30.11.09

My Girlfriend Experience

Girlfriend Experience (GFE) is a type of service a female prostitute offers which includes acting like a girlfriend to the client.
-- Wikipedia entry

I suppose I could've written a more sexy definition myself, but such that the dictates of my economic situation are, I can say freely that I haven't the requisite experience on the matter to do such a thing. If I could afford a sexy young thing to pose as my girlfriend-- although, it seems to me that in this film, Miss. Grey is more of an escort with a romanticized view of herself than a prostitute who offers herself as a girlfriend to the highest bidder-- I'd probably choose a more lively woman.


That's not to say that Christine (Grey), who is known as Chelsea to her clients, isn't beautiful. Sure. She is. But beyond that, Soderbergh and company have managed to take a very promising tale of a young woman actualizing herself in a world where the measure of successful actualization is-- pardon the pun-- equivalent to whoring oneself out until one is indistinguishable from all the other whores out there, and turn it into a whiny snoozer that is thankfully short.

The very fact of its brevity is a problem. There's just not much there, and one wonders if there's even a point at all except to say, "well, these people actually exist." But is that good enough? Is that worth the 1.3 Million supposedly spent? I'm not sure. As someone who wishes he could feasibly follow his dream of being a filmmaker, someone who has been sitting on a developing screenplay since he was 19, I can say that I would've loved for this film to be so much more, and I'm disappointed that it isn't.

It looks good. The premise sounds delicious. But the substance is nil. Soderbergh's film is set in modern day America. In fact, one of the themes is political and economic uncertainty. Very relevant. Very now. Christine and Chris are a couple. They live together in a swanky NYC apartment. They share very little screen time together and the two actors who portray them likewise share very little chemistry. There's a very arty, very European feel to their scenes together, but there's something amiss. The camera is almost too distant, too unobtrusive. Soderbergh (commendably but ineffectively) goes out of his way to not manipulate his audience at the expense of capturing any real performances.

It is almost unbearably minimalist. Spare to the point of wondering what the director's intent was. Was there supposed to be an ironic joke in casting an "it" girl, known for her adult film roles and risqué ad appearances, as a prostitute, and then having her do zero sex scenes (in fact rarely even nude)? Not that sex scenes were necessary, but they would've lent more action to such a catatonic film.

So Christine and Chris are a couple in NYC, somewhere in 2007/2008. America is entering a recession and there are bail-outs and debates and pissing and moaning abounds. McCain is mentioned. Obama is mentioned. Characters whine about being just a little bit poorer all while flying on private jets to Vegas and ordering $60 bottles of scotch and buying prostitutes, etc.. All of these characters (save one), are white, yuppie, and obsessed with anything short of substance.

Christine is trying to modify her website and expand her reach. She enters discussions about starting a true service. She's pulling in nice amounts of money. After all, she sits in her cozy apartment on her computer (a Mac, no doubt), writing of all her various clients-- she spares us deep observations, opting for surface descriptions and Bret Easton Ellis-like attention to product-- and spends her free time shopping and eating and just looking completely fucking dull. Why shouldn't she choose the "less work" option? Then she decides her relationship with Chris is not worth continuing because she started talking to a potential client that didn't laugh at her silly obsession with astrology (I'm not making this shit up)!

Call it a "soft arc" because her revelation is hardly dramatic or a cause for introspection or even action in/by the characters (I like this, actually-- gives it a realistic quality). In fact, it's kind of confusing because things happen so fast, and character development wasn't high on the list of any of the filmmakers' priorities. When I think about the title, I wonder: "has she really acted like a girlfriend to any of these men?" One guy patronized her services because he could, another used her as a kind ear, another used her as a way to foist upon her his kinkiness (which she rejected and was then blackballed), and another used her to not use her. Stood her up. For his family. How sweet. But she was never really a girlfriend. Not even to her boyfriend. Was that the "point?"

In the end, no one has learned anything, no one is happy, and well... we get to watch Christine give a jeweler an orgasm without even touching him sexually.

