Jan 16, 2014
Jan 15, 2014
MY LAST NIGHT BABYSITTING
After much wavering and second guessing, I finally bit the bullet and returned to graduate school last fall. I'm sure several of you know how difficult it is to juggle a rigorous PhD program and a full-time job. I was going to need a small source of income, but wanted something that would allow school to be my first priority. As luck would have it, a good friend of mine knew a family in desperate need of a quality babysitter. Their current sitter had recently graduated high school, and was heading out of state for college. Initially, I felt a little odd accepting work as a babysitter - after all, I was in my mid twenties, a PhD student, and engaged to be married. But hell, the hours were flexible, the money was fantastic, and I could anticipate a great deal of solid study hours after the toddler was sleeping soundly.
To be quite honest, it was smooth sailing from the start. The family was overwhelmingly generous with their money, and their three-year-old daughter, Alison, was quite well behaved, even in all her mischievous, toddler glory. Over the next few months, I found myself up there several times a week, mostly relieving the mother, Renee, in the afternoons so she could run errands and catch a coffee break. I occasionally sat on Saturdays, so the parents could enjoy a date night to the movies. I wasn't especially fond of the weekend night shifts, especially because the family lived in a large home, high up in the mountains, surrounded by acres and acres of trees. During the day, their heavily wooded property was serene and majestic, but once darkness fell, it was eerie in its silence. I tried not to pay attention to the rustling of small, forest animals brushing past bushes, or the sharp snapping of tree branches as the wind went about its nightly weaving. Mostly, I just tinkered around on my laptop, or buried my nose in a textbook until I was relieved to go home.
Everything changed this past February. It was an especially cold Saturday evening, and I was due to babysit around 7 that night. Renee's husband Eric was out of town on business, and she was excited to share a night out with girlfriends. Armed with a backpack of heavy reading, I had my fiance, Marc, drop me off on his way to the gym. The night was mellow; heated up some frozen pizza, drew a bath with an embarrassing amount of bubbles and Elmo toys, and had the kid in bed by 8. I had an exam the following Tuesday, and admittedly had a lot of studying to conquer. My fiance arrived around 9:50, about 10 minutes before I was expecting Renee back home. Right at 10:00, and I mean on the nose, we heard footsteps on the wrap-around deck, and noticed Renee making her way to the front door. I remember finding it funny that I had been concentrating so hard, I hadn't even heard her suburban drive up.
Marc and I exchanged a knowing glance as Renee made her way into the living room where we sat. It appeared she might have had one glass of wine too many that evening, because she had this intoxicating, frozen grin on her face. At first, I chalked it up to booze, but when the grin remained, I started to feel uncomfortable, the way an unknown stranger staring from across a restaurant can make you feel. Renee was usually very chatty, perhaps even a bit ditzy, but tonight, her answers were short, but still polite enough. I began to gather my things, as my fiance continued a game of solitaire on his phone.
Renee sat at the oak dining table, that bizarre and unsettling grin still plastered to her face, and wrote me out a check. There was something painfully uncanny about her movements - they were rigid, forced, almost animatronic. By the time we got down to the drive-way, my fiance and I both had baffled looks on our faces. Renee stood in the window, smiling down on us, waving her hand back and forth. I gave a short nod and wave, keeping my eyes on the gravel. That discomfort wasn't letting go. We walked past Renee's silver suburban, taking note of how absolutely dusty it was. Especially strange for someone that seemed to take her car in for a wash at least once a week. I traced my finger across the passenger door absent mindedly, leaving a light coat of soot on the pad of my index finger. The car was filthy, like it had been through the elements.
"Where the hell did she go tonight? Through a sand storm?" I joked.
"Seriously..." Marc trailed off.
"I'm not the only person who found that whole thing weird, right?" I asked, attempting to keep my voice to a whisper.
"Oh, relax. She was probably just tipsy. Her smile, though...." he said, closing the driver's door.
We began our trek down the winding roads, towards, after a long night of babysitting out in the boonies, what I always liked to call,"sweet, sweet civilization".
