Uproar – a quote every Wednesday

525: “The Dark Gulp of the Sea” (Emily Tesh)

                “So it came now, the dark gulp of the sea, roaring through the Wood.” -Emily Tesh, Drowned Country, p. 129

                Emily Tesh’s Drowned Country walks, in part, through an ocean that was once forest before the waters flooded over. Through the twists and turns of the book’s magic, a knot of friends travel back and forth through time: from the ocean bluffs they were born near to the Woods that lived there before the ocean washed over the land, and back again.
                In Illinois I live on earth that was once oceanfloor, and before that was forestfloor. Earth that knew glaciers and their long melting. I remember one of my first walks when I moved here, staring up at the clouds, trying to recognize the wonderful beauty of this particular place. The closest I could get was a scrap of song: the sky here’s like an ocean.
                I can’t travel like Tesh’s characters. But outside today, I wonder if we all walk the same grand changes. Forested bluffs worn away to oceans. I’ve been in those rolling waves. Lakes filled in with silt till they’re meadows. I’ve disappeared into those shallows. In my short lifespan it can be hard for me to see the currents of these changes. The Woods (Tesh says) see them differently. So today I’m watching the trees, thinking about what they might see, wondering what I can feel of time and earth and sky painting together.

by Azlan

524: “Reading Here and There” (Louise Erdrich)

                “Slowly, I go through the stacks, reading here and there until I find the book of which I must read every word. Then I do read every word, beneath a very bright lamp. When my brain is stuffed my daughters and I go swimming, play poker, or eat. Life consists of nothing else.” -Louise Erdrich, Books and Islands in Ojibwe Country, p. 94

                My father in law texted me yesterday: “Santa Rosa -> SFO -> Nashville -> Urbana?” 
                Yes, I texted back, although “Nashville -> Indianapolis -> Urbana.” For the last leg of our flight Maria José and I were skirting around a big storm front. The pilot took us out east past Columbus before turning back west toward our airport, the clouds outside our window washed with lightning.
                Today I spent hours thinking about and feeling and rearranging thoughts and words for a 700ish word passage in an article draft. Eventually I found, yes, this is what I’m trying to say. Trying to sit with. Yesterday we spent fourteenish hours, all in all, coming home. Or traveling from the home that is being with my parents in California to the home that is here, our garden patch, our zuchinis grown giant while we were traveling. Before bed we read a bit from Ross Gay’s The Book of Delights. The first time I started reading that book, I ploughed through 50 pages, pulled along by some productive impulse to finish and understand. Then I skittered off and stopped. This time Maria José and I are reading a few pages almost every night. Another garden patch we come back to.
                So today I’m thinking about Louise Erdrich and how she reads. How I read: sometimes with that learned, enforced impulse to get through and comprehend, but sometimes grazing, tasting the grass, tasting what’s growing, until I find someplace I am and sink in. Until I’m done reading and go swimming with family. I love the time and space to go all over before I pause someplace. I need that time and space to start. To find a pause, lightning aflicker, and then the rain starts playing its pianos.

by Azlan

523: “Comes Back” (Hap Palmer)

                “Sitting in a high chair, big chair, my chair, sittin’ in a high chair, bang my spoon!
                -Hap Palmer, “Sittin’ in a High Chair”

                “She always comes back, she never would forget me…”
                -Hap Palmer, “My Mommy Comes Back”

                This week I’ve been showing my beloved Maria José some of the places where I grew up. 
                The path outside my dad’s house, grassy now and scattered with dry pine needles, but deep with snow midwinter when I’m 9, stepping outside to help him shovel. 
                The pier at the lake where we jumped in, the cool dark breaking open to hold us.
                The beach where, at 16, I built a warm, dry little driftwood house with my best friend.
                The pool where my mom held me in the water, and later I learned to swim, somewhere back before my memory of years and ages.
                The hills where I watched tadpoles and frogs, always unsure how one becomes the other, already waist deep in the wonder of mud and algae. 
                Tonight, inside after these places, we listened to songs I remember from before I remember. I’m struck by how lush and joyous such childhood tastes of the world could be. Worlds so full of flavor. I sit with how scary, how sad, these tastes could be. I was a kid sometimes so lost. And grounding. A little more than a year after our wedding, it’s a delight to be sharing these children we were, these delights and uncertainties we’re rooted in, these places we grow.

by Azlan

522: “A Reply” (Moses Ose Utomi)

                “He never noticed that he didn’t get a reply.”
                -Moses Ose Utomi, The Truth of the Aleke, p. 37

