DC's

______________
James Rielly Ghost With Red Socks, 2017
Oil on linen

 

______________
Biangle Studio Ghost Ship, 2019
‘The rigs needed to be able to fluctuate vertically with the tide while staying horizontally fixed. The pumps require a minimum depth of three feet, and the tide in the Delaware River differs six feet.’

 

______________
OHINONIHO Still Ghosts, 2022
Panel, Oil, Acrylic

 

_____________
Rachel Whiteread Poltergeist, 2020
Corrugated iron, beech, pine, oak, household paint, and mixed media

 

_____________
Sri Whipple The Ghost of William Blake, 2020
Oil on Cradled Masonite Panel

 

_____________
Ines Doujak Ghostpopulations, 2019
collage

 

____________
Urs Fischer Ghost, 2016
oil on cast bronze

 

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Katie Ione Craney ghost berries II, 2021
dead berries, frame

 

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Drift Ghost Collection, 2011
‘With the Ghost Collection, DRIFT explores the boundaries of experimental hi-tech production possibilities to give shape to their ideas. In this regard, the Ghost Collection is about the contrast of an endless free-floating airiness captured in a tightly limiting rigid form. The inner shapes were created using a unique 3D-technique to form subsurface drawings inside solid acrylic forms on a large scale, giving the works a dualistic, and illusionistic, character. Each Ghost Chair has a very sharp-edged, graphic silhouette. Yet when placed under a distinctive light, an internal shape in the transparent objects is revealed. An unexpected organic and elusive ghostlike figure appears, like frozen smoke.’

 

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Angela Deane Seeking, 2019
‘From 2012 to the present, Deane has been taking found photographs, such as those from garage sales, and painting acrylic ghosts where humans once were.’

 

______________
Maya Lin Ghost Forest Baseline, 2022
50 tree sections

 

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Vasco Diogo Ghost, 2024
augmented reality

 

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Marnie Weber The Ghost Train, 2015
‘The Ghost Train is an art installation that serves as a metaphorical journey into another state of consciousness. The characters are frozen in time as they attempt to board the train with their sentimental worldly possessions that cannot transition into the non-physical. Baggage, suitcases, doilies, and figurines are stacked alongside the passenger effigies all waiting and hoping to be transported. The sounds of movement, trains, animals, and people chattering float through the station intermixed with music that shifts from free jazz drumming to haunting synthesizers to an ethereal angelic choir.’

 

______________
inges idee Ghost and Unknown Mass, 2010
Copper, chrome alloy, FRP

 

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Tony Oursler Blob, 2014
Form, projection

 

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Laurie Lipton Various, 2017-2021
Drawings

 

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DarkZoneWonder The Enfield Poltergeist.. The true Story behind the Conjuring 2, 2023
‘We delve into the story behind the hit movie The Conjuring 2.’

 

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Ed Ruscha Ghost Station, 2011
Metal relief print

 

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Paul Klee Fleeing Ghost, 1929
Oil on canvas

 

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H. R. Giger Poltergeist II – Drawings, 1983-1985
‘Thanks to his work on the iconic creature for the film Alien (Ridley Scott, 1979)—a detailed account of which is given in his Alien Diaries (2013)—H. R. Giger was firmly established in Hollywood’s supernatural horror and science fiction genres. Giger went on to design all the ghosts for Poltergeist II: The Other Side (Brian Gibson, 1986). Unlike his work on Alien on the set at Shepperton Studios in England, Giger collaborated on the movie remotely from Zürich, basing his creatures on Michael Grais and Mark Victor’s screenplay and airmailing the airbrushed designs to Los Angeles. Due to his absence as well as misunderstandings with the director and the studio and a meager production budget, the dark inscrutability and amorphous plasticity of Giger’s initial shape-shifting sketches ended up falling flat on celluloid, coming to resemble cheap-looking monsters in a campy B-movie. Giger’s in some cases psychedelic sketches were designed as sequences showing the metamorphosis of a worm-like ghost into a grotesque dwarf that ultimately morphs into a soul-devouring Gorgon-like monster called “The Great Beast”.’

 

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The House of Strange Happenings Pair of Poltergeist Photographs, 1977
‘Two photographs mounted to a single matting, snipe on verso of each with syndication marks and Photo Trendsstamps, dated 13th September 1977.’

