“you don’t disappear”
Good Friday, March 30, 2018, 7pm-9pm
The Chapel at First Presbyterian Church Seattle
With Serrah Russell, Barry Johnson, Naima Lowe & Hanita Schwartz
The End of the Future is a series of hybrid nonfiction works that documents my reckoning with the real loss of imagined futures. The first of these slim, stand-alone volumes is Zombie: A Memoir. I’m presently seeking publication for Zombie while I wade into work on the second volume in the series.
In Zombie, I examine the intimate relationships of body, memory, identity, grief and rage in the anthropocene’s climate of ineffable, quotidian catastrophe.
Zombie is informed by Judith Butler’s thinking about the relationship of grief and rage, by Timothy Morton’s writing about “hyperobjects,” and by my interest in how the zombie as a popular phenomenon arises from and illuminates cultural anxieties. These critical concerns interact with my personal narrative in explicit and implicit ways—in what I am writing about and in how I write about it. I am writing my way toward some reconciliation of the terrible truth and the beautiful truth…an end to the insatiable zombie stalemate that is neither life nor death.
Zombie is not a monster story. Rather it is, itself, a monster—a chimera—the body of a memoir with the head of a novel. It has the strange unclassifiable structure of a thing that evolved on a remote island in my mind.
Email anne at annedemarcken dot com to inquire about The End of the Future, Vol. 1, Zombie: A Memoir.
Spent the last five days sequestered in the Oysterville cottage of a dear and generous friend who fended off the world while I completed a polish of The Warmest Season screenplay. I can feel this story. I can see it perfectly. Sometimes I think it should be a picture book for grownups.
The island location that seemed so right has gone wrong. Alas, the good folks of the Anderson Island Historical Society have decided that it’s bad timing for us to use the Johnson’s Farm for filming Islanders (aka Alternate Endings) this summer. So it goes with production: one day your ducks are in a row, the next they are paddling off in different directions.
So late in the game, we have decided to postpone production. We are pushing ahead with planning – script development, budgeting, casting, and looking for a new location – while also taking this opportunity to put more energy into Sophisticated and The Warmest Season.
I was discouraged for two grey days, but then rallied. Much thanks to Marilyn for her patience and support during the lag time between half empty and half full. Check out the newly updated look books for Sophisticated and The Warmest Season (password “Agnes”).
Islanders is a feature film scheduled for production late summer of 2015. Written and directed by Anne de Marcken, it is her first feature-length project since the award-winning and groundbreaking Group came out in 2002. She is again teaming up with Marilyn Freeman to tell the story, and their production company Wovie, Inc. will produce.
Islanders is about two women – one old, one young – and the way life can begin and end when you least expect it. The movie is a happy accident. Having secured the perfect location for a different project that is still in development (keep an eye out for The Warmest Season in 2016-17), de Marcken decided to push ahead and take advantage of the opportunity by writing another script that could be developed quickly.
It is all part of her determination to make movies that are by and about women. After an extended hiatus during which she focused on her own writing and also taught writing and media at The Evergreen State College, de Marcken looked up and was shocked to discover that little has changed for women in film. They are still under-represented and still narrowly portrayed, they are still underpaid, and they are still more often found behind desks than cameras…on the telephone instead of on set. She doesn’t think she can change the world, but de Marcken does believe that as a woman filmmaker, it is in her power to make a difference by simply doing what she does with full commitment; women directors are so uncommon that even one more in the field shifts the balance.