Andy Warhol boat, 2011. Oil and mixed technique legos sides, 60 x 69 cm.
Woody Allen mouse, 2010. Oil mixed technique on wood, 60 x 54 cm.
We start with the girl. She has been experiencing something strange, flat masses of existence like stretching deserts, time that passes without her consent or her memory. She gets on the metro and does not know what she is doing there, and then goes to class, goes to work. It is hateful and dull and she feels it seeping into her skin. She is becoming hateful and dull.
There is the community kitchen—this much is true. There is the open-eyed pleasure of chopping, stirring, sizzling, the spoon and the scoop and the many cigarettes in lieu of being alone-alone. Thai coconut soup, stuffed zucchinis, Ethiopian wat, improvised sweet-potato sandwiches. There are the meetings, long and laborious, there is the women’s group who rub their hands together and spill like uncorked champagne. There are library books, sometimes, and friends who will rub her head and drink pitchers in dark bars where you are not supposed to leave your drinks unattended, and the faraway ones who tap out hopeful messages all night.
And then the boy, out of left field with dark and flashing eyes. She feels the first crack of the winter’s ice, she feels the beginning. She puts orange netting around this unsafe place in her heart, skirts it wide, warns even him.
But she gives in when one rattling night she dreams of running to the hole in the lake and plunging headfirst into the cold. It is a political action, setting up the tent in front of her university’s administration building, the two of them there in the cold in two sleeping bags. They curl together talking all night as the other activists doze off and she dreams hungrily of him, him, of a future that doesn’t seem quite so alone, of sunlight bouncing on hardwood floors while he cooks in his underwear. She dreams and then she does it, she takes him home and crooks her knee under her chin and they talk.
In between the curries and empty bottles and TV and protests and newspaper articles, they fall into something. She is afraid to call it love, afraid to let him call it love. He writes her a letter every night for the early mornings before school and she feels water rushing over the sandbags, the push and swell of life in that desolate place in her chest.
It is terrifying. She knows the tendency to call, to worry, to reach. It creeps back through her fingers, ignited when he stands her up, the familiar disappointment of no one coming. But there is something in there now, some courage or some whiskey when the bartender at work tops up her coffee.
So she fights. Pushes herself against the wind, legs pumping, hoping she won’t be too late. She holds his head and tells two hearts that it will be OK, falls into his lap, into his bed, into his arms even when it seems he does not want her there. Sometimes she doesn’t even get that far, ringing the bell while he sleeps soundly on his good ear. She fights herself for this, for the chance to be loved.
There are times when it is better and times when it is worst of all.
You are an asteroid and your heart is an iceberg. #Montreal
i’ve never cried over a monument and I don’t intend to start now.
song for the rain and the cold out there, the plunk and hiss of the record.
“Why is terrorism
a long-term strategy?”
you ask me into the microphone.
“Because,” my voice does not shake. My legs are steel.
“No one ever forgets their cousin backloaded
eyeless into the ambulance,
the wet
& smoking black hole where their mother once sold scarves, the frantic television,
their father’s voicemail which fills
and never empties.”
I look at you now, and this is hard. Fidget my scarf.
“The bus that Eli used to ride.”
I’m not saying this
because I believe in it. I don’t believe in much,
anymore. I can believe in the past
to a certain extent
we pick terrorism up from the floor, shake it out and pull it over us.
To hide up to the eyes, or to disappear completely. Under these lights, my sweat beading, I want
to disappear, to eat sweet grapes with you in the shade, our eyes
slits from laughter.
Against your wishes, I carried my phone; its trembles in my hand announce: Yes.
Here, now, against everything.
I hold my finger out to the audience: one minute.
Allo, ya Mahmoud, tell me what I’m looking for. Remind me what
I’m doing, arguing for a peace that no matter how I squint
resembles war. Remind me of the blackthorn hung with worry, and
how we walked away.
His voice is soft and his words daggers. Ya habibti, you will never understand.
Me neither, oh, me neither.
el-3alim, she does, ya 2ard 3a2ilatna. He takes a moment the size of a breath.
Break her skin and spill her dark blood, but she keeps
her secrets
deeper than you can drill.
That night I pull it all over my eyes, yards of dark fabric and edgewise creep
the baton-beaten and combat boots of my pain, ya ukhawati, ya ikhwanni.
ya Panthers, ya CLASSE, ya Columbia, ya Chile
The dribbles and splashes of paint in the lecture hall.
The skunks, batons, water cannons,
the CS tang we all now know, its expiration date stamped
in foreign numbers, its legacy so much longer than the cough of a rattling can
and all together now, behind body armor whether
bought in violence, improvised, nonexistant
I don’t want to do this.
I have to do this.
-Alice Vam
Suppose we had time
and no money
living by our wits
telling stories
which stories would you tell?
I would tell the story
of Pierrot Le Fou
who trusted
not a woman
but love itself
till his head blew off
not quite intentionally
I would tell all the stories I knew
in which people went wrong
but the nervous system
was right all alongPierrot Le Fou, Adrienne Rich (Pierrot gif via iwdrm)
the leaking windows fight the heater. wan snow of late march outside. my fingers are caffinated and underslept, they twitch to the wrong letters and I sigh, time, time. five hours.
failing this course means working for eight months extra. how outrageous to put that into context. outside it’s getting lighter in the sense that it is still grey. my stomach scratches and pings. i do not deserve the croissant yet. more coffee. write the words. write the.
yesterday i walked up six flights of stairs and had a panic attack because i have not yet quit smoking, i don’t even want to quit smoking.