 

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Alicia Kwade Self-portrait as a ghost, 2020
Bronze

 

_____________
Weijia Ma Step Into The River, 2021
‘Step Into The River is a haunting tale of girls living in China under its One-Child Policy. The river is significant as children who have passed are placed in the river for the current to take them away. Wei is drawn to the river by visions of her dead brother. Lu eventually takes Wei out into the river to see her brother and encounters the ghosts of other children.’

 

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Mike Kelley Energy Made Visible, 1979
Fiber-tipped pen, acrylic and graphite pencil on paper

 

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Susan Hiller Small photographic work in which the camera substitutes for the specialized vision of a psychic, 2012

 

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Joana Hadjithomas & Khalil Joreige Sarcophagus of Drunken Loves, 2024
‘Nowadays, Beirut is often deprived of electricity. It is not a one-time accident but a new state. In the national museum, visitors find themselves in darkness and use their phones to light the traces of past civilizations as their world crumbles.’

 

_____________
Ellen Greene Invisible Mother’s Milk, 2013
‘In my usual hunting for vintage gloves and objects to use in my artwork, I came across strange and haunting images that resonated with something deep inside of me. They were “Invisible Mother” photographs of the victorian era. These photographs were evidence of a practical solution to the technical problem of photographing a wiggly baby/toddler with the long exposure times that photography of this era require. The child would be held still on the mother’s lap which was draped with a heavy decorative cloth that went up all the way over her torso and head. The mother would be obscured further when the final tin photograph was put into an oval matted sleeve, which revealed only a child nestled in a draped “background”. Over time the paper matting on many of these photographs have disintegrated revealing the once “invisible” mother, resulting in both horrific and absurd images. In some the mothers hands and/or feet would be visible creating an image of an absurd furry half rug/human holding a baby awkwardly, other times just the draped head shape loomed behind the child’s head creating a menacing ghost image.’

 

_____________
Yasam Sasmazer Illuminated Darkness, 2011
‘Sasmazer works with Linden wood and bronze to carve children that represent certain feelings, from raging emotion to naive lust. The artist also makes use of shadows to help convey her message saying, “The shadows represent the darkness in our souls’ hidden side and the most frightening part of our personality. The shadow is everything you are but do not want to be.”’

 

_____________
Brody Albert Empty, Except for the Ghost, 2023
‘Depunctualization, a term coined by theorist Bruno Latour, describes the phenomena of only seeing / recognizing the parts of a complex system when it malfunctions. For example, you are only aware of your stomach when you have a stomach ache, or you are only aware of your car’s engine when it breaks down.’

 

 

