The Steenking Rose
 
 
| Clark Gable You scored 9% Tough, 28% Roguish, 38% Friendly, and 23% Charming! | 
| You're a pretty interesting guy, all man but approachable and friendly.
You like the lovely ladies, but you're also a real stand up guy with a
true sense of honor and duty. You're respected by most men, although
they probably wouldn't trust you alone with their girlfriends and even
wives. Women find you intriguing, drawn to your playful sense of fun
and true-blue core. You think most women are rather silly, but strong
dames with smarts really turn you on, and you tend to marry them.
Leading ladies include Claudette Colbert and Vivien Leigh, women who
find you somewhat charming but a little dangerous. Find out what kind of classic dame you'd make by taking the Classic Dames Test. | 
|   | 
 
 
 
 
 
 
"They have none of them much to recommend them,'' replied he; "they are all silly and ignorant like other girls; but Lizzy has something more of quickness than her sisters."
Sure, this is thinly veiled 'telling', but it succeeds nonetheless in building sympathy for all the Bennett sisters (What do you mean, 'none of them much to recommend them' -- what kind of father is that?) and Lizzy in particular. We're also told that Lizzy is 'quick'. Soon enough, we see that quick wit in action.
To cross genres (big time), think about the 'Deliverator' opening in Snowcrash. (Amazon has their 'look inside' function enabled, in case you're interested.) Stephenson introduces Hiro Protagonist as a determined man of action with a sense of humor to burn. Hiro's focus on delivering his pizza before the deadline tells us all we need to know.
That said, I confess I never felt too much empathy or sympathy for Hiro. His smugness put me off. The female lead, YT, had a lot more going for her in the empathy department.
One last point. (D) You can get a lot of mileage if your character appears full of mystery. Here, I'm thinking about the opening to Conrad's Heart of Darkness. Here's how Conrad introduces Marlow:
Marlow sat cross-legged right aft, leaning against the mizzenmast. He had sunken cheeks, a yellow complexion, a straight back, an ascetic aspect, and, with his arms dropped, the palms of hands outwards, resembled an idol.
What's the first thing out of his mouth?
“And this also,” said Marlow suddenly, “has been one of the dark places of the earth.”
They're on the Thames, for cryin' out loud. The last thing the stodgy Brits on the boat with Marlow want to hear is a comparison of London to the Congo -- yet that's the whole point. What the hell is Marlow thinking? What's on his mind? Out with it, already!
Okay, I've blathered on too long. (I haven't even gotten to Janet Evanovich's introduction of Stephanie Plum in One for the Money.) Now it's your turn.
D.
 Here's the link to my review of Analog, October 2005. If that glitches for some reason, you can always go straight to Tangent.
D.
Here's the link to my review of Analog, October 2005. If that glitches for some reason, you can always go straight to Tangent.
D.
     
 
 
