There are a lot of potential things to write about on the stroke blog this week. The Fabulous Beth and I went to see the National Theatre of Scotland put on the first two of Rona Munro’s James plays. And I’ve been reading about the translation of the Christian Bible conceived by James I’s and II’s descendant James VI of Scotland. So I suppose you could say I’ve been thinking about Survival in its many forms.
Before last week’s jaunt to Germany, I’d been zooming out from the origin and reinvention stories of stroke survivors. Instead, I was focusing on the origin stories, anthems, and mottoes of countries: (1, 2)
Stroke Bloke and The Fabulous Beth spent Thursday and Friday nights
in Düsseldorf, Germany…
Ja, denn ich liebe die Schwarzweißfotos!
…and our little break means a pause in considering how countries relate a vision of themselves through anthems (1, 2). ‘Cos that’s a big subject, as illustrated by The Prof’s awesome comment to last week’s post.
As we dashed headlong through Düsseldorf, I was instead reminded of #strokier posts. And, indeed, a tweet tweeted from my bed at The Hospital for Joint Diseases during my in-house rehabilitation:
Goal for end of the year. Jogging in Prospect Park.
A blog established in the aftermath of a catastrophic stroke necessarily dwells on issues of personal identity. There have certainly been plenty of those sorts of posts over the past three-and-a-bit years.
Don’t worry, Dude. I’m going somewhere else with this
But last week found me thinking about the origin stories and “values” of various countries. The French and the Americans have theirs, of course. Forged in, respectively, the white hot heat of revolution and, er, revolution. Eras that demanded flags and symbols and identities around which to rally. Their own spasm-ing bouts of apoplexy, if you will.
So, where does that leave national constructs closer to home?
On Friday night, Beth and I went to a packed Filmhouse 2 to see The Hateful Eight. Definitely in my top three Tarantino movies.
Although it’s reminiscent of Reservoir Dogs in its bunch-of-desperados-trapped-in-a-room central conceit, a number of Leone-esque shots of a mythic American landscape pepper the movie.
Sergio Leone’s Once Upon a Time in the West – Best Actor: Spain, as a mythic America
On Saturday, we stayed in and (finally) watched There Will Be Blood. Like The Hateful Eight and Once Upon a Time in the West (both scored by Ennio Morricone), it’s got a great score that carries long, dialogue-free stretches of film. In this case, the score is by Johnny Greenwood (or Radiohead and collaborations with the terrifying Krzysztof Penderecki).
Watching these two movies in quick succession got me to thinking…
Each year, The Fabulous Beth reaches five time zones across the ocean on Hogmanay to wish folks a Happy New Year from the future. You’re all here in the future now, right?
Wait, haven’t I been to 2000 before? (cover artist, Ian Kennedy)
What a busy week it’s been, on and around apoplectic.me.
I’ve put Broken Mirror – The Collected Bird’s Fate Postsback up on the site. These posts have been absent from the site for a while, as they’ve been presented in other forums. But now the true story of how I met Susanne Whyte from Bird’s Fate, and found out heroes are just people like you and me, is back in one piece.
Doing that was inspired by the posting of The Prof’s liner notes to an awesome cover of Mariah Carey’s All I Want for Christmas is You over at nerdbaitband.com.
Meanwhile, my short story Phoenix Park went live over at The Dublin Inquirer. It’s part of their Christmas special fiction issue, which collects stories about superheroes set in Dublin. Pop over and have a look. And if you like it, please do leave a comment.
4. Er… that’s it.
Of course, if you’re on the distribution list for the Apoplexy Newsletter, you’ll be aware of all of this.
In which I reflect upon the true story of meeting a hero….
The signs tell me to descend deep into a mammoth stone bridge that supports the weight of a town, into a venue that shouldn’t exist. I do as I am told, make my way down the black steps of the black stairwell, and pass through a black door into a wide, black-walled space with a black floor and a low, black ceiling. So the grime won’t show, I guess.
The only contrast is provided by a handful of handbills dotted around, advertising a forthcoming show. A single, black mitt on a white background, tattooed with an inverted image of the radio waves from pulsar CP 1919 — the cover of Unknown Pleasures. I smile, partly because it’s funny; it’s the first time I’ve seen a representation of a Joy Division Oven Glove. And partly because I’m patting myself on the back for knowing that this means the authors of that song are coming to town.