Friday Lester
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Xuebing Du
2025 on Tumblr: Trends That Defined the Year

Andulka

roma★

Origami Around
Cosimo Galluzzi

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Game Changer & Make Some Noise
macklin celebrini has autism
I'd rather be in outer space 🛸
Jules of Nature
One Nice Bug Per Day

ellievsbear
he wasn't even looking at me and he found me
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"I'm Dorothy Gale from Kansas"
Mike Driver
YOU ARE THE REASON

shark vs the universe
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@spooksbyme
Friday Lester
A book is also a nest / we're finally finishing Bernd Heinrich's Homing Instinct
In 2016, I’ll do my best to post a regular Friday Lester as a joyful, calm, meditative respite from Feed.
Old Feed / A sad note wondering how I can “boost engagement”
To entertain myself, I print the slides on hot pink paper.
I thought I entered that event into the calendar but it is not there.
Brett asks, “what strategies are there when crushing defeat is inevitable?” I like it.
I thought I updated that page but the typo is still there.
We talk about the “mental space” that we want to occupy in the minds of stakeholders.
Joe sees me and says, “Hi Buffy.”
Megan leaves and Joe says, “Goodbye, Willow.”
Because of Joe, I read Agamben.
A friend posts a link to a NY Times article by Julie Holland arguing that “Emotion should be a sign of health, not disease.” I begin reading, ready to feel validated but also ready to despise the evolutionary psychological approach I imagine it will take. It does. “Women are moody. By evolutionary design, we are hard-wired to be sensitive to our environments, empathic to our children’s needs and intuitive of our partners’ intentions. This is basic to our survival and that of our offspring.”
The Director mentions that the event went well. I have no idea what she is talking about, even though I manage events.
The inevitability of setting up a portfolio on Git Hub. The inevitability of rainbow frosting on the cake.
If I scrape the frosting off my cake, will I further alienate my coworkers? Or further alienate myself from them?
I have no offspring. “Lithium is a wonderful medication,” says someone in some article. Yesterday I googled, “avoidant baby” because that is how I am: desperate at leaving; unemotional and fearful during the return.
Professor Everett Waters has an annoying, calm voice. He reminds me of the man who conducted my intake interview. “Remember that panic is a passing feeling.” Yes, I think, tired. All feelings are passing feelings. Life is transient. Cultivate equanimity, etc etc.
Are my mood swings a healthy response to my environment—a “natural” part of being a human? I wake up angry and feel angry for a week.
I can’t write a poem so I elaborate on the minute tasks that will become a part of our revised CMS workflow.
I don’t know how lithium works. WebMD says, “Lithium acts on a person’s central nervous system (brain and spinal cord. Doctors don’t know exactly how lithium works to stabilize a person’s mood, but it is thought to help strengthen never cell connections in the brain regions that are involved in regulating mood, thinking and behavior.”
I can’t write a poem so I edit the paragraph about a student panel on internships, jobs, and study abroad.
The problem: An overwrought seahorse or silkworm. One of Amun’s horns lodged in my brain. Too much virility. The sun god makes me manic. Pan makes me panic—either way: horns.
“Lives without nearly enough sleep, sunshine, nutrients, movement and eye contact.” Someone is discussing the execution, by anti-aircraft gun, of the North Korean Defense Chief Hyon Yong-chol. The feed gave me this story this morning, but I turned away from it to a story on Radio Nacional about the recent history of the European Union parliament. I wasn’t following well—I woke up angry.
The seahorse consolidates new memories. I begin reading the Wikipedia entry on Henry Gustav Molaison, known widely in the medical community as “H.M.” but I can’t. The entry says almost nothing about Henry—that a neurosurgeon removed his hippocampus. The surgeon, William Beecher Scoville, “had a strong interest in automobiles throughout his life,” but his father pushed him to a career in medicine. He died in a car crash.
I want my anger to be pathological, because that means someone can make it go away. What if my panic is a reasonable response to stress—and what if that stress is unavoidable?
I can’t write a poem and so I return an email to the third faculty member who cannot attend the faculty book panel, which means we have no more presenters.
I cannot find my sunglasses and I cannot write a poem.
I cannot write a poem and so I clarify how much vision coverage I have through BlueCross BlueShield and make an appointment to get my eyes checked.
I check to see if my boyfriend has messaged me. He has not. I wonder if I should message my boyfriend or do a three-minute mindfulness exercise.
I walk into the main office and a coworker says, “Were you here yesterday?”
Halfway through the presentation on knowledge sharing and trust, I inked my recently-dry cleaned skirt.
You tell me I look nice but what I hear is, “Wow, you usually dress like you don’t give a fuck. What’s so special about today?”
My notes say, “CREATE TRUST!!!!!!!”
A sad note wondering how I can “boost engagement.”
Writing about work as inevitable.
Insomnia as inevitable.
Falling asleep on the floor not the bed as inevitable.
I can’t write a poem so I edit the program. Is the order correct? Should the chair be the Master or Mistress of Ceremonies?
A photo of swan that wrapped its neck around the neck of the man rescuing it.
It is not a good metaphor
Getting sick in the field is quite different from knowing that you might get sick in the field. I am not a curator and I am not from Switzerland, and it’s been at least a decade since I’ve had an over-full passport.
Kaplan quotes Jasper Bernes this morning:
basically, you have three choices: jail, mall, museum whose hapless invariance repeats as edges leaping away from each problematic
I love it but don’t believe it. Or I believe it but don’t have faith in it. “The reader accepts anything, no? Even the starkest nonsense.” This, from Borges via the Paris Review. It is not surprising that my experience as a writer and reader differs from that of Borges. I note that that school is not a choice. I argue for the variance even though I understand why the variance isn’t enough.
Then this, from Jacob Wren’s “Anthology of Optimism”
“However, if we instead concentrate on the ‘next, small experimental step’ it is true that in any given situation there is always something that can be done. It is also interesting to think of it as an experimental step. You try something today. Tomorrow you look back and decide if you want to continue down the same path or instead try something different. There is always some room for possibility.”
