Posted on October 1, 2015
Lately I feel like a child forever pointing at things, asking, what’s that? My agent replies to an email I’d sent him regarding my next project, saying something to the effect of, good to know you’re working on something cheerful! To which I respond, when have you ever known me to be attracted to the sweet story, the happy ending? When will I ever be attracted to something not in a state of disrepair? I tend to fall in love with things (and people) that are a perpetual state of dressing their wounds.
I believe that all ideas are in the ether waiting to be snatched up, obsessed over, developed. And once you arrive at the thing that puts your heart on pause, you start to notice all the nearly phosphorescent signs pointing to it.
Over the past few months, I’ve been reading a series of articles about touched houses. I’ve a predilection for the macabre; I’m the sort who will watch surgeries on television with considerable interest. I spend most of the early hours of the morning reading, and I paused on those two particular articles with more than a passing interest. I even thought–imagine if I wrote a novel about a house. A present day Shining. The Shining is the first movie I remember seeing as a child, and to say that it’s left an indelible mark would be an understatement. I’ve watched the film more times that I’d like to admit, and I’ll see a monsoon of blood spilling out of elevators, painting the walls claret. I’ll incant T.S. Eliot’s The Burial of the Dead from “The Wasteland” like prayer. I’ll see a man pretend to a boy bouncing a ball off the walls, feeling haunted by what’s come before, the massacre of American Indians who once inhabited the land.
A house is a home is a house, and this is a place to which one seeks refuge. But what if your home isn’t safe? What if your home is a man-made prison, a place where madness breeds? I’ve always been curious about that which is contained (or confined) within four walls and a roof.
I read those two articles, paused briefly, and moved on.
You write out your obsession, what takes hold of you, until you’ve exorcised the thing that threatens to put your heart on pause. I’m being dramatic for effect, but writers tend to be obsessed with the stories that find them, and it is through the act of writing, of transcribing experience to type, that one is free to part ways with that which has arrested them.
Ta-Nehisi Coates talks about writing as an act of continual failure. You have this brilliant idea–you can practically hear the music in your head–but when you sit down to translate it, what you have in your head never magically appears on paper. (I mean, unless you’re Nabokov) The work is in that realization and the perseverance that comes to revision, the hope that the idea that seized you will someday makes its way on paper as close to the way you’d seen it.
I finished Elizabeth Gilbert’s Big Magic and loved it. I was dazed for days.
Living in Los Angeles forces you to learn an entirely new vocabulary. The tentacle arms of the cactus; mountain dandelions and lemon bottlebrush trees–species of flowers and trees previously unknown now an assault. The shape of houses and land feel unnavigable. I discovered that I’m interested in learning more about my adopted home. I bought a stack of books on Los Angeles architecture and history (including: Southern California: An Island on the Land, California: A History, Houses of Los Angeles, 1920-1935, Los Angeles Residential Architecture: Modernism Meets Eclecticism, Death Scenes: A Homicide Detective’s Scrapbook, among many others), and found myself drawn to novels where California is a character. I met up with an old friend, and he had a book about the making of The Shining on his desk. I gasped, and he was kind enough to lend me the book for as long as I need it. He told me about the You Must Remember This podcast, and then I found the No Sleep podcast.
I recognized this feeling, a seizing, an obsession mounting.
I found a new story. I wrote my first page, and then retreated.
Imagine two stories converging. A gruesome murder from the 1950s juxtaposed with the story of a man who specializes in appraising/selling disaster properties forced to live in one of the homes he tries to sell after having lost his job. He moves into this home and slowly begins to unravel. He becomes paranoid, irrational, convinced that he’s being spoken to. Instructed.
This idea excites me for a number of reasons:
1. A new landscape–I’ve a desire to learn as much as I can about Los Angeles (art, history, architecture) so I can cogently write about it. The feeling that Los Angeles is a terrain I’m obsessed to navigate.
2. Writing from the male point-of-view. Although I’ve a central male character in my second novel, women in my books tend to drive the story. However, writing as two disparate, brilliant mad men, thrills me.
