But then again, I have big hands.
So I go for the little things,
so I can love a lot of things.
But then again, I have big hands.
So I go for the little things,
so I can love a lot of things.
& isn't that the trouble with boys
like us we keep our love trapped in
our mouths everything was full
to bursting your left hand my right
hand blissfully glutted with lambs
He loved the stars: he would speak endlessly about Orion the Hunter, Hercules, Corona Borealis, Sagittarius. If we were outside at night he would point out their locations and recite the myths and stories surrounding the flickering of those magical lights in the sky.
the floors of memory are glass, which means
the medicine isn’t working, which means
i am back on the floor, which means
it is july, which means
the cherries are in bloom
last night
before sleep
she drew pictures on my back
with her fingers
a test of my spacial recognition
I got into the liquor business at a young age, and despite what anybody might have you believe, I didn’t know what the hell I was doing. My knack for logistics was something I discovered along the way. It’s funny how successful folks like to hide a thousand mistakes behind one big breakthrough. And let me tell you, I made plenty of mistakes.
Gabriel Ricard with reviews of Deadpool 2 and films by Richard Linklater and John G. Avildsen.
My sister called me that night. I sat on my bed, with the lights off, as she talked. If I couldn’t see anything of my room, I could imagine I was home and she was talking to me from across the bedroom we’d shared all through our childhood. I could imagine she was telling me secrets about the boys she had crushes on and the teachers she hated.
Something stops you now. You said too much
& it got you into trouble. The shadow & old pain
that kept you awake shelter your feelings
of revenge.
And the black sugar
We call also ash
And the outline of stone
We say is another
Kind of desire
I can fall asleep to
the rattling of windows,
the collection of sirens growing
in Yorùbá, a father is a name &
the left hand is taboo. one cannot offer
water with the left hand or sleep
facing upward. at night, a witch
will sit on your chest. a knife tearing
into a knife.
and she wonders
if they’ve said all the words
in thirty years together
She was on her mother’s boat, wearing a floppy hat that let her long blonde hair have just enough freedom to appear wild and refined at the same time. As I grew to know her, I learned that she was exactly that: the perfect balance of wild and refined.
When we returned for breakfast, she watched with surprising disinterest as dog food bowls were filled on the counter. I guess she’d never been fed from a bowl. But when it was her turn to eat, she devoured it as though she’d never been fed at all. I noticed when we were outside that she ate dirt, and wondered if this is how she’d been surviving. “What a life,” I told Bill. He just stared quietly.
“Look at the CCTV tapes again and see who the pizza delivery man is. I think the double-chinned bastard .. oh, I beg your pardon,” Miss Klein said, looking at Hubbard, who was busy downing another doughnut.
still I could swear I sensed his tide
tugging elsewhere I suppose he felt
a need to offer me some swaying
of water so he showed me the lagoon
On Chesil Beach represents my early pick for Best Picture.
Adapting his own novella, Ian McEwan presents a heartbreakingly honest portrait of a newlywed couple and the qualities that tear them apart. Beautifully conceived by director Dominic Cooke and lensed by cinematographer Sean Bobbitt, its narrative layers naturally coalesce in this meditation on love, cultural mores, and personal sacrifice.
The chemistry between rising star Billy Howle and Saoirse Ronan—who has matured into the finest actress of her generation since she appeared in Joe Wright’s adaptation of McEwan’s Atonement—is palpable. They carry emotional weight capable of moving audiences to tears.
Anton Chekhov's play receives a serviceable, if slight, adaptation from Michael Mayer (A Home at the End of the World). He directs his ensemble cast with poise, allowing his camera to roam about the confined lakeside setting as if it were a fly on the wall. Although the film plays it safe, how the cast embody their roles is particularly captivating. Annette Bening is alternately vivacious and cruel; Saoirse Ronan is radiant; and Corey Stoll gives his best performance since his portrayal of Ernest Hemingway in Midnight in Paris. The rest of the cast add charm to this comedy’s delights.