It’s really too soon to be sentimental about Austin. I’m very absorbed in loving my new life here. But there are things I miss. Like my friends. And breakfast tacos. You can get decent tacos here, but they’re not ubiquitous like they are in Austin. And I haven’t come across breakfast tacos at all.
I’m not working today, but I got up at 6 with C. We went to bed early last night, and I slept well because I hadn’t slept well the previous two nights. The feeling of being close to him is more compelling than sleep -- I find myself sometimes not wanting to drift off.
I spent the morning reading. I finished Myra Breckinridge.
My roommate M. got up at about 10 and made more coffee. By then I was hungry, so I went downstairs planning to warm up a couple tortillas with some cheese for a late breakfast. The onions in a bowl by the stove caught my eye, so I cut one up, thinking I’d make a quesadilla with fried onion and hot sauce. But, since I had the pan out, it seemed silly not to scramble a couple eggs, too. Then I saw one red potato sitting there and suddenly I was slicing it thin and throwing it in the pan with the onion and some butter.
I put the rest of the onion in a plastic bag and was putting it in the fridge when I saw the bacon and the whole game changed. I had bought it for the bean soup I made a couple weeks ago, and there were a few strips left which I had sort of forgotten about. I threw them in the pan. (Normally, I would start with the bacon and drain off most of the fat before I cooked the potato and egg, but, since I didn’t find the bacon till I had the other stuff cooking, I fried bacon in butter. I fried bacon in butter. Which is illegal in San Francisco.)
When everything was brown and crispy on the edges, I turned down the heat and threw in the eggs. I warmed the tortillas, put a couple slices of sharp cheddar on each and then piled on the eggs/potato/bacon/onion. A little hot sauce. I would’ve posted a photo but they disappeared too fast. Nostalgia is fucking delicious.
The Saturday before Christmas I attended my friend Kristin's tree-trimming party. She has this gathering every year -- the first time I attended was in 1987, I think. She lives with her husband and child in Peter Cooper Village in the apartment she grew up in. Over 20 years ago, her fledgling theater company invited me to write music for two shows in their first season, and that began my career in New York theater. I even lived in her apartment for a few months in 1989 when we had both broken up with boyfriends around the same time. I had left mine and hers moved out, so it worked well.
At the party I saw friends I haven't seen in years and friends I still see frequently. I was struck with that sense of destiny-in-hindsight that reunions conjure up. A great deal of what has been important to me in the last 25 years of my life -- relationships, my work -- I can trace to my friendship with Kristin and the opportunities she gave me to create music for theatre, something I had never done before.
Tim, my friend and collaborator on Lizzie Borden, was also one of the founders and directors of Tiny Mythic Theater Company, which did most of its early shows in the recently-shuttered Ohio Theater on Wooster Street. I spent a good chunk of my late 20s and early 30s in that theater, and now that the physical space is gone, I feel an urgency to protect the friendships that have endured from that time, like the source of a spring. That is only one among many reasons why I cherish my long friendship and collaboration with Tim: it anchors me in a history that I had a hand in creating. It helps me to feel like there's a meaningful arc to my life rather than (what it more often feels like) just a lot of random reactions to whatever circumstances present themselves.
I don't mean destiny in the sense of a deterministic view of the world, according to which everything is the result of chemical reactions that can only go one way so that's the way they go. Maybe it makes some kind of poetic sense when describing the sense of inevitability of a certain biography, but to say that a chain of organic events led to, say, a love affair, gives a lot of weight to the idea of a discrete self, a notion which a deterministic view eventually makes hash of.
At the beginning of December, I moved out of Tim's place to an apartment a few blocks away. I didn't know my roommate well before I moved in, but we have a couple of mutual friends, he's a writer, and his apartment is one of those magical New York apartments you always wonder who lives in when you walk by. His roommate moved out I think in October and he asked me if I wanted to move in. I said no -- I didn't want to stay in Inwood, thought it was too remote at the northernmost tip of Manhattan, and the rent seemed high. But he still needed a roommate in November, asked me again, and by that time I had grown to love Inwood, and, after being back in the city for a while, the rent looked reasonable.
It's a sweet house with 4 apartments nestled among the type of huge pre-war brick apartment buildings that characterize most of Inwood. My roommate knows the other tenants in the building, a fact which I found reassuring, and in fact his best friend of many years lives across the hall.
A few days after I moved in, I got a wild hair and took out an ad on craigslist. I read the MFM ads from time to time, but more for entertainment than with the intention of responding to any of them or meeting anyone. The anonymity of them is what makes them sexy to read but it's also what makes me apprehensive to meet someone. Anonymous sex is one thing with someone you meet in a bar or club, but to invite someone to your house or go to a stranger's house without even meeting beforehand, well, I can be pretty fearless but that scares me.
My ad was basically a sex ad. I was specific about where I was and what I wanted. I got a handful of responses; one seemed promising. He was in the neighborhood, and he was as direct in his response as I was in my ad. We emailed back and forth a couple times. He sent a photo. He looked familiar, but I couldn't place him. I asked where he lived. Same corner as me.
