Grandma's hats

I've been dreaming of my grandmother lately.​ She would have been 87 last week. In my dreams she is on a bicycle, wearing one of her stylish hats from the 1950s.

When she died my grandfather invited me and my mother to go through her closet. I slipped on her shoes and tried hard to make my soles fit into the grooves her feet had created. We ran our fingers through the sweatshirts she had embroidered in flowers and hummingbirds. And then, at the very top: a big green hatbox. I pulled it down and it took me a moment to spring it open. Inside there were hats of many colors: purple hats, green hats, black hats, hats with lace, hats with curly bows. A singular white hat, its fabric delicate and neat. There was something about the careful way she had stored them, deeply embedded in that big green box, one for each decade she'd been alive, none of them crushed, all of them well-kept, well-loved.

​I tried trying them on, but only a few fit my head. Many of them were too small, or perhaps I wasn't tilting them at just the right rakish angle. When I put them on I half expected to hear her thoughts--to embody who she was the last time she was wearing them. I knew that she'd been married in one of them. Surely she'd worn some of them to church, others to social functions. Did the world look differently when she was wearing a hat? Did it mean something? Was she making a statement?

Grief is a funny thing. It has been well over a year since she died and still I have days when I have a sudden, desperate need for her. It's a specific and surprising panic. It isn't a fear of death, or what happens after. It's the mournful recognition that there are things in life that simply go uncommunicated, at least in ways that we understand. ​

On nights like this, when I find myself missing her, I like to take down her box of hats and try them on for size, to see if maybe this time, they'll fit.​

For Mikey

A hate crime was committed in Davis this past week -- one that people should know about.

Mikey Partida was brutally beaten and called homophobic slurs on the streets of Davis after leaving a relative's home the other night. After spending a few nights in the hospital, he is now being moved to a rehab facility. News reports indicate that there might be long-lasting neurological and psychological effects of this vicious attack.

I don't know Mikey personally, but he went to my high school. He is a friend of my friends. I think of him and I see my older brother, the boys I grew up with, my friends at school. My heart goes out to him and his family.

How does one recover from something like this? ​How is it that things like this still happen?

​Mikey's family and friends have organized Mikey's Justice Fund to help raise awareness and money for his case. He has a Facebook page as well. I don't know who reads this but I ask you to take a moment and read about him and share his story. This isn't over.

Badmitten

This spring Ryan is coaching badminton. Incidentally, Ryan also teaches high school English. He posted this picture last night on his team's website and asked his students to "find the error."​

I love him.​

lincoln.jpg

Ode to an anonymous dancer

Every week, Kurt Andersen asks the question "What work of art changed your life?" Andersen is the host of PRI's Studio 360, a weekly radio show and podcast that focuses on art, architecture, literature, design and culture. He is one of my many heroes.

This is a question I've been contemplating lately. Since settling into my job and new lifestyle post-grad school, I find myself missing what it means to be inspired. Productive, yes, and efficient, maybe, but inspired? I miss that.​

There are those moments of awe that one expects when encountering a famous work of art. I remember the hour I spent at the Prado in Madrid, standing opposite the gorgeous, caterwauling Guernica​. How I'd never survived anything so harrowing and yet was struck by an insane sense of familiarity, staring at all those mournful open mouths, those absurd horses. I still think of wandering into Neue Wache in Berlin, where Kathe Kollwitz's iconic sculpture Mother with Dead Son filled the entire room with an emptiness that only solid rock can create. I remember hearing Amy Goodman speak one winter at UCSB, in the depths of Bush's second administration, when all things independent and all things progressive seemed somehow at risk, and here she was, this small woman with the loudest, smartest, clearest voice.

These were all grand, immense moments of feeling; experiences that made me want to go home and write like mad, find the truth of it, whatever it was, and make it real. Make it raw. ​

And yet one moment somehow stands out, perhaps because of its irreverence. It was the summer of 2007 and I had just moved back to the States after a year abroad. I was working as a teaching assistant and camp counselor, the kind of job that requires you to be awake and on for 12-15 hours a day, seven days a week. I was a year out of college, lost in that schizophrenic gap between being a student and being a professional. My students were loud and outgoing and demanding of attention and time. I was worn out.

One of our last responsibilities during the three-week session was to host a camp talent show. There were skits and inside jokes, magic tricks and songs. I kept my eyes on my watch. And then a young woman came to the stage. She couldn't have been more than 15. She was wearing dance clothes but she didn't look like a ballerina, at least not the Balanchine kind. She danced to a long, slow song, a breathy song, a mournful song, a song that cast a pall over our teenage audience. The room grew quiet. I couldn't tell you what it was exactly that she was doing--they weren't pirouettes, but rather something more modern, more messy, yet controlled.​ It was a quiet, intense fury. It was adolescence; underrated, difficult, surprisingly articulate. She never broke a sweat. She had a self-possession that I, years older, had yet to learn. I had no idea what I was doing with my life but she expressed it all for me, without the crutch of words.

