Cloud and chimera

Pensées hybrides

Author: Marie Lienard-Yeterian (page 1 of 7)

BOHEMIAN RHAPSODY: A SONG…

BOHEMIAN RHAPSODY : A SONG
To the tune of “I Want to Break Free”…
With a chorus line from A Streetcar Named Desire

I have always depended on the kindness of strangers

Renaming oneself
Shaping one’s life into a design of one’s own making.
Gender and identity.
A sense of belonging within elected families:
A band, and a public.
The transformative power of the stage experience,
And of the experience on stage.

I have always depended on the kindness of strangers

The carefully crafted artistic persona,
The mesmerizing performer-singer
Reinventing himself for each performance,
And each public.
The stage as place, and space for the magic to intrude on the prosaic,
A creative crucible of tamed hauntings,
A site for possibility to deliver Life.

I have always depended on the kindness of strangers

Each show a declaration of love and independence,
A renewed call to reach out and be accepted.
The interactive energy, dynamic, and dialectic.
The shared pleasure of bald and uncanny music.
Yet, the unavoidable leave-taking.
The reconciliation with the estranged father,
And the self, damaged or healed.

I have always depended on the kindness of strangers

“I have always relied on the kindness of strangers”, says Blanche:
Streetcars and desires,
Loss and incongruity.
And, sometimes, so quickly, Desire beyond Death.
Coming to terms with one’s fate and mortality,
And rocking into the future of eternity
With the perfect song, and love.

I have always depended on the kindness of strangers

Marie Lienard-Yeterian

ON WATCHING THE MOVIE ‘BURNING’ : A POEM

ON WATCHING THE MOVIE ‘BURNING’ : A POEM

Little hunger and great hunger:
The aspirations and longings.
Reenacting the dance for people who have never known hunger,
And never will.

The cat and mouse game:
You infer the presence of the cat,
then come to doubt its very existence.
And then you encounter it, in the most unlikely place,
Calling it by its name,
And performing some tragic recognition scene.

The well:
Secret wounds and holes.
What happens to your trauma when its spatial materiality is erased, or forgotten? Denied? Ignored?
How to decipher the scars of the past, the marks of the present, or the traces of the future?
Is literature a way of keeping track?

A trio of foreign (English) words uttered in the film dialogue:
Metaphor, Little Hunger, Great Hunger.
Whispers to our ears, and imagination,
Swift tutorings into code-switching, and
The dance of metonymy and metaphor,
The function of art,
Literary and other.

The pantomime:
You imagine you desire eating a mandarine.
You perform the peeling, and the consuming,
You make your mouth water out of anticipation,
And extract pleasure out of the illusion of its presence.
The ability of art to create something out of nothing,
And make your mind water,
Surf on the suggestion of its presence,
Riding the wave of emotions and affect.

Writing: performing a pantomime on the page, suggesting, and inviting.
Reading: enjoying the conjured mandarine, reenacting the possibility of its presence.

Faulkner: there is more to William than the picture on the cover of the book that Ben is reading.
Now you see it/him,
Now you don’t.
Barn burning, or just burning.

Enter Gatsby, without Scott:
A decontextualized character, a figure on the run
In search of something other than “a voice full of money”.

The dance in the evening sun:
An exercise in beauty and gratuity
Hinting at a form of transcendence,
Conjuring some prescience ushered by the work of art,
And its transformative power.

Tender is the night, indeed.
The other side of paradise might be within our reach, after all.

Burning:
Living, loving
Writing, reading.
Double binds, and their attending dance and pantomine.

Marie LIENARD-YETERIAN

Summer Harvest

SUMMER HARVEST

Some poem comes to mind
Life in the making, constant work in progress
The decision-making
The reiteration of a commitment made long ago
The idealized vision of what could be
The undertow of fear and longings, imaginary belongings
Rupturing and breaking
Fixing and repairing.

Continue reading

CASTING THE NET

UN ROMAN EN DEVENIR/FICTION INTERLUDE

CASTING THE NET

A visitor in this strange city. Lost in cultural translation. And geographical shifts.
Glistening water. The pebbles hissing. Nothing left of the summer restaurants.

