Adam

Journey to the End of the Night

by Adam Hirsch

(The recent DVD release of The Hangover offered the opportunity to remedy the missed chance earlier in the summer for a review.  Also: DVD Christmas gifts!?  Check out Giampaolo’s DVD review of Star Trek here.)


hangover
The Hangover (Dir. Todd Phillips, 2009)

The Hangover is the latest in a long and hallowed collection of film comedies by young and immeasurably irresponsible men, dating all the way back to Preston Sturges by way of Animal House, Caddyshack, and Blazing Saddles, each of which exists as a reminder that maturity is vastly overrated.  In Todd Phillips’ (Road Trip, Old School), latest film, the moment Alan (played the truly indescribable comedian Zach Galifianakis) refers to Dustin Hoffman’s character in Rain Man as a re-tard, it becomes fairly obvious that the list has its latest member. (more…)

Dennis

by Adam Hirsch

dennis

This might belong better in an upcoming Round-Up, but I’ll stick it here, now, because it is an amazing film to watch in the cold winter months.  Kind of a downer, but I’ll follow up with something much more Christmas-y. (more…)


The Return of the (CGI) Native

by Adam Hirsch

avatar

Avatar (Dir. James Cameron, 2009)

All right, I’ll say it.

Avatar might very well be the most deeply racist film made in Hollywood since World War II.  The film functions on the basis of James Cameron’s fetishization of the native and never breaks from that original persuasion.  This is nothing new; the West has long objectified and idealized aboriginal and indigenous populations.  Avatar, however, might be the first major piece of Orientalism put out in the last forty years by an author (read: filmmaker) completely, it seems, unawares.  It’s also, at $230 million dollars, the most expensive film ever made. (more…)


The Tears of Tim Tebow

by Adam Hirsch

tebow

We mainly stick to film here on the Company blog, but I wanted to take a moment to discuss a topic that’s been neglected: football.

Maybe it’s that I’ve spent the last six months watching, reviewing, and all around marinating in college football for Perseverence, or maybe it’s that I’ve been watching games for the past seven hours, but I’m intrigued by tonight’s SEC Championship, which ended with something rarely seen at a football game — tears. (more…)


The Company Round-Up: Best of the 2000s

by Adam Hirsch

EMPTY TRAIN

The ride’s over.

There went the decade, crawling to a slow halt in the station, and now we disembark.  This decade had its ups (college, technology) and downs (war, hurricanes)–and the world of film was no exception.  Filmmaking went in two directions:  Hollywood films ballooned year by year with increasing budgets and frames, culminating with this month’s Avatar, James Cameron’s all-digital $700 million 3D action romp; Independent Cinema moved into inventive territory with uploads to YouTube and low-fi meditations in Neo-neorealism after many Studio Independent Branches that funded indies (for a period, c. 2003-2007) realized that there was no real market where they believed one to be and abandoned the cause.  Still, large theater chains carried more independent films than ever before, and distribution for independent films was bigger than ever with the internet and VOD cable television bringing cinema to places it never could have travelled in the past.

We forget that in 1999, DVDs were seen as the luxury alternative to VHS tapes (as Blu-Ray is to DVD now) and the local video rental store was the general access point to the cinematic world.  But with this decade came the domination of the disc, and Netflix rose with it along the way.  No matter where you live, so long as you have access to the internet and a DVD player, you can watch nearly any film.  Think about that.

This decade was the era of the superhero.  Television rooted itself in its conception of reality, though gradually began to lose itself to the power of the immediacy of the internet.  Just as the remote control killed the traditional nightly television schedule, so did TiVO and iTunes murder watching television on any predetermined schedule at all.

Here’s the Company List for the top films of the Noughties. (more…)


The Company Roundup [Nov. '09]

by Adam Hirsch

andy_curtiss_bulldogging_at_rodeo_postcard

Here are our humble endorsements.

Ordering a ‘Short’ Coffee at Starbucks
It’s kind of like ordering off the secret menu at In and Out Burger.  They don’t offer it in the usual three choices, and since all of us here at the Company prefer good ol’drip coffee to an impressively verbose latte order, the Short is the ideal size for the afternoon kick you need, or if you just want to go and read in peace.  Trust us:  you’ll be cooler than Shackleton’s right hand.  (In addition, thank you, History Channel, for the many late-night Shackleton documentaries.)

