missroserose: (Default)
After some wrangling, we (and by "we" I mean "technically the condo board, but effectively me") have managed to secure a contractor to come rebuild the leaking parapet. It's messy and inconvenient, in the way of construction work; there was a worrisome moment this morning, when the crew came to scope out the site, that there wouldn't be a place for them to put the lift. (The buildings on our street are jammed pretty close together, and our building in particular has no parking area—the little clear space around it is almost entirely parking for the neighboring buildings, and I have no idea who to begin talking to to negotiate using it.) Luckily the gangway beneath our decks is open to the sky, and there was just enough room for them to set it up there.

Unfortunately, the aforementioned crowded conditions have meant there's nowhere for the crew to park their truck other than in the alley, outside the gangway door; being a work truck, it takes up most of the alley width. Obviously this isn't ideal, as it's blocking traffic through the alley as well as blocking a few of the neighboring cars in, but I genuinely have no ideas on how it could work differently—they have to load up the demolished brick and bring in new materials/supplies, and if they parked on the street they'd literally have to walk a good quarter-mile around and back with each load. (The few narrow passageways between buildings are all closed off with gates.) So far I haven't had any complaints or heard any incipient shouting matches, but it's only day 1 and they're going to be working through Saturday. I'm genuinely unsure if they'll need the truck there the whole time (I'm hoping that, once they're done with the demolition work, they'll be able to unload everything and park it out of the way), but I'm not a masoner so I genuinely don't know.

It's a little funny, really; I've more than once come across a work truck blocking the alley (usually a cable or phone worker, though occasionally a contractor too) and just thought to myself "well, that's not ideal, but it's not like there's anywhere else for them to go" and gone around. But now that it's my responsibility I'm incredibly anxious about it. It's suddenly a different ballgame when You're The Asshole, even when there's literally no way around it. But often, that's really the only way we can coexist in a high-density space like a city—we all take turns being the asshole and hogging shared resources, and everyone else (hopefully) cuts us some slack because they know they'll probably need to do so at some point too.

I wonder if this is tied to the consistent finding that people who live in cities tend to be more tolerant than people in the suburbs or the countryside...I would imagine it's much easier to feel self-righteous about your place in the world when you don't have to constantly negotiate for shared space, even just on a mental "oh hey, I should move out of the entrance to the subway tunnel so people can get past me" level.
missroserose: (Incongruity)
(Gotta say, on the balance of evidence I kinda prefer Aerosmith's version.)

Ups:

My reading was a smashing success, or at least, that's how it felt. We had a good crowd—it appeared to be roughly 1/3 open-mic readers, 1/3 salon regulars, and 1/3 friends of mine (some from Tumblr, some from meatspace). I was honestly humbled by how many people showed up; I'm not sure if it was the novelty of having a fandom writer featured, or the fact that everyone was super into hearing something smutty that night, or my promotional efforts, or just good luck. (Probably some combination of the above.) Regardless, somebody commented later that it was the most people we've had yet at one of the virtual salons (I think we hit 25 participants at one point?), so that's encouraging.

One of the difficulties of doing a Zoom-based reading is the relative inability to get audience feedback in real-time—even if you have your work on a separate device so you can leave the Zoom window open, your eyes are focused on the page, and everyone's muted/in tiny video-chat format anyway so you can't easily read changes in body language. However, when I finished, I came back to a surprisingly lively chatlog—a couple of my Tumblr friends had shown up and been the absolute best hype-men in the comments, even getting some of the salon regulars to participate. (I was somewhat darkly amused to see that, at one point, the conversation had devolved into a not-quite-argument over whether each character was a top or a bottom, respectively. I've seen these arguments turn into outright fandom wars and cause major schisms, but apparently it's less of a fandom thing and more of a human thing? I dunno, I seem to have unchecked the "a character's preferred sex position is clearly an immutable aspect of their personality rather than a function of personal preference and context" box during my Human installation. Luckily the conversation moved on.) One of my meatspace friends who showed up told me later she'd been watching the video feeds and the scene clearly landed; perhaps most encouragingly, the host texted me afterwards (and reiterated in front of our writing group the next day) "You should know you're writing at a professional level, and if you file the serial numbers off there's a good chance you could sell this." Which...I sorta suspected as much, at least in the better sequences, but given my spotty history with longer projects I think I'm best keeping the pressure low until I've at least figured out whether I can actually finish it. Still, it was a lovely vote of confidence.

Condo board stuff is ongoing. I did get a contractor out here whose back-of-the-envelope calculations for the masonry work were significantly lower than the first contractor's. (The scope of work was also smaller, but he considered it sufficient to stop the leaking; his opinion was that the rest of the work the first guy recommended was a good idea, but not urgent.) I liked him a lot, he clearly knew his stuff and was happy to explain his reasoning; I never thought I'd meet someone who got that excited about different styles of brickwork, but I do love people who're passionate about their work. Additionally, it was his opinion that the issue wasn't a leak per se, but bricks absorbing moisture that was causing the water intrusion; that fits with what Aaron (the unit owner) told me about it only being a problem during major/extended rainstorms, and lowers the likelihood of significant damage by a lot. So all of that was a big relief. He's promised to have his formal estimate to me by today, so fingers crossed he comes through and it's in line with his initial assessment. Sunday we have a meeting to discuss all of this and figure out the path forward.

Through a piece of good luck (and a lot of wrangling), I also have managed to achieve one of my low-key goals for the building, and have obtained and set up an extremely high-quality elliptical in the workout room. KC had sent me the Craigslist post (a unit that went for $3K new, selling for $400), I had emailed the board offering to pay for half of it (since I was the one who wanted it) as well as take care of the truck rental and hauling; after some back and forth about insurance and cleaning and maintenance questions, and some low-key grumbling on our treasurer's part, I got everything sorted, got a truck rented, and got out to Northbrook. I was half-convinced it was too good to be true, but nope, the seller was a 70-year-old dude whose wife had purchased it a few years before she died, and he and his son were trying to clear out the garage. Moving it was no joke—the specs say it weighs about 250 pounds, and rarely have I been so grateful for my stocky-but-solid-muscle husband or all the Sculpt classes I've been doing. (It was worth it all just to see the look on the seller's face when we hoisted it up into the bed of the truck with relative ease.) I now have an impressive bruise on one thigh where I rested my end of it at one point during moving, but I also now have a high-quality cardio machine that I suspect will be invaluable during the upcoming (and frankly rather bleak-looking) winter months.

In other positive news, Dexter is hanging in there, far better than I'd expected. When I wrote about him a couple of weeks ago, I'd really thought it was time to call the vet. But it turns out the continence issues were more related to the litterboxes all being downstairs; I set one up in the second bedroom (easy enough to do, since I'm not hosting clients right now) and he hasn't had any difficulty using it. He still has active days and less-active days, but he doesn't appear to be in distress, and he still comes and snuggles on the regular. So we're not quite to the end yet.

Downs:

Well, I mean, there's the obvious.

My personal reaction to the news has been weird. Like, when Brian told me, it was a blow, but in the way that the eighteenth blow in a fistfight is—there's no shock or horror left, just a certain numbness and the grim reality of "well, gotta deal with this too." Which isn't to say I didn't react—I spent much of the evening in a low-key dissociative state, which is unusual (and disconcerting) for me. I've since been experiencing moments of profound grief, for the death of our country's self-image and democratic norms as much as for the woman herself, but in between I'm just...carrying on living. Because really, what else is there to do?

I spent the whole weekend in the Zoom version of a massage seminar I signed up for back in January. And while I learned some potentially useful techniques, it was hard not to feel like the time was pretty well wasted. I'm not going to be practicing probably for another six months to a year at least, and by then the knowledge will be more or less gone. To be honest, I'm not even certain I'm going back to massage as a primary career; right now my primary energy sink is writing, and if I can keep up this kind of consistent productivity even after quarantine is over I may well make this my primary focus and just keep massage as a sideline. I enjoy it, and I genuinely miss that feeling of making people feel better, but I don't miss the constant hustle for clients or the uncertainty of the income or the "???" of a future career path. (I realize, with some irony, that writing as a career is even worse on all three metrics, but it feels like there's so little expectation that you'll ever be able to make a livable income that there's less pressure? Psychology is weird, man.)

