Henry Miller Asleep and Awake (1975) [Interview / Documentary / Footage / Home]

Tom Schiller’s 1975 short documentary (35mins) follows Miller from the microcosmos of his very own shit-hole to a mock-up 1890s New York of his childhood.

more about "Henry Miller Asleep and Awake (1975) …", posted with vodpod

A Circa 2007 Fashion Dilemma: noir et blanc or neon colour-blindness?

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The Bookworm Game

Instructions:

- Bold the books you have read
- Italicize the books you had read to you, saw adaptations of or cannot remember
- Underline the books you intend to read
- Strike the books you hated so much you couldn’t finish them
- Add three
-You don’t have to tag anyone, but you may, if you want to

1. The Lord of the Rings, JRR Tolkien
2. Pride and Prejudice, Jane Austen
3. His Dark Materials Trilogy, Philip Pullman
4. Hitchhikers Guide to the Galaxy, Douglas Adams
5. Harry Potter and the Goblet of Fire, JK Rowling
6. To Kill a Mockingbird, Harper Lee
7. Winnie the Pooh, AA Milne
8. 1984, George Orwell
9. The Lion, the Witch and the Wardrobe, CS Lewis
10. Jane Eyre, Charlotte Bronte
11. Catch-22, Joseph Heller
12. Wuthering Heights, Emily Bronte
13. Birdsong, Sebastian Faulks
14. Rebecca, Daphne du Maurier
15. The Catcher in the Rye, JD Salinger
16. The Wind in the Willows, Kenneth Grahame
17. Great Expectations, Charles Dickens (saw the movie)
18. Little Women, Louisa May Alcott
19. Captain Corelli’s Mandolin, Louis de Bernieres
20. War and Peace, Leo Tolstoy
21. Gone with the Wind, Margaret Mitchell
22. Harry Potter And The Sorcerers Stone, JK Rowling
23. Harry Potter And The Chamber Of Secrets, JK Rowling
24. Harry Potter And The Prisoner Of Azkaban, JK Rowling
25. The Hobbit, JRR Tolkien
26. Tess Of The D’Urbervilles, Thomas Hardy
27. Middlemarch, George Eliot
28. A Prayer For Owen Meany, John Irving
29. The Grapes Of Wrath, John Steinbeck
30. Alice’s Adventures In Wonderland, Lewis Carroll
31. The Story Of Tracy Beaker, Jacqueline Wilson
32. One Hundred Years Of Solitude, Gabriel Garcia Marquez
33. The Pillars Of The Earth, Ken Follett
34. David Copperfield, Charles Dickens
35. Charlie And The Chocolate Factory, Roald Dahl
36. Treasure Island, Robert Louis Stevenson
37. A Town Like Alice, Nevil Shute
38. Persuasion, Jane Austen
39. Dune, Frank Herbert
40. Emma, Jane Austen
41. Anne Of Green Gables, LM Montgomery
42. Watership Down, Richard Adams
43. The Great Gatsby, F Scott Fitzgerald
44. The Count Of Monte Cristo, Alexandre Dumas
45. Brideshead Revisited, Evelyn Waugh
46. Animal Farm, George Orwell
47. A Christmas Carol, Charles Dickens
48. Far From The Madding Crowd, Thomas Hardy
49. Goodnight Mister Tom, Michelle Magorian
50. The Shell Seekers, Rosamunde Pilcher
51. The Secret Garden, Frances Hodgson Burnett
52. Of Mice And Men, John Steinbeck
53. The Stand, Stephen King
54. Anna Karenina, Leo Tolstoy
55. A Suitable Boy, Vikram Seth
56. The BFG, Roald Dahl
57. Swallows And Amazons, Arthur Ransome
58. Black Beauty, Anna Sewell
59. Artemis Fowl, Eoin Colfer
60. Crime And Punishment, Fyodor Dostoyevsky
61. Noughts And Crosses, Malorie Blackman
62. Memoirs Of A Geisha, Arthur Goldend
63. A Tale Of Two Cities, Charles Dickens
64. The Thorn Birds, Colleen McCollough
65. Mort, Terry Pratchett
66. The Magic Faraway Tree, Enid Blyton
67. The Magus, John Fowles
68. Good Omens, Terry Pratchett and Neil Gaiman
69. Guards! Guards!, Terry Pratchett
70. Lord Of The Flies, William Golding
71. Perfume, Patrick Susskind
72. The Ragged Trousered Philanthropists, Robert Tressell
73. Night Watch, Terry Pratchett
74. Matilda, Roald Dahl
75. Bridget Jones’s Diary, Helen Fielding
76. The Secret History, Donna Tartt
77. The Woman In White, Wilkie Collins
78. Ulysses, James Joyce
79. Bleak House, Charles Dickens
80. Double Act, Jacqueline Wilson
81. The Twits, Roald Dahl
82. I Capture The Castle, Dodie Smith
83. Holes, Louis Sachar
84. Gormenghast, Mervyn Peake
85. The God Of Small Things, Arundhati Roy
86. Vicky Angel, Jacqueline Wilson
87. Brave New World, Aldous Huxley
88. Cold Comfort Farm, Stella Gibbons
89. Magician, Raymond E Feist
90. On The Road, Jack Kerouac
91. The Godfather, Mario Puzo
92. The Clan Of The Cave Bear, Jean M Auel
93. The Colour Of Magic, Terry Pratchett
94. The Alchemist, Paulo Coelho
95. Katherine, Anya Seton
96. Kane And Abel, Jeffrey Archer
97. Love In The Time Of Cholera, Gabriel Garcia Marquez
98. Girls In Love, Jacqueline Wilson
99. The Princess Diaries, Meg Cabot
100. Midnights Children, Salman Rushdie
101. Three Men In A Boat, Jerome K. Jerome
102. Small Gods, Terry Pratchett
103. The Beach, Alex Garland
104. Dracula, Bram Stoker
105. Point Blanc, Anthony Horowitz
106. The Pickwick Papers, Charles Dickens
107. Stormbreaker, Anthony Horowitz
108. The Wasp Factory, Iain Banks
