.:wanderlustmedia+dot+org:.

no habia probado esta aun…deberia tal vez ‘organizarme’
pa postear a traves de aqui oficialmente?
…sorry, just sleepless bullshitting noche de navidazz-
blablah woofwoof, quoth hendrix…

espero todo bien contigo, hay par de transacciones que debo dejar de
posponer
y acabar de hacer antes de que empieze el 2006-
si me puedes dar instrucciones re.: firewall &c para mas tranquilidad…
reeeeally appreciate it…

d=(8{>

first efforts- llevo los ultimos tres dias y noches jugando con la banda sonora, estoy bastante complacido, BUT- if you can, play ‘MOS’ (‘mitOUT sound’) first…for a little experiment in shifting emotional cues…
(esta tarde llegan los alemanes!! ) un abrazo, d=(8{>

If you don’t have it, get your QuickTime fix here.

September 11 doesn’t play a huge role in the novel, but it’s there. The book suggests that American
arrogance, self-satisfaction, and focus on the minutiae of capitalist life were directly responsible.
Do you agree? Also, having read that you take a very methodical
approach to your writing, I wondered if you began this book before or after the attacks.

TR: Perhaps the supreme tragedy of the September 11 attacks is how easily they could have been avoided
if the U.S. had a foreign policy that was even remotely worthy of a nation that professes to be moral, benevolent,
and favored by God. It would be easy enough to catalog the evils of that policy and the unevolved shysters who
formulate it, but I try to avoid the overtly political in both my life and my work. My approach is to encourage readers
to say “yes” to life, on the assumption that anybody who’s saying “yes” to life will automatically say “no” to
economic determinism and the destruction and self-destruction that economic determinism invariably spawns.

Villa Incognito was begun nearly a year before the attacks, but since the protagonist of my last
novel, Fierce Invalids Home from Hot Climates, proclaimed that “terrorism is the only logical response
to America’s foreign policy,” the knowledge that such an event was inevitable obviously lay napping
somewhere in the basement of the text. When 9/11 occurred, it slid up the stairs and into the narrative
as effortlessly as an amoeba sliding up a soda straw.

The fox is another mythical figure who makes an appearance. At one point, the character Tanuki
ponders “how the fox continually played mean tricks on human beings, yet claimed that his
mischief was actually a benefit to men because, in the end, it forced them into the flexibility and
resourcefulness essential to their advancement.” Do you think there’s hope that this could be
a positive outcome of 9/11, as well?

TR: It’s hard to find anything positive in the horrific loss of innocent lives, but as Margaret Mitchell
observed, “It’s a gone wind that blows no good.” If nothing else, 9/11 might yet force smug, xenophobic
Americans to wake up to the fact that we aren’t the only frogs in the planetary pond. The chief result so
far, however, has been to send a cowardly citizenry on a mad dash to trade its civil liberties for
a shadowbox of false security.

Borders interviews Tom Robbins

(…a particularly apt, knowledgeable & inspiring excerpt here-
read to the end for a short meditation on ‘the soundtrack-to-one’s own-written-word’– d=(8{> )
…There’s an obscure, brief, ambiguous verse in the Bible that some people interpret as predicting that when a pure red heifer is born in Israel, it will signal the return or the debut (depending upon which mythic system one buys into) of the Messiah. So, a group of fundamentalist Christian farmers in Mississippi are raising red cattle and flying them to Israel, where they’re sold at cost to ultra-orthodox Jews who hope to produce, through selective breeding, a red calf completely free of markings or discoloration. The objective of both parties, of course, is to force the Messiah’s hand.
Now, this is the kind of stuff that’s happening in our “real world,” boys and girls, and it’s happening all the time! How then can anyone who pays attention to their next-door neighbors, let alone network news, regard my fiction as “outlandish”? I consider myself pretty much a realist. The actual fantasy writers– not that there’s anything wrong with fantasy– are the would-be realists who, focusing exclusively on lawyers, childhood trauma, or mom’s apple pie, write as if enigmatic wackiness wasn’t raging all around us.
The tanuki, an Asian species of dog that closely resembles the raccoon, plays a large part in your story. Renowned in Asian myth for a love of snack, sake, and general freewheeling, is the tanuki there, on both an entertaining and more profound level, for fun?
TR: It’s necessary to distinguish between a tanuki, the animal, and Tanuki, the character from Japanese folklore. The two bear the same relationship to one another as a raven and Raven, or a coyote and Coyote in Native American mythology; a raven is merely a commonplace bird, but Raven is a trickster figure, an entity who’s decidedly supernatural although not quite a god.
Typically, tricksters are disruptive mischief-makers; they’re liars and thieves who delight in playing pranks on overly serious human beings, but in the end, provide the clueless humans with what they need most to prosper and survive. In Japanese mythology, the principal trickster figure is Kitsune the fox, a wily rascal who serves nevertheless as a vital emissary between mankind and the gods. Having no such benevolent function, what foggy little Tanuki shares with his more evolved trickster counterparts is an enormous appetite for food, strong drink, sex, music, and dance. In fact, Tanuki is all appetite, he’s an ultra-sensual embodiment of the life force in its purest, most raw and innocent form. He’s a figure of fun and for fun, including the kind of fun the gods must have had when they danced the universe into existence. So, yes, in its own way, his role is profound.
…
This book is punctuated throughout by the lyrics of a song written by one of the characters. If there were a soundtrack, I’d guess this would be the main theme. As music is discussed elsewhere, as well, what other songs or pieces might find their way onto such an album?
TR: Great question. Let’s see� The theme songs of Still Life with Woodpecker would surely be Bob Dylan’s “One More Cup of Coffee” and the Turtles’ “Happy Together,” and a soundtrack to Jitterbug Perfume would be dominated by New Orleans jazz and that eerily beautiful, ancient-sounding music recorded by the Bulgarian Women’s Chorus. But Villa Incognito, hmm� I suppose Leonard Cohen would be well represented, along with a lot of Zen drumming, Erik Satie circus music, a dash of “One Night in Bangkok,” a jigger of the title song from the 1963 movie Charade, plus a general sprinkling of Elvis Costello.

-for yr consideration-

My other favorite woman photographer, Francesca Woodman, could be the yin to Susan Meiselas’ yang…

http://www.thenation.com/doc/20041115/danto
wanderlust media
grounding the virtual realm, retracing age-old footpaths to rest at home in the motion of desire.