Search Results for: fuck

Use and Abuse

(Getty/alicemoi)

Amy Long | Ninth Letter | Fall/Winter 2017-18 | 25 minutes (6,753 words)

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Ryan and I are groping each other on Layne’s older sister’s bed. My sisters crouch at the foot so their bodies won’t block the light. Layne surveys her scene. She’s lined my eyes in thick kohl. I wear a black slip she cut so short my underwear shows if I move either leg at all. Ryan wears what he always wears: white T-shirt, Levis. His feet are bare. I never see his feet bare. We are high on methadone and Xanax, barely aware of Beth and Chelsea or even Layne. We act out our own little movie, everything black and white like the film in Layne’s camera. She’d asked us to pose for her, and I said we would because I wanted my friends to like my boyfriend, and I wanted the 4-by-6-inch still images that would say This really happened in case Ryan and I unraveled like my slip threatens to do when he teases a thread. Layne instructs Ryan to kiss me: on the mouth, the neck. “Put your hands there,” she says and points to my waist. She says, “Amy, move in closer. Ryan, smile.” Ryan smiles. Layne snorts out a laugh. “Not like that,” she says. “Like a person.” A genuine grin spreads across his face. Layne snaps a photo. I’m so close to Ryan I can feel the heat coming off his body. I smell the tobacco and Old Spice that linger on his skin. I don’t know what to do with my hands. I’m still learning what people do in bed together. Simulating sex we’ve never had is like when people ask me how it feels to be a triplet, and I can’t answer because I don’t know how it feels to be otherwise. “Like this?” I ask. Layne shrugs. “Just do what you usually do.” I don’t tell her that we don’t yet have a way we usually do things. Ryan slips me a second methadone pill. He takes two. Under the opiate euphoria, it’s easy to pretend we really are just making out and not being photographed, that this moment is real instead of orchestrated. We don’t forget Layne’s there, but we are good models. We do what she asks. We play ourselves, fucked up and infatuated. Read more…

‘Forgive Yourself. And Forgive Me.’

Uncle Lee, photo courtesy the author

Alice Driver | Longreads | March 2018 | 10 minutes (2,574 words)

“I didn’t choose. I walked backwards till it came around front.” — Uncle Lee

I sipped my Uncle Lee’s favorite gin martini made bitter with the taste of three pearly onions at The Alley Cantina in Taos, New Mexico. The mother of my long-lost cousin Julianne stepped up to the microphone in front of the gathered crowd and told the story of their brief love affair and how Lee “loved women.” I’ve never been to a funeral like the ones on TV where you go to a cemetery and cry while watching a casket go into the ground. My family does these storytelling gatherings with food and drink, and we bask in the memory of the ones we loved in sharp and detailed pain and glory.

I didn’t know that Julianne existed until I was in my 20s. My Uncle Lee, who died at 73, was a tall willowy, half-bent figure who had two sons and a daughter. As a young man, he had survived several diving accidents, which according to another uncle, Larry, left him a little bit crooked in posture. Uncle Lee disclosed Julianne’s existence to some of the family over the years, but that news reached me late. It hit me like a wave rolling me under the currents — took my breath away — because she had my green eyes, and the tall, lean Driver build. In another universe, she could have been my sister. We had followed parallel tracks, both spending much of our 20s living and working in Latin America. She eventually settled in Bolivia, married, and had a daughter.

At my Uncle Lee’s memorial, Julianne read a letter she had written to her 22-month-old daughter about Lee, who she came to know as her biological father when she was a teenager. Before his death, he had traveled to Bolivia to spend time with her, and she held close those memories of getting to know him as a father. Tears ran down my face and into my bourbon and ginger ale as I watched Julianne read from her journal. Following Julianne, a woman got up and told the story of my Uncle Lee making the French doors for her house. He was a fine woodworker specializing in spiral staircases. Before sitting down, she said, “We weren’t lovers.”
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Trump Properties As Symbols of American Mediocrity and Lies

AP Photo/The Press of Atlantic City, Vernon Ogrodnek

From golf courses to vineyards, Donald Trump has invested in and licensed his name to many ventures around the world. They are not only gaudy and expensive, they often fail to live up to their hyperbolic promise.

For the Washington Post, travel writer Jason Wilson visits five Trump properties ─ in New Jersey, Virginia, Panama, Scotland, and Canada ─ to experience them as a customer and reviewer. He eats the food and sleeps in the rooms and describes the experience (though not the whole suckling pig for $495). What he finds is that these Trump businesses provide a dark vision of America and of Trump as “someone who would promise you the spectacle of a horse diving into the ocean, and then deliver a mule diving into a swimming pool.” This warped portrait includes classism, pettiness, poor taste, skeleton staffs, cosmetic bookshelves, unnecessarily tall structures, financial struggles, and false public narratives. In Vancouver, a woman drove past the Trump International Hotel & Tower and yelled, “Fuck you, Trump!” In Charlottesville, Wilson paid $15 to taste wine.

“Can I taste the sparkling rosé?” the young woman next to me asks. No, she’s told. She has to be a member of Trump Winery’s Wine Club to taste the sparkling rosé.

Trump-brand properties do not simply give tourists a taste of the good life or a successful business model. They’re portraits of exploitation and failure. The clearest image of salvation comes during the moment Wilson walks from Trump’s failed Taj Mahal in Atlantic City to the abandoned Trump Tower. “Here,” Wilson writes, “every mention of Trump has long been removed from the building, and grass now grows up through the pavement of the empty parking lots and entranceways. The Plaza will soon be demolished.” The best thing about Trump businesses is when they close.

Back in my room, still hungry, I open a container of honey roasted peanuts ($8) and a Mexican beer ($11) from the minibar, flip on CNN and lie on the bed watching reports on the first indictments in the Mueller investigation. As a jaded travel writer, someone who has stayed in many soulless hotels and eaten in many overpriced restaurants in many disappointing places, I’m completely at ease with a certain exquisite idleness and ennui. But there’s something profoundly unsettling about the sort of boredom that I’ve been feeling in the Trump properties over the past many weeks.

To be clear, none of my experience has been terrible, and some of it has been pleasant. Mostly, though, I’ve been overwhelmed by a relentless, insistent, in-your-face mediocrity: the scolding “Notice to Guests” in my room at the Trump MacLeod House & Lodge in Scotland, warning that I will be charged punitively if I take the lint brush, shoehorn, coasters or other Trump-branded amenities; the strange card displayed in my room at the Albemarle Estate in Charlottesville explaining that “Countryside stink bugs” will “occasionally be found” inside and the jar of stale chocolate chip cookies I’m told was the only food available later at night; the eerie near-emptiness and peeling paint of the Trump International Hotel & Tower in Panama, touted as the tallest building in Central America. And it’s this mediocrity that’s the most disquieting.

