If I Wanted A Boat

I would want a boat, if I wanted a
boat, that bounded hard on the waves,
that didn’t know starboard from port
and wouldn’t learn, that welcomed
dolphins and headed straight for the
whales, that, when rocks were close,
would slide in for a touch or two,
that wouldn’t keep land in sight and
went fast, that leaped into the spray.
What kind of life is it always to plan
and do, to promise and finish, to wish
for the near and the safe? Yes, by the
heavens, if I wanted a boat I would want
a boat I couldn’t steer.
-Mary Oliver

Oscar Rights And Wrongs

Best Picture- What won- Spotlight. A great film, no argument there but the film that critics loved and people came out in droves to see was Mad Max: Fury Road. Not only a superb piece of cinema but harmonic with the zeitgeist.

Best Actress- Who won- Brie Larson. Absolutely deserved for a magnificent performance in Room. The other nominees' performances are all relatively routine although there were some very interesting lead performances this year- Lily Tomlin in Grandma, Kitana Kiki Rodriguez in Tangerine, Charlize Theron in Mad Max: Fury Road, Teyonah Parris in Chi-Raq to name a few.

Best Actor- Who won- Leo DiCaprio. Certainly deserving, not for The Revenant which did not require much actual craft but for The Aviator and The Departed. The other nominees are all pretty negligible, familiar performances in standard awards season fair. Two majorly deserving male lead performances passed over this year were Samuel L. Jackson in The Hateful Eight and Michael B. Jordan in Creed.

Supporting Actress- Who won- Alicia Vikander for The Danish Girl. Who should have won- Alicia Vikander for Ex Machina. A much more complex, nuanced, difficult performance. Although not nominated Joan Allen in Room certainly should have been in contention, an under seen and under acknowledged turn.

Supporting Actor- Who won- Mark Rylance. A relative unknown who put in a "quiet" "understated" performance in the outmoded Bridge Of Spies. Who should have won- Sylvester Stallone. Not only is the actor a genre pioneer with a career that spans half a century and counting, an honest-to-goodness American legend, his performance in Creed is his best incarnation of Rocky since the original. A layered, emotional, compassionate performance. Criminally overlooked.

Adapted Screenplay- What won- The Big Short. It's a good film worthy of recognition especially given the care and precision with which Adam McKay translates and makes palatable the confusing financial ins-and-outs, well deserved validation for McKay as an artist capable far beyond broad comedy.

Original Screenplay- What won- Spotlight. Its a great film and deserving of recognition from the incredible ensemble cast to the tight, concise, compelling narrative. Devoid of flash, delivering substance. It would have been just however for Ex Machina to get some love for a script so imaginative, rich, and unique.

Documentary- What won- Amy. Amy is exploitative and thin, more a reveling in the deceased artist's addiction rather than a celebration of her creative contribution. What should have won- The Look Of Silence. Oppenheimer should have been honored in 2013 for The Act Of Killing but his follow up if not as sensational is dark, dangerous, and contemplative. An investigation of a real world issue exploring repugnant evil and stunning courage in equal measure.

Live-Action Short- What won- Stutterer. Easy to follow with predictable resolution, a pretentiously "quirky" love story. What should have won- Day One. A film by an Iraq War veteran, personal, poignant, and both bleak and hopeful. Way more stakes and relevance then the other pedestrian nominees.

Animated Short- What won- Bear Story. Interestingly animated and melancholic Bear Story is not unworthy of recognition but in a competition as competitive as this one was it did not necessarily distinguish itself. What should have won- World Of Tomorrow. Easily the most engaging, thought-provoking, and unique of all the nominees. Packed with insight, regret, humor, and a prescient look at the possible future it was head and shoulders above its fellow nominees.

