Bob Schwartz

Rabindranath Tagore

Rabindranath Tagore


Take a break with Rabindranath Tagore (1861-1941).

He was a Bengali poet, essayist, dramatist, composer and philosopher, and is the most esteemed creative artist of modern India. He was the first non-European to win the Nobel Prize in Literature in 1913.

A brief introduction is Stray Birds (1916), which consists of 326 very short verses—each one usually one or two sentences. Below is a selection of them. Among the many online items by and about Tagore there is a 1961 documentary about Tagore by Satyajit Ray, India’s most celebrated film director.

These literary stray birds may seem at first glance to be mere poetic aphorisms. Taken together, though, this is a worldview of inspired simplicity.

From Stray Birds by Rabindranath Tagore

1
Stray birds of summer come to my window to sing and fly away.
And yellow leaves of autumn, which have no songs, flutter and fall there with a sigh.

2
O troupe of little vagrants of the world, leave your footprints in my words.

6
If you shed tears when you miss the sun, you also miss the stars.

28
O Beauty, find thyself in love, not in the flattery of thy mirror.

35
The bird wishes it were a cloud. The cloud wishes it were a bird.

36
The waterfall sings, “I find my song, when I find my freedom.”

40
Do not blame your food because you have no appetite.

43
The fish in the water is silent, the animal on the earth is noisy, the bird in the air is singing,
But Man has in him the silence of the sea, the noise of the earth and the music of the air.

45
He has made his weapons his gods. When his weapons win he is defeated himself.

48
The stars are not afraid to appear like fireflies.

52
Man does not reveal himself in his history, he struggles up through it.

58
The sparrow is sorry for the peacock at the burden of its tail.

62
The Perfect decks itself in beauty for the love of the Imperfect.

75
We read the world wrong and say that it deceives us.

88
He who wants to do good knocks at the gate; he who loves finds the gate open.

121
I carry in my world that flourishes the worlds that have failed.

123
The bird thinks it is an act of kindness to give the fish a lift in the air.

128
To be outspoken is easy when you do not wait to speak the complete truth.

130
If you shut your door to all errors truth will be shut out.

141
When I travelled to here and to there, I was tired of thee, O Road, but now when thou leadest me to everywhere I am wedded to thee in love.

146
I have my stars in the sky,
But oh for my little lamp unlit in my house.

156
The Great walks with the Small without fear.
The Middling keeps aloof.

158
Power takes as ingratitude the writhings of its victims.

161
The cobweb pretends to catch dew-drops and catches flies.

166
The canal loves to think that rivers exist solely to supply it with water.

169
Thought feeds itself with its own words and grows.

178
It is the little things that I leave behind for my loved ones, –great things are for everyone.

184
He who is too busy doing good finds no time to be good.

193
A mind all logic is like a knife all blade.
It makes the hand bleed that uses it.

207
Praise shames me, for I secretly beg for it.

208
Let my doing nothing when I have nothing to do become untroubled in its depth of peace like the evening in the seashore when the water is silent.

210
The best does not come alone. It comes with the company of the all.

235
Do not say, “It is morning,” and dismiss it with a name of yesterday. See it for the first time as a new-born child that has no name.

243
The stream of truth flows through its channels of mistakes.

248
Man is worse than an animal when he is an animal.

258
The false can never grow into truth by growing in power.

280
Let the dead have the immortality of fame, but the living the immortality of love.

296
Blessed is he whose fame does not outshine his truth.

317
Man’s history is waiting in patience for the triumph of the insulted man.

319
I long for the Island of Songs across this heaving Sea of Shouts.

323
I have suffered and despaired and known death and I am glad that I am in this great world.

No Pharaohs

No Kings protests are scheduled across America on March 28, 2026. These protests are essential.

It is also Passover season, which begins on the evening of April 1, 2026.

Along with No Kings, we may also add No Pharaohs. Trump does not want to just be the ruler of America. He wants to be emperor of a global empire. Just as Pharaoh did. And just like Pharaoh, Trump considers himself, as do some of his followers, a divine ruler.

This Passover: No Pharaohs.

