When I began homeschooling Kieran in January, one of the things he said to me was, "You should start your own school."
It had never seriously occurred to me. His point was that many of his friends were envious of his new venture, learning at home. They liked the idea of gathering around a table, talking, moving at their own pace and led by their own curiosity. Or maybe they just think I'm cool. Or lenient.
Then Kieran said, "Grandpa had his own school. You should do that. It's probably like, your thing."
My dad, on the left, with his brother, Johnny on CBS radio.
At its height in the 1960s, my dad's school -- The Joe Stanley Accordion Studio -- had more than 125 students. He made his whole living between that and performing. He had his own office downtown, saw students in music rooms there, and then eventually saw some students at home too. He was at heart, both an artist and a teacher. (For a poignant piece about what it was like to be my dad's student, check out Dennis Page's piece, The Accordion and a Boy.)
Armed with this in my blood, this week, I launched a new effort. We've been, as I told Liam yesterday -- hustling: hanging flyers, making contacts, handing out business cards, building a new blog.
You can find out more here about summer sessions, private tutorials and editing.
Recently, out of nowhere, Liam said to me, "When you lose someone, you become a different person." Probably, that's just the thing I needed to step out. I'm going to try this thing on my own. If I'm lucky, I'll live up to a small part of my dad's legacy.
June is national LGBTQ Pride Month. If you know anything at all about me, you'll know that I'm always hesitant to reveal anything about myself. I'm like a slow leak, hoping no one will notice. But here, in honor of Pride Month, I'm listing the books helped shaped my queer identity, that kept me queer company, so to speak, since I was a young teenager.
Mapplethorpe's Warhol
The Andy Warhol Diaries. No shit. I read these when I was fifteen, and I fucking loved them. I liked, too, that they were not really written as diaries, but spoken, publicly into the phone, meant to be recorded and shared, meant for public consumption -- like all of Andy's work. I like the telling, about other celebrities -- John Travolta: hello. And the pictures of Andy's boyfriend, Jed, who was a twin, and who was beautiful.
Less than Zero. I read this at fourteen. If anyone had paid attention, I probably shouldn't have, but I did. I loved the bleakness of this book. The language, the despair, the cocaine. It was confirmation of what I thought might be true about LA. That it was sunshine on the outside, and something dark and damp right under the surface, black and bottomless. I had been to southern California, had been to Hollywood even as a little girl, and felt it then, the pull of something terrible. There was the repetition of the phrase Disappear Here. The cars and pools and repeated TV screens. And tragic, doomed Julian.
Possession. I first read this at eighteen, and then a few times since, and it changes for me every time. It's probably not traditionally considered a queer book, but it's queer all over the place. Not just in the relationship between the two women, the poet and the painter living quietly together. The painter's sharp neuroses, but even the straight relationships are queered a little. The way they finally come together, the images of the empty white bed. Beautiful, cold Maud. It's a book extraordinarily aware of the body, and the body as separate, as closed off from other bodies, the body alone. So much so that the collisions are finally shattering.
Written on the Body. So sly and so beautiful. I think I read this at about nineteen, some summer in between college semesters. This book made me want to write. It made me want to write about love, and about the body, in small, beautiful, crushing ways.
Really, every book shapes you. Every book becomes what you want it to be for you. The magic of these books was the language, the emotion, the revelation, finally, of what it means to be, not just human, but a separate bubble, colliding, like Pynchon's kiss of cosmic pool balls.
The beauty of queer to me is that it's complicated. It's not either / or. It's both / and. It all those letters before and then some. It shifts beneath your feet. So if you were expecting a blanket coming out statement somewhere in this post, there it is. It's more complicated than one sentence. It's a fragment and a run-on. It breaks all the rules, of grammar, and logic, and otherwise. Like love.
The universe woke me up this morning. This is markedly different than the way I've woken up the last few mornings, gripped with panic, shaky and exhausted from not sleeping.
