…softball with Mattingly and Canseco…Ken Griffey’s grotesquely swollen jaw…Steve Sax’s run -in with the law…we’re talking Homer…Ozzie and The Straw.
In honor of Opening Day 2015 I thought I would take a trip down memory lane. As much as my yearly fantasy baseball league helps me stay in tune with the crop of current stars (Kershaw and Kluber – I bow down to yee…but you will never replace in my mind Greg Maddux or John Smoltz)…they’ll never compare to the memories of watching the stars of my youth…like those who appeared on the greatest episode of The Simpsons ever where Mr. Burns attempted to build an unbeatable softball team. Ahh, I miss those halcyon days of steroids and other recreational drug use (cough cough Doc Gooden and The Straw)…of battery throwing (I still hate you JD Drew!) and Bash Brothers.
With a looming getaway to Chicago and tickets to this year’s July 4th game at Wrigley Field secured, I’ll be able to chalk another park off my bucket list. Here’s a run down of my fields of dreams where I have spectated over the years (complete with slightly exaggerated “memories” and vignettes to accompany them)… Continue reading →
“There are stories the man recites quietly into the room which slip from level to level like a hawk…She entered the story knowing she would emerge from it feeling she had been immersed in the lives of others, in plots that stretched back twenty years, her body full of sentences and moments, as if awaking from sleep with heaviness caused by unremembered dreams.” – Michael Ondaatje, The English Patient
The desert of the mind is a seductive place.
At age sixteen he was just beginning to learn of the world. There were things beyond…art houses in the city where stories from foreign lands and birthed in independence flickered in the animated darkness before communities of the willing. Amongst the suburban sprawl of his homeland across the river, the purveyors of these urban establishments spawned a megaplex like no other where established fare mingled with independent films and cross continental tongues whispered hotly in the darkness of small air-conditioned screening rooms smartly furnished. It was here his parents took him one night to see The English Patient.
Closing in on his 34th year on this earth and looking back (somehow having circled back to this suburban sprawl now naming a spot his adjacent to that very megaplex which has passed through as many hands as he has homes), he longs for those innocent days…that wonder of experiencing something on-screen he had never experienced before – a painterly, carefully constructed, flawed and blistering work of art splashed across a silver screen. A romance with the cinema was born then as he watched the elliptical tale of human frailty and survival against the backdrop of the world’s greatest war.
Traversing the Treacherous Geography of Childhood in Lady in White
Do you see what I see?
Frank LaLoggia’s forgotten classic from 1988, Lady in White, opens with a Stephen King-style novelist returning to his hometown of Willowpoint to visit a gravesite. From there we’re whisked back to 1962 when our protagonist Frankie Scarlatti was 10 years-old living with his widowed father and smart-aleck older brother. One fateful Halloween, a couple of childhood chums play a prank and lock poor Frankie in the coat closet at school where he must brave the night cold and alone. There he witnesses the mysterious ghost of a little girl act out her murder – and from there young Frankie becomes determined to help the ghost find peace, uncover the identity of the town’s serial child killer and solve the mystery of the town legend of The Lady of White (which is somehow connected to the killings).
The ghost hums the eerily nostalgic Bing Crosby tune, “Did You Ever See a Dream Walking?” – the killer’s favorite – and the song is used as a powerful motif throughout the film. Continue reading →
My favorite piece of short fiction to appear in The New Yorker last year was hands-down Michael Ondaatje’s The Cat’s Table – a poignant and evocative piece about an eleven year-old Sri Lankan boy’s coming of age on the high seas while sailing on a rowdy cruise ship (The Oronsay) to boarding school in England.
I was overjoyed to discover it was part of a larger novel released in October of last year. I was puzzled to find the story that appeared in The New Yorker was not a straight excerpt and had instead been parsed and elaborated on in long form during the first half of the novel of the same name. In this extended tale, the full twenty-one days of the early 1950’s voyage are realized and a parade of new characters traverses the decks.
The Cat’s Table refers to the not-so-enviable table in the back of the dining room where the young boy (Michael) sat along with two other boys (the wild Cassius and the sickly Ramadhin) and a rag-tag team of adults including a jazzy wisdom-spewing washed-up musician (Mr. Mazappa) and a mysteriously quiet English bird-lady (Miss Lasqueti). The unsupervised trio of rascals have the run of the ship, exploring every nook and cranny and soaking up every story and incident from the revolving door of worldly adults in the their midst. Mystery and adventure, but also misfortune and melancholy soak the ship as it heads half-way across the globe touching on Asia, the Middle East and the Mediterranean. Continue reading →
The Tree of Life - Submerging memories through film.
Still awash in fresh memories of Terrence Malick’s The Tree of Life, I watched for the first time Andrei Tarkovsky’s 1975 film The Mirror. The problem I’ve had with Tarkovsky films in the past (especially Stalker, which I found tedious and nearly impenetrable though certain moments and images have stubbornly stuck with me) is that I feel like you need an advanced degree in Russian history to understand the context and symbolism. With Malick’s film, however, illuminating the way, I found Tarkovsky’s The Mirror to be deeply rewarding on multiple levels, and it emerged as an unforgettable cinematic experience deserving of repeated views.
The two films are strikingly similar: deeply personal, semi-autobiographical, supplemented by other art forms (classical music is used exquisitely in both, while The Mirror also drew upon original poetry) and constructed in a stream-of-consciousness style made to evoke dreams and memories. Both films are deeply rooted in the childhoods of their makers. Continue reading →
Like an Andrew Wyeth painting come to life, Malick's obsession with open doors and windows conjures myth and memories.
Nature is a cruel and unforgiving mistress.
Over time, man has conjured God to tame her and give reason and order to the random chaos.
In present day, a man named Jack (Sean Penn) wanders listlessly through a cold, sterile metropolis where success is measured by wealth and excess. On the anniversary of his brother’s death, a call to his father triggers an ocean of memories to come rushing over him. Distracted, he daydreams and wonders about the meaning of life and why his brother had to be taken from him. Was it because of the bad things he did as a child? Was it a failure on the part of his parents? Is it because his God is a mysterious and unknowable power that snuffs out life as easily as it gives it away? Is this why he has become so misguided and empty today? Jack imagines his childhood bookended by the beginning and end of time, where writer/director Terrence Malick’s meta-narrative provides a linear mirror image to Weerasethakul’s cosmic cycling from Uncle Boonmee Who Can Recall His Past Lives. Memories and dreams fuel both films, but The Tree of Life cuts through time like a knife. Continue reading →