Wednesday, February 4, 2009

Review: Monkey - Journey to the West

Monkey: Journey to the West


The album Monkey: Journey to the West, [XL, September 2008] is the sonic counterpart to a theatre creation of the same name produced by musician Damon Albarn, comic book artist Jamie Hewlett, and featuring the UK Chinese Ensemble. Albarn and Hewlett, working in their previously established model of the Gorillaz, retell the 16th century Chinese tale of an existentially troubled monkey named Sun Wu Kong – “the monkey with the realization of emptiness” – who is hatched from a stone egg. The story is articulated through multiple mediums (product platforms is an uglier turn of phrase) and enacted by animated, anthropomorphosized primates.

Per the execution of many concept albums, one follows the protagonist aurally along his quest for enlightenment in a state of incomprehension. Listening to Journey to the West is an interpretive experience. One is occasioned by moments of insight – This bit? One thinks, In “Into the Eastern Sea?” with the bubbling and the scaling-upwards synths? This must be him diving into the water! And Maybe the jabbering at the end of “Iron Rod” is an encounter with some sort of supercilious, educatory being. Or, Perhaps the airy female vocals and penetratingly repetitive organ in “Heavenly Peach Banquet” indicate that our hero has fallen in love? It is emphatically a work of art attempting to communicate.

Though it’s a niggling nit to pick, there are certain points on the album where the limits of Albarn’s talent as an orchestral arranger poke through. This is bothersome to those of us who spent much time with his last multi-artist project – the murky and beautiful The Good, The Bad and the Queen, of which there are echoes. Albarn has a curious knack for reinterpreting martial marching music (“March of the Volunteers” and “March of the Iron Army”), but he is at his best on the weird-pop tracks that are more squarely within the bounds of his abilities as a producer, like the single “Monkey Bee.”

Some of the official online literature for Monkey: Journey to the West argues that in order to better understand today’s China, it may “be wiser to learn… about a little monkey than [it is to read] the conservative philosopher, Confucius.” There is the possibility that by introducing the public to this venerable and apparently influential legend, passed over for far too long by Western Intellectual Society, Albarn and Hewlett are doing us a massive favor that will be remembered for generations. Hard to say. The album is certainly fun.

Sunday, December 21, 2008

Abigail's a Cool Girl..

Sam Dwyer

 

 

Mom took me by the hand and led me across the parking lot towards the small crowd of people standing in front of the old brick building.

“That yer date, Maddie?” one woman with frizzy blonde hair says.

“She’s a cu-tie!” says another lady with blonde frizzy hair; I looked down at my new shoes.

Most of the people are smoking. I hate cigarettes; they smell so gross. I’m glad my mom doesn’t smoke. I cover my nose and mouth with my hands while my mom talks.

“Hi, Maddie,” a man with a leather jacket says, “Nice to see you again, and who’s this?”

“This is my daughter, Abigail.”

“Hello Abigail, gosh you’re big, how old are you?”

“I’m ten.”

“She’s turning ten next week.” My mom betrays me. Sometimes, as my dad used to say, my mom doesn’t know how to go with the flow.

“Oh, so you’re getting excited about your birthday then? Are you having a party? Can I come?”

Mom laughs, “Abigail says that parties are for babies.”

“It’s just not a big deal, turning ten.”

I feel so awkward. I look at my new shoes. They are really cool. They have pink, sparkly laces.

“Oh I think it’s a pretty big deal. My daughter just turned twenty. We couldn’t have a party – she lives too far away, now.” The man says and I look at him in the eye for a moment and he looks sad.

“I’m sorry.” I tell him.

“Do you like cookies? You should go inside and get some.” He says, and I’m confused because I thought we were talking about his daughter who he misses.

“Let’s go get some cookies before they all get eaten.” Mom says.

She leads me up the stairs to a heavy wooden door that I try to open for her but can’t by myself and we go inside. We walk across a big, musty smelling room with a brown carpet. Many brown plastic folding chairs face a table; seated at the table are two saggy and faded blue and yellow striped chairs. Through a serving window with blue trim I can see people standing in the kitchen, which is where mom takes me.

“Hi Hannah, is coffee ready?” my mom asks.

“Sure is, Maddie. Here.” she pours mom a cup, “Nice to see you again. And you,” she looks at me, “must be Abigail. Your mom and I are good friends. I’m Hannah.” She’s really cool; she has stars tattooed on her wrists and a poufy, gauzy scarf. I wish I had a poufy, gauzy scarf. We shake hands. “I like your shoes. Those laces are so pretty.”

I make sure to look her in the eye when I say “Thank you.” My dad says that that’s very important, and I want Hannah to like me.

“We ordered them online and just got them earlier today.” Mom says.

“I guess you didn’t need a ride, huh, Hannah?” A man dressed all in black with his hair slicked back and his face angry looking interrupts, “I mean, I guess you didn’t need a ride because you didn’t call. Yeah. You made it here just okay I see.”

“Yes, thank you for offering though, Matt. My other friend lives right down the street from me, so it’s really no problem for her to give me a ride. If I get in a jam, I’ll give you a call.”

“Yeah, okay.” He abruptly grabs two Oreos from the open box on the counter and walks quickly into the main room and takes a seat, staring ahead at nothing.

“That was aggressive.” My mom says.

“Yeah. Another miserable one.”

“Aren’t we all, here?”

My mom is miserable?

“Would you like a cookie, Abigail?” Hannah asks.

“Yes, please.” I would also like to be invisible.

“Take as many as you’d like. I’m going to sit down, now.”

“You can have three.” My mom holds up three fingers. “I have to go to the bathroom. I’ll be right back.”

I take two pecan Sandies, which are my favorite, and one Oreo. I watch through the serving window as Hannah is waved over to a small group of other cool-looking young people. The hall is filling up, and I know that people are watching me as I leave the kitchen and walk along the edge of the main room, inspecting the bookshelves. Lots of bibles and old books – who is Jonathan Edwards? I pretend to read it, and look to see if Hannah and her friends are watching me, but they aren’t.

My mom hugs me from behind and I close my eyes.

“Are you ready to come sit, sweetie? Do you want to bring your book?”

“No.”

We sit, and I can’t see the man in the green hat who has begun to speak, and I can’t understand him well, either, because he mumbles.

“What’s he saying?” I ask.

“Shhh.”

There is a lot of talking, and then two men, one of whom is crying, go up to get silver coins and a hug.

“Do you have a coin, mom?”

“Yes. Hush though.” She digs through her purse and hands me a silver coin.

“Is this money?”

“No, read it.”

On one side, it says:

God grant me the Serenity to accept the things I cannot change, Courage to change the things I can, and Wisdom to know the difference.

On the other side arranged around a triangle, it says:

TO THINE OWN SELF BE TRUE. UNITY. SERVICE. RECOVERY. 24 HOURS.

I turn it between my fingers for a little while, and then give it back to her. I notice that the man sitting next to me smells terribly of cigarettes. He has great big tattoos on his forearms, but I can’t tell what they are because they are dark and blurry, and his skin is so tan. He notices me looking, and for a moment I am scared that he will be angry, but instead he turns his arms so that I can see better.

A new man stands up to talk. I look at my shoes – these pink, sparkly laces are so cool. My friend Lindsey said so earlier today when I was at her house, and so did Hannah. I lean over so that I can look at them more closely. They say “All Star” on the tongue, with a star between the two words. They have pink stitching, and a green rubber heart on the rubber side part near the front. My mom and I bought them online after dad left to get better. Mom was crying and so was I because she was, and she said,

“I know what will cheer us up. It’s trite, but why don’t we go online and buy new shoes. You want a new pair of sneakers?”