Collected Stories by Gabriel García Márquez.
Because great style never ages, and every story is a gem.  Amazingly, Márquez’s short-story output is slim.  Although the book only
has just under 350 pages, it reads fast but goes to brave depths.  Buy a copy and you’ll come back to it again and again for years.  Also, he never uses adverbs — ever.  The man considers them to be cheating.  Go and try to find one.  We dare you.

Eating Dinner Around 8:00 p.m.
And do it with a good group of friends.  Don’t eat in front of the television, and don’t eat something that involves anything to do with a microwave oven.  Crack open a bottle of wine and eat sandwiches for an hour.  It makes life seem that much better.

Uni-Ball Signo 207 Medium Pens.
Black ink preferred.  The ideal writing instrument for anything and everything.  Unpretentious, quick, and easy.

Watching College Football on Saturday Afternoon.
Most people who watch football prefer the NFL to the NCAA (going by a completely unscientific poll).  But there’s an earnestness and, yes, even an innocence that can be found in college football that lacks in the NFL; every single one of those players does it for free and gives their heart to the team simply out of a love for the game.  Although the BCS system is extremely — read: extremely — flawed, most conference games and especially rivalries are worth watching.  Lay on the couch, turn it on, and pick a side.

KitKat Bars.
Gimme a break.  Do you really need a reason?

“Ruby My Dear” by Thelonious Monk
Listen to this song, performed by this man, if you ever wanted to know what falling in love sounds like.


The Great Imitation [Part Three]

by Adam Hirsch

[Whew. So it only took four months to finish this series that began as a basic review of three films, Julie & Julia, G.I. Joe: The Rise of Cobra, and (500) Days of Summer. The earlier posts can be found here and here, respectively.]

iii. — (500) Days of Summer
500 days

(more…)


Simplify Your Life

by Adam Hirsch

I’m torn.

It’s titled “The Most Boring Video In The World” on YouTube, but the truth of the matter is that if it were shown in a video art gallery, we might all consider it brilliant. Not because of its long-winded explanation of my inability to simplify my travel packing habits, but simply because there is nothing like it anywhere else. Anywhere.

(more…)


The Strangest Damned Gang (Wild Things Review, Take III)

by Adam Hirsch

(Notice: Any film that creates a real dialogue about it has really done its job. Matt’s review of Where the Wild Things Are is here. Giampaolo’s review of it is here. Also, I discuss some plot points of the film but try not to spoil anything; however, if you want to see the film fresh, you might want to read this after watching it.)

bonnie

When Bonnie & Clyde opened in 1967, it was heralded as the quintessential baby-boomer film. Even though the subject matter was over thirty years old, and the script was written by a hollywood outsider, and the direction was old school (almost archaic) formalism, everything about it seemed to bear some reflection on the current social and political atmosphere.

Where the Wild Things Are, forty years later, is the new generation’s Bonnie & Clyde.
(more…)


Vivian Maier

by Adam Hirsch

An amazing blog about a recently re-discovered street photographer from the 1950s, Vivian Maier.

http://vivianmaier.blogspot.com/


The Company Round-Up [Oct. '09]

by Adam Hirsch

Here’s the Company roundup of the extra-ordinary floating around the internet.
The Greatest News Story of the Decade That Must Be Made Into a Short Film [LINK]
(Opening sentence: A gay man tried to poison his lesbian neighbours by putting slug poison into their curry after he was accused of kidnapping three-legged cat.)

A Long-Awaited Collaboration Between T-Pain and Carl Sagan

Perhaps The Best Advertising Campaign of The Year



The Company Endorsement – Sept. ’09

by Adam Hirsch

Things to do, things to see, things to read in these last weeks of summer:


