We Are the Eighth Day, © Melanie Weidner


Where the Wild Things Are

Spike Jonze’s film of Maurice Sendak’s classic children’s book, Where the Wild Things Are, substitutes pop psychology for Sendak’s exuberant, anarchic vision of childhood. Sendak’s hero is a boy named Max who’s sent to bed when his high spirits turn the corner into aggressiveness. He finds his room transformed into a jungle inhabited by savage creatures who make him their king.

CC recommends

Skip the American movie version of this story and view the series made by BBC for television. Focused on the press and shady doings in the upper echelons of government, this investigation of a murder unfolds over six hours. The depth of characterization gets viewers invested in the story and makes the suspense all the more (pleasantly) unbearable.

Slow: Animal crossing

Just after we’ve communally stuffed and thanked,
the first sleet comes down in shanks
of dirty lambs’ wool, rude messy sheets,
slathering the cars we hunch in, hurrying
again, against some febrile deadline, dodging
the poor squiggling squirrel trying to shoot
across the heavy-metal trafficked road
that intersects his world.

He seems to have made it, tail on.
We may, too, make it home, untripped
this time by our own haste,
knowing in some dark artery
that the meal we need,
the company against the cold,
like the animals in the Ark,
are all waiting, like Advent,
inside the small rooms of the remaining
calendar, we pass through, one
by one.


CC recommends

Here are choral works by a teenaged Felix Mendelssohn, including large-scale settings of the Magnificat and Gloria, along with some shorter works. The influences of Bach and Haydn are evident in the early work of the composer, who would go on to write Elijah and St. Paul.