Reds Film Quotes

If we were in a film, the villain would turn out to be the least-expected person. But as we aren’t in a film, I’d go for the character who tried to strangle you.

And I want to play hide-and-seek and give you my clothes and tell you I like your shoes and sit on the steps while you take a bath and massage your neck and kiss your feet and hold your hand and go for a meal and not mind when you eat my food and meet you at Rudy's and talk about the day and type up your letters and carry your boxes and laugh at your paranoia and give you tapes you don't listen to and watch great films and watch terrible films and complain about the radio and take pictures of you when you're sleeping and get up to fetch you coffee and bagels and Danish and go to Florent and drink coffee at midnight and have you steal my cigarettes and never be able to find a match and tell you about the tv programme I saw the night before and take you to the eye hospital and not laugh at your jokes and want you in the morning but let you sleep for a while and kiss your back and stroke your skin and tell you how much I love your hair your eyes your lips your neck your breasts your arse your and sit on the steps smoking till your neighbour comes home and sit on the steps smoking till you come home and worry when you're late and be amazed when you're early and give you sunflowers and go to your party and dance till I'm black and be sorry when I'm wrong and happy when you forgive me and look at your photos and wish I'd known you forever and hear your voice in my ear and feel your skin on my skin and get scared when you're angry and your eye has gone red and the other eye blue and your hair to the left and your face oriental and tell you you're gorgeous and hug you when you're anxious and hold you when you hurt and want you when I smell you and offend you when I touch you and whimper when I'm next to you and whimper when I'm not and dribble on your breast and smother you in the night and get cold when you take the blanket and hot when you don't and melt when you smile and dissolve when you laugh and not understand why you think I'm rejecting you when I'm not rejecting you and wonder how you could think I'd ever reject you and wonder who you are but accept you anyway and tell you about the tree angel enchanted forest boy who flew across the ocean because he loved you and write poems for you and wonder why you don't believe me and have a feeling so deep I can't find words for it and want to buy you a kitten I'd get jealous of because it would get more attention than me and keep you in bed when you have to go and cry like a baby when you finally do and get rid of the roaches and buy you presents you don't want and take them away again and ask you to marry me and you say no again but keep on asking because though you think I don't mean it I do always have from the first time I asked you and wander the city thinking it's empty without you and want what you want and think I'm losing myself but know I'm safe with you and tell you the worst of me and try to give you the best of me because you don't deserve any less and answer your questions when I'd rather not and tell you the truth when I really don't want to and try to be honest because I know you prefer it and think it's all over but hang on in for just ten more minutes before you throw me out of your life and forget who I am and try to get closer to you because it's beautiful learning to know you and well worth the effort and speak German to you badly and Hebrew to you worse and make love with you at three in the morning and somehow somehow somehow communicate some of the overwhelming undying overpowering unconditional all-encompassing heart-enriching mind-expanding on-going never-ending love I have for you.

The film image of a dead child dressed in blood-red floating, Ophelia-like, in "Don’t Look Now" swam before her eyes. It must be some kind of diabolical threat!

Our nation was born in genocide when it embraced the doctrine that the original American, the Indian, was an inferior race. Even before there were large numbers of Negroes on our shore, the scar of racial hatred had already disfigured colonial society. From the sixteenth century forward, blood flowed in battles over racial supremacy. We are perhaps the only nation which tried as a matter of national policy to wipe out its indigenous population. Moreover, we elevated that tragic experience into a noble crusade. Indeed, even today we have not permitted ourselves to reject or feel remorse for this shameful episode. Our literature, our films, our drama, our folklore all exalt it. Our children are still taught to respect the violence which reduced a red-skinned people of an earlier culture into a few fragmented groups herded into impoverished reservations.

you must wear it like she wears disappointment on her face you must hide the surprise of tasting other men on your lips your mother is a woman and women like her cannot be contained. you find the black tube inside her beauty case, where she keeps your fathers old prison letters, you desperately want to look like her film star beauty, you hold your hand against your throat your mother was most beautiful when sprawled out on the floor half naked and bleeding. you go to the bathroom to apply the lipstick, somewhere no one can find you your teeth look brittle against the deep red slickness you smile like an infant, your mouth is a wound you look nothing like your mother you look everything like your mother. you call your ex boyfriend, sit on the toilet seat and listen to the phone ring, when he picks up you say his name slow he says i thought i told you to stop calling me you lick your lips, you taste like years of being alone.

I've always been a quitter. I quit the Boy Scouts, the glee club, the marching band. Gave up my paper route, turned my back on the church, stuffed the basketball team. I dropped out of college, sidestepped the army with a 4-F on the grounds of mental instability, went back to school, made a go of it, entered a Ph.D. program in nineteenth-century British literature, sat in the front row, took notes assiduously, bought a pair of horn-rims, and quit on the eve of my comprehensive exams. I got married, separated, divorced. Quit smoking, quit jogging, quit eating red meat. I quit jobs: digging graves, pumping gas, selling insurance, showing pornographic films in an art theater in Boston. When I was nineteen I made frantic love to a pinch-faced, sack-bosomed girl I'd known from high school. She got pregnant. I quit town.

I read a lot. I listen a lot. I think a lot. But so little remains. The books I read, their plots, their protagonists fade. The university lectures that I had found pretty impressive on first hearing, have faded away. Now I am listening to one on Pirandello. Names of people, books, cities. They are already fading away. Even the titles of films I’ve seen recently — they have already faded. Authors of thousands of books I’ve read... All that remains are the colours of their bindings, their covers. I don’t remember much about Beauty and the Beast, but I remember clearly, vividly the hear of the day as we were crossing the Rhine bridge, to see the film. Everything that I see, or red, or listen to, connects, translates into moods, bits of surroundings, colors. No, I am not a novelist. No precision of observation, detail. With me, everything is mood, mood, or else —simply nothingness.

Raegan and I were on the opposite side of town, strutting across the gravel lot of the Red Door, slowly and in unison, as if we were being filmed while walking to a badass soundtrack.

Either you're going to shoot us or you're not. The ball always lands on red or black, never both.

Nobody went to bed at seven in Paris, even French children. Les enfants stayed up late at night, he had heard, eating with the adults, sipping red wine, and discussing the latest books and films.

You love because you want to need someone the way you did when you were a child, and have them need you too. You eat well because the intensity of taste reminds you of a need satisfied, a pain relieved. The finest paintings are nothing more than the red head of a flower, nodding in the breeze, when you were two years old; the most exciting film is just the way everything was, back in the days when you stared goggle-eyed at the whirling chaos all around you. All these things do is get the adult to shut up for a while, to open for just a moment a tiny sliding window in the cell deep inside, letting the pallid child peep hungrily out and drink the world in before darkness falls again.

She walks into my life legs first, a long drink of water in the desert of my thirties. Her shoes are red; her eyes are green. She's an Italian flag in occupied territory, and I fall for her like Paris. She mixes my metaphors like a martini and serves up my heart tartare. They all do. Every time. They have to. It's that kind of story.

Off To The Races" My old man is a bad man but I can't deny the way he holds my hand And he grabs me, he has me by my heart He doesn't mind I have a Las Vegas past He doesn't mind I have an LA crass way about me He loves me with every beat of his cocaine heart Swimming pool glimmering darling White bikini off with my red nail polish Watch me in the swimming pool bright blue ripples you Sitting sipping on your black Cristal Oh yeah Light of my life, fire of my loins Be a good baby, do what I want Light of my life, fire of my loins Give me them gold coins, gimme them coins And I'm off to the races, cases of Bacardi chasers Chasing me all over town Cause he knows I'm wasted, facing Time again at Riker's Island and I won't get out Because I'm crazy, baby I need you to come here and save me I'm your little scarlet, starlet singing in the garden Kiss me on my open mouth Ready for you My old man is a tough man but He's got a soul as sweet as blood red jam And he shows me, he knows me Every inch of my tar black soul He doesn't mind I have a flat broke down life In fact he says he thinks it's why he might like about me Admires me, the way I roll like a Rolling Stone Likes to watch me in the glass room bathroom, Chateau Marmont Slippin' on my red dress, puttin' on my makeup Glass film, perfume, cognac, lilac Fumes, says it feels like heaven to him Light of his life, fire of his loins Keep me forever, tell me you own me Light of your life, fire of your loins Tell me you own me, gimme them coins And I'm off to the races, cases of Bacardi chasers Chasing me all over town Cause he knows I'm wasted, facing Time again at Riker's Island and I won't get out Because I'm crazy, baby I need you to come here and save me I'm your little scarlet, starlet singing in the garden Kiss me on my open mouth Now I'm off to the races, laces Leather on my waist is tight and I am fallin' down I can see your face is shameless, Cipriani's basement Love you but I'm going down God I'm so crazy, baby, I'm sorry that I'm misbehaving I'm your little harlot, starlet, Queen of Coney Island Raising hell all over town Sorry 'bout it My old man is a thief and I'm gonna stay and pray with him 'til the end But I trust in the decision of the Lord to watch over us Take him when he may, if he may I'm not afraid to say that I'd die without him Who else is gonna put up with me this way? I need you, I breathe you, I never leave you They would rue the day I was alone without you You're lying with your gold chain on, cigar hanging from your lips I said "Hon' you never looked so beautiful as you do now, my man." And we're off to the races, places Ready, set the gate is down and now we're goin' in To Las Vegas chaos, Casino Oasis, honey it is time to spin Boy you're so crazy, baby, I love you forever not maybe You are my one true love, you are my one true love You are my one true love

Frau Stöhr, however, who happened to be sitting not all that far from the trio, had apparently abandoned herself to the film; her red, uneducated face was contorted with pleasure.

Deeply moved, she poured the tea while they were finishing up. They came into the kitchen to replace the cleaning things, and she handed two cups to Om. Noticing the red rose borders, he started to point out her error, "The pink one's for us," then stopped. Her face told him she was aware of it. "What?" she asked, taking the pink cup for herself, "Is something wrong?" "Nothing," his voice caught . He turned away, hoping she did not see the film of water glaze his eyes.

On her head perched a pillbox hat with an absurd little veil. She'd pulled the dotted veil up out of her eyes, but not completely - it hung lopsidedly, dangling over her right brow. Her dark brown dress was filmed with dust she'd raised, and dust caught on her damp cheeks. One lock of hair had escaped her coiffure, a red snake dancing down her bodice. She was delightfully mussed, and dear God, he wanted her.

Then, unprompted, Henry says into the stretching stillness, “Return of the Jedi.” A beat. “What?” “To answer your question,” Henry says. “Yes, I do like Star Wars, and my favorite is Return of the Jedi.” “Oh,” Alex says. “Wow, you’re wrong.” Henry huffs out the tiniest, most poshly indignant puff of air. It smells minty. Alex resists the urge to throw another elbow. “How can I be wrong about my own favorite? It’s a personal truth.” “It’s a personal truth that is wrong and bad.” “Which do you prefer, then? Please show me the error of my ways.” “Okay, Empire.” Henry sniffs. “So dark, though.” “Yeah, which is what makes it good,” Alex says. “It’s the most thematically complex. It’s got the Han and Leia kiss in it, you meet Yoda, Han is at the top of his game, fucking Lando Calrissian, and the best twist in cinematic history. What does Jedi have? Fuckin’ Ewoks.” “Ewoks are iconic.” “Ewoks are stupid.” “But Endor.” “But Hoth. There’s a reason people always call the best, grittiest installment of a trilogy the Empire of the series.” “And I can appreciate that. But isn’t there something to be valued in a happy ending as well?” “Spoken like a true Prince Charming.” “I’m only saying, I like the resolution of Jedi. It ties everything up nicely. And the overall theme you’re intended to take away from the films is hope and love and … er, you know, all that. Which is what Jedi leaves you with a sense of most of all.

Somehow I feel that an ordinary person–the man in the street if you like–is a more challenging subject for exploration than people in the heroic mold. It is the half shades, the hardly audible notes that I want to capture and explore. […] My films are about human beings, human relationships, and social problems. I think it is possible for everyone to relate to these issues. On a certain level, foreign audiences can appreciate Indian works, but many details are missed. For example, when they see a woman with a red spot on her forehead, they don’t know that this is a sign showing that she is married, or that a woman dressed in a white sari is a widow. Indian audiences understand this at once; it is self-evident for them. So, on certain level, the cultural gap is too wide. But on a psychological level, on the level of social relations, it is possible to relate. I think I have been able to cross the barrier between cultures. My films are made for an Indian audience, but I think they have bridged the gap.

but was this funny? was this funny? was this funny? why was this funny? why was Sugar Kane funny? why were men dressed as women funny? why were men made up as women funny? why were men staggering in high heels funny? why was Sugar Kane funny, was Sugar Kane the supreme female impersonator? was this funny? why was this funny? why is female funny? why were people going to laugh at Sugar Kane & fall in love with Sugar Kane? why, another time? why would Sugar Kane Kovalchick girl ukulelist be such a box office success in America? why dazzling-blond girl ukulelist alcoholic Sugar Kane Kovalchick a success? why Some Like It Hot a masterpiece? why Monroe's masterpiece? why Monroe's most commercial movie? why did they love her? why when her life was in shreds like clawed silk? why when her life was in pieces like smashed glass? why when her insides had bled out? why when her insides had been scooped out? why when she carried poison in her womb? why when her head was ringing with pain? her mouth stinging with red ants? why when everybody on the set of the film hated her? resented her? feared her? why when she was drowning before their eyes? I wanna be loved by you boop boopie do! why was Sugar Kane Kovalchick of Sweet Sue's Society Syncopaters so seductive? I wanna be kissed by nobody else but you I wanna! I wanna! I wanna be loved by you alone but why? why was Marilyn so funny? why did the world adore Marilyn? who despised herself? was that why? why did the world love Marilyn? why when Marilyn had killed her baby? why when Marilyn had killed her babies? why did the world want to fuck Marilyn? why did the world want to fuck fuck fuck Marilyn? why did the world want to jam itself to the bloody hilt like a great tumescent sword in Marilyn? was it a riddle? was it a warning? was it just another joke? I wanna be loved by you boop boopie do nobody else but you nobody else but you nobody else

For anyone who wants to understand the art of storytelling, this film [The Hunt for Red October] should suffice; one wonders why universities persist in teaching narrative principles on the basis of Propp, Greimas or other such punishing curricula, instead of investing in a projection room. Premise, plot, protagonists, adventures, quest, heroes and other stimulants: all you need is Sean Connery in the uniform of a Russian submarine officer and a few well-placed aircraft carriers.

Suppose every photo of me ever taken was an infinitesimal piece? Every magazine ad, every negative, every frame of motion picture film - another tiny molecule of me, stolen away to feed an audience that is *never* satiated. And when someone is fully consumed - vampirized - they move on, still hungry, to pick their next victim by making him or her a star. That's why they're called consumers. ("Red Light")

In your country, if you are not scared enough already, you can go to watch a horror film... For me and the girls from my village, horror is a disease and we are sick with it. it is not an illness you can cure yourself of my standing up and letting the big red cinema seat fold itself up behind you. That would be a good trick... But the film in your memory, you cannot walk out of it so easily. Wherever you go it is always playing. So when I say that I am a refugee, you must understand that there is no refuge.

Children are like the zombies I once saw in a film at Dad's. We have to do as we're told and obey like our brains have got eaten.

You don't sell a film by saying you won't show it. There may be secrets too horrible for a man to know and keep his own sanity but that won't go down in Hollywood, Mister.

The time in which we live has unfathomable depths beneath it. Our age is a mere film on the surface of time.

Here it comes," Niten said. The whites of his eyes,his teeth and his tongue had turned blue. "Ready," Prometheus said. Nicholas Flamel touched the green scarab he now wore around his neck and felt it grow warm in his hand.The spell was a simple one,something he had performed a thousand times before, though never on such a large scale. A red-skinned head broke the surface of the water...followed by a second...and a third...and then a fourth head,black and twice as large as the others appeared. Suddenly there were seven heads streaking toward them. "Let's hope no one if filming this," Niten murmered. "No one would believe it anyway." Prometheus grinned. "Seven-headed monsters simply do not exist.If anyone saw it,they'd say it was Photoshopped.

The Ancient Egyptians postulated seven souls.” Top soul (Vicarious), and the first to leave at the moment of death, is Ren the Secret name. This corresponds to my Director. He directs the film of your life from conception to death. The Secret Name is the title of your film. When you die, that's where Ren came in. Second soul (Jambi), and second one off the sinking ship, is Sekem: Energy, Power. LIGHT. The Director gives the orders, Sekem presses the right buttons. Number three (Wings/Days) is Khu, the Guardian Angel. He, she or it is third man out...depicted as flying away across a full moon, a bird with luminous wings and head of light. The sort of thing you might see on a screen in an Indian restaurant in Panama. The Khu is responsible for the subject and can be injured in his defense - but not permanently, since the first three souls are eternal. They go back to Heaven for another vessel. The four remaining souls must take their chances with the subject in the land of the dead. Number four (The Pot) is Ba, the Heart, often treacherous. This is a hawk's body with your face on it, shrunk down to the size of a fist. Many a hero has been brought down, like Samson, by a perfidious Ba. Number five (L.C., Lost Keys, Rosetta Stoned) is Ka, the double, most closely associated with the subject. The Ka, which usually reaches adolescence at the time of bodily death, is the only reliable guide through the Land of the Dead to the Western Lands. Number six (Instension) is Khaibit, the Shadow, Memory, your whole past conditioning from this and other lives. Number seven (Right in Two) is Sekhu, the Remains

We live in a world packed with desensitising forces, that strip the world of magic. The world is full of negativity, but we fight back with positivity. We're inspired by oceans, forests, animals, Marx Brothers films. We can't help but project uplifting vibrations, because we love each other so much and get off on playing together.

People don't usually think about the meaning of the words they say. It seems to them that words convey truth. That when someone hears the word "red" he will think of a ripe raspberry and not a pool of blood. That the word "love" will evoke Shakespeare's sonnets and not the erotic films of Playboy. And they find themselves baffled when the word they've spoken doesn't evoke the right response.

Outside of Piers Morgan’s home is a sign strategically positioned in the front of his property by the walkway. Its bold red-and-white typeface is a warning to all passersby: “Protected By Armed Response Security Systems.” James O’Keefe of Project Veritas discovered the sign as he sought signatures for a petition seeking to rid Hollywood films of all firearms. He took a photo of the sign and asked Morgan via Twitter “Hey, @piersmorgan, can you explain these signs on your Beverly Hills property?” Morgan could not, so he ignored it. While Morgan snores soundly in his bed, he has a security firm keep watch with a firearm and rush to Morgan’s defense if Morgan finds himself under threat. This way Morgan can pretend that he’s against firearms when, really, he’s just outsourced his gun. He is a royalist: He believes that commoners shouldn’t possess firearms, especially Americans. It’s the ultimate hypocrisy: Progressives view firearms as only situationally evil. They’re evil in the hands of anyone other than themselves or their security firms. Don

Fine, fine, everyone’s fine,” said the vampire, a mad gleam in his red eyes, crossing his arms over his chest as Bela Lugosi did in black-and-white films. “Fine as scattered pieces of sand.” She wondered how much effort it had taken him to talk to her the way he had—to, what was it he’d said? Keeping my thoughts clearly ordered—and how crazy he was going to be now, as a result of that strain.

The people came out of their houses and smelled the hot stinging air and covered their noses from it. And the children came out of the houses, but they did not run or shout as they would have done after a rain. Men stood by their fences and looked at the ruined corn, drying fast now, only a little green showing through the film of dust. The men were silent and they did not move often. And the women came out of the houses to stand beside their men - to feel whether this time the men would break. The women studied the men's faces secretly, for the corn could go, as long as something else remained. The children stood near by drawing figures in the dust with bare toes, and the children sent exploring senses out to see whether men and women would break. The children peeked at the faces of the men and women, and then drew careful lines in the dust with their toes. Horses came to the watering troughs and nuzzled the water to clear the surface dust. After a while the faces of the watching men lost their bemused perplexity and became hard and angry and resistant. Then the women knew that they were safe and that there was no break. Then they asked, Whta'll we do? And the men replied, I don't know. but it was all right. The women knew it was all right, and the watching children knew it was all right. Women and children knew deep in themselves that no misfortune was too great to bear if their men were whole. The women went into the houses to their work, and the children began to play, but cautiously at first. As the day went forward the sun became less red. It flared down on the dust-blanketed land. The men sat in the doorways of their houses; their hands were busy with sticks and little rocks. The men sat still - thinking - figuring.

