Guest editing at Coudal

For the month of February, I’ll be guest editing for the Fresh Signals section at Coudal, which means, in a nutshell, I get to contribute links to mind-boggling awesome stuff to their ongoing feed of links to mind-boggling awesome stuff.

I’ve been following Fresh Signals for a few years now, ever since I met Claire (love you, Claire!) through her series Funny Ha-Ha (love you, Funny Ha-Ha!) and she introduced me to this crazy filmmaker Steve (her husband, incidentally) and when I went home and told Christopher (my husband, incidentally), he was all, Yeah, Steve Delahoyde from Coudal. I love that site at which point Coudal became one of my main go-to’s for – how should I phrase this? – really good shit. The kind of shit that makes you want to rush out and make something, do something, like paint a barn or stage a play or steal a van and fill it with dancers and choreograph a dance inside a van ’cause for years you’ve been thinking about it, for years you’ve been all, Dammit, someday I’m to choreograph a dance set in a van, and also I’m going to have a theatre in warehouse and a circus on the second floor and on the roof there’ll be a garden where I’ll grow my own corn in order to survive when the zombies come but of course you haven’t done it yet, ’cause it’s risky, it’s scary, it might fail, plus who has the time? You have a job and a family and, like, commitments! So the dance in the van remains a dream you dream during some soul-crunching meeting, a file filed under Someday.

Coudal is the place that says Someday is right now.

Last July, I went to Creative Mornings to hear Jim Coudal give a talk called What Are You Afraid Of? It made me want to kick down the walls and quit my job and save the world, but instead I went home and had a little meeting with myself about my time: how was I using it, and what was I using it for?

He said: “When somebody says, ‘Oh I have this really great idea for a croched beer cosy and I’m going to start it in six months’—the problem is the six months. What that means is, ‘I’m afraid.’”

He said: “The problem with doing a project that’s important to you in your spare time is that there isn’t any.”

He said: “What are you afraid of?”

I’d been hearing about Creative Mornings for while. For the Chicago kick-off, last July with Coudal, online RSVPs filled within two minutes, and Christopher was lucky enough to snag a couple. It’s a simple, lovely idea: creative people meet over coffee and hear someone awesome talk for twenty minutes about whatever they’re most interested in. Everyone in the audience fills out these icebreaker name-tag things, answering a question about the topic of the talk that can then serve as a jumping-off point for conversation with all these coffee-drinking strangers.

I loved it, of course. A big part of our mission at 2nd Story is finding connections between people through shared stories, and to spend a morning meeting new people via what they were afraid of was pretty goddamn profound. It also challenged me to really consider what I was afraid of. I’ve been working on this novel for a while now – what do I need to do in order to finish? What kind of time commitment do I need to make? What exactly is getting in the way?

All this is a work in progress, of course (i.e. I still watch too much Buffy the Vampire Slayer free-streaming on Netflix, damn you free-streaming on Netflix, I love you free-streaming on Netflix) but in the meantime, I’ve been a regular lurker at Coudal’s site, searching for inspiration, like this recent video they made for their new line of red Field Notes, which made me cry and then order like five hundred red Field Notes. Anyhow, I’m super excited to be contributing to Fresh Signals, and hope that my little additions can give folks the same kind of food for thought and inspiration and brain-explosions that I get everyday. Thanks for having me, Steve!.

Best review ever

“I bought your book. The first sentence gave me a boner.” – Samantha Irby

I am in love with Samantha Irby. I wrote her a fan letter one time but I was too shy to send it. Sometimes, though, I hate her pretty, shiny guts ’cause she writes this stuff at her blog Bitches Gotta Eat that makes me pee. Like, in my pants. I’m saying that aloud on the internet. She makes me pee in my pants and then I spend the whole day with wet pants, cursing Samantha Irby and her hilarity and profundity and spot-on truth, seriously, this girl is so honest that the rest of us should immediately attend therapy and work out the things we’re not admitting, an unexamined life is not worth living, right? Right? Anyhow, I got to meet her last month at The Paper Machete and I was all, Samantha, I love you, and she was all, Talk louder, I can’t hear you over this bourbon I’m drinking, and I was like, Sometimes you make me pee, and she said, There are diapers for that, and I was like I am going to JCPenny to buy one of those heart necklaces that crack in half and you give half to your best friend and I’m going to give half to you, and she said, Or we could just make out? and I said, OMG yes.

