Brandon > Recent Status Updates

Ii is supposed to be written by S, but not sure I hear it. Maybe in “Heat not a furnace for your phone so hot/but it do singe yourself. We may outrun/by violent swiftness that which we run at/and lose by overrunning. Know you not/the fire that mounts the liquor till it run o er,/in seeming to augment it, wastes it?”

Hecht writes Gone with the Wind based on the late Sidney Howard’s treatment; no one said it was “Miss Mitchell’s Ouïdalike” plot that did him in (565).

Ben Hecht’s “favorite collaborator” was cameraman Lee Garmes who “carried the cutting of the picture in his head [and] knew moods of space, the value of planes, the dynamics of symmetry as well as any painting master” (562-3).

Touchstone: “The more pity that fools may not speak wisely what wisemen do foolishly” (I.iii).

Ben Hecht on writing the movies: “The thing to do was to skip the heroes and heroines, try to move containing only villains and bawds. I would not have to tell any lies then.”

So no fan of Tarantino thought the imprisonment of Butch’s father inspired him to rescue Marsellus?

I experienced a synchronicity: on the shelf just above where I made an altar, I found a jar from my former employer with a fragments from my beloved’s betrayal, and I understood that I have already provisioned for prevailing with next month’s task.

I’m reading Storm Stallion with grandada Ily. She’s interested in the elemental powers of fire. She has an elemental bird named Butterfly.

So no Tarantino fan thought the imprisonment of B my utch’s

From Spike Lee’s 1987 journal: “Black folks are tired of being killed.” I’d read the Do the Right Thing Journal shortly after it came out. Reviewing his creative process has been refreshing, but thinking about centuries of early, unnecessary deaths brings me anger, despair and anxiety. Resolution for the sake of survival is part of the crime.

Another source of the title: The “weight” of a myth can help The Undertow drag one under (296).

Three components of a threat: the ability to do damage, the opportunity to do damage and the intention to do damage (Stoughton, Seth 293).

We can fact check ourselves out of the “undertow” to solid ground. An expert can flatten a falsehood with a pertinent & reliable source.

Myths, however, cannot be fact-checked.

Sharlet inverts Manifest Destiny, traveling from Babbitt’s Ocean Beach towards The East.

If personal experience is one’s, only source, then in the confusion of “context,” The Law can “kill” (262).

A siege cannot be a “democratization” (261).

The backgrounds for the praise and worship lyrics were generic mountain vistas, not the strip malls brushfire-burned, drought-afflicted reality of Yuba City (250).

“Vexillology, the study of flags,is a theatrical discipline” (243).

The Trump Era can be charted from one “new low” to another, new lows all the way down (209).

“incel” means “involuntary celibate.”

Paul Elam from “A Voice for Men,” posts his toxic masculinity under the name of Lester Burnham from the movie American Beauty(

“This is not the city God wants.“ Besides “Beautiful City“ from the musical Godspell, is there a praise and worship song with that title?

Is scripture is script, what is your screen-psalm? What resonates with backkstory?

The glamorous, pastor knows that in contemporary American churches, “the light emanate not from the Son, but from the stars” (116).

Trump likes Citizen Kane and Godfather (probably not a fan of John Sayles ensemble narratives).

Trump has three set stories: The Call, The Snake (variation on Welles and Uncle Henry) and The Bullet.

Trump wrote that he “learned a very positive feeling about God” from Norman Vincent Peale (5).

“Week 8: Recovering a Sense of Strength”: obsess over The Process; abide with the flow.

Question to abide with: in creating, is it better to be a stone thrown in The Flow or the stone’s splash?

“Thawing Out” relies on rhymed action between scenes to show our narrator growing out of the 60s and into love.

As for the collection, “Thawing Out” contributes to both the water motif and male friendships of bad influence.

“If the River Was Whiskey,” title story, T.C. Boyle does Raymond Carver. Some families are boating accidents.
POV shifts break hearts: Tiller to Tiller’s father, my kind of pathetic family-melodrama-romance. So much medias res, so much implied consequence.

Action is the key to freedom from Jealousy Jail.