1. CITIZEN KANE (1941) I first saw this in college because I thought it would help me get into Wendy's pants. No go. So: does it deserve the number one spot? Naw. It's an interesting experience, and I did base one of my characters off Kane, so I guess I don't totally hate the movie.
2. CASABLANCA (1942) I based a whole book off this one (Karakoram, which may never see the light of day). That should tell you something.
3. THE GODFATHER (1972) Leave the gun. Take the canoli. (Oh, how I love that line.)
4. GONE WITH THE WIND (1939) Watch it, as I first did, with a room full of lesbians. You'll never want to see it any other way.
5. LAWRENCE OF ARABIA (1962) Seven Pillars of Wisdom without the homosexuality. On a serious note, this is one of my favorites. This is Peter O'Toole's best performance ever.
6. THE WIZARD OF OZ (1939) A film to see for cultural literacy's sake only. I can't see any other redeeming features.
7. THE GRADUATE (1967) Why couldn't I have had a Mrs. Robinson?
8. ON THE WATERFRONT (1954)
9. SCHINDLER'S LIST (1993)
10. SINGIN' IN THE RAIN (1952)
11. IT'S A WONDERFUL LIFE (1946) Saw it. Don't remember it.
12. SUNSET BOULEVARD (1950) This one is FUN from the first scene.
13. THE BRIDGE ON THE RIVER KWAI (1957) Easily one of my favorite war movies.
14. SOME LIKE IT HOT (1959)
15. STAR WARS (1977) You already know how I feel about this one.
16. ALL ABOUT EVE (1950) Didn't make a big impression.
17. THE AFRICAN QUEEN (1951) Ditto.
18. PSYCHO (1960) Tritto. Boring, actually.
19. CHINATOWN (1974) I love so much about this movie it ain't funny. Let's start with Nicholson's line, "I cut myself shaving."
20. ONE FLEW OVER THE CUCKOO'S NEST (1975) Saw it with GF v1.0 in high school, and I've never watched it since. Neither one of us was impressed.
21. THE GRAPES OF WRATH (1940)
22. 2001: A SPACE ODYSSEY (1968) Oh, don't get me fighting with my wife again over this. I thought it was a snore.
23. THE MALTESE FALCON (1941) Own it and love it. Hey, I subscribe to the Rara Avis list serve, so that oughta tell you something.
24. RAGING BULL (1980) Saw it once, never again.
25. E.T. THE EXTRA-TERRESTRIAL (1982) I liked it when I first saw it. That was before I developed an allergy to Steven Spielberg.
26. DR. STRANGELOVE (1964) OH YEAH! Put this one on my top 5 list.
27. BONNIE AND CLYDE (1967) Feh. Like I'm interested in some hood's sexual problems?
28. APOCALYPSE NOW (1979) Saw it with GF v1.0 in high school. At the time (and now), I felt it compared unfavorably with Heart of Darkness. Judging it on its own merits, it's not bad.
29. MR. SMITH GOES TO WASHINGTON (1939)
30. THE TREASURE OF THE SIERRA MADRE (1948) I don't need to show you no steenking badges. (I love this movie, but I probably just misquoted it.)
31. ANNIE HALL (1977) Hmm. I think I saw this one with GF v1.0, too. I liked Christopher Walken's schtick, and I loved the bit where the kids in 1st grade are telling what they did when they grew up. Surreal. Since 1980-something, I've been allergic to Woody Allen.
32. THE GODFATHER PART II (1974) Great stuff. You broke my heart, Fredo! And don't miss the fan fic-turned-movie, The Freshman, with Brando playing Don Corleone yet again.
33. HIGH NOON (1952)
34. TO KILL A MOCKINGBIRD (1962) Strangely, this made little impression on me.
35. IT HAPPENED ONE NIGHT (1934)
36. MIDNIGHT COWBOY (1969) I've only seen bits of this.
37. THE BEST YEARS OF OUR LIVES (1946)
38. DOUBLE INDEMNITY (1944) Read the book.
39. DOCTOR ZHIVAGO (1965) Chick flick. I don't get it.
40. NORTH BY NORTHWEST (1959) Not bad, as Hitchcock goes.
41. WEST SIDE STORY (1961)
42. REAR WINDOW (1954) One of my favorite Hitchcock films.
43. KING KONG (1933)
44. THE BIRTH OF A NATION (1915) And this is on the list why?
45. A STREETCAR NAMED DESIRE (1951)