It was awesome.

And then, then, then she wrote to tell me that my book gave her a boner, which is totally the best review I’ve ever got in my whole life except for the time I asked my friend Amanda from 2nd Story to blurb my book and she wrote, MEGAN STIELSTRA POOPS GLITTER.

That was really nice, too.

Stories as gifts

This piece was originally written for the League of Chicago Theaters. WBEZ said it will “make you believe in the power of love.”

The Domino Effect

About ten years ago, I waited tables at a brunch restaurant in Wicker Park called the Bongo Room, known for its insanely amazing Chocolate Marscapone French Toast and the insanely large crowds of people waiting to eat it *. Every Sunday these guys would come in—we’ll call them Steve, Jim, Mark, and Chip. Steve, Jim, and Mark were cool: they talked about last night at the Hunt Club, dressed in head-to-toe Ambercrombie and Fitch, and tried to buddy me up for faster service.  “Hi, what’s your name?” they’d say when I got to the table; then, “Hi, Megan! We’re Steve, Jim, Mark, and Chip!” I didn’t bother saying they’d told me before, told me last week, told me eighteen thousand times so can you just get on with the pancakes and Bloody Marys ‘cause the wait for a table is over an hour, the guy at twenty-three is bitching about his benedict, I just got a nine-top on twenty-four, eight of whom want soy lattes—soy, for chrissakes!—and I don’t have time to yak it up so can you order?

But of course, they couldn’t.

“You see her?” Chip said, nodding at a girl a couple tables over.  She was perfect—shiny hair, great body, big smile; imagine a television commercial for toothpaste or hairspray—and I looked back at Chip and said, “Yeah?”

“Can you find out if she’s married?” he asked, and, right away, Steve, Jim, and Mark started laughing. I should point out that Chip wasn’t like the other three. He was kinda chubby, kinda balding, kinda boring—Like, if I say tax attorney, you might imagine a guy like Chip.

You wanna date her?” said Steve, Jim, and Mark. This was always how they treated him—sometimes he was the punchline; sometimes the punching bag—and while usually he’d turn red and laugh along with them, today he gripped the edge of the table and said, “No, I don’t want to date her. I want to marry her.”

The reaction was immediate: That girl wouldn’t be caught dead with a guy like you, That girl eats guys like you for breakfast, an appetizer for the main course, know what I’m saying? Ha ha, jab to the ribs—and Chip looked at me and said, “Please.”

It was the please that did it.

I went by her table, planning on doing a quick left hand check—ring or no ring?—and then back to Chip with the verdict, but it wasn’t that simple. The girl was sitting with her left arm crossed over her stomach, her left hand tucked underneath her right armpit.  I watched her for nearly a half hour, and the whole time she ate, drank, and gestured with only her right hand.

“Well?” Chip asked.

“I’m working on it,” I said. Then I walked to her table and dropped a napkin on the floor, squatting down to hands and knees on the ground and looking up at her lap—no go.

“What are you doing?” asked my friend/co-worker, Molly, once I was back in the sevice station.

I told her.

“That’s so romantic!” she said, jumping up and down and clapping. “It’s like when you’re on the subway and you see someone, and you lock eyes, and it gets too intense so you have to look away, and when you look back, they’re looking away, and what I always wonder is, what would happen if you just kept looking?”

I didn’t know.

“We’ll never know,” Molly said, “because nobody ever tries!

Before I could fully wrap my brain around that idea , I saw that Chip’s girl was standing up. She was reaching for her jacket. She was dropping her left arm down and—no, there wasn’t any ring—because there weren’t any fingers.  There was a hand. And some stumps of varying sizes where fingers ought to be but weren’t.

I went to Chip’s table.  “She doesn’t have fingers,” I announced.

They looked at me blankly, so I held up my left hand and folded my fingers into my palm.  “No fingers,” I said again.

