Mel Tackles Literature: 2008

Thursday, December 18, 2008

Heavenly shades of night are falling, it's TWILIGHT time...

It's time to talk about...

...Twilight.

Now, I will try to phrase my words as diplomatically as possible. I will try to put my own personal prejudices aside, (remember, I like Gone With The Wind so that should reduce my credibility just a tad), and I will not give away plot to those who are in the middle of reading, or are planning to read it.

I realize that the Twilight craze is a little "so last month," with the release of the movie that did not meet its hyped expectations. It took me about a month, since I had school and what not, but I read all four books in this series. I wanted to get in on that craze and I wanted to find out for myself, "what's the big deal?"

My praises for Stephenie Meyer's series is that she is able to project the crystal-clear picture of a hormonal, post-adolescent girl grappling with normal teenage stuff and the rise of womanhood. This is why so many young girls can relate with the novel's main character, Bella Swan. The writing is convincing enough that you do go through the motions right along with Bella.

(Bella, played by Kristen Stewart in the film)

Meyer also works well with suspense, stringing the reader along with intrigue. No matter how boring her prose can become, something wills you to continue. Perhaps it is the seductiveness of vampires? :P

Oh, I slipped. Yes, I said it. Her prose is boring. Most of the four novels have been written predominantly with dialogue advancing the storyline, alongside Bella's inner reflections. This is not a bad thing, per se, but when we do go into Bella's narration and her reflections, the scene is static and unmoving. I often zone out, drift, even fall asleep when this happens. Not to mention, the content--what Bella is saying is usually some sort of insecure drivel, which goes back to my earlier point about Meyer's convincing handle of teenage feelings. Bella's thinking about this, feeing insecure about that, dreaming about Edward Cullen this...

(played by Cedric Diggory, I mean, Robert Pattinson in the film)

Bella is obsessed with Edward--no question about that. She constantly describes how beautiful he is, how his icy cold skin turns her on, how he smells like honey and lilac, and even his breath is the sweetest, most wondrous thing in the world...

That's fine, but we get it the first time, Bells. He's hot, you want him. Understood.

The relationship between Bella and Edward isn't that developed, though. It seems rather shallow and superficial, based on feelings, looks, and yes, hormones. Bella's freak-nasty. Her relationship with Jacob Black, her eventual best friend, is much more developed through the beginning of the series. I want to know why she's spouting out that she loves Edward so much, so early in the first book.


(Kind of a hot image, actually...)

Meyer's writing is definitely long-winded. Twilight is 500 pages long, and yet I still yearn for a stronger emotional attachment between Bella and Edward, that I'm just not getting. But anyway, I too, am long-winded, unfortunately. So if this post has done nothing but sallivate your thirst to read the series, watch the film, or made you very angry...great! Let's talk Twilight.

(to be continued...)

Monday, December 15, 2008

My Semester is Finir!

Yeah, I dropped off the map on here for a while...but for good reason. The last couple of weeks of the semester were pretty labor-intensive. But I'm finished now! I have only one semester left of college.

Next semester, I'll be in ENGL 412, which helps to produce the Northridge Review, a literary magazine, and ENGL 490, the senior seminar in narrative writing. I'm glad for the break--but there is that lingering thought in my mind that I want to go back to school, too. I somehow enjoy the work. :P

Sunday, December 14, 2008

The Happiest Place on Earth - Extended Final Draft

As technology and the means of production increase and evolve, modern society now has greater access to everything. From pornography to exclusive art galleries, grape juice to vintage wine and everything in between is available at our disposal. Directly due to the advancement in quicker communication and discoveries in scientific research, mass production enables us to have all the commodities we need. Does all this easy access come at a price? In exploring the novel, Fahrenheit 451, by Ray Bradbury, and other texts and films, it is apparent that having things quickly and easily affect the way people feel, act, and think.

First, how and when did the western world become so heavily based on the assembly line process and mass production? Henry Ford revolutionized this means of production for his line of automobiles in the early twentieth century (Batchelor). Ever since then, we have utilized this in America to produce the majority of our goods. Nowadays, we outsource many of the factory jobs to other countries. Generally, this cheap means of labor means that we, as consumers, pay less and are happy with a bargain. However, on the other side, the worker suffers. Unfair wages or long work days contribute to a worker’s overall dissatisfaction. An early example of this would be the Triangle Shirtwaist Factory incident, where the working women were locked in the building, and a large majority died tragically.

A stunning example in film of the effect that this type of labor has on people is seen in Fritz Lang’s masterpiece, Metropolis. In a clip from the film, we see the workers carrying on with their jobs—making repetitive movements and are almost robotic. Perhaps what Lang is trying to criticize here is the near-tyranny of capitalism and how greed can affect the average person. Also in this clip, the robotic and unchanging movements serve to show how this type of environment and lifestyle can deplete a sense of self, or a sense of humanity. These people have become shells; just human bodies that simply function.



In Bradbury’s Fahrenheit 451, we see exactly this—people are shallow shells that function only on a surface level. They have no substance, no drive, no ambition, no yearning. Intellectual pursuits are forbidden, even. The protagonist, Guy Montag, is a firefighter, whose job is to burn all the books that he and his fellow firefighters find (58). This is what firefighters do in the world of Fahrenheit 451. They are not the heroes people usually associate them as, but as mediators of the so-called peace and sanctity of the culture. Montag then meets people that change his mind about the life he’s living and the world around him. He starts questioning everything. He is having a personal quest to find the truth. It is interesting that he finds dissatisfaction with his life. Chief Beatty is Montag’s superior at the fire station, and he says bluntly:

People want to be happy, isn’t that right? Haven’t you heard it all your life? I want to be happy, people say. Well, aren’t they? Don’t we keep them moving, don’t we give them fun? That’s all we live for, isn’t it? For pleasure, for titillation? And you must admit our culture provides plenty of these. (59)

Essentially, Beatty means that the fireman’s job is mass production. Burn the books, abolish philosophy, complicated thought, and reason because it doesn’t make people happy. If one person knows more than the other, they are not on equal playing ground, which is discouraging for the lesser.

Mass production, in this case loosely defined as making something rapidly and efficiently for all to consume. Philosopher Theodor Adorno, comments about mass production in relation to art: “The stunting of the mass-media consumer’s powers of imagination and spontaneity does not have to be traced back to any psychological mechanisms; he must ascribe the loss of those attributes to the objective nature of the products themselves.” If we are given poor quality entertainment or taught with a lack of substance or intelligence, then our imagination and creativity suffer. In Fahrenheit 451, the mass production of happiness and equality tries to permeate in all aspects of life. People now want instant gratification. This comes in the form of abbreviated television shows, movies, known as “parlor” television or family (Bradbury 82) and pills for sleeping, waking up, and every ailment in between (Bradbury 43).

There is a memorable scene in the film version of Fahrenheit 451 where Montag’s wife, Linda (Mildred in the novel), overdoses on her pills. Montag is distressed and tries to call for emergency help. The emergency line answers nonchalantly, asking him what color the pills are. They come in simple colors like white, blue, and yellow. Then two technicians come to Montag’s house and pump her blood with a machine, which will revive her and they simply shrug it off as routine procedure. What is interesting is how simple the pills are—basic colors—and a doctor does not come to check on Linda. The technology is simultaneously advanced and primitive. Everything is done at a fast pace. Interestingly, why does Linda feel compelled to take so many pills if everyone’s lives are meant to be happy? This is far from a picture of happiness.

Book-burning is the cornerstone of Bradbury’s novel. To burn books is to burn thought, ideas, imagination, creativity, inequality, and suppress revolution. Beatty says that books encourage inequality because, “Bigger the population, the more minorities. Don’t step on the toes of the dog lovers, the cat lovers, doctors, lawyers, merchants, chiefs, Mormons, Baptists, Unitarians, second-generation Chinese, Swedes, Italians, Germans, Texans, Brooklynites Irishmen, people from Oregon or Mexico” (Bradbury 57). This is all in hope that equality will mean contentment for all. However, the scene where Montag and the firemen burn a woman with her books is an example of how much they affect people. She is so attached to her books; she is willing to die with them. She strikes the match herself and the entire house ignites around her. (Bradbury 36-40) The old woman finds her happiness, not in the parlor television screens, or in simple entertainment, but from her books. She rejects her own society. This is echoed here: “The culture industry did away with yesterday’s rubbish by its own perfection, and by forbidding and domesticating the amateurish, although it constantly allows gross blunders without which the standard of the exalted style cannot be perceived” (Adorno & Horkheimer). Therefore mass production borrows from its former elements and churns out low-quality results for all to consume. This explains the old woman’s attachment to her books, her need for something deeper and meaningful, and Montag’s disillusionment with society.