So, yeah. Lots of change happening. Some good, some bad, some just...different. I'm trying to stay focused on the things I can do, and not worry about the stuff I can't. It's tough. I'm not always in a great place. But life is movement, and so...onward.
missroserose: (Incongruity)
How I found the queer Christian experience in Good Omens

Aziraphale’s position looks very familiar to those of us clinging to non-affirming churches. He represses and is reluctant to act upon desires that he believes to be inconsistent with his identity as one of the ‘good ones’ {...} But he wants to think the best of a heaven that doesn’t really understand or accept him, because surely, by definition, they are in the right? He wants to keep his hands clean and fit in, he can’t allow himself to whole-heartedly pursue a relationship he feels is forbidden to him {...} Crowley’s story, on the other hand, speaks to those of us who fall away from the church entirely — he falls not so much out of wanting to, but because it was the only way to be honestly himself. Forced out of a heaven that didn’t like him questioning things, he ends up hanging out with the crowd hostile towards it simply by default, and is expected to agree that nothing he left behind was worth keeping. {...} And yet he still feels a profound connection to his pre-Fall past...

It’s been a long time since I identified as Christian, but this speaks strongly to my experience in large groups/organizations. I tend to carefully think through assumptions and rules and ethics, which makes me a bad candidate to join any group, because I’m unlikely to just sit and accept whatever tenets create the group identity (whether explicit or implicit)—I’m the one who always pokes at things and asks uncomfortable questions.

It's a useful skill, but it makes me feel more than a little guilty sometimes, because people tend to be quite welcoming in these groups, and I always feel like I’m accepting their hospitality under false pretenses—like, hi, my name is Ambrosia and I’m almost certainly going to openly disagree with you at some point, I hope it doesn’t end up being over something that means we can’t be friends anymore?

And when I do leave a group, especially one that’s been a big part of my life, I still carry a huge chunk of their values with me. Often, I miss the sense of clarity and purpose that membership in that group brings.

I wonder if this is something everyone goes through.
missroserose: (Kick Back & Read)
...for once.

What I've just finished reading

Children of Time, by Adrian Tchaikovsky. This is one of those books you can't really discuss without discussing the ending; the last part ties together many of the themes raised throughout. As I think I mentioned before, what I kept turning over in my head was precisely what Tchaikovsky was saying about human nature. (Spoilers ahoy.) Read more... )

The Prisoner of Zenda, by Anthony Hope. A super-fun (if super-Victorian) swashbuckling adventure read, with heroes and villains and swordfights and escapes and all manner of derring-do. (Also precisely the right kind of book one can describe with the phrase "derring-do".) Unsubtle in the extreme; when the characters profess surprise that someone named Black Michael, possessed of an isolated castle far in the woods, turns out to be a kidnapper and would-be usurper, well...I had to laugh. I admit I mostly read it because I'm looking forward to KJ Charles' upcoming The Henchman of Zenda...and having encountered the characters that telling is centered upon, I'm looking forward to it even more now.

What I'm currently reading

I actually picked up The Master and Margarita again, and I think I'm starting to gain the thread of it—so of course the thing to do now is to start all over again, with a different translation! Actually, I mostly wanted a Kindle edition with linked footnotes, so I invested in the 50th Anniversary Edition, which also came with a foreword and introduction that've provided some useful context on Bulgakov's life as well as a rundown of the various themes and characters. So I'm more hopeful this time around (and having easy access to the footnotes is helping as well.)

What I plan to read next

Probably something at random I grab off of the shelf, virtual or physical...it all depends.
missroserose: (Freedom on a Bike)
Given that it's been somewhat in the spotlight of late, it's maybe not surprising that I tend to ruminate a lot on research on how much of human behavior is shaped by our environment. This is far from a new question, as the nature vs. nurture debate is recorded all the way back to ancient Greece and likely goes back even further than that, but it's particularly interesting in American culture specifically because we have so much investment in the cultural myth of rugged individualism. Like most cultural myths, this has both positive connotations ("You can achieve anything with hard work and persistence!") and negative ones ("...so if you're poor it must be because you're lazy and refuse to work, it can't possibly be because the system's stacked against you in some way"); either way, neither are quite true, and there's an increasing amount of research lately on how human behavior en masse is far more influenced by systematic incentives than we like to admit.

To zoom in from the bigger picture for a moment, this has been playing out in my own life in an interesting way the past few months. Y'all might remember that I was particularly proud last summer of how much I'd been traveling by bicycle, including a ten-plus-mile roundtrip commute a couple of times a week. Not only was it healthier for me than driving as well as cheaper and more convenient than transit, it was also more eco-friendly, all variables that I care about significantly. As winter rolled around, there were definitely times I was more likely to drive (through some trial and error I've discovered that below-freezing temperatures just aren't worth it to bike through, even if the roads are clear), though sometimes I would take transit instead as a convenient middle ground.

Then, a couple of months ago, Brian and I had our bikes stolen. This sucked, especially as the police do very little other than file the report when you call it in; they've got bigger fish to fry. Luckily, we had insurance and documentation; I filed a claim for the bikes and equipment and they paid out with very little trouble. However, since they no longer make the models Brian and I had before, purchasing a new bike involves some effort in terms of traveling to shops and test-riding different models; due to our somewhat crazy schedules and the time of year, it's been difficult to find time where we're not busy and the weather is cycling-friendly.

Unsurprisingly, this has changed my incentive calculus significantly. Technically I still have a bike, but in addition to needing maintenance, my old beater is too small for me and gives me knee pain, making it distinctly unfun to ride long distances. And since we were riding our bikes so much last summer, I canceled Brian's and my monthly transit passes, saving us $200 a month but also creating an additional disincentive to use transit rather than drive—transit is already less convenient due to the time involved and potential delays, and now that it costs $5 extra for each round trip I'm more likely to just use the car I'm already paying for (unless we're going somewhere like downtown where parking is difficult). Needless to say, I've been driving a lot more over the past couple of months...something I'm not terribly pleased about, but given that transit is more expensive, more annoying, and sometimes unavailable for my commutes, it's the least worst answer personally. The most damning part of it all: it's also the worst possible outcome for the greatest number of people (since I'm contributing much more carbon to the atmosphere), but the surrounding culture is structured in such a way that it's easy to rationalize.

It's situations like this that make me wonder if we're even going to be able to tackle systemic issues like overcrowding and climate change in the future—if we're already this invested in infrastructure for one system, how can we transition to a different one? One friend of mine, an anti-car Nazi (his description), proposes radical structural changes like banning cars from city centers or removing their privileged status on roads, thus slowing traffic and incentivizing the construction of transit, but I doubt such top-down measures are likely to find consensus when they'd greatly inconvenience so many people in the interim. How do we get to the point where the incentives change when we can't be bothered to deal with a little personal inconvenience?
missroserose: Backlit hands playing piano. (A Little Light Piano)
I've been slacking on piano of late. I had no access to one when I was in Arizona--we were staying in a 5,000 square foot fully-furnished rental mansion with a giant kitchen and pool and hot tub and rec room with air hockey and pool tables and there wasn't a single musical instrument in the entire house. (The snob in me thinks "no wonder these people have an entire bookshelf of right-wing political propaganda", heh.) As it happened, the venue my brother-in-law had rented for the wedding had three pianos, including a beautiful grand in the front foyer; I was there early for family pictures and of course I had to try it out. This resulted in a flurry of texts to my piano-teacher friend:

Me: "Suddenly I see why you're constantly on me about keeping my fingers arched. Those keys are way heavier when there's a big long lever attached."
Him: "Yeah playing on a grand is a whole different experience :)"
Me: "Probably doesn't count as "playing" when you're just picking out a few scales and failing to get the eighths in "Let It Be" to sound properly. More practice for me! When I have a keyboard again."
Him: "ohh but that so counts as playing. I miss the feel and sound of a grand!!"
Me: "I think I kind of hate it because there's no way to be inconspicuous. So everyone hears all my mistakes. {laughing crying face}"

Anyway, my schedule's been jam-packed since I got back and I was also fighting off a cold, so it wasn't until yesterday that I got back to practicing...directly after three hours of massage work, which I also haven't done in a while. Doing something that requires hand strength and dexterity and mental focus after three hours of doing something that requires hand strength and dexterity and mental focus...what can go wrong? But it was where I could fit it in my day, so I plonked my butt down and did it. My hands and arms are a little sore today but that's why ibuprofen was invented.

In other news, I'm trying to figure out what to do about my social media consumption. I never thought I'd be one of those people going on Facebook fasts--I have a lot of friends who live all over the world, and Facebook is super convenient as a reliable way to keep in touch with them. Up until now, when I noticed I wasn't enjoying my Facebook experience as much, I was able to go through and mute a bunch of people and hide the more obnoxious ads and things got better, but lately that strategy seems to be creating diminishing returns. I think some of it's the political atmosphere, which I feel a little bad about withdrawing from--people are upset about legitimate issues, and I don't blame them for needing a place to vent/speak about their causes!--but there's only so much anger (even righteous anger) that I can deal with. I've noticed that a lot of my more thoughtful/less actively political friends (who are the ones I tend to most enjoy interacting with) have been posting less, and of my remaining friends I've mostly been seeing either political posts or cat pictures; no idea if this is just what they're posting or if it's Facebook's algorithm, but either way I don't feel like it's terribly good-quality connection.

