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innuendostudios · 3 years

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Thoughts on: Criterion's Neo-Noir Collection

I have written up all 26 films* in the Criterion Channel's Neo-Noir Collection.

Legend: rw - rewatch; a movie I had seen before going through the collection dnrw - did not rewatch; if a movie met two criteria (a. I had seen it within the last 18 months, b. I actively dislike it) I wrote it up from memory.

* in September, Brick leaves the Criterion Channel and is replaced in the collection with Michael Mann's Thief. May add it to the list when that happens.

Note: These are very "what was on my mind after watching." No effort has been made to avoid spoilers, nor to make the plot clear for anyone who hasn't seen the movies in question. Decide for yourself if that's interesting to you.

Cotton Comes to Harlem I feel utterly unequipped to asses this movie. This and Sweet Sweetback's Baadasssss Song the following year are regularly cited as the progenitors of the blaxploitation genre. (This is arguably unfair, since both were made by Black men and dealt much more substantively with race than the white-directed films that followed them.) Its heroes are a couple of Black cops who are treated with suspicion both by their white colleagues and by the Black community they're meant to police. I'm not 100% clear on whether they're the good guys? I mean, I think they are. But the community's suspicion of them seems, I dunno... well-founded? They are working for The Man. And there's interesting discussion to the had there - is the the problem that the law is carried out by racists, or is the law itself racist? Can Black cops make anything better? But it feels like the film stacks the deck in Gravedigger and Coffin Ed's favor; the local Black church is run by a conman, the Back-to-Africa movement is, itself, a con, and the local Black Power movement is treated as an obstacle. Black cops really are the only force for justice here. Movie portrays Harlem itself as a warm, thriving, cultured community, but the people that make up that community are disloyal and easily fooled. Felt, to me, like the message was "just because they're cops doesn't mean they don't have Black soul," which, nowadays, we would call copaganda. But, then, do I know what I'm talking about? Do I know how much this played into or off of or against stereotypes from 1970? Was this a radical departure I don't have the context to appreciate? Is there substance I'm too white and too many decades removed to pick up on? Am I wildly overthinking this? I dunno. Seems like everyone involved was having a lot of fun, at least. That bit is contagious.

Across 110th Street And here's the other side of the "race film" equation. Another movie set in Harlem with a Black cop pulled between the police, the criminals, and the public, but this time the film is made by white people. I like it both more and less. Pro: this time the difficult position of Black cop who's treated with suspicion by both white cops and Black Harlemites is interrogated. Con: the Black cop has basically no personality other than "honest cop." Pro: the racism of the police force is explicit and systemic, as opposed to comically ineffectual. Con: the movie is shaped around a racist white cop who beats the shit out of Black people but slowly forms a bond with his Black partner. Pro: the Black criminal at the heart of the movie talks openly about how the white world has stacked the deck against him, and he's soulful and relateable. Con: so of course he dies in the end, because the only way privileged people know to sympathetize with minorities is to make them tragic (see also: The Boys in the Band, Philadelphia, and Brokeback Mountain for gay men). Additional con: this time Harlem is portrayed as a hellhole. Barely any of the community is even seen. At least the shot at the end, where the criminal realizes he's going to die and throws the bag of money off a roof and into a playground so the Black kids can pick it up before the cops reclaim it was powerful. But overall... yech. Cotton Comes to Harlem felt like it wasn't for me; this feels like it was 100% for me and I respect it less for that.

The Long Goodbye (rw) The shaggiest dog. Like much Altman, more compelling than good, but very compelling. Raymond Chandler's story is now set in the 1970's, but Philip Marlowe is the same Philip Marlowe of the 1930's. I get the sense there was always something inherently sad about Marlowe. Classic noir always portrayed its detectives as strong-willed men living on the border between the straightlaced world and its seedy underbelly, crossing back and forth freely but belonging to neither. But Chandler stresses the loneliness of it - or, at least, the people who've adapted Chandler do. Marlowe is a decent man in an indecent world, sorting things out, refusing to profit from misery, but unable to set anything truly right. Being a man out of step is here literalized by putting him forty years from the era where he belongs. His hardboiled internal monologue is now the incessant mutterings of the weird guy across the street who never stops smoking. Like I said: compelling! Kael's observation was spot on: everyone in the movie knows more about the mystery than he does, but he's the only one who cares. The mystery is pretty threadbare - Marlowe doesn't detect so much as end up in places and have people explain things to him. But I've seen it two or three times now, and it does linger.

Chinatown (rw) I confess I've always been impressed by Chinatown more than I've liked it. Its story structure is impeccable, its atmosphere is gorgeous, its noirish fatalism is raw and real, its deconstruction of the noir hero is well-observed, and it's full of clever detective tricks (the pocket watches, the tail light, the ruler). I've just never connected with it. Maybe it's a little too perfectly crafted. (I feel similar about Miller's Crossing.) And I've always been ambivalent about the ending. In Towne's original ending, Evelyn shoots Noah Cross dead and get arrested, and neither she nor Jake can tell the truth of why she did it, so she goes to jail for murder and her daughter is in the wind. Polansky proposed the ending that exists now, where Evelyn just dies, Cross wins, and Jake walks away devastated. It communicates the same thing: Jake's attempt to get smart and play all the sides off each other instead of just helping Evelyn escape blows up in his face at the expense of the woman he cares about and any sense of real justice. And it does this more dramatically and efficiently than Towne's original ending. But it also treats Evelyn as narratively disposable, and hands the daughter over to the man who raped Evelyn and murdered her husband. It makes the women suffer more to punch up the ending. But can I honestly say that Towne's ending is the better one? It is thematically equal, dramatically inferior, but would distract me less. Not sure what the calculus comes out to there. Maybe there should be a third option. Anyway! A perfect little contraption. Belongs under a glass dome.

Night Moves (rw) Ah yeah, the good shit. This is my quintessential 70's noir. This is three movies in a row about detectives. Thing is, the classic era wasn't as chockablock with hardboiled detectives as we think; most of those movies starred criminals, cops, and boring dudes seduced to the darkness by a pair of legs. Gumshoes just left the strongest impressions. (The genre is said to begin with Maltese Falcon and end with Touch of Evil, after all.) So when the post-Code 70's decided to pick the genre back up while picking it apart, it makes sense that they went for the 'tecs first. The Long Goodbye dragged the 30's detective into the 70's, and Chinatown went back to the 30's with a 70's sensibility. But Night Moves was about detecting in the Watergate era, and how that changed the archetype. Harry Moseby is the detective so obsessed with finding the truth that he might just ruin his life looking for it, like the straight story will somehow fix everything that's broken, like it'll bring back a murdered teenager and repair his marriage and give him a reason to forgive the woman who fucked him just to distract him from some smuggling. When he's got time to kill, he takes out a little, magnetic chess set and recreates a famous old game, where three knight moves (get it?) would have led to a beautiful checkmate had the player just seen it. He keeps going, self-destructing, because he can't stand the idea that the perfect move is there if he can just find it. And, no matter how much we see it destroy him, we, the audience, want him to keep going; we expect a satisfying resolution to the mystery. That's what we need from a detective picture; one character flat-out compares Harry to Sam Spade. But what if the truth is just... Watergate? Just some prick ruining things for selfish reasons? Nothing grand, nothing satisfying. Nothing could be more noir, or more neo-, than that.

Farewell, My Lovely Sometimes the only thing that makes a noir neo- is that it's in color and all the blood, tits, and racism from the books they're based on get put back in. This second stab at Chandler is competant but not much more than that. Mitchum works as Philip Marlowe, but Chandler's dialogue feels off here, like lines that worked on the page don't work aloud, even though they did when Bogie said them. I'll chalk it up to workmanlike but uninspired direction. (Dang this looks bland so soon after Chinatown.) Moose Malloy is a great character, and perfectly cast. (Wasn't sure at first, but it's true.) Some other interesting cats show up and vanish - the tough brothel madam based on Brenda Allen comes to mind, though she's treated with oddly more disdain than most of the other hoods and is dispatched quicker. In general, the more overt racism and misogyny doesn't seem to do anything except make the movie "edgier" than earlier attempts at the same material, and it reads kinda try-hard. But it mostly holds together. *shrug*

The Killing of a Chinese Bookie (dnrw) Didn't care for this at all. Can't tell if the script was treated as a jumping-off point or if the dialogue is 100% improvised, but it just drags on forever and is never that interesting. Keeps treating us to scenes from the strip club like they're the opera scenes in Amadeus, and, whatever, I don't expect burlesque to be Mozart, but Cosmo keeps saying they're an artful, classy joint, and I keep waiting for the show to be more than cheap, lazy camp. How do you make gratuitious nudity boring? Mind you, none of this is bad as a rule - I love digressions and can enjoy good sleaze, and it's clear the filmmakers care about what they're making. They just did not sell it in a way I wanted to buy. Can't remember what edit I watched; I hope it was the 135 minute one, because I cannot imagine there being a longer edit out there.

The American Friend (dnrw) It's weird that this is Patricia Highsmith, right? That Dennis Hopper is playing Tom Ripley? In a cowboy hat? I gather that Minghella's version wasn't true to the source, but I do love that movie, and this is a long, long way from that. This Mr. Ripley isn't even particularly talented! Anyway, this has one really great sequence, where a regular guy has been coerced by crooks into murdering someone on a train platform, and, when the moment comes to shoot, he doesn't. And what follows is a prolonged sequence of an amateur trying to surreptitiously tail a guy across a train station and onto another train, and all the while you're not sure... is he going to do it? is he going to chicken out? is he going to do it so badly he gets caught? It's hard not to put yourself in the protagonist's shoes, wondering how you would handle the situation, whether you could do it, whether you could act on impulse before your conscience could catch up with you. It drags on a long while and this time it's a good thing. Didn't much like the rest of the movie, it's shapeless and often kind of corny, and the central plot hook is contrived. (It's also very weird that this is the only Wim Wenders I've seen.) But, hey, I got one excellent sequence, not gonna complain.

The Big Sleep Unlike the 1946 film, I can follow the plot of this Big Sleep. But, also unlike the 1946 version, this one isn't any damn fun. Mitchum is back as Marlowe (this is three Marlowes in five years, btw), and this time it's set in the 70's and in England, for some reason. I don't find this offensive, but neither do I see what it accomplishes? Most of the cast is still American. (Hi Jimmy!) Still holds together, but even less well than Farewell, My Lovely. But I do find it interesting that the neo-noir era keeps returning to Chandler while it's pretty much left Hammet behind (inasmuch as someone whose genes are spread wide through the whole genre can be left behind). Spade and the Continental Op, straightshooting tough guys who come out on top in the end, seem antiquated in the (post-)modern era. But Marlowe's goodness being out of sync with the world around him only seems more poignant the further you take him from his own time. Nowadays you can really only do Hammett as pastiche, but I sense that you could still play Chandler straight.

Eyes of Laura Mars The most De Palma movie I've seen not made by De Palma, complete with POV shots, paranormal hoodoo, and fixation with sex, death, and whether images of such are art or exploitation (or both). Laura Mars takes photographs of naked women in violent tableux, and has gotten quite famous doing so, but is it damaging to women? The movie has more than a superficial engagement with this topic, but only slightly more than superficial. Kept imagining a movie that is about 30% less serial killer story and 30% more art conversations. (But, then, I have an art degree and have never murdered anyone, so.) Like, museums are full of Biblical paintings full of nude women and slaughter, sometimes both at once, and they're called masterpieces. Most all of them were painted by men on commission from other men. Now Laura Mars makes similar images in modern trappings, and has models made of flesh and blood rather than paint, and it's scandalous? Why is it only controversial once women are getting paid for it? On the other hand, is this just the master's tools? Is she subverting or challenging the male gaze, or just profiting off of it? Or is a woman profiting off of it, itself, a subversion? Is it subversive enough to account for how it commodifies female bodies? These questions are pretty clearly relevant to the movie itself, and the movies in general, especially after the fall of the Hays Code when people were really unrestrained with the blood and boobies. And, heck, the lead is played by the star of Bonnie and Clyde! All this is to say: I wish the movie were as interested in these questions as I am. What's there is a mildly diverting B-picture. There's one great bit where Laura's seeing through the killer's eyes (that's the hook, she gets visions from the murderer's POV; no, this is never explained) and he's RIGHT BEHIND HER, so there's a chase where she charges across an empty room only able to see her own fleeing self from ten feet behind. That was pretty great! And her first kiss with the detective (because you could see a mile away that the detective and the woman he's supposed to protect are gonna fall in love) is immediately followed by the two freaking out about how nonsensical it is for them to fall in love with each other, because she's literally mourning multiple deaths and he's being wildly unprofessional, and then they go back to making out. That bit was great, too. The rest... enh.

The Onion Field What starts off as a seemingly not-that-noirish cops-vs-crooks procedural turns into an agonizingly protracted look at the legal system, with the ultimate argument that the very idea of the law ever resulting in justice is a lie. Hoo! I have to say, I'm impressed. There's a scene where a lawyer - whom I'm not sure is even named, he's like the seventh of thirteen we've met - literally quits the law over how long this court case about two guys shooting a cop has taken. He says the cop who was murdered has been forgotten, his partner has never gotten to move on because the case has lasted eight years, nothing has been accomplished, and they should let the two criminals walk and jail all the judges and lawyers instead. It's awesome! The script is loaded with digressions and unnecessary details, just the way I like it. Can't say I'm impressed with the execution. Nothing is wrong, exactly, but the performances all seem a tad melodramatic or a tad uninspired. Camerawork is, again, purely functional. It's no masterpiece. But that second half worked for me. (And it's Ted Danson's first movie! He did great.)

Body Heat (rw) Let's say up front that this is a handsomely-made movie. Probably the best looking thing on the list since Night Moves. Nothing I've seen better captures the swelter of an East Coast heatwave, or the lusty feeling of being too hot to bang and going at it regardless. Kathleen Turner sells the hell out of a femme fatale. There are a lot of good lines and good performances (Ted Danson is back and having the time of his life). I want to get all that out of the way, because this is a movie heavily modeled after Double Indemnity, and I wanted to discuss its merits before I get into why inviting that comparison doesn't help the movie out. In a lot of ways, it's the same rules as the Robert Mitchum Marlowe movies - do Double Indemnity but amp up the sex and violence. And, to a degree it works. (At least, the sex does, dunno that Double Indemnity was crying out for explosions.) But the plot is amped as well, and gets downright silly. Yeah, Mrs. Dietrichson seduces Walter Neff so he'll off her husband, but Neff clocks that pretty early and goes along with it anyway. Everything beyond that is two people keeping too big a secret and slowly turning on each other. But here? For the twists to work Matty has to be, from frame one, playing four-dimensional chess on the order of Senator Palpatine, and its about as plausible. (Exactly how did she know, after she rebuffed Ned, he would figure out her local bar and go looking for her at the exact hour she was there?) It's already kind of weird to be using the spider woman trope in 1981, but to make her MORE sexually conniving and mercenary than she was in the 40's is... not great. As lurid trash, it's pretty fun for a while, but some noir stuff can't just be updated, it needs to be subverted or it doesn't justify its existence.

