The mermaid, curiously, is one of those mythological figures that remind us of the occasional moments of genuine “universality” in human experience.

All around the world, she recurs in myths, folktales, poems, and legends, fully formed, always complex, and profoundly assertive of the feminine force in the world.

Jessica Lee Alton, in her poem, “Tipping the Scales,” gently guides us towards the unveiling of her version of the mermaid — petulant, dangerous, powerful, seductive, and defiantly mysterious.

Tipping the Scales
By Jessica Lee Alton

She smokes in your face just to be like that
Never wants to give you free advice
Asks for a dollar, a drink, a ride home
Twirls a wet lock around her thumb
Pulls out her fin just so she can trip you
Can’t hide that smell, razor blades, salt shakers
She wants your love, grants nothing in return
Can’t control her voracious appetite
ingesting friends like trinkets-baubles-spoons
Tries to pull you in with her siren song
Lips move-no sound-broken karaoke
You strain to listen, end up in her mouth
She swims you with the salmon south then north
Drops you at a gas station dumbfounded
Steals your car drunk splashes water at the moon
As you walk, you wonder how she drives
with that scaly turquoise mercurial tail


American Life in Poetry does not accept unsolicited manuscripts. It is made possible by The Poetry Foundation, publisher of Poetry magazine. It is also supported by the Department of English at the University of Nebraska-Lincoln. Poem copyright ©2021 by Jessica Lee Alton, “Tipping the Scales” from Ripe Literary Journal, Issue 01, October 2021. Poem reprinted by permission of the author and the publisher. Introduction copyright ©2022 by The Poetry Foundation. The introduction’s author, Kwame Dawes, is George W. Holmes Professor of English and Glenna Luschei Editor of Prairie Schooner at the University of Nebraska.

The James Bond film franchise celebrates its 60th anniversary this year. Hard to believe that it was so long ago when President Kennedy, an avid fan of Ian Fleming’s Bond novels, was in office for the debut in 1962 of “Dr. No,” starring Sean Connery.

“The Sound of 007” is an impressive feature documentary on Amazon Prime Video that pulls back the curtain on the remarkable history of six decades of James Bond music.

Viewers are taken on a journey from Sean Connery’s “Dr. No” through Daniel Craig’s final outing in “No Time to Die.” Billie Eilish, who performed the song in Craig’s last Bond film, opines that “Bond music is the most iconic thing on the planet.”

Over the course of the twenty-five Eon Productions franchise the range of singers has been quite remarkable, and though it is hard to argue that no one did it better than Shirley Bassey.

Dare to listen to Shirley Bassey belt out the theme songs for “Goldfinger” and “Diamonds are Forever” and then try to form a coherent case that she was not the absolutely greatest of them all.

Interestingly, while Bassey was the only person to sing three Bond theme songs, she claims the last one for “Moonraker” did not work, and that she hated it and would not sing it in any of her acts.

A strong runner-up would have to be Paul McCartney, who composed and sang the song “Live and Let Die.” McCartney recounts how he read the Ian Fleming novel and wrote the song in the same afternoon.

Sam Mendes, director of “Skyfall” and “Spectre,” observes most perfectly that “everyone goes into every Bond movie waiting for the most famous piece of music in film history.”

That reference, of course, is to John Barry, who composed the scores for eleven Bond films, as well as re-arranging and performing the iconic “James Bond Theme” in “Dr. No,” even though Monty Norman wrote the signature theme song.

Seemingly unrelated to the Bond films is the story about actors Terence Stamp and Michael Caine being roommates, and there was “a little too much female traffic going in and out of the flat, and Caine was tossed out,” except Caine had a brief stay at John Barry’s apartment.

“No Time to Die” composer Hans Zimmer summed up the appeal of the Bond music, noting that “there’s a seductive quality in all the songs.”

