ok! write down yr sensibility. I'm in yr hospice prediktin yr deaths.
react to things. make this blog public. link it to others.
ask for suggestns, what to do with myself. how.
uncompromising. original. sensibility. gift. spirit. sad sad sad. all the gifts and all the needs. -bespalloff. ich buch. I love you I love you I love you. No. these are what I am thinking: I'm sorry. I'm so sorry. I saw you. We'll go. Goodnight.
why would I write it out? bcs that's an activity. not compelling is it? no it's not compelling. how do I feel toward voice? N Ginzburg. Adam Phillips. interior voice. I want someone around. but in a book, am I grateful to find it? I don't know. I put forth "I like this" it was good to have something to like. bcs you have to have sth to like. (have to have a moral code, I'm against the burning of witches). all my associations, all of what it means to me.
more compelling: stillness. a tension in chest, around heart. a physical tension. attend to it. let it happen. as if something on the other side of it, after it happens?
isn't this a condition someone has seen in others? what do you do for it? what is to do?
what I say No to: the interview where I say that I am doing well now, best I have ever been. I don't believe it. at least, it will not come for me. (I do not think they will sing for me.)
Sunday, October 28, 2007
The Genius of Robert Walser - The New York Review of Books - article by JM Coetzee
The dead man was easily identified: Robert Walser, aged seventy-eight, missing from a local mental hospital. In his earlier years Walser had won something of a reputation, in Switzerland and even in Germany, as a writer.
All his prose pieces, he suggested in retrospect, might be read as chapters in "a long, plotless, realistic story," a "cut up or disjoined book of the self [Ich-Buch]."
______________________________________
NYRB. (1878-1956) . In 1933 /so, age 55/ he entered an insane asylum—he remained there for the rest of his life—and quit writing. "I am not here to write," he said, "but to be mad." oh.
inquisitive irreverent account of life in most uncanny of schools.
the work of an outsider artist, a writer of uncompromising originality & disconcerting humor, whose sentences beautiful simple strange.
a heartbreaking writer — Susan Sontag. ...Beckett + Stevie Smith not waving but drowning.
elusive and surprising sensibility
droll, whimsical, tender, heartbreaking verbal artifacts.
TheNation: has rarest of gifts really?* c'mon. that's not the rarest ability ability to get the spirit onto the page at flick of th pen.
*say 'Really?' in the exasperated rhetorical way of Always Sunny. like: Really, you are going to rat me out? Really, you are going to wear all spandex to this?
The dead man was easily identified: Robert Walser, aged seventy-eight, missing from a local mental hospital. In his earlier years Walser had won something of a reputation, in Switzerland and even in Germany, as a writer.
All his prose pieces, he suggested in retrospect, might be read as chapters in "a long, plotless, realistic story," a "cut up or disjoined book of the self [Ich-Buch]."
______________________________________
NYRB. (1878-1956) . In 1933 /so, age 55/ he entered an insane asylum—he remained there for the rest of his life—and quit writing. "I am not here to write," he said, "but to be mad." oh.
inquisitive irreverent account of life in most uncanny of schools.
the work of an outsider artist, a writer of uncompromising originality & disconcerting humor, whose sentences beautiful simple strange.
a heartbreaking writer — Susan Sontag. ...Beckett + Stevie Smith not waving but drowning.
elusive and surprising sensibility
droll, whimsical, tender, heartbreaking verbal artifacts.
TheNation: has rarest of gifts really?* c'mon. that's not the rarest ability ability to get the spirit onto the page at flick of th pen.
*say 'Really?' in the exasperated rhetorical way of Always Sunny. like: Really, you are going to rat me out? Really, you are going to wear all spandex to this?
Spanish writer Enrique Vila-Matas wrote the award-winning novel entitled "Bartleby & Co." that creates a catalogue of the many "bartlebys" in literature: writers who gave up writing, the "Literature of No", writers who sought denial. -wkp.
Bartleby & Co. - Enrique Vila-Matas:
from rvws: the narrator’s overwhelming isolation. abandonment and renunciation are the themes. first you abandon someone and then someone abandons you. meditation on presence and absence, on the why of writing yes why? and the metaphysics of refusal.
it does retell the old, old story with considerable elegance.
Complete Review's review: Bartleby & Co. is narrated by a humpbacked man, stuck in a bad job, with practically no friends or family. A quarter of a century earlier he wrote a novel (on the impossibility of love), but since then has been silenced, becoming a Bartleby-figure (as in Melville's novella). Now he sets out to become a 'tracker of Bartlebys', and begins this text: a diary in the form of footnotes to an invisible text, commentary and explication of what isn't there. The absent text doesn't figure strongly enough, making the footnotes appear little more than chapters, rather than actually adding to or responding to something (even -- or especially -- something that isn't there). Still, Vila-Matas offers a good survey of authors who abandon writing or are unable to continue, as well as some that take other approaches (such as the voluminous illegible scribblings of Robert Walser mmmm look into that).
Bartleby & Co. - Enrique Vila-Matas:
from rvws: the narrator’s overwhelming isolation. abandonment and renunciation are the themes. first you abandon someone and then someone abandons you. meditation on presence and absence, on the why of writing yes why? and the metaphysics of refusal.
it does retell the old, old story with considerable elegance.
Complete Review's review: Bartleby & Co. is narrated by a humpbacked man, stuck in a bad job, with practically no friends or family. A quarter of a century earlier he wrote a novel (on the impossibility of love), but since then has been silenced, becoming a Bartleby-figure (as in Melville's novella). Now he sets out to become a 'tracker of Bartlebys', and begins this text: a diary in the form of footnotes to an invisible text, commentary and explication of what isn't there. The absent text doesn't figure strongly enough, making the footnotes appear little more than chapters, rather than actually adding to or responding to something (even -- or especially -- something that isn't there). Still, Vila-Matas offers a good survey of authors who abandon writing or are unable to continue, as well as some that take other approaches (such as the voluminous illegible scribblings of Robert Walser mmmm look into that).
BARTLEBY.IS.sad - Ggl
only 2 hits and 1 is not re the story('Our other dog, Bartleby, is sad and confused, I think. Poor guy.')
Bartleby (1970/I) - IMDb user comments McEnery's Bartleby is sad throughout and there's no explanation offered. Though it doesn't quite capture the essence of Melville, it's worth watching for ...
only 2 hits and 1 is not re the story('Our other dog, Bartleby, is sad and confused, I think. Poor guy.')
Bartleby (1970/I) - IMDb user comments McEnery's Bartleby is sad throughout and there's no explanation offered. Though it doesn't quite capture the essence of Melville, it's worth watching for ...
Bartleby the Socratic - Critical Essay Studies in Short Fiction - Find Articles:
Studies in Short Fiction, Summer, 1997 by Andre Furlani
to assert an affinity between the withdrawn scrivener and the gregarious philosopher seems only more preposterous than previous efforts
to trace Bartleby's ancestry to Melville's literary contemporaries, to his friends, to Jesus Christ, to Buddha, to various psychiatric patients.
the laconic scrivener, who scarcely qualifies as a human being oh , has undergone sufficient comparisons with celebrated authors, the founders of world religions, and psychotics. Now Socrates.
Ah, Bartleby! Ah, scholarship!
Seldom is the attorney's observation in the story's first paragraph heeded: "I believe that no materials exist, for a full and satisfactory biography of this man.... Bartleby was one of those beings of whom nothing is ascertainable except from the original sources, and, in his case, those are very small."
Reduced to a diagnosable pathology or to a helpless victim of a misunderstanding social order, Bartleby is merely pathetic and rather a cliche. Such readings disregard Bartleby's peculiar strength, his baffling ability to trouble and foil a conventionally successful Wall Street attorney.
The only real character here is the attorney himself. Bartleby is an affect rather than a personality--he is a force, almost talismanic, exerting an influence on a character. The question is, what kind of force, and how is it exerted? I wish to argue that he is a Socratic force.
{...p11... the story, and not strictly Bartleby himself, as implicating the reader in the narrator's failed test. That rhetoric is elenctic--of drawing out beliefs, inspecting and exposing their faults.}
By 1850 Melville had begun to acquire the six-volume Bohn edition of Plato's works, and the use he made of it is everywhere apparent in Melville's works...In a letter to Hawthorne, Melville compares his friend to Alcibiades and himself to Socrates in an allusion to the Symposium: "Once you hugged the ugly Socrates because you saw the flame in the mouth, and heard the rushing of the demon--the familiar,--and recognized the sound" (Letters 142).
goodness (Ah, scholarship!) 18 pages. in full avail to read here.
bibliogr on p16-17
notes on p12 -15
-
(1) The story's earliest critics claimed that Bartleby was a sketch from life--various lawyers, copyists, and at least one victim of agoraphobia were seen to fit the description. Attention eventually turned to Melville's literary peers: Washington Irving, Edgar Allen Poe and Emerson all appeared suitably deranged and quixotic to critics to arouse suspicion of having inspired Bartleby's creation. ...For Oliver, Bartleby "is a reductio ad absurdum of the convictions Thoreau expressed," pointing to the moral that "try as you will, you cannot cut yourself off from society, and to persist in such a direction can only destroy the individual" (434, 439). Where Oliver detects literary parody Mumford sees literary magnification. His Bartleby is the heroic embodiment of Melville's refusal to pander to popular taste: "People would admit him to their circle and give him bread and employment only if he wouldabandon his inner purpose; to this his answer was--I would prefer not to" (234).
This divergence of readings becomes only more extreme. Howard Bruce Franklin suggests that Bartleby's behavior may have been based on that of Hindu Saniassi ascetics; Saburo Yamaya associates it with Buddhist quietism. Several critics have declared Bartleby, a friendless near-mute who propounds no doctrine, to be the representative of Christ on earth.
Jungians have been less approving: Clifford Hallam argues that Bartleby is a projection of the attorney's inability to achieve psychic integration. Several critics, taking the parts of clinical psychologists, have diagnosed Bartleby like a patient in a test case, and disclosed a wealth of pathologies. Marvin Fischer identifies Bartleby as a catatonic schizophrenic who serves thematically to represent a larger social ill.
Critics sensitive to ideological issues, noting the story's subtitle "A Story of Wall Street," see in Bartleby an effort to undermine laissezfaire capitalism and flout wage-slave economic relations. Charles Weeks argues that Bartleby is a representative of an alienated proletariat who, while struggling to assert a radical independence from despotic capitalist practices, fails ultimately to transcend his condition.
Existential critics have also made of Bartleby a confederate. Herbert F. Smith identifies Bartleby as an existential anti-hero whose rebellious negation involves, especially in his use of the word prefer, the expression of one of those private choices that this critical movement champions.
(11) ... "Bartleby's role as psychological double," claims Mordecai Marcus, "is to criticize the sterility, impersonality, and mechanical adjustments of the world which the lawyer inhabits" (365).
(12) Hershel Parker suggests that "with the stubborn Bartleby no longer disturbing his carefully nurtured states of mind, he can indulge safely in such sentimentality" (164).
(13) Richard Chase: "The last words of the story are, `On errands of life, these letters speed to death'. For Melville, literature was life; ideally "Bartleby" should have been able to convey its message of love and vitality hhrmmm. ??. bcs lit is life? to the readers who awaited it. But there were no such readers--at least none such as might rescue Melville's fiction from the death he accurately predicted for it" (82).
(15) Marx thus aligns himself with the attorney, who, struggling to assuage a guilty conscience when he visits Bartleby at the Tombs, has the audacity to itemize to the inmate the advantages of his confinement. Not surprisingly, Bartleby will have none of this and delivers a terse but demolishing line: "`I know where I am,' he replied, `but would say nothing more" (613). Marx, however, is more gullible hrrm, and ascribes a whole redemptive Weltanschauung to a patch of prison sod.
(10) John Seelye notes that "the most he can give is pity, and that is not enough for the scrivener, who continues to put his employer's neat compartmentalizations to the test, confronting his convenient relativism with an absolute demand" (97).
Studies in Short Fiction, Summer, 1997 by Andre Furlani
to assert an affinity between the withdrawn scrivener and the gregarious philosopher seems only more preposterous than previous efforts
to trace Bartleby's ancestry to Melville's literary contemporaries, to his friends, to Jesus Christ, to Buddha, to various psychiatric patients.
the laconic scrivener, who scarcely qualifies as a human being oh , has undergone sufficient comparisons with celebrated authors, the founders of world religions, and psychotics. Now Socrates.
