Voila.
Masters
Voila.
Voila.
On angels
"HARPER: Night flight to San Francisco. Chase the moon across America. God! It's been years since I was on a plane!
When we hit thirty-five thousand feet, we'll have reached the tropopause. The great belt of calm air. As close as I'll ever get to the ozone.
I dreamed we were there. The plane leapt the tropopause, the safe air, and attained the outer rim, the ozone, which was ragged and torn, patches of it threadbare as old cheesecloth, and that was frightening...
But I saw something only I could see, because of my astonishing ability to see such things:
Souls were rising, from the earth far below, souls of the dead, people who had perished, from famine, from war, from the plague, they floated up, like skydivers in reverse, limbs all akimbo, wheeling and spinning. And the souls of these departed joined hands, clasped ankles and formed a web, a great net of souls, and the souls were three-atom oxygen molecules, of the stuff of ozone, and the outer rim absorbed them, and was repaired.
Nothing's lost forever. In this world, there is a kind of painful progress. Longing for what we've left behind, and dreaming ahead.
At least I think that's so."
--Angels in America, Part Two: Perestroika, Act Five, Scene 10
Tony Kushner, you kill me every time.
When we hit thirty-five thousand feet, we'll have reached the tropopause. The great belt of calm air. As close as I'll ever get to the ozone.
I dreamed we were there. The plane leapt the tropopause, the safe air, and attained the outer rim, the ozone, which was ragged and torn, patches of it threadbare as old cheesecloth, and that was frightening...
But I saw something only I could see, because of my astonishing ability to see such things:
Souls were rising, from the earth far below, souls of the dead, people who had perished, from famine, from war, from the plague, they floated up, like skydivers in reverse, limbs all akimbo, wheeling and spinning. And the souls of these departed joined hands, clasped ankles and formed a web, a great net of souls, and the souls were three-atom oxygen molecules, of the stuff of ozone, and the outer rim absorbed them, and was repaired.
Nothing's lost forever. In this world, there is a kind of painful progress. Longing for what we've left behind, and dreaming ahead.
At least I think that's so."
--Angels in America, Part Two: Perestroika, Act Five, Scene 10
Tony Kushner, you kill me every time.
On nostalgia
When I was a kid I used to love reading my grandparents' back issues of Country magazine. The glossy issues were mostly photographs sent in by subscribers, with the occasional article about twenty-first century barn raising or specialty pie crusts thrown in for good measure. More than anything the magazine celebrated nostalgia - think of those inspirational messages superimposed over kittens dangling from trees, those close-ups of basset hounds and babies in baskets. It was so sentimental, but the reason why it worked was because it was one hundred percent sincere. Try as I might, I could never find a hint of irony in those pages. Just puns, and American flags, and corn on the cob and Fourth of July.
I was reading these magazines in the Bush Sr. years and on into the Clinton era. It was really difficult to read these magazines come 2001 - by then the red, white and blue felt ironic in spite of itself.
For years I felt a similar pang of nostalgia when I thought about my hometown. How could you not? You grow up, you go away, you come back, and suddenly there are all the trees you grew up climbing, and there's the pond where you once caught tadpoles, and there's the Farmer's Market with all the vendors who know your first and last name. I was always reminded of the caption-writing contests in Country, and how, if I framed a scene with my fingers, I could name what happened there: where I learned to read. Where Josh built a skate ramp. Where we put on plays. All those quiet spaces where, on quiet evenings when the weather was right, you could reinvent yourself.
Coming back as an adult, as a graduate student, as a person with relationships and ties to other communities, has transformed, yet again, what my hometown is to me. It's a place intensely focused on school - a place where people come from around the world to study the crops, the law, medicine, science, writing. But it's just as much (if not more) what happens when school is not in session. Running 5ks, 10ks, half marathons. Local artists, local crafts, Flea Markets, farmers from around the valley, families on bikes, activists.
The last few years have taught me how to write, how to read, how to teach, how to cultivate and participate in a literary community, and perhaps more than all that, how to be an adult in the town I knew as a child. I get to hang out with my parents because they are my family and because they are my friends. I can reconnect with childhood friends beyond the superficial - I can really see what their adult lives are like. I can make my own decisions and judgments about the things I like and don't like about living in a small town.