THRILLER MOVIES ON LIFETIME

Lifetime continues on in late October with its “Ripped from the Headlines” movies that are thrillers inspired by true events that expose criminal stories or dive into current events.

“Swindler Seduction” features Colton Haynes (“Arrow” and “Teen Wolf”) in a dual role of crooked twin brothers who are romantic con artists earning their living off women who they fool and steal from.

When Louisa (Gabrielle Graham) meets handsome and sweet Steve (Colton Haynes) at a bar in Chicago, he seems like the perfect guy – an angel investor and entrepreneur who just sold a company for millions.

Forty-eight blissful, sexy hours and countless lies later, Steve disappears, and Louisa realizes she’s been swindled out of thousands of dollars. The police won’t help her but after Louisa finds out she’s pregnant, she sets out to track down the runaway lover.

She discovers that Steve has an identical twin in Mitch, who is also a con artist. As she digs deeper, Louisa uncovers how women have been hurt by the swindler twins and decides she must fight back.

Using her wits, courage and determination to not be fooled again, Louisa tries to outsmart the evil twins and serve justice for all their jilted and duped victims.

The short-form special “Beyond the Headlines: Swindler Seduction” explores the phenomenon of evil and criminal twins and the environmental and genetic circumstances that can lead twin siblings to a life of crime.

As part of this special, a forensic psychologist deconstructs and analyzes a true crime case of identical twin sisters who turned on each other.

“An Amish Sin” explores the Amish world that has always fascinated outsiders with its insular community and 18th century lifestyle that shuns the temptations of modernity.

But all is not as wholesome as it seems. Inspired by true stories, “An Amish Sin” follows Rachel (Dylan Ratzlaff), an Amish teen who refuses to obey her parents’ command that she marry the man who abused her as a child.

When she attempts to run away, Rachel is caught and sent to a “rehab” for Amish girls who don’t follow the rules. Managing to escape from the facility, she makes her way to a neighboring city where she has to learn to live and find her place in our world.

Kellie Martin also stars as Rachel’s mother Sara and Rukiya Bernard is in the role of Grace, who befriends Rachel when she leaves the Amish community.

“Beyond the Headlines: An Amish Sin” talks to real women who have left the Amish sect, how they got out and what their lives are like today.

Tim Riley writes film and television reviews for Lake County News.

In “Beachcomber Nocturne”, Lupita Eyde-Tucker beautifully wrestles with the complex relationship that we sometimes have with nature, by first acknowledging that there is a strange colonizing impulse behind the manner in which we apprehend and love the natural world, by seeing it in our own image.

Her awe, however, is also captured elegantly in her sense of helplessness as a witness and a creature of this grand design.

For some reason, I find myself coming back to the phrase, “the ocean’s purple evening,” so I consider the poem yet another of those “odd gifts” the world offers us.

Beachcomber Nocturne
By Lupita Eyde-Tucker
Pink seafoam leaves odd gifts for me to find:
a puffed-up man-o-war, a mermaid’s purse,

empty lady slippers, Sargasso weed,
as if these things could fill my human needs.

I push my toes beneath the cold, damp sand,
observe the ocean’s purple evening.

A loggerhead rides up and heaves her bulk
to dig a hole, deposit future in the dark.

Until she’s done and slips back out to sea
I sit and match her labored breath to mine.

This sea: a Chevy engine revving high
reminding me how everything’s design.

American Life in Poetry does not accept unsolicited manuscripts. It is made possible by The Poetry Foundation, publisher of Poetry magazine. It is also supported by the Department of English at the University of Nebraska-Lincoln. Poem copyright ©2022 by Lupita Eyde-Tucker, “Beachcomber Nocturne” from Jet Fuel Review, Issue #23, Spring 2022. Poem reprinted by permission of the author and the publisher. Introduction copyright ©2022 by The Poetry Foundation. The introduction’s author, Kwame Dawes, is George W. Holmes Professor of English and Glenna Luschei Editor of Prairie Schooner at the University of Nebraska.

