good kid, m.A.A.d city-Kendrick Lamar

Really, I can’t offer Kendrick Lamar many more accolades than the ones he has already gained last year (this was my favorite album of 2012). His major label debut, good kid, m.A.A.d city is unlike any other hip-hop album that came out in 2012, balancing emotion and technical mastery perfectly and asserting itself as something new in a crowded hip-hop culture. Lamar is an immensely skilled emcee, and he shows off his many different modes of rapping throughout the album, varying his voice and cadence to suit each song. Moreover, this is an album in every sense of the word, as Lamar tells a story of living in the streets that ends with unexpected redemption. Don’t miss this one, kids.

Best Songs: “Bitch, Don’t Kill My Vibe,” “Money Trees,” “m.A.A.d City,” “Sing About Me, I’m Dying of Thirst”

R.A.P. Music-Killer Mike

R.A.P Music opens with easily my favorite hip-hop track of the year, “Big Beast,” a driving, forceful explosion of a song that stakes Killer Mike’s claim to the best straight-up hip-hop album of the year. With great production from El-P, Killer Mike effortlessly weaves his way through a variety of topics on the album, never afraid to speak his mind, especially on tracks like “Reagan” and “R.A.P. Music.” In many ways, this album is a throwback, devoid of any Drake-like crooning or the variety of production tricks on good kid, m.A.A.d city, and this stripped down approach lends credibility and brutal honesty to Killer Mike’s scathing lyrics. You probably won’t agree with everything he says, but you’ve got to respect the way he says it.

Best Songs: “Big Beast,” “Go!,” “Reagan,” “R.A.P. Music”

Cancer 4 Cure-El-P

Dark and atmospheric, Cancer 4 Cure blasts its way through its twelve song running time, replete with booming bass and fractured percussion. In both his production and rapping, El-P seems one step from the edge,  the virtuosity of his technical skills belying the rage that simmers just below the carefully constructed madness of his music. Like label-mate Aesop Rock, El-P’s lyrics are a conundrum, a maze of wordplay that obfuscates more than elucidates, yet repeated listens eventually reveal his preoccupations; for instance, “The Full Retard” offers up a somewhat satirical look at hip-hop and politics, while being the most radio friendly track on the whole album. It’s contradictions like this that mark Cancer 4 Cure as one of the more compelling hip-hop releases of 2012, and one to be listened to on high volume with utmost attention.

Best Songs: “The Full Retard,” “Drones Over Bklyn,” “Tougher Colder Killer,” “True Story”

bell hooks-BBU

Probably my second favorite hip-hop album of the year, BBU’s mixtape is an exercise in not sacrificing style for content, with music that is a perfect complement to the group’s politically charged lyrics. Hailing from Chicago, the group tackles a number of issues plaguing inner-city Chicago, yet they manage to approach those topics with some lightness, keeping the mixtape from becoming too weighed down. BBU knows how to create a hook, and they rap the heck out of every track, ensuring that their message gets embedded in your consciousness. The group also has a wicked sense of humor, most obviously present in the album’s interludes, where they make fun of mainstream hip-hop and record labels, just to name a few of their targets. The constant interplay of the three members keeps each track fresh, and the serious issues they bring up in their lyrics are worth thinking about, if purposely controversial at times. A wonderful blend of craft and consciousness, bell hooks is everything a mixtape should be.

Best Songs: “The Hood,” “Jumpers,” “The Wrong Song,” “Please, No Pictures”

4eva N a Day-Big K.R.I.T.

After showing up on two of my favorite hip hop albums of last year (Undun and Oneirology) as well as releasing a mixtape, Big K.R.I.T. made his mark on 2012 with another mixtape and his major-label debut, Live from the Underground. While Live from the Underground  has its moments (particularly “Cool 2 Be Southern,” “Porchlight,” and “If I Fall”), 4eva N a Day is far more consistent and thoughtful throughout, making it the best Krit album to arrive in 2012. 4eva N a Day delivers more of what we’ve come to expect from Krit: silky smooth flow, consummate production, and a keen awareness of the problems in hip hop culture and his own place in that world.  Tracks like “Package Store” and “The Alarm” speak eloquently to the struggles Krit sees all around him, accenting the album art of a young child stuck in between a church and a liquor store. Another great mixtape from a perennial overachiever.