109. The Day Of The Jackal, Frederick Forsyth
110. The Illustrated Mum, Jacqueline Wilson
111. Jude The Obscure, Thomas Hardy
112. The Secret Diary Of Adrian Mole Aged 13 1/2, Sue Townsend
113. The Cruel Sea, Nicholas Monsarrat
114. Les Miserables, Victor Hugo
115. The Mayor Of Casterbridge, Thomas Hardy
116. The Dare Game, Jacqueline Wilson
117. Bad Girls, Jacqueline Wilson
118. The Picture Of Dorian Gray, Oscar Wilde
119. Shogun, James Clavell
120. The Day Of The Triffids, John Wyndham
121. Lola Rose, Jacqueline Wilson
122. Vanity Fair, William Makepeace Thackeray
123. The Forsyte Saga, John Galsworthy
124. House Of Leaves, Mark Z. Danielewski
125. The Poisonwood Bible, Barbara Kingsolver
126. Reaper Man, Terry Pratchett
127. Angus, Thongs And Full-Frontal Snogging, Louise Rennison
128. The Hound Of The Baskervilles, Arthur Conan Doyle
129. Possession, A. S. Byatt
130. The Master And Margarita, Mikhail Bulgakov
131. The Handmaid’s Tale, Margaret Atwood
132. Danny The Champion Of The World, Roald Dahl
133. East Of Eden, John Steinbeck
134. George’s Marvellous Medicine, Roald Dahl
135. Wyrd Sisters, Terry Pratchett
136. The Color Purple, Alice Walker
137. Hogfather, Terry Pratchett
138. The Thirty-Nine Steps, John Buchan
139. Girls In Tears, Jacqueline Wilson
140. Sleepovers, Jacqueline Wilson
141. All Quiet On The Western Front, Erich Maria Remarque
142. Behind The Scenes At The Museum, Kate Atkinson
143. High Fidelity, Nick Hornby
144. It, Stephen King
145. James And The Giant Peach, Roald Dahl
146. The Green Mile, Stephen King
147. Papillon, Henri Charriere
148. Men At Arms, Terry Pratchett
149. Master And Commander, Patrick Obrian
150. Skeleton Key, Anthony Horowitz
151. Soul Music, Terry Pratchett
152. Thief Of Time, Terry Pratchett
153. The Fifth Elephant, Terry Pratchett
154. Atonement, Ian McEwan
155. Secrets, Jacqueline Wilson
156. The Silver Sword, Ian Serraillier
157. One Flew Over The Cuckoos Nest, Ken Kesey
158. Heart Of Darkness, Joseph Conrad
159. Kim, Rudyard Kipling
160. Cross Stitch (aka Outlander in the U.S.), Diana Gabaldon
161. Moby Dick, Herman Melville
162. River God, Wilbur Smith
163. Sunset Song, Lewis Grassic Gibbon
164. The Shipping News, Annie Proulx
165. The World According To Garp, John Irving
166. Lorna Doone, R. D. Blackmore
167. Girls Out Late, Jacqueline Wilson
168. The Far Pavilions, M. M. Kaye
169. The Witches, Roald Dahl
170. Charlotte’s Web, E. B. White
171. Frankenstein, Mary Shelley
172. They Used To Play On Grass, Terry Venables and Gordon
173. The Old Man And The Sea, Ernest Hemingway
174. The Name Of The Rose, Umberto Eco
175. Sophie’s World, Jostein Gaarder
176. Dustbin Baby, Jacqueline Wilson
177. Fantastic Mr. Fox, Roald Dahl
178. Lolita, Vladimir Nabokov
179. Jonathan Livingston Seagull, Richard Bach
180. The Little Prince, Antoine De Saint-Exupery
181. The Suitcase Kid, Jacqueline Wilson
182. Oliver Twist, Charles Dickens
183. The Power Of One, Bryce Courtenay
184. Silas Marner, George Eliot
185. American Psycho, Bret Easton Ellis
186. The Diary Of A Nobody, George and Weedon Gross-Smith
187. Trainspotting, Irvine Welsh
188. Goosebumps, R. L. Stine
189. Heidi, Johanna Spyri
190. Sons And Lovers, D. H. Lawrence
191. The Unbearable Lightness of Being, Milan Kundera
192. Man And Boy, Tony Parsons
193. The Truth, Terry Pratchett
194. The War Of The Worlds, H. G. Wells
195. The Horse Whisperer, Nicholas Evans
196. A Fine Balance, Rohinton Mistry
197. Witches Abroad, Terry Pratchett
198. The Once And Future King, T. H. White
199. The Very Hungry Caterpillar, Eric Carle
200. Flowers In The Attic, Virginia Andrews
201. The Silmarillion, J.R.R. Tolkien
202. The Eye of the World, Robert Jordan
203. The Great Hunt, Robert Jordan
204. The Dragon Reborn, Robert Jordan
205. Fires of Heaven, Robert Jordan
206. Lord of Chaos, Robert Jordan
207. A Crown of Swords, Robert Jordan
208. Winters Heart, Robert Jordan
209. Crossroads of Twilight, Robert Jordan
210. A Path of Daggers, Robert Jordan
211. As Nature Made Him, John Colapinto
212. Microserfs, Douglas Coupland
213. The Married Man, Edmund White
214. Winter’s Tale, Mark Helprin
215. The History of Sexuality, Michel Foucault
216. Cry to Heaven, Anne Rice
217. Same-Sex Unions in Premodern Europe, John Boswell
218. Equus, Peter Shaffer
219. The Man Who Ate Everything, Jeffrey Steingarten
220. Letters To A Young Poet, Rainer Maria Rilke
221. Ella Minnow Pea, Mark Dunn
222. The Vampire Lestat, Anne Rice
223. Anthem, Ayn Rand
224. The Bridge To Terabithia, Katherine Paterson
225. Tartuffe, Moliere
226. The Metamorphosis, Franz Kafka
227. The Crucible, Arthur Miller
228. The Trial, Franz Kafka
229. Oedipus Rex, Sophocles
230. Oedipus at Colonus, Sophocles
231. Death Be Not Proud, John Gunther
232. A Doll’s House, Henrik Ibsen
233. Hedda Gabler, Henrik Ibsen