Ah, Bartleby! Ah, scholarship!
Seldom is the attorney's observation in the story's first paragraph heeded: "I believe that no materials exist, for a full and satisfactory biography of this man.... Bartleby was one of those beings of whom nothing is ascertainable except from the original sources, and, in his case, those are very small."
Reduced to a diagnosable pathology or to a helpless victim of a misunderstanding social order, Bartleby is merely pathetic and rather a cliche. Such readings disregard Bartleby's peculiar strength, his baffling ability to trouble and foil a conventionally successful Wall Street attorney.
The only real character here is the attorney himself. Bartleby is an affect rather than a personality--he is a force, almost talismanic, exerting an influence on a character. The question is, what kind of force, and how is it exerted? I wish to argue that he is a Socratic force.
{...p11... the story, and not strictly Bartleby himself, as implicating the reader in the narrator's failed test. That rhetoric is elenctic--of drawing out beliefs, inspecting and exposing their faults.}
By 1850 Melville had begun to acquire the six-volume Bohn edition of Plato's works, and the use he made of it is everywhere apparent in Melville's works...In a letter to Hawthorne, Melville compares his friend to Alcibiades and himself to Socrates in an allusion to the Symposium: "Once you hugged the ugly Socrates because you saw the flame in the mouth, and heard the rushing of the demon--the familiar,--and recognized the sound" (Letters 142).
goodness (Ah, scholarship!) 18 pages. in full avail to read here.
bibliogr on p16-17
notes on p12 -15
-
(1) The story's earliest critics claimed that Bartleby was a sketch from life--various lawyers, copyists, and at least one victim of agoraphobia were seen to fit the description. Attention eventually turned to Melville's literary peers: Washington Irving, Edgar Allen Poe and Emerson all appeared suitably deranged and quixotic to critics to arouse suspicion of having inspired Bartleby's creation. ...For Oliver, Bartleby "is a reductio ad absurdum of the convictions Thoreau expressed," pointing to the moral that "try as you will, you cannot cut yourself off from society, and to persist in such a direction can only destroy the individual" (434, 439). Where Oliver detects literary parody Mumford sees literary magnification. His Bartleby is the heroic embodiment of Melville's refusal to pander to popular taste: "People would admit him to their circle and give him bread and employment only if he would
This divergence of readings becomes only more extreme. Howard Bruce Franklin suggests that Bartleby's behavior may have been based on that of Hindu Saniassi ascetics; Saburo Yamaya associates it with Buddhist quietism. Several critics have declared Bartleby, a friendless near-mute who propounds no doctrine, to be the representative of Christ on earth.
Jungians have been less approving: Clifford Hallam argues that Bartleby is a projection of the attorney's inability to achieve psychic integration. Several critics, taking the parts of clinical psychologists, have diagnosed Bartleby like a patient in a test case, and disclosed a wealth of pathologies. Marvin Fischer identifies Bartleby as a catatonic schizophrenic who serves thematically to represent a larger social ill.
Critics sensitive to ideological issues, noting the story's subtitle "A Story of Wall Street," see in Bartleby an effort to undermine laissezfaire capitalism and flout wage-slave economic relations. Charles Weeks argues that Bartleby is a representative of an alienated proletariat who, while struggling to assert a radical independence from despotic capitalist practices, fails ultimately to transcend his condition.
Existential critics have also made of Bartleby a confederate. Herbert F. Smith identifies Bartleby as an existential anti-hero whose rebellious negation involves, especially in his use of the word prefer, the expression of one of those private choices that this critical movement champions.
(11) ... "Bartleby's role as psychological double," claims Mordecai Marcus, "is to criticize the sterility, impersonality, and mechanical adjustments of the world which the lawyer inhabits" (365).
(12) Hershel Parker suggests that "with the stubborn Bartleby no longer disturbing his carefully nurtured states of mind, he can indulge safely in such sentimentality" (164).
(13) Richard Chase: "The last words of the story are, `On errands of life, these letters speed to death'. For Melville, literature was life; ideally "Bartleby" should have been able to convey its message of love and vitality hhrmmm. ??. bcs lit is life? to the readers who awaited it. But there were no such readers--at least none such as might rescue Melville's fiction from the death he accurately predicted for it" (82).
(15) Marx thus aligns himself with the attorney, who, struggling to assuage a guilty conscience when he visits Bartleby at the Tombs, has the audacity to itemize to the inmate the advantages of his confinement. Not surprisingly, Bartleby will have none of this and delivers a terse but demolishing line: "`I know where I am,' he replied, `but would say nothing more" (613). Marx, however, is more gullible hrrm, and ascribes a whole redemptive Weltanschauung to a patch of prison sod.
Sometimes from out of the folded paper the pale clerk takes a ring:--the
finger it was meant for, perhaps, moulders in the grave; a bank-note sent
in swiftest charity:--he whom it would relieve, nor eats nor hungers any
more; pardon for those who died despairing; hope for those who died
unhoping; good tidings for those who died stifled by unrelieved calamities.
On errands of life, these letters speed to death. (615)
(10) John Seelye notes that "the most he can give is pity, and that is not enough for the scrivener, who continues to put his employer's neat compartmentalizations to the test, confronting his convenient relativism with an absolute demand" (97).
PEP Web - American Imago. XXXI, 1974: Melville's Lost Self: Bartleby. -Christopher Bollas. Pp. 401-411. (1976). Psychoanalytic Quarterly, 45:492-493
Herman Melville's Bartleby is a tale about a pallid, forlorn young man who is hired as a scrivener by the elderly, blithely cheerful employer-narrator. Bartleby disrupts the routine of the office when he 'prefers not to' engage in certain assigned tasks and upsets his employer greatly. Eventually, Bartleby dies a pathetic death in prison. Bollas sees the employer-narrator and Bartleby as two aspects of one psyche. Bartleby is the repudiated true self behind the cheerful façade of the executant self represented by the employer-narrator.
In the course of the story, Bartleby assaults the narrator's defenses, forces the narrator to feel the needs and pain of the true self, 'and to acknowledge its absence as a horrid personal loss'.
the Scrivener Bartleby Criticism | Christopher Bollas (essay Date 1974): "I believe that Bartleby's arrival at the office and his subsequent breakdown into negativity is a mimetic representation of a need to find a nurturant space..."
The above is a free excerpt. Get total access to this content with the: eNotes Pass
Herman Melville's Bartleby is a tale about a pallid, forlorn young man who is hired as a scrivener by the elderly, blithely cheerful employer-narrator. Bartleby disrupts the routine of the office when he 'prefers not to' engage in certain assigned tasks and upsets his employer greatly. Eventually, Bartleby dies a pathetic death in prison. Bollas sees the employer-narrator and Bartleby as two aspects of one psyche. Bartleby is the repudiated true self behind the cheerful façade of the executant self represented by the employer-narrator.
In the course of the story, Bartleby assaults the narrator's defenses, forces the narrator to feel the needs and pain of the true self, 'and to acknowledge its absence as a horrid personal loss'.
the Scrivener Bartleby Criticism | Christopher Bollas (essay Date 1974): "I believe that Bartleby's arrival at the office and his subsequent breakdown into negativity is a mimetic representation of a need to find a nurturant space..."
The above is a free excerpt. Get total access to this content with the: eNotes Pass
Saturday, October 27, 2007
Imperial Beach Eagle & Times: Local News
Exploring Life On The Border With David Milch
by Nina McDonald -Thursday, December 14, 2006
Producer David Milch relaxes between takes on the set of “John from Cincinnati,” HBO’s new series that is currently filming in Imperial Beach.
David Milch sees as the real theme of his show the boundaries between relationships, power and control [I don't know what this means], the normal and the not-so-normal. According to Milch, the reason Imperial Beach is the perfect setting for “John from Cincinnati,” is “because it's on the border.” intricate set of considerations. a producer, writer and director who is known for his explorations of the complexities of human nature.
The official press release for the show says it's a surf-noir story of a dysfunctional family of surfers who happen to live in Imperial Beach. Murder, mystery and levitating characters are all part of the intrigue. However, the story in Milch's head really has little to do with Imperial Beach, surfing or families per se. The town simply serves as the metaphor with which to explore the story's true focus.
While Milch is reluctant to divulge details, (“My job is to keep some element of mystification so the public has a fair shot at the material.”) he is happy to dive into the philosophical subtext of the series. He launches into what one soon realizes is a typically “Milchian” stream of consciousness.
“It's really about the cultural malaise which prevails in our country whereby every experience is turned into an article of commerce. We live by a set of illusions or self-deceptions which we feel are necessary in order to encounter the culture. I find something beautiful about our capacity for denial and self deception,” he says. I read that and excitedly think he means what I am thinking of myself as lacking - imagination, fantasy, illusion that one participates in and thereby keeps active. but maybe he means something totally else? what? so I have to watch the show, see what it is about, that is what he means...
“It's important that [the show] be on the border, the border of land and sea, the border of two countries US/Mexico, the border of the natural and supernatural. I want to explore the question of how you treat departures from the norm. For instance the idea of what is natural and supernatural; where are the boundaries? Where is the integration? The supernatural penetrating, permeating into the natural. If a guy levitates we say he must have a brain tumor. It's much more interesting to ask where has the supernatural [entered in]? We establish these boundaries in our lives. We force experiences into a box. The border will come to mean something over the course of time [in the series],” adds Milch.
Surfing is another essential metaphoric device according to Milch. “It's not about surfing. It's about a family who happens to surf. Surfing, the infinite boredom of surfing that is the challenge of surfing. huh.
Why do they do it? good, always the question for me.
When you become an adolescent that is the first time you feel your power, like you can shape your environment. right. you stay up late, full of it.
When a surfer first gets up on a wave they have the same feeling. That same experience each time: what do you do with that feeling? There is a confounded repetitiveness [they have to deal with]. Surfers have something in common with our culture which has a tremendous engine of power and doesn't know what to do with it.”
One of the borders that Milch explores in his work investigates that fine line between genius and insanity. I don't think it's a line. Milch's personal history suggests an ongoing dance between his extraordinary brain power and the wilder side of life. Google his name and after reading through just a few sites, a larger than life personality emerges. Milch's brilliance, impressive accomplishments, inspired commentary on a countless variety of topics. Bloggers and reviewers of his work are inspired by Milch's churning intellect, paying homage to his talents with phrases of almost baroque verbosity.
A first encounter with Milch.. He is at once affable and intimidating.
Kind - but doesn't suffer fools.
Self-deprecating, yet (perhaps justifiably) full of himself.
Ask him a question he believes is inane and sarcasm instantly surfaces.
He wonders at the mysteries of the world and the lives of the people he encounters, yet dissects the universe into complex theories of spiritual and mental possibilities.
He's a generous boss, good to work for and takes care of his people unlike many other Hollywood heavyweights, says one of the show's managers.
A phi beta kappa and summa cum laude graduate of Yale, Milch's conversation is filled with metaphysical concepts, erudite comments, literary references.
(“T.S. Eliot wrote that we can only stand so much truth. Most of us wouldn't know the truth if it stood up and bit us in the face and there's nothing bad about that.”)
One feels that there are hundreds of layers of unspoken observations that form a seamless universe in his brain. seamless, what would it be if it had seams? not cohesive, not perfectly interwoven, not comprehensive. The world according to Milch. He is known to do intensive research on his shows' subjects and has been described as having such identification with the characters he creates that he “channels” them as he writes the script.
Consistently successful since his first venture into television writing, Milch has a string of hits. In 1982 Milch's first script ever, for the popular television show “Hill Street Blues,” won an Emmy, the Writers Guild Award, and the highly respected Humanitas Prize. He went on to produce, write and direct the Emmy-award winning series “NYPD Blue” and “Deadwood.”
ominous feel to his work, a dark under of instability. juxtaposition of good and evil and exploring the tensions. “In Deadwood one of the characters that is shown in the first few minutes has his foot on a woman's neck, holding her down. It puts him beyond the pale as a sympathetic character. But he ends up being one of the most [well-loved] characters in the show. People are complicated,” he says.
