Saturday, 31 December 2011

Seconds Apart (2011)

9/10 | IMDb | Antonio Negret

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The moment the girl in the picture above appeared, I knew I wasn't watching your average horror movie. She reminded me of a girl I had a crush on high school which is to say she didn't look better suited to porn. She wasn't your average horror movie babe and in retrospect that's what I found so interesting about her. She wound up representing the movie as a whole which was gripping and frightening albeit not in the usual way. Also, there's one moment at the end, ugh, I can't get it out of my head. It's so gross. I won't spoil it.

Super (2010)

8/10 | IMDb | James Gunn

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"Super" is about what would happen if an ordinary man became a superhero, as well as what kind of person that man might be. James Gunn imagines him as schizotypal - aloof, friendless, humorless, psychotic. Frank (Rainn Wilson) adopts an alter ego not because of an enforced narrative overlay but because of his pathology.

Ellen Page enters the picture as a comic book shop clerk. Frank, who is in the process of inventing his alter ego, looking for weapons ideas, asks her for comics about superheroes without powers. She's eager to oblige. Before we know it, she charms the pants off us, if not him. She's the only character in the whole movie who we like and will ever like.

Frank becomes a superhero at last. He dresses in red and whacks people on the head with a bolt wrench. The news runs a story on this new "real life superhero." Page sees it and wonders, could it be Frank? She appears at his workplace. She wonders aloud about the whole situation. She comes close to him. She's coy. She's lost in his gaze. She can't stop smiling. She asks if it's him. He denies.

Frank, in character, is shot. With no one else to turn to, he turns to her, showing up at her door. She takes him in and patches up the wound. He spends the night. She asks if she can be his sidekick. He hesitates but in the end agrees.

She never had any interest in stopping crime, it turns out. She only wanted to murder people. She was a psychopath all along. Frank doesn't hold this against her. She remains his sidekick. After all, isn't she just another sad person in a sad, sad world?

The Girl Who Played with Fire (2009)

7/10 | IMDb | Daniel Alfredson

The "Girl..." movies are pop thrillers about a reclusive introverted antisocial bisexual computer hacker with a troubled past. I like her for the same reasons I like the Suicide Girls. There's something sexy, I think, about girls who ruin themselves with tattoos, piercings and bad haircuts and who make out with other girls. I'm not sure that I like these movies for the reasons that I'm supposed to like them due to what I percieve as an apparent (and baffling) disinterest in Lisbeth on the behalf of the writers and directors as a sex object (though according to articles I've read Fincher may have corrected this) but I like them anyway.

The Bourne Trilogy (2002, 2004 and 2007)

6/10 | IMDb | The Bourne Identity | Doug Liman

0/10 | IMDb | The Bourne Supremacy | Paul Greengrass

0/10 | IMDb | The Bourne Ultimatum | Paul Greengrass

My dad maintains that Robert Ludlum's The Bourne Identity is the best book he's read. I haven't read it but I wouldn't like it because I don't like Robert Ludlum. His books are 2000 words a day of plot, intrigue and violence. Todd pointed out that books I like are the opposite of the movies I like and there's truth to that. I read my dad's books when I was a kid, but only because I liked the idea of reading them. I think what I might have been doing was trying to connect with my dad in some way.

I liked Liman's adaptation of Ludlum's first Bourne novel more than I did any of Ludlum's books. "Identity" is never better than its first third. The amnesiac protagonist (nameless at first) struggles to piece together his titular identity and discovers things that raise only more questions for him. We know he's a secret agent, but the fun is seeing him realise this. In one scene, he's asleep on a park bench, then is suddenly awoken by bothersome police. He dispatches of them with martial arts skills he didn't even know he had, then is dumbstruck by what he's done. The film becomes less interesting once he's more or less pieced together the puzzle, but it doesn't stop being entertaining.

The subsequent two films were garbage in my opinion. There was no need for the camera to be always zooming in and out and waving all around I thought and the cuts were far too frequent (this, coming from a Michael Bay fan!). I gave up on both of them about fifteen minutes in and left them on in the background so I could rate them without feeling guilty. The dialogue and sound effects were good.

Saturday, 24 December 2011

Movie Round-Up III

7/10 | Mimic | Guillermo del Toro

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    I like Jeremy Northam. He's vague. He does a good job of disappearing into movies more about mood than characters. In this sense, he's perfect for "Mimic," an X-Files episode by way of Kiyoshi Kurosawa. I'll forget it in a week, but I loved watching it.
     

7/10 | Mother's Day | Darren Lynn Bousman

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    We don't like remakes because our expectations are heightened by the source material. The average remake is no worse than the average film, but it's hard to not be bothered by even a good remake if it falls short of an eminent original. We have expectations of a movie before we watch it. This is not conscious. It seems as if we just become aware of our like or dislike of a movie rather than make an active decision, but this is not so. We subconciously determine a value judgment of each movie we watch based on our expectations. If it meets them then it's good, if it doesn't then it's bad and if it trumps them then it's great. More often than not, we know the potential of the premise of a remake - we've seen it for ourselves, in the original - and in these cases we expect the remake to also be great, if only because of the gaps in our understanding of the reasons for the success of the original. This affects our value judgments: films that ought to satisfy us disappoint us because they're remakes.
               We can agree that a movie picked at random has as much chance of being great as another movie picked at random. We can also agree that remakes tend to be of great movies. We can't agree, though we should, that a remake of a great movie has about as much chance of being great as a movie picked at random. We think that the remake has more potential because the original has proven it. There's a marginal difference, sure, but it's so slight that it doesn't even matter, not nearly as much as the cast and crew involved.
     
4/10 | Friends with Benefits | Will Gluck
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    I surfed the web while this was on. I paid attention to a few bits. They weren't so good.
     
    8/10 | Con Air | Simon West Image
      It was good.

      Wednesday, 21 December 2011

      Movie Round-Up II

      6/10 | Walk Hard | Jake Kasdan

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        If we take only one thing from the film's best scene, it's that John C. Reilly's expression says it all.

      8/10 | The Girl with the Dragon Tattoo | Niels Arden Oplev

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        In the end, my eyes were tired from reading the subtitles.

      5/10 | Hot Fuzz | Edgar Wright

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        My partner asked me what my favorite film was. I thought about it and, to my surprise, I couldn't settle on just one. The bad seafood then came back to haunt me and I threw up all over both of us.

      9/10 | Raiders of the Lost Ark | Steven Spielberg

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        Spielberg's film raises an interesting question: was Hitler wrong, or has society just conditioned us to think so?

      8/10 | RoboCop | Paul Verhoeven

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        We, as viewers, can't help but imagine ourselves as Robocop, finishing what Hitler started.

      Movie Round-Up

      7/10 | The Invention of Lying | Ricky Gervais

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        Starring Ricky Gervais.

      7/10 | Gone Baby Gone | Ben Affleck

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        Based on the novel by Dennis Lehane.

      10/10 | Hollow Man | Paul Verhoeven

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        From the director of "Starship Troopers."

      5/10 | Pathology | Marc Schölermann

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        Can Jake win this deadly game?

      8/10 | Stuck |Stuart Gordon

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        Edge-of-your-seat thrills.

      10/10 | Dahmer | David Jacobson

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        Based on a true story.

      Friday, 9 December 2011

      Fight Club

      1.

      I sat at my office desk. My boss peered over my cubicle.

      “I hope all your work is done,” he said seriously.

      “Uh... sure, man!”

      “Good, good work.”

      He reached over and tousled my hair.

      I grinned a wide, wide smile, closed my eyes and moaned, “Don't stop....”

      He retracted his hand and gave me a queer look.

      “Back to work there,” he said, and quickly strode away.

      2.

      I looked around my apartment.

      “I'm so disillusioned!” I said aloud.

      “Shut up!” said my neighbour, through the wall.

      3.

      At the airport, a strange man appeared.

      “The name's Tyler,” he said. We shook hands and each did a jig. “Hey, we ought to start a Fight Club, one of these days.”

