Tag: Ruth Gordon

Cast Your Fate To The Wind

Ah, and here we are, three day weekend in the rearview mirror as we coast headfirst into a Tuesday that is destined to feel like a Monday all day. I set the alarm and got up at seven-ish; an hour later than a work day and really, something completely sensible to do on days off. An extra hour still feels like a treat, and then I have the entire morning to get things done. I washed dishes, made breakfast, wrote two posts, and then dug into the book and cranked out over two thousand words before noon–with the entire day still ahead of me. I wish I could tell you that I worked on some other writing, but I didn’t. I was reading newsletters and magazines that have stacked up (another thing that is stupid–I let magazines pile up, collect dust, and just be clutter rather than simply reading them at first opportunity and then tossing them in the trash–or tearing out an article that may be of interest to me at a later date (can’t imagine how all that paper piled up on me over the years). I am pleased to say I have only three back issues of Texas Monthly (their true crime reporting is stellar) and the latest 64 Parishes to read now. I also watched some news clips on Youtube, fell into a wormhole about the history of the Cathars in southern France and the Albigensian Crusade that killed them all, and finally started reading about the Baptist War in Jamaica–there’ll be more on that at another time, trust me on that– before doing some filing and touching up around here. All in all, it was a lovely weekend, and I am so delighted to be back into the book again (I was worried about picking it back up again after the last few days not working on it), and knowing that my editorial and creative eye is coming back together, too. I still have to get used to my life as it is now, and I know there are going to be bad days that I just need to accept and roll with, and not beat myself up over those sorts of things. Being too tired to write or create is a valid reason for not doing so. It just is painful and the writing isn’t any good, anyway–and it’s not like I need to prove to myself that I can write a goddamn crime novel, do I?

I feel pretty rested and good this morning. We shall see how that develops for the rest of the day. I think we’re pretty busy today; or maybe not; maybe it was next week? We always get busy at the STI clinic after Southern Decadence…which kind of makes me a little proud, because we’ve trained our clients so well that they know about the window periods for the bacterial infections so they wait. (The schedule isn’t that busy; I just checked it–laptop came home with me on Thursday–so yes, it’s next week that is super-busy.) I have to make groceries on the way home from the office tonight; I may be too tired to work on the book tonight but…that’s okay.

Yesterday afternoon I was kind of at loose ends and dangerously close to being bored, when I remembered a conversation at work recently, in which one of my co-workers told me he loves to watch bad movies with a friend to laugh at them, so I asked, as is my wont, if they’d seen Voyage of the Rock Aliens–I have yet to find anyone else who has seen it (I saw it twice in the theater) and so that was in my mind. Right now I can’t remember the brain trail that led me to think of it yesterday, but I did, and the whole movie is up on Youtube…so yes, I rewatched it, and…it really can’t be watched alone to be laughed at properly. Anyway, it was the great Ruth Gordon’s final movie (what an epitaph!), starred Pia Zadora and an incredibly beautiful young Craig Sheffer. It’s a weird mash-up of the bad scifi and beach movies of the 50s and 60s, a lot of the humor is of the time (I’m sure kids today, or even viewers of any age for that matter, would get the Lake Eerie jokes, because the lake was cleaned up), and it’s even more godawful to rewatch after forty years or so. It may even be worth it’s own entry…

We also started watching Kaos, which is demented in a very fun way; a modern twist on Greek mythology. A reboot kind of, if you will. Jeff Goldblum is perfect as Zeus, as is Janet McTeer as Hera. Of course, since it involves Orpheus and Eurydice, it put me in mind of Hadestown, which I saw on Broadway in New York thanks to Mike Ford. I’m looking forward to watching more tonight, if I’m not too tired and Paul isn’t working on a grant the way he has been for the last week or so. Of course, I could unwind with my Alison Gaylin ARC, which I am doling out to myself as a reward for getting things done.

I am very glad that my brain has finally unlocked and I am not only writing again, but writing the way I did before the recent times of troubles. I’m enjoying it, and am having fun with it again. I don’t know if I am all the way there again yet, and I’m not all the way back to normal (or whatever passes for normal in my life) quite yet, but I don’t feel like there’s a dark cloud in my brain and just getting through the day is a triumph anymore. Now that it’s unlocked, I can also see that some of the stories I’ve written over the last four years and not been able to place (or finish)? Now that my mind is more clear than it’s been in a while, I can see what the problems are–the voice and tone of the story. They’re written kind of in a cheery, pleasant tone, and that doesn’t work with what the stories are about. What was I thinking? No, they need to be colder, and more desperate, unsentimental, which isn’t as easy for me as it should be. They need to be harder and colder and crueler, more desperate, in order for the stories to work, which is also pretty cool. I’m so glad I’ve figured this out at long last! I also think part of the reason I made the stories not as dark as they needed to be was because of the shitshow life had become for us all and I didn’t want to write anything dark. My brain was telling me something, wasn’t it?

