OCTOBER 2007 ISSUE#28 US$4.95/CAN$5.95

 

 

MOVIES: Steven Spielberg once said “the only thing better than seeing movies is reading about them. “We agree.” This month: This is England and Across the Universe.

DVD'S: The Brooklyn Gang does their best to make sense of Premonition. David Sayre reviews Curtis Hanson’s Lucky You and the Canaan-Percy’s tell us about their favorite serial killer named Dexter.

MUSIC: Ani DiFranco’s Canon and Bruce Springsteen and The E-Street Band’s Magic.

BOOKS: Noralil Ryan-Fores discusses her “Quarter Reading Life” with reviews of Paul Zollo’s Conversations with Tom Petty, Mitch Albom’s For One More Day, J.M. Barrie’s Peter Pan and Elizabeth Cox’s The Slow Moon.

FICTION: The first part of a wonderful two-part series of short stories by our very own Noralil-Ryan Fores.

SPOTLIGHT: If you’re a “West Wing” fan then you probably know this actress as Amy Gardner, Josh Lyman’s longest long-term girlfriend. If you’re a “Weeds” fan then you probably know this actress as Nancy Botwin, the drug-dealing housewife that everyone loves to root for. However you may know her as, Mary-Louise Parker always leaves her mark, as she demonstrates yet again in this month’s The Assassination of Jesse James by the Coward Robert Ford

 

 

MOVIES:

 

Photo Courtesy © IFC Films

This Is England

Written and directed by: Shane Meadows

Cast: Thomas Turgoose, Stephen Graham, Jo Hartley, Andrew Shim, Joe Gilgun

It’s July 1983 in England and a twelve-year-old boy named Shaun attends his last day of school before summer holiday. His day consists of being bullied, furthering the isolation he already feels. Shaun is filled with anger and sorrow, his Father having been killed in the war in the Falklands. Lonely and made to feel awkward by his peers, Shaun is vulnerable, full of angst and quick to rebel and so who should come along to welcome Shaun into their circle but a few skinheads. At first, Shaun is amused by his new friends, and welcomed in as a family member. Initially, it’s merely kid’s stuff—hanging out, causing a little trouble on occasion, but nothing too dangerous or serious. Until Combo shows up, just out of prison. Combo is a true anarchist, a racist and a sociopath. He believes England has to be returned to “the true Englishmen,” that Margaret Thatcher lied in order to involve their country in a needless war, and that foreigners are taking England’s jobs. Combo is able to convince Shaun of this way of thinking, and Shaun’s childhood innocence is threatened.

Though uncomfortable to watch at times, This is England is a fascinating look at isolation, working class disillusionment and adolescent fear and loneliness. Writer-director Shane Meadows does a wonderful job at telling a story (somewhat based on his own experiences) and making a good, straightforward film. One of the things I really appreciate about the film is how Meadows allows the character’s strength and the actors’ performances to create the drama. This is the kind of film that I like to see get made, particularly these days when even in the independent film world, smart character pieces are over shadowed by cinematic virtuosity and chaotic editing.

A talented young actor named Thomas Turgoose plays the lead role of Shaun. His performance is quite wonderful and is delivered with great sincerity. For me, however, the highlight of the acting was the explosive performance by Stephen Graham (Snatch, Gangs of New York, Band of Brothers). Graham’s portrayal of the temperamental Combo, the young fatherless boy inside the body of a violent, grown mad man, is both frightening and endearing.

This is England is only playing in a few theaters around the country. I myself had to watch it on IFC’s On Demand cable feature. If you enjoy character driven, truthful films, it’s definitely worth a look, but if you tend to shy away from movies about social issues, this may not be your cup of Earl Grey.

David@picturesandframesmagazine.com

 

 

 

Photo Courtesy © Revolution Studios

Across the Universe

Directed by: Julie Taymor

Written by: Dick Clement and Ian La Frenais

Starring: Evan Rachel Wood, Jim Sturgess, Joe Anderson, Dana Fuchs, Martin Luther and T.V. Carpio.

“All you need is love” is the familiar tagline for Julie Taymor’s new film, the experimental musical Across the Universe, which uses Beatles song lyrics and melodies as lines of dialogue and pivotal plot points, not to mention as the backdrop for telling the entire spectrum of stories of the 1960s. On paper this sounds, well, impossibly ridiculous, but if you’ve ever seen Taymor’s work on film or on Broadway (this was, after all, the same woman who made Titus) then you’re more than aware of her unique capability to make the impossible possible in extraordinarily beautiful ways. 

I would like to think that you would be able to enjoy this film without being a Beatles fan but I am just not sure that you could. Although the movie really is extraordinary to watch—vivid, trippy, unique and artistic in all the right ways—without the ability to accept that lyrics such as “I want to hold your hand,” “Dear Prudence, won’t you come out and play?” and “Is there anybody going to listen to my story, all about the girl who came to stay” can hold more depth than they appear to on paper, then this movie will seem pretty damn silly and superficial.

Musicals as a whole obviously rely on the music that each of their characters are singing—when Satine sang about the show going on in Moulin Rouge, she wasn’t just impersonating Freddie Mercury for kicks, she was telling the audience exactly how she felt by using a familiar song and making it her own. The same goes for Across the Universe, except unlike most musicals, this film doesn’t just happen to feature a couple of songs, it relies entirely on the songs featured in the film to give each of their characters, who are otherwise pretty one-dimensional, depth, emotion and importance, all qualities that probably should have been there on the page to begin with.

This is the main reason that the film has gotten lackluster reviews across the board. It is hard not to be impressed by the images, sets and costumes that Taymor envisions onscreen (not to mention the slew of colorful guest appearances by Bono, Joe Cocker, Salma Hayek and Eddie Izzard) and the endearing principal three actors in the film, Evan Rachel Wood, Jim Sturgess and Joe Anderson, Lucy, Jude (who looks uncannily like a doe-eyed Paul McCartney circa Let it Be) and Max (did they run out of obvious Beatles names to reference?) respectively, but take away the looks and the songs and you’re left with a pretty lackluster storyline and no powerful overriding message.

I’ve always counted myself as a die-hard Beatles fan but it wasn’t until I saw this film that I truly realized just how much they both defined and reflected an entire generation. Across the Universe succeeds in reminding us of this, but more importantly, it makes us long for a time when music served to propel social and political change.

Lily@picturesandframesmagazine.com

 

DVD'S:

 

Photo Courtesy © Warner Bros.

Lucky You

Directed by Curtis Hanson; written by Eric Roth & Curtis Hanson

Cast: Eric Bana, Drew Barrymore, Robert Duvall, Debra Messing, Charles Martin Smith

I must first preface this review by saying that I am a poker addict, and good poker films are few and far in between (on the upside, there’s Rounders and The Cincinnati Kid. Then there’s the downside: Shade, something so poor that even Stuart Townsend and Thandie Newton couldn’t redeem it). So, with that in mind, we plunge forward into Lucky You.

Curtis Hanson (L.A. Confidential, Wonder Boys) gives us a film that is a noble effort, but ultimately excludes the majority of the audience. Quite simply put, if you aren’t interested in poker, this picture is a journey into apathy. Though the characters are rich, well developed and realistic, their struggles still have to do with the world of poker, even in the metaphorical sense. While there are some entertaining moments for the non-poker enthusiasts (such as Eric Bana trying to win a $10,000 bet that has him running five miles and playing 18 holes of golf in under three hours), there aren’t enough to make this an otherwise well-rounded movie.

