Migration

I have moved over from Blogger to Wordpress. I hope you'll join me there, and update your links, your RSS feeds, and whatever Internet magic you do.

I'm still settling in over there, so some things don't look the way I want them to, and some sidebar stuff isn't quote up to speed--but we'll get there.

GrammarPiano.com will take you there, as per usual. Thanks for reading. I really do mean that.

30 Day Song Challenge: Your Favorite Song

The "30 Day Song Challenge" is a Facebook meme going around that all the kids are doing. Basically, you post a song a day according to these rules. I saw it and thought: Oh, what the hell?

1) Your Favorite Song

The idea that we're supposed to scour through the whole catalog of all music--all sounds for that matter? What makes a song different from a sound, or set of sounds?--and cull down to one "favorite" is, well, mind-boggling and gives me agita. I think here of Donna Tartt saying in this 2002 interview, that "My favorite color is different for different things. Depends on what it is....For flowers, it's one thing, for clothes it's another."

So, favorite, how? How about "most meaningful at a meaningful nexus in my life?" Does that make sense? That seems like a long way from "favorite," but if we're talking about the stages of aesthetic development--and why shouldn't we--I'm definitely feeling a level five on this one. (Feel free to read up and then get back to me.)

Well, in this case, it's a song that gave me--at least this is my memory, plus 20 years reflection--a first inkling of how my sexuality was more than just who you sleep with. That my queerness would encompass, or rather that it could encompass, an entire set of values different from the ones I saw the status quo culture embracing. Beauty, fashion, grandeur, elegance, camp. A refinement in which the style was the substance. At the time, I wasn't very sophisticated--but I knew, I could sense, that this was sophisticated. (I can't believe I'm waxing on how Madonna is sophisticated...but hey.) Or, if it wasn't sophisticated, it was beyond my realm of understanding in a way that made me drawn to it. It was like watching a version of myself that I had never known, revealed. I saw a version of me in black and white, too. I saw a version of me moving like that, too. I saw that me as beautiful, refined, a success.

Madonna's "Blonde Ambition Tour" was broadcast on HBO that same year, and I set the VCR to record it. It's mechanism was such that it wouldn't stop during recording unless it was completely unplugged. So, in the break between "Open Your Heart" and "Causin' A Commotion" Madonna let fly a stream of "fucks" so long and punchy that my mother, either hearing this from the other room, or getting up from the couch while watching with me, I can't remember--ripped the cord from the wall!!! "You do not need to hear that," she said, sealing the deal. I was 12. I was heartbroken.

So, for the next several months, I watched the opening three songs over and over, until the tape turned fuzzy and refused to play. Eventually, I taught myself the choreography from the below video which I periodically performed both alone in the rec room and at Roller Coaster Skate World for scores of cheering girlfriends. Wow, what a queerbait, huh? I can still do most of it.

Here's a question: How does "1990 Madonna" stealing and popularizing New York ball culture reveal the inner life of a blossoming queen from the suburbs of Chattanooga, Tennessee? And the answer: That's the power of music.

So, having said all that, I give you, my favorite song, Vogue:

Taking Care of Your Work

The Newburyport Literary Festival was a wonderful occasion to sit and talk about books with friends and strangers, and my panel with Michelle Hoover and Steve Yarbrough went well. (Steve and I also got to talk about Mississippi Delta accents versus Tennessee mountain accents, and how both our families have Lena's, and that felt a bit like home.) A 9:00am talk brings out a certain kind of audience--a bright, listening audience, ready to go, and I like that. They asked good questions, mostly about process and publishing challenges. At the end, the three of us sat at a table and signed books--fielding more questions and listening to the struggles of the writers in the audience, trying had to find a place for their work, an agent, an editor, even a bit of attention.

During the talk, there was some discussion of how our (or maybe just my) work was repeatedly deemed "unpublishable" or "without an audience" or "difficult." Michelle warned against self-publishing because you are tired--tired of coming up against these walls, tired of rejection after rejection, most of them with no reason as to why you were rejected, you just were. It made me think about my own time fighting with the desire to self-publish, and subsequently getting the call from my agent that someone was interested and could I wait maybe two more weeks for them to make a decision.

This made me think of this trend toward e-self-publishing, or digital-self-publishing, or whatever they are calling it these days, as a way of twarting the difficulties of the Publishing Business, and maybe--maybe--making a quick buck. Lots of attention has been paid to this new model--sell on Kindle, Nook, iPad, etc, and charge 99 cents, and make a mint. The theory of microtransactions. But I want to say to authors considering this model: Know what your work is worth, and know that readers will follow your lead.

