Tag: Don’t Look Now

You Can Do Magic

Today already feels off. That’s the time change, no doubt; it’s hard to believe I slept as well as I did last night–I went to bed early so I could get up earlier by the clock than by the body, figuring that was the easiest way to transition into getting up early for work this week. The weekend, which held such promise, was derailed by having to deal with getting my delivery items that were supposed to come Friday night delivered yesterday; they finally did come and it was taken care of–but the delivery window was 1-3, which fucked up the rest of the day for me to run the other errands I wanted to get done, which now have to be done this morning. It’s fine, but any change to routine triggers the anxiety so I am trying to not let it defeat me this morning. But the change in plans did kind of end up wasting my Saturday; the delivery came around two-thirty, and it was already too late for me to go out running errands. Of course this morning I am thinking no it wasn’t too late for you to start your errands but my mind works a certain way and usually I can’t see these things except in highsight.

I did read some of the novellas I have partially finished that have been lying around for years, which begs the question I could have sworn I’ve worked on these things more recently than the files I am finding, so have I lost track of all time completely? But for the one I am thinking of, it absolutely makes the most sense, as I now remember I’d actually submitted it to an anthology, which meant trimming it down from the length that it originally was. I have found a call for submissions which includes novellas–which was why I was looking at them again yesterday–which has me thinking about revisions and rewrites and what can be done with these manuscripts. One is slightly longer than forty thousand, and only needs a minimum of twenty-five thousand more to become an actual novel. I reread it yesterday, and it does center a bad trope that would have to be super-creatively pulled off to work, but I also think recentering the main character from a straight cisgender white high school girl to a gay teenager could easily help with that. (It also needs a name change, “Spellcaster” doesn’t really work and was also a drawback to what I had done.) The one I was looking for was “Fireflies,” which is another Corinth County story (I feel like I should always explain that the locals pronounce it “carnth”) and is one of the more disturbing county stories I’ve done, but I also think it’s one that works for the submission call. Or not; we shall see.

The other one I was able to read was “Festival of the Redeemer,” which is another attempt at a du Maurier-like story set in Venice. Rereading “Don’t Look Now” recently, of course, put me in mind of this story, which is one of the few novellas that has an actual full draft done. (Several of the others are incomplete–“The Scent of Lilacs in the Rain,” “A Holler Full of Kudzu,” and “Once a Tiger”.) Rereading it yesterday reminded me of what I was doing with it–or trying to, at any rate–and I could see where I lost the thread and the voice, which was the most important thing about the novella. I also need to get organized on the next book project I am going to work on, but I need to write a proposal first. That’s the big goal for today; get better organized, run those errands, get the proposal organized, and start pulling the next book together. One step to getting things better organized is to complete a thorough to-do list and actually pay attention to it; these lists do no good if you don’t consult them at least once a day. I had gotten a great start on one this past week, so I think I am going to work on pulling that together.

I also need to measure the workstation windows before I head to Lowe’s.

The Saints are playing today at noon, but I think that’s the best time for me to be running errands and potentially hanging window blinds, so I think that’s enough stress and anxiety for me today–I can follow the Saints game on social media. A Haunting in Venice is streaming now, so we may go ahead and watch some movies later on, as we are all caught up on the shows we are watching (I am episodes behind on Foundation, but the beauty of streaming is you can always catch up at some point), and there’s another movie streaming now I am interested in seeing even if I can’t think of its name at the moment. I’ve already made a grocery list for today–I am making ravioli for dinner tonight and need to pick up some bread to go with it–and am hopeful that sometime either this week or next I will get my teeth at last and I can bid adieu to the soft diet…just in time for my surgery. I’ve done some research–which I’d been avoiding–on the recovery time from this type of surgery and mine is more complicated than the basic one I am finding out about on-line, so this is bare-minimums I am looking at–probably at least three weeks on medical leave from the office, which I will need to go talk to Admin and HR about at some point this week so I can get it taken care of, or at least get the process started. I will also need physical therapy for three to four months. Yay. Ah, well, at least I have the resources that this won’t bankrupt me, which is a good thing.

And on that note, I am going to get to work on things this morning and take advantage of this extra hour I have this morning rather than wasting it. So, have a lovely Sunday, Constant Reader, but be warned–there’s more blatant self-promotion coming along at some point.

Dolce Venezia

I love Daphne du Maurier, and I love Venice, so it is no surprise that one of my favorite works of fiction is her long story, “Don’t Look Now.”

I know I’ve talked about this story endlessly already, numerous times, but you can also close the browser window now if you don’t want to read me talking about the story more. If you’ve not read it and would like to, this is a good time to navigate away–because I am going to give spoilers aplenty in this entry–because part of the great pleasure of reading “Don’t Look Now” for the first time is all the surprises and twists and shocks.

Du Maurier was a master of the plot twist.

“Don’t look now,” John said to his wife, “but there are a couple of old girls two tables away who are trying to hypnotize me.”

Laura, quick on cue, made an elaborate pretnse of yawning, then tilted her head as though searching the skies for a non-existent aeroplane.

“Right behind you,” he added. “That’s why you can’t turn round at once–it would be much too obvious.”

Laura played the oldest trick in the world and dropped her napkin, then bent to scrabble for it under her feet, sending a shooting glance over her left shoulder as she straightened once again. She sucked in her cheeks, the first tell-tale sign of suppressed hysteria, and lowered her head.

“They’re not old girls at all,” she said. “They’re male twins in drag.”

Her voice broke ominously, the prelude ton uncontrolled laughter, and John quickly poured some more chianti into her glass.

“Pretend to choke,” he said, “then they won’t notice. You know what it is–they’re criminals doing the sights of Europe, changing sex at every stop. Twin sisters here in Torcello. Twin brothers tomorrow in Venice, or even tonight, parading arm-in-arm across the Piazza San Marco. Just a matter of switching clothes and wigs.”

“Jewel thieves or murderers?” asked Laura.

“Oh, murderers, definitely. But why, I ask myself, have they picked on me?”

It had been a hot minute since I’d reread “Don’t Look Now,” and rereading it this time was an incredible pleasure, as it always is. I originally discovered this story in her collection Echoes from the Macabre: Selected Stories, and was completely enthralled when I read it as a teenager.

This is the copy I found at Zayre’s when I was about twelve, and discovering duMaurier for the very first time.

That opening sequence between John and Laura is a masterclass in opening a long story, frankly. (Now, by the way, is the time to navigate away from the entry if you’ve not read the story but want to–I can also highly recommend the Nicholas Roeg film adaptation starring Donald Sutherland and Julie Christie.)

