Tag Archives: Eric Robert Nolan

Are there any lovers of dark, dystopian literature on your holiday gift list?

Then please consider surprising them with “The Pustoy,” an outstanding book of poetry by Philippe Blenkiron.  It’s a science fiction and political epic in poetry format, describing future Britain’s rule by a genocidal dictator who scapegoats an underclass to facilitate his rise to power.  It’s quite dark, and I quite loved it.  Click the link below to read my review last year:

A frightening future, skillfully envisioned — God help “The Pustoy.”

“The Pustoy” is also easy to purchase in either paperback or Kindle format.  You can find it at Amazon right here:

“The Pustoy” at Amazon.com

I suggest that this would make an excellent gift for lovers of books like George Orwell’s “Nineteen Eighty-four” or Ray Bradbury’s “Fahrenheit 451.”  And its format in verse would make it an even more interesting companion book.

 

Me and my sexy, sexy, sexy poetry!

Hey, Girl.

It turns out one of my poems, “Confession,” was so damn hot that it was featured by the “Amorous People” Facebook page.  For those of you unfamiliar with the steamier side of the Internet (yeah, right), there are indeed Facebook pages dedicated to erotica.

“Amorous People” is one of them — an “18+ Community” that primarily features photos of people 20 years my junior enjoying themselves far more than I am as I’m typing this right now:

The Amorous People Facebook Page

Yeah, it’s amorous.  If Barry White’s subconscious had a Facebook page, I’m pretty sure this would be it.

I’m also pretty sure the site originates in Eastern Europe.  I’m seeing what looks like Cyrillic script on some memes, and the community rules somewhat befuddlingly instruct newcomers to “offend then leave.”

I … I guess this discovery is flattering, in a weird sort of way.  “Amorous People” actually only featured a portion of “Confession,” which was published by Dead Beats Literary Blog in October 2013.  It was the sexual imagery in the poem’s opening.  They also ran the portion without attribution, or acknowledging Dead Beats.  I politely informed them that I was the author, and included a link to where it first appeared, but they haven’t responded.  Maybe they’re … busy doing other things.  [Wackicha wackicha.]

Anyway, “Confession” is easily the most popular poem I’ve ever written.  It got a record number of “likes” and shares when it appeared at Dead Beats two years ago.  If you are feeling curious (or “Amorous,” even) you can read the poem in its entirety where it was originally published.  The link is the first one at the top of my “Poetry” section here at the site:

Poetry

And hey — if anybody out there is inspired to get their smooch on because of something I wrote, then that’s just awesome.  Here’s to you, ya crazy kids!!

 

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Damian Nenow’s “Paths of Hate” (animated short film)

Frank Becker sent this one along to me yesterday.  It’s a darkly mesmerizing short film.  When it takes a turn for the surreal after its first half, it becomes dreamlike and hellish.

It was written and directed by Damian Nenow, and produced by Platige Image.

 

I hope your holiday season is merry already!

Just a quick note here to let you guys know that I hope that everybody’s holiday season so far has been a peaceful and happy one!

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Photo credit: By Per Palmkvist Knudsen (Own work) [GFDL (http://www.gnu.org/copyleft/fdl.html), CC-BY-SA-3.0 (http://creativecommons.org/licenses/by-sa/3.0/) or CC BY 2.5 (http://creativecommons.org/licenses/by/2.5)%5D, via Wikimedia Commons.

“Ben Affleck was the bomb in ‘Phantoms.'”

I revisited “Phantoms” (1998) the other night, and I thought I’d just speak up briefly here on its behalf.  For one thing, I really chatted up Dean Koontz’ 1983 source novel here at the blog not too long ago.  And for another, this critically and popularly panned movie is one that I happened to like.

Ben Affleck actually wasn’t “‘the bomb’ in “Phantoms.'”  (Referring to something as “the bomb” was, at one time, a high compliment in American slang.)  He mostly phoned it in, and even seriously flubbed a scene or two.  (Hey, I actually like the guy a lot, and I’m willing to give him a chance as the next Batman.)  The headline above is actually some particularly meta humor from another character played by Affleck, in Kevin Smith’s “Jay and Silent Bob Strike Back” (2001).  Affleck was poking fun at himself a little here, along with his fellow denizens of Smith’s “View Askewniverse.”

Roger Ebert dismissed “Phantoms” as “another one of those Gotcha! thrillers in which loathsome slimy creatures leap out of drain pipes and sewers and ingest supporting actors, while the stars pump bullets into them.”  You can read his entire review right here:

http://www.rogerebert.com/reviews/phantoms-1998

No, “Phantoms” isn’t classic sci-fi-horror.  It’s sometimes pretty thin stuff on a number of levels … but primarily the levels of acting and screenwriting.

But, dammit, I still liked this movie a lot.  If you’re a fan of the book (I’ve suggested it’s Koontz’ best), you’ll be happy to discover that it indeed conscientiously sticks to its wicked-cool source material.  We see a small Colorado mountain town where all the inhabitants have vanished; a clutch of wayward visitors then try to escape the same grisly, mysterious fate as its residents.)

