Truffaut: The 400 Blows (1959)

“You take him from here. I’m going home.”

It’s those three little words. “I’m going home.” They really strike me as getting to the heart of things in this film. Not in some silly metaphorical sense, I mean, but literally: this guy has finished up at work, though he’s not finished with this particular job, he’s just handing off the boy to another officer, and he’s going home, where he lives, where he’s likely in charge. Maria Montessori said that children are the most oppressed group of people in the world, and that’s partially what this film is about. The boy barely speaks, and when he does it’s of the lowliest parts of the adult canon, yet somehow we know that he’s good, and know what he’s trying to do, to just get by, to follow his little heart! He doesn’t know where he’s going, that’s obvious, but the same could be said of most of us anyway.

One of the puzzling things to me about this film is how Paris is a character. Is it that Paris is just so beautiful that we can’t take our eyes off her? No…Paris could be ignored, she’s just another city. Yet these lovely cuts of Paris adorn the film every few minutes. And I’ve thought about this for years until it occurred to me today, when the boys get off the metro in Pigalle, why it matters. This is a French film, made for the French and for speakers of French. Films in New York? The Empire State Building looks like any other from the street level. None of the bridges are so remarkable, one from the next, Carnegie Hall is fairly chaste, Central Park might mean you’re near Harlem or midtown, Union Square and Columbus Circle aren’t particularly special…there’s a reason why films in New York show us the cityscape and then plant us on some anonymous street, which is that the physiognomy of New York isn’t ubiquitous in our hearts. What’s the difference between SoHo and Tribeca? But Paris? We don’t need to be told what to think when we see its streets, because it isn’t so fond of novelty as we are here. Vuillard was painting the cafe Wepler more than a century ago, it survived both wars and more than another sixty years. Pigalle means something, and it doesn’t change. Like the pyramids. Part of the charm of Paris is that it knows precisely what it is, and it doesn’t have to be, nor does it try to be, everything…it just has to be Paris. So Truffaut doesn’t have to tell us where he’s filming, he doesn’t have to describe the parts of town, because we already know them, they’re heavy with meaning.

The only other examples that I know of offhand are Blake’s cosmology being symbolically London-centric, and maybe even the Wizard of Oz being a metaphorical representation of the United States. The US doesn’t have any city that the world ‘knows’ but the country as a whole is subject to a fair number of stereotypes we’re all pretty comfortable with. And I continually return to the uncomfortable notion of London and Paris being important places…where else are we supposed to know? Didn’t the rest of the world have history too? That’s what I’ve heard. Yet looking at a map of the world’s major powers in the early 1500s, China’s stuck with ancestor worship, Japan’s essentially an eternal Sparta, Muscovy fairly isolated and otherwise interested in eastward expansion…I don’t know enough about the Ottoman empire to characterize it at all, but Western Europe has all its powers fragmented. But there’s London. And there’s Paris. England and France are the only two countries still recognizable on that map (and Spain and Portugal…but…um…)–it’s not just that those cities were there, as plenty were, but it’s the meaning that each of those cities held at the time, and that remains in our consciousnesses today, it’s their calm longevity in an otherwise frenetic western world.

Allen: A Midsummer Night’s Sex Comedy (1980)

I’m drinking my father’s beer, just pizzazzed up (shouldn’t the plural of pizza be pizzazz?) my mother’s stirfry with WHOLE WHEAT PASTA, lime juice, teriyaki sauce, tobasco, and sugar (it was DREADFUL…i’m so sorry), and this film made me laugh about things I wouldn’t have found humor in a decade ago.

“Can sex and love be different from each other?”
“Sure! Sex relieves tension and love causes it.”

Yo ho ho.

I was inspecting some toolbag’s bookshelves and found them to be remarkable in what can only be described as their retention. Goethe, Anais Nin, Hofstadter, how lovely to be well-read. And is it possible to, in this day and age, use it for evil? What with most of the fine educations, okay, all the fine educations, going to the well-endowed, mustn’t those without satin shoes and saffron condoms be at least of fortunate demeanor? I simply do not want to read anymore, not if it will turn me into a wrinkly arse, a mean-spirited so-and-so, an upstart crow.

Why shouldn’t Woody Allen make whatever films he pleases? And why shouldn’t he place himself in the lead? And why shouldn’t he remake classics to suit himself? He’s also prolific, which is an archaic concept, even for serious-minded graffitists. In the vast sea of collegiate dung, at least one can find a few diamonds, which the dung would claim were formed in the collegiate intestines, but which were truly just indigestible. Like twigs.

Better to be a twig than dung, but your salary won’t be nearly so high. So you probably won’t have healthcare.

Anyway, “Wooden Allen, or Artificial Exteriors” is written by Bert Cardullo in The Hudson Review, and he doesn’t even notice himself being mocked in Sex Comedy, as he writes with the same tone as Leopold speaks. Allen is a TV comic writer (mais si, si, I differenciate between comedic and comic, I’m a big pile of dung) and not worthy of sharing a sentence with Strindberg, the artistic godfather of O’Neill (who knew his place) and Bergman (whom Allen lathered up and shaved and smeared all the shaving-filth onto film and made his career, ah, ah)–Allen is clearly not the person we think he wants to be and is therefore a sympathetic puddle of redundancy, and and and and here’s another nine pages of what I think is important.

If only a fine education was expected and received by all…first, there’d be no Sarah Palin, and second, those of intellectual prowess would stop coddling the pricks of these useless critics whose life-experience begins and ends before their belly-button strings are thrown away. Senses and emotions, yes, indeed, those things bouncing around inside the plebs!