      “Sure,” I said. “Don't use it for terrorism, though!”

      We both laughed.

      4.

      Tyler instructed the men.

      “There are many rules of Fight Club! The first rule is that cell phones must be turned off. The second rule is no unruly behavior. The third rule is to stay away from the fireplace. I wrote down several more rules but they were burnt in the fireplace.”

      “Tyler!” said one of the men. “Can we fight yet?”

      Tyler laughed. Everyone laughed along with him.

      “Sometimes it is good to laugh,” said Tyler.

      5.

      Who knows what became of the Fight Club?

      Nobody.

      Sunday, 4 December 2011

      04-12-11

      I want to try to explain something that, for as long as I've been depressed, I've struggled to explain.

      I hate working. I quit my job because I can't keep forcing myself to do something that I hate so much. I've tried to explain this to people but the response is always something like, “I have days when I hate my job too, but I  go anyway because I have to.” I understand their point of view. I used to be like them but I'm not any more, and that's what they don't understand.

      Before the depression hit, my emotions guided me. I was pulled towards the things that I liked. I was repelled by the things that I didn't. It was simple.

      I liked the friends I had. I liked talking to them. I liked making them laugh. We had mutual interests. It was all reciprocal. We spent time together because we liked it.

      I did the things I did because I liked doing them. I liked watching movies. I liked playing video games. I liked writing songs. I was pulled toward those things because I liked them.

      Similarly, I didn't do the things that I didn't like. I didn't play sports because I didn't like sports. I didn't play chess because I didn't like chess. I didn't hang out with the kids who weren't my friends because I didn't like them as much as I liked my friends. I was repelled by those things because I didn't like them.

      I can remember days when I didn't want to go to school, or when I didn't want to do to my homework. But it was different then. At least then, there were things about school that I liked, like my friends, or there was something to look forward to once I'd finished my homework – TV, video games, whatever.

      When the depression hit, all of a sudden, I didn't like anything. My internal compass was going round and round in circles. I had no drive, no impetus, because I didn't like anything, so I didn't gravitate toward anything, and I was repelled by everything.

      It's been like that ever since.

      Now I don't interact with the world based on what I like and dislike – which is what every sane person does – but rather based on what is bearable and what is unbearable. It's all bad, I can just tolerate some of it.

      I don't feel bad about not having friends now because I know that that's more than I can handle. It's just too horrible for me, the process of making and keeping them. When I'm around people, I feel awful. I can't change that. I don't have to beat myself up over my reclusiveness now because I accept that I don't have any other choice.

      I don't feel so guilty about not being able to work any more. I acknowledge and accept that work is more than I can bear. The challenge is convincing other people of that, trying to explain to people why that is.

      I'm sure that what's happened to me can't be reversed. I've accepted my fate as best I can. I'm not looking for a cure, but rather to live a life that is bearable.

      I've said it as well as I think I can say it, which is not very well. I did some drawings. I think they will make things clearer.


      Wednesday, 30 November 2011

      30-11-11

      Suicide doesn't make any sense. People who consider suicide do so only because they're thinking about it in the wrong way.

      Depressed people want their suffering to end. Suicide makes sense as a solution because suicide will end their suffering. But depressed people don't really want their suffering to end. What they really want is for their unhappiness to change into happiness.

      Imagine that you're at school. You don't want to get bad grades, so to make sure of this, you drop out. You definitely won't get bad grades if you get no grades at all.

      It does technically solve the problem, but only because the problem was ill-defined. It wasn't that you didn't want to get bad grades: it was really that you wanted to get good grades. Suddenly, it becomes clear that dropping out of school was not a solution at all. Though it did ensure that you didn't get bad grades, it also prevented you from getting good grades, which is what you really wanted.

      To say that depressed people want their suffering to end is wrong. What they really want is for their unhappiness to turn into happiness. When you think about it this way, you realize that suicide will not help them get what they want at all. They misunderstand their own problem. The language itself is the source of the confusion.

      Sunday, 27 November 2011

      NEW SONG DAY

      I re-wrote Walking Distance, for anyone interested.

      http://soundcloud.com/mister-cheech/walking-distance

      28-11-11

      I took today off work. I need time alone. I hate work. I can't do it any more. I can't tell you what it's like because you'll never believe me. Everyone thinks that I should stop feeling sorry for myself, but they just don't get it. I used to be like them. I lived it for  sixteen years. It's so different now. I can't explain it. It's like if you saw a color that no one else had ever seen and you then tried to describe it. It's like that.

      Thursday, 17 November 2011

      18/11/11

      An interesting email exchange I had.



      James,

      Just writing to say how much I enjoy your blog. Quick question - should I take up smoking?

      - Sandra




      Sandra,

      I wouldn't, if I were you. Quitting is one of the hardest things you can do.

      - James

      P.S. Are you hot? If so, send me some pics.



      James,

      I almost took your advice, but in the end, I wanted to be seen as "cool."

      - Sandra

      P.S. Pics are attached.



      Sandra,

      Wow, you're smokin'!

      That's a pun.

      Though you really shouldn't have taken up the habit, I respect your decision and I agree that cigarettes are cool.

      I remember when I started smoking. All the kids at school thought I was the "hot stuff." To illustrate my point, let me tell you about this thing that happened to me in math class.

      The teacher asked me for the answer to some problem.

      "Hmm..." I wondered, and I furrowed my brow and thought vainly.

      Then...

      ...all the kids began to chant my name.

      "James! James! James! James!"

      I took heed. I straightened up. I thought more deeply than I'd ever thought. I lit a Marlboro Lite and sucked some sweet smoke down into my lungs. The chanting grew louder and I was in Marlboro land (country?).

      "JAMES! JAMES! JAMES! JAMES!" they screamed, like little apes.

      The answer came. "X, over 12, plus a million!"

      They all cheered.

      Oh boy did that take me back...

      Anyway.

      Great pics. Nice puss. Let's meet.

      - James



      James,

      How about at [address removed], 7pm tomorrow?

      - Sandra



      Sandra,

      Sounds great. See you there.

      - James



      James,

      My head is still spinning! Thank you so much for such a wonderful evening. Let's meet up again!

      - Sandra


      Sandra,

      Let's not, for the following reasons:

      1. You are a conniving whore.

      2. Your photographs were a scam. You clearly chose your best angles because from other perspectives you are less attractive.

      3. You dress like a common slut.

      4. I suppose you just "forgot" to mention that your voice has a tinny quality to it.

      Don't contact me again.

      - James

      Tuesday, 15 November 2011

      "BOARD" TO DEATH

      A parody by James Ian McKenzie.


      (Jason Schwartzman and Zach Galifianakis are throwing babies out the window. Ted Danson enters.)

      Danson: "I have a case for you! Someone's throwing all these babies out the window!"

      (Schwartzman and Galifianakis give each other guilty looks.)

      Schwartzman: "Uh.... before I reply to what you said I must answer my phone. It's, uh, Ted Danson."

      Danson: "I'm Ted Danson!"

      Schwartzman: "No, the other Ted Danson."

      Danson: "Who's that...???"

      Schwartzman: "I met him at the... uh... the moon."

      Danson: "You've not been to the moon!"

      Schwartzman: "I went there before you know me. You might say I went many 'moons' ago."

      Danson: "Prove it!"

      Schwartzman: "I will, after I take this phone call from Joan Jett."

      Danson: "Why would she call you?'

      Schwartzman: "Because... uh... no, that was a joke! It's actually my friend... Jack... Jackson."

      Danson: "Jack Jackson?"

      Schwartzman: "You know... Edgar's... niece...?"

      Danson: "Who's Edgar?"

      Schwartzman: "You know... the guy who invented the telephone."

      Danson: "That was Alexander Graham Bell."

      Schwartzman: "Did I say the telephone? I meant... corn."

      Danson: "Nobody invented corn."

      Schwartzman: "Tell him that! Ha ha ha... okay, now I need to get to my appointment."

      Danson: "Appointment? I thought you had to answer the phone!"