That life-on-the-edge quality and unpredictability keeps his audience coming back for more.
But even if Milch wants to include a “Twilight-Zone” factor in the “John from Cincinnati” plot line, he is still very connected to the here and now. Milch has gone out of his way to get to know locals and include them in the filming experience as much as possible.
He has a reputation for picking out ordinary citizens and using them as talent in his shows. Several Imperial Beach residents are already working as extras and stand-ins for the series. He has charmed several local business owners and IB seems to have captivated him as well. “IB is great. An old-timey southern California beach town. We have had a relentlessly positive experience since we've been here,” he says. “It is a privilege for me; all the lives I have met.”
Milch has set up a mobile camp in IB until next May. Cast and crew will be shuttling back and forth from Los Angeles, filming exterior and surf shots for a week or two each month. The impact on the community will be nominal and positive if Milch has anything to say about it. Staff has been directed to keep citizenry up to speed through notices in the Eagle & Times on filming dates and locations so residents will be minimally inconvenienced. He also wants to give back to the community. He has already approached city officials with a proposal to offer internships to interested high school students.
The series is set to air this summer. Until then, cryptic press releases will continue to drop hints about this latest foray into the imagination of David Milch. The television-viewing public probably won't understand what this latest Milchian endeavor is all about, until it actually enters the dysfunctional, supernatural surfing world of “John from Cincinnati.”
Exploring Life On The Border With David Milch
by Nina McDonald -Thursday, December 14, 2006
Producer David Milch relaxes between takes on the set of “John from Cincinnati,” HBO’s new series that is currently filming in Imperial Beach.
David Milch sees as the real theme of his show the boundaries between relationships, power and control [I don't know what this means], the normal and the not-so-normal. According to Milch, the reason Imperial Beach is the perfect setting for “John from Cincinnati,” is “because it's on the border.” intricate set of considerations. a producer, writer and director who is known for his explorations of the complexities of human nature.
The official press release for the show says it's a surf-noir story of a dysfunctional family of surfers who happen to live in Imperial Beach. Murder, mystery and levitating characters are all part of the intrigue. However, the story in Milch's head really has little to do with Imperial Beach, surfing or families per se. The town simply serves as the metaphor with which to explore the story's true focus.
While Milch is reluctant to divulge details, (“My job is to keep some element of mystification so the public has a fair shot at the material.”) he is happy to dive into the philosophical subtext of the series. He launches into what one soon realizes is a typically “Milchian” stream of consciousness.
“It's really about the cultural malaise which prevails in our country whereby every experience is turned into an article of commerce. We live by a set of illusions or self-deceptions which we feel are necessary in order to encounter the culture. I find something beautiful about our capacity for denial and self deception,” he says. I read that and excitedly think he means what I am thinking of myself as lacking - imagination, fantasy, illusion that one participates in and thereby keeps active. but maybe he means something totally else? what? so I have to watch the show, see what it is about, that is what he means...
“It's important that [the show] be on the border, the border of land and sea, the border of two countries US/Mexico, the border of the natural and supernatural. I want to explore the question of how you treat departures from the norm. For instance the idea of what is natural and supernatural; where are the boundaries? Where is the integration? The supernatural penetrating, permeating into the natural. If a guy levitates we say he must have a brain tumor. It's much more interesting to ask where has the supernatural [entered in]? We establish these boundaries in our lives. We force experiences into a box. The border will come to mean something over the course of time [in the series],” adds Milch.
Surfing is another essential metaphoric device according to Milch. “It's not about surfing. It's about a family who happens to surf. Surfing, the infinite boredom of surfing that is the challenge of surfing. huh.
Why do they do it? good, always the question for me.
When you become an adolescent that is the first time you feel your power, like you can shape your environment. right. you stay up late, full of it.
When a surfer first gets up on a wave they have the same feeling. That same experience each time: what do you do with that feeling? There is a confounded repetitiveness [they have to deal with]. Surfers have something in common with our culture which has a tremendous engine of power and doesn't know what to do with it.”
One of the borders that Milch explores in his work investigates that fine line between genius and insanity. I don't think it's a line. Milch's personal history suggests an ongoing dance between his extraordinary brain power and the wilder side of life. Google his name and after reading through just a few sites, a larger than life personality emerges. Milch's brilliance, impressive accomplishments, inspired commentary on a countless variety of topics. Bloggers and reviewers of his work are inspired by Milch's churning intellect, paying homage to his talents with phrases of almost baroque verbosity.
A first encounter with Milch.. He is at once affable and intimidating.
Kind - but doesn't suffer fools.
Self-deprecating, yet (perhaps justifiably) full of himself.
Ask him a question he believes is inane and sarcasm instantly surfaces.
He wonders at the mysteries of the world and the lives of the people he encounters, yet dissects the universe into complex theories of spiritual and mental possibilities.
He's a generous boss, good to work for and takes care of his people unlike many other Hollywood heavyweights, says one of the show's managers.
A phi beta kappa and summa cum laude graduate of Yale, Milch's conversation is filled with metaphysical concepts, erudite comments, literary references.
(“T.S. Eliot wrote that we can only stand so much truth. Most of us wouldn't know the truth if it stood up and bit us in the face and there's nothing bad about that.”)
One feels that there are hundreds of layers of unspoken observations that form a seamless universe in his brain. seamless, what would it be if it had seams? not cohesive, not perfectly interwoven, not comprehensive. The world according to Milch. He is known to do intensive research on his shows' subjects and has been described as having such identification with the characters he creates that he “channels” them as he writes the script.
Consistently successful since his first venture into television writing, Milch has a string of hits. In 1982 Milch's first script ever, for the popular television show “Hill Street Blues,” won an Emmy, the Writers Guild Award, and the highly respected Humanitas Prize. He went on to produce, write and direct the Emmy-award winning series “NYPD Blue” and “Deadwood.”
ominous feel to his work, a dark under of instability. juxtaposition of good and evil and exploring the tensions. “In Deadwood one of the characters that is shown in the first few minutes has his foot on a woman's neck, holding her down. It puts him beyond the pale as a sympathetic character. But he ends up being one of the most [well-loved] characters in the show. People are complicated,” he says.
That life-on-the-edge quality and unpredictability keeps his audience coming back for more.
But even if Milch wants to include a “Twilight-Zone” factor in the “John from Cincinnati” plot line, he is still very connected to the here and now. Milch has gone out of his way to get to know locals and include them in the filming experience as much as possible.
He has a reputation for picking out ordinary citizens and using them as talent in his shows. Several Imperial Beach residents are already working as extras and stand-ins for the series. He has charmed several local business owners and IB seems to have captivated him as well. “IB is great. An old-timey southern California beach town. We have had a relentlessly positive experience since we've been here,” he says. “It is a privilege for me; all the lives I have met.”
Milch has set up a mobile camp in IB until next May. Cast and crew will be shuttling back and forth from Los Angeles, filming exterior and surf shots for a week or two each month. The impact on the community will be nominal and positive if Milch has anything to say about it. Staff has been directed to keep citizenry up to speed through notices in the Eagle & Times on filming dates and locations so residents will be minimally inconvenienced. He also wants to give back to the community. He has already approached city officials with a proposal to offer internships to interested high school students.
The series is set to air this summer. Until then, cryptic press releases will continue to drop hints about this latest foray into the imagination of David Milch. The television-viewing public probably won't understand what this latest Milchian endeavor is all about, until it actually enters the dysfunctional, supernatural surfing world of “John from Cincinnati.”
I hate Microsoft Office
My dislike for Microsoft Office is getting bigger and bigger. I hate Powerpoint. I hate Word. I hate Excel. In this post I’ll show you some of the tools I like to use to remain sane.
WriteRoom + Markdown gives me all the formatting I need to create a nice looking, well typographed document for most purposes. One thing I’d like to see though, is an online version of WriteRoom – collaborative writing made silly simple.
The latest version of WriteRoom is simple, elegant, highly customizable and works for me. WriteRoom makes it easier to write.
This blog uses Markdown to convert text into valid xhtml strict. Markdown is plain text, with some conventions for describing headings, formatting, links and images. It’s very simple, and the original text document looks like a nicely formatted text document.
What? No OpenOffice?
OpenOffice is a Microsoft Office Clone. It uses the same metaphors, and has the same limitations as Microsofts hienous creation. Ok, OpenOffice is better: it’s free and open source and uses an open document format. But it is too complex and not very elegant.
My dislike for Microsoft Office is getting bigger and bigger. I hate Powerpoint. I hate Word. I hate Excel. In this post I’ll show you some of the tools I like to use to remain sane.
WriteRoom + Markdown gives me all the formatting I need to create a nice looking, well typographed document for most purposes. One thing I’d like to see though, is an online version of WriteRoom – collaborative writing made silly simple.
The latest version of WriteRoom is simple, elegant, highly customizable and works for me. WriteRoom makes it easier to write.
This blog uses Markdown to convert text into valid xhtml strict. Markdown is plain text, with some conventions for describing headings, formatting, links and images. It’s very simple, and the original text document looks like a nicely formatted text document.
What? No OpenOffice?
OpenOffice is a Microsoft Office Clone. It uses the same metaphors, and has the same limitations as Microsofts hienous creation. Ok, OpenOffice is better: it’s free and open source and uses an open document format. But it is too complex and not very elegant.
WrongRoom [diveintomark.org] 2001/01/21
I’ve been peripherally following the latest fad of full-screen “writing-focused” text editors. Here’s what I’ve learned so far: in the beginning, there was WriteRoom (Mac OS X, $24.95). WriteRoom is “just about you and your text.” WriteRoom begat DarkRoom (Windows + .NET, $0), which is also “just about you and your text” but requires a 22 MB runtime environment. hmm is that a lot? am I going to regret installing that? can I uninstall it easily?
DarkRoom begat JDarkRoom (Java, $0), which is just about you, your text, and somebody else’s multi-megabyte runtime environment. (Depending on your platform, it may be as small as 13 MB, which is what the kids these days would call “an improvement.”)
It’s like a Biblical lineage of silliness.
Here’s the basic problem: you’re writing a text editor. Stop doing that. It’s 2007. Saying to yourself “I’m gonna build my own text editor” is as silly as saying “I’m gonna build my own build system” or “I’m gonna build my own amusement park.” Blackjack and hookers and all that. Writing a great text editor is insanely difficult. There is a certain class of software that sounds easy but is actually insanely difficult. I call it “garden path software.” why? are garden paths hard to make? If I ever start a software company, I’ll name it “Garden Path Software,” but until then, just stop.
Reading the change logs of these programs is like traveling back in time. Way back. Latest changes in JDarkRoom 8: Undo / Redo. Seriously. Version 8, and they now support undo. No offense, but what the fuck?
I guess the part I don’t understand is the target audience. Who is so serious about writing that they need a full-screen editor, but so unserious that they don’t have a favorite editor already? I’ve published two full-length books and posted a hell of a lot more than that, and you can pry my text editor from my cold dead hands. I’m not even going to mention which one it is; it doesn’t matter. Switching to a new one would be a frustrating and painful experience that would get in the way of my writing for weeks, maybe months. right.
I’ll be in the corner writing my next book with a real text editor. I think it even has a full-screen mode.
I’ve been peripherally following the latest fad of full-screen “writing-focused” text editors. Here’s what I’ve learned so far: in the beginning, there was WriteRoom (Mac OS X, $24.95). WriteRoom is “just about you and your text.” WriteRoom begat DarkRoom (Windows + .NET, $0), which is also “just about you and your text” but requires a 22 MB runtime environment. hmm is that a lot? am I going to regret installing that? can I uninstall it easily?
DarkRoom begat JDarkRoom (Java, $0), which is just about you, your text, and somebody else’s multi-megabyte runtime environment. (Depending on your platform, it may be as small as 13 MB, which is what the kids these days would call “an improvement.”)
It’s like a Biblical lineage of silliness.
Here’s the basic problem: you’re writing a text editor. Stop doing that. It’s 2007. Saying to yourself “I’m gonna build my own text editor” is as silly as saying “I’m gonna build my own build system” or “I’m gonna build my own amusement park.” Blackjack and hookers and all that. Writing a great text editor is insanely difficult. There is a certain class of software that sounds easy but is actually insanely difficult. I call it “garden path software.” why? are garden paths hard to make? If I ever start a software company, I’ll name it “Garden Path Software,” but until then, just stop.