The drive from their house to the freeway was dark, lined with redwoods and deer, which I usually quite enjoyed. Tonight, it seemed endless. I had this overwhelming, new desire to be on that highway, surrounded by other cars, amongst other drivers and passengers, heading into the city. We drove for what seemed like too long - something wasn't right. I reached for my phone and glanced at the time - we were usually passing the first gas station by now. I pawed at the handle of my purse, for the first time noticing the bag's weight. Ugh. I had totally forgotten my text book. Reluctant to turn around when we had already been driving for so long, I made amends with the fact that I absolutely needed that text if I had any chance at rocking my exam. Marc let out a groan as he swung the wheel, turning back the way we came. Climbing the hill to Renee's house, I saw that the suburban was no longer in the drive-way. She must had moved it into the garage for the night already. As we made our way to the deck, I saw the burgundy spine of my text on the couch through the sliding glass door. I continued on to the front door and knocked three times - no answer. I knocked again, and then tried the door handle - unlocked, as I usually left it while Renee and her husband were out. We made our way into the house, making sure to keep our footsteps quiet.
"Sorry, it's just me; I forgot my book," I said, trying to keep my voice down. My fiance was a few steps behind me, peeking around the corner.
"Her bedroom door is open, but the lights are off." Marc said, a confused look spreading across his face.
"Renee? I asked, a little louder this time, "Renee, it's me, you still awake?"
Silence.
We walked towards the kitchen, and I noticed the answering machine was blinking - I hadn't noticed it before I had left - there hadn't been any phone calls that night.
I'm not exactly sure what compelled me to push 'play' on that recorder, especially when, for all I knew, Renee and Alison were both asleep, and could be rudely awakened. My finger seemed to hover over that button for a mere second, before I pushed it in, rather aggressively. What I heard on that recording has never, ever left me. The time stamp of the message was 10:14 - we had left the house at 5 after 10.
"Hey sweetie, it's Renee. There is some kind of hold up on the highway here; maybe an accident or road work. I'll probably be about a half hour later than expected. I'm so sorry - help yourself to some dessert while you wait. Hope Alison didn't give you too much grief tonight." Her voice sounded cheery, normal...real.
I looked at Marc; my heart sunk, my eyes flooded with tears.
"A....Alison" I managed to sputter.
Marc disappeared up the staircase to Alison's room, taking steps three at a time. After a painfully long minute, he sauntered down the stairs, much slower than he has ascended them.
"She's fine. Sleeping soundly," Marc said, without emotion.
Marc and I found our way to the living room, where we sat without eye contact or conversation until Renee pulled up the drive way. She seemed exhausted, glad to be home and off the congested road. She chattered on about her evening, wrote me a check with a generous tip, thanked me for my patience, and smiled - the kind of smile that seemed absolutely genuine, and slowly faded when socially appropriate.
We stumbled down to our car in a daze, passing Renee's suburban, which still gleamed from a recent trip to the car wash.
I never had the heart to tell Renee what had happened that evening. I also never found the first check from the grinning woman. I ended up canceling my next two shifts, feigning sickness. I finally e-mailed Renee, telling her that my program was getting especially intense, and that I didn't think it best to continuing sitting for them. She bought the story, and now I'm free...free from the darkness that enveloped the home in the mountains, where I once met a woman who wouldn't stop smiling.
Story source.
Jan 14, 2014
THE WANDERING SOUL
Operation Wandering Soul was a propaganda campaign exercised by U.S. Forces during the Vietnam War. The operation played off the belief of many Vietnamese in the "wandering soul":
It is the Vietnamese belief that the dead must be buried in their homeland, or their soul will wander aimlessly in pain and suffering. Vietnamese feel that if a person is improperly buried, then their soul wanders constantly. They can sometimes be contacted on the anniversary of their death and near where they died. Vietnamese honor these dead souls on a holiday when they return to the site where they died.
U.S. engineers spent weeks recording eerie sounds and altered voices - which pretended to be killed Vietcong - for use in the operation, with the intended purpose of instilling a sense of turmoil within the enemy, the desired result being for the soldier to flee his or her position. Helicopters were sometimes employed to broadcast recordings; the voices called on their "descendants" in the Vietcong to defect and cease fighting.
This is fucked up. Wiki.
Jan 12, 2014
Jan 11, 2014
FLED
A Texas family has fled their home after finding some unnerving things in their daily family videos. The videos were being uploaded to YouTube and subscribers were pointing out a being or creature in almost every single family video. These are just two screenshots of the creepiest sightings, out of the many videos. The family has been blurred to protect their privacy.
