points of entry: when the map unfurls + all signs point to california

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I don’t say there isn’t much work to do, for there is. And some tracks lead to excruciating darkness, where a person can tumble from the sky on a clear September morning. Yet is the world not whole? Is it not beautiful? For now, let’s consider well-being a choice, something you can try on and wear. When we put on the hat and coat of well-being we incline towards joy without special occasion. –Jean-Pierre Weill’s The Well of Being (via)

The past week I’ve been thinking about living with immediacy. Even writing the word immediacy puts me to thinking of some of its negative connotations, the sense of urgency or the feeling that one might rush through our waking life. However, after watching Atul Gawande’s extraordinary PBS documentary (an adaptation of his book, Being Mortal), I’m reminded of this: we may never have as much time as we think, so why not live life as fully and richly as we possibly can? Instead of sleeping through our waking days or collecting five (It’s Friday!) in anticipation of the remaining two (Oh no, it’s Sunday!), why not treat every moment as one worth savoring, one worth living.

As you know I’ve been struggling with some pretty heady questions, and I’ve accepted that I’m temporarily living in the in-betweens, a home painted grey, with air thick and weighted by clouds, and it’s sometimes hard to see what’s in front of you. There are roads ahead, cartographers have made the appropriate measurements and maps, and your life has become a game of maths, a calculation of probability and weighted risk. Probably the most valuable lesson I’ve learned from being an addict is this: you don’t erase pain by numbing your way around it, rather you have to rip off the bandaids, one by one, and breathe through it. True, you’ll spend some part of your life dressing and re-dressing your wounds but the drug to which you’re tethered to only delays the inevitable.

At some point the bandaids will have to be removed. It’s just a matter of how much time you’re willing to squander to the point where you’re ready to start ripping. Yesterday, I came across this quote from Elliot Roberts while reading an oral history of Laurel Canyon in the 60s and 70s:

The scene broke up because you became adults. We were all in our early 20s when there was that scene—all kids in their early 20s have a scene. All of a sudden you have a girlfriend or you’re getting married. By 30, 35, the scene is gone. You have families, kids, jobs. You buy a house. You want to get guitar lessons for your kid and a Bar Mitzvah. When you’re 20, it’s O.K. for eight people to crash in a living room, six on a floor. At 35 you’re not crashing anymore—your back hurts.

Reading Roberts’ words didn’t feel somber or nostalgic, it felt honest. At one point you have to accept what your life has become. Last night I spent hours with a couple from California and I told them stories from my 20s, a drug-induced time where California was simply a place where you got good coke and you could sleep while someone drove. Some of the stories are a bit colorful and wild and for people who have known me for less than a week they can see the sharp contrast of the woman I spoke of then and the woman telling them stories now. I tell them stories about a time and a woman I don’t miss because I’m so infatuated with the life I have now.

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At one point the husband, in response to my talking about my moving dilemma, says, Five seconds. Don’t think. If you could move to any state now, where would it be? No, really. Don’t think. I laugh and say, California. If you asked me this question a year ago I would’ve laughed, I would’ve made some allusion to Biggie and Tupac and how born and raised New Yorkers don’t just move to the least coast. But then I realize that California is not Los Angeles or San Francisco, two cities that aren’t my vibe, that it’s a whole landscape of beauty and warmth–a place worth exploring.

I tell them, however, that I’m not ready for California just yet. What does your gut tell you? Are you listening to it? Genevieve asks. I tell her that I want to spend a month in Portugal or a Spanish-speaking country, but the…cat, I say. Felix, I say. I realize I’m speaking to two cat-lovers, a couple who bought a cat hammock for their lovely home in Santa Barbara, and both of them say, quite plainly, that a month isn’t a long time in the grand scheme of my life. If Felix can come, great. However, if he could stay with my father or a trusted friend, it wouldn’t be the end of the world. I would return.

Because do I want to live with regret? I’ve already chosen not to have children because I’m not built for it; I don’t want roadblocks. I need personal freedom. I need myself whole. And I feel part of the journey this year, part of the story I want to tell, is this: the leaving and the return.

We organize our circumstances into stories, stories we pick up along the way and carry with us. Stories that declare, I’m lacking. Why me? stories. I’m alone, stories. What will I amount to? stories. Stories about who we should be. Or think we are. They are interior maps whose familiar roads we travel. Over and over. Yet when we apprehend these maps, these stories, these patterns … we awaken and rise, as it were, to a new perspective, to new possibilities. –Jean-Pierre Weill

We’ll see. Here’s me inching out of the house, making my last payments, packing my bags. Closer.

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on crippling fear + living your best life

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Of course Willie noticed it first, I now think: children major in the study of their mothers, and Willie has the elder child’s umbilical awareness of me. But how is it that I didn’t even question a weight loss striking enough for a child to speak up about? I was too happy enjoying this unexpected gift to question it even briefly: the American woman’s yearning for thinness is so deeply a part of me that it never crossed my mind that a weight loss could herald something other than good fortune. –from Marjorie Williams’s “A Matter of Life and Death”

To be honest, it’s been hard coming to this space over the past few days. Every post has been a series of stops and starts because I feel like the person who invited a few friends over for dinner and then opened her door to witness an entire village whispering at her feet. I don’t host parties; crowds give me vertigo, and I usually recede from waves of intensity. There’s the noise and chatter in my offline life–most of which I keep private and sacred–so this space has always served as my refuge. My source of calm and quiet amidst the noise that’s life. Is it strange to say that I write and think better when I think no one is reading or listening? When it’s just me in my home on these keys typing my way out of the dark?

I’ve been thinking about fear a lot. How it can be all-consuming, how it cradles you. How it tells you it’s the one lover who will never leave. At work yesterday, I talk to a colleague who views me as her mentor, and she confides to me about a series of fears that have to do with control. She can’t board a plane; she worries when people don’t immediately text her back–and as she makes her list I see in her face that these fears are real, crippling. Her shoulders cave inward, she becomes slightly undone. I spend an hour with her telling her that it never is as bad as we think it’ll be. Fear is a wall we’ve built to protect us from what’s unseen, from what our imagination conjures, from the unimaginable. But imagine the unimaginable. Play out the scene, and you’ll see that you can weather almost anything. The fear is always worse than what’s just beyond it, the elusive tragedy just beyond our reach. I spent the great deal of my life in fear of bandaids, of ripping the off, so I erected a wall and kept it standing through my excessive drinking.

The two times I quit the drink I ripped off the bandaids and while there was pain (there will always be immediate pain), the intensity of which began to fade over time and I took the days as they lay. I breathed through difficult spots because the ebb and flow of life, that paid which I’d conquered to bear witness to the light on the other side — all of this was greater than having not felt any of it at all. I’d rather endure sorrow and heartbreak rather than elude it, because we tend to forget that what we fear is temporary, and that states alter and transform. How we tether to fear is really a manipulation of time because we don’t want change. We don’t want the things we can’t control or see, so we tend to fear like it’s our private garden because it’s the one emotion whose state we think we can control.

Over the weekend, I read a remarkable essay that put my heart on pause. It was funny, acerbic, valiant, heartbreakingly honest, and downright beautiful. A writer is diagnosed with Stage IV liver cancer and delivered a death sentence of 3-6 months and manages to live out four years. Within that space of borrowed time, she doesn’t have time for fear because she knows what’s on the other side of it, so instead she uses what little time she has to live, love and laugh. She tries to live her best life. She calls out people and their pithy platitudes and breathes through each treatment, doctor visit and precious moments with her family. I read the essay twice and wept both times. It was a deep cry because I was overwhelmed by her strength, vulnerability and beauty. How she starts the story one way and ends in another place. How fear exists (how could it not?) but it’s a door she kicks down, a wall she breaks through, because why should she allow it to take her away from that which she loves?

Immediately after, I read another essay about a young man who traveled to Africa in the 1960s and began his odyssey on collecting oral history. He was told that oral storytelling was a dead art; he was told that traveling through Africa, post-apartheid, wasn’t the wisest idea. He knew that he couldn’t understand and translate the nuances of dialect and how one tells a story, but he did it anyway. He walked thousands of miles, knocked on doors, begged friends for fresh batteries, and came back to the U.S. changed.

I never had a car, I never had an interpreter or a translator, I simply started walking. –Harold Scheub

On the surface the two essays couldn’t be more different. Yet, both remained with me over the weekend and even through the first long day back at work (is it just me or did Monday feel like a month?). Both made me think about fear and the possibilities beyond it. The things I can’t see. It made me think of risk versus reward. It made me quietly reflect on my own fears.

As many of you know, I’m embarking on a trip out west this year. A year-long journey where I plan to live in four different cities, places antithetical to New York–all in pursuit of my return to wonder. I’m starting my journey in New Mexico and ending it in Seattle, and who knows what will happen during the year or the hours after. And while this is SO EXCITING, and all of my friends want to hear every detail and plan, I’m terrified. I’m afraid that I won’t secure enough freelance work to keep me afloat because so much of my life is bound to New York. I’m afraid of losing my apartment even though I realize how innane that sounds. I’m afraid of feeling lonely even though I mostly like to spend my time with very few people or alone. I’m afraid that I’ll fail in a way I can’t quite identify. I’m afraid that I won’t have enough money to keep paying off my mountain of debt. I’m afraid of the people I might lose even though I know in my heart that people can’t be lost. I’m afraid of getting into a car and driving it. I’m afraid of being in places unknown to me even though I travel extensively and, at turns, thrilled with the idea of living in the unfamiliar. I’m afraid of getting on a plane (always). I’m afraid of lots of things I’d rather not share on this space.

But then I re-read these essays, get inspired by people who lived bravely and valiantly. People who broke ranks by moving past fear. I think about that. A lot. And then I think about my trip and all that’s waiting for me on the other side.

apple sage walnut bread + some thoughts on the business of work

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Believe me when I say this isn’t a story about age–the start of one career and another in media res. Rather, this is a story about work and how beauty can’t be found while living in the extremes.

