“the rain surrounded the cabin… with a whole world of meaning, of secrecy, of rumor. think of it: all that speech pouring down, selling nothing, judging nobody, drenching the thick mulch of dead leaves, soaking the trees, filling the gullies and crannies of the world with water, washing out the places where men have stripped the hillside… nobody started it. nobody is going to stop it. it will talk as long as it wants, the rain. as long as it talks i am going to listen.” Thomas Merton
spacetime coordinates: 1999 San Fernando Valley
Magnolia is a 1999 American ensemble drama film written, co-produced and directed by Paul Thomas Anderson. The film is a mosaic of interrelated characters in search of happiness, forgiveness and meaning in the San Fernando Valley.
The film has an underlying theme of unexplained events, taken from the 1920s and 1930s works of Charles Fort. Fortean author Loren Coleman‘s 2001 book “Mysterious America: The Revised Edition” includes a chapter entitled “The Teleporting Animals and Magnolia“, addressing the film. The chapter discusses how one of Fort’s books is visible on the table in the library and the film’s end credit thanking Charles Fort.
Further information: Raining animals
Drawing on her experiences as a scientist, a mother, and a Native American, Kimmerer explains the stories of mosses in scientific terms as well as in the framework of indigenous ways of knowing. In her book, the natural history and cultural relationships of mosses become a powerful metaphor for ways of living in the world.
“the tiny pool of water held in a spoon-shaped leaf is the perfect resting place for a waterbear, as plump and gelatinous as a candy gummy bear. the moisture in a moss mat is as vital to the moss as it is to the waterbear. but, since mosses are non-vascular, their water content fluctuates with the amount of water in the environment. the moss leaves shrivel and contort as water evaporates, leaving them crisp and dry. the waterbears too, simply shrink when desiccated to as little as one-eight of their size forming barrel- shaped miniatures of themselves called tuns. metabolism is reduced to near zero and the tun can survive in this state for years. the tuns blow around in the dry winds like specks of dust, landing on new clumps of moss and dispersing farther than their short waterbear legs could ever carry them.”
spacetime coordinates: 1940 FranceDunkirk is a 2017 war film written, directed, and co-produced by Christopher Nolan that depicts the Dunkirk evacuation of World War II. The film is a British, American, French, and Dutch co-production, and was distributed by Warner Bros..Dunkirk portrays the evacuation from three perspectives: land, sea, and air. It has little dialogue: Nolan sought to create suspense instead from cinematography and music.
Dunkirk has extensive practical effects, and employed thousands of extras as well as boats that participated in the evacuation, and period aeroplanes.The film received praise for its generally realistic representation of the historical evacuation. It accurately depicts a few Royal Air Force planes dogfighting the Luftwaffe over the sea, limited to one hour of operation by their fuel capacity. In 1940, destroyers and fighter planes were indeed held back from battle, as the Royal Navy and Air Force would have been the sole defenders against invasion. Also praised were accurate depictions of how a small boat attempted to evade aerial attack, and how soldiers returning to England saw a civilian population largely unaware of or unaffected by the war. British officers did initially refuse to evacuate French soldiers, although Churchill later insisted that the French be evacuated alongside the British. The overall realism of the film was acknowledged by surviving Dunkirk veterans, although Branagh said that some thought it “was louder than the battle” (read more: Historical accuracy)