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January 31, 2006

And this is how I really spend my time

I am a daily reader of Go Fug Yourself. In the past, I've kept this to myself, the same way I keep my reading of US magazine (and all its knock-offs) to myself (Christopher finds them around the house and shakes them at me, saying: "You are part of the problem!" and he is sooooo right). I don't want to admit to my closet cattiness. I want to appear enlightened, informed, uncaring to brutal skewering of celebrities. But, seriously, let's get real. Let's be honest. Deep inside of me is a great big bitch, and, just like you, I do little things to keep her tamed (so that I don't scream at Chicago drivers. Or anyone else deserving of screaming) and reading Go Fug Yourself is one of them. It's my secret guilty pleasure.

"Why now, Megan" you ask. "Why now do you chose to tell us about this horrible ink blot upon your otherwise unspoiled New Yorker reading, Modest Mouse listning to, foreign-film watching charcater?"

Because today, my friends, they went after David Hasselhoff and, while I have nothing against David Hasselhoff (in fact, my dad and I watched Knightrider religiously when I was a little girl) I must say that the video they link us to is the most amazing thing I have EVER. SEEN.

I heart Crazy Aunt Purl

Because I, too, have considered the before and after. Because I, too, have had those moments where you can see how you've changed, and how you've moved on, slowly, slowly, and all that mental work and anguish has brought you to a place where you feel a little more free and because I, too, have listened to Eighties music during all the aforementioned philosophizing.

Can I feel homesick for a place that's not home?

Kat sent me this which aside from being really beautiful and dreamy, made me sort of homesick for Prague.

Although he'd probably get a fat advance for it

I asked: Will Frey write a memoir about his experience of writing a memoir?

(because, holy shit, after what he went through on Oprah he probably needs the healing associated with telling the truth, especially since he didn’t get to that healing with the first memoir. And then, maybe he can write a memoir about his experience of writing a memoir about writing a memoir? Makes me think of that scene from Lily Tomlin’s one-woman show The Search for Signs of Intelligent Life in the Universe. Trudy, a bag lady, is talking about her alien friends: “Next to my trances they love goin' through my shopping bags. Once they found this old box of Cream of Wheat. I told 'em, “A box of cereal." But they saw it as a picture of infinity. You know how on the front is a picture of that guy holding up a box of Cream of Wheat and on that box is a picture of that guy holding up a box of Cream of Wheat and on that box is a picture of that guy holding up a box of Cream of Wheat and on that box is a picture of that guy holding up a box of Cream of Wheat … We think so different”).

And he answered: No.

January 25, 2006

Fun With Words!

I haven’t even had my coffee this morning and already they’re trying to change the English language. I am interested in language. I’m interested in playing with it, and painting with it, and running in it. Sometimes I fantasize about sword-fighting with it. A lot of people might be around if we used words instead of swords. Or guns. But then I think about an Egyptian writer that I heard speak a few years ago, Dr. Nawal El Saadawi. She was put in prison for an article she wrote, and, once there, she asked for a pen [logical: if you’re imprisoned indefinitely, you’ve got a little time to get some work done] and was told—and I’m paraphrasing here, I can’t find the exact quote—that they’d give her a gun before they gave her a pen. That blew my mind. Here is this woman standing right in front of me, telling me about the power of words, receiving death threats for her words, trying to change the world with her words.

That was the moment I started to consider the meaning of my stories; what was I trying to say? It suddenly felt like an awful big responsibility. Like, my dad is a big game hunter in Alaska, and he has all sorts of guns. When I was a kid, I had to go through hunter safety class like six times, because if I didn’t respect those things, they would hurt me. And/or others. My feelings about guns/gun control isn’t so much what I want to go into right now—it’s the parallel that interests me. Like what the Nicolas Cage character said in The Rock (yes, I’m quoting The Rock to punctuate a very serious issue! Yes, to all you haters on Netflix who hated that movie, I’m about to use it to make a valuable point! [I just said “you haters,” ala “Let the haters hate,” which is sooo Kevin Federline of me. Sooo Big Jim]): “The moment you don’t respect this thing—” and he held up a very scary dangerous green nuclear liquid weapon that later burned some guy’s face off— “It will kill you.” And here is this little Egyptian women with white hair, telling me to respect language. To value it—it can create change. It can speak the truth, or give hope, or explain a point of view, or heal, or shake everything up or (insert a multitude of verbs).

