A foreign language is a perfect stand-in for a parent: stern but accomodating, solid but flexible. Immense, possibly well-travelled, with non-negotiable limitations that soothe and please as well as enrage. Apparently ageless (but certain to die). Infinitely present. Embracing. Yours.
Suddenly, breaking our protocol, Irene said, "I love you, dear." We both knew it wasn't me she loved, though.
I grew up in a wealthy, Westside neighborhood and attended schools dreamt up by former hippies. The city’s racial metaphor for me felt like a pot of soup with a nice, chef salad, something casual and light and accompanied by a glass of iced tea.
Grandpa bought the place for cheap back in the sixties, a Communist blessing. Grandpa did good for high-ranking Reds. Black-and-white photographs of him with the Chairman hang where house guests will look.
The problem with the noise was that it silenced the silence. Now, in the spaces between sirens and garbage trucks and screams and shouts and machinery heavy and light, in those places where there should have been silence, there was only more noise.
Entwined contemplations of author Chris Hedges (War Is A Force That Gives Us Meaning) and former ad-man Bruce Bauman, and their respective relationships to this essay’s author (a ne’er-do-well novelist and ex-soldier)
I was eighteen years old when my daughter, Belinda, was born--a kid having a kid. I didn't see myself as a kid, of course. That understanding came later.
In New York City, in the spring of 1999, a story hit the newspapers of a Long Island woman who had given birth to twins--one white and one black. The woman and her husband were white and the black baby was not theirs, at least not biologically. The embryo that became that baby had been accidentally implanted in the woman's uterus...
The worker consents or faces death. This is Bartleby's recognition. But in consenting, ironically, he also faces death, the death of the self. It doesn't matter that the self is a fiction. In fact, the murder of the fictive self, the self that finds a place within society, that has basked in social approval, is more tortuous and painful than the death of any actual self. This is what it means to "lose face."
"What do we got today?" asks Ryan Ludwin. He's poking around inside two Styrofoam to-go plates from the chow hall. They're full of oranges, apples, and grapes. They're full of silver-dollar pancakes and small packages of syrup. They're full of bite-size breakfast sandwiches and bacon and sausage. They sit next to boxes of orange juice, grapefruit juice, and fruit punch which are all, like everything else in Iraq, covered with Arabic script.
This clothing, this changing of the clothes, is not at all like Superman. Not that anyone would make such an association, but let me just say it: I can’t fly. Gravity and the second law of thermodynamics regularly have their way with me. I change into clerical garb because that is what is expected, and that’s fine. The collar will identify me and make my presence in N.’s home intelligible among people I have not met before, granting context. “The pastor’s here.” I get in my 1992 Honda Civic and go.
Rosie waves her newspaper at me... She’s saying, “And when we went inside the gallery in Taos—Taos is so far-out, just far-out—we said we were interested in the buffalo outside, but the owner wasn’t there so the clerk called him and Wendell heard him say, ‘There’s a couple from Kansas here who is seriously crazy.’”
"What is this place, anyway?" I ask. My head and face have become numb. My stomach feels like it's been scalded. I spit the nut out and wipe my burning lips with the back of my hand.
At the opening of the first page, and on many a last page, an error is stamped, and the indentation of this error, filled with gold. We begin a book, and end a book, in error and mistake. The bookbinder’s whale serves not as linguistic information (it might be unfair to claim the bookbinder’s whale as any sort of information at all). It is decoration—an embossed luxury. The bookbinder’s whale is also the emblem that inaugurates the eye to the knowledge about to follow; it is also the cipher that closes knowledge shut when the experience of reading is done.
If commute you must—and hey, eight million a day do—going home nights on the PATH train from World Trade Center to Hoboken isn’t too brutal. Crowded, alright, this time of day. Packed so you can’t move, sure. But that’s New Jersey; it’s all relative.
Lubec is dying. There are no fish left. The lovely old, paint-peeling houses are for sale because the fishing families can't feed their children anymore and they are leaving. The stores on Main Street are boarded up, sometimes burnt-out by desperately bored and angry teens.
That June day more than twenty-two years ago began cloudless and hot, the Cubs and Cards, both doing all right at the time, poised to clash for short-term bragging rights in the ongoing saga of their regional rivalry.
It is 4:00 a.m. For the past hour, only the hallucinations have kept me on my toes. A horse bridled with Christmas lights appears and canters alongside the car. I have slowed to the speed of his gait; I consider his footing as we take corners.
I suppose that someday, suddenly, I will be transferred to another age, for example the chivalric or the bronze. The hope is, of course, that I arrive in period dress, but that I not resemble a contemporary luminary, for I wish to simply onlook.
Empty boxes. Banana boxes, frozen entrée boxes, Healthy Start cereal crates, waxed produce boxes. The bread boxes, usually full and available for the taking, are also empty.
It is gray and frigid outside. I have accomplished little at my desk. I have plans, when I return home, to draft an essay about love. So I want my walk around the lake to go quickly...But the Essayist says, Think of Brenda Ueland.