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20 de febrero de 2020 - 08:58

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Author: George Roussos
Biography: Εραστής της 7ης Τέχνης - Κυνηγώντας @chimeres & ταξιδεύοντας παλαιότερα σε: @sodeia_net @cinefreaks @SevenArt_gr Συνεργάτης του @tvxs

Year: 2020 genre: Drama review: Sally Potter's film follows a day in the life of Leo (Javier Bardem) and his daughter, Molly (Elle Fanning), as he floats through alternate lives he could have lived, leading Molly to wrestle with her own path as she considers her future

It is the easy way to understand poem. I can see the ending here. Gru going to defeat and destroy these villains and the Villain-Organization gonna say You pass the test, and Gru becomes part of the Villain-Org. Complete Text Two roads diverged in a yellow wood And sorry I could not travel both And be one traveler, long I stood And looked down one as far as I could To where it bent in the undergrowth; 5 Then took the other, as just as fair And having perhaps the better claim, Because it was grassy and wanted wear; Though as for that, the passing there Had worn them really about the same, 10 And both that morning equally lay In leaves no step had trodden black. Oh, I kept the first for another day! Yet knowing how way leads on to way, I doubted if I should ever come back. 15 I shall be telling this with a sigh Somewhere ages and ages hence: Two roads diverged in a wood and I— I took the one less traveled by, And that has made all the difference. 20 Summary The speaker stands in the woods, considering a fork in the road. Both ways are equally worn and equally overlaid with un-trodden leaves. The speaker chooses one, telling himself that he will take the other another day. Yet he knows it is unlikely that he will have the opportunity to do so. And he admits that someday in the future he will recreate the scene with a slight twist: He will claim that he took the less-traveled road. Form “The Road Not Taken” consists of four stanzas of five lines. The rhyme scheme is ABAAB; the rhymes are strict and masculine, with the notable exception of the last line (we do not usually stress the -ence of difference). There are four stressed syllables per line, varying on an iambic tetrameter base. Commentary This has got to be among the best-known, most-often-misunderstood poems on the planet. Several generations of careless readers have turned it into a piece of Hallmark happy-graduation-son, seize-the-future puffery. Cursed with a perfect marriage of form and content, arresting phrase wrought from simple words, and resonant metaphor, it seems as if “The Road Not Taken” gets memorized without really being read. For this it has died the cliché’s un-death of trivial immortality. But you yourself can resurrect it from zombie-hood by reading it—not with imagination, even, but simply with accuracy. Of the two roads the speaker says “the passing there / Had worn them really about the same. ” In fact, both roads “that morning lay / In leaves no step had trodden black. ” Meaning: Neither of the roads is less traveled by. These are the facts; we cannot justifiably ignore the reverberations they send through the easy aphorisms of the last two stanzas. One of the attractions of the poem is its archetypal dilemma, one that we instantly recognize because each of us encounters it innumerable times, both literally and figuratively. Paths in the woods and forks in roads are ancient and deep-seated metaphors for the lifeline, its crises and decisions. Identical forks, in particular, symbolize for us the nexus of free will and fate: We are free to choose, but we do not really know beforehand what we are choosing between. Our route is, thus, determined by an accretion of choice and chance, and it is impossible to separate the two. This poem does not advise. It does not say, “When you come to a fork in the road, study the footprints and take the road less traveled by” (or even, as Yogi Berra enigmatically quipped, “When you come to a fork in the road, take it”). Frost’s focus is more complicated. First, there is no less-traveled road in this poem; it isn’t even an option. Next, the poem seems more concerned with the question of how the concrete present (yellow woods, grassy roads covered in fallen leaves) will look from a future vantage point.