Popular culture became saturated with sex. The new advertising industry quickly discovered the appeal of a provocatively posed woman. Silent movies in the United States contained so much sexual innuendo that the government instituted film censorship in 1910. Even after censorship, movies could get pretty steamy. Young people in the 1920s went to see films like Flaming Youth, advertised as an exposé of “neckers, petters, white kisses, red kisses, pleasure-mad daughters, sensation-craving mothers, by an author who didn’t dare sign his name.

Embryos are like photograph film," said Mr. Foster waggishly, as he pushed open the second door. "They can only stand red light." And in effect the sultry darkness into which the students now followed him was visible and crimson, like the darkness of closed eyes on a summer's afternoon.

Next time -- we will roll out the red carpet for you in the United States of Arabia, my brethren!

Evil Dead film sounds like the Red Hood, but this time the bad red hood.

I’m not naive; I know this is probably a bad idea. And I know a red flag when I see one. But sometimes I’m in the mood for a bit of red.

Say you could view a time lapse film of our planet: what would you see? Transparent images moving through light, “an infinite storm of beauty.” The beginning is swaddled in mists, blasted by random blinding flashes. Lava pours and cools; seas boil and flood. Clouds materialize and shift; now you can see the earth’s face through only random patches of clarity. The land shudders and splits, like pack ice rent by widening lead. Mountains burst up, jutting, and dull and soften before your eyes, clothed in forests like felt. The ice rolls up, grinding green land under water forever; the ice rolls back. Forests erupt and disappear like fairy rings. The ice rolls up- mountains are mowed into lakes, land rises wet from the sea like a surfacing whale- the ice rolls back. A blue-green streaks the highest ridges, a yellow-green spreads from the south like a wave up a strand. A red dye seems to leak from the north down the ridges and into the valleys, seeping south; a white follows the red, then yellow-green washes north, then red spreads again, then white, over and over, making patterns of color too intricate to follow. Slow the film. You see dust storms, locusts, floods, in dizzying flash-frames. Zero in on a well-watered shore and see smoke from fires drifting. Stone cities rise, spread, and crumble, like paths of alpine blossoms that flourish for a day an inch above the permafrost, that iced earth no root can suck, and wither in a hour. New cities appear, and rivers sift silt onto their rooftops; more cities emerge and spread in lobes like lichen on rock. The great human figures of history, those intricate, spirited tissues whose split second in the light was too brief an exposure to yield any image but the hunched shadowless figures of ghosts. Slow it down more, come closer still. A dot appears, a flesh-flake. It swells like a balloon; it moves, circles, slows, and vanishes. This is your life.

When The Matrix debuted in 1999, it was a huge box-office success. It was also well received by critics, most of whom focused on one of two qualities—the technological (it mainstreamed the digital technique of three-dimensional “bullet time,” where the on-screen action would freeze while the camera continued to revolve around the participants) or the philosophical (it served as a trippy entry point for the notion that we already live in a simulated world, directly quoting philosopher Jean Baudrillard’s 1981 reality-rejecting book Simulacra and Simulation). If you talk about The Matrix right now, these are still the two things you likely discuss. But what will still be interesting about this film once the technology becomes ancient and the philosophy becomes standard? I suspect it might be this: The Matrix was written and directed by “the Wachowski siblings.” In 1999, this designation meant two brothers; as I write today, it means two sisters. In the years following the release of The Matrix, the older Wachowski (Larry, now Lana) completed her transition from male to female. The younger Wachowski (Andy, now Lilly) publicly announced her transition in the spring of 2016. These events occurred during a period when the social view of transgender issues radically evolved, more rapidly than any other component of modern society. In 1999, it was almost impossible to find any example of a trans person within any realm of popular culture; by 2014, a TV series devoted exclusively to the notion won the Golden Globe for Best Television Series. In the fifteen-year window from 1999 to 2014, no aspect of interpersonal civilization changed more, to the point where Caitlyn (formerly Bruce) Jenner attracted more Twitter followers than the president (and the importance of this shift will amplify as the decades pass—soon, the notion of a transgender US president will not seem remotely implausible). So think how this might alter the memory of The Matrix: In some protracted reality, film historians will reinvestigate an extremely commercial action movie made by people who (unbeknownst to the audience) would eventually transition from male to female. Suddenly, the symbolic meaning of a universe with two worlds—one false and constructed, the other genuine and hidden—takes on an entirely new meaning. The idea of a character choosing between swallowing a blue pill that allows him to remain a false placeholder and a red pill that forces him to confront who he truly is becomes a much different metaphor. Considered from this speculative vantage point, The Matrix may seem like a breakthrough of a far different kind. It would feel more reflective than entertaining, which is precisely why certain things get remembered while certain others get lost.

His heart slammed against his ribs, and joy flooded him, followed almost instantly by distress. Even from fifteen yards away he could see that she wore no makeup, and lines of fatigue were etched on her face. Her hair was restrained with a clip at the nape of her neck, and for the first time since he'd known her, she looked almost plain. Where was the Daisy who loved to primp and fuzz with her perfumes and powder? The Daisy who took such joy in dabbing herself with apricot scented lotion and raspberry red lipstick? Where was the daisy who used up all the hot water taking her showers and left a sticky film of hair spray on the bathroom door? Dry mouthed, he drank in the sight of her, and something broke apart inside him. This was Daisy as he'd made her. This was Daisy with her love light extinguished.

My father took me to see this film in 1950, when I was eight years old. And I’ve never forgotten it. I wouldn’t know how to begin to explain what this film has meant to me over the years. It’s about the joy and exuberance of film-making itself. It’s one of the true miracles of film history. What keeps nourishing me over the years is the spell the film casts, how it weaves the mystery of the obsession of creativity, of the creative drive. It all comes down to that wonderful exchange early in the film when Anton Walbrook confronts Moira Shearer at a cocktail party. ‘Why do you want to dance?’ he asks, and she answers, ‘Why do you want to live?’ The look on his face is extraordinary.’ Over the years, I’ve thought a lot about that exchange. It expresses so much about the burning need for art – the mystery of the passion to create. It’s not that you want to do it, it’s that you have to do it. You have no choice. You have to live it and it comes with a price. But what a time paying it. [on, The Red Shoes (1948)]

Do I need to check up on you guys later? You know the rules.No sleeping in opposite-sex rooms." My face flames,and St. Clair's cheeks grow blotchy. It's true.It's a rule. One that my brain-my rule-loving, rule-abiding brain-conveniently blocked last night. It's also one notoriously ignored by the staff. "No,Nate," we say. He shakes his shaved head and goes back in his apartment. But the door opens quickly again,and a handful of something is thrown at us before it's slammed back shut. Condoms.Oh my God, how humiliating. St. Clair's entire face is now bright red as he picks the tiny silver squares off the floor and stuffs them into his coat pockets. We don't speak,don't even look at each other,as we climb the stairs to my floor. My pulse quickens with each step.Will he follow me to my room,or has Nate ruined any chance of that? We reach the landing,and St. Clair scratches his head. "Er..." "So..." "I'm going to get dressed for bed. Is that all right?" His voice is serious,and he watches my reaction carefully. "Yeah.Me too.I'm going to...get ready for bed,too." "See you in a minute?" I swell with relief. "Up there or down here?" "Trust me,you don't want to sleep in my bed." He laughs,and I have to turn my face away,because I do,holy crap do I ever. But I know what he means.It's true my bed is cleaner. I hurry to my room and throw on the strawberry pajamas and an Atlanta Film Festival shirt. It's not like I plan on seducing him. Like I'd even know how. St. Clair knocks a few minutes later, and he's wearing his white bottoms with the blue stripes again and a black T-shirt with a logo I recognize as the French band he was listening to earlier. I'm having trouble breathing. "Room service," he says. My mind goes...blank. "Ha ha," I say weakly. He smiles and turns off the light. We climb into bed,and it's absolutely positively completely awkward. As usual. I roll over to my edge of the bed. Both of us are stiff and straight, careful not to touch the other person. I must be a masochist to keep putting myself in these situations. I need help. I need to see a shrink or be locked in a padded cell or straitjacketed or something. After what feels like an eternity,St. Clair exhales loudly and shifts. His leg bumps into mine, and I flinch. "Sorry," he says. "It's okay." "..." "..." "Anna?" "Yeah?" "Thanks for letting me sleep here again. Last night..." The pressure inside my chest is torturous. What? What what what? "I haven't slept that well in ages." The room is silent.After a moment, I roll back over. I slowly, slowly stretch out my leg until my foot brushes his ankle. His intake of breath is sharp. And then I smile,because I know he can't see my expression through the darkness.

Their task was to film the work of the Allied women. More than 20,000 American women served overseas during the war—10,000 as nurses in the army and navy and a few thousand under the auspices of the Red Cross, the YMCA, and the Salvation Army. Several hundred women were telephone operators with the Army Signal Corps and still others served as doctors, entertainers, canteen workers, interpreters, dentists, therapists, decoders, and in a myriad of other roles. Most of the one thousand professional entertainers who joined the war effort were connected to either the Overseas Theater League or the YMCA and over half were women.

Usually, we think of an apple as being red. This is not the same red as that of a cherry or tomato. A lemon is yellow and an orange like that of its name. Bricks vary from beige to yellow to orange, and from ochre to brown to deep violet. Foliage appears in innumerable shades of green. In all these cases the colors named are surface colors. In a very different was, distant mountains appear uniformly blue, no matter whether covered with green trees or consisting of earth and rocks. The sun is glaring white in daytime, but it is full red at sunset. The white ceiling of houses surrounded by lawns or the white-painted eaves of a roof on a sunny day appear in bright green, which is reflected from the grass on the ground. All these cases present film colors. They appear as a thin, transparent, translucent layer between the eye and an object, independent of the object's surface color.

Right now you have too many clothes on.” He unbuttoned her blouse to reveal a lacy red bra. “Hooyah.” Instead of the mighty yell she heard in countless war films his voice filled with reverence and awe spoke directly to her hoo-hah.

In keeping with its code-breaking theme, the opening credits of Sneakers has the names of some of the film’s major players presented as anagrams before they get unscrambled: “BLOND RHINO SPANIEL” becomes “PHIL ALDEN ROBINSON,” while “FORT RED BORDER” turns into “ROBERT REDFORD” and “A TURNIP CURES ELVIS” reveals itself as “UNIVERSAL PICTURES.” Not all cast members got their names shuffled—if they had, the world might have discovered that one anagram for “RIVER PHOENIX” is “VIPER HEROIN X.

— If love wants you; if you’ve been melted down to stars, you will love with lungs and gills, with warm blood and cold. With feathers and scales. Under the hot gloom of the forest canopy you’ll want to breathe with the spiral calls of birds, while your lashing tail still gropes for the waes. You’ll try to haul your weight from simple sea to gravity of land. Caught by the tide, in the snail-slip of your own path, for moments suffocating in both water and air. If love wants you, suddently your past is obsolete science. Old maps, disproved theories, a diorama. The moment our bodies are set to spring open. The immanence that reassembles matter passes through us then disperses into time and place: the spasm of fur stroked upright; shocked electrons. The mother who hears her child crying upstairs and suddenly feels her dress wet with milk. Among black branches, oyster-coloured fog tongues every corner of loneliness we never knew before we were loved there, the places left fallow when we’re born, waiting for experience to find its way into us. The night crossing, on deck in the dark car. On the beach wehre night reshaped your face. In the lava fields, carbon turned to carpet, moss like velvet spread over splintered forms. The instant spray freezes in air above the falls, a gasp of ice. We rise, hearing our names called home through salmon-blue dusk, the royal moon an escutcheon on the shield of sky. The current that passes through us, radio waves, electric lick. The billions of photons that pass through film emulsion every second, the single submicroscopic crystal struck that becomes the phograph. We look and suddenly the world looks back. A jagged tube of ions pins us to the sky. — But if, like starlings, we continue to navigate by the rear-view mirror of the moon; if we continue to reach both for salt and for the sweet white nibs of grass growing closest to earth; if, in the autumn bog red with sedge we’re also driving through the canyon at night, all around us the hidden glow of limestone erased by darkness; if still we sish we’d waited for morning, we will know ourselves nowhere. Not in the mirrors of waves or in the corrading stream, not in the wavering glass of an apartment building, not in the looming light of night lobbies or on the rainy deck. Not in the autumn kitchen or in the motel where we watched meteors from our bed while your slow film, the shutter open, turned stars to rain. We will become indigestible. Afraid of choking on fur and armour, animals will refuse the divided longings in our foreing blue flesh. — In your hands, all you’ve lost, all you’ve touched. In the angle of your head, every vow and broken vow. In your skin, every time you were disregarded, every time you were received. Sundered, drowsed. A seeded field, mossy cleft, tidal pool, milky stem. The branch that’s released when the bird lifts or lands. In a summer kitchen. On a white winter morning, sunlight across the bed.

It would be great if the entire film came all at once. But it comes, for me, in fragments... In Blue Velvet, it was red lips, green lawns, and the song—Bobby Vinton’s version of ‘Blue Velvet.’ The next thing was an ear lying in a field. And that was it.

My teacher, Ben Johnston, was convinced that our tuning is responsible for much of our cultural psychology, the fact that we are so geared toward progress and action and violence and so little attuned to introspection, contentment, and acquiescence. Equal temperament could be described as the musical equivalent to eating a lot of red meat and processed sugars and watching violent action films. The music doesn't turn your attention inward, it makes you want to go out and work off your nervous energy on something.

The thing about the red carpet is that you’re expected to look into every camera and talk into every microphone that’s stuck in your face about films you’ve not seen, to people who are not listening, and who suddenly vanish as soon as someone more famous arrives, which is every minute.

The Government set the stage economically by informing everyone that we were in a depression period, with very pointed allusions to the 1930s. The period just prior to our last 'good' war. ... Boiled down, our objective was to make killing and military life seem like adventurous fun, so for our inspiration we went back to the Thirties as well. It was pure serendipity. Inside one of the Scripter offices there was an old copy of Doc Smith's first LENSMAN space opera. It turned out that audiences in the 1970s were more receptive to the sort of things they scoffed at as juvenilia in the 1930s. Our drugs conditioned them to repeat viewings, simultaneously serving the ends of profit and positive reinforcement. The movie we came up with stroked all the correct psychological triggers. The fact that it grossed more money than any film in history at the time proved how on target our approach was.' 'Oh my God... said Jonathan, his mouth stalling the open position. 'Six months afterward we ripped ourselves off and got secondary reinforcement onto television. We pulled a 40 share. The year after that we phased in the video games, experimenting with non-narcotic hypnosis, using electrical pulses, body capacitance, and keying the pleasure centers of the brain with low voltage shocks. Jesus, Jonathan, can you *see* what we've accomplished? In something under half a decade we've programmed an entire generation of warm bodies to go to war for us and love it. They buy what we tell them to buy. Music, movies, whole lifestyles. And they hate who we tell them to. ... It's simple to make our audiences slaver for blood; that past hasn't changed since the days of the Colosseum. We've conditioned a whole population to live on the rim of Apocalypse and love it. They want to kill the enemy, tear his heart out, go to war so their gas bills will go down! They're all primed for just that sort of denouemment, ti satisfy their need for linear storytelling in the fictions that have become their lives! The system perpetuates itself. Our own guinea pigs pay us money to keep the mechanisms grinding away. If you don't believe that, just check out last year's big hit movies... then try to tell me the target demographic audience isn't waiting for marching orders. ("Incident On A Rainy Night In Beverly Hills")

Unlike many of the children’s stories written around the same time, the Harry Potter books and films are being passed down from one generation to the next. They are one of the few cultural landmarks that link thirteen-year-olds and thirty-year-olds. It means that there has been a snowball effect as more and more people get drawn into the wizarding world. If I had been told while we were making the films that in the years to come there would be a Harry Potter theme park, and that I’d be cutting the red ribbon on our own section of Universal Studios, I’d have laughed in your face.

He would like to meet Lecter, talk and share with him, rejoice with him in their shared vision, be recog­ nized by him as John the Baptist recognized the One who came after, sit on him as the Dragon sat on 666 in Blake’s Revelation series, and film his death as, dying, he melded with the strength of the Dragon.

But because delicatessens are oriented around the consumption of red meat, the iconic Jewish eatery did take on a manly vibe, one that was exploited, as we shall see, by vaudeville routines, films, and TV shows about Jewish men using the delicatessen to shore up their precarious sense of masculinity. The food writer Arthur Schwartz has pointed out that, in Yiddish, the word for “overstuffed” is ongeshtupped; the meat is crammed between the bread in a crude, sensual way that recalls the act of copulation.27 The delicatessen, after all, is a space of carnality, of the pleasures of the “flesh”—the word for meat in Yiddish is fleysh.

So what happened?" "I don't know." Another glance to ensure his continued state of Not Looking, and then I rip off my clothes in one fast swoop. I am now officially stark naked in the room with the most beautiful boy I know. Funny,but this isn't how I imagined this moment. No.Not funny.One hundred percent the exact opposite of funny. "I think I maybe,possibly, vaguely remember hitting the snooze button." I jabber to cover my mortification. "Only I guess it was the off button.But I had the alarm on my phone set,too, so I don't know what happened." Underwear,on. "Did you turn the ringer back on last night?" "What?" I hop into my jeans, a noise he seems to determinedly ignore.His ears are apple red. "You went to see a film,right? Don't you set your mobile to silent at the theater?" He's right.I'm so stupid. If I hadn't taken Meredith to A Hard Day's Night, a Beatles movie I know she loves, I would have never turned it off. We'd already be in a taxi to the airport. "The taxi!" I tug my sweater over my head and look up to find myself standing across from a mirror. A mirror St. Clair is facing. "It's all right," he says. "I told the driver to wait when I came up here. We'll just have to tip him a little extra." His head is still down. I don't think he saw anything.I clear my throat, and he glances up. Our eyes meet in the mirror,and he jumps. "God! I didn't...I mean,not until just now..." "Cool.Yeah,fine." I try to shake it off by looking away,and he does the same. His cheeks are blazing.I edge past him and rinse the white crust off my face while he throws my toothbrush and deodorant and makeup into my luggage, and then we tear downstairs and into the lobby.

Say you could view a time-lapse film of our planet: what would you see? Transparent images moving through light, “an infinite storm of beauty.” The beginning is swaddled in mists, blasted by random blinding flashes. Lava pours and cools; seas boil and flood. Clouds materialize and shift; now you can see the earth’s face through only random patches of clarity. The land shudders and splits, like pack ice rent by a widening lead. Mountains burst up, jutting and dull and soften before your eyes, clothed in forests like felt. The ice rolls up, grinding green land under water forever; the ice rolls back. Forests erupt and disappear like fairy rings. The ice rolls up-mountains are mowed into lakes, land rises wet from the sea like a surfacing whale- the ice rolls back. A blue-green streaks the highest ridges, a yellow-green spreads from the south like a wave up a strand. A red dye seems to leak from the north down the ridges and into the valleys, seeping south; a white follows the red, then yellow-green washes north, then red spreads again, then white, over and over, making patterns of color too swift and intricate to follow. Slow the film. You see dust storms, locusts, floods, in dizzying flash frames. Zero in on a well-watered shore and see smoke from fires drifting. Stone cities rise, spread, and then crumble, like patches of alpine blossoms that flourish for a day an inch above the permafrost, that iced earth no root can suck, and wither in a hour. New cities appear, and rivers sift silt onto their rooftops; more cities emerge and spread in lobes like lichen on rock. The great human figures of history, those intricate, spirited tissues that roamed the earth’s surface, are a wavering blur whose split second in the light was too brief an exposure to yield any images. The great herds of caribou pour into the valleys and trickle back, and pour, a brown fluid. Slow it down more, come closer still. A dot appears, like a flesh-flake. It swells like a balloon; it moves, circles, slows, and vanishes. This is your life.

We rode through a three-thousand-year-old country, saw the ruined capital of the Queen of Sheba and the underground red-rock city of Lalibela, fraternized with a tribe of leaden-skinned troglogytes living among the mountains, scrapped with brigands, outwitted crocodiles, and eventually emerged battered and in rags with a book of adventures and 1,000 feet of film.