I nodded, “What does trite mean?”

“It means that something’s predictable; that it’s been done before.”

“Is that bad?”

“Not always.”

I don’t understand why buying new shoes could be a bad thing. If you spent all your money on shoes and then didn’t have any left over for food, I guess. I undo the laces and then retie them.

“Stop fidgeting,” my mother whispers, “listen, he’s telling a story.”

The man is standing, and says, “…And I didn’t care, and my moms stopped talking to me after I stole her money to buy, you know, to score. And then we were driving around, you know, high on crack, and she said ‘you know, there’s five percent alcohol in Nyquil.’ And I said ‘lets get some of that!’ you know, cause I wanted to get high. So we drove to one drug store but there was a cop outside, so we drove to another and then we stole a bunch of bottles of Nyquil and drank them…”

“Mom, where’s the bathroom?”

“Can’t you wait? Grownups use the bathroom beforehand, you know.”

“I really have to pee, mom.”

She points me in the right direction and I excuse myself past the people sitting in our row and walk down a dark hallway decorated with posters. They’re like the kind that I have in my school, only they talk about God and are faded and old looking. I find the bathroom and walk from one end to the other.

I count the tile squares from one end of the cold bathroom to another, then look at the urinals and the paint on the radiator, which is pale blue and chipped in places so you can see that originally it was painted pale yellow. I stand on top of the toilet and jump to grab the top of the stall. It has a sharp edge that hurts my hands! I pull myself up anyway, and sit on the corner swinging my legs in the air. Sometimes at school my friend Lindsey and I get bored and we go to the bathroom together and do this.

The doorknob turns and I stay very still; a young man walks in. He goes to the sink and turns the faucet on; touches the water, waits, and then touches it again and slowly washes his hands. He’s tall and slender, with soft looking straight dark brown hair; he’s wearing a black sweater and dark jeans. He looks at himself in the mirror and runs a hand through his hair, rolls his shoulders and exhales loudly. He turns away slowly from his reflection and then jumps around quickly and pretends to shoot himself – “powpow!” He takes out his phone, runs his fingertips against its screen and holds it to his ear. He’s cute, I decide.

“Jacky-o? Hey dude, just calling to say that I’m not coming down to the city this weekend. … Yeah, I’ve got the car still, that’s okay? … Right. Okay.” He turns and sees me for the first time; he jumps a little and blinks. “Jacky? There’s a girl perched on top of the bathroom stall. … No, she doesn’t look like orphan Annie; she’s blonde.” He laughs, “Yeah. Okay, Ciao.”

“What are you doing up there, little friend?”

“Nothing.” I tell him; I am ashamed at how shy and quiet I am. I want to be bold.

“Oh? How did you get up so high, then?”

“I climbed.”

“Oh, hm, yeah? And why are you here?”

“My mom brought me. She didn’t bring me last week, but she brought me this week because she can’t afford a babysitter and because my friend Lindsey’s parents couldn’t take care of me. They are at a dinner party. And my Dad is sick and he is somewhere getting better.”

 “I see,” he looks down, “I’m sorry about that.”

Why is he sorry? What did I say wrong? I’m so embarrassed. I want this cute boy to like me.

I must look upset; “It’s alright,” he says, “lots of people in my life are sick too. My name’s Grady. What’s your name?”

“Abigail.”

“Nice to meet you, Abigail. Do you live around here?”

“Yes. I live on Whitwood farm. My family’s always lived there.” I am very proud of this; everybody in town knows my family and where Whitwood farm is. Grady doesn’t seem to, though.

He raises his eyebrows, “Is it nice?”

“Oh yes, very.”

“Hm. Well Abigail, I should go sit back down, but I have a proposition for you. If you’d like, when the meeting is over you should introduce me to your mother, and tell her that I’ll babysit you in the future, for free, so that you don’t have to come to meetings, if she wants. You having to hide here in the bathroom is depressing.”

“Okay.”

He reaches up and we shake hands.

“Okay, I’ll find you later.” He says, and then leaves.

Oh my god, he could be my babysitter? I’m excited. I don’t want to have to come here anymore. It’s so boring.

I jump down off the top of the stall – it’s higher than I thought, and when I hit the floor I fall forwards and put my hands out and my left wrist makes a crunching and snapping noise and oh my god it hurts so much! I scream and run out of the bathroom holding my hand and crying where is my mom, where is my mom?

I wipe the tears with my good hand that is holding my hurt hand as I rush into the hall where they are still talking. There is a commotion and several people stand up, including Grady. I see my mom stand up behind him and I run to her.

I am sobbing. I hold up my hand.

“What happened, mouse? What happened?”

I can’t speak because I am crying too hard. My nose is also running.

“Shhh, shhh, shhh,” she says, leaning over and holding me, “it’s okay; you hurt your hand? It’s okay little mouse.” She runs her hand through my hair and asks, “Hannah, will you call an ambulance, please? Lets get out of the hall so they can finish the meeting.”

Grady follows us into the kitchen, and asks, “Did you fall, Abigail?”

I nod.

“Fall? What did you fall off of?” My mother asks.

“She was sitting on top of the bathroom stall when I was in there.”

“What were you doing that for?”

I don’t feel like talking so I don’t say anything.

“The ambulance is coming.” Hannah says, clicking her phone shut, “Oh, poor Abigail.”

“I was a little worried about you being up there.” Grady says.

“Why didn’t you tell her to get down?” My mother turns on him. She looks scary.

He stammers, “I don’t know.”

“Sorry,” she softens quickly, “It’s not your fault.”

My mom is so tough.

I stop crying. The four of us stand in the kitchen, waiting.

“I, ah, Abigail and I were talking, and she told me that she had to come tonight because you couldn’t get a babysitter? And because her friends parents were busy?” Grady isn’t very good at talking to other grown up people, I don’t think.

“Yes. That is correct.”

“Well, I wanted to offer my services as a babysitter. For free. My name’s Grady Griffen. I’m a college student. I’m ah, living with my step-great aunt and taking a semester off to write a novel.”

“Oh yeah? And who is your step-great aunt?”

 “Helen Blanche.”

The meeting finishes, and people begin wandering into the kitchen and eating cookies and chatting. I hear a siren noise. I’m so tired, I just want to go to sleep; I feel warm and fuzzy. My wrist hurts so much, though.

“Oh I know the Blanches. Well, if you’re a Blanche, you must be okay.” My mother turns to Hannah, “What should we do to get you home? I guess I’ll drop you off and then go to the hospital.”

“You don’t have to do that, I can get a ride with someone else. What about you, helpful stranger?” Hannah gives Grady a look, which makes me furious. It pleases me that he seems scared of her.

We go to meet the ambulance men, who wrap a splint around my wrist and strap me down onto a board. As they are carrying me out I see Grady and Hannah getting into a red convertible. I am so jealous it hurts. This is the worst day I have ever had.

 

Mom let me stay home from school today, because of my wrist. I wake up at eight, and then I leeaan way far out of bed, without getting out, so that I can pick Animal Farm off the floor. My Dad gave it to me as a birthday present last week before he left; he wrote a message for me inside the cover. It says:

Dear Abigail,

This is a really good story. When I was ten, this was my favorite story. Pay close attention to it. The reason it is so good is because everyone can understand it. Think about what that means. When you finish reading it, you should look it up on Wikipedia for an historical explanation. Maybe you will be our first female president, providing that there’s still a country in thirty years.