      Schwartzman: "Oh! You got me! Now, where's all that money you promised me earlier!"

      Danson: "What??"

      Schwartzman: "You promised me ten thousand... I mean one million dollars."

      Danson: "When did I promise you that?"

      Schwartzman: "Oh, a few weeks ago. You must have forgot."

      Danson: "I didn't forget! That never happened!"

      Schwartzman: "Everyone forgets."

      Danson: "I wouldn't forget something so important!"

      Schwartzman: "Oh yeah? Well... what year is it?"

      Danson: "2011."

      Schwartzman: "Wrong! It's... uh, 1766!"

      Danson: "No it's not! Why is all this technology around then?"

      Schwartzman: "There's no such thing as technology yet! You're losing your mind! You're seeing things. Like this computer here. It's just a hallucination!"

      Danson: "Then why can you see it?"

      Schwartzman: "What are you even saying? I can't understand because I'm... French."

      Danson: "What?"

      Schwartzman: "We're all in France all of a sudden!"

      Danson: "No we're not! Why are you saying these things?"

      Schwartzman: "Oh no, look, there's a big... eclipse outside! I better run away so I can have a look at it!"

      Danson: "What?? ...wait, did you throw the babies out the window?"

      Schwartzman: "What you say? I only know French! Bonjour! Oui madam! Goodbye!"

      (Schwartzman runs away.)

      Danson: "Hmm."

      Sunday, 23 October 2011

      23/10/11

      Red Bar Radio is my favorite podcast and the host, Mike David, is the funniest guy ever.

      I discovered him maybe six months after I stopped working. I thought he was hilarious. I also thought there was something evil about him.

      I've thought that it might have been my emotional state at the time, but I really don't think that's it. Sure, I hated myself and I was drinking thirty cups of coffee a day, but nothing else gave me that same feeling. There was no one else that I admired and hated at the same time in that way. It's very difficult to explain.

      I'm over that. Now I look up to him. I see who he is and what he's achieved and I want to be that. He's what I'm working towards. Nothing has hit me as hard as he has. He's the only thing in my life that has remained stable in my chaotic life. He's hard working, independently wealthy, creative for a living, and I want to be that. He's the reason I want to profit from my music. What I've learned from Mike is that I can't just be a shit - I can't just be narcissistic without cause; I can't lose myself in esoteric delusion; I have to achieve something.

      In the most recent five (or so) episodes, he was talking about something that eventually reached a critical mass with a single sentence that I hope to fucking God is fucking true because if it isn't I swear I'll blow my fucking brains out: if you keep doing what you love, and people like it, the money will come.

      I think I know why I thought he was evil. He made it very clear (and I'm sure this is what it was) that you have to horrible things to get what you want. That scared me.

      What I want is to make music for a living. I don't want to spend my life working a job I hate. I want to do what I love. If I can't, I'll go crazy.

      Mike does what I want to do. He makes his money on his own terms. He has explained on his show, in as many words, how to get what you want. Here's what it is.

      Numer one: figure out who you are, what you want, and how to get it. Number two, go after it. You can't hate yourself for it.You can't let the fear of judgement and failure paralyse you. You have to believe that you deserve what you want.

      If you're creative, nobody you ever meet will believe that you can profit from what you love until you have the money to show for it. After all, doing what you love is entirely antithetical to the idea of "work." You're not supposed to love your job. Otherwise, why would they pay you for it? But money affords you time. If I made music for a living, I would have all day every day to make music. That's what it comes down to. Mike is living proof that people are wrong, that work doesn't have to be horrible, that you can have what you want. He's also honest, though, about how horrible the process of getting to that place is. That's what scared me about him. He was, and still is, telling the truth.

      Saturday, 15 October 2011

      NIGHTMARE

      (ERICA)

      SUMMER OF FEAR

      I don't remember what the dream was about but I remember after: I was scared. It happened about four or five times before I started to remember them.

      LESS THAN ZERO

      I was having profound thoughts about how little time we have on this earth on the couch opposite Derek, my dealer. We were getting high.

      "I could fall asleep right now," he said. "I shouldn't have taken that Valium."

      "Don't fall asleep," I said. "You have some speed around here, surely?"

      "Yeah, I don't like speed..." another bong hit (inhale, exhale) "...a friend of mine died. He was murdered by his missus."

      "That cannot be true!" I said, in genuine disbelief.

      "Yeah. It is. Knifed to death. Can you believe it?"

      "No!"

      DOWN TO THE BONE

      I was at work with a girl I hardly knew. We were working. I was thinking. I was stocking the drinks. She was doing the cigarette order. A customer came in. I let her have him. I hadn't said a word for about an hour. I didn't want to talk to anyone.

      "Hi, how you doing?" she said.

      "Just the fuel."

      She punched buttons and told him the price. He gave her a note. She popped the till and gave him the change.

      "Thanks."

      "See ya."

      He left.

      I said, "are you getting tired?"

      "Not really." She looked for her paperwork and found it. "I had three iced coffees."

      "Coffee gives me headaches."

      LIMITLESS

      Derek and I watched TV. He gave me a bottle of Ritalin and I knew this was a kind of goodbye, so I told him I didn't want to leave, then I watched more TV with him. He told me he was tired, and I said "fine, I'll leave," and I left.

      I felt shitty on the drive home. I took a couple of Ritalin, not because I felt shitty, but because I like Ritalin. I got home, showered, fingered myself and fantasied about fucking Derek. I toweled off, got dressed, put some music on, turned the volume up then played video games until the sun rose.


      (DAVE)

      IT'S PAT

      At the library, where I worked, I sipped on coffee. A homeless man was on the couch reading A Farewell to Arms by Hemingway. He looked as if he was about to fall asleep.

      I was thinking about my novel. I'd had the plot and most scenes for a while but I'd never been able to put it on the page.

      MY BLUE HEAVEN

      Katie, my girfriend, wondered aloud about what take-out to order: "Thai...? Chinese food...? Pizza...?"

      "Pizza."

      "Hmm I had my heart set on Chinese food."

      "I feel like pizza, but I will settle for Chinese food."

      "I suddenly feel like pizza... mmm... a nice pizza... a nice pizza right down in my belly!"

      X: THE MAN WITH THE X-RAY EYES

      I dreamt that I was in Las Vegas, on an acid trip: the lights and sounds were overwhelming, I was euphoric, there was some paranoia and terror.

      I woke at around about 3am.

      At the laptop, I typed. The novel wrote itself. All the scenes and characters I'd seen in my head came out exactly as I'd imagined them.

      The words stared back at me from the computer screen. The clock said it was 4:30. I knew it wasn't possible, but it had happened. I'd written an entire novel in one and a half hours.


      (ERICA)

      THE NINES


      I read through the comic books I had under my bed and remembered the things from my past that they reminded me of and laughed and smiled, then realised if someone saw me I would have looked insane so I stopped.

      I put some music on and on my bed I closed my eyes and lost myself in the music. "The World Has Turned and Left Me Here" by Weezer played and I remembered an old boyfriend of mine did a cover of it on his guitar and I remembered what a cunt he was. The lyrics were profound to me for reasons I couldn't discern.

      FUNNY HA HA

      (Dream)

      I was at the boarding school I went to.

      I was talking in the abstract to friends, people I knew, but people I've not met in real life. We weren't saying words to each other: we were just going through the motions of talking.

      I hated boarding school and all of a sudden I realized this and panicked and escaped in a vague blur and looked over a railing at water on a boat travelling the sea.

      I was under the influence of some drug(s?). Not weed, not speed, not psychedelics. Probably benzos, maybe painkillers, maybe (though I've never done it) heroin. I was numb and buzzed. Someone called to me. I looked over water, to see a familiar face, a new friend.

      "Lance," I cried, and it is only because I said his name that I knew it.

      He wore glasses and flannel. He was cute.

      He said something about TV - I heard no specifics, no words at all, but I did get the gist of it, that he wanted me to watch TV with him, so I followed him inside.

      The interior was surreal. The colors were very warm and organic, like the boat was not manmade.