Reading the change logs of these programs is like traveling back in time. Way back. Latest changes in JDarkRoom 8: Undo / Redo. Seriously. Version 8, and they now support undo. No offense, but what the fuck?
I guess the part I don’t understand is the target audience. Who is so serious about writing that they need a full-screen editor, but so unserious that they don’t have a favorite editor already? I’ve published two full-length books and posted a hell of a lot more than that, and you can pry my text editor from my cold dead hands. I’m not even going to mention which one it is; it doesn’t matter. Switching to a new one would be a frustrating and painful experience that would get in the way of my writing for weeks, maybe months. right.
I’ll be in the corner writing my next book with a real text editor. I think it even has a full-screen mode.
Dark Room Lives 17 Sept 07 « they.misled.us:
-I agree, this is a great program. I can’t really tell how much I’ve written, which makes me write longer. And the light red on black that I made it is just perfect.
-DarkRoom doesn’t let you use bold or italic fonts. You can pick them in the font selection dialog, but DarkRoom always uses the regular weight. huh. that would matter for me.
-This Dark Room application is severely pissing me off, and I’m baffled as to how useless the Help button is. All I’m trying to do is find out what the four buttons on the right side do. But considering that they aren’t labeled, and whenever I click on them (with text highlighted, mind you), they do nothing, I can’t exactly find out now can I? I was not indignant like this, and I figured it out pretty quick, but this was my qstn also: what are those arrows? and I clicked on Help and found only a little info, link to the website. but I kind of like that.
-YaddaYah, The four arrow buttons scroll the text. The thin ones scroll line by line, the fat/bold ones scroll page by page.
[introducing] Dark Room 21 June 2006« they.misled.us :
A few posts ago, I was talking about a pretty slick piece of productivity software named, WriteRoom. I have to admit that I had been using it quite a bit to accomplish quick burst writing. Unfortunately, a couple days ago I was forced to use Windows while I was working on some homework for Managerial Operations. I scoured the internet looking for a similar application for Windows only to find nothing.
The program itself is so simple; it is amazing that nothing like it exists. Actually, as far as fullscreen text editing is concerned, practically nothing exists. Granted, you can use Word and OpenOffice Writer to do a fullscreen mode that is somewhat similar, but the problem with those is that you are forced to use the traditional black on white, which is still pretty hard on the eyes. huh: Word does not let you change the background & text colors? I think I recall switching to, hmmm, white on blue, I think. that might have been the only alternative. either black-on-white or white-on-blue. I like both okay. and green-on-black is cool. I don't know what I like best.
I know there are any number of unpleasant fullscreen command line style text editors that are available, such as vim, emacs, etc… But, the problem with those is (from my perspective) that the text fills the entire screen. Now, trying to scan back and forth across the entire screen is a rather difficult and straining endeavor. Thus, one of the simple beauties of WriteBoard, it has a nice column in the center that you determine the width ofI have decided to make the application available to the world for download; however I am not releasing the source code, because I do not want to step on the developer’s of WriteRoom’s toes. okay.
. right I figured this out. did not like how narrow the column was by default...
The bottom line is there is nothing like it for Windows. Or, I should more accurately say, there WAS nothing like it. I spent a couple hours yesterday, and a few minutes today developing an application that accomplishes the same thing. In fact, I am using it right now to type up this post and it is wonderful. So, please use it and let me know what you think. There are definitely a few things that I am working on to make it the most pleasant experience possible. Perhaps the most nagging problem is the fact that I am not aware of a way to change the color of the scrollbar, so no matter what color combination you select, it is still the default color. hmm always green? he's probably changed that by now. but my qstn is still, why a scroll bar? why not allow click & drag scrolling? I might just have to break down and write my own control.
132 Comments so far
-DarkRoom is fantastic. I am a journalist and author and this is exactly what I’ve been looking for. The scroll bar colour huh the colour is the only problem as far as I’m concerned. Hopefully there’ll be a new version soon.
-Fantastic friggin’ app. Just fantastic. I second (third? fourth?) the scroll bar change. seems to mean just the color? Other than that, make no changes. It’s perfect.
-I’d love to see the scrollbar hidden entirely. Let me rely on PgUp and PgDn to navigate through my text… like I used to in days of yore.
-There’s only one thing I am missing: a scrollbar. Without a scrollbar I have no idea about how long the text I am writing or reading is. Would love to see a minimalistic scrollbar - perhaps a shaded box would do it. Or did I miss something?
-The look and feel is perfect. And working in pure text is just what I need.
-It iss just _too_ cool not having any interface distractions whatsoever. No menu bar. No branded thingee icon. No toolbars. No status bar. No sidebars. No BS. Beauty. The bright gray scrollbar does mar the experience; it is great that that will be looked at in the next version! The ability to synch the scrollbar color with the bg will about do . . . the app will have reached perfection. If I’m feeling funky, I go orange on the font color. If I’m missing the old Wordperfect days, I go blue in the background and all yellow for text. Tks for writing it. I love Dark room.
-Nice app, but you can achieve a similar thing by simply changing the background in Word to Black (Format > Background), then changing the font color to green you can do this? and then View > Full Screen. You retain all of the word keyboard commands and abilities, without all the annoying screen clutter of Word.
-I agree, this is a great program. I can’t really tell how much I’ve written, which makes me write longer. And the light red on black that I made it is just perfect.
-DarkRoom doesn’t let you use bold or italic fonts. You can pick them in the font selection dialog, but DarkRoom always uses the regular weight. huh. that would matter for me.
-This Dark Room application is severely pissing me off, and I’m baffled as to how useless the Help button is. All I’m trying to do is find out what the four buttons on the right side do. But considering that they aren’t labeled, and whenever I click on them (with text highlighted, mind you), they do nothing, I can’t exactly find out now can I? I was not indignant like this, and I figured it out pretty quick, but this was my qstn also: what are those arrows? and I clicked on Help and found only a little info, link to the website. but I kind of like that.
-YaddaYah, The four arrow buttons scroll the text. The thin ones scroll line by line, the fat/bold ones scroll page by page.
[introducing] Dark Room 21 June 2006« they.misled.us :
A few posts ago, I was talking about a pretty slick piece of productivity software named, WriteRoom. I have to admit that I had been using it quite a bit to accomplish quick burst writing. Unfortunately, a couple days ago I was forced to use Windows while I was working on some homework for Managerial Operations. I scoured the internet looking for a similar application for Windows only to find nothing.
The program itself is so simple; it is amazing that nothing like it exists. Actually, as far as fullscreen text editing is concerned, practically nothing exists. Granted, you can use Word and OpenOffice Writer to do a fullscreen mode that is somewhat similar, but the problem with those is that you are forced to use the traditional black on white, which is still pretty hard on the eyes. huh: Word does not let you change the background & text colors? I think I recall switching to, hmmm, white on blue, I think. that might have been the only alternative. either black-on-white or white-on-blue. I like both okay. and green-on-black is cool. I don't know what I like best.
I know there are any number of unpleasant fullscreen command line style text editors that are available, such as vim, emacs, etc… But, the problem with those is (from my perspective) that the text fills the entire screen. Now, trying to scan back and forth across the entire screen is a rather difficult and straining endeavor. Thus, one of the simple beauties of WriteBoard, it has a nice column in the center that you determine the width ofI have decided to make the application available to the world for download; however I am not releasing the source code, because I do not want to step on the developer’s of WriteRoom’s toes. okay.
. right I figured this out. did not like how narrow the column was by default...
The bottom line is there is nothing like it for Windows. Or, I should more accurately say, there WAS nothing like it. I spent a couple hours yesterday, and a few minutes today developing an application that accomplishes the same thing. In fact, I am using it right now to type up this post and it is wonderful. So, please use it and let me know what you think. There are definitely a few things that I am working on to make it the most pleasant experience possible. Perhaps the most nagging problem is the fact that I am not aware of a way to change the color of the scrollbar, so no matter what color combination you select, it is still the default color. hmm always green? he's probably changed that by now. but my qstn is still, why a scroll bar? why not allow click & drag scrolling? I might just have to break down and write my own control.
132 Comments so far
-DarkRoom is fantastic. I am a journalist and author and this is exactly what I’ve been looking for. The scroll bar colour huh the colour is the only problem as far as I’m concerned. Hopefully there’ll be a new version soon.
-Fantastic friggin’ app. Just fantastic. I second (third? fourth?) the scroll bar change. seems to mean just the color? Other than that, make no changes. It’s perfect.
-I’d love to see the scrollbar hidden entirely. Let me rely on PgUp and PgDn to navigate through my text… like I used to in days of yore.
-There’s only one thing I am missing: a scrollbar. Without a scrollbar I have no idea about how long the text I am writing or reading is. Would love to see a minimalistic scrollbar - perhaps a shaded box would do it. Or did I miss something?
-The look and feel is perfect. And working in pure text is just what I need.
-It iss just _too_ cool not having any interface distractions whatsoever. No menu bar. No branded thingee icon. No toolbars. No status bar. No sidebars. No BS. Beauty. The bright gray scrollbar does mar the experience; it is great that that will be looked at in the next version! The ability to synch the scrollbar color with the bg will about do . . . the app will have reached perfection. If I’m feeling funky, I go orange on the font color. If I’m missing the old Wordperfect days, I go blue in the background and all yellow for text. Tks for writing it. I love Dark room.
-Nice app, but you can achieve a similar thing by simply changing the background in Word to Black (Format > Background), then changing the font color to green you can do this? and then View > Full Screen. You retain all of the word keyboard commands and abilities, without all the annoying screen clutter of Word.
-Don’t forget, to run this programme you need to download the .Net platform from the Microsoft website first.
-You seriously install .NET in order to install a program that makes your computer look like an old IBM AT? Sheesh, how productive. what's bad about.Net?
-The .NET requirement is because of the language he chose to write the software in. It’s fundamental to it working, much like the app it’s modeled on requires a Mac. This is a .NET app, which is a platform like Cocoa on Max OS X. It’s also what enabled him to whip this up in a matter of a few hours. Getting rid of the requirement would require rewriting from scratch.
-Also, does the .NET framework add any overhead? I.e. is it another ms product that loads some junk in the background whether you’re going to use it that day or not, and gradually gums up your whole machine? Caujse I want to use this program, but am leery of just wuickly installing some ms thing.
-----Jeff said: Regarding .NET Fears - I just use .NET because I can quickly develop in it. Just make sure you have the latest version and most of the problems should go away. It’s free, hopefully you just have enough bandwidth to download it :wink:. I do not think that it adds a whole lot of overhead, but I am not an expert on it.
-OpenOffice.org users: simply press Ctrl-J, need no more…
-Hey, awesome app! I’ve been working with a guy called Dan Ferrante (when I say working I mean user testing and offering comments, he’s doing all the coding) on a Windows version of Khoi Vinh’s Blockwriter. It’s quite similar to this, though less of the old school 1983 screen look. And it incorporates Vinh’s ideas to compel forward momentum in writing, e.g. strikeout text when you try to delete. hmmm? discourage you from going over & over a passage? by strikeout instead of disappear? ?? Look out for a beta version fairly soon!
-a really cool option in this program would be to disable the “backspace” key and the arrows. For me, often when I’m writing, I get into an “edit-as-I-write” mode that’s both slow and harmful to my creativity. I’d love to be able to force myself to really use it like a typewriter. (Or perhaps instead of disabling the backspace, turn it into a strikeout key or something.) ah.
I had dlcs-mrked Subtraction page re Blockwriter z0605 item. (just now added z0710 & 'orginfo').
Subtraction: Blockwriter: Text Editing without the Editing
At its heart, Blockwriter is a crippled text editor. What makes it like a typewriter is that it regards every character you type into it as basically ‘committed’ and permanent.
Rather than allowing the flexibility of cost-free deletions and insertions — and the attendant temptation to continually massage text beyond usefulness — this application only allows you to continue typing forward. To remove a word you’ve already committed, you can use the back button to actually strike-out text — with x’s, dashes or any character you’d like. It’s as simple as it was on a manual typewriter: you’re just ‘physically’ creating a second character impression over an existing one.
