I started writing yet another reflective essay about how I'm not writing the way I wish I were writing. I decided a free verse poem would be more compact -- thus, this column of thought.
If recovering from discombobulation is like swimming from the depths of the sea to a beach, then daring to become "more" might be like climbing a dune! I discovered that my mother is a rip-current and my father is a beach-umbrella -- and neither is what matters most. After playing with insect metaphors TOO MUCH I decided that dragonflies are a better example of transformation than butterflies. Moreover, I can sense that I'm reaching another inflection point in my development and I want to share my insights with everyone.
This post is an update about my perspective on life and my 'Self' but first I want to talk about owls, their eyes, and facial quills. Vision is not solely a function of sight. *** This post is quickly becoming an opus for ‘nonlinearity’. A falcon is a raptor but so is an owl... differently. My brain is sneaky-soft-nonlinear rather than wind-whipping-target-sticking linear.
"Is that the church of 'Popeye The Sailor Man'?" asked my musician friend. "It is, now," I replied, winking. I stopped wearing it when I returned to Michigan from Maryland, placing it on a 'reef' of polished stones. My efforts to settle in the Washington area faltered; I’d obviously reached the point of contemplating my path anew. I didn’t want to continue displaying the anchor without understanding what it means to me now.
I can summarize for clarity's sake. "The Empire Strikes Back" was a film with energy that starts high, gets higher, and leads Luke into crippling failure to set-up the next film. Rey's rise is meteoric and that is good because we need to be surprised but it would have been more interesting if she over-shot the mark and, for example, compromised the hull of a spaceship while she calibrated her powers (*wink*). "The Last Jedi" is enjoyable, and I will see the next film, but the writers/directors missed opportunities with Rey.
I begin with a parable: Two sh'baab (young fellows*) boosted a $77,000 automobile. One was impoverished and planned to benefit from chopping the car for parts, the other came for the adventure of stealing and driving. They were apprehended with no damage done to the vehicle. By miraculous luck, the two were brought before the… Continue reading ‘Parable of the Crime Duos’ & Comments on a SCOTUS Nominee
Olaf is 'fully character' and 'fully symbol' from the moment that Anna, Christoph, and Sven hear his voice. Elsa's dormant playfulness is awake -- and much more. The preceding animation features panoramic, crystalline winter beauty -- frozen waterfalls, glitter encrusted willows -- causing Anna to declare "I never knew that winter could be so beautiful." Olaf enters with vivid color suggestions; his antics are rife with comic relief, gags only a snowman could complete, and his song about summer seems to be part of the fun. "I don't know why," says Olaf, "but I've always loved the idea of SUMMER and SUN and all things HOT--" Theatrical improvisers relish 'games' like this one: his character- deal is to obtain something fatal to only him! We're treated to some quality comedy as Olaf's solo absorbs us into a jump-cut-montage of warm environs where snowmen would perish; hilarious! Though it would be an excellent throwaway sequence, Olaf's role in the rest of the movie leads me to believe that his summer-time aspirations are thematically key.