What do we see in that opening sequence? A couple, probably married and in love, having dinner at a restaurant in Torcello–and playing a delightful couples game in which you pick random diners at a different table and make up stories about them. I myself do this all the time whenever I am in public and alone; I just start looking around and making up stories about people based on their appearance and where they are and so forth. (This is an excellent exercise for new writers trying to hone their art and craft, by the way; take a notebook with you, have a meal by yourself, and pick out a table to observe, then start creating character and story based on what you’ve observed. I love doing this, frankly.) I also love that the opening three words of the story itself are also the title–as though “don’t look now” is actually what they call the game, and this innocent game actually is the first domino to fall in a series that results in tragedy. But du Maurier has already hooked us into this couple and their story, and we eagerly read on. What is this story about? Who are John and Laura? Why are they in Torcello? (When I originally read the story I didn’t know that Torcello is one of the smaller islands in the Venetian lagoon; but that soon becomes obvious.) One of the twins-in-drag gets up and goes to the restroom, and Laura, all in on the game now, follows her into the bathroom to see if she really is a man in drag, and there is much hilarious conversation between them about what might happen if it truly was a man in drag (and with all the bathroom battles currently being waged in this country, this scene took an an entirely different resonance in this reading), and we are left alone with John.

And once we are alone with John, we find out a lot more about the couple. They’re British, for one–safe to assume in a duMaurier tale–and as he sits there waiting for her to come back, he remembers why they are there; they’re touring Europe as a getaway as well as an attempt to help Laura (and John) get over the loss of their daughter Christine, who died of leukemia (this was changed in the movie to great effect) and Laura hasn’t been able to shake her sorrow, so John thought this trip would help, and this entire conversation–the resurrection of this game they used to play in happier times–has given him glimpses of Laura before the loss, giving him hope that the wound is finally beginning to heal. They have a son, too, who is off at school, but Christine was Laura’s darling and her favorite (I love that du Maurier would have none of that sentimentality about parents loving their children equally; she dismisses that nonsense out of hand. Of course parents have favorites. They’re human.) and so the loss is even more felt.

But then he notices that Laura has been gone a while…far too long for a quick trip to the restroom. And when she returns…

He could tell at once there was something wrong. Almost as if she were in a state of shock. She blundered towards the table he had just vacated and sat down. He drew up a chair beside her, taking her hand.

“Darling, what is it? Tell me–are you ill?”

But Laura shakes off the shock, and is radiant with joy as she explains to John the incredible encounter she had with the old woman in the restaurant rest room. One of the old women–the one who was staring–is blind but also psychic. She saw their daughter, Christine, sitting with them at the table laughing happily. John, of course, is delighted that his wife is happy but at the same time he’s aggravated at the woman–how very dare she say such a thing to his wife! He doesn’t believe in any of this nonsense and he is deeply irritated and annoyed that his wife–not really fully recovered from her loss–is so quickly taken in and ready to believe the story.

The desperate urgency in her voice made his heart sicken. He had to play along with her, agree, soothe, do anything to bring back some sense of calm.

Before, when reading this story, I always kind of felt John was kind of a dick. His wife is deeply saddened and depressed over the loss of a child, and he doesn’t seem to much care that he, too, has lost a beloved child. But this time through, I felt a pang of recognition there in John’s behavior; he was actually sublimating his own grief in that time-honored way men historically have–by ignoring it and pushing it away and focusing on taking care of his (so-believed) much more delicate and emotionally fragile wife; he has to be the MAN and take care of things, which is du Maurier’s sly way of inserting a critique of societal mores and expectations of straight white men. So, rather then processing his own grief, he buries it beneath concern and worry for wife, which isn’t healthy for either of them.

As John listens, horrified and appalled and even a bit angry, his wife explains to him that their daughter also is worried about them, that they are in danger in Venice and must leave right away. (There’s also a throwaway line that the psychic twin also mentioned that John is also psychic “but doesn’t know it.”) Naturally, she wants to leave while John, confounded and horrified by this turn of events–completely dismissing her out of hand, without the slightest bit of even trying to understand–will have nothing to do with their holiday plans being changed. Laura’s improvement in mood and spirit fades away and as they walk to have dinner, they become separated briefly, and he hears a cry from across a canal in the dark, and sees a child fleeing in a red hooded jacket, jumping from boat to boat until she escapes the sound of running footsteps behind her by crossing the canal by crossing over the boats. He and Laura are reunited, and he thinks no more of it. They have dinner, return, and discover that their son has fallen ill with appendicitis, and perhaps they should return. Laura sees this as the vision of the “danger” and even as John thinks about it, she goes about making the arrangements for them to get back to England. She gets an open seat on a chartered flight, and he will collect their things and their car and drive back. She takes off, he checks out, makes the car arrangements, but as he is coming back to the hotel he sees Laura and the twins, passing him by on another vaporetto. Disturbed by this change in plans, he decides to go looking for the twins, find out what happened and how they convinced her to stay, etc. eventually going to the police to try to track down the twins.

While at the police station, another British couple–there to report a stolen purse–tells him about all the murders going on in Venice that have the police so worked up; he thinks nothing of it, and then of course they find the twins who’ve not seen Laura–who also calls him once she has arrived in England.

Confused and upset and uncertain of what is going on, he goes out for another late night walk and once again sees the child in the red jacket running away. He himself chases after her to try to help her–only to catch her, find out it’s actually a demented little person armed with a powerful knife, who slashes his throat–and as he sinks to the ground dying, puts it all together–he’s psychic; he saw Laura and the twins together in the future when Laura has returned after his death to claim the body; and all along it was all right there in front of his face, only he refused to see it, thinking, as he last thoughts, as he hears shouts and people running towards him, what a bloody stupid way to die and proceeds to do so.

Du Maurier’s prose is, as always, literate and smart and brilliant; her characters seem absolutely real, and Venice springs to magnificent life in her hands. The structure of the story and her remarkable job at misdirecting the reader into missing, along with John, what is really going on around him in this Venice holiday is fucking brilliant. She gives John, and the reader, all the hints they need to piece it all together, but she is so completely into John’s head, his inner monologue, that the reader sees only what John sees, until it’s too late, and you realize this story never was what you thought it was in the beginning, or along the way; or that it is just not the way you expected it to be.

I’m already excited to read it again, and watch the film–a masterpiece–as well.

She’s Out of My Life

Sunday morning and it’s below sixty today in New Orleans, which is fine. I slept super-well last night, which was great, and feel pretty rested this morning. I have a lot of things to do today before I meet my friend Ellen at San Lorenzo (the restaurant in the Hotel St. Vincent, which used to be an orphanage and then a very inexpensive hostel in the Lower Garden District for a very long time but has been gentrified into a lovely boutique hotel with a café, fancy restaurant, and poolside bar) for dinner. And having left the house yesterday for a wedding last night…that’s two nights on a weekend where I’ve left the house. Peculiar, isn’t it?

