Tag: Art

Postcards from MoMA

Today’s post brought to you by the color turquoise:

Images from my modern art day, or, Why We Are All Going Mad. Queens

I took the subway into Manhattan twice this week, once to a checkup (doing okay, generally) and another for a day off, wherein I went to MoMA(s). For the first trip in, on Wednesday, I walked from my apartment up the street to Queens Blvd. On arriving at the corner light, I looked up to see this man from the neighborhood, maybe 6’5”, always in workout gear (this time a white tee shirt and dark nylon sweats), earbuds in, carrying a blue sack, the kind of plastic bag a lot of stores used to use. He’s tan, with barely graying black hair, probably a few years younger than I am. Without speaking, I have never liked him. Once, twenty years ago at least, Lydia, who used own the corner Chinese restaurant (with her husband before they were able to retire at age 45 or so, having worked for 25 years, 7 days a week, 15 hours a day, no vacations, two boys put through college; they moved to the Chinese enclave, Flushing; I miss them) tried to introduce us, “You both single,” she said as we were waiting for our takeout. We regarded one another, he sitting, I standing, and did not like one another on sight. I saw in his face echoes of that man I dated a few times, the one whose first comment about me was, disappointed, “Oh, you’re smart.”

So for twenty years, we’ve pretended not to see one another—but of course we do. Lots of people in my Queens neighborhood pretend not to see you—they like their privacy, walk in apparent trances, but no one in New York survives walking in a trance; it’s like people put up a protective shield to avoid getting caught up in someone else’s weirdness. I’d tried to greet many of these people and gave up, but now that we’re old, a few of the older ones will kinda meet your eye, a surrender that comes with old age and loneliness.

All of this is just to share one of the comical occurrences of coincidence that really do happen in this city: so Guy I Don’t Like (and whom I rarely see) is at the corner on Queens Blvd, crossing, as I am, over to the elevated 7 Train. Okay. One coincidence. Then, we both turn left up the stairs (he’s on his bluetooth on the phone the whole time), so another one. (Note: I turned left so I can get out at Queensboro Plaza for the N-W to 34th St near the front—since I want to exit the 32nd St side of 34th St stop—you learn these things—so I went in the front of both trains, as the front of the train heading downtown is closer, see?). We each, however, went into different cars. I got out at Queensboro Plaza.

So did GIDL. Seriously? Fortunately, he made a point of heading even farther down to another car.

The N train comes; I reached the Manhattan station, one of dozens of potential stops. I got out to exit up the stairs at 32nd St (my doctor is on 31st St), and, you guessed it, there was the tall white tee shirt and blue sack. HOW? And I know he saw me because I was in a bright turquoise blouse. More than that, at street level GIDL headed toward 7th Avenue and Penn Station, which is where I was headed (to go to the ATM), but all this was creeping me out, so I ditched that plan and headed straight to my doctor’s office at 31st St near 9th Avenue.

And you think, “What am I supposed to learn from this?” Why must my morning be made somehow uncomfortable—he really does give me the creeps—and the truth is, I don’t know.

After the appointment, I decided to take the 7 train from 34th St. Hudson Yards, by way of an ATM for my bank near there…and no, I don’t see GIDL, because that would be Twilight Zone creepy. I only just made a train in the station heading toward Queens. At Times Square, the next station, an Asian woman (I hate to be general that way—I’d like to say “Chinese,” but I’m just not sure, and after all, I’m “white,” so) a bit younger than I am, got on, simple blue shaded top and slacks, a big purse, and when she saw my face, she smiled a twinkly smile. It’s something I’ve noticed we older women do, a kind of acknowledgement of our survival to this point.

During our ride, we bonded over Surprise by Buskers—the first a (not that) young Black man with boom box (oh dear, showtime), whose tricks—swinging on the poles, flipping, kicking the hat up to his head—were so, so old (like doing vaudeville schtick during a standup comedy set) that I found myself giggling, trying to imagine other objects he could surprise us with to kick onto the top of his head—but it’s an attempt at performance art to a deeply indifferent midday subway car; he asked for applause (even he looked bored), and I offered it, and a dollar; the Asian woman across from me then also pulled out a dollar. “Anything for art,” I said, and it heartened the performer, “Thanks to the front row seats,” he said as he got off at the next stop. At the stop after that the mariachi band got on (four pieces!), and the woman and I looked at each other and started laughing. I threw up my hands, “It’s our lucky day!” The band was so out of tune and flat—instruments, singing, all of it—you had to laugh at their loud boldness. Again we pulled out dollars. At my stop, she’d nodded off, and I touched her wrist upon leaving, “Have a good day,” and she roused and smiled and said, “You too,” and off I went home to my “office,” late for a meeting but better for it.

The next day I was off, and as I say, it found me back out searching for signs of art in the universe, and maybe some answers.

Here’s a question: Why are all the literary and artistic icons old? How is it that Virginia Woolf (1882-1941) and Lena Horne (1917-2010) and Marilyn Monroe (1926-1962) and Yoko Ono (1933-present), or Marcel Duchamp (1887-1968) and Pablo Picasso (1881-1973) and Harry Belafonte (1927-2023) and Salvadore Dalí (1904-1989), are the faces on the postcards in the gift shops? How is it our kids and grandkids still know the Beatles as well as they know Taylor Swift (and how long will Taylor Swift last)?

Paul McCartney said on James Corden’s Carpool Karaoke, of the Beatles, “We thought it would last ten years, but it keeps going on and on and on.” I watched a Rick Beato YouTube segment dramatically titled, “Old Music Is Killing New Music.” Beato, who listens to all the latest as well as classics on Spotify and YouTube, wondered why it was that ca. 1970 bands like Creedence Clearwater Revival or the Doobie Brothers could still get one billion streams, while many newer artists had a fraction of that. It was a fascinating analysis, starting with the fact that the music business—a 20th Century phenomenon (before recording, the only music anyone heard was live)—was about what teenagers were listening to. The fan girls of Frank Sinatra (the original bobbysoxers) were younger than the singer; the screaming fan girls of the Fab Four, who were around age 20 when they broke through, were younger teens. So music is generally for young people, and young people age. And also our cultural tastes change, and while not displaced totally by trends, in popular terms orchestral music gave way to jazz, which eventually gave over to ballad and swing crooners, and then the years of crooning gave way to rock ’n’ roll, which was popular concurrently with heavy metal, soul, techno music, R & B, rap, and hip hop, back to the power ballads.

And I think today’s pop music is often way less interesting than the old stuff. I found myself thinking again of Aristotle (if you follow my posts), “The ideas are hard, and so the reading is hard.” To produce a record in the age of Autotune and synthesizers and songwriting by committee, there’s less craft than at a time when four guys who played their own instruments, and well, sat with mixers in a studio for hours and days and weeks, going sound by sound by sound to get the tracks (written by one or two people) and record right.

Listening to new popular music, I’ve found the subjects of contemporary songs are as follows: love, sex, getting high, surviving a breakup. That’s about it. The subjects of songs in the 1970s include but are not limited to: love, sex, getting high, breaking up, sure, but in wildly poetic, varied, and nuanced ways (Blue, The Stranger, Born to Run, Rumours, Rocky Mountain High, Bad Girls, Blood on the Tracks, Wish You Were Here, Led Zeppelin III come quickly to mind, with more song subjects than those noted, and really I could just list and list and list) and in there was also political protest, environment and natural world concerns, seeing America, living out dreams, ending the Vietnam War—so many one-hit wonders as well as continuations of long careers.

Because it’s all about careers. Music—all art, really—changes with the years, the developments, the technology, the culture. Or it should. Most bands, let’s face it, have short careers, and they make room for new artists.

Does the continued presence of the long-lived artist kill new artists? Why the longevity?

Talented as they are, I can’t really imagine the faces of Billie Eilish or Drake or Ed Sheeran selling on post cards at a MoMA gift shop. You know what I mean? No one now feels like they’ll be iconic in their artistry like that. (Maybe Adele?) I tried to name a visual artist and picture their face. First, can you name a museum-quality famous contemporary visual artist? (Kara Walker came to mind, and Kehinde Wiley). Second, can you picture their faces? (No.) And maybe that’s unfair—everyone knew Hemingway and Picasso and Stein and Van Gogh, but I have no idea what Cezanne looked like. Not everyone is an icon that way. And we do love icons.

