Thousand Years of Dreams Day 07: The Upstreamers


For Day 7 of our 33-Day marathon of Kaim’s dream-memories we have “The Upstreamers”.

This time we see how Kaim’s remembered memory of a unique group of people gives us an insight on the nature of faith and belief. Not religion in the feed the masses kind, but faith and belief in a way of life that enriches one’s life and experiences even if it may look foolish and confounding to those who don’t believe. These so-called “upstreamers” choose to follow a faith which simplifies their life and gives them a goal to reach. Whether they reach this goal in their journey is beside the point. The journey itself becomes the important thing for these individuals.

I say that for many they’ve lost sight of what they truly believe in and replaced it with ready-made and tailor-made ideas and beliefs but none of the wisdom required. They’ve looked at the sacrifices needed to truly follow what they originally believe in because such beliefs require too high a price they’re not willing to make.

This particular dream-memory doesn’t tug at the heart-strings but does bring up interesting questions and themes on the nature of faith and belief. It shines a light on why people who give their life over to such ideas, make the required sacrifices and follow it through to the end because the short lifespan of humans becomes an impetus to try and reach that goal. A goal that in the end may be unreachable, but which enriches those who partake on the journey with experiences that’s purely the traveler’s and not thrust upon them by those who think they know best.

The Upstreamers

Strong winds have always blown across this vast grassy plain.

Perhaps the area’s topography has something to do with it, but the direction of the wind remains constant, irrespective of the time or season:

From east to west, from the horizon where the sun rises to the horizon where the sun sets. Swept by the unceasing winds, the misshapen trunks and branches of shrubs all incline to the west. Tall grasses do not grow here, and the grasses that do grow all lie flat on the ground, bending westward.

Caravans and herding folk traverse the single road that crosses the plain. They do not “come and go,” they only go, moving from east to west, using the wind at their backs to gain distance. Travelers heading west to east always use the circuitous route that snakes around the southern mountains. It is much farther that way, but much faster than crossing the plain head-on into the wind. The road across the plain is called the Wind Stream. Just as the flow of a great river never changes direction, the footsteps of those who use the road have not changed direction since the distant past, nor are they likely to change far into the future: from east to west.

Human shapes that appear from the horizon where the sun rises disappear over the horizon where the sun sets.

They never pass oncoming travelers—with only the rarest exceptions. The first time she passed Kaim on the Wind Stream, the girls was just an infant.

“So, my grandmother was alive then?”

In response to the girl’s untroubled question, Kaim smiles and answers,

“She was. And I remember what a nice old lady she was, too.”

Looking back down the road, the girl points toward the line of hills fading off into the distance.

“My grandmother crossed seven hills on her journey.” “Is seven a lot?”

“Uh-huh. Grandma lived a long time. Most people end their journeys after five hills. The people they leave behind build a little grave where they ended their journey, and then they keep traveling…”

The girl points down at the ground where she is standing.

“This is as far as I’ve come,” she says with a proud, happy smile.

The religion of the girl and her family professes a pious believe that if they devote their lives to walking eastward, against the flow of the Wind Stream, they will arrive at the easternmost source of the Stream itself. People call believers in that religion, “The Upstreamers.”

The word carries a hint of fear and sadness, but also a trace of contempt and scorn.

The Upstreamers are devoid of worldly desires. They live their lives for no greater purpose than traveling eastward on foot. They are free of doubt. They give birth to children en route, and they continue their journey while raising their children. When they age and their strength gives out, their journey ends. But their family’s journey continues.

From child to grandchild to great-grandchild, their belief is carried on. The journey of this girl’s family was begun by her late grandmother, who began walking from the Wind Stream’s western verge with her son, who was then the age the girl is now.

The Upstreamers do not walk for the entire year, of course. During the season when the winds are especially strong—from the late autumn to early spring—they take up residence in various post towns scattered along the road and earn day wages by performing tasks that the townsfolk themselves refuse to do. Some Upstreamers choose to stay in the towns, while others, conversely, take townspeople with them when they return to the road in the spring.

These are people who have fallen in love during the long winter,

Or boys who dream of travel,

or grown-ups who have tired of town life. Such are the reasons the townsfolk look upon the Upstreamers with complicated gazes.

The little girl’s mother was one of those who joined the journey mid-way, and he girl herself, some years from now, might fall in love with someone in a post town somewhere. She might choose to live in the town, or she could just as well invite her lover to join her on the road.

She has no idea at this point what lies in store for her. The girl’s father calls out to her: “Time to go!”

Their brief rest is over.

She seems sorry to leave and stands up reluctantly. “Too bad,” she says. “I wish I could have talked to you more. But we have to get to the next town by the time the snows start.”

Constantly exposed to upwinds, her cheeks are red and cracked, her lips chapped, but her smile is wonderful a she wishes Kaim a safe journey.

It is the serene smile of one who believes completely in the purpose of her life, without the slightest doubt. “Will I see you again somewhere?” she asks.

“Probably.”

Kaim answers, smiling back at her, but he can never match that smile of hers. He is now in the midst of a journey that will take him beyond the western end of the Wind Stream. He heads to the battlefield as a mercenary, and by the time the western battle is over, a new battle will have begun in the east.

It will be a long, cruel journey, with nothing to believe in. When he meets he girl again along he way, Kaim’s smile will have taken on even more shadows than it has now. Perhaps as a parting gift for him, the girl sings a few short lines for him:

This wind, where does it blow from?

Where does it start its journey here?

Does it come from where life begins?

Or does it begin where life ends?

“Goodbye, then,” the girl says, trudging on, one labored step at a time, hair streaming in the headwind.

 
Ten long years have flowed by when Kaim next meets the girl.

 
It is spring, when the grassland is dotted with lovely white flowers.

She has become the wife of a young man who does tailoring and shoe repair in one of the post towns.

“This is my third spring here,” she says, patting her swollen belly fondly.

In a few days, she will give birth to a child. She will become a mother.

“And your parents…?” Kaim asks.

She shrugs and glances eastward.

“They are continuing their journey. I’m the only one who stayed on here.” Kaim does not ask why she has done this.

Continuing he journey is one way to live, and staying in a town is another.

Neither can be judged to be more correct than the other. The only answer for the girl can be seen in her smiling face. “But never mind about me,” she says looking at him suspiciously.

“You haven’t changed one little bit from the time we met so long ago.”

For the thousand-year-old Kaim, ten years is nothing but a change in season.

“Some lives are like that,” he says, straining to smile.

“Some people in this world can never grow old, no matter how long they live.”

He looks at the girl, now grown into a woman, and wonders again, ‘Living through endless ages of time: is it a blessing, or a curse?’ Kaim’s remark hardly counts as an explanation, but the girl nods with a look of apparent understanding.

“If that’s the case,” she says, “You should be the one who goes to the place where the wind begins. You’d be the perfect Upstreamer.”

She could be right: after all, the lifespan given to humans is far too short for anyone to travel against the Wind Stream as far as the starting point of the wind. Still, Kaim responds with a few slow shakes of his head.

“I’m not qualified to make the journey.”

“No? Anybody can be an Upstreamer. Anybody, that is, who wants to see where the wind starts with his or her own eyes.”

Having said this, however, the girl adds with a touch of sadness, “No one has actually seen it, though, I guess.” The place where the wind begins: that place is nowhere at all. Even if, after a long journey, one were to arrive at the eastern end of the Wind Stream, the wind would be blowing there, too. And not just an east wind. West wind, north wind, south wind: winds without limit, without end.

Human beings, who cannot live forever, daring to take a journey without end. This might be the ultimate tragedy, but it could just as well be the ultimate comedy. Kaim knows one thing, however: one cannot simply dismiss it as an exercise in futility. “How about you?” he asks the girl. “Aren’t you going to continue your journey soon?”

She thinks about this for the space of a breath, and caressing her swollen belly, she cocks her head and says, “I wonder… I might want to go on living the way I am now forever. Or then again, I might feel that desire to reach the starting point of the wind.” All the Upstreamers without exception say that you can never know what might trigger a return to the journey. One day, without warning, you slough off the entire town life and start walking.

It is not always a matter of running into an Upstreamer and being lured back to the road: plenty of people set out on their own all of a sudden.

The teachings of the Upstreamers say that all human beings harbor a desire for endless travel. They probably are not aware of the desire because it is stashed away so far down in the breast that it is deeper than memory.

