those mesmerizing eyes stared right into hers with an intensity that caused her brain to do an abrupt control-alt-delete

More accurate than a Buzzfeed quiz; less accurate than your therapist’s raised eyebrow.🤨

 

⌨️ Which Keyboard Key Represents You? ␛

 

A computer keyboard looks orderly, but every key has its own personality. Some launch big actions, some quietly keep everything organized, and some exist purely to add a little flair. If your personality were hiding somewhere on a keyboard, which key would it be? Take this quiz to discover your inner keystroke.  

---

1. When tackling a big project, your first instinct is to: 

    A. Start fresh and build it cleanly from the beginning. 

    B. Help coordinate others and keep things moving. 

    C. Add clever touches that make the final result shine. 

    D. Fix problems when something inevitably breaks. 

 

2. Your friends would say you’re the one who: 

    A. Keeps conversations moving forward. 

    B. Helps everyone work together. 

    C. Adds wit and personality. 

    D. Notices and corrects mistakes. 

 

3. Pick the environment where you thrive: 

    A. A clear path where progress feels satisfying. 

    B. A collaborative team environment. 

    C. A creative space where ideas bounce around. 

    D. A place where things occasionally go wrong—and you fix them. 

 

4. When something goes sideways, you usually: 

    A. Reset and try again. 

    B. Step in and help restore order. 

    C. Laugh and add a little humor. 

    D. Undo the mistake and move on. 

 

5. Your personal vibe is closest to: 

    A. Direct and decisive. 

    B. Supportive and cooperative. 

    C. Playful and expressive. 

    D. Practical and quietly heroic. 

 

Results in the comments! 

 

[the title quotation is by Lisa Kleypas, from Christmas Eve at Friday Harbor]

it gave me bravery and my anger back, walked me to the tossing water and proclaimed the water mine

When my Sorrow was born, I held it, a dark pearl spit from its shell, 

and I remembered the salt that had rounded it before, centuries ago, 

before I even had a mouth. 

 

And my Sorrow was unafraid and it gave me bravery and my anger 

back, walked me to the tossing water and proclaimed the water mine. 

 

My Sorrow held me and did not tell me not to cry, and the girls about 

me watched our sweet days together with longing, for they too wanted 

to be held by something with fingers as slender and delicate as my 

Sorrow's, fingers that tapped their temples and had them see how they 

had been wronged. 

 

And those who longed for my Sorrow would never have a Sorrow like 

mine. I knew that, for my Sorrow had a forest black mane like mine. 

 

And my Sorrow let me say I, I, mine. 

 

And my Sorrow sat with me on the fire escape all that breathing 

winter, and my Sorrow would not let me into the water. 

 

And my Sorrow deveined shrimp and patterned them on my plate, 

brought me a wide bowl brimming with broth. 

 

And we ate fried eggs with chopsticks. We waited for my Joy to come. 

 

[Emily Lee Luan 'When My Sorrow Was Born', from The Best American Poetry 2021]

in the mirror he appears to be on fire

As simply as a self-effacing bar of soap 

escaping by indiscernible degrees in the wash water 

is how a man may change 

and still hour by hour continue in his job. 

There in the mirror he appears to be on fire 

but here at the office he is dust. 

So long as there remains a little moisture in the stains, 

he stands easily on the pavement 

and moves fluidly through the corridors. If only one 

cloud can be seen, it is enough to know of others, 

and life stands on the brink. It rains 

or it doesn’t, or it rains and it rains again. 

But let it go on raining for forty days and nights 

or let the sun bake the ground for as long, 

and it isn’t life, just life, anymore, it’s living. 

In the meantime, in the regular weather of ordinary days, 

it sometimes happens that a man has changed 

so slowly that he slips away 

before anyone notices 

and lives and dies before anyone can find out. 

