Home

Advertisement

ADHD rhymes with poetry [entries|archive|friends|userinfo]
Coriander_Pyle

[ website | My Website ]
[ userinfo | livejournal userinfo ]
[ archive | journal archive ]

you [Jan. 10th, 2010|03:01 pm]
You know when
You meet a couple
And one of them
Is much less attractive?

And that one
(the uggo)
Talks a lot
Perhaps nervously
Maybe he or she
Strikes you as stupid.
And the handsome
pretty quiet one...
You wonder why
why are you with
this blabby ugface?
You are so much better,
you think to yourself.
Maybe you try to wink
or smile,
like you know that you
too, understand the
secret pact of
sexy brevity
surrounding the poor
unpretty conversationalist.
I am like you,
you try and convey
to the pretty one.
Better.

That one is not better.
And neither are you.
LinkLeave a comment

broad games [Dec. 26th, 2009|01:54 am]
Let's invent a new kind of board game. Hell a new philosophy of games in general! No more tricks to win in card games, no more points on a score board, no more levels to gain in video games, no more boxes to fill in crosswords. Revolution!

No, wait, let's made that milder, subtler. Tricks, points, levels, boxes: these can stay. Let's change the objectives though. Instead of working up to the most tricks, the most points, the final levels, all the boxes, lets keep going. Infinite games! There is no end to any of these games, but they still deal in their traditional currencies.


Tricks continue forever in a never ending complexity, and the card games develop on themselves until even the methods of earning tricks has adapted into millions of minute mind games.


Points change value and meaning as the athletes explore every motion and interact with every particle of their playing fields, teammates, and opponents.


Video game players become true explorers of the new lands or bifurcations of old levels that appear continually before them.


Crossword puzzles, mounted on computer programs that multiply on themselves, are never-ending fields of boxes, with clues taken from the lives of the players who attach words to each other in with increasing meaning and even aesthetic design.

Place Your Bets!!!

My own : We, the players, will constantly return to the same discrete elements only to discover that every element contains every other, and that each element is an opening and a connection to infinite others.

The wager: Myself, in life and death.
Link3 comments|Leave a comment

winter dreaming [Dec. 19th, 2009|02:16 am]
F. Scott wrote a short story I really like called Winter Dreaming. As in most of his short stories, the male protagonist misses the love of his life, which of course comes his way in his attractive youth, and never again. The story ends with him standing, middle aged and rich, looking out of a high rise into a New York City winter, thinking dramatically barren thoughts. His dreams, mentioned in the title, might have been searching for something similar to the reverie that eased its way into my head, standing in the six inches of snow on my back stoop. Though inspired by completely different circumstances and personalities, these thoughts of mine might be as inarticulate as his, in the story that caught him like a fly in vasoline, were. See?:

I like the idea of a snow with different physics.
Instead of piling onto branches of trees, cars parked under street lamps, bird feeders in back yards, what if snow rejected stasis for inertia? Rather than falling with blanket-like banality from the sky to the ground, it crystallized in the air and floated every which way, glomming onto air currents and filling in the wakes of moving objects.
A policeman, pausing between directing traffic, remains untouched in his statuesque solidity.
A light changes, cars rush into the intersection followed by flowing, waist high drifts, and the man, precipitated into action, is immediately covered in an even coating of powder - thickest of course on his gesturing arms and twisting waist.
Snow covers the pumping knees and crooking elbows of pedestrians like water weights.
The least amount of people-snow coats the immobile boots, preferring instead flexing glove fingers and twisting necks.
A ballerina, spinning outdoors, would soon be a huge rotating globe.
Around these struggling snow people stand barren street lamps, fire hydrants, mailboxes, building ledges, dog houses, sycamores, locked bikes, the homeless under their blankets. Removed from the cold streaming, they belong to a different world.
No chance for snowballs, except for in the wake of a swung hand or a flying missile. You have to aim just past your victim with a pine cone to brush them with a clump of snow.
No chance for snow men; snow angels exist everywhere, ephemeral shadows of people walking by.