This is where I tell you that I feel very, very lucky to live and write in this country—I’m in my kitchen right now, which is nowhere near an Egyptian women’s prison (not like my little stories would ever get me jailed. But who knows? My mother, a fourth grade teacher, can’t read Harry Potter in class ‘cause of the “black magic.” Not like my mother would want to read Harry Potter in class—she’s more into Island of the Blue Dolphins. Where the Red Fern Grows. The Pushcart War. The Great Gilly Hopkins—but it’s the PRINCIPLE of the thing. The “I’ve been teaching fourth grade for [insert high number that I don’t remember] years and they want to tell ME what I can and cannot read to my children?” Not that Rowling is going to jail anytime soon, but, hey, is Rushdie still living in exile for writing The Satanic Verses and getting a fatwa on his head because of it? Respect, people, respect, which brings me back to my feeling very lucky to live and write in this country—BUT, I am concerned about this whole changing the meaning of words business, as in: “Spying” is no longer “Spying.” It’s ‘Surveillance.”

My dad was a big fan of Twain, so there’s lots of Twain quotes percolating around in my head. Such as:

The difference between the right word and the almost right word is the difference between lightning and a lightning bug.

To whit:

Spy

v 1. to work, operate, or function as a spy
n 1. somebody who is employed by a government to obtain secret information, particularly regarding military matters about other hostile countries 2. somebody who is employed by a company to obtain secret information about rival organizations 3. somebody who watches other people in secret

Surveillance

n 1. continual observation of a person or group, especially one suspected of doing something illegal

So: if the difference between lightning and a lightning bug is the bug part, it looks to me (and remember, I’m no semantics scholar. Just a lover of language. And digressions. And my freedom of speech, et all) that the difference between “spying” and “surveillance” is the “secret.”

Secret
adj 1. known by only a few people and intentionally withheld from general knowledge

n 1. a piece of information that is known by only a few people and intentionally withheld from general knowledge

For the record, my friend Betsy told me about a game called Dictionary where you make up definitions to words. I like that game! I like playing with the dictionary! I like making up words, and having them mean other things than they’re supposed to and stuff! Whoo-hoo!

That said, lightning is not a bug. And spying and surveillance are not the same thing because one of them is done in secret. And changing the meaning of words is downright scary. It brings to mind a book I’ve been thinking about recently, written by a man whose words I profoundly respect:

(from 1984, George Orwell. Chapter 5)

'How is the Dictionary getting on?' said Winston, raising his voice to overcome the noise.

'Slowly,' said Syme. 'I'm on the adjectives. It's fascinating.' He had brightened up immediately at the mention of Newspeak. He pushed his pannikin aside, took up his hunk of bread in one delicate hand and his cheese in the other, and leaned across the table so as to be able to speak without shouting. 'The Eleventh Edition is the definitive edition,' he said. 'We're getting the language into its final shape—the shape it's going to have when nobody speaks anything else. When we've finished with it, people like you will have to learn it all over again. You think, I dare say, that our chief job is inventing new words. But not a bit of it! We're destroying words—scores of them, hundreds of them, every day. We're cutting the language down to the bone. The Eleventh Edition won't contain a single word that will become obsolete before the year 2050.' He bit hungrily into his bread and swallowed a couple of mouthfuls, then continued speaking, with a sort of pedant's passion. His thin dark face had become animated, his eyes had lost their mocking expression and grown almost dreamy. 'It's a beautiful thing, the destruction of words. Of course the great wastage is in the verbs and adjectives, but there are hundreds of nouns that can be got rid of as well. It isn't only the synonyms; there are also the antonyms. After all, what justification is there for a word which is simply the opposite of some other word? A word contains its opposite in itself. Take "good", for instance. If you have a word like "good", what need is there for a word like "bad"? "Ungood" will do just as well—better, because it's an exact opposite, which the other is not. Or again, if you want a stronger version of "good", what sense is there in having a whole string of vague useless words like "excellent" and "splendid" and all the rest of them? "Plusgood" covers the meaning, or "doubleplusgood" if you want something stronger still. Of course we use those forms already, but in the final version of Newspeak there'll be nothing else. In the end the whole notion of goodness and badness will be covered by only six words—in reality, only one word. Don't you see the beauty of that, Winston? It was B.B.'s idea originally, of course,' he added as an afterthought. ' … Don't you see that the whole aim of Newspeak is to narrow the range of thought? In the end we shall make thoughtcrime literally impossible, because there will be no words in which to express it. Every concept that can ever be needed, will be expressed by exactly one word, with its meaning rigidly defined and all its subsidiary meanings rubbed out and forgotten. Already, in the Eleventh Edition, we're not far from that point. But the process will still be continuing long after you and I are dead. Every year fewer and fewer words, and the range of consciousness always a little smaller … By 2050 earlier, probably—all real knowledge of Oldspeak will have disappeared. The whole literature of the past will have been destroyed. Chaucer, Shakespeare, Milton, Byron—they'll exist only in Newspeak versions, not merely changed into something different, but actually changed into something contradictory of what they used to be. Even the literature of the Party will change. Even the slogans will change. How could you have a slogan like "freedom is slavery" when the concept of freedom has been abolished? The whole climate of thought will be different. In fact there will be no thought, as we understand it now.’