‘LYLE, LYLE, CROCODILE’ Rated PG

Based on the popular children’s book series about a crocodile living in New York City, “Lyle, Lyle, Crocodile” is a natural for family-friendly entertainment that seems increasingly to be in short supply.

The Bernard Waber best-seller seemed right to turn into a musical comedy at the hands of screenwriter Will Davies (“How to Train Your Dragon”) for a film directed by the team of Will Speck and Josh Gordon (“Office Christmas Party” comedy).

Javier Bardem’s Hector P. Valenti, a low-rent magician trying to get his shot in the entertainment business by appearing on a televised talent show, showcases an animal magic act that fails miserably.

Searching for a new angle, he stumbles upon a baby crocodile in the rear of an exotic pet shop and is stunned by the animal’s singing talent. Dollar signs light up his eyes, thinking he’s found the golden ticket.

Hector doesn’t account for stage fright happening to a reptile, and when Lyle the crocodile reaches full size he ends up living in the attic of a Manhattan brownstone apartment building.

Hector takes off on a road trip, leaving Lyle behind.
When the Primm family moves to New York City, adjustments need to be made to big city living, but nothing proves more startling than the encounter with a crocodile in the attic.

Taking second place for a surprise is the Primms’ most unneighborly new neighbor Mr. Grumps (Brett Gelman), who lives alone with a cat suffering from irritable bowel syndrome and takes it upon himself to enforce HOA rules as if he were a member of the Stasi.

Scoot McNairy and Constance Wu are the parents, and young son Josh (Winslow Fegley) struggles to adapt to his new school and make new friends. That changes when he discovers the singing crocodile (voiced by Shawn Mendes) who enjoys bubble baths and caviar.

Josh bonds with Lyle and they go on evening forays for dumpster diving because the crocodile has an appetite to match his size. Even the neighbor’s cat Loretta joins these outings.

At first alarmed by Lyle’s presence, Josh’s parents soon become as fond of their new reptilian friend, and since this kind of movie needs a heartwarming tale, a certain fate awaits Lyle when the city officials start poking around.

Never fear, however, that a film like “Lyle, Lyle, Crocodile” which is geared primarily to kids, fails to reach a satisfactory conclusion. Even adults in tow with the young ones should find amusement with the antics of the charming reptile and the spoiled feline.

‘THE BAT’ BLU-RAY AND DVD RELEASE

Arguably, the fallout of the pandemic continues to impact the quality of films being released. Maybe, it’s just me but nostalgia is taking hold to revisit vintage cinema that is often the staple of Turner Classic Movies.

What could be more classic that Vincent Price, an actor in television and radio, but also acclaimed for stage performances and whose first film role was the leading man in a comedy? And yet, his career is mostly defined for gothic horror films.

On Oct. 25, The Film Detective, a classic film restoration and streaming company, will release the 1959 horror classic, “The Bat,” on special-edition Blu-ray and DVD.

Famous mystery writer Cornelia van Gorder (Agnes Moorehead) has rented a downtrodden country estate called “The Oaks,” owned by banker John Fleming (Harvey Stephens) who has embezzled a considerable sum of money.

A series of gruesome murders have taken place in the mansion by a mysterious criminal known as “The Bat.” Vincent Price’s Dr. Malcolm Wells figures into the picture because of his friendship with the banker.

Fleming confides in his friend the good doctor about the ill-gotten gains of one million dollars in bonds that are hidden in the family mansion and offers to share the loot upon help in faking his death.

Taking up residence in the mansion shared with a bunch of other guests, Dr. Wells will search for the hiding place, and then the predator with steel claws shows up to rip his victims to shreds. Who is this villain that goes on a killing spree?

Was it the butler? No, that’s too easy and simple, even though he comes under suspicion. What we get is an impressive gallery of weirdos who are guaranteed to give you the creeps. Which of them is the mysterious killer? That’s for you to find out.

