rydra_wong: Lee Miller photo showing two women wearing metal fire masks in England during WWII. (Default)
The Guardian: Medieval porpoise 'grave' on Channel island puzzles archaeologists

I love everything about this story:

Archaeologists digging at an island religious retreat have unearthed the remains of a porpoise that, mystifyingly, appears to have been carefully buried in its own medieval grave.

MAYBE THE PORPOISE WAS A MONK, HAVE YOU THOUGHT ABOUT THAT.

... and now I eagerly await the medieval monk were-porpoise shifter romance.

For a different kind of wonderful:

The Fader: This Artist Is Filling London With Murals Of Extraordinary Black Women

The art is gorgeous, but what I really love is that he's portraying his female friends, people who aren't famous but are ordinary/extraordinary people - a youth worker, a psychotherapist, and so on. And I love the shots of the murals with the real women posed next to them.

Catching up on New Worlds

Sep. 19th, 2017 03:37 pm[personal profile] swan_tower
swan_tower: (Default)

My Patreon is trucking along, but I haven’t been good about linking to it here. So have a list of recent posts!

This week’s post (sneak preview!) will be on rites of passage, followed by a bonus post on the theory of worldbuilding, since that’s one of the funding goals we’ve reached. Remember, this is all funded by my lovely, lovely patrons — and if you join their ranks, you get weekly photos, plus (at higher levels) opportunities to request post topics or get feedback on your own worldbuilding!

Originally published at Swan Tower. You can comment here or there.

copperbadge: (Default)
Come in, please, come in. I can’t entertain you shipboard as I once could, but there is tea and plenty of food, and I understand you’ve done well for yourself at the gambling tables. I suppose I can afford to lose a little now and then. My late first husband was a wealthy man and I magnified his wealth – well, you know how.

I think there should be discipline in everything, you know, even lawlessness. When I ruled the sea and the Red Flag Fleet, no one disobeyed me. Literally. Those who did were beheaded. But, on the other hand, I think my rule was mainly benificent. Did you know I forbade those under my command to steal from villagers who supplied us? That only made sense, of course. Death was also the sentence for any assault on a female captive. One makes these laws when one grows up as I did.

I also insisted that anything taken from town or ship was to be presented, registered, and given out amongst all – oh, the original taker got a percentage, and twenty percent is better than nothing, you know. That’s how you keep a sailor happy.

My dear second husband, he also issued some laws, I suppose, but they weren’t written down or very well enforced. What were they? Who knows. What does it matter? My laws were what mattered.

Eventually, of course, it became easier just to tax the local cities than to keep sacking them. Nicer for all concerned and not so much work for us. Bureaucracy will have its day, sooner or later, always.

That is how I came to be here, you know; several years ago, after I defeated their entire Navy, the government offered amnesty to pirates. Well they might; what other option did they have? But I was wealthy, so why should I continue to work when I was no longer a criminal? It was in 1810 that I left crime behind forever and opened this little gambling house. Here I am content, you know, and I think I will be until I die. Hopefully not for a long, long time!

Oh, I am called many things. I was born Shi Xianggu, and I am called Cheng I Sao, sometimes, but mostly I am known as Ching Shih – the Widow Ching, wife of two pirates, but a pirate empress myself.

(After all, it’s Talk Like A Pirate day, not Talk Like Every Pirate day. I chose Ching Shih.)

(Also if you enjoyed this, consider dropping some spare change in my Ko-Fi!)

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dewline: (Default)
On fictional user interface design for film and TV:

http://www.idnworld.com/imprints/FUI-DesignFilmGames

On Brexit's campaign against anti-corruption efforts (and yes, I wrote that as intended):

https://www.nytimes.com/2017/09/19/opinion/brexit-britain-corruption.html

Graham-Cassidy

Sep. 19th, 2017 10:45 am[personal profile] rydra_wong
rydra_wong: The display board of a train reads "this train is fucked". (this train is fucked)
Via [tumblr.com profile] vassraptor and [tumblr.com profile] realsocialskills:

The Autistic Self Advocacy Network: ACA repeal is back – and so are we

Explanation, script and guide to contacting your representatives.
radiantfracture: (Default)
I was nearly welded today.

Our main building, containing cafeteria, store, offices, classrooms, is under construction. An enormous scaffold surrounds the front doors. Today, exiting with a sustaining bannana in one hand, I heard the burr of welding and then felt a sudden hot-cold shower on the left side of my head, just about the region of the parietal lobe. I put up my hand and plucked a speck of grit from my hair.

As I crossed the quad and mounted the stairs to my building, I began to work out that I'd been sprayed with tiny bits of metal -- little curled chips of aluminum were in my hair and speckled my sweater-vest like glittering lint.

