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The Ecosystem Inside You

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There’s lots of cool/gross stuff in this Michael Pollan article about the microbes in human bodies: “for every human cell that is intrinsic to our body, there are about 10 resident microbes,” mother’s milk feeds newborns’ “gut bugs,” and there are “gnotobiotic mice” without any germs.

Owners of small bathrooms will probably want to skip the part about how far away you should keep your toothbrush from your toilet.

nancy-drew

FUNNY WOMEN #101: Threat Assessment and Risk Analysis for N. Drew

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FOR INTERNAL USE ONLY
DO NOT SHARE WITH CLIENT

Background
The client, C. Drew, an attorney, requested an investigation into the extraordinarily high number of violent incidents involving his teenage daughter, N. A preliminary draft of the resulting report is below. Please see the follow-up note appended.

Subject
N. is a normal, active girl, recently graduated from high school, who engages in routine activities such as shopping, attending charity events, and pursuing a hobby she calls “sleuthing,” which involves helping her many feeble-minded friends and acquaintances find lost objects of moderate sentimental value. Her innocuous lifestyle notwithstanding, N. has over the past few years been the victim of multiple kidnappings, bludgeonings, menacing telegrams and phone calls, incidents of automotive sabotage, and mail theft. N. is also regularly chloroformed, tailed, and impersonated, and has been left bound and gagged in confined spaces no fewer than sixteen times.

I. Local Threat Environment
N. and her father live in an upper-middle-class neighborhood that appears to be little troubled by crime, apart from an inexplicable vortex of burglary and rock-throwing centered upon the Drew home.

The Drew’s community of River Heights is in many ways a typical Midwestern town, yet it presents serious challenges to risk mitigation due to the unprecedented number of carnivals, cults, traveling circuses, organized crime syndicates, and counterfeiting rings in its vicinity. River Heights is a busy shipping port, and thus well-situated for quick access by transient criminals via railroad, airport, highway, or boat.

The natural environment surrounding River Heights also abounds in risk. It features unreliable country roads winding through sparsely-populated farmland, treacherous lakes, the Muskoka River (notorious for its unpredictable currents), and vast stretches of desolate forest. Some freak of topography renders the entire region prone to sudden outbursts of severe weather.

Dotted across this perilous landscape are myriad secluded inns, tea rooms, mansions, and castles which contain hidden staircases, secret passages, haunted spirits, buried treasure, and/or smuggled goods. These structures figure prominently in N.’s daily movement. They also explode and burn down with alarming frequency. (Note: Infrastructure analysis suggests that the gas pipelines in River Heights predate World War One, which could explain the region’s unusual flammability.)

II. Surrounding Population
Although most inhabitants of River Heights are white and well-off, the town also harbors a great many distressed farmers, political refugees, and incognito royalty. According to interviews with inhabitants (transcripts on file), there appears to have been a rash of children separated from their parents some ten or twenty years ago, though public records contain no mention of any natural disaster that would explain this phenomenon.

The criminal element in River Heights is substantial. However, said criminals are, almost without exception, conspicuous, inept, and mentally deficient to the point of cretinism. The possibility of frequent gas leaks in River Heights, mentioned above, may partially explain this phenomenon. It should also be noted that the town has a very high concentration of lead in its drinking water. And, given the number of lost relatives constantly re-discovering one another in the area (see lost children, above), there is also the distinct possibility that residents of River Heights have unwittingly been inbreeding for generations. Whatever the cause, these characteristics tend to mitigate the threat presented by criminals in the area.

III. Family Associations and Professional Connections
C. is known to have acquired numerous enemies in the course of his career as an attorney, and his professional connections were considered a promising area for investigation. However, preliminary research in this area was halted at the request of the Federal Bureau of Investigation. See below.

APPENDED: SPECIAL INSTRUCTIONS
CONFIDENTIAL

The following CONFIDENTIAL communication was provided by the FBI:

Be advised there is an ACTIVE, ONGOING federal investigation into the activities surrounding C. and N. Drew of River Heights. UNDER NO CIRCUMSTANCES should private security personnel interfere with this investigation, which has uncovered what appears to be a sophisticated “honeypot” operation directed at local, state, and federal law enforcement.

Through extensive undercover work, agents have determined that N. Drew was, at some point after high school, compromised and brainwashed by operatives associated with one Stefano “Stumpy” Dowd. Dowd, a former investment banker currently serving time for securities fraud in a federal penitentiary, was convicted in large part upon testimony supplied by C. Drew. In a “Manchurian Candidate” scenario, N. is being used by Dowd and his associates both to punish her father, and to create frequent emergencies that divert law enforcement resources from larger crimes in the region.

Dowd masterminds this ingenious scheme, operating by proxy from his prison cell, assisted by Nelson “Ned” Nickerson. Nickerson, the prime suspect in the initial brainwashing of N., now provides her with coded instructions via party invitations, calling cards, and thank-you notes, which arrive at the Drew home by mail or messenger.

Dowd, Nickerson, and their associates take advantage of N.’s wealth and social connections to move her around River Heights freely, from one hazardous location to the next, under the pretext of “solving mysteries,” and use accomplices to fabricate elaborate crimes involving N. When law enforcement comes to N.’s assistance, Dowd’s gang strikes in another area. For example, while police were engaged in rescuing N. from a cistern where an “evil doctor” had trapped her (at an estate on Larkspur Lane where rich elderly people were allegedly imprisoned), Dowd’s accomplices transported sixteen thousand kilos of cocaine across the state border ninety miles away.

Dowd’s gang is also involved in international crime, and has used N. to distract law enforcement in locations around the world (including Scotland, Hawaii, New Orleans, Pennsylvania, Arizona, New York, Florida, Boston, Canada, the Netherlands, Africa, Turkey, South America, and someplace described in C.’s tax returns as “Treasure Island”).

All personnel are ordered to immediately WITHDRAW from the Drew investigation until the FBI has secured sufficient evidence to arrest Nickerson. It is also critical that special agent Fayne’s cover NOT BE COMPROMISED before we are able to deprogram N. under controlled conditions. Anyone who knowingly or unknowingly divulges Fayne’s true identity and gender will be guilty of endangering a federal officer, and prosecuted accordingly.

Thank you for your cooperation.

***

Please submit your own funny writing to our Rumpus submission manager powered by Submittable. See first: Funny Women Submission Guidelines.

To read other Funny Women pieces and interviews, see the archives.

 

Speedboat

“Speedboat” and “Pitch Dark”, by Renata Adler

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I have, I admit, no idea what Renata Adler’s Speedboat is about. Really, not the foggiest. But this is a very special sort of mystification, an unqualified – maybe even a purer – kind of no idea than my usual ‘what-the-fuck-is-going-on?’ kind of no idea. I have no idea what Speedboat is about not in the way I have no idea what Infinite Jest is about, or anything David Lynch’s done, that Holy Motors movie, or, let’s see, what else – Paradise Lost, Naked Lunch, most French films, Gaddis, Kakfa, McCarthy, Perec, everything I read as a college sophomore, and loads of other books/movies/poems I’m embarrassed to mention. (more…)

Beyond Americana

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 “All of a sudden this plane came out of the clouds from the east, it came down very, very low, it tipped its wings, and then it flew on into another cloud bank in the west. It was the most thrilling thing that any of us had ever seen.”

