Snapshots

— I have found this whole story of the of the two escaped prisoners extremely riveting, and, I admit it, entertaining. I hope they both are found because they sound like terrible and dangerous people. But the details! It’s hilarious. The big dick. The bad back. The gossipy prison guards. The supervisor who befriended them and gave them tools. Say what? Her bitchy co-worker calling her a “troublemaker”. It’s all rather … fabulous.

— My new job at The New York Times is engrossing, fun, and working out well. I am enjoying it. I haven’t had a desk-job or office-job since Martha Stewart – and that ended in 2013! I’ve been in freelance mode for a while, and it’s been exhilarating and fun (“wow, look at me, paying my rent and my other bills with writing!”), and now the schedule is so drastically different. I am reading The New York Times every day: it’s been a while since I’ve done that. Some pieces I’ve read recently that I think are amazing:

The Knowledge, London’s Legendary Taxi-Driver Test, Puts Up a Fight in the Age of GPS.
It describes an entire world I never knew existed: the world of the London cabbie, and what they have to go through to qualify. It’s incredible! The dedication of these people! The obsession! An amazing portrait of obsession.

This book review of The Story of Alice: Lewis Carroll and the Secret History of Wonderland, a new book on Lewis Carroll’s Alice In Wonderlandmakes it sound VERY promising. The only biography I’ve read was Morton Cohen’s defensive Lewis Carroll: A Biography (some thoughts on that book here. It was interesting, but still: not good. It’s never good when an author feels too blatantly defensive towards his subject. Let it go.)

And will definitely be checking out Stalin’s Daughter: The Extraordinary and Tumultuous Life of Svetlana Alliluyeva, based on this book review. It was a long time ago, but once upon a time I wrote so much about Stalin on my site that I gave him his own category. Wow, so extreme. Still: Stalin’s daughter was an interesting person, from the information that can be gathered anyway, and I am looking forward to reading that book.

I thought this piece, on architecture and psychotherapy, was fantastic.

— I also made a friend at the Times. He drops by a couple of times a week. We have entire non-verbal conversations.

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— I have been very sick, unfortunately, and yesterday was a bad one. I was in pain for 8 hours. I had to go to a screening after work. I felt tapped out. I wanted to be home in bed with a hot water bottle on my stomach. I made my way through the crowds. Then I got cat-called by some dude on a corner handing out fliers. He homed in on me, as I approached, and began shouting about my red hair (which was, I admit, pretty wild and huge yesterday, with the humidity), my pretty face (I’m just quoting him), and he was determined to make me smile. He was a man with a mission! I couldn’t help it. I smiled. He basically did a victory dance when he got his way, and as I moved on past him, he started shouting about my beautiful smile. I won’t lie. It made my day. I understand that some cat-calls are scary and meant to put women in their place. But one size does not fit all and I thank that guy for picking me out of the crowd. I needed it yesterday. He made me feel so much better.

— And the movie I saw last night was wonderful. Just wonderful. My review will be up on Rogerebert.com next week. The movie was long, maybe a bit too long, but it was so good I didn’t mind. I forgot about how sick I was.

— I am going to see The Flick at The Barrow Street Theatre on Sunday. It’s going to be an EXPERIENCE, I can tell, and I am so excited. I had been hearing so much about it (it won the Pulitzer Prize last year), and how different it is, how riveting. The reviewers struggle to find the works to describe the experience, so out-of-the-ordinary is it. It’s over three hours long. It’s about three characters who work in a movie theatre. My friend Dan Callahan, who sees everything, and reviews everything, told me that The Flick made everything else pale in comparison. Everything else now seems phony and showy. Then there’s Jim Wolcott’s piece in Vanity Fair about it. I am so excited I got tickets and I can’t wait to check it out for myself.

— The news of the passing of Christopher Lee was very sad, but let us not pass over the death of Ron Moody! I wrote about my obsession with the musical Oliver! here, really my first full-blown obsession. My friend Betsy shared my obsession. We wanted to LIVE in that movie. But let’s discuss Ron Moody. He had a long career with many roles (my friend, and senior prom date – incidentally – Travsd has a has a great post up about him), but it is Fagin for which he is remembered. And I just have to say: In “I’m Reviewing the Situation” … please just listen to his phrasing. Listen to the Shakespearean-villain emphasis he puts on certain words, the way he draws out syllables, the huge campy pauses he takes. It is over-the-top in the best sense of the word, as well as hilarious and operatic. The first person I texted when I heard the news of his passing was Betsy.