Best Songs: “Boobie Miles,” “4EvaNaDay Theme,” “Package Store”

Attack the Block­-Talib Kweli & Z-Trip

Unfortunately, Kweli’s new official album was delayed until 2013, but Attack the Block, named after a fantastic film from 2011, is more than enough to tide me over until P.O.C. gets released. Complete with an incredible list of guest spots (Black Thought, Jay Rock, Killer Mike, etc.), Attack the Block is a surprisingly consistent effort from Kweli, especially considering the mixed bag that was his last album, Gutter Rainbows. The best moments on Attack the Block are the unexpected ones: “The Corner” sampling R.E.M.’s “Losing My Religion”; the five killer guest spots on “That’s Enough”; and the slow-burning closer, “Fly Away.” To me at least, Attack the Block shows that Kweli still has something to prove, and it makes me even more excited for P.O.C. this spring.

Best Songs: “That’s Enough,” “The Corner,” “Getting to the Money,” “Fly Away”

traces

Pencil, pen, sometimes in combination

Scrawled along the margin

Underline, asterisk; surely important

At least for now

Books, paper, clothes, on the floor

Like leaves in the fall

pressure

I have two weeks

I keep telling myself

I have four weeks

My voice echoes

I have one life

ceremony

Sirens again

The dogs howl

Somehow sacramental

Charged through with ether

cold

Sickness, temperature

Where I teach and where I live

Too often, in my heart

beauty

In the routine, the mess

This world shimmers

motion

This fluidity dancing around me

It ends and begins; the wine and the bread; the new and the old, bursting forth.  

]]> http://losingsightofland.wordpress.com/2012/11/19/traces-a-poem/feed/ 0 pursuingintegration http://losingsightofland.wordpress.com/2012/06/13/a-letter-to-thrice-part-two/ http://losingsightofland.wordpress.com/2012/06/13/a-letter-to-thrice-part-two/#comments Wed, 13 Jun 2012 22:06:09 +0000 Carl http://losingsightofland.wordpress.com/?p=434 ]]> In which I conclude my letter to Thrice.

After Vheissu you decided to raise the bar and pursue your most ambitious project to date—The Alchemy Index. I remember being so excited that you were applying your musical acumen to a concept album revolving around the four elements, matching the sonic qualities of each disc (Fire, Water, Air, Earth) to the qualities of the elements. And while they didn’t end being my favorite thing you have ever done, the songs on each six-song disc sounded remarkably what I imagined each element might sound like as music. Fire was heavy, bludgeoning at times, yet carried a delicate beauty; Water was bathed in electronic blips and synths while buoyed by ethereal vocals and melodies; Air was light and peaceful, yet occasionally hit with the force of a tornado; and Earth was acoustic, steeped in folk, delivering an earthy, homey set of songs. Oh, and ending each disc with a sonnet from the perspective of the element was a brilliant touch.

My favorite songs from The Alchemy Index are scattered across the discs, with Air probably being my favorite of the four. From Fire, “The Arsonist” and its serpentine guitar riff is my favorite with “Burn the Fleet” being a close second. Water’s high points are opener “Digital Sea” and the gorgeous, melancholy “The Whaler.” For my money, Air is the most consistent, each song worthy of mention, but none more so than the soaring “Silver Wings,” one of the most beautiful songs I have ever had the pleasure of listening to. The highlight of Earth is “Come All You Weary,” especially as the full band kicks in near the end of the song. Yet, the true fun of The Alchemy Index is combining the songs in different ways, and listening to them in a different order, experimenting with placing the disparate elements next to each other to attempt a kind of synthesis.