This makes for a messy presentation, but I think it’s that messiness that will discourage people from wasting time on refinements and will encourage them to move on to the next idea. Of course, it will always be necessary, at some point, to get a clean output of the text without the strike-outs. For this, Blockwriter allows the option of printing a copy of the writing without the struck-out text, and the export feature will automatically omit the same in the RTF file that results.
NOTE this is not an actual product, just an ideaI’m no programmer and I’ll never get around to learning enough Cocoa skills to build Blockwriter for myself, I figured I’d just do what I know: throw together some mock-ups of the user interface to get my ideas across.
downloaded Dark Room. easy enough it seems. Dark Room they.misled.us
first had to download MS .Net framework. just did it. okay.
---------------------------------------------------------------so. it loaded full screen. "Esc" got me out. F11 appears to toggle in & out of fullscreen.
the arrows on the upper right of screen are for scrolling
I wonder why put there? why would you use those instead of arrows on keyboard, page up & down? is it in some way simpler, more like a typewriter? I dunno. using the mouse makes me want to be able to scroll by clicking on the screen and you can't. bcs that is the kind of interface this is an alternative too right?
weird for me to be outside a browser I guess.
NOTE: under Edit - Preferences
you can change the "Environment"
just as Writeroom's site says:
Your WriteRoom can stay green-on-black, or you can choose your own colors, fonts, and page layout. Scale up your text for easy reading. Show the scroll bar all the time, or only when you need it. --the 'scroll bar' disappears if you select "Hide Navigation"
[ Dark Room is a clone of the original WriteRoom that is an OS X (tiger) exclusive application ]
what I want to especially note is the preferences that were the default green on black.
the black is in the lower left corner.
the green is the one three down (in a column of greens which is three over, it is the bottom one).
first had to download MS .Net framework. just did it. okay.
Requirements
- Windows XP / 2000 / 2003
- .NET Framework 2.0
---------------------------------------------------------------so. it loaded full screen. "Esc" got me out. F11 appears to toggle in & out of fullscreen.
the arrows on the upper right of screen are for scrolling
I wonder why put there? why would you use those instead of arrows on keyboard, page up & down? is it in some way simpler, more like a typewriter? I dunno. using the mouse makes me want to be able to scroll by clicking on the screen and you can't. bcs that is the kind of interface this is an alternative too right?
weird for me to be outside a browser I guess.
NOTE: under Edit - Preferences
you can change the "Environment"
just as Writeroom's site says:
Your WriteRoom can stay green-on-black, or you can choose your own colors, fonts, and page layout. Scale up your text for easy reading. Show the scroll bar all the time, or only when you need it. --the 'scroll bar' disappears if you select "Hide Navigation"
[ Dark Room is a clone of the original WriteRoom that is an OS X (tiger) exclusive application ]
what I want to especially note is the preferences that were the default green on black.
the black is in the lower left corner.
the green is the one three down (in a column of greens which is three over, it is the bottom one).
dlww, mdlww, fr notebooks,
& also reserved abbreviated urls: dlww.blogspot & yasapc.blogspot
all made so that only blog author can see them.
ie private.
this is done under settings - permissions.
also under settings - comments, selected "hide" comments so that do not have to see '0 comments' next to each timestamp.
note: I have hide comments selected also on my 2 'public' blogs = katecutrer, ofachild.
oh also public (but never to be updated again probably) youaresuchaprettycolor.
on these, under permissions, anyone can read/view/comment.
there is word verification to comment.
& just now I put in my gmail to get an email notification if there is any comment.
but, I don't think anyone *can* comment if I have comments hidden, can they??
youaresuchaprettycolor - comments - restricted to registered users (of blogger, I guess)
whereas the other two - anyone.
whatever......................................
& also reserved abbreviated urls: dlww.blogspot & yasapc.blogspot
all made so that only blog author can see them.
ie private.
this is done under settings - permissions.
also under settings - comments, selected "hide" comments so that do not have to see '0 comments' next to each timestamp.
note: I have hide comments selected also on my 2 'public' blogs = katecutrer, ofachild.
oh also public (but never to be updated again probably) youaresuchaprettycolor.
on these, under permissions, anyone can read/view/comment.
there is word verification to comment.
& just now I put in my gmail to get an email notification if there is any comment.
but, I don't think anyone *can* comment if I have comments hidden, can they??
youaresuchaprettycolor - comments - restricted to registered users (of blogger, I guess)
whereas the other two - anyone.
whatever......................................
all mixed up, what I put on dlww, mdlww, from notebooks. that's okay right? unles I had a specific purpose in mind then why try to be clear about what goes where? dlww is for whatever, of the day. mdlww is for somewhat more personal of that. fromnotebooks is for copying out from notebooks.
I think I want a blog that is not reverse chronology. beginning to end. with each addition, read over from the top. so is that a google document?
I think I want a blog that is not reverse chronology. beginning to end. with each addition, read over from the top. so is that a google document?
Wednesday, October 24, 2007
I've lost hope. It's easier to live without it. ... First you abandon someone and then someone abandons you. {Finnish novel Dalkey Archive}
Wait without hope, Eliot says, for hope would be hope for the wrong thing.
All day I tried to distinguish need from desire. Now, in the dark, I feel only bitter sadness for us, the builders, the planers of wood, because I have been looking steadily at these elms and seen the process that creates the writhing, stationary tree is torment, and have understood it will make no forms but twisted forms.
Now no matter, child, the name: Sorrow's springs are the same.
Nor mouth had, no nor mind, expressed What heart heard of, ghost guessed:
It is the blight man was born for, It is Margaret you mourn for. {intuit that all grieving points back to the self: to one's own suffering of losses}
All the new thinking is about loss, In this it resembles all the old thinking.
Up above the angels are weeping. angels, braiding, dear heart.
Then it happened as the ark of the LORD came into the city of David that Michal the daughter of Saul looked out of the window and saw King David leaping and dancing before the LORD.
And you had been something of a cold front yourself lately.
You are my heart. a sentence and not a thing, two iambs.
stranger in a strange type face how shall I know you?
the woman I call maro does not, strictu sensu, exist. she is rather a composite of...
Wait without hope, Eliot says, for hope would be hope for the wrong thing.
All day I tried to distinguish need from desire. Now, in the dark, I feel only bitter sadness for us, the builders, the planers of wood, because I have been looking steadily at these elms and seen the process that creates the writhing, stationary tree is torment, and have understood it will make no forms but twisted forms.
Now no matter, child, the name: Sorrow's springs are the same.
Nor mouth had, no nor mind, expressed What heart heard of, ghost guessed:
It is the blight man was born for, It is Margaret you mourn for. {intuit that all grieving points back to the self: to one's own suffering of losses}
All the new thinking is about loss, In this it resembles all the old thinking.
Up above the angels are weeping. angels, braiding, dear heart.
Then it happened as the ark of the LORD came into the city of David that Michal the daughter of Saul looked out of the window and saw King David leaping and dancing before the LORD.
And you had been something of a cold front yourself lately.
You are my heart. a sentence and not a thing, two iambs.
stranger in a strange type face how shall I know you?
the woman I call maro does not, strictu sensu, exist. she is rather a composite of...
Saturday, October 20, 2007
Persnickety-er -- Troy Vandegraff -- Formidable Scrabble Opponent nice title.
Troy: Are y always this persnickety? V: Stimes I'm even persnickity-er.
V to herself, after pulling away from T's kiss: Dead sexy? Check. Devilish charm? Check. Formidable Scrabble opponent? ... Who cares!
huh, this whole board is for VM. many good title. "I've got a secret ... a good one." (Lilly in flashback) replayed so much in in opening scenes that it sounds to me now like a long known poem. an echo. Fuzzy & Cirumstantial (V in ClashoftheTritons: Dad, their case is _ ) Raise the Roof (Duncan in 1.2) Implied Polygamy? Check. (V in Don'tDrinktheKoolAid)
aw I like them all. I just like the show.
Persnickety-er - Home
Its all Fun and Games.... If you don't want to follow forum rules head to the imaginary rectangle with the knob (Logan 1.21)
What They Say About You (Wallace to Veronica. you should hear _ )
Anthropomorphic. All yours, big guy. (Logan, I think, when asked by VP Clemmons if he cld "have a word.")
Fuzzy and Circumstantial The mysteries of Veronica Mars Who raped Veronica? Who killed Lilly? Who stole the dogs? ... Yet somehow all the cases that come in here still get handled. How is that? (Cliff in the pilot, love it. "We're efficient.")
Raise The Roof. One way or another (nice, since V karaokes 'One way or another' in ClashTritons) we're gonna get the music of Veronica Mars... The Great Triton is listening
Go Pirates!/At My Old School I Was 'Horny' - Talk about spreading the word about VM. Ladies and gentlemen, we have a cult. (KoolAid again, I think)
Something With A Little More Kick. Don't let it end up a downloadable national joke. (1.2o boyfriend video)
Neptune, CA: A Town Without a Middle Class
Your Parents are Millionaires 09ers Reside in the prestigious 90909 zip code.
Your Parents work for Millionaires They aspire to be the lower-middle class. Go. Shoo. Return to Xanadu. [MADISON: You’re not allowed delivery. WANDA: And you’re not allowed to breathe my air. Go. Shoo. Return to Xanadu.]
Sheriff's Department - Can't find someone in the above categories? They might be here.
I just thought one of us should state the obvious (Wallace in pilot: We could get in a lot of trouble for this. Veronica: Give it here. Wallace: Wait, I'm gonna do it. I just thought __ )
The Neptune Grand - Implied Polygamy? Check. Relationships on VM. Get your spy pens ready! So wrong, it's right?
Scary Handmade Ornaments - Creative types: post your VM art here. Must be written in a funky coloured ink. Must include dominant themes of alienation, sexual ambivalence, self-loathing, death, et cetera. (KoolAid, V re teenage poetry)
I've Got A Secret... A Good One - Lilly's Place. Covert Ops. Suspense effectively built.
Earth To Mars - Episode discussion. Threads for episodes will contain spoilers for that episode. This time I just want you to know what I know. (hmm I think that's V to Abe Koontz)
Forbidden Barn? Check. This board is for admins, password only. Hey, the buck stops...there.
Community Soap. Lousy Conversation. (V to dad about here date: ___ "but the sex was fantastic."
Cred With The Urban Demo - Entertainment. Hey, at least I want my life to be a non stop Nelly video.
Look for the Blue Hair - Mac's Place - Technical talk. With your sleuth prowess and my programming skills, I don't think it's an exaggeration to say that we would rule the entire known universe.
Web opj.proboards44.com hey even the url is clever, a reference. opj = obligatory psychotic jackass.
Troy: Are y always this persnickety? V: Stimes I'm even persnickity-er.
V to herself, after pulling away from T's kiss: Dead sexy? Check. Devilish charm? Check. Formidable Scrabble opponent? ... Who cares!
huh, this whole board is for VM. many good title. "I've got a secret ... a good one." (Lilly in flashback) replayed so much in in opening scenes that it sounds to me now like a long known poem. an echo. Fuzzy & Cirumstantial (V in ClashoftheTritons: Dad, their case is _ ) Raise the Roof (Duncan in 1.2) Implied Polygamy? Check. (V in Don'tDrinktheKoolAid)
aw I like them all. I just like the show.
Persnickety-er - Home
Its all Fun and Games.... If you don't want to follow forum rules head to the imaginary rectangle with the knob (Logan 1.21)
What They Say About You (Wallace to Veronica. you should hear _ )
Anthropomorphic. All yours, big guy. (Logan, I think, when asked by VP Clemmons if he cld "have a word.")
Fuzzy and Circumstantial The mysteries of Veronica Mars Who raped Veronica? Who killed Lilly? Who stole the dogs? ... Yet somehow all the cases that come in here still get handled. How is that? (Cliff in the pilot, love it. "We're efficient.")
Raise The Roof. One way or another (nice, since V karaokes 'One way or another' in ClashTritons) we're gonna get the music of Veronica Mars... The Great Triton is listening
Go Pirates!/At My Old School I Was 'Horny' - Talk about spreading the word about VM. Ladies and gentlemen, we have a cult. (KoolAid again, I think)
Something With A Little More Kick. Don't let it end up a downloadable national joke. (1.2o boyfriend video)
Neptune, CA: A Town Without a Middle Class
Your Parents are Millionaires 09ers Reside in the prestigious 90909 zip code.