I love you,

Dad

It’s hard to read with this cast on my wrist. I hold the book up with my right hand, but it gets tired. I sit up and hold it in my lap. It is a strange book, but it is not boring.

There is a scratching noise… ah! A squirrel on my windowsill! It stares at me and makes a chimpering noise, then jumps away. I wonder if it doesn’t like me? Maybe it was here to tell me a message.

The sun shines golden through the open windows opposite my bed; the wind blows my yellow curtains inward. The floor creaks as I get out of bed and walk across the room and look outside to see if I can see where he went. Maybe I am supposed to follow him.

I put on jeans and a t-shirt and socks and go downstairs to find my mother. She hears me coming down the stairs and yells,

“Hey Abigail! I’m in the library!”

I move very quietly, on tip toe, to the threshold and wait.

“Is that you, little mouse? Are you out there?” She asks.

“Boo!” I jump around the corner and yell.

“Oh, so scary! I think I might faint!” She leans back on the faded red-velvet chaise by the tall window, and covers her face with her book. I walk past my grandfather’s dark desk and over the thick shiny green rug to her. She doesn’t move.

“Mom?” I walk up to her. “Mom?” I stand next to her and yell, “Hey Madeline Annabel Forester are you there?”

She grabs me and tickles me and I laugh and I scream very loudly.

“Ouch, Abigail! You hurt my ears.”

“Sorry Mom. Mom, what are you reading?”

“Just a trashy novel.”

“Why is it trashy?”

“It’s not very good. Trashy means that the story isn’t very original, and that it’s poorly written.”

 “Why are you reading it then?”

“Because it’s easy, and because it’s funny. It gives me pleasure.”

“What’s it about?”

“It’s a love story. Couldn’t you tell from the cover?” She holds it up and I see a bare-chested and strong looking man holding a woman, her gauzy white dress slipping off her shoulder. “It’s about a barbarian prince who’s secretly in love with his serving wench.”

 “What could be bad about a love story? Mom, a squirrel came to my windowsill this morning. He looked at me, and then he ran away, but I think he wanted me to follow him. Do you think he’s a prince squirrel?”

She smiles, “Maybe he does, like the toad prince. Would you want to kiss a squirrel?”

I’m embarrassed, “Um… he was cute… for a squirrel. Maybe if I give him a kiss he will turn into a cute boy?”

“It’s a possibility worth exploring if you can get close enough.” She lays the book down and picks me up, “Ugh! You are too big for me to carry anymore!” She puts me down, “let’s go make you some breakfast.”

I follow her down the long, wide hall covered floor to ceiling with paintings into the kitchen. She pulls a stool out from under counter for me, and then walks around to the other side.

“What’ll it be, miss?” she asks in a scratchy voice.

“Why are you talking like that?”

“I’m pretending to be a waitress at a truck stop.”

“It’s weird.”

“Okay.” Her tone lightens, and she lilts, “What would you like; dear, dear, sweet, precious child-o-mine?”

“I would like scrambled eggs and toast and orange juice, please.”

“You got it little lady.”

I watch her as she lifts the cover from the cooking surface of the strange enameled red stove that’s always on, lifts a cast iron pan from a drawer and drops it loudly into place. From another drawer, she pulls out a loaf of bread, and puts two pieces in the toaster. She whisks an egg and drops a little piece of butter into the pan; it sizzles as she swishes it around and then she pours in the egg and stirs it. The toast pops and she butters it for me, then puts marmalade on it – which I am proud to say is the only kind of jam I like. I think it’s a very grown up jam, not like the grape jelly everyone eats at school. My mom says she wont buy grape jelly.

“Voila!” She dumps the eggs on my plate and hands me a fork. “Oh no! How is my lefty-mouse going to eat with her paw all damaged?”

“Mom, look – it’s not going to be a problem. I can use my other hand.”

I eat. She walks around the counter with a glass of orange juice and sits beside me.

“You’re pretty good at switching your hands,” she says, “you’re ambidextrous, like me. That means you can use both hands equally well. Did you know that I can write with both hands? It’s pretty unusual. Most people can’t do it.”

I’m not sure what to make of this. “That’s interesting.”

“Isn’t it? It must be genetic… I wonder.”

“I don’t know.” I finish my breakfast. “I think that I’m going to go exploring.”

“Sure. Dishes in the sink first.”

 

In the mudroom I decide to put my old sneakers on instead of my new ones, because I’m worried about mud. I walk out the front of the house and circle around the side, passing the windows of the kitchen, the dining room and the library where I can see my mother. I spy on her through the window; she is reading and chewing on her knuckle, occasionally she stops to drink tea from the kind of rough clay mug that I dislike.

I slip away without her knowing that I was there.

The grass is bright green and damp; I walk through the apple orchard and my shoes soak through. The blossoms are so beautiful – I can see the spots of yellow stamens above pink petals, backgrounded by green leaves and the silvery gray bark of the trees. The last time we were here – in the winter, before grampa died – there was snow, against which the trees looked violent.

At the edge of the field the grass changes. It’s unmowed and so it’s taller, though not as tall as it gets later in the spring; there are also different types, some are round and hollow and stiff, and some are flat and bendy. Their seeds are different as well. My legs get even wetter because the grass is higher.

I walk out and up my favorite small hill in the center of the field, which takes a couple minutes to climb. At the top are two long benches and a table that my grandfather made. I stand on the table and look back at the long driveway that leads up a slight hill to a cul-de-sac in front of the house, the tiny guest cottage and barn. Behind the barn and not visible from the driveway are a tennis court and the pool, still covered from the winter. Further away is the forest.

I turn away from the house and look out at the valley, shading my eyes against the bright late-morning sun with my splinted hand. I remember when we had a picnic up here, last summer, with my grampa and my mom and dad and my dad’s younger brother and his brother’s wife and my two baby twin boy cousins. And now my grampa is dead and my dad is sick and my mom is sad and my uncle and his family live in California. And my wrist is broken and it hurts! Why is life so sad?

My dad always tells me that at least I’m alive; at least there isn’t a holocaust or purges happening. He knows a lot about the holocaust and purges. He told me once that at the end of World War Two, the Germans were running out of bullets so they would go up onto a bridge and tie two people together then shoot one of them and push both off the bridge; the shot person would drown the other person.

I try to think of something else besides being tied to a person who is shot and then pushed off a bridge.

Oh! Where is my squirrel? I forgot that I wanted look for him. Squirrels don’t spend time in fields, I don’t think.

I jump carefully off the table and walk down the hill in the direction of the house and the woods behind it. I pass back through the apple orchard and around the house. Past the pool and the tennis court there is a ravine at the bottom of which is a stream the same width as the length of a car. Arching over the gully is a wooden footbridge, with a railing on one side. I sit in the middle and hang my legs off. There isn’t a lot of water but there is a gurgling noise.

I try to copy the sound,

“gclu-gclu-gclu,”

but it’s not right.

I follow the path from the bridge to the edge of the woods, and then inside. I can’t see very far, because on both sides of the path are tall, thick pricker bushes. I don’t see any squirrels, only birds. It’s very quiet. I keep walking.

I see something flashing silver! I step off the path and go to it. It’s a deflated mylar balloon, lying in a bed of dark orange and brown leaves. I step close to it, and my foot sinks to my ankle in mud. I bend over to try to reach the balloon with my good hand without stepping deeper, but I can’t grab it or it’s plastic string. The mud slurps when I pull my foot out.