46. A CLOCKWORK ORANGE (1971) See it, as I did for the first time, with a half dozen feminists. Remember to rave about it afterwards in front of them. (I love this movie, can you tell?)
47. TAXI DRIVER (1976) Clinically interesting flick. Travis Bickle descends into paranoid schizophrenia. Why doesn't anyone ever point that out?
48. JAWS (1975) A hateful, silly movie.
49. SNOW WHITE AND THE SEVEN DWARFS (1937)
50. BUTCH CASSIDY AND THE SUNDANCE KID (1969) Hey, I stole a scene from this for my novel-in-progress. I love this movie.
51. THE PHILADELPHIA STORY (1940)
52. FROM HERE TO ETERNITY (1953) Sand does not make a great lubricant. Nuff said.
53. AMADEUS (1984) Silly laugh, silly movie.
54. ALL QUIET ON THE WESTERN FRONT (1930)
55. THE SOUND OF MUSIC (1965) Aw, shut your von Trapp.
56. M*A*S*H (1970) I barely remember this.
57. THE THIRD MAN (1949)
58. FANTASIA (1940) Only worthwhile so you can better appreciate the jokes in Allegro non Troppo.
59. REBEL WITHOUT A CAUSE (1955) I like the Griffith Park scenes. Reminds me of my childhood. I also enjoy seeing Mr. Howell in a frilly apron. How much more obvious can you get?
60. RAIDERS OF THE LOST ARK (1981) I liked it pre-Spielberg allergy.
61. VERTIGO (1958) Feh. As an ear, nose, and throat doctor, I object.
62. TOOTSIE (1982) Double feh. Good concept, lousy result.
63. STAGECOACH (1939)
64. CLOSE ENCOUNTERS OF THE THIRD KIND (1977) Major league FEH! The worst first contact story ever.
65. THE SILENCE OF THE LAMBS (1991) If you haven't seen the original Lecktor movie, Manhunter, see it. (Yes, that's the original spelling.) Brian Cox is 100 times creepier than that scenery-bulimic, Anthony Hopkins, and Tom Noonan's Frances Dollarhyde achieves levels of poignancy unmatched by any villain in any movie EVER. Name me someone who even comes close.
66. NETWORK (1976) Not very memorable.
67. THE MANCHURIAN CANDIDATE (1962) I have to admit, Angela Lansbury's character inspired my novel's #1 baddy. Even Frank Sinatra couldn't bring this movie down. The movie that inspired about a dozen Outer Limits teleplays.
68. AN AMERICAN IN PARIS (1951)
69. SHANE (1953)
70. THE FRENCH CONNECTION (1971) A highly overrated chase scene. Feh. Hackman has done much better movies. Why is this movie on the list?
71. FORREST GUMP (1994) And why is this movie on the list? A film about an idiot?
72. BEN-HUR (1959)
73. WUTHERING HEIGHTS (1939)
74. THE GOLD RUSH (1925)
75. DANCES WITH WOLVES (1990)
76. CITY LIGHTS (1931)
77. AMERICAN GRAFFITI (1973) Cool movie, but I remember Lords of Flatbush better.
78. ROCKY (1976) I can't believe I saw this.
79. THE DEER HUNTER (1978)
80. THE WILD BUNCH (1969)
81. MODERN TIMES (1936)
82. GIANT (1956)
83. PLATOON (1986)
84. FARGO (1996) I love William Macy in this.
85. DUCK SOUP (1933) Why aren't there more comedies on this list?
86. MUTINY ON THE BOUNTY (1935)
87. FRANKENSTEIN (1931) More brains! Fine movie, but Young Frankenstein is better.
88. EASY RIDER (1969)
89. PATTON (1970) Dove that I am, I still find this flick compelling. My dad took me to see it when I was eight!
90. THE JAZZ SINGER (1927)
91. MY FAIR LADY (1964)
92. A PLACE IN THE SUN (1951)
93. THE APARTMENT (1960) I have a dim memory of this one.
94. GOODFELLAS (1990) Ditto.
95. PULP FICTION (1994) Every generation needs its Deliverance. This is ours. Squeal like a pig!
96. THE SEARCHERS (1956) One of my favorite Westerns, but there have been better ones. Why isn't Sergio Leone represented on this list? Once Upon a Time in America. Need I say more? Okay: High Plains Drifter.
97. BRINGING UP BABY (1938)
98. UNFORGIVEN (1992) See my comment to #96. Not a bad film, but not on my top 100 list.
99. GUESS WHO'S COMING TO DINNER (1967) What's up with Sydney Poitier's girlfriend in this movie? Is she brain dead? Aside from that, I've always considered this movie a guilty pleasure.
100. YANKEE DOODLE DANDY (1942)

