I’ve been trying my best not to obsess about the news lately, which is why I’ve been spending less time here. (Blogging and obsessing about the news have always gone hand in hand with me.) On the plus side, this reallocation of bandwidth has given me more time to spend time with my family, take long walks around Ypsilanti, and work on the new startup. On the down side, though, I miss having a platform through which to engage with people. So, these past few weeks, I’ve been thinking about the future of this site, and wondering if there might be a way for me to keep it active and relevant, while also not sacrificing the things I noted above, which are making my life better. The question is, how to create a system that is both personally rewarding and sustainable.
One of the best ideas that I’ve considered thus far has been from Linette, who suggested that I stop trying to be so thorough in my dissection of current events, and instead just start posting smaller, less complete ideas, preferably in a different format. So, for the past few days, while I’ve been shut off from the family and everyone else as I await the results of my Covid test, I’ve started drawing on an iPad. Above is one of my first drawings — something I did after watching Sidney Lumet’s The Pawnbroker (1964) and Ridley Scott’s Blade Runner (1982) back to back.
I don’t think I ever would have made the connection, had I not, purely by coincidence, chosen to watch one right after the other, but now I’m off on a tangent, thinking about the ways in which the two films overlap. Both, as you may know, end with central figures forcing pieces of metal through their hands, but I’m starting to think that the connection goes deeper than just the obvious reference to stigmata. I won’t go too deeply into it here, but it’s the kind of thing that, had I gone on to get my PhD in American Studies, I think I might have really done something interesting with.
Both films are very much about the search for the self, and what it means to be human. Rod Steiger as Sol Nazerman in The Pawnbroker, withdraws into himself after his family is murdered by the Nazis during the Holocaust, shutting himself off emotionally from the desperate and broken people who come into the universe of his small pawn shop of New York’s Spanish Harlem. “I have escaped from the emotions,” he says at one point. “I am safe within myself.” Ultimately, though, when he’s confronted by circumstances resulting from his own actions, he has to face his grief, the guilt he feels as a survivor, and the role he’s played in perpetuating despair in the community where he does business. And he reconnects to the physical world around him by forcing a metal spike through the palm of his hand. In Blade Runner, we have Rutger Hauer as rogue replicant Roy Batty, who, likewise, is struggling with finding humanity within himself after a short, violent life as a fighter of “off-world” wars on behalf of his human creators. “I’ve seen things you people wouldn’t believe,” he says during his final monologue, after pushing a nail through his own hand. Like I said, I still haven’t completely thought it all out, but I know there’s a thesis in there somewhere about the struggle to find the self and reconnect with the essence of what it means to be a connected human being. Anyway, if you ever watch the two films back to back, and want to exchange thoughts, leave a comment and I’ll respond. Until then, I’ll be working on my Venn diagram.