Let’s Get Beat

The Last Gathering of the Beats, City Lights Bookstore, San Francisco’s North Beach, December 1965

Pictured:
Allen Ginsberg: Poet, left-center, holding a cigarette.
Lawrence Ferlinghetti: Poet, publisher, owner of City Lights Bookstore, behind Ginsberg, umbrella.
Michael McClure: Poet, standing to the left of Ginsberg, vest and cross necklace.
Robert Duncan: Poet, front row toward the center-right, wearing glasses and beret.
Richard Brautigan: Poet and writer, toward the right, behind the stretcher, light hat and glasses.
Shigeyoshi Murao: Manager of City Lights, seated in the front with wide-brimmed hat.

Note: The title of this post is a version of the title Let’s Get Lost, a jazz standard from the 1940s made famous in the 1950s by legendary West Coast trumpeter and singer Chet Baker. Not exactly a beat guy, but immeasurably cool.

The Beat movement, its heyday in the 1950s and into the 1960s, has been viciously caricatured.

Two things defy and belie this mockery.

First, this was an earnest response to a country and world gone mad. Just years from World War II, Hitler, the spawning of the atomic bomb. Living in an America intent on repressing dissidence and killing attempts to (re)introduce humanity. The beats were the first postwar counterculture, but not the last.

Second, the next counterculture, which included hippies, was also caricatured and mocked (“get a haircut”, “get a job”). This was the natural evolution of the beat counterculture, and there were a number of crossovers. “Freaks” was a term of self-identification that proudly encapsulates what the dominant culture thought of those living and believing differently.

“Let’s get beat” is not a call for cool cats or chicks to grow a beard or learn to play bongos—though beards are again back and playing bongos is fun. It is a reminder that counterculture has a heritage that is just as important as whatever distorted heritage is going to be pushed on us in 2026 as part of the 250th anniversary of America’s declaring its independence. Celebrate the beats, the hippies, the freaks, and all the other cultural free birds. Let’s declare our independence. Let’s get beat!

Moses on Krypton, Superman in Egypt

Mose & Superman


The story of the Exodus and Passover is a story of freedom, faith and return from exile. It is also a story about the universal question of identity: who am I?

According to the story told in the Book of Exodus, Moses is born a lowly Hebrew, a child of slaves. Set afloat by his mother to avoid Pharaoh’s slaying of the first born, he is found and given the Egyptian name Moses. He is raised as Egyptian royalty, though as a baby he is fed at the breast of his Hebrew mother.

It is never clear in the text when or how he first finds out about his heritage. We only know that he does discover that he is a Jew. He flees to Midian and marries Zipporah, who bears him a son. The name chosen for their son tells a story, the story of Moses and of the Jewish people. The name is Gershom, meaning “I have been a stranger in a foreign land.” (Exodus 2:22)

This famous phrase leads to a question: exactly which land is Moses a stranger in? Is he a Hebrew who has been a stranger in Egypt, despite living his entire adult life as a great Egyptian? Or is he an Egyptian suddenly identified with a people he never knew as his own?

A clue is found in the stories about Moses as a speaker. Twice Moses tries to tell God that he is speech challenged. When directed to address the Jews, Moses claims to be “slow of tongue” and “heavy of mouth.” When told to speak to Pharaoh, Moses describes himself cryptically as having “uncircumcised lips.” Some interpreters attribute this to an actual speech impediment, perhaps stuttering. But a different view is that Moses is trying to tell God something sensible: Moses does not speak Hebrew very well. And why should he speak Hebrew, when he has spent his life as an Egyptian?

At this point, we leave Egypt for a trip to Cleveland in the 1930s. Jerry Siegel and Joe Shuster are a couple of nerdy Jewish teenagers with a love of science fiction and a talent for comic book art. They had grown up with the stories of the Bible, including the tales of Moses. Consciously or not, they mixed these together into a comic book creation that would become a modern cultural icon: Superman.

In the Siegel and Shuster version, there is no infant floated off in a basket to avoid his death, and no Egyptian princess to find and adopt him. Instead, the Kryptonian infant Kal-el (a version of the Hebrew phrase Kol El, “the voice of God” or “all of God”) is rocketed off in a space capsule to avoid the planet’s destruction. The capsule crashes on Earth, and he is found and adopted by the Midwestern couple, Ma and Pa Kent.

The biblical infant is raised as an Egyptian and given the Egyptian name Moses; Kal-el is raised as an earthling and given the Midwestern name Clark Kent. The time will come for both of them, Moses and Clark Kent, to reclaim their true identities in order to tap into great power, to become super-men.