—Joan Johnson, President, Tampico Historical Society

***

Heavy rain fell on Tampico, Illinois, on November 3, 1980, and by late afternoon, when it cleared up, a majestic double rainbow materialized in the sky above the quiet prairie village. Lloyd McElhiney, manager of the Tampico grain elevator, noticed it first—how it swooped from the clouds onto Main Street’s single-block stretch, and how its luminous arc seemed to point, decisively, to the walkup apartment where Ronald Reagan was born. So he darted home for a camera, just fast enough to capture the scene on grainy Polaroid.[1]

JellyBeanRainbow.600pxThe next day, Reagan was elected president by a landslide, the most decisive non-incumbent upset since 1932.

The election spelled triumph for conservative intellectual circles, still reeling from the trauma of Goldwater’s defeat in 1964. It signaled victory for the Religious Right, freshly mobilized by the emergence of the Moral Majority in 1979. It restored prestige to a GOP that had been wounded by Watergate’s lingering disgrace.

And it brought a rich tumult of unnamable emotion to Tampico, Illinois, where locals recall watching Reagan’s victory speech on TV that night and tearing up when he spoke the name of their town. “That guy,” muttered an older gentleman at the time, a lifelong Democrat, “he’s just one of us.”[2]

Someone mailed the photo of the Reagan Rainbow to the president-elect, who pasted the copy into a personal scrapbook and kept it in an Oval Office desk drawer for eight years. As townspeople tell it, he would turn to the image for inspiration. To their delight, he mentioned it in his memoir.

“Ronald called the postcard eerie,” says Amy McElhiney, the photographer’s widow, who led visitors through the birthplace for twelve years before growing too frail. “We like to call it prophetic.”

Tampico is like a thousand other Midwestern prairie towns. But Tampico is like no other Midwestern prairie town. The village lies about 115 miles west of Chicago, closer to the Iowa border, in the vast cornfield flats of northwestern Illinois. Its industry remains chiefly agricultural in nature, its historic Main Street only a single-block stretch. There is a diner, a park, a funeral home, the birthplace, two churches, all tightly packed redbrick structures with vertical windows and awnings lining the brief expanse. At the end of the block sits the Tampico Farmers’ Elevator from which Lloyd saw the rainbow, a cluster of white domelike structures offering themselves up into the Midwestern sky.

There’s no law firm, no bookstore, no sleek visitor center or river for the farms in town. Hold McElhiney’s photo up against Main Street—you’ll spot where the rainbow sloped down to Reaganville, USA. In a town of 790 people, what else is there to see?

Ronald Reagan was born on the second level of the Graham Building at 111 South Main Street, a cramped walkup apartment above what still proclaims itself to be the FIRST NATIONAL BANK. “He looks like a fat little Dutchman,” his father was said to have remarked on first glancing the newborn, “but who knows, he might grow up to be president some day.”

Built in 1895, the building was home to the Reagan family from 1906 to 1911, when they moved into a house nearby just a few months after the future president was born. Below the apartment then was a saloon, though Tampico claims it was a bakery (it became one in 1915) for the sake of respectability.

There are three bedrooms in the apartment above the museum, and they are cramped and musty, airless in summer, with yellowing Reagan family photos ornamenting the shriveled flower wallpaper. There is a tight kitchen, a long hallway containing an ironing board and a birdcage, and a modest collection of vintage furniture all amassed by the curator during the Reagan presidency. To the right is the especially stuffy bedroom where Ronald Wilson Reagan was born—a small bed in the corner and a window on the right opening into the adjacent apartment. Jack and Nelle Reagan were close with the couple who lived next door. Often, for convenience, they would babysit each other’s children, and instead of climbing up and down the impossibly narrow staircase, they would hand off Baby Ronald like a football back and forth through the window.ReaganWindowToss.600px

“When [Reagan] visited us in 1992, he went through the Reagan Window as an adult,” a guide tells me. “And both his sons, Michael and Ronald, were here last year, and they got to climb through the window as well. And Newt Gingrich has gone through it. And Ed Meese.”

When Reagan first ran for president in 1976, one Paul Nicely still rented out the apartment. By then, Nicely, a one-armed Tampico native and retired schoolteacher with a particular reverence for the president’s mother, had converted the bank level downstairs into a small memorabilia shop. After the 1980 win, he spent his life savings collecting artifacts, restoring the apartment to its 1911 appearance, and opening it as a locally run museum.

Nicely died of a heart attack in 1994, and his wife soon succumbed to dementia, so the McElhineys—Lloyd, the photographer, and his wife Amy—took over, shepherding visitors through the museum on a volunteer basis, canes in hand, and organizing annual birthday bashes for Ronnie. When Lloyd died in 2006, Amy pooled all of his memorial donations for a bronze Reagan boyhood statue in the children’s park. There wasn’t enough money for the statue, and she was too frail to continue alone with the tours.

Today the birthplace is managed by Joan Johnson, the sprightly, white-haired president of the Tampico Historical Society. She comes armed with postcards, brochures, and complimentary jellybeans—the president’s favorite snack. Her uniform: faded black shorts and an oversized, messily tucked “Reagan’s Rainbow” t-shirt.

Joan tells me about the Reagan Window, about the annual Reagan-themed parade. In fact, Tampico receives visitors from all over the world. Once, there was a bus of sixteen farmers from Bulgaria, eager to pay their thanks to Reagan for fighting the Soviet Union.

“It’s a pleasant place for people to come,” says Joan. “But we really don’t have industry or anything anymore.” She shrugs. “We do have a doctor. And that’s a big plus.”

Her pet peeve: people who claim the president was born in Dixon, IL—30 miles northeast of here, where he spent much of his boyhood.

“No, he was actually born here,” Joan retorts, indignant, pointing at the ground. “This is where the story started.”

And this is where Reagan returned, three times in 42 years, as an adult, first, in 1950, as his acting career wrapped up. He served as grand marshal of the 1950 cheese festival. Shortly after, the town creamery shut down, and that was the end of that.

Then, in 1976, during his first bid for the Republican nomination, he spent a day campaigning in Tampico. Joan recalls seeing him speak at the local school. Grudgingly, Nancy accompanied him. Her husband wanted to see the room where he was born, but there were still tenants occupying the apartment, which was not yet a museum, and security detail vetoed the plan.

He never visited as sitting president. When he came as close as Dixon for a birthday reception in 1984, locals were peeved. “Before he left, he said he’d be back,” griped Mr. Nicely, who had spent thousands of dollars since Reagan’s 1976 visit restoring the birthplace, “but he’s never been back.”[3]

Finally, in 1992, the president expressed an inexplicable desire to return home. His presidency was over. His Alzheimer’s diagnosis two years away, but the signs—fleeting memory lapses, sudden pauses in speech—were firmly there. They were there, some say, as the second term ended.

Stumbling, lost, did the aging president remember his roots? Never known for his memory, Reagan had always favored witticisms, stories, over facts and detail. So Edmund Morris, his biographer, escorted him and Nancy on the trip. An unmarked black rental car shuttled the party from a Rock Falls airport to the Tampico Church of Christ. “We belong to the Methodist church in Tampico, and halfway through the service, someone came running in crying, ‘He’s here, he’s here!’” Joan recalls.

After the service, the Reagan party made its way to 111 South Main. “You don’t have to pretend to remember this place,” Morris assured the Dutch. “You were only three months old when your parents checked out.”[4]

“Yes,” said Reagan, confusing his birthplace with the residence his family occupied eight years later, “we went to live over the store where my father worked.”

By 1992, the Reagan Birthplace was a teeming, ridiculous shrine of a museum. I imagine the 81-year-old president eying the homespun, hand-painted signpost out front: “PRES. REAGAN BIRTHPLACE,” it reads in red, white, and blue block lettering, peeling cheaply below a plain “OPEN” banner. “Ronald Reagan ‘Stept’ Here,” proclaims the doormat inside.

