Tag Archives: Eric Robert Nolan

Salem, Virginia, December 2017 (2)

This is one festive town.  It seems like there is a parade every five minutes.  Last night it was the local high school boys; they’d won their fifth state championship for … something or other.  Football, given the season?

They waved and shouted “Merry Christmas,” so I responded in kind to be polite.  Then a particularly friendly Salem woman commented to me that I must be a very proud father, and that got me feeling all weird.

A couple of the kids shouted, “Support Net Neutrality!”  That’s some nice work there, Salem.

I’m including a picture of me here to show off an early Christmas present from an amazingly talented poet friend — a monogrammed, handmade scarf.  I only had errands yesterday in the town, but I threw on my dress overcoat and pretended to be Bruce Wayne.

 

 

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Wacky Packages.

How’s this for “found art?”

I have friends who are incredibly sweet and generous, and yet who are also a little out there.

These adorned a Christmas package I received.  What we’ve got here is apparently a hatchet-wielding owl in the first drawing.  And he’s not an empty threat, either — note the owl skulls bottom left.

The second sketch depicts nothing less than a Christmas tree flasher.  (Note the consternation of the other trees.)

Tradition, ladies and gentlemen.

 

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“As Silver as the Stars You Tried to Rival,” by Eric Robert Nolan

“As Silver as the Stars You Tried to Rival”

The
world grows
darker in increments,
earlier every evening,
as Autumn’s arcing swallow bends to curve
at long last, rounding down, to the hardening ground, where only brown
leaves outlast November’s burning rug of reds and flaming footprints,
cast-off scarlets,

now giving way
to the gunmetal gray
of winter’s coarse eagle, its ash-gray and annual, slow,
feathered rule of sky ascends hemispheres, its lead belly
groaning for hare or softer birds, its slate eyes searching, yet ridden with hints of silver —

— thin silver threads in the breast of the lead predator,

ascending
screaming “December,”
slow, as slow as frost, as cold as loss,
frigid, frigid like a still photo and its forever frozen face there,
black and white, its timeless smile a lie, exposed by common calendars and your indifference.

If those blacks and whites were shaken up in a glass bottle, the jumbled shades under glass might make
silver:

— thin silver threads out of memory:

— as silver as the slimming minnows that you kicked
out of shallow water onto sand at 9
with the other boys
birthing, then returning swimming platinum
to the warm-womb mine of that black lake, you knew
that summer would never end —

— as silver as your father’s hair, when you were 13, the last time that you thought
your father would never end —

— as silver as the cross you gave to your first love,
kissing you at 16, there in the stairwell at school.
She laughed at your
accidental piety.
You thought it was a curving swallow;
it was a tiny crucifix.
And you told her
love would never end —

–as silver as the stars you tried to rival, drunk at 21, drunk at Cape Hatteras during the storm, drunk at the face of the Universe.
At “Kill Devil Hills” you balked at God.
The stars shouted with light, the violet-sable sky reeled and vaulted purple-black, interminable, drunk in its excess of self, the rhythmic, clutching sea its unforgiving son.

Your friends
warned you away from the sea.
The curving waves would swallow you.
They warned you, “You get dark when you are drunk.”
“And, besides, you’ll die.”
You laughed and stormed the waves against their wishes.
And you were dark. Your violet-sable heart
reeled and vaulted purple-black. You laughed
and shouted back at the stars,
young-mad and piss-drunk,
the freezing forward ramparts stung you but
you stormed in headfirst, headstrong, and interminable:

this night would never end,
and if it never ended, how could you?

(c)  Eric Robert Nolan 2015, originally published by Dead Snakes 2015

 

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Photo credit:  bigwavephoto / Wikimedia Commons

From now on the official song of Alabama is …

“We Care a Lot.”

By Faith No Moore.

Nice going, folks.

 

A review of “The Defenders” (2017)

I hate to say this, guys — I really do.  But aside from some admittedly standout action sequences, Netflix’ “The Defenders” (2017) was generally mediocre stuff.  I’d rate it a 5 out of 10 for mostly being a clunky, messily written, rare misfire for the Marvel Cinematic Universe.