Blueberries — Seriously: take advantage of globalization. Fresh blueberries practically year round? They’re sweeter than sugar and are just plain healthy to boot. Try eating just one out of the carton. We dare you.
The New Season of Mad Men on AMC — The best writing, best directing, best art design, and best acting on television comes this time each year and immerses us in New York, 1963. Sunday nights at 10/9c should be staunchly reserved for this amazing, moving series. And this season, they’re getting to cash in on developing some of the most interesting characters for two previous seasons by saying so much with so very little. We are not kidding you: sit down and watch this show.
Zeitoun by Dave Eggers — Okay, okay. We know Dave Eggers is the darling boy, the indie author leafed in gold — but this book is different. It’s not about Dave. It’s about what the horror of Hurricane Katrina looked like on the ground, a book written with details you could never imagine. If you’re an American citizen, you’re morally obliged to read it.
Caipirinhas — The national drink of Brazil. It’s made with cachaca, kind of like rum mixed with vodka, and it’s served at most bars now a days. Imagine the bastard child of a margarita and a mojito, only not served to bloated tourists at a theme bar. That’s the drink you want. For that matter…
Mixed Drinks, Outside — Ideally made at home and consumed on the porch — if you have a balcony, even better. Mixing drinks yourself — mixing them well, we should say — has now become a lost art. Bars and clubs now want $14 for a cocktail. Nine times out of ten, you’re getting ripped off. (Notable exceptions: Le Petite Bistro in Rhinecliff, NY; Drink in Boston, MA; Prohibition Room in Oklahoma City, OK … here, pay up. You won’t be disappointed.) Making them yourself takes craft, patience, and most importantly, charm. If you can tell a great story to someone, beginning it while starting to mix the drink and ending it while serving them the drink, and then imbibe it outdoors — badass does not even begin to describe you. Do it while summer’s still here.

The Great Imitation [Part Two]

by Adam Hirsch

[The following essay began as a review of three movies that came out this past weekend: Julie & Julia, G.I. Joe: The Rise of Cobra and (500) Days of Summer. However, in the middle of watching them, it began spiraling into something much larger. It's in three installments, one for each film. -- AH]

I left off in the last installment by arguing for the existence of a grey area within imitation of an objective art wherein the actual form and procedure of imitation makes everything jell. By “grey area,” I mean to say the subjective portion of the imitative capacity in the work that differs from person to person and action to action. The imitation, when completed in this correct form, becomes new in some way.

(more…)


Peter, Peter, Pumpkin Eater!

by Adam Hirsch

The one inarguable element of Peter Hutton’s work is that you know a Peter Hutton film when you’ve seen one. All of his films share the same aching reminder of beauty that normally comes from landscape painting. I’d argue that his most engaging and beautiful work is Boston Fire — an eight-minute silent film comprised of haunting shots of a huge, burning warehouse on the Boston waterfront. Each shot fades in and out, interspliced with meditative lengths of black leader. But what’s so interesting about Peter is that the process behind the film can many times be as interesting as the film itself.

(more…)


A Reminder.

by Adam Hirsch

Story begins when an event, either by human decision or accident in the universe …



… radically upsets the balance of forces in the protagonist’s life …

… arousing in that character the need to restore the balance of life.





To do so, that character will conceive of what is known as an “Object of Desire,” that which they feel they need to put life back into balance.

They will then go off into their world, into themselves, in the various dimensions of their existence, seeking that Object of Desire trying to restore the balance of life …

… and they will struggle against forces of antagonism that will come from their own inner natures as human beings

… their relationships with other human beings …

… their personal and/or social life, and the physical environment itself.

They may or may not achieve that Object of Desire; they may or may not finally be able to restore their life to a satisfying balance.

That, in the simplest possible way, defines the elements of story – an event that throws life out of balance, the need and desire to restore the balance, and the Object of Desire the character conceives of consciously or unconsciously that they can pursue against the forces of antagonism from all of the levels of their life that they may or may not achieve.
– Robert McKee


The Great Imitation [Part One]

by Adam Hirsch

[The following essay began as a review of three movies that came out this past weekend: Julie & Julia, G.I. Joe: The Rise of Cobra and (500) Days of Summer. However, in the middle of watching them, it began spiraling into something much larger. It's in three installments, one for each film. -- AH]


The thirteenth century monk and Christian mystic Thomas à Kempis closed his magnum opus Imitatio Christi with a savory two-cent piece of advice,

“Remember that lost time does not return.”

And he meant it, too. Kempis worked on his book off and on for nearly a quarter century. He wrote at the tail end of the Middle Ages, just as large reformations were beginning to enter into European dialogue, but his Imitation of Christ, when it published, became the foremost guide to the ideal expression of legitimate sacristy which had been assembled over the previous six hundred years.

Kempis’ book made more of an impact than it would have at any time before thanks to the knowhow of a contemporary of his, Johannes Gutenberg and his spiffy new contraption, the printing press. So the Imitation of Christ was published in a small first printing, and the clergy went about as crazy as a bunch of Trekkies spotting Shatner at a Starbucks. Kempis wrote the quintessential Christian survival guide — this, very literally, became the standard to which you compared yourself to an ideal holy life. Across Europe, the clergy began telling people to act according to the suggestions Kempis structured in his book, not simply in the ways put down in the Bible. It was Kempis’ word — not just those of the Saints — that dictated the road to heaven. It was imitation that would lead you to salvation.





