I was a seemingly innocuous, privately neurotic, stone-broke girl seeking hiatus from the soul-sucking world of fine art, writing, coolly inebriated boys and waitressing.
Rosemary’s Baby entered my life at the same time as my growing awareness of the power and mystery of place.
I write this to you because I wonder if we can ever overcome what we are: prototypical comfortable liberals with radical pretensions.
tablets click into sickly amber plastic like the urine they render so urgent in reverse. click (drop), click (drop), streams of static swishing sound heard on the off-air channels of anything analog.
My thought is a mandala, a mantra. A round thing turning over and over in my mind. A focus for my eyes and my breath. It’s as close as I come to prayer.
“There will be people who’ll cross the street to avoid you because you’re black,” my mother would tell me when I was younger, in every conversation or argument about race we ever had.
The island was ours; each kissing gate and the kisses inside of them, each water trough, every animal call, root, rock, dock leaf and bunker. Even the moon.
According to an Ask Jeeves Internet search, Gdansk holds over 300 hotels, not including informal hostels and private “zimmers.” Why so many? I’m glad you asked.
We considered Mabel housebroken, but as any good Buddhist—or new dog owner—knows, identity is a construct, subject to change. In other words, accidents happen, especially when no one’s watching.
When I ascended to the den, pliers in hand, to watch the Americans go down in Lillehammer, I knew I didn’t want to go out like them.
I want an example, a model for how to live independently, with the smallest bit of indifference and anonymity, without fear, for a while, for the summer.
It is rare in my experience that anyone can be both the center and circumference of a circle. How does Edith manage it?
I was 16 in 1994. I had a crush on a girl at my high school named Stacy. She was two years older — blonde hair, a grunge band on her t-shirt and a constant half-smile on her face — and it goes without saying that she had absolutely no interest in me.
Interviewed by Stacey Schmeidel for the Spring 1999 issue of Amherst Magazine, David Foster Wallace said, “The truth is I don’t think I’ve ever found anything as purely ‘moving’ as the end of The Velveteen Rabbit when I first read it.”
The place in the brain where language sucks meaning can seem like nirvana.