The other part of me--the more radical, lowlife, street rat part--feels like this is Scrooge-y and coming from a more knowledgeable place, and young writers (read: younger than me, and not that different from my limited experience) need to find audiences however they choose. Not publishing kills you inside, I know. But please don't rush to publication until you've thought a lot about what you want from it.

Publishing is difficult--it takes something very intimate and specific and blows it up into something that people will take as vague and "for their consideration." They'll say its autobiographical when it isn't, and fictitious when it's pure realness. They will write horrible things about you personally on Amazon.com and GoodReads and B&N.com, and other places where democracy is at its worst. They will write things like "I strongly recommend that you don't waste your time on this one" and "I kept thinking to myself, 'Who Cares.'" This is all if you're lucky.

Then, once you've been published and all these wonderful things start happening--and they do, really incredible, deeply fulfilling things do happen. The rewards are many, though mostly very personal and intangible. But the thing that happens after that, is that you have to figure out how to write for yourself again. Because suddenly, you're writing for the world, which, at least in my case, was never who I wanted to write for in the first place. You will have to figure out to make it back to the fearless place, to the courageous, invincible-and-vulnerable place that good art comes from.

All of this is only to say: take care with your work. Give it the right foundation, the best pathway to success, give it the most careful ushering into the world. Then you can rest and feel accomplished for about 24 days. And then immediately after that, start working on something else.

Newburyport Literary Festival

I'm speaking at the Newburyport Literary Festival this coming Saturday, April 30. If you're nearabouts (and awake early) come down and sit a spell:

Write What You Know: Personal History in Fiction

It's the oldest advice in the book: Write what you know. But it isn't always so easy to translate a memory or an experience on the page. Join novelists Michelle Hoover, Lee Houck and Steve Yarborough as they discuss how they translate their memories and experiences into fiction.

More info here.

Lucy, an excerpt: Part 4 of 4

From the kitchen, she eyed the lottery ticket.

The last square gnawed at her, its final, decisive shape still hidden. There was an urgency all through her body, a pressure building. She could break into a run at any moment, her muscles all pushed into a forward slant, coiled and compressed, like a spring. She could not wait any longer. She spread the ticket flat on the table, and with the coin clutched in her fingers, she scratched at the shiny surface. A palm tree appeared, curved cartoonishly to the left, with two coconuts nestled in the leaves—the whole thing looked practically perverted.

“Merde,” she said. She crushed the worthless ticket in her palm and threw it across the room.

Frustrated, she turned on the television, found the channel which showed game show reruns all day long, and settled back into a cushy leather armchair.

Match Game was her favorite. On the screen, Gene Rayburn crossed the stage wearing a disaster of a suit, and a tie that started out as red, was met halfway with a diagonal brown stripe, and ended with a diamond of pastel blue. He was a complicated, gangly mess, all legs and arms, completely devoid of the square-jawed charm that she preferred in a game show host. Rayburn was missing something—ego, perhaps, a broadness. He lacked fakeness. He never seemed in control of the game, rather he was running just behind it, trying to catch up to the celebrity panel, who never looked as if they had much at stake. “Mister Gene,” Lucy said aloud, “what sort of necktie are we wearing today?”

They spent countless Sunday afternoons, bleeding into evening and on into the night, on Helena’s frumpy sectional sofa, passing a bowl of popcorn back and forth, brushing salt and brewer’s yeast off their laps, sucking it from their fingertips—Helena’s nails thick and colorless; Lucy’s perfectly manicured in the old style, the pale half-moons left unpainted—solving puzzles and admiring (or not) the contestants’ clothing. Lucy wanted her friend home immediately.

Baroness crept into view, stretched her back toward the ceiling, and then sat silently in the doorway, not in or out of the kitchen. The cat stared at her with a look that was half boredom, half subtle judgment—engaged but still distant, remaining an external observer; Daniel sometimes called her The Auditor. Lucy thought perhaps she had been sent from heaven, or some greater place, to record the doings and misdoings of this particular household. The quality and consistency of meals provided. Toy mouse allotment, treat-time frequency. Crinkly plastic bag on the floor availability.

“Where is mother?” Lucy said.

Baroness merely blinked, as if she were seeing through a new pair of eyes.

Lucy, an excerpt: Part 3 of 4

There had been two husbands. The first was a Swiss banker who came through Le Havre periodically on business. He was small-framed and wiry, not handsome in any particular way (but certainly good-looking in Lucy’s eyes) with long skinny fingers and a thin moustache. After almost two years of once-a-month dinners and urgent sex in his bland hotel room, with bad sheets and bad paintings, he whisked her away from her uncharming family when she was twenty-one. He provided her with a weekly allowance and a lovely two-bedroom apartment in the Marais, leaving her to do as she pleased. They always got along, and their sexual life remained interesting, even toward the end, but they could never build anything outside of their private life together. There was a separateness that never disappeared, something always felt out of place. Mutual friends never gelled. A pea nagged from under the mattress. Their relationship eventually became rather like that of siblings, and after a short and unsentimental conversation one morning, they parted.

