Tuesday, December 24, 2024
Dec 24: Yvette Saenz, On Going Home
Monday, December 23, 2024
Dec 23: Lydia Paar, Plurinity
Sunday, December 22, 2024
Dec 22: Kyoko Mori, The Voice: on Cats and Politics
Saturday, December 21, 2024
Dec 21: Patrick Madden, Enough (on tense, timing, recreation, evocation, and eternal happening)
I have just enough sugar left in the jar for Karina's morning Postum (which is what we call a cebada in English, given that the Postum brand has eclipsed other brands of barley-based coffee substitutes), so I dispense with the teaspoon as measurer and simply dump whatever's left into her cup before measuring out the toasted powder, then adding milk, little by little as I stir, so that the dry ingredients are evenly absorbed into the solution. My assumption is that over so many years of meting out ingredients, my judgment has been trained to recognize closely enough what constitutes a teaspoon's worth, and that given the inherent and inescapably inexact nature of such a crude volumetric method, it won’t matter much to the taste of the completed beverage whether it contains exactly 18,136 grains of sugar, as one intrepid online mathematician has calculated (using the weight, diameter, density, and packing efficiency of sugar), or the more nicely rounded but therefore less believable 20,000 grains, as others estimate, always with the qualifier “about” appended. Note that nobody (nobody who’s posted online) has bothered to count the grains of sugar in a teaspoon, and who can blame them? I mean, besides the tedium of such a futile exercise, there's the inevitability of missing something or losing count and guessing or having to go back to the beginning and start again.
So let's start again. You didn't think that I was actually now dumping the rest of the sugar in Karina's cup and adding the barley and milk and stirring gently to ensure a proper mixture, did you? You understood that my choice of present verb tense was a stylistic one, right? But did you perceive that it was determined by the pattern I've established over many essays in the past years, where every piece begins "I have just," usually followed by a verb, which gently allows us to exist in both past and present (the catalytic event is nestled in the recent past, but the writing happens in the present), but in this case, where I've intentionally goofed into another idiomatic expression, following "I have just" with the determiner "enough," we lose the pastness of the witnessed event and are stuck both experiencing and writing now?
Now this doesn't entirely preclude the possibility of some cosmic alignment where in the exact moment you read "I have just enough sugar..." etc. I am, somewhere else on the planet, simultaneously contemplating the enoughness of the sugar jar's dregs and deciding to simply dump them in the cup, and then spooning out the burnt brown powder, then gradually pouring the milk while stirring to achieve optimum creaminess. I mean, maybe. Who knows? If you've got my number (as you likely do, given the audience for my essays), shoot me a message when this happens, and I'll let you know.
You surely already know that in the more general sense, things like this are cyclical: we settle into patterns and routines, sleeping and waking, going about our daily business, working and playing, eating and drinking for tomorrow we die... So, sure, if you're reading this essay with your morning coffee in a time zone near mine, I very well might be meting out the ingredients again, even if the sugar jar's not almost empty yet. I do it many, perhaps even most, days. It's nothing special. One more insignificant example of "love's austere and lonely offices," as Robert Hayden revealed.
In any case, I'm not averse to the idea, which I've discovered here and there, especially in Brian Doyle's essays (hey, this is a Pat Madden Essay Daily Advent Calendar essay; writing about Brian Doyle is in my contract), that the act of reading revives the things written, happens them again. As in:
I am not just reporting this, or trying to recreate the moment, or telling you this story to escort us both toward a cool theme or conclusion near the end of the page. Nope: I want the moment again, fresh and wild and hilarious. I want it so bad I can taste the stony chalky desperate of it. I don’t want to remember it; I want it again right now before this sentence ends. If I write it I’ll have it again.
And, a bit later, though if we believe what we’re saying here, then "later" becomes meaningless:
While I am bruised I am not yet broken, aged but not yet dead, and my shaggy brain still works, and I can type fast and try to make sentences that sing and roar and snarl and sob and insist that everything that ever happened is still happening and will happen again.
As he wrote just a few years before his shaggy brain was overrun with cancer, leaving him very much dead, very much recoverable only in what he wrote, or what others wrote about him.
In this crude, most-obvious of universes, we do decay, we do die, we drain our cup of roast barley mixture, we use up the last of our ingredients. But we who read reside elsewhere: here, again, we find me judging the grains left in the bottom of the container to be about a teaspoon's worth, spilling them into a ceramic cup, spooning the cebada, pouring the milk, the gentle stirring, all happening sporadically forever, in spite of the inevitable.
