L'immortale by Dean R. Tolkien La terapia by Sebastian. La torre nera vol. Le cronache di Narnia vol. Testo inglese a fronte. Il Natale del commissario Ricciardi by Maurizio. Le inchieste di Maigret 11 di 75 Le inchieste di Maigret: Stile libero big by Noah Hawley Lissy Einaudi. Il dominio della regina, L'ombra della profezia: Libro quarto delle cronache del Ghiaccio e del Fuoco by George R.
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Il Trono di Spade - 4. Maybe she means the Woodsmen, who are a kind of smoked meat incarnate. Or maybe the animals she disconsolately watched maul each other on the Discovery Channel, on a big flat-screen television, in the second hour. Hours after the outburst, a fan whirs monotonously in a lamp-less room and she answers the door as old Sarah, scarier with her cold, hard brow, her low-burning eyes, and her corroded smile suggesting a mettle twisted to bitter ends.
I watched these two episodes on a television like that, huge in a small room, dark, the way Lynch intended. Besides, the television costs less than the phone. The head should be significantly, alarmingly bigger than yours, and in a portrait shot, from the shoulders up, it should be the size of a clock on the wall.
Convenient alternatives begin to suck. On whatever websites, avatars the size of pencil erasers ease our forgetting the obvious, like that the owners of these avatars also have homes, incomprehensible habits, old haunts on certain square miles in a subdivided country, and especially that they have other faces, shaded minutely by expressions never represented in a reaction GIF.
Can representation make us stronger? On The Return , it matters that the stories are disparate, that worlds diverge and are weirdly, sparsely populated, so that the faces do not appear in a crowd.
The Return , two timelines emerge, one stronger, one fainter, like lines on a pregnancy test. If my husband is reading this: Anthony Sinclair Tom Sizemore , a double agent at the company, calls his other, criminal boss, Mr. Todd Patrick Fischler says Sinclair has one day to finish the job. After work, around 6 PM by the light on the stucco, the cops at the Las Vegas Police Department continue to bungle the case involving Dougie Jones and Sinclair buys cyanide from a crooked detective John Savage.
Night falls on Sonny Jim carousing around his new gym set, courtesy of the Mitchum Brothers. In the driveway there is a brand-new convertible, ditto. The car, a BMW M3 convertible in alpine white, dates to and the scene was filmed in , and presumably it was just the most recent car available, but if this were happening two years before the rest of the show, or if time were zigzagging, it would not be a shocker. Two years was how long a certain agent with the Bureau had to be off in Argentina before being hailed, in Twin Peaks: He seems unsure whether it has really been two years.
His accent belongs to a Confederate soldier who defected and joined up with Australian pirates. Dougie, over coffee and pie with his would-be poisoner, foils the plot by giving him a silent, firm massage, a gesture that would be alien to Dougie and, if witting, is clever and evidences the remaining nature of Coop. After dinner at home, he eats cake and sees Sunset Boulevard on cable, and, hearing the name of that minor character for whom Gordon Cole is named, has a thought—a whole one—and crawls across the staticky carpet to stick his fork in a socket.
The lights go white. Todd, who was himself operating under long-distance control, presumably by Jeffries, and tells Hutch Tim Roth on the phone to order French fries. Naido and Andy Nae and Dana Ashbrook. The scenes are not all linearly shown, but the times line up in Vegas and in South Dakota, and in Twin Peaks.
Kierkegaardian, really, to find beauty nowhere but in ethics, to resolve a triangle in the symmetry of goodness returned. Why are the pieces so cohering? For the same reason a magician takes care to explain, step by step, what he is going to do. When you think you know the steps, the sleight of hand becomes a greater surprise.
C when the two meet at odds; and the bad Cooper, with his black, metallic voice, his all-black leather, makes us think of Darth Vader so we know Mr. C is the dad. The tension in an arm-wrestling match we know Mr. The Log Lady has been dying the whole time, and Catherine E.
Coulson, her embodiment, died soon after filming her scenes, but when she phones Hawk and says her log is turning gold, goodbye, it feels unacceptable. At night time starts bending like a spoon. Sarah Palmer Grace Zabriskie , drinking at home after her break with reality in the grocery store, watches a boxing match on loop. I suppose it could also be the night after next; she could be sleepwalking. At the roadhouse, in parts fourteen and fifteen, we see a master of ceremonies J. James James Marshall and his randomly English coworker, Freddie Jake Wardle, a London kid who was heretofore known exclusively for doing different English accounts on YouTube, and here appears to be doing them all , talk about going in part fourteen and show up in part fifteen, making it seem like actually it is the same night.
