Posts Tagged ‘Gordon Grice’

Naturalist Gordon Grice and Zodiac the tarantula

Wednesday, August 25th, 2010

Naturalist Gordon Grice and Zodiac the tarantula
Photo by Parker Grice

Naturalist Gordon Grice and his pet tarantula

As a committed arachnophobe, I had to return to this photograph of author Gordon Grice and his pet Chilean Rose tarantula no less than twenty times before I could work out what I was seeing and feeling. This photograph began as a picture of my worst nightmare, literally. I read that this species is an ambush hunter: that doesn’t sound good.

Several years ago, in pursuit of medication for a sick fish, I went to an aquarium hobbyist store in Chinatown, here in Toronto. It sold fish, many different species—all alive—and the surprisingly limitless paraphernalia that can come to accompany an aquarium. Little terracotta follies. Nets, oxygen tanks, etc. Out of the all the objects in the store (and the owner, if you want to include him, with all his fishy information), there were only four objects that didn’t fit the set. Two terrariums containing a tarantula each. Why the fish store owner chose to deviate from his remit in this way is unknown. I was fascinated and sickened by my reaction. The tarantulas were inert, maybe the most boring specimens on earth. They did not appear to move between visits. They did not appear to make burrows. They might well have been dead. They just sat there, like separate bumps on separate logs.

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Signs and Wonders

Monday, August 16th, 2010

No Country for Old Men
Directed by Ethan Coen and Joel Coen
Starring Tommy Lee Jones, Josh Brolin, Javier Bardem
2007

I defy you to keep easy track of the kills made by Anton Chigurh. His first, with perfect symbolism for a novel and film about law and order and crime and chaos, is of a silly young deputy in a jail where Chigurh is handcuffed. He gets the cuffs around the young man’s neck, and then it is just the work of holding on as the deputy thrashes and thrashes. Chigurh’s eyes are bulging, and the deputy’s death rattle provokes an obscene swoon from the killer. This may be the film’s only vulgarity.

It put me in mind of a documentary I saw about tarantulas. One couple, known honest to god as Tucson Blondes, rolled around and kicked with all sixteen legs at each other and the ground when a gentleman came calling and the lady wasn’t in the mood. The male didn’t make it; the female was largely uninjured. I bet the wild action painting the Coen Brothers organized with black shoe polish and legs trying to get a purchase on the ground matched the markings scratched into the dirt by those frantic spiders.

Action painting, No Country-style

The West Texas land gives of itself almost nothing, but things are perched on it like rocks and soil hostile to life: dirt more like it. It does a good impression of the middle of nowhere. There is a kind of beauty for those passing through. Staying means death. In his introduction, hunter Llewellyn Moss (played by Josh Brolin) takes aim at an antelope and misses. And there we have it. A hunter: but will he prove good enough? G.W. had the iconography of the cowboy more or less right, as did Reagan, but you see immediately that the real thing is as hard, spare and grim as Cormac McCarthy’s writing. The men’s faces are masculine, hard, with unnecessarily thick moustaches. Their bodies are sinewy, thinned, realistic, without decorative musculature or even decorative asses. They are masters at tracking. Every man in the film can read the ground, and does routinely like we read a clock. It is all nature, no culture, in the sense that the nature/culture divide intends.

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