24.11.09

Welcome to Fucktune (segment)

By Patrick Patterson-Carroll

Marko met up with Bernadette at the urban market behind the library. They had planned to meet at one of the usually sun-soaked round metal tables with the uncomfortable set of chairs, but it had rained the day before and the sun hadn't been around in a week, so things were still pretty wet, but brave the elements they did. They covered the chairs and tabletop with pieces of the town's independently distributed paper and sat tentatively, their collective focus torn between one another and their place in the universe according to the chairs and table. The wind was beginning to pick up and so they battled (only) briefly, then muttering "fuck it" to themselves and gathering the partially wet, partially fluttery paper and shoving it into the nearby trashcan.

"Now what?" Bernadette queried.

"I know a quiet place where we can talk. Come on."

They walked quietly west along the sidewalk, wide and empty; the traffic trickling in the street, running against them, eastbound. City busses appeared to lean on the corner like bums with their heads in dumpsters. Even farther in the distance, street preachers yelled the “word of god” as revealed by Christ, and panhandlers tested them in turn by requesting they make good on their exclamations in purely pecuniary gestures (after all, these Christians bandy about words like “charity” often). While people exhaustedly boarded the busses, Bernadette, unaffected by the urban spectacle ahead, commented on the dead air between them.

“I generally try to think before I speak. As my brain is occupied, so my lips are sealed,” said Marko.

“I do, too. I guess I’m being impatient.”

“I think you’re fine.”

“Good. Where are we going?”

There was a small park on the southwest part of downtown which was situated around a large serpentine sculpture that Marko had always found "ugly as fuck," but the benches were comfortable and obscured by trees. This, giving the clean green ground an intangible feel of intimacy, of easily traversed boundary, made him feel like an outdoorsman-- rugged, yet urban (or is it the inverse?), he could, in just a few steps, be his usual metropolitan self.

He gestured to Bernadette to sit. The wood of the bench damp but not wet, she dabbed her fingers at the ring-patterned surface, and then smiled and sat, crossing her legs ladylike. In the silence, he found himself being stalked by his libido. Blinking several times and trying to focus on a thought to make into words for Bernadette, he knew that the task was futile. His libido was fucking with him. Nude, pale, and poking its penis into a blow up doll that looked like one of the local weather ladies, this pathetic manifestation of his libido smiled and winked at him.

“I’m thinking of quitting my job at Neiman,” she said.

“Huh?”

“My job? I told you about it. I do retail for Neiman Marcus. It pays the bills, but I get so sick of all the snobby old hags that patronize the counters, ‘I want this, and this and this just like this dear, and if you would be oh so sweet, could you wrap it and put a nice bow on it... maybe spritz some perfume on it.’ Bitches. I wish I could shop all day and still make money. It isn’t fair.”

“I sit in a cubicle all day and twiddle my fucking thumbs. I make shit for it, too. I’d rather flirt with old hags than be a hamster in a cage. Spinning and spinning and sitting and sitting and monotony the only constant....”

Through the gusts of wind displacing her hair, Bernadette looked at him expectantly as if to plead, “Yes...? yes? There’s more, I know there is!” But he just stared at the belly of the sculpture, trying to ignore his libido as it thrust quicker and quicker into the doll. He tried to think of ways to recreate the sparks that flew the other night in the sports bar. His penis was beginning to knock on the door of the crotch of his jeans. Folding his arms into his lap, he said, “Have you ever known someone so attractive that the very idea of not being able to behold such a sight was heartbreaking?”

“No. I don’t care much about looks.”

“Hmmm. No... hmmm.”

“Yeah, I prefer guys with money,” she said, choking out laughter.

They were silent. The trees quivered with each bluster of air from the southwest. She settled her purse in her lap, opened it, and pulled out a shiny metal case. Inside were four cigarettes and one neatly rolled joint. Extruding the joint with a smile, she shifted her body-- legs still crossed-- toward him. Like in the bar with the cig, she pokes the joint in his direction, "Want a toke?"