Outliving the first husband by 59 years and a second husband by 29 years. I am at work on Columbus Day and lucky to be at work. The feed gives me unidentified pictures of dead native-americans. Frieze wants to know if socially engaged or political art can “really” effect change. It’s actually a 2011 essay by Negar Azimi. Here’s Merce Cunningham at the Shiraz Festival of the Arts in 1972.
That the artists who performed in the Shiraz Festival of the arts during the early and mid 70s did not prevent the demise of the Shah’s then current regime and the rise of the Islamic Republic seems like a tenuous example of the failure of art to effect political change. I put Tom Wolfe’s 1970 essay, “Radical Chic,” on my reading list. This is Hans Ulrich Obrist’s Passport:
“Online bidding for this work ended on May 26, 2015 at 3:00pm EST.” “Fuck dejection.” Hug:
Who said that critique opens a path to the possible. Henri Lefebvre in The Urban Revolution, I have quoted this before.
The chart makes me snicker. Scrolling through the feed means travelling backwards in time. How does it feel to be curated? Some people love this project. Others do not.
And then this: “What is the opposite of #dukkha? @SharonSalzberg on the contorted postures we hold + the pain that arises out of it.” I Google “dukkha” hoping to find an image of a chariot with an axle that doesn’t fit quite right, but instead I find all kinds of BDSM images of mostly women, bound, and I don’t like this metaphor that the feed gives me.
Who gives me my post-dukkha aftercare, then--water and warmth, a strawberry-banana smoothy to help me re-hydrate and to replenish my bloodsugar. Who might rub salve on my wrists and ankles, or draw a bath with epsom salts. It is not a good metaphor, feed. There is no aftercare--there is only space to see and feel ourselves and our reactions to ourselves. “I am disgusting,” says Ginger Ko in “Flora,” “Raised to be a bride, to hate myself for it, I come to you full of brides.”
Mapa 1 / draft translation
Bruno Montané Krebs
MAPA I A la izquierda, a la izquierda. Así, sigue esa sombra. Sí, un poco más allá. Atiende a la figura, fíjate en la melodía. Hay una forma roja y alguien silba una canción que te recuerda una línea de Kafka. Una cuerda que divide una habitación, una cuerda que no tiene color alguno -eso te sorprende-. Es por eso que al sacar alguna rara conclusión, sabes que tienes que avanzar. Así está bien, sigue esa luz azul y que apenas alumbra. No lo dudes, llegarás hasta el final.
MAP 1
Left, to the left. Right there, follow the shadow. That’s it, a little further. Notice the figure, focus on the melody. It has a red shape and someone is whistling a song that reminds you of a Kafka line. A rope that divides a room, a rope with no color —surprises you— So, to come to an unusual conclusion, you know you have to move forward. That’s good, follow that barely shining blue light. Don’t worry, you’ll reach the end.
Instead of hiking up very high mountains, I get jobs and fall in love.
I do not want to choose between love and loneliness.
I’m looking for someone from work so I can show him my recent translation.
Karachi and Venice have merged and are hosting some kind of experimental Christian music poetry festival. With me there is the PhD student who taught my undergraduate seminar on political economy.
In real life, I put Rilke quotes in my email signature to flirt with him, but it never went anywhere, although we did correspond a little. In the dream he says nothing and strokes my arm. I wake up thinking about the Karakoram highway. In college, I wanted to hike it or bike it or something and see the petroglyphs in Chilas.
Lonely Planet says, “few travellers chose to visit Karachi these days, and the insane traffic and frequent power cuts from an overstretched infrastructure can make any stay a challenge, particularly in the stifling heat of summer.”
Pope Francis met with Kim Davis and I focus on the nice bread I am eating with butter and blueberry honey from the farmer’s market near work. “A tiny Scottish peninsula with just 70 inhabitants is desperately searching for a teacher for it’s five children.”
Loves and formers on the feed are learning from the poetry world and also sick of the poetry world. So Sad Today writes about Cognitive Behavioral Therapy. The first sign of panic for me is always a burning sensation in my thighs as blood rushes to my legs. “It was easier to talk around the problem, to woo a therapist with my sense of humor and self-knowledge. I felt less vulnerable pursuing an intellectual understanding of my family history than saying, ‘Right now, I feel like I'm dying.’”
Prepare to run while driving, reading a tweet from someone who hurt me, sending out the marketing email, writing the press release, writing a check, talking about writing a check. I call the psychiatrist's office and say, “I haven’t had an appointment for a long time.” “What is a long time,” she asks?
I prepare to run but I am glad I am not on effexor.
The video of the parrot hopping around on the floor with a paper towel. Return to it often. A friend does a puja to Ganesh. An article about how the only way to get published is to be an editor at an established magazine and to send your stories with cover letters on magazine letterhead. Sharon Mesmer’s new book from Bloof, Greetings from my Girlie Leisure Place is out. “How does this poet reveal her basic nature, / her mortal wound? / Is it through her choice of dog?”
And Eileen Myles tells Ben Lerner that she is not afraid of being canonized. “Everything will ruin you, why not this.” But if you do your work, somebody else will celebrate you, too.” And she talks about Arthur Russel as being “where avant-garde and discos and Buddhism met” and I am so excited and I listen to “Go Bang! #5.”
Peter Shapiro writes that “Go Bang! #5” is probably Russell’s greatest dance floor achievement: “released on the label he founded with Will Socolov, Sleeping Bag. ‘Go Bang!’ originally appeared on the 1981 album 24-24 Music as ‘#5 (Go Bang)’, and existed in some bizarre nether region between Herbie Hancock, The Love Of Life Orchestra and DC LaRue. The track was remixed by François Kevorkian, who, while restraining the hyper and sibilant drumming into a manageable shape for the dance floor, made it even weirder by stretching the space and focusing on the Phantom of the Opera keyboards.”
