I’m having a tricky time getting jazzed about too much lately — only Socrates rivals my sage discernment and penetrating taste — yet I am alive, blood sluices through my veins. Some things I’m digging:

Caustically hilarious British TV series “Fleabag”; Sigrid Nunez’s quietly affecting novel “The Friend”; the reliably stirring Dia: Beacon museum, so serenely cluttered with minimalist and sculptural masterworks; poetic Polish romance (and Oscar nominee) “Cold War”; and Weezer’s “Teal Album,” featuring frighteningly faithful covers of Toto’s “Africa” to Black Sabbath’s “Paranoid” and Michael Jackson’s “Beat It.” It’s a gas.

Mostly this entry is a sequel to my December year-end inventory of now-time enthusiasms, stuff getting my juices flowing. These are the current tops:

• Jade Bird

Strumming an acoustic guitar, her long hair swinging, she sings in a hushed girlish voice before belting like a banshee, loosing a squall of blazing catharsis. She has pipes that purr, then roar, then come back. You sway to twangy folk, then rock with giddy fury. 

Intimate and Velcro-sticky, Bird’s music, performed acoustically or with a small band, circles Americana, punk and soulful indie pop. Country fans are drawn by her evocations of rocky, star-crossed relationships, and there’s country crunch in those folk-rock vocals. Her galloping cover of Johnny Cash’s “I’ve Been Everywhere” is a jam-session joy.

In this 21-year-old Brit, the Dixie Chicks are at their fiercest, alongside a banging Liz Phair, Courtney Barnett, PJ Harvey and other steely indie royalty. Bird’s lyrics pop and sear. In the unreasonably rousing “I Get No Joy,” Bird sings with such speedy agility, she’s almost rapping:

“Psychotic, hypnotic, erotic, which box is your thing?/How many days a week, do you feel/Electric, connected, unexpectedly/Affected, what do you need?”

It’s a kind of sublime whiplash.

(Watch her HERE.)

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• “Capernaum”

His hair is a fluffy fiasco, a brown brushfire, his splotched face the seasoned mug of a gang member. He’s filthy and swears like a sailor. He’s homeless. He’s 12. 

In Nadine Labaki’s Beirut-set stunner, a nominee for the best foreign language Oscar, the boy, Zain, is a resourceful renegade in the scrappy mold of Huck Finn and Antoine Doinel in “The 400 Blows.” Fed up with his struggling parents and their feckless care of their many children, Zain takes them to court, accusing them of the crime of giving him life. It’s a preposterous idea, a satirical glance at the Lebanese judicial system.

Zain (the extraordinary Zain al Rafeea) fast becomes a tough street urchin who finds a gig babysitting the gurgling infant of an illegal Ethiopian refugee, played by Yordanos Shiferaw. (The film’s devastating cast of non-professionals play versions of themselves.) When the young mother is arrested, Zain is stuck taking care of the baby on his own. In this harrowing situation — the movie is a tart indictment of Beirut’s corrupt state of child welfare — the fathomless despair can be unbearable to watch.

“Capernaum” — the title means “chaos” — owes much to the children-centric neorealism of ‘80s and ‘90s Iranian cinema, from “The White Balloon” to “The Color of Paradise” — heart-renders told in raw, wrenching lyricism that aren’t without political undercurrents. It’s a street tale alive with miscreants and thieves and few kind gestures. It’s so gritty and grubby the camera lens almost seems smudged. Redemption, however, is in the air.

(Trailer HERE.)

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•  “Asymmetry”

Beautifully written, radiantly spun and shot through with smashing intelligence, Lisa Halliday’s first novel “Asymmetry” bristles with humanity as it mingles conventional and unorthodox structures. It’s a literary feat kneading the fictional form like Play-Doh.

I’m only a third of the way through its brisk 271 pages, but I’m sold. (Being part-way in a book you’re relishing is where you want to be; there’s more on the way to savor.)

The novel is chopped into three sections. I finished the first section, “Folly,” which traces the May-December romance between Alice, a 25-year-old aspiring writer, and Ezra Blazer, a famous author 40 years her senior. (If he rather resembles Philip Roth, it’s not chance: Halliday had a relationship with Roth while in her twenties.)

And so we get an old-fashioned affair of unpushy comedy and sweet asides set amidst Upper West Side means, with tender banter and the not uncomplicated theme of apprenticeship, much like a Woody Allen movie, without the deep-dish neuroses.

Alice has career issues, Ezra has health issues, and brewing in the background is the launch of the Iraq War. (The war plays a prominent role in the next section, “Madness.”) In this, one of The New York Times’ 10 best books of 2018 (and a favorite of Barack Obama), Halliday doesn’t flinch from the vagaries of love, including the sort, like Woody’s, peppered with literary chatter and throbbing with aching uncertainty.

The dialogue is unfailingly smart, wry, just right. Alice and Ezra conduct short, gem-cut conversations that bring a knowing grin:

“Is this relationship a little bit heartbreaking?” he said.

The glare off the harbor hurt her eyes. “I don’t think so. Maybe around the edges.”

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• “United Skates” 

In urban roller rinks across the country thousands of African-American roller-skaters are lacing up and getting down. Beneath rays of twirling disco balls an underground roller renaissance thrives among a force of skate buffs who throw after-dark rink parties and commit kinetic art on waxed wood floors: backflips and break-dances, tag-team acrobatics, backwards trains and other daredevilry. Many revelers simply trace ovoid loops in a kind of roller-boogie bliss.

With new and archival footage, much of it contagiously groovy, “United Skates” directors Dyana Winkler and Tina Brown chronicle the hip-hop-fueled scene with at once bracing and brooding electricity. They hopscotch the nation — Los Angeles to Baltimore — and capture the community-building soul of skating as well as the heartrending gentrification that’s swiftly shutting down classic rinks, dinosaurs of the ‘70s and ‘80s. Few will survive.

Next to dwindling skate spaces, the film locates other troubles: the apparent profiling of black skaters at certain rinks that ban rap and the skinny wheels many black skaters prefer. When skaters organize “adult nights” — “Code for ‘black night,’” says one — police fill the parking lots and security is thick. No such hysterics are apparent on a typical “white” night. It’s a familiar microcosm of current race relations.

Yet the party rolls on. The subculture retains a die-hard exuberance not easily snuffed. The film’s final scenes are far from elegiac; against all odds they are tonically celebratory.

(Starting Feb. 18 on HBO. Trailer HERE.)