I never found out her name. As talented as she was, I almost didn't want to know. ​I've been lucky to witness a number of amazing performances since, but I've never forgotten the way she danced. The abandon, the forgiveness, the grace.

There's no comparing her performance to any other work of art that has left its impression. What makes art impressive to me is the narrative it creates for us--whether it's a story we all know, or a story we believe is being told to us, and us alone. And those are the stories I want to write.​


Welcome!

Welcome to the new-and-improved Writings in the Raw.

This site was designed and developed by Heather Reed of Creative Fuel web design. ​Heather worked with me to create a unique style and aesthetic for this site. I want users to feel like they are cracking open a notebook full of stories and drawings. Stories and drawings that might be or could one day be featured in a book of their own.

Feel free to explore the site. Check out the Projects page if you want to learn about Foreigner, one-hundred-word-stories and Fictionables. If you are looking for a freelance editor, writer, teacher or tutor, take a gander at the Services page. You can find a list of selected publications on the Portfolio page and breeze through past performances and readings on the Appearances page. And, of course, if you have any questions or feedback on the site, you can contact me directly.

Thanks for stopping by! Stay tuned for more stories, drawings, and musings on Writings in the Raw.​

Still Life

Monday evening still life:

My aunt April gave me these wonderful sock puppet gloves with button eyes and blue noses. Occasionally they'll get separated, as they are now, one on the hassock, one on the sofa, its button eyes staring up at me, imploring.

A road map of the U.S. pinned to the wall with two different routes highlighted, one in orange, one in pink.

Blue and white lights curled around our standing light, making the corner glow.

A solitary orchid perched by the window. There's only one flower left.

The gift Ryan's grandmother gave us for Christmas: a small candle holder with four cookie cutter horses suspended above it, ready, as always, to spin once the wicks are lit.

The sound of light rail humming down the street: an urban murmur.

A paper chanukiah still taped to wall, three months later.

And, barely visible from my seat on the couch: Ryan pulling hot macaroni and cheese out of the oven.

In case you missed it...

...the wonderful, amazing A Practical Wedding reposted my "Miracle of the Latkes" piece on their blog yesterday. A Practical Wedding is a truly useful resource for anyone considering marriage -- everything from the intricate details of event planning to the bigger political and social questions that relationships imply. Reading APW has helped me own the excitement of getting engaged and offered a cajillion helpful ideas for honoring personal aesthetics, setting a budget, including family and friends, and acknowledging the marriage equality movement.

Thanks APW!

2.10.13

Yesterday was a beautiful, sparkly day, a cold day, the day before the Pope resigned, the Lunar New Year. Yesterday I ran 6 miles, programmed my first website, made lasagne with Ryan. I thought about the blood in my veins and how, after twelve years with diabetes, I still see it - every day. And how trivial that seems. And how funny it is to get used to adhesives on your stomach. And how, over time, you grow to really love those little sticky patches, because of what they do for you. And how tiresome this narrative must be, the preexisting-conditioners-speak-out-story, the let-me-show-you-how-tough-I-am story.*

I saw a new endocrinologist for the first time in several years. While reviewing my blood sugar charts he said something about a common trend toward hyperglycemia after meals, and completely without prompt, I burst into tears. He waited a beat and then said, "I certainly hope this isn't causing you psychological stress."

There are a lot of ways to interpret that. What this man doesn't know is that I am a master at interpreting things a thousand different ways. It is, at times, my job to do just that. I looked at him and said, "This shit is frustrating." Because the truth of it is, no matter how boring that narrative gets, it's there for you like any terrible reality tv show or late night drama. Yes, the last twelve years have been amazing. I have gotten to travel the world and study things I care about and work with really interesting people and live in beautiful places and spend time with my family and friends and fall in love and go on adventures. And on a good number of those days I've been downing Gatorade on my bike or waking up shaking in the middle of the night or taking an injection because my site doesn't work. I imagine other people's bodies as these machines that tick involuntarily; mine is a watch that must be wound, every two days, using a 7cm needle.

Know that this is not a call for sympathy. This is an acknowledgement that days can go by and years can pass and we can accomplish great things while still honoring, for one day, that nine or ten or eleven or twelve years ago our lives were unaffected in a way that they no longer are. That this is, for better or worse, a reality, one that occasionally causes stress, but one full of awe, and honesty, and true, real love.