Continue reading

Person to Person (Manhattan Stories)

PERSON TO PERSON (MANHATTAN STORIES)

NYC and its urban jungle,
An ecology of fraud and authenticity.

Enter emblematic characters illustrating different ways for humans to interact,
Striding in and out of the space of their dreams and longings
Performing the intermittences of our loves and passions
Acting out our compromises and tentative redemptions
Working through our fears and anxieties.

Bene and his passion for vintage records
Establishing the leading metaphor:
You are in the groove or not.

The teenage friends
Melanie and Wendy, and their respective boyfriends or dates.
Wendy aspiring to casting the net wider, yet
Encountering the violent reality of life: first through the video recorded by voyeuristic onlookers,
And later on her own, the spilled blood still a stain on the sidewalk. And on her life.
An ominous shadow. A stubborn cloud in her sky.

Claire’s lonely life with her cat
And her attempt at changing jobs (and life).
Her encounter with the manipulative journalist of NewYorkNews
And her newly-found awareness of what matters for her.
Phil’s apparent gentility, and his concealed face: anger and frustration.

The wife who killed her husband
His stopped watch giving her away and setting her on a different course of time.
The repair shop owner Jimmy and his stubborn silence
A pawn used by different players: customer, police, journalist.

Bene’s friend Ray who has damaged his girlfriend’s life by posting pictures of her on the Internet.
Jealous and self-centered
Betrayed in his turn for 20 dollars that are later spent on a lottery ticket.
Janet’s love and forgiveness,
And a new beginning?

The shopkeeper out to make an extra buck
Betraying friends and promises.

Buster and his fling with the hairdresser.
Bene and his budding love.
Women and men, sex and desire, love and romance.

Woody Allen-like characters and mood.
Intertwined stories and recurring persona.

Lies and deceit
Loyalty and friendship
Agency and independence.
Slices of life, snapshots of emotions, sound bites of conversations
Contrived or real.
Whisperings and murmurs
With occasional shouts and screams.
And silences.

Some happy ending, if not a Hollywood ending: a party to celebrate love and the acknowledgment of it: “I have big love for you”….” I do too” … “That’s good news”..

Indeed.

Marie Lienard-Yeterian

THE MAN WHO KILLED DON QUIXOTE

THE MAN WHO KILLED DON QUIXOTE

“Truth, like Art, is in the eye of the beholder”
(Midnight in the Garden of Good and Evil)

A fairy tale for our modern times
The fantastic, with a political and artistic twist
Scripts, old and new.

A thought-provoking work about virtual reality, a sort of companion piece to Ready Player One. In its own way. Playing in a virtual world, to escape reality.
Creating an avatar for yourself,
Falling prey to it… for better and for worse.
But in the process, you inspire others.
And journey on. On a horse, on a mule,
Or on foot.

A statement about what creation is: the search, the recycling of previous ideas, the intertextual processes, the dialogic dynamic between different generic traditions and conventions.
The literary text and its screen adaptation through the creative reworking of the individual film director
The trappings of the mise en abyme device
The maze of numerous narrative lines
The rewriting of the old to shape the tale(s) anew.
Fiction and its attending spaces: creativity, imagination, illusion.

Intruders in the fictional party: politics and ecology.
New forms of power and feudalism.
The old castle and the new dwellers, lords and feuds of a different era.
The grotesque excesses of wealth, the instrumentalization of the other: her body (the notion of a « whore », « what is the going rate? »)/his face: “you have a good face”.

The Russian oligarch and his fantasy world
The regressive and infantile behavior
The new courtesans: to curry his favor to « obtain the contract ».
Sex and desire
Sublimated love (Dulcinea: the ideal/idealized woman)
How to uphold chivalric values in the crass world of money and advertising?
The new poor: gypsies, migrants, and other outcasts
The destructive ecology of a mindset generated by fear and prejudice
Assuming that the other is … dangerous, hostile, murderous, treacherous… and constructing a narrative around it. And acting on it. Violence–physical and other.
Reality undoes it, yet you persist in the script of your own making.