LinkLeave a comment

gonna start imitating a thousand and one nights... or maybe jack handey [Dec. 9th, 2009|02:45 am]
Could a poet - no, a story writer -,
assemble a book of stories
that all ended the same way
with the same punch line?

That's what short stories are about, right?
The kicker.
Could it be a success?

All the stories
in this particular book
could begin in completely unrelated ways:
on different continents
in different states of mind.

Who knows how many ways stories can begin?
Maybe Allah? Anyways
the point is
this writer would know how they all ended.
Would it work?

If you could choose that theme
what would yours be? What would be your kicker?

Mine would be:
"one more dollar".
Do you think it'd sell?


LinkLeave a comment

Hooks [May. 4th, 2009|08:18 pm]
I recently got to the end of a short script I had been working on for some time. This was satisfying, but mostly because it now marks the beginning of a proofreading process I haven't been able to give to all of my other creative beginnings that are still beginnings.

In a -sadly - recent effort to actually improve my writing and learn where my own creative interest intersect with those of the people I know and love, I showed this script to as many of my friends and family as had the time and inclination to read it.

The results have been extremely rewarding: almost everyone came back with extremely constructive and - most interesting to me - differing criticism. Everyone was affected by different aspects and the changes each suggested addressed the aspect that interested them most. I feel lucky to know such conscious, interested, and articulate readers.

The only face-to-face criticism I have received has come from my friend Amos. To date, he is the only friend I have made in Albuquerque whose opinions on art I find stimulating. He is a musician with an inspiring work ethic coupled with a great deal of talent. Everyone reading this look out for a famous Amos Roddy one day.

His criticism of my script was extremely gratifying. He enjoyed the writing and the characters while being extremely forthright about his views that the work was at its beginning stage. I am not going to go into all of his criticisms that I agreed with in this post, however, but rather one of his criticisms that has been tossing around my head since we discussed my script a couple of weeks ago; a criticism that touches one of my many creative insecurites and a point on which I think I disagree with him.

Without getting into specifics of the script, the criticism in question dealt with the lack of a finishing punch. Actually, that is the wrong term, because the script quite literally ends with punches, but I interpreted his meaning as a lack of a "hook" in my script.

Hook Masters:




Preston Sturges




Kanye West




Agatha Christie




Steven Speilberg


I have always been an admirer of good "hooks" in art. Part of my love of Hollywood is its commitment to the hook; its commodification of the "meat" of a story - oedipal complexes, childhood trauma, drug addiction, closeted homosexuality, or even heterosexual love - allows a sort of impartial foundation on top of which countless filmmakers have been allowed to express truly complex and visionary aesthetic ideas. The hook is one of those restrictions I don't actually believe restricts good artists. My recent obsession with Billy Wilder stems from his ability to subtly infuse a heavily Hollywooded hook with a harsh, gritty analysis of gender relations.

Unfortunately for any future I have in Hollywood or for pleasing the artistic sensibilities of my friend Amos, I have discovered that my own abilities to create a good hook are limited. The few times I have come up with a hook I think could work, its physical incarnation always leaves me feeling hollow (no one will be surprised, I think, when I say that my nearest creative influence is Wim Wenders, who, even in Wings of Desire - a movie in some ways built around a hook - takes as much triumphant zeal out of the hook as he possibly can). I just can't seem to write a hook that doesn't feel tacked on, or that makes the rest of the story feel tacked on.

What this diatribe comes down to, of course, is that I need to come to terms with my own enjoyment of rambling, scenic narratives and my own understanding of the appeal of a plot device. I think that the more I get excited about the restriction of the plot device, the more I'll enjoy getting around it or having it improve my far too self-interested imagery.
LinkLeave a comment

Two of the best pieces of literature ever in one day... Possible? [Feb. 20th, 2009|12:33 am]
I've always enjoyed the feeling (retroactively, of course) of revisiting a work of art that I despised easily when I was younger and finding that I now appreciate the aspects of the work of art that I had not understood, or understood incompletely. I hated The Wild Bunch when I first saw it, and then its beauty was revealed to me and Westerns took over my life. The boring melodrama of Love in the Time of Cholera - as it appeared to me in high school - unfolded into the definitive word on love. Then real life unfolded many more words on love for me and Marquez's book was reduced in my esteem to a place of quiet excellence. It's a complacent feeling, and one I take no pride in, but one that I keep reaching for. I think it just gives me evidence that I'm growing, or something.

