Mindfulness. Examining one’s thoughts as if they were as remote as the dancing reflection in the pond of the distant streaks of clouds high in the sky. |
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Monday, December 31, 2018
What Do You Have in Mind?
Friday, December 28, 2018
The Wisdom of George
Tuesday, December 25, 2018
Aquaman Isn't All Wet
Jason Momoa as Aquaman, DC's King of the Seven Seas |
On my way to see Aquaman,
I grabbed some clothes at random and found myself seated in the cinema wearing
my orange sweater and green pants.
The movie was good fun. Even though the undersea kingdom
scenes were as silly as one might expect, they offer a certain fairy-tale
wonder to the eye.
Much of the dialogue is of the declamatory-predictable
variety with sentences that you can finish before the actors do (“The two
worlds … are one!”). The single exception is Jason Momoa’s refreshingly cheeky
bro-witticisms.
We get two romances for the price of one — Aquaman and Mera’s
meet-cute and the lost-love heart-tugger of Aquaman’s father and mother (with
Nicole Kidman playing Aquamom).
The character’s comic book origins are faithfully served. A
lot of the plot is video game quest stuff. You must seek the thingie that solves
the puzzle of the whatsis to find the other thingie. The best parts play on the
same “fish out of water” theme that worked so well in Wonder Woman.
For all that, much of the film sweeps you along like a big,
friendly wave, with Momoa carrying it on the strength of his broad shoulders
and considerable bad-boy charm.
I think, however, that what with Aquaman, Thor, the Black Panther
and Wonder Woman, we’ve had enough superhero royalty to satisfy us for a while.
No more “true kings,” please. That quasi-racist notion never fails to irritate
me.
Sunday, December 23, 2018
Saturday, December 15, 2018
Warm Guns and Cold, Dead Children
Wednesday, December 12, 2018
I Wish They'd Paid Attention to Superman
Sunday, December 9, 2018
La Joie de Vivre
Saturday, December 8, 2018
You Can Look It Up
How Easily Duped We Gullible Americans Are
Friday, December 7, 2018
Thursday, December 6, 2018
Christopher Isherwood: The One Who Was
'Lost Youth' by Deng Chengwen |
“And now, before I
slip back into the convention of calling this young man ‘I,’ let me consider
him as a separate being, a stranger almost, setting out on this adventure in a
taxi to the docks. For, of course, he is almost a stranger to me. I have
revised his opinions, changed his accent and his mannerisms, unlearned or exaggerated
his prejudices and his habits. We still share the same skeleton, but its outer
covering has altered so much I doubt if he would recognize me on the street. We
have in common the label of our name, and a continuity of consciousness that I
am I. But what I am has refashioned
itself throughout the days and years, until now almost all that remains
constant is the mere awareness of being conscious. And that awareness belongs
to everybody; it isn’t a particular person.
“The Christopher
who sat in that taxi is, practically speaking, dead; he only remains reflected
in the fading memories of us who knew him. I can’t revitalize him now. I can
only reconstruct him from his remembered acts and words and from the writings
he has left us. He embarrasses me often, and so I’m tempted to sneer at him,
but I will try not to. I’ll try not to apologize for him, either. After all, I
owe him some respect. In a sense he is my father, and in another sense my son.”
— Christopher
Isherwood, whose close observation of the man in the mirror evokes for me a
Buddhist sense of the ephemerality of self.