火、水、木は時間に正確なバスで出勤しているが、今朝は珍しく３分延着した。この辺のバスは比較的定時運行しているので当てにできる。
駅までの直線距離は一キロを僅に越える位なので歩いて当然なのだが会社の通勤費規定が一キロ以上となっていてバス代を頂いている。歩いていて事故など起こすとしみったれでみっともない。それで朝はバスに乗っている。帰りは“ときわ”などに引っかかることにしているので歩いております。
歩かねば芭蕉になれず木下闇(吉田未灰)
バスを降りて交番の前を通る。立哨中のお巡りさんに一礼した。
事件はすべての関係者にとって悲劇
だ。
寒雷に若き巡査が照らされて孤独に耐える深夜の交番(飯島幹也)
https://blogs.yahoo.co.jp/nprtheeconomist/6309388.html
We need to talk about Kevin, Oct 22nd 2011 P95 N5P75? (映画評論)
What is more taboo than a woman who is repulsed by her own child? This is the genius of ゛We Need to Talk About Kevin゛, a remarkable novel from Lionel Shriver (a former literary critic for this paper), which considers the life of a reluctant mother after her teenage son commits mass murder. The story unfurls as a stream of letters from Eva Khatchadourian to her husband as she retraces the steps of their lives together - the happy marriage that morphs into a toxic family, and the haunting event that casts everything in shadow. Yet even as Eva recounts evidence of her son's malevolence at a young age, the reader is left with a galling question： would Kevin have fared better if his mother loved him more?
It takes courage to adapt an epistolary novel for the screen, particularly one as psychologically complex as this one. Yet Lynne Ramsay's film of the same name, starring Tilda Swinton as Eva, is excellent. The gift of this version is its visual rendering of Eva's claustrophobic thoughts. With a minimalist screenplay written with Rory Kinnear, Ms Ramsay translates Eva's clot of dark and messy words into a collage of evocative and mostly wordless scenes. These vignettes shift from the present - Eva living as a social pariah, a husk of her former self - to the past, and are jumbled with non-chronology of memory. As in the book, Kevin's big, violent moment is left until the end, but the bloody fact of it infects everything that comes before.
Still, something is lost in witnessing Kevin in the flesh instead of through Eva's unrealiable recollections. In the novel, Eva perceives her son's cruelty from the start, though it goes unseen by his doting father Franklin (played here by John C. Reilly everyone's favourite pushover). Onscreen, Kevin is quite obviously malicious, first as a nasty little boy and then as a spiteful, ink-eyed teenager. As the latter Kevin, Ezra Miller seethes with ruthlessness, his face impenetrable. Yet he is also distractingly attractive, with cheekbones any starlet would covet, making him an awkward choice for such an enigmatic role.
This is not a problem that affects Ms Swinton, who carries this film. Not unlike a praying mantis, her odd and otherworldly beauty takes time to notice. Her face, powerful in its spareness, register emotion with subtle ticks and readjustments. As Eva, she conveys the desolution of life made meaningless, first by the lonely challenges of motherhood, then by tragedy. Driving in her car to the chirpy strains of Buddy Holly's ゛Every day seems a little longer゛, her ghost-eyed stare keeps us locked in her nightmare.
ガラホとiPhoneを持ち歩かなくてはならない。それは仕方がないが、電源ケーブルを二本もって歩くのがイヤになりスペアーをうちに置くことにした。出費二千二百円！
携帯でつながっている春夕べ(田口茉於)
の食卓ニュース葛飾区の新小岩の辺りの小学校でプールの準備していた教員が塩素の取扱いを過って軽傷を負った。
「先生も大変ね。朝の７時半から準備してたんだって！」
「成り手が居なくなるな。それに猫の方がよっぽど可愛い。」友達の流れてこないプールかな(宮本佳世乃)
Behavioural biometrics － The way you walk The Economist May 25th 2019 歩行特性その他動作測定による生体認証
を読み終わりました。
歩き方、キーボードの押し方、携帯のしまい場所などが情報として蓄積されて、この蓄積情報で成りすまし詐欺を防ぐそうだ。これは善い使い方で悪い使い方も勿論たくさんあるそうです。
善悪の玉の浮世の狸汁(上村占魚)
