of the above dichotomous societal divide of elite and popular culture and their respective social hierarchies. My autobiography can be said, then, to participate in both forms, both styles, of this genre. Autobiographical texts can, as I’ve said above, promote new forms of social interaction in everyday life. There are the more literary approaches to personal narratives and there are the more popular culture approaches; low-end confessional videos by independent artists and more sophisticated analytical treatments, are all part of the varied mix that is found in today’s world. The tension that the confessor experiences between a focus on subjectivity and an attempt to construct an identity that is communal rather than individualistic is a common one and it helps to provide a welcomed opportunity for introspection and often useful analytical and subjective writing.
Autobiographical videos have been making their appearance in the last two decades more and more. While video has not been part of my autobiography in the first seven editions, I may be more adventurous in an eighth and future editions. Time will tell. I mention home videos here because of their increasing use in our culture, in our popular culture, for personal memoiristic/autobiogrpaphical purposes. I think it unlikely that readers will ever find such resources at my website or anywhere else in the print and electronic media. My life is expressed in print in the main as was my grandfather's before me, an autobiography he wrote in the early 1920s and which got published for family members in 1980. After my demise, print will be what I leave behind for those who take an interest in its contents.
SELF-EXPOSURE, SELF-REPRESENTATION, AUTOBIOGRPAHY AND POPULAR CULTURE
Smith and Watson's writing about autobiography and the difficult issues of self-representation is all part of the remarkable outpouring of self-portraiture in contemporary painting, photography, artists' books, and mixed visual forms such as installations, collage, and quilting that marked the last two decades of autobiographical inquiry in the United States, Canada, Great Britain, Ireland, France, Germany, and elsewhere. My autobiographical work does not flaut autobiographical conventions; it does not exist at the outer limits of the practice of memoir. I observe a kind of decorum; I limit my self-exposure before readers even if they might have a hunger for more intimacy and vicarious adventure. This limitation is part, as I see it, of my self-defined role. I have no intention of breaching social decorum in order to renegotiate what is permissible in the name of public presentation of my past. The procrustean bed of autobiography is now inescapably a rumpled one. It is much slept in and is warm from extensive use. I am one of those many academic critics who want to say "no" to excessive and repeated self-display. But the autobiographical world is also haunted by conspicuously absent bodies who do not write and who do not know what to say.
The world of the autobiographical has become a moving target of experimentation. The visual excess of the artist seems to me to be the equivalent of the obsessive confession of the talk show, or disclosure on the psychiatrist's couch? I'm sure some readers at this website will feel that I, too, have gone too far. As I see the self-revelation found at this site, it presents the idiosyncratic particularity of my own past, one often at odds with conventionality and the multitude of norms of my contemporary society. I invite readers to remake me in the present, to compose their own interpretive narratives of my life or theirs, to collaborate in constructing what I have provided as the indisputable authenticity of my autobiographical self.
WRITING AS PLAY AND POPULAR CULTURE
As distinct boundaries between and among the categories of autobiography and memoir are fading, it has been asked in recent decades: to what extent are literary, or narratively-based, theories of autobiography useful for inquiring into self-reflexive narratives? To what extent are they useful when they interweave presentations of self across multiple media, including virtual reality? To what extent does our theorizing itself need to be remade by contemporary practice at the so-called rumpled sites of the experimental, so that we may take account of changing autobiographer-audience relations, shifting limits of personal disclosure, and changing technologies of self that revise how we understand the autobiographical? In different ways many self-representational acts are testing the limits of the autobiographical as act, discourse, and visual/verbal interface. For more on this subject go to: http://www.the-rumpled-bed-of-autobiography-extravagant-lives-extravagant-questions/
I would like to close this brief essay with a focus on the concept of writing as a form of play, as a form of praiseful thanksgiving, as a way that mercurial energy finds a place, where the imagination can leap, where the heavenly wit of Hermes, that Roman god, finds a home. Poetic language, wrote the hermeneutical philosopher Hans-Georg Gadamer, is “language at its most playful.” Play, of course, takes many forms for me in my poetry and my life and in this autobiography. Here are two manifestations of this tendency so crucial to language and life, two prose-poems that draw on aspects of popular culture: music, TV, film, games and the Baha'i Faith, from both a contemporary and a historical perspective.
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THEY CAN'T GET NO SATISFACTION
Arguably the greatest English essayist of the nineteenth century, William Hazlitt, wondered whether anyone who had lived through the French Revolution and the Napoleonic Wars would find satisfaction in the contrived ardours of literature. It seems to me that the same question that Hazlitt asked early in the nineteenth century can be logically asked, a fortiori, early in the twenty-first. Although more novels are read now that ever before, there are millions of people for whom the renditions of experience that literature attempts hold no attraction. People for whom the electronic media bring the events of the world and forms of sensory entertainment into their homes day after day, year after year, for an entire lifetime and in such graphic colour and texture, sound and acuity, experience a level of stimulus far in excess of that stimulus referred to by Hazlitt. Hence the contrived ardours of literature in our day hold little to no satisfaction for these and other reasons to a substantial portion of humanity. -Ron Price with thanks to George Steiner, Tolstoy or Dostoevsky, Penguin Books, 1967(1959), p.27.