Dear March - Come in

Dear March - Come in -
How glad I am -
I hoped for you before -
Put down your Hat -
You must have walked -
How out of Breath you are -
Dear March, how are you, and the Rest -
Did you leave Nature well -
Oh March, Come right upstairs with me -
I have so much to tell -

I got your Letter, and the Birds -
The Maples never knew that you were coming -
I declare - how Red their Faces grew -      
But March, forgive me -
And all those Hills you left for me to Hue -
There was no Purple suitable -
You took it all with you -      
 
Who knocks? That April -
Lock the Door -
I will not be pursued -
He stayed away a Year to call
When I am occupied -      
But trifles look so trivial
As soon as you have come

That blame is just as dear as Praise
And Praise as mere as Blame -
-Emily Dickinson

'Gods Of Egypt' A Review

Gods Of Egypt is a fantasy movie revolving around the ancient Egyptian pantheon. During the coronation of Horus(Nikolaj Coster-Waldau) as the new king, the crown passed on by his father Osiris, big bad uncle Set(Gerard Butler) interrupts the ceremonies, kills Osiris, blinds Horus, and seizes the crown. Some time later with the help of gregarious thief Bek(Brenton Thwaites) Horus sets out to regain his eyes and his crown.

First things first- the casting is offensive. Call it Hollywood white-washing or brown-face it is mystifying this type of casting practice is still prevalent. Not only are white actors playing Egyptians and Egyptian gods none of them do it particularly well. But, and there is a big but, in some ways that is kind of immaterial or at least can be pardoned because of how deliciously insane the action is and how lavish and vivid the visuals are. Ten foot tall gods turn into fifteen foot tall metallic animal hybrids, two beautiful snake-women ride two giant fire breathing cobras, golden clad gods bleed gold, the sun god Ra flying in a space boat around a flat earth towing the sun and fighting a intergalactic smoke worm, on and on. It's almost as if its propelled by its own internal chaotic madness rather than the paper-thin plot.

The cast has accent problems and struggles with the clunky script but the incredibly imaginative production design and frenetic kaleidoscopic action make for a fun crazy ride.

Questionable but bizarrely delighting.

Rent It.

'Crouching Tiger, Hidden Dragon: Sword of Destiny' A Review

Crouching Tiger, Hidden Dragon: Sword of Destiny is a martial arts movie, a sequel to the 2000 original. After the death of Sir Te, steward of the fabled sword Green Destiny, Yu Shu Lien(Michelle Yeoh) has come out of seclusion to pay her respects. A blind enchantress(Eugenia Yuan) convinces local warlord Hades Dai(Jason Scott Lee) that now's the time to go after the fabled blade, he sends Wei-Fang(Harry Shum, Jr.) who is quickly captured by Lien's new student Snow Vase(Natasha Liu Bordizzo). Silent Wolf(Donnie Yen), a former lover of Lien's who she thought dead, comes along with a group of warriors to bolster defense against the warlord's inevitable follow up attack.

The most jarring thing about all the performances is that they're in English. Although mostly passable the fact the dialogue isn't in Chinese is incredibly distracting and makes for some odd tonal inconsistencies. Yeoh is decent in a return to her role from the original and the remaining actors are serviceable however there's a lack of inspiration and energy running throughout the entire cast. This may be a direct result of the erratic nature of the script which jumps from melodrama to action to broad comedy with no seeming motivation or purpose.

The action sequences are staged with appropriate and pleasing flourish but they lack the poetry of the original, more functional than cinematic. They are further diminished by the lack of depth in the characters who participate in them. The plot is but a thin regurgitation of the original without any of the balletic visuals or emotional depth.

Pedestrian and plodding.

Don't See It.

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"In the end, all that time I spent in the 'Star Wars' universe fostered galaxies of creativity and made me a better person here on Earth, because it taught me that everyone counts. That's why I can sincerely and with a straight face say: 'May the Force be with you.'" -Chris Hardwick

"I'm a 'Clash of the Titans'/'Star Wars' baby. I'm not a new 'Star Wars' baby. I'm not an 'Avatar' baby. That full CG doesn't work for me. I need interactivity. I need to feel the goo. I need to feel people coming out of animatronics and just interacting with props." -Louis Leterrier

"I never got into 'Star Wars.' Maybe because they made no attempt to portray real physics. At all." -Neil deGrasse Tyson

"'Star Wars' hasn't changed my life at all." -Natalie Portman

SaMi

A drunken night
six years ago
I had not expected
to see you there,
did not know
you were in town
from faraway Detroit
where you were
involved in some
questionable
real estate endeavor.