Picture a summer stolen whole from some coming-of-age film set in the small-town 1950s. This is none of Ireland's subtle seasons mixed for a connoisseur's palate, watercolor nuances within a pinch-sized range of cloud and soft rain; this is summer full-throated and extravagant in a hot pure silkscreen blue. This summer explodes on your tongue tasting of chewed blades of long grass, your own clean sweat, Marie biscuits with butter squirting through the holes and shaken bottles of red lemonade picnicked in tree houses. It tingles on your skin with BMX wind in your face, ladybug feet up your arm; it packs every breath full of mown grass and billowing wash lines; it chimes and fountains with birdcalls, bees, leaves and football-bounces and skipping-chants, One! two! three! This summer will never end. It starts every day with a shower of Mr. Whippy notes and your best friend's knock at the door, finishes it with long slow twilight and mothers silhouetted in doorways calling you to come in, through the bats shrilling among the black lace trees. This is Everysummer decked in all its best glory.

When I was an aspiring female poet, in the late 1950s, the notion of required sacrifice was simply accepted. The same was true for any sort of career for a woman, but Art was worse, because the sacrifice required was more complete. You couldn't be a wife and mother and also an artist, because each one of these things required total dedication. As nine-year-olds we'd all been trotted off to see the film The Red Shoes as a birthday-party treat: we remembered Moira Shearer, torn between Art and love, squashing herself under a train. Love and marriage pulled one way, Art another, and Art was a kind of demonic possession. Art would dance you to death. It would move in and take you over, and then destroy you. Or it would destroy you as an ordinary woman.

Gray mattresses with red and blue stripes in something that looks like a hallway or an overly long waiting room. In any case, his memory is frozen in immediate past like a faceless man in a dentist's chair. There are houses and streets that run down to the sea, dirty windows and shadows on staircase landings. We hear someone say "a long time ago it was noon," the light bounces off the center of immediate past, something that's neither a screen nor attempts to offer images. Memory slowly dictates soundless sentences. We imagine that all of this has been done to avoid confusion, a layer of white paint covers the film on the floor. Fleeing together long ago became living together and thus the integrity of the gesture was lost; the shine of immediate past.

I smile at my friends, but Mer and Rashmi and Josh are distracted, arguing about something that happened over dinner. St. Clair sees me and smiles back. "Good?" I nod.He looks pleased and ducks into the row after me. I always sit four rows up from the center, and we have perfectseats tonight.The chairs are classic red. The movie begins,and the title screen flashes up. "Ugh,we have to sit through the credits?" Rashmi asks. They roll first,like in all old films. I read them happily. I love credits. I love everything about movies. The theater is dark except for the flicker of blacks and whites and grays on-screen. Clark Gable pretends to sleep and places his hand in the center of an empty bus seat. After a moment of irritation,Claudette Colbert gingerly plucks it aside and sits down. Gable smiles to himself,and St. Clair laughs. It's odd,but I keep finding myself distracted. By the white of his teeth through the darkness.By a wavy bit of his hair that sticks straight out to the side. By the soft aroma of his laundry detergent. He nudges me to silently offer the armrest,but I decline and he takes it.His arm is close to mine,slightly elevated. I glance at his hands.Mine are tiny compared to his large,knuckly boy hands. And,suddenly,I want to touch him. Not a push,or a shove,or even a friendly hug. I want to feel the creases in his skin,connect his freckles with invisible lines,brush my fingers across the inside of his wrist. He shifts. I have the strangest feeling that he's as aware of me as I am of him. I can't concentrate. The characters on the screen are squabbling, but for the life of me, I don't know what about. How long have I not been paying attention? St. Clair coughs and shifts again. His leg brushes against mine.It stays there. I'm paralyzed. I should move it; it feels too unnatural.How can he not notice his leg is touching my leg? From the corner of my eye,I see the profile of his chin and nose,and-oh,dear God-the curve of his lips. There.He glanced at me. I know he did. I bore my eyes into the screen, trying my best to prove that I am Really Interested in this movie.St. Clair stiffens but doesn't move his leg.Is he holding his breath? I think he is.I'm holding mine. I exhale and cringe-it's so loud and unnatural. Again.Another glance. This time I turn, automatically,just as he's turning away. It's a dance,and now there's a feeling in the air like one of us should say something.Focus,Anna. Focus. "Do you like it?" I whisper. He pauses. "The film?" I'm thankful the shadows hide my blush. "I like it very much," he says. I risk a glance,and St. Clair stares back. Deeply.He has not looked at me like this before.I turn away first, then feel him turn a few beats later. I know he is smiling,and my heart races.

In The Shawshank Redemption, there's a short scene between Andy and Red that reveals the difference in their points of view. After almost twenty years in Shawshank Prison, Red is cynical because, in his eyes, the concept of hope is simply a four-letter word. His spirit has been so crushed by the prison system that he angrily declares to Andy, 'Hope is a dangerous thing. Drives a man insane. It's got no place here. Better get used to the idea.' And it is Red's emotional journey that leads him to the understanding that 'hope is a good thing.' The film ends on a note of hope, with Red breaking his parole and riding the bus to meet Andy in Mexico: 'I hope I can make it across the border. I hope to see my friend and shake his hand. I hope the Pacific is as blue as it has been in my dreams. I hope.

Men stood by their fences and looked at the ruined corn, drying fast now, only a little green showing through the film of dust. The men were silent and they did not move often. ... As the day went forward the sun became less red. It flared down on the dust-blanketed land. The men sat in the doorways of their houses; their hands were busy with sticks and little rocks. The men sat still - thinking - figuring.

I wanted a monument to myself in granite. I wanted my face in seven different colours. I wanted I LOVE YOU in giant red letters on top of the Museum of Modern Art. I wanted a new bridge across the Hudson in my name. I wanted a three-volume history of the Greeks dedicated to my memory. I wanted a filmed version of my life in Ektachrome Commercial. I wanted the Mercedes-Benz no longer to be for Mercedes. But I have small breasts.

It was true. After our divorce, I'd ended up in a slight relationship with my last research assistant, Aurelia Feinstein, age 34-though let me state for the record it was not as hot as it sounded. Making love to Aurelia was like rummaging through a card catalog in a deserted library, searching for one very obscure little red entry on Hungarian poetry. It was dead silent, no one gave me any dierection, and nothing was where it was supposed to be.

Another day; another Friday; another twentieth of March, January, or September. Another general awakening. The stars draw back and are extinguished. The bars deepen themselves between the waves. The film of mist thickens on the fields. A redness gathers on the roses, even on the pale rose that hangs by the bedroom window. A bird chirps. Cottagers light their early candles. Yes, this is the eternal renewal, the incessant rise and fall and fall and rise again.

As we walk away I know they’re watching, these two men who aren’t yet permitted to touch women. They touch with their eyes instead and I move my hips a little, feeling the full red skirt sway around me. It’s like thumbing your nose from behind a fence or teasing a dog with a bone held out of reach, and I’m ashamed of myself for doing it, because none of this is the fault of these men, they’re too young. Then I find I’m not ashamed after all. I enjoy the power; power of a dog bone, passive but there. I hope they get hard at the sight of us and have to rub themselves against the painted barriers, surreptitiously. They will suffer, later, at night, in their regimented beds. They have no outlets now except themselves, and that’s a sacrilege. There are no more magazines, no more films, no more substitutes; only me and my shadow, walking away from the two men, who stand at attention, stiffly, by a roadblock, watching our retreating shapes.

Patriotism July 4 ALL “ISMS” RUN OUT IN the end, and good riddance to most of them. Patriotism for example. If patriots are people who stand by their country right or wrong, Germans who stood by Adolf Hitler and the Third Reich should be adequate proof that we’ve had enough of them. If patriots are people who believe not only that anything they consider unpatriotic is wrong but that anything they consider wrong is unpatriotic, the late Senator Joseph McCarthy and his backers should be enough to make us avoid them like the plague. If patriots are people who believe things like “Better Dead Than Red,” they should be shown films of Hiroshima and Nagasaki on August 6 and 9, 1945, respectively, and then be taken off to the funny farm. The only patriots worth their salt are the ones who love their country enough to see that in a nuclear age it is not going to survive unless the world survives. True patriots are no longer champions of Democracy, Communism, or anything like that but champions of the Human Race. It is not the Homeland that they feel called on to defend at any cost but the planet Earth as Home. If in the interests of making sure we don’t blow ourselves off the map once and for all, we end up relinquishing a measure of national sovereignty to some international body, so much the worse for national sovereignty. There is only one Sovereignty that matters ultimately, and it is of another sort altogether.

What is the total sum of autumn? What is its content, form purpose? Its style, certainly, has unity. But what does it amount to? Eh, but what did the summer amount to, with all its greenery and flowers and sun? Fountains of red and brown will shot out soon. That's what the summer amounted to. And you ask me about movies. I don't know what any movie amounts to. I am looking more for some light behind it, behind the images; I am trying to see the man. It was Barbara Wise who said to me the other day—and she was right: The film critic should not explain what the movie is all about, surely an impossible task; he should help to create the right attitude for looking at movies. That's what my rambling is all about, nothing more. Where was I? Yes, rambling. I will tell you the real truth: All that I have learned in my life (and I have seen many movies) amounts to this: Leaves are falling every autumn. I will be there with my camera when they fall.

For too long the depth of racism in American life has been underestimated. The surgery to extract it is necessarily complex and detailed. As a beginning it is important to X-ray our history and reveal the full extent of the disease. The strands of prejudice toward Negroes are tightly wound around the American character. The prejudice has been nourished by the doctrine of race inferiority. Yet to focus upon the Negro alone as the "inferior race" of American myth is to miss the broader dimensions of the evil. Our nation was born in genocide when it embraced the doctrine that the original American, the Indian, was an inferior race. Even before there were large numbers of Negroes on our shores, the scar of racial hatred had already disfigured colonial society. From the sixteenth century forward, blood flowed in battles over racial supremacy. We are perhaps the only nation which tried as a matter of national policy to wipe out its indigenous population. Moreover, we elevated that tragic experience into a noble crusade. Indeed, even today we have not permitted ourselves to reject or to feel remorse for this shameful episode. Our literature, our films, our drama, our folklore all exalt it. Our children are still taught to respect the violence which reduced a red-skinned people of an earlier culture into a few fragmented groups herded into impoverished reservations. This is in sharp contrast to many nations south of the border, which assimilated their Indians, respected their culture, and elevated many of them to high position. It was upon this massive base of racism that the prejudice toward the nonwhite was readily built, and found rapid growth. This long-standing racist ideology has corrupted and diminished our democratic ideals. It is this tangled web of prejudice from which many Americans now seek to liberate themselves, without realizing how deeply it has been woven into their consciousness.

Nee, wat ik bedoel is dat het volkomen stil is, als in een stomme film, dat ze je niet meer vragen wat je nu eigenlijk wilt in dit leven, of waar je je toch tegen verzet, of wat je later wilt worden en of het wel goed met je gaat. Dat ze eindelijk eens allemaal hun mond houden, en als het helemaal stil is geworden, dat dan de held uit zijn stoel opstaat en er alleen nog een tekst in beeld verschijnt: 'Er wordt een nieuwe bladzijde omgeslagen. Hij gaat nu bedenken hoe het verder moet. Hij heeft zijn hele leven nog voor zich.

The autumn leaves were pulverized and the fragrance of leaf-decay was pleasant. The air was empty but good. As the sun went down the landscape was like the still frame of an old movie on sepia film. Sunset. A red wash spreading from remote Pennsylvania, sheep bells clunking, dogs in the brown barnyards. I was trained in Chicago to make something of such a scant setting. In Chicago you became a connoisseur of the near-nothing. With a clear eye I looked at a clear scene, I appreciated the red sumac, the white rocks, the rust of the weeds, the wig of green on the bluff over the crossroads.

remember sticking all kinds of things in them: tickets from films and plays I had been to see, leaves I had picked up on walks and bills for meals I had eaten on café terraces. They were a record of what I had done when, down to the nearest minute. I think I held on to them as ‘evidence’ of some kind. They helped me to find my place in the world and, in a broader sense, to prove to myself that I really existed. I suppose I must have decided at some point that I no longer needed to do that, because I gave up writing a diary, stopped telling the story of my life and tried to just live it instead.

The card for the Santa Teresa cybercafé was a deep red, so red that it was hard to read what was printed on it. On the back, in a lighter red, was a map that showed exactly where the café was located. He asked the receptionist to translate the name of the place. The clerk laughed and said it was called Fire, Walk With Me. “It sounds like the title of a David Lynch film,” said Fate. The clerk shrugged and said that all of Mexico was a collage of diverse and wide-ranging homages. “Every single thing in this country is an homage to everything in the world, even the things that haven’t happened yet,” he said.

I went up the stairs of the little hotel, that time in Bystřice by Benešov, and at the turn of the stairs there was a bricklayer at work, in white clothes; he was chiselling channels in the wall to cement in two hooks, on which in a little while he was going to hang a Minimax fire-extinguisher; and this bricklayer was already and old man, but he had such an enormous back that he had to turn round to let me pass by, and then I heard him whistling the waltz from The Count of Luxembourg as I went into my little room. It was afternoon. I took out two razors, and one of them I scored blade-up into the top of the bathroom stool, and the other I laid beside it, and I, too, began to whistle the waltz from The Count of Luxembourg while I undressed and turned on the hot-water tap, and then I reflected, and very quietly I opened the door a crack. And the bricklayer was standing there in the corridor on the other side of the door, and it was as if he also had opened the door a crack to have a look at me and see what I was doing, just as I had wanted to have a look at him. And I slammed the door shut and crept into the bath, I had to let myself down into it gradually, the water was so hot; I gasped with the sting of it as carefully and painfully I sat down. And then I stretched out my wrist, and with my right hand I slashed my left wrist ... and then with all my strength I brought down the wrist of my right hand on the upturned blade I'd grooved into the stool for that purpose. And I plunged both hands into the hot water, and watched the blood flow slowly ouf of me, and the water grew rosy, and yet al the time the pattern of the red blood flowing remained so clearly perceptible, as though someone was drawing out from my wrists a long, feathery red bandage, a film, dancing veil ... and presently I thickened there in the bath, as that red paint thickened when we were painting the fence all round the state workshops, until we had to thin it with turpentine - and my head sagged, and into my mouth flowed pink raspberryade, except that it tasted slightly salty .. and then those concentric circles in blue and violet, trailing feathery fronds like coloured spirals in motion ... and then there was a shadow stooping over me, and my face was brushed lightly by a chin overgrown with stubble. It was that bricklayer in the white clothes. He hoisted me out and landed me like a red fish with delicate red fins sprouting from its wrists. I laid my head on his smock, and I heard the hissing of lime as my wet face slaked it, and that smell was the last thing of which I was conscious.

I can think of only two movies with women killers we’re meant to sympathize with, and both because they’d been sexually assaulted—Thelma and Louise and Monster. And to be honest, I don’t imagine anyone would call the women in these films heroes. The popular comic book mercenary Red Sonja is, perhaps, a proper hero, but is, once again, motivated by a sexual assault. Male heroes are heroic because of what’s been done to women in their lives, often—the dead child, the dead wife. Women heroes are also heroic for what’s been done to women … to them. We build our heroes, too often, on terrible things done to women, instead of creating, simply, heroes who do things, who persevere in the face of overwhelming odds because it’s the right thing to do.

Dogs and roses. All these suburban houses bespangled with roses and bristling with dogs. A dog behind every rose bush. For people and their hellish imaginaries, dogs are as ornamental as roses. In reality, the roses are just as vicious as the dogs or an electrified fence. There are too many of them, they are too red, their carnivorous petals close on a forbidden space. The pleasantness of the residential suburbs, the pleasantness of the sarcophagi of greenery where the television aerials gleam. The pleasantness of aphanisis in the death-laden detached houses, set in a bower of lilacs and hollyhocks. The only sign of the frenzied urge to bite and fight, the only sign of the vitrified and howling passions beneath the film of plastic is the beast of the Apocalypse, barking on the horizon beyond the flower beds.

Moreover he worked in film: he saw this city, and he couldn’t help but notice the way its surfaces habitually turned face-outward to be seen, instead of inwards for the comfort of the inhabitants. He recognised the thinness of the scrim, the cutting of corners where the audience would have its attention elsewhere and be content to register a general blur of grandeur. Those doors would be out of focus anyway: who needed to make sure they actually fitted their frames? The skyscrapers blocked out bold volumes of air, the walls of the city were receding planes, leading the eye back to a sky painted on glass. Moscow was a set, and like all sets looked more convincing from the middle distance than close up. He had started to brood lately on what was behind it; on what you would find if you peeled back a corner of the painted hardboard. Some

Here is New York. This is why I stay. I stay to hear the jazz musicians playing in the parks, and to browse the tables of books for sale on the street. I stay for a drink in a quiet bar, lit by golden autumn light, and for Film Forum double features in black and white. I stay for egg creams, for the amateur opera singers practicing with their windows open so we all can listen. For the Chinese grandmothers dancing by the East River, snapping red fans in their hands. For the music of shopkeepers throwing open their gates. I stay for the unexpected spectacle, and the chance encounter, and for those tough seagulls gliding inland on rainy days to remind us that Manhattan is an island, a potential space both separate and connected. Most of all, I stay because I need New York. I can't live anywhere else, so I hold on to what remains. We've lost a lot, but there's so much left worth fighting for. And while I stay, I fight.

Walking along the tables, my spirits sank even lower. Almost all the better fiddles, the ones made by professionals, were antiqued copies. Even the winning violin was a fake. I walked to the end of the room, where the cellos were lined up. They, too, were all antiqued, except for mine. With its orange-red varnish and crisp, unworn edges, it stood out like a Girl Scout at the Adult Film Awards. What had happened? Gone was any originality, any sense of style. The fluorescent lighting cast a harsh, cold glare, making the sad attempts at artificial aging look even more lifeless. I felt sick at heart. Thirty years ago, when the school opened, we had viewed copying with a visceral contempt—the great Babylonian captivity of violin making. We were the young Americans, the first of a new school of making in the New World, and we saw it as our mission to restore our craft to its former glory, when the idea of copying didn’t even exist.

Children today are so open. When the old folks die off, we will finally be free of racism.” “I grew up in a small rural community, so I was very sheltered. I didn’t learn anything about racism.” “I judge people by what they do, not who they are.” “I don’t see color; I see people.” “We are all red under the skin.” “I marched in the sixties.” New racism is a term coined by film professor Martin Barker to capture the ways in which racism has adapted over time so that modern norms, policies, and practices result in similar racial outcomes as those in the past, while not appearing to be explicitly racist.1 Sociologist Eduardo Bonilla-Silva captures this dynamic in the title of his book Racism Without Racists: Color-Blind Racism and the Persistence of Racial Inequality in America.2 He says that though virtually no one claims to be racist anymore, racism still exists. How is that possible? Racism can still exist because it is highly adaptive.

Nighy’s people almost got him on Instagram, with the promise they’d do all the work. “But I pulled out. I just thought: I can’t. One of the things that I would’ve been required to do was to tell people that I’m in a film. I’m never gonna tell people I’m in a film. It’s just never gonna happen.” At the London premiere of Living, he was asked by red carpet journalists what his favourite scene was. “And I couldn’t remember any of them. Normally, just to be sociable, I’d choose one. But I just didn’t have that kind of energy. “There are certain PR questions to which there are only PR answers. It’s not lying, but it’s a very edited truth. And if you are in any way a moral creature, that’s probably why it’s sort of enervating. It’s a very particular kind of tiredness not because you’ve been doing anything dishonest, but it’s just not quite normal contact with other human beings.” He hurriedly adds some qualifiers: it’s a champagne problem. And this isn’t abnormal. “This is nice and I’m not just smooth-talking.

