Dancing on the Silk Razor was born out of a discussion I had with my friend Dan Wechsler. We were contemplating various writing work we’d done when younger, and he mentioned there was a first line for a story he’d always wanted to pursue but had never quite been able to. I asked what it was and he replied, “Somebody had been stealing Harold Solomon’s ideas.” I liked it immediately; it had the kind of lead in I relish, and although it wasn’t my normal way of working, I asked if he’d object if I tried running with it. He said to go for it. And like often happens with the right catalyst, a written story poured straight onto the page.
Although the writing took a prose form, from the start I had the notion of it also being a film. So, with extremely limited funds but some phenomenal, longstanding collaborators who were game, we shot the whole thing in four days on 35mm with about a 1.5. to 1 shooting ratio running around New York City. It was a great challenge and a great time.
The narration is really the main performance, and we wanted to find someone for it who could really elevate the film. We felt Wallace Shawn would be perfect, and as a writer might particularly appreciate the role. We sent him the piece and he liked it and agreed to do voice-over. But this was still the COVID era and regrettably I came down with a case right before the recording session. I directed via Zoom but it was excruciating not to be there in person. Fortunately, Wally completely got the tone and humor and, with the kind of thorough preparation every director hopes for, nailed it on the first take.
I’ve taken to calling this a multiform work, as I feel it can be equally a written piece and a film. And I’ve since been working on a series of new pieces in the same vein, with iterations that co-exist across mediums. All, however, begin in primary form as the written word.
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Written, Directed and Edited by: D.W. Young Narrator: Wallace Shawn Harold Solomon: Dan Wechsler Producers:Judith Mizrachy, Dan Wechsler, D.W. Young Cinematographer: Arlene Muller Composer: David Ullmann
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D.W. Young is a New York City-based filmmaker and writer. His two most recent feature films are the documentaries Uncropped (2024), about Village Voice photographer James Hamilton and the heyday of alternative print journalism, and The Booksellers (2020).
Watercress abundant, pooled, fed by a freshwater stream that leaks a channel, a winding furrow carving an arc across the sands. Joining the Atlantic salt waters. Diluted.
Conas ta tu a stor? How’re you love? Bhfuil tusa ann? Are you here? Where are you?
Under the rocks……..caught in the weed………….? A remnant of yourself…. a fragment, flotsam, tiny bones bleached out over time.
First child, the one and only first, spent in the sands and carried away unseen.
Pause, sigh, and breathe. Slow. Clearing. In and out breaths. Fuck it …
The stream’s absorbed when it reaches the sea. Red standing stones guard the shoreline. Dug in, bulk undiminished through the years. Smooth blank faces peppered with tiny lives. Living creatures in spiraling whorls, paint-box colours distinct from the rest with their blend of muddy greys, blacks and browns. The discreet, minding their own business ones.
Keeping to the low formation, leaning into these sentinels, pushing up hard. Limpets impress their determination into my back, encouraging them to leave their marks on my skin, through the layers of time and guilt. Tiny bruises, kissed into my shell.
Cá bhfuil tu mo stor, where are you my love? Still here? Shape shifting your small self, half formed baba deas, lovely baba? Or have you vanished into mists of salt water and weed? Níl fhios agam, I don’t know, may never know.
Sins for which I alone hold no charge, spoken in my head. Not then, had no clue back then.
Busy in the kiddish world of long summers, heat hazed early mornings blended into same grey days. School and holidays, home and here, the Red Strand. First beach out of Clonakilty, Cloich na Coillte, stone castle of the woods.
The brother, older but no wiser through the passage of summers, collects the tiny vivid shells under instruction from his know it all little sister. All through our early rising summers for as long as it pleases him. Mostly in the absence of anyone else. (He’d prefer the other boys, tardy, sleeping-in boys, almost always with a ball).
We sort the shells into currency for our long playing games, oblivious to any lives inside the whirly chambers. Red, yellow and green defining value, same as fruit pastilles or wine gums;sticky pleasures. Flavours imparted by the power of suggestion.
In truth they all tasted much the same, the richer the colour the more they’re desired, sweeties and shells. No truth to either.
He is obliging, patient and generous, prepared to share a vision of the day, playing shop? Or being rich for our new life ahead. Content til he gets a better offer……at least til then.
A big brother like no other, he is dark to my fair, tall where I am slight, brave while I am cautious. Protective and free running altogether in one certain self. His infectious self-belief sweeps us into his limitless foolhardy world and we’re away. Climbing rock faces, out of windows and trees, into danger without looking back. Running for miles with no sense of the dinner time clock. It chimes without our ears to mind it. Into trouble over and over he brought me, with no regrets.
Not true, baba deas. My one regret. The original sin.
Hours we spend under the towering protection of this headland. Obscured from view by the remains of an over-ground tunnel. Giant concrete slabs scattered about, fallen, impotent, discarded. Marooned in the sands.
A hidey hole, a place of travel from one gloomy tunnel end to the other, between the stream and the sea.
Fresh water and salt, fishing in both, crazy laughter and messing, all the way to tears and squabbles on rare days, high days and holidays, tense sort of days.