January 24, 2006

The definition of BADASS

A couple of weeks ago, I linked to the SNL video Lazy Sunday. Watch it, and then, watch this.

January 23, 2006

Turn Around, Bright Eyes

For more reading fun, the 2nd Hand (Dear Todd: you're a badass) just posted a little story I wrote about bugs. And boys. And Bonnie Tyler. Things that start with the letter B, it seems.

January 20, 2006

Maybe this isn't funny to anyone but me

I am watching Austin Powers: The Spy Who Shagged Me (because today, I've decreed, is the day to senselessly waste time). If you haven't seen this seminal film, the plot centers around Dr. Evil traveling back in time in his (airquotes) Time Machine to steal Austin's mojo. As I'm sure you can imagine, every other sentence of dialogue includes the word mojo.

"I'm going to go back in time to steal Austin's Mojo!"
"Dr. Evil sent me to kill you but I find you so sexy!" "It's my Mojo, baby, yeah!"
"I've lost my Mojo!"
"Austin, our intelligence shows you've lost your Mojo."
"You losing your Mojo couldn't have come at a worse time."
"I'll go back to the Sixties and recharge my Mojo!"
"Where is my Mojo?"
"Here is his Mojo."
"I'll give you the Mojo, and you give me your baby."
"Austin Powers is no longer a threat. I have his Mojo!"
"Get the Mojo!"

And everytime he hears the word Mojo, my dog (named Mojo, if you've just arrived to this blog) jumps up and looks around, as though Mike Myers is in the apartment, calling him. When he realizes that no one else is here, he sighs heavily and sits down, dejected. I imagine he's thinking, "I must be going crazy! I keep hearing my name!"

January 18, 2006

In Order to Remove the Boot

The new issue of Otium just launched! Thanks to Sarah and the editors for giving my little story a home. I wrote this one a few years ago, when I started receiving letters from an inmate at the Illinois Department of Corrections. And got loads of parking tickets. And was still young-and-foolish enough to think, Ho-hum, it won't be any big deal if I don't pay my parking tickets! THEY WON'T EVER CATCH ME (insert diabolical laughter).

Indy got me through the rough times

Just read Carolyn’s dream about her boyfriend, Joaquin (congrats on his recent Golden Globe win, Carolyn!) and I remembered that Before I met Christopher (BC) I had not only a slew of imaginary boyfriends (I was a big ol’ slut in the imaginary dating world) but also imaginary friends (which I can’t figure out because I had/have some wonderful, very real friends and was therefore not in need of imaginary ones, at least not with the same urgency that I needed my imaginary boyfriends). I don’t mean imaginary as in putting a real person into an imaginary situation (like how this girl I know, Emily, wants to marry Bon Jovi or the story I did at The Dollar Store about my date with Tone Loc), nor do I mean it in the little kid sense of imaginary, as in “This is my imaginary friend, Bobby, who’s really a raccoon and he lives in the creek by my house and no one can see him but me and Yes, he talks! to me! and don’t sit in that chair, that’s Bobby’s chair!” No, I mean imaginary like Fictional Characters imaginary.