Yesterday, I saw a job posting that spoke directly to me. It was a two-year position, with the possibility of tenure track, for a 20th century Americanist, literature and theory heavy, a 2 / 3 load, at a small, prestigious college that just happens to be right up the street.
Where were you five years ago? This is the question I plan to ask my students today, with the follow up of where they will be five years from now. Five years ago, in 2007, I was still thinking of myself as a 20th century Americanist, still working through the coursework of a PhD. I was writing on Baudrillard, jazz and the Cold War, the birth and death of the American suburbs.
And then I stopped. I was unfunded. I was driving an average of 300 miles a week back and forth to Binghamton. My reason was simple and practical. Even if I did finish the PhD, I wasn't going on a national job market. It wasn't enough for me just to have it -- especially when I was paying for it. I didn't see the sense in having a PhD -- in hand, as they say -- only to sit around and wait for a job to open up at a local college. What are the chances of that happening?
Apparently, pretty good. There it is. The job. Within walking distance.
And me, without a PhD in hand, or even in progress.
What's the message in that, universe? The job that I never though possible is right in front of me, and it's not mine to have. Why?
Because it's not mine to have.
I talked with a friend, whose opinion and insight I trust, about the position, and about that fact that with the choices I'd made -- despite some really crazy coincidences -- it wasn't possible anymore.
Instead, he said, Work on your novel.
All panic aside, I'm going to try not to forget that. Sometimes the signs from the universe are subtle. Sometimes you miss them. And sometimes, they wake you up in the morning, after letting you sleep in, and rock your shoulder, reminding you to get to work.
The universe threw me a ball last week. Not a curve ball. Not even fast pitch. More like a lob that said, Hey, are you still in this? I caught it. Here are three very awesome things that happened at AWP last week:
The Carve Magazine Esoteric Award: This year's theme was LGBTQ. I found out Thursday morning that my story, "Angels," was one of four winners. This is huge for me. Not long ago, I told Georgia that I really wanted to win a queer award soon. As someone whose first book is maybe two-thirds queer, this is nice recognition, a reminder, and acknowledgement.
I had the pleasure of meeting Matthew Limpede, the editor at Carve, who told me in person that not only did the story break his heart, but that they were shocked to find that the story -- whose main characters are both male -- had been written by a woman. That made me happy. Not because I want to masquerade as something other, but because that balance is important to me. I like to disappear inside of fiction. So what he said reinforced that it's possible.
my very first MR
The Mississippi Review 30th Anniversary Issue. I lost sleep over this baby. I knew it was coming out, and did not know until I saw it whether or not I would be included in it. Of course, MR launched my career. Without Frederick Barthelme's complete faith in me, not only would my publishing have occurred at a slower pace, but I would have spent more time doubting myself. I know no one so gracious or inspiring.
So, before I knew I'd been included, I grabbed my old grad school friend, Barrett Bowlin, editor now of Memorious, and told him to come with me, because if I wasn't in it, tears were imminent. Barrett's tough. He's a dad and a husband. He's seen some tears. When we got to the MR table, though, editor Elizabeth Wagner handed me a copy. Take one, she said. You're in it.
No tears. In fact, it was much the opposite. This is a huge anthology, and tremendous company: Margaret Atwood, Joyce Carol Oates, Raymond Carver, Rick Moody, Amy Hempel . . . to name just a few. MR's been a huge part of my writing life, so it's great to see Rick's tenure there properly recognized, and compiled into such a beautiful book.
Ocean State Review. A day after the MR 30 and "Angels" flurry, I walked over to the Barrow Street table, to see if the new Ocean State Review was out, and they were handing out flyers of recent contributors. My name was on it. I grabbed it. Wait, I said. Wait.
I just about drove the intern crazy.
Um, that's me, I said.
Oh, he said. No one told you?
We went back and forth. Apparently, not only had they accepted my story, "Knoxville," but there was, as editor Peter Covino said, a buzz about it.