3. Attempting to write a story that is fairly linear. Although I’ve dueling narratives (1959/Present), the novel will follow a linear time arc. And anyone who knows me or at least has had a conversation with me knows that it’s nearly IMPOSSIBLE for me to follow a straight line. It’s as if I’m not able to understand the natural progression of time. The structure will likely pose the greatest challenge–one I’m anxious to meet.
4. Writing a ghost story. What I love about The Shining, Rosemary’s Baby, and the like is the fact that the stories are extremely realistic in its rendering and the supernatural events could be construed as real or madness–one can never really tell. I like this ambiguity, a lot, and I love the idea of making people wonder if these events are truly rooted in the supernatural or in a man’s psychological unraveling.
Being here has thrown open all the windows and doors, and I can’t wait for what’s next.
Posted on May 20, 2015
What happened to listening and engaging with people? What happened to “how are you?” I remember when people used to complain about people tweeting what they had for breakfast. Perhaps they still do complain. That never bothered me though. At least their breakfast didn’t want something from me. —Annie of Ethical Thinker
I don’t want new friends. That may strike you as a bit cold, but it’s honest. I’ve spent the great deal of my life focused on personal velocity, acceleration, volume and quantity, and I’m at a place where I have what I need. I want for nothing more. Years ago I took a workshop taught by Nathan Englander, and during office hours he would sit with two copies of my short story. One version was clean and the other was a massacre of red ink. Over time he taught me to be economic with my writing–how to find one word that could do the work of three. Make the line work harder, he taught, and I’ve since applied this axiom to all aspects of my life. I’m surgical about the people who inhabit my life and I’ve no desire to pander or please the smart set, or be “famous” or “popular.” And while I realize that one can’t live in complete solitude (especially as I plan to move to the unfamiliar), I plan to befriend a few rather than entertain the masses. I don’t mind traveling or being alone; I prefer my own company. I’ve had all the fanfare and confetti in my 20s. Now, I crave the minimal and the quiet.
Some might find this intimidating while I view it as a means of keeping myself honest.
Over the past year I’ve started to feel the tension that comes with more people discovering your work. I wrote some pieces that garnered a modicum of attention and I started to feel noise occupying previously empty spaces. I received demands of friendship and attention from strangers. I received a deluge of requests: Can you read/edit/help me publish this? Can you help me with this? Can you link to this? Can you promote this? Can you do this? Can you meet me for this? Can you connect me to this? Socially, we’ve been conditioned to help, to give away pieces of ourselves in service to others at the expense of ourselves. If I say refuse, I’m the “bad guy”, but no one ever considers that the invasion of one’s life and time as inappropriate social behavior. I don’t exist to service strangers.
Putting myself out into the world has allowed me to meet some truly wonderful and courageous people. I’ve made great acquaintances around the globe, have found online spaces where I want to spend time, and I’ve exposed myself to cultures and ways of thinking I never would have otherwise encountered. I’m grateful for this. Yet I sometimes feel that the noise–the persistent clamour, the questions, the look at me!–subsumes the beauty I’ve accumulated. A handful of people have come here for insightful, passionate discussion while others leave links in hopes that people here will go elsewhere. People don’t read, they skim. People don’t connect at a visceral level, they self-promote. People tell me this writing intimidates them without having to do any of the work to move past their discomfort. People feel as if they are entitled to access to my life, time, and contacts, simply because I publish words on this space. People (even friends) feel as if they can give me unsolicited advice even when I haven’t asked for it or needed it. People often listen as a means for waiting for their turn to speak (or type, as it were). People add my email address to mailing and press lists even when I emphatically state that I do not want to be pitched or contacted for promotional/commercial purposes (I thought you might be interested in…you thought wrong). I want to forge real, meaningful friendships. Have honest conversations. Love, and be loved, deeply.