 

[Marvin Bell {1937-2020} 'A Man May Change', from Iris of Creation: Poems]

Plated Wares

It dropped so low—in my Regard—

I heard it hit the Ground—

And go to pieces on the Stones 

At bottom of my Mind—

 

Yet blamed the Fate that flung it—less 

Than I denounced Myself, 

For entertaining Plated Wares 

Upon My Silver Shelf—

 

[Emily Dickinson {1830-1886} 'It Dropped so Low', from The Premier Book of Major Poets]

reason, not faith

Liar, I thought, kneeling with the others, 

how can He love me and hate what I am? 

The dome of St. Peter’s shone yellowish 

gold, like butter and eggs. My God, I prayed 

anyhow, as if made in the image 

and likeness of Him. Nearby, a handsome 

priest looked at me like a stone; I looked back, 

not desiring to go it alone. 

The college of cardinals wore punitive red. 

The white spine waved to me from his white throne. 

Being in a place not my own, much less 

myself, I climbed out, a beast in a crib. 

Somewhere a terrorist rolled a cigarette. 

Reason, not faith, would change him. 

 

[Henri Cole {1956- }, 'White Spine' from The Visible Man: Poems]

you gained an egg, but you lost a finger—was it worth it?

Average rating: 7.4

Star Trek: First Contact (1996) - "When a cybernetic collective known as the Borg travels back in time to prevent humanity’s first contact with alien life, the crew of the Enterprise-E follows them to mid-21st-century Earth, where history hangs in the balance. Captain Picard and his crew must defend a pivotal moment—the warp flight that will bring humans into a wider galactic community—while confronting a relentless enemy that seeks not to conquer, but to assimilate. Blending action, character conflict, and a sense of legacy, the film explores what it means to hold onto humanity when faced with its erasure." 

length: 1h, 51m  |  source: my DVD  |  directed by Jonathan Frakes  |  why I watched: I've seen it several times—and used to own a copy, which must have been snatched because it (and the rest of the sub-series) disappeared. I bought a new one.

IMDb: 7.6/10  |  Rotten Tomatoes: 93% / 89% Audience  |  my IMDb: 8/10  |  MPAA: PG-13

tone & texture: energetic, crisp & modern

notable quote: "'Captain, I believe I am feeling... anxiety. It is an intriguing sensation. A most distracting...' 

    'Data, I'm sure it's a fascinating experience, but perhaps you should deactivate your emotion chip for now.' 

    'Good idea, sir.' [beep] 'Done.' 

    'Data, there are times that I envy you.'"

my notes: exciting, sweet, funny, and very dear. 

themes: identity, justice, traditional vs. change

    Roger Ebert's nice review is here. 

overall: strongly recommended 

 

Ashes of Time [redux] {Dung che sai duk} (2008) - "In a remote desert inn, a solitary fixer brokers contracts for vengeance, connecting wandering swordsmen with those who seek retribution. Stories drift in and out like memory—loves lost, promises broken, identities half-remembered—until the past begins to feel as immediate as the present. Rather than a traditional martial arts tale, the film unfolds as a meditation on time, regret, and the fragile stories people tell themselves to survive." 

length: 1h, 40m  |  source: my DVD  |  directed by Wong Kar-wai  |  why I watched: I'm branching out from my fascination with Tony Leung Chui-wai (who stars) to the director's body of work

IMDb: 7.0/10  |  Rotten Tomatoes: 79% / 76% Audience  |  my IMDb: 7/10  |  MPAA: R

tone & texture: melancholic, lush & romantic

notable quote: "Some people don't realize who they love until they've left that person behind."

my notes: dreamy, unusual, confusing, and glorious. Best not to watch it for plot, but for feelings. 

themes: memory, identity

    Roger Ebert's review (here) is hilarious. 

overall:  recommended

The Crystal Ball (1943) - "A quick-thinking woman lands a job posing as a fortune teller, using intuition, improvisation and a bit of harmless deception to navigate her way into a fancy dinner—and into unexpected complications. Misunderstandings multiply as ambition, romance, and opportunism collide, turning a simple con into a lively game of timing and reinvention. Light on its feet and driven by personality, the film leans into charm and wit rather than stakes, offering a brisk glimpse of wartime-era escapism." 

length: 1h, 21m  |  source: TubiTV  |  directed by Elliott Nugent  |  why I watched: it was in my watchlist, goodness knows how it got there

IMDb: 6.5/10  |  Rotten Tomatoes: NA% / 50% Audience  |  my IMDb: 7/10  |  MPAA: Approved

tone & texture: playful, classic Hollywood polish

notable quote: "'Why is it, women always have to have words?'