So that was yesterday.






*I want to mention, too, that when other people living with, well, whatever it is we humans live with, share their stories about their own conditions, I feel a kinship and compassion so strong that I know this narrative will always have its place.

Dudebros and red pumps


I bought my first bridal magazine yesterday. I couldn't help myself; I had to editorialize a little. This is how the intro paragraph to my wedding would read:
The perfect dazzling white gown lacey vintage short dress, hair and make-up that make her feel every inch a princess an awesome badass woman, from the tip of her tiara crown of flowers to the toes of her bejeweled slippers red pumps, a fabulous grand ballrooman open night sky, and of course a handsome prince responsible yet spontaneous dudebro. It's a timeless dream for most women, as it should be.

I've never been one for fairy tales--it seems to me that a wedding is about celebrating the raw humanity that is real life, real love, and real people. That, and sexy dudebros, and an entire happy crew and family and friends, and red pumps.

The eternal flame


UC Santa Barbara has a monument on campus entitled the Eternal Flame. It is a small sculpture located on the lawn between buildings, and in its triangular center it burns, as they say, incessantly. Our final week living together in the dorms, my friend Graham convinced a group of us to sneak out to the Eternal Flame after dark and - well - roast marshmallows.

This was the kind of thing we did. This is the kind of thing I would still do.

The places we go

Some nights are for driving.

Tonight I drove I-280 south from San Francisco on my way back from a raucous afternoon at the Golden Gate Races. It was one of those winter days that I think only happen in California. There really is only one word for it, that light: nostalgic.

The drive tonight reminded me of a summer night in Davis last summer, the night before I moved to San Jose.

I had completed grad school a mere 48 hours earlier and spent that entire weekend fitting two years’ worth of work into the back of my 2002 Volvo. It was one of those summer days where the sun goes on forever. When I was a child, playing outside on nights like that, I'd imagine that on the other side of the Berryessa Hills, Paul Bunyan would be standing there with his ox and a hatchet, lifting the sun above the hills. I was always drawn to follow that horizon, if anything to find him standing there, keeping the night at bay.

When I don't know where to go on summer nights in Davis I go to Fairfield School. That hot night last summer was no different. I got in my car and drove out on the county roads west of town.

There was an unintentional poetry to it; returning, almost without thought, to the place where I first learned to learn, the very first school that meant anything to me, just hours after completing an advanced degree. When I go out there among the oak trees, I still think of Debbie Clark, the second grade teacher who let me be shy, the woman who agreed to be my pen pal, even though we lived only blocks from each other. She had two beautiful grown daughters but had room in her heart for a dorky shy seven-year-old; this was the same woman who, a few years later, was diagnosed with breast cancer. I was in seventh grade and I still remember her dying wish: to be surrounded in flowers. Someone, I don't know who, organized a group of Fairfield students and parents, and the group of us gathered to rototill her new backyard, and all that spring we trimmed rosebushes and watered her lawn. A few months later she succumbed to breast cancer at the young age of 45. The complete lack of reason for it all - the irrationality of it, seeing a good person get sick, left an impression that remains with me today.

I go out to Fairfield and I remember her still, swishing between the desks in those long elementary-school-teacher-dresses, the ones with the alphabet on them, or flowers, and I remember the art of wonder. How that little two-room brick schoolhouse is a place that fills me with wonder, even now. How nostalgia can be different from sentimentality; how you know when a place is meaningful when your feet -- or your wheels -- simply lead you there, on instinct.

There are no Fairfields on 280-South, but there are these luscious woods in every shade of green, and there is this quality of light that shivers in the afternoon. There is Half Moon Bay. Sometimes, if you are lucky, as I was today, there are great white egrets that straddle the freeway divider, standing on one leg without a care in the world, their oblong heads almost invisible if they stand at the right angle.

Sometimes, if you squint your eyes, you can make out Paul Bunyan standing just beyond those hills, propping them up with his hatchet.








one hundred words: Takeoff

She feels what her twin feels, on the other side of the globe. He goes to the fish market and she feels his fingers slip over scales. He goes to the mountains and she feels air whipping against her cheeks. He goes to work and her heart grows thick and heavy. It’s a weight she didn’t know he felt. She wishes, from the other side of the world, that she could lift it. But how? She goes to the market, to the mountains. She sits very still and concentrates on the warm texture of his heart. She feels him lift.

