January 22, 2009

An event has occurred

Room 1121, 111 Centre Street

Room 1121, 111 Centre Street

On Tuesday, a number of us were gathered in a small room in city hall to watch television. We did what any television viewer does: clapped and cheered for the good guys, booed and laughed at the bad guys, and cried, shook, and sniffled during a Moment in History.

The event occurred on January 20, 2009, at 12:00 p.m., Eastern Standard Time.

In a graduate seminar I once took on Chinese historiography, words such as “event” and “occurrence” were prodded, sifted through, scratched not with the tip of a nail but with the shaft of a knife. What does it mean, asked the professor, to describe or to transcribe history? How does an event “occur”? By witness? Through imposition of will and determination? As a birth, as death? And what does it say about the describer or the transcriber when a word like “event” is used to point to massacre or genocide or assassination or famine, or to glory or transfer or change? The professor was unable to hide his excitement, already knowing how this class would respond, the answer or rather the lack of one written all over his face. And indeed, like true historians, not a single student could respond succinctly, producing instead more questions about the use of subtle euphemisms in a text, or blatant moral passions in a speech, or attempts at objectivity in reportage even while fully acknowledging objectivity’s limits.

It is a monumental event in our history. It is a momentous event. It is an uplifting event.

When the inauguration speech was over, Room 1121 was quiet. Nobody sang. Nobody danced or shook his neighbor’s hand. We were strangers to one another, idling in a federal building on 111 Centre Street to be judged whether we were capable of passing judgment. Later, in a cavernous courtroom where microphones had to be used, I thought constantly of my seat back in the television room, where I had bitten my lip to keep the sobs in check, where my torso shook from the effort to be still, where the echoes of the televisions in the other rooms colored the event surreally and anticlimactically. But inside this courtroom for jury selection, drained by the emotion of witnessing History occur, I had to keep my eyes dry and hard, my brow furrowed, and my face, reddening once during a moment of impotence, ascowl. In small sans-serif lettering, “In God We Trust” had been pressed like a swatted fly onto the wall behind the judge’s bench. The defendant was a young African American male. The crime in question had occurred last year. We had not been told what time of day or where, only that three witnesses would testify, all of them police officers. The facts, the judge intoned, would be presented to the jury one by one, and the jury would listen to these facts without bias and then prepare an unbiased verdict. “Is there anybody who cannot adhere to these rules?” he asked.

It was here when my face reddened. My arm twitched, but I’m ashamed to say that I didn’t raise my hand, that I did not voice my objection to the idea of trying a young man, ashamed that in keeping my hand at my side I had given in to the system—I had started wondering what it would be like to be impartial, to see an event as just that, something that had happened.

Obama is the event of a lifetime.

Several things had been asked of us in the jury box: Sit, stand, raise your right hand, swear that you’ll tell the truth, the whole truth, promise that you will convict or acquit based on the evidence provided—no matter your biases, no matter your personal experiences with the subject matter, no matter the language with which the defense or the prosecution will use to sway you. Do you promise? Sit.

One friend likes to argue the law with the judge, another argues how the system is fundamentally flawed and biased against people of color, while yet another baldly states “I hate cops.” I was waiting for somebody to speak up like that in my group, but all of them promised—guaranteed—that they would judge the case with an impartial eye. I was astonished, a little impressed, and a lot skeptical, which made me confident that I could express my objection in the least objectionable way possible, because no matter how politely I framed my words (by nature, and to my chagrin, I am a polite person), my bias, raised from within this most impartial group, would be loud and clear.

So when it was my turn to tell a story, I recounted the one about my family having been robbed twenty years ago and the subsequent negative experience with the police who’d handled the matter—that is, we were angry that the gang had never been caught. The lawyer murmured some sympathy, then asked me if I could be impartial to the police officers who would testify in this trial. My answer was: I can’t promise, but I will try. The lawyer sighed. “We don’t want our pilot to say, ‘I’ll try to land this plane.’ This courtroom here is the plane. You are the pilot. We are relying on you to safely land this plane. So please answer this question with a yes or a no: do you promise to be impartial to the facts, to the witnesses, and to the events so described?”

“My answer is the same,” I said. “I will try, but I can’t promise.”

History is a single event, branching off into beforeshocks and aftershocks of new and old experiences. History is a repeated event. History is the result of change. History is before us. No one can interpret it the same way as his neighbor. No one can be unaffected by it, and everyone has the power to alter it.