Something I have increasingly noticed in our society, when I observe my family and friends is that there is such a reliance on technology. We are a culture that feasts on gadgets that help to make our lives easier, for example the iPhone or the Blackberry. Time and time again, I have heard people say “what I wouldn’t give to have one of those iPhones right now…I’m so bored!” It makes me wonder, a little nostalgically, what did people do before iPhones and Blackberries? Why do people camp out overnight to buy the newest video game console? Why do people get trampled to death in Wal-Mart because of this overzealous fascination with material things? Is it the “stuff” that makes a person this way, or are we, as people, truly this greedy and lustful? Where does this drive to want more and more things come from--ourselves or what the media portrays? Companies produce to make money, as evidenced in the assembly line formation: fast, efficient, cost-effective. It is an interesting dynamic between producer and consumer, a continuing cycle.

Today, mass production is meant to deliver the things used every day to people in the fastest way possible. The assembly line and the quick communication are optimal for saving time and money. However, it is apparent that mass production of happiness or art, things that are abstract or ambiguous suffer from the exchange. Ray Bradbury’s novel, Fahrenheit 451, gives a glimpse into a society where everything is instant and devoid of thought and imagination. The philosophies of this world have good intentions: to create equality for all. However, equality does not automatically translate to happiness or satisfaction. Rather, the people are vapid, find nothing meaningful, and in the case of Montag, are on a search for fulfillment but never seems satisfied. One cannot produce results or happiness with the flick of a switch or by popping a pill. It comes from within—from a functioning mind.




WORKS CITED

Adorno, Theodor and Horkheimer, Max. “The Culture Industry: Enlightenment as Mass Deception.” Dialectic of Enlightenment, 1994. CSUN WebCT.

Batchelor, Ray. Henry Ford, Mass Production, Modernism, and Design. Manchester: Manchester University Press, 1994.

Bradbury, Ray. Fahrenheit 451. New York: Ballantine, 1953.

Fahrenheit 451. Dir. François Truffaut. Perfs. Julie Christie, Oskar Werner, Cyril Cusack. Universal Pictures, 1966.

Metropolis. Dir. Fritz Lang. Perfs. Alfred Abel, Brigitte Helm, Gustav Frölich, Rudolf Klein-Rogge. Paramount Pictures, 1927.

Sunday, November 23, 2008

Sarah Palin Interview & Slaughtered Turkeys

In her home state of Alaska, a pardon was passed for the turkeys this Thanksgiving and Gov. Sarah Palin was stopped for an interview, gleaming brightly with a Burberry scarf wrapped around her neck.

You know, I love all things Palin (sense the tone) and this is just so irresistibly ironic, I had to share. :-|

Saturday, November 22, 2008

I Ate Vegan

I am prepared to take the verbal hits and blows that may come my way when I say that I ate and enjoyed vegan food. This is what happened. (copied from my review on Yelp!)



My brother and I happened upon this place while strolling through the neighborhood after a run at the Silverlake Farmer's Market. He's a newfound vegetarian, for health reasons, and I am not. Though, I could be if I wanted to...but...well, I am a human who surrenders to temptation, guilty as charged.

I was a little reluctant to eat here, because the word "vegan" struck fear and horror in me. I envisioned frou-frou tofu atop raw pieces of dough and bland tomato sauce. You know, because I was an ignorant fool. However, I pride myself in being open-minded and I was willing to take the plunge. Besides, my poor brother finally found a restaurant that catered to his very strict diet and I felt obligated to compromise.

We came in for brunch and he had the breakfast burrito with a side of fruit. I had the buckwheat blueberry bliss pancakes with a side of breakfast potatoes. My pancakes certainly were bliss. They had an interesting texture--crispy around the edges, but the center was as fluffy as any old American flapjack, with a few walnuts tucked into the cake. The blueberry topping tasted fresh. I was given a small ramekin of soy butter, which I kid you not, tasted and melted as real butter. I didn't miss cow butter at all! They didn't give me a ton of syrup, but for some reason, I didn't feel compelled to drown my pancakes in the syrup, as one normally would. I wanted the pancakes to speak for themselves, and they certainly did.

Everything here is natural, free of chemicals and artificial sugars. The food tastes so good, that any non-vegan can waltz in here and seamlessly enjoy a meal without missing a single beat of their own daily fare. I definitely recommend!

And take a home a chocolate cupcake. Oh, it was divine!

--------------
Yes. This is a good vegan place. Vegan food isn't just plain raw veggies and dip. I didn't realize that I could have my cake and eat it, too. And you know something, I'm really proud of my brother, because he's finally taking control of his life and his health. Now I wish I could say the same for me, but um...well, I still like meat.



Oh and! I also saw Pazza Gelato, a gelateria that Giada di Laurentiis featured on her show, Giada's Favorites, which made me very excited because I love Giada...

Monday, November 17, 2008

Five Minutes of Film: Gone With The Wind



In the finale of the film, Gone With The Wind, the forlorn protagonist, Scarlett O’Hara comes to an ultimate realization. Everything that she has worked for, the strife and hardship means almost nothing when she loses the true love of her life, Rhett Butler. The final scene is one of the most groundbreaking and memorable endings. It is also has its place in controversy. Rhett utters the line, “Frankly my dear, I don’t give a damn,” which had censors in the 1930’s wringing their hands in protest. Such things were not said before a Depression-era crowd, for it was considered offensive and vulgar. The studio that produced Gone With The Wind had to pay a fine to keep the line in the film. Not only does this scene depict Scarlett’s determination and exceptionalism, it also represent the ultimate defiance in the societal standards of its day.


(I can expand on this, but I could honestly talk about GWTW all day. I'm sure you don't want to hear my drivel...)

Thursday, November 6, 2008

The Happiest Place on Earth? Response Paper ENGL 312




As technology and the means of production increase and evolve, modern society now has greater access to everything. From pornography to exclusive art galleries, grape juice to vintage wine and everything in between is available at our disposal. Directly due to the advancement in quicker communication and discoveries in scientific research, mass production enables us to have all the commodities we need. Does all this easy access come at a price? In exploring the novel, Fahrenheit 451, by Ray Bradbury, it is apparent that having things quickly and easily affect the way people feel, act, and think.

We will begin by addressing the premise of Bradbury’s story. The protagonist, Guy Montag, is a firefighter, whose job is to burn all the books that he and his fellow firefighters find (58). This is what firefighters do in the world of Fahrenheit 451. They are not the heroes people usually associate them as, but as mediators of the so-called peace and sanctity of the culture. Montag then meets people that change his mind about the life he’s living and the world around him. He starts questioning everything. He is having a personal quest to find the truth. It is interesting that he finds dissatisfaction with his life. Chief Beatty is Montag’s superior at the fire station, and he says bluntly:

People want to be happy, isn’t that right? Haven’t you heard it all your life? I want to be happy, people say. Well, aren’t they? Don’t we keep them moving, don’t we give them fun? That’s all we live for, isn’t it? For pleasure, for titillation? And you must admit our culture provides plenty of these. (59)

Essentially, Beatty means that the firemen’s job is mass production. Burn the books, abolish philosophy, complicated thought, and reason because it doesn’t make people happy. If one person knows more than the other, they are not on equal playing ground, which is discouraging for the lesser.

Mass production, in this case loosely defined as making something rapidly and efficiently for all to consume. Philosopher Theodor Adorno, comments about mass production in relation to art: “The stunting of the mass-media consumer’s powers of imagination and spontaneity does not have to be traced back to any psychological mechanisms; he must ascribe the loss of those attributes to the objective nature of the products themselves.” If we are given poor quality entertainment or taught with a lack of substance or intelligence, then our imagination and creativity suffer. In Fahrenheit 451, the mass production of happiness and equality tries to permeate in all aspects of life. People now want instant gratification. This comes in the form of abbreviated television shows, movies, known as “parlor” television or family (Bradbury 82) and pills for sleeping, waking up, and every ailment in between (Bradbury 43).

There is a memorable scene in the film version of Fahrenheit 451 where Montag’s wife, Linda (Mildred in the novel), overdoses on her pills. Montag is distressed and tries to call for emergency help. The emergency line answers nonchalantly, asking him what color the pills are. They come in simple colors like white, blue, and yellow. Then two technicians come to Montag’s house and pump her blood with a machine, which will revive her and they simply shrug it off as routine procedure. What is interesting is how simple the pills are—basic colors—and a doctor does not come to check on Linda. The technology is simultaneously advanced and primitive. Everything is done at a fast pace. Interestingly, why does Linda feel compelled to take so many pills if everyone’s lives are meant to be happy? This is far from a picture of happiness.