The instant something brings it to the surface, a person becomes and Upstreamer. “Even if you have the desire,” the girl says to Kaim.

“I wonder…”

“It’s true,” she says. “No question.”

The look in her eyes is as straight-on and free of doubt as it was the last time he met her.

Fixing him with that look, she points to her own chest.

“I haven’t completely lost it myself.”

“But I’m sure you’re happy with your present life?”

“Of course I am.”

“Do you really think the day will come when you will want to set out on the journey even if it means giving up that happiness?”

Instead of answering, she gives him a gentle smile. Many years flow by, but every now and then, something reminds Kaim of the girl’s words—that everyone harbors a desire for endless travel.

For Kaim, living itself is a journey without end.

In the course of his journey, he has witnessed countless deaths, and he has also witnessed countless births. Human life is all too short, too weak, and fleeting.

Yet, the more he dwells upon its evanescence, the more he feels, inexplicably, that words such as “eternal,” and “perpetual” apply more properly to life, finite as it is, than to anything else. Traveling down the Wind Stream for the first time in many years, Kaim spies the funeral of an Upstreamer.

A boy in mourning dress stands by the road holding out wildflowers to passing travelers, and urging them to “offer up a flower to a noble soul who has made the long journey this far.”

Kaim takes a flower and asks the boy, “Is it a member of your family?”

“Uh-huh. My grandma.”

The boy nods, his face the image of one Kaim knew so long ago.
The old woman lying in the coffin must be the girl. Kaim is sure of it.
“Grandma traveled a long, long time. She brought my daddy with her when he was just a little boy. See that hill over there? She started walking from way, way beyond it, and she got all the way here.”

So, the girl must’ve set out on her journey after all.

Turning her back on the town life, leading her child by the hand, she trod her way along the endless journey.

Her wish to aim for the place where the wind begins would be passed on to her child, her grandchild, and on through the succeeding generations.

To head for a land one could never hope to reach, and to do so generation after generation: this is another endless journey. Is it a tragedy?

A comedy?

Perhaps the serene smile on the face of the old woman in the coffin is the answer.

Kaim lays he flower at her feet as an offering.

The family members who have traveled with her join together in a song for the departed:

This wind, where does it blow from?

Where does it start its journey here?

Does it come from where life begins?

Or does it begin where life ends?

The wind blows.

It sweeps the vast grassland.

Kaim takes one long, slow step toward his destination.

“Have a good trip!” calls the boy.

Red and cracked as the girl’s were so long ago, his cheeks soften in a smile as he waves to the departing traveler.

End

Source: Lost Odyssey Wiki

Review: Torchwood: Miracle Day Ep. 07 “Immortal Sins”


I didn’t think Russell T. Davies and his writers could pull off moving the story of Torchwood: Miracle Day towards a resolution that would be interesting, but it looks like they might just do it. The series is now on it’s final stretch run and fears that the show was spinning its wheels about not having any idea what the cause of “Miracle Day” was and what was the endgame looks to be easing somewhat with this 7th episode titled “Immortal Sins”.

The episode was mainly told through a flashback to the early 1920’s where we see Jack entering the U.S. through Ellis Island and befriending an Italian immigrant who also happened to have tried to steal his visa papers. We learn that this man is one Angelo Colasanto and his bright-eyed outlook on being in a new land has made quite an impact on the well-traveled Captain. Soon enough Jack and Angelo become companions and romantically involved, but as with everything involving Jack such happiness never last for long as we find out why Jack was entering the U.S. in the first place. It’s a consequence of Jack and Angelo’s attempted escape following Jack’s mission that his companion  later learns of his inability to die.

In one of the more disturbing sequences throughout this series, so far, Jack’s immortality was tested time and time again. Angelo’s misguided betrayal of his lover leads to Jack being killed over and over only for him to return. It’s from this sequence we see what could be the birth of the shadowbrokers pulling the strings behind PhiCorp and the many others complicit in moving “Miracle Day” along.

While the bulk of the episode was taken up mostly by Jack’s flashback to his meeting with Angelo we still got enough time given over to Gwen as she attempted to save her family from the very people who also want Jack. Even with her loyalty to Jack we see that Gwen will be willing to turn him over to the very people holding her family hostage if it meant saving them. It’s only through a timely intervention by Esther and Rex that Gwen and Jack get out of another crisis. It’s the final moments of this sequence that we finally learn the name of the person who has the key to learning the true nature of “Miracle Day”. Sins of the past looks to have caught up to Jack this time around and it’ll be interesting to see if “Miracle Day” becomes the elaborate plan of a spurned lover and companion and whether Jack will be the key to unraveling the effect of the world’s current bout of “immortality”.

Overall, “Immortal Sins” was a good episode that gave us a nice look into a part of Jack’s past that has only been shown briefly in the past. The episode was actually stronger when it focused on Jack’s past with Angelo and the discoveries made by both men about each other that looks to color the current situation occurring on the planet right now. While the other half with Gwen had it’s exciting moments (mainly once Esther and Rex get involved) this section of the episode looked to be more of an expositional trigger to get Jack to recount his past. I did like how Jack and Gwen seemed to make-up and get back on track as partners once again when the danger had passed. The chest bump between the two was quite amusing. Only time will tell if Gwen’s attempt to save her family’s life by trying to turn Jack over to the very people opposing them would have any lingering effects as the season comes to a close and towards any potential future seasons.

The final three episodes of this season should make for some interesting tv watching.

Review: Fleet Foxes – Helplessness Blues


I’m sure nice things can be said about Helplessness Blues, the new album by Fleet Foxes. You won’t hear them here. The amount of praise and acclaim this album has received makes me want to puke, and it’s high time someone pointed out its potential mediocrity.

The confusion arises from the fact that their 2008 debut was brilliant. I was hoodwinked the same as everyone else up front, buying their new album without even downloading it first. The other misleading factor–the one I didn’t personally succumb to–is the fact that they’re still trying. I have no reason to believe Fleet Foxes did not attempt to create a good album. They aren’t sell-outs in the classic sense. Sure, it sounds like over the past three years they quit showering and traded an indie song-writing mindset for feelings-sharing stories around a campfire, but becoming a hippy is like contracting a deadly disease. That’s different from selling out.

When you desperately want an album to sound good and you know the band is still trying I guess it’s easy to ignore your ears and pretend you like it. But I’m a metal fan at heart; I don’t have to make apologies for a style I don’t obsess over. So let me quit immaturely bashing Helplessness Blues and get on with why I don’t like it.


Helplessness Blues

The vocal melodies aren’t melodic. Oh, that might be a mathematically false statement; I don’t concern myself with such things. But just listen to what’s going on in this song. I can’t think of any kind way of putting it; Helplessness Blues just consistently fails to resolve any of its melodies on appealing notes, and that’s 90% of the problem. Try to take this in context. After a half dozen listens today I started to kid myself into thinking the album was fairly decent (and I really have grown hopelessly fond of this particular song’s chorus), but it only took a listen to Ragged Wood and Blue Ridge Mountains to go “Oh, yeah, that’s what I meant” on the proof-read. This is Fleet Foxes we’re talking about. Their self-titled had some of the most subtly beautiful vocals I’ve ever heard, and they always, always rewarded the listener even at their most depressing points. By comparison, Pecknold sings all over the place on Helplessness Blues with no real guidance–without any real ear for making it all work. In a lot of cases there’s no resolution whatsoever. Listen from the transition at 2:50 on, then go listen to Blue Ridge Mountains, and I’m confident you’ll understand what I mean.

This isn’t the criticism. This is the problem. It opens the door for the criticism to come pouring in. See, from start to finish, certainly not just in this one instance, Helplessness Blues is a softy. It always chooses the path of least resistance, not the happy, upbeat resolve. That’s fine. But if you do nothing with it, then it’s also very boring. In order for Helplessness Blues to be an above-average album, if the choruses and focal melodies are not rewarding in their own right, then you have no choice but to ask how they play off their surroundings–how they fit in to the big picture productively. How do they serve to make this the album of the year contender so many sites consider it to be? Or if they don’t, then what makes it so great in spite of them?