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The Man in the Mirror

Van Eyck's Arnolfini Portrait

Alison Kinney | Longreads | March 2018 | 17 minutes (4,156 words)

 

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In the foreground of the early Netherlandish painting stands a couple, holding hands, amidst the comforts of their cherry-upholstered, brass chandelier-lit bedroom. The husband, Giovanni di Nicolao Arnolfini, raises one hand in greeting, but neither to his unnamed wife, who clasps one hand over her belly, nor to the lapdog at their feet: behind the couple, a small, wall-mounted convex mirror reflects two other men, facing the Arnolfinis in their room yet visible only in the glass. One of these men may be the artist himself, Jan van Eyck.

Like many other paintings where looking glasses, polished suits of armor, jugs, and carafes expand or shift the perspectives, The Arnolfini Portrait shows us how many people are really in the picture. Painted mirrors reflect their creators, or at least their easels, in Vermeer’s Music Lesson; in the Jabach family portrait, where Charles Le Brun paints his mirror image right into the group; and in Andrea Solario’s Head of St. John the Baptist, where the reflection of the artist’s own head gleams from the foot of the platter. Mirrors reveal the whole clientele and an acrobat’s feet in Manet’s A Bar at the Folies-Bergère; the two observers of a couple’s ring purchase in Petrus Christus’s Goldsmith in his Shop; and, regal in miniature, Philip IV and Mariana of Austria in Velázquez’s Las Meninas. Sometimes mirrors invite us to regard the artist’s reflection as our own; as John Ashbery wrote of Parmigianino’s Self-Portrait in a Convex Mirror,

What is novel is the extreme care in rendering
The velleities of the rounded reflecting surface
(It is the first mirror portrait),
So that you could be fooled for a moment
Before you realize the reflection
Isn’t yours.

The mirror’s revelations surprise everyone except the artist, who, in The Arnolfini Portrait, paints his signature over the mirror, like a graffito on the wall: “Johannes de eyck fuit hic 1434.” Jan was here.

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The Truth About Writing Fiction From Your Life

Elisa Albert and Emily Gould talk with Longreads Essays Editor Sari Botton about the decisions involved in writing fiction with autobiographical underpinnings at Rough Draft Bar & Books in Kingston, NY on Sunday, February 11th, 2018.

Sari Botton | Longreads | March 2018 | 17 minutes (4300 words)

I’ve been working on a few different book projects for years — okay, decades — without yet publishing. There are many, many reasons it’s been taking me so long, but one of them is that I keep vacillating between memoir and fiction.

In the early 90s I dabbled in MFA programs, focusing on fiction. What I began writing in those days was somewhat based on my own experiences, yet also very made-up.

Then in the mid-90s, after I dropped out of two different programs in succession, books like Elizabeth Wurtzel’s Prozac Nation, Kathryn Harrison’s The Kiss and Mary Karr’s The Liar’s Club appeared and sparked a memoir boom. As a reader I became a nonfiction junkie. As a writer, I switched gears, started publishing personal essays…and then spent a lot of time freaking out about upsetting people by writing the truth — or my version of it, anyway.

These days I go back and forth, working on both memoir and somewhat autobiographical fiction, and spend a lot of time debating the merits of each with other writers.

On Sunday, February 11th, I turned to two of my favorite authors, Elisa Albert and Emily Gould, for their take on this. I sat down with them at Rough Draft Bar and Books in Kingston, New York, for a conversation ranging from the choices around writing fiction with autobiographical underpinnings, to the differences — mechanically-speaking and otherwise — between memoir and “autofiction.”

This interview was edited for brevity and clarity. Below you can listen to the audio — including Albert reading a passage from After Birth, and Gould reading a passage from Friendship, plus a Q&A with the audience.

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Sari Botton: Elsewhere, both of you have talked a lot about, and written about, writing fiction from your life. I’ve been intrigued, and I thought that other people would want to hear about this too. So, is there a difference in your mind, either one of you, between straight up fiction and fiction that does have autobiographical elements, and what would be the difference?

Elisa Albert: We could do like a one word answer on the count of three, yes, or no. I don’t think there’s a difference. I think it’s like a spectrum, you know? Like a continuum, if you will. We are all bound by the limits of consciousness such as it is. Unless we alter our consciousness, but even altered consciousness is consciousness. It exists, you know? I mean, I can’t get into the physics too deeply, but even if you set something on Mars, you’re still coming from what you have to bring to bear, which is your consciousness. So, is that always necessarily autobiographical? No. But it does come from you. Or the one you, the eternal you, the shared collective you.

Emily Gould: Elisa and I obviously don’t write books that are set on Mars or in 18th century Scotland. No aliens are going to show up at the temp agency where Bev [a character in Friendship] is going to have her interview. There are no fantastical imaginative elements. But that also doesn’t mean that we didn’t make this stuff up. This book is actually so made up. And it’s actually really frustrating sometimes when people are like, “Oh, so what was it like for you when …” [name of my best friend] “decided to have a baby after getting pregnant after a one night stand?” And I’m like, “I don’t know, because that didn’t happen in my actual life.”

At the same time I want credit for being such an imaginative person, but then I look at any individual page of this book, and I’m like, well, yes, I did eat at that restaurant, and have basically that exact same interaction. But you know, then it became fictionalized. And we both have also written a lot of nonfiction, and think there is a shining line in my mind between the two forms.

Botton: You’ve both also written a fair amount of essay and memoir, and so people recognize certain things from your lives, which they can project on to your books, saying it’s totally just your life. But now you’re calling it a novel.

Albert: Change the names and there you go.

Botton: Right, exactly. But a lot of other novelists choose to completely invent worlds and that’s not what you’re doing, so it’s an interesting choice. Emily, I read something that you wrote about where the choice started. That you were having a hard time after writing a memoir, And the Heart Says Whatever. That after that you were having a hard time writing in the first person. Do you want to talk a little bit about that shift?

Gould: Oh sure. Yeah. In order to trick myself into being able to write again at all after the, sort of, critical and interpersonal disaster that was the reception to my first book, I sort of just started writing in the third person as an exercise even though I was still basically writing memoiristically. And then very gradually that became something other than memoir. It just started as a sort of thought exercise, and now this is something that I tell my students.

I’m teaching fiction now, and students come to me all the time and say things like, “I’m just so sick of myself. I’m sick of my perspective. I’m sick of all of my thoughts about everything. I’m sick of my themes. All of my fellow people in this workshop have heard the same story from me a thousand times already, and they’re sick of my shtick too. What can I do to break out of the aspects of me that I’m so bored with?” And I just tell them, “You’re stuck with you. I’m sorry.” They haven’t perfected head transplants yet, so we’re all stuck with ourselves.

But what you can do is just shift your lens. Try a new form even if it’s something that you’re really bad at. Draw a comic book even if you can’t draw at all. Switch point of view, like I did. Write a song or a poem about the stuff that you usually write about instead of just doing whatever it is that you usually do. It sounds so goofy, and 101, but it really works. You can pull the wool over your own eyes. You really can lie to yourself and trick your brain.

