Friday, January 3

Movies 2k13: 37

1) Holy Motors : (Leos Carax, 2012); [1/4, Mark]
2) Once Upon a Time in Anatolia : (Nuri Bilge Ceylan, 2011); [1/8, Mark]
3) Django Unchained : (Quentin Tarantino, 2012); [1/10, Edgewood]
4) Zero Dark Thirty : (Kathryn Bigelow, 2012); [1/19, Grand, Dan]
5) Amour : [1/24, Mark]; (Michael Haneke, 2012)
6) Silver Linings Playbook : (David O. Russell, 2012); [1/25, AMC, Dan]
7) P.S. I Love You* : (Richard LaGravenese, 2007); [Mom, 2/2]
7) Barbara : (Christian Petzold, 2012) [Ross, 2/3, Abel/Reindkordt presentation]
8) Bachelorette : (Leslye Headland, 2012)
9) Looper : (Rian Johnson, 2012) ; [3/16]
10) Candy : (Neil Armfield, 2006)
11) One Nation Under Dog : (HBO doc, 2012)
12) Tinker Tailor Solider Spy : (Tomas Alfredson, 2011); [Dan, 4/20]
13) 200 Pounds Beauty : (Yong-hwa Kim, 2006) [Sarah]
14) Iron Man Three : (Shane Black, 2013); [Dan]
15) Pichet Klunchun and Myself (Jerome Bel) [Chris' screening; jazz room]
16) Meek's Cutoff : (Kelly Reichardt, 2010) [Avery; on delicious 35mm--impeccably shot, beautiful western in keeping w/the tradition of landscape BUT as a revisionist western it was a pretty regrettable example of feminism at the cost of being totally racist and if it WEREN'T racist in it's bizarre choices to fictionalize the true story it's based on, it woulda been on the high end of both my lists with a dang bullet]
17) Off-White Tulips (Aykan Safoǧlu)
18) Seraphine [Kristabelle Stewart's presentation]
19) Elysium : (Neil Blomkamp, 2013); [Dan]
20) Chennai Express : (Rohit Shetty, 2013); [8/23, Becky]
21) Blue Jasmine : (Woody Allen, 2013); [8-24, Ross]
22) 3 Idiots : (Rajkumar Hirani, 2009); [Dan]
23) Prince Avalanche : (David Gordon Green, 2013); [Dan, 9/15]
24) The Natural : (Barry Levinson, 1984); [Dan, 9/15]
25) Oblivion : (Joseph Kosinski, 2013); [Dan, 9/16]
26) The Canyons (Paul Schrader, 2013); [9/24]
27) Rush (Ron Howard, 2013); [Dan, 9/30]
28) Serenity (Joss Whedon, 2005); [Dan, 10/2]
29) Ain't Them Bodies Saints : (David Lowery, 2013); [Mark's, 10/3]
30) 12 Years a Slave : (Steve McQueen, 2013); [Ross, 11/15]
31) Promised Land (Gus Van Sant, 2012); [Dan]
32) Nebraska (Alexander Payne, 2013); [Dan & the folks, Grand, Thanksgiving]
34) About Face: Supermodels Then and Now : (Timothy Greenfield-Sanders, 2012)
35) The Last Supper : (Stacy Title, 1995) ; [12/22, Austin]
36) Grand Prix : (John Frankenheimer, 1967) [12/24]
37) Spring, Summer, Fall, Winter...and Spring : (Ki-duk Kim, 2003); [Dan, 12/28]

Top 5 (Best, filmically. These could mostly all also be faves, but may be less consumable or immediately reseeable .)
1) Amour
2) Holy Motors
3) Barbara
4) Nebraska
5) 12 Years a Slave

Fave 5
1) Ain't Them Bodies Saints
2) Blue Jasmine
3) Nebraska
4) Bachelorette
5) Looper


Itallic indicates re-seeing.
Bold indicates on the big screen.
*Missed the first 10-15 mins or saw as edited for television.

Movies 2k12

~I've determined this to be an incomplete list, excluding most of September and October-December. It is infuriating.

