11/11/25

November 11, 2025

Autumn of 1925 saw my existence in decline. Then I killed some guys and it was downhill in a wagon with no brakes from there.

Trouble followed after a string of anonymous calls to my home. Heavy breathing and hang-ups. The caller waited until the dead of night when I was drunk and too addled to do more than slur curses into the phone. I figured it was some dame I’d miffed, or a lug I’d thrashed, maybe even somebody with a real grudge — a widow or an orphan. My detractors are many. Whoever it was only spoke once upon the occasion of their final call. Amid crackling as of a bonfire, the male voice said, “I love you son. I love you son. I love you son.”

I was drunk beyond drunk and I fell on the floor and wept. The calls stopped and I put it out of my mind.

Toward the end of September I hit a jackpot on a twenty to one pony and collected a cool grand at the window, which I used to pay off three markers in one fell swoop. I squandered the remainder on a trip to Seattle, embarking upon a bender that saw me tour every dance hall and speakeasy from the harbor inland. The ride lasted until I awakened flat broke one morning in a swanky penthouse suite of the Wilsonian Hotel in the embrace of an over the hill burlesque dancer named Pearl.

Laird Barron, “Hand of Glory”

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Thought:

“Many filmmakers pretend that they never see anything, which has always seemed odd to me. Everyone accepts the fact that novelists read novels, that painters go to exhibitions and inevitably draw on the work of the great artists who came before them, that musicians listen to old music in addition to new music… so why do people think it’s strange that filmmakers – or people who have the ambition to become filmmakers – should see movies?”

Jacques Rivette

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