Even if you set something on Mars, you’re still coming from what you have to bring to bear, which is your consciousness. So, is that always necessarily autobiographical? No. But it does come from you. — Elisa Albert

Botton: So once you start writing about yourself, or write your story in the third person … although, Elisa, After Birth is in the first person, right?

Albert: Yeah. Because my first novel was in the third person, and I found it was the same thing anyway. Everybody still was kind of like, Oh, well, it’s just you, obviously.

Gould: Which is so weird because you didn’t die of brain cancer.

Albert: Right, I know. The narrator of my first book dies of a brain tumor at the end of the book, so I don’t know how that could be autobiographical. I mean, I think ultimately it’s a compliment. It has to be a compliment, you know? Because what people are saying when they’re sort of assuming those things or projecting, or whatever, is that you have created a world that is so visceral and immediate and convincing that oh, of course it’s you. You know? So you’ve done what you set out to do then. I mean, I wouldn’t want to write a book where people reading it would think, like, geez, this shit’s totally invented. You know?

And the other thing is a novel, anything you write, but a novel especially, just the scope of it, it has to be an obsession. So even if you’re obsessed with 17th century Germany, that’s your obsession, and there are deep-rooted ways in which that’s very autobiographical even though obviously you weren’t there in your current form. So whatever it is, it has to be an obsession. You can’t spend years working on something if you’re not obsessed. So even if it’s not about you, it is encompassing your deep need to think about, look at, explore something.

Botton: So then once you’ve started writing, either in the third or first person — but deciding that it’s fiction — how do you then take the elements of your life and make them into something that isn’t your life? That becomes another story, more than just your life? How do you make that leap? Or does it start with, like, I have this particular story I want to tell?

Albert: Lorrie Moore said in her amazing story, “How to Become a Writer,” which is in the second person, and is very autobiographical, that “it’s like recombinant DNA.” You change one little strand of something, and then watch how that ripples out. Then it’s a very different story suddenly. I like to use things from my own life that I’m not interested in inventing. I’m not interested in inventing an origin story. Like, the thing I’m working on now. It’s a girl from LA. I grew up in LA. I’m not interested in inventing a different origin story. That’s now where my obsession lies, so I’m going to use that. I don’t give a shit.

So that’s autobiographical. I mean, this person is not like me in many, many other ways, but I know that origin story, so I can make use of it. It would be wasteful otherwise. I would be wasting my energy. I’d be reinventing the wheel. I have a pretty deep identification as somebody who was raised in a really religious household. I’m not interested in reinventing that at this point. That’s not what I’m looking at. So that’s a given. I’m going to use that. That’s there. I’m fluent in that, you know?

Botton: That frees you, then, to create the other aspects of the story.

Albert: The things I’m kind of obsessed with looking at or turning over or flipping around or inverting or whatever, that’s what I’m going to spend these years doing. And I don’t have to then waste my energy on the other elements because, you know, maybe in a different book those elements might need tweaking, but yeah. It’s like butterfly wings, right? Like, tsunami on the other side of the globe because, like, one little movement here.

The narrator of After Birth — her mother is dead. My mother’s not dead. She has an unnecessary surgical birth that was like super inhumane and traumatic. That didn’t happen to me. She’s an academic. I’m not an academic. Whatever. But, see, then we get into this weird thing where I’m like, see! Whatever.

Elisa and I obviously don’t write books that are set on Mars or in 18th century Scotland. There are no fantastical imaginative elements. But that also doesn’t mean that we didn’t make this stuff up. ‘Friendship’ is actually so made up. — Emily Gould

Gould: I’m sure this is something that you guys definitely all already thought about before, but I find myself thinking about writing fiction sometimes in terms of almost like method acting a little bit. Like, you can take an emotional experience that you’ve had and transmute it into another form. I’ve never experienced a shattering romantic betrayal, which is one of the things that I write about in Friendship. Yet. But I have experienced betrayal on a deep level in a relationship, but just not, like fucking someone else. You know?

So I was able to use that emotional experience and turn it into something else, the same way that I imagine actors do. I don’t know. I’m a terrible actress, so I actually don’t know how that works. But that’s what people talk about in “The Actor Prepares,” which I totally read in drama class.

Botton: That’s so funny. An article came up in my world today, in my social media world, with a title like “Apply acting techniques to your writing.”

Albert: People come at me sometimes, like about opinions spewed by the character, and they really want to fight me about it, and it’s like, dude, you’re not going to go after Al Pacino for his mafia activities. Like, get your shit straight, okay? This is like a role, this is a performance, okay?

Botton: That’s a good way of putting it. When I emailed you guys and was asking like, “Are we talking about autofiction?” Emily, you were like, “Well, I don’t write autofiction.” And then Chloe Caldwell [who had to bow out of the event] was like, “I write autofiction.” It’s a really hard thing to get a handle on. What exactly is autofiction? Emily, I know that you’re a big fan of Chris Kraus, and her stuff kind of falls into that category, maybe? So I wondered if you could just talk a little bit about what it is and why it isn’t what you’re doing.

Gould:  Well, I mean, the most straightforward, I think, contemporary example of autofiction that probably the most people in this room have read, just based on the bestseller list is Knausgård. Has anyone read any of those My Struggles? All of the struggles? Yeah, there were a lot of them. But what he does, I think, is — it’s just this amazingly super detailed tracking the movements of his own consciousness thing, but filling in the gaps in his memory with imaginative detail, I assume, and that’s what makes it a novel rather than a diary. So, for example, there’s a famous scene at the end of the first My Struggle volume that’s just this virtuosic scene where he is cleaning out his disaster alcoholic, hoarder, dead father’s house for days on end. Just like, you’re there. You are in the house, smelling the smells, moving the specific objects from room to room with him, like almost in real time, for as long as it takes. That, to me, is autofiction. That form. And that’s just so, so different from what either of us have done, even though we have written about characters who are our same ages who have our same hair colors.

Botton: I was also thinking about Lisa Halliday’s new book, Asymmetry.

Gould: Ooh, yeah, that one’s good.

Botton: It’s about a relationship with a Philip Roth-like character. That’s part of it. And the author did have a relationship with Philip Roth, and she was interviewed in the Times and she talks about how she uses the basic details from her life to just kind of set up the universe, and then she makes a story and works from there.

Albert: Well, then there’s the idea that, is there such a thing as nonfiction? You know, its arguable. Even if you’re trying to write a memoir, somebody else who was there might have a very different memoir.

Gould: I think there are formal distinctions that we just have to make. It’s like the difference between painting oils or painting watercolors or something? And for some reason that’s really important to me to draw those distinctions. And I also have incredibly strong feelings about “nonfiction” that is written without faith, you know? Like A Million Little Pieces-style stuff. That bugs me.

