Tag Archives: Eric Robert Nolan

“Gonzalo,” by W. H. Auden (recited by Eric Robert Nolan)

“Gonzalo”

— from W. H. Auden’s “The Sea and the Mirror”

Evening, grave, immense, and clear,
Overlooks our ship whose wake
Lingers undistorted on
Sea and silence; I look back
For the last time as the sun
Sets behind that island where
All our loves were altered: yes,
My prediction came to pass,
Yet I am not justified,
And I weep but not with pride.
Not in me the credit for
Words I uttered long ago
Whose glad meaning I betrayed;
Truths to-day admitted, owe
Nothing to the councilor
In whose booming eloquence
Honesty became untrue.
Am I not Gonzalo who
By his self-reflection made
Consolation an offence?

There was nothing to explain:
Had I trusted the Absurd
And straightforward note by note
Sung exactly what I heard,
Such immediate delight
Would have taken there and then
Our common welkin by surprise,
All would have begun to dance
Jigs of self-deliverance.
It was I prevented this,
Jealous of my native ear,
Mine the art which made the song
Sound ridiculous and wrong,
I whose interference broke
The gallop into jog-trot prose
And by speculation froze
Vision into an idea,
Irony into a joke,
Till I stood convicted of
Doubt and insufficient love.

Farewell, dear island of our wreck:
All have been restored to health,
All have seen the Commonwealth,
There is nothing to forgive.
Since a storm’s decision gave
His subjective passion back
To a meditative man,
Even reminiscence can
Comfort ambient troubles like
Some ruined tower by the sea
Whence boyhoods growing and afraid
Learn a formula they need
In solving their mortality,
Even rusting flesh can be
A simple locus now, a bell
The Already There can lay
Hands on if at any time
It should feel inclined to say
To the lonely – “Here I am,”
To the anxious – “All is well.”

 

“AK-47 Hogku,” by Eric Robert Nolan

O, beloved young,
Flee the seething 30 to
50 feral hogs.

 

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A short review of the “Cabin Fever” remake (2016)

I don’t understand why the 2016 remake of Eli Roth’s “Cabin Fever” (2002) is so hated by critics and audiences.  It has a 0% rating over at Rotten Tomatoes, and reviews of the movie are withering.  I personally thought it was a very well made horror film; I’d rate it at least an 8 out of 10.

Sure, I understand the criticisms.  This is definitely an unneeded remake.  And the new cast here feels bland compared to the doomed vacationers in Roth’s campier, weirder outing 14 years prior.  (Although this isn’t a shot-for-shot remake, it still proceeds mostly from his original script.)

But the new “Cabin Fever” is well filmed, and it’s damned horrifying.  Director Travis Z significantly ups the gore, violence and frightening imagery — it’s not for the squeamish.  It passes the litmus test for decent horror movies, because it scared me.

Maybe I’m just partial to Roth’s basic story concept — a terrifying new illness that jumps from person to person in an isolated location from which it’s difficult to escape, turning them against one another.  It’s precisely the same plot driver as the one for John Carpenter’s “The Thing” (1982), which is among the greatest sci-fi/horror films of all time.  And I suppose Roth’s story could be taken as modern retelling of Edgar Allan Poe’s “The Masque of the Red Death,” with some of the director’s sadism and unique black humor injected into it via his screwball, eccentric characters.  Remake or not, this is still a creative change of pace from a genre consistently overcrowded with slashers and shrieking ghosts.

 

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More microfiction, anyone?

Hey, gang.

If you enjoyed my 100-word horror story, “Denver Disappeared Wednesday,” when it was published yesterday in Microfiction Monday Magazine, then you can find a bit more of my microfiction right here at the blog.

Just click the link below to get to my flash fiction page:

My flash fiction and microfiction

I hope you all are having a great week!

 

 

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Winedrunk Sidewalk features “On Donald Trump”

I received some more nice news today — my short poem, “On Donald Trump,” was published over at Winedrunk Sidewalk: Shipwreck in Trumpland.  You can find it right here.

Thank you, Editor John Grochalski, for allowing me to join Winedrunk Sidewalk’s community of poets, artists and photographers.

RESIST.

 

 

Microfiction Monday Magazine features “Denver Disappeared Wednesday”

The nice folks over at Microfiction Monday Magazine published a piece of my flash fiction today.  It’s a science fiction/horror short entitled “Denver Disappeared Wednesday,” and you can find it right here.  Thank you, Editor Gayle Towell!

Microfiction Monday Magazine is a truly enjoyable online periodical that challenges writers to tell a complete story in 100 words or less.  (I was lucky enough to see a couple of my horror shorts published there back in 2014.)  I’m always impressed by the way its selected writers do so much with so few words.

