Wednesday, November 22, 2017

Blind Curse

On this modest break, I'll be stepping away from blogging to focus more time and energy on writing poems. I'm on a productive streak, and I will do whatever I can to keep it going. I'll check back in here when I've written the next Pushcart Prize-winning poem.

Today I also received my contributor copy of Kansas City Voices, Vol. 14. This issue contains a lot of impressive poems and artworks, and I'm honored to have one of my own poems published inside. If you like supporting artists and small presses, consider buying a copy for someone you like. If you hate artists and independent publishers, please buy a copy for someone you despise. The spite will really come through when the despised person opens his mailbox to your angry parcel.

As we push forward to comfortable and joyous family gatherings, I hope you'll appreciate this poem by Simon Ortiz.

Happy Thanksgiving.

"Blind Curse"

You could drive blind
for those two seconds
and they would be forever.
I think that as a diesel truck
passes us eight miles east of Mission.
Churning through the storm, heedless
of the hill sliding away.
There isn’t much use to curse but I do.
Words fly away, tumbling invisibly
toward the unseen point where
the prairie and sky meet.
The road is like that in those seconds,
nothing but the blind white side
of creation.  
                    You’re there somewhere,
a tiny struggling cell.
You just might be significant
but you might not be anything.
Forever is a space of split time
from which to recover after the mass passes.
My curse flies out there somewhere,
and then I send my prayer into the wake
of the diesel truck headed for Sioux Falls
one hundred and eighty miles through the storm.
- by Simon Ortiz, from After and Before the Lightning (1994)

Monday, November 20, 2017

Sunday, November 19, 2017

Mama Says

My sweet friend Alejandro showed me this act Ibeyi last week, and I'm sold. The group consists of twin sisters Lisa-Kaindé and Naomi Diaz. At 22 years old, they're a force to be reckoned with.

This song in particular was written for the sisters' father, Anga Díaz, who was a part of the Buena Vista Social Club.


- "Mama Says" by Ibeyi, from Ibeyi (2015)

Saturday, November 18, 2017

Only the Lonely


- "Only the Lonely" by Roy Orbison, from Black and White Night (1988)

Friday, November 17, 2017

Heart Don't Stand A Chance


- "Heart Don't Stand A Chance" by Anderson .Paak, from Malibu (2016)

Thursday, November 16, 2017

Human Racing


- "Human Racing" by St. Vincent, from Marry Me (2007), performed on NPR's Bryant Park Project (2009)

Wednesday, November 15, 2017

Celebration // Maybe I'll Come Down

Recently, I've been zooming left and right and down, but mostly up. A few days ago, I got word that one of my poems will be published by Linden Avenue Literary Journal in March—hooray! I'll be sure to self-promote when that issue comes out.

In all seriousness, Linden Ave is a wonderful publication. Because I'm honored for their support, I hope anyone reading this will take the time to check out their website or follow their Facebook and Twitter pages. They're great folks, and they publish a lot of gut-punch writing.

In the spirit of zooming, and of feeling elevated, here's a song by one of my favorite acts.


- "Maybe I'll Come Down" by Soul Coughing, from El Oso (1998)

Monday, November 13, 2017

Rock 'n' Roll Suicide

In middle school, my remarkable friend Molly shared with me her love of David Bowie. At that point, I don't think I was mature enough to appreciate the fierce enterprise of his music. I liked the hits, sure, but Ziggy Stardust was far beyond me. I just didn't get it.

Now that I'm a few years wiser, these songs hit me like a mace. The lyrics, the structures, the orchestration...every time I listen to David Bowie, I think of Mols. To me, those small-yet-persistent gifts are one of the marks of a meaningful friendship.

For this song, and for the perspective I needed to appreciate it, I am so grateful to Molly, and every other genuine friend I've met along the way.

And I'm grateful to you for reading this. Thank you, as always.


- "Rock 'n' Roll Suicide" by David Bowie, from The Rise and Fall of Ziggy Stardust and the Spiders from Mars (1972)

Sunday, November 12, 2017

Me, Too

I'm fucking angry.

Yes, I have been taken advantage of, harassed, and abused. This is the reality for almost all women (which is to say nothing of trans and non-binary individuals). I have been called names; I have been followed. I have been grabbed, and I have been insulted in the most demeaning ways. I have survived a long-term abusive relationship. I have been told by a respected colleague that he wanted to make me "as uncomfortable as possible." I have gone through workplace protocols of complaint. I have sat furiously in the aftermath, after my employer did nothing to protect me or discipline the individuals at fault. I have watched many of these abusers receive award and accolade. I have held my tongue.

This is the world we live in. I try hard not to be jaded, but today I'm allowing myself to sit with this anger, and to share it.

I logged onto Facebook this afternoon, and read a post about Brand New's Jesse Lacey. The musician was recently accused of misconduct involving an underaged child. These accusations are eerily similar to an experience I had around the age of sixteen.

Somehow, I began corresponding with a local man in his twenties. We'd never met, but we had friends in common. He knew how young I was, and yet we often exchanged sexually charged messages. I won't share it here, but I still vividly remember some of the language he used toward me.

Our exchanges never progressed beyond these messages. I remember once, after I finished taking the SAT, I opened my phone to a text-message invitation to his house. Over the course of a month or two, he invited me over numerous times. Even at sixteen, I knew something was wrong with those invitations. I never went. I felt uncomfortable, ashamed, and scared. I was just a kid, but I felt responsible.

Until now, I don't know that I've told a single person about this experience.

This individual is now an active member of my creative community. He is respected and well-liked, even by people whom I might consider friends of mine. I have shared a stage with him, and I have ignored his messages afterward. I have avoided events where I thought he would be present. The discomfort I feel around this person is far greater than any remorse I'd feel for missing out on a performance.

