2
Top Ten Films of 2003 Andrew Theiss
5
The Trees in Georgia Nick Sementelli
6
Top Ten Films of 2003 Brian Huselton
8
Two Texan Sonnets Matt Reznicek
9
All Gone Daniel Worth
9
Just a Friend Bill Stevenson
11 Games of Chance Francis Gradijan
Publisher Student Council
Artistic Editor Andrew Theiss
Layout Editors Kirk Smith Jonathan Wheless
Design Editor Ryan Menefee
Moderator Mr. Degen
Cover art by Hagan Barber, `04
www.jesuitcp.org/campuslife/studentcouncil
Top Ten Films of 2003 Andrew Theiss, `04 Some people seem to think that 2003 was an inferior year, especially considering it is coming off of one of the most critically popular years in quite some time. Last year did have its fair share of solid movies, but 2003 fit my tastes like a glove, and there were far more distinguishably great films that I loved. It was an interesting year in that it was full of idiosyncratic directors who shunned convention and found their own voice. That happens every year, of course, but 2003 seems to stand out as an "artsy" year, per se, a great year for moody films and visual poetry; less bang-boom and more silence. My top six films fit that category perfectly, but other films that just missed this list such as Man Without a Past or Man on the Train continue the trend and concentrate heavily on pacing, music, or cinematography.
mother sends a letter claiming that she no longer wants to be responsible for her, and Lilya, who had known that she would never come back anyway, is left to live in a small dirty apartment, tricked and sold into prostitution in order to survive. Director Lukas Moodysson tells the story of just one of many Lilyas, children abandoned, their dreams forgotten, and their story is given a powerful realism that few films can ever touch. Lilya 4-ever is not an easy movie to watch since we observe, helplessly, as Lilya falls deeper into despair and prostitution. But for opening up our eyes to a world we hardly ever hear about, one without sugarcoating or happy endings, Lilya 4-ever makes for a memorable and moving experience.
That's not to say that 2003 didn't have its share of epics either; Master and Commander and Lord of the Rings are two major epics that put a lot of money into "grandiosity," sweeping cinematography, booming musical scores, and breathtaking visuals while at the same time investing a lot into an intelligent story and well developed characters. Grandiose film making doesn't necessarily mean a good film though, and most of Hollywood's other big movies did well to prove that today's shell-shocked audiences can hardly handle anything but dumbed down stories with lots of explosions. For example, The Last Samurai, a dummies guide to Japanese culture, had the looks of a great movie but the story failed to be anything less than a mesh of cliches. Its sad when epics with a big heart and some brains such as The Hulk and even Master and Commander lose out to films like the last two Matrix movies and The Last Samurai, but in light of the recent Super Bowl halftime show, it would seem that intelligence isn't what people are looking for in their entertainment.
The Triplettes of Belleville (nominated for Best Animated Feature and Best Original Song) is the most wildly entertaining, hilarious, and unique film of the year. For the most part wordless, The Triplettes of Belleville is about a boy whose grandmother gives him a bicycle, and soon he is one of the finest riders in France, his calves grossly out of proportion with the rest of his body. The boy is soon kidnapped by a group of thugs, and the grandmother goes off in rescue with her too-fat-to-walk dog, and their adventure takes us into a world, teeming with imagination and wonder, full of oddball characters, deformed buildings (one in particular is of an obese Statue of Liberty, holding a hamburger instead of her book and torch), and a wide assortment of quirks for you to find. It is amazing how so much creativity could be crammed into every single second. I find it hard to imagine anyone leaving the theater with anything less than a big grin across their face.
