Friday, January 30, 2015

Winter Walks

I do my best to mix the big walls of text with posts full of photos. I took a stroll around the old neighborhood (Chelsea), and hit a few galleries, before walking crosstown on one of my favorite backstreets, 25th.

Winter Line


Brillo Box

Diana Thater, Science, Fiction


Toward the Hudson

High Line

Jiri Georg Dokoupilupil

Pynchon?



25th











Ave. A

New York: the city that entertains at every corner. 


I feel old skool today. Here is some nineties shit: 

Biggie on Fulton, 1989 (if you haven't seen it yet)--take that Taylor! 


Big and Kim--fuck Faith, Kim has always been the sh*t and when she comes to Brooklyn people trip, parades, everyone out to see the Queen B.

Big and Method Man, which has my one of my all-time favorite quotable: "I spit on your grave and I grab my Charles Dickens, bitch."

Kurupt (from Philadelphia) could really flow, and this is one of his best, especially that second verse!  

I'm not a big fan of Tupac, at all, but I do love this video, and I'm headed to LA sometime in the near future. so, nostalgia.

Thursday, January 29, 2015

Heroin and the Lower East Side

The Lower East Side has transformed beyond recognition. I'm not old enough to remember New York in the seventies or eighties, but I remember New York in the nineties. You may have heard it, you may have read it, and it's true: this city has changed.

I don't remember Soho or the Village, but I remember rundown Chelsea, the redlight "West Village" where you really didn't want to end up anywhere near the SROs on the Hudson after dark, and an empty and lifeless Lower West Side (Tribeca). Well, in the case of Tribeca, not much has changed. On the Lower East Side and especially Alphabet City, I remember the shooting galleries near Tompkins Square Park and the junkies and the ancient Eastern European and Italian women who would step over them, shaking their heads, as they walked to temple or church. Chinatown hadn't moved as far west as it eventually would, and there were many more Puerto Ricans in the area. I have a nostalgia for the look of it, for the diversity of it, for the bizarre, surreal condition of those years, but I do not miss the filth and the fear and the terrible poverty of life. People who reminisce and wish we lived in the seventies again, they're very selfish--it is an expression of privilege. The Lower East Side is filthy now! Can you imagine what was like when they were really filthy? You don't want to. You hardly see syringes on the streets these days, because heroin moved to the suburbs about ten years ago when big pharm reformulated oxycontin, but back then there were "rigs" everywhere in the nineties, sometimes floating in buckets full of opaque, pinkish water, one of the more disgusting things I've ever seen.

Why am I writing about the Lower East Side? I came across this piece, which is an articulate and accurate expression of suburban malaise and its discontents, and I have to confess I felt a touch glad when I read you could still buy heroin around Union Square. That triggered a number of memories, of being told I could go as far as Washington Square but that if I went east of Broadway and was caught I would be in big trouble, of venturing east of Broadway, of later trekking with my cousin to real Lower East Side apartments of friends of hers and thinking it was the coolest thing. An unusual and interesting project would have been/would be an ethnography on the heroin culture of the inner cities, before it all vanishes, in places like the Lower East Side, or Seattle, or Downtown Los Angeles/all Los Angeles.

The Blizzard was a total hoax, and it was incredibly frustrating to have the subway shut down for twelve hours. My mother called to remind me that "it wouldn't be a good idea to walk out on the Manhattan Bridge, and, take pictures, or whatever it is you do." Believe it or not, I went out for a few hot toddies at a bar down the block Monday night. It was the rare opportunity one has as an adult to misbehave and to harmlessly flout the rule of law, something I can rarely resist. I discovered a good number of fellow flouters upon arrival, and as usual the bar stayed open until 4. I met a guero--a catch-all term in Mexico for people of pale/light complexion, with "European" features--from Mexico City, who works at an ordinary restaurant in Park Slope. This in itself is odd enough, as people who look "white"--for lack of a better term--are not expected to "work" in Mexico. It is a caste system in many ways similar to what exists in India, and is broadly the case in much of Latin America. If you think we have a class/caste system in the United States, you're right, and we do, but it is essentially a have/have-not system, and upward mobility is highly feasible/expected for the haves. In Latin America, there is a hierarchy and a racial structure--not to say there isn't a racial structure in the US--that is very, very difficult to escape or transcend.