Book-burning is the cornerstone of Bradbury’s novel. To burn books is to burn thought, ideas, imagination, creativity, inequality, and suppress revolution. Beatty says that books encourage inequality because, “Bigger the population, the more minorities. Don’t step on the toes of the dog lovers, the cat lovers, doctors, lawyers, merchants, chiefs, Mormons, Baptists, Unitarians, second-generation Chinese, Swedes, Italians, Germans, Texans, Brooklynites Irishmen, people from Oregon or Mexico” (Bradbury 57). This is all in hope that equality will mean contentment for all. However, the scene where Montag and the firemen burn a woman with her books is an example of how much they affect people. She is so attached to her books; she is willing to die with them. She strikes the match herself and the entire house ignites around her. (Bradbury 36-40) The old woman finds her happiness, not in the parlor television screens, or in simple entertainment, but from her books. She rejects her own society. This is echoed here: “The culture industry did away with yesterday’s rubbish by its own perfection, and by forbidding and domesticating the amateurish, although it constantly allows gross blunders without which the standard of the exalted style cannot be perceived” (Adorno & Horkheimer). Therefore mass production borrows from its former elements and churns out low-quality results for all to consume. This explains the old woman’s attachment to her books, her need for something deeper and meaningful, and Montag’s disillusionment with society.

Today, mass production is meant to deliver the things used every day to people in the fastest way possible. The assembly line and the quick communication are optimal for saving time and money. However, it is apparent that mass production of happiness or art, things that are abstract or ambiguous suffer from the exchange. Ray Bradbury’s novel, Fahrenheit 451, gives a glimpse into a society where everything is instant and devoid of thought and imagination. The philosophies of this world have good intentions: to create equality for all. However, equality does not automatically translate to happiness or satisfaction. Rather, the people are vapid, find nothing meaningful, and in the case of Montag, are on a search for fulfillment but never seems satisfied. One cannot produce results or happiness with the flick of a switch or by popping a pill. It comes from within—from a functioning mind.



WORKS CITED

Adorno, Theodor and Horkheimer, Max. “The Culture Industry: Enlightenment as Mass Deception.” Dialectic of Enlightenment, 1944. CSUN WebCT.

Bradbury, Ray. Fahrenheit 451. New York: Ballantine, 1953.

Fahrenheit 451. Dir. François Truffaut. Perfs. Julie Christie, Oskar Werner, Cyril Cusack. Universal Pictures, 1966.

(Pictures come courtesy of googling images).

Also...Prof. Wexler, I'm sure you know, but just in case, anything written for your class has the label, "english 312" on it. You can just click on the label and it will all be on one page for you.

Tuesday, November 4, 2008

This Is the Future



Not so dystopic now, are we?

<3

Monday, November 3, 2008

408 story: In Circles

Here's a silly story, from an exercise we had called "The Sky's the Limit." You and a partner write one sentence, something that's really out of the ordinary. Take for example, the first line of Franz Kafka's Metamorphosis where a man wakes up as an insect. Then you and the partner trade the sentence and write a story about it. This is what I came up with. Comments, criticisms, outright bashing are all right! Stealing is not.

IN CIRCLES

She stared at it for a long time, trying to clear the glare in her eyes. She waited for it to take her on as it has so many nights before. The small, circular, white device on the wall of her apartment hallway had one single red light that blinked constantly. It wasn’t the light that bothered her so much, but rather the drawn-out, high-pitched beeping that it emitted any given moment during the day. The nights were always the worst. The beeps drifted from the circular device and seeped into all the crevices and every inch of space of the apartment. It beeped when she watched television, when she was contorted into mangled yoga positions, and when she had dinner dates. It blared loudest in her bedroom, tapping against her ear drums like a drill.

She was hoping for a quiet evening, an occasional and rare treat that she savored. She protected her ears with swimmers’ ear plugs; the kind that molded to the unique contour of her ear. She slid into bed wearing red and green flannel pajamas and opened a crisp copy of Franz Kafka’s Metamorphosis and Other Stories. After reading the first five sentences, she grew bored and opted for the latest Self magazine. She came across a quiz, “Are You Mentally, Physically, and Spiritually Stable?” and grabbed a pencil, lured in by the prospect of psychoanalysis.

In the midst of her excitement, the beeping started again. It drifted into her room, and crawled into bed with her, under the covers, and traveled to the opening of her ears. There, it burrowed its way through the tightly compacted gel of the ear plugs and resumed its jackhammer-like drills. Her eyes widened in fright, and she clenched her comforter in tightly in a heated frenzy. She threw the covers off of her and bolted from the bed. She went to her closet and grabbed a sneaker. She opened her bedroom door, and saw the circular device, beeping and blinking maniacally. She flexed her bicep muscles and held the shoe with tight tension.

“Shut the fuck up!” she yelled hysterically, as she beat it furiously with the sneaker. It was knocked from the wall and smashed into fragments, electronic pieces that shone like glitter on the bland, beige carpet of her hallway.

It continued to beep. The intensity of the beeping increased, as it was no longer covered by the white circular shield. She screamed at a volume that rivaled the beeping but the humanly yelps were no opponent to the unworldly noises coming from the broken circular device. She went back to her bedroom, searching for a shirt, a blanket, something to muffle the decimated mess on the floor of her hallway. She found an old wool blanket and dropped all the pieces, even the batteries, into it, and wrapped it in a tight bundle. She went to living room, then to her balcony, where the night air seized her, taking her aback from the sudden chilly blast. She looked down the five floors from her balcony to the street below. The city lights twinkled and the cars breezed by unbeknownst to the abject horror she felt in her bloodshot eyes, crinkled hair, and restless rage. She held the package over the side of the balcony, readying to drop the load.

“Goodnight…bitch!” she called out, her breath visible in a long steamy stream, as she released the bundle and allowed it to fall to the concrete.



She had the soundest sleep of her life. A week went by without the beeping circular device and she slept so deeply that she finally felt revitalized. The kinks in her hair ironed out. Her eyes, once sunken and black, were bright and alluring. After a 40-minute yoga session and a breakfast of granola and yogurt, she felt more limber and energized than ever.

There was a knock at the door after she finished washing her dishes. She muttered her recognition to the visitor, and took a moment to dry her hands on a kitchen towel. She approached the door and looked through the peephole to see the stranger. There appeared to be no one at the door.

“Who’s there?” she asked through the wood, perhaps in the off chance the visitor had stood away from the narrow vision of the peephole.

“It’s Tom,” the voice said. He was the apartment manager.

She opened the door cautiously and when she saw the outlines of his brown boots and khakis, she poked her head through the ajar door. He smiled and waved at her.

“Hi Nina,” he said. “I’m not sure why, but I found this on my balcony this morning and I was wondering if it was yours.”

He held out a gray, woolen blanket that wrapped in a tight bundle. Nina’s eyes widened, horrified.

“I opened it. It looks like a fire alarm,” he said, shuffling the balled up blanket from one hand to the next.

She took it from him and unraveled the folds. When it opened, she saw the decimated contents of the circular device—the fire alarm—and then beeping began again. She let it drop to the floor to cover her ears with her palms.

“Turn it off, turn it off! I can’t stand it!” she cried out, panicking. Tom bent down and rummaged through the parts. He found the piece attached to the batteries. It was brown and beginning to rust. He fiddled with a switch and the beeping stopped. Nina pulled her hands away from her ears and looked down at him, heaving out a quick breath of air.

“You know,” Tom said, his face growing with concern. “It’s illegal in this district to disconnect your fire alarm. And you broke yours...”

“You know, Tom. It’s illegal to disturb the peace and quiet of a tenant’s rented property.”

He huffed out a breath of air. “I’ll buy you dinner, and we’ll call it even?”

She smiled. “Sure! And oh, I’m gonna need a new fire alarm…”

Sunday, October 26, 2008

Guitaaaaa!

Check out some of my guitar playin' here:

http://www.myspace.com/melanrock

I composed the music, played the rhythm guitar, lead guitar, and bass guitar, and there are lyrics, but I haven't got a fantastic voice right now so I haven't laid down any vocals yet.

Right now, there's only one song on there, because it's the only one that's really polished. I will be adding some more, soon, because I have several tracks laid down, but are still rough. I'm hoping to spruce the page up, as well, and start networking. Any musicians out there, by the by? I'd love to network and jam.

Thursday, October 23, 2008

Short Story from 308: The Local Drugstore

All right, short story time! Not that anyone reads these. They're mostly for my own entertainment, but really...if you have the time, please do read my stories and leave me comments, critiques, anything. I really would love input on my writing and I haven't gotten much around here.

Except, this isn't really a story you should be critiquing. The exercise here is called Plot Potential. You are to write five "mini" stories, to lay down the foundation of a larger story. Here's three mini stories. Check, check, check it out. :)

"The Local Drugstore"

Ava wasn’t used to the wad of toilet paper bunched between her legs. She stood in aisle four, in the feminine products section, across from the vaginal lube and XXL condoms. Her ten-year-old eyes glazed over the abundant stacks of maxi pads, tampons, panty liners, diapers, and napkins. She pinched one of the tightly bound plastic packages with her fingers, poking at the ribs of lined pads. Which to choose?

“Daddy,” she said timidly. “I need help.”

Her tone flounced through her father’s ears, like a whistle to a soldier, signaling the call to action. Dave had been standing off to the side and Ava noticed his hands in his pockets were disguising a nervous shake. He sputtered out guttural mumbles and picked up a small package of super maxi pads.