This story had come close -- been named a finalist -- the year before at American Short Fiction, but ultimately lost. It's a hard story, one I worked on for over a year, hammering through the old song, Knoxville Girl -- a murder ballad so old, no one knows its exact origins -- and fleshing out the boy, Will, and the poor roving eyed girl, only to kill her all over. I love this story. It's violent, and terrible. Biblical and trashy.
Needless to say, I was thrilled.
What are you? Fiction or poetry?
poems, mostly.
Some other highlights from AWP: I was totally on about the lace tights. You couldn't avoid them. The men have begun to look less scraggly and more Mad Men. The women, influenced by Downton Abbey. Seriously, AWP fashion is a big deal. I saw more Edwardian looking buns than I have since a Merchant Ivory film.
In the meantime, I'll be home in my own lace tights, trying to catch up on writing. Of all the pins and stickers handed out at book fair tables -- including my usual favorite Lets Make Out -- there was one that simply said, Remember who you wanted to be. That's always the benefit of AWP for me.
This evening, I'm taking the train to Chicago. It's an overnight trip, 9:30 to 10:45 the next morning. I've never taken a train, other than a slow Adirondack scenic one. My idea of train travel comes from the movies, Strangers on a Train, or North by Northwest. Like, should I wear a hat? A chignon? The hotel we're staying in is historic and grande, full of gold and chandeliers.
What do I expect? AWP is overwhelming. My best analogy is that it's like the New York State Fair. You end up carrying around bags of stuff, walking a lot, eating too much, or too little, drinking too much. It can be loud. There's a lot of people watching to do. I know a lot of people who like to complain about it. It's too much, too taxing, too stressful, too everything. But really, it's kind of awesome.
There will be men in beards. Somehow, the male writer population under 40 or so all look like Zach Galifianakis to me. There will be impossibly thin women in lace tights. They tend to look a little gaunt. A little sad. I think they might be poets.
I'm giving a reading . . . of poems. I will not be thin, though, or sad, or wearing lace tights. I'm on a panel celebrating the 25th anniversary of the Comstock Review, who will publish two poems of mine in forthcoming issues. I'm joined by managing editor, Georgia Popoff, (aka, travel buddy, roommate, bff), and poets Quraysh Ali Lansana, and Bertha Rogers, who also runs the fantastic Bright Hill Press and Literary Center.
The best parts: seeing people you haven't seen since last year, or the year before. Meeting up at the hotel bar at the end of a long day. New people. Connecting names with faces at literary magazines and presses. Seeing who has the best book fair swag. A great city, and a huge lake.
The worst part: there isn't one. But I'll report back next week.
The first time I wrote and finished a novel I was sixteen. I wrote it in Mead notebooks in class, and sometimes at home. After I wrote the whole thing out in notebooks, I typed it on a plastic Smith Corona at a desk in the basement. I still have the desk (it's in my office). I still have the notebooks (they're in the attic). The Smith Corona is missing in action.
Yes, officer. I'm 16.
I would post a picture here of what I looked like at sixteen, but this should do it: I had an uncanny resemblance to the Les Miz poster. The picture on my first license looks just like that. Minus the flag.
Probably, the novel was ok. It was about a boy -- who was seventeen, had a single mom and some weird daddy issues. He was tall and beautiful, and had burgundy hair. He loved a girl, who was Ivory girl pretty, super smart, shy and bookish. Her parents were stuffy. They didn't like him or his looks or his single, cigarette smoking mom. They had sex. She got punished by her parents and was forbidden to see him. They ran away and her smooth talking, crazy -- did I mention crazy? -- boyfriend talked her into suicide, all while kind of ad hoc quoting some Keats.
I remember when I finished it. I was at the bar in my parents' house, and it was close to midnight on New Year's Eve. I remember that feeling of writing the last few words in pen, and closing the notebook.
Also, this is what I thought life was probably like. You meet a boy, you get in trouble, you have to die. No way out.
Heh. I'm so not changing the end of Daniel Deronda.