Say Jessica. Only child. Chicago. Illinois. The road not taken is actually in my school's book of literature. Watch The Roads Not Taken full movie camrip. What I was looking for. The Roads Not full movie download in hindi [watch The Roads online tube. Everyone knows Robert Frost’s “The Road Not Taken”—and almost everyone gets it wrong. Frost in 1913. From The Road Not Taken: Finding America in the Poem Everyone Loves and Almost Everyone Gets Wrong, a new book by David Orr. A young man hiking through a forest is abruptly confronted with a fork in the path. He pauses, his hands in his pockets, and looks back and forth between his options. As he hesitates, images from possible futures flicker past: the young man wading into the ocean, hitchhiking, riding a bus, kissing a beautiful woman, working, laughing, eating, running, weeping. The series resolves at last into a view of a different young man, with his thumb out on the side of a road. As a car slows to pick him up, we realize the driver is the original man from the crossroads, only now he’s accompanied by a lovely woman and a child. The man smiles slightly, as if confident in the life he’s chosen and happy to lend that confidence to a fellow traveler. As the car pulls away and the screen is lit with gold—for it’s a commercial we’ve been watching—the emblem of the Ford Motor Company briefly appears. The advertisement I’ve just described ran in New Zealand in 2008. And it is, in most respects, a normal piece of smartly assembled and quietly manipulative product promotion. But there is one very unusual aspect to this commercial. Here is what is read by a voice-over artist, in the distinctive vowels of New Zealand, as the young man ponders his choice: Two roads diverged in a yellow wood, And sorry I could not travel both And be one traveler, long I stood And looked down one as far as I could To where it bent in the undergrowth; Then took the other, as just as fair, And having perhaps the better claim, Because it was grassy and wanted wear; Though as for that the passing there Had worn them really about the same, And both that morning equally lay In leaves no step had trodden black. Oh, I kept the first for another day! Yet knowing how way leads on to way, I doubted if I should ever come back. I shall be telling this with a sigh Somewhere ages and ages hence: Two roads diverged in a wood, and I— I took the one less traveled by, And that has made all the difference. It is, of course, “The Road Not Taken” by Robert Frost. In the commercial, this fact is never announced; the audience is expected to recognize the poem unaided. For any mass audience to recognize any poem is (to put it mildly) unusual. For an audience of car buyers in New Zealand to recognize a hundred-year-old poem from a country eight thousand miles away is something else entirely. But this isn’t just any poem. It’s “The Road Not Taken, ” and it plays a unique role not simply in American literature, but in American culture —and in world culture as well. Its signature phrases have become so ubiquitous, so much a part of everything from coffee mugs to refrigerator magnets to graduation speeches, that it’s almost possible to forget the poem is actually a poem. In addition to the Ford commercial, “The Road Not Taken” has been used in advertisements for Mentos, Nicorette, the multibillion-dollar insurance company AIG, and the job-search Web site, which deployed the poem during Super Bowl XXXIV to great success. Its lines have been borrowed by musical performers including (among many others) Bruce Hornsby, Melissa Etheridge, George Strait, and Talib Kweli, and it’s provided episode titles for more than a dozen television series, including Taxi, The T w i l i g h t Zone, and B a t t le s t a r Galactica, as well as lending its name to at least one video game, Spry Fox’s Road Not Taken (“a rogue-like puzzle game about surviving life’s surprises”). As one might expect, the influence of “The Road Not Taken” is even greater on journalists and authors. Over the past thirty-five years alone, language from Frost’s poem has appeared in nearly two thousand news stories worldwide, which yields a rate of more than once a week. In addition, “The Road Not Taken” appears as a title, subtitle, or chapter heading in more than four hundred books by authors other than Robert Frost, on subjects ranging from political theory to the impending zombie apocalypse. At least one of these was a massive international best seller: M. Scott Peck’s self-help book The Road Less Traveled: A New Psychology of Love, Traditional Values and Spiritual Growth, which was originally published in 1978 and has sold more than seven million copies in the United States and Canada. Given the pervasiveness of Frost’s lines, it should come as no surprise that the popularity of “The Road Not Taken” appears to exceed that of every other major twentieth-century American poem, including those often considered more central to the modern (and modernist) era. Admittedly, the popularity of poetry is difficult to judge. Poems that are attractive to educators may not be popular with readers, so the appearance of a given poem in anthologies and on syllabi doesn’t necessarily reveal much. And book sales indicate more about the popularity of a particular poet than of any individual poem. But there are at least two reasons to think that “The Road Not Taken” is the most widely read and recalled American poem of the past century (and perhaps the adjective “American” could be