In under two weeks, and with no budget, thousands of college students protested the movie on their campuses nationwide, angry citizens vandalized our billboards in multiple neighborhoods, FoxNews.com ran a front-page story about the backlash, Page Six of the New York Post made their first of many mentions of Tucker, and the Chicago Transit Authority banned and stripped the movie’s advertisements from their buses. To cap it all off, two different editorials railing against the film ran in the Washington Post and Chicago Tribune the week it was released. The outrage about Tucker was great enough that a few years later, it was written into the popular television show Portlandia on IFC. I guess it is safe to admit now that the entire firestorm was, essentially, fake. I designed the advertisements, which I bought and placed around the country, and then promptly called and left anonymous complaints about them (and leaked copies of my complaints to blogs for support). I alerted college LGBT and women’s rights groups to screenings in their area and baited them to protest our offensive movie at the theater, knowing that the nightly news would cover it. I started a boycott group on Facebook. I orchestrated fake tweets and posted fake comments to articles online. I even won a contest for being the first one to send in a picture of a defaced ad in Chicago (thanks for the free T-shirt, Chicago RedEye. Oh, also, that photo was from New York). I manufactured preposterous stories about Tucker’s behavior on and off the movie set and reported them to gossip websites, which gleefully repeated them. I paid for anti-woman ads on feminist websites and anti-religion ads on Christian websites, knowing each would write about it. Sometimes I just Photoshopped ads onto screenshots of websites and got coverage for controversial ads that never actually ran. The loop became final when, for the first time in history, I put out a press release to answer my own manufactured criticism: TUCKER MAX RESPONDS TO CTA DECISION: “BLOW ME,” the headline read.

somewhere there is a women in China holding a black umbrella so she won’t taste the salt of the rain when the sky begins to weep, there is a 17 year old girl who smells like pomegranates and has summer air tight on her naked skin, wrapping around her scars like veins in a bloody garden, who won’t make it past tomorrow, there is a young man, who buys yellow flowers for the woman in apartment 84B, who learned braille when he realized she couldn’t read his poetry about her white neck and mint eyes there are people watching films, making love for the first time, opening mail with the heading of ‘i miss you’, cooking noodles with organic spices and red sauces, buying lemon detergent, ignoring ‘do not smoke’ signs, painting murals of his lips in abandoned warehouses, chewing the words ‘i love you’ over and over again, swallowing phone numbers and forgotten birthdays, eating strawberry pies, drinking white wine off of each others open mouths, ignoring the telephone, reading this poem somewhere someone is thinking i’m alone somewhere someone finally understands they never really were

Dawn and a high film; the sun burned it; But noon had a thick sheet, and the clouds coming, The low rain-bringers, trooping in from the north, From the far cold fog-breeding seas, the womb of storms. Dusk brought a wind and the sky opened: All down the west the broken strips lay snared in the light, Bellied and humped and heaped on the hills. The set sun threw the blaze up; The sky lived redly, banner on banner of far-burning flame, From south to north the furnace door wide and the smoke rolling. We in the fields, the watchers from the burnt slope, Facing the west, facing the bright sky, hopelessly longing to know the red beauty-- But the unable eyes, the too-small intelligence, The insufficient organs of reception Not a thousandth part enough to take and retain. We stared, and no speaking. and felt the deep loneness of incomprehension. The flesh must turn cloud, the spirit, air, Transformation to sky and the burning, Absolute oneness with the west and the down sun. But we, being earth-stuck, watched from the fields, Till the rising rim shut out the light; Till the sky changed, the long wounds healed; Till the rain fell.

Globalization has shipped products at a faster rate than anything else; it’s moved English into schools all over the world so that now there is Dutch English and Filipino English and Japanese English. But the ideologies stay in their places. They do not spread like the swine flu, or through sexual contact. They spread through books and films and things of that nature. The dictatorships of Latin America used to ban books, they used to burn them, just like Franco did, like Pope Gregory IX and Emperor Qin Shi Huang. Now they don’t have to because the best place to hide ideologies is in books. The dictatorships are mostly gone—Brazil, Argentina, Uruguay. The military juntas. Our ideologies are not secrets. Even the Ku Klux Klan holds open meetings in Alabama like a church. None of the Communists are still in jail. You can buy Mao’s red book at the gift shop at the Museum of Communism. I will die soon, in the next five to ten years. I have not seen progress during my lifetime. Our lives are too short and disposable. If we had longer life expectancies, if we lived to 200, would we work harder to preserve life or, do you think that when Borges said, ‘Jews, Christians, and Muslims all profess belief in immortality, but the veneration paid to the first century of life is proof that they truly believe in only those hundred years, for they destine all the rest, throughout eternity, to rewarding or punishing what one did when alive,’ we would simply alter it to say ‘first two centuries’? I have heard people say we are living in a golden age, but the golden age has passed—I’ve seen it in the churches all over Latin America where the gold is like glue. The Middle Ages are called the Dark Ages but only because they are forgotten, because the past is shrouded in darkness, because as we lay one century of life on top of the next, everything that has come before seems old and dark—technological advances provide the illusion of progress. The most horrendous tortures carried out in the past are still carried out today, only today the soldiers don’t meet face to face, no one is drawn and quartered, they take a pill and silently hope a heart attack doesn’t strike them first. We are living in the age of dissociation, speaking a government-patented language of innocence—technology is neither good nor evil, neither progress nor regress, but the more advanced it becomes, the more we will define this era as the one of transparent secrets, of people living in a world of open, agile knowledge, oceans unpoliced—all blank faces, blank minds, blank computers, filled with our native programming, using electronic appliances with enough memory to store everything ever written invented at precisely the same moment we no longer have the desire to read a word of it.

The funny thing: I’d worried, if anything, that Boris was the one who was a little too affectionate, if affectionate is the right word. The first time he’d turned in bed and draped an arm over my waist, I lay there half-asleep for a moment, not knowing what to do: staring at my old socks on the floor, empty beer bottles, my paperbacked copy of The Red Badge of Courage. At last—embarrassed—I faked a yawn and tried to roll away, but instead he sighed and pulled me closer, with a sleepy, snuggling motion. Ssh, Potter, he whispered, into the back of my neck. Is only me. It was weird. Was it weird? It was; and it wasn’t. I’d fallen back to sleep shortly after, lulled by his bitter, beery unwashed smell and his breath easy in my ear. I was aware I couldn’t explain it without making it sound like more than it was. On nights when I woke strangled with fear there he was, catching me when I started up terrified from the bed, pulling me back down in the covers beside him, muttering in nonsense Polish, his voice throaty and strange with sleep. We’d drowse off in each other’s arms, listening to music from my iPod (Thelonious Monk, the Velvet Underground, music my mother had liked) and sometimes wake clutching each other like castaways or much younger children. And yet (this was the murky part, this was what bothered me) there had also been other, way more confusing and fucked-up nights, grappling around half-dressed, weak light sliding in from the bathroom and everything haloed and unstable without my glasses: hands on each other, rough and fast, kicked-over beers foaming on the carpet—fun and not that big of a deal when it was actually happening, more than worth it for the sharp gasp when my eyes rolled back and I forgot about everything; but when we woke the next morning stomach-down and groaning on opposite sides of the bed it receded into an incoherence of backlit flickers, choppy and poorly lit like some experimental film, the unfamiliar twist of Boris’s features fading from memory already and none of it with any more bearing on our actual lives than a dream. We never spoke of it; it wasn’t quite real; getting ready for school we threw shoes, splashed water at each other, chewed aspirin for our hangovers, laughed and joked around all the way to the bus stop. I knew people would think the wrong thing if they knew, I didn’t want anyone to find out and I knew Boris didn’t either, but all the same he seemed so completely untroubled by it that I was fairly sure it was just a laugh, nothing to take too seriously or get worked up about. And yet, more than once, I had wondered if I should step up my nerve and say something: draw some kind of line, make things clear, just to make absolutely sure he didn’t have the wrong idea. But the moment had never come. Now there was no point in speaking up and being awkward about the whole thing, though I scarcely took comfort in the fact.

Again I see before me the usual street. The canopy of civilization is burnt out. The sky is dark as polished whalebone. But there is a kindling in the sky whether of lamplight or of dawn. There is a stir of some sort--sparrows on plane trees somewhere chirping. There is a sense of the break of day. I will not call it dawn. What is dawn in the city to an elderly man standing in the street looking up rather dizzily at the sky? Dawn is some sort of whitening of the sky; some sort of renewal. Another day; another Friday; another twentieth of March, January, or September. Another general awakening. The stars draw back and are extinguished. The bars deepen themselves between the waves. The film of mist thickens on the fields. A redness gathers on the roses, even on the pale rose that hangs by the bedroom window. A bird chirps. Cottagers light their early candles. Yes, this is the eternal renewal, the incessant rise and fall and fall and rise again. 'And in me too the wave rises. It swells; it arches its back. I am aware once more of a new desire, something rising beneath me like the proud horse whose rider first spurs and then pulls him back. What enemy do we now perceive advancing against us, you whom I ride now, as we stand pawing this stretch of pavement? It is death. Death is the enemy. It is death against whom I ride with my spear couched and my hair flying back like a young man's, like Percival's, when he galloped in India. I strike spurs into my horse. Against you I will fling myself, unvanquished and unyielding, O Death!' The waves broke on the shore.

Delbert was the only Bumpus kid in my grade, but they infested Warren G. Harding like termites in an outhouse. There was Ima Jean, short and muscular, who was in the sixth grade, when she showed up, but spent most of her time hanging around the poolroom. There was a lanky, blue-jowled customer they called Jamie, who ran the still and was the only one who ever wore shoes. He and his brother Ace, who wore a brown fedora and blue work shirts, sat on the front steps at home on the Fourth of July, sucking at a jug and pretending to light sticks of dynamite with their cigars when little old ladies walked by. There were also several red-faced girls who spent most of their time dumping dishwater out of windows. Babies of various sizes and sexes crawled about the back yard, fraternizing indiscriminately with the livestock. They all wore limp, battleship-gray T-shirts and nothing else. They cried day and night. We thought that was all of them—until one day a truck stopped in front of the house and out stepped a girl who made Daisy Mae look like Little Orphan Annie. My father was sprinkling the lawn at the time; he wound up watering the windows. Ace and Emil came running out onto the porch, whooping and hollering. The girl carried a cardboard suitcase—in which she must have kept all her underwear, if she owned any—and wore her blonde hair piled high on her head; it gleamed in the midday sun. Her short muslin dress strained and bulged. The truck roared off. Ace rushed out to greet her, bellowing over his shoulder as he ran: “MAH GAWD! HEY, MAW, IT’S CASSIE! SHE’S HOME FROM THE REFORMATORY!” Emil

With regard to other animals, humans have long since become gods. We don’t like to reflect on this too deeply, because we have not been particularly just or merciful gods. If you watch the National Geographic channel, go to a Disney film or read a book of fairy tales, you might easily get the impression that planet Earth is populated mainly by lions, wolves and tigers who are an equal match for us humans. Simba the lion king holds sway over the forest animals; Little Red Riding Hood tries to evade the Big Bad Wolf; and little Mowgli bravely confronts Shere Khan the tiger. But in reality, they are no longer there. Our televisions, books, fantasies and nightmares are still full of them, but the Simbas, Shere Khans and Big Bad Wolves of our planet are disappearing. The world is populated mainly by humans and their domesticated animals. How many wolves live today in Germany, the land of the Grimm brothers, Little Red Riding Hood and the Big Bad Wolf? Less than a hundred. (And even these are mostly Polish wolves that stole over the border in recent years.) In contrast, Germany is home to 5 million domesticated dogs. Altogether about 200,000 wild wolves still roam the earth, but there are more than 400 million domesticated dogs.1 The world contains 40,000 lions compared to 600 million house cats; 900,000 African buffalo versus 1.5 billion domesticated cows; 50 million penguins and 20 billion chickens.2 Since 1970, despite growing ecological awareness, wildlife populations have halved (not that they were prospering in 1970).3 In 1980 there were 2 billion wild birds in Europe. In 2009 only 1.6 billion were left. In the same year, Europeans raised 1.9 billion chickens for meat and eggs.4 At present, more than 90 per cent of the large animals of the world (i.e., those weighing more than a few pounds) are either humans or domesticated animals.

Ryder turns off the radio and reaches for my camera, pointing it at me in the dark. It beeps, and a red light indicates that he’s filming. “Are you scared, Jemma?” I prop my head up on one elbow. “Yeah, I’m scared,” I say, carefully weighing my words. “But…we’ll be okay. This house has weathered plenty of storms through the years. It’ll keep us safe.” “I hope you’re right.” “Yeah, me too.” I hear him swallow hard. “I’m glad I’m here with you.” “I’m glad you are too,” I say automatically. But then…I realize with a start that it’s true. I am glad he’s here. I feel safe with him. More relaxed than I would be otherwise. He thinks I’m distracting him, making him forget his fears. But the truth is, he’s helping me just as much. Maybe more. I’m pretty sure I’d be a blubbering mess right about now if I were alone. “Thanks, Ryder,” I say, my voice thick. “For what?” “Everything.” I squeeze my eyes shut. “Turn off the camera, okay?” He does, setting it aside before stretching out on the far side of the bed, facing me. Our gazes meet, and my stomach flutters nervously. There’s something there in his dark eyes, something I’ve never seen before. Vulnerability…mixed with a kind of dark, melty chocolate expression that I don’t recognize. Our hands are lying there on the bed between us, nearly touching. I lift my pinkie, brushing it against his. Chills race down my spine at the contact, my heart pounding against my ribs. I hear his breath catch. Slowly, his hand moves over mine, his fingertips brushing my knuckles until his entire hand covers mine. His skin is hot, the pressure reassuring. A minute passes, maybe two. It’s almost like he’s waiting, watching to see if I pull my hand away. I don’t. In one quick movement, he slides his hand under mine and threads our fingers together. We lie like that for several minutes, arms outstretched, hands joined, eyes wide open. The storm continues to rage around us, but it’s like we’re locked in this safe, calm place where nothing can touch us. My breathing slows; my limbs grow heavy. My lids flutter shut. I try to resist, but it’s futile. I’m exhausted. I drift off to sleep with a smile on my lips, Ryder holding me fast.

HER HUSBAND’S ALMOST HOME. He’ll catch her this time. There isn’t a scrap of curtain, not a blade of blind, in number 212—the rust-red townhome that once housed the newlywed Motts, until recently, until they un-wed. I never met either Mott, but occasionally I check in online: his LinkedIn profile, her Facebook page. Their wedding registry lives on at Macy’s. I could still buy them flatware. As I was saying: not even a window dressing. So number 212 gazes blankly across the street, ruddy and raw, and I gaze right back, watching the mistress of the manor lead her contractor into the guest bedroom. What is it about that house? It’s where love goes to die. She’s lovely, a genuine redhead, with grass-green eyes and an archipelago of tiny moles trailing across her back. Much prettier than her husband, a Dr. John Miller, psychotherapist—yes, he offers couples counseling—and one of 436,000 John Millers online. This particular specimen works near Gramercy Park and does not accept insurance. According to the deed of sale, he paid $3.6 million for his house. Business must be good. I know both more and less about the wife. Not much of a homemaker, clearly; the Millers moved in eight weeks ago, yet still those windows are bare, tsk-tsk. She practices yoga three times a week, tripping down the steps with her magic-carpet mat rolled beneath one arm, legs shrink-wrapped in Lululemon. And she must volunteer someplace—she leaves the house a little past eleven on Mondays and Fridays, around the time I get up, and returns between five and five thirty, just as I’m settling in for my nightly film. (This evening’s selection: The Man Who Knew Too Much, for the umpteenth time. I am the woman who viewed too much.) I’ve noticed she likes a drink in the afternoon, as do I. Does she also like a drink in the morning? As do I? But her age is a mystery, although she’s certainly younger than Dr. Miller, and younger than me (nimbler, too); her name I can only guess at. I think of her as Rita, because she looks like Hayworth in Gilda. “I’m not in the least interested”—love that line. I myself am very much interested. Not in her body—the pale ridge of her spine, her shoulder blades like stunted wings, the baby-blue bra clasping her breasts: whenever these loom within my lens, any of them, I look away—but in the life she leads. The lives. Two more than I’ve got.

Globalization has shipped products at a faster rate than anything else; it’s moved English into schools all over the world so that now there is Dutch English and Filipino English and Japanese English. But the ideologies stay in their places. They do not spread like the swine flu, or through sexual contact. They spread through books and films and things of that nature. The dictatorships of Latin America used to ban books, they used to burn them, just like Franco did, like Pope Gregory IX and Emperor Qin Shi Huang. Now they don’t have to because the best place to hide ideologies is in books. The dictatorships are mostly gone—Brazil, Argentina, Uruguay. The military juntas. Our ideologies are not secrets. Even the Ku Klux Klan holds open meetings in Alabama like a church. None of the Communists are still in jail. You can buy Mao’s red book at the gift shop at the Museum of Communism. I will die soon, in the next five to ten years. I have not seen progress during my lifetime. Our lives are too short and disposable. If we had longer life expectancies, if we lived to 200, would we work harder to preserve life or, do you think that when Borges said, ‘Jews, Christians, and Muslims all profess belief in immortality, but the veneration paid to the first century of life is proof that they truly believe in only those hundred years, for they destine all the rest, throughout eternity, to rewarding or punishing what one did when alive,’ we would simply alter it to say ‘first two centuries’? I have heard people say we are living in a golden age, but the golden age has passed—I’ve seen it in the churches all over Latin America where the gold is like glue. The Middle Ages are called the Dark Ages but only because they are forgotten, because the past is shrouded in darkness, because as we lay one century of life on top of the next, everything that has come before seems old and dark—technological advances provide the illusion of progress. The most horrendous tortures carried out in the past are still carried out today, only today the soldiers don’t meet face to face, no one is drawn and quartered, they take a pill and silently hope a heart attack doesn’t strike them first. We are living in the age of dissociation, speaking a government-patented language of innocence—technology is neither good nor evil, neither progress nor regress, but the more advanced it becomes, the more we will define this era as the one of transparent secrets, of people living in a world of open, agile knowledge, oceans unpoliced—all blank faces, blank minds, blank computers, filled with our native programming, using electronic appliances with enough memory to store everything ever written invented at precisely the same moment we no longer have the desire to read a word of it.” ― John M. Keller, Abracadabrantesque

When I spoke to you here the last time, my old party comrades, I did so fully conscious of victory as hardly a mortal has been able to do before me. In spite of this, a concern weighed heavily on me. It was clear to me that, ultimately, behind this war was that incendiary who has always lived off the quarrels of nations: the international Jew. I would no longer have been a National Socialist had I ever distanced myself from this realization. We followed his traces over many years. In this Reich, probably for the first time, we scientifically resolved this problem for all time, according to plan, and really understood the words of a great Jew who said that the racial question was the key to world history. Therefore, we knew quite well-above all, I knew-that the driving force behind these occurrences was the Jew. And that, as always in history, there were blockheads ready to stand up for him: partly spineless, paid characters, partly people who want to make deals and, at no time, flinch from having blood spilled for these deals. I have come to know these Jews as the incendiaries of the world. After all, in the previous years, you saw how they slowly poisoned the people via the press, radio, film, and theater. You saw how this poisoning continued. You saw how their finances, their money transactions, had to work in this sense. And, in the first days of the war, certain Englishmen-all of them shareholders in the armament industry-said it openly: “The war must last three years at least. It will not and must not end before three years.”-That is what they said. That was only natural, since their capital was tied up and they could not hope to secure an amortization in less than three years. Certainly, my party comrades, for us National Socialists, this almost defies comprehension. But that is how things are in the democratic world. You can be prime minister or minister of war and, at the same time, own portfolios of countless shares in the armament industry. Interests are explained that way. We once came to know this danger as the driving force in our domestic struggle. We had this black-red-golden coalition in front of us; this mixture of hypocrisy and abuse of religion on the one hand, and financial interests on the other; and, finally, their truly Jewish-Marxist goals. We completely finished off this coalition at home in a hard struggle. Now, we stand facing this enemy abroad. He inspired this international coalition against the German Volk and the German Reich. First, he used Poland as a dummy, and later pressed France, Belgium, Holland, and Norway to serve him. From the start, England was a driving force here. Understandably, the power which would one day confront us is most clearly ruled by this Jewish spirit: the Soviet Union. It happens to be the greatest servant of Jewry. Time meanwhile has proved what we National Socialists maintained for many years: it is truly a state in which the whole national intelligentsia has been slaughtered, and where only spiritless, forcibly proletarianized subhumans remain. Above them, there is the gigantic organization of the Jewish commissars, that is, established slaveowners. Frequently people wondered whether, in the long run, nationalist tendencies would not be victorious there. But they completely forgot that the bearers of a conscious nationalist view no longer existed. That, in the end, the man who temporarily became the ruler of this state, is nothing other than an instrument in the hands of this almighty Jewry. If Stalin is on stage and steps in front of the curtain, then Kaganovich and all those Jews stand behind him, Jews who, in ten-thousandfold ramifications, control this mighty empire. Speech in the Löwenbräukeller Munich, November 8, 1941