And Audrey is still arguing with her husband, Charlie Clark Middleton , about whether to go to the Roadhouse. Having played out over four episodes now, in nearly contiguous scenes up to ten minutes long, the argument is occurring at about one-hundredths of the average speed of life elsewhere. Audrey , beginning to be afraid: So what the fuck am I supposed to do. Are you going to stop playing games or do I have to end your story too? Is that the story of the little girl who lived down the lane?
The adaptation of The Little Girl Who Lives Down the Lane stars a thirteen-year-old Jodie Foster as the titular kid, Rynn, and features, in a nude scene, her older sister as body double—something I bet thrilled Lynch. She has a magician boyfriend, Mario Scott Jacoby. Jesus, how old is this girl? A murder suspect under investigation by Gordon and Albert, decades ago, died of being shot in a hotel room and her body, before becoming the body, vanished. The two murderesses were identical and not twins. No, because the first dying, vanishing woman was, intuits Tammy: Foucault, in The Order of Things , writes about the unity of thoughts that cannot be represented in sentences.
The less predictable, undemotic, unnatural the speech, the more it begs repetition, the more unified its expression can be. A maid named Rose spends her days polishing the Story-Pig, who is silver or gold depending on the angle, and tries to make him brighter and brighter, but there is a limit to his brightness, and she sighs. At dusk she is transformed, with the help of her equally classed lover, Hans, and a pair of red slippers, into a Queen. Although the clock ticked round always to the same hour, things themselves were never the same again. They belonged to the Queen and had no illusions about tomorrow, when they were almost the same but never quite—except the Queen, and she only because she went not from a beginning to an end but from a beginning to a beginning.
Who is the dreamer? All characters do live in boxes in a larger box. A regular domestic murder is not Lynchian. Americans are born into a history of unbelievable violence and the cover-up is usually banal. There are Nazi youth marching with tiki torches as if the suburbs are a source of pride and humans unwanted in college towns are only mosquitoes.
Lynch as a prophet of homeland affairs is a turn in the dark that feels wrong or impossible: There is a church in the unincorporated community of Twin Peaks, California. There are three churches of the Mormon kind by the foot of the Twin Peaks range in Utah. The first time around —91 we wanted to know who killed Laura Palmer and David Lynch thought knowing would kill the show. When I said the dreamer could be us, it was the simplest and not the best solve; I think the question should be answerable, not answered. I pray not, since Twin Peaks: The Eternal Return would be too ungodly.
In the picture as it fades there should be a dreamer who is like us, made in our image as gods always are, in my god-averse view, but not us. Cooper, a dreamer, cannot be the dreamer. In episode sixteen of The Return , having put a fork in the socket and in Dougie, the hero awakes from both his medically induced coma and his once-interminable limbo. Special Agent Dale Cooper. Phillip Gerard Al Strobel. Cooper turns, a familiar turn. C cannot be the dreamer. He does create—tulpas, like Dougie. Elster, goes blonde and waspy to impersonate and frame as a suicide his wife, Madeleine.
Syllogistically, casting aside, this means Judy is Madeleine and Madeleine is not Laura. Fire Walk with Me Laura does not have a sister, far as we know. Can a tulpa be considered a sister? But the Diane we have seen is not the Diane we never knew. Cooper was, then, definitively, bad at the time Richard was conceived with Audrey, meaning either that Audrey was a tulpa and tulpas can reproduce, which is unlikely but so are a lot of things before they occur; or that Audrey was raped and the dissociation a rape produces came to stick.
The matrilineal nature of madness, more accurate to my paradigm, is supposed in Vertigo and echoed in Twin Peaks. Other fans, in a theory I enjoy, say that the girl asleep when the Woodsmen come, into whose mouth the tumescent insect crawls, must be the dreamer; that is to say, some percentage of her never woke up. Beth Ferguson, mother of Maddy, though again if we are following the plot of Vertigo this would make Maddy the Judy.
Maybe I just want Sarah to be the dreamer because she is the character in Twin Peaks I most hope is somehow immortal. Zabriskie had the greatest scene of the show so far, or so I said, in part twelve; she had a greater one in part fourteen, when Sarah goes drinking alone at an unfamiliar dive bar. A return to her human form. I laughed the first, second, third time I watched it. The bar owner approaches her with suspicion and she plays helpless, stricken, then drops her voice to a mere chill and says: Gordon Cole David Lynch , whose name is the last thing Cooper-as-Dougie hears, the final trigger, cannot be him either.