Within the next few months I have to make decisions. I’m uprooting my life (and cat) and moving west. I’m starting another book and editing a second one without any guarantee that anyone will read my work. I have to figure out a work structure that will help me pay the bills. I have to learn how to drive a car. I have to say goodbye to people whom I love. I’ve a lot to navigate and I need my world quiet.
I may not be making the right decision in shuttering comments here (temporarily) but I’m doing my best to quell the noise.
Posted on April 21, 2015
When I was small I used to watch my mother knit; her thin fingers mastered the tango between two needles as they warred to create a scarf, shawl or blanket. For years I took up mimicry like a kind of cross-stitch, but I failed because the complexity of patterns and needlework subsumed me; the chink of cool metal forever eluded me. Here I was, a child composing haikus likening my mother’s voice to thunder, yet I couldn’t thread a needle. My thread always grazed the eye but never dared plunge through it. And I worried about this. A lot. If I couldn’t conjoin cheap yarn how could I possibly tell stories? How could I step into a world and inhabit it so completely? Words belong to one another, and a writer’s job is to sit amongst spools of thread and weave. Their work lies in creating tapestry, silent symphonies.
I think about the movie, Heat, specifically the “face-to-face” scene between Al Pacino and Robert De Niro.
These are two men who are what they go after. Two men who don’t know any other work than the work in which they do; their life is their work, no going back. And although the work is risky–it’s like risk versus reward, baby–the action is the juice. The work, the life, is the reward. Even in moments that feel like plague, when the ground gives way and the fall seems infinite, bottomless, we press on. We carry the weight of the dark on our backs in the journey into the light because all of it, the depth of it, the darkness of it, is worth the stretch.
We try to see in the dark; we toss up our questions and they catch in the trees. —Anne Dillard
A WRITER? Why do you want to be a writer? Writers don’t make any money, said a woman to me once. I remember the way she said writer, as if it were tinged, sullied, a word not worthy of the letters that comprise it. Maybe she thought herself as someone who could wash the stink off me, scrape away at the plaque that had begun to harvest its way into my heart. Because finance will make you clean again. This woman was a managing director at Morgan Stanley and I sat in her office discussing my resignation. I’d just been awarded admission to a fancy writing program and I was jubilant. My work until then had become a blanket intent on smothering me, and all I wanted to do was fucking breathe. For a time I relegated writing to a hobby state while I managed the serious work, my vocation, off to the side. Because I was an adult now. I had student loans now. I had an apartment now. I had a bone-crushing subway commute now. I had my mid-day Starbucks run now. I had happy hour now where everyone was on the road to ruin, night drinking until they saw black, now. I had to wake up now. I had to Monday moan now. I had to do this all over again now. I had to measure my own grave now.
The days had become repeats of themselves with minor variations.
I go through this a lot–trying to deny writing as something serious and true in favor of the work over there. And I always, invariably, come up short. I always end up working myself into a place of despair because while I’m good at what I do–marketing, projections, budgets, brand positioning and planning–it’s not the only thing I’m meant to do.
What I’m meant to do is write. Plain and simple. Although, in reality, not so plain and definitely not so simple, but give me a minute with this.
Over the weekend I read a book in one sitting, an exposition off of a widely-read essay, “The Crossroads of Should and Must”. I remember reading the essay with a considerable amount of interest and passing it along to my friends. I remember being inspired by Elle Luna’s words but untouched. Perhaps I wasn’t primed for confrontation because I was still sorting out the nuances of this freelance life, but now, right now, I’m ready to drive my car off the road.
I’m good at compartmentalizing things, brilliant even. When I resigned from my last job I talked a lot about having room for all my children to play in the proverbial sandbox, that none of them would be considered changelings. That I could practice my writing in one space, my affection for food in another, and finally, the marketing–the bill-paying stuff–in another silo, far over there. Never once did I consider how I could merge the three. How I could seamlessly move from one state of play to another and even imbue my life with play! IMAGINE THAT! Never did I think that three simple children could morph into one complex child.
Never did I realize that I’m now in the midst of my own needlework.
