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dhex
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PostPosted: Fri Mar 17, 2006 12:34 pm    Post subject: Reply with quote

it's very good.

it's not like 1984 though.

edit: here's a pan of the movie and a celebration of the original moore work.
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PostPosted: Fri Mar 17, 2006 10:51 pm    Post subject: Reply with quote

Greatsaintlouis wrote:
Damn, I never knew From Hell was based on a Moore comic!

The movie itself wasn't god awful, but it pales so horribly in comparison. The sheer amount of research that went into the comic is insane. It's nice that he comments about it all too. The story itself is very well driven, with a masterful use of the 9 panels a page format. It all comes off as very cinematic, very paced and very sooty. Eddie Campbell does a great job making these small picture fragments detailed, with a crawling sense of momentum. You have your world trying to live, muddied and tired, in the shadow of something truly horrifying being born: The 20th century and all its new realms of cruelty, via the actions of Jack the Ripper. It's heavily researched, as I mentioned above, but it creeps into subliminal, spiritual territory slowly. It's brilliantly told, and one of the rare comics I felt was truly worth the £25 I paid for it.

It's, in my opinion, Moore's best. You really ought to give it a read first chance you get.
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PostPosted: Fri Mar 17, 2006 10:53 pm    Post subject: Reply with quote

It's also hand-lettered, all six hundred pages of it.

So, Eddie Campbell, holy shit.
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PostPosted: Fri Mar 17, 2006 11:15 pm    Post subject: Reply with quote

Dracko wrote:
It's, in my opinion, Moore's best. You really ought to give it a read first chance you get.
He was somehow involved in The Watchmen right? I seem to remember seeing his name. I really enjoyed the movie and will probably pick up the graphic novel sometime.
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PostPosted: Fri Mar 17, 2006 11:36 pm    Post subject: Reply with quote

He wrote The Watchmen, which in part helped to the "maturisation" of comic books by its deconstructionist approach towards the superhero myth. It's the work that seems to receive the most recognition, but I still think From Hell is better.

Hell, I even think V for Vendetta is better than The Watchmen, to be honest. Batman: The Killing Joke is another one of his classics.

As far as his current works go, I have The Courtyard and Yuggoth Cultures, both of which are inspired by the Cthulhu mythos, and Hypothetical Lizard, all three of each I have yet to read, though. A Small Killing was fairly interesting, as I recall, and Top 10 and its derivatives made for a solid read, even though I generally don't like superheroes much at all. It really takes a particular breed of writer and writing to get me interested in them, and even then, they're usually the ones without powers, like Batman or Garth Ennis' run on The Punisher. Generally, it would seem, Grant Morrison manages to get me interested because of his somewhat Philip K. Dick, surreal approach.
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PostPosted: Sat Mar 18, 2006 12:23 am    Post subject: Reply with quote

I can't stand Watchmen. It's got ugly art and a freshman philosophy level of un-sophistication.
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PostPosted: Sat Mar 18, 2006 11:46 am    Post subject: Reply with quote

Dracko wrote:
Yuggoth Cultures
I like this man more already!
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PostPosted: Sat Mar 18, 2006 11:57 am    Post subject: Reply with quote

Shapermc wrote:
Dracko wrote:
Yuggoth Cultures
I like this man more already!

http://www.avatarpress.com/yuggothcultures/
http://www.avatarpress.com/thecourtyard/
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PostPosted: Sat Mar 18, 2006 12:34 pm    Post subject: Reply with quote

seryogin wrote:
I can't stand Watchmen. It's got ugly art and a freshman philosophy level of un-sophistication.


I don't really remember it trying to get too deep on me. Bear in mind it was written in the mid 80s; I can't think of anything else that was subverting the medium during that time. I read it much the same as the Tom Strong and Supreme books, as a study on the superhero psychology and interaction and myth. If you want a laughable take on that, just check out X-men and its mid-90s followers.