For now I'm trying to make an active practice of reducing my scrolling time; I'm going to try and redirect my energy into stuff like reading. I'm a little concerned about how isolating this is, though, and I don't feel I can drop FB entirely (it's sort of necessary for making connections in the yoga community). Maybe I'll see if I can pick up letter-writing again. Or even emails. I miss exchanging long-form communication with people, although I totally get why most folks don't want to spend the time. I'm grateful for my small community here on DW, for just that reason - longer-form posting encourages thoughtfulness and consideration in a way that microblogging really doesn't. I wish more of my favorite Facebook people would think about coming over here, but most of them are probably busy parenting or career-ing or otherwise having a life, heh.
missroserose: (Kick Back & Read)
Posting slightly early because tomorrow is slated to be mega-busy - breakfast, massage, yoga, lunch, volunteering, teaching. Also it's my first shift tutoring kids at the library and I haven't worked with kids in years and it's Valentine's Day so they're all going to be hopped up on candy and YOU GUYS I MAY BE LITERALLY INSANE. Yeah, I'm slightly terrified. But it's a good and useful thing I can do to try and make the world a little better...so I'm going to give it my best shot. At least I'm joining up mid-year; if it turns out I just hate it, I can get away with quitting when school's out in June without being a jerk. But it'd be nice if I actually enjoyed it.

What I just finished reading

Between the World and Me, by Ta-Nehisi Coates. I admit that a good part of why I read this now was sheer spite—the VRBO we stayed in last week had an entire bookshelf with a particular political bent, so I bought this specifically with the intent of reading it before we left and leaving it on said shelf. As for the book itself, I could go on for pages about my reactions to it, but for the sake of brevity I'll stick to the biggest revelation: Coates' framing of the fear African-American people live with every day not as fear for their liberty or their property, but specifically for their bodies. It's one of those concepts that's obvious in retrospect but which I'd never seen articulated; it's probably more comfortable for white folks (like me) to debate airy principles like "civil liberties" when, in fact, what black people are afraid of is being deprived of their bodily autonomy and their lives, often by agents of the same state they're expected to swear allegiance to and depend upon for protection. Speaking as someone who's spent a fair amount of time mulling over what I would do if I no longer felt safe in the country of my birth, and debating the benefits and difficulties of the homeless expatriate versus the persecuted minority, it was a bit of a shock to realize there's a whole community of people already living that question right here in my country. (In retrospect, I'm a little ashamed to admit that this shocked me so much—it's not like I haven't been following the news—but somehow I'd never made the connection.) Interestingly, it also intersected with my experiences in the massage field: I'd noticed for quite some time that the African-American people I've worked with tend to have bodies that are stiffer, with fascia that's adhered in patterns you see when people are often in fight-or-flight mode. I had figured it made sense, what with literally having to fight the system everywhere you go to be recognized as a human being, but again, I hadn't quite realized precisely how corporeal that fear was.

What I'm currently reading

The Beekeeper's Apprentice, by Laurie R. King. I got this from Audible some time ago, and with all the driving we were doing visiting friends in AZ, Brian and I broke it out to listen to. The narrator is competent enough, if a little limited in her range, which mirror's the writer's ability level as well - there are more than a few parts where I can't tell if she's rehashing intentionally in reference to the original Holmes stories or if she just needed another pass by the editor. But Mary Russell is an engaging enough protagonist, and the mysteries themselves (once we get past the somewhat slow beginning) quite well constructed. Holmes and Russell are up against the Big Villain of the piece now, and I have some pretty solid suspicions of who it might be, though I'll keep them to myself to avoid potential spoilers. I also am very much enjoying the not-always-comfortable evolution of Holmes' and Russell's relationship from master-apprentice to partners; I'm at times slightly concerned King is angling for a future romance, which argh no unnecessary and also way creepy between a twentyish woman and a sixtyish man? But so far the tension's been subtle enough that it could be chalked up to "older dude in sex-segregated society unused to having female company", so I'm hoping it's just my literary conditioning causing me to read too much into it.

What I plan to read next

I hang my head in shame - I'd planned to read The Master and Margarita on the plane back but I was so braindead I ended up watching Zootopia on the plane's streaming service instead. (Which I can't say I regret because it was funny and well-constructed and so much smarter than I was expecting and really go give it a watch, especially if you're having a day when your faith in humanity is low. And seriously, there are some great gags.) Soon, though, I promise!
missroserose: (Joy of Reading)
What I've just finished reading

Ancillary Mercy, by Ann Leckie. A couple of years ago, Brian and I started watching Star Trek: The Next Generation via Netflix, and it occurred to me how fundamentally different it was from anything I'd seen on television over the past couple of decades; specifically, the way the Enterprise crew fundamentally assumed from the get-go that any aliens it encountered, no matter how powerful or strange, could be reasoned with - they might or might not hold the same values humanity did, but that there was always some common ground. Several of the best episodes ("Darmok" comes to mind, though there are others) centered on this idea, in fact. (I'm far from the first person to observe this about the show, but growing up watching primarily Star Trek spinoffs and very little other television, it never really struck me until then exactly how unusual that was. I remember, in fact, watching the new Battlestar Galactica in my twenties and thinking how much more appropriate it was, in a post-9/11 landscape, to have a sci-fi show that addressed the more distrustful aspects of humanity...and only realized some seasons later how depressing it got because it almost continually refused to acknowledge the flip side, perhaps because it was afraid of being compared to Star Trek.)

I bring this up because this series is one of the first that I've seen that does something different with the space opera formula. Even my beloved Vorkosigan series, delightful as it is, tends to have easily-identifiable characters and follow fairly standard plot arcs; this is hardly surprising, as tropes and archetypes are integral to our storytelling traditions. But the Ancillary books could almost entirely be summed up in this one line, from a recent installment of a different space opera franchise: "This is not going to go the way you think." And while lots of stories attempt to do what Leckie does here - subvert expectations, zig when you think it's going to zag, create fascinating characters and a meaty conflict with a satisfying resolution without a single Giant Space Battle - I've rarely seen it pulled off with such aplomb. It's not Star Wars-style space opera, about myth or the expectations that myth generates; it's not Star Trek either (the one alien race we have even tangential contact with, the Presger, are notable for precisely how alien they are - threatening not due to their desire for power or territory or resources, but because we can't even conceptualize of what they want). It's something completely its own, and refreshing, and so well-built that I can't quite believe it's over - the characters and their world still exist vividly in my head, long after I've put the book down.

What I'm currently reading

Winter Garden, by Kristin Hannah. I feel like this book started about ten chapters too early - I'm seven hours in to the audiobook and it's only just starting to really pique my interest. While I get what the author was doing - Nina and Meredith's mother is so completely closed-off that it takes their father's death, the frustration of Nina's career prospects, and the dissolution of Meredith's marriage in order to get them to the point where they're finally in a place to make the effort to get her to open up - it basically translated to six and a half hours of listening to "hey, these people have problems, and hey look, those problems are getting worse!" Which, now that I think about it, may well be preparing me to dive into some Russian history and literature, although perhaps not how I was intending it to. :P Still, I'm enjoying their mother's 'fairy tale', even if the contrivance feels--well--contrived; how is it not plainly obvious to both of these women that this is their mother's life story, thinly veiled?

Ella Enchanted, by Gail Carson Levine. I've only read the first chapter or so, and I already like Ella - cursed with the 'virtue' of forced obedience, she develops a rebellious streak and finds creative ways to subvert it. I'm looking forward to this one, despite my general dislike of Clumsy Heroine Syndrome.

What I plan to read next

Might as well get a start on Yoga Sequencing, since I made it one of my New Year's goals. I haven't been journaling as much as I'd like to, either, so I think I'm going to go with the idea I had before - set aside the time to read a chapter each week, and journal about how I might apply it in my work.
missroserose: (Incongruity)
Last night, Brian and I watched what's turned out to be one of my favorite episodes of Star Trek: Voyager: "Living Witness".

It starts out with a "What's Wrong With This Picture?" portrayal of the Voyager crew. The actors and costumes are the same, but lots of details are wrong: everyone wears black gloves, Chakotay's tattoo takes up half his face, Janeway and Tuvok flirt with each other, the Doctor is a sociopathic android, and the crew members constantly belittle and insult each other. Most shockingly, Janeway and the crew commit outright genocide in a battle between two races on a nearby planet.