234. Ethan Frome, Edith Wharton
235. A Raisin In The Sun, Lorraine Hansberry
236. ALIVE!, Piers Paul Read
237. Grapefruit, Yoko Ono
238. Trickster Makes This World, Lewis Hyde
239. The Mists of Avalon, Marion Zimmer Bradley
240. Chronicles of Thomas Convenant, Unbeliever, Stephen Donaldson
241. Lord of Light, Roger Zelazny
242. The Amazing Adventures of Kavalier & Clay, Michael Chabon
243. Summerland, Michael Chabon
244. A Confederacy of Dunces, John Kennedy Toole
245. Candide, Voltaire
246. The Wonderful Story of Henry Sugar and Six More, Roald Dahl
247. Ringworld, Larry Niven
248. The King Must Die, Mary Renault
249. Stranger in a Strange Land, Robert Heinlein
250. A Wrinkle in Time, Madeline L’Engle
251. The Eyre Affair, Jasper Fforde
252. The House Of The Seven Gables, Nathaniel Hawthorne
253. The Scarlet Letter, Nathaniel Hawthorne
254. The Joy Luck Club, Amy Tan
255. The Great Gilly Hopkins, Katherine Paterson
256. Chocolate Fever, Robert Kimmel Smith
265. Little House on the Prairie, Laura Ingalls Wilder
267. Where The Red Fern Grows, Wilson Rawls
268. Griffin & Sabine, Nick Bantock
269. Witch of Blackbird Pond, Joyce Friedland
270. Mrs. Frisby And The Rats Of NIMH, Robert C. O’Brien
271. Tuck Everlasting, Natalie Babbitt
272. The Cay, Theodore Taylor
273. From The Mixed-Up Files Of Mrs. Basil E. Frankweiler, E.L. Konigsburg
274. The Phantom Tollbooth, Norton Juster
275. The Westing Game, Ellen Raskin
276. The Kitchen God’s Wife, Amy Tan
277. The Bone Setter’s Daughter, Amy Tan
278. Relic, Duglas Preston & Lincolon Child
279. Wicked, Gregory Maguire
280. American Gods, Neil Gaiman
281. Misty of Chincoteague, Marguerite Henry
282. The Girl Next Door, Jack Ketchum
283. Haunted, Judith St. George
284. Singularity, William Sleator
285. A Short History of Nearly Everything, Bill Bryson
286. Different Seasons, Stephen King
287. Fight Club, Chuck Palahniuk
288. About a Boy, Nick Hornby
289. The Bookmans Wake, John Dunning
290. The Church of Dead Girls, Stephen Dobyns
291. Illusions, Richard Bach
292. Magic’s Pawn, Mercedes Lackey
293. Magic’s Promise, Mercedes Lackey
294. Magic’s Price, Mercedes Lackey
295. The Dancing Wu Li Masters, Gary Zukav
296. Spirits of Flux and Anchor, Jack L. Chalker
297. Interview with the Vampire, Anne Rice
298. The Encyclopedia of Unusual Sex Practices, Brenda Love
299. Infinite Jest, David Foster Wallace
300. The Bluest Eye, Toni Morrison
301. The Cider House Rules, John Irving
302. Ender’s Game, Orson Scott Card
303. Girlfriend in a Coma, Douglas Coupland
304. The Lion’s Game, Nelson Demille
305. The Sun, The Moon, and the Stars, Stephen Brust
306. Cyteen, C. J. Cherryh
307. Foucaults Pendulum, Umberto Eco
308. Cryptonomicon, Neal Stephenson
309. Invisible Monsters, Chuck Palahniuk
310. Camber of Culdi, Kathryn Kurtz
311. The Fountainhead, Ayn Rand
312. War and Rememberance, Herman Wouk
313. The Art of War, Sun Tzu
314. The Giver, Lois Lowry
315. The Telling, Ursula Le Guin
316. Xenogenesis (or Liliths Brood), Octavia Butler
317. A Civil Campaign, Lois McMaster Bujold
318. The Curse of Chalion, Lois McMaster Bujold
319. The Aeneid, Publius Vergilius Maro (Vergil)
320. Hanta Yo, Ruth Beebe Hill
321. The Princess Bride, S. Morganstern (or William Goldman)
322. Beowulf, Anonymous
323. The Sparrow, Maria Doria Russell
324. Deerskin, Robin McKinley
325. Dragonsong, Anne McCaffrey
326. Passage, Connie Willis
327. Otherland, Tad Williams
328. Tigana, Guy Gavriel Kay
329. Number the Stars, Lois Lowry
330. Beloved, Toni Morrison
331. Lamb: The Gospel According to Biff, Christ’s Childhood Pal, Christopher Moore
332. The Mysterious Disappearance of Leon, I mean Noel, Ellen Raskin
333. Summer Sisters, Judy Blume
334. The Hunchback of Notre Dame, Victor Hugo
335. The Island on Bird Street, URI Orlev
336. Midnight in the Dollhouse, Marjorie Filley Stover
337. The Miracle Worker, William Gibson
338. The Genesis Code, John Case
339. The Strange Case of Dr. Jekyll and Mr. Hyde, Robert Louis Stevenson
340. Paradise Lost, John Milton
341. Phantom, Susan Kay
342. The Mummy or Ramses the Damned, Anne Rice
343. Anno Dracula, Kim Newman
344: The Dresden Files: Grave Peril, Jim Butcher
345: Tokyo Suckerpunch, Issac Adamson
346: The Winter of Magics Return, Pamela Service
347: The Oddkins, Dean R. Koontz
348. My Name is Asher Lev, Chaim Potok
349. The Last Goodbye, Raymond Chandler
350. At Swim, Two Boys, Jaime ONeill
351. Othello, William Shakespeare
352. The Collected Poems of Dylan Thomas
353. The Collected Poems of William Butler Yeats
354. Sati, Christopher Pike
355. The Inferno, Dante
356. The Apology, Plato
357. The Small Rain, Madeline L’Engle
358. The Man Who Tasted Shapes, Richard E Cytowick
359. 5 Novels, Daniel Pinkwater
360. The Sevenwaters Trilogy, Juliet Marillier
361. Girl with a Pearl Earring, Tracy Chevalier