I bear quiet witness to two extremes. A young woman submits to an interview for a stylish blog, and over the course of a few questions we learn that the only job she’s known is one in front of her computer. A college hobby has morphed into a career, replete with sponsors, giveaways and outfits of the day. I read a post where a young woman doles out career advice as if they were miniature sweets wrapped in arsenic (or perhaps that’s my interpretation)–preparing the impressionable for the “real world,” where posts are artfully styled, emotions are choreographed and authenticity…well, you know my thoughts on that one–although I will say Emily gives a measured, refreshing take on the matter. On the either end of the spectrum, a friend tells me about a billion-dollar company that seeks to transform itself, and would I be willing to play a senior role in that transformation and sit tethered to a desk five days a week? Ah, so this is the life revisited, where I cram the whole of my errands in Saturday morning, spend a few precious hours on Saturday night resting, and prepare for the inevitable Monday come Sunday. A company seeks the sheen of the new and the brilliant and the creative, but would I be willing to chain myself to an office badge? Would I be content to make perfunctory conversation with someone while refilling my water bottle (knowing how I feel about small talk)? Could I bring brilliance to the table while ensconced under the glare of overhead fluorescent lights?

I attended a conference once where everyone was thick in the business of self-promotion. Many spoke of their online spaces and how popular they had become. Yet one wonders how does one harness such fame? How does one create more efficiency, tackle that ever elusive labyrinth that is their inbox? I felt a curtain come down over my face and I asked, in the biting way I sometimes do, what is it that you actually create? What do you do? More importantly, who are you? And they talk to me about content; they use terms like utility. Their hope is one of inspiration mixed with a healthy dose of practicality, and this whole performed puppetry reminds me of Lloyd Dobler’s garbled, yet endearing speech in Say Anything:

I don’t want to sell anything, buy anything, or process anything as a career. I don’t want to sell anything bought or processed, or buy anything sold or processed, or process anything sold, bought, or processed, or repair anything sold, bought, or processed. You know, as a career, I don’t want to do that.

And while there was nobility in the idealistic Dobler’s speech, what I get from others is a mouthful of stale air. It feels rehearsed, vaguely Stepford. I get: I want to be famous for being me. Honestly, I don’t understand the notion of the full-time blogger who doesn’t seek to create something which goes beyond the four walls of their home. I tell people it’s the difference between a lithe girl who posts a dozen photos of her in the same outfit in a slightly different pose versus, say, a design.sponge. Create something beyond your singular experience. It may not be large in the grand scheme of things but the lens can’t consistently gaze at one’s navel. Because there will always be other navels, other girls sporting expensive finery, but there are only few who break ranks, create something meaningful beyond the extent of their reach. Or, as Meghan Daum posits,

Obviously, everyone defines confessional in their own way. For me, being confessional would be just kind of revealing your secrets and not processing them in any way, just kind of presenting your diary, for instance. I really am not interested in sitting down to write something personal unless it’s going to transcend my own experience and talk about something larger. That, to me, is the difference between putting yourself out there and letting it all hang out. “Putting yourself out there,” to me, has to do with using my experiences as a lens through which to look at larger phenomena.

Although Daum is speaking specifically about memoir writing, I can’t help but apply this idea of one’s life as lens to nearly all aspects of one’s life. There is a shelf life for the thousands of hopefuls who post the tired, stylized photos and pen an awkward personal story to make a sponsorship post that much more relatable. And while I see blogging as an interim play between one venture to the next (a strategic side hustle, a means for creative testing and exploration), I struggle with people who start off their career this way and think they have the ability to counsel others (I shudder to imagine the performance review: Haters! All of them! Why do I keep getting all of these mean constructive comments?!), and I really struggle with those who act as if their blog is this echelon of greatness, when it’s really not. For many, it reads like a simple experiment in myopia. Every navel gaze invariably meets a dead end–the question then is: Who are you without your online presence? What are you creating? What are you cultivating?

Always the same. The deliberate consciousness of Americans so fair and smooth-spoken, and the under-consciousness so devilish. Destroy! destroy! destroy! hums the under-consciousness. Love and produce! Love and produce! cackles the upper consciousness. And the world hears only the Love and produce cackle. Refuses to hear the hum of destruction underneath. Until such time as it will have to hear. –D.H. Lawrence

I think of this quote often. Lawrence is critiquing Hawthorne’s The Scarlet Letter, and the American psyche. Without the balance of destruction and creation, there is no chrysalis, instead we slowly devour ourselves in our own demise (ah, The Ouroborus returns!). If we don’t reconcile and balance our internal division (or duality), we will never truly have knowledge, understanding and wisdom. We will never grown beyond ourselves.

You’re thinking: what the fuck does this have to do with bloggers who preen all day and get paid for it? GOOD QUESTION.

I think some bloggers are one example of the type of people who are content to dwell within their own dominion. They produce and produce and produce at the expense of themselves. Rarely do they seek to reconcile the real and the artifice within, and we only see one side of the face, a clever mask on display. The danger lies when one doesn’t create beyond oneself, or present both sides of that one face. This is true of bloggers, artists, and people who sit behind a desk, content to clockwatch. I see talented writers write themselves around their own self-imposed prisons. I’ve done this, I did it for years. I wrote what I knew because that’s what the books told me to do. That’s what my MFA program told me to. But it was only when I went beyond myself, beyond the story of me, did I find something powerful. My writing truly got better, ferocious. I was still me. I was still pulling the strings and breathing life into characters on a page, but these were people I’d never known and encountered and this new territory was thrilling. It doesn’t matter if my book will ever be published–I take solace in the fact that I sought out a larger truth beyond the one I’d always been pedaling. And this is the reward, the work.

Know that I’m just as critical, if not more so, of the other side.

Even though I’ve worked hard every single day of my life, even though everything I own has been bought and paid for with this hard work, there’s not a day that goes by when I don’t appreciate my privilege. For nearly 18 years I spent the bulk of my life in offices. Some were ramshackle, others sleek. Some were in office parks, others in fancy buildings and grand towers, but the feeling was always the same–I am a prisoner for 8+ hours a day. There go the shackles around my ankles. Let me carry them from conference room to conference room. I forged a working permit at 13 so I could work. I spent the bulk of my college years interning in investment banks. And I went from someone who filed folders (yes, paper) to building multi-million dollar companies and leading teams. I’ve been working in offices for 18 years and it’s only in the past two that I’ve grown beyond measure.

Because I haven’t been chained to a desk and computer for five days, 80 hours a week.

I take on projects that don’t require me to be in an office for an extended period of time (I’ve written in contracts that my days on-site won’t exceed X and my hours won’t exceed Y) and the deliverable remains the same. I prioritize my weeks where I do a lot of the execution, interviews and face time in an office and I do the “thinking” and creative work at home. And not only have my skills in brand marketing increased exponentially, I’ve managed to conceive of creative solutions for basic problems. I see the world differently. I come back from traveling and the work I do is imbued with a global perspective. I work from home and I do my best thinking when I’m baking or walking around the park. I break complex problems down to its simplest parts and then tackle those parts. I’m Socratic in the way I think and I’m constantly asking questions and tearing down walls when I hear, this is how it’s always been done. People who meet me now tell me how I’m cool and collected–calm and measured through crisis. Ask people who worked for me two years ago and I guarantee they’ll tell you a different story.

I’ve been a successful consultant for almost two years and it’s because of an imposed flexibility.

The response? Can you come join this company to do the thing that you’ve been doing without doing the thing you’ve been doing? Can you be creative and innovative without all that fluffy flexibility? Can you create something new using these tired old modes of living, of thinking? Can you work five days a week, take only four weeks vacation, and be accessible via every electronic device? Can you brainstorm in conference rooms named after pop stars (because we’re clever like that!)? Can you think outside of a box even though we’re trapping you in it? Because come on, everyone wants this. Everyone wants to be CMO. Everyone wants to lead global teams at a billion-dollar company. Because, Felicia, you have to settle down sometime.

To which I respond: are you fucking kidding me with this? Rewind the tape and play this shit back to yourself and you tell me if it’s not the very definition of insanity.

I made over $200,000 a year. I had a fancy title and nice handbags and the means to stay in fancy pants hotels. You know where that got me? Stressed out, exhausted, depleted, burned out, angry, bitter, and spending six months of a year chained to a doctor and nutritionist. I had big. I was bombastic. And I wasn’t the better for it.

I read articles where people can’t be bothered to care for the most primal of needs, but they’ll track their follower counts like a shuttle launch and want the fame without actually doing the work. I read about kids making $15K a month for posting photos of themselves on Instagram and their greed and vanity are what they wake to. And I read idyllic pieces about co-working spaces in exotic locales for that jetsetting freelancer.

I read a lot of articles about work, and I’m exhausted.

I keep coming back to this simple question: Who are you? Tell me about your character. Tell me what wakes you up in the morning and makes your race to sleep eager to wake the next day? Tell me what you live to do and how you live. Tell me how you’re building and destroying. Tell me how you’re sharing your face, all of it. Tell me about you love and how that imbues what you do and vice versa.

Because both of these examples: the preening blogger and the executive hungry for the shiny object create nothing of value to me. They recycle, regurgitate big words to make them feel safe; they throw glitter on shit and talk about its earthy beauty.

I want neither. Rather, I want to dive, head-first, into the betweens. I want to create for myself (privately) and for others (publicly). I want to read, live, laugh and love vicariously. I want to walk into an office when it’s necessary and leave when it’s not. I want to work from the inside of a shitbag motel or from a deserted island. I want to write and revise. I want to get better, always.

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INGREDIENTS: Recipe from Vibrant Food, with slight modifications
1 cup brown rice flour
1 cup gluten-free flour
1 cup lightly packed coconut cane sugar
1 tsp baking powder
1/2 tsp baking soda
1/2 tsp fine sea salt
1 tsp ground cinnamon
1/4 tsp ground nutmeg
2 eggs, lightly beaten
6 tbsp extra-virgin olive oil
1/3 cup vanilla soy yoghurt
1/4 cup applesauce
2 small red apples, cored and diced
1/3 cup gluten-free rolled oats
1/3 cup coarsely chopped walnuts
3 tbsp gluten-free flour
1/4 cup lightly packed coconut palm sugar
2 1/2 tbsp chopped fresh sage
1/4 tsp ground cinnamon
1/4 tsp ground nutmeg
1/4 tsp fine sea salt
3 tablespoons cold unsalted vegan butter (I use Earth Balance), cubed

DIRECTIONS
Preheat the oven to 350F. Butter and flour an 8-inch square pan. Set aside.

