Autumn is the tragedy of fruit;
The theatre of bulbous bearing
And wreaths bound by lazy vines
Where all the daze swivels about
The honey-dipped cotton clouds;
The satin sky that seeds the clay
With the sagging boughs of yesterday,
The maze of trees tiring to weigh
The burden of the thunderclouds,
Plop! The waft of o’er sweet cherry-red
Slipping across the nodding grass,
Across the garden overgrown and
Towards the forgotten water-pipe.
Then the branches come to bare,
And the prankster waits his turn
To nip the buds and children’s noses
But for now sits across the garden wall
Licking moonbeams off his fingertips.
Autumn is the hero of excess,
The damsel in distress;
Autumn cracks and autumn sighs,
Autumn’s boon is autumn’s cry;
Autumn is the weight of childless homes,
Autumn waits till autumn turns cold.



Political Correctness: An Ideological Polemic

Let me begin with an incision into one of my favourite TV shows simply to assure myself of my impartiality or lack thereof. I still believe, even at the end of my reading of the ideology that operates within the bounds of the cultural production and its relation to political correctness, that Scrubs remains one of my favourite TV shows simply for thematic and  formal reasons. The problem for Scrubs, in the first decade of the new millennium, was that it had to come to terms with the increasing social pressures of diversity mediated through production houses and a form of comedy that is, in its accents and style, a product of a dominantly white industry. My argument is that even when Scrubs successfully navigates through these ideological oppositions (in fact, especially when it does) it fails to attain that elusive tag of cultural multiplicity for me even as we fallaciously attach it to certain TV shows in the current decade. It is all the more troubling that cultural representation in American Television has not really received the impetus we think it has in the last seventeen years. Read More