Rather than a mirror-universe story, the opening act turns out to be a recreation in a museum by an alien civilization, 700 years in the future, telling the history of their conflict with their co-species. Needless to say, a patron who's a member of that species isn't particularly fond of the portrayal, and challenges the curator as to the authenticity of his data. The curator smugly informs him that they've just discovered a data storage unit at an excavation that they hopes to recover more data from to fine-tune their story; when the patron asks him what will happen if the data contradicts their expectations, the curator assures him they will reexamine their assumptions.

After some work, the curator finally activates the data device, only to find that it's a backup copy of the holographic doctor, who reacts with understandable shock and horror to this portrayal of his friends. Initially excited, the curator grows increasingly agitated as the Doctor argues for the character of the Voyager crew, insisting that they weren't the aggressors at all and that the crew were inadvertently caught in the conflict as they attempted to negotiate a trade agreement. Angry at having his worldview challenged, the curator refuses to listen and shuts off the Doctor's program mid-sentence. (This being Star Trek, though, that's not the end of the story.)

It's probably not surprising that I loved this story; I've written before about the trickiness of history, and how easy it is to cast people and events in an entirely different light, depending on what you include or leave out, or even such subtleties as the descriptors you use. But I think what I loved about it even more was the journey the curator takes throughout the story.

I've been spending a lot of time lately ruminating on the paradox of intelligence and self-awareness, and how the two don't always coincide where you would expect. One of the classic examples is with situations precisely like the curator's: you would think that intelligent and scientifically-minded people, who are aware of confirmation bias and how it works, would be more open than the average person to changing their assumptions. And yet, in practice, it turns out the reverse is true; intelligent and scientifically-minded people are some of the most prone to confirmation bias, because they're particularly good at marshaling arguments to support their assumptions, as well as finding reasons to dismiss evidence counter to their views. That's not to say they can't reexamine their beliefs, but it's sometimes harder for them.

So it really struck me when the curator re-activated the Doctor's program a day or two later, even (with prompting) apologizing for cutting him off mid-sentence, and asked him to continue his recounting of events. The Doctor, still miffed, asks why he'd want to listen to the words of a genocidal maniac like him - what changed his mind? And the curator replies, with refreshing honesty: "Time to think."

I wonder if, here in this age of social media arguments and instant messaging, that's what's missing from our discussions. Not just the lack of investment in the other person's humanity - so easy when you're shielded by two screens - but also that willingness to step back and absorb, or even more, let the other person step back and absorb. Instead we batter them with all the reasons why we're right, sometimes with the aid of other people, having convinced ourselves that we just need to win, we don't need to worry about the state of the other person involved or what they think of us. Even though we know this tactic doesn't work - the evidence is right in front of our faces.
missroserose: Backlit hands playing piano. (A Little Light Piano)
I've been debating whether to write anything about this here, both because it's intensely personal and because I feel like I've mostly processed it at this point. But I'd like to have it down in something resembling a narrative; I'm slowly accepting that musicianhood is a fundamental chunk of my identity. (Which is something that anyone who's known me a while - especially while I'm in the throes of learning a new instrument - could have told me, but that I'm only really processing in chunks. Ah, self-discovery.) It feels like the real question, though, is where to start. As with most thorny questions of identity, past and present are all knotted together, and untangling them is difficult.

I think I'll start with a bit of common narrative advice, and begin as close to the end as possible.

So, last week I bought an electric piano. Nothing fancy, just a Casio Privia, a line known for being a solid choice for beginners. (The other strong contender was a Yamaha - it had a slightly warmer and fuller sound - but the Privia line has scaled weighted hammers attached to the keys to make it feel far more like an acoustic piano; the mechanical resistance on the Yamaha just felt mushy by comparison. Plus the Yamaha was finished in a high-gloss coat that attracted fingerprints and dust like whoa.) Slight brag: I was originally going to buy the entry-level keyboard for $500, but Guitar Center had the electric piano version (same footprint as the keyboard, but with a built-in stand with pedals and a fancy cover to slide down over the keys) for $600 because the new model had just come out. I inquired about it, and the only one they had left was the floor model...so they gave it to me for $560. Sold!

I got it home and set it up in the spare bedroom, and made arrangements with my pianist friend for lessons. I even did a little refreshing on the basics via YouTube, no problem. And then I went to write about it here in my blog, and all my paralyzing ambivalence about music began to kick in - to use the metaphor from Come As You Are, I could feel my flock of birds start to wheel about in different directions. Rather than try to push through or ignore the feeling like I usually do, I took the book's advice and began listening to each bird (i.e. my assumptions and experiences and values) and writing out what it had to say. Some particularly relevant ones:

--I love music. I love making music. I love learning music. It's right up there with bodywork and storytelling as things I'd say are fundamental to my identity. "Musician" is one of the few role descriptors that's felt right to me for my entire life.

--To become a real musician, I have to go through years of rigorous training, with teachers who berate and humiliate me until everything I play/sing is perfect.

--Becoming a real musician requires hours of disciplined practice every single day. Scales, drills, repetitions. Each new song needs to be completely perfect before it's ever performed.

--Performing in front of a live audience is one of the most challenging and rewarding experiences in my life.

--Real musicians are always hustling. Gigs are few, good-paying gigs even fewer. The only way to make a living at music is to be poor and constantly working, traveling to work, or practicing.

--Following from the above assumptions, being a real musician is both amazing and absolutely miserable.

--The only worthwhile way to be a musician is to be a "real" musician; otherwise you're just a hobbyist and a dabbler and you'll never actually be any good.

--Fun is completely incidental to music. If you're having a good time jamming with friends or trading techniques, this is nice but not real musicianship.

Yeah, can any of you tell that my mother was classically trained? :P

As with most such sets of assumptions, these are of course ridiculous and contradictory when written out. But I'm not sure I can convey exactly how much emotion I had invested in them. To borrow another metaphor from Come As You Are (for a book about sexuality I'm seeing an awful lot of personal value from the non-sexy bits), these plants were pretty deeply rooted in my mental garden - some from my own experiences, a lot from the messages I got growing up with my mother and her own ambivalence towards musicianship. Pulling them up was fraught, to say the least; I spent about twenty minutes simultaneously crying and laughing with fear and rage and relief and anger and amusement at the sheer ridiculousness of all of it. It was more than a little terrifying - at one point I wanted to put my fist through the wall. I never get that angry!

I think, on some level, part of the fear was/is that pulling up those plants (i.e. facing these assumptions and letting myself feel the associated emotions) would mean that I'd no longer have any desire to pursue music - without that internal pushback, would I still have any kind of passion for it? It's a little early to tell, but I don't think that's the case; I'm still practicing, albeit at my basic fifteen-minutes-a-day level. (It's not hours of discipline, but I've seen real results with it. I got to be quite a competent guitarist by setting a rule that I had to play fifteen minutes each day, and if I felt like doing more, great.) I'm hoping that, now that I've pulled up this particularly stubborn patch, I'll have an opportunity to replace it with positive assumptions and experiences. (There's no reason someone who plays as a hobby isn't a 'real' musician! Jamming with friends is 'real' music! Even if I never perform professionally and just play for friends, that's still a worthwhile endeavour!) But at the very least, I don't feel that paralyzing sense of self-hatred and fear anymore when I think about how much I still have to learn, or how I might go about pursuing music in the future. And that feels like a big step in the right direction.

On a related note (haha), I'm thinking about getting some kind of music-themed tattoo - sort of a promise to myself that I'm a 'real' musician, even without classical training or a performing career. Have you seen any particularly interesting designs? Tell me about them!
missroserose: (Inspire)
As I mentioned before, I very much loved Ancillary Justice, in part because of the multilayered approach - the story works very well on its own, but there are a lot of Big Ideas addressed both overtly and subtly, and so many crunchy questions of ethics and morality and technology and culture to debate. The aspect that caught my eye the most, though, was how a little over midway through the book, it also became a parable about identity.

Spoilers ahoy! )

I recently came across a wonderful metaphor for consciousness in (of all things) Come As You Are. Nagoski describes our minds as being like a flock of birds - at any given time you have your ideals, your assumptions, your values, your emotions, your opinions of the world, the information given to you by your senses, your feelings about that information, your memories, all flying at once. When they're all in harmony with each other - when they're all on a level and all agree with each other about which direction to fly - all is well. When some are in disagreement, however - when past actions disagree with your values, or when you receive new information that's at odds with your assumptions of how the world operates - this causes cognitive dissonance, which can be uncomfortable enough to eventually alter our values and thus the direction of the entire flock. In extreme cases, where traumatic events take place and our flock goes all over the place, we end up paralyzed. But most of the time, it's not that extreme; we continue on, and eventually resolve the dissonance by changing what we can -
whether that's our behavior or our beliefs.

