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“How to read ‘Harry Potter and the Sorcerer’s Stone’? Why, very quickly, to begin with, and perhaps also to make an end. Why read it? Presumably, if you cannot be persuaded to read anything better, Rowling will have to do.”

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For weeks, now months, the year in burden goes,
a happiness so slow burning, it is lasting;
our animated nettles are black slash
by August. Today I leaned through lunch on my elbows,
watching my nose bleed red lacquer on the grass;
I see, smell and taste blood in everything—
I almost imagine your experience mine.
This year by miracle, you’ve jumped from 38
to 40, joined your elders who can judge:
woman has never forgiven man her blood.
Sometimes the indictment dies in your forgetting.
You move on crutches into your ninth month,
you break things now almost globular—
love in your fullness of flesh and heart and humor.

-part 11 in Marriage from The Dolphin

Nostalgia has always been a large component of Woody Allen’s films, but it takes center stage as the Woody iteration played by Owen Wilson gets to spend his nights in a name dropper’s dream of 1920′s Paris. This along with his two previous films (Whatever Works and You Will Meet a Tall Dark Stranger) complete a confessional trilogy of sorts, with Woody acknowledging his chief flaws. In Whatever Works you have a philosophical shoulder shrugging in contrast to his youthful intellectualism, in You Will Meet there’s a diffidence toward his past nihilistic tendencies, and in Midnight he confesses his overweening druthers for the past. It’s entertaining, though I have to add that Marion Cotillard continues to be criminally underutilized by American Filmmakers.

Notes for You Will Meet a Tall Dark Stranger

My Casting and Plot Review for Woody Allen Movies I’d Like To See

The only thing remarkable about the movie is its outstanding poster :

Ben Wilson paints the discarded gum on sidewalks.

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And after the storm,
I run and run as the rains come
And I look up, I look up,
on my knees and out of luck,
I look up.

Night has always pushed up day
You must know life to see decay
But I won’t rot, I won’t rot
Not this mind and not this heart,
I won’t rot.

And I took you by the hand
And we stood tall,
And remembered our own land,
What we lived for.

And there will come a time, you’ll see, with no more tears.
And love will not break your heart, but dismiss your fears.
Get over your hill and see what you find there,
With grace in your heart and flowers in your hair.

And now I cling to what I knew
I saw exactly what was true
But oh no more.
That’s why I hold,
That’s why I hold with all I have.
That’s why I hold.

I will die alone and be left there.
Well I guess I’ll just go home,
Oh God knows where.
Because death is just so full and mine so small.
Well I’m scared of what’s behind and what’s before.

And there will come a time, you’ll see, with no more tears.
And love will not break your heart, but dismiss your fears.
Get over your hill and see what you find there,
With grace in your heart and flowers in your hair.

And there will come a time, you’ll see, with no more tears.
And love will not break your heart, but dismiss your fears.
Get over your hill and see what you find there,
With grace in your heart and flowers in your hair

Click here for the lyrics of Low Anthem’s masterpiece “Charlie Darwin”

“In the 1980s, the sitcom changed. When Baby Boomers started having kids, they turned away from broad social issues, worrying less about saving the world, and more about personal relationships at home and work. Television reflected that Reagan-era cultural retrenchment, and the socially-conscious, experimental sitcom fell out of favor. It was replaced by straightforward family or pseudo-family comedies, typified by Cheers, Newhart, and, of course, The Cosby Show. Other than an occasional—and usually lamentable—”Very Special Episode,” ’80s sitcoms avoided any problem in the world bigger than Vanessa Huxtable wanting to quit the clarinet.”

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