It’s great fun to read, and it’s easy to enjoy on a coffee break.  Check it out.

 

 

A short review of “Killing Ground” (2016)

I can’t say that the Australian “Killing Ground” (2016) is a bad horror-thriller.  It’s well made in some ways — most notably in its generally excellent cast.  (The standouts here are Harriet Dyer and Ian Meadows; the latter provides a disturbingly naturalistic performance as one of the story’s evildoers.  He’s a talented actor and unnervingly skilled in his role here.)  And the cinematography is good, even if it suffers in inevitable comparison to the seminal Australian outback horror-thrillers, the extraordinary “Wolf Creek” films and TV series (2005-2017).

But I can’t actually recommend “Killing Ground” either, because I didn’t enjoy it much.  I’d rate it only a 4 out of 10 for its strengths.   What held me back from enjoying the movie more is its brutal portrayal of violence.

I realize that sounds ridiculous, given my viewing habits and the films I’ve favorably reviewed right here at this blog.  (Any entry in the “Wolf Creek” series, for example, contains far more violence and sadism than “Killing Ground.”)  And I’ll probably do a poor job of explaining it now.

But the violence here feels too … realistic.  (Other reviewers have noted this as well, and employed the descriptor “hyper-realistic.”)  Furthermore, its depiction is not in service to the story, but rather seems the sole and primary focus of the film itself.  One of my complaints about “Killing Ground” is that there is not much of a story at all.  We simply witness random violence perpetrated against ordinary innocents who we would probably like if we met them.  (I am trying to avoid spoilers here; hence my vague language.)

Writer-director Damien Power also delivers this brutality to the audience in a … prosaic manner, I guess, with little fanfare.  His movie came across to me like a faux snuff film, instead of a cinematic story of good and evil, or a character-driven survival parable.  (I submit that “Wolf Creek” hit it out of the park on both of those counts.)

If you think I’m being unclear here, I apologize for that.  The point I’m trying to make is maddeningly difficult to articulate.  And I’ll concede up front that my reaction to this film is especially subjective.

If it gives you any context, I’ll point out that critical reaction to “Killing Ground” was quite divided, with some reviewers sharing my discomfort, while others lauded the film.  Your mileage may vary.

 

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So, these guys are back.

He wouldn’t sit still for a photo, but he did alight my shoulder to say hello.

 

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Are you tired of me running this poem yet?

If so, I’m sorry.  I just found the perfect image for it.  (Gotta love that Wikimedia Commons.)  It’s like this picture is an homage to the closing lines of “Roanoke Summer Midnight.”

“Roanoke Summer Midnight”

Its midnight moon is newly minted coin —
a white-hot silver obol
forged in burning phosphorus.
The crisping clouds around it blacken.
Its silhouetted mountains
are great blue gods at slumber
the faded-haze azure horizon’s
giants in the dim.

Those slopes have known a billion bones of hares
that raced upon them other midnights, then,
pausing, one by one,
and drawing up their downy legs at last to final sleep.

Where the Shenandoahs’ driving
beryl falls to black,
ultramarine to onyx,
lay legions of hares — generations resting.
There are the hills where ivory
rabbits sleep among gods.

Ahead and under moonlight
the curving rural road obscures its end.
At right, an intersecting well-lit modern block
confuses the curling topography.
The fresh and symmetrical asphalt’s angle
mars the winding thoroughfare with order —
a ninety-degree anachronism.

That new and perfect subdivision
affronts the corner’s antebellum chimney,
broken down to stones and overrun in lavender
— its lilac colors driven plum by sunset.
That last century’s smokestack
was itself effrontery once
to the formless places where natives stayed,
their only edifice the stars,
their only currency the blinding coin of moon.

Eyeing, then, the summits’ crowning cobalt
driving down in royal blue to coal,
I hope to one day take my rest
there, in the darkening indigo,
alongside giants,
among white rabbits in myriad easy stillness,

to pause myself at last and sleep beneath
what meadows stretch in cerulean dark,
where hares will race like moon-kissed silver,
or comets of darting pearl.

(c) Eric Robert Nolan 2017

 

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Photo credit: Anagoria [CC BY 3.0 (https://creativecommons.org/licenses/by/3.0)%5D

A hard rain’s gonna fall.

This is Peters Creek Road in Roanoke, VA, nearly becoming a creek itself last Monday.  Look at those sheets of rain pummel the asphalt.  Hey, everyone I spoke to was thrilled — the sudden storms brought a welcome drop in the temperature.

I swear that the storms here arrive and exit faster than their counterparts in New York. Maybe it has something to do with low-lying storm clouds funneling through the mountains?

Yeah, I like Hardee’s, what of it?