"Nah. I'm already seeing weird shit." She crumpled her face, withdrew, and put the joint between her lips. Marko watched his libido. It was done fucking the doll and was smoking a cigarette. He could smell the marijuana smoke and he could faintly hear her making excuses for why she does it. Of course, he didn't give a fuck about her justifications. A little pot every now and then never killed anyone.

He turned and smiled at her. For a moment he considered reiterating his previous question. His libido was escalating the game by pissing all over the doll. Perhaps it was a bid for attention, or maybe a devolutionary swing toward fetishism, but all the same, in that space of time he wished he were high, drunk or dead.

"Let me hit that," he said, and she gladly handed it over. He drew from the joint and pondered what all the fuss was about. He turned to Bernadette and said,

"The way lawmakers talk about this shit, you'd think it'd be more interesting. This has got to be the most boring, everyman drug there is."

"Are you badmouthing my weed?"

"Eh."

Silence.

"There was this one guy," she said, blowing away some ash that had accumulated in the cherry's wake. "He seemed to me like the quiet, mysterious type. At first. Had this very Slavic look about him. Angular, edged face, blue eyes, light skin, one of those Owen Wilson noses, and was very solidly built."

"Hmm. So what was wrong with him?"

"How'd you know?"

"How'd I know what?"

"That there was something wrong."

He thought about her question for a moment and then told her that in his experience, young women made excuses not to stick with men whom, to their own specifications, were physically attractive, but had some kind of nagging, perhaps even trivial personal issues. She laughed at the suggestion, and told him that he watched too much fucking Seinfeld, which, to her mind, was a display of male pettiness and socially arrested neurosis.

“And don’t you dare bring up Elaine,” she added. “Females are outnumbered like, four to one on that penis fest.”

“Uh... I don’t watch that show. But your defensiveness is duly noted.”

“Whatever. Anyway, this guy. I used to follow him around. Stalk him. Kind of. Around downtown. Rides a bike, I know. So one day, I followed him into the coffee shop on Commerce and stood in line behind him. When he finally noticed me, he smiled...”

...

“And?”

“And I smiled back. He took this as license to sit with me by the window. We exchanged pleasantries, but the more we small talked, the more bored I became. I did the ‘uh huhs’ and stared into his beautiful eyes.

“Amazing thing is, I was back at work, leaning on the counter, daydreaming. I don't even remember walking back or even parting with the guy. You know? Like there was this large patch of time that I’d lost. Fell right into oblivion. I couldn’t remember anything of what he said. Not his name, what he does, or even what he thought about the weather. But I will always, always remember his eyes and his skin. And that nose. Mmm.”

Marko laughed at her swoon. The ridiculousness of that girlish expulsion of breath at the thought of a man’s large, crooked nose. He was a little annoyed, disappointed even, at the thought of the moments wasted in listening to her eventless story of aesthetic stimulus lost, and his libido only sat naked, Indian style in the grass, hoping to get a peek up her dress.

Initially he thought it bizarre, this hallucinatory manifestation of his libido, behaving as a seasoned fetishistic porn star one moment and in the next, as a child with a healthy sexual curiosity. But it made sense, because in his mind he was conflicted. He wasn’t quite sure how to view the woman sitting next to him. Possible on-again-off-again fling? One night stand? Unstable relationship characterized by frenzied, passionate sex with an underpinning of empty conversation and boredom?

The woman who at first so stunned him was beginning to, for reasons in that moment unbeknownst to him, grate on his patience. After a time, he blinked rapidly, hoping to shutter the pasty little fucker out of existence. Finally, she returned to his cognizance, offering him a cigarette which he declined as he stood up to stretch.

“Where are you going?” she asked.

“Nowhere. Just stretching.”

She lit the cig.

“So... what’s your story?”

To mention Denica, for him, would’ve been to once again tramp the fields of lonely disappointment. Bernadette observed him with intent, with demand. He didn’t think her revelation deserved that kind of “blood,” but as prevarication wasn’t an option, he decided to tell her. Fuck it. There was nothing to lose, and even less to gain, he’d realized.

“Denica.”

“Denica?”

“That was her name. She was beautiful. I didn’t really know her. She was an aspiring model from Mexico. An itinerant, she spent some time in my apartment. We didn’t talk lots, but when we did, it had an impact on me.

