2009: This is Naught a Love Song

It wasn’t even close to New Year’s Eve before Ingrid and I were swearing that 2009 could not end fast enough, like a vampire-queen freshly staked that we wished would stop spitting blood and just fucking die already.

It’s not that it was such a *bad* year, so much as it was filled with such a dense and dramatic amount of events that by early December I simply had no room left in my head; my brain’s capacity was supersaturated with fragments of information without the ability to reflect anymore (reflection, I feel, being the way we digest information, the same way our stomach digests food in order to allow more food to come later). I tell you: such a state of mind is not healthy.

Among the highlights of 2009, this last year of the naughts: I completed work on two feature films, one MoW (movie-of-the-week), bought a house (without Ingrid being in the same country at the time!), moved into said house, started teaching post-graduate studies in film post production, and completed a major revision on my novel (which I’m becoming very happy with). Lastly, we managed to insert a three-country whirlwind vacation after Christmas. I must say, there was some cruel justice in having abandoned the country while the decade died. And what a decade it was…

Our friend, Shannon, who we met in London, upon hearing how things had gone for us in 2009, showed no surprise. “It’s the Year of the Ox.” she said “I can’t wait for it to end!”. According to Shannon, Years of the Ox are denoted by their eschewing of joy and relaxation for the throes of head-down labour and development. I’m not exactly sure how accurate this is – was it this bad twelve years ago, the last time there was an Oxen year? I ask myself – but one thing I do know: I certainly don’t want to go through another Year of the Ox for another twelve years.

And so, to my readers, and to those just visiting, when I say “Happy 2010” I really mean it. The Oxen year is not quite over yet – the Chinese New Year is not until February 14th (at which point, 2010 will be the Year of the Tiger). I wish you all the best for the coming year, and offer the following synopsis, taken from a website who took it from a website, who took it from another website (so it must be true):

Drama, intensity, change and travel will be the keywords for 2010. Unfortunately, world conflicts and disasters tend to feature during Tiger years also, so it won’t be a dull 12 months for anyone. The Year of the Tiger will bring far reaching changes for everyone. New inventions and incredible technological advances have a good chance of occurring. For all of the Chinese horoscope signs, this year is one to be active – seizing opportunities and making the most of our personal and very individual talents. Everything happens quickly and dramatically in a Tiger year – blink and you could miss an important chance of a lifetime!

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Fall

Leaves fallen,
now like fish
swimming through and over concrete,
under foot.

Like sticks of paint,
smudged by a perennial
Impressionist.

A forced perspective.
Nature saying:
“There is beauty.”
Against all we throw
at her.

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The Dark Side

I was flipping through the NYT last Sunday and came across a short collection of riffs from filmmakers about their favourite “Holiday Movies”. The following, submitted by screenwriter David Benioff, was regarding Planes Trains and Automobiles by the late John Hughes:

Hughes once wrote: “I understood that the dark side of my middle-class, middle-American suburban life was not drugs, paganism or perversion. It was disappointment. There were no gnawing insects beneath the grass. Only dirt. I also knew that trapped inside every defeat is a small victory, and inside that small victory is the Great Defeat.”


I immediately caught the reference Benioff (via Hughes) was making and it struck a chord. You see, when we (in filmic terms) discuss the “dark side” of the middle-class in America, who else is this synonymous with? Correct: David Lynch. And was it not Lynch’s seminal dark-side-of-middle-class-America, Blue Velvet, which features – literally – gnawing insects beneath the grass at the beginning? Oh, and the drugs and sexual perversion? Still don’t believe me? Try this: Blue Velvet came out in ’86. Planes Trains and Automobiles? That was 1987.

When I read Hughes’ quote, I knew he had more to say about it. I could tell that he thought Hughes’ film (and perspective on America) got short shrift.

In any case, what I’m saying is Hughes was picking on Lynch, perhaps more so picking on all of the cineastes and self-styled torch holders of American Surrealism. Look, he’s saying (or I’m paraphrasing), why does any intelligent discussion of the “dark side” have to fast-forward to the DevilWhy are we in such a rush to point to the murkiest common denominator?

I think Hughes’ perspective is more realistic. Perhaps even more frightening because it is anything but abstract. If there’s anything which immobilizes the positivism of American  can-do – an adult Boogeyman if you will – it is the spectre of defeat. It is, after all, failure. There is nothing which cuts to the heart of our civilized fears with more power than failure, pure and simple. We do not want it infecting us. We do not want it living beside us, dying slowly.

I like the drama (nee opera) of Lynch’s perspective. But it is only that: one perspective. I feel we cheat ourselves by claiming that one perspective as definitive before we’ve truly allowed ourselves to look at the whole landscape of the human psyche.

I also think John Hughes had a good soul.

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