      Two others were watching television, one guy who I called Hemingway and another girl who Lance cuddled in a way that, in the midst of all of this mysteriousness, seemed animalistic, schizophrenic, but things adjusted (I don't know how to explain it better) and the cuddle was suddenly normal. Hemingway gestured for me to lay beside him and I felt a profound sexuality when I did, like we either had fucked or would fuck: I had that feeling you get in sex dreams, of being turned on, even if the person you will fuck later in the dream is not necessarily attractive.

      Everyone was watching television and I was too, I suppose, but because it was a dream I was not engaged in watching television, I was just aware that I was performing the act of watching television.

      We went to the sleeping quarters as if carried by an external force, while talking. I was aware that we were talking but not of the conversation itself. Lance and his girl were there then gone, and I was in bed watching TV with Hemingway and the lights were dimming.


      (DAVE)

      GHOSTBUSTERS


      Katie wasn't there.

      It was dark. The alarm clock was turned off.

      I called her mobile. I heard it ring on the nightstand. Fuck.

      I looked around for her, like she was my keys.

      "Katie?"

      (looking, looking)

      "Where the fuck are you?"

      (...)

      I tried to turn the light on. No power.

      I went downstairs. The street lamps were off. Everything was quiet, like I'd gone deaf.

      "Katie?" I said aloud.

      I wondered if I was dreaming. I pinched myself to see if I'd wake. Nope. No luck.

      "Katie?"

      There was no Katie anymore. Katie was gone.


      (ERICA)

      THE LANGOLIERS


      I almost believed I wasn't scared.

      As far as I could tell, it (the whole city) was empty. I heard only my thoughts. There were no cars. No insects. None of that weird mechanical/electronic buzzing you sometimes hear at odd hours of the night.

      I walked and looked around and remembered when someone told me Detroit was like this and how I really wanted to go there, to poke around empty office buildings and smash windows and so on.

      I saw a pharmacy.

      I threw a trashcan at its front glass window. It bounced off and flung toward me. I ducked. It hit the curb and rolled away. I was scared, like I'd almost died. I couldn't control the shakes.

      I found a side window. I wrapped my top around my fist and, just in a bra now, feeling exposed though no one was around, punched through it. The wait was killing me.

      I climbed in and cut myself in a few places. There were shelves upon shelves of pharmaceuticals. I couldn't decide. Uppers? Downers? I found speed, then Xanax. I got a bottle of water from the fridge and washed some of each down. I got to work filling a plastic bag with anything that would get me high. Things only got benzo-vague after I left (from the front door, unlockable from the inside).


      (DAVE)

      PAUL BLART: MALL COP

      A figure emerged from the distance. It waved. He waved. It was a he.

      And she.

      Two people.

      She didn't wave. She stuck close by him.

      I waved back.

      We met in the middle.

      "Lance," he said, introducing himself.

      (This seemed familiar somehow.)

      "Dave," I said, introducing myself.

      "She's Laura," he said, gesturing to her.

      (Me) "Hi."

      (Laura) "..."

      (Lance) "So..."

      (Me) "Everyone is gone."

      (Lance) "No kidding. No power either. We went to Woolworths and got potato chips. They had meat but I didn't want to touch it."

      (Me) "Yeah, who knows how long we slept."

      (Lance) "Where are you going?"

      (Me) "I don't know. The coast?"

      A LIFE LESS ORDINARY

      (Lance) "I worked at Bunnings. Shit job. I don't miss it. But all the people. I could go insane thinking about how I'm not gonna see them again."

      (Me) "I'm already insane."

      (Lance) "You're not. Listen. You got to trust that when I say something, you're not hearing yourself talk. I'm a different person with a different point of view. I'm talking from different experiences. I got a different life behind me. If we all start thinking we're nuts, we're gonna waste away and die. This is happening. We're not crazy. This is real."

      DAWN OF THE DEAD (2004 remake)

      We gathered bits and pieces from a mall and cooked ourselves a meal. We decided that's where we'd stay. We laid on beds at Capt'n Snooze. We talked as we got tired.

      (Me) "Do you remember Charlie Sheen? His... manic episode... whatever it was...?"

      (Lance) "Sure."

      (Me) "I was thinking about this. The thing that really struck me about that, the thing that really got me thinking, was 'Sheen's Korner.' Do you remember?"

      (Lance) "No."

      (Me) "They were these videos, nothing interesting: Sheen and his friends all coked up, saying nonsense. What was interesting, to me, was the misspelling of Korner: a K instead of a C. It was so unnecessary and bizarre, like a crude parody of how store and brand names are rife with intentional misspellings. The sign on the way in here got me thinking about this. 'Capt'n Snooze.' The apostrophe, the missing 'i.' I was bothered by it. It's all redundant now that everyone is gone, needless to say."

      BILLY MADISON

      I woke. It was still dark. Lance was asleep. Laura was awake. She was reading Cujo.

      (Me) "Morning."

      (Laura) "..."

      (Me) "You don't say much."


      (ERICA)

      THE BLACKOUT


      Enough time should have passed for the sun to have risen by now, I thought, but it's still night.

      In a haze of benzos and painkillers, I ate a cold pie on the floor of a bakery. I hadn't slept for a while.

      Maybe I had been sleeping. Maybe I just didn't know it. I had been lying down a lot. It was entirely possible that I'd been falling asleep and waking up without realising. It's all very vague. Some things I remember clearly but there are a lot of gaps. Maybe I kept crossing the benzo threshold. Maybe I kept losing my ability to make new memories.

      In retrospect, I'm surprised I didn't die. Pills, in the right (or rather, wrong) combination, are lethal, which I know because of Heath Ledger. I was lucky.


      (DAVE)

      THE SEARCHERS


      We decided we couldn't stay. We had to look for others. So we walked.

      SUPER HIGH ME

      Quietness. Emptiness. Silence between us. Just footsteps.

      I saw her.

      She was retarded or insane or drugged up or something. She noticed us. I called out to her, by name, "Erica!"

      The lyrics of an old song by an acclaimed, reknowned and wealthy musician played in my head: "you looked like a boy Erica, you looked like a boy..."

      She turned and approached us. Her gait was odd. She ran briefly, then walked, then ran again.

      "Hemingway!" She shouted. "What... the fuck... is going... on?"

      (Me) "Are you alright?"

      (Erica) "No! No, I'm not alright, what do you think...??? You think I'm alright?"

      (Me) "Are you drunk?"

      (Laura) "..."

      (Erica) "No!"

      (Me) "What's in the bag?"

      (Erica) "Ah, you know... stuff?"

      (Me) "What stuff?"

      (Erica) "Ah..." (suddenly confident) "Clothes!"

      (Me) "It sure doesn't look like clothes."

      (Erica, resigned, exhausted with the facade) "Look, okay, it's pills, okay... I'm a druggie, okay... I know. I know."

      (Me) "..."

      (Erica) "What is going on?"

      (Me) "..."

      (Erica) "I've gone crazy!?!?!?"

      (Me) "Well, no..." (though she had) "...the world has ended. I think. Everyone IS gone."

      (Erica) "Fuck! I want to wake up! I don't like this dream!"

      We had to take her. I didn't know whether to let her keep drugging herself, or to have her go through withdrawals. I settled on the former. It was the lesser of two evils.

      A NIGHTMARE ON ELM STREET

      At no point did I see the stars or the moon.

      I became convinced that we (i.e. me, Lance, Laura, Erica) were the only people left because we'd seen no one in days. We slept where the food was. Erica kept saying it was a dream. It took time but I realised she wasn't crazy and I realised what she meant. This was her dream, in the same sense that it was my novel.

      DO THE RIGHT THING

      (Me) "I can hear the waves crashing on the shore."

      (Lance) "It is odd what you can hear when there are no other sounds."

      (Erica) "The boat..."

      (Me) "Yeah, the boat. And television."

      (Erica) "Televisions everywhere. In the main room. In our sleeping quarters. We the only people. Or were we? I can't remember."

