Marsha:
He mentioned that, at least the men, the screen writers in Hollywood seem to be of the type who in
high school were the "guys that couldn't get the girl." Strange because they are all so
beautiful. From a different point-of-view I could identify with "guys that didn't get the
girl", because as probably one of the girls they couldn't get I hated being viewed from the
biological point-of-view. I longed for someone interesting to talk to.
"Not being able to get the girl" can be just an illusion. Some people
start having relationships and stuff when they are sixteen. While I was
somewhat interested of that, I didn't put in serious effort, because I
felt I had better things to do. When I finally in my early twenties
decided that I'm lonely and that I actually need a girlfriend in my
life, it took maybe only a year to get the one I'm still with. For some
people it's hard, yes, but in retrospect, I just wasn't successful
before I was determined, which is usually a general fact of life, and
doesn't just apply to getting girls. There are many ways to spend one's
teenage, and relationships aren't necessarily the best, although they
can be fun.
Michael:
I throw this out, to any interested. The question "How can we make a
movie of ZAMM?" is the wrong question to ask. Wrong question. The
question to ask is, "How do we make a movie of Bob's artistic beauty
and deep insights?" (The beauty of his writing is awfully
underappreciated these days. He not only wrote some of the best
landscape-sensory descriptions in the century in "ZAMM," but he wrote
one of the most glorious descriptions of subjective erotic experience
in "Lila." There are sections throughout where he is just perfect.)
The artistic accomplishment is instrumentally a great philosophical
accomplishment, because given teh prevailing academic atmosphere, few
would have cared of Pirsig's thoughts unless one of the books, which
communicate these thoughts, would have been a best seller. If one does
not readily speak the language and think the thoughts that are required
in the academy, one must turn himself into a big thing outside the
academy before the academy will recognize his effort. That way, the
academy does not have to risk embarrassing itself by seeming interested
in the actual content of the work. Instead, it can approach the culture
surrounding the work as an anthropological phenomenon. Money, ie. us
buying Pirsig's books, is a cultural phenomenon. So while Pirsig is a
good artist, he's also pragmatic and ambitious in taking about the only
possible route to not only create an unorthodox philosophy, but also
present it so that it becomes somewhat well-known. I'm suppose many
capable people before Pirsig have tried to do that but slipped into
oblivion, because really doesn't seem very easy.
-Tuukka
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