It was not a great cascade of sparks or anything -- just a smattering and a peculiar sensation -- but Jesus. That could have gone into my eye. I spent the whole of my lesson on proper quotation partially convinced that a speckling of tiny holes might newly pepper my skull, like a thought-colander.

The Thought-Colander

After Ted Hughes

I imagine this midday moment's sensation-salad:
Something hot but lifeless
burrows into the occipital
makes a blank page of this field where
newly kindled hallucinations move

(etc.)

Sorry, Here's "The Thought-Fox" to Make Up for That

Actually by Ted Hughes

I imagine this midnight moment's forest:
Something else is alive
Beside the clock's loneliness
And this blank page where my fingers move.

Through the window I see no star:
Something more near
though deeper within darkness
Is entering the loneliness:

Cold, delicately as the dark snow
A fox's nose touches twig, leaf;
Two eyes serve a movement, that now
And again now, and now, and now

Sets neat prints into the snow
Between trees, and warily a lame
Shadow lags by stump and in hollow
Of a body that is bold to come

Across clearings, an eye,
A widening deepening greenness,
Brilliantly, concentratedly,
Coming about its own business

Till, with a sudden sharp hot stink of fox,
It enters the dark hole of the head.
The window is starless still; the clock ticks,
The page is printed.


* * * * *

I feel like "midnight moment's forest" must have kinship with Hopkins' "morning's morning's minion" from "The Windhover." Discuss.

Fine, Here's "The Windhover" As Well

Gerard Manley Hopkins

I caught this morning morning's minion, king-
dom of daylight's dauphin, dapple-dawn-drawn Falcon, in his riding
Of the rolling level underneath him steady air, and striding
High there, how he rung upon the rein of a wimpling wing
In his ecstasy! then off, off forth on swing,
As a skate's heel sweeps smooth on a bow-bend: the hurl and gliding
Rebuffed the big wind. My heart in hiding
Stirred for a bird, – the achieve of, the mastery of the thing!

Brute beauty and valour and act, oh, air, pride, plume, here
Buckle! AND the fire that breaks from thee then, a billion
Times told lovelier, more dangerous, O my chevalier!

No wonder of it: shéer plód makes plough down sillion
Shine, and blue-bleak embers, ah my dear,
Fall, gall themselves, and gash gold-vermilion.

* * * * *

Nobody alliterates like our Gerry.


Downdates (What an Update Isn't)

I skipped the monthly reading post for August because, well, there was so little to discuss. I have trouble directing sustained attention under conditions of anxiety (such as term prep). Combining with September will give the list a more respectable heft.

At least I'm transparent in my machinations.

Likewise I think if I'm writing a report on how the term is going -- which is an idea I like a lot as a way to chronicle the development of this course I love -- it'll have to be a biweekly report at best.

A propos of some (very positive) recent events -- I wish I didn't feel so terrible when happy things breathe themselves across the membrane.1

Something wonderful takes place and afterwards it feels like a crisis -- I can't be happy because I'm so convinced that it was secretly a disaster or I am about to make it one.

Too much jouissance. Not enough swimming laps and meditation.

{rf}

1. Isn't transpire a great word? All those spire words are a gift basket from Latin: conspire (to breathe together); inspire (to breathe in); aspire (to breathe on); expire (to breathe out) -- my library card is about to breathe its last -- what else? What others? I love them.

2. Actually, if I weren't so tired I might write though the whole of "The Thought-Fox" just for the exercise.
dewline: (Default)
Since the series is going to air on Space Channel here in Canada - thank the Great Bird, the Prophets, the Grand Material Continuum, Surak and Kahless for that! - I do plan to watch the series. I do not like this "streaming-subscription" business model.

Noting the first four episode titles per trekmovie.com:
  • The Vulcan Hello
  • Battle at the Binary Stars
  • Context is for Kings
  • The Butcher's Knife Cares Not for the Lamb's Cry