      (Me) "There was the staff. But other survivors... no. I don't think so."

      (Lance) "There was Tom. Do you remember Tom?"

      (Erica) "No."

      (Me) "Who's Tom?!?!?!"

      (Erica) "Good question..."

      (Lance) "I'm fucking with you. You're insane."

      (Erica) "I hope not. I liked the boat."

      The city smelled of rot.


      (ERICA)

      TRANSFORMERS: DARK OF THE MOON


      It was at the end of the pier, the boat. A uniformed lady told us to come inside, so we did. A hallway. Mirrors ran up and down both sides, left and right. Small cameras, with rings of glowing green light around their lenses, followed us. Hundreds of unseen eyes were focused on me, I knew this: after days of being unwatched, I couldn't help but notice the shift back to normalcy; I had become, again, an object for others.

      The doors at the end of the hallway slid open fast (like Star Trek) to reveal familiar psychedelic nature-on-acid colors. More mirrors and cameras. More invisible, watchful eyes. There was a moment of inertia and the boat set sail.

      We were pulled, somehow, through other rooms. The other three looked worried. I was buzzed. I didn't mind.

      Through a door: a small room, bald men, eight of them, two with glasses, taking notes. Through a door: couches, abstract paintings, a window looking out the the ocean (the shoreline was floating away). Through a door: a buffet (enough to feed hundreds), tables and chairs (more than you've ever seen in one room), and aside from us, empty.

      We ate.

      INGLOURIOUS BASTERDS

      Talking head (male): "Nixon was, I think, a very misunderstood President. He broke the law, yes, but you'll find that every modern President has, in some way. He prolonged Vietnam, yes, but he also ended it. He was flawed, yes, but he also was brilliant. We make a mistake, I think, when we critique our politicians like we do our pop culture: our television shows, our books, our films. We ought to be more thoughtful, I think. We ought not to be so emotional. We ought to be more empathetic. We need to focus on the good and not only the bad. If you know the facts, and you see them through an objective lens, you'll find, I think, that Nixon was one of the better modern presidents, and he will, one day, be regarded as such."

      SHE'S ALL THAT

      They took my bag of pills only to dope me themselves. The nurses would come around to give us our meds, five times a day, different combinations of pills each time. They'd stand and watch and make sure we were taking them. Dave kept them under his tongue for a while, and spat them out once they'd gone. They caught on. They told him not to, but he kept trying. They locked him away for a day. They let him out and after that took his pills like a good boy.

      COWBOY BEBOP: THE MOVIE

      I don't believe you'd like it
      No you wouldn't like it here
      There ain't much entertainment
      And the judgements are severe

      - Leonard Cohen


      (DAVE)

      NEW JACK CITY


      (Me) "Why don't we have a remote? Why can't we change the channels?"

      (Lance) "I don't know."

      (Me) "I'm sick of documentaries. I'm sick of The X-Files. I'm sick of Roseanne. I want choice. Is that so much to ask?"

      (Lance) "Tell it to the staff."

      (Me) "Fuck it."

      (Lance) "Why are there no clocks?"

      (Me) "I don't know. I don't mind. The days seem longer: are they?"


      (ERICA)

      THE PATRIOT


      "There's a great deal of disinformation out there. Inaccurate biographies, self-serving memoirs, the press, the film: "Nixon"... a good many Americans have a very deluded idea of who Nixon was. What you have to understand is that we all understand him only through a filter, a fog of disinformation and wild emotion. We don't know the true him.

      "I met Nixon, before he passed away. There is something to him... an extra something, a kind of energy, a sort of gravity. The same thing that movie stars have, the reason we're able to sit in a quiet, dark theater and watch them for hours.

      "He was opened up relations with China and delivered speeches that brought men to tears because of that power of personality. Compared to Bush, Clinton, Bush Sr, Carter, Ford, LBJ... there is no comparison. He was a force of nature. People dismiss him because they don't know enough: they're just trying to make sense of the misinformation they have. We will hold him in high regard, one day; we will consider him to be a great and unjustly chastised President, one day: but it will take time."

      THE ROOM

      The boat had not moved for hours. The four of us watched TV: Everybody Loves Raymond. We didn't laugh. We just watched.

      Two nurse came. One said, "to the showers." We stood. The other nurse said to me, "not you."

      They followed one nurse. I followed the other.

      Outside the boat, I saw we'd reached land. It was still dark. It'd been weeks, surely, and the sun was still down. We walked along the pier.

      "Where are we going?" I asked.

      A car waited for us. The nurse and I got in the back. A black guy drove. It was like Driving Miss Daisy. I wanted to sleep but I couldn't. The meds were wearing off. I was agitated. Hours passed, maybe not.

      We arrived at a house, in the middle of nowhere. It had no windows. We got out of the car. The nurse walked me to it. She put in an old fashioned key and swung open the door.

      "Get in."

      "Why?"

      A pause. Another pause. I stepped inside. She closed the door. No knob inside. Fuck. One room. A chair. A table. Paper. A typewriter. A post-it note with two words on it:

      Erica,
      WRITE.

      So I did.

      Inherent Vice by Thomas Pynchon (2009)

      I like most about this book what I like about Bret Easton Ellis and contemporary pop music: the denial of thought, the absence of introspection. Characters talk and act, there is almost nothing in between.

      The plot is a mystery, in the conventional sense and in that it never made sense to me at any time. It doesn't matter, though. The individual scenes are good enough to want to keep reading. The book is engaging not because we're hungry for answers to contrived questions, because we know that great writing is always to come come.

      It's set in the sixties - not the real sixties: rather what pop culture would like us to believe the sixties were. It's told from the perspective of wake-and-bake smoker detective. The consequential humor (confusion, literalism, etc.) is faithful to what is actually funny on weed.

      Inherent Vice is different from the other Pynchon I read - Gravity's Rainbow - in that it's consistent and focused. The prose is comprehensible - mostly dialogue, short sentences/paragraphs/words - which must have been difficult for Pynchon (all the more reason to admire it) considering his heretofore flamboyant prose. Inherent Vice is better than Gravity's Rainbow. It's not the consensus due to an unfortunate trend I've noticed in book criticism - they (the critics) love long, aimless, fractured books, and are wary of shorter, saner, better works, especially within the body of work of a single author [1], which stems (I think) from their (i.e. the critics') desire to read The Brothers Karamazov (or any given Dickens/Tolstoy) for the first time again.

      I wrote this review not because I thought I had something to say, but because I was too afraid of failure to return to the short story I've been writing.

      I have recently embraced the idea that it is better to accept my emotions than fight them (I tried to write about this in a diary entry but I found it boring while re-reading so I cut it as with most of everything I recently wrote, hence the previous four entries' brevity), but I'm not sure I could "accept" (right now) the consequential feelings I'd get from inadvertently destroying my own story and soiling (in my mind) its brilliant incendiary premise. I point this out because I want you to know that I know that this is not good - I know very little about books and this was just an amateurish analysis with no point. This "review" (this "critique") is a consequence of my fear and insecurity.
      1. (e.g., DeLillo's Point Omega > Underworld, Wallace's The Depressed Person > Infinite Jest, Burroughs' Junkie > Naked Lunch)

      Scream 4 (2011, Wes Craven)



      13/10/11

      My boss reminds me of my mum. My real mum. The one with the heroin peddling boyfriends.

      09/10/11

      I'm almost out of cigarettes and I therefore can't smoke as much. It's driving me insane. Over and over, I want a cigarette, but then I remember I can't have one, which makes me angry, which makes me want a cigarette, over and over, until finally (once every few hours) I allow myself a poorly-rolled non-menthol shitty-tasting smoke and I bask in the sweet relief of the nicotine withdrawal's fleeting lapse.

      08/10/11

      It took me two minutes to roll the cigarette I'm now smoking. What a fucking waste of fucking time. I hate being poor.

      02/10/11

      I've never felt more tired in my life. I'm probably sick but the cigarettes, coffee, sleep deprivation, pain meds and allergy pills are numbing all the symptoms except the tiredness and the delirium. I'm completely out of it.