It’s not the lyrics, that’s for sure. When they aren’t generic lines about being lonely or sad or having relationship issues, they’re often borderline nonsense. The song Lorelai especially stands out. Up until the chorus it hangs on the brink of greatness, and then he starts cooing “I was old news to you then, old news, old news to you then” over and over again ad nauseam to such a painful extent that you soon forget the song was about anything at all. Or take the second half of the song currently featured–the title track (long after the rubbish about the singer realizing he was not “unique among snowflakes”.) There’s nothing clever or creative about repeating “If I had an orchard, I’d work till I’m sore” a half dozen times. And it’s too odd and repetitive to be heartwarming. Sure, he throws in “And you would wait tables and soon run the store”. Like, we’d work hard for each other out of love and soon accomplish something, maybe, but I’m still thinking “An orchard? Really?” and wondering how many times he’s going to say the same strange thing over again. And then the end line, again musically unresolved and unsatisfying, “Someday I’ll be like the man on the screen,” might be intended as a twist, something thought-provoking, if the common association of celebrities with unauthentic lives can be applied, but the irritable melody doesn’t really incline me to put much thought into it, and in any case I’m still thinking “An orchard? Really?”

The lyrics on average are only insightful in that “I don’t get it” sort of way. That is, they only inspire those thoughtful enough to derive deep meaning out of just about everything and those thoughtless enough to think their inability to derive meaning out of something is a sign of its brilliance.


Someone You’d Admire

Not all of the lyrics are dull. Someone You’d Admire, for example, is decent enough. Perhaps if the song didn’t fall victim to my complaint about the melody I’d think it clever. And that’s what we’re looking for, right?: Something that makes the weak vocal melodies appropriate or makes the songs good in spite of them. Maybe if the lyrics were coupled with really good instrumentation it would all come together. But they aren’t. The dude’s just strumming basic chords on a guitar devoid of emotion. Oh, he alters the intensity a little here and there, but there’s never any fire in his strumming. It’s little more than variant degrees of volume. And that’s what you get with the bulk of the instrumentation on this album–moments that are loud and moments that are quiet, typically not transitioning so much as switching at random. Oh, and the ending is unresolved again.


The Cascades

The instrumental track The Cascades is a good example. The acoustic guitar in the first minute isn’t playing anything particularly melodic, and it doesn’t compensate with emotion. It’s just kind of there–the sort of bedroom recording I’d create in one take and delete soon after. Around 55 seconds something awesome happens, and for a brief moment the song feels like what I actually expected a new Fleet Foxes album to sound like, dreamy, beautiful, crea—wait, it’s over. By 1:18 it’s over, and it doesn’t even fade or transition. It just ends, and we’re solo acoustic guitar again. Oh wait, here, it’s coming back again at 1:35. Oh nevermind, it’s gone again at 1:45, erm, did this song just end?

The comings and goings, the ins and outs, whether it’s merely from quiet to loud and back again or from boring to beautiful and back again, it’s all borderline random. You never feel the transition. Nothing is natural. And with the average song clocking in at only about four minutes, there’s almost never time for something coherent to develop out of it all. Just like the vocal melodies, the instrumental dynamics pretty much never develop into or resolve on an appealing sound.

So their new approach to vocals is out. Their new approach to instrumentation is out. The lyrics demand more attention and aren’t sufficient to satisfy. Basically, none of their new ideas work. Not one, in the big picture. I will leave you with the one counterexample that I felt utilized them all successfully (perhaps in part because it’s not such a decisive break from their old material.) If the whole album was more like this next one, well, then I could really appreciate it:


The Plains/Bitter Dancer

Now I was being blatantly mean to the band in my introduction, and that’s quite unfair. If Helplessness Blues hadn’t gotten such rave reviews I would have been content to call it fairly uninspiring, harmless folk. As a pretty piss-poor musician myself, I have strong reservations against criticizing bands for the music they produce (at least if it doesn’t pretend to be awesome.) The frontman Robin Pecknold even so much as stated that he intended the album to be “less poppy, less upbeat and more groove-based.” He succeeded, for better or worse. There’s no sense in pointing out how direct yet subtle, uplifting and beautiful, the vocals and instrumentation all were (and unobtrusive the lyrics) on their self-titled release, if Helplessness Blues was expressly intended to be different. That it’s not what I wanted to hear is no excuse to slander them.

If I’m starting to sound apologetic now, make no mistake. I think Hopelessness Blues is pretty bad, and I would even absent the disappointment of expecting a repeat of 2008. I just want it to be clear that my accusative tone is a product of the Pitchfork and co “way to go champs, you were struggling but it paid off, 11/10” type reviews, not Fleet Foxes themselves. It didn’t pay off. It resulted in something dubious–something you might find a great deal of merit in–hell, something I hope you can appreciate a lot more than I can. But to think it’s unquestionably brilliant is just stupid. It’s ambitiously, recklessly experimental, and you can love it or hate it with equally good taste.

Thousand Years of Dreams Day 06: Little Liar


Another day and another dream-memory recovered by our eternal warrior Kaim. This time around he begins to remember the long-lost memory of a little girl he once met during his travels through one of the uncounted towns in his journey. It’s this encounter with this little girl which gives this Day 6 dream-memory of Kaim’s quite an appropriate title of “Little Liar”.

She definitely was a little liar as Kaim begins to remember. But while that moniker sound like a condemnation, the way Kaim remembers it was quite different. Going over this dream-memory reminded me of how even when I was a young one I would sometimes lie to get attention just for the sake of getting said attention. Children seem to retreat to using their imagination as a form of defense mechanism when they want to put a rosy outlook on the miseries of their current, young life.

While the “little liar” in this dream-memory seems to have taken things to the extreme it’s not too hard to feel some sympathies for her and what she has resorted to doing to keep herself from spiraling into total despair. The end of the dream has tinges of both sadness and hope. How one decides to look at the final fate of the “little liar” will depend on whether one was the sort who sympathized with her or who grew weary of the little girl.

Little Liar

Everyone in the marketplace hates the little girl.

Not yet ten years old, and far from having outgrown the sweet innocence of childhood, she earns only open contempt from the grownups who have shops in the market.

The reason is simple.

She lies about everything.

“Hey, mister, I just saw a burglar go into your house!”

“Look, lady, everything just fell off your shelves!”

“Hey, everybody, did you hear what the traveler said? Bandits are planning to attack this market!”

Even the most harmless white lies can be annoying if repeated often enough, and the shopkeepers have found themselves growing angry.

“You better watch out for her, too,” the lady greengrocer warns Kaim.

“Nobody here falls for her lies anymore, so she’s always on the lookout for newcomers or strangers. Somebody like you would be a perfect target for her.”

She could be right.

Kaim is new to the town. He arrived a few days ago and has just started working in the marketplace today.

“What do her parents do?” Kaim asks while unloading a cartful of vegetables.

The woman frowns and shakes her head with a sigh.

“She doesn’t have any.”

“They died?”

“The mother did, at least. Maybe four or five years ago. She was a healthy young woman who never so much as caught a cold in her life, then one day she collapsed, and that was it for her.”

“How about the father?”

She sighs more deeply than before and says, “He left to find a job in the city.”

The parents used to operate a variety store in the market, though the mother almost single-handedly took care of the actual buying and selling of the many goods they carried.

As soon as she died, the shop’s fortunes took a plunge, until it was eventually taken over by someone else. The father went off to the distant capital city in search of a good- paying job that would enable him to cover their debts.

He promised to come back in six months, but he has been gone a whole year now. Letters used to arrive from him on occasion care of his friend the tailor, but those, too, gave out about six months ago.

“I guess you could say it’s sad for such a little girl to be waiting around for her father to come home, but still…”

The girl now sleeps in a corner of the communal storehouse run by the people of the marketplace.

“We all used to talk about taking care of her- to be stand-in parents for her until her father comes back.”

This is no surprise to Kaim. He knows from his own experience that all the people who work in the marketplace—and not just this plump, kindly woman—are good hearted and generous despite their limited means. Otherwise, they never would have hired a stranger like himself.

“But long before that first six months went by, we were all heartily sick of her. She was a sweet, simple girl while her mother was alive, but this experience has left her kind of twisted.

All her sweetness is gone.

Of course we all feel sorry for her, and we take our turns feeding her and dressing her in hand-me-downs, but the way she keeps telling lies to all the grownups, nobody really cares about her anymore.

Why can’t she see that…?”

“She must be lonely, don’t you think?”