I’m not sure why I think any of this is important, but with air buds and phones, everyone on the subway or at home is having an individual art experience, streaming from Spotify or going down a Google Choose-Your-Own-Adventure rabbit hole (without know that the “rabbit hole” is not a “worm hole” because it’s an allusion to Alice in Wonderland, another old work of art in our curiously limited common culture that we still reference because there’s been nothing to replace it, and why is that?) And who’s to know what’s not AI?

It’s why I cherish theater and live music and trips to museums. You see and hear the work of human hands in the presence of other humans, even if we are having our individual experiences. At MoMA I saw the Marcel Duchamp retrospective, and what a great time. I smiled all the way through it—what a range of creativity, an artist who helped break open the art world, followed his own voice, changed it up. I couldn’t believe all those works were by the same person.

(I think that’s why I love Billy Joel so much as a musician—the same guy who wrote Glass Houses and “Uptown Girl” did The Nylon Curtain. I love to see creative forces adapt to the changes in the artists and the times.)

In a time of so much distress, existential crises of our making, and indifference to suffering at levels I cannot imagine at least partly as a result of state run media suppression of truths, I’d like to encourage you to get out there at get your art on, find good stuff, share it, promote it, enjoy it with others.

I ended my week at Jar Bar here in Queens with a young artist from my building, whose husband tends bar there, and her mom and friend—we three were aged 62-64, and we chose music for the digital algorithm-infused juke box, and we all agreed on Yes, “I’ve Seen All Good People.” We closed the bar down. So there is something for your Sunday.

Sending love, art, hope, DAMMIT,

Miss O’

Department of the Interior: Reflecting on our built environments

“Architecture needs more doodads. (That’s what my mom says, and she’s very aware of her built environment.)”

~ LuAnn Keller, Virginia Tech MFA theater grad student, on a flyer (I wish I’d saved) for a theater workshop she conducted with architecture students, ca. 1986

I always feel guilty when I’m not sharing political rage, but on this Sunday morning celebrating Pride in NYC I’d like to indulge a little in my personal interests, to share with you something on art and literature, knowing it will all lead to politics here in the end (and already has, look at that).

As a fan of HGTV—primarily because (and all due respect to the late Julia Child n PBS and the teaching of cooking and baking) it’s the only network that shows how nothing becomes not only something but also how it will now be inhabited (consumed, so to speak) by real people and for life—I have spent over a decade noticing how interior design became “Pottery Barn-inspired” as opposed to “collected and curated.” With the profound exceptions of Home Town and the lamentedly canceled Bargain Block, designing has become about creating neutral-feeling “spaces” rather than “rooms,” spaces that, sans walls, act more like furniture showrooms than homes. The “neutral” craze of whites, creams, and light wood tones, with the occasional splash of black in a feature wall or trim is not so much a backdrop for, say, colorful art (no walls means no art), as a merely open, blank canvas that will remain blank, if sometimes messier, for years to come. No amount of the show hosts saying, “Look how warm and inviting” will change the fact that every bathroom, bedroom, and living room—sorry, “space,”—is designed to mimic an impersonal hotel. I personally find the designs clean, sure, but sterile; there’s no question that what the hosts (the Property Brothers, Dave and Jenny Marrs, the Kleinschmidts, pick a show) create for homeowners is certainly nicer in the end than at the beginning, everything “updated” and tidy, “tons of storage,” etc. But you can’t help noticing that the people they are designing for will most likely never put any art on the walls that do exist (walls that sometimes get wood slats for “architectural detail” to fill the void), or set precious objects on the shelves, when there are shelves. And I can’t help wondering why.

Never to be seen on HGTV. All of my friends have homes like mine, some far more sophisticated for sure, but all with the same feeling of life. I find this comforting.

I know I’ve talked about this—people either love Miss O’s apartment on entering or get instant hives; there’s really no middle ground. I have lost my way, I think, in my collecting—now more cluttered studio than a home for hosting, but generally it works for me. This is because there’s not a single book, object, work of art, or furniture piece that is not the center of story. There’s no, “Oh, I bought that at IKEA” only; there was a specific time, reason, need, or person involved. Each piece is a memory, and I can tell you about it. I can’t really understand living any other way, and my way is definitely not trending. So what am I missing?

In my YouTube travels, when I’m not watching interviews with favorite musicians, I enjoy occasional episodes of HomeWorthy, wherein an unseen host takes viewers on guided tours of fabulous New York City apartments, led by the owners/renters themselves (who are collectors, designers, and artists). Their astonishing money-to-buy-stuff notwithstanding, even their paint color choices are inspired by, say, some historical place or painting; each object has a story. “I picked this up in a market in Bali in 1973,” a story begins, or “The creator of this piece was was a young weaver who…”; or “I bought these chairs at an auction in 1990, and they came from an estate in New Jersey; I needed a small sitting area, and look how perfectly they work by the window.” The people in these NYC apartments create rooms within rooms, areas for conversation, for office work, along with a bar, a library, hidden storage. No living room has only one function, what with space at a premium.

Miss O’ can relate. I can also relate to all the stories. I would love someone to film me giving a tour of my apartment as if I were a very important person; maybe it could inspire the white-walled, clear-spaced neutral people to reconsider their choices.

Ask me about my kitchen pass-through view.

Why do I say this? Come on, Miss Judgy O’Judger, I hear you say, shouldn’t people get to choose the way they live? Of course, as long as it is a choice, a conscious one, and brings joy. (I’d like to pause and judge one thing: I loathe and despise random and incessant gilding and calling it style. It’s not political.) What I’ve come to suspect is that the quiet, neutral furniture showroom aesthetic is a direct response to the little device we hold in our hands, the overstimulation that is doom scroll chic. They can look up from the screen and see blessed emptiness. I think even trees are too much for people anymore, and that’s just tragic.

In my travels around my own doom scrolling, I saw this video on Instagram the other day:

Not only does this analysis acknowledge my questions, it also affirms some of my suspicions and adds more to my understanding of the way people live now. Here’s a comment on this same video:

So I can see the two-screens, various devices thing, the shorter attention spans of today, as part of this. But I got to wondering more about the role that story plays, or doesn’t, in our current culture. I know streaming and binge watching of fictional shows is wildly popular, but the reading of fiction (to say nothing of poetry) has dropped precipitously. I look at our educational system to point one finger: Common Core State Standards for ELA (English Language Arts) dictate that by the end of elementary school and into Grade 12, all reading in language arts classes should be 70% nonfiction.

Who decided this? I’ll tell you who: corporations (aligned with Christian Nationalists—oh, politics, are you never not around?). Why? Because the reading of fiction—even audio books, which is totally relevant as reading because humans were oral-based storytellers for millennia, and reading print has only been fairly commonplace for a century—creates empathy. As a student, for nonfiction I recall only humorous essays by Twain, say, or philosophy by Emerson and Thoreau; as a teacher, MLK’s “I Have a Dream” and Elie Wiesel’s Night were about it. The rest was short stories, novels, poetry, and drama. And here I am today, a big, educated, worldly heart. Fuck that?

Here’s another Instagram post on just this educational issue, and I could not agree more:

What the corporation head will say is that, today, they need readers who can process data. (Gee, what did we ever do without…data?) They need “readers” who can think critically about complex scientific, historical, and social problems.

They are lying.

What they really want are bored drones who generate revenue for invisible shareholders. They want brains that don’t work, eyes that don’t see, hearts that are empty. Lack of compassion makes workers easy to control. Here, buy this device, watch this show, hell, watch two or three at once. Wear beige. Turn all your books so the spines face the back. See how pretty that looks? Punch that laptop. (I learned all this from reading the Aldous Huxley novel Brave New World as a sophomore in high school. Dangerous, see?)

Oscar Wilde for Pride Weekend. Spines facing out, thanks.

I know I’ve said this before too—I’m old; I do a lot of that—but I’ve read (!) that fewer and fewer people have physical libraries in their homes, the wisdom being that if you’ve read it, why do you have to look at it? Books only collect dust. But I read some study that showed that people who have libraries (spines out) are frankly smarter than people who don’t. The reason is not based on IQ, but rather on the fact that seeing the books reminds your brain of what you read, when you read it, and what it was about, and as a result, neurons fire. You are simply more alive.