I go to look for a stick. The first one I find is layered in cream-colored mushrooms, and when I try to pick it up it falls apart; the second is as thick as my arm and twice as tall as I am. It’s heavy, but I carry it awkwardly over to the mud pit and hook the balloon with it.

The balloon makes a crackling sound as I hold it; it’s got wet mud on it, which transfers to my hands and splint as I spread it open. In faded pink lettering it says “Happy 16th Birthday!”

How long has this cool thing been here?

I can’t wait until I’m 16. I’ll be in high school and get to learn how to drive. Maybe I’ll have a boyfriend? I wonder if we will still live here, or if we will move back to New York. I like it here better; I like exploring, and in New York I can’t walk around on my own yet because it’s too dangerous.

I carry my balloon and drag the stick out of the woods. It makes a clocking sound across the boards of the bridge, and down to the house a scratching noise on the gravel driveway. Mom must be able to hear it, because she waves from a couch on the screen porch that is facing away from me.

I drag the stick off the driveway and onto the lawn towards her.

“Did you find your squirrel prince?” Mom asks without getting up.

“No. There weren’t any squirrels. Look, though.”

She sits up and looks at me over the back of the couch.

“Huh! What’s that you’ve got… a big stick! And a dirty deflated balloon. What treasures! Hmm… is it lunchtime? Why don’t you leave them outside and come in for awhile.”

I come to the screen door; she looks at me and says “Shoes off.”

 

After lunch I plan to write a novel. Mom likes this; she sets up her thin silver laptop on my grandfather’s desk for me.

“Good luck.” She shuts the door behind her.

I sit in his black stretchy-mesh wheeled chair and think.

I wiggle around a bit.

I don’t know what to write! So I write that. But that’s not a story! I decide to start with how a normal day starts… with an alarm clock! But I don’t use an alarm clock – my mom wakes me up every morning. And waking up isn’t very interesting. What happens after I wake up? I could write about what I did today. I think about it though, and all that happened was that I read, saw a squirrel, ate breakfast, took a walk and found a balloon and a big stick, then came home and ate lunch.

My day seems stupid now, and it makes me angry. I am so boring! I get up from the chair and walk back and forth on my grandfather’s green rug. I wish something exciting would happen to me. Like… I could get kidnapped and held for ransom in a cave. That would be exciting.

I regard my grandfather’s books that surround the room, floor to ceiling. How the heck do people write all these? I take a really big, old one off the shelf and read:

The wealth of societies in which the capitalist mode of production prevails appears as an ‘immense collection of commodities’; the individual commodity appears as its elementary form.

I don’t understand what that means at all! It’s like it was written in another language. I put the book back and look for another. I find a new looking one with a white dust jacket. It has a picture of a cartoon man on the front, swallowing a pill. I bet my Dad would like this one.

I read:

Not until my ears popped and the plane was coming down over the winking lights of Bogotá – or really it looked like any other city at night – did I raise my eyes from the page I’d been puzzling at and begin to think of the girl, or woman, the friend or acquaintance, Natasha, whom I was flying so far to visit. That’s how it was with me then: I couldn’t think of the future until I arrived there.

A trashy love story! I clap it shut and put it back.

All these books are no good. I’ll write a poem.

I write:

I’m little,

I’m small but

I have stories to tell you.

How will you find me?

I can’t yell so you can hear.

Yet.

 

I bring the poem to my mother, who says she likes it a lot. I’m not sure that I believe her, but “as proof of her conviction” she gives me a couple cookies. I eat them in the kitchen.

She leans over from the other side and puts her elbows the counter, “Do you want to listen to the Beatles?” She asks.

“Of course!” I love the Beatles.

She turns on the CD player that hangs from under a cabinet; she skips forwards a bunch of songs, listens to the first second of one, and then skips forward once more to our favorite.

We sing together,

“Ooooooh I need your love babe, guess you know it’s true. Hope you need my love babe, just like I need you. Hold me, love me, hold me, love me. Ain’t got nothing but love babe, eight days a week.”

We dance around the kitchen together, holding hands. My mother sings, “Love you every day girl, always on my mind. One thing I can say girl, love you all the time. Hold me, love me, hold me, love me. Ain’t got nothing but love babe, eight days a week.”

“God, the Beatles were so cute.” She says.

The next song comes on, and we keep dancing.

Generally, my work is really subtle

Lots of ways to engage your audience and impress upon them how intelligent you are,

Or

Generally, my work is really subtle.

An especially good way to draw peoples attention to your work is to mess things up and by this I mean spellingwise or other – you want attention whether it’s positive or negative! The point is to grab that shit! Writers are like rugby players! If you get things like your intent to deliberately misspell stuff and generally be a wanker out in the open at the beginning of your essay, it tips your hand and people realize that you are not a retard mentally handicapped person, but are in fact tongue in cheek, haha a tricky writer just like my professor! My dad who represents mental patients says that the word retard is the new nigger. Be extraneous and extemporaneous! Make them groan and whinge (Word 2008 says that “whinge” is not a word, but I totally speak British) and hit the dictionary.

Ambiguity serves great purpose in writing an argument I think, as does citing Joyce cause he lends credibility to not making a whole lot of sense either, right? I hear no one understands Finnegans Wake except for people who are into it, but I suspect that they’re just faking it. I kinda dug A Portrait of the Artist as a Young Man, because Joyce lets you see more of himself, but Dubliners I did not like because it felt sterile. My employer David Kamp agrees. Ambiguity is good because if people can’t understand you, they might presume that it’s because you’re so much smarter than they are. I personally am brilliant though, so if I can’t understand you I presume it’s because you’re a retard mentally handicapped person, or an average person trying to sound smart.

Junot Diaz says that there’s a psychic connection between writers and dictators, and I think he’s right. You have to be pretty arrogant to think that anyone wants to read your spit, dribble and drool soaked absorbent bib of an essay. I used that “absorbent bib” line in an argument I once had about Michael Thomas with my friend and occasional writing tutor who first introduced me to n+1, who will probably not like this essay because of how self-aggrandizing it is. But my point is that if you don’t cultivate a truly odious personality, you will be easy prey. A good writer, like Kirby (who is not a writer, but a character in Super Smash Bros.) consumes the personality of others, and you don’t want to be a comestible. I think that Sun Tzu said something along the lines of “keep people guessing” and I’ll say that’s good advice.

I want you to be arrogant, because nothing irritates me more than pretentious people worrying about being pretentious. If you don’t feel like you can hold your own, read more – the smoke and mirrors ability to cite other authors will make you feel more secure and your work more easily defensible to other people who are into quoting things. An example of this would be: “Oh, you don’t remember Murakami going velociraptor on Jonathan Franzen’s The Discomfort Zone, zeroing in especially on his opposition to charity?”

I once got drunk under a highway overpass in Seattle with a bunch of homeless kids.

Where is your red pen now you marginally cognizant ape?!?!

As I said in class the other day, sweeping generalizations are awesome, as we all know in our hearts of hearts but I don’t want to waste space deliberately perpetrating clichés cause that shit’s small bore. Instead, I’m going to go get dinner now and then come back and maybe write something really safe cause college is so goddamn expensive and I ain’t a rich kid and can’t afford to fuck it up. My younger brother once wrote a sad poem about being dumb and his teacher submitted it to a children’s poetry anthology; it was published with all the spelling errors corrected. Eventually he dropped out of school. Glad I stuck to it, maybe someday I can buy a Porsche.

