Laboravi

Beltane                                                                     Early Growth Moon

Out to Famous Dave’s at 11:20 this morning, just ahead of the Mother’s Day rush.  We had a nice meal, discussing family, as the restaurant slowly filled up, the number of very large patrons noticeable unfortunately.

I’ve been back at work on Missing, now writing new material, most focused on John’s origins, where he came from and what if any implications that might have for his time on Tailte.  This will lead into the work of experimenting with point of view, which I’ve given a lot of thought but have not made any decisions about as yet.

Greg, Latin tutor, began to push me a bit this last time, saying how many verses he wanted me to tackle before our next time.  Up til now I’ve been learning at a pace comfortable for me, maybe a bit slow for him, but ok since I was the student.  Now, I’m closer to a colleague and we need to have adequate material before us each time we meet.  We’ve met in person once in the last three and a half years, at Kate’s retirement party at the MIA two Januaries ago.  Odd.

I sat down and pounded out five verses in a little more than an hour.  This includes making commentary notes in Microsoft Notes, words to highlight, helps, ways in which Perseus confuses the matter, words Perseus doesn’t have.

Here’s a strange, and a bit disturbing, thing.  I turned in my resignation from the MIA last Tuesday.  I’ve heard nothing from them.  12 years.  Nothing.  Weird.  And confirming of my decision.

 

The Moral Arc

Beltane                                                                    Early Growth Moon

Gay marriage.  Yes.  That the vote to pass this measure in Minnesota might come two days after mother’s day.  Priceless.

In the long, long exile of a left perspective from the American political scene, beginning somewhere around Nixon and only now gradually beginning to lift and even now sporadically and with drone inflected interludes of neo-con thinking, it was Martin Luther King’s prescient rhetorical flourish that sustained me:  “The moral arc of the universe may be long, but it bends toward justice.”

And, I mean that.  When Reagan busted the air traffic controllers union, when he cut welfare programs and raised defense spending, when Bush I was elected and couldn’t recall what a grocery store scanner was for, when Clinton continued the dismantling of our welfare system and most dismally of all, when Bush II was elected by the Supreme Court, then reelected even after his fatal rhetorical flourishes, Axis of Evil and Mission Accomplished, even then I knew that history opens toward freedom and the breaking of tradition-forged chains and when that freedom comes and the chain’s links lie broken in the street, time does not revert.

Now, marriage will become, here in Minnesota at least, an expression of love between two people willing to commit to each other in a long-term, legally binding relationship.  There is not now and there never has been any problem with that.  But often the obvious and political reality don’t match.  Ask the atmosphere.  Rending the disjunction between justice and social reality was the focus of King’s life, Ghandi’s too; it is our focus as well, those who would end economic discrimination, further women’s full integration into life at all levels and make the world’s borders as open as possible.

 

The Veiled Narrative

Beltane                                                                       Early Growth Moon

Shane Carruth, Upstream Color (see below), was also the cinematographer.  Forgot that last night.

In answering questions, in particular about the density of his works, he made two points, both interesting.  First, he said he makes a narrative as it needs to be to tell his story.  That means it may take  more than one pass to take in all  the narrative has to offer.  Just like reading a book or seeing a painting.  Made sense to me.

(Barrias, French, 1893)

Second, all narratives, he believes, are veiled, which he emphasized in answers to more than one question.  In this he means the viewer or reader never knows the whole story and often knows a very limited portion of it.  I took from his overall answers that this conviction comes from life, where the future veils the narrative in every instance and, too, I suppose, since we never know the interiority of the other, veiled in that sense as well.

While I agree intellectually with this latter point, as an intention in a work of art, I’m suspicious.  It can too easily serve as an excuse for careless ambiguity and might enforce an aterminus approach to story telling; which, though it is true as Carruth said last night, that all film narratives must end (and by implication in that way deviate from the truly veiled nature of the narrative future) that departure from reality should not encourage pointless realism.

There may be some of that in this film.  Until I’ve had longer to consider it, and until I’ve seen it at least a second time, I’ll reserve my opinion on that.