The book’s central plot device is a nicely conceived and executed idea for a monster, with some effectively creepy historical and scientific context.  (I can still remember a colonial victim’s warning, which is referenced in the book, but not the movie: “It has no shape; it has every shape.”)

Despite its clunky script, the film brings us a story that is pretty intelligent — thanks to retaining so many elements of the novel.  This is a thinking man’s monster movie — like somebody rewrote “Beware the Blob” (1972), but put a hell of a lot of smarts and creativity into it.  We’ve got two groups of bright people who fight back against “the Ancient Enemy,” and their actions and strategies generally make sense.

Also … Liev Schreiber does creepy incredibly well, and Peter O’Toole does everything incredibly well.  The former’s face and mannerisms do much to unsettle us.  And the latter brings the “Lawrence of Arabia” (1962) treatment to the fifties-esque trope of the monster-fighting hero scientist.

Finally, this might be an odd thing to praise a film for, but I loved its sound effects.  Because that voice (or voices) on the story’s single working telephone was exactly how I wanted the adversary here to sound.

Slam it all you want.  I’ll watch this one again.

 

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A very short review of the pilot for “The Man in the High Castle” (2015)

My reaction to the pilot episode of “The Man in the High Castle” (2015) here will be brief.  I am inclined only to praise it, and that would just be redundant with the accolades already heaped upon it by better reviewers than me.  (Yes, I still have only seen the first ep.)

It’s wonderfully well written, directed and performed, with some layered world-building and unexpectedly interesting character interaction (particularly among the bad guys).  I’d give it a 9 out of 10.

I might not be quite as confident as other viewers, however, that this show can continue to sustain my interest at this level.  The espionage subplots are well executed, but seem by the numbers.  The world has seen a hell of a lot of spy fiction and cinema since Philip K. Dick wrote this source material in 1962.  It might be tough to keep those elements fresh.  And this might be an even greater challenge for a story somewhat constricted by 1960’s-era technology, as opposed to a modern technothriller.

 

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Nerd Nolan — Fighting for YOU in the War on Christmas!

I went out tonight to get a haircut and a flu shot, and I almost came back with a disco ball and a giant ceramic grizzly bear head.  Because I’m that kind of guy.

And because those things were CHEAP.  I finally found something I’d been missing since I moved away from Queens so many years ago — a cool ethnic neighborhood.  Virginia does have them!  And they’re just full of really cool, friendly people; Mom-and-Pop businesses; and discount stores.

The discount stores are occasionally confusing to navigate —  I found  socks, wristwatches, Mary statuettes and cereal, for example all displayed neatly side by side.  But everything costs so LITTLE.  I swear that there was a man-size metal Christmas tree for $10.

My haircut was inexpensive too.  I flirted with the Spanish woman who rang me up, employing what little Spanish I have a handle on.  It totally fell flat.  When I lived in Queens the Spanish girls down the street at the deli would break into peals of laughter whenever I said, “Estoy en fuego por tu.”  I’ll try that line next time.

I also saw one of those “Chicken Pollo” restaurant signs across the highway from the haircut place.  But I though it said “Chicken Polio,” because I left my glasses at home, and I ate at Wendy’s, which had a sign that I could read.

Anyway, check out the Christmas tree and Christmas mug I bought below!  They are my first Christmas decorations of the year.  Although … maybe the tree actually DOES lend credence to the perceived “War on Christmas,” because, seriously, the price tag only says, “TREE, metal layered.”  And … it’s red.  (I’ve lost track of whether that’s a good thing or a bad thing.)  I should write an angry letter to the people in China who made it.

I still want that ceramic grizzly bear head.

Can a single guy still shop at “Family Dollar?”

Honestly?  This entire post is kinda sad on number of levels.

 

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“On Donald Trump,” by Eric Robert Nolan (short poem)

“On Donald Trump”

It’s George Orwell’s prediction —
A wealth of vague words leads
the intellectually
destitute’s convictions.

(c)  Eric Robert Nolan 2015

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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

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Photo credit:  bigwavephoto / Wikimedia Commons, via Wikimedia Commons.

Peeking Cat Poetry Magazine features “Amanda” and “Amanda II, A Haiku”

Peeking Cat Poetry Magazine released Issue 9 tonight; if you’re so inclined, you can peruse my poems, “Amanda” and “Amanda II, A Haiku.”  (You can find them on pages 16 and 20, respectively.)

You can actually download the magazine for free right here:

http://www.lulu.com/shop/samantha-rose/peeking-cat-poetry-magazine-issue-9/ebook/product-22468453.html

Or, if you’d like to have a hard copy of Peeking Cat delivered to you, you can purchase it here:

http://www.lulu.com/shop/samantha-rose/peeking-cat-poetry-magazine-issue-9/paperback/product-22468430.html

Once again, thanks to Peeking Cat Poetry Magazine for allowing me to have my work included among that of so many talented authors.

 

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