The rain will surely win the race

[sovay]

1. I slept about four hours last night. Most of them were taken up with dreaming of children's books in a nonexistent library. I chalk this up to my recent Bellairs binge and a desire to seek out Frances Hardinge, who I believe has slightly more objective reality than the authors I dreamed about. The night before last, asleep for a rare twelve hours in the wake of the pre-Code marathon, I dreamed I was behind deadline on a Lovecraftian script treatment. I woke up and thought, "handful_ofdust . . . ?"

2. Yesterday's primary social engagement: meeting my new Strange Horizons co-editors, ajodasso and rinue, for cake and conversation at the Danish Pastry House. We talked about poetry. We also talked about the folklore of tomatoes and our feelings toward root vegetables of the UK. This thing where we all live within driving or public transit distance of one another is fascinating. We have plans.

3. Vonda McIntyre's The Moon and the Sun (1997) is finally being filmed. I repeat: PETER DINKLAGE PLEASE THANK YOU. (And hey, after Game of Thrones, maybe someone with a bankroll will even agree with me.)

It is pouring rain, steadily and undramatically; I do not foresee doing very much with the next twelve hours besides working and trying to recharge. I would like to be writing, but it's one of those days when I feel like someone erased the inside of my head. Have a Roman shipwreck. I like the shipwright's lost brush, the sailor who dropped his name into the sea. I'd missed the olive stone in Silchester.

Comments

[houseboatonstyx.livejournal.com]

OT, but this perhaps might interest you. By Vachel LIndsay.
http://www.fullbooks.com/The-Art-Of-The-Moving-Picture.html

[sovay]

OT, but this perhaps might interest you.

I'm not even sure I knew this existed!

The cabinet of Caligari is indeed a cabinet, and the feeling of being in a cell, and smothered by all the oppressions of a weary mind, does not desert the spectator for a minute.

The play is more important, technically, than in its subject-matter and mood. It proves in a hundred new ways the resources of the film in making all the inanimate things which, on the spoken stage, cannot act at all, the leading actors in the films. But they need not necessarily act to a diabolical end. An angel could have as well been brought from the cabinet as a murderous somnambulist, and every act of his could have been a work of beneficence and health and healing. I could not help but think that the ancient miracle play of the resurrection of Osiris could have been acted out with similar simple means, with a mummy case and great sarcophagus. The wings of Isis and Nephthys could have been spread over the sky instead of the oppressive walls of the crooked city. Lights instead of shadows could have been made actors and real hieroglyphic inscriptions instead of scrawls.

VACHEL LINDSAY IF YOU HAD DIRECTED A GERMAN EXPRESSIONIST ISIS AND OSIRIS I WOULD HAVE GONE BACK IN TIME TO SEE IT ESPECIALLY IF CONRAD VEIDT WAS INVOLVED HOLY BLAP.

. . . I think I am interested, yes.