I think this must be the same for everyday living in homes (not spaces) with collected objects. Each picture, rock, vase, sculpture, card, tea tin reminds me, for example, of where I got it, who gave it to me, why it has meaning. I create and recall life narratives in my mind just by living in my house. You can’t do that in quite the same way with white walls and warm wood with an empty countertop, with built-in shelves that hold a white ceramic vase from Pottery Barn and maybe a plant next to a phone charging station.

This really isn’t about aesthetics. It’s about what happens to our souls when our minds and homes are sterile. For people who are poor, who are just starting out, who are scraping by, none of what I’m saying sounds like anything but privilege; but I’d argue that the same results of emptiness apply to anyone.

When I was a tiny child (the year the Voting Rights Act was signed into law), my parents, Bernie and Lynne, scraped up $50 for a house downpayment, because if you had a regular labor job (and were white—here comes more politics), you could do that. The house’s downstairs walls were white cinderblock for many years; the floors tan and black asbestos tile, no rugs; we had a round red-wood coffee table my mom bought when she was in the navy, and a couple of mid-century modern rope chairs. In the first year, together they bought a vinyl-covered loveseat, a wooden rocker, and an vinyl-covered recliner, and a small black and white TV along with a pressed wood end table for a stand. And that was our living room for at least five years.

But what I remember more than that is the portable hi-fi and record albums always playing on it; the Puerto Rican Pottery ashtrays, the diablo mask, the black Wedgwood tea set, the Israeli brass ashtray, the painting of a watchmaker upstairs, and volumes and volumes of books (the first thing they spent serious money on was a big custom bookcase for the otherwise empty upstairs living room, an odd feature of their house model)—all things Lynne had collected as a single woman in her twenties. I asked about all of them. I learned their stories, and also, then, the story of Lynne’s life before me, before marriage and children. (By contrast, my dad’s entire life fit into a small brown suitcase when he moved to marry my mom.)

It’s the objects, the books, the stories—it’s not about stuff for its own sake; not about constantly clean surfaces and a living room that looks unused and “ready for entertaining” in the abstract. It’s nice to have a tidy home, but a home—not a space—is to live in, to arrange memories, to build new ones. To be alive in.

A library, even a small one, matters. Novels are important. Poetry is important. Having volumes around you makes you a better, by which I mean a more feeling and aware, human. Remembering that our lives—all our lives—are connected stories is key to our humanity.

Our interiors reflect our interiors, if you see what I mean. Both interiors inform the way we curate our democracy, our earth, too. It must. I know I can’t control the world, can’t stop all the atrocities, but I can curate my stories, maybe share them, hope to spread a little encouragement for all of us to do that for ourselves, for each other. If you want.

Sending love and hopes for a better tomorrow,

Miss O’

So I went into my family photo album, and would you look at that accuracy of memory? (I’d forgotten the little bookcase—three painted versions later, it sits in the exact same spot by my dad’s chair today.) In terms of function, the room served as entertainment center, nursery, and laundry. Ca. 1965.

The Bias Cut

Fashion of the moment and what lasts

Last week as part of a month-long retrospective of the career of filmmaker Ernst Lubitsch (1892-1947) (think The Shop Around the Corner), Film Forum here in New York City showed two screenings of the movie Trouble in Paradise, starring Herbert Marshall, Miriam Hopkins, and Kay Francis. But wait, there’s more.

The Film Forum lobby ad card for the retrospective.

At both the 12:15 PM and the 7:00 PM showings, my old friend and colleague, Howard Gutner, introduced the film and showed slides of photos from his latest book on Hollywood’s Golden Age, Banton of Paramount, a deeply researched study of the work of costume designer Travis Banton (1894-1958), whose protegee, Edith Head (1887-1981), was the eight-time Oscar-winning designer of films such as All About Eve (1951, in the Black and White category, which category ended in 1970) and The Sting (1974, her last). Banton never won because awards for Best Costume Design weren’t introduced until 1949, and by that time his alcoholism got him forced out of studio work; I’d never heard of Banton until Howard told me about his book coming out.

Howard was my work supervisor for many years, and we collaborated on many projects. Several former colleagues showed up across both showings, and our reunion made us look like groupies or the In crowd. A very old In crowd.

Howard’s introduction, which was delivered with real command of the material, a great voice, and wit and warmth, included slides of two gowns from Trouble in Paradise (which is just terrific, by the way): one worn by Miriam Hopkins shows a character who does not come from wealth, and the other, worn by Kay Francis, shows a temptress character with riches to burn. Both gowns, Howard explained, were sewn on Banton’s signature bias cut, where cutting the fabric on a 45-degree angle causes the dress to hug the body, thus showing a body’s true shape. Ah, the world of Pre-Code Hollywood. And this new knowledge, as it turned out, shaped the way I watched the movie—a new lens, if you will, that enhanced my viewing pleasure by heightening my awareness of craft beyond plot.

In addition to pitching Howard’s book, and I am, I want to praise the writers and archivists who keep our artistic histories alive. Howard’s other two books, Gowns by Adrian (long out of print, I see that Simon and Schuster is going to reissue it in November of 2026), about MGM costume designer Gilbert Adrian (you know him, yes you do, because he designed The Wizard of Oz), and MGM Style, about the work of MGM set designer Cedric Gibbons (The Wizard of Oz and so many more), along with the new book on Banton, provide backstories that had not been told; prior to Howard’s book, there were no books at all on Banton, for example. Following Howard’s lead, there are now other books on Adrian, but those writers didn’t get to interview Katharine Hepburn personally (as Howard did) as part of the research (Adrian designed Hepburn’s costumes for The Philadelphia Story). So important was Gowns by Adrian in design circles, I even caught a glimpse of it while watching 2024’s documentary about Bob Mackie, Naked Illusion:

In this still of the famed designer for Cher, Carol Burnett, and Elton John, among so many others, I’m especially proud of my screen capture of Mackie either about to sing opera or take a dump.
Art isn’t easy.

The other night I asked a young waiter in my neighborhood haunt, Belo—a kid I know to love theater, literature, and film—“Do you like classic movies?” to which he eagerly replied, “Yes!” so I told him about Film Forum’s retrospective. He pulled out his phone, Googled Ernst Lubitsch, and winced. “These aren’t classic, they’re old.” And that was it, phone back in pocket, conversation over. In an American age where the president wants to either tear down a congressional cultural monument like The Kennedy Center or rebrand it as vulgar Trump real estate; in a nation in which everyone of note seemingly wants to erase the arts and entertainment they don’t care for—from Timothée Chalamet dismissing opera and ballet, to Meryl Streep doing the same to wrestling on the Golden Globes (I guess that UFC cage match on the White House lawn will show her)—I feel that Americans are being Meta-trained to consume, to criticize, to forget, to throw away, to wipe out everything at greater and greater rates, in larger and larger amounts, across all spectrums of our collective experience—all so we can’t and won’t learn our true and full history. I think it’s that dangerous—for with every bit of historical memory we give up or entertainment pastime we bury with derision, we come that much closer to erasing who we are, where we came from, and the more the oligarchs and freedom fuckers win. (I read that Peter Thiel, a principal architect of America’s apocalypse, has moved to Argentina; that should tell us something, and maybe it’s good.)

I heard a little kid ask his parent the other day, “Why is the Mona Lisa so famous still?” And it struck me that the real beauty of that painting is that the whole world knows of it and that the knowing started in the Renaissance. That said, so too will everyone remember Mar-a-Lago and for just as long, because the grotesque and the evil matter to our story as much as the beautiful and the great; after all, the Borges financed the Renaissance. Obama’s legacy, I hope, will outlast Trump’s for all the right reasons; Trump can build all the monuments to himself and generate all the AI superhero images of himself he wants, but you know the only thing that will really last? This POEM:

I recommend regular rereadings of this poem, aloud, for sanity.

Here in my neighborhood on Friday evening, I stopped by the vintage clothing and gift shop Bliss and learned of owner Violet’s annual plant exchange (where we all can exchange cuttings to share with others) next weekend—and also the 8th anniversary of her store. She advertised for a band via Instagram and an Armenian guitarist said he could bring a tuba player and a violinist for a trio. Violet said, “Only in New York could I get world class musicians to come out to Queens for a plant exchange and face painting.” Now that is what I mean by collective culture.