1/1: 1) Les Noms des Gens [French; stupid American title is The Names of Love even though the real title is just the names of people or peoples' names] (Michel Leclerc, 2010)
1/1: 2) Mary and Max (Adam Elliot, 2009)
03) Hilarious (Louis C.K., 2009)
04) A State of Mind (Daniel Gordon, 2004)
05) Little Voice (Mark Herman, 1998)
06) We Need to Talk About Kevin (Lynne Ramsay, 2011)
07) The Royal Tenenbaums (Wes Anderson, 2001)
2/18: 8) 2/18 Martha Marcy May Marlene (Sean Durkin, 2011)
9) Queen of the Damned (Michael Rymer, 2002)
10) 2/28 Being Elmo: A Pupeteer's Journey (Constance MarksPhilip Shane , 2011)
3/1: 11) Twins* (Ivan Reitman, 1988)
12) The Bride Wore Black (Truffaut)
13) Green Lantern (Martin Campbell, 2011)
14) 13Tzameti (2005, Géla Babluani)
5/1:15) Paris is Burning (1990, Jennie Livingston)
16) The Sons of Tennessee Williams (2010, Tim Wolff)
17) The Avengers (Joss Whedon, 2012)
18) Captain America (Joe Johnson, 2011)
19) Wish Upon a Star (Blair Treu, 1996)
20) Thor (Kenneth Branagh, 2011)
21) 5/19 Alien (Ridley Scott, 1979)
22) Beerfest (Jay Chandrasekhar, 2006)
23) 6/9/2012 Prometheus (Ridley Scott, 2012)
24? Soulnessless (Terre Thaemiltz)
25) Deep Roots Music Vol. 2
26) Moonrise Kingdom (Wes Anderson, 2012)
27) Ghostride the Whip
28) The Thing
29) Beasts of the Southern Wild (Benh Zeitlin, 2012)
30) Yellow Submarine (George Dunning, 1968)

T5 (Top5 -- I want to devote some time elaborating on this distinction/the interplay between the two later.)
1) We Need to Talk About Kevin
2) Martha Marcie May Marlene
3) Alien
4) Beasts of the Southern Wild
5) A State of Mind

F5 (Fave5)
1) We Need to Talk About Kevin
2) Alien
3) Beasts of the Southern Wild
4) 13Tzameti
5) Martha Marcie May Marlene


*Missed the first 10-15 mins or saw as editted for television)
Itallic indicates a re-seeing.
Bold denotes seen in theaters.

Sunday, November 11

Rachael Wolfe & SP_CE present their first book:

The first chapbook from poet Rachael Wolfe and local, Lincoln, NE writing studio SP_CE is out!

You can purchase one of the letter pressed, movable type special editions with screen-printed dust jacket for $20. From a run of 50 copies we have about half left so do hurry if you want one of these beauties!

If you need somethin you can get a lil dirty, somethin you can hold in one hand with something melting in the other, you can get a commercially printed edition with a cover hand-colored by the poet for $5. 150 of these were printed.

While one is more handleable and one is more limited and collectible, both are absolutely lovely objects full of amazing poems and all were hand sewn by SP_CE's own Amanda Huckins (returning to us from Portland w/some seriously mad book-arts skills) with help from the SP_CE quilting circle.


Monday, May 21


Whatever the poet’s ostensible subject—and here identity politics has produced a degree of variation, so that we have Latina poetry, Asian American poetry, queer poetry, the poetry of the disabled, and so on—the poems you will read in American Poetry Review or similar publications will, with rare exceptions, exhibit the following characteristics: 1) irregular lines of free verse, with little or no emphasis on the construction of the line itself or on what the Russian Formalists called “the word as such”; 2) prose syntax with lots of prepositional and parenthetical phrases, laced with graphic imagery or even extravagant metaphor (the sign of “poeticity”); 3) the expression of a profound thought or small epiphany, usually based on a particular memory, designating the lyric speaker as a particularly sensitive person who really feels the pain, whether of our imperialist wars in the Middle East or of late capitalism or of some personal tragedy such as the death of a loved one.


