Probably my favorite sentence in this post: “[I]t’s one of the only ways to hush the inner clatter of an amateur orchestra, the conductor a person in my head narrating a person in my head narrating a person in my head.” Read it several times, reminded of both Nabokov’s classic line “Reality is one of those words that mean nothing without quotation marks” and John’s “In the beginning was the Word . . . “ Thank you!
Thanks. In truth, it was a clumsy late-night response not just to your latest generous offering, but also to the ugly comment that tried to scold you for your exuberance and complexity as a stylist. Apparently, not everyone realizes you're always writing poetry?
Anyway, here's the Nabokov passage I should have shared in response: "Nature had once produced an Englishman whose domed head had been a hive of words; a man who had only to breathe on any particle of his stupendous vocabulary to have that particle live and expand and throw out tremulous tentacles until it became a complex image with a pulsing brain and correlated limbs." Shakespeare wasn't the only one blessed (or saddled) with a hive of words for a head. Those of us who go around helplessly but happily clothing the world in words, we incorrigible logophiliacs, should support one another whenever we recognize one of our own. :)
Last (with apologies for such a long response): how far back are you going in your study of movie depictions of sex workers? Haven't seen "Anora" (yet) or "Striptease" (maybe never? Heard it wasn't good, and the late-career Burt Reynolds element doesn't bode well, at least not outside of "Boogie Nights"), but as I thought about the topic, I realized that I've taught and even written about a number of films whose treatments of sex work/ers lend themselves well to the discussion: Marlene Dietrich's Lola in "The Blue Angel," the anonymous dancer who so piques Robert Mitchum's preacher in "Night of the Hunter," Constance Towers' Cathy in "Shock Corridor," and Shirley Maclaine's characters in two of Billy Wilder's late films, "The Apartment" and "Irma la Douce." I also have a long article coming out this summer in a journal that includes a brief discussion of the giant sex worker caricature version of Joi that shows up near the end of "Blade Runner 2049." (Actually, the first "Blade Runner" -- with Pris the "basic pleasure model," among others -- also could work.) Lots more possibilities too. Anyway, best wishes with that project, and thanks again for your thoughtful work!
Thank you, Brian, for your kind words and for defending me against the haters. I can’t say I recommend “Striptease” but it’s worth watching for its campiness alone (it’s bad good?), and I’d love to read your forthcoming article! Sounds fascinating. My piece in progress is looking at a specific trope and therefore sticks to just a few pivotal films.
Thank you again, Alison, and I’ll let you know when the BR2049 article is published. Apparently, it’s slated for the Summer ‘25 issue (of Literature Film Quarterly), which probably means this fall. :) In the meantime, I’ll look forward to your work and try to see Anora, at least (about which I’ve heard many good things).
What a pitiful way to spend your time, shitting on something someone put time, energy, and love into. I hope you can find a way to experience life differently ❤️
Probably my favorite sentence in this post: “[I]t’s one of the only ways to hush the inner clatter of an amateur orchestra, the conductor a person in my head narrating a person in my head narrating a person in my head.” Read it several times, reminded of both Nabokov’s classic line “Reality is one of those words that mean nothing without quotation marks” and John’s “In the beginning was the Word . . . “ Thank you!
Wow, I love this comment - thank you so much!
Thanks. In truth, it was a clumsy late-night response not just to your latest generous offering, but also to the ugly comment that tried to scold you for your exuberance and complexity as a stylist. Apparently, not everyone realizes you're always writing poetry?
Anyway, here's the Nabokov passage I should have shared in response: "Nature had once produced an Englishman whose domed head had been a hive of words; a man who had only to breathe on any particle of his stupendous vocabulary to have that particle live and expand and throw out tremulous tentacles until it became a complex image with a pulsing brain and correlated limbs." Shakespeare wasn't the only one blessed (or saddled) with a hive of words for a head. Those of us who go around helplessly but happily clothing the world in words, we incorrigible logophiliacs, should support one another whenever we recognize one of our own. :)
Last (with apologies for such a long response): how far back are you going in your study of movie depictions of sex workers? Haven't seen "Anora" (yet) or "Striptease" (maybe never? Heard it wasn't good, and the late-career Burt Reynolds element doesn't bode well, at least not outside of "Boogie Nights"), but as I thought about the topic, I realized that I've taught and even written about a number of films whose treatments of sex work/ers lend themselves well to the discussion: Marlene Dietrich's Lola in "The Blue Angel," the anonymous dancer who so piques Robert Mitchum's preacher in "Night of the Hunter," Constance Towers' Cathy in "Shock Corridor," and Shirley Maclaine's characters in two of Billy Wilder's late films, "The Apartment" and "Irma la Douce." I also have a long article coming out this summer in a journal that includes a brief discussion of the giant sex worker caricature version of Joi that shows up near the end of "Blade Runner 2049." (Actually, the first "Blade Runner" -- with Pris the "basic pleasure model," among others -- also could work.) Lots more possibilities too. Anyway, best wishes with that project, and thanks again for your thoughtful work!
Thank you, Brian, for your kind words and for defending me against the haters. I can’t say I recommend “Striptease” but it’s worth watching for its campiness alone (it’s bad good?), and I’d love to read your forthcoming article! Sounds fascinating. My piece in progress is looking at a specific trope and therefore sticks to just a few pivotal films.
Thank you again, Alison, and I’ll let you know when the BR2049 article is published. Apparently, it’s slated for the Summer ‘25 issue (of Literature Film Quarterly), which probably means this fall. :) In the meantime, I’ll look forward to your work and try to see Anora, at least (about which I’ve heard many good things).
What a pitiful way to spend your time, shitting on something someone put time, energy, and love into. I hope you can find a way to experience life differently ❤️