The original, human Diane, the invisible presence the old Cooper was always addressing, perhaps. I had forgotten whether it ended with a fate—and it did, a punishment for interfering with fate. Chantal Jennifer Jason Leigh and Hutch are riddled to bits by, of all people, an accountant in an act of mutual road rage. Steven Caleb Landry Jones , in the fourteenth hour, was heard to die by his own handgun, startled, like Judy Barton atop the belltower, erroneously at the approach of a stranger.
Carrie Page Sheryl Lee. Is Laura Palmer really dead? One problem was the body itself, the body of a girl being motive, means, opportunity all at once. Another was the family, where odds are made. As for the rest, they were the problems of the human heart in conflict with itself, the only thing worth writing about, and that is to quote William Faulkner accepting the Nobel Prize in The men who built Twin Peaks were born about seven years apart into nuclear families.
They were eldest children, each with a younger brother and a younger sister, with fathers. David Lynch, raised on tree-lined streets across the Midwest, came to understand cinema as he did small towns, places where, because the horizontal is circumscribed, plots tend to spiral.
Meditation, Consciousness, and Creativity A bit close to home. Here too a killer did not act alone: Nights before her murder, Laura dreams. She tosses, turns—and turns to see an older girl, blonde, with a bloody mouth, wearing a white dress like a child at First Communion. This is useless information. Kennedy is shot and dies forty-three years later. Laura Palmer is murdered forty-three years after the birth, in , of David Lynch. No coincidence that prescience and nostalgia take equally as long to develop. Nothing much to see. Unless we are talking not about hindsight but anamorphosis: The fateful day is one where dawn comes at the end.
In Greek myths, the ones I remember, a protagonist crosses the gods. She believes that she is taking fate into her own hands, that she can reverse or avert the dread event, only to make herself answerable for the very same outcome—and then it is fate. Daphne is fleeing Apollo when she falls into a river and cries to the gods, who save her by turning her into a laurel tree, rooted forever, and watch as Apollo cuts off her branches for a wreath.
A perfect myth is the one where Eurydice dies. Her husband, Orpheus, mourns her in songs so moving that the gods develop sympathy and permit him to retrieve her from the underworld, on one condition: Eurydice follows closely, but she is still behind him, in darkness, when he sees the sun and turns around smiling. My favorite reading of the denouement was done by Godard in his eulogy for Hitchcock. Eurydice says to Orpheus: Orpheus is the literature that kills Eurydice. And the rest of his life, he makes money by publishing a book on the death of Eurydice.
The second-to-last hour of The Return ends with Cooper in the woods on the night of February 23, Laura and James fought there. He watches them fighting now. Once Laura looked past James and screamed at what appeared to be nothing. Now when she looks, we see Cooper. Cooper thinks she sees him, and ducks. Later she returns to the woods and this time, seeing the man in a suit, uses her words. She wonders whether she knows him. A portal is open. We glimpse a Twin Peaks where Laura does not, on February 24, , die. The mistress does her makeup and hums a soft, disquieting tune.
If everything were different, what would change? Kennedy, a line goes: Laura follows Cooper out of the woods. He turns to look. There is a sound of wind rising. A pause, an insectile scratching, and he turns to look a fourth time. Closed captioning has this as Jow-Day, which sounds like an Old Celtic warning.
No such shakti appears in extant myths of Sumer. Whatever her provenance, her name over the ages, as in a game of Chinese whispers, became Judy. Davis at some point before he disappeared in the early s. The bedevilled Jeffries, who appeared only in Fire Walk with Me , and the divining Briggs, who appeared only in Twin Peaks —91 , never met. They continue to polarize the co-creation. Forty minutes into The Return we find the Major dead, his head severed as if it contained his mind, as if Lynch had personally executed him for knowing too much. Briggs may have been named Garland as in Judy Garland, who appeared as Dorothy in The Wizard of Oz , a film beloved by Lynch, a few years before he was born.
But nomen is not necessarily omen. Lynch uses, across his ouevre, the same names for wildly unlike characters: Betty Briggs and Betty Elms. Frank Booth and Frank Truman. Dorothy Vallens and Dorothy, just Dorothy. Bobby Peru and Bobby Briggs. The denotive power makes meanings, two by two, cancel out. He likes it, too, when characters share names with his favorite people, or vice versa: A universe feels familial. Stanton died two weeks after the finale aired, and I rewatched Harry Dean Stanton: Lynch, like Frost as Cyril Pons, is enjoying his little cameo as a reporter.