As far as I know, my mom knew I was writing it, but didn't read it. When I told her what it was about, and roughly how it ended. She told me -- very seriously -- that I had better change it.
Also, this wasn't the first novel. The first one -- same boy, slightly different circumstances -- involved the same single mom, but included her abusive boyfriend. This guy was an asshole. And the kid, he's so sweet, so pretty, so shy. He had a friend, too. A sassy younger kid, even prettier. The mom's boyfriend had a bad habit of beating the shit out of my character. Their apartment was grim, dark and run down. The porch slanted toward the street, and the kids had a habit of sneaking in and out of an upstairs window in the middle of the night.
This was eighth grade. My mom read parts of it, and told me -- matter of factly -- that perhaps the boyfriend was misunderstood. And maybe the mom was misunderstood too. Maybe she shouldn't be painted as such a terrible person for staying with the boyfriend.
My genesis for this triangle: David Copperfield. I was in love/hate with Mr. Murdstone. Plus, his name was Murdstone!
My mom's sensitivity: life. Except that I didn't know it. Sure I had gleaned some details from the past, and I'd first hand witnessed some violence. But I wasn't after her, or her story. I was writing my own. It was fiction.
As for the suicide, it was the biggest crescendo I could built. The biggest. And I was sixteen. I needed a big finish. There was no subtle and then they work things out in the moonlight for me. It was go big or go home. To die.
No one has told me I had better change anything -- for its being too close to the truth -- for a long time. But everyone still looks for themselves, still assumes they know where it came from and what it's about.
It was my most common report card comment: a joy and pleasure to have in class. Second to this one were comments about being too social, and comments about not working up to potential. Last week, in the midst of trying to teach Kieran statistics, I admitted to him that I only made it through half of what was then Sequential 3 math, also known as trigonometry.
I dropped out after I got a 50 on the midterm. It was really abstract. More so than any math I'd had. And while I wasn't opposed to abstraction -- I probably preferred it -- I just couldn't make my head pay attention.
Also, I had a novel to write.
I spent the 40 minutes of trig every day writing. I was working on my first attempt at a novel, and some stories that were really exciting to me. That year -- 11th grade -- I was reading Lolita and The Great Gatsby. I was immersed in French language and culture and wanted only to take more art than my school could possibly offer, or than I would be allowed after I'd filled up on all my requirements.
I remember going up to the teacher on the day I dropped and he said, What have you been doing all this time?
I said, Writing.
Really, he said. He was smirky. Smarmy. He used to tell us if we wanted to sit there and be stupid we could go right ahead. I'd told him I was writing so that he would know I wasn't sitting there being stupid.
Good luck with that, he said.
What might have happened? If I'd been immersed in writing back then, instead of taking math, instead of finding something to fall back on, something to make money with: a job teaching, a job at the bank, as a nurse. How much time did I waste, trying to be something that would earn a paycheck instead of something I loved? I did it again and again: in high school, in college, in graduate school. Any step I could take to get away from writing I would.
It probably matters less why now than it does that I have recognized it and stopped it. I gained something in the stalling, mostly in the form of people, especially in the form of children.
But get this: I wasn't outwardly subversive. I was a pleasure. A joy to have in class. I had learned early on not to be a thorn in anyone's side so I kept my rebellion to myself.
For too long.
What's to do now but move forward? And make sure that my own kids don't repeat the same pattern and shelve what they love for what's practical, for what an administrator tells them they should do, because that's what everyone does, everyone who wants to be uniquely just like everyone else.
There is no report card comment that says: this kid is crazy driven to do something we're not doing here, so we're encouraging her to do so. There is compliance and non-compliance.
I'm not suggesting a free-for-all, do whatever you want curriculum. I'm a huge supporter of the liberal arts education, especially when it's integrated.
But I'm just also a fan of what Nietzsche called "a long obedience in the same direction," because "there results, and always has resulted in the long run, something which has made life worth living."
And that has nothing to do with compliance. I want that on my report card.