I am still ready to run, but now I am to the part in the track with the Phantom of the Opera keyboards and I feel a lot better. And then I walk to the library and return all my overdue books. And then I request a copy of Tim Lawrence’s Hold on to your dreams: Arthur Russell and the downtown music scene, 1973-1992 through interlibrary loan.
Still ready to run, but I look up a recipe for salty oatmeal cookies. I revisit a recipe for black-eyed peas. I post a picture of a squirrel so that everyone will know I am going to the Black Squirrel this evening. I finish the press release and write another press release. I respond to several emails and begin them by saying, “I am sorry I was not able to respond to you earlier.” I walk down the hall and talk to someone. I get in an argument about definite articles. Maybe I will make lasagna rather than black-eyed peas. Friends post pictures of all the recent vegan food they have made.
Men interrupt Planned Parenthood president Cecile Richards. I want to run but instead I continue to write and work and notice the feeling in my legs. I do not seem to be dying. My legs feel like they are on fire and every hour or so I sob a little, but mostly I am fine.
A flock of starlings in flight. A friend is in France. Should I join the “Personal Finance for Young Writers” group? Am I young? I did not read Alec Wilkinson’s profile of Kenny Goldsmith in The New Yorker. I have bookmarked Cathy Park Hong’s response in The New Republic. Actually, I printed it. I will read it in the bathtub this weekend. “Finally, 241 girls and women abducted by Boko Haram are free.” I read Jennifer Tamayo’s status report on her piece on being unreasonable in 2015.
I begin with the reminder that I can’t know what it is to be a brown body. So, Lesson #24, for me: “You mix up your friend’s preferred gender pronoun during a reading. Remind yourself, every day, you have so much self-work to do. Remind yourself to apologize for your mistakes—and to move on swiftly lest you get caught up in your own fragility.”
Oh but I am so caught up. I return to the Eileen Myles interview and force myself to not think about how Ben Lerner was just awarded a MacArthur Fellowship, except I am thinking about it and feel terrible. “I think it’s more interesting to think about how poets could have ever been so drab, why they would have made the choice to be poor, to be obscure, to not want fame. I guess it was a form of resistance, but lots of us were feeling the other thing. We weren’t leaving America, we were making another one. I hope we still are.”
I am making another America. Or Eileen Myles is. A lot of people I love are. Someone I went to graduate school with has awesome new glasses. And someone I have never met in real life but like talks about how they will keep showing up at the edge of their life. And I like this phrase.
I’ve already taken half a clonazapam. And woah-- Bædan: journal of queer time travel. A friend I went to graduate school with is playing dominos. Some of us are thinking about the relationship between conceptual art and monetization.
I watch a video of a bear chewing on a woman’s kayak. She thanks the bear for leaving her kayak alone and then tells the bear that she is going to pepper spray it in the face.” She does, and then the bear proceeds to mess with the kayak. “Bear, bear, stop that. Please stop that bear.” The video would be funny except that the woman seems so terrified and sad. I wonder why she posted this to YouTube.
The way to end is by taking a personality test. I am orange. I probably tend to worry and have digestive issues.
International Real Estate vs. Poetry
You can leave what you love. Anyone might do or say anything at any time. How much you care about what others think of you. How much you worry. I worry. You will go on, too. The feed goes on. Social media is happening, but before it was something else. You leave and it goes on as itself and also letters, parties, email, phone calls, gossip, happy hour. On Facebook, someone is announcing their new job, but they are also talking to friends about it, and their friends are saying things in various tones. We are having feelings.
I know that the image of the drowned Syrian refugee child is coming. The news described it this morning. A little boy face down in the sand, palms up, in shoes his parents put on.
I read an article about Chiara Vigo, the last known woman who can harvest, spin, and weave sea silk from clams. Then I look at Twitter, and as I am looking at Twitter, someone else shares the article. We do not talk--we do not even want to talk, but we are reading the same article in real time. The feed gives dubious evidence of real fears: I am not a real person. I am not interesting and certainly not worth loving. I have been replaced. I write this and risk. Or I write this and do not risk. Everyone knows I am not a real person.
I am not a source of hope, so I begin with the babies in the medieval painting who look like disgruntled 50-some men, but I could have begun elsewhere: Rock climbing for the sake of taking pictures while rock climbing.
And Rowan County Clerk Kim Davis is not crazy, she is a provoked norm. “NASA may hunt for life on Saturn moon Enceladus in 2021.” It is a tiny moon named after a giant, and “NASA has targeted it for a possible life-hunting mission.” Here is Athena Enceladus-hunting:
There are “DEATH REQUEST FORMS” in the public health office foyer. There is a cloud shaped like Godzilla in Massachusetts, a fluffy cat on top of a rug. Elizabeth Bishop’s preferred type for poetry was Baskerville monotype, 196 E.
The news has reported on Kim Davis’s marriage history: Four marriages, which is not as many times as my grandmother was married, but my grandmother would not have opposed same-sex marriages. Or maybe she would have, she worked for the Department of Justice. Kim Davis gave birth to twins five months after she divorced her first husband. The father of those twins was her third husband. Her second husband adopted the twins.
Kids don’t get enough sleep. Doctors prescribe antibiotics twice as often as needed. American children are much more likely than older Americans to be non-white.
There is a particular high school former who appears in my dreams as a substitute for my current--to make food, to be soothing, to offer a dry island in my usually stormy, watery subconscious.
Archiving GeoCities while disappointed by Legally Blonde 2. So delighted. So tired. Poetry doesn’t save me and my writing doesn’t save me--the feeling that I should never write again but instead work to create time for others. For reading, maybe, but mostly time to not work. Sarah Xerta says that “what matters most is not the poem but what happened to you while you were writing it.” I don’t know.