With a pained smile, the woman shrugs and says,

“That’s enough gabbing for one day. Work, work!” and she goes back inside the shop.

Kaim is sorting the vegetables he has unloaded in front of the shop when he hears a little voice behind him.

“Hi, mister, you new here?”

It’s the girl.

“Uh-huh…”

“You’re not from the town, are you?”

“No, I’m not…”

“Are you living upstairs while you work here?”

“For a while, at least. That’s what I’m hoping to do.”

“I’ll tell you a secret, okay?”

It’s starting already, “Okay,” Kaim says without pausing in his work.

“There’s a ghost in this marketplace. The people here don’t tell anybody about it because it’s bad for business, but it’s really here. I see it all the time.”

“Really?!” Kaim responds with a feigned surprise.

He decides to play along with her rather than scold her for lying.

In this endlessly long life of his, he has encountered any number of children who have lost their parents or been abandoned by them.

The sadness and loneliness of children who have been cast into the wide world alone exactly what Kaim feels himself as he continues to wander throughout the infinite flow of time.

“What kind of ghost?”

“A woman. And I know who she is.”

“It’s the ghost of a mother who lost her child,” she says.

Her little girl—her only child—died in an epidemic.

Overcome with grief, the mother chose to die, and now her ghost appears in the market every night, searching for her daughter.

“The poor mother! She killed herself so she could be with her daughter, but she can’t find her in the other world, either. So she keeps looking for her and calling out, Where are you? Hurry and come with Mommy to the other world.”

The girl tells her story with deadly seriousness.

“Don’t you think it’s sad?” she asks Kaim. She actually has tears in her eyes—which is precisely why Kaim knows she is lying.

Even if he had not been warned by the woman, he would know this was a lie based on what she told him about the girl’s background.

Kaim carefully arranges bunches of well-ripened grapes in a display crate and asks the girl,

“Why do you think the mother can’t find her daughter?”

“What?”

The girl asks him with a dazed stare.

“Well,” he explains, “the girl is not in the other world, and she’s not wandering around in this world, so where is she?”

Kaim does not mean this to be a cross-examination.

He simply feels that someone who lies out of sorrow can have a far easier time of it by recognizing the lie for what it is. The loneliness of a girl who has lost her mother and been abandoned by her father consists not in telling on little lie but in having to keep on lying.

“Hmm, now that you mention it, that’s a good point,” the girl says, smiling calmly.

“Really—where did the girl go?”

Kaim momentarily considers pointing at the girl as if to say “Right here,” but before he can do so, she continues:

“This is the first time anybody ever asked me that. You’re kind of… Different.”

“I wonder…”

“No, you are. You’re different,” the girl insists

“I think we can be friends.” Her smile deepens.

Kaim smiles back at her, saying nothing.

Just then, they hear the lady greengrocer coming from the back of the shop, and the girl dashes away.

Just before she disappears around the corner into the alleyway, the girl gives Kaim a little wave as if to say “See you soon!” For the first time, the face of the girl with the all-too-grownup speaking style shows a hint of childishness befitting her years.

The girl begins coming to see Kaim at the shop several times a day when the lady grocer is not around.

She tells him one lie after another.

“I baked cookies with my mother last night. I wanted to give you some, but they were so good i ate them all.”

“Bandits kidnapped me when I was a little baby, but my father came to save me and beat up all the bandits, so I didn’t get killed.”

“My house? It’s a big, white one at the foot of the mountain. You’re new here so you probably don’t know it. It’s the biggest house in town.”

“You don’t have a family? You’re all alone? Poor Kaim! I wish I could share some of my happiness with you!”

All her lies are borne of sorrow: sad, lonely lies she could never tell to marketplace people who know her background.

At the end of every chat with Kaim, as she is leaving, the girl holds her finger to her lips and says,

“This is just our little secret. Don’t tell the lady grocer.”

Of course, Kaim says nothing to anyone.

If he happens to find himself in a situation where the market people are speaking ill of the girl, he quietly slips away.

Lies and disparagements are funny things. They don’t take shape because someone tells them but rather because someone listens to and voices agreement with them.

A truly isolated individual can never speak ill of anyone.

The same can be said regarding lies.

Because she has someone to tell her lies to, the girl need not fall into the abyss of true isolation.

To protect her small, sad share of happiness, Kaim plays the role of her listener, raising no objections.

One day when the girl comes to see Kaim, she takes special care not to be noticed by the lady grocer or by the owners of the neighboring shops.

“Tell me, Mister, are you planning to stay here a long, long time?”

“No, I’m not,” Kaim says, continuing to unload vegetables and fruit.

“You’ll be leaving when you save up enough money?”

“Probably.”

“But you don’t have enough yet?”

“I’m getting there,” he says, turning a strained smile on the girl.

This is a white lie of his own. He already has enough money to support himself on the road. Nor has he taken his current live-in job because he needs money so badly.

He is here because he has not found a destination he wants to travel to. A journey without a destination is an endless journey.

Wise men say that you need dreams and goals in life. But dreams to accomplish and goals to realize shine as guideposts in life precisely because life is finite.

So, then, what should be the dreams and goals of one who has been burdened with a life that has no end?

Kaim’s is not a journey to be hurried.

Nor is it one that can be hurried. Perhaps drifting day after day with no destination cannot even be called a journey.

“If I were you,” says the girl, “I would get out of this marketplace as soon as I had saved up enough for two or three days of traveling.”

Kaim responds to her with a silent, pained smile.

What would be the look on the girl’s face if Kaim were to tell her, “I’m staying here for you”?

I am finding the meaning of my life for now in providing you with a listener for your lies. The moment these words come to mind—words he can never actually speak to her—the girl looks around furtively and says in a near-whisper, “If you want to get out of here soon, I know a good way you can do it.”

“A good way…?”

“Sneak into the tailor’s and steal his money. There’s a little pot in the cabinet at the back of the shop. It’s full of money.”

“Are you telling me to steal it?”

“Yes.”

She looks straight at Kaim without the slightest show of doubt in her eyes.

In all seriousness, she goes on to explain, “That tailor deserves to have his place robbed.”

The money in the pot, she says, is tainted.

“I know this girl, a good friend of mine,” she says, “and it’s so sad about her.

Her mother died, and her father went off to work in the capital, and she’s all alone.

Her father was supposed to come and get her after six months, but she hasn’t heard a thing from him.”

Yet another lie borne of sorrow.

Kaim calmly asks, “Is there some connection between your friend and the tailor?”

“Of course,” she says. “A close connection. What’s really happening is the father was sending her money every month the way he was supposed to, to help make her life in the town a little easier. And he kept writing to her. He wanted to tell her he found a good job in the city and she should come to live with him right away. He’s too busy to come for her, so she should come to him. And he sent her money for the trip. But none of the letters or the money ever reached the girl.

And why do you think that is?”

Before Kaim can answer, the girl says, “The mistake he made was to send the letters and money care of the tailor. He’s been keeping all the money for himself.”

Kaim looks away from the girl.

In order to prop up one sad lie, the girl has piled on a still sadder one—a lie that can hurt another person.

This is the saddest thing of all.

“The lock on the tailor’s back door would be really easy to break,” the girl adds, and she gallops away without waiting for Kaim’s reply.

The girl comes running into the grocery store the next morning, shouting for the owner.

She says directly to the woman, not to Kaim,

“Burglars broke into the tailor’s shop last night!”

She says she saw a number of burglars sneaking in late at night after the marketplace emptied out.

“My oh my,” says the woman with a forced smile, “that must have been just terrible.”

She is obviously not taking the girl seriously.

“But it’s true, though! I really saw them!”

“Look, little girl, I’ve had just about all I can take from you. You’re such a little liar, it scares me to death to think about you growing up to be a burglar or a con artist or something. I’m busy trying to open my shop now, do you mind? Try in on somebody else.”

She is hardly through speaking when someone outside shouts,

“Help! Somebody come!” The tailor is standing in the street looking horrified and screaming at the top of his lungs.

“Bur—burglars! They took all my mo-mo-money!”

The little girl slips away as the tailor comes in.

The marketplace is in an uproar.

The girl was not lying: that much is certain.

But, all too accustomed to her lies, people now suggest the possibility of another kid of lie.

“Maybe she did it. What do you think?”

And so it begins…

“I think you may be right.”

“Talk about play-acting!”