Fictional Characters I Wanted to be Friends With or Have Sex With or Maybe Both

Indiana Jones
Trinity
Captain Juan Alejandrez
Anna Karenina
The Incredible Hulk
Rupert Birkin
Christine Jesperson
Yui Hsui Lien
Fermina Daza
Ripley
Tank Girl
Holly Golightly
Byron Bunch
Xena, Warrior Princess
Malcolm Reynolds
Caleb Trask
Delia Byrd
Chick Binewski
The Warrior (from the movie The Princess and the Warrior, whose name I’m currently spacing but he gave Sissi an emergency tracheotomy with a Swiss army knife and a Big Gulp straw underneath a Mack truck and he’s waaaay hot)

And if you don't there will be much burning in Hell

Viki says I'm tagged. I must list five weird things about myself or else ... or else what, Viki? I don't mean that in a tough girl way (ala Rizzo in Grease: "Oh YEAH? Or else WHAT?!"). I mean it seriously. What happens to the blogger who doesn't answer the tag? The same thing that happens if I don't forward that email? The one where you have to answer twenty-some questions about yourself and send it to at least twenty friends and if you don't you'll have twenty years bad luck and, because, while I'm not superstitious persay I do lean towards paranoia and if something horrible—knock on wood—goes down in my world I'd rather it be either A. part of some higher plan or B. karma i.e. payback for whatever shitty thing I did to someone (that I didn't know was shitty or else I would've apologized) as opposed to C. no reason at all because life is meaningless or D. because I didn't post five weird things about myself.

You know?

So:

1. I don't eat olives, pickles or flan. Those are my only food rules and they are strict. Yes, I eat cucumbers. Yes, I eat creme brulee. Yes, I eat feta cheese. No olives, no pickles, no flan.
2. I can pick things up with my toes. Like, if I need the pen that fell under my desk, I will pick it up with my toe and lift my leg up to my hand. My boyfriend thinks that's disgusting and my dog thinks it's the most awesome thing in the Universe.

I've now sat here for an hour (actually, it's more like three minutes. It FEELS like an hour, but it's actually three minutes. Since the Million Little Pieces thing, my inner editor craves the exact, while the storyteller in me prefers the embellishment. Hence: I'll tell you when I'm fictionalizing the nonfiction [a hint: always]) and cannot come up with three more weird things about myself, probably because I'm overthinking things. Like, what does weird mean EXACTLY? Is picking up things with my toes really weird, or are ten people going to leave comments about how they, also, pick things up with their toes and who am I calling weird?

So, I walk down the hall to Christopher's office.

ME: What are some weird things about me?

(looooooong pause)

CHRISTOPHER: (finally) Are you sure you want me to go there?

(loooong pause)

ME: (finally) Maybe only the weird things that you find endearing.

HIM: (speaking very fast) Whenever you yawn, you look like you’ve been crying really hard. You have entire conversations with me in your sleep and don't remember any of them the next day. You like it when the dog licks your feet. You like to have lots of half-full water bottles around the house (note: I was like that BEFORE the movie Signs, and it's NOT because of Aliens, thanks very much. It's because I get THIRSTY) (another note: he did say half-full. Not half-empty) and when you watch movies, you pull out your eyelashes. Is that enough?

Yes, I think so.

January 10, 2006

I had sex with the Incredible Hulk (and other thoughts on autobiographical fiction)

