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...movie opens with the death of Aaron’s (Chris Rock) father, and a eulogy service which, under normal circumstances, would be a rather somber and brief affair. Events, however, are turned on their ear from the very beginning of the film. Initially, the undertaker confuses Aaron’s father for another and gives the family the wrong body...
...enough, apparently, for pop culture to be preoccupied with zombies in films; now we must demand that the movies themselves be sewn together from dead bodies of work and reanimated not by a virus or a spell, but rather the pathogens of greed and commercialism. “Lunatic at Large” provides a reasonably clear-cut case of cinematic tampering, but the arguments against producing “Lunatic” apply to other unfinished works. At the risk of losing the trust of its directors and the respect of its viewers, Hollywood needs to learn...
...delicate efforts toward finding consolation that provide the driving force of her book. Towards the beginning of her journal, it seems that Carson tries to comfort herself through telling the story of her brother’s life: “My brother ran away in 1978, rather than go to jail. He wandered in Europe and India, seeking something, and sent us postcards or a Christmas gift, no return address. He was traveling on a false passport and living under other people’s names. This isn’t hard to arrange. It is irremediable. I don?...
Interspersed with her exploration of the layers of her brother’s life, Carson similarly examines the layers of each individual word in Catullus’ elegy. Rather than attempting a simple translation, Carson displays entire dictionary entries on each Latin word in sequence with its appearance in Catullus’ poem. For the word “aequora,” for instance, she not only includes the direct definition—“a smooth or level surface”—but also an example of its usage, the translation of which...
...want to write serious books, you must be ready to break the forms,” he tells us. As an artist, one must understand that what matters is not some artificial plot but rather the truth—or, in other words, the “reality”—one conveys. Shields writes, “[It’s] not the story. It’s just this breathtaking world—that’s the point.” If these are the foundations of Shields’ manifesto, has all of this...