Now Available:
The world’s oldest celebration comes to life in The End of Summer: Thirteen Tales of Halloween, an anthology that honors the darkest and strangest night of the year. Each story is designed to be intrinsically and intimately about Halloween—its traditions, its myths, and its effects—and they run the gamut from horrifying to heartbreaking. Halloween night is the tapestry through which a haunted house, a monstrous child, a late-night drive to a mysterious destination, and other tales are weaved. Demons are faced, death is defied, and love is tested. And not everyone makes it out alive. The End of Summer has arrived.
Jan 10, 2014
Jan 9, 2014
UNSUNG HORRORS: THE NIGHT LISTENER
Every once in a while, a genuinely great horror movie—one that would rightfully be considered a classic, had it gotten more exposure and love at the box office—makes an appearance. It comes, no one notices, and it goes. But movies like this are important. They need to be treasured and remembered. If intelligent, original horror is supported, then that's what we'll begin to receive, in droves. We need to make these movies a part of the legendary genre we hold so dear. Because these are the unsung horrors. These are the movies that should have been successful, but were instead ignored. They should be rightfully praised for the freshness and intelligence and craft that they have contributed to our genre.
So, better late than never, we’re going to celebrate them now… one at a time.
Dir. Patrick Stettner
2006
Miramax / IFC Films
United States
“You're the kind of guy who needs proof. The hell of it is, we're only as loved as we think we are.”
We so often see “based on a true story” splashed across marketing efforts for genre films being released even today that it’s almost become a cliché. Not helping is that films using this claim have become increasingly absurd to the point that when we see that “true story” disclaimer, we’ve begun to accept it as the complete opposite. Even The Conjuring – a film I admittedly loved – exploited that pledge of authenticity. After all, since Vera Farmiga and Patrick Wilson were playing real people who really existed and who really investigate(d) paranormal phenomenon, I suppose they were right to cover every inch of their trailers and posters with the words “true story.” But when does that become a fair marketing ploy? What makes “it” a true story? That it actually happened, or that someone merely claimed it did?
What if it’s both?
That’s The Night Listener.
Robin Williams plays Gabriel Noone, a celebrated author and host of a late-night radio show called Noone at Night. Things aren’t going so well for him, as he’s currently separated from his longtime partner Jess (the always wonderful Bobby Canavale) and this separation is severely affecting his ability to continue on with his show. Instead, he dives headfirst into his work, trying to find something to distract him. Ashe (Joe Morton), a literary publisher and friend of Gabriel's, gives him a raw, unpublished manuscript; written by a teenage boy named Pete (Rory Culkin), it is a recounting of the disgusting abuse he suffered at the hands of his biological parents – his being forced to “star” in dozens of videos in which he was raped by friends of his parents. Riddled with disease following his abuse, Pete only has a couple months left to live, and in the meantime has been adopted by his social worker, Donna Logand (Toni Collete). Gabriel and Pete share an unlikely but sweet bond. Gabriel offers fatherly advice when he can, and Pete describes his day-to-day trials and tribulations of his hospital life. The two trade letters and phone calls, (ahem...Playboys), and talk smack on each other – just how friends would. Gabriel even receives a photo of Pete in a red sweater and simple bluejeans, finally giving a face to the name.
After Gabriel corresponds regularly with Pete and Donna on the phone for over a year – a year! – Jess hears Donna and Pete talk over speakerphone and plants a seed in Gabriel’s head that sets The Night Listener’s events in motion: Jess is pretty confident that Pete and Donna are the same person – that Donna is fucking with Gabriel’s mind, going at great lengths to convince him that Pete is real. Gabriel becomes obsessed with discovering the truth: if Pete Logand actually exists, or if Gabriel is one of the many victims of a psychologically unstable charlatan desperate for attention and trying to escape a history of abuse that perhaps did happen after all.
There are dozens of people who know them.
Doctors. There's a nurse who comes and stays at the house.
What about the photo?
There's ways to prove this...
Echoing what I said in my Unsung Horrors write-up for Insomnia, I love it when Robin Williams goes serious. With that, this, and One Hour Photo, Williams has consistently proven he can do dark drama just as easily as comedy (and far better). I wish I knew what it was about him as a performer that allows him to carefully shed the manic screwball persona he's had since the days of "Mork & Mindy" so I could more ably analyze what it is about him I love, but I've got nothing. The guy just is – he's just as at-home bouncing off the walls and doing his army of weird (kinda stupid) voices as he is using just his eyes and his sad smile to convey a hundred different emotions at once. He's so good, and perhaps underrated, though thankfully filmmakers keep giving him the chance to defy convention and go for the throat. It's resulted in one much deserved Oscar for the actor already (for Good Will Hunting).