Posted in Actors, Personal, RIP, Theatre | Tagged | 44 Comments

Happy Birthday, Judy Garland

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It is interesting that earlier today I posted on Bjork’s gestures in her “Black Lake” video. Because today is Judy Garland’s birthday, and (along with Elvis Presley and John Wayne), she is the Master of Gesture. Every moment full, every moment motivated, and every moment spontaneous, so that what you are left with is an impression of a woman who has no barriers between her feelings and the expression of said feelings. This is rare. People go to acting school to at least attempt to learn how to get rid of those barriers. Barriers against expressing our feelings are engrained in us from childhood. It is difficult to break that down. But watching a genius like Garland is a reminder that expression is possible, that purity of intent is possible, that human beings actually can say what they mean, say it strong, so that there is no doubt on earth what is meant. Yes, it helps that she was a genius. But that only makes her more essential.

Like this, one of her best vocal/acting performances.

Dave Marsh closed out his excellent Elvis with the words:

That Elvis made so much of the journey on his own is reason enough to remember him with the honor and love we reserve for the bravest among us. Such men are the only maps we can trust.

Judy Garland is of the same caliber. Three of the most important stars of the 20th century were Garland, Elvis, and John Wayne. Vastly different and yet strangely similar, too, in that they all shared that total lack of any barrier between their emotions and the expression of those emotions. The will to get it out and get it out right and get it out true was so compelling it was their life-force. It was automatic. They also never ever lie. Lying is forbidden. (You can lie all you want in your personal life, that’s human, but lying is forbidden in the sacred space of performing. People still do it all the time, which is why those who NEVER do are of such great interest.) If you’re a genius, these rules are very clear. You don’t need to be taught them. The rest of us play catch-up with such figures. They have much to teach us. If it sounds like I am putting these individuals on a pedestal, you’re damn right I am. This is not to say they were not fallible, or they had no flaws. Everyone’s flawed. If that’s news to you, you need to get out more. But as artists they were perfection. Their instruments were perfect. In a world of beat-up fiddles that play okay, they were a Stradivarius.

And, to echo Marsh, such people are the only maps we can trust.

The following famous clip for example. A short background for those of you not aware. Judy Garland hosted her own television show in the early 60s. It didn’t run for long, but it is a superb piece of American cultural history, with some indelible performances. In November, 1963, President Kennedy was assassinated. Kennedy and Garland were good friends. On December 13, Judy Garland closed her show with a performance of “The Battle Hymn of the Republic.” Garland had lost a good friend, but the nation had lost a leader and was traumatized. Who do we look to in such moments? Often we look to our artists. We may not even know we are looking to them to express our feelings FOR us, but that’s often how it goes.

And Garland, without speechifying, without making it about herself, without sharing a personal anecdote, or anything like that – addressed the national grief in her performance. But that makes it sound too clinical. No: what is going on here is much more primal. She feels the grief, her own, everybody else’s, it is in the air, it is in her heart, and she uses the vehicle of that song as a container to EXPRESS all of that stuff. She forces herself to put those enormous feelings into a FORM. And this – her ability to do this – is what provides catharsis for the rest of us.

The performance is a powerhouse and it is impossible to watch it (yes, impossible!) without getting swept away by what she expresses. But watch closely: She didn’t orchestrate what she was going to do. She probably was thinking, “Jesus, just let me get THROUGH this damn thing without losing it.” Her gestures are odd, awkward. At one point, she suddenly starts hugging herself when it seems like her arm should go up, and then at another point, she almost angrily puts her hand on her hip when it seems like it wants to go down by her side. She doesn’t WORRY about her body, and her gestures, because it is more important – it is life-or-death, actually – to get that feeling OUT of her, to get it out there, into the world, to share it, to let it do what it will once it is outside of her.

The herky-jerky quality of those gestures is part of the reason why the performance is so honest, so searingly unforgettable.

I would even call it divine, in the truest sense of the word.