So I reached for The Turn of the Screw yesterday in search of this same feeling. I had read it in high school and had been even more bored than during Love in the Time of Cholera. Then, two months ago, I read Henry James' short story The Real Thing and was blown away. I grinned my eager little grin at the thought that here was another great artist I had passed over too quickly in my frivolous youth who had much more to offer than I'd ever imagined.

Unfortunately, Turn of the Screw is just as boring as I remembered it. I don't really want to go into why, though, because in the same collection of James' novellas I came across

The Beast in the Jungle



I honestly don't want to talk much about this. I just wanted to write it out big in comparison to other words. It really deserves it.

Part of the reason that I don't want to talk about it is that there is too much in its sixty pages for me to do less than attempt for the rest of my life to produce art that expresses one of the infinite things it has made in me. A work of criticism with Beast as its subject would be mean and sad next to the work itself. I have no interest in reading other, better folks write about it any more than I have any wish to write critically about it myself.

It's not that the whole story builds to a climax and I worry about revealing the secret to potential readers. It does have a climax, but it saturates the whole story and then the effect of the saturation becomes a plot device.

I guess that the two works I can best compare it to are a children's story I read when I was young where a wife allows her husband on her deathbed to remove the green scarf she has always worn only for her head to fall off when the scarf is removed, and Of Human Bondage. Also, everything ever written by Agatha Christie. Hell, I guess everything I've liked has some place in it.

Asleep in the Sun

I read this first actually, and until a few hours later it was my favorite book ever.

I'm actually still glad that I read it first, because it blindsided me so completely. I hadn't read anything mind-blowing for a while, and was not expecting this to be any more than the other to sadly perfect books I'd read by Adolfo Bioy-Casares.




Instead it was way more perfect, and way more sad. But incredibly comforting, mostly because there has been another person in the world that cares not only exactly the things I do, but in the exact way that I do. Whereas Beast basically makes what I love in life and art look like a small piece of everything that is great in art and life, Asleep in the Sun flatters my creative urges, tells me that they matter.

In his perfect manner, Bioy-Casares lets self-indulgence pervade this short novel and rather awkwardly interpolates his story of a man differently in love with his wife than she is with him with dogs and body-snatchers. Without ever really becoming cohesive, the mass of anguish, nervousness, and loss comes together with a strange, affected nonchalance that leaves the reader feeling that perhaps all one has to accomplish in life is to stroll down a sidewalk with a top hat and a cigarette, a second before the full import of the book hits him/her.


In retrospect, I think that in my own writing/filmmaking I will always shoot for Beast and yet be more than satisfied if I can come up with Asleep in the Sun.


LinkLeave a comment

runnin' hooers in tandem [Oct. 21st, 2008|07:52 pm]
My BFF Reuben and I are writing two simultaneous movie reviews of the movie Swing Time. It is for his top 100 movies and reviews list, which he's posting on his journal, and which is awesome.


Read more... )
LinkLeave a comment

Writer's Block: Unnecessary Objects [Oct. 16th, 2008|02:57 pm]
[Tags|, ]

Oscar Wilde, a dandy’s dandy, once said that “we live in an age when unnecessary things are our only necessities.” What unnecessary possession can you not live without?


View 500 Answers

Hannah Arendt points out in her book THE HUMAN CONDITION that the Greeks believed that only men (citizens) who were able to have a life beyond the necessities of survival and comfort could even contemplate freedom, much less be free.  Politics was based on being totally separate from life's necessities.

On a less related note, the books I haul around with me are not necessary to my survival, but I can't feel at home unless they're there.

Link2 comments|Leave a comment

Trying to grow up [Sep. 18th, 2008|03:37 pm]
I feel like it's only natural that someone just starting out making art would be primarily motivated by the years and years of imagination that has built up largely unexpressed in their heads.  It makes sense to me that young art would be very personal, and often times recall powerful memories of the young artist that have no reference for anyone else.  Still, it's starting to bother me how self-indulgent the things I want to write about seem to me.