In terms of the acting in the picture, Eric Bana and Robert Duvall fuel the piece. Duvall is Duvall, and in my opinion he rarely does any wrong. Bana gives a very particular and wonderful performance. To the average person, it may seem a very wooden and stale performance, but in reality what Bana does is play to perfection a character that constantly has his emotions in check; even in his personal life, he wears his poker face.

Now, for the poker enthusiasts, the actual poker playing is the most authentic I have ever seen on film. Furthermore, the behavior and lifestyle of a professional poker player is well chronicled so, if you’re interested in poker, you will be interested in the story.

I guess I will have to split my rating of this film into two parts: The poker player in me gives Lucky You four out of five stars. But the moviegoer in me gives it only two. But, again, I am biased. When it comes to movies about poker, I like them if they are at least decent… which I guess makes me the sucker.

David@picturesandframesmagazine.com

 

 

 

“Dexter” (Season One)

Cast: Michael C. Hall, Julie Benz, Jennifer Carpenter, Erik King, Lauren Vélez, David Zayas, James Remar, C.S. Lee, Devon Graye

Since our three favorite cable shows “Entourage”, “Flight of the Conchords” and “Big Love” are all wrapped up for the season, you could say that we were in desperate need of something new to fill the void in our TV weeknights. Up to now there was no reason to justify the addition of Showtime to our DirecTV package (yes, admittedly, “Weeds” is a very good reason but we needed at least one more). Of course, all of that changed once “Dexter” came into the picture for the second time.

Let us explain. Originally, we saw the first two episodes when they first aired last year; unfortunately we weren’t convinced of the show’s potential so we chose to forget about “Dexter.” Which leads us to the change of heart we experienced just weeks before the beginning of Season 2 when we gave the show a second chance and guess what? This time around it grew on us and by the end of the second Netflix disc, one of us (guess who?) was already online hitting the “Buy now” button at Amazon.com.

So, without further ado here are some of the reasons why “Dexter” now has a place on our TiVo. For starters, not only is the premise of the show unlike anything that’s ever been on TV, but Michael C. Hall renders the performance of his life, giving the character of Dexter an entirely new spin on the common serial killer. We can attest that Hall carries the show from beginning to end and there is no one that can play this role quite like him (after all, he already made death interesting once before). Dexter follows his own “moral” code when choosing his victims, which was instilled by his stepfather, who was an ever-present influence in his life, thus setting him apart from any other serial killer on film or TV.

Dexter lives a double life and the show balances this in a seamless way as he attempts to have an intimate relationship for the first time in his life at the same time that he’s committing cold-blooded murder on a weekly basis. Dexter is never just one thing, and despite his admission that he feels nothing, he’s sarcastic, he’s shy, he’s witty, he’s caring, he’s smart, he’s neat, and he’s deadly. Although having a narrator on the show isn’t an original idea, on “Dexter” it adds humor and lightness to some very heavy, dramatic moments, providing insight into the thoughts of this modern day executioner of sorts.

The show’s only weakness lies in some of the supporting cast members’ characters, primarily the homicide detectives and forensics specialists. But give them a chance and you will start to like them despite the initial cheesy, unbelievable factor that they give off in the first couple of episodes. Did we mention that “Dexter” is set in Miami, FL? It is a serial killers paradise—full of beautiful bodies, warm weather and lots and lots of inept police officers. The most memorable twist in the show comes early on with the introduction of Dexter’s nemesis/admirer, the vicious Ice Truck Killer, and the cat and mouse game that ensues will keep you entertained until the closing moments of season one.

One fair warning is that Dexter is not for the faint-hearted or anyone with a queasy stomach. There is definitely blood and violence involved, but once you are hooked you will start seeing things the way Dexter does: blood is just another fact of life. He lives and breathes blood, it is his life and work, and being a blood spatter analyst for the Miami Police Department seems a fitting day job for our favorite serial killer.

Juan Marcos Percy

Marta Canaan

 

 

 

Premonition 

Richard: (Garbled through a mouth full of cookies) We’re watching Premonition.

Jeanne: (Also speaking through half-eaten cookies) We’re watching Premonition.

Richard: And eating cookies…really awesome cookies.

Jeanne: That I made ‘cause I’m the cookie monster.

Chris: I wonder if it’s going to be letterbox.

The movie begins.

Jeanne, Chris and Richard: OH!

Chris: It’s full screen.

Jeanne: I’m sorry. We’re probably missing crucial information.

Chris: It’s Premonition.

Jeanne: Imagine what’s going on off screen. Is that the guy from Nip/Tuck?

Richard: That’s Dr. Doom! From “Nip/Tuck!”

Jeanne: He’s not Dr. Doom on “Nip/Tuck.” He was Dr. Doom in something separate.

Richard: Dr. Doom should have gone to “Nip/Tuck.” He’s got that fucked up face.

Chris: Oh My God! Look at his ass! I think he has a freemason symbol.

Jeanne: Is this like a National Treasure thing?

Richard: You know what I think a bigger question is? Why was Chris looking at his ass?

Jeanne: (Gasps)

Chris: I wasn’t looking at his ass.

Jeanne: Honey!

Chris: I saw like a golden freemason symbol and I was like…

Jeanne: I’m never leaving you and Richard home alone again.

Richard: You mean homo alone!

Jeanne: I don’t know what you’ve done to my fiancé but it’s unacceptable. (Referring to Dr. Doom’s ass) It’s also extremely flat.

Chris: All I know is…

Richard: I got a mustache ride.

Jeanne: From Dr. Doom?! He doesn’t have a mustache.

Richard: I haven’t seen Sandra Bullock in anything since Crash.

Jeanne: I haven’t seen her in anything good.

Chris: …Since The Net.

Jeanne: (Laughing) The Net?!

Richard: Practical Magic at least. Forces of Nature?

Chris: (Laughing maniacally) That’s very revealing, Richard. That says a lot about you.

Richard: I like Forces of Nature.

Jeanne: Um…she was good in…Speed? Not Speed 2.

Richard: You saw Speed 2?!

Jeanne: (Defensively) I saw it on like TNT!

Richard: You can’t mock me for Forces of Nature if you saw Speed 2: Cruise Control.

Jeanne: You can’t blame me for shit that’s on TV when I’m bored.

Richard: Like “The Pickup Artist?”

Jeanne: Your mom’s the pickup artist. Your mom is Mrs. Mystery.

Richard: You’re drunk. What’s in that milk?

Jeanne: Vodka! I like to get the cows drunk so that it’s actually in the milk.

Richard: Cow tipsy.

Suddenly we remember that we’re supposed to be watching a movie. Sandra Bullock is in bed when her two daughters run in to wake her up. We find out that Dr. Doom is on a business trip and should be arriving home today.

Richard: Sandra Bullock has no breasts.

Chris: I was about to say the same exact thing. She’s got two kids and she’s still got no breasts? Does that happen?

Richard: Is that why Paris Hilton wants to have kids? To improve her bosoms?

Chris: I think it’s that and that she’s in competition with Nicole Richie.

Jeanne: Are you serious? Why wouldn’t she just get breast implants?

Sandra Bullock packs her kids off to school.

Richard: That’s a cute little lunch box, isn’t it?

Jeanne: Why did you just say that specifically to me? I’m the only person who can appreciate a girl’s lunchbox?

Chris: ‘Because you’re a girl.

Richard: It’s a pink lunchbox with rainbow colored hearts.

Jeanne: Have I ever worn anything pink?

Richard: Yes, your underwear.

