It was a quiet day yesterday. I went back to work on the painting that was once called Black Ships Ate the Sky, back in 2010, but is now called Idumea (Charles Wesley, 1793). There will be a second canvas titled Black Ships Ate the Sky. If I ever finish this one. I paint like I write poetry, which is to say very, very, very slowly, as I dither. I fret. I may post an "in progress" photo of Idumea tomorrow.
In general, the vacation is agreeing with me. Not as much sleep last night, but I feel okay.
Oh! And this is so cool. I realized, a few days back, that if one takes bow tie and runs it together as bowtie, then capitalizes the "B," creating Bowtie, and then removes the "t," what remains is Bowie. How bow tie is that?! Also bow tie, just before we went to sleep, Spooky and I discovered how cool Artimesia looks when spelled backwards: aisemitrA. How much it recalls asymmetry.
Have you not yet ordered a copy (or copies) of The Drowning Girl: A Memoir and/or Confessions of a Five-Chambered Heart? You should. Pre-orders make publishers very happy. And, in the case of the latter book, it may well sell out before publication, especially the limited edition.
Last night, Kathryn and I went to the Cable Car for a 9:45 p.m. (8:45 EST) showing of Lars von Trier's Melancholia. Gods, this film is as close to perfection as films ever come. Yes, it's ostensibly a film about a rogue planet's collision with Earth, but it's truly (as von Trier has confirmed) a film about depression. There could be no better example of the difference between truth and fact than Melancholia. This film is beautiful, and magnificent, sublime, triumphant, and terrifying. von Trier's decision to reveal the ending of the film at the beginning (same reason I included the editor's prologue at the beginning of The Red Tree), and to metaphorically recount the narrative (again at the beginning) via a dream sequence, both were strokes of genius. Melancholia is, somehow, quite different from Terrence Malick's Tree of Life, even though they share very much in common. Such as being my picks for the two best films of 2010*. Nothing even comes close to either. I greatly admire von Trier's decision to avoid a realistic depiction of astrophysics. As I have said again and again, characters are the backbone of powerful science fiction (and of all powerful fiction), not science. This is a film of wonder and beauty, as much as it is a film of sorrow and fear, and...I'm going on and on. Just see it.
* I suspect Scorsese's Hugo probably deserves to be in my best three of 2011, but a) it was released in 3D, an idiotic move, and b) I've not been able to see it in 2D.