I like to use things from my own life that I’m not interested in inventing. I’m not interested in inventing an origin story. Like, the thing I’m working on now. It’s a girl from LA. I grew up in LA. I’m not interested in inventing a different origin story. — Elisa Albert

Albert: Well that was written as a novel.

Gould: Oh, but published as a memoir.

Albert: Right.

Gould: So then we’re also talking about market forces and marketing categories informing what gets called fiction and what gets nonfiction. But we don’t have to bring commerce into this room tonight.

Albert: Let’s not bring the market into this.

Gould: We can just keep this in the lofty realm of art for now.

Albert: But you know that old line about how if you say it’s a memoir, they’ll say you made it all up, and if you say it’s fiction, they’ll say every word is true.

Botton: I was just going to say that. Yeah, so then why does somebody write autofiction as opposed to a memoir? It’s so close.

Gould: It’s not. It’s totally different!

Botton: It is? Okay.

Gould: Yeah, like a memoir has all these imaginative story elements and structures, and autofiction is really about living inside someone else’s mind, no matter how boring it gets there. It’s really trying to just transport you into someone else’s consciousness, which to me is like a super fascinating, trippy experience.

Albert: Done well, it’s, like, the best.

Gould: It’s transcendent when it’s done well. When it’s done badly, of course, it’s as boring as being someone boring is. And that’s just a world away from what we do as memoirists. Which is so much to do with eliding the boring part of the story and getting into the propulsive part of the narrative. That’s the craft of memoir. Sorry that I’m like, Duh, Sari.

Botton: That’s okay. I’m here to learn. But I have writers in my studio who talk to me all the time about what to do with what their writing. They are writing stuff that feels like memoir, but they want to explore different outcomes. I’ve been sharing Michelle Tea’s The Black Wave with people. There’s magical realism in there. I just love the way she goes from stuff that is so recognizable to, like, she’s just out there in another world. And so, I can never specifically know what is the best way for anybody to go, and this is kind of what this conversation came out of. I’m really trying to always get a handle on what are the differences. And I guess for different writers, it’s different things.

In order to trick myself into being able to write again at all after the, sort of, critical and interpersonal disaster that was the reception to my first book, I sort of just started writing in the third person as an exercise even though I was still basically writing memoiristically. And then very gradually that became something other than memoir. — Emily Gould

Once upon a time, everything was called a novel. There wasn’t the memoir category, and people wrote stories from their lives and called them novels, and so it got more confusing actually when the memoir genre got added. But I think for you, you’re very clearly writing fiction.

Albert: Well, I think I’d be out of material pretty quick. I mean, stories from our lives can be really interesting, and many of us have lived intense lives, but there’s only so much of it. Whereas, if you’re willing to sort of go off on little digressions and make up little details and see how that spins out, and bring your perspective to bear on things that are not your experience. Or try to inhabit somebody else’s perspective on something that maybe you have experienced, you have endless material. Then there’s just no end to it.

I think I would get bored. I mean, I write nonfiction sometimes, but it’s not as fun for me. It’s like a good muscle to exercise, but it’s like that playfulness, that kind of mischievous kind like, what can happen? What could I get away with? What if I push it this way?

Gould: Whereas, I feel like actually for me, nonfiction is where I started, and it’s my comfort zone, and fiction is a lot harder, and it comes a lot less easily. It is this arduous process whereas, it just is easier to come up with a halfway decent first draft of something memoiristic for me, at least. Whereas to come up with a halfway decent first draft of something fictional is just … My shitty first drafts of fiction are like so shitty. I think also there’s the hard, cold, horrible reality that just because something comes more easily to you doesn’t meant it’s good. God, that’s sad.

Botton: I mostly write nonfiction, memoir, essay. But I dabble in fiction. I started graduate school to write fiction. I published one short story on a website, which had autobiographical underpinnings, but also a lot of made up shit. But I started writing something like a year ago, and I was having so much fun doing it, but when I went back to it, I had to keep reminding myself — and it was also based on a character similar to me — but I had to keep reminding myself of the rules of this universe that this person lives in. That this person’s boyfriend is 18 years older and Italian. Having to orient myself again and again in this fictional world, I find hard. That doesn’t mean, though, that it isn’t something worth putting more time and effort toward and trying harder at, but for me it’s like a harder exercise to remember the rules of the universe I’ve created. Do you ever run into that?

Albert: Sometimes. I mean, like, plot mostly. Just to be like, okay, this happened, this happened. I can sort of hang out in a voice for a long time, but then to just keep the facts straight. But that’s administrative stuff, you know? A couple index cards.

Gould: Yeah. Those aren’t structural things, so if you’re thinking of it like a physical project? Like if you’re building something, that’s more like — the rules of the universe stuff you can always straighten out at the end in the same way that if you’re renovating a house, you can fix up the door frames and the windows. I don’t know anything about this metaphor.

Albert: It’s like curtains.

Gould: I’m going to stop. Yeah, it’s like you’re going to put in furniture and decorate and the wall paper and stuff, and that’s like the fun stuff that you do at the end. Also, copy editors will do some of it for you. And good line editors. Friendship was written a long time ago in my life, and I had never been pregnant. And now I’ve been pregnant a bunch, and I think the character who gets pregnant in Friendship was pregnant in the first draft, like the draft that sold, for like 11 months. Like an elephant. And no one caught it. A copy editor caught it. It was like, oops. And all I had to do was change some details about the weather, and it was fine, you know?

But that’s the kind of thing that — if you get bogged down in that stuff in the first draft, you’re going to prevent yourself from ever moving forward.

People come at me sometimes, like about opinions spewed by the character, and they really want to fight me about it, and it’s like, dude, you’re not going to go after Al Pacino for his mafia activities. Like, get your shit straight, okay? This is like a role, this is a performance, okay? — Elisa Albert

Botton: One of my obsessions that I’ve written a lot about, and interviewed people a lot about, and I’ve interviewed both of you about, is people getting pissed off at you for what you’ve written that has to do with them. And sometimes, when I’m working on memoir and afraid of people being mad at me, I think, All right, I’m just going to change my name. That’s one solution. The other is, All right, I’m totally going to fictionalize, and it will be more fun. But they’re still going to recognize themselves. Is this something that you run into or care about, or does fiction solve that?

Albert: I don’t think fiction solves it. People just tend to then pick out people who are not remotely related to them and be offended by stuff that they’re imagining might have something to do with them. I don’t tend to have a lot of people in my life who I need to protect that way. That’s been a long process, but I find it useful to have pretty honest relationships so that anyone I actually have in my life is a) not somebody I’m going to feel the need to fucking burn in literature, and b) not somebody who’s going to come at what I’m doing with a narcissistic vengeance. But that takes time, and not everybody has the luxury of narrowing down their intimate circle in such a way. But it’s served me pretty well so far.

Botton: I think, Emily, you’ve had a different experience, at least with memoir, yeah.