In some ways leaving Davis a second time is giving me the chance to grow up again; to have a clearer idea of what I want from the world, of what I can contribute, of who I want with me along the way. This is not kittens hanging from trees or basset hounds in baskets. This is acknowledging that the world is imperfect, that sometimes bad shit happens, that the universe is not ruled on reason. And the best thing about being a writer is knowing that when things go wrong, you've got the vocabulary at your fingertips to put a name to it all. Name it, own it, make it art, move on.
And there, by the grace of whatever, go I...
I was reading these magazines in the Bush Sr. years and on into the Clinton era. It was really difficult to read these magazines come 2001 - by then the red, white and blue felt ironic in spite of itself.
For years I felt a similar pang of nostalgia when I thought about my hometown. How could you not? You grow up, you go away, you come back, and suddenly there are all the trees you grew up climbing, and there's the pond where you once caught tadpoles, and there's the Farmer's Market with all the vendors who know your first and last name. I was always reminded of the caption-writing contests in Country, and how, if I framed a scene with my fingers, I could name what happened there: where I learned to read. Where Josh built a skate ramp. Where we put on plays. All those quiet spaces where, on quiet evenings when the weather was right, you could reinvent yourself.
Coming back as an adult, as a graduate student, as a person with relationships and ties to other communities, has transformed, yet again, what my hometown is to me. It's a place intensely focused on school - a place where people come from around the world to study the crops, the law, medicine, science, writing. But it's just as much (if not more) what happens when school is not in session. Running 5ks, 10ks, half marathons. Local artists, local crafts, Flea Markets, farmers from around the valley, families on bikes, activists.
The last few years have taught me how to write, how to read, how to teach, how to cultivate and participate in a literary community, and perhaps more than all that, how to be an adult in the town I knew as a child. I get to hang out with my parents because they are my family and because they are my friends. I can reconnect with childhood friends beyond the superficial - I can really see what their adult lives are like. I can make my own decisions and judgments about the things I like and don't like about living in a small town.
In some ways leaving Davis a second time is giving me the chance to grow up again; to have a clearer idea of what I want from the world, of what I can contribute, of who I want with me along the way. This is not kittens hanging from trees or basset hounds in baskets. This is acknowledging that the world is imperfect, that sometimes bad shit happens, that the universe is not ruled on reason. And the best thing about being a writer is knowing that when things go wrong, you've got the vocabulary at your fingertips to put a name to it all. Name it, own it, make it art, move on.
And there, by the grace of whatever, go I...
Fiction-aid
Fictionade Magazine - a magazine I currently contribute stories to - is offering a revolutionary online lit mag model for emerging writers and readers of contemporary fiction. If you like reading new stories and want to support emerging writers, this is one easy way to do it.
Noise
"The family is the cradle of the world's misinformation. There must be something in family life that generates factual error. Over-closeness, the noise and heat of being. Perhaps something even deeper, like the need to survive. Murray says we are fragile creatures surrounded by a world of hostile facts. Facts threaten our happiness and security. The deeper we delve into the nature of things, the looser our structure may seem to be become. The family process works toward sealing off the world. Small errors grow a heads, fictions proliferate. I tell Murray that ignorance and confusion can't possibly be the driving forces behind family solidarity. What an idea, what a subversion. He asks me why the strongest family units exist in the least developed societies. Not to know is a weapon of survival, he says. Magic and superstition become entrenched as the powerful orthodoxy of the clan. The family is strongest where objective reality is most likely to be misinterpreted. What a heartless theory, I say. But Murray insists it's true."
--Don DeLillo, White Noise, 81-82
In an era when some Americans feel the need to "defend" the "institution" of "marriage," this feels ever more salient.
--Don DeLillo, White Noise, 81-82
In an era when some Americans feel the need to "defend" the "institution" of "marriage," this feels ever more salient.
On graduation
I have this theory that words are cyclical, that all periods of serious production are followed by their necessary blank slates, that white noise that fills the gap between projects. I can't help thinking of all the unnecessary words in the world - the slogans, the cliches, the maxims, the polite repartee, the conversational habits of the universe - and wondering if as writers our job is to sieve it all down, sort it all out, until the only words that are left are the ones that matter most. The ones we've really got to earn.