Oh, I just had a brief vacation wherein I read Tobias Wolff's Old School and Cormac McCarthy's [iAll the Pretty Horses[/i] (bless the man). Wolff, as usual, writes about writing and I find him fantastic but I recognize that I started reading him in high school and he's got some hold on my thoughts on language. And McCarthy just has me in his spell. Always.

Oh, and I finally finished Trace Memory. Now there's some awful writing! (For the last third, at least)
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PostPosted: Sat Mar 18, 2006 1:05 pm    Post subject: Reply with quote

alan moore is probably so fun to hang out with it's nearly un-fun.
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PostPosted: Sat Mar 18, 2006 7:39 pm    Post subject: Reply with quote

What I got out of the V for Vendetta movie:

George Bush's evil war for oil spills into the UK, which becomes a fascist state by killing off its people (JUST LIKE KATRINA AND 9/11!) with a super-virus made on the back of dead Muslims, homosexuals and black people.

Also, it is not the people of England's fault this has happened and anarchy is really, really cool and anyone can do it right.

It's basically a liberal nightmare and lacks any degree of subtlety, and further confirms my belief that the Wachowski siblings are one-trick ponies.
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PostPosted: Mon Mar 20, 2006 10:14 pm    Post subject: Reply with quote

for no good reason and probably bad ends, has everyone here read "the redneck manifesto" by jim goad?

it is a better gift than read on its own, if you know what i mean.
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PostPosted: Mon Mar 20, 2006 10:55 pm    Post subject: Reply with quote

Dracko wrote:
It's basically a liberal nightmare and lacks any degree of subtlety, and further confirms my belief that the Wachowski siblings are one-trick ponies.

Interesting. Someone told me it was essentially The Road to Serfdom: The Movie. (Which is already available. Kind of.)
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PostPosted: Mon Mar 20, 2006 11:22 pm    Post subject: Reply with quote

I am currenly rereading Aleksandr Prokhanov's "The Red and Brown." And it's impressing me all over again. I can flip to any random page and find something to amuse me.

As he's never been translated into the West, I can only approximate his style as being depraved and purple, and at the same time profound as well. Imagine the hyberbolic, sentimental poetics of Ray Bradbury and the precise, clean language of Nabokov pressed into the service by a lunatic fascist/ communist writing novels about the dogged KGB agents, Spetsnaz officers and revolutionaries fighting to resurrect the might of the Red Empire. It's one hell of a toxic mix.

I just wish that that he'd spend more time writing about the events he describes as he knew them (Prokhanov, pushing seventy, has led an amazing life, from working as a lumberjack and air mechanic to becoming one of the Soviet Union's premiere war correspondents, travelling all over Africa, Asia, and Latin America) instead of making up fanciful jew-freemason conspiracies. And "The Red and Brown," has plenty of those, treating each racist diabtribe as if it were a speech from Plato. What makes me love this book is that it's the only novel that's ever been written about the 93 Red and Brown Rising, when the radicals occupied the Parliament and demanded the president's resignation. The whole thing ended gorely. The thing, though, is that the liberals and intellectuals fullly supported the government's harsh measures "to crush the Red and Brown scum," which means that if there are any mentions of the event in the Russian literary world, it's only to deride the thousands of "simple-minded fools" that were gunned down by the government's tanks and special forces. The only other Russian writer to support the radicals was Edward Limonov, and he devoted a chapter of one of his books to it, he describes quite well how special forces carriers machine gunned the radicals massing at the TV center. Prokhanov was there as well, tossing a Molotov cocktail at the special forces from the roof of an adjacent building (he was sixty five at the time).

He's the only writer I've read who treats war so poetically, as if it were liturgy. There's something downwright fascistic about him (and I mean that in a good way), something sincere and insane and downright hypnotically compelling. He's also a lunatic, completely inconsistent and illogical and makes sense only on an emotional level, but, well, what great fascist isn't?
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PostPosted: Tue Mar 21, 2006 1:57 am    Post subject: Reply with quote

Swimmy wrote:
Dracko wrote:
It's basically a liberal nightmare and lacks any degree of subtlety, and further confirms my belief that the Wachowski siblings are one-trick ponies.

