when harry met satchel

VOGUE copyright Conde Nast

© 2014 h2omeloncholy@blogspot.com

© 2014 KM Fikes

Unauthorized use and/or duplication of this material without express and written permission from KM Fikes is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to KM Fikes & h2omeloncholy@blogspot.com with appropriate and specific direction to the original content.  No excerpt or link may be used for monetary compensation.

 

© Columbia Pictures

Meg Ryan & Billy Crystal in Rob Weiner's film of Norah Ephron's script, When Harry Met Sally, 1989

Expecting Satchel Paige?  

harry /ˈharē/ - to sack or pillage

Pleased to present this follow-up post to both Annie's Haul and chartRUSE™:

http://h2omeloncholy.blogspot.com/2013/08/annies-haul.html 

http://h2omeloncholy.blogspot.com/2013/08/chartruse.html

Liberty.  Oft as supple as leather.  How one prefers the freedom of hands free to roam the world.  To the chagrin of the chiropractical, one finds a shoulder bag with handle tightly nestled grants all ten digits tactile access.  Alas, the below pre-order's configuration did not intend to venture past the elbow.  Requesting a longer strap to accommodate my upper-arm aim was warmly received by the affable owner of QUEORK, Amanda Dailey.  She complied - with a quickness.  Nevadaless, her designer took temperamental creative license and proceeded to construct a Quirkin handle that she/he deemed mo' 'apropos'.  Now, as Agency o' the Individual - at any cost - is this blogger's motto, I could only chuckle at this act of runway resistance.  The autonomous 'choice' of sewing a smaller handle may have come at my ergonomic expense - and the actual purchase.  Apologetic, Ms. Dailey refunded me forthwith.  Still, one has to admire the artisan.  Power to the worker.  She/he may have a certain ethos: the customer is not always right in assuming authority ova their own aesthetic.

copyright image

Due to her graceful 'handling' of the matter, Ms. Dailey's reputation escaped even a modicum of injury.  One admires that she sources the manufacturing of her wares to those most adamant in assertion of their own taste.  Pocketbook n' Soup Nazis unite. 

http://www.jpost.com/Opinion/Columnists/Terra-Incognita-No-more-soup-Nazi-Civility-cant-be-legislated-338201

This French Quarter business is currently taking New York by a stylish storm named neither Katrina nor Sandy.  Would that I could peep her inventory of cork couture - live.  One day, indeed.

http://www.queork.com/

The above episode occurred ions ago in November, 2013.  Old baggage.  New Year. 

One can only hope a random ebay search of "cork handbag" displayed no Dailey disloyalty.  Her inventory eva entices.  Took balls to craft the Quirkin, a cork parody of the Birkin.  And by 'Ball'?  One props n' daps Lucille, stompin' grapes in wine country - as much as the renewable harvesting of oak trees for their regenerative cork.  

The art o' web inquiry has taken Curiosity from mere, fleeting thought to immediately gratified exercise.  What hath the tech revolution wrought upon Curiosity's mortality rate for pussy kitties?  One's duel question marks - framing the notion of reincarnation - loom large.  Note the 'hook' of the punctuation family; some risks may meet reward.  Curiosity may prove lethal to pussy kitties but mercifully, felines are ostensibly bequeathed nine rounds in the cosmic ring of It All.

Meow.  

The QUEORK site's blog is quite informative in its warning of cork quality by 'lesser' conscious manufacturing.  With tutorial in mind, one scrolled the ebay page with a discerning eye.  Upon locating the compellingly discounted ZILLA listing, one googled for any evidence of the brand's sourcing of sound cork product.  Silvia Pichler, another savvy XX chromo enterprise owner, is an innovative architect creating commendable accessories with unique fabrications in the Italian market.  From the "About" page on the main ZILLA site:

"Bags conceived as moving structures, mobile homes for woman handcrafted in Italy."

http://dossierjournal.com/style/fashion/in-conversation-with-sylvia-pichler-a-k-a-zilla/