But how often have we accidentally entrapped our friends within that dissonance? How often have we, in not wanting to address our own shortcomings, put those we care most about in a no-win situation? I think particularly of romantic relationships, because they're so emotionally fraught and full of scenarios where our feelings don't live up to our values. Say a partner breaks up with us; we believe that they're an individual and have the right to pursue their own happiness, so we do our best to keep our chin up and bravely soldier on. But breakups hurt; social disconnection hits at our very core sense of self-worth (not to mention our more primal fears of survival, as social connection is fundamental to that survival). Then some weeks later - long enough for us to have gotten over the worst of the sting, but nowhere near long enough to have recovered entirely - someone we care about approaches us and tells us they've been wanting to see our former partner romantically, and is that okay with us? We're faced with a dilemma - no, emotionally it's not okay with us, but to say so means admitting our humanity and our vulnerability on this point, not to mention demonstrating that we're not living up to our vision of ourselves as someone able to Get Over Things. So we say that it's quite all right, thus setting our friend up for precisely this kind of failure - if they take us out our word, we resent them and possibly lash out at them later; if they don't, they're as good as saying they don't trust us. Either way, disconnection.

I think this is one of the biggest reasons I find teaching yoga so rewarding. My emotional integrity has improved by leaps and bounds since I began practicing regularly; something about the meditative aspects of yoga really helps me acknowledge and be more compassionate towards the parts of my consciousness that don't align with who I most want to be, and the physical activity helps to defuse the stronger emotion and get that part of me flying in line with the rest of the birds. I hope that, to some extent, I share that same feeling with my students; it's the kind of small-scale change that can have a huge effect in a person's life, and perhaps even ripple out to have positive effects on everyone around them.
missroserose: (Default)
As of this morning, I have completed all paperwork, meetings, studio walkthroughs, and desk shifts required...and as of Monday, I'll be teaching my first yoga class! (My first two yoga classes, actually, since I picked up a sub that evening.) Earlier in the week, I was anxious bordering on terrified; after some breathing and journaling and other anxiety-acceptance measures, I'm feeling at least a little more sanguine about it. The manager at the studio has been super chill and supportive, including responding promptly and positively to my numerous emails about questions and small administrative details. And no matter how badly I screw up, I know I'm not going to be as bad as The Worst C1. (I don't think I ever wrote about it here; suffice it to say, the girl barely moved from the back of the classroom the whole time, she didn't touch anyone, she spoke in a soft near-monotone that sounded for all the world like she was reciting a memorized script, and her whole playlist was atonal noise rock, including savasana (?!). At the very least, I know I have a better playlist.) But there's still a lot of anxiety for me in getting up and being open (and thus, to a degree, vulnerable) with a whole group of people, for a whole class. Which, I suppose, is a sign it'll be a good learning experience, too.

Anyway, onto the book stuff!

What I've just finished reading

*hangs head* I have not finished anything this week, either. I strongly suspect I'm letting my anxiety occupy too many emotional cycles; I've noticed that I tend toward obsessive behaviors when it gets going - refreshing social media, occupying myself with ticky administrative details, looking over my calendar repeatedly, etc. (Why, yes, I do have a family history of obsessive-compulsive disorder, how did you guess?) It's surprising, how much time and energy it takes to be anxious. Anyway, I'm working on it.

What I'm reading now

The Yiddish Policemen's Union, by Michael Chabon. Dialect or no, I've been finding myself wishing that I was reading a physical copy of this book; Peter Riegert is turning in a perfectly decent performance, but there are so many wonderful descriptions and delightful turns of phrase that I really want to savor but that just go by too quickly. I finally have taken to using a combination of Audible's "bookmark" feature and (for ones I think Brian will enjoy) transcribing and texting them to preserve their ephemerality: "the sudden awareness, like an inverse satori, that he has made a grave, if not fatal error...his jaws snap together, making each tooth ring out with its own pure tone as the impact of his ass against the ground conducts its Newtonian business with the rest of his skeleton." "The winter sky in southeastern Alaska is a Talmud of grey, an inexhaustible commentary on a Torah of rain clouds and dying light." "They all looked shocked; even Gould, who could have happily read a comic book by the light of a burning man."

For all the lighthearted metaphor, there's a very real atmosphere of melancholy and uncertainty in this story; not grief, precisely, but the recognition of opportunities missed, the sense of having taken a wrong turn somewhere without knowing precisely what it was. Perhaps this is appropriate to a tale of Jewish culture, even alternate-universe Jewish culture; I know it probably resonates with me more now, at this point in American history, than it likely would have even a year or two ago.

I'm a bit torn on the worldbuilding; there are hints of a broader global alt-history stemming from the decision to relocate Jews to Southeast Alaska instead of Israel, but whether due to my personal ignorance of world/Jewish history or simply to the fact that it all goes by a bit too quickly in audio format, I'm having trouble piecing together exactly what's different from our more recent history. That said, the tensions and troubles and cliques and feuds and foibles of this particular group in this time that never existed are beautifully rendered. The plot is mostly pretty standard religious-political-conspiracy stuff, and it moves a bit slowly, but one gets the feeling it's more of an excuse to spend time in this world and with these characters, and said characters are entertaining and well-drawn enough to be worth the investment. I'm wondering how it'll wrap up; the themes don't point for a truly happy ending, and neither does the alt-history-noir setup, but given the effort they're putting in to untangling this mess, I suspect Landsman and Berko will pull at least "bittersweet".

all about love, by bell hooks. This week's chapter is on community, and the importance thereof in giving us a place to practice love, especially for those of us raised in unloving and dysfunctional family situations. I've long been a proponent of making community connections a bigger part of our lives - it's something that doesn't get a lot of emphasis in our mainstream culture, with its deleterious emphasis on the nuclear family as the social unit uber alles - but I'm not sure I agree with her framing. She seems to come from a place of fundamental certainty that everyone participates in a community in good faith; thus, she believes that, while distancing is sometimes necessary, there is no reason to ever cut ties with a person; everyone can and will change for the better when presented with evidence of the hurtfulness of their actions. She cites one friend in particular whose family was incredibly hurtful towards her when she came out as a lesbian; apparently after some years, their attitudes changed and they were able to have a worthwhile relationship.

Obviously, I have a lot of issues with this paradigm. I'm all for giving people the benefit of the doubt; we're all human, we all make mistakes. But she seems to be falling headlong into several common social fallacies; the fact is, there are drama queens, and missing stairs, and other individuals that a community is better off without. Setting boundaries with these people, and actively limiting your social interactions with them, is a net social positive - not only because it increases your happiness, but because limited options due to social censure is its own lesson. I'm more torn on the question of whether they can learn; presumably, we need to give people the benefit of the doubt in order for them to learn, but based on my past experiences, I have a very difficult time trusting that someone with an established pattern of behavior will have any desire to change, let alone gain the self-awareness to do so. I'm sure it can happen, but I have a hard time trusting that it is what's going on in any given situation - especially when it's so much easier to claim you're trying to change without actually, y'know, doing any of the work. Maybe this is a reflection on me and my trust issues more than on anything inherent to humanity, I don't know.

What I plan to read next

Back before I put a moratorium on new book-buying, I had pre-ordered Cherie Priest's new book Brimstone, which just arrived in the mail. I have a feeling my to-read shelf is going to go neglected in my next selection...
missroserose: (Default)
My last post might have been lighthearted in nature, but strangely (and despite freezing temperatures today), it really does feel like spring has begun. I wonder if there's any actual connection between changes in people's lives and changes in the seasons. I know it's always felt that way to me, but I'm not precisely an unbiased observer.

In any case, we're due for a high of 72 on Friday. Time to get the bikes out!


What I've just finished reading

Paper Girls, vol. 2, by Brian K. Vaughn and Cliff Chiang. I'm completely entertained at how much DNA this series shares with Stranger Things, at least for the first couple of acts; refreshingly, however, the kids terrorizing their neighborhood on bikes are all girls, and this informs their outlook more than a little. There's less character-building and more action in this volume, as the futuristic elements teased in the first come into full play here. I enjoyed it - the thought of a Godzilla-sized tardigrade terrorizing a quiet suburb entertained me to no end - but missed the interplay between the characters, as most of this volume (understandably) consists of their splitting up to do detective work and figure out what's going on. There are some good moments, though; I'm hoping that the next volume, which is going to have to start providing some explanation, finds a way to keep the character development going alongside.