Luckily for us, you created the very synthesis I am describing with your next two, and unfortunately last, albums—Beggars and Major/Minor. Beggars is rough and tumble rock and roll, incorporating qualities of The Alchemy Index into a more streamlined, gritty soundscape. It’s easy to hear the southern rock and blues influence on songs like “The Weight” and “Doublespeak,” yet it never overtakes your unique approach to music. Beggars had just dropped when I got the chance to see you live for the first time in Pittsburgh during my junior year of college: an incredible experience, even if the venue was jam-packed and uncomfortable at times. The subtle play between the harder elements of your past music and the newer, more melodic nature of some of the newer material on Beggars offers up some of its most intriguing moments. The title track is a slow-burner which eventually turns into a grungy mess of a song, highlighting the central message of the song and the album: “We are beggars all.” To hear such a resonant statement in the midst of the shiny, superficial music that often populates people’s iPods was, and still is, a breath of fresh air.

However, the songs on Beggars had a tendency to bleed together, lacking the sonic diversity that marked an album like Vheissu. Major/Minor solved this problem, and in many ways seems like a culmination of your music. There are heavy moments juxtaposed with soft, fast with slow, angry with peaceful: such is what I expect from a Thrice record. It’s smooth, almost effortless; clearly, you know how to make an album. I stayed up until 11 (CST, baby!) and downloaded the album as soon as it was available—the only other band I’ve done that for is U2. I don’t have much more to say about Major/Minor other than remarking about the palpable sense of finality that seems to pervade it. Especially now, looking back on it knowing this was your final album, there are moments that act as a closure to some of the themes, musically and lyrically that you have been exploring for your entire career. Indeed, you concluded the May 27^th show with “Anthology,” a farewell song if there ever was one, including a multitude of references to previous songs from your discography. The chorus, directed at your fans at the show, says it all: “Oh, you know me and I know you. And I know we can see this through.”

So, at the end, it comes down to this. You are the first of my favorite bands to break up. Sure there were other bands I enjoyed who have parted ways over the course of the past ten years, but they did not have the same impact on my life as you did. For all you’ve meant to me, all I can offer is this—thank you.

Your devoted fan,

Carl

Dear Thrice,

I can’t believe it’s all over—you’re not making music any more. I first met you in 2005, at the tender age of 16, just after you had released your fourth album Vheissu, which remains one of my favorite albums of all time, even now with seven more years of music listening under my belt. Shortly after this, I discovered 2003’s The Artist in the Ambulance, its hard-hitting music perhaps only overshadowed by its lyrical bite, and it wasn’t long before you became one of my favorite bands. You have remained so until this day, growing in my respect as you refused to sell out, but continued to push your music in new directions with what came after Vheissu. And if the show I was at on May 27^th is indeed the final time I will see you, I wanted to write you this letter to thank you for what your music has meant to me throughout high school, college and, even, grad school.

What you probably don’t know is that your music came to me at a time I was breaking away from the maudlin Christian music that constituted the majority of my music library up until sophomore year of high school or so. I was discovering artists like U2 and Sufjan Stevens, broadening my musical horizons, and then I stumbled upon your music: heavy, deep and beautiful. Once Vheissu began with “Image of the Invisible” bursting from the ether, I was hooked: this was something different than I had heard before. And the album keeps hitting—“The Earth Will Shake,” “Hold Fast Hope,” and “Dust of Nations” just to name a few songs. Yet, it exquisitely balances these heavy riffs and harsh vocals with lighter tracks like “Atlantic” and “Music Box” before ending with “Red Sky.” I remember thinking to myself, “This is art. This band knows how to make deep, inspiring music without sacrificing artistry.”

I soon began listening to the rest of your music: the fantastic, stirring The Artist in the Ambulance; the fast-paced, aggrieved The Illusion of Safety; and the raw, energetic Identity Crisis. While Identity Crisis and The Illusion of Safety certain do not rise to the heights of your later work, it’s evident that from the beginning of your career there was something special, a certain spark in your music. For instance, “Phoenix Ignition” and “T&C,” the two songs from your debut album that you played at the show, contain passion and energy without resorting to manufactured anger. Then there’s “Deadbolt” from your second album, ripping through its two and half minute running time with a relentless focus and intensity before fading to a remorseful 30 seconds of piano, expertly highlighting the song’s interplay between passion and regret. My personal favorite from The Illusion of Safety is “So Strange I Remember You,” another song that balances slower passages with torrid drumming and guitar work to excellent effect.