But this reclaiming of identity is not without difficulties. The man born Kal-el struggles with his disguises: Is he Superman pretending to be Clark Kent, or is he Clark Kent who has a second identity as Superman?

These particular stories of exile and identity are only two of many such stories in history and in popular culture. It is a story that repeats itself again and again, not only among the Jewish people in ancient and modern times, but among all people in all times and circumstances.

Think of the Jews in the midst of their Exodus, chronically uncertain about who they were and where they belonged. As much as they wanted to follow their faith and their leader to a promised place, their adopted home for generations—even if not by choice, even under the oppressor’s thumb—had been Egypt.

Think of Moses, caught between two worlds. Yet the struggle for identity turns out to be a source of strength for him. All that he accomplished could never have happened if he had been only an Egyptian or only a Hebrew. It was through his being both, and through his trying to resolve that seeming contradiction, that the events of the Exodus transpired.

Think of ourselves. We may believe that by staying in one place and simply holding tight to an unchanging way, we can maintain an identity free of questions, and we can avoid being strangers in a foreign land. But that is impossible. Those around us are constantly changing and the world around us is constantly changing. The land we think of as familiar becomes foreign to us, and we find ourselves strangers in it.

Being a stranger is unavoidable, and it can be a good thing. Like Moses, we discover who we are only when we question who we are in the particular place and time we inhabit. Along with the divine direction that he heard, it is this burning question of identity that drove Moses to do great things. It is a valuable lesson for all of us as we retell the story of the Exodus this Passover.

© 2026 by Bob Schwartz

The Apprentice (2024): The Trump movie you forgot about, which is what they wanted

The Trump people tried hard to keep The Apprentice movie from being seen in America in 2024, an election year.

The Apprentice is a candid, devastating and entertaining look at how a fledgling Donald Trump came under the diabolical wing of the notorious and unscrupulous lawyer and fixer Roy Cohn. Cohn’s tactic, beginning with his role in the McCarthy era hearings, was the Big Lie. Cohn’s strategy was winning at all costs, caring about nothing and nobody.

The movie won awards and finally ended up available in the U.S.—in 2025. It is currently streaming on Prime, though it is anybody’s guess when Amazon will pull it if too many people remember it’s there and start watching.

You did remember it, didn’t you? Or maybe you forget, dazzled by the Melania movie, also on Prime, or maybe you are numbed by the daily assault on our humanity by the man the movie is about.

Watch it while you still can. More and more media are likely to disappear, including The Apprentice, if the censorship and reeducation juggernaut isn’t stopped.

Only one commandment: Be a good boy or girl


How many commandments are there in the Decalogue? Do you know them by number? That’s a trick question, because different religious traditions divide and number the Hebrew text differently.

This will make it easy. There is only one commandment, even though it doesn’t appear in the “official” list.

To explain, I turn to the movie A Serious Man (2009) (playlist of clips) by Joel and Ethan Coen, nominated for two major Academy Awards, Best Picture and Best Original Screenplay.

Larry Gopnick, a physics professor in the 1960s, is up for tenure. Even as he lectures on Heisenberg’s Uncertainty Principle, there is a sense that he really doesn’t understand uncertainty at all. His professional and personal life seem to be falling apart. A student tries to bribe him for a passing grade. His wife is having an affair with his friend, his dentist espouses weird mystical tooth theories, and there is a question whether Larry may have a serious health problem. Larry looks for answers in Judaism. His attempts to see Rabbi Marshak, elder spiritual head of the congregation, fail.

Larry’s son Danny is about the be bar mitzvah. At Hebrew School, the transistor radio Danny was listening to in class is taken away by the teacher. Danny is sent to see Rabbi Marshak. Rabbi Marshak proceeds to discuss the situation through the lyrics of the Jefferson Airplane’s song Somebody to Love and with a simple piece of advice:


Rabbi Marshak stares at Danny from behind a bare desktop. His look, eyes magnified by thick glasses, is impossible to read.

Danny creeps to the chair facing the desk. He gingerly sits on the squeaking leather upholstery, self-conscious under Marshak’s stare.

Marshak’s slow rmouth-breathing is the only sound in the room. The two stare at each other.

Marshak smacks his lips a couple of times, wetting surfaces in preparation for speech.

Finally:

MARSHAK
When the truth is found. To be lies.

He pauses. He clears his throat.

. . . And all the hope. Within you dies.

Another beat. Danny waits. Marshak stares. He smacks his lips again. He thinks.

