Tag Archives: Eric Robert Nolan

Oh, Roanoke. *loose/lose

Yes, I do realize that only an approval-seeking pedant will broadcast the fact that he found an error in a newspaper headline.  At least I’ve got that self-awareness thing going for me.  And I make plenty of my own mistakes right here on this blog.  Somebody called me on the unforgivable *your/you’re confusion just last week.

Hey, I spent a couple of years on the other side of the desk where this kind of nitpicking is concerned.  When I was a reporter, there were people who positively loved to call us when they spotted a mistake.

If you’re ever inclined to do that yourself, then please bear two things in mind:

  1. You are almost never the first one to alert the paper’s staff that an error has slipped past them.  It’s usually spotted by someone either in the newsroom or in the advertising department, before anybody calls it in; and
  2. Mistakes in headlines are rarely made by the reporter who wrote the story.  They can usually be attributed to someone at the editorial level, who prepared the layout.  (The editors read the stories’ content, and then draft an appropriate headline according to the amount of space allowed by the layout.)

 

 

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Throwback Thursday: the Indiana Jones “Find Your Fate Adventure” books!

Here’s another happy Christmas memory — the Find Your Fate Adventure  books featuring Indiana Jones.  I was happy indeed when Santa brought these.  They were first published by Ballantine Books in 1984 and 1985, and they were basically Choose Your Own Adventure books in which you teamed up with Indy in the same type of archeological adventure you saw in the movies or in his comic book series.

Like most series of this type, they were penned by different authors and tended to vary in quality.  The second book, “Indiana Jones and the Lost Treasure of Sheba,” was authored by Rose Estes, who wrote some terrific title in the Endless Quest series, TSR’s own excellent take on the format in the Dungeons & Dragons genre.  There also were several written by R.L. Stine, they were reprinted in the 90’s following his popularity with his Goosebumps series.

I had the first four that you see below.  I seem to remember one being kinda bad, but I’m not sure I remember which.  It might have been Andrew Helfer’s “Indiana Jones and the Cup of the Vampire.”  (It was whichever book portrayed the reader as Indiana Jones’ cousin, who he repeatedly addressed as “Cuz.”)  The other books were damned great fun, though.  I do remember Estes’ “Lost Treasure of Sheba” being quite good.

I never owned the fifth book you see below, and never read it.  I can’t resist including it here, though, simply because of its title — “Indiana Jones and the Ape Slaves of Howling Island.”  If that isn’t the most interesting title in the history of western literature, I don’t know what is.  I’m 45 years old, and I would snap that up right off the bookstore shelf if I saw it.  Somebody should have gotten a raise for that one.

 

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To those rebutting my “Star Wars: The Last Jedi” review:

(Specifically my complaint that the near-godlike “Force” powers employed are neither supported by the script nor precedented in the prior films.)

The Force is the Force, of course of of course,
And no one can limit the Force, of course,
Unless, of course, they use the Force
As a shameless deus ex machina!!!

[sung to the tune of “Mister Ed”]

 

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A short review of “Star Wars: The Last Jedi” (2017)

I’ll never be able to love “Star Wars” the way its lifelong fans do.  After the unexpected magic of the first three films, the subsequent movies almost always seemed to me to be just space fantasies for kids, formulaically developed to hit all the right notes and sell licensed merchandise.  (The exception would be last year’s generally excellent “Star Wars: Rogue One,” which uniquely felt like a genuine, human story that a creator wanted to tell, rather than something brainstormed until consensus in a corporate writers’ room.)  With that said, I’ll happily report here that “Star Wars: The Last Jedi” was actually very good — as someone with little favorable bias toward the franchise, I’d rate it an 8 out of 10.

The movie simply got more right than it got wrong.  It’s still a marketing-oriented space opera developed for mass appeal, but it managed to rise above that because its many elements included more hits than misses.

If I had to pick one thing that made this movie succeed for me, it’s the balance it struck between its epic war story and its narrower sword-and-sorcery central plot thread.  I like how the film began with an interstellar war — it had ordinary, mortal, relatable human characters fight and make sacrifices.  Anyone can relate to characters like that because they are interchangeable with people fighting a war in our world.  (It was also excellently rendered, in terms of fantastic visuals and some creative ideas.)  Only afterward does the movie layer in the far-out Jedi stuff, which contrasts the war story and adds complexity to it.

The second thing I liked about it was its terrific special effects — I’ve never seen a “Star Wars” movie without them, even if the prequels had a more cartoonish, toylike quality to what they depicted.

The third, I think, was the return of Mark Hamill’s Luke Skywalker.  Hamill is actually quite a good actor, and his skilled turn here was alternately funny and dramatically convincing.  I found myself more nostalgic after watching Luke’s return to the franchise than after Han Solo’s return in “Star Wars: The Force Awakens” (2015).  (And I love Harrison Ford just as much as everyone else in the universe.)

Is there a lot to nitpick?  Sure.  In addition to some plot holes, the character of Rose was rather annoying.  (Spunky young idealists can grate on the nerves if they’re too cutesy and seem to ingratiate themselves to the viewer.)

But a far larger weakness is that “the force” has become more of a deus ex machina than ever before.  I can’t be specific here because I want to avoid spoilers, but both the Jedi and their Sith counterparts employ incredible new powers in the movie that are absolutely unprecedented.  It isn’t explained at all, and it isn’t consistent with any prior “Star Wars” movie.  And it feels like a cheat that is both sweeping and … a little strange.

Still, I’d recommend this movie — even if you didn’t love every “Star Wars” movie you’ve seen in the past.

I’ll end with a quick note about the “porgs” — those little penguinesque aliens that are supposedly dividing longtime fans into opposing war-camps.  I loved the damn things.  It makes perfect sense that Luke’s hideaway planet would have local fauna.  And I read that the filmmakers actually did include them for an understandable reason.  The island shooting location’s landscape was inhabited by puffins.  It made more sense to overwrite them with CGI stand-ins than to digitally remove them altogether.

 

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All I want for Christmas is a new Commander-in-Chief.

I know I’m addressing here what’s already appeared all over the news, but here are the seven words that the Trump administration has allegedly banned from appearing in The Center for Disease Control’s budget documents.  (In fairness to the administration, CDC Director Brenda Fitzgerald tweeted Sunday to dispute those claims, which first appeared in The Washington Post.  You can read about her response here.)

 

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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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