 
 
 
 
 
 
 
 
 
 
 
 Rummy Exaggerating
Rummy Exaggerating
 
 
 
 Cindy Sheehan, the woman who has camped out in front of Bush's ranch, demanding answers -- that's who. For my Canadian and European readers, learn more about Cindy's story here, at Daily Kos. You'll find a wealth of links in the right-hand side bar.
Through her heroism, Cindy has done more to expose the President's cowardice than anyone in the main stream media to date.
You can support Cindy by donating to her cause. We did.
D.
Cindy Sheehan, the woman who has camped out in front of Bush's ranch, demanding answers -- that's who. For my Canadian and European readers, learn more about Cindy's story here, at Daily Kos. You'll find a wealth of links in the right-hand side bar.
Through her heroism, Cindy has done more to expose the President's cowardice than anyone in the main stream media to date.
You can support Cindy by donating to her cause. We did.
D.
     Last Girl Dancing by Holly Lisle
My pal Debi keeps telling me I should write romance, but I don't know. She's basing her opinion on the fact I can write hot bird-on-bird and fly-on-spider sex scenes. But, really -- how tough is that?
The real challenge would be to create believable (human) male and female characters*, get 'em to fall in love, and have the reader care about them. I've never tried this, but I suspect it's a lot tougher than it sounds. For one thing, I'd have to crawl into a female skin and imagine sexual attraction from a female POV. I don't have any homophobic resistance to doing this; I'm just not sure I could. Men are . . . well, you know. Icky.
Holly Lisle takes on the challenge in her "police procedural romance" (one Amazon reviewer's description of the genre) Last Girl Dancing. Lisle shifts back and forth between her female and male leads, and does a respectable job on both. I liked Jess Brubaker, the aggressive workaholic cop who finds herself with a dirty, dangerous, and soon to be very personal assignment. Jess is beautiful, sexy, self-sufficient, but also broken, emotionally wounded. Thirteen years ago, her twin sister went missing while working as a stripper. Jess went into the police force to find Ginny, but she hasn't been successful. Now she's being asked to pose as an exotic dancer to track down a serial killer specializing in strippers.
I also liked Hank Kamian, the male lead. Hank, a martial arts instructor, is a former Ranger who sustained some serious wartime injuries. He also carries more than a few emotional scars, but he doesn't piss and moan about things. Hank is a man's man. Think Clint Eastwood circa High Plains Drifter, or Mel Gibson circa Road Warrior, before he got all flaky. Think Jake Barnes with functional equipment.
Hank's a wee bit psychic: enough that he gets strong (and usually reliable) impressions from crime scenes, not so much that the story is over by page 20. Part of the fun here is watching Hank use his power to try to figure out Jess in the early phases of their relationship. A creep would use this knack to bed every woman in sight, but not Hank. He's a good man -- no, wait. He's a Good Man, and it's clear women readers are supposed to dig him.
Lisle does a great job setting and sustaining a creepy atmosphere. I didn't care much for the mystery, but I'm not a big fan of police procedurals. (Full disclosure: I think I've read two or three in my life.) I read it for the romance, and enjoyed it as such. Romantic tension mounts steadily as Hank and Jess circle each other, trying their best to avoid the plunge. But, as the Borg say, resistance is futile. After they've hooked up, we have the added anxiety of (1) hoping Jess doesn't get herself killed, and (2) hoping the murder investigation doesn't trash their fragile relationship.
So: could I do this? According to what I've read over at Smart Bitches, there are a few men who write romance (under female pseudonyms, apparently). I wonder how their work differs from that of their female counterparts. And are they all gay?
I thought of a more interesting question, but I'm going to preface it with an observation. Men crave love and affection every bit as much as women. Why, then, is there no male counterpart to the romance genre? In other words: male protag seeks and ultimately finds love, aimed at a male readership. Women would read it. But how would you get men to read it, too?
. . .  Without putting lots of sex in it, cuz that would be cheating.
D.
*One each, naturally, to keep the grand old dames of the RWA well plastered with frigid rictuses.
Last Girl Dancing by Holly Lisle
My pal Debi keeps telling me I should write romance, but I don't know. She's basing her opinion on the fact I can write hot bird-on-bird and fly-on-spider sex scenes. But, really -- how tough is that?
The real challenge would be to create believable (human) male and female characters*, get 'em to fall in love, and have the reader care about them. I've never tried this, but I suspect it's a lot tougher than it sounds. For one thing, I'd have to crawl into a female skin and imagine sexual attraction from a female POV. I don't have any homophobic resistance to doing this; I'm just not sure I could. Men are . . . well, you know. Icky.
Holly Lisle takes on the challenge in her "police procedural romance" (one Amazon reviewer's description of the genre) Last Girl Dancing. Lisle shifts back and forth between her female and male leads, and does a respectable job on both. I liked Jess Brubaker, the aggressive workaholic cop who finds herself with a dirty, dangerous, and soon to be very personal assignment. Jess is beautiful, sexy, self-sufficient, but also broken, emotionally wounded. Thirteen years ago, her twin sister went missing while working as a stripper. Jess went into the police force to find Ginny, but she hasn't been successful. Now she's being asked to pose as an exotic dancer to track down a serial killer specializing in strippers.
I also liked Hank Kamian, the male lead. Hank, a martial arts instructor, is a former Ranger who sustained some serious wartime injuries. He also carries more than a few emotional scars, but he doesn't piss and moan about things. Hank is a man's man. Think Clint Eastwood circa High Plains Drifter, or Mel Gibson circa Road Warrior, before he got all flaky. Think Jake Barnes with functional equipment.
Hank's a wee bit psychic: enough that he gets strong (and usually reliable) impressions from crime scenes, not so much that the story is over by page 20. Part of the fun here is watching Hank use his power to try to figure out Jess in the early phases of their relationship. A creep would use this knack to bed every woman in sight, but not Hank. He's a good man -- no, wait. He's a Good Man, and it's clear women readers are supposed to dig him.
Lisle does a great job setting and sustaining a creepy atmosphere. I didn't care much for the mystery, but I'm not a big fan of police procedurals. (Full disclosure: I think I've read two or three in my life.) I read it for the romance, and enjoyed it as such. Romantic tension mounts steadily as Hank and Jess circle each other, trying their best to avoid the plunge. But, as the Borg say, resistance is futile. After they've hooked up, we have the added anxiety of (1) hoping Jess doesn't get herself killed, and (2) hoping the murder investigation doesn't trash their fragile relationship.
So: could I do this? According to what I've read over at Smart Bitches, there are a few men who write romance (under female pseudonyms, apparently). I wonder how their work differs from that of their female counterparts. And are they all gay?
I thought of a more interesting question, but I'm going to preface it with an observation. Men crave love and affection every bit as much as women. Why, then, is there no male counterpart to the romance genre? In other words: male protag seeks and ultimately finds love, aimed at a male readership. Women would read it. But how would you get men to read it, too?
. . .  Without putting lots of sex in it, cuz that would be cheating.
D.
*One each, naturally, to keep the grand old dames of the RWA well plastered with frigid rictuses.