Steve, Jim and Mark nearly died laughing. Leave it to you to fall for a— and Guess she’s not so perfect anymore— and The one time you have balls enough to— but Chip didn’t hear any of it.  He just watched as she left restaurant, and then, when the front door closed behind her, he did the last thing you’d ever expect from a punchline or a punching bag: He got up and ran after her.

About six months later, I was walking around the restaurant refilling coffee and there, at a two-top by the front window, was Chip—who FYI looked fantastic: he’d shaved his head, muscled up a bit, dressed more cutting edge, like if I say CEO of New Social Media Empire, you might imagine a guy like Chip. It was easy to see the reason behind the change, because sitting across the table from him was—wait for it—the girl. His beautiful, fingerless, perfect girl.

It took everything I had not to cheer.

They told me the whole story: how he caught up with her on the sidewalk; how he didn’t have know what to say because he’d never done anything like that before but, dammit, he tried; and how, when people ask where they met, they talk about the crazy waitress at the Bongo Room who crawled around on the floor.

Hearing that story, for me, was a gift. At the time, I was single, sort of bitter—just done with it. Have you been there?—and knowing that these two people were giving it a go—that they were trying—had a huge impact on me. Enough to start trying myself. Enough to tell this story over and over to friends of mine in similar situaions. Enough to write it for a storytelling series I work with called 2nd Story, where we tell our stories aloud in the hopes that they will inspire our audience to consider their own, and how—even as we celebrate our differences—there are still multiple connections in our lives.

For me, this is what theatre does: it gives me a story, like a gift (I imagine it wrapped in shiny paper with the bow, the handmade letterpress card, the whole nine yards) and in that gift, I find parts of myself that have been missing, parts of our world that I never imagined, and aspects of this life that I’m challenged to further examine. Then I take that gift and share it. In the work I make myself, sure, but the kind of sharing I’m talking about here is the domino effect: how I hear/watch/experience a story, and then tell everybody and their mother about it, and then they tell everybody and their mother, and somewhere in that long line of people is someone who, at this exact point in their life, needed its message more than we’ll ever know.

We do this all the time: “Oh my God, I just saw [Liza Minelli’s Daughter or the Brother/Sister Plays or Star Witness or Write Club or the Chicago Landmark Project or Fa$hion or The Ghosts of Treasure Island or Queertopia or Filet of Solo or El Nogalar or The Encyclopedia Show or 2nd Story or insert one of a thousand plays and performances and readings that Chicago offers] and it made me think about—”

What?

What did the last piece of theatre you saw make you think about?

Did it help you find parts of yourself that have been missing? Parts of our world that you never imagined? Aspects of this life that you’re challenged to further examine?

My God—what a gift.

And now, you wrap it up and give it away. Somebody out there really needs a good present. Maybe your friend, maybe a co-worker, maybe that random person sitting next to you on a bus, or maybe the crazy waitress at the that restaurant you go to every single day, the one who’s ready to crawl around on the floor if it helps you find the love of your life.

 

* For the record, The Bongo Room should not only be known for the French Toast. It should be known for the kindness and generosity of its owners—Derrick Robles and John Latino—whose friendship and business supported me while I put myself through school, made art, kicked off a teaching career, and generally figured out what the hell I was doing. I’d wager there are many theatre artists and literary artists and visual artists and artists who can say the same. So, on behalf of us all, I’d like to say thank you to service industry for helping us pay our rent and live our dreams; for allowing us the flexibility to audition and finish projects; for giving our audiences the space to discuss our art over yummy food; for our after parties (!); for coffee; for wine; and, most of all, the lifelong friendships.

I like to think I’m above revenge. But… well… that’s a lie.

I am interested in how different people define the same word.