Blow Out Brian De Palma has two categories of movie: he's got his mainstream, director-for-hire fare, where his voice is either reigned in or indulged in isolated sequences that don't always jive with the rest fo the film, and then there's his Brian De Palma movies. My mistake, it seems, is having seen several for-hires from throughout his career - The Untouchables (fine enough), Carlito's Way (ditto, but less), Mission: Impossible (enh) - but had only seen De Palma-ass movies from his late period (Femme Fatale and The Black Dahlia, both of which I think are garbage). All this to say: Blow Out was my first classic-era De Palma, and holy fucking shit dudes. This was (with caveats) my absolute and entire jam. I said I could enjoy good sleaze, and this is good friggin' sleaze. (Though far short of De Palma at his sleaziest, mercifully.) The splitscreens, the diopter shots, the canted angles, how does he make so many shlocky things work?! John Travolta's sound tech goes out to get fresh wind fx for the movie he's working on, and we get this wonderful sequence of visuals following sounds as he turns his attention and his microphone to various noises - a couple on a walk, a frog, an owl, a buzzing street lamp. Later, as he listens back to the footage, the same sequence plays again, but this time from his POV; we're seeing his memory as guided by the same sequence of sounds, now recreated with different shots, as he moves his pencil in the air mimicking the microphone. When he mixes and edits sounds, we hear the literal soundtrack of the movie we are watching get mixed and edited by the person on screen. And as he tries to unravel a murder mystery, he uses what's at hand: magnetic tape, flatbed editors, an animation camera to turn still photos from the crime scene into a film and sync it with the audio he recorded; it's forensics using only the tools of the editing room. As someone who's spent some time in college editing rooms, this is a hoot and a half. Loses a bit of steam as it goes on and the film nerd stuff gives way to a more traditional thriller, but rallies for a sound-tech-centered final setpiece, which steadily builds to such madcap heights you can feel the air thinning, before oddly cutting its own tension and then trying to build it back up again. It doesn't work as well the second time. But then, that shot right after the climax? Damn. Conflicted on how the movie treats the female lead. I get why feminist film theorists are so divided on De Palma. His stuff is full of things feminists (rightly) criticize, full of women getting naked when they're not getting stabbed, but he also clearly finds women fascinating and has them do empowered and unexpected things, and there are many feminist reads of his movies. Call it a mixed bag. But even when he's doing tropey shit, he explores the tropes in unexpected ways. Definitely the best movie so far that I hadn't already seen.

Cutter's Way (rw) Alex Cutter is pitched to us as an obnoxious-but-sympathetic son of a bitch, and, you know, two out of three ain't bad. Watched this during my 2020 neo-noir kick and considered skipping it this time because I really didn't enjoy it. Found it a little more compelling this go around, while being reminded of why my feelings were room temp before. Thematically, I'm onboard: it's about a guy, Cutter, getting it in his head that he's found a murderer and needs to bring him to justice, and his friend, Bone, who intermittently helps him because he feels bad that Cutter lost his arm, leg, and eye in Nam and he also feels guilty for being in love with Cutter's wife. The question of whether the guy they're trying to bring down actually did it is intentionally undefined, and arguably unimportant; they've got personal reasons to see this through. Postmodern and noirish, fixated with the inability to ever fully know the truth of anything, but starring people so broken by society that they're desperate for certainty. (Pretty obvious parallels to Vietnam.) Cutter's a drunk and kind of an asshole, but understandably so. Bone's shiftlessness is the other response to a lack of meaning in the world, to the point where making a decision, any decision, feels like character growth, even if it's maybe killing a guy whose guilt is entirely theoretical. So, yeah, I'm down with all of this! A- in outline form. It's just that Cutter is so uninterestingly unpleasant and no one else on screen is compelling enough to make up for it. His drunken windups are tedious and his sanctimonious speeches about what the war was like are, well, true and accurate but also obviously manipulative. It's two hours with two miserable people, and I think Cutter's constant chatter is supposed to be the comic relief but it's a little too accurate to drunken rambling, which isn't funny if you're not also drunk. He's just tedious, irritating, and periodically racist. Pass.

Blood Simple (rw) I'm pretty cool on the Coens - there are things I've liked, even loved, in every Coen film I've seen, but I always come away dissatisfied. For a while, I kept going to their movies because I was sure eventually I'd love one without qualification. No Country for Old Men came close, the first two acts being master classes in sustained tension. But then the third act is all about denying closure: the protagonist is murdered offscreen, the villain's motives are never explained, and it ends with an existentialist speech about the unfathomable cruelty of the world. And it just doesn't land for me. The archness of the Coen's dialogue, the fussiness of their set design, the kinda-intimate, kinda-awkward, kinda-funny closeness of the camera's singles, it cannot sell me on a devastating meditation about meaninglessness. It's only ever sold me on the Coens' own cleverness. And that archness, that distancing, has typified every one of their movies I've come close to loving. Which is a long-ass preamble to saying, holy heck, I was not prepared for their very first movie to be the one I'd been looking for! I watched it last year and it remains true on rewatch: Blood Simple works like gangbusters. It's kind of Double Indemnity (again) but played as a comedy of errors, minus the comedy: two people romantically involved feeling their trust unravel after a murder. And I think the first thing that works for me is that utter lack of comedy. It's loaded with the Coens' trademark ironies - mostly dramatic in this case - but it's all played straight. Unlike the usual lead/femme fatale relationship, where distrust brews as the movie goes on, the audience knows the two main characters can trust each other. There are no secret duplicitous motives waiting to be revealed. The audience also know why they don't trust each other. (And it's all communicated wordlessly, btw: a character enters a scene and we know, based on the information that character has, how it looks to them and what suspicions it would arouse, even as we know the truth of it). The second thing that works is, weirdly, that the characters aren't very interesting?! Ray and Abby have almost no characterization. Outside of a general likability, they are blank slates. This is a weakness in most films, but, given the agonizingly long, wordless sequences where they dispose of bodies or hide from gunfire, you're left thinking not "what will Ray/Abby do in this scenario," because Ray and Abby are relatively elemental and undefined, but "what would I do in this scenario?" Which creates an exquisite tension but also, weirdly, creates more empathy than I feel for the Coens' usual cast of personalities. It's supposed to work the other way around! Truly enjoyable throughout but absolutely wonderful in the suspenseful-as-hell climax. Good shit right here.

Body Double The thing about erotic thrillers is everything that matters is in the name. Is it thrilling? Is it erotic? Good; all else is secondary. De Palma set out to make the most lurid, voyeuristic, horny, violent, shocking, steamy movie he could come up with, and its success was not strictly dependent on the lead's acting ability or the verisimilitude of the plot. But what are we, the modern audience, to make of it once 37 years have passed and, by today's standards, the eroticism is quite tame and the twists are no longer shocking? Then we're left with a nonsensical riff on Vertigo, a specularization of women that is very hard to justify, and lead actor made of pulped wood. De Palma's obsessions don't cohere into anything more this time; the bits stolen from Hitchcock aren't repurposed to new ends, it really is just Hitch with more tits and less brains. (I mean, I still haven't seen Vertigo, but I feel 100% confident in that statement.) The diopter shots and rear-projections this time look cheap (literally so, apparently; this had 1/3 the budget of Blow Out). There are some mildly interesting setpieces, but nothing compared to Travolta's auditory reconstructions or car chase where he tries to tail a subway train from street level even if it means driving through a frickin parade like an inverted French Connection, goddamn Blow Out was a good movie! Anyway. Melanie Griffith seems to be having fun, at least. I guess I had a little as well, but it was, at best, diverting, and a real letdown.

The Hit Surprised by how much I enjoyed this one. Terrance Stamp flips on the mob and spends ten years living a life of ease in Spain, waiting for the day they find and kill him. Movie kicks off when they do find him, and what follows is a ramshackle road movie as John Hurt and a young Tim Roth attempt to drive him to Paris so they can shoot him in front of his old boss. Stamp is magnetic. He's spent a decade reading philosophy and seems utterly prepared for death, so he spends the trip humming, philosophizing, and being friendly with his captors when he's not winding them up. It remains unclear to the end whether the discord he sews between Roth and Hurt is part of some larger plan of escape or just for shits and giggles. There's also a decent amount of plot for a movie that's not terribly plot-driven - just about every part of the kidnapping has tiny hitches the kidnappers aren't prepared for, and each has film-long repercussions, drawing the cops closer and somehow sticking Laura del Sol in their backseat. The ongoing questions are when Stamp will die, whether del Sol will die, and whether Roth will be able to pull the trigger. In the end, it's actually a meditation on ethics and mortality, but in a quiet and often funny way. It's not going to go down as one of my new favs, but it was a nice way to spend a couple hours.

Trouble in Mind (dnrw) I fucking hated this movie. It's been many months since I watched it, do I remember what I hated most? Was it the bit where a couple of country bumpkins who've come to the city walk into a diner and Mr. Bumpkin clocks that the one Black guy in the back as obviously a criminal despite never having seen him before? Was it the part where Kris Kristofferson won't stop hounding Mrs. Bumpkin no matter how many times she demands to be left alone, and it's played as romantic because obviously he knows what she needs better than she does? Or is it the part where Mr. Bumpkin reluctantly takes a job from the Obvious Criminal (who is, in fact, a criminal, and the only named Black character in the movie if I remember correctly, draw your own conclusions) and, within a week, has become a full-blown hood, which is exemplified by a lot, like, a lot of queer-coding? The answer to all three questions is yes. It's also fucking boring. Even out-of-drag Divine's performance as the villain can't save it.

Manhunter 'sfine? I've still never seen Silence of the Lambs, nor any of the Hopkins Lecter movies, nor, indeed, any full episode of the show. So the unheimlich others get seeing Brian Cox play Hannibal didn't come into play. Cox does a good job with him, but he's barely there. Shame, cuz he's the most interesting part of the movie. Honestly, there's a lot of interesting stuff that's barely there. Will Graham being a guy who gets into the heads of serial killers is explored well enough, and Mann knows how to direct a police procedural such that it's both contemplative and propulsive. But all the other themes it points at? Will's fear that he understands murderers a little too well? Hannibal trying to nudge him towards becoming one? Whatever dance Hannibal and Tooth Fairy are doing? What Tooth Fairy's deal is, anyway? (Why does he wear fake teeth and bite things? Why is he fixated on the red dragon? Does the bit where he says "Francis is gone forever" mean he has DID?) None of it goes anywhere or amounts to anything. I mean, it's certainly more interesting with this stuff than without, but it has that feel of a book that's been pared of its interesting bits to fit the runtime (or, alternately, pulp that's been sloppily elevated). I still haven't made my mind up on Mann's cold, precise camera work, but at least it gives me something to look at. It's fine! This is fine.

Mona Lisa (rw) Gave this one another shot. Bob Hoskins is wonderful as a hood out of his depth in classy places, quick to anger but just as quick to let anger go (the opening sequence where he's screaming on his ex-wife's doorstep, hurling trash cans at her house, and one minute later thrilled to see his old car, is pretty nice). And Cathy Tyson's working girl is a subtler kind of fascinating, exuding a mixture of coldness and kindness. It's just... this is ultimately a story about how heartbreaking it is when the girl you like is gay, right? It's Weezer's Pink Triangle: The Movie. It's not homophobic, exactly - Simone isn't demonized for being a lesbian - but it's still, like, "man, this straight white guy's pain is so much more interesting than the Black queer sex worker's." And when he's yelling "you woulda done it!" at the end, I can't tell if we're supposed to agree with him. Seems pretty clear that she wouldn'ta done it, at least not without there being some reveal about her character that doesn't happen, but I don't think the ending works if we don't agree with him, so... I'm like 70% sure the movie does Simone dirty there. For the first half, their growing relationship feels genuine and natural, and, honestly, the story being about a real bond that unfortunately means different things to each party could work if it didn't end with a gun and a sock in the jaw. Shape feels jagged as well; what feels like the end of the second act or so turns out to be the climax. And some of the symbolism is... well, ok, Simone gives George money to buy more appropriate clothes for hanging out in high end hotels, and he gets a tan leather jacket and a Hawaiian shirt, and their first proper bonding moment is when she takes him out for actual clothes. For the rest of the movie he is rocking double-breasted suits (not sure I agree with the striped tie, but it was the eighties, whaddya gonna do?). Then, in the second half, she sends him off looking for her old streetwalker friend, and now he looks completely out of place in the strip clubs and bordellos. So far so good. But then they have this run-in where her old pimp pulls a knife and cuts George's arm, so, with his nice shirt torn and it not safe going home (I guess?) he starts wearing the Hawaiian shirt again. So around the time he's starting to realize he doesn't really belong in Simone's world or the lowlife world he came from anymore, he's running around with the classy double-breasted suit jacket over the garish Hawaiian shirt, and, yeah, bit on the nose guys. Anyway, it has good bits, I just feel like a movie that asks me to feel for the guy punching a gay, Black woman in the face needs to work harder to earn it. Bit of wasted talent.

The Bedroom Window Starts well. Man starts an affair with his boss' wife, their first night together she witnesses an attempted murder from his window, she worries going to the police will reveal the affair to her husband, so the man reports her testimony to the cops claiming he's the one who saw it. Young Isabelle Huppert is the perfect woman for a guy to risk his career on a crush over, and Young Steve Guttenberg is the perfect balance of affability and amorality. And it flows great - picks just the right media to res. So then he's talking to the cops, telling them what she told him, and they ask questions he forgot to ask her - was the perp's jacket a blazer or a windbreaker? - and he has to guess. Then he gets called into the police lineup, and one guy matches her description really well, but is it just because he's wearing his red hair the way she described it? He can't be sure, doesn't finger any of them. He finds out the cops were pretty certain about one of the guys, so he follows the one he thinks it was around, looking for more evidence, and another girl is attacked right outside a bar he knows the redhead was at. Now he's certain! But he shows the boss' wife the guy and she's not certain, and she reminds him they don't even know if the guy he followed is the same guy the police suspected! And as he feeds more evidence to the cops, he has to lie more, because he can't exactly say he was tailing the guy around the city. So, I'm all in now. Maybe it's because I'd so recently rewatched Night Moves and Cutter's Way, but this seems like another story about uncertainty. He's really certain about the guy because it fits narratively, and we, the audience, feel the same. But he's not actually a witness, he doesn't have actual evidence, he's fitting bits and pieces together like a conspiracy theorist. He's fixating on what he wants to be true. Sign me up! But then it turns out he's 100% correct about who the killer is but his lies are found out and now the cops think he's the killer and I realize, oh, no, this movie isn't nearly as smart as I thought it was. Egg on my face! What transpires for the remaining half of the runtime is goofy as hell, and someone with shlockier sensibilities could have made a meal of it, but Hanson, despite being a Corman protege, takes this silliness seriously in the all wrong ways. Next!

