On bravery

I was speaking with an old friend the other night, sleepy bedtime tones, when she called me “brave.” My immediate, funny-bone reaction was to dispel her characterization. At the risk of sounding falsely modest, I’ve never quite understood that label. When I was nine, I was “brave” for attending my grandfather’s funeral; when I was eighteen, I was “brave” for calling ambulances and learning to give extended medical care to someone I loved; when I was twenty-four, I was “brave” for moving to a city by myself, sight unseen, in a country I hardly knew.

But this is simply life. Though the timelines and specifics are special to each of us, we all go through these transitions. We lose the people who helped us stay grounded. We lose the spaces and sidewalks that kept us company during the loneliest early-morning hours. We lose the sense of innocence and wonder that guided us before experience began clogging our emotions. Sure, we gain and we grow from this grief, but we lose so much.

So when my dozing friend told me I was “brave,” I reassured her that, like most people, I’m terrified every day: of knocking over fruit stands at the supermarket, of forgetting to express something valuable to a person I care about, of seeing my folded-up-and-tucked-away feelings pulled on or disregarded or even merely acknowledged. I fear innumerable hypotheticals, from the trivial to the profound. These imagined situations rarely come to pass, yet I suspect they keep most of us disproportionately preoccupied. We’re all frightened in our own awful and brilliant ways.

So what does bravery really mean? I’m scared by a lot of the choices I make—I don’t think that’s unique—but I still move forward with them, likely because I’m more unnerved by the alternative, by the path suggested by a different choice. Many people navigate their entire lives this way, constantly dancing ahead upon the hot coals of anxiety. But bravery has nothing to do with an absence of fear. It is, of course, the will to keep moving despite those reservations, the steaming blisters forming on our feet.

Which, naturally, makes all of us brave for simply breathing. Full stop. The act of mere living, many days, requires a courage and resolve that we don’t celebrate often or wildly enough. So let me remind you, person reading this, that you are brave for getting out of your bed this morning. You are brave for choosing to live through another day. You’re brave for putting labor into anything you care about, and you’re brave for caring. You’re brave for living in a world where you know you might—and probably will—lose some of the people you love. You’re brave for continuing to love those people, maybe even harder, in the face of that knowledge and the inevitable pain it will eventually bring.

And so maybe this is what folks mean when they say brave. It’s not code for “fearless” or “stoic,” but on the contrary: it’s a celebration of sensitivity, of the private and starry-eyed hunger we all feel for this life, of the desire to seek change and development in the face of loneliness or grief. It’s the determination to search for beauty in the chaos of our wonderful, disastrous planet. It's being adventurous, and honest, and vulnerable, especially when you don’t know where those actions may lead.

And so, reader, in the spirit of our collective fear, I challenge you: pursue one unnerving impulse today. Act on something. Take a risk. Tell the truth. Whether you’re reminding your high school English teacher what an impact she made on your life or whether you’re selling all of your earthly possessions and joining Scientology (please don’t actually do that), go out on that limb. Even if it’s a little one. And if you’re feeling proud, drop me a line about it. Help keep me accountable to my own directives, too.

As always, thank you for reading.

- "Running Scared," or how I feel on a daily basis, from Roy Orbison's Black and White Night (1988)

On Female Friendship (or, why I drive with the windows down)

“You can’t take my peace, bitch!” she shouted to the Acura that had cut us off in sweaty, tangled Baltimore traffic. The three of us were driving to the airport after a much-too-brief 48 hours together in deep Maryland, a place where the hot air hung thick and green beneath countless Trump flags and sputtering two-engine planes.

When I say that I’m in love with these women, I mean it in the way of love I’ve felt few times in my life. It’s love, an emotion that no degree of italics could capture. The way I feel for the two of them is doubtlessly deeper and more intertwined than the way I’ve felt for almost all of my romantic partners. It’s an attachment that I suspect most folks are lucky to feel a handful of times in this life, let alone for so long.

What no one ever discusses about this kind of love is that it’s discouragingly difficult. It’s work, and patience, and understanding. It’s waiting three years to see each other because that’s the way life carries you. It’s forgiving one other when you disappear from emails for months at a time, and it’s apologizing to your roommate for laughing so loudly at whatever they just sent to your group text. It's knowing that even if they don't respond right away, they still see your words and feel the warmth of your affection across the miles. It’s FaceTiming in traffic because, yes of course that’s dangerous, but your main bitch is going through a time and you’re going to be there for her. It’s sending them the podcasts and albums and books that made you question yourself. It’s being devastatingly honest, out loud and for the first time, because they know if you’re lying about whatever’s on your mind and they’re not here for empty niceties. It’s holding your breath when you say your goodbyes, because you well know by now just how precious your reunions are.

When I last saw these women, I had joked with them about being emotionally closed off. “I didn’t even cry once this weekend, and I’m angry about it.” We’d spent hours floating in piss-warm water, drinking improvised cocktails and airing out our ideas to dry in the sun of each others’ perspectives. After an intensely trying year away, a year in which I lost several loved ones and in several senses of the verb “lost,” I was ready for an emotional release with them.