      Writing is a strange thing. In between the paragraphs I sit while a kaleidoscope of thoughts and memories - new, old, good, bad - run through my head. I do this until something interesting pops up. Then my thinking becomes purposeful and ordered. The vague thoughts/feelings become sentences. I revise until it becomes good. Then I go back to where I began and start the process again.

      You don't often remember a time you almost died and laugh about it. I'm thinking about when I ODed on Tylenol. I had a real sense of humor about it as it happened. I was real witty when I was talking to the paramedic.

      Tuesday, 27 September 2011

      MUSIC DUMP 1

      Teenage Dream by Katy Perry. Jesus Christ. It's gorgeous.

      Heart's a Mess by Gotye. It's six minutes long but not long enough.

      Laura by me. There are many things I like about it but it's not good enough to share. I'd try to fix it but I'd wind up destroying it. You can only hear your own song so many times before you lose perspective entirely and it becomes impossible to tell good from bad.

      When You Sleep by My Bloody Valentine. I used to think this was great. Now I find the lack of bass disconcerting.

      Mama by Genesis. Phil Collins has the best voice ever. That's not hyperbole. As far as I know, there's not a better singer. His screams at the end of this... I can't explain. They're unreal. They cut through my defenses like nothing else.

      The album Songs from a Room by Leonard Cohen. Every track is disquieting. It sounds like unhappiness feels.

      Creep by Radiohead. I would be so pissed if I wrote a mediocre song that became a hit. I think Radiohead are still trying to escape the shadow of this.

      I'm Only Sleeping by The Beatles. I only now realized how amazing this is. John Lennon's sped up voice is deliriously beautiful.

      The album Tomboy by Panda Bear. Unbearable. A true endurance test.

      Faggots by me. This is my new favorite song of mine. I don't know if anyone else will get it but I think it's perfect.

      Abacab by Genesis. Badass. Love the residual prog.

      Blame Game by Kanye West. Kanye is the only person who could improve upon an Aphex Twin song.

      Dark Fantasy by Kanye West. It's tragic that some people don't like Kanye. If they could only know the pleasure they deny themselves...

      Monster by Kanye West. The lyrics are so true. Kanye IS a monster.

      In the Air Tonight by Phil Collins. I must have heard this song fifty times but when the drums kick in it still makes me euphoric.

      Paranoid Android by Radiohead. I know I drank too much coffee because I find the end of this to be slow and lethargic sounding.

      The National Anthem by Radiohead. Reminds me of Tindersticks.

      27/09/11

      It is better to be a smoker and a have a short life than to be a non-smoker and have a long life. At my worst I still have the next cigarette to look forward to.

      Sometimes I get so bored that I smoke so much that I don't even want to inhale anymore.

      26/09/11

      I did counseling for a couple of months a couple of months ago. My guy was called Greg or Geoff or something. He was gross looking. It was offputting. He had a weird wiry body, long greasy hair and a goatee. I hated the goatee. I like men to be clean shaven, to have stubble or to have a full beard. I think everything else is for the gays. I felt bad for him.

      I got talking to him. Turned out I liked him. Not aesthetically. As a person. He was cool. He talked about his experiences with anxiety/depression in a very self-aware way, like David Foster Wallace. Like (and this is a crude approximation), "I realize that my experiences with anxiety and depression were very different from what you're going through now but I'm going to tell you how I dealt with issues because I think that it might be in some way helpful for you." It was the self-awareness and clarification that appealed to me. Unlike everyone else in the world, he didn't think he was a Superman. He didn't think he knew all the answers. He was very aware of what he wanted to say, why he wanted to and how to say it in a way that would cut through my defense mechanisms and strike at my core.

      I've had many mentally ill people tell me that "snap out of it" was the worst advice they had ever been given. "I would if I could," they say. Greg/Geoff never said that exactly, but it was his attitude. The subtext of almost everything he said was, "It is incredibly boring to hear you talk about how much it sucks to be you. You could be awesome but first you have to quit hating yourself, get a job and get a life. The best thing for you and everyone else is for you to snap out of it."

      It kind of worked. When my dad tells me to snap out of it, it's counterproductive. I hate him and I therefore find myself doing the opposite of what he wants from me to piss him off. I liked Greg/Geoff so I wanted him to like me and I knew that he wouldn't like me unless I was making progress, so I began to fix myself and my life.

      He took sick leave. They switched me to a lady. Kylie. I was feeling very expansive in our first session. I was buzzed on coffee and sleep deprivation. I said I was feeling amazing. I told her that I'd realized that self-hatred was counterintuitive. I told her I was ready to figure out life. She riffed on it. She told me, "yeah, it is ridiculous." She told me about her frustration with her clients. She talked at me with the sort of humorless humor that unfunny people think is humor. She did this and all of a sudden I felt like shit. Here's what happened. I didn't like her, so I became the opposite of what she wanted from me because I knew it would make her feel shitty. I'm very reactive in this way. I stopped showing up.

      25/09/11 - PART TWO

      Speed was the best drug I ever did. Let me tell you about the time I did it.

      It had been a typically exhausting day at work. I felt horrible, like I wanted to die. I'd often feel like this. At maybe 9 pm, out the front of my house, my dealer showed up. He gave me my half a gram. It looked like nothing but it was actually a lot, it turned out, because it was base, which is almost pure. He advised me to buy gum and asked if I had an iPod. I told him I had an mp3 player but not an iPod. I kind of missed the point in retrospect. I never bought gum.

      I went back inside and took the tiniest lick of it. I felt no discernible effect. I had planned on sleeping so I decided not to try having more. I smoked the weed and watched The Nines on TV. I was so high that everything looked like neon.

      I turned off the TV and went to my bedroom around two am. I couldn't sleep, but didn't mind. I put music on and listened to it for hours. The sun rose. I had work. I took another lick of speed. A big one. This one I felt. It was like everything went from a shitty worn-out video tape to crystal clear DVD. I put on Feeding the Birds and Hoping for Something in Return by Something for Kate, which is not a danceable song at all, and jumped up and down to it like I was on ecstasy.

      At work the "buzz" wore off but I realized that I was thinking like a true genius. I was very focused and I was thinking about everything very intensely in a wonderful whirlwind while working very hard. I wasn't talking to anyone but in my head I was Superman. A girl asked me if I was feeling bad. Feeling bad? I figured the intensity of my thoughts were manifesting themselves externally as sadness. For reasons I can't remember, I said I was feeling sad. She asked if I wanted to talk about it after work and I said no because she was kind of gross and pimply and also I would have had to wait a couple of hours for her to finish because I finished earlier than her, but in retrospect I should have waited it out and fucked her anyway.

      Work ended. I went home. I took another lick. I was feeling very buzzed from the sleep deprivation now and all the speed was accumulating in my system and all of my thoughts were grandiose and complex and detailed yet manageable.

      I became in the mood for creativity. I took out my notebook and started to write. Scenes unfolded. There was no incendiary idea. I just wanted to write - so I did. It was like I'd turned on the idea tap on and all the ideas just came flowing out - clean, pure, perfect. The story I was writing, I discovered, was about a crystal meth addict - her thoughts, her shitty job, her pill popping boyfriend and her addiction. I stopped intermittently for water and coffee and maybe ice cream but for about eighteen hours it was almost all I did. I felt weird when it was done. I wanted to keep going, I had the energy, but the story had reached its natural conclusion and it would have been counterintuitive to continue.

      This was the inception of my current writing method. I found my voice as a writer by reverse engineering the techniques I summoned then.

      I took another lick of speed and saw part of one of the Pirates of the Caribbean movies on TV. I was unbearable.

      I put music on. Up on the Ladder by Radiohead caught my attention. I picked up my guitar and figured out the riff. I transcribed the lyrics, then I figured out how to sing it. I didn't know how to sing. I had done a few songs with a vocal, Too Late for instance, but it was all smothered in reverb and delay because it would have been unlistenable otherwise. All it took to figure out how to sing was I recorded myself singing then I listened back to it then I recorded myself singing then I listened back to it over and over for about twelve hours. By the end of it I'd taught myself how to sing.

