letting it all go.
letting it all go.
Friends appreciating friends.
Kathleen Hanna, St. Stephen’s Church, DC, 1992 (by Pat Graham)
It’s weird to think I walked there
Shelley Duvall & Sissy Spacek in “3 Women” (1977): Millie’s tuna melt recipe
Happy Birthday Shelley Duvall
At first I thought, “I was talking about 3 Women today, too! How odd!” Then I realized I was talking about 3 Women because I noticed it’s Shelley’s birthday. So. Not much of a coincidence, after all. Either way, 3 Women is one of Those Movies that everyone should see before they die and also one that I kind of never want to watch again.
My natural state
All the Supreme Court justices who voted in favor of Hobby Lobby.
Kate Zambreno: The urgency behindGreen Girl came from a desire to confront my self, my own past and passivity, the girl I once was, in a way, but also to confront what I thought of as the existential crisis of a very specific sort of youthful femininity, her constant self-consciousness. I also wanted to write a shopgirl, Woolf’s girl behind the counter, and I thought it was an interesting doubling for Ruth to be a foreigner, an American girl in London, my version of Jean Seberg’s Patricia Francini.
I also felt for a while, even before I began trying to seriously write, a desire to write about what it was like to be young and fucked up from a perspective that at the time I didn’t see reflected in the contemporary fiction I had read — which was, when I was Ruth’s age, vaguely early twenties, waiting tables, and only hearing about literature if it was very well-known, likeInfinite Jest. I guess I wanted to rewrite DFW’s “The Depressed Person.” I think that is something I’m always trying to do, write depression and loneliness and a state of stuckness, of crisis. Could I write an existential novel about retail, about working in one of the biggest commercial centers in the world, a novel about the city and loneliness and desire, that also attempted to critique identities within consumer culture?
Ruth is in a way a type, the green girl, who the author/narrator meditates upon within the work, and in many ways a grotesque — passive, myopic, self-consumed — but I think of her as a tender grotesque. I use her inGreen Girlas a puppet to show how she is not free (like any of us are), but I also love her and hopefully give her a specific consciousness, however divided and lacking at times in insight. I wanted to write of one tiny subjectivity, a girl who probably would otherwise have been dismissed and ignored, who has a sort of dumbness to her, but also potential; a girl who is only the star of her own story, and lives as well in others’ projections.
This sounds like it could be really really good.