The guero in the bar was immediately of interest to me as it was very clear that this was no run-of-the-mill individual: he had attended a well-known prep school in Mexico City (the equivalent of Trinity or Dalton) and gone on to an equally well-known (and costly) private university. What on earth was this person doing in Park Slope waiting tables?

Well, as Mexicans are prone to do, with the drink, he began to confess, and it's an interesting story: he moved to New York with a girlfriend, as you suspected. The parents did not approve, they're estranged, and there is a substantial amount of money and a position at stake. He has no papers. The couple lived together happily for some time, until they ran out of money and wound up in a flophouse in Sheepshead Bay, where both began to work in the kitchen of an Uzbek restaurant (she's American). If neither worked, neither ate, and over the summer they lived on dollar slices of pizza at Coney Island. They were miserable, but happy together, for a year or two. Then they were miserable and miserable with one another, for another year before they split up, she having found someone new, he devastated. He had grown to love New York, though, and had no interest in returning to Mexico, and so found the job at the restaurant in Park Slope. I can't imagine what the society parents would think had they any idea their educated son had moved into an SRO in furthest Brooklyn with the American girl (of all things!) he ruined himself for, to work in the kitchen of an obscure Central Asian restaurant without papers like a commoner! He said he changes his phone number regularly because his parents have hired private investigators to track him down. He's lived in New York for two or three years.

We talked literature, and he convinced me to pick up a copy of Octavio Paz's long, likely morose essay Labyrinth of Solitude, which I was told "explains Mexico" (I also found a beautiful edition of The Years with Ross, for balance). I'm also reading Italo Calvino's Invisible Cities, and may soon reacquaint myself with George Eliot.

Charlus visits New York this weekend, and I can't decide what to do about it. Kim thinks I should avoid him altogether: for her, there is too much to lose with the new job, the stress, who knows what sort of a tantrum he may throw, etc., but I worry more what he might do if I push away the olive branch. It is a tough thing, having relations who are difficult and unstable, and mean. One experiences a mix of guilt, frustration, and anger. General consternation. If there is a nice dinner in it for me, I'll accept. I have mercenary tendencies.

I have to move again, but I do not want to leave my current neighborhood. I love it and I am happy to live in Brooklyn. My current roommates weirdly watched Obama's state of the union, giggling and clucking and chuckling and gasping along with the address like the utter simpletons they are. It was so disconcerting, and they're so foul and filthy--the sink is constantly full of dirty dishes, one is always having diarrhea or vomiting, they cook constantly and the kitchen is always a mess, filth and clutter has spread to the living room like untreated gangrene--and also judgmental and condescending. Sometimes we're talking politics and one or both of them will explain to me some political item or correct me when it is in fact they who are ill-informed, this being as you know an unpardonable offense. I will not endure it for another month, and I'm sure they can find some filthy person who can abide correction better than I.

Grieg--we endure, like Dilsey.  

Yesterday I went to the Ivorian restaurant the New Yorker reviewed a few weeks ago. The food was of middle quality--neither succulent nor delicious, but perfectly passable.

The real pleasure: to be surrounded by West African French, and to hear, when a red card was produced in the Atletico Madrid/Barcelona match on the television, shouts of "rouge! rouge!" from the gathered crowd. It's La Savane on grotty 116th.

Friday, January 23, 2015

Wandering around the Met

Friday evenings I am at the Met. I rarely miss a Friday; I find there is very little as soothing as being utterly lost in art.

