"We all wonder where we came from. We all have an idea about where we're going. But what's the idea? Where do we come from?"

For those who can answer this without resorting to religion, your opinion counts.

If you're going nowhere, where are you going?

You can't go nowhere. Nowhere is where you are. Sorry. It's not up to me.

It's me against art. Art is kicking my ass. I say, "Fuck you art, what have I got to do with you, what have you got to do with me? I mean, really! C'mon! Lay it on me ... man!

We all wonder where we came from. We all have an idea about where we're going. But what's the idea? Where do we come from?

I respect Primo Levi who didn't succumb to attrition (?), but killed himself instead?

Check out gravy.blogpsot.com.

Curiosity burns holes in hearts.

Russian Nesting Dolls

The end of The Trial of Philmore Gray is a Russian nesting doll.

Now

I am a devout atheist.

If you thought Orwell was funny ...

The Trial of Philmore Gray

is here...

now...

whether you like it or not!

So deal with it.

The Trial of Philmore Gray is a tragicomic socio-political psychodrama.

But in a good way. Plus it's also a love story, sort of.

Either you like it, or you're an idiot. Not a hard choice. So sit back and enjoy the Trial. Philmore: agrees communism is very very bad, but is careful to emphasize that does not mean he thinks capitalism is very very good. Or even very good. Or even good. And he proves it, though he never tries to.

But did he rob Paradise Plates? And is he hallucinating about Nineteen-Eighty Four?

First we let terrorists into the U.S. so they could bring down planes--now it's our geese.

Fishing in the Maldives

It's not me, but...

"Mike" caught this fish right before I would have.

I think I have finally figured out why it's difficult to write.

For me.

Because I immerse myself in the word and world. Hard to do that when in a full-time job, because that world (the writing world) doesn't jive with my workaday world. It's like method-acting. You assume the character without reserve. Are the character.

Footage

The video doesn't really show anyone in a favourable light. But technically, not that I know anything about technique, it looks good. It's well done. I mean, maybe I'm wrong about that. But to me at least it's good. The camera movement is effective, which doesn't really say anything...

WireTap

Chakratastic

Josh lies his way into a new job at a yoga magazine but is worried that he's soon going to be downward facing the unemployment line.

The Hangover

David Rakoff claims that alcohol makes him so charming that he even gets drunk before job interviews.

House Sitting

Howard takes his responsibilities as a house sitter to a whole new level.

The Devil

In honour of Halloween, Jonathan Goldstein has a conversation with... the Devil.

Heaven and Hell

Jonathan speaks with his old college chum, Irwin, about life as an ice cream man.

One of a Kind

Jonathan tells the story of his mother’s penchant for returning purchases to the store – no matter how many years ago she bought them. Next, Jonathan and Gregor exchange duelling phone messages. The bone of contention: whose mother has made life more unbearable?

The Penguin Goes A Courtin'

Two of literature's great unbrella travellers-- The Penguin and Mary Poppins-- have dinner together in Merry Old England. But will their shared passion for umbrellas be enough to set the sparks flying? There's only one way to find out.

The Rejection Line

Listen in as a lonely hopeful finds out the girl he met at a bar and liked gave him the number for The Rejection Line…a service designed to tell him she never wants to see him again.

Soul Mates

Goldstein tries to make amends with an old girlfriend, enlisting the help of Louie the Brooklyn Florist to transcribe some romantic French poetry.

Emergency Measures

In this Full Episode, Goldstein takes it to the streets. Leaving the comfort of his studio walls is a rare venture, but Howard needs the kind of help that can't be dished out over a telephone line. Plus, a frantic phone call from a high school bathroom stall: will Goldstein be able to help his nephew out of a canadian history jam? Listen to find out.

Rabbit Food

A man tells an innocuous lie to cover up his penchant for eating rabbit pellets. Next thing he knows, he's lost his job, his girlfriend, and the police are kicking in his door.

The Secret History of Famous Friends

The death of a family pet escalates into a series of volatile messages that threaten to destroy Bedrock's most famous friendship, in the true life story of Fred Flintstone and Barney Rubble.

WireTap

Jonathan Goldstein's Wiretap

Download Directly

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Midapril

"All governments are conspiracies."

"Transparent conspiracy."

"English will never admit it. But the Americans (the government) admit it, but they're not doing anything to make it better. They're not trying to cool it out, they're trying to make it worse."

"But it's obviously up to you."

Eugenics is a problem for a lot of people. They think if you have a choice, that's a bad thing. But the thing to realize is that there will always be people who will choose not to have a choice. You don't lose anything by giving people a choice.

Wal*Mart

Actual screen shot.


see more pwn and owned pictures

Pain vs. Discomfort

I prefer pain.

Welcome to the Idiocracy. Idiocy. Idiocratic. Idiosyncratic. Idiotic. Idiopoly. Idiom. Idiometre. Idiofuck. Idioblow. Idiot. Idiocentric. Idiocrapulous. Idiodipitous.

An excerpt from the tragicomic novel The Trial of Philmore Gray by Martin Dobrovodsky. "Animated" by Martin Dobrovodsky.


The following borrowed words are for experimental purposes only:

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Category: Comedy

Tags:

trial novel literary funny book government conspiracy paranoid read animation kafka orwell comedy absurd play hot girls

Joaquin

The thing about Joaquin

I think people could accept it if it wasn't hip-hop. Maybe psychedelic drug music, then it would be okay. But maybe hip-hop is drug music. Is if you take drugs. Rap is mostly sober fighting killing shit stuff. That's not Joaquin.

Or is it?

The Trial of Philmore Gray

The Trial of Philmore Gray is a tragicomic socio-political psychodrama. It is also a novel. While there is a plot, of sorts, and the novel may seem to be plot driven, it does not slavishly pursue the plot at the expense of the characters, i.e., it is not dependent on plot. The Trial is, in short, character driven. Some readers may find the ending, well, different. The ending is unexpected, not because it's an unexpected ending, but because it veers, or seems to veer, from the "story-line" as presented, or seemingly presented, to that point. You've finished 9/10ths of the novel and things are wrapping up, or at least one dimension of the novel has wrapped up, and you start to envision how the rest of the novel, the other (or another) dimension of the novel, will resolve itself. But The Trial of Philmore Gray pulls you away from any expectations you might develop in terms of where this other dimension of the novel is going. If the reader can envision how the novel ends, can in a sense write the ending in his or her mind, then there isn't a point anymore, from the writer's perspective, to write that ending. All the flash is gone. It also, it is argued, doesn't make sense for the reader to want that ending any longer, since it's already happened in the reader's mind to at least some degree. The Trial of Philmore Gray, therefore, abrogates or castrates the ending, in terms of what's expected, and lets the eunuch that is the philosophical/social underbelly or backdrop of the novel run off. The dimension of the story that includes the "love interest" and the apparent nemesis falls away, because there is no point in pursuing an elucidation of events that have already been elucidated. Because the writer doesn't have to waste time and space writing about the already imagined ending, and the reader doesn't have to read it, the writer is free to develop the "hidden" or less apparent dimensions of the story, which, once developed or elucidated, highlight an otherwise muted aspect of the novel, rendering an entirely other reading of the novel, i.e., a reading of the emasculated dimension. The reader is forced to reflect on the purpose or point of the novel and see that he or she has, in one sense, missed the point all along, that the real story is this highlighted by the unforeseen direction of the ending, which, it turns out, is not so much an ending as a beginning, so that the reader almost impulsively begins reading the novel again in pursuit of this newly realized thread of the novel (think Hegel) to discover the kernels of the budding underbelly as it plays itself out throughout the novel.