The good news though is that at least some people in the film world are eschewing what's hot, to make what's not: good smart movies. Hopefully there will be more Master and Commanders, Hulks, or Lord of the Rings, but for now, we can at least be happy that there are enough independent minded directors to whet our cinematic appetites, directors who aren't afraid to be quiet and lowkey. From them, I give you the ten best films of 2003:
10. Lilya 4-ever Oksana Akinshina gives one of the finest female performances of the year as Lilya, a teenager left hopeless "somewhere in the former Soviet Union" by her mother, who runs off to America with a man she meets, promising that she'll come back to pick up Lilya. After a couple weeks, her Page 2
9. The Triplettes of Belleville
8. In America In America is a semiautobiographical film by director Jim Sheridan (In the Name of the Father) about an Irish family that immigrates to New York City to begin all over again and forget a past that haunts them. This classic American Dream story may not be new, but Sheridan puts a personal spin on it, which gives the film an emotional tug that only the most hard-hearted will miss. It is sometimes easy to guess what will happen in several intentionally suspenseful scenes, but Sheridan's delicate touch never lets the film fall into sappy tripe, but instead forces us to cheer for the characters, to constantly await the inevitable
March 2004
Jesuit Journal
moment when all will turn out well. The acting is all around solid, but the two young girls of the family steal the show, giving the finest child performances in years. In America succeeds because its unsentimental story, no matter how predictable, is told honestly and will move many to tears.
7. 21 Grams 21 Grams is an overwhelming experience that, even if you don't like it, will leave you exhausted by the times the credits start rolling. Much of the film's strength lies in its narrative structure, a non-linear format similar to director Inรกrritu's first and slightly better film, Amores Perros, or even the more recent hit, Memento. Scenes from the beginning, middle, and end of the story are interspersed, and the film's power comes as a result of the audience's comprehension of the plot as it progresses. The narrative structure parallels the confused and troubled lives of the characters involved. Even though we know how the film ends from the very beginning, it is a true testament to the ability of the editors to keep the entire film tense and suspenseful, since, while we always understand what is going on, the characters' intentions are never truly revealed until the end of the film. Each character rings true, and the actors do an incredible job of portraying the intense feelings welling up inside each character without ever overacting. 21 Grams is a gritty and tough film, for sure, but it is also a great and exciting story.
6. To Be and To Have To Be and To Have is a surprisingly simple French documentary about a oneroom schoolhouse in SaintEtienne-sur-Usson, a small village in the region of Aubergne. Instead of relying on interviews or narration, Nicolas Philibert's film immerses us in the life of a teacher and his students, ranging from 5-13 in age. Doing nothing more than take us through the entire school year, To Be and To Have manages to be one of the most charming and poignant films of 2003. The camera merely observes as the teacher Georges Lopez helps confused first year students count to seven or simply color pictures. The documentary devotes its entire length as a tribute to his ability to touch the lives of his students. The students are occasionally shown at home doing their homework, their parents, most of whom are farmers, struggle to help them along in their studies, and in one particularly hilarious scene, we watch as an entire family argue and fuss over whether one child is doing his math homework correctly. It is a joy to watch many of the children learn about the nuances of the world throughout the film, whether of the intricacies of a photocopier or that one can count higher than one Page 3
hundred. If ever you enjoyed simply watching a child at play, To Be and To Have has an abundance of treasurable moments to adore. But this deceptively simple documentary does more than merely observe, it opens us up to the lives of these students and their teacher so much, that at the end, as the students leave school for break, we are as sad to leave the film as their teacher Georges Lopez, staring off into nothing, his students, his life, walking away until the next school year.
5. Lost in Translation Except for Bill Murray and the remarkable screenplay, there is no singularly spectacular element within Lost in Translation; instead, every element fits together perfectly, creating a sum greater than its equally fine parts. The combination of a moody and emotive soundtrack, dreamy cinematography, Tokyo's elegant atmosphere, perfect pacing, and a moving performance by Scarlett Johnasson turn Lost in Translation, a simple story of an aging man and a young woman's encounter, into a poetical reverie on life, relationships, and personal discovery. Bill Murray, who plays a movie star advertising for a whiskey in Japan, finds himself lost and bored in Tokyo, struggling to connect with the Japanese culture while at the same time failing to connect with his wife back home. Similarly, Scarlett Johansson has joined her husband, a busy photographer working too hard to notice her, and she is left alone to find her footing in a culture that she too hardly understands. But during their brief stays in Tokyo, Murray and Johnasson meet and help each other along, giving each other something of which neither of their spouses gave them: understanding, attention, and care. Together they no longer worry about being "lost in translation," but instead develop a close relationship that grows until each must return home, a relationship that they will likely remember forever. It is a moody film that, by the end, will make you wish it could last forever. Few films can capture such grace so effortlessly, but Lost in Translation does that and more, showcasing Bill Murray - who gives the finest performance of the year - and an often times hilarious, many more times touching, story that will fascinate anyone who enters into the world that director Sofia Coppola creates.