What we’ve got here is an eight-episode story arc depicting nothing less than a cabal of mystical ninjas endeavoring to destroy New York City — and four superheros racing to stop them.  And yet it still manages to feel slow.  I’m surprised at how ploddingly so brief and urgent a story concept like that could be executed.

It’s confusing too.  The cabal in question here is The Hand, and their nature, origins, history and modus operandi are all too muddled to follow — the result of sloppy screenwriting.  Their goal within “The Defenders'” storyline is actually pretty narrow and specific by comic book standards — I’m not sure how razing New York is necessary at all.  (Their actions cause … an earthquake?  How, exactly?  And wouldn’t that jeopardize their process if an earthquake occurs earlier than they expected?  Do these mystical ninjas employ seismologists to forewarn them of that?)

Other questions abound as well.  What is “Black Sky,” exactly?  Does it matter much, considering it’s a story element that doesn’t much change things?  Is the resurrected uber-Elektra really that much different from the regular, mortal Elektra we saw in “Daredevil” (2015)?

To make matters worse, the character elements here are frequently off key.  Elektra herself feels like a mostly flat protagonist, the leads sometimes lack chemistry with one another, and the script pays far too much attention to supporting characters that viewers did not tune in to watch.  (If I hear one more saccharine pep talk between Claire Temple and Colleen Wing, I’m going to scream.)

Look, I’m not saying the show was all bad.  Like “Iron Fist” (2017) before it, “The Defenders” partially redeems a bad script with absolutely excellent fight choreography; Hell’s Kitchen is the corner of the MCU with the best martial arts action.  I cheered a couple of times.

I also think that the cast is roundly excellent.  I’ll always love Charlie Cox in the role of Daredevil and Krysten Ritter as Jessica Jones.  Mike Colter is perfectly cast as Luke Cage, and we even have none other than Sigourney Weaver classing up the MCU (even if she occasionally seemed to phone it in a little).

And I’m including Finn Jones as Iron Fist here — I don’t think he’s the show’s “weak link,” as other viewers do.  The actor is actually quite good; it isn’t his fault that his titular series and this follow-up were poorly written.  In fact, I really like the character concept of Iron Fist as it’s presented here.  It’s mired in a lot of weird and dated kung-fu-type cliches, but this is a comic book property, after all.  The character’s shtick might be the closest the MCU comes to having a “Jedi”-type figure, and that’s fun.  (A good friend of mine who is a lifelong Star Wars fanatic really loves “The Defenders,” as well as Iron Fist’s solo show — I don’t think that’s an accident.)  Plus, Iron Fist is a great foil for the other characters on The Defenders team, who are each cynical and traumatized to some extent– he appears young and idealistic and with a sheltered upbringing, like a recent college graduate with superpowers.

I don’t know that I can actually recommend this, as you can tell from the above.  But I will say that nearly everyone I’ve heard from about this show enjoyed it more than I did.  Your mileage may vary.

 

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A friend of mine crafted this phoenix to top her Christmas tree.

And I think it’s really flippin’ cool.

Sigh … yes, it is indeed a Harry Potter reference.  Her entire Christmas tree has a Harry Potter theme.  But I am pretending it’s the classical phoenix.  Or even an emblem for Phoenix, Arizona.

The girl’s got talent.  Someday when I become a wealthy author, I want to hire her to decorate my house for Halloween.

 

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The December 2017 issue of Peeking Cat Poetry Magazine just arrived.

If you fancy a few verses to get you through the winter’s first snow this weekend, then check out the December 2017 issue of Peeking Cat Poetry Magazine.  You can find my poem “Iphigenia’s Womb” there, along with some terrific poetry by a few great friends of mine — including Emily E. James’ “Psychochub” and R. J. Davey’s “An Appeal to the Craft.”

You can order a paperback copy of the magazine right from Lulu.com here, or download a free copy in PDF format right here.

Happy Holidays!

 

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It started snowing in Roanoke.

Even though you actually can’t tell from this picture, which I now realize.  Dammit.

Use your imagination.

 

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Salem Fire Department Truck 1

Salem, Virginia.

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This is my attempt at channeling Andy Warhol.

Next up is my take on “Lavender Disaster.”  But first I need get up to NoVa, steal my friend Steve’s car, and then crash it.

Steve will understand.  He’s an art guy himself.

 

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