362. To the Lighthouse, Virginia Woolf
363. Our Town, Thorton Wilder
364. Green Grass Running Water, Thomas King
335. The Interpreter, Suzanne Glass
336. The Moor’s Last Sigh, Salman Rushdie
337. The Mother Tongue, Bill Bryson
338. A Passage to India, E.M. Forster
339. The Perks of Being a Wallflower, Stephen Chbosky
340. The Phantom of the Opera
341. Pages for You, Sylvia Brownrigg
342. The Changeover, Margaret Mahy
343. Howl’s Moving Castle, Diana Wynne Jones
344. Angels and Demons, Dan Brown
345. Johnny Got His Gun, Dalton Trumbo
346. Shosha, Isaac Bashevis Singer
347. Travels With Charley, John Steinbeck
348. The Diving-Bell and the Butterfly, Jean-Dominique Bauby
349. The Lunatic at Large, J. Storer Clouston
350. Time for Bed, David Baddiel
351. Barrayar, Lois McMaster Bujold
352. Quite Ugly One Morning, Christopher Brookmyre
353. The Bloody Sun, Marion Zimmer Bradley
354. Sewer, Gas, and Eletric, Matt Ruff
355. Jhereg, Steven Brust
356. So You Want To Be A Wizard, Diane Duane
357. Perdido Street Station, China Mieville
358. The Tenant of Wildfell Hall, Anne Bronte
359. Road-side Dog, Czeslaw Milosz
360. The English Patient, Michael Ondaatje
361. Neuromancer, William Gibson
362. The Epistemology of the Closet, Eve Kosofsky Sedgwick
363. A Canticle for Liebowitz, Walter M. Miller, Jr
364. The Mask of Apollo, Mary Renault
365. The Gunslinger, Stephen King
366. Romeo and Juliet, William Shakespeare
367. Childhood’s End, Arthur C. Clarke
368. Season of Mists, Neil Gaiman
369. Ivanhoe, Walter Scott
370. The God Boy, Ian Cross
371. The Beekeeper’s Apprentice, Laurie R. King
372. Finn Family Moomintroll, Tove Jansson
373. Misery, Stephen King
374. Tipping the Velvet, Sarah Waters
375. Hood, Emma Donoghue
376. The Land of Spices, Kate O’Brien
377. The Diary of Anne Frank
378. Regeneration, Pat Barker
379. Tender is the Night, F. Scott Fitzgerald
380. Dreaming in Cuban, Cristina Garcia
381. A Farewell to Arms, Ernest Hemingway
382. The View from Saturday, E.L. Konigsburg
383. Dealing with Dragons, Patricia Wrede
384. Eats, Shoots & Leaves, Lynne Truss
385. A Severed Wasp, Madeleine L’Eengle
386. Here Be Dragons, Sharon Kay Penman
387. The Mabinogion (Ancient Welsh Tales), translated by Lady Charlotte E. Guest
388. The DaVinci Code, Dan Brown
389. Desire of the Everlasting Hills, Thomas Cahill
390. The Cloister Walk, Kathleen Norris
391. The Things They Carried, Tim O’Brien
392. I Know This Much Is True, Wally Lamb
393. Choke, Chuck Palahniuk
394. Ender’s Shadow, Orson Scott Card
395. The Memory of Earth, Orson Scott Card
396. The Iron Tower, Dennis L. McKiernen
397. Atlas Shrugged, Ayn Rand
398. A Ring of Endless Light, Madeline L’Engle
399. Lords of Discipline, Pat Conroy
400. Hyperion, Dan Simmons
401. If Nobody Speaks of Remarkable Things, Jon McGregor
402. The Bridge, Iain Banks
403. How to Be Good, Nick Hornby
404. The Stone Diaries, Carol Shields
405. A Map of the World, Jane Hamilton
406. Eragon, Christopher Paolini
407. A Series of Unfortunate Events, Lemony Snicket
408. Lullaby, Chuck Palahniuk
409. Veronika Decides to Die, Paulo Coelho
410. White Oleander, Janet Fitch