*

RIP Jacques Roubaud ** Dominik, Hi!!! Hopefully before my birthday. And I’ll report back. Efteling is my favorite amusement park. We’re so close to ending the film’s biggest nightmare I can almost … well, not smell it, but see it. I don’t suppose you could describe those specific notebook requirements? Haha, yes, I guess should have mentioned it was in my game. In my case, it took a long time to gather those coins. People who are more skilled and completist could probably snap them up. You mostly get coins when you repair these gaping holes in the ground and walls that are everywhere, and you repair them by throwing magic confetti from a bag of confetti you carry around, and the confetti sticks to the hole and covers it and coins pour out. It’s more fun than it sounds. Wow, love was pretty lazy yesterday, but who can blame him. Love turning your apartment into a haunted apartment whether you like it or not, but he lets you pick the dead person whose ghost will forever hang around and spook you, so who do you pick? ** kier, Hey, hey, kier! Glad you dug it. I’m pretty okay, playing video games a lot and waiting for a big film problem to get fixed, and stuff like that. Glad you’re better and I hope your energy has caught up. You need it if you’re gonna do all that painting. Sounds vivid in the best way. The only time I ever did pottery and glazed it and stuff was in grade school. I made a dinosaur, but of course it just looked like a shiny turd. But most of the other kids ended up accidentally making turds too, in my defense. I still have it somewhere for some completely unknown reason. Anyway, best of luck acing the glazing process, and, knowing you, you will without any extra luck. Hope you had fun with your friend. Yesterday I played my game, made two blog posts, paid rent, answered two emails, ate spaghetti, … pretty blah. But today still has time to sparkle. Yours too, btw. xo, me. ** James, Avoid the plague, needless to say. I am pro-Chinese food. In fact, my favorite food in the world is cold sesame noodle, Szechuan style ideally. French guys seem like good people dally with. Hey, maybe you’ll dally yourself over here. Beach Boys are very good, yes. I’m all about the ‘Pet Sounds’ -> ‘Surf’s Up’ era. Or maybe -> ‘Holland’. Never been on a dating app myself. Never even peeked at Grindr over some Grinding person’s shoulder. I’m probably a let down in person too, but two letdowns might get along? Still ‘Paper Mario’, yes. I just defeated the Giant Rubberband Boss, and now I’m about to get on a boat and sail out to sea for as-yet-unknown reasons. Paris is supreme. Venice is really unique and something. The ‘DiV’ hotel, the Lido, is kind of a let down though. Sure, this blog could use a balcony, and you lounging there sipping your tea seems like it would work. So, done. ** Misanthrope, If I see any of your future bfs on the escort sites, I’ll let you know. Happy birthday to your mom a day late. 82, not bad, she’s hanging way in there. Hope that was the expectable sentiment-filled blast. ** jay, Hi. I feel like in person I can make people understand I’m not judgemental, but in prose alone … I’m pretty good at tone constructing, but suspiciousness is a dense wall. Emo night sounds kind of wonderful. Wow. I would check to see if Paris has similar events, but no amount of outfitting and make up applying would let me pass. Wait, a ‘Marbled Swarm’ t-shirt? Seriously? No, you have to be joshing. A guy wearing a ‘Marbled Swarm’ t-shirt at an Emo event would be one of those ‘I can die now’ things. Hm, okay, I think I’ll watch ‘Love is the Devil’ again then. Seriously, it’s pretty hazy in my head at this point. Anyway, nice, score! See you pronto. ** _Black_Acrylic, My pleasure, Ben. Man, take extreme care. And I trust your hat left every sentient portion of your surroundings agog. ** nat, You made it through safe and sound. You figured out who Christopher is, I see. I’m trying to adopt a ‘I should just be grateful that …’ ‘tude about that podcast, but I’m not quite managing to. Having no clue about the specific currency in ‘Final Fantasy’, I still think a million anything is a pretty impressive figure. Nor did I have any idea that one could sell oneself as a slave in ‘FF’. I thought it was just a bunch of kind of Goth-ish romping and swashbuckling and stuff. Anyway, I had it all wrong, and I guess I need to at least watch a walkthrough video or something. It sounds like you had a momentous time. ** Steeqhen, Hey. You’re tempting me to reread ‘Snowflake’ but I really, really need to read some other things first. I love living in Paris. It’s ideal. And the transport here is excellent. Best metro system in the world that I’ve seen. So total encouragement from me to consider Paris your next home. I can give you a tour of what you don’t already know and spout accurate hype as we traverse the local highlights, etc. I hope my respective rambles have whatever quality they have herein whence they’re emitting from my actual face. ** HaRpEr, No, no, I’m sure my mind’s lacks were at fault. But anyway, a reading, which, well, is a performance, although hopefully not of the ‘slam’ variety, but I don’t suspect I need to worry about you slipping into ‘slam’ mode. I was born in LA, grew up there, and have lived most of my life there, so, yes. I like Babitz’s depiction of LA. It has its slant, for sure, but it’s infused with the real. It makes a good couple with Didion, who also ‘gets’ LA. If you haven’t read it, I highly recommend Pamela Des Barres’s book ‘I’m With the Band’. It’s a splendid, fun, flirty, sparklingly written book about LA when it was wild and wide eyed. It is very odd about the resurgence of interest in Babitz and unfortunate that it’s being partly occasioned by her books being accoutrement of the famous and moronic set. Thanks for saying that about the podcast. Yeah, it was annoying and full of off-base, barely thought through presumption. The way they sexualised the films was gross, and they acted/talked like Zac was just a technician or something. I know Chris a little, and he really should have known better. I guess it’s interesting to hear people talk about the films who are so far afield from understanding them. Anyway, thank you. ** Lucas, Hi. What color is your hair now? I hope your psychiatrist appointment dispelled the dread. I’m fine. Really, just kind of hanging/waiting for the film thing to be resolved. It looks like it will be any minute now, but given the untrustworthy person who has to agree, it has to be a believe when I see it thing. Otherwise, just doing what I usually do. All’s well. Most people I know either do a Substack or visit them, but I honestly haven’t gotten in the habit of checking things out there, so I don’t know any to recommend. Still, it seems like the place to see and be seen these days. Well, hey, I’ll start my Substack promiscuity with your place. Hit me up with the link when it’s gettable. Cool, thanks. Lovely Friday to you too! ** Right. I decided to make a third instalment in the blog’s ongoing, very occasional Ghosts franchise, and there it is. See you tomorrow.