I defended my master's thesis last week. I ended up turning in five stories that follow the same characters on the southern coast of Spain, four other stories (linked in theme but not in character/setting), and a working draft of the 100 word story project. It totals about 140 pages and feels like a promising but unwieldy baby, this beautiful yet messy monster that hasn't yet discovered the true source of its power. All of this, and still I feel the need to winnow, to pare it down, to find its roots. It is an exciting feeling. One I hope to fuel as the years go by and the characters grow with me.
My goal now is to produce another four or five stories set in Spain, to improve the narrative voice, diction and cultural cues to the point where I could structure a novel in linked stories. I hope to work on this manuscript for the next year (or more, whatever it needs, honestly) and then to apply to fellowships and work residencies abroad, where I could more fully delve into the voices of expats abroad - the voices I still remember but can't fully imitate.
Beyond that, the future is as endless and bizarre as this wide net of words. My defense was early; I still have four more weeks of grading, homework, planning, filing. I will soon be moving back to the Bay Area, where, for the first time in more than three years, I will be living in the same zip code as my boyfriend. I have been applying for jobs like crazy - teaching jobs, writing jobs, school jobs, anything that involves writing and people and environments where I can really throw myself into creative projects. This week sparked the first of several graduations - the air is ripe with the angst and excitement of programs ending, chapters closing. Sometimes I hate nostalgia, though I give into it with such ease. I have started contributing to Fictionade, a new subscription-based e-magazine, which shows great promise.
This weekend we drove down to Santa Barbara (my alma mater) for a friend's wedding. I still remember the fog of that final spring - how anticlimactic it all was, the moisture in the air until mid-May, when the beach was suddenly overtaken by the hot breath of the Santa Ana winds. It was the hottest I'd ever known Santa Barbara to be; in those final weeks of college I remember going to bed with a wet wash cloth across my forehead, watching the shadows on my yellow co-op wall as the heat trapped us indoors. The climate was telling us something. Move along now, it said. You've done what you came here to do. Go find other things to do, other places to be.
I can only imagine what heat Davis promises me, in these last few weeks. The messages are louder this year, but maybe that's because this time I'm really listening.
I defended my master's thesis last week. I ended up turning in five stories that follow the same characters on the southern coast of Spain, four other stories (linked in theme but not in character/setting), and a working draft of the 100 word story project. It totals about 140 pages and feels like a promising but unwieldy baby, this beautiful yet messy monster that hasn't yet discovered the true source of its power. All of this, and still I feel the need to winnow, to pare it down, to find its roots. It is an exciting feeling. One I hope to fuel as the years go by and the characters grow with me.
My goal now is to produce another four or five stories set in Spain, to improve the narrative voice, diction and cultural cues to the point where I could structure a novel in linked stories. I hope to work on this manuscript for the next year (or more, whatever it needs, honestly) and then to apply to fellowships and work residencies abroad, where I could more fully delve into the voices of expats abroad - the voices I still remember but can't fully imitate.
Beyond that, the future is as endless and bizarre as this wide net of words. My defense was early; I still have four more weeks of grading, homework, planning, filing. I will soon be moving back to the Bay Area, where, for the first time in more than three years, I will be living in the same zip code as my boyfriend. I have been applying for jobs like crazy - teaching jobs, writing jobs, school jobs, anything that involves writing and people and environments where I can really throw myself into creative projects. This week sparked the first of several graduations - the air is ripe with the angst and excitement of programs ending, chapters closing. Sometimes I hate nostalgia, though I give into it with such ease. I have started contributing to Fictionade, a new subscription-based e-magazine, which shows great promise.
This weekend we drove down to Santa Barbara (my alma mater) for a friend's wedding. I still remember the fog of that final spring - how anticlimactic it all was, the moisture in the air until mid-May, when the beach was suddenly overtaken by the hot breath of the Santa Ana winds. It was the hottest I'd ever known Santa Barbara to be; in those final weeks of college I remember going to bed with a wet wash cloth across my forehead, watching the shadows on my yellow co-op wall as the heat trapped us indoors. The climate was telling us something. Move along now, it said. You've done what you came here to do. Go find other things to do, other places to be.