I’m reading a book of essays by the US’s premier film critic Jonathan Rosenbaum right now and he quotes Lenin saying something like “Aesthetics are the ethics of the future.”  I’m pretty sure I’ve felt this idea for a half dozen years now, and it’s possible that it may have pervaded my whole life to now - I’ve certainly always held beauty high.  But seeing it today in print made me realize how simplistic an idea that is.

Basically, my problem with Lenin’s quote is that aesthetics are no substitute for ethics.  They never can be.  Both aesthetics and ethics are primal human (?) forces and to blend them would be to ignore the complexities that both are comprised of and that both squeeze from situations.  I think that Lenin’s comment means that he believes that ethics will leave the realms of reason and argument and move into the realm of opinion and fancy.  This seems extremely pessimistic and I certainly hope that it never comes true entirely.

A more hopeful statement in my mind would be to say that “Aesthetics will inform the ethics of the future, and visa versa.”

The movie-viewing experience that really started off this whole interest was SANS SOLEIL, the Chris Marker poetic travelogue.  It was the first film viewing experience that made me feel adult.  It did this first by tricking me into thinking that it was the kind of movie I like best; a small film full of personalized observations of the world that illustrate a narrator, or at least a character in the film.
  
There was a lot to support the idea that SANS SOLEIL was this kind of film: the mysterious narrators - female in voice and male in writing, the structure that is linear so long as one views it as a series of memories or thought progressions, and the myriad expressions of opinion and emotions and thrills that fill the travels we watch.  The film contains some moments that make me feel closer to a character/author of the film than in almost any other film I’ve seen.

But anyone who has seen the film knows it is much bigger than these small things (when I use the terms “big” and “small”, I am trying not to imply value judgements - as I said, most of my favorite films are “small” films.  I might as well be equating “big” to “global” and “small” to “individual”).  It addresses aspects of globalization, imperialism, and technological growth with the same insightful and mysterious poetry it uses on the “small” touches, without making the mistake of making these “big” issues “small”.  Instead, the “small” observations sit alongside the “big” ones, and Marker plays with them and makes a piecemeal map of them much the way he does with the travels of the male narrator.

I've been searching through the film (which my friend Reuben just bought me) and I can't find the most striking example of this.  The scene is of a neighborhood celebration in Tokyo and the narrator is first talking about Japanese societal concerns of their own disappearing culture in the face of Americanization, and the voice we hear makes some comment as though reading from the journals or letters of the world traveler/cameraman Krasna saying that he prefers the small neighborhood celebrations best. 

A geotemporal map of the movie I found online (whatever the fuck that means)
What was so impressive about this to me was that the pieces of personal or “small” poetry felt like art made by someone young, whose imagination had run rampant their whole life and when they first sat down to make art, they were overwhelmed by their own pent up stories and observations.  And there, right alongside these charmingly fresh and energetic expressions of young imagination were equally mysterious and confusing problems of global magnitude.  I’m not trying to say that this is how all art should be made - God, far from it.  I just felt that in this film someone (Marker?) almost outwardly discusses the importance of paying attention to both what one wants to write and what one should write. 

I think that what's 'big" and "small" for people changes - I know mine are different than Chris Marker's.  But I guess I kind of think that in all my favorite pieces of art there's a little of both.  I just need to focus on my own "big" interests to make something good.
Link4 comments|Leave a comment

Buff Dudes [Aug. 18th, 2008|10:32 pm]
I can't really say I've ever been inspired/made to feel insecure by the bodies of male celebrities and models.  I guess that when I saw FIGHT CLUB in high school I thought that Brad Pitt looked pretty cool with his shirt off, but I mostly just enjoyed how that played into Ed Norton's worship of Pitt's character.

Last night, though, Reuben and I rewatched CASINO ROYALE for the third or whatever time, and the same thing hit me that always does when I see it.  I think that Daniel Craig's buffness is awesome.  It's not just good-looking, but it seems mature, hard-earned, and appreciated.  And it lets him throw himself around the sets like crazy and make it look really fun to jump on and off of moving vehicles.  He has made me appreciate the buffness of the action hero.  Being ripped is a tool, and one to be used carefully.  If you are a less buff Bond, then you are slow and boring like Sean Connery or Pierce Brosnan.