And I'm tired of feeling defeated. As I read the aforementioned Facebook post, I saw that this individual had left a comment to condemn the abuser. He argued for the execution of child abusers, demanding that they "be put to the firing squad." For a moment, I thought about calling out the hypocrisy of his post. Ultimately, I decided not to—I don't have the energy to search for those text messages and back up my claims; I don't have the energy to be questioned and avoided. I'd rather sit on my hands than face skepticism and exclusion for my experiences.

Honestly, I'm nervous to even publish this account, but writing this post was the best revenge I could have enacted. I feel just a little stronger for having voiced this story.

I am not alone in this, and neither are you. I'm still trying to figure out the significance and meaning behind all these experiences. If you're in the same boat and comfortable reaching out, I would love to hear from you. Shoot me an email, or send me an anonymous note. Let's talk about it, and let's hold each other up. We don't have to accept abuse as the status quo, even if we aren't all ready to share our stories and bare our scars. We can fight the messy fight for a more respectful world, and we can each contribute our own strengths to the battle.

It's going to take a long time, but we can do better.

Saturday, November 11, 2017

Little Love #5: Toothpicks

Little Love Number Five: Toothpicks

I have the gross and sometimes-painful habit of picking at my skin. I can't remember exactly when it started, but I do remember accidentally drawing blood on my little finger when I was maybe six years old. Though it's probably not a very healthy practice, I've never been too worried about it: I'm not ingesting chemicals, and I'm not shaping my life around my finger-picking. Should I ever decide to become a serious guitarist, I'll already have killer calluses to back it up.
In the numerous times I've tried to quit this habit, though, I've noticed one consistent crutch: toothpicks. Having a toothpick to fiddle with means that I don't have to torture my fingers raw. Instead, I can focus all my nervous energy into chewing on a tiny piece of wood, all the while improving my periodontal health. In college—an especially nervous period—toothpicks helped me bite my way through countless classes and essays. In fact, I think my best piece of academic prose was born between several mangled toothpicks in a Panera in Cambridge.
Until I manage to swallow a splinter (à la Sherwood Anderson), it's not a bad trade-off.

Friday, November 10, 2017

Two of Hearts

It's Friday night. You should be dancing.


- "Two of Hearts" by Stacey Q, from Better than Heaven (1986)

Thursday, November 9, 2017

Magnasanti

I have an embarrassing confession to make: I love SimCity 2000.

As a kid, I played the game frequently and halfheartedly. I never really understood the planning aspects, but I loved to pretend that I did (admittedly, my arrogance hasn't changed much). Recently, however, I've discovered the game anew. I'd been futzing around with online emulators until my S.O. presented me with a copy of the game.

This changed everything.

I've been enjoying the game way too much. SimCity's open-ended structure allows for players to design and build their own tiny cities. Yes, it's as nerdy and addictive as it sounds. Because there's no clear end goal, it's easy to get sucked into the endless pit of development. I'm trying not to become one of those video game-addicted robots who never leaves the house.

Of course, obsession can occasionally lead to remarkable, if creepy outcomes. Sometime in the last five years, an architecture student named Vincent Ocasla used SimCity 3000 to create a dystopia of six million residents. His virtual city, Magnasanti, was inspired by the Ville Radieuse, a conceptual utopia first presented by Le Corbusier. (Ocasla's design eventually landed him a feature on MoMA's Design and Violence.)

Le Corbusier's idealistic, flawed Ville Radieuse

Both projects present compelling questions of urban planning: what is the purpose of mixed-use zoning? What is the relationship between a structure and its site? What is the human experience of such an environment? How do the accidents and imperfections in our cities make our lives better?

But here I am, getting away from myself. If you're still reading this post, check out the weird, mind-boggling video of Ocasla's three-year planning process. I hope it makes you feel at least a little better about how you're spending your life.


Wednesday, November 8, 2017

The Men

Tonight I went to a reading by B.H. Fairchild. I'm exhausted but elated. Here is one of his poems, courtesy of The Poetry Foundation.

"The Men"

As a kid sitting in a yellow vinyl
booth in the back of Earl’s Tavern,
you watch the late-afternoon drunks
coming and going, sunlight breaking
through the smoky dark as the door
opens and closes, and it’s the future
flashing ahead like the taillights
of a semi as you drop over a rise
in the road on your way to Amarillo,
bright lights and blonde-haired women,
as Billy used to say, slumped over
his beer like a snail, make a real man
out of you, the smile bleak as the gaps
between his teeth, stay loose, son,
don’t die before you’re dead. Always
the warnings from men you worked with
before they broke, blue fingernails,
eyes red as fate. A different life
for me, you think, and outside later,
feeling young and strong enough to raise
the sun back up, you stare down Highway 54,
pushing everything—stars, sky, moon,
all but a thin line at the edge
of the world—behind you. Your headlights
sweep across the tavern window,
ripping the dark from the small, humped
shapes of men inside who turn and look,
like small animals caught in the glare
of your lights on the road to Amarillo.
- by B.H. Fairchild, from The Arrival of the Future (1986)

Tuesday, November 7, 2017

Respect Yourself


- "Respect Yourself" by The Staple Singers, from Be Altitude: Respect Yourself (1972)

Monday, November 6, 2017

Janet

Good morning from Logan! As always, Boston has been good to me: I feel more grounded after catching up with so many people I love and care about.

One of those peoplemy dear friend Kate—always opens my eyes to new music. (Seriously. In four years, she still hasn't steered me wrong.) Here's one of the discoveries she shared with me this weekend.


- "Janet" by Berhana, from the Berhana EP (2016)

Saturday, November 4, 2017

Back to Basics

I'm in Massachusetts!

