Word: bowman
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Dates: during 1960-1969
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...fast," says Bowman Kim Kiley, "and we've been faster than Penn all year. But we'll need endurance to be faster when it counts...
Seven weeks into their first season, the Blues were last in their division and badly in need of some offensive punch. Coach Scotty Bowman made some quick trades and acquired Gordon ("Red") Berenson, a bench warmer for the New York Rangers. Berenson, 29, the son of a Regina, Sask., fireman, had all the makings of a top scorer. He learned his swift and violent trade as a boy, skating on the frozen ponds of his home town, but like many young pros, he had found it hard to make a dent in the talent-heavy NHL. As a teenager...
...Bowman, probably dead (if we are to interpret make-up in conventional terms) finds himself in a room decorated with Louis XVI period furniture with fluorescent-light floors. He sees himself at different stages of old age and physical decay. Perhaps he is seeing representative stages of what is life would have been had he not been drawn into the infinite. As a bed-ridden dying man, the monolith appears before him and he reaches out to it. He is replaced by a glowing embryo on the bed and, presumably, reborn or transfigured into an embryo-baby enclosed...
SEVERAL less-than-affirmative ideas can be advanced. The monolith is a representation of an extraterrestrial force which keeps mankind (and finally Bowman) under observation, and manipulates it at will. Man's progress is not of his own making, but a function of the monolith--man cannot predict, therefore, the ensuing stages of his own evolution. That the initiation of man into higher stages of development involves murder casts ambiguity as to the nature of the monolith force. In its statement that man cannot control his destiny, 2001 is anti-humanistic--this also in the concept that what we consider...
...final appearance of the Louis XVI room suggests that Bowman was, in fact, being observed as if he were a rat in a maze, perhaps to test his readiness for a further progression, this time a transcendence. The decor of the room is probably not significant, and is either an arbitrary choice made by the observers, or else a projection of Bowman's own personality (the floor and the food are specifically within Bowman's immediate frame of reference...