Having just returned from nyc-travels, I find my bag full of disposable razors and shelled walnuts, short one green jacket, and much improved by my Ladywife’s generous gift of Jesus Loves Porn Stars. The title is the best part– he explained– and the rest just makes no sense. It’s the just the life of Jesus Christ in the very best gospel-mashing, pulpit-prepared style.

It was three days of sheer laughter interrupted only by the horrors of a migraine and a seven hour lull begun, perpetuated, and honored by the film-decision Trouble the Water. Which, I guess, some people would describe as a documentary about some folks post Katrina. Those would be some people who can muster a little more rhetorical commitment to possible imprecision than I can right now. If you haven’t seen it then you should and, of course, shouldn’t. I just looked at the website and now regret it and maybe feel differently about the film but will link you anyway. Fortunately, Ms. EM was there to highlight a different series of questions than the ones I had.

Some remaining, preliminary, questions:

What is the point of this “kind” of documentary? What narratives to we expect, recreate, or insist on through this packaging and format?

What’s up with farming people’s lives to make statistics feel more potent? Can experiential knowledge of trauma be communicated to do-gooders and Liberals? To what extent can/do do-gooding Liberals help anything? Is their help Worth It?

In the beginning of the film it becomes clear that the directors began with certain intentions and ended up making something unexpected. Maybe contrary to The Plan they focused on two people (Kim and Scott) and used a ton of Kim’s own footage from during Katrina and the subsequent weeks. What was the relationship between Kim and directors? Who’s message was where?

From Ms. EM:  The film seemed instrumental in Kim’s music career. Can we have more about that?

What was up with the news coverage? Is the film supposed to be an indictment of the government? Is it one? Should it be one? What happens to the actual people depicted, flattened, and expanded into icons as evidence against the Regime? What happens the the people whose stories are perceptually analogous or legibly similar to the icons when these narratives are published?

How much did Spike Lee’s film (which I obvi didn’t see) suck?

Memoir? Documentary? Memoir?! Documentary?!?1?111 Lolaj?

Ooh. I also learned a new form of argumentation from my Ladywife (aka Ladyshackles). It turns out that the titles of Foucault’s works are actually legitimate, concise, and- whatSmore- complete! arguments in themselves. I would explain more now but I’ve got to run off to clean up my apartment so I don’t look like a contaminated slob in case pizza and cider come over later (Birth of a Clinic). But am hoping this newly codified format will helping update more frequently but with fewer and fewer actual words.

*Freud, Sigmund. Beyond the Pleasure Principle.