It's difficult to applaud young Rory for his role as Pete, as he hardly ever appears on screen. Because of the whole "is he/isn't he real?" approach, it was wise to limit his physical appearance, except in scenes in which he is corresponding with Gabriel over the phone, and Gabriel is using his imagination to fill in the gaps and paint this picture of Pete he's attempting to assemble using random bits of information gleamed from their conversations. Most of his "presence" is his voice on the phone, and the filmmakers do a great job of switching back and forth between Culkin and Toni Collete, making us unsure as to who is who, and when.
The Night Listener, however, is Toni Collete's film. She really is a powerhouse here – one minute she has our every sympathy, and the next we can't stand seeing how far she's willing to perpetuate her lie; at times we're nearly demanding the truth because we just can't take it anymore. "You've got a fucking lie for everything," Gabriel even tells Donna in an ugly confrontation. If it is a very unglamorous role. Her clothes are too big and her hair is greasy. Her "blind look," consisting of thick sunglasses, foggy blue contact lenses, and unkempt appearance create the look of a shut-in – one who never ventures out except to visit her normal stops and collect the sympathies of the folks in town who know her. She spends most of her role asking for and inviting this sympathy, but when she wants to be scary, she can be scary. I'll point to the scene towards the end in which Donna teases Gabriel with the "ending" his story requires and lures him to a motel – this after after she's emptied her Wisconsin house and moved, unable to be found. As he cowers in a dark corner and watches her leave, she slowly turns to look – look – at him out of the corner of her eye, as planes at the nearby airport scream in the background.
Chills every time.
Besides for “based on a true story,” another oft-overused and sometimes completely inappropriate phrase that inundates genre film marketing, once a critic utters the magic words, are “a Hitchcockian thriller.” If said phrase were reserved for actual students of Hitchcock, like Brian De Palma, or Richard Franklin, it could be forgiven. I think critics sometime forget that Hitchcock wasn’t just a storyteller, but a pretty renowned and stylistic director, too, which means it’s nonsense to describe any film that has a mystery as “Hitchcockian.” Cases involving mistaken identity, femme fatales, or quirky and potentially dangerous leads are hallmarks of Hitchcock filmography, let’s not shit ourselves, but that still doesn’t give you the right to label any old thing with the master’s name. Just because you can locate the most tenuous connection between a modern film’s gimmick and tie it back to that same trope once utilized by Hitchcock himself – sorry – that doesn’t suddenly mean the new Liam Neeson film in which he tears across Berlin kicking ass and trying to remember his name is a Hitchcockian thriller.
Even when filmmakers subject audiences to a story not as compelling as it should be, I am always struck much more by said filmmakers’ abilities to successfully channel the look and feel of a Hitchcock film. De Palma, no matter how outlandish his films have become, has this down in spades. He likely created the ultimate homage to Hitchcock with his 1992 film Raising Cain, turning John Lithgow into a psycho long before "Dexter" ever did. The Night Listener director Patrick Stettner seems a student of Hitchcock, but perhaps in less an obvious way. I love that a film with so much character interaction is still experienced solely through Gabriel's eyes and brought to life through his imagination. When Gabriel pictures Pete during a phone call, the boy is wearing the red sweater and bluejeans he's also wearing in his photo. And the first time Gabriel speaks to Donna, she doesn't have a face until Pete jokes that he's "got a thing for redheads" – and that's when we first see Donna, red hair and all. It's subtle, but effective if you realize the trick.
Every inch of The Night Listener is drenched in cold and pale tones. Effortlessly, it ups the bleak quotient and decreases any feelings of hope or joy. Pretty appropriate for a film in which not just Gabriel, and not just Gabriel's friends, but even a small Wisconsin town all fall victim to the lies of a deeply troubled woman. And every single one of them were in a small way guilty of helping to spread the lies and bring them legitimacy. It's interesting in that it forces us to take a step back and consider just how many things we hear on a day-to-day basis are actually falsities – either big or small – and how often we repeat them without actually knowing the truth.
So, better late than never, we’re going to celebrate them now… one at a time.
Dir. Patrick Stettner2006
Miramax / IFC Films
United States
“You're the kind of guy who needs proof. The hell of it is, we're only as loved as we think we are.”