The second husband was American, a droll businessman from the Midwest. They were together for seven years, off and on—mostly on—and eventually they realized that they hated each other completely. Both admitted to twisted fantasies involving the unfortunate death of the other, poisonings or tragic parachuting accidents. His sagging features grew more prominent every season, his belly rounder and rounder until no belt in any ordinary store would fit him. He said it was her cooking, and somehow managed to make even that sound like an insult. And Lucy often started arguments on purpose. The divorce was painless at first and agonizing after.

There had not been children.

Lucy was the kind of woman who believed (Helena thought foolishly) that one can wear jewelry in silver, gold and copper all at once. Her bracelets jangled up and down her arm whenever she turned the page of a book, or pushed her hair, which was often frizzy and unkempt, away from her face. Helena realized—having been Lucy’s best friend for more than twenty years, and practically her only close friend in America—that older French women were allowed a certain freedom of behavior. A looseness of personality. If their lipstick was slightly smudged it was okay. If their hair was colored one shade too orange, their collar too severe, all was forgiven.

Helena was expected home some time in the afternoon. Lucy had come that morning to shower (she preferred Helena’s water pressure to her own) and spend maybe an hour making sure everything was put together, maybe get some soup going for dinner—an herb and vegetable concoction she was famous for; Helena’s favorite. There was an iron skillet on the stove, still shiny with butter from Daniel’s breakfast; he never cleaned up after himself. She could not determine what exactly he ate, the data were few and vague: a sticky spoon, no plate. She lifted the spoon to her nose, breathed in the bright smell of…marmalade, surely. She resisted the impulse to stick it in her mouth and suck on the tacky residue. Instead, she put the spoon into the sink.

Lucy, an excerpt: Part 2 of 4

She grew up in Le Havre. Her father, whose job had something to do with city planning, was aloof and wooden, and he tended to his houseplants as Lucy thought he should have attended to his daughter. He talked to them each evening, wiped the dust from their leaves with soft kitchen rags, played the sort of music he suspected they preferred—Brahms, mostly, but sometimes Liszt’s Foust Symphony. They thrived.

Her Chinese mother (whose devotion, it seemed, was bought out of the back pages of an adult magazine, though Lucy was only willing to admit this once she reached her own complicated adulthood) spent most of her life cajoling the neighborhood housewives into playing Mah Jong, which they claimed was difficult to grasp, and took too much of the afternoon to play. Lucy thought it was probably her mother’s opaque instructions, not to mention the cluttered, dusty living room and her mother’s odd, off-kilter hors d’oeuvres: cucumber sandwiches with whole-grain mustard, broken hunks of hard, salty cheese. They stopped coming after a while, one by one claiming that they had other obligations, something at church, shopping, or simply ‘a conflict.’ Her mother eventually gave up; the phone quit ringing all together. With her husband’s savings she opened a flower shop.

As a teenager, Lucy worked there every day after school and on Saturdays. It was an endless parade of anonymous happenings, strangers impressing upon her the utmost importance of the event: funeral, birthday, anniversary, funeral, anniversary, birthday, funeral. Lucy took the job very seriously—she took any kind of work seriously—and her mood was often affected by the customer’s occasion. It was too easy to absorb other people’s sorrow; she sopped it up unconsciously. Four funerals in one day and forget it, she was cooked, wilted like a piece of lettuce. There was once two fiftieth anniversaries in the same afternoon, and so she rode her bike home elated, taking two turns around the neighborhood, breathing the air and laughing.

She bounced into the house, and her father asked if someone had filled her skull with meringue. She pulled her diary from underneath her pillow, where surely it was safe from marauding intruders, drew a radiant sun, and next to it wrote (in English, should her mother discover it) the words ‘silver dust’ and ‘orange glass.’

Her mother spent all day on the phone to China, crammed into a closet masquerading as an office, leaving Lucy the details, and after a few years every event felt the same. She learned to translate the fumbled, emotional orders: the uneasy fastidiousness of a memorial arrangement, an attempt to say something memorable, but afraid to come off as clichéd; the basic anniversary bunch, requested by husbands with bad taste who usually defaulted to whatever she thought best; the murky, inside-jokey birthday requests. There were men who wrote dirty messages to their mistresses and widows who sent flowers to themselves. In the end, no one ever complained that their arrangement was wrong, or not what they ordered, or unattractive. And no one ever called to say that their arrangement was gorgeous, or especially fragrant, or just perfect.

