April 07, 2025

Golf Pencils (Plurality)

The purity of the output rests inherently within the authenticity and sincerity of its intention, rendering its form sacred and untarnished in essence. Thus, even if the manifestation appears distorted or malformed—owing to the constraints imposed by temporal limitations and spatial displacements—its intrinsic purity remains untainted. The genuine intent behind the creation ensures that the output, irrespective of external imperfections or deviations, resonates with an inherent truthfulness, transcending the superficial realm of perfect formality into the profound and enigmatic depths of artistic sincerity.

This philosophical paradigm reflects closely upon the nature of the human eye, an imperfect yet profound instrument through which reality is interpreted. The eye, subject to biological limitations and perceptual distortions, nonetheless remains a sacred vessel of truthful intent—an imperfect yet genuine translator of the external world into the internal realm of understanding.

LYNCH CONNECTION — This notion finds resonance in David Lynch's "Fire Walk With Me," particularly the cryptic airport scene involving the Blue Rose dancing girl clue. In Lynch’s cinematic lexicon, the Blue Rose symbolizes the mysterious intersection of reality and illusion, purity and corruption, intention and misinterpretation. The scene, distorted through layers of symbolic dislocation and temporal ambiguity, embodies precisely the interplay between authentic intention and perceptual malformation. It underscores the essential purity hidden within apparent confusion, pointing toward a deeper truth accessible only through artistic sincerity and esoteric perception.

April 04, 2025

The J. Francis/Kubrick Correspondences - 12.12.1957

J. Francis to Kubrick

December 12, 1957


Stanley—


Sent the piece this morning—pages still stained from the Pacific. I never rewrote it. That feels like the honest way to let it live. 


Let me know if it says anything to you now, or if it just drifts.


—J.

April 03, 2025

The J. Francis/Kubrick Correspondences - 10.03.1957

Kubrick to J. Francis

October 3, 1957


Francis,


The image of smiling to protect others stayed with me. 


I’ve started reading Vonnegut and Ballard again—authors who write the fracture line instead of the story.


I’d very much like to read that original piece on “floating” if you’re willing to share it.


Sincerely,
Stanley

April 02, 2025

The J. Francis/Kubrick Correspondences - 08.06.1957

J. Francis to Kubrick 

August 6, 1957


Stanley—


“Floating” is what command does to memory. You numb to survive. You smile to protect others. Eventually, you forget the difference between pretending and belief.


If you're interested, I’ll send you the original piece where I tried to make sense of it—it's rough, but maybe you'll find something useful.


I’m working on new pieces. If I finish them before the world finishes me, I’ll send them.


—J.

April 01, 2025

The J. Francis/Kubrick Correspondences - 03.28.1957

Kubrick to J. Francis

March 28, 1957


Francis,


Your letter meant more to me than any critic’s praise. Most war films use uniforms as props. You seem to know better.


Tell me more about “the floating.” That line stuck with me like shrapnel.


Sincerely,
Stanley