What happens when we bring the dog

He drove up Christmas Eve. He’d cut his hair, she noticed, and shaved his beard. Please, he said, let’s go on a walk. Only if we bring the dog, she said. It had recently rained. The hills were gray and calm. The lane was quiet and empty. He held her hand. The dog ran ahead. His face was pale and clean. His voice quivered. He was on one knee. All the sugar in her body fled to her fingers. You’re quite sure? she whispered. He nodded. The dog returned, a witness. Yes, she said. The sun returned. They held hands.

The miracle of the latkes, 20 years later


My mom has written before about Hannukkah miracles. The most famous one took place about 20 years ago, when, in the midst of one of her renowned block-wide latke parties, her food processor broke down halfway through a batch of her famous potato pancakes. My dad disappeared into the garage while she and some of her friends huddled around the machine, patting it as if it were a dead dog, murmuring faint praise. I couldn't have been more than seven or eight and I was absorbed in a game of dreidel, which in those days we always played on the linoleum floor, watching to be sure that the tops never stuck in the cracks between tile, and when I looked up again my dad had surprised us all by sneaking in amongst all the neighbors, cradling a half-wrapped, brand-new food processor still in its box.

"I was going to give you this for Christmas," he said, and before I could really understand what had happened, my mom had crumpled into him, hugging this most O. Henry of gifts. Before long the new machine was up and whirring, the kitchen buzzing with laughter and frying oil.

This is one of my mother's signature stories. I've since learned the subtlety of it; the careful way my parents have navigated their interfaith relationship. This weekend I was reminded, yet again, of how much those gestures mean.

Ryan and I decided early last week that we wanted to ring in Hannukkah somehow this year, and so we invited a few friends over for dinner and started planning recipes. My parents were out of town and I didn't feel right making latkes without my mom.

"But we can't have a Hannukkah party without latkes," Ryan said.

"It isn't the same without my mom's recipe," I said. "Besides, we don't have a food processor, so..."

The truth was, I was terrified of making latkes. Some part of me had always been terrified of all that hot oil, of laboring over a soaking tub of scrubbed potatoes, of straining the batter through towels, of getting stuck in the kitchen above the hot stove. Some part of Ryan still quietly persisted, bringing it up again when we went to the flea market to get ingredients. We bought fresh vegetables and spices and two pounds of potatoes...just in case. And then we passed a small stall selling kitchen equipment, where an entire row of used Cuisinart sat, their plugs trailing off the table.

"How much?" Ryan asked, picking each one up, spinning their blades with his thumb and forefinger. "Can you plug this in so we can see it work?"

Half an hour later, we walked back to the car with our arms laden, the new toy swinging in our farmer's market bag.

That night we bustled around our small kitchen, chopping vegetables, layering lasagne, grilling chicken, peeling potatoes. I'll never forget the feeling of slipping those first few potatoes into the machine, watching as the blade splintered carbohydrate into a fine batter. It awakened something in me that I'd left on my parents' tile floor. And when it came time to drop the first few pancakes onto the frying pan, something small and important shifted: here I was, making latkes, without my mother, for the first time. And when our guests came, and ate the first batch, I leapt up and prepared the second batch, enjoying the hustle of the hot hot kitchen, enjoying the company of my friend Tiffany as she leaned against the fridge, catching me up on her life while the pancakes lapped up oil. I was reminded of my mother in one of her famous aprons, her hair bunched around her face as the heat rose ever higher, one hand on her hip, one hand on the spatula as she stood by the pan, chatting with neighbors and friends.


What was it, that feeling? Was it pride? Was it love? Was it awe? The feeling stayed with me until long after the guests had left and the dishes were washed. It was the sensation that a tradition had been passed down and I was there to honor it. And the realization that I wouldn't have even tried if it hadn't been for this goyische boy with blue eyes, the one who an hour before the guests came drove to Lowe's and bought holiday lights for the patio--"blue and white," he'd said, "for Hannukkah."




one hundred word story #101

The girl had been living in the staff lounge three weeks before they found her stash. She’d bundled her jeans and sweaters behind the biggest lounge sofa and stuffed granola bars and candy wrappers beneath couch cushions. The office building was brand new; they’d only just furnished the third floor. All the administrators worked behind locked doors. “Does she work here?” the building manager asked, watching as the small woman put on her hat and slunk outside. “No,” said the janitor. “But how did she get in?” the manager pressed. “The same way you did,” the janitor said. “She applied.”

Isn't it ironic


My childhood: a study in unironic tie-dye.

Remember when irony wasn't a thing? Or if it was a thing, it was a dramatic thing? Saved only for moments of sheer theatricality. So far as I know, it didn't come in the form of skinny jeans and mustaches and vinyl and expensive espresso. Somewhere along the way, irony came to replace nostalgia and sentimentality. It was a way of recalling the past by making fun of it. It's something we all do, almost mechanically.