But my dramatic, misty-eyed monologue never came. We dove into our own tired souls, dredging up whatever willowy sludge we’d cared to share. I felt immensely self-conscious about how detached I could be in talking about the grief I felt, how coldly I could describe the well of my own confused emotion. I imagined that wasn’t a good sign, and my hyperactive imagination urged me to worry that they saw me as invulnerable, unwilling to be present and raw with them in the same way they had both shared with me. As we piled into the car to part ways, I felt anxious that I had taken our time together for granted.

And then we began driving. It was sweltering outside, a clingy stickiness that only happens when it’s July and you’re underslept and dehydrated from long nights and late swills. The windows were cracked, an overeager breeze stirring the car as if desperate to bring us one last moment of overlap. We were silent. We'd said hardly a word for the entire drive, until the obnoxious Acura swerved ahead of us on I-95 as we meandered south.

In that moment, something broke loose. Pushing her middle finger over the steering wheel, she yelled at the other car, the two of us passengers peppering in colorful comments about the value of serenity and the supremely entitled fuckery of DMV drivers. We began laughing, an overreaction to the humor in a fleeting moment. We couldn’t stop. We had moved beyond words; we were simply together.

As the car’s atmosphere again stilled, the weight of our imminent goodbye again pressing down on us, the speakers opened up. “A tornado flew around my room before you came, excuse the mess it made…” Frank Ocean, a hymn we'd memorized through years of shared history. It was a song that felt like being together again. Each of us knew exactly where the other two were, without speech or sight. This was what it felt like to be with the people you loved.

I looked out at the tiny needled skyline, curving past us, finally welling down the tears I didn’t think I could release. And then a hand. She had reached over, tear-soaked fingers in mine, to wordlessly tell me that she was there too. We stretched our palms into the backseat, the three of us clinging to the present as best we knew how, holding onto each other through the last minutes of the journey.

When I drive my car these days, often alone, I do my best to keep the windows down. I like to smell the leafy, dusty landscapes of the county where I grew up. I abhor the heat, familiar and fervently midwestern, but I enjoy the way it makes my skin feel, salty and stained with just the slightest discomfort. I relish the breeze and all it stirs up in my scalp and in my spirit. I love the way it reminds me of being in that car with the two of them, barreling toward an ending and yet impossibly confident that the wind would still, somehow, carry us back together.

- "Thinkin Bout You," from Frank Ocean's Channel Orange (2012)

Reflections On The Forty-Fifth Anniversary Of ‘Let’s Get It On’

It wasn’t until after the abuse that I really began to appreciate Marvin Gaye.

My first relationship was a two-year carousel ride of gaslighting, honeymooning, and coercion. He was the first boy I’d ever held hands with. I was fifteen, and terrified of my body. Ever since I’d transferred schools in seventh grade, rumors were rampant that I was a lesbian. The gossip started because I’d never dated anyone, and it escalated when I didn’t emphatically deny it. Dating him, I thought, made sense.

Together, we crossed off a lot of my “firsts”: first slow dance, first kiss, first sexual assault. What had first seemed like simple love slowly mutated into an impenetrable bond. Even now, I lack concise language to accurately describe our eventual relationship, except to say that it was complicated. (I struggle even with the adjective “abusive,” but that’s another conversation for another time.)

I don’t remember exactly when I first heard Let’s Get It On, but I estimate it was after our breakup, sometime in my late teens. In retrospect, the album seems to have melted into those adolescent memories, superimposing its rhythms onto my experiences. I do remember feeling an immediate comfort in the music. It was sexual, yes, but there was no threat in the songs. Instead, he sang about respect and spirituality. He sang about making peace with the fact of a human body.

I would later learn of the indescribable, lifelong abuse that Gaye endured from his father. I would learn about the violence that Gaye inflicted upon his second wife, Janis, who inspired him to write “If I Should Die Tonight.” I would learn how, one day before his forty-fifth birthday, Gaye’s father shot and killed him. I would learn how Gaye’s sister, Jeanne, contended that Gaye had wanted to die, that he “knew just what he was doing” when he picked a fight with his father. I would begin to question those easy ideas of physical harmony.

As with most narratives, my understanding of his grew simpler before it grew complicated.

When I listen to Let’s Get It On today, I listen through the filter of these stories. I hear radical respect, bodily autonomy; obsessive control. I hear these notions rubbing up against one another, sharing space despite their contradictions.

As a young adult, I’m beginning to comprehend just how tangled his music is, how a lyric like “I would never die blue / ‘cause I’ve known you” is both captivatingly tender and unsettlingly domineering. I think of the feelings in a first kiss, when your stomach is filled with the rush of optimism. I give myself a moment to sit with this, and then I think of the feelings that come later, when you’re constantly glancing back, hoping he’s not following you.

- "If I Should Die Tonight" from Marvin Gaye's Let's Get It On (1973)

If You Could

- "If You Could" by Twin Cabins, released in 2012

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)

Only the Lonely

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

Heart Don't Stand A Chance

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

Human Racing

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

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)

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)

Two of Hearts

It's Friday night. You should be dancing.

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

Respect Yourself

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

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 people—my 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)

Broken Arrows

- "Broken Arrows" by José González, from Veneer (2003)

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.
 

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

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)

Once More to See You

- "Once More to See You" by Mitski, from Puberty 2 (2016)

Fernando

And I'm not ashamed to say

This song almost makes me cry

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

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)

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)