Podcasts to sleep to

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This post is in now way, shape, or form insulting the podcasts I list below (I'm not saying they're boring, because they aren't!) But as someone who has had insomnia that ranges from wretched to occasional-but-mild, I'm willing to do pretty much anything that gets me to sleep. Normally reading can wind me down, but sometimes that doesn't work. 

What does often work for me: listening to certain types of voices speaking in particular types of ways. These are some of my regular podcasts I listen to--on very light volume--when I'm trying to get to sleep. Typically I use the my sleep timer on my phone on for one hour, then it automatically turns off. 

1. Reveal

My top choice. This podcast is from the Center for Investigative Reporting, which does fantastic in-depth stories on important issues. Two recent really good episodes were about racial disparities in lending for mortgages and one on a contraceptive implant and how a company and the FDA responded (or didn't respond..) to serious health issues it caused. The host has a soothing, smooth voice, and there is never any abrupt music or sharp sounds (loud laughter, etc.) 

2. Generation Why

This one may overtake Reveal as my favorite. Not good if listening to stories about murder disturbs you.. so disclaimer there. Each episode focuses on a murder or serial killer. The two hosts handle the content from a research angle that is dead serious (no jokes) and they clearly do a lot of research for each episode. Both the hosts have incredibly soothing voices and both, weirdly enough, happen to talk with this rhythmic cadence that just lulls you. 

3. Teen Creeps

I wish I had discovered this one sooner. The two female hosts are comediennes/ writers who read one teen YA pulp horror novel a week and rehash it on the podcast. I was a huge reader of Christopher Pike and RL Stein-- both of whom are strongly represented. I had fond memories of these books, but boy do they not age well. They rehash the plot but also provide commentary and go on tangents. There is some laughing (quite a bit, actually), but no music or abrupt noises. You don't need to have read the books to follow the podcast. They both have softer Millennial-ish voices that never bother me. 

4. Here to Make Friends

So yeah, this is a podcast about the Bachelor franchise. (They cover both the show and all its spinoffs). Which of course means it's only running when there is a current show, with a new one released about a day after each airing of the show. The show approaches the Bachelor from exactly the same perspective I have on it: it's ridiculous, but often riveting. 

5. This American Life

Only the non-humorous episodes, which occasionally have weird sounds. The ones that cover only one story per the entire hour are best. Just to note that there is some music which occasionally pops up. 

6. Someone Knows Something 

This Canadian podcast covers one incident for an entire season, doing a deep dive into murders and disappearances. It's soothing and understated, never intense despite it's content. 

 

AWP is like being in a human slushpile

This was my first AWP and I felt like moderately sleep-deprived lost child during much of it. There were some ups and some downs and very very long days and a hotel room where the AC kept rattling. I heard someone say that 12,000 people were there--I'm not sure if that's an exaggeration, but officially speaking, it was a shit-ton of people. For some reason, just seeing them all this made me feel vaguely threatened. All I could think is "every single person here is a writer...?" with the overall feeling of, well, I guess you're not very special are you. It seemed like every single person had a book coming out and tons of awards and fellowships, although a friend pointed out to me that everyone feels that way at AWP. I definitely feel better when I'm in an active writing phase (mine go fast and hard) rather than and admin period (time between projects where I send things out and apply to things) so maybe that contributed to it. I don't feel this way at psychology conferences, some of which are even larger, but perhaps that's because I feel more settled in my other career. 

The panels were hit and miss--some people are just more engaging speakers. A couple standouts were a panel on failure and another on diversity (or lack thereof) in publishing. The best point of the former: that the Thing that you think is going to make you might not be the thing, some other side thing might actually be the thing. Don't write a book for the sake of writing a book, a couple of the novel writers said--write it because you love it. In the latter panel, there was a lot of discussion about increasing diversity in publishing houses and literary agencies via hiring. This is perfectly reasonable and should be done. Two of the authors there referenced god-awful things they had been told by editors that were extremely cringeworthy. At the Q&A I asked if anyone in the industry circled back to talk to editors when they make comments like these. What I didn't add, for lack of time, is that this ends up feeling like it's your burden to deal with, and maybe you're tired of doing this, or don't feel that you should have to, but then again if you don't do it, who will. (The question was answered with interest--that perhaps the method that makes sense is to be informal about it, given that writers don't have any power in these situations.) 

