THE WEIGHT LESSON AS YOU WISH TO HOVER

This essay is a reflection on the loftiness we make of our dreams. The movies you may see before or after reading this reflection are:

Singing in the Rain (1952, USA), Castle in the Sky (1986, Japan), and All, or Nothing at All (2023, China).

Here are some thoughts of life that linger as I finish a film or a book, as I remember devouring movies back in 1990s, when I was in my twenties. I have watched movies the way I read the person, the character or the persona. And there is also almost always a reminder of a book I have read. I watch life at times like in a school, while being amid other lives being students, and a somewhat-classroom was that old theater with its seats for those to suspend themselves before returning to other realness of the world.

. . .

There are seats spread out in some theaters and in some classrooms, to make room for rows of spaces to walk on, and this affects how you enter the insight of the watcher in you or the teacher in you.

Spacious: loose- loss, easily.

Roomful: tight.

You think of a word and there would be another word you can’t help but attach to, like the closeness is really attached in the brain. There’s Yorkshire and then there’s pudding; there’s burger, then fries that you can’t chip away.

By October, there is always an isle somewhere that celebrates, and in a while there is weight to try to partake in the white (or blank slate of your life), if you wait long enough.

There is the word ‘Man’, and great, as musical to ears to see an automatic combination, to many, unfortunately and fortunately. There is also Woman, and great, as musical to the ears as well, to many. And therefore, depending on your mood, there’s contést or struggle.

To you future writers of film or otherwise, you can try to separate these dualities in your writings, in the same way you should try to separate a Spanish woman from the unfortunate words: hot or sexy. There is always Spanish woman and the words artistic; Spanish woman and pioneer; Spanish woman intimidating-- but only if you can manage to combine it with a humbled man or a playful soul-mate. And there is Japan and China, and it has been high time to forget and erase the association with no, or ooh, or ‘doll’.

It is not easy to please the viewer whom you should be conscious of; like right now there should have been several who became far more attentive, waiting to pounce , shield or retort / or report on what I had just now written. But we all know what would happen when a man starts dancing under a strong rainfall. When darkness is involved, the authorities of light and dark will called upon.

You know who you are; and I am confident I know the kind of good man I am. You will write someday and you might make some comment that would be far more everlasting than other sentences I may make.

And then you might change your mind someday or change your personality; and so you will have to live with a sentence that is published and no matter how beautiful the sentence, you may feel compelled to agree to it, as if you still believe (when you haven’t really thought much of it to the point of no).

There are times it would be as if you once sat in the middle of the classroom, and you later got promoted, as you skipped, to the front of the class for some reason. And it would be an unthinkable storm to BE that person you once were when you sat in the middle of the room, or to the back.

Towards a room or in the room, at times there are these steps, which are somewhat simple elegant stairs to walk away from or walk towards, ahead of the class. Your sense of elevation, as a student of life, is up to you.

I once wrote, years ago, a letter to the Queen of England—true story. One can do that on an official website, say a few things, like hello or however. I’m not sure what I can say--- that I asked for a job as an officer or agent of anything or that I indicated I was interested. This was when I knew I was would be slender for quite some time; whereas in another decade, under a different ozone layer, I seemed empirically plump for all time. I have no doubt that by the time someone finished that letter I sent, the prince or princess knew enough about me, in case I was troubled character.

The Queen never wrote back. I tell myself that this also means she never wrote back to reject me.

In another lifetime, what does it mean to have a character in mind, and be moved? I think of a character I try to emulate or try to please, if s-he existed, and I wonder when s-he may want me to confront this someone in my life who has done me a burden of wrong or who has done a wrong to make one lesser of an acquaintance.

Unless the wrong involves an emergency call, most of us are able to move on. There are issues in my mind that make me ask what is that issue to someone else--- it may be nothing and a moot point.

There are people

awaiting a new book by a well-known author and waiting for a new movie by a favorite director. Back in 2020, it was announced that an author named Rowling was set to release a new book and it felt, at first, I should not care, and then it felt like: what else is there to do. I did feel like returning to 80s movies—and it was also at that time that I realized that animation from the 80s do not look like life in the 80s.

