Autumn, 1830. Her Letter to Dead
the seasons have changed the farm. The magpies take to the peppers, the wild cats fatten with field mice and feed from the bam. My strawberries are spreading with such felicity! The drought coughed up its last windstorm some two months ago and you know we do not have to dust the china every day. This moment, Margaret my sister coughs from a real coldno hacking now from the dreadful summer mote. The modest bears promise: our winter crop is planted and all that remains is the watching, mounds curled to the walnut tree. I marvel at them whenever: from the kitchen window washing dishes, cooking, from the bedroom sewing the infinity quilt (yes, stilI! still! ) . Often we both find ourselves staring from these back windows, studying the completeness of rain. A stranger might think we seemed satisfied, nothing more, hopes stammering
As part of ‘two essays in dialogue’ with a piece written by Dale Hudson, this article ::: advances critical discussions of the documentary film given the context of, and ::: challenges posed by, digitality. Specifically, it analyses ‘the digital’ in Michael ::: Takeo Magruder’s {transcription} and [FALLUJAH. IRAQ. 31/03/2004] and ::: Christina McPhee’s La Conchita mon amour as a means to advance discussion ::: of documentary beyond claims to realism and documentary truth towards what ::: Trinh T. Minh-ha calls ‘boundary events’. Tay argues that digital video, editing ::: and compositing expose the limitations of visual evidence to represent trauma.