He enters: a dizzying array of memorabilia, artifacts, and Reagan-themed miscellanea. The material bric-a-brac of political life, from the curiousto the useless and everything in between—old letters, report cards, movie posters, model photos, presidential seals, portraits, news clippings, postcards, fan mail, stamps, bobble heads, caricatures, Ronald-and-Nancy coloring books, jellybeans, a “World’s Best President” certificate that appears to belong in a third-grade classroom in northwestern Illinois. The novelty pours out from the walls, from the desk drawers, from the welcoming hands of the sweet old ladies who hand you jellybeans before you sneak out to the road. These are memories, packaged, dusted, shrink-wrapped, and worn. How strange are they for the man to whom they belonged?

So they take him upstairs, spin him around to the darkly lit bed where he began, and—

“This, Mr. President,” says Mrs. Nicely, “is where you were born.”

Cold silence. He sucks in his breath.

“He wheeled his big body, faced away from the past, and began to tell jokes,” Morris writes. “The bed had shocked him into temporary lucidity.”

Reagan’s memory was fading, or had it been anchored, dreamlike and bent, onto some other figure?

Two doors down from the birthplace is the Dutch Diner, and when I enter for lunch, there sits an animated group of six or seven locals, apparent old-timers, in discussion at a round table. Their argument revolves around how to improve the street sign proclaiming the birthplace. I’m distracted by the graying Reagan movie posters glaring from the walls—Hell’s Kitchen, Night Into Night.

I work up the nerve to approach the table. They seem thrilled to have a new listener, and somehow the subject turns to the week after Reagan’s death.

“They were in town interviewing people, and the whole week after he died, they had so much equipment in the birthplace that you had to walk around cords and big lights and everything!” a boisterous woman, about 60 or 65, raves. “Amy and Lloyd were so busy with people visiting that they didn’t even have time to eat lunch. And there were all kinds of people outside, inside, everywhere—and you had all kinds of radio stations, TVs, everything was here!”

When the plane carrying the president’s body flew over Illinois en route to California, Tampico received word that it would pass over at 3:07 p.m. The woman talks faster, her eyes wild.

“When they came, the WGN had their camera up there and as they flew over the town, they tipped their wing. And that was kind of exciting—they were saying, ‘Look at all the corn below!’ and we were saying, ‘Oh my gosh, there goes Ronald Reagan’s body, isn’t that exciting?’”

I think of Lloyd McElhiney with his Polaroid, peering up at the Illinois sky.

“Well, that was the first time Ronald Reagan’s body ever flew over Tampico,” a man across the table interjects, and at once they roar.

I’m reminded of another conversation entirely. A few weeks before visiting Tampico, I got in touch with George Cleveland, a boisterous grandson of Grover Cleveland, and his wife, Frances Folsom. The 58-year-old heir runs a senior service center by day but trots his grandfather’s stomping grounds in his spare time, impersonating the president as “warm-up entertainment” at local events.[5] I emailed him (I was just back from Grover’s birthplace in Caldwell, NJ), and he dashed off a quick reply in bright purple Georgia typeface:

If you can, give me a call before 10 this evening. Tomorrow is going to be wild and life gets perkier after that. 

So I did, and if I expected a dry explication of a 179-year-old manse, I received instead a colorful 45-minute ramble on the life and times of a presidential descendant—on fighting off biographers who insist his grandfather was a “big rapist child-eating monster,” on shocking Buffalo townspeople with his family resemblance, and on being related to the “first lesbian First Lady.”[6] But what he really wanted to tell me about was the Marshfield Cherry Blossom Festival and Presidential Family Reunion, an annual gathering of the bizarre in Marshfield, MO, “the only place on earth you’ll get Elly May Clampett from Beverly Hillbillies and George McGovern in the same room.”

“It’s kind of like all reality is suspended for about five days,” Cleveland continued, hoarse and frenzied over speakerphone. “I met one of the original munchkins, and I almost got him to run for president in the New Hampshire primary.” That was the same day he watched descendants of Jefferson Davis and Dred Scott warmly embrace.

And then: “It’s beyond Americana! A world all unto itself.”

It’s what? It’s where?

Cleveland’s words lingered. When I pulled into Tampico’s storybook Main Street a month later, they fell strangely into place.

“THIS IS REAGAN COUNTRY,” offers a wizened sign atop the roof of the town convenience store. This is Reagan’s country. Yes, but this is Reagan Country. It’s not political, not a GOP slogan. Nothing to do with tax reform, Grenada, supply-side economics. It’s a beckoning, a greeting—a suspension of reality. A 0.4-square-mile fantasy, or a national subconscious.

There is a space that lies beyond Americana, that exists outside—apart from—the borderlines of memory and narrative and withered material artifact, where history tangles toward mythmaking until their threads seamlessly intertwine. It is a place where double-curved rainbows signal divine purpose, where saloons are bakeries and birthplaces nostalgia shops, where babies are born fat little Dutchmen, but who knows, they could grow up to be president, and tell stories, and forget.

GipperHelmet.600pxRonald Reagan never regarded himself as a career politician. When he entered politics at the seasoned age of fifty-five, he did so as an ordinary citizen called into office with certain core principles and convictions about how government ought to work. So why have we elevated the Gipper beyond personhood and into the realm of figment and myth? Where do man and memory collide, and who decides?

Fogged by history, swamped in contradiction, Reagan’s is an unusual legacy. Certainly no other president since Kennedy begs the same shimmering reverence as the Gipper.[7] On paper, it’s simple. Reagan matches just the criteria for an American presidential mythmaker-in-chief. Born to humble circumstances, he rose to public service through unyielding conviction and fierce oratorical skill. He came from Illinois, was affable, well-spoken, folksy, warm. He served during the war. He assumed the presidency during a time of crisis; he freed the hostages (that was the beginning) and tore down the wall (that was the end). He united the party (never in the twenty-odd years since has the GOP rallied around a candidate like they did Reagan) and shifted the conversation decisively to the right. He ended the war. Can’t you remember?

He was shot, too, by a crazed gunman. The bullet ricocheted against the presidential limo and into the president’s underarm; it lodged itself in his lung, less than an inch from his heart. When he survived, he called it divine intervention. He had been spared, he thought, to reduce the threat of nuclear war.

In practice, it’s rather more complex. Reagan’s personality offered what historian George H. Nash terms “the ineffaceable example of optimism, grit, serenity, wit, and constructive use of the life he had been given to live”[8] needed to capture and inspire not just voters but the people themselves. He could, it was said, get a standing ovation in a graveyard if he tried. And he radiated, somehow, the political gymnastics of seeming not to try.

There were other things, too. There were AIDS, the four-letter word Reagan did not publicly utter until 1987, and Grenada, the teeny 132.8-square-mile Caribbean Commonwealth realm that he did—and how—in 1983. There were the homeless, the parents and veterans and children living in cars, on the streets, in Salvation Army relief centers, who were the subject of 1,585 New York Times articles published between 1981 and 1988.[9] There was Alzheimer’s, confusion, the tenuous grasp of policy details that set in quietly between the Iran-Contra scandal and the swearing in of George H. W. Bush. There were welfare cuts, the income gap, skyrocketing debt, the budding revelation that in Reaganland, federal deficits are of no matter at all.

These things happened—they were real—miles from Tampico, in places like D.C., Detroit, California. They happened outside of this sleek mural, beyond these six streetlights, without the Dutch Diner lunch crowd’s buzzing consent. By the mid-1990s, historians were in question about what the Reagan Revolution had meant, if it was a revolution at all. By the mid-1990s, Ronald Reagan was in the throes of memory deterioration, in question about anything he had done during his presidency or before. Who is to say he recalled Tampico at all?