In order for me to love that moment (of hearing an author with a new book), I would have been familiar with the writer’s earlier works. I am familiar with the associations regarding her gender remarks on gender and on transgender. And by hearing that she is set to publish another work, then I seem to have made her respond in me, in my mind and in my heart--- as if she was somewhat of an almost- friend who will be able to make me laugh, or cry or be in awe-- Me and a stranger, two, and her other remarks by some sideline, peripheral to her as major author, about social issues or gender issues.

You may ask: what is the connection between some well-known writer in England and the Spanish (or Japanese or Chinese)? The difficulty of the connection is because of the ease of the repetition of plots and associations in our lives. If there were enough writers who are either Spanish or part English, or who used to live or wish to live in Madrid and Bristol and are either princesses in Reading and Asturias, then maybe the connection is immediate in hovering and unquestionable.

But if, immediately as writer, your mind went to Gibraltar, then here we have an example of the history of a nation unable to lose its weight, so to speak, rewrite or erase, even if it wanted to, a historical ‘comment’ on its pages.

But the writer would do best to look at a map, and realize the vast potential of what to write involving, for example a Spanish woman and the US.

A clue to a meaningful story is that the meaning of your story is not on a map, as if the map is made obese by one’s stereotype or perpetuated assoications.

The writer should be able to locate a kind of person in mind reading him or her. The writer then would be able to gauge a viewer when s-he ‘sits’ by as s-he writes, conscious of her mannerism or gestures, nearby, to carry or be carried.

With an invisible watcher or reader, a writer then would be able to be a conscientious writer, whose ability to anticipate the emotions of a real person is because of the ability to empathize on an otherwise semi-real character close by.

I have noticed that when we do give a name to stuffed animals or pets or our children, they become just a little bit more alive and meaningful as compared to moments before when they were nameless.

The main characters in our lives, the main women in our lives, they are special to us, because we are able to conjure them with a name.

I am less able to conjure the specialness of someone whose name I don’t know, or who is amid a multitude of nameless, consumed by anonymity, or who is only a presence across the street or a passing-me-by at a grocery.

There are (literary) critics who are able to engage in an analysis of an author’s work without knowing the author or the director personally. There are critics (or lieutenants and colonels) having mentally written a book called How Fiction Works and How Film Works, who just might be writing, as if to perpetuate the sentences s-he has written in that book. And I wonder of the many sentences or songs in that book which he no longer believes in, or would like to change its melody, but he can’t; he can’t because the book is printed, it is published and it would be too much of a mess to change minds too much, and therefore too often to change.

And as a future writer, the student of life would do well to recognize that as they write they are waiting in a stage of their life or phase of their personality; and that personality changes. It is difficult to instill this in a person who pretty much is only experiencing one personality, but I also know it will take a change of personality, partially or all of one’s personality, to be able to look back and realize that a stage or phase of their life or mind has been consumed, or has passed.

I say this because the writer may ‘meet’ or hear from critics, such as Lane, Griffiths or Kakutani, whom they must judge as also such humans that those critics are going through a stage in their lives, or phase, and that their style of opinionating or critiquing reflects the state of their lives which they may not like someday. Critics are in the state of maturing as any of us, in any age, full of burden, lessening of burden, and overweight with untaught insight that not everyone wants to hear or read.

I am convinced that when you are angry, for example, you are also that person, that that is you in its totality at the moment. So when there is a semblance of niceness or calm, then that is also me, my self, my personality, as wished or not, in its totality (at that moment) no matter how near the sad side or the excited side or the indifferent side that hovers alongside.

And I realize just now that maybe the attitudes of the royalty is (partly) because of the constant reminder of royal, as if the royal conjures its past and re-asserts itself, its brightest side. The dimmest side of royalty --- well if it can’t be seen, then it would not remind so much, as when decades have passed and no one prances royally anymore.

And so the critic has a book out or a review out; and s-he has taken a chance of chiseling her thoughts for all time, pretty much. S-he can always publish again, a slight change appearing and therefore able to defend the slight change when s-he utters a clue to a change of heart or opinion.

The critic (or I suppose anyone), changes her mind at times about an issue or small sentence as s-he grows or as years go by.

In life, we mature, and this takes years and at times slow or gradual, and imperceptible. I see this in woman; and I sense no reason for a stereotype by a writer to be perpetuated. A writer takes a chance--- when the character is unexpected.

A writer takes a chance on being ignored or misunderstood with a placement of one or two word. Man, here- instead of woman. He, here- instead of her she.