I'll post more when I'm home this week, but for now, here's a quick little snippet from Wellesley.


Thursday, November 2, 2017

Wednesday, November 1, 2017

The Photography of Helen Levitt

I've got the post-Halloween blues. Now it's that awful time of year when everyone gets hyped up for spending money and underwhelming family holidays. Don't get me wrong—I love winter. The quiet, the stillness, the oh-so-satisfying crunch of fresh snow under your boots. There's something so indefinably relaxing about the cold. At the same time, I'll miss the fiery leaves and spooky excitement of October.

As we move toward the end of the year, here's one last gasp of Halloween goodness, courtesy of Helen Levitt.

Levitt was a photographer who spent her life in New York. Born in Brooklyn in 1913, she developed an interest in photography after dropping out of high school. She became known for her "street photography," documenting everyday life in New York City, and she died in 2009 at the age of 95.

(As an aside, the idea of "street photography" fascinates me. While it has definite merits as an honest and candid form, it's also easily inclined toward exploitation—accidental or otherwise. Perhaps I'll flesh out these thoughts more in a future post.)

Nonetheless, I like these photos because of how they convey the excitement and idleness of a child's Halloween. They remind me of the eagerness I felt as a kid before trick-or-treating, and the exhaustion I felt afterward.

On this day after, I wish you rest and lots of candy.

NYC, 1940

NYC, 1940

Tuesday, October 31, 2017

Happy Halloween

Today's the day! If you know me, you probably know I love Halloween. The disguises, the sugary snacks, and—best of all—being scared out of your wits.

I appreciate the simple escape of horror. There's something paradoxically reassuring about the performance of terror. At a scary movie, for instance, we're scared because we want to be. Sure, media can still get under our skin, but we see scary movies because they give us a sense of control. The fictional terror on the screen is a distraction from the very real fears in our day-to-day lives.

Stephen King has a wonderful essay called "Why We Crave Horror Movies." He expresses the above points better than I can, so I'll send you his way instead. You can read the essay here on the King's College website (though be aware that the link is a file download).

Thanks for reading. Eat some candy, and happy Halloween.

Monday, October 30, 2017

Plan 9 from Outer Space

In the spirit of Halloween, I thought I'd share one of my favorite (non-) scary movies: Plan Nine from Outer Space. It's a delight, and an absolute disaster.

The film is remarkable for several reasons. Aside from being known as one of the "worst" movies ever made, it's the last film to feature actor Bela Lugosi (the guy who played the O.G. Dracula in 1931). Lugosi died before production really took off, so director Ed Wood hired a random actor to replace him. Wood still had footage of Lugosi, however, and he opted to simply splice the two actors' performances together.

Most audiences were unimpressed.

Now the movie has a quasi-legendary status. Almost everything about it is, by conventional standards, terrible. The acting, the writing; the production. Even when I first watched this as a naïve and impressionable six-year-old, I knew it was not a well-made movie. But that's its whole charm: as ridiculous a film this might be, it never takes itself too seriously.

For your enjoyment and chagrin, here's the whole thing.


- Plan 9 from Outer Space (1959), directed by Ed Wood

Sunday, October 29, 2017

The School Children

"The School Children" 

The children go forward with their little satchels.
And all morning the mothers have labored
to gather the late apples, red and gold,
like words of another language. 
And on the other shore
are those who wait behind great desks
to receive these offerings. 
How orderly they are — the nails
on which the children hang
their overcoats of blue or yellow wool. 
And the teachers shall instruct them in silence
and the mothers shall scour the orchards for a way out,
drawing to themselves the gray limbs of the fruit trees
bearing so little ammunition.
- by Louise Glück, from The House on Marshland (1975)

Saturday, October 28, 2017

Little Love #4: Radio Tuning

Little Love Number Four: Tuning to that exact radio frequency

Since before I can remember, the radio has almost always been on in my living space: in the car on the way to school, at night as I fell asleep, on Saturday afternoons around the house. A constant companion, more or less. (I should also mention that my dad was, for years, a radio reporter, so that probably factored into our family's near-obsession with the format.)
Last Saturday, I was—somewhat unusually—changing the station on my little clock radio. It had been a while since I'd wrestled with the dial, and I forgot the small sense of victory one feels when getting the tuning just right. There's almost an entire dramatic arc within the act of tuning a clock-radio: the initial frustration of losing your channel; the false triumph of hitting your station and (alas!) replacing the radio on your bedside table, only to hear further static; the tentative hope when, fumbling with your radio (this time still in its place), you think you might have gotten it this time; the final, humble relief when you sit back to a crisp, unobstructed frequency.
Or maybe it's just me. 

Friday, October 27, 2017

A Cottony Fate

"A Cottony Fate"

Long ago, someone
told me: avoid or
It troubles the mind
as a held-out piece of meat disturbs a dog. 
Now I too am sixty.
There was no other life.
- by Jane Hirshfield, from The Paris Review (Summer 2014)

Wednesday, October 25, 2017

Cool Cat

A lot of people would say that Queen's music wasn't as good in the '80's. That they shouldn't have explored disco; that they shouldn't have used synths. While I'd agree that Hot Space isn't their best album, this song is catchy as all get-out.

A few extra tidbits:
  1. David Bowie contributed vocals to a demo, but later asked for his contribution to be removed before the album's release. Apparently, he didn't much like the song.
  2. Michael Jackson allegedly cited this album as an inspiration for Thriller (though, to be honest, I don't have a reliable Internet source for this one).
  3. One of my adolescent bedroom walls might have been covered with posters of Queen, and I might have spent too many lost dollars on VHS tapes, DVDs, and books about their work.
  4.  