My writing indicates my whiteness, but Marjorie Perloff is unlikely to ever comment on that. No one demands that I cultivate a feminist, slightly neurotic, no-longer- ingénue -ingénue persona in my poems.
Diego Moraes writes: “A melhor forma de se vingar do capital é escrevendo poesia. Os bancos odeiam quem faz poesia. O dinheiro odeia poetas. Porque poeta não precisa de muito. Poeta não quer um carro do ano. Não quer uma mansão no Itaim Bibi. Poeta só gosta de ostentar sua solidão. Meu bar predileto fechou as portas, meu pai está falindo, meus melhores amigos estão desempregados aí como forma de vingança não vou trabalhar e abro uma garrafa de conhaque seresteiro às 9 da manhã. O presidente do banco central bufa de ódio quando um cara como eu não se endivida e resolve todos os problemas econômicos com literatura.”
But banks do not hate me because most of the time I am not making poems. I pay fees every month because I overdraw my account and my balances are too low. I don’t want the latest car or a mansion, it’s true, but I would like so many new shoes. I would like an apartment in Barcelona. A 35m2 studio near Barceloneta with a balcony.
Nothing about my success is natural--I have not worked harder and I have never been redlined and no one has ever demanded that I remain perfectly still while they break my arms.
What Happened Next is a poem someone else wrote
The Feed is grateful that someone published its book. The feed also likes other books. A puppy wearing a bag with even smaller puppies in the side pockets. Two subwoofers, lol.
Lol, I always have yoga clothes to wear and lol, baby got her first pair of shoes. I look at them --they are floral print mary janes. I’d wear them.
“Hi! Are you going to be here?” I turn and look at them. “I don’t know,” I say. “Where?”
I cannot go to the reading in LA.
I cannot go to the reading in Brooklyn.
I didn’t go to the birthday party across town. I have $59.64 until Friday, but my bills are paid. “Žižek Says Thing” and waves his arms around. I do not exist. Here, half a seahorse:
The landlord has a gut feeling. The landlord believes in Karma. “Feeling is engagement as wave,” someone posts, and the link is to “This Street Musician Was Tipped By A Girl. What Happened Next Blew The Whole City Away.”
I am never looking for an apartment in New York. Or anywhere near New York. But someone is. What is “actual king size.”
idk vs lol. I came to lol late. Guys, this thing happened. So, guys, I made this thing. idk, this is so like my life, recently: “Norfolk’s Bid for Conga World Record.” But that was Tuesday.
The feed is learning about love and going back to school. I skip the article about the Duke freshman who refused to read “Fun Home.”
Ugh. No I don’t. Actually I skip most of it and read the new #finalpoem from Penny Perkins: “The catastrophe we had caused caught up with the / catastrophe that we were.” Also, “sarcophagus selfie.”
Which of your friends is exceptionally brave? “This Facebook friend is probably the boldest person in the world. Wow, we never had a result this epic before. No one else in the world is this brave. You should be glad you’re friends with this brave person.”
Guillermo Parra posts a quote from José Antonio Ramos Sucre: Yo recataba mi niñez en un jardín soñoliento, violetas de la iglesia, jazmines de la Alhambra. Yo vivía rodeado de visiones y unas vírgenes serenas me restablecían del estupor de un mal infinito.
The Feed guarantees a bad, infinite stupor. Or the stupor of a bad infinity. The infinity is bad, and it causes a stupor.
Babies eat ice cream cones, as usual. It is August. Donald Trump is everywhere and I want to die. David Duke, the anti-semitic former KKK leader supports Trump’s candidacy. A drought in Poland is causing rivers to run dry, and dry rivers reveal fighter jets and Jewish tombstones.
A monkey pets a cat.
A cat pets a cat.
A man and a cat sit on a couch.
Lidia Yuknavitch writes wild, remarkable sex scenes.
This year, we can afford health care and even a dental plan.
There is no state in which a minimum wage worker can afford a two bedroom apartment while working a 40-hour week.
Look! A beautiful garden in Italy. Obviously.
Your lack of tattoos are surprising.
C.A. Conrad “...had THE MOST extraordinary / half hour with a butterfly” Parts of the feed have strong feelings about invertebrates.
“This Interview with a Weird Satanist is the Best Thing You’ll See All Week.” No more links. If you saw it, you saw it. I didn’t see it. Only the headline.
Five cheesy watercolours in a row. I am a terrible person. “Ashley Madison fake female profiles to lure men in, hacked data suggest.” We know, we know. Corporate catfishing is an industry-wide practice.
Endless white men making visual poetry. In the hallway, two guys having a conversation about command prompts. Quaint.
“Malia Obama Follows Her Mother Into the Fashion Spotlight.”
The Feed wants to go back in time and meet Lincoln. The Feed is sorry we missed you, the feed is planning alternatives to AWP, the Feed was never going, anyway.
Email is kinder than feed (Too long to read)
The devastation is not enough. I’m reading AnneBoyer’s series “On Poetry” this month, and it’s soothing. I can’t continuereading it if I want to continue writing these feeds: “Sometimes it’s easy to believe also that the object world is anchorless and unenchanted and that the choice is mfa and new york city and that every against is a for, every contra- will be transmuted into a pro-, then to believe in the abstracted everywhereness of nothing and in the complicated habits of techno-courtiers and the harried morning, the harried noontime, the harried afternoon, the harried evening, the harried midnight.”
She’s right. When I write, I almost always choose the feed—I am a harried techno-courtier with complicated habits and frenetic sleepless mornings. Sometimes when I’m drunk or it’s Sunday afternoon and the light is right and I’ve spent most of the weekend having sex or wandering around the city in the Spring with T, I can believe that the inevitability of my techno-courtier future is fake, that ‘there is refusal and dialectic and our compañeras and possibility and every living, circulating, necessary poem.”
But I don’t really. You can tell. “Montreal professors stare down riot cops.” The bodies of so many murdered students in Kenya. The video of Michael Slager shooting #WalterScott in the back. Michael Slager shooting Walter Scott. 8 times.