But imitation can be hard to validate. Like the phrase goes, it’s the greatest form of flattery, but flattery is deceptive. Imitation has larceny under its nails; there’s always the desire for recognition pushing people in unusually selfish directions. People may imitate, but do they do it out of ingenuity or cowardice? Most of popular culture results from imitators.

But I pose the question: when does imitation itself become ingenuity?

Cinema answers this question in a number of peculiar ways. Film (and video) is an unusually replicable medium. Formally, it is easy to reproduce — just look at the battle over pirating. But it goes beyond just ripping DVDs. At day’s end, it’s basically the duty of the filmmaker to study the exact techniques of previous directors, writers and cinematographers. Film School is set up to facilitate this: environments are created wherein people are copying the set-ups of shots and exacting the style of another artist. It goes beyond film, as well: art schools have encouraged painters and drawers to sketch the works of greater artists past. Why? Is there something individually unique in this replication?

i. – Julie & Julia
Julie & Julia brings to light the extraordinary genius of Julia Child and her struggle to finish and publish her seminal work, Mastering the Art of French Cooking.

It also covers the repercussions of her work, told in two interweaving narratives: Julia’s life in France and, forty years later, a neurotic writer-to-be living in New York named Julie who decides to spend a year cooking her way through Mastering the Art, write a blog about it, and inexplicably spends every single evening drinking several martinis without any dire effects. Meryl Streep, as always, is impeccable as Julia Child and Amy Adams is great as Julie. Although they both are extremely empathetic protagonists, it’s Julia who always manages to be the one in power. Julia draws meaning from life out of excellence; Julie draws meaning out of life from the replication of Julia’s excellence.


Which leads us to what’s most provocative about the film. Cooking, arguably, is an art in its own right, and not just by using the word in a colloquial throw-around. There is a strict discipline to it. And unlike all other mediums, there is such a thing as a cookbook. Yes, there are guidebooks and textbooks for other art forms. There are page-by-page, step-by-step instructions from everything from abstract painting and ballet to watercolors and bas-printing. There are manuals for film and there’s even a “cookbook” for techniques on making avant-garde, handcrafted graphic films. However, the difference between these guidebooks

and gastronomic cookbooks — Child’s in particular — is that the former insist on the individual taking the lessons and making something new and unique; the latter asks that the cook follow the directions in order to produce a standard form of a dish.


Mastering the Art of French Cooking means that there must be great discipline involved in order to aspire to the gastronomic results. French cooking has a preset, standard number of dishes and to learn them or even cook them is to aspire to the objective art.[1] The gastronomic cookbooks means that following its directions will give you an exact replica of the objective delight that has been previously considered. More than this, in following the directions, your creation is just as much a work of art as the original was in the first place.

This very notion of objectivity is called into question in the last act of the film, though. Julie is now, thanks to her blog, getting attention and even a write up in the New York Times. However, a reporter from the Christian Science Monitor, over the phone, informs Julie that Julia Child — when told about the blog — disapproves of what Julie’s doing. She believes that it is not “respectful” enough.