The two best highlights: One was a reading from Nafissa Thompson-Spires from her upcoming book Heads of the Colored People. I went to this reading because I was exhausted and lazy and it happened to be in my hotel's bar and maybe I didn't want to be in my room for that much time (there was a millipede situation--a story for another day). I have never laughed so hard at a reading. I might have even clapped (singularly, at particular jokes), which is somehow encoded in my DNA as an Indian person.  Really looking forward to her book coming out. 

The other highlight was the bookfair, which I think is 50% of the reason for going to AWP. It is a booklover's greatest dream and nightmare combined into one--so many books and at healthy discounts. I like to support small presses but don't necessarily like ordering online, so this was a great opportunity to get my hands on books from a bunch of presses and to awkwardly make eye contact with people I "know" from Twitter. I came home with about a dozen new books making my carry-on painfully heavy, including stuff from Small Beer Press, Press 53, Red Hen, Sarabande, Vandalia, Louisiana State University Press, and ECW Press. My first go around (it takes several sessions to go through the whole fair) I noticed a book which had a blurb likening the book to The Children's Hour, a play about two closeted lesbians at a private school. I noticed it because I have a friend who is obsessed with The Children's Hour. I wanted to take a picture of the book to send it to him asking if he wanted it, but the bookseller was hovering (there is a lot of hovering..) and I didn't want them to think I was taking a picture to go buy it on Amazon or something. So I left it, but then it haunted me, causing me to return and to hurriedly search for the book during the very last hours of the fair. (To no avail- I still don't know what book this is, and I haven't been able to Google it). Ah, the lack of closure is painful. (on the off chance that any of my .7 readers know what this book is, drop me an email.) 

One thing I could not help noticing that made me want to gouge my eyes out. (Okay, two things if you could the millipede). The vast majority of women asking questions at Q&As were unable to ask a question without a significant amount of apology or preamble. Least offensive version of this: "Um, how do you know when to give up on a manuscript?" worse version: "Um, so one of the things I was thinking about listening to you is how do you know when to give up on a manuscript?" eye gouge version: "Um, so, this panel, listening to all the panelists, and thank you for being here, it's been so great, so I was kind of thinking about like um, with my novel I've tried and I've done things, and, you know, how do you know when to give up on a manuscript?" 

Um, ladies. For the love of god, stop apologizing for existing. (also there's a limit to Q&A time). 

What Bubbles Under the Surface of MTV's Catfish

Why do I continue to love this show? Despite the fact that it's formulaic--and continues to be after years of being on the air. Despite the fact that it's fake. Despite the forced moralizing that occurs at the end of each episode, wherein the catfish is supposed to feel bad for catfishing but often doesn't. Despite the hokey "hosts being adorkable" thing (I like Max, but not a fan of Nev). 

It's the same story over and over. A youngish person ostensibly contacts the show with a story about how they have been in love with someone for several years that they met online, but they have never met in person. The other person--the catfish--refuses to videochat/ has a broken phone/ lost their truck and therefore can't meet the catfishee. Nev and Max arrive with their high tech investigative skills (ie, they look on Facebook and Instagram and do Google image searches, which apparently no one else has figured out). They contact the catfish when they've collected enough "evidence," and the catfish always miraculously agrees to not only meet up and be filmed (show spoiler: typically the catfish actually contacts the show, which is why they never run into a catfish who refuses to meet). Despite the fact that it's the same thing over and over, I find myself completely riveted during act three, the moment when they're knocking on the catfish's door and you have no idea of who is going to come out. I will run out of the kitchen in order to not miss the reveal. (NB: I am never sitting in front of a TV and just watching it, so when I actually have my eyes on the TV for more than 3 seconds, someone has done something right.) 

Forty percent of the time, the catfish is someone who is LGBT but closeted, often in a small town where no one ever says, "Wait, which gay bar with the roofdeck and the bartender with the arms?" (#DCLife). Forty percent of the time it's just someone who used the pictures of a (culturally-dictated) more attractive person because they're insecure. The remaining 20 percent is a grab bag of more interesting cases: pure sociopaths, best friends who were secretly in love with the victim for years, and one recent rarity: and old gross dude trolling for young women. (sidebar, why doesn't that happen more often? And I can't even think of an instance of the catfish turning out to be married.) 

