” In her beautiful meditation on the writing life, Ann Patchett adds to our ongoing archive of wisdom on writing. Pair with Patchett’s advice to graduates on writing and life. (via explore-blog)
I am always interested in forgiveness. Forgiveness and death, especially.
The ability to forgive oneself. Stop here for a few breaths and think about this, because it is the key to making art and very possibly the key to finding any semblance of happiness in life. Every time I have set out to translate the book (or story, or hopelessly long essay) that exists in such brilliant detail on the big screen of my limbic system onto a piece of paper (which, let’s face it, was once a towering tree crowned with leaves and a home to birds), I grieve for my own lack of talent and intelligence. Every. Single. Time. Were I smarter, more gifted, I could pin down a closer facsimile of the wonders I see. I believe that, more than anything else, this grief of constantly having to face down our own inadequacies is what keeps people from being writers. Forgiveness, therefore, is key. I can’t write the book I want to write, but I can and will write the book I am capable of writing. Again and again throughout the course of my life I will forgive myself.
Reading at Michael Mut Gallery tonight at 6pm at michael mut project space
97 Avenue C between 6 and 7th
Until April 4
curating and hosting Experiments and Disorders with Tom Cole at Dixon Placewith Sarah Cameron Sunde and Stacey Karen Robinson. Awesomeness.
SUNY Purchase Sexual Assault Awareness Long Table and short film screening:
Behind Closed Doors
Red Room at 6pm
The No Wave Performance Task Force in Femmy, Marxy, Mommy, Commy at Dixon Place
PPOST-DRAMA: BUCHHEISTER, CLIFFORD, NEIHART, WHITE, O at Panoply Performance Lab
curating and hosting Experiments and Disorders at Dixon Place with Molly Crabapple (Vice Mag), Lydia Eccles (Oni Gallery) and Max Neely-Cohen. Wowza.
April 25 and 26th
Tom Murrin Festival at LaMama
I miss Tom a lot. So do a lot of other people. So there is this, to celebrate him and his work.
I am in Whores and More (of course) on April 25 and 26th at 10pm at LaMama
By HANNAH BLACK
The Overly Attached Girlfriend’s desire isn’t oriented towards sex or even a boyfriend; both are just means to maximal intensity of feeling
This is the age of intensity and not of duration. The implicit premise of the Overly Attached Girlfriend, a popular YouTube series that originated as a meme in 2012, is this: A pretty young white woman has absorbed the lessons of pop music without irony, in an atmosphere of total surveillance prescribed by Facebook and the NSA, and now believes that love should be conducted in conditions of panoptic intensity. Each of the videos by YouTube star Laina, in her guise as the Overly Attached Girlfriend, have at least six-figure viewing numbers. Not a single one is all that funny. She remains very popular.
Jameson says of Warhol that if the work isn’t critique then he wants to know why. Laina isn’t making an explicit critique, and here is the reason. One side of the joke — that a woman would have to be crazy to long for entry into a couple — is negated by the other — that a woman who can’t negotiate her way into a couple is crazy. The coin turns on the woman’s possible worth and worthlessness, both of which are unstable even though the Overly Attached Girlfriend is a young, attractive white woman. Even (or perhaps most of all) in the gated community of middle-class white womanhood, women not only can’t have what they want, they are barred from frank expressions of wanting.
The Overly Attached Girlfriend began as a single image, multiply inflected with different captions. The logic of the meme: It must be instantly understood. Her huge eyes are fixed wide open in her otherwise unremarkable face, a face that avoids censure by being white, untroublingly pretty, young, etc.; all that could be condemned is held in the eyes, which won’t give up their object. She is a contemporary spin on the ancient European slur against women that they desire too much. Now, at least in most mainstream discourse, feels-shaming is more common than slut-shaming: the shame of being too much or too little, too warm or too cold, too ambivalent or too certain. Successful attachments, we are told, are pragmatic fusions of compatible values, something to work on, replete with quasi-contractual obligations to tell the truth, empathize, etc. Unsuccessful attachments, on the other hand, are failures of competence, embarrassingly lacking in the reality principle.