The makers of Hellboy II: The Golden Army must have had the time of their lives. The director, Guillermo del Toro, and his team of set, costume and special-effects designers provide a cornucopia of visual splendors.
A friend of theirs had been festering like an old sandwich, rotting a little before disposal. They had to come, but it got to where they held their breath before they stepped inside the room. The wife remembered how anything with mayonnaise had to be refrigerated.
Even a sack lunch in an office was suspect if stored under the desk for a morning: egg salad was the worst. The husband recalled a tiny door in the stone wall of an English church, stage right from the modest altar—a place for lepers to take communion. Only part
of a soul could pass, and precious little of the smell. The wife and husband talked with their old friend like this, backing off from his suppurations, unwilling to think, This is our body, unwilling to think, Dust to dust, slipping their elements of decay into the outer cold and darkness.
Nick Cave might not be well known, but time spent with this complex Australian rocker is well spent. He doesn’t shy away from dense theological issues, which he explores in a rambling, lyrical style that recalls Jim Morrison at his poetic peak.
One took the colony by the heels, slapping its flank until it issued a broad cry of rage. Tall and forbidding, she waxed both sharp and sweet, flying in the angry face of magistrates, chafing the tender hearts of the unregenerate gently with her tireless voice. She coaxed as women labored in their cramped beds of pain.
The other fashioned quills and parsed her poems in clean white sheets. Still, her clumsy child shamed her, walking on stumbling feet, as real a “monstrous birth” as the first Anne’s tissue of stubborn clots. What was it she tried to say, poet in a wife’s starched linen, submitting to her tasks and thanking God without conviction for each bitter loss? Sarah, Hagar in exile, she too never went back; the stormy Atlantic roiled, keeping her margins, her heart rising within her and rising, rising again.
They warned us, like innocents, not to name our goat, to exercise good sense, refuse to see him as a pet or even, oops, as him. Just do whatever all it takes to tame the thing toward that appointed time when goat and fate should meet, when the dull drawn blade would withdraw blood from funny, fuzzy throat.
For days or weeks, we avoided eyes, made it a point to see the animal as meat. Through open window, so relieved, I heard you say to our neighbor, “No, you do it.”
And kindly, our neighbor did—spared you, and me too. But I will never forgive myself the rare deliciousness of the stew.
A professor of the theory and practice of social media, Clay Shirky, doesn’t let his students use electronic devices in his classes. It’s not just that he can’t compete with the hardware or the software. Studies show that multitasking is bad for the kind of cognitive work required in a classroom. It has a negative effect on memory and recall. One study showed that students who multitasked in class scored lower than those who didn’t. The presence of electronic devices also distracts those who aren’t using them. “I’m coming to see student focus as a collaborative process,” Shirky said (Washington Post, September 25).