Over the past few months I’ve been thinking about my life. That might sound dramatic and it probably is, but when you’re inching your way toward 40 and you’re still in student loan and credit card debt maybe it’s a good idea to take a step back and take stock. I did the 8,760 hour mind map. I read a slew of books. I got angry all over again about shit blogger books getting published while I’m told my strange, beautiful writing will never find a large home (fuck this and the horse you rode in on). I thought about my move to California and the role a foreign place would have in the grand scheme of things (more alone time, more space and less distractions). And after all this noise and mess and thinking (all that yarn!) I asked myself a really simple question:
What brings me joy?
I started to look at everything I did over the course of the day and I realized that my joy lies in writing. Whether I’m working on a brand voice guide or a blog post or a short story, the art of weaving words together challenges and excites me. The art of reading and constantly absorbing information so that I can keep the knife sharp as it were, feels like home.
Writing is home to me.
It’s taken me 39 years of denial to admit that I have to put writing front and center. I have to design a career, a life, around my ability to take up wordsmithing like cross stitch. And I’ve finally landed on an idea that I’ve been sharing with friends over the past few weeks–a consultancy focused on storytelling.
Now, this isn’t about creating content or some other bullshit reductive term that looks fancy on LinkedIN or gets you penning articles for trade publications–as you know I don’t care about exposure or popularity. By default, I’m unpopular and far from mass market. What I’m talking about is the ability to hire me (and down the road, others) to help you create a world or tell stories. From product naming to brand architecture to helping you write your book, I want to be able to practice what I love, what I must do, EVERY. SINGLE. DAY. Will I fail? Probably. Will I get to connect with talented artists? Absolutely. Will I get better at what I do? You better believe it. Will it take the sting and weight off of having difficulty publishing my own experimental fiction? For the love of god, yes. Will I freak out? Probably once a day, on a good day.
But it’s like risk versus reward, baby.
Yes, she thought, laying down her brush in extreme fatigues, I have had my vision. ― Virginia Woolf, To the Lighthouse
I’ll unveil the official name + all the fireworks in the coming weeks, but for now know that I’ve set down my brush, as Lily Briscoe once did.
Know that I’ve found my vision.
Posted on April 15, 2015
There are two paths in life: Should and Must. We arrive at this crossroads over and over again. And each time, we get to choose.Should is how others want us to show up in the world — how we’re supposed to think, what we ought to say, what we should or shouldn’t do. When we choose Should the journey is smooth, the risk is small. Must is different. Must is who we are, what we believe, and what we do when we are alone with our truest, most authentic self. It’s our instincts, our cravings and longings, the things and places and ideas we burn for, the intuition that swells up from somewhere deep inside of us. Must is what happens when we stop conforming to other people’s ideals and start connecting to our own. –Elle Luna’s “When You’re at the Crossroads of Should and Must”
Rarely will you hear me talk about the usefulness of Facebook. I have a presence on the platform simply as a means to keep in touch with friends who don’t understand social media or have an inclination to use it. These are friends with whom I went to college or people in my world who don’t “get” blogs, and they rarely have the time to read mine. Strangely, I like this sort of disconnected connection; I enjoy being a voyeur in lives demonstrably different than my own. On any given day, I’ll scroll through engagement photos, pet pictures (brief parenthetical: my friends have excellent taste in furry, and not so furry, creatures), literary, social and political diatribes, where a battle of wits and words are common–but it’s a passive connection, and I walk away from the platform much as I entered it, undisturbed.
However, something recently put my heart on pause. I was reminded by Facebook’s fancy algorithm of a post I shared a year ago, and it put me to thinking about the way in which the meaning of words have the capacity to change based on when you encounter them. The word is the word, really, but its meaning changes form at varying points in our lives.