We drank much
and quickly you
brought up the past
the tape I made you
some ten years before
when both of us
were but awkward teens,
your ridicule
was sharp
and severe
the litany of
songs you recalled
with such scorn
successive blows
to my pride
and perception.

I thought us friends
and your thinly veiled
resentment seeming
undiminished by the years
left me shocked
and chastised.
I fled
six years ago
and haven't seen you since.

Unexpected
the memory returns
aftershocks of shame and confusion.

'The Witch' A Review

The Witch is a period horror film set in 1630 about a puritan family in New England that is exiled from their community for the patriarchs pride. The isolated family sets up a farm on the edge of a forest. While eldest child Thomasin(Anya Taylor-Joy) is playing peek-a-boo with her baby brother he is mysteriously stolen. The culprit is quickly revealed to be a witch who lurks in the forest however her true identity is unclear. As strange events mount the family suffers under rising tensions and panic.

Taylor-Joy as the lead give a decent performance, engaging if not altogether authentic. Ralph Ineson and Kate Dickie as the father and mother provide compelling enough turns, Ineson especially aided by his raspy voice and the period language. Harvey Scrimshaw as Caleb is the weakest link falling short of believability through most of his screen time. All the aforementioned portrayals suffer from a nagging sense of artifice, the twins of the family played by Ellie Grainger and Lucas Dawson however have no such handicap. The twins embody and seem to relish the spirit of the creeping terror tale, a rival to the hall of fame horror twins of The Shining.

The period language, eerie score, and haunting landscapes do much to enhance the already palpable mood created by the piece however there is something over familiar that detracts from the intended fright. Perhaps because the Salem witch trials are such a part of the fabric of American legend that this seemingly by-the-numbers depiction of that eras worst fear holds little mystery. The personification of that often reiterated story rather too stock. Certainly there is some terrifying imagery however there is never any suspense about what will happen or where the story will end.

Aesthetically sharp, narratively routine, a retelling with no contemporary insight.

Rent It.

A Fable About Power

Long ago there was a wolf pack that lived in a hollow.

The pack lived peacefully in the hollow for generations.

One day a man came and camped outside the hollow.
The pack met in council to discuss his arrival.
After much debate the wolves decided to let him be.
He did not encroach on the packs territory.
The pack was well fed and prosperous.
As long as the man did not come into the hollow the pack would let him be.
Time passed.
The man built a home and began to farm the land.
He brought a family to him.
The pack met again.
They were concerned however their territory was untouched.
Their hunting undiminished.
The pack continued to thrive. They let the man and his family be.
More time passed.
Many men came to the clearing outside the hollow and set up a town.
The pack met again this time with much contention.
Some wolves urged an attack on the man-village.
Others advised the pack to move on, leave the hollow.
The Elder Wolf spoke last.
"We have lived in this hollow for long and long.
Back and back and back.
If we were to leave where would we go?
Is there a den Man will not come to in time?
We are not murderers we are hunters.
We kill to eat. We cannot attack the man-village.
Such aggression is not of the pack.
We live on as we always have.
Wolves will not break the peace with Man."
And so it was decided.
One night men surrounded the hollow and burnt it to the ground.
Many wolves died and few escaped.

The wolf has fled ever since.

A Reprieve

O' spring, a glimpse of your bashful face brings such relief.
An oasis in the sprawling desert of winter.
We pensive mortals heave a collective sigh.
And for a time wander sun filled streets
without our cold-acquired hunch
Although this unforeseen fugitive day of spring will pass
and more days and weeks of chill lay before us.
This gift, this clemency of warmth has buttressed our flagging spirit.

At no point do we wonder why.
Why has this winter shown such restraint.
Why is it 60 degrees in the middle of frigid February.
No. We do not think of these things.
We enjoy a brief reprieve.

'How To Be Single' A Review

How To Be Single is a romantic comedy about Alice(Dakota Johnson) who breaks up with her college boyfriend after graduation to be single and discover herself. She gets a job in New York City as a paralegal, lives with her older sister Meg(Leslie Mann) an OB/GYN, and befriends fun-loving partyer Robin(Rebel Wilson) who teachers her 'how to be single'.

