The Nostromo is a labyrinthine spaceship, a hulking ore refinery run on a sophisticated computer operating system and manned by a crew of seven. But somehow it’s not the most impressive piece of technology in Ridley Scott’s 1979 film "Alien." That distinction belongs to the title character, an organism with blood of acid and two sets of jaws, highly-evolved, adaptable to any climate. Its scientific mission, if you will, is to fulfill a basic biological imperative: to become a parent. Fitting, then, that it chooses to prey on a ship controlled by its own problematic Mother. Just what kind of existential threat does this techno-sexual organism pose to a man-made and sterile future? And how does one woman manage to defeat it? Wes & Erin discuss.

Sex and Tech in “Alien” by Ridley Scott

SUBTEXT is a podcast about the human condition, and what we can learn about it from the greatest inventions of the human imagination: fiction, film, drama, poetry, essays, and criticism. Each episode, philosopher Wes Alwan and poet Erin O’Luanaigh explore life’s big questions by conducting a close reading of a text or film and co-writing an audio essay about it in real time.

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In the medieval tradition of courtly love, the aubade inverts the serenade. Where one heralds an evening arrival, the other laments a morning departure. In John Dunne’s famous poetic contribution to the genre, he chastises the sun for waking and so separating lovers, but consoles us with the notion that the power of the sun is ultimately subordinate to the imperatives of love. More bleak, Philip Larkin’s poem “Aubade" seems to abandon this indictment on behalf of love for one on behalf of self-love, perhaps even on behalf of life itself. Morning awakens us to both workaday drudgery and an awareness of our own mortality. As a consequence, life is harder to live by the light of day, the consolations of philosophy and religion notwithstanding, and vitality is confined to the sorts of evening revelry that make waking all the harder. Wes & Erin discuss whether life (and love) can be reconciled with human self-consciousness and all that it entails.

Consciousness Bemoaned in Philip Larkin’s “Aubade” (Part 2)

Consciousness Bemoaned in Philip Larkin’s “Aubade” (Part 1)

Wes & Erin continue their discussion of Orson Welles’s "Citizen Kane." 

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Identity and Infamy in “Citizen Kane” (1941) (Part 2)

It’s a film bursting with objects—the treasure troves of Xanadu, a snowglobe, jigsaw puzzles, a winner’s cup, the famous sled. Even the conceptual elements of the film’s plot are expressed tangibly. Kane’s mind-boggling wealth isn’t an abstraction, but a list of concrete holdings—gold mines, oil wells, real estate. And the news Kane controls and manipulates, when yoked to another noun, is something one can hold in one’s hands: a newspaper. Kane, too, is described as the incarnation of several abstractions. As his obituary tells us, he himself was “news,” as well as the embodiment of whole years in a swath straddling the 19th and 20th centuries. One might call him the American idea personified. But what these terms really mean and how they’re made manifest in Kane is hard to pin down. At times, he seems to be no more than a vast, empty planet around which objects swirl. What’s at his core, then? What did his life mean? One reporter searching for the secret of Kane bets that just one fact—the identity of “Rosebud”—would explain his whole life. Another suggests that it’s in the sum total of his possessions. Yet another thinks, curiously, that even Kane’s actions won’t tell us who he really was. So what, then, determines his or any identity? What’s the measure of a person? The objects they possess? The abstract ideals they claim to stand for? Their actions? Or something still deeper? Wes & Erin discuss possibly the greatest film ever made: from 1941, Orson Welles’s "Citizen Kane."

Identity and Infamy in “Citizen Kane” (1941) (Part 1)

Part 6 of Wes & Erin's discussion of Shakespeare’s "The Winter’s Tale." 

Thanks to our sponsor for this episode, St. John's College. Learn more about undergraduate--and graduate--Great Books programs at St. John's in Santa Fe, New Mexico and Annapolis, Maryland at sjc.edu/subtext.

Shakespeare’s “The Winter’s Tale” (Part 6)

SUBTEXT Literature and Film Podcast

Sex and Tech in “Alien” by Ridley Scott

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