I spoke with a volunteer who moved to America after the Second War, landed in Bensonhurst, and, because apartments were so scarce (there had been no construction during the War), told me that it was only because a realtor was also a cousin that she found an apartment in Flatbush. She now lives at 90th and York, and has lived there for more than thirty years. I hope to one day become like her, with thirty years in New York to my name.

She also visits the Met every Friday. 

2nd Street

2nd Street


Never seen this before

You Know You've Made It When You Can Commission Original Art!

Zabar's



Max Klinger, Entfuhrung (Abduction), from Ein Handschuh (1881) 

Preferred Picasso

The Dream of the Shepherd, Ferdinand Holder (1896)

Boatmen of Barcelona, Dionisio Baixeras y Verdaguer, (1886)

Gandolfi, 1770

This beautiful instrument may have been made in Staten Island (of all places!)
The Instrument Room


II

Morris Gurrie, Climax in Steel, Chicago 1920-30. At center is the Jewelers Building, from 1925-27 the tallest building west of New York. In the cupola Al Capone ran a speakeasy. 

Favorite Thomas Hart Benton faces

Another favorite



On the block + assorted thoughts

Someone was shot on my block this week; some shit seems to be on right now. I was on Brooklyn's most adorable train the other day, the S, and a Brooklyn "Blood" was loudly arranging to assault a rival via telephone. He sat beside a female companion, and we on the train--postal workers, nurses, grandmothers, handymen, clerks, me--watched with disgust, disdain, and disbelief: what an sourpuss! New Jersey exists for people like that. A Brooklyn "Blood"? For once Tupac said it best: I can't stand fake ass bitches/ Lyin' ass ni#@z/ and you punk ass snitches.

Cash and I went to a neighborhood joint for open mic standup the other night, and it was terrible. This skinny, pretty-haired homosexual went on and on about auto-erotic stimulation, ie., sucking one's own dick, and it was suck suck dick dick suck suck mouth mouth my my and etc for the duration of the time Cash and I stood there. Cash immediately said to me, 'This is a Louis CK joke," so not only did the individual on stage lack timing, panache, and character, he had stolen the bit. Cash knows his shit. The room was well-lit, which was weird--you could see everyone--and all chairs were occupied, though there were inaccessible extra chairs strewn about. I didn't want to break up the scene and loudly grab chairs, and none offered to help us find seats. It was very in-group, and everyone in the room clearly knew each other, were chortling back and forth. At one point the comic onstage asked the room, "for the dudes in here, how many of you would suck your dick? Daniel? Come on, Daniel--you would definitely put your own dick in your own mouth. What, is your dick so nasty even you would't suck it?" "Yeah, Daniel!" "No, I didn't raise my hand!" For the female comics out there, for the women out there who might read this, for the women in the audience who have endured routines that focus entirely on the phallus, I apologize. We aren't, all of us, obsessed with our dicks. It's fun thing to have, sure, but when all a standup can talk about is masturbation, his penis, places he might or might not put his penis, or things he might or might not do with his penis, its pathetic.

At this point, Cash says "let's get the fuck out of here" and we leave. There was some basketball on we wanted to watch, and thankfully I don't live in $kid Row (my name for Williamsburg, if you didn't already know), where at the bars they'll only project The Heathers or The Matrix, or Ten Things I Hate About You (ironically) on the wall. And of course you'll never find a (working) television set.

Cash showed me his final head shots, they're good. Look for Cash on television in the next year.

I've been seeing the ads for Fifty Shades of Grey everywhere, and on the Fifth Ave bus downtown I took when I left the Met, I began to think: is this cultural sensation an expression of how we, all of us, the everyday people, are being sadistically and brutally fucked by the super-rich, and further, that this is something sexy, something we desire? I don't mind the book, at all, nor the film--pop culture is fun and fascinating--but I think the thought outlined above could be (if it already isn't) an excellent beginning to an academic critique of or well-written essay on our fascination with the wealthiest of the wealthy, our celebration of these people, and now, fetishization of. Someone can have this. Mention Marcel.    

