Part III of the Al-Faiz saga, which began with “State Secrets: A Theory of the Unconscious.” (If you’re unfamiliar with the Catastrophe, stories are posted with the most recently created appearing first. Thus, Chapter Three will appear above Chapter Two. This makes narrative and chronological order somewhat of a blender, which was already a point of contention within the texts themselves. It is my lack of technological savvy, and not some high-concept peccadillo, that makes this so. I would recommend reading “State Secrets” first, until I can resolve the problem. You can do this by clicking on the blue ‘Previous’ arrow on the upper right of the post.)
While waiting, having been told to wait indefinitely, I grew restless and artistic. I also saw the film “Flashdance.” As if for the first time.
The cinema of the 80s is one of my favorite old Wadis. I often roam her old valleys and riverbeds, marveling at the raw and un-coached honesty of that time. At the movies we are subject to ‘enormously powerful’ powers.
American Balls Again. The 80s were a time of enormous American balls. Most of the popular films were about freedom and independence (“Flashdance,” “Top Gun,” “Star Wars”).
Next Issue: Al Faiz IV: Deep Integration (Ibn al Gtr Draq and the War on Horror)
A thumbnail preview…
There were always guitar draculas. Wherever there was a mountain or a plain or any kind of uneven surface, a guitar dracula could be heard, wailing at the consternation of landscape — it’s vexing, foolishly limited horizons.