* (restored)

 

Interview with Eve Babitz
Conducted by Paul Karlstrom
At her home in Hollywood, California
June 14, 2000

 

PAUL KARLSTROM: Why don’t you –

EVE BABITZ: I thought of myself as, I was like an art groupie/art model and I wanted to-I never modeled for anything like that and never again did, and really most artists, you know, when they have models they really are drawing them basically, like in sculptures, not taking photographs, so I don’t know who-and it wasn’t Duchamp’s idea so I figured I was the artist and the model in that one.

KARLSTROM: Why don’t you tell me just, you know, what led up to it, how it came about?

BABITZ: Well, the photographer Julian Wasser came and there was the-they had the big party at the Green Hotel, even though Julian doesn’t remember it; he has photographs that he took there at that time. And so I didn’t get invited to it because Walter Hopps [curator of Duchamp retrospective at Pasadena Art Museum, 1963] was mad at me.

MR. KARLSTROM: Why was that?

MS. BABITZ: Because his wife was in town, basically.

MR. KARLSTROM: Is that Shirley? [Art historian later married to dealer Irving Blum.]

MS. BABITZ: Yes. I mean she came back, she suddenly did come back in a flash the minute that Duchamp thing happened and I was like not allowed in. So, but then I found out Jim Elliott wasn’t invited either, so maybe nobody under 20, maybe 21, under 21 you weren’t allowed in. So, so, he didn’t invite me, so, and he wouldn’t call me back, and he wouldn’t call my mother back. And so I decided that if I could ever, like, you know, create any vengeance or havoc in his life I would, even though I was pretty powerless because I was only 20 and there was no way I could get to him. But, this Julian came up to me at the opening, the public opening, which I went to with my parents and-

MR. KARLSTROM: That was at the museum?

MS. BABITZ: Yeah. At the Pasadena Art Museum, and he said he had this great idea that I should play chess naked with Marcel Duchamp and it seem to be such a great idea that it was just like the best idea I’d ever heard in my life. It was like a great idea. I mean, it was, not only was it vengeance, it was art, and it was like a great idea. And even if it didn’t get any vengeance, it would still turn out okay with me because, you know, it would be sort of immortalized. I would be this, you know, here’s this Nude Descending the Staircase guy and now he’s going to be The Nude in the Pasadena Art Museum. But, of course, I said, you know, I didn’t think that the Pasadena Art Museum old ladies would go along with this. So-

MR. KARLSTROM: Was that part of what attracted you to the idea?

MS. BABITZ: Yes. Yeah, because it was like the Little Old Ladies from Pasadena, you know that Beach Boys’ song.

MR. KARLSTROM: Right.

 

Eve Babitz

 

MS. BABITZ: So, I thought well, you know, this will be, you know, and it is kind of like, you know, it’ll just kill them to find out that this happened there. So, but, I thought that he should tell Walter so Walter would know what we were doing, that we were going to do this. Because, it didn’t seem like-I mean, it was okay to do it, but they ought to know basically. But, I know that Julian did not tell anybody because he probably forgot it the minute he agreed to do it. But he did call me the next day and say “Now, you’re not going to chicken out are you?” Because we were supposed to do this two or three days later when they came back from Las Vegas, maybe the next day. They went to Las Vegas; they came back, Duchamp shows up at like, I don’t know, it was a Thursday morning or something. It was like seven o’clock. Julian comes to get me at, like, seven in the morning. We drive out to Pasadena to create this, you know, rape.

KARLSTROM: And Duchamp didn’t know what he had in mind either?