The beauty of this release of “The Bat” is the restoration of a pristine print from original 35mm archival elements and the host of bonus features that fans have come to expect.

Notably, the release includes nine archival radio re-broadcasts featuring the iconic Vincent Price in everything from the popular radio drama “Suspense” to a comedic performance for CBS Radio Workshop in “Speaking of Cinderella.”

Bonus features of “The Bat” includes a full-color booklet with an essay, “The Case of the Forgotten Author,” by professor and film scholar Jason A. Ney, and an all-new, original production, “The Case for Crane Wilbur,” the writer and director of “The Bat.”

Tim Riley writes film and television reviews for Lake County News.

MIDDLETOWN, Calif. — Middletown Art Center invites the public to its 47th exhibit opening, “Belonging,” Saturday, Oct. 15, from 6 to 8 p.m.

Come see the new display, enjoy the work and meet the artists.

During the opening, visitors can participate in collaborative art making that expresses a sense of belonging to place and to Lake County’s arts and culture community.

Belonging is a deep and primal need to feel a part of something larger than ourselves, be it family, tribe, religion, culture, gender identity or place.

Feelings around belonging and/or alienation are central to the human experience and a core part of our ability to thrive.

Without a sense of belonging, we are apt to drift into despair and, as we often see in the animal kingdom, perish.

Both familiar and new local and regional artists including several Native American artists who participated in MAC’s most recent show, “Earth, Sky, and Everything In Between,” are featured in the new exhibit.

Their work speaks to belonging in multiple ways and is sometimes edgy, sometimes romantic, cultural, gender-based, place-based or formal.

“Questions and notions around the sense of belonging underscored MAC’s year-long cross-cultural ‘Weaving Baskets, Weaving Bridges’ project through weaving workshops, stories, and conversations about roots, cultural identity, historical trauma, and otherness with Native American cultural educators and artists,” said MAC’s artistic director Lisa Kaplan. “Belonging organically emerged as the theme for our next show.”

As Brenee Brown wrote in her book “Braving the Wilderness: The Quest for True Belonging and the Courage to Stand Alone,” “True belonging is not passive. It’s a practice that requires us to be vulnerable, get uncomfortable, and learn how to be present with people without sacrificing who we are.”

“Belonging” will be on view through Jan. 8, Thursday through Monday, 10:30 a.m. to 5 p.m., or by appointment. It’s free to the public.

A virtual tour will be available by the end of October on MAC’s website.

MAC is located at 21456 State Highway 175 at the junction of Highway 29 in Middletown.

To find out more about “Belonging” and other programs, events, arts and cultural engagement opportunities, and ways to support the MAC’s efforts to weave the arts and culture into the fabric of life in Lake County, visit www.middletownartcenter.org or call 707-809-8118.

Victoria Chang has an uncanny capacity to contain, in the compact machine of a well-honed poem, so much emotion and meaning.

She explores such a core element of what connects us as human beings — the capacity to remember and to forget.

“Homecoming” proposes, convincingly, that our earliest memories are likely owned by our mothers, and their deaths end an elemental story inside of us.

Homecoming
By Victoria Chang

The birds come back
but they don't tell us stories.
Their wings remember nothing,
are never knowledge.
We don't remember our birth,
when a mother dies, it's gone.


American Life in Poetry does not accept unsolicited manuscripts. It is made possible by The Poetry Foundation, publisher of Poetry magazine. It is also supported by the Department of English at the University of Nebraska-Lincoln. Poem copyright ©2021 by Victoria Chang, “Homecoming” from The Trees Remember Everything (Copper Canyon Press, 2022). Poem reprinted by permission of the author and the publisher. Introduction copyright ©2022 by The Poetry Foundation. The introduction’s author, Kwame Dawes, is George W. Holmes Professor of English and Glenna Luschei Editor of Prairie Schooner at the University of Nebraska.