discarded). The first is the Favorite Poem Project, which was devised by former poet laureate Robert Pinsky. Pinsky used his public role to ask Americans to submit their favorite poem in various forms; the clear favorite among more than eighteen thousand entries was “The Road Not Taken. ” The second, more persuasive reason comes from Google. Until it was discontinued in late 2012, a tool called Google Insights for Search allowed anyone to see how frequently certain expressions were being searched by users worldwide over time and to compare expressions to one another. Google normalized the data to account for regional differences in population, converted it to a scale of one to one hundred, and displayed the results so that the relative differences in search volume would be obvious. Here is the result that Google provided when “The Road Not Taken” and “Frost” were compared with several of the best-known modern poems and their authors, all of which are often taught alongside Frost’s work in college courses on American poetry of the first half of the twentieth century: SEARCH TERMS | SCALED WORLDWIDE SEARCH VOLUME “Road Not Taken” + “Frost” 48 “Waste Land” + “Eliot” 12 “Prufrock ” + “Eliot” “This Is Just to Say” + “Carlos Williams” 4 “Station of the Metro” + “Pound” 2 According to Google, then, “The Road Not Taken” was, as of mid-2012, at least four times as searched as the central text of the modernist era— The Waste Land —and at least twenty-four times as searched as the most anthologized poem by Ezra Pound. By comparison, this is even greater than the margin by which the term “college football ” beats “archery” and “water polo. ” Given Frost’s typically prickly relationships with almost all of his peers (he once described Ezra Pound as trying to become original by “imitating somebody that hasn’t been imitated recently”), one can only imagine the pleasure this news would have brought him. But as everyone knows, poetry itself isn’t especially widely read, so perhaps being the most popular poem is like being the most widely requested salad at a steak house. How did “The Road Not Taken” fare against slightly tougher competition? Better than you might think: 47 “Like a Rolling Stone” + “Dylan” 19 “Great Gatsby ” + “Fitzgerald” 17 “Death of a Salesman” + “Miller” 14 “Psycho” + “Hitchcock” The results here are even more impressive when you consider that “The Road Not Taken” is routinely misidentified as “The Road Less Traveled, ” thereby reducing the search volume under the poem’s actual title. (For instance, a search for “Frost’s poem the road less traveled” produces more than two hundred thousand results, none of which would have been counted above. ) Frost once claimed his goal as a poet was “to lodge a few poems where they will be hard to get rid of ”; with “The Road Not Taken, ” he appears to have lodged his lines in granite. On a word-for-word basis, it may be the most popular piece of literature ever written by an American. * And almost everyone gets it wrong. This is the most remarkable thing about “The Road Not Taken”—not its immense popularity (which is remarkable enough), but the fact that it is popular for what seem to be the wrong reasons. It’s worth pausing here to underscore a truth so obvious that it is often taken for granted: Most widely celebrated artistic projects are known for being essentially what they purport to be. When we play “White Christmas” in December, we correctly assume that it’s a song about memory and longing centered around the image of snow falling at Christmas. When we read Joyce’s Ulysses, we correctly assume that it’s a complex story about a journey around Dublin as filtered through many voices and styles. A cultural offering may be simple or complex, cooked or raw, but its audience nearly always knows what kind of dish is being served. Frost’s poem turns this expectation on its head. Most readers consider “The Road Not Taken” to be a paean to triumphant self-assertion (“I took the one less traveled by”), but the literal meaning of the poem’s own lines seems completely at odds with this interpretation. The poem’s speaker tells us he “shall be telling, ” at some point in the future, of how he took the road less traveled by, yet he has already admitted that the two paths “equally lay / In leaves” and “the passing there / Had worn them really about the same. ” So the road he will later call less traveled is actually the road equally traveled. The two roads are interchangeable. According to this reading, then, the speaker will be claiming “ages and ages hence” that his decision made “all the difference” only because this is the kind of claim we make when we want to comfort or blame ourselves by assuming that our current position is the product of our own choices (as opposed to what was chosen for us or allotted to us by chance). The poem isn’t a salute to can-do individualism; it’s a commentary on the self-deception we practice when constructing the story of our own lives. “The Road Not Taken” may be, as the critic Frank Lentricchia memorably put it, “the best example in all of American poetry of a wolf in sheep’s clothing. ” But we could go further: It may be the best example in all of American culture of a wolf in sheep’s clothing. In this it strongly resembles its creator. Frost is the only major literary figure in American history with two distinct audiences, one of which regularly assumes that the other has been deceived. The first audience is relatively small and consists of poetry