Friday, July 31, 2009
225 days under grass
and you know more than I.
they have long taken your blood,
you are a dry stick in a basket.
is this how it works?
in this room
the hours of love
still make shadows.
when you left
you took almost
I kneel in the nights
that will not let me be.
what you were
will not happen again.
the tigers have found me
and I do not care.
Thursday, July 30, 2009
Liz and I saw the film "Cheri" today, based upon the classic novel by French feminist writer Colette. It was poorly acted at times and somewhat misguided, but decadent to watch and a thoroughly enjoyable feast for the eyes. A lavish period piece full of costumes and drama. We loved it.
Wednesday, July 29, 2009
I don’t dare look up.
I can feel his hands, always playing as if at a piano, strumming against my own
I can see his mouth
Moving silently, stammering wordlessly on things we can’t bear to say
Fingers pressed to the veins at my wrist
As if I am made of thinnest glass
A touch that reminds me of smoke
I cave inwardly
In a way that helplessness does not give accurate description to
More than being helpless
More than a loss of power
A convalescence of the will
One that we both surrendered to long ago
The film follows Lumo as she travels from her village, where she has been rejected by her fiancé, neglected by her family, and ostracized by her community, to Goma, a region in the Democratic Republic of Congo where she will receive treatment from HEAL Africa, an internationally sponsored hospital that provides services for rape survivors. Lumo will stay at the hospital for an unknown period of time until she physically and psychologically recovers from her trauma.
Although the tempo is slow, the documentary absorbs every painful detail of Lumo’s healing process. As if reflecting the pace of healing itself, the arduous and tedious speed of the film unnerves the viewer as the agony of the fistula is unmasked. Leaking urine, one of the symptoms of the fistula, cast Lumo and these other survivors into a world where they are further violated and isolated because of their condition. The cinematography is gripping. The facial portraits of the women are burned into the viewer's memory.
Central to Lumo’s message is the unflinching commentary on the lives of the women who will return to their homes after months, or sometimes years, of treatment. They will return to the world of rejection and rebel-occupied villages where they will live in danger of being raped again.
The film interacts with other components of gender domination and oppression–state violence and government officials who use victim-blaming language–to expose all facets of the cycle which perpetuate the cycle of violence against and degradation of women. In every society, in every part of the world, sexual violence is a crime against humanity. It will transform its face based on language, environment, and culture, but Lumo points out that violence against women remains the greatest commonality among all social sins, and no nation has taken steps toward absolution.
After witnessing the journey of one woman, viewers will be compelled to search for Lumo in their own community, city, town, or village. Lumo can and is everywhere. She is anywhere and everywhere violence against women persists.
-review taken from http://feministreview.blogspot.com/
-link to actual website for LUMO: http://www.gomafilmproject.org/
Monday, July 20, 2009
I am my father's daughter, and I am not afraid of anything."
Thursday, July 16, 2009
Wednesday, July 15, 2009
"To stab my youth with desperate knives, to wear
This paltry age's gaudy livery,
To let each base hand filch my treasury,
To mesh my soul within a woman's hair,
And be mere Fortune's lackeyed groom, - I swear
I love it not! these things are less to me
Than the thin foam that frets upon the sea,
Less than the thistledown of summer air
Which hath no seed: better to stand aloof
Far from these slanderous fools who mock my life
Knowing me not, better the lowliest roof
Fit for the meanest hind to sojourn in,
Than to go back to that hoarse cave of strife
Where my white soul first kissed the mouth of sin."
From BBC World News: A Cornish beach thought to have inspired Virginia Woolf's novel To The Lighthouse has been sold for £80,000.
A private buyer from London, who is originally from Cornwall, bought Upton Towans beach in Gwithian at auction.
The Hall for Cornwall theatre in Truro will receive the proceeds as previous owner Dennis Arbon said he wanted the sale to benefit the people of Cornwall.
The buyer is understood to be keen to keep the 76-acre area unspoilt. There are also planning curbs on development.
Tim Brinkman of the Hall for Cornwall said: "I'm absolutely delighted. It's a great fillip for the theatre."
As a child, Virginia Woolf spent many holidays in a St Ives guest house from which she could see the lighthouse on Godrevy Island.