      My memory is nearly empty beyond this. I remember working another shift and being very tired even though prior I eaten all the speed I had left, the biggest lick yet. But that's all. There's nothing else. There's only the vaguest idea there of what happened. The sleep deprivation, I suppose, got the better of me in the end.

      25/09/11 - PART ONE

      A warning to constant readers: I'm going to explain a dilemma that I have right now, but in the process I'm going to reiterate things that I've already written. You may skip this entry if you like.

      Okay?

      About six months ago I took an overdose of Seroquel and was hospitalized. While they were emptying me of the drug, I was sedated with Propofol, the effects of which wear off very quickly. Because of this, what would happens is I would wake up every couple of hours with tubes coming out nose, mouth, arms, dick, etc., helpless, trapped, unable to talk, etc., at which point the hospital staff would drug me again. Of all the times I woke up, the time I remember most vividly was I saw (and heard) a doctor talking to the nurses, presumably about me (I was vague from the Propofol, I can't be certain), and though I don't remember all of it, I remember quite clearly "suspected Borderline Personality."

      But let's go back.

      About midway through my senior year of high school, I took mushrooms. The trip was amazing. Afterwards though, everything changed. All the horrible things I deal with now - suicidal ideation, anxiety, intrusive thoughts, etc. - happened only after the trip. I told my mom how I was feeling without mentioning the incendiary trip. I told her I needed help. She called Community Mental Health. So began our lengthy and exhausting relationship.

      My first case worker was an Indian pediatrician. I didn't like him. He made me nervous. I was therefore evasive and therefore I lied to him. With only bullshit to work with, he thought I might have had Asperger's Syndrome, which he didn't tell me this, but my mom who then, later, told me (as well as anyone else who'd listen). I wasn't self-aware enough then to know that this proto-diagnosis was a mere whim in the mind of a clueless man. I became convinced that I was afflicted by an incurable, horrible disease (no one awesome has Asperger's, aside from maybe Ladyhawke and Craig Nichols) and disappeared into a psychosis-laced fog of drugs and alcohol. My self-medication uninhibited me to the point that I was overtly displaying BPD [1] symptoms e.g. cutting, impulsiveness, dysphoric episodes, the desire for and testing of people's love/approval, etc., some of which have stuck around but are closely moderated by me because I know when they present themselves they hurt my friends and family terribly. I don't have total control - there is nothing I can do about the dysphoric episodes and furthermore, I knew perfectly well that the seroquel "suicide attempt" was non-lethal (I googled it) and I did it so I could go a while longer without working. I did not mention these symptoms to my circa-then case worker Paul. I was generally sober (sometimes overcaffeinated) when I saw him and was very anxious and because of this, I evaded the issues that I really needed to discuss with him. We talked instead about books, movies, philosophy, etc., which he liked, and hence I kept it up - it was a break, for him, from listening to crazy people's crazy problems. I wanted him to like me and I knew that he liked just having a normal conversation.

      I moved to Brisbane and became sober due to poverty. I studied up on mental illness and all but memorized the DSM-IV-TR. I became very conscious about not overtly displaying any particular cluster of symptoms, particularly Asperger's (not enough pieces had fallen into place for me to think about BPD yet), particularly around Mental Health staff, and I am still that way, which I imagine makes it impossible for any mental health professional to get a true hold on what I'm still going through and how to treat it. I suspect it derives from the overwhelming desire to be liked (or "loved" in BPD terminology) and I'm afraid that if I become a mere diagnosis then I will be dehumanised by my case workers, that once I am diagnosed I will be seen by them as a disorder and not a person, that if they think I need to 'fixed' then then I no longer have their love/approval, etc.

      My sobreity in Brisbane encouraged me, in an odd way, to talk about the difficult things that had happened to me and what I was going through. The intense drug/alcohol induced states were absent from my life and therefore the conversations I had with people became very intense to supplement that. Now I believe that humour is just as intense emotionally but in a positive way and is more successful w/r/t being liked so I do that instead of being aggressive/intense/confrontational. I explained thoroughly to my then case worker Shannon all the things I had gone through, the drugs/alcohol, the BPD symptoms (not, at this stage, connected in my mind to BPD), etc., but I never really exposed my manipulativeness for fear of me not being able to manipulate her if she figured out I was manipulative. She asked me once if I had ever suspected that I was BPD. I told her at the time that the odds were low considering 4 in 5 people diagnosed as Borderline are women.

      I've told you that I fell in love with her. I told you that I moved back here. I've told you about the Seroquel "suicide attempt."

      We're back at the beginning.

      I really think the mushroom trip led to me developing BPD, and the post-proto-diagnosis drinking/drugging episode explains what I imagine is my case workers' unwillingness to tell me what, precisely, they think is wrong with me.

      I worry about whether I ask them. "Do I have BPD?" You know. My fear is that if (at the moment) they don't think I have it, and I tell them that I think I have it, they will then consequentially have reason to believe I have it, and I then run the risk of being dropped as a client due to BPD being essentially untreatable.

      I'm not asking for advice. I'm going to figure it out for myself. But I know I'm going to be searching for an answer anyway, and I would much rather do it in a way that's entertaining for you.

        1. Borderline Personality Disorder

      24/09/11

      The inside of my desk drawer smells like dust and mold.

      Thank God I wasn't born ugly!

      I had a dream that this girl I work with had a penis.

      Writing is better than making music in the sense that I can smoke while I write.

      I'm wet, not like a woman, but from spilled water.

      Too much coffee. My face is alive with the feeling of fire.

      23/09/11

      I haven't written a diary entry in some time. I lost faith in them. I find them difficult to write and unimpressive to read. Maybe fiction has more inherent worth than whatever this is. I find fiction dull though. I prefer this rigorous self-analysis to fantasy. This is more useful. I prefer conversation to writing. I like the feedback. I like the reactions. I don't like the uncertainty here. I don't like asking myself if something is interesting. I just want to look at someone and know.

      Do you ever get so tired that it feels like the size of you is fluctuating? Like one moment you're the fattest man in the world and the next you're so skinny that you couldn't even have bones?

      I put on a John Cougar Mellancamp song. I don't know why. He is one of the worst musicians. He must be so drunk on delusion to have not killed himself by now. He is worse than Nickelback.

      ROCK STAR

      I can't get used to the penthouse view. It's so far down.

      I've been here three nights and already the room smells like cigarettes.


        HEY YOU MILLIONARES
      After the concert I get drunk with the band and fall asleep in their hotel room which is smaller than mine.


        SUNDAY MORNING
      A woman is half naked on the couch. I have no memory of her. She is either ugly or older than thirty. Derek is nowhere to be seen. Derek is the bassist.

      I stumble into the bathroom. My eyes are bloodshot and what once was stubble has become wild. I shave and shower. I look even worse now that I'm not filthy.


        WORK WILL SET YOU FREE
      I'm in the studio playing 80 Proof for the twentieth or so time. Derek the bassist did not show up. The drummer is getting sloppy, as am I.

      We finish the song and the producer tells me that Letters to Magazines is too similar to a recent hit and we're going to have to cut it. I'm too hungover to object. I tell him it's fine and make a mental note to find a new song.

        PINSTRIPE TALE
      I just fucked someone. She fell asleep midway through the sex. She looks young. I'm drunkenly thinking about Roman Polanski.


        THE COMIC
      Mike is on the bed strumming a guitar. We're in my hotel room.

      "I need a song." I say.

      "You want one of mine?"

      "Yeah."


        WAIT FIVE MINUTES AND THEN SHOOT YOURSELF IN THE FACE
      The new bassist thinks he's Flea. He resembles Flea also. He may actually be Flea.


        SHOW ME MARY
      We're clubbing. I'm talking to a girl. It's very loud. It's hard to hear.

      "WHAT'S YOUR NAME?"

