I’ve been reading J.B. Priestley’s book Delight during my morning excursions to the lavatory for the last couple months. Maybe this is a sign I’m turning into my father as I age, but I’ve really embraced the art of reading in the loo. I have yet to achieve his ability to stay in there for a half hour every morning, but I’m learning the ins and outs of the practice. You can’t, for example, just pick any old book! You need something with short enough chapters to remain enjoyable and engaging even if you’re only reading a page or two a day.
When I look back at 2022 in reading I realize a lot of my favorite books from this year happened to be Loo Reads. 100 Essays I Don’t Have Time to Write, The Timeless Way of Building, A Primer for Forgetting, Notes from Walnut Tree Farm, Delight, 300 Arguments…I’m sure I enjoyed them for their own merits, but I also wonder if the pace of consumption didn’t have something to do with it as well. They kept me company for far longer than books typically do, and with far more consistency.
Anyway, Priestley is marvelous. So many of these entries feel like they could’ve been written yesterday; I’ve been resisting the temptation to write about them all. (It does, however, give me great pleasure to see Robin blogging about bits from the copy I sent him. I love it when a gift finds its mark.)
(All these quotes are from A Handbook of Disappointed Fate, Boyer’s collection of essays on poetry, illness, avant-garde creative movements, mutual aid, reading, and crushes.)
After I got sick in late summer 2014, I followed U.S. poetry only from afar, as if walking by a shop window and glancing at it through a glass, even the most necessary uproar too expensive to my health for me to even think of buying […]
This rang so true to how these last two years have changed my relationship to the comics industry—a space I never felt particularly enmeshed in to begin with. Every discussion of online drama or publishing upset or new technology costs far more than I have capacity or inclination to spend. A relief, in some ways, to have that decision taken away from me.
My time in the time of illness has been unmeasurable or ir-measured or a-measured. Yet despite how this time can no longer steadily or predictably submit itself to clocks and calendars, for survival’s sake I still have to try to measure it.
Underlined this because I’m doing my annual workbook on the couch right now, surrounded by a corona of calendar pages and journals and sketchbooks, trying to piece together the fragments of a lost year.
The harm can be studied like anything, every wept tear a textbook, every minute of shallow breathing a monograph, seven hours and fourteen minutes of a sleepless night a textbook a tedious-to-read but potentially useful dissertation on having existed.
It is not as if what is true, right, urgent, and necessary is a light, and what is harm is the darkness. They are both darkness: they are both lights.
yes yes yes yes
15. There will be a lot of sewing last year’s fragments with this year’s threads.
Poetry is revenge porn against the self by the self.
As grim as reading has been for me, reading is not only the private amplification of the human worst. Reading is not merely escapism and militant solitude and everything shirked–that is, reading is not an act exclusive to words and books–and a person can also read the patterns of migrating birds or the lines in a soon-to-be-lover’s palm or the buds of oak trees or the damaged look in an eye or the danger headed this way or the people amassed in the streets. The world existed before books, and it always exists outside of them, and how a person should read is how a person must read, which is at least in duplicate, both always in this world and looking for another.
It feels redundant to keep pointing wildly at everyone who’s coming to similar conclusions about the instability of this online ecosystem right now—BUT—every time I find another person doing it I start yelling “YES. YES!” and do want to catalogue them in some way because these conversations are unfolding in many different spaces concurrently. It’s not just cartoonists writing about being cartoonists. It’s dancers and authors and comedians and zinesters and activists and journalists and musicians all pausing to look around and say, collectively, “What the fuck am I doing here?”
Robin called the other day and mentioned that I seemed to have stopped blogging, to which I say: it’s a fair cop. I was in Portland being consumed by my newfound ability to be close to other people and then I was moving and for the past ten days I’ve still been moving, but it’s the shitty back-end part of moving that we don’t talk about as much where you have to actually unpack and (in the case of this particular move) jettison decades of childhood ephemera from your tiny bedroom in order to make it a livable space for yourself as an adult.
The last piece of furniture I needed to move in was my bed frame, which I’d decided to stain and refinish because “Imperfect DIY Projects” was in my “More” column for this year. Now that I can sleep in a space with visible floor area and a desk I can actually sit at (though I am, in fact, writing this on the bed), it turns out my brain is far more capable of turning to the digital spaces I’ve been neglecting for the past six weeks. By returning to writing, I’m breathing a habitual sigh of relief—the kind that turns into a stream of words about shit I didn’t know I was even processing in the background of whatever I was busy doing while I was thinking that I’d never write another word ever again.1
So, after all that preamble:
Nicole Brinkley wrote this essay called Did Twitter Break YA? as part of her Misshelved series on Patreon and it’s fucking great. YA isn’t my community, but it’s adjacent to my community. And booksellers (the community Nicole talks about most frequently in her writing) are absolutely within my community. The patterns she describes in this piece—of context collapse and “morally motivated networked harassment” and parasocial relationships and burnout—are patterns I know like the back of my hand.