Homicide (rw? I think I saw most of this on TV one time) Homicide centers around the conflicted loyalties of a Jewish cop. It opens with the Jewish cop and his white gentile partner taking over a case with a Black perp from some Black FBI agents. The media is making a big thing about the racial implications of the mostly white cops chasing down a Black man in a Black neighborhood. And inside of 15 minutes the FBI agent is calling the lead a k*ke and the gentile cop is calling the FBI agent a f****t and there's all kinds of invective for Black people. The film is announcing its intentions out the gate: this movie is about race. But the issue here is David Mamet doesn't care about race as anything other than a dramatic device. He's the Ubisoft of filmmakers, having no coherent perspective on social issues but expecting accolades for even bringing them up. Mamet is Jewish (though lead actor Joe Mantegna definitely is not) but what is his position on the Jewish diaspora? The whole deal is Mantegna gets stuck with a petty homicide case instead of the big one they just pinched from the Feds, where a Jewish candy shop owner gets shot in what looks like a stickup. Her family tries to appeal to his Jewishness to get him to take the case seriously, and, after giving them the brush-off for a long time, finally starts following through out of guilt, finding bits and pieces of what may or may not be a conspiracy, with Zionist gun runners and underground neo-Nazis. But, again: all of these are just dramatic devices. Mantegna's Jewishness (those words will never not sound ridiculous together) has always been a liability for him as a cop (we are told, not shown), and taking the case seriously is a reclamation of identity. The Jews he finds community with sold tommyguns to revolutionaries during the founding of Israel. These Jews end up blackmailing him to get a document from the evidence room. So: what is the film's position on placing stock in one's Jewish identity? What is its position on Israel? What is its opinion on Palestine? Because all three come up! And the answer is: Mamet doesn't care. You can read it a lot of different ways. Someone with more context and more patience than me could probably deduce what the de facto message is, the way Chris Franklin deduced the de facto message of Far Cry V despite the game's efforts not to have one, but I'm not going to. Mantegna's attempt to reconnect with his Jewishness gets his partner killed, gets the guy he was supposed to bring in alive shot dead, gets him possibly permanent injuries, gets him on camera blowing up a store that's a front for white nationalists, and all for nothing because the "clues" he found (pretty much exclusively by coincidence) were unconnected nothings. The problem is either his Jewishness, or his lifelong failure to connect with his Jewishness until late in life. Mamet doesn't give a shit. (Like, Mamet canonically doesn't give a shit: he is on record saying social context is meaningless, characters only exist to serve the plot, and there are no deeper meanings in fiction.) Mamet's ping-pong dialogue is fun, as always, and there are some neat ideas and characters, but it's all in service of a big nothing that needed to be a something to work.

Swoon So much I could talk about, let's keep it to the most interesting bits. Hommes Fatales: a thing about classic noir that it was fascinated by the marginal but had to keep it in the margins. Liberated women, queer-coded killers, Black jazz players, broke thieves; they were the main event, they were what audiences wanted to see, they were what made the movies fun. But the ending always had to reassert straightlaced straight, white, middle-class male society as unshakeable. White supremacist capitalist patriarchy demanded, both ideologically and via the Hays Code, that anyone outside these norms be punished, reformed, or dead by the movie's end. The only way to make them the heroes was to play their deaths for tragedy. It is unsurprising that neo-noir would take the queer-coded villains and make them the protagonists. Implicature: This is the story of Leopold and Loeb, murderers famous for being queer, and what's interesting is how the queerness in the first half exists entirely outside of language. Like, it's kind of amazing for a movie from 1992 to be this gay - we watch Nathan and Dickie kiss, undress, masturbate, fuck; hell, they wear wedding rings when they're alone together. But it's never verbalized. Sex is referred to as "your reward" or "what you wanted" or "best time." Dickie says he's going to have "the girls over," and it turns out "the girls" are a bunch of drag queens, but this is never acknowledged. Nathan at one point lists off a bunch of famous men - Oscar Wild, E.M. Forster, Frederick the Great - but, though the commonality between them is obvious (they were all gay), it's left the the audience to recognize it. When their queerness is finally verbalized in the second half, it's first in the language of pathology - a psychiatrist describing their "perversions" and "misuse" of their "organs" before the court, which has to be cleared of women because it's so inappropriate - and then with slurs from the man who murders Dickie in jail (a murder which is written off with no investigation because the victim is a gay prisoner instead of a L&L's victim, a child of a wealthy family). I don't know if I'd have noticed this if I hadn't read Chip Delany describing his experience as a gay man in the 50's existing almost entirely outside of language, the only language at the time being that of heteronormativity. Murder as Love Story: L&L exchange sex as payment for the other commiting crimes; it's foreplay. Their statements to the police where they disagree over who's to blame is a lover's quarrel. Their sentencing is a marriage. Nathan performs his own funeral rites over Dickie's body after he dies on the operating table. They are, in their way, together til death did they part. This is the relationship they can have. That it does all this without romanticizing the murder itself or valorizing L&L as humans is frankly incredible.

Suture (rw) The pitch: at the funeral for his father, wealthy Vincent Towers meets his long lost half brother Clay Arlington. It is implied Clay is a child from out of wedlock, possibly an affair; no one knows Vincent has a half-brother but him and Clay. Vincent invites Clay out to his fancy-ass home in Arizona. Thing is, Vincent is suspected (correctly) by the police of having murdered his father, and, due to a striking family resemblence, he's brought Clay to his home to fake his own death. He finagles Clay into wearing his clothes and driving his car, and then blows the car up and flees the state, leaving the cops to think him dead. Thing is, Clay survives, but with amnesia. The doctors tell him he's Vincent, and he has no reason to disagree. Any discrepancy in the way he looks is dismissed as the result of reconstructive surgery after the explosion. So Clay Arlington resumes Vincent Towers' life, without knowing Clay Arlington even exists. The twist: Clay and Vincent are both white, but Vincent is played by Michael Harris, a white actor, and Clay is played by Dennis Haysbert, a Black actor. "Ian, if there's just the two of them, how do you know it's not Harris playing a Black character?" Glad you asked! It is most explicitly obvious during a scene where Vincent/Clay's surgeon-cum-girlfriend essentially bringing up phrenology to explain how Vincent/Clay couldn't possibly have murdered his father, describing straight hair, thin lips, and a Greco-Roman nose Haysbert very clearly doesn't have. But, let's be honest: we knew well beforehand that the rich-as-fuck asshole living in a huge, modern house and living it up in Arizona high society was white. Though Clay is, canonically, white, he lives an poor and underprivileged life common to Black men in America. Though the film's title officially refers to the many stitches holding Vincent/Clay's face together after the accident, "suture" is a film theory term, referring to the way a film audience gets wrapped up - sutured - in the world of the movie, choosing to forget the outside world and pretend the story is real. The usage is ironic, because the audience cannot be sutured in; we cannot, and are not expected to, suspend our disbelief that Clay is white. We are deliberately distanced. Consequently this is a movie to be thought about, not to to be felt. It has the shape of a Hitchcockian thriller but it can't evoke the emotions of one. You can see the scaffolding - "ah, yes, this is the part of a thriller where one man hides while another stalks him with a gun, clever." I feel ill-suited to comment on what the filmmakers are saying about race. I could venture a guess about the ending, where the psychiatrist, the only one who knows the truth about Clay, says he can never truly be happy living the lie of being Vincent Towers, while we see photographs of Clay/Vincent seemingly living an extremely happy life: society says white men simply belong at the top more than Black men do, but, if the roles could be reversed, the latter would slot in seamlessly. Maybe??? Of all the movies in this collection, this is the one I'd most want to read an essay on (followed by Swoon).

The Last Seduction (dnrw) No, no, no, I am not rewataching this piece of shit movie.

Brick (rw) Here's my weird contention: Brick is in color and in widescreen, but, besides that? There's nothing neo- about this noir. There's no swearing except "hell." (I always thought Tug said "goddamn" at one point but, no, he's calling The Pin "gothed-up.") There's a lot of discussion of sex, but always through implication, and the only deleted scene is the one that removed ambiguity about what Brendan and Laura get up to after kissing. There's nothing postmodern or subversive - yes, the hook is it's set in high school, but the big twist is that it takes this very seriously. It mines it for jokes, yes, but the drama is authentic. In fact, making the gumshoe a high school student, his jadedness an obvious front, still too young to be as hard as he tries to be, just makes the drama hit harder. Sam Spade if Sam Spade were allowed to cry. I've always found it an interesting counterpoint to The Good German, a movie that fastidiously mimics the aesthetics of classic noir - down to even using period-appropriate sound recording - but is wholly neo- in construction. Brick could get approved by the Hays Code. Its vibe, its plot about a detective playing a bunch of criminals against each other, even its slang ("bulls," "yegg," "flopped") are all taken directly from Hammett. It's not even stealing from noir, it's stealing from what noir stole from! It's a perfect curtain call for the collection: the final film is both the most contemporary and the most classic. It's also - but for the strong case you could make for Night Moves - the best movie on the list. It's even more appropriate for me, personally: this was where it all started for me and noir. I saw this in theaters when it came out and loved it. It was probably my favorite movie for some time. It gave me a taste for pulpy crime movies which I only, years later, realized were neo-noir. This is why I looked into Kiss Kiss, Bang Bang and In Bruges. I've seen it more times than any film on this list, by a factor of at least 3. It's why I will always adore Rian Johnson and Joseph Gordon-Levitt. It's the best-looking half-million-dollar movie I've ever seen. (Indie filmmakers, take fucking notes.) I even did a script analysis of this, and, yes, it follows the formula, but so tightly and with so much style. Did you notice that he says several of the sequence tensions out loud? ("I just want to find her." "Show of hands.") I notice new things each time I see it - this time it was how "brushing Brendan's hair out of his face" is Em's move, making him look more like he does in the flashback, and how Laura does the same to him as she's seducing him, in the moment when he misses Em the hardest. It isn't perfect. It's recreated noir so faithfully that the Innocent Girl dies, the Femme Fatale uses intimacy as a weapon, and none of the women ever appear in a scene together. 1940's gender politics maybe don't need to be revisited. They say be critical of the media you love, and it applies here most of all: it is a real criticism of something I love immensely.

#film noir #neo-noir #criterion channel

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thinktosee · 3 years

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INSTITUTIONAL HATE CRIME – A NARROW DEFINITION OF GENDER AND MORALITY AND ITS CONSEQUENCES TO THE LGBTQ COMMUNITY

Image courtesy Amnestyusa.org

“When he was 16 years old, he came to my room and said he wanted to talk to me. And I said, “Yeah, sure go ahead.”

“Well, I thought you should know that I’m gay,” he told me simply.

I looked at him and all I could think of was, How am I to protect him from discrimination and bullying? Yet all I could manage to say to him at this critical time was, “Well, that’s great. I’m glad you told me. We are your family and we support you.” I reached out and hugged my son.”(1)

- from David’s biography, “Walking in my Son’s footsteps. David’s fight for freedom.”

“It is possible that the law, which is clearsighted in one sense, and blind in another, might in some cases, be too severe.” (2)

- French philosopher, Montesquieu (1689-1755)

Why would a parent, upon discovering that their child is gay, feel a sense of foreboding where it concerned the child’s safety and security? And what and who caused this feeling of fear or foreboding in me?

The ancient law (1871, amended 1938) against homosexuality in Singapore and in many parts of the former British Empire, remains in force to this day. (3) Generations of citizens were and continue to be narrowly socialized to the belief that homosexuality is immoral and that homosexual or same-sex love and marriage deviate from the normative. This law levies an enormous burden onto the LGBTQ community in so far as it enables or activates societal discrimination where none existed before, foments hatred and disdain among the citizenry for same-sex relationships, and upends justice, equal rights and dignity for the LGBTQ community.

That was the basis for my fear when David shared with me that he was gay. How does one begin to address an issue which is institutional and systemic in its very foundation? The law is the problem, failing miserably to serve justice, as Montesquieu averred. This is the challenge which the LGBTQ communities throughout the world have been grappling with for centuries. It is a struggle paid in sacrificial blood, many times over. And it will go on, until a time when we acknowledge that diversity and inclusivity are mutually reinforcing. Love does not get filtered at the border because the state or religious institution says it must. It is they who have placed a limit on their love, apparently.

Global Historical Overview of homosexuality

The history of the LGBTQ communities and cultures on our planet is as colourfully and richly elongated and layered as any within the realm of human civilization. Ancient cultures such as “Indian, Chinese, Egyptian, Greek and Roman accommodate homosexuality and crossdressing among….its citizens since the earliest recorded times.” (4) Similarly, in “ancient China….same-sex sexual behaviors were well-received and tolerated. Positive descriptions of homosexual behavior, or Nan-Feng as it was called, in historical records and in Chinese literature can be dated back to the Han dynasty (206 BC–220 AD).” (5) Pre-European colonial African societies, including in what are present-day Nigeria and Uganda, were relatively inclusive in their approach to same-sex or gender relationships.(6) In the First Nations or pre-settler/colonial American societies, two spirits and multiple genders were universally embraced and accepted. (7)

These societies exhibited a keen sense of spirituality and diversity, of moderation and acceptance of LGBTQ peoples and cultures, which we in this enlightened age may find quite surprising. We should not however. Researchers have, to some degree, attached the adverse change in society’s approach to homosexuality to the onset of European colonialism (16th to 20th centuries) :

“In the age of European exploration and empire-building, Native American, North African and Pacific Islander cultures accepting of “Two-Spirit” people or same-sex love shocked European invaders who objected to any deviation from a limited understanding of “masculine” and “feminine” roles.” (8)

- Prof. Bonny J. Morris

“Transgender histories in the United States, like the broader national histories of which they form a part, originate in colonial contact zones where members of the arriving culture encountered kinds of people it struggled to comprehend.” (9)

- Prof. Susan Stryker

Accompanying these colonial invasions, were European administrative, linguistic, religious, educational, philosophical and juridical systems, beliefs and traditions. This alien cultural web, in most part codified, either through a caste or racially-affected administrative system or via prayer book and canons, or both, had its intended effect of diminishing or worse, eviscerating the native or indigenous culture, including their ancient belief system. Displacement and assimilation of the natives to the new paradigm were achieved through these extreme mechanisms.

To understand the criminalization and persecution of LGBTQ peoples and cultures, it is necessary to appreciate the intent of colonialism – a private cum state economic model (the East India Companies, Hudson Bay Company, etc.) requiring the creation of a unified or standardized, and exclusively hierarchical system of conduct and control, onto a traditional (organized) and diverse society or culture. This is to assure the latter’s coherence to the colonial enterprise through a coercive (violent), and extensive system of natural resource allocation and exploitation. Genocide and slavery were among its most extreme and tragic manifestations. Modern colonialism, depicted by European conquests across the planet, is arguably the first attempt in recent memory, to creating a unitary world – standardization of laws and governing institutions to address the complex administrative challenges inherent in diverse cultures and norms within the European empire. Diversity of cultures, thought and behaviours were among the first victims. The histories of the First Nations’ societies in the Americas and Australia serve as prime and tragic examples. (10), (11) It should also be stressed that European colonialism, in the context of this essay, includes 20th century Soviet and China-style communism, where an alien and totalitarian ideology was coercively employed across the Eastern European and Central and East Asian landmass, to suppress the local or indigenous peoples, their cultures and beliefs, in furtherance of a unitary political, economic and social order. Not surprisingly, the Soviet Union were also at the forefront of research into medical and psychotherapeutic or “corrective” procedures for homosexuality.(12)

The history and dignity of the LGBTQ peoples are inextricably linked to the plight of the indigenous communities, as they struggled from the 16th to 20th centuries against European-sourced colonialism. While almost every former European colony is considered an independent state today, the laws against same-sex relations and marriage remain on the statutes in many of these domains. Societal attitudes have no doubt evolved over the years, and consistent with the growing awareness of LGBTQ culture and social justice movements. A factor which appears to be holding the state back is the feeling that society is not ready to accept equal rights for the LGBTQ community. (13) That being the case, what are we doing to prepare society for a future which recognizes and confers equal rights to the LGBTQ community, as we would any other citizen or community? Or as this Time Magazine article headlined :

“Homophobia Is Not an Asian Value. It’s Time for the East to Reconnect to its Own Traditions of Tolerance.” (14)

In Singapore’s context, what are we, as a society doing to :

- learn more about LGBTQ rights, discrimination and culture?