I’ll leave you this Sunday with a couple of video essays by PissedMagistus on Instagram and Qasim Rashid on Substack, both on the sheer stupidity of racism, fascism, xenophobia, homophobia, and bigotry of all kinds—think of these clips as different kinds of bias cuts. No one should mind either high art, so-called, or low culture, so-called, just as they shouldn’t care what color someone’s skin is or what country they come from. With June starting tomorrow, I think of the Pride call, “We’re here, we’re queer,” and life goes on, right? What should never be stomached, though, are the dangerous people in power right now and the atrocities they are committing. Don’t drain your outrage, I keep telling myself, and while I’m upset over the Kennedy Center and glad a judge ordered Trump to remove his name, I’m saving my tight chest for Delaney Hall and my outrage for two Democratic women governors who are squandering their leadership—already. Spanberger vetoed a bill that would demand warrants for all ICE searches; Sherrill sent in troops to terrorize peaceful protestors yesterday. Shame, shame, shame, snatching defeat from the jaws of victory. So much work to do.

And don’t forget to make space for art.

Sidebar: Seen at the Montclair Art Museum in Monclair, NJ, last weekend—I love this label, upending “Unknown” as the default to illuminate gaps in our historical memory and think about why that is.

For That Little Bit of Food

On the mess it takes to make

Years ago, my super (and friend) was at my apartment to make a repair, and he noticed my sink filled with dishes—I’d made a pasta salad, involving boiling and draining pasta, cutting vegetables (scallions, tomatoes, etc.), adding feta, and so on. Assorted pots, a colander, and cutting boards were piled in the sink, along with knives, forks, spoons.

On seeing the finished product, a medium sized pottery bowl with a nice few portions of pasta salad under plastic wrap heading into the fridge, he clucked his tongue. “All that mess for such a little bit of food.” Well, yes. Had this handy man never watched his wife or grown daughters cook or clean up?

But that moment stayed with me—sort of embarrassed me, the way he thought, “for that little bit of food.” Why had I felt embarrassed? I mean, I’d watched him pour out a half dozen tools, rags, and plumber’s sealing tape onto the floor to fix a leak, and it would never occur to me to say, “All that mess for such a tiny little leak.” Let’s face it: most things worth doing require making a mess. It’s the tragedy, and joy, of being human. Life is not gossamer; no amount of meditation and austerity changes the reality that, to start, 1) humans must eat and drink; and 2) humans must evacuate waste. Planting, growing, cooking, and plumbing of all kinds: life’s basics don’t do themselves.

I thought of this again this morning: I’d walked over to LabCorp to get bloodwork done after 12 hours of fasting, so on my way home, I stopped by The Sconery for a (savory) scone treat. At home, I got out my little coffee maker, scooped out coffee into the reusable filter, poured in water, and let it perk; I poured some half and half into a small cream pitcher (to better control the amount used); I made a quick one-egg omelet with the last half of a cheese slice, to eat on the cracked pepper scone.

Following this little repast, a simple breakfast feeding just me (and I didn’t even have to make the scone), I had the following dishes in the sink:

  • Little bowl for scrambling the egg
  • Fork for the beating the egg
  • Small cast iron skillet for cooking the egg
  • Table knife to cut butter for the skillet
  • Coffee scoop
  • Small cream pitcher
  • Spoon for stirring
  • Plate
  • Coffee pot
  • Reusable filter and insert
  • Coffee mug
  • Water glass for taking my morning meds

All those dishes for a little bit of food, a cup of coffee, and a pill. That’s how it is.

And this was lunch.

Anyone who does projects knows this—to sew anything, say, I have to set up the sewing machine, get out the fabric scissors, the thread and bobbin, the seam ripper (always), all the stuff; whether this is making curtains or sewing a tiny seam split in a pair of pants, it’s the same drill. If you make collages or draw or paint or whatever, you have to get out all the stuff. Even to make a small card for a friend, or a bookmark, it’s all that mess to clean up and put away for a little bit of creative output. Even a bookshelf, when hung up, looks like “of course,” no one thinking about the sawdust.

Last weekend, my best college buddy Richard came over with his two teenagers, who, after lunch, napped in various spots in the apartment while he and I went through a big envelope of theater memorabilia from our college days. I was cleaning out a closet last weekend when I happened on it, and thought, I need to make some kind of scrapbook or toss it. Being a BA theater major was, as I’ve said many times, the luckiest thing I could have been. (I distinguish this from a BFA—a bachelor of fine arts—which is narrow in focus, an actor never learning set design, for example; in our liberal arts program we did it all.) You learn all the theater trades, practice on many shows, from black box to main stage, and figure out what you like about it and what you are good at. It was awesome. Though you sure get tired doing all you do.

Theatre Arts-University Theatre is now The School of Performing Arts at Virginia Tech. I recommend it.

This sorting made us tired, too, program after program, script after script, party notices, “Break a leg!” cards, SETC (Southeastern Theater Conference) badges. “I was on the makeup crew for She Stoops to Conquer?” Richard asked, thumbing over the names in one program. “I did wardrobe for this?” I said, handing Richard a program for a show in which he got “special thanks.” We’d never heard of it, to see our reactions, let alone recalled working on it. And yet there our names were. Other times the programs brought back loads of memories, “Oh my god, remember that turntable that didn’t turn, and we all had to push it from backstage, in costume,” “…and the tech director got fired for buying cheap casters?” but most of them were fond memories. From hauling boards in from the truck to building stud walls and constructing flats; to measuring actors, to fabric shopping and cutting cloth from patterns; to putting makeup on faces and taking it off with cold cream afterward. “How did we do all that?” “And classes, and parties…?” To say nothing of hydrating.

I suppose one way of looking at it is, “All that mess for such a little bit of show.” But that’s never the whole story.

Ca. 1982-86; I just realized I graduated 40 years ago. [Insert popping eyes.]

I watched YouTube videos about photographers this week—I got on a Richard Avedon kick, thence to Henri Cartier-Bresson, Chuck Close, Mary Ellen Mark, always learning—and one commentator brought up how much paper and how many dark room supplies went into producing each large-scale photo that landed on museum walls. (So much mess for such a little bit of beauty? Yes.)

In further video travels, I watched Lucy Worsley Investigates: The American Revolution on PBS, and I admit that I thought, in passing, about the war, “All that mess for such a (little bit of?) new world order.” And really—when any act is all about money and power—it is a lot of mess, and for, too often, such a lot of nothing but destruction and misery. Worsley finds, for example (seeking the British view), that if King George III hadn’t had a huge 7 Years’ War debt to pay off, he wouldn’t have signed the Stamp Act, and if he’d listened to the colonists’ reasonable complaints about taxation without representation, they wouldn’t have revolted, and Britain’s Empire wouldn’t have fallen, and who knows? Still a mess, no doubt, and the mess continues amid the stabs at progress, and no use looking back.

The latest world order upset is Trump’s unstable, treacherous presidency, his support of Israel, and his attack on Iran—all that mess to distract from such a little bit, oh, wait, an ungodly amount of pedophilia and bribery and corruption.

Money and power, power and depravity. I’ve been reading a few articles during my doom scrolling hiatus, and the more investigating people do into Epstein (to take one example)—and loads of terrific independent journalists are doing just that, unrelentingly—the more horrible and seemingly unstoppable these diseased forces seemed to be; but they are stoppable. This is changeable.

But my god the mess in their wake. Their mess is vast and awful, but we gotta clean it up so we can start fresh. Again. Like doing the dishes. Like a set strike.

And how much better would we all be if our messy work were for creative, useful, and community purposes (with women to guide it)? So much better.

Sending love, all the detritus now in plastic sleeves in a tidy (ahem) binder,

Miss O’

Summer Arts Festival, 1985; Final Directing project 1986. How did l learn all those lines? And pass my classes? And have fun? And feed myself? It can be done. Also, I hope you are charmed by the handcrafted nature of that college program. I made it.