The show often sends the hosts to meet victims in places where reality TV typically doesn't go: Oklahoma, small towns where one can apparently be the only LGBT person in their entire class. You see small houses and trailers, and tons of people of adulting age that live with their parents and yappy dogs and work regular jobs. It seems a stark contrast from the constant parade of TV/movies/books that focus on New York City, LA, London, places where people who would be poor in real life live unrealistically opulent lives (not to use a dated reference, but it's beyond laughable that we're supposed to believe that Carrie Bradshaw can afford all those designer shoes when she's a freelance writer). Every so often on the show when the host takes the victim to meet the catfish, they find out that the victim has never actually been on a plane before. In some cases, they've never even left their hometown. The hosts often respond with a chipper, "You've never been on a plane before?" How quaint! Median income in Oklahoma is (let's ballpark it based on this dated website) is $45,000; in my hometown of DC its $93,000 (to be fair DC has one of the highest median incomes in the US, and using the median rather than the mean glosses over the income disparity the city has but whatever). There's even been cases where it clearly seems that both the catfish and the catfishee were faking just so they could meet each other (maybe just to get on TV, or maybe so someone else can pay their airfare.) 

I wish the show would get more in depth about the psychology behind this incredibly weird phenomenon. In between the movie and the TV show, the concept of catfishing is so well known that they added the new meaning of the word to the dictionary over at Merriam Webster. People on the show know what this is, but still fall for it. Or maybe they don't fall for it at all-- maybe they know the whole time that these relationships aren't real. Sometimes the people involved are somewhat isolated--just in general, not just in terms of not being willing to pursue other romantic relationships because they are spoken for. Sometimes they are approached by other would-be mates, but turn them down in favor of a relationship that is purely electronic. In either case, they've settled for an electronic facsimile of a relationship: no physical presence, not even videochatting, just a stream of texts, phone calls, emojis, and maybe an occasional picture stolen off Instagram. 

We don't really talk about loneliness in this country. Usually we're kidding when we are: making fun of cat ladies and "Oh no I'm going to die alone LOL." Even for introverts, the desire for companionship is so fundamental to what it is to be human that being denied companionship can often be lethal. Suicide is the tenth largest cause of death in America--it's right up there with cancer and heart disease. Even amongst people who can both articulate their feelings and are willing to do so, they're far more likely to say they are "sad," "bored," or "depressed" than to say that they are lonely, or lacking in human companionship. Some turn inwards toward depression (self-directed hate), some turn outwards. We always talk about lone wolf mass shooters. They're "lone." I don't feel bad for them, but I wonder about the power of the sickness that is loneliness, not feeling part of a community, or not feeling validated. 

Last week I was at a speakeasy (#DCLife again) with some friends and one lamented that he wanted to move into a commune in the woods and just not deal with anything. Easy to feel that way when the news is pretty stressful, but we were also talking about how the very structure of life--at least here and now in America--is isolating, overly focused on work, overly focused on nuclear families. In this scifi thing I'm writing, there's this character from a planet that has been destroyed that is often described as a utopia. People sitting on porches calling out to each other, a town where everyone knows your name. One thing I based it off of (here's a knife in your heart) was something one of my Arabic teachers told me about her childhood growing up in Damascus: a large house that is more like a compound, shaped like a square with a courtyard in the center, the whole extended family living in the same house so closely that the cousins are like brothers. So . . . not sure what it says about me that I had this planet destroyed. 

 

Fiction is not nonfiction

I don't know how this person types with both rings and bracelets on. 

I don't know how this person types with both rings and bracelets on. 

I have been thinking a lot about this issue lately. 

It bothers me how frequently readers/reviewers assume that first person novels are actually autobiographical. I don't do this because I assume fiction is fiction and is very much deliberately fiction for a reason. Surely some novels are semi-autobiographical, but the author made a conscious decision to have them be fiction and not memoir. Last year I heard quite a bit of discussion from minority writers that people assumed that because their book focused on a MC that was [insert minority], that the book was autobiographical. 