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Patrick Madden, author of Disparates (2020), Sublime Physick (2016), and Quotidiana (2010), teaches at Brigham Young University and curates the online anthology of classical essays www.quotidiana.org.
Friday, December 20, 2024
Dec 20: Noam Dorr, Tzupzik
Tzupzik
Noam Dorr
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The slushies are neon green and neon pink, they have been churning in the two machines for many hours, at least since we got to the miniature park, but it could have been days or even weeks. Does sweetened ice ever go bad if it keeps turning and turning? Turbulence, constant refrigeration, an overwhelmingly high sugar content ensures it stays preserved. The day is impossibly hot—one of those khamsin days when the sun is set to destroy. A breeze only makes the heat worse and no amount of sunscreen creates a barrier that prevents the feeling that one is annihilating oneself simply by being outside. It is the first time my children are seeing the country I am from, and it is our first time in this park, which is a miniature of the country I am from, but do not live in anymore, not for years. The park’s website shows a shiny representation of the country, as if every high-rise is new, every monument to modernity is always gleaming, and every ancient religious site is well-kept and preserved, its ancientness frozen in a state that is a ruin kept back from disintegration, forever poised in such a way for endless visitors to enjoy.
But the miniature park online is not the miniature park we are in. This park has been through 1,000 days of neglect, is post-COVID empty, and the structures show it—the miniature Red Sea has evaporated completely leaving behind calcified rings on the shocking blue attempt at approximating the color of the Great Rift Valley, leaving behind the miniature models of tourists staring in the direction of the missing coral reefs. Layers of dust cover the produce on display in the model of the main city market, the tiny shoppers knocked over by the desert winds. My children do not want to be here. We are here for my research, to find a miniature model of the juice factory I worked in when I was a child, so I feel responsible for their suffering. They are tired and hungry and, more than anything, overheated. I know it will be worse once we find the factory and the excitement of discovery is over. Even the promise of a freezing cold neon slushie at the end of our adventure is not enough to keep them going. So we come up with a game: Find the Seams. Find the part of the miniature that tells you it is a miniature because you can see the edges. To find the seams is to discover where time—armed with wind, and heat, and UV rays, and sometimes rain—pries open the weaknesses in the models’ surfaces. And the surfaces appear to have many weaknesses, and the seams are many, and one might be tempted to utter the accusation “shoddy craftsmanship” and blame the artists and builders for a rushed job, but the truth is that COVID has given time lots of opportunity to do its work. And so my children have many opportunities—they call out: “Seam!” “Seam!”“Seam!” and pull us by the hand, sweaty palm to sweaty palm, to show us their discoveries.
Giant weeds grow between tiny grain silos tipped over in the model train station, full scale vines have taken over the miniature plastic plants in the model greenhouse, a roughtail rock agama has turned the top floor of an apartment building into its own dragon lair, miniature machinists are on their backs next to their workstations seemingly taking a nap or just plain dead, and every model airport and bus station looks like every scene in a post-apocalyptic film—the cars abandoned mid-road, the airplanes orphaned on the tarmac. And at the very end come the full-sized slushies—cold and sweet—which poison all of us in what will become a different kind of misadventure.
My children will not see most of these sites in real life this first visit. We always leave my parents’ house too late, the sun already too strong, and our family already excelling in ambivalence toward what we call “organized fun.” I am a horrible tourist in my own country. The miniature park, with its tiny models, its miniscule simulacra, its fabricated utopic intentions does not capture this place, my childhood. It might be tempting to point to the disintegration, the abundance of seams as the reason why the park fails to convince, but the truth is that its overall decay actually brings it closer to my experience of this land—the way everything, even the very new, feels like it is at the edge of falling apart and the story it’s trying to tell about itself collapsing at any point, the door to the factory floor knocked over to reveal no factory, no hands moving juice bottles down the line.
On this first visit to my country my children have a tiny window into my past and it’s about to close, our trip too short, the various barriers—language, culture, jet lag—in the way of understanding. How then do I bring them in? How do I capture a whole? When we are home, every night my children ask me to tell them a childhood story. Two or three or five minutes long, ten minutes if they are extra chatty and ask questions, a short journey into my past—the desire to elaborate and go into greater detail always at odds with the need for them to go to sleep. My partner jokingly suggests calling this kind of story a tzupzik, a handy word describing anything tiny, a small addendum attached to something larger, and that maybe telling these stories will make it possible for me to connect the now and the then.