© ZILLA ad campaign

What is appreciated most about Ms. Pichler's Spring/Summer 2011 design is its reinvention of a standard made suddenly fashion forward.  All hail motion!  The model here is referenced as the 'Granny' bag for its familiar bulbous shape associated with a done-been-gone era.  Yore, yo.  A carpetbag in othawise retirement, artfully draped - in cork, at that - becomes alluringly avante-garde.  H2Omelorotica™ yesterdecade burlesque - with cork or sponge pasties.  One's vegan wallet/ hybrid keys/ biodegradable prophylactic/ solar-charged cell phone/ certified organic breath mint/ eco mineral lip tint - all wrapped in swaddlin' cork - seems less titillating by way of Whore's punany-ed pocket and more marsupial, in nature, via Madonna.  

Even the faintest allusion to socio Biblical XY chromo chaos calls for that ol' gender-bend.  Alas Alleluia...'least a hint.  Raisin' one's right pinky to swear upon her dissolved mint and smeared tint, let us embark upon a G-spot bender.  'Tis out of in order:

© 2014 KM Fikes

ZILLA 'Granny' XL bag with Brooks Brothers silk necktie decked in watermelon motif

A solo XY chromo H2O necktie is mo' than enuf.  One can almost sense the reading of this very line to the reader's nod in the affirmative.  Gentlesoulfolk, how wise thou'rt.  Fo'sooth, successful accessorizing is knowing the art of the parfait edit.  Ms. Dailey's designer may too agree - I dare conjecture.  All, howeva, is a bejeweled journey.  According to Hermès, maker of the über upper echelon-ed Birkin, the technical name for an accent scarf tied upon one's pocketbook is "twilly".  Might that moniker be suggestive of avoidance of the application twice - say, upon da flip side?  'Twill be too much.  The first, few swigs swings of one's wine-topper, bold as dry, pucker-lipped purse still feels a wee bit surreal to o'erthink the obvious:  The otha handle should remain as exposed as its stripped tree trunk or as bare as uncarved, hard knocked melon.  

With da flip side attired in perpetual Casual Friday, let us then entertain a neutered nouveau...or is that chartRUSE™ collar, masculine retro...Betta yet?  POSTcloset conceptualization.  Enter stage left?  The neoclassic dandy and his choice of metrosexual 'goods'.

          she-he frou-frou? POSTandrogyny.

Imagine thy blogger center stage upon theatrical absurdity.  She is weaved Pfeiffer blonde, in Harvard crimson-melon velvet, with high slit and low décolletée.  She sings sultry atop piano.  For  accompaniment?  Da Fabulous Birkin Boys:

 

               Kanye West                                                                     Marc Jacobs

               

                           Pharrell                                         * www.freetownfashpack.com

 All images - albeit paparazzi - copywritten

One holds but one simple as humble hope as she 'carries on':  May one's satirical tote fail miserably to be mistaken for the egregiously testerone-ed leather or suede that cork nigh approximates albeit trumps texturally.  It was not purchased with any goal, whatsoeva, of convincing replication of any reptilian nor bovine flesh.  Says she...eh-hem...with a peculiar affinity for leather-bound knots a la Katherine Kwei.  Perchance, yon ChartRUSE™ 'trade' is yet anotha process - as dichotomous as H2Omeloncholy™ and as derelict in socio evolutionary duty as POSTnessity.

http://h2omeloncholy.blogspot.com/2013_09_01_archive.html

One considers her new cork confection a post-souvenir along one's continued, surrealist-sustainable, ChartRUSE™ sojourn.  Measuring in inches, 16 by 15 by 4, the ZILLA's generous proportions will accommodate as well as prompt a spontaneous trek, stamping one's passport and fleeing to haunts unknown as absurd.