What I'm currently reading

The Yiddish Policemen's Union, by Michael Chabon. I remember seeing promotional posters for this book everywhere when it came out, probably because it's set in Southeast Alaska and I had just moved to Juneau at the time. I'm enjoying Chabon's characters and the wryly vivid way he describes his characters and world: "The rest of Sitka's homicides are so-called crimes of passion, which is a shorthand way of expressing the mathematical product of alcohol and firearms." Interestingly, I'd barely noticed the dialect until reading a review that pointed it out, despite having had real trouble with it in other works (I couldn't make it past the first couple pages of A Clockwork Orange). I wonder if it's because I'm listening to it via audiobook; it would make sense, given my significantly-better reading (as opposed to audio) comprehension, that my brain would be worrying at the unfamiliar words and have trouble getting past them when written, but would be so busy interpreting and piecing together the sounds that it'd be more willing to sort of gloss over the unfamiliar words and pick them up from context.

all about love, by bell hooks. Given my general dislike of philosophy books, I seem to be reading a lot of them all of a sudden. Even when they annoy me, realizing I can journal about them and make them into a sort of dialogue helps them feel less preachy. But it also doesn't make for particularly fast reading - I think I've managed all of one chapter of this one all week.

The chapter in question is on values - and specifically, how many of our cultural values actively inhibit living by a love ethic. So it's probably not surprising that I found a lot of stuff I agreed with, haha. Still, this passage in particular caught my eye:
 
We see movies in which people are represented as being in love who never talk with one another, who fall into bed without ever discussing their bodies, their sexual needs, their likes and dislikes. Indeed, the message received from the mass media is that knowledge makes love less compelling; that it is ignorance that gives love its erotic and transgressive edge.

Speaking as someone with more than a passing interest in erotica, this kind of thing drives me nuts. Some folks really do dig anonymous sex, but in my experience they're a minority - and usually it's more the transgressive thrill of the act itself than anything particular in the sex that they enjoy. Seeing so many movies where the message is "these people are in love and that magically means they're 100% compatible in the bedroom despite their never having, y'know, sat down and talked to each other about what they like" both sets up an unrealistic cultural standard and actively suppresses a normal and healthy part of sexuality. It took me years and several partners to get past the "if I have to tell my partner what I like then clearly we're not really In Love!", and I know some people never get past it; opening up your mouth and asking for what you want is hard enough without that kind of baggage attached. (I genuinely wonder if this kind of problem has been more harmful to our collective sexual health than the oft-laughed at pornographic tropes; at least with the latter, it makes no bones about being a fantasy and not representative of real life.) Besides, talking about your desires is sexy - it demonstrates confidence and self-knowledge. Leaving that out of a romantic story means you're missing out on some seriously good stuff.

What I plan to read next

It's pretty up in the air at the moment - I've got a fair amount on my plate right now.  Still, I suspect I'll be eyeing something new soon - you can't keep a good polybibliophile down for long!
missroserose: (Default)
"The last thing to determine conclusively is whether you are in a comedy or a tragedy. To quote Italo Calvino, ‘the ultimate meaning to which all stories refer has two faces: The continuity of life, the inevitability of death.’ Tragedy, you die. Comedy, you get hitched."

--Professor Jules Hilbert, as portrayed by the inimitable Dustin Hoffman in Stranger Than Fiction


Back when I first saw this movie years ago, it set me on ruminating over the difference between comedy and tragedy. The definition above isn't untrue, if a bit simplistic - obviously there are plenty of comedies that don't end in weddings, and tragedies that don't end in death. A better definition might be that a comedy ends in a strengthened sense human connection, whereas a tragedy ends with a weakened connection and/or increased sense of isolation, but that's describing the effect rather than the cause.

So here's my proposal: a comedy is a story where the protagonist learns, grows, and changes. A tragedy, on the flipside, is a story where the protagonist has an opportunity to learn and grow, but misses it, and fails to change (or fails to do so enough to avert loss).

This, I think, is why comedies are so often love stories - be it romantic love, filial love, friend-love, or even self-love. Love is one of the primary drivers of change in our lives; to quote M. Scott Peck, love is "the will to extend one's self for the purpose of nurturing one's own or another's spiritual growth". For those of us lucky enough to live in relative safety, few other forces will ever highlight our weaknesses while simultaneously driving us to aspire to better - that is, provide ideal circumstances for learning, growth, and change - than love.

I suspect, also, that this is why comedies tend to focus on younger protagonists, often those of working- or middle-class. Younger people, even those in their 20s, are in many ways are still discovering the world around them; it's often easier for them to admit that a former assumption was incorrect, because their world is still very much in flux. That's not to say that a change isn't without consequences, both internal and social; otherwise the story would have no stakes. Think of the romantic hero afraid of being laughed at when he falls in love with a less-than-acceptable partner, for instance, or the pre-med graduate whose whole life has been about becoming a doctor, until they picked up the guitar. But it's easier to make a drastic career change, or to make better friends, when you're younger; as you grow older and settle into habits, the stakes get commensurately higher. Tragedies, by extension, tend to focus on older, higher-class subjects - especially rulers in one form or another. And whoo boy, when you're the political and social figurehead of a kingdom, do you have a lot to lose by admitting that you're wrong. Often, however, your country has even more to lose by your refusal, which compounds the magnitude of the tragedy.

Of course, no good framework is ever offered without examples and discussion - that's how we vet any theory. So let's have an impromptu humanities class! What are your favorite comedies or tragedies? (No judgment allowed on people's choices; there's just as much room for discussion of the tragic/comic aspects of Riverdale or Three Men and a Baby as there is of The House of Mirth or The Yiddish Policeman's Union.) What are the stakes? How does the main character change (or refuse to change)? Is the story a tragedy from one perspective but a comedy from another? Does your choice upend my whole theory? Let's discuss!
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...my path through the cultural morass has mostly been to be unquestionably brilliant -- it's really hard for people to argue that you shouldn't be on the team if you're the best at it.
--[livejournal.com profile] thewronghands/[personal profile] ivy, on dealing with society's engrained sexism

Having written recently about my sense of pride, this quote resonated in my mind with the clarity of a plucked string. If I'm the best at something, no one can criticize me or tell me I don't belong somewhere; in our culture, as a member of a group traditionally excluded, that's a potent defense. Unfortunately, it feeds right into the negative side as well - It makes it difficult for me to learn new things, because I have to first admit that I'm new to this and don't already know everything about it. And if it turns out to be harder than I expected to pick it up, if my unspoken mental "time allotted to become brilliant" is exceeded, I grow very tempted to abandon the effort - the risk of being challenged on it is simply too great.

Upon reflection, I realized it's social as well as vocational: I used to be obnoxiously assertive with my opinions, arguing them to the death when challenged. I've grown better about this in recent years, cultivating the ability to ask others and listen to their responses as well as to pick and choose my battles, but I've noticed that the more men are in a particular group, and especially the less attention I feel they're paying to non-male points of view, the more likely I am to revert to my old habits.

And god forbid I am challenged and shown to be less than brilliant, says my insecurity - that might lead people to question my brilliance in other arenas, and soon I'll be shut out entirely.
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Given that Brian and I are both big fans of the Chicago Shakespeare Theater, I perhaps should not have been surprised to find myself deluged in mailed flyers for their new season - and specifically, for their 30th anniversary season special of $99 for tickets to three shows. The date and seat options were limited, of course, but with some finagling I found a set of dates when we were free, and thus was Brian's Christmas present taken care of.

Last night was our first show, King Charles III, a "future history" of Great Britain; basically a speculative work on what the near future might hold for the British monarchy, written a la Shakespeare (although in truth it hewed closer to the style of his tragedies than his histories). Queen Elizabeth II has just died, and after a lifetime of waiting, Charles III has ascended to the throne, just in time for the passage of a bill by Parliament that would severely restrict freedom of the press. The Prime Minister, knowing Charles' long and contentious relationship with the tabloids and confident in two centuries' worth of precedent, is understandably dumbstruck when Charles refuses to sign the bill into law, thus throwing into question the long-held (but nonetheless relatively recent) tradition of royal political neutrality. Parliament doubles down, the King digs in his heels, and events spiral outward from there, with various family members reflecting on both their duty to Great Britain and the opportunities afforded them by the conflict, even as the people, cleanly split on the issue, grow restive, organizing protests and counter-protests all through the British Empire.

I hugely admired the intelligence of the play; political intrigue is a favorite subject of mine, and both the playwright and the actors did a fabulous job demonstrating the complex (and often conflicting) principles and desires that drive each of the major players to their respective conclusions. I particularly enjoyed the uncertainty around the title character - is he, as he claims, driven purely by his faith in the necessity of a free press to a functioning democracy? Is he secretly enjoying his time in the spotlight, after having played second fiddle for so long? Is his obstinacy truly the result of closely-held belief, or is he also trying to make his mark on history in the relatively short time allowed him on the throne? Even juicier were the reflections on the role of royalty and government in British society. Is it the royal family's place to influence politics? If they refuse to take a stand on important issues, do they serve any purpose other than hollowed-out puppets of Parliament? What about their value as figureheads, standing for the continuation of Britain? What principles are worth the upending of political and social custom to defend? Which is more important in government, principle or stability? Can there be stability in a democratic society? What good is continuation if the country has no integrity left to carry on defending?

