Shelter in Place Double Feature #4

Days of Being Wild in the Global Dirty South

George Washington (2000; dir. David Gordon Green; USA)

I wish I could go out of The States… I wish I had my own planet, I wish I… I wish there were 200 of me, man…

La Ciénaga (2001; dir. Lucrecia Martel; Argentina)

Nothing will happen.

Shelter in Place Double Feature #3

In Every Dream Home, a Captor

El castillo de la pureza (1972; dir. Arturo Ripstein; Mexico)

You are a creator of utopias, of places that do not exist.

Dogtooth (2009; dir. Yorgos Lanthimos; Greece)

I hope your kids have bad influences and develop bad personalities. I wish this with all my heart.

Shelter in Place Double Feature #2

Here’s Momma

Psycho (1960; dir. Alfred Hitchcock; USA)

I will not hide in the fruit cellar! Ha! You think I’m fruity, huh? I’m staying right here. This is my room and no one will drag me out of it, least of all my big, bold son!

Where’s Poppa? (1970; dir. Carl Reiner; USA)

She’s not just another nurse, ma. It means a whole lot to me, ma. And I want you to know that if you mess this one up for me, I’m gonna punch your fuckin’ heart out. Got it?

Shelter in Place Double Feature #1

Adulterous Small Town Grifters in Over Their Heads

Kárhozat (1987; dir. Tarr Béla; Hungary)

The heroes always disintegrate, and they disintegrate the same way. If they didn’t, it wouldn’t be disintegration, but revival.

Blood Simple (1984; dirs. Joel and Ethan Coen; USA)

Now, in Russia, they got it mapped out so that everyone pulls for everyone else . . . that’s the theory, anyway. But what I know about is Texas, an’ down here . . . you’re on your own.

Censorship and the Art of Writing

Sorge aber als besorgende Fürsorge umfaßt das Sein des Daseins so ursprünglich und ganz, daß sie in der Scheidung von theoretischem und praktischem Verhalten je schon als Ganzes vorausgesetzt werden muß und aus diesen Vermögen nicht erst zusammengebaut werden kann mit Hilfe einer notwendig grundlosen, weil existenzial ungegründeten Dialektik. Die Entschlossenheit aber ist nur die in der Sorge gesorgte und als Sorge mögliche Eigentlichkeit dieser selbst.

-Martin Heidegger, Sein und Zeit (1927)

The role of this kind of expression is to mask the primitive experiences of the social world and the social phantasms which are its source, as much as to reveal them; to allow them to speak, while using a mode of expression which suggests that they are not being said.

-Pierre Bourdieu, “Censorship and the Imposition of Form” (1982)


A place in no new table.

More of double.

A single image is not splendor. Dirty is yellow. A sign of more in not mentioned. A piece of coffee is not a detainer. The resemblance to yellow is dirtier and distincter. The clean mixture is whiter and not coal color, never more coal color than altogether.

The sight of a reason, the same sight slighter, the sight of a simpler negative answer, the same sore sounder, the intention to wishing, the same splendor, the same furniture.

The time to show a message is when too late and later there is no hanging in a blight.

A not torn rose-wood color. If it is not dangerous then a pleasure and more than any other if it is cheap is not cheaper. The amusing side is that the sooner there are no fewer the more certain is the necessity dwindled. Supposing that the case contained rose-wood and a color. Supposing that there was no reason for a distress and more likely for a number, supposing that there was no astonishment, is it not necessary to mingle astonishment.

The settling of stationing cleaning is one way not to shatter scatter and scattering. The one way to use custom is to use soap and silk for cleaning. The one way to see cotton is to have a design concentrating the illusion and the illustration. The perfect way is to accustom the thing to have a lining and the shape of a ribbon and to be solid, quite solid in standing and to use heaviness in morning. It is light enough in that. It has that shape nicely. Very nicely may not be exaggerating. Very strongly may be sincerely fainting. May be strangely flattering. May not be strange in everything. May not be strange to.

-Gertrude Stein, Tender Buttons (1912)