Some attention-getters as episode titles go, yes?
sovay: (PJ Harvey: crow)
On the one hand, A Matter of Life and Death (1946) is my least favorite Powell and Pressburger. It's a superlative afterlife fantasy in the tradition of Here Comes Mr. Jordan (1941), which is the problem: it's the Archers doing, excellently, a kind of story other people do. I don't hate it. I like the premise, which flips the opening glitch of Jordan so that instead of snatching a man untimely into the afterlife, a psychopomp lets his assigned soul slip away into the world; I love its filming of Earth in color and the "Other World" in black and white, whence Wim Wenders and his Berlin angels; I really love its double-tracking of the plot in both mystical and medical registers and the way it refuses to resolve one over the other, eventually, rightly merging the two. I have always suspected that after the credits roll, somewhere among the stars Marius Goring's Conductor 71 and Edward Everett Horton's Messenger 7013 are gloomily comparing notes on their respective balls-ups and wondering if Alan Rickman's Metatron was right that angels can't get drunk. It has one of the great escalators of cinema. It's objectively good and I know it's widely loved. But it's easily the least weird thing the Archers ever committed to celluloid. I can't tell if its otherworld is deliberately dry or if my ideas of the numinous just for once parted ways with the filmmakers', but I found more resonance in the real-world scenes with their odd touches like a naked goatherd piping on an English beach, the camera obscura through which Roger Livesey's Dr. Reeves watches the town around him, or the mechanicals within mechanicals of an amateur rehearsal of A Midsummer Night's Dream, than I did in the monumental administration of heaven and the courts of the assembled dead. I watched it in the first rush of discovery following A Canterbury Tale (1944) and as many other films by Powell and Pressburger as I could lay my hands on; I was disappointed. It didn't work for me even as well as Black Narcissus (1948), which I want to see again now that I'm not expecting real India. On the same hand, the Brattle is showing a 4K DCP rather than a print, which means that I'd be settling for an approximation of the pearly Technicolor monochrome of the Other World, which is still astonishing enough in digital transfer that I really want to know what it looked like on the original 35 mm, and the same goes for the rest of Jack Cardiff's cinematography.

On the other hand, the screening will be introduced by Thelma Schoonmaker and this is how Andrew Moor in Powell and Pressburger: A Cinema of Magic Spaces (2012) writes about David Niven as Squadron Leader Peter David Carter, the pilot hero of A Matter of Life and Death (look out, textbrick, for once it's not me):

Never an actor of great range, Niven came instead to embody and to articulate a rather out-of-date ideal: gentlemanliness – or 'noblesse oblige'. His light tenor and gamin beauty are those of the nobility: he reveals, if provoked, the upright steeliness of a man with backbone, but this grit often shades over into a likeable, smiling insolence. Though we knew he could be naughty (and the actor was a noted practical joker), it was the forgivable naughtiness of a well-liked schoolboy It is usually his graceful amusement that impresses, rather than his physicality or intellect (to talk of 'grace' might seem antiquated, but old-fashioned words like that seem to fit). He could be the younger son of a minor aristocrat, at times silly but always charming, and in the last instance gallant, gazing upwards with a sparkle in his eyes, a light comedian who, through sensing the necessity of nonsense, is perfect as Phileas Fogg in Around the World in Eighty Days (Michael Anderson, 1956, US). He is fittingly dashing in The Elusive Pimpernel (Powell and Pressburger, 1950), where as Sir Percy Blakeney he embraces foppishness with gusto. His 'airy' quality is winning, and his poetic virtues shine in AMOLAD. He may be well-mannered and eloquent but, as charmers go, his 'classiness' sits easily . . . He is undoubtedly an affectionate figure. Unkindness is not in him, and he is important in our gallery of heroes. But he is never like John Mills, the democratic 1940s ' Everyman'. Mills is the boy next door to everybody and, while that is a nice neighborhood, we really aspire to live next door to Niven. Is it a question of class? We suppose Niven to be a good host of better parties. Mills is like us; Niven is exotic. Cometh the hour, cometh the man, and during the war Niven stood for some of the most valued of principles, but his quality (or was it just his prettiness?) seemed the stuff of a previous, and probably mythical, time. Niven himself was a Sandhurst-trained army man, who joined the Highland Light Infantry in 1928 and served in Malta for two years before drifting towards America and into film acting. In 1939, when he left Hollywood for the army, he was a star, and managed to complete two propaganda films during the war while also serving in the Rifle Brigade . . . In the opening sequence of AMOLAD, it is hard to think of another actor who could mouth Powell and Pressburger's airborne script so convincingly. Bravely putting his house in order, saying his farewells and leaping from his burning plane, he is ridiculously, tearfully beautiful. Notably, it is his voice, travelling to Earth in radio waves, which first attracts the young American girl June, not his looks, and later it is his mind which is damaged, not his body. It is difficult, in fact, to think of the slender Niven in terms of his body at all. We remember the face, and a moustache even more precise and dapper than Anton Walbrook's (which was hiding something). Like Michael Redgrave in The Way to the Stars, he is the most celebrated man of war – the pilot who belongs in the clouds.

So I'm thinking about it.