The Woman Mind: A stroll in our political landscape

When I got off the 7 train in Queens last night around 11:45 PM, damp and chill after a wintry weather day (I’d gone into the city to see Harry Potter and the Cursed Child on Broadway last evening with a friend visiting from out of town, and all I could think during a scene showing Death Eaters, was “Oh, look, ICE,” but everyone else was just super excited that the grown up Draco Malfoy was being reprised by the movies’ Tom Felton—he was delightful), I crossed the boulevard to a bodega to pick up pita chips and hummus for a late night snack (the show was three hours long, dinner was five hours before). Inside the bodega were an assortment of loud males: one older white guy, very Queens working class; two Black guys around 30-40 years old; and a younger Hispanic guy. They were guys, if you know what I mean—you rarely see guys on television or in movies anymore, and I think this is a shame. Gym-cut, professionally groomed, and models of the self-care craze, actors today really have a hard time being interesting, but they do attract some chicks and the agents, and it’s all about the bucks.

Behind the counter was a young Middle Eastern cashier/manager (not really a guy type, more composed and elegant) staring at this one talkative Black guy standing by the white guy. I found my chips, my hummus, and when I went up to pay for them in this cramped deli area, I was barely noticed by the cashier; you could see that the talkative guy was either on something or off meds, was too-calmly ranting about something, and would not be talked down or moved off topic. I put my purchases up on the raised counter, but the cashier/manager kept his eyes fixed on the talkative guy; the old white guy was trying to be a casual peacemaker, but the cashier/manager said, “I don’t want to talk to that guy anymore,” his eyes wide, a little frightened, because that talkative guy was clearly this close to exploding, and the other two customers were really confused; they all seemed to know each other but it didn’t matter. I managed to get the purchase acknowledged, paid cash, tried to say, “I don’t need a bag,” but the stuff was being bagged on autopilot, eyes never on me, and I simply took it and my long-coming (but correct) change and booked it out the door and up the street.

By the way, for the men reading this, this is what it’s like for women to live in the world all the time: because there is never not a threat of imminent violence, we have to stay vigilant; if we aren’t the targets of violence at a certain moment, it’s because we simply don’t exist (I can promise you not one of those men saw the old lady buying hummus) or there are other women experiencing violence somewhere in the vicinity. Even when women aren’t consciously thinking, “I’m about to raped,” we can’t walk down any street by day or night, or enter or leave our cars or homes, without knowing “this could be the day.” Renee Good’s murder is one of a string of these inevitable events; the officer will face no consequences (unfortunately for us the decent, the martyr role won’t stick, as Good was not only a woman but a liberal activist and a lesbian, and so America on the whole is okay with her murder).

Back to the bodega: if there’s an emotionally charged dispute of some kind going on, not even with yelling—and not one of these men registered the imminent threat except the cashier/manager, who has seen this too many times, no doubt, and me—all any woman would want to do is escape this. Guys (straight, I’d qualify) are, unfortunately, almost universally unteachable when it comes to these situations if they don’t have high level empathy already (in my limited life experience).

These males in the bodega were at once too blind, too self-involved, and too emotional to figure a way out of whatever this situation was, a situation which suggested at worst drug-addled paranoia, at best bruised ego, rather than any actual injustice. Petty stuff.

This morning, I happened on a post by a woman whose voice I’ve come to value deeply, a fabric artist named Orsola de Castro, who speaks sense on all matters of patriarchy, and today’s post seemed to dovetail with my late-night Queens bodega experience, by way of a totally different subject: AI. This has to do with temperament not just of “guys” up there but of educated “men” in suits. Patriarchy has a common thread of blind ego.

Male inventors, de Castro notes, have pushed women to the margins in the AI field, thinking (dubious word) that they can just throw money and ideas and tech at AI and it will naturally sort itself out, which is beyond stupid. Women are natural teachers; men are not. I’ll let Ms. de Castro explain:

(Meanwhile, as I type this, Microsoft Word keeps popping up to offer to “rewrite” my creative work for me, figuring some male tech guy’s coding can read and render my thinking better than I could. It’s not only tragic; it may in fact prove our annihilation as a species on this planet. This is not a digression.)

And women’s safety as well as freedom comes down to bodily autonomy and human (male) respect for that. In another post, Ms. de Castro uses pop music woo songs to discuss a view on ballad writing to bed women, that all that came about because patriarchy—not women, but patriarchy—put women in towers, in chastity belts, valued virginity over sensuality and then tied themselves, the men, into knots because they had no access to us women. And who’s fault is that?

By extension, as we sit by and watch these out-of-control U.S. patriarchs with no imagination or empathy or real intelligence whatsoever make scorched earth of our geopolitical alliances, we know the women were and have been right about everything—Hillary Clinton and Kamala Harris the most recent big examples: men on the whole are too emotional, too limited, too narcissistic, too greedy, too short-sighted to be in power. And the women, as leaders, would have acted with thoughtful decision, which is not to say perfection. No one is that. But women don’t fight the system, they dismantle it and rebuild it. See Jessie Cae on Instagram:

Gov. Abigail Spanberger (D-VA), the most recent example, was no sooner sworn in than she acted for the good of all, as per her office.

Something there is that doesn’t love the thought of a woman in power, even from other women, until they see a woman in power and she’s good at it. (Note: Kristi Noem is MAGA’s fantasy of a woman in power, in that she has none, but does the whole sexy swagger fantasy thing for the public at the altar of the Top Dog.)

Another post I saw on Instagram today had to do with what happens when a clueless patriarchal institution reaches out to take a pulse and is freaked by the response, their own work coming back to smite them:

Here’s real power, and power to the purpose: The key is providing what is sustainable. “Sustenance is the root of sustainability.” We have to stop “the eighty men in the one bus” with all the world’s money and return to the politics of caring. According to Vandana Shiva:

“Non-sustainability is violence against the earth,” Shiva says, and when the men’s only response is, “We’ll move to Mars instead,” I want to send them NOW.

Sending love on a rainy cold Sunday in New York during the revolution,

Miss O’

Screenshot

Now, Voyager

Dreams of the dead

The Untold Want

by Walt Whitman (1819 –1892)

The untold want by life and land ne’er granted,

Now voyager sail thou forth to seek and find

Last night I dreamed I came out of the room where I sleep when I’m at my parents’ house, but it was my bed here in Queens, and my very aged, dead mother sat before a bright computer screen at the living room desk in the dark, her alert face blue-lit and her thin hands wildly flying over the keyboard, flying up and over the keys, eyes focused but expressionless. She was wearing a version of her blue pajamas. “Mom?” I needed to tell her she was dead, she didn’t need to do this, and I pulled myself awake. It was disturbing, seeing that tiny body, so pale and shriveled, working on a computer, which she never did, and so frantically.

I have dreams like that quite a bit since my mom died, unnerving dreams at times. And it’s easy to feel confused then, and afraid.

This evening on YouTube I caught NPR legend Terri Gross on Colbert talking about her husband’s death and a dream she had about him, in which she turned to him to remind him he was dead, and he vanished. Stephen then told Terri about a dream he had after his mom died, where he told her a similar thing, “Mom, why are you here?” and that she was dead; she also vanished. Stephen’s mother’s dream words before she vanished were, “Oh good. It’s the only way you’ll stay awake.” Terri asked what he thought that meant, and she suggested that his mother’s words meant what her husband’s presence meant in her own dream: you need to live life. By that I gather, when you admit the death, when you face that loss, you can awaken to your own life again. It was a wonderfully tender, adult conversation between two artists, two humans, one I hope everyone, somehow, can see during this horrible week. I needed it.

During their exchange, I found myself teary, and the dream I had last night came back to me. What was my mom telling me? I think my mother was telling me to write my life. Lynne had no interest in my acting, my teaching, or my writing. “That’s your thing,” she’d say. But here she was in death telling me, maybe, or showing me, that I need to keep writing, and even writing about her. Maybe it’s a better dream than first appeared, maybe. Nothing to be afraid of, and in fact quite the opposite.

As I do when it’s on demand on TCM, I watched Now, Voyager with Bette Davis and Paul Henreid for the many, manyeth time, and the feelings I have about it change over viewings and years, but whatever qualms or critiques, I can’t help loving Charlotte’s journey as Camille. Unconventionally, Charlotte Vale finds a purpose for her life, waking out of years of emotional abuse to become her own woman. Her most important moment of self-discovery comes during a renewed fight with her mother, when Charlotte is able to say honestly, “You see, Mother, I’m not afraid.” In addition to Max Steiner’s score, her guide out of the sanitarium and into the world was that Whitman quotation, presented to her by Dr. Jaquith. She can sail forth to seek and find; she can do anything she wants now. She can become. “I’m not afraid.”