“I would love to work in a flower shop,” Helena said, an hour after having met Lucy in line at the market years ago, back at the beginning of their friendship—they decided to have a cup of tea. “To be surrounded by so much beauty all the time,” she said. Lucy was enjoying the conversation so much, that when it came time to refill her cup, she neglected to replace the teabag, and for five or ten minutes drank only hot water laced with a brown cube of raw sugar. “But you have your paintings,” Lucy told her. Helena said the paintings were more like bills that needed to be paid, or else they were watched pots of water waiting to boil.

Lucy said that as for the flower show, indeed it was very beautiful. What she didn’t say—or had learned not to say after telling the story to heaps of reporters and having it read quite differently in print—was that when you work in a flower shop, you are constantly reminded that none of the flowers are for you. The blooming jungle encroaches—fronds of sweet alyssum, frangipani, St. Christopher’s lily—and you begin to disappear. She thought it was a little childish, and was embarrassed to admit that she felt that way.

Lucy, an excerpt: Part 1 of 4

I'm currently working on a new novel, and although I wrote this for it, I'm afraid it doesn't belong. So, here is a chunk of writing, presented in four parts over the next week or two.

Lucy Laurent stood in the middle of the living room naked underneath an ivory bathrobe, dripping water onto the floor. She had a wrinkled lotto scratch-off in one hand, a grimy quarter fished out of the bottom of her purse in the other, her body poised in a feminine rictus of anticipation: poised, articulate and sturdy. The coin warmed in her hand, seemed almost to sweat in her fingers. Her heart began to thump; she felt the pulse of blood pressing behind her eyes. Thoughts crowded her. Miles of deep black ocean is separated from endless blue sky by only the smallest molecular skin. Exactly when does water turn to air? Are surfaces beginnings or ends? Perhaps they are their own breed entirely. Lottery jackpots, car accidents. Brain diseases. We are always one flashing instant away from a new life.

Lucy took the edge of the quarter and pressed it to the flat silver panel of the ticket. She scratched back and forth, concentrating, moving fluidly from one side to the other, leaving no stray bit of gray. The printing came off in rubbery curls which stuck to the moist knot of her fist, and when she tried to brush them away foggy streaks appeared on the glass tabletop. First, two fat piggybanks appeared, bursting with green bills and grinning, their eyes morphed into shining dollar signs, almost possessed; Lucy blew air through her cheeks and groaned. The possibility that there could be another hiding underneath the third square was too much to consider, and her mind began to swirl with ideas, with new and ornate futures.

“Okay,” she said out loud. She took a deep breath and laid the ticket on the corner of the end table.

Lucy did not need the money. She was not exactly rich, though she once had been—two apartments in Paris, a Spanish-style beachside sprawl in Miami, a small farmhouse in the South of France, where she went when she didn’t want to be bothered—and as her career slowed down, she sold them all to younger, richer actresses whose breasts seemed to get larger and larger as the years went on. She lived comfortably, mostly off residuals from a French television series in which she starred. “Les Trois Reines” ran for five seasons in the early eighties, and was still in syndication around the globe, translated into twenty-three languages at Lucy’s last count, sometimes airing three or four times daily. The critics called the show predictable and derivative; audiences loved it.

Lucy never intended to be a great actress, just a working one—she once laughed out loud when she heard another actor talk of the indignities of doing your own laundry unless of course the part called for it—and the celebrity that came with a television career was both flattering and unpleasant. People named their babies after you, they wrote detailed sob-story letters asking for money, they acted like you were old friends. But restaurants often brought complimentary champagne, and she always got the best hotel rooms. Lucy was rather legendary in Europe though no one recognized her in California—the show was deemed “too French” for Americans. That was okay. Strangers did not expect her to be funny on command. (The show had been recently released in a DVD box-set, which Lucy habitually and mistakenly called DDD. It provided a new audience, a younger audience, and she had once or twice been recognized by admirers here and there—if she spent the day in San Francisco, for example—all of them proclaiming that they were her “biggest fan.”)

Overall, she was happier now than she had ever been, which in itself was something to be happy about, the gradual upward slope which proved so elusive, a life not benchmarked by weddings and children and other standard charts of successes, but more what she felt was the real deal.

Lots of Shows

In the last few weeks, I've seen a lot of theater. It felt like the old days. Back then, I saw things three times a week. I eagerly awaited the New York Times special section on The New Season. I circled things that I didn't want to miss. At some point, I lost bandwidth. Most things I saw were bad, or average. I felt like spending more time at home. But lately, I've been out in the world again, taking it in. I'm reminded how much theater can be a conversation--how it can be the leaping off point for having conversations. Hooray for New York theater! (And TDF!)