- what are the public education system and mass media doing about this?

- why are foreign-owned businesses prevented from sponsoring LGBTQ festivals and gatherings? How does this play out in terms of encouraging or dissuading local businesses to lend their support?

- learn of the discrimination against LGBTQ people in terms of equal access to public housing, employment, marriage and mental health care?

These are just a few questions which society should address constructively.

Years from now, when equal rights for the LGBTQ community have come to pass in most parts of the world, historians will look back and perhaps conclude that the community was subjected to a prolonged and systematic campaign of hate, which was originated and sustained by the state, and in some domains, performed in concert with religious figures/institutions.

“David was gay. He cared deeply about the rights of LGBTQ people everywhere. He attended the annual Pink Dot event since 2013. He felt discrimination in any form, especially through the law, was nothing short of Bullying. This included Singapore’s Penal Code Section 377A, criminalizing all gay persons…..David felt strongly that overcoming discrimination requires an unwavering commitment to free speech. He would never compromise….” (15)

- “Walking In My Son’s footsteps. David’s fight for freedom.”

Sources/References

1. Singh, Harmohan. “Walking in my son’s footsteps. David’s fight for freedom.” p68. Thinktosee Press, 2020

2. Montesquieu. “The Spirit of Laws.” Book IX, Chap 6. Originally published in 1748.

3. Radics, George Baylon. “Section 377a in Singapore and the (De)Criminalization of Homosexuality.” p3. National University of Singapore. 2015

4. Wilhelm, Amara Das. “Tritiya-Prakriti : The People of the Third Sex: Understanding Homosexuality, Transgender Identity and Intersex Conditions Through Hinduism.” p68. Xlibris Corporation, 2010.

5. Zhang, Yuxin. “China’s misunderstood history of Gay tolerance.” The Diplomat. June 22, 2015

6. Alimi, Bisi. “If you say being gay is not African, you don’t know your history.” The Guardian. Sep 9, 2015

7. Davis-Young, Katherine. “For Many Native Americans, embracing LGBT members is a return to the past.” The Washington Post. Mar 30, 2019

8. Morris, Bonny J. “History of Lesbian, Gay, Bisexual and Transgender Social Movements.” American Psychological Association

History of Lesbian, Gay, Bisexual and Transgender Social Movements (apa.org)

9. Stryker, Susan. “Transgender History in the United States and the Places that Matter.” A Theme Study of Lesbian, Gay, Bisexual, Transgender and Queer History. National Park Service, Dept of the Interior. 2016

10. Holocaust Museum Houston, “Genocide of Indigenous Peoples.”

HMH | Genocide of Indigenous Peoples

11. The Guardian, “The killing times : the massacres of Aboriginal People Australia must confront.” Mar 3, 2019

12. Alexander, Rustam. ”Homosexuality in USSR (1956-1982).” p173. University of Melbourne. 2018

13. Velasquez, Tony. “Keeping it straight. PM says Singapore not ready for gay marriage.” ABS-CBN News, June 27, 2015.

14. Wong, Brian. “Homophobia Is Not an Asian Value. It’s Time for the East to Reconnect to its Own Traditions of Tolerance.” Time Magazine, Dec 17, 2020.

15. Singh, Harmohan. “Walking in my son’s footsteps. David’s fight for freedom.” P130. Thinktosee Press, 2020

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spockandawe · 4 years

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HEY THERE, you have me interested in The Untamed but I'm a little lost as to where to start, there's both a 50 episode normal version and a 20 episode special edition, which should I watch/start with? Also WHAT does your svsss tag stand for? I'm seeing "The Untamed" and "Chén Qíng Lìng" and "Mo Dao Zu Shi" and "Grandmaster of Demonic Cultivation" thrown around as synonyms or related pieces of media, but nothing with svsss!

Sure thing!!

Okay, to start with, I’d definitely go with the 50-episode version. It’s a Lot, and there is some padding added to the story compared to the original book, but twenty episodes seems really, really short to do justice to the central plot

(a quick skim of google tells me that the special edition leans harder into the original novel’s gayness, which the show has to be coy about, because china. i think there are expanded scenes featuring the two leads, which is awesome, because their acting is AMAZING, but that just means the plot scenes are even more compressed. I saw at least one person recommend that you not do the special edition unless you’ve consumed the story in at least one other more standard format already)

Also! Iirc, the show is available on youtube and netflix, among other platforms, though those two are wonderfully accessible. However, comma, I do hear from people fluent in chinese that the subtitles sometimes are inaccurate in unnecessary/unfortunate ways. From what I hear, viki has the best complete set of subtitles (I think there may be fansub projects in progress, but I am not at all in touch with those. I still haven’t watched the show myself).

And the general summary of my current webnovel fixation! There’s this webnovel author who goes by mxtx, who currently has three complete books out, which have all been translated into english. Then after I finished those, I started branching out into other authors and webnovels, though I’m not too deep into that end of the pool yet. I’ll break each book into a separate paragraph for clarity.

Oh, and. Each of these books is explicitly gay, and set in ancient fantasy china, in a wuxia/xianxia setting, which I’m not too familiar with myself, but I believe it functions a lot like how authors will use ‘ancient fantasy europe’ as a playground where they don’t necessarily need to match up to established countries/cities/etc, but they expect readers to recognize certain conventions, like I’d be able to recognize a western author writing a basic feudal setting, or recognize witches and wizards, without them explaining the whole thing from the bottom up. Since I’m not familiar, it raised the difficulty level a little for me to get into the genre, but the webnovel translators tend to use footnotes and I picked up a lot as I went on.

(if you are interested in any of these, novelupdates.com is a good central resource collecting links to various fan translation projects)

So! Mxtx. Her earliest book is The Scum Villain’s Self-Saving System (SVSSS), which is also the shortest and most linear of her books. The general premise is that a guy who’s been hate-reading this (straight) stallion harem webnovel with a dark protagonist. He goes to bed, and wakes up in the novel, as the protagonist’s dickbag teacher, who is doomed to eventually die horribly. He wants to not die, and is also a decent human being, so the book follows the “original” novel derailing from its intended path, and accidentally getting super duper gay. This one is about to come out in donghua form, but I think that may be its first non-book adaption.

Her second book, which was adapted into The Untamed/Chen Qing Ling (CQL), is also known as The Grandmaster Of Demonic Cultivation/Mo Dao Zu Shi (MDZS), which really manages to be the hardest of her books to summarize. Wei Wuxian, the grandmaster of demonic cultivation, dies. Thirteen years later, he wakes up in someone else’s body. Most of the world would like him to stay dead, tbh, but he’s a good egg, and he and his old friend(????) go forth and solve a necromantic mystery together, and also there is romance-romance and ten million family feelings. This one gets nonlinear, with several extended flashback sequences, and the story STARTS at about the midway point of the plot. This has been adapted into an audio drama at least once, a manhua, a donghua, and now a live action show, so it goes by a million different names in its various formats.

Her third book, and the LONGEST, is Heaven Official’s Blessing/Tian Guan Ci Fu (TGCF), and oh my god, it’s so long, and I love it so, so much. This gets into high fantasy much more than the other two, including the idea that as people develop their cultivation and powers, they may eventually achieve immortality and ascend to the heavens. The story follows Xie Lian who achieved immortality and ascended to heaven! And then fell. And then ascended! And fell again. Eight hundred years later, he ascends for the third time. He meets Hua Cheng, the ridiculously powerful ghost king, who most of the other immortals are terrified of. But Hua Cheng seems to like Xie Lian! And Xie Lian thinks Hua Cheng is a sweet boy! (hua cheng is a sweet boy, but only for xie lian). This also has extended flashback sequences, but is a more linear story than MDZS, I think. Also it made me cry, which, wow, rude. I love it so incredibly much. This also exists as a manhua, but I think it’s still being published? I haven’t read it yet.

NOW. Mxtx is working on a fourth book, but it’s not out in chinese yet, never mind english. But I needed More. I was getting some SVSSS vibes from this one other book, which, *wobbly hand motions*, but I am enjoying the hell out of this book purely for its own sake.

Meatbun is an author with other books that I haven’t read yet, but I am currently in the middle of The Husky And His White Cat Shizun/Er Ha He Ta De Bai Mo Shi Zun (Erha/2ha), which is at this moment being adapted to a live action tv show called Immortality. There are MANY warnings that go with this book, though the google docs translation files do a good job of placing warnings at the front of every document and in front of relevant chapters. The general premise! Mo Ran basically conquered the entire world, put down all resistance by force, and was a super powerful but Kinda Dumb emperor. As part of this, he took his old teacher, who he despised with a burning passion, prisoner, and abused him a Lot. The story starts as rebels try to mount an assault on his palace, and Mo Ran’s cousin gets impatient with how slowly things are moving and runs ahead of the group. He finds that (suicide warning:) Mo Ran has... taken poison, and is in the middle of dying. This doesn’t stick. He wakes up as a teenager, apparently having traveled back in time, and starts living through events again, with the knowledge of his past life. It took me a while to warm up to this story, but ohhhh my goodness, it’s so TASTY. The translation for this one is ongoing, and I am in AGONY waiting for further updates.

So those are the ones I’m currently into and mostly blogging about! I also read Dreamer In The Spring Boudoir, mostly because feynite wrote an SVSSS fic set in the universe of that novel, which was good in some ways, left me cold in others (and the original novel is straight, with a society with rigid gender roles, so making it super gay in the fic made the setting much more interesting to me). Meatbun has other writing, which I haven’t sampled yet, but I am definitely interested in doing that sometime soon.

Sorry, I know this is a LOT, so if you have any other questions feel free to ask me!! I got into these mostly via being interested in the untamed, so I read them as 1) mdzs, 2) svsss, 3) tgcf, 4) erha, which was an order that worked well for me. But if someone was looking for a general order to read them in, independent of that, I might suggest 1) svsss, 2) mdzs, 3) tgcf, 4) erha. They’re all really good, and scratch different emotional itches, and each of them has at least a few characters who sucker-punch me RIGHT in the goddamn heart. They’ve been a HUGE help for me dealing with the restlessness and/or apathy of quarantine, so I’ve been evangelizing them to pretty much anyone who will listen to me, hahaha

#spock replies #long post/#suicide mention/#solluxisms

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alexsmitposts · 5 years

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Without the I Word, Beware B and P As Nancy Pelosi struggles to contain increasing demands for the Congress to impeach President Trump, his Secretary of State, Mike Pompeo ratchets up tensions in the Gulf of Oman, as it has done in countless other historical circumstances, making war with Iran look imminent. Now more than ever, Americans need to know that beyond oil, the Middle East, like the rest of the world, is divided between right and left. Iran is the leader of the left-oriented Shia version of Islam, while Saudi Arabia leads the right oriented Arab world. Meanwhile, Israel, as it continues to occupy Palestinian territory for over seventy years, has gone from being a left-oriented society in which the kibbutz played a central role, so far to the right that it often agrees with fascists. Across the Middle East as elsewhere,“Follow the money”, corresponds to the left-right divide. Unlike American ignorance of current foreign affairs, few people across the world have a false idea of the French Revolution of 1789: driven by popular hardship, the sans culottes got rid of a monarch, opening the way for an organized left that carried out the Russian Revolution of 1917, followed, in due course, by the Chinese Revolution of 1949. These three revolutions duly claimed their place in history and in the popular imagination, however, after the defeat of Nazi Germany, the US installed ‘liberal’ parties in Western Europe, Eastern Europe modernized under a Soviet controlled authoritarian form of social democracy, while Iran was still a relatively poor country whose population was in need of everything from health care to education and housing. In 1953, when Iranians elected a lawyer named Mohammed Mossadegh to lead the country, the nationalization of their oil bonanza was a no-brainer. Alas, this coincided with the growing realization by the US of the crucial role of ‘black gold’, as American automobile ownership tripled, and petroleum became the magic fluid that generated prodigious development in the West. In what was to become a pattern, the CIA and M16 worked in tandem to overthrow the Iranian popular government and put the exiled Shah back in power. Twenty-six years later, in 1979, popular forces carried out a revolution against the Shah’s iron rule that has never been understood by the West, which saw the new leaders exclusively as religious fanatics. In reality, when Ayatollah Khomeini returned from exile in France, he was accompanied by a socialist theoretician. Ali Shariati had been in and out of jail while teaching high school and campaigning for change. Eventually, he was allowed to accept a scholarship to France, where he studied with Islamic scholars, earning a PhD in sociology and the history of religions in 1964, while discovering the third world political theologist Frantz Fanon, collaborating with the Algerian National Liberation Front and campaigning alongside Jean-Paul Sartre for an end to French colonialism. Returning to Iran, Shariati founded the Freedom Movement of Iran, gathering followers throughout \society. His sin was to have revived Shiism’s revolutionary claim that a good society would embrace religious values. He taught that the role of a government under a learned clergy, was to guide society according to Islamic values rather than managing it, allowing human beings to reach their highest potential rather than encouraging the West’s hedonistic individualism. Believing that Shia Muslims should not await the return of a mysterious 12th Imam, (as the Jews await ‘the Messiah’) but hasten it by fighting for social justice, even to the point of martyrdom, Shariati criticized the Shah’s clerics and translated the claims of Iranian Marxists that revolution would bring about a just, classless society into religious symbols that ordinary people could relate to. Seeing a direct link between liberal democracy and the plundering of pre-modern societies based on spirituality, unlike Fanon, he believed that people could only fight imperialism by recovering their cultural identity, including their religious beliefs, which he called ‘returning to ourselves’. (Like a growing number of contemporary leaders — such as Vladimir Putin — Shariati called religious government ‘commitment democracy’, as opposed to Western demagogy based on advertising and money. The panic that gripped the West in 1979 when 52 American diplomats were locked-into the Embassy for 444 days, was heightened by Israel’s victory in the Six Day War a few years earlier. Since that time, while continuing to deny the Palestinians a state of their own, Israel has moved closer to the most powerful Sunni (i.e., conservative) Arab nation, Saudi Arabia, which supports ISIS and its offshoot terrorist organizations worldwide, and wages an unrelenting campaign against the tiny country of Yemen, whose revolutionary Houthis are also supported by Iran, in the millennial battle between Sunni and Shia. Few Americans know that these two are strongly correlated to the left-right divide. Western media correctly attributes the conflict to attitudes toward Ali, the Prophet’s designated successor, but it features Shiites lashing themselves with chains in solidarity, without mentioning that the reason for Ali’s murder was his defense of the lower classes. In turn, that attitude was based on a disagreement over whether God had attributes, such as ‘justice’ and hence could demand that humans treat each other with respect and dignity. Arising after the Prophet’s death, the argument centered around whether the Quran was an emanation of God, or had always existed. In turn, the answer to that question depended on whether God simply ‘is’ or whether, like humans, he has attributes, one of which would be ‘justice’, or solidarity, which would imply the existence of free will. At one point, a free will defender who got up and left the discussion was labelled a Mutazilla, or ‘one who has left’. During the following centuries, and mainly under the Abbasid rulers centered in Persia, the Mutazilla movement lead to the development of Shia Islam, with a different set of laws from those of the Sunnis, who still believe that individual lives are foreordained by a God who is neither ‘good’ nor ‘evil’, but simply ‘is’, and that men must obey Him without question. Under the cleric Wahhab, that conviction led to the extreme of Sunni Islam, in whose name terrorism is carried out to this day. The notion of a ‘Shia arc’ suggests an equally threatening military entity, when in reality it is an ideological one. Although nothing could be further from the minds of those who hold Trump’s foreign policy in their hands, Ali Shariati and the Iranian revolution revived Shia Islam’s original message that men must treat each other with dignity and respect. The original seat of the Mutazilla movement was the city of Basra, located on the Persian Gulf Shat al Arab waterway, and the Shiite learning center of Najaf, near the southern Iraq/Iran border, was the headquarters of Iran’s exiled revolutionary leader, Imam Khomeini. After spreading from Iran to Iraq, Shia Islam reached Syria and Lebanon on the strength of its commitment to justice. In Syria, the life values of Islam had already led to the creation of the Baaʿth Party, which in 1953 merged with the Syrian Socialist Party to form the Saddam Hussein’s Arab Socialist Baaʿth (Renaissance) Party. Although both countries belonged to the non-aligned, anti-imperialist and anti-colonialist movement, the merger failed. (The US suffered the Baath being the party of Saddam Hussein as long as he was waging an eight-year war against socialist Iran.) Syrian Shiism continues to be represented by the small Alawite sect headed by the Assad family. Reaching back to the ninth century, the Alawites, who pray sitting rather than prostrate, and celebrate some Christian holidays, had been rejected by the Shiite hierarchy until Assad’s father, Hafez al Assad, came to power in 1964. Though accused by the US of “killing its own citizens”, Assad’s son, Bashar, heads the only secular government in the Middle East (including Israel), and retains the educational system and Western social customs that prevailed under the French mandate (1923-1964). In neighboring Lebanon, the Shiite militia known as Hezbollah represents a powerful political force in a tiny nation whose population is divided among half a dozen religions and sects, including the Christian Druze and Maronites. The picture painted for Westerners is of a rabble acting on orders from Iran, while Hezbollah is allied with the Shia militia Hamas in the struggle for an independent Palestine, making Syria ‘the frontline state’. (Alastair Crooke’s book Resistance: The Essence of the Islamist Revolution, attributes Hezbollah’s victories over the Israeli army to ‘horizontal’ organization, which encourages a high level of individual initiative, and is part of the surprisingly sophisticated knowledge of Western political thought by its leader Hassan Nasrallah.) This makes the fact that the Second Amendment to the US Constitution, which reads: “A well regulated Militia, being necessary to the security of a free State, the right of the people to keep and bear Arms, shall not be infringed,” all the more ironic. America is the only modern nation whose citizens have almost automatic access to guns, resulting in thousands of murders every year, while its leaders insist that foreign national militias must be punished by a so-called ‘rules-based’ international community. Last but not least, in this saga, like the cherry on the cake, the American public is oblivious to the decades-long ties between Iran and its neighbor, Russia, based on both a shared revolutionary commitment to ‘dignity and respect’, and to religious values. It is disquieting, to say the last, that when the two B’s threaten Iran, they are threatening Russia outside the narrative familiar to American voters.