I also like the idea of cybersilence, but that's a discussion for a time when I'm not sleepy and full of good food and a little tipsy.
LinkLeave a comment

Writer's Block: Six-Word Story [Aug. 14th, 2008|12:42 pm]
[Tags|]

Hemingway was once challenged to write a story in only six words. His response? “For sale: baby shoes, never worn.” He is believed to have called it his greatest literary work ever. Can you write a story in six words?

Submitted By [info]femspectre


View 506 Answers

She left.  Now I can't sleep.
Link3 comments|Leave a comment

The twinkle in the eye and the arsenic in the soup... [Aug. 12th, 2008|03:15 pm]


In some adolescent argument with my little brother where I basically ridiculed every theological system he brought up, he asked me sullenly what it was that I believed in if I thought that established religion and philosophy had so little to offer.  Caught in my own web of cynicism and bullshit, I came up with some sort of ridiculous idea about the world being a video game or a puppet theatre.  The real things happened behind a curtain or at least outside of life as we knew it, and humanity and the rest of the objects of this planet were just manipulated by the beings of this other world for fun, or some other purpose we were too limited to fathom.

Even though looking back at this argument makes me cringe, I think that after many detours I've come back to a sort of similar philosophy.  Or at least one that is as similarly infantile.  I can best express it through metaphors, and I guess the one I like most these days is that we are in a sort of maze or labyrinth where the obstacles come from inside us and from somewhere else and there is no end but only more interesting and confusing obstacles.  That is, if we're doing it right.  Also important to this concept is hard work and the empty air just beyond the obstacles.  But those are far more abstract; I don't even get why they're so important.

So this long-winded intro is really kind of an attempt to explain why art is so important to me, or at least how closely related I think it is to our lives.  More than that, it's an attempt to explain why genre art is so important to me.
LinkLeave a comment

What do you call beautiful? A tree. You'll look like a tree. [Jun. 13th, 2008|08:50 pm]
You have to have been stood up by a girl/boy time and time again, in more than one spot of eternal romance, to tear up when an American movie ends on that spot with both of them in it, forever.


Link1 comment|Leave a comment

just cause I know how [May. 20th, 2008|02:22 pm]
putting up this video my friend annie showed me that had me laughing like a retard in a coffee shop.

Link1 comment|Leave a comment

A Question [Apr. 21st, 2008|04:26 pm]
What movie is this story the boring obvious version of?


A Good Shot

This is a very different Western than the ones that haunt our nation’s history, Westerns with great lawmen like Wyatt Earp or Judge Roy Bean, or even romantic rebels like Jesse James and Billy the Kid.  This western is about the other side of our great nation, the underside.  The myths here are sadder.  The outlaws are not romantic but dirty, mean, and scared.  The heroes are rarely better, and, in one case, much much worse.

LinkLeave a comment

Just like Charles Strickland [Apr. 15th, 2008|04:33 pm]
Posting my stuff into a void.  Thank you, W. Somerset Maugham for making me feel cool about it.  This is another something recent I'm not sure if I like very much.  It's called:

STEPHEN KING


    Ashley wakes him up when she enters the room.  He stretches as he wakes, twists his head to get the kinks out.  He inhales deeply, puffing his chest out and holding it.  She pokes him in his skinny chest with her finger so his breath explodes like a balloon.
    “Did you finish my story yet?”  She has put a delightful tray lunch down on the desk next to him.
    He salts the hard-boiled egg and stuffs it into his mouth before answering.  “Mmm - hmm.”
    “You did not.”  She straightens her back and the corners of her mouth.  He is confused.

    He had promised her a story for her birthday.  One for her, written with her in mind, not just with a dedication - “To Ashley” - in front of it.  She had gotten so excited that she became unable to talk about it.  If he brought it up she would just blush and run out of the room.
    He could tell that she was upset at him because she kept straightening up his tiny den.  She never did anything that was not deliberate.  Maybe she didn’t believe him?
    “There.”  He pointed to the fat spiral notebook soiled with every story he had ever written.  “The book of a hundred and two stories.”

