Before the advent of drug traffickers and serial killers, films often focused on conflicts over real estate. Think of the red dirt of Tara in Gone With The Wind, the stately mansion in The Magnificent Ambersons or the contested open plains in Shane. Property is also the focal point of House of Sand and Fog, based on the 1999 novel by Andre Dubus III.
Martin Scorsese’s Taxi Driver has to be one of the most disturbing films ever made. Working with the metaphor of the city as sewer, Scorsese catches the sin-stained sensations of New York’s teeming streets, where prostitutes, pimps and pushers parade under the scrutiny of Travis Bickle, the cruising cab driver who is a kind of contemporary Quixote.
where’s alfreddy who cuts your grass or lifts your rake when you’re not looking and where’s the reliable gunfire from the deuce-eights’ section eight doorways down on twenty-eighth on this last day of August lavender all rotted at the bottom splayed across the concrete walk as you sit barefoot on the porch steps and watch without a thought honeybees and bumblebees ascend and drop in praise of higher fragrances and offer thanks there’s no parade today for trayvon on your street named mlk jr way because you’re that weary
so for this moment with this breath you God bless the bees