Uproar – a quote every Wednesday

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

515: “Tell One Teammate” (Antoine Bauza)

                A player “can then tell one teammate something about the tiles in front of that teammate.” -Antoine Bauza, Hanabi

                The tile game Hanabi unfolds a lot like solitaire, except you’re playing with a team—my favorite is two people—and no one can see their own tiles. Instead, they can see everyone else’s. Then players share information through specific rules so everyone knows (or can guess) what to play next. It’s wonderful.
                And, okay, maybe I’m biased, because communication games have been my favorite for a long time. My partner and I have been playing a lot of them lately. Hanabi, and Sky Team. Maybe it’s because in these kinds of games everyone can only win together. It’s a shared thing, the game we’re playing. Maybe it’s because communicating is really hard. Figuring out when everyone’s free to come together and play a game? That’s hard. Coordinating schedules for summer visits to family far away? That’s hard. Working out the gentle intricacies of this is what I’m hoping for, this is who I am, this is how I can meet you—it’s hard. I spend a lot of time thinking about to share with the people I want to share with. And then sometimes there’s a delightful colorful game that makes magic out of all that with these tiles that, tic, nudge each other and smile.

by Azlan

514: An “Archive of Feelings” (Jack Halberstam)

                “In this other archive [of feelings], we can identify, for example, rage, rudeness, anger, spite, impatience, intensity, mania, insincerity, earnestness, overinvestment, incivility, and brutal honesty.” -Jack Halberstam building from Ann Cvetkovich’s idea of “an archive of feelings,” “​​The Antisocial Thesis in Queer Theory,” p. 824

                I think the archive of feelings I’m thinking from, the feelings I habitually sit inside and move from, has a lot to do with where I am. And so I’ve been thinking about how I make that archive from the people I’m around. How I open myself to these connections. How I don’t.
                I’ve spent the last three days at an academic Research Institute— in depth discussions for hours each—and the evenings at my friend’s house, petting their dog, sharing food, laughing and reconnecting and feeling sleepy. The Institute is a combination of making new, inspiring connections with other scholars, and performing a kind of professional expertise. The evenings are fur covered, with deer grazing just outside the window, muh to the dog’s excitement. Or nervousness? Or interest? After three days of this I’m thinking about the archives of feelings into which my experiences grow.
                My friend, intent on putting up another stretch of wall paper. Fixated, they’ve described it. Determined, I might say. I get that way about a thought or a task sometimes. It’s intense/painful/pleasurable/frustrating/presumptive, like needing to sneeze, but the sneeze comes out as sustained meticulous effort.
                My partner, sitting next to me beneath a blanket. A little while ago (when she was in bed) I asked her how she was and she texted back an image of Boo from Monsters Inc looking almost asleep. And I’ve felt that— the image more than the words. At peace/exhausted/overwhelmed, in place, slow, like happy snot sinking into soil.
                A colleague, leaning forward to share a connection they’ve just started making between two kinds of understanding, a connection they’re inviting us to make. Excited/curious/unsure. A colleague and a friend, leaning back, silent, unwilling to pretend the kind of expertise they’re hearing performed. Angry. Silent. Ready to connect another way.
                I think that, from all these, I learn ways I might be. Ways I am. I sit into them, the ones that don’t fit so well, the ones that do, the ones that bend toward a new kind of fitting.
                The dog, paws up on the windowsill. The deer outside. Where do I graze, like she does, tasting world?

by Azlan

513: “Woohoo, overtime!” (Starcraft 2)

                “Woohoo, overtime!” –Starcraft 2

                Well, it’s happening again. I want to reinstall Starcraft 2. The thing is, I never really want to be playing it…but when I’m not playing, sometimes I feel this building wish to start.
                I think it works like this.
                Even when I was 12 and 13 and 14, the part that drew me to a lot of games (Age of Empires II, Starcraft, Warcraft III, Age of Mythology) was “base building.” You’re dropped on an island, or an alien planet, or in a forest. You have a few villagers or SCVs. There are resources around, waiting to be stripped, and so you expand your little settlement to include more workers, then more refineries and other buildings to help with resource extraction, then a new command center to make new workers to gather more resources on another part of the map. The goal was to create an army, but honestly, that wasn’t the part I wanted. I wanted the workers. The town centers. The ever-growing pile or resources. The controllable world in which I knew the steps to take toward more and more, and therefore toward enough. Toward safety. Toward plenty. Toward something, which was always actually out of reach, outside of the code, as the game gears for war and the erasure of some constructed Other. And finally a dead world stripped of all its minerals and vehicle-powering gases.

by Azlan

512: “My plans are all unmade!” (The Goes Wrong Show)

                “Aaah! Thus with this wound, my plans are all unmade!” –The Goes Wrong Show, “The Most Lamentable…”

                If you haven’t watched it, The Goes Wrong Show puts on plays that—well—wonderfully, and terribly go wrong. Swords swung into theater lights. Scripts aflame. Doors that are supposed to open left locked, and actors stumbling through paper walls that had been painted to look like stone.
                I’ve been talking with scholars lately about their research, and about the strange expectation that they should be able to outline their results or contribution or significance before they’ve started re-ing or searching. How that expectation is even stranger for any research involving community collaborations. How would I know what we want to look for, what we want to do, before we get together to talk about it? Today, sitting on the floor, eyes still half teary from chuckling, all that melds with the silliness of “The Most Lamentable.” Because my plans (such as they are) so rarely go as planned. (A chuckle. I’m even bad at cooking from recipes!). Because in the mad escalation from one mistake to another, one catastrophe to another, there’s a chance to turn from looking for control to playing with a moment. (More chuckles). Nothing on fire—yet—in this writing, but I want that play. And this isn’t quite what I meant to say. Oh dear. I’m stumbling past the point, or around it, or through a painted wall, and then who knows where we are?

by Azlan