    She paused her irritable straightening.  “Mine’s number one-oh-two?”  She glanced at the notebook furtively.  He knew she had always been intrigued by it.  Like him, she had always given it weight.  All those pages, every margin, filled with small print, soon to flow out of that notebook and into another.
    “No, it’s actually number one hundred.”
    “One hundred?”  She made no effort at all to conceal her annoyance.
   
    “Hell, it seemed like a special number to me.  Like an impressive anniversary or something.  I did it on purpose.  I thought you’d be pleased.”
    “To have number one hundred?  It’s so impersonal.  It’s... it’s a number for you... as a writer.  Not for us as a... us.”  He had moved into her place a couple of months ago, and he had noticed a smell of almonds every time she got upset.  Now he couldn’t eat them without feeling nervous.  “I want the story to be like a little secret, just for us and no one else.  ‘Cept maybe some kids, if we ever wanted ‘em.”  Anger also brought out some New York in her speech.
    “You haven’t even read it yet.  Seriously, it’s pretty good.  See, there’s this fox-”
    She stopped him with a look.  “I’m not with you for your writing.”
    “I guess I thought you liked it, though.”
    “Don’t be a baby.  I like some of it very much.”
    “Thanks.”
    She shrugged, as though she was the only civilized one in the room.  He swiveled back to his desk and opened his notebook.  He flipped through it idly, recognizing little.
    “These days I’m in here so much there ain’t much of me that ain’t my writing.”
    She lit two cigarettes, perched on the arm of his chair, and put one of the cigarettes in his mouth.  She put one elbow on his shoulder and with the other arm reached over and flipped through the notebook a little bit.  The stories are numbered.  She flips to number one hundred, outlined at the top of the page.
    “So to make it up to me, you dedicate your own monument to me?”
    He flushes.  She looks down at him, and gently pulls his head to her breast.

    He stands up abruptly, all but dropping her into the chair he just occupied.  She stands up slowly, trying to hide the blush on her face from the back he has turned to her.
    He glances at her out of the corner of his eyes and watches her put out her cigarette.  She tucks some hair behind her ear, he notes.  She picks up the ashtray as though she’s going to take it out and clean it, then puts it back down.
    He lets a little anger into his voice when he speaks, carefully.  “I gotta look over that story again.  Looks like my total’s back to one - oh - one.”

    She becomes still.  He walks over to the window that looks out onto their meager front lawn.  Frost covers the grass and the outside of the edges of each window pane.  He blows smoke into the window.
    “You’ll be lucky if it’s done in time to be number 236... More like 253.”  Her brow has smoothed out, he notices without even turning around.  He blows more smoke at this window.  A mustang drives by outside.  A girl and a boy on bicycles follow it.  He exhales more smoke as though frustrated.  He turns, very deliberate, and walks over to the other window in the small room.  Here the view is of the brick wall of the pet store next door.  He blows more smoke at a patch of weeds busting up through the concrete ground, but the window glass intercepts the stream.  He seems more satisfied with the results, however, than at the other window.
    “I think that that old number one hundred had some kind of sappy happy ending, anyways.  Can you imagine?  I must be burning out already.”
    Her ecstacy radiates across the room.  When he next turns around, she has gone.  He goes back to the desk, opens the notebook with one hand, and begins to cross out each word, one at a time, of story one hundred.
LinkLeave a comment

Figure I better start with the posts. [Apr. 4th, 2008|05:31 pm]
Saying I'm not comfortable with this format is like saying Mel Gibson's portrayal of Jesus Christ was commercially successful.  BA-ZING!!