A landscape of rugged and uneven surfaces
The desert of some environmental disaster
And its attending heaps of garbage, material and moral.

On the narrative level: the black and white sequences: akin to italics and other typographic devices to show the different narrative layers in written texts.
Coming in and out of the cinematic world, coming in and out of the space of memory:
Remembering: staging/restaging an alternative reality.
Memory and its treasure chest of images—conjured out of the space of a former experienced reality, or created out of the space of longing and nostalgia.

The beauty of the creative illusion
And the ugliness of the illusions generated by fear and prejudice

The power of the imagination to map out alternative realities
And the power of the imagination to whip up anxiety and distrust

The delusion—and yet the awareness of that illusion
To uphold the illusion of grandeur, not just for yourself but for others.

The old film, the new in the making.
The return of the old film in his life: nemesis of his having sold his talent to the industry of advertising.

To inscribe yourself in a line of fictional heroes, to appropriate them for yourself at different times in your life.

Last but not least: a tribute to cinema
The enticing lure of the moving image to capture our inner dynamism, the momentum of our individual and unique imaginative power.

The Force was with Adam Driver… Could Toby outperform Kylo Ren??

Marie Lienard-Yeterian

EVERYBODY KNOWS

EVERYBODY KNOWS

The opening sequence: like the first paragraph in a short story, it provides clues and hints, it conjures coming themes, introduces the main protagonists, and establishes leading metaphors and tropes.

The church bell tower where some truth is told, some oracle is given:
“Everybody knows”
About Paco and Laura…

The clock mechanism proceeds relentlessly, setting other processes in motion: moving hands, ringing bell, flapping bird wings, fluttering thoughts and emotions.
A heavy and ominous atmosphere sets in
A foreboding of something to come: broken glass around the dial
The uttering and whispering of an unwelcome prophecy:
If you get too close to time, you can hurt yourself.

The scribbling on the wall, the scar of a lost passion.
What is intuited through the single initial,
What the marking indicates, points to, yet also silences.
What it stands for, what it fails to express
What it recalls, and still conceals.

The wedding ceremony in the room below: the marriage that could not take place years before: the fated and star-crossed lovers went their separate ways.

The re-apparition of the past and its unfinished business
The no-exit world of village life
And its attending array of passions and grievances, past and new.

The obsessive filming of every detail, in a quasi journalistic fashion.
The corridors and stairways, the doors—locked and unlocked
The upstairs rooms and the shared bedrooms: physical spaces mapping out psychological and emotional ones.
The building of a particular mood through the editing and the camera work
“A feat of compression” as Elia Kazan said about theatre: every detail matters, and leads to an outcome.
The comings and goings of family members
The unsaid and unsayable
The secrets and the taboos
The suspicions and the guilt
The resentment and jealousy

Irene, whose name means Peace, yet she brings recklessness and trouble
Whose daughter is she? Who is her father?
The biological/ the adoptive father who prevented the abortion.
Fatherhood: regained, and lost again.
The ending: a disquieting lack of closure
The stuff real life is made of
As everybody knows, indeed.

Marie Lienard-Yeterian

The Rider

THE RIDER

“He galloped up … his heels in the horses’ s ribs and it dancing and swirling like the shape of its mane and tail…” (William Faulkner, As I Lay Dying)

The articulation of passion and identity and self—and the loss of it all. At first.

The nightmarish return of haunting images of success. And failure.
Some turning point: the accident or event through which change brutally and relentlessly storms in, damages and destroys—taking off masks, ripping confidence and arrogance open, wounding and hurting.
The daily routine now altered by the unavoidable scar. The visible one, and the invisible one.

Yet, Brady gets to live, unlike the horse he had befriended. Another casualty of life and its rugged surface.

The love and gentleness of the simple-minded sister Lilly who puts paper stars on her sibling’s body when he is sleeping.