    'Well, words are like things you get, that you put in little boxes. You know, so afterwards you can take them out, and look at them.'"

my notes: light, charming, and not foolish - this is a nice movie for a quiet night

themes: identity, love

overall:  recommended

A Kiss Before Dying (1956) - "Amoral Bud Corliss (Robert Wagner) pursues young heiress Dorie Kingship (Joanne Woodward) in the hopes of getting his hands on the fortune amassed by her father (George Macready). But after Dorie succumbs to Bud's charms and becomes pregnant as a result, he fears she'll be cut off by the family and murders her in a fashion that makes it look as if the poor girl committed suicide. When Bud tries to cozy up with Dorie's grieving sister, Ellen (Virginia Leith), she begins to suspect his intentions." 

length: 1h, 34m  |  source: Amazon Prime  |  directed by Gerd Oswald  |  why I watched: it was on my watchlist, from which I chose a film noir at random

IMDb: 6.7/10  |  Rotten Tomatoes: 100% / 51% Audience  |  my IMDb: 6/10  |  MPAA: Approved

tone & texture: gritty, noir shadows

notable quote: "I'm a man with a shameful, sinister secret. You know what it is? I've never really been in love before."

my notes: oh my great good God, what a movie! Awkward, challenging. These characters are hard to like. A cast of unlikable characters makes for a slog of a movie, no matter how well-crafted.

    It doesn't help that Robert Wagner, when young, closely resembled someone I used to date....

themes: justice

overall: only marginally recommended

 

Far from the Madding Crowd (2015) - "In rural Victorian England, an independent young woman inherits a farm and resolves to run it on her own terms, drawing the attention of three very different men whose affections—and expectations—shape the course of her life. Love, pride, and circumstance intertwine against a landscape that is as demanding as it is beautiful. The film traces the cost of choices made in youth and the quiet endurance required to live with them, offering a restrained, emotionally grounded take on romance and self-determination." 

length: 1h, 59m  |  source: my DVD  |  directed by Thomas Vinterberg  |  why I watched: I'd liked it before (previously reviewed here) and wanted a nice movie

IMDb: 7.1/10  |  Rotten Tomatoes: 85% / 75% Audience  |  my IMDb: 9/10  |  MPAA: PG-13

tone & texture: intimate, lush & romantic

notable quote: "I'm not going to tell stories just to please you. You can be sure of that."

my notes: this one packs a punch. Murkier than Pride and Prejudice, less cynical and manipulative than Vanity Fair, this film gets me in the heart much like Our Mutual Friend (2020, reviewed here and here). Hard-won resolution.

    Roger Ebert's review is here, by which I am charmed. 

themes: love, identity, tradition vs change

overall: highly recommended

 

[the title quotation is from Ashes of Time]

doesn’t the voyage require a lot of sightseeing and loot to justify the splatter?

Beware institutions begun with a purge, 

beware buildings that require the bones 

of a victim under the cornerstone, beware 

undertakings launched with a blood 

sacrifice, watch out for marriages 

that start with a divorce. 

 

To break a champagne bottle over the prow 

of a boat is prodigal but harmless; to break 

a promise, a friendship much more exciting 

(champagne doesn’t squeal); but doesn’t 

the voyage require a lot of sightseeing 

and loot to justify the splatter? 

 

Give it up for me, she says, give him 

up, give her up, look only in my eyes 

and let me taste my power in their anguish. 

How much do you love me? Let me count 

the corpses as my cat brings home mangled 

mice to arrange on my doormat like hors d'oeuvres. 

 

But you know nobody dies of such executions. 