As he sat up, he heard soft dripping sounds from the bathroom, little plips like water slipping over the edges of the tub and into the floor. The hairs on the back of his neck rose as he realized where he‟d last heard that sound. His muscles tight with strain from his earlier exertions, he stood and walked warily toward the half open bathroom door and the tub beyond it. Slipping quietly past the door, he saw that the curtain was drawn, and again the shadowed figure lay behind it. One long, slim, leg dangled from the end of the tub, beads of water gliding down its length and off the polished toes. At the other end he saw a mass of auburn curls, matted deep red near the porcelain of the tub. It was the dream and the vision again, more real now, too strong to deny. Shaking, he moved toward the curtain, gagging on the sickly smell of rust and roses, feeling the thin nylon glide between thumb and palm as he pulled it back to reveal his darkest nightmare and deepest regret. He could see the crimson water now, blood bubbles gliding over its surface and clinging to the legs dangling over the tub‟s edge. When he‟d pulled the curtain completely away from the tub and around to its opposite side, he saw her face. Her eyes were closed and he saw that her lids were bruised and purple against the translucent paleness of her face, drained completely dead white under the makeup she‟d brushed on before she‟d died. Staggering by the sight of her, he knelt by the tub and extended one shaking hand to touch her cheek. It all seemed as if he‟d walked into a horror film and once again he needed to prove to his mind that this wasn‟t real. His hand shook as he lifted it nearer to her flesh, waiting for the corpse, the supposedly dead and buried to move. He touched his quivering fingers to her face, feeling its claylike reality. The sensation caused an immediate shudder of revulsion and he fought not to vomit. Even as the moment came, the sight of her moving in the water startled him and he jumped away from the tub. It wasn‟t an obvious movement at first, only soft breaths moving in and out of her nostrils, but then her chest rose and fell with it and he quaked, feeling unstable where he knelt on the floor. Her eyes opened next and he felt the blood fall out of his face, wanting to scream but too afraid he would cause her to take some action, to reach out and touch him, proving well and forever that he was indeed insane. Scream and you might as well slit your own throat. He swallowed the scream like a rock and stared as her eyes moved slowly in their sockets, locking on him. Slowly, as if she‟d lost control of her muscles, she rose from the tub and looked down at him, smiling. Blood water slid down her bare body, over her neck, down her back and the smooth ridges of her breasts, to slip slowly down her thighs and down over her calves. A puddle spread on the floor, and as it extended toward him he struggled to his feet, skittering away from it. As he watched it spread, he shivered, weak as he started to cry frantic, horrified tears. Breaking down, he looked back up at her face and slipped to the floor once more, his knees incapable of sustaining his own weight. The smile grew wider as she strode to his shivering form, thrown on his side and struggling to rise. The blood water seeped into his clothes, making him sick, a drop of it trickling along the lobe of his ear and into it. And then she leaned down, holding those dim, stained curls of auburn out of her face and tucking them behind her ear. Her lips parted, blue beneath the strong crimson red of her lipstick, and she spoke into his ear with the chill breath of the dead. His eyes grew wide and horrified as she spoke, the hair on his neck rising, sending a maddening shiver of fear through him. “I‟ve returned, Raven.” She whispered “And I want what is mine.” The last thing he saw before his mind, finally, thankfully, shut down was her face in front of his. They were pursed for a kiss.

Stalin personally controlled a ‘Soviet Hollywood’ through the State Film Board, run by Boris Shumiatsky with whom he had been in exile. Stalin did not merely interfere in movies, he minutely supervised the directors and films down to their scripts: his archive reveals how he even helped write the songs.

Except, sex wasn't traditionally something that was rewarded in most film and literature. In a horror movie, if you had sex, you might as well play red rover with Freddy's claws because you were done for.

I spend most of my Mondays with blood. I am a hematologist by training. I study blood and treat blood diseases, including cancers and precancers of white blood cells. On Monday, I arrive much earlier than my patients, when the morning light is still aslant across the black slate of the lab benches. I close the shutters and peer through the microscope at blood smears. A droplet of blood has been spread across a glass slide, to make a film of single cells, each stained with special dyes. The slides are like previews of books, or movie trailers. The cells will begin to reveal the stories of the patients even before I see them in person. I sit by the microscope in the darkened room, a notepad by my side, and whisper to myself as I go through the slides. It’s an old habit; a passerby might well consider me unhinged. Each time I examine a slide, I mumble out the method that my hematology professor in medical school, a tall man with a perpetually leaking pen in his pocket, taught me: “Divide the main cellular components of blood. Red cell. White cell. Platelet. Examine each cell type separately. Write what you observe about each type. Move methodically. Number, color, morphology, shape, size.” It is, by far, the favorite time of my day at work. Number, color, morphology, shape, size. I move methodically. I love looking at cells, in the way that a gardener loves looking at plants—not just the whole but also the parts within the parts: the leaves, the fronds, the precise smell of loam around a fern, the way the woodpecker has bored into the high branches of a tree. Blood speaks to me—but only if I pay attention.

Eyes of Laura Mars (1978)—This New York-set thriller operates on mood and atmosphere and moves so fast, with such delicate changes of rhythm, that its excitement has a subterranean sexiness. Faye Dunaway, with long, thick, dark-red hair, is Laura Mars, a celebrity fashion photographer who specializes in the chic and pungency of sadism; the pictures she shoots have a furtive charge—we can see why they sell. Directed by Irvin Kershner, the film has a few shocking fast cuts, but it also has scabrous elegance and a surprising amount of humor. Laura’s scruffy, wild-eyed driver (Brad Dourif) epitomizes New York’s crazed, hostile flunkies; he’s so wound up he seems to have the tensions of the whole city in his gut. Her manager (René Auberjonois) is tense and ambivalent about Laura—about everything. Her models (Lisa Taylor and Dar-lanne Fluegel), who in their poses look wickedly decadent, are really just fun-loving dingalings.

The first thing to describe is the event, not your attitude to it. Your attitude has to be made clear by the film as a whole, to be part of its total impact. In a mosaic each separate piece is of a particular, single colour. It may be blue, or white, or red — they are all different. And then you look at the completed picture and see what the author had in mind.

It is impossible to view Calamity Jane today without responding to the gay subtext; hell, it’s not even subtext—the lesbian aspects of the film are all right out there. Dressed in buckskins, with a cap on her head and a red bandana around her neck, dirt streaking her face, Calamity says to Katie, “You’re the purtiest thing I’ve ever seen. I didn’t know a woman could look like that.” Hugging Katie, she invites her to move in with her to “chaperone” each other. Helping Katie out of the horse and wagon, Calam tells Katie, “We’ll batch it here as cozy as two bugs in a blanket.” And after Katie cleans the entire cabin, the finishing touch is a front-door stencil that reads “Calam and Katie.” It’s not exactly difficult to guess which woman is the butch one in this relationship; similarly, it is no accident that The Celluloid Closet, the documentary examination of Hollywood’s depiction of gay men and women on film, contains footage of Doris Day in buckskin singing “Secret Love,” the very title itself a code in 1950s America.

And it would have raised a red flag if there WASN'T a Norman Fell reference in this book.

There’s a common expression these days: “being red-pilled.” It comes from the science-fiction film The Matrix, in which the hero is given the option of taking the blue pill and remaining asleep, or the red pill, which will open his eyes to the reality of what is happening in the world.

This is a story of personal fascism as opposed to organized fascism. [It] indicates how it is possible for us to have a Gestapo, if the country should go fascist. A character like Monty would qualify brilliantly for the leadership of the Belsen concentration camp. Fascism hates weakness in people; minorities. Monty hates fairies, Negroes, Jews, and foreigners. In the book, Monty murders a fairy. He could have murdered a Negro, a foreigner, or a Jew.” Despite the message being thickly ladled at times, Crossfire’s story was deftly told. Robert Young’s earnest homilies about brotherhood don’t carry half the weight of Robert Mitchum explaining how ugly realities released by the war can’t be neatly tucked away. “The snakes are loose,” he says, like a man who knows how bad it’s going to get. Crossfire shocked everyone, including Schary and Scott, by being a box-office hit. Whether its success was due to a timely message or taut storytelling, no one was sure (although surveys prior to the film’s release suggested little public interest in ethnically themed stories). As the picture reaped humanitarian awards, anti-Communist crusaders moved in on Scott and Dmytryk. Both were branded Red and sent to jail, members of the infamous Hollywood Ten.

now, memories flicker like old film a montage of moments we can’t replay, each frame a testament to what was & what can never be again

I also bought an evening dress suit from a secondhand clothing store in Charing Cross Road. It was double-breasted and in a very heavy, uncomfortable material, and I looked, frankly, stupid in it, but it was the only one I could afford. Miss Leigh announced to us one day that Gone with the Wind was going to be rereleased theatrically, and she requested the pleasure of our entire company at the premiere, which would be my first. And so, also for the first time, I had to wear that tux in public. I had by this time bid farewell to my friends and moved out of the boardinghouse, to slightly nicer digs that were walking distance from the London Coliseum in St. Martin’s Lane. This meant that I would not need to get out of a taxi and walk the red carpet—I knew that I looked idiotic in my tuxedo and wanted to keep a low profile. Inside, there was a champagne reception before the film in the upstairs bar, and my castmates had a field day making fun of me and my shit suit. Evidently, Miss Leigh caught sight of this scene and took pity on me. For all of a sudden, her boyfriend, John Merivale, was at my side, whispering into my ear that he was going to be sitting on one side of Vivien at the screening and that she had requested that I sit on her other side. I was already besotted with her, and this act of kindness only intensified my feelings. The capper was that, once I was seated beside her, I addressed her as “Miss Leigh” and she took my hand in hers. “Patrick,” she said, “you are to call me Vivien.” My erstwhile Irish roommate was right: The memorable experiences were already piling up. One more happened that evening. The film had been running for about an hour when Vivien—I still couldn’t quite believe I got to call her that—turned to me and again took my hand. I could see that she was crying. “I am so sorry, Patrick, but I am going to have to leave,” she said. “So many of these dear people I worked with are now dead, and it is making me so sad. I hope you enjoy the rest of it.” And off she went into the night.

The day before I'm supposed to be meeting Caroline for a drink, I develop all the text-book symptons of a crush: nervous stomach, long periods spent daydreaming, an inability to remember what she looks like. I can bring back the dress and the boots, and I can see a fringe, but her face is a blank, and I fill it in with some anonymous rent-a-cracker details - pouty red lips, even though it wax her well-scrubbed english clever-girl look that attracted me to her in the first place; almond-shaped eyes, even though she was wearing sunglasses most of the time; pale, perfect skin, even though I know there'll be an initial twinge of disappointment - this is what all that internal fuss is about? - and then I'll find something to get excited about again: the fact that she's turned up at all, a sexy voice, intelligence, wit, something. And between the second and the third meeting a whole new set of myths will be born. This time, something different happens, though. It's the daydreaming that does it. I'm doing the usual thing - imagining in tiny detail the entire course of the relationship, from first kiss, to bed, to moving in together, to getting married (in the past I have even organized the track listing of the party tapes), to how pretty she'll look when she's pregnant, to names of children - until suddenly I realize that there's nothing left to actually, like, happen. I've done it all, lived through the whole relationship in my head. I've watched the film on fast-forward; I know the whole plot, the ending, all the good bits. Now I've got to rewind and watch it all over again in real time, and where's the fun in that? And fucking... when it's all going to fucking stop? I'm going to jump from rock to rock for the rest of my life until there aren't any rocks left? I'm going to run each time I get itchy feet? Because I get them about once a quarter, along with the utilities bills... I've been thinking with my guts since I was fourteen years old, and frankly speaking, between you and me, I have come to the conclusion that my guts have shit for brains.

Have you seen that film, It? The one with the clown?’ ‘He was wearing a clown’s mask?’ Finn questioned, trying his best to keep his tone even. Sarcasm wasn’t going to help him here. Saffron’s eyes were bug wide as she nodded. ‘It was just like that. All this red hair and he looked evil.’ ‘And you’ve seen him three times?’ Cameron asked. ‘That’s right. The first time he was standing by Alfie’s playhouse in the garden, just staring at me. Then a couple of days later I saw him looking through the window. Then today he was in the house. I caught him coming out of my bedroom and he had my knickers in his hand.

Columbus came up with a system to deal with eventualities such as this. Any time that one of us disturbed a take, we were given a red card. A red card meant you had to put ten pounds into a bag and at the end of the shoot, all the money was donated to charity. It was a good plan to keep us on the straight and narrow, but it didn't always work. Rupert Grint was one of the worst offenders. I believe he put in over 2,500 pounds during the first two films alone, such was his inability to control himself when the giggles hit.

The shock of her touch is enough to clear the red haze filming over my eyes. She leans in, pressing a kiss to my cheek. “Take a deep breath. People are starting to stare,” she whispers.

Kilorn is lean where Cal is burly. Kilorn is golden-haired and green-eyed while Cal is dark with a gaze like living fire. But here, in the waning light, behind the film of blood clouding my gaze, they start to seem alike.

DC at night had a particular savage gleam, red taillights piercing through gloom, dingy alleys bookending martini-lounge hustle-bustle. And yet another realm hovered above in an angelic glow, the eye called to uplit white marble monuments, to rounded domes and thrusting peaks, to glowing penthouses floating above streets as dark as puddles. Everything that rose seemed to be mirrored in descent, the reflecting pool and the cool Potomac like portals to an underworld. Wetzel had read somewhere that Hollywood directors liked to hose down streets to make the asphalt sparkle on film. Washington was like that naturally, a black-ice kind of town – lose focus and you’d slip and break your neck.

Her passing, almost blasé reference to this incident in her letter to Dr. Beuscher suggests that she probably did not think of herself as a victim at a time when slapping a “hysterical” woman was culturally sanctioned, even glamorized in Hollywood films.

I might have traded my skates for suits and swapped out weight training for film review, but make no mistake—my heart will forever bleed Indy Speed red and black.

You said something I have always thought,” Bill said to me when I arrived on the set of Pocket Rockets, somewhere in the endless suburb that is greater Atlanta. “Sure, some movies don’t work. Some fail in their intent. But anyone who says they hated a movie is treating a voluntarily shared human experience like a bad Red-Eye out of LAX. The departure is delayed for hours, there’s turbulence that scares even the flight attendants, the guy across from you vomits, they can’t serve any food and the booze runs out, you’re seated next to twin babies with the colic, and you land too late for your meeting in the city. You can hate that. But hating a movie misses the damn point. Would you say you hated the seventh birthday party of your girlfriend’s niece or a ball game that went eleven innings and ended 1–0? You hate cake and extra baseball for your money? Hate should be saved for fascism and steamed broccoli that’s gone cold. The worst anyone—especially we who take Fountainfn1—should ever say about someone else’s movie is Well, it was not for me, but, actually, I found it quite good. Damn a film with faint praise, but never, ever say you hate a movie. Anyone who uses the h-word around me is done. Gone. Of course, I wrote and directed Albatross. I may be a bit sensitive.

Noo Yawk Films

Excerpted From Chapter One “Rock of Ages” floated lightly down the first floor corridor of the Hollywood Hotel’s west wing. It was Sunday morning, and Hattie Mae couldn’t go to church because she had to work, so she praised the Lord in her own way, but she praised Him softly out of consideration for the “Do Not Disturb” placards hanging from the doors she passed with her wooden cart full of fresh linens and towels. Actually Sundays were Hattie Mae’s favorite of the six days she worked each week. For one thing, her shift ended at noon on Sundays. For another, this was the day Miss Lillian always left a “little something” in her room to thank Hattie Mae for such good maid service. Most of the hotel’s long-term guests left a little change for their room maids, but in Miss Lillian’s case, the tip was usually three crinkly new one dollar bills. It seemed like an awful lot of money to Hattie Mae, whose weekly pay was only nineteen dollars. Still, Miss Lillian Lawrence could afford to be generous because she was a famous actress in the movies. She was also, Hattie Mae thought, a very fine lady. When Hattie Mae reached the end of the corridor, she knocked quietly on Miss Lillian’s door. It was still too early for most guests to be out of their rooms, but Miss Lillian was always up with the sun, not like some lazy folks who laid around in their beds ‘til noon, often making Hattie Mae late for Sunday dinner because she couldn’t leave until all the rooms along her corridor were made up. After knocking twice, Hattie Mae tried Miss Lillian’s door. It opened, so after selecting the softest towels from the stacks on her cart, she walked in. With the curtains drawn the room was dark, but Hattie Mae didn’t stop to switch on the overheard light because her arms were full of towels. The maid’s eyes were on the chest of drawers to her right where Miss Lillian always left her tip, so she didn’t see the handbag on the floor just inside the door. Hattie Mae tripped over the bag and fell headlong to the floor, landing inches from the dead body of Lillian Lawrence. In the dim light Hattie Mae stared into a pale face with a gaping mouth and a trickle of blood from a small red dot above one vacant green eye. Hattie Mae screamed at the top of her lungs and kept on screaming.

I haven’t seen this much blood since those driver’s ed films they showed in high school.

The plane touches down on very rough ground: its wheelbarrow wheels bounce and one set of wings rises alarmingly while the other dips. Now the Masai and the plane are converging. It's a magnificent shot: the Masai run, run, run, run; because of the optics it is dreamlike. The little plane bounces, shudders, slews and finally makes lasting contact with the ground. At exactly the right moment, as the plane comes to a halt, the Masai warriors, in a highly agitated state, reach the plane, and the camera closes on the pilot, whose face as he removes his leather flying helmet and goggles, appears just above the bobbing red ochre composition of plaited hair and fat-shone bodies. It is Mel Gibson, with a grave expression, which can't quite suppress his unruly Aussieness.

My company, Haslit Films, wants to do a documentary about this pair of siblings. Not so easy. They are very private and rarely do interviews. They don’t go to openings or parties. They don’t do Red Carpet. There was a big piece about them in the New York Times, but other than that they are a bit of a mystery. He, Alexandre Chevalier, is twenty- four and she, Sophie Dumas, is ten years older, his half sister from a previous marriage. They share the same father. This much I know. But I can find only one photo of him on the internet and he’s wearing a hoodie, his face practically masked –he looks like a typical college student. His sister stands beside him, her hair in a neat chignon –looking formidable, poised. HookedUp is going from strength to strength. Rumor has it they are looking to sell or go public but nobody can be sure. All this, I need to find out.

Se io non ti incontrero mai, fa' che senta almeno la tua mancanza. LA SOTTILE LINEA ROSSA

Like every boy, I really wanted a pet. But I was allergic to animal hair. I realize having “allergies” doesn’t help my street cred, either. But this might: I ended up living amongst reptiles. That’s cool, right? I first got the idea while lizard hunting with Uncle Frankie when I was 10. We caught a black and yellow-striped garter snake and I kept that for a while. Later, I acquired a six-foot Burmese python and named him Dudley, after Dudley Moore, my co-star in the film Like Father, Like Son. The cast of Growing Pains gave me a red-tailed boa constrictor for my birthday one year and I named that one Glenn, after my cool set teacher. I had another red-tailed boa that I named Springsteen, named for—well, you can probably guess.

Brothers,” he continues, “are lifelong. And though you take that field tonight, you have also taken that field before, just as you will tomorrow, and the next day, and the next. That field is your home—your battlefield—and those other men are intruders. They don’t respect it. They’re trespassing—unwanted guests..“I can assure you they didn’t,” my father says. Again, the room chants, “Hoorah!” I hold my breath because this next part, more than anything that led up to it, is what I’ve been waiting for. I check the camera, my father still centered in my frame and his face as serious as I’ve ever seen it. Our team has won the first two games of the year, but he knows that two is not ten. A loss, at this point, will be unforgiveable. “What’s that word on your backs?” His question echoes, and the answer is swift. “Honor, sir!” they all shout in unison. They always do. It’s more than memorization, and it’s always made me sit in awe of how it all plays out. “Honor! That’s right. There are no individuals in here. We all have one name. It isn’t the mascot. It isn’t your nickname or some fad that will be forgotten the second the yearbook is printed. It’s a word that means heart, that means drive and ambition, that means giving your all and leaving the best of every goddamned thing you’ve got out there on that field. Turn to your right!” They all do, seated in a circle on the benches, looking at the helmets and heads of their teammates. My dad should have been a preacher, or perhaps a general. He was born to stand before boys and make them believe that for two and a half hours, they are men. “Turn to your left!” All heads shift, the sound swift, but mouths quiet. “Honor. Brotherhood. Tradition.” He pauses, his team still sitting with heads angled and eyes wide on the dark blue sheen of the helmets and sweat-drenched heads next to them. “Again…” he says, and this time they say it with him. “Honor. Brotherhood. Tradition.” “Whose house is this?” my father asks, quiet and waiting for a roar. “Our house!” “Whose house is this?” He’s louder now. “Our house!” “Whose house…” My dad’s face is red and his voice is hoarse by the time he shouts the question painted above the door that the Cornwall Tradition runs through to the field. The final chant back is loud enough that it can be heard through the cinderblock walls. I know, because last week, I filmed the speech from outside. With chests full, egos inflated, voices primed and muscles ready for abuse, this packed room of fifty—the number that always takes the field, even though less than half of them will play—stands, each putting a hand on the back of everyone in front of them.

