Nodes on a thickened tuber

2 09 2010

As part of my university paper on horror films, we have to write 4 mini-essays on different topics. They’re fairly casual opinion pieces, and the latest was on ‘abject objects’. A lot of people seemed to write about drains (which are, to be fair, quite disgusting – a reasonable choice of subject). I decided to write about the little ‘node’ growths on potatoes. Ew. Disgusting.

(Yes, this passes for a valid component of assessment at a higher learning institution these days. I’m actually pretty happy about that, for all the griping I could do… There is a fundamental comprehension of concepts required. Do I pass though?)

“Mash Them to Hell”

I generally think of potatoes as a pretty regular root vegetable. Depending on the variety, they are excellent for roasting, mashing, or making a nice potato aloo.

But sometimes potatoes sprout unpleasant nubbly bits called ‘nodes’, even in the growth-retarding dark of your temperature-correct cupboard. What is wrong with these nodes?

First of all, their texture. Potatoes are rough, earthen veggies. Even the washed and waxy ones have a hardy surface. The nodes are different – smooth, rubbery, fleshy; they wobble under your touch, like under-formed foetal limbs.

Their baby-like fleshiness makes them, as Carroll puts it, ‘interstitial.’ But this transgression of category goes beyond texture. Consider the following quotation, taken from Wikipedia:

“Potatoes are stem tubers, which are the development of enlarged stolons thickened into a storage organ. The tuber has all the parts of a normal stem, including nodes and internodes, the nodes are the eyes and each has a leaf scar.”

Disconcert begins with words like ‘tuber’ and ‘stolon’ – they sound like ‘tumour’ and ‘colon.’ The potato itself is now gross, and the nodes that come out of it even worse. The cross-over with humanness is furthered, but also degraded as generally animalistic.

The categorical blasphemy Carroll dwells upon is reflected back at me. Can I be like the potato? Might I become one day just a root veggie, lying inert, touched by others but unable to react even though my ‘eyes’ absorb every event? Often unsavoury jokes are made about ‘vegetable’ people – quadriplegics and the brain-dead.

And of seeing, or worse having, large misshapen growths myself… Jeff Goldblum’s body in The Fly is essentially one big fly-tumour by the film’s end. Might the nodes overtake the potato and become its unbearable whole? Might a tumour become me?

Other horror film scenarios come to mind. The term ‘eyes’ could be taken literally – where a potato develops actual eyes (à la the cake in Drag Me to Hell). There is also the analogy to vampires and zombies. A potato, dug from its earthen grave, continues to live and to hunger. Imagine it, a vampire potato!

The potato might become anthropomorphic like the ginger-root baby in Pan’s Labyrinth. This, to me, was a revolting creature, mainly because of its categorical confusion between ‘flora’ and ‘fauna’.

It has always been the touch of a potato node I’ve disliked most. The look of them has been incongruous and unsightly too. But writing this and thinking upon them more has worsened all the sensory impacts.

Next time I eat potatoes – with or without nodes – I will certainly mash them to hell.





Best NZ film ever

13 07 2010

Excepting maybe ‘Meet the Feebles’…

But here it is – an oldie but a goodie, a cinematic classic, full of abject horrors, domestic commentary, beautiful cinematography, and hair…

KITCHEN SINK

Part One

Part Two





I see stubble and a mound

1 02 2010

.. And it is not enticing or alluring, and it does not give off any other sort of provocative yet attractive signals. It is just icky. But I am getting ahead of myself here…

I have gone through a bit of a weird trajectory with Lady Gaga. She might like that fact. At first I became familiar with her because of Poker Face. It was fucking everywhere. It pounded from clubs and from car doors where early-teen girls sang along in the passenger seat beside their mothers who held out a similar resistance to my own. Did they cave as I caved? I mean, I held out for a while.

‘This is really fucking banal, annoying shit,’ I would say, and others would nod and slug back their drinks in agreement.

‘When can we put something else on, something decent,’ somebody would say. Probably it was me, reaching for a Jane’s Addiction CD.

But then it began to catch in my head. Po-po-po-po / Po-po-poker-face. The beats, the rhythms, the various moments of catchy head-fuckery in each song began to snag on my brain like rusty hooks in deep-sea seaweed. It wasn’t long before I realised the bitch was actually clever musically, and ironically – in the actual sense of real irony. She was self-aware, and aware of her industry, and aware of what she was doing, and aware of the need for a shifting persona, of how to exploit her shifting persona and how to shift it further. We were never talking about Lady Gaga. We were talking about a creation, created by some woman who’s real name I still can’t remember, and perhaps therefore we were never even talking about that woman. But who knew which was which?

Then other songs came, and they snagged sooner, faster, harder.

Then there was Bad Romance. And the chorus in which the words ‘Ga Ga’ appear distinctly. And I thought, You’re just pushing your agenda a bit too far, you dirty whore. My gut feeling was even more drastic. I wanted to break something. Why? I can’t quite explain it. But I felt sold out by a woman I’d never wholly bought into in the first place.

(I have never and would never buy any one of her CDs – or download any tracks, if that’s less outdated than purchasing Compact Discs).

But it was a bit like being castrated moments before full and proper copulation. In a subtle way, with a quick flick of the knife, while she grinned, flicking her tongue like a snake and also like a sexy, expensive hooker.

Without the make-up and those extravagant and artful outfits I believe she is very plain to look at.

And then there was this year’s Grammy’s. I saw one photo of her dressed like an outer space Barbie, and I thought, Wow! that whore bitch castrating she-devil might just lure me back into her day-glow cave, built from bricks of melted-down prosthetic limbs and mortared with ultra-refined pop sugar. Then I saw another photo and noted more certainly the distinctly mocking way in which she posed in parody of both her genre, the occasion, and her own (shifting) image, and I took another step toward that cave…

But then I saw this picture of her performance on stage. (I really don’t want to view any video footage, in which things move, move, move…). And I thought, This is the most disgusting piece of fish-mongering I have ever seen. She’s even wearing the scales to suit. I could smell her sad flange through my PC screen. Beyond my duty as a gay man, I was repulsed (and it was not just my duty as a gay man. It was my duty as human – no sexism intended – to be revolted).

But I am also strangely, weirdly, allured. It’s provocative but considered. Is it? It’s daring. Foolish? Hideous! But, again, daring! And again, it is a middle-finger to you filthy fuckers (yes, me too) judging from your safe and dull armchairs. And probably a middle-finger to you pre-, early-, mid-, late-, post-teens still buying into the shifting, ironic aesthetic of whatever you want to see.

But whence will arrive the crash, the big end, the mighty fall, the day that Gaga goes gaga?

Gagagaga  / Gagagagaga.








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