What was it, anyway, he was supposed to recall? A mural, a diner, a convenience store, a bank? A rainbow that flashed and once bore his name? Ronald Reagan “stept” here; he was passed through the window enough times, and finally he made it to the other side.

This, Mr. President, is where you were born.

But you don’t have to pretend you remember. These people—they do it for you, and there they go again.

***

[1] Most of my specific details regarding the Reagan Rainbow are via oral testimony from residents of Tampico, which I visited on July 21, 2011. I an especially grateful to Joan Johnson, who runs the Ronald Reagan Birthplace and kindly gave me postcards adorned with the famous photo, and to Amy McElhiney, who previously ran the site with the late Lloyd, her husband of 62 years. You can view the image for yourself at http://bit.ly/H72lRz.

[2] Martens, Steven. “Reagan’s Mark Remains on Town He Called Home.” Quad-City Times [Davenport] 6 Feb. 2011. Quad-City Times. 6 Feb. 2011. Web. 31 Mar. 2012.

[3] 16, January. “Reagan Birthplace Never Won Fame : Town Waiting for Favorite Son to Visit.” The Los Angeles Times Jan. 1989. Los Angeles Times. Los Angeles Times, 16 Jan. 1989. Web. 02 Apr. 2012. <http://articles.latimes.com/1989-01-16/news/mn-532_1_favorite-son>.

[4] Morris, Edmund. “When Reagan Went Home to Tampico.” The New York Times 5 Feb. 2011, Op-Ed sec.: WK10. The New York Times. 5 Feb. 2011. Web. 30 Mar. 2012.

[5] “It’s not like you walk down the street and somebody says, ‘Oh my god, you look like Grover Cleveland!’” the presidential heir explained. But “from the neck up, it’s friggin’ scary.”

[6] It’s true, sort of. Grover Cleveland was unmarried when he entered office, so his sister Rose served as First Lady for White House functions. For extensive information on Rose’s sexuality, see http://www.outhistory.org/wiki/Rose_Cleveland_and_Evangeline_Marrs_Simpson_Whipple:_1889-1918.

[7] I exclude from this judgment Barack Obama, whose legacy remains pending in more ways than one.

[8] Nash, George H. Dunn, 69.

[9] Critchlow, Donald T. The Conservative Ascendancy: How the GOP Right Made Political History. Cambridge, MA: Harvard UP, 2007. Print. 214.

***

Rumpus original art by Mark Armstrong.

Well, This Is Certainly One Way to Give Advice

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On a blog for the Wall Street Journal (where else?), Emily Oster gives advice based on economic theory. For example:

There is a model in economics called the “sS” model. It’s not often applied to relationships, but I think it should be….If something really good happens, or many good things in a row, it pushes you over some threshold (this is the “S” threshold) and you get married.

It’s not exactly Dear Sugar, but Oster comes up with some sound advice anyway.

“Each One Is A Bloodless War”

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It’s always fun to compare your culture’s inexplicably expensive and complicated customs with another’s and realize that nothing makes sense anywhere in the world.

For example, at the Billfold, Jia Tolentino relates a conversation with a Kyrgyz friend about weddings:

In Uzbekistan and Tajikistan there are new laws where they send a police officer to every wedding to make sure that no one spends more than, say, 15,000 som. It’s better for the economy. But no one would listen to that rule here.

Guys Conner Habib Wanted to Fuck in High School

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Crackerjack writer, porn actor, and Rumpus contributor Conner Habib has posted the latest in his “Guys I Wanted to Fuck in High School” series.

It’s erotic and expansive and poignant, and you should read it right now. A preview:

Do you want to hold my hand? I say.  And then, quickly, Like just friends, I mean girls hold hands and they’re just friends, right?

If anyone saw us holding hands, they’d tease us.  If Thom weren’t so tall, they’d probably beat the shit out of us.  But no one sees us.

Notable New York: 5/20-5/26

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Monday 05/20:
The Belladonna* Collective’s Hot Texts series continues with readings from Lauren Hunter, Samantha Zighelboim, Allison Power, and Christine Kanownik. The Way Station, 6:30pm, $5 suggested donation.

The Poetry Project hosts Ross Gay and Lauren Shufran. St. Mark’s Church, 8pm, free.

Tuesday 05/21:
Native Tongues is a storytelling series coming to New York that showcases the stories of American Muslims. The event, hosted by Cyrus McGoldrick, will feature stories from Khalid Latif (Chaplain at the Islamic Center at NYU), Musa Syeed (award winning filmmaker, Sundance Film Festival winner), Aman Ali (30 Mosques in 30 Days co-creator, Mario Kart prodigy), Nzinga Knight (fashion designer, NY Fashion Week), Commarrah Jewelia Bashar (actress/performer), and Nada Haq-Siddiqi (biomedical engineer, cat enthusiast). Housing Works Bookstore, 7pm, free.

Wednesday 05/22:
2010 Pulitzer Prize-winner Paul Harding and novelist Ayana Mathis, both of whom made their mark with debut novels, come together for a discussion and reading. Strand Books, 7pm, free with book purchase.

Poet CA Conrad hosts A (Soma)tic Poetry Primer on Wednesday where he will use his book A Beautiful Marsupial Afternoon: New (Soma)tics as an introduction to his (soma)tic poetry techniques, which he views as a way to “resist the urge to subdue our spirits and lose ourselves in the hypnotic beep of machines, of war, and the banal need for power, and things.” Poets House, 7pm, $10.

Poet and critic Stephen Burt takes part in the MoMA’s Guerilla Reading Series. MoMA, gallery 12, 12:30pm, free with museum admission.

Thursday 05/23:
The Greenlight website bills Joan Silber as a “writer’s writer,” which can be a dubious honor. I would maybe just say that everyone who has read Joan Silber seems to love her writing. Her new collection of interconnected stories, Fools, is getting lots of praise and you can get a little preview Thursday night when she reads excerpts from it and talks about the book with Stacey D’Erasmo. Greenlight Bookstore, 7:30pm, free.

Friday 05/24:
Both poets and novelists, Eileen Myles and Rebecca Woolf come together for a reading to start your Memorial Day weekend with some good literature and libations. KGB Bar, 7pm, free.

Notable San Francsco 5/19-5/25

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Monday 5/20: Cuban poet Nancy Morejón screens two films of her life and work. Free, 7pm, Emerald Tablet.

Tuesday 5/21: Litquake presents Zimbabwean novelist NoViolet Bulawayo discussing her debut, We Need New Names. $5, 7pm, Lone Palm.

Wednesday 5/22: Two Lines Press and Intersection for the Arts bring staged readings from the press’s first two books, Hi, This is Conchita and All My Friends. 7pm, $10.

Thursday 5/23: The Photographs of Allen Ginsberg opens with “a pop-up poetry salon, drop-in zine making, a typewriter petting zoo.” $5, 5pm, Contemporary Jewish Museum.

Friday 5/24: Pulitzer Prize winner Adam Johnson is in discussion with Anthony Marra. Free, 7:30, Booksmith.

Saturday 5/25: Poets and translators both, Arturo Mantecón and Andrea D. Lingenfelter will be in discussion on their careers and latest projects. Free, 7pm, Dog Eared Books.

Nick Cave Monday #36: “Dead Joe”

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Even though we’re in the month of May, we can always use a little bit of Christmas spirit. The Birthday Party, Nick Cave’s pre–Bad Seeds band, gave us a song that we can sing anytime of year.