      "MARY!"

      "WHAT?"

      "MARY!"

      "MEREDITH! HOW OLD ARE YOU?"

      "FOURTEEN!"

      "WHAT?"

      "FOURTEEEEN!"


        OOH SHE'S GOT A BODY UNDER THAT SHIRT
      I'm talking to Mike on the phone.

      "I met a girl last week. She's the one, man. Her name is Mary Julien. That's a hot name, I think. She is touring with us."

      "Oh, the girl from the news. Her parents were crying."

      "I heard about that. I'm trying not to think about it."

        ALL THAT'S MISSING IS A LISP
      The new bassist is gay and has fucked my gay guitarist. I miss Derek.


        GOD LOVES HIS CHILDREN, YEAH
      I'm reading reviews of the new album. "Remniscent of Aerosmith," they say. "The verse of Can't Get None is also the chorus of Starstruck," they say.


        THERE WAS NEVER MEANT TO BE ONLY ONE
      Mary is asleep. I sneak out the hotel room. The band and I go to Seattle.

      THE FILM

      The idea for the film struck me in the back of a taxi. I thought of calling someone but thought better.

      *

      My roommate was sleeping. It was three in the afternoon. I was at my laptop. The idea was becoming a script.

      Yawn. "Morning," my roommate said.

      "It's not the morning."

      *

      Sony Classics bought the script. They gave it to Scott, a friend of mine.

      Scott: "I like the story."


      Me: "There is no story."

      "That's what I like."

      "They want me to make the picture. And I want to make it."

      "That's great."

      *

      We had a meeting with the on-set exec, Rubin. Scott convinced him that I was the writer/director of an uncredited short film that had mysteriously appeared in Hollywood circles about a year prior to much praise and reverence. Rubin said that if I could bring the energy of that film to this one, then I ought to be there. I nodded and fought the urge to thank him.

      *

      INT DAY

      KARA is sprawled on her bed, smoking a cigarette. She's on the phone to DAVE, who we see in splitscreen.

        KARA
      Sarah cried on Tuesday.

        DAVE
      I wasn't there.

        KARA
      I know, that's why I'm telling you.

        DAVE
      Right.

        KARA
      Karen yelled at her 'cause she wasn't answering the phone right. She was just saying "Hello?" Not her name, not the name of the business, nothing. Just, "Hello?" I mean, that's not how to answer the phone. Karen was right. But then she started crying, you know? It ruined my whole day.

        DAVE
      I don't like Sarah. She needs to lose weight.

        KARA
      She's taking speed for that.

      *

      Lucy, who was Kara, was smoking.

      Me (to Scott, about Lucy): "She needs to talk slower. She goes fast when she's acting. It's weird. I like her normal voice."

      Scott: "If I tell her she won't listen."

      "Tell Rubin."

      "She won't listen to Rubin."

      "Why does it have to be her?"

      "I want her. She's pretty."

      "She's not a good actress. Everything she says is affected. I hate it. I don't want her."

      "I do."

      I sighed.

      *

      INT NIGHT

      Techno music blares. A sweaty, disheveled JENNIFER dances with a crowd in the club.

      CUT TO:

      EXT NIGHT

      JENNIFER and a guy, JOE, sit on the hood of JENNIFER'S car. We can half-hear the techno.

        JENNIFER
      I haven't seen you in forever. You look totally different. You got the beard going on now.

        JOE
      Yeah, yeah.

        JENNIFER
      You should come with us. We're going back to Katie's place.

        JOE
      Katie is here?

        JENNIFER
      Yeah... I don't know where she's gone...

        JOE
      ...

        JENNIFER
      So, what? Are you coming?


      *

      Me: "Who's playing Jennifer? What's her name?"

      Scott: "Debbie."

      "I like her."

      "She's not thin enough."

      "I like her weight."

      "She looks big on camera."

      "It suits her."

      "The audience won't believe that she's getting that much sex."

      "I believe it. I'd fuck her."

      "She's not as fuckable as Lucy."

      "I'd rather fuck Debbie."

      "That's because you know Lucy. The audience doesn't."

      I sighed.

      *

      On set, Debbie smiled at me. We'd hardly said two words to each other. She was shy. It was weird. I smiled back. It might have come across as mocking. I don't know.

      *

      INT DAY

      In the office, KARA plays solitaire. DAVE appears.

        DAVE
      You done?

        KARA
      I guess so. I didn't know it was home time.

        DAVE
      I'm going to Tom's. He's a stoner. Do you smoke?

        KARA
      Not... often.

        DAVE
      You should.

        KARA
      I don't know...

        DAVE
      What, why?

        KARA
      It's just... uh... I don't know. I really don't want to.

        DAVE
      Alright. Are you sure?

      *

      Lucy: "I don't like this line."

      Scott: "It's fine. When you see the movie, it'll make sense. Trust me."

      "I don't like it. I want to change it."

      "Please. Trust me when I say it'll makes sense."

      "Rubin will let me change it."

      "Don't get Rubin involved. Rubin only wants to make money. He doesn't care about your career. I do. Trust me when I say this. Your performance will be worse if we change the line."

      *

      Debbie: "I like your script."

      Me: "Yeah?"

      "It's real, you know?"

      "Hmm."

      "..."

      "..."

      "Scott doesn't listen to you. That pisses me off. It's your script, after all."

      "He's a good filmmaker. He'll make it work."

      "You're a better filmmaker."

      "I didn't do that short. That was a lie."

      "Huh."

      "..."

      "You know, I wrote a script. Can I show it to you?"

      "Alright."

      We went to her trailer. She gave me the script. We fucked.

      *

      INT DAY

      JENNIFER's apartment. JENNIFER climbs out of bed. JOE's asleep on the opposite side. JENNIFER writes a note:

      CU, v/o:

      Joe -

      Gone to work.
      Last night was fun.
      Call me some time.
      555-1298.
      Lock the door when you go.

      - Love,
      Jennifer


      *

      Rubin left. For good. He had another film to do. He was replaced by a different exec who wouldn't let Lucy smoke. She wore the patches.

      *

      At dinner.

      Scott: "You know, Lucy and I are fucking."

      Me: "Oh."

      *

      INT DAY

      JENNIFER's bedroom. KARA jerks off her top. Her breasts jiggle.

        JENNIFER
      Do it again. Slower.

      KARA puts the top back on. KARA pulls it off, slowly. KARA's breasts jiggle. JENNIFER reaches out and caresses KARA's nipple. KARA throws her top aside, then leans gently back onto the bed. JENNIFER climbs forward, back arched, like a cougar. JENNIFER sucks on KARA's nipple. KARA moans and writhes slightly. KARA and JENNIFER make eye contact. KARA and JENNIFER kiss awkwardly. JENNIFER rubs KARA's cunt through the panties. KARA and JENNIFER kiss pasionately. KARA moans. KARA and JENNIFER's movements are erratic and spontaneous. KARA pulls JENNIFER's panties down.

      KARA and JENNIFER roll over. KARA eats JENNIFER out. KARA moans.

      CUT TO:

      The two lay nude on the bed. JENNIFER caresses KARA's midriff.

        KARA
      I love you.

      THE BOY WHO GOT ADDICTED TO DRUGS

      "Hey, try some of this HEROIN, would ya?" said Thomas.

      "Sure thing," said the boy. He injected himself and exclaimed, "I feel like I'm on the moon!"

      "It'll do that to ya," said Thomas. "Now how about ya try some of this ACID?"

      The boy "dropped" the acid. "I'm hallucinating old Beatles videos!" he said. "I AM living on the Yellow Submarine. I AM. I simply insist! I merely do!"

      "Now," said Thomas, "how about ya try this CRACK COCAINE?"

      He drank a whole bottle of the stuff. "I feel like rapping! Praise the Lord, he's our savior! I am on my best behavior! Do a ditty! Do a dance! Why not take a foolish chance? I will burp! I will fart! You are dumb! I am smart!"

      "You are addicted to drugs!" said everyone

      "Nooooooo!" said the boy.