The cast is packed with some substantive comedic talent but the plot is so convoluted many of the roles don't make sense and many of the characters flounder. Johnson as the lead is a patchwork of 20-something relationship cliches, a serviceable conduit for the mostly illogical and unoriginal script. Wilson brings confidence, energy, and charm as she always does but ultimately she is used only for laughs and her character remains two dimensional. Mann provides the only emotional truth of the film with a sub-plot more engaging than the main. Damon Waynes, Jr., Alison Brie, and Anders Holm, among others, put in serviceable supporting turns but without an overall narrative focus their presence in the film is confused.

A listless meandering narrative clogged with too many threads, populated by trite immature relationship observation.

Don't See It.

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"Nothing can stop the man with the right mental attitude from achieving his goal; nothing on earth can help the man with the wrong mental attitude." -Thomas Jefferson

"Don't let fear or insecurity stop you from trying new things. Believe in yourself. Do what you love. And most importantly, be kind to others, even if you don't like them." -Stacy London

"Musicians don't retire; they stop when there's no more music in them." -Louis Armstrong

Lethargy

And there are times
when the lure of the couch
is too strong to resist
and laying comfortably supine
seems the only recourse
for a weary working man
ingesting fried chicken bits
and cubed fruits
accompanied by a
competition based cooking show.

An evening spent in rejuvenation,
necessary but mundane.

'Ex-Heroes' A Recommendation

Ex-Heroes is the first in a series of fantasy books that combines the zombie apocalypse and superheroes. Inspired by comic books and horror movies the series is an amalgamation of allusions and influence that come together to create something unique and engaging.

Fast paced and action-packed the books utilize a non-linear plot structure jumping back and forth from past to present providing exposition and maintaining brisk narrative progress. The books also provide compelling character development for its group of heroes rotating through their perspectives in alternating chapters.

The problems that face the heroes are, of course, supervillains, but also the administrative issues facing a survivors community and their various basic needs- food, water, and safety. These two conflicts weave together in each book to evoke a degree of reality that serves the already entertaining framework of the story.

Ex-Heroes is followed by Ex-Patriots, Ex-Communication, Ex-Purgatory and the recent Ex-Isle. All worthy fun reads for the genre fan.

A Parable About Addiction

There once was a boy who had a pet rat.
He'd play with it after school and on the weekends.
Sometimes the boy would take his rat with him to the movies hiding in his hood.
Other times the rat would come with him when he rode bikes with his friends.
Once the boy tried to take the rat to school with him.
His English teacher spotted the rat in his pocket and sent him home.
The boy and the rat were friends.
They had fun together.
Time passed.
The boy and the rat became increasingly inseparable.
Over time the boy spent more and more time shut up in his room playing with the rat.
They made mazes out of toilet paper rolls and shredded kleenx for hours.
Sometimes the boy would stay up all night with the rat watching TV.
He stopped doing his homework.
He stopped hanging out with his friends.
He stopped going to school.
One day the boy locked his bedroom door and refused to come out.
After the first day the rat was very hungry.
The boy, loving the rat, offered his flesh for the rat to nibble.
Days passed and the rat ate little chunks out of the boy.
The rat got bigger.
The boy got smaller.
Eventually the rat ate the boy all up.
The rat, now large and bloated, slunk out of the house looking for another boy to be his friend.

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"There is a fifth dimension, beyond that which is known to man. It is a dimension as vast as space and as timeless as infinity. It is the middle ground between light and shadow, between science and superstition." -Rod Serling

"Mystery has its own mysteries, and there are gods above gods. We have ours, they have theirs. That is what's known as infinity." -Jean Cocteau

"If the infinity of the sea may call out thus, perhaps when a man is growing old, calls come to him, too, from another infinity still darker and more deeply mysterious; and the more he is wearied by life the dearer are those calls to him." -Henryk Sienkiewicz

A Parable About Contentment

There once was a woman who lived alone in a one bedroom apartment.
She had a job that she liked.
Enough money to pay her bills, save some, and spend some.
She had friends that she would do things with but no best friend.
She went to a gym that she liked and where she felt included and challenged.
Occasionally she would volunteer with various non-profit organizations.
She liked reading, good TV, and  nice restaurants.
She had a bulldog named Bosco who she loved.
She enjoyed her life.
Sometimes her family would pressure her to start a family of her own.
Sometimes her friends would inadvertently do the same.
And perhaps that's something she might like.
But perhaps not.
She kept on doing the things she enjoyed.
She was fulfilled.

