Bouvre

I still, very badly, want the Coen Brothers to direct Chabon's The Yiddish Policemen's Union, as they had written a draft. The only problem is it seems they've moved on.

A movie of Robert Bresson’s showed a yacht, at evening on the Seine, all its lights on, watched by two young, seemingly poor people, on a bridge adjacent, the classic boy and girl of the story, any one one cares to tell. So years pass, of course, but I identified with the young, embittered Frenchman, knew his almost complacent anguish and the distance he felt from his girl. Yet another film of Bresson’s has the aging Lancelot with his awkward armor standing in a woods, of small trees, dazed, bleeding, both he and his horse are, trying to get back to the castle, itself of no great size. It moved me, that life was after all like that. You are in love. You stand in the woods, with a horse, bleeding. The story is true. Robert Creeley is a poet that receives mixed reactions for his work. Those who hear him read notice the jagged style of his reading voice and how he perceives and uses the end of a line. Unlike many who continue the sentence, but allow for these minute changes in the end of a line, Creeley allows the end of a line to often be an interruption, which allows for his work to have an incredibly unique rhythm to it. I think of him as a master of tension in sound, and especially toward the end in this piece, Bresson's Movies, we really sense the emphasis of the 'you' and its place in the poem and in being. Most of the poem feels like summarizing, and very general observations of a relationship between the viewer of Bresson's films and the films themselves, but there are particularly impressive movements to and away from particular parts of the poem. "So, / years pass, of course" comes right after a depiction of a scene. Nothing exists in time previous to it. Years pass, of course, but it feels like such a violent shift from the scene. Then we get the narrator. Then we move back into another Bresson film. Then back to the viewer. While it has a certain symmetry, it remains elusive. For some reason, I'm so incredibly drawn to how this poem moves, and can't quite nail it down. I'm also drawn to the music and the sentiment of those last lines. "It / moved me, that / life was after all / like that. You are / in love. You stand / in the woods, with / a horse, bleeding. / The story is true." The jagged rhythm is concluded by the final line, which is the only line in that entire final moment that has a fully contained rhythm to it. It's fascinating.

I finally got around to seeing the Conjuring and its sequel. Both are often very beautifully done on a technical level. The scene where the cameras and equipment are being set up, and where the cameras are going off as the child walks through the house in the first installment was marvelously shot and tracked. Especially in the first one, the building of tension was also more slow boiler and interesting to me. The second one forewent that a bit more, since there's more pressure not to repeat the same formula, for a plot that revolved more around hoax versus reality (which though it's a good direction, it's an additional part of the plot that only weakens the sequel as a whole). Neither story involving the ghost was really any good though. And even the tension in the first only culminates to a Hollywood ending that's a tad too much. But despite the uninteresting backstories, the first did a better job at earning the ending it came to. The demon in the second was not nearly present enough to seem developed. I admired more of the first than the second, though neither made a real winning story of the ghost. I'd give Conujuring a solid 3/5. Conjuring 2 gets a 2/5.

If Jarmusch didn't just do Paterson, and decided to pursue another film like Dead Man or Ghost Dog: Way of the Samurai, he'd be the director I'd love to see do Sharp Teeth.

Well, I said it, so it does officially have an LGBT bend to it

Why do that when you can watch the first one twice?

I was at an open poetry reading, where I read poems by Yehuda Amichai, Charles Simic, Max Ritvo, Noah Burton, Taneum Bambrick, Tony Hoagland, and others. Then we went out for drinks and talked about cattle, pheasants, railroad work, and me marrying my husband, which some of the poetry regulars didn't know I had already done.

I appreciate this pun way more than my own attempt to think of a strain of weed that might amount to a punchline.

This is my first time seeing this and I love it so much already.

Many people are readers, but no reader reads quite like the next. So, what are your reading habits? Do you read voraciously? Carefully? Do you read five books at once? Do you only read one book in your life over and over and over and over? Do you skip to the end to read the final sentence? I'm a reluctant reader, which seems to surprise a lot of people when I tell them that, because I love reading. Still, when I'm about to read, or want to read, it takes something of an effort to get me to sit down and read, and I don't read too much at once. (I consider 25-40 pages in a day to be a good amount for myself. It helps me process information.)

It's a weird and wonderful experience of a book. I just sat down and finished the last 120 pages in one go. I'm impressed and intrigued by the delicate handling of what I do and don't know as a reader, and how that information creates an imbalance in labor for the writing's craft (in this case, the book really leans on voice/character to sustain its sense of cohesiveness in the face of the narrative's looming and remaining mysteries, and does so quite successfully). Very jazzed for Authority now. That seems to be many of my friends' favorite.

Any flavor you like.

My milkshake brings all the boys to the yard, and they're like "When did you start serving milkshakes?" and I'm like, "We don't, officially," and they're like, "Can I speak to your manager please?" and I'm like, "I am the manager," and the manager is like "What are you doing here on your day off?"

This is so far the best theory to lessen my irritation when faced with this response. Thank you.

I don't get it.

It's not so much about my curiosity as a server, but the people who are ordering together who seem to think I'm implying something I'm clearly not interested in or affected by.

It's the perfect day to tell myself I should go outside and then not do it until I am too hungry yet too unmotivated to make anything myself.

I have friends who feel the same way about Do the Right Thing.

Anybody else reading these books? I'm making my way through Annihilation right now, and it's incredible. I bought it on the number of recommendations I've received for it, and the fact that the plot reminds me of one of my favorite science fiction movies (Stalker). It's much more Lovecraftian than I expected, and for a book whose narrative voice is very inwardly-driven, there's some new action or revelation every few pages that keeps the book's pacing very fresh and engaging.

But you could have so many more sandwiches with more shifts.

92% Whenever I take tests like this, I want there to be a specific movie or question involved. In this case, I was crossing my fingers for a Killer of Sheep question.

Ask if their employees get one free meal during their shift. If they do, apply, get hired, work a shift, enjoy your sandwich.

I'm getting myself to ask if they're on the same ticket. It's been nice not having to deal with insecurities so far.

Me tbh. I'm worth more than a bagel sandwich let's be real.

Not gay men, and not every two males eating together. There's just occasionally two dudes and one gets really worked up about the word "together" and it's just absurd