Italy isn't a nation state either

De Sousa is speaking out about her decade-long ordeal, which started when an Italian court convicted her in absentia -- along with two-dozen others -- connected to the 2003 U.S. government-sanctioned kidnapping of cleric Abu Omar.

I am still somewhat indignant toward Karina over my scrapbook, and this is why writers need to murder custodial employees every so often. I know, people, thank you. No one clips, and I don't even purchase tabloid copies any more, but I had tons and stacks of things I cannot replicate online. It was my tool kit. The woman is lucky I deflected and took it out on the poor house nigger doing her job. [Why are you blaming me?  I have ten years of Trudy's chirpy intonations running the gamut, and why am I blaming her?] Because. She intimidates me with such relentless veracity I am always having to deal with lies and losses and personal effects. But my hard copy processes did not always work. My fatal attraction toward fascist grandiosity started early, if my obsessive curation of all things Italy evinces such. It startled me, many years ago, when the caramel taffeta bitch baby thorn in my side was undoubtedly   learning her evasive survival maneuvers, that in writing a poem about Medici assassins, I had a nostalgia for the urbane brutality leading up to Mussolini. I still have illegible carbon copy of mio originale, and finally pulled through a revision, nearly complete, less exhortation toward the overzealous Il Duce. I'd take Benito back in a heartbeat however, which leads to the diffident castigation of Black Adder, from Liberty On The Rocks: "You want to blow up buildings and shoot [humans according to ethnicity]. Why are you even here?
Excellent question, but right wingers like freedom also. They accrue it in the will to power. You can view this for yourself in the fun frolic Kirk Douglas, Tony Curtis, and Ernest Borgnine have in The Vikings. Maiming was a way to live, not an identity. But to correct the software developer who doesn't want to get on my bad side, I do not lactate over arbitrary genocide, just my enemies. I am sure, by now, you all have my list penciled in, waiting for the next catapult. I'd go on, but intend to dither some usage on a submission.

Of relating to secretion

"No human being has the right to own another."-- John Phillip Law, a progressive magical realist

What does a film like The Fury bring to the table? It puts the restraint of caste on the working class hysteria which Stephen King wrought fairly well in Carrie. In the "me" decade, liberalism was in a virtual stampede toward all the ills that made the US into "the Great Satan" and movies tapped into that underlying anxiety of forsaking god and hierarchy. The Exorcist had a subterranean dimmer effect on the liberated woman, just as the Omen suggested Kennedy's assassination may have been the beginning of the end. Carrie exposed misogyny as a corrosive disaster, and De Palma upgraded it just a bit, gave ESP a certain hauteur, allowing the audience to snigger at the military industrial complex, the Saudi family no more than obliquely referenced. People gave credence to extra sensory perception. Rod Serling used it as a scientific method to try to keep Night Gallery alive, my diet of ad hoc camp, which upon reflection is simply the stuff of silly. De Palma did not need Christianity as an apologia, like those which came before it, and dispenses with it in Durning's litany of awe for telekinesis. Who needs the supernatural when being human is enough of an inexplicable frustration? Andrew Stevens Robin has a petulance which is off key in comparison to Douglas and Cassavetes' playful bouncing ball as industry elders, one to die in his cirrhosis mystique, the other regressing into his amazing second childhood. Kirk's life nearly spans the history of cinema itself, and the definitions he carried with such a razor's edge in his post war films, by 78, are ridiculed, even impotent; there is a subtext in The Fury that masculine definition is under significant threat, but excusing Stevens not offering more subtly to his tantrum, we were worried about turning ourselves into weapons of mass destruction, something Sacks attempted to mitigate, going into neurology. I do not know how many of you may have read Christopher Hitchens series in Vanity Fair on dying. Hitchens pieces carry an undercurrent of a smoker's corrosive guilt. Sacks is sanguine, and as is typical, concentric in the focus of his fortune life, putting himself at the service of the damned.

If there is a perspective on terminal illness and mortality I have not read in over forty years of literacy, perhaps it is in Sanskrit.

Chameleons

"What _Call It Sleep_ has in common with these lasting works is a determined sense of art sustaining itself in a fallen world, a time of endless troubles, of political and social fright."-- Alfred Kazin

What Kirk Douglas and Paul Newman share in common is the secular submersion of their identity for commercialization, and this despite the fact that Kirk, surviving his new age counterpart, was better at playing the traumatized Zionist who finally gives in to psychiatric methodology. There is something off in Newman's performance in Exodus, something that is not missing in Hud or The Hustler, those devastating new wave heavies-- and what might be allegorical in Cool Hand Luke, not that I'd be able to ascertain if the southern penal system in the 60's would kill a white man, whose assimilated ethnicity was invisible, over vandalism which signified a personal insurgency. I am wondering if this is why Jewish liberalism is almost invariably an unwritten codicil to American Constitutional protections, not that Nazism won't remain as a faux specter, at least until my sister's great grandchildren begin to procreate.

Hud actually reminds me of one of Balzac's grandiose misers, which might be giving Newman too much credit for his uncompromising western brutalist. 

Mighty Men

I have written about the Douglas'es before on LiveJournal, and when I finish moving my content and making revisions, this post may merge with those, since I'd like to probe deeper, but it seems that the only reason It Runs in the Family (2003) had to be made was to give the father and son a generational vehicle, and that is not good enough. To use David Denby's term for Demi Moore, Michael too often over defines himself for my taste, but papa bear Kirk, who is sad to see in this movie, always made his dramatic definitions work before the mortality crumple; I certainly find this relevant. I will note two things: physical frailty is handled with typical Jewish humor, a known conceit, and this is the only film in which Kirk's ethnicity seems genuine, and not under the careful and rigid control of the studio to make the actor's identity clean and tidy for Protestant America.

In conjunction with my last post, I think humanity has screwed itself, over-succeeded to the point that we're set to wipe ourselves out, give or take 2000 years, and when the crisis hits, diversity will kiss its sweet ass like the pipe dream it is. All these disaster movies, end of the world movies, or the apocalypse as played out on the Supernatural, I cannot say the drama of gloom and doom has no influence on my cynicism, but my dystopian sentiments come from environmental observation of the human animal. We are basically more stupid than we'd like to believe, and cannot rocket toward 11 billion without drastic consequences.

Down Time Binaries

Some philosophers believe the key to solving certain age old metaphysical problems is to embrace contradiction, but I haven't been able to resolve that I can enter into empathy with the father, who is able to draw me in to the hard flint of his psyche, while the son keeps me on the outside, pushing me away with a visceral animosity, the 1993 Falling Down being a notable exception.

Kirk Douglas exudes certain qualities in the best of his 20th century work, qualities that offer a subtle exchange on mind/body vulnerability, that can be exemplified by his black and white films like The Juggler 1953. His game theory with Jewish identity and diasporia doesn't always reach the depth of later Hollywood and foreign film Holocaust revisionism, and I only touched on it briefly in earlier posts, but he is certainly more successful with it at times than Paul Newman, and you may consider this a working outline, to which I shall add, as carefully as the late Christopher Hitchens, that I am critical of Jewish exceptionalism that seemingly makes the modern state of Israel a necessity.