This summer, I went to prison. Well, not actually, but I did watch Netflix’s original series “Orange is the New Black,” and therefore feel as though I am something of an authority on the subject of federal penitentiary. Piper Chapman, the show’s WASPy, neurotic protagonist, has led me on a tour of prison life, providing a kind of personal “scared straight” program.
It is not often I get to encounter a fellow Dayton, so when I heard about a new documentary called Running Wild: The Life of Dayton O. Hyde, I was suitably intrigued. The film was to be screened on Saturday, February 8 at the Princeton Public Library, as part of the Princeton Environmental Film Festival (PEFF).
Spring Breakers arrived in theaters last Friday only to confuse audiences around the country. The film begins practically pornographically, bare breasts splashed with beer and tan rears occupying the entire movie screen, accompanied by the aggressive sounds of Skrillex. It then flashes forward to the mundane and fictitious Kentucky College where four girls find they don’t have enough money to fund a spring break getaway to Florida.
Nobel laureate Patrick Modiano’s most famous novel, Dora Bruder, is something like a ghost story, though not in the traditional sense. It is a ghostly story about a young man and a nation haunted by history. Modiano received the Nobel Prize in literature in 2014, the fifteenth French writer to do so after the 2008 laureate Jean- Marie Georges Le Clézio. While Le Clézio’s writing is sensual and tinted with exoticism, Modiano’s is sparse, introspective, and heav- ily autobiographical, sometimes even termed “autofiction.”
Listen to two or three of the songs off of the album. Pick them from different sections, so it seems like you listened to the whole thing. Also, don’t call them songs. Call them “tracks” or (even better) “cuts” instead.
“What the story lacks in cohesion and clarity, though, it makes up for in inventiveness and provocation. It seems intentionally on-the-nose that the protagonist’s name is “Cash Green,” as the film takes the inherent absurdity and selfishness of capitalism to the extreme.”