I hung out with Aunt K today on the Upper West Side. She's a quintessential New Yorker, people stare at us when we walk about, and on occasion take photographs. Kate loves the attention. She very nearly became a dancer of some fame, but broke her back skiing (and said to my father, "Johnny, this should've happened to you"), but went on to become the protege of a number of Yale intellectuals, circulated in St. Petersburg in the nineties, ran a publishing house in London sixties and seventies, taught in Lagos, met with Fidel in Cuba, and, according to K, at a recent soiree Bloomberg refused to believe K is old enough to be retired. K has porcelain white skin, red hair, and wears sunglasses at night. K's apartment is full of books; today she brought out a first edition of Moby Dick that she soon tossed aside, as she much prefers the illustrated Rockwell Kent, which dates from 1930. On occasion K brings out hashish a publishing magnate obtains in Morocco.

I'm to start working for two billionaires in two weeks. It's definitely the eyebrows-raised, "You live in Brooklyn?" kind of office, which I prefer. I need the money, I desperately want to visit Lisbon, and I miss eating at Babbo and La Grenouille. I am not sure I have yet written about my love of Lusophone Africa, and especially its music. "But," you say "Lisbon isn't Lusophone Africa--it's Europe..." Right DUH Bitch, but the colonial centers of Europe are cities where you have the full spectrum, as this is where people immigrate. It's a simple way to experience much in one place.

Mozambique
Capo Verde (if you know anything about anything, you know Sodade) 
Sao Tome: One and Two
Angola
Guinea-Bissau

We'll do more down the road, but for now, know this: Lusophone Africa is Dope.

This Is The New Sound. M.I.A. endorsed it. Burke Som Sistema is the craziest maddest illest music I have heard in some time. I first heard them in three or maybe even four years ago, and I was floored. They're all over Lisbon and before they get too big I want to ingest all sorts of different substances and geek out. Because I'm unable to contain my enthusiasm:

One
Two
Three
Four
Five

This is getting out of hand--I'll write a little more and close up for the night. A friend of mine (whom I like) lives in rural Pennsylvania and works at a Home Depot distribution center, and this is by choice. He sent me a letter (writing letters is back, and is an excellent way to improve how you communicate, how you express yourself, etc) and a book, The Good Earth, yeah, you've heard of it. I had never read it, but would never send a friend a junior high novel at our advanced age. Well, Francis did it, and Francis did it (I am sure) because he believes I need to explore my connectedness to the earth. Francis hiked the Appalachian Trail on his own at eighteen. We're very different people. Never send a friend a book to "help" them. It will only result in fury and rage and misunderstanding.

I picked up Invisible Cities (Italo Calvino) and The Age of Discontinuity (Peter S. Drucker; I read nonfiction). The Drucker is prescient and the Calvino delightful.

I registered for the Brooklyn Half Marathon. What!

And the billionaires, you ask? That's confidential!

Night.

Monday, January 19, 2015

Where have all the junkies gone?


The Nixons

Exquisite; herds to be had at Gakyizompe in Sunnyside


Did you?
"Evian" is Naive backwards. I know, I just realized it too.


Canal Street

Eugene Coles
What I'm into today: Fun House and Bastard (Tyler's other albums blow, the aesthetic, the beats, the style, too bad too, because this initial sound had so much promise).

Friday, January 16, 2015

Mariinsky in Brooklyn, Shopping

If you're in the city these days, you're probably aware we've had a string of stunning sunny, cold days.  I've suppressed my desire to leave the laptop well alone and fuck around the city for the last few days, but today I couldn't. It's too nice, and I won't quarantine myself under ghastly fluorescence for hours and hours in the middle of winter when the fates give us a bit of beauty, so I spent a few hours shopping: Gramercy Park and the excellent thrift stores in the area, Rivington and Streit's Matzo (CLOSED on Friday, I forgot!) and Ludlow, and then took a look at the Chrysler Building and the Reservoir...it was the perfect day to play hooky in Manhattan. Even Brooklyn looked passable.