The aforementioned quote of Ms. Pichler, the architect by training, seems to imagine the bag as renting space in a globalized trailer park - with motor eva running.  Yo, 'twill be lil' surprise to ye that one's preferred architectural design is Barcelona's take on the Art Nouveau movement - as expressed best thru Gaudí: 

 

© Creative Commons 2.5

'Façade' of Casa Batlló

 

One will confirm this penchant after actual perusal in person - like one's anticipated début twirl in the QUEORK headquarters.  For interior décor, one tends to Pisa lean towards Hollywood-Regency-meets-French-Country-émigré-toile-that-demurely-flirts-with-POSTkitch.  Irreverent refinement...or sum'in like.   

Antoni Gaudí left the world his orgasmically celestial Sagrada Família - not to be completed until a century after his death.  Picasso - ironically enuf, Gaudí's fellow Spaniard - was rather well-endowed with a fetish for découpagin' mutant nipples.  Pablo Picasso managed to ravish XX chromo breast tissue along with 'The' African mask's aestheticism.  Left brah blue - for a period.  

There be dissOrientalism.  And then there be the damned: 
http://h2omeloncholy.blogspot.com/2013/06/still-let-oh.html
...and/or...
http://h2omeloncholy.blogspot.com/2013/08/stop-n-frou-frou.html 

One still finds oneself in the early stages of recovery from said 'cubed' cultural plundering and therefo' remains challenged to reclaim one's own imagined heritage.  One wonders if Other-ed Ethnic taste is subliminally sentenced to a statelessness beyond the requisite transitory forms of fashion.  Neitha pre nor post.  One writes of that inegmatic "rebirthed cool", a cutting edge, quantum suspended prescience necessitated by survival in some absurdist zeitgeist where H2Omeloncholy™ Prohibition beacons speakeasies to flow - eroticizing the exploitation of exotic spiked juice from forebodden fruit.

Above all else, one admires but mo' so, finds a style respite in spaces organically adorned with yon inhabitant's travels - as if wallpapered with dog-eared pages from their own exaggerated journals - writ on some border-crossed train.  'Tis an effective affective illusion: how carpetbaggin' tourism can carpe diem.

Can a handbag serve, daresay, swing, as artistic commentary on the commerce of ecology of our chosen 'luggage'?  Further, one is choosing to 'arm' oneself with an accessorized attempt at getting some half-melon handle on what does/should symbolize status.  Plus, my good, peops?  One will remind oneself - daily - to pop Life's cork, i. e., stop short to smell da roses or swirl n' sniff the melon.

Thoughts?  

Prefer thy present to post reflections but hey, one shall take what thou art generous enuf to bestow.  The comment section would be honored to be graced with such esteemed presence.  We await...And by 'we'?  One means H2Omeloncholic™ moi and her 'Granny'...'Elder Statesman'...'Elder Statement' bag.

Michelle Pfeiffer in The Fabulous Baker Boys, 1989

* Jo Dunlap's site, Australian fashion blogger living in Freetown, Sierra Leone:           
  www.freetownfashpack.com

a clever as compassionate critique

on the implausibility of

POSTness 

Til our next 'post', feast upon produce in season...

© 2014 KM Fikes 

© 2014 h2omeloncholy@blogspot.com 

Unauthorized use and/or duplication of this material without express and written permission from KM Fikes is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to KM Fikes & h2omeloncholy@blogspot.com with appropriate and specific direction to the original content.  No excerpt or link may be used for monetary compensation.

sum'in borrowed, sum'in blue-s, sum'in POST

VOGUE copyright Conde Nast

© 2014 h2omeloncholy@blogspot.com

© 2014 KM Fikes

Unauthorized use and/or duplication of this material without express and written permission from KM Fikes is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to KM Fikes & h2omeloncholy@blogspot.com with appropriate and specific direction to the original content.  No excerpt or link may be used for monetary compensation.

The Bride Frightened At Seeing Life Opened

Frida Kahlo.  Completed, 1939; updated, 1943.  Unibrow meet uniVISIONary.  Third 'ay'.

Could a dissOrientalized artist have chosen a title for her still life that might possibly betta portend Dominant Cult's "fear to tread" near H2Omeloncholy™ and consequential ceremonious, absurdist, quantum leap down the aisle to POSTopia wherein abundant or fruitful Priv 'weds' subConscious hierarchical hysteria?  