What is fiction and what is nonfiction? And did that part in the story really happen or did I fictionalize it? And can I write the thing that really happened? ‘Cause even if it’s totally interesting and a kick ass story, people who were there might read it and get mad! What if they yell at me? What if I hurt someone’s feelings? And if I’m writing nonfiction should I include all those parts that totally happened even if they’re boring? And should I change names? And can I say it’s the truth even if it’s not really the truth, it’s really the emotional truth, which still is the truth but a different sort of truth than they mean when they say truth? And what is truth? And do I have to have a pre-defined philosophical outlook on those issues or at the very least read a whole bunch of philosophical texts about these issues before I can become a writer? Of fiction? And do I have to say I’m a writer of fiction or a writer of nonfiction and what is the difference and can I cross genres? And if someone reads my stuff and asks, “Hey, that part where the girl drinks cough medicine and falls down the stairs, did that really happen?” can I be all cryptic and say, “Art is a mysterious vice,” or all emotional and say, “How can you even ASK me that!” or all offended and say, “Would you ask such things of Proust?” and then launch into a really long monologue about Proust’s actual relationship with Albertine and what was fictionalized and what wasn’t, followed by lightning-fast name dropping of every writer I can think of who used their real lives in their stories which would probably be, like, all of them. Then you’ve got the flip-side of all that—the writers of nonfiction who fictionalize their stuff. For example, Stephen Glass and Jayson Blair. Were these guys just writing fiction? What’s the difference between that and lying? Does it have to do with the writing itself, or just how it's marketed? And how does what's going on with A Million Little Pieces fit into all that? (although we can't automatically assume he's guilty, 'cause it just happened so the jury’s still out).

I wonder: I know there's a specific ethical code that journalists are held to. Do writers of fiction also have a responsibility to their readers? Of what sort? And what about that blurry place between those two extremes, the place where creative nonfiction sits?

Rhetorical questions are fun ‘cause you can spend a lot of time in bars (or on blogs) discussing them, often with people you don’t know, who are very drunk and happen to overhear your conversation and want to throw in their two cents. Also: they're good subject matter for essays and panel discussions. Also: they're great for procrastination because they suck up loads of time that you could be spending actually writing, and, at the end of the day, there aren’t any concrete answers, so you can come back tomorrow and keep on discussing and considering and contemplating.

In the meantime, I’m going to go write a story about what happened to me yesterday: I drank too much cough medicine and fell down the stairs.

Dear Joss Whedon

I take back what I said about your movie Serenity because I just finished watching all sixteen hours of Firefly and now I get it and you are a genius. I should never have doubted you.

(added later: Ralph commented that perhaps this entry sounded backhanded. Reading it over, I could see how that might be interpreted and seriously, that's not what I meant at ALL! I meant that I watched ALL SIXTEEN HOURS OF FIREFLY over a three day period! I couldn't STOP! It was addictive and wonderful and I loved it! And I officially join the masses of deperate fans demanding that the show come back so all questions can be answered and all relationships further explored, especially Simon and Kaylee and Mal and Inara! And I'm digging how River changes/grows from episode to episode in this subtle way! And I mostly loved Out of Gas, the episode that started with the middle of the story and then interspersed scenes from the beginning of the story with the forward movement from the middle AND flashbacks to how they all met in the first place! Genius! Can I gush more? YES I can! I have a sort of girl-crush on all of the women. I want to BE them: the badass [literal and figurative] of Zoe, the sexy intelligence of Inara and the super-cute, little sister-ness of Kaylee. And, of course, I'd like to be pyschic like River. D'uh. And the whole I don't care/I'm still free/you can't take the sky from me soundtrack is wonderful AND, AND, AND THEY SWEAR IN CHINESE 'CAUSE IN THE FUTURE OUR CULTURES HAVE BLENDED TOGETHER! That's SOOOOOO COOL!)

The Chronic—What?!—cles of Narnia!

When I was a kid, I loved The Lion, the Witch and the Wardrobe. It had battles and talking animals and witches and ice and everything else that was awesome, including a whole other world inside of a closet (which is an avenue of symbolism more interesting to me than the whole crucifixion theme that the movie jammed down my throat yesterday. Perhaps I am growing weary of Biblical symbolism. Perhaps I am growing weary of symbolism in general. Can I just hear a good story, people, please?).

On a (somewhat) related note, the next time I have a lazy Sunday, I’m also going to make a short film/music video about how lazy Said Sunday is, instead of just sitting around being lazy. This is because

A. I’m sick of being lazy
B. I hear that the short film is making a comeback
C. It looks like a ton of fun and I’m into the whole fun thing

Few love to hear the sins they love to act (Pericles at I, i)