In a large mixing bowl, combine the brown rice and gluten-free flours, coconut sugar, baking powder, baking soda, salt, cinnamon, and nutmeg and whisk with a fork until blended.

In a separate bowl, thoroughly whisk together the eggs, olive oil, yogurt, and applesauce. Fold the wet ingredients into the dry until combined. Gently mix in the diced apples. The batter will be quite thick, especially if you are using all-purpose flour.

To prepare the topping, in a bowl, mix together the oats, walnuts, flour, coconut sugar, sage, cinnamon, nutmeg, and salt. Using your fingers, work in the butter until the mixture is well combined.

Pour the batter into the prepared pan and smooth the top. Sprinkle the crumble topping evenly over the batter.

Bake for 45 to 50 minutes, until a toothpick inserted in the center of the bread comes out clean. Transfer to a wire rack to cool for about 30 minutes before serving.

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you might not fall in love with me, but you might think me less strange (or maybe not?)

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Last weekend, like Hallie, I read a piece in the Times about falling in love. I found the article fascinating and strange, simply for the fact that love is elusive. While I love my friends and my father (and cat!) deeply, I’ve only fallen in love once, and, in retrospect, I didn’t love him in the way I see how others love. I let him in, but not all the way, and I wonder about my ability to take a hammer and chisel and break all that I’ve built. If anything, I’m in the best place for it, so we’ll see what happens.

I know this may sound strange, but I never participate in online group activities, memes, etc, not because I have any aversion toward it, I just find it hard to be part of a group activity with strangers/online acquaintances. I get vertigo leaving blog comments; I read online spaces I like to visit privately, because there’s something about this anonymity that comforts me, however, I was so intrigued by Hallie’s ingenious take on the Times article (turning it into a dialogue between people who set up shop with their online spaces and those who read them) I decided to take inspiration from her post and post answers to some of the questions here.

Hope you enjoy, and feel free to ask me any of the other questions from the article, which I haven’t answered. :)

Also, I’m recovering from food poisoning (don’t even ask), so I’m a little ravaged and delirious.

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Would you like to be famous? In what way? Absolutely not. Fame doesn’t interest me because fame is really about tending to an inflamed ego. While I do want people to read and care about what I create, I take pleasure in the fact that I will never be mass market; I will never have to wade through thousands of comments on this space. I get anxiety if I’ve more than 10 emails in my inbox, so I’d rather skirt the edges of things and find my tribe as it happens.

Before making a telephone call, do you ever rehearse what you are going to say? Why? No. I just play it as it lays.

When did you last sing to yourself? To someone else? I sang R.E.M.’s “King of Birds” while I was writing a blog post this week (I had the video playing on loop as I type–I tend to write to music). I don’t sing in front of other people, and I think this might be the greatest gift I could give any of my friends.

If you were able to live to the age of 90 and retain either the mind or body of a 30-year-old for the last 60 years of your life, which would you want? My body because I didn’t know, at 30, nearly as much as I do now. I’d rather have the perspective of age. However, the notion of running up a flight of stairs at 90 is thrilling. I want my body as a means to move, rather as a figment of vanity.

Name three things you and your readers appear to have in common. It’s hard because I know many folks don’t comment on some of the more personal aspects of my work, however, I will say that those who do also are on a journey of self-exploration. We’re all at different stages of it, but we’re all examining our lives and asking ourselves if we’re really living it. Which is awesome. In that way, writing these posts makes me feel less alone.

For what in your life do you feel most grateful? My friends who are my family. I don’t have any lineage to speak of–I am the last of my kind, so it feels good to be surrounded by people who truly feel that I’m their kin.

If you could wake up tomorrow having gained any one quality or ability, what would it be? To always see life through the eyes of a child, to never lose the sense of wonder, even as adults we’re busy chipping it away. I want to feel firsts; I want surprise; I want wide-eyes and cackling laughter.

If a crystal ball could tell you the truth about yourself, your life, the future or anything else, what would you want to know? When will I die, and how.

Is there something that you’ve dreamed of doing for a long time? Why haven’t you done it? I’ve always wanted to pick up and travel the world for a year. Truthfully, I make excuses for why I can’t do this (finances and debt burdens) and I also have a cat, and I’d be sad to leave him behind.

What is the greatest accomplishment of your life? Giving the greatest gift I could give to myself: my life back to myself, i.e., my sobriety.

What do you value most in a friendship? Loyalty, integrity, kindness, compassion.

What is your most treasured memory? Let me get back to you on this. This question actually stumped me because I don’t have one that stands apart from the rest. Oh wait, I’m answering these questions from the bottom up and it occurs to me that my sobriety stands out as a moment worth treasuring.

If you knew that in one year you would die suddenly, would you change anything about the way you are now living? Why? I’d probably leave New York the next day (sooner than my intended departure) because I want to feel what it’s like to uproot and planet anew.

What roles do love and affection play in your life? I often talk about one’s body as their home, house and refuge. I’m finally at place where I want to build and preserve this home rather than burn it to the ground. And I think, in that self-love, I’m at a place to love someone else. Candidly, my love life is one aspect of my life I’ll never share online. Maybe to let you know if I got married, but that’s pretty much it. Even my close friends consider me CIA when it comes to my love life, so there’s that.

Alternate sharing something you consider a positive characteristic of your readers. Share a total of five items. You are so fucking smart, it blows my mind.

motherHow do you feel about your relationship with your mother? She was my first and only hurt. I don’t love her. I wrote about our life in my first book, and I have no interest in returning to that dark country.

If you were going to become a close friend with your readers, please share what would be important for him or her to know. I need my space and quiet. Sometimes I prefer that we not occupy every moment with chatter.

Tell your readers what you like about them; be very honest, saying things that you might not say to someone you’ve just met. I love how many of you have brought your personal souls to bear on this space. You’ve shared intimate parts of yourself, and I know that isn’t easy and I truly am humbled by it. And while some just come here for the pictures and the recipes (and that’s fine), I love how others truly read and connect with some of the longer pieces I’ve written.

Share with your readers an embarrassing moment in your life. I was an alcoholic for the bulk of my 20s and early 30s so every weekend was pretty much an embarrassment.

When did you last cry in front of another person? By yourself? I cried after I first saw my father struggling to shift in his bed after his double hip replacement surgery. I stood outside North Shore Hospital, waiting for my taxi, weeping. I don’t really cry in front of people that often, but I remember breaking down in front of my best friend when I relapsed after being sober for nearly seven years. That was a 18 months ago.

If you were to die this evening with no opportunity to communicate with anyone, what would you most regret not having told someone? Why haven’t you told them yet? I wish I would’ve told my mother that I loved her once, but it breaks my heart that she’ll never be the mother or woman I want her to be. I’ve no interest in re-opening that door, so I’ll live with that regret and I’m fine with it.

Your house, containing everything you own, catches fire. After saving your loved ones and pets, you have time to safely make a final dash to save any one item. What would it be? My computer. It holds all of my writing. I was initially going to say my passport, but all papers can be created anew.

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live the questions now (long read)

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Be patient toward all that is unsolved in your heart and try to love the questions themselves, like locked rooms and like books that are now written in a very foreign tongue. Do not now seek the answers, which cannot be given you because you would not be able to live them. And the point is, to live everything. Live the questions now. Perhaps you will then gradually, without noticing it, live along some distant day into the answer. ― Rainer Maria Rilke

It was a Saturday night, which had become a blurred photocopy of every other evening, and a taxi barrelled down the FDR Drive. Back then we liked it fast. We preferred to live dangerously; we were on the road to ruin–and the knowledge of this, of all it, comforted us. I took a leave from a writing program, and found myself holding a bottle of wine, a cigarette half-smoked because I wasn’t the smoking kind, and a Nokia phone, as I shouted for my friend to get in already. It was rare to catch a taxi uptown back then. I remember the car and us bending our heads as if we were supplicants called to prayer; we stole quick bumps, thinking we were all slick and discrete when we were, in fact, the opposite. The driver didn’t care about any of it, except for the fear that we might spill wine in his cab. Hunched over we did blow and then we blew smoke out of windows.

By the time we reached the Lower East Side, I couldn’t breathe. Over the past few months a habit that had once been a weekend thing, soon morphed into a weeknight thing (because there was always a dinner, a reading, a reason for party favors), and soon I fell asleep and woke to cocaine. No one really knew the depths of my fall because I was functioning, sort of. I was all broken capillaries, nosebleeds at my desk, and eyes that regarded daylight as a form of barbaric, medieval torture. But I white-knuckled my way through meetings, typed all my emails and didn’t care that my body felt like a costume I’d worn too many times. Back then I told myself I had this under control, that I would never be like her, my mother, my aunt, all junk-sick and spinning out of control, but then go the lines. Sometimes my heart would beat so fast I couldn’t stop it, so I’d drink some wine, have a little smoke, or swallow pills. I was in pursuit of the middle of nothing.

That taxi ride was the second time I felt death creep under my skin and make a home. The first time I was in Mexico and nearly drowned in an ocean. When we reached shore my body was volcanic. I couldn’t breathe; I needed my mother. I was 20, saying her name as if incanting it would conjure a version of her back to me, before the cocaine and her undoing, when it was just two girls, holding hands. Laughing. The second time all I could think about was my mother, my first hurt, and how I’d do anything to smother all the love I’d given her and how much of my childhood she’d stolen in return. I am Lazarus, come from the dead, Come back to tell you all, I shall tell you all, Elliot wrote.

Back then I would do anything to feel nothing. In this body there is a heart that refuses to beat. Darkness becomes a homecoming–it pulls up a chair in your own home, offers you a drink, and asks, are you happy? Are you comfortable? How long do you want me to stay? Should I unpack? Should I forward the mail? And for a time, I let the dark into my heart because although I knew so many people I’d never felt so lonely. Cocaine was there all along, holding my hand, whispering into my hair that it would never leave. You have to know where’s comfort in that–a constant companion, a tender lover–and then you realize the object of your affection has grown tired of your devotion and wants more. Isn’t it always this way? The thing that you consume craves more than what you’re willing to give, and then you wake and realize the darkness wants to be all of you. It won’t just settle for a drawer in your bedroom.