Yesterday was a very good day. I woke up feeling rested, did some chores, finished reading Angel Luis Colón’s Infested, which I really enjoyed (more on that later) and then did a reread of Daphne du Maurier’s marvelous long story “Don’t Look Now” (more on that later) before watching some football games before it was time to summon my Lyft and head over the bridge to the wedding. Today I am going to start a reread of The Dead Zone–which might not be as thorough as it could be–and I need to get to work on some things. There are also some chores I never got around to yesterday that need to be addressed this morning and I really should write today since I didn’t anything yet this weekend. I worked on “The Blues Before Dawn” a bit on Friday after finishing my work-at-home chores; I’d like to work some more on that today. I also should work on the mess in the laundry room and should finish the organizing and filing, etc. I haven’t ever finished reorganizing the files at all; and I really need to get back on top of that. I need to finish the dishes and run the dishwasher too; and I am going to make potato leek soup in the slow cooker today–I can’t believe it’s never crossed my mind with this soft food diet to make a batch of that soup. It’s incredibly filling, for one thing; usually one bowl is all it takes, and it will last for a week at least. Same with my white bean chicken chili–all soft, will last a long time, and it’s both filling and delicious. Obviously, I didn’t think this soft food diet through beyond “oh, no burgers or pizza.”

The wedding was lovely. One of my co-workers (whom I absolutely adore) married his partner in their backyard on the West Bank last evening, which was marvelous. It was nice seeing my co-workers outside of work in their fancy clothes (they all looked fantastic) plus it was nice to spend time with them outside of the work environment. I had some nice conversations, and I realized that I’ve kind of isolated myself from them because of my age; I feel the age difference far more than they actually notice it. I do like them all, and find them all very interesting; it’s my loss more so than theirs. Anyway, it’s something to think about going forward anyway. I am glad I went for any number of reasons–I will only attend same-sex weddings pretty much now, as they are an act of defiance now more so than ever–but not the least of which is spending more time with my co-workers, or as I like to always call them, “the kids at work.”

Football was interesting yesterday; I’ve not really looked at the results from yesterday much. LSU was ahead of Army 14-0 when I got into my Lyft and checked my phone; by the time I got home it was 28-0 and still the first half. It wasn’t much fun–I only enjoy LSU games where they score 62 points if they are playing an SEC opponent–and so I didn’t feel guilty for switching over to Auburn-Mississippi (Auburn ended up losing), or for watching Skate America once Paul came back downstairs (he got bored with the game as well). Checking the scores and results, it looks like this could be another chaotic year like 2007–which will make the play-off decisions interesting once the season concludes. LSU can still win the West with a win over Alabama if Mississippi stumbles again–they have to play at Georgia, so chances are good that will happen–and winning out. I also realized this is the fourth year of LSU’s championship cycles: they won in 2003, 2007, and 2019; played for it and lost in 2011, with 2015 being the only four year cycle that didn’t end in them playing for the national title. Perhaps this will be the second time that cycle is broken.

Twitter continues its slow death spiral, and I am checking it less and less these days, and staying there very briefly. I do have some friends still there that I like to interact with, but of course the others are slowly becoming what Twitter became as well. Yesterday a straight white man came barging onto a thread of George Takei on Threads, in which George was talking about how difficult it is for queer people–for any minority–to deal with elections, when our rights hang in the balance every fucking time, and how sometimes as a queer person or a person of color, you have to grit your teeth and vote for the Democrat because no matter what or who, the Republican option isn’t an option for queer people or people of color—unless we really hate ourselves to the point that we hate other people like us, or only care about our money rather than our rights. The example George was using was campaigning and voting for Bill Clinton after he signed both DADT and DOMA into law during his first time despite his avowed belief in the rights and dignity of queer people in 1992 on the campaign trail. Fox News and the right used his support of queer rights–along with a ridiculous scandal with no evidence of wrong-doing by either Clinton (remember Whitewater? I sure the fuck do)–to take back the House in 1994 and handicap any attempts at being progressive. I also remember Bill Clinton trying to get a form of the Affordable Care Act passed–the right also used that battlecry of “socialism” to scare people into giving them that House majority with Newt Gingrich as speaker (I remember it all too well). The reason I remember this all too well is because HIV/AIDS was still killing people and there was no cure as of yet; a positive test meant a very good chance of death relatively soon. I fucking lived through the 80s and the 90s, thank you very much.

I also remember that Bill Clinton was the first presidential candidate to mention HIV/AIDS, and to notice that queer people actually exist–so you can fucking miss me with the Hillary hate, thank you.

Anyway “straight white man” (hereafter referred to a Mr. Mediocre) barged into George’s thread to lecture him about compromise voting and how if we would all just really get behind true progressives, change would be that much easier and how he could just never ever bring himself to the point where he could vote for someone who ever voted for a war.1 That told me everything I needed to know about Mr. Mediocre–the “ally” who couldn’t bring himself to vote for Hillary in 2016 because she voted for the war, believing the lies the Bush Administration and his fully supportive Congress were pushing on us all, calling those of us who didn’t want the war cowards and/or traitors, questioning our very patriotism. Blaming Hillary for believing the lie so you threw your vote away in 2016 so you could remain “pure” fucked over your so-called “allies,” you miserable piece of shit. And instead of ignoring and blocking, which is what I usually did, the audacity of Mr. Mediocre lecturing George fucking Takei, a gay Japanese-American who grew up in an American concentration camp for American citizens of Japanese descent on purity politics just didn’t go down with me, so I replied, Oh, look, another straight white man who will be okay no matter who is in power lecturing those whose rights are on the line with every election about his purity. Don’t hurt yourself patting yourself on the back while you screw over minorities over some purity test that we don’t have the privilege of applying to our votes. “Allies” like you gave us Bush in 2000 and Trump in 2016. Thanks for that, by the way.

If you think Mr. Mediocre would let that go, let me introduce you to The Progressive Straight White Man. They can never let that shit go. You know he read my response and climbed back up on his High Horse–how dare a gay man call him out and speak to him that way! He told me “You should want better, but I’ll still keep working for women and minorities.2“

I replied, I do want better but am realistic as a minority in this country to know that no matter what I have to vote for the least damaging candidate because my rights are actually on the line with every election, so don’t condescend to me about your purity tests and progressive bonafides when a real ally will show up, hold his nose and vote for the Democrat. We warned you the Supreme Court was at risk, but her emails! That pesky vote for the war! So forgive us for not applauding you for your purity. Now the Supreme Court is poised to take us back to 1860 but hey, at least you can sleep at night for not voting for the warmonger.

Asshole. After all, Dobbs didn’t affect him–and when his daughter is forced to carry her rapist’s baby, I hope he remembers that purity vote in 2016 with pride.