“She always had the sweetest way of describing me. In Spanish. I never understood any of it. She could’ve been calling me an emasculated momma’s boy for all I knew, but it was beautiful. And so was she. I was depressed for weeks after she left.

"The busker dude downtown played a lot of Rod Stewart tunes. Shit’s depressing to me. I must’ve dropped thirty bucks in attempts to shy him away from that particular part of his catalogue.”

“Wow,” she said in a voice tinged with boredom, exasperation. The conversational welcome between the two appeared to have worn itself out. There grew a tension between them suddenly-- though it’d been developing slowly over the course of their interactions-- that was neither sexual nor rancorous; it was somewhat indifferent, but altogether discomfited.

In the silence, she unearthed one of those cell phones that do everything but perform oral sex and began fiddling with it. Marko watched his libido as it became more brazen, running its fingers along Bernadette's silken legs. He met eyes with the pallid form and they exchanged smiles. The libido licked her knee with its tongue and said that the best thing about fucking a new woman was that she'd have no idea what a shitty lover you were until after the fact.

©Patrick Patterson-Carroll (2009)

15.11.09

In the stream of conscience: memory & ??

"Amnesiascope" By Steve Erickson



I'm late to Steve Erickson's oeuvre. The book, with its sleek cover design (UK's Quartet Books) and curious title, beckoned to me from the shelves of Paperbacks Plus. I read a couple of paragraphs in the store and decided to give it a try.

It's not exactly sci-fi and it's not exactly speculative, but the element of a setting that differs very much from the one we exist in is enough for me to pay the appropriate amount of attention (much like the futuristic vision of London in Tony Maylam's Split Second starring Rutger Hauer-- i.e., not very futuristic at all-- just different). Particularly of note is Erickson's "post-quake" rendering of L.A.

The narrator, apparently a  literary doppelganger semi-autobiographical representation of the author himself (referred to in a correspondence as 'S'), is a man in pursuit of memory. In existential terms, one could say he is in pursuit of that which is his very essence. There is mention of his past, his loves, his losses, regrets-- no chapters, only ellipses and divisions of streams by fancy marks-- but there is no real mention (nothing detailed) of the event that set his present in motion. He works as a movie critic for an unnamed paper and is part of a supposed "cabal" of writers and editors that conspire to do... (?) and he lives in an old hotel-- transformed into something like an apartment complex-- run by a suave Palestinian "terrorist" named Abdul.

Los Angeles is a shell of its former self, seemingly populated by shady men and seductive women, the latter of which being much more intelligent than their masculine counterparts. The reason for this, what Erickson does here, is not by design so much as it is by necessity. His narrator is bright, self searching, sensual by degrees of subtlety, and cannot function without a woman in his life. Viv, the most important of these women, his lover, departs for Holland to point a "Memoryscope" toward L.A. in an effort to "balance" her project, and as a result, his life becomes more complicated and devoid of meaning. His car is stolen, the paper he works for is falling into disarray, and his "fake review" of a "fake film" called "The Death of Marat" is turning into a nightmare of very real proportions.

Some of the better moments in the book involve the narrator's cinematic endeavors. He recalls his journey from novelist to critic, and even more interestingly, appropriates a chance meeting with an interesting woman in a bar in a screenplay for a project Viv conceived called, *White Whisper. Unlike many introspective efforts about artists, Erickson's narrator is active. He doesn't lounge in perpetuity. He doesn't idly ponder or too deeply intellectualize his search for meaning. For recovery of memory, his only bastion in a world that is difficult to define. Hell, he doesn't drink to the point of incoherent ramble or consume gargantuan quantities of drugs in this search. No. He's a workhorse. He simply exists.

When the female hotel residents seek to have the already demoted Abdul removed from the premises, he inquires to the veracity of their damning claims, saying that when the truth comes out-- if in fact the allegations are true-- he will sign their petition, but until then, it's a no go. He doesn't bow to bullying or reactionary mentalities. He is, for all intents, a creature of ethics.