“I wouldn’t put it past her.”

“Let’s go find her. We’ll make her tell—even if we have to get a little rough with her.”

No one objects to this suggestion.

Some run off to the storehouse, and the others start searching the marketplace.

“Can’t find her anywhere!”

“The storehouse is empty.”

“She ran away with the money!”

As the searchers return with their reports and speculation,

Kaim finally understands everything.

After all her sad lies, the girl has left behind one final truth.

“She couldn’t have gotten very far!”

“Yeah, we can still catch her!”

“The little thief! Wait till I get my hands on her!”

The men rage, and the women fan the flames:

“Good! Give her what she deserves!”

“We were so nice to her, and now look how she treats us! We can’t let her get away with it!”

A dozen men start to run after her,

but Kaim stands tall in the road, blocking their way.

“Hey, move it!”

The men are out for blood, but Kaim knows if he felt like it, he could knock them all down and they wouldn’t be able to lay a finger on him.

Instead, he relaxes his powerful stance and throws a leather coin pouch on the ground in front of the men.

“The stolen money is in there,” he says.

“What?”

“Sorry, I stole it.”

A confused stir quickly turns into angry shouts.

Kaim raises his hands to show he will not resist.

“Do what you like with me, I’m ready.”

The lady grocer breaks through the wall of men, shouting at him, “How could you do this, Kaim?”

“I wanted the money, that’s all.”

“And you’re not just saying this to protect the girl?”

The woman’s intuition is too sharp.

Forcing a smile, Kaim turns to the tailor and says, “It was in the pot in the cabinet, right?”

The man nods energetically.

“It’s true! He must have done it! I had the money in a pot! He’s the thief!”

“The money wasn’t the only thing in the pot, though, was it?”

“What are you saying?”

“You had some letters in there, too. Letters from the girl’s father.”

“That’s a lie! Don’t be crazy!”

“It’s true, though.”

“No, there couldn’t have been any letters! I threw them all—”

The tailor claps his hands over his mouth.

But it is too late.

The lady grocer glares at him.

“What’s this all about?” she demands.

“Uh… no… I mean…”

“You’d better tell us everything.”

The people’s angry glances turn from Kaim to the tailor.
Some days later, two letters arrive from the girl addressed to “The lady at the grocery store and the nice man upstairs.”

Kaim’s letter says the girl managed to find her father in the capital.

He has no way of knowing if this is true or not.

It is hard to imagine a little girl finding her father in the big city so easily without knowing his address or workplace.

Still, he decides to believe it when the girl’s letter says,
“I am happy now.”
Human beings are the only animals that lie.

Lies to deceive people, lies to benefit oneself, and lies to protect one’s own heart from the threat of crushing loneliness and sorrow.

If there were no lies in this world, much strife and misunderstanding would surely disappear.

On the other hand, perhaps it is because this world is a mixture of truth and lies that people have learned how to “believe.”

When he is through reading his letter, Kaim turns to the woman.

Concentrating on her own letter, she shyly raises her head when she senses Kaim looking at her.

“I give up!” she declares. “Listen to this:

‘I am so grateful to you and the others in the marketplace for all you have done for me. I will never forget you as long as I live.’

A liar to the bitter end, that girl,” she says, smiling through her tears.
End

Film Review: Logan’s Run (dir. by Michael Anderson)


So, last week, I asked for everyone to vote for which film I should watch on Sunday.  864 votes were cast and the winner was Michael Anderson’s 1976 cult classic, Logan’s Run.  So, last night, I sat down with my sister Erin and we watched Logan’s Run.  I have to admit that we both giggled a lot but we still enjoyed watching it.  (I should also note that Logan’s Run was filmed in Dallas and Ft. Worth and, even 35 years later, both of us recognized a lot of familiar landmarks.  The end of the film was shot at the Ft. Worth Water Gardens and we squealed with delight as we watched it and said, “We’ve been there!”)

Like most sci-fi films released before Star Wars, Logan’s Run takes place on a post-apocalyptic Earth.  It’s the 23rd Century and  what’s left of humanity lives in an underground city where they’re governed by a gently condescending computer.  Civilization is now based around the pursuit of pleasure.  Everyone appears to live in the world’s biggest mall (probably because the “City” scenes were actually filmed in a shopping mall located in my hometown of Dallas).  It’s a city that’s essentially made up of slow-motion orgies, hot tubs, and crazy plastic surgeons.  Everyone dresses in these sheer tunics and it quickly becomes obvious that the world’s knowledge underwear was apparently lost during the move underground.  (Then again, this could have been because the film was made in the 70s.  Seriously, did nobody own a bra in the 70s?) 

Future civilization appears to have only one law and that’s that anyone who reaches the age of 30 has to go to Carrousel.  At Carrousel, everyone has reached their time limit levitate in the air, floats around in a circle, and then blows up.  Their fellow citizens assume that those being blown up are actually being “renewed” but actually, they’re just blowing up.  (In many ways, Michael Anderson’s direction of Logan’s Run is pretty pedestrian but the Carrousel sequence is actually quite visually stunning.)

Now, some citizens don’t want to get blown up.  These citizens are called runners and they greet their 30th birthday by attempting to flee the City and escape to the Outside and to a mysterious place they call “Sanctuary.”  Some of them end up getting caught and frozen by a bizarre little robot called Box (played, in a really odd performance, by Roscoe Lee Browne).  Those that don’t get caught by Box usually end up getting gunned down by the Sandmen.  The Sandmen are a group of nylon-clad fascists who are never happier than when they’re gunning down runners.

At this point, you may have noticed that it actually takes more time to explain the film’s backstory than its actual story.  Logan’s Run has a fascinating concept behind it and the plot has a lot of potential.  Sadly, the film itself doesn’t quite live up to that potential but the story is still intriguing enough to carry the viewer through some of the film’s more uneven moments.

Michael York is Logan

The Logan of the title is a Sandman played by Michael York (who, when he first appears in this movie, projects just the right sense of unthinking entitlement).  Logan is assigned (by the condescending computer) to infiltrate the runners and find sanctuary.  In short, he’s ordered to run.  However, as it quickly becomes obvious that nobody’s actually being renewed, Logan decides to run for real.  Along with a runner named Jessica (played by Jenny Agutter), Logan tries to escape the city.  Pursued by his best friend and fellow Sandman Francis (Richard Jordan), Logan and Jessica most deal with a psychotic plastic surgeon (well-played by the director’s son, Michael Anderson, Jr.) and his glam nurse (Farrah Fawcett!) as well as a tribe of feral children and a bunch of sex-crazed, naked people who move in slow motion.  (It’s a neat visual, to be honest).

Logan, Jessica, and Farrah

When Logan and Jessica finally do reach the Outside, it turns out to not quite be all it was cracked up to be.  (Or as Jessica puts it, in one of my favorite lines, “I hate outside!”)  They come across the ruins of Washington, D.C. which turns out to be inhabited by a thousand cats and an old man played by Peter Ustinov.  However, little do they know, Francis has followed them outside and, back at the City, the computer is still demanding to know the location of Sanctuary.

I enjoyed Logan’s Run but I’d be lying if I said it was a great film.  It’s basically a big, silly, entertaining film that makes sense as long as you don’t think about it too much.  I have a feeling that if I had seen this film in a theater, trapped in the same seat for 2 hours straight, I would probably be a lot harder on it.  However, Logan’s Run is the perfect film to watch in the privacy of your own home with a friend or two (or, in my case, a big sister).  The story is just good enough to hold your interest, you can openly giggle at the film’s more campy moments, and — once the action starts to drag — you’re free to move around and find something else to do until things get interesting again.

Ultimately, Logan’s Run shares the flaw that afflicts most sci-fi films that are about people trying to escape a decadent, dystopian society.  That is, the movie is a lot more fun when everyone’s being decadent and evil than when everyone’s searching for a higher truth.  When Jessica yelled that she hated the outside, I had to agree with her because the inside — even with everyone getting blown up at the age of 30 — was so much more fun.  Inside the city, they had slow-motion orgies, hot tubs, and really pretty clothes.  Meanwhile, the only thing that outside had to offer was Peter Ustinov reading a decayed copy of the Declaration of Independence.  Don’t get me wrong — I was jealous that Ustinov got to live with all of those cute kitties but it just couldn’t compare with the psychotic plastic surgeons of the City.  If that’s Outside, I can understand why everybody went inside.