. . . Then what?

Danny doesn’t answer. It is unclear whether answer is expected. Quiet.

Marshak clears his throat with a loud and thorough hawking. The hawking abates. Marshak sniffs.

. . . Grace Slick. Marty Balin. Paul Kanta. Jorma. . .somethin.
These are the members of the Airplane.

He nods a couple of times.

. . . Interesting.

He reaches up and slowly opens his desk drawer. He withdraws something. He lays it on the bare desk and pushes it across.

. . . Here.

It is Danny’s radio.

. . . Be a good boy.


And that is the one commandment. Be a good boy or girl. Thousands of years of wisdom have developed directives, guidelines and practices to get us there. There is even a concise list of ten. But if you forget or ignore them, as we do sometimes, this will be your quick reminder.

The Ides of March (March 15)

Julius Caesar - Mercury Theater


Today is the Ides of March, the 15th of March on the Roman calendar. (The Ides are a monthly mid-point, between the Nones early in the month and the Kalends on the first day.)

It is the day of Julius Caesar’s assassination in 44 BCE, made forever famous by Shakespeare’s play Julius Caesar, where the Soothsayer warns him (twice) to “beware the ides of March”. It did turn out to be a bad day.

Above is a scene from the Mercury Theater’s legendary 1937 presentation of the play in modern dress and sensibility, set by director Orson Welles in Fascist Italy. The theater company was organized by Welles and John Houseman, and this was their first play. In the photo above, Marc Antony (George Coulouris) kneels over the lifeless body of Julius Caesar (Joseph Holland).

Welles was only 22 at the time, but already a rising star. The Mercury Theater, intended as an independent answer to the restrictions placed on Welles by the Federal Theater Project, was really the launch pad for his fame and infamy as a world class artistic genius and iconoclast.

Richard Linklater’s Me and Orson Welles (2008) takes place during that production. The movie is underrated and did very poorly at the box office–as did most Welles films. It is a charming fictionalization of a real cultural milestone, including recreated scenes from the Julius Caesar production

There is no special Roman designation for the 16th of March, so enjoy the ides while you can.

The Financier (2012) by Theodore Dreiser. Creatures of the new Gilded Age.

You cannot look at it [Black Grouper fish] long without feeling that you are witnessing something spectral and unnatural, so brilliant is its power to deceive. From being black it can become instantly white; from being an earth-colored brown it can fade into a delightful water-colored green. Its markings change as the clouds of the sky. One marvels at the variety and subtlety of its power.
–The Financier by Theodore Dreiser

 
The Financier (2012) is a novel about a creature of the Gilded Age, the first book in Theodore Dreiser’s Trilogy of Desire.

In it, Frank Cowperwood, a ruthless Philadelphia businessman, rises from a modest background to become a powerful financier in the mid-19th century. He manipulates city funds, builds a street railway empire, and ultimately faces financial ruin and imprisonment after a market crash that exposes his misuse of public money. Cowperwood is based on real-life robber baron Charles Yerkes.

Dreiser compares Cowperwood to the Black Grouper, a fish remarkable for its ability to blend in and adopt any appearance necessary to survive:


Concerning Mycteroperca Bonaci

There is a certain fish, the scientific name of which is Mycteroperca Bonaci, its common name Black Grouper, which is of considerable value as an afterthought in this connection, and which deserves to be better known. It is a healthy creature, growing quite regularly to a weight of two hundred and fifty pounds, and lives a comfortable, lengthy existence because of its very remarkable ability to adapt itself to conditions. That very subtle thing which we call the creative power, and which we endow with the spirit of the beatitudes, is supposed to build this mortal life in such fashion that only honesty and virtue shall prevail. Witness, then, the significant manner in which it has fashioned the black grouper. One might go far afield and gather less forceful indictments—the horrific spider spinning his trap for the unthinking fly; the lovely Drosera (Sundew) using its crimson calyx for a smothering-pit in which to seal and devour the victim of its beauty; the rainbow-colored jellyfish that spreads its prismed tentacles like streamers of great beauty, only to sting and torture all that falls within their radiant folds. Man himself is busy digging the pit and fashioning the snare, but he will not believe it. His feet are in the trap of circumstance; his eyes are on an illusion.

