Somehow I ended up feeling a strong sense of loneliness oozing out of these rooms. Since everything is slowed down, we see all the side characters, the non-central and lower class characters, and their contrast with the main characters is more pronounced.
Also Kubrick, since he was so good at making every object of capitalism convey that sense of horror embedded in it. I reduced the most objectified women in the world, Playboy bunnies, to the sum of their objects. I thought, What would happen if you became so objectified you ceased to exist? The objects themselves become uncanny, and the Playboy mansion a haunted house.
Even in the most charmed lives, you sort of see the cracks. I could just imagine a certain kind of lady shaking her head, throwing out all her magazines with tears in her eyes. In the second half of the book, the fancy veneer people put on with so much effort begins to crack: prison, ugliness, crime, drugs, and overall depressingly nonsensical behavior. With Anna Nicole, things become even more messy and disturbing. Stern argued that Smith was acting for the cameras.
There are all these bizarre role reversals going on, and denials of certain realities, while other realities are being enforced. That piece is very complicated, and very of the moment, I feel. When we see the world through a green filter—the filter of cash—we all turn into a bunch of sad clowns, like Anna Nicole. I do remember you once did a reading in a Pierrot outfit with a jeweled tear next to your eye. So, what about fashion? Every outfit tells a story, and relates to the story that I am reading.
Kate Durbin: from Ravenous Audience – LEMON HOUND
You also mention that you practiced being very mindful when writing about shows that are usually more associated with mindlessness. These ideas create a sort of paradoxical way of reading the book: one can just zap around it, or graze on it, reading fragments, jumping from channel to channel, lightly running our eyes over the words, floating over the paragraphs.
Or one could also just as carefully gobble up and ponder every word choice, every detail you have chosen to transcribe and re-present from one medium to the other. Two very different ways of reading and experiencing the book.
I will say that it offers a seductive challenge to a reader: Will you read this, or will you view it? The designer, Joseph Kaplan, was a dream to work with. I wanted it to be a beautiful object, like a woman. Ancient text. Also I made sure to not include any visual images of the women, except for the final static faces image—which also looks a little bit like the Hollywood sign. But they may doubt themselves, I think, a little, as they tell themselves this. They may wonder if they are missing something. What about you, do you feel like writing in both English and Spanish, and going between Mexico City and Paris, creates two different aesthetic experiences for you or your readers?
The two cultures are so different! I mean that people have different ways of asking for things, of moving in public space, of expressing likes and dislikes, entirely different senses of humor.
As for writing in different languages, each language implies a different culture. And of course, this means that whatever I write in English is different, aesthetically speaking, than what I write in Spanish. A good friend from grad school came up to Seattle for a few days. After a few misses, we were finally able to get together yesterday, and we ran around Capitol Hill and Seattle-at-large for a little bit. We went to Volunteer Park, and this time I got to see it in the sunlight as opposed to in the rain. Beautiful day, wonderful people.
A president who had a poet read at his inauguration. What bees and babes is this place luring?
Ravenous Audience, The (Black Goat)
Post to Cancel. By continuing to use this website, you agree to their use. A marble panel is visible just inside the video monitored main gate, presenting a depiction of Aurora, Roman goddess of the sunrise, guiding a group of young Eves into the southern Californian dawn. Stone Sanctuary The estate profits from a waterfall, streams, koi pond, and in-ground pool, all organically linked. There is a rock grotto and a tiered flagstone patio with a bar and a bathhouse made of natural stone.
At the bottom of the pool are many bobby pins and shards of broken glass. In the various pool nets are condoms as well as a tangled balls of hair in stages of blond.
The bathhouse contains a shower that resembles a cave, ideal for a post-dip cleanse, or a native photo shoot.