I am excited to announce my book, carlos montoya-a novel, is forthcoming this year from Twelve Winters Press.
This week I’m grading and meeting with students individually but still found some time to watch David Lynch’s Eraserhead on Criterion Blu-ray. Lynch says the surreal is the subconscious speaking to us. And this is one of my favorite surreal films.
Great documentaries on the film here as well. After watching an early screening of the film, Lynch’s mother told him, “That’s a dream I wouldn’t want to be caught in.”
I can’t talk about Borges, Barth or Barthelme in my creative writing class without mentioning the films of David Lynch.
Had some time this SpringBreak to watch some films and this one by Jorge Gutierrez is beautifully animated. I liked the mix of modern music and the Mexican folklore. I was also struck by the theme of death and grieving families.
A few months back I heard of Dan Cohen’s concept of using music with dementia and Alzheimer’s patients. This holiday I finally had a chance to watch the documentary Alive Inside based on his work and I was amazed. I was struck by how music, memory and also identity were represented.
This film is from 2009 and from director Bobcat Goldthwait. I missed it because of a limited release. I most admired Robin Williams playing a frustrated writer and teacher in this dark comedy. Love the scenes in poetry class.
“I used to think the worst thing in life was ending up alone, it’s not. The worst thing in life is to end up with people that make you feel alone.”
Based on the surrealist novel by Michel Faber, the film adaptation was much different than the book. I admired director Jonathon Glazer’s experimental style and how images drove the story instead of plot or dialogue.
What does a scanner see? Into the head? Down into the heart? Does it see into me, into us? Clearly or darkly? I hope it sees clearly, because I can’t any longer see into myself. I see only murk. I hope for everyone’s sake the scanners do better. Because if the scanner sees only darkly, the way I do, then I’m cursed and cursed again. I’ll only wind up dead this way, knowing very little, and getting that little fragment wrong too.
And Richard Linklater’s film adaptation visualizes Dick’s themes of shifting realities–internal and external–and also shifting identities so perfectly in its animation. It’s funny how today we are reading post-modern novels with shifting narration, and Dick’s work was seen as genre and a lesser form of novel writing back in the sixties and seventies. I’m looking forward to tracking down his so-called “straight” novels.
Great documentary now available for streaming on Netflix. I’d been waiting to watch this one for a while. I was glad to see some insight into the reclusive artist Bill Watterson. Calvin and Hobbes has always been one of my favorite strips and I remember the last strip to this day. In fact, I found the description of Watterson and his thoughts on merchandising to be very Salinger-esque. And I’ve always thought of Salinger in relation to Watterson and his themes of youth and familial relationships. I also liked the discussion of high art and commercial or comic art.
I was interested to find this update on the Neruda exumation. Seems that he was not poisoned but family not satisfied or convinced according to a few articles.
Long story short, the plot is driven by a coincidence. And this idea was seen as a failure from D’s point of view. I saw it as a strength because I heard an episode of This American Life called No Coincidence, No Story! Now that is not the only thing that drives the film’s narrative. I think the movie is driven by the intricacies of relationships and protocol around new relationships–the human truths of relationships and also the ending of relationships. The idea that relationships are about finding and understanding mundane eccentricities in newfound partners.
Apparently “No coincidence, no story” is a Chinese expression. From This American Life: “Sometimes the best way to appreciate a coincidence is to look past all the rational reasons it might have happened.”
This is an interesting thought or principle regarding narratology. Shit happens in life and in stories. I think this is a pretty good lesson for my creative writing students who are always struggling to find that thing or “it” that will drive the story.
We’re discussing a few stories tomorrow from Stuart Dybek‘s collection The Coast of Chicago. I admire “The Woman Who Fainted” and “Pet Milk” (4:27) and I was happy to find this reading for my Lit 50 students. So important to hear the author’s voice.
I was lucky enough to hear him read years back at Oregon State. I remember he mentioned the stories began as failed poems. And a few years back a former student gifted me a nice hard bound version that was also signed.