Who's 'on top'?  'Produce' on high?  Papaya at twelve o'clock.  Dig it - space/time split open to reveal itself as unapologetically vaginal in presentation.  A feminine star exposed and even aroused.  Shining down upon the rest.  The star's beam or ray?  Compressed black seeds whilst watermelon seeds are interspersed.  Ay, since H2Omeloncholia™ struggles to effectively commune.  Next, pray ye, note the placement of phallic plantains - sidelined - i. e., 'done gone bananas' next to a cocoNUT.  O, the augury of it all!  'Grasshoppa'?  A futuristic as fictional martial art protégé lands upon the 'bruised' skin.  Ms. Kahlo's 'brush' charges the self-defendin', burgeoning and perchance, bourgeois-bordered-naïve sage insect to challenge the surrealist 'scene'.  This motif of lunacy in-conflict-with-itself is further juxtaposed next to a perched owl.  With eye steady on some horizon.  Beneath her lone bushy brow, Kahlo's self-portraiture ever owned Gaze.  Wisdom..."come home to roost".  From left to right, peep thee - long - behind black-spotted plantains/ Kung Fu-Freudian 'Grasshoppa'/ pubic fuzz on da 'face' of whole, uncut cocoNUT/ Malcom X oratory chicken owl.  

Shared background, my good peops, the singular commonality?  Jacked-up, jagged melon!  Kahlo winks: vibrantly animating the otherwise ambivalent gourd, creating mountain 'ranges' with peaks and valleys.  Far too intimate with the contours of a broken body, earthly curves may have proved rather natural to paint as 'pointed' geometric angles.  Surgical-precision-ed sensuality thru a landscape cutting as coy.  In painting this conceivable meta-narrative of Kahlo's own physiology, she shares quite the thoughtful 'terrain' as a generous rendering of H2Omeloncholy's breadth n' depth.  Daring to be embodied.  Sharp in its un-common ground-ing.

“Only one mountain can know the core of another mountain.”
Frida Kahlo to Diego Rivera

Frida Stomach Down
by Nickolas Muray, 1946
© Frida Kahlo Museum

Yet the bride?  Is the inno¢ betrothed bracing herself against an undigestable Truth surrounding her?  Or is this ragged palpability of H2Omeloncholy™ the very fear?  Does she clutch the rind in an ill-fated attempt to temper rhythmic n' blue, plate-tectonic existentialism - failing to demote, a. k. a. appropriate or coopt Other-ed Ethnic angst as Dominant Cult's (her) own prop?  Is Kahlo - if not indicting - at least mocking Priv's tendency towards intrusion; inclusion, taken for granted?

C'mon, gentlesoulfolk.  Ain't just me.  Can't be.  

Now, back to the owl?  'Tis the only subject in the foreground to overlap two otha fruits: orange n' pineapple.  Curiously, pineapple, coconut, and watermelon require not a butter knife to 'open' but nigh-knighted sword.  Kahlo takes no mallet to coconut nor does her artistry subject pineapple to the sculptor's chisel.  Her tropical repast is left intact.  Howeva, be it upon butcher or auction block, one is naked.  Laid bare with flesh shackled sliced.  Why not set pineapple n' coconut - too - free?  Free...to be devoured.  Was the post - Mexican Revolutionary exhausted from weathering the summit of H2Omeloncholy™?  Might the 'tough exterior' of visability constitute enuf of a banquet?  If so,  then on with simpler citrus.

Orange = sun or 'light'.  Our nocturnal owl practically covers the orange, shrewdly concealing alleged enlightenment.  Diligently critical of accepted or conventional or 'Dominant' discourse erroneously promoted to that realm deemed Knowledge. 

