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One night, a group infiltrates Shahrzad’s room. Her assistant shouts for help, and Khalid and Jalal come and kill all but one of them. Shahrzad is moved to Khalid’s quarters, and Khalid leaves to investigate. She finds a packet of letters from Khalid to the families of each of his victims that confirm that he killed every one of them. Meanwhile, Reza joins up with Zalim over their shared hatred for Khalid, and it is revealed that they had sent the men to break into Shahrzad’s room.
Tariq arrives at the house of his uncle Reza with Rahim. Reza is Shiva’s father, who lost his wife to suicide after the murder of his daughter. That day, Shahrzad secretly witnesses Khalid’s sword fight, but is discovered by the General. The General perceives her as a threat and sends her off to be hanged. At the hanging, she is saved by Khalid and Tariq. He apologizes, but Shahrzad has a hard time forgiving him. Khalid leaves abruptly to go to Amardha for the week.
The next morning, Tom and Casy walk to Uncle John Joad’s house. Lots of hootin’ and hollerin’ occur when the Joad’s realize that their boy has come home at last. Tom is reunited with his mother (Ma Joad), his father (Pa Joad), his grandfather (Grampa), his grandmother (Granma), his brother Noah, his brother Al, his sister Rose of Sharon, his sister’s husband Connie, his little brother Winfield, and his little sister Ruthie. Ma Joad is especially moved. She cooks up a delicious breakfast for everyone.
The Joads keep on truckin’, going over the New Mexico mountains and through Arizona on Route 66. They see lots and lots of cars going west, but very few cars coming east. When they cross the California border, they stop at a campsite in Needles, CA by the Colorado River. Because they have to get across the sweltering hot desert (that would be the Mojave Desert), the Joads and Wilsons decide to sleep during the day and then drive at night.
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David Burdeny’s photographs breathe; and they remind us to breathe as well. These temporal studies of human-made and nature-made structures sharing space together in a unique habitat — on or about the water — have the power to invite our single-mindedness elsewhere. Usually square in format, the photographs most often bring our initial gaze to the centre of the composition, but not to a floating point around which compositional elements sit in quiet equilibrium; rather, to a particular detail. Compositionally, Burdeny’s works discard the simple distinction between figure and ground because quality of light and attention to the periphery play an integral role in this balance. His acute architectural sensibility evokes the lived space that surrounds and comprises structures within their context rather than the simple reduction of meaning to figurative forms and their internal coherence.
Burdeny’s architectures, emplaced between shoreline and the inevitable horizon, create an immediate environment that evokes limits, both formal and existential. Yet these photographs are not static, analytic pictures of a particular time and place. And the limits are entirely secondary to a greater process. The images contain a quality of time fleeting and time stopped, together. They simultaneously depict a slice in time – static, constructed forms captured in more detail than would normally be afforded the eye – and a movement through time, extended exposures yielding convoy-like cloud formations in the skies and shifting light effects on and off of the water. Standing before Burdeny’s photos, I am inspired to regard, reflect and remain self-aware all at once. It is the two-fold aspect of human time, one that tries to fix experience within memory, and nature’s timeline, one that evokes the unfathomable, that I am consistently drawn to consider.