Wes & Erin continue their discussion of Wordsworth’s sonnets.
(post)script
(post)script: Post-Abbey (“Tintern Abbey,” Part 2)
Wes & Erin continue the second part of their discussion of Wordsworth’s “Tintern Abbey.”
(post)script: Post-Murmur (“Tintern Abbey, Part 1”)
Wes & Erin continue their discussion of the first three stanzas of Wordsworth’s “Tintern Abbey.”
(post)script: Post-Fool (“La Strada”)
Wes & Erin continue their discussion of Fellini’s “La Strada.”
(post)script: Post-Awakening
Wes & Erin continue their discussion of “The Awakening” by Kate Chopin.
(post)script: Post-Wonderful
Wes & Erin continue their discussion of “It’s a Wonderful Life.”
(post)script: Is “Die Hard” a Christmas Movie?
Wes & Erin continue their discussion of “Die Hard.”
(post)script: Post-Network
Wes & Erin continue their discussion of “Network” (1976).
(post)script: Post-Oedipal
Wes & Erin continue their discussion of Oedipus Rex, especially that show-stealer Creon.
(post)script: Post-Tootsie
Wes & Erin continue their discussion of “Tootsie,” etc.
(post)script: Post-Ozymandias
Wes & Erin continue their discussion of “Ozymandias,” etc.
(post)script: Post-Ripley
Wes & Erin continue their discussion of “Alien,” etc.
(post)script: Post-Scrivener
Wes & Erin continue their discussion of Melville’s “Bartleby the Scrivener,” etc.
(post)script: Post-TOTS
Wes & Erin continue their discussion of Henry James’s “The Turn of the Screw,” etc.
(post)script: Post-Bellum
Wes & Erin continue their discussion of “Gone with the Wind,” etc.
(post)script: Post-Desire
Wes & Erin continue their discussion of “A Streetcar Named Desire,” etc.
(post)script: Post-Oz
Wes & Erin continue their discussion of “The Wizard of Oz,” etc.
(post)script: Post-Prufrock, Part 2
Wes & Erin continue their discussion of the second half of “The Love Song of J. Alfred Prufrock,” and more.
(post)script: Post-Prufrock
Wes & Erin continue their discussion of the first half of “The Love Song of J. Alfred Prufrock,” and more.
(post)script: Post-Apocalypse
Wes & Erin continue their discussion of “Apocalypse Now.” Wes apologizes for asking Erin to watch something so disturbing, and we further discuss dueling conceptions of the arts, one Platonic and the other Aristotelian. We agree that “Apocalypse Now,” despite being challenging, is an aesthetic masterpiece. What about the narrative? Wes argues that it is very close to not having enough of an arc. What it does most successfully is to convey a kind of surreal, psychedelic mood, one that is meant to capture the insanity of the Vietnam War (and perhaps war in general), and so constitutes its critique. We end by reminiscing about watching “Notting Hill” together. But we fail to talk about an obvious hypothetical ….