“Um, well baby,” he said, his voice quavering. “It depends on how heavy your flow is. And…yeah.” She watched his eyes scan over the hundreds of possibilities, trying to find the solution, as though the right package would suddenly illuminate like a carnival prize. She turned her gaze back to the boxes. The names of the packages on the top shelves were hardly visible. She shifted her weight to the tips of her toes and pushed off with her calves to read their descriptions.

“Are you sure Mommy didn’t have some left over at home?” Ava asked.

Mommy hadn’t had her period for several years.

“No baby,” he said. “Sorry.”

Ava eased off her toes and planted her feet firmly to the vinyl floor. She blew back a strand of dark brown hair with a quick gust from her lips, then tucked it behind her small tanned ear. She looked to her father. Her almond eyes twinkled back at him and glistened with a heavy teardrop. Dave opened his arms and let Ava collide into him, and the few tears in her eyes dotted his jean jacket, darkening the spots in a polka dot pattern.

It would’ve been easier with Mommy.

“Here,” he said, once he let her go. He quickly scanned the aisle again and chose a variety pack of maxi pads from Always. “This one has light, medium, and heavy in case you aren’t sure.”

Ava took it and hugged it close to her body. “Thank you, Daddy.”

They started walking towards the cash register when Ava stopped them. She clutched Dave’s arm with a gentle squeeze. “I want to visit Mommy after this. Can we?”

“We went yesterday, hon,” he said, scratching the scruff on his beard. He hadn’t shaved in weeks. There was no need to shave anymore.

Ava nodded. “Okay. Then tomorrow? I’ll pick out the flowers for her and then we can decorate the grass…”

Dave’s throat tightened. Ava saw his face and the red tinge that shone through the gruff on his cheeks. She then felt the toilet paper wad bunched in her crotch, dampening with an unwelcome sticky warmness. Though she felt it uncomfortable, she no longer cared if it leaked and stained her pants. It wasn’t time to go home. Mommy wasn’t home.

***

Mr. Bishop came in with a stainless steel cane, hunching over it gingerly, with careful footsteps. He made his way to the back of the store in five minutes. He smoothed his soft white hair down with a black handkerchief. He came to the pharmacy window and he smiled at the young pharmacy girl. A golden brown ponytail hung high up in the air.

“Hey Linda,” he said to her. “Is my prescription ready?”

“Let me check, Mr. Bishop. Just a sec.” She whirled around and looked at the A-D files, searching for the white paper bag full of medicine. When she found B, Bishop, she plucked it from its place and brought it back to the counter. It was the usual, the familiar package of meds for his ulcers. He had a second bag. She blinked several times to make sure and Mr. Bishop curled his lips into a devilish smirk. Viagra.

Mr. Bishop let out gusts of belly laughs. He wheezed the air in and out of his lungs rapidly. “Yep. I owe Mrs. Bishop a treat, especially since my hip’s not so bum anymore.”

“Well, just be careful,” Linda said, laughing along. She handed him the bags after he paid for them.

He lingered for a moment, then leaned on his cane to gear up for the painstaking walk.

***

Zack walked into the store while whistling a humble tune to himself. He was casual, cool, and collected. Keeping anticipation bottled was difficult when the cork was loosened.

He remembered lying in bed with Emily, just moments earlier. He had stripped off her T-shirt and her boot-cut carpenter jeans, leaving her in a turquoise bra and panties. He knelt beside her on the bed and laid his hand on her belly. She held his head in her hands and pulled him towards her to kiss him hungrily on the lips. His hand started to migrate, reaching in beneath the thin panties and played with the crispy bristles of her pubic hair. He ran his fingers through them, parting them into five aisles. Emily jerked his hand away when he started to dig farther down. She twisted her index finger lifted and right. No condom, no nookie.

Zack stood in aisle four, facing the condoms. The hoards of latex laid out in front of him were like a museum of keys that led towards a treasure trove hidden away in a far off village. He chose the ribbed and lubricated, specifically designed for her pleasure, apparently. He walked off and as he left the aisle, he spotted a young Asian girl with inquisitive almond eyes, followed by a man in a jean jacket. She looks so scared.

Before leaving with the condoms, Zack spotted the ice cream bar by the cash registers. He sat down next to a pungent man, the only seat available at the time. He asked for a pint of chocolate malted crunch, Emily’s favorite, and the bearded man clapped him on the back with a celebratory cheer.

“Congratulations! Never heard o’ that flavor before in my life!”

Zack flipped his thumb up swiftly and smiled at the stranger. Something was pulling him, bonding him to the seat of his chair. Though the urges in his body wanted him to return to Emily’s soft embrace, he stayed in the store, sitting on the stool and let the world go by in nimble flashes.

Web CT 10/23: Why Books?

Prof. asked us today in ENGL 312, opening our discussion on Ray Bradbury's novel Fahrenheit 451, “why books?” Why burn the books? If we go back about two centuries in our history, remember that during slavery, slaves were kept illiterate to keep them ignorant, because literacy = power. The power to read gives one the power to attain knowledge. Burning books, as is the case in the dystopic world of Fahrenheit 451 is a way to keep people ignorant and free of thought.

I’ve always loved to read. As a young child, it helped me to foster a very keen and vivid imagination. I questioned everything around me, because books, specifically works of literature take you to a world that is beyond your own. Captain Beatty, a character in the novel, says “Books say nothing! Nothing that you can teach or believe. They’re about nonexistent people, figments of imagination, if they’re fiction” (Bradbury 62). As an aspiring writer, that line stopped me dead in my tracks. A life without imagination? That’s no life to lead.

The novel examines this same line of thinking. For example, there are no porches because people sit out on porches to think. This “big brother” figure, the government, whoever does not want people to sit and think, to brood, or to ponder. It’s all a scheme to keep people in their place. That smells of totalitarianism. What a sad, sad world.

Sunday, October 19, 2008

Tina Fey = Maverick

If you missed Sarah Palin's appearance on SNL last night, well I bring a clip!

I loved the "cordial" glances Tina and Sarah made when passing. :P

Self-explanatory. :)

Friday, October 17, 2008

Doggone it, you betcha!

Sarah Palin will be on SNL tomorrow night. It'll be a maverick night, I am sure. Perfect fodder for a night of good jokes.

In the meantime, this will satisfy your craving, hehe.

Thursday, October 16, 2008

WebCT: Mass Production

Walter Benjamin, "The Work of Art in the Age of Mechanical Reproduction"
"The simultaneous contemplation of paintings by a large public, such as developed in the nineteenth century, is an early symptom of the crisis of painting, a crisis which was by no means occasioned exclusively by photography but rather in a relatively independent manner by the appeal of art works to the masses."

Adorno, Theodor and Horkheimer, Max "The Culture Industry: Enlightenment as Mass Deception"
"The assembly-line character of the culture industry, the synethetic, planned method of turning out its products...the easy yet catchy, the skillful yet simple; the object is to overpower the customer, who is conceived as absent-minded or resistant."

Bradbury, Ray, Fahrenheit 451
"The world was roomy. But then the world got full of eyes and elbows and mouths. Double, triple, quadruple population. Films and radios, magazines, books leveled down to a sort of pastepudding norm, do you follow me?"

Interesting discussion this week, concerning the Benjamin, Adorno, and Ray Bradbury’s quotes. Essentially, I do think that the quality of art, which encompasses the visual and performing, or actually anything really, is going down in standards due to mass production. Yes, I’m on that side of the fence.

My reasoning is because I’ve watched a lot of documentaries on the Discovery Channel of how items are stamped out by the millions by machines. Clothes, food, musical instruments, what have you. I can’t tell you how many times I’ve seen the same T-shirt on a person because they sell dozens of the same shirt at a particular store. Or what about food made in factories, like packaged or processed foods, where a human hand has never touched a single aspect of the cooking? I guess you can say I’m much more partial to products where a lot of care and attention has been paid to each individual item.

I realize that today’s big factory machines are programmed to ensure high quality standards and maintain consistency. And that most companies would lose money if things were manufactured without the machines, because of time and labor. But then it starts to become a cookie cutter. Wouldn’t we get bored of it after a while? Or are we already bored of it? The mass production that we have in America is a huge contributor to making us such a dominant country. The simple laws of supply and demand have made our lives a little simpler and have made everything more accessible to all people.

However, in David Harvey’s interview, which I thoroughly enjoyed for his magnificent insight into America’s future, he spoke of America’s dominance in production will eventually waver and no longer be the dominant. I just think if we keep simplifying everything, making everything cookie cutter, things lose their uniqueness.

(I recommend watching the last 20 minutes of this video).

We’re not currently in danger of losing our own individual identities and uniqueness, like the people in gray jumpsuits of Orwell's 1984, but I do think that it is a form of streamlining into something more uniform. Besides, cookie cutters are a necessary evil. So that when we do have something come out, a movie, for example, that is brilliant, it stands out among all the others. That’s what makes something special.

Tuesday, October 14, 2008

Chaos Again!