Then I looked at his return email address. It was my roommate's best friend across the hall.
I emailed and told him who I was and that I knew who he was. We were both a little embarrassed, but by that time I think we both had a strong hunch we could have some fun together. He invited me over (I didn't even put shoes on) and we did.
All I wanted that night, frankly, was a blowjob, but he's handsome and he smiles with his eyes, he makes me laugh, and he's the perfect height to fit in the crook of my body. And now I'm falling, falling, falling. Jesus fuck me, why is this shit happening? After that first night, when we had ferociously intense, deeply connected sex and then spent a couple hours in each other's arms talking, we saw each other nearly every day for two weeks until we both left for Christmas. We've curled up on the couch and watched movies, shared with each other music we love, talked freely about our lives, our desires, our disappointments and loves.
I am not ready. It is not my turn. I did not want this. I did not look for this or pursue it in any way. I am not ready.
I've had several conversations with Tim. He's the one who listened to me crying on the phone from Austin when M and I broke up this summer, so he knows how badly timed this is and how afraid I am. He knows what I'm afraid of, a thing which is so recent and vivid and raw. Tim's advice is to enjoy this without fantasizing about what it might mean, what it could be, how it could end. Let go of the storyline, as Pema Chodron says.
It's good advice, but how to follow it? Isn't half the thrill of this moment the anticipation, isn't half of what gives this moment its charge, the recognition of a seed of a possibility of something deeper and more enduring? Isn't it all about the storyline? The sex is great, the physical contact, the ecstasy and comfort of being with someone who knows what I want and wants to give it to me. But there is also tangled up in it something more intimate, domestic, an affinity. How do I enjoy this moment without wanting what it portends? How do I not spin out the fantasy? He sees me. I feel like myself when I'm with him. I feel safe. Am I?
Is falling in love something that I just, for some reason, do? The timing could not be much worse. And I second-guess myself. Am I so susceptible to this new man because I still hurt, because I still feel the lack of M? Has M hollowed out a place where C fits nicely? Even if that is true, is there something wrong with that? It seems like an awfully punitive attitude to take, saying I should not be allowed to feel love because I am unusually open to it right now. Does it really matter where and when? Shouldn't love always be welcome and appropriate?
C is smart and soulful. He has great taste in music. He's funny. He likes my cooking. He's very, very sexy, and he wants to be with me. I just don't think you say no to that. I don't feel as though I deserve it -- how many chances do I get? -- but in what universe do you say no to that? He read my blog. He knows the worst of me. He knows stuff about me that not even I remember. And he still seems to want me.
I keep trying to bring what I may have learned from those months with M and how blind I was into this new beginning. What did I do wrong that I can do right this time? What did I say, how did I behave, what did I miss? But it doesn't work. C is not M. What M may have wanted from me won't be what C wants from me. All I can do is be myself. M didn't want that, and, though it's awfully early to tell, I think C does. The lesson is that there are no lessons. Every time you're flying blind.
Or the lesson might be: you are never ready for anything. Which is to say, you are always ready for everything.
In spite of whatever I might think about the timing, I find myself so willing, still wide open, yet in my head repeating, Don't hurt me, don't hurt me, please just don't hurt me.
There's an interesting essay on my new favorite blog, The Awl, about the gutting of Leonard Cohen's transcendent "Hallelujah," in order to make it vague and Christiany enough for Christmas.
Which follows in the long, noble tradition -- well, there's only one other that I can think of off the top of my head, but there must be others, right? -- of eviscerating songs to make them palatable for bland holiday records by the likes of Kermit the Frog (for real).
My favorite Christmas song, in fact my favorite Christmas thing period, is this song, which isn't really about Christmas as much as it is about despair. But replace, "until then, we'll have to muddle through somehow," with, "hang a shining star upon the highest bow," and it's still a bit sad, but not sad enough to do anything drastic like put you off shopping.
I guess, like most, I get sentimental this time of year. I am not Christian, but I love the story of a gift of hope and redemption in dark times. I like to mark this time of year by acknowledging in my heart the miracle of another year, another orbit, another chance.
This blog post (which Andrew Sullivan linked to this morning) says succinctly what I've been thinking, what I've been trying to put in words, regarding the billboard that some atheist group put up near the Lincoln Tunnel (“You Know It’s a Myth. This Season Celebrate Reason.") and the counter-billboard put up by some Catholics: "You Know it's Real. This Season Celebrate Jesus."
“Myth” is not the same as “falsehood.” Myth is a narrative structure used to convey some of the deepest truths we humans can glean. Myths are not believed in but unpacked and lived.
I am irritated to no end by the asinine "Jesus is the reason for the season" garbage we have to listen to this time of year. But I am just as irritated by a lot of the public atheists' responses, which are every bit as asinine. Though this organized atheist effort to rid the public sphere of Christian propaganda is inspired by writers like Richard Dawkins and Christopher Hitchens, I don't like how Dawkins' and Hitchens' more distilled, acerbic statements along the lines of "Christians are stupid" get pulled out to support the exasperated atheists -- because both writers obviously are much subtler thinkers and have a lot more than that to say.