(Personally, I call this the Matrix Rule.  Everyone talks about how great Zion is but, seriously, what type of toadsucker would actually want to live in that tedious, ugly little Socialistic state?)

Still, despite this, Logan’s Run is a watchable and entertaining artifact of 70s “event” filmmaking.  This film doesn’t have any scenes set in a disco but it really should. 

Among the actors, both Michael York and Peter Ustinov are a lot of fun to watch as they both found their moments to go over the top and made the most of them.  Perhaps my favorite over the top York moment came towards the end of the film when he shouted, “YOU CAN LIVE!  LIIIIIIIIIIIIIIIIIIIIIIIIVE!”  When I first announced, on twitter, that I would be reviewing this film, I got a lot of replies from men who apparently had fond memories of Jenny Agutter in this film and her performance here is sexy and confident.  Plus, she gets to deliver one of my favorite lines of all time, “I hate outside!”  Still, if you want to talk about sexy and confidence, then you have to talk about Richard Jordan’s performance as the cocky Sandman, Francis.  Seriously, Francis is a Sandman who could bring me a dream any night of the week…

Sexy, Dangerous Francis

So, in the end, Logan’s Run is silly but fun, uneven but definitely watchable.  Thank you to everyone who voted for me to see this film.  And until next time, remember — “Theeeeerrrrreeee Issssssssssss Noooooooo Saaaaaaaanctuuuuuuuary….”

Earlier today, I did a google search and I discovered that Logan's Run was apparently spun off into a television show. Apparently, this is the cast of that show. They certainly look a lot more cheerful than their film counterparts.

Review: Aosoth – III


French black metal as crushing chaos is something of a novelty to me this year. I think I was sort of envisioning the metal scene there as composed of a dozen Neige side projects and Deathspell Omega. Blut Aus Nord and Aosoth’s new albums have both thus thrown me for a bit of a loop. I didn’t really listen to either band prior to this year, and both have recently released something tormented to the point of being both fascinating and entirely unpleasant to listen to.


II

Unlike 777 Sect(s) though, III doesn’t give me any sort of moving vision. It doesn’t so much take me on a journey through a nightmare I’d rather avoid as confront me head on. There’s a lot less to latch onto beneath the wall of noise, and what does surface isn’t exactly friendly. You can expect an album that’s tormented from start to finish, and unrelenting even in its slow parts. If II is the most frantic song on the album, it’s also perhaps the most direct example of this. At the transition around 1:15, what emerges as the song’s most defining characteristic is something of an instrumental tornado. Here the black metal serves as sort of a portal, a summoning sphere that conjures forth sinister elements from the beyond. On II it might be a tornado ready to rip you limb from limb. More frequently it’s a slow-moving monster with equally ill intentions, and the ritual that invokes it is likewise more of a methodical blood-letting than a butchery.


III

III is a bit more characteristic of what you can expect to hear throughout–a lot of slow, haunting progressions interlaced with blast-beat brutality. Again the song’s most memorable moment fades in. The break around 2 minutes doesn’t explode back into full-throttled black metal. It slowly builds up. A deeper guitar tone takes its sweet time to emerge out of the filth and present, around 3:45, possibly the most crushing, albeit brief, moment on the album, soon to be buried again beneath higher-pitched, haunting sounds and blast beats.

It wasn’t for a while after reviewing 777 Sect(s) that it really grew on me, and likewise Aosoth’s III might take more time than I’m willing to give it to develop in my ears into something not enjoyable, it will never be that, but at least more intriguing than it is unbearable. But then, the two albums don’t really compare as much as I’m making them out to, I just haven’t heard enough music like this to better describe it. There are definitely no good vibes to derive from Aosoth. Like I said, it’s not a journey filled with hidden horrors–it’s direct. What’s there to be heard I think you can take in in one attentive listen. It shares the ability to terrorize without any real relief, and for better or worse that may be its only effect. The songs are fairly diverse, but the bad vibe is consistent. As something I doubt was meant to be enjoyed I think it’s pretty successful. Prepare to walk away feeling a bit less content than when you started.

Thousand Years of Dreams Day 05: A Mother Comes Home


We’re now on the 5th Day of a 33-Day Thousand Years of Dreams. The previous four dream entries have saw us witness Kaim’s remembering dreams with themes ranging from youthful curiosity, mortality, personal imprisonment and the amorphous nature of memory. This fifth dream which is called “A Mother Comes Home” brings forth a topic that some may feel some kinship to. A theme of children and how those who should be nurturing them, protecting them and loving them have failed in their responsibilities. How neglect, selfishness and the feeling of being unwanted forces some young children to leave their childhood behind and become an adult far too quickly to protect themselves.

Everyday I see such occurrences happening in public and in the news. I can’t say I’ve experienced it myself, but it still doesn’t diminish the emotional impact seeing it happen to other young children. Just as Kaim feels sadness, pity and regret at seeing the young boy grown beyond his years and leave the innocent, naivete of childhood behind so should we feel the same when we see it happen to children around us.

In the end, while the theme of this dream-memory does have a feel of sadness and melancholy it does end on a hopeful note. No matter how badly we treat our children and those we care for there’s always a chance for forgiveness and redemption. There’s always a chance for broken families to be whole once more. There’s always a chance for children who have grown up too fast to find their way to being just children once again.

A Mother Comes Homes

The boy has lost his smile, though he denies it.

“Don’t be silly, Kaim.
Look! I’m smiling, aren’t I?”

He draws his cheeks back and lets his teeth show white against his brown skin.

“If this isn’t a smile, what is?”

Kaim nods but says nothing. He pats the boy on the shoulder as if to say, “Sure, sure.”

 

“Come on, really look at me. I’m smiling, right?”

“Right. You’re smiling.”

“Anyway, forget about me. Hurry, let’s go.”

 

The boy has a sweet, open nature.

He made instant friends with Kaim while the other townspeople kept their distance from the “strange traveler.”

Not that the boy chose the much older Kaim as a playmate.

He leads Kaim to the tavern, which still hasn’t opened its doors for the day.

“I hate to ask you to do this, but… would you, please?”

 

The boy’s voice seems to have carried inside.

A man in the tavern peals off a drunken howl. He sounds especially bad today. Kaim fights back a sigh and enters the tavern.

The man on the barstool is the boy’s father, drunk again at midday.

The boy is here to take him home. He looks at his father with sad eyes.

Kaim puts his arm around the father’s shoulder and discreetly moves the whiskey bottle away from him.

 

“Let’s call it a day,” he says. The man shoves Kaim’s arm off and slumps down on the bar.

“I hate guys like you,” he says.

“Yes, I know,” says Kaim. “It’s time to go home, though. You’ve had enough.”

“You heard me, Kaim. Drifter! I hate you guys.
I really really hate you guys.”

 

The father is always like this when he is drunk—hurling curses at all “drifters,” picking fights with any man dressed for the road, and finally slumping to the ground to sleep it off. His son is too small to drag him home.

With a sigh, Kaim finds himself again today supporting the drunken father’s weight to keep him from toppling off the barstool.

The boy stares at his father, his eyes a jumble of sadness, anger, and pity.

When his eyes meet Kaim’s he shrugs as if to say “Sorry to keep putting you through this.”

 

But Kaim is used to it. He has seen the father dead-drunk almost every day for the past year, ever since the boy and his father were left to live alone.

“Oh, well …” the boy says with a strained smile as if trying to resign himself to the situation.

“Poor Papa…

…poor me.”

 

Supporting the father’s weight on his shoulder, Kaim gives the boy a smile and says,
“Yes, but you don’t go out and get drunk the way he does.”

“Ahem,” the boy says, puffing his chest out.

“Sometimes kids are tougher than grownups.”

Kaim broadens his smile to signal to him “You’re right.”

“Of course I’m right,” the boy all but says with the smile he gives back.

 

It is the only kind of a smile the ten-year-old has managed to produce in the past year: so bitter it would numb your tongue if you could taste it.

The boy’s mother—the father’s wife—left home a year ago.

She fell in love with a traveling salesman and abandoned the boy and his father.

“Mama was bored,”
the boy says matter-of-factly, looking back on his mother’s infidelity.

“She got tired of doing the same thing every day. That’s when she met him.”