There was this dude named Joe. Well, he’s dead, totally mangled in a car wreck. It’s such a bloody mess and the bodies are so torn apart you can’t even tell the girls from the boys.

It’s Christmastime, Joe. Speak to Nick. (more…)

Weekend Rumpus Roundup

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Happy Monday! :(

Before you get back to the grind, savor these last bits of the weekend.

A comic by Yumi Sakugawa, which she described on Twitter in the following way: “My random idea for a metaphysical nudist desert retreat for grandmothers is finally in comic form.”

And an interview with Susan Steinberg about crossing genres, reversing VIDA stats, and the importance of bucking formula.

So Raped

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For a long March week all we see is Steubenville. The cold won’t let up, and the headlines don’t stop: Teen boys, photos, drunk girl, rape.

There’s no escaping the story, partly because mainstream media outlets screw up—they chastise the bone-headedness of the rapists’ inadvertent cell phone confessions, as if that were their primary misstep, and sympathize with them once they’re convicted (at least one year in a youth correctional facility, along with the requirement to register as sex offenders).

What a shame, commentators say. Such bright futures. They don’t talk about the girl’s life. And so of course people react.

For a week we read pissed-off op-eds revealing new details, or new permutations and interpretations of those details, and the same resounding cry for responsibility and rectification. How do we fix this?

The story becomes an emblem, one of those times where the name of the event replaces the event, or the series of events of the event, until the particulars aren’t as important as the name—Steubenville—and what it stands for—rape culture—and we feel the sun setting on the particulars, which include:

Asphalt, the grain of tar digging into a girl’s knees as she knelt on the street and puked up booze. A circle of boys stood over her, jostling each other and laughing. She was making a mess, so one of them pulled off her shirt, out of the way of the vomit. Another waved three bucks around and said he’d give it to anyone who peed on her. They laughed, but no one took him up on it.

The backseat of a car—leather or vinyl or fabric?—where the girl lay sprawled, legs splayed, while a boy she’d had a crush on stuck his fingers in her vagina. His friend craned around to get a good look, filming it on his phone.

A dark orange floor—carpeting or linoleum?—and the legs of two boys in sports shorts, hands clasped around the girl’s ankles and wrists, lifting her a foot into the air, her head tipped back, hair dragging on the ground.

A basement, where the girl was stripped. More fingers in her vagina, more photos. A boy slapped his penis on her naked hip. A boy opened her mouth and tried to fuck it.

Texts and tweets:

“Where you at?”

“We’re hitting it for real.”

“Song of the night definitely is ‘Rape Me’ by Nirvana.”

“Did you [expletive] her?”

“LOL, she couldn’t even move.”

“Hey buddy, you want to send me that pic because you love me?”

Video:

“The dead girl”

[laughter]

“Is so raped.”

And then the dead girl woke up.

***

Asphalt and upholstery make up so much of teen sex. Teen rape. The dark bits between the two.

After Steubenville I find myself shying away from packs of boys. Nice boys, for all I know. A group of them shuffles in front of me, headed towards the subway, hollering and jostling each other the way boys do, big grins on their faces. Clean cotton tee shirts just washed by their moms, baseball caps with the brims pressed flat. One of them catches sight of me and moves closer to his buddies to let me pass. But I don’t want to pass. I don’t want to get close. I slow down so that I’m barely walking. It doesn’t matter that I’m late.

I do this a lot with groups of men. I cross to the other side of the street, give them a wide berth, hold my head high (which I’ve read deters assault) but don’t make eye contact (which I’ve read encourages assault), and if they yell I keep moving. I walk with big sturdy strides because I don’t want to look like a hurt sheep. This one’s a kicker.

I don’t really register the exhaustion of vigilance anymore, or the frustration of having to be vigilant when all I want is a damn pint of blackberries, remembering that along with grocery store comes don’t get raped!, but sure, I’m thirty-one and I’m used to that. It’s the boys that make me sad. I’m a teacher and a tutor. I like kids. I don’t want to be scared of boys, because it’s not about the boys—or not just about them.

***

When the girl woke up the next morning she felt, at first, confused. Where was she? Where were her clothes? She was naked, and she didn’t remember how she got that way.

She knew the boys who lay around her, still passed out, but she didn’t know the basement or the couch she’d apparently slept on, its strange fabric. She touched her hair, which felt matted with something. Her clothes, when she found them, were stained.

Somehow she made it home. She went home across the river, back to her own bed and bedroom, remembering nothing.

And then the chatter started.

“If that is [semen] on you that is [expletive] crazy,” a friend texted her, referring to a photo of her that was making its rounds online.

“I hate my life,” she wrote back. “I don’t even know what the [expletive] happened to me.”

She tried asking the boy whom she liked (the one who’d first stuck his fingers in her, though she didn’t know this yet).

“Nothing happen last night,” he wrote back. “You gave me a hand [job] and that’s it.”

“That is not all that happened,” she responded. “Tell me the truth now.” And, later, when he still wouldn’t comply, “Why would you let that happen? Why wouldn’t you try to help me?”

***

I didn’t know Anthony before I climbed into the backseat of a car with him, and he didn’t rape me. It’d been a pretty harmless night—just kids making the rounds of a Virginia town’s parking lots, picking one place and then another to settle for a while, playing music from car stereos with the doors open, bold kids sitting on laps while the shyer ones bummed cigs off each other—Newports, Marlboro Lights. We were sixteen-year-olds full of malt liquor, parked in cul de sacs. No bad intentions.

Anthony was quiet and wiry, skinny arms sprouting from a well-worn band tee shirt, some old metal group, its black fabric soft enough to bury your face in. Dark hair, brown eyes, an attempt at stubble. Moody and thus smart, in my estimation.

My friends disappeared into a house up the street, but he hung back, asking if I wanted to hang out. I was a virgin dork who never had boyfriends, never even got crushed on, as far as I knew. Did I want to hang out? Please.

We’d just settled into the fuzzy backseat of a sedan when he said he liked to bite, and was I ok with that? Well, I didn’t know. I’d read Clan of the Cave Bear and Stephen King, young girl dark stuff with sexy bits you could earmark and read again later. So, biting? I guessed that was ok—I thought of Skinemax, sexy moaning, a little black lace: spooky, kind of cool.

“I like that too,” I said, and his eyes lit up like Christmas.

The first stab of pain was muted by surprise and St. Ides. He had my lip between his teeth and was chewing it like veal, huffing deep breaths of pleasure. He moved on to my chin, and then my neck.

I did not then, and do not now, possess a poker face. I grimaced and flinched away until my shoulders bumped against the window. But I didn’t shove him off. I thought, somehow, that I was supposed to let him continue for as long as I could stand it. I’d never been told how to value my physical pleasure or lack thereof. It didn’t occur to me as a possibility.

And Anthony, getting sweaty now, didn’t seem to notice or mind my discomfort. He was happy to accept that generosity.

A hand disappeared, and then his penis was out, quivering in the air. He released my neck from between his teeth—relief, thank god—and grabbed the back of my head, pushing me towards his lap. Like he couldn’t believe his luck. But my lips were swelling, they didn’t feel like my own anymore, in fact I was blinded by a throbbing that wasn’t bound to one location, but rather was searing from inside my face, my neck—everything above my shoulders a constellation of pain—and here was his penis, pink and skinny and long, almost pointed, like a hot pencil. I couldn’t put it in my mouth.

I was up and over his lap in seconds, the door hanging open as he yelled, “Hey!” The grit of stones poking my knees as I crouched in a ditch and puked.

And here, suddenly and mercifully, was a friend, a good friend of my best friend, in fact, standing above me. She must have seen me fall from the car. I could see the lights of the house behind her, where my best friend must be. I attempted a smile, sitting up on my knees. She smiled back.