I've been in despair, as I didn't obtain seats for the Mariinsky performances of Swan Lake at BAM in time--like Azealia Banks, I'm Broke With Expensive Taste. So on the way back to the apartment, I decided to drop by BAM and see if anyone might have an extra ticket. There were unpleasant protestors out front, but no extra tickets. I went inside, asked around, and was polite--never underestimate the power of politeness--I managed to score a single press seat in center orchestra: right-o! Chance and luck, my favorite golden calves to venerate. I sat behind Alastair Macaulay, in fact (as it should be really).

The performance was exquisite; beautifully textured, precise, evocative. Impressive was the resplendent Viktoria Tereshkina as Odile (pas de deux was breathtaking, but Siegfried was unremarkable), the jester, and Von Rothbart, who was like lightening. Tchaikovsky's beautiful, heart-breaking score was wonderfully illustrated in Gergiev's consummate choreography. The Justice was right.

I sat next to an older Jewish couple, ballet experts and aficionados (it seemed the man had danced in his youth), who recommended I next see David Hallberg, now a principal with the Bolshoi, whom they believe is the best. I would like to befriend some members of the ballet world, to talk art, life, performance, dumplings, Austen. If you're reading this and are such a person, feel free to contact me. I'm only anonymous as far as the fifth wall remains intact.  

Tonight I believe Kim and I might have a real night out. I'm out of the scene--meaning it's been years since I've actively been a club kid. The bouncers who recall seventeen-year-old Marcel and his troublesome friends, the majority have in all likelihood moved on, and I'm not even near thirty. However, such is life. I wonder if I'll still be able to pull it off? We might go to boom boom room, as I have no idea where we should go, what we should do. I believe speakeasies are still relatively of the moment, but I just don't enjoy them--it's silly. Al Capone ran a speakeasy in the cupola of a Chicago skyscraper in the thirties. That's a speakeasy. I can make an adequate martini, negroni, and enjoy a plain grapefruit and gin. I know much more about mescal than say, someone from Minnesota who aspires to be the next Taylor Swift. Kim is the friend that went corporate, who has sought professional help for her "gossip" problem, whose mother is wont to make remarks such as "these people with 'mental illness'--when will they get over themselves?" Kim is a dear friend, and has begun what I've termed a "blue collar romance" with a Brooklyn construction worker. What would her mother say?

I'll include this for those of you who might be seventeen, beautiful and fresh. Now is your time, and these sorts of skills will come in handy when you develop a taste for Tchaikovsky but forget to buy a ticket--press seats exist:

Some Advice When It Comes to Getting In:

1. Go During The Week
Get to know the doormen, someone at the bar; make friends, meet the regulars. Once you get in with the club kids, all the doors open up, almost immediately. Be polite, be witty, be fun. With politeness and a nice smile, the world is your oyster to slurp. But because you can't always make it out during the week (though you should be able to swing twenty-four hour days at seventeen), here is-

2. Never Ever Wear Work Clothes To The Club
This applies to men more than women. If you look corporate, then be sure you have the money to spend. You'll be asked to pay a cover. You want to exude an air of "I don't give a fuck about anything, but I'm socially adept."

3. Once a Club Has Died, Avoid It
When the promoters, bridge and tunnelers, and eurotrash take over, it's over.

4. Have Attractive, Confident Friends--Choose Wisely
If you've followed rule one, you'll have met regulars--smart and self-aware, these young men and women know what they want and how to get it, and know how not to get it, too. They'll know what rules can be broken, when to push it, and when (and how) to make a graceful exit. Male or female, doesn't matter; what you're looking for is a savvy nonchalance. Watch any 1960s Godard if you don't immediately know what I mean.

5. Walk Right In Like You Own The Place; Know What Is Going On That Night 
Some of you are thinking, "what the fuck? Is he serious?" You won't immediately master this skill, but after a few months it's second nature. If you've ever watched Dirty Rotten Scoundrels, you might remember Michael Caine teaching Steve Martin how to move? It's worth watching for many reasons, the film, a smutty bit of nostalgia, but conning anyone--because that's what you're doing--is all about body language and how you carry yourself.