Your Parents work for Millionaires They aspire to be the lower-middle class. Go. Shoo. Return to Xanadu. [MADISON: You’re not allowed delivery. WANDA: And you’re not allowed to breathe my air. Go. Shoo. Return to Xanadu.]
Sheriff's Department - Can't find someone in the above categories? They might be here.
I just thought one of us should state the obvious (Wallace in pilot: We could get in a lot of trouble for this. Veronica: Give it here. Wallace: Wait, I'm gonna do it. I just thought __ )
The Neptune Grand - Implied Polygamy? Check. Relationships on VM. Get your spy pens ready! So wrong, it's right?
Scary Handmade Ornaments - Creative types: post your VM art here. Must be written in a funky coloured ink. Must include dominant themes of alienation, sexual ambivalence, self-loathing, death, et cetera. (KoolAid, V re teenage poetry)
I've Got A Secret... A Good One - Lilly's Place. Covert Ops. Suspense effectively built.
Earth To Mars - Episode discussion. Threads for episodes will contain spoilers for that episode. This time I just want you to know what I know. (hmm I think that's V to Abe Koontz)
Forbidden Barn? Check. This board is for admins, password only. Hey, the buck stops...there.
Community Soap. Lousy Conversation. (V to dad about here date: ___ "but the sex was fantastic."
Cred With The Urban Demo - Entertainment. Hey, at least I want my life to be a non stop Nelly video.
Look for the Blue Hair - Mac's Place - Technical talk. With your sleuth prowess and my programming skills, I don't think it's an exaggeration to say that we would rule the entire known universe.
Web opj.proboards44.com hey even the url is clever, a reference. opj = obligatory psychotic jackass.
Wednesday, October 17, 2007
It's Always Sunny in Philadelphia: Is This Thread Gay for God? You Betcha!
» 67
I love how there's one bar patron in the middle of the crowd who fucking loves Dayman. Did anyone else notice this? There's a guy clapping along rather enthusiastically while everyone else boos and hisses.
This was my favorite episode so far this season. And running Hundred Dollar Baby with it was just a treat. I love that episode. "I'll eat your babies, bitch!"
Oh, yes, the band episode was one of the funniest ever. Unfortunately I started watching it while my eight-year-old was still awake, who (I am glad to say) did not "get" the lyrics to "Night Man" even though I could hardly breathe from laughing so hard--but when Mac was like, "dude, this song is about a guy coming in through your window and..." I had to pause it right there ("right! time for bed!") and finish it myself later. Oh my god, that episode was off the hook. One of my favorites. And the ending was perfect. Perfect! So who's retarded now?
I don't let my 5 and 8 year olds anywhere near this show. I was watching it on Tivo and laughing so hard they kept coming to the door to see what was so funny. I would instantly pasue and holler NOT A KID SHOW and not play again until they left the vicinity. Nightman is the funnist thing on my TV in a long while.
Meanwhile, I just watched this episode last night and damned if it wasn't the funniest thing I've seen this young TV season. Just... wow. Just so funny. Agreed, from start to finish.
Sheer brilliance. Charlie huffs his way to the songwriting hall of fame, and Dennis embraces his inner '80s Euro-trash self. The scene where they co-write "Day Man" is my favorite of the season so far.
66
Charlie has to be the best character on television right now. And I'm liking Dennis more each week.
There are so many brilliant little throwaway moments in this show that play off the way the characters interact with each other - my favorite last night was in Charlie's apartment, when he and Dennis were conjuring up the lyrics to "Day Man." Charlie's hand drifts over to the spray paint can, simultaneously looking to take a huff and offer a huff to Dennis, and Dennis snatches it away and sets it back down, neither of them missing a beat in the singing.
Charlie is almost running away with this show, but the whole ensemble is so strong. Surprisingly, I really like the way Frank comes through as a guy who's actively trying to be crazy, but isn't. He sobered up real fast when he found out his credit card was on the line.
these lyrics...You really *can* interpret them Charlie's way (with the Night Man coming into his room in the night and inhabiting him) or Mac's way (with the Night Man coming into his room in the night and, well, you know). Oh God, now I'm laughing again.
This just may be the best comedy on television right now. It comes down to laughs. These aren't chuckles or grins the show gets out of me (like most comedies). It's laughing with tears in my eyes. The look on Frank's face when he finds out the hotel has his credit card, the lyrics sheet, the way Night Man forms into a masochistic gay fantasy (without Charlie being the least bit aware), the choreographed moves to the performance of Day Man and Dee being put down are heavy duty laughs. This has always been an underappreciated show but it's time it receive a lot more recognition. Not since Andy Millman burst in on his agent masturbating, have I laughed as hard as when Charlie uncorks the line about the Night Man coming inside.
» 67
I love how there's one bar patron in the middle of the crowd who fucking loves Dayman. Did anyone else notice this? There's a guy clapping along rather enthusiastically while everyone else boos and hisses.
This was my favorite episode so far this season. And running Hundred Dollar Baby with it was just a treat. I love that episode. "I'll eat your babies, bitch!"
Oh, yes, the band episode was one of the funniest ever. Unfortunately I started watching it while my eight-year-old was still awake, who (I am glad to say) did not "get" the lyrics to "Night Man" even though I could hardly breathe from laughing so hard--but when Mac was like, "dude, this song is about a guy coming in through your window and..." I had to pause it right there ("right! time for bed!") and finish it myself later. Oh my god, that episode was off the hook. One of my favorites. And the ending was perfect. Perfect! So who's retarded now?
I don't let my 5 and 8 year olds anywhere near this show. I was watching it on Tivo and laughing so hard they kept coming to the door to see what was so funny. I would instantly pasue and holler NOT A KID SHOW and not play again until they left the vicinity. Nightman is the funnist thing on my TV in a long while.
Meanwhile, I just watched this episode last night and damned if it wasn't the funniest thing I've seen this young TV season. Just... wow. Just so funny. Agreed, from start to finish.
Sheer brilliance. Charlie huffs his way to the songwriting hall of fame, and Dennis embraces his inner '80s Euro-trash self. The scene where they co-write "Day Man" is my favorite of the season so far.
66
Charlie has to be the best character on television right now. And I'm liking Dennis more each week.
There are so many brilliant little throwaway moments in this show that play off the way the characters interact with each other - my favorite last night was in Charlie's apartment, when he and Dennis were conjuring up the lyrics to "Day Man." Charlie's hand drifts over to the spray paint can, simultaneously looking to take a huff and offer a huff to Dennis, and Dennis snatches it away and sets it back down, neither of them missing a beat in the singing.
Charlie is almost running away with this show, but the whole ensemble is so strong. Surprisingly, I really like the way Frank comes through as a guy who's actively trying to be crazy, but isn't. He sobered up real fast when he found out his credit card was on the line.
these lyrics...You really *can* interpret them Charlie's way (with the Night Man coming into his room in the night and inhabiting him) or Mac's way (with the Night Man coming into his room in the night and, well, you know). Oh God, now I'm laughing again.
This just may be the best comedy on television right now. It comes down to laughs. These aren't chuckles or grins the show gets out of me (like most comedies). It's laughing with tears in my eyes. The look on Frank's face when he finds out the hotel has his credit card, the lyrics sheet, the way Night Man forms into a masochistic gay fantasy (without Charlie being the least bit aware), the choreographed moves to the performance of Day Man and Dee being put down are heavy duty laughs. This has always been an underappreciated show but it's time it receive a lot more recognition. Not since Andy Millman burst in on his agent masturbating, have I laughed as hard as when Charlie uncorks the line about the Night Man coming inside.
Sunday, October 14, 2007
angels braiding "dear heart"
angels braiding "dear heart" - Google Search
aah, this is the very same search I did last week looking for this poem. I bkmrkd it on dlcs, but did not mark on dlww. so today I went to look for the poem and typed in offhand the very same words. and the first hit is my dlcs mark, pointing back to this google search page.
anyway it is Hass not Pinsky. ["Privilege of Being" Robert Hass] Many are making love. Up above, the angels in the unshaken ether and crystal of human longing are braiding one another's hair, which is strawberry blond Weeping and braiding...David before the Lord, leaping and dancing. leaping - and dancing!
2 Samuel 6:16 Then it happened as the ark of the LORD came
Then it happened as the ark of the LORD came into the city of David that Michal the daughter of Saul looked out of the window and saw King David leaping and dancing before the LORD;
I know this from Footloose. it's Kevin Bacon at the hearing, saying: leaping and dancing. leaping and dancing.
poem + my
all-new-thinking-is-about-loss
angels braiding "dear heart" - Google Search
aah, this is the very same search I did last week looking for this poem. I bkmrkd it on dlcs, but did not mark on dlww. so today I went to look for the poem and typed in offhand the very same words. and the first hit is my dlcs mark, pointing back to this google search page.
anyway it is Hass not Pinsky. ["Privilege of Being" Robert Hass] Many are making love. Up above, the angels in the unshaken ether and crystal of human longing are braiding one another's hair, which is strawberry blond Weeping and braiding...David before the Lord, leaping and dancing. leaping - and dancing!
2 Samuel 6:16 Then it happened as the ark of the LORD came
Then it happened as the ark of the LORD came into the city of David that Michal the daughter of Saul looked out of the window and saw King David leaping and dancing before the LORD;
I know this from Footloose. it's Kevin Bacon at the hearing, saying: leaping and dancing. leaping and dancing.
poem + my
all-new-thinking-is-about-loss
******* Wait without hope, Eliot says, for hope would be hope for the wrong thing. *******
Paul Auster: The Invention of Solitude: A Memoir (Amazon Online Reader)
on Page 59: "... But I am no longer able to speak of it." To begin with death. To work my way back into life, and then, finally, to return to death. Or else: the vanity of trying ..."
To begin with death. To work my way back into life, and then, finally, to return to death. Or else: the vanity of trying to say anything about anyone.
those three sentences are the epigraph in galley of book Brother, I Am Dying. by Edwidge Danticat.
whose name for me is together with these words: Krik Krak, bones. yes, she wrote Krik! Krak? and Farming of the Bones. was that her first? mid-1990s, Politics & Prose. then Breath, Eyes, Memory. but I did not read these and am still not drawn bcs 'diaspora' ~ too much a narrative of real peoples ~ real things of the world.
not of beginning with death. to work way into life. and then.
I saw this epigraph and felt hopeful: maybe it's okay to want to do that - to begin with stillness, not moving, not sustaining life. and to wait.
ah, p.59 he's quoting Maurice Blanchot yes I see. it didn't sound much like what I think of Auster.
For the past two weeks, these lines from Maurice Blanchot echoing in my head:
"One thing must be understood: I have said nothing extraordinary or even surprising. What is extraordinary begins at the moment I stop. But I am no longer able to speak of it. "
To begin with death. To work my way back into life. and then, finally, to return to death.
Or else: the vanity of trying to say anything about anyone.
so that is Auster, outside the quotation marks?
I read a little of Invention of Solitude. could take on that voice, easily seems. in past when I read Hand to Mouth incl Red Notebook about chance, coincidence, I felt Auster too obvious or sth like that. Inv of Solitude has its own second part called The Book of Memory, a lot of sentences beginning with "I remember..."
I could see that. I remember this, I remember that. 'She meant hardly anything to me. but I can still remember her shoulder, the way she cried about her father, the way she laughed saying Blueberry Blueberry Blueberry.' that's hardly at all the lines but it's a gist of Hass, it's what comes to mind. Meditation at Lagunitas. Hass comes to mind often, Meditation or the other one the one with the angels weeping keening braiding. most often Meditation at Lagunitas. longing full of distances. all the new thinking is about loss in this it resembles all the old thinking. the old masters how well they understood (Auden now) how tragedy _ when someone standing idle, opening a window, a horse scratching. blackberry blackberry blackberry what could you want me to even tell you? we had nothing. I only need one friend. only one.
'it was not about her not really.' 'but I still remember -'
fifty years a letter unread. moonshine. fifty years. she has been with me fifty years. (Briggflatts.) my heart is broken. a giraffe, weeping like flowers in the moon. and you rock him, and you rock him. (Menagerie.) tonite I could write the saddest lines: I hardly loved her, I loved her. (Neruda not remembered).
on Page 59: "... But I am no longer able to speak of it." To begin with death. To work my way back into life, and then, finally, to return to death. Or else: the vanity of trying ..."