‎At this point, the lack of consensus about the poetry of the postwar decades has led not, as one might have hoped, to a cheerful pluralism animated by noisy critical debate about the nature of lyric, but to the curious closure exemplified by the Dove anthology. 


 The poem’s enjambed free verse, prose syntax, transparent language peppered by what passes for “literary” phrasing—“pungent / as burning hair,” “slender wrist,” “wisps / at her temples,” “sweat glistening”—and emotional crescendo, dubious in its easy conclusion that beauty is born of suffering, would seem to place this poem somewhere in the 1960s or ‘70s. But “Hot Combs,” written by the Pulitzer-winning Natasha Trethewey, was published in 2000. 


 If “creative writing” has become as formulaic as I have been suggesting, then perhaps it is time to turn to what Kenneth Goldsmith calls “uncreative writing.” Tongue-in-cheek as that term is, increasingly poets of the digital age have chosen to avoid those slender wrists and wisps of hair, the light that is always “blinding” and the hands that are “fidgety” and “damp,” those “fingers interlocked under my cheekbones” or “my huge breasts oozing mucus,” by turning to a practice adopted in the visual arts and in music as long ago as the 1960s—appropriation. Composition as transcription, citation, “writing-through,” recycling, reframing, grafting, mistranslating, and mashing—such forms of what is now called Conceptualism, on the model of Conceptual art, are now raising hard questions about what role, if any, poetry can play in the new world of instantaneous and excessive information.

Friday, April 27


He has had other losses in his life. He is old enough to know people who have died and to know things about the world that are worrisome. When he dreams, he dreams about moving to Wyoming, which he has visited with his family. His plan is to buy land there and have some sort of ranch that would definitely include horses. Sometimes when he talks about this, it sounds as ordinary and hard-boiled as a real estate appraisal; other times it can sound fantastical and wifty and achingly naive, informed by the last inklings of childhood - the musings of a balmy real estate appraiser assaying a wonderful and magical landscape that erodes from memory a little bit every day. The collision in his mind of what he understands, what he hears, what he figures out, what popular culture pours into him, what he knows, what he pretends to know, and what he imagines, makes an interesting mess. The mess often has the form of what he will probably think like when he is a grown man, but the content of what he is like as a little boy.

Sunday, April 22


People are finding my blog
Googling 'nude hotties playing chess' and I'm feeling
like a Traumatic Brain Injury patient
when confronted with this one ex.

The memory problems
and the difficulty controlling
organizing emotion
thoughts. Frenetic without tactic

feels like life. The locus of control
shifts. I used to have it here in here
in my hands, cupped together, clapping around a ball
keeping it like a moth
with erratic dust
tickling palms like they were arches of feet.

There is no -real- why to it
when a visceral feeling occurs.

Do you draw distinctions between thinking and feeling?

Is feeling just thinking you do passively, thinking you do beyond your control or intent? Thinking that occurs as does weather? I don't know.

The chill that dumps down your throat through to the stomach's lower trampoline, causing it to sag
down to the yard, the way the top of your head floats off.

I understand then that I am an animal
that is, the brain did not evolve for propriety at weddings.

Trauma is an emotional food poisoning I guess.
But these visceral reactions, how do you debug
someone's homophobic repulsion,
someone's visceral fear/rage toward a gender,
aren't these grounded in the same? I guess these are the things I'm interested in the programming and deprogramming of, mostly. The feelings which are both so a) automatic and b) visceral/bodily that they are, for the individual, akin to truth. How do you change a mind when what needs to be changed is more an [mal/]adaptive function of the mind, rather than a stance the mind actively holds?

The frustration here
is not unlike a lot
of the frustration/malaise/weariness I've been feeling with regards to life
choices/making the right ones. Am I doing
The Right Thing pursuing and MFA when I really have very few "skills" as it is? Am I really actually
in any position to be doing what I'm doing? How responsible am I for the phenomena occurring exterior to my person? How responsible am I for the phenomena occurring interior to my person?  I used to think more
of myself.