John Leguizamo's Ghetto Klown

This is Mr. Leguizamo's fifth solo show, and I'm beginning to wonder if there's anything left to tell. He's a fantastic performer--his energy is the driving force here, his charisma--not the material, which, if you've seen his solo works before, you've already heard most of this. It's really a great show, funny, charming...I just wish it were a little deeper, a little more....everything. After two hours of great, the show ends with a mixed-up phone call bit that felt, to me, kinda lame. But...it's still great! Right?

The Intelligent Homosexual's Guide to Capitalism and Socialism with a Key to the Scriptures

The new Tony Kushner play is so fucking exciting, so much fun, and deeply moving. In (very) short, it's about a guy who calls his family around him so they can vote on his impending suicide. As with any Kushner work, it's about everything else--desire, family, betrayal, love, hope, and yes, capitalism and socialism. The second act reaches a near unintelligible cacophony of arguing, and I remember thinking that very few other plays have felt so alive on stage to me. And nobody--Nobody--does hope like Kushner. Back in January, I saw the Signature Theater's revival of Angels in America, which is maybe, despite its subject matter, one of the most hopeful works of the 20th century. But, this play, I felt, is less hopeful. I felt like the playwright is older, more weary, less sure. And that was perhaps the most devastating part of the "play." It's 4 hours, deeply sad, sometimes hilarious, full of messy characters you find hard to love. Go.

The Other Place

Laurie Metcalf stars in this new play by Sharr White at the Lucille Lortel, for the MCC Theater. I'm so glad Ms. Metcalf has been on stage so much in the last few years; she is an actress of incredible strength and transparency. What's true in this play is really the question--and, in the end, I found myself asking the question of the playwright whose decision-making I question a bit. There is a scene at the end which plays a bit too MOTW for my tastes--and feels a bit like he's trying to rescue the play from an unhappy ending, which is what is really called for here. But, the set is beautiful, the actors are great, Ms. Metcalf is extraordinary.

The Book of Mormon

It's as good as they say it is. If you're looking for a night of big laughs and beautiful, precisely-executed musical theater, then rush out. (If you can get tickets.) You can find 100 other reviews about how great it is--and it is really great, Tony's galore come June, you watch. But I will say a few other things 1) it's not half as offensive as it should be, or could be. In the end, I think the writers settled for a musical that will make tons of money and tour forever. They're smart enough to play to a Broadway audience in a Broadway house, not a midnight-in-the-village audience, know what I mean? 2) The two leads, though wonderful alone, are missing something in their scenes together...their duo-chemistry is a bit deflated. 3) You can only do a musical about the Mormons because punchlines about them aren't in bad taste because they haven't been persecuted throughout history. You can't do "The Torah" or "The Koran" and say how insane all the mythology is, you'd be thrown out of town for racism and anti-semitism. It helps that Mormons are (generally) white, too. But...ultimately, I think the writers all know this, and they've made a big, hilarious, sometimes-moving--and here's the important part--new and original--musical.

Visiting Tennessee

I recently flew to Chattanooga, stopping in Atlanta to change planes and wander about Concourse B for forty minutes. The first thing you notice when you change planes in Atlanta--aside from the constant stream of families, as there are no families flying out of LaGuardia on a Monday morning--is the number of men and women in military uniform. It's easy to forget that we are still at war. Either because of this, or in spite of this, I ate ice cream for lunch.

My father picked me up from the airport and we drove directly to the Waffle House, where I ate cheese-n-eggs, with hash browns scattered well and raisin toast. The raisin toast at Waffle House always comes with apple butter, and I'm glad to know that some things never change.

As we ate, I thought about the time my dad was in NYC for some kind of work, and I met him for dinner after my drawing class at SVA. This was maybe eleven years ago. We sat at the Lyric Diner on Third Avenue and I ate two grilled ham and cheese sandwiches. He didn't eat anything, for whatever reason. I felt at the time that I was starting to be a different person. At the Waffle House two weeks ago, I felt that I had returned to the person I was before that changing--the kind of tossed-at-sea uncertainty that the 20s can bring. So, maybe it's not a changing, just a day-trip. My dad paid the check and I felt full of greasy food and I was glad to see that some things never change.

We ate through the week, my mom's cooking, my own cooking, the cooking at a downtown restaurant, where my mother was introduced to the St. Germain cocktail, and later tried to order it at a comedy club bar where they didn't know what that was.

We drove out to see my friend Mary Beth's new house, which she basically built herself, on about 7 acres of land she purchased from her alpaca/llama-farming neighbors/employers. Her directions included the line "Turn left at the antique mall and go about 10 miles." It seemed to take forever to get there. But her house is a beautiful monument to self-sufficiency and a healthy reminder that sometimes the old way of doing things is the best way.