Gould: Well, yeah, there are definitely sacrifices involved in being honest always, for anyone. Not just writers, I think. And like Elisa, I think the list of people whose opinions I give a fuck about at all has been winnowed down over the course of my life from like, you know when I was in my 20s, it was like everyone. And now it’s just people I care about. So yeah, I think this has always been really hard for me, and it continues to be hard for me. I definitely don’t have all the answers about it at all, but like the tattoo on Sari’s arm says, there comes a point when it becomes harder for the flower to stay in the bud than it is to bloom. I’m paraphrasing her tattoo badly, sorry.

So, it’s like you choose between two different kinds of pain, right? It’s like the pain of keeping whatever it is inside versus the pain that you’re going contend with when you have to deal with the consequences of having written your story. And it’s a personal choice.

Botton: Incidentally, Emily was my tattoula. You know, like a doula. She went with me. She brought me gluten-free cookies so I wouldn’t faint.

Gould: It’s really important to eat before and after you get a tattoo.

Botton: And for those of you who can’t see, my tattoo, I recently learned, does not quote who I thought it did. So, yes. It’s that quote that you see on mugs and candles. “And the day came when the risk to remain tight in a bud was more painful than the risk it took to blossom.” Usually it says it’s by Anaïs Nin, and it is very much not, which is fine.

Albert: Are you going to edit it on the tattoo?

Botton: I didn’t attribute.

Albert: Oh.

Botton: It’s actually a woman [a playwright now] who was a publicist in California for an adult ed college in the 70s. She’d put that on a press release to encourage adults to go back to school. So, go back to school. That’s what we’re doing here. Yeah, so. I still like it.

Gould:  Me too. It’s great!

Botton:  It’s a good one, right?

Gould Yeah.

Botton: And then I got cherry blossoms on my other arm, so we’re all blossomed out here. I actually interviewed that woman. One of these days I’ll write about it…

Audio:

* * *

Elisa Albert is the author of After Birth, The Book of Dahlia, and How This Night is Different, and the editor of the anthology Freud’s Blind Spot. She has taught at Columbia’s School of the Arts, The College of Saint Rose, and is currently Visiting Writer at Bennington College.  She lives in upstate New York with her family.

Emily Gould is the author of And The Heart Says Whatever, Friendship, and the forthcoming Perfect Tunes. With Ruth Curry, she runs Emily Books, which sells and publishes books by women as an imprint of Coffee House Press. She is a contributor to Bookforum and The Cut. She teaches writing in New York City, where she lives with her family.

Sari Botton is the Essays Editor for Longreads. She edited the anthologies Goodbye to All That: Writers on Loving and Leaving NY  and Never Can Say Goodbye: Writers on Their Unshakable Love for NY.

Recording by Brian Macaluso of Clandestine Productions. Event sponsored by Kingston Writers’ Studio.

 

Lying Down in the Dirt: An Interview with Denis Johnson

East Fork of the Salmon River, Idaho (Eric Zamora/VWPics via AP Images)

Janet Steen | Longreads | February 2018 | 13 minutes (3,523 words)

In 2002, while I was the literary editor at Details magazine, I interviewed Denis Johnson on the occasion of the tenth anniversary of what is perhaps still his most famous book, Jesus’ Son. When he died last year, at the age of 67, I wondered if I could locate the cassette I’d recorded the interview on all those years ago.

Eventually it surfaced, on a dusty ancient Sony type-1 normal bias, and there, suddenly, was Denis — before books like Train Dreams and Tree of Smoke, and before his last recent posthumous book of stories The Largesse of the Sea Maiden, which, as it turns out, would be his only other collection of stories. On the recording he is soft-spoken and easy and open, but there is still a hint of the jangly “Fuckhead” he drew on for the stories, a guy who finds it “painful to be amongst humans,” who made the rest of us feel less ashamed for finding it so hard.

(This interview has been greatly edited for clarity, but the full audio is available below. -Ed.)

* * *

Janet Steen: Have you reread any of the stories in Jesus’ Son lately?

Denis Johnson: Not really lately. But it happens I’m very familiar with the book. For a couple of years before it was published, and then several years after, when I would give a reading, I would read one of those stories, or two of them. I’d look around for something I hadn’t read out loud in a while in that book, and that was kind of my routine. I ended up reading all of the stories out loud several times. Three, four readings a year. I became really familiar with the sound of the stories.

I haven’t looked at them lately though. I never really got tired of reading them out loud. I just quit because I started to feel like I was beating a dead horse, and I felt like I should read something a little more recent.

JS: What did you feel towards them when you read them, even if you would sit down and read them by yourself?

DJ: Well, I don’t know. I rarely read them to myself, but reading them out loud I really enjoyed the humor in them. People would almost always come up to me afterwards and say, “I didn’t realize those were funny. I thought those stories were just sad.” When you read them out loud, people laugh a lot, because the characters are humorous. It’s just their situations are generally very, very bleak.

Read more…

Guantánamo, Forever

Guantanamo guards keep watch over detainees inside a common area at Camp 6 high-security detention facility at Guantanamo Bay U.S. Naval Base, Cuba. (AP Photo/Brennan Linsley)

Amos Barshad | The Marshall Project & Longreads | February 2018 | 16 minutes (4,100 words)

This article was co-published with The Marshall Project, a nonprofit news organization covering the U.S. criminal justice system. Sign up for their newsletter, or follow The Marshall Project on Facebook or Twitter.

The message came in on a spring day via the undisclosed U.S. government facility that approves all correspondence out of the military prison in Guantánamo Bay. It was a request for representation from Haroon Gul, a detainee, to Shelby Sullivan-Bennis, an attorney. Gul had never had a lawyer. He was one of the last men in Guantánamo without one.

Now, in 2016, his request was urgent. After nearly a decade of nothing, he was being given the chance to explain himself. It would happen through the Periodic Review Board, an administrative body that considers whether Guantánamo prisoners who have not been charged should be transferred home or to another country. A board representative wrote Sullivan-Bennis an email explaining that Gul, also identified as detainee number ISN 3148, “has requested in writing that you assist him with … proceedings before the PRB, at no cost to the Government.” When the email arrived, Gul’s first hearing was weeks away.

Guantánamo lawyers are famously overworked. At the time, Sullivan-Bennis was juggling five other clients. She and her coworkers at the human rights organization Reprieve asked themselves: How can we possibly handle another one? “And then everyone was like, ‘Let’s just try,’” Sullivan-Bennis recalled. “Because otherwise he’ll be alone.’”

She typed Gul a brief note saying that she’d take his case and that she’d come see him soon. She asked if he wanted anything from Guantánamo’s all-purpose department store, the Navy Exchange.

“Dear Honorable Miss Shelby Sullivan Bennis,” he wrote back in sloping, cursive handwriting, “I have no words to express my feeling of gratitude, appreciation and Thanks for your timly legal and moral help in my PRB hearing. I was in a helpless and hopeless state of my mind in my legal affairs you gave me emotional psycholgcal help.”