That night in the cab was a preview of what would happen if I became all that I consumed. Addicts trade war stories–they talk about shame, humiliation, regret and anger, that one night, that every night–but many of us agree that there was a brief time when it was wonderful…until it wasn’t. And we’d spend so much time crawling our way back to the wonder, that first feeling of you being here but not really, and you know how it is. While the story of the day I stopped doing coke twelve years ago isn’t remotely memorable, losing the wonder continues to haunt me, still.

My dad was the first to pick up on the bigger problem–alcohol. The drink is like setting fire to a house after you’ve dead bolted the doors and locked yourself in it. The dark is always in your periphery yet you cease to care because the idea of feeling the weight of loss, sorrow and hurt is entirely too much to bear. When you have all this pain, you wonder, where do you put it? Is there a container? Will I need to request a certain size (small, medium, large? tall, grande, venti?)? What if all the pain doesn’t fit? What then? What of my heart then?

I managed to shield him from cocaine, managed to make it a story like every other story I told, and he never worried because the woman before him was the woman he’d always known–funny, strange, a picky eater, who sometimes drank too much. It’s rare that I let anyone into the depth of dark I’m able to endure, but my father knew. I suppose he’d always known. He was confused that night I fell asleep drunk on a train, somehow ending up in Ronkonkoma with my wallet missing. I woke him in the dead of night for cab fare, and I remember him asking why I wasn’t able to stand straight. I was 23, I think. I suppose he knew when he told me that if I could do him one favor, one small thing, which was for me to shield him from my drunkenness, and then I came home, weeks later, black-out drunk, knocking over things. Always with the hangover. Always with the damn wine lips, he said. I suspected he feared that I would become a version of my mother, a difficult woman. You make it impossible for me to love you, I told her twice. Even last year, even after my relapse, I mentioned my two-month binge to my father in passing. Another story. Another, I’m fine now so you don’t need to worry. Because this is what happens when you lose people–you drink until you black. You drink until you can no longer see. I’m forever shielding my father from worry. In his eyes, I’m always strong, impenetrable.

My pop asked me once about the blow and the drink. Setting aside the obvious, you saw what that shit did to your mother, there was the very clear question in front of him, which was: you’re so frightened of death, why would you do this to yourself? How to explain. Where to begin. Do you end? My father has always accepted death, understood that you one day returned to the place from which you’d come. That valiant, small fist punching its way out of the womb becomes a shuddering breath, a hand that feels like cashmere, feeling its way back home. That small, balled fist. That weathered, frail hand. We exist for most of our lives in the space between the two, and while I can accept that, I’m so frightened of the after. I no longer believe in a heaven with its blinding lights and touch of gold, or a hell that engulfs you in flames. Rather, I believe in a body settling into the earth, allowing for new life to eclipse it. We pass so others can live–this is the order of things. And the only way you continue to exist is in memory. I accept all of this as fact, but it doesn’t make it easier to bear.

In Being Mortal, Atul Gawande writes, the story of aging is the story of our parts.

But in truth no single disease leads to the end; the culprit is just the accumulated crumbling of one’s bodily systems while medicine carries out its maintenance measures and patch jobs.

Our life, as we know it, becomes a slow fade. Death is all the lights in the house, lights that once burned brightly now flicker and fade out. I’m reading a book about the science of mortality and what matters in the end because there was a time in my life when the one final act I’m trying desperately to evade was in my home, eating my food, lying beside me in my bed. People never understand when I talk about getting older, of the terror that exists in counting the years. They think it’s about vanity–you don’t even look 39–and it takes everything in me to smother rage, because age isn’t about skin and hair pigments and body size, it’s about the clocks. Every inch forward cannot be reclaimed. There is no going back. There is only the slow, steady march into the dark. But what happens when no one follows you? What happens when there is only you?

I read another article about our hunger for fame and how it’s bound to the notion of immortality. In memory, life is constant. You continue to exist when someone speaks your name. The author writes,

A fundamental belief of the Greeks: that acts of heroism or epic poems are not only nobler than mere sprogs, but also considerably more durable. Where living things fall like leaves in autumn, our cultural objects can endure. Kingdoms, titles and honour survive to be passed from one generation to the next; stories persist to be told by new generations of bards; bronze statues do not fall sick. Unlike human children, cultural offspring promise to be ‘everlasting’.

On our way to Ireland
On our way to Ireland
I think about all of this because I have no real family. Yes, I have a host of friends whom I love but they are tethered to their kin. They have families of their own, and I am not part of their legacy. This isn’t me being woeful, it’s me being honest. In an act of self-preservation, I refuse to have a relationship with my mother and her new family. And my pop, who isn’t my biological father, but has served as a father figure since I was 12, well, I don’t know sometimes. Over the past five years our relationship has shifted, and although there’s still memory and love and nostalgia, we no longer cleave to each other like we used to. When we were in Ireland, I felt the love that comes with familial history, of being bound to a name. But my last name’s Sullivan, and I’m not even Irish. I feel rootless. I feel part of a family by invitation. I’m a third African but how do I claim it? I do not want children. I am the last of my kind. There is only the dark and you alone in it.

I think about this a lot. Perhaps this is why I’m compelled to write more now that I’ve ever wanted to before. Perhaps I need to get this down, on paper, so people will know that I was once here. That long after my body has settled into the earth with gravel and rock, a part of how I loved, thought, lived, might endure. We tell ourselves stories in order to live, Joan Didion once wrote. I wonder if they serve to preserve us after our final breath shudders out. Our stories deliver us onward, maybe they tell us we mean something. That we don’t solely exist to breed and sustain new life.

Buddha says, The past is already gone, the future is not yet here. There’s only one moment for you to live, and that is the present moment. And in that moment there are questions. I do wonder if living in punctuation will give me freedom. Will allow me to see.

the obligatory holy shit, I’m almost 40 post (another long post)

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I haven’t been 39 for a day and already I’m realizing that next year I’ll turn 40. And before you lay into me about 40 being the new 30, you’re only as young as you feel, and all that jazz, I ask that you please slow your roll because 40 is a big fucking deal. Although I spent much of my childhood wearing the mask of an adult, I remember reacting to the thought of being thirty. That’s old, I said. When you’re small you can’t imagine counting an age beyond your ten fingers. And then something in you changes, the shift is nearly imperceptible, and you suddenly find yourself attaching fractions to your age. You pine for sixteen, eighteen and twenty-one. Perhaps you think the world will reveal itself to you in degrees, because why else would you be so desperate to shed being one of the innocent?

I spent the day alone with my best friend’s daughter once. There was an emergency one Christmas morning–my friend’s son woke vomiting blood, the walls were a massacre of red–and I played with a small girl who was baffled over the fact that I abhor pink (god, what a heinous color!). While I wasn’t a girly girl, I was creative, and I made for a suitable playmate when she wanted to build imaginary sets for the plays we’d co-written. I marveled over her curiosity, and while we watched episodes of Strawberry Shortcake in what felt like an endless loop, I remember smoothing her hair, wanting for her to be young for as long as she possibly could, because children architect these magical worlds that adults find ways to ruin.

Everything for children is a first, whereas adults know too much. We’ve seen things that make us want to press our eyes shut and rewind the tape. Take us back before 21, 18, 16. We want it all back. We want our world small, simple, with only our friends and family in it. I had to write a scene last night about a woman who’s taken up permanent residence in a dark country and she struggles to remember what pure, unadulterated happiness was like. That first spring. The rain of leaves. The light that broke through the trees. Bare feet swaying on a car dashboard. Witnessing a stranger kneel down and pray for the first time. I had a really hard time writing this scene because those moments felt too simplistic, ridiculous and I’ve tainted them with everything that comes after. I can’t only keep the beauty in the frame without ushering in the ugliness, the cruelty, hate, violence and fear that we’ve come to know, in degrees, as the years stumble over one another. Feeling like a sophist I let the page cool, and I hope I can return to the story with something different. Who knows. Maybe I’ll play Strawberry Shortcake episodes to get me in the mood.

From where I sit now, the world is different. I read an article about how little one can change after they’ve turned 30, and contrary to what the author posits, I can’t even conceive how much I’ve changed in a span of 10 years. Or perhaps I’ve shed layers of skin to reveal what was always there–I can’t decide which. In ten years, I got sober, fell out of faith with a god I once worshipped (I’m spiritual, but no longer believe in a god or the binary confines of heaven and hell), discarded the need for materialistic trappings and unguided ambition, fell in love with my body after struggling with it since childhood (and realizing, much like many women my age, that I was beautiful then–why couldn’t I have seen me then as I see me now?), focused on quality over quantity in all aspects of my life, took comfort in the fact that while I don’t want to be a mother in the traditional sense of the word, I find I can be maternal in other ways, softened my view of my mother, which went from a deep, voracious hate to a sorrow, a certain kind of sadness. A few other things I’ve learned (ack! I’m entering the list terrority, something I’ve long admonished, but whatever, I’m riding on a sugar high from eating copious amounts of homemade fruit bars):

1. You start to remember everything you’ve read: When I was at Columbia getting my Master’s, I took a class, “Poets on Poets,” and I can’t tell you how intimidating it was to hear professors and guest lecturers quote other writers and their works as if it were nothing, as if the knowledge were simply stored in this imaginary memory bank set loose onto the world when deemed necessary. My feelings of awe soon shifted to annoyance over what I thought to be pretension. Rolling my eyes I thought, if someone quotes Susan Sontag one more fucking time, until I became the person who reads and quotes from Susan Sontag and Joan Didion. I’ve read countless books, but as I grow older I realize that some of them have lingered, left their indelible mark, and I find myself quietly returning to them to ferret out new meaning. It’s sort of like going back to the familiar and taking comfort that this is a place you’ve navigated before. And I’ve got just the Susan Sontag quote for this, people!!!

In all of this, I am assuming a certain idea of literature, of a very exalted kind. I’m using the word “writer” to mean someone who creates, or tries to create, literature. And by “literature” I mean — again, very crude definition — books that will really last, books that will be read a hundred years from now.

