Rich in Proportion to the Number of Things Let Alone
Crap transference is when people give you things they own, apparently with good intentions, except you do not need or want them, and in fact may not have known they existed.
Crap transference is when people give you things they own, apparently with good intentions, except you do not need or want them, and in fact may not have known they existed.
I could not tell if the old-timer meant that if I walked fast enough I would not be bitten by bugs, or that he wanted me to get the hell away from him.
Sam Stearns is a rascal who has seen lively times. Some of those have been while working with other environmentalists—for almost four decades without pay and at significant personal risk—in defense of southeastern Illinois’s Shawnee National Forest, which they hope will become a National Park and the world’s first climate preserve.
Paul Reubens, aka Pee-wee Herman, insists on camera that the documentary must not be of the “tears of a clown” variety. It is an admirable attitude, but Matt Wolf’s film, perhaps inevitably, emphasizes Reubens’s problems.
Henry James said, “This vast grey, smoky, extraordinary bourgeois place seems to offer in a ceaseless mild soft rain, no interest and no feature whatever.” The Missouri Historical Society, for their part, has nothing tagged in their online collection for “Henry James.” Touché, maître.
Joel Meyerowitz gives a sort of history of America from mid-century to post-9-11. He frames this, as he sits speaking to the camera, with his own experiences on “the street,” illustrated by film footage (it is unclear if it is his) and stills that he shot.
In the 2019 documentary ‘Koudelka: Shooting Holy Land,’ directed by Gilad Baram we get to see a photographer with the perfectionism of a master and the patience of a saint. Koudelka has lived a life of discomfort and often danger for his art.
The project is so daft it is touching: an attempt at nothing less than a comprehensive visual catalog of the entire material culture and socio-familial life of the Vietnamese as they were then, an attempt initiated by a young man in the colonizing machinery meant to drag the Vietnamese into a Western conception of modernity.
There is much of interest in the documentary “Art Spiegelman: Disaster is My Muse” about technique, layout, framing, visual style, and the burden of guilt in storytelling, because these things cannot do enough.
Harvard, which has America’s largest university endowment, of at least $53 billion, might be seen as best-suited to defend its autonomy from federal demands, but then that is one of the very reasons it is a primary target.
No one was protesting in downtown Champaign, with its popular restaurants, bars, and coffee shops. No MAGA believer showed up with an assault rifle, as someone did in Indiana, or with a Nazi flag, as a man did in St. Louis’s Metro East.
The U.S. administration, destabilizing and unjustifiable in nearly all its actions, said Yale historian Timothy Snyder, “at its depth comes down to hero worship”—of Putin, Musk, Trump—but in the end we are sacrificing ourselves, “our children, our grandchildren, the possibility of life on earth….”