Your discarded friends are drinking champagne 

and singing off key just as if they were happy 

without you. One person’s garbage is another’s 

new interior decorating scheme. If she is your 

whole world, how quickly the sun sets now. 

 

[Marge Piercy {1936- }, 'The Purge', from The Moon is Always Female]

dead ends he came to think would undo him without her

In one version he'd have left her soon after he met her, but she was 

teaching him ways past the quicksand and crypts, the dead ends he 

came to think would undo him without her. 

    In another it was the vein of obligation spun seemingly out of her 

bosom that held him: he roved and raged, raged and roved, but it 

still bound him to her. 

    The episode of his confession has her scouring his psyche with 

caustic correctives: she so comprehended his flaws, could so expli-

cate his weaknesses —how could he not stay with her? 

    Finale and coda: out past the monsters of conscience, through 

labyrinths of guilt and contrition, detested, envenomed, he found 

himself back in the world beyond myth; no longer merely paroled 

but—he hardly knew what to do with himself—free. 

 

[C.K. Williams {1936-2015} 'Myth', from All at Once]

the bird didn't read the papers

The bird chirped: What sunshine! 

Ah, what aroma! Spring has come 

and I must seek my mate . . . 

 

The bird unfolded off the ledge 

into the air like a flown message. 

 

The bird was small. 

The bird was foolish. 

The bird didn't read the papers. 

The bird had no debts. 

The bird didn't know people. 

 

The bird in the air 

high above flashing red lights 

joyfully soared in oblivion, 

deliriously lived the sky's blue moments. 

 

The bird, 

                ah, 

                        was just a bird. 

 

 [Forugh Farrokhzad {1935-1967}, 'The Bird, Was Just a Bird', from Sin, trans. by Sholeh Wolpé]

you cannot see the lettuce and the dressing without suspecting a salad

More accurate than a Buzzfeed quiz; less accurate than your therapist’s raised eyebrow.🤨

 

🥗 What’s the Dressing on Your Life’s Salad?🍴

 

Life is a salad—messy, colorful, occasionally baffling—and what ties it all together is the dressing. Some people keep things bright and zesty, some lean rich and comforting, and others like a little sweet with their tang. Take this quiz to discover the flavor profile that best captures the way you move through the world.  

---

1. Your ideal lunch situation is: 

    A. Something fresh and bright that wakes up the day. 

    B. A cozy comfort meal you know you’ll enjoy. 

    C. Something a little fancy that feels like a treat. 

    D. Whatever’s quick—I’ve got things to do. 

 

2. Your friends rely on you because you: 

    A. Bring energy and enthusiasm wherever you go. 

    B. Make everyone feel comfortable and cared for. 

    C. Have great taste and thoughtful ideas. 

    D. Keep things practical and efficient. 

 

3. Pick a weekend activity: 

    A. Farmers’ market wandering. 

    B. Cooking something comforting at home. 

    C. Trying a new restaurant or wine bar. 

    D. Getting errands done early so the rest of the day is free. 

 

4. Your personal motto might be: 

    A. “Add a little sparkle.” 

    B. “Make it warm and welcoming.” 

    C. “Details matter.” 

    D. “Keep it simple.” 

 

5. If life gets chaotic, you usually: 

    A. Look for the bright side and keep things moving. 

    B. Slow down and focus on what feels comforting. 

    C. Step back and think your way through it. 

    D. Simplify the problem and tackle it directly. 

 

Results in the comments! 

 

[the title quotation is by Arthur Conan Doyle, from The Exploits of Brigadier Gerard]

that risk is all there is

He pushes behind the words 

which, awkward, catch 

and turn him to a disturbed 

and fumbling man. 

 

What if it all stops. 

Then silence 

is as silence was 

again. 

 

What if the last time 

he was moved to touch, 

work out in his own mind, 

such limits was the last— 

 

and then a quiet, a dull 

space of hanging actions, all 

depending on some time 

has come and gone. 

 

God help him then 

if such things can. 

That risk 

is all there is. 

