“Carter’s fairy-tale heroines reclaim the night. She rewrites the conventional script formed over centuries of acclimatizing girls—and their lovers—to a status quo of captivity and repression, and issues a manifesto for alternative ways of loving, thinking and feeling.”
“Storytelling for Angela Carter was an island full of noises and sweet airs, and like Caliban, who heard a thousand twangling instruments hum about his ears, she was tuned to an ethereal universe packed with sensations, to which she was alive with every organ. Acoustics are not the only means, however, that she draws on to convey the lucid dreams she creates in her ﬁction. Her imagination is spatial, an architect’s axonometric vision, as she moves us through palaces and castles, forests and tundras, dungeons and attics, tracking with us down pathways towards her various sealed depositories of secrets, those bloody chambers.”
Read Marina Warner’s article at the Paris Review Daily.
Princess Mononoke is a period drama set in the late Muromachi period of Japan but with numerous fantastical elements. The story concentrates on involvement of the outsider Ashitaka in the struggle between the supernatural guardians of a forest and the humans of the Iron Town who consume its resources. There can be no clear victory, and the hope is that relationship between humans and nature can be cyclical.
“Mononoke” (物の怪) is not a name, but a general term in the Japanese language for a spirit or monster. The film was first released in Japan on July 12, 1997, and in the United States on October 29, 1999.
“I have a sense that a proliferation of magical stories, especially fairy tales, is correlated to a growing awareness of human separation from the wild and natural world. In fairy tales, the human and animal worlds are equal and mutually dependent. The violence, suffering and beauty are shared. Those drawn to fairy tales, perhaps, wish for a world that might live “forever after”. My work as a preservationist of fairy tales is entwined with all kinds of extinction.”
– Kate Bernheimer in the Introduction to My Mother She Killed Me, My Father He Ate Me: Forty New Fairy Tales (Penguin, 2010)
And I wonder
when I sing along with you
If everything could ever feel this real forever
If anything could ever be this good again
The only thing I’ll ever ask of you
You’ve got to promise not to stop when I say when
Dylan and Lauren (or Sandalwood, as they are calling themselves) perform their favourite track “Everlong”(originally by Foo Fighters) in the OxJam tent at Electric Picnic festival, Ireland, 2010.
Lauren (11) spotted the “Open Mic” sign outside the OxJam tent, grabbed her brother and barrelled over …within barely a minute I heard them announce “next up a brother and sister combo…” and I barely had time to get in with the camera, thankfully it took Dylan a minute to retune the borrowed guitar to drop-D.
Images from the film Hana-Bi (Takeshi Kitano, 1997)
Music from Maxence Cyrin – a piano cover of Arcade Fire’s “No Cars Go” (2010).