December 31, 2008

Crumbs

A warm city tonight. Gelato from Grom offered much-needed comfort for mind and mouth. Second time this week: passed by friend’s apartment without announcing own presence, eating quietly instead, and mulling over relationship with this friend, including all past hurts, misunderstandings, and grudges that self has let go of but which friend has not. For many years, had felt so much responsibility to locate level of mutual understanding—and because both minds work so very differently, and clash so very consistently, for many years had thought of relationship as utter failure.

These days: moving past such thoughts.

Gelato helps, especially vanilla and raspberry sprinkled with biscuit. Also of help, from the past few weeks: lemon meringue cake, crepes of many stripes, powdery Mexican wedding cookies, homemade gingersnaps, pumpkin bread, Moroccan mint tea, opera cake, and bourbon-soaked ice cream. The problem: all these goodies get gobbled up so quickly that the dropped crumbs embed themselves in the cracks of Life, and then Life walks around with itchy underwear. Time, now, to do some laundry and to eat more slowly.

December 23, 2008

The gift of writing

Surprise holiday gift from office VP. I'm in love.

A surprise holiday gift from office VP.

*

Everybody was in better cheer at the office today, if only because it’s the last full day of work before our break. For my week and a half of freedom, I will be proofreading an award anthology, writing my obituary to compare with the office VP’s own, eating a crepe cake, repairing slightly frayed relationships with two of the most important (and exasperating!) people in my life, applying for a cooking class, applying for writing residencies even though I received a quick rejection note from the first I’d ever applied to, and reporting on my SF trip—in which I met the scrumptious BlogLily for tea and inspiring talk, stayed with the generous Jade Park for a night, ate my much dreamed-of crepes while a long-lost friend distracted me with her strange woes, and, of course, I danced. During the holiday break I will also be trying out Scrivener on my new MacBook, and, very relevent, writing up a storm. I’ve gotten out of the habit of writing lately, and also of revising, have instead been cobbling together small orphan paragraphs from different files to see what would happen. In some cases, not much, and then in others, in those stellared others, everything happens.

*

Details written on the journal’s delicate green band:

awagami + 1(one) collection are carefully handcrafted with beauty + quality + utility. we believe in a simple and honest approach to dseign + a love of nature…

please use, share and cherish (all often).

thank you kindly,
fujimori family
tokushima, japan 2008

www.awagami.or.jp

December 8, 2008

Dancing queen

Getting ready for my trip to San Francisco, where I’ll attend Emerson Aquino’s Sunday dance class. I am obsessed with a pop routine he did last year (especially obsessed with the girl dancing in blue sweats); I even bought the song off iTunes, am humming it in my sleep, and have taught myself the first and last counts of the routine.

*

I freaked out one of my freelancers, a Guggenheim Award–winning choreographer, with mention of the hip-hop classes.

*

Why does nobody else share my passion?

*

I am glad I freaked him out. He had barged into my office, turned on the overhead fluorescent light, pushed aside the numerous but orderly stacks of paper on my desk, sat down in my chair to explain the marks of his freelance job (which I could have easily deciphered on my own, in dim lighting), and carried on a five-minute conversation with a coworker while still sitting in my chair.

I stood there flummoxed to no end.

G calls this my OCD moment.

*

At least now I know how to get him out of my office quickly: “I’m going hip-hopping tonight!”

*

The beautiful dance instructor once said to me, “You’d better audition for my company.” For a month I thought seriously about auditioning—he is so generous and sees nothing but potential in everybody—but: I am no performer, especially not in front of others who’d been training like flexible little monkeys since wee toddlerhood.

*

In Wednesday’s class, the instructor curled his muscular finger at me: You. Me. Dance. Our audience awaits. Amid the clapping and the hooting, I did my best but in the end I couldn’t keep up with him. I’d only just learned the routine—it usually takes me a night or two to understand what I’d just learned, for the limbs to relax into the counts—but I was also much too self-conscious, unnerved to have been singled out, all my insecurities about my gawkiness rising to the surface, and when I am that scared shitless and that self-conscious, alas I do not bring the fierce.

*

tambourine dance, Central Park

tambourine dance, Central Park

From the age of five to about thirteen, I was part of a small Chinese folk dance group that performed at the foot of the Statue of Liberty, in Central Park, Columbus Park, malls, banquet halls, a huge bank on the Bowery, Chinese schools, and parades. A kid once asked me for my autograph, and I stared at him uncomprehendingly. He walked away finally, thinking I didn’t understand English.

*

After the Wednesday class, the beautiful instructor said to me: “You have hip action. Own it.”

*

That night, an old back injury returned. I lay in bed going over the routine again and again, unable to move or sleep.