Her pantry was filled with canned goods--tomatoes, jams, pickles, corn--which sparked in me the desire to can everything this summer. And put up a big shelf of jars in the kitchen. Mostly that desire has faded. I tried to buy a book about how to do it well at the Strand, but they didn't have what I wanted. Friends with extra books about canning, and some with canning equipment, have promised to give them to me: "Really, you can have them." Their lack of faith doesn't bode well for my own future in canning. Look for an update long about August.

My friend June met me at The Castello Plan for dinner a few days after I got back. There were pea shoots on the special, and she and I shot looks at each other when the waiter mentioned this. It's still too cold for pea shoots, we said. When will spring come? Morels and ramps and green garlic and asparagus and tristar strawberries. I need all of you.

Tom in Siena on TNB

I have a new short story, "Tom in Siena," which is up on The Nervous Breakdown.

Tom stepped out of the bar into a pool of yellow-ochre light from the streetlamp. Yellow-ochre is the color of this country, he thought, and terracotta. His brain, bathed in a loose veil of red wine and whatever the Italian football players made him drink, seemed to drift along behind him like an awkward, dumb animal. “Catch up,” he said out loud. “Put your hand in your pocket and find your keys,” he said, to the cracked sidewalk, to the slice of sinking moon, to anything listening. “Why is everybody so goddamn nice around here?”

Elizabeth had been gone for 37 days. Which is to say that his older sister had been dead for 37 days, although Tom was still unused to this idea, and still preferred to think of her as simply away. She was missing until further notice, and he needed only to locate her. She had gone to a paper-making workshop in India, to a yoga retreat in Western Massachusetts, to a vegan commune in New Mexico. She would return. Eventually. She would be renewed.

This is a story I've worked on in fits here and there throughout the years, as you can see in this post from a year ago and this post from 2006, where I didn't get it quite the way I wanted. It's finished now, though. I hope you enjoy it.

Read the rest of "Tom in Siena" here.

Arcadia on Broadway

During the play, I kept thinking to myself: "I could say on Facebook that the play is performed with much vigor." This says a few things, I think. It mostly says something unpleasant about the way I--or maybe we--have begun thinking about our experiences: as status updates. It also says something about the play, or perhaps more specifically, my reaction to it. That I was not engaged.

Something about Tom Stoppard's work is beyond me. I find his plays extremely frustrating. I am not a stupid person, but I can never understand what is going on in them. I literally cannot understand their plots. Two hours into it and I am still wondering why any of this matters? I go to Wikipedia to figure them out. I always feel like his characters are frozen in the space of the play, and when it ends, they will also end. They never feel like real people to me. So...the tutor is really the hermit, after all? And he gets embarrassed in the newspaper? That's it?

The most exciting moment for me came when Hodge, the tutor, sets a letter on fire and places it on a silver tray where it burns away to ash during his conversation with Lady Croom. Real Fire!! I wanted the letter to catch the whole table ablaze, and the actors to go screaming into the wings and we'd all trample each other to get to the doors. I don't really want this to happen. But I wanted something more exciting than what was happening on stage. (Is this unfair of me?)

All this said, the actor's are really performing with much vigor. Billy Crudup is doing his cocky/smart/charming/asshole thing he's really good at, Raúl Esparza is doing the brooding miserable thing he put to perfect, brilliant, transformative use in John Doyle's 2006 revival of Company...only in a more lazy way here. Bel Powley, as Thomasina, is so marvelously fun to watch--funny and sharp and honest and generous. The rest of them are, well, fine. At several points, you get a sense that the actor's weren't given much blocking and are asked to just wander around and indicate their own frustration through their physicality.

Oh well, can't win 'em all.

Sunset Never Disappoints

Oscar Bingo!

I made some Oscar Night Bingo cards, complete with Red Carpet "Free Space." There are ten different ones, for those of you who are having more than a few people over. Download them here.

Attn: Awkward-Wording Police

How was Your Winter?

When I first began working at the Union Square Greenmarket, I would hear farmers ask, longabout mid-April, when everyone was returning for the season, “How was your winter?” I like this question for its allusion to the past, to a time when the winter could actually make a huge irrevocable change in the future. Structures collapsed, animals didn’t make it, people died. Things are mostly different now, but farmer’s live closer to the edge than most of us. Their stakes are always higher.

We had a tiny touch of warm weather today, the kind of sunlight-surprise that fills the market with what I (somewhat) lovingly call “Unprofessionals.” People who, bless their hearts, ask, at 10:00am, things like: “Are you going to be here for fifteen more minutes?” And then they never return.