Never ever blow up at the doorman, throw a scene, or try to pull a "do you know who I am?" bit--first of all, this will never work if you're a man. Don't drink too much before you go. If you don't get in, don't attempt to talk your way in until you observe someone do this (and do it successfully) and have the concept down, especially if you're underage, though this generally works in your favor. It isn't a big deal, getting turned away from a nightclub in New York--it's happened to me, it's happened to most people, and it may very well happen to you. One last thing: if a club ever has a blanket cover, it's over and to be avoided. That means promoters run the place, and you don't want to be seen there. Avoid promoters, especially if you're a young woman who has recently moved to the city.

Have fun!

I'll record what Kim and I get up to tonight. I may see if Dean wants to come along, and we'll hipster it up at some bullshit somewhere. I wish the Stork Club were still around.

All for now,

Marcel

PS. Desintation restaurant: Kao Soy in Red Hook. Just as good as Queens.

PPS. très Velvet. Miss you, Lou.

Monday, January 12, 2015

A Trip to the Bronx


Leviticus, at it again: "Peace Is Power. Art Thrives In Peaceful Societies. Art Expresses Power. Commission Original Art!"
Grand Concourse




Valentine Dental


A Yellow Visitor


Albania in Belmont


Old Paint
Music:

In 2015, forty years later, I believe we might finally be ready to address Another Green World.

Luv this ol' skool sound that not 2 old, Sonogram.

Finally: All The Places The New York Times Has Compared To Brooklyn.



Night.

It's Raining in New York


On occasion I ingest extreme amounts of caffeine, typically when under duress or financial strain--i.e., more and more often these days. Since I'm always writing, I amuse myself in reading what I've written in this machine-monster-mode. I imagine it like this, of course:

We have been up all night, my friends and I, beneath mosque lamps whose brass cupolas are bright as our souls, because like them they were illuminated by the internal glow of electric hearts. And trampling underfoot our native sloth on opulent Persian carpets, we have been discussing right up to the limits of logic and scrawling the paper with demented writing.

Our hearts were filled with an immense pride at feeling ourselves standing quite alone, like lighthouses or like the sentinels in an outpost, facing the army of enemy stars encamped in their celestial bivouacs. Alone with the engineers in the infernal stokeholes of great ships, alone with the black spirits which rage in the belly of rogue locomotives, alone with the drunkards beating their wings against the walls. 

Marinetti, 1909 (of course)

Rather than a rage in the belly of rogue locomotives (what an image), I produce a quiet fury of carefully constrained text devoid of much inspiration. It is the absolute inverse of my experience of writing after having had a few drinks (self-aggrandizing, sentimental, offensively saccharine, incoherent), but lacks the inchoate, free beauty I've been struggling to achieve. 

For months, I've been at a loss, when it comes to what I'm writing. A week ago an older friend handed me a copy of Patrick Modiano (in translation). I continue to believe (and have believed for some time) that the greatest insights regarding one's chosen medium are to be had in other mediums (or modes) of art. If you write, consider music, painting, and especially sculpture, dance, and photography. Photography explains art: photographers are a conduit for image, and show us a particular perspective, a particular way of looking at something, of seeing someone or some place. This is what medium is to art: a space in which to fix a particular way of seeing.

Modiano, in afterimage (Chien de printemps in French, Bitch of a Spring/Goddamned Spring, which I prefer), takes us on an iconic walk through Paris: we visit Place de la Concorde, we walk into the gardens of the Champs-Elysées, we stroll down the main boulevards, and in the company of a photographer (Jansen) and a teenager (unnamed). The photographer, in his youth adopted by Robert Capa (of all people), has now adopted our teenage narrator. I'll quote the passage:

A breeze was ruffling the leaves on the trees, and their shade felt cool as Jansen and I walked along the main boulevards. We had come to Place de la Concorde. We went into the gardens of the Champs-Elysées. Jansen took pictures with his Rolleiflex, but I scarcely noticed. He cast a furtive eye on the viewfinder, level with his waist. And yet I knew that each of his photos was perfectly framed. One day, when I expressed surprise at that feigned carelessness, he'd told me you had to "approach things gently and quietly or they pull away."

