Today was fine. I was brittle and awful. Then I was not. 

Then I made a very delicious cornbread for dinner.

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9/1 '20
 

I'm struggling with myself over a few things. And I have a few important personal administrative tasks to do this week.

It's Andy's birthday this week. He's been dead (how odd the present perfect continuous tense) for nine months now. Long enough to be born. We had only a few short weeks to grieve together and then it's been this liminal state of living. I guess that's fitting, but it fucks with the process of grief.

Had an in-person conversation today with a friend I've not seen since the funeral. He stopped by to pick up a thing, stood on the sidewalk in front of the house; I stood back on my porch. I forgot to grab a mask on my way out.

I still feel like an asshole.

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9/1 '20
 

Here's a heartwarming short story that a friend made, recently. It's less than 4 minutes long. 

The Kindly Nettle 

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8/31 '20 4 Comments
Really like his accent!

Reminds me that one of my creative writing profs was originally from Jamaica. It was great to listen to her read passages or poems.
Oh my gosh that was LOVELY.
That's my boss, the same guy who said today, "I'm stoic." I said, "yup, you're stoic as a rock."
 

There are barely two months left before the American election is stolen. The only way for the people to keep the republic from descending into fascism is a mass general strike. And don't bloody wait. Do it now. There's no more time to sit on the sidelines. You have to do it, and hold it, until they crack, and impeach the fucker before the election. Not after.

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8/31 '20
 

Fred Hampton "radicalized" me (as much as one can look at me, my life, my beliefs and my actions and consider me "radical")

(which is to say, "not at all") 

My family has been in the City of Chicago since before the Fire. And in my early 30s, I spent a lot of time at Harold Washington Library and the Newberry Library and the Cultural Center, looking at exhibits, listening to lectures, watching documentaries.

Of course, you learn the bare bones. The condensed, tourism-friendly, chamber of commerce endorsed versions. You hear the majority agenda assessment. And usually there is one voice, urging you to consider the deeper story, the more important aspects of the man's life or beliefs.

But from there, I learned about tbe radical mutual aid movements. I learned who the Black Panthers really were and the respect they deserved. I engaged with the story of the MOVE bombing. I had read the Autobiography of Malcolm X more than a decade before, but Fred Hampton's Chicago brought me to a better curiosity about the true progressives--black men and women, Latine men and women, queer and trans men and women--in America. 

I'm a middle-aged white lady. I vote for the most progressive person offered me. In the primaries, I donate to and work for the most progressive option. Then I make my regular phone calls and mail my regular letters to my vaguely conscientious and barely moderately liberal legislators and govermors, telling them I want more. I show up when I can and shout the response to the call.

I know the radical ideas are the ones we need, are the ones that might actually save us. I struggle with whether I have any power to make those ideas catch hold. I don't believe that I do. 


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8/30 '20
 

Spouse always wants to go walk for miles along the Lake in the middle of the day when it's hot and crowded. And he always remarks that I seem like I don't want to be there. And I don't. It's hot. And it's crawling with strangers who, for all I know, are eating in restaurants, going to bars, using the gym and recreational shopping in stores. I don't want to be near anyone like that.

Not even in the park.

This makes me think it will be years before I'm really comfortable around strangers at all. And possibly never before I can do crowds again, but I was headed there anyway.

I saw recently a CityLab (I think) blurb, showing how some strategic grocery stores and small commercial could make suburbs actually liveable. I can't leave the city because I do not ever ever ever want to have to drive somewhere if I need milk for my coffee or want to grab a few things at the drugstore. Plunk a grocery down at the top of every cul de sac and a book store or hair salon and I might consider it.

That's the other thing I am increasingly less comfortable with now that I never do it: drive. I drove a 12 mile round trip to buy my sewing machine just before Christmas. And I drove an 8 mile round trip to my office in April. 

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8/30 '20
 

During bad times, you think of better times.


music: Led Zeppelin - "Ten Years Gone"

mood: Chicken Lounge waitress/bartender, circa 1996

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8/29 '20 3 Comments
Nice! That gave me a little happy flashback.
Remember when I served Ben because he had a full beard at 17? Oops.
LOL! Indeed! When I first went in with him, I introduced him to PH as 'my big brother' (or maybe I fully lied and called him 'my older brother' ? Been too long to recall). He never had a problem getting served there after that! :P
 

Plowed through some very mundane tasks on the to-do list. Including the first step (transferring the orders from one hospital system to the other) for some tests my doctor ordered months ago. Getting the parts ordered to cure my bicycle of winter riding and summer neglect. Prepping the sewing room for an upgrade.