4. Elephant Perfectly crafted by Gus Van Sant (Good Will Hunting), Elephant is perhaps the most technically impressive film of the year. Winner of the Palme d'Or for Best Picture and the award for Best Director at the Cannes Film Festival, one of the most prestigious film events of the year, Elephant is a startling movie that demands attention. The film assuredly chronicles a day at
March 2004
Jesuit Journal
a high school during an event similar to the Columbine shootings, but instead of offering reasons - though it alludes to several popular conjectures on the killer's intentions to show the absurdity of such poorly founded and simple solutions - Gus Van Sant portrays the day much how it might have happened, using long takes that cycle through the hallways of the school to highlight the innocence and unawareness of every student involved, and to heighten the power of the inevitable tragic end. There are no surprises, there are no plot turns or heroes, there is simply a story that everyone knows but unfortunately does not understand. The film's craft, this essentially perfect film presents somewhat of a paradox though. In telling a story that is so painful, Gus Van Sant creates a film so intensely powerful that saying one "loves" it contradicts what you'll inevitability feel by the end. You cannot love a film as brutal as this, but you can feel it, you can experience it and come away one step closer to what it might have been on that tragic day.
3. All The Real Girls With only his second feature film, at the unbelievably tender age of 27, David Gordon Green has made one of the most honest yet genuinely heartfelt films on youthful love and romance ever made. Only a director so young can capture the hopeful spirit of young love, and it is a blessing that Green has so early established himself as one of the finest contemporary filmmakers. The actors, who converse on seemingly trivial matters, but who foster the atmosphere that Green is pushing for, improvise much of the film to highlight some of the film’s themes: warmth, naivetÊ, and communication. It is hard to describe the feelings that this film inspires in its audience, but it is easy to understand how it does. All The Real Girls tells the beautiful story of a young man and woman in love with an honest attention for what each character is feeling and thinking, and the melancholic soundtrack and incredible cinematography colors the relationship between the two young leads with such beauty that All The Real Girls cannot be anything less than a heartbreaking experience, but it is one well worth having.
2. The Company In many of Robert Altman's films, the true life of the narrative relies heavily on the characters involved, and The Company is no different. Working with the Joffrey Ballet of Chicago, Robert Altman takes an intimate look at the life of a ballet dancer with amazing grace and beauty. It is a unique film in that it does not have a central dramatic structure; the only hero is the company and the only problems that arise throughout the entire film are injuries to its dancers. The Page 4
Company is simply about the life, the ups, the downs, and the financial or social struggles of a ballet dancer within a ballet company. Neve Campbell is the primary actress, but the film succeeds by not trying to turn itself into a diva's rise to stardom, but instead focuses on the progression of the company as a whole. We are taken through an entire ballet season, observing the rehearsals and hard work that goes into dancing, and we are then shown the result of several performances that the dancers have been practicing. There is a small budding romance between Neve Campbell and a man (played by James Franco) she meets that gives the film a stable dramatic pull to rely on, but even this relationship is used to further detail the life of a ballet dancer. I admittedly do not know if I am a fan of ballet or not (I used to always think that all you had to do was wear a pink leotard and hop around to be called ballet), but by watching the creative, colorful, and wonderfully choreographed performances, which can only improve through Andrew Dunn's cinematography and the seamless editing, I have become an instant admirer. Observing these dances be put together from rehearsal to performance, balanced perfectly with the well handled relationship between Neve Campbell and James Franco is a captivating experience; it is a film that I could observe many times over and never grow tired of watching.
