three things:
The facebook photo that was censored was the wesselman nude below, a female wesslman
from the mid 60s has gone a few days wtih no comment.

the brave one is too polite, too well acted, to much about making love, too well shot, too obsessively middle class, to be pulp, but how does one remake deathwish with such delicacy? starting with a comment about how the cleaning of cities, the gentryfying of cities is killing them, the rest of the 2 hours seems to be an apologetic for new new york, which is made stranger, when one looks meta-contextually at the rest of foster's career, esp. the accused, with the court room scenes (absent here) and taxi driver. that said, terrance howard is excellent as a good cop. (the only suprising thing in the film) (also jodie foster is aging really well) (one of the reasons why i think that tarintno is still a vital film maker is that he refuses to make clean or neat, the implications, aesthetics, politics, and sexuality of pulp, but still deranges and deconstructs it--there is an essay to be written in the victim narratives of the nominally liberal foster and the nominally liberatain tarintino)

one more poetry book, a fascinating anthology of nightengale poems edited by richard howard, not only idnicating the history of a trope and lciche from the 14th century on, but with some great examples by two dozen poets, including a heine sonnet, adn a long sequence by clare, which combines the best lyrical romanticism with a hard edged, close to the ground, field study observational energy...what you see as a thread thruout the selection, is how poets claim, reclaim, and disclaim cliches, with a certain reductive obsession. (23)