And on that note, I am heading into the spice mines. I need to eat something and make another cup of coffee and get the potato leek soup started, no easy chore. Plus I want to write up what I read yesterday and the impressions they left with me. Have a great Sunday, COn

  1. which means he wouldn’t have voted for the two most progressive presidents we’ve ever had, I might add; FDR declared war, and LBJ voted for it, as well as intervention in Korea. Some progressive this dude is, right? ↩︎
  2. Love that pathetic attempt at progressive shaming, which again tells me everything I need to know about his politics–if he doesn’t get the perfect candidate that aligns with everything he believes (a pipe dream that will never happen), he won’t vote for them no matter what that means for women and minorities. Some ally. ↩︎

Vegas High

Thursday morning and the bills are paid. Huzzah? But this afternoon I have to leave early to go to the cardiologist–I need to get cleared for the surgery because of my advanced age–and then Friday morning it’s off to the dentist AND WE’RE GETTING A CAT!!! (I may be a tad bit excited about getting a cat. This cat is going to be so loved and spoiled…) I was tired again yesterday when I got home from work, but I did manage to do some laundry and write. I finished the first chapter of yet another book, and will probably continue to futz around with both of these for a little while longer. It’s always important for me to get the first few chapters on a firm footing before moving on to the rest. I’m not sure why that is, to be honest, but it’s true. It’s impossible for me to move on and get deeper into a manuscript until I am confident in the first five chapters; sometimes less. I always forget this whenever I am working on new projects, and then spiral into self-doubt and imposter syndrome…aka anxiety. I have to say, this is so nice and different, such a lovelier way to live. My sleep is improving, my creativity is flourishing, I am being productive–and it’s okay to choose writing over reading, much as I love to read. I will finish my current book this week and this weekend I will start my Halloween Horror Month reading/film festival/television rewatches.

I’ve actually kind of started that already; I’ve been watching those Dark Shadows episodes. The story behind The Haunting of Collinwood is interesting enough; two doomed spirits from the past using the two children at Collinwood to enact vengeance on the Collins family, and everyone slowly comes to realize something is wrong with the children and something strange is going on. The funniest part, to me, is Elizabeth Stoddard, the matriarch played by old Hollywood star Joan Bennett, kept insisting there are no such things as ghosts and witches and so on–was this an ongoing thing for the character of Elizabeth, with every new supernatural storyline? Girl, where do you live?

I’ve also got those Friday the 13th the Series episodes to watch on Youtube. Horror has had a strong influence on my writing, and it’s something I enjoy and have a deep respect for as a genre. I am hardly expert in the field at all, and I try my hand at it here and there now and again with short stories or the occasional book. But I don’t write scary stuff–I like to write creepy suspense, with the tension and fear and adrenaline rising for the reader along with the characters in the story. My stuff is more about atmosphere itself than the supernatural events, which I rarely try to explain–there’s never a handy “expert” in any of my work to explain things to the characters, who are kind of on their own and can’t be sure they understand it themselves. As I said once in an interview, “Shirley Jackson never explained, and neither did Daphne du Maurier.”

Needless to say, Jackson and du Maurier are two of my biggest influences, I think.

OH! I should reread The Haunting of Hill House. It’s been a minute. And definitely “Don’t Look Now.”

Paul got home in time for us to watch this week’s The Morning Show, and it kind of begs the question: why is the fact that Reese Witherspoon is playing at least a bisexual woman in a relationship with Julianna Margulies not being talked about more? Have we reached the point where we’ve grown blasé about queer rep in mainstream-targeted television shows? Then again, that’s a good place to be–if no one is complaining and we no longer have to champion it? It’s a really good show, and as tired as I am of Jennifer Aniston and her even more tired old straight white lady shtick about cancel culture (“Friends couldn’t air today!” You say that like it’s a bad thing, Jen.), she is quite good in the show. I also approve the addition of Jon Hamm as Elon Musk, er, a Musk-like billionaire buying their network and also as a potential love interest. I also find it interesting that the two female leads–powerful and successful women in the news business–have male first names: Alex and Bradley.

So, hopefully by this afternoon the cardiologist will have cleared me for the surgery next month and I will know if I have the same congenital heart defect my mother had; there’s some question as to whether it’s genetic or not; she made it to eighty, but her father died in his sleep in his mid-forties; her brother also had heart issues and multiple surgeries before he passed. I have to say I have been exceptionally lucky for most of my life; I’ve never had a surgery other than tonsil removal as a child and tooth removal.

And on that note, I am heading into the spice mines. Have a lovely Thursday, Constant Reader, and I’ll be back soon.

Fly Like an Eagle

One of the first Alfred Hitchcock movies I ever saw was The Birds. We watched it on our big black-and-white television, and it was absolutely terrifying. What made it even more terrifying was that we as viewers–along with the characters in the film–had no idea what had turned the birds into vicious flocks of attacking predators. The movie was absolutely terrifying to a very young Gregalicious, who ever after always gave whatever birds he saw a wary look. That innocuous scene where the birds start gathering on the jungle gym? First a few that you notice, then you look again and there’s more… you look back another time and there are even more….more and more with every look until you have a sick feeling and think maybe I better get out of here–yes, I related absolutely to that scene in the movie and whenever I see a flock of birds gathered anywhere I have a bit of an uneasy feeling. You never really think about how vicious and terrifying birds–descended from the dinosaurs, after all–can be. Sure, we all know about the birds of prey, with their sharp claws and razor-like beaks; but sparrows? Blackbirds? Crows? How do you defend yourself if a flock comes for you? God, even now, just thinking about it gives me goosebumps.

I recently rewatched the movie (during the Rewatch Project during the pandemic) and it’s not as good a film as I remembered, but it’s still terrifying. I was curious to see how I would react to the movie, because in the intervening years I had read the short story it was based on, and the story is much, much better than the movie.

The fact it was written by Daphne du Maurier didn’t hurt.

On December the third the wind changed overnight and it was winter. Until then the autumn had been mellow, soft. The earth was rich where the plough turned it.

Nat Hocken, because of a wartime disability, had a pension and did not work full time at the farm. He worked three days a week, and they gave him the lighter jobs. Although he was married, with children, his was a solitary disposition; he liked best to work alone, too.

It pleased him when he was given a bank to build up, or a gate to mend, at the far end of the peninsular, where the sea surrounded the farmland on either side. Then, at midday, he would pause and eat the meat pie his wife had baked for him and, sitting on the cliff’s edge, watch the birds.

In autumn great flocks of them came to the peninsula, restless, uneasy, spending afternoons in motion; now wheeling, circling in the sky; now settling to feed on the rich, just turned soil; but even when they fed, it was as though they did so without hunger, without desire.

Restlessness drove them to the skies again. Crying, whistling, caslling, they skimmed the placid sea and left the shore.

Make haste, make speed, hurry and begone; yet where, and to what purpose? The restless urge of autumn, unsatisfying, sad, had put a spell on them, and they must spill themselves of motion before winter came.

I love Daphne du Maurier.

The story was originally published in her collection The Apple Tree and Other Stories; when the film was released in 1963 it was rereleased as The Birds and Other Stories. (One of the problems with trying to read all of du Maurier’s short stories is because her collections inevitably have at least half the stories that have appeared in other collections; so you can wind up buying a collection for the two or three stories in it you’ve not read; for example, my first du Maurier collection was Echoes from the Macabre, which included “The Apple Tree” (title story of another collection) AND “Don’t Look Now” (also the title story of another collection) AND “Not After Midnight” (which, as you probably already guessed, is the title story of another collection). I have yet to find a definitive list of du Maurier’s short stories anywhere, and it certainly is long past time that all of her stories are collected into a single collection (are you listening to me, du Maurier estate?).

