This Website will be devoted to essays and insights related to diversity, addiction/recovery, psychological growth issues, global perspectives, the disenfranchised, aesthetics, and cultural values. The core value streaming throughout the essays I write will be about returning to our innocence, which sometimes requires a trauma, a jolt, an invasion of the “other,” or a paradigm shift.
Many of my comments will sometimes reflect a more radically progressive approach to an idea. At other times, I may very well see some healthy alternatives in a more reactionary, conservative approach. There will be few areas, if any, that I hold sacred, taboo territory. In that sense, everything will be up for grabs.
I am also interested in international film narratives, stories whose voices are too often left out of the more powerful voices of the international film industry. They have much to teach us about aesthetics, cultural values, and morality.
For those wishing to participate, enjoy the ride!
John T. Marohn
In my last blog essay, I attempted to unravel the many complaints of the Tea Party followers. Three issues, however, seem to stick in the craw of those who believe in their heart of hearts that America is on the road to self-destruction: (1) The continuing loss of freedom because of big government and what appears to the Tea Party followers as a move towards socialism, the inevitable political paradigm that will only exacerbate that continuing loss of freedom (2) The desire to return to a golden age of a true America (3) The end of Patriotism in America Continue reading
It is difficult to write a review of a novel that has significant events that cannot be revealed without destroying the tension of those events. In the same vein, Internet film reviews often caution their readers that the review contains spoiler information that gives away key plot information.
In a recent Harper’s Magazine essay, “Go Forth and Falsify,” William Gass made the comment that a “storyteller’s assignment…was to glorify the past and its daring, protect the family tree, justify male ownership of land…” among other obligations.
It appeared at first glance that Gass had no aesthetic sympathy with the classic role of the “bard” telling what Gass calls “the first stories.” Nor did he seem to support the classic “storyteller’s assignment” in his laundry list of the teller’s obligations. In this sense, he was merely the messenger telling us what the old bard’s role and obligations used to be.