BABITZ: And he brought, and he said “Put that chess table there”. You know, we’re going to do the chess table. So, Duchamp, he had no idea. I mean that maybe he would of chosen someone else basically. He’d never met me before.

MR. KARLSTROM: Oh, I don’t know, you look pretty good.

MS. BABITZ: He’d never met me before. I’d never met him before.

MR. KARLSTROM: Did you know who he was though?

MS. BABITZ: No, I didn’t know who-I mean, I had an idea when I went to the art opening that he was probably great. He was one of those great people like-

MR. KARLSTROM: But you hadn’t heard of him before?

MS. BABITZ: No. I mean I’d never heard of anybody except Ed Kienholz. That was as far as my-I knew who Ed Kienholz was and I thought he was great. So, I didn’t even know who Joseph Cornell was at that time. So, and I knew that everybody was like in love with him because they had this huge party and they had two ballrooms and two bands. That I didn’t get invited to.

KARLSTROM: Uh-uh.

BABITZ: So Julian sets up lights for a million years and I’m sitting there, like nothing to do, smoking cigarettes. Like, 8:30 or 8:15, Duchamp shows up with his beautiful suit and that hat from Las Vegas, that straw hat.

KARLSTROM: Did the museum engage in-

BABITZ: -the people who were in there were teamsters marching back and forth with big pieces of art. That’s who was looking at this.

KARLSTROM: So you had an audience?

BABITZ: Yes.

KARLSTROM: It was like a performance piece?

BABITZ: That’s right.

KARLSTROM: Did you feel that way about it?

BABITZ: Yes.

 

Marcel Duchamp and Walter Hopps at the Pasadena Art Museum

 

KARLSTROM: That’s cool. You actually were in many respects the artist, but, on the other hand, the concept [that] was Julian [was watching you]?

BABITZ: Right, but he didn’t think that anyone would go along with it, because he’s always thinking up ways to get girls to take off their clothes.

KARLSTROM: So he had-this is interesting because you said you hadn’t modeled, but, in fact, you had, you posed nude for Julian.

BABITZ: Not-

KARLSTROM: At least on, what was that? Several times?

BABITZ: Well, no, once.

KARLSTROM: Just once.

BABITZ: And it wasn’t posing.

KARLSTROM: Then what were you doing?

BABITZ: It was getting naked pictures of yourself so you could show guys.

KARLSTROM: Oh, I see. So that’s what you were doing?

BABITZ: That’s right.

KARLSTROM: And you said, “Julian I need some naked-”

BABITZ: I don’t want to go, like, work in some horrible magazine. This is what all girls did at that time.

KARLSTROM: And so you wanted to have naked pictures of yourself to show guys?

BABITZ: Gorgeous ones.

KARLSTROM: Yeah, gorgeous, right.

BABITZ: Yes. That’s right. Gorgeous-

KARLSTROM: Because you were proud of your body.

BABITZ: Right.

KARLSTROM: Why did he choose you then for this, what turned into an extremely famous photo session? You playing chess.

BABITZ: Because he likes me.

KARLSTROM: You were friends?

BABITZ: Yeah.

KARLSTROM: He said you would be the best.

BABITZ: And he knew I wanted, you know, he wanted me to be part of this deal and I wouldn’t go to the party with him when he wanted to take me because Walter didn’t invite me.

 

Julian Wasser

 

KARLSTROM: So, what were you, Walter’s girlfriend or something?

BABITZ: I thought I-I deserved respect.

KARLSTROM: I would say. This story is much more interesting than-

BABITZ: That’s right. I was 20 years old and I wasn’t invited to this party. So, I took these pictures. That was it. You know, I got to Duchamp. We started playing chess.

KARLSTROM: Was that the first thing you did? That’s how this photo session started?

BABITZ: Yes.

KARLSTROM: Did he seem sort of taken aback when you took off your shirt?

BABITZ: No. He floated into it.

KARLSTROM: What did you do? Did you just go by the chair and take off your shirt?

BABITZ: No. He said, Julian said, “Okay, blah, blah, blah” You know, sit down [inaudible] you know, [inaudible]. “Okay, Eve, take that shirt off”. There was the chess table. Duchamp goes to the two little chess pieces. Julian kicks that shirt like 30 feet away, so I have nothing on.