Her disapproval signals the grey area in the imitation/innovation debate. Julia Child disapproved of the blog because of what she thought was, “a lack of respect for the food”. This is the grey area of the objectivity of the “art” of following the cookbook. Yes, there is an art to it, but one must follow unwritten protocol in the imitation to get there.
_________________________________________________
[1] Your author did, in fact, cook the Boeuf Bourguinon, which was, in fact, mind-fuckingly good. Your author wishes to add that he is not even a decent cook and, as such, followed the directions set down by Julia Child to their last exacting measure. The result was, surprisingly, someone with no background in slow cooking or French cuisine managed to crank out an exquisite dinner for himself and his girlfriend that seemed almost too good to be true.
Today’s food movement codifies cooking to a centrally capitalist system: you need to cook in 30 minutes or less because of work*; you need the Slap Chop because slicing a carrot is too tiring and innovation is (is!) required. What Child’s cookbook, as well as all cookbooks written prior to, from your author’s limited research of his mother and grandmother’s cookbooks, 1970 all contain the outdated notion that cooking is a transcendent and ancient practice. This concept of cooking as a gathering process stopped as a result of both sociological and technological changes.
Many Americans’ notion of the nuclear family unit changed in the 1970s and after as divorce rates climbed in the US. The previous notion of the “family coming together for dinner” began becoming more and more awkward or dysfunctional. Also, in the 1990s, for many families dinner stopped occurring altogether as athletic practices became more demanding and computer technology became more inviting and intoxicating. On top of this, the introduction of the microwave as well as the proliferation of frozen foods ended the search for fresh ingredients and new recipes. Cooking was portrayed as a chore. Although, indeed, since mass marketing was introduced in the late 1940s (on the full-blown scale) and the archetype of the “beleaguered housewife” (viz. “Mother’s Little Helper” — Jagger/Richards) became the central standard to which everyday lives were compared, the notion of cooking as a part of housework has been compounded with vacuum cleaners and Clorox into our minds. But once large corporations began noticing that quick-cooking was marketable, then slow cuisine began fading away.
_________________________________________________
* This is not to downplay the (already) underrated genius of Rachel Ray. Your author does not blame her or wish to downplay any of her accomplishments. On the contrary, it is because of the outstanding factors of society that the very idea of cooking in a short amount of time has been forced to exist. Ray has done quite a bit in exemplifying an accessible objectivity within cuisine.

The Company Endorsement – Aug. ’09

by Adam Hirsch

For the month of August, we’d like to help you pick out what might help the most.

Riceboy Sleeps by Jónsi & Alex. Yes, it sounds like Sigur Rós, but it’s because they’re actually part of Sigur Rós. The first track, “Happiness,” was on the very hip, very good compilation album Dark Was The Night, and is back here along with some other really great stuff. If you only listen to one track, “Indian Summer” is your best bet. Although there aren’t many vocals, when they do come up they’re hauntingly beautiful.
Cutting Your Own Hair. The first few snips are terrifying, and after that it starts to make you feel unusually cool. But, really, do you need to pay $45 for a haircut? Invest $15 in a pair of scissors, a comb and an electric trimmer and get the job done yourself.
2 or 3 Things I Know About Her on DVD. One of Jean-Luc Godard’s more obtuse films produced in his rather obtuse period in the late Sixties (though still completely enjoyable), it’s out for the first time (legitimately) on DVD from Criterion. It’s a double-edged sword though: New Yorker Films had the rights to it since the sixties, and they only recently went belly-up and were forced to sell the collection. Watch the film at night, with friends, with drinks. It’s a trip.
The Food Network. Unapologetic television that’s not based on any sort of Reality TV modus. Enormous amounts of really nifty information handed out 24 hours a day. Learn how to make badass fish tacos, great rice and a chocolate cake for dinner at 1:00 am. Also, everyone is so happy there you’ll end up hugging yourself.
Everything Ravaged, Everything Burned by Wells Tower. If you have to read one book this summer, let it be this one. A fascinating, engrossing group of short stories that are unlike any that have been written recently.

The Storming of the Brattle!

by Adam Hirsch


One week from today, on July 10, 2009, at the Brattle Theater in Cambridge, Massachusetts, we have been given the extreme honor of hosting the East Coast Premiere of our Senior Thesis films, FAITH HEALER (dir. Adam Hirsch) and BULLSEYE (dir. Matt Paley) for everyone and anyone who wishes to come. And it would make all the difference if you would.

Every step of the way in the production of these films, we’ve concentrated on what’s important to us. This screening means nothing if we don’t have people like you there: people who we’ve known over the years, people who have helped inspire and encourage us.
Next Friday will not have paparazzi, nor will it have any saccharine substitutes for substance or integrity. It will have good people coming together to engage in two meaningful works, and it would be all the more wonderful to see you there.

Now We’re Hep.

by Adam Hirsch

We now — very proudly — would like to announce the launch of our brand-new website, sainteliotandco.com, where our media, contact information, clips and trailers for our films (Faith Healer and Bullseye) and everything else can be found.

(Special hugs and kisses to Shoshi and Paul for holding our hands and taking us through it all.)

J.B.

by Adam Hirsch


The answer lies right in front of us: in the box, under the sheets, at the top of that one particular closet perpetually passed by, year after year, the one location we have forgotten to look. No matter how many times it has occurred in the past, we somehow arrive back to that very same conundrum: how could we not have known?