This passage has been of incredible use, as I attempt to render the nearly indescribably beauty of a ride across the Manhattan Bridge, on the Q, hundreds of feet above the East River, the setting sun illuminating the harbor, the sky, the skyscrapers, and flickering lightly off cars crossing the Brooklyn Bridge: approach things gently and quietly or they pull away. Thank you, obscure relation! Thank you for providing me with the exact chisel I required to cut the nose, the eyes, the face, but might never have found on my own. Modiano's writing reminds me of the films of Michelangelo Antonioni, especially L'Eclisse, The Passenger, and my favorite, L'Avventura. They're slow in pace--dull, almost--sumptuous, textured, layered, and highlight the glory and potential of the image. In L'Aventura, Monica Vitti beauty devastates. While we're on the subject, I want to quickly note a Godard that never fails to elate or animate (the trailer, that is, not the film): Vivre sa vie.

Of course, the other half of lovely writing is clever word-smithing, or sheer delight in the amusement and color and texture of language--as a writer one must exult in language. Take Miss Clack, for example, from Wilkie Collins' Moonstone, which, as you know, I finished just the other day:

I describe this aimless flitting about from one place of residence to another--this insatiate restlessness of body and appalling stagnation of soul--merely with the view to arriving at results. 

Miss Clack will be important to this journal as I will use her name for the name of a troublesome aunt, sister of my mother, who had twins at fifty-two via artificial insemination. We're estranged. She is an utter pill, and accused my mother--her older sister, and remember, this Clack had twins at fifty-two--of attempting to breastfeed the children. This Clack is a doctor. Can you imagine? I talked to a producer recently and mentioned I'm accustomed to managing "big" personalities--"diplomatic, Marcel, unlike you," he said--ah, but it begins at home! Yes, one musn't neglect the important skills one has picked up at home.

When one can appropriately position "insatiate" in a sentence, can help the word to expose itself as it must--one has succeeded as a writer. This emerald of a sentence, tucked into the first third of the Moonstone, is the other half of "approach things gently and quietly or they pull away," when it comes to writing. The inability of most--if not all--contemporary writers to do this characterizes the deplorable state of modern fiction. In English, contemporary writers seem to have lost the ability to do either, and are equally incapable of exulting and softly approaching shade, place, or person. An embarrassing and ignominious predicament!

It's raining in New York. I haven't yet found a ticket to the Mariinsky at BAM--howl, howl, howl, howl! O I'll crack heaven wide open with my laments!

I wish it might snow rather than this endless grey rain.




   

    

West African Dime Novels

West African dime novels and assorted market literature, 1970s, Accra and Lagos

back
detail; "How to be a...NIGERIAN"









Electric Kissing Parties, II

Electric Kissing Parites, I
True Love








































I know what you're thinking: where were those Electric Kissing Parties when I was a teenager? 

Thursday, January 8, 2015

Happy 68th David

Julie San Juan and I met for drinks in Greenpoint tonight. I met Julie in Puerto Rico, when Brooklyn and J Way and I visited in May of 2014. San Juan was my step back into the United States; prior to this visit, I had lived comfortably in the Yucatan for some time. J Way met Julie, and introduced Brooklyn and I; we were unimpressed. Julie has a valley girl style with new acquaintances, and we're judgmental. We were to be proven wrong, a fact that J Way has brought to my attention several times since. J Way is a delight, a savant full of general naïveté, a real miss who isn't afraid to tap ones knuckles with the ruler when one has stepped out of line. She's become more and more fun as she's aged, and will occasionally make rather colorful comments with an eye to Brooklyn or I, which we adore, of course.