There are no requirements for a happy life.
No checklist for contentment.
No formula for success.

We all walk our own path.
All paths lead to the mountaintop.

'Zoolander 2' A Review

Zoolander 2 is a comedy about international male model Derek Zoolander, the sequel to 2001's Zoolander. The film opens on a protracted expositional montage revealing that in the intervening fifteen years Zoolander(Ben Stiller) has lost his wife to a construction accident, his son to child services, and gone into hiding. Zoolander's BFF Hansel(Owen Wilson) has also gone into hiding after being scared by the same construction accident. Both models come out of hiding and retirement at the bequest of Billy Zane who bares an invitation from Alexanya Atoz(Kristin Wiig) to appear in a fashion show designed by newest sensation Don Atari(Kyle Mooney). They are quickly folded into an investigation by the international fashion police headed by Valentina Valencia(Penélope Cruz).

Stiller and Wilson certainly are successful in recreating their characters from the original but those characters, and their corresponding comedy, are out-of-place, unfunny, borderline bizarre within the current context. Wiig is moderately enjoyable in a variant of her unintelligible eastern European and Mooney plays a version of his increasingly tired nerdy hipster that is at least contemporary. The parade of high profile cameos is somewhat entertaining until it becomes apparent they function only as points of recognition rather than actual jokes. Cruz does the best with a bleak script bringing confidence, charm, and playfulness as she always does.

The actors struggle, presumably, because the script is so recycled and bland. In 2001 the subject matter being parodied seemed almost dated now in 2016 the premise the jokes are contextualized in is virtually lifeless. The numerous swipes and riffs on fashion, technology, and sexuality are meaningless. The humor is actually as dated as Zoolander and Hansel are accused of being. The jilted off base humor on top of an incredibly convoluted(albeit well funded and well shot) international spy type story make for a perplexing and disappointing film. Stiller as a 50 year old man is dipping back into the same comedic well he did as a 30 year old and it doesn't work. There is no evolution or progression of the character or humor.

Dull, derivative, boringly absurd.

Don't See It.

'Deadpool' A Review

Deadpool is a superhero action/comedy based on the titular Marvel merc-with-a-mouth. The film opens on Deadpool(Ryan Reynolds) on his way to confront Francis aka Ajax(Ed Skrein) and exact revenge. During the gruesome shootout action is paused periodically by Deadpool who then narrates flashbacks of what is essentially his origin story- after falling in love with Vanessa(Morena Baccarin) the then Wade Wilson is diagnosed with cancer, he volunteers for an experimental procedure which cures him but leaves him horribly scared. The flashbacks comprise two thirds of the film, the latter third is the inevitable confrontation(with the bad guy) and reconciliation(with Vanessa).

Certainly good looking and charming Reynolds has never displayed anything like range. Fortunately Deadpool lies directly in his sweetspot. Reynolds hasn't played a part more suited to his actual abilities since his breakout stint in Two Guys, a Girl, and a Pizza Place and as the eponymous Van in Van Wilder. It's a good fit and Reynolds is funny and physically capable to pull it off. He is less successful when he attempts to bring unnecessary heart to the insane bawdy character. Baccarin is wasted as the two dimensional prostitute turned girlfriend, although it is nice to see her on the big screen. Skrein as the villain is pedestrian. T.J. Miller is funny as the bartender/psuedo-sidekick but seems to serve no purpose save additional comic relief. Reynolds does a decent job as the lead while the remaining cast seems to simply fill holes and hit marks, not bad exactly just transparently utilitarian.

The raunch, the comedy, the fourth-wall breaking bring an element of freshness to the Marvel-verse but Deadpool is still hamstrung by its superhero/origin-story conventions. The film feels different but only in comparison to the glutton of rote comic book fare.

Better than Ant-Man but not by much.

Rent It.

Read The Streets

Each city has a pulse
its streets veins,
its denizens
white and red blood cells
moving up and down the arteries
of public transit,
its blood pressure
the waxing waning
metropolistic tension
which citizens come to intuit
like prophetic tea leaves,
its heart rate
the oscillating metronome
of potential dangers
and prospective pleasures
splayed out on the public way.