It's puzzling to me that an author can be accused of being racist if their character is--all the more likely if the book is in first person. I've read more than one essay about how Lolita is problematic, misogynistic, patriarchical etc etc-- it seems to me that there's a difference between "you must be a disgusting pervert asshole to write this" and "author writing about a disgusting pervert asshole." The character views the world in a sick way, so the author has an obligation to depict him as such, unless of course we want all our MCs to be Disney versions of reality where everyone is wonderful all the time.

There is the distinction between "you must be the sickness you write about" and "a person writing about sickness." This distinction is sometimes hard to make, and sometimes people don't make it at all. Context matters, but often words are put into the authors mouth and sometimes they are the same words that they wrote. I have been thinking a lot recently about context collapse, and how this is a problem that is getting increasingly worse with social media. It denies nuance and ignores that the people we are on social media are not really us. 

As modern media increasingly pushes authors into being public/political figures, if your character does something racist, you will have to answer for it as if it were you who was the actor. This denies the space that should exist between fiction and nonfiction. In my opinion, all novels, regardless of person, have narrators and those narrators don't necessarily give you insight into the author. 

A 1st person novel should be imbued with the values and perspectives of the character (which aren't necessarily the same as the values and perspectives of the character). Two different 1st person novels with different MCs by the same author should not feel the same. A 3rd person novel, whether mainly through one POV or many, has a sort of ghost narrator. The author, behind the scenes, is the person moving the marionettes. Things are arranged into order and a snapshot is taken. If the story is about redemption, the narrative will hit on those themes--but this doesn't mean the author believes in redemption--it was just a redemption story. 

I have a story which, thematically speaking, is very much about the power of brotherly love and how it helps the characters transcend their personal trauma. It is earnest, funny, tinged with sadness, but ultimately hopeful. I have another story, "This Isn't Happening Again," which is the bleakest thing I have ever written. There is no hope. The narrator is cruel. It is the only thing I have ever written that is intended to make the reader feel bad. If you read the first story you might assume I'm an earnest hopeful person. If you read the second, you would have a completely different impression of me. Which is the real me? 

Neither really. Each story called for something different--different tones, different values. They are their own thing; just because I created them doesn't mean I am them. 

I was at a reading fairly recently for a 1st person novel that was very much about sexuality. A member of the audience (much to my dismay) asked how autobiographical it was. Did people do this a hundred years ago? Was I the only one who felt the question was salacious and kind of invasive? Part of me thinks that with increased access to authors, we want access inside them.

Jonathan Franzen's "Freedom" talks a lot about birding, and Jonathan Franzen happens to be into birding himself. Write what you know. The problem with this is the audience thinking that they know what I know. We only know Franzen likes birding because he's talked about it publicly. Birding isn't really controversial, so I don't think anyone got their panties in a bunch about the birding in that book (well I did because I find birding uninteresting.) 

I'm writing this because I've increasingly encountered this idea in reading reviews or cultural criticism where someone is upset about something. Here's a book about a serial killer who targets women because he's a misogynist (this is often true in real life). Some reviewers are outraged about how the book is misogynistic--not the character. Is this unique to writing? When a painter paints a dolphin, we don't assume the painter is  dolphin. WTF.

I feel like visual art gets more credit for being about something-- the distance between the artist and the art is respected. This week the official portraits of Barack and Michelle Obama were revealed. The artist, through his own unique style, says something about Obama--by the expression on his face, the nontraditional setting, the flowers. The portrait is about the person, as rendered through the style of the artist. The portrait is not the artist. It's Obama. 

As a slight tangent, a few days ago I read an article about memoirs of incest. I recall the controversy with Kathryn Harrison's book The Kiss. People attacked her in a way I find surprising. The book, they accused, was salacious--like she was mining her own trauma for gold. Who can call a memoir salacious?  Here's the problem with this--it's Harrison's story. She may or may not have wrote it during a period of time where she was messed up. Or maybe she wasn't messed up, but was writing about messed up-edness. Maybe she was trying to get a narrow slice of what her life was like back then. Not every memoir should have a "The More You Know" PSA message weaved into it--I guess there is pressure for memoir to be this way, because some people think "lessons learned" is the point of memoir. Less so for fiction. 

I have no point to round this out. Just that I've been talking with writers a lot lately who are having trouble writing because they can't get the hypothetical critical reader out of their head. The one that's looking at the author, not the book. 