You know what I think of Ben Jonson? I walked out of a Ben Jonson performance. Senses and emotions, you can’t discuss them if you haven’t any yourself, you can’t appreciate the bouquet of wine when you can’t appreciate the bouquet of the earth at night, or the snow, or the deep autumn forest. But you can believe that’s precisely what you’re doing. And that’s culture. And you’re wrong, wrong, wrong.

Wrong, wrong, wrong, wrong, wrong.

And I might never read again.

Bergman: The Virgin Spring (1960)

So it has been long since I’ve written anything. I’ve been crawling through the same books as I have for ages, and sometimes it’s one, sometimes another, they come and go into my hands as they please, disappear again, but never long enough to be completed. Well, I misplace the blame as well. But I have been busy living as a musician for the first time in my life, which is an endless swath of sofa cushions and turnpikes, and when there is money I live richly, and when there is not I live poorly, and I’m never quite sure what the next day will look like, not its weather,  nor how it might appear on a calendar. Returning to anything resembling culture is rather difficult; one becomes lazy and unassuming after a time, and simple syrup is enough nourishment.

Well, so I tell myself that perhaps a nice starting point would be Bergman, whose Smiles of a Summer Night is one of my favorites, though little more than a romantic comedy. I begin with the Seventh Seal, and then Wild Strawberries. The first does not speak a word to me, the second I find one of the most profoundly beautiful films I’ve ever seen. But I don’t have anything to say about them, or rather, not yet, I’m mulling over them.

But now, nearly five minutes into The Virgin Spring, I don’t have a point to make, but I find the first sequence remarkable in its loaded simplicity. The film opens with a dirty woman staring directly at you. That’s what they’d tell you to notice in a film class, I imagine. And then she blows at you. And a fire erupts. They would remind you that it was the breath of God that brought forth life. And fire seems to be alive, yet it thrives only through destruction. And because she was blowing at you, are you the fire also? And because the fire emerged from between you two, are you guilty in the creation of something terrible? And though it is so terrible, we yet cling to it. She walks across the room and turns to the side, and we see she is pregnant–and we see no father, and we still wonder if we are the fire-child, or the father of the fire-child. The rooster crows, we know it is a morning to which nothing gave rise, we wonder if this is the book of Revelations, and then she does the least likely thing that could be expected of her in a scene like this: she prays to Odin.

And then we are in the next scene, perhaps a monastery, and it is Friday, the day of Jesus’ suffering, as opposed to Wednesday, that is the day of Odin,  and the woman, who is perhaps a nun, pours molten wax on her wrist to commemorate his suffering.

A woman empties an apron filled with baby chicks, saying ‘so help me God, I nearly stepped on them out there in the dark.’

And this is how the film begins. Needless suffering going unnoticed by the gods, first as anguish, then willingly, and then blind to it altogether.

today’s adventure: meeting the last surviving american vet of wwi.

“ask me another question.”
“what do you…think is wrong with people today?”
“only that they move too fast.”
“your generation was much braver.”
“oh, i don’t know about that.”
“what about the first world war?”
“…i was 16 when i enlisted. when you’re 16 what looks like bravery is maybe just…ignorance.”

The phrase ‘gaining perspective’ doesn’t mean very much to me. So what does it mean? Perhaps stepping outside of one’s prosaic box and looking around. It maybe is related to what is called ‘reframing’–

A. when somebody is angry with you, it’s actually not your problem, it’s the other person’s shit. yeah, you didn’t wash the dishes, you slob, but you didn’t give a fuck about it either, so it’s not really a problem, is it? nope–it’s actually the other person’s issues with control, the necessity of imposing order on everything within his or her sphere, and your fucking that order up. for instance, does it bother you that i technically just ended that sentence with a preposition? or can you find solace in the way that i used ‘that order’ as sorta an infix in the term ‘fucking up’? does it bother you that i place the question mark on the outside of the quotes? i’m not being careless.

of course, the solution isn’t to say ‘whoa there, this is your shit, your issues with control–it’s not a problem to me’–because the disparity between yall’s values is Precisely the issue at stake. and my personal attempt at a solution would be stepping outside of myself for a moment (i’m fairly good at this, which some would call empathetic, some would call well-balanced, and some would call an example of dissociative disorder) and recognizing that i’m dealing with someone who’s had a long day at work, or a difficult relationship with his or her parents, or is angry with me about something else of which he or she

(i hope you can appreciate how thoughtful i’m being with my pronouns, however much it flaunts the ugly trickle-down-PC-grammarian approach rather than bask in the fervency that is natural language, in which communication is most important, and there’s prose for when one is trying to make sense, rhetoric for when one needs to espouse casuistries, and poetry for when words must otherwise fail. but there’s already sufficient bitching on this subject in one of my France essays, so i’ll try stopping now)

is avoiding discussion…and that there’s absolutely No Way that i can win this fight, because i’m not actually a player in it.

1. if i wash the dishes i’ll still lose, because i’ll only be dealing with symptoms, not the underlying cause, and there’s going to be plenty more symptoms, and if that shit ain’t dealt with,

a. i can either deal with the symptoms continually, or,

b.if they reach a point of absurdity, i can just cut my losses and walk.

