That horror [of Sandy Hook] cannot be blamed just on one unhinged person. It was the sacrifice we as a culture made, and continually make, to our demonic god. We guarantee that crazed man after crazed man will have a flood of killing power readily supplied him. We have to make that offering, out of devotion to our Moloch, our god. The gun is our Moloch.
Ann Friedman shared “Our Moloch” by Garry Wills, originally published in NY Magazine in 2012, in her recent newsletter in light of the mass shooting at Marjory Stoneman Douglas High School in Parkland, Florida. Sacrifice. Sacrifice. Sacrifice. I can’t stop thinking about it in these terms, now. God stepped in to stop Abraham from sacrificing his son. Can’t see guns, the NRA, or GOP doing that anytime soon.
The students behind the Never Again movement are mostly theater kids, and there’s been some good writing about that (on blogs and in the New Yorker). And now seems like the right time for some Gawker-ish rudeness, and there’s always a discussion to be had about mental health in schools.
Seriously though, do you get Ann Friedman’s newsletter? (I found the rudeness article there, too.) I’m becoming increasingly dependent on newsletters for reading recommendations as social media becomes less and less palatable. WTF Just Happened Today (news), Jocelyn Glei (creativity/productivity), Submittable’s Submishmash, Literary Hub… all chock full of good (or at least informative) stories and delightfully devoid of internet commenters.
A line I wrote this month: “In 2018, who even does a double take at a 51 ¾ x 84 inch close-up of a hairless mons pubis?”
Read more about “HARD: Subversive Representation” in my review for ÆQAI , up through March 9.
I wrote a LinkedIn post for the first time, which is really just a little link round-up of a few cross-professional lessons (including one of my Lunar Cougar interviews): “But Isn’t This Supposed to be Fun?” A Few Widely Applicable Career Tips from the Film Industry
Click for the cute critter-on-video-camera picture I found, if nothing else.
One way we judge the values we’re experimenting with is via exposure to their consequences. We all need to know how others feel when we treat them one way or another, to help us decide how we want to treat them. Similarly, an architect needs to know what it’s like to live in the buildings she designs. When the consequences of our actions are hidden, we can’t sort out what’s important.
— “How to Design Social Systems (Without Causing Depression and War)” by Joe Edelman. A comprehensive, heartening how-to guide for fixing social media.
Facebook is essentially running a payola scam where you have to pay them if you want your own fans to see your content…. It’s like if The New York Times had their own subscriber base, but you had to pay the paperboy for every article you wanted to see. The worst part is that as an artist, it feels like your own fault. We’re used to a world where if you put something out there that’s good, people see it and share it. But that’s just not true in this world.
— “How Facebook is Killing Comedy,” an interview with Matt Klinman by Sarah Aswell for Splitsider
“Hack your way to success.” “Meet the right people.” “Become a business superstar”…. What is missed in all of this is the mindset of craftsmanship; that one’s expertise and deliberate focus on one’s craft is actually the primary driver for success and not some crapshoot of a series of hacks.
— “Craftsmanship ― The Alternative to the Four Hour Work Week Mindset” by Daniel Tawfik via Medium
Nostalgia has a dark side. There is a toxic fetishism for the past in America, a yearning to return to a time before everything got so damn complicated. America seems always to believe the past was a purer time. This is of course bullshit; the past only seems purer because we don’t know it anywhere near as intimately as we do the present, and purity cannot survive intimacy.
— “In the Dark All Katz Are Grey: Notes on Jewish Nostalgia” by Samuel Ashworth for Hazlitt. Great long read with a “Dirty Dancing” hook.
The debates over so-called “color blind” and “color conscious” casting have been heated in recent years, especially when a theatre’s decisions do not align with a playwright’s wishes…. More often, however, the shoe is on the author foot, so to speak. What should you, as a playwright, do when a theatre does ask if they can depart from your character descriptions, leaving you to determine how color- and gender-conscious the play must be?
— “Conscious Casting and Letting Playwrights Lead” by David Valdes Greenwood for HowlRound. An thoughtful discussion that doesn’t come to any hard conclusions about this hot-button issue, but takes an interesting, playwright-centered approach.
January is typically a month when even the most adventurous New York theatregoers brace for the unexpected at the many theatre festivals that coincide with the annual convention of the Association of Performing Arts Presenters. I was struck this year by how many works of theatre I saw in January that used words (if they used them at all) in unorthodox ways.
— “Do Words Matter on Stage?” by Jonathan Mandell for HowlRound. The whole “plays vs. film” argument is that film is more visual, while plays are dialogue driven, but the new works discussed here turn that notion on its head. It’s good to remember the visual, spectacular capability of plays, and the in-person jolt that films can’t provide.
We often tell students to write what they know, but in practice, our classes teach them to write what we like. Instead, we ought to be helping them write what they want to read.