One municipal organism
unified by struggle and desire
under the capricious
Chicago Pantheon.

When You Are Old

When you are old and gray and full of sleep
And nodding by the fire, take down this book,
And slowly read, and dream of the soft look
Your eyes had once, and of their shadows deep;

How many loved your moments of glad grace,
And loved your beauty with love false or true;
But one man loved the pilgrim soul in you,
And loved the sorrows of your changing face.

And bending down beside the glowing bars,
Murmur, a little sadly, how love fled
And paced upon the mountains overhead,
And hid his face amid a crowd of stars.
-William Butler Yeats

'Day One' A Review

Day One is an Oscar nominated short film about the first day of US Army translator Feda(Layla Alizada) in Afghanistan. Feda is sent out with a squad to investigate a suspected terrorist. During the operation the suspect wife goes into labor and Feda must deliver the baby.

Frenetic and at times overwhelming the film has the feeling of the front. Feda is the lead and audience surrogate- confused, conflicted, and scared. Although brief, 25 minutes, a layered and compelling story unfolds. Cultures clash and gender is explored in this bizarre pseudo-family microcosm within the broader Afghan struggle. The war provides a backdrop which requires almost instant intimacy.

Heartbreaking and empowering. In theaters now as part of the Oscar nominated shorts presentation.

See It.

Badlands Haiku 2

The End Of Trail

when exploration ceases.

Why can't I go on?

Unbelief

For most of my life I was an agnostic. I was raised Lutheran but that system of belief and faith never really penetrated beyond the superficial. As I've gotten older, through the course of living and some specific experiences, I've come to believe in something greater, something beyond the physical explainable world. Although I don't practice any religion or believe in any of their major systems of belief I now have a spiritual dimension to my life that I didn't have previously.

What I've come to discover after actively believing in nothing then actively believing in something is that unbelief requires just as much effort as belief. That faith demands the same attention as doubt. The practice of spirituality requires some sort of action be it prayer, meditation, what have you, so does skepticism and that can look like declarations of unbelief i.e. "I don't believe in anything" "I don't know" "I don't believe or disbelieve" or the more nebulous energy it takes to maintain a worldview that is unsupported by any spiritual dimension i.e. nothing happens for a reason, man is the only arbiter of circumstance and is only effected by external(economic, social, political) forces.

Not to say one is right or wrong simply that both are choices and necessitate similar levels of energy to maintain. Certainly belief in something and some kind of spiritual practice appears to demand more because you are, most likely, engaging in some kind of routine or ritual. But the more vague unbelief also requires thought, time, and consideration relating, justifying, explaining, and rationalizing the physical world.

For me belief has been much more productive and enlightening than unbelief. I can now move through life with some assurance and grace, can handle aggravating or overwhelming experiences or situations with some level of patience, have recourse and action I can take when I feel irritable or unbalanced. When I believed in nothing I was frequently at the whim of outside forces, my mood and my happiness dependent upon external validation and affirmation, because of that I was frequently prey to fear and anger. The world can be cruel and isolating when you rely solely on it for comfort and growth.

Spirituality and worship do not have to follow one of the prescribed religions. It can take any form, be totally personal, defined and outlined only by your personal conception. Regardless of what it is I suggest belief is more beneficial than unbelief, allows for not only contentment but transformation.

'Hail, Caesar!' A Review

Hail, Caesar! is a period comedy from the Coen Brothers. Set in an unspecified year post WWII pre-60's, we follow a day in the life of Hollywood studio fixer Eddie Mannix(Josh Brolin). Mannix contends with transitioning singing cowboy Hobie Doyle(Alden Ehrenreich) from westerns to period drama, the pregnancy of unmarried star DeeAnna Moran(Scarlett Johansson), the disappearance of religious epic Hail, Caesar! lead Baird Whitlock(George Clooney), an offer to leave show business from the Lockheed Corporation, on and on.