devotees, most of whom inhabit the art form’s academic subculture. For these readers, Frost is a mainstay of syllabi and seminars, and a regular subject of scholarly articles (though he falls well short of inspiring the interest that Ezra Pound and Wallace Stevens enjoy). He’s considered bleak, dark, complex, and manipulative; a genuine poet’s poet, not a historical artifact like Longfellow or a folk balladeer like Carl Sandburg. While Frost isn’t the most esteemed of the early twentieth-century poets, very few dedicated poetry readers talk about him as if he wrote greeting card verse. Then there is the other audience. This is the great mass of readers at all age levels who can conjure a few lines of “The Road Not Taken” and “Stopping by Woods on a Snowy Evening, ” and possibly “Mending Wall ” or “Birches, ” and who think of Frost as quintessentially American in the way that “amber waves of grain” are quintessentially American. To these readers (or so the first audience often assumes), he isn’t bleak or sardonic but rather a symbol of Yankee stoicism and countrified wisdom. This audience is large. Indeed, the search patterns of Google users indicate that, in terms of popularity, Frost’s true peers aren’t Pound or Stevens or Eliot, but rather figures like Pablo Picasso and Winston Churchill. Frost is not simply that rare bird, a popular poet; he is one of the best-known personages of the past hundred years in any cultural arena. In all of American history, the only writers who can match or surpass him are Mark Twain and Edgar Allan Poe, and the only poet in the history of English-language verse who commands more attention is William Shakespeare. This level of recognition makes poetry readers uncomfortable. Poets, we assume, are not popular—at least after 1910 or so. If one becomes popular, then either he must be a second-tier talent catering to mass taste (as Sandburg is often thought to be) or there must be some kind of confusion or deception going on. The latter explanation is generally applied to Frost’s celebrity. As Robert Lowell once put it, “Robert Frost at midnight, the audience gone / to vapor, the great act laid on the shelf in mothballs. ” The “great act” is for “the audience” of ordinary readers, but his true admirers know better. He is really a wolf, we say, and it is only the sheep who are fooled. It’s an explanation that Frost himself sometimes encouraged, much as he used to boast about the trickiness of “The Road Not Taken” in private correspondence. (“I’ll bet not half a dozen people can tell who was hit and where he was hit by my Road Not Taken, ” he wrote to his friend Louis Untermeyer. ) In this sense, the poem is emblematic. Just as millions of people know its language about the road “less traveled” without understanding what that language is actually saying, millions of people recognize its author without understanding what that author was actually doing. But is this view of “The Road Not Taken” and its creator entirely accurate? Poems, after all, aren’t arguments—they are to be interpreted, not proven, and that process of interpretation admits a range of possibilities, some supported by diction, some by tone, some by quirks of form and structure. Certainly it’s wrong to say that “The Road Not Taken” is a straightforward and sentimental celebration of individualism: this interpretation is contradicted by the poem’s own lines. Yet it’s also not quite right to say that the poem is merely a knowing literary joke disguised as shopworn magazine verse that has somehow managed to fool millions of readers for a hundred years. A role too artfully assumed ceases to become a role and instead becomes a species of identity—an observation equally true of Robert Frost himself. One of Frost’s greatest advocates, the scholar Richard Poirier, has written with regard to Frost’s recognition among ordinary readers that “there is no point trying to explain the popularity away, as if it were a misconception prompted by a pose. ” By the same token, there is no point in trying to explain away the general misreadings of “The Road Not Taken, ” as if they were a mistake encouraged by a fraud. The poem both is and isn’t about individualism, and it both is and isn’t about rationalization. It isn’t a wolf in sheep’s clothing so much as a wolf that is somehow also a sheep, or a sheep that is also a wolf. It is a poem about the necessity of choosing that somehow, like its author, never makes a choice itself—that instead repeatedly returns us to the same enigmatic, leaf-shadowed crossroads. From The Road Not Taken: Finding America in the Poem Everyone Loves and Almost Everyone Gets Wrong by David Orr. Reprinted by arrangement with The Penguin Press, an imprint of Penguin Publishing Group, a division of Penguin Random House LLC. Copyright © 2015 by David Orr. David Orr is the poetry columnist for the New York Times Book Review. He is the winner of the Nona Balakian Prize from the National Book Critics Circle, and his writing has appeared in The New Yorker, Poetry, Slate, and The Yale Review.

YESSSS IM STUDYING THIS FOR ENGLISH LIT SO THIS IS USEFUL. Whatever interpretations both positive and negative holds good for this like. be or not to be. a double edged dagger so to say... equally good for a hero and villain. The most powerful aspect is it negative or positive its your choice and your life to live in a manner suitable to you and for the society. Very inspirational and great animation! Well done. The Roads Not taken on 2009.