And then she lifted a camera. Snap.

***

Poppy Harlow stands outside a courthouse in Ohio wearing a bright red suit, as red as her name, speaking into a CNN camera. Her long blonde hair is perfectly blown.

“It was incredibly emotional,” she’s saying, “incredibly difficult…to watch… These two young men had such promising futures—star football players, very good students.” She blinks her eyes and nods her head forcefully every three words, as if to punctuate. Star football players. Very good students.

Poppy is very sad for the boys. “[They] literally watched as…their life fell apart,” she says. “One of the young men…when that sentence came down, he collapsed! He collapsed”—and here she folds her body forward, to illustrate the tragedy of it all, jerks forward like she’s been socked in the gut—“in the arms of his attorney. He said to him, ‘My life is over. No one is going to want me now.’”

Poppy doesn’t mention the death threats the rape victim has been receiving from local teenagers.

Later, two girls, 15 and 16, will be charged with “aggravated menacing” of the victim; a teenage boy who suggested that God would do the punishing (not him—he would just pray for it) is not arrested. There were other tweets, lots of Whores and Alcoholics tossed around, but there’s not much that can be done about those either, not legally.

“You ripped my family apart,” writes a cousin of one of the boys.

***

I never saw the photograph, but I saw my reflection in mirrors: amphibian, my swollen lips like purplish slabs of liver. For the next week, as the photograph was passed around the neighboring high school where the Saturday night kids went, I wore turtlenecks. I told my mom I’d tripped running up the stairs and slammed my face. Isn’t that stupid?

Turtlenecks, a beat up face and a story about falling: I’m not sure if there’s anything more cliché than that. I’m not sure what could be more obvious than that—lord, girl, come on—but no one said anything. No one asked questions. As if an unspoken contractual blindness bound us. And at the time, that felt like a mercy. I’d sort of asked for it, so he hadn’t done anything wrong. Better to forget it.

***

steubenville-tweet-2A week after the original sentencing, one of the boys makes an appeal. He says he didn’t know what he did was rape. He says he doesn’t want to register as a sex offender for the rest of his life. His lawyer says that his “brain isn’t fully developed,” that “a person at seventy-five years old should [not] have to explain for something they did at sixteen.”

My ex and I sit in my new living room and argue about it.

“I don’t feel bad,” I’m saying.

***

There was one Monday, years later, when Anthony the Biter crossed my mind. I was sitting in a cubical at my temp job, fresh off the bus to New York City, squinting dispiritedly at a long list of names to be fed into a spreadsheet, when I decided to look him up, no doubt from boredom as much as a dark-edged curiosity.

And there he was, making a face on a social media site, a grown-up who’d gone to music college in Boston. So I wrote him a message. Something like, Do you remember. It was a bad time for me. I’ve felt weird about it always, though it was brief.

It didn’t take long to get a response:

Sorry? Had we met?

***

“I don’t feel bad,” I’m saying, “because she’ll live with it for the rest of her life too. That seems like a fair trade.” I’ve gone from zero to sixty in seconds—one second—the second my ex started defending the boys. Pedal to the metal, cylinders firing, all systems go, I want to break someone. I want to palm the back of someone’s head and push his face, rhythmically and repeatedly, into a wall. Let’s see some skin on brick, hear some teeth crack, motherfucker.

“They’re children,” my ex is saying. “You say you believe in rehabilitation.”

And I do, usually, essentially—I want to—but there’s an ugliness brewing in me that’s larger than anything I can justify. Because it feels like nothing ever goes punished, nothing’s made right, and why is it that finally when we get some justice we have to argue for it? Why is it that a man who loves me still argues for the rights of rapists?

Which is a flaw in my logic. I’ve never told anyone—especially not lovers or boyfriends—about what happened that night fifteen years ago. And I wasn’t raped; it wasn’t even sexual assault, not really, was it? (Or was it?) Besides which, we’re talking about Steubenville. We’re talking about people I’ve never met. It only feels like I’ve met them. And what’s that worth?

***

One of the Steubenville boys ends up being sentenced to two years (his friend gets one), which some people feel is too much, and some people feel is not enough. And I don’t know—both sides seem right, and wrong.

Throwing boys in jail won’t make them kinder, more engaged, less likely to abuse; it won’t stop some boys from raping and other boys from prizing their pleasure over the discomfort of another person. It won’t stop girls from tweeting or showing off photographs of victims, and it clearly won’t stop adults from perpetuating the whole cycle in the first place.

But a lot of us have bad memories and friends with worse. We live with rape statistics like “1 in 6,” “600 per day,” “60% unreported,” “98% unpunished,” and we become so famished for rectification that we’re carelessly voracious when we get it, or when we feel like we do. We’re a bunch of beggars stumbling on a crisp fifty.

***

After the trial ends, Steubenville mostly fades from the news. There are other, valid, things to think about—gay marriage, gun control, two bombs in Boston. The weather turns warm, which feels like a reprieve.

There are small waves when the boys’ football coach, who knew about the rape but didn’t say anything, lest he lose his players, has his contract renewed—two years, no problem—but mostly, it seems, people are tired of Steubenville. Like we’ve talked and written and fought about it enough, and it’s meant to go now. The whole thing. As if we did our duty the weeks we considered it, and we wish to be absolved of the responsibility of thinking about it now, this blight we carry.

I feel it too. That I should let it go. I do want to. Why beat a dead girl?

5

The Sunday Rumpus Interview: Susan Steinberg

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To read Susan Steinberg’s short stories in Spectacle, her latest collection from Graywolf Press, is like experiencing a hypnotic trance from which when you emerge, the world is different. It’s clearer somehow; lit up by her prose. Her sentences are sometimes raw and sometimes rhythmical. She has the eye of a painter, and it’s no surprise—she’s an artist, in addition to being a writer. But there’s also a musicality to her writing.

In the Puschart Prize-winning story “Cowboys,” for instance, you get a taste of how she uses repetition in a powerful way:

There are no more details to tell.

There is no reason to go into the why of my father.

Or the why of madness, which I cannot answer.

Or the why of addiction, which I also cannot answer.

Or the why of poor, which I also cannot answer.

Suffice it to say it’s always about a loss of something. Then a loss of some things. Then a loss of all things.

Her writing is a hymn to the broken but also to hope. In “Signifier,” for instance, she opens the story with, “Because words are about desire and desire is about the long-tailed birds in the trees.”

I spoke with her via e-mail about the latest VIDA statistics, the lyric essay, and her writing process.

***

The Rumpus: The stories in Spectacle share a lot in common with prose poems. There’s a repetition and a rhythm to your writing that entrances the reader. There’s a rawness to your work, too. Where would you say this comes from? Are you drawn to cross-genres?

Susan Steinberg: I’ve been asked to discuss my formal and stylistic decisions/tendencies a lot since the book came out, and it’s helping me to better understand why I write how I do. The best I can do for now is to say I was a painter before I started writing, and my stories grew directly out of this. I hadn’t studied literature in any traditional sense, only the visual arts, and I incorporated writing into my paintings before I moved to writing on the page. I’ve never written what one would call “conventional” fiction, and there was a time I didn’t even understand the distinction.

And I am drawn to some cross-genre work, particularly the lyric essay.

Rumpus: What made you transition from painting to writing? Do you still paint?

Steinberg: The transition was mostly seamless—for a few years, I was trying to do both, then writing took over. I liked that it was non-toxic and free and that I could do it anywhere. I haven’t been painting lately, but last summer I bought a box of colored pencils, and I’ve been drawing my legs and shoes.