Where the screenwriter lent indulgence to the hack type, the director treats the business as a not-bad joke. There is no self. The sole review on Goodreads was ecstatic:. I immediately ordered it and hope that it sheds more light on this fascinating and unexpected connection. I said in an earlier recap that social media and dreams are on the same plane of reality, and that in Twin Peaks and moreso in The Return , telecommunications and networks are incorporated into a new, almost dreamless surrealism.
Lynch and Frost attract message-board freaks who, never getting enough sleep, see clues in lieu of symbols and take inexplicability as a challenge. The number-one search engine suggests that The Poetics of The Self was authored by the famously atheoretical artist, not the minor, dead academic who actually wrote it. The Major to Windom Earle, under the influence of truth serum, surrenders the key to the Black Lodge: Great Conjunctions are historically mystified.
Earle goes around singing: Trow, Within the Context of No-Context Seven hours before the ceremony was to begin at the Dorothy Chandler Pavilion in Los Angeles, a twenty-five-year-old man seeking the attention of a nineteen-year-old actress, who would turn out to be a lesbian, shot Ronald Reagan outside a Northwest Washington hotel.
He watched the stars watch him give a competent performance as the President: The ideas that came quickest were disturbing because he was easily disturbed: One day a man came into the diner and though nothing he did or said was memorable, he gave the director a feeling and the feeling gave us Frank Booth, the most terrific human monster, in Blue Velvet His work from the beginning had the antagonism to shared reality of evangelical tracts.
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Lynch said he did. Even the lawless Wild at Heart had Sailor Nicholas Cage and Lula Dern survive hellfires in a pilgrimage to reach the City of Angels, where an embrace reiterates that perfect love casts out fear. Yet nothing could prepare the unbeliever for the overwhelming theodicy of Fire Walk with Me. Garcia also, albeit in a deleted scene, provides a clear shot of the church in Twin Peaks , never before seen and since abandoned.
Dimly, we see her death as a choosing. She slips a significant jade ring on her finger, securing her place as the bride of someone like Christ, and goes to the Red Room to meet her angel, who is wearing an angel costume. Luigi Cherubini plays us out. Sweeney became his editor for the next decade, his live-in partner for several years, and, for one month in , his third wife. Twenty-five years later, we see it all. Sweeney established a narrative structure that now seems definitively Lynch: A mystery is met with dissolution.
Between two acts, the stage is rotated, the players and the story change. Lynch has said that the few years after Fire Walk with Me bombed were the darkest in his life. There was nothing natural anywhere near that carton. No disillusionment like that of a man who believes, until after age forty, that there is milk in the milkshakes. When he returned to theaters with Lost Highway , a schitzy, neo-noirish thriller, the change was clear. There would be nothing further for angels to do in a Lynch film. The trouble in Lost Highway starts with videotapes sent anonymously to the home of Fred Bill Pullman and Renee Patricia Arquette , filmed nightly in the bedroom where they sleep off desires, unfulfilled.
Fred appears on the last of the tapes to murder Renee. On death row, he undergoes either a psychotic break or metempsychosis and emerges from his cell as Pete Balthazar Getty , a mechanic whose crimes are minor and who is set free to live with his parents. Pete stays out of trouble until the day he meets a porn star named Alice Arquette , who looks like Renee in a blonde wig or is Renee through a looking glass.
Fred says, about the business of video: Not necessarily how they happened.
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His structural opus Mulholland Drive , starring Naomi Watts and Laura Elena Harring, is an extraordinary conflict of memories, told in twisted ternary form. Hereafter they will remember things differently. She finds a perfect object for a coup de foudre: Adam sighs and pretends to choose Camilla: Betty, a victim in her own narrative, is hindered by a conspiratorial system and driven by pure, requited, yet ultimately self-destructive love. She finds a mysterious blue key and gives it to Rita. She starts losing the plot. She is chosen by an older director to be Sylvia North in the fateful biopic, and by the young one, Adam, to star in a cult film and be his girlfriend.
Betty is not even Betty. This story ends with Diane alone, dying—a probable suicide. But there is no Camilla. Unhappy after losing all three, she wants to quit acting. The Pantalone, played by a man named Don Antonio says she might as well quit living:. Your only way to find happiness is on any stage … during those two little hours when you become another person, your true self. You will find your happiness only on stage each night for the two hours in which you ply your craft as an actress, that is, when you forget yourself. Through the characters that you will incarnate, you will perhaps find the real Camilla.
