A reflection on Iñàrritu's 'The Revenant'

A reflection on Iñàrritu's 'The Revenant'
by Bryan Harvey

Watching tennis, or beating against the boundary

Watching tennis, or beating against the boundary
by Bryan Harvey

Damian Lillard, his numbers & his words

Damian Lillard, his numbers & his words
by Bryan Harvey

Fictional Science: 'The Brothers Vonnegut'

Fictional Science: 'The Brothers Vonnegut'
by Bryan Harvey

Number of the Day: Duncan turns 40

April 25, 2016

Or four thousand. Who knows? So it is written. So it shall be done. Or, as Duncan once said to Ramses, "Dungeons and Dragons was a much cooler game when it was real."

Work in the Hardwood Paroxysm Quarterly (Vol. 1, Issue 3)

April 20, 2016

Art by Elliot Gerard
Because I have a hard copy arriving in the mail sometime, I will probably comment more on this later. After all, anyone who knows me knows that if you put me near a computer I waste a half hour for every five minutes of productivity, which means for me to say anything of note I will need the hard copy that is currently en route.

Some lighthearted baseball talk (NL East edition)

The following is not a preview, but a lighthearted conversation about the NL East, baseball and other things: 

Freeman: Was it always this lonely? Chipper: Nah man, it was beautiful and busy and full of life. 
Atlanta Braves

Translating the word Wahoo

April 12, 2016

College towns are insular places. They feel like the world entire to freshmen. They start feeling cramped to seniors. Charlottesville is one of these towns. Tucked between the Shenandoah and Richmond, the town possesses a hint of Washington Irving’s narrative fiction—ghosts abound in Charlottesville. Thomas Jefferson is over one shoulder. Ralph Sampson is over the other. Somewhere on the Lawn is a room where Edgar Allan Poe toiled away, most likely in misery, or at least anticipating misery. Perhaps Sampson is nothing more than Poe’s imagination stretched so thin on a rack that his knees buckle and break. Oh! The misery!

If you're not teaching Jesmyn Ward's 'Salvage the Bones,' think about it.

March 18, 2016

The words and sentences and paragraphs in Jesmyn Ward’s Salvage the Bones (2011) gather like pollen on a car hood; slowly, but surely, coating readers in a golden fleece of Southern mythology. The beauty and power of these particles is how they gravitate towards the body and spirit of Esch, whose knack for seeing and surviving in the world of Bois Sauvage, Mississippi walks in the literary footsteps of Scout Finch and Huck Finn and Claudia MacTeer.

Still, even though these other characters made it through the fire, Esch’s journey always feels so much more flirtatious with apocalyptic forces, as if by not already being canonized she is in even more jeopardy than her iconic predecessors. And then there is the hurricane.

As she reads Greek myths, watches one brother play basketball and another raise dogs for fighting, little Esch’s whole world appears ready to topple into the hollowed Pit below her family’s homestead. And then there is the hurricane.

A contemporary peer of Esch’s would be Karen Russell’s Ava Bigtree, from Swamplandia! (2011). Both are the daughters of deceased mothers. Both girls live incredibly lonely lives. These are the girls clinging to every scrap and thread of a bare childhood, because, to them, that childhood is the world entire. They have a friend in Hushpuppy from the film Beasts of the Southern Wild (2012). Except all three girls live such intimately isolated lives that they could never know of the other, of anything else other than what they know. And, in this, they are always at the center.

And then there is the hurricane.

Image from The New York Times

This new wave of Southern girl protagonists is so miraculous because of how each girl is defined through movement. Hushpuppy dances and dashes. Ava wrestles. And, in the case of Esch, she swims, runs, and, unfortunately, has unprotected sex with multiple partners.

For much of the book, her brothers’ friends view her much as they do the dog China. They see her for her sex, for her ability to breed, and yet they do not recognize her fighting spirit—her power. When she first becomes pregnant, the mystery gathers as a burden inside her. And then there is a hurricane.
Esch’s pregnancy runs in parallel with hurricane season. The storms gather and disperse and gather again. Weather reports come and go. The life inside her does not. Eventually, she cannot hide it, and the storm comes. Yet this storm is an actual storm, rather than a metaphorical judgment of her youthful missteps. The Gulf Coast is left in ruins. She is not. And, in the midst of post-apocalyptic debris and nothingness, the burden buried inside of Esch's body lightens with hope.

At the novel's end, the characters gather round a fire, waiting for a runaway dog to return, waiting for a dead mother to rise up, beside a fire they wait. And there, beside them, is Esch, a soon to be mother, at the center of the world entire. And there was life.

Bryan Harvey tweets, mostly about basketball and nonsense, @LawnChairBoys

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