You might think this sheer mass
of observed fact and factual analysis,
the absolutely massive, burgeoning
literature out there day after day
would overcome and dissolve my
poetic purpose, my pretentions at
any formal control of experience
in these many clear literary ways.
Pioneering Over Five Epochs (1)
sole owner, Ron Price!....I claim
for this poetry the territory of my
own life, it goes without saying---
identified as I am with this new,
this emerging world religion in
a global society and not with the
precious and not so precious.....
graveyards of all civilizations that
are, as that historian Toynbee said
were moribund--perhaps they have
long ago died and are now singing(2)
their last songs and their last words.
1 The title of my entire poetic opus, now some 7000 prose-poems and several million words
2 Ivan Karamazov in Penguin, 1967, p.36. The Brothers Karamazov, Dostoevsky in George Steiner, Tolstoy or Dostoevsky.
Ron Price
28 March 2002 to 6 July 2011.
NORTHERN EXPOSURE
Several years before I retired from my career as a full-time teacher, there was a highly successful television series entitled Northern Exposure(NE). The series aired from 1990 to 1995, but its popularity persisted many years after cancellation, well into the first decade of my retirement: 1999 to 2009, as dedicated fans continued to enjoy reruns and recorded episodes on VHS or on DVD. Among the thousands of continuing NE fans, many often referred to the program to interpret, endure, and celebrate their everyday experience—as people do with some of the many forms, narratives and images in the print and electronic media.
The program text and its interpreted themes became for many an essential part of their personal, their biographical, narratives. Some of these fans came to understand NE as a narrative for the exploration of their own spiritual questions and spiritual discourse assisting them, in the process, to interpret their experience. NE represented a confluence of popular culture, audience practice, and contemporary patterns of religiosity in the quest for meaning.-Ron Price with thanks to John Mihelich and Jennifer Gatzke, “Spiritual Quest and Popular Culture: Reflexive Spirituality in the Text of Northern Exposure,” The Journal of Religion and Popular Culture, Vol. 15, Spring, 2007.
I learned, Joel, over the decades to be(1)
consistently exhilarated and delighted by
the play of intelligence & its psychological
nuances. You are still so very young, Joel.
Sometimes I had to call truce to life’s drama
with its wonderful ten-course banquet. There
was the fatigue as my faith strained feebly
against the unbelieving night and there was
the melancholy, Joel, a sadness so ancient as
to have no name and trivializing as it did my
pitiable trophies & my minor virtues garnered
in so many old-sweet but often bitter times.(2)
My imperfections, Joel, are not so epically
egregious as to embarrass the seraphim who,
I am inclined to think, ruefully yawn at their
mention and my shame will not topple cities
or arrest the sun’s climb........Learning is so
often a very slow business, Joel.....You gave
starved imaginations: magic, myth, ritual, and
philosophy, religious wisdom, folklore, fantasy,
and living sparks from the moral dialectics of
diverse characters as masses discovered their
own meaningful autobiographical experiences.
What more could you want to give, Joel?
(1)The writers of this series thought of the five-year sojourn of Joel Flieshman, the young doctor from New York, in Cicely Alaska in terms of Joseph Campbell's myth of a hero's journey into a strange and magical land. By surmounting great challenges, this legendary hero wins new powers to take back home at the end of his adventure. I, too, had my pioneering adventures and hero’s journey as a Baha’i after nearly 60 years of association with this new world Faith. We can foresee, so argue some of this TV series’ analysts, that Joel’s moral and spiritual education will be unlike any in our own lives. Nevertheless, by living through his education vicariously with him, we might both liberate and discipline our own hearts. If this guy can grow, perhaps we can too, goes this line of thinking.
(2) Roger White, “Lines from a Battlefield,” Another Song Another Season, George Ronald, 1979, p.111.---Ron Price 4 July 2010
Many of my posts on aspects of popular culture are found at these sites:
http://forum.dvdtalk.com/movie-talk/592109-peter-falk-1927-2011
http://forums.onlinebookclub.org/viewtopic.
http://forums.comicbookresources.com/showthread.
http://www.talk-movies.com/movie-stars-directors-studios-awards/7359
(click on my photo and then on the words "Find all posts by RonPrice)
http://www.cinemathreads.com/movies/directors/5585-sidney-lumet-dies
(click on my name, then on the word 'statistics,' and then on the words "Find all posts by RonPrice)
https://www.dropbox.com/home#/History/Cinema/Popular%20Culture
(Dropbox is a site at which one can archive massive quantities of one's writing.)
