“I think everything in life is art. What you do. How you dress. The way you love someone, and how you talk. Your smile and your personality. What you believe in, and all your dreams. The way you drink your tea. How you decorate your home. Or party. Your grocery list. The food you make. How your writing looks. And the way you feel. Life is art.”
“There is enough for our need but not for our greed.”
I love the dark hours of my being
in which my senses drop into the deep.
I have found in them, as in old letters,
My private life, that is already lived through,
And become wide and powerful now, like legends.
Then I know that there is room in me
For a second huge and timeless life.
— Rainer Maria Rilke, Selected Poems, Robert Bly translation
“When you’re writing, you’re trying to find out something which you don’t know. The whole language of writing for me is finding out what you don’t want to know, what you don’t want to find out. But something forces you to anyway.”
If I believed in a god, he would be a sea god, like the sea
in its predictability—now approach, now recede—beneath
such a god I would not mind, I think, being the shore, say of the sea
what you will, it’s the shore that endures the routine loss
without which what strategies would there be for softening
the hollowness that any victory, give it time, comes with,
how curb the risk of arrogance, with its doomed but
not undangerous hound, complacency?
… I made this for you—
put it on. I know it’s not going to matter whether the decisions
I made were the ones eventually I even meant to make, or
should have, or should have thought maybe more than
twice about. What’s history anyway, except—according to
the latest mouth saying so—just what happened: I flourished
undramatically, to no apparent purpose, like pretty much
everyone. The sea dragged the shore; the shore suffered the sea.
July 13, 2013
Saturday afternoon: in the driveway between buildings they blow up
balloons—yellow, red, blue—for a 3-year-old’s party.
The intermittent pops startle me like random gunfire—remind me
of birthdays brown boys will no longer celebrate.
The DJ, having set up the speakers, begins to play—the music, a rapid fire
of bass thump, commandeers the apartment. We have no choice but leave.
An art show: canvases colored with boxes and lines—a grid of red
on a backdrop of yellow. We speak of the abstract with wine in our mouths.
Meanwhile, in an antechamber, six are sequestered. They speak of mali-
cious intent, blood, evidence, testimony—murder versus manslaughter.
We arrive home to a throng of brown bodies, hands clutching red cups,
and music: its insistent treble stabbing the ears.
Inside, we slam all windows, but the music still blares as my niece shoots
people on the video game—its sounds are too realistic to bear.
Instead, the news, a verdict is in: not guilty. And everything is a blur
of sound, my heart beating so fast I put a hand to my chest.
I watch the TV screen: a collage of abstractions—spotlights, microphones,
smiles, handwritten signs. I stare, as if it were a painting—
a smear of twisted faces smothered in gesso and oil, a grid of red
on a backdrop of yellow—to make sense of.
The party continues. The 3-year-old probably in bed dreaming of melted
ice cream, and I am tired of partying.
There is a police station a half block away and I want it to burn. Instead,
only the smoke of weed, the meaningless music droning on,
the popping of balloons. Sunday morning, the birds are angry—their
chirping a noisy chant: NO NO NO NO. Outside, the rubbery flesh
of balloons color the driveway like splotches of paint. In an instant,
those still lives of heave and breath—gone in a pop.
First, I’d like to have a disclaimer that this is my first “music” post since 2017, which is frightful and embarrassing. There has been a flood of great music that I missed writing about. I won’t be able to catch up, unfortunately. We are just going to start now — and enter the present moment. Hope you understand. xoxo – H
Her name is Mikaela Straus. Her essence is King Princess. This Brooklyn-based goddess entered the scene with single “1950,” and has spiraled up into queer stardom now working with Mark Ronson. (If you’d like more intel, Spotify has a really great bio that you are not going to read here, but here.) I’m impressed mostly with her vocals and her attitude of self-producing. She seems to have grown up in a recording studio by result of her parents being recording artists.