1. Friday Night Friday Night is set in Paris during a massive public transportation strike; the roads are clogged and traffic runs for miles. It is cold outside, and a voice on the radio suggests that people pick up hitchhikers. One woman, who has just moved away from her apartment, has one last night of freedom before she moves in with her fiancĂŠ, but on her way to a party she finds herself stuck in a traffic jam and allows a man to sit in the car with her to escape the cold. The rest of the film consists entirely of a one-night stand between these two people. Unlike some of 2003's more exciting films such as Kill Bill Vol. 1 or Return of the King, Friday Night manages to be quiet, low-key, slowly paced, and somehow much more engaging than anything I have seen this year. Admittedly the film is not for everyone; few people will give the film a chance, but Friday Night rewards your patience. If you are not drawn into it from the very beginning then you are in for a long incomprehensible bore, but if you manage to become attached then you will not be anything less than blown away and the film will flash by before you know it. In a sense, it's a French Lost in Translation, a mood piece, which if liked, can accomplish so much more in terms of emotion, feeling, and tone. Despite sparse dialogue and a simple plot, I still managed to remain transfixed on the film and by the end absolutely amazed. It's surprising how so very little can by the end be as filling. The camera works wonders, hovering over the traffic jams and characters, and each new setting is introduced with fanciful, dreamlike, unnoticed editing that streamlines several
March 2004
Jesuit Journal
scenes and actions all at one. The soundtrack is eerie and beautiful, enhancing the visuals, and the final shot caps it all off perfectly. Friday Night is beautiful, poetic,
dreamlike, moody, hypnotic, and amazing. simply the best film of 2003.
It is quite
The Trees in Georgia Nick Sementelli, `05
The trees in georgia grow straight and tall, long angelic fingers stretching longingly to caress the heat of the sun, the light of the moon, ever focused on a future destination, only resting gracefully on a strong narrow trunk sent from high in the clouds down down down down down down down down down down down down down. They ignore the temptation to grow lethargically gorged on decayed soil, their roots going only as deep as is needed for support, but rather, stretch to taste the fruit of a higher world.
Page 5
March 2004
Jesuit Journal
Top Ten Films of 2003 Brian Huselton, `07 Ah, what a year. I have to say I was pleasantly surprised by the batch of terrific films that were released this year. There were an array of newcomers as well as an extreme improvement by veteran filmmakers. There were sleeper hits (Bend It Like Beckham), total bombs (Gigli), and new animated classics (Finding Nemo). However, I knew I should dig through these releases and show you my top ten favorite films of the year. There have been well-made films that I dreaded (Seabiscuit), and there have been poorly made films (The Matrix Revolutions, many critics hated it; I, on the other hand, thought it was a great ending to the trilogy), which I enjoyed. It’s mostly an enjoyment factor for me.
10. American Splendor
8. School of Rock Possibly the most enjoyable film of the year. If you’re in a bad mood, or it’s just a slow day, just watch School of Rock and laugh out loud at Jack Black’s comic genius. There is not a dull moment in the movie and every joke delivers high quality laughter. It is well directed by Richard Linklater who holds the title as being the filmmaker who made the incredible high school film about the seventies, Dazed and Confused. Both films hold the same level of enjoyment. This is a comedy that does not fall flat, and reaches every expectation of what a comedy should be.
This is such an original film that shows us if we wait patiently, then talented filmmakers will bring us a completely provocative, hysterical film. American Splendor is based on the true story of underground comic book artist Harvey Pekar. Paul Giamatti plays the disgruntled files clerk (Harvey Pekar) who believes his life should be told in a series of comics. His audience believes his gritty true-to-life stories are brilliant. The film jumps back and forth between movie, documentary, comic book, and even a play. The real-life interviews with the actual Harvey Pekar spliced into segments of the movie give the film its striking originality. Paul Giamatti successfully personifies Harvey Pekar in film, and the rest of the cast is also dead-on. This is one of the most inventive and creative films I’ve seen in a while.