Jeanne: I don’t even think that I have any pink underwear.

Chris: You do.

Jeanne: I do? I have underwear with like pink on it but I don’t think that I have any pink underwear.

Richard: And now the whole world knows.

Jeanne: Your mom knows.

While her kids are at school, Sandra Bullock does boring housewife stuff like clean the house, put ugly butterfly stickers on the sliding glass door and wash clothes.

Jeanne: Look she has a laundry room.

Richard: She’s automatically my hero for having a laundry room. Right Chris?

Chris: Yeah. I wish I had a dishwasher.

Jeanne: I bet she has a dishwasher.

Richard: And an iPhone.

Chris: I don’t think that she has an iPhone. This movie came out before that.

Richard: I really like Sandra Bullock.

Jeanne: I don’t really care either way.

Richard: I know she’s not the most talented actress in the world…

Chris: Nor does she choose good movies.

In the midst of her chores, Sandra Bullock sees that there’s a message on the answering machine. It’s from Dr. Doom. He’s rambling on about how he meant what he said in front of the kids the other night. Sandra Bullock looks as confused as we do. Then Dr. Doom gets a call on the other line, mutters, “Is that you?” and hangs up. Sandra Bullock calls Dr. Doom back on his cell but it goes to voicemail. Moments later the doorbell rings.

Chris: That’s my mom’s doorbell.

Richard: I like that doorbell.

Chris: It’s the Big Ben.

At the door is a sheriff. He tells Sandra Bullock that Dr. Doom died in a car accident yesterday.

Jeanne: I think the heartbeat sound over the dialogue is pretty bad.

Chris: Don’t they need someone to identify the body?

Jeanne: Maybe there was ID or something.

Chris: Maybe it was someone who stole his wallet.

Sandra Bullock zones out and stares into the camera freakily while the sheriff asks her if there’s anything that he can do for her.

Jeanne: Unkill my husband.

Richard: (Laughing) Unkill my husband! That’s gold, Jeanne.

Chris: Ravage me?

Jeanne: (laughing) I’ve always had a thing for men in uniform. She is single now.

Richard: She’s single and free to mingle.

Chris: Yeah!

Richard: She’s gonna stay single though ‘cause she calls her underwear panties…and keeps a dream journal. (To fill you in, this comment refers to an article in the back of EW or Details or some other random magazine that made it into our bathroom. The article listed 100 reasons why a person is still single. Some of them being calling underwear “panties” and writing in a dream journal.)

Chris: What’s wrong with that? What’s wrong with panties?

Richard: I don’t know.

Chris: That’s what you call girl underwear. They’re panties.

Jeanne: Only if I guess you’ve never been in a room with them, maybe…men who fantasize about one day…I don’t know what I’m saying. Lonely World-of-Warcraft-playing virgins call them panties. That’s what I’m saying.

Richard: Ow! I think I have an earwig.

Chris: I don’t think earwigs actually go in your ear.

Richard: Oh, I think it’s just a crumb from the cookies.

Jeanne: How did you get that in your ear?

Richard: That’s what she said.

We all look at the TV screen long enough to see that Sandra Bullock has one of those awful black and white cat clocks where the eyes and tail tick back and forth with the seconds. Everyone’s appalled.

Richard: She has a fucking cat clock!

Jeanne: Who has those clocks? Those clocks are awful!

Chris: You guys are really terrified of those clocks. That’s funny.

Jeanne: I’m not scared of them I just think that they’re tacky.

Richard: Yeah, they are tacky.

Chris: (The only one who’s catching on to the fact that this is a movie and things like ugly butterfly stickers and tacky clocks are being used to define character) Her life is tacky. That’s like the point of the movie so far.

When her kids get home from school, Sandra Bullock prepares to tell them that daddy Doom is dead.

Richard: Your dad’s dead. I have to go back to hooking.

Jeanne: I think that’s inappropriate.

Chris: Those children are not of the same father.

Jeanne: That child is like Mexican. Wasn’t there another movie that was like that? There was something that had like a couple of kids and each one looked like a different ethnicity.

Richard: It was the movie with Julianne Moore. The Prize Winner of Defiance, Ohio.

Jeanne: It was. But she had like eight kids. Maybe they didn’t have enough casting available.

Sandra Bullock’s mom helps her two granddaughters work on a puzzle.

Chris: We just missed a very touching moment.

Richard: Yeah, I was really touched.

Jeanne: When they finish will it be a picture of a fiery car crash or something?

Richard: No, it’ll be a picture of a happy family with a dad that’s not dead!

Sandra Bullock falls asleep on the couch looking through her wedding album.

Richard: Oh, look at the beautiful wedding you had Sandra Bullock. Ugh, when she kissed him all I could think of was, “Wait, he was the one that fucked Rosie O’Donnell on the show, right?” Imagine having to do that. Imagine having to go to work and do that! I would cut off my testicles and run away.

Jeanne: Well, if he did it well he must be a very good actor. It must be like a boon to his portfolio.

Richard: That’s a good point. I think he might be the best actor ever.

Jeanne: That he didn’t just walk into the scene and throw up.

Sandra Bullock wakes up the next morning in bed and dressed totally differently from when she fell asleep. She stumbles downstairs a little confused and sees Dr. Doom standing in the kitchen eating breakfast! Zombies!

Jeanne: Maybe he’s a clone. Maybe this is really like The Island.

Richard: If this movie were realistic at all she’d be standing in a puddle of her own urine.

Jeanne: I’d have probably just started screaming.

Richard: Be gone you ghost! Leave me alone!

Chris: Can we expense this movie? Make Lily pay for it.

Jeanne: (Still hating on the cat clock) Dude, somebody shoot the clock!

Richard: I think that the napkin dispenser is a cat, too.

Since Sandra Bullock is all dazed and confused with the sudden re-aliveness of her husband, she nearly runs a red light and is pulled over by a cop. The cop comes up to the window and it’s totally the Sheriff that told her that her husband was dead the day before except he doesn’t act like he remembers her. What a wacky world.

Sandra Bullock seems to be experiencing a lot of déjà vu as the day goes on. She hands her kids their lunchboxes, she jogs, she showers, and she sees the same clothes waiting to be washed…

Chris: Wait, I washed that sweater yesterday!

Richard: Oh, that’s right. I’m a housewife.

Jeanne: Everyday is always the same.

As Sandra Bullock hangs up laundry in the backyard she trips over a toy and falls backward onto a nasty dead crow and her hand’s covered in blood. The music swells and there’s a crazy heightened sense of panic as she flees into the house to scrub herself clean with dish soap.

Chris: She’s OCD.

Richard: She is OCD ‘cause before when she took something out of the cabinet she immediately pulled something out and lined them up. I thought it was just a little quirk but maybe it’s a character thing. Maybe Sandra Bullock is a much more detailed actress then we ever expected.

Finally, the dead bird is properly buried in the trashcan and we can all move on. Sandra Bullock goes to get into bed with Dr. Doom.

Chris: Bitch takes up a lot of space on that bed.

Richard: Another reason she should hope he dies.

Jeanne: Because she’ll get more room?

Richard: Yeah, he’s about to push her skinny ass right off.

Sandra Bullock stares at him intently. I think it’s supposed to be a gaze of love but it looks a little more like a hungry man and a ham sandwich.

Jeanne: That’s like us at night, honey. You go to bed and then I just stare at you for a couple of hours.

Richard: It’s true. I’ve seen her staring at you.

Jeanne: Yeah, you try to get away but I don’t let you.