To begin with death. To work my way back into life, and then, finally, to return to death. Or else: the vanity of trying to say anything about anyone.
those three sentences are the epigraph in galley of book Brother, I Am Dying. by Edwidge Danticat.
whose name for me is together with these words: Krik Krak, bones. yes, she wrote Krik! Krak? and Farming of the Bones. was that her first? mid-1990s, Politics & Prose. then Breath, Eyes, Memory. but I did not read these and am still not drawn bcs 'diaspora' ~ too much a narrative of real peoples ~ real things of the world.
not of beginning with death. to work way into life. and then.
I saw this epigraph and felt hopeful: maybe it's okay to want to do that - to begin with stillness, not moving, not sustaining life. and to wait.
ah, p.59 he's quoting Maurice Blanchot yes I see. it didn't sound much like what I think of Auster.
For the past two weeks, these lines from Maurice Blanchot echoing in my head:
"One thing must be understood: I have said nothing extraordinary or even surprising. What is extraordinary begins at the moment I stop. But I am no longer able to speak of it. "
To begin with death. To work my way back into life. and then, finally, to return to death.
Or else: the vanity of trying to say anything about anyone.
so that is Auster, outside the quotation marks?
I read a little of Invention of Solitude. could take on that voice, easily seems. in past when I read Hand to Mouth incl Red Notebook about chance, coincidence, I felt Auster too obvious or sth like that. Inv of Solitude has its own second part called The Book of Memory, a lot of sentences beginning with "I remember..."
I could see that. I remember this, I remember that. 'She meant hardly anything to me. but I can still remember her shoulder, the way she cried about her father, the way she laughed saying Blueberry Blueberry Blueberry.' that's hardly at all the lines but it's a gist of Hass, it's what comes to mind. Meditation at Lagunitas. Hass comes to mind often, Meditation or the other one the one with the angels weeping keening braiding. most often Meditation at Lagunitas. longing full of distances. all the new thinking is about loss in this it resembles all the old thinking. the old masters how well they understood (Auden now) how tragedy _ when someone standing idle, opening a window, a horse scratching. blackberry blackberry blackberry what could you want me to even tell you? we had nothing. I only need one friend. only one.
'it was not about her not really.' 'but I still remember -'
fifty years a letter unread. moonshine. fifty years. she has been with me fifty years. (Briggflatts.) my heart is broken. a giraffe, weeping like flowers in the moon. and you rock him, and you rock him. (Menagerie.) tonite I could write the saddest lines: I hardly loved her, I loved her. (Neruda not remembered).
Tonight I can write the saddest lines. Write, for example: ... I no longer love her, that's certain, but maybe I love her.
Love is so short, forgetting is so long. ... My soul is not satisfied that it has lost her.
and I remembered how, holding
her small shoulders in my hands sometimes
It hardly had to do with her.
...
But I remember so much, the way her hands dismantled bread,
the thing her father said that hurt her, what
she dreamed.
Saturday, October 6, 2007
Waldies ..
Waldies - History:
When Walden Kayaks originally introduced Waldies in 2001, a completely new type of shoe was born. In early 2005 Walden Kayaks owner Bill Hearn formed Effervescent, Inc -- a new company focused 100% on Waldies.
well ~ formed Effervescent while letting rest of Walden Kayaks die right? bcs bankrupt. and the shoes seemed the best to resurrect & sell. wh is fine, it's okay, just noticing the absence of the bad news context, wh is appropriate, it's fine.thedayislikewidewater: crocs: "Laser Scanning News - Reverse Engineering News - Digital Modeling News from Direct Dimensions, Inc. The Short, Strange Trip of Waldies Comfy Clogs"
I just finally read the above Waldies Comfy clogs article that I had saved -- found on web site of Direct Dimensions under heading of new re "laser scanning" etc -- which now makes sense bcs DirDims is Bill Hearn's partner in making Waldies. and I think Waldies are the best! the article did not say much about Holey Soles, though, maybe they are a decent company. but probably Waldies are the best!
and on their Shop page, I like the Aruba new womens slide that looks like while being a slide it will stay on, Tish double strap, I like it. and! I really like the design of the Waldie ATs which are the classics plus the backstraps: the holes are rectangular and arranged in a dynamic sweep. and the array of colors is pretty, earthy with earthy names, even the bright ones not as crassly bright. Shop pretty Shop pretty.
yay waldies.
__________________________________________________________________
here 11/6/14 thinking of bcs taking notes on another company, Lush. dlww: Lush th was Cosmetics to Go. and earlier Constantine & Weir, who supplied The Body Shop. so here I was looking at similar products, three companies. decided Waldies as preference. Waldies, Holey Soles, Crocs.
~ maybe more info bkmrkd on dlcs. recall read number of articles. on day in military base hotel in Hawaii.
huh, yes and several other dlww posts of notes. all on 9/13/07. that was that day. this post 10/7 was revisiting maybe thinking to get.
hmm shld label. wh? comp - company. eh. product. thing. ~ worldy. hm try that for now.
on dlcs, tags? shop. a-before = to group the articles. d n want to make tag just for this topic. waldies-crocs-holeys 'shoes' :) d n tag - maybe some - 'business' ? don't I hv that tag or sth like?
When Walden Kayaks originally introduced Waldies in 2001, a completely new type of shoe was born. In early 2005 Walden Kayaks owner Bill Hearn formed Effervescent, Inc -- a new company focused 100% on Waldies.
well ~ formed Effervescent while letting rest of Walden Kayaks die right? bcs bankrupt. and the shoes seemed the best to resurrect & sell. wh is fine, it's okay, just noticing the absence of the bad news context, wh is appropriate, it's fine.thedayislikewidewater: crocs: "Laser Scanning News - Reverse Engineering News - Digital Modeling News from Direct Dimensions, Inc. The Short, Strange Trip of Waldies Comfy Clogs"
I just finally read the above Waldies Comfy clogs article that I had saved -- found on web site of Direct Dimensions under heading of new re "laser scanning" etc -- which now makes sense bcs DirDims is Bill Hearn's partner in making Waldies. and I think Waldies are the best! the article did not say much about Holey Soles, though, maybe they are a decent company. but probably Waldies are the best!
and on their Shop page, I like the Aruba new womens slide that looks like while being a slide it will stay on, Tish double strap, I like it. and! I really like the design of the Waldie ATs which are the classics plus the backstraps: the holes are rectangular and arranged in a dynamic sweep. and the array of colors is pretty, earthy with earthy names, even the bright ones not as crassly bright. Shop pretty Shop pretty.
yay waldies.__________________________________________________________________
here 11/6/14 thinking of bcs taking notes on another company, Lush. dlww: Lush th was Cosmetics to Go. and earlier Constantine & Weir, who supplied The Body Shop. so here I was looking at similar products, three companies. decided Waldies as preference. Waldies, Holey Soles, Crocs.
~ maybe more info bkmrkd on dlcs. recall read number of articles. on day in military base hotel in Hawaii.
huh, yes and several other dlww posts of notes. all on 9/13/07. that was that day. this post 10/7 was revisiting maybe thinking to get.
hmm shld label. wh? comp - company. eh. product. thing. ~ worldy. hm try that for now.
on dlcs, tags? shop. a-before = to group the articles. d n want to make tag just for this topic. waldies-crocs-holeys 'shoes' :) d n tag - maybe some - 'business' ? don't I hv that tag or sth like?
pallavyanisin Dec 14 2006:
"I was having a wonderful time and the whole world opened up before me because I had no dreams."
"I shambled as I've been doing all my life after people who interest me, because the only people for me are the mad ones, the ones who are mad to live, mad to talk, mad to be saved, desirous of everything at the same time."
...
from On the Road by Jack Kerouac
"I was having a wonderful time and the whole world opened up before me because I had no dreams."
"I shambled as I've been doing all my life after people who interest me, because the only people for me are the mad ones, the ones who are mad to live, mad to talk, mad to be saved, desirous of everything at the same time."
...
from On the Road by Jack Kerouac
Pretty Little Liars by Sara Shepard - paperbackreader.net:
On first glance Pretty Little Liars looks like one of a million Gossip Girl followers with its shiny, attractive girls on the cover and its high society setting. When I picked it up during a lunch break at work, I was expecting something light and commercialistic, what I found instead was a TwinPeaks-esque story line where instead of trying to figure out who killed Laura Palmer I was wondering if Alison DiLaurentis was even dead.
Pretty Little Liars defies the definition of a guilty pleasure (a label often applied to Gossip Girls and others) through a combination of smart writing and an interesting plot, but it is not without its flaws.
Emily’s forays into lesbianism with Maya, while they may fall under the label “forbidden,” rank low on the list of crimes—moral or legal—the other girls have committed (Hanna’s thievery, Aria’s relationship with her teacher, and Spencer’s relationship with her sister’s boyfriend). Hanna's acting out seems to be by far the most extreme: stealing expensive jewelry, then stealing & crashing a car while drunk. that seems legally a big deal.
Emily's fumbling and heart-felt conclusion that she doesn’t want to live a lie anymore seems to counter any reason A has for her persecution. Emily, of all the girls, seemed to truly love Alison the most (and feel the most regret for the Jenna incident) and comes to some serious realizations about herself as the others self-destruct. The introduction of her parents’ racist thoughts as a further barrier to her growth seemed almost a tag on, as if to reaffirm the overarching theme of parental pressure and disapproval that all the girls are operating under, destroying the story’s one possibility at a semi-healthy family.
In fact, I take issue with the portrayal of all the parents within the novel. especially Spencer's geez: 'I'm mortified you are my daughter.' and then, when the body of her missing friend is found, they don't even check on her. Not one girl seems to have a supportive or cohesive parental unit that is there for them: Hanna’s mother seems to be in a subversive competition with her daughter, urging her on even as she tears her down; Spencer’s parents are so focused on perfectionism that they can’t see her self-destruction or recognize any aberrant behavior for what it is—a way to escape her sister’s shadow; and Aria is forced by her parents into an adult role through her knowledge of her father’s affair and her practically limitless freedom in Europe, only to have that yanked away when they arrive back in the United States.
With parents like these, it is no wonder that each girl acts out in destructive ways and has no one to lean on. I know that this is meant to cause the girls to rely on one another, and these parental relationships are realistic in their portrayal, but the overall smear against parental authority is overkill.
Still, there are the only sour notes in this otherwise engrossing society girl who-done-it, appropriate for older teens and adults alike.
comments:
-Ralene: Hi I would love to know who is who? Who's the one wearing the glittery greenish tank and the jeans on Flawless and the other three girls? yes I've wondered too, Aria clearly the alterna~ish dark-haired girl, & Spencer probably the well turned out skirted blond. but then problem seems to be that I expect Hanna to be blond, & Emily dark haired...
-Ralene, Spencer is on the first book right, Hanna the second ok she's the one w glittery tank, makes sense, she's the one trying to be thin & fabulous. so, dark haired, Aria the third right, and Emily the fourth ok, light haired - sneakers & pants make sense since she's the swimmer,~ least into glam..
note that it is through Veronica Mars I think that I became int to sample mysteries (Columbo tv series, then Grafton & Kellerman & other bestselling mass markets) and somewhat also recent teen fiction. the latter I was already by char more int in ~ high school, hot house of personalies on show, in interaction. and the teen series & novels I have at home in my upstairs white desk shelves all have deep resonance with me, memory, that I knew these characters and stories when I was -
but VM creator Rob Thomas's int in writing teen fiction, and my thinking of it as a variation on tv, plus now Kristen Bell doing the voice of Gossip Girl - these things did open up the current trendy teen entertainment world to my interest.
bought at Borders (seemed fitting and I felt like rdg it and was on 53rd and went it to look see if they had the series and this #1 was in paperback -yellow- on display table and saw it soon after entering, so). quick read last nite, this morning. worth it, but prob not to read #2 Flawless (orange) & #3 Perfect (pink -one I first saw, came thru mailroom while back, from 57th St special order to UK, by GPM) which are out now in hardcover only. but I will want to read the end in #4, due out March 2008: Amazon.com: Pretty Little Liars #4: Unbelievable (Pretty Little Liars): Books: Sara Shepard
____________________________________________11/17/08 read Unbelievable. got the hardcover fr az months ago, note that I again seemed appropr to buy it fr a mass retailer (before, Borders). ~cheap from cheap. but this time, struck much much more by how bad it was. plot okay but the descriptions! 'commercialistic' (rvw above) was it this bad in first book?! (Iseem to remember it as if it seemed fairly well-done for mass-produced teen lit, & rvw above seems concur.) this latest one seems weird to bizarre all the descriptions of clothes: Her father stood there wearing a soft grey longsleeve tshirt, and his jeans with holes... + lots lots brand names ~ seven jeans, mac makeup ~ I get that this is supposed to be a DespHousewives for teens ~ seamy-underside-of-posh-lifestyle, so we need the makers of posh, but all the descriptions of what everyone is wearing seemed over the top, like a parody, but no evidence of tongue in cheek. weird. seemed like product placement. kept moving me to wonder if Alloy 'book-packaging' gets money from companies for mentioning their products. ..ah here go:
Brands New World | Culture11: .. the abundance of brand-name dropping in literature directed at tweens — that impressionable 10 through 14 years of age demographic — is widespread.. esp Book series like Clique, Gossip Girl, Pretty Little Liars, and The A List, which have individually sold millions of copies since the beginning of the naughts.