Am I an asshole? In the past, I would have said "no" with some degree of confidence. But as I drop my bag of groceries into my bike pack under the store's front awning, I have to consider that the answer might have changed during the past few months. They say misery loves company. I think I get it now. That back there with Marley--taunting her, I admit--that shit was the best part of my day. My week. My month. That shit was the rainbow in a fucking black and white film. The outrage on her face... Goddamn. I fucking loved her angry, bright red face. When I turned to walk away, she looked mad enough to spit bullets. All over a fucking pack of pork chops. As I zip my bag, I press my lips together--to suppress a wicked chuckle. Asshole. I'm not sure I even mind it. Why not be an asshole? Nice guys come in last--another adage I'm starting to believe. I've played it nice my whole damn life, or fucking tried. Why not seek out entertainment now?

Where is everyone?” Cat asked, looking around the deserted ship. “Shore leave,” he said laconically. “What about us?” “If it’s urgent, we’ll just have to swim.” Cat yawned and stretched languidly, feeling boneless from Travis’s loving and a long, wonderful nap. “Swim? Ha. I’d go down like a brick. Looks like you’re stuck with me.” Travis tilted her face up and kissed her swiftly. “Remember that, witch. You’re mine.” Her eyes widened into misty silver pools. She looked up at him through dense lashes that glinted red and gold. He smiled. “You really are a pirate, aren’t you?” Cat muttered. “Where you’re concerned, yes.” The sensual rasp in Travis’s voice sent echoes of ecstasy shimmering through her. His smile was rakish and utterly male, reminding her of what it was like to have him deep inside her. It was all Cat could do not to simply stand and stare at her lover. In the slanting afternoon light his eyes had a jewel-like purity of color. His skin was taught, deeply bronzed, and his beard was spun from dark gold. Beneath his faded black T-shirt and casual shorts, his body radiated ease and power. “Don’t move,” Cat ordered, heading back to the cabin. “Where are you going?” “Don’t move!” She raced below deck, grabbed the two camera cases she used most often, and ran back on deck. While Travis watched her with a lazy, sexy gleam in his eyes, she pulled out a camera and a small telephoto lens. When she retreated a few feet back along the deck, he moved as though to follow. “No,” she said. “Stay right where you are. You’re perfect.” “Cat,” he said, amusement curling in his voice, “what are you doing?” “Taking pictures of an off-duty buccaneer.” The motor drive surged quickly, pulling frame after frame of film through the camera. “You’re supposed to be taking pictures of the Wind Warrior,” Travis pointed out. “I am. You’re part of the ship. The most important part. Creator, owner, soul.” She caught the sudden intensity of his expression, an elemental recognition of her words. The motor drive whirred in response to her command. After a few more frames she lowered the camera and walked back to him. “Get used to looking into a camera lens.” Cat warned Travis. “I’ve been itching to photograph you since the first time I looked into those gorgeous, sea-colored eyes of yours.” Laughing softly, he snaked one arm around her and pulled her snugly against his side.

Let's grab something for you from the kitchen, and then we'll go find Magnus." The "something" turned out to be a wedge of the most amazing cake he'd ever tasted. It had cream in the middle, a crust of honey and almonds on top. He crammed half a wedge into his mouth and moaned aloud. "Damn, that's good," he said around the mouthful. "Damn." "I already ordered it for my wedding breakfast," said Tess. "It's called Bienenstich- bee sting cake," said Isabel, coming into the kitchen. "Appropriate, under the circumstances." He turned to face her, his cheeks stuffed with food like a chipmunk's. Then he swallowed the bite of food. "It's delicious. Did you make it?" he asked, not taking his eyes off her. While Tess had red hair and freckles, Isabel had olive-toned skin, dark eyes and full lips, like a flamenco dancer or maybe an Italian film star swathed in veils. "I did," she said. "It's a German tradition.

thirty short films, plays and musicals as well as seven novels for Poolbeg Press, two of which were written under the pseudonym Emma Louise Jordan. Her latest signing with HarperImpulse (HarperCollins) saw the re-release of Crazy For You in 2013. Emma loves spending time with her partner (the talented artist and singer/songwriter Jim McKee) all things Nashville, romantic comedy movies, singalong nights with friends and family, red

Right now in Harlem, for every bank and chicken wing franchise joint, there is a small business owner who has spent a decade trying to figure out how to cater to a neighborhood he has fallen in love with. For every man or woman who has succumbed to that spell, I want to tell them: Go for it, do it. I want to pass the word like gospel. Let me tell you something: Right now in Harlem authorship is on the move. This is ours, we tell each other. We have made it, chopped it, cooked it, played it. This is our story. Gordon Parks, photographer, musicians, writer, film director paved a way for us. Bear witness, he told us. That was his gift to the neighborhood. Whatever goes down, whatever turns up - make food and music and dance and story out of it. Right now and since forever, the world keeps telling us there's only room for one: Serena and that's it. Toni and that's it. I wonder if they can hear Harlem across the divide. Come one, come all. That's how we wrestle with urban renewal, black removal. The church ladies know this, and so do the hustlers. Right now in Harlem, we don't shy away from the ugly; we don't bow our heads to what's beautiful. We just keep asking, how does all this new s**t fit with the old? Right now in Harlem there's room; there's hope; there's inspiration; there's good food. I may not be able to explain the magic, but it is there. To be in Harlem and make it takes luck, but nobody told me different. One thing is certain, wherever you are, you should come to Harlem - right now.

I knew the Tam were already a success by the greeting I got. The women in their canoes in the middle of the lake called out loud hellos that I heard over my engine, and a few men and children came down to the beach and gave me big floppy Tam waves. A noticeable shift from the chary welcome we’d received six weeks earlier. I cut the engine and several men came and pulled the boat to shore, and without my having to say a word two swaybacked young lads with something that looked like red berries woven in their curled hair led me up a path and down a road, past a spirit house with an enormous carved face over the entryway—a lean and angry fellow with three thick bones through his nose and a wide open mouth with many sharp teeth and a snake’s head for a tongue. It was much more skilled than the Kiona’s rudimentary depictions, the lines cleaner, the colors—red, black, green, and white—far more vivid and glossy, as if the paint were still wet. We passed several of these ceremonial houses and from the doorways men called down to my guides and they called back. They took me in one direction then, as if I wouldn’t notice, turned me around and doubled back down the same road past the same houses, the lake once again in full view. Just when I thought their only plan was to parade me round town all day, they turned a corner and stopped before a large house, freshly built, with a sort of portico in front and blue-and-white cloth curtains hanging in the windows and doorway. I laughed out loud at this English tea shop encircled by pampas grass in the middle of the Territories. A few pigs were digging around the base of the ladder. From below I heard footsteps creaking the new floor. The cloth at the windows and doors puffed in and out from the movement within. ‘Hallo the house!’ I’d heard this in an American frontier film once. I waited for someone to emerge but no one did, so I climbed up and stood on the narrow porch and knocked on one of the posts. The sound was absorbed by the voices inside, quiet, nearly whispery, but insistent, like the drone of a circling aeroplane. I stepped closer and pulled the curtain aside a few inches. I was struck first by the heat, then the smell. There were at least thirty Tam in the front room, on the floor or perched oddly on chairs, in little groups or even alone, everyone with a project in front of them. Many were children and adolescents, but

If you want to tell a boy dog apart from a girl dog in the 101 Dalmatians, simply look at their collar! All of the females wear blue, while the males wear red!

In The New Biographical Dictionary of Film, David Thomson argues that Brennan should have won awards for even better performances in To Have and Have Not (1944), My Darling Clementine (1946), Red River (1948), The Far Country (1955), and Rio Bravo (1959). Thomson counts no less than twenty-eight high caliber Brennan performances in still more films, including These Three (1936), Fury (1936), Meet John Doe (1941), and Bad Day At Black Rock (1955). Brennan worked with Hollywood’s greatest directors—John Ford, Howard Hawks, William Wyler, King Vidor, and Fritz Lang—while also starring in Jean Renoir’s Hollywood directorial debut, Swamp Water (1941). To discuss Brennan’s greatest performances is also to comment on the work of Gary Cooper, Henry Fonda, Dana Andrews, Spencer Tracy, John Wayne, Humphrey Bogart, Lauren Bacall, Anne Baxter, Barbara Stanwyck, Lana Turner, Linda Darnell, Ginger Rogers, Loretta Young, and many other stars.

After all it was for one justice which is short..., but the journey up to this justice was very long. (Red 2008 Film)

All of our savings were consumed in the effort to bring my dog over. Steve loved Sui so much that he understood completely why it was worth it to me. The process took forever, and I spent my days tangled in red tape. I despaired. I loved my life and I loved the zoo, but there were times during that desperate first winter when it seemed we were fighting a losing battle. Then our documentaries started to air on Australian television. The first one, on the Cattle Creek croc rescue, caused a minor stir. There was more interest in the zoo, and more excitement about Steve as a personality. We hurried to do more films with John Stainton. As those hit the airwaves, it felt like a slow-motion thunderclap. Croc Hunter fever began to take hold. The shows did well in Sydney, even better in Melbourne, and absolutely fabulous in Brisbane, where they beat out a long-running number one show, the first program to do so. I believe we struck a chord among Australians because Steve wasn’t a manufactured TV personality. He actually did head out into the bush to catch crocodiles. He ran a zoo. He wore khakis. Among all the people of the world, Australians have a fine sense of the genuine. Steve was the real deal. Although the first documentary was popular and we were continuing to film more, it would be years before we would see any financial gain from our film work. But Steve sat down with me one evening to talk about what we would do if all our grand plans ever came to fruition. “When we start to make a quid out of Crocodile Hunter,” he said, “we need to have a plan.” That evening, we made an agreement that would form the foundation of our marriage in regard to our working life together. Any money we made out of Crocodile Hunter--whether it was through documentaries, toys, or T-shirts (we barely dared to imagine that our future would hold spin-offs such as books and movies)--would go right back into conservation. We would earn a wage from working at the zoo like everybody else. But everything we earned outside of it would go toward helping wildlife, 100 percent. That was our deal. As a result of the documentaries, our zoo business turned from a trickle to a steady stream. Only months earlier, a big day to us might have been $650 in total receipts. When we did $3,500 worth of business one Sunday, and then the next Sunday upped that record to bring in $4,500, we knew our little business was taking off. Things were going so well that it was a total shock when I received a stern notice from the Australian immigration authorities. Suddenly it appeared that not only was it going to be a challenge to bring Shasta and Malina to my new home of Australia, I was encountering problems with my own immigration too. Just when Steve and I had made our first tentative steps to build a wonderful life together, it looked as though it could all come tumbling down.

We were taking a DC-10 all the way across the country, from the east coast to the west. Together we flew into the Red Centre, the interior of the continent and the location of Ayers Rock--one of Australia’s most recognizable icons. “Have a look at it,” Steve said when we arrived. “It’s the heart of Australia.” I could see why. A huge red mountain rose up out of the flat, sandy landscape. The rock appeared out of place in the great expanse of the desert. The Aborigines knew it as Uluru, and they preferred that tourists did not clamber over their sacred site. We respectfully filmed only the areas we were allowed to access with the local Aborigines’ blessing. As we approached the rock, Steve saw a lizard nearby. He turned to the camera to talk about it. I was concentrating on Steve, Steve was concentrating on the lizard, and John was filming. Bindi was with us, and she could barely take two steps on her own at this point, so I knew I could afford to watch Steve. But after John called out, “Got it,” and we turned back to Bindi, we were amazed at what we saw. Bindi was leaning against the base of Ayer’s Rock. She had placed both her palms against the smooth stone, gently put her cheek up to the rock, and stood there, mesmerized. “She’s listening,” Steve whispered. It was an eerie moment. The whole crew stopped and stared. Then Bindi suddenly seemed to come out of her trance. She plopped down and started stuffing the red sand of Uluru into her mouth like it was delicious.

We were taking a DC-10 all the way across the country, from the east coast to the west. Together we flew into the Red Centre, the interior of the continent and the location of Ayers Rock--one of Australia’s most recognizable icons. “Have a look at it,” Steve said when we arrived. “It’s the heart of Australia.” I could see why. A huge red mountain rose up out of the flat, sandy landscape. The rock appeared out of place in the great expanse of the desert. The Aborigines knew it as Uluru, and they preferred that tourists did not clamber over their sacred site. We respectfully filmed only the areas we were allowed to access with the local Aborigines’ blessing. As we approached the rock, Steve saw a lizard nearby. He turned to the camera to talk about it. I was concentrating on Steve, Steve was concentrating on the lizard, and John was filming. Bindi was with us, and she could barely take two steps on her own at this point, so I knew I could afford to watch Steve. But after John called out, “Got it,” and we turned back to Bindi, we were amazed at what we saw. Bindi was leaning against the base of Ayer’s Rock. She had placed both her palms against the smooth stone, gently put her cheek up to the rock, and stood there, mesmerized. “She’s listening,” Steve whispered. It was an eerie moment. The whole crew stopped and stared. Then Bindi suddenly seemed to come out of her trance. She plopped down and started stuffing the red sand of Uluru into her mouth like it was delicious. We also filmed a thorny devil busily licking up ants from the sandy soil. The one-of-a-kind lizard is covered with big, lumpy, bumpy scales and spikes. “When it rains,” Steve told the camera, “the water droplets run along its body and end up channeling over its face, so that if there is any rain at all, the thorny devil can get a drink without having to look for water!” It’s a pity she won’t remember any of it, I thought, watching Bindi crouch down to examine the thorny devil’s tongue as it madly ate ants. But we had the photos and the footage. What a lucky little girl, I thought. We’ll have all these special experiences recorded for her to take out and enjoy anytime she wants to remember.

The film of evening light made the red earth lucent, so that its dimensions were deepened, so that a stone, a post, a building had greater depth and more solidity than in the daytime light; and these objects were curiously more individual—a post was more essentially a post, set off from the earth it stood in and the field of corn it stood out against. And plants were individuals, not the mass of crop; and the ragged willow tree was itself, standing free of all other willow trees. The earth contributed a light to the evening. The front of the gray, paintless house, facing the west, was luminous as the moon is. The gray dusty truck, in the yard before the door, stood out magically in this light, in the overdrawn perspective of a stereopticon.

Nikolay II had been and, like all men, he assumed that his living conditions were normal, even though intellectually he knew that they were anything but. The people outside his windows had food to eat, TV and films to watch, sports teams to cheer for, and the chance to own an automobile, didn’t they? In return for giving them all those things, he enjoyed a somewhat better lifestyle. That was entirely reasonable, wasn’t it? Didn’t he work harder than they all did? What the hell else did those people want?

The traditional American war movie treats war as episodic and unusual, but here the voice-overs by Train elevate such violence and destruction to permanent metaphysical status. This is another reason why the narrative framework of the genre is invoked only to be refused.

Curse you then. However beat and done with it all I am, I must haul myself up, and find the particular coat that belongs to me; must push my arms into the sleeves; must muffle myself up against the night air and be off. I, I, I, tired as I am, spent as I am, and almost worn out with all this rubbing of my nose along the surfaces of things, even I, an elderly man who is getting rather heavy and dislikes exertion, must take myself off and catch some last train. Again I see before me the usual street. The canopy of civilization is burnt out. The sky is dark as polished whalebone. But there is a kindling in the sky whether of lamplight or of dawn. There is a stir of some sort—sparrows on plane tree somewhere chirping. There is a sense of the break of day. I will not call it dawn. What is dawn in the city to an elderly man standing in the street looking up rather dizzily at the sky? Dawn is some sort of whitening of the sky; some sort of renewal. Another day; another Friday; another twentieth of March, January, or September. Another general awakening. The stars draw back and are extinguished. The bars deepen themselves between the waves. The film of mist thickens on the fields. A redness gathers on the roses, even on the pale rose that hangs by the bedroom window. A bird chirps. Cottagers light their early candles. Yes, this is the eternal renewal, the incessant rise and fall and fall and rise again. And in me too the wave rises. It swells; it arches its back. I am aware once more of a new desire, something rising beneath me like the proud horse whose rider first spurs and then pulls him back. What enemy do we now perceive advancing against us, you whom I ride now, as we stand pawing this stretch of pavement? It is death. Death is the enemy. It is death against whom I ride with my spear couched and my hair flying back like a young man’s, like Percival’s, when he galloped in India. I strike spurs into my horse. Against you I will fling myself, unvanquished and unyielding, O Death! The waves broke on the shore.

But traveling faster than light would require infinite energy; it is possible on paper, not in practice. More recently, physicists have theorized other ways that physical travel into the past could be achieved, but they are still exotic and expensive. A technological civilization thousands or more years in advance of our own, one able to harness the energy of its whole galaxy, could create a wormhole linking different points in the fabric of spacetime and send a spaceship through it.8 It is an idea explored widely in science fiction and depicted vividly in Christopher Nolan’s 2014 film Interstellar. But all this is academic for our purposes. For Gleick, what we are really talking about with time travel is a thought experiment about the experiencer—the passenger—in a novel, disjointed relationship to the external world. We can readily perform feats of “mental time travel,” or at least simulate such feats, as well as experience a dissociation between our internal subjective sense of time and the flux of things around us and even our own bodies.9 According to Gleick, part of what suddenly facilitated four-dimensional thinking in both popular writing and the sciences was the changing experience of time in an accelerating society. The Victorian age, with its steam engines and bewildering pace of urban living, increased these experiences of dissociation, and they have only intensified since then. Time travel, Gleick argues, is basically just a metaphor for modernity, and a nifty premise upon which to base literary and cinematic fantasies that repair modernity’s traumas. It also shines a light on how confused we all are about time. The most commonly voiced objection to time travel—and with it, precognition—is that any interaction between the future and past would change the past, and thus create a different future. The familiar term is the grandfather paradox: You can’t go back in time and kill your grandfather because then you wouldn’t have been born to go back in time and kill your grandfather (leaving aside for the moment the assumed inevitability of wanting to kill your grandfather, which is an odd assumption). The technical term for meddling in the past this way is “bilking,” on the analogy of failing to pay a promised debt.10 Whatever you call it, it is the kind of thing that, in Star Trek, would make the Enterprise’s computer start to stutter and smoke and go haywire—the same reaction, in fact, that greets scientific claims of precognition. (As Dean Radin puts it, laboratory precognition results like those cited in the past two chapters “cause faces to turn red and sputtering noises to be issued from upset lips.”11) Information somehow sent backward in time from an event cannot lead to a future that no longer includes that event—and we naturally intuit that it would be very hard not to have such an effect if we meddled in the timeline. Our very presence in the past would change things.

Raised on Walt Disney, most of us hear the phrase “Mirror, mirror, on the wall, who’s the fairest of them all?” and the first image that pops into our heads is that of the evil stepmother with her stark white face and red lips in the animated film and book spin-offs of Snow White. But like other folktales collected by the Brothers Grimm, their original source—and indeed their first version of the story, published in 1812—wasn’t about an evil stepmother but a mother-daughter pair, and it was Snow White’s own mother who was her envious antagonist. In the original version, the beautiful queen who pricks her finger while sewing and wishes for a child “as white as snow, as red as blood, and as black as the sewing frame” gives birth to Snow White. It is Snow White’s own mother who, obsessed with her own beauty, checks her magic mirror when Snow White is seven only to hear that her daughter, not she, is “the fairest of them all.” It is Snow White’s mother who tries her best to have her daughter killed throughout the rest of the story until innocence trumps maternal envy in the end. By 1819, the Grimm Brothers had banished to the cupboard of taboos the psychological truth mirrored in the original folktale—of the potential rivalry between a mother and daughter, or maternal envy—by having the “real” mother die after giving birth and a sinister stepmother take her place.

