Zoetrope: All-Story
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FALL 2016

Vol. 20 No. 3

Guest Designer Creative Growth

Intimacy

Jim Shepard

By the time Gladys May Sparks dropped her soaked leather portmanteaus on the veranda of her new home in Barrow Point, Queensland, the rain had started to come down very heavy. Her new husband, Tommy, busied himself with a welcoming pot of tea and she remained where he’d left her, a puddle spreading around her feet. It seemed unlikely that a single item inside the portmanteaus was still dry. Her first impression was of a place where everything was covered with vines, including the two cane chairs and the breakfast table and the hammock, and out front she noted a mandarin orange tree and a prickly pear hedge. The rain was now so heavy the mud was strewn with . . .

The Immortal Milkshake

Thomas Pierce

We like ourself! Not always do we like ourself but we do now, very much. Our psychology is at this time, healthy. Not always has it been so. An unhealthy psychology, as defined by us, is present when 1) communication with ourself is no longer of apparent importance, 2) life-meaning seems necessary but proves elusive, 3) too much thought is dedicated to events that have already transpired or have yet to transpire, and/or 4) too much attention is devoted to the question of the soul’s existence. We are happy to report to you, Larry Muggins, that none of those conditions is met this morning. . . .

On The Passion of Anna

Ingmar Bergman

Translated from the Swedish by Marianne Ruuth

My philosophy (even today) is that there exists an evil that cannot be explained—a virulent, terrifying evil—and humans are the only animals to possess it. An evil that is irrational and not bound by law. Cosmic. Causeless. Nothing frightens people more than incomprehensible, unexplainable evil.
      The filming of The Passion of Anna took forty-five days and was quite an ordeal. The screenplay had been written in a white heat. It was more a description of a . . .

The Passion of Anna

Ingmar Bergman

Released in 1969, The Passion of Anna starred Max von Sydow, Liv Ullman, and Bibi Andersson and earned Ingmar Bergman the National Society of Film Critics Award for Best Director.

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