Which is to say that I find it unfortunate that the atheist statements in response to the literalist Christmas stupidity are often just as thick-headed. It's ridiculous to justify your Christian faith by insisting that all those stories relate events that really happened. It's just as thick-headed, in this context, to use the word "myth" to mean "lie."
The heart of my objection to this argument is that it cheapens, it disregards, it erases the value of what, as an artist, I do. Artists are myth-makers. Artists are storytellers. The work of an artist lives in that realm where a standard of literal truth or falsehood makes no sense, does not apply. Where the whole point is to be truthful, to say what is real, yet where stories are constantly told which are not objectively verifiably true. The story of Jesus's birth is no more actual than the story of Dorothea and Casaubon's marriage or the story of Mary Richards' job interview, but they all have the power to transform at the molecular level one's very being in this world.
It just occurred to me that I am living in an apartment that is very similar to M’s apartment in Austin: open living and dining room/kitchen and half bath downstairs, two bedrooms and full bath upstairs. My house is much older (his is new, very East Austin contemporary green building, mine I’m guessing was probably built in the 20s) but they both have simple clean design, lots of light, white walls and black granite kitchen islands.
Today on facebook, M posted a photo of himself with a man. The man is leaning to rest his forehead against M's, and they're both smiling sweetly. No caption. Several of M's friends have "liked" the photo. I'm not a rocket scientist, just an ex-boyfriend, but it's pretty clear. The guy is handsome. They look happy.
My house sits at the top of a long stairway up to my neighborhood from Broadway. There are two wide sets of concrete steps with a little green space in between, 10 flights. Anytime I want to go anywhere I go down these stairs and up again on the way home. (I could take a longer way around, through the neighborhood, but the stairs are more direct and I like that my legs get a little workout since I don’t have time or money for a gym right now.)
My bedroom window looks out over the top of these stairs, so, if I want to (and I do) I can watch people go up and down all day.
More fodder for the relentless conversation about how New York has changed. I liked this article because it assured me that my moaning about the transformation of the East Village from a neighborhood of immigrants, artists, poor people, old leftists, Polish coffee shops (and, yes, bars) into a frat party is not just the nostalgia of an old man. Cities change, New York especially, but what has happened to the East Village and Lower East Side (and, then, Williamsburg, for that matter) is unique and very ugly.
A big part of my feeling good about being back in New York has been an almost-conscious decision to let go of my love for the East Village, which was my home for many years and which has been nearly completely obliterated by the sale of large sections of it to NYU for dorms and by its status, starting in the 80s, as one of the hippest neighborhoods in the world. The global East Village.
I knew -- we all knew and had a pretty clear idea of the importance of that declaration ("I live in the East Village") in marking who we were -- that I lived at the epicenter of cool. But it's sort of like, now, no neighborhood can ever have that status again because as soon as you say a place is the hippest it no longer is. I don't think this is true just because I'm older now -- I think it's because news travels too fast and faster and faster all the time. You used to have to wait for the New York Times article saying something was hip before you knew it wasn't any more. Now twitter can have the same de-hipping effect in a day or two. It's not hip if everybody knows about it, and everybody knows about everything immediately now.
I don't have anything against nightlife. Nightlife is one of the things that makes New York great. But the East Village is completely insane. If you know what 6th Street in Austin is like at night -- it's like that. Except that it's a neighborhood where people live. People live there. Y'know?
It's a gorgeous cold and clear day, and I spent the afternoon exploring my new neighborhood. Within a few blocks, I found a nice small grocery store (good produce, coffee, organic stuff, soy milk), a deli with decent beer, cigar store, divorce lawyer, a handful of pizza places, a pastry shop, little Dominican restaurants, a barber shop (I got a great haircut), florist, drug store, and a liquor store with a huge wine selection.
And a 24-hour donut shop. I’m in big trouble. (There's 10 flights of stairs up from Broadway to my house, so I might get fat but my legs will be in great shape.)
Not a Starbucks in sight, thank you Jesus. Inwood is an old New York neighborhood, that -- probably, hopefully -- won’t be gentrified, at least not in the horrifying way that the East Village and Williamsburg were gentrified, because it’s already sort of nice, middle-class. Ethnically, it’s mostly Dominican now. I’m not sure what it was before that. There seems to be a slow trickle of white folks moving in. Up the street is some kind of small stadium or baseball field or something where the Columbia teams play. And of course, there are huge wooded parks and the Hudson River within a few blocks.
(An edited version of this was posted on Bilerico.com.)