411. The Land of Laughs, Jonathan Carroll
412. Forrest Gump
413. Roots, Alex Haley
414. Kleopatra, Karen Essex
415. Confessions of an Ugly Stepsister, Gregory Maguire
416. The Psycho-Ex Game, Merrill Markoe, Andy Prieboy
417. Digital Fortress, Dan Brown
418. Deception Point, Dan Brown
419. Bookends, Jane Green
420. Little Men, Louisa May Alcott
421. Vectors, Michael P. Kube-Mcdowell
422. Redwall, Brian Jacques
423. Millennium, Felipe Fernàndez-Armesto
424. Disgrace, J.M.Coetzee
425. Shardik, Richard Adams
426. Tehanu, Ursula Le Guin
427. Z – A Love Story, Vigdis Grimsdottir
428. Diary, Chuck Palahniuk
429. Don Quixote I, Cervantes
430. Season in hell, Arthur Rimbaud
431. Collected poems, Anna Akhmatova
432. Breath, eyes, memory, Edwidge Danticat
433. The Satanic Verses, Salman Rushdie
434. The Gospel According to Jesus Christ, José Saramago
435. Not Before Sundown (or Troll – A Love Story), Johanna Sinisalo
436. Hannibal, Thomas Harris
437. The Iron Dragon’s Daughter, Michael Swanwick
438. A Game of Thrones, George R.R. Martin
439. The Ballad of Reading Gaol, Oscar Wilde
440. The Universe in a Nutshell, Stephen Hawking
441. Complicity, Iain Banks
442. Never Let Me Go, Kazuo Ishiguro
443. The Bane Of The Black Sword, Micheal Moorcock
444. Angela’s Ashes, Frank McCourt
445. Delta Of Venus, Anais Nin
446. Lost souls, Poppy Z Brite
447. Belle de jour diary of a london call girl
448. Neverwhere, Neil Gaiman
449. City, Alessandro Baricco
450. Hippopotamus, Stephen Fry
451. Thank you, Jeeves, PG Wodehouse
452. Tout à l’Ego (Everything for Ego), Tonino Benacquista
453. Betty Blue, Philippe Djian
454. Naive.Super, Erlend Loe
455. Everything is Illuminated, Jonathan Safran Foer
456. Faust, Johann Wolfgang von Goethe
457. Krabat, Otfried Preußler
458. Lieutenant Hornblower, C. S. Forester
459. The Importance of Being Earnest, Oscar Wilde
460. Drawing Blood, Poppy Z. Brite
461. Lady Chatterley’s Lover, D. H. Lawrence
462. The Bounty, Caroline Alexander
463. The Matarese Circle, Robert Ludlum
464. Coraline, Neil Gaiman
465. Searching for Dragons, Patricia C Wrede
466. The Long Dark Teatime of the Soul, Douglas Adams
467. The Flanders Panel Arturo Pérez-Reverte
468. This Alien Shore, C. S. Friedman
469. Beauty , Robin McKinley
470. The Eight, Katherine Neville
471. Harry Potter and the Half-Blood Prince, J.K. Rowling
472. In this House of Brede, Rumer Godden
473. The Abolition of Man, C.S. Lewis
474. Reginald, H.H. Munro (Saki)
475. Queen Lucia, E.F. Benson
476. A Shadow On The Glass, Ian Irvine
477. The Remains of the Day, Kazuo Ishiguro
478. Obernewtyn, Isobelle Carmody
479. The Ancient Future, Traci Harding
480. The Surgeon, Tess Gerritse
481. Blindness, Jose Saramago
482. The Quiet American, Graham Greene
483. Portrait in Sepia, Isabelle Allende
484. Middlesex, Jeffrey Eugenides
485. I, Claudius, Robert Graves
486. A Clash of Kings, George R. R. Martin
487. Sammy’s Hill, Kristin Gore
488. The Ordinary Princess, M.M. Kaye
489. To Say Nothing of the Dog, Connie Willis
490. Miss Manners Rescues Civilization, Judith Martin
491. Mythology, Edith Hamilton
492. Danse Macabre, Stephen King
493. The Scarlet Pimpernel, Baroness Orczy
494. The Whale Rider, Witi Ihimaera
495. Ella Enchanted, Gail Carson Levine
496. 20,000 Leagues Under the Sea, Jules Verne
497. The Metemorphosis, Ovid
496. Star Wars: The New Jedi Order: Edge of Victory I: Conquest, Greg Keyes
497. American Pastoral, Philip Roth
498. This Side of Paradise, F. Scott Fitzgerald
499. A Portrait of the Artist as a Young Man, James Joyce
500. Going After Cacciato, Tim O’Brien
501. Rush Limbaugh is a Big Fat Idiot (and Other Observations), Al Franken
502. The Kalevala, assembled by Elias Lönnrot
503. New Treasure Seekers, E. Nesbit
504. Caramelo, Sandra Cisneros
505. Morality for Beautiful Girls, Alexander McCall Smith
506. Norwegian Wood, Haruki Murakami
507. Schwarz’s Principles of Surgery
508. Written on the Body, Jeanette Winterson
509. The Rules of Attraction, Bret Easton Ellis
510. Shanghai Baby, Wei Hui
511. The Virgin Suicides, Jeffrey Eugenides
512. The Birth of Venus,
513. Scarlett, Alexandria Ripley
514. Life of Pi, Yann Martel
515. The Bible
516. Naked Lunch, William Burroughs
517. Agent Clockwork Orange
518. The Woman Who Had Two Navels, Nick Joaquin
519. Twice Blessed, Ninotchka Rosca
520. Mister God, this is Anna, Fynn