LAW AND ORDER
By late evening, say 8:30 p.m. after, I’ve had a day of reading, writing, research, what I sometimes refer to as independent scholarship, as well as whatever social activity and domestic work has to be attended to--one of the programs I’ve been watching on TV, off-and-on in these first years of my retirement from FT, PT and casual and volunteer work, is Law & Order(L&O). It was and is the longest running who-dun-it drama on television, some two decades now, and has consistently included religious themes and issues in its storylines. There has been, as far as I know, virtually no research into the portrayal of religion in the program. This prose-poem will examine: (i) how religion and religious concerns are dealt with in this drama, this who-dun-it series and (ii) some of my own views on religion. Readers who find it difficult to understand how a writer like myself---with pretentions to making serious comments about life and society---can get some pleasure out of such a simplistic program, should keep in mind that a person like Ludwig Wittgenstein, arguably one of the greatest of 20th century philosophers, however arcane and obscure his writing was to most people who chanced upon his work, after exhausting philosophical work, would often relax by watching an American western or reading detective stories. I usually engage in some form of intellectual work for 8 hours out of the 16 I am awake and have done so since I took an early retirement in 1999.
The show was piloted in 1989, the year I started teaching at Thornlie College of Technical and Further Education in Perth Western Australia. Law & Order: Special Victims Unit, a spin-off of L&O, starring Mariska Hargitay premiered on 20 September 1999 the very week I moved to a town by the ocean in Tasmania for a sea-change and an early retirement after 30 years as a teacher. This series is still going strong.
I will try to assess the implications of the views of religion and religious practices in L&O and its spin-offs. I will argue that this drama’s views of religion represent a common view of religion in the USA in particular and in the West in general, that is: religious devotion is tolerable as long as: (a) it is of a socially acceptable variety, (b) it is not taken to irrational extremes; and (c) it does not harm other persons. It is a view I hold as a Bahá'í, although I have: (i) a wide range of exceptions to these criteria and (ii) I often felt somewhat as a strange outsider since the Bahá'í Faith is the newest of the world’s religions on the planet and I take my religion seriously, indeed, it is a way of life for me. -Ron Price with thanks to Dan W. Clanton, Jr., “These Are Their Stories: Views of Religion in Law and Order, The Journal of Religion and Popular Culture, Volume 4, Summer, 2003.
Each episode adheres to a standard format:
the routine is as predictable as the sun rising
in the morning-one can shut one’s brain right
off and go into visual-auditory-sensory mode.
The mechanisms of the criminal justice system
are given by good old exec-producer Dick Wolf.
No character arcs, nothing complex and personal
in relationships, no family woven-in to get in the
way of storytelling. Storytelling, tales and issues
ripped from the headlines and thus the narratives
of the show represent the events and concerns of
a large segment of America from the 1990s & the
2000s--into these years of this new 3rd millennium.
There is no essence, no real substance to religion
in this series; religion is just one among many of
the factors in human behavior sometimes productive
for the protagonists and destructive for perpetrators.
The total lack of any character development as well
as formal boundaries of the cop and lawyer genre
inhibits any in-depth substantive investigation into
religion. L and O is bound to a simple functionalism
in life and a view of religion as pragmatism in reality
and life-functioning as a myth that builds confidence
in our present social system------turning horrendous
crimes of passion into intellectual puzzles giving any
reassurance that in spite of threats to social order we
need not lose our rational equilibrium as the Western-
American criminal justice system......a workable moral
guide punishes evil & provides security for the good
and law-abiding citizens that we as the viewers are.
L&O advocates that people should accept personal
responsibility for their actions, no matter what their
upbringing, motivations, or situation.......Within this
more general call for personal responsibility, it only
makes sense to portray religious believers as a......
specifically culpable group for their actions, even if
it is their religious tradition that prescribes their,,,,,
behavior, their action, or motivation in question.........
People may believe what they will, but when their belief
turns into illegal action, they are responsible for that
action, not their spiritual leader, not their congregation
or tradition......L&O is tied to pragmatic, economic, &
ethical concerns. L&O is, in my view, one of the most
intriguing, routinized and comfortable views that is
found of religion on television in these hectic days
of international tensions & social complexity. For me
it is a marvellous sedative after a busy day & it helps
get me ready for a good sleep at night knowing that
the world is in the hands of Dick Wolf and the gang
and especially that very pretty Mariska Magdolina
Hargitay who speaks Hungarian, French, Spanish,
Italian & English and makes a quarter of a million
dollars for every episode she helps L & O make!!