Christopher and I saw Mary Zimmerman’s adaptation of Pericles at the Goodman last weekend and it was breathtaking. And a fucking blast, seriously, I don’t remember the last time I had so much fun with Shakespeare (After we got past the first ten minutes, during which I thought, ‘If I’m going to be watching a three-hour long play about incest I better start mentally preparing myself,’ but it wasn’t about incest AT ALL, that was just the catalyst for all the traveling and pirates and magicians and whorehouses and silver confetti and knights and Goddess Diana sailing in boats on blue silk, and it got me thinking about how you never know what’s going to happen when you walk out your front door! or who you might meet that could change your life! Like, in the case of Pericles, he’s all depressed and he travels to some random town—SPOILER ALERT—and meets his long-lost thought-to-be-dead daughter! And then, I read this New Year’s post from CrazyAuntPurl [I read her every day. She’s funny and honest and has very recently gone through a divorce, and while that’s not a trial/tribulation I’ve—knock on wood—ever faced—at least, not directly. Not as one of the two parties involved. I’ve only had third-party involvement—I read her because she’s strong. And she makes me feel stronger] about the same thing. How her ex-husband is right now such a huge presence in her life, but really, he was just some guy she met one day, and who knows what guy she’ll meet THIS day?) and yes, I know Pericles is one of his lesser-done plays—that some scholars say it isn’t written well and others say he didn’t even write the first half of it—and that makes this production even more spectacular. I don’t know much about playwriting, but I’m trying to learn (re: I’m writing one right now. Sort of) and the most interesting part is letting go of control. I mean, when I write fiction, it’s just me. I have to get everything all down on the page—the place and characters and what they look like and what they’re saying and how they say it, etc. etc.—and with a play, I have to remember that there’s a director and actors and production designer and all these wonderful artists bringing it to life WITH me. This production of Pericles really enforced that for me. I had to read the play in college and I remember writing a paper on how some scholars said it isn’t written well and others said he didn’t even write the first half of it. And now, looking back on that, I realize (as I do looking back on many papers that I wrote in college [at least until I started in the Fiction department at Columbia]) that I had no idea what I was talking about. And maybe in ten years I’ll read what I’ve written here and think the same thing. Which is sort of a relief. ‘Cause it shows I’m learning. Growing and whatnot.

And, seriously, if I were still thinking the same way as I was when I was twenty I’d have to slit my wrists. Which would be, like, so totally Shakespearean of me!

January 6, 2006

Rent rent rent rent rent rent rent! I don't wanna pay reeeent!

Christopher has taught Mojo the following: Sit, Down, Stay, Come, Heel, Off, Fetch, Leave it, Wait, Kisses! (as in Lick us, don’t chew on us!), Back! (as in Get away from that cookie, Dude!) Go! (as in Run really fast and burn off all that excessive energy!), Roll over, Tickle Megan! and Hold the Treat on Your Nose Until I Tell You Okay and Then Flip It in the Air and Catch It!

I have taught Mojo choreographed dance numbers. When Christopher is at work, what we do is turn the volume waaay up and get our dance on. He likes Michael Jackson (post Bad, pre-Thriller), Black Eyed Peas and the Beastie Boys. He hates—HATES—opera, and musicals he can tolerate for a little while and then he gets distracted. Just this morning, we were doing Seasons of Love from Rent (a little background: I am what my friend Ryan calls a “Rent-head,” which, as far as I can tell, means I saw the show a couple times (in New York and here) and I was very skeptical of the film version initially but ended up loving it and have seen it three times and I cried. Every time. Because it’s beautiful. Plus I really dig La Boheme and am in favor of modernization of the Classics in general ‘cause, d’uh, they’re Classics! Which means their stories should be universal enough to fit into any time period [and of course there are exceptions to this as far as I’m concerned, re: Ten Things I Hate About You and et all teen dramas, although maybe that’s just ‘cause I don’t so much like the teen dramas. When I was a teenager the teen dramas were really badass. Like Heathers. And Pump Up the Volume. And just before I was a teen there were all those John Hughes movies and my favorite teen drama on the planet, Satisfaction starring Ms. Justine Bateman and that girl who voiced Jem from Jem and the Holograms. I mean, seriously, they don’t MAKE ‘em like that anymore! Do they? Or do I just not appreciate what they’re making these days ‘cause I’m a [gulp] grown-up?] and stories about love and loss and friendship and enjoying life and fully living each moment are stories that I need to hear more of. I recently had a discussion with someone about Rent and they said that the reason why it “sucked” was because the lyrics were “nonsensical.” As proof, they offered the lyric: “Rent rent rent rent rent rent rent! I don’t want to pay rent!” Okay. I’ll give you that. Rent rent rent rent rent rent! is a little silly. BUT, if we take little jaunt through musical history, I think we’ll find that lyrical silliness is a necessity to the form. Case (s) in point:

