Wednesday, November 28, 2007

Tell me about the dream where we pull the bodies out of the lake and dress them in warm clothes again.**

Last night I had a dream Richard Siken made me an ice cream sundae. I then went to the movies with Mindy Kaling. There were also some recurring problems with loose teeth that I don't want to talk about. The sundae was good, but did not have the miniature M&Ms like Mindy's did.

**from Richard Siken's "Scheherazade" (of which I did not post the whole poem because I don't know how to do the white space justice here)

Sunday, November 25, 2007

No anchorless groping disturbs the hand**

C and I are going to see No Country for Old Men this afternoon. In about an hour, actually. This is why I seem content to tool around shifting words online rather than getting into the meat of something or going back to my reading (Israel Chalfen's _Paul Celan: A Biography of His Youth_).

Part of me would like to compose a long post about this film, which I have not yet seen, based on what I have been told and what I have read elsewhere. While I like to hear what other people have to say about a film before I watch it myself, I refuse to read reviews before watching a film. After, when I can argue with the writer while I read, I will see what they have to say. But there is a kind of posturing that happens in film reviews that taints the film for me. It's like I sometimes analyze a film using the text of the review. The few times I have done this it has made me uncomfortable and taken me a little while to figure out why my enjoyment of the film was off.

Whether the film is actually *good* or *bad* means nothing to me about how I enjoy the film while watching. I like looking at attractive people on the screen. I like the ritual of the ticket counter, the popcorn counter. More than anything I like the feel of experiencing something with strangers in a darkened room. That said, I like to experience this something with no one sitting directly next to me (unless I've brought someone myself), in front of me or directly behind.

If someone sits directly behind I wonder if they're putting things in my hair. This fear, I'm sure, stems from my first movie date in junior high. I was an awkward child and people noticed this. I will even say they took it upon them to capitalize on it. Regardless, I came out of Rocky V with popcorn and whoknows whatelse in my hair. And though my date was kind, the relationship did not last out the month. I don't blame this on the popcorn so much as the roving hands.

I want to be one of the people who will sit in the semi-darkness before the previews begin with my feet on the chair in front of me. Somehow I grew out of this in my middle twenties. I should perhaps have grown out of it sooner, but as I've said, I'm very protective of a positive movie-going experience. Now when someone sits in front of me I simply move, if possible. When the theater is crowded I have to give myself over to a different kind of mentality to fully enjoy a film. Like dancing with the rabble in a crowded concert venue (which I do less and less), I stop playing us and them and imagine myself as less myself (the island) and more as one piece of the crowd.

Then there's the snackfood. Popcorn and M&Ms, mixed, the chocolate warm and soft within the shell, the popcorn becoming stained with the candy colors. And also contraband Diet Dr. Pepper.

In any case, I'm looking forward to seeing Javier Bardem. I have a slight crush on him. And the Coen brothers have only let me down once, though admittedly I have never seen Intolerable Cruelty or Ladykillers.

Regarding book reviews, I do read them, but never to the end unless I have already read the book myself. In these the posturing is less aggressive, less obnoxious, but often the writer of a review is self-involved enough to include too much of their own world I do not wish to know. Except for People magazine, which tells one nothing, but is nontheless not invasive.

**from Celan's Mother's Day poem, 1938

Friday, November 23, 2007

The Anxiety of Deadlines

In the house, Carol and I have set things up so that we don't get in each other's way. She has what I call her "suite" upstairs, and with the white noise machine on she can block out almost everything. Everything except what I call the Real White Noise Machine:
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When Rainer speaks, he will always be heard. And, blind and startled frequently, he is heard a lot.

My office is downstairs. I initially had the idea, after a year of substantially cluttering up one small room in our other house, of having nothing but a desk and a chair. With, of course, the madness of my bulletin board and the yellow moons of post-it notes that surround. The small Basquiat calendar remains on October. It regularly falls to the floor, but the prevailing month lets me know it's been at least three weeks since this has happened. I started with the desk and chair. The 1950s couch, given to me by my good friend Don moved in:
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then the bookshelf. The bookshelf is small, three shelves only. The idea behind this is to recycle books: read them, then sell them back to Henderson's (current credit on my account is somewhere near $120, something that makes me feel safe the way my parents never did), then buy books only as I have time to read them. I refuse to get another shelf. This is a system that Should work.

There's only one pile of books on the floor. Granted it reaches the full three or so feet in heigth that the shelf does, it is only one stack. The other stack on TOP of the bookshelf is probably only two feet high. And we won't go into the conversion the room's closet took on. One day there's wood on my floor, the next day there are shelves in the closet and the books have again multiplied. Then there's the chair I bought at the Catholic yard sale. I felt good about talking them down. Thirty dollars was way too much for a chair that who knows who has sat in. Regardless, the other dog likes to sit in it and watch me read on the couch.
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All of this was the setup for what? Today as I read Allen Ginsberg's _Planet News_ a bird flew into the window. From this I got a new title. I keep a list for things that don't readily title themselves. I looked up just in time to see the bird. It flew away, shaken. I was reminded of the week Natalie repeatedly saw birds flying into windows, I wrote down the title, I returned to my book. Three or so stanzas down in the poem I was on (Waking in New York) I read this: "Oh New York, oh Now our bird / flying past glass window Chirp", which reminded me of the post on death I'd been meaning to write.