Mycteroperca moving in its dark world of green waters is as fine an illustration of the constructive genius of nature, which is not beatific, as any which the mind of man may discover. Its great superiority lies in an almost unbelievable power of simulation, which relates solely to the pigmentation of its skin. In electrical mechanics we pride ourselves on our ability to make over one brilliant scene into another in the twinkling of an eye, and flash before the gaze of an onlooker picture after picture, which appear and disappear as we look. The directive control of Mycteroperca over its appearance is much more significant. You cannot look at it long without feeling that you are witnessing something spectral and unnatural, so brilliant is its power to deceive. From being black it can become instantly white; from being an earth-colored brown it can fade into a delightful water-colored green. Its markings change as the clouds of the sky. One marvels at the variety and subtlety of its power.

Lying at the bottom of a bay, it can simulate the mud by which it is surrounded. Hidden in the folds of glorious leaves, it is of the same markings. Lurking in a flaw of light, it is like the light itself shining dimly in water. Its power to elude or strike unseen is of the greatest.

What would you say was the intention of the overruling, intelligent, constructive force which gives to Mycteroperca this ability? To fit it to be truthful? To permit it to present an unvarying appearance which all honest life-seeking fish may know? Or would you say that subtlety, chicanery, trickery, were here at work? An implement of illusion one might readily suspect it to be, a living lie, a creature whose business it is to appear what it is not, to simulate that with which it has nothing in common, to get its living by great subtlety, the power of its enemies to forefend against which is little. The indictment is fair.

Would you say, in the face of this, that a beatific, beneficent creative, overruling power never wills that which is either tricky or deceptive? Or would you say that this material seeming in which we dwell is itself an illusion? If not, whence then the Ten Commandments and the illusion of justice? Why were the Beatitudes dreamed of and how do they avail?


Why all this talk about stagflation?


Stagflation is the simultaneous occurrence of high inflation, high unemployment, and slow (or negative) economic growth. It defies classical economic theory, which held that inflation and unemployment move in opposite directions (the Phillips Curve trade-off) — meaning policymakers can’t use standard tools without making one problem worse.

Raising interest rates curbs inflation but deepens unemployment. Stimulus spending reduces unemployment but worsens inflation. Policymakers face a genuine dilemma with no clean solution.

The defining American stagflation episode ran roughly 1973–1982. Unemployment hit 9% in 1975 while inflation ran above 10% — numbers once considered theoretically impossible together.

Fed Chairman Paul Volcker deliberately induced a severe recession (1981–82) by pushing the federal funds rate above 20%, breaking inflationary expectations. Unemployment peaked near 11%, but inflation was crushed from 13% to 3% by 1983.


A couple of Americans generations have no experience of stagflation. If they pay attention to the possibility at all (as noted, once considered a theoretical impossibility), it is an arcane matter of economic history.

Hints of stagflation have been showing up over the past year, and more so in recent months. Inflation has been stubborn, though not stratospheric, while employment has been shrinking and the economy less than robust.

The previous stagflation began in 1973 with the OPEC oil embargo. Then as now, despite attempts to promote alternatives, oil is a primary driver of the economy. The current serious oil disruption, with concomitant inflation not only at the gas pump but in many sectors, might not be enough by itself. But despite what you might be hearing from some sources, the economy is less strong than it has been in a while. So even if there is a quick wrap up of this war on Iran, with relief on the shipping of oil, there are other areas of concern.

Could we again see ever higher inflation and ever higher unemployment? Do we have the best and the brightest economic minds leading the nation, able to respond effectively to the not theoretical scourge and suffering of stagflation? Only when the best and the brightest return to American leadership do we have a chance.

President Trump: Officially Worst American Administration

Historians generally wait until the end of a presidency to evaluate an administration and where it ranks historically.

As low as the first Trump administration already ranks, at or near the bottom, this second term, even after one year with three more to go, is incontrovertibly the worst.

Which is why it is not too early to award him the prize for Worst American Administration.

Is this an “actual” award? It is no more or less “actual” than the FIFA Peace Prize.

Is it “official”? Not to repeat, but it is no more or less “official” than the FIFA Peace Prize.

Am I claiming the authority to offer a prize? Repeating again, I have as much authority to offer a historical assessment of a presidential administration as an international football association has to offer an assessment of contributions to peace or war. Probably more.

Finally, a funny story about this award. It was created by Nano Banana. All I asked for was an award with the text shown above. But on the first try, it added a little text of its own to the plaque, shown below, “Awarded by popular consensus”. AI with attitude.