 

[Robert Creeley {1926-2005} 'Waiting', from The Collected Poems of Robert Creeley, 1975–2005]

seemingly inexhaustible sophistication of awareness

Just sitting around smoking, drinking, and telling stories, 

the news, making plans, analyzing, approaching the cessation 

of personality, the single personality understands its demise. 

Experience of the simultaneity of all human beings on this planet, 

alive when you are alive. This seemingly inexhaustible 

sophistication of awareness becomes relentless and horrible, 

trapped. How am I ever going to learn enough to get out. 

 

The beautiful soft and lingering props of the Pacific here. 

 

                                                The back door bangs 

                        So we’ve made a place to live 

        here in the greened out 70s 

                                        Trying to talk in the Tremulous 

                                morality of the present 

                        Great Breath, I give you, Great Breath! 

 

[Joanne Kyger {1934-2017} 'And With March a Decade in Bolinas', from A Book of Luminous Things: An international anthology of poetry, edited by Czeslaw Milosz]

your dear voice is not dear, Gentle, and evening clear, As theirs whom none now hear

Red lips are not so red 

    As the stained stones kissed by the English dead. 

Kindness of wooed and wooer 

Seems shame to their love pure. 

O Love, your eyes lose lure 

    When I behold eyes blinded in my stead! 

 

Your slender attitude 

    Trembles not exquisite like limbs knife-skewed, 

Rolling and rolling there 

Where God seems not to care; 

Till the fierce love they bear 

    Cramps them in death’s extreme decrepitude. 

 

Your voice sings not so soft,— 

    Though even as wind murmuring through raftered loft,— 

Your dear voice is not dear, 

Gentle, and evening clear, 

As theirs whom none now hear, 

    Now earth has stopped their piteous mouths that coughed. 

 

Heart, you were never hot 

    Nor large, nor full like hearts made great with shot; 

And though your hand be pale, 

Paler are all which trail 

Your cross through flame and hail: 

    Weep, you may weep, for you may touch them not. 

 

 [Wilfred Owen {1893-1918} 'Greater Love' from First Loves: Poets Introduce the Essential Poems that Captivated & Inspired Them; Carmela Ciuraru, ed.]

a fistful of gathered pebbles there was no point in taking home

Talking was difficult. Instead 

we gathered coloured pebbles 

from the places on the beach 

where they occurred. 

 

They were sea-smoothed, sea-completed. 

They enclosed what they intended 

to mean in shapes 

as random and necessary 

as the shapes of words 

 

and when finally 

we spoke 

the sounds of our voices fell 

into the air         single and 

solid and rounded and really 

there 

and then dulled, and then like sounds 

gone,     a fistful of gathered 

pebbles there was no point 

in taking home, dropped on a beachful 

of other coloured pebbles 

 

and when we turned to go 

a flock of small 

birds flew scattered by the 

fright of our sudden moving 

and disappeared: hard 

 

sea pebbles 

thrown solid for an instant 

against the sky 

 

flight of words 

 

[Margaret Atwood {1939- } "ii. Pebbles" from 'Some Objects of Wood and Stone', in Selected Poems 1965-1975]

the plot goes where the money flows - we simply follow orders

Average rating: 7, disregarding the turkey

 

A Fistful of Dollars {Per un pugno di dollari} (1964) - "Wandering gunfighter Joe arrives in the Mexican village of San Miguel in the midst of a power struggle among sheriff John Baxter and the three Rojo brothers. When a regiment of Mexican soldiers bearing gold is waylaid by the Rojo brothers, Joe is hired by Esteban to join the gang, but he plays one side against the other." 

length: 1h, 39m  |  source: my DVD  |  directed by Sergio Leone  |  why I watched: I'd seen it a few times, but never reviewed

IMDb: 7.9/10  |  Rotten Tomatoes: 98% / 91% Audience  |  my IMDb: 7/10  |  MPAA: R

tone & texture: gritty, grit & grain

notable quote: "'You see, I understand you men were just playin' around, but the mule, he just doesn't get it. Course, if you were to all apologize...'