Well, let’s see. After you decide that I’m depressed, or whatever, you’ll put me on meds, right? Well I know hundreds of people on them and they’re all doing just fine. Really. I’ll go back to work on my new anti-depressants, have dinner with my parents and persuade them I’m back to being the normal one who never gives them any trouble. And one day some guy will ask me to marry him. He’ll be nice enough. That’ll make my parents very happy. The first year we’ll make love all the time, and in the second and third less and less. But just as we’re getting sick of each other, I’ll get pregnant. Taking care of kids, holding onto jobs, paying mortgages, It’ll keep us on an even keel for a while. Then about ten years into it he’ll have an affair because I’m too busy and I’m too tired. And I’ll find out. I’ll threaten to kill him, his mistress… myself. We’ll get past it. A few years later he’ll have another one. This time I’m just going to pretend that I don’t know because somehow kicking up a fuss just doesn’t seem worth the trouble this time. And I’ll live out the rest of my days sometimes wishing my kids could have the life that I never had. Other times secretly pleased they’re turning into repeats of me. I’m fine. Really.–Veronika Decides to Die (film adaptation of Paulo Coehlo’s novel)
Ours was a generation taught to draw an outline and spend the rest of our lives coloring in the lines. Our dream was a photocopy of a bland original with little variation, and we lived under the illusion that we had choice. Choice was really a series of selections within the confined space of how we would define our lives. College. Career. Marriage. House. Children. After a time, we realize we’ve boxed ourselves in, and the dreams we once fastidiously pursued have become internal prisons. Because what happens when you’re 40 and you haven’t found the great love? What happens when your womb doesn’t ache to be filled? What happens when you’ve been sitting in this one chair in front of another chair for the whole of your life, and you wake up one morning and decide instead that you want a view. You think maybe you want to hurl the chair out the window. What then?
Have you failed because you didn’t follow the plan and achieve your dream? Or maybe you had the wrong dream all along and you didn’t know it. Or perhaps you wanted something different but felt pressure to conform to what you should do, what is logical, what makes sense.
I’ll tell you the dream I had when I was 19. I was going to graduate college with honors (I did); work in an investment bank (I did); marry by the time I was 30 (oops); buy a house, but not in Long Island (still renting); have a child, possibly two, please not a girl (oops, again); press play, repeat and watch my children do the same (not likely). Never once in the narrative did I ask myself what kind of person I wanted to be. Never once had I considered there was nobility in living a life of your own design and making. Never once did I allow for a deviation, a margin of error. What I’d written down were facts and my job was to architect a roadmap to get me to varying points on a map, to the facts.
And then something happened. I hated banking. Like, really hated it. Like brawling with my manager during a performance review, hated it. I was good at it, found it easy, but I’d come home from work and feel…empty. At 24, I did the equivalent of pulling off the road and nearly crashed into a guardrail. I told myself, I’ll make a tiny adjustment to the plan. Different career but the rest will stay the same. This is okay, I thought. I’m fine.
And then I met a man before I was thirty (so close). We fell in love, looked at rings and spoke of our life together. For a time we were awash in sepia, we were our best photographs. And I think we fell in love with the idea of love, and as quickly as we’d come together, we unraveled at the seams. I loved him but I never let him in, all the way. Not the way he wanted me to. Our break was a photograph worth shredding and I haven’t loved anyone in that way since. I’ve met people but no one who challenges me, takes the breath right out of my mouth and holds it in his hands. My once great love is married now, has two beautiful children, and I’m happy for him. That he found the love he was looking for. I’m still searching, and that’s as far as I’ll go with it here.
So I returned to the career narrative with a ferocity which, in retrospect, was frightening. I published a successful literary magazine, a well-received memoir, and, within four years helped build an agency from the ground up. I was made a managing partner in this company, given a fancy title, a credit card, and equity. I made a lot of money and bought fancy things, but how was it that I felt, at 37, the same way I’d felt at 24? Empty.
I looked at my outline and thought, what the fuck happened?
I resigned from a job that had been slowly killing me and felt like a failure. After, I was offered more jobs like the one I had and I kept turning them down. The idea of sitting in a confined space for five days a week, the reality of being shackled to a desk and forced to endure an endless parade of meetings, conference calls and emails where no one believed in removing everyone from copy, was unbearable. I got sick just thinking about it.
