: Memory and the Unreal Dead Sea Scroll

When I looked again at the United States Army Air Forces copy of the 1947 film I remembered seeing before turning in my draft card, I was disappointed to read the following annotations on the white-paper cover: “Double-exposed negative. Examination virtually impossible. Uneven contents. Lustration and fading. Cracks and tears. Changed internegative from second negative. Torn lavender ribbon. Color fading. The flickering and jerking are caused by the exposed film being held by picture postcard supported in front of a lamp.” They didn’t say the whole thing would look like that in 1956! Induced film terror was a thing of the past, and I wondered what purpose this duplicate was now serving.

Whether it is still in perfectly usable condition as I had feared, or perhaps, in a more distant sense, the same as the original portion, I will never know. I am not going to risk the “proposed examination,” or, so I gather, have “examined” it, by checking it out to find out. I had had a chance to look at it in the early sixties, with my friend and companion in developing film, Richard Mantia, and it was only then that I recalled its interest for me. What I thought was a delightful humorous fantasy, based on a fairy tale, was certainly “unreal” for me at the time — or I wouldn’t have been so voraciously pursuing the image of a mythical cyclist — a young boy — nicknamed “Flying Joe” — in the woods, but I could see that to young boys of my age and culture, the fantasy part of the film worked. When I am in the proper mood myself, I can be drawn into seeing such nonsense, but this greatly enhances my pleasure in the celluloid film as a medium.

I felt qualified to claim a certain interest in the matter, because I had read a book by Dr. Ezra Pound. I knew the song that begins Dr. Pound’s long poem “The Cantos” by heart. I had made copies for my friend and me, in red and green-striped paper, from a library book of examples for a computer art book. I knew I could copy them on film with the same title.

The hero of my fantasy had been chosen from the earth-poems in the so-called “Romantic

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