Guys and Dolls: “Standing there, gazing at you, full of the bloom of youth/ Standing there, gazing at you, with the sheep's eye/And the licorice tooth

Hello Dolly: So, golly gee, fellas/find her a vacant knee, fellas

Mary Poppins: No where is there/A more 'appier crew/Than them wot sings/"Chim chim cher-ee/Chim cher-oo!"

Music Man: To the rhythm of Harch! Harch! Harch!/All the kids began to march/And they're marching still right today!

Sound of Muisc: Timid and shy and scared are you/Of things beyond your ken [?]) and Mojo was really good through the whole number, sitting in his spotlight next to mine with his tail wagging (we pretended there were five more spotlights next to ours and we were lined up at the front of a stage). But when we got to the part where the Joanne character sings that solo, I was really getting into it and Mojo left his imaginary spotlight and jumped on me. I told him, “This is great emotion that you’re exhibiting here, but you have to stay in your spotlight. Don’t ever leave your spotlight!” He looked at me very seriously for a second. Then he lay down and rolled over.

January 4, 2006

What happened in 1984 was I listened to Time After Time by Cyndi Lauper a lot

When I read a book, I dog-ear certain pages. Maybe because of what it’s saying, maybe because I appreciate how it’s written. Like, “Wow, this is a badass description. I should fold over the corner of the page so I’ll remember it’s here,” which of course, I never do, because there’s so many other things to read, and then weeks or months or years later, when I come across those pages, I have to remember why I dog-eared them in the first place. It’s an interesting way to look back at myself: to see what was taking my attention however long ago.

I just picked up my copy of Orwell’s 1984 (the last time I read it was in 2000, shortly after the election) and I’d marked three passages:

One:
“I'm not interested in the next generation, dear. I'm interested in us.”
“You're only a rebel from the waist downwards,” he told her.
She thought this brilliantly witty and flung her arms round him in delight.

Two:
… she worked, as he had guessed, on the novel-writing machines in the Fiction Department. She enjoyed her work, which consisted chiefly in running and servicing a powerful but tricky electric motor. She was 'not clever', but was fond of using her hands and felt at home with machinery. She could describe the whole process of composing a novel, from the general directive issued by the Planning Committee down to the final touching-up by the Rewrite Squad. But she was not interested in the finished product. She 'didn't much care for reading,' she said. Books were just a commodity that had to be produced, like jam or bootlaces.
She had no memories of anything before the early sixties and the only person she had ever known who talked frequently of the days before the Revolution was a grandfather who had disappeared when she was eight. At school she had been captain of the hockey team and had won the gymnastics trophy two years running. She had been a troop-leader in the Spies and a branch secretary in the Youth League before joining the Junior Anti-Sex League. She had always borne an excellent character. She had even (an infallibIe mark of good reputation) been picked out to work in Pornosec, the sub-section of the Fiction Department which turned out cheap pornography for distribution among the proles. It was nicknamed Muck House by the people who worked in it, she remarked. There she had remained for a year, helping to produce booklets in sealed packets with titles like Spanking Stories or One Night in a Girls' School, to be bought furtively by proletarian youths who were under the impression that they were buying something illegal.
“What are these books like?” said Winston curiously.
‘Oh, ghastly rubbish. They're boring, really. They only have six plots, but they swap them round a bit. Of course I was only on the kaleidoscopes. I was never in the Rewrite Squad. I'm not literary, dear—not even enough for that.”

Three:
He wondered again for whom he was writing the diary. For the future, for the past—for an age that might be imaginary. And in front of him there lay not death but annihilation. The diary would be reduced to ashes and himself to vapor. Only the Thought Police would read what he had written, before they wiped it out of existence and out of memory. How could you make appeal to the future when not a trace of you, not even an anonymous word scribbled on a piece of paper, could physically survive?

I think it’s time to give Ol’ Orwell another read. I’ll have to get myself a new copy, though. This copy I’m sending here.