February 12, 2018 § Leave a comment
This is a recap of the best movies I saw in 2017 that I hadn’t seen before. It was a good year (for movies).
I was thrilled to “discover” some women filmmakers’ whose work I wasn’t familiar with (Andrea Arnold, especially) and to watch more Akerman and Varda. I often found myself thinking about “performance”—as in, the thing an actor does that becomes notable, or is notable precisely because it isn’t. I’m not a fan of the Daniel Day-Lewis type . . . thing. I much prefer Robert Bresson’s rejection of the actorliness of actors:
ÊTRE (modèles) au lieu de PARAÎTRE (acteurs).
[BEING (models) instead of SEEMING (actors).]
I generally admire the work of those who use non-actors or not-well-known actors in their films—Bruno Dumont, for example, though he disappointed me terribly by using Juliette Binoche in his Camille Claudel 1915, a film I avoided for a long time out of fears that, turns out, were justified.
All this points to my appreciating restraint, silence, and an absence of gimmickry in the craft of acting. But then there are plenty of performances I love which have none of that. I mean, Sarah Michelle Gellar as Buffy? Divine? James Gandolfini? So genre has something to do with it, but still it’s difficult to say what precisely “it” is, except that it’s inevitably thrown into relief by the ever-perplexing Anglophone awards season that’s now under way. (Isn’t the winner basically always either Meryl Streep or Charlize Theron in “ugly” makeup?)
Anywho, these are my favorite performances from movies I saw in 2017: Gillian Anderson in The House of Mirth, Marlene Dietrich in The Blue Angel, Ivan Dobronravov in The Return, James Howson in Wuthering Heights, Daniel Kaluuya in Get Out, Nicole Kidman in Birth, Vanessa Redgrave in The Devils, Delphine Seyrig in Jeanne Dielman, and the truly gifted and greatly under-valued Sheryl Lee as Laura Palmer:
Even movies I didn’t entirely love but appreciated for some reason or other (and often the reason was the casting) showcased some utterly moving work by actors: Ben Whishaw’s John Keats in Bright Star and Cynthia Nixon’s Emily Dickinson in A Quiet Passion; James Wilby and Rupert Graves in Maurice; and Ezra Miller as the psychopath progeny of Tilda Swinton in We Need to Talk About Kevin—Miller shall soon appear, I predict, in an Anne Rice-Sally Potter’s Orlando-pastiche about a fashionable vampire coming to terms with this ability to hang out in graveyards in daylight.
I despise Lars von Trier (except for the first season of The Kingdom) and Breaking the Waves is full of Trierisms, but Emily Watson kept me watching to the end. « Read the rest of this entry »
December 12, 2017 § Leave a comment
“Hill Station” is the second of three site-generated texts belonging to the sequence “Route: Western Ghats” in my book Some Beheadings. An early version of these three poems appeared in webConjunctions as an online supplement to their issue called Natural Causes. In many ways, these are the poems that began Some Beheadings, not because they were composed first (nor do they appear first in the book) but because they decided its thrust: a series of movements or routes through disparate landscapes. And the Western Ghats—which I visited for three monsoon-thick days in 2014, with the help of my brother, Siddarth Machado, who appears in this video, is a plant ecologist, and was then part of a research group cataloging species in the area—is primary among these landscapes. Primary because closest to home, because least manipulated, most biodiverse, densest.
Take this as a silent film, if you will.
Link to another video poem: “Route: Thicket.”
September 18, 2017 § 2 Comments
My new and first and only book of poems will be out in a few weeks, so I’m making a few recordings (some audio, some video) in . . . really just in excitement for the whole thing. Everyone involved in helping this book to be is lovely. Anyway, here’s a video I made for a sequence called “Route: Thicket”:
(Yes, it’s meant to look like that.)
Some sections from this appeared, in a slightly different form, in The Capilano Review 3.28. “I am my land, expressed” is a quotation from Edmond Jabès’s The Book of Questions: Volume I (trans. Rosmarie Waldrop). CJ Martin and Julia Drescher are responsible for getting me to think about the word “attention” through their journal ATTN:.
Oh, and, while this is probably eminently boring for many people, and possibly against some kinds of reading (which I totally get), if one cares to read, this scene from Bresson’s Au hasard Balthazar has lived in me for years and made its way into several poems, until, finally, this one: « Read the rest of this entry »
April 21, 2017 § 1 Comment
It is never quite clear to me what the actor does.
What she does, when I discern something like doing, seems to hover between great style and great anonymity.
The style of some actors reveals itself in vocal and somatic stillness.
Others, through a clipped or frenzied movement.
In neither case do I receive the actor’s work as a full expression. Full as in the purported aptitude of form to enact (perfectly) a content. The notion that an actor might communicate with precision an inner sorrow, joy, or turmoil is to me absurd.
The silent and frenetic actors whom I enjoy never entirely convey their characters. There is too much that cannot be seen or heard. So the actor’s presence is a shape: a gravity, a sonority. Her personality resists novelization.
In this sense, style—or stylization—is a kind of anonymity. Actors of camp are virtually unrecognizable, as actors and as quotidian subjects.
I think that when style increases, anonymity increases also. But I also think that anonymity increases when style decreases. Anonymity always increases.
January 5, 2017 § 2 Comments
Bref, I read a lot of poetry translated from German and a lot of nonfiction translated from French. This is not very shocking. Much of my non-book reading happened at Asymptote: this reading (plus editing) is far more diverse and includes work by poets like Vicente Huidobro (Chile), Jan Dammu (Iraq), and writers who push at the limits of what translation means (the Special Feature in our January issue). One of my favorite pieces of this latter sort is Bronwyn Haslam’s anagrammatic translations of Nicole Brossard’s poetry (“Soft Links” becomes “Silk Fonts,” for example):
It’s nouns that gulp fire and life, one can’t tell if they’re Latin, French, Urdu, Veda, Cree, Mandarin, Aleut, Creole, Basque, English, secrete a number, deed, quorum, animal or accelerate old anxieties eddying before us in doubled somber contours full of luster and immense legends.
I also got to collaborate with my friend Michael Joseph Walsh to put together a different sort of experimental translation portfolio for Denver Quarterly 50.4 I have a few extra copies and would be happy to mail them to anyone interested (or you can subscribe). Joshua Ware’s visual translations of Celan appear as an online supplement to this portfolio here.
For some years now I’ve been obsessed with a film by Yvon Marciano called Le cri de la soie (1996), which fictionalizes the life of pioneer psychiatrist Gaëtan Gatian de Clérambault. This year I read two texts relevant to this film, de Clérambault’s case studies of women who developed an unusual sexual “passion” for silk and other textiles: Passion érotique des étoffes chez la femme (1908) and its suite (1910). « Read the rest of this entry »
December 31, 2016 § 2 Comments
– speak less of other people
– watch more good cinema
– sleep well
I found a poem I wrote on 06.04.09 called “A doctoral student confesses”—it is oddly prescient:
“so sound would be plural like description is” (Giscome Road 52)
“Sentences find you, style finds you on the road out; it overtakes you effortlessly, it palavers” (69)