Pineapple = 'monogrammed' welcome mat.  Pineapple happens to be universally acknowledged as symbolizing hospitality.  Doth not Other-ed Ethnic's exiled and thereby volatile citizenry hope to encounter a gracious 'host'?  Depicted as the work's 'mature' force and positioned farthest from the 'cornered' bride - not incidentally blue-eyed and blonde-tressed...as drawn by a queer, communist, disabled creative of color - perchance, Extra Terrestrialized H2Omeloncholic bird ruffles a brown feather to "phone home".

Hoo...(H2O)...Hoo...

Frida Kahlo after an Operation
by Antonio Kahlo, 1946
© Frida Kahlo Museum

a clever as compassionate critique

on the implausibility of

POSTness 

Til our next 'post', feast upon produce in season...

© 2014 KM Fikes 

© 2014 h2omeloncholy@blogspot.com 

Unauthorized use and/or duplication of this material without express and written permission from KM Fikes is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to KM Fikes & h2omeloncholy@blogspot.com with appropriate and specific direction to the original content.  No excerpt or link may be used for monetary compensation.

post is prologue

VOGUE copyright Conde Nast

© 2014 h2omeloncholy@blogspot.com

© 2014 KM Fikes

Unauthorized use and/or duplication of this material without express and written permission from KM Fikes is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to KM Fikes & h2omeloncholy@blogspot.com with appropriate and specific direction to the original content.  No excerpt or link may be used for monetary compensation.

"whereof, what's past is prologue, what to come."

Tempest II. 1

© Institutu Akatu for Conscious Consumption

Strange days for a hermit, gentlesoulfolk.  Eh, then again?  If said hermit is indeed a professed absurdist, 'All Dat Be Strange' affirms our existence.  Adding to this misanthrope's humbled list of blog posts spurred by personal conversations is an enthusiastic nod to Professor Anika Ball Anthony.  Full disclosure?  Proud to be able to call her a first cousin.

Astutely - and characteristically - Anika inquired about my critique of POSTnessity.  Firstly, the question implied an attentive read of this blog and that, in itself, warrants infinite appreciation.  Secondly, one had not considered one's validation of postmodernism - which she offered as a sound example.  Alas, my reply did not trip off the tongue.  When such occurs, the initial thought tends to remain with one and later reveals a mo' cogent response that can hone one's own ethos.  This usually implies a profundity requiring further excavation on one's part.  Surreal, for sho', my good peops, but so it is.  Thank you, again, Anika.  This very practice is actually one of my most preferred activities.  Any assistance from another creates a sense of community which seems to allude this particular blogger - warranting only the subtlest sigh.

Attaching here the direct email sent to Anika the morning after our interlude:

"Grateful to the moon as you have just given me my next post!  Thought more about your question.  There have been viable POST moments for artistic/political movements.  And I never intended to focus on race but it does seem to inadvertently define H2Omeloncholy™.  The answer I came up with - thanks to your prompt?  Nothing - even existentially or spiritually - can be post until it has been fully present.  That 'presence' must then run its course enough to justify or qualify a sound epilogue - which then becomes its own movement, of sorts.  Since 'race' discourse could not be more distorted, I guess I've been arguing that its lack of authentic presence - first - prevents its POSTnessity.  Feels like the falsest sense of 'completion' when we ain't even comprehended its gist.

Perfect timing too.  I launched the blog on Summer Solstice - Bren's transition anniversary.  Winter Solstice is an ideal time to revisit the blog's concept and where I have succeeded/failed in that execution."

Ah, H2Omeloncholy™!  The POSTopia city limits RE: any Ethnic Other-dom seems to ebb and flow inside one's inkwell.  Pacific or tumultuous, may the quantum waves remain foremost surreal as they roll ashore each blog post in the year ahead.

a clever as compassionate critique

on the implausibility of

POSTness 

Til our next 'post', feast upon produce in season...

© 2014 KM Fikes 

© 2014 h2omeloncholy@blogspot.com 

Unauthorized use and/or duplication of this material without express and written permission from KM Fikes is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to KM Fikes & h2omeloncholy@blogspot.com with appropriate and specific direction to the original content.  No excerpt or link may be used for monetary compensation.