Posted in Actors, Music | Tagged | 8 Comments

Björk’s “Black Lake”

If you have 10 minutes … check out Björk’s video for “Black Lake,” an unbearably sad song about living in the aftermath of a relationship that has died. A while back, last year maybe, I read an interview with Björk and she talked about the ending of her long-time relationship, and she could not speak of it without welling up with tears. She had to keep stopping the interview. (I can’t remember where I read it.) It was such a touching and honest interview. And, of course, it is somewhat embarrassing to fall so spectacularly apart, in public – you want to hold it together – she keeps apologizing throughout. Reading, I thought of my own experiences with breakups, how completely devastating they can be, especially if you rely on that other person for comfort/company. It’s exponentially worse if they are engrained into your life, your schedule, the fabric of your day. Because what then? Who are you alone? Do you have any substance? I’ve had only one of those breakups, and once is enough.

Björk is an artist, and so she turned it all into art.

“Black Lake” was part of her MoMA exhibit, apparently, and now it is finally online. I watched it this morning and feel like I breathed only once … twice, maybe? .. during its entirety.

Filmed in and around a black-lava-rock cave in Iceland (with Björk in bare feet), it is an expression of sorrow so intense that it’s at Greek-Tragedy-Levels.

But more than the lyrics of the song, or anything like that, it is her performance here that really strikes me. The posture and the gestures. The opening “pose”, with the slight backwards motion. It’s archetypal, that pose. In other words, that shape, and its slight movement, LOOKS like what grief FEELS like. It is tapping into something universal, something that showed up on cave paintings, something we all know. And all of her gestures throughout have that same strange echoey resonance. The gestures are both controlled (she has chosen each gesture specifically), and totally out of control (once she commits to the gesture, she stops controlling it – and lets the gesture take over.)

For example, at around the 7:30 mark, something starts happening. And once it starts happening, it changes. The gesture goes through an evolution, and so does she. And once she starts committing to the gesture, it changes how she feels, or opens up the depths of the feeling. There starts to be an actual release of something. (This is my thing with “gesture.” You must commit to it on THIS level. A half-hearted gesture is nothing. It doesn’t express anything, and it also doesn’t transform you, the person making the gesture. You might as well not make it at all. As I went on at length in a post a while back: It’s Got to Cost You Something.)

These gestures cost Björk.

This is an extraordinary performance.

Posted in Music | 6 Comments

“His” “Her”, etc.

My great friend Alexandra Billings weighs in beautifully on the Bruce/Caitlyn thing over at the Huffington Post.

As we figure this out, all of us together, let’s try to keep in mind that the beautiful part of you is always recognized by the beautiful part of others. So share it. Release it. Give it as a gift. Quoting scientific fact doesn’t change that spiritual center of our faith. When was the last time that actually worked? So move into allowance and beauty. Into openness and attention, for as we all change, as we all grow, as well as transition, our legacy will be how we lived in it.

Posted in Miscellania | Tagged | 2 Comments

R.I.P. Vincent Bugliosi

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Most famous for successfully prosecuting Charles Manson and his murderous “family,” Los Angeles prosecutor Vincent Bugliosi has died at the age of 80.

“It was so quiet, one of the killers would later say, you could almost hear the sound of ice rattling in cocktail shakers in the homes way down the canyon.”

That’s the eerie first sentence of Helter Skelter: The True Story of the Manson Murders, the book Bugliosi wrote about the Manson murder and the trial, a book I’ve read about five times. He wrote other books, one furiously raging book about O.J. Simpson being acquitted: Outrage: The Five Reasons Why O. J. Simpson Got Away with Murder, as well as other true-crime books, plus a book on the Kennedy assassination, and books hugely critical of both President George W. Bush and the Supreme Court.

