Since I ran Monday, Tuesday, and Wednesday, and because my hip is a little sore, I decided to not run (as opposed not to run). Instead, I’ve been writing and submitting poems to journals. Will I have any luck? Future Sara will report! Usually on rest days, those days when I don’t even take a walk or do Yoga, I don’t post on this log. It’s a loose rule for me: no posting unless I go out by the gorge. But, I wanted to archive the list of movies Scott and I have watched for Halloween, and I didn’t want to wait until tomorrow. So, here I am, and here’s the list:
October Viewing
I love Halloween (and Halloween) and early-ish (pre Hellraiser) horror movies. Scott does too. I’m not sure if he always did, but being married to me for almost 29 years, he does now. Every year we watch Halloween on Halloween night. Some years that’s all we do, and some years we watch other horror movies throughout October. Like this year. One of the best selection of movies, I think. So that we don’t forget, here’s a running list:
- The Omen (1976)
- He Knows You’re Alone (1980)
- House of Wax (1953)
- Amityville Horror (started, but never finished) (1979)
- Chopping Mall (1986)
- The Monster Club (1981)
- The Fog
- The Pit and the Pendulum (1961)
- Theater of Blood (1973)
So many good ones. The only dud was Amityville Horror. Too serious and slow and painful to watch. Vincent Price is amazing. He Knows You’re Alone was surprisingly feminist. I had watched it as a kid, so probably 40 years ago, and had always wanted to see it again. It held up. The biggest name in it is Tom Hanks — he’s only on screen for a minute or two, and he doesn’t even get killed. We have about 25 minutes of Theater of Blood left. So good! The 70s movies are so dark and disturbing; this one is giving off Clockwork Orange energy. And, Diana Rigg is in it! I love her — 2 favorites: Evil Under the Sun and On Her Majesty’s Secret Service. Chopping Mall was delightfully campy and was in on the joke, but too many boobs. I had forgotten how boob-laden mid 1980s movies were. Sure, the 1970s was jiggle tv, but you only saw the outlines of nipples and the movement of boobs (or am I remembering wrong?), but the 80s were all about gigantic (fake?) fully exposed to the air boobs. I had never seen The Fog, but Scott had. Even so, he hadn’t realized that several of the people in Halloween were in this too, including Jamie Lee Curtis and Nancy Loomis (Annie!)
Tonight, we’ll finish Theater of Blood and then maybe watch the Foo Fighters horror comedy, Studio 666. And maybe we’ll also watch John Carpenter’s The Thing. WAIT — I have a plan for tonight. Finish Theater of Blood, then a double feature: John Carpenter’s The Thing and They Live. Excellent.
the mannequins!
In 2019, I started working on a poem about the wonderful State Fair mannequins. Here’s what I wrote in sept 2019:
I find delight (reading Ross Gay’s wonderful, The Book of Delights, I’m trying to be better about claiming my own quirky delights) in this mannequin andher continued (and improbable) presence at the State Fair in a space barely touched by progress where the amateur is celebrated and beauty is never slicked up. Every year, walking into the creative activities building and seeing these cracked, faded, weathered mannequins still adorned in handmade hats and coats and scarves and sweaters, looking creepy and odd, I am delighted–and not in an ironic, hipster way. Here, the ugly and old and outdated have a space. I think I’m almost able to articulate this delight, but not quite. I’ll keep working at it. Something about how these mannequins represent resistance to the relentless need (by capitalism) to constantly change things to make them better! and newer! and prettier! and, in doing so, erase/remove/destroy those things which don’t fit their vision of better/newer/prettier. I love things that are ugly and overlooked and unsettling.
I’ve been working on the poem, off and on, ever since. Today I decided to polish it a little more and then submit it Okay Donkey — “a literary magazine that likes to read the odd, the off-kilter, and the just plain weird. We like work that’s funny, that’s sad, and that’s both funny and sad.” I’m not sure if I’m weird enough yet, or genre-bending (definitely not), but I decided to submit it again today.