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eng2100 · 5 years

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blog 08 - neuromancer

So as an introductory note, I’m actually quite a big fan of cyberpunk. I’m a hobbyist DnD player and the first campaign that I’ve Dungeon-Mastered for was actually a simplified version of Shadowrun that I wrote all the backstory and lore for. It’s in what I would call a “sequel” right now that I’m very much enjoying. So bla bla bla I was excited to get to Neuromancer this whole time because I’m a genre fan.

a brief primer to cyberpunk

So western Cyberpunk owes its roots largely to the detective fiction genre-- most notably the hardboiled detective archetype, a darker western interpretation of your Sherlock Holmes type who is usually a jaded antihero that works for money, but still has a sense of justice deep down. You see this more reflected in Blade Runner than you see it in Neuromancer’s Case, but there are still a number of correlations (Funnily enough, Neuromancer and Raymond Chandler’s The Big Sleep both end on nearly the same line-- “He never saw Molly again.” and “...and I never saw her again.” respectively.) Interestingly enough, Case kind of spawns his own kind of cyberpunk hero trope-- the rebellious hacker, seen in Neo.

If detective fiction owes itself to the inescapable aura of The Great Depression, then cyberpunk owes itself to the Reagan administration. Cyberpunk’s whole thing, at least in the west, springs forward from the fear of unregulated corporate growth in tandem with the rise of technology, and what the mixture of the two might bode for humanity at large. Both Neuromancer and Blade Runner owe their entire aesthetics to the vision of a world taken over by neon advertisements, bereft of nature, replaced by plasticity.

Now, why the primer? Well, I think it’s important to preface the discussion of this novel with the idea that cyberpunk is a deeply political genre in a way that not many other genres inherently are. (All fiction is, of course, inherently political, whether intentional or not, but most genres don’t regularly feature as much political charge as cyberpunk, is what I mean.) Neuromancer is politics from an era before most of us in this class were born, and as such, atop being a seminal work of genre fiction, it’s a lurid look into what the landscape looked like in the 80s. We are living now in the times that 80s Cyberpunk once called “the future”-- and, well, what does it look like for us? Are we living in the Urban Sprawl?

not quite

Our dystopian future is significantly more...mundane than coffin hotels and the television sky over Chiba. You might say we got all the corporate deregulation and none of the glimmering aesthetic slickness of cyberpunk-- we really are living in the worst timeline. If i’m going to have to labor under capitalism for the rest of my short life, couldn’t I at least have a slick pair of mirrorshades?

the text

There’s a lot about Neuromancer to like. It earned its reputation wholeheartedly-- it is definitely the legendary cyberpunk novel that it is well-known for being. Its writing style can often be abstract at the same time that it’s luridly detailed, and it uses strange and interesting words to create vivid images in the reader’s mind of this foreign landscape of the Sprawl. It uses a lot of “old world” associations to lend deeper weight to its descriptions (the Tank War Europa game comes to mind in tandem with the Screaming Fist operation that looms over the plot).

The book doesn’t shy away from the visceral nature of its own plot and setting-- drug binges and cramped love affairs in coffin hotels, fear and violence are all described in visceral detail that grounds the book hard in its reality while simultaneously indulging in a sort of dream-like surreality. I really admire the ways in which Gibson writes physical sensation whether it comes to the sex or the pain or the weirdness of cyberspace. The introduction of the novel sort of failed to catch me until Gibson went into detail about Case’s harrowing journey after losing his ability to jack into cyberspace and the intense, surreal affair with Linda Lee. Perhaps my biggest issue with the writing of Neuromancer is, however, Gibson’s tendency to throw a lot of world-building terminology at you really fast. Nothing bogs down a fictional story more than having to pause to wonder what certain words mean.

Describing cyberspace during a time in which VR wasn’t even a thing yet had to have been a challenge and a half, but Gibson found interesting ways to visualize the experience, and coined interesting terminology for it (ice and icebreakers, most notably). The Sense/Net bits are also pretty cool, but I’m also biased because anything that gives Molly Millions more screentime is just the best thing.

Did I mention Molly is my favorite character? I just can’t get over her. It sucks that her and Case break up in the epilogue, but it also feels fitting in a weird way. She really struck me as a standout character for a woman in a cyberpunk novel-- she’s an active player in her own sexuality, she’s violent and the stronger of the two between herself and Case. She has a sort of unapologetic way about her that feels very fresh even today. The first time Case uses Sense/Net to see through her eyes, I was hit in an unexpectedly hard way by the description of people in a crowd moving out of the way for her-- for most girls in real life, that’s a fairly unheard of experience, and to me, as a female reader, it did a lot to establish to me just how powerful she is.

That being said, this is a good place to segue into the conversation you know my Obnoxious Feminist Ass has been waiting to bring up.

cyberpunk vs women

You can tell a lot about a person’s base assumptions about the world by the way they talk about people in their works of fiction. Now when I say “base assumptions” I don’t mean their political leanings, I mean something that’s on a deeper, more subconscious level-- in this way, base assumptions are inherently neutral in a way, they’re incapable of being truly malicious, even if they’re harmful, because they’re just the base coding of how a person regards things inherently.

What I’m getting at is that at the time of writing this book, I don’t think Gibson had much of a regard for women at all. When the first mention of women in your novel is calling them whores, I’m going to be forced to assume both that you don’t like women very much and that women are primarily sex objects to you-- or at the very least that women factor into your view of the world in a very marginal way that is largely informed by porn culture. Now, let’s suppose that maybe it’s actually the POV character Case that’s just a raging sexist-- that theory might hold water if this were a character trait that is brought up as a flaw, or indeed, if it were really brought up at all in his personality, but it’s not.

To my great frustration, in the Neuromancer world, it seems like “whore” is about the only job available for women! Who knew the job market would shrink in such a way? Now, perhaps you could argue that Gibson was actually trying to make a point about the way in which porn culture commodifies women into sexy leg lamps for male consumption, and I won’t claim to know his intent, but to me, it doesn’t really seem that deep. It seems like to me that, to Gibson, women being mostly vapid sex workers in his dystopia is a foregone conclusion-- he didn’t think about it that hard, that’s just his stereotypical image of what women in an criminal underbelly do.

This problem of a lack of regard for female perspectives in cyberpunk narratives that largely concern themselves with themes of objectification and oppression under capitalist systems and the regurgitation of harmful sexist tropes certainly isn’t exclusive to Neuromancer. Cyberpunk is a economic-political type of genre, so oppression in the genre tends to fall upon class lines rather than race or gender lines-- and perhaps, this could occur in a far flung future in which capital manages to supersede bias, however, I can’t help but feel that this is a lazy way to write a political narrative. Blade Runner, Blade Runner 2049, and The Matrix all have distinct problems with addressing the idea of intersectionality when it comes to the ways in which ones gender and race plays into their role in a capitalist system.

Cyberpunk, for all its shining successes as interesting fiction and pointed political commentary, totally fails in the regard that it co-opts the struggle of lower-classes and applies the romanticized aesthetic to white male characters completely unironically. (You can read a pretty good take on Dystopias and post-racialism here.)

east versus west

So, when I went over the primer to the rise of Cyberpunk earlier, I left something out (on purpose!). During the 80s, there was another prime ingredient to the mix of the nascent genre’s formation: the rise of Japan as a technological leader in the global market. Before World War 2, and indeed, during it, American’s conceptualization of the future, was, well, American. They viewed themselves as the originator of innovation within the world and the blueprint from which the rest of the world should be based. However, this all changed in the post-war era as Japan began to participate in the market, leaving behind their isolationist ways-- suddenly, Japan was what the vision of the future looked like in American imagination-- the Tokyo urban sprawl.

The imagery of Japan is ubiquitous in western Cyberpunk, whether hardcore or or softcore or simply an incidental portrayal of futurism. Disney’s Big Hero 6 features San Fransokyo, San Franciso and Tokyo jammed together complete with neon signs in Japanese letters. During the 90s, Marvel launched Rampage 2099 and Spider-man 2099, both set in glittering neon cityscapes. The series Firefly featured a strange universe in which everyone seems to speak Chinese pidgins (but there’s no Chinese people in the show, funnily). MTV had Aeon Flux, a U.S. take on anime. Even movies like Total Recall borrowed the bright neon flavor. Video games such as Deus Ex and Cyberpunk 2077 feature these influences heavily, with less-bold-but-still-there influence being seen in games like Remember Me and Detroit: Become Human.

There’s an interesting cultural exchange going on between the east and west when it comes to Cyberpunk, as the 90s were rife with cyberpunk fiction in both places-- The U.S. saw The Matrix (which was inspired by Ghost in the Shell, as admitted by the Wachowskis in a phrasing that I find really annoying as an animator: “We want to make that but for real”.), while Japan had the seminal Ghost in the Shell and Akira. It’s interesting to note the stark contrast between western and eastern Cyberpunk-- eastern Cyberpunk misses entirely western Cyberpunk’s detective fiction roots, for one. For two, eastern Cyberpunk tends to concern itself more with philosophical questions about the nature of the soul in relation to technology and deep-seated cultural fears about weapons of mass destruction and government.

Neuromancer is deeply entrenched in eastern aesthetics-- many Japanese brands are brought up explicitly by name within the model (Mitsubishi, Sony, etc.). Gibson cites the “Kowloon Walled City” of Hong Kong as something that haunted him after he was told about it, and the idea of Coffin Hotels owes quite a lot to it. Gibson is quoted as saying:

“Modern Japan simply was cyberpunk. The Japanese themselves knew it and delighted in it. I remember my first glimpse of Shibuya, when one of the young Tokyo journalists who had taken me there, his face drenched with the light of a thousand media-suns - all that towering, animated crawl of commercial information - said, ‘You see? You see? It is Blade Runner town.' And it was. It so evidently was.“

One of Neuromancer’s primary settings is The Night City, a supposedly gaijin district of Tokyo on the bay-- this...sort of explains why there don’t seem to be a lot of Asian people in Asia, but the issue still stands. This isn’t a game-breakingly “I wouldn’t recommend this book” bad case, but it is something that I felt I should point out. Neuromancer is a foundational work to the genre, which means that not only are its successes carried over, but many of its flaws as well. Now, I don’t want this cricitism to sound like I think William Gibson is a raging bigot or anything-- I really don’t! I follow him on twitter and he’s a perfectly likable guy, actually. Problems aside, I really enjoy his work.

conclusions

Going into the future, I don’t think Cyberpunk is going away anytime soon, and certainly much of it owes its roots to Neuromancer. With shows like Altered Carbon and games like Cyberpunk 2077 on the horizon, I’m interested to see the ways in which our current economic political climate may effect what our vision of a technological dystopia may look like. Cyberpunk is easily one of the most interesting genres of fiction, and if you haven’t looked into it deeply, I highly recommend checking it out.

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splintersfeelings · 6 years

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Carefully step over the gap of my open heart and show me where I came from / 擔心，小心，開心

Family trees are defined by absences.

My father and I were talking as he drove. He wondered aloud if he was like his own father, my Ye Ye. My paternal grandfather passed away when my dad was still a teenager.

"I'm surprised you notice and remember all the stories I tell you," he says to me, when I write about them. I always remember. How could I forget? I'm haunted by the stories. I burn them into my memory in the only way that I can to light up the dark spaces in my consciousness that are haunted by ghosts.

My dad doesn't speak much to his family anymore.

His mom, my Maa Maa, tried to control my father's life and groom him to become an eldest son who could serve as the head of the household, where he was needed to fill the vacancy left behind by my grandfather’s death when my father was a teenager. It was a burden that no one that young should have to bear.

My father's younger brother, my Suk Suk, told me about the Wong progenitor 7 generations before me (my father's grandfather's grandfather's grandfather).

This Wong left his Guangdong hometown to come to the United States and make his fortune. He returned home with the fruits of his labor only to be warned of an assassination plot waiting for him. So instead of returning to his home village, he took a detour to Macau to retire with his Gold Mountain windfall. He eventually accumulated 4 wives (including an American wife) and left behind many descendants in the Macau/Hong Kong area. This story was authored by at least 4 or 5 people, stories relayed across generations, until my Suk Suk was able to compile them all and then convey it to me.

Does this make the story less true? Or does it make it more true, the accumulated sweat and tears of generations distilled into a single, elegant fairy tale, an origin story of a man heading east on his Journey to the West?

This was it's own kind of pilgrimage.

There's a difference in how Eastern and Western cultures view justice, and it's a complicated question that I'm bound to oversimplify here, but I think the idea is visible in the difference between Buddhism and the Abrahamic (Judeo-Christian and Islamic) traditions.