Last week an experienced kayaking doctor got blown off course in the bay and was found facedown in the water three hours later. He was 40. I have little orange bottles in my bathroom with his name on them.

Five years ago tomorrow my grandmother died. She was my favorite person in the world. Once she realized I had no relationship with my mother she took over in the ways that she could. She wasn't the baking cookies kind of grandmother, she didn't coddle, but she loved me.

A friend of a friend (a girl in her 20s) died last week, a blood vessel rupturing in her head.

All of this reminds me I could die anytime.

I have things to do. I've never been happier. I've found the girl of my dreams. Somehow happiness has brought terror though. I'd never given a thought about mortality until I found I had everything to live for.
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Thursday, November 15, 2007

The Poet as Rock Star

Good day! After much consideration I have made the jump to Blogspot. This is not to take away from my "private" public journal, but only to focus on (mostly) literary things. Such as:

1. I have recently completed a draft of the novel good enough to circulate. This does not mean I'm perfectly happy with everything, only mostly that there were a few deadlines too good to miss. The work will continue after my month (November) of respite.

2. The month of respite will be used for the purposes of a) catching up on reading, as I am still off by 17 books from my goal of 150 books read this year. That leaves me with one book roughly every three days, a feat I'm fairly certain can be mastered as long as does not take over my life anymore than it already has, and b) to get back on my goal of constructing one (1) collage per month. Collage has been known, actually, to focus my attention back to a writing project that is giving me trouble. But that will not be its charge this month. Purely for the visual ecstasy of putting pictures of Britney Spears next to underwater Jacques Cousteau panoramas will I put glue to board and scatter my workshop with old Bust magazines and ancient medical texts, etc. I've a great one that deals primarily with disorders of the eye. There are many disorders of the eye.

3. The premier issue of Knockout is available and features: Marvin Bell, Timothy Liu, Todd Boss, Charles Jensen, Mabel Yu, Brent Goodman, Carol Guess, Carl Phillips, Alberto Rios, Robert Bly, Kimberly Lambright, Billy Collins, Charlotte Innes, Joseph Massey, CAConrad, Gerard Wozek, and others, with translations of Yuan Zhen, Ouyang Jiong, Han Wo, and Zhao Luanluan. It's really fantastic.

You should pick up a copy at (I do not actually know if that link will work, but I am not a bells and whistles kind of girl. If you're going to read here you may have to get used to your keyboard's fancy cut and paste functions). Also, half the proceeds will go to the Valentino Achak Deng Foundation, "an organization established to help those affected by the civil war in Sudan."

I received my issue early (yesterday), as I carpooled to Seattle with one of the founding editors to see

4. Matthea Harvey read at Open Books. Her new collection, _Modern Times_ came out recently and I'm sorry to say I hadn't read it yet. While I'm a huge fan, apparently the bookstores in my town are not quite as hip to her hot poetic stylings. My favorite of the evening "Dinna'pig" nearly didn't make the final cut due to blushing.

It was entertaining as well to see how a professional manages herself at a reading. I mean, I'm always entertained by how writers, who are by law odd creatures who often fear the light of public space/public discourse, navigate an event at which they are required to be "on." Perhaps I will save my list of "types" of public reading faces for another post. What I will say is that Matthea Harvey is a model for what a good writer should do.

a. She did not read with an affected voice. Now there is a time and place for this, but I (for one) think these times and places should be more limited. Matthea read with (what I think) was a normal speaking voice. A bit on the deadpan side, but then that suits her work well. There is something about delivering lines like "Ma gave Dinna' Pig his name so that no-one would forget where that pig was headed. She liked to call a spade a spade, hence her children: Mistake, Mistake 2, and Goddammit" that just might not be as effective if affective.

b. She was very good looking. Notably this is not something a writer can change much about themselves. But a pretty face to me makes for a prettier reading.

c. No Q&A. While I was disappointed, I could think of a bevy of inane questions to drill her with about her brilliant work, it is a good tactic. If the audience asks no questions, there is less likely to be that nagging feeling on the plane that you have said something stupid. Note: ala Hillary Clinton style, one May plant questions ahead of time in the audience that one already has a handy answer to.

d. When signing, Harvey was able to squash that uncomfortable space where the devotee shifts his/her weight from one foot to the other while trying to think of something to say other than, "I really like your work." She did this by picking something out about the person to engage Them with. In my case she mentioned that a lot of her favorite people shared my name and I mentioned that I refused to say my first name when I was a child because it sounded like someone falling down the stairs. Regardless, I was still able to say something silly along the lines of, "I really loved hearing you read."

e. I would like to institute a system kind of like groupies in rock and roll. Mind you, if I end up having them I will not engage with them in questionable ways, I'm more thinking of following around poets I admire from town to town, reading to reading. Never mind that I may hear the same poem fifteen times. I've heard Sleater-Kinney play "Dig Me Out" live at least 30 times and it has never depleted my love for the song. On that note

5. Carrie Brownstein of Sleater-Kinney fame is now blogging for NPR about, well, primarily about music, but so far she's covered everything from people carrying their cats, etc on their shoulders, to her father's retirement, to the season finale of Curb Your Enthusiasm. Good gig, right? It's only been about a week, so you can catch up easily if you start reading now. She's at

6. I went to the dentist today. While I will try to keep this primarly a literary blog, hell days may seep in and nothing sends me through flames quicker than a bright light and a man with a drill standing over me.