We all stood by our emails last night, to check the campus status for tomorrow. At 5:00 a.m., we were alerted that CSUN would be open for normal operation.

So it seemed fine this morning, but I couldn't help the eerie ominous feeling. Right after I switched from the 5 North to the 118 Freeway this morning, I saw flames licking the mountains to the right. It was a tremendous sight.

The smoke off the Reseda exit was stifling. Orange and brown covered my vision. Really, was it safe to go to school? I wanted to turn back, but I wanted my education. Seriously.

When I arrived to campus, the air was clear and I smelled no smoke. It seemed fine. But no one was at school today. I had about 10 students in my 9:30 class and the professor seemed reluctant to teach that day. She didn't. We just sat and workshopped stories.

Then Prof. Wexler's class, my 12:30, was cancelled. I actually bumped into him and it was a funny sight. The sight of a fleeing teacher and student, running away from chaos. The smoke came back. The fire had spread to Granada Hills and was in full force on campus. The wind wasn't helping. It picked up the smoke I had seen earlier that day and settled it right into the center of school. It was a terrible smoking dust storm.

I think it's an absolutely heinous for campus to be open today. It is so dangerous out there and the smoke is really debilitating. I really wished that they had just left campus closed today. It's a danger to the students' health and because dammit, I live far. I feel so cheated when I don't get to take my classes. It feels like a waste of my time and a waste gas.

On another note, let's continue to be vigilant and show our care and compassion for the evacuees and victims of the fires, which has now spread to Granada Hills. :(

Monday, October 13, 2008

There Now, Doesn't That Look Much Better?

I decided to spruce up the blog a bit. With classes cancelled today, I had a bit of extra time (which I did not have this weekend!)

So goodbye, golden vomit page!


The color scheme of the new page suits me better, anyway. Somber colors are so much more soothing. :P

WebCT post for 10/9

Didn't get a chance to put this on WebCT.

American Psycho and A Clockwork Orange

I saw a connection between the two films we have watched in class: more recently A Clockwork Orange and American Psycho. I saw them both as an allegory, a “what-if,” when people become disillusioned with society and find some sort of outlet to act upon their estrangement. The similarities between these two films are striking. Both Alex from Clockwork and Patrick Bateman from American Psycho have a taste for something finer than what they already have. I think that they were both searching and searching for something but they just didn’t know what it was. They were both fed up with everyone around them and acted out. Homicide and rape, complete disregard for human life. The films were chilling and put me in a state of unease. It made me fear the future because we already live in a society where many people are quite disillusioned with the government, economy, standards of living, and etc. It’s unsettling what the disorganized mess can do to affect others.



What I find interesting about A Clockwork Orange (and possibly American Psycho, as well) is that the movie and its characters are now fad or trendy. It’s the “cool thing” to like Clockwork and to even look and dress like Alex. In fact, there is one particular rock band that comes to mind and they are very popular. They are called Panic At The Disco and their look earlier in their career quite resembled the gang of Clockwork.







My point is that films like these have such tremendous cultural impact that I fear they will lose their novelty and people may become desensitized to the true meaning behind the films. That screams dystopic to me!


(Now they’re ripping off Beatles and the Sgt. Pepper era, but I won’t get too far into that).

Feel free to combat me on this issue. And I am not ripping on Panic! I actually enjoy their music and their look. I'd dress like them were I a dude. And gay. :D

Draft for 408: Opulence

This week's exercise focuses on dreams and the imaginary--and their plausibility in the real world. Basically, it's about dreams grounded in reality: like Harry Potter. A boy believe he's normal, but he's actually a wizard. Or a little girl learns she can talk to her hamster, but no one else can. Fun stuff, isn't it?

"Opulence"

It was the drones that sent me over the edge with their talk of liberal smack; how to save the country one abortion at a time, let the gays marry, legalize pot, and fuck your mother. And every day, they would sit behind their dark cherry wood desks, puffing on a pipe or a fine, hand-crafted cigar while I sat opposite them in a less comfortable, pleather-covered office chair, clutching onto a briefcase. I often left sweat marks on the briefcase, but it didn’t matter because I didn’t keep anything in there except my resume. All for show.

So I slipped one of the bastards my business card: Gleason, Joseph. Stanford University 2001, UCLA Law 2005. They always asked me if it took me four years at law school. It didn’t. I took a year off. Wasn’t that the smart thing to do? Most gave me the wink and the nod, but others just coughed. It killed me. I wanted to know exactly what they were thinking, at that precise moment, at that precise interview. Every one I felt went swimmingly, but they always ended with an arm reaching across the table for a handshake and a rehearsed speech:

“This looks good, Mr. Gleason. However, I’m afraid we won’t be able to offer you a position at our firm this quarter.”

Then I would find out some Yale yuppie got the job instead. Pricks.

~~
I always drove the same route home, Santa Monica Blvd all the way, then north on Saltair. I shot up seven floors on a shaky elevator and when the doors opened, I always covered my face with a handkerchief. Someone was always cooking some piece of shit like dog or whatever. I opened the door to the condo and was met with the odor of burned sage. My fiancée appeared in her Haight-Ashbury throwbacks. I kissed her on the lips, which were always caked with that cheap, cherry-flavored, Chapstick.

“How was work today, lovely?” she asked, dancing around to the sounds of Cream echoing from the iPod deck. I plunked down onto the couch that we always covered with thin cotton sheets. Unless we had company, they remained covered. I wanted a white leather sectional, but she wanted something environmentally friendly. So we settled on synthetic.

“I filed papers. Like I always do,” I replied, leaning back into the couch. I started to undo the tight Windsor knot on my tie when she came over to me and straddled me, clenching her thighs tightly to support her weight. She untied the Windsor the rest of the way.

“When are they gonna make you a partner?” she asked, whining the last few syllables.

“When you start eating foie gras. Now wouldja get off me, Deb?”

She rolled left onto the couch, pulling the sheets off and turning it disarray. I sighed vehemently.

“You’re no fun anymore, Joe,” she said. She clicked her fingernails against one another. I couldn’t stand the sound, the irritating clicks banged against my ear drum. Click. Click. Then she started talking and rambling. About her girlfriends at the yoga place. The douche bags at work. The CD she bought on 3rd Street. Ramble. Ramble, she went on.

“God damn it, Deb. Don’t call me Joe! It’s Joseph. I’m a lawyer.”
~~
We ate dinner in relative silence and I pushed around the edamame on my plate. I loved Deb for trying, but the grilled soy steak was nothing compared to a porterhouse. It was a noble effort on her part, too, when she poured chianti into wine glasses for the both of us. I rubbed her thigh tenderly under the table.

“Sorry for earlier,” I said, cooing at her. When I spoke, tears dribbled from her eyes and fell onto her plate. “Aw Deb, don’t cry. The edamame tastes good. Doesn’t need any more salt.”

Her eyes narrowed and her forehead wrinkled into an unruly pattern. She forked the edamame beans and then took a bite of warm potato salad. She added extra green onions. They were her favorite.

After making love to her in her favorite position, her on top and giving her ass a few playful pinches, we lay side by side together heaving and panting. I was lucky. She didn’t like to snuggle too much after. Minutes passed. I was thinking about work. I pushed paper. I put paper in steel cabinets. I brewed the best damn cup of Maxwell House. Then a snake bit me.

“Deb!” I said, turning around to face her. She was beginning to drift away from me, but the quick thrust of her name from my lips peeled her eyes open. I took both of her hands into mine and kissed the finger tips. “I’ve figured out how to be fun again.”

~~
Deb wore the only business attire she’d ever owned. She looked beautiful, not that she wasn’t, but in that conservative way I liked. The plan was simple. At 10 a.m., I stepped out of the office for a cup of coffee. She came in with her best high school drama skills, acted as a fake partner at the firm. She planted the bomb in the ladies’ bathroom. We met by the coffee machine and she gave me the thumbs up. I smirked happily and took her hand in mine. We walked out of the office, briskly but discretely. I felt dandy with that cup of coffee in my hand, my steaming alibi.

We were well out of harm’s way when I heard the crash and bang, then the flames flew up into the sky, puffing like a devilish marshmallow. Deb and I grinned and her lips curled into an evil snarl.

“This feels good, Joe. We sure gave Bonnie and Clyde a run for their money. And now I’m starving. I feel like a steak.”

“Steak!” I cried out. “It’s 10 in the morning, hon.”

She held my hands and did a playful jig. We weren’t far from Ruth’s Chris Steakhouse. I’d been there on lunch appointments, but there was never an occasion to go with Deb. If we ever ate out, it was vegan.

The maître d’ warned us that there was no steak service at lunch. I took him aside, like he was my best friend. I slipped him a fifty and told him to bring us a porterhouse and a bottle of chianti.

“Sir,” he said curtly. “Would you like to eat steak or just look at it?”

I sighed. “Damn it, man.” I gave him thirty more and he kept his stupid poker face.