They arrive to find that a neighbor and Diane have swapped apartments, and to see a corpse on the bed, also changeable, brunette and then blonde. The agonistic she-said she-said is presented in a vertiginous feat of editing, as quick and sure-handed as the riffle shuffle of a blackjack dealer. Lynch decided to self-edit his next film. Unfortunately, this is a fine description of Inland Empire , released two weeks later. I was willing to watch Inland Empire once.
Despite starring the extraordinary Dern as a dithery, fey actress-or-whore, the narrative was clearly, too clearly, unreeled from the mind of a man who was having trouble thinking. The Return are stories about going home again. A return to form matches content, thanks to superb editing by Duwayne Dunham. The last hour begins with a new model Cooper, a tulpa to replace and improve upon Dougie, arriving chez Jones.
The word triggers a near-verbatim replay of the fatal scene: Cooper in the woods, turning to look at Laura. This is all it takes to put us at the scene. Ashamed, he wants to grab her, say: Neither will he spare some of the cash for his mother, who needs thirteen dollars for a train ride home to Nebraska. That the women are in the movies is significant: Actresses embody in more gendered and sexed ways than we represent ourselves, making us younger and smaller, more appealing. Men acting as men respect ego, not flesh. Fathers know this, yet would rather see daughters become unconscious victims than knowing whores—a classic dichotomy.
He was such a big man. Everyone I know is riveted by this daytime soap opera with its internecine plotlines about dick-wielding patriarchs who—almost! Lynch could have said more, and I would still have to wonder about him as a man, about whether he has done the things that men do in his films. I admit to being succored by stupid questions, like the ones he was asked a long time ago on CBC Midday.
Unable to suss out why anyone would make a film as disturbing as the one he was promoting, Blue Velvet , the host, whose name was Valerie, had to ask: Does this sound like what a genius would say? Fans would have to find the story believable. Flashbacks would be recast as foreshadowing, found in extant reportage: Lynch laughs at the rape scene in Blue Velvet. Lynch, directing a one-minute ad for Clearblue, has the actress take one of the pregnancy tests and switches it with that of a pregnant crew member. Rossellini and he are friends, and she continues to speak of him as a genius, even a god.
Genius is no alibi, but neither is it a myth; it is a spirit that comes into the room. Later, you can only say that you had to be there. Lynch had cast Harring and Watts on instinct, after long looks and talks in lieu of auditions, giving the network no time to complain: Consider the unterrific result had that sexism prevailed. Lynch demands enough respect to share with his actors and actresses, to him irreplaceable. Lynch once said that in the town of Twin Peaks there were two people he really loved: They could guess what stuff.
Cinema, even on television, has to show what filmmaking essentially is: Auteurs, by the way, are not always directors. The Mitchum Brothers with their hard-won goodwill are the producers, giving Agent Cooper a ride. Andy and Bobby and James must be the hardworking crew. C before he shoots the Sheriff, who represents, say, the production manager. She delivers the punchline: I understand cell phones now! Cooper directs, but his directions are supererogatory urgings-on and the action lacks spirit.
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Then divine inspiration arrives, how else but in a trembling breast: The movie is reshot before our eyes. Thrilling to see the work of geniuses and of really sick people, who sometimes live under one name. Instructive, at the very least, to suffer the cruelty and the misery shared in a Lars Von Trier film, or the moral angst in one by Elia Kazan. I watch and rewatch films by Roman Polanski involving tortures for women, particularly Repulsion and Tess , to see how bad things can get without getting bored.
I am for the best possible representations of badness. I want to see the work of a man who raped a thirteen-year-old girl in Gstaad in and the work of a man who, three years earlier, was in London when he heard that his wife, twenty-six years old, and their baby, twenty days from being born, had been brutally murdered by female teenagers.
A Life in the Shadow of Roman Polanski , characterizing her as an unknown cast in a production that has been stalled for decades. Film, the medium most conducive to realizing fears, is expressly durational. What it promises in fancy script: He gets out to feel the hum of the power lines, the only live thing in sight, on his skin. Diane stays in the car.
You see it dance among the seas and stars and glowing around the moon, but in these days the glow is dying. Tulpas sprout from gold kernels. Evil sputters out against a rubber glove. Flowing like tears and for as many reasons, electricity charges that love, more than a word, is still not enough. They go to a motel. Diane sees her new tulpa loitering while Cooper goes in to get a room.