 

At the tender age of ten, the boy has learned that there are certain stories that have to be told with that matter-of-fact tone.

The father was born and raised in this small town and worked in the town office. He was not especially talented, but it was not a job that called for talent or quick wit. All he had to do was follow orders with diligence and submissiveness, and he did exactly that, year after year, without making waves.

“He called our life ‘peaceful,’ but Mama didn’t think so.
She said it was just ‘ordinary’ and no fun.”

 

She was attracted to the life of the crafty traveling salesman.

It was risky and exciting, like walking on top of a prison wall: one misstep and you could end up inside.

“Papa told Mama that the man was deceiving her, that all he wanted was her money, but he couldn’t get through to her. Mama couldn’t even think about us back then.”

With utter detachment, as though holding it at arm’s length, the boy reflects on the tragedy that struck his family.

 

“I’ve heard the saying ‘Love is blind.’ It really is!” he says with a shrug and a sardonic laugh like a full-fledged adult.

Kaim says nothing.

“Children should act their age” is another saying, but probably not one that could be spoken with a great deal of meaning to a boy who had lost his mother’s love.

And even if Kaim presumed to admonish him, the boy would likely pass it off with a strained smile and say,
“Sometimes kids are tougher than grownups.”

 

The boy’s father, however, shows his displeasure when his son uses grownup expressions.

“The little twerp’s lost all his boyishness. He despises me now. He thinks I’m pitiful. Deep down he’s laughing at me for letting my wife be taken by another man, damn him.”

It bothers him especially when he is drunk.

His annoyance far outweighs his fatherly love for his son. Sometimes he even slaps the boy across the face, or tries to. When he is drunk, the boy can easily dodge his slaps, and he ends up sprawled on the floor.

 

Even as he is drowning in a sea of liquor, he can sometimes turn unexpectedly serious and start asking questions.

“Say, Kaim, you’ve been traveling for a long time, right?”

“Uh-huh.”

“Do you enjoy it all that much? Going to strange towns; meeting strangers can’t be all that… Is it so wonderful that you’d be willing to abandon the life you’re living now for it?”

He asks the same thing over and over. Kaim’s answer is always the same.

“Sometimes it’s enjoyable, and sometimes it’s not.”

He doesn’t know what else to say.

 

“You know, Kaim, I’ve never set foot outside this town. Same with my father and my grandfather and my great-grandfather, and the one before him. We’ve always been born here and died here. My wife’s family, too. They’ve had roots in this town for generations. So why did she do it? Why did she leave? What did she need so badly that she had to leave me and her own son?”

Kaim merely smiles without answering. The answer to such a question cannot be conveyed in words. Try though he might to explain it, the reason certain people are drawn irresistibly to the road can never be understood by people who don’t have that impulse. The father is simply one of those people who can never understand.

Failing to elicit a reply from Kaim, the father sinks again into the sea of drunkenness.

 

“I’m scared, Kaim,” he says. “My son might do it, too. He might go away and leave me here someday. When I hear him talking like a grownup, I get so scared I can’t stand it.”

 

The boy’s mother eventually comes back.

The traveling salesman cheated her out of every last bit of her savings, and the moment she was no longer any use to him, he left her. Physically and mentally broken, she has only one place to return to—the home she abandoned.

First she writes a letter from the neighboring town, and when her husband reads it again and again through drink-clouded eyes, he laughs derisively.

“Serves her right, the miserable witch.”

He makes a show of tearing the letter to pieces in front of Kaim, without showing it to his son.

 

Kaim tells the boy everything and asks him,

“What do you want to do?
Whatever you decide, I’ll help you make it happen.”

“Whatever I decide?” the boy asks in return with his usual detached smile.

“If you want to leave this town, I’ll let you have enough money to help you get by for a while,” Kaim says. “I can do that much.”

He is utterly serious.

 

The father has no intention of forgiving his wife. He will almost certainly turn her away if she shows up, and probably with a proud, vindictive smile on his face.

Kaim knows, however, that if the mother loses her home and leaves this town once and for all, the father will go back to drinking every day, cursing his wife’s infidelity, bemoaning his own fate, taking out his anger on strangers, and constantly revealing the worst side of himself to his son.

Kaim’s long life on the road has taught him this. Constant travel means meeting many different people, and the boy’s father is undoubtedly one of the weakest men Kaim has ever met.

 

“You could join your mother and go to another town.
Or if you wanted to go somewhere by yourself, I could find you work.”

Either would be better, Kaim believes, than for the boy to continue living alone like this with his father.

The boy, however, seemingly intrigued, looks straight at Kaim, revealing his white teeth.

 

“You’ve been traveling a long time, haven’t you, Kaim?”

“Uh-huh…”

“Always alone?”

“Sometimes alone, sometimes not…”

“Hmmm…”

 

The boy gives a little nod and, with the sad smile of a grownup, says,
“You don’t really get it do you?”

“What’s that?”

“All this traveling, and you still don’t understand the most important thing.”

His sad smile takes on its usual bitter edge.

Kaim finally learns what the boy is talking about three days later.

 

A tired-looking woman in tattered clothes drags herself from the highway into the marketplace.

The townsfolk back away from her, staring, leaving her in the center of a broad, empty circle.

The boy’s mother has come back.

 

The boy breaks his way through the crowd and enters the circle.

The mother sees her son, and her travel-withered cheeks break into a smile.

The boy takes one step, and another step toward his emaciated, smiling mother.

He is hesitant at first, but from the third step he is running,
and he throws his arms around her.

He is crying. He is smiling. For the first time that Kaim has seen,
he wears the unclouded smile of a child.

 

“I’m sorry. I’m so sorry. Please forgive me…” his mother begs, in tears.

 

She clasps his head to her bosom and says, smiling through her tears,
“You’ve gotten so big!”

Then she adds: “I won’t leave you again. I’ll stay here forever…”

A stir goes through the crowd.

It comes from the direction of the tavern.

 

Now the father breaks through the wall of people and enters the circle.

He is drunk.

Stumbling, he edges toward his wife and son. He glares at his wife.

The boy stands between them, guarding his mother.

“Papa, stop it!” he yells.
“Mama is back. That’s enough, isn’t it? Forgive her, Papa, please!”

His voice is choked with tears.

The father says nothing in reply.

 

Glaring at the two of them, he collapses to his knees, his arms open wide.

He enfolds both his wife and son.

The shattered family is one again.

“Papa, please, don’t hold us so tight! It hurts!”

The boy is crying and smiling.

The mother can only sob.

The father weeps in rage.

 

Witnessing the scene from the back of the crowd, Kaim turns on his heels.

“Are you really leaving?”
the boy asks again and again as he accompanies Kaim to the edge of town.

“Uh-huh. I want to get across the ocean before winter sets in.”

“Papa is already missing you. He says he thought you two could finally become drinking buddies from now on.”

“You can drink with him when you grow up.”

“When I grow up, huh?” the boy cocks his head, a little embarrassed, then he mutters,
“I wonder if I’ll still be living in this town then.”

 

No one knows that, of course. Maybe some years on from now, the father will spend his days drunk again because his son has left his hometown and family.

And yet—Kaim recalls something he forgot to say to the boy’s weak father.

“We call it a ‘journey’ because we have a place to come home to. No matter how many detours or mistakes a person might make, as long as he has a place to come home to, a person can always start again.”

“I don’t get it,” says the boy.

 

Kaim remembers something else.

“Smile for me,”
he says one last time, placing a hand on the boy’s shoulder.

“Like this?”

He reveals his white teeth, and his cheeks wrinkle up.

It’s a good smile.

He has finally managed to retrieve the smile of a young boy.

 

“Now your turn, Kaim.”

“Uh… sure.”

The boy studies Kaim’s smile as if assigning it a grade.

“Maybe a little sad,” he says. That he is joking makes his words hit home all the more.

The boy smiles again as if providing a model for Kaim.

 

“Okay, then,” he says with a wave of the hand,

“I’m going shopping with Papa and Mama today.”

Kaim smiles and walks away.

Then he hears the boy calling his name one last time.

“Even if we’re saying goodbye, I’m not going to cry, Kaim!
Sometimes kids are tougher than grownups.”

 

Kaim does not look back, his only reply a wave of the hand.

The boy’s expression would probably change if their eyes met.

He decides to play it strong to the end.

Kaim walks on.

After a brief respite, his journey with no place to go home to starts again.