The reason I love the story so much is because it really is a master class in tension and suspense. It’s also a much more intimate, small story than the film. Nat is a simple worker, loves his wife and kids, and wakes up one morning to winter and bizarre behavior from the birds. The way du Maurier describes the sight of the seagulls all gathered out on the sea, rising the waves in silence, is creepier than any shot of Suzanne Pleshette sprawled out on the walk with her eyes pecked out. The radio–there only method of communication and getting news from the rest of the world–is reporting on the strange behavior of the birds, and that they are attacking people. Most of the action–the truly terrifying action–takes place inside Nat’s cottage while they are under siege; the attacks have something to do with the tides. During the lulls he boards up the windows and tries to lay in supplies, as he slowly begins to realize that the birds are winning. They wait out the attack one night and in the morning turn on the radio…only to get static. It soon begins to feel like they are, or may be, the only humans left alive. And Nat also realized that it’s just the smaller birds–sparrows, wrens, seagulls–and worries about what will happen when the birds of prey join in….and of course, they do…the story closes with the hawks attacking the front door while Nat resignedly waits for them to get through.

If I were teaching a suspense writing class, I would definitely teach this story. It’s simply brilliant.

What Makes You Think You’re The One

And now it’s Saturday.

LSU is playing New Mexico this evening (GEAUX TIGERS!) in Tiger Stadium–it should be an easy win but when it’s LSU you can never take anything for granted–and I have a lot I want to try to get done today before the games get started. I have errands to run, Costco to order for delivery; it just never ends for one Gregalicious, does it? It would appear that way.

I did feel a little tired most of the day yesterday; not sure what that was about, to be honest, but there you have it and there it is. But I also got this lovely review in Publisher’s Weekly; another industry journal I’ve not been reviewed in for quite some time now. I am getting more excited AND nervous as time ticks down to the official release date…but it’s really lovely getting all this pre-publication love from industry journals, early readers, and bloggers. I’m quite sure I don’t know how to act anymore! I’m very happy that everyone seems to be embracing the book, which I thought may be a big departure from what I usually do, but maybe it’s not? I don’t know, I’m not the best judge of my own work. It really never occurred to me that my Scotty series was technically a cozy series–despite the weed, swearing, violence and sex–but Scotty, despite being licensed, never actually had a client (the guy up on the fourth floor in Vieux Carré Voodoo does actually hire him before he is murdered) but usually, he’s just going about his day to day existence when he stumbles over a body or some kind of criminal conspiracy. But when I got home from work yesterday I puzzled over that bad bad chapter, and so this morning I am going to try to get it fixed up once and for all before diving headfirst into Chapter Four. I have some errands that must be run today–and I am going to order a Costco delivery–and I also have some cleaning around here that simply must be done; but I am hoping to avoid the allure and pull of college football as much as I can today to try to get as much done as I can on the Scotty today.

I also did the laundry once I was home, and finished clearing the dishes piled up in the sink–which even now are awaiting me to unload them from the dishwasher and put them away once and for all–and once Paul was home we settled in for Dahmer, which continues to be disturbing and hard-to-watch and almost documentary-like in style, tone, look, and story. Evan Peters and Niecy Nash should each take home Emmys for their work here; Niecy is absolutely stealing every scene she is in, and Peters looks so much like Dahmer…it’s also disturbing to watch as a gay man who went home with a lot of people he had just met for the first time. It really is a wonder there aren’t more serial killers in the gay community, and they certainly wouldn’t have much difficulty in finding potential victims thanks to the casual hook-up culture always so prevalent in gay male communities (which has always been something I want to write about; either in essay or fiction form); a sort of Looking for Mr. Goodbar sort of thing only with gay men. (I should reread that book; I haven’t in years–not since it was a thing anyway. I was thinking lately I should reread all the “thing” books from the 1970’s–Jonathan Livingston Seagull, Coma, Looking for Mr. Goodbar, Jaws, Love Story, etc.–to see how they hold up and what, if anything, they have to say or can be said about the culture and society of the time and why those books, all so disparate, were so successful and popular at the time.)

I slept wonderfully last night, which is always a delight and a plus, and my coffee is tasting rather marvelous this morning. It is most definitely hitting the spot, that’s for sure. I feel rested and good this morning, which makes it a great day for getting things done. I am also thinking about taking my car to the coin-operated self-wash while I am out and about today (reminder: check projected path for Tropical Storm Ian; the one off the Cape Verde Islands formed first and took the name Hermine), and I also want to do some cleaning around the writing. We should be able to watch the LSU game tonight, even though it is on a lesser ESPN/SEC Network sub-channel, which is annoying–but I get it; LSU-New Mexico is a “who cares?” game outside of Louisiana.

I also spent some time last night with Every Frat Boy Wants It, my first erotic novel under the name Todd Gregory, and it’s not that bad. I realized that the three “fratboy” books I wrote are of a type, really, and rereading that long-ago written story (I would swear to God it’s been almost since I bought the new car, which was 2017, so it’s been about five years or more since I wrote it in the first place) made me realize that the concordance I want to put together for Scotty needs to be a part of an even larger concordance of all my work; all the different Louisianas I’ve written about and fictionalized over the years, which is even more important now that this Scotty is going to be driven so much by action outside of New Orleans.

I also need to revisit My Cousin Rachel at some point today before tomorrow morning’s podcast taping; I don’t want to rely on my ever-decreasing memory and should at least be somewhat refreshed in my recollections of what is one of my favorite Daphne du Maurier novels, possibly even more favorite than Rebecca. Big words, I know; but while I am certainly more familiar with the text of Rebecca, having read it so many times, I’ve only read My Cousin Rachel once–and came to it within the last decade or so, on the recommendation of Megan Abbott. I’ve seen neither film adaptation, tempting as the original (starring Olivia de Havilland and marking the screen debut of a young Richard Burton) may be; simply because while I know both films are very well-regarded, it’s hard to imagine a du Maurier adaptation finer than either the Hitchcock Rebecca or Nicholas Roeg’s adaptation of Don’t Look Now; with the bar set so high on du Maurier adaptations, how could either version of My Cousin Rachel stand up to them? I recently read a new-to-me du Maurier long story or short novella called “A Border-line Case,” and like all things du Maurier, it is rather marvelously well-written and twists the knife with something obvious that was there in front of you all the time but du Maurier pulls her usual authorial sleight-of-hand that makes the reveal startling and shocking despite being right there in front of the reader the entire time.

I also had wanted to spend some time with my Donna Andrews novel Round Up the Usual Peacocks, but not sure that I’ll have the time necessary. Ah, well. And on that note, I am going to head into the spice mines. I need to brew a second cup of coffee, and there are odds and ends around here that need attention. Have a lovely Saturday, Constant Reader, and I will check in with you again either later today or tomorrow morning.

Sisters Are Doing It For Themselves

So we had a major thunderstorm yesterday afternoon, complete with street flooding and thunder and lightning and all the fixin’s. This naturally led me to wonder, as the lights flickered at the office and Elysian Fields (the street, not the Greek afterlife) filled with water, whether or not to wait until the advisory was lifted (in theory at 5:45 pm), or head home when my work day was complete? One can never be certain where and when parts of the city are going to flood; and the last thing in the world I need–being this close to having the car paid off–is to risk flooding it out and possibly ruining it.