In Viv's absence, he is impetuous and unsure. Erickson makes it apparent. The narrator kowtows to the bar seductress's (Jasper) need for him. Something is wrong. And he caves. He goes to her secluded residence and gets sucked into a strange interrogation that refers back to an event that may or may not have happened.

"It was you in Berlin."

Hmm.

At some point there is a loss of time, and he wakes up floating in a tank flooded with water. Jasper is with him. He later gets his stolen car back and drives across the western states, eventually ending up at a film festival he was invited to... in an absurd completion to his joke taken absurdly "too far," showing The Death of Marat.

Erickson's writing is sharp, intelligent, lacking in pretension, and most importantly, funny. *The film White Whisper is a confessional film wherein women are interview by an artist while she paints them. They are nude in the interview. At some point the narrator himself is injected into a scene, nude so he can feed the artist lines. The justification for it was a beautiful display of what feminism should be. Logical and equitable.

4.11.09

No Silver Lining

It was definitely broken. I could tell that as reality returned, as I emerged from the long dark tunnel of unconsciousness , eyes squinted against sunlight... or perhaps in wince.
" You really did it this time."

A voice chuckled at me. I recognized it as my friend David. What a dick.

The events of the night slowly rolled back. They were of course clouded by beer... copious in quantity and capacious in quality. I recalled snippets in visions like those plastic goggles you have as a kid; the kind you look into and hit the button to rotate the film, switching between slides of animals and shit.

Last snippet I remember is looking down at a big blue blotch, dark in the corners, light blue where a ray of light pierced through the middle, adorned by a crowd of inebriated onlookers, piqued by a potential display of bravado or idiotic carnage... Jim's pool. Had to be. Even in my most delusional nightmares I'd recognize the gaudy lawn set his parents had given him... a throwback to the last huzzah of a breed that nearly became extinct in the 80s - hippies.

I had finally done it... for years I'd told Jim that I'd jump from the roof into that damn thing. He always called me a pussy. I told him he had to set me up on a date with his sister if I jumped into the pool. He shrugged and said "fine".

"Hey man... at least you're famous now." David informed me through a sly grin. He spun in the chair next to my bed and turned the monitor of my PC towards my prostrate body.

"Great...." escaped my lips in a sigh.

My immortalization went like this: I was focused through the camera, my hands skyward in the infamous Nixon. Mumbled amused voices, camera panning out to the pool. A few cries of "DO IT!" and "NO BALLS!" and "PUSSY!!!", a brief pause in sound... in video actually... some fucker mixed in a cut of R.Kelly's I Believe I Can Fly. I made to leap, but had too much liquid courage, and not enough dexterity in me. I pushed off... but should've run... maybe. My feet flailed as if pedalling an invisible bike... I fall short of the water by a foot and smash to the ground like flesh without a skeleton... Attempt to stand... vomit profusely, noticing the sound returning to what the camera had recorded, amplified wretching sounds as if I'm calling dinosaurs. Then I fall backwards onto a patch of cush grass that lines the pool.

The redemption... if it could be called that came when I stood up, my bare chest resembling a pizza, or some saucy italian dish, and walked inside, with David running after me. The credits rolled. "Starring Ryan as Superman", a cropped photo of my trashed midsection designating my role. "Sponsored by Dos Equis... Jose Cuervo..." "Guest Starring as Kryptonite, Gravity"

David glanced over... and I knew what he was thinking... Shit, I was thinking it too. "Don't even say it."

He started laughing, he'd say it anyway... who am I kidding? I would've too. "This is the same shit we regularly view on the net and laugh at until we're hoarse." His smile didn't move from his face, and one even started creeping across mine. "Plus side..." He displayed, scrolling the screen down "19604 views in the first 16 hours"... the dick.

I placed my estimated time of departure at... hmmm... 0300, with arrival at 0301... which made it 1900 or so now... the booze out of my system, my skull feeling much too small for my brain, and my ankle entirely too big to fit into any of my shoes... at least only one of these things was irregular for a Tuesday morning.

"Well at least I get to take Jim's sister out." I smirk, looking desperately for the silver lining to the looming cloud of medical bills and humiliation.