A journey with no place to go home to; the poets call that “wandering.”

End

Review: Conan the Barbarian (dir. by Marcus Nispel)


In 1982 the duo of John Milius (director) and Arnold Schwarzenneger (actor) brought to the big-screen the first film adaptation of the classic, pulp character of Conan the Cimmerian by Robert E. Howard. The Milius-Schwarzenneger Conan the Barbarian was an instant hit and classic. It also made Schwarzenneger into an A-list superstar who would rule the 80’s and 90’s. This film was followed up by a lesser quality, though fun in its own way, sequel in 1984 with Conan the Destroyer. Milius saw this franchise as a trilogy with the third and final film to be called Conan the Conqueror. But a sort of blacklisting of Milius as a filmmaker and Schwarzenneger moving onto other projects killed the planned third film. The start of the new millenium saw an interest in restarting the third film, but after countless delays and changes in filmmakers and stars the project was once again shelved.

In 2010, the franchise which launched an Austrian-bodybuilder into superstardom was finally greenlit, but this time around it would be a reboot of the series with the film hewing coser to Robert E. Howard’s creation and world-building than the Milius version of 1982. To bring Conan the Cimmerian to life would be Hawaiian-Irish Jason Momoa (of Stargate Atlantis and Game of Thrones fame) with German-filmmaker Marcus Nispel taking on the directing reins. The film’s trio of writers (Thomas Dean Donnelly, Joshua Oppenheimer and Sean Hood) would literally take the world of the Hyborian Age which Howard had meticulously created for his Conan character and use that as the basis for this reboot.

Conan the Barbarian begins with a surprising introductory narration of the world of the Hyborian Age by none other than Morgan Freeman. This narration was one clue that while this film wouldn’t and shouldn’t be seen as thought-provoking and award-season fare it looks to try anything and everything to make it fun and relevant. The film succeeds in this respect in its own way. As we see Conan come into the world as a baby born of battle in the most literal way. It’s not often we see on the big-screen a pregnant mother delivering her child by way of battlefield C-section. From this moment forward this film will wallow in the bloody carnage and machismo-fueled world of Robert E. Howard to the nth degree.

The film’s Conan as played by Leo Howard as the younger version then to Jason Momoa as the adult version looks to be different than the Schwarzenneger one. While Momoa was still quite the physical specimen on the screen he also exuded a sense of fluid, athleticism like that of a sleek jungle cat whereas Arnold’s Conan was more of the big cat of the savannah. The stand out performance in the film comes from both Leo Howard (quite ferocious as the young Conan) and Momoa. The film lives or dies on whether we believe these two actors as the characters they inhabit. Not once during the near 2-hour running time do we not believe these two as Conan.

Conan the Barbarian as a film does have several weaknesses which could derail it for me. For one, the story itself is quite cliched as we see the typical hero’s journey coinciding with the goal of saving the world from an almost cartoonish villain (Stephen Lang clearly having fun as the warlord Khalar Zym) with an equally cartoonish sidekick (Rose McGowan who seemed out of place as Zym’s witch-daughter Marique). The story’s plot seems more geared like a video game where each sequence was there to put Conan in the best way possible to do what he does best and that’s kill enemies by the score and do it with bloody panache.

While the film will definitely not score very well with many people I think they will do so as they compare it to the original Milius film. I think the mistake they also will use as an excuse to not like the film is that it’s dumb and loud. I, for one, thought I would feel the same, but as I watched the film I acknowledged those very same criticisms, saw the flaws, but in the end I still enjoyed the film for what it was: an almost gleeful, throwback to the 80’s sword-and-sorcery exploitation film that tried to cash in on the success of the original Conan the Barbarian.

Nispel’s film may not stand the test of time as the original, but in the end he made a film that actually stayed true to the pulpy origins of the character (Robert E. Howard was never known as a subtle writer and this film reveled in his blunt-way of writing). This Conan the Barbarian was several steps above the usual sword-and-sorcery stuff which the SyFy Channel seems to churn out by the dozen each year and it’s steps below that of the original. What it does share with the 1982 film is a sense of fun even if it’s at the expense of story and character and at times I’m fine with that. Not everything has to be Inception or Pride and Prejudice.

And the winner is…


Hi there! 

Thank you to everyone who voted in my latest “Tell Lisa Marie What To Watch” poll.  A total of 864 votes were cast.  Up until this morning, it looked like Night of the Creeps was going to be an easy winner but a last-minute surge of votes gave Logan’s Run a come-from-behind victory.  Interestingly enough, The Lion In Winter also got a lot of last-minute votes.  It didn’t receive enough to beat Logan’s Run but it did manage to knock Night of the Creeps down to a third place finish.

I will be watching Logan’s Run later on today. Look for my review tomorrow.  And again, thank you to everyone who voted!  

Stay supple!

Review: TrollfesT – En Kvest for Den Hellige Gral


TrollfesT certainly aren’t for everyone, but I sometimes wonder whether a lot of people who criticize them even bother clicking play first. The biggest complaint I tend to see about TrollfesT is that they’re just a Finntroll ripoff. After all, they both have “troll” in their names. And they’re both bands. It must be a ripoff.


Undermålere (I am lead to believe this is a fan creation, not an official music video.)

Right. Well, now that you’re hearing this you’ve probably experienced more of the band than a lot of the people who’ve written negative reviews of them. What I think you get when you hear TrollfesT isn’t so much “another folk metal band” as a bunch of music students who’ve got some decent professional training but decided they enjoyed drinking and playing live more than grad school. TrollfesT is a clusterfuck of klezmer, Balkan and gypsy folk, and whatever else they were introduced to in musicology 101 and decided to incorporate. For better or worse.

One thing you’re not going to hear on En Kvest for Den Hellige Gral, or on any of their other albums, is much of a folk/viking metal ethos. There’s a decent chance they’re more familiar with Taraf de Haïdouks than with Bathory (though they have as much of an awareness of metal as all the other styles they incorporate). Hell, they’re probably the least serious band that can be called folk metal. The lyrics are barely coherent gibberish. En Kvest for Den Hellige Gral isn’t in German or Old Norse or anything of the sort. It’s exactly what it sounds like: “The Quest for The Holy Grail” as written by someone a little bit slow, like say, a troll? I think it’s supposed to be consistently coherent enough to be understandable if you know Norwegian, but it’s not a real language.

Each release is a concept album, and while I can’t speak for this one they’ve come package in the past with a mini-comic telling the tale. It usually involves a bunch of imbecilic trolls going on an epic journey for booze (I’m sure the Holy Grail here is some self-replenishing tankard of ale) and pillaging, plundering, slaughtering Christians and all those other good light-hearted folk metal topics along the way. It’s never going to make a statement or push a particular world view, it’s just meant to be fun.


Die Verdammte Hungersnot

Far from being “Finntroll ripoffs”, the band is so unique that there’s nothing I can really compare this to besides their own past works. So what I have to say about En Kvest for Den Hellige Gral specifically will be, I guess, pretty brief. One thing I noticed was a lot of breaks in the folk side of their sound. You’ll find a lot more 30 second or so segments of straight-up metal on this album than on Villanden. That, to me, is a bad thing, because when they’re not playing folk or doing something weird they’re pretty generic.

On the plus side, the folk is largely a continuation of Villanden. That is, rather than the home-grown sort of sounds they used on their first two albums, they incorporate recognizable styles that you can have some fun trying to identify. The recording quality seems to have improved a bit too, which in their case I found kind of disappointing. Villanden’s raw sound gave it a sort of primitive feel that I thought complimented their style.

In a lot of ways it’s their most mature and diverse work, but it lacks some of their last album’s lasting appeal. The songs aren’t quite as catchy. The way the middle of Die Verdammte Hungersnot instantly sticks in your head was a bit more commonplace in the past. The vocals aren’t nearly as unique, and if it sounds all around more professional, well, that doesn’t necessarily work as well for their image. If Villanden was borderline insane, En Kvest for Den Hellige Gral is merely pretty weird.


Der Sündenbock Gegalte

That all being said, if you’re new to the band entirely and intrigued I recommend Villanden over this one. I have a love/hate relationship with it that extends way beyond my interest in anything else they’ve released. But En Kvest for Den Hellige Gral is still pretty good, and it’s a promising sign of things to come that they’ve continued to expand their sound.