I've Been Negligent

Sep. 18th, 2017 02:15 pm[personal profile] handful_ofdust
handful_ofdust: (Default)
...in terms of posting here, as with so much else. It's a lot easier to just like and reblog a bunch of shit on Tumblr, or have my conversations on Facebook, and that's frankly sad as hell. But then again, both Livejournal and Dreamwidth appear to be almost exactly as mordant, these days. Comments conversation is a dead art, I fear.;)

Anyhow: I went through my notebooks again, did a transcription binge and moved all my In Development pieces into a folder, thus discovering that while I may have far more upcoming deadlines than I thought I did, I also have roughly fifty things I could potentially use to plug those particular holes--seeds, sketches or outlines, as I like to call them, depending on the level of content. (A seed, for example, might be as simple as the sentence "Break John Wyndham's "Close Behind Me" down for parts and remix it to my own satisfaction."; an outline goes all the way, from first few sentences to three-act structure and coda sentence, with nothing left un-worked-out.) So that's good.

All of which goes to explain why I'm currently in the process of bulling my way through a new story called "The Church in the Mountains," based on the vague yet highly specific memory of something I thought for years that I must have caught on TV sometime in my teens, maybe as part of a Canadian anthology series, except that Google Fu has completely defeated me in terms of working out exactly what the hell that might have been. Thus leaving me with the floating question of "If this comes from inside me rather than outside me, then what IS it, exactly? A really detailed dream? A story idea that came to me so full-blown I convinced myself someone else had already made it? Where do these tropes come from, these images? Does the simple act of trying to tell it to other people make it change and evolve, and could disseminating that telling start to alter the world around you?" (That last part seems unlikely, yet makes for a pretty good thesis statement.)

In other news, I finished "The Puppet Motel" and sold it, then finished a shorter piece called "Come Closer," and sold that too. I posted the contracts on that one today, so I guess I can count on being paid for it soon. I also placed a couple of reprints and did more brainstorming work on Nightcrawling; I think I'm almost ready to start the first real chapter, now that I'm done with the prologue and I understand the overall structure. It'll be set back in 1990, so that'll be interesting--weird to think of that making it a period piece, even though it totally does. The other day it occurred to me that that's around the time I started writing many of the stories that eventually made it into Kissing Carrion,, so maybe I should go back and take a look at some of those, because it'll give me a sense of how Lennox Frewer might write for that Creative Writing 101 course she and Ancke Ewert (Nightcarwling's protagonist) meet at. Everything eventually folds in somewhere, doesn't it? Which is sort of one of the refrains of the book, so there you go.

In personal news, we're proceeding apace towards Cal's tonsilectomy, which is going to happen (fingers crossed) on October 13. Not even a stay-over procedure anymore, as I recall--he gets it done, then comes home with us, has two weeks of recuperation and might even be back on track just in time to go off to the Viva! Youth Choir's annual music camp. Tomorrow I'm in Peterborough, doing ChiSeries Pride; mis-October I'll be in Windsor, Ontario, doing another book festival. It doesn't stop, which I guess is good.

Oh yeah, and I need to do some reviews pretty soon, drive-by or not, or people will stop reading this. Ha!
sovay: (PJ Harvey: crow)
I have just learned that Stanislav Petrov died in May and I feel this is a bad year to lose a man who knew how not to blow up the world.

(no subject)

Sep. 18th, 2017 07:45 am[personal profile] copperbadge
copperbadge: (radiofreemondaaay)
Good morning everyone, and welcome to Radio Free Monday!

Before we start, a quick note because I've had a handful of issues with this lately -- if you want to bring a cause to my attention the best way to go about it is to fill out the Radio Free Monday form (also linked from the sidebar of my tumblr page). It's not just that I might not see a post tagged to me or that it saves me a ton of time, but also that it makes sure I get the information I need to describe the situation, link the appropriate pages, and name and gender people correctly.

The form doesn't ask many questions, doesn't pull any metadata (literally it doesn't even record the date you entered the information), and is as anonymous as you want it to be -- there are options for complete or partial anonymity for the person submitting the item.

Ways To Give:

[tumblr.com profile] prismatic-bell linked to a fundraiser for Congregation Beth Yeshurun and their attached day school, which were flooded by Hurricane Harvey, which hit two Jewish neighborhoods in Houston especially hard. The families are currently attending Temple Brith Israel, and the children from the day school have had to scatter among several schools temporarily. You can read more about the damage here, reblog here, give directly to the rebuilding fund, or purchase toys and learning materials or replacement books for the school directly through Amazon.

[tumblr.com profile] reesa-chan is preparing for surgery and gathering supplies to make recovery go as smoothly as possible, but they're coming up short on a few things and surgery is looming. They have a Amazon Wishlist available here and have their paypal giving page here.