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The roads not taken trailer german. The*Roads*Not*OnLinE Film Stream vf The Roads Not Taken movie2k… English Film. The roads not taken trailer legendado. It makes me uncomfortable how incredibly much they nailed Megyn Kelly in this. It might be the best makeup and prosthetics I've seen, and Charlize is perfect for this role. The Roads Not Taken Theatrical release poster Directed by Sally Potter Produced by Christopher Sheppard Written by Sally Potter Starring Javier Bardem Elle Fanning Salma Hayek Laura Linney Music by Sally Potter Cinematography Robbie Ryan [1] Edited by Sally Potter Jason Rayton Emilie Orsini Production companies BBC Films HanWay Films British Film Institute Ingenious Media Chimney Pot Sverige AB Adventure Pictures Film i Väst Distributed by Bleecker Street Focus Features Release date February 26, 2020 ( Berlin) March 13, 2020 (United States) May 1, 2020 (United Kingdom) Running time 85 minutes [2] Country United States United Kingdom Sweden Language English The Roads Not Taken is an upcoming British-American drama film written and directed by Sally Potter. It stars Javier Bardem, Elle Fanning, Salma Hayek and Laura Linney. It will have its world premiere at the Berlin International Film Festival on February 26, 2020. It is scheduled to be released on March 13, 2020, by Bleecker Street. Cast [ edit] Javier Bardem as Leo Elle Fanning as Molly Salma Hayek as Dolores Branka Katić as Xenia Laura Linney as Rita Production [ edit] In December 2018, it was announced Javier Bardem, Elle Fanning, Salma Hayek and Laura Linney had joined the cast of the film, with Sally Potter directing and writing from a screenplay she wrote. Christopher Sheppard will produce under his Adventure Pictures banner, while BBC Films, HanWay Films, British Film Institute, Ingenious Media, Chimney Pot, Sverige AB, Adventure Pictures and Film i Väst will produce. Bleecker Street will distribute. Production began that same month. [3] Release [ edit] In September 2019, it was announced Focus Features had acquired international distribution rights to the film outside of the U. S. [4] It will have its world premiere at the Berlin International Film Festival on February 26, 2020. [5] [6] It is scheduled to be released in the United States on March 13, 2020. [7] References [ edit] ^ "Robbie Ryan" (PDF). Gersh. Retrieved March 27, 2019. ^ "The Roads Not Taken". Berlin International Film Festival. Retrieved February 11, 2020. ^ Grater, Tom (December 10, 2018). "Javier Bardem, Elle Fanning, Salma Hayek to star in Sally Potter drama". Screen International. Retrieved December 10, 2018. ^ Wiseman, Andreas (September 18, 2019). "Focus Pre-Buys Key Int'l Territories On Sally Potter Drama 'Molly' Starring Javier Bardem & Elle Fanning; HanWay Closes Most Of World". Deadline Hollywood. Retrieved September 18, 2019. ^ "The 70th Berlinale Competition and Further Films to Complete the Berlinale Special". Berlinale. Retrieved 29 January 2020. ^ "Berlin Competition Lineup Revealed: Sally Potter, Kelly Reichardt, Eliza Hittman, Abel Ferrara". Variety. Retrieved 29 January 2020. ^ Lang, Brent (October 25, 2019). "Bleecker Street Buys Harvey Weinstein-Inspired Drama 'The Assistant ' ". Retrieved October 25, 2019. External links [ edit] The Roads Not Taken on IMDb.

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The roads not taken film. The roads not taken film 2020. The roads not taken glee. Two roads diverged in a yellow wood, And sorry I could not travel both And be one traveler, long I stood And looked down one as far as I could To where it bent in the undergrowth; Then took the other, as just as fair, And having perhaps the better claim, Because it was grassy and wanted wear; Though as for that the passing there Had worn them really about the same, And both that morning equally lay In leaves no step had trodden black. Oh, I kept the first for another day! Yet knowing how way leads on to way, I doubted if I should ever come back. I shall be telling this with a sigh Somewhere ages and ages hence: Two roads diverged in a wood, and I— I took the one less traveled by, And that has made all the difference.

