Quickie Review: BEFORE THE INCAL

Before the IncalBefore the Incal by Alejandro Jodorowsky
My rating: 4 of 5 stars

The book almost defies your expectations of a prequel for The Incal. Still, you get the origins of pathetic Class “R” detective John DiFool, you see the byzantine and surreal chain of events that push him directly to his role in that story, and you see in the last chapter–which I personally could’ve done without–wherein Jodo feels the need to show every other character in The Incal and how they’re positioned to take up their roles in that book. But that doesn’t take away from how brilliantly the Jodoverse was fleshed out by Zoran Janjetov in true Moebius-like fashion. And while this story is a significantly lighter on spiritual concepts than The Incal, Jodo does a great job highlighting the existential and practical suffering of a world which lacks the spiritual.

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Quickie Review: IF I WOULD LEAVE MYSELF BEHIND: STORIES

Just thought I’d start 2015 by catching up on some reviews…

If I Would Leave Myself Behind: StoriesIf I Would Leave Myself Behind: Stories by Lauren Becker
My rating: 5 of 5 stars

The writing in this collection of flash pieces captured me. I got so caught up in the moment by the oft-times brutal economy of language, of the images of despair, ferocity, hope, and survival that I was pretty breathless by the time I was done with it. So much so that when I try to sit down and wrote about the collection in aggregate, I feel like I somehow missed the forest for the trees and so I’d reopen the book, go back over a few pieces, only to find myself breathless again. I’ve done this three or four times now, so here, 5 out of 5 already!

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Don’s Christmas Storytime: “Scenes from Jodorowsky’s RUDOLPH”

Merry Christmas, everyone!

Decided that this is going to be my last post of 2014.  I think I’m past that year-in-review stuff.  Instead, during this Christmas season with all of its stories of one kind or another, I thought I would share one of my own.

So, here’s my present to all of you.  Gather ’round, kids!  Bring your hot cocoa.  Uncle Don wants to share something with you…

“Scenes from Alejandro Jodorowsky’s Failed Adaptation of Rudolph the Red-Nosed Reindeer

EXT. NORTH POLE – DAY

SAM THE SNOWMAN stands naked, except for a loincloth and the holy symbols set into his snow body at each of his chakras, next to a “North Pole” sign.

SAM: You know Dasher and Dancer and Prancer and Vixen.  Comet and Cupid and Donner and Blitzen…

CUT TO: Each reindeer after its introduction.

DASHER: I am Dasher.  My planet is Mercury.

DANCER: I am Dancer.  My planet is Saturn.

PRANCER: My name is Prancer.  My planet is Jupiter.

VIXEN: My name is Vixen.  My planet is Uranus.

COMET: I am Comet.  My planet is Earth

CUPID: I am Cupid.  My planet is Venus.

DONNER: I am Donner.  My planet is Neptune.

BLITZEN: My name is Blitzen.  My planet is Mars.

RUDOLPH: I’m Rudolph!  What planet am I?

CUT TO: All of the other reindeer, laughing like a CACKLE OF HYENAS, until they suddenly stop.

DONNER: You are excrement.

INT. TOY FACTORY – DAY

Male and female dwarves hustle and bustle around an industrial assembly line. Two of the little people, HERMEY and the FOREMAN, square off.

HERMEY: But I don’t WANT to complete Santa’s collection of one-thousand testicles!

FOREMAN: WHAT?!

The Foreman draws a toy pistol, as does Hermey.  The dwarves stop what they’re doing and give the combatants a wide berth.  They circle each other until Hermey fires first and hits the Foreman in the crotch.  The Foreman goes down.  Hermey goes mad, rolling around on the shop floor screaming, before scrambling out the door.

CLOSE ON Foreman’s crotch.  Yellow butterflies rise up from the bloody hole.  The dwarves applaud.

EXT. OUT IN THE TUNDRA – DAY

Hermey, now shaved bald and dressed in sackcloth, is riding on Rudolph’s back. Rudolph walks them past the skinned, crucified carcass of The Abominable Snowman of the North.  At the foot of the cross sits YUKON CORNELIUS, a slender young woman dressed in furs and a belt of mining gear, smoking a cigarette.