In another lifetime, I had a Critical Thinking teacher who tried to explain the difference between denotation and connotation. “This,” she said, pointing at her desk, “is the denotation of the word desk. The connotation of desk is how we all individually feel about desks.” She paused, letting that sink in, and then asked, “How do you all, individually, feel about desks?” There were sixty-some of us in this class, all college freshmen. I’m gonna go out on a limb here and say that, at the time, desks were not a primary focus of significant emotion response. Sex, maybe. Money. Grades or jobs or fear or art or all sorts of crazy things. Think back to yourself when you were a college freshman. What did you think about? Me?: my folks were splitting up, my boyfriend back in Michigan was seeing another girl, and I shared a 10X10 dorm room with a girl looped on esctasy three nights a week, I’ll tell you what, desks were the last thing on my mind!

sidebar: this all happened over a decade ago. Now, I have very strong feelings about desks, primarily A) I don’t ever want one in a classroom because pedagogically I find that it unecessarily divides my students and I and B) I’m dying to have one in my house so I can have a place to put all my shit. Right now, it’s everywhere, and I can’t ever find what I need, and my poor husband, he’s got to contend with my paperwork all over the place, and also my kid is at that phase where he wants to draw spaceships on everything, which is awesome except that now there are spaceships on my teaching contracts and time sheets and student work and story ideas and lesson plans and tax forms and schedules, and, yes, I know you’re thinking Get the kid some paper, whydon’tcha? and I promise you, he has it! He has every art supply you can possibly imagine! But why would anyone want to draw on paper when they can draw on the bathroom wall? Or Daddy’s web designs? Or mommy’s… everything? Also: last week, at his school, one of the little girls did orgami for show-n-share and now my kid is convinced that paper is for folding, not drawing, so my tax forms are now little birds. Which is actually pretty cool—birds are way more interesting than tax forms. Also: I’ll never again be able to think of taxes without thinking of birds. Which would mean that birds are now my connotation of taxes! Huzzah! Right back to the point!

Anyhow—desks were, at the time, not quite as ripe for connotation as some other words, words like love or race or faith. I remember, years after this whole connotation/denotation thing, reading One Hundred Years of Solitude and thinking about all the different connotations of the word solitude and how all of them were given to a different member of the (fictional) Buendia family:

You’re so brilliant that no one can understand you, so you’re alone.
You’re so beautiful that everyone’s intimidated by you, so you’re alone.
You’re so old that no one even sees you anymore, so you’re alone.
Your penis is so big that women are scared and men are jealous, so you’re alone.
And on and on.

Genius.

sidebar: Dear Marquez I love you.

Anyhow—connotation. It’s mind boggling to think about how many misunderstandings I’ve had over the years because of differing connotations. On the flip-side, I’m in awe of what I learn by listening to the connotations of others; how much I’ve grown as a human being and widened my world view. I’ll listen to how different people—friends, artists, the guy sitting across from me in a class—define words like marriage and protest and illegal and and parent and education and life. Our connotations of these words shape our politics, our values, how we spend our money, how we love—and the thing that creates those connotations are our stories.

A few years ago, there was some big case in the news about parents who were seeking revenge for something that had happened to their teenage daughter—the clincher was, she didn’t want them to. She wanted it to just go away. I remember talking about the ethical implications of this over and over again: what was justice in such a situation? There’s another word with multiple connotations—justice. Justice for whom? For her, or her family? Did her parents have the right to move forward with something she didn’t want? I remember wondering why she didn’t want revenge. Or maybe she didn’t want the kind of revenge they were seeking—the legal kind. Maybe she wanted a different kind?

What exactly is revenge? When I wrote the story Shot to the Lungs and No Breath Left, I was thinking about my connotation to that single word. And—as often happens in writing—the story became about other things, as well: revenge, and the relationship between a parent and a child, and gender roles, and all this other shit that sort of surprised me, but hey—what the hell. This is what came out. It’s here, let’s examine it.

For over a decade, I’ve worked with a Chicago theatre director named Amanda Delheimer Dimond. She’s the Artistic Director of 2nd Story. She’s my friend. She challenges me to look deeper with every project, to really figure out what the hell I am talking about. I knew I wanted to make some sort of video for Shot to the Lungs, so I brought the story to her and the very amazing Kyle Hammon of KBH Media, whom I can’t suggest enough if you want to explore video/audio/multimedia in your own stories, personal or professional. The three of us got to talking about revenge, and we thought it would be intersting to ask some very different people to speak to their own connotations of the word.