We so often see “based on a true story” splashed across marketing efforts for genre films being released even today that it’s almost become a cliché. Not helping is that films using this claim have become increasingly absurd to the point that when we see that “true story” disclaimer, we’ve begun to accept it as the complete opposite. Even The Conjuring – a film I admittedly loved – exploited that pledge of authenticity. After all, since Vera Farmiga and Patrick Wilson were playing real people who really existed and who really investigate(d) paranormal phenomenon, I suppose they were right to cover every inch of their trailers and posters with the words “true story.” But when does that become a fair marketing ploy? What makes “it” a true story? That it actually happened, or that someone merely claimed it did?
What if it’s both?
That’s The Night Listener.
Robin Williams plays Gabriel Noone, a celebrated author and host of a late-night radio show called Noone at Night. Things aren’t going so well for him, as he’s currently separated from his longtime partner Jess (the always wonderful Bobby Canavale) and this separation is severely affecting his ability to continue on with his show. Instead, he dives headfirst into his work, trying to find something to distract him. Ashe (Joe Morton), a literary publisher and friend of Gabriel's, gives him a raw, unpublished manuscript; written by a teenage boy named Pete (Rory Culkin), it is a recounting of the disgusting abuse he suffered at the hands of his biological parents – his being forced to “star” in dozens of videos in which he was raped by friends of his parents. Riddled with disease following his abuse, Pete only has a couple months left to live, and in the meantime has been adopted by his social worker, Donna Logand (Toni Collete). Gabriel and Pete share an unlikely but sweet bond. Gabriel offers fatherly advice when he can, and Pete describes his day-to-day trials and tribulations of his hospital life. The two trade letters and phone calls, (ahem...Playboys), and talk smack on each other – just how friends would. Gabriel even receives a photo of Pete in a red sweater and simple bluejeans, finally giving a face to the name.
After Gabriel corresponds regularly with Pete and Donna on the phone for over a year – a year! – Jess hears Donna and Pete talk over speakerphone and plants a seed in Gabriel’s head that sets The Night Listener’s events in motion: Jess is pretty confident that Pete and Donna are the same person – that Donna is fucking with Gabriel’s mind, going at great lengths to convince him that Pete is real. Gabriel becomes obsessed with discovering the truth: if Pete Logand actually exists, or if Gabriel is one of the many victims of a psychologically unstable charlatan desperate for attention and trying to escape a history of abuse that perhaps did happen after all.
There are dozens of people who know them.
Who?
You've only been told that.
It could be anybody.
Echoing what I said in my Unsung Horrors write-up for Insomnia, I love it when Robin Williams goes serious. With that, this, and One Hour Photo, Williams has consistently proven he can do dark drama just as easily as comedy (and far better). I wish I knew what it was about him as a performer that allows him to carefully shed the manic screwball persona he's had since the days of "Mork & Mindy" so I could more ably analyze what it is about him I love, but I've got nothing. The guy just is – he's just as at-home bouncing off the walls and doing his army of weird (kinda stupid) voices as he is using just his eyes and his sad smile to convey a hundred different emotions at once. He's so good, and perhaps underrated, though thankfully filmmakers keep giving him the chance to defy convention and go for the throat. It's resulted in one much deserved Oscar for the actor already (for Good Will Hunting).
It's difficult to applaud young Rory for his role as Pete, as he hardly ever appears on screen. Because of the whole "is he/isn't he real?" approach, it was wise to limit his physical appearance, except in scenes in which he is corresponding with Gabriel over the phone, and Gabriel is using his imagination to fill in the gaps and paint this picture of Pete he's attempting to assemble using random bits of information gleamed from their conversations. Most of his "presence" is his voice on the phone, and the filmmakers do a great job of switching back and forth between Culkin and Toni Collete, making us unsure as to who is who, and when.
The Night Listener, however, is Toni Collete's film. She really is a powerhouse here – one minute she has our every sympathy, and the next we can't stand seeing how far she's willing to perpetuate her lie; at times we're nearly demanding the truth because we just can't take it anymore. "You've got a fucking lie for everything," Gabriel even tells Donna in an ugly confrontation. If it is a very unglamorous role. Her clothes are too big and her hair is greasy. Her "blind look," consisting of thick sunglasses, foggy blue contact lenses, and unkempt appearance create the look of a shut-in – one who never ventures out except to visit her normal stops and collect the sympathies of the folks in town who know her. She spends most of her role asking for and inviting this sympathy, but when she wants to be scary, she can be scary. I'll point to the scene towards the end in which Donna teases Gabriel with the "ending" his story requires and lures him to a motel – this after after she's emptied her Wisconsin house and moved, unable to be found. As he cowers in a dark corner and watches her leave, she slowly turns to look – look – at him out of the corner of her eye, as planes at the nearby airport scream in the background.