When I saw the new footage today of Renee Good in her car via the “body cam” or phone of Jonathan Ross, the ICE “agent” who shot Ms. Good in cold blood in the face at least three times through her windshield as she left the scene, something became plain to me: that Renee Good, who by all accounts, including her wife’s, was nothing if not kind, “pure sunshine”—that the only thing Good did wrong was be true to her name and her Christian faith.

She was not afraid.

She said kindly to the officer, “It’s okay, I’m not mad at you.” And Ross opened fire. “Fuckin’ bitch!” he screamed.

I saw an interview with a pastor who was arrested by ICE and was asked over and over again, “Are you afraid?” “Are you afraid now?” And that (true) follower of Jesus said simply, “I’m not afraid,” and you could tell it was driving the ICE thugs to murderous rage. To what end? What do they think this rage at good people gives them?

I look at all the people posting, all the people protesting, all the people still out in their neighborhoods. We aren’t afraid. We are grieving, we are traumatized, we are experiencing all this horror together, we’ve all known loss, been visited by death in dreams, and we aren’t afraid. You know why? Because, whatever our faith or origin, we know who we are. And we are learning more all the time. We seek, we find, and it’s interesting to note that the Bible quotation as we know it doesn’t stop there. Let me close out with a little Gnostic Gospel of Thomas who said, “Seek and you shall find. When you find, you will become troubled. When you are troubled, you will be astonished, and rule over all things.” I’m not a Christian; I study all the faiths, and that feels universal to me.

I hope you have the dreams you need tonight.

Sending love,

Miss O’

P.S. A few words from Thomas Paine, whose pamphlet Common Sense was published in January of 1776. This later reminder from Paine, when the rebellion seemed its most hopeless, “These are the times that try men’s souls,” via Heather Cox Richardson:

Gratitude

(Even when you keep missing a beat)

How have you been? How was Thanksgiving? Mine was really nice, thanks, celebrating with friends (my age) who also lost their mom, two days before last Christmas. In honor of my mom, I made a version of Lynne’s homemade stuffing, and my dad and Jeff tried to make a version, too. Foods are touchstones. I hope you were able to make and enjoy some delicious touchstones, too, in the midst of feelings.

This year has been hard, hard, hard on far too many people on this earth and much of the world suffering is the hands of three white male power mongering thugs in their 70s (Trump, Putin, Netanyahu), and their minions, and I have this problem where I feel guilty even thinking about personal joy or grief amidst all the suffering. (As you know, I live alone for a reason.) And I’m struggling with myself, as we do. It’s funny to keep doing this at 61, but here we are.

To calm myself and try to recover a sense of why I’m alive, on the Monday for part of my time before reflection week over Thanksgiving (see what we might call “The White Blog”), I spent a day bookstore haunting, walking from W. 10th Street in Greenwich Village over to E. 2nd Street and Avenue B in the East Village (Alphabet City). At my first stop, the Three Lives & Company Booksellers, a lovely small corner door shop, I found and bought Patti Smith’s latest memoir, as well as another copy of Truman Capote’s Christmas classic in case, as the store manager agreed, “In case you need a gift in the hopper.”

Book store people get you. The same woman who rang me up helped a man whose female partner brought him in to help him take up reading as a hobby. (I had to sit with that, like reading was a rarefied activity.) He liked war and history; I wanted to recommend the Capote, but I didn’t interfere. I recently read that in the United States, only around 14% of adults read for pleasure. That really hurts me. Even my dad, Bernie, who didn’t graduate from high school, read the newspaper every day. I told you this: My mom, Lynne, bought him Travels with Charlie, and he liked it, but The Godfather was the book that hooked him. And this lack of American reading reminded me of something back nearly thirty years ago, in summer, a cousin and his wife and four kids were visiting, staying in the upstairs rooms in my parents’ small house—this was back when I was still teaching in Virginia, and my brother Pat lived there too. My brother Jeff lived in an apartment then and took the day off, and we all gathered to take my relatives into D.C. for the day. While we waited for them to come downstairs, my mom sat in her chair, my dad in his, Pat on the loveseat, Jeff in the corner chair, I in a side chair, each of us with a section or pages of The Washington Post (back when it was a real newspaper). We read. My cousin came downstairs into the little living room and stood still. Gradually, we looked up, “Oh, hey, John,” and he stood staring. I asked, “What’s wrong?” And he said, “I’ve never seen anything like this.” What? “A family reading.” Though this was a weekday, we knew such times generally and all of my growing up as “Sunday.” (At Christmastime, we all listened together, “A Child’s Christmas in Wales.” That would’ve made his head explode.)

Patti’s memoir (I’m up to page 113, savoring it each night so as not to have it end) is essentially a beautiful love letter filled with gratitude to everyone who helped her become. And Patti (I feel I can call her that) has made videos on Substack, posted also on Instagram, and she talks about living in gratitude. I feel every word. In her latest (hyperlinked above) she talks about finishing her tour for the 50th Anniversary of Horses, which I told you I was lucky enough to see at the Beacon here in New York.

One of the first people to help Patti Smith find her voice in the early years after she came to New York at age 19 was the budding playwright and musician Sam Shepard. I remember reading Shepard’s plays in college, after he’d won the 1979 Pulitzer Prize for Drama for Buried Child. I realize now that he’d only been a real voice in the theater for ten years when I first read him—that’s wild to me. He seemed so old and established. But then, when I saw Patti Smith’s cover for the album Horses, I couldn’t have known she was only 28 to my 11. She was worlds away.

In truth, I didn’t discover or really attend to Patti Smith at all until reading her memoir Just Kids. I’d heard “Gloria,” and “Because the Night,” and of course I knew who she was, had seen Robert Mapplethorpe’s photos of her, but she scared me. Sam Shepard scared me too—I designed costumes for of his two one-acts, Cowboys #2 and Red Cross, when I was in college, ca. 1984, and his writing was out there. (I was part of an acting ensemble for Savage/Love, a play he wrote with Joseph Chaikin, but we never got to perform it.) Smith’s memoir/fantasia The Year of the Monkey in part chronicles her time nursing Shepard as he was dying of ALS, spending days typing up his final book as he dictated it from a wheelchair. (I told you about his observation, “Patti Lee, we are a Beckett play.”)

Sam Shepard’s advice that has served her a lifetime. We could all take a memo.

When I read of Patti’s childhood, I feel embraced by love, recalling my own best parts of childhood. She writes like no one I’ve read—she’s as idiosyncratic on the page as on vinyl, and it’s just wonderful.

One of Smith’s childhood memories is of reading Oscar Wilde’s “fairy tale,” “The Selfish Giant.” When I became obsessed with Oscar Wilde at age 15, my mom gave me a collection of his stories for children, so I reread this particular tale the other night. I remember that I was turned off by the religious turn the tale took; but Smith spent part of her youth as a Jehovah’s Witness and took religion seriously, until she couldn’t anymore. By contrast, I grew up free from religion as a part of my life but still had questions about God. (Are You There, God? It’s Me, Margaret was a favorite book.) But I knew the feeling of that first book, that first story, the one that sparked the love of reading, the need to read more.

Patti Smith’s favorite story, “The Selfish Giant,” and mine, The Little House.. What’s yours?

I know, I feel, I see how important reading is—for so many reasons beyond the stuff you learn. I was thinking about my cousin’s surprise at seeing a family reading together; now I imagine it’s families scrolling on phones, and while that is not dissimilar, the act is different. Scrolling is not meditation, somehow, but something that distances people. (There’s data on this.) There’s a calmness that comes when engaging quietly with print text. Something in the tactile element and the way our brains have spent centuries adjusting to the act of reading, and even better, surrounded by some books that everyone can see on display—it’s a shared experience even when it’s solitary. It’s not about algorithms, is what I mean.

And Patti Smith is so different from me, reading her memoir reminds me that sharing the particulars of our lives can lead to universals, in that we see ourselves as human. But I can love that Patti and I share a love of something Wildean, even if mine is his whole creative life. And like me, Smith has touchstone artists—hers Diego Rivera and Arthur Rimbaud; mine Katharine Hepburn and Virginia Woolf. Their art gave us our own humanity, opened the gate, turned on a light, pick a metaphor.

