Wednesday, April 26, 2006

 

So far. ..

I've just handed out a new draft for workshop. It's non autobiographical, so that's new for me. I'm really excited. It's that horrible time though, where I hand it in, and have to wait a week before I hear anything about it. Hate that. But I've learned, at least, *not* to read over the mss this week. It's best if I don't think about it at all.

I think I'll publish it on here, serial fashion, a segment every couple of days. What the hell. I finished *Stop-Time* by Frank Conroy, which was awesome. He did so many things there that I'd like to be able to myself in my book, so that's been key. Meanwhile I'm onto Nabokov's *Speak, Memory* and it's good, but damn is he a smug prick. At lease he's unapologetic about it. Still, dude can flat out write. Here's a passage where he's describing his father being hoisted in the air by the local villagers. It's made my wall of quotes:

"From my place at the table I would suddenly see through one of the west windows a marvelous case of levitation. There, for an instant, the figure of my father in his wind rippled white summer suit would be displayed, gloriously sprawling in midair, his limbs in a curiously casual attitude, his hand some, imperturbable features turned to the sky. Thrice, to the mighty heave-ho of his invisible tossers, he would fly up in this fashion, and the second time he would go higher than the first and then there he would be, on his last and loftiest flight, reclining, as if for good, against the cobalt blue of the summer noon, like one of those paradisiac personages who comfortably soar, with such a wealth of folds in their garments, on the vaulted ceiling of a church while below, one by one, the wax tapers in mortal hands light up to make a swarm of minute flames in the mist of incense, and the priest chants of eternal repose, and funeral lilies conceal the face of whoever lies there, among the swimming lights, in the open coffin."
--Vladimir Nabokov
Speak, Memory

Comments:
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Happy deathday Del Toro's gift for effective story-telling cannot be denied. However, the film plays perfectly into mainstream Hollywood sensibilities, does not have a profound artistic vision, and fails to challenge the audience in any meaningful way. It has the quintessential villain in the liberal cultural imagination today - a racist, sexist, ableist, psychopathic white man in the 60s.

He lives in a bourgeois suburban neighborhood and has the quintessential white nuclear family. The fact that he is made to exhibit psychopathic behaviors is of course a way to obscure the irreducibly cultural, structural, and political conditions that the film purports to problematize. The equally cut-and-dry story is about people living at the margins of society bonding over their mutually subjugated status. the devil's candy imdb

The self-congratulatory moralistic undertone of this film suspends any need for serious cultural reflection. Shown to conservatives, the film is unlikely to have any converts to progressive politics. Shown to liberals, it will only confirm their pre-established identitarian convictions. Sprinkled with some gratuitous violence, it is the perfect candidate for the Oscars - a polished, glib, pandering, ostensibly radical fairy tale that ultimately does not have any enduring contribution to an already mediocre culture. watch Avengers: Infinity War free online


One might also notice Octavia Spencer is appearing in every other bomb out of Hollywood as a supporting actress and nothing more. Maybe in ten years they'll give her one of her own movies. Not holding my breath.
Back to the Creature. We'll call him Creatch for short. The homely Eliza has a strict routine of hard boiling eggs while she masturbates furiously in her bathtub every morning. Eliza is fundamentally scared to death of normal men. She then brings the food to Creach, which she eventually falls in love with. http://moviesbox.live/happy-death-day.html


 
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