I was on the train coming home from work one day last week and noticed two boys standing across from me, typical kids with their iPods and goofy smiles. They could have been anywhere from 14 to 20, it's hard to tell, teenagers develop at such different rates. (When I say typical, I mean that their pants were more than halfway down their asses, and while I'm on the subject I've been wondering: does the average kid on the street or the train or wherever, a suburban grocery store, does he know that homosexual men are flipping out inside at the sight of a young guy in, essentially, his skivvies in public? Does he know? It's a real puzzle to me. I don't know how to interpret the trend except as some kind of sexual display, but it's their asses they're displaying. What? It's rebellious, so I like it. It makes regular folks blow a gasket, so I'm all for it. But aside from the discussion of what it means for young men to be offering up their backsides to public view, what I find even more interesting is the sheer quantity of attention men are giving to their pants, constantly adjusting, tugging, touching them. Have pants ever before in their history been so interactive?)
Anyway.
I was reading, so not really paying attention to these kids until one of them hit the floor like a sack of rocks in front of me. He had fainted, but he smacked his head on the floor hard enough to wake himself up. Several people jumped to help him up, tried to get him to sit down but he didn't want to. (This was a well-dressed, cute white kid. I couldn't help but think that if he had been, say, a homeless man, everyone would have scattered instead of rushing in to help.) He finally sat down, kept insisting he was fine. He was hating all the attention. I looked more closely at his friend and it dawned on me that they might have been a little high. I hate to assume, but his eyes were awfully red and he couldn't stop smiling.
At the next stop, the conductor came over and asked the kid if he needed a medic; the kid was mortified and said, over and over, "No! I'm fine. Really." A woman sitting near him insisted that he get off the train and get to a hospital. One of the men who had helped him up hovered over him and his friend, expressing concern, trying to convince his friend to get him to a doctor. Both kids -- the kid who had fainted really did look okay, the blood was returning to his face -- refused to leave the train. They just wanted to be left alone and go home.
The man kept getting closer and closer, more and more insistent, and the situation began to seem less like a person in distress being helped by a stranger and more like someone being harassed by a crazy person in the subway. Most everyone, now that the crisis was past, had returned to their anonymous shielded subway world, except the man and the boy, who was extremely uncomfortable with getting so much attention. He gave the man a look like "Oh my god will you please just get the fuck out of my face, old man?" Then the man raised his voice and said, "I care about you!" He said, "I have a son, and a daughter. I care about you."
Just a few days before this I was at the Eagle. I had a beer and had smoked a little pot before I left the house but it had been a couple hours. I was talking to a man sitting next to me. It was crowded and warm and suddenly I felt my blood pressure drop like I was going to pass out. I put my head between my knees for what seemed like a very long time. (Anyone who sang in choirs in grade school knows what it feels like when you're going to pass out, and what to do to prevent it.) The man I'd been talking to looked after me, sat with me until I felt better, and then -- we found we both lived in Inwood -- rode with me back uptown.
He turned out to be a fairly well-known actor and theater director and we had lots to talk about during our 2-hour A train odyssey to the North Pole, er, Inwood. (Will they ever finish that track work? It's been going on for at least 10 years now.)
(Incidentally, that has happened to me in bars a handful of times over the years -- one or two beers, a little pot, and suddenly I'm listing. Maybe I should find out what that's all about.)
So here's to the kindness of strangers. And not just strangers. I'm moving in a little over a week. I've been staying with my friend T since I came back to New York in September. Back in June when I was falling apart in Austin, crying on the phone with T, he said, "Come back to New York. We'll do theater together. We'll form a new company and make new work. Just come. We'll figure it out." And I did, and T has shown me unbelievable kindness and generosity, as he always has in the 20 plus years of our friendship and artistic collaboration.
Not only has it been a long time since I had a regular job, it has been a long time since I paid rent and a long time since I moved somewhere where I wasn't living with friends. I don't have sheets, blankets, towels. I'm going to be 50 in March, and I'm still starting over, and over and over.
It comes up from time to time, it came up just last weekend when we were at Baldwin-Wallace College where the musical theater students were singing several songs from Lizzie Borden in a concert of songs from new shows and they had us on stage for a Q&A after the concert, this question about Rent and why I don’t like it -- the students are rehearsing now for productions of Rent and La Boheme (the opera on which Rent is loosely based) to be performed in repertory -- and my pat answer is that it claims to depict a time and place and milieu, one which I have a strong attachment to, it having been my time and place and milieu, yet the characters, the songs, the story, don’t look or sound or feel anything like the time and place and milieu that I remember. In fact, it seems to me that it trivializes and sentimentalizes, reduces to clichés, the things that made the East Village in the 80s so wild and urgent, so heady, so riveting: performance art, drag, AIDS.
But I accept the possibility that I’m guilty of extrapolating my own experience too widely, assuming that my own experience of that time was the experience. I’m sure there are many people for whom Rent feels authentic. I may be too harshly critical. Lots of people love Rent. They can have it. In the end, I guess I just don’t care much for the songs.
T suggested wisely that Rent may be a younger generation's Fame, a movie which -- though I have known many people in the meantime who attended the High School of Music and Art, on which Fame was based, who say that it is a terribly unrealistic depiction of their experience -- inspired both T and I and many of our friends, showed us a New York where we might go to find aspiring artists like ourselves, a place where the streets were crawling with music and love and sadness and inspiration. I'll buy that. (The comparison breaks down when you compare the movies, though. Fame is a good movie. It holds up. The movie version of Rent is a piece of crap.)