Interesting. Someone told me it was essentially The Road to Serfdom: The Movie. (Which is already available. Kind of.)

It really isn't. The Road to Serfdom would only, and that's a very tentative way of looking at it, be a prequel of sorts.

My main gripe with the V, and this is where it fails horribly as an adaptation as well as in its ow rights, is that both V and the people are stripped free of responsibilities and consequences. V's cruelty is noticeably downplayed. From an educated, mentally unhinged anarchist fanatic, the movie turns him into your run-of-the-mill freedom fighter. The people are no longer theoretically responsible for the human atrocities committed by the state, as all such atrocities had been employed beforehand in order to reach power. Plunging the nation into anarchy is not shown as being tulmutuous in the slightest. It's portrayed as being easy, cool and Joe Average is capable of it, can live under it and not suffer because of it. There is only one scene were the bleaker flip side of the coin is shown, that being a hold-up scene, and it is made into a comedic relief farce as well as being laughably short, about 20 seconds tops. At that, and here comes the spoilers:

The people are symbolically ressurected and reborn. Therefore, all the crimes the state has committed, V's more public actions, the reaction of the people and death itself, are stripped of consequence. And I don't for one minute buy the idea that somehow armed soldiers with no leadership backing them up and tossed into confusion don't open fire on a faceless and agreesive crowd of look-alikes heading straight for them with uncertain intentions.

The ethical value behind V's methods is no longer questionned, not is the human cost. Via cheap emotional manipulation, we're supposed to sympathise with him no matter what. The whole thing turns into an idealist piece of proganda. Even Alan Moore, who was idealistic as he wrote the book, did not shy away from the human realities of order crumbling. He made us come to the interesting question of which was truly preferable: Anarchy or fascism, but didn't try to force a position onto us.
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PostPosted: Tue Mar 21, 2006 1:58 am    Post subject: Reply with quote

dhex wrote:
it's not like 1984 though.

I found it very hard not to draw a tenuous comparison, if only on a very superficial level.

I saw the movie last night, and was pleasently surprised that it didn't suck as much as I had expected. I suppose taking a pre-established license put a reign on the Wachowskis' masturbatory self-indulgence and actually forced them to not bore the audience with banal, psuedo-mystic CRAP. Not to say that the movie was perfect--I was rather irritated that they left a certain (what I felt to be crucial) scene out of the ending, but as it could have been so much worse on the whole, I don't feel too cheated.
I was pretty disappointed as well at the Wachowskis' decision to translate the events that led to a fascist England in the comic into the aftermath of the present day's 'War on Terror' for the movie. Granted, I'm sure it will be many, many years before any media concerned with any sort of political extremism can be looked at in a neutral context, but that doesn't mean it's acceptable to milk the present situation for all it's worth. I mean, Christ, we KNOW there's a goddamn 'war' going on right now, you don't have to keep slapping it in our faces.

simplicio wrote:
I don't really remember it trying to get too deep on me. Bear in mind it was written in the mid 80s; I can't think of anything else that was subverting the medium during that time.

There's always Miller's The Dark Knight Returns. That was the first comic I had ever read that convinved me that traditional superhero comics didn't have to suck by default. I always thought that DC's line was pretty weak, but the Batman always interested me, and Miller made him compelling in a way I'd never really imagined. Plus, watching the Batman put namby-pamby Superman in his place was just icing on the cake.


