Say it loud and say it repeatedly: Edward Snowden is a hero.
Steven Beattie on the strength of the short story.
Russell Smith on the weakness of the novel.
Kevin Courrier on Lou Reed, Frank Zappa, and their pure but very divergent legacies of experimentation.
“Parapluies” — more Tokyo sketches by Andre Devaivre.
Here are a few photos — probably not with the best lighting — of Hiroshima, Ma Vérité, one of the screenplay module novels that comprise the Plastic Millennium Project. As you can see, I’m experimenting with the form of the screenplay (though my use of “sprrrrriing” binding (as they say over here) is not, from point of view of the movie biz and its protocols, entirely correct … oh well, a necessary adaptation).
When I started blogging about the screenplay novel idea several years ago, the responses I got were mixed: mild interest, near-apoplectic rage (“it’s not a real novel!”), and feedback from other writer/artists who were doing similar work. A lot of time has passed since then, and the idea has gone through several evolutions. Hopefully the photos above help clarify what the idea is all about in terms of what it looks like when it’s produced.
Tokyo sketches by Andre Devaivre (via Grand Papier).
Kevin Courrier interviews Heather Robertson on her Mackenzie King trilogy.
From my hip-apoc ProzePoum, nHi-lizm.
A Discovery channel documentary on the poorly understood “Able Archer” nuclear crisis of 1983. Solid evidence that playing geopolitical chicken and the military/industrial/intelligence complex don’t mix.
Apart from the documentary itself, of interest is the comments thread below. Chittwood2 takes the conversation in a new direction (the doc is about the Reagan/Andropov years) by remarking about the Pacific theatre of World War Two: “We dropped the atomic weapons on Japan – and they richly deserved every friggin’ kiloton.”
There are comics about World War Two — you don’t need to throw a stone very far in a comics shop to find them. There are comics about pre-World War Two (Jason Lutes’ Berlin, for ex.). There are Japanese comics about World War Two. (I don’t know title names, but I’ve seen samples and am actively interested in finding out more.) You don’t find comics about the Cold War, except via superhero metaphor; most hits for the Google search “cold war comics” bring up articles about how comics pushed various ideologies during the Cold War — not how they described the era itself. But as Chittwood’s remark above clearly demonstrates, emotions run deep over decades … as does denial. From a psychoanalytic perspective, it’s probably no coincidence that the same phenomenon that elicits Chittwood’s blindly chauvinistic rage is the one that is at the heart of this documentary set in 1983.