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Bản dịch này hay quá. This essay was composed for the Worth 1, 000 Words project by ANNE MITCHELL WHISNANT. Whisnant is an administrator at UNC-Chapel Hill, an adjunct faculty member in History and American Studies, and author of the 2006 book Super-Scenic Motorway: A Blue Ridge Parkway History. [Download/print a pdf of this essay] One of the most cherished and widely retold stories in recent North Carolina history is the tale of the Blue Ridge Parkway’s “missing link” at Grandfather Mountain. This approximately seven-mile section of the road remained uncompleted for two decades after the rest of the Parkway was finished in the late 1960s. It finally opened in 1987, fifty-two years after Parkway construction began in the midst of the Great Depression. At the heart of the popular story is the tale of the how Grandfather Mountain owner Hugh Morton “saved” what is usually described as an ecologically fragile yet pristine and undeveloped mountain from the National Park Service’s supposed plans to route the Blue Ridge Parkway “over the top” of the beloved peak in the 1950s and 1960s. Countless publications have portrayed Morton as a lifelong conservationist who single-handedly halted what is characterized as an environmentally irresponsible Park Service plan to take – in Morton’s oft-repeated phrase – a “switchblade to the Mona Lisa. ” In the end, Morton forced the Park Service to adopt a lower route. The construction of the iconic Linn Cove Viaduct – an engineering marvel that greatly reduced construction damage along a quarter-mile part of the route that traversed an unstable boulder field – provides a neat end to this simple, but misleading account. The historical record of the battle between Morton, North Carolina’s State Highway Commission (responsible for Parkway land acquisition in the state), and the National Park Service (NPS) over the Parkway route reveals a much more complicated drama. Key parts of this story that have dropped out of view over the years remerge vividly from Hugh Morton’s own photographic record, heretofore largely unseen. An enthusiastic and talented nature photographer, Morton took hundreds of photographs of and along the Blue Ridge Parkway. His most recognizable Parkway images – featured in many a magazine, state travel guide, poster, and billboard – highlight its scenic beauty: a car meandering through Doughton Park, stunning fall colors, a carefully-placed pink rhododendron hovering over the endlessly photographed Viaduct. Similarly, large numbers of his photographs of Grandfather Mountain feature wildlife, waterfalls, flowers, and close or distant natural vistas. But digitization of the Morton collection permits photographs less artistic but more relevant to documenting the history of the Parkway at Grandfather finally to be widely available. Most important are the photographs of Morton’s development of a promising tourist site at Grandfather in the early 1950s. Like many other private tourism entrepreneurs in the North Carolina and Virginia mountains, Morton hoped the Blue Ridge Parkway would funnel travelers to his gates. Throughout the 1950s, however, he battled the Park Service over what he perceived (sometimes rightly) as its insufficient attention to promoting and helping regional business interests. He led opposition to Park Service policies prohibiting advertising signs on the Parkway and fought several proposals to impose park entrance fees. And he resisted a planned expansion of government-operated visitor facilities under the NPS’s Mission 66 construction program (1956-1966). Taking place in this context, his crusade against the Parkway “high route” was deeply intertwined with his development as a businessman and entrepreneur. And building his business at Grandfather, at least initially, induced Morton to flip open his own switchblade. The story begins in the 1930s, when the state of North Carolina actually paid Morton’s grandfather Hugh MacRae’s Linville Company for a right-of-way for the Parkway along what is now Highway 221. By the 1940s, however, the Park Service and state engineers had concluded that the twisting and torturous Highway 221 could not be adapted to Parkway standards. With some cooperation from the MacRae family, they launched an ultimately unsuccessful effort – spearheaded by longtime parks advocate and MacRae family friend Harlan Page Kelsey – to purchase all of Grandfather for the Parkway. That effort ran aground in the late 1940s when Morton returned from service in World War II, took the helm of the company, and declared the mountain no longer for sale. Park Service and North Carolina highway officials then plotted another route for the Parkway (known during the controversy as the “high route”) that lay about 600 feet up the mountain from 221 and included a 1700-foot tunnel through Pilot Ridge. Meanwhile, bent on harvesting what he termed “rich crops of tourists, ” Morton in 1952 blasted a road to one of the mountain’s summits, where he launched a wave of development that began with the “Mile-High Swinging Bridge, ” a new parking area and a small gift shop later that year. To recover his costs, he hiked the price of admission to Grandfather’s peak from $. 