I am grateful to Kyle and Amanda for creating a piece that digs into this question of how different people view the same idea, and what might happen if we take a moment to listen to each other. I am grateful to Ada Gray, Lauren Kelly-Jones, Nic Dimond, Aaron Stielstra, Jennifer Shin, and Coya Paz for sharing their time and their stories. I am grateful to a Faculty Development Grant from Columbia College for helping to fund this project, and to all of you for giving it a look and maybe a share.

My daughter can read just fine.

When I was in 3rd grade—maybe 4th?—my teacher called my mother in to tell her I was failing reading. My memory of this moment is fits and spurts: I remember mom and I sitting in little-kid desks across from the teacher in her ginormous teacher-desk. I remember being scared I was in trouble; your mom gets called in, that means you screwed up, right? I remember the classroom was on the 2nd floor, with windows overlooking the playground, and there were seesaws shaped like sea animals. My mom has since filled in the blanks for much of what happened: apparently, there were these workbooks we were supposed to read, with stories about frogs and cats and stuff, and we had to fill out multiple choice worksheets: A. the frog is happy B. the frog is sad C. the frog is thinking, etc. My teacher showed my mother my worksheets; all the multiple choice questions were wrong, big red X’s through the A’s and B’s and C’s.

I do remember this next part: my mother looked at me and smiled. What my teacher didn’t know was that my mom has a Master’s in early childhood education and was then designing a K-5 Gifted and Talented program for Washtenaw County. You want to hear a thing or two about kids and reading? Take my mom out for a beer—but more important than that? I was her kid. You don’t need a Master’s degree to be an expert in your own eight-year-old.  I remember she held up the workbook with the frog story and asked, “Megan. Did you read this?” I shook my head no. Mom tapped the stack of workbooks on the teacher’s desk, a semester’s worth of stories about frogs, and asked, “Did you read any of these?” Again, I shook my head. “What were you reading instead?” she asked, and I went to my desk, got the dogeared copy of Little Women, and brought it back to my mother, who thumbed through its pages—somewhere around 400, depending on your edition—and asked me to tell her about it. I remember my fear of the teacher, the classroom, the workbooks—all of it fell away as I told my mom about how Jo didn’t want to get married, how the girls all helped that family at Christmas, how Beth died (to this day, that scene makes me cry). I loved that book, especially ‘cause it was about sisters, and I wanted sisters—in retrospect the March girls kind of were my sisters. I profoundly believe in the relationships we have with fictional characters; what they teach us, how they help us grow and see the world and see ourselves—anyhow. I remember my mother patting me on the shoulder. Then she turned and, very slowly, very purposefully, gave my teacher a look. I will never forget that look for as long as I live. It held fury and pride and a rapidly brewing thunderstorm of words. Heavy words. Dangerous ones. Over the years, I’ve been grateful that—no matter how much stupid shit I pulled—my mother never looked at me with that look, and it wasn’t until I became a parent myself that I truly understood its magnitude.

Three decades later, as an educator myself, I think about that teacher making such a snap judgement about my reading ability. Her assessment could have changed my life completely; at worst, I could’ve been held back, and at—not best; no, a different kind of worst—I was being labeled: Can’t Read. Granted, labels can be helpful, offering much-needed support for a myrid of challenges kids are up against, but they also have a lasting impact on a kid’s psyche and should be treated with care. Can I tell you how many college students come to my classes with horror stories of What Teachers Told Them? You can’t read, you can’t write, you’re dumb, you’re bad, and then teachers tell parents and sometimes parents believe it because teachers are the experts, right? And the parents, they’re tired, overworked—believe me, I’m a parent, I know tired and overworked, but I’m also a teacher, I know tired and overstuffed classrooms, I know too many students and too much student work, I know too many hours and not enough to pay my mortgage and how do you manage it all? Do you take shortcuts? And what might those shortcuts do to the student in the long run? What I’m trying to say here is that my teacher screwed up, yes, but to say this is entirely her fault is a whole other systematic problem that needs to be addressed. It’s not as easy as “Some teachers are good and some are bad and let’s make these oversimplified judgements by testing students on reading comprehension when maybe, just maybe, kids are filling out those multiple choice questions without even reading about the fucking frog!”