Chris: Except it’s the other way around. You take up all of the bed!

Jeanne: (gasps)

Richard: On record!

Jeanne: Oh, he’s probably right.

Richard: Should I take pictures to prove it?

Jeanne: I have a very big personality. It means a lot of cover space.

Sandra Bullock wakes up.

Chris: Now he’s gonna be dead again!

She’s wearing one of Dr. Doom’s work shirts, there’s a big bottle of liquor next to her and a bottle of lithium pills scattered around the sink. I’m gonna go out on a limb and say he is dead again. That or this just turned into 28 Days.

As she heads down the stairs she sees her living room full of people dressed in black. Her mom and best friend intercept her at the foot of the stairs and try to steer her away from making a scene.

Richard: I always felt like Kate Nelligan (Sandra’s mom in this) is who you get if you can’t afford Blythe Danner. The way that Sandra Bullock was who you got if you couldn’t afford Julia Roberts and then the guy from “Nip/Tuck” was who you’d get if you couldn’t afford Dylan McDermott who was who you would get if you couldn’t afford, like, Brad Pitt.

Jeanne: So this whole movie is like C-List celebrities.

Richard: D and C-List celebrities.

Sandra Bullock goes running out to the backyard where she was told her daughters are. She sees them on the swings but is shocked when her older daughter turns around and her face is covered in grotesque cuts and stitches.

Chris: (In his best creepy little girl voice) But I am your daughter…

Sandra Bullock freaks the fuck out asking her daughter what happened to her and how she got the scars. Her younger daughter interrupts and says, “There’s no cuts, mommy. She’s perfect, like a beautiful princess.”

Jeanne: You’re crazy.

Chris: (laughing) Hit her! Slap her!

Richard: That’s exactly what I’d be like. “You dumb whore.” That’s why we’d be bad parents.

Now cut to the funeral. Sandra Bullock arrives and has gotten it into her head that her husband isn’t really dead and this is just some way she’s being elaborately punk’d. She storms up to the hearse and demands that they open the casket right now. The funeral director attempts to explain that her husband looked pretty shitty after being crushed in a car and they don’t think she wants to see him like that but in the ensuing scuffle the casket is dropped and Dr. Doom’s head goes rolling out of it. Damn, that’s way dead. There’s no debating that anymore. Oh, and your kids will need a whole lot of therapy.

Richard: Oh No! His head just fell out of the coffin!

Chris: They didn’t attach it?!

Jeanne: I guess it was a closed casket. They just set it there…

Chris: They didn’t even sew it on…?

Richard: You know where that would never happen? Fisher & Sons.

Chris: With like twine or something?

Richard: Fucking duct tape.

Jeanne: So does that mean it was him?

Chris: She freaked out so I guess so.

During the burial, Sandra Bullock notices a blonde woman standing beside her car nearby and watching the funeral. Like the crazy person she is, she stands and runs out of her husband’s funeral while the priest is still speaking and heads towards her. Like a sane person, the blonde woman rushes for her car door in an attempt to flee. Sandra Bullock catches up to her and asks who she is and what she’s doing there. The blonde woman says that they talked about everything yesterday, doesn’t she remember? Of course she doesn’t since she’s crazy and the blonde woman rushes the fuck out of there.

Back at home, Sandra Bullock searches through the phone book looking for Dr. Roth, the name of the doc that’s on her lithium pill bottle. The page has been torn out but she finds it crumpled in the trash.

Richard: Someone ripped out the page, Sandra Bullock.

Chris: She probably did.

Jeanne: I’m sure we’ll find out. I think she’s living days out of order…’cause that happens all of the time.

Richard: You know what would be a really good horror movie? She’s living days out of order and all of those days happen to be her heaviest flow days! We could call it “Crimson Tide!”

Everyone groans and then laughs.

Sandra Bullock is sitting in the living room with her mother and her best friend, Nia Long. Her friend starts to take her daughters up to bed when the doorbell rings.

Chris: You’re not my mom. You’re black.

Jeanne: Let’s not get into that kind of stuff again, honey.

Richard: I don’t like Nia Long’s hair that short.

Chris: I think it’s pretty.

At the door is Dr. Roth, the sheriff and some nurses. They totally take down Sandra Bullock and haul her ass to the loony bin. Way harsh.

Jeanne: One day of acting weird and you’re gonna get institutionalized. They tied her to a chair…like a puppy!

Chris: What do you do with your puppies?! We’re never getting a puppy now.

Richard: No Mr. Muggles?

Chris: Not if she’s gonna fucking tie it to a chair and stuff!

Jeanne: (laughing so hard she can barely speak ‘cause nothing’s funnier than animal abuse) I mean like when you tie a leash to something.

Richard: I think you need to seriously think about whether or not you want to have children with Jeanne.

Jeanne: I mean like when you see dogs outside of stores and they’re like leashed to shit. I didn’t mean like tie it!

Sandra Bullock is sedated and the scene fades out.

Chris: This gonna be like The Jacket essentially.

Richard: (Repulsed by the shirt lifting as they sedate Sandra Bullock) No, please, pull the shirt back down again.

Chris: It’s like Claire Danes with you.

Jeanne: But you know what’s funny is they just panned up her back and until they hit her arm I thought it was her front. She’s missing some boobs.

Richard: The Brooklyn Gang is all about boobs. We like boobs.

The next scene opens and Sandra Bullock wakes up at home in bed. She hears the shower running and rushes toward the bathroom.

Richard: Now she’s at home! What? Is that Bobby Ewing in the shower?

Jeanne: Bobby Ewing?

Richard: Yeah, I’ll be in charge of making the thirty-year-old references.

Chris: I got it.

Jeanne: Who’s Bobby Ewing?

Chris: He was on “Dallas.”

Jeanne: Oh, Richard.

Richard: He was on “Dallas” and they had like this whole season where all this crazy shit happens and this guy who’s supposed to be dead at the beginning of the season at the very last episode of the season his wife wakes up and she hears the shower so she walks into the bathroom and the guy’s in the shower and the whole season turns out to be a dream.

Sandra Bullock sees Dr. Doom in the shower and is so overcome with joy that she walks right into the shower, clothes and all to hug him. She totally is crazy. She also has very erect nipples.

Richard: It must be very cold in there.

Chris: You’d think it’d be very warm in there with the shower going on.

Richard: Maybe he’s taking a cold shower.

Jeanne: Maybe she’s really excited.

Richard: He’s a very good-looking man. If I had him naked in my shower I’d probably have erect nipples, too. (Note: Richard always has erect nipples.)

Chris: You said you didn’t think he was attractive earlier.

Richard: He’s not but he has an amazing body.

Jeanne: Except when he uses that body to pleasure Rosie O’Donnell. Think about it, Richard. Think about his hot body against Rosie O’Donnell. Naked. Rolling around. Maybe she’s sweating. She’s a little moist.

Richard: Of course she’s sweating.

Chris: I like to think that her sweat smells like lasagna. She gets up and it’s just musky lasagna.

Jeanne: Did she have the flock of seagulls’ hair when they had sex? ‘Cause that would be hot.

Richard: Oh God. I stopped watching that show like halfway through the first disk.

Sandra Bullock goes downstairs for breakfast and sees that her daughter’s face is unscarred.

Richard: She’s still not that cute.

Chris: And now she looks at the other daughter and she’s got like third degree burns.

Jeanne: Then it’s becoming The Butterfly Effect.