RUDOLPH: Is this the way to Lotus Island?

YUKON CORNELIUS (in a man’s voice): If you think it is, then it is.

INT. THRONEROOM – DAY

Rudolph and Hermey are kneeling at the foot of the throne of the lion KING MOONRACER. He comes down and places his paws on their bowed heads as SITAR MUSIC plays.

KING MOONRACER:  Every night, I roam the earth and when I find a misfit no one wants, I bring it to live here, until someone wants it.  You cannot hide yourselves here.  You must find your own place.  The Tarot can help you.  But first, you must be purified…

CUT TO:

EXT. ISLAND OF MISFITS – NIGHT

Standing in a hot spring pool, Rudolph and Hermey are being lathered in soap by two amputees, each missing legs, strapped to the backs of two other amputees who have their legs, but are missing arms. 

CLOSE ON Rudolph’s haunches being gently scrubbed.

EXT. NORTH POLE – DAY

A winter storm rages across the North Pole, with a wind that sounds like CHIRPING BIRDS.

CUT TO:

INT. SANTA’S HOUSE – DAY

Rudolph is joyfully reunited with Santa and the other reindeer.

SANTA: Rudolph with your noise so bright, you must carry your light out into the world! (Turning to the other reindeer.) You no longer need a Santa.

Santa pours lamp oil on his suit and lights himself on fire.  Rudolph bites into Santa’s charred corpse, tears away a piece, and raises his head in triumph!

CUT TO: Rudolph’s face, which is covered in honey instead of Santa’s flesh.

RUDOLPH: Real life awaits us!

FADE OUT.

Quickie Review: SYLLABUS: NOTES FROM AN ACCIDENTAL PROFESSOR

Syllabus: Notes from an Accidental ProfessorSyllabus: Notes from an Accidental Professor by Lynda Barry
My rating: 5 of 5 stars

I first sought out Barry’s comics years ago because Filipina! Okay, part-Filipina but enough to hook me with a panel of an elderly woman, sitting on a couch with one elbow resting on her raised knee, declaring “Ay, nako!” But Syllabus was my first encounter with one of Barry’s artistic how-to books. It’s a compilation of syllabi, courses, and exercises she’s used in the various classes she teaches at the University of Wisconsin-Madison.

Other artistic how-to books emphasize the importance of play, but this is the first one I’ve read that has shown me exactly how to leverage that idea. Barry’s thesis is that when we were drawing or writing as children, the last thing on our minds was whether or not we were creating works of art; at least in my case, she’s right. And thus, I get something extremely valuable from this book: a method for RE-training myself to suspend any judgement at all about writing as I’m writing. (That stuff is for editing and polishing later.)

Syllabus gets 5 stars because after a mere two weeks, the exercises within–more or less in practice; definitely in principle–have already yielded dividends as far as filling some of the gaps in my writing practice that I’ve been struggling with since the day I started. I can feel the techniques reshaping my artistic process the way I used to feel muscles being shaped while working out (another experience I haven’t had in awhile), and it feels great!

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Quickie Review: ILO ILO (2013)

A screening of this Canne Caméra d’Or-winning film was hosted by the dayjob and I went, having prepared myself to go all Hooper from Chasing Amy during the Skype Q&A with Singaporean director Anthony Chen. But this film about a Hong Kong family who takes on a Filipina maid during the Asian financial meltdown of 1997 thankfully wasn’t rage inducing.

During the Q&A, the director mentioned having been taken to task for not providing any critique of the OFW (Overseas Filipino Worker) system. I was just happy that we didn’t get either of the two “typical” OFW horror stories–Filipinas being physically or sexually victimized, or victimizing the families they work for, stealing money, abusing children and elders, etc. Hell, I half-expected Teresa (the maid) to have some anting-anting which makes her some Asian Mary Poppins who teaches young Jiale about, I dunno, love and family or somesuch. 

(She probably would have if this was some Hollywood film.)