In the Abrahamic, justice is something that happens in the afterlife. Justice is the promise of reward and punishment for mortal sins. Life is allowed to be just, because God will ensure that sinners pay the price and that the good are granted the salvation they deserve.

In Buddhism, there's no punishment and reward in the afterlife. Life itself is the system of punishment and reward for past lives. It has a retroactive temporal orientation towards justice instead of the future orientation of the Abrahamic. In Buddhism, heaven and hell would be confusing, because the goal of religious practice is to escape from life and reincarnation, not to live a post-mortem afterlife. For the Buddhist, everyone always deserves what they get, what goes around comes around. Somewhere out there is a cosmic Karmic ledger that balances the accounts. Justice is built into the present instead of constantly deferred.

The Abrahamic fears oblivion, fears the unknown, fears the cessation of the senses. Buddhism, by forgoing the afterlife, embracing oblivion and does something different.

I'm neither a Buddhist or a Christian. I don’t self-identify as an atheist or an agnostic. In my own words, I would prefer to say that I think metaphysical statements have no truth values. But this is all neither here nor there.

In Hong Kong there was only one real god.

Its name was money.

Getting up at night to use the restroom, I trip over a pile of books I had forgotten. "Pukgaai…" I mutter to myself as I nearly fall, stumbling for my phone. Groping through the darkness with my cold hands, searching for familiar shapes and sensations to remind me who I am.

In Cantonese (and in Mandarin), "he," "she," and "it" all correspond to the same spoken word. Gender is only marked in the written form. My sister and I used to make fun of our parents for always slipping up on pronouns, calling he's she's and she's he's. I realize now how special it is to not have gender linguistically and ontologically bound into our consciousness, instantly and immediately assigned to bodies. Of course, Chinese culture still contains uncomfortable Confucian attitudes toward gender, sex, reproduction. But there's something remarkably progressive and profound about not needing to assign gendered pronouns to people. Romance and Germanic languages are so strongly gendered. Who felt like they needed to assign gender to chairs, stars, doors, cups, hats, and boats, anyways? Why should a feminine verb, a neuter verb, and a masculine verb be linguistically differentiated?

Trauma is a form of omission.

My maternal grandfather, Gung Gung, was a gambling addict. But I wouldn't say he was addicted to chance. He was a surprisingly risk-averse man in other aspects of his life. He turned down a job offer from his family because he didn't want to move away from the racetrack in Happy Valley, where he'd calculate the optimal horse to bet on, studying and researching all the details that might distinguish him from the crowd. He was a man who found comfort in games, the consistency and dependability, the clear and precise conditions of defeat and victory that are absent from the tedium of everyday life. In games there is nothing left but expression of skill. The chess pieces don't care who you are, where you were born, or how much money you make. There is only the elegant simplicity of victory or defeat and whether or not you’re willing to pick yourself up afterwards from the burning wreckage to try your hand again.

Gung Gung was a chain smoker, such an addict that long flights from Hong Kong to the United States were troublesome for him. He passed away watching a game of chess under a bridge on Hong Kong island. But just months before he passed away he visited Seattle to see my sister and I. My sister was less than a year old and I was only a toddler.

I wonder if Gung Gung would have appreciated my childhood chess tournament trophies and my passion for real-time strategy games. I wonder if he would have taught me to flank using chariots, pin down with cannons, connect my elephants.

I was too young to remember him, so I can't say that I really met him. But I'm glad that he got to meet me before he died.

The single greatest gift that Cantonese has given me is a slur for white people. If I didn't have it, I would only ever think of myself as a failed national subject. Because of just one word, a word that now comes easily and quickly to my mind, I know otherwise. I was robbed of something, long ago, before I was even born, and every time I say "gweilo" I reclaim just a little bit of that history back.

Peace by piece. Plowshares for swords. An eye for a tongue.

Complicity is the price of silence.

To this day, the sound of Cantonese music puts me at ease. I barely understand the language. But hearing the rising and falling tones of the prestige Yue dialect, the language of Guangdong, always brings close a warm part of my childhood.

When I young, not yet in grade school, I had a hard time falling asleep by myself. My parents recognized I was a creature of ritual. My dad would sit close and would play Cantopop as I fell asleep.

One day, he turned on some music to listen to during the day, just for himself, and I complained to him that I wasn't ready to sleep yet.

Assimilation is death.

"Transgenerational trauma," my professor said during our seminar. We were discussing Lacanian psychoanalysis, and the displacement of trauma through unspoken linguistic signs. The idea is that trauma is displaced along generations by overdetermining the language that the parent uses to talk to the child, and the child to grandchild, and so on. And thus, a life time of scars is tucked into the limits of our speech. A child can choose to become like their parents or become unlike their parents. But the shadow of the parent is still there either way.

What an abyss then it must be for a grandparent and a grandchild to not even share a common language. What kind of trauma is belied by the fact that everything goes unspoken?

I grew up reading through my Ye Ye's comic books. Wong Si Ma was a famous cartoonist in Hong Kong when he was alive, and his characters are still remembered fondly. The first time I read them, they gripped my imagination. Over time, I realized that my love for those cartoons was bound into the fact that my father had taught me the same sense of humor as these comics, the same love for puns and physical comedy and light-hearted pranks.

Wong Si Ma had time for everyone in his life, but not enough time for his family before he passed away.

Even though I'm not religious, Hong Kong for me is a site of pilgrimage. And that saddens me, because I know that the Hong Kong that I want and need will never exist ever again. Hong Kong’s place in the world changed. Hong Kong has been transferred back to China, and Cantonese language and politics and culture will have to be fought for to be preserved.

I feel regret, as if I have failed in a duty, by not properly learning the language. But now is as good a time as any to start.

Whenever I commute around Seattle or Irvine, I think back to riding the MTR in Hong Kong and the sonorous British-inflected English voice warning me: "Careful, please mind the gap." In Cantonese, to be careful is "siusum," literally translated as "small heart." To step with caution. I try my best to step with caution, remembering all the sacrifices people have made to put me here walking these grounds and living this life. I don't think I can be grateful for receiving something I never asked for.

But I keep trying to dream for the two grandfathers I never really met, who persisted as a memory of a memory, ghosts who guide my heavy heart, as I sleep and slowly learn how…

…to open my heart and be happy.

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janiedean · 7 years

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(part 1) ur gonna roast me for this but im legit curious why mafia AUs are so bad? im asking in a non confrontational way, i get it romanticizing mafia is wrong, but i also believe that 1)most mafia AUs are a really toned down type of mafia;2)they do make for some interesting kinds of dynamics with fanart and with fics; 3)in a fic specifically u can create your own world and call something mafia and still make it so they don't kill innocent people but only idk members of other gangs or sth

(part 2) plus theyre a way to put ur charas in a completely diff context and see what theyll do. i mean i dont believe that writing ships in a certain context (like mafia) equals romanticizing that context. mafia AUs arent even my fav things to read (in fact i almost never do), im sure many ppl romanticize it and i obvs dont agree with that but im just trying to udnerstand bc i believe fandoms are a way to explore things that we normally wouldnt.

I’m not gonna roast you don’t worry xD okay wait let me check if I replied to this already if yes I’m gonna c/p because it’s half past midnight otherwise I’ll just go at it again wait *checks tags* fff obviously I don’t have a general post but anyway pls read this after you’ve done with my post and then this which is also choke-full of links. plus for a (not nice) laugh: here. AH WAIT I FOUND THE POST.

okay, so, let’s have it out of the way: I have nothing against mob aus or crime aus. I have a problem against calling them mafia AUs because in the US mafia = organized crime at large, in Italy mafia = ACTUAL EXISTING ORGANIZATIONS THAT ARE ACTIVELY HARMFUL. now that I introduced the topic I’ll c/p you the reply I gave to another anon who while discussing the issue pointed out that most writers don’t even know Italian mafia is a thing, which is pretty much on the same discourse so...

*The thing is - in the US it might not be enough of a deal anymore and I honestly do get why people make the mafia = regular mobsters, since the mafia was the first foreign organized crime being exported to the US via italian immigrants (sorry if this sounds horrible in English but I just woke up and I still didn’t have coffee) so I understand that mafia became the umbrella term.But the thing is that - as you said, these people don’t even know that there’s a mafia in Italy anymore or where the word comes from.

I’m going to link to italiansreclaimingitaly’s tag about the mafia and its perception outside Italy because they posted about this extensively and it’s an excellent resource, but meanwhile I’m gonna do a very short bullet point list and about the topic:

Mafia might not be a big deal in the US, but it still is here. We have the beauty of four different mafias (Cosa Nostra - the Sicilian one, camorra which is the one in Campania but has tendrils spread everywhere, the 'ndrangheta which is in Calabria and the Sacra Corona Unita in Puglia) which are all active [especially camorra and 'ndrangheta] and whose actions have direct impact (negative) on our economy and on our society. Actually mafias are one of the main reasons we’re currently economically fucked up, and if I start talking about how mafia culture keeps some areas literally backwards I could talk about it for three months.

There are still people who are killed for standing up against them. These days the most prominent personality is Roberto Saviano who is a writer who dared to put together a book documenting minutely the way camorra works and he’s been living under protection for years by this point. Like, they want him dead because he wrote a book. And I’m sorta sure that he was talking about leaving Italy and going to the US after years of sticking with it here because he can’t take it anymore but I don’t know if it was a taken decision or if it’s still debating it.

It wasn’t even thirty years ago that we had the stragi di mafia - in english it’d be something like the mafia slaughters, basically around the beginning of the nineties there were a number of bombs planted by the mafia targeting people who were trying to oppose it including judges Falcone and Borsellino, actually the anniversary of Falcone’s death is like... tomorrow. And they’ve killed people for way longer than that. Here is a list of only Cosa Nostra victims including the ones from the eighties/nineties. And people are still dying because of it. The slaughters I’m referring to are just the ones in the nineties which are enough of a number.

They also perpetuate a culture where if you testify against your mafia-employed relatives you’ll be shunned forever. There are women who testified against their families and couldn’t see their children anymore never mind that they weren’t automatically considered a relative anymore the moment they sided against the mafia. Some people have committed suicide after becoming witnesses also because our police force/justice system can be terribly non-supportive in this kind of situation so they got left on their own. Never mind that back in the day - it was the beginning of the nineties? - I recall at least a particular story of - I think, correct me if I remember wrong but I can’t remember the names for the life of me - where this guy testified against the local mafia when he either used to work for them or was forced to pay them the pizzo and in retaliation his six-year old (or five? Anyway he had a son younger than ten for sure) got kidnapped, killed and thrown into acid to dispose of the body. That happened in what, 1993? 1994? It’s pretty much yesterday. And now the camorra is doing the same - there’s a list here of camorra victims among which accidental passerbys that got killed because they were in the way which I can tell just by glancing is not complete. And I’m not even going into the 'ndrangheta. That is to say, here mafia still kills people and cripples our country.

Now, I get that it’s a word, but the point was: let’s say that instead of the Italians the Japanese came to the US first and the umbrella word for organized crime was yakuza rather than mafia and let’s say yakuza was still what it was originally in Japan while in the US it stopped being a big deal and people write yakuza!AU instead of mafia AU. Let’s say someone Japanese gets angry at that and goes like 'listen the yakuza is a real deal it does this this this and that and it’s a plague in our country so can you please at least look it up before writing your fanfic’, which is what had happened way back then when this whole mafia and fanfic thing blew up. A bunch of people told us to get over it because it’s just a word and if it’s a problem in Italy it’s not in the US so why should they care? Now, if we had been Japanese (or Chinese or Russian or Mexican) would they have said the same thing? Considering the general tumblr attitude I’m pretty sure they would have received either an apology or 'this is an important deal let’s keep that in mind’ with signal boost reblogs and stuff.

It’s the fact that we should get over people not knowing that it’s still a real problem for us and that they can’t take five seconds to google it that is the problem imo. Especially when instead of mafia au you can just say mobsters au or tag it as organized crime and everyone is a lot happier, mostly because as the tag above explains romanticising the mafia is a good thing for them because it means they can act outside Italy with less stigma because everyone thinks that the mafia is dead or not relevant anymore, if I’m explaining myself. (And it’s active outside Italy - like, there was a mafia kill in Germany in 2007 where six people died (sorry the link is in Italian but there isn’t an English wiki page, if you look the city up you’ll find something probably) and it was because of the 'ndrangheta.

I’d really like to not get worked over it because it meant it was a thing of the past y'know, but the problem is that it isn’t and I’d rather spread some awareness in hope some of these writers look it up (because it’s a good thing that people know what mafia is since as stated they have tendrils everywhere - if you read Saviano’s book the entire first chapter is about how camorra regularly deals with Chinese import/export in Italy for one) than shrug and figure that since they’ll think everything is good for fanfic then it’s not even worth my time.*

Now, ^^^ that was the c/p-ed reply that should answer most of your doubts. What I didn’t address was:

im sure many ppl romanticize it and i obvs dont agree with that but im just trying to udnerstand bc i believe fandoms are a way to explore things that we normally wouldnt.

aaaand as we say here in Italy, this is where the donkey falls (sorry we have weird sayings), because in theory there’s nothing wrong with that... except that in 99% of the mafia aus I’ve seen around the thing is that they’re supposed to be cute.

like, I see a lot of shit with TINY MAFIA BOSS STEVE ROGERS with RUSSIAN ENFORCER BUCKY (????? bucky isn’t even russian???) and the yoi thing I saw before had the japanese character being the leader of a russian mafia gang which is... like... guys it doesn’t happen it really doesn’t, and a lot of them re-use wrongly terminology taken from the godfather without context or knowing what the hell it means, and it’s always from the criminals’ pov and they’re somehow seen as criminals doing justice where the police can’t (???) and like... no. mafia bosses/enforcers/employees are bad people period, and at least here if you try to leave or repent they kill your family in retribution. like, not even ten years ago there’s been a woman who used to belong to a mafia family (or one colluded with the mafia) who testified and her entire town/family shunned her and she couldn’t take it anymore and... killed herself drinking acid if I don’t recall wrong. it’s not even special cases. this shit is not funny, it’s not cute, it’s not adorable and it’s not good fodder for your imagine your otp scenario (srsly I saw one like.. let me find it,

LIKE. just look at this shit. in a regular context, the enforcer goes to the show owner to force them to pay a monthly sum to their boss lest they destroy their shop and their lives and their family’s life never mind that mafia culture is deeply homophobic so the mafia enforcer flirting with the shopkeeper is like completely fucking out of the question. I mean, people here like to shit on the sopranos but that show was actually excellent representation of Horrid Criminals Who Were Never Supposed To Be Good People and the small arc that happened when one of tony’s friends turned out to be gay (closeted) was REALLY well done. btw, it ended that when they found out he was gay most of the crowd rejected him and thought badly of him until I think they killed him also for other reasons, but that spiraled from finding out he liked dick. and that’s american mafia that they actually based on well-done research of the culture in Italy it came from, I assure you that here it doesn’t work that differently. like. the shit above is so inaccurate and frankly offensive, it’s like... I get people romanticizing problematic stuff but the thing is that when you tell them that it’s actually offensive you get brushed off as ‘ah well you’re being too sensitive it’s just a word u__u’. now, I’m all for exploring shit we wouldn’t be into, but not like THAT, because that’s like mafia romantic comedy and that’s not how it works. now, you wanna do a fic where the mafia characters are deeply flawed and bad people and the police tries to catch them? fine, great, go ahead. you wanna do a fic where the enforcer above deals with dunno an entire life of internalized homophobia when he finds the shopkeeper attractive and feels conflicted over having to con money out of him and doing horrible shit for a living and maybe understanding that crime isn’t worth it and then he actually collaborates with the police and gets shit from about everyone he knows and loves for that? okay, awesome, go ahead. nothing bad in that.

but the shit above is not exploring things we wouldn’t/writing darkfic, it’s THINKING THAT A CRIMINAL ORGANIZATION WHICH IS STILL A THING IN OUR PART OF THE WORLD IS CUTE AND ADORABLE. and that only plays in their favor because it takes the bad aura out of the word and we really should not let that happen. like. that is what is bad about mafia aus and mafia discourse, that people don’t realize the mafia is alive and well and thriving and not a thing that doesn’t exist or a generic word for organized crime.

you wanna write the shit above? okay, CALL IT CRIME AU or mob au, not mafia au.

btw, add-on: idk if I mentioned it in the above post or not, but in case I didn’t, I said that people would balk at the idea of a mexican cartel au. sadly since then I’ve found out a fandom where not only there is one but it’s also extra cutesy and people apparently love it and it has a bunch of kudos/comments and idek I’m not even touching that with a ten foot pole but like... I’ve avoided it and everything that author wrote because to me it’s just... nope. like, nope. if you do mafia aus don’t make them fucking cute. (also: in the same fandom I had to mute a v. famous fanartist whose art I actually liked but did cutesy mafia aus and.. like... haahahhaahahahahaha nah sorry. can’t go there. nope.)