    [they laugh] 

    'I don't think it's nice, you laughin'. You see, my mule don't like people laughing. He gets the crazy idea you're laughin' at him. Now if you apologize, like I know you're going to, I might convince him that you really didn't mean it.'"

my notes: it's not subtle, but then it's not supposed to be. This is a distillation of Westerns, in one untidy package. 

themes: justice, chaos v. order

overall:  recommended

 

Payback (1999) - "A small-time criminal double-crossed by his partners claws his way back from the brink of death with a single, obsessive goal: collecting the money he believes he’s owed. In Payback, that simple premise unfolds as a relentless march through a bleak urban underworld where every encounter leads to another beating, threat, or act of retaliation. The film leans heavily on cynicism and brutality, presenting a criminal ecosystem in which nearly every character is corrupt and violence is the primary language of negotiation. What begins as a straightforward revenge caper gradually settles into a grim exercise in endurance." 

length: 1h, 40m  |  source: PlutoTV  |  directed by Brian Helgeland  |  why I watched: it's been in my Pluto watchlist for ages

IMDb: 7.0/10  |  Rotten Tomatoes: 56% / 69% Audience  |  my IMDb: 1/10  |  MPAA: R

tone & texture: cynical, monochrome/muted

my notes: I watched for a while, maybe 30 or 40 minutes, before turning it off. Violence for the sake of violence, with no shot at redemption or meaning, is oppressive. 

themes: revenge

overall: not  recommended

The Goldfinger {Jin shǒu zhǐ} (2023) - "Set against the roaring boom and brittle excess of 1980s Hong Kong, The Goldfinger follows the meteoric rise of a flamboyant financial operator whose empire expands faster than its foundations can support. As wealth multiplies and influence spreads through banks, brokers, and boardrooms, investigators begin to trace the fault lines of a spectacular fraud. What unfolds is less a simple crime story than a chronicle of ambition, illusion, and the dangerous alchemy of money and charisma." 

length: 2h, 6m  |  source: Fawesome  |  directed by Felix Chong  |  why I watched: it stars my two recent favorites, Tony Leung Chiu-wai and Andy Lau, back together again for the first time since the Infernal Affairs saga

IMDb: 6.2/10  |  Rotten Tomatoes: 59% / 75% Audience  |  my IMDb: 8/10  |  MPAA: not rated

tone & texture: unsettling, high-color/stylized

notable quote: "'You think I'm stupid?'

    'Mmm hmm.'"

my notes: it's so much deeper than it looks. It reminds me of a combination of Wolf of Wall Street, Catch Me If You Can, and maybe Criminal Minds or Law & Order: Criminal Intent. It's crazy, loopy, BIG, quite funny at times, desperately sad, and intricately complex in the layers that need unraveling. And all built around the stupidly simple structure of pyramid scheming.

    Leung is terrific as Ching Yat Yin, showing off his range and facility for micro-expression. Dude can say more with one eyebrow than most actors could in a monologue. He is incredible. Andy Lau, playing the straight banana, can somehow convey personal power and the force of righteous justice at the same time as the weariness and frustration of being under bureaucratic water. He is accessible.

    (The Chinese title translates to something like "Magic Touch" or "Money-maker", giving it less of a cheeky James Bond nod and more of a Scorsesesque greed stamp.)

themes: power, transformation, justice

overall: highly recommended

Eat Drink Man Woman {Yǐn shí nán nǚ} (1994) - "In Taipei, a widowed master chef gathers his three adult daughters every Sunday for elaborate family dinners—ritual feasts prepared with extraordinary care, even as the family members themselves struggle to say what they truly feel. In Eat Drink Man Woman, daily life unfolds through food, conversation, and small revelations as each daughter begins to reshape her future. With warmth, humor, and quiet observation, the film explores how love, independence, and tradition collide within a modern family, where the most important conversations often happen between bites." 

length: 2h, 4m  |  source: PlutoTV  |  directed by Ang Lee  |  why I watched: this film was recommended as a natural follow-up to Little Forest (2018, reviewed here)

IMDb: 7.8/10  |  Rotten Tomatoes: 88% / 92% Audience  |  my IMDb: 7/10  |  MPAA: not rated

tone & texture: intimate, classic Hollywood polish

notable quote: "'Don't get upset.... It was bound to happen.' 