2. if i don’t wash the dishes then i become part of the problem, objectively speaking, because i apparently don’t have enough appreciation for my relationship with the other person to fix a problem that’s been pointed out to me, a problem that’s pretty much in my control and easily dealt with. needless to say, if i don’t wash the dishes, then the real problem is the relationship, not the dishes.

so, the dishes pretty much HAVE to be washed. but everyone also pretty much HAS to deal with his or her own shit. reframing means stepping outside oneself long enough to say, “it makes me really uncomfortable to have dirty dishes in the sink, i don’t know why, but it just sets me on edge, and even if it’s a little thing to you…it sometimes feels like the whole world to me…and it’d just really make me feel so much better if you could wash your dishes, please.” Reframing means stepping outside oneself long enough to say, “it makes a lot of sense to me that you want me to clean the dishes, because i can see how” and following the imago-therapy rules of engagement, etc etc. it means stepping outside with a cigarette and fuming ‘we’ve been married for 25 years and she doesn’t know the first thing about me, how could she? i don’t even know her.’ when the truth is that you two are different, separate individuals. nothing can change that. even a marriage certificate or a kidney transplant. and that’s OK. and you’re allowed to have different feelings about something. you’re allowed to disagree. that’s OK too. all bets are off if you act like a scurfy fucking idiot and don’t hold at least one particular value in common. anyway, you’re all going to hell, so play nice.

but it doesn’t work like this in real life. i prefer the ‘time-bomb’ method of dealing with problems. surprisingly, i’m in line for the throne of england. not surprisingly, it doesn’t matter. in real life, things usually work out how they should.

twice in my life i’ve missed important opportunities because i stalled and the other person died. i begin to wonder how many more chances i have to do the right thing before fate just gives up on me. maybe i blame myself for his death. even if it was his shit. and so…it seems that if our relationship meant more to me, i would have done more. right? or perhaps it isn’t like that at all…perhaps if i began with him it would only lead to me trying to help other people, more and more people, and pretty soon i’d be trying to save the whole world, i wouldn’t give a fig about myself. there’s a religion based on that. the idea is that if everyone lived like that, everyone would be loved.

(but it doesn’t work like that in real life either)

i’ve been feeling stuck lately. that’s another word for ‘depressed’–but it’s not loaded the same way. ‘depression’ is something they sell you pills for on television. like a headache. how can a tylenol commercial Possibly understand my headache. my headache’s not like anyone else’s headache, it’s unique, it’s special, it’s mine, and nobody else can possibly get what i’m going through.

what makes me unhappy? fear. fear that if i do this that i might fail, but that if i give up i’ll feel regretful and unfulfilled too. there’s no winning. so i get stuck. even if i’m moving forward, even if i’m watching myself moving forward, i’m stuck because i’m not here, now.

so i didn’t really have a choice today. i had to do something different, break the cycle, remind myself that there’s a place outside of myself, outside of my fears, my little life, my passions, my needs, my silly desires, my appetite, my dreams, my schedule, my agenda.

okay. what do i know about the first world war? shit. not much. franz ferdinand. armistice in the train car in the forest of compiegne. lusitania. mustard. spanish flu. machine guns. end of american isolationism. increased patriotism after creation of german and italian states? president wilson’s machiavellian self-interest. the failed league of nations. dulcet et decorum est. hemingway.

he was born in 1901. that’s the same year as walt disney. he was born into a world without Mickey Mouse. that doesn’t even make any sense. if he had made different choices, he could have invented Mickey Mouse. but he didn’t. he was twice my age before the premiere of I Love Lucy. And the age I don’t intend on living beyond, he hadn’t yet become a Japanese POW. but he soon would. for three years.

“Did you…anticipate…the second war?”
“Oh, yes…I knew America’s involvement was coming. But I didn’t think it would come so soon.” And if he had known, he wouldn’t have been working on a ship in the Philippines at the time. “So on December 8…I’m sorry, for you it would be December 7, but for me it was already December 8 because of the time differences…”

I drove down the long driveway, West Virginia, a road stretching out in what feels like plains, having wound my way around mountains, Antietam battlefield, over the Potomac, through Harpers Ferry, past Wal-Mart and Panera, and then here I was, slightly in the middle of nowhere, all I did was blink and here I was, I crept up the long driveway, past a guest house, it seemed, and past the main house, parking my car next to a pickup. And before me, a valley, stolid mountains, horses, space enough for the clouds to really stretch out and roll around–in this confluence of things i don’t know and places i don’t like, everything made beautiful sense, i knew i didn’t want to leave. three steps including the porch. no doorbell. the copper doorknocker with a face like the sun-god in the roman baths. tiny frog sculptures. stakes with lights on them lining the walkway, a number of them pulled out and in a mass on the ground. two cushioned chairs, the ones he sits in during the summer and looks out over his land. one wider than the other, with an indentation in the cushion. nobody answered. my heart beat fast and i decided to leave. no, i can’t just come all this way and leave without really trying. i knocked again, harder. no answer. a dog barking from a distance. looking into the glass on the left side, so many doors, all of them closed, every light turned off. the dog continued barking, and eventually, footsteps. a woman answers, i’m too late, he died days ago, i’m sorry, and i have to go.
“is this the home of Mr. Buckles?”
“yes, can I help you?”
“i was just…i’m just wondering if…i’ve been driving since this morning, and I just wanted to shake his hand and thank him.”
“well, unfortunately he’s resting, sleeping, right now.”
“could i maybe wait out here until he–”
“it’ll be at least three hours.”
“i see.”
“why don’t you come in and…”
“thank you.”
“he doesn’t see people without appointments usually–”
“i know, i didn’t know, but i–”
“come on, follow me.”

i followed her into a back room. it was a sitting room, two sides of it faced the garden, one wall had a door in it and the bulk of the wall cutout as a window into the next room, where his bed was, where she leaned over and began speaking to him, “a young man is here, he wants to shake your hand and thank you, papa. sir, you can sit down there.”

i sat. she narrated what she was doing, “just fixing the hair a little…are you cold? i’m getting your chair…here we go, he isn’t staying long, don’t worry, he just wants to thank you is all.” and when she wheeled him in i quickly stood up, hoping my own hair was in order, nervous as if on a first date, i noticed, we took each other’s hands and he gripped mine hard and long. “he’s a tall one, isn’t it he?” she motioned me to reseat myself. and he had her adjust where his chair sat in relation to me until his right ear faced me easier, and i leaned forward, his caretaker insisting that I speak louder, but i would speak closer instead.

