the loss of kaspar: once i had the omen & sign of a black cat dead (called nemo) & after a period of mourning, which was 3 days of crossing the place of his death, laid him to rest in a pyre & later dreamt a premonition of my own death,

saw & felt myself die, watched it happen, and felt a piece remain, trapped as a slow fading shine of light hung in a void. i think now sometimes of being trapped in…

i got rly mind blasted and pleasantly out of phase with my bod into the AU midwest of my dreams that lives mostly in unfinished graph paper dungeon maps, warped by the stove pipe kohls dept store wide leg denim with massive aircraft carrier dad mowing-the-lawn tennis shoes embroidered into every scene. shoes so big nothing can hurt you. i couldn't understand any of the dialogue. dreamy melting sand art non-sequitur planar phase shifts as if the woods are magnetic…

k-hep as cosmic time devouring langolier trickster goddess? scrunches everything to ~the eternal now~ with a wilder mysticism than the brain-blanking whiteout of a lovecraftian nothing-revelation, it holds the moment without imposing on it

calls literally every formerly settled/stable idea/object that swims into its view into complete question; relentless hyperfocus like lazergun meditation on the moment is real leguinian coyote stepping outside the father tongue linear-pathway to an always whole but unreachable/receding utopia on the horizon in favor of the…

Sixty in September: 10/60

There are so many things to be fascinated by in this beautiful, wild movie, but two things really stick out to me. Obayashi talks about them in the interview on the Criterion materials:

One is the war and the atomic bombings. Obayashi is originally from Hiroshima. He says, quietly and candidly, that most his friends didn't survive the bombings, as a child. The second is Obayashi's sense of how children view and experience the world. He…