“the triad being the new binary”

Yes.
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I share your sense of the cycles Vanessa.
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I am just as much interested in the monsters (in fact, definitley less so than you Vanessa) as with the angels (of mercy). what about those who break the cycle of shame in Hankeke’s films? or self-destruct (instead of directing the hate/shame outwards) like Huppert’s character in The Piano Teacher. instead of *suiciding* (Artaud), what if we raised these people up? (if only by a descent doubly great):

“To come down by a movement in which gravity plays no part. {…} Gravity makes things come down, wings make them rise: what wings raised to the second power can make things come down without weight?” — Simone Weil
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My faith is faithless. But salty/sweet snacks are always useful when dealing with the manifold and monstrous.

As you know.

yrs,
VP
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http://estherpress.blogspot.com/2010/01/violenceevidence-i-have-read-review-of.html

I don’t agree that I am “excising” cinematic violence nor being morally instructive, but what can you do…
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But I feel like interrupting this unpaid comment with a plug for a fantastic new book that’s just come out, the Kenning Anthology of Poets Theater, which I see hovering in the backdrop of a sibling commentbox here. This anthology, edited by Kevin Killian and David Brazil, compiles some 48 examples of poets plays from the period 1945-1985 and is sure to be a rich & valuable resource for poets, playwrights, sort-of-poets, sort-of-playwrights, scholars, actors, directors, producers, and just about anyone with an interest in the sociality and theatricality of language. Here’s a snippet from Fanny Howe’s memories of the Cambridge Poets Theatre, quoted in the editors’ introduction:

>> There was a table for tickets on the left as you entered. There were all the bulbs and bars for the lighting overhead, a curtained backdrop, and often a stage set designed by an artist and lit by a student. Backstage did not offer much space for crouched actors waiting for their cues, so they galloped up and down the stairs into the smell of paste and face cream… The first play was “Try! Try!” by Frank O’Hara and was designed by Edward Gorey (long, morose, ironic, and damp). No one asked what good was poetry in such a brutal world. The Poets Theatre dedicated itself to the resonance of language as a counterpoint to a theater of intention. <<

Many other previews and supplements can be found at http://www.kenningeditions.com/. And you can buy your very own copy from http://www.spdbooks.org/.
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my pilot is my co-pilot.
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I think I see what you’re saying here, but is faith really to blame here, or is it faith’s evil cousin dogmatism?
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