BOWED DOWN BY THE BURDEN of
philosophytopologyalgebraicgeometrycounterterrorismplusdailylife …
I stooped to borrowing, from our library, the DVDs of Season 1 of “24”.
This I had not seen broadcast, having been introduced only to Season 2, by the fortuitous circumstance of renting a room, post 9-11, from Marine A*** M*S*****, who owned a TV.
At first, it was all unfamiliar -- and the heart leapt: Hooray ! A whole new unseen season !
Yet, later, certain passages were remembered in every detail. -- The heart sank. Am-ne-sia ….
Yet why so ? Why not -- forget our pleasures, that they might be re-savored,
virginal, anew ? ?
We do not push away each new steak or milkshake, scowling: “Been there; done that…”
But to return (to Episode 8, minute 12:41, on the DVD timescale -- foreshortened by the absence of recaps and ads): a brilliant visual composition. Which the cinematographer composed, knowing that it would be but barely perceived (lasting but a second), and instantly erased from the viewer’s memory, by all the smash/bang sequences that followed. And yet …
The (absence-of) color-scheme, from Rembrandt (brown upon brown); the composition, from Vermeer. Light strikes in from the side, in a constrained band; the rest is darkness.
There is a perplexing/fascinating contraption in the foreground, in shade; the front (blank, bland) panel of an empty desk, (comparatively) brilliantly lit; and bending over this, the figure of … (she could almost be pouring a milk-pitcher, in Vermeer; yet there are depths to this, of sheer despair …)
This briefbrief glimpse of the middle of a moment
passes from the scene so soon as it is seen :
yet dwells, in full, in memory, of whoso chances to catch it,
as thus our each (bent) bright (black)
attitude of (paining, praising) daily life …
is lit for Him - -- ---
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