When Sandra Bullock gets home from taking her kids to school she finds Dr. Roth’s info in the phone book, rips out the page and heads to his office. She tells him that she knows her husband will die and starts telling him all of the stuff that she’s been through. The doc prescribes her lithium. Somehow Sandra Bullock isn’t realizing that everything she’s doing is just making this come true.

Sandra Bullock then drives over to Dr. Doom’s office. She sees the chick from the graveyard walk in. She’s the new assistant manager under Dr. Doom. And we do mean UNDER Dr. Doom. Chick is totally fucking her husband.

Jeanne: Obviously he likes girls with no breasts and very prominent chins.

Skip to Sandra Bullock back at home with the kids. She’s upstairs in the bathroom thinking about taking the lithium when she hears it begin to rain outside. She yells down to the girls to run outside and start taking the laundry down. The music swells and we know that this won’t be your average run for laundry in the backyard. Her older daughter totally runs face first through the sliding glass door.

Jeanne: That was really poorly done.

Chris: That was so fake.

Sandra Bullock rushes her now hideous daughter to the hospital.

Richard: So, wait; on the first day she put the decals on the door…so that day didn’t happen yet?

Jeanne: Well, yeah. I think she’s gone back like two or three days before his trip.

Chris: I don’t know what’s going on. 

Jeanne: I feel like I need a timeline.

Chris: I think she draws one up. I saw one in the commercials.

Jeanne: But you know it doesn’t really make sense because if she was putting up decals she would have known why her kid was all fucked up so it would have been after that… and her girl was fine.

Sandra Bullock sits down with her Frankenstein-looking daughter and tells her that no matter what anyone says she looks perfect, like a princess.

Chris: (Vain bastard) No, you’re gonna be the girl that no one asks out for dances and then your dad’s gonna die and you’re gonna be a weirdo kid. Man, that’s it for you.

Richard: You’re scarred for life and not just your fucked up face. Psychologically, too.

Dr. Doom blames Sandra Bullock for her daughter’s hideousness since she didn’t put up the butterfly stickers. Sandra Bullock counters by saying that she thought that she had.

Chris: I grew up with sliding glass doors and I never ran full force into them.

Richard: Because you’re not retarded.

That evening, Sandra Bullock is changing when she feels the crumpled phonebook page in her back pocket. She goes to throw it into the trash can when she suddenly realizes what we’ve been saying all along. She’s just playing into the whole thing. She rushes downstairs to create a timeline of events so she can figure out what the fuck is going on in this shitty movie. She figures out that her husband dies on Wednesday and the day she’s currently in is Tuesday. When her husband comes downstairs she begs him not to go on his trip in case something happens to him. That fails and she settles for just asking him to wake her up tomorrow before he leaves for his trip. He promises but you know a man’s promise is as worthless as a pocketful of rubles.

Sandra Bullock wakes up on the living room couch with her wedding album. She finds where she hid her timeline and figures out that she’s on Friday, the day after he dies and the day before the funeral. She drives to Dr. Doom’s mistress’ house and confronts her. She learns that he hadn’t cheated yet but that he was thinking about it. She meets up with her best friend and becomes seriously psychotic. She starts saying that the fact that he was thinking of cheating may have made it worthwhile for him to die because of the damage it would have done to his family. She then makes a stop at her insurance agent’s office and finds out that her incessant nagging of Dr. Doom caused him to triple his life insurance on the morning of his trip. Rocking!

On her way home she stops the car by a lake and stares out at the homes there. An older man stops to talk to her and asks if she has family.

Jeanne: Yes, but one’s dead and one’s ugly.

The older man tells her that a lot of people stop here, see the houses and think about starting over.

Richard: Ha! The Lake House!

Chris: It’s like a prequel.

Richard: Maybe next she’s going to wake up inside the mental institution. Bound and violated!

Chris: Richard, don’t go there.

Richard: We were going there like twenty fucking minutes ago, Chris!

Chris: And we’ve already left. We went and we came back.

Richard: It was just a quick in and out is what you’re saying?

Jeanne: That’s what she said.

The next day starts and Dr. Doom’s alive again! It’s the Sunday before the accident. Dr. Doom goes out with the girls while Sandra Bullock drives to a Catholic church and prays.

Richard: You know what would be so awesome to do right now, Sandra Bullock, is to put some fucking stickers on your fucking glass pane.

Jeanne: That would make sense so your daughter doesn’t come out disfigured.

Richard: Your daughter isn’t having an affair.

Jeanne: And she never will.

Richard: I get it ‘cause she’s scarred.

Jeanne: Guy’s don’t have affairs with ugly chicks. Although I did know a guy once who had a thing for girls with prosthetic limbs. He was a jackass.

Sandra Bullock tells her priest about her premonitions although I think that whatever the fuck is going on is way more than a premonition. Anyway, he begins to tell her of historically documented accounts of similar things. In one case a woman foresaw a hurricane wiping out a town. The townspeople hung her as a witch and two days later their town was decimated by a hurricane. Another account is a man who had a premonition of his two sons dying of influenza so he shot them both to spare them the agony of sickness. It turns out in the autopsy that they weren’t sick so the man shot himself. Wow, such warm and fuzzy stories. Way to cheer her up.

Jeanne: (After the priest says that everyday we’re alive is a miracle) Richard’s skeptical. You scoffed at miracles. Somewhere Jesus scoffed back.

Richard: I don’t like this scene.

Jeanne: Is it because you think that they should have sex and it makes you feel dirty?

Sandra Bullock stops at the mile marker where the Sheriff says that the accident happens. She gets out of her car and sort of stands in the middle of the street staring at the marker.

Jeanne: Does she cause the car accident?

Richard: That would be fucking awesome.

Jeanne: I kind of wonder if she does.

Richard: I bet she does.

Chris: How can she cause it?

Richard: She can stop traffic. She’s Sandra Bullock!

Jeanne: Is she gonna stand in front of his car?

Chris: Well, this is not that day.

Jeanne: Yeah, I’d cheat on her, too. She’s creepy.

Richard: Would you cheat on her with that chick?

Jeanne: No, I’d find somebody hotter, without the ass chin. I don’t like the ass chin.

Richard: Like Nia Long.

Jeanne: Nia Long’s pretty hot. Chris wouldn’t ‘cause he doesn’t like black people.

Chris: That’s not true!

Sandra Bullock and Dr. Doom are giving their daughters goodnight hugs when Sandra Bullock tells the girls to go give their dad an extra hug and tell him that they love him. Dr. Doom hugs them back but doesn’t return the “I love you’s.” To be fair, he’s fucking Dr. Doom! Anyway, Sandra Bullock is totally creepy and tells him that he has to tell them that he loves them. I’m sure this is a moment that a child remembers in therapy two decades later and realizes that it’s the reason that they ended up strippers or something. Dr. Doom hugs his daughters again and tells him that he loves them and that he loves Sandra Bullock, too. So this is that thing that he’s talking about in the answering machine message from the beginning of the movie. There’s too much to keep track of in this shit.

Jeanne: She’s like a crazy bitch. I mean she is time traveling so I guess that fucks you up a little bit.

Richard: What happened to Sandy Bullock, America’s sweetheart?

Chris: That was Julia Roberts.

Jeanne: She’s the poor man’s Julia Roberts. She’s the Aerosmith to everyone’s Rolling Stones.

Dr. Doom finds Sandra Bullock sulking outside. They start fighting. She wants to know why things aren’t like they used to be. In the middle of their fight a flash of lightning strikes a power line next to the house and Dr. Doom grabs Sandra Bullock and pulls her inside. They end up making love and it looks like their strained marriage is starting to heal. Just in time for him to get decapitated and leave her a million dollars.