But, as Bugliosi well knew, it was for the Manson trial that he would always be remembered. When one reads Helter Skelter, one is struck by the impossibility of the task set before Bugliosi and his office. How to put together the pieces? Who did what? And why? All of the Manson people worked under multiple pseudonyms. How to understand what exactly had happened, and the hold Manson had over his followers? Manson didn’t kill anyone in the Tate house, and he didn’t kill anyone in the LaBianca house either. And yet Bugliosi, in his brilliance as a prosecutor, managed to hold him responsible for those crimes through the utilization of the joint-responsibility rule, while also holding responsible the rest of them, who did the deeds, who claim to have been brainwashed. Leslie van Houten’s continuous claims of brainwashing ring rather hollow with the example of Linda Kasabian before us, the hippie-girl involved in the “family” but who became Bugliosi’s main witness for the prosecution. (She took the stand, by the way, in a dress bought for her by Joan Didion.) Leslie, how come Linda Kasabian could resist? She sat in the car on the night of the murders because she said, “I’m not a killer.” She couldn’t do it. But you, Leslie, you could. In one of her recent parole hearings, murderer Patricia Krenwinkel was asked “Who was hurt the most by your actions?” Krenwinkel, obviously thinking this was the most enlightened answer, showing that she “took responsibility” for herself, said, “Myself.”

Wrong answer, lady. After so many years in prison, you still don’t get it. It’s still all about you, isn’t it?

I’ll give you the right answer. The people most hurt by your actions were

1. Abigail Folger, whom you stabbed so repeatedly and so ferociously that the cops who discovered her on the lawn of the Cielo Drive house the following morning thought she was wearing a red nightgown.

2. Mrs. LaBianca, whom you held down and stabbed over and over again, before calling for help from your murderous psychopath pal Tex Watson.

Lots of people have unhappy childhoods. Lots of people feel like they’re ugly and that no one loves them. Lots of people have also ingested massive amounts of hallucinogenics. But not everybody grows up be a murderer like you did.

When I heard that Krenwinkel’s answer to the parole board’s question was “Myself,” I thought: “Well. She may be an old lady now but I’m glad she’s still behind bars. She still doesn’t get it.” The parole board felt the same way.

Vincent Bugliosi was fearless and articulate. Sometimes he went off the deep end because his anger was so intense (his O.J. book vibrates with anger: it’s a great read), but his sense of outrage about the lack of common sense in the world was a bracing tonic. He didn’t care that he seemed square or old-fashioned to the hippies who thought Manson was a hero, an Everyman. He preferred being square to the alternative.

I will miss knowing he is out there. I have been following his work for decades.

R.I.P.

Posted in RIP | 6 Comments

The Books: The Young Rebecca: Writings of Rebecca West 1911-17; “Correspondence Between Mrs. Hobson and Miss West”

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On the essays shelf (yes, there are still more books to excerpt in my vast library. I can’t seem to stop this excerpts-from-my-library project. I started it in 2006!)

NEXT BOOK: The Young Rebecca: Writings of Rebecca West, 1911-17

As I mentioned in my first post about this book, many of these columns are in reference to tempests-in-teapots long-forgotten, but (of course) hugely important to those in the fray at the time. The fight for women to get the vote was violent and prolonged, and there were many different aspects to that struggle. Along with getting the vote, the sexism (although that word wasn’t used) had to be addressed. If women are seen as not capable, or – as extremely capable but only in certain areas – then those prejudices needed to be dismantled and attacked. There was ferocious resistance, not just from men but from women. Not so different then as it is now. There were the “parasite women”, as Rebecca West called them, the middle- and upper-class ladies who had never had to work a day in their lives, many of whom were heading up different aspects of the suffragist movement. There were also the reformers, usually Christian, but many not – who were devoted to easing the lives of the poor in England. A worthy goal. Of course. These communities were squalid and devastated. The Industrial Revolution had destroyed communities. Men and women worked themselves to the bone. The reformers would travel out into these devastated areas, and provide lectures and seminars and workshops – on different topics. Some were teetotalers warning against alcohol, others were religious/moral in nature, some were cultural. Basically, the gist of it all was to “improve” the lot of the poor, by improving their minds and morals.

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Rebecca West

Rebecca West thought all of this was hogwash. Condescending nonsense. The problem was not that the poor were lazy and needed “improving.” Their minds and morals were just fine. The problem was that the system itself sucked. The system itself ground these people down. And the last thing they needed was some nice middle-class lady lecture them on improving themselves by going to church, staying away from alcohol, or the burlesque shows, or whatever it was. West rang this gong in article after article: Stop treating the working-class this way. They resent it. They are not lazy. They are exhausted. Fix the SYSTEM, not the PEOPLE.