“Porterhouse rare and chianti. Foie gras on the house,” he murmured and stepped away casually for the kitchen.

The porterhouse arrived and we divided it between the two of us. It was deep red and the juice that poured from the meat was still red. It was a glorious sight to watch her slice open the meat with such relish. As we chewed, the succulent rare flesh wriggled in our mouths.

Chaos in the City

Here's another good dystopic observation. Campus was closed today, due to the fires in Porter Ranch. I am wishing for everyone's safety out there, by the way!

Well I noticed that there was something eerie in the air, and I don't mean the smoke and ash floating around. Everyone had a solemn look, and walked like zombies. Weather-beaten and exhausted, it was just another manic Monday, right?

I noticed things were extra fishy when my broccoli cheese soup from Subway just didn't taste right. Then there seemed to be plenty of parking in the parking structures. This was very odd behavior, indeed!

Then hallways were empty. At 1:45, the hallways of Jerome Richfield are never empty.

I went to my professor's office and she said that the entire campus was closed. No classes today.

No classes?! You mean I drove all that way, worked my ass off this whole weekend to get everything done by Monday, and...classes are cancelled?

So I fled! I fled campus and people were driving worse than normal. Intersections were blocked. Ambulances and fire trucks blasted through the lanes, weaving in and out of the way. I got on the freeway. And here was something that I had never seen before.

Traffic was backed up horribly on the 118 West. I literally saw cars pull over to the right and drive in reverse to the next exit, Balboa Blvd. It was like synchronized driving; all the cars in one line at the same speed backing up to Balboa Blvd. It was surely a sight to see!

This was chaos. This was dystopia in action. This is what happens to people in these bizarre moments that throw off your day. It's lunacy, I say. Sheer lunacy!

Thursday, October 2, 2008

One-Page Reflection for Planet of the Apes Presentation

I contributed to the group the scenes from Harry Potter and the Chamber of Secrets. I pointed out that the story in this particular book/film of the series is related to our talk of eugenics and Planet of the Apes because here is an instance in a fictional world that discriminates against a person based solely on what they are born with. Certain wizards and witches want to kill off the ones who were born from normal people and there is an air of superiority over the pureblood wizards and witches over them. It’s a genetic cleansing. The same thing happens in Planet of the Apes when they realize that Ulysse (Taylor in the original film) is an intelligent being—but he is a human, not an ape. They are unwilling to accept this fact and disregard his intelligence as nothing more than excellent imitation. How ironic, though, because in the novel, we learn that apes are excellent imitators, as well.

I also tried to figure out an answer for why Planet of the Apes is dystopic; and that is for the very same reason stated above. (I wasn’t able to share this in the presentation, because of time constraints.) It’s unfair to discriminate against someone who is intellectually and physically qualified to do a task. When we start trying to figure out who is the best, smartest, or strongest then it leaves no room for variety. For example, take Ethan Hawke’s character in Gattaca. He wants to go to space, but biological tests determined when he was an infant relay him to working janitor shifts and cleaning “spaces.” We will not have variety, because if we are all six foot, blonde, and blue-eyed, there would be nothing special to differentiate one individual from another. We would all be cookie cutter.

WebCT post: 10/02: Planet of the Apes

I enjoyed Planet of the Apes. It might be because I have an overactive imagination, but when I read a story that I enjoy, I like to immerse myself fully into that world. It’s how I get a feel for the story, the setting, the surroundings, the characters, the action, and the plot. I saw the ape society described in the novel and it was actually frightening to me. I didn’t want to see a world where humans are low-class heathens, whose intelligence is undermined. I didn’t want a world where someone was discriminated against because of blood, genetics, or species, as we saw in the Heston film, Gattaca, and even the snippet from Harry Potter. :P I think, had the apes lived harmoniously with the humans and accepted them as intellectual equals, then I wouldn’t be so hung up about it. Then again, we wouldn’t have much of a story, would we? Even so, the fact that I was so immersed and so horrified at the close-mindedness of the apes, I think that’s a good thing because it shows just how affecting the novel is.

It may play into my own insecurities because I somehow don’t want to believe that humanity is fragile—but we are. Here is an allegory for what we can become if we crumble and fall apart as a society. There could be an uprising during vulnerable times. Maybe not by apes, per se, but by anything: dictatorships, anarchy, what have you.

Sunday, September 28, 2008

First Draft; Story for 408: A Yellow Submarine

Comments, criticisms, anything in general are always appreciated. Don't steal. I worked hard.

"A Yellow Submarine"

His jeans are crispy. He doesn’t use fabric softener. He lifts my favorite powder blue cami over my head. Did I shave my pits? I hope they don’t smell. He doesn’t look repulsed, so maybe I’m okay. I don’t know why he thinks I like it when he kisses my neck. It is a snail slithering its slimy, snot-covered body on my skin, leaving a sticky trail behind it. It is marking its path and its territory, wondering which flower in the garden it can terrorize next.

He has amazing hands, though. He knows how to use them; he knows how to flutter his fingers just the right way that sets the bumps on my skin rising to the height of a skyscraper. If I could only have his hands, the two faceless, lifeless servants then I’d be eternally satisfied. I like it when he leaves the TV on in his bedroom whenever we fool around. I always get so bored with his incessant tonguing, but at least I’m caught up on episodes of Lost.

He’s fiddling with my bra; he’s clumsy. I reach around behind me and unhook the clasps for him, then throw the white lace cups at his face. He thinks it’s playful and endearing, but I roll my eyes with indifference. I lie on my back, on top of the sheets of his double bed, with my breasts bare and all he can do is stare at them. It always seems to be a sub zero temperature in his room and now I’m shivering. I try pulling his arms towards me, but he’s too stiff and won’t budge. Maybe he doesn’t want to get too close for fear that I’ll gouge out his chestnut eyes with the shriveled and taut raisins on my chest. I wish he would just man up, grab a hold of them, and conquer me like a Viking brute, but he’s more like a Victorian gentleman steeped with brandy after a cocktail party.


On our first date, he suggested that we play an icebreaker game. I was mousy and so quiet that he might have been losing his patience trying to strike up a conversation with me. The game was to tell one another a vulnerable secret or experience from our past. I scanned my brain and examined all the events of my youth, which raced through in microsecond flashes of images. When I didn’t say anything right away, he cleared his throat and began to talk.

There was an insecure girl and she began with occasional slaps to the face. He couldn’t always physically be there for her, and she resented that. Then she became violent. She swung right hooks to his jaw. Her elbows dug into his ribs. He was too ashamed to call the police and believed all dignity and manhood relied on his ability to handle her, but she overpowered him. So he walked away beaten and broken-hearted, reluctant to touch and to love, and she quickly found someone else to happily drown with her fears.

When he was through, he was red in the face and stared blankly into space. I didn’t know him that well, yet, and I wasn’t sure how to console him. So I blurted out my icebreaker.

“I first masturbated to orgasm when I was 13,” I said, darting my eyes to him. “I felt so ashamed of myself that I actually prayed to God, asking for forgiveness after I did it.”

I was expecting an eruption of laughter, but his beautiful browns only looked into mine with an amused smile. He patted my arm tenderly and said, “That’s very cute.”

We had planned for the simple dinner and a movie date that evening, but we sat in his jalopy canary yellow Volkswagen. We went nowhere. We remained huddled close together, unveiling confessions and submersed under the protection of our solitude.


Now as I lay topless on his bed and he loosens the buttons on his crispy jeans, I start to have jitters coupled with nervous girlish giggles. He pulls off the blue jeans, followed by his heather gray boxer briefs. Oh Jesus—it’s like a rifle. I cover my mouth, hoping he doesn’t see the abject horror splayed upon my face. I feel like I’m about to meet my impending doom, like the crew aboard U-47. He starts to work on my jeans and successfully pulls them off, along with my bikini panties.

I reach to my right to his bed stand and reluctantly grab a box of condoms. I hand him one from the package and as he is rolling the slippery latex on himself, I fight the urge to laugh in his face. It is utterly ridiculous. It’s a submarine, gearing up to plunge into the deep caverns of uncharted waters. His body looms over me and he supports himself on his knees and arms. When our eyes connect, there is a moment of clarity, like a sip of red wine paired to accent a meaty meal. I see his face, an old soul marred by a lifetime of feeling inadequate. I can’t laugh at him; I shouldn’t. He smiles and lays a kiss on my lips so powerful that dozens of colors dance behind my closed eyelids. I brace my hands on the top of his broad shoulders and right before we take the plunge, I ask him to turn the television off. He returns to me and his hips meet mine. I am no longer laughing or afraid. Down, down we go.

Monday, September 22, 2008

Dystopic Observation (updated to include reading)

I spent about an hour on Sunday afternoon, driving around my neighborhood in Eagle Rock. I stopped at a red light, just a mere half a block away from my apartment. I was in the middle lane and there were a few cars in the right lane. When the light turned green, the first car wasn’t moving, so the driver behind honked their horn, probably thinking they didn’t see that the light had turned green. The driver signaled for them to go on ahead. So the first car stayed stuck there at the light and turned on their emergency lights while everyone behind them passed by.