    'I'm not upset. I hope they all move out, so I can have a quiet life.' 

    'Quiet life? I know you. What you want, you can't get. What you don't want, you can't get rid of. You're as repressed as a turtle.'"

my notes: I liked it. The food looked amazing, the cooking was fun, and some of the relationships were fascinating. But it didn't quite move me, as I'd hoped. The eldest daughter (Jia-Jen, played by Kuei-Mei Yang), especially, was hard to like or relate with. 

    The original title is part of a Chinese proverb. It does mean "eat drink man woman" but in Asian audiences, this is clearly known to be the sum of fundamental needs and desires. In the movie, the eat/drink part is literal (and also represents the father's way of communicating). The man/woman part should be apparent.    

themes: tradition v. change, love

overall:  recommended

 

The Killing (1956) - "A meticulously planned racetrack robbery draws together a group of small-time operators, each assigned a precise role in a tightly timed scheme. The plan unfolds from multiple angles, revealing how preparation, personality, and chance intersect in ways no one can fully control. As the clockwork design begins to strain under human weakness and unforeseen variables, the film turns a straightforward heist into a study of how fragile even the best-laid plans can be." 

length: 1h, 24m  |  source: PlutoTV  |  directed by Stanley Kubrick  |  why I watched: it was recommended as a well done, different sort of noir

IMDb: 7.9/10  |  Rotten Tomatoes: 96% / 92% Audience  |  my IMDb: 6/10  |  MPAA: Approved

tone & texture: straightforward, noir shadows

notable quote: "I know I'm not pretty, and I'm not very smart. Please don't leave me alone again."

my notes: I didn't love it. I can see how it was well done—it's all about the structure of the heist, the 'how'—but it's not the kind of film that I can grab onto. I need the 'why', to find a movie I can love. 

themes: chaos v. order

    Roger Ebert loved this one.  

overall:  recommended, I guess? Others may like it better than I did. 

 

[the title quotation is from The Goldfinger]

a sweetly growing spaciousness

Just before he died, 

when Tim had come back 

from his dream of dying 

to tell us it was all 

just bush league, Little League, 

why the hell did I waste 

time fearing it? I thought 

 

of that moment when the ball's 

hit and you start in and, 

uh-oh, should have gone 

the other way and all 

you can do is watch it arc 

over your clumsy scramble 

to reverse direction— 

 

too late too late, why 

hurry, and anyway 

isn't the lifelong 

fought-against sensation 

of defeat now nearly 

irresistible, a sweetly 

growing spaciousness 

 

in which the celebration 

at home plate shrinks 

to nothing, and the cut-

off man, no longer shouting, 

or waving, turns away 

to kick his glove in tiny 

dust clouds down the infield? 

 

[Alan Shapiro {1952- } 'Misjudged Fly Ball', from The Best American Poetry 2006]

how to walk down a sidewalk without looking back

My older brother is walking down the sidewalk into the suburban summer night: 

white T-shirt, blue jeans— to the field at the end of the street. 

 

Hangers Hideout the boys called it, an undeveloped plot, a pit overgrown 

with weeds, some old furniture thrown down there, 

 

and some metal hangers clinking in the trees like wind chimes. 

He’s running away from home because our father wants to cut his hair. 

 

And in two more days our father will convince me to go to him— you know 

where he is— and talk to him: No reprisals. He promised. A small parade of kids 

 

in feet pajamas will accompany me, their voices like the first peepers in spring. 

And my brother will walk ahead of us home, and my father 

 

will shave his head bald, and my brother will not speak to anyone the next 

month, not a word, not pass the milk, nothing. 

 

What happened in our house taught my brothers how to leave, how to walk 

down a sidewalk without looking back. 

 

I was the girl. What happened taught me to follow him, whoever he was, 

calling and calling his name. 

 

[Marie Howe {1950- } 'The Boy', from What the Living Do]