“thank you, sir.”
he nodded.
“what made you interested to come see me? what do you know about the war?”
“i don’t know very much about it. it changed everything, didn’t it. i mean, the world, everything was different afterwards. the enlightenment, all those ideals, it wasn’t the french revolution, i mean the reign of terror, or napoleon, that really killed them, was it? i’ve always felt like things just kept rushing forward, things were still okay, really, and then…everything changed. was everyone crazy?”
“no…no. they were very serious about it. the french were thankful for our arrival, the young french were so serious.”
“what was it like afterward?”
“when i returned…nobody asked any questions. they didn’t ask questions. it was as if they couldn’t move on fast enough, they pretended it never even happened. so i couldn’t discuss it with anyone. General Pershing, when he returned, had to make a trip around the country so everyone could see and hear him. So they had a parade in my town, and I decided I’d go. And when he approached I made a quick, sharp salute!” we both chuckled, and then he continued. “Pershing told someone to bring me back to him. He had noticed two things about me. First, he noticed that my uniform was of slightly better quality than the government issued. Second, he noticed that my gloves were in my hand, and so he took me for a cavalryman, which I was not. But he noticed this because he always kept his gloves in his hand–if you look at any photograph of him, you’ll see it. And when he spoke to me, back in those times people retained the accent of the…regions…where they were born. So he knew that we were from the same place–we were born 33 miles apart, actually.”
“why was your uniform of a better quality?”
“i had one made for myself. at that time you only had one uniform, so you’d better keep it in good shape. you wore the same one in winter and summer.”
at this point his caretaker went to the closet and pulled it out. and his coat. in perfect condition, heavy, clean, far from delicate–thick, scratchy wool, a uniform nearly a century old with fewer loose threads, if any, than the clothes I myself wore. his own eyes were deep set, but bright, and they would focus on mine when he spoke, and away from mine when he was thinking, and his skin was clear, his complexion even, without wrinkles, a light golden hue, his fingernails clean and rosy, his hands bony but the skin thick, nothing about him was brittle–he was everything i hoped he would be, proof of history, of things that happened and places that were, heroes and hope, tragedy and adventure, when Roosevelt could still run, Britain was still an empire, when places were really places and diversity was really diversity, accents were accents, most people in France didn’t speak French first, what a funny time, when rich boys went off to fight, when heroes were made whose stories sounded…heroic. when genocide was still awkwardly being invented, when it still seemed like a good idea to kill people by filling their lungs with blisters, when disillusion with alchemy had finally grown to such heights that science seemed expressly to ratify goodness, when the general theory of relativity hadn’t yet been published, when cars were electric, heroin was a brand name, female orgasm was a disorder, words of love so soft and tender could still win a girl’s heart, stephen crane had only recently exposed the civil war for what it was, no more beautiful than in homer, horatio alger still knew the key to success, indeed, it was the world of henry james, a sophisticated derelict europe, and a tender naive america. adorable.

he spent some years working on the Carpathia, the ship that rescued the Titanic, as he worked on the White Star Line. and after being rescued from the Japanese, who knows, until he bought his farm, and spent his second fifty years as a farmer. and now, appointments, honors, photos with Bush, with Chirac, with Gates, his cup from prison, a German shell, flags, awards. He had me sign his guestbook, he gave me an envelope with a booklet about himself inside, some photographs. He told me about being in Winchester, seeing his last name carved into the dining hall table, and finding people who shared his name, including a Frenchman whose family had come from England. His medicine ball from when he was a trainer on the ships. Photo albums of how handsome he looked in his uniforms, posing with many young women on the ships. In the city with his wife. Trying to make his way to San Francisco. He guessed my height and weight exactly. He thought I was around 17 years old. I’m almost a decade older than that.

Every single American who fought in the war with him is dead. Gone. They’ve given the world to others. And those people died and gave it to others. And those people are growing tired and beginning to give it to us. Every single person who lived during Napoleon’s time is dead. All we do is inherit things that don’t make a lot of sense to us. Languages. Frat houses. Recipes. Morals. Laws. Turns of phrase. But he has eyeballs, and he has ears, and he has black hairs coming out of his scalp, hey, he’s a lot like me. I have a nose too. So does he. How funny, there were people a hundred years ago, and we’re people too.

The point is that if he has any regrets in his relationships with others, if he never said something he wished he had said, if he wanted to apologize, if he wanted to taste some girl’s lips, to meet some star, to say thank you, to find out one more story of his parents’ past, he can’t–there’s nowhere on this earth that isn’t filled with strangers now, everyone else is gone. Just–gone.

I’m not going to get any second chances. Am I.

film: The Matrix trilogy

I’m not watching these three films entirely for pleasure. They’re actually part of a homework assignment. I was turned off by the first one way back when it was new because I thought it was so gross that I had to keep my eyes half closed to watch it. This time I knew when to shut my eyes. I’ve always heard it was heavily based in religion, and like the DaVinci Code, the films instantly were thus popularly regarded as scholarship or life-changing parable. They’re action movies. Period. They’re one excuse after another to play Rob Zombie or show nipples or make empty sermons, but mostly, they’re fightin’ movies. It’s hard to find anything to say about them…but I have.