Anon linked to a fundraiser for [tumblr.com profile] poplitealqueen, who is trying to help her mother get some experimental medical treatment which might allow her mobility without the use of a wheelchair. You can read more and reblog here (including links at the top to Patreon and Ko-fi) or give directly to their Ko-Fi here.

[tumblr.com profile] quinfirefrorefiddle linked to a fundraiser for [tumblr.com profile] niines9s, who is trying to escape an abusive home and needs funding for housing after graduation. They are offering commissions and also taking donations; you can read more, reblog, and find paypal information at their post.

Anon linked to news about a Christian group, Faithfully LGBT, who are fundraising to aid transgender people with gender-confirming surgeries as a way of atoning for religious discrimination against transgender people. You can read and reblog the story here or give directly to the Tithe Campaign here.

[tumblr.com profile] rilee16 is struggling to cover medical expenses after two head injuries last year, and has a fundraiser running to cover living expenses, previous medical bills, and a recent rent increase. You can read more and help out here.

News To Know:

Anon linked to a post called Saving Your Grades From A Mental Health Crisis, which is about what to do if you're in college and dealing with mental illness.

And this has been Radio Free Monday! Thank you for your time. You can post items for my attention at the Radio Free Monday submissions form. If you're not sure how to proceed, here is a little more about what I do and how you can help (or ask for help!). If you're new to fundraising, you may want to check out my guide to fundraising here.

Closing Out the Weekend

Sep. 17th, 2017 09:53 pm[personal profile] dewline
dewline: (Default)
Still. Not. Normal.
dewline: (Default)
I rewatched Atomic Blonde on Friday night. It made a bit more sense on the second viewing, which was good. It's not only a whodunnit, but a how- and why- as well as being a period spy/action drama. Not sure that we need a sequel to it, but that's an argument we can have in the comments.
sovay: (Otachi: Pacific Rim)
Plans to spend the day outside were somewhat revised on account of incoming holidays and I have the kind of headache that is barely a light sensitivity off from a migraine, but I can totally recommend the experience of baking ten honeycakes (and eighteen honeycupcakes) for Rosh Hashanah and then lying on a couch to finish reading the second half of Ruthanna Emrys' Winter Tide (2017). It's good at ocean, good at alienness, good at different ways of being human; it braids different threads of Lovecraft's universe without feeling like a monster mash, although the nature of monstrosity is one of its front-and-center concerns; it has a queer romance around the edges that I'm delighted is canonical. Technically I suppose I could have timed it to fall during the Days of Awe, but that might have been too on the nose. Also, I would have had to wait.
sovay: (Lord Peter Wimsey: passion)
I spent most of yesterday out of the house and not at doctor's appointments, which was a much better ratio than most of the rest of this week; despite an almost total failure to sleep at night, I am about to endeavor to do the same today. Two writing things, one not.

1. Yesterday's mail brought my contributor's copy of Not One of Us #58, containing my poems "The House Always Wins" and "Dive" along with fiction by Patricia Russo, Rose Keating, and Mike Allen and poetry by Mat Joiner and Holly Day, among others. The theme of the issue is fall. Not One of Us is one of the longest-running, most stubborn black-and-white ink-and-paper 'zines in existence and I am deeply fond of it, with its inclusive themes of otherness and alienation; it is where I published my first short story sixteen years ago this month. If you have the fiver to spare, I recommend picking up a copy. The editor and his family have a cat to support.

2. I am very pleased to announce that my novelette "The Boatman's Cure," heretofore available only in my collection Ghost Signs (2015), will be reprinted in a future issue of Lightspeed. If you have not read it and want an advance idea of what it's like, it was reviewed by Amal El-Mohtar when the collection came out. It has ghosts and the sea and personal history and classical myth and periodically I wonder if it counts as a haunted house story, although it was not written as one. It carries a lot of significance for me. Rest assured that I will link when it goes live.

3. I was not so pleased to hear that Harry Dean Stanton has died. As one can do with character actors, I seem to have conceived an incredible fondness for him over the years despite never seeing him in any of his really famous roles; I have good memories of him from Dillinger (1973), Alien (1979), and Twin Peaks: Fire Walk with Me (1992). I probably have Paris, Texas (1984) or Repo Man (1984) in my future. I had not realized he was 91. He was a sort of weatherbeaten middle age for so long, I just figured it was his natural, permanent state.