521. Things Fall Apart, Chinua Achebe

522. Catch 22, Joseph Heller

523. Giovanni’s Room, James Baldwin

JUSTICE – PHANTOM II

more about "JUSTICE – PHANTOM II", posted with vodpod

Lately I’ve been thinking…

and that in and of itself is cause for celebration. The focus of these thoughts I’ve been thinking, as per usual, has been me, and in particular my identity: who I am, what matters to me, etc. Seeing as I spend most of my waking hours living vicariously: footy, movies, books, what have you, I’ve been trying to distill the interest I take in my favourite material to its most basic constituents and I concluded that all the good stuff boils down to sex, drugs and violence.

My choice of words is probably a lot more specific than it needs to be; intimacy, escapism and conflict would probably be far more accurate, but it just doesn’t have quite the same ring to it. My definition’s fairly broad, so I could be referring to bromance, religion and thumb-war, respectively. Matter of fact, perhaps EVERYTHING fits into my framing of sex, drugs and violence, but if anything doesn’t, I’m pretty certain I don’t like it.

Seeing as I now know specifically what I like to read/listen to/watch, here’s hoping I’ll have a clearer picture of what to write.  Baby steps, so I’ll be starting with some exploitative pulp. I saw Crank 2 yesterday and it’s badness (in a good way) has me inspired. I’ve only recently discovered the power trip you get from creating and then killing off fictional characters, so it might be an idea to take a few steps in the slasher direction.

I’m thinking when I’m a leeeettle bit more confident – and perhaps smarter – I might write a little sci-fi. Watching Avatar and re-watching The Matrix recently, I got onto a kick about creating a fictional world and having a go at “The Hero’s Journey”.

To avoid being completely plagiaristic and add a little narrative spice, I’m thinking a twin narrative: a protagonist taking sleeping pills that see him enter a dreamscape where he exists as another person. In his waking hours he has no memories of the dreams and his dream persona is equally unaware of him.

In the dream world there’s a journey along a road, through wheat fields; I’m thinking Jeepers Creepers, Stephen King, Wizard of Oz. His wily mentor is inspired by Rasputin, there’s a scarecrow dispensing sage advise, a whore and a monk trying to kill them, some bounty that must be recovered, a goddess to encounter, the ultimate prize a meeting with his father (I’m thinking Kalel), floating in a great expanse of nothingness. He must ultimately kill his father to proceed; I’m thinking eating his soul, maybe even his flesh. He does this then, rather than going on with his journey, he ends his story with a fall from a great height.

Interspersed with this is the story of our protagonist in the real world, perhaps told through diary entries. He’s unemployed. leans on his insomnia for disability benefits. His long-suffering mother lives with his younger brother, his father is dead. He seldom leaves the house; he stays in, focused on his obsession (not sure what yet?). He is taking experimental drugs to get his sleep, he remembers nothing of his dreams, becomes addicted, takes more and more of the drug, sleeps through the day, becomes nocturnal. There’ll be use of a vampire motif. Maybe a third narrative strand follows him, to inform us of how unreliable his diary entries become. He begins a relationship with an exotic dancer, over time he loses his mind. She dies, perhaps through his doing, he runs, perhaps from shady money-lenders?  He ends up squatting in an abandoned building with an old crone. His last action is to take a large quantity of the pills, overdose, at the same point as the flesh-eating.

The fall is an epilogue, a happy(ish) ending of sorts as he is satisfied, complete when he ends.

Hey Ruud…

Van NistelrooyYou’d take a bad gameAnd make it bettah-ah-ah…

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Boxing Day

“BOXING DAY”

By

Reggie Knox

FADE IN:

EXT. THE STREET – AFTERNOON

(WIDE) Pan across a quiet, pleasant suburban street; a few cars parked outside houses, but no people, noise or other signs of life. It’s the day after Christmas and there’s snow on the pavement. A small hatchback pulls up, the driver’s door opens.

CUT TO:

(CLOSE-UP) THE VISITOR’s shoes: brown patent leather in flawless condition, they crunch snow underfoot as he steps out.

CUT TO:

(CLOSE-UP) The Visitor’s midriff: He’s wearing a dark duffle coat and black Iso-toner driving gloves. He slams the door and pulls the gloves on, clenching his fists tensely as he does so. The gloves squeak.