Powerful Clint Eastwood film about the death of a mans daughter. The father holds a dark past and wishes not to relapse to his previous wrong actions. Though, through finding out who killed his daughter, he may have to. Eastwood is a great storyteller and does not disappoint with this thriller. It has an all star cast including Sean Penn, Kevin Bacon, Lawrence Fishbourne, and Tim Robbins. If you want to see an example of a well-directed and acted movie, see this. I was captivated from the beginning to the tragic end. What goes on in this river? Who killed his daughter? Why did they kill his daughter? All questions are answered in Mystic River.
9. Matchstick Men
6. A Mighty Wind
Underrated, clever, original idea about a con man with a severe phobia of germs who must cope with meeting his teenage daughter for the first time. After a while, he’s teaching her how to con people and they along with his friend plan a grand scheme. Directed stylistically by Alien director Ridley Scott. Nicolas Cage plays the narcissistic con man, Alison Lohman plays his daughter, and Sam Rockwell plays Cage’s partner. Every actor delivers his lines with wit. You feel somewhat cheated near the end but you will leave feeling satisfied.
Page 6
7. Mystic River
Christopher Guest has pioneered a new genre of film, called “mocumentary” by some. This is a pseudo-documentary following a trio of folk bands trying to meet together for a large commemoration of a recently deceased folk master. The first time I saw this, I wasn’t a big fan, but the second time, I noticed the little things. There are so many little oneliners, which, once noticed, are absolutely hilarious. Every time you watch the movie, you notice at least ten new hilarious jokes. Every character is a riot, especially Fred Willard, better known for playing the father in the American Pie movies. This is a wonderful movie with great acting and clever, realistic dialogue. If you’re interested in this, then you might want to check out This is Spinal Tap, Waiting for Guffman, and Best in Show.
March 2004
Jesuit Journal
5. 28 Days Later
2. Kill Bill Volume 1
“Wait, isn’t that that zombie flick?” Yes, and I loved it. Smart film about an apocalyptic world overrun by sprinting zombies. Several refugees must fight for their lives from the speedy monsters. There are several great scenes showing the survivors gazing over the destruction of earth with operatic tunes in the background. The acting was somewhat on target and there were some nail-biting sequences. Not for the faint of heart, but a great horror/action film.
I was flip-flopping between this and Lost in Translation for my number one spot. This is magnificent piece of American cinema that will be remembered for years to come. Director Quentin Tarantino takes non-linear storytelling to a higher, bloodier, level. The violence is over the top and the acting delivers. Uma Thurman gives some memorable oneliners and the characters are striking as well. The first thing I think about when I hear mention of this movie is not the extreme gratuitous violence; it’s the amazing look of the flick. There is enough style and beautiful camera shots in the movie to make your head fall off (which, coincidentally, happens to quite a few people in the film). If you’re looking for an enjoyable, comically violent, notfor-the-queasy, intelligent film check this out. Kill Bill Volume 2 (there’s a sequel!) comes out this April.
4. House of Sand and Fog If you’re looking for a laugh riot, go see Bubba Ho-Tep. However, this is a seriously depressing melodrama about a woman who only wants her house back from a family of immigrants. The reason I liked this poignant movie so much is because of the powerhouse acting. British actor Sir Ben Kingsley puts on an Albanian accent and every scene with him is astounding. Jennifer Connely is also convincing as the woman who loses her house. This is a well-made, subtle, intense film based on the novel by the same name.
3. Bubba Ho-Tep Original, witty, insightful film into the lives of two elder men in a retirement home who believe they’re Elvis and JFK. Not only do they seem insane, but they’re on the hunt for an Egyptian monster! The plot sounds crazy enough but it delivers probably the funniest scenes and dialogue all year. This has go to be the most original idea for a film I’ve ever heard of. Bruce Campbell is sensational as Elvis and after five minutes of the movie, you forget it’s an actor. Some of the humor is a bit juvenile, but it’s all in good fun. This is a hilarious romp that will deliver its expectation and probably more on the viewer. See this movie as soon as you can for a good intentional laugh!