I always think, afterwards when it’s too late, that I wish I would have added to my answer about how I feel about Rent that, though it doesn’t feel at all to me like the New York in the 80s that I remember, Angels in America does, and I don’t think I’ve ever been more grateful for an artist and a work of art.
Look at how weird my life is getting now. Meetings with lawyers, agents, producers. It’s crazy. I have to keep reminding myself to keep breathing and enjoy the ride because, frankly, it’s about fucking time.
I went for a 3-mile run on Monday and that made me feel sane and stable. I run on the hike and bike trail between the West Side Highway and the Hudson River down to the George Washington Bridge and back. I want to increase the distance so that I can get past the bridge to where the trail goes down closer to the river, but I don’t run regularly enough yet. I’m pretty lenient with myself about that stuff; it’s hard to do those things – run, work out, meditate – every day when every day is different from the one before and every week is different from the one before and every year is … Anyway, the run is beautiful and invigorating, lots of traffic and the gorgeous Hudson and that bridge is awesome when you’re right next to it. It’s so high up.
The temperature dropped yesterday from the 70s to the 50s and 40s overnight. I made a big pot of white bean soup with pork and chipotle. The apartment got all steamy and smoky and the soup was over-the-top delicious. Add cooking to my list above. One of the things that kept me happy and sane (and not fat) the last few years was cooking and eating regularly at home. But it’s a different life here. In the end, I’d rather be a successful theatre artist than a successful homebody.
Now, several months after the end of my relationship with M, it’s easy to see all the things that may not have been perfect about us being together, to see how maybe we weren’t as absolutely compatible as I was convinced we were, as perfect for each other as I begged him to acknowledge, and to say, “Look at all these wonderful things that are happening in my life now that I’ve moved on,” to adopt an it’s all for the best attitude, because of course now I’m doing this, whatever it is I’m doing without him, and if we were still together I wouldn’t be doing this and what a shame so obviously it’s meant to be, or not to be. Whatever. I still go to bed at night and sometimes just ache because I want so badly to throw my arm over him, my palm against his chest. To kiss his neck. To fall asleep and wake up not alone.
Saturday night I made out in a bar with a young man for what seemed like hours and maybe was. Long enough for my lips to be chapped the next morning. He was shorter than me, and several times he stopped kissing me to rest his head against my shoulder, and with one hand I cradled his skull. Near closing time, he took my hand to lead me to an area of the bar where it was dark, where guys go if they want to do more than kiss. As we passed the stairway to the exit, I let go of his hand. He was swallowed by the crowd. I ducked down the stairs and out the door quickly and went home alone. We never said a word to each other.
The last week or more it’s been generally in the 50s at night and the 60s and 70s during the day. The heat has been turned on in T’s building and apparently, like the heat in all these old New York apartment buildings, can’t be regulated much. There’s no thermostat; it’s either on or off. Even with the radiators turned off, the steam pipes that run through the apartment to the upper floors are still blazing hot. So, we have the windows open, because of course you don’t need heat when it’s 65 degrees outside.
I’m sure everybody knows by now because I haven’t stopped complaining about it that UPS lost my computer monitor on its way to New York from Columbus, Ohio. I visited my brother there on my way here, and I left my car with him because he has room for it in his airplane hangar. Since that was the end of the road for my car, I shipped my boxes from Columbus.
I insured my computer but forgot to insure the monitor, so of course that’s the box that went missing. It was a big, fancy monitor, 27” screen, I edited my film Life in a Box on it. It and my computer were paid for by the film’s budget; I never could have afforded such nice stuff. I was sad to lose it. Since I got here, I’ve been using a 10-year-old Mac G4 notebook computer, which is functional but pretty jenky. It doesn’t play video, for instance.
But, UPS automatically insures every package for $100, and I found a similar monitor on ebay for $60. (Nobody wants a 7-year-old computer monitor except someone with a 7-year-old computer whose monitor was lost.) And the shipping was $40, so I just broke even. It arrived today, by Fedex, which is a New York miracle because this is the only day I could have been home to receive a package since I’m in rehearsals every day now.
I love happy endings.
Speaking of happy, we’ve had a couple rehearsals now with the cast. Three of the women are back from last fall’s production and one is new, the woman who plays Emma, Lizzie’s sister. The new girl is great. The old girls are still great. Our director is wonderful, very smart. She loves and understands the show. And our music director is some kind of perfect.
There was a moment in yesterday’s rehearsal, during the scene in which Lizzie begs Alice Russell to lie for her to the police, and Alice, though she loves Lizzie, cannot do it, when I started crying, and I looked to my left and Tim was crying and then to my right and Alan was crying. All three writers were crying. Hate to brag, but this show is heartbreaking. I’m awed by what this cast brings to our words and music, to these characters and this story. It’s a wonder. And it’s a privilege to work with such talented artists.
The song "Somewhere" from West Side Story is constantly in my head because the A train, which I take every day to wherever it is I might be going, as it approaches the station sings the first three notes. At first I thought it was an effect of the wheels on the tracks, but it is too regular and it happens at every station.