2. Not everyone will love or like you, and this is okay: Years back, a slew of catty book bloggers wrote some very unkind words about me online and I was DEVASTATED. This was before the advent of GOMI and other forums where people talk smack about other people–this was 2006 and I remember my face getting hot and how I cried about people who were so fucking mean. I wanted so desperately to be popular, to be liked, and the fact that there were people in this world who think I’m shit was hard to deal with. Now I don’t care. Admittedly, I’m a hard person to know and I’m flawed, but what matters to me are how I, and those whom I respect and love, feel about me. Everything else is superfluous, peripheral noise that I tune out.

That’s not to say that I don’t listen to criticism or constructive feedback. One has to in order to grow as a person and artist, and if someone cares enough to give me feedback in a way that’s meant to take me to a better place, I think, why not listen? It’s always worth listening to, and identifying what part (s) of, feedback resonate. I had a mentor, whom I adore, who would always pull me into his office to give me feedback on how I was managing staff. He once told me that I wore my emotions on my sleeve entirely too much, and a good leader has to be like a parent–almost always calm, always in solutions mode–and this shit was hard to hear. I was defensive and kind of bitchy, but then I realized that this person didn’t have to take the time out of his day to make me a better leader. And when I refined certain aspects of my character did I find that he was right. Sometimes you need to hear hard truths in order to become better, smarter, stronger.

3. I don’t have FOMO because I’d almost always rather be at home: This coming from someone who was once known as the “mayor”! I threw grand parties, attended them, was always double-booked, and grew miserable as a result. I didn’t realize I was an introvert living an extrovert lifestyle, and I’d often get wasted just to get through making the rounds at a party or I existed in a perpetual state of exhaustion. As I grew older I realized I didn’t need to be everywhere and do everything. I needed to have quality moments with people I admire, respect and love. Which leads me to…

4. I have a circle of ten and that’s about it: Chalk it up to unpopularity all throughout high school, but I used to be consumed with having SO.MANY.FRIENDS. Now I don’t have the time or energy for volume. I have a solid crew of less than ten friends for whom I’d lay down my life. These are a mix of women I’ve known for the greater part of my adult life–friends who saw me through addiction and relapse and knew me when I was a lesser person but stuck around because they saw the potential for me to change–and women with whom I’ve gotten incredibly close in the past few years. And while I may not see most of them as often as I’d like (some are mothers, one lives in Connecticut), when I do see them it’s as if we’ve picked up the conversation exactly where we’d left off.

My friends are strong, brilliant, beautiful, remarkable, tough, and don’t necessarily hold my social, economic and political views. Over the years I’ve learned about the importance of being taught by others. I’ve a close friend who’s a staunch Republican, and while it’s challenging to know that we don’t share the same opinions on how we want this country run, I’ve learned a great deal from her: how it’s important to understand your opponent and not simply ignore them, how we have to find some common ground if we want change. That there is some truth to what we both believe in, and it’s about how we can meld those truths into the greater good.

What I’ve also learned? I’ve become suspicious of women who don’t have long-term close girlfriends. I’ve also learned that it’s okay to have quarterly friends–people whom I like and admire, but I don’t have to see them every day.

5. I’ve been more socially active than I’ve ever been in my life: In college, we were told that we were the apathetic generation. Gen X didn’t care about anything. We were a-political, fatalistic. And for many years I didn’t care about geopolitics and didn’t advocate as loudly as I could have for the things I believe in. Now, all of it matters more than it ever did. Now, I can’t shut up about feminism, gay rights, racism, the fact that the U.S. isn’t morally superior because we apparently have no qualms about raping and murdering our own citizens. Now, I can’t stop reading about the politics in other countries. I can’t stop finding new sources to read. After Ferguson, I realized how “white” my news was, and I made it a point to find different sources. I made a point to be uncomfortably comfortable, which leads me to…

6. Travel is a huge part of my life: There are people who have the means to travel but don’t even have a passport and I don’t understand it. It’s as if the U.S. is enough. And it’s not, at all. It was only through traveling the world did I begin to see it differently. I’d been exposed to cultures I read about through the veil of an Anglo-Saxon or Americanized point of view. I’ve traveled to countries that aren’t necessarily “safe.” I’ve stood in streets watching anti-American rallies. You learn through context, and I feel as if I have a more complex view of America from having traveled outside of it. This year I went to Korea, Thailand, India, Spain, Ireland, and I have so much to see, so many places to go.

7. I let shit go: This is hard for a type-A control freak, but there are just some people, situations and events I’ll never be able to change and I have to accept that. I have to make a certain kind of peace with so much that exists beyond my reach. But this has taken an extraordinary amount of time and self-reflection. It’s only until recently that I’ve let go of the fact that I spent nearly four years of my life working for a man I didn’t like much less respect. Now, I try to learn from the things I can’t control. That, I think, is the greatest change I’ve seen in my life–that it’s imperative that I not stop learning. That I not be complacent. That I not simply exist to be constantly comfortable. That I not be changeless. That I not be open to change. That I not be receptive to criticism.

It never is what you want it to be, and that’s okay. It can be something else entirely.

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This is the thing I hate about lists–they never fully encapsulate the whole of everything, or any one thing. However, if I look at the woman I was at 16, 18, 21, and now, I can say that I’m calmer, quieter, kinder, and less insecure. The threadline through all of the years, I realized yesterday, is my writing. I’ve spent the greater part of this year wondering what it is I plan on doing with my life, and then it occurred to me that I only want to write. The writing can take different shape and form, but it’s the only thing that gives me shelter. It’s the one thing to which I can return and it never fails to challenge or excite me.

So maybe that’s what I’ve learned at 39, the year before I turn 40? I want to write, always.

the price of being able to see

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On the side of a hill a sprinkling of leaves./Washes the grave with silvery tears./A soldier cleans and polishes a gun./Sleeps unaware of the clarion call. –Simon & Garfunkel’s “Scarborough Fair / Canticle”

When I was five my mother took me to the theater to see The Shining. All I could remember was the blood that was a river and a child screaming REDRUM. When I was eight I pumped on the swings with a girl called Tangerine, and later that night I asked my mother about something I’d seen. Earlier in the day the police cleared the park because of a woman on the ground. Men covered her body with a sheet and took her away. I wanted to know about the woman, about the cold body that lie on the ground. She was probably a junkie, my mother said through a faceful of smoke. When I was ten I crept at the foot of my mother’s door because I’d heard her wailing; I’d heard her head bang against a wall. I thought it was Danny all over again–another man beating a woman because he could–but when I opened the door to her bedroom a crack, a hair, I could see her and my stepfather curled up in a cocoon. Later I asked about what she’d done and she snapped, did I want to get pregnant like all the other degenerates up and down the block? Sex was a death sentence–it would ruin all that she had planned for me. And she had plans. I wasn’t like the others, she’d said. I wouldn’t grow into a woman drinking out of brown paper bags, a woman who said ain’t instead of aren’t.

For as long as I could remember I was able to write and read. I suppose I owe her that–her knowledge that books were a way in and writing was a way out. Even now, even after all this time, I need prose in order to see.

When I was small my mother would tell me stories about knives and black magic. She’d play her records, a mix of rock and roll and soul, and I’d lay down next to her, curl up close. I remember burying my face into the thicket that was her hair. My mother was a forest I wanted to get lost in. She told me she grew up in a home and she had to protect herself. However, as I grew older, I realized that my mother had an abusive relationship with the truth–you never knew which stories were true and which were of her own invention. A born revisionist, she recounted stories altered with each retelling, and all the stories came with some sort of truth. Never cry, never be vulnerable, always hurt before you are wounded–her axioms lingered, and I would spend much of my adult life unlearning what I had been taught. Even now I struggle with being vulnerable. When I relapsed last year, I didn’t call my closest friend–I sent her a g-chat because the thought of getting on the phone with her seemed like a line I couldn’t yet cross. The idea of breaking down into tears was unimaginable. I’m getting better at letting people all the way in, but it’s been a tough journey.

One of my mother’s favorite songs was “Scarborough Fair,” a song whose origins were rooted in the belief that love is impossible, that one had to go through extreme lengths to prove their devotion. She’d play the song, lifting the needle of the record player and setting it down again, and I’d close my eyes, drift into sleep as my mother told me that all of this was important. That it was imperative that I see the world for what it is. You can’t afford to be blind, she said once. I couldn’t afford to be a child.

By the time I was twelve I’d seen people die, overdose, fuck, pummel, beat, drink, smoke joints, shoot up. I saw countless films about the cruelty of men and bore witness to the cold revenge my mother inflicted when you crossed her. I stood guard while she stole money from a delicatessen safe, right after they let her go. I watched her jealousy of me. When I bought Lisa Frank stickers with my allowance money, she’d buy bigger books and stickers for her own collection. They were always perfectly arranged, and I’d spend weekends trying to mimic her precision. I watched her envy my youth, education (she never set foot on my college campus), and my writing. She told me that she was a writer too, but I never saw anything she’d written. But I saw her steal my journals and handwritten stories and read them. I saw her quietly watch me win awards and accolades for stories I wrote about the life we’d lived, stories that sometimes made her look like a monster.

Over a telephone line, a few years after my book had been published, I told my mother she’d stolen my childhood from me. She spent the better part of every conversation asking if she could see me, if I would meet her teenaged daughter. She spoke of our mutual drug addictions as if they were badges of honor instead of crosses to bear, and she didn’t understand why I didn’t love her because the past was past, and couldn’t I simply forgive her? You stole my childhood from me.

I have to tell you that I had hope. I did. I’d hope that all the years had changed her, that I could undo everything I’d felt about her in my first book, but she only became a barnacle from which I wanted to be excised. I spent so many years doing the work, repairing the damage I had done to myself and those whom I loved, and she remained changeless. She had a man and a new daughter and she sometimes worked in a local school. She will forever be my first and only true hurt.

Sometimes I wonder what all of this sight cost me. I read an article once that relayed that some of the finest writers (not all, but most) are broken people trying to knit themselves back together again. Childhood trauma, loss, pain occurs before they’re able to put words to it, logically process it, and this damage alters them somehow. This damage, which may have been resolved by faith, therapy, love or medication, imbues their work with a sight just beyond their reach. And the work is writing our way to, around, above, under and through that place.

I turn 39 this week and I have this gift and this loss, and they weigh on my hands. So I find myself staring from one to the other. One to the other. Always, one to the other.