You, the writer, can use the perspective of an egg that you are to take care. Place an idea for a story in your mind, or heart, and without writing-- let the story grow, age, day by day, weeks. Let the story unfold in you, without writing it, or bloom in you or burst in you, as if a lesson within you is about to be taught—in you.

You can let someone else nurture your idea; pick a beautiful character. Choose an intense face, to stand next to your idea. And let her… be.

By your creativity, by the natural powers of your mind, this She will … write itself. Herself… will read you, be read by you, as you to conjure each other’s next moves.

And it will happen that real-life should interrupt this process and you might be met with a heavy ethical dilemma. And I hope you wonder what your character will do, would do. I hope your character sexy or hot will be introspective, instead, and be noble in her conscientious next plot, while walking towards life. And reigning the society s-he is a part of.

And what would you call her? When you write, what you call her is what she does … throughout the story.

And this applies in a film as an essay. It is rare to speak of a character in an essay, but I would like that, for you students of life, to try-- a fictional name for character in a collection of essays in a film or in a filmography.

A character has her fantasies, now in computer sketches, and yet she would like to rest and still have children. She has had interests in code and telescopes, maybe.

I have heard of skies in the West, clearer, when farther away from the big cities. I like looking up, and I like nebulas. I’d like to meet your character; she and I can meet somewhere called Ennerdale, or midway, unexpectedly, to New Hampshire.

You, yourself, and I may have to step back and let your character breathe and grow. And see where she goes, in mind and heart.

If I am excited enough I can finish her … in one seating. But I can let go as far as New Year, and think of someone (else) again, when I can remember her in some him.

When a critic lashes out, I can imagine the characters that you have written getting the lashing. And I can imagine the hard-work of the creation of the characters going through a debasement under someone’s dark sky. And I do wonder if a critic would be brutal or cruel if the name of the writer was fearsome like a Russian’s or a old-style Japanese name.

There are expectations of me or of you, when it is said that there will be a new movie or book out by me or you. If you do not say what it is, then the listener can’t seem to have a choice but conjure what you could have done from the last pages you have written.

There is a trail of imagination, even for the hearer or the fan, which she can create to accommodate the writer’s silence on what the next will be about. There are somewhat leaves left by a book of pages that passed by, because of a weight—unseen of all its sources or reasons.

When a teacher in a classroom is way up front, the teacher is also at the bottom, when the student is elevated. The same goes for the director and the audience.

There was a writer named Machiavelli who wrote a book called The Prince, which is about ways a prince selling his ways to be sneaky and clever and tough; and I think the book was written for a customer, a prince himself, with a history of sneaky, clever and tough.

I would find it unlikely, surprising, that today’s equivalent machiavillain author would be reviewed or critiqued brutally by critic-- who knows. One might try to nurture a relationship first with an author with some connections to an equivalent organized crime, if s-he really feels it necessary to criticize such a work.

But if you the reader have ever been hovered by a rudeness or slight that involves such characters in real-life close to thuggish, then there is someone whom you have to confront at some time in your life, somewhere, if not a different person-- because the extent of literature reaches up to making you emulate the best character.

If you can change the first name of a famous person, explain the meaning of that new first that name you created.

You do have a name after all, and your name- in one word- has the potential to be associated with one best thing in (your) life. You create and figure that name out, every day as your years pass by in any isle you are in.

L.A.

Peliplat.com

Instagram: @Aceronhouse

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Nena Sampietro
Great, magnificent article
00:19 10 November, 2024
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Liam Aceron (AceronHouse)
Thank you,. Nena Sampietro
03:37 10 November, 2024
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Liam Aceron (AceronHouse)
Thank you to Wr75will, for this Like, ♥️
06:07 04 October, 2024
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Liam Aceron (AceronHouse)
Much thanks for the ❤️ Like; Kenneth_Patterson.
20:23 27 September, 2024
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Liam Aceron (AceronHouse)
Thanks to YU Jr. for the Like ❤️
02:05 31 August, 2024
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Liam Aceron (AceronHouse)
For the ❤️, Like, thank you, Antoinette_Roberson. L.A.
01:42 30 August, 2024
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Liam Aceron (AceronHouse)
Elijahfes07, Thanks for the Like, ❤️ L.A.
01:41 30 August, 2024
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