When Sandra Bullock wakes up it’s Wednesday, the day that her husband will die. It looks like he didn’t wake her up before he left. Bastard. She rushes out of the house, frantically trying to call him on his cell phone. The scene then cuts to Dr. Doom in his car getting a call from his mistress chick. She’s at a hotel room waiting for him. He tells her that he can’t cheat on his wife. It looks like that stormy romp in the sack made him remember how much he loved her tiny bosom and masculine chin. Dr. Doom then calls the house and leaves her the message where he tells her that he meant it when he said that he loved her. He clicks over from leaving the message because Sandra Bullock’s calling him on her cell on the other line. They have a heartfelt reconciliation.

Richard: You know what I think could have saved their lives? Hands free phones like in the Prius. (on “Weeds.”)

Sandra Bullock has caught up to Dr. Doom in her car and tells him that she’s right behind him. He pulls over and, shockingly, we see that he’s just pulled over at the mile marker that he supposedly dies at. Sandra Bullock freaks out when she sees that and tells him that if he loves her he must turn around right now and head home. Of course, as he starts turning around he’s nearly sideswiped by another car.

Jeanne: You’re gonna kill your husband.

He slams on the breaks to avoid being hit but his car stalls in the middle of the street. He can’t get it started. Behind him we see a giant fuel tanker heading up the street that jack-knifes and smashes into his car, sheering off the roof and, we can only assume, decapitating him.

Chris: Maybe he ducked.

Just in case you were being optimistic too, the tanker explodes and everything goes up in a giant ball of fire. That dude is SO not having an open casket.

Jeanne: I don’t think ducking is getting him out of that shit. But how would she not have known then when the cop came the next day?

Chris: She did change it.

Jeanne: But she just got to watch it.

Chris: You stupid bitch.

Jeanne: But she also caused it because if she hadn’t called him he would have kept driving.

Chris: Yes. She didn’t know that.

Jeanne: She should have fucking known that. Everything that she was doing was causing everything to come true.

Chris: I just don’t understand that if she knows he’s going to die in a car accident that she’s like “pull over to the side of the road.”

Epilogue: Sandra Bullock and her daughters have moved to a house on that lake that she saw. Her daughters have run in to tell her that the moving van is there.

Richard: How’d you get out of being institutionalized, Sandy Bullock?

Chris: Well, I guess maybe that didn’t happen the same since she was at the scene.

Sandra Bullock stands up and we see that she’s pregnant. Aww…how…lame.

Richard: Oh, she’s pregnant.

Jeanne: From that last night when they were still friendly?

Chris: That’s what they stop the movie on?

Jeanne: Oh my god, this suuucked.

Chris: We paid for this! We paid money for this!

Richard: Reimbursement!

Jeanne: It’s expense-able to Pictures and Frames. Maybe she’ll give birth to a tiny him and then she’ll grow him up and marry him. That’s the hope. That she can make him again.

Some thoughts on this film, courtesy of IMDB:

 

1) Go see a doctor, you are insane!

2) Worst film ever, like Vanilla Sky.

3) The most morbid piece of trash I’ve ever watched.

4) Watching paint dry is boring. This film is like being kicked in the balls and then having your legs blown off while being deprived of sleep for a week and listening to the Fratelli’s new album.

5) Not one good thing in this movie.

6) Sandra Bullock’s best comedic performance yet.

 

And continuing on with our love of the bad time-traveling movies, please tune in next month for Next! (dear God, save us all…)

 

The Saturday Night Itinerant Brooklyn Gang is:

 

Jeanne Lopez, Cookie Monster

Rick Sayre, Pop-Culture Critic

Christopher Wilson, Vampire Hunter.

 

BrooklynGang@picturesandframesmagazine.com

 

MUSIC:

 

Ani DiFranco - Canon

Since 1990, Ani DiFranco has been the little folk singer that could. She has been recording, performing, touring and promoting her ass off for the last 17 years pretty much on her own. Since day one, she has released her work on her own record company, Righteous Babe Records, on an almost yearly basis. Ah yes, and now Righteous Babe is the home to a whole stable of artists (the label released Andrew Bird’s popular debut), all unique talents in their own rights. As she sings, she has built her own empire but the backbone of it is the artist herself.

The two-disc retrospective, Canon, collects some of the best and most awe-inspiring moments of her career. An insanely gifted lyricist, DiFranco explores the innermost regions of the heart with as much aplomb as her blistering social commentary. Politics and passion are the recurring themes throughout her career and both sides are represented here. It’s interesting to see how an artist who isn’t the typical kind of singles-driven pop star put together an album like this. Mostly, the songs featured on disc one are those that would seem to be guaranteed a place on the album, “32 Flavors,” “Untouchable Face” and “Shy.” Disc two features songs from the last seven years or so, including the lovely “Studying Stones.”

It’s absolutely a good starting place for beginners, and a great listening experience for longtime fans. As a bonus, there are four new recordings of classic DiFranco songs like “Napoleon” and “Both Hands,” that not only breathe new life into old material, but also trigger a buzz of excitement, leaving you to anticipate what she will do next.

Rick@picturesandframesmagazine.com

 

 

 

Bruce Springsteen and the E-Street Band – Magic

It is damn near impossible for me to write an objective review of any Bruce Springsteen album. Regardless, because of my known love for the man and his music, most of what I say will be taken with a grain of salt either way, even though I may have nearly every music critic of relevance and importance in the country supporting my declaration that the new album from Springsteen and the E-Street Band, Magic, is without a doubt the best album of this year.

Produced and mixed by Brendan O’Brien (who also produced 2002’s The Rising), Magic marks the first studio recording by Springsteen and the E-Street Band in five years. Their last album together, the 9/11 inspired The Rising, was all about the healing process and showcased slower and darker character-driven narratives more in the vein of Springsteen’s solo work on albums such as The Ghost of Tom Joad than on anything you would be apt to find on an E-Street album. That said, The Rising was still very much a collaboration and there are definitely songs on Magic that could have easily been on that album such as “You’ll be Comin’ Down” and “Livin’ in the Future.” But that’s splitting hairs—of course Magic and The Rising sound and seem similar, after all, the same band backs them both.

What is interesting to note, however, especially after taking into account Springsteen’s non-E-Street related albums of late, 2005’s Devils & Dust and last year’s Seeger Sessions, is just how different Springsteen sounds when he has his large group of friends backing him up. Songs such as “Gypsy Biker” and “Girls in Their Summer Clothes” just wouldn’t work without the unmistakable sound of Clarence Clemmons’ saxophone or Little Stevie’s guitar, and even more political fare such as “Your Own Worst Enemy,” “Radio Nowhere” and “Last to Die,” all of which could have easily been found on the more acoustic Devils & Dust, would not hold as much resonance without that full, powerful sound that the E-Street Band carries with them. 

And yet my favorite song off Magic thus far (ask me in a week and I might tell you different) is a song that is sparse and haunting, the album’s title track. “I got a shiny saw blade/All I need’s a volunteer/I’ll cut you in half/While your smilin’ at me/And the freedom that your songs/Drifting like a ghost amongst the trees/This is what we’ll be/This is what we’ll be,” Springsteen softly sings. Like every song on Magic, there is an underlying, deeper message to be found hidden within the lyrics, and it has little to do with magicians and more to do with the tricky leaders guiding this country. Magic is an album full of protest—of our government, of the music currently inhabiting our radios, of the war in the Middle East—but one that wows musically even as it enlightens. It is safe to say that Magic is just as good as every other Springsteen and the E-Street Band album, but because we need an album like this right now, because we need this band playing songs that are this important at just this moment, it feels like their best album yet.