I recall an old friend from abroad whose layers of sarcasm were piled so thick that I could rarely understand what he was saying. There were jokes, but they were dark, and there were cutting, knowing observations, and there was bitterness, and there was anger, and at the very heart of it all, a kind of sadness so entirely swaddled in emotion that it would spill out at the most unexpected moments, little bursts of honesty that when unfurled, would wipe away all the bullshit. It was those moments that made him my friend. There was a brilliance to the way he cloaked it all in, an irony to his self-deprecation and occasional malevolence, and yet it was an irony I have yet to truly understand.

I wonder, though, if things in him had settled, and if all the caustic one-liners were swept away, if we had been better friends.

I've written before that irony is a thing that emerged in my generation in response to eight years of George W. Bush. I still believe this, and feel within me a deep-seated sense of political unrest whenever I think of those eight long years. Perhaps because that era is over, and because my personal life has achieved some semblance of stability, I don't burn with that glimmer of political dramatics the way I once did.

It's still curious, then, that during that period irony transformed into a cultural aesthetic, one that can be spotted cycling through San Francisco's Mission District on a fixie, sipping a four-dollar espresso, sporting expensive jeans with carefully-torn holes on the knees. But I could be wrong; surely I am. Some of them wear tie-dye.

The wild rumpus

I saw Stephen Elliott read tonight. He read a lot of beautiful words, one after the other. He read from The Adderall Diaries and the screenplay-in-progress for Happy Baby, a film based on his novel of the same name. I wish I could remember the delicate and abrupt way the words turned. But instead I remember this: sitting in the front row watching him describe what it meant to write nonfiction.

"When you're in your twenties, you are so worried what everyone else thinks about you," he said. "When you're in your thirties, you don't care what they think. When you're in your forties, you realize they were never thinking about you at all."

I've heard versions of this over the years, from teachers, writers, friends. But tonight I heard it differently. I thought of how much I long not only for the impulse to write, but the knowledge that I have something actual to say. I spend my days reading and re-reading and editing and revising technical texts that have the practical strength to make things happen, the same way a recipe writer jots down precise instructions for other chefs to follow. But when it comes time to write my own things, to spoon up my own emotional grit, I keep feeling like I'm coming up empty.

I know why it's happening, too. It is the obsession that writers sometimes have that someone is already looking over your shoulder, that each word must impress, that an idea must be fully formed before it is worth, well, anything. When I was a teenager, I'd sneak into my parents' den to write on our family computer, and anytime someone opened the door, I'd growl. They'd never be there to snoop; half the time they wouldn't even notice I was writing until I'd snapped in my chair. That's the great paradox about writing; nobody cares that you are a writer until you have written, and why shouldn't they? Few people are as impressed by someone training for a marathon as they are by someone who has just completed one, in record time, no less.

Perhaps the greatest irony of all is that all I seem to write about these days is how much I want to write.

It's similar to the desire for immersion. You want to understand the words, the cultural cues, the accents, the subtlety of exchange, before you can even conjugate the verbs. The only way to learn is to let yourself be helpless; to hang in limbo, not knowing if what you're saying is absolute crap, or culturally insensitive, or idiotic, or just plain unintelligible, until the day comes that you actually stop thinking about the words themselves, and instead you focus on the meaning behind them.

And that is what I learned (or, rather, learned again) from Stephen Elliott.




The gospel of stories

"When he was a small boy his father at bedtime told him the great wonder tales of the East, told them and re-told them and re-made them and re-invented them in his own way--the stories of Scheherazade from the Thousand and One Nights, stories told against death to prove the ability of stories to civilize and overcome even the most murderous of tyrants; and the animal fables of the Panchatantra; and the marvels that poured like a waterfall from the Kathasaritsagara, the 'Ocean of the Streams of Story,' the immense story-lake created in Kashmir where his ancestors had been born; and the tales of mighty heroes collected in the Hamzanama and the Adventures of Hatim Tai...To grow up steeped in these tellings was to learn two unforgettable lessons: first, that stories were not true (there were no "real" genies in bottles or flying carpets or wonderful lamps), but by being untrue they could make him feel and know truths that the truth could not tell him, and second, that they all belonged to him, just as they belonged to his father, Anis, and to everyone else, they were all his, as they were his father's, bright stories and dark stories, sacred stories and profane, his to alter and renew and discard and pick up again as and when he pleased, his to laugh at and rejoice in and live in and with and by, to give the stories life by loving them and to be given life by them in return. Man was the storytelling animal, the only creature on earth that told itself stories to understand what kind of creature it was. The story was his birthright, and nobody could take it away."

--Joseph Anton, Salman Rushdie