I'm the guy you buy

Sep. 17th, 2017 03:58 am[personal profile] sovay
sovay: (Claude Rains)
I met my father this afternoon for a matinée of Tony Gilroy's Michael Clayton (2007) at the Brattle Theatre. I had not seen the film since it was released and it really holds up. It's a character study interlocked into a tight ensemble drama; it has classic bones and no guarantees. I can't say it's the best acting George Clooney has ever done only because I love so much his perfect '30's leading-man turn in O Brother, Where Art Thou? (2000), but he's human-sized here, bruised and ambiguous, a man whose finesse with dirty deals and laundry has never made him more than a "janitor" to the swanky law firm that declines to offer his blue collar a partnership, no matter how sharp his suits or sealed his lips. Tilda Swinton almost certainly deserved her Oscar just for ruthlessly suppressing her natural air of the numinous, substituting flop sweat and a queasy determination that would be admirable if it weren't in service of corporate exploitation that can't even be written off as cartoonish, it's so routine and successful. I first noticed Tom Wilkinson in this movie, having a spectacular version of Clooney's own moral jolt: a glittering manic break in the middle of a tricky class-action suit, precipitated by an inconvenient access of conscience, also going off his meds. Other character actors have made themselves visible in the decade since, each sketching in some angle of the title character's world and the aggression, anxiety, weariness, and anger that principally define it (hello, Denis O'Hare, Sean Cullen, Sydney Pollack, Bill Raymond, oh, good God, Ken Howard, that was you). Other ways of living swing elliptically through the story. Good luck getting hold of one of them.

Looking at the film now, I am not surprised that I fell in love with it ten years ago, because it is, in addition to a kind of chamber corporate thriller, an essentially noir narrative. Its chief concerns are people's prices and limits, how far they'll go and for whose sake, whether there is such a thing as redemption or whether some stains go too deep or whether it even matters so long as just here, just now, just a little, the damage stops. It assumes institutional corruption and personal complicity without making them anyone's excuse. It asks real ethical questions and proffers no pat answers. I've never seen it counted among modern neo-noir and I'm wondering if people miss it because it eschews the style: there are no cigarette contrails or Venetian blinds, but all the philosophy is there, the starkness with which the void can suddenly open beneath you. It's never didactic; it would be dead in the water if it preached. The longest speeches belong to Wilkinson and as his character says shruggingly, "I'm crazy, right?" But it makes its audience notice the inequalities, how being useful is not the same as belonging, how suffering in aggregate can be business as usual until a face turns it into personal crisis, how the woman in the boardroom is the one out on the branch that can be sawn off at need (which does not absolve her of the actions she takes to cling there), and without playing games with audience satisfaction it ends with a move into the appropriate total unknown. It's not grimdark, because good noir isn't. It just doesn't promise anyone they'll make it out—even metaphorically—alive.

I am being evasive about the plot because it's good: it knows that a car bomb and a photocopy can be equally explosive, but the renunciation of empathy is more killing than any chemical. I didn't realize the writer-director had also written four of the Bourne movies, although I feel I should have been able to guess from the scene with Clive Owen in The Bourne Identity (2002), or that he co-wrote the script for Rogue One (2016), which is less immediately obvious to me. I can't remember if I knew that cinematographer Robert Elswit had previously worked with Clooney on Good Night and Good Luck (2005), where I discovered David Strathairn, Frank Langella, Ray Wise, and Dianne Reeves, started to notice Robert Downey, Jr., and finally differentiated Jeff Daniels from Jeff Bridges; he gets some beautiful shots out of ordinary things and some horrifying ones out of the same, like a glossily deserted, fluorescent-lit office building late at night that seems to be waiting for J.G. Ballard. I wish Clooney had won the Best Actor he was nominated for; I don't still randomly think about Daniel Day-Lewis in There Will Be Blood a decade later. I think the best compliment I can pay this movie is that even if I think of it as noir, I don't think it would have been better filmed in 1949 with John Garfield or Dan Duryea. This memo brought to you by my valuable backers at Patreon.
copperbadge: (Default)
Wow, you guys, the me of 2014 was such a good bro, he bought an extra three years of premium-level warranty coverage on his laptop.

I wasn’t even looking for whether I was still covered by warranty, I just assumed I wasn’t, but I went to Dell’s website to get the model number of my laptop so I could look up how to open it up properly and fix the terrible groaning noise my fan is making. And Dell was like hey, here’s your model number, also your warranty is good through June of 2018. 

I’m still gonna try to open it up and fix the fan myself, but if I can’t, I can send it in and get the fan fixed AND get a repair on the housing that’s starting to crack. 

Good job, 2014 Sam. You had no idea the crazy shit that was ahead of you but by god you knew you’d need three years of warranty. You and me, buddy, we’re fucking killing it in the adulting department lately. 

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Dreamlog

Sep. 16th, 2017 04:32 am[personal profile] radiantfracture
radiantfracture: (Signifier)
In the dream I am writing a story while trying not to plagiarize another story (both of course actually products of my one or multiple mind, which is always a relief to remember when I wake up, having offended or missed an exam not for my best friend or deity but only a module of myself).