Julie has an uncommon energy and wonderful zest for life. She's a skilled photographer, and entirely a product of good breeding. Though after a few drinks in Greenpoint one might hear her remark: "For some reason Asian people love my photos." Tonight ended with pierogi and borscht; Julie San Juan departs for San Juan tomorrow, and there she will likely be seduced by a mature boriqua of certain standing.

Sidenote: Bryncess and her man were up all night on coke in an attempt to summon Satan. They wound up taking the train to Rockaway Beach around six in the morning and swam in the Atlantic Ocean. It's January. Bryncess is rapidly becoming one of my more exciting friends. Meanwhile, la Chilean has arrived in Thailand, Kim is in the Dominican Republic, and I am in New York, where it is approximately 11 degrees.

The last time I saw Julie San Juan was just a few nights before la Chilena had the furry party. We met for drinks in Grandmother's living room, or Night of Joy, a few blocks from the BQE in $skid row. I rode into Brooklyn on an F train full of unusually attractive passengers, and I'd had time to have a nice look-see, as I'd boarded at 2nd Ave, where that V train to Queens was wont to lurk. We caught up, as people do, and shared tales of life on the edge of many things--we're both almost happy, almost in love, almost famous, and too painfully alive. People say New York has changed, New York has lost its soul, New York is gone. And they're right: New York has changed, because the world has changed. Each day we see more and more the twentieth century fading into the past--after all, we're fifteen years into the twenty-first--and there isn't a thing to be done about it. We mourn it, we tug at our hair and beat our breast, but it fades only further away. In the last century there was witnessed an explosion of culture for the ages, especially in music, and a birth of an urban underclass identity that proved polyvocal, multiethnic, and highly destabilizing and revolutionary.

Our culture--and here I return to New York, for New York is the United States in miniature and to an extent the world--has diminished. The world is simply a far less interesting place than it once was--it is smaller, more homogenous, populated less and less with the idiosyncratic and the useless, the beautiful and the damned. Cities are less the swampy mire of crime, vice, and creation which they once were. And this is the case with New York.

However, rest assured, so long as people like Julie and I are around, there will be a struggle to achieve something beautiful, something worth communicating even in the most rudimentary language or form, which this blog aspires to be. We try, we people born just several years too late, we struggle. I do, Julie does.

I'll record what Julie reports from Puerto Rico.

For now:

I'm delighted and grateful to be alive.

I can hardly wait to see the Mariinsky perform Swan Lake at BAM. I had dinner with a Justice (one of the women) on Monday, who described her experience of the Mariinsky as "absolutely one of the highlights of [her] life."

Now, to the point of this entry: Happy 68th, Bowie!

When I think of the gods of popular music, I think of David Bowie. There are others, of course, but Bowie has enjoyed remarkable longevity and remains relevant at 68. He is one of only two or three people I would like to meet whom I haven't yet.

I may, one day, list representative tracks from each of Bowie's albums, along with additional songs I consider to be related, to share similar motifs, to have influenced Bowie (e.g., for the self-titled 1967 debut, we could try Happy Land, and then hear and see the inimitable Marlene Dietrich, who beyond any doubt had a fantastic influence on Bowie). That's rather an enormous undertaking, however, so tonight I'll restrict myself to a few favorites:

Memory of a free festival

Teenage Wildlife

Station to Station

Sound and Vision (Low)

Starman


I'd Rather Be High


Golden Years on Soul Train


and

Heroes


Adieu,

Marcel


 






Tuesday, January 6, 2015

Back Home

Lower Manhattan from the Promenade

Clark Street

Lionel at Grand Central

Pay close attention

For Woody Allen

Dawn

East River Park

Hipster at Sunrise


Skid$ Row

Tile, Grand Central 

Chrysler

Bank of America/Bryant Park

Friendship

Birdwatching underground

Finally took one of these

First album of 2014: a reevaluation. N'joy.