— “Don’t Make Students Write What You Want To Read” by Michael Noll for the Pleiades blog
As social practice has increasingly aligned itself with specific community activism—just as it tells you (also increasingly) what to think and how to feel—Bilal and Postcommodity embrace the gray areas thrown up by human behavior through the wider, longer lens of conflict. Their work doesn’t resolve in any pat way…. They make themselves almost painfully vulnerable to interaction and people’s very mixed reactions to the work. The lack of self-righteousness by these artists is—in our era of Instagram egoism, slick self-branding, and market-driven art (even market-driven ‘political’ art)—pretty dazzling.
— “Swimming With Sharks”: Postcommodity and Wafaa Bilal in a Sea of Hammerheads” by Christina Rees for GlassTire
They fueled each other’s creativity, but Shigeko Kubota’s substantial legacy became overshadowed by her husband’s equally formidable work…. “Even when I did my own stuff, people said, ‘She imitates Nam June.’ I found it infuriating. So I headed further in the direction of [Marcel] Duchamp. When Nam June went populist, I went for high art.”
— “How Shigeko Kubota Pioneered Video as a Personal Medium” by Karen Kedmey for Artsy. Another good (but basic) Artsy profile of a female artist I hadn’t heard of: “The Unlikely Success of Edmonia Lewis, a Black Sculptor in 19th Century America.”
I know several women who easily ignored the grim warnings, who used The Baby Book purely as medical reference. Not me. In those dark winter weeks after giving birth, I became increasingly gripped by the story’s central conflict: Mama’s desires are dangerous; Baby is vulnerable.
— “The Baby, the Book, and the Bathwater” by Heather Abel for the Paris Review
The possibility of enormous ice caps melting, releasing pressure, and contributing to volcanic eruptions remains. And with the world warming and glaciers disappearing, the possibility of powerful eruptions to come is growing.
— “Volcanoes Get a Kick from Climate Change” — Michael Tennesen for Hakai Magazine
“Red Clocks” by Leni Zumas
2018, Little, Brown and Company
Novel – 368 pages
Hadn’t heard vaginas referred to as “red clocks” before, so I appreciated the yonic cover illustration here. But now I like the term, as I liked this book and its five central characters—yes, I count the fictional 19th-century Arctic explorer, Eivør Minervudottir, as a central character. She is the research subject of one the book’s four speakers (“the biographer”—each speaker has a label), and excerpts from the biography-in-progress separate each speaker’s chapters.
Each character navigates a near-future where abortion has been made illegal, and the impending “every child needs two” act prohibits single parents from adopting. The biographer, a single high school teacher, desperately tries to conceive via artificial insemination before the act takes hold. The daughter, one of her students, seeks an abortion. The mender, a “young crone” who has separated herself from society, is jailed and tried for allegedly performing an abortion. And “the wife” deals with the middle class trappings of motherhood we’ve come to expect from novels like this—the ones that hang their stories on complex (read “unlikeable”) female protagonists.
When the voices become too many, Eivør’s hardship in the wilderness is grounding. When the characters evade confrontation that would make for a more explosive storyline, Leni Zumas’s sentences and research save the day.
“Some of Us Did Not Die” by June Jordan
2003, Civitas Books
Essays – 320 pages
Abridged feelings: every person should get a copy of “Notes Toward a Model of Resistance,” and the immediate aftermath of 9/11 feels like so long ago. Probably a book I should buy so no one reserves it out from under me at the library again.
“Priestdaddy” by Patricia Lockwood
2017, Riverhead Books
Memoir – 352 pages
It is hazardous to read “Priestdaddy” in bed with another person who is already asleep, as it’s hard to contain your laughter. Beyond that, I would often just *have* to wake up my husband sometimes because I knew he would appreciate some loopy anecdote or wordplay, namely about dad rock or pooping your pants while on a hunting trip. But “Priestdaddy” is not a run-of-the-mill check-out-my-nutty-family memoir; Lockwood’s poet heart makes sure of that.
“Nomad Americana,” a new play by Kira Rockwell
Fresh Ink Theatre Company at Boston Playwrights Theatre
Love seeing new plays from Fresh Ink, and “Nomad Americana” had some beautifully rhythmic scenes and an especially wonderful performance from Khloe Alice Lin as Stormi Echo, the younger daughter of the nomadic Echo family. But the play is pulled thematically in a few too many directions, and a lack of tension makes some storylines fall flat. Super enjoyable characters, but I think this one has another workshop left in it.
Last week, it was my great honor to be elected President of Love, a tradition that began in 2014. I ran on a platform of reforming the love-bank, and abolishing all love-debt on an annual basis. It would be a bit too ambitious to propose a gold standard of love. Still radical, though, to admit love’s currency, and how much we have in circulation.