KARLSTROM: Was it fun?

MS. BABITZ: It was hot. I was sweating like a Lakers game.

KARLSTROM: You mean it was hot in there?

BABITZ: I was sweating. No one else was. Everybody else was delightfully cool.

KARLSTROM: But you enjoyed it?

BABITZ: Well, it was-I mean it was like work, I’ll tell you and I don’t like work. Work is not my thing.

KARLSTROM: And so Marcel just took it in stride.

BABITZ: Yeah. He beat me three times.

KARLSTROM: Are you a good chess player?

BABITZ: No. Horrible.

KARLSTROM: Oh.

BABITZ: Obviously.

KARLSTROM: Because he’s supposed to be. I guess he was brilliant.

BABITZ: I know.

KARLSTROM: Did you-so most of the photos-I mean, we seen the proof sheet like reproduced during West Coast Duchamp, that book, you know.

BABITZ: I thought he only spoke French. I had no idea he spoke English so I tried to speak French to him. I asked him if he knew Mr. Stravinsky, the name of my godfather, and he said yes that he had been to that 1910 Firebird suite thing in Paris.

KARLSTROM: Did he seem sort of impressed that you had that connection?

BABITZ: Well, he seemed like-he just seemed like the world was at his finger tips and everything was always perfect all the time.

KARLSTROM: Sort of everything-

BABITZ: He wasn’t losing chess, at chess.

KARLSTROM: Well you didn’t care did you?

BABITZ: No, I didn’t really care. I wanted to get it over with.

KARLSTROM: And you wanted to get your clothes back on.

BABITZ: Right.

KARLSTROM: So you basically-

BABITZ: I wanted my cigarettes. I wanted my glasses. I wanted my clothes on; I wanted Julian to take me to a Chinese restaurant.

KARLSTROM: So you-

BABITZ: I knew exactly the one he wanted to go too. Chow Yung Fat. It’s down on Main Street.

KARLSTROM: So you really weren’t all that comfortable?

BABITZ: No. No.

KARLSTROM: But it was worth it.

BABITZ: It was worth it because Walter came in and he dropped his gum.

KARLSTROM: So Walter actually came in to see how it was going.

BABITZ: Yeah.

KARLSTROM: And he didn’t even know you were there.

BABITZ: No.

KARLSTROM: Wow. So you won.

BABITZ: Yeah.

 

Pasadena Art Museum 1973

 

KARLSTROM: You didn’t win at chess.

BABITZ: No.

KARLSTROM: But you won in terms of taking control of the situation.

BABITZ: That’s right.

KARLSTROM: I mean, did you think of it a little bit that way? Because I’m thinking of motivation.

BABITZ: I said, “Hello, Walter” and he dropped his gum.

KARLSTROM: Literally?

BABITZ: Yes. He always chewed Double Mint gum.

KARLSTROM: So what, did he hang out and watch?

BABITZ: No. He was even more ashen than he already was. He ran into his office-

KARLSTROM: Did it work?

BABITZ: Did it work? Yes.

KARLSTROM: Because you did get back, I mean-

BABITZ: Yes.

KARLSTROM: It sort of rekindled Walter’s interest?

BABITZ: It made him return my phone calls, which was what I wanted out of life.

KARLSTROM: Isn’t it interesting. This famous-this is actually one of the most famous photographs certainly in California art history.

BABITZ: I know, I know, and the reason is so bad. So bad.

KARLSTROM: What did you talk with Duchamp about? You said that the-

BABITZ: About the Firebird Suite.

KARLSTROM: That was the main thing?

BABITZ: Yeah. I mean, I just was basically sweating and wishing it was over and I couldn’t believe he had beat me three times in [inaudible] spades which mean you move like two pieces and then the person check mates you.

KARLSTROM: And you never got anything out of it? Except fame.

BABITZ: Except, you know, my usual fame.

KARLSTROM: Fame and a little bit of power over Walter.

BABITZ: That’s right.

KARLSTROM: And so you really had nothing to do particularly with Marcel Duchamp.

BABITZ: No. No. No.

KARLSTROM: There was no-you were both models is what it amounts to.

BABITZ: That’s right. Right. Right.