Page 7
1. Lost in Translation Wow! What a film. I have distinguished this in the Love/hate category. This is due to the fact that every person I’ve spoken to who’s seen it has either loved it greatly or hated it with a passion. I believe it is a true beauty of a movie. The bright neon lights in the city of Japan top off this wonderful piece of cinema and the acting is top-notch. Bill Murray sports one of the best performances I’ve seen in years. He is probably best known for his comedic performances such as the goferhunting groundskeeper in Caddy Shack, the lazy soldier in Stripes, and the sarcastic supernatural seeker in Ghostbusters. Bill Murray showed some of his dramatic talents in Rushmore, but he is clearly at his best in Lost in Translation. Lost in Translation was nominated for several Oscars including best Picture, which it certainly deserves to win.
Well, there you have it. My top ten list for 2003. As I said earlier, there was a batch of movies that were incredible but did not reach my top ten. Among them are X-Men 2: X-Men United, The Matrix Reloaded, The Matrix Revolutions, Pirates of the Caribbean: The Curse of the Black Pearl, Spellbound, and Big Fish.
March 2004
Jesuit Journal
Two Texan Sonnets Matt Reznicek, `04 I.
II.
Kickin’ off these muddy old cowboy boots, Lookin’ for a place to hang this old hat, Wond’rin’ how they seen all these Texas routes, And, yet, they still want to be where you’re at. My heart wishes for love on every star; My guitar sings to you in the night sky. As love draws us near ‘spite being so far, I pray heaven lets me next to you lie. And so I’ll keep singin’ this sad sad song And pray that you will always think of me. This feelin’ in my heart just can’t be wrong: It’s as natural as the tide of the sea. Each day, my love is stronger than before, I’ll carry you in my heart fore’er more.
I once knew that talk of love was all lies, A story as false as Billy the Kid. But then I drank from the beauty of your eyes And from my heart all those lies you did rid. You tamed the heart of this wild old cowboy, A feat easy as holdin’ a twister. Not guns or a lasso did you employ; Rather, a kiss stronger rattl’er. No longer does my heart long for the sky Or for the life of the cattle trail. It longs for nothin’ but you to be by, As we ride off into the sunset pale. You settled me down with a single touch; Ain’t dreams of the heart and soul made of such?
Andy Gnade, `04 Page 8
March 2004
Jesuit Journal
All Gone
Just a Friend
Daniel Worth, `04
Bill Stevenson, `04
Gigantic reptiles once ruled this earth What Power, What Strength All Gone, All Gone Unending forest blanketed this terrain What Beauty, What Magnificence All Gone, All Gone Towering mountains once oversaw this land What Wonder, What Majesty All Gone, All Gone Power-Crazed men tried to conquer the planet What Greed, What Arrogance All Gone, All Gone Sand now covers this once fruitful ground What Death, What Destruction All Gone, All Gone Yet time still ticks for all that is left What Rhythm, What Control Never Gone, Never Gone
What am I I am I And I know I live to die last breath taken is first step in to where this lifetime really begins What are you You are you You're also fresh clean and new but soon too broken in broken in and worn out thin What is this this is this and sometimes life is a piss But make it better yes you should even when you see the truth What is all all is all and it will make you trip and fall fall far fall fast pick it up it's still a blast life time life time is life time is just a friend
Stephen Sarmiento, `04
Page 9
March 2004
Jesuit Journal
Games of Chance Francis Gradijan, ’04 3.14 159 265 358 979 323 846 264 338 327 950 288 419 716 939 937 510 582 097 494 459 230... ... ... ... ... ... ... ... ... ... Dice are cast in the grand hall of Talleyrand, Emperor of Pi. They come up 9-7-9. "Your move, Shadow." "Thank you sir." A tall, sharply carved piece is moved on a black and white checkered board. "You know- I never wanted to die." "All things must come to an end." "Yes," Talleyrand contemplates, "But why now?" Shadow picks up the dies, "All must die." "Even death himself?" "There is that possibility." "Ah, I see- but that is why we play, is it not?" Shadow was silent. "Anyways, the Lord Emperor of Pi goes on forever." "It has been that way in the