The friendship with other cowboys: their aspirations, endurance and fear. The terror and horror of the rodeo experience. And its addictive thrill and thrust.

The beloved horse Gus sold off, and the crazy horse Apollo who gets tamed—momentarily.

The admired friend Lance abandoned by luck, stranded in a place of no return, remapping the boundaries of heroism, probing into the unchartered territory of the power of the soul.

Life compelling you to re-design your priorities, and accept a new perimeter for your wanderings. The scope of a new wisdom, perhaps. And the shape of some eternity.

The final choice: self-less love for the loved ones, instead of the self-centered pursuit of a deadly illusion.
Letting go of the “before” to allow for the delivery of some “after”—however uncertain and unknown.

Finding happiness in the knowledge that you still have life, and in the awareness that your ability to dream lives on—undamaged.

Marie Liénard-Yeterian

Don’t Worry, He Won’t Get Far on Foot

DON’T WORRY, HE WON’T GET FAR ON FOOT

“Sorrow is food swallowed too quickly, caught in the throat, making it nearly impossible to breathe” (Jesmyn Ward, Sing, Unburied, Sing).

A form of contemplation, the quality of a gaze that strives to explore without damaging, to know without assessing. To see without becoming blind.

Gus Van Sant covering the territory of forgiveness and acceptance, tracking down despair, anatomizing courage.

The birth of a calling
The discovery of a hidden talent
The beauty of lasting beginnings

Empathy—and, more radically, compassion.
A form of mercy, too. For oneself, for others. For humanity in its irreducible scripts and achievements.

The American story of from ‘rags to riches’ revisited from the point of view of the body and the soul. The existential rise from despair, the understated heroism of fortitude and hope.

A variation of the American Dream, a declaration of will and purpose, and a requiem for posthumanism.

A form of prophetic insurgency, perhaps.

Marie Liénard-Yeterian

READY PLAYER ONE

READY PLAYER ONE

 

Teenage coming-of-age story the Twenty-First Century way…

Indulging in the magic that Spielberg’s works provide.

Like Scorsese’s Hugo Cabret, Ready Player One proposes some tribute to cinema

And the cultural work it provides.

An invitation NOT to play alone.

 

For the viewer who was a teenager in the 80’s, the enhanced visual pleasure of recognition: familiar references de-territorialized and re-contextualized in a virtual world—the only world when they can be found anyway, as they now belong to the world of memory only.

 

The legacy of enduring screen figures that have become new heroes and icons, King Kong leading the way for contemporary Aliens and Machines.

The thrill of the guessing game of a roman a clef :

How many references can you track down/identify/retrieve/appropriate?

Literalizing the trope of Back to the Future

The urban landscape as the SF version of Blade Runner?

 

The wonder of ET and AI combined with a topical and political agenda.

How do you live in a disenchanted world?

Withdrawing into an “oasis”

Conjuring an Illusion of power and agency into perfect shape and guise

Deploying your potential in which your ‘real’ life is now reduced to heaps of garbage or life in a cubicle (with a panopticon effect, a nod to Foucault maybe)

Fidelity centers and their new forms of enslavement.

The immature behavior of the CEO speaks to the current lack of world leadership, and an increasing regressive will for power : “Who has the biggest bomb?…”

 

Some kinship with the recent release Ghost in the Shell:

A fighting spirit and a rebellion

Resistance to the encroachment of big corporations

Reintroducing the collective dimension beyond the pervasive self-centeredness

Following the way set by the Atari Game Adventure where winning is not what matters, but playing is.

 

Attention to detail(s): the quarter that was going to be discarded is the access to a Second Life.

Look again: the curator is actually someone else

Review your hypothesis and assumptions

Revising eventually leads to the truth (and success in the contest)

 

The moral component of the fairy tale: “only the real world is real”

Shutting down the game two days a week: a plea to reinvest the places of humanity and explore its space anew—with or without the avatar(s)?

 

Reality: Augmented, repurposed.

 

Marie Liénard-Yeterian

Older posts

© 2018 Cloud and chimera

Theme by Anders NorenUp ↑