Tuesday, March 25, 2008

Charlotte Gay Frost



Charlotte is my grandmother. She was diagnosed yesterday with Hodgkin's lymphoma. She and my grandfather, John Alden Frost have been married for 51 years. She has three children, two surviving, and six grandchildren. She and "Denny" are retired on a farm in Cornwall Bridge, CT.

Sam: How old were you when you first met

Gramp?

Charlotte: Six!

Sam: Six

Charlotte: I was going to school up here, in the fall and the spring and I had my tonsils taken out, and you know the way first graders have to send get well cards to someone who was sick? Well this was Easter time so they were sending me get-well cards, Easter eggs and stuff. We think that he must have dipped his in all the dyes to get it black. He also put my pigtails in the inkwell, when we were a bit older

S: You guys had inkwells?

C: Yep. We’re antique, remember? [laughs]

S: How old were you?

C: Well, probably for that was eight maybe. Third grade possibly.

S: And when did you guys start dating?

C: well, we were both fifteen. It wasn’t real dating in the sense that you do because it was other people driving us to square dancing and movies and stuff like that.

S: What was your first date?

C: I have no idea

S: You have no idea?

C: I have no idea. We were hand holders. We weren’t smoochers beyond any other you know… we did a lot of square dancing, a lot of movies, a lot of hiking. And then at seventeen, about seventeen I guess we sort of broke up and went our separate ways, expansion…

S: Why did you break up?

C: Uh, it was just sort of, I don’t know, maybe it was me, I wanted a wider horizon, or maybe I was away at school, I don’t specifically remember. And Den was in the army.

S: He was in the army when he was eighteen?

C: Ah eighteen yes. Right after he graduated, that fall afterwards. In ’54. Then he got out of the army and we started seeing each other.

S: What did you do when he was in the army?

C: I was at school. I was at Wheelock.

S: What were you studying?

C: Education. Pre-school through third grade teacher. So I was there and Den was in the army, he came home in the fall of ’56, Christmas time, and we started seeing each other and we were engaged in January ’57.

S: Really quick.

C: Well, ‘cause we’d known each other pretty well, for years. We were both… twenty-one at that point.

S: Do you remember the first time you saw him when he came back?

C: Yeah he came knocking at the front door.

S: Here, at the farm?

C: Yes. He had a crew cut that was growing out, at that point it was sticking straight out in the air, and he had on a coat that was, it was a neat coat, wonderful Harris tweed coat that he’d had made when he was in England. And uh, he was standing there and all I remember wanting to do was give him a big bear hug and I don’t know whether I did or not. I don’t think I did. I was too shy.

[The phone rings]

Oh that’s probably Beth

[I turned off the recorder for a moment, and then reconsidered. Charlotte had been to her doctor earlier that day to discover the results of a biopsy taken from a mass in her head, her oldest daughter, Beth, was calling to find out what was happening to her mother.]

C: …It seems that it’s a Hodgkin’s lymphoma. Yup. In that sense it’s not good, but if I were going to have a cancer, that’s the one to have. Um… I don’t know exactly. The oncology doctor who I assume is going to do a pretty thorough physical and is going to send me for some more tests to make sure it hasn’t gone in different places or other things it could do… I don’t even know yet. I go tomorrow, to him.

And um, the treatment will be probably radiation and chemo. It’s likely to be. But they don’t, Doctor Lucy got his pathology report over the phone, so he doesn’t have anything written down besides what he got over the phone. And also, the other thing is they don’t know which stage it is at yet, because they haven’t finished all the testing.

Yes, it’s one of the ones that is very treatable. It’s very treatable. That I know. 90-95% if you catch it soon enough. And that’s the thing; we don’t know what stage it is at yet. Um, but anyhow, now I know what I’m fighting.

Oh sure, it’s just going to take a little while to get used to it. The idea of saying that “I have cancer” is not very pleasant [laughs]. Cause that’s basically what it is.

He said I could go for another opinion if I wanted to, but that would take six or eight weeks.

I’m going to! But I’m going to take Sam to the train in a little while, and after that I think I’ll call him. So. I guess it feels good to know what it is, better than it did. But it hasn’t settled yet. I don’t know if it’s good bad or indifferent but lymphoma means lymph, and as far as I know there are no lymph nodes involved at this point. So that…

… Yes, that’s what I’m saying. But he called it Hodgkin’s lymphoma, so it sounds contradictory. And I’m sorry I wasn’t here when you called earlier, but you had a chance to talk to Sam. … Bruce said he wanted to know what’s going on also, so pass it to him. … I will call Linda later, yes. … I’d like to be there

[Beth is in Hawaii, visiting my mother, Celia. Charlotte and Denny were supposed to go but couldn’t when Charlotte became too ill]

But don’t, don’t worry, I’m not curling up my toes yet [laughs]. I hope not! Because I’m not going to do it! Sorry guys, sorry! [laughs] There we go, that’s right. Well, okey-doke. Well, I’ll let you know if anything strange comes up; I’ll let you know. … I know, I wish I could be there. It was twenty minutes of eight your time when we came home, and Den said ‘they’re probably still on the beach!’ I bet you are. Don’t forget to use the stuff so you get a cancer kind of tan! You don’t need that. You know, sunscreen! Oh, Bruce did? Ask him about the top of his shiny head… Uh-oh! He’s got it covered up. Good. Well you and Anna, half the time you forget to do it too. Be careful. Okay, okay, well I’m glad you called; we’ll be in touch. I love you guys. Okay honey, bye.

[She hangs up]

Does that sound not too scary, the way I put it?

S: Didn’t sound very scary. You sounded very, persevering through it.

C: It’s gotta be a decent attitude, you know?

S: You can’t mope.

C: No, there’s no point. Maybe it’s better knowing a little more about it. Maybe it’s not. Who knows? It’s good knowing more about it. But I don’t want to scare you either. And you can pass the word on to your brother. You should call him.

S: So Gramp had just gotten back from the army, and you wanted to but you were too reserved to give him a hug.

C: I guess, something like that. And I don’t remember what we did but it didn’t take us long to get comfortable, three weeks later we were engaged.

S: Where were you working at the time?

C: I was in school. We wanted to get married, we didn’t want to wait a whole year for me to graduate, so I took a full semester at summer school at NYU, summer of ’57. I got eighteen credits.

S: In one summer semester? That’s a lot.

C: I had to get special dispensation. What I mainly remember was that I took an abnormal psych course in four weeks, and the midterm was about three hundred multiple-choice questions, and I hadn’t taken one in years. I was going into my senior year in college, I was twenty one, so I went to my professor and I asked him, well how do I study for this thing? Because I had to get a certain grade in order to transfer back to Wheelock, and I don’t remember whether I didn’t quite make it or I wasn’t happy about it so I went to talk to him. For the final, you know, two weeks later, it was seven hundred questions, and we were getting married the next day, after the exam, and that was my last class…

It was a Friday in August, or September sixth that I came up from New York to go to our rehearsal. We were married September 7, 1957. And as I passed my exam in to my professor with my home address on it so that he could send the results he said ‘Oh, Cornwall Bridge? River Road?’ [River Road is the road her farm is on] As it turns out – you know that house on the corner, across from St. Bridget’s Church?

S: Yeah

C: That used to be an inn – Laughingwater Lodge. He used to go fishing there. I got the card the next day, and I’d passed, well enough for Wheelock. I never know to this day whether I really passed it or if he just gave it to me. It was just one of those unexpected coincidences.