- "Cool Cat" by Queen, from Hot Space (1982)

Tuesday, October 24, 2017

Monday, October 23, 2017

Dream Variations

The below poem is by Langston Hughes, a fellow Missourian.

Langston Hughes, February 1959


"Dream Variations"

To fling my arms wide
In some place of the sun,
To whirl and to dance
Till the white day is done.
Then rest at cool evening
Beneath a tall tree
While night comes on gently,
     Dark like me—
That is my dream!
To fling my arms wide
In the face of the sun,
Dance! Whirl! Whirl!
Till the quick day is done.
Rest at pale evening . . .
A tall, slim tree . . .
Night coming tenderly
     Black like me.
- by Langston Hughes, from The Weary Blues (1926)

Sunday, October 22, 2017

Little Love #3: Wool Socks

Little Love Number Three: Warm wool socks

As the weather gets colder, I'm increasingly impatient for the heat to come on in my apartment building. The whole place relies on a basement boiler; and my neglected, dusty radiator is itching to come alive again. Until that day, I'll be drinking lots of warm liquids and wearing only my coziest socks. My favorite pair is covered in constellations. They were a gift from my friend Hayley during our first year of college. She and I were on the crew team together, and those socks kept my toes warm through many cold mornings on the Charles.
As a kid, I used to think that socks were the worst gift a person could give. Now, I would be overjoyed to get some. It's funny how those things change.

Saturday, October 21, 2017

Common People

If an alien beamed onto our planet and asked me to describe 1996, I would show it this music video.


-"Common People" by Blur, from Different Class (1995)

Friday, October 20, 2017

Wednesday, October 18, 2017

The Writer

We lost the poet Richard Wilbur this week. I was unfamiliar with his work until a poetry class I took last spring, and I'm grateful to have found his poems. Though he isn't my favorite poet (not by a long shot), many of his poems are impressive and surprising in the way of most honest art.

If you like this, you can learn more about Wilbur's writing career here.

"The Writer"

In her room at the prow of the house
Where light breaks, and the windows are tossed with linden,
My daughter is writing a story.
I pause in the stairwell, hearing
From her shut door a commotion of typewriter-keys
Like a chain hauled over a gunwale. 
Young as she is, the stuff
Of her life is a great cargo, and some of it heavy:
I wish her a lucky passage. 
But now it is she who pauses,
As if to reject my thought and its easy figure.
A stillness greatens, in which 
The whole house seems to be thinking,
And then she is at it again with a bunched clamor
Of strokes, and again is silent. 
I remember the dazed starling
Which was trapped in that very room, two years ago;
How we stole in, lifted a sash 
And retreated, not to affright it;
And how for a helpless hour, through the crack of the door,
We watched the sleek, wild, dark 
And iridescent creature
Batter against the brilliance, drop like a glove
To the hard floor, or the desk-top, 
And wait then, humped and bloody,
For the wits to try it again; and how our spirits
Rose when, suddenly sure, 
It lifted off from a chair-back,
Beating a smooth course for the right window
And clearing the sill of the world. 
It is always a matter, my darling,
Of life or death, as I had forgotten. I wish
What I wished you before, but harder.
- "The Writer" by Richard Wilbur, from Walking to Sleep (1969)

Tuesday, October 17, 2017

Chuckle Buckets


- Maria Bamford performs at Just for Laughs in Montreal (2003)

Monday, October 16, 2017

Fernando

And I'm not ashamed to say
This song almost makes me cry


- "Fernando" by ABBA, from Greatest Hits (1976)

Sunday, October 15, 2017

And Then It Was Less Bleak Because We Said So

"And Then It Was Less Bleak Because We Said So"

Today there has been so much talk of things exploding
into other things, so much that we all become curious, that we
all run outside into the hot streets
and hug. Romance is a grotto of eager stones
anticipating light, or a girl whose teeth
you can always see. With more sparkle and pop
is the only way to live. Your confetti tongue explodes
into acid jazz. Small typewriters
that other people keep in their eyes
click away at all our farewell parties. It is hard
to pack for the rest of your life. Someone is always
eating cold cucumber noodles. Someone will drop by later
to help dismantle some furniture. A lot can go wrong
if you sleep or think, but the trees go on waving
their broken little hands.
-  by Wendy Xu, from You Are Not Dead (2013)

Saturday, October 14, 2017

Little Love #2: Friendly Neighborhood Cats

While I could write a whole encyclopedia about why I love my cat Nala, there's something equally special about sidewalk cats.

Little Love Number Two: Outgoing neighborhood cats

I was out walking the other night when I heard this irrepressible meow coming from down the block. I kept walking, eventually reaching the source of the noise: a peppery black-and-gold cat with a smushed-in face and a fierce scar over its left eye. It was balanced on the wet wooden rail of a small balcony, but when I came close, it tentatively slid down the railing to jump onto the sidewalk and say hello. I extended my hand, and the little guy ran toward me.
Man, this cat was all about being pet. I guess a lot of cats are, but this one wouldn't shut up for one second. I adored it for that reason alone.
After a few minutes together, I noticed a sign that said "Don't beware of dog: beware of owner," so I slipped away as I heard the front door open. A young kid in a yellow t-shirt emerged, and the cat followed me to the corner before going back home.
I'm smiling now, just thinking about it.

Friday, October 13, 2017

Don't Get Me Wrong

The only thing that needs to be said here:

Chrissie Hynde is iconic.

Also, I get a chuckle out of the strange symbol that she finds written on her datebook. The triangle inside a circle is also used by Alcoholics Anonymous to represent recovery. I doubt that's what the Pretenders were getting at here, but it adds another outlandish layer to this already absurd video (which itself is apparently a reference to the series The Avengers).