After absorbing more of King Princess, I have come to the conclusion that she’s full of herself — to which I think, as opposed to what? What else should she be full of? She ought to be full of herself. We all should be full of ourselves. And this is the magic of KP. Her fullness is not “conceited,” her fullness is focused. She’s focused on being exactly who she is on every level and sharing that with us as listeners. It’s brave and heart-felt. Musically smart, and, just wow. So I’m obsessed.
If you’re not already listening to her, my top 2 starter songs are “Talia” and “Holy.”
September is about new beginnings. Listen to KP for a new beginning in self-love and self-expression. Be unafraid of who you are.
This first video below is King Princess talking with other people about who they truly are, too. (I love this.) And Mikaela, if you read this, can we be friends, like right now?! I’m rooting for you. ❤
As it happened, I was twirling a cauliflower floret,
lost in Lewis’s wardrobe of pallid trees,
considering my country’s longing for homogenized milk
& bags of tube socks from Walmart,
which felt cancerous. What came to me like a surprise
snowfall in the soft evening of a snow globe,
one has to pinch salt and sprinkle in the palm,
repeatedly, especially when the temperature in mother’s
has begun to drop. In this way, after your Constitution fades
you’ve your own hourglass and no one else to blame.
Lord, what are the sins
I have tried to leave behind me? The bad checks,
the workless days, the scotch bottles thrown across the fence
and into the woods, the cruelty of silence,
the cruelty of lies, the jealousy,
What are these on the scale of sin
that they should follow me through the streets of Columbus,
the moon-streaked fields between Benevolence
and Cuthbert where dwarfed cotton sparkles like pearls
on the shoulders of the road. What are these
that they should find me half-lost,
sick and sleepless
behind the wheel of this U-Haul truck parked in a field on Georgia
a few miles north of Damascus,
some makeshift rest stop for eighteen wheelers
where the long white arms of oaks slap across trailers
and headlights glare all night through a wall of pines?
What was I thinking, Lord?
That for once I’d be in the driver’s seat, a firm grip
So the jon boat muscled up the ramp,
the Johnson outboard, the bent frame of the wrecked Harley
chained for so long to the back fence,
the scarred desk, the bookcases and books,
the mattress and box springs,
a broken turntable, a Pioneer amp, a pair
of three-way speakers, everything mine
I intended to keep. Everything else abandon.
But on the road from one state
to another, what is left behind nags back through the distance,
a last word rising to a scream, a salad bowl
shattering against a kitchen cabinet, china barbs
spiking my heel, blood trailed across the cream linoleum
like the bedsheet that morning long ago
just before I watched the future miscarried.
Jesus, could the irony be
that suffering forms a stronger bond than love?
Now the sun
streaks the windshield with yellow and orange, heavy beads
of light drawing highways in the dew-cover.
I roll down the window and breathe the pine-air,
the after-scent of rain, and the far-off smell
of asphalt and diesel fumes.
But mostly pine and rain
as though the world really could be clean again.
Somewhere behind me,
miles behind me on a two-lane that streaks across
west Georgia, light is falling
through the windows of my half-empty house.
Lord, why am I thinking about all this? And why should I care
so long after everything has fallen
to pain that the woman sleeping there should be sleeping alone?
Could I be just another sinner who needs to be blinded
before he can see? Lord, is it possible to fall
toward grace? Could I be moved
to believe in new beginnings? Could I be moved?
I loved maudlin pictures, the painted panels over doors, stage sets, the back-drops of mountebanks, old inn signs, popular prints; antiquated literature, church Latin, erotic books innocent of all spelling, the novels of our grandfathers, fairytales, children’s storybooks, old operas, inane refrains and artless rhythms.
I dreamed crusades, unrecorded voyages of discovery, untroubled republics, religious wars stifled, revolutions of customs, the displacements of races and continents: I believed in all marvels.
I invented the color of vowels!–A black, E white, I red, O blue, U green. –I regulated the form and the movement of every consonant, and with instinctive rhythms I prided myself on inventing a poetic language accessible some day to all the senses. I reserved all rights of translation.
At first it was an experiment. I wrote silences, I wrote the night. I recorded the inexpressible. I fixed frenzies in their flight.
Excerpt from A Season in Hell (Une saison en enfer)