50 for car and driver ($. 25 for additional passengers) to $. 90 apiece for adults. In 1961, Morton built a much larger “Top Shop” to replace the modest early structure he had initially built at the summit parking area. In the midst of this bustle of activity, the state acquired the new “high route” right-of-way by eminent domain in 1955. Morton protested loudly to Governor Luther Hodges (for whose 1956 gubernatorial campaign he managed publicity), and the Highway Commission was forced to deed the land back to him in 1957. For the next thirteen years, stalemate reigned, as Morton – supported by governors (and personal friends) Hodges, Terry Sanford, and Dan K. Moore – stood firmly against the “high route. ” The Park Service, for its part, threatened simply to leave the Parkway unfinished rather than move the road lower on Grandfather. Ultimately, mobilizing his close connections with those in power in state government, Morton triumphed. Facing staunch state refusal to acquire land for the “high route, ” the Park Service agreed to what Morton termed a “compromise” route between the “high route” and 221. Construction began along this line in 1968. While subsequent retellings have implied or stated that the conflict turned on the potential environmental impact of the Parkway’s going “over the top” of Grandfather, an examination of the extensive documentary record from the 1950s and 1960s, which I conducted for my 2006 book, Super-Scenic Motorway: A Blue Ridge Parkway History, reveals first of all that the “high route” did not go “over the top” of Grandfather, but lay several hundred feet below any of its summits. The documents also make a convincing case that the key issues had to do with the Parkway’s expected effects on Morton’s newly-hatched tourism enterprise, where visitation had ballooned from about 12, 000 in 1946 to about 200, 000 a decade later. Environmental protection in the way we now understand it – or in the way Morton himself later came to see it – played almost no role in the controversy. Perusing the images from the Morton collection, one can appreciate the dramatic physical transformation brought to Grandfather’s summit by the development of “Carolina’s Top Scenic Attraction. ” That attraction, its Park Service critics pointed out, had caused considerable damage to the mountain at an elevation higher than the planned Parkway “high route. ” And despite employing some language decrying the “great scar” the Parkway would cause, Morton in the 1950s and 1960s worried most that the high route would, as he noted in correspondence, “interfere with our attraction” and “kill the development. ” Supporters of the “high route” (including the Parkway superintendent, Sam Weems, and the head of Parkway land acquisition at the North Carolina State Highway Commission, engineer R. Getty Browning) fumed that by not acknowledging the scars his own development had already caused, Morton was misrepresenting the situation at Grandfather. Most significant in their view was the 1952 construction of Morton’s summit toll road and parking lot, photographs of which have until now been surprisingly elusive. In the summer of 1955, staff at the Parkway headquarters, scrambling to rebut Morton’s resistance to land acquisition, desperately searched for them. “Do you have any pictures, ” a Parkway staffer asked Superintendent Sam Weems, “of the Swinging Bridge and environs showing how that has messed up the mt.? ” Morton, of course, had pictures. And those pictures, now available, remind us that the construction, which Morton himself described in a 1957 pamphlet as having entailed “blasting all the way” was far from gentle on the old Grandfather. Pictures show that building the parking area and “ Top Shop ” involved significant scarring and destructive modifications to the terrain and vegetation at the peak. Morton’s own images, at last, provide visual evidence of Parkway supporters’ claims. They show Grandfather’s peak before the road, blasting and tree removal, and the new road with its cuts, fills, rock, and cars ascending. Aerial photographs add a sense of perspective, while a series of other pictures remind us of how nearby private interests stood to lose – and gain – from building of a federally funded scenic auto Parkway: photos of the newly organized Grandfather “ Hill Climb ” car race, of a large new sign erected about 1959 at Linville to advertise the attraction, of merchandise in the bigger 1960s “Top Shop, ” and 1970s traffic congestion at the top of the mountain. Navigating the relationship between the park and regional tourism interests has always been a central dilemma of Parkway management. The history of the Parkway at Grandfather is a reminder that, despite its “noncommercial” nature, the Parkway’s history has always been intertwined with the aspirations and ambitions of travel and tourism business interests in the southern Appalachian Mountains. –Anne Mitchell Whisnant REFERENCE Whisnant, Anne Mitchell. Super-Scenic Motorway: A Blue Ridge Parkway History (Chapel Hill: University of North Carolina Press, 2006), chapter 7.
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