- "Don't Get Me Wrong" by The Pretenders, from Get Close (1986)

Thursday, October 12, 2017

Sudden Impact

Last Friday night, I took a walk to Gillham Park and wandered around the storied old wading pool.

Built in 1977, it replaced an earlier wading pool from 1913. Because this was Kansas City in the '70's, the new pool was heavily informed by Modernist architecture: lots of low, flat, rectilinear concrete planes lead gradually into the shallow pool, which was only three feet at its deepest. This practical design meant that, though there wasn't much shade, parents and friends could nestle into the elevated concrete corners with a clear view of swimmers. It also allowed for closer proximity among strangers, as the segmented planes dictated a certain degree of personal space while still allowing visitors to sit close to one another and, perhaps, strike up a conversation. By many accounts, people felt safe and relaxed here, like they were part of a community.

The pool, which lacked a pumping and filtration system, was eventually shut down last summer after its thirty-ninth year. This represented, for many folks, a significant loss. Gillham Park had one of the few free pools in the city, which meant that it was accessible across socioeconomic boundaries. It was seen as a friendly and welcoming neighborhood space.

Neighborhood groups are currently working to raise money for a nearby spray park. This potential project would be an adequate replacement for the beloved pool, which now sits empty. Its plain white interior has become a free canvas for local artists and bored kids. Though I doubt the pool will remain the gathering space it once was, I'll watch these walls nonetheless.


"Bouncy bouncy—it's such a good time"

Southbound

Wednesday, October 11, 2017

Bright Blue Self-Portrait

The below poem, "Bright Blue Self-Portrait," is by the American writer Frank Lima. Born in Spanish Harlem in 1939, Lima's youth was marked by drug addiction, recovery from which led him to realize his love of poetry. After earning an MFA from Columbia University, Lima decided to pursue a career as a chef, though he continued to write until his death in 2013.

Lima was also featured in this painting by Wynn Chamberlain, which features Lima standing behind fellow New York poet Frank O'Hara:

Wynn Chamberlain, Poets Dressed and Undressed (1964)

If you enjoy this poem, you can read more of Lima's work here.

"Bright Blue Self-Portrait"

I thank the spiders’ webs and the circus dancers who stain our eyes with
Rapid movements and authorize our handcuffs to make no distinction
Between night and day or love and hate.
No one will know the sum of our arduous daily separations from bed to

Work. These pillars actually belong to you since I have not counted them
Or know any more than you do where they are or in what country they
Still exist. We can put all our concerns into a loaf of bread and French
Kisses, go to movies and watch the splashing milk on the screen imitate

the forest in the moonlight. Why all the fuss about the patrons becoming
Feathers, discharging their ideas of nobility on the evening news? There
Are no lights in the theater just soft snow from the balcony that is the
Little red schoolhouse where all this began.

Actually it was because of you I did not attend as often as I should have.
I was too embarrassed to face you across the clay modeling tables since I
Always felt like the clay in your hands was a cartoon version of my teen
Years, dear slippery-fish ladies of the sleepy west.

Don’t forget, my early life will be yours, too,
With its self-descriptions of poetic justice,
The tiny creatures we write about can describe themselves in the moss
We leave behind.
- by Frank Lima, from Incidents of Travel in Poetry (2016)

Tuesday, October 10, 2017

Big Umbrella People

"I'm definitely a small umbrella person; I voted for Hillary"


- Comedian Jordan Carlos, live at Paste Studios (February 2017)

Monday, October 9, 2017

Body and Kentucky Bourbon

In the dark, my mind's night, I go back
to your work-calloused hands, your body

and the memory of fields I no longer see.
Cheek wad of chew tobacco,

Skoal-tin ring in the back pocket
of threadbare jeans, knees

worn through entirely. How to name you:
farmhand, Kentucky boy, lover.

The one who taught me to bear
the back-throat burn of bourbon.

Straight, no chaser, a joke in our bed,
but I stopped laughing; all those empty bottles,

kitchen counters covered with beer cans
and broken glasses. To realize you drank

so you could face me the morning after,
the only way to choke down rage at the body

sleeping beside you. What did I know
of your father's backhand or the pine casket

he threatened to put you in? Only now,
miles and years away, do I wince at the jokes:

white trash, farmer's tan, good ole boy.
And now, alone, I see your face

at the bottom of my shot glass
before my own comes through.
- "Body and Kentucky Bourbon" by Saeed Jones, from Prelude to Bruise (2014)

Sunday, October 8, 2017

Yo Vivo Con La Verdad

These dudes are just another reason why I'm proud of Kansas City.


- "Yo Vivo Con La Verdad" by Making Movies, from I Am Another You (2017)

Saturday, October 7, 2017

Little Love #1: Frozen Leftovers

I've decided, for my own selfish reasons, to begin a modest little series of "little loves:" minor things that make me disproportionately happy. I don't spend enough time celebrating these things, I don't think, so I'm trying to change that, and to share my tiny excitements with all of you.

I could, of course, just embrace my own Goop-iness and call this what it is—a stupid little gratitude journal—but I've got too much pride for that. So here we go.

Little Love Number One: Defrosting and eating six-month old frozen leftovers 

A few days ago, I dug into my freezer and pulled out the verenika I'd been saving. Verenika, in case I caught you unawares, is a gift from on high: little pierogi-type dumplings filled with cottage cheese and covered in ham gravy. They're a cornerstone of Mennonite cuisine, and I used to eat them every year as a kid. My parents would take us to Hutchinson, Kansas, for the annual MCC Sale, and we'd load up on the stuff. My sister and I went with our mom in April, and we both froze some to eat later on.
I'd held out for half a year, and now my wait is over. I'm eager for the small comfort of this food, this piece of my youth and my family history. I know they won't be as good as they are fresh, but verenika are like fries: even when they're bad, they're still pretty good.