CUT TO:

(CLOSE-UP) Lower half of his face: we watch him exhale the cold air. His skin is pale and clean-shaven, again flawlessly so.

CUT TO:

(EXTREME WIDE, LOW ANGLE) We watch him crossing the street and approaching a door. He takes something from his pocket.

EXT. THE DOOR

(OVER HIS SHOULDER) We see he has a small notepad and pencil in hand. He rings the doorbell. Muffled footsteps approach and THE HOME OWNER opens the door. He is middle-aged, balding, tall, has a large, bulky frame, he wears thick horn-rim glasses; behind them his gaze is intense. He has a mug in his paw. He greets The Visitor with a well-practiced, cheery smile; is softly-spoken.

THE HOME OWNER

Hello, can I help you?

THE VISITOR (his voice is extremely calm, accent very neutral, almost robotic)

Hi, I’m here from the… men’s magazine. I’m sorry we couldn’t arrange a more practical time for the interview. Are you busy?

THE HOME OWNER

No problem, I’ve been expecting you. Please come in. Season’s Greetings!

THE VISITOR

Season’s Greetings.

THE HOME OWNER opens the door wide, THE VISITOR enters, and we see the back of his clean-shaven head as he does so, the door shuts behind them.

INT. THE LIVING ROOM

(WIDE, Just inside the door) From The Visitor’s perspective we slowly pan across the room, right to left: The door we have entered is in the right-hand corner of the room. Directly ahead there is a hallway leading to a flight of stairs. The furniture is generic, the wallpaper drab and brown. There are a few cheap landscapes and a couple of framed photos on the walls. Fitted in the wall to the left is a fireplace which is turned up, blazing. A rocking chair is in the far left corner. Next to the door is a large window, curtains open, but Venetian blinds drawn together. The Home Owner stands ahead of us, about to head through to the hallway.

THE VISITOR

You have a lovely home.

THE HOME OWNER

Why thank you. I must admit to being house proud. You know that settee over there is an antique. I’m going to get a refill of this mulled wine. Can I get you some?

THE VISITOR

No. Thank you.

THE HOME OWNER

Well come on through with me to the kitchen.

We follow The Home Owner into the hallway and he turns left into the kitchen. The room is tiny, barely wide enough to allow more than one person in at a time. We stop in the doorway as he ladles crimson liquid from a large pan on the stove into his mug.

THE HOME OWNER

You know I love this stuff. The turkey, the presents; that stuff’s all great, but this is my favourite part of the holidays.

He smiles broadly and takes a sip.

CUT TO:

(CLOSE UP) As he speaks, we see The Visitor’s face in full for the first time. His expression gives away nothing.

THE VISITOR

If I’m not being too forward by asking, do you film the videos in this house?

CUT TO:

The Home Owner: still smiling, but now darker, more sinister.

THE HOME OWNER

Done with the small talk, are we? Straight to the point, I like that. That’s good journalism. Yes, we shoot our little home movies upstairs. Follow me; I’ll take you up to “the studio”. Haha!

INT. THE STAIRS

(LOW ANGLE) from the bottom of a dark stairway we look up to the second floor. We hear The Home Owner speaking from O.S. and then he enters the shot from the left, walks up the stairs followed by The Visitor, now scribbling notes. At the top of the stairs, The Home Owner pulls out a bunch of keys, fumbles through them, unlocks a door to his left, and turns the door handle…

THE HOME OWNER

Yeah, me and my partner do all of the work ourselves, right here in our humble abode. Some people question how we’ve been able to keep it up so long without getting caught, but once you’ve got your routine right and if you work as a team, it’s pretty foolproof, pretty uneventful. At least the set up is! Yeah, me and my partner…

CUT TO:

INT. THE BEDROOM (UPSTAIRS)

(LOW ANGLE) The room is dark; the door opens directly in front of us, letting in a little bit of light. We see the two men’s lower halves as they enter. The Home Owner, still talking, walks past us and as we hear the curtains open, we get more light in the room.

CUT TO:

(THE DOORWAY, in the room’s left-hand corner) We are in little more than a box room, the bedroom is dominated by a single bed with an iron frame, up against the wall to the right. The Walls are painted dark red, as is the radiator, from which a towel hangs. The ceiling is white. The bed has a liquid-proof cover and over the carpet is a transparent plastic sheet. As downstairs, the curtains are open, but the white Venetian blinds are drawn together. Slightly to the right, The Visitor stands with his back to us, the Home Owner faces him, close to the window.

THE HOME OWNER

We stick with really young ones, girls if possible – they struggle less. Truss them up tight and leave them in the dark here for a couple of days before filming. Kills any fight in them.

THE VISITOR

And the bodies?

(CU) Top half of his face: He has no eyelashes, eyebrows perfectly plucked, then pencilled in. He raises one slightly.

THE HOME OWNER (Clearly enjoying himself)

Why that would be telling, and where’s the fun in that? Safest to keep that one to myself. You know my partner didn’t even want to do this. He’s out for the afternoon, didn’t want any part in it. Anyway, this is where the magic happens.

He pats the mattress, laughs.

(CU) The Visitor’s right arm: The blade of a military shank slides down from his coat sleeve. He drops the notepad, gets a hold of the knife handle, his grip tightens, and he steps forward and buries the blade in The Home Owner’s gut.