The Absurd Economic Fantasy That is 50 Shades And Why Doesn't Anyone Ever Want to Write About Work?

I won't cover all the well-trod territory that has been written elsewhere about how ridiculous this series is. I just watched the second movie because, well, it was there and it was raining outside.  I wanted to talk about money, but first one small sidebar: how on earth do you make a movie about sex where Jamie Dornan is hotter as the serial killer in The Fall than he is as the male lead in the aforementioned sex movie (which is to say, not at all)? 

So here's the "economy" of these movies. You stumble out of college with ostensibly no real skills and accidentally come upon a job opportunity (unearned) interviewing this business guy. Despite you being exceptionally bad at this interviewing gig, business guy falls in love with you, and is of course fabulously wealthy (never mind the stalking and stuff). You would never have to work. You would never have to worry about making decisions--about what to eat, what to wear, how to have sex--because he likes to control everything and your only question is whether or not you're down with that. 

--Short interlude--you break up because you dislike and felt emotionally abused by his main way of getting his kicks. You've got a job at a publishing house--you go girl! Movies/book like these never seem to have any comprehension of what work, let alone work in publishing, is. Work is generally a topic that is often glossed over in fiction, which is crazy if you think about it. People in America work 40, 50, sometimes even more hours a week. We spend more time at work than we do at home, if you subtract the time we spend sleeping. Depending on the week, sometimes I see colleagues more than I see my friends.  Work, that is, what we do with the majority of our lives, is such a huge part of who we are. It is, at a minimum, the thing we occupy our minds with most of the time, and at a maximum, is heavily tied into our identities. I wish there were more compelling stories that were focused on work, rather than work being the background for "grander" stories--about romance, about mystery, or whatever else. I don't think there is a word for it in English, but I've noticed that people really enjoy watching other people be really competent at the thing they excel at--it doesn't matter what that thing is, but the level of expertise and interest of that person is for some reason fascinating. I recently watched The Post, and rewatched All the President's Men and Spotlight, three movies about journalism that despite their dark content, are a joy to watch. You see people at work, and the relationships they have with people at work, and it's incredibly compelling. 

End tangent, back to this bad movie: 

But in this thin fantasy, your job involves vaguely doing office work for an attractive and obviously about-to-to-sexually-harass-you older man. (No sense of the long hours of work that actual people in the publishing industry have to work.) You move papers around a desk, because the person who created you has no idea of what this sort of work is, or how someone might actually care about it or be engaged by it. Your paramour doesn't want you to have a job so he can control your economic independence. Your paramour buys the company you work for. 

That scary work situation? The sexually harassive boss? Don't worry, you'll barely have to deal with it, because your paramour will get him fired.  Somehow, you will just fall into the position of senior editor to replace him, because, gosh, no one else knows what to do with the empty slot, or with your untrained unqualified ass, for that matter. (Never mind that under these absurd rules of "well someone has to take this job lol" the black woman in your office was there for longer and has more work experience.) How terrible fiction sadly attempts to address the topic of work: newbie sits at the meeting with the big guys and makes a startlingly brilliant observation that NO ONE has ever had before. You mean we should publish the big sellers AND take a chance on new authors?? MIND BLOWN!  The other way bad fiction deals with work, specifically people who are supposed to be billionaires: they sit in fancy offices and they have very attractive female receptionists. You might get some jargon thrown at you if the author spent a few minutes on Wikipedia looking up "hedge fund." 

Work is there, humming in the background. There when you need a B plot. Your biggest problems will instead be relationship problems, which we all know are more interesting than all other problems in life. (This is not to say that relationship problems are not interesting, but that I would prefer to see a more holistic view of a human being.) 

You know what I would wish someone would write? A literary novel like The Office only not a comedy, a really character driven saga that follows however many unrelated people working in an office and how they change over time. Can someone do that--? Thanks. 

Is unplugging selfish?

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I try to pick something once a month to work on--either something about myself, or my environment, to try to make my life a little better. For January I worked on making my apartment look more like an adult lives there (getting rid of my college-era mismatched dinnerware, a minor renovation project in my bathroom, buying glasses instead of drinking out of cleaned out Classico tomato sauce jars. Pictures of the "renovation" are forthcoming! 