Lily@picturesandframesmagazine.com

 

BOOKS:

      

The Quarter Reading Life: Paul Zollo’s Conversations with Tom Petty, Mitch Albom’s For One More Day, J.M. Barrie’s Peter Pan and Elizabeth Cox’s The Slow Moon.

For every great book I pick up on either a glowing recommendation or an inspired whim, three others land in my pile that, for one reason or another, neglect to hit my mark of estimation. Often, in fact, I lead a quarter reading life: 25 percent of my monthly stock rave worthy, the other 75 percent perhaps well written but not particularly memorable. And, so it happened that this month, that fact came fresh to light with a series of misses and only one very expected hit.

It started with Paul Zollo’s Conversations with Tom Petty, which I began to read while sitting on the Egyptian-sheet-covered bed, my feet tucked under the stiff fabric. Published as an extended Q&A with the artist, the book chronicles Tom Petty’s early life as a teen musician in Gainesville, Fl, his tenuous and argumentative relationship with his father and his ascent to rock stardom. After 70 pages of repetitive ramblings, seemingly little edited by journalist and songwriter Zollo, I put the book to rest—for good. I was so disenchanted with the lingering narrative that I even donated the hardcover to my local library, which in a rural North Carolina town is always in need of assistance. (In fact, I’ve taken to donating several books and DVDs there when I get the opportunity. It makes me feel—to be honest about my egocentricity—like a superior human being. I have great taste in books!) Even when the books, as in this case, are bummers to read. Outwardly, though, who would think it? Tom Petty’s pretty cool. Why shouldn’t a detailed biography be as well? But, in this case, the music is 10 times worth the stories behind them.

From there I moved onto Mitch Albom’s For One More Day. Much as I appreciate The Five People You Meet in Heaven, this later work reads as sentimental mush, and it defeated me within a mere three chapters. The overall feel was: Wah, wah. Who cares? It’s a book Albom wrote to squander money out of middle America, but fortunately, it’s a book less spoken of than Albom’s others by middle America. Bless their suburban, soccer Mom, church-going, cookie-baking, traffic-inflicting, “American Idol” watching, game-show playing, little hearts; they are much more astute than they’re ever given mass market credit for.

Having seen the Disney film as a child, J.M. Barrie’s Peter Pan was the next entry on my list. With its absurdity and oddly appropriate mention of an orgy (indeed, friends, an orgy in a children’s book!), the tale captured my imagination from the very beginning—and, not for any of the expected reasons. As most classic children’s stories are, Peter Pan is quite dark, dealing with issues of abandonment, misogyny and selfishness in such an airy manner that one is convinced that shadows are indeed playmates, light-hearted companions who lose themselves in mischievous moments. We are all, as Tink would have us, “silly asses,” and we are all, in this world, dreamers.

It’s the perfect kind of children’s story really—flippant, sly and glorious. It both heralds and mocks a child’s natural inclination toward self-absorption. It is a lullaby and an insult simultaneously. I found myself wishing that modern children’s book writers would more often willingly chide and pride in children as easily as Barrie does. Certainly there are those who do—Kay Thompson in writing the iconic Eloise! and even J.K. Rowling at times pokes fun at Hermione. But overall, I question the fearlessness of children’s writers today. Do they stray from these taunts because they fear hurting a child’s sense of self? Do we now, so regulated by parental controls, insist that every child in literature is somewhat immune to criticism? As children, we are certainly not all brave, nor are we selfless, and it’s this that is so refreshing in Peter Pan. Barrie shows a child at his most honest, his most insular and his least willing to change. Shouldn’t we all, even now, wish to be so cocky and in love with the world we create in our imaginations?

After this wonder blip of my monthly reading, however, I fell back into the pits of mediocrity with Elizabeth Cox’s The Slow Moon. The story begins with a teen couple on the verge of their first sexual experience together. The boy, Crow, realizes almost too late that he’s forgotten a condom and rushes back to his car. In the time he’s gone, a mere 20 minutes, his girl Friday, the all-too-wise Sophie, is raped multiple times. The narrative cascades through several different viewpoints as this small Tennessee town unravels in the wake of the incident. My first audible groan erupted on page six when the phrase “shuddered with desire” made its debut, making me think perhaps I was reading a mass market romance instead of a piece of literature written by a well-regarded college writing professor. Indeed, had the term popped up in a mass market, I may have found myself intrigued and amused. Here it served to stop me, and my mind prayed for quick release from the coming semantic onslaught.

Worse perhaps though than this aching cliché was the cadence of the remainder of the book. Like so many “writers,” Cox finds herself “writing” and not just telling a story. Each chapter ended with some beautifully crafted but distractingly lyrical sentence like, “And, then he saw, or thought he saw—so quick it was at the edge of his eye, so thrifty of turn—a bright ribbon of snake going past him, near his foot, a movement that entered his head like a wire.” It’s a bookmark of a sentence, a showy wrap-up, and it screams, “I AM LITERATURE.” Though, I believe, were it truly compelling literature, it would require less gymnastic appositive. That’s not to say that complexity in writing is not compelling but rather that at times it’s confusing and unnecessary. Certainly, few critics argue with the quality of William Faulkner’s run-ons, but then again, that’s Faulkner, and not every writer is so fortunate. Cox is not so fortunate.

On the upside, The Slow Moon is readable, even if its portrayal of characters is oft times unbelievable and its structure of multiple narratives becomes progressively tiresome. Who, for example, believes that a fourteen-year-old girl could calmly and even kindly deal with a multiple rape? That’s a difficult pill to swallow—for any woman at any age. But, the book does read in less than five hours, and it’s not one that aches to be put down. It’s not, say, a nightstand book. It’s plane or train fare, but fare that can, after an east to west coast coach ride, be left neatly in the pocket of the seat in front, placed to cover the in-flight magazine.

Noralil@picturesandframesmagazine.com

 

FICTION:

      

Photo Courtesy © Jeanne Lopez

 

Blankets & Other Good Things

By Noralil Ryan-Fores

 

North Carolina

            Here the mountains stretch out like the knuckles of a fist. Held tight in the hollow of its palm rests the town with its churches, schools, banks and billboards. Somewhere a man reads the Bible; a woman returns home from a late shift at Wal-Mart; a real estate agent closes a deal on a cabin with a two-acre lot attached. All this passes, while I, only a small part in all of it, stand on the porch, looking at the mist and wondering if today will be sunny or cloudy.

 

Train Coming & Going

            Grandma Silva bustles around inside the cabin, mixing up a pitcher of sweet tea, just when our chocolate lab Amadeus takes off running down the gravel driveway. He’s clamped Grandpa Bean’s wooden leg in his jaws and despite its weight, gets halfway down before I catch up. As I slow and approach with my hands out, he threatens to leap out into the street.

“Stay.”

            Amadeus tilts his head to the side, looking at me like I’m silly and chomps down harder on the leg in his jaws. I watch as he bites down, and for a second, I want to slip under his skin and crawl up into his bones. I want to rest, munch, flex my hind legs and nibble at the pads of my feet. I’m unaware of everything here but the warm breeze and myself.

“You know about God, Amadeus? What do you know about God?”