#mafia #mafia for ts #Anonymous #ask post

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drjacquescoulardeau · 7 years

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WE ARE BEING TRUMPED OUT OF THE GAME Dr. Jacques Coulardeau follows H.G. Wells, T.S. Eliot, and C.S. Lewis on the roads of perdition: WW1, WW2, and COLD WAR.

H.G Wells got lost between eugenics and Josef Stalin.

T.S. Eliot got puzzled between historical necessity and peace.

C.S. Lewis got called to the fantasy side of our life.

And yet they were able to foresee the future after the fall of the Iron Curtain and the end of the Cold War. The ambition of one power to take over the world will lead that world to an impasse so blind and so dead that even a rat could not get out of the end of this alley, let alone the aging muskrat in Washington DC and the youngish Raccoon in Pyongyang.

If you do not believe me just ask National Geographic about raccoons: http://www.nationalgeographic.com/animals/mammals/r/raccoon/.

THREE ETERNAL MODERN GOSPELS IN TIME OF WAR

H.G. WELLS – T.S. ELIOT – C.S. LEWIS

TRUMP DENIED SALVATION

A Series In One Introduction And Five Parts

TABLE OF CONTENTS OF THE WHOLE SERIES

(A full book of 128 typed pages, 61,925 words, published in six installments on https://medium.com/@JacquesCoulardeau)

THREE ETERNAL MODERN GOSPELS IN TIME OF WAR

H.G. WELLS – T.S. ELIOT – C.S. LEWIS

TRUMP DENIED SALVATION

INTRODUCTION

(1,139 words)

https://medium.com/@JacquesCoulardeau/three-visionary-writers-confronted-to-war-2a49cda01633

TABLE OF CONTENTS

0- T.S. ELIOT, The Hollow Men

THREE ETERNAL MODERN GOSPELS IN TIME OF WAR

H.G. WELLS – T.S. ELIOT – C.S. LEWIS

TRUMP DENIED SALVATION

PART ONE: GOD’S DEATH AND SUBSEQUENT RESURRECTION

(8,332 words)

https://medium.com/@JacquesCoulardeau/three-eternal-modern-gospels-part-one-f48b9418fba9

TABLE OF CONTENTS

1- GOD’S DEATH AND SUBSEQUENT RESURRECTION, FROM FAUST TO APOCALYPTO (Université Catholique de Lille, 2007)

THREE ETERNAL MODERN GOSPELS IN TIME OF WAR

H.G. WELLS – T.S. ELIOT – C.S. LEWIS

TRUMP DENIED SALVATION

PART TWO: H.G. WELLS, THE TIME MACHINE

(7,446 words)

https://medium.com/@JacquesCoulardeau/three-eternal-modern-gospels-part-two-7ec0b9988d0f

TABLE OF CONTENTS

2- H.G. WELLS, THE TIME MACHINE, (Guide de la littérature britannique des origines à nos jours, eds Jean Pouvelle & Jean-Pierre Demarche, Ellipses, Paris, 2008)

3- THE TIME MACHINE, A DYSTOPIC UTOPIA (2007)

THREE ETERNAL MODERN GOSPELS IN TIME OF WAR

H.G. WELLS – T.S. ELIOT – C.S. LEWIS

TRUMP DENIED SALVATION

PART THREE: T.S. ELIOT, MURDER IN THE CATHEDRAL

(13,594 words)

https://medium.com/@JacquesCoulardeau/three-eternal-modern-gospels-part-three-49c63ca5adcb

TABLE OF CONTENTS

4- T.S. ELIOT, MURDER IN THE CATHEDRAL, (Guide de la littérature britannique des origines à nos jours, eds Jean Pouvelle & Jean-Pierre Demarche, Ellipses, Paris, 2008)

5- THOMAS BECKET ET THOMAS STEARNS ELIOT, ou PEUT-ON AVOIR FOI EN L’HISTOIRE ? (Théâtres du Monde, n° 18, Avignon France, 2008)

THREE ETERNAL MODERN GOSPELS IN TIME OF WAR

H.G. WELLS – T.S. ELIOT – C.S. LEWIS

TRUMP DENIED SALVATION

PART FOUR: C.S. LEWIS, MARTYRDOM VERSUS EUGENICS

(10,469 words)

https://medium.com/@JacquesCoulardeau/three-eternal-modern-gospels-part-four-2c349fc66880

TABLE OF CONTENTS

6- A CONTRADICTORY BACKDROP FOR C.S. LEWIS, MARTYRDOM VERSUS EUGENICS (Université Catholique de Lille, 2011)

THREE ETERNAL MODERN GOSPELS IN TIME OF WAR

H.G. WELLS – T.S. ELIOT – C.S. LEWIS

TRUMP DENIED SALVATION

PART FIVE: C.S. LEWIS, THE CHRONICLES OF NARNIA IN SHADOWLANDS

(9,099 words)

https://medium.com/@JacquesCoulardeau/three-eternal-modern-gospels-part-five-8e3726ade357

TABLE OF CONTENTS

7- C.S. LEWIS & THE CHRONICLES OF NARNIA, BBC REWRITING AND ADAPTATIONS, RADIO AND TV

8- SHADOWLANDS, LIVING WITH JOY, LOVING JOY WITH LOVE AND HOPE

INTRODUCTION

I will dedicate this series of studies to all the Hollow Men of the world and I will borrow the dedication from T.S. Eliot, my middleman here, the only one who could lead us beyond the eugenics believer in social Darwinism, H.G. Wells, and to the kingdom of peace, empathy and love of the Lion Aslan, aka C.S. Lewis.

It will certainly take a lion to help us step over the roaring showing-off of the muskrat and the raccoon strutting on the stage of our apocalypse as if they were Zeus and Apollo. Who will be the four knights who will put an end to the strife and commit a modern murder in the cathedral, or should we say it is a mosque, a Buddhist temple or maybe a synagogue?

After the war of words, there is always either the competition at who will spit longer and farther or the sudden public befriending that leads to some compromise. Such a compromise was not possible with Hitler and Chamberlain. Will it be possible with Trump and Kim? Stalin stayed on the penalty line, watching and correcting the absurd treaty of Versailles as for the borders of the USSR with Poland. Will Putin and Xi stay on the penalty line much longer? And what can they bring on the table to pacify the aging muskrat and the youngish raccoon? It will take more than a pound of flesh to solve the problem.

No matter what may happen, one thing is sure the world order of 1989 or 1990 is finished, over, terminated and he who was first will probably not be last but he will be at best second or third. For many reasons, some clear, some not clear at all, what we call today the west which was only Christian Europe in the 15th century, became preeminent in the world, tilting it away from Asia which had been the most dynamic region before the expansion of the Portuguese and the Spanish along with slavery, trans-Atlantic slave trade, colonialism, all of these meaning the deadly exploitation of the rest of the world by the European minority, with the Muslim world in-between, controlled without being controlled by the west, under the protection or protectorate of the west.

As Hal Brands writes on September 27; 2017, in “America’s New World Order Is Officially Dead, China and Russia have fully derailed the post-Cold War movement toward U.S.-led global integration.” (https://medium.com/bloomberg-view/americas-new-world-order-is-officially-dead-8ad17ada0b6): “The age of integration is thus over, in the sense that there is no realistic, near-term prospect of bringing either Russia or China into an American-led system.” Hal Brands obviously does not realize that what he calls integration is perceived as assimilation or even homogenization by everyone else in the world and that appears to people as being nothing else but an advanced form of colonialism generally referred to as imperialism.

The USA does not seem to understand that the railroads built by the Chinese with some financing from Japan connecting Mombasa in Kenya to Central Africa (Uganda and Rwanda among others) and to Ethiopia (Addis Ababa and further) are one thousand more important for the world, and particularly Africa, than one thousand US drones in Yemen and 60 Tomahawk missiles in Syria, thirty-six of which were hi-jacked by Russian military hackers and never reached their target. The show of strength turns into a farcical vaudeville that kills quite a few collateral victims who have asked nothing.

And the US menace North Korea with “fire and fury,” and a few other bird names, knowing that anyway they will not do it, or if they did they would be rejected by the global community, including the Brexiteers of Britain and the AfD Teutonic Musketeers of Germany, since it would mean a nuclear third world war that would break the record of casualties of the second world war. It could even reach one trillion victims, not to mention the long-term contaminated and genetically perverted victims already alive or to be born.

The world cannot go on living in that kind of domination. Colonial empires have fallen. The West is jumping from one financial crisis to the next, growing backward as compared to what it used to be. Asia is growing so fast that it might take less time for it to overtake the west than to imagine this event.

Is it the interest of the west to crush Asia under bombs? Is it even, the interest of the USA to crush Asia under bombs. Shouldn’t we speak of getting out of the Middle East, out of Central Asia and not putting our fingers in the rest of Asia? Apparently, Uncle Sam is divided, though the top man there seems to favor a good old show of power in fury and fire, and other four-letter words like grab (like land grab) and a few more he used in Alabama recently against NBA professional players, reinventing at the same time the meaning of “fire” and rediscovering that it may mean dismiss or discharge. Who under the sun ever likes four-letter F-words?

I thus give you the following compilation of studies on three authors who were confronted to the first half of the 20th century, or slightly more, and have become the three gospel writers of this time. H.G. Wells and his fascination for eugenics, social Darwinism, and Stalin. T.S. Eliot and his own fascination for violence in history and the call for justice and peace. C.S. Lewis and his very own fascination for a children’s world of adventure, struggle for freedom, and liberation.

Eugenics is only the current form of genetic cleansing and as such is not much different from colonialism, imperialism and other slavery systems that exploit all “genetically inferior” beings to death in order to produce a profit as long as they are able to survive. The principle is the belief that all human beings should be identical and those who cannot for any reason (skin color, religion, language, gender, or whatever) have to be exploited to death, and even after death everything has to be used and recycled in the corpses for the benefit and profit of those who are genetically normal.

#science fiction #poetry #children's literature #war #time machine #fantasy #dreams

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libertariantaoist · 7 years

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“The way that becomes a way is not the Immortal Way the name that becomes a name is not the Immortal Name no-name is the maiden of Heaven and Earth name is the mother of all things thus in innocence we see the beginning in passion we see the end two different names for one and the same the one we call dark the dark beyond dark the door to all beginnings”

-Lao-tzu- (Taoteching, verse 1, translation by Red Pine)

TU ER-WEI says, “Tao originally meant ‘moon.’ The Yiching [see hexagrams 42 and 52] stresses the bright moon, while Lao-tzu stresses the dark moon” (Lao-tzu-te yueh-shen tsung-chiao, pp. ii-iii).

CONFUCIUS says, “The Tao is what we can never leave. What we can leave isn’t the Tao” (Chungyung: 1).

HO-SHANG KUNG says, “What we call a way is a moral or political code, while the Immortal way takes care of the spirit without effort and brings peace to the world without struggle. It conceals its light and hides its tracks and can’t be called a way. As for the Immortal Name, it’s like a pearl inside an oyster, a piece of jade inside a rock: shiny on the inside, dull on the outside.”

CH’ENG CHU says, “Sages don’t reveal the Way because they keep it secret, but because it can’t be revealed. Thus their words are like footsteps that leave no tracks.”

LI HSI-CHAI says, “Things change but not the Tao. The Tao is immortal. It arrives without moving and comes without being called.”

SU CH’E says, “The ways of kindness and justice change but not the way of the Tao. No-name is its body. Name is its function. Sages embody the Tao and use it in the world. But while entering the myriad states of being, they remain in non-being.”

WANG PI says, “From the infinitesimal all things develop. From nothing all things are born. When we are free of desire, we can see the infinitesimal where things begin. When we are subject to desire, we can see where things end. ‘Two’ refers to ‘maiden’ and ‘mother.’”

TS’AO TAO-CH’UNG says, “‘Two’ refers to ‘innocence’ and ‘passion,’ or in other words, stillness and movement. Stillness corresponds to nonexistence. Movement corresponds to existence. Provisionally different, they are ultimately the same. Both meet in darkness.”

THE SHUOWEN says, “Hsuan [dark] means ‘black with a dot of red in it.’” This is how the darker half of the yin-yang symbol was traditionally represented. In Shensi province, where the Taoteching was first written, doors were, until recently, painted black with a thin line of red trim. And every road begins with a door.

TE-CH’ING says, “Lao-tzu’s philosophy is all here. The remaining five thousand words only expand on this first verse.”

And RED PINE adds, “During Lao-tzu’s day, philosophers were concerned with the correspondence, or lack of it, between name and reality. The things we distinguish as real change, while their names do not. How then can reality be known through names?”

–

I have a friend, who has encouraged me to write more of my own commentary with this cycle through the Taoteching. I told him that I really just wanted what these sages had to say on the verse to take root, first. But, maybe it is time to do a little more watering.

Te-ch’ing says “Lao-tzu’s philosophy is all here. The remaining five thousand words only expand on this first verse.” That may be so, but I am certainly glad that Lao-tzu went on to expand on this first verse. It is the one verse that, even after all these times through, still gives me plenty of trouble. He leaves so much unsaid. But, then again, I think that is the whole point. Don’t be attached to words. The lessons sages teach are wordless lessons.

Even now, I am anticipating what will come. The last line of the previous paragraph is from verse 2. But, Lao-tzu stops me right there. “The way that becomes a way is not the Immortal Way.” It isn’t about what will become, but of what is and what is not. We get so caught up in becoming. But, what can and does change, with time or circumstance, isn’t the Immortal Way.

And, Red Pine reminds us, name and reality don’t always correspond. “How then can reality be known through names?” Lao-tzu, I think, would tell us to be still. For it is only in stillness we will come to understand. Here, Lao-tzu is already introducing the perfect balance of yin and yang, of innocence and passion, of stillness and movement, of maiden and mother. Two different names for one and the same. The One we call Dark. The Dark beyond dark. The Door To All Beginnings.