Although her 1927 novel is set in the Hebrides, the author used her recollections from childhood as inspiration for her most famous novel.
-To The Lighthouse
Monday, July 13, 2009
The peril’s and tragedies, endless tirades of crying, and cat-eye eyeliner, define the world of these comic book ladies.
I think we can all agree that women are emotional roller coasters with no compass or gauge on reality. That’s just a given.
But a handy guide like this can further explain the intricate workings of a female heart and it’s cause for so much damn crying. The reasons for these meltdowns? Well, it should be obvious now shouldn't it? Just look at what we, as delicate women the world over, have to deal with:
misplaced maternal expectation
Glaringly suspicious tendency of boyfriend to prefer African elephants over you.
hearts breaking like twigs at any emotional infraction. Example: breaking a nail, boyfriend not opening car door with a big enough smile.
further spiral into depression because her favorite dress was worn by sworn enemy, Ruthie MgGiggins at school function.
girlish dreams of being eternally wrinkle-free are dashed to the rocks by eminent future through viewing of mother.
always being a bridesmaid and possessing a propensity for rash generalizations
guilt from end of relationship due to obvious personal flaws. Example: lipstick occasionally smudged, laugh not resembling silver bells ringing, desire to spend more time reading than ironing
Being rejected by a man, in the rain, after you've tripped. That's just awful.
wishing you didn't have hideous "my little brother burnt my Barbie" hair and unusually squiggly eyebrows; in comparison to the dashing, seductive, Elvira-type lady in green.
Images extracted from The Easily Mused blog
Friday, July 10, 2009
Wired: Dinochicken—walk me through the concept.
Jack Horner: Birds are descendants of dinosaurs. They carry their DNA. So in its early stages, a chicken embryo will develop dinosaur traits like a long tail, teeth, and three-fingered hands. If you can find the genes that cancel the tail and fuse the fingers to build a wing—and turn those genes off—you can grow animals with dinosaur characteristics.
Wired: It's a romantic idea, that dinosaurs can live on in bird form.
Horner: Dinosaurs are not extinct; they're still with us in this sense. Birds look different, but it's all cosmetic. By tweaking some genes, we can bring out the underlying similarities. Yes, it's a wild plan, but I like to think about things backwards.
Wired: You were a consultant on Jurrasic Park.... Should we be worried here?
Horner: Look, it's not like dinochicken will overrun the world. If he mates with a chicken, you still get a chicken. Eventually we might make animals that look more like dinosaurs, but we won't have velociraptors on the loose.
Wired: Thorny ethical issues?
Horner: If you think we're playing God, maybe. But we're already modifying plants and mice. I don't see a lot of people jumping up and down complaining about better tomatoes.
Wired: Are you getting flak from other researchers?
Horner: Scientists who play by someone else's rules don't have much chance of making discoveries.
Wired: The initial funding came out of your own pocket. Is money an issue?
Horner: It shouldn't cost more than a couple million dollars. That isn't a heck of a lot of money when it comes to big science.
Wired: What's the upside? What do you hope to gain from this?
Horner: Ultimately, we hope it can lead to a cure for genetic defects. Once we understand just how to control genes, we have the potential for spinal cord regeneration, bone regeneration, and so on. It might also give us plumper chickens.
Wired: It would certainly prove the creationists dead wrong.
Horner: Religion is about faith, not evidence. Comparing science and religion isn't like comparing apples and oranges—it's more like apples and sewing machines.
Wired: In your book, you envision getting dinochicken a spot on Oprah. Why?
Horner: The creature would be its own sound bite. It'll go a long way toward convincing people that we can learn a lot from this sort of experimentation—about biology, development, evolution. Otherwise we're just a bunch of wild scientists building monsters in our laboratories.
-taken from Wired magazine
Thursday, July 9, 2009
Monday, July 6, 2009
I knew a woman, lovely in her bones,
When small birds sighed, she would sigh back at them;
I'm martyr to a motion not my own;
What's freedom for?
To know eternity.
I swear she cast a shadow white as stone.
But who would count eternity in days?
These old bones live to learn her wanton ways
(I measure time by how a body sways.)