It all felt very normal. I even ran across the street to the wine shop run by the woman who went to the same college as my sister & my husband, albeit 10 years after.

Had Indian delivery for dinner. Gonna have a cocktail and some video games. 

It all feels so normal. 

Why does that feel so dangerous?

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8/28 '20
 

On our turn around the park (it helps, but I whine, especially when it's hot like now and when it gets crowded), Spouse asked what I'd do in particular, if I had a free pass magic bubble "no-one gets sick or dies" leave to do anything.

And I couldn't really pick something. There's no single thing. And then I said I'd take the train to my parents and go to Dad's favorite restaurant for dinner. Then I started crying.

Speaking of no-one gets sick or dies, I'm having a hard time not being angry at people I know for their choices right now. I know it's complicated. And I'm not arguing or shaming people or even writing them off. I know it's complicated. But I am angry with the choices people I know are making. I know it's going to change relationships over time.

The most basic truth I believe in is that the most vulnerable person in every situation is owed the highest duty of care from everyone else in the situation. I know that is nothing something my society teaches, practices nor rewards. Particularly not when the most vulnerable person is a stranger or can't easily be identified.

Which brings me to my quote of the day:

Yea I’m dumb, and no politician heroes, but @EdMarkey saying maybe it’s time your country did something for you is, besides being a brutal burn, the exact perfect message for this moment and so obvious I can’t believe no one has said it before now.

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8/27 '20
 

Every day I make some art. Sometimes I hate it, or just don't care about it. Sometimes it's really good.  I find it somewhat disturbing how much I get out of other people liking my art. And also disturbing that I find it disturbing. Why shouldn't I feel good when my efforts are validated by others? We are social animals; acceptance by the tribe is an essential brain nutrient.

I really like acting. I haven't been doing it since I moved to Toronto. But I am reminded because acting on stage gives that kind of instant acceptance/validation. I've done a little work on camera but since I honestly can't stand to see video of myself (or hear recordings of my voice) it doesn't mean much to the wee little narcissist in me. If I was to take up acting again I'd have to find those few shows where the director isn't too particular about having every line delivered every time with the exact same words.

Choir is really nice but like any kind of live performance, extremely not recommended until there's a vaccine for the pandemic. 

I'm specifically not freaking out about how it's basically September.

I guess that's it for now.

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8/27 '20 6 Comments
I felt similarly when I started podcasting. I got sick of the best I could hope for, as a playwright, being a staged reading. The kind of plays I could write and get read were really limited. With audio drama, I can do a lot more, but I can’t hear the audience.
Real question: what is the process by which the three of you connect the drive to produce art that is satisfying to you and pleasing to others to acceptance/validation? And what/who is it you feel is accepted or validated?

I'm just sitting here trying to dig into why I enjoy the art and craft of storytelling, either (or both) as a writer and a performer. I'm not tracking whatever connection is happening for you between ... okay, I don't even know how to articulate it, because I don't think I understand it. Ugh.

So, you feel ... guilty? or? when someone enjoying your art makes you happy? Or guilty that you feel guilty? And then annoyed for feeling either way? There seem to be a lot of loops back and forth, and they don't seem inherently connected to me. Help!

I DO understand how medium can be everything. Live storytelling and audio-only storytelling are both really good, but video storytelling completely loses me. And I definitely think it's an audience response awareness issue. If it's live, I'm in the audience, I can see the teller the whole time, hear everything; it's very immersive. And if it's audio-only, I can be completely sound-focused, so again I'm an immersed listener, able to perceive all of the available sensory input from both teller and audience the whole time. Video on the other hand, is a lot of cutting back and forth, peekaboo style. Sometimes you see the teller, sometimes the audience, sometimes you can hear one or the other better. And it's distracting and "flattening" for me. So I end up feeling bored and disconnected. So it always amazes me when people watch video of me doing storytelling and like it. Not because I don't like how I look or sound (it's fine; it's me), but because they're able to process the art in a way I can't.

Interestingly, I *don't* feel that way about cinematic experiences. I LOVE watching movies (and TV, etc.), but that's a very highly planned and orchestrated and edited kind of storytelling. I can not only enjoy the end product but simultaneously nerd out on the all of the craft employed to create it.