Friday, October 6, 2017

Birthright

"Birthright AKA My Father Explains How We Got Here"

I’m not sure how many more times
you want to hear your own myth

The Blue Moon spit you out
which I thought was your first mistake
Son you only get a few resurrections
and you used one already
in a night full of red wings
and light dangling in steam
but hey sometimes we don’t have a choice
in what blood we rode in on

Anyway the cardinal came to the window
and I knew
somewhere something I cared about
was spilling

So I take off running after your mother
a scarlet prayer unraveling behind me
“God, I hope he looks like his mama”

I got in just before the blades
sharp things brought you into this world
sharp things might be what keep you here
they cleaved your mother’s stomach
like a fresh snowfall
you came from scars boy
if nothing else you get that from me
 - by Julian Randall, from Vinyl Poetry (July 2016)

Thursday, October 5, 2017

Wednesday, October 4, 2017

A Small Stretch

From the backlog of things I never posted:

Grand Junction, Colorado; July 2014

Tuesday, October 3, 2017

Concrete Seconds


- "Concrete Seconds" by Pinback, from Blue Screen Life (2001)

Monday, October 2, 2017

Genealogy

"Genealogy"
This stream took a shorter course—
a thread of water that makes oasis

out of mud, in pooling,
does not aspire to lake. To river, leave

the forest, the clamorous wild.
I cannot. Wherever I am,

I am here, nonsensical, rhapsodic,
stock-still as the trees. Trickling

never floods, furrows its meager path
through the forest floor.

There will always be a root
too thirsty, moss that only swallows

and spreads. Primordial home, I am dying
from love of you. Were I tuber or quillwort,

the last layer of leaves that starts the dirt
or the meekest pond,

I would absorb everything.
I would drown. Water makes song

of erratic forms, and I hear the living
push back branches, wander off trail.
- by Jennifer Chang, from The History of Anonymity (2008)

Sunday, October 1, 2017

Jazz for Lovers, Solitude for Me


- "Jazz for Lovers, Solitude for Me" by The Marshmallow Kisses, from Ciao! Baby (2011)

Saturday, September 30, 2017

It's Hard to Keep a Clean Shirt Clean

 "It's Hard to Keep a Clean Shirt Clean"
Poem for Sriram Shamasunder
And All of Poetry for the People 


It’s a sunlit morning
with jasmine blooming
easily
and a drove of robin redbreasts
diving into the ivy covering
what used to be
a backyard fence
or doves shoving aside
the birch tree leaves
when
a young man walks among
the flowers
to my doorway
where he knocks
then stands still
brilliant in a clean white shirt

He lifts a soft fist
to that door
and knocks again

He’s come to say this
was or that
was
not
and what’s
anyone of us to do
about what’s done
what’s past
but prickling salt to sting
our eyes

What’s anyone of us to do
about what’s done

And 7-month-old Bingo
puppy leaps
and hits
that clean white shirt
with muddy paw
prints here
and here and there

And what’s anyone of us to do
about what’s done
I say I’ll wash the shirt
no problem
two times through
the delicate blue cycle
of an old machine
the shirt spins in the soapy
suds and spins in rinse
and spins
and spins out dry 
not clean

still marked by accidents
by energy of whatever serious or trifling cause
the shirt stays dirty
from that puppy’s paws

I take that fine white shirt
from India
the threads as soft as baby
fingers weaving them
together
and I wash that shirt
between
between the knuckles of my own
two hands
I scrub and rub that shirt
to take the dirty
markings
out

At the pocket
and around the shoulder seam
and on both sleeves
the dirt the paw
prints tantalize my soap
my water my sweat
equity
invested in the restoration
of a clean white shirt

And on the eleventh try
I see no more
no anything unfortunate
no dirt

I hold the limp fine
cloth
between the faucet stream
of water as transparent
as a wish the moon stayed out
all day

How small it has become!
That clean white shirt!
How delicate!
How slight!
How like a soft fist knocking on my door!
And now I hang the shirt
to dry
as slowly as it needs
the air
to work its way
with everything

It’s clean.
A clean white shirt
nobody wanted to spoil
or soil
that shirt
much cleaner now but also
not the same
as the first before that shirt
got hit got hurt
not perfect
anymore
just beautiful

a clean white shirt

It’s hard to keep a clean shirt clean.
 - by June Jordan, from Directed by Desire: The Collected Poems of June Jordan (2005)

Thursday, September 28, 2017

"I Like Beer"


Julia Child and Jacques Pépin tear it up and make some sammies on Julia and Jacques Cooking at Home. This whole video is a gem, but the true highlight comes near the end, at 3:36.

Enjoy.

Tuesday, September 26, 2017

Lize


- "Lize" by Smog, from The Doctor Came at Dawn (1996)

Sunday, September 24, 2017

Notes on Longing

"Notes on Longing"
It smells of after-rain tonight.
Duck bones, a wounded egg on rice.
On the corner, there is a shop
that makes keys, keys that open
human doors, doors that lead
to rooms that hold families
of four or seven who sit at a table.
There is a mother who brings
sizzling flounder on a wide platter
for the family whose ordinary
mouths have been made to sing.
- by Tina Chang, from Half-Lit Houses (2004)

Saturday, September 23, 2017

Old Time Lovin'

I can't believe it took me 23 years to find and appreciate this album. If you've got forty minutes to listen, I urge you to check out Al Green's Let's Stay Together in its entirety.

I could write a whole essay about my experience of music, and how few artists of color I've actively sought out in my life. And I hope I will—in a distracted frenzy, I just abandoned this post for 30 minutes to write a pitch on that very topic.

First things first, though: if you do nothing else today, spend three minutes with this song.