"There's a place..." That song always fills me with nostalgia. West Side Story was the first musical I worked on in a community theater production in Greencastle, Indiana. I was 13, on the stage crew, and Mike Van Rensselaer, who was lanky and handsome in a mid-70s way, played Tony. Every night as I stood backstage waiting for my cue to roll out one of the brick walls for the rumble scene, it was like Mike was singing to me. "There's a place for us...."
Anyway.
The other thing that's new about the subway since I lived here last is a woman's recorded voice on nearly every platform announcing the arrival of each train. She's super-cheerful and sounds like she's from Kentucky by way of Minnesota. It cracks me up every time, those hard nasal "a" sounds, an accent and tone so out of place here where daily one hears dozens of different accents but seldom that one. And she is announcing the arrival of trains, which is useless information. It's obvious when the train is arriving. It's big and loud. Information that might be helpful -- schedule changes, tracks changes, etc. -- is still bleated over a p.a., almost always garbled and incomprehensible. Just like the New York I remember.
I've been working part-time in a prop rental shop in Greenpoint. An old friend got me the job very soon after I arrived, and I'm grateful to have some income and to be working in a congenial place with varied enough tasks that I'm not dying of boredom.
The commute from Inwood to Greenpoint is almost an hour and a half door to door. So far, it's not bothering me a bit, though. After living in places where I had to drive everywhere -- if you know me, you know I hate driving -- I'm falling in love all over again with public transportation. I'm getting lots of reading done. I'm reading In Search of Lost Time again, the new Lydia Davis translation. (Which is great, by the way. If you've always wanted to read it but you're intimidated by its "great modernist masterpiece" reputation, don't be. It's a huge pleasure to read. I read the whole thing a few years ago when I was living and working in a very quiet, remote village in southern Utah for 8 months, but it's so long and rich and dense and entertaining that the first thing I thought when I finished it was that I wanted to go back to the beginning and read it again. Lots of time for reading may be the only thing the New York subway has in common with southern Utah.)
I work Monday next week and then I have two weeks off. I'll be working, but not for the man. As I’ve said, the two main reasons I moved back to New York were, one, because my heart was broken and I needed a change of scenery and, two, because big things are happening in my career. (I guess the real main reason I moved back is that I couldn’t make a living in Austin, but the heartbreak and Lizzie Borden are what spurred me to move now.)
The National Alliance for Musical Theatre festival of new musicals presentation is happening in a couple weeks. (If you're in New York, you can come to this event free. The performances are on Oct. 21 and 22, during the day.) I know I’ve said this before, but this is a huge fucking deal for the show and for me as an artist. Theater producers from all over the U.S. come to this conference to check out the most promising new musicals, and only eight are chosen each year to be presented. Eight. We start rehearsals on Tuesday!
So far the hardest thing about being back here, after having been away and cultivated a different way of living, and I knew this would challenge me, is shopping and eating the way I want to. I just stopped at the neighborhood supermarket on the way home from running some errands. I didn’t have bags with me. I was buying some fruit, lettuce, a quart of half and half. As the cashier was ringing up my items, I said to the guy bagging groceries, “You can put it all in one bag,” and he nodded as he pushed one plastic bag into another. While I was paying, he put the lettuce in the double bag and then grabbed another bag and started putting lemons into it. I said, “One bag is enough.” I don’t think he understood me – stressful moments like this are exactly when I need to use my Spanish, but they are the moments when I am least able to -- because by the time I had paid the cashier, he had my 8 or 10 items waiting for me in 4 double bags.
Feeling like a total asshole, I started pulling everything out and putting it in one bag. He said, “It’s too much!” I said, “It’s not too much. I live less than a block away. I don’t need 8 bags to carry home my groceries.”
Eight bags! It’s so absurd. I can’t even get my mind around what motivates that kind of behavior. On the other hand, I was able to buy local apples.
But it’s not just the bag issue. It’s the fact that natural food stores are in neighborhoods I can’t afford to live in, and it’s not easy to find local produce, especially not in the cold months. And because life is very busy and hectic here, I won’t be doing as much processing and preserving and cooking all my meals from scratch at home.
I’m not going to fret too much about it, not so soon. I’ll allow myself time to discover ways to get as close as I can manage to the kind of conscientious life I want to live given the circumstances of living in New York. One thing that will help a lot is having a bigger kitchen.
*
One thing I’ve noticed, living in so many very different places in the last 10 or 15 years, is that the dust in different places has very different qualities. Different texture and color, different rates of accumulation. I think it was Jersey City where the dust was blue. Like blue blue. Here it’s more black, but it has a bluish cast and it’s very fibrous, almost wooly. In Austin our yard was mostly dirt and there was often some kind of construction going on, so the dust was more like dry earth, powdery and brown, and it built up fast. I’d wipe things off on my desk and within a couple hours there was a visible layer of dust again.
I just remembered that I got hit in the head with a chair last night! The first thing I thought after it happened was, “Now that’s why I moved back to New York!”