The Hit Factory-aprilhenry.livejournal: I’m always fascinated by stories of Alloy Entertainment, which has given us Gossip Girl, Pretty Little Liars, Sisterhood of the Traveling Pants and The Clique – as well as How Opal Mehta Got Kissed, Got Wild and Got a Life.
An LA Times story about Alloy’s involvement with TV and movies says, “The company, New York-based Alloy Entertainment, is a book factory similar to the syndicates that created the Nancy Drew and Hardy Boys series decades ago. Editors cook up ideas they think will appeal to teens and then hire writers to follow their outlines, similar to the way dramas and sitcoms are written for TV. Alloy produces about 30 books a year; six of them last week were on the New York Times bestseller list. yeah I guess it's not new. plenty of low-substance franchise tween books in my day too, most notably Sweet Valley High ~ the Francine Pascal franchise. and I recall sitting in a train car w J & S Blanck, thinking up backcover plot blurbs for Sweet Valley High books-to-be. reading those prepares fans to think like book packagers, to talk like author Sara Shepard does in her az blog: Today is the "official" day Unbelievable is available...which means you'll finally get to find out the many mysteries of Rosewood. Who is A? What really happened the night Ali went missing? Is everything really as it seems...or do the secrets go deeper? to talk like a marketer. which is a terrible terrible way to talk. but d n seem terrible to me then. in what is it so terrible, as I see it now? salesmanship, ramped up emotion, prefabricated phrases. only terrible to me now bcs I have so severe a need for origins, for ppl to say things that are from them, for ppl to be there. for there to be a there there.
On first glance Pretty Little Liars looks like one of a million Gossip Girl followers with its shiny, attractive girls on the cover and its high society setting. When I picked it up during a lunch break at work, I was expecting something light and commercialistic, what I found instead was a TwinPeaks-esque story line where instead of trying to figure out who killed Laura Palmer I was wondering if Alison DiLaurentis was even dead.
Pretty Little Liars defies the definition of a guilty pleasure (a label often applied to Gossip Girls and others) through a combination of smart writing and an interesting plot, but it is not without its flaws.
Emily’s forays into lesbianism with Maya, while they may fall under the label “forbidden,” rank low on the list of crimes—moral or legal—the other girls have committed (Hanna’s thievery, Aria’s relationship with her teacher, and Spencer’s relationship with her sister’s boyfriend). Hanna's acting out seems to be by far the most extreme: stealing expensive jewelry, then stealing & crashing a car while drunk. that seems legally a big deal.
Emily's fumbling and heart-felt conclusion that she doesn’t want to live a lie anymore seems to counter any reason A has for her persecution. Emily, of all the girls, seemed to truly love Alison the most (and feel the most regret for the Jenna incident) and comes to some serious realizations about herself as the others self-destruct. The introduction of her parents’ racist thoughts as a further barrier to her growth seemed almost a tag on, as if to reaffirm the overarching theme of parental pressure and disapproval that all the girls are operating under, destroying the story’s one possibility at a semi-healthy family.
In fact, I take issue with the portrayal of all the parents within the novel. especially Spencer's geez: 'I'm mortified you are my daughter.' and then, when the body of her missing friend is found, they don't even check on her. Not one girl seems to have a supportive or cohesive parental unit that is there for them: Hanna’s mother seems to be in a subversive competition with her daughter, urging her on even as she tears her down; Spencer’s parents are so focused on perfectionism that they can’t see her self-destruction or recognize any aberrant behavior for what it is—a way to escape her sister’s shadow; and Aria is forced by her parents into an adult role through her knowledge of her father’s affair and her practically limitless freedom in Europe, only to have that yanked away when they arrive back in the United States.
With parents like these, it is no wonder that each girl acts out in destructive ways and has no one to lean on. I know that this is meant to cause the girls to rely on one another, and these parental relationships are realistic in their portrayal, but the overall smear against parental authority is overkill.
Still, there are the only sour notes in this otherwise engrossing society girl who-done-it, appropriate for older teens and adults alike.
comments:
-Ralene: Hi I would love to know who is who? Who's the one wearing the glittery greenish tank and the jeans on Flawless and the other three girls? yes I've wondered too, Aria clearly the alterna~ish dark-haired girl, & Spencer probably the well turned out skirted blond. but then problem seems to be that I expect Hanna to be blond, & Emily dark haired...
-Ralene, Spencer is on the first book right, Hanna the second ok she's the one w glittery tank, makes sense, she's the one trying to be thin & fabulous. so, dark haired, Aria the third right, and Emily the fourth ok, light haired - sneakers & pants make sense since she's the swimmer,~ least into glam..
note that it is through Veronica Mars I think that I became int to sample mysteries (Columbo tv series, then Grafton & Kellerman & other bestselling mass markets) and somewhat also recent teen fiction. the latter I was already by char more int in ~ high school, hot house of personalies on show, in interaction. and the teen series & novels I have at home in my upstairs white desk shelves all have deep resonance with me, memory, that I knew these characters and stories when I was -
but VM creator Rob Thomas's int in writing teen fiction, and my thinking of it as a variation on tv, plus now Kristen Bell doing the voice of Gossip Girl - these things did open up the current trendy teen entertainment world to my interest.
bought at Borders (seemed fitting and I felt like rdg it and was on 53rd and went it to look see if they had the series and this #1 was in paperback -yellow- on display table and saw it soon after entering, so). quick read last nite, this morning. worth it, but prob not to read #2 Flawless (orange) & #3 Perfect (pink -one I first saw, came thru mailroom while back, from 57th St special order to UK, by GPM) which are out now in hardcover only. but I will want to read the end in #4, due out March 2008: Amazon.com: Pretty Little Liars #4: Unbelievable (Pretty Little Liars): Books: Sara Shepard
____________________________________________11/17/08 read Unbelievable. got the hardcover fr az months ago, note that I again seemed appropr to buy it fr a mass retailer (before, Borders). ~cheap from cheap. but this time, struck much much more by how bad it was. plot okay but the descriptions! 'commercialistic' (rvw above) was it this bad in first book?! (Iseem to remember it as if it seemed fairly well-done for mass-produced teen lit, & rvw above seems concur.) this latest one seems weird to bizarre all the descriptions of clothes: Her father stood there wearing a soft grey longsleeve tshirt, and his jeans with holes... + lots lots brand names ~ seven jeans, mac makeup ~ I get that this is supposed to be a DespHousewives for teens ~ seamy-underside-of-posh-lifestyle, so we need the makers of posh, but all the descriptions of what everyone is wearing seemed over the top, like a parody, but no evidence of tongue in cheek. weird. seemed like product placement. kept moving me to wonder if Alloy 'book-packaging' gets money from companies for mentioning their products. ..ah here go:
Brands New World | Culture11: .. the abundance of brand-name dropping in literature directed at tweens — that impressionable 10 through 14 years of age demographic — is widespread.. esp Book series like Clique, Gossip Girl, Pretty Little Liars, and The A List, which have individually sold millions of copies since the beginning of the naughts.
The Hit Factory-aprilhenry.livejournal: I’m always fascinated by stories of Alloy Entertainment, which has given us Gossip Girl, Pretty Little Liars, Sisterhood of the Traveling Pants and The Clique – as well as How Opal Mehta Got Kissed, Got Wild and Got a Life.
An LA Times story about Alloy’s involvement with TV and movies says, “The company, New York-based Alloy Entertainment, is a book factory similar to the syndicates that created the Nancy Drew and Hardy Boys series decades ago. Editors cook up ideas they think will appeal to teens and then hire writers to follow their outlines, similar to the way dramas and sitcoms are written for TV. Alloy produces about 30 books a year; six of them last week were on the New York Times bestseller list. yeah I guess it's not new. plenty of low-substance franchise tween books in my day too, most notably Sweet Valley High ~ the Francine Pascal franchise. and I recall sitting in a train car w J & S Blanck, thinking up backcover plot blurbs for Sweet Valley High books-to-be. reading those prepares fans to think like book packagers, to talk like author Sara Shepard does in her az blog: Today is the "official" day Unbelievable is available...which means you'll finally get to find out the many mysteries of Rosewood. Who is A? What really happened the night Ali went missing? Is everything really as it seems...or do the secrets go deeper? to talk like a marketer. which is a terrible terrible way to talk. but d n seem terrible to me then. in what is it so terrible, as I see it now? salesmanship, ramped up emotion, prefabricated phrases. only terrible to me now bcs I have so severe a need for origins, for ppl to say things that are from them, for ppl to be there. for there to be a there there.
Friday, October 5, 2007
would you lay with me in a field of stone -
Would you lay with me, in a field of stone?
If my needs were strong, would you lay with me?
Will you still love me, when I'm down and out?
In my time of trial, will you stand by me?
Would you lay with me, In a field of stone?
Should my lips grow dry, should you wet them, dear?
Will you bathe me, in the stream of life?
Would you still love me, when I'm down and out?
Would you lay with me, in a field of stone?
Should my lips grow dry, would you wet them, dear?
Tanya Tucker singing, written by David Allen Coe.
..If I needed you would you come to me? would you come to me, and ease my pain? If you needed me, I would come to you. I would come to you, for to ease your pain.
and - Bonnie Prince Billy - Three Questions:
Say I found a piece of rock And put it in my pocket For the day that we are wed I put it in a locket Which is to hang around your neck As long as you see fit Well tell me o my love Do you think that you would wear it?
And on a day that threatens That the earth might open up When the birds have stopped their singing And the insects have shut up And all that's left between us Is somehow Is some ..Oh would you split it with me, baby So I wouldn't die?
And after all these things, There's a question that i must ask When everyone has called me (out And said I am the worst And asked for voices on my side My love, would you sing first? Would you say" He's ok, He's better then the rest? He's innocent in god's eyes And in mine he is the best"?
Would you lay with me, in a field of stone?
If my needs were strong, would you lay with me?
Will you still love me, when I'm down and out?
In my time of trial, will you stand by me?
Would you lay with me, In a field of stone?
Should my lips grow dry, should you wet them, dear?
Will you bathe me, in the stream of life?
Would you still love me, when I'm down and out?
Would you lay with me, in a field of stone?
Should my lips grow dry, would you wet them, dear?
Tanya Tucker singing, written by David Allen Coe.
..If I needed you would you come to me? would you come to me, and ease my pain? If you needed me, I would come to you. I would come to you, for to ease your pain.
and - Bonnie Prince Billy - Three Questions:
Say I found a piece of rock And put it in my pocket For the day that we are wed I put it in a locket Which is to hang around your neck As long as you see fit Well tell me o my love Do you think that you would wear it?
And on a day that threatens That the earth might open up When the birds have stopped their singing And the insects have shut up And all that's left between us Is somehow Is some ..Oh would you split it with me, baby So I wouldn't die?
And after all these things, There's a question that i must ask When everyone has called me (out And said I am the worst And asked for voices on my side My love, would you sing first? Would you say" He's ok, He's better then the rest? He's innocent in god's eyes And in mine he is the best"?
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