As entertaining and exciting your first two albums were, nothing, for me at least, can compare with The Artist in the Ambulance and Vheissu. I don’t think there is one bad song on The Artist in the Ambulance, and many songs on that album were instrumental in helping me make sense of my final two years of high school. “Under a Killing Moon,” the inspiration of my Xbox gamertag, takes Arthur Miller’s The Crucible/the Salem Witch Trials and transforms their stories into a blistering rumination on standing up for your convictions. In fact, you almost sound like a different band—more confident, bolstered by better production values and improved music and vocals. Without letting up, the album moves into lead single “All That’s Left,” a story of faith lost due to a lack of room for questions, “We are the dead, a ghost of everything we thought but never said.” What you couldn’t have known is I was searching and asking questions of my faith, and this song and “Stare at the Sun” gave me the courage to keep asking those questions at a crucial point in my life. I remember singing along to the chorus of “Stare at the Sun” with all my might, just as I did the other night: “Cause I am due for a miracle, I’m waiting for a sign. I’ll stare straight into the sun, and I won’t close my eyes, ‘til I understand or go blind.”

To be continued…

And pray to God to have mercy upon us
And pray that I may forget
These matters that with myself I too much discuss
Too much explain
Because I do not hope to turn again
Let these words answer
For what is done, not to be done again
May the judgement not be too heavy upon us

Because these wings are no longer wings to fly
But merely vans to beat the air
The air which is now thoroughly small and dry
Smaller and dryer than the will
Teach us to care and not to care
Teach us to sit still.

Pray for us sinners now and at the hour of our death
Pray for us now and at the hour of our death.

The refrain of “teach us to care and not to care, teach us to sit still” is repeated as the poem comes to a close, and it seems to me to be the motivating force behind the poem. Indeed, this plea embodies the spirit of Lent, and it is my prayer for this Lenten season.

For the whole poem: http://www.msgr.ca/msgr-7/ash_wednesday_t_s_eliot.htm

Return of 4eva-Big K.R.I.T
Big K.R.I.T. is a rapper’s rapper: he makes his own beats, writes his own songs and releases song-heavy mixtapes for free. The reason Return of 4eva didn’t find a spot on my top ten was due in part to the sprawling nature of the album. With 21 songs on the album, some of them just don’t measure up to the others. K.R.I.T. is at his best when his raps are personal and socially conscious, and those tracks are the ones that carry this mixtape along and make it stand out. One such song is Dreamin’ where K.R.I.T. tells his life story, his smooth flow sliding over a laidback beat, which acts as a counterpart to the personal and relatable final songs of the mixtape Free My Soul and Vent. However, the two best songs on the album find K.R.I.T. commenting on the perception of hip-hop and African Americans. American Rapstar’s chorus is a hard-hitting condemnation of the hip-hop lifestyle and what it engenders, while Another Naïve Individual Glorifying Greed and Encouraging Racism’s (it’s an anagram) quiet piano and shimmering horns mask a potent social commentary about race.

Metals-Feist
The newest album from Canada’s Leslie Feist is beautiful and heart-rending, and would have made my top ten save for a few songs I just really don’t enjoy. However, Metals is home to some of the most beautiful songs I heard this year: Cicadas and Gulls, Graveyard and Bittersweet Melodies. And bittersweet this album is, filled with Feist’s tender voice ruminating on a broken relationship, emotional and fragile. It is a certainly a cathartic piece of art and more than worth your time.

Lasers-Lupe Fiasco
If you know anything about Lasers, you probably know about Lupe’s problems getting this album released and the eventual compromises he had to make with his record label. When Lasers is good, it’s very good; however, when it’s bad, it’s some of the worst music Lupe has ever put his name on. For an artist who thrives on his nerdy persona, slick, over-produced songs like Out of My Head and Break the Chain just don’t work. Fortunately, songs like The Words I Never Said, The Show Goes On and All Black Everything find Lupe at his best and are welcome additions to his best songs.