A few weeks later, they met for the first time in a windowless cement cellblock on prison grounds. Gul sat across a plastic-top table from Sullivan-Bennis in a loose-fitting, tan-colored T-shirt, with his ankle shackled to a metal ring secured to the floor. He’d been detained in Guantánamo since 2007, shortly after Afghan National Directorate of Security forces burst with guns into the rural guesthouse where he was staying outside Jalalabad and threw a bag over his head.

For the first time, he told his story to a lawyer. He was in his early 30s, like her. He had a wife, Halimah, and a 10-year-old daughter, Maryam, living in a refugee camp in Pakistan. Gul himself grew up in a Pakistani camp after violence forced his family to flee his home in Afghanistan. Despite harsh camp conditions, he’d earned an economics degree at Hayatabad Science University. He spoke four languages, including Pashto and Dari. While at Guantánamo he’d learned a fifth, English.

And like nearly every other detainee held at Guantánamo since 9/11, Gul had never been charged with a crime. The U.S. government was justifying his detainment under the law of war. In a secret government dossier on Gul released by Wikileaks, Gul (also known as Haroon al-Afghani) is described as “high risk” and of “high intelligence value.” The dossier alleges that he was an explosives expert and a high-ranking military strategist who had executed attacks on the Northern Alliance on behalf of Hezb-e Islami Gulbuddin, or HIG, a party affiliated with al Qaeda in the 2000s. U.S. intel also indicates that, in 2001, Gul attempted to help Osama bin Laden escape from Tora Bora.

Gul was too polite to put it this way, but he was effectively saying that it was all, all of it, bullshit. His affiliation with HIG was the same as that of millions of other Afghans: The group ran the refugee camps he needed to survive. He said he supported his family by selling small goods, like used books and jars of honey. He said the reason he was in that guesthouse that night was because he was on the road, selling, trying to scrape together some money. He said the Afghans had grabbed the wrong person.

The government’s allegations were built on secret interrogations and unidentified sources named things like IZ-10026. Sullivan-Bennis came to believe that Gul was innocent. It had happened before: An alleged al Qaeda agent named Mustafa al-Aziz al-Shamiri was detained for 13 years before his release; during his PRB hearing, the government admitted it may have had the wrong man. Read more…

Trying to Understand YouTube Success

Ramil Sitdikov/Sputnik via AP

Rather than dreaming of being a film star, kids now dream of being a YouTuber, but what does that entail? Video producers and viewers wage wars on channels many people have never heard of. At Vice, Joe Zadeh spends time in Will Lenney’s London flat to understand the life of a YouTube celebrity. That life involves money, yes, fans and self-employment. It also involves days glued to various screens, responding to followers, a fragile sense of self-worth, sleepless nights producing content and anxiety about career longevity. England has an especially robust YouTube culture, with more than 250 channels that have one million subscribers each. That’s a lot of traffic, and it generates a lot of revenue for their creators. For many of us, the idea of self-employment implies freedom, but very little about Lenney’s YouTube career seems liberating.

“I’ve never loved anything as much as I love YouTube,” says Will. “But I have started to realise how it affects me. When one of my videos has a good first hour, I get so happy and sometimes I step back and think: ‘Hang on, these numbers on a screen are controlling my entire emotional state. Fuck, that’s dangerous.’ I feel good, but shit. It’s like my generation’s crack cocaine.”

“Could you go a day without looking at your YouTube analytics?”

“I’d rather go without sleep,” says Will, smiling, but in a “no, honestly” kind of way. “It’s an obsession.”

And yet, despite all the hard work they put in, YouTubers are constantly being reminded of how precarious their form of labor is. Will seems resigned to the fact that, at any point, this might all just go away. “We all have a sell-by date on this,” he says. “There will come a time when people don’t give a toss about my videos anymore. I’m just working on growing my skills in such a way that I can prolong that date.”

Read the story

Asking For It

Andrew Matthews/PA Wire

Piper J. Daniels | Hotel Amerika | Winter 2017 | 12 minutes (3,365 words)

When I was a girl, the thing I loved most was the game Light as a Feather. Back then, I felt weightless when any girl had her hands on me, so lying there with six girls’ fingers tucked beneath my body, I’d float to the ceiling, flushed and breathless. The touching was permissioned, so I could just enjoy it, though there was, of course, that fear of the occult. In the days that followed the game, I’d worry about the evil spirits that might’ve entered me. I would lie awake feeling something of the devil a-flicker inside.

Light As A Feather was a ritual performed in murmuring secrecy. It was sexy and witchy, but did not require me to invite anyone or anything inside. Ouija, on the other hand, was a kind of penetration I was not yet prepared for, a game my mother called the occult version of asking for it. 

There are many reasons why in girlhood, we become necessarily preoccupied with possession. It makes sense—the fascination, as you are trying so desperately to grow into your body, with the dark thing that would drag you away. For girls are taught that the zenith of our lives occurs when we are most deeply inhabited by another. It is no coincidence in The Exorcist that the devil selects Regan for writhing. She is a pre-teen, which means most poised to be entered.

Once upon a time, everything carnal or feral in me was made, by faith, moribund.  For fourteen years, my body remained this way — untouchable, untouched.

Once upon a time, I had no idea what I felt like inside. I’d lie in bed at night, fingers pinned beneath the small of my back so that God would not mistake a single movement for a sin.

It was only a matter of time before I was broken open.

***

He was, at the time, my best friend. When I wouldn’t let him kiss me, he shoved his fingers in my mouth. They were cold and smelled sharply of clementines.

And then it happened that he wormed my clothes away, and made me try things on, made me spin in a circle, motioning with his finger, a 360-degree humiliation.

He choked me out on the heart-shaped canopy bed my father built for me when I was a little girl. There was a Maglite under the mattress I used to read past my bedtime, and he fished it out and beat me with it until I agreed to lie still.

“I love you,” he said, like I was an idiot not to know it. “I love you.”

As he entered me, the room went black and filled with tiny stars. I had no idea I was so connected inside.

It was over for maybe minutes, and then it was never over. [1]

For months afterward, I avoided the eyes of my mother, father, and sister. I was worried they could tell by my face that I was changed. And then there was the feeling that everyone could see and smell my hymen ripped open, that the bruised triangle between my legs would point now only to what was missing.

I kept thinking, this creature, this monster, that my friend whom I loved turned out to be — was it there all along? Or was it culled from his body by my body, twirling as his finger guided me, tracing slow circles in the air?

***

In the game Bloody Mary, where girls summon a murderous spirit in the mirror, the point is not to invite evil, to stir the supernatural pot. To summon evil is to acknowledge its inevitability, to address that each moment spent in safety feels like holding your breath. If being a girl means leaving this world in little pieces, let’s get it over with. In chanting, let us exact some small control, let it be clear when and how we are asking for it.

It was over for maybe minutes, and then it was never over.

Sleep was something to be avoided then. Within sleep, all the hidden things choiring like starlings.

