( via via @artistdekooning / via )

Second Chance.

"WILL I MEET YOU SOMETIME?

After three ways in the rain image
when waking your counterimage: he,
the magician. Angels weave you in
the dragonbody. Rings in the way,
long in the rain I become yours.

Ermenonville 1959"

--Unica Zürn

Remembering: the Lojban Creation-Poem.

Don't Look Now is such a deep film, not only for the supreme technique, but also for its evocation of Venice (equalled only by the movie version of Death in Venice). Someday i should write an essay on cities in movies. There's the simple documentary aspect of shooting on location, the plot-functional aspect (which is often faked, sometimes well & sometimes not so well--but the fake can be enjoyable too), & then there's what might be called for want of a better term, the subjective-city aspect. That's a lot of what i get out of the films of Antonioni & early Godard, for example. You know that's exactly what it was like to be there at that point in time, regardless of whatever personal events are being shown. (Fellini's vision of Rome is the opposite, in contrast. He would turn Dallas into the same circus he turns Rome into.) Steppenwolf the movie is very little about Prague--& yet Prague is there. Philadelphia in The Sixth Sense. Maybe a dozen others.

"I hadn’t thought through why I was writing in anagrams, I just suddenly was—and I initially found myself a bit irritated and mystified by this seeming diversion from my “real” poems."