Chills every time.
Besides for “based on a true story,” another oft-overused and sometimes completely inappropriate phrase that inundates genre film marketing, once a critic utters the magic words, are “a Hitchcockian thriller.” If said phrase were reserved for actual students of Hitchcock, like Brian De Palma, or Richard Franklin, it could be forgiven. I think critics sometime forget that Hitchcock wasn’t just a storyteller, but a pretty renowned and stylistic director, too, which means it’s nonsense to describe any film that has a mystery as “Hitchcockian.” Cases involving mistaken identity, femme fatales, or quirky and potentially dangerous leads are hallmarks of Hitchcock filmography, let’s not shit ourselves, but that still doesn’t give you the right to label any old thing with the master’s name. Just because you can locate the most tenuous connection between a modern film’s gimmick and tie it back to that same trope once utilized by Hitchcock himself – sorry – that doesn’t suddenly mean the new Liam Neeson film in which he tears across Berlin kicking ass and trying to remember his name is a Hitchcockian thriller.
Even when filmmakers subject audiences to a story not as compelling as it should be, I am always struck much more by said filmmakers’ abilities to successfully channel the look and feel of a Hitchcock film. De Palma, no matter how outlandish his films have become, has this down in spades. He likely created the ultimate homage to Hitchcock with his 1992 film Raising Cain, turning John Lithgow into a psycho long before "Dexter" ever did. The Night Listener director Patrick Stettner seems a student of Hitchcock, but perhaps in less an obvious way. I love that a film with so much character interaction is still experienced solely through Gabriel's eyes and brought to life through his imagination. When Gabriel pictures Pete during a phone call, the boy is wearing the red sweater and bluejeans he's also wearing in his photo. And the first time Gabriel speaks to Donna, she doesn't have a face until Pete jokes that he's "got a thing for redheads" – and that's when we first see Donna, red hair and all. It's subtle, but effective if you realize the trick.
Every inch of The Night Listener is drenched in cold and pale tones. Effortlessly, it ups the bleak quotient and decreases any feelings of hope or joy. Pretty appropriate for a film in which not just Gabriel, and not just Gabriel's friends, but even a small Wisconsin town all fall victim to the lies of a deeply troubled woman. And every single one of them were in a small way guilty of helping to spread the lies and bring them legitimacy. It's interesting in that it forces us to take a step back and consider just how many things we hear on a day-to-day basis are actually falsities – either big or small – and how often we repeat them without actually knowing the truth.
The Night Listener is about escapism, and what we're willing to do and say – to ourselves and to each other – to perpetuate a lie and try to make things less unbearable. Jess confronts Gabriel in the film and demands he tell him where the couple were when Jess told Gabriel he was HIV-positive. Gabriel responds, "in the park in front of the guys playing drums." The real place was a crummy diner somewhere in the city. But Gabriel's version was more romantic, and it reads better on paper. A white lie, perhaps, but a lie all the same. Perhaps more telling, there's a scene on the plane while Gabriel is flying out to give Pete and Donna a surprise visit – fed up with the excuses being lobbed his way about why his previous invitation to visit them is being constantly rain-checked. Gabriel's seat mate on the plane asks him the purpose of his visit. Gabriel responds he's flying out to visit family: his son. Because he needs this. Now that Jess needs Gabriel a little less, Gabriel needs this idea of a new family more. It's no longer fact-checking the events of a pretty horrifying book – it's yearning for family, and not wanting to believe that's the last thing waiting for him at the airline's departure gate.
We tell lies because they're preferable to the truth, but sometimes we tell lies because the truth is just too painful to endure. We all wish we could live in the fantasy world we create for ourselves perhaps for only minute at a time – where the person for whom we pine wants us just as much, or the struggles we daily face are no longer existent. While nearly none of us are willing to hold onto lies and bring them to artificial life like Donna Logand, the only thing stopping us is a lack of conviction and the imagination to do so. And that's kind of scary.
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