I can only imagine what heat Davis promises me, in these last few weeks. The messages are louder this year, but maybe that's because this time I'm really listening.
This gives me hope.
One small step for man, one giant leap for mankind.
On submission
I submitted my master's thesis on Friday, all 140+ pages of short stories and flash fiction. Hence the radio silence.
Note, too, the word "submit." As if handing it over were akin to bowing in submission, prostrating with your manuscript beneath you, making yourself smaller than it. I made the mistake of celebrating before it was time, running down the hall as soon as I'd slid those crisp bound pages into my three readers' mailboxes, chanting, "I turned it in! I turned it in!" To which our program administrator said, not unkindly, "Ah, yes, but they haven't read it yet, have they?"
There probably isn't a better way to describe what it's like, trying to write. The obsession with new characters, new stories, new projects - the precision of revision, the frenzy of rethinking, rewriting, the careful, plodding way that stories develop over time - and then, once you submit it, letting the documents loose into that vacuous wide open ether, who's to say that what it is you've sweat over, labored over, alternately loved and hated, is anything of substance?
I suppose, I guess, one's thesis committee.
Not that I'm nervous or anything. Or anxious or terrified or secretly suspecting that, in one week's time, they'll gather me and my friends and my family all in one little stuffy room, then ask me to drop the sheets one by one out of a third story window, underscoring, yet again, the fruitlessness of it all, this prodding, obsessive need to play with words.
But then there are nights like last Friday, when I was lucky enough to see one of my pieces (from the dratted thesis) performed by a wonderful actor, Benjamin Ismail, at Stories on Stage in Sacramento. I was especially encouraged to hear the amazing "The Art of Fiction" by Lindsey Crittenden, a successful writer who graduated from this very same program a while back. I was so nervous, thinking and rethinking and obsessing over all the edits I should have made before this thing made the light of day, all the scenes that should have been shorter, all the lines that could have done more, earned more. And then a funny thing happened. He started reading and he found things in the story that I didn't know were there. He found voices where I wasn't sure there were any, and little moments of poignancy or humor that I didn't necessarily plant or plan.
So maybe we get both kinds of moments - those ever-present occasions to kneel, to submit, to let all our work vaporize into the atmosphere, and those rare times when someone reads our work back to us and we get to stop, breathe, and think, hey, maybe there is value in all this.
Maybe there is and maybe there isn't - until then I'll just have to keep submitting.
Note, too, the word "submit." As if handing it over were akin to bowing in submission, prostrating with your manuscript beneath you, making yourself smaller than it. I made the mistake of celebrating before it was time, running down the hall as soon as I'd slid those crisp bound pages into my three readers' mailboxes, chanting, "I turned it in! I turned it in!" To which our program administrator said, not unkindly, "Ah, yes, but they haven't read it yet, have they?"
There probably isn't a better way to describe what it's like, trying to write. The obsession with new characters, new stories, new projects - the precision of revision, the frenzy of rethinking, rewriting, the careful, plodding way that stories develop over time - and then, once you submit it, letting the documents loose into that vacuous wide open ether, who's to say that what it is you've sweat over, labored over, alternately loved and hated, is anything of substance?
I suppose, I guess, one's thesis committee.
Not that I'm nervous or anything. Or anxious or terrified or secretly suspecting that, in one week's time, they'll gather me and my friends and my family all in one little stuffy room, then ask me to drop the sheets one by one out of a third story window, underscoring, yet again, the fruitlessness of it all, this prodding, obsessive need to play with words.
But then there are nights like last Friday, when I was lucky enough to see one of my pieces (from the dratted thesis) performed by a wonderful actor, Benjamin Ismail, at Stories on Stage in Sacramento. I was especially encouraged to hear the amazing "The Art of Fiction" by Lindsey Crittenden, a successful writer who graduated from this very same program a while back. I was so nervous, thinking and rethinking and obsessing over all the edits I should have made before this thing made the light of day, all the scenes that should have been shorter, all the lines that could have done more, earned more. And then a funny thing happened. He started reading and he found things in the story that I didn't know were there. He found voices where I wasn't sure there were any, and little moments of poignancy or humor that I didn't necessarily plant or plan.