"Jim says its a no go bro." David stated, dropping his eyebrows and sucking air through his teeth.

"The fuck?!" I bark clenching fists and sitting up, immediately wishing I hadn't, as white hot pain played a game of hyperspeed Pong between my shattered foot and hungover brain.

"Dude... You didn't make it into the pool. He says the deal was for you to jump from the roof into the pool. Hell, he said if you'd fallen forwards instead, making it into the pool he'd've even paid for the night after seeing the angle of your foot on impact."

"Balls."

-Matthew Royall

3.11.09

FUCK YOU, an interview with a douchebag

Some fucker had the audacity to ask me for an interview after a reading. So I gave it to him.

He was white, tall, had long hair, and wore glasses. Argyle sweater. Apparently his name was Pete.

Pete: Hi Stu.

Me: Hi Pete.

Pete: So, what's your chapbook about?

Me: It's poems about the aftermath of drunken sexual encounters with strange women.

Pete: Oh. Doesn't seem very riveting.

Me: I guess not.

Pete: Wouldn't you agree that the subject has been beaten in much the same fashion as a dead dog?

Me: Probably.

Pete: One of the poems you read, I found, was very offensive to women.

Me: Oh.

Pete: Aren't you going to defend yourself?

Me: Nah. In fact, the subject bores me. Sex and drinking is infinitely interesting, malleable; while gender politics seems to be the sole focus of the intellectually stunted.

Pete: That's a bold statement.

Me: Only if you think there is some kind of intellectual fulfillment in making the dialectic of the penis vs. the vagina the point of convergence for all of history. If you're a guy, I think it's even more useless. Foolhardy. Dishonest.

Pete: Oh. Well. Don't you think you're just contributing to the further...

Me: Hey, can you buy me a drink? I'm trying to save up for an eightball later.

Pete: Uh...

Me: Nevermind. Hey, your questions are boring as fuck. Why don't you ask me about our justice system? Something important. You're wasting my time.

Pete: Who is your favorite poet?

Me: South Park Mexican.

Pete: Who?

Me: I gotta take a shit, dude.

---

I get out of the can, and he still thinks it's okay to interview me.

---

Pete: Why do you mix Spanish in your poems? Seems affected. Adds nothing to the meter.

Me: Hey. My last name is González; makes sense, right? Is your last name douchebag? Because you're mad reppin' that right now.

Pete: I hate that word. Even for an ad hominem it's bad.

Me: You're right. Strike that from the record.

Pete: It seems sexist.

Me: Hey, do you have sex with girls or boys?

Pete: Girls, dude.

Me: Ever had sex with a tranny?

Pete: Uh. No.

Me: Me neither. I don't think.

Pete: What is "Coyote Real Fuckin' Ugly" really about?

Me: It's about the fact that I'm just another male pig wallowing in a sea of mud and excrement, who has no appreciation for the love of a good woman. The fact that I am trying to escape from her is a testament to my very weakness, and indeed, the weakness of all young males. Shallowness. Frivolity. Triviality. The entrancing lure of homosexual lifestyles.

Pete: That's kind of what I suspected.

Me: Hah.

Pete: Do you think the world needs more of this poetry?

Me: I don't think it matters. You are the arbiter of your own taste, and if something you read offends your little namby pamby fucking senisibilities, then perhaps you should stay away from the elements that spawn said scribblings.

Pete: Hmm... I don't get it.

Me: It's hard to get anything when your head is wedged up your asshole. Where's my drink?

Pete: You know what? I don't think you're tough at all.

Me: I don't think I even insinuated a stance of toughness. You're inferencing. Projecting, probably.

Pete: Fuck you, dude. I don't think you're clever, and your chapbook sucks. Everything inside it is cliché riddled and empty.

Me: Thanks for your assessment. Can I get that in a blurb? And fuck you, by the way, you emasculated, sanctimonious prick.

---

At this point, he shoots me the bird, and exits stage left. As for me, my night wasn't done. I had to clean the tables in order to cover my tab. Good times.

FUCK YOU.