In the story a modern (or possibly post-some-gently-apocalyptic-moment) city, like this city, is full of flags. Each office building, condominium, medical centre, and so forth, flies a flag on a topmost pole by which the building signals messages about its status -- this could be open/closed, but you could also flag more complex concepts, like a still semaphore.

Just now this seems like an eminently useful thing. It is 4:30 am, though, so my judgement may not be at its best.

Why don't we do this? A sort of citywide intranet of flags.

I suppose you'd have to be well above the city to really get a picture of what's going on, so we'd probably fall back on looking up a photo of the flags on the Internet anyway.

This has been a test of the emergency dream broadcast system. (Also of my new data entry system. I may or may not have acquired a certain hipster typewriting device.)



{rf}
rushthatspeaks: (altarwise)
Derek Jarman is probably my favorite film director-- the only serious competition is Ulrike Ottinger-- and in several of his books he speaks about The Last of England (1987) as his masterpiece, which of course means it's the one of his films that is impossible to get for love or money, especially if you live in the U.S..

The Brattle just screened it as part of their currently ongoing Tilda Swinton festival. Tilda Swinton, very young at the time, turned out to play England. (I probably should have expected that, but somehow I didn't.)*

He was quite right about it being a masterpiece, and, again as I should have expected from Jarman, it has had me thinking very hard about the nature and purpose of art ever since.

The Last of England is definitely a movie. It's a post-apocalyptic dystopia shot entirely using the decay of the civil infrastructure present in Thatcher's England, and I could identify a narrative-- a pair of brothers, one of whom is subverted by his attempts to subvert a balaclava-wearing, machine-gun-toting agent of the state, so that their romance causes him to wind up in a mask with a gun himself, and the other of whom winds up shot by said state agents-- and there are a lot of interesting allusions to other works of art (the opening narration at one point quotes Howl and then veers crashingly into T. S. Eliot in what is either complete literary blasphemy or the way that line was always meant to end, possibly both).** There's a year-king thing, kind of, except he doesn't get up again, and the childhood of the brothers is portrayed using home videos from Jarman's own childhood, which is fascinating because his parents were among the latest chronologically of the dyed-in-the-wool servants of the British Raj and it shows. There's a vitriolic intellectual critique of just about everything about the concepts "England" and "British".

But the thing that had me reeling and trying desperately mentally to cope is that above all, and with absolute intentionality, The Last of England is not a movie. It is a curse.

I have spent a lot of time considering evil and its relationship, if any, to art, because I try to create art myself and I feel it is a responsible thing for any artist to consider. I could get into a long digression about what I believe about evil and what I don't, but suffice it to say I do believe in evil, and the principle way I have seen evil interact with art is that subset of art which actively attempts to harm the audience, for no reason other than that it can. That sort of art can do a great deal of damage, if one runs into it at the wrong time. The other major way I have seen evil interact with art is art that is promulgating an ideology of evil, a set of beliefs which make the world decidedly worse, such as the racism of D. W. Griffith's Birth of a Nation.

I had never contemplated what I would think of a piece of art which is definitively opposed to an evil ideology-- Thatcherism, fascism, totalitarianism-- and which is doing everything in its power to harm, to hurt, to wreak havoc on, to destroy, and, if possible, to damn in the Biblical sense-- a set of people who are not the viewer.

When I say curse I mean it in a very old way. I mean that Derek Jarman was a great scholar, and he knew more about sixteenth- and seventeenth-century magic and alchemy than most academics, and he knew more about English witch-lore than any other authority I have ever encountered. And I don't know nearly as much about either as he did, but I know enough that this movie consistently raised the hairs on the back of my neck. I am... not quite sure that there is an attempt in and by this film to summon a specifically demonic presence. They may have been aiming for neutral. Or for angelic, and... missed, but I doubt that. I don't mean summoning in an obvious way, it's not like there are pentagrams on the floor, quite. It's done with light and fire and movement and the visual invocation of archetypes. It's done with dance and cross-dressing and other very careful costume.

And it's the precise kind of anger and pain turned into hatred that would cause a pastor to make serious inquiries as to the state of one's soul, and which might cause less theologically minded persons to mutter things about the abyss gazing back. Which is a concern Jarman eyes, and then discards, because this ideology, this thing that had happened to England under the rule of Thatcher and those around her, was to him worth that kind of hatred. And I think he came out of it all right as a human being and an artist himself, because he was objectively correct about that. But possibly only because he was objectively correct about that. The anger and pain and hatred here were so lacerating, so gorgeously done, so implacable and so beautiful that I kept wanting to hide, and it wasn't even aimed at me, he kept throwing in things to remind the audience that it isn't directed at us and honestly that does not help all that much.