This particular column from 1912 is part of an ongoing dialogue in print between a Mrs. Hobson and Rebecca West. Here’s what I gather (and again, footnotes would have been helpful): Mrs. Hobson was one of these do-gooders. She traveled around to poor areas, teaching the wonders of “domestic economy.” Basically: how to clean your house. Now, filth was a huge problem. Children were ill, and lice-ridden, and diseases have a way of spreading when the surroundings are squalid. Tackling that was of huge importance. But the “domestic economy” brigade had ulterior motives, as they often do. There was a Christian scolding component to it: Yes, you work outside the home, but you are also a wife and a mother and it is your job to keep the home clean and intact. Clean house, clean mind. Rebecca West called out this scheme for the nonsense that it was. These poor women worked in the factories and the mills. All day. Very long shifts. They came home at night, to squalling children, to husbands equally exhausted (also working in the mines or factories) with only an hour or so before bedtime, and then get up and do it again. There’s no TIME in the day to make your house sparkling clean. Also there were deeper systemic issues: bad landlords, terrible plumbing, not enough water. To put the burden on these exhausted women, to keep a happy sparkling home …

Well, well, well, Rebecca West went to TOWN on Mrs. Hobson. And in that initial article, she said that most people “hate housework like rat poison”. It’s drudgery, and everyone knows it. Mrs. Hobson replied to that article, in the snooty tone we still recognize today – the vicious condescending tone women reserve for other women – arguing that most women, if given the opportunity, love to keep a beautiful home, that that is how “happiness” is extended, how the soul is relieved from its burdens. It is “fortunate” that “the Miss Wests of the world” are not in the majority.

Arguing about housework may seem quaint and unimportant when there were real issues of the day. But I disagree with that. “Women’s work” was seen as in the home. That was the Ideal of the Victorian age. Rebecca West, though, was screaming from her print pulpit that the vast majority of people in England worked outside of the home – in factories, mines, mills. Women were in the work-force. To harangue them about how their tenement slums were filthy and their children had lice seemed unfair play to Rebecca. Pay them higher wages. How about THAT?

Mrs. Hobson’s reply was waving a red flag in front of a bull. Here’s an excerpt from Rebecca West’s reply.

Excerpt from The Young Rebecca: Writings of Rebecca West, 1911-17: “Correspondence Between Mrs. Hobson and Miss West”, by Rebecca West

I loathe these attempts to poke the sickly and exhausted poor into unspontaneous gambols. Surely everyone can see that a community must be sick unto death before its amusements have to be organized and imposed upon it. The whole of this home school scheme is an attempt to pay back the countryside in bad halfpence what the rich stole from it in good gold. Before the village life of England was wiped out in the latter half of the eighteenth century the villagers went out on the summer evenings and danced Laudnum Bunches and Constant Billy on the green till the moon came up. It is, of course, merely a matter of aesthetic perception whether you prefer them to sit docilely in a home school hall while the vicar’s wife sings Tosti’s “Goodbye.” Because you won’t get them to practice art now any more than domestic economy. They’re tired and cross and hungry, and they won’t play.

I take a keen interest in school hygiene, as it happens, and I cannot say that I am impressed by Mrs. Hobson’s remarks. I know that many teachers and inspectors feel that they are attacking the problem at the wrong end. But few of them are simple enough to suggest that the teaching of domestic economy is the right end. “More money and better housing” is the commoner suggestion. I doubt exceedingly that in the given case – the cleansed child recontaminated by a filthy home – a graduate of the home school would do much good. If she could keep the child clean when rearing six children on twenty-two shillings a week, and living in a house the walls and wood of which are rotten with bugs and the water supply of which is down three flights of stairs – well, I can only conclude that there will be a class in miracles, conducted by the vicar.

There seems to be no other point to be answered except the last paragraph, wherein Mrs. Hobson rebukes the “Miss Wests of the world” – ye gods! what a picture this calls up – for regarding domestic work as “rat-poison.” That simile has had a great success. It has been so widely quoted by a scandalized Press that I hope it will ultimately enter the language – one of those

jewels five words long,
That on the stretched forefinger of all time
Sparkle for ever.