Sigh. It’s never easy living in New Orleans.

Getting home was a challenge; Claiborne Avenue’s low-lying areas were filled with water, water was pouring down not just from the clouds but from the I-1o high-rise, and I decided to risk going through the CBD, never the best option, but potentially even worse than usual since the Plaza Tower started falling apart and

And now for some blatant self-promotion, The Queer Crime Fiction roundtable I participated in for Crime Reads can be found here. And my brief appearance on Writer Types recommending queer crime writers can be found at this link right here.

Thanks again to Lisa Levy for the roundtable, and to Eric Beetner for inviting me onto his podcast. Both were a lot of fun, frankly, and it’s always fun for me to have the chance to talk about books and writers and make recommendations of books and writers I admire and enjoyed. I really missed that during the pandemic.

We got caught up on Lisey’s Story last night–we were both dismayed to see that it hasn’t all aired yet, and so no new episode until Friday–and then went on to the second chapter of The Underground Railroad, which was equally as disturbing as the first, but in a completely different way; I do remember, reading the novel and thinking, my God, so many different ways white people have found to punish and hurt black bodies and souls throughout our history. The show, being a visual medium, is even more disturbing than the book, because my imagination wasn’t quite strong enough to erase the imagery from my head I had grown accustomed to throughout a lifetime of privilege, that kept elbowing the stark realities Colson Whitehead so poignantly and beautifully wrote about in his book, out of the way; the show does not allow this, and the beautifully way it is filmed so poetically reflects the beauty of Whitehead’s language, even as the subject matter in truly an abomination.

Laura Lippman’s Dream Girl drops today, and so those of you not fortunate enough to get an advance copy can now indulge yourselves in reading a truly marvelous book by a great thinker and a terrific writer. I need to get back to reading; Robyn Gigl’s By Way of Sorrow needs to be finished, and on deck I have Bath Haus by PJ Vernon, Everything I Never Told You by Celeste Ng, Arsenic and Adobo by Mia Manansala, and several others. So much reading; I really need to focus on getting my reading done and caught up. Now that I’ve finished the novella I can take a look at duMaurier’s “Don’t Look Now” again, as well as her “Ganymede”; I already know, from doing some post-writing research today that there are some major adjustments that need to be made to my novella, and it may wind up being longer than than 20, 430 words it sits at now–not the least of them the days of the week, and so forth. I also have to figure out some way to make the story work a little better, more suspenseful, than it sits right now; but that has a lot to do with figuring out the story as it went. I also want to start pulling together the next short story collection–madness, I know–but I do love when I am basically overwhelmed with projects; so I always have something to be working on if something stalls out or I just don’t want to work on something in particular.

I also took some time and started plotting out another Scotty; yes, I know–I really need to dive into Chlorine again, but I had also decided that I was going to do that in July; it doesn’t hurt to have the Scotty’s various intertwining plots planned and mapped out. I generally don’t do this with Scotty books, primarily because the writing inevitably takes me in much different directions than I had planned, and thus inevitably all the planning turns out to be waste time. Also ironically, despite having any number of possible and potential titles on hand, none of them seems to fit this story–and since I can’t ever really work on anything without a title, and knowing that the title can be eventually changed–I am calling this one, for now, Mississippi River Bottom, which was actually the working title for Jackson Square Jazz. My editor didn’t like Mississippi River Bottom (which I rather thought was a clever play on words) and asked me to change it. I also know that this working title doesn’t really fit the alliteration patterns of the rest of the series, and thus will inevitably have to be changed. Perhaps while I am actually writing it, the title will come to me; stranger things have, indeed, happened before.

Last night’s sleep was terrific–there were strange dreams, of which I’ve been having a plethora of lately; last night was me working at Target for some reason–but I again feel terrific and rested this morning; everything looks wet outside, so I am assuming the rain continued over night. It must not have been terrible or dangerous, as we never got one of those horrible WARNING alerts during the night on our phones. Tonight when I get off work I’ll go uptown and get the mail before heading home and to the gym. The Tuesday night workout is somehow always rushed, with me skipping things–more to do with too many people being there than me being lazy, really; the free weight area is always so crowded I inevitably skip the two exercises I used free weights for–and then it’s back home to watch some television and possibly do some writing. This weekend is going to see weird; I have a broken tooth that needs to be extracted, and I scheduled that for Friday afternoon. That inevitably will mean a strange diet of soft food over the weekend and pain killers; but better that than the dull throb and swollen gums I’ve been dealing with since the molar broke. Ah, the endless saga of Greg and his bad, bad teeth. One thing I definitely envy in other people is good teeth…I also want to get to work on “The Sound of Snow Falling.” I am assuming I’ll be incapacitated this weekend after the tooth extraction, but I am hoping I can at least sit in my easy chair and edit.

And yesterday, the first active roster NFL pro football player to come out came out! Yay, and welcome to the team, as it were. I’m old enough to remember when David Kopay came out in the 1970’s; the first former NFL player to do so.

And on that note–writing ADHD, my bad teeth, NFL player out of the closet–I am heading into the spice mines. Have a lovely and winning Tuesday, everyone.

Daylight

Well, here we are again, back to something resembling normality, whatever that may be, for this awful year of 2020. The stress hangover has finally, seemingly, passed; and now I have to try to remember what I was working on and what is in progress and what is finished and what I need to do. Lord. It also seems weird to be talking about my stress hangover while western Louisiana still is in ruins, with Mobile and Pensacola and everything in between joining them after this latest natural disaster. (And California is still burning.) But, as I always say, suffering isn’t an Olympic sport, and admitting to being in a weird place emotionally doesn’t demean or diminish those who are losing, or have lost, everything.

Ah, well. That which doesn’t kill us, or whatever.

This week is very off, as so many this year have been. I have trouble remembering that today is Thursday, frankly; I’ve had to stop and think about it several times this morning already and occasionally there’s even a thought o oh wow it’s Thursday already isn’t it? Yeesh.

I feel rested and rather emotionally stable this morning–always a plus, and becoming more of a rarity it seems these days–and so I am hoping that today will be an enormously productive day as well. The sun is shining outside, there’s no haze and I can see white clouds and blue sky; so overall that’s a very pleasant way to go into the day. I think one of the primary issues I’ve been having lately is related to the lack of a football season thus far–I know games have been played, but the SEC season hasn’t started, and for me, that (mostly LSU) is how I gauge the season, and so for me at least, I won’t think of it as having started until LSU plays a game. It’s also going to be weird that the entire conference is having a conference-only schedule. I suppose this season will have an asterisk beside it for all eternity? I don’t know–but I feel like people should be aware in the future that 2020 wasn’t a normal year on any level.