Anyway, rambling now.

Thank you for the food for thought.
>what is the process by which the three of you connect the drive to produce art that is satisfying to you and pleasing to others to acceptance/validation? And what/who is it you feel is accepted or validated?
I was about to smoosh into the couch with a big glass of wine, my knitting, and my tablet, to watch Logan Lucky on Amazon, because it's a dumb comedy with hot people in it and that's pretty much what I need right now. Then I thought, "write your own dumb comedy with hot people in it," and now I'm at the kitchen table with my laptop. What's the drive? Some of it is "to solve the puzzle."

I have a character who wants to do X, but comes up against Y, and in order to surmount obstacle Y and get to X, she has to do Z. I have a puzzle I need to solve. I have to solve that puzzle with the rules of a particular craft. It's not a painting, it's not a pen, it's a drama, and that's how I'm going to solve it, just like how you use a corkscrew to open wine or chopsticks to eat sushi.

One of the dearest pictures in my phone is something that won't make any sense to anyone but me. It's the audience, viewed from the back, waiting to watch the play I had showcased at the end of my MFA experience (rant redacted, but available upon request). You can't tell who anyone in the picture is except Jill (white spiky hair sticking up).

The feeling that was important to me in that moment is, "I'm about to get confirmation that my theory about human behavior is correct."

The play had a lot of overlapping dialogue in it. If my theory was correct, the overlapping dialogue would come out like a chaotic sound collage, punctuated by moments of meaning, aurally showing the protagonist's dilemma (chaos) but a situation worth saving (meaningful punctuations).
I got a whole steaming pile of "this will never work and it's not clear enough, therefore it's not worth rehearsing" from various academic sources (along with "your work hasn't merited production," rant redacted). If everyone else's theory was correct, the overlapping dialogue was garbage that didn't move the plot forward.
My advisor didn't want to do a Q&A after the show. I presented him with the idea that I wanted to ask the audience three questions, and that was it. The first question was, "what did the overlapping dialogue do for or against your experience?"
This little tiny hand reaches out of the darkness into the light.
My advisor shaded his eyes and pointed to the hand.

Shelle's son, Archer, who was, like, I don't know, 12-14 at the time, started to talk. My advisor asked him to speak up.
Archer leaned out into the light, so it was now obvious to my advisor and everyone else, that this was *a * *kid* (and fuck, a university is going to let a kid speak, if no one else, because what if he's a potential full-tuition applicant?) and Archer said, "I thought it created a fullness- a fulfilling sense of chaos." And he sat back into the darkness.

I felt SAVED.

My attempt to solve a puzzle was validated as correct.

My advisor held his frigging tongue after that.

An audience is like the wall that sound bounces off of. It's the wall a vine climbs. It's the mirror that reflects light and the prism that breaks down colors. It's what gives work structure. It's where a sound finds resonance. Artists are trying to solve the puzzles of human experience and audiences provide confirmation of our experiments. if I draw a bunch of Xs on a piece of paper and post it here and say, "does this look like a horse?" and people say, "yes," then maybe I've figured something out.

If they like it too, awesome.
That being said:
There is a lot to the solo experience of solving a puzzle without an audience. Before you're ready for others, the problem solving on your own often has its own rewards.

The guilt thing: Okay. Some of us, WASPs especially, are coached to not be braggarts and to accept praise modestly. So, if someone says, "wow, this work is good," you sort of feel like you have to say, "thanks, this is what I did when I was supposed to be making money, as God and the US of A intended." or, "I enjoyed making this, therefore it is masturbatory."

We need to learn to just say thank you, or I'm glad this meant something to you.

> I find it somewhat disturbing how much I get out of other people liking my art. And also disturbing that I find it disturbing.

Your art is not you. It is its own thing. Go home and make more.
A lot of the above is what I'd write if I had an easier time of putting the muddle in my head into works lately. But, yes, make some damn art. And it's okay if to want, or even need, an audience, to make you feel that your creation process is complete. This last part is hard for me because a lot of my art is embodied "complete" in a physical form. But if no one sees it, is it really art? Or just wanking. And why is wanking bad? And around we go again.
>I find it somewhat disturbing how much I get out of other people liking my art. And also disturbing that I find it disturbing.

So very much this.