Voices, eyes. The mark is upon us all — carry the burden of revelation: the gift of realization and deference for the situation. It is because we are human, brief and tame, that we may choose to forget — or not to forget — these persisting and relentless situations. There are, as well, different paths we may take toward this revelation; paths we walk down, criss-crossing as we fall into maps of who to listen to; where to gather the information; whether the testimony is fact or tale; whether we have unwillingly invented myths that will weave us around back to where we did not even realize we began. Which is why the truth about J.B. Fermor will never come down from that top shelf. Too many people have a say in it.

Some of the letters found paper-clipped to the pages of the five volumes of Peterson’s Field Guides (1961: 6th Edition) are signed by Piper – who is Piper?

Maybe she’s just an idea, a whisper; something in the dust; an intruder; the memory of a headache; a blur in the background of a photograph; the sensation of the time that a harmony may bring about. Anything else is speculation.

Everything, though, is speculation.

She was a love; that much can be known. She was not a love poem, she was love. The letters were written because she had to write: thoughts (and, yes, speculation) were not enough. Yet there were impediments in J.B.’s path to her.

Were J.B. and Almajean married in bliss? For a time, I’m sure. But their tale is truly lost to the silent and merciless tale of time. Their own relationship – /re/la/tion/ship/: the duration and venture of their union – can only be known through their separate re-collections and dialogues. They do not always match; they do not always want to coincide. Even their union itself can be called into question.

The most useful Almajean came to be resulted from her donation of the BOX to the search for J.B: the contents of the box are very real.

Piper — she loved him. (Love!) It came off her tongue as a new sensation – something that she tried to mimic in her letters to him. She wanted to carve the air with it. They fell in love in the leanest sense of the word, condensed; humid; without questioning, without doubting; with each other as the only evidence. They did not have the weight of the past as a leveraged interest on their emotions (at least, not yet).

What we feel means nothing: it is only the actions we take as a result of those feelings that mean anything at all.

She wrote the letters. She started coughing more but didn’t mind it; it was only when the fatigue set in that she became scared. Her real name was Regina but everyone called her Piper because she whistled so well. She whistled to him. They were young. But. Then there was the lettering, the lottery, the picking and the placement; but it did not matter to them: he would come back soon enough; he would come back to her.

Everything is speculation.

She coughed once when they made love; he thought it was his weight on her chest.

She coughed more after he left; she coughed more into little squares of cloth she kept in her pockets that she made from the leftover linen she and her mother bought to make the new pillowcases.

She mailed him the doctor’s slip, but that was much later. He had been gone for over a year, then. She didn’t know what to do. Her father told her to pray, but she did not think that prayer had much to do with it (blood on her pillow; Bible in her drawer). Her father was the minister. Her chest felt damp.

She remembers when she went with her mother to buy the pillowcase linen in Ardmore. Her mother drove them in (her mother taught her father to drive, actually): Interstate 44 came after almost an hour on the dust and gravel roads. Dust covered the black car and the gravel knocked them around, pellets hitting the side and undercarriage – very hot, since her mother refused to open the windows (presumably because of the dust), the black leather seats sticking to her thighs; she pulled her dress with the crimson flower prints down, pulled it down and peeled the leather off to put the thin material between – but when they made it to the highway the blacktop smoothed the ride out and it was only another half hour into town.

She remembers this day because, one week later, she wrote about it to J.B. in the first letter she ever sent airmail, overseas. The kale green stamp; runny post office pen chained to the counter; the crisp envelope resisting as she wrote down the address, every line of his name a conscious stroke; looking at the address she kept in her dress pocket. The clerk took the letter from her.

The clerk took the letter from her, half-smiled, and tossed it into the box with all the other letters that were going to the soldiers’ camps.

Later that day they bought the linen and they made it into the pillowcases, and even had enough left over for a sheet. The pillowcases (and the sheet) she took with her to the hospital; the hospital that was in Guthrie; the hospital only three stories tall; the hospital where she wrote the other seventeen letters (mailed) and thirteen notes (given) to J.B. and subsequently paper-clipped into the pages of his copy of Peterson’s Field Guides for safe keeping.


Pale Fire

by Adam Hirsch


Fuel for heavy flames: where there is smoke, there is fire. In the due course of making a film, one wishes for the smoke to act as a sort of calling card, a beacon, a tolling bell in the distance to bring people in and help you from going under and drowning. So may these entries, then, be a form of a smoke signal, bell tower, jazz club and cathedral all in one.