How sublunary it is all of a sudden, another middle-aged man having sex with his ex-secretary somewhere out of the way. She puts her hands over the face of Cooper, either because he looks like his double, Mr. C, who raped her, or because she sees the same loss of a love story we see and does not want to cry. Sentimental to Berman is when Cooper shuffles off Dougie and fully awakes, saying triumphantly: Hence her reading of the original Twin Peaks as more bathetic and The Return as warmer, sincere: Cooper was sitting at the Roadhouse when Leland Palmer was choking the life out of Maddie, so that the Giant had to come on stage, interrupting a Julee Cruise show, to tell him.
He was standing at the back of the room, staring without moving, when Windom Earle kidnapped Annie, his girlfriend, off the stage at the Miss Twin Peaks Pageant. When the Major disappeared in the woods, Cooper, the only potential witness, was in the bushes taking a leak. He is now the only one sent through time. Too late it is obvious that he has never, not once, saved the day.
He wakes to find Diane gone, split—no longer Diane. Inside the diner are three guys harassing a waitress. Cooper disables them, takes away their guns, and then, in a gesture as automatic as it is unheard-of, drops each pistol like a chicken wing into the deep fryer.
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His efficacy perplexes, startles since we just learned to see his inaction as essential. Colors fade from his character. He gets the address and goes. Nobody better imitates Christ. Carrie Page and Agent Dale Cooper? Sheryl Lee and Kyle MacLachlan. The decor is spare to nonexistent.
The smells are Pine-Sol, Bounce dryer sheets, something wafting up from the concrete, the mustiness inside a jar of old, dried thyme, and the rotten-banana fume of drugstore nail-polish. She wears a dirty blonde, iron-curled bob that looks inspired by photos of Miranda Lambert, three years ago, in People. Her entire circumstance has the air of a great find at the thrift store. Oh, is that a new life? She would reply, with a self-conscious shrug: She looks like a woman who used to be a girl named Laura Palmer. Only a certain governmant man is bent on delivering the news.
Carrie, wearing an upside-down horseshoe necklace a deterministic touch with a ditsy-floral georgette blouse, answers the knock and talks to Agent Cooper MacLachlan through a screen door. Normally, she says, she would tell someone like him to get lost. Supposing Carrie is Laura: Men are still beating down her door. One is sitting in the living room with a bullet through his forehead, like a deer she ran over on the road or an abusive boyfriend who got what he deserved.
They get in the car. Carrie is Laura to the degree that Dolores Haze was ever Lolita. Lolita, hard to picture in the novel, has been metaphorized as America herself in her youth, innocence, vulgarity; and, of course, her vaunted ivory whiteness. Twenty-seven years later, over two hundred credited actors make The Return one of the two whitest critically acclaimed scripted series set in present-day America and airing this past year the other is season three of Fargo. Caucasity this inbred is backwards, perverse—and telelogical.
Or perhaps, as I said in an early recap: Charlyne Yi responds to brutality by crawling on all fours through a moshpit. Yet so are all the enslaved. The only two black girls on the series are also call girls, but happier ones. Jenny and Jade are both naturals. Lynch has made his pure, unhappy victims shiningly white, played by his favorite actresses, fair-haired. Originally, he wanted to cast Helen Mirren. They are threatened by brunettes. They are led down rabbit holes by darker beauties, racialized or differently raced.
Joan Chen is another exception, partly because her character, Josie, was written by Lynch for Rossellini. Some perceptual ambiguity results. Laura used to be so shining, with a cool nacreous glamour about her face under autopsy lights and a shadeless incandescence on videotape, but as Carrie she appears on digital with a low, low contrast, hovering over tenebrous. What dignifies her continued existence is looking mortal. The evil that white men do does not become simply the evil that white women can do too. MonicaEmme added it Apr 11, Cristiano Colantuono added it Apr 13, Stefania marked it as to-read Dec 24, Alessandro Volpi added it Jan 05, Fulvia Zega marked it as to-read Feb 08, Rogelio Guerrero marked it as to-read Feb 23, Yo added it Dec 02, Giancarla marked it as to-read Dec 29, Paola Magri marked it as to-read Jan 04, Hobby Claudia marked it as to-read Oct 28, There are no discussion topics on this book yet.
Italian writer and doctor. Ha pubblicato Il meccanico Landru , A partire dai nomi , L'ombra di Marinetti , premio Piero Chiara , Aria del lago e, con Garzanti, Una finestra vistalago , premio Grinzane Cavour , sezione narrativa, e premio l Italian writer and doctor. Books by Andrea Vitali. Trivia About L'ombra di Marinetti. No trivia or quizzes yet.