I had a date last night. A man I met and chatted and exchanged numbers with at the Eagle, a handsome man, a painter, asked me over for “dinner and drinks.” I left my job at the prop shop in Greenpoint at 5, came back to T's to shower and change. It would have been easier not to come all the way up to Inwood and then back downtown but I needed a few moments to relax and get my second wind. The new job, getting up at 6 a.m., walking everywhere again ... I was dog-tired.
He lives in a little apartment in Chelsea filled with his paintings. He made cocktails with ginger vodka and lemon juice. They were potent and I had two of them before dinner, which was beautiful and delicious: a chicken breast broiled with New Mexico chili, a baked sweet potato, spinach with lemon and capers, Israeli cous-cous. We smoked some pot.
I hadn’t noticed the night I met him the deep creases at the sides of his mouth which could have been age but more likely were the result of HIV drugs because he also, and I hadn’t noticed this before either, had the tell-tale distended stomach and lack of ass. I won’t say I didn’t have a slight reaction of, if not fear, apprehension, which of course is completely irrational because, even if you were going to have risky sex (and you always have the choice not to) you’re much less likely to contract HIV from someone who is on long-term anti-viral drugs than from someone who is not. But who ever said we were rational creatures?
At any rate, he was charming and eccentric, gracious, sweet, and the vodka and marijuana… After dinner, we had amazing sex -- if the quality of sex is measured by the intensity of physical sensation and I question more and more whether that is the best metric; my experience with M showed me that the whole sex and love thing may not be just propaganda -- the sex of experts, a kind of sex completely without mystery that only people who’ve been around the block so many times there’s nothing to discover can have. It was hot because we knew exactly how to make it hot.
But then it was over.
He said, “I hope you can stay,” and I said I wanted to wake up at home which meant I didn’t want to sleep with him.
It was only 11 when I left, and I was in the neighborhood, still a little drunk and high and craving a beer, so I stopped at the Eagle. Usually the Eagle is sort of all about horniness but I was a little spent so I went up to the roof and sat looking I imagined aloof and handsome. Maybe not too aloof because within a few minutes a very cute bearded man, young I thought, sat next to me saying, “There wasn’t anyone sitting here, was there?” I said, “Not that I know of.”
I tried to steal glances at him, sitting there right beside me, but I wasn’t at all sure if he’d sat there because he wanted to sit next to me or sat there just because it was a place to sit. Is he shy? Should I say something? Or should I pretend I don’t even notice him and thereby avoid humiliation? (Despite my feeling that I might look attractive, I always believe that anyone who I think is handsome is almost by definition handsomer than me. I’m not even sure what that means, but it’s true.) He lit a cigarette. He said something about the porn playing on a TV over the bar. I think he said it was mesmerizing. I said, “They usually play really good porn here, but tonight it’s kind of bad.” Which it was. But it was a TV screen and impossible not to look at. Then I said, “But I guess everyone has their own particular taste when it comes to porn.” And he said, “You just said a true thing,” or something like that. He had a strong Australian accent and used a lot of idiomatic expressions I couldn’t make out. I think he called the bathroom the dunney.
We sat and talked and got drunker and drunker till almost closing time (which in New York I’d like to mention is way too late). He’s a solicitor taking some time off to grow a beard and travel. He’s more or less backpacking with a buddy. They’re staying somewhere on the Upper West Side sharing a single bed to save money. We talked about traveling, the places we’d been. He was small with a bright disarming smile, black hair and eyes, and I told him I thought he was very handsome and he said, “Likewise,” which could have meant that he too thought he was handsome, but I don’t think that’s what he meant.
Several times he said things that, because I was drunk I can't recall today, made me think he was very insightful and sensitive and emotionally self-aware.
I was glad that I’d just had sex because, though I wanted to touch him and I did put my hand on his leg a couple times, I didn’t feel that intense urgency to go somewhere and fuck that usually backgrounds these types of encounters. I told him I’d like to see him again and he took my number. He texted me so I would have his, but it’s an Australian number and it came through as a regular phone call, not text. When I heard last call I said I had to go. I asked him if I could kiss him. I don’t remember if he said yes or nodded or if I just kissed him without waiting for an answer.
On the street outside, I texted him saying I’d enjoyed hanging out and looked forward to seeing him again. I’m doubtful I’ll hear from him, but who knows.
Around the corner on 10th Avenue, I stopped for a slice. There was something happening on the sidewalk in front of the pizza place, a big group of people shouting and looking agitated but I didn’t think much of it since at 4 in the morning on 10th Avenue there’s nothing unusual about that sort of behavior. I made my way through the crowd and was headed for the counter as a couple guys and a woman came running from the back of the restaurant toward the front door. On the way, one of them picked up a chair, one of those sturdy but light aluminum chairs, and lifted it over his head. As he ran past me, it banged the side of my head hard enough to hurt but I was drunk enough to be more amused and intrigued than scared or angry. I sat down at a table and watched the chaotic running around and shouting, someone saying over and over, “Chill! There are cops outside!” until finally they did chill, and I got up and ordered my slice and walked to the train at 34th Street. Miraculously, the A train came within minutes -- sometimes late at night you have to wait forfuckingever -- and I was home in bed by 5.