At the end of January I decided that my thing for February was to unplug more. I have a news addition which is pretty unfortunately: I can't not read the news because I need to be very well informed for work. On the other hand, I consume way more of it than I need to, in addition to "news" peripherals, like thinkpieces, and thinkpieces about thinkpieces. And tweets. And angry Facebook posts. 

I decided to take all social media off my phone--I still have the accounts, just no access on my phone. I'm also trying to cut down on how often I check the news when I'm at home. The first think I noticed, even within a day, is how often I just idly reach for my phone for something to flip through. Why? What's the point? All the major things that are going on in the world are going to go the way they're going regardless of whether or not you are obsessively reading about it or feeling anxious about it. This doesn't mean choosing to be ignorant: I'm still very well politically informed, and I still do what political actions I can and engage in long convos about stuff. But do you really need to know something right away? Do you really need to read a second, third, fourth article about whatever rage-inducing thing happened? 

And social media. Yeah, I liked keeping in touch with my friends. But right now a huge percentage of social media is people being enraged about something that I am more or less impotent to do anything about right now. (I did, incidentally, decide in January that every time I heard something that enraged me rather than posting about it on social media, I would just send some money to help with whatever issue.) And as someone who reads a lot of actual news, the amount of dubious information passed along on Twitter is more than disturbing. Just because someone says something doesn't mean it's true. Even if you want it to be. 

I guess we'll see how it went at the end of the month. There's a line somewhere between actively choosing to be ignorant about the world, and giving yourself an ulcer--I don't think it's a fine line that's hard to find. You just have to commit to it. 

Review: The Disaster Artist

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Every now and then you're at a movie and you can just feel the joy of the audience in the air. This was one of these movies. This movie currently has a 95% on Rotten Tomatoes--beaten out only be Coco, which apparently makes people openly weep in their seats (I've been meaning to get to that one this week.) 

This was a movie that was clearly made by fans, for fans. The Disaster Artist is fiction, based on a nonfiction book, about the making of a movie called The Room. The Room, if you haven't seen it, is quite possibly the worst movie every made. It was written, directed, produced, and stars this guy Tommy Wiseau, who then featured a huge picture of his face on the movie poster. The Room is badly written with a hackneyed plot that doesn't really make sense, badly acted, awkward, bizarre, unintentionally funny--but strangely, has a high production value. It presumably was intended to be serious, but then turned into a cult classic. DC is one of several cities that has midnight showings where people interact with the screen ala Rocky Horror. You drink, you throw spoons, it's good fun because it's so ridiculous, especially after a few cocktails. 

The Disaster Artist tells the story of how the film was made, starting with how Greg Sestero, a hopeful actor, meets Tommy in acting class. Tommy has long black hair, a clearly eastern European accent that his claims is from New Orleans, and massive amounts of money with mysterious origins. Greg gloms on to Tommy's relentless pursuit of an acting career despite not having any talent, and the two agree to make a movie. 

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Ultimately, the film is about the friendship between a relatively normal guy trying to make it in the acting world (Greg), and a bizarre, emotionally needy, possibly borderline possessive friend (Tommy). There is real emotional content in the movie--about friendships, about how hard it is to make it as an artist, about what happens when your friends pass you by--but really, it also explains how this incredibly weird movie got made and it's just so funny. It's probably funny even if you haven't seen The Room, but my theater in particular (this was a limited release screening in DC) was filled with people who clearly had seen it and could quote from it. 

The film has tons of throwbacks (stay for the clips at the end!) and a surprising number of celebrity cameos. James Franco is amazing and needs to win all kinds of awards. He embodies this person in total--the weird unplaceable accent, mannerisms, even physically (I can't tell if Franco was squinting one eye for the entire movie, or if maybe they injected him with something, but in either case, damn.). After a rough weekend, this movie was just pure joy. 

Review of Justice League: "It's not that bad."

The couple next to me in the theater said this just as the credits began to roll, and I agreed. 