We have all had instances where we’ve passed someone who has car trouble and/or is stuck on the side of the road. What I think is dystopian about the actions of the drivers, and the point that I am trying to make is that here is just one example of our society. We can be more or less selfish; and care about our own actions and our individual selves—not necessarily a Good Samaritan type of world. I know that we’ve been talking about socialism and the egalitarian types of societies in dystopia, but this is the opposite of that. No one is really equal. Some people can afford to have their cars running in tip top shape. Some can’t afford to keep their cars reliable.

In a true dystopian society, I think that’s citizens might be; in fact, they may be even worse tenfold because under a totalitarian government, you would do everything you can to stay on the good side of the law, and disregard everyone else. There’s no equal ground. You’re out to save yourself from getting chained and to achieve your own individual success.

This is related to our reading in 1984, particularly the portions that describe the citizens of Oceania. They watch the beheadings and are completely desensitized by it. It's more like sport or entertainment. That's how we react to traffic accidents on the side of the freeway. It's just another thing that makes us spectators.

Tuesday, September 16, 2008

Fiction in Bits: ENGL 408

Fiction in bits...I think that's rather self-explanatory. The bare bones of it means that a story is written in fragments that the reader is meant to piece together. To some, this might seem a very disjointed and disruptive way of reading a story, but this is something that we are looking at and discovering in my 408 class. So here's a story, using pictures provided by our professor. We were to create a story using the pictures. I am not going to post the pictures here because they are not my property, nor am I entirely sure if my professor would want others seeing the photos. With that said, I hope that my story is informative enough where you don't need the photos to see it.

"The Chicken or the Egg"

17 06 2005 12:17
Stanley Theotokis stands before his late father’s old grocer mart on the exit Razor Rd, off the 15 Highway. It is the last day of business before he closes up for good at 4 p.m.

Stan had just put out the last of a cigarette butt, from the last carton sold in the store. He squashed the paper and ash mess with the bottom of his sneaker, erasing with it the years that had faded into a garbled mix of highs and lows, but mostly middle at best. He didn’t want to live with regret or sorrow but felt little inspiration to pursue anything else except to wallow in his own sweat on the dusty stoop of the abandoned mart.

Anatole “Arnold” Theotokis came from Greece thirty five years ago and only brought with him a taste for Ouzo and a baby named Stamitos Theotokis.

“I insist on Stanley now,” he always told strangers when asked about his real name. “Or Stan. Some people call me Stan.”

Two hours before closing, Stan realized that no one else was coming to see the last few moments of Arnold’s Market. He had not bothered to tell people about it, anyway. One customer had come in, named Bud, and he purchased the last bags of old sunflower seeds and a 9V battery. He was a scraggly character, with a few stray gray hairs in his curly mane and his navy blue T-shirt was riding up and exposed a furry, tanned belly button. It appeared to be dry and encrusted with dead skin all over the hair.

“Shoulda sold gas!” he said to Stan, busting over a few chuckles before ending abruptly to cough out phlegm shots. “Yeah, yep. Gas is good money right there. I predict it’ll one day come up to four dollars per gallon. Yes, I am not a good-lookin’ feller, but I’m smart and I get NPR on my little radio.”

His breath was rank when he spoke, and Stanley did his best to hold his head back and hold his breath peacefully. The disheveled man reached into his back pocket, not for his wallet, but for a beat-up handheld radio, stained with black grime in the little crevices and oily streaks all along the back of it. It was once canary yellow, but looked like a light orange to Stan’s eyes. Bud pulled out the antenna swiftly and it was long and rusted. He nearly punched Stan when he did that.

“Heh, see this here’s my radio,” he gleamed with pride. “I get the Vegas radio stations, too. Heh! Give it a listen!”

Bud began to roll the dial through stations, static giving way to static with each and every notch he fiddled. He kept reassuring Stan that he indeed could hear NPR, but was only met with the scratchy dead air.

18 06 2005 3:03
Lizzy Gordon takes Stanley on a hike through the Las Vegas desert. She is pointing to the massive mountain on her right, suggesting that they climb it. Stanley would rather jump off that mountain.

Lizzy spent three years of grad school with Stan, collectively drudging over thesis proposals and hunched over late into the night researching in the dusty aisles of library stacks. He always closed himself off never revealing himself, raising a wall of concrete slabs and stiffening when she started to delve into his feelings. He would brush her off nonchalantly when she did, by a subtle change of the subject, or lapsing in a moment of clumsiness to distract her. Lizzy’s years of tapping his egg shell never produced a single yolk. Stanley was hard-boiled and an impenetrable ghost.

After Arnold’s Mart closed, Lizzy invited Stan for a walk through a hiking trail she frequented. He was reluctant at first, but followed along. She noticed his awkward silence and sensed something wasn’t settling with him. She stopped hiking and outstretched her long arms to embrace her best friend, but he shied away, pulling her shoulders off of him and continued to walk forward without saying a word. She skipped her feet to catch up to him and yelled to his turned back.

“What’s the matter with you!”

He faced her, and suddenly the years began to fill his throat, choking him into the same feelings of vulnerability he never wanted her to witness.

“Talk to me, Stanley,” she said, trying to coax him into her confidence.

He shook his head and muttered a few coarse words under his breath.

18 06 2005 5:42

Bud takes a drink from a tiny pool of water on the ground, a Vegas Oasis or God’s gift to desert scumbags.

“Good. Clean. Natural. Heh!” He chuckled to himself once more.

Along their trail, Stan and Lizzy vowed a semblance of silence between them. She was afraid to say anything and he was afraid of lashing out at his only friend. Then he saw Bud, the NPR guy from yesterday, and he actually felt comforted in seeing a familiar face. It was an unpleasant face, but a familiar one at that. About forty feet away, Stan saw his head bent down sucking the ground.

“Stanley, I don’t want to walk that way. That guy is a Charles Manson crony, or something,” Lizzy said, holding her arms in front of her chest protectively.

“It’s okay. That’s Bud. He was my last customer yesterday,” Stan said with a big grin overcoming his face. “Hey Bud! Bud!”

Bud looked up from his desert oral and the water dripped from his chin. He looked forward, right into the sun’s rays and was blinded for a second. Then he saw the curly-headed boy with the funny name he remembered from yesterday.

“STAMITOS!” he cried out excitedly. “Stamitos Ryokos Papabaklakavich!”

Stan furrowed his brow at Bud’s bizarre attempt to pronounce the Greek names. Then his core began to fill with worry when Bud came forward, unkempt and with an ogling stare at Lizzy.

18 06 2005 6:10
Lizzy and Stan stop at Love’s gas station and marvel at the intermittent cumulus clouds in the sky. They are floating so low to the ground, Stan feels that if they had climbed that mountain, he would be able to touch the clouds.

Bud yelped, from the backseat of Lizzy’s Cavalier. He rapped on Stan’s shoulder repeatedly, pointing to the gasoline price sign.

“Heh! Toldja ya should’ve sold gasoline! Lotsa money, see. And you get pretty girls coming in here. Mmm! See you could’ve made a fortune. If I’da known you were gonna close, I’da helped you with yer business. I know a thing’r two about it. I listen to NPR! So is she your girlfriend?”

Stan shook his head no, then retracted his statement with a gutteral yelp, then shook his head again. His final answer was a shrug. Out of the corner of his eye, he angled his head to glimpse at Lizzy leaning against her car and watching the numbers scrolling rapidly on the gas pumper.

“Don’t matter! I’ll have ‘er if you don’t want ‘er.” Bud said, also leaning over to leer at Lizzy.

18 06 2005 8:28

Just outside of the Circus Circus hotel, Lizzy and Stan spot the billboard for free chips and salsa, and half off a pitcher of margarita.

The two of them caroused with Bud and humor his somewhat witty conversation at the bar in the Blue Iguana restaurant. They treat him to the beer, the pitcher of margaritas, the chips and salsa, while he yammered on about how he invented pencil sharpeners. Bud pats Stan on the shoulder, again very roughly. His already foul breath began to merge with the cheap beer and he was like a dragon, firing off dank and heavy shots of slurred speech laced with foul fire breath.

Bud, caustic and babbling, became completely incoherent and Lizzy and Stan used this as an opportunity to slip away from the table, leaving behind a wad of cash for the drinks. Bud’s head was down, buried in his shoulders, and Stan prodded him on the shoulders the same way Bud did.

“You’re a true pal,” he said smiling, though Bud didn’t bother to look at his fleeing friend.

18 06 2005 10:22
Lizzy and Stan have a moment on the escalator outside of Bally’s hotel. She budgets herself to an evening of gambling only five dollars.

Lizzy never had the chance to gamble her five dollars. They both realized they had filled up on the chips and alcohol and began to exchange lusty looks before locking lips in lime and salt-flavored kisses.