Coming up with these stories is hard. After the initial obvious set of often repeated tales it becomes increasingly difficult to pull apart memories into convenient short compartmental narratives—how do I extract from the mundane and where do I choose to sidestep the more memorable plethora of family injury, or illness, or communal pain, and of course war. All of these unfit as a precursor to a dream. Sometimes a story arrives only for me to realize, once I tell it, the flaws and incongruities:
Only as I share this story, sitting in the top bunk illuminated by glow-in-the-dark stars, do I realize the obvious false memory that was always there—the children’s pool serves the entire community, and is large and deep and would hold an impossibly immense amount of coins, far too many for a community of seven hundred who swore off private property, and therefore currency. Instead, it becomes clear that my father only meant the coins were collected at the pool, probably in a large barrel, probably a castoff from the factory, not that the coins filled the pool itself. A childhood memory revisited and revised. What sense of place I give to my children through these tiny things, these minuscule tzupziks, between over there and over here, is unclear to me. No idea what whole is created there for them. If their unanswered interrupting interrogations have pried open another seam. What I do know is that, as I sit oversized in the dark of the top bunk under a canopy of miniature glow-in-the-dark stars I do not tell them the pool was never full of coins.
Thursday, December 19, 2024
Dec 19: Jason Sepac, Becoming Nostalgia
Is this the 20s or 1999? Every morning when I take my daughter to daycare, we pass the neighborhood teens waiting for the school bus. They wear loose fit Levis, white Nikes, and draping sweatshirts a size too big. And for a second I’m back in high school starting my own fashion voyage with clothes just like them: knockoff JNCO jeans, RUN DMC Adidas, and some boxy button-down in a garish patten. The kids I pass in the morning would look at home in my yearbook (2003). And knowing their penchant for nostalgia, maybe they would sort of enjoy that.
Lately, my social media has been feeding me clips that look a lot like the videos I made as an AV geek in the early 2000s. Shot on a VHS, they’re sort of washed out, people wave at the camera a lot. There is too much zooming. The audience—based on the comments—is a mix of elder (or “geriatric”) millennials, like me, recognizing a favorite old binder or t shirt and Gen Zers romanticizing the era’s vibes. Many of the videos (seemingly created by teens) are edited with music that doesn’t exactly match the era and are covered with over-the-top period-inspired graphics. Others feel like they’re aimed at millennials and use some of the most nostalgia-soaked tunes from the time that are basically made for graduation videos.
One commenter writes, “Born to be an emo/scene teenager in 2005 Forced to be a teenager in 2024.”
Another writes, “It’s so nostalgic and I wasn’t even born yet.”
Another: “Help, why is this kind of what my school looks like?”
Some viewers point out that no one is on their phone. I see that comment a lot. The idea that only one person would have a camera on them feels novel, even for those of us who spent most of our lives in a pre-smartphone world. Some viewers wish they could go back to that time and ditch their phones.
I get that. “I need to spend less time on my phone” is the new “I should work out more.” Everybody says it, usually with little intention of ever doing anything about it. Still, it’s a nice thought, and reminiscing over videos from the beforetime can feel sort of magical. But as someone who experienced those years at life’s most awkward ages, it also conjures a lot I’d rather forget.
When I noticed the kids at the bus stop, I had flashbacks to being fourteen—maybe the fist time I was aware of making a fashion choice. It was one that felt entwined with presenting a persona to the world. My tastes were incoherent. I obsessed over the boxes of my dad’s old clothes I found in the attic. Think polyester bell bottoms and flowered shirts with butterfly collars. I wanted to wear it all, head-to-toe—but also desperately wanted to look like I was on Dawson’s Creek, or maybe like I was in Blink 182, or maybe Nirvana, or maybe I should bleach my hair like Eminem, I thought. I was a sucker for a good Gap advertisement, too. I owned at least one vest, an article I felt was an especially bold fashion choice. If I was presenting an image to the world, I’m not sure what it was, aside from a kid who just liked to play dress-up. A friend who had seen too many 90s teen comedies, once tried to explain to me all the cliques at his school. “You don’t really fit in to any of them,” he said, but then added, “Actually, you might be a freak or a geek. Have you seen that show?” I had.