It’s such a lousy time to be human right now—“lousy” is hardly the word—and yet I know I need to walk around grateful. By some miracle on Friday, for example, I found my way through to finishing a major project at work, could see my way to the end, I mean, and was so relieved, that as I took my afternoon walk I fairly floated. It’s such a human thing. Even Patti Smith makes the finishing of her tour—a 50th anniversary tour as a superstar—sound so human, and then she had a tooth seen to at the dentist, talked about moderating a talk back after the opening of the new Frankenstein and talking to Guillermo Del Toro like he’s a person, because he is, an artist like her, but a person. Creatives living their creative lives pausing at moments to scream, “Fuck Trump.” Like the rest of us.

We’re all doing our best, getting on with the work of our worlds. Loving our friends, our families, telling them that. Expressing gratitude for a good chair, a coat that keeps us warm, a hat that stays on in the wind. An orange. A book.

I’ll ruminate on all the horrors of our country again soon—I think I’m waiting for an idea of what we need to do, besides not quit. Remember was Sam said to Patti, “If you miss a beat, invent another.”

Sending love,

Miss O’

East 3rd Street, NYC, should you like to visit there.

Offloading our hearts and minds, tempest-tossed, and the salve of art

O, I have suffered
With those that I saw suffer.
(Miranda, The Tempest, Act I Scene 2)

I read this week that the tech bruhs, so called in current parlance, see the world as being divided into two classes of people: the thinkers and the scrollers. While they, the Thinking Class, devote themselves to higher learning, philosophy, and deep work, affording the same wealth of life experience and cashflow to their offspring, they themselves are engineering the planet so that the rest of us, by which I gather they mean the 99% and our offspring, are relegated to the Scrolling Class, those who work as drones and merely consume whatever they, the Thinkers, put out for profit.

It’s all very Brave New World, a novel I read in high school and can’t shake. Will you be made into an Alpha or an Epsilon? Will you even know? And even if you are an Alpha, watch out if you forget to take your soma (“the opiate of the masses” that replaces religion) and have an original thought. All hell will break loose, and the only antidote is a rebel copy of Shakespeare.

My library was dukedom large enough.
(Prospero, The Tempest, Act 1 Scene 2)

This week the Trump Administration, illegally as usual, dismantled the U.S. Department of Education, spreading all the allocated funds around (which legally only Congress can do, but Republicans) to different departments, so K-12 education is now under the U.S. Department of Labor. Huh? In a seemingly unrelated development, the Trump Administration also demoted a bunch of educational degrees to “nonprofessional,” meaning people pursuing nursing, say, or teaching, will not be able to take out unlimited loans to attain a degree. Not only were the listed degrees for women-dominated professions, the professions listed were those whose members are legally bound to report suspected child abuse. If no one is educated to take those jobs…

Are you following? The Pedo-in-Chief is terrified of the release of the Epstein Files, and his Secretary of Education, Linda McMahon, whose husband Vince McMahon was set to go on trial amid accusations of child sexual abuse until a Chicago judge paused the case last December when Linda was announced as Trump’s pick for her new position. Meanwhile, Trump’s former “spiritual advisor” was arrested for child rape and plead guilty. In a call-in show I heard a snippet of this week, a caller demanded to know what was “wrong” about child rape.

The cumulative effect of all this during a single week has made me a bit of an emotional wreck, but it was an independent journalist on Instagram who formally linked all these pieces for me. From Love Ethic Yoga:

Moving K-12 education to the Department of Labor while red states are removing child labor laws & dropping the age of consent to 12 or 14 is a calculated move. The leaders of these departments are pedo📁files or pedo apologists. This is NOT coincidence.

Uneducated children are easy prey.
Hungry children are easy prey.
Homeless children are easy prey.
Unaccompanied minors are easy prey.

These predators are baiting the water. They’re creating the proverbial “fish in a barrel”. Yes, privatization is part of this but we cannot forget how many pedos are in this current admin. We cannot let them get away with this.

I got ill—I mean, Trump and his people are transparently, openly constructing a world where child sexual abuse is normalized, institutionalized, and unstoppable. These “men” want all young women and girls (40% of whom between the ages of 15-44 want to leave the United States, I saw in a recent poll) under their complete control in order to force-breed children, for either labor on behalf of or the sexual pleasure of (white Christian) men. Once the children “age out,” a term I learned on Law and Order: SVU, they will be, one presumes, forced to push through their trauma with slave labor, living in one of the concentration camps being constructed all over the United States.

Utah’s planned mega-shelter should be like a jail for homeless people, one widely embraced group says

This is the Brave New United States of America, friends.

It’s more than hard to take—it’s impossible. This insanity has to stop. We need to see handcuffs and prison bars on the right people, and soon. We know this.

I can’t take in everything—you can’t either. So while I know there’s Israel’s defiance of the ceasefire, and Russia’s wish-list labeled a “peace agreement” by Trump and Rubio (rejected, thank goodness) by Zelensky; protests in Charlotte and Raleigh over ICE raids; so much, so much, my god, it was the children and their protectors I focused on, “offloading” the rest, more or less.

This week on a work Zoom call, a colleague mentioned that there is always work or training or something that we simply have to “offload.” It’s not a term I knew—but I got it. You just pass that conceptual understanding to someone, maybe a spouse who gets plumbing or a coworker who is good at Excel, and you don’t worry about trying to learn that thing, much less master it. You only have the capacity for so much, and recognizing that is not a bad thing. (That said, we all have to trust in our capacity to learn new things, and try to do that, even though in my early 60s I’m finding that I have to immerse myself with the focus of a monk to his devotions to do something as complex and unintuitive as Jira (if you don’t know, don’t ask), say, but it’s reassuring to know that I can still do it, if more painstakingly.)

Speaking of offloading: I no longer have a creative life in the recognizable sense. I’m sorry about it, but between taking care of family, holding grief, learning new things on the job, and this fucking administration’s atrocities, I had to let something go, and that was it—and it’s no great loss to the world, obviously. That out of the way, I’d like to celebrate the achievements of women artists whom I know as friends. In a world, and more specifically a nation, that doesn’t value women, children, innocence, creativity, or truth, here’s some art you need.

  • Read Amanda Quaid’s debut poetry collection No Obvious Distress, which explores her (still) young life with Stage IV metastatic mesenchymal chondrosarcoma (learning the pronunciation of which seems to be more trouble from some people than her years of treatment, so say the name) in all the ways;
  • Read Anna Citrino’s fourth collection, Stories We Didn’t Tell, which explores the unspeakable hardships and abuses of her American prairie women ancestors, based on the poet’s decades of research, in rich language;
  • Watch Patricia E. Gillespie’s documentary, The Secrets We Bury, which I saw at IFC here in New York in its premiere screening this week, about a true crime, told with love and empathy and not sensationalism;
  • Listen to Patti Smith’s Horses (1975). (Envy me my Row X seat at The Beacon Theater on Broadway Friday night in New York City to see Patti Smith and her Band play the shit out of Horses in its 50th Anniversary Year, plus encores of classics. Patti also spat, twice, and it was glorious.)

So lest you think Miss O’ has given up on art, I haven’t, and I hope you haven’t either. There is nothing on this earth as satisfying as a creative act, something you can point to and say, “I made that.” There was nothing, and now there’s something, and I did it. And the world is more colorful and right and full than it was before you created that thing, however small, even making a smile happen on a stranger’s face in a notebook store, which I did on Friday night before the concert. I did that. That thing, there? You did that. Not AI, not engineered by some tech bruh, or ordered on you by some basement-dwelling podcaster or a bottom feeder in Washington. You. Just you.

Let’s stop scrolling together and get seriously radical in creative community. Take a moment to read. To be quiet. And then connect.