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PostPosted: Tue Mar 21, 2006 2:00 am    Post subject: Reply with quote

Greatsaintlouis wrote:
I suppose taking a pre-established license put a reign on the Wachowskis' masturbatory self-indulgence and actually forced them to not bore the audience with banal, psuedo-mystic CRAP.
Just like the first Matrix! learn to become invisible
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PostPosted: Tue Mar 21, 2006 2:09 am    Post subject: Reply with quote

I didn't mind the first Matrix too much because it was relatively new and fresh--for a bastard child/ripoff of Ghost in the Shell and Neuromancer. I think I would love the movie a lot more if it were the only one in the series, but after seeing Reloaded, I lost all faith in the Wachowskis and the franchise. I have yet to watch Revolutions; I know that I ought to finish out the trilogy but I can't quite make myself feel that masochistic. I know if I were faced with, say, Matrix Revolutions or The DaVinci Code, I'd definitely watch Matrix, but I don't know anybody cruel enough to force that decision on my.

I did, however, enjoy The Animatrix.


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PostPosted: Tue Mar 21, 2006 2:09 am    Post subject: Reply with quote

dark steve wrote:
Greatsaintlouis wrote:
I suppose taking a pre-established license put a reign on the Wachowskis' masturbatory self-indulgence and actually forced them to not bore the audience with banal, psuedo-mystic CRAP.
Just like the first Matrix! learn to become invisible

And even then, that movie was pretty worthless as a philosophical basis, not to mention the inconguities and actions which make little sense.

Am I the only who finds the directorial skills of the Wachowskis unimpressive? This also applies to V, what with it being directed by their protégé, but it just looks like they always pick the camera shots and angles which try to look cool, but really aren't.

The movie has so many incongruities and ridiculously convenient plot points, it's pretty laughable. I didn't care much for the British stereotypes eithers. It really is just the Wachowskis trying to bash their points into your skull, yet again.

That said, I liked Hugo Weaving's performance. It's just a shame he had such bad lines and scenes to work with. I could enjoy the film as long as I forced myself to not remember I was having my intelligence liberally insulted. Which is kind of the same approach I took with the Matrix movies, come to think of it.
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PostPosted: Tue Mar 21, 2006 2:14 am    Post subject: Reply with quote

Hugo Weaving constantly impresses me. He's such a versatile actor, and his range of accents and voices is absolutely incredible.

And on British stereotypes, I found the liberal use of 'bollocks' as a substitute for 'fuck' to be endlessly hilarious. I think the MPAA should make that substitution a new requirement for all films made or shown in America.


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PostPosted: Tue Mar 21, 2006 2:15 am    Post subject: Reply with quote

Greatsaintlouis wrote:
I didn't mind the first Matrix too much because it was relatively new and fresh--for a bastard child/ripoff of Ghost in the Shell and Neuromancer.
It had a lot of GITS in it, true, but it was mostly The Invisibles stripped of any sort of meaningful context or texture, which is weirdly appropriate for a hollywood-style rendition. You can storyboard practically the entire film from individual panels in the first arc. It's a shame they didn't stick to the source for the other two films, they might have had something.
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PostPosted: Tue Mar 21, 2006 2:49 am    Post subject: Reply with quote

I'm afraid I don't see as much of the invisbles in the matrix as you do. Maybe I need to revisit the comics and thee movie again, but after all that I've heard over the years I'm afraid to watch the last two movies or even the first one again. I liked it enough the first time around (stylish action, explosions, and a plot that isn't boring is pretty much all I ask from a Hollywood action film).

The animatrix was good for the most part.
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PostPosted: Tue Mar 21, 2006 2:52 am    Post subject: Reply with quote

Dracko wrote:
Am I the only who finds the directorial skills of the Wachowskis unimpressive?

Do you remember the end of Matrix Revolutions, where the last shot is of the sun setting?

Yeah, fuck those guys. It's not just unimpressive. It's insulting.
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PostPosted: Tue Mar 21, 2006 3:18 am    Post subject: Reply with quote

also, the wachowskis made a script for a plasticman movie. I read an excerpt I saw online, and I can only hope it's never made.
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PostPosted: Tue Mar 21, 2006 8:07 am    Post subject: Reply with quote

i'm not sure i see much hayek in v for vendetta.