CUT TO:

(CU) The Home Owner’s face: Eyes wide in an expression of shock and horror.

CUT TO:

(CU) Blood dripping down the blade.

CUT TO:

(CU) The Visitor’s face: Cold, emotionless.

CUT TO:

(From behind The Home Owner) The Visitor gathers his strength and in one swift motion drives the blade up through the centre of The Home Owner’s stomach, chest, throat, face (including his glasses).

CUT TO:

(CU) Flecks of blood on the white blinds.

CUT TO:

(CU) Blood splattered on the white ceiling.

CUT TO:

(CU) The Home Owner’s shoes: A pool of blood forming around them on the plastic sheet, the two perfectly shorn sides of his glasses fall either side of his feet. He drops to his knees.

CUT TO:

INT. THE STAIRS

We hear the muffled sound of movement for a few moments, and then the bedroom door opens. The Visitor comes out and makes his way down the stairs. He is wiping his face with a towel. He then cleans the blade of his knife, wipes his coat, his gloves, walks past us.

INT. THE LIVING ROOM

(WIDE, LOW ANGLE, looking into the room from the corridor) We can see the whole room, slightly out of focus, so that The Visitor’s face is not clear. He walks past us into the room, throws the towel and the notepad onto the fire, stretches his arms, loosens his shoulders. Exhales as he settles into the rocking chair across from us. He sheaths his knife on his forearm. Takes a pistol from his coat, checks the clip, attaches a silencer, and rests it on his lap. He checks the time on his watch, he waits.

CUT TO:

INT. THE LIVING ROOM – EVENING

(CU) The door, we hear a key turning in the lock. The handle turns. We pull back to see a silhouetted figure, THE PARTNER, in the doorway, he pauses. He steps forward, turns on the light; we pull further back to see the bloody footprints that have caught his attention. He turns to his left, to where the footsteps lead, over to The Visitor still in the rocking chair. He’s pointing the gun at The Partner, we hear the click of the safety pulled back.

CUT TO:

EXT. THE STREET

Looking at the front of the house, the curtains still pulled back, we see the flash as the gun goes off.

CUT TO:

INT. THE LIVING ROOM

(CU) The Partner’s head hits the wall with the impact of the gunshot.

CUT TO:

(In the hallway, looking into the room at The Partner’s corpse)  The Visitor moves quickly across the room, lifts The Partner’s legs out of the way and moves to shut the front door.

CUT TO:

EXT. THE DOOR

(CU) The door slams.

CUT TO:

Black.

Kindest regards to:

• Let the Right One In
• No Country for Old Men
• Little Children
• The Informers
• Kill Bill Vol. 1 (The O-Ren Ishii Origin Story)
• 8MM
• Dexter
• South Park (The NAMBLA Episode)

Je t’aime… moi non plus

Serge Gainsbourg Et Jane Birkin

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Oscar Wilde

 

Phrases and Philosophies for the Use of the Young (1894)

 

• The first duty in life is to be as artificial as possible. What the second duty is no one has as yet discovered.

• Wickedness is a myth invented by good people to account for the curious attractiveness of others.

• If the poor only had profiles there would be no difficulty in solving the problem of poverty.

• Those who see any difference between soul and body have neither.

• A really well-made buttonhole is the only link between Art and Nature.

• Religions die when they are proved to be true. Science is the record of dead religions.

• The well-bred contradict other people. The wise contradict themselves.

• Nothing that actually occurs is of the smallest importance.

• Dullness is the coming of age of seriousness.

• In all unimportant matters, style, not sincerity, is the essential. In all important matters, style, not sincerity, is the essential.

• If one tells the truth, one is sure, sooner or later, to be found out.

• Pleasure is the only thing one should live for. Nothing ages like happiness.

• It is only by not paying one’s bills that one can hope to live in the memory of the commercial classes.

• No crime is vulgar, but all vulgarity is crime. Vulgarity is the conduct of others.

• Only the shallow know themselves.

• Time is a waste of money.

• One should always be a little improbable.

• There is a fatality about all good resolutions. They are invariably made too soon.

• The only way to atone for being occasionally a little over-dressed is by being always absolutely over-educated.

• To be premature is to be perfect.

• Any preoccupation with ideas of what is right and wrong in conduct shows an arrested intellectual development.

• Ambition is the last refuge of the failure.

• A truth ceases to be true when more than one person believes in it.

• In examinations the foolish ask questions that the wise cannot answer.

• Greek dress was in its essence inartistic. Nothing should reveal the body but the body.

• One should either be a work of art, or wear a work of art.

• It is only the superficial qualities that last. Man’s deeper nature is soon found out.

• Industry is the root of all ugliness.

• The ages live in history through their anachronisms.

• It is only the gods who taste of death. Apollo has passed away, but Hyacinth, whom men say he slew, lives on. Nero and Narcissus are always with us.

• The old believe everything: the middle-aged suspect everything: the young know everything.

• The condition of perfection is idleness: the aim of perfection is youth.

• Only the great masters of style ever succeed in being obscure.

• There is something tragic about the enormous number of young men there are in England at the present moment who start life with perfect profiles, and end by adopting some useful profession.

• To love oneself is the beginning of a life-long romance.

Apocalypse Now Intro (The Doors – The End)

Thought I appreciated Apocalypse Now when I was 16. Know I appreciated it more when I was 18. But I see it now and it’s so much more impressive.