Matthew Housiaux
@mjhousiaux12
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the silence of defeat has inner roses unknown to victory
Washington, DC
Joined August 2015
Many thanks to @AHeavyMetalPen for including me in this @newversereview tribute to a great artist. It’s a real honor to see my name listed alongside so many fine poets.
Don't miss this set of David-Lynch inspired poems, edited and introduced by Ethan McGuire (@AHeavyMetalPen) and featuring the work of @cjsarett, @pauljpastor, @lowermelody, @petedevonald , @mjhousiaux12, @tamrmint, @DmDavanti, and others! (link in first reply)
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James Merrill: “Dyeing. A homophone deepens the trope. Surrendering to Earth’s colors, shall we not be Earth before we know it?”
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RT @laughmotel: CAUGHT IN THE DREAM OF THE OTHER: Audiovisual essay by @AdrianMartin25 & me on/with Vincente Minnelli's 'MADAME BOVARY' (19…
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RT @NewDealMurals: Bremerton, Washington Post Office Northwest Logging - Ernest Norling (1938)
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RT @oharapoems: Marilyn Monroe in her little spike heels reeling through Niagara Falls, Joseph Cotten puzzling and Orson Welles puzzled an…
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RT @frede_kenter: Layers of unexpected wonder in a new prose work & photo collage by hiromi suzuki @IcefloeP The coffee bee hawkmoth larva…
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Charles Wright: “The twilight twists like a screw deeper into the west.”
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RT @mjhousiaux12: THE DARK CORNER (Henry Hathaway, 1946) #FilmTwitter #film #Noirvember #HenryHathaway #TheDarkCorner
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@Drewpowell123 @alexL_E_I It sucks, even the B western directors who have relatively strong followings, like Joseph Kane and William Witney, don't have many defenders of their pre-1950s work. This books about John Wanye's 30s B westerns seems like it maybe helpful starting point.
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RT @mjhousiaux12: AFTER HOURS (Martin Scorsese, 1985) #FilmTwitter #film #MartinScorsese #MichaelBauhaus #RosannaArquette #GriffinDunne #A…
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RT @mjhousiaux12: DETOUR (Edgar G. Ulmer, 1945) EARLY SPRING (Yasujirō Ozu, 1956) #FilmTwitter #film #EdgarGUlmer #ClaudiaDrake #TomNeal #…
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@MovieKessler Yes! Initially I couldn't see that when I read it, but PEE WEE'S BIG ADVENTURE does have an appreciation for American idiosyncrasy that isn't that far away from Demme's.
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..of the people he encounters (as well as his own) worse. Whether he deserves to be the target of a vigilante mob is another matter. BTW was thinking about Scorsese's oft-stated appreciation for David Cronenberg watching this; the mob scenes reminded me a bit of those in SHIVERS
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