The photo above is one of the last ones I took of my mother. It occurs to me now that I somehow predicted her leaving by photographing it, because some time after this photo was taken she would later leave my father and I in this car, wearing this jacket. Her face, always obscured. A figure just beyond my reach.

on turning 39 next week, on loss, love and all of it

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What cracks had he left in their hearts? Did they love less now and settle for less in return, as they held onto parts of themselves they did not want to give and lose again? Or–and he wished this–did they love more fully because they had survived pain, so no longer feared it? ― Andre Dubus, Dancing After Hours

There was a moment last week when I looked away from my reflection in the mirror and wondered if I should get Botox. Me, an anti-botulism crusader, getting garbage injected into my face? Suffice it to say, it was a low moment and one that passed as swiftly as it arrived.

our last day I stroke a child’s hair. The blondness of it, the fineness of it, the mess of it, disturbs me, and I ask myself as I’ve asked myself countless times before, do I want this? Would it be possible to go at it alone? The child’s head is small, fragile in my hands, and I tacitly acknowledge that this isn’t what I want. I can’t imagine a life other than my own taking shelter inside this body. And I think about the time when I lost Sophie, when my grief was as large as an ocean, and everyone not understanding the depth of my loss and how I nearly drowned from the undertow. They said, I’m so sorry for your loss in the same breath as asking me for a favor. Can I connect them with someone in my network? Could they pick my brain with their scalpel and surgical tools? Imagine if you lost your seven-year-old child? Imagine if your child died in your hands? Their last breath lumbering out as you wondered whether you had been kind, whether you had done everything that there was to do. You think this is why you can’t have children because you’d find ways to kill them. You can’t remember a time when you were a child, when your job wasn’t to parent, to mother, to carry a woman down six flights of stairs to an awaiting taxi, to recite the address of Maimonides Hospital because you knew it by heart, because you made this trip countless times before. You completed the forms because your mother’s hands couldn’t stop shaking and watched The Late Show on the television that hung overhead while people bled, slept and moaned in the waiting room. You wondered if they’d ever get around to painting the walls. You wondered how long this time. Could she do this for you? Would she? You calculated the time from now until you’d have to carry her again, and as an adult you’d read about The Ouroboros and wondered if this myth was simply a retelling of your childhood with a serpent thrown in for good measure. Replace the snake with a child and you’ll see what happens when a child is forced to an extreme–to feed itself, care for itself, endure itself, waste itself, consume itself in order to inch through another day.

No, no children for me.

Let’s talk about a cat who was breathing and a cat who stopped breathing, and how you now exist in the silences after that loss? You now exist in the space after the body has been wrapped like a little package and delivered to an incinerator. Your father, not your real one, once tells you that when he dies he wants to be burned. None of this below the ground business with worms in his eyes. Spread me out in the water, he urges, and you nod and take note of a time when you’ll have to endure another burning. Let me ask you this: wouldn’t you take me by the neck–just so that I can feel what it’s like to watch a final rise and fall of a small chest–if I mapped out an appropriate timetable for your grief? I spend time and money on weddings and baby showers I’ve no interest in attending, and not one of these people helped shoulder my grief or sent a card or a gift when a new cat, my child, entered my home.

When you get older, you start to see people as they really are and this sometimes breaks your heart.

Parsnips, beets, zucchini, kale, greens, cabbage, carrots–I write these words down in the middle of a day that rains to remind myself of what I’ve eaten because I tend to forget things if they aren’t written down. But I never forget cat food, toys or vet visits. I tell myself that this time with Felix I’ll be good. I won’t slip. I’ll do everything I can to avoid a sky burial. I’ll do everything I can to not sit in another hospital where I have to deliberate my options, where I have to sign here, here and also, there.

Can I pause and tell you that having lost Sophie still breaks my fucking heart? Makes me cry on cue even now, even after all this time?

motherOccasionally someone will inquire, with a mixture of fear and curiosity, whether I want children. I’ve still got time, they think. I respond that I wasn’t built for bearing. I’ve already raised a child who gave birth to another child, a half-sister, and I never received a card or a word of thanks for sacrificing my childhood for her adulthood. Funny how time sorts things.

In December it rains constantly and I fear that I’ve become the kind of writer who’s good at blog posts and corporate narratives and little else. I worry that what I’ll leave behind is a book about The Ouroboros that was my life, a story I can’t even read without wincing. A story, I realize now, I wrote too young. Had I written that story now, it would have been a landscape painted grey, solemn and quiet. I would’ve been careful with my words; I would’ve laid down a blanket over my rage.

You had a friend once and she drank as much as you did and then some. She wrote beautiful, dark stories–the kind you always wish you could write, stories published in The New Yorker and then by Knopf. The stories are delicate and breakable, and this puts you to thinking that you’re only able to write about people who do the breaking, people who are broken. You can never write about that space between the two–not yet broken but not whole, complete–when the characters are simple, tragic and beautiful.

But when you were both drunk, going one for one until you both saw black, you don’t think about the stories you could or could not write. You’re the story and you’re tragic and simple and perhaps beautiful, but you’ll never know this. You’ll only realize it when someone else writes about it, and you read a story with a hint of nostalgia, the this person sounds familiar, until you realize that person is you and you’re a character in a story rather than a real person who didn’t have a beautiful life. This is your life. You’re some drunk girl in someone else’s story. They didn’t even get your lines right. And then it occurs to you that the someone who wrote this story was you and you wish that the story hadn’t been written in the first place. But that’s your book, your story, and you deal with it.

Years later, that friend who writes The New Yorker stories will accept your Facebook invitation for friendship even though you were once friends, but this relationship is different, safe, relegated to computer screens instead of bars and men flickering the lights shouting last call. You don’t dare see one another because you can’t bear to be with someone who reminds you that you were the kind of person you want to forget. Remember that time when we were supposed to go to that reading in that famous bar downtown? We met for a bite close to the bar and we ended up splitting two bottles of wine. We left our food cold. Remember when we walked into the bar and it was quiet and we giggled and guffawed and spoke in octaves? Remember when your best friend at the time practically pressed her hand over your mouth because that famous writer was reading, the room was attentive, silent, and couldn’t you see that? No, not really. We left and talked about how the famous writer’s stories weren’t as good as they used to be.

When she accepts your invitation for friendship you’re both sober. She’s on the verge of marriage. You’re not. She’s on the verge of publishing her collection of stories with Knopf. You’re not. Even though her work is good, really good, you wonder this: why didn’t this happen to me? The marriage, the stories, the Knopf, all of it.

When you get older, you sometimes wonder whether this is your life. All of it. You realize it’s nearly impossible to reconcile the woman you used to be and her wants with the person you are with her needs. You selfishly wonder if what you have, who you are, is ever enough.

I read a lot of lists. Apparently it’s the vogue thing to do to compile lists of things you’ve learned in your 20s once you turn 30. As if a number has the propensity to shift your life beyond measure. As if a number has that much power. I try not to be an asshole about it and realize that people need lists to sort out where they are in their lives–they need a demarcation of then and now and what’s happened in the space in between. Their lists are binary in nature, and I can’t argue this too much because I wrote a book that colored in the lines, a story that worshipped at the altar of black and white, and it’s not until I’ve had a few more years did I realize that there’s all this grey I’d been missing. That the delineations are no longer finite. There is no cutoff of what I’ve learned from 30 to 39, rather there’s what I’ve learned from being a kid until now. I need the kid to stay in the picture to understand the adult typing this now.

The lessons in these lists people write, share and nod along with, are no longer definitive and finite, instead they become somewhat obtuse: the loses are palpable; the relationships richer and smaller; the love is deeper and beautiful and dark and all of that; the hellos and goodbyes aren’t what they used to be; the work isn’t what we thought it would be, and sometimes we can’t define what it is that we want but we know exactly what it is that we don’t want; we’re urgent about the things we never considered and calmer about the things that used to make us rage; sometimes we listen to songs we used to love because they temporarily take us back to a place (remember that place!), and then we don’t listen to those songs for long stretches of time because they remind of us of that same place (remember that place…); we scan the updates and holiday cards from people we know or who we’ve come to know and realize that the people we once knew are so different they’re nearly unrecognizable while others continue to surprise us.

at the zoo barTwenty years ago I sat in a cold dorm room and played REM, Pearl Jam and Nirvana. I wore flannels over tight black shirts, and baseball hats. I’d only just started drinking and I liked it. A lot. Maybe too much, but not yet, not yet, give it a decade in time. My mother waitressed in a diner and she was what I came home to for the holidays. I considered iceberg lettuce a vegetable. I ate a lot of pasta. I told everyone who would listen that I wanted to be an investment banker like Gordon Gekko without the prison record. I read American Psycho for the first time and said, I want to write books like that. My best friend and I wandered into the cafeteria drunk during the day while everyone was sober and watching and curious and we didn’t care. We wore flannels and baseball hats and talked about the guys who were in crew. We stirred white spaghetti around on our plates. We dumped the trays on the floor. We didn’t pick them up. I started to create a life that I found in a J.Crew catalog. I left Brooklyn behind. I came home drunk one night and scrawled in black marker on a metal door a note to a girl who left me in a bar in the city. I wrote over and over, how could you leave? I wrote a story that I secretly submitted to the college literary journal and the editor stopped me on the way to the cafeteria and asked me if I’d written this. He had my story folded in his hands. He said, I know you. You take finance classes. The story was about my mother. The magazine was called Ampersand, I think. I wrote it, every word, is it any good? It’s good. He held the paper tight in his hands and shook it, as if the words on the page could possibly explain to him the space between the girl who wanted to be a banker and drank five dollars worth of fifty-cent drafts and the girl who had no idea how to be a woman. He looked at me and then down at the paper trying to reconcile the two, and I remember saying, they’re both me. Back then I didn’t know what I was saying but I do now.

But what do I know? I know more about some things and less about others. I know what it’s like to live a life without anesthesia, without plotting from one drink to the next and I try to share that with others who privately struggle. I know what it’s like to fall in love with your body at 38 and wish you’d had that affection at 24. I know what it’s like to be risky in your life and your writing and how it sometimes hurts to see the words you put down on the page. Yet, there’s so much I don’t know. I don’t know what it’s like to love someone beyond measure. I don’t know if what I’m doing is good enough or just good for right now. I’m not as fluent in Spanish as I used to be. I still play oldsongs but stop them midway. I write blog posts like these that are complete in some ways and incomplete in others.

