An overheard conversation between bath and bedtime:
6YO: “Ciao”…”Ciao” means…uh…”Ciao” means “hello” and “goodbye” in…in…
6YO: In Italian.
4YO: (clomps in on cast) ¡Hola, Big Dogs!
Despite a nice plate of shrimp, peas, orzo, and fresh parmesan, our children decided to skip that and eat the lemons off the cutting board. One of them danced like a robot while basically using her nose as a juicer. “Lemons are so sweet!” she yelled, and kept dancing.
Then she told me about watching a bird eat a poisonous snake during her zoo field trip. The little one decided to eat some cherry tomatoes and raw spinach leaves to go with her lemon slices. Maybe the zoo talk inspired her to eat like the turtles we saw there eat lunch once.
Later that night:
6YO: What are you doing?
Me: Fixing lunches. What are you doing?
6YO: The cat puked in our room.
Me: Can you tell mom?
6YO: She knows.
6YO: She stepped in it.
Me: Why are you telling me this?
6YO: Can I please may I have some ice water?
Me: Sure. Then bedtime.
6YO: With ice.
Me: Ice water with ice. Got it.
Richard Matheson wrote the story that became the Twilight Zone episode everyone knows (or should know!) with William Shatner. He wrote “Duel” which became Spielberg’s first feature-length film (or at least the first one most people count). When playground discussion went to horror movies, kids would talk about Trilogy of Terror‘s sequence with a Zuni doll, based on Matheson’s “Prey.” It was the only part of that film I ever heard anyone talk about. Stephen King has said that Matheson is the writer that most influenced his own work. “Prey” seems to directly influence King’s short story “Battleground” and the “General” sequence in Cat’s Eye (1985). Matheson also sets his stories predominantly within the “normal” US households and neighborhoods. For example, King took Dracula and brought the idea to a Maine town in ‘Salem’s Lot, but this homeyness has often been a strength of King’s work.
He also wrote I Am Legend, a great apocalypse novel that became The Last Man on Earth (1964), Omega Man (1971), and finally I am Legend (2007). While I haven’t seen the latest adaptation, Last Man on Earth is my favorite. Omega Man is a laugh riot even as an apocalypse film.
Ray Bradbury called him “one of the most important writers of the twentieth century.”
If that isn’t enough to make you go read his work then I don’t know what is.
I don’t know if this is truly the best of Matheson, but it is an amazing introduction to his short fiction. If I would have discovered him in high school, I don’t think anything could have kept me from writing horror fiction. What really clicks reading these stories is how writers take ideas from each other and re-work them. He’s a link between someone like Poe or Lovecraft to King.
Way back in February, I wanted to watch some more Buñuel. That didn’t happen until recently. Robinson Crusoe (1954) and Simon of the Desert (1965) make an interesting double feature. Crusoe is a favorite book of mine (the first book I remember re-reading), but this movie version isn’t great. It does, however, create a bizarre claustrophobia that helps achieve the mood of forced solitude. Evidently the film was made in some thick and dangerous jungles, while interiors were done on soundstages. This packed frame is the opposite of the visual imagery often seen with island narratives where we get broad expanses of sky and beach. Thematically this makes sense in something like Lord of the Flies (1963) and the chaotic freedom the boys feel without having grown-ups. I found the claustrophobic effect in Crusoe surprising and interesting, but not worth watching the film again.
Simon of the Desert also features a character dealing with solitude, but one which is self-inflicted. Also, the visuals of the man atop a pillar surrounded by desert and sky are the opposite of the cramped images from Crusoe. A short essay by David Heslin, “The Impotence of Asceticism: Luis Buñuel’s Simón del Desierto,” digs into the history of St. Simon and what Buñuel does with it. The film is short–I’ve heard a variety of reasons why–but it is an interesting mix of plot and Buñuel’s surrealistic images and sequences. It’s also perverse and funny, like his films often are.
That ending! Glorious for those who want to engage with the ideas and likely maddening for those who want everything neatly worked out.
Candles aren’t a usual topic here, but I do enjoy them. I decided to be a part of our department’s Secret Pal this year. I generally don’t like this kind of stuff and I wanted to push a little outside my comfort zone. Anyway, I received a Frostbeard Studio Oxford Library candle and it was fantastic. Thanks, Secret Pal! When I used that one, I tried The Shire, and while it’s a lighter fragrance, it’s nice, too. These are perfect sensory accompaniments to night reading or listening.
I really wanted to get the Old Books candle, but it is the only one I’ve seen with bad reviews. People who like book smells are persnickety–maybe. The major complaint is that it just smells like vanilla.
Once I leave The Shire, I’m journeying forth nosewise and elsewhere Frostbeardian.
I like red peppers and Jan Švankmajer movies.
1. Current Listening: Lots of soul from Muscle Shoals
2. Current Viewing: A Hard Day's Night (1964).
3. Current Reading: H.G. Wells: In the Days of the Comet