People have difficulty trying to end the brief relationship they enter into with us, mostly by accident. They make promises, they ask questions like “What days are you here, I want to know when I should come back.” But, see, we can tell when you are never going to come back. It’s okay to just say thank you and walk away. Really.

I have a thing: I hate when the weather changes and it’s all people can talk about--the news does a “story” on it, small talk in elevators are ripe with (usually) groaning office workers, and Facebook, which I like, and which has increased the chatter exponentially, lights up with everyone having the same reaction: “Snow!,” and “Snow, yay!” or “So hot outside,” and “Ugh, so hot.” But, today was the kind of day that teaches you just how radical a change in weather can be, how affirming a piece of sun on your hair really is.

Something I think about a lot is how convenient it is that the Earth so matches with our sense of time, space and beauty. I know, right?!?! I really do think about this. Of course it does, we came from the Earth. But, I still find it pretty incredible that what we find most aesthetically pleasing is what there is in the world: vistas, waterfalls, mountaintops. Maybe this seems obvious, but I am still amazed by it. By how well we fit with our planet. (Right now, for the purpose of this idea, we’re opting for naiveté, and not discussing how good we are at destroying it, too.)

I’m also amazed at the earth’s ability to give us what we need when we need it. Today, a glorious, sunwashed day, sixty degrees, after months of--literally--freezing and darkness. Coming right when I felt like I couldn’t take another windy, flat, gray winter Friday, with the city still covered in giant chunks of black, sooty snow, covered in cigarette butts and dog shit. Seriously.

Today was extraordinary, and I know more about “How was your winter” tonight than I did yesterday. No, really. All of this is very, as they say, tree-hugger....and dammit if there isn't something--OMG--spiritual-ish growing somewhere inside me. But that's what I'm talking about. That's what the sun can do. One of the customers, certainly an Unprofessional, remarked: “I didn’t remember how I could be this happy.”

More Born This Way

There is a fabulous new blog called Born This Way, and I submitted a picture of myself to it, where it was published on January 17. In addition to the picture they posted, my mother sent a few more, which I am sharing with you here. Fabulous!

Here I am in (probably) 1985 with my teacher's board and glittery-streamer baton on Christmas morning, and below that, playing a fey round of mini golf.

In the Moment Chili

My friend Jane, as is her custom, demanded that I blog the recipe that I mentioned in my Facebook post this evening. She is a tireless advocate for transparency in cooking, and has on several occasions forced me, despite my reticence, to give up the secrets that have made my cooking so remarkable. So, while I sit on the couch waiting for the above chili to simmer, I will do my best to share with all of you, the legions of devoted readers, how to make my version of "In The Moment Chili."

The cornbread I make is probably like any other one you might make yourself. 2 cups cornmeal (local and stone ground if you can get it....if you use horse-powered you win,) followed by 2 teaspoons of baking powder, 1/2 teaspoon baking soda, more salt than you think, some pepper, followed by 2 eggs, about 1.75 cups of buttermilk, and a glug of maple syrup. Mix this all together, but don't over mix it, and then let it sit for 10-12 minutes while you do this below.

Here's the important part: You need a cast iron skillet that's about 100 years old, and that belonged to your great grandmother who lived in Atlanta your whole life in a house that you loved. If you don't have this, another cast iron skillet will do, but you know I can't promise anything. Put 3-4 tablespoons of butter, and big swirl of canola oil in the skillet, and then put it in an oven that you preheated to 400 degrees. Let the skillet get very hot in the oven, melting the butter and heating the oil. When you pour the batter in, it should sizzle. Then leave it in the oven about 20-22 minutes. When it take it out, turn the cornbread upside down on a plate, and let it cool. If you want to, you can drizzle over some melted butter, or, if you have it, some hot pepper maple syrup, like I did.

It's called In the Moment Chili because that's really what it is--it's whatever you have plus whatever you feel like. Taste it every time you add something, and see what your mood asks for--more heat, more acid, more salt. So, tonight, my version went like this:

• 3 small onions, chopped
• 3 cloves garlic, chopped
  
• 1 lb. ground pork
• 2 chopped chipotle chiles
• 2 cans crushed tomatoes
• 1 cup of water
  
• 1 big can black beans
• 1 big can small red beans
• 1 sweet potato, cubed
• lots of salt
• juice of two limes
• big shake of ground coriander, some oregano, some curry powder, 2 shakes of cayenne.
• a bit of garlic powder
• Secret ingredients: 1/2 cup of cocoa powder, plus one mug of coffee.