Quote:
I found it very hard not to draw a tenuous comparison, if only on a very superficial level.


nobody fights back in 1984. there's no preoccupation with language. in 1984 the resistance is both imaginary and inconsequential. in v it's entirely both imaginary and deeply consequential, as you would expect from someone coming from the western occult tradition.
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PostPosted: Thu Mar 23, 2006 10:22 am    Post subject: Reply with quote

I finished "Real Ultimate Power, The Official Ninja Book" by Robert Hamburger. It was given to me as a gift, and to fill in some time I decided to read it. The sad thing is, it's quite funny, but not only that it's also pretty sad. It's really about escapism for a very troubled young kid who fills in all of his pains with Ninjas and false "best friends" because he is possibly stunted socially and psychologically. It might be reading a little bit to much into it, but the footnotes in the book point the reader in that direction.

An autobiographical story that is actually quite competent. Weather it is real or not, doesn't really matter. I am just shocked that it was such a good read. It was short and full of some really stupid humor (for the l33t crowd), but the rest of the book really had something.
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PostPosted: Thu Mar 23, 2006 8:59 pm    Post subject: Reply with quote

paul auster is far better than i thought he'd be.
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PostPosted: Thu Mar 23, 2006 10:03 pm    Post subject: Reply with quote

it is a shame underdogs is down.

they host a scan of the brilliant comic book graphicnovelization of city of glass.
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PostPosted: Fri Mar 24, 2006 8:44 am    Post subject: Reply with quote

dessgeega wrote:
they host a scan of the brilliant comic book graphicnovelization of city of glass.

They also host the manual for Snatcher!
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PostPosted: Sat Mar 25, 2006 3:06 pm    Post subject: Reply with quote

dhex wrote:
nobody fights back in 1984. there's no preoccupation with language. in 1984 the resistance is both imaginary and inconsequential. in v it's entirely both imaginary and deeply consequential, as you would expect from someone coming from the western occult tradition.

That's why I qualified my comparison with "if Winston had more balls." I believe he DOES make an attempt to fight back in 1984, at least as much as he knows how. Of course, he does it in a cowardly and secretive manner that really does not a lick of good for anybody in the end, but I attribute to the very flawed (yet all the more human) Winston rather than the oppressive government within which he resides.

I suppose that was the major basis of my comparison--not so much the characters, but just the oppressive worlds in which both Vendetta and 1984 were set. Granted, the citizens in Vendetta are granted much greater amounts of personal freedom, but it's not difficult to imagine 1984's world as that of Vendetta 20 years later.
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PostPosted: Sat Mar 25, 2006 3:52 pm    Post subject: Reply with quote

i don't think winston is cowardly. he's human. we'd all break eventually.

v is a great story - the prison note is brutally raw - but it's not the same kind of allegory.
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PostPosted: Tue Apr 04, 2006 9:38 am    Post subject: Reply with quote

confessions of a mask is fucking awesome.

sergei: you must read black spring by henry miller. the similarities are creepy. they apparently corresponded through the guy who was running new directions for a while.
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PostPosted: Tue Apr 04, 2006 11:44 am    Post subject: Reply with quote

I finished The Sound of Waves. That entry does not entail that I finished "The Sailor" which was fantastic. I also picked up Confessions of a Mask and the first three books in Sea of Fertility.

Currently I am reading Do Androids Dream of Electric Sheep. It is very good, and has much more relation to Blade Runner than I had been led to belive. Also, I see more connections with Snatcher in this than with BR the movie now that I am reading it.

I also figured out why P.K. Dick sold poorly while he was alive: he can't title a book for crap.
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PostPosted: Tue Apr 04, 2006 12:24 pm    Post subject: Reply with quote

God!

So my unceasing recommendations are finally paying off. I now have both Shaper and dhex reading Mishima.

And I've always liked PKD's titles.

I'll discuss both topics at more length when I am not as sleep deprived as I am now.
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PostPosted: Tue Apr 04, 2006 12:30 pm    Post subject: Reply with quote

You know what's strange about Mishima? This.