The dream in which the graveyard slides into the sea, and I drink the water clogged by corpses’ long, still-growing hair.

The dream where I feel safe from harm in a field of sunflowers until one by one, they give me up like a name they swore they’d take to the grave.

So much of my life was spent in that blue hour of morning, too early for waking and much too late to fall asleep. I’d put myself in a kind of trance watching bloody true crime television. Like melancholic music when your heart is broken, sometimes the only thing you can do with a feeling is lean into it.

Fictional shows in which rapists were captured and punished enraged me. I preferred survivors of torture talking straight to the camera. Stalked, abducted, raped, shot at point-blank range. Then burned, tossed in a trunk, tied with rebar to a desert stone. The actresses reenacting the story crawling so convincingly across lush lawns in blood-soaked nightgowns or running through a dark wood with only half of their heads attached.

A documentary about Seattle singer Mia Zapata, who wrote a song about being murdered and spread in pieces all over town just before being killed by a stranger who strangled her with her own sweatshirt.

A documentary about the Tate murders, in which the crime scene photo of Abigail Folgers shows her less heiress, more lawn stain. Her last words to the man stabbing her, “You’ve got me.  I’m already dead.”

Maybe I was morbid to find comfort or, at the very least, distraction in these stories which were gruesome beyond my imagination. But I needed a break from the narrative I was living. The one where girls in my town were fish that fill a manmade lake, or fair chase pheasants set loose in the forest. The narrative where being hunted was the only thing they ever had in mind for us.

On a popular daytime talk show, footage of a body being exhumed. There are machines to help with the unearthing of the burial vault and tools to break its seal, revealing a cherry colored casket still draped in withered white roses. The shock of these bright colors coming out of the dirt makes it seem as though the casket too could be pried open to reveal a girl who is more like a Russian doll than a decomposing body or even a girl who would open her eyes, like the murder never happened, and say: I feel like a wet seed wild in the hot blind earth.[2]

When as children, my sister and I named Ken dolls after our enemies and buried them alive beneath the evergreens, and when we dug up dead frogs from the glittery coffins we made for them, praying over their tiny souls in tongues of necromancy, these were not merely games to us, though that is what we said. We knew survival would depend increasingly upon our relationship to resurrection.

***

And so, just as the corn was silking, all I could think about was driving till I hit the Pacific, becoming for all intents and purposes a ghost.

You see, I come from a town where no one leaves and there’s only one way a girl goes missing. Every few years, weighted to the bottom of a golf course pond or stuffed in a storm drain she will be discovered, made Legend.

You see, I come from a town where there’s only one way a girl is made Legend.

And in that town, that the air does not ring with them, that the new crocuses do not chatter with what has become of them, that the hushed ground is filled with them where they will remain forever, it is that more than anything that gave me the courage to leave.

Give me a world, I said aloud to no one.  You have taken the world I was.[3]

And a new world opened for me, by and by.

Each night in that blue light, they flickered across the ceiling. Pretty girls turned hungry ghosts who wanted to leave with me. I could see each of their lives like little boats upon the water, bright first, then burning, then snuffed out by the breakers of the sea.

I come from a town where no one leaves and there’s only one way a girl goes missing. Every few years, weighted to the bottom of a golf course pond or stuffed in a storm drain she will be discovered.

I will not say to you that the Legends as I experienced them were real, that I can prove how the room filled with strange heat, buoyed by their breath.

What I’m saying is whether they were real or mere projections of the mind seen with intense clarity, we belonged to one another. And knowing them, what was done to them, gave me one hundred new reasons to survive.

***

I began at dawn through the green maze of corn, an achingly familiar crop that dizzied suddenly with its vastness, its flickering infinity. I drove all day long, straight through Des Moines’ end-of-the-world darkness, where I made believe the few flickering lights were lanterns of the last survivors. Throughout Nebraska, day and night, earth and sky fused together, falling like a white sheet over me. That such monotony gave way to mountains was its own little miracle, though I couldn’t decide at first whether they made me feel sheltered or loomed over. By the time I got to Oregon, the clouds seemed close enough that you could reach your hand through the sunroof and come back with a fistful of nimbostratus.  And when at last I reached Seattle, lush and so fervently green it bordered upon narcotic, I knew for certain I would find heaven there.

The first thing I did was drive to the corner of 24th Avenue and South Washington Street, the place where Mia Zapata was made Legend. It felt like the only right place to start.  Twenty years had passed since her death, something like 5,520 days of rain, and it seemed to me she still smudged the earth, though there was nothing of her spirit there, which I knew would move through darkened rooms bright as aurora borealis.

I could see each of their lives like little boats upon the water, bright first, then burning, then snuffed out by the breakers of the sea

It was like stepping inside a house where you intuit immediately that something horrible has happened, except that there were no walls around it, making it that much harder to escape.

Aside from my books, I didn’t want anything that home had threaded through. Everything else I burned or left on the side of the road. What I needed, more than anything, was a perfect loneliness, pure and cold and bright. I found a studio two streets east of where Mia had lived when she’d been alive. With the apartment empty but for a mattress, windows clean, ceilings high, walls freshly white, I loved Seattle, which was more a city in the evening when its greenery folded into darkness. That first night, there was whiskey, and the Legends partnered and danced sweetly across the ceiling, and Nina Simone sang to a lover I hadn’t met yet: You’re spring to me / all things to me / don’t you know you’re life itself?

Back in high school, there were girls I loved for their beauty, and for their ability to receive pleasure without needing to return it. I would learn little things about them—a favorite song, a moon sign so I could joke that we were star-crossed or destined depending—but I did not use or remember their names. I wanted them for the way they kissed, the way they moved and sounded in the dark, that they smelled of rosehip and jasmine or Parliaments and Jameson, that beneath my tongue, they’d rise to the ceiling like steam. The only girls I named were the girls with whom things went terribly wrong.

For instance, there was I Should’ve Loved A Thunderbird Instead, who threw a brick through the window of my car, filled the driver’s seat with mayonnaise, and lit all of my shoes on fire before trying to fuck me in the driveway of my parents’ home.

There was What Spring Does To The Cherry Trees, who had feverish dreams I was the devil and tried, on more than one occasion, to spoon holy water into my hair before accosting me one day when I was at the dentist, marching right up to the chair to hit me in the face with the zippered end of her leather jacket.

In both instances, the authorities had to be called, and I authored wild explanations that absolved me entirely. I did not learn, in either instance, that for all the charm in the world, I would always be out of my depth until I could become a woman who could set her heart on something.

***

My favorite book as a girl was Truman Capote’s In Cold Blood. I found myself in the farewell letter Willie-Jay addresses to Perry, one the novel’s killers:

You are a man of extreme passion, a hungry man not quite sure where his appetite lies, a deeply frustrated man striving to project his individuality against a backdrop of rigid conformity. You exist in a half-world suspended between two superstructures, one self-expression and the other self-destruction.

