05-11-2010, 09:25 PM
I commented online regarding Robert's usefulness in his false history that Lee was “still watching reruns of I Led Three Lives when I went off to the Marines.”
Then imagine my surprise to receive an email correction from the helpful tool with no name.
Who presented as Stalin's New Soviet Man, Hoffer's True Believer, Orwell-Blair's Inner Party newthinker.
Of course Richard Carlson as Herbert J. Philbrick sponsored by Phillips 66 premiered 1953 the year following Robert's enlistment in 1952.
The series sunsetted in 1956; reruns would be expected thereafter; and we know the seventeen-year-old enlisted in that year, 1956.
Robert is so helpful, painting the assassin black; and the tool with no name is so obvious a touchstone of falsehood.
I wanted to add the excellent visual on the cover of the newest edition of A Certain Arrogance as it depicts perfectly the flat two-dimensional fictional construct of the assassin floating on the glass icy unreality of the agency which acknowledges no master.
The key to the issue is indeed the identity of the assassin.
The flesh and blood Oswald was an undercover intelligence operative living the dream in service to the cabal of conspirators.
Judyth Vary Baker and John Armstrong and John Newman and others are as so many film cameras arrayed in that magic spiral surrounding Keanu Reeves in the iconographic rooftop bullet-dodging magic piece.
The character created has many dimensions, each crafted to serve an operational purpose, all combining to create the fictional character subject as the target of all the two-minute hates of Oceania since 1963.
It was digital before digital was cool, virtual before virtual was the new wet for the fish-peasants, the fish-consumers, the fish-subjects.
FREE OSWALD
Then imagine my surprise to receive an email correction from the helpful tool with no name.
Who presented as Stalin's New Soviet Man, Hoffer's True Believer, Orwell-Blair's Inner Party newthinker.
Of course Richard Carlson as Herbert J. Philbrick sponsored by Phillips 66 premiered 1953 the year following Robert's enlistment in 1952.
The series sunsetted in 1956; reruns would be expected thereafter; and we know the seventeen-year-old enlisted in that year, 1956.
Robert is so helpful, painting the assassin black; and the tool with no name is so obvious a touchstone of falsehood.
I wanted to add the excellent visual on the cover of the newest edition of A Certain Arrogance as it depicts perfectly the flat two-dimensional fictional construct of the assassin floating on the glass icy unreality of the agency which acknowledges no master.
The key to the issue is indeed the identity of the assassin.
The flesh and blood Oswald was an undercover intelligence operative living the dream in service to the cabal of conspirators.
Judyth Vary Baker and John Armstrong and John Newman and others are as so many film cameras arrayed in that magic spiral surrounding Keanu Reeves in the iconographic rooftop bullet-dodging magic piece.
The character created has many dimensions, each crafted to serve an operational purpose, all combining to create the fictional character subject as the target of all the two-minute hates of Oceania since 1963.
It was digital before digital was cool, virtual before virtual was the new wet for the fish-peasants, the fish-consumers, the fish-subjects.
FREE OSWALD