What is it about the anxiety of possibility and the possibility of creative work that seems so inherently linked? As we’ve seen, this is where Lerner’s poet (and Leaving the Atocha Station) arrives at lyricism. The poet’s fear of not understanding—but wanting to appear as though he’s understood—results in these beautiful, roving chords of possible meanings. But because the possibilities can’t all simultaneously be true, the only way to capture them (or gesture toward capturing them) is to move toward the hypothetical, the subjunctive—in other words, to turn toward language, to speak them.
Do we remember Diogenes of Sinope? Diogenes—the Greek cynic who famously wandered around holding a lantern up to all the men he passed in the marketplace, asking them, “Hey, are you full of shit?” Yes? We remember this? Good. Because that’s essentially the plot of A Girl Walks Home Alone at Night (Vice Films, 2014), only we’re in “Bad City,” Iran and it’s always nighttime and Diogenes has been recast as a vampire, and she—the titular “Girl” (Sheila Vand)—is dope as hell.
by Elizabeth Dickey
In 2012, Tom and Ray Magliozzi—also known as Click and Clack, the Tappet Brothers—stopped recording new episodes of Car Talk. But by recording things, the past can play forever on loop, its actions or words unfurling as though for the first time, even when they are well past their original expiration dates.
* by Elizabeth Dickey *
… little did I know the north half of Ann Arbor would be entirely at my optical disposal. Think Rear Window, but on a larger scale.