Imagine where my life might have gone had my mother not been the woman she is—my advocate, my watchdog, my parent, and FYI, I’d like to include the idea of “significant adult” into this diatribe here, ‘cause I’ve known many awesome kids raised by aunts or grandparents or foster parents or friends or a million other amazing, selfless people who want to make this world a better place for their kid and everyone’s kids and to all of you, I say Thank You.

To my mom, I say Thank You. I write stories because I love reading, and I love reading because my mother put books in my hands—

(lots of books, many of which are on the banned books list, about which I could write a whole other blog post but this very smart woman, M. Molly Backes, says everything I want to very eloquently here).

—my mother put books in my hands, and read them with me, and asked me what I thought about them, and listened as I told her, and gave me other books to read based on what I told her, for years she did this, she still does this—so imagine, after all of that, being told by some teacher who barely knew me that I couldn’t read? I’m not a religious person, but Lord Almighty! What would you have done, sitting in that little-kid desk as someone told you something untrue about your very own child?

My mom is a dignified lady. I try very hard to follow her example, and more often than not, I fail. I tend to turn red, fly off the handle, let the words out of my mouth before thinking them through. Over the years, I’ve learned that this approach doesn’t do anyone any good, and there’ve been many times when, on the edge of exploding all over the place, I’ve summoned up the memory of my mother that day. She smoothed her skirt over her knees. She smiled. Then she said, “As you can see, my daughter can read just fine.” My teacher must have said something here. Or maybe she just took off her foot and stuck it in her mouth? I don’t remember. What I do remember is my mother calmly explaining, in a voice that offered no room for discussion, a voice not unlike the Book of Genesis, that this teacher would no longer have anything to do with my English education. I would come to class every day and do math and science and social studies with everyone else, but when the rest of the class did their reading and their workbooks, I would be doing assignments that she—my mother—would send to school. Then she—my mother—would grade those assignments and she—my mother—would share that grade with her—the teacher—and if there were any questions about all of this, perhaps they should set up an appointment with the Superintendent of Schools?

My mother is a badass.

For the rest of the year, when everyone else would read about frogs and fill out their multiple choice, I would read the books my mother gave me: Charlotte’s Web; The Great Gilly Hopkins; Bridge to Terabithia; Where the Red Fern Grows; Ramona Quimby; A Wrinkle in Time; Jennifer, Hecate, MacBeth, William McKinely and Me, Elizabeth; The Egypt Game; A Cricket in Times Square; Mrs. Frisby and the Rats of NIHM; Jacob Two-two and the Hooded Fang; The Pushcart War; Island of the Blue Dolphins; and on and on. I had lots of spiral-bound notebooks full of questions, not multiple choice questions but questions, ones I had to think through and explain, ones that brought me to new questions that I had to think through, explain, and often talk about with my mom and dad and, look at that! Now we’re talking about the world! And suddenly reading means this whole other thing to me: I’m not just watching the characters of Karana and Rontu and Rontu-Aru running around on the island of blue dolphins, I’m imagining myself there with them. I’m seeing it all from their point of view, and for a little girl growing up in  small-town Southeast Michigan, seeing the world through the eyes of a little girl growing up in Ghalas-at on San Nicolas Island was a gift.

What a profound introduction to literature! I remember reading about Karana and wondering why things she does after her father and brother die, things like hunting and fishing , were traditionally only tasks for men. My dad took me hunting and fishing, and I was a girl! I look back and laugh at this childhood outrage, but I’m grateful for it, too. There I am, eight years old, starting to think over some pretty fucking big truths. Here’s another truth: I didn’t know what foster care was, or that some children didn’t have parents, until I read The Great Gilly Hopkins. The kind of kid I was back then lived in a sort of bubble: your own home and neighborhood and school. I remember that book changing the way I thought about gratitude and survival and perseverence and starting a dialogue about privilege that I’m still, to this day, trying to work through and learn about. I’ve had that experience with a lot of books over the past twenty years—through reading, I learn about points of view that are different than my own. It starts the dialogue. It opens my eyes to things I haven’t before seen. It inspires me to share this same gift to others. That’s why I write. That’s why I teach writing. And all of this started back in that 3rd—or was it 4th?—grade classroom.

It all started with my mom.