Andrei sometimes wondered how much a river would change Los Angeles. He pictured a long stream of water that divided the city, much like the River Thames or the Seine. Rivers nourished. The water happily rewrote the aisles of streetlamps and transformed one’s nighttime walk into a feature film. It carried boats filled with a surveying crowd that waved back at any brandishing hand on land that tried. It fostered lunch dates, amusing dares, and a reference for the lost. Andrei had spent one summer abroad and met these rivers. He was astonished at the difference in conversations the Europeans had with him. They were simple and alive. The pubs helped. The accents, too. Was it the rain that reminded? he speculated. The museums? The red buses? The cheap flights to any neighboring country? So—what was it about the geography of LA that made connection impossible? Just then, the sun glared at him. He glared back.

To recover an intuitive sense of what will be in season throughout the year, picture a season of foods unfolding as if from one single plant. Take a minute to study this creation—an imaginary plant that bears over the course of one growing season a cornucopia of all the different vegetable products we can harvest. We’ll call it a vegetannual. Picture its life passing before your eyes like a time-lapse film: first, in the cool early spring, shoots poke up out of the ground. Small leaves appear, then bigger leaves. As the plant grows up into the sunshine and the days grow longer, flower buds will appear, followed by small green fruits. Under midsummer’s warm sun, the fruits grow larger, riper, and more colorful. As days shorten into the autumn, these mature into hard-shelled fruits with appreciable seeds inside. Finally, as the days grow cool, the vegetannual may hoard the sugars its leaves have made, pulling them down into a storage unit of some kind: a tuber, bulb, or root. So goes the year. First the leaves: spinach, kale, lettuce, and chard (here, that’s April and May). Then more mature heads of leaves and flower heads cabbage, romaine, broccoli, and cauliflower (May–June). Then tender young fruit-set: snow peas, baby squash, cucumbers (June), followed by green beans, green peppers, and small tomatoes (July). Then more mature, colorfully ripened fruits: beefsteak tomatoes, eggplants, red and yellow peppers (late July–August). Then the large, hard-shelled fruits with developed seeds inside: cantaloupes, honeydews, watermelons, pumpkins, winter squash (August–September). Last come the root crops, and so ends the produce parade. Plainly these don’t all come from the same plant, but each comes from a plant, that’s the point—a plant predestined to begin its life in the spring and die in the fall. (A few, like onions and carrots, are attempting to be biennials, but we’ll ignore that for now.) Each plant part we eat must come in its turn—leaves, buds, flowers, green fruits, ripe fruits, hard fruits—because that is the necessary order of things for an annual plant. For the life of them, they can’t do it differently. Some minor deviations and a bit of overlap are allowed, but in general, picturing an imaginary vegetannual plant is a pretty reliable guide to what will be in season, wherever you live. If you find yourself eating a watermelon in April, you can count back three months and imagine a place warm enough in January for this plant to have launched its destiny.

War: Private Smith of the Royals Private Smith of the Royals; the veldt and a slate-black sky, Hillocks of mud, brick-red with blood, and a prayer—half curse—to die. A lung and a Mauser bullet; pink froth and a half-choked cry. Private Smith of the Royals; self-sounding his funeral knell; A burning throat that each gasping note scrapes raw like a broken shell. A thirst like a red-hot iron and a tongue like a patch of Hell. But Private Smith of the Royals gazed up at the soft blue sky— The rose-tinged morn like a babe new born and the sweet-songed birds on high— With a fleck of red on his pallid lip and a film of white on his eye.

War Private Smith of the Royals; the veldt and a slate-black sky, Hillocks of mud, brick-red with blood, and a prayer—half curse—to die. A lung and a Mauser bullet; pink froth and a half-choked cry. Private Smith of the Royals; a torrent of freezing rain; A hail of frost on a life half lost; despair and a grinding pain. And the drip-drip-drip of the Heavens to wash out the brand of Cain. Private Smith of the Royals; the blush of a dawning day; The fading mist that the sun had kissed—and over the hills away The blest Red Cross like an angel in the trail of the men who slay. But Private Smith of the Royals gazed up at the soft blue sky— The rose-tinged morn like a babe new born and the sweet-songed birds on high— With a fleck of red on his pallid lip and a film of white on his eye.

Bond leaps to his feet and so begins one of the greatest close-quarters combat scenes in Bond history. In an age where fighting in films was very much depicted as drunken scuffling, Bond vs Red Grant is one of the finest early examples of two mad-for-it hard bastards trying to kill each other with their bare hands.

There’s no point in losing my temper. Anger doesn’t serve me, not when I have a hundred little fires to put out on the daily. Instead of getting upset over things I can’t control, I think on my feet. “That’s fine,” I say. “Tell Shansen Group we understand their reservations, but we refuse to make changes to keep the integrity of the film. We’re in talks with Red Dragon Investments, anyway.

you’re going to need a blade. Now …” He moved to the next box, tearing off the lid, nails and all. “Why don’t you make yourself useful and look through a few of these yourself? See if anything jumps out at you. Remember, you’re looking for a blade. Not a mace or a maul or a huge spiked chain that you’d probably hurt yourself with trying to learn.” “Fine.” I wandered down the aisle, looking at random articles. “But I still say the flail looked like it could bash in a vamp’s head pretty efficiently.” “Allison—” “I’m going, I’m going.” More wooden boxes lined the aisle to either side, covered in dust. I brushed back a film of cobwebs and grime to read the words on the side of the nearest carton. Longswords: Medieval Europe, 12th century. The rest was lost to time and age. Another read: Musketeer Rapie … something or other. Another apparently had a full suit of gladiator armor, whatever a gladiator was. A clang from Kanin’s direction showed him holding up a large, double-bladed ax, before he laid it aside and moved on to another shelf. One box caught my attention. It was long and narrow, like the other boxes, but instead of words, it had strange symbols printed down the side. Curious, I wrenched off the lid and reached in, shifting through layers of plastic and foam, until my fingers closed around something long and smooth. I pulled it out. The long, slightly curved sheath was black and shiny, and a hilt poked out of the end, marked with diamond pattern in black and red. I grasped that hilt and pulled the blade free, sending a metallic shiver through the air and down my spine. As soon as I drew it, I knew I had found what Kanin wanted. The blade gleamed in the darkness, long and slender, like a silver ribbon. I could sense the razor sharpness of the edge without even touching it. The sword itself was light and graceful, and fit perfectly into my palm, as if it had been made for me. I swept it in a wide arc, feeling it slice through the air, and imagined this was a blade that could pass through a snarling rabid without even slowing down. A chuckle interrupted me. Kanin stood a few yards away, arms crossed, shaking his head. His mouth was pulled into a resigned grin. “I should have known,” he said, coming forward. “I should have known you would be drawn to that. It’s very fitting, actually.

In the hierarchy of Hollywood, reality TV vies for last position with low-budget independent films. The pay may be better, but because no one is really acting and there are no real lines, it’s the other red-headed stepchild of filmmaking.

The mother of all New Right techniques is that of the red pill, or variants thereof like “red-pilling” or “becoming red-pilled.” The term comes directly from the film The Matrix. In the movie, everything that the vast majority of mankind sees is actually a lie, a false reality constructed for their benefit and comfort by a secret ruling cabal.

He showed us films. Obviously we loved teachers showing films: nap time, makeout time if applicable. But this one, Jesus, you needed to see how it came out. Men calling a strike, the company calling in the army to force them back to work, the miners saying guess what, we’ve got guns too. Serious shit. Battle of Blair Mountain, that turned into the biggest war in America ever, other than the civil one. Twenty thousand guys from all over these mountains, fighting in regiments. They wore red bandannas on their necks to show they were all on the same side, working men. Mr. Armstrong said people calling

Marcus studied those NASA pictures for hours, the gorgeous Hasselblad pictures of men on the moon and the pictures of Jupiter’s turbulence. Since Newton’s laws apply everywhere, Marcus programmed a computer with a system of fluid equations. To capture Jovian weather meant writing rules for a mass of dense hydrogen and helium, resembling an unlit star. The planet spins fast, each day flashing by in ten earth hours. The spin produces a strong Coriolis force, the sidelong force that shoves against a person walking across a merry-go–round, and the Coriolis force drives the spot. Where Lorenz used his tiny model of the earth’s weather to print crude lines on rolled paper, Marcus used far greater computer power to assemble striking color images. First he made contour plots. He could barely see what was going on. Then he made slides, and then he assembled the images into an animated movie. It was a revelation. In brilliant blues, reds, and yellows, a checkerboard pattern of rotating vortices coalesces into an oval with an uncanny resemblance to the Great Red Spot in NASA’s animated film of the real thing. “You see this large-scale spot, happy as a clam amid the small-scale chaotic flow, and the chaotic flow is soaking up energy like a sponge,” he said. “You see these little tiny filamentary structures in a background sea of chaos.” The spot is a self-organizing system, created and regulated by the same nonlinear twists that create the unpredictable turmoil around it. It is stable chaos.

Do you remember when we discussed the horseshoe theory of politics?” “Yes, of course.” “We talked about how most Americans used to be in the middle, relatively speaking. That’s how America kept its balance all those years. The left and the right were close enough to have disagreements but not hate.” “Okay.” “That world is gone, Gavin, and so it will now be easy to destroy the social order. The middle has become complacent. They are smart, but they are lazy. They see the grays. They get the other side. Extremists, on the other hand, see only black and white. They are not only certain that their vision is absolutely correct, but they are incapable of even understanding the other side. Those who don’t believe as they do are lesser in every way, and so they will kill for that vision. I get those people, Gavin. And I want to create more of them by forcing those in the middle to choose a side. I want to make them extremists too.” “Why?” “Extremists are relentless. They don’t see right or wrong—they see us and them. You’re a baseball fan, aren’t you, Gavin?” “I am.” “A Yankee fan, right?” “So?” “So if you found out the Yankee manager cheated or that all your favorite Yankees took steroids, would you then become a Red Sox fan?” Gavin said nothing. “Well?” “Probably not.” “Exactly. The Yankees could never do anything that would make you a Red Sox fan. That’s the power I want to harness. I read a quote recently from Werner Herzog. You know who he is?” “The German film director.” “Right. He said that America was waking up, as Germany once did, to the awareness that one-third of our people will kill one-third of our people while one-third of our people watches.” Rusty put his hand on Gavin’s shoulder. “You and I are going to change the world, my friend.” He leaned forward. “Drop me off up ahead on the next corner.

As Grayson closed the front door behind us, I glanced in the direction of the voice. It had emanated from a scrawny, fifty-something guy sporting a camo ball cap. A scraggly gray beard cascaded from under the guy's red nose to midway down his flannel-clad chest like a hank of soggy Spanish moss. I elbowed Grayson. "You didn't tell me this is where they filmed Duck Dynasty.

Young Hans Reiter also liked to walk, like a diver, but he didn’t like to sing, for divers never sing. Sometimes he would walk east out of town, along a dirt road through the forest, and he would come to the Village of Red Men, where all they did was sell peat. If he walked farther east, there was the Village of Blue Women, in the middle of a lake that dried up in the summer. Both places looked like ghost towns, inhabited by the dead. Beyond the Village of Blue Women was the Town of the Fat. It smelled bad there, like blood and rotting meat, a dense, heavy smell very different from the smell of his own town, which smelled of dirty clothes, sweat clinging to the skin, pissed-upon earth, which is a thin smell, a smell like Chorda filum. In the Town of the Fat, as was to be expected, there were many animals and several butcher shops. Sometimes, on his way home, moving like a diver, he watched the Town of the Fat citizens wander the streets of the Village of Blue Women or the Village of Red Men and he thought that maybe the villagers, those who were ghosts now, had died at the hands of the inhabitants of the Town of the Fat, who were surely fearsome and relentless practitioners of the art of killing, no matter that they never bothered him, among other reasons because he was a diver, which is to say he didn’t belong to their world, where he came only as an explorer or a visitor. On other occasions his steps took him west, and he walked down the main street of Egg Village, which each year was farther and farther from the rocks, as if the houses could move on their own and chose to seek a safer place near the dells and forests. It wasn’t far from Egg Village to Pig Village, a village he imagined his father never visited, where there were many pigstys and the happiest herds of pigs for miles around, pigs that seemed to greet the passerby regardless of his social standing or age or marital status, with friendly grunts, almost musical, or in fact entirely musical, while the villagers stood frozen with their hats in their hands or covering their faces, whether out of modesty or shame it wasn’t clear. And farther on was the Town of Chattering Girls, girls who went to parties and dances in even bigger towns whose names the young Hans Reiter heard and immediately forgot, girls who smoked in the streets and talked about sailors at a big port who served on this or that ship, the names of which the young Hans Reiter immediately forgot, girls who went to the movies and saw the most thrilling films, with actors who were the handsomest men on the planet and actresses who, if one wanted to be fashionable, one had to imitate, and whose names the young Hans Reiter immediately forgot. When he got home, like a night diver, his mother asked him where he’d spent the day and the young Hans Reiter told her the first thing that came to mind, anything but the truth. Then his mother stared at him with her blue eye and the boy held her gaze with his two blue eyes, and from the corner near the hearth, the one-legged man watched them both with his two blue eyes and for three or four seconds the island of Prussia seemed to rise from the depths.

May 19th 2031_ Eleven months before_ I opened my eyes to see darkness and the sound of my alarm beeping. 0400 hours. I turned it off and got up. I looked for my glasses on my bedside cabinet and put them on. "Alexa, Good morning roll," I said loudly in the dark room. The lights came on and the curtains opened, the speaker turned on and started playing my Spotify playlist. I slowly got dressed and made myself breakfast. After breakfast, I downed a 500ml bottle of zero coke. I leaned to one side and burped. I looked around my kitchen. The dark marble counter and white cupboards, walls and ceiling matched with each other. I looked outside the kitchen window at the traffic down below. I was about 6 floors high, if you were to jump off from that high, there is a very high chance you might die. And if you were lucky to survive, you would be immobilised from your broken legs and hip and ribs. I turned around and sat on the black leathery sofa and switched on the TV. I looked on Netflix at old World War Two films that I could watch before bed. I scrolled through the list. From 'Dunkirk' to 'Unbroken' to a lot more films. I chose a couple and switched the TV onto the news. The reporter said that there was a knife crime in Redding earlier. I sighed but was relieved that it wasn't me. It is a low chance that I would get murdered by someone or people with knives in England but it's still a possibility. I turned the TV off and looked at my phone. There was nothing new on Discord and nothing new on WhatsApp. I checked my Snapchat and opened a few Snaps from my friends at work. I took a selfie of myself in my apartment not working. I sent it off and was happy that I don't work on

You’ll pay for this,” the sheriff hisses, glaring at my brother and me as we get carried out of the courtroom. “He was with us!” I shout again, staring frantically at the jury as they continue to wrangle me out. “They’re hiding the truth! They’re suppressing evidence! This is just a fucking witch hunt, and my father is being framed!” “Just make them show you our statements!” my brother bellows as they finally haul us all the way out. As soon as the doors seal shut, they reopen, and the sheriff stalks out. Cuffs are being put on our wrists, but they can’t lock us away for long. It’s on film. We’re in contempt of court and nothing else. “Put them in a cell until this damn thing is over. I won’t deal with them again until I have to,” the sheriff barks. Then those cold eyes turn to us. “You’re making a deal with the devil by betraying the souls of the innocent. Your father is guilty. And I’ll make sure he hangs for his sins.” He starts to walk back inside as we start demanding to be turned loose. The sheriff turns just as we reach the corner, and he eyes me. “I’d hoped you see the devil you loved through clearer eyes, but I guess you never did and never will.

The Garden of Fragrant Delights compound is very much inspired by the Qiao family compound near the ancient city of Pingyao, which I visited many years ago. The home boasts 313 rooms, six large courtyards, and nineteen smaller courtyards. You might recognize it as the setting for the film Raise the Red Lantern.

Richard Grierson smiles, but it’s an inward-pointing smile, a smile of someone folding himself back up for storage in the colorful corners of his own crayon fantasies. She looks at the books, their titles hazy with a thin film of sawdust, and she looks at the toy ships built for imaginary journeys along the red dotted lines of a child’s map, and she looks at the exotic pictures in the books still open flat before her, and she understands that these places are just places of the mind, and she wants to be able to exalt his wild dreams and imaginings along with her own—but there’s something about them that make them feel like the saddest thing she’s ever seen.

Brennan made everything he did look easy, but occasionally he revealed how much labor went into his roles. In Red River, for example, he walks with a slight stoop after the film flashes forward fifteen years. On the set, a United Press reporter watched the actor ease his apparently weary body into a chair, ordering a meal in a “semi-senile voice,” and commenting, “If you knew what a job it is to assume an aged character like this, you would understand why I don’t dare step out of it during the day. If I stepped out of character during the lunch hour, I would have a heck of a time getting back into it during the first few scenes after lunch. Why, I’ve never played myself in a film.

5th Street between First and Second Avenue is often used as a backdrop for films. Very close to the red house is New York’s most famous police station, Precinct 9, which has been filmed very often. “Our façade is often in the camera’s view, or camera people climb up the fire ladder in order to shoot from up above. Then I get 200 dollars.

What miffed Brennan about working with Ford was the director’s lack of respect for fellow professionals. Unlike Howard Hawks, Ford was not much of a collaborator. He never gave Brennan the feeling that they were in a project together. Hawks, on the other hand, treated Brennan as a crucial part of a film’s success. In Red River (September 17, 1948), Brennan gets nearly as much screen time as John Wayne and co-star Montgomery Clift, in the epic story of a cattle drive from Texas to Missouri that is diverted to Abilene during the lawless days following the Civil War. In one version of the film, Brennan actually narrates the story, making it his own by trading on what was now a character that transcended individual films and seemed, in effect, the voice of the West. In another less powerful version of the film, narration is delivered through the rather clumsy device of turning pages in a book. For the Lux Radio Theatre one-hour adaptation (March 7, 1949), not only was Brennan restored as narrator, he also becomes a dominant voice mediating between Dunson and the other characters.

He finally reached the Salaam Center hospital, a long, low grayish building that looked like a dispensary. Inside, one could feel the lack of resources, the struggle these shadow-people led against impossible odds. A cursory waiting room with basic furniture, secondhand chairs, small tables, and swinging doors with round portholes that looked like something out of Egyptian films from the forties. Boxes containing first aid kits, stenciled with the symbol of the French Red Cross, were stacked in the corners.

Mind you, I wasn’t planning on diffusing the thing if we did find it …was it the red wire or the green wire anyway? All I know from watching all those films is that whichever one you choose, you need to change your mind at the very last second, ideally whilst also having a deep conversation with some girl at the other end of a telephone about how things between you could have been different. There is also a lot of perspiration and mopping of furrowed brows involved.

This attitude finds a late but still abundantly clear expression in the conventions of the classical court theatre, in which the actor, quite regardless of the demands of stage deception, addresses the audience directly, apostrophizes it, as it were, with every word and gesture, and not only avoids ‘turning his back’ on the audience but emphasizes by every possible means that the whole proceeding is a pure fiction, an entertainment conducted in accordance with previously agreed rules. The naturalistic theatre forms the transition to the absolute opposite of this ‘frontal’ art, namely the film, which, with its mobilization of the audience, leading them to the events instead of leading and presenting the events to them, and attempting to represent the action in such a way as to suggest that the actors have been caught red-handed, by chance and by surprise, reduces the fictions and conventions of the theatre to a minimum. With its robust illusionism, its forthright and indiscreet directness, its violent attack on the audience, it expresses a democratic conception of art, held by liberal, anti-authoritarian societies, just as clearly as the whole of the courtly and aristocratic art—by its mere emphasis of the stage, the footlights, the frame and the socle—is the unmistakable expression of a highly artificial, specially commissioned occasion, from which it is obvious that the patron is an initiated connoisseur who does not need to be deceived.

