A rugged individualist punches into the Disney compound.

10 Nov
November 10, 2013

Three year old daughter acting up in a restaurant this afternoon.  Child extricated before meal arrives.  Time out on the sidewalk bench in front of the bistro.  Three year old pouting, arms crossed.

“You know, you can’t be a princess if you don’t use your manners.”

“Why I can’t?”

“Because princesses are nice to everyone.  Ariel, Jasmine, Cinderella…they always use their best manners.”

“Well, Daddy, I am a mean, mean princess.”

“Princesses are good. How can you be a princess if you are mean?  There’s no such thing.”

Three year old thinking hard for a long beat.  Then, softly, wearily, as if sad for me:

“Silly, Daddy.  You just don’t know princess things.”

Oy.

In for a bumpy ride with this one.

 

Kick it over.

01 Nov
November 1, 2013

Hat tip, my brothers.

www.rmcortes.com/books/jury/Jury-Illustrated.pdf

Because the drug war needs a better bedtime story.

Lost in a symptom: The Nation on marijuana reform

01 Nov
November 1, 2013

The surest way to ensure the continued abuse of people of color under the auspices of the drug war is to reduce or eliminate any corresponding threat to white Americans.  This seems to me to be such a fundamental of realpolitik in the United States that I’m still a little bit astonished that The Nation, in a recent assessment of marijuana reform efforts and racial bias, can’t see any forest from the trees.

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Slavery, a film narrative and the empty myth of original intent.

29 Oct
October 29, 2013

 

I’m fresh out of a theater in Santa Monica, California where I’ve watched 12 Years A Slave for the second time, having seen it several days ago on a laptop screen through a dedicated download.  I’ll be honest.  I wanted to write something after absorbing the narrative and the imagery the first time, but I was so wrought that I didn’t trust myself.

Had a film with American participation actually addressed the original sin of our nationhood so bluntly, so honestly?  Was the film really as careful and delicate and dispassionate with the historical reality?  Was the restraint that i felt in the telling really there, or had the punches been carefully loaded as Hollywood is so apt to do?

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Elmore Leonard (1925-2013)

20 Aug
August 20, 2013

A master departs.

It isn’t that he merely took a blowtorch to all the affectations and pretenses of genre fiction.  No, he made the lines between genre and literary fiction ridiculous and arbitrary for all time.  Fuck your categorizations:  This guy did some of the best writing in the last half of the Twentieth Century.  He leaves behind narratives that make us think harder about the human condition, not to mention all of our presumptions about how our society actually functions — or doesn’t.

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