The Whole Love-Wilco
Shortly after arriving in Texas, I went on a Wilco kick and finally listened to some of their older albums like Summerteeth and A Ghost is Born. This minor obsession culminated with my purchase of The Whole Love, which is a perfectly good album, but can’t compare with albums like Summerteeth and Yankee Hotel Foxtrot. It simply doesn’t have the same consistency as those albums, however it still boasts some fantastic songs like I Might, The Whole Love and the twelve minute album closer One Sunday Morning.

The next three albums definitely would have found a way onto my year-end list had I listened to them in 2011. Alas, I can only give them my stamp of approval now, and hope if you haven’t already checked them out, that you do so ASAP.

Bon Iver-Bon Iver
While I often have no idea what Justin Vernon is singing about, his music conveys emotion with such ease that it is hard to not be swept away. In that manner, Bon Iver reminds me of a Terrence Malick film: poetic, abstract and transcendent. Art like this is not immediately accessible, especially if you’ve never listened to Bon Iver before, but it’s worth the effort to appreciate.

Camp-Childish Gambino
I’ll come right out and say it: this is not an album for those easily offended. Donald Glover, known for his role on NBC’s Community, is also a very good rapper, and Camp showcases those skills much better than previous mixtapes he has released. Musically, the albums stands out, with luxurious soundscapes on the softer songs, and hard-hitting beats that let Glover’s explosive flow stand out. Lyrically, Camp reminds me of Kanye’s My Beautiful Dark Twisted Fantasy, as songs like Outside, L.E.S. and That Power are achingly personal, while others (Bonfire, Sunrise) are straight-up battle raps, pointed at Gambino’s haters. Despite some of these ill-advised jabs, Glover often takes aim at important social issues, which makes Camp an engaging, if paradoxical listen.

Helplessness Blues-Fleet Foxes
Helplessness Blues is a big album, asking big questions about life and love, and doing so with such grace that it never feels overblown. The folkish Americana played by the group transitions in between upbeat and slower tempos effortlessly over the course of the album, and often even mid-song, creating a musically well-rounded album. Considering that themes of purpose and growing older carried through the album, Helplessness Blues feels like a coherent work of art, not just a few scattered songs.

Also, be on the look out for a post later this week about some honorable mentions in terms of my favorite music of the year and hopefully in a couple weeks I’ll post my top ten films of the year.

Beginning with his first album, The College Dropout, Kanye’s music has always been deeply personal, highlighted by songs like “Through the Wire” and “Family Business.” His next two albums, Late Registration and Graduation, would follow in a similar manner, balancing the personal with typical rap braggadocio, always backed by fascinating beats. This pattern is so irrevocably severed, lyrically and musically, by 808s & Heartbreak that it comes as a shock. It is with this album, an intensely personal reaction to a painful break-up, that Kanye begins to reflect on his fame and celebrity, and his vulnerability and honesty are surprising.

The auto-tuned electronica that comprises the majority of 808s & Heartbreak allows us to see a different side of Kanye. The cocky exterior is gone, replaced by a broken human being, questioning his life. “Welcome to Heartbreak” illustrates this with a certain profundity, as Kanye takes a different perspective on his material possessions than normal: “My friend showed me a picture of his kids/ And all I could show him were pictures of my cribs/ He said his daughter got a brand new report card/ And all I got was a brand new sportscar.” This lament is tinged with regret, a common theme throughout an album concerned with lost love.

The song I find the most interesting on this album is “Pinocchio Story,” a live freestyle from Toyko, Japan. Kanye repeatedly mentions his desire to be a real boy, wondering if he has missed out on “real life.” Once again, he sings about the inability of his possessions to bring him contentment, “There is no clothes that I could buy/ That could turn back the time/ There is no vacation spot I could fly/ That could bring back a piece of real life/ Real life, what does it feel like?” For a hip-hop artist who constantly references his style and material wealth, this is an incredibly candid statement. However, with his next album My Beautiful Dark Twisted Fantasy, Kanye, perhaps in an attempt to drown his sorrows and inner demons, dove headfirst into the deep end of celebrity.