Ron Price
5 April 2010 to 7 July 2011
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SOME OF MY FIRST ESSAYS ON POPULAR CULTURE: 1983 TO 1986
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Over twenty-five years ago now, from May 1983 to March 1986, some 150 of my essays appeared in the newspapers of a small town in the Northern Territory. I had pioneered to this place in 1982 and remained there until 1986. Many of my essays were about popular culture. Looking back it would seem that whatever intellectual gifts I have been endowed with were first in evidence in these published writings, these essays, in what was then and still is now a remote part of Australia. None of this material, these essays, have been transferred to this website. Ten years before these essays first appeared, I was a senior tutor in a college of advanced education, an institution that became a university some years after I left my position there. That writing ability had begun to be in evidence but, whatever gift of writing I possessed, it was not really strongly in evidence until those essays started to appear in the Katherine Advertiser in 1983.
“Time, which puts an end to human pleasures and sorrows”, said the famous English author Samuel Johnson(1709-1784), “has likewise concluded the labours of this Rambler.”(1) In 1784 Johnson’s literary labours were concluded and my own, in the field of writing, had just begun exactly two centuries later. A meticulous researcher can find articles in former college magazines in Ballarat and Launceston at their colleges of advanced education, in newspapers in Tasmania and in Baha’i magazines and archives in the period up to 1984. But, in the main, even up to this date, most of my published works are in this collection of essays--if one excludes the internet and its new forms of publishing where my writing began to appear by the truckload in the first decade of this 3rd millennium.
For those who find my poetry not to their liking, or who find my autobiography in its many forms not to their taste, they may find in my essays manageable chunks of interest. Essays are autobiography in another form. In the years when the Lesser Peace was gradually unfolding, 1919 to the early years of the 21st century, it was difficult to get direct and overt Baha’i content into the print media; few in Australia had been successful, although when I came to Perth I met two or three individuals who were more successful than I, or at least successful in different ways.(2) Indirection was often the only way in most situations in both the print and electronic media that a Baha'i who was a writer could get his work into print. In addition, many Baha'i academics have published their work in academic journals, but I have not made a list of their efforts here.
“The distinctions between living, writing and reading were beginning to become blurred” wrote the British literary critic Tony Tanner(1935-1998) in his analysis of the life of Henry James and the Art of Fiction”.(3) James saturated himself with, immersed himself in, his own writing. These essays published in this small town in the Australian outback represent the beginning of this process of literary immersion in my own life. Ten years later by the mid-1990s, I was well advanced in my poetic efforts. My employment and my family and community responsibilities kept me, at least until the turn of the millennium, from the extremes of that immersion which James and other writers expressed in their lives. Even now, a decade later in 2011, there is little to none of the sacrificial vicariousness in my own writing and life that is found in James’ writing, none of the heroic proportions found in the erudite performances of some of the great writers of history, none of the immense energies applied to the effort to write as they were, for example, in the case of the Australian writer Xavier Herbert. Most of my writing in the decade after these essays appeared(1986-1996) was in the form of poetry and this poetry was mostly a font of pleasure with a great weariness at the edges. This continued to be true, at least in part, fifteen years later in 2011. It was also writing for a coterie and in small chunks of time due to my inability to sustain work at the keyboard for more than two or three hours.
Some of those essays from 1983 to 1986 deal with why I write and I will not reiterate these reasons here, but I should refer to the articles about Harold Ross, Shiva Naipaul, Brian Matthews and Norman Podhoretz since they contain some useful perspectives which I have integrated unknowingly into my own writing. I have not sent these articles to the Baha'i World Centre Library(BWCL). They are in the collection in my study here in Tasmania. I would also like to refer to James Olney, one of the great analysts of autobiography, who said autobiography can “advance our understanding of the question ‘how shall I live?’”(4) If these essays contribute in some small part to answering this question I shall be amply rewarded. And if this I cannot do, I hope at least that I can give the reader a little pleasure. I hope one day to make these 150 essays available on the internet.
-----------------------------FOOTNOTES--------------------------
(1) Bertrand Bronson, editor, Samuel Johnson: Rasselas, Poems, Selected Prose, third edition, Holt, Rinehart and Winston, NY, 1952, pp.164-168.
(2) Keith McDonald, Mike Day and Drewfus and Chelinay Gates, as well as the Baha’i Office of Public Information for Western Australia, in the years I have lived in Perth: 1987 to 1999, have contributed in no small way to the proclamation of the Baha’i Faith in the print and electronic media. They would merit a story unto themselves.
(3) Tony Tanner, Henry James and the Art of Fiction, University of Georgia Press, London, 1995, p.29.
(4) James Olney, Metaphor of Self: The Meaning of Autobiography, Princeton UP, 1972, p.xi.
Ron Price
3 August 2001 To 10 May 2011