And apparently he's one of the human statues in Black Lizard.
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PostPosted: Tue Apr 04, 2006 12:35 pm    Post subject: Reply with quote

Fukasaku and Mishima were apparently on very good terms and Mishima was a big fan of yakuza movies.

He even starred in this.



Which has one of the most ridiculous lines ever spoken by an introverted novelist.

"Ore ka? Ore wa yakuza sa!" (Me? I'm a yakuza!)

Edit: I thought that dark was linking to Black Lizard. My mistake. And I don't know if you've seen it, but it's not a very good movie despite having Takashi Shimura in it. The greatest thing about it is watching Mishima play a role that he's utterly unsuited for.
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PostPosted: Tue Apr 04, 2006 1:41 pm    Post subject: Reply with quote

Mike!

I'd certainly like to read Black Spring; I'd prefer if you'd lend me a copy.

I had no idea that Mishima and Miller corresponded. It seems strange as they are very different writers. Though I've read very little Miller, perhaps I need to give him more of a chance.

I've also discoverd just now that Miller has actually written a book called "Reflections on the Death of Yukio Mishima," which seems to be very rare. Now I'm definitely curious.
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PostPosted: Tue Apr 04, 2006 1:59 pm    Post subject: Reply with quote

Seryogin... I realised just how fitting your avatar is now. Even thought it was fairly randomly picked at the time... I mean, hell. I can't imagine you with out it now. Also, this is relevant to the thread.
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PostPosted: Tue Apr 04, 2006 2:08 pm    Post subject: Reply with quote

You know, I've always wondered where the hell it's from? I mean, you assigned it to me one day and I never bothered to change it, plus I liked it anyway.

And how is it relevant?
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PostPosted: Tue Apr 04, 2006 2:18 pm    Post subject: Reply with quote

It is from Goemon for the NES. Also... Japan, fields, you. It just works.
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PostPosted: Tue Apr 04, 2006 2:20 pm    Post subject: Reply with quote

1) i will loan you one of my many copies of black spring.
2) i just found a copy of that miller book on mishima on half.com. i'll give it a shot and see what the deal is. (it's quite possible that like with other books on other authors, hank just talks about himself)
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PostPosted: Tue Apr 04, 2006 7:14 pm    Post subject: Reply with quote

dhex wrote:
i just found a copy of that miller book on mishima on half.com. i'll give it a shot and see what the deal is. (it's quite possible that like with other books on other authors, hank just talks about himself)


Yeah, that's about how it went with that book he did on Rimbaud. What's this book he did on this Mishima guy called? I love hearing about different authors pollinating ideas with each other, through correspondence and book length character studies and such.

I think lots of writers have come in contact with Miller in some way. I believe Hunter S. Thompson moved to Big Sur (area along Cali coast Miller lived at during 60s/70s) at one point, just to be close to him.
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PostPosted: Sat Apr 08, 2006 9:24 pm    Post subject: Reply with quote

Seryogin: I recently found a copy of The Sailor Who Fell From Grace With The Sea at a local bookstore and purchased it in a two-for-the-price-of-one deal with a collection of F. Scott Fitzgerald shorts. I shall begin reading it (in the hopes that it will redeem the frankly unpalatable stories from Death in Midsummer) as soon as I'm finished with my current undertaking, all five books of Roger Zelazny's Amber chronicles. I'm on book two, The Guns Of Avalon, and I must say I'm really, really enjoying the series. I never thought the combination of hardboiled narration, high fantasy, and a very basic (though magically appropriated) allusion to quantum physics could ever remotely work, but it does in the most enjoyable manner. Highly recommended.

By the by, did my package ever arrive? If not, we must begin negotiations for a replacement at once! The Gibson book won't be terribly hard to reaquire as the local Goodwill ALWAYS seems to have a copy in stock, but I'll have to do a bit of scouting to get Domu--no worries, though.
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PostPosted: Sun Apr 09, 2006 6:04 am    Post subject: Reply with quote

Sadly those vile dogs at the US Post Office have somehow hoarded your package for themselves. So no I have yet to receive it.
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PostPosted: Sun Apr 09, 2006 11:39 am    Post subject: Reply with quote

I finished "Do Androids Dream of Electric Sheep" and I liked it. I feel that the ending was fairly weak (with Mercer fusion), but the rest is really excellent.