*

By Friday my back had healed enough for me to go to another class, where a different instructor, who singles you out for not doing something right, forced Britney’s “Womanizer” on us. I went to bed that night with the repetitive chorus in my head as I pictured the routine in a continuous loop (One more time, from the beginning, and then I’ll go to sleep), and I woke up Saturday morning with the song still very much with me. I grudgingly went through the routine in my head once more, and, of course, once more after that.

*

Maybe I should set the dance loops to memorized poems. I’d much rather memorize eight counts of The Iliad than anything belonging to Britney (or Maroon 5 or Paris Hilton).

*

One of the friends I’m visiting in San Francisco had been in the folk dance group with me, and I will be dragging her to Emerson’s class on Sunday. She wants us to go clubbing, too, but you know what, I think I may be too old for that (was it only a few years ago that I’d invited G and two editorial assistants for several outings at Bob’s?). All I want to do these days is learn a complex routine that will make me feel like a dancer, that will somehow set the world straight in my head and help me make sense out of the movement of the human body, and then I can dream the routine during all my waking and sleeping hours—on the plane ride home, at the office trying to catch up before the holiday break, on the street waiting for the light, in the elevator waiting for the right floor, at home while I procrastinate doing everything else I want to do in my life for yet another day.

December 1, 2008

The murmur of his heart

Woke this morning to the Ruckus wheezing in his sleep. The hole in his great heart has widened.

What causes a heart to murmur? My ears strain for the message.

I brush my hand over his shaved chest.

“Turbulent blood flow,” explains the literature. I can hear turbulence, but isn’t that because I am thinking the word?

He awakens to my movement and licks his teeth,
his breaths evening out while mine stop altogether.

If I could exchange my breath for his, I would.

I massage the spot between his brows, then his cheeks, then the side of his neck.

His eyes roll back.

I try not to disturb his heart.

November 5, 2008

Feeling good

SAFE

SAFE

*

October 30, 2008

My ray of light

It’s a good day today.

October 14, 2008

“You put on a pair of shoes when you walk into the New York Public Library, fella.”

*

Characters
JERRY, comedian, tea drinker, joy-boy
MR. BOOKMAN, library cop

Scene: JERRY’s apartment. The New York Public Library has issued him a fine for an overdue book from 1971.

JERRY: (Enters his home to find Mr. Bookman waiting for him) Oh, I’m glad you’re here, so we can get this all straightened out. Would you like a cup of tea?

MR. BOOKMAN: You got any coffee?

JERRY: Coffee?

MR. BOOKMAN: Yeah. Coffee.

JERRY: No, I don’t drink coffee.

MR. BOOKMAN: Yeah, you don’t drink coffee? How about instant coffee?

JERRY: No, I don’t have—

MR. BOOKMAN: You don’t have any instant coffee?

JERRY: Well, I don’t normally—

MR. BOOKMAN: Who doesn’t have instant coffee?

JERRY: I don’t.

MR. BOOKMAN: You buy a jar of Folger’s Crystals, you put it in the cupboard, you forget about it. Then, later on, when you need it, it’s there. It lasts forever. It’s freeze-dried . . . Freeze-dried Crystals.

JERRY: Really? I’ll have to remember that.

MR. BOOKMAN: You took this book out in 1971.

JERRY: Yes, and I returned it in 1971.

MR. BOOKMAN: Yeah, ‘71. That was my first year on the job . . . Bad year for libraries. Bad year for America. Hippies burning library cards, Abbie Hoffman telling everybody to steal books. I don’t judge a man by the length of his hair or the kind of music he listens to. Rock was never my bag. (Jabs finger at JERRY) But you put on a pair of shoes when you walk into the New York Public Library, fella.

Keep reading →

October 9, 2008

Listen up: I’ll be writing you from tomorrow.

Jeanne Moreau and Orson Welles in Chimes at Midnight

October 8, 2008

“The Soup and the Clouds”

“The Soup and the Clouds”

My dear little mad beloved was serving my dinner, and I was looking out of the open dining-room window contemplating those moving architectural marvels that God constructs out of mist, edifices of the impalpable. And as I looked I was saying to myself: “All those phantasmagoria are almost as beautiful as my beloved’s beautiful eyes, as the green eyes of my mad monstrous little beloved.”

All of a sudden I felt a terrible blow of a fist on my back, and heard a husky and charming voice, an hysterical voice, a hoarse brandy voice, the voice of my dear little beloved, saying: “Aren’t you ever going to eat your soup, you damned bastard of a cloud-monger?”