“And,” the Shuowen says, “Every road begins with a door.” In other words, every journey begins by first walking through a door. Te Ch’ing says in his commentary on verse 71, “The ancients said that the word understanding was the door to all mysteries as well as the door to all misfortune.” The “door to all beginnings” here, in verse 1, certainly qualifies as the door to all mysteries. But, here is your caveat: It can also be the door to all misfortune. As Te Ch’ing continues, “If you realize that you don’t understand, you eliminate false understanding. This is the door to all mysteries. If you cling to understanding while trying to discover what you don’t understand, you increase the obstacles to understanding. This is the door to all misfortune.” Understanding, then, can result in either transcendence or affliction. Which will it be?

For my part, I plan to keep on reminding myself of how much I don’t know. And so, onward through the door we go.

–

Who was Lao-tzu? There is a lot of disagreement over this question. Lao-tzu means “Old Master.” He was a legendary figure in history, and the reputed author of the Taoteching. Some place him as early as the 6th century B.C.E., others as late as the 4th century B.C.E.. I happen to like reading the many legends associated with him. Much mystery surrounds him.

Who is Red Pine? Red Pine is the pen-name Bill Porter, an American author (born October 3, 1943), uses as a translator of Chinese texts, primarily Taoist and Buddhist, including the translation of the Taoteching I am presently using for our journey.

Red Pine introduces the following with today’s verse:

TU ER-WEI (1913-1987). Scholar of Chinese religion and comparative mythology and proponent of the view that Taoism had its origin in the worship of the moon. Lao-tzu-te-yueh-shen tsung-chiao. He was a major influence for Red Pine in his translation of the Taoteching.

YICHING (BOOK OF CHANGES). Ancient manual of divination based on a system of hexagrams invented by Fu Hsi (ca. 3500 B.C.). with judgments attributed to Duke Wen and the Duke of Chou (c. 1200-1100 B.C.), and commentaries added some 600 years later, reportedly by Confucius.

CONFUCIUS (551-479 B.C.). Who hasn’t heard of Confucius? He was China’s most revered teacher of doctrines emphasizing the harmony of human relations. His teachings, along with those of certain disciples, were compiled into the Lunyu (Analects), the Chung-yung (Doctrine of the Mean), and the Tahsueh (Great Learning) and until recently formed the basis of moral education in China.

CHUNGYUNG (DOCTRINE OF THE MEAN). Attributed to Tzu–ssu, the grandson of Confucius. It forms part of a larger work known as the Lichi, or Book of Rites.

HO-SHANG KUNG (D. CA. 159 B.C.). Taoist master who lived in a hut beside the Yellow River – hence his name which means Master Riverside. His commentary emphasizes Taoist yoga and was reportedly composed at the request of Emperor Wen (r. 179-156 B.C.). It ranks next to Wang Pi’s in popularity. Some scholars think it was compiled as late as the third or fourth century A.D. by members of the Taoist lineage that included Ko Hung (283-343). There is at least one English translation: Edward Erkes, Artibus Asiae (Switzerland), 1950. Lao-tzu-chu.

CH’ENG CHU (1078-1144). Scholar-official and fearless critic of government policies. Lao-tzu-lun.

LI HSI-CHAI (FL. 1167). Taoist master, practitioner of Taoist yoga, and noted Yiching scholar. His commentary extends Lao-tzu’s teachings to the state as well as the individual. Tao-te-chen-ching yi-chieh.

SU CH’E (1039-1112). He, his father, and his brother are counted among the eight great prose writers of the T’ang and Sung dynasties. Although his commentary reflects his own neo-Confucian sympathies, it is also treasured by Buddhists and Taoists. Tao-te-chen-ching-chu.

WANG PI (226-249). Famous for the quickness of his mind as well as the breadth of his learning. He grew up with one of the best private libraries of his time. Although he died of a sudden illness at the age of twenty-four, he was among the first to discuss Taoism as metaphysics rather than religion. As a result, his commentary has been preferred over that of Ho-shang Kung by Confucian scholars. At least two English translations exist: Paul Lin, University of Michigan Center for Chinese Studies, 1977; Ariane Rump, University of Hawaii Press, 1979. Lao-tzu-chu.

TS’AO TAO-CH’UNG (FL. SUNG DYNASTY: 960-1278). Taoist nun about whom I have found no other information. Lao-tzu-chu.

SHUOWEN Greatest of China’s early etymological dictionaries. It was compiled and first published by Hsu Shen in A.D. 121 and revised and updated with new materials in the T’ang, Sung, and Ch’ing dynasties.

TE-CH’ING (1546-1623). One of the greatest Buddhist writers of the Ming dynasty and responsible for revitalizing the practice of Zen in China. His commentaries on Lao-tzu and Chuang-tzu are among the best ever written and are used by Taoists as well as Buddhists. Lao-tzu tao-te-ching-chieh.

#philosophical taoism #libertarian

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clubofinfo · 6 years

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Expert: There is nothing sadder and more pathetic, than a notorious liar shouting, spitting saliva, insulting normal people left and right, while terrorizing those who are telling the truth. Lately, the West has gone clearly berserk. The more it is scared of losing control over the brains of billions of people in all corners of the world, the more aggressively it is screaming, kicking and making a fool of itself. It doesn’t even hide its intentions anymore. The intentions are clear: to destroy all of its opponents, be they in Russia, China, Iran or in any other patriotic and independent-minded state. To silence all the media outlets that are speaking the truth; not the truth as it is defined in London, Washington, Paris or Berlin, but the truth as it is perceived in Moscow, Beijing, Caracas or Teheran; the truth that simply serves the people, not the fake, pseudo-truth fabricated in order to uphold the supremacy of the Western Empire. Huge funds are now being allocated for the mortal propaganda onslaught, originating predominantly in both London and Washington. Millions of pounds and dollars have been allocated and spent, officially and openly, in order to ‘counter’ the voices of Russian, Chinese, Arab, Iranian and Latin American people; voices that are finally reaching ‘the Others’ – the desolate inhabitants of the ‘global south’, the dwellers of the colonies and neo-colonies; the modern-day slaves living in the ‘client’ states. The mask is falling down and the gangrenous face of Western propaganda is being exposed. It is awful, frightening, but at least it is what it is, for everyone to see. No more suspense, no surprises. It is all suddenly out in the open. It is frightening but honest. This is our world. This is how low our humanity has sunk. This is the so-called world order, or more precisely, neo-colonialism. ***** The West knows how to slaughter millions, and it knows how to manipulate masses. Its propaganda has always been tough (and repeated a thousand times, not unlike corporate advertisements or the WWII fascist indoctrination campaigns) when it originates in the United States, or brilliantly Machiavellian and lethally effective when coming from the United Kingdom. Let us never forget: the U.K. has been murdering and enslaving hundreds of millions of innocent and much more advanced human beings, for many long centuries and all over the world. Due to its talent in brainwashing and manipulating the masses, Great Britain has been getting away with countless genocides, robberies and even managing to convince the world that it should be respected and allowed to retain both a moral mandate and the seat at the U.N. Security Council. The Western regime knows how to lie, shamelessly but professionally, and above all, perpetually. There are thousands of lies piling up on top of each other, delivered with perfect upper-class ‘educated’ accents: lies about Salisbury, about Communism, Russia, China, Iran, Venezuela, Cuba, North Korea, Syria, Yugoslavia, Rwanda, South Africa, Libya, refugees. There are lies about the past, present and even about the future. Nobody is laughing, seeing such imperialist thugs like the U.K. and France preaching, all over the world and with straight face, about both freedom and human rights. Not laughing, yet. But many are slowly getting outraged. People in the Middle East, Africa, Asia and Latin America are beginning to realize that they have been fooled, cheated, lied to; that the so called ‘education’ and ‘information’ coming from the West have been nothing else other than shameless indoctrination campaigns. For years I worked on all continents, compiling stories and testimonies about the crimes of imperialism, and about the awakening of the world, ‘summarized’ in my 840-page book, “Exposing Lies Of The Empire”. Millions can now see, for the first time, that media outlets such as BBC, DW, CNN, Voice of America, Radio Free Europe/Radio Liberty, have been encoding them mercilessly and thoroughly, for years and decades. Reuters, AP, AFP and several other Western press agencies, have managed to create a uniformed narrative for the entire planet, with local newspapers everywhere in the world now publishing identical fabrications that originate from Washington, London, Paris and other Western capitals. Totally false pictures about such important subjects as the Soviet Union, Communism, China, but also freedom and democracy, have been engraved into billions of human brains. The main reason for the opening of the eyes of people of the world which is still oppressed by Western imperialism, is, the relentless work of media outlets such as the Russian-based New Eastern Outlook (NEO), RT and Sputnik, as China-based CGTN, China Radio International and China Daily, Venezuela-based TeleSur, Lebanese Al-Mayadeen, and Iranian Press TV. Of course, there are many other proud and determined anti-imperialist media outlets in various parts of the world, but the above-mentioned ones are the most important vehicles of the counter-propaganda coming from the countries that fought for their freedom and simply refused to be conquered, colonized, prostituted and brainwashed by the West. One mighty anti-imperialist coalition of truly independent states has been forming and solidifying. It is now inspiring billions of oppressed human beings everywhere on Earth, giving them hope, promising a better, optimistic and just future. Standing at the vanguard of many positive changes and expectations is the ‘new media’. And the West is watching, horrified, desperate and increasingly vitriolic. It is willing to destroy, to kill and to crush, just in order to stop this wave of ‘dangerous optimism’ and strive for true independence and freedom. ***** There are now constant attacks against the new media of the free world. In the West, RT is being threatened with expulsion, brilliant and increasingly popular New Eastern Outlook (NEO) came just recently under vicious cyber-attack from, most likely, professional Western hackers. TeleSur is periodically crippled by sanctions shamefully unleashed against Venezuela, and the same banditry is targeting Iranian Press TV. You see, the West may be responsible for billions of ruined lives everywhere in the world, but it is still faces no sanctions, no punitive actions. While countries like Russia, Iran, China, Cuba, DPRK or Venezuela have to ‘face consequences’ mainly in the form of embargos, sanctions, propaganda, direct intimidation, even military bullying, simply for refusing to accept the insane Western global dictatorship, and for choosing their own form of the government and political as well as economic system. The West simply doesn’t seem to be able to tolerate dissent. It requires full and unconditional obedience, an absolute submission. It acts as both religious fundamentalist and a global thug. And to make things worse, its citizens appear to be so programmed or so indifferent or both, that they are not capable of comprehending what their countries and their ‘culture’ are doing to the rest of the world. ***** When being interviewed, I am often asked: “is the world facing real danger of WWIII?” I always reply “yes”. It is because it appears that both North America and Europe are unable to stop forcing the world into obedience and to virtual slavery. They appear to be unwilling to accept any rational and democratic arrangement on our Planet. Would they sacrifice one, tens or hundreds of millions of human beings, just in order to retain control over the universe? Definitely they would! They already have, on several occasions, without thinking twice, with no regret and no mercy. The gamble of the Western fundamentalists is that the rest of the world is so much more decent and much less brutal, that it could not stomach yet another war, another carnage, another bloodbath; that it rather surrenders, rather gives up all its dreams for a much better future, instead of fighting and defending itself against what increasingly appears to be an inevitable Western military attack. ***** Such calculations and ‘hopes’ of the Western fanatics are false. Countries that are now being confronted and intimidated are well aware what to expect if they give up and surrender to Western insanity and imperialist designs. People know, they remember what it is like to be enslaved. Russia under Yeltsin, collapsed, being plundered by Western corporations, being spat at, in the face, by the European and North American governments; its life expectancy dropped to sub-Saharan African levels. China survived unimaginable agony of “humiliation period’, being ransacked, plundered and divided by French, British and the U.S. invaders. Iran robbed of its legitimate and socialist government, having to live under a sadistic maniac, the Western puppet, the Shah. The entire ‘Latin’ America, with its open veins, with ruined culture, with Western religion forced down its throat; with literally all democratically-elected socialist and Communist governments and leaders either overthrown, or directly murdered, or at least manipulated out of power by Washington and its lackeys. North Korea, survivor of a beastly genocide against its civilians, committed by the U.S. and its allies in the so-called Korean War. Vietnam and Laos, raped and humiliated by the French, and then bombed to the stone ages by the U.S. and its allies. South Africa… East Timor… Cambodia… There are living carcasses, decomposing horrid wrecks, left after the Western deadly ‘liberating’ embraces: Libya and Iraq, Afghanistan and Honduras, Indonesia and the Democratic Republic of Congo, to name just a few. These are serving as warnings to those who still have some illusions left about the Western ‘good will’ and spirit of justice! Syria… Oh Syria! Just look what the West has done to a proud and beautiful country which refused to fall on its knees and lick Washington’s and London’s feet. But also, look how strong, how determined those who truly love their country can be. Against all odds, Syria stood up, it fought foreign-backed terrorists, and it won, surrounded and supported by the great internationalist coalition! The West thought it was triggering yet another Libyan scenario, but instead, it encountered an iron fist, nerves of steel, another Stalingrad. Fascism was identified, confronted and stopped. At an enormous cost, but stopped! The entire Middle East is watching. The entire world is watching. People now see and they remember. They are beginning to remember clearly what happened to them. They are starting to understand. They are emboldened. They clearly comprehend that slavery is not the only way to live their lives. ***** The Anti-Western or more precisely, anti-imperialist coalition is now solid like steel. Because it is one great coalition of victims, of people who know what rape is and what plunder is, and what thorough destruction is. They know precisely what is administered by the self-proclaimed champions of freedom and democracy – by the Western cultural and economic fundamentalism. This coalition of independent and proud nations is here to protect itself, to protect each other, as well as the rest of the world. It will never surrender, never back up. Because the people have spoken and they are sending clear messages to their leaders: “Never again! Do not capitulate. Do not yield to the Western intimidations. We will fight if attacked. And we will stand, proudly, on our own feet, no matter what, no matter what brutal force we have to face. Never on our knees, comrades! We will never again fall to our knees in front of those who are spreading terror!” And the media in these wonderful countries that are resisting Western imperialism and terror is spreading countless optimistic and brave messages. And the Western establishing is watching and shaking and soiling its pants. It knows the end of its brutal rule over the world is approaching. It knows those days of impunity are ending. It knows the world will soon judge the West, for the centuries of crimes it has been committing against humanity. It knows that the media war will be won by ‘us’, not by ‘them’. The battlefield is being defined. With some bright exceptions, the Westerners and their media outlets are closing ranks, sticking to their masters. Like several other writers, I had been unceremoniously kicked out from Counterpunch, one of the increasingly anti-Communist, anti-Russian, anti-Syrian and anti-Chinese U.S.-based publications. From their point of view, I was writing for several ‘wrong’ publications. I am actually proud that they stopped publishing me. I am fine where I am: facing them, as I am facing other mass-circulation media outlets of the West. The extent of Western ideological control of the world is degenerate, truly perverse. Its media and ‘educational’ outlets are fully at the service of the regime. But the world is waking up and confronting this deadly cultural and political fundamentalism. A great ideological battle is on. These are exciting, bright times. Nothing could be worse than slavery. Chains are being broken. From now on, there will be no impunity for those who have been torturing the world for centuries. Their lies, as well as their armor, will be confronted and stopped! • Originally published by New Eastern Outlook – NEO http://clubof.info/

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