To its credit, the play balances its Serious Political Commentary with a healthy dose of humanity - a subplot regarding a love affair of Prince Harry's, and the meticulously drawn character of King Charles and his interactions with various politicians and retainers, bring some much-needed humor to the proceedings. That's not to say that it's perfect; the aforementioned subplot is a little underdeveloped, and (much to my personal annoyance) the female characters are relegated to stock Shakespearean tropes with no real arcs of their own. But even with those frustrations, I appreciated the show; it may hold few solutions for current anxiety-inducing political climate, but it's still reassuring to see that others are asking the same questions. Highly recommended.
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"Take this paper, and write down all the regrets you have from the past year. Then we'll burn them and start with a clean slate."

My friend hands me a torn scrap of foolscap, and I pull my purple pen from my purse, considering. The other party guests banter with each other, covering up the inherent vulnerability of the moment by proposing outrageous stories or asking whether such-and-such mundane thing counts as a regret.

I write a few lines, mostly small things; slowly, they begin to imply a theme of something larger that I can't yet articulate. I write a few more, circling around the issue: I regret not taking some of the opportunities my mother offered to grow closer. I regret not reaching out to my friends when I needed emotional support. I regret letting my certainty that I already knew the answers cloud my ability to learn new things.

Finally, I've outlined the shape enough to identify what it is my brain's been hiding from me: carefully, in clear letters, I print "I regret all the times my pride has kept me from connecting with the world."

Then I circle it and underline it twice, as if to emphasize its importance to the oncoming flames.

--

"Even from the time Ambrosia was little, she knew her self-worth."

I am twelve years old, and my mother has told this story many times. Still, my back straightens a little.

"When she was a toddler, I would take her to the playpark in our neighborhood, and she would want to stay longer. So I would tell her, 'Okay, I'm going home without you,' and pretend to leave. And she would keep on swinging, or playing on the jungle gym, until I turned right back around and scooped her up."

At this age, in the nadir of middle school, I am just now beginning to be aware that my greater-than-average self-confidence has been a handicap to my social acceptance. Eight years of teasing, of ostracism both subtle and blatant, of outright violence on a few memorable occasions, are finally starting to penetrate. I am slowly realizing that, contrary to the "just be yourself!" messages of a thousand thousand afterschool specials and middle-grade novels, my defiance of social dictates - my refusal to wear 'normal' clothes, to care about my presentation, to keep my opinions to myself in class - are exacting a very real toll on my ability to get on with my classmates.

Until this point, I've taken pride in not caring about the shallow and superficial things most people in my age group care about, in marching to the beat of my own drum. But the constant shaming wears on me, as it is meant to do; we are social creatures, exquisitely attuned to the slights of others. It will be some years yet before I start to appreciate the value of building my personality through careful negotiation with social norms, of bearing superficial markers indicating belonging to a particular class or cohort. And it will be many more years of careful observation and learning - often by saying precisely the wrong thing - until I learn the subtle arts of getting along in a community, of deferring to others' knowledge even when I'm convinced of my own correctness, of influencing group opinion in small ways, of quietly building social currency against the day when my integrity will demand that I take a stand.

--

This morning, cocooned in blankets and absent any driving motivation to get out of bed early, I sank into the sort of brightly-lit, highly-detailed dream that often seems to visit me at such hours. I was visiting a mall storefront that turned out to be a beautifully decorated Jewish temple, run by a particularly Orthodox sect. For some reason I had a pressing need to wash my hands, and I remember asking a stern-browed woman if I might do so; she looked displeased at the notion, but apparently my need was great enough to overcome her reservations.

I proceeded to the back of the space, where there were several sinks, and started washing my hands at one of them, only to realize from the horrified faces of those around me that not only was I using entirely the wrong sink, but that I was trespassing upon the men's side of the temple, as well as likely violating several other rules I didn't even know. I take such pride in knowing the social tenets in any given situation, in acting carefully to ensure the comfort and approbation of others; the realization that I was in a situation where I was socially illiterate sends a wave of shame, pure and unadulterated as few non-dream emotions are, swamping my chest and my cheeks. Strong as it is, it burns indelibly into my memory the dream that might otherwise have faded in the light of day.


--

"Are you feeling inspired?" I ask my client, once she's taken a few breaths of her aromatherapy oils. We had been laughing at the silliness of naming a scent blend "Inspiration", as if achieving so notoriously elusive a state could be as simple as taking a few breaths.

"Oh, absolutely!" she answers, tongue planted firmly in cheek. "Now I can go home and finish all those half-done songs I have filling my notebooks!"

We spend a few moments bonding over the difficulties of musicianship, and the specific frustration of unfinished artistic efforts. She admits that she finishes perhaps one in ten songs that she starts; I, having not even been brave enough to start ten, feel simultaneously relieved and humbled.

I've long known that my difficulties in finishing anything artistic stem from my perfectionism; so long as a song or a story lives only as an idea in my mind, it will always be perfect, spared the trauma of birth and the inevitable marring of being shaped by imperfect hands. But, with pride much on my mind of late, I begin to consider how much of that perfectionism stems from pride. Completion means sharing, and sharing means risk - of judgment, of failure, of losing my sense of specialness. If I could let go of that need to feel special, set apart, would that help me to take artistic risks? Would it be easier to share something imperfect and true if I didn't tie my self-worth to my pride?

That last thought startles me with the truth it implies, and I almost miss a stroke in the massage.

--

"You can spend your life trying to fit yourself into a box. But you'll always be too much for some people. For others, you'll never be enough. But the great joy is that, if you let yourself, you'll always be exactly enough for you."

Something in the yoga teacher's voice catches me, which seems odd - I've been ruminating of late on how the doctrine of self-exceptionalism has been harmful in my life, and on the surface her message reads very much as a variation on the "just be yourself!" mantra.

You'll always be exactly enough for you.

It occurs to me, as my brain slowly slots the puzzle pieces together, that perhaps the problem isn't pride, per se - it's what I'm proud of. All my life I've been told that I'm talented, intelligent, exceptional; all my life I've been secretly terrified that I'm going to seriously screw up and prove everybody wrong, prove that I really am that weird girl who deserved to be bullied and ostracized, disappoint everyone who had such faith in me. I've accomplished a few things, it's true, and I'm proud of them, but I think I've been even more proud of how they reaffirmed my belief in my own exceptionalism.

And yet...in order for me to be exceptional, it logically follows that others have to be unexceptional. And I've long since rejected the idea of talent as a zero-sum game; I strongly dislike the idea that because one person doesn't measure up to another on one arbitrary scale, that means they don't have something to contribute on another axis. I wonder how much of the fear and misery I can forestall by refusing comparison, by practicing humility with regards to others, by working on being enough for me.

I wonder if, freed of its shackles of fear and embracing its gift of imperfect life, my art might someday take wing, finally able to share itself with the world, to help forge those tenuous connections we so desperately need.
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This morning, a friend of mine posted about how much his life had changed. A couple of years ago, he'd been stuck in bleak despair; since then, he'd met someone he loved wholeheartedly (and who loved him back), had significant career success, made friends, and contributed to his community. Needless to say, he was feeling much happier.

It's no secret that what makes me happiest is seeing (and helping) people, especially those people I know and love, to Be Better. So this post made me happy in a deep and fundamental way, even though I had little to do with his life's transformation. But when I went to respond, what came to mind was Louis Renault's Victor Laszlo's line to Rick at the end of Casablanca: "Welcome back to the fight."

That seemed a little odd, until I thought about it and realized how apropos it truly was. We speak of happiness in this culture as something to be achieved, or found, or bought; an item to accomplish and then check off our list. But (much as with physical fitness, or education) the goalposts are constantly moving. Fulfillment doesn't happen on its own. Social connection doesn't happen on its own. Financial success doesn't happen on its own. Artistic achievement doesn't happen on its own. Love doesn't happen on its own. Each of these things requires effort, demands that we get out into the field and fight for them, proclaim our belief that they can happen, that we can Be Better against an uncaring or even hostile environment. The fight may be easier or harder on any given day, depending on what surrounds us and what we bring to the table, but it's always a fight. Some days we are triumphant, and are feted and paraded through town. Some days we come home bruised and bloodied, battered by an indifferent world, or the fears and insecurities of others, or our own self-doubts or faulty brain chemistry. Most days we make a little progress; on the good days we can look back and appreciate how far we've come.

