Embarrassing Myself on Twitter is Not Enough

you vs work

“This is What You Came For” drags you out into its unspoken syllables.

He twists off a crab claw, expecting to see flaky white meat. But a crab has an exoskeleton. The flesh simply pours out, like mucous.

don’t think I’ll ever get over context collapse on Twitter. the sublime, the pedestrian, the horrific, all at once

You not u. Y-o-u.

“Work” repeats work to the point it begins to sound like only a sound. “You need to get done done done done done at work / Come over / We just need to slow the motion.”

Crowds of people pressed together / I can remember your smile forever

This is one of those nights when I think lyrics have meaning. The more songs and smaller parts of those songs I listen to, the more they seem to add up to something. Break it apart and it seems to stick together. Speed up to get stuck. Stuck and not true, I know, because morning.

Is Rihanna working to play or is play work?

Reading Twitter on the toilet at work feels almost urgent. Reading Twitter on weekday mornings, the only thing that feels urgent is people’s need to tweet.

There is one paragraph here that’s more than 140 characters, and its sentences are each less. (All in the present, tense.)

Shouldn’t I feel freaky the whole time?” one asks, and adds that “this love is gonna get me down.” One hopes.

I’ve procrastinated so long and hard that the only activity that doesn’t sound boring is work.

When people say something is “my passion”, they are bad at that something. The dream is to be passionate about work, but that’s putting the cart before the horse. Is passion what you are helpless to, or what you aspire to? “My passion” is invariably an aspiration. As opposed to that thing a spouse claims to be sick of. (Often, work.)

One doesn’t have to be bad at one’s stated passion. One can be good at something that is bad, usually bad for oneself. For example, I am good at speaking in contradictions, but the contradictions are bad, and the habit of speaking in them, exasperating.

To go anywhere you have to go nowhere. Don’t follow the links!


Classical Training

Tom Hiddleston plays a better actor than he is. That might mean he’s a good actor. He is gossiped about as if his every move is part of a facade. The Daily Mail wonders, given his reticent responses to questions about he and Taylor Swift, whether his sloppiness is an act, part of a story he and Swift are weaving, using the press to generate hype about an as-yet undisclosed music video. This is an extraordinary level of speculation. The press seems to believe they are being manipulated by a mastermind, Hiddleston or Swift.

I can’t think of a better metaphor for romantic love than working on a secret music video. I can understand Hiddleston, if he is not a good actor playing a bad actor, not wanting to talk about “work,” as he refers to his relationship with Swift to an interviewer. Work is too personal.

Jean-Luc Picard is the perfect Englishman because in his heart that he never talks about, he is French. Or perhaps Patrick Stewart is an Englishman playing a Frenchman playing an Englishman. Or in the future the British Isles and France have merged into a bunch of English-speaking, grape-revering, Earl Gray enthusiasts? Was one pro-Brexit minister thinking of Captain Picard when he said that he hoped to one day to return to the EU, under different circumstances?

Picard Laughing At His Handiwork

The Night Manager gives us a Tom Hiddleston action figure. A powerful physique has an odd way of looking out of the control of the person who has it. Not that Hiddleston is a muscleman; he just has an well-proportioned torso, with long arms and legs that feel like they are ideal for posing. The show is about a man of action whose sinews are all double binds. Half the show consists in scrutinizing his face being scrutinized. At any moment, one feels, he could betray the fact that he is a spy. But is he? At no time does the show or Hiddleston give us the opportunity to imagine his character has depth at all. Perhaps every layer of his personality is a facade, just as tabloids speculate about the actor. Whose layers? Tom’s, Jonathan’s, Andrew’s?

Action Figure


Milk and Honey

Lake Weeds

My father, who is driving the car, always refers to California ironically as “The Land of Milk and Honey.” When he was assigned to an Air Force base near San Francisco in 1964, it wasn’t ironic. Growing up in rural New York, California felt far away enough to really have promise. Life on the base was horrible, but the world around it was brimming with possibility. He was not considered for becoming a pilot because his vision was very bad, and was assigned, with what seems like a sadistic sense of humor, to drafting. His job was to draw precise maps that his astigmatism distorted and blurred. On the interstate I type but do not tweet “Did I first have to mistake a person for not a person to want their recognition?” I want to append “#twitter,” but I think this would be as falsely specific as “their” is falsely general.