                Have you ever talked with someone who doesn’t seem to notice your reply? Who nods, maybe, or doesn’t, and then goes straight back to what they want to say? Have you ever felt a whisper and wondered if you’re doing something like that—if you’re saying without noticing what else is said? I have. Both ways.
                Utomi’s line comes in a moment when his main character, Osi, has written and sent an important letter. And then has gotten caught up in all the other busy, important things he has to do, so he doesn’t notice that the person he wrote to never writes back. I read this and had to sit for a while. Quiet. Whirling. It shakes my ideas of writing and reading. Because the hope is that we’re communicating, yes? That we’re saying and hearing? But how much of my typing away at my keyboard is making space for what I can notice from you (and you, and you)? And how much is leading me back to my own tck tck tcking?
                I mistrust writing. Love it, too, and mistrust it. And I want in it a kind of listening. Which means I love listening practices more than I love writing practices. Which means I’m off, because last night I flew across the country to visit family, and now I want what I hear (my partner and my mom chatting near me) so much more than anything I might say.

by Azlan

521: “A Song I Never Would’ve Heard”

                “…sharing a song I never would’ve heard and been struck dumb with glee by had I had my shit more together.” -Ross Gay, “Among the Rewards of My Sloth…” The Book of Delights p. 123
                “I thought to anchor my essay in an interdisciplinary epigraph, then delve into the reasons and ways that assessment could and should sidestep the standard language ideology […] Here I was.” -Maria José Palacios Figueroa, “Too-long reflections on washback”

                My partner and I have started—well, started again—reading The Book of Delights out loud together before bed. We also started last year, or two years ago, and then fell off. The pages fluttering by fast like fall leaves all a-whirl, then pausing, a frozen winter morning, sleepy and bright. Now it’s turning into a game with us. We just celebrated our first anniversary. We’ve been noting, a delight of being married is this, a delight of being married is that. (And yes, I’m coy: those delights are ours, for us, we’ll share them maybe if you visit, but not here). And a game for the everyday, every day, too. Today’s delight: lying on the floor. The complete release of it. Today’s delight: wrestling with my dissertation. Today’s delight: a friend visiting, and the fried zucchini (from our garden!) we shared. Now the crickets (I think they’re crickets?), not in that written way of crickets to mean silence, but singing.
                By which I mean: it’s 9:30 pm and I meant to start writing this sooner. I knew it was Wednesday. I knew I would post something. By which I mean: I’m glad I didn’t write this sooner. One of my favorite things writing can do is open to an experience of making, a space where I thought to start this way and yet here I am far off from my expectations. What a delight. The little dance of whatever we’re thinking about, together, here, and the crickets singing summer.

by Azlan

520: “I hold onto her foot” (Louise Erdrich)

                “Sometimes I look at men, at the way most of them move so freely in the world, without a baby attached, and it seems to me very strange. Sometimes it is enviable. Mostly, it is not. For at night, as she curls up or sprawls next to me and as I fall asleep, I hold onto her foot. This is as much for my comfort as to make sure that she doesn’t fall off the bed. As I’m drifting away, I feel sorry for anyone else who is not falling asleep this way, holding onto her baby’s foot. The world is calm and clear. I wish for nothing. I am not nervous about the future. Her toes curl around my fingers. I could even stop writing books.”
                -Louise Erdrich (Ojibwe), Books and Islands in Ojibwe Country, p. 53.

                For the last several nights I’ve been having pretty intense nightmares. And when I do, when I wake up at two and three in the morning, my thoughts spinning in ways I don’t know how to sit with, I reach out and hold my beloved’s hands. Or wrist. Or shoulder. Sometimes knee, if we’re all puzzled on the bed. It varies, like the sense of love and peace and connection varies, and it also flows along to a related touch.
                Perhaps that’s different from what Erdrich is describing here. I also remember holding my little sibling when they were one and falling asleep. Or holding my brother’s children when they were infants, and older, remember their small limb nestled in my hand. Dreaming. I remember being a place where they could sleep and dream. In another way, I think I remember and still feel my own small wrist or ankle or arm held in someone’s caring hands. My mother’s. Father’s. A family friend’s, which means family.
                A lot of my cultural training emphasizes freedom as being not responsible for others, as being free of other people, to choose and do as you want. Whether or not you want to call that freedom, that’s not what I’m seeking. I don’t think I know anyone who’s been made happier or more vibrant in spirit because of such lack of responsibility. And I know too many people who are sadder or lost or frightened from searching for it. So I want to be held, to reach out, to be holding.

by Azlan

519: “You Don’t Know” (Jack Halberstam)

                “You don’t know what your child will be like when they grow up. Just as you don’t know what profession they will have, you probably shouldn’t know what form their social intimacies will take. Maybe they’ll have many friends and date many people. Maybe they’ll be single their whole life. Maybe they’ll join a commune. But the idea that we already know in advance exactly how their life will play out after the age of 23 tames the wild potential of human existence and human complexity.” -Jack Halberstam, in this wonderful interview

                Sometimes—often—I’m sad that so many of my loved ones are in so many different places. Doing so many different things. But today I was outside, seeing all these plants I don’t know growing together and it’s beautiful. With so much up in the air and unknown, I’m trying to listen to Halberstam. To swerve to a kind of open unknowing, a kind of context, in which unpredictability can blossom into wondrous gardens of possibility. I’m not saying it’s easy. I’m saying it’s lovely.
                In the interview Halberstam thinks about “the terms under which unpredictability can thrive.” This isn’t about an individual epiphany. This is looking for social forms that celebrate and support the unpredictable, that make space for different ways that someone might walk. I think about what those forms might be. I think about food systems. Housing systems. Healthcare systems. Education systems. Resistance networks. Mutual aid networks. I think about all the systems that insist they do know what life will look like in fifty years, and how they’re wrong again and again and again. Obviously. Hilariously. Crushingly. With so much up in the air and unknown, I want to feel the wild as beautiful and bursting with life. As it is.