S: What was the marriage like? Who was there?

C: Oh it was at the Church, everyone was there – the whole big family. Your great grandparents, great uncles and cousins, everyone. Den and I both come from really big families. Tommy Nolan was alive then, I remember mother scolding him for putting his finger in the icing of the cake.

S: Where was it, was it at UCC [United Church of Christ]?

C: Yes, the service was at the church in the village and the reception was here. We have lots of pictures of it; it was an overcast day so the pictures were good. It was, I don’t know, two hundred or more people. My family, Den’s family, and a lot of Cornwall people. It was a neat wedding, it was fun. And then we were driving up to the Adirondacks, to camp for our honeymoon and we stopped someplace, I don’t know where it was, and your great-grandfather had put a bottle of champagne in the car. We got into the motel and Aunt Polly, who was a real penny-pincher, she had gotten the motel and we should have known better because it was dirt bag, it was terrible. We were going to have our champagne anyhow, and we knew it had been rattling around in the car all afternoon so we opened it up in the shower and the cork, it shot all around the tin shower [she makes a ping!ping!ping!ping! noise] and we were trying to be quiet, newlyweds sort of thing and the cork was shooting around in the shower stall. We eventually got to camp; we were staying at George Kittles camp. People had stuffed our suitcases full of rice, and the mice got into all the rice that was in our suitcases! We had quite a time. And then the rest of our family came up to the Calhoun camp next door. We got teased quite thoroughly – ‘you mean, you guys took your honeymoon just a hop-skip and a jump from all of your family? What kind of nuts are you?’ but we had a fine time.

S: When was Beth born?

C: Beth was born in May ’57. We lived at the end of Cornwall Valley, and then two years and a bit more Steve was born, three years after that Celia was. We were under thirty by the time we had our third child.

S: That seems pretty normal. I mean; it’s young for now.

C: Well yes, people are waiting another ten years. And some of them are finding that they can’t even have children.

S: What do you think about that?

C: Um, I think that even at, even at thirty for me, women are already beyond their prime. I mean, the prime age for women is what, sixteen to twenty-two, something like that?

S: Yes.

C: It’s a lot younger than you think, physically. And one of the things that people have found, if they wait too long is that in the first place they don’t conceive as easily. I was the kind of person – there was this saying that the husband hangs his hat on the bedpost and I’d get pregnant.

S: What?

C: A husband hangs his hat on the bedpost! In other words, very fertile!

S: Oh, okay.

C: So I never had any trouble with that, but I was also under thirty. And I think, from my little bit of reading stuff, and I think that if it’s not easy to conceive when you’re twenty-eight, it’s going to be even harder when you’re thirty-eight. I mean, you may still be under the wire of menopause, but still it’s harder. I think the older you get, the more you’re set in your ways, as a couple possibly, and also as a person. You’re used to it just being you, without an add on. My feeling is that say, twenty-five to thirty-five is good timing. Because also your energy levels are important.

S: That’s what my mother says.

C: She’s made the comment, well, I guess she had it made to her, is that, she played with you kids. And a lot of parents don’t, because they’re older and they don’t have the energy. The other thing is that, if you have a baby when you’re forty, by the time it’s twenty you’re sixty! In other words, the aging, it’s different. What you get to do with your kids. I’m inclined to think that if the person is responsible, with their life in general, it is better to have children earlier.

S: What was life like when they were all children?

C: Oh it was fine. We didn’t have any money. Most of the disagreements we had were about money. Or sometimes we had disagreements about how to discipline children. The father with a daughter treats her different from a son, he’s much harder on a son. And one of the things I had a problem with was screaming women – you know, if someone screams? Or if any of them are bitchy, which your mother is very aware of.

S: I know; my mother doesn’t like other women.

C: Because they can be real stinkpots! They’re unpleasant and I think that a woman is more aware of that happening, and a man… a daughter can wind a father around her finger much better. I suppose with the sons that it’s somewhat a same thing only different causes, only they’re harder on the son than they are on the daughter. I think that’s just human nature.

[her dog outside barks]

C: I think she wants to come in

S: I’ll go get her

[the dog bounds inside]

C: Hello Freya! Hello squirt.

S: What was it like when Steven got sick?

C: Sheer hell. It was, it was. You could say we were shell-shocked. Someone took a picture of the two of us sitting in the kitchen…

S: You and Gramp?

C: Yes, talking about it very shortly after we found out. The other thing was that it was Celia’s eighth grade graduation night when we found out the diagnosis [of teenage leukemia]. I had finished her dress all the way, and hung it in the hall in the other house, and her present was somewhere it could be wrapped and only Den and her went to the service, because they didn’t want Steven to go to the service. His white cells were down which meant he was susceptible to bugs and infection. Everybody knew very quickly what was happening. For six weeks different people from the town had dinners at our house for us, between quarter of six and six o’clock every day. No repetition of the same food or the same people. It was amazing.

Steve, like a lot of treatment for that type of leukemia, the first six weeks, the rounds for that type of stuff is very intense, the chemo, to knock it fast. It’s a blood cancer. It was very rough; I always called it the killer-cure. He was pretty sick. But there were good pieces to it. He was a sixteen to eighteen year old hell raiser.

S: So he was trouble?

C: Yeah, sure. He used to take a 60cc syringe… it made a wonderful water pistol. Particularly with the bucket of ice water he had right next to him. [laughter]

S: Did he squirt you?

C: No, doctors! When they came into the room. A fellow… I don’t know where that term comes from but it’s after a residency, it’s another year of… practice or whatever. He was a young guy who had a beard. I remember him standing in the doorway with water dripping off his beard. Steve was in stitches.

Then another time, he had chemo five days straight which he had to be in the hospital for. He was just about finished; I think he had another day, half a day of chemo to go. And he blew a vein; the IV went out of the vein. He had to get a new IV. They didn’t have the ports back then. So they had to do another one and he knew the routine, but he was furious. He was six feet one or two, and he sat in the hospital bed and was so angry that he straightened out his feet as fast as he could and he broke the bed [she’s laughing]. It was really quite something.

He was in pediatrics, but he was at the top of the age group. The hospital per se did not condone pot, but they also knew that it helped with chemo. Steve asked very quickly and probably in private whether he could use it, and they said ‘well we won’t kick you out, just shut the door.’ I guess it was fine; they had air conditioning, that kind of thing. So that was okay and Steve got home and told his friends and they all offered it and whatever. This was the pot heaven time, this was ’78. There was plenty around.

S: Still is.

C: And also, what was the nasty thing? I keep thinking of PCBs.

S: Acid? LSD?

C: No, it was PC…

S: PCP?

C: Yes. Angel dust? That was around a lot. Anyhow they were aware of things but the doctors said later on that they were not against pot being used but that they thought it should be medically gotten, because it was pure. Because the stuff that the kids would get could be bastardized.

S: Laced?

C: Yeah or whatever. You never know what. And the other thing that they were worried about was addiction. It was up to him though; we didn’t help him financially at all. Except for when he didn’t work, then he had a chit list. You can imagine what he called it.

S: Where was he working?

C: He would work for Den, in the business [landscaping and excavation].

