Bodysnatchers (1956) was widely interpretednas a McCarthyist film, whichnit was, but it was also much more: anfilm horrifying enough to make sleepnitself an object of terror, it warned usn(like Eugene lonesco’s Rhinoceros)nthat already in the 1950’s Americansnwere losing that individualism whichnwas our primary virtue. All of Siegel’snbest heroes were men who acceptednresponsibility and did what they had tondo in an America run by bureaucratsnand zombies: Kevin McCarthy, holdingnonto his humanity and screamingn”They’re Coming,” Clint Eastwood asnDirty Harry, sacrificing his career innorder to protect the public, and JohnnWayne as the aging gunman John B.nBook in The Shootist (1976), the lastngood Western and a film tribute tonJohn Ford.nAlmost a reprise of The Man WhonShot Liberty Valance, Siegel’s last majornfilm cast Wayne as a rugged andnhonorable Westerner dying of cancernand Jimmy Stewart as the doctor whontreats him. Something has happened tonthe West since men like Book hadnroamed free, and it is now dominatednby cowardly businessmen and unprinciplednpunks whose violence earns thenadmiration of young men with nonbetter models to turn to. Book cleansnup the town and dies honorably in onengrand gesture that teaches a youngnRon Howard how to be a man withoutnbeing drawn into the cult of violence.nAt the end of Dirty Harry, Eastwoodnthrows away his badge, and at thenend of The Shootist Ron Howardnthrows away his gun. Siegel was nonpacifist, but he recognized in all hisnfilms that neither politics nor even lawncan solve the problems spawned by ancorrupt and decadent society. Rumornhas it that Siegel quit Magnum ForcenPrincipalities & Powersnby Samuel Francisn1-iamar Alexander is not what mostnpeople expect to emerge from the hillsnof Tennessee, but in the New WoridnOrder, the state that produced SergeantnYork, Jack Daniels, the Grand OlenOpry, and the Great Dayton MonkeynTrial retains about as much culturalnsingularity as an enterprise zone inn10/CHRONICLESnbecause Eastwood insisted on twistingnthe picture into a statement againstnpolice vigilantes. Under Siegel’s tutelage,nEastwood became one of thenmost consistently interesting directorsnin Hollywood, but the real Dirty Harryn— the man who would rather quit thanncompromise—was Don Siegel.n— Thomas FlemingnWARREN CHAPPELL, one ofnAmerica’s foremost illustrators and calligraphers,ndied last March 26 at hisnhome in Charlottesville, Virginia,nwhere he was for many years an artistin-residencenat the University of Virginia.nHe was eighty-six years old.nd hj^C^jn^^xjnMr. Chappell worked for such publishersnas Random House, Harper &nRow, Doubleday, and Little, Brown,nand among the hundreds of books henillustrated were editions of Tale of anDetroit. Indeed, that’s pretty muchnwhat Mr. Alexander, now PresidentnBush’s education secretary, helped turnnhis state into.nIt was he, as Tennessee’s governornfrom 1979 to 1987, who stmck thendeals and baited the traps that lurednNissan and General Motors from thenforeign climes of Japan and Michigan tonthe bucolic meadows of the VolunteernState. Mr. Alexander may have beennnnTub (1930), Connecticut Yankee innKing Arthur’s Court (1942), TomnJones (1943), Moby-Dick (1976), andnAll the King’s Men (1981). He collaboratednwith John Updike on a numbernof children’s books, including ThenMagic Flute (1962), The Ring (1964),nand Bottom’s Dream (1969), and wasnthe author of The Anatomy of Letteringn(1935), They Say Stories (1960), AnShort History of the Printed Wordn(1970), and The Living Alphabetn(1975). He received the Goudy Awardnfrom the Rochester Institute of Technologynin 1970 for his contributions tonletter design, the most notable of whichnwere his two original typefaces, Lydiannand Trajanus.nIt was The Rockford Institute’s greatngood fortune to have Mr. Chappellnas its first illustrator. His vignettes regularlynappeared in our publicationsnthroughout the late 1970’s and eariyn1980’s, and as a tribute to him we havenreproduced a number of these originalnworks for this month’s cover and articles.nHe had become a friend of LeopoldnTyrmand, our first editor, whennMr. Tyrmand was working for thenNew Yorker, and even after Tyrmand’sndeath, Mr. Chappell continued tonsend remarks on the magazine, both criticalnand complimentary. (He hated thenChronicles logo, for instance, but characteristicallynapologized for saying so.)nA letter from Warren Chappell wasnalways a treasure, written in beautifuln(well-nigh indescribable) calligraphynand illustrated with an ink or watercolorncartoon; they were closer to artnthan raw communication. Chappellnhad a Greek affection for beauty andnform that he was never able to shake,nand he imposed his sense of gracenupon a publishing wodd that is impoverishednby his loss.nborn on a mountaintop in Tennessee,nbut he never kilt a bar when he was onlynthree. He’s a dressed-for-success RockefellernRepublican who marches tonglobalist music, and he sees nothingnwrong and everything right with thenhome state of Allen Tate and AndrewnLytic being ingested into the maw ofnplanet-spanning bureaucracies thatnpromise Progress through Universal Affluence.n