Sinister: shades of grey

[Youn Noh]

I like how while reading richard john gillander's last post, one has
the feeling of being in a drunken haze, but of being alert and sensible
at the same time.  Arrested by once familiar objects.  Matching names
to faces.  Turning corners with the flair and singlemindedness of a
Jordan Baker.  Arriving at the right destination.  What does it matter
if one realizes only afterwards that it is the place to be?  

A girl called Maryann, whom I admire very much, wrote the following in
a comment on the Cramps:

"I read last night that a certain sort of art is really just intended
as an 'imaginary world', not a slice of life or a philosophical
commentary on it, but even in the case of this intense imaginary world,
it helps to have touches of reality, like flies biting your leg or
whatever, to aid you in your suspension of disbelief."

Or dislocated knees.  It must have been the fight scenes.
 
>> I went down stairs to go outside for a fag.  as will happen on
occasion. 

Or his sense of conviction.  (No, don't call it belligerence.)  

Anyways, the paradox is interesting.

Gordon has been living in a black and white world of train stations (et
les chanteuses)--smoke and steel, coupling and uncoupling, cigarettes
and espresso, glistening pavement--except when he's at work.  Is a new
home a new way of life?  When I'm not in school, I need new ways of
starting over.  Like buying a bunch of new notebooks at the beginning
of the quarter, even though there are plenty of pages left in the old
ones.  This is what adult life seems to lack.

About the black and white world.  I watched "The Apartment" a couple of
weeks ago.  Did Shirley MacLaine always have red hair?  If one knew
that while watching the film, I think it would have made a difference. 
As it is, it's like having elaborate subplots and biographies for
characters that are never registered on the screen.  Leave it to
another generation to make sense of them.  But for that audience, in
1960, it was that tragic.








    






 


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