There are so many nod-inducing moments, but this was the one that really made my blood run cold:
After all, access to authors is the real product—and if an author missteps, they’re just a failed product. There are always more authors to fill that spot on the shelf.
Bluergh. Hurk. Ek. How often have I slipped into thinking of myself as a failed product on a shelf? Certainly every time I’ve stopped posting as often on Patreon, or expressed enthusiasm about doing a drawing challenge and then failed to follow through. Definitely in those moments when I think that if I just had a bit more energy and time I could start making content that would grow my following “in earnest”. When I take two years to send a new installment of my newsletter. When I disappear.
But it’s not just the disappearance. It’s feeling of one’s absence being invisible within the onrushing tide of Other People’s Output. Remember that Drew Austin essay I linked a couple posts ago? He gets into it there, noting that “Every social media feed is an endless parade of these fragmentary identities, disaggregated into units of content and passing by quickly enough to evade the scrutiny that would detect their incompleteness.” The incompleteness being that we are all also doing and contending with other things. We have to be. We’re not just on Twitter 24/7—even people who seem as if they are.
This is the price of trying to succeed within the ecosystem of capitalism, and maybe it’s also why I want to keep sharing here and here alone: I haven’t contaminated this container yet. It gets to sit apart from everything else, just me and my thoughts.2
Earlier in the Pandemic Mara made a rare Instagram appearance, posting a series of text-based stories from her new home in Winthrop, Washington. I transcribed them immediately because, as with most things she writes and shares and speaks about, it sparked something in me that I needed to sit with for a long time.
I have so enjoyed every story and post by you all, dear friends. How does it work when I just observe you, and when to like/comment on what you make here is to feed an algorithm that watches and profits off of our affection? I don’t do it because it feels…violent?…to us. This platform is very hard for me. Thank you for understanding. It pales in comparison to being near you. The simulacrum of closeness feels nauseating. I know we are killing something important in the process of creating connection. I want you to walk through the door, for us to play. You’re all here always.
This is it—the heart of the thing. We chase engagement as if it’s the Holy Grail, and yet to play the game on any level means we’ve already lost. There are so many people I can think of who I’ve finally been able to see and embrace and laugh with over the past month and attempting to get that through social media does pale in comparison. The simulacrum is nauseating.
This handful of broken online platforms can’t be everything.
Past a certain point I don’t want to spend my time cataloguing people’s writing about this—or generating my own—because (and this is the curse of the over-informed over-thinker) I know it all already. I know it in my bones. I may not have the right terminology for it, but I can feel it. I fear I am admiring the problem, thrilling to ever more accurate descriptors that tell me precisely how and why I’m locked in this unfulfilling spiral, rather than taking steps to change my behavior.3
As Tolentino points out, “The internet reminds us on a daily basis that it is not at all rewarding to become aware of problems that you have no reasonable hope of solving.”
But Nicole is ready for that.
[…] I do not want to wear the armor of cynicism. I do not want to be trapped in the ouroboros of perfection just because the community I interact with demands it.
So here is what I will say to you, dear reader: You do not have to participate in this cycle.
The system is broken, but the system can be abandoned.
In addressing this head-on, she wins my heart.4 She admits that the piece started out as one thing and then turned into another. She describes the trajectory it might have taken had she chosen to focus solely on the issue of where actual teenage readers sit in the modern YA landscape, and then she recognizes that this is really a conversation about so much more. (I will never stop loving this pattern, wherever I encounter it.)
The Fake-It-Till-You-Make-It School, the Grit School, the Capitalism School—they all urge us to keep producing and grinding and persevering, trusting that clarity will come from more work (even if that work, at its core, is purposeless, unfulfilling, or even actively harmful). With no time to reflect or catch our breath, we feel we have no choice but to trust the systems we’re given, to push and push and push until we “break into” the spaces that are communally regarded as desirable, and then fight like hell to keep that power safe because don’t you know this is a landscape of scarcity? There’s only so much to go around.
When I think about the last year, I don’t think about pushing. I think about waiting.
I had to wait. I had to wait a long, long time. In some ways I’m still waiting.
So when Nicole says:
These days it’s okay to not be sure what Twitter is for. We can stop going there until we figure it out.
It feels like permission.
It makes my soul exhale.
“I don’t feel good when I’m here” is enough of a reason to leave. Even if the places I wish I could stay—or the people I wish I could stay with—sometimes bring me connection and joy and validation and money and, yes, even love. If my gut tells me that I am not, at baseline, nourished the way I need to be: I can walk.
That’s the new rule.
Thank you, Nicole.