This one time he went in for a blood test and then he had to go back in for chemo at UCONN. We went in for a test and his blood was ready for a new round of chemo and so they told him, which they didn’t usually do, that he had to stay. He raised the roof, he was so angry. Finally, when the doctors went out of the room he snapped at me ‘Mom! I have no pot!’ and I said ‘Well, so well, so what? That’s alright you can get it.’ ‘Well, you have to get it’ and I said ‘Me?!? Don’t be silly! I’m not going to get you any pot!’ but I gave in. When I got home I called one of the people he’d told me and I said ‘Uh, ah, um, Steve said, ah, this is Charlotte Frost’ and she said ‘oh I’ll bring some right over.’ And she brought over a half-gallon zip lock bag chockablock full of pot!

So I went over to UCONN Farmington, an hour away – you were on the same floor [when I had Guillian-Barré]

S: Was I?

C: Yes. When I got to Unionville I was sitting at the light and I looked down at the passenger seat and there was that big bag of pot! And I thought, ‘Oh my god! That’s pot!’ and I went ‘Oh! Ah! Oh!’ and I hid it under the seat. I went into the building like this [mimes hunching over a package hidden under a jacket]. I tell you, what a lion will do for her cub! Gee whiz.

S: I’m sure he appreciated it.

C: Oh he did. He wouldn’t show me that, but he did. He wanted me there, but not necessarily in his room most of the time. He just wanted me around, where he could yell for me to come if he wanted me to. The nurses liked him and that was good. He was cantankerous and ornery, but what sixteen year old wouldn’t be in that situation?

S: It was not a happy thing.

C: No, it was not a happy thing. But you laugh at the fun things.

S: What were Beth and Celia doing, at this time?

C: Um, Celia had just finished the eighth grade, it was hard on her because things, logically had to sort of work around Steve in terms of scheduling. It was hard on her. Beth was nineteen, she was working, I don’t remember if she was at school, if she was at UNH or not but she would come down and see us. It’s very hard, Beth is such an enthusiastic person and she wants to be involved in everything and it’s hard to be involved in two things at once. It was that kind of splitting her life that she would have problems with. She took a semester off, she was working at a diner in Canaan and that way she could keep track of everyone. She would come home on the weekends and see Steven sick to his stomach as all get out in his hospital gown, and the next time she’d come he was off skiing with somebody. It was tough. It was tough on both of the kids in different ways.

S: And it was tough on you two.

C: Oh, it was very tough on Gramp. He couldn’t talk about it much for a long time. It wasn’t until, I don’t know how long it was until after Steve died. For example, there was a truck, an old milk delivery horse – you know that takes the big milk thing behind it – and Den had bought it and was fixing it up. He and Steve were working at it, Steve and Dan [Beth’s son] are very alike, very mechanical. Although Steve wasn’t as good as Dan is. And he and Gramp had had a good time talking about it, and planning it, what they were going to do and it was good for both of them. After Steve died, Den said that he was going to sell the truck, and I said ‘Sure you can sell it, but you have to wait a year.’

S: Why?

C: Well because, your decision maker isn’t very good. Your emotions are too tangled up. And sure enough a year later, he started working on it again. It was an interesting thing. Somebody had also told me that when I was sorting through his things, if in doubt about something save it for a year. It was a very rough time but I think we are stronger, better people than we would have been. And Steve was a better person than he ever would have been. More character, I think.

S: Really?

C: Yes. He loved children. And how many times would you see a grown, he was eighteen, he was in the unit with the pediatrics, and there was a preemie, a downs syndrome baby who had just come upstairs, I think he was maybe five pounds. Like most downs syndrome kids if you hold the heads still when they’re infants, they look perfectly normal. And here’s Steve, with hands like gramps – they were huge – holding this tiny five-pound baby’s head. He was sitting in a wheelchair with an IV pole, no shirt on, with his hands like this [she cups a pretend infant]. You wouldn’t see, most kids wouldn’t show that piece of them, but he was able to. He was special. To us, anyhow. He and Gramp came up with the idea for a scholarship for the Child Center, which was neat.

So, there you go.

S: Are you getting tired?

C: No! We’ve got to watch the time; we have to leave in twenty minutes so you can make your train.

S: Um, what did you and Gramp do when everybody moved out?

C: [Laughs] Oh, it wasn’t a big deal. It was no real jolt for us. Some people say ‘oh, empty house syndrome…

S: Empty nest?

C: Yes, but we didn’t have that.

S: No?

C: No. Well, I guess we were too busy. I was teaching still, full time so… We missed everybody. I’m really missing the girls more now with them that much farther away than I did when they first left the house, because they were in yelling distance and they would turn up like bad pennies all the time. Which was fine.

I didn’t think that it was affecting me as much as I realized, as time went on in the past year, to have them so far away.

S: They are very far away. I think I’m the closest one in the family.

C: Yes. But you know, it’s hard on them, too. Witness how often they call. And this kind of thing that I’m doing doesn’t help [laughs].

S: What do you mean?

C: This… um, growth that I’ve got.

[The dog starts growling]

Freya, stop! You don’t need to make that noise. Are you all collected upstairs?

S: Yes, I’ll go get my stuff.

Saturday, February 16, 2008

Liana Finck

Update 4/19/2009: Liana won a Fulbright Scholarship to Brussels for next year. Yay Liana!

Liana Finck is a senior at Cooper Union. She just finished her first comic book, an adaption of Racine's Phedre which may or may not be published soon, and until recently was a blogger for Lilith.


Sam: Tell me about your blog

Liana: well, it was about going to synagogue. And the reason I might be fired is because I decided to stop going to synagogue and just write. But I was the one who chose to go to synagogue - it was so open. They asked what I wanted to write a blog about and I said “I’ll go to synagogue” cause I thought it would be a good excuse to start going, cause I don’t like going. I don’t like it.

S: Why did you need an excuse?

L: well, cause I always really want to go again because I feel guilty and then it feels really nice to say the prayers and stuff and you don’t really understand them. But it’s weird cause there are all these communities and you’re breaking in and I’m not really good at just talking to people, so I wasn’t talking so much. And then I had stuff to do and they were not really paying me, so I stopped going.

S: Were they paying you anything?

L: five dollars a blog.

S: that’s not particularly remunerative.

L: no, well its cause it’s a feminist magazine and they don’t want women to work for free. But they know we recognize that they don’t have any money.

S: that seems kind of pointless.

L I used to intern for them a long time ago, and then five dollars was really exciting back then cause I was like, a sophomore in highschool. No I was a senior in highschool, it shouldn’t have seemed like a lot of money. But I guess like it was an internship.

L: What do you see in this project?

S: I just think its like… its like a great excuse to just talk with somebody for a long period of time. And people are really into it, you know? And it’s hard, because I’m so curious about people, I really want to know more about them than a lot of people would necessarily just talk about in a conversation. So it sort of gives me a context for that. Instead of like calling you up and going “I’m really curious about what you’re up to” I can say “would you do an interview?” It’s really about satisfying my own curiosity. And practice I guess.

L: and then you’re doing something

S: yeah, it’s active

L: its like being a … do something. Whenever I hang out with people I always have to tell myself that I’m going to be doing something, like I’m going to be studying their personalities. … I don’t usually do that if it’s someone I like, but if it’s someone I don’t like then I will decide not to hang out with them, and then I have to force myself to do it. The people I don’t like, they’re the kind of people that don’t like me. They’re the kind of people who don’t like to hang out but then they want a friend, but they don’t really like anyone, so they just choose me to hang out with.

S: Why, because you just absorb them?

L I don’t know. I think it’s just because I don’t have stuff to do either. So I want to hang out also. I have one friend and we don’t like each other. But I really like her.