About 1:40 through The Matrix Reloaded something funny happens. Something like four scenes begin taking place at once, but the four scenes share some characters, occur at different or the same moments, and different places. I know some people who have difficulty compartmentalizing multitudes, but it is how I operate, to the point that the first thing this reminded me of was how I often read poetry, which is not linearly, but in waves, I read down the poem, and then I read back up, sweep back down, and then back up a bit further, and it feels like a three-dimensional cycle to me. In bookstores and in tables of contents I often become confused because I create titles from multiple rows of books or text, titles that aren’t there, titles that sound wonderful and that I’d love to read, and then turn out not to exist at all. Anyway, I find some comfort in this segment of the film, I feel engaged, and also able to breathe easily because of the freedom in movement it has, it isn’t constraining.

And this, I think may be the reasoning behind it. The film spends much time emphasizing transcending time and space, the character Neo being the one best able to do this, to operate outside ‘the matrix’ while engaging within it. And as an audience, this section of the film gives us precisely that experience, the undeniable knowledge that we’re outside the film, in the theatre, watching it, and watching four scenes at once, we ourselves able to transcend the film world’s time and space, not only when we go home, of course, but also in the theatre itself, while we also allow that ‘voluntary suspension of disbelief’ to occur. Great job! Now I don’t have to write anything else about the fucking Matrix ever again. Yay!

Trenton

I had no intention of writing about this–Trenton of all places–but spending one’s time doing piano exercises leads the mind to wander and point by point, well, everything belongs somewhere. I moved in to my room in Philadelphia on Wednesday evening, and, after a quick dinner, unpacked and set up my music things to spend until 2am finishing my composition assignment. In the morning I dallied…

I used to see signs, advertisements, ‘what sort of traveler are you?’ accompanying idiotic photographs of things that this traveler or that traveler does, like carrying a surfboard, or looking at baskets of exotic peppers and roots, or holding a camera. What sort of traveler am I? What a stupid question. What sort of traveler am I? I’m the sort of traveler who will treat a situation with mechanical ease if pressed to absorb too much too quickly, and I’ll walk away with nothing. I went to the Louvre twice–both times it was free, and both times I used the ‘secret’ entrance that doesn’t have a line. And what did I see? Mostly Watteau. I spent hours with Watteau. Both times. I never see any of the exciting things I’m supposed to see. Everything seems larger than life until I arrive, and I’m stricken with the thought that I’m only rushing forward to see a Thing, just this Thing, which doesn’t have much relevance to my life, and I’ve never particularly longed to see it before. What have I longed to see? Not the Mona Lisa, but Watteau, yes, I’ve longed to see Watteau. So I’m that twat who sits on the floor, gets in your way, who just stares and takes notes. Sorry. I need time. I take most things slowly, I take them until I’ve had enough, and then I move on, like a baby pausing with a cheerio half in its mouth, watching you before finally looking away.

I spent a lot of my childhood traveling, it seems, and I think I remember nearly all of it. I didn’t appreciate much of it, though I gasped when I was told I should, but it’s difficult to appreciate anything that hasn’t been denied you. It’s difficult to recognize beauty when you haven’t been shown much in the way of ugliness.

As I dressed, checked the weather (which is a useless action on my part, as I’ll dress the same regardless), made sure the cat was alive, locked the door, and left, I looked at my little handmade map and wondered if I should take a taxi to the trains, or perhaps I should just walk. No. No. Walking is lovely, it’s how I usually get around! because it leaves me in complete control, and taxis are most efficient, but…my little map said I should take a certain bus. It would cost $2. I had exactly that many quarters in my shirt pocket. But it’s a bus. A city bus. Where would I put the money? Or sit? Or get off? And every time it moves I’ll fall over, and nobody will like me, and it’ll smell bad, and there’ll be children everywhere. I stood at the corner with a very short, old man and his short, old wife, and a third short, old man. They spoke another language. Trucks kept coming and parking in front of the bus stop, and then behind one another, so that we didn’t know where the bus would be. I just followed the three old people wherever they went. I felt like we shared something. The bus came. They all flashed passes, I put my quarters in the slot. In France the busses would blast off like spaceships, the driver would multitask, tipping the bus over corners while counting the change you placed in his little tray, and then typing something, the ticket coming out of the machine, and then you’d slide to the back of the bus, over the accordion in the middle, and pray. This bus eased into everything. I got off at the wrong stop. I walk quickly, and by the time I got to the stop I was supposed to get off at, the three short, old people were getting off the bus. They didn’t even recognize me.

It’s this feeling I love, of being back on the road, of not knowing what I’m doing, but knowing I’ll do it somehow. And I don’t think experience helps. Every place is different, every building, every city, has its own customs, even the pizza shop in Amherst, Antonio’s, has its own customs, and when customers don’t know the customs, well, it mucks up the system. All the ticket windows had signs saying they were closed. They pointed off into space, go to the other ticket windows. I paced for a minute before going to the closed ticket windows and asking where the others were. The woman told me she was open. I asked for a round trip ticket to New York. She said I’d have to go to the other ticket windows. When traveling I always have my eyes on, my country-mouse eyes, so that people, especially women, become very motherly and sweet to me, I’m excessively polite, I appear confused. And then I walk confidently, I keep my chin raised and my eyes set, I pretend I know what’s going on. At the other window they said their machines were broken, they couldn’t sell me a round trip ticket to New York. But they could sell me one to Trenton, and once there I could buy another one.