I also walked to Walgreens to get treats for His Impious Majesty, listening to the My Dad Wrote a Porno podcast and rather enjoying it–it’s really hilarious, you should check it out–when the door opened in my brain and I finally figured out what podcasts actually are: they’re like radio shows of old only with a more modern delivery system. so we’ve kind of circled back around the entertainment my grandparents used to enjoy–radio/podcast, they are basically the same, with the primary difference how you get distributed to listeners, kind of like do-it-yourself radio. Yes, it only took me how many years to figure it out? Heavy sigh. But now that I finally get them, I can start looking for others that could be fun and informational. I just couldn’t wrap my mind around them–sometimes I have to connect newer technology to older so I can understand its purpose. Yes, I am well aware how obtuse I can be, which I think is a part of the wacky brain chemistry that I want to talk to my doctor about. I don’t need medication to control the wandering mind syndrome, as I’ve remembered how to write again, so that’s not an issue. But it would be nice to have a diagnosis rather than simply wondering and self-diagnosing from my reading.

I also started relearning German on Duolingo this weekend, which makes sense. There are crusty memories deep in the recesses of my brain, and doesn’t it make more sense to try triggering my memory rather than starting from scratch with a whole new language. So far, so good. I can order coffee and bread and wine in German now. So, when I am in a German coffee shop I can say, kaffee und brot, bitte.

I didn’t really have much FOMO about Bouchercon over the weekend–obviously, I know I would have had fun had I gone because now I know too many people not to have fun, if that makes any kind of sense to you. I did miss seeing everyone, but my primary regret in not going was not being able to participate in the voting down of removing the DEI (aka inclusion) from the Bouchercon operating by-laws…yes another attempt by a mediocre white man who used to be on the Board and was long associated with it (back in its misogynist, racist, homophobic days where that kind of shit was not only tolerated, but enjoyed) deciding that since he had a problem with inclusion the entire conference should just do away with it. Thanks, Al Abramson, I remember reporting being treated homophobically by programming years ago and you just patted me on the head and basically told me to get over it. Fuck you all the way to hell and back, and don’t think we aren’t fucking organized, you miserable piece of bigoted trash. Can’t imagine why queers felt uncomfortable and unsafe attending your fucking event, and the trash LOC couldn’t even be bothered reassuring us, and in fact, exposed how homophobic the LOC was. But thanks to the alert Board members and some others–CWoC, QCW–rallied the troops, but the Board also refused to consider it and the refusal of this last minute last ditch attempt to make it a Karen-and-Chad conference again. But this is also why we have to be forever vigilant, because there’s always some mediocrity trying to drive out the marginalized.

Must have been a real bitch-slap seeing how diverse the Anthony Awards were.

And on that note, I am heading into the spice mines. Have a lovely Tuesday that feels like Monday, and may be back later.

Crystal

Friday!

It’s gray outside this morning; and the temperature has dropped since the rain of the other night. Yesterday’s high was in the 60’s; today’s apparently will be as well. I don’t mind this–surprise!–because I was a bit concerned about it already climbing into the 80’s in March already, which didn’t bode well for this coming summer. So this cool break is a bit nice–and it’s also nice to not go get into my car and start sweating because the sun’s been shining into it all day plus it being hot outside. Yesterday was also a bit nice because 1) Paul was able to get his second vaccination for COVID-19, and I spent the day making condom packs and doing other, various work-at-home duties. As my fingers and hands worked through the condom packing, I spent some time thinking through what I need to do with the book this weekend, which is always helpful. I also got caught cup with this week’s episode of Superman and Lois, which I am greatly enjoying; the television adaptations of DC Comics continues to outshine the film universe. I am debating where I want to spend four hours watching the Snyder cut of Justice League–four hours is a big commitment–and I also discovered, browsing through my many streaming apps last night, any number of films to add to my watchlists.

(Aside–they are hanging new gutters on the house next door and I can see them going up and down those shaky, rickety extension ladders–whose bases are braced against the wooden fence between the properties. As they go up and down the ladders shake–which is one of many reasons I will never climb an extension ladder–and watching the corresponding movements/shaking of the wooden planks in the fence. I should also add that Michael, our neighbor to the front with his partner John, has retired from his job and has started working on the flower beds that run alongside the fence, which have been disaster areas ever since Katrina, and is doing a very nice job making them look pleasant and appealing and all cleaned up.)

