My beautiful, sleek MacBook Air is really and truly dead, and I would like to memorialize my fallen friend.
If that sounds over-emotional, I can understand. But it was a gift from The Fella, who saved up for a whole year to surprise me with it. It was both a huge (expensive) treat and a symbol of faith in my writing. He knew that I needed my own computer, not the one we shared for years, and when I could not even afford to dream of it, he made it happen.
No longer having to share a computer was, for me, the modern equivalent of Virginia Woolf’s “a room of one’s own” — it gave me all the breadth and time I needed to grow as a writer, to value my own work as much as my husband’s (paying) writing, and to let my instincts and impulses move me to write more than my (and his) schedule.
On that MacBook, I wrote my first published article. On that MacBook, I stored my first paying contracts and received my first money for writing. On that MacBook, I earned my first income in several years. On that MacBook, I learned how to edit photos to accompany my first published recipes. On that MacBook, I applied for a dream job, a job so far beyond my then-current hopes that I assumed I was applying just for practice, and on that MacBook, I learned to my astonishment that I got it.
That MacBook gave me freedom and hope and opportunity. I am so grateful for it. I know it’s just a hunk of metal and plastic and circuits, and now that’s all it will ever be, but it was also a little box of dreams. And I made them come true.
[image from The Toast]
He could not vary the length of his utterance and he could not cow himself to the laws of punctuating or naming for the ease of some imagined imaginary reader. It was cold in the writers room and he would make no fire. No fire to warm his cold hands where the skin cracked and bled against the typewriter keys, no fire to warm his heart to any but the white man who stood all but nameless at the center of his story, a pole on which the gaunt remnants of a person draped in the sepulchral twilight as the sun went down. Went down for the last time maybe, he didnt know.
I like big muscles and red corpuscles
I like a beautiful hunk o’ man
[Dorothy Shaw (Jane Russell) and nameless Olympian from Gentlemen Prefer Blondes number "Ain't There Anyone Here For Love?"]
Today at The Toast, I write about Paper Moon, Beasts of the Southern Wild, and The Heiress, three films that acknowledge the power of father-daughter relationships but refuse to mythologize or sentimentalize them.
”It’s a common trope: the father as a teller of tall tales, spinner of stories, a larger-than-life figure who molds our ambitions and relationships. Whether he’s cast as a fiercely loving stalwart, a scornful critic, or a straight-up flim-flam man, in these three films a father is the beacon lighting a girl’s path. A father’s presence – and, crucially, his absence – shapes a daughter’s sense of the world, and of her place in it.”
Your Experimental Father’s Day Movie Marathon”
Who has two thumbs and beats deadlines by ~48 hrs? I don’t know, but this one’s eating my popcorn!
Wait, my index cards got stuck together there. The correct answer is “We would, but we need the eggs.”
Take a closer look at the wrapping paper on the Barbie doll Pete brought “all the way from California” in “The Strategy” (S7, episode 6) — the Barbie chosen by the separated but still married man’s girlfriend, Bonnie*.
The pattern on that paper is a carousel, a reference to the first season finale in which Don Draper mourned the slow dissolution of his marriage, and turned that grief into a trademark pitch to Kodak.
This isn’t an isolated reference to Don’s carousel pitch. In “Field Trip” (S7 episode 3), during Don’s long, humiliating wait in the bull pen upon his return to SC&P, Ken Cosgrove detours from his meeting long enough to welcome him back, and to proudly show off snapshots of little Eddie Cosgrove on the Central Park carousel, a family outing that “always makes me think of you.”
The very next episode,”Monolith” (S7 episode 4), ends with a frustrated Don trying to clean up, buckle down, and — in the words of Freddie Rumsen — “do the work.” As he sits down and starts to type notes for Peggy’s Burger Chef campaign (on the typewriter he very nearly smashed through the window and down into the street in front of the Time-Life building), the strains of The Hollies’ “On A Carousel” begin to play: “Riding on a carousel, trying to catch up to you.”
*The outfit Bonnie’s chosen for their visit to the New York office is pure Malibu Barbie: pale blue chiffon, pale rounded sunglasses pushed up in her long blonde hair. The doll didn’t debut until the early ’70s, but if you didn’t know better, wouldn’t you bet a shiny nickel the doll inside that carousel wrapping paper is a Malibu Barbie?