If you walk in with the expectations of seeing a mediocre big budget movie where not a lot of care went into planning it, you'll be fine. The movie had so many things working against it that I almost feel sorry for it. It's not the movie's fault it has to live up to these enormous expectations set years ago when people read the Justice League comic books. Related to this, one of the issues I continue to have with superhero movies is that sometimes things just don't translate well from the pages of a comic book to the big screen. (eg, Apocalypse in X:Men Apocalypse was ridiculous in every way, but mostly in the way he looked).  I don't know how they could have rendered parademons in a way that didn't look stupid. We're told the end of the world is coming and it's in the form of mechanical demon fairies? Um, okay. The Big Bad--Steppenwolf-- is rendered entirely in CGI. And not good CGI, but the distracting kind. Probably a better decision that having a person with tons of prosthetics on their face, but maybe they could have went another direction. In contrast, Hela in Thor has full blown antlers but somehow pulls it off. 

Elsewhere I saw a reviewer say that the movie seemed tonally off and I agree. Barry Allen (the Flash) is mainly there for comic relief.  There were one-liners that took away from what should have been a darker tone for a movie which is about the destruction of the world after its protector has been killed, plunging the world into darkness. Sidebar: actions/adventure movies in the past ten years have grown consistently bigger so that every single movie is about saving the entire world. It starts to be meaningless as an individual act if that's always the scale. Often because it's missing that component of heart: when the stakes are "save the person you love" we get it, maybe even the city you love, but saving the world over and over, especially when we know that of course it will be saved, then threatened in the sequel, starts to feel meaningless.  

Everyone got some time to shine here, but Aquaman and Cyborg felt somewhat incomplete. The former barely had any backstory and the actual concept of Aquaman is so ridiculous that I don't know how it can be sustained for more than 5 minutes. (Fundamentally Jason Momoa serves as a strong guy who can fight with a trident, rather than having any specific power related to the fighting). Cyborg's back story is jammed in--we don't even see how he dies, and YES there is a scene where he says Bu-Yah.

I've never been a Batman fan and Ben Affleck plays him sort of passively. Occasionally, it seemed like the movie was trying to tap into the current zeitgeist of "we're all going to die and there is so much inequality in the world" . . . except that doesn't quite work when one of your characters is Bruce Wayne. His superpower is being a rich white guy, which maybe would have been a funny joke 5 or 10 years ago, but not right now when Congress is voting to raise everyone's taxes but Bruce Wayne's. He also highlights the same problem I have with the Avengers: heroes that are grossly uneven in their powers. Diana is a god right? So, can she die? Does she ever actually get hurt? Wouldn't picking up a nuclear weapon and flying into the bad guy be more effective than a sword if you can't really get hurt? If you think hard enough Barry Allen is a person who could be nearly unkillable. Anything that could kill him would never get to touch him if he would always be faster. (almost)

TOTAL SPOILERS FOLLOW: 

Superman's death doesn't have any real meaning. One because we know he's going to come back, and two because Batman V Superman was so terrible. I wish they had done that moment better.  I remember when the comic book came out with Superman dying when I was a kid and it was a huge deal and there were segments on the news about it. Death in fiction is always handled so briefly that it never has the depth and sharpness that it does in real life. And it certainly doesn't when we know they're going to come back. 

BUT: what made this movie totally worth it for me is the five minute segment when Superman comes back and for 5 minutes, evil and shirtless, kicks the shit out of the entire Justice League.  So satisfying to finally have it acknowledged that Batman is in no way shape or form capable of taking Superman down. Particularly satisfying: Barry Allen tries to get the better of him in his everyone-else-is-in-slo-mo and Henry Cavill turns his head at normal speed and smiles at him evilly. It's unfortunate that this movie was mediocre, Batman V Superman was terrible, and most people didn't seem to like Man of Steel: I like Cavill as Superman. I do hope we get more evil Superman though. (It was also fun back when Christopher Reeve did it). 

Preview corner

Pitch Perfect 3: not sure what this is doing at this movie. I do love a cappella though. Not that I would pay to see this in theaters. 

Star Wars Episode Whatever: apparently I'm the only regular moviegoer that doesn't go ape over these movies. I'll go see it, but I'm not more excited than I am for any other movie. I wish the preview had actually gotten to some of the plot. 

Roman J. Israel, Esquire: A Denzel Washingtion vehicle that shows the entire plot in the preview, which I hate. 