My Beautiful Dark Twisted Fantasy is opulent, reveling in its luxury and gigantic production budget. Filled with A-list guest spots, it nonetheless remains Kanye’s show, magnifying his ego and celebrity even as it delves into some of his deepest struggles. Contradictory and profane as it is, My Beautiful Dark Twisted Fantasy reveals the insecurity that still remains in its creator. Pop culture and designer style references abound, the possessions that Kanye hides behind. However, on songs like “Gorgeous” and “Power” he takes aim at those who have made fun of him in the media, offering a harsh defense of himself and his actions. In fact, it seems as if Kanye can’t take a joke, as he directs profanity laced rants at those who “tried to black ball” him, South Park writers and the cast of SNL.

Indeed, the end of “Power” hints at suicide, with its coda, “Now this’ll be a beautiful death/ I’m jumping out the window/ Letting everything go.” Clearly, all of the “power” that Kanye possesses cannot banish his problems. It’s very easy to lose these moments of honesty amidst the sheer force of ego that Kanye normally exudes, but they are there to be seen. “Monster” is a hard hitting track with multiple guest stars, where Kanye assumes the title of “motherf—ing monster” as a badge of honor, turning the insult back around on those who have talked about him behind his back.

Kanye’s sensitivity seems to be a recurring theme, as “Runaway” and its chorus evidence: “Let’s have a toast for the douchebags/ Let’s have a toast for the assholes/ Let’s have a toast for the scumbags/ Every one of them that I know.” Given the multiple times this is repeated and the many different names Kanye gives these people, there seems to be quite a few of them. In many ways, this album is a send-off to the haters, but the vitriolic language disguises something that hearkens back to 808s and that will come into focus on this year’s collaborative album with Jay-Z, Watch the Throne.

The last song of My Beautiful Dark Twisted Fantasy, excluding the bizarre outro, offers a note of transition to Watch the Throne. In “Lost in the World,” Kanye raps, “Lost in this plastic life/ Let’s break out of this fake-ass party/ Turn this into a classic night/ If we die in each other’s arms, still get laid in that afterlife,” which is followed by a woman’s voice singing very clearly, “Run from the lights/ Run from the night/ Run for your life.” So, we come full circle, and Kanye is still looking for love, even though he knows that his life and all the parties can’t offer him the validation he seeks. He knows he has to run, break free, but he is trapped by other’s opinions of him.

Watch the Throne is much less of a personal opus for Kanye, and he seems to be having fun making music with Jay-Z, but issues of insecurity still surface. Now to be sure, Jay-Z has his share of songs where he is dissing others, but they don’t carry the same emotion as Kanye’s. Even on a peaceful, uplifting track like “Made in America” Kanye can’t resist mentioning his haters, “South Park had ‘em all laughing/ Now my n—— designing and we all swaggin’/ Ignore the critics just to say we did it/ This ain’t no fashion show, motherf——, we live it.” In an insightful review of the album, Calum Marsh point out that this is “the second time that Ye’s indignantly referred to that good-natured South Park ribbing from, what, two years ago?” Marsh goes on to mention how this shows how even a little joke can have unexpected outcomes in celebrities.

Marsh is right, of course, but Kanye’s reaction reveals more than just injured pride; we see ourselves mirrored in his reactions, as we all search for acceptance and love. None of us want to be judged, why should Kanye be an exception? The words he spits on “New Day” are poignant and resonate with me, even though I am a poor, white guy, who can’t even imagine the life that Kanye leads. Speaking to a future son, he raps, “See, I want him to have an easy life, not like Yeezy life/ Just want him to be someone people like/ Don’t want him to be hated, all the time judged.” These few lines speak volumes.

