The Explanation
(for those who require one)

And, of course, that is what all of this is -- all of this: the one song, ever changing, ever reincarnated, that speaks somehow from and to and for that which is ineffable within us and without us, that is both prayer and deliverance, folly and wisdom, that inspires us to dance or smile or simply to go on, senselessly, incomprehensibly, beatifically, in the face of mortality and the truth that our lives are more ill-writ, ill-rhymed and fleeting than any song, except perhaps those songs -- that song, endlesly reincarnated -- born of that truth, be it the moon and June of that truth, or the wordless blue moan, or the rotgut or the elegant poetry of it. That nameless black-hulled ship of Ulysses, that long black train, that Terraplane, that mystery train, that Rocket '88', that Buick 6 -- same journey, same miracle, same end and endlessness."
-- Nick Tosches, Where Dead Voices Gather

Seminal Image #474

Ikimono no kiroku
(I Live in Fear)
(Akira Kurosawa; 1955)

1 comment :

Vanwall said...

I find it interesting how Westernized Japanese society became in such a short time. Kurosawa was very good at catching on film the cracks in the interfaces between those two, without seeming too much of either persuasion.

I recently read "The Tattoo Murder Case", by Takagi, a nifty mystery that was written in '48, but just translated recently, and it has the same collision of societies as a background, and Nagasaki as a plot device. The acceptance of nuclear bombing as punishment for national moral failure - both the war, and, curiously, being on the losing side, are scarily evident back then.