Maybe this is what I’ve learned: once I think I have the answers, I start asking new questions.

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on writing, mediocrity, and feeling blue

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When I was small, I remember taking a series of tests. I remember sitting next to my mother as the results were read aloud. My math scores were unparalleled; I exhibited deftness in understanding numbers and how to manipulate them. As a child, I’d managed to ferret out the logic within stories that depicted scenarios involving distance and time. On the other hand, my reading comprehension and writing scores were unremarkable. This baffled us because I’d been reading and writing for as long as I’d been alive, and if you asked me now to calculate the tip on a bill divided three ways, I’d reach for my calculator. No one considered the binary nature of these exams, tests that were designed to measure one’s aptitude and predicted the sort of career for which a child might be suited. For years I endured advanced math classes and much of my days amounted to playing with protractors and scientific calculators, while the spaces in between were dominated by books and short stories I’d written on loose-leaf paper.

No one thought to understand that my relationship to words was mathematical. No one imagined that I’d solved these riddles not because I had an affinity for math, but because I was so drawn into the narrative. Out of all the things I could do in this world, writing is the one thing that gives me assurance. I know I’m good at it, and the question is always one of maths. How do I get better? How do I manage the distance between this word here and the better word over there? Because the mark of a good writer is in how they navigate the subtleties, how one could find the combination of words that make others see. How can I make this sentence leaner (subtraction)? How can I make this dialogue operate like a nesting doll, working on multiple levels (multiplication). How can I write about loss in a way that puts your heart on pause (division). And how do I get to all of this in the most efficient way possible (Pythagorean theorem, a2 + b2 = c2, Euclidean geometry).

Writing, for me, has always existed as a combination of exhausting surgery and constant maths. Often I think of an image of a nesting doll because whatever I intend is never what is, and a story of mine always operates on a multitude of planes (multiplication). There exists a difference between writing simply and being simple, and the work, for me, is about how to achieve the cleanest line possible while maintaining this whole textbook of equations.

Last week I read a post on Twitter where someone wrote that there is no good or bad when it comes to writing–there is only the best you can do.

I call bullshit on that.

Not everyone can be a writer, nor should they be. And I’m not talking about the person who pens posts about their outfits or their day, rather I’m speaking about those who don’t have it but fake it and call themselves a writer because it’s the vogue thing to do. Ironically enough, writers have never felt trendy because we’re always the fringe, we’re always told that nothing we ever write sells. People don’t want dark. People don’t want complicated. People spend their whole days dicking around on the internet to avoid thinking at work and when they come home the last thing they want to do is…think. People read cereal boxes and lists and they want their words fed to them. People don’t want advanced maths (hmm, this is middle/high school math of which I’ve written), they want their reconciliations–they want what they are missing.

Hmm, so they want addition?

I don’t care if people call my writing remarkable, incredible, amazing, or any such adjective. Ego strokes and pats on the head don’t interest me. I’m 38. I know I’m good–the question is how do I get to that next place, that next line, that new story. You’re good but you’re too smart, too dark, too obtuse. You make people do all this work.

Fuck you and your dumbed-down version of a life.

Maybe I’m feeling blue because I see so many people who call themselves writers rewarded for mediocrity. The motley lot laud these “writers” for their “brand-building” (look at all her Instagram followers! Imagine all the books she’ll sell!) as opposed to observing the architecture of what’s on their page (or screen, if you’ll have it). I see people who run a blog where they prattle on about just! how! hard! it! is! to photograph their outfits every day and suddenly they put on the hat of marketer, consulting “big brands” on how they can build their brand. I read a post on Facebook where a friend of mine bemoans the fact that her not-so-smart but ambitious assistant is now a Vice President of a company. I scroll Twitter and land on a full-time role as a Director of a Health + Wellness Brand, the first in two years that piques my interest, and then I read the requirements and apparently to be a director you only need four years of experience.

People say, ignore all that! You do you! Keep pushing along! Keep smiling, keep shining, to which I want to respond, Please. Shut. Up. I’m exhausted by all the mediocrity being rewarded when the necessary failures are what have pushed me to achieve. If I was always told that I was great, would have I ever read more, tried harder, revised more? Or would have I been complacent for having achieved a first draft?

I turn 39 this month and I look around and wonder what I’ve really achieved, and whether all of it matters. Does it matter that I’ve written the greatest book I can write to date when people who can’t string together a sentence get multiple book deals? Does it matter that I am offered projects to clean up rookie mistakes made by those who call themselves marketers but don’t have the experience? Does excelling matter when the great lights and applause shine brightest on the feeblest of attempts.

I don’t know. The only solace I have this week are books written by women from whom I can still learn. Women who are artisans with the English language. The blacksmiths of literature, a dying breed.

great friends, great life, but should I be busier?

my friends are kind of awesome.
my friends are kind of awesome.

Sometimes I think about my life and wonder if I’m doing it all wrong. I read articles about how people are so busy!, how their email is a specter that haunts their waking hours. Many wonder if they have can keep up and sustain this hamster wheel of a life. But still they lament over the frantic state that is their calendar (I’m so booked!), and they move through their days much like a somnambulant. Keep moving, keep going, live life in hour increments. Sometimes they check their pulse, look for signs of life, but mostly they’re programmed to say yes; they read articles about how they should network, how their circle should be as wide and deep as an ocean, and I wonder if they ever get lost in all of it, the lack of quiet they’ve been taught to cultivate.

Even though I once played the role of an extrovert in an introvert’s body, even though I used to wince whenever I opened my email at a job that took me four years to hate, sometimes I wonder if there’s something wrong with me for not being so busy (Should I be? Am I not popular, wonders the thirty-eight-year-old), for not being one of the legions who pray for this mythical world where inbox zero exists. I know this world and even when you’re in it you wonder if you should be on the other side.

Years ago I practiced extrovertism as if it were a religion. I published a prestigious literary magazine, I had an enviable job, and my days were filled with get-togethers, where people introduced me to other people who were “good to know.” People who are good to know apparently have the ability to get you to that next place, even if you don’t know what that place is or have its address. But it was important to have those drinks, and all the meals were a blur–so much so that I wanted to bring a pre-recorded tape to dinner and press play for the first twenty minutes until the appetizers arrived. Dinners became LinkedIn excavations with cocktails, where both parties sniffed one another out in an effort to determine the usefulness of the connection. When I was a teenager, my friends and I would make a joke about walking down Sutphin Boulevard in Queens because everyone would scan every inch of you, dissect you with their eyes, in hopes that you had something they wanted, something they could steal. These meals were no different. Always I’d come home drained, yet I’d wake to paste another smile on my face, email more people, and hope that someone, anyone, would invariably get me to that next place. Is that next place on a map? I often wonder.

Back then, drinking was a terrific anaesthetic. It made living a full/empty life easier to bear. I was there, but not really, and you know how it is.

I remember being upset once, about what I can’t quite recall, and I scanned the hundreds of numbers in my phone–all the people whom I was told were good to know–but I couldn’t call any of them. In my darkest hours, I was the owner of a pregnant inbox, was known as a mayor, a connector, but I had no one whom I could call for a good cry. I had everyone but I had no one, and this realization hurt more than you know. I had designed a life focused on the accumulation of the right people, yet I neglected to examine what I had defined as right. Because in the end most of my “friends” couldn’t be bothered to shoulder my hurt–they had their own lives, their own hurt, and more than likely their own friends with whom they could share said hurt. I remember thinking that I had so much pain and I didn’t know where to put it. Where do you put it? In a box? In a container? What size? What happens when the pain spills over? Another box, another container, more tears, more scanning through hundreds of numbers you can’t imagine calling? What then?

It might have been that time, all those years ago, when I took off my mask (I’m not perfect! I have a drinking problem! I hurt too!) and winnowed down my life. I took a scalpel, excised the barnacles and got lean. I sought out the kind of people with whom I could share an uncomfortable silence. I stopped seeing people who made me feel as if I’d undergone surgery for a temporal lobotomy. I removed those who wheedled, were catty and cruel (nothing tastes as good as skinny feels, Felicia). No one would make me feel small. You are what you accept, I’d come to realize, and if I wanted a life that was honest and true, I’d have to make that objective my harvest.

I was reminded of this recently when my dear friend Amber shared this post with me while we were on holiday talking about friendship:

Remember, it’s your job to look for something cool in everyone you meet; it’s not their job to show you. This is life, not a fucking sales convention. Learning to appreciate people you meet is a skill you cultivate. So get on it. This doesn’t mean you have to fall in love with everyone who breathes in your direction. It just means you need to take responsibility for your ability to connect with the people you are meeting.

My world is small, deliberately so. For over a decade, I’ve made it my practice to cultivate a kula (“community” in Sanskrit) of people who nourish and challenge me. These are the people with whom I can be my most unkempt self. These are people who check in on me when I write about being blue. These are people who will sit on my living room floor and talk about everything or nothing. These are the people I’ve come to define as good to know because they’re good for me, my soul. And in that work and devotion, I started to have less time for the superfluous. I no longer tolerated people who reduced me to a link to someone else, who wanted mentoring without giving anything in return, who didn’t value my friendship as something they wished to nurture and cultivate. I was just another obligation, someone good to know, a coffee date ticked off their laundry list, and I began to bow out of anything that exhausted me. If I left a coffee or meal depleted rather than energized I never made plans with that particular person again. If I can’t pass a meal with you, I don’t want to know you. If we don’t walk away mutually inspired, I want no part of the deal. My threshold for bullshit emails is low.

So here I am. I have this rich life, these great group of friends that I’d worked so diligently to cultivate and why do I bemoan an inbox the size of a sonnet? Why do I feel that I should network even if I don’t want to? Part of it is a selfish, base need to be liked–I guess we all have this flaw even when we realize that being universally liked is an impossible, if not strange, pursuit–but part of me feels like an other–a space I’ve occupied for most of my life, someone who skirts the edges of things–but for some reason the quality of my life feels at odds with the velocity of quantity that subsumes me. And while I know it’s okay to not do anything, sometimes I wonder, should I be doing something? Should I schedule that lunch? Should I be out there more? Should I be busy? Should I have more email? Would having more make projects easier to acquire and a book everyone wants to buy? Logically, I know the answer to all of this is no, of course not, but then there’s this quietly beating heart, this small, sometimes insecure, voice, that wonders if what I have is enough?