So maybe we get both kinds of moments - those ever-present occasions to kneel, to submit, to let all our work vaporize into the atmosphere, and those rare times when someone reads our work back to us and we get to stop, breathe, and think, hey, maybe there is value in all this.
Maybe there is and maybe there isn't - until then I'll just have to keep submitting.
I want to see this.
one hundred word story: Werewolf
Gertie never liked Harriet’s boyfriend. He combed his hair into a ponytail and rarely bared his teeth. Maybe it was the loose way he buckled his pants. Maybe it was his hugs—long, excruciating embraces that crumpled women in his arms. Gertie resolved to be kind, until the day he surprised her after work. His face was darker, his eyebrows bushier, his hands mottled with scars. I feel like we can’t connect, he said, brushing one paw along her palm. The moon gleamed. Gertie called security. That night, she eyed the waxing moon, waiting for that long and plaintive howl.
for a longer version of this story, check out Fictionade Magazine starting April 21
for a longer version of this story, check out Fictionade Magazine starting April 21
Duende
The duende…Where is the duende? Through the empty arch comes a wind, a mental wind blowing relentlessly over the heads of the dead, in search of new landscapes and unknown accents; a wind that smells of baby’s spittle, crushed glass, and jellyfish veil, announcing the constant baptism of newly created things.
--Federico Garcia Lorca, “Play and Theory of the Duende” (1933)
--Federico Garcia Lorca, “Play and Theory of the Duende” (1933)
Introducing the 100-word-story postcard
Starting in late April, I will be selling 100-word stories as postcards. All of the images and stories are my own; my boyfriend Ryan helped me upload, tweak and design the postcards. I will bring a set of postcards to Stories on Stage in Sacramento on April 27th, when a local actor will perform my short story, "Big Dog."
It's my goal to get these postcards out into the world, mailing stories around the globe. Spread the word!
On running
Today I ran one of the most beautiful courses I've ever done with my friend Shirlee. The half marathon started at the Santa Cruz waterfront, wound along West Cliff, wandered out beyond Natural Bridges State Beach and looped Wilder Ranch. That loop was by far the best part of the 13-mile run. I've had the pleasure of running along many beautiful beaches - Santa Barbara, Malaga, Tenerife, Hawaii - but today the waves were crashing so high that as we followed the coastline, our feet clipping the bluffs, we were dusted in ocean spray. The bluffs followed an ess curve and with every bend you could make out a long line of runners dotting the opposite cliff. Sometimes I think this is how humans should move - all of us chugging along at our own pace, in twos, threes, and fours, occasionally breaking the line just to feel that momentary thrill of leading the pack.
Sometimes I feel the best about my body when I'm running.
There is something that happens when I am racing, usually around mile 10. I find someone ten yards ahead and decide it's time to beat them. As soon as I get on their heels it's time to pick the next person. And so on. Today I noticed new magic. All I had to do was name the color of their jersey, and before I knew it I'd catch them. Purple. Blue. Pink. Red. It felt like writing. Name a feeling and you feel it. Describe an action and there you are, ten steps forward, ten times faster. Running falls somewhere between careful calculation and a complete freedom to be - it is a measurable escape, a feeling I crave often.
Mile 12 is intolerably long and today I found myself chanting a little mantra. This is something I can do. This is something I can do. When I was first running with my dad, I'd remember the trains from Shining Time Station and the way they'd chug, I think I can I think I can. At some point I dropped the think.
How wonderful things can be when you don't have to think, when muscle memory is good enough. I love it when I'm running and I forget for a moment that actions have consequences - that on nights like these, after long runs, I must set alarms to test my blood sugar in the middle of the night, or that, everywhere I go, I'm zippered up with all kinds of sugar. I think I can? No, this is something I can do. And did -- with my boyfriend's mom Shirlee, who has run six of these babies before. Talk about badass. And at the finish line, there they were - Ryan, my parents, his dad, our dog Taj, the ocean itself. All limbs still functioning, all organs intact.
I have a few friends who run the full 26.2-mile marathons and my respect for them (and their knees!) deepens with each race. I don't know if I'll ever run that far in one go, but I think, maybe, someday I can.