One reviewer (rightly, I think) described my first book as
“nightmarish in its vision of contemporary life and the language that life employs. That vision is a useful one, I think—if you play a note then other strings of the same note will resonate—this book hums for me—it seems to tap into a resonant strain of our speech. It’s a very smart book, and I like it a lot. My only caveat in praising it is this: how long do we reproduce the discourse of hatred before we’re just speaking hatefully? Is it possible that by occupying the role of a “citizen, / listening to the radio broadcast, / waiting for embassy news, looking up words” we fool ourselves into adopting “their” discourse as inevitable—what I mean is, how long can we depict ourselves as passive before we accept our passivity as inevitable?”
I don’t know. I wrote that poem in mid-May, 1999, just after NATO bombed the PRC embassy in Belgrade. I was in Harbin, studying the history of “Sino-Soviet relations,” but after the bombing I spent most of my time learning vocabulary relevant to JDAM guided bombs and bombing and accidental bombing. Also words for civilian, industrial plant, barrack, infrastructure, humanitarian crisis, Rambouillet Accords. I’ve forgotten most of these words. Sometime in mid-May the power went out for almost two weeks. Some of my friends were in Beijing, and we were all jealous. One beautiful red-haired boy from Brown University went to the U.S. Embassy and saw the tens of thousands of people gathered there in protest.
There was no embassy in Harbin, not even a consulate. I really wanted to kiss that boy. His girlfriend from Brown arrived in June, with a 35 millimeter camera that she knew how to use, and they traveled around China together for a few months.
Trisha Low is writing about “Being Hated” for Open Space. I keep reading Open Space, hating and feeling hated without, I think, really being hated. I share it on Facebook with one quote, but this is the part that makes me cry:
“Alli reads older poems that feel like a reckoning — heavier with nostalgia, but slippery with a renewed embarrassment. I’m sitting with my head in my hand, a little dizzy because an old lover-turned-ex is in the room, and I’m wondering, does mourning discount the possibility of thinking about a future beyond the reality of our loss?”
Or before that, when she wonders if she’s the only person who doesn’t want to neutralize mourning.
I want to wail. When my partner took another lover, I drove his car around San Diego County, screaming, because I was afraid to really scream anywhere else. We yelled at each other, often loudly, but never as loudly as I screamed in the car.
Now, I work. I edit. I’m devastated by something in the feed and email friends and peers. They email back. We email each other.
Email is kinder than feed. Our sentences are long. We think. We feel.
The feed is at AWP or it’s not at AWP. The feed is having trouble sleeping, and also having trouble waking up. Trouble finishing projects and writing—or else it is writing with an energy that we don’t have. A friend discusses the horrors of the high school cafeteria. A friend posts a Goethe quote to make fun of Goethe:
“If a young couple is at all harmoniously constituted by nature, nothing can be more conductive to a lovely union than the girl's desire to learn and the young man's inclination to teach. The relationship that ensues is as solid as it is pleasant. She sees in him the creator of her intellectual existence, and he in her creation owing its perfection not to nature, chance or a unilateral wish but to a bilateral will. This interaction is so sweet that we must not be surprised if such a meeting of two personalities has generated the most overwhelming passions..."
An acquaintance responds by quoting 28-year-old Jack Kerouac, writing to Neil Cassidy with the revelation that “girls have souls too.”
I remember something said to me during a particularly bad break up and the Goethe quote doesn’t feel so LOL. I close the door and cry efficiently.
Two nights ago: humid, warm air and sirens and people on the street and the sound of a neighbor humming—all soothing, but sometime around 3 am rain and cold and me shutting all the windows after a dream about I don’t know what. Please don’t move to Sweden—no, that was three nights ago. A friend says they woke up early and could not get back to sleep, and that today is going to be awesome, and that their post is fascinating. I comment, “I am writing a long version of this fascinating post right now.”
There’s a story in T’s feed about a woman who read the diaries of her deceased husband and found that he wrote pages and pages about his desire for his ex. In the car, we talk about whether or not we would read someone else’s diaries.
My poem is not passing. It doesn’t have to. I pass, though I don’t have to. I’m a white woman with a middle-management communications job in higher education—this is exactly the kind of job I am supposed to have. Saeed Jones quotes James Baldwin in his 1964 Playboy essay “The Uses of The Blues”: “People talk to me absolutely bathed in a bubble bath of self-congratulation. I mean, I walk into a room and everyone there is terribly proud of himself because I managed to get to the room. It proves to him that he is getting better. It’s funny, but it’s terribly sad.”
I quote this, and then think, “I am an asshole,” and “Should I start writing stories and sending them to playboy?” The summer I lost my job, last summer, I spent a few days looking at Helen Adam’s collages in the Buffalo Archive. The archive was giving away a bunch of magazines, including a stack of Playboy. I took about ten of them. Everyone had massive amounts of pubic hair, it was great—I sat in K’s attic, drinking beer, watching Girls, and reading Playboy.
I used to write more polished versions of these Feed-entries when I was in graduate school. My peers liked them, but they hated the way I’d just throw them a fact or a quote and then move on. Like saying, “That was also the summer I was raped, but I’ve written about that elsewhere.”
I say yes, I would read the diaries of my dead husband. I think of the stories of women who hit or threw things at their lovers / husbands / boyfriends when they were feeling angry and rejected by their lovers / husbands / boyfriends. I think of the stories of people breaking into email accounts and phones. My own clichéd moment of expecting nothing and trying to unfreeze a phone frozen on a message thread not intended for me to read.
The bodies of so many murdered students in Kenya. My lingering pain is so boring I can’t stand it. I did not want to watch the video of Michael Slager shooting #WalterScott in the back. I did not want to watch it. My own lingering pain is boring.
Businessinsider.com says that “The beard trend is over. It’s time to shave. It’s also time to say goodbye to the word ‘lumbersexual.’” Yeah, I linked to that.