Late into the evening, long after Stan had fallen asleep on his belly, Lizzy was burning and crawled out of bed to blast the air conditioning. She noticed that Stan had left his rolling suitcase open, revealing his personal items. Her eyes darted to Stan, sound asleep. She could make out the curves of his behind using the dim light that seeped through from the Strip through the eggshell curtains. Then she fell back to the suitcase, and in a backhanded attempt to understand her friend, she began to search through the contents.

She could barely see the paper from the sparse light in the room, but noticed a document, and discovered the death certificate of Anatole Theotokis, claiming the cause of death was by natural causes. She dug deeper, moving aside T-shirts and cargo shorts and then discovered a note written in Stanley’s mangled cursive handwriting. It was a lengthy wad of papers, front and back, with ink blotches dotting the pages sporadically.

She began to read, scrunching her eyes together closely to make out the scribble of letters on the blemished and stained pages. In the letter, she finally discovered the person inside of Stanley Theotokis and it was a detestable soul, full of self-loathing and hurtful language. He spoke of wanting to kill his father, but the stroke beat him to it. He hated his friends, and felt all people were vapid and superficial, and no one wanted real substance to any relationship. She resented his resistance and hated him back, if his words were truly his because all the years of trying to crack his shell were for nothing and ended on that night. Lizzy could have killed him there in his sleep, but didn’t want to deprive him the pleasure of doing it himself.

“Sure, jump off that mountain, Stanley,” she uttered with contempt. “And fly with the wings of a chicken.”

Monday, September 15, 2008

ENGL 312: WebCT post due 9/11

Note: This was posted on WebCT discussion board for my ENGL 312: Film & Literature. We are required to do weekly WebCT posts to explore a topic discussed in class. I am speaking in reference to George Orwell's novel, 1984, so if you aren't familiar with it, it might be confusing. However, it's also very relevant to modern pop culture.

Internet & 1984

First off, I just wanted to point out something that had occurred to me
last night. 1984 deals with these issues of Big Brother. He is always
watching you. In that world, someone is always watching your every move
and even your "comrades" are watching you. Children are trained from a
young to spy on their parents. It's a world that wants to create a state
of fear, or we talked about a state of war, to keep every single person
on an even playing field.

Last night, my friend encouraged me to join this network called Twitter.
(http://www.twitter.com). It's a website where you basically type in
your status update, like the status updates you might find on Facebook
or Myspace, but it's simply only a status update. They had told me a
story of a guy who was in prison abroad somewhere. He had his mobile
phone and used Twitter to send a message to all his friends that he was
in jail. He was able to get the American Embassy to intervene and he was
eventually freed from jail.

I joined Twitter. I did it possibly out of curiosity, boredom, or maybe
because of the fact that it's a way to let my friends know what I'm
doing. I think this relates to 1984 because it's basically a website
that lets your friends know what is going on in your life, especially
when you can't see or speak to them on an average basis. On social
networks like Myspace and Facebook, you usually add someone to your
Friends list to branch out your network. I was trying to figure out how
to befriend people on Twitter, when I realized that they didn't call
friends "friends." They are called followers. People who follow you are
your friends, and they can see your updates. You can also be followed so
that other people see your own updates.

I know this sounds like a bit of a stretch, but I thought it was somehow
connected to 1984. I said to my friend that it was a "sad world when
friendship was synonymous with following.' To me, "following," doesn't
sound like a quality of friendship. It sounds more like suspicion,
stalking, and just general insecurity of another person. This is exactly
the type of world that we see in 1984. Nobody has real friends. They're
all just followers or followed.

Saturday, September 13, 2008

Why I Like and Don't Like Hooters


I will say I don't like Hooters because of reasons that aren't so obvious. I'm not bothered by busty women clad in short shorts and tennis shoes serving sallivating men. I have a lot of respect for those women. Being a server is hard enough, so that can't be an easy job and I'm sure it's taxing not only physically, but mentally as well. I can't imagine having to sit down and flirt with men I'm not particularly fond of, or find attractive.

With that said, I am going to start with why I do enjoy Hooters. I don't eat at Hooters often. In fact, I have only sat down to eat there once. I enjoy chicken wings. I enjoy that man food. I enjoy that greasy, salty, cholesterol saturated mess because it's damn delicious and my tongue sings when I taste it. I don't care that it's deep fried in oil chicken wings, smothered in a mixture of hot sauce and butter. God, that's good. I digress...the point is that that is a delicious wing and though I don't eat it often, it is a sure treat when I do.

I wouldn't say the atmosphere at Hooters is too cozy. It's reminiscent of what would happen if a women's gym met a sports bar and bore a love child. It will do, though. I went there a whole year ago with a friend of mine and we shared a plate of wings and fries. She ordered a beer to wash it all down. I had water, *sigh*. Unfortunately, I hadn't reached the grand ol' age of 21 yet.

Our server was a beautiful brunette lady, buxom and spry. I am confident enough with my sexuality to say that yes she was beautiful, buxom, and spry. She was very nice, and it didn't seem forced, superficial, or fake at all. I can usually see right through superficiality, too. Either that, or she's a pretty damn good actress. I think for her, serving my friend and I was a nice break because she didn't have to go into flirt mode. She could be one of the girls for just a short moment in time. When we left, she even told us that we should come back on Sunday, for a football game.

"All these young, hot boys will be there," she said excitedly. Now this really tickled my fancy and titillated my hormonal insides. How else is a young, single gal in L.A. supposed to react to a statement like that? So it was nice that our server was relatable, she felt human, and she felt, well...almost like a friend.

Here's the real downside. After our nice meal, my friend and I decided to top off the meal and buy Hooters shirts, because we were so impressed with our experience. I decided to buy a T-shirt that was on sale for $9.99. Normally, the shirts cost $23.99, A week later, I looked at my bank statement and noticed that I had been charged $35.00 at Hooters for my T-shirt! I knew it wasn't from my meal, because I had paid for it in cash. They had basically charged me the sale price in addition to the normal price, which is why it cost $35.

I went back to the store to take it up with a manger. She took my name down and said that she would send it over to corporate and that they would give me a call. They never did call me and I never did get a chance to go back to that Hooters.

What could have been a 5-star experience for me turned out to be merely a 2.5. I had had all faith in Hooters, but it was slashed when I never got my money back. The shirt I own is now tainted with the memory. It doesn't say Hooters to me. It says $35 T-shirt. Maybe I'll come back again when I'm not a poor college student and money is no object.

Movie Review: Smart People (2008)




Here's the basic jist of this film: We have a douchebag English professor (oh gee, I don't know what that is!), played by Dennis Quaid and his dysfunctional family. There's his neglected poetry-writing son (Ashton Holmes), his no-good adopted brother (Thomas Haden Church), and his overbearingly smart Republican daughter (Ellen Page, of Juno fame). Sarah Jessica Parker also contributes as the love interest of Dennis Quaid.

I have been craving offbeat, out-of-the-ordinary films because I find the mainstream blockbusters to just be terribly blasé and the same old clichéd shit. This is not to say that I don't enjoy them. I just search for something a little more cerebral, something to tickle my fancy.

So I wanted to like this movie, truly. There's an English professor, there's a lot of talk about literature, the guy's wife died, leaving a young daughter and a son, who are both messed up. It relates to me a on a personal level. The problem with this movie is that it really lacks substance. This movie fails to connect with its audience, even myself, who can relate to the premise of the film. Dennis Quaid's character, for lack of a better term, is an asshole from start to finish. He finds a love interest and that's the part of the movie where you see the character's evolution from ass to class. He never goes through that--he stays the same very unattractive person and only gains a fraction of heart through his love with Sarah Jessica Parker's character.

Another thing I had a problem with was Ellen Page's character. I've got to admit, I enjoyed watching her in Juno. She plays this character the same way she played Juno, with that smart tongue and know-it-all bravado. She's a conservative Republican and it is apparent that she is very scarred by her mother's death but hides it. She never does what she wants, always inhibits herself. By the end of the film, we see her wanting to break out of her self-imposed shell but still...we as an audience feel absolutely no sympathy for her. There is no character evolution.

Finally, the film itself is pretentious. The title, Smart People, suggests a very holier-than-thou attitude right off the bat. Yes, I picked up the movie because I was drawn to the holier-than-thou title, but like I said, I wanted to see smart people. These were not smart people. These were bland characters that spouted off intelligent words and phrases to sound smart. The writers liberally sprinkled the script with these "smart" words to make it stand out but it fails miserably because it sounds so forced and unnatural.

Like I said, I wanted to like this movie. The soundtrack fit the scenes well and sounded solid, like Juno's soundtrack. So if you're thinking, "well it's an indie film. Of course it's not going to be all roses and candy." A successful story has to relate to the audience, it has to stir the audience to elicit sympathy or some type of emotion, be it fear, happiness, love, sadness, whatever it is. But it's such a slow-paced film, with nothing endearing that I have to give it a big thumbs down. Now I kind of feel like watching Juno.