Brolin as the grizzled Hollywood vet anchors the film with an assurance that has humor but also weight. Ehrenreich puts in a surprisingly charming performance, open and earnest. The parade of cameos range from mildly amusing(Christopher Lambert, Wayne Knight) to incredible(Ralph Finnes as period drama director Laurence Laurentz coaching Ehrenreich's Doyle through a line reading is probably the funniest scene of the Coen's career, Channing Tatum in an all sailor song and dance number). There's an element of presentation to all the performances each, for the most part, embodying some old-Hollywood caricature or sending-up some showbiz archetype. Despite some of the farce and absurdity the film never goes off the rails and the actors never lose believability.

Hail, Caesar! doesn't have much of a story to speak of and what narrative it has is pretty meandering, seemingly unimportant, and heads to an ambiguous non-conclusion. Even so there is some interesting commentary on religion, filmmaking, and economics. As well as numerous enlivening contradictions.

Not totally cogent but very playful and fun.

See It.

Playground Architect

Inspiration for the most part isn't something that strikes like a lightening bolt, unsought and without effort. Different mediums require different degrees of diligence and discipline in order to be open to, seek out, process, and implement whatever myriad of things might jump-start the discovery of an idea. With writing it can take the combination of a kind of constant pursuit as well as idea gestation, which I've gone into previously, to lock down some actionable inspiration. With improv there is a certain amount of preplanning, of preparation, all in real time for the most part, when you assess a scene or situation and evaluate and discard a number of possible options or digressions before making a specific choice or move. But there are those rare moments when things bubble up from no where.

I had one of those moments in the Schwa show last Sunday. Jeannie and I were two loveable nerds in a prom scene where both of us had gone stag, we had this kind of awkward flirty conversation and at one point asked each other what we planned to do after graduation. My response was "I'm going to be a playground architect" which got a laugh and led to a fun scene later on with Craig. Now certainly that isn't particularly revelatory nor was it one of those moments that anyone in the audience will necessarily remember but for me the idea, the profession of "playground architect" just came from no where. I had no idea what I was going to say I reached for something and thats what I found apropos of nothing. As on-the-nose as it may sound it was one of those moments of true inspiration where I didn't force anything, didn't invent anything, I just found what I was looking for out in the creative ether. And that kind of moment feels like magic.

I had a similar experience with the poem I wrote this week. I woke up and the idea and first three stanzas were just kind of there, the afterglow of an apocalyptic dream. This kind of thing is rare enough, at least for me, that its still very exciting and gratifying. Ultimately every artist/creative person needs to develop a discipline with how they create content, a routine of input and output. A habit of looking for inspiration everywhere, with this default awareness in place you are more susceptible to those rare calls of the muse.

"I decided that it was not wisdom that enabled poets to write their poetry, but a kind of instinct or inspiration, such as you find in seers and prophets who deliver all their sublime messages without knowing in the least what they mean." -Socrates

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"As an adolescent, I went to charm school, where I learned to pour tea and relate to boys, which, as I recall, meant giving them the pickle jar to unscrew, whether it was too hard for me or not." -Sue Monk Kidd

"I don't want a pickle, just want to ride on my motorsickle." -Arlo Guthrie

"Guys, there's only one thing I hate more than bloggers who start sentences with 'guys' - and it's those mealy-mouth hipsters who crochet codpieces and their ye-olde-sideburned friends who pickle stuff and slaughter their own gluten-free goats." -Jill Soloway

"I don't believe in storks. I know they don't deliver babies; they deliver pickles." -Tracy Morgan

Apocalypse

One day
at a time
slow and steady
a sober climb

just us two
left alone
the world is one
vacant thrown

empty houses
lonely towers
nature flaunts
her cruel power

the old way
is dead and gone
the new Earth
an Amazon

whose to say
what'll come our way
we survive
come what may

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A boy from street artist Birdcap.

"I was such a sullen, angry, sad kid. I'm sure there are writers who have had happy childhoods, but what are you going to write about? No ghosts, no fear. I'm very happy that I had an unhappy and uncomfortable childhood." -Isabel Allende

"There is always one moment in childhood when the door opens and lets the future in." -Graham Greene

"I think I meant that, given the circumstances of my childhood, I had the illusion that it's easier to be alone. To have your relationships be casual and also to pose as a solitary person, because it was more romantic. You know, I was raised on the idea of the ramblin' man and the loner." -Steve Martin