Gonna try to post some stuff I wrote:


FADE IN:
INT. ROOM WITH A GREEN SCREEN
We are watching HILLARY TENAFLY, a sleek newscaster dressed in ostensibly modern attire.  He/She stands casually in front of a green screen that changes background when the cameras change angle, or when tHere is any cut at all.  Each background should look like Tenafly is actually in the setting, without ever really changing pose.
The first background could be fog over a cliff, or a modern art museum.
TENAFLY
Charles Barkley has returned to basketball after a ten year retirement, scoring an average of twenty-six points a game for the New York Knicks. 
The next background could be a train passing in a train yard or a Western shootout.
TENAFLY (CONT’D)

In otHer news, a ten year old boy has recently taught himself to fly.  Later, an interview with Saint Bernard, the man who claimed his own sainthood as a teenager and was eventually canonized by the Catholic Church.
The new vista could be the inside of a library, a fashion shoot, etc.
TENAFLY (CONT’D)
Now, we go to our own FatHer Cleary for anotHer Rebel Review, in studio.
CUT TO:
INT.  AN INTIMATE TELEVISION-AUDIENCE STUDIO
The camera should be in somewhat tight on FATHER CLEARY, the middle aged priest in traditional Middle-Ages monk’s clothes.
FATHER CLEARY
Thank you, Tenafly, and welcome ladies and gentlemen to this week’s edition of Rebel Review!
Though said in a calm tone and manner, FatHer Cleary’s words reverberate with digital amplification as the camera pulls back to show a small cheering audience below a podium on which sits the FatHer and his guest.
His guest is a large man dressed entirely in ripped black leatHer with long black hair, but before we can see more, we are back in tight on FatHer Cleary.
FATHER CLEARY (CONT’D)
Today, our guest is Sharif Jones.  Born in upstate New York, young Henry Jones changed his name when he was twelve to Sharif.  It is a name from a land of his own invention, is that not correct Mr. Jones?
The camera now holds in tight on SHARIF JONES, a hulking man with tattoos on most of the skin we can see.  He seems restless and almost unaware of the presence of his interviewer and totally unaware of the audience or the television cameras.  He toys with an unlit cigarette, mostly looking at it even as he answers questions.  He refuses to meet the FatHer’s ever more insistent stare.
SHARIF JONES
In the land of Korax, Sharif means Sucker.
FatHer Cleary turns to the camera in the first medium shot that includes both of them.
FATHER CLEARY
Mr. Jones has given a different explanation of his name every time he has been asked.  OtHer responses besides “chaos” are -
(he reads from a paper in his lap)
- “king”, “freedom”, “swiss cheese”, “blue”, “green”, “yellow”, “sunlight”, “moonshadow”, and “sHeriff”.
Sharif Jones barely pays attention to this list.  FatHer Cleary turns back to address him.
FATHER CLEARY (CONT’D)
In the past, Mr. Jones, you have been a frontman of premier bands in the genres of speed metal, zydeco, and anthemic punk.  You have been arrested six times for inciting riots and treason, and have been involved in at least two rebel art movements: the Charter Frames and the Boutineers, to name those we know of.  Most recently, you have acted as spokesman for the militant guerilla movement Clothurius Rex whose actions against members of every political party in America have garnered few allies except among certain Central and South American rebel militias.  Most of the world’s governments recognize you as a terrorist.
Sharif Jones shrugs without looking up.
SHARIF JONES
Some people were born to raise up.  My mom told me so.
FATHER CLEARY
“Raise up”, you say, and yet tHere have been few characters in history with your reputation for rebellion and anarchy.  Sharif - may I call you Sharif?
FatHer Cleary leans in intensely.  Sharif Jones shrugs.
FATHER CLEARY (CONT’D)
Sharif, Clothurius Rex has leaked to us through anotHer source that you are no longer affiliated with them, that you have discovered a cause more violent and disruptive than any they could come up with.  Do you have a comment, any warning for an ignorant, quaking America?
It seems to take Sharif Jones a moment to understand the question. 
It takes him anotHer moment to realize an answer is expected.  FatHer Cleary and the whole audience are silent, leaning forward with baited breath.
INT.  SAME STUDIO - NOT A MOMENT LATER
FATHER CLEARY