I’ve not really been able to do much reading or writing this week; hell, keeping up with my emails has been an utter failure all week and I may even have to give up on the clearly impossible dream of ever being completely on top of my emails. I tried picking up Babylon Berlin again last night while I waited for Paul to come home, but couldn’t even open to the page where I left off, and even my current nonfiction read, The Gnostic Gospels by Elaine Pagels, held no interest for me last night. I will say, though, that I am leaning more and more towards writing a stand-alone Colin adventure–a historical one–and that is becoming more and more appealing to me the more I think about it, particularly since I can go back in time and write an entire series of Colin books going back to the late 1990’s without having to deal with writing about anything in the present or current day, which I will admit is more than a little cowardly on my part. I need to get Bury Me in Shadows finished and then the Kansas book so I can write Chlorine and then do a Scotty book, or perhaps the novellas I’ve been working on. Time slips through my fingers so quickly that it’s really upsetting and frightening on some levels to know that the there will be at the very least a two–if not three–year gap between the last Scotty and the next now; and there’s also a little voice in my head telling me not to write another Scotty and let the series end, or at least write another to end the series once and for all. I don’t know what to do.

I rewatched Don’t Look Now yesterday, even though it doesn’t really fit into the Cynical 70’s Film Festival, yet it is a film of that decade and while it may not be a cynical film per se, it certainly has its moments. It’s naturally based on one of my favorite short story/novellas of all time, the superb Daphne du Maurier tale “Don’t Look Now,” and while the film has differences from the story (I much prefer the opening of the story, frankly), it has to be, because things that are told in the story to set it up, the backstory, cannot really be done properly on film, so the tale of John and Laura Baxter and their agonizing grief spools out on film by taking us to the moment they lost their daughter, Christine, by opening with her death by drowning in a pond while wearing her bright red slicker. In the story, they’ve come to Venice for a holiday to get away from home and its haunting memories; the pain is still too fresh and Christine is still too raw. In the film, they are living in Venice now while John works restoring an old church; time has passed since Christine’s death, but Laura is still not completely recovered from it; the pain is still there, a lingering grief that still throbs like an aching tooth you’ve gotten used to. The film does an excellent job of building the tension and suspense in much the same way du Maurier did in her story–God, if you’ve not read it, you really must, Constant Reader–and the imagery director Nicholas Roeg uses–those reds!–really amplifies it. Julie Christie is stunningly beautiful as she underplays the role of the grieving mother; Donald Sutherland is also at his young handsome best (those eyes! that mop of curls!) as skeptical John–at a lunch, they encounter two sisters, one of whom is blind and psychic, who tells Laura that she sees Christine and she’s happy and laughing, but that John is in danger in Venice and must leave. John doesn’t believe in any of that–afterlife, psychics, ghosts, etc.–and so he thinks they are after something from his wife–even though he does keep having close calls with accidents and possibly death…and he also keeps seeing a small figure running around Venice, wearing a red slicker like the one Christine died wearing….

Christ, what a great film and story.

And on that note, tis back to the spice mines with me.

The Other Side of the Door

Friday and I am taking the day off from the day job. Yes, I know it was a short week already and I should probably save the vacation day for sometime later in the year when it would really come in handy, but this was a rough week for me and I feel entitled to take a mental healing day, so sue me, okay?

The Lost Apartment is, as always, a disheveled hovel that looks like two college-age males live here, and that always plays a part into my emotional stability. I am not sure why that is, but I simply cannot abide clutter and dust and dirty windows–being raised, no doubt, by a woman who made Joan Crawford look slovenly probably has something to do with it–and it always weighs on my mental stability, which is always tenuous at best. I had hoped to do something about that over Labor Day weekend, and while progress of a sort was definitely made, not enough to really make a difference; rather, it was more like a lick-and-a-promise; a mere surface touching that simply kept it from looking like a condemned property. But the heat has been so horrifically intense this year that doing anything in the kitchen/laundry room is misery, let alone going outside and climbing a ladder to clean the windows. But….if I get up early one morning, it should still be cool enough to be bearable.

Right?

One can dream, at any rate.

This morning is probably the morning I should have done the windows, ironically. It’s not terribly sunny this morning, and it doesn’t feel particularly hot here in the Lost Apartment, either. There are an insane amount of tropical systems being tracked by the Hurricane Center; I’ve seen reports ranging from four to seven; and there’s a low pressure system just off the coast here in the Gulf that apparently is going to bury us with rain even if it doesn’t develop into anything stronger. I also allowed myself to sleep in this morning–note to self: set alarm for tomorrow–and it felt terrific to get rest again. I’ve already started a load of the bed linens, and when I finish this I am going to start filing in an attempt to get the office under control. Today is my day to clean and start working through all the emails that have accumulated; and later this afternoon I will try to get some writing done. I’m also going to read a couple of short stories today, rather than diving into Babylon Berlin; I don’t want to risk getting sucked into it, which I suspect will happen. I’m also reading–and savoring–Gore Vidal’s Lincoln, which is another of his American Empire series; I’ve already read Century–and I’ve always enjoyed Vidal’s work whenever I can bring myself to read it. He has a very distinct writing style that I enjoy, but I also don’t think I would have particularly liked Vidal had we ever met; he seemed like a difficult person, and an intellectual snob–and there are few character traits I despise more than snobbery of any kind. But he was incredibly smart, and a talented writer; I know I’ve enjoyed everything of his that I’ve read–and would, and probably should, like to revisit both The City and the Pillar and Myra Breckinridge again. (I would imagine Myra Breckinridge would not fly today…) I also find some of my reading choices this year thus far, looking back, to be…interesting. I’ve read a lot of plague literature, obviously, and now I seem to be gravitating to Civil War narratives. Curious.

Yes, I just got a local “tropical advisory” alert, and it looks like we’re going to get hit with a lot of heavy rain Tuesday and Wednesday. Huzzah. Of course, I love rain–it’s the risk to my car from street flooding I don’t like very much. I mean, there’s nothing more comforting than sleeping, all warm and dry, inside when it’s pouring outside, is there? I’ve always loved that warm and dry feeling when it’s raining outside, even if I am simply inside a car driving through a storm. (It always reminds me of the Trixie Belden volume The Mystery of Cobbett’s Island, which opens with Trixie and the Bob-Whites being driven by Miss Trask through a storm to a ferry to the island, and I think Trixie says something about that safe, warm feeling during storms, and it’s always stuck in my head as the perfect way to sum up why I love thunderstorms and downpours. And yes, so many things in my life inevitably lead back to the mystery series for kids I read as a child.)

Wednesday is also a work at home day for me, so I can just stay home and watch and listen to the rain while making condom packs and continuing my Cynical 70s Film Festival, which I think may move onto Chinatown and Don’t Look Now. I’ve already seen both of those, but as a lot of the films I am including in this “film festival” could also be considered crime/neo-noir, it only makes sense to rewatch both with an eye to the cynicism of the 1970’s as well as to the neo-noir aspects of both (in all honesty, I’m not really sure what the definition of neo-noir actually is; just as there’s no definition for noir, there really isn’t one for neo-noir, either; I suspect it’s because the classic films noir were black and white films and later noirs were filmed in color. I could be wrong, but that’s my takeaway). Don’t Look Now, is, of course, one of my favorite short stories of all time; and the film is extraordinary.