I watch Michelle Obama “jam” to “uptown funk.”
I keep making poems because poems are not necessary.
I’m usually at a loss for describing in any satisfying way why or how the work I do as an artist matters.
The barely no-longer baby poet Lorraine reads Judith Butler’s Giving an Account of Oneself for a graduate class at UCSD and then writes something about it, also for the class.
October 25, 2010
The last time the annual Modern Language Association conference was in Washington, DC was in 2004, I think. That year, I’d been having many conversations with other writers about the relationship between innovative writing and political efficacy. It was also a moment in my life when I was becoming impatient with both grassroots political organization and the public policy world I worked in. At one of the many offsite events, I read a revised version of Bernadette Mayer’s “Essay.” I no longer have a copy of my rewritten version, but I know I replaced Mayer’s line, “I guess it’s too late to live on a farm now,” with something like, “I guess it’s too late to free all the oppressed peoples now,” and went from there. I wish I could find a copy of it.
Anyway, that poem lead to a long conversation with Rodrigo Toscano at the bar afterward. We had a long conversation, most of which I don’t remember because I’d been drinking scotch since before the reading. I’m paraphrasing, but the one specific thing I remember was something like, “The revolution isn’t about the barricades anymore (I’d ironically commented in my poem that, “anyway, I don’t want to die on the barricades), it’s about how you and I treat each other, how we treat other people.” At this point, I don’t remember if he said it or I said it. The only other things I remember from that night are 1) that I made a bizarre proposition to someone as a joke, but they didn’t take it as a joke; 2) that Bob Perlman bought a copy of my chapbook, Dear [Blank] I Believe in Other Worlds, and I was very happy about that; and 3) that someone outside the bar grabbed my ass as I left and yelled “Baby got back!”
I’ve been attempting to write something that might be a memoir, except that instead of having the text progress through a time-based narrative, it proceeds by association. So, I can very easily move from a discussion of wigs and hairpieces to my aunt to the history of the Indian wars in Texas to the idea of Manifest Destiny. It occurs to me that what I’m doing might be something like what Kaitlin was thinking about last week: how might a novel or a text that is not a poem think about the implications of Ron Silliman’s “New Sentence”? However, it also occurs to me that Judith Butler’s Giving an Account of Oneself might more obviously offer prose and fiction writers ways of addressing narrative, non-linearity, and ethical responsibility.
I’ve been enamored with Julia Kristeva’s notion of the “Ethical Text” as discussed in Revolution in Poetic Language since (the first time I was in) graduate school. I realize that I never fully understood why she used the word “ethical” to describe it. For Kristeva, the ethical consists in consciously and consistently reaching out to the other: “The ethics that develops in the process of negativitiy’s unfolding is not the kind of ‘ethics’ that consists in obedience to laws” (110). Her use of the word “Negativity” is Hegelian, but in the course of the book she links it more directly to the process of dialogue. Negativity “can only produce a subject in process/on trial” (111).
So, for Kristeva, as for Butler, ethics is a dialogical, relational practice in which one acknowledges the otherness of the other as well as the otherness of ourselves. Kristeva’s notion of an ethical text could be the kind of text I could make when, to use Butler’s terms, I willingly explore and even emphasize the way an inarticulable “prehistory” interrupts my narrative attempts. I like the idea of creative text as transference, as a constant attempt to examine and rearticulate the “scene of address”: “Here as elsewhere, the transference brings forth a scenario from the past, enacting precisely what cannot be given in another expressive form, at the same time that a new and possibly altered relation is wrought from this more archaic resource” (Butler, 67-68)?
And now, a huge leap. I am going to speak very broadly, too broadly perhaps, about political rhetoric in the United States. Liberals tend to believe that if they can construct a fact-based narrative, then their constituents will support them out of a sense of trust. Moreover, liberals also tend to believe that people make poor decisions because they do not have access to adequate information—to facts. Conservatives tend to ignore and reject a rhetoric of “telling the truth,” and instead focus on narrating various versions of a US equivalent to Max Scheler’s Zersetzung of ethical ideas—witness the rhetoric of the Tea Party. Recently, Democrats have done a wretched job of helping make the health care bill popular because they assume people will make judgments about it based on “facts.” Republican commercials about the health care bill blatantly lie about what the bill does. Or, rather, they create narratives about the healthcare bill based on a kind of nostalgic faith in the goodness of individuals and private entities and mistrust of government.
I bring this up as an attempt to articulate a specific example of how discourses which do not leave room for ethical debate—for revisiting the “site of address”—can be incredibly damaging and violent as Butler suggests. However, I’m usually at a loss for describing in any satisfying way why or how the work I do as an artist matters. In the United States, asking whether or not something “matters” is code for, if you are conservative, asking whether or not something makes money and, if you are liberal, asking whether or not something contributes to the social good. These are unsatisfying questions that only allow for unsatisfying answers within in the systems of linguistic and social norms they support. I don’t determine the value of my work by financial calculations, nor am I comfortable with a neat description of what is socially good—and I’m certainly not comfortable with the idea that the “results” or “effects” of my work can be measured (articulated) in any currently recognizable way.
My lack of satisfaction, I realize, is useful. I began this text by describing a conversation with Rodrigo Toscano because that one memorable statement which he or I or the both of us made is still the only workable answer I have for how to ethically proceed as an artist. It’s not a satisfying answer, but it does act as a site of address to which I can return and attempt to rearticulate. Writing is discourse and discourse is dialog. As a writer—as a human being—I can choose to approach dialogue as an opportunity for inquiry instead of requiring dialogues to be neat fixed explanations. Or, as Butler notes, “sometimes calling into question the regime of truth by which my own truth is established is motivated by the desire to recognize another or be recognized by one. The impossibility of doing so within the norms available to me compels me to adopt a critical relation to these norms” (24-25).
