“By their power of intimate close-up, movies reveal the subtleties of facial expression and the ambiguities of mood and motivation.” (Paglia)
I recently re-watched Girls, and then off a recommendation, chased it with half a season of Broad City. The latter struck me as artless and also socially valueless in comparison with Dunham’s HBO series, and I’ve been trying to articulate why. Continue reading “Girls, Broad City, and Over-the-Topness”
James Nulick’s Valencia opens with an HIV diagnosis. Nulick, protagonist, is dying. He has traveled to the southern coast of Spain to stay at the hotel which gives the novel its name. He has traveled there to hasten his death, to preempt the prolonged and painful corporal vulnerability which immunodeficiency entails. Continue reading “Valencia/Rectify/Film/Television/Literature”
Mr. Leopold Bloom ate with relish the inner organs of beasts and fowls.
So begins the fourth chapter of Ulysses. “Calypso” is one of the more straightforward episodes of the novel, but here we’ll look at the way the opening line maintains its own ambiguity throughout the chapter’s opening pages. The suspended ambiguity is initiated in the grammatical indeterminacy of “ate,” which functions either as preterit (simple past) or as unmarked imperfect, suggesting, respectively, either that Bloom has just eaten a meal consisting of animal organs, or that Bloom regularly eats animal organs (completed action vs. general habit or practice). Continue reading “Predicting Joyce’s “Calypso””