What if who we are and what we do become one and the same? What if our work is so thoroughly autobiographical that we can’t parse the product from the person? What if our jobs are our careers and our callings? –Elle Luna
Last year, when I read Elle Luna’s piece it occurred to me just how much I was compartmentalizing my life and how it wasn’t working. I thought, well I’ll have this writing thing over here that doesn’t make money and I’ll have this food thing here because I enjoy it and it keeps me sane, and then I’ll have this marketing thing over there because that’s the ticket. That’s the stuff that’ll make me money and keep my cat in the lifestyle to which he’s become accustomed. Obligatory photo of said cat:
I realized I was pursuing the wrong dream. And not only that but the strategy I’d employed to pursue this new dream was also wrong.
I realized that all I wanted to do was WRITE. All I wanted to do was work with people who were insatiably curious and cool. All I wanted was to be itinerant. I started to realize that creativity can’t be found in the confines of an office or holed up on a couch. I had ideas while walking in the park or having brunch with my best girlfriends or alone at home or sometimes in an office surrounded by smart people. Good ideas percolate everywhere and I’m finding it’s my job to move where the good energy moves. And I’m still trying to sort out this writing business as it pertains to the pragmatic I have real bills that need to be paid but I want to create ALL. THE. TIME.
Do you know that I actually get EXCITED to write posts for this space even though I don’t get paid for it? Even though I don’t have sponsors or a donation bucket or anything that will bring me money even though I know it costs A LOT of money to publish stuff here. But I don’t care because I enjoy it and it allows me to exercise another kind of writing apart from my fiction, apart from my brand work.
Right now I’m trying to piece it together. Trying to draw a new map. From scratch.
I’m 39 and I don’t want to own a house. I don’t want (or need) a lot of money. I don’t want to have children but I want to fawn over my friends’ children. The great love? Working on it. Offline. The great life? I suppose I’m still working on that too.
After I torch the outline.
Posted on March 12, 2015
Have patience with everything that remains unsolved in your heart. Try to love the questions themselves, like locked rooms, or books written in a foreign language. Do not now look for the answers. They cannot now be given to you, because you would not be able to live them. And the point is, to live everything. Live the questions now. Perhaps then, someday far in the future, you will gradually, without even noticing it, live your way into the answer. –Rainer Maria Rilke’s “Letters to a Young Poet” (via)
I’ve been having a dark time. Even as I type that I laugh because it’s silly to think that time is something you can hold in your hands; that it’s something you’re able to possess, own. I’ve been thinking about time a lot–I suppose this is the sort of thing one does when they’ve reached the midway point in their life. We think about the moment and all the ones that eclipsed it, and we wonder not about what we’ve gained, but rather what it is we’ve lost. Time takes it all, it’s true, but I wonder if it’s possible that it seized more because I feel like the decision I made to join, and subsequently become part owner of an agency, veered me radically off course. While I know that the woman who sits here typing this is changed, is resolute and centered, I mourn the before. The woman who had so much velocity, wonder and ambition. The woman who launched a dot.com luxury resale business when none existed simply because she was told that there would be no other kind of work than the kind she’d been doing. Banking and the like–creating nothing, owning nothing–merely a chess player of paper. The woman who published a literary journal because she never quite fit in with the smart set who hailed from learned homes and prestigious east coast schools (even though she attended two of them)–the set who mainly published their own. She created this online home, this book of paper, because she wanted to surround herself with misfits, the people who didn’t get internships at The New Yorker, the people who didn’t have ICM agents by the time they were 25. The woman who nearly launched a nonprofit to help disadvantaged women in Brooklyn because she wanted to give back. The woman who wrote and published a book. The woman who…
You have to understand that sometimes I need third person. So bear with me.