-"Old Time Lovin'" by Al Green, from Let's Stay Together (1972)

Thursday, September 21, 2017

The Value of Poetry

Some scrambled thoughts before an appointment:

Our culture has always impressed upon me the value of hard work. As a self-proclaimed "poet," I hold no illusions about the imposed financial value of my work. I will never pay my bills writing poetry, and I am okay with that. I remind myself that many writers had trying day jobs: Maya Angelou was a cable car conductor. John Clare was a thresher. Junot Díaz worked in a steel mill.

As a young professional, though, I'm struggling more and more to find the balance between my types of work. My full-time job pays my bills. My unpaid volunteer work at New Letters on the Air helps me endure the full-time job, and may one day help me step into a paying job that I love. I'm beyond happy to be there, even if it means working longer hours. But after all those hours, I'm exhausted. I don't want to write. I don't even want to be around my friends. I just want to stay in and watch Curb Your Enthusiasm until it's time to go to bed and start the whole process over.

This is the hard work that everyone keeps talking about.

In today's America, where we value labor solely based on its economic worth, how are artists supposed to do their damn jobs? (And what of the artists who aren't nearly as privileged as I am?) When did we cease to champion creative endeavors? The answer, of course, is that we never much valued artists' contributions, at least not in the same way we value bankers' and lawyers'. And that's a problem. Art is the lens through which we see ourselves, as a collective and as individuals. It helps us find versions of the truth, most importantly those truths that are not quite comfortable or easy. That perspective is priceless.

Last Friday at New Letters, we were pulling together a show with writer Judith Ortiz Cofer, and she described her routine of waking up at 5 a.m. every morning to write, simply because it was the only time she could find. She sacrificed sleep and relationships to be able to find those hours, which is strangely comforting. Her priorities are evidenceto me, anywaythat it's impossible to have everything, and that that is okay. (I'm looking at you, Sheryl Sandberg.)

I'm trying hard myself to be comfortable with those sacrifices. Eventually, I'll get there.

You can hear this week's show here if you're interested.

As always, thank you for reading.

Sunday, August 27, 2017

Daisies

Celebrating another first draft; delaying another revision.


-Daisies (1966), directed by Věra Chytilová

Sunday, August 20, 2017

The Time of the Seizin'

It's been a little while since I posted here, for a lot of reasons. I traveled to Oregon last week (to the Portland friends I didn't get to see--I'm sorry!). One of my S.O.'s old friends got married, so a group of us went out to explore and celebrate. While we were there, we hiked, played in the ocean, and visited the hospital after I had a seizure.

Before I go any further: everything is totally fine. I am safe and alive and intact, and I don't mean to worry anyone.

That said, I don't really know what caused it. I was lucky to be with a friend when it happened, and she called 911 and made sure I didn't, like, choke on my own drool or anything. I don't have words to express my gratitude to her. When the ambulance arrived, I was apparently insistent that someone else had seized and that I was completely fine. Hopefully the paramedics saw the humor in that.

The ER team who took care of me was friendly and efficient. They advised me to get a bunch of tests and to avoid driving. For the foreseeable future, I'll be taking the bus and sleeping a lot. My brain still seems a little foggy, and my short-term memory doesn't feel as sharp, but I'm confident that'll go away in due time. Writing has also been more difficult, which is perhaps the scariest consequence of all this, but I'm choosing to attribute that to temporary stress.

The most likely medical outcome, I am told, is that all my tests come back normal. We probably won't know what caused the seizure, and it probably won't ever happen again. At the same time, there's a small chance there's something more traceable at play: I've collapsed in the past, and it's possible that those instances were undiagnosed seizures. I'm skeptical of this possibility, and optimistic that everything will be back to normal very soon.

Aside from all of that, the trip was incredible, for a lot of reasons. We went to Cannon Beach, hiked up Multnomah Falls, had a great time at the wedding, and ate some of the best Thai food I think I've had. These experiences, to me, were far more important than one brief scare, and they'll stick with me for far longer. I'll try to share some photos soon.

Thank you, as always, for taking the time to read these words. This whole experience has been a solid reminder of the love and care in my life. I'm lucky to have so many remarkable, generous, and warm-hearted people looking out for me. I hope I never take that for granted. A million times, thank you.

Friday, July 28, 2017

Only Success Can Fail Me Now

When I was in middle school, my family got satellite Internet. It was a big deal: we lived on unincorporated land without access to public water or sewage. Having dial-up was exciting enough, but I was ready to explore the Internet within our new 200-megabyte-per-24-hours threshold.

Typing that now, I want to laugh.

By far, the most exciting prospect of having "high-speed" Internet was the ability to find new music. LimeWire was finally within my reach! There were about a hundred different bands I wanted to listen to, so I got to downloading. I could queue up two, maybe even three songs for download, and they'd be on my computer in an evening.

I felt like royalty.

Because these early (and admittedly, illegal and ethically-questionable) downloads were so scarce, I listened to those few songs constantly. I can still remember most of them: "Messes of Men" by mewithoutYou, "Saltwater" by Beach House, and lots of other indie pop that I was so proud of.

I still love those songs. To be honest, I'm probably more "hip" and self-righteous today than I was as a thirteen-year-old, but more on this later.

One of the most memorable songs I found was called "Only Success Can Fail Me Now," by Quasi. (Interestingly, the band was formed by ex-husband and -wife Sam Coomes and Janet Weiss, later of Sleater-Kinney fame, who had decided they were better off as musical partners.) This song was one of their few I could find on LimeWire, and I snatched it up before listening obsessively. For months, I burned that song onto many mix CDs, because it was "cool" to listen to obscure bands from the Pacific Northwest.

