Check out the animated show Bat out of Hell on Kickstarter!

“Quel Giorno Più Non Vi Leggemmo Avante.”

                          —Inferno V.138

We lean above the book and fateful page
    And lean into its words. You speak. I hear
    The husked seeds split, and they bleed down the page:
You tuck a strand of hair behind your ear
    And strings that knit the constellations twinge
    Like mandolins beneath the earth —so near
Commingled shade and soil to unhinge
    The grave; yet far as moonlight in a pond
    That blinks with nightjars rippled on the wing.
Though grassy spring now shimmers green with frond
    And shoot within your eyes, your beauty stares
    From violet shadow, Cimmerian, beyond
The swallowed source of bowered light that flares
    Within your eyes. They tear my heart away
    With a single glance. Eurydice wears
Your smile — anticipating hope, yet fey
    As autumn apples dropping from their limbs
    Will roll, gather into gullies, and lay
In wait: a sudden winter rain floods and brims
    The world in multiples of fallen time,
    The same that fuel in sullen throb the hymns
Of Orpheus, hemorrhaging grief in rhyme.
    But different tunes ignite our desire’s root –
    Their trace, emerging vines that merge and climb
The walls within the halls of Hades. Mute
    And vanished as night, yet here you remain
    A muse that breathes her fire upon a flute:
The pomegranate and its crimson stain
    Upon your lips, at dawn, upon my lips —
    Yet I am sure of nothing but the train
Of Venus, gown of ebony which strips
    This morning’s meaning, held out as a gift.
    My tongue takes these words as one, but trips
Upon your name. I hear each quench and sift
    It murmurs, blown upon the wind, and us
    With it, now bound by cords, now set adrift,
Regret our only landfall, tremulous
    Desire our only compass – this final page,
    The desperate map that charts us in our loss.
You arch your back and lean into the page
    Again, again I dare to lean as near —
    And further — but no farther than this page,
The compass needle driving through the air.

Le sigh.

“By the mid-’80s, at a meeting of the New York Society of Film Critics, [Pauline] Kael leaned over to Richard Schickel and whispered, sadly, ‘It isn’t any fun anymore.’

‘Why do you say that?’

‘Remember how it was in the ’60s and ’70s, when movies were hot, when we were hot? Movies seemed to matter.'”

— Easy Riders, Raging Bulls: How the Sex-Drugs-and-Rock ‘n’ Roll Generation Saved Hollywood, by Peter Biskind

Caraway Revisited

Let Me Fly

Must See

“This footage has been around for 100 years and these men had been buried behind a fog of damage, a mask of grain and jerkiness and sped-up film. Once restored, it’s the human aspect that you gain the most.”

https://www.nytimes.com/2018/12/16/movies/peter-jackson-war-movie.html

The Secret of Phantom Lake

(To the tune Identikit, by Radiohead)

Our country club was one tennis court
in the middle of a marsh,

and a large, rectangular pool

doubling a small, moon-shaped lake,
whose surface was always as black

as cannonballs stacked in the sun.

The girl was saved from drowning
in the deep end under the diving boards,

as I ran back and forth along the edge,

dripping dry, nothing to assuage
my guilt choking on action

even as it tried to swallow inaction.

Anger, that dispels all phantoms
and then creates more of its own.

To have a will as clear as water
without urine and chlorine.

Next morning, steam rose from the lake,

pieces of a ragdoll mankind,
that we can create, that we can create

as witnessed by reeds and cattails.

And…we’re out.

(Apologies for language in video.)

Well, it looks like someone went and made Alphonse into a movie.

Happy Belated Feast of Saint Thomas Aquinas!

Untitled

Fathers and Sons

ADDED: A primer for those who don’t know why NYFG fans hate the PEs (and, yes, of course, the NEPs too.

ADDED: Exhibit A & B.

How I Feel Now that Philadelphia ("Ptui!”) Is Going to the Super Bowl

How I Feel Now that Philadelphia (“Ptui!”) Is Going to the Super Bowl

 

There is the boy and there are the certain facts of boyhood
(Though nothing autobiographical
Is ever really deduced, is ever really reducible).

Yet the boy’s whole story is as any boy’s life, full
Of moment and followed by others, messily progressing
Along in the plain old myth-telling style.

There was the boy and his father — a fact which must go
Unverified as a creature’s cause. That which didn’t
Make self, though, inherited at least this knowledge:

There is the father and the son – met in boisterous love of sport
Which welded the lessons of thunderous anger
And the sadness hidden in laughter’s cloudbanks.

The boy’s hand consumed in his father’s, they would walk
The yard, policing November’s washout of light;
Spring would arrive only later in the Sun’s cult.

But now was the time to take all of creation into account,
To find the faults in the earth where hide the virtues
Of fathers, to corral the sins of the sons with a hard stewardship.

In these wintry days, the son played Icarus with his father’s
Crafted matchstick ships, motorized by cleverness;
Or played Phaeton pilfering matchbooks and cigars; or Ganymede

Holding the cold brown bottle of Olympia beer for
Father Zeus watching Sunday football, weighing and sighing
In the gridded and hashed balance of his favor-fought heroes.

Thus, Zeus’s gaze fell shadow-like on the U.S.S. Missouri’s
Jacked keel, but withheld just punishments for playing
Fire’s innocence, and hounded the N.Y. Giants weekly battles

Against his patience – all things that youth reaches for
In the hardened hands of time, the works and ways
Of which the golden scales tip in a boy’s growing favor.

Wow.

I almost think the opening scene of Nocturnal Animals is there to scare the moralists away via aesthetic assault. (It also serves a narrative/thematic function, sure, but…) Because after that, it plays out with the blunt trauma moral force of a Flannery O’Connor story, only without the promise of grace. Maybe it was the tequila watching, but I liked it a lot.