Pilgrim at Tinker Creek  is a memoir of sorts, concerned with a year that Dillard spent living in the woods of Virginia as she observed nature around her and wrote. She is our tour guide, teaching us things about nature that most people would never suspect, from the egg laying habits of dragonflies to the best way to stalk a muskrat. Most of all, this is a book about being truly alive and letting life seep into every part of your being as you walk in this strange, beautiful world.

This book is wrapped up in the present, both as a moment in time and also as an idea. Dillard speaks of the present as a character, hurtling through space and time, trying to get us to notice its machinations before it disappears into the past. In chapter five, appropriately titled The Present, Dillard invokes the present with such verve that it is impossible to think of it in the same way again: “The present is the wave that explodes over my head, flinging the air with particles at the height of its breathless unroll; it is the live water and light that bears from its undisclosed sources the freshest news, renewed and renewing, world without end.” Elsewhere, she describes the present as a form of grace, constantly giving us a second chance, as newness is birthed every instant.

When we can learn, or attempt as in my case, to see the present as Dillard sees it, it opens up the store of the world’s beauty to us. Along with that beauty, however, comes the realization of the horrors of nature: death, violence and pain. Dillard does not shy away from these things, examining this decrepit world with the intensity of an investigative journalist searching for answers. In Intricacy shes firmly lands on the side of beauty, while in Fecundity she is shocked at the excess of death present on earth. Her answer to this dilemma comes in the final chapter, The Waters of Separation, in a declaration of life and mystery: “It is so self-conscious, so apparently moral, simply to step aside from the gaps where the creeks and winds pour down, saying, I never merited this grace, quite rightly, and then to sulk along the rest of your days on the edge of rage. I won’t have it. The world is wilder than that in all directions, more dangerous and bitter, more extravagant and bright. We are making hay when we should be making whoopee; we are raising tomatoes when we should be raising Cain, or Lazarus.”

This world is both terrifying and glorious, the mystery lies in how these two things can be combined in such a paradoxical way, existing alongside each other without overwhelming the other. Which has the final word? Death or beauty? Perhaps, as Dillard suggests, the answer is not as important as we think, for here we are surrounded by both, yet never truly noticing either. Before we cede control to death and march on our way, let’s search for beauty:  it’s very existence may change our minds about everything. Every beautiful or grotesque example that Dillard gives points us to a world that, although broken and run-down, is  filled with glory bursting from its seams. This is the planet we inhabit—an extravagant mess—and it is begging for us to realize this.

Last year in school, I had to read an article which discussed the famous Iwo Jima war photograph and how it was used to create a largely false atmosphere which facilitated the sale of war bonds. The image was imbued with an absolute, timeless message and resonance that fell apart in the 60s and 70s leading to many parodies of that classic image. The “timeless” morals and significance of this image no longer held true in a society which had rejected the beliefs of its parents, therefore the image necessarily had to fall into satire. The same thing has happened to the comic book hero in this postmodern age. These perfect men and women who always do the right thing and never falter can no longer exist because their mystique has been shattered by the unmasking of reality. People cannot escape from this anymore, at least not to the extent they could in the past.

This is why Nolan’s superhero films are so perfectly suited for this time. Divesting the myth of the superhero, Nolan makes Batman into a real person in a real world. We see Batman’s flaws, and this allows Nolan to actually make statements about authentic issues.  Of course, in this day and age, everything is subject to parody and Christian Bale’s Batman voice has seen its share of satire, but Nolan’s films, as proved by the critics and box office have made an impact far beyond mere escapism.  Compare any superhero film made in the past 10 years to Batman Begins and The Dark Knight, and you will see the massive difference in depth between Nolan’s dark, realistic vision and the others.

With this summer’s movies on their way out, it looks as if next summer will contain its fair share of superhero films, most notably The Dark Knight Rises and The Avengers. I’m still waiting to see if any other directors try to make their films noticeably darker to try and mimic Nolan and it appears as if the new Spiderman reboot may be trying just that. With that being said, unless those directors are willing to strip the superhero myth of its bygone conventions and restart from the ground-up, I have less than high hopes for their efforts.