When I write, I always have an audience in mind—either an imagined one or, more often than not, a fantasy version of a person or group of people. For me, writing and reading provide opportunities to rearticulate myself and others (or to rearticulate my failed narratives of them)—regardless of whether or not I am playing the role of the author or the role of the audience-reader-listener.
Just wait, someone says.
Feed, I read everything, I listen to everything you say. I hear you say I am not nice, but this is what I always hear. I hear some people being nice—nice to whom? I make a temporal series based on enrollments in modern languages other than English from 1960-2009. Or I think that is what I make. Enrollment in Greek has gone up a bit since 1998. Enrollment in Spanish continues to grow. In Arabic, Chinese, Japanese, and Korean. In Hindi.
A temporal series of niceness. How Pat Robertson says “Gays Will Force You To Like Anal Sex, Bestiality.” I’m sorry for the link. This project is about becoming sad and anxious and then carrying on, anyway and stopping when writing becomes impossible.
But writing never becomes impossible. I am never sad enough or angry enough or anxious enough.
My mom has tagged me in a post—this would have been unthinkable five years ago. Tand I are lovely in our selfie at the Kennedy Center—we’re looking at reflections of each other’s eyes in the camera, so our gazes are loving and private.
An acquaintance I like and would try to be friends with if I still lived in San Diego has been with her sweetheart—also an acquaintance I would try to be friends with if I lived in San Diego—for nine years. A friend from high school shared a photo of two onsies. The pink one says “I hate my thighs.” The blue one says, “I’m super.” She’s upset about it. I’m upset about it, but not upset or sad enough to stop writing. Look, here’s a ground squirrel eating cucumber (dramatically), and I think of dramatic chipmunk, so I watch the dramatic chipmunk clip several times and consider emailing it to T—dramatic chipmunk is really a dramatic prairie dog.
And then I’m thinking about Lisa Jarnot’s poem “Song of the Chinchilla” from Ring of Fire, so I look it up. I follow along with the Penn Sound recording (From January 28, 2003 at the Drawing Center)
Song of the Chinchilla You chinchilla in the marketplace in france you international chinchilla, chinchilla of the plains and mountains all in fur you fur of the chinchilla of the pont de neuf, selling writs watches, on the oldest bridge of evolution that you are, you, chinchilla, going roadside towards the cares, the dark arabian chinchilla of the neutral zone with pears, you still life of chinchilla, abstractions of chinchilla, aperitif chinchilla, lowing in the headlands in my mind, dark, the cliffs of dover, dark chinchilla, tractor of chinchilla, chili of chinchilla, chill of the chinchilla, crosswalk of chinchilla of the dawn, facilitator you, chinchilla, foodstuffs for the food chain dressed in light.
I think I wrote a review of Ring of Fire for So To Speak. I think that was the first review I ever wrote. I remember Lisa reading “Song of the Chinchilla” with a band behind her at Georgetown University, and she seemed like a rock star. Maybe that was at the “Societies of American Poetry: Dissenting Practices” conference in February 2003. I organized all of that. Took the video. Built the website in Adobe Dreamweaver. There was no Lannan Center for Poetics and Social Practice then. I think the navigation on my site was turquoise and pink, or something like that.
These videos are full of people that I love. It’s a guide to baby poet Lorraine influences. I saw Tracie Morris perform for the first time. I saw Edwin Torres perform for the first time.
Back on the feed is a felted squirrel monkey. People I love are on the feed, too. The feed isn’t nostalgic, but it leads me to nostalgia this morning because it is Friday. Because last night I was happy at the light and driving around Logan Circle in the Spring. Driving! And Logan Circle—full of people like it never was a decade ago.
But this kind of elation is usually a pre-cursor to panic and sadness. If the feed would only make me happy enough, I would then inevitably panic and become sad. These segments would be shorter.
In “I Loved Earth Years Ago,” C.A. Conrad writes about his beautiful boyfriend Mark, who renamed himself Earth when he became an environmental and AIDS activist. “Earth was hogtied, gagged, tortured, covered in gasoline and burned to death.” I’ve read this description of Earth’s murder before—I feel the same combination of rage and stupidity. I know nothing about what it is like to lose a loved one this way. I know nothing about living in a world where I might lose a loved one this way.
My rage and sadness feel quaint. Look, a white girl is sad. She’s crying. La dee da. Gold Star.
“GOLD STAR FOR THE MOST PUBLIC WHITE TEARS AND”
“GOLD STAR FOR YOUR INDIGENT AND PROUDEST WHITE FEMINISM. GOLD STAR FOR YOUR TWEEN EMPOWERMENT FANTASIES SHATTERING THE CEILINGS WHILE SOMEONE ELSE SWEEPS THE GLASS FANTASIES: YOUR HELLO KITTY STAND IN DELUSIONS: GOLD FUCKEN STAR FOR NO AWARENESS BUT GOOD INTENTIONS GOLD GOLD STAR!”
Anne Boyer is writing about poetry this month: “The poet says terrible things about poetry, meaning themselves, while at the same time they take a check for being a poet in public in April, that check and its issuer part of what they should be saying terrible things about in the first place. But they do not say terrible things about the check, its issuer, about money itself, about the way it grows itself in markets, about what these markets mean against our ability to live in the kind of way that would make a real poetry finally possible."
I am writing about a feed which means I am writing about poetry. The feed bores me, and boredom is a way of being sad, so I go back to the National Center for Education Statistics. I plan my reading.
An acquaintance wishes that “displays of extreme despair were either more socially acceptable or automatically rendered one invisible.” I wish this too, I say.
Delayed feed / It will be literal
A friend ordered toadflax because being human is difficult.A poet I admire won a poetry prize I did not apply for and she is going to Lithuania. A friend asks us to wish her luck, and we do. We get spam comments asking us how we manage spam. My mother’s birthday is March 19th. My sisters’ birthday is March 23rd. My aunt’s birthday is March 24th. E’s birthday is March 25th. So much Pisces-Aries.