KARLSTROM: And he had his clothes on.

BABITZ: It had to do with Walter.

KARLSTROM: How did you feel, maybe not so much in that situation, but perhaps, about your own sexuality? Were you sort of very much aware of that at that stage? You were 20 years old. Did you have that kind of self-awareness or self-consciousness as a sexual young woman?

BABITZ: Yes.

KARLSTROM: Yes.

BABITZ: I went to Hollywood High.

Outtake

 

KARLSTROM: So you thought it was a pretty weird thing-

BABITZ: Yes. I did.

KARLSTROM: So it wasn’t-

BABITZ: I mean he was old, you know.

KARLSTROM: Okay, what about that?

BABITZ: It was like kind of depressing.

KARLSTROM: Really?

BABITZ: Yeah.

KARLSTROM: Tell me about that. Tell me how you felt about that. That’s interesting. Because that suggests a kind of connection in a relationship, at least visual, between you and your self-conception, then brings in your partners shall we say. How did you feel about that? You said he was old.

BABITZ: Well, I mean, I just, I mean he was old and he was too old for me.

KARLSTROM: Okay. Well, but you know what that suggests is very interesting to me. Taking off your clothes and, in a sense, because you were paired with him that there was that, even a sexual connotation to him. Is that right?

BABITZ: Yes, there wasn’t a sexual connotation.

KARLSTROM: There wasn’t?

BABITZ: That’s right.

KARLSTROM: But still you said that he was too old for you.

BABITZ: Right. That’s right. He was, I mean, it was like, I mean, if he were like, you know, Nureyer, you know, and some sort of like insanely gorgeous looking, you know, stunning type of person like that it would have been much more fun.

KARLSTROM: Well, you see what that implies. That does suggest –

BABITZ: That I’m a shallow person?

KARLSTROM: No. No.

BABITZ: I am a shallow person.

KARLSTROM: No, Eve, that’s not what I’m suggesting. But if you are, you are.

BABITZ: I would be much more eager to show it to my friends. But now I’m glad it wasn’t. As I’ve grown older I’ve realized that it was like a smart move.

KARLSTROM: You would have preferred a James Dean.

BABITZ: Right.

KARLSTROM: Then, you would of really-

BABITZ: Then I would’ve shown my friends.

KARLSTROM: So it wasn’t you being naked that you were unhappy with.

BABITZ: No.

KARLSTROM: It was about being paired with this old guy.

BABITZ: That’s right.

KARLSTROM: I understand.

BABITZ: How would you like it? I mean, if it were like Louise Nevelson or something and you were 20 years old?

 

 