What happens after
My Grandpa will be turning 90 this year. He lost his wife of 66 years, my dear Grandma, last fall. Grandpa is still in good health; he keeps a nice garden and follows the Sacramento Kings.
The last time he went to the doctor, the doctor told him about one of his patients, who at 92, was widowed and two weeks later married an old childhood sweetheart. They lived together for ten years before he died.
My dad asked Grandpa what he thought of this. Grandpa said he could never see himself with another woman; for him there was only and only ever will be Grandma. She was a wonderful woman. They traveled the world together, raised three kids, seven grandchildren and two great-grandkids. All that is given. But what worries Grandpa is what happens after - in heaven.
"What would I say to her when we meet again?" he asked my dad.
I'm not sure what charms me more - the idea that he expects to see her again, or the the image of the two of them, reunited once more.
The last time he went to the doctor, the doctor told him about one of his patients, who at 92, was widowed and two weeks later married an old childhood sweetheart. They lived together for ten years before he died.
My dad asked Grandpa what he thought of this. Grandpa said he could never see himself with another woman; for him there was only and only ever will be Grandma. She was a wonderful woman. They traveled the world together, raised three kids, seven grandchildren and two great-grandkids. All that is given. But what worries Grandpa is what happens after - in heaven.
"What would I say to her when we meet again?" he asked my dad.
I'm not sure what charms me more - the idea that he expects to see her again, or the the image of the two of them, reunited once more.
one hundred word story #100: Bean counter
It’s a tireless game, all this imagining. You want a universe and so you must invent it. You want a popsicle and so you must make it drip down your chin. You want a man with a Frisbee for a head, so you draw him. Etcetera. Other people--PhDs, MBAs, MDs, JDs, CFOs, UFOs—other people perform real services, create real goods. Other people can weigh what they’ve created in two hands. Other people chat you up at cocktail parties, say, What you do sounds so fun. You smile, but inside you know. Your hands are dirty from counting words.
one hundred word story #99: Red tide
He takes me to witness the red tide. The beach emits sparks as long as the tunnel waves exploding out of black water. When his feet touch sand, the ground blanches, white jets light up the rich black earth. We sit at the intersection of two glowing tides. The water leaks into the heavens: long, black, fluid, star-like waves extend skyward. I stay here until I, too, am bioluminescent. My freckles become stars, my hair its own Milky Way. He star-gazes my freckles. When I brush my hair, he sees shooting stars. I glow. It’s not forever, but it’s enough.
Flash fun
My piece, "When life gives you lemons," was a finalist in the Sacramento News and Review's Flash Fiction contest, as was "Caving."
Watch out, universe: 100-worders may well storm a city near you someday.
image credit: Sacramento News and Review
one hundred word story #98: Collage
Hey buffalo breath. Hopefully I've learned to stop falling in love with extremely beautiful women with brothel talent. Come to think of it, yes I now hate you. You got the clown nose. I was in the Mustang GT500 that passed you doing 144mph. I heard some B/S bout you, hope yr ok. To the girls in the past who led me on: Be real. Ditch the out-of-state vanity plates and the personalized bumper stickers. You looked super cute as a zombie looking for very dirty, dirty graphic designers. Must be from the South. oh well im used to it.
note: this is all found text from online missed connections ads
note: this is all found text from online missed connections ads
one hundred story #97: Upside down
She never used to let me hold her. She'd rub against my legs, purring, and when I’d pick her up she’d climb up my shoulders until she was atop my back. I’d walk sideways until she jumped off. Last night we found her on the deck. She smelled terrible. It's strange, holding an animal you know won't be alive long. As the night wore on she deflated in my arms. She preferred the outdoors, but the last night Josh slept here, she curled up alongside him—as if she knew. I turned sideways and when the time came, she jumped.
one hundred word story #96: Santa Barbara
So we're sitting around eating shish kabobs when Toya announces that the truck on the corner has a bed full of ice. "Dirty snow," she says. Half the house gets on its feet. I am still eating when Allie stuffs a snowball down my shirt. Ten minutes later, there’s a trail of snow prints on the kitchen floor, a miniature snowman (with orange peel arms) outside the front door, and ten wet housemates. Allie and I rendezvous to ambush JC. I launch a snowball into his room. It lands in his underwear drawer. Some things are too perfect to plan.