S: who are you voting for?

L: I’m voting democrat. But I’m not going to vote in the primaries because I really like both of them. I think the woman part is really important to me.

S: I worry that it’s kind of mitigated by the fact that her husband was president first.

L: I feel like this is… not a reason to vote for someone, I feel like it’s really personal not political, but I feel like she gave up so much in marrying him. And I feel like she needs her revenge against him. He’s such an asshole to her.

S: I like Obama.

L: he’s very cute, yeah. … I want to see him win, but I can’t vote against her. I like her, I like that she’s an ambitious woman.

L: I don’t like those ones if they’re mean. Do you think hillary’s mean?

S: oh yeah.

L: she’s not mean, she’s ambitious, she’s not mean.

S: I think she’s mean.

L: I don’t think so.

S: Hillary? I think she’s definitely capable of being mean.

L: I don’t think so, I think she’s nice. I know mean people; mean people are usually very very, good looking. If they’re politicians they have those really white white teeth.

S: if I was running for president I’d probably whiten and straighten my teeth.

L: but she looks so natural. Wouldn’t you do it more than she does if you were a very ambitious woman?

S: Tell me about your art.

L: I want to be a different kind of comic artist, but I’m still not sure what kind that is. The reason I want to be one is that, I want to write and that I don’t want to make very very big statement paintings, because they’re boring to me. … But I still haven’t figured out how to present myself at school. I used to take drawing classes and I would show them these things, and I guess to my teachers they would look like Beatrice potter kind of things, like neat and cute, but they weren’t. I guess anything that’s small looks to them like that. And I look like someone who just wants to make cute drawings and wants to make a little bit of money and settle down in Maine and buy tea.

S: sounds nice to me.

L: sounds really nice! But I want to be an ambitious woman. So I want to say things, I want to tell a story. You can’t really tell a story in fine arts. As much. Well you can if you’re a painter, but I don’t know why I don’t want to be a painter.

S: Paintings bore me. I like things.

L: yeah things are very very good.  There is one kid in my school who makes things and I don’t think anyone really gets him either. ‘Cause they’re not sculptures, they’re just… like he turns a baseball inside in a really really special way somehow.

S: So you make small, smaller pieces?

L: I make stuff that will fit in the scanner. Cause I want them to be reproducible in a book form.

S: What are you working on now?

L: I’m writing a story about a golem. About a family get together, and it’s kind of Jewish. I was using Jewish because I was going to publish it with the people who had the blog. The Jewish-feminist magazine.

S: what’s the magazine called?

L lilith. I’ve started with some illustrations and it was agonizing, how to do these illustrations so that they’re more than illustrations, so that they tell the story. I think that I’m a better artist than I am a writer because the writing’s kind of like, you can tell that I’m immature in it, somehow. You know how people write, and it’s too complicated? But then it also sounds ridiculous, and the writer doesn’t know they’re being ridiculous. Do you write? Stories and stuff?

S: sometimes.

L: you should send me some stuff.

S: I can do that. I’m trying to write about the narratives that people create in their lives.

L: I know, isn’t that amazing? That’s what this golem thing is about.

S: tell me about it! That’s what this project is about. Because this is like, I’m going to create a whole collection of people’s narratives. Or try to have these snapshots of people, where they are.

L: my mom’s is amazing. Hers is about… this isn’t true, she’s such a great artist right now, but she says she left the world of art and ambition because she married a very princely guy and he’s a doctor, and she raised a family and she left art. And she always dreams that she’s like, on a train or something, looking at crystals, but she leaves the crystals to go to the people, because she knows that that’s the only way to keep the crystals.

S: I don’t understand that.

L: it’s about people versus art. She chose people. In her narrative. But actually, I really think that that narrative is an art form.

S: it is an art form.

L: people are so interesting, everyone thinks of themselves really differently somehow.

 

 

Sam Dwyer to Liana

Hi there liana, how are you? I'm taking you up on your offer to read my 'lang essay. This is my fourth rewrite, and I'm finally happy with it.

 

Also, I transcribed our conversation! I'm going to work on editing it right now, but there was a tragedy - the tape stopped running right before we got to talk in depth about Racine and your golem project. Would you mind writing a little bit on them -what you were influenced by leading up to the project, what you tried to express with your work, how it disappointed you and then what happened with trying to get it published? Also about your ideas for the golem story, what you're trying to tell. 

 

-sam

 

 

Hi Sam

Thanks for writing. Wow I love your essay! It's brilliant. If Lang doesn't want you, they are really stupid. Its terrific!! So full of interesting references, but with its own kind of movement. Are you showing it to a lot of people? What do they say?

I'm reading this book Speedboat by Renata Adler. I think you'd like it, maybe it's kind of dated, hm, it's so funny though. It is about being a journalist in the ?1960s?.

My writing node is shut off today but I will try to about Phedre and the Golem:

 

 

My habit of worshipping the classics makes my own work tend towards the crusty, the boxed in. The opposite of classy. I know it. The trick is to be able to love the old things without seeing the pedestals they stand on. One of my favorite poets is Robert Lowell. He has an extremely elegant touch with words and a huge stock of classics in his heart and on his brain, but he also takes pleasure in knocking things down. In one of his books, called Imitations, he translates various revered poems with a crazy twist of his own hand. His versions are funny, poignant, elastic, as I think all poetry is at the moment it is written. The surprises in a poem get lost over time, with the onset of fame and reverence. Lowell brings the surprise qualities back (by translating poems, he's teaching us a lesson about how to read poetry in general). Lowell also wrote a translation of Racine's play, Phedre--a play that is (to me) extremely funny and exhuberant in its original French. Phedre is itself an (I believe irreverent) take on a play called Hippolytus, by Euripides. Lowell's version is (to my mind) also really funny, whereas the numerous other English translations of it range from stuffiness to something finer, but still over-worshipful. Lowell gets it! My comic book, Phedre: a Comic Tragedy, was designed as an irreverent homage to Lowell, Racine, and imitation. However, the project proved too ambitious for me to pull off. It's hard to see the silliness of the translation--and the silliness of the whole idea of making a comic book version of an elaborate French play--behind all the noise on the insanely badly-organized pages. After I finished I went looking for a publisher. I found one through a family friend who might be interested in taking my book.

 

The Golem is a fictional Jewish Cooking Memoir, about a fictional kind of Judaism. Cooking memoirs full of delicious smells and loving family recipes really tickle me. This one is a memoir made of cardboard. I decided to write something with religion in it because I love the mystical earthiness of religious stories. My made-up version of Judaism will contain some things from other religions, and some things from no religion. Figuring out how to illustrate the story is puzzling, because I already wrote a lot of it without giving a thought to pictures, but I have a feeling that the images will help me lose certain constraints, so I'm trying hard to make the mixture work. I want the drawing style to range from sugary cookbook-type illustrations to fat magical creatures (there's a golem!), drawn in the vein of My Neighbor Totoro. Also, although the idea is a kind of cardboard collage of stereotypes, I don't want the story to be flatly diagrammatic. I'm adding some genuine thoughts and feelings but trying not to get too carried away with them.

 

aaah so pretentious!!!! i tried to write in a speach balloon, instead of like an essay. tell me if you think it's too hard to understand or needs cleaning up.

Did you do more interviews already?

Liana

 

Sam to Liana

I think its wonderful don't worry about it. If we weren't pretentious we'd never get anything done. I'll get back to you with something more complete in a few days - I'm at work now.