On the train I felt hypersensitive, I mean, everything was brighter and more saturated than usual, so when this guy sat next to me in his wife-beater, smelling of sweat and old cigarettes and warm beer, and then produced a paper bag of horrible meat, finishing that with a dessert of spicy pepperoni, I waited and waited for my nose to become accustomed to it, please, I prayed, please don’t let him begin chewing tobacco and spitting into a cup, I couldn’t bear it, and as the car cleared out he refused to get up and move, he just sat with me. And then he was gone.

Trenton took two seconds, bought my ticket, waited with a bunch of aging-rock-star sorts, and then off to New York. Penn Station. I had 13 minutes left, and that wasn’t enough time to be a subway hero, so I hailed a cab and got to the building with 2 minutes to spare. Hooray. They served us coffee in china cups and saucers. It was delicious coffee.

Internet timetables said the last train that would connect in Trenton would be leaving at 23:06, so after a spicy Indian dinner with Caleb we parted ways, I told him confidently that I knew which sub would carry me back to the station, and he said okay but that he had to make a call before he went underground, so goodbye, and once underground I found I really didn’t know which train to take, and I hid behind a column so that he couldn’t see stupid me waiting for my imaginary subway-train to Penn Station.

I got there.

I missed the train right before the correct one because I found the train before I found where to buy a ticket. I bought the ticket, the train left without me, I caught the one I’d planned on catching. It was luxurious. All five of us sat on the left side. It smelled of sweat. The train wobbled and swayed nauseatingly. I moved from the window seat to the aisle to be closer to its center, like you’re supposed to do on a plane, I took an antiemetic, I felt better, and we arrived in Trenton at 1am. I bought my next ticket. Rushed down to the next train, and the conductor said it wouldn’t be leaving until nearly 6am.

This is the sort of thing I love the most.

To be stuck at a train station at a generally ungodly hour, alone, hungry, tired, where do I go? what do I do? but knowing that it’s not really worth doing more than smiling about things, because it’s not like any harm will come of the situation, probably.

I walked slowly back up the staircase, the police sat at the top, a young woman was speaking to them, and the key word I picked up was ‘internet’–she walked over to the screens showing the timetables. I followed her there and asked if she missed the train to Philly also. She had. We’d seen bad timetables. She could go back to her friend’s place. I could go back to New York, get to Caleb’s place by 4am or so. I hoped she’d decide to just stay. She did. Maybe I tried talking her into it, I don’t remember, but I know it wasn’t difficult.

I remember her shoes, they looked like they were yarn socks, and I remember she had three-quarter length sleeves, I remember the color of her eyes, the shape of her nose, her lips, her teeth, her smile, her complexion, and how the skin rounded her hands and fingers. I don’t remember anything else, not her voice, not even her face.

I suggested we take a walk somewhere, try to find someplace open late. We left the station, there was a police car parked across the street, and a cemetery, an old man on a bench coughing,
‘we should remember landmarks or something,’ she said.
‘there’s that old bum.’
‘he might move.’
‘he doesn’t sound like it.’ we turned the corner at a church, turned to the left, and in the night there were no cars, no lights, no people, just building after silent, dead building, she said she wasn’t cold, I felt responsible for her, no gas stations, no convenience stores, every block the same, I would check behind us, I told her that I have tendency to get myself into bad situations, ‘do you get out again?’
‘well, I’m here now. But, what I mean is that you should not entirely trust that going along with me here is safe, so if anything seems like a bad idea, speak up, okay?’
We briefed each other about where we’d been that day, about who we are, where we are from, what we do, what we hope to do. We had Judaism in common, and being in the period of days between Rosh Hashanah and Yom Kippur, it’s been on my mind a lot lately.

It’s during these days that we’re supposed to ask forgiveness from anyone we’ve hurt in the past year. I haven’t been able to come up with anyone from whom I haven’t already asked forgiveness. Last year I had to make a number of embarrassing phone calls. This year I think I’ve been pretty decent. It unsettles me. I must have been awful to Somebody. I’m unsettled.

A taxi stopped at a light nearby, I went to his window and asked if he knew anyplace that was open. He asked why we were outside and I told him. He said ‘go back to the train station and don’t leave it. And definitely don’t walk any further, this is a dangerous place, you’re going to get mugged, go back, right now, go back and stay indoors until your train comes, okay?’ So we began walking back. This time I was able to walk on the side of road, which is where the gentleman is supposed to walk, but switching sides felt somehow awkward before. The cab met us fifteen minutes later, told us to get in, and then sped off, taking us to the back of the station where a cafe was, he said. He said that for $80 he’d take us to Philly, but I told him I only had $15 on me and apologized. He wouldn’t accept any money from us, but made us assure him we’d stay indoors. We sat at metal patio furniture, drinking hot chocolate under a Coca-Cola umbrella, indoors. We spoke for hours, she never looked tired, she rested her arms on the table, one hand always very near mine, leaning over the table, making eye contact, engaged, laughing, smiling, easy discussion, creeping towards political views, families, religious experiences, as I found she’d been brought up far more religious than I had, it was simple, it was enjoyable. At some point she sat back in her chair, crossed her arms like she was cold, and I couldn’t figure out how it intersected with anything we’d been discussing.