The New Yorker says that Obama signed an order making Ted Cruz ineligible for Obamacare. I wish people would call it the Affordable Healthcare Act and not Obamacare. Or maybe just Affordable Healthcare.
All the cool poets are at &NOW, except for the cool poets who aren’t. Meg sends me a link to an article about gender bias in medicine and I start to read it and want to punch the wall but I don’t. I calmly great my coworker as she walks by my office. I say, “Happy Wednesday, Amiga.”
I receive an email from someone named “David Guy.” No. I think about how I’d like to wear boots all summer, so I google “Spring Boots” and “Sandal Boots.” These boots appear. I like them. I like almost all the “YOU MIGHT ALSO LIKE” suggestions at the bottom of the page except the pair of very sexy sandal heels from Rebecca Minkoff. Probably this type of heel has a name, but I do not know what it is. I like the Ibiza Heel, the Hustle Boot, the Stair Bootie, the Canti Heel, and the Dream Bootie. I guess I like every Freebird by Steven shoe for sale at Revolve Clothing.
I return to the article about gender bias in medicine and the ads are all from Revolve Clothing. I learn that many young women have cardiovascular health issues, but that our symptoms tend to be different from men. We don’t usually have a sudden onset of chest pain or shooting pain in the left arm. Instead, we are more likely to experience “jaw pain, upper back pain, a feeling of indigestion, nausea, and fatigue.” If a woman has recently experienced a stressful life event, a doctor is more likely to interpret the physical symptoms as psychological. If a man has recently experienced a stressful life event, the doctor is more likely to still interpret the physical symptoms as physical symptoms.
“In training, we were taught to be on the lookout for hysterical females who come to the emergency room.”
This project is exhausting. Am I sad enough yet? Do I have to take half a clonazepam yet? I don’t care what the New York Times says I will learn in my 40s. I’ve never believed in soul mates. I am coming to terms with the fact that grown-ups are not grown-ups, and I like jazz. There’s some kind of jazz for everyone. I click on the article because the picture is so annoying.
I want to go to this reading in San Diego, but it is in San Diego.
I want to make out with my sweetheart near, in, by the ugliest places in Barcelona and write a book called En l’amor amb La Barcelona Lletja or En l’amor amb a Barcelona Lletja or Making out in Barcelona Lletja.
Every five stories, a picture of a parrot.
Not working is more pleasant than working, but having an income is more pleasant than not having an income. I return home and insult the entire population of Venice. I ride public transportation. I have a car I cannot afford. I say, “I don’t know anything about Venice or glove shops in Venice.” It is Spring. With what I hope is the perfect mix of abjection and virtue, I say, “I buy my gloves at Marshalls.”
The feed says nothing, but I pay attention, anyway. French baroque lute music played by the great lutenist Michael Schaeffer! Warby parker really wants me to buy new glasses. I do need new glasses, but I instead spend money on my car that I cannot afford. I’m also spending money to attend professional conferences I cannot afford. An acquaintance is in the hospital and it sounds terrible—the doctors and nurses know less about her medication than she does.
Friends and colleagues are talking about Kenny Goldsmith’s reading at Brown. I care about intention, even though I have sometimes said that I do not. I care about the way the author frames appropriated text. I care about the relationship of author to appropriated text. I assume my audience is intelligent and feeling.
Every five stories, a picture of a parrot.
Advice about weekend-wear for 30-somes. A bear in the snow. A panda bear and her baby. Fingernails painted a beautiful, robin’s egg blue.
Ana Carrete and Women in Hispanic Literature. I look it up. I find it at the library.
Friends write and feel ignored by their friends. Friends wake up with songs in their heads—Nina Simone’s To Love Somebody. I wake up from a variation on a familiar PTSD nightmare, one I haven’t had in years. All the regular horrible things happen, except that this one ends with an ex-partner telling me what a horrible person I am. That I am narrow-minded, inflexible, cruel, unjust and especially unkind. “One day you will realize how unkind you are, and it will be terrible.”
Quickly, I scroll until I find a picture of a cat. A cat with a crown of flowers. A former colleague looking for a place to rent in Berlin. Someone I barely know shares an image that says, “Likes don’t end relationships, usually the truth does!!” and I want to punch the wall. I don’t however, because my wrist has only recently recovered from the last time I punched the wall two weeks ago.
A tricolored heron lays a 3rd egg. Good.
My sweetheart is going to the reading on Wednesday. Good. The Facebook event includes a picture of a kitty. Good.
Um. Snow. A robot dog. A friend with a sweetheart in Amsterdam.
I don’t believe in a valueless practice. “An age of machine-abetted plenty appears to loom around the corner.” I don’t know. Somewhere in the feed someone said something about cruelty as revolutionary practice, but now I can’t find it and I wonder if I made it up. No. I woke up saying, “No, no no.”
I read about Human Zoos in late 17th and early 18th century Europe, and then I stop. The lights in my office buzz. My ancestors bought and sold and killed slaves.
Today is my sisters’ birthday.
Soup on steps in the semi-cold
Some sun and always possible panic.
Tender face. Hands of face and press. This resonating chamber, that one. Press here. Like that.
How long can I--I mean you--wait before screaming. Ten seconds. Another ten. Albuterol. A steak and scotch and a sazerac and two glasses of wine and screaming.
From Homage To Sextus Propertius - V (Ezra Pound)
Yet you ask on what account I write so many love-lyrics And whence this soft book comes into my mouth. Neither Calliope nor Apollo sung these things into my ear, My genius is no more than a girl. If she with ivory fingers drive a tune through the lyre, We look at the process. How easy the moving fingers; if hair is mussed on her forehead, If she goes in a gleam of Cos, in a slither of dyed stuff, There is a volume in the matter; if her eyelids sink into sleep, There are new jobs for the author; And if she plays with me with her shirt off, We shall construct many Iliads. And whatever she does or says We shall spin long yarns out of nothing.