The juxtaposition of individuality and conformity could be true of anyone, as could the notion of existing in a half-world. What frightened me then was the misplaced hunger, the way that Perry, pulled by confusion and desire, became a killer, a grown man who had yet to understand his appetite.

The trouble with being a girl is that you are expected to trade craving for hunger, hunger the specter that looms over you even as you sleep. And this makes you feel like a predator, a prowler in the lambs’ midst.

Being both evangelical and gay from birth, I worried at purity balls that my sinner’s skin would singe my satin gown. I was made to wear a purity ring that only a wedding ring could remove—this, an offering of love from my earthly and heavenly fathers.

What I knew that they did not: If God made me, he made me an aberration of nature.  Try as I might to people the wedding chapels of my imagination, there were other things consuming me, other fires, which burned the bridegrooms, and leveled the altars to ash.

It was with this same burning that I left my hometown, determined to find what I wanted and, for the first time in my life, to ask for it.

***

I learned Seattle by watching it like a television. Learned, for example, that I would need to trade my thick Midwestern skin for indifference. Learned that a morning’s bleariness was known to burn away like a marine layer, at which point the branches, hanging lush and wet and low, flickered for a bit in the wide pinking light. And on those days, people would stand in the street with reverence, or perhaps I imagined it that way. In any case, it made me feel that I was less alone.

I met her at a bar called Flowers, quiet and dark, three whiskies in.

From the start it was almost too much to look at her, so I stared instead out the windows, balmy with breath, tracing my fingers through their slow sweat.

The trouble with being a girl is that you are expected to trade craving for hunger, hunger the specter that looms over you even as you sleep.

When I worked up the nerve to be near her I was hooked right away by the friction between the few cautious words she afforded me and the way she knew, like no one had ever known, how to own me with her hot, hungry look. Those eyes that reduced continents to kindling, crisping planets of the Milky Way until the known universe scattered like ash from a cigarette’s sleeve and in that bar, it was only the two of us. And in that moment, I was the first woman ever made or the last one alive at the end of the world.

We compared scrapes born of war stories, and secretly, I named hers after summer constellations.

Southern Crown.
Northern Crown.
Arrow.
Archer.
Shield.

When I touched myself and was close to coming, I whispered her name, evoking her: a séance.

In the nights that followed, she was the specter. Bright, inscrutable orb darting the darkened room.

Every day the Legends got hungrier. I could hear the grinding of each twinkling maw. We were all starving in our own way, them because they’d been denied their rightful lives as women, me as a woman with the world before her too frightened and scarred to do a damn thing about it.

My days with them were lucid dreams. Their stories swirled around me, and if I wanted, I could pluck one from the air and ask her.

Legend who spoke of her body discovered in the dumpster behind Dot Liquor.

Legend who was murdered while playing Bloody Mary in the mirror.

Legends whose sweet mouths appeared still singing in the water, multiples of Millais’ Ophelia.

Legend three days shy of her sweet sixteen birthday party, who received instead the party where everyone searches and searches, finding nothing in the end but a crawl space filled with bone.

I say that I asked them for their stories, but over time, the room became cacophonous. It was sometimes hard to remember I wasn’t one of them. I was beginning to feel like my body was an Ouija board full of vague answers: yes, no, goodbye. Forever anticipating that moment where the wind shifts and the room moves from carefree to electric and malevolent.

The ghost I knew by heart was Mia. She was the only one who moved through the world with me. It was, after all, her neighborhood, and she was nice enough to show me around. We spoke through a kind of telekinesis, girl to ghost, and although it is strange to say so, Mia was my first Seattle friend. I would learn I wasn’t the only one who felt that way, that many girls in Seattle were descendants of Mia, beautiful and strange but because of her story, less innocent, walking home from the Comet Tavern, their keys tiny knives between their fingers, their eyes two fierce dogs gone hunting in the night.

In Buddhism, there is a creature known as the Hungry Ghost, a spirit characterized by great craving and eternal starvation. Small of mouth, narrow of throat, Hungry Ghosts are all desire, with no way to satiate. Sometimes they’ll receive a drop of water which evaporates upon the lips, or food, which bursts into flames before they can swallow. Each iota of desire comes with the consequence of pain, and being a woman had me like a Hungry Ghost. I am no longer willing to forfeit the wild and beautiful things I thirst for all for some craving gone quiet.

What I want now is a balance between woman and ghost.

A courage that has nothing to do with survival.

I want to eat a Clementine without thinking of his cold fingers.

I want Mia to eat my heart from cupped hands as Beatrice did Dante’s, and for everyone to vow on her behalf: I will not let him make of me a craven thing when bravery is so much sweeter.

I want to never forget the Legends, but to set them free, or to trap them in a lucid dream from which I will myself awake, so that I may finally see past them, see instead the first sailboats of morning upon the water, salty and cerulean, and wonder how I got so lucky. And wonder I am alive to know it at all.

“I want to be with someone who knows secret things,” Rilke said, “or else alone.” And I would like that to be my love letter to her.

I want her to see in perfect detail the things that might have destroyed me, and how I chose beauty instead. I want her to know so she never doubts it again, that she is commensurate of that beauty.

I want to move into the terror and the awe of this rare and beautiful thing between us, and hold there until we forget who we are, or how we might ruin one another, for as close and as long as she’ll let me.

And if ever she asks, without a word, I will gently
let her go.


[1] Heather McHugh
[2] William Faulkner
[3] Anne Carson

* * *

The essay first appeared in the Winter 2017 issue of Hotel Amerika, a biannual print literary journal based in Chicago, and is forthcoming in Daniels’ debut essay collection, Ladies Lazarus, from Tarpaulin Sky Press.

Little Führers Everywhere

Matthew Heimbach in front of court in Charlottesville, VA. (AP Photo/Steve Helber)

Vegas TenoldEverything You Love Will Burn | Nation Books | February 2018 | 20 minutes (5,442 words)

The first time I met Matthew Heimbach was in 2011, shortly after my trip to New Jersey with the National Socialist Moment. Our meeting was completely coincidental, and we would both forget about it for several years until we met again. That summer I found myself in the woods of northern North Carolina at the invitation of the Loyal White Knights of the Ku Klux Klan. My experience with the NSM had resulted in more questions than answers, and I figured that if I wanted to understand the white supremacist movement in America, I might as well start with the “Original Boys in the Hood,” as one of their more popular t-shirts stated.

It took some driving around to find the location of the Loyal White Knights rally. This was another thing that had changed over the years. There was a time, only a few decades ago, when Klan rallies were, if not announced and attended by the public, certainly tolerated enough to be held in the open. In 2011, even in North Carolina, they had been relegated to the backwoods, as far from people as they were from relevance. At the turn-off to a narrow dirt road stood a decrepit old tractor that someone had taken the time to drape in a Confederate flag. It seemed like a clue, so I took a chance and turned left into the woods. Read more…