We took a walk toward the bathrooms, I was in there for less than a minute and she was out before me, she said a homeless woman was brushing her teeth and gagging in there, and afterwards we sat on benches on the wall. An old man sat down next to me and began telling me about how he’d been schizophrenic but that he took medication for six weeks and it cured him. He’d left the hospital after being there for a decade. He’d strangled the nurse. He’d kill his sister. He laughed and laughed and laughed. I suggested to her we take a walk. We went to the timetables, we stood there watching people around us rushing and doing everything with so much more energy than necessary, moving like death was  in pursuit, and they announced the train was boarding. She chose a seat for three, put her bag between us, sat with her knees up, her shoes off, we kept speaking softly, waiting for the train to move, in between silences she’d catch my eyes and then we’d quickly look away. She began biting her nails for the first time that evening. Eyes. And she would close them;–rest her head, and then open them gently and catch mine, and then close hers again. The train lurched forward, she didn’t fall, she didn’t flinch, she rested her cheek on the rubber seat, or in the air, I told her she didn’t have to sleep like that, she said, ‘no, it’s fine’ with a tone of finality, and with that bag between us, with her legs and feet and her bag between us, three armed sentinels, all was still, and all was silent.

One night in the guest house of a British MP I was curled up on a sofa speaking with Nassar, he was telling me about his childhood in India, his travels across America, he served me lamb samosas, and as I took a bite he said ‘I hope you’re not vegetarian.’ He told me about how in nearly anywhere in the world if you sit up with somebody, anybody, and speak with them half the night, learn about each other, it brings you closer to that person, and that the next day you two have a closer relationship, you look at each other with different eyes, but that in America, you sit up with someone half the night, tell your stories and get to know each other, and the next day at work, they pretend it never happened. Americans are friendlier, yes, but their relationships are shallower, their friendships are almost meaningless, their words, no matter how heartfelt, are nearly empty.

It was nearly 7am when the train woke me up, I touched her shoulder–her shirt sleeve was white–30th Street Station bustling, again, we were sequoias, and they were mosquitos, we walked slowly, they were being born and dying faster than we could breathe, she didn’t look at me, at the lobby the air roared, we faced each other and couldn’t make it halfway through any sentences, being shoved by people, unable to continue speaking softly because of all the noise, so much movement, so much light, so much sound, so unlike our little Trenton, I began to ask if she–I’m no good at these sorts of things, I’ve rarely bothered, it’s difficult with anyone, even with Caleb, knowing him for years, our goodbye was awkward and difficult, yeah, we’ll get together soon (of course we will, we have unspoken weekly dinner arrangements), Jessica makes it easy by hugging me and saying something encouraging about the future, and Céline would smile and wink before ducking into a car, but here, in the 30th Street Station, her whole body screamed reticence and foreboding, she looked at me with eyes that said ‘I’ve never seen you before in my life’–
‘I’ll be around for a few–‘
‘I don’t know my schedule, but, I mean, you can call me maybe, I don’t know, maybe.’
I thought about all the times I’ve given fake phone numbers to people, fake names, fake e-mail addresses, all the times I’ve climbed through bathroom windows and hitched rides with paperboys, and the branch she was clutching snapped, and wordlessly she was washed away toward the trolleys, and I turned back upstream, walked as quickly as I could, chin raised, eyes set, walked right into the dead end of a windowed hallway, oh so lost.

Ballroom, Week 11

Because I’m temporarily moving to Philadelphia this is the last lesson I’ll be having for a while (there’s no dancing allowed in Philly, I know, I know, it’s so sad). I was barely conscious for the lesson, which taught me something very important: I don’t always, always, always feel like dancing. The fancy footwork I’d learned last week I couldn’t even bear to attempt as I struggled to remember where to transfer my weight. But, in the end my instructor said I’d danced the best I’d ever done when he was having me lead and improvise. My main weakness, in my opinion, is a tendency to focus on one element to the detriment of the others, including keeping time.

Points on which to focus this week:

1. Left Turning Box: when stepping forward on 1, the foot remains parallel/straight, while the CBM occurs otherwise.

2. Right Turning Box: closing on 6 the R heel MUST touch the floor. On 7, the L leg/foot turns inward as it steps backward; also, it must step backwards leaving enough space between the both legs/feet that one’s partner can step between them easily. This ‘stepping’ between the leader’s legs is, as I understand it, the reason why the Right Turning Box takes place between two Progressives rather than beginning on the L foot somehow.

3. I forget its name, but it’s a turn of the Lady during the Left Box. Simple. This takes place during a figure of two Left Boxes, meaning 12 steps. On 4, the leader steps back with more force than usual, uses his arms to increase the space between the dancers, removes his R arm/hand from his partner, to his side, and begins lifting his L hand higher. It is not necessary to ‘stir the pot’ with one’s hand, so the Gentleman merely concludes the first half of the figure and commences the second as normal, until 10 when he places his arm and hand back in the normal position. As for the Lady’s steps, I don’t know what they are because I was instructed ‘don’t look down or you’ll get confused.’

Religion, Theology, and other things I see on a milk bottle.

All I wanted to say was, ‘here’s some really great copy!’ and then:

‘Know what? Great farmers wouldn’t exist without great eaters. No kidding. When you choose organic food you’re helping the earth’s best farmers, and in so doing, creating a better world for tomorrow. Your tomorrow. Hello, hero.’

If you’re anything like me then you’ll read whatever’s placed in front of you, and read it again, and read it twenty or thirty times in one sitting if there’s nothing else to do while you’re eating alone. So finding something written well is almost exciting.

Religion is the things we do. Theology is how we try to excuse the things we do. No doubt Christmas traditions began ages before Jesus, and not in anticipation of him, but in celebration of more obvious things.

