Featuring contemporary film writing and art. Printed with paper and ink so that you may hold it in your hand. Coming Spring 2014. This blog is a showcase of contributors work as well as a general aesthetic guide for the publication. Sounds good? Would you like to contribute? Feel free to submit writing or visuals to email@example.com
For, I have seen the devil, by day and by night, and have seen him in you and in me: in the eyes of the cop and the sheriff and the deputy, the landlord, the housewife, the football player: in the eyes of some governors, presidents, wardens, in the eyes of some orphans, and in the eyes of my father, and in my mirror. It is that moment when no other human being is real for you, nor are you real for yourself. The devil has no need of any dogma—though he can use them all—nor does he need any historical justification, history being so largely his invention. He does not levitate beds, or fool around with little girls: we do.
The mindless and hysterical banality of evil presented in The Exorcist is the most terrifying thing about the film. The Americans should certainly know more about evil than that; if they pretend otherwise, they are lying, and any black man, and not only blacks—many, many others, including white children— can call them on this lie, he who has been treated as the devil recognizes the devil when they meet."