Romney invests personal fortune in embryonic stem cell research; casinos, and Sudanese oil partners


As I've observed before, with this election cycle's crop of GOP candidates, when general election time arrives, it's going to be difficult to employ the traditional Republican strategy of claiming that the Democratic rival is a "flip flopper."

A leading example is Mitt Romney. First the former MA Governor was for stem cell research and now he's against it. Yet despite his new found moral opposition, as the Washington Post reports today, Romney continues to invest his personal fortune, managed via a "blind trust," in a company that is a leader in embryonic stem cell research. He also invests in other "morally sound" ventures such as casinos and an oil company that does business with the Sudanese.

Romney disclosed yesterday that his blind trusts earned between $17 million and $69 million in income in the past 18 months. One of his trusts owned between $100,000 and $250,000 in stock in the biotechnology and drug company Novo Nordisk, which describes itself on its Web site as an "active partner in national and international cooperative projects involving stem cells." Many religious conservatives, whose votes Romney is courting, oppose the scientific use of embryonic stem cells because the cells often come from aborted fetuses.

Romney's trusts also recently unloaded numerous stocks -- valued at between $150,000 and $1,165,000 -- in casino operators MGM Mirage, Harrah's and Boyd Gaming. Many Christian conservatives -- as well as leaders of Romney's Mormon faith -- morally oppose gambling.

The Romney trusts reported owning and then selling stock worth between $100,001 and $250,000 in the Schlumberger global oil services company, which was identified as doing business with the Sudanese government by members of Congress pushing legislation to end the genocide in Sudan's Darfur region.


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Originally Poe envisioned a parrot, not a raven

Quoth the parrot — "Nevermore."

The Green Parrot by Vincent van Gogh, 1886
Culture & Religion

By his mid-30s, Edgar Allan Poe was not only weary by the hardships of poverty, but also regularly intoxicated — by more than just macabre visions. Despite this, the Gothic writer lucidly insisted that there was still a method to his madness when it came to devising poems.

In an essay titled "The Philosophy of Composition," published in 1846 in Graham's Magazine, Poe divulged how his creative process worked, particularly in regard to his most famous poem: "No one point in [The Raven's] composition is rerferrible either to accident or intuition… the work proceeded step by step, to its completion with the precision and rigid consequence of a mathematical problem."

That said, contrary to the popular idea that Edgar Allan Poe penned his poems in single bursts of inspiration, The Raven did not pour out from his quivering quill in one fell swoop. Rather it came about through a calculative process — one that included making some pretty notable changes, even to its avian subject.

As an example of how his mind worked, Poe describes in his essay that originally the bird that flew across the dreary scene immortalized in the poem was actually… a parrot.

Poe had pondered ways he could have his one word refrain, "nevermore," continuously repeated throughout the poem. With that aim, he instantly thought of a parrot because it was a creature capable of uttering words. However, as quickly as Poe had found his feathered literary device, he became concerned with the bird's form on top of its important function.

And as it turns out, the parrot, a pretty resplendent bird, did not perch so well in Poe's mind because it didn't fit the mood he was going for—melancholy, "the most legitimate of all the poetical tones." In solving this dilemma in terms of imagery, he made adjustments to its plumage, altogether transforming the parrot — bestowing it with a black raiment.

"Very naturally, a parrot, in the first instance, suggested itself, but was superseded forthwith by a Raven, as equally capable of speech, and infinitely more in keeping with the intended tone," Poe explained in his piece in Graham's. "I had now gone so far as the conception of a Raven — the bird of ill omen — monotonously repeating the one word, 'Nevermore,' at the conclusion of each stanza, in a poem of melancholy tone…"

It was with these aesthetic calculations that Poe ousted the colorful bird that first flew into his mind, and welcomed the darker one that fluttered in:

In there stepped a stately Raven of the saintly days of yore;
Not the least obeisance made he; not a minute stopped or stayed he;
But, with mien of lord or lady, perched above my chamber door—
Perched upon a bust of Pallas just above my chamber door—
Perched, and sat, and nothing more.
Then this ebony bird beguiling my sad fancy into smiling,
By the grave and stern decorum of the countenance it wore…

The details of the poem — including the bird's appearance — needed to all blend together, like a recipe, to bring out the somber concept he was trying to convey: the descent into madness of a bereaved lover, a man lamenting the loss of a beautiful woman named Lenore. With that in mind, quoth the parrot — "nevermore" just doesn't have the same grave effect.

* * *

If you'd like to read more about Edgar Allan Poe, click here to review how his contemporaries tried to defame him in an attempt to thwart his success.

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