Rumpus: How is writing similar to painting?

Steinberg: The process is very similar for me: in both, I first put a lot on the page/canvas, then scrape most of it off, or pare it down, to get to what I want to say. And I always work on several pieces at once.

SpectacleRumpus: The women in your stories are full of desire, but often broken in some fundamental way. There’s a tremendous strength beneath their fragility, though. You write about a woman deciding whether to take her father off of life-support, for example, and a woman who steals the radio out of the car of a boy she likes. These are women who are trying to find their way in this world. Is their desire born out of your own desire?

Steinberg: I want to say no, but I think the answer is yes. I mean, I don’t have a desire to steal a car stereo, but, like my narrators, I have a desire to confront and to connect and to make sense of things. I suppose I’m saying that in my writing, I push these basic desires to more extreme places. But perhaps that’s just differentiating between life and art.

Rumpus: You’re a founding chair of VIDA. What are your thoughts on the recent VIDA statistics?

Steinberg: I just took a look at the new numbers; they look a lot like the old numbers. That is to say, they’re disappointing, but not surprising.

Rumpus: It seems like the VIDA statistics are circulated, and many people get upset, but enough changes aren’t made. Yet there’s hope; particularly with recent announcements, like Pamela Paul being named editor of the New York Times Book Review. Are you hopeful?

Steinberg: When I was working with VIDA—I was on the board until last year—we were concerned with starting, or restarting, a dialogue about gender disparity in the literary arts. And you’re right to suggest that people have entered the dialogue, but that not enough has changed. At this point, perhaps it goes without saying that the magazines whose numbers are the most imbalanced don’t actually want to change. If that’s the case, then is it time to start dismissing them in the way they’ve dismissed us and focus on those places that actually support women? Because those places do exist. And I am hopeful.

Rumpus: Who are some of the female writers who have most influenced you?

Steinberg: I was initially influenced by visual artists, especially some of my female peers in art school.  The work I liked most was just brutal and fearless and vulnerable, and it inspired me to take more risks in my own art. As for published writers, I love Woolf and Duras, though I came to them late.

Rumpus: Virginia Woolf is my favorite writer! I don’t think it’s ever too late to read Woolf. What’s your favorite Virginia Woolf book, and why?

Steinberg: To the Lighthouse. I love everything from the line-by-line writing to the structure of the book as a whole. And Mr. Ramsay is the perfect narcissist.

Rumpus: You wrote a fantastic essay about experimental writing for Publishers Weekly. I was struck by this passage:

I’ve learned that the term experimental makes some people uneasy. I try to imagine what they imagine. Words scattered violently across a page. Numbers instead of letters. Violated punctuation. And I guess I understand why there could be resistance; there often is to that which goes against our expectations. But in art, I often want my expectations, which are generally low, to be shattered.

Why are your expectations often low when it comes to art?

Steinberg: This is going to sound negative, but I’ve come to expect a lot of formula and imitation. And then I encounter work that pushes past all this, and I remember why I keep at it.

Rumpus: Why have you come to expect a lot of writers are copying others? Is that the status quo these days? Are we not seeing many original writers?

Steinberg: I’m not saying artists shouldn’t borrow from or quote or be influenced by other artists. On the contrary, this is often where great art begins. And I’m not even sure where I stand on the idea of originality. I’m speaking more of certain, often-changing trends in the arts: shortcuts and tired approaches that are overused, or not well-used, or not understood by the users, and yet somehow accepted, perhaps because of the comfort in their predictability. I feel like I keep running into that. But again, I’m just talking about formula. It’s where art dead-ends.

But there are a lot of great things happening both in the visual arts and in writing.

Rumpus: What is it about the lyric essay that you like? Do you plan to write a book of lyric essays at some point?

Steinberg: In addition to its attention to language and/or form, I like that it automatically upends the expectation that the essay has an obligation to deliver fact, as opposed to some version of truth.

I guess it’s possible that I could write some lyric essays in the future.  I think I’m too much of a coward, at this point.

Rumpus: I don’t think you’re a coward. What makes you feel like a coward?

Steinberg: My cowardliness has to do with the essay part, not the lyric part.  I haven’t written much nonfiction.

Rumpus: What kind of risks do you take with your writing?

Steinberg: There are risks involved in formal experimentation and risks involved in writing confrontational or provocative or vulnerable female narrators. One risk of each is that my work is often re-categorized as poetry (because of the former) or nonfiction (because of the latter).

Rumpus: You have a way of making a gritty detail seem attractive and even visually pleasing. In “Supernova,” for instance, you talk about how “the mechanic was beautiful, with black beneath every nail.” Do you find yourself looking for the beauty in things other people might find ugly?

Steinberg: I don’t find myself looking for it, but I always see it.

Rumpus: Do you ever think about working on a book in which you incorporate some of your artwork?

Steinberg: I used to work on pieces that incorporated both written text and images. I wrote on my paintings, and I used to make these books with water-soluble crayons and ink on this torn up rice paper—they were a mix of drawing and writing. I could see doing more of that.

Rumpus: What are you currently working on?

Steinberg: I’m working on a collection of short stories.

Rumpus: You’re the author of three short story collections. Do you plan on writing a novel at some point? Why are you drawn to short stories?

Steinberg: I prefer writing and reading short stories. There’s something about working in a series. And something about the size. I feel like I have control over the form. And it’s satisfying to complete things.

Links I Like

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My TROP interview with Aisha Sabatini Sloan led me to an interview with Maya Angelou. After I read the interview with Maya Angelou, I decided it was time to read “An Interview: Adrienne Rich and Audre Lorde” in Sister Outsider.

I’ve been meaning to read this interview for six years. I remember buying the book used at Walden Pond Books in Oakland in 2007. I had just broken up with my boyfriend and moved into an apartment in Oakland with a German woman I found on Craigslist.

Not too long after I moved into the apartment, I walked to the bookstore and came out holding books by bell hooks, Adrienne Rich and Audre Lorde. I looked down at the books and thought, I guess this is what happens when you break up with your boyfriend. You go to the feminist literature.

(more…)

Notable Los Angeles: 5/18-5/24

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Saturday 5/18:  Today is the last stop in UC Irvine MFA students off-campus reading tour. Fiction writers Blake Kimzey and Justin Lee, and poets Josh Cornwell and Meagan Cooney will present their work. 5 p.m. at Skylight Books.

Sunday 5/19:  Giant Robot is proud to host a book reading and signing by Rumpus Contributor Matthew Specktor. He will read from his newest book American Dream Machine. 2 p.m. at Giant Robot 2.

Griffith Park Lit presents A Reading at the Old Zoo hosted by Anne-Marie Kinney and Rumpus Contributor Sara Finnerty. Features readings by Chiwan Choi, Melinda Palacio, Diana Wagman, and Amanda Yates, and music by Bloody Death Skull. 5:30 p.m. at Griffith Park’s Old Zoo.

Tongue & Groove includes readings by Jim Gavin, Corrie Greathouse, Mike The Poet Sonksen, and Doug Cordell and music by Jaz James. The event is hosted by Conrad Romo and costs $6. 6 p.m. at The Hotel Cafe.

Monday 5/20: Luis Negron presents and signs his debut work Mundo Cruel: Stories. The author will be joined by the book’s translator, Jill Levine. 7 p.m. at Book Soup.

Tuesday 5/21: ALOUD presents The Graphic Canon: Illustrating the World’s Great Literature. A panel discussion and presentation featuring Frank M. Hansen, Milton Knight, Sharon Rudahl, Zak Smith. 7:15 p.m. at Los Angeles Central Library’s Mark Taper Auditorium.