Status Quo, the quo, ruled the roost for his whole gang, while we, the girls, follow the Bay City Rollers. Uniform in our tartan trousers, Baby love, oh baby love, skimming our thighs cutting into our vain attempt to hold the boys attention. All the while loving our idols, the special one, he who holds our gaze on the telly. A band member for all the seasons of our pre-teen crushes.
Teenage years we return to the Red Strand with beer and tents. The sea is the place to be rather than the shore. Trailing friends, boyfriends, girlfriends, cousins once from overseas, to share the magic that no longer exists. Red Strand’s too full of childhood and original sin. Better beaches round the corner, further along the coast, closer to the shore life of pubs, craic and caravan parks.
All these places we never saw as children, never knew were there, so determined was this family not to mix with the noisy ones, the drunken ones. The families that might know us from life at home ones. The sleeping in, lying in their beds half the day ones.
Mothers and fathers equally corrupt longside their offspring, in the gospel of our English origins. They lined up daily at the chip van for their tea. We ate freshly caught mackerel with bread and butter, the food of the Gods, and so it was. Free, from the sea.
We ate mussels plucked from the rocks. Sometimes lobsters, captured in pots thrown off the shore. Squealing their way from blue black to bright scarlet in a pot alive with boiling water, delicious, with butter dripping from our chins, stinking of garlic. No one ate that stuff, famine food still reeking of the sea but we did. Set apart, positioned above, looking down, while trying to squeeze in.
We were blessed, apparently.
The beach welcomed us back annually, sharing its curves, a safe return into the familiar crook of embracing rocks. The concrete tunnel sheltering our comings and goings from year to year, constant, never-changing. The strand,, our part in it, had a rhythm, a ritual of its own making. It bent slightly each year as we grew up, new faces appeared, alongside the familiar caravans.
Softly whispered voices, rememberings from the sea, in the sand dunes, where courting couples played out their pleasure. Mostly undiscovered, known by all and avoided, quietly sidelined. Not allowed, and still they were always there. Bless me father for I have sinned. Curled up in warm grasses on heated sand that threatened collapse without the tough spines that held it altogether.
All through the early Summers a man ploughed his way, twice a day from the dizzy height of the headland, traveling from his smallholding, along a narrow sunken track. He trailed a donkey and a jennet down onto the strand, on a single rope. Their arrival a Mr Whippy of excitement in the day trippers, our prior knowledge fattening our superior position. Privileged with familiarity, without names, we are known to each other. The donkey man and us, the regulars.
Some days I follow them on their return pilgrimage through the steep channel, the sharp, dry grass nicking my bare shoulders, a minor penance, a small offering. I daydream a change of identity, assuming a place in their holy family on the homeward climb. Shifting from child to blessed mother, to partner and devoted animal whisperer. The donkey man never seems to notice my presence or acknowledge it at any rate.
Codladh samh, sleep safe, a stor, love, where ever you are, under the deep sand or washed clean among the creatures that flow back and forth, in and out of the tides. Three hail Marys and one our father the regular gift for telling lies. How could you not tell lies when caught between the father and the son. I have no idea, only one idea possesses my mind, escape and protection.
First love learned at the foot of the should be protector and corrupt for ever after while nuns whispering lies and responsibility into the shell like of every girl child and what would they know about it anyway? Brides of Christ, be lady-like, be Marylike the impossible mantra, the ideal that will never be matched.
They can’t control themselves, they confide, it’s up to ye to take control, female pleasure, unknown, unspoken.
Is it any wonder a stór beag, my small love, my tiny not fully hatched firstborn that you were conceived and lost on the shore of my innocence. Bless me father, I don’t fucking think so, thank you very much and goodnight.
Transformation, a daily event as the sea wipes out the story of the sand and shore. Washing and rinsing rocks and strand in a matter of hours, filling and emptying the pools closest to the rushing waters.
Anemones, the most tantalising transubstantiation of all. Still to this day, a miracle. Brown jelly mounds stranded in the air of low tide become flowering tendrils of soft pinks submerged in the salt water. Waving gently, they invite touch, dipping a finger into a shallow pool and softly, softly stroking the water closest to the fleshy petals. Too close, they fold themselves in, abruptly resuming their impenetrable personae. Still here, always here, since the beginning of time. Stuck fast to their ways.
Echoing through the years, on every return I pay homage to their beauty hidden in the dark brownness of the rock pools, discomfited in the air heavy world.
Tabhair aire, take care, precious one, watch out for the sidewards crabs lurking out of sight among the weed. Sharp little nipping pincers, painful beyond belief to the unwary, bi curamach, be careful, mind your little fingers and toes.
A fully grown woman this visit, kneeling in a hollow scraped out of the sand. Lost but keeping watch on the tide, inching closer and closer, washing clean its own. Soothing the grains with the patterns of waves, licking into the holes dug out with plastic reds and yellows. Further out to sea, waves churn up the red sandstone rocks lining the basin of the strand. Fractured thoughts coming and going rolling back and forth, testing the present with the past, seeking out long gone shapes amongst the weed, carried and tossed, lifted along the breadth of the curve.