by Azlan

518: “I Needed You Once” (Split Fiction)

                “I needed you once, but not anymore.”
                […]
                “So, she’s finally gone? Good for you. ‘Cause that Dark Mio? Total party pooper.”
                –Split Fiction

                My partner and I are almost done playing through Split Fiction. We’re loving it. But one scene from last week keeps making me shake my head. So yes, minor spoilers ahead.
                Split Fiction ends up sending its two main characters into their own subconsciouses (one after the other). In each subconscious, the two heroines fight some part of themselves. You can guess the parts: Fear. Anger. Guilt. The common “negative emotions” of storytelling worlds. Mio helps push a massive cyber scythe (it’s all robot themed! The whole game has very cool artwork) into Dark Mio’s angry guts. Mio says: “I needed you once, but not anymore.” A few beats later Mio’s friend confirms, “So, she’s [Dark Mio’s] finally gone? Good for you.” Everyone’s healing path is their own, and there’s a place for letting go of ways of thinking that aren’t helping. But for me, I guess, there’s a difference between letting go and actively trying to murder. There’s a difference between trying to get rid of and trying to make peace with.
                I’m thinking here about developmental psychologist Gordon Neufuld, who points out that people in the US and Canada are taught to rely on “cut it out” language with kids—stop hitting, stop yelling, don’t bite. Neufeld says cut it out just isn’t a very helpful instruction: if you’re angry, there is an urge to yell. Maturity (he says) comes not from murdering the angry voice, but from adding in a counterbalancing voice: remember that you love your brother. Remember that hitting hurts, and you don’t want to hurt your friends. Beyond that, there will be plenty of times when you do still need your anger, your fear, your guilt. Even if right now you don’t need them controlling your every move.
                In Scott Pilgrim vs The World, doesn’t Scott end up having to fight Dark Scott— and instead they talk, get to know each other, realize they can be friends? That story makes more sense to me. Or feels more sense. I didn’t want to kill Dark Mio. I wanted to make peace with her, and see how she and Mio could meet, listen to each other—whole, strong, compassionate, angry when they need to be, caring when they need to be.

by Azlan

517: “Whispering” (John Green)

                “Being busy is a way of being loud. And what my daughter needed was quiet space…” 
                -John Green, “Whispering,” The Anthropocene Reviewed p. 196

                It’s been a busy kind of day. A loud kind of day. This to do, and there to drive, and that to hurry back home for afterward. So much of my culture asks me to live busy. To live loud. All that’s celebrated as though it’s the way to succeed, the way to be, and of course in many ways I’ve internalized it.
                And tonight, settling into stretching—before that watching the fireflies, but only for a moment, I was busy—I want quiet space. Quiet space so that even this feels a little misguided. Even whispering feels loud. Busy. Green talks about whispering as something that calls us to be quiet, to listen. And I like that. And I like sinking through that to silence. A quiet space, not soundless, and also not intent on communication. And so—

by Azlan

516: “Emphasis on Personality” (Chana Porter)

                “Trina moved into performance, both sound and video, involving her own body in the practice. She got a little bit famous and had some minor love affairs, made Deeba proud of her celebrity wife. Then she got bored of the art world; of its pageantry, its emphasis on personality.”
-Chana Porter, The Seep, p. 14

                Almost a decade ago (wow! Time sure washes along) I wrote about Julie Lythcott-Haims and the way passions are commodified into something we have to find—and perhaps sell. Six months ago my partner and I read Chana Porter’s The Seep. And I laid in bed, wondering if cults of individuality lead in part to this dead-end emphasis on personality.
                These days that’s often staged on social media: the influencer’s brand, and how whatever else they’re selling—investment software or skincare serums—they’re selling them. Their energy, fast and larger than life, homey and honest. I think it long predates social media: think of Hollywood stars. Think of celebrity artists. Think of politicians. Think of me, a teacher, told to develop my “teacher persona” and consolidate it into something authoritative and approachable and boundaried and wise and easy to understand and consumable. If individuals are so important, the most important thing around, then a distinct personality has to mean something.
                For me, I think, it means very little. I’ve been reading Moses Ose Utomi’s novellas, but I don’t think it’s his personality that I love. In part it’s the way his imagined world pulls at, reveals, and complicates the world I imagine to be true. In part its the sensory rhythm of sounds. And in person—well, is it really my friend’s personality I’m drawn to, the performance of a particular self? I think it’s more specific: this conversation. This walk together. This game. And more general: this shared gentle silence in which we care for each other. It’s at once more action and more being, and less a pageantry of self.

by Azlan