--C.S. Lewis, The Weight of Glory
Thursday, December 26, 2013
Wednesday, December 25, 2013
Tuesday, December 24, 2013
In hell, there are only two choices of games to play: Uno and, of course, Candy Land (the two games we offer to children to teach them hopelessness and their mechanistic place in a deterministic universe).
This is a strong argument against atheism. After all, what if I'm right?
I mean, Candy Land, for God's sake.
Monday, December 23, 2013
Saturday, December 21, 2013
Friday, December 20, 2013
Having spent a fair amount of time with Lorde's Pure Heroine album, I'm no longer certain that I am hearing something from the millenial generation, as I am hearing something from the end of the millenials. This may be the voice of a new group altogether, one that understands want, loss, and pain.
In that sense, the album speaks in a voice of retrograde populism that is familiar to anyone growing up in the late 70s and early 80s (We of the generic products. We of the single mothers whose asshole ex-husbands rarely bothered to pay child support. We of the gas crisis. We of the layoff, the corporate buyout and sellout.). I find it interesting that those who grow up with want lean towards a more romantic philosophy (witness Stephen Crane's cruel but funny send up of the working poor's love of melodrama in Maggie, Girl of the Streets), while those that have been comfortable have this ugly tendency towards a dull, mechanical, and hopelessly inhuman realism.
Those with pain have hope. Those without pain, cry, pout, and act petulant.
Maybe we're post-millenial. Maybe its because she's from New Zealand. I haven't been there since the late 80s, so I don't know what the economy is like currently, though the more distinct and explicit class divide familiar in more Northern European culture was definitely present in the general mood of the people that I met at the time.
Whatever is the case, I hear the "fuck what you value" attitude of punk, the despairing, but desperately enduring romance of "Livin' on a Prayer" or Springsteen in Lorde, even if her style is so completely different.
There's a more pure image of and assumption of violence here in her imagery as well, one that is familiar and strangely comforting to me. I love the image of the shirtless boy grinning and laughing after having spit blood in the mirror in the "Royals" video. I've looked in that mirror before.
We mean it, but I promise we aren't mean.
Delicate in every way but one (the swordplay).
God knows we like archaic kinds of fun (the old way).
Chance is the only game I play with, baby,
We let our battles choose us.
--Lorde, "Glory and Gore"
Thursday, December 19, 2013
Wednesday, December 18, 2013
"Tennis Court" is awfully good, too. Still listening to the full album, but I remain impressed by what she seems to be communicating.
Plus, her eye makeup is always amazing.
Monday, December 16, 2013
I've seen her perform twice. Once with my beloved Wonderstuff, who are, of course, nothing like her at all.
Watching Siouxsie dance in "Kiss Them for Me" is a gorgeously horrific thing.
Sunday, December 15, 2013
Wednesday, December 11, 2013
I was never the biggest kid. I was never the strongest, the fastest, the best co-ordinated. The only physical aptitude that I possess is probably not all that physical in nature at all. It's more a matter of willfulness. I could endure.
Taking a beating builds character, I guess.
Persevere, persevere, persevere.
I can bleed. I totally know how.
Tuesday, December 10, 2013
Friday, December 6, 2013
Not the most unique of observations or the most profound of pieces, but I've been driven to distraction this week. I'm half in reality and half... somewhere.
I am in the mood to eat someone's heart, though. I haven't done that for awhile.