Religion: carrying a gun all the time out of paranoia or because it makes us feel powerful or because it’s fun to break shit.
Theology: 2nd amendment rights; in case the US government commits genocide against the bourgeoisie this afternoon, beginning with this Wal-Mart in Kentucky; if everyone would carry a gun then there’d never be a violent crime again, (like in Mexico, where the members of rival drug cartels don’t mess with each other or the police, or in the Swat Valley where recruiting well-trained warriors means recruiting teenagers)–because Americans are different from people of other cultures, because Americans understand restraint and the importance of peace, which is why they wouldn’t use violence against each other so long as they all carried guns.

Religion: eating shitty food and not giving a fuck.
Theology: why do you think that people are bigger and taller than ever before in history? It’s because of the chemicals and hormones since before we’re even born! If it wasn’t for processed foods, and for chemicals sprayed on our produce, and hormones injected into our livestock, we wouldn’t be nearly so healthy as we are now. Nobody in history has lived so long as we do now, and what’s the big change? That for the first time in history people aren’t eating organic food.

Marilyn Manson has a pretty wonderful autobiography that’s definitely worth reading. In it he tells about how when he was a child his father would go to VFW sorts of meetings with other ex-military sorts who’d fought in Vietnam. They’d often bring their kids along. But all their kids were physically deformed as a result of exposure to Agent Orange. Except young Brian Warner (Marilyn Manson), because his father’s job in Vietnam was spraying the Agent Orange.

I’m still dealing with how I should view Kurt Vonnegut. He’s either a nice bridge for disaffected youth to carry them between comics and sci-fi to “literature” or an end in himself. For those who see him as an end in himself, which generally means turning around and heading back towards the sci-fi comic book genres, one is left just plain cynical. Life is a scary and dangerous place that can only be dealt with through cynicism, listlessness, and arrogance (and comic books). But I’m a firm believer in balance–which doesn’t always imply moderation–and am certain that exposure to the things we find hateful gives us the capacity to appreciate their opposites in intensity. More or less, I think all things are pretty much how we find them, that it’s our experiences that make the difference.

So, why pay more for organic food?

Because oftener than not it looks and tastes like food should. I know how food is supposed to look because I’ve seen paintings of Adam and Eve, I’ve seen storybooks that take place on farms, and I’ve tasted fresh foods that are more delicious than I can even imagine. An important question to ask is ‘do I want this to become part of my body?’ because really…isn’t that what happens when you eat something? or breathe? or witness anything?

Ballroom, week 10

The Right Turning Box is the first figure that I think is actually beautiful from a perspective of theory and time; I love the way we have two feet whose graceful movement depends upon our shifting the weight back and forth between them, yet we’re dealing with bars of 3/4, a gorgeous crisis, and furthermore treating the Rise and Fall in terms of 6/8. In this figure one opens a door between bars, steps out, and then steps back in–it’s breathtaking, really, and it’s the sort of thing I’ve always loved in music, simultaneously dominating and being carried away by structure.

Today things got a little exciting, and a lot more difficult. An exercise he gave me two weeks ago on arching my foot–as close to ballet as I’ll be getting in ballroom, perhaps?–and my new flexible shoes began to make sense.

1. A simple heel-toe step as described in prior lessons and by Alex Moore is fairly uninteresting, though it gets the job done. The gracefulness and beauty of this improved by changing it to a toe-ball-heel step.

In an example of commencing a Progressive: the heels are both raised, knees bent, and during the lowering action the R heel lowers more quickly so that weight is transferred there immediately, but even during this lowering action the body must already be commencing the next step. The R knee bends to a 46 degree angle, and L foot arches so that the toe is to the floor, sliding forward before the point of contact moves to the ball of the foot and then with a flick of the toe the point of contact is moved to the heel. Key here is not waiting too long to change contact point to ball of foot, as delaying leads to a flat foot and ruins everything. Weight is held on the R foot with the whole foot on the floor for as long as possible before it begins transferring to the L ball. As soon as weight is transferred to L, that knee should be bent immediately to the 46 degree angle to preserve the rise and fall.

The movement of the toe-heel flick, etc. can be practiced while holding on to a bar. The body must continue to move always–always–always–there is not pausing with weight transfer or lowering action.

2. The Right Turning Box: we enter into this as an infix to a Progressive, which makes it into an 18 beat figure. The Progressive is six beats; after the first half of the Progressive, at which point one is now dead center of a two bar phrase and will remain between phrases until the end of the figure, which will lead back to the normal flow.
1-3: progressive, beginning on L
4-9: first half of Right Turning Box
10-15: second half.
16-18: progressive, beginning on R.

Clair: À nous la liberté (1931)

It’s very difficult for me to say anything about this film because I so deeply long to forget it, to pretend that Clair never produced any work except Sous les toits de Paris — and it’s for all the wrong reasons, perhaps. In toits de Paris Clair uses sound so brilliantly that it led me to reconsider how I understand sound not only in film, but also in every single moment of life. I began studying something along the lines of ‘the physics of sound’ recently, and though it tends to be a very dry subject on paper, it’s when I lift my head and look around, clap my hands, shout at the walls, and observe speaker cones that I become fascinated. Because I take it for granted now, but Rene Clair didn’t, and neither did his audiences. Development is natural for us, but so is reminiscing, even if I’m watching a 1931 film and reminiscing about 1930, there’s still development that his audiences must have gleefully pointed out to one another, how one year ago the characters didn’t really speak except when you couldn’t see their lips, you know, when the lights are out or when their faces are turned. Now they do. It’s almost as if they’re real people. And yet I prefer a grainy black and white to something that looks real?

I really haven’t anything else to say about this film except to point out its being a milestone for sound, then. But whereas Clair was forced to be brilliantly creative in Paris, in liberté, he only has to be technically knowledgeable and slightly gimmicky. And so I can’t fall in love.