A spin-off of my web finds.
On Thursday, I went to see ‘A Girl Walks Home Alone at Night’. Given who’s been hyping the film, I was pretty ambivalent about seeing it. (I wish I could remember at what point VICE put a bad taste in my mouth).
It turned out to be a good decision, maybe even the best decision of 2015 so far. I’m looking forward to the release of the soundtrack and to seeing the film again. I also kinda want to be a vampire superhero.
Equally important to my desire for vampirehood is that the film pushes me to be a better writer, to be more imaginative, to commit to producing fantastic work that is uniquely me.
A thing that caught my eye before I made the decision to watch the film, the director Ana Lily Amirpour talking about the usefulness of film school:
I think film school is a tool, and a tool by itself is useless. A tool needs many other things in order for it to have a purpose, it’s there to create something else. There are so many tools. You can watch movies, you can read scripts from your favorite movies, watch bonus features of your favorite directors and see how they do things, get a camera and try filming things, you can travel the world, read books, listen to music. Use everything and anything to put yourself in the place where you feel creative and fascinated by what you’re doing and by life. Films really are about living life, and that part doesn’t happen inside a film school.
An essay by Troy L. Wiggins on being a black expat in Korea. Something about the “bitter expat” was triggering. I’ve been thinking a lot about my most recent trip to Ghana. It was the first time I ventured into the expat community. It can be pretty horrifying. At some point my thoughts should become an essay or a blog.
A major reason for my most recent trip to Ghana was for family but a small part was for a relationship that dissolved months before. Here is something I don’t feel that I can properly articulate: my last relationship was, in part, a search for home/belonging to Ghana. In an interview with BOMB magazine, Maryse Condé said this of her marriages:
The first time I was married to an African, a man from Guinea, and there was a confusion for me between the man and the country behind him. Because Guinea was the first African country to say No! to General DeGaulle, the first African country to take independence in the French-speaking arena. So I confused a man, love, and marriage with making the revolution. Of course, the marriage did not work at all. It was a failure, and we divorced a few years after. So I was already conscious that marriage is an individual matter—only two persons are concerned, and there is no question of putting on the shoulders of the man you are going to marry all your idealistic views about your country, about your cause. I became very wary of that kind of confusion. So when I met Richard, I was already informed of the mistake I could make. But it was difficult for a politically minded person to pay attention to a white man. For me, he belonged to the enemy, and moreover, I had four children from my first marriage. For them, it was completely impossible to have a white man for a stepdaddy; that is why we refused to marry. We lived together. After having lived together for 12 years we had to accept that we were in love, seriously, and we had to follow the consequences.
While that was personally triggering, the entire interview is worth the read. Maryse Condé is fascinating. Disappointingly, I haven’t given her work any time at all. In a few months, I’ll be reading Condé’s novel ‘Segu’ with my book club.
I really love The Brother Moves On. I ripped this live performance from Youtube and it’s one of maybe 10 tracks that I’ve got on my phone. This week, I gave some time to a few TBMO tracks that I hadn’t before, including these:
I’m still trying to wrap my head around this TNI interview with The Jeane Dixon Effect but I really like the sound of the line bolded below:
Sometimes it’s not the other person bothering you; it’s the relationship with the other person itself. I’m thinking here about when you happen to be totally in love with some so-called straight dude as long as it’s just y’all two in the one on one, fucking and playing basketball. But then maybe you’re not so excited about relating to this third thing, which is to say the relationship you make beyond your closed engagement, and you don’t like the social means or ends of what you produce together. Sometimes relating back to that thing can be a deal breaker for people.
I chuckled the first time I read it then went back a few times like how did those words come together? why do they sound so good to me? (probably: hooked with “y’all” –> the sound of “in the” makes “one on one” so much more intimate –> “fucking and playing basketball”: two things I have little to no interest in but I like their seeming randomness).
that’s all i got.