So, you do all of this like you think you would--onions & garlic in some olive oil, plus pork, and then so on down the list, and then you let it simmer until it's super thick and delicious. I like to be able to stand a spoon up in the middle of the pot. Like this:


How you serve it is really up to you--I like a big chunk of cornbread in the bottom of a bowl, then pour two scoops of chili on top, then put some shredded cheddar. Be generous with everything--it's a bowl of chili, and it's Sunday night, right?

Gorilla-At-Large

Thanks to my tireless and wonderful mother, these very very old stories of mine are finally seeing the light. At some point, I would sit and dictate to her and she wrote down whatever I said. Behold, Gorilla-at-Large:

Doubling-Back

After Kip's birthday two weeks ago, a bunch of us ended up at Odessa, eating potato pancakes, kielbasa, and peirogis, and drinking beer. There were too many of us to sit at a single table, so we split into two, our table talking mostly about theater--shows we did and didn't like, the great performances of 2010, Patti vs. Bernadette. I think we bored Joe. Sorry, Joe. I thought to myself: Please let it be like this for the rest of my life. I really did think that.

It felt like old times. When I first moved to New York, my roommates and I always ended up at Odessa, or Veselka, or Kate's Joint, after having seen something (good or great or bad) at Theater for the New City, or PS122, or The Ontological-Hysteric. Or somewhere else. Then, the long--it seemed at the time--ride home on the F Train to Astoria. We felt like part of the culture. We were part of the culture.

I admit, I'm getting sentimental. Later the same week, I watched the Martin Scorsese documentary "Public Speaking," which is about Fran Lebowitz. Fran talked (among other brilliant things) about the richness of audiences back in the day--about how they demanded the best, every single time, because they had seen everything. In Patti Smith's "Just Kids," which I was also reading at the time, she writes about the opportunities artists had in the 60s and 70s. Opportunities that could never be now.

My tendency is to think that all this nostalgia is just, well, that. But then, we went to see the revival of "Angels in America," and during the intermissions of "Perestroika," the couple sitting next to us talked on and on about how the liked or didn't like the various choices that the characters were making. He said "I don't know any of these performers." His date (sister? friend? girlfriend?) said: "I hate plays like this where everyone is just talking." I felt a bit deflated.

It's a good thing that the play is a masterpiece. It lifted me back up. The Signature Theater's production is terribly, terribly good--even if one wonder's if Zoe Kazan's earthy strength is right for Harper, and why Christian Borle seemed to be playing everything so weird to me, or if, as my agent wrote, "why Joe seemed to be given the most unhappy ending. Well...besides Roy." Zachary Quinto's performance as Louis is nuanced and obvious at the same time--his technical skills are sometimes on the outside, and I liked that about it. The thing is, though, all these things make the play, the experience of being in the theater with a piece as fucking brilliant and difficult and striving as Kushner's, and actors as sharp and skillful as this ensemble, more exciting. It was really, truly fantastic.

The rest of this story is about me noting how everything seems to be talking to itself. Novelists recognize this as a message from the universe that it's time to get serious. Or, at least, I do. This kind of doubling back, these overlapping strains of thought are your subconscious trying to tell you something about what you're thinking about. Your job is to translate that into the work. Not that it's easy.

The second novel has been such a struggle. Huge roller coaster emotions, false-starts, insecurities. It must be going just like the first one went, but I don't remember making the first one that much. Really. It just kind of came out of me, boom, like a sad, confused hustler bursting out of a party cake the shape of a rain-soaked New York City. (Lol?) And for the last three years before it was published, there was 250 pages of it--lots of clay, as it were. When I sat down to work with it, there was lots to work with. This new thing is still a mess, stretched out in too many directions, too many characters that don't know what their stories are. Sometimes I don't know how I'm going to do it. No, really. I feel like I might explode. I feel like I'm going crazy.

I try to feel buoyed up by the life around me. But we're so close to the edge of crazy, we're right on the other side of this thin membrane. I feel totally pressed against it sometimes. It's a good thing there are so many things to keep us, the collective us, together. Friends who, half-drunk, say things like "Would Arthur Laurents just go ahead and die already?" And Kip. And potato pancakes and vegan turkey sandwiches at Kate's. And the F-Train. And Fran Lebowitz and Tony Kushner. And Patti Smith. And Patti vs. Bernadette.

(Who are we kidding? Bernadette, all the way.)

Poem for the Singer

Like cards from a trick deck,
you deal yourself out to me
in measured, calculated hands.
As if gambling was too rich for you.
As if slight of hand was your trade.

Tossing away all these
un-nervy feelings, these,
what do you call them, low-Richter stuff,
like a boring receipt, or a toothpaste cap,
would be a silly, silly thing, I know.

So, I keep them,
wadded like a gum wrapper,
or filed like last year's daybook.
Things you are sure will come in handy
in the very near future.