What are your plans for the near future?
He lowers his voice to a digitally amplified whisper.
FATHER CLEARY (CONT’D)
I do need not need to point out our own armed security forces alert if you mean us any harm.
CUT TO:
INT. BALCONY ABOVE THE AUDIENCE
Three impassive men armed to the teeth with guns pointed at the stage.  One waves at the camera.
INT.  STAGE
Sharif directs his answer to the cameras, eyes rolling, as though embarrassed.
SHARIF JONES
I have no future, near or far.  Each day, each moment is followed by the next, and happens after the last.  I live in a series of tortured and interrupted consciousnesses, separated not by sleep, but by changes in Her mood.
He looks at the cigarette and pulls out a match.  He looks as though he may light them, but ends up just playing with both.
SHARIF JONES (CONT’D)
I don’t sleep.
CUT
COMMERCIAL BREAK!
INT. SAME STUDIO
SHARIF JONES
When She sleeps, I sit in an old wicker chair.  Her studio is messy, and I make no effort to clean it.  It belongs to Her.
FATHER CLEARY
(Nodding)
Displacement of responsibility.
SHARIF JONES
I sit and watch Her sleep, mostly.  Sometimes, I try to read or watch a movie.  I can never pay attention for long, though.  When I’m especially low, I try and write songs for the bands I once led.  They usually end up insipid and full of self-loathing, and I throw them away.
FATHER CLEARY
An ego of insecurity.
SHARIF JONES
My pleasure in life comes mostly when She wakes up.  Then, She wants to hold, and be held.  Soon enough, She wants sex, or is willing to succumb to my almost constant desire.
FATHER CLEARY
(Eagerly)
A guilty release.
SHARIF JONES
The sex always carries us both to indescribable ecstacies, but the... afterwards, it never lasts long enough to completely satisfy me.  Too soon, She is tearing the apartment apart, buzzing about Her countless appointments and power moves in the day to come.
FATHER CLEARY
Displacement of the traditional male.
SHARIF JONES
I stay witty in the face of Her excitement.  By remaining cool, detached, and naked, I hope to disassociate myself with the stream of faces She will encounter outside of Her studio.  I wonder if my weakness is as transparent as it feels.
FATHER CLEARY
Like glass in front of a fire.
SHARIF JONES
Then She leaves.  WhetHer She goes to work or to play, I can never interest myself in the particulars.
FATHER CLEARY
Is tHere ever a difference to these bitches?
SHARIF JONES
But I am never jealous.  How can I be jealous?  I am a worm.
FATHER CLEARY
The earth is a home to many, but not all, of God’s creatures.
SHARIF JONES
Those nights or mornings She returns with rumpled shirts, glazed eyes, and bruised skin, I make myself as inconspicuous as possible.  If She needs, I help Her to bed.  I heat up water for Her vitamin tea.  I undress Her gently, wrap Her in Her comforter.
FATHER CLEARY
Like a ghost.
SHARIF JONES
On nights of raw nose or pierced arm, when She tosses and turns and cries out in Her sleep, I hold Her in Her sleep.  These days, She has begun to insist I get a job.
FATHER CLEARY
A childhood gone remiss.  Escape through a dark reality.
SHARIF JONES
She says She is tired of being the only one in the relationship with a job, with any life at all outside their apartment.
FATHER CLEARY
The shriek of the banshee.
SHARIF JONES
At first, I thought this meant She was tired of me.  Once I conquered that fear, I became truly horrified that She wanted us to become more domestic, more traditional.
FATHER CLEARY
The bourgoise!
SHARIF JONES
The thought of having a family with Her, of bringing home a paycheck to Her housecleaning made me... made me want to vomit!  I felt violated.
FATHER CLEARY
A woman’s place is in the house.  A man’s, in Her bed.
SHARIF JONES
I have too much respect for my own parents to pretend that I think that She and I would be anything but terrible at raising children.  No, if She makes a move to leave the squalor of our relationship, I will leave Her.
The priest leans forward eagerly.
FATHER CLEARY
Would you like that?  To be free of Her?
Sharif Jones for the first time looks into the priest’s face.  His face adopts a look of such terror that it even dissolves the smirk off of the priest’s face.
SHARIF JONES
(Whispers)
No!
HOLD CLOSE UP ON SHARIF JONES’ FACE FOR MINUTES
FADE OUT.


Jeez that looks like poop.  Gonna have to do work.
Link4 comments|Leave a comment

navigation
[ viewing | most recent entries ]

Advertisement