Note of Closure

After reading Phantom Noise and almost being able to feel a heartbeat through the words that help set up Brian Turner’s tone, it wasn’t hard to notice the change in that tone in the last couple of poems.  I especially loved the last two poems “In the Guggenheim Museum” and “The One Square Inch Project” because they end Turner’s collection not with a pretty conclusion that wraps up a “and-they-lived-happily-ever-after” story, but with a sense of calm and closure glinted with hope.  Phantom Noise is focused on PTSD and Turner doesn’t pretend the story of PTSD is one that ends wrapped up in a pretty bow, but he still uses these two poems to leave his readers and fellow veterans with a sense of hope.
A quote by Edward Byrne’s review called “Walking Among Them” really struck me and forced me to take a deeper look into Turner’s second to last poem, “In the Guggenheim Museum”: “readers are given an image of the speaker in a poem aware that he is walking among evidence of the dead and his own mortality; however, the recognition of life and the necessity of taking advantage of all living offers, especially an opportunity for love, are emphasized in the work’s italicized final word” (Byrne 8), which is the word alive.  We already know the definition of the word “alive” but Turner does more than find a way to define it through metaphors, he shows us that it’s packed with power and value.
My favorite quote from the entire collection of poems in Phantom Noise comes from the last poem, “The One Square Inch Project” (Turner 93).  It says:
“Because there is not one thing I might say to the world
which the world does not already know.”
So what else can we do but keep moving forward and learning more from the world?  In an interview about his first book of poetry called Here, Bullet, Brian Turner was asked to describe his work in 5 words or less, he replied with:  “It recognizes love. Witnesses loss.”  And I think that description carries over well in Phantom Noise.  In the last stanza of “The One Square Inch Project,” the narrator admits he finds himself a changed person after his return, but he’s “gifted” now to see and hear the world in another way.
Works Cited
Byrne, Edward. “Walking Among Them.” Rev. of Brian Turner’s Phantom Noise. Valparaiso Poetry Review XI.2 (2010). Valparaiso Poetry Review Contemporary Poetry and Poetics. Valparaiso University, May-June 2010. Web. 16 Mar. 2012
Turner, Brian. Personal Interview. 11July2011.
Turner, Brian. Phantom Noise. Farmington: Alice James Books, 2010. Print.

Things to show what I’m talking about. Zombies are everywhere.

Picture of a zombie flash mob. Why do people do this?
Hit T.V show on AMC. Wasn’t going to have a second season, now its top dog.
Ricky Gervais running from a zombie mob in a commercial for Netflix airing frequently on major channels
NFA Weapons by Fiscal Year. Details to follow
Gun sales have gone up dramatically
a picture of top selling rock artist Rob Zombie, formerly of White Zombie
 earliest of the modern zombie theme, inspired a sequel and began the spree of films in the genre to emerge after

Idea for Poster – Zombies in 3D

  1. Pictures (Attached); I will include pictures from the zombie Film Headlines including N.O.T.L.D & 28 Days Later. I want pictures to be my main attraction on my poster since the topic of zombie film is such a visual idea. My typed work will be mostly spoken, although I will include main points from each paragraph as well as a work’s cited on the poster too. I would also like to include a 3-d and/or video element: I would like the visuals of my poster to be enhanced with 3-d graphics, almost like a zombie “coming out” of the poster, so that my project can be brought to life a little more (no pun intended). I was also thinking about having two laptops set up with one playing Romero’s 1968 black and white classic “Night of the Living Dead” while another simultaneously plays Danny Boyle’s “28 Days Later” so that just as is discussed in my paper, my audience will be able to observe differences between the two films themselves – almost as if the videos will help to prove my point for me without my saying anything. Also, these movies are just plain cool and I think they will attract a lot of attention from multiple generations remembering the classic zombie horror films of their time.

Images;This is an original poster/ cover for Romero’s original 1968 film, which many still claim to be the scariest movie ever made. Interestingly enough, this zombie doesn’t really look a thing like zombies in modern horror, which I also include pictures of on my poster.

 This is a popular poster sold at almost ever online poster website out there. In fact, my friend has one hanging in his room and I see this everywhere. I don’t understand it but think it’s a pretty interesting conversation point. One word; “Brains”. I don’t understand myself what kind of message or idea this is supposed to convey, but it seems that all of a sudden, zombies are becoming less scary and more ‘cool’. This correlates well in my paper which argues that society as a whole has lost a certain filter which once deemed this kind of imagery inappropriate – the same way that gore, blood, and violence has increased exponentially in modern cinema as opposed to zombie films from the 1960’s and 70’s.

These next two pictures I think are weirdly related in imagery, and use a visual idea to convey partially what my paper will be about. Not just about the fire, but the attitude of 9/11 gave us all a heightened fear and unsafe feeling which is absolutely played out in modern zombie flicks – especially “28 Days” which came out recently after 9/11. Just as our enemies are now so resourceful and destructive they can fly planes into buildings, the modern zombie exhibits similar ‘unstoppable’ feelings to audiences, who can longer imagine the zombie as a slow, docile, weak corpse as Romero’s 1968 “N.O.T.L.D” painted. Zombies, like our enemies, are now something uncanny and unknown, but surely destructive and something to be not only avoided, but feared.

Compare that to imagery from the 1960’s in both cinema and real life. A Nuclear bomb destroys everything, and I believe the slow and somewhat harmless docility of Romero’s zombie’s are reflected in Cold War ideology. Whereas modern zombies are aggressive and forceful, startling and overpoweringly REAL, Romero’s undead served more as a threat to human beings when our guard was let down. Just like politics of the Cold war preached vigilance, it was easier to survive the Zombie apocalypse in the 1960’s because the threat was obvious from far away – you could even outrun a zombie back then which is more than can be said of today. You can outrun a bomb, but deff not a plane.