Stop doing this,” she cried fiercely. “You’ll drive me mad. You want to behave as if I belong to you, but I don’t, and I never will. Your worst nightmare is becoming a husband and father, and so you seem determined to form some kind of lesser attachment that I do not want. Even if I were pregnant and you felt duty-bound to propose, I would still refuse you, because I know it would make you as unhappy as it would make me.” Devon’s intensity didn’t lessen, but it changed from anger into something else. He held her with a gaze of hot blue infinity. “What if I said I loved you?” he asked softly. The question drove a spike of pain through her chest. “Don’t.” Her eyes smarted with tears. “You’re not the kind of man who could ever say that and mean it.” “It’s not who I was.” His voice was steady. “But it’s who I am now. You’ve shown me.” For at least a half minute, the only sound was the crackling, shivering fire on the hearth. She didn’t understand what he truly thought or felt. But she would be a fool to believe him. “Devon,” she eventually said, “when it comes to love…neither you nor I can trust your promises.” She couldn’t see through the glittering film of misery, but she was aware of him moving, bending to pick up the coat he had tossed aside, rummaging for something. He came to her, catching her arm lightly in his hand, drawing her to the bed. The mattress was so high that he had to fit his hands around her waist and hoist her upward to sit on it. He set something on her lap. “What is this?” She looked down at a small wooden box. His expression was unfathomable. “A gift for you.” Her sharp tongue got the better of her. “A parting gift?” Devon scowled. “Open it.” Obeying, she lifted the lid. The box was lined with red velvet. Pulling aside a protective layer of cloth, she uncovered a tiny gold pocket watch on a long chain, the casing delicately engraved with flowers and leaves. A glass window on the hinged front cover revealed a white enamel dial and black hour and minute markers. “It belonged to my mother,” she heard Devon say. “It’s the only possession of hers that I have. She never carried it.” Irony edged his voice. “Time was never important to her.

Erano gente comune, lui e Peiqin, grandi lavoratori che si accontentavano di poco. Una gena di granchi come quelli della serata passata li poteva rendere felici, eccitati, le piccole cose duravano a lungo per loro: un film nel fine settimana, una visita al Parco delle Meraviglie, la canzone di una nuova cassetta, o una felpa con Topolino per Qinqin. A volte lui si lamentava come tutti gli altri, ma in verità si considerava un tipo fortunato. Una moglie meravigliosa, uno splendido figlio. Cos'altro c'era di importante sulla faccia della terra?

IN 1943 POLISH SOLDIERS TRAINED AN ADULT brown bear to help them fight Nazis in an old monastery atop a mountain in the Italian Alps. Yes, this is a true story, not the plot of the next Pixar film. The bear doesn’t sing or dance or talk, but it does carry artillery shells, take baths, and smoke cigarettes, even though smoking is really bad for you. Voytek the Soldier Bear’s story starts back during the German blitzkrieg against Poland at the very beginning of the war. As the Nazis were crushing their way through western Poland, the brave Polish defenders suddenly felt the stab of a knife in their back when the forces of the Soviet Union came rolling across Poland’s eastern border, eager to grab land for the USSR while the Polish were preoccupied with getting punched in the head by the German Army. One of the few, outnumbered defenders who stood his ground against the Soviet juggernaut was Captain Wladislaw Anders, a resolute cavalry officer who valiantly launched a charge against Soviet troops but was wounded in battle and taken as a prisoner of war. For over a year he rotted in Lubyanka Prison, one of Stalin’s worst and most inhospitable one-star prison facilities. Then a weird thing happened. On August 14, 1941, the Red Army guards unlocked the prison cell and told Anders he was a free man. The Germans had invaded Russia, and now the Soviets were prepared to offer Anders and 1.5 million other Polish citizens their freedom if they’d help old Uncle Joe Stalin battle those big evil Nazis. Anders cocked an eyebrow. He wasn’t exactly crazy about the idea of trusting his life to the men who had just shot and imprisoned him, but he agreed anyway. He was shipped out by rail and reunited with twenty-five thousand other Polish soldiers who had been similarly released from the Soviet prison system. Anders immediately

I was confronted by the most ostentatious mansion I had ever seen. La Leopolda may have been the most expensive house in the world, but Greenacres, which had been built by the silent-film star Harold Lloyd in the late 1920s, was the one of the biggest. The main house was a forty-four

Ten shockingly arty events What arty types like to call a ‘creative tension’ exists in art and music, about working right at the limits of public taste. Plus, there’s money to be made there. Here’s ten examples reflecting both motivations. Painting: Manet’s Breakfast on the Lawn, featuring a group of sophisticated French aristocrats picnicking outside, shocked the art world back in 1862 because one of the young lady guests is stark naked! Painting: Balthus’s Guitar Lesson (1934), depicting a teacher fondling the private parts of a nude pupil, caused predictable uproar. The artist claimed this was part of his strategy to ‘make people more aware’. Music: Jump to 1969 when Jimi Hendrix performed his own interpretation of the American National Anthem at the hippy festival Woodstock, shocking the mainstream US. Film: In 1974 censors deemed Night Porter, a film about a love affair between an ex-Nazi SS commander and his beautiful young prisoner (featuring flashbacks to concentration camp romps and lots of sexy scenes in bed with Nazi apparel), out of bounds. Installation: In December 1993 the 50-metre-high obelisk in the Place Concorde in the centre of Paris was covered in a giant fluorescent red condom by a group called ActUp. Publishing: In 1989 Salman Rushdie’s novel Satanic Verses outraged Islamic authorities for its irreverent treatment of Islam. In 2005 cartoons making political points about Islam featuring the prophet Mohammed likewise resulted in riots in many Muslim cities around the world, with several people killed. Installation: In 1992 the soon-to-be extremely rich English artist Damien Hirst exhibited a 7-metre-long shark in a giant box of formaldehyde in a London art gallery – the first of a series of dead things in preservative. Sculpture: In 1999 Sotheby’s in London sold a urinoir or toilet-bowl-thing by Marcel Duchamp as art for more than a million pounds ($1,762,000) to a Greek collector. He must have lost his marbles! Painting: Also in 1999 The Holy Virgin Mary, a painting by Chris Ofili representing the Christian icon as a rather crude figure constructed out of elephant dung, caused a storm. Curiously, it was banned in Australia because (like Damien Hirst’s shark) the artist was being funded by people (the Saatchis) who stood to benefit financially from controversy. Sculpture: In 2008 Gunther von Hagens, also known as Dr Death, exhibited in several European cities a collection of skinned corpses mounted in grotesque postures that he insists should count as art.

It’s like San Francisco,” Paige breathes at our incredible first view of Venice. Which breaks the spell for a moment. We wrench our eyes away from the Grand Canal and turn to gawk at her instead. “San Francisco?” I ask. “Really?” I mean, I haven’t been to San Francisco, but I’ve seen it in lots of films. Amazingly steep streets, cable cars, Alcatraz Island out in the bay, a huge red bridge they call Golden for some reason. Does she mean Venice is like San Francisco because of the bridge? “Never a dull moment with Paige,” I mutter to Kelly as an aside.

OYAKI Vegetable bun Serves 4–6 (makes about 20 buns) Preparation time: 2½ hrs Cooking time: 15 mins For the dough 300g (10½ oz) wholemeal flour 50g (1¾ oz) cake/self-raising flour 250ml (8½ fl oz) water For the filling 2kg (4 lb 6 oz) mixed shredded cabbage, finely cut daikon (white radish) and carrot 160g (5½ oz) yellow miso 40g (1½ oz) sugar 4 tbsp vegetable oil 1 tbsp basic dashi or water Vegetable and sweet miso 1 aubergine or daikon, finely sliced For the sweet miso sauce 300g (10½ oz) yellow miso 100g (3½ oz) sugar 50ml (1½ fl oz) vegetable oil 1 tbsp basic dashi or water Sweet potato with sweet red bean paste 2 sweet potatoes, peeled and thinly sliced into rounds 225g (8 oz) red bean paste, sweetened to taste salt, for seasoning 1 Working the dough correctly is key. Combine the two flours in a large bowl and then add the water slowly, mixing with chopsticks, just until combined. Cover with cling film and allow the dough to stand for 2 hours. 2 Meanwhile, prepare the filling. Steam the vegetables in a steamer until just tender but still retaining a bit of bite. Remove, allow to cool, then squeeze out excess liquid. Put the steamed vegetables in a large bowl. 3 In a bowl, combine the miso, sugar, vegetable oil and dashi. Pour the mixture into the bowl with the steamed vegetables and mix well. 4 Divide the vegetable filling into 20 portions and form into balls. Do the same with the dough. 5 To make the buns, take one ball of dough and place on a lightly floured surface. Use the palm of one hand to flatten (or use a rolling pin) into a small circle about 10cm (4 in) in diameter and about 2mm (1/12 in) thick. Try to make the centre of the dough slightly thicker than the edges. 6 Place a ball of filling in the centre. Fold over the dough and shape into a ball, pressing the edges firmly to seal. 7 Steam the oyaki in a metal steamer lined with a damp cloth for 13 minutes, until the dough looks opaque and the centre is cooked through. 8 Once steamed, serve at once. Alternatively you can fry them in a non-stick pan over medium heat for 1–2 minutes, or until each side is lightly golden. For the vegetable and sweet miso 1 Bring a saucepan of water to the boil and blanch the aubergine for a few minutes, until softened. Remove and drain. 2 To make the sweet miso sauce, combine the miso, sugar, vegetable oil, and dashi in a bowl. Spread the miso sauce between two slices of the thinly sliced vegetables like a miso sandwich. For the sweet potato with sweet red bean paste 1 Season the sweet potatoes with salt. 2 Spread red bean paste between two slices of sweet potato, like a miso sandwich.

What is the total sum of autumn? What is its content, form purpose? Its style, certainly, has unity. But what does it amount to? Eh, but what did the summer amount to, with all its greenery and flowers and sun? Fountains of red and brown will shoot out soon. That's what the summer amounted to. And you ask me about movies. I don't know what any movie amounts to. I am looking more for some light behind it, behind the images; I am trying to see the man. It was Barbara Wise who said to me the other day—and she was right: The film critic should not explain what the movie is all about, surely an impossible task; he should help to create the right attitude for looking at movies. That's what my rambling is all about, nothing more. Where was I? Yes, rambling. I will tell you the real truth: All that I have learned in my life (and I have seen many movies) amounts to this: Leaves are falling every autumn. I will be there with my camera when they fall.

The film of evening light made the red earth lucent, so that its dimensions were deepened, so that a stone, a post, a building had greater depth and more solidity than in the daytime light; and these objects were curiously more individual—a post was more essentially a post, set off from the earth it stood in and the field of corn it stood out against. And plants were individuals, not the mass of crop; and the ragged willow tree was itself, standing free of all other willow trees. The earth contributed a light to the evening. The front of the gray, paintless house, facing the west, was luminous as the moon is. The gray dusty truck, in the yard before the door, stood out magically in this light, in the overdrawn perspective of a stereopticon.5

How about a picture?" he said, winding on the spool of film. "A little memento of your seaside rendezvous, Miss Smitham?" She perked up, just as he'd hoped she would- Dolly loved having her photograph taken- and Jimmy glanced about for the sun's position. He walked to the far side of the small field in which they'd had their picnic. Dolly had pushed herself up to a sitting position and was stretching like a cat. "Like this?" she said. Her cheeks were flushed from the sun, her bow lips plump and red from the strawberries he'd bought at a roadside stall. "Perfect," he said, and she really was.

Sometimes a single symbol can serve as the designing principle, as with the red letter A in The Scarlet Letter, the island in The Tempest, the whale in Moby-Dick, or the mountain in The Magic Mountain. Or you can connect two grand symbols in a process, like the green nature and black slag of How Green Was My Valley. Other designing principles include units of time (day, night, four seasons), the unique use of a storyteller, or a special way the story unfolds. Here are some designing principles in books, films, and plays, from the Bible all the way to the Harry Potter books, and how they differ from the premise line.

She wanted to be like her childhood heroes Ginger Rogers and Natalie Wood, emerging from limousines onto red carpets to snapping bulbs, the plot of her life playing out like one of the feel-good Million Dollar Movie films she loved to watch on her family’s black-and-white television.

It’s not like I’m famous or anything. Literally no one knows who I am. They just can’t see me making the art, because then they will know.” “And what’s so wrong with people knowing who you are?” Mom asks. I think of how to phrase it. That if people know who I am, they’ll put the pieces together that I’m Wren Gao’s daughter. The infamous baby who was born in a museum. It was such a sensation that it had become my entire identity until enough time had passed and I was no longer a child. I also don’t need the literal beginning of my life on display for everyone to see. It’s why I want to buy Baby Being Born back so no one can own something that is private and personal to me. So that a museum can’t play the moment I entered the world on repeat for days on end against a large white wall for strangers to watch and comment on. Is that so much to ask? I don’t know how to explain it to her. Instead, I just ask one question. “Do you regret it? Filming my birth?” Mom shakes her head firmly. “I don’t believe in looking backwards. It gave us financial security, that video. It gave me the career of my wildest dreams. Long-lasting art imitates life.

Be everything we were and were not. Be a lieutenant, a tightrope walker, a sailor, an actress, a film-maker, a pianist, a lover, a mother, a nurse, a writer; be red and white, or blue; be chaos and heaven; and be them and me, and don’t be any of it.

Where do I go to get a director? I’ve never hired one in my life. I’ve only starred in three films. I said, “Marty, I don’t know how to interview anybody. This is completely crazy.” He said, “No, you’ve got to do it. That’s it.” So now I had to go to California. I was very unhappy. I went to San Francisco to talk to Peter Yates, who made Bullitt. I went to LA to talk to Mark Rydell. I wound up in the Beverly Wilshire Hotel, in what I called the Pompous Room—I didn’t know any other name for it. I’m talking to some guy who’s sort of quiet like me, who’s young and just starting out, but he’s hot off an art film of sorts called Mean Streets, which I hadn’t seen yet, and I’m too busy looking at the tables with red and green felt and the wallpaper with ducks and peacocks on them to understand that I’m speaking to one of our finest filmmakers ever, Martin Scorsese. I was just dizzy and I don’t think we hardly said a word to each other. I guess he must have known I didn’t know my ass from my elbow when it came to hiring a director.

I had my lunch with Marlon in a modest room in the hospital where we were filming on Fourteenth Street. He was sitting on one hospital bed, I was sitting on the other. He was asking me questions: Where am I from? How long have I been an actor? And he was eating chicken cacciatore with his hands. His hands were full of red sauce. So was his face. And that’s all I could think about the whole time. Whatever his words were, my conscious mind was fixated by the stain-covered sight in front of me. He was talking—gobble, gobble, gobble, gobble—and I was just mesmerized. What was he going to do with the chicken? I hoped he wasn’t going to tell me to throw it in the garbage for him. He disposed of it somehow without getting up. He looked at me in a quizzical way, as if to ask, what are you thinking about? I was wondering, what is he going to do with his hands? Should I get him a napkin? Before I could, he spread both his hands across the white hospital bed and smeared the sheets with red sauce, without even thinking about it, and he kept on talking. And I thought, Is that how movie stars act? You can do anything.

A guy in the audience raised his hand and said, ‘I saw you on Politically Incorrect, and you got real mad at some black lady because of something about some film director,’ ” he told The Onion in a rare (for them) serious interview that same year. “I said, ‘Yeah, it was [Elia] Kazan, and the subject was how he had been denied an award from a film critics’ group because he had been a rat for the House Un-American Activities Committee.’ He said, ‘What?’ I said, ‘HUAC! You know, HUAC?’ And he said, ‘What?’ So I had to spend half an hour explaining J. Parnell Thomas and the Hollywood Ten, and The Red Menace, and how High Noon was a protest film against the people who had ratted out others to the Committee and how On the Waterfront was Kazan’s apologia for being a narc and also how that had nothing to do with the McCarthy hearings seven years later. And this guy wasn’t an isolated case in that large gathering! They didn’t know who Elia Kazan was or what he had done that made him a pariah or who Strom Thurmond is or what a Hooverville was or why we were fighting in Korea or Wounded Knee or … hell, they barely knew Nixon. They knew McCarthy’s name but not what it was he’d done. Someone asked if he hadn’t done a good job ferreting out communists, and I said, ‘No! He never ferreted out anygoddambody! All he ever ferreted out was every bottle of booze in Congress!’ So when you’re dealing with people who know nothing, you find yourself suddenly turning into a fucking pedant instead of a storyteller. I have to educate them before I can use a trope or a reference.”224

When the cinema lights go down and the movie starts, it's such a relaxing moment knowing you can get away from your problems in the real world temporarily. That's how the film business started in The Great Depression. I've always thought moviegoing was akin to voluntarily retreating into a primal red (theatres are nearly always red) womb-like area where you're fed sustenance in the dark while having surreal experiences.

There was on existence where Nora had kept up the fiction writing she had occasionally toyed with at university and was now a published author. Her novel The Shape of Regret received rave reviews and was shortlisted for a major literary award. In that life she had lunch in a disappointingly banal Soho members' club with two affable, easy-going producers from Magic Lantern Productions, who wanted to option it for film. She ended up choking on a piece of flatbread and knocking her red wine over one of the producer's trousers and messing up the whole meeting. In one life she had a teenage son called Henry, who she never met properly because he kept slamming doors in her face. In one life she was a concert pianist, currently on tour in Scandinavia, playing night after night to besotted crowds (and fading into the Midnight Library during one disastrous rendition of Chopin's Piano Concerto No. 2 at the Finlandia Hall in Helsinki). In one life she only ate toast. In one life she went to Oxford and became a lecturer in Philosophy at St. Catherine's College and lived by herself in a fine Georgian townhouse in a genteel row, amid an environment of respectable calm. In another life Nora was a sea of emotion. She felt everything deeply and directly. Every joy and every sorrow. A single moment could contain both intense pleasure and intense pain, as if both were dependent on each other, like a pendulum in motion. A simple walk outside and she could feel a heavy sadness simply because the sun had slipped behind a cloud. Yet, conversely, meeting a dog who was clearly grateful for her attention caused her to feel so exultant that she felt she could melt into the pavement with sheer bliss. In that life she had a book of Emily Dickinson poems beside her bed and she had a playlist called 'Extreme States of Euphoria' and another one called 'The Glue to Fix Me When I Am Broken.

I was tidying old papers when I came across a faded "1979" folder. Remember what a bad year that was for those who believed in a self-governing Scotland? In March, a referendum for a "Scottish Assembly", its terms skewed to ensure failure. Then a General Election which slaughtered the SNP down to a mere two MPs and brought Mrs. Thatcher to power. End of a dream? Two things fell out of the folder. One was a giant paper rosette, all blood-red tartan and ribbons, inscribed "Have yourself a Dreich Decade!" The rosette came from irrepressible Murray Grigor, whose films and happenings still teach Scots to find self-confidence through self-mockery. Get a grip, he seemed to be saying, and you can turn these dreich 1980s into what they did in fact become - the most intense eruption of Scottish literature, drama, painting and history publication for a hundred years. The other thing was a note from Tom Nairn. It began: "Dear Neal, the incorrigible optimist strikes again...

A similar couch was on this side of the room and the whole wall above it, on either side of the door, was painted with two brilliant murals. One was of four women and three men with no clothes on, doing what might be expected of four women and three men with no clothes on, and the other was just as much fun. It was a bold, red and black painting of a semi-nude, black-skinned woman and a dark red satyr, the lascivious demigod of mythology, both under the gaze of a laughing, sharp-horned, scarlet devil. More huge silk-and-satin-covered pillows, plus two round black hassocks, were scattered on the carpet. In another minute, it would be ten o'clock. I walked to the projector, a new Bell and Howell sixteen-millimeter job, the Filmosound Model 385 with all the gadgets. Switches to start, stop, or reverse the film, a switch for showing single frames, the works. A rubber-covered cord ran from the base of the projector down along the carpet to the front wall and disappeared under the black drapery. One reel of film was

Your correspondents elect here to submit an opinion. Dark’s and Black’s movies are not for men who want to be aroused and maybe masturbate. They are for men who have problems with women and want to see them humiliated. Whether Bizarro-Sleaze might conceivably help armchair misogynists “work out” some of their anger at females is irrelevant. Catharsis is not these films’ intent. Their intent is to capitalize on a market-demand that quite clearly exists — these directors’ products, like Max Hardcore’s, are near-constant presences in Adult Video News’s Top Sellers and Renters lists. Dark’s and Black’s movies are vile. They are meant to be. And the truth is that inyour-face vileness is part of the schizoid direction porn’s been moving in all decade. For just as adult entertainment has become more “mainstream” — meaning more widely available, more acceptable, more lucrative, more chic: Boogie Nights — it has become also more “extreme,” and not just on the Bizarro margins. In nearly all hetero porn now there is a new emphasis on anal sex, painful penetrations, degrading tableaux, and the (at least) psychological abuse of women. In certain respects, this extremism may simply be porn’s tracing Hollywood entertainment’s own arc: It’s hardly news that TV and legit film have also gotten more violent and explicit and raw in the last decade. So maybe. And yet there’s something else.