Monthly Archives: June 2017

Trust Once Broken is Nearly Impossible to Re-forge

Life is not like the Lord of The Rings and trust once it is shattered is not easily reformed into a new shiny compact like the recreated blade Narsil transformed from its shard into Anduril.

Ask any couple where one has betrayed the other with an affair. Ask anyone who has placed their trust in another person who let them down and then asked to be trusted again. When someone’s given word is broken it is very difficult and usually a lengthy process to regain a measure of trust so it is with nations.

Trump’s lasting impact on the United States is probably going to be in the area of how our allies treat us and our commitments. From his refusal to recommit to Article 5 of the NATO treaty. which is the very heart of the treaty, to the sudden withdrawal from the Paris Accords, our allies are going to understand that America’s word is much less dependable and our actions much more volatile then they have assumed.

Roman maintained Pax Romana through it’s military dominance of the4 ancient world with Rome’s mighty Legions. England maintained Pax Britiana with her Navy and economic colonialism, but Pax American has been something different.

For the most part, and imperfectly, we have maintained a world peace and flowering economic growth around the globe through our leadership and our diplomacy. As I have mentioned in other posts the United States spends far more than other nations on its military because we are the one assuring the world’s peace. We are also the linchpin of the world’s economy, with out dollars acting as the planet’s reserve currency. That power and that responsibility comes entirely from the world’s trust, trust in American agreements and treaties.

While amongst ourselves the right and the left have bitter differences, over seas we have historically presented one face and fully backed our agreements, something the world counted upon. Trump has shattered that. Our allies now publicly state that they can no longer fully count on America, that they must be ready to go it alone. This does not make us stronger it weakens us. This does not secure our economy it imperils it. Other nations are watching us and want our position. There is no love for a fallen empire and no loyalty to an ally to shatters trust.

We are in terrible danger.

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On Horror and Un-credited Horror Directors

Horror is a mood, and when we speak of horror in the arts we speaks of an artist’s intent to create that mood. With words, and sounds, and images the artists seeks to undermine the viewer/readers comfort, replacing it with a sense of dread, danger, and unreality.

That unreality is not to the same as a sense of something being unreal, but rather the knowledge that reality is not what you thought it was. The idea that the world does not work along the laws and principals that you thought it did is one of the core elements of horror. When you walk onto a stair, expecting the first step but instead it is missing and your foot falls an extra four inches for that moment when you fall you are in a brief state of horror. You knew that the step was there, in darkness you plunged forward fully confident of its existence, but the instant your foot plummets past the step your world is suddenly rendered wrong.

The moment passes quickly and the horror vanishes with the firm feel of the very next step. The explanation destroys the horror. If excellent horror fiction that return to ‘normal’ reality never arrives and the new unfamiliar reality goes on forever,

I think that David Lynch is one of our greatest horror directors. Not everything he makes is horror, certainly Dune is not, but a lot more is horror than is conventionally recognized.

Lynch’s world are often very much like our own, but quickly he leads the audience into a nightmare where nothing is what it seems, where images and sounds unsettle, where identity crumbles, and sane rational explanations never arrive. In Twin Peaks, now returning for its 3rd season after a break of 25 years, there is unquestioningly super natural elements, but even with demons and doppelgangers Lynch finds horror to unsettle and unnerve us. But in other works, Mulholland Drive, Lost Highway, Earserhead, these same very powerful sensation are invoked and rational explanations are withheld. Though the critics, devoid of thee usual easy identifiers or aliens, monsters, and bloody deaths, rarely labeled these films as horror, to me that is exactly what they are.

The only question is intent. Lynch is famous for never explaining the purpose or meaning of his films. Part of any art is the viewer/reader’s interpretation and for Lynch that means you don’t impose, in any way. your won view as artist, but rather you leave the viewer fully empowered to experience it on their own terms. This is challenging and Lynch has never and will never find easy commercial success but we would be poorer without his visions disturbing and unsettling us.

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