1. I’m also kind of glossing over the fact that my obsessive nesting has masked a deeper discomfort with having to face the true emotional cost of this transition. That’s a conversation for another time. But, as my therapist reminded me: this grief is chronic, not acute. Avoidance is a tactic we use to survive ongoing adversity. It’s not inherently evil. ↩
2. Also, just a general side note in relation to all this: how often have I shared something like Nicole’s essay on Twitter or Instagram with the caveat “I’m fully aware of the irony of sharing this here, but…”? I want to stop doing that. If I’m reading something about how fucked it feels to still be on a certain platform and it resonates with me, I WANT TO TALK ABOUT IT SOMEWHERE OTHER THAN THAT PLATFORM. (I am yelling at myself here because this is a footnote and that’s what they’re for, I think.) ↩
3. Whoops this is the moment I realized that this essay is also about my historical approach to relationships. Surprise! ↩
4. She also reminds me of this stunning essay from adrienne maree brown about disrupting patterns of harm that specifically target Black women within movement work. I’m due a re-read because I haven’t stopped thinking about it for months. ↩
April has 58 days after which it can’t go on. And so on.
There’s a Pandemic sentiment if ever I heard one.
This essay was the first thing I ever read by Mary Ruefle. It led me to fall instantly and completely in love with her writing. I looked it up today for the umpteenth time because today was a crying day and I needed the comfort of looking at her April Cryalog from 1998.
I think about these pages constantly. They’re perfect. Absurd and reassuring and daunting and mundane all at once. A record of the the lunar cycles of emotion that govern how we intersect with friends, lovers, parents, strangers. I gave up trying to blog every time I got in the sea or the river and now I just make a little notation on my calendar—a tiny wave. Maybe that’s a Cryalog too.
Happy old age is coming on bare feet, bringing with it grace and gentle words, and ways which grim youth have never known.
In a chapter of Always Coming Home titled “Long Names of Houses,” Le Guin writes:
“It is hard for us to conceive, harder to approve, of a serious adult person not in a hurry. Not being in a hurry is for infants, people over eighty, bums, and the Third World. Hurry is the essence of city, the very soul. There is no civilisation without hurry, without keeping ahead.”
Suddenly I’m thrown back to reading Terry Tempest Williams at the bottom of the Grand Canyon seven years ago; an image I’ve never forgotten of runners trying to outpace the Colorado River.
“The river was red. It was a race; they ran shoulder to shoulder, faster and faster, bodiesbehindandbodiesinfront, inhaling, exhaling, fat-free hearts pumping oxygen into every living cell, the body a machine, sighing, groaning, moaning like one large organism running, running, faster and faster, sweating, puking, shitting, wheezing. They outran the river, faster and faster, every one of them, two feet times thousands tapping, drumming, beating the pavement, faster and faster […]”
They are singing together, these two. (If you’re reading this via RSS, I’d recommend the on-site version for clarity in this next part.)
“The hurry may lurk invisible, contradicted by the indolent pose of the lounger at the bar or the lazy gait of the stroller along the hotel walkway, but it is there, in the terrific engines of the TWA or BSA supersonic planes that brought her from Rio, him from Rome, here to NY, NY for the IGPSA conference on implementation of GEPS, and will rush them back tomorrow, hurrying across the world of cities where there is no tense left but the present tense, every second and tenth of a second and millisecond and nanosecond clocked, the readout always moving a little faster and the A rising.”
“In our human world, we worship speed and desire. We desire money. We assign money to time. What is time worth? Your time. My time. Our time. Talk fast. Work fast. Drive fast. Walk fast. Run. Who ever told us to wear jogging shoes to work? Don’t saunter. Don’t look. Speed walk. Speed dial. Federal Express will fly our thoughts around the world. We do not trust slowness, silence, or stillness.”
“Mozart’s A was a hundred and forty cycles a second, so Mozart’s piano is out of tune with all our orchestras and singers. Our A is a hundred and sixty, because the instruments sound more brilliant tuned up higher, as they all rise like sirens towards the final scream.”
“Stop time. Time? What was my time? What was your time? They are handed their time; for better or worse, their trophy is their time.”
“There is nothing to be done.”
“Where the runners stop, the river continues, a slow, strong current that now meanders through willows.”
“There is no way to heighten the pitch of the instruments of the Valley, no way to abbreviate their institutions and addresses and names to capital letters, no way to get them to move ahead.”
“I am not so easily seduced by speed as I once was. I find I have lost the desire to move that quickly in the world.”
Le Guin published Always Coming Home in 1985, but here I am reading it in 2021. Williams published Red in 2001, but I first read it in 2014. The precipitous time travel of literature never ceases to make my head spin. To discover these things all out of order and yet find them in conversation with each other—so close they could be touching. A thought moving at the speed of light, yet also crawling forward with impossible slowness.
“To see how much I can done in a day does not impress me anymore. I don’t think it’s about getting older. It feels more like honoring the gravity in my own body in relationship to place. Survival. A rattlesnake coils, its tail shakes; the emptiness of the desert is evoked.”