The Explanation
(for those who require one)

And, of course, that is what all of this is -- all of this: the one song, ever changing, ever reincarnated, that speaks somehow from and to and for that which is ineffable within us and without us, that is both prayer and deliverance, folly and wisdom, that inspires us to dance or smile or simply to go on, senselessly, incomprehensibly, beatifically, in the face of mortality and the truth that our lives are more ill-writ, ill-rhymed and fleeting than any song, except perhaps those songs -- that song, endlesly reincarnated -- born of that truth, be it the moon and June of that truth, or the wordless blue moan, or the rotgut or the elegant poetry of it. That nameless black-hulled ship of Ulysses, that long black train, that Terraplane, that mystery train, that Rocket '88', that Buick 6 -- same journey, same miracle, same end and endlessness."
-- Nick Tosches, Where Dead Voices Gather

The Women #9


Betty Compson
From The New Movie Album: An Autographed Who's Who of the Screen (1931)

"My father, Virgil K. Compson, was a graduate of Cornell and a mining engineer in Utah where I was born. I was the type of child who sang songs, recited and gave pantomimes for my mother and father. Later in high school I studied dramatics and played in short plays. My parents wanted me to be a musician so I studied the violin for seven years under George E. Skelton who is still teaching in Salt Lake City. Fortunately for me I did this, because when I was fifteen my father died and I was forced to work. After playing in an orchestra in a vaudeville theatre in Salt Lake City, I had the opportunity to substitute for a missing vaudeville act, and afterwards went on tour playing the violin in a single act. When we reached San Francisco, my act was dropped from the bill, and I took a position taking care of a child while my mother cooked. We were very poor. After many more experiences than could fit into this brief space, I landed in pictures. There, too, I have had my ups and downs and contrary to opinion my comeback in pictures was not due to talking pictures. On the strength of my performance in 'The Barker,' I was cast in two silent pictures. During 1929, I played in eleven talking pictures--more than any other player. I do not like poverty and I dislike spoiled children because I have known both."

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