As I looked through HBO MAX looking for something to watch for the rest of my condom packing, I came across Inside Daisy Clover, a film from the mid-60’s that is supposedly one of those “gritty insider looks at Hollywood”. It stars include Natalie Wood, Christopher Plummer, and Robert Redford; and I vaguely remembered Ruth Gordon was nominated for an Oscar for it. I also had a vague memory that the character of Daisy Clover was, in theory, based on Judy Garland, so I thought what the hell and queued it up. This morning, I cannot believe I sat through the entire thing–it was really that dreadful and pointless–and it really was squirm-worthy. When the story opens Daisy is fifteen, leaving in a trailer along the boardwalk at Angel Beach with her not-quite-all-there mother (Ruth Gordon) who has a great natural singing voice, records it and sends it to Swan Studios. Daisy has basically, for all intents and purposes, been raised by wolves, has no manners or filters, and while she is quite pretty beneath the grime and strange haircut (those eyes! Natalie Wood was so beautiful), her getting signed by Swan Studios and being groomed by studio head (Ray Swan–played to odious perfection by Plummer) seems a bit of a stretch. She is marketed as “America’s Little Valentine” and immediately becomes hugely successful. She also becomes involved with another star, Wade Lewis (Redford), who is heir to a vast fortune and a completely one-dimensional cad–which becomes really creepy on two levels–first, she’s supposedly a teenager (Wood was at least in her late twenties by then) and Wade is in his late twenties/early thirties, which is creepy to say the least (studio head Swan refers to her as “America’s Little Jailbait” in one cringeworthy scenes), and then, after he deflowers her, is ordered to marry her or be arrested for corruption of a minor. (The second creepy part is Wade lives on a sailboat anchored just off the coast; seeing Wood on a sailboat or heading to and from one on a motorboat, given how she died, is foreboding and squirm-inducing) They do marry; they spend their wedding night in a motel in some remote location in Arizona, and when she wakes up he’s left her there without a word, stranded. After her mother’s death, she has a breakdown of sorts on set and is unable to continue working, which delays the picture and puts her at odds with the studio–which has spoiled and indulged her so far, but not anymore. The movie’s ending is neither a conclusion or an actual resolution, not a real end; it just….ends. We don’t know what Daisy is going to do–but again, it’s cringy. Inside Daisy Clover could have been a chilling and realistic exposé of the old studio system; it could have shown how an innocent but strong-minded young woman is corrupted and changed and turned into a monster by the system because of her talent–the film does none of these. Daisy is still the same impulsive, emotionally needy mess at the end that she was at the beginning, and such an incredible waste of Wood’s talent. She plays the character without any depth or interior; she plays her like an uncontrollable brat, and the performance doesn’t really ring true. All I kept thinking as I watched was that Wood was miscast–the lip-syncing was especially bad–and about half-way through I thought, this script is terrible and the direction equally bad, but Liza Minnelli could have killed in this part; it was perfect for her. The truth was the title was a misnomer–at the end of the movie we’ve not gotten “inside” Daisy at all but rather skimmed over the surface….and to make matters worse, by the end of the movie she is only seventeen.

America’s little jailbait, indeed.

It is a shame; Hollywood did some amazing films that exposed stardom and the Hollywood machine quite expertly; think of Sunset Boulevard and even though it was set in the theater world, All About Eve. Quite frankly, both book and movie of Valley of the Dolls handled the same subject–the coddling of talent resulting in the creation of a monster–much better.

I started reading The Russia House by John LeCarré yesterday while I waited for Paul to get his shot and then wait to make sure there was no reaction to it; it’s quite good–the writing in particular and voice are exceptional; it’s also world-weary, snarky and funny–and am really looking forward to getting back to spend some more time with it. It will depend on how the work goes, of course; my priority around my day job is going to have to be the book until April 1. (although…April 1 is the day before Good Friday and in theory, I could use that three-day weekend to finish the push to finishing the book; or I could finish on time and spend that weekend relaxing and preparing myself for the next project on the list)

And on that note, I am heading into the spice mines. Have a lovely Friday, Constant Reader, and I’ll check in with you tomorrow morning.

Change

I stretched yesterday.