A (Writing) Year in Review

Someone once pointed out to me that I never take any time to celebrate my accomplishments because I am always anxiously, frenetically focused on the next thing I'm supposed to accomplish. The end of 2016 and first half of 2017 were pretty bad for me-- I was sad and didn't quite realize it, and I worried that my obsessively reading the news or working was going to cut into my ability to be creative. I don't think that turns out to be the case when I look back at what I did this year. 

In 2017 I queried two different novels, both of which continue to get requests. Regardless of what happens with them, I still love them both and they're both an accomplishment I'm proud of. 

Although I wrote a sci-fi novel last year, in 2017 I started writing my first sci-fi / speculative fiction short stories. (er.. novellas/ novelettes). Terrorcry is sci-fi noir I wrote as part of the Jenny McKean Moore fiction workshop at GW. Shortly after I finished Guava Summer which I can't really say is a sequel, but has the same characters and gets into some themes about totalitarianism. When I was at Breadloaf I attended a seminar on "Tell, Don't Show" which was SO UP MY ALLEY. I was tired of the parroting of "Show don't tell" in workshops, because sometimes telling is awesome. I became obsessed with the idea of having an entire story that was all telling, no showing. (to be fair I think the line between the two is fuzzy). I wrote Even the Precession of Earth Must Come to an End, which is all telling and takes place over about 7.5 billion years. Then one day I went to brunch and left a little drunk, wanting an ice cream sandwich. I went to this place that has good ice cream sandwiches but when I got to the counter she said they were all out. For some reason I can't explain, this is exactly the sort of thing that would embarrass me, so I ordered a cappuccino which I didn't really want. I don't drink caffeine that often (maybe once a week) because it makes me batshit, and because I don't drink it that often, it has an even stronger effect on me. So then I was pretty drunk AND really wired, and came home and wrote an entire story just based off the title which popped in my head, I Saw Goody McDerry With the Devil. 

Another awesome thing that happened? I went to VONA this summer, a writing conference for minorities. My class (genre fiction) was all girls AND THEY WERE ALL AWESOME. I had so much fun getting to know them and had so many conversations at that conference that I haven't had anywhere else. Black poets continue to blow my mind. I ate an entire Philly cheesesteak myself. I had some beers. We talked about how we were or weren't addressing race in our works and I hadn't really thought about it before. We danced really late into the night. Fun was had. 

A story that was accepted last year, The Derecho, got published. It's about a catfish catfishing a catfish, and is part of a growing pile of stories I've written that take place in DC. In other DC news, through contacts I made at various conferences, I started to meet other writers and go to readings in the area. I knew there were writers here, but for some reason hadn't tried connecting with them before. 

On the submission front, I started sending out my speculative stories, and judging from the response I'm getting from them, I'm confident they will be getting picked up soon. I wasn't sure if being a novelist (published, anyway) was necessarily in my future, but when I got back from VONA it occurred to me that I had enough short stories to form a collection. So I did that! And I like it! I'm starting to send it places! For some reason I never thought of putting them together before, but now that I have, it's interesting to see that 1) I have enough for an entire book and 2) how they fit with each other. Some of the themes are the same, even if the content is radically different. Some fit snugly into the standard literary realist tradition and some involve people getting their detached heads reattached. 

Then in the fall came the equivalent of an unplanned pregnancy. I must have been thinking of the Goody McDerry story. Or this thriller I had written a third of but put down for a while.  It took place in college and I continue to love books that take place in college.  My friend from Boston was visiting and we were walking home and I said, "What if there was like an entire school filled with psychopaths?"  I suddenly wrote a novel. It just appeared, like an unplanned pregnancy, and forced itself out with a really short gestation period. I write really quickly once I have plot figured out. The characters and voice lent themselves to a plot that seemed to write itself. I have to say, it was my first time using Scrivener, which I was initially really skeptical of. (Kind of like how I was super skeptical of anyone who bakes but doesn't mix things by hand. Only last week I bought my first Kitchen Aid). I liked the ability to move scenes around without it being a pain in the ass. The visual representation of scenes and chapters made plotting easier. I'll try it for my next book and see how I feel. The program isn't that expensive, and I definitely don't use all the bells and whistles, but I guess I would say it's worth the cost. 

So now that I think about it, I did get a lot accomplished this year. I plan on chilling out for the next two months. Doing some baking, some editing, maybe beta reading for someone. Relaxing, I guess.