Here’s Mr. Rogers on the value silence from Charlie Rose, which is a clip I hope you watch. “My, it’s a noisy world,” he says, and it is. There’s more he goes on to say from his 1994 book, You Are Special, including about his professor, Dr. William Orr, who told him, “You know Fred, there is one thing that evil cannot stand, and that is forgiveness.” Take a minute with that. As a reader, Rogers says that the white spaces between the paragraphs are more important than the text, by which he means that if you aren’t using silence to reflect on what you are reading, you are missing the point of the endeavor. You can see more clips of Fred Rogers here. “A great gift an adult can give to a child is to let the child see what you love in front of them.” Whether it’s car repair, lawn maintenance, playing cello, fixing things, reading, singing, cooking, telling stories, dancing, whatever it is (note: what you love, not what you exploit)—that is the gift. I think I try to do that in life—to show love of life in greeting others. It’s tiny—I’m not a worldwide creative power like Patti Smith—but really it’s about being present, as Rogers says, moment to moment (and it’s the most important work in rehearsing a show, as shown me by director Maureen Shea). Doing things even a little larger than ourselves, then, in presence, is the point. Mr. Rogers only cared to be recognized if it made a child feel special—Fred Rogers liked “not the fancy people,” but regular people, and he aspired to “be the best receiver I can ever be—graceful receiving of what someone gives us; we’ve given that person a wonderful gift.”

Miss O’ most gracefully received.

The play I’ve been quoting here interstitially, The Tempest, is my favorite Shakespeare play; in some ways it’s like a compilation reel of all his best ideas, and his final play and only original plot, his retirement play. I’ve seen four productions of it—at the Globe in London, with Vanessa Redgrave as Prospero (it was awful); at the Shakespeare Theater in Washington, D.C., directed by Garland Wright, which still ranks as the top theater experience of my life (even after seeing Hamilton and Gypsy with Patti LuPone); one at Classic Stage Company downtown, with Mandy Patinkin (okay); and the fourth at St. Ann’s Warehouse, an all-women cast set in a women’s prison, directed by Phyllida Lloyd, with Harriet Walter as Prospero (fantastic). The most famous speech of the play, by Prospero, comes in Act IV, and I always think of it when eras end, as well as even a simple good thing, and especially a life:

Our revels now are ended. These our actors,
As I foretold you, were all spirits and
Are melted into air, into thin air;
And, like the baseless fabric of this vision,
The cloud-capp’d towers, the gorgeous palaces,
The solemn temples, the great globe itself,
Yea, all which it inherit, shall dissolve,
And, like this insubstantial pageant faded,
Leave not a rack behind. We are such stuff
As dreams are made on: and our little life
Is rounded with a sleep.
(Prospero, The Tempest, Act 4 Scene 1)

In the final act of the play, Prospero’s daughter newly in love sees all the possibility of life, and this is from where Aldous Huxley took his dystopian novel’s title:

O, wonder!
How many goodly creatures are there here!
How beauteous mankind is! O brave new world,
That has such people in’t.
(Miranda, The Tempest, Act 5, Scene 1)

Sure, love is wildly naive, but it’s the beginning of everything. There’s a new world to be made. Let’s stop the fucking fuckers and do that.

Sending love, philosophy, music, poetry, creativity, all the good church,

Miss O’

The People Have the Power: Patti Smith and her band, The Beacon Theater, NYC, 11/21/25, the 50th Anniversary of Horses. Photo by LO”H. This was church.

How to Say Grace

“You pollute the air.”

~ the blind Hamm after blowing his whistle, greeting the entrance of his servant, Clov, Endgame by Samuel Beckett

The characters in Beckett’s Endgame, which I saw Saturday at Irish Arts Center here in New York, presented by Druid, a theater company based in Ireland, are in an apocalyptic waiting game in some kind of shelter, starving, without painkillers, waiting for death. Hamm’s blindness and lameness keep him confined to a lounge chair, while his parents, Nagg and Nell, are confined to separate rusty garbage cans, waiting for death like their son.

It’s a funny play, and compelling, and of course, sadly, perfectly appropriate for the American moment. I look at Trump of the shit-filled diapers, bloated and slurring, demented and wobbly, barking orders to tear down the East Wing and kill fisherman at sea and send $40 billion of our taxpayer dollars to bail out Argentina even as he bars the release of any of the $6 billion in reserve for SNAP in case of government shutdown and oversees the tripling of our health insurance premiums, causing millions to lose coverage. His spending so much waste, the Republicans so much garbage.

“You pollute the air,” says Trump of our nation’s workers and immigrants and women, as he orders the dumping of toxic East Wing waste onto a public park golf course outside D.C., to prevent regular people from golfing, and distracts from the Epstein files, so shocked was he that his best friend of 15 years, Jeffrey Epstein, kept files on his best friend Donald J. Trump.

SNAP benefits are set to expire November 1, and without a deal from the Republicans, all working Americans will struggle to afford not only food but also any health insurance at all. To provide help for this coming starvation and health apocalypse, your Miss O’ wants to encourage you to donate to your local food pantries, if you can, whatever you can afford. Here in New York City, where I can only hope Mamdani wins the mayoral race, I gave a bunch more bucks to the following organizations. You can check your local areas for similar opportunities, if you want. The worst thing you can do is nothing.

  • City Harvest
  • City Meals on Wheels
  • Bowery Mission
  • God’s Love We Deliver
  • Sunnyside Community Center

While visiting my dad in Virginia a couple of weeks ago for the first time since my mom, Lynne, died, I gathered up all her clothes, shoes, and accessories in the closets and drawers, and Bernie (who was so sad looking at them) and I donated them. We do what we can, whatever our griefs.

I haven’t published on WordPress for some time—I haven’t been of a mind to play the role of teacher, each day being the next level of crazy in America. I’m sickened and lost most of the time. It’s hard to imagine Thanksgiving and Christmas, let alone my favorite, Halloween, what with ICE agents throwing teargas at children in a Halloween parade in Chicago. How is any of this happening? It appears that the Washington Post is this close to shuttering its print division, hastened along by owner Bezos, the slogan “Democracy dies in darkness” turning out to be a promise. After 60+ years as a subscriber, my dad sees his morning paper razor thin, formerly robust Metro, Sports, and Style sections combined into one slender one, few ads; his delivery lady has gone from dozens of deliveries, to ten, to two in our entire neighborhood since Bezos took over the paper. This seems to be intentional: Bezos’s lost 75,000 digital subscribers, too. It’s just a matter of time now, the owner ready to light his big cigar with the last of the masthead as he boards his newest yacht.

The billionaires are the 1% that are bringing our country, our world, down. Full stop. Blackout the system, give to your food banks, save all your pennies, tighten the belts, hunker down. It’s gonna be a long, hard winter.

But you know what? We can do this. Bernie and Lynne were born into the Great Depression. We always cut our toothpaste tubes in half to scrape the last of the paste onto brushes, had leftover night on Fridays, lived on peanut butter and jelly when we had to. You can do it too. And you can have laughs and play cards and read books rather than use power on devices. And say grace. The real kind.

Love your neighbors through this crazy Republican endgame.

And vote while you still can.

“Grouchy Resilience”

A week off with art and the city, with photos

It takes a while to come down from the ledge, to decompress, when taking a vacation. All I had to decompress from, in my immediate life, was dealing with some personal grief, healing a hand from surgery, and unfeeling a job with lots of confusions in the odds and ends of finishing a project. It’s an embarrassment of riches, my little life. Somehow I feel I should do a roll call of global suffering to rationalize my own breaks in this life, but I’ll spare you that guilt.

Monday, Labor Day, I hung out in the neighborhood. Walked about. Hey, the mural’s back.

Tuesday, I headed to Central Park and the Metropolitan Museum via the N Train to 5th Avenue/59th Street. Here, I am going to complain. One cannot walk two yards, from the Plaza Hotel, to the lake; from the Sheep’s Meadow to the Literary Walk and Bethesda Fountain, without 1) choppers overhead; 2) food carts of overpriced water; 3) vendors of every imaginable item of tourist shit blocking the view of the American elms; and 4) bad saxophones/pan pipes. Assaults to the senses all, so all you can do is look up.

While at the Met, I visited a couple of favorite pieces. First, the El Anatsui:

Then Paxton’s tea girls:

Grateful but still feeling edgy, on Wednesday I thought maybe I what I needed was water; the Rockaways were a couple hours away, but hey, the East River is down the road:

Close. But not feeling shiny yet.

Thursday, I rested.

Friday, I joined my friend Cathy to meet a former colleague in the city for lunch, and it was reviving. As I was only a block from MoMA, after lunch I parted from my friends and headed in.

Bingo.

The cap on the beat:

Perfect. Breezy, calm, cool.

When you can’t have it all, settle for grouchy resilience. And quiet marble.

Sending love, renewed, from New York City,

Miss O’