by Richard Farr

The past few days, I’ve been unable to get away from the sense that perhaps there’s something wrong with me. When so many people love Christopher Nolan’s The Odyssey, why have I found myself only deflated and disappointed by it? Many hours examining this question leave me unsure, so what follows is meant to describe a reaction more than persuade you to agree with it.
Matt Damon is an actor it’s impossible not to like. His Charming Boyish Grin beats anyone this side of Harrison Ford, and unlike Ford he can also do both determination and vulnerability without hamming it up. That’s what made him such a perfect choice for Jason Bourne, and I have to think that Christopher Nolan or his casting gurus had that quality in mind. A clue here? They must have thought Odysseus was that same kind of hyper-competent modern man, with advanced MMA skills but enough inner turmoil to make him, as they say, relatable. But it seems to me that Homer’s Odysseus is in certain ways deeply unrelatable — bigger, more wily, more psychically powerful and more strange than any kick-butt action hero. And that problem of characterization leaks across the whole canvas.
Some bits of the film are genuinely visually original. The horse on the beach is an old cliché rescued and re-imagined. The cyclops is enjoyably frightening, in a large rubber monster kind of way. But the filmmakers were unwilling or unable to enter imaginatively into a world where the supernatural is real and yet still supernatural. Charlize Theron plays Calypso as a blandly winsome babe in a vacation commercial (“Come to Ogygia Island Resorts and forget all your troubles!”). Zendaya’s Athena is an ordinary woman with a frown who you might bump into at the grocery store. Samantha Morton gets more to chew on as Circe, but she isn’t even all that frightening while turning soldiers into swine, and later, sitting defeated at her table, she’s nothing but a bitter single with a cooking pot. In an especially pointless scene, the Laestrygonians in their silver armor look like the local Medieval Battle Reenactment Society. The Shades in Hades are the same people they were when alive, except that now they’re smeared all over with bitumenous gravel and resentment. There’s neither primal wonder nor primal horror in any of this. Read more »

Roldy Aguero Ablao. Talaya’ 3000, 2023.


A few years ago I shared a draft of a sonnet sequence with a poet from the Northwest I had followed for a while. I asked him if he’d give the piece a once-over and provide some critique, and his reading was perceptive and useful for me. One comment drew my attention in particular: “I fall flat on ‘beauty,’ ” he wrote. “This is the one place in the poems the image turns outward into metaphor that cannot be touched — ‘beauty’s hidden folds’ is a no-thing” he wrote, pointing out at the last line of the second sonnet.


Finish the book manuscript

I’ve been a complainer since childhood. From the outside, people might suggest it’s a miserable disposition that’s neither useful nor pleasant, but, from the inside, I was just always noticing ways things could be improved and wondering why (and if) things had to be as they were. Why do we have dinner at six, when I’m hungry at four? So much didn’t make sense, and I was on a crusade to let those in power know about it. My parents handled it with a rule: No complaining without proposing a solution. It’s not a bad strategy, except then they were presented with many uninformed solutions as well. Their patience was astounding. I’ve since come to see the utility and delightful potential of the behaviour. 