At the same time, it was—and still isa genuinely good song. Not the best song ever written, and maybe not even the best song on its album, but one that has stayed with me. Even now, a decade later, I find small surprises in the melody; the instrumentation. Who knows whether I'd feel the same appreciation if I listened to this song for the first time today? That's part of the beauty of truly loving a piece of music: it grows with you, through time and circumstance.



- "Only Success Can Fail Me Now" by Quasi, from Featuring "Birds" (1998)

Thursday, July 27, 2017

Retrospectively

It sounds like an overwrought and clichéd story: tortured artist kills himself after the death of his girlfriend.

This was the case for Jeremy Blake, who allegedly walked into the ocean and drowned himself. A week earlier, he'd found his girlfriend, blogger and video game designer Theresa Duncan, dead in the apartment they shared above St. Mark's Church (which has its own fascinating history). According to friends, the couple had been acting erratically. They told stories of being followed and harassed by Scientologists, and went so far as to make their friends sign loyalty pledges to ensure they weren't agents of Scientology. In short, she and Blake were both scared, and they didn't seem to be in good health. Their loved ones were worried, but no one had expected their deaths, just a week apart in July of 2007.

Blake and Duncan in Venice, CA, photographed by Bret Haller

It would be impossible to sit here and give a concrete reason for their suicides, which, like most, are shrouded in uncertainty. The mystery behind their deaths has overshadowed any creative successes they achieved, as evidenced by not only this blog post, but several trendy magazine profiles published after they died. (Here is one from Vanity Fair, and another from New York Magazine.)

The work they left behind, I'd argue, is a far more compelling and enriching glimpse of what and how they thought. With that in mind, here are pieces of their work: a series of video games produced by Duncan for young female audiences, and a digital video made by Blake and inspired by Sarah Winchester.

- - -


- "Winchester Redux," by Jeremy Blake (2004)

Tuesday, July 18, 2017

On "Caregiving," Fear, and Growing Up

I recently received the advice to write about my experiences as a “caretaker” for my father after his heart attack. I’m not sure whether I embrace that title, for a variety of reasons. I envision a caregiver as someone who sits by an ill person with a wet washcloth. Not, necessarily, as someone who does all the other small and crucial tasks, like cooking and driving. This logic, however, follows the flawed and ubiquitous notion that domestic work is not valuable. I can rationalize that, and still I feel uncomfortable claiming the position of “caregiver.”

In reality, I often suspect that my parents would have gotten along just fine without me. It might have been slightly more difficult for them, but they would have survived. And I could have just as easily moved someplace else as soon as he was out of the hospital. So why did I stay?

Though I didn’t acknowledge this until recently, my motivations to remain here were entirely selfish: I was terrified of leaving.

Before I dive into that, let me share some context.

The summer before I left for college, my dad spent several weeks in the hospital. At first, he’d developed a simple staph infection. Before long, it spread to his blood, and then his bone marrow. After having a portion of his clavicle removed, he came home to several months of outpatient home care. I learned to change bandages, to clear his PICC line, to inject his medicine twice a day. I learned what a wound vac was, and how unforgettable it smelled. I learned which gauzes and wipes to bring the nurse each afternoon he or she visited. I learned to call 911 when he’d stopped breathing. I learned the comfiest ways to sit in waiting room chairs. I learned to give serious phone calls, and to give cautiously optimistic follow-ups. I learned how to politely respond when people told me, retrospectively, that they didn’t think he’d make it. I learned, finally, to be present with the people I love.

Even if I don’t always act on it, I learned a lot in those three months, and then I went away to learn some more. My dad was cleared for travel not long before I left for school. I’ll never forget his grin when he realized he would be able to see me off to college. He and my mom helped me move into my first dorm room, which I shared with two strangers (and ultimately, two of my closest friends). They said goodbye, and left me to forge my way.

In the sheltered bubble of campus, 1500 miles away, I felt detached. I knew my parents were physically healthy, but I worried constantly about them. After all, they were getting older, and I didn’t know how to cope with that knowledge. On breaks, I would go home to stay with them, eat their food, and hear about everything that had changed while I was away. These moments helped soothe my anxieties, but on some level, I was always conscious that our time together was limited (and perhaps moreso than most).

Of course, this awareness helped me appreciate my parents more, and I’m grateful for that. I’m also grateful for the relationships that were born out of these fears. My first-year roommates, Mikey and Saraphin, had endured similar difficulties during college. We initially bonded because of loss and tribulation. Though our relationship has grown far, far beyond that, I can’t think of many other people who understand my fears the way they do.

That seems like adequate context, so I’ll get back to the “fear of leaving” that spurred this whole post.

A week after graduation, I was already scared of losing my incredible friends and bungling my job search. I didn’t know where I would live, or what I would do. When my mom called me to tell me that Dad was in a coma, every single one of those anxieties paled next to the thought that I might not see my parent again. I flew home the next morning, and I’ve been back in Kansas City since.

Every single day, I wonder where my life would be if I hadn’t gotten that call. Where would I be living? What would I be doing? What other arbitrary fears would I have? I wonder this, and I also wonder whether I’d be so damn thankful to have both of my parents, whether I’d have as many memories with them. Whether I'd have relationships as fulfilling as those that have developed here. Whether I'd feel any differently than I do now.

As I get older, I realize that loss is inevitable, and that fear is always an option. Fear of action, fear of inaction, fear of simply being. This is a part of life, and one that I’m slowly learning to handle. Anxieties cannot dictate the course of my life, but maybe I can lever them to develop a new perspective. To be appreciative of what is, and to accept what is not. To realize what's genuinely important to me. Maybe, one day, I can look certain fears in the face, defy them, and stop feeling so scared.

I’m not there yet, but I get closer every day.