The difference between youth and maturity, Andrew Solomon writes in an award speech, is patience. We’re hungry when we’re young, ravenous even–we wanted things to have happened yesterday, whereas the mature has slowed down a bit, is content with the right now; they plan for what’s to come. Solomon writes:
Youth is notoriously impatient, even though there is no need for impatience early on, when people have the time to be patient. In middle age, the wisdom of patience seems more straightforward, but there aren’t so many days left. But Rilke is correct that we must all write as though eternity lay before us. Enjoy the flexibility that span of eternity offers. The discourse between the young and the nostalgic retains some of its inherent poetry in the form of a longing intimacy. The freshness of younger people awakens memories in older ones—because though you, young writers, are yourselves at the brink of your own future, you evoke the past for those who came before you.
I think about the woman who kept moving and the woman who has been put on pause, and I wonder about reconciling the two. Because right now I feel stuck in the in-betweens. I don’t have the speed I once possessed, but part of me doesn’t want all of it, just a little of it. I think about children, how, for a time, everything is a first. There is no sense of risk or loss–they are reckless, they weave down streets like spools of thread let loose upon the pavement, while adults walk a fixed line. We sometimes get frustrated when we have to walk around children because they’ve deviated off course. Or perhaps we’re just a little too fixed in our purpose; maybe we’ve drawn a line that’s too rigid.
Solomon writes: As you ripen, you’ll notice that time is the weirdest thing in the world, that these surprises are relentless, and that getting older is not a stroll but an ambush.
I feel ambushed, confused. I was on a clear course, a road that lie ahead of me, and now I’m all over the place. Nearly 40, I’m rootless, directionless. I read a post about an itinerant writer who’s fond of books. Frankie doesn’t necessarily fit the profile of the New York literary success story (and trust me, I’m paying Frankie the greatest of compliments writing this) but she writes and writes and doesn’t care if it’s published in the way we’ve traditionally conceived of publishing. She must know that others exist, others who publish with Knopf, those who are celebrated by a small circle of like-minded people who believe that there are so many small dark books getting published because they’re the representative sample! Their small, dark books are getting published! Yet, they fail to see the world at scale because it’s blissful to be amongst the familiar.
I’m sure Frankie knows all of this, yet she doesn’t seem to care. And I admire her that–her lack of ego, her volition to write simply to create. Because, frankly, I do feel bruised. I wrote an extraordinary book, one whose prose and themes far surpass those of my first book, and while so many editors penned long paragraphs remarking on my skill, poise and prowess, my novel’s just too risky, too small, too difficult. Too many unrelatable characters (because, you know, great literature is filled with relatable people. /sarcasm). And this hurt for a time, especially when I’m surrounded by so many wonderful writers succeeding. While I want nothing more than their success, it doesn’t take the sting out of my rejection. I was almost willing to give up until my agent wrote me this extraordinary note telling me that no way in hell are we giving up on this book. That I should never judge my talent and worth by whether or not some editor chooses to publish what I write. The two, he’s often told me, are mutually exclusive.
That we can create something new beyond traditional publishing. That there’s a way to share my work in the world. Because fuck Knopf. Fuck the smart set. Part of me needs to reach back to that woman who didn’t care about any of it and created anyway.
I also thought about my career and part of me feels stalled because I haven’t yet undone 20 years of believing that one had to work a certain way. I admire millennials, I do, because they have this arcane way of seeing the world, rejecting it, and building anew. They shirked traditional office environment and launched start-ups and collaboratives. They redefined work while my generation scrambled to throw glitter on shit office environments and label what they’ve done as innovative. Millennials said fuck you and your definition of success. We’ll define it for ourselves, thank you very much. We have a watch; we know what time it is.
I read an article today about the importance of playing small. Tad writes,
Who’s to say that those reaching hundreds of thousands will have a bigger impact than those who only ever reach 100 but very deeply? No one. That’s who. Niching, the finding of our role in the community, will always and forever be the dance between width and depth. And they’re both equal and needed. We need people working broad and shallow. And we need people working narrow and deep. And everywhere in between. The only question worthy of being asked is, ‘What is it that you see missing that you want to give? And how do you want to give it?’ That’s it. There’s no right answer. And then how do you make it financially sustainable?