—from Paris Spleen, Charles Baudelaire

*

At dinner last Friday, my father sat at the head of the table and said to us, “I wrote a poem for your mother,” and he set down his chopsticks and pursed his lips, looking healthy, his week in the hospital evident only in the bags beneath his eyes, and the first line of his poem was something about staring out the window of his hospital room—Room 355, “san wu wu”—and then as he paused to remember the next line, I said, “Poets stare out of windows a lot, don’t they? And all they seem to see is a moon,” and my sister agreed, while my mother helped herself to noodles and rice and my brother-in-law shrugged and my nephew mimed looking through a window at me from across the dining table, and my father said, laughing, “San wu wu . . . Now what comes next?” and then he thumped the table with the tips of his fingers, remembering what came next, something about regretting the anguish and trouble he’d caused my mother during the past week, to which she interrupted, “What trouble? The hospital’s just a few bus stops away. I hopped on a bus, and I hopped off,” and my sister and I said, simultaneously, “Mom!” and my sister elaborated, “Your husband is expressing his appreciation for you. You’re supposed to swoon,” and my mother nodded an “Oh” before patting my father’s cheek, not so gently, and then falling silent into her fried rice to let him finish reciting his poem, and he did finish, and we toasted his release from the hospital and told him to write down the poem before he forgot it, and he said, “No need; I’ll always have it up here,” tapping his wrinkled forehead as he grinned and winked.

Miraculously I didn’t cry that night, not even a lip quiver, I was so calm and sated—quite the contrast to my all-out breakdown at work just the few days before, when I’d paced the bathroom after receiving a call from my sister that Dad was in the hospital for an irregular heartrate, which we later found out was due partly to his daily morning exercise of tai chi and swimming, and while pacing in the bathroom trying to breathe and swallow tears at the same time, I told my reflection in the mirror that everything was fine, that I should stop the freak-out, stop it cold, because I hadn’t had all the information yet, all I knew was that he was in the hospital, and I’ll admit I constantly worry over getting such a call from my sister, as when during a casual conversation ten years ago I burst into tears at the mention of my father’s age—sixty-seven then—but I couldn’t stop the freak-out in the bathroom, so I pressed my hands together and promised to finish my novel, though to whom I’d made this promise, I can’t really tell you, I just stared into the mirror and said the words, adding that it didn’t have to be brilliant, it just had to be finished, and then I dropped my hands, and then I pointed at my reflection in the mirror and said, “You buck up,” and I said, “Okay, I will,” and a quiet little conversation between me and the mirror ensued, during which I shook my arms out because my hands had gone numb and the mirror chastised me for the tears because my makeup was ruined, and now, today, I am writing my unbrilliant novel so I can show my father soon, very soon.

October 7, 2008

“Living without the office” and “Nothing but hope”

From Diaries: 1910–1923, by Franz Kafka:

October 7, 1914

I have taken a week’s vacation to push the novel on. Until today—it is Wednesday night, my vacation ends Monday—it has been a failure. I have written little and feebly. Even last week I was on the decline, but could not foresee that it would prove so bad. Are these three days enough to warrant the conclusion that I am unworthy of living without the office?

and

October 7, 1915

Insoluble problem: Am I broken? Am I in decline? Almost all the signs speak for it (coldness, apathy, state of my nerves, distractedness, incompetence on the job, headaches, insomnia); almost nothing but hope speaks against it.

*

My fifth-year anniversary at this office passed almost two months ago, but I didn’t remember it until this week. I had studiously noted it the previous years in order to take stock of my errors and missteps from the disastrous first year on the job, working to build a better work ethic and to learn from, and not repress, a very singular and unpleasant personal upheaval during that time. My two goals—work ethic and rising above “my change,” as I’d termed it—took a long time to meet, and I guess my forgetting this year’s anniversary means I’ve moved on. That’s a nice thought.

*

Then again, I am buried at the office, glancing at the calendar these days only to keep track of book schedules. My whole department is busy, but for some reason I’ve been saddled with especially difficult books—well, not for no reason, as I’d requested most of these books myself, based on catalog copy that promised an interesting (not challenging!) few months. I don’t mind crash schedules, but I’m currently flummoxed by the superlong manuscript that isn’t in any shape to be transmitted to the printer (The Writer Who Is Not a Writer, you know who you are), as well as the other superlong manuscript that has at least five different editors turning in a million things at once or throughout the week (The Editor Who Is Not an Editor, you know who you are!), and the ridiculous gimmick of a book about a May-December hipster romance, and the editors and writers who have not turned in—or even sought out—permissions to reprint copyrighted material.

Daily problems, yes, all part of the job, I don’t mean to complain so much here. But I do need a vacation!