Maybe that’s why I was less than thrilled to see some of those styles making a comeback. These were the clothes I felt most self-conscious in. It probably didn’t help that this coincided with my 40th birthday, opening a portal to a whole other kind of insecurity. The feeling of being too young and clueless meets the feeling of being too old and out-of-touch. The two felt eerily similar.
Most of all, the return of these styles meant that I was now part of someone else’s nostalgia. What felt like a not-so-distant past to me was, in fact, a chapter in a high schooler’s history book. Nostalgia always represented a passing of time, but to me that meant traveling back in time. But now I found myself on the other side—instead, finding someone else looking back at me.
So I did what poorly aged 90s movies taught me you do in the face of aging: I bought some dumb shit. I started spending a lot of time on eBay and other resale apps searching for my current vintage obsessions: a 1980s Pittsburgh Pirates jacket, accessories for a 70s Canon rangefinder, vintage flash bulbs for a Polaroid folding camera, early 90s Simpsons t-shirts. The list goes on. I indulged my inner geek. I avoided 2024 and instead looked for a connection to times I could barely remember and to times I never knew.
Like the kids wearing the styles of my adolescence, my own nostalgia pre-dates my life. Some extend into my life—usually the first five years or so.
Every generation feels that kind of nostalgia for times before them or for times they can’t quite remember. At least I think they do. I can recall my siblings and I going through a phase of obsessing over disco and sitcoms of the 70s. It’s sort of a version of FOMO, or in this case a Fear Of Having Missed Out (FOHMO?). “If only I could have been alive to experience that,” we think. But like everyone who was alive to experience it, we wouldn’t have appreciated it either. Because it was just the style at the time, and as humans, we’re incapable of living in the moment. By the time our senses reach our brains, we’re already perceiving the past. So we’re left trying to reconcile our forward moving bodies with our backwards looking minds.
Our phones cater to the latter.
One of the joys of the internet age is the ease with which you can find the ephemera of the past. Without it, how would Gen Z discover the enlightened pre-smart phone era? It would be hard. Which is to say they’d have to find the past the old-fashioned way—by catching reruns on Nick at Nite, browsing dusty magazines and J. Crew catalogs, and rewatching stacks of their family’s VHS tapes. Somebody is still doing that work, but they’re also uploading it to the internet for anyone to find. And with the help of an algorithm, a nostalgia-curious wanderer could encounter all of that within a minute of scrolling.
The Preppy Handbook was the closest thing to this in pre-internet times. And even if it was meant to be tongue in cheek, plenty took it literally and menswear types still reference it today. But unlike the handbook, which served as not just a guide for how to dress but also how to act like a monied elite, style nostalgia is less about fitting into a past culture and more about gathering ancient artifacts to remix into something contemporary.
Since finding that box of my dad’s old clothes as a teenager, I’ve obsessed over all things vintage: clothes, technology, furniture. And it seems to have only intensified with age. Like my scattered taste as a fourteen year old, I still love seeing the merging of past and present and the melding of disparate styles.
So, while I cringe at the return of early 2000s fashion, I’m honored, really. And relieved. Honored to become nostalgia—and relieved that another generation is looking back and blurring the style boundaries that we thought actually meant something.
At the time of writing this, my daughter is fifteen months old, and it’s impossible to predict what fashion she’ll like when she’s a teenager. Maybe it’ll be what we’re wearing now…which, you know, is what we were wearing twenty years ago. Or maybe styles will stick around in little pockets of culture just waiting for their moment in the sun again. Maybe fashion cycles will reach a speed at which no trend ever really gets a chance to stick, and instead all styles coexist with varying degrees of visibility. Maybe butterfly collars, JNCO jeans, and laceless Adidas will be the look. Could it be that my teenage daughter will one day help me realize that my teenage style was just ahead of its time? Probably not.
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Jason "Jay" Sepac is an essayist and visual artist from Pittsburgh, Pennsylvania. His visual essays and nonfiction have appeared in Kenyon Review, The Iowa Review, The Normal School, and others. One essay, “Watch This,” was a finalist for the 2021 Fourth Genre Multimedia Essay contest, judged by Kristen Radtke. His artwork has also appeared on the cover of The Iowa Review. He is currently developing a collection of linked visual essays that considers nostalgia and how it intersects with the image-based technology of particular eras (Polaroids, Super 8 Film, VHS, early cinema, etc.). He earned an MFA in creative writing from Oregon State University, where he also currently teaches.