For so long I’ve espoused this minimal life, owning only what you need and love, and never did I consider that ideology could flow into my creative and professional life. We’re taught to produce, to produce, to produce more, faster, better, smarter, and it just occurred to me that I actually don’t want a big life. I nearly had an anxiety attack when 30,000 people came to my site in a span of a few days. I can count on my two hands the number of close people in my life. I only survived hosting readings and attending fancy book parties because I was drunk 75% of the time. While I was a partner in an agency responsible for client acquisition, I often brought a hungry and savvy coworker who was all too happy to work the room on my behalf.
It occurs to me that I’m not built for a big life so why do I think I need it? Why do I think I need the book deal, the big job, the everything?
I don’t. I just realized that today and, after a few months of subsisting on my own sadness, did I finally see a small flicker of light. A flame, really, but light nonetheless.
My friends have been telling me that I’m going to be all right. Out of everyone they know, I’m the one they never have to worry about. I guess that’s flattering, but I’m not sure I believe that I have this strange ability to always know when to flee a house just as it sparks, glows aflame. I don’t know. What I do know is that I’m moving and I’m exhilarated and terrified, and I really wish people would stop asking me questions and insist I perform only the excited dance. What I do know is that I live to write and I have to keep doing it regardless if it finds a traditional home. What I do know is that parts of my life were big and I fled it with abandon, in favor of the small, and now I want something that lingers in between.
Note: I’ve removed comments from this post because this is one of the hardest I’ve written and I need to get it out without advice, or people remarking that this goddess bowl looks delicious or the photography is pretty or that I’m going to make it. While I do love and respect all of that, right now I need quiet. I need to sort out my thoughts and find my way back to the light, and I need to do that without the sound of anyone’s voice or words written below this post. I hope you understand.
INGREDIENTS: Protein Power Goddess Bowl recipe from the Oh She Glows Cookbook, with minor modifications
For the dressing
1/4 cup tahini
2 garlic cloves minced.
1/2 cup fresh lemon juice (about 2 lemons)
1/4 cup nutritional yeast or a bit more, to taste (I nixed this)
2-3 tbsp extra virgin olive oil, to taste
1 tsp kosher salt + freshly ground black pepper, or to taste
For the protein bowl
1/2 cup black beluga lentils
1/2 cup green lentils
1 15oz can of chickpeas, drained and rinsed
1 1/2 tbsp olive oil, for sautéing
1 small shallot, minced
3 garlic cloves, minced
1 red bell pepper, chopped
1 large yellow tomato, chopped
3 cups lacinato kale, roughly chopped
1/2 cup fresh parsley, minced
kosher salt + black pepper, to taste
For the tahini dressing: Add all of the ingredients to a food processor (or blender). Blitz and set aside.
For the protein bowl: Cook lentils according to package directions. Typically, lentils are 3:1, so I add 3 cups of water for every cup of lentils. After 25 minutes of simmering, I drained the lentils and set aside.
In a large skillet over low-medium heat, add the olive oil and sauté the chopped onion and minced garlic for a few minutes, being careful not to burn. Turn the heat up to medium and add in the chopped red pepper and tomato and sauté for another 7-8 minutes, or until all of the water evaporates from the tomatoes. The last thing anyone wants is a watery protein bowl. No bueno.
Stir in the chopped kale and sauté for another few minutes, just until tender. Stir in the full batch of tahini-Lemon dressing, the cooked & drained grains and lentils, the chickpeas, and simmer on low for another few minutes. Remove from heat and stir in the minced parsley. Season with salt and pepper to taste and garnish with lemon wedges and zest. Makes 6 cups.
Posted on March 1, 2015
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.
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.
Posted on January 27, 2015
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.
Posted on January 22, 2015
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.
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
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.
Posted on January 17, 2015
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.
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.
How 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.