past." "But-" Talleyrand's voice wavers, "we are nearing the end?" "Thus it seems- your move." Talleyrand casts the die (8-5-3), picks up another piece and moves, "Why must it come to an end?" "All good things die." "But, I am infinite." "Only so long as your subjects exist." Together, Talleyrand and Shadow look down from their playing room to a battered world. On the planet, one child, little older than fourteen stumbles around dazedly, moving from one rubble mound to another. Talleyrand sighs, "If only I could reroll that long string of ones." "Ah yes, your downfall: depression, war, plague, too much of one thing can be dangerous." "But-" Talleyrand retorts, "If you check-" "Check." Talleyrand surveys the board, "Not mate yet." (5-6-2) "It nears." Talleyrand looks down and sees three young ladies emerge from a shelter. "There is life yet." Shadow observes the board. "Only a few pawns." "Pawns of power, Pawns can be Queened." Talleyrand looks down and sees a young man. "Or Kinged." (9-5-1) Shadow smiles, "As it may be." "I know the risks of my position- you are not a risk." "Yes, but I can monopolize death, and because of that, I have complete power over you." Page 10
"You only have power over death. I am life… until my decimals die." Talleyrand looks down at the world and sighs. "Risk is best played with more than two." "But where can we find a third? There is but life and," Talleyrand scowls, "death." "Death hath its charms." "Oh, how so?" "It is a release from life- an escape. Remember, no one wins life, one only reaches the end." "And death cannot be conquered?" "Sorry." "Then life is but a trivial pursuit?" Shadow nods. "And we do not have a clue?" Shadow nods. "And we cannot outwit death by use of strategems… tricks?" "Correct." "Then of what use am I if my life, even though I am the Emperor of Pi, must end?" "None. None whatsoever. None at all." Shadow smiles and moves a piece. "But, theoretically, life is like a moebius strip, it may entropy and run down, but it always experiences rebirth. Life itself never dies." "Theories of life and moebius motions are all very well and good, but-” Shadow shrugs enigmatically. He gestures to the board. “Go." Talleyrand rolls. (4-1-.3) He moves his piece. "Ha!" Shadow exclaims. "What?" Shadow keeps a poker face. "Nothing." Talleyrand examines his pieces. "Oh I seerandom laughing, but never fear, new units are spawning." Talleyrand looks down to the land and watches the birth of a new child. "It will help you naught." Shadow moves a piece. "Check." Talleyrand, still observing the land, watches a large bird of prey approach the baby, then mutters to himself, "I'll get back at him," and moves his piece out of check. On land, the bird of prey is beaten off by the child’s parents. (.3-1-4) Shadow smiles. "Remember the legend of Taipei and Shanghai?" "Yes." "Well, their houses of cards caved in despite their hope- you really should give up and not suffer the same fate." "But they rebuilt their homes ten times stronger with blocks in Legos." "I see you remember the legend better than I, nevertheless, you will die." "That is the 64,000 dollar question." "The what?" (Continued on page 12)
March 2004
Jesuit Journal
Tim McCutcheon, `04
Writing Contest Sponsored by the Jesuit Writing Society $20 1st Prize Prose Award & Publication in the Jesuit Jounal (500-7500 words; or comics no longer than 10 pages) $10 1st Prize Poetry Award & Publication in the Jesuit Jounal (10-7500 words) See Francis Gradijan or Mr. Pierotti for more details
Submissions Due: March 26
Page 11
March 2004
Jesuit Journal
"The nothing." "Death is nothing." "It must be something- it does exist, does it not?" "Its existence is to help things become nothing." "I see- check." (1-5-9) "I don’t see-" Shadow is confused. Talleyrand points. "It cannot be-" Shadow is bewildered. He examines the board from all sides. "It is!"
"I have rebuilt my castle and my army." Talleyrand smugly glances down to the land and observes over twenty people wandering together as a tribe. "It seems that I will continue on." "Only as long as you avoid plans that may backfire." Shadow glares at Talleyrand. "I am sure that I will- and in addition, I believe that I may even survive long enough to even enjoy with ye, a riotous game of Per-qua-c-k-y."
Michael Flusche, `04
Page 12
March 2004
Jesuit Journal