I’m also rather curious to see this new Netflix adaptation of du Maurier’s Rebecca. Constant Reader knows how much I love me some Daphne du Maurier; and of course, Rebecca is right up there as one of my favorite novels (the original Hitchcock film version is also one of my favorite films of all time; it’s why I generally have avoided remakes and the dreadful sequels to the original novel). Armie Hammer wouldn’t have been my choice to play Maxim de Winter, but the female casting–particularly Kristen Scott Thomas as Mrs. Danvers–is rather intriguing to me. I’ve always seen Mrs. Danvers clearly in my head as Judith Anderson–her performance was so definitive–that it’s hard for me to see anyone else in the role. Hammer is no Olivier, really, and I honestly think that if I were to recast the film currently I would have gone for Kenneth Branagh as Maxim, Saoirse Ronan as his second wife, and probably either Emma Thompson or Maria Doyle Kennedy as Mrs. Danvers…I’ve also always wondered, whatever happened to Mr. Danvers?

Just like I’ve always wanted to delve into the psyche of Veda Pierce.

I kind of want to reread Mildred Pierce and Rebecca now. Sigh.

And on that note, tis back to the spice mines with me.

The Moment I Knew


Thursday, y’all, and I think I am going to take a vacation day tomorrow to try and help me get caught up on all the things I need to get caught up on. Another three day weekend, following up on the one just past already? To be fair, it kind of needs to actually happen, to be honest. I also have to remember to dedicate myself to making sure all the things I need to get done actually get done.

Which, you know, is the real trick here.

I also kind of need to pull myself together. While I am fully aware that there are certain things about myself I cannot control–depression, the mood swings, etc–it is still enormously frustrating to have to deal with them, try to work through them, get through them while trying to keep going with everything I am juggling these days. Part of it comes, undoubtedly, from my inability to ever get a handle on everything; even when I am making lists and working from them there’s always something I am forgetting when I make the list or something that comes up new after I make the list–and the list is so long and daunting to begin with that the thought of adding something else to it is paralyzing, which drags me back into the endless cycle of plate spinning to “Flight of the Bumblebee” again.

Obviously, the insomnia never helps either, nor does fearing, every night when I go to bed, that I am going to have insomnia again.

We started watching Mythic Quest last night on Apple Plus, and it’s not bad; we watched two episodes and I think it has the potential to become really funny; it stars Rob McIlhenny of It’s Always Sunny in Philadelphia, and I was really surprised to discover that not only was he the driving force behind that show, but this one as well. We’re also watching We Hunt Together on Showtime–we started the other night, before getting distracted by Ted Lasso, which I absolutely love–and while it’s not bad, it’s not the best British crime show I’ve watched. It’s very unusual in that it features two mixed couples (a Black man and a white woman) on opposing sides of the law–the investigating detectives and the criminal couple killing people–and reflects the similarities of relationships and their dynamics in both; it’s like they are mirror images of each other if it’s a funhouse mirror. It’s an interesting choice, and the acting is superb; the female cop is played by Eve Myles of Torchwood fame, whose work I always enjoy.

During my condom-packing hours yesterday I also returned to the Cynical 70’s Film Festival, this time watching Jane Fonda in her Oscar-winning role as Bree Daniels, the call girl, in Klute (what is with women winning Oscars playing prostitutes, anyway?). Klute is a very strange film, and it’s the first of what is called, by film scholars, the Paranoia Trilogy of director Alan J. Pakula (I have recently watched the other two, The Parallax View and All the President’s Men). Klute, to me, is a deeply flawed film, but an interesting one all the same. It’s a crime movie, the title character is a cop who takes a leave of absence to investigate the disappearance of a friend, and yet neither the cop nor the investigation are the lead story of the movie; it’s really a character study of Bree Daniels. Klute, the detective, is played almost completely emotionlessly by Donald Sutherland (obviously a choice made by both director and actor; since this is also the same period that produced his stunning performance in Don’t Look Now), so the emotional heart and center of the movie is Fonda’s performance. I came away from the film not entirely convinced by that performance; there was complexity there and some moments of truly fine acting, but over all–the film hasn’t really aged all that well (the underground world of orgies and call girls and pimps and heroin of Manhattan in the 1970’s it is trying to depict feels very screenwriter-ish to me; a film studio’s thoughts about how that particular subculture would look, walk and talk)–but I can see why she won an Oscar; those scenes where she is able to really inhabit the character are stellar. Klute is a subversion of noir/crime thrillers, really; by focusing on the character study of Bree rather than the story, it becomes less a crime story than the story of the unfortunate aspiring actress/model who turns to tricking to pay the bills and then is trying to leave the life but isn’t entirely able to; not only because she needs the money but because she likes the power of being in control–or at least, the allusion of control hooking brings her.

Imagine Double Indemnity if the focus of the film wasn’t the plan to kill Phyllis’ husband, but rather who she is and why she is the way she is.

The paranoia is also there in that Bree’s phone is tapped, not only by Klute but also by the killer. There’s another part of the film that is a flaw; the motive for the killing and the motive for hiring and paying Klute doesn’t really wash; but’s that probably also the crime writer/editor in me. I had also thought the film was based on a book but was apparently wrong; I could have sworn I remember seeing a paperback novel of Klute on the wire racks at Zayre’s, but of course it could have simply been a novelization of the film.

I did find Don’t Look Now also available to stream somewhere as I idly looked through all my streaming services apps last evening before we started watching Mythic Quest; I definitely want to watch that film again–and it’s not a bad idea for me to delve back into Daphne du Maurier’s short stories again. I may even have to read one of the novels she wrote that I haven’t read yet; there appears to be an adaptation of The Scapegoat (which I’ve not read) available to stream as well. The concept of the book intrigues me–the concept of the look-alike, which is something I’ve always wanted to write about myself. I’ve always had this idea of a bartender in a gay bar being approached by someone who thought he was someone else as a great starting place for a thriller; the problem, of course, being that now DNA would take away any possibility of an imposter passing for someone else. (FUCKING technological improvements.)

This idea came to me–not the least because of The Ivy Tree by Mary Stewart–but because when I used to visit New Orleans before moving here, consistently people–locals–would come up to me and start talking to me like I was someone else; eventually I would point out to them that they didn’t actually know ME and they would be very startled. This continued for a year or so after we moved here–I would sometimes get bought drinks by total strangers who thought I was someone else, and now that I think about it, perhaps the reason so many bartenders gave me a drink for free now and then was because they thought I was someone else. But it stopped after living here for a few years–I’d forgotten this used to happen–but they would always tell me I had a double here in New Orleans; one that I never met or saw anywhere. Isn’t that strange? But I always thought it was a good opening or idea for a story–but of course now, as I mentioned before, DNA has ruined the imposter stories forever.

Today is a better day, so here’s hoping it lasts and I can get back on track.