Happiness, contrary to its word root, doesn't happen on its own. If we're going to Be Better, we have to fight for it - constantly. But it's a fight worth joining. We have so much to learn, so much to create, and so much to be.

It's customary, this time of year, to wish one's friends joy of the season. But - say it with me - joy doesn't happen on its own. Instead, I invite each and every one of you reading this: come fight with me. Be Better with me. The world may reject us, may hit us in our deepest and most vulnerable places - but we can decide to pick that torch right back up and shine it high. We may never know how much others need that inspiration.
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I've tried my best to keep my political posts to a minimum, this election. This is not because I don't like politics, or think they shouldn't be discussed in polite company; I find sociology and demographics and economics and all the other fields that contribute to political choice-making fascinating. Even more, I feel strongly that the point of a democracy (and deliberative government in general) is to encourage discussion and exchange of views between people who may not agree. It's slow, and inefficient, and often anxiety-making; it requires an ability to listen in good faith, and to find common ground. But, at its best, it helps us broaden our viewpoints and make decisions that are best for everyone. I've made a very real effort, therefore, to befriend people on all parts of the political spectrum.

And so I feel like I've gotten a front-row seat to our country's increasing polarization over the past decade. And that's made discussing politics increasingly uncomfortable.

There's no one single cause that I've seen a convincing argument for. Income inequality absolutely contributes, as does the stark divide in rural vs. urban culture and economic opportunity. Self-constructed Internet echo chambers may have had an effect, as well as the culture of bullying that Internet anonymity has given rise to. A news media that depends on conflict and horse-race reporting to generate clicks. But the one very real effect is a complete breakdown of communication between people with different views. An obstructionist Congress that refuses to work with the other branches of government. A Supreme Court evenly split along ideological lines. And, on a smaller scale, a stream of people in my social media feeds - many of whom I like and respect - demanding that people who voted for an opposing candidate, or who have different ideas about this or that issue, unfriend them right now. No more communication.

And the damned thing is, I can understand that. We're all human. None of us like uncertainty. None of us want to admit we might be wrong, that our friends might be wrong. A lot of us aren't even comfortable discussing our thinking anymore - it's too likely someone will take advantage of even that small vulnerability to land a sucker punch. It's so much easier to hide in our bunker with the people who pass our tests of ideological purity, who will reinforce our view of the world, and who won't challenge us for fear of being ousted from our circle.

But the cost is...this. A government so dysfunctional it can't even fulfill its basic, Constitutionally-mandated responsibilities. Social media feeds full of 'gotcha' memes and biased information. And now, a whole section of the populace that feels so left behind, so ignored, that they've (very likely) elected a supremely unqualified person for the highest office in the land, solely for the satisfaction of throwing a brick through the window.

It's times like this that being a big-picture sort of person gets really depressing. Because, ultimately, there's not much I can do about any of these trends. I can't make people listen to each other. I can't stop Internet trolling, or demand that the media quit publishing clickbait headlines, or stop my friends from posting questionable memes. I can't fight what feels like the inevitable tendency of humanity to lose sight of common goals in favor of petty squabbles.

So what can I do? What can any of us do?

Listen. Cultivate empathy to the people you might normally dismiss. Empathy is not the same thing as sympathy; it doesn't mean you agree. It simply means you're willing to consider what they have to say, and their possible reasons for saying it.

Find common ground. For all that we love to find reasons to argue, we're all human, and that means we all have far more in common than we don't. No matter your differences in background, culture, or demographic, I guarantee you have something in common with the next person.

Bring people together. It might be small ways - a yoga class, a church service. It might be bigger - writing a novel, running a protest. But find some way to help people reconnect with others. Help them remember that we're bigger than this.

Set healthy boundaries. Say no to interactions, discussions, and relationships that only drain you. This might seem counterintuitive, but people with the strongest sense of boundaries are able to be the most openhearted with others, because they've saved their energy for the difficult work of listening in good faith.

Maintain your integrity. Practice what you preach.

These are my resolutions for the next four years. What are yours?
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I've written quite a bit about my struggles with anxiety and depression, both in terms of how they feel and how they manifest in my behavior. Yesterday, however, a friend linked to an article that resonated quite a bit: Living With High-Functioning Anxiety.

My experience is somewhat different from the writer's. For one thing, mine tends to move in cycles; there are times when I can't stop the stream of internal criticism, and other times when I feel perfectly normal and happy. For another, even when I'm in an anxious phase, my symptoms aren't usually that severe. But I feel firsthand so much of what she's written. The perfectionism. The need to constantly be busy while avoiding important or high-stakes tasks. The inability to ask for help, because that means admitting you're not capable of handling things on your own. The vacillating between "everyone has it together but you, what's wrong with you" and "other people have things so much worse, what are you complaining about".

Those of you who've been around the past couple years have probably noticed my increasing focus on self-care, mostly through increased physical activity and better diet. (I know that, to some people and in some circumstances, I've come across as more than a little evangelist on this point; to those people, I owe an apology. Yoga and self-care have been quite literally life-changing for me, but I suspect in my exhortations I was ignoring the twin contributions of a move to a much better-for-me environment and a significant socioeconomic boost that came about at the same time.) This has done a lot to stretch out the periods of feeling happier and more balanced. But these past several months, I've been feeling the anxiety creep up on me even with those efforts; this latest bout has lasted some weeks.

Another link from a friend, Life Hacks of the Poor and Aimless, has shed some light on what's been going on in my subconscious. Laurie Penny posits that my demographic's obsession with self-care isn't in spite of the scary events going on in the rest of the world, but is in fact a reaction to that very sense of helplessness. We can't refill the Ogallala aquifer, or stop ourselves hurtling past the carbon emission point of no return, or fix a broken political system, or avert any number of other disasters that seem to loom over the horizon. So we turn our focus selfward instead, and convince ourselves that by practicing "radical self-love" we can find happiness - and, on this philosophy's darker side, feel as if we're insufficient when our self-care practice fails to adequately substitute for a stable and functioning social contract.

And yet, the answer can't be to give up self-care entirely. One of my favorite yoga teachers would probably fit Penny's description of an "Instagram happiness guru", or at least an aspiring one. But I go to her classes regularly, because she makes a real effort to make them a safe place, where we can work on self-improvement without judgment. When it feels like the world is falling apart around us, where there's no good answer or right thing we can do to stop things hurtling toward a horrible conclusion, there's a real value in that sort of centering, in exercising that little bit of control we do still have. I always leave her classes feeling more hopeful, more able to focus on the positive aspects of my life. It doesn't always overcome the overall sense of helplessness, but it provides a bulwark, a small protection for my sanity that helps me keep a more even outlook.

And let's not kid ourselves - outlook is important. It's a lot easier to focus on the positives, to work towards making the world a better place in those hundreds of small ways that seem insignificant but are far more likely to ripple out into something lasting, if we're feeling energized and stable and hopeful for the future. Zeitgeist matters; the more we become convinced that the world is headed for disaster, the more likely it is that we will bring that disaster on ourselves. No single one of us can prevent it, no, but by each doing what we can to help raise each others' spirits, perhaps we can improve our collective future.

That's what I feel in my more hopeful moments, anyway. During those times when the anxiety starts to build, when (to paraphrase Brian) I spend more and more time either absorbed in news articles or staring off into the distance, I start to think that this is what my friends and family felt like during the Cold War. Those awful moments of hope mixed with increasing dread, that encroaching certainty that the worst will happen, it was just a question of how and when. It's not a fun feeling; I especially hate how it robs me of the ability to enjoy things in my life here and now, when the worst (whatever that might be) hasn't yet happened, and may not at all.

I've been thinking, too, about my earlier post on paradox, and how essential it is to our existence, even though it's uncomfortable and difficult for us to accept. Perhaps this is how humans get into these destructive spirals in the first place: we don't like uncertainty, we want things to be good or bad. And if things stay uncertain enough for long enough, if the constructive future feels too difficult or too far away, eventually we pick the bad option, just for the relief of knowing the uncertainty is over. Perhaps this is why it's so important to practice holding our paradoxes: that anxiety and depression are challenges to overcome and perfectly reasonable reactions to an increasingly scary world; that we need to focus on taking care of ourselves and fighting for a better society; that we can contribute meaningfully to our collective future and we're dependent on other people to help us build that future.

My head is not the happiest place, of late. But I hope getting these thoughts out in the open will help, if only in the sense of lancing the wound. And to everyone whom I owe letters, or a phone call, or words of comfort - I'm sorry I've been so unresponsive lately. Hopefully this will go some measure towards explaining why.

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May 2022

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