Anyway, I’m fine that the film wasn’t about the plight of OFWs for two reasons. One, I think Chen gives a pretty even-handed representation of the part most people play in that whole system, in a way which jives with the memories I’ve had as a child observing Filipinas who were brought over to the United States to help with the families of other Filipinos. And two, that kind of message would’ve taken away from the film’s focus on the compelling study of how four very different people cope against forces outside their control.

5 out of 5.

Quickie Review: THE ONE I LOVE (2014)

If I had it to do over, I’d Netflix this one but I definitely wouldn’t pass it up. If you liked 2012’s Safety Not Guaranteed, you’ll probably like The One I Love. There’s something to be said for a movie that resists being described in other reviews because to do so even in the slightest would spoil it.

Other reviews have noted similarities to (and the film actually name-checks) The Twilight Zone, and it does so as more than simply a code for “something freaky’s going on here.” The film’s plot absolutely feels like something out of a Richard Matheson episode. And of course, I can’t even reference which Matheson episodes came to mind as I watched this, because spoilers.
The one thing this film has over a Twilight Zone episode is the feeling the film’s resolution leaves me with, which I can only describe as the same feeling described by Bruce Sterling in his oft discussed and debated definition of “slipstream,” namely “…a kind of writing which simply makes you feel very strange; the way that living in the twentieth century makes you feel, if you are a person of a certain sensibility.”  If slipstream is that form which is, as it’s said, “some degree of the surreal, the not-entirely-real, or the markedly anti-real” then I’d definitely call this a slipstream film.

Quickie Review: FRANK (2014)

I admit it, I watched this film because I caught the trailer a week or so ago at the local art house theater, and was captivated by the head…

Inspired by Chris Sievey’s persona of Frank Sidebottom and the time the co-screenwriter Jon Ronson spend in Sievey’s band, the film is about far more than the eponymous character wearing a big head, in the same way that any (good) band is more than the sum of its parts.  Frank shows the complexity of the chicken-and-egg question about the origin of creativity. And then it complicates the question further by throwing in the the added dimension of collective artistic expression; this is about a band, after all. Think of it as a po-mo version of The Commitments where you spend less time cheering for band, and more time going back and forth between “WTF?” and “Huh, that’s kinda deep.”

I don’t think it’s spoilery to say the band breaks up.  C’mon, it’s a band movie–when was the last time a movie band didn’t implode? But Frank might surprise you a bit with the whys and hows of the breakup, and might also surprise you with how the breakup leaves you feeling.

Quickie Review: BITE: AN ANTHOLOGY OF FLASH FICTION

BITE: An Anthology of Flash FictionBITE: An Anthology of Flash Fiction by Katey Schultz
My rating: 4 of 5 stars

A good number of pieces here actually didn’t hit me the way I like flash stories to hit me. Possibly I’m a little inured to that these days. And yet when I considered each piece and what I took away, I discovered a few stories with layers of subtlety. Yes, I realize not every piece of flash fiction has to slap me in the face to be effective. And yet, it was a little difficult for me to distinguish some of the slower-burning pieces with pieces that only fit the flash rubric in terms of minimal word count. Those latter pieces might be complete stories, but they could’ve been told–might as well have been told–in two or three or five thousand words. There were gems from some of “the usual suspects” in flash fiction that I like to read: Bruce Holland Rogers, Tara Masih, Sherrie Flick, Tom Hazuka, et al. But my joy at reading those stories was tempered by the ones that didn’t impress so much. I’m rating this 4 stars, but it’s really closer to 3.6 for me.

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You’ll Pay the Devil, All Right…

I know I’m not the first person to make this observation, but I’ve known about the video for “She’s Gone” by Hall & Oates for almost as long as I’ve been listening to Abandoned Luncheonette  (we’ve both been around for a little while). And I’ve always had trouble reconciling this staple of AOR and Lite Rock radio stations with the sheer what-the-fuckery of the video.

Watch it.  I dare you.  Go on.

Now tell me what’s more disturbing: the Neanderthal shape of Daryl Hall’s head, or John Oates looking even more satanic than the actual devil portrayed in the video?

I mean, Jeebus… *shudder*

Bet you feel a cold chill when you think of his “Private Eyes” seeing your every move now, don’t you?