Arts+Culture

Arts+Culture

We Are the Eighth Day, © Melanie Weidner

Film

The White Ribbon

The films of Austrian director Michael Haneke offer no easy answers. Haneke presents the time, place, characters and backstory before eventually revealing a problem. This might or might not become the film’s focus: other problems pop up, new characters materialize, and various possibilities present themselves.
Poetry

Reunion

She’s on life support. Racing to get there,
his Jaguar fishtails on the frozen highway.
She was a beauty and elusive as the future,
his mother, usually traveling on his birthday.

He felt he couldn’t fly, had to touch dirt
every inch of the way. To fly would be
to unpeel too fast the onion of his hurt.

She’d call. He wouldn’t answer. He was busy.

Now it’s ice he notices, gray molars
locking to dark bluffs, the way ice locks his heart
in steely winter logic. Then sun shimmers
on ice, the lock breaks, and love flows. Relief,
oh melting! as he steers toward his mother.

The syllogism that still might end in grief.







Film

Up in the Air

"We are not swans,” declares Ryan Bing ham (played by George Clooney), summing up human nature to a crowded conference room. “We’re sharks.”
Poetry

Little hall

The labyrinth here, as well!
A canvas floor
copied from Chartres, brought through
the open door,

unfolds its whorl (and stains,
old wax gone gray
with candle soot or soles
that walk to pray).

Long formal curves begin
a common pace;
my shoeless feet take off
through living space . . .

So many rooms—for me—
a vast hotel—
eternity’s
reserved a little hall.