I have a slight headache today and a bit of a knot on the side of my head and I can’t stop smiling.
I've been here less than two weeks and already I have 4 jobs! I haven't started any of them yet. I interviewed last week for a job at a prop furniture rental shop in Greenpoint. They called yesterday and said they'd like me to do some work for them on an "as-needed basis, and we have a need now." I think they just want to check me out before they say anything too committal. In the interview, she (I think you'd call her a manager, though it was a small operation and it seemed like everyone did everything) said it would probably be 2 or 3 days a week.
I'm also going to babysit a friend's son (he's 9) about once a week in the East Village. And I'm going to help a friend of a friend organize her files, and then some time later in the fall I'm going to do some house painting for a friend.
***
It's been chilly at night and in the mornings, but I find myself superstitiously avoiding putting on a sweater or even a long-sleeve shirt. I don't trust the cool weather, I've been so traumatized by the Texas heat. It's been gorgeous out, the kind of bright, cool fall that New Yorkers live for. It's still hot in the subway. I've forgotten how long it takes for that hot air to be displaced in the fall.
***
I cleaned and rearranged T's kitchen yesterday, spent most of the day on it. T and I have been friends for 20 years. I love him with all my soul. He has many talents but keeping the house clean is not among them. The kitchen was a mess, dirty and cluttered with no place to work and no place to sit. I moved stuff around and created some counter space for cooking and a little eating nook by the window. It's very tenement civilized. Huge difference. And it made T happy to come home from work and see the kitchen transformed. That in itself made the effort worthwhile.
When people ask me for advice about cohabitation, whether it's as friends or lovers (and oddly enough, people ask me), I always tell them my one rule is, "If you think something needs to be clean, clean it." Seriously, stop trying to figure out how to get the other person to do it and just do it yourself. Then it'll be clean and you'll be happy. It doesn't matter who left the dishes in the sink. If you wash them, they'll be gone. Problem solved. What's so horrible about doing something nice for someone like washing their dishes?
People have different styles of housekeeping, different priorities, different levels of dirtiness that they notice or tolerate, and it's probably impossible to change them much. All the trying and the resentment it creates on both sides just corrodes the relationship. My threshold of cleanliness is somewhere halfway between clean freak and slob -- I've been on both sides of the dispute in my various households over the years.
***
It's hard to believe I've been here for almost two weeks now. I'm happy.
The subject has been well pondered before -- it’s just so obvious -- but I’m still intrigued by the complicated connection between the rise of “bear culture” and the recent so-called obesity epidemic. I’m skeptical about the “epidemic” thing. Though anyone who’s been around for a while can see that the average American body size is increasing, I think most of the hysteria about food and fat people is just moral panic and scapegoating. Fat people are lazy and greedy.
And hot. Is there a subculture of heterosexual people fetishizing excess body fat, or is it just gay men? As soon as I ask that question, I realize it’s not hard to find times and places where fat women have been and are seen as more desirable (look at an art history book, or a shelf of porn), but men? The Judd Apatow movies, Seth Rogan, etc., must be somehow analogous, but how so? Those films seem to be less about the attitude of heterosexual women toward fat men than they are about fat men’s fantasies of their own desirability.
The same friend who gave me movie deal advice also turned me on to Weleda sage deodorant about a year ago which -- I am not exaggerating -- changed my life. For the last 10 years or so I haven't been able to use deodorant without breaking out in a painful rash that takes months to heal. I tried dozens of them; the "natural" ones were the worst. And don't even mention that evil rock.
Luckily during my time in Austin, I was usually either at home or hanging around men who liked the smell of b.o. (I like it too, but I get extremely self-conscious when I'm in a close public space and I know I smell strong and I'm sure my nervousness only makes it worse. People can be so judgmental about body smells.) The one big exception in Austin was when I was in school, but the UT buildings were almost always freezing so I didn't have to worry too much about sweating.
So, finding a deodorant that actually worked and I wasn't allergic to was huge. But in the last few weeks it has stopped working! In fact, it seems to make me smell even worse than if I weren't using anything. I smell ripe! It could be the fact that I've been in a much more humid climate recently. But that's not good news because New York is just as humid as the Midwest, which is much more humid than central Texas. And I'll be in all sorts of situations where I don't want to stink: meetings regarding the show, job-hunting, various workplaces, etc.
A friend in Austin who I assume knows a lot about money because he has a lot of it told me that if we’re looking for a movie deal for Lizzie Borden we should hold out for $10 million because 40% will come off the top for various agents and lawyers and accountants leaving $6 million to split among 3 writers or about $2 million each which safely invested would produce about $65,000 a year in dividends which would be enough to live on for the rest of my life. None of these numbers really mean anything to me except the $65,000, which would be a modest and completely reasonable income for an artist in New York. So ... $10 million, folks.