I don’t mean that in a metaphorical sense, either; I mean, I literally cleared a space off on our cluttered floor and gave my ossified muscles a good, old-fashioned stretch, going through exercises memorized as a teenager from warm-ups for various sports, but enhanced and modified for my Gymnastics classes. I was always flexible, you see–and the one thing no one ever tells people about flexibility is that it isn’t something you have to be born with–you can actually work on it, gradually becoming more and more flexible and pliant the more you work on stretching those muscles. Sure, they will tighten up again after a while, but the next time you stretch you’ll be able to go a little bit further than you did the last time.

Yesterday’s stretching felt good; so good, in fact, that I will probably do so again today.

And now I will talk about stretching in the metaphorical sense.

I am signing two book contracts today; one for Bury Me in Shadows and the other for the Kansas book, whose title (for now) is #shedeservedit. Both are books that I have been working on for an eternity now it seems; the pandemic and it’s bizarre effect on time doesn’t help with that mentality, of course. Both books are stretches for me, in that neither is a series book (sorry, Scotty and Chanse fans) but rather stand alones. I don’t know how they will be marketed, but Bury Me in Shadows has a college student as the main character and #shedeservedit is about high school. Part of the reason I finally went ahead and pitched the books is because I can’t seem to discipline myself to get them finished; the pressure and stress of a deadline, which I’ve been trying to avoid for the last few years, apparently is needed in these troubled times in order for me to get the work done. Both have required me to stretch as a writer–taking me into themes and plots that ordinarily I would avoid, and forcing me to go further and deeper into the characters themselves in order for the stories to work. Whether I have managed to succeed with either book remains to be seen, I guess. Signing the contracts is scary, of course; I am a bundle of jangly nerves this morning as I sip my coffee and get ready to face what has already developed into a challenging day before I even got to the computer.

I watched Chinatown yesterday as part of the Cynical 70’s Film Festival, and it really is quite a marvelous film–the costumes! The sets! The cars! The cinematography! Also a very twisty and sometimes confusing plot; with strong performances all around from the cast, particularly Jack Nicholson in the lead; Faye Dunaway is also gorgeous, if a little mannered and stiff; and John Huston just oozes evil from every pore as Noah Cross. It was a great homage to the classic noir films of the 40’s and 50’s; I was also a little amused at the conceit of the private eye having an office with a secretary and two operatives–obviously, Jack Gittes was quite successful as a private eye chasing adulterers around Los Angeles. Chinatown, with its focus on the systemic corruption of money and power in Los Angeles at the time, with a focus on the war over water (and seriously, given its history, why is Los Angeles not considered as corrupt a city as New Orleans and Chicago?), I enjoyed the film immensely. Dark and lush and with great attention to detail, I can see why it was a hit and achieved such critical acclaim; however, given that it is a Roman Polanski film, there was always this edge of guilt as I watched it again. I first watched it about twenty years ago and didn’t really think too much about Polanski’s status as a convicted child rapist and fugitive from American justice; same with Rosemary’s Baby, which I think, despite being from the late 1960’s would also fit in this film festival. I like both films and enjoy them both; but in modern times it has become increasingly difficult to separate the art from the artist. I did make a decision years ago never to watch a Polanski film made after his conviction and escape from justice, somehow justifying that his earlier films should be exempt from a justified boycott.

Separating art from the artist is a difficult debate, with many nuances and points of view from both sides that I kind of agree with. The fact that Roman Polanski committed a crime and then fled the country to avoid punishment should have, by all rights, ended his career–yet somehow that didn’t happen. He has continued making films–even won an Oscar for Best Director, I think–and has enjoyed success and critical acclaim. Should his art be judged separately from his personal life? Am I hypocritical for refusing to read Orson Scott Card because of his vigorous anti-gay activity back in the day because it affected me directly, yet still watching pre-crime Polanski films? In all honesty, I doubt I will ever watch Chinatown again after this second viewing; I most likely won’t go back and rewatch Rosemary’s Baby either, despite its being based on a terrific Ira Levin novel and the brilliance of Ruth Gordon as Minnie Castevets, and the fact that it fits into this film festival–the cynical movies which flourished in the 1970’s actually started being made in the 1960’s, and Rosemary’s Baby is one of the best films about paranoia ever made, frankly.

Something I really need to put some more thought into, definitely.

I need to get cracking, too–I have an essay to edit, another one to write, a short story to edit and revise; and of course the manuscripts that need working on. I have bills to pay and emails to answer, and I also have to go into the office today to get some work done there, stopping at the grocery store on my way back home. We literally have no food at all in the house, sigh.

And so on that note, tis off to the spice mines with me. Have a lovely day, Constant Reader.