Nothing clear, no single sound, a rag bag of rattling stones to hang from my feet. Uneasy flickerings in the corner of an eye. Glimpses of the jennet’s flashing whites and straining head. His unpredictable nature printed in my memory, a familiar refrain, a chord that echoes in my pulse. He was half donkey and half horse, we said, the mixture of breeding, his magic. Also his devilish power, tempting fate with its unnaturalness.
The water, freezing, has reached me, frothing at my knees and trickles begin to fill the spaces around and between my legs, my feet folded into the dugout. How long could I last? The cold drove me out half way between head and toes, intimate with my belly. Enough already. This time.
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Inter-disciplinary artist Liz Cullinane is a storyteller in words and pictures. Her Belfast based practice is rooted in community activism, theatre design and film collaborations with poets and musicians. Liz’s academic research on early 20th century Irish women artists focusses on Mary Swanzy (1882-1978). Published by the Irish Museum of Modern Art (IMMA), she has innovated a digital opera on Swanzy. Recent exhibitions & writing reflect her engagement with the Achill Island landscape in Mayo.
I get disheartened when an artist tells me they’re bored. It’s especially brutal if I’ve adored you and the art propels my own rhetoric, research, collections of folders some might besmirch. I think Stanley Kubrick would have approved though I’ve no warehouse of boxes when I’m extinct to prove my passion for working still thrives between poems and books. We live amidst fascinations. If we stay spry, wide eyed enough, work is transformative. Suture eyes shut someday after I die with the stories I’ve written, some I hoard. I’ll die exhausted. I never lived bored.
Deep in the forest in a flannel nightdress, a little girl lingers without much on her chest, shame in her heart, much to confess. Here she is safe, completely at rest. Gone the behemoths of yesteryear. Her cheek on chenille, her brain bereft of all fear inside this night sans starlight except a meek constellation of which faithfully appears from a bedside nightlight replacing a moon which made her weep more nights than swoon. Tonight she looks no father than this light of her room which is not a metaphor — means to write. No beseeching big teeth inside these woods — it ends with her pen like make believe should.
Rambles past ringlets, ruffles, rouge to you, end of the queue, interviewed for the show, television lady forgets your debut — segment you are someone she chose to know.
Her fascinations are fleeting and slight, provincially dressed princess one night. Lives she catalogues on oak shelves in plain sight. Decades of ingenues in her archives,
is unavailable in stores. Believes in Christmas trees, Taylor Swift Evermore with little distinction between the motifs — cute aesthetics without fealty sworn. Like dollhouses dissected their families, some pink plastic posed preternaturally replacing puritans overcome with prayers, prurience, pageantry, incest upstairs. A ripped Sunday school dress, nothing beneath, long hair dyed forever noir, fresh balsam wreath. Believer in kindness and twinkling lights, blessings in boudoirs, tempestuous nights. deprived of her breath. Nothing is deeper than sex, not even death.
In middle school, bullied for body hair. Matched hair, eyes, contrasted fair skin, a shroud I wear everywhere. Was so scared to shave above the knee. Was told no one should look there anyway. Was whispered of so many days in locker rooms by some with blonde peach fuzz which was what love looked like, at this time, to me, Florida yellow/tan uniformity. Was called a fiend, witch from another place, not of the beach I breach, a plaited pouting pall their boyfriends chased, animal they want to taste, shadow to hide inside this golden place.
Keith Raniere and Allison Mack poetry by Kristin Garth and Marisa Silva Dunbar
Kult Ken
by Kristin Garth
divides women and the men, considers mind control at ten when he learns listen is not the same as care. Schoolgirl Skippers are chatty, everywhere, dripping poison from lonely little tongues. Learns to use it against them young. Can do it with a dad bod, sweat- band, night volleyball game with lessons condensed — marketing, pain. Boss Barbie in hand, he will walk home tonight. Tomorrow she will ask him before she takes a bite, now hungry only for what she deserves. Holes he fills before the next underhand serve where she waits on bleachers for it to happen again — molded obedient female companion.
The Introduction: November 14, 2006
by Marisa Silva Dunbar
We are now witnesses to the origin —here is where he ensnares you. You are mesmerized—girlish—giggly, and desperate for your worth to be seen by this man in a sweatband and kneepads. We know it’s just a seedy facade. Some of us have at one point, wanted to be loved by a mediocre man
After a reveal of cotton candy sheep being shorn for confectionery purposes in the Burton Charlie and the Chocolate Factory film: Willy Wonka – “I’d rather not talk about this one.”
You peer a possible pasture in a
pink corridor.Perhaps peeking proves it?
Perchance a perpendicular door plays with peripheral vision, pomegranate sheep producing shorn candy floss piles pruned
to palatable heaps?Panicked to peep Continue reading “Womannotated – Why Charlie Can’t Leave The Factory”→
always.the.same.year (2020), 2048×2048, digital: Here our faces plunge into the endless vanity of social media until the bubbles stop. Our digital selves/saviors are the ones bleeding sanity from our tarnished skin.Continue reading “A tale of three descendants”→