*

p.s. Hey. ** jay, No prob. I’ve never been to Alton Towers or Thorpe, but my trusted friends who have say they do in fact have a few excellent coasters apiece. We’ll see someday. I too can’t quite figure out the motivation of ‘escorts’ who use celebrity shots as their profile pix. I should write to one of them and just straight out ask them, I suppose. Did you hit the Emo night? Was it Emo enough? Did you pass? I think I remember thinking ‘Love is the Devil’ was pretty good but not amazing. Pipe up with your take if you spring for it. I hope your day is so great that your instincts tell you that you just had the peak experience of your life. ** Dominik, Hi!!! Zac and I plan to go to Efteling for my birthday in large part to ride Danse Macabre. Otherwise, I’m excited about the ones that are close to Paris and that I can easily do (Mission Bermuda @ Futuroscope, World of Frozen @ Disneyland Paris). And for sure Universal Horror Unleashed in Las Vegas whilst on a future trip to LA since it’s only a few hours drive from there. Still awaiting the hopeful conclusion of the film problems. Seemingly by Monday barring some new bout of craziness from the other party. I agree with you about the podcast, and I’m happy to hear that you thought that. I was very disappointed. It was like listening to a bunch of straight guys talk about our films like the films were prostitutes they weren’t attracted to. Ugh. Surely love was able to find a stationary store that knew your desires inside out? Love bonking me on the head for wasting 6000 coins on a Royalty Ticket to enter Shogun Studios because I stupidly thought the warp pipe I needed to get to Toad Town would be inside the Studios when it was right there outside the entrance hidden behind a tree, G. ** _Black_Acrylic, I’ve never seen a ‘Frozen’ film either and have no intention to see one, but I too long for the completion of Frozen World for the very same reason. Oh, I hope Dundee Radio Club knows which side their bread is buttered on and grabs Play Therapy v2.0 like the lifeline it is. ** James, My blog tells me that indulgently long comment o’clock was 3:33 pm yesterday but that was probably Paris time. Well, I just couldn’t possibly disagree with you more about amusement parks, unsurprisingly. Okay, you’re right about grandmas, no argument there. Yes, Dennis the Menace, another nickname of mine that I forgot about. But that’s it. He’s the only cool other famous Dennis. Okay, maybe Dennis Wilson. I’ve met a fair number of commenters IRL over time, and some of them have become among my closest friends. It’s like Grindr without the grinding. I only hit a bunch of video game villains yesterday, and that doesn’t count since ‘hitting’ them just involving pushing a little button repeatedly. I hope you’re not in that bad mood today. But if you are, I’ve got your back, so to speak. Other countries to visit, sure, you bet, but, as for a place to live, nah, I think France has me magnetised. ‘Til soon. ** Poecilia, Hi. Hm, well, if you think of a blog as kind of house with different rooms, I think it’s possible to barge into, say, another inhabitant’s bedroom, for instance, and the comments are kind of maybe like bedrooms somehow, which I know is pushing it? ** Joseph, The good old Netherlands! So flat, but so useful. Everyone, Joseph bypassed the Cloudflare obstacle by using a Netherlands IP address in his VPN if you want to try that. Dutch is a cool language. I used to speak it a little. It’s nice. It’s chunky but basic, and it coaxes saliva into your mouth when you speak it if you pronounce it properly. I’m excited to read your new book, and that will happen very soon. Going to Cedar Point is one of my biggest seemingly achievable dreams. Vague plan to make a day-or-two stopover around there on my next trip to LA. Wish me luck. And have a lovely Thursday entire day. ** Lucas, Hi, pal. That’s okay Busy is busy and sleep can be a schizo master. Luck on the exam. Substack does seem to be the location of increasingly many of the more tempting homemade sites. Scary … oh, the no confidence/bring down the prime minister thing? It is kind of spooky. I’m hanging in there, you most certainly are. I hope today occasions your just rewards. ** Steve, Oh, for sure. The three near Paris, obviously, and Danse Macabre is already on the agenda, and Fast & Furious: Hollywood Drift cos it’s in LA, and I would really like to see what Poland is all about. I wouldn’t bother with the podcast. It’s kind of a drag. Everyone, Steve has weighed in one two of the buzz films of the moment. To wit, Steve: ‘Here are two of my recent reviews, on Joshua Oppenheimer’s THE END and Luca Guadagnino’s QUEER. ** HaRpEr, Hey. Totally agree about the Oz one. Majorly sucks that it’s all the way over in Australia. Maybe Paris will get hit by a freak magically transportive tornado. Cool that the presentation did its job. The best things are always at least a little awkward, aren’t they? What does ‘performing some writing there’ mean? Sorry if that’s a spaced out question. I’m not yet fully coffee-d up. Wow: that the famous British Museum reading room is open. Yeah, I know it’s crazy history and rep. And that there was a visible butt print on one of the chairs that apparently was made by Rimbaud’s butt until the Museum mistakenly reupholstered the chair. I think ‘Recollections of the Golden Triangle’ is my favorite Robbe-Grillet, so total score there. I love literally everything by him, but that one snagged me especially for some reason. As long as one isn’t bored, everything is okay, although it sometimes takes until you’re bored to appreciate overwork as a gift. Or something. ** nat, The blog’s bathroom is only accessible once a month when the slaves rule this roost. No, you’re right about the realities usually being a step down, but sincerely sought high ambitions that fail are the best that humans can achieve and expect, it could be argued. ‘Biblical homicidal twinks’: The imaginations reels, it’s true. ‘The Notebook Trilogy’ is extremely way up there in my personal list of literature’s greatest achievements, so, yeah, enjoy the plunge. Whatever a bubble butt is, it seems like it would be a plate filler. ** Okay. Something came over me and I decided it would be a good idea to restore the post up there. Am I crazy? I think not? See you tomorrow.