E is Everything Ends, F could be in Fungi

For E, I watched almost all of Emily the Criminal, but stopped near the end. Same reason as I couldn’t get through Breaking Bad. I don’t watch slow descents well. I know they are real. Slow motion car wrecks don’t interest me, they only depress me. I read (not all) of Ducornet’s Entering Fire. I will finish it. Last year I read Eileen, and I’m interested in how Moshfegh and Ducornet handle bodies and discomfort. They both have somewhat Baroque sensibilities but the styles are wildly different. I picked up some poetry I hadn’t looked at in a while… Edge of House, Eye Against Eye.

For F, I read Foster (Claire Keegan). I ran through it in an evening. And watched the Fablemans and (in a silly moment) Failed to Launch which started with a shot of Federal Hill. It was odd. The slapstick elements were out of place (for me). And Sarah Jessica Parker is not a favorite. Luckily her character was mildly odious. Poetry was hard to locate, but I finally picked up Fact of a Doorframe (Adrienne Rich) and was reminded of her nearly anti-lyrical effort - a way her poems shows its work, and in so doing creates an aesthetic that demands acknowledgment of poetic labor. Like this, in “Planetarium”:

Thinking of Caroline Herschel (1750—1848)
astronomer, sister of William; and others.

A woman in the shape of a monster   
a monster in the shape of a woman   
the skies are full of them

a woman      ‘in the snow
among the Clocks and instruments   
or measuring the ground with poles’

in her 98 years to discover   
8 comets

she whom the moon ruled   
like us
levitating into the night sky   
riding the polished lenses

Galaxies of women, there
doing penance for impetuousness 
…