Mrs. Hobson declares that the “Miss Wests of the world” – what is this new species to which I have given my name? – “are mistaken in believing that … any large number of women would share their view” as to the hatefulness of domestic work. She implies that I found it hateful because I did too much of it, and approached it with ignorance and dislike, unmitigated by ideals and the intelligence to plan for leisure. That is not so. I never had more than the usual amount. I was certainly not ignorant (having been exposed to the ponderous pedagogy of a school of domestic economy), and I had no reason to dislike it any more than any other kind of work. I don’t quite know what Mrs. Hobson means by “ideals.” I rather fancy she means conceit. Certainly I didn’t pretend when I was frying potatoes that I was doing anything as important or useful as my friend who was studying science in the laboratories of the neighboring university. So I surrender the claim to ideals. But as for intelligence! But – ah, well! it’s no use saying that – Mrs. Hobson wouldn’t believe me.

Hatred of domestic work is a natural and admirable result of civilization. I deny absolutely Mrs. Hobson’s declaration that “the majority would probably always choose of their own accord to do this kind of work.” This is not true. The vast majority of women refuse to do domestic work. The working-class woman will turn her hand to anything rather than become a servant. The first thing a woman does when she gets a little money into her hands is to hire some other poor wretch to do her housework. The recent movement down the kitchen stairs – the last tumble of which is the King’s College home science course – has no support among the women who are alive: the working women. For heaven’s sake let us take this unpleasant job and give it over to the specialist to organize as a trade process.

I am not a materialist, so I cannot sympathize with Mrs. Hobson’s fear that the home – the relationship between a man and a woman and their children – will be broken up by the abolition of drudgery. I can only say that I love my mother none the less because we send our washing to a steam laundry.

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“No bra, no panties, no problem!”

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My friend Dan Callahan is always good but when he writes about acting, there is nobody else like him. His latest piece on Jean Harlow for The Chiseler is awesome.

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Review: The Nightmare (2015)

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A really creepy and fun documentary about the sleep disorder known as “sleep paralysis.” Directed by Rodney Ascher, who brought us Room 237 in 2013, about the obsessive audience reaction to Stanley Kubrick’s The Shining. The Nightmare is different, although there is a similarity in structure. It’s a documentary, but there are no “official” talking heads. It’s full-immersion into the topic, led by those who suffer from sleep paralysis. Complete with very frightening re-enactments. Really interesting.

Have any of you reading experienced sleep paralysis? I never have, and for that I am thankful.

My review of The Nightmare is up at Rogerebert.com.

Posted in Movies | Tagged , | 24 Comments

Cinemescope

Some of the stories from actors about filming in Cinemascope are quite funny. Suddenly blocking became this huge deal: you had to cover all this space. You had to stalk across the abyss, and make it interesting, the same as if you were onstage. (Lauren Bacall has spoken about it in filming How to Marry a Millionaire.) Then there are other funny comments mainly from directors and film historians, like: the thin horizontal shape was not meant for art … with one notable exception.

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Cinemascope had its day in the sun and The British Film Institute has a really great essay up right now: 10 Great Films Shot in Cinemascope.

Meant for dramas on an epic scale, of course. The horizontal shape is perfect for scope, for vast crowd scenes, for overwhelming the viewer with the large-ness of the image.

But there were directors who realized other interesting visual possibilities in the form. Like this:

Cover all that horizontal space … in roller skates! A sequence made for Cinemascope!

Posted in Movies | 4 Comments

Rainy Twilight

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It’s been cold and rainy here. A couple nights ago I came out of the Times building, into the chilly drizzle. It was 6 p.m. (I’ve learned that if I get on the bus at 6, I’m home relatively quickly. If I get on the bus at 6:20, it takes an hour to get home, sometimes longer. Note to self …) There’s an outdoor restaurant on the ground-floor level, right across from Port Authority. The chairs are brightly colored. Something about the colors really struck me on that rainy twilight. As I’ve said before, once you see Jacques Tati’s Playtime, the whole world looks different. It becomes a part of your reference library. I reference Tati probably once a day, on average.

Sometimes the most prosaic scene can flash into poetry.

Posted in Personal | Tagged | 4 Comments