*

Last month I applied to two writing residencies. One of them required an essay asking Why us? Why now? I found myself writing about my day job, how in taking care of other people’s writing, especially in this age of crash schedules and poorly edited manuscripts, I’ve neglected to take care of my own. I should’ve given the essay at least two more edits to tone down the desperation, but I had no time, the deadline was ten minutes away.

*

A week ago, my office celebrated the retirement of a woman who’d worked here for fifty-six years. Everybody whispered how they couldn’t imagine themselves being in one job for X number of years—the twentysomethings couldn’t see past five years, while the thirtysomethings couldn’t see past ten.

Quietly, I noted that I saw myself staying here forever.

October 2, 2008

“The notion of grace”

Some years ago, you told an English journalist: ‘My notion was always that, if the poems were good, they would force their way through.’ Is this still your experience?

Eagerness, excitement, a sense of change came over me when I began to write poetry in earnest in 1962. So I’ve always associated the moment of writing with a moment of lift, of joy, of unexpected reward. For better or worse, I arrived at the notion that labour wouldn’t help. From Catholicism, I acquired the notion of grace; and I do believe that, unless there is a certain unforeseen energy to begin with, you can’t proceed. I always believed that whatever had to be written would somehow get itself written. That was in the early days, when there was plenty of charge in the battery. But I still can’t get away from that; I don’t know how to write a poem unless there’s something to write a poem with. You can’t get started without a first line that goes musically – by which I don’t mean melodiously, just that it needs phonetic purchase or rhythmical promise.

—from Stepping Stones: Interviews with Seamus Heaney,
edited by Dennis O’Driscoll

September 30, 2008

Dreaming the voice

This morning I sat at the new writing spot for an hour before heading into the office. There were daisies on every table. I wish the food and coffee there were as comforting as the decor.

I have been up since five a.m. I feel fine. I drank two cups of deli coffee last night, that’s why I feel fine, though no doubt tonight I will crash with a splitting headache. No matter—right now I’ve got work to do, and I’m going to stay awake to do it. I have bits of a story to cobble together for a reading tonight. I haven’t quite gotten into the groove of the narrator’s voice yet, though it feels within reach, or within hearing distance. I had hoped to peruse through Hrabal’s I Served the King of England last night for more inspiration, to absorb his words so that they’d reappear to me in a dream story, or rearrange themselves into my story.

What I dreamed about instead was Sarah Palin.

To keep from freaking out last night (read: procrastinate), I watched Tina Fey impersonating Sarah Palin. I watched the clip over and over. And then I wrote, and then I fell asleep with the television on, and then I woke up to a dieting informercial at five a.m., and I realized I’d been dreaming that Sarah Palin was announcing her successful path to “a slimmer you.” And I think now: Palin is one lousy salesperson. Would you buy a diet plan from her, or encyclopedias or Girl Scout cookies? Or wouldn’t you shut the door in her face the moment she opened her mouth?

September 24, 2008

We can’t see past ourselves

The dog and I need haircuts.

For Ruckus, it’s $80 at Towne House Grooming, where last time they shaved all but his tail, rendering him lionlike. He is a beautiful dog, but sometimes his haircuts are a little out there. The first time he was shaved all over, I couldn’t help laughing—he looked so alien and bug-eyed—and the groomer chastised me for laughing, saying that dogs are very sensitive about their appearance. Another time, Ruckus came out looking like a cross between a poodle and a dopey terrier.

For me, it’s $50 at Hello Beautiful Salon, where I can feel like a hipster for about two hours.

*

Yesterday, somebody said my hair looked like Penelope Cruz’s in Vicky Cristina Barcelona. Startled, I looked up with bleary eyes and runny nose, smiling gratefully. “Really?” I burbled through my cold.




I saw a Palin updo in the street yesterday, and nearly followed the lady to make sure it wasn’t the wind that was poofing out her hair. Is that style making a comeback because of Palin??

September 22, 2008

. . . or else you will lose your book date

To all you wild and nutty academics: I love your exactness and your wells of bit and grand pieces of wisdom, I love how you’re so polite to a T, how you sound like you’re snug as a bug in your cardigans and wearing glasses atop your head, and how you can quote any philosopher, book, or article while giggling your way around a milk shake and a cigarette and a chess board.

But look, if you reprint shit in your book that needs permission—like, say, an Ezra Pound poem (no, why don’t we make that two poems?)—will you please, pretty please, gather all the credits BEFORE the book goes to print? By BEFORE, I mean LONG BEFORE, which means not the week the book goes to print.

Another option: How about just TELLING ME you’re waiting on credits, so at least I’ll know to nudge you for word on them?

Okay? Okay, thanks.

Love you, for real.