Why is it that we insist on picking at a wound just as it’s about to heal?

to be back there again.
to be back there again.

changing the channel: I’m a bit done with this “curated life” bullshit

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I’m an addict. If I fall in love with something or someone long enough, I tend to become obsessive to the point where the object of my affection becomes my inevitable ruin. That avocado once craved rots, and the passion I once had for someone becomes a tick, a drone, a dull sustained murmur I’m desperate to snuff out. Over the years I’ve gotten remarkably better at being present and self-aware, in spotting a burgeoning addiction as it starts to harvest and breed, and finding ways to lay my pitchfork down, stop, and change course. It sometimes feels like stopping a hurricane with a paperweight, but it’s in this diligence, this constant observance, that allows me to enjoy small things like chickpeas without becoming fixated on them. (I had to issue a chickpea fatwa, and get off the stuff for two weeks to re-learn how to consume it in moderation, and on it goes).

Some addictions can’t be controlled, and I’ve learned to live a life without certain things (alcohol, drugs), but what I’ve witnessed is this: what I’ve gained from leaving those two afflictions behind is so much greater than the cold comfort I experienced in succumbing to them. Perhaps it’s the difference in understanding that it’s okay to rip off the bandaid and feel that tear, that very immediate hurt, versus inching off the tape. We take a sip of this or a snort of that to ease the pain of the ripping, but it’s only a delay, because in the end there will always be the hurt. It’s just a matter of understanding our timeline of when we’re ready to experience it. Do you want to face or prolong it? These days I take my pain as it comes and breathe through it to get beyond it. I’m ripping all the bandaids off, even on the days when I really, really don’t want to deal with the pain.

There’s a point to all of this, I promise.

Lately, I’ve been feeling adrift in all aspects of my life. I’ve completed a creative project that’s out in the world and I haven’t started something new. I move from business project to business project, and then go through the motions of pitching again. I find recipes to post on this space and then glance at the blog a week later and cringe at it. I feel stuck in a lot of ways, and it occurred to me the other night that this space isn’t exactly what I want it to be. Because, for a while, I became addicted to a thing called traffic. I don’t even know where this came from, but I remember being in Spain, spending hours taking and editing these beautiful photos, finding a way to marry image and type that was purposeful to me, to have people unfollow me on Instagram and scores of people not knocking on this virtual door as often. I was puzzled. I gave so much of myself into something I created and 1. I was basing that worth and art on how many people read it–no bueno 2. Some people really just care more about recipes, and that’s cool.

So much as I’d read articles on growing your reader base and followers (part of my other life is to read such articles), I couldn’t help but feel the advice was pat, mechanical, cold. Someone I clearly wasn’t or couldn’t be. If I see one more carefully composed image of a suggestion of a life (requisite sunglasses, macbook air and monogrammed mug–honestly, is this how you live because my living room table right now is a fucking mess. Exhibit A, below)–I might just torch the joint (kidding).

Yes, I like floss (new addiction in the works). Yes, those are birth control pills (how else am I going to remember to take them if they’re not in front of me?). And yes, that was my morning smoothie. That is my real life, and I’ve come to realize I want to share more of this rather than something cultivated.

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I don’t want to optimize my blog post titles for search. I don’t want to leave comments on other people’s sites simply for the sake that they’ll come to my space; I leave comments because I have something thoughtful to say, although most times I’ll tweet out a post I like or share it on Facebook. I asked myself this: If I never plan on making this space commercial, if I’ll never accept ads or sponsored posts or any of that jazz, why do I care about how many people come to this space? Right? I should care that what I create will resonate with a certain kind of reader and the rest will find other sites to suit their tastes and needs. All of this happened this morning (as that’s when I tend to do a lot of my thinking, or obsessing) after reading this piece. Completely unrelated to the topic at hand, but this remained with me:

But Carol doesn’t dig much for money anymore. Now she is an organizer at the community development institute she helped establish in an old schoolhouse down the road, working to reconnect people in her community, especially young ones, with their place. It’s what she calls the task of “merging people and landscape back together.” She says that central Appalachia has suffered “erosion—the slow leakage of its people,” and wants to find ways for people to reinhabit the mountains. Root digging is one of them. “Where people are trying to live with the land, there’s always a need of interaction with it. Root digging’s a way to train and educate people to quest, ask questions, be aware of their environment, find empowerment.”

I realize my writing doesn’t only color outside of the lines, it’s a whole other fucking coloring book. I’ve never really been popular. I prefer a small, quiet life instead of a large one. I get anxious over compliments, but I’m getting better at accepting them. It took me years to publish my email address on my site, and I still think about deleting it. I guess what I’m saying is that I write and think about the things people sometimes don’t want to talk about, out loud. I wrote a book that can be construed as too dark, which makes me shake my head because my book is about children desperately trying to climb out of the darkness, but the need for us to skirt the dark remains. I write long, sometimes dramatic, posts here because the only way I’m able to make sense of anything in my life is to write about it, sometimes here, mostly privately. There is a need for me to get things down, commit things to paper as it were, and I’m finding that we live in world of TL;DR.

People don’t have time, nor do they often care about reading something long or winded. They don’t want to excavate the mess of a middle; they prefer their posts neat and packaged and pretty.

Well, I’m not pretty. Maybe not in the conventional sense of the word and much like how I had to quit the chickpea nonsense, I’ve stopped being consumed with this need for traffic, of weighing the value of what I create against the volume of people who choose to read it.

Going forward, I’m going to try my best to be Carol, that root-digger, to find ways in which I can merge my life, what I love, and art in a more complicated and interesting way. Practically, this means that I won’t have a recipe and pretty photograph every day — I plan to dial the recipes down to 2 times a week and make them SPECIAL. Other times, you’ll find longer posts here. A merger of type, photographs, and handwritten words related to what’s going on in my life right now. In this way, I’m trying to be braver, bolder, more honest with myself, while challenging myself in my work.

Because I want to be 80 and seeing something new every single day. I want to create until the clock stops ticking. I don’t want to post a pretty picture just for the sake of posting. I want this space to be a record of another kind of art I want to create.

And I hope you’ll stick around for the journey along the way…

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knowledge talks, wisdom listens

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Perhaps it’s done already, perhaps they have said me already, perhaps they have carried me to the threshold of my story, before the door that opens on my story, that would surprise me, if it opens, it will be I, it will be the silence, where I am, I don’t know, I’ll never know, in the silence you don’t know, you must go on, I can’t go on, I’ll go on. – Samuel Beckett

Yesterday, I fell. On the way to the train station I was fixated on reading an article on my phone and then suddenly I could see it–the trip, tumble and collapse–but I could do nothing to stop it. I tumbled a few feet and landed on the ground in the rain. I skinned my palms, my knee ached from the impact and a man helped me up and asked me if I was okay. I laughed and said, that hurt more than I thought it would.

Later on that day I read an article calling food sensitivities a myth, a product of our own psychosomatic invention, and I was angry not because the opinion was blatantly wrong, it was the fact that pretty, popular girls can publish un-researched, un-informed fiction under the guise of journalism and the masses will swarm at their manicured feet. I was angry, still, when a comment I’d posted–something I rarely do, comment on websites–calling into question the lack of research from both sides of the argument, the lack of interviews with trained medical professionals and those who actually struggle with food issues (because should we assume that since our food has been chemically and genetically modified more so in the past 40 years than the past 400 that our bodies would have a reaction of which science has yet to understand, much less concretely diagnose?), was deleted. I was angered over the ignorance and then the silencing. But the world presses on and they sell more branded gloss.

That night during my yoga class, in the dark, I kept thinking about night driving in California. How I hated being in cars at night because you couldn’t see the road ahead of you. But in California I didn’t mind not knowing, instead allowing the road to unravel ahead of me in degrees. I thought about a trip I took to Tacoma, Washington and being in car with a man who’d been drinking, and then drinking wine coolers in Manhasset, and I’m mixing it all up. All the memories are shards I can’t piece together and I’m angry that I can’t remember everything. That part of my life is gone and I won’t again feel what it’s like to be 24 in a car, sleeping while someone drives.

We tell stories in order to live, Joan Didion writes. What if the stories are all mixed up, silenced, deleted, not read, not told?

I met with my nutritionist yesterday and the weight loss slowed because I’d been, knowingly, adding more fat back into my diet. Bacon and candied pecans on salads, extra slices of sausage. I was worried, I said. About time. And I knew Dana wouldn’t understand what I was talking about, I didn’t, because I was acting like every meal was my last when another was three hours away. We tell stories in order to live, but what if time runs out? How could I explain that I worried about the time between now and then? How do I tell that story?

I met with an old friend and we talk about the business of books and I tell him I’m done with all of those people, all of that, and he shakes his head. Those people don’t matter. That history doesn’t matter. This thing about your introversion, he starts, and I talk over him, a thing I now rarely do, about how I was telling real stories on this space, on all the spaces I occupy, and he alluded to the fact that my letting people in isn’t a singular event. I have to to continue to leave the door open, even if it’s a crack. I have to keep telling stories, honest ones. I added my email to my About page, and you may think it’s not much but it’s huge, HUGE, for me. That’s the door opening, a little.

There are a lot of stories and I want to tell them but I don’t know. About how I don’t know what’s next and that’s okay but not okay. About how I have this book that I love this much but what if no one buys it, and I know I’m not supposed to wrap up my worth in the business of books but knowing something and feeling something are two different things. About how hard it is to be present because when you’re not present you fall on the ground. About letting my anger go when I see silly articles written or just how many men hate women in this world for no reason. About being young and not loving it then when I was in it and making it all pretty and romantic now when I’ve traveled oceans away from it. About hearing people who are 30 complain about being old when all I want to do is stop the clocks and go back and get a do-over because maybe I would have done things differently.

We tell stories in order to live, and I realize I write and eat and sometimes live like time is running out.

I take this picture of me in yoga class and I immediately dissect everything that is wrong anatomically with the pose. I think about the ten pounds I’ve left to lose. I show this photograph to my yoga teacher and he smiles and doesn’t see everything I do. He says, you look strong.

I think about being awake in the car. I think about driving it.