How am I supposed to know what's real?
After a full week without water in the kitchen, the plumber cameth on half an hour's notice from the property manager and was horrified to hear about it, but he was swift and competent and we have a new and working faucet, which was all the problem turned out to be. Hestia made herself invisible in the bedroom throughout the proceedings. I washed a fork without first boiling water and it felt like a big deal.
I just finished reading David Hare's A Map of the World (1983), whose device of examining an interpersonal-political knot through the successive filters of the roman à clef, the screen version, and the memories of the participants reminded me obviously of similar exercises in metafiction and retrospect by Tom Stoppard and Michael Frayn, double-cast for an effect at the end approaching timeslip such as works almost strictly on stage. I did not expect to find some fragments preserved in an episode of The South Bank Show, but there were some of the scenes with Roshan Seth, John Matshikiza, Bill Nighy, Diana Quick. I wish I thought it meant there were a complete broadcast I could watch, but I'm not even finding it got the BBC Radio 3 treatment. More immediately, it reminded me of how many of the stories I read early were about stories, their propagation and mutation, their conventions, their shifting distances from the facts. "And, in time, only the bards knew the truth of it."
The problem with the denaturing of language is that when I say to![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png)
spatch that the political situation is insane, I don't mean it's a little far-fetched, I mean it is driven by wants and processes that are not rational and it is exhausting to be trapped inside someone else's illness.
I just finished reading David Hare's A Map of the World (1983), whose device of examining an interpersonal-political knot through the successive filters of the roman à clef, the screen version, and the memories of the participants reminded me obviously of similar exercises in metafiction and retrospect by Tom Stoppard and Michael Frayn, double-cast for an effect at the end approaching timeslip such as works almost strictly on stage. I did not expect to find some fragments preserved in an episode of The South Bank Show, but there were some of the scenes with Roshan Seth, John Matshikiza, Bill Nighy, Diana Quick. I wish I thought it meant there were a complete broadcast I could watch, but I'm not even finding it got the BBC Radio 3 treatment. More immediately, it reminded me of how many of the stories I read early were about stories, their propagation and mutation, their conventions, their shifting distances from the facts. "And, in time, only the bards knew the truth of it."
The problem with the denaturing of language is that when I say to
spatch that the political situation is insane, I don't mean it's a little far-fetched, I mean it is driven by wants and processes that are not rational and it is exhausting to be trapped inside someone else's illness.
no subject
Thank you! The owners were also useful: at the end of last week with the property manager non-responsive and the sink still out of commission, I wrote to them for help and they must have done something, because we actually can use the sink now. (I wrote back to thank them, obviously.)
It's amazingly exhausting when basics like a working sink go awry.
Yes! All the things that can't be easily done without running water in the same room as the rest of the food prep! All the sudden circuitous running back and forth around the awkward angles of separate rooms! My eating even less at a time when I am already eating too little! Jeez!