The first half or so is basically Blade Runner. Then when Decker gets to the Opera house the book really fucks with your head and this is where Blade Runner stopped being a PK Dick movie.

Honestly the part where Decker gets arrested at the Opera House blew my mind. I was trying really hard to put the peices together and figuring out what the hell was going on. Unfortunatly the book goes a little down hill and is fairly anticlamactic after that, but still.

I read the first chapter of Confessions of a Mask after I finished it, and I don't know if it was the time of night or the whiskey sour, but it seemed heavy handed and the train of though that you have to follow is a winding path of confusion. I hope that it gets a little more organised after this (as in, I hope this is a set up). Then again, I could have just been expecting to be blown away like The Sailor (which will probably never happen in the first chapter of a book ever again). Thinking back, the first chapter of The Sound of Waves is a throw away chapter too.
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PostPosted: Sun Apr 09, 2006 1:14 pm    Post subject: Reply with quote

I first read Confessions of a Mask in teh Russian and I'll have to admit that the Russian translation is much superior to the English. Still, Confessions of a Mask is a very interesting book.

I told you Shaper to not expect the mind-blowing goodness of "The Sailor." Mishima wrote Confessions of a Mask when he was twenty-one and his second novel. And, well, it isn't going to be a set-up. That's all there is to it. It's just a curious look into the mind of a strange young man. There are some very good moments coming up, especially after the war starts.
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PostPosted: Sun Apr 09, 2006 6:19 pm    Post subject: Reply with quote

So, I figured out the subtitle of Confessions of a Mask: The first live journal of a gay man.

Also, dhex, do you know about The Sailor Who Fell From Grace With the Sea? Because, I kind of wish I had read this first. Well, perhaps not, I might not have read THe Sailor then.
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PostPosted: Sun Apr 09, 2006 6:36 pm    Post subject: Reply with quote

i haven't read that yet. i'm going to go find it.

see, i have this plan where i'm going to allow our natural tendency to horde books in my household to force television right out the window.

i call it "plan a"
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PostPosted: Sun Apr 09, 2006 7:09 pm    Post subject: Reply with quote

dhex wrote:
i haven't read that yet. i'm going to go find it.

see, i have this plan where i'm going to allow our natural tendency to horde books in my household to force television right out the window.

i call it "plan a"

That is a solid plan. I have not had TV since mid Januaray, and the longer I am away from it the less I miss it. I do kind of wish I had a nice radio for the news or something.

I am kind of getting irritated by the fact that there is no way in hell that my wife will give up TV. I feel like I get quite a bit accomplished outside of work, but as soon as I go back to St. Louis I know that I am going to get stuck in the rut of watching TV. Mainly because if TV is on then I am forced to watch it (I don't know why, I just... have to watch it if it is on). If I leave the room my wife will get pissed off. She studies with the TV on in her computer room. I have no idea what-so-ever how she manages to get anything accomplished while she has the tv on, let alone, get as much done as she does.

Also, it dosen't help that Sara won't read. She "dosen't enjoy it" for some reason. YET! she has read all the Harry Potter novels at least twice (some more) and she read Memoriors of a Ginsha. How the hell do you convince someone who was brought up in a home that shunned reading that reading is fun? EDIT: Or that there are good books out there that have never been turned into movies?
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PostPosted: Sun Apr 09, 2006 8:51 pm    Post subject: Reply with quote

The last time I watched TV was my daily douse of Detective Conan and then I lost interest. That was two years ago. I still ocassionaly see television, but that's only because my father is constantly watching the Russian channels.

And I shall not stand for any more insults of Confessions of a Mask. I demand that Mike say something good about it now.
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