             If I move any closer, he’ll just blot, all playful, but there’s danger out beyond the gravel driveway, the crazy Floridians with their expensive sports cars that they drive like airplanes and fly down the back roads at 60 miles an hour. So, I sit down a few feet away and just stare at him.

            “Here’s what I know about God. First, God takes care of babies and drunks. Second, he’s the same being for most all religions. Only problem is, people tend to see him in different ways. And, God, he wants us all to be happy and content, but…”

            God gives us bad situations that hurt us and hurt us and continue to hurt us years later, and I can’t just lie to Amadeus about that. I want to say something good though, something true about God, as I know him.

“God is always around us.”

            Amadeus drops Grandpa Bean’s leg and lifts his hind leg to itch behind the ear. Not in fear of God, I’m sad to say. It’s just the fleas.

“Little girl, you get that dog already?”

            Staring down at me from the top of the hill, Grandma Silva, all spectacles and Splenda, stands on the edge of our porch with her Midwife Magazine caught in one hand, her tea in the other.

“Yeah, I got him.”

            I grab the wooden leg, pat Amadeus’ head and head back up on into the cabin, to my grandparents, my brother, my small room with its stacks of books and bicycle parts. My life, humble as it is,

doesn’t look like much from here.

            When this town was first developing, there used to be a train line that ran through its center. It’s not around anymore, but sometimes, when the quiet echoes lower in the valley, I imagine I hear the train calling. It’s just I never know if it’s coming or going.

 

Clothing & Accessories

            These are my hiking shoes and these are my galoshes. I wear the sneakers to school and these moccasins only on Sunday. I have nine shirts, two jackets, one sweater, three pairs of pants (two denim and one corduroy), two pairs of khaki shorts, one dress, a drawer full of underwear, tank tops, socks, scarves and gloves but no skirts at all. The Key West shirt falls over my desk chair, and the smaller one that my brother outgrew sits folded on top of a stack of books piled on the floor.

    The books I list in alphabetical order, and this list I revise when I lend books out and get new ones as gifts. I have one hundred and twelve all together, all of which I’ve read, most of them more than once. I don’t dog-ear pages but do leave notes in the margins; these I reread when I get lonely.

            The bicycle parts all go in one large crate that’s nestled between the night table and the desk. The pile never gets two inches above the top of the crate though the bicycle parts always change.

          I recount everything twice a day, once in the morning before I get on the bus to school and then

once at night, just before I go to sleep.

      Oh, and last is the duffel bag—the one with all the patches sewed onto it—tucked under my bed. I’ve used it once and never again since.

 

Elijah

He only calls me "Iba" after his night tremors pass. It means, he reminds me, “sister” in the language he’s invented. I ask him if he’ll let me learn it one day, but he says he hasn’t written the dictionary yet.

            “Too much work,” he says. “Besides, I always know what I mean.”

            Green eyes, mop of sandy blonde hair, little hands stained with India ink from drawing, Elijah creates his own worlds.

 

Sketches From Memory

            I ask him what he’s drawing, and he says that it’s a woman’s face. He’s been drawing her over and over again, but he can’t get the lines right. Her nose is too square, her ears too large, her mouth too pursed.

            I ask him if he has a picture, and he says, “No, this is from memory.”

“A memory of who?”

            But, he can’t say, doesn’t know, and then I’m dissecting the sketch, redrawing the lines in my mind, and he’s right. The nose is too square, the ears too large, the mouth too pursed.

And, I wonder how much he remembers.

 

Miguela

            Miguela tells me I have the most beautiful eyes she’s ever seen. She calls them little blue whispered oceans. I don’t know what that means, but she’s Mexican and everything romantic makes more sense in Spanish. She teaches me phrases like, “Gracias por todo,” which means “Thank you for everything,” “Tengo catorce años” (I’m fourteen years old) and “Te quiero mucho” (“I love you very much”), which I repeat accidentally as “Me quiero mucho” which means “I love myself very much” and makes Miguela laugh so hard that she pees her pants and has to be excused from our math class.

I met her in gym last year. Neither of us could do pull-ups.

 “Pendejo!” she hissed, just loudly enough to be heard without tipping off the teacher.

  I laughed, and she looked over at me, all sprained wrist and pigeon-toed as I was.

“Come to my house after school,” she’d said, just so confident like that.

  Miguela’s house was a maze of color and texture. The view out of the windows of her house stretched from left to right all mountains, but the inside spoke of the desert, of lizards, cacti and tumbleweed. It was all orange and red and warm shades of yellow.

            “My Papi built this house,” she said, and I could tell that she was proud that her family had something all its own, something unique and made with everyone in mind.

            Miguela’s father doesn’t call her Miguela. He calls her “mi hijita” which means, Miguela tells me later, “my little daughter,” which is funny in a way because Miguela is not so little, and that’s why she can’t do pull-ups.

            “I have large bones,” she said that first day, even though she knows it isn’t true. But, no one at school seems to care about that because Miguela has a pretty face, a good sense of humor and a habit of charming anyone she meets. I see that in her father’s eyes.

            “Last year, he got me a puppy,” she’d said that first day. Then, she went on to tell me that the puppy—she’d named him Caiman (“alligator”)—was born with round worms, but she didn’t notice the signs for two months. He’d walk around the house coughing and farting just like her abuelo (“grandfather”) when he ate too many beans. Then the vomiting and diarrhea started, the worms coming out like intertwined elastic bands. Miguela and her father brought him to the vet, but at that point, it was already too late. Best to put him to sleep, the vet said.

            “As I looked down at Caiman before the assistant brought out the needle, I wasn’t thinking that if I’d only brought him in earlier, he would have been okay. I was thinking that I could get another puppy whenever I wanted one.”

            Miguela looked sad like the paintings of the Madonna and child, sad like she didn’t know what to do and hadn’t been ready to take care of something small and significant.

“That’s kind of selfish, right?”

            I didn’t answer her, but I did notice later, when Miguela introduced me to her pets, that one of the dogs, a little Boxer, was younger than the others, and I couldn’t help thinking that this was the replacement a girl gets when a father loves her.

 

Parents

            I don’t think about them often, only on certain days that I mark on the calendar in advance. Next Tuesday, for example, in the evening, from six o’ clock to ten.

 

Bluebottles

            Last year, in our eighth grade science class, the teacher, Ms. Stills, spent an entire month giving lectures about insects: their lifecycles, what they feed on, why people need them to survive. While referencing a detailed picture of the anatomy of a cockroach, she said, “Everything has a purpose” and then looked sad for a second and put down her pointer.

            Later that week she told us that we were finishing up with insects and had one last big assignment. We all had to pick one insect to present to the class. We could chose for ourselves but no repeats were allowed. “We had to sign up by Friday, presentations would start Wednesday of the next week, good luck to all of us with our research, she was sure we would all do well,” all of this said in a run-on sentence just before the bell rang. I noted in my planner in big capital letters BLUEBOTTLE PRESENTATION, just like that.

            Soren Hensley shot me a pointed stare, a mean and thorough mocking glance. I tried to keep me eyes up, head still, back straight, defiant as if the two of us had been transported from the classroom to a safari, our animal selves not yet defined, though one of us would end the up the predator and one of us the prey.

            He was a stone collage of mismatched parts. A snarling upper lip, ears set lopsided on his head, smooth toffee-colored skin at the cheeks that wrinkled into furrows at his forehead, blank eyes less hard than unmoved, and a nose marred by each time it’d broken (which had happened several times I’d heard. One rumor tells that Soren punched a high school student just because the kid joked about his ugly sweater, the one he wears almost everyday, even in the summertime.)