Because with that sort of curse witnessing it is part of what drives it and makes it active.

I spent much of the film with some part of my mind trying to figure out if I thought it was moral to do this, to make this thing. Then I came down firmly and forever on the side that it is, because Tilda Swinton came in and played England.

We initially see Swinton's character in the memories of the one of the brothers who gets executed. She's wearing a sundress, and she's sitting in a field full of so many daffodils that it cannot read as naturalistic, even though, unlike most of the rest of the movie, the scene is shot in natural colors. She's his idealized love, that he won't ever be coming back to, and she's England itself, in both nurturing and colonialist aspects. "Don't be sad," we hear her say matter-of-factly as the bullets strike him: John Barleycorn is, after all, dead. She comes in next in full wedding dress and bridal veil, surrounded by attendants who are large and burly men dressed pretty much as Marie Antoinette, wedding a placeholder of a groom (the camera never focuses on his face) in a burned-out, rubble-strewn wreck of an industrial hangar. No dialogue, just the movements of the wedding, jerky smiles, everyone congratulating everybody else, Swinton eying a pram with an odd mixture of fear and longing. Earlier iconography has made it clear that the pram, though it does, of course, represent a baby, should also be taken to represent not a baby, but a cathexis of other ideas around fear and change and darkness.

And then we cut to Tilda Swinton outside, alone, by the water, by what looks like an industrial canal. There's a fire burning in an oil barrel next to her, a bonfire. She has scissors, and she tries to hack her way out of the wedding dress. It does not want to go. (It's really a lovely dress, by the way, in legitimately good taste, with about sixteen layers of veiling.) She rips at it with her fingers. She claws. She bites off parts of it. And these motions, without ever quite ceasing, turn themselves into a dance.

A line from a short story by Tanith Lee was running through my head during this scene, and it's still the only thing that comes to mind as anything resembling an adequate description: "... when she danced, a gate seemed to open in the world, and bright fire spangled inside it, but she was the fire."***

Have you ever seen something so transcendentally beautiful that you don't know how to think about it?

It's not just that this is the best thing Tilda Swinton has ever done on film, though it is, by such a distance that it's difficult to fathom. It's that I suspect it's one of the best things anyone has ever done on film. I am not exaggerating. Watching it is the kind of experience where you don't come away as exactly the same person.

Which she did, in full knowledge, in the service of Derek Jarman's curse.

All right, then. I consider it a moral action. Those few minutes are, by themselves, sufficient justification, and I don't see how the two of them, Jarman and Swinton, Tilda and Derek, could possibly have produced those few minutes out of hatred unless the hatred itself-- well-- to some degree contained within it all of that. Magical curses are, all the books say, perilous things, liable to come back on the caster unless their motives are completely pure. I have to take that dance as demonstration of impeccably pure motivations. I can't see what else it could be.

There are a lot of interesting things about this movie that I haven't even mentioned, of course. I finally understand why Jarman hated Peter Greenaway so much, because it turns out that for Prospero's Books, years later on, Greenaway swiped the aesthetic of some bits at the beginning of this movie that are set in Jarman's actual house and have Jarman playing himself. In fact, Greenaway even swiped Jarman's handwriting for use in his page overlays on the screen. I can see being upset by that. I would have been, too.

And there's the way almost all of the soundtrack is classical, except when it very much isn't. And the way that Jarman on several occasions intercuts between two separate scenes so quickly that persistence of vision forces you to believe that you are somehow watching both of them at the same time (well, and you get rather nauseated, which I don't think could be helped). And there's a scene with a man eating a cauliflower that totally defies all description; never had I imagined such a thing could be done with an innocent cruciferous vegetable. It's not remotely sexual. I'd almost prefer if it was.

But I've summed up the major things I've been pondering since watching the movie, and also it's five in the morning, so. A masterpiece. You should absolutely see it. But be wary.






* It occurs to me only now, writing this, that Swinton's role as both an allegorical England and a theoretically real young woman is an homage to Anna Magnani's stunning performance as the city of Rome in Pier Paolo Pasolini's Mamma Roma (1962). Somehow, all of the critical writing I have encountered on Mamma Roma fails to realize that she is the entire city incarnate and it gets shoved in with Pasolini's Neo-Realist period, which I am starting to think he never actually had. But I digress.

** I saw the best minds of my generation destroyed by madness starving hysterical naked not with a bang but with a whimper

*** From Tanith Lee's "When The Clock Strikes". Worth noting that the character described has sold herself to Satan, and is also the agent of promulgating a curse.

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