Wednesday 5/22: LA Zine Fest is looking for a few volunteers to assist with upcoming events. For more information, visit their site.

Thursday 5/23: Tom Drury reads from his novel Pacific, and after the reading there will be a party to celebrate the release of the novel. 7:30 p.m. at Skylight Books.

Friday 5/24: Larry Fondation reads from and signs his latest book of fiction, Martyers and Holymen. 7 p.m. at The Last Bookstore.

Louise Mathias, Todd Fredson, Sarah Vap, and Allison Benis White read from their new books. 8 p.m. at Beyond Baroque.

Rise in the Fall by Ana Božičević

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Ana Božičević writes poetry that believes in poetry. This is no small feat. And I believe her poems. They are entirely credible documents of their own accord. Nothing is laid on too heavy, there’s just enough gutsiness without any nonsense or sentimental bravado. This, too, is no small feat. Writing outwards from deep inside the poem talking about being deep inside the poem, Božičević offers nothing less than the ultimate tour of the inner orders of the world of the poem. The impressive part is that the world outside the world of the poem is always the center of concern. Božičević is a “poet’s poet” in so far that she’s intimately addressing poets and poetry in her poems, but the range and scope of her engagement far exceeds that or any other label.

In “Poem Capitalism” she describes how she practices

this thing I call Objectless
Objectivism. Like: I face the thing, but also
am the thing—so we aren’t. Once, I was content to find
the marble hollow. Filled with a giant star. Now

laved in grease, I rub again against
that dry nubbin in the great warehouse Archyron—(this is not
some reference you’re supposed to get, it’s just this
weird feeling I had.) The yellow frame darkens. I live

in the light but perish in the industrial warehouse,
under the specter of marriage, of hip. Again I wrote
a meaningless poem! and left me
with all the burden of meaning. He died, and she—

We carried her through

Following John Berryman’s lead, Ted Berrigan, in both life and “the poems” succinctly nailed the riff “he died” (“dear Berrigan. He died/ Back to books. I read.” Berrigan’s “Sonnet #2”) Božičević drops in the reference, but then goes further, opening up the question of what about her? And, with the help of claiming a plurality, i.e. “we”, takes the poem beyond where they left off, into a further doorway. Carrying (in fact, rescuing) the speaker of the poem, the body itself, away from the trap that consumed both previous male poets, in life as well as in the work.

Not that death isn’t seemingly everywhere for Božičević. Born in Croatia in 1977, Božičević has been on the fringes at least—if not in the middle of—violent war torn situations. I don’t feel it is poetic fancy when she writes in “Casual Elegy for Luka Skračić”: “I / study from Luka’s textbooks, later he / gets blown up walking to film school, Luka / dies for his art.”

Božičević’s poems are diatribes that refuse become didactic. She’s too busy interrogating herself as much as she is the world, for the poem to slide into meeting easy expectations. In “War on a Lunchbreak” her own gendered sexuality, and that of her friends and the larger society, alongside her past history and current nationality status, caught up between her homeland and her adopted United States, surges to the surface as she reflects upon the hellish clerical job she’s stuck working just to get by. She asks, “What’s war?”

Eternal countrylessness.
Lady poets writing about cock,
not thinking about gender. My friends married in Vegas
to good-ol’-boys or hipster drummers, just ‘cos they can, or
when I contemplate
starving myself
so I’d be “the bomb,” or. I’m sorry
I keep tossing and turning. My livelihood here

depends on people who’ve never tasted
war, and act offended when one leaves work
on time. Not that I ever lay hiding

dying in a ditch, but if I had, I think I’d
know much about dry grass, the incredible value of it:
Simply to see the stalks
move would be enough.

I’d like to have time to type this,
but all day long they’re looking over my shoulder.

Where the poems in Rise in the Fallmay appear to be going in search of death, Božičević is in fact only drawing attention towards realizing life. These poems are affirming her concern with how to live, what’s required, where to find it. As dark as the subject matter gets at times, the over-riding encouragement that this is life, get on with it, is ever just as insistent. Be brave is the message. There’s nothing to fear once you look at things head on.

I think I nod at the true death: when from a moving train
I see a house in the morning sun
and it casts a shadow on the ground, an inquiry
and I think “Crisp inquiry”
& go on to work, perfumed of it—that’s the kind of death
I’m talking about.

An angle of light. Believe in it. I believe in the light and the disorder of the word
repeated until quote Meaning unquote leeches out of it. And that’s
what I wanted to do with dame Death, for you:
repeat it until you’re all, What? D-E-A-T-H? ‘Cause Amy
that’s all it is, a word, material in the way the lake moves through the trees
is material, that is: insofar, not at all.
Because we haven’t yet swum in it. See what I mean?
(“Death, Is All”)

Ana BozicevicBožičević does not mince words. “I’ll tell you straight up: / you don’t get to talk about Mayakovsky: / take that skateboard and go back to the suburbs. And talk about them.” (“About Mayakovsky”) It is totally great to have poems by a relatively young poet so directly address everyday reality while remaining free of pretension. There’s no placating search after any
specific lingo of MFA craft or other academic jargon. Božičević is all-poet, crystal clear about what she wants to say and who her audience is. The humor is rampant. After reading, “A Poem for You” it’s ridiculously difficult (if you could manage it before) to ever look at any My Little Pony with a straight face again:

I want to write a nice long poem for all you straight girls.
Your religion’s rose and glass castles
hold no place for me, I’m out of my princess phase.
Your pink pony wants to fuck you
She’s limp with longing from being
always touched and hollow,
comb-tugged right out of her field:

Oh I’m too tired to worship at your kittenish emptiness.
For years my emptiness echoed into yours: Oh Hai!
For years I’ve been your pony, and I wanted to fuck you

without your pink dress, the glitter and the organs,
all colorless—

But Božičević is not at all just about putting down “straight girls”. As she goes on to say, “I’m over it.” The poem continues unfolding, complicating its own intentions which are, and never should be, entirely clear.

I love someone now, she’s teaching a class,
she had a bad dream & threw the lotion
at the hurtful door, and I love her, there’s nothing hollow there.
There’s no void in the straight girls either, not really.

This yard is in you, ladies,
green and monn-lit, where you prance like difficult adult Bambis:
that’s not desperate, that’s beauty. I only wanted
to have my fill, as I fill her:

undo you first, then balance out the void in a weighted way
so then you’ll know: How
do you do a Barbie?
With meaning. Women, I’ll defend
your beauty

when no-one else will: when you’re lacerated with IVs
and wrinkles, I’ll say how I filled you with Awwww.
When you’re a crazy-eyed teen who hears voices & sings them
out at an American Idol
audition, a sparrow

aping the starsong ringtone–
I’ll get it. I love you when you’re not quite right.

Božičević opens the possibility that poets might strive to be heroes. Not necessarily ‘saving the day’ kind of heroes, but heroes nonetheless.

Look
at any object & see
the shimmer of philosophers playing inside…And they’re
what you want. And it takes a show-off, sacred whore
you say you don’t
believe in, but ecto-drool over, to make
them emanate: and I don’t got that, babe. I’m sitting here,
wet from my run and
know that somewhere among these ducks and squirrels and,
reflected in the car hood, ducks
and leaf silhouettes
is a way for me to manage
the pain of:
all I ever wanted was to serve.
(“We’re the Aliens We’ve Been Looking For”)

That’s not to say that Božičević doesn’t call ‘Bullshit’ on playing out that role. Still, she does both get the girl and is the girl. Plus, she writes it down always telling it straight. No apologies. She’s not expecting anything further from poetry than the opportunity of the poem itself.