On car trips I usually take towns for granted. As an American, the genre of American towns blinds me. Their generic elements numb me into an acknowledging incomprehension, like running over lines of text without reading. On this trip to California, towns are a mystery. The problem began with rice. I had the knee-jerk thought I’ve had every time I’ve driven though the Central Valley: I can’t believe they’re growing rice in California, where all the water has to be stored and transported hundreds of miles, and the “drought” turns out to be the normal climactic conditions according to which the last 100 years was an anomaly. The picturesque rice paddies of rainy southeast Asia, I think idiotically, are the way rice ought to be grown. I want to say that growing rice in California is a triumph of pure economics, that nothing about it makes sense except economic sense. But who is to say that it’s the result of people perfectly in touch with the reality of the market?

The road to Clearlake is well-maintained but seems to go nowhere. I haven’t looked at a map of our route, so this feels possible. It appears to be a three-lane highway winding aimlessly through rolling Californian hills. My father says triumphantly, as if deciphering a treasure map, that these mountains are not the Coast Range, but something else. The ground is sloughing off into ravines; soft beige earth is exposed on nearly-vertical eroded slopes. The mountains do not seems permanent. The job we were hired to do, dredging 50 years of sediment from Hidden Valley Lake–not Clearlake, but something else–begins to make sense.

The city of Clearlake is on a reservoir called Clearlake–“the biggest lake in California,” its aging welcome signs proclaim–that keeps from spilling down the mountains I don’t know how. Why does this town exist? What economically has ever sustained this place? The novelty of travel, without the wish-fulfillment of maps and itineraries, has become pure disbelief.

I find myself squinting in the sun as we drive west. I flash on the furrowed brow of Wendy on Billions. A very compelling brow. She seems to hold the world in place. Unlike mine, her disbelief comes with the clarity of judgement.

My father gets furious about anything to do with space exploration because it’s a waste of resources that could be put to use on earth. Unless you share it, the more real a person’s anger is, the more fake it is. I wish I could say I’m exhausted by NASA-hate for some reason other than “I’ve heard it before,” as if identifying a genre is reason enough to dismiss it.

Later on, my friend tells me how the latest contestants on The Bachelorette have answered interview questions. One says that the top item on his bucket list is to “take a trip to space to experience the process and snap some epic selfies!” A retirement community in Florida says that its “rolling hills, lakes and rivers, and an array of wildlife create the perfect backdrop.”

On the highway to Hidden Valley Lake we pass the Oasis Cafe. The sunny murals on its walls are sun-bleached nearly beyond recognition, probably painted in the 70s heydey of Clearlake, which the residents of Hidden Valley Lake now refer to as “a third-world country.”

Like wealthier Marin County 50 miles away, the landscape of green rolling hills and oaks looks idyllic until you discover it’s the perfect habitat for ticks. A short drive through blood-sucking paradise brings us from our motel in Clearlake in which drunk men yell at each other to the grocery store just beyond Hidden Valley Lake’s key-carded gates, out of which walks a smiling woman carrying a salad.

In Nemesis, Miss Marple sympathizes with the killer, who in effect lives with the consequences of the love (for someone else) she deprives her victim of. Having hidden the body of her beloved on her property, she “just suffered; went on suffering, year after year,” while her victim “escaped what she had to suffer.”

Across the shopping center, a homeless man smokes and talks to himself in front of a coffee shop. The smiling woman leans over the coffee shop counter and asks the barista “is he safe?”

We are here to sample the sediment in the lake, before proceeding, eventually, to remove it. The look that people here give us–is that how a baby looks at you while you change its diaper? Hidden Valley Lake’s privatized government wants us to do our job, but they want a lot of information in the process. They enjoy the process. They want to know from what precise locations we are planning to sample the sediment. When we’ve finished sampling, they are very interested in the sediment’s composition. They are fascinated by what’s accumulated down there. The homeowners, in turn, demand from the Lake Commitee the names of all the aquatic weeds around their goose-shit-encrusted boat docks. The man from The Lake Committee accompanies us on the boat, and writes down my father’s every word–“I wrote down what you were thinking”–as if somewhere among them is the solution to the lake, how the lake will self-actualize into what the homeowners imagine.

He tells us proudly that tomorrow the weeds will be treated, an aspirational biannual genocide. The boat that takes us around the lake gets its engine clogged with plants a dozen times. “We have a tail,” jokes the head of security, who is piloting it.

The town, which embellishes its shores with sandy beaches by bulldozer, challenges my notions of what’s natural. Despite working in “environmental restoration,” I rarely see the work that creates our stage sets of Nature.

Have I ever learned anything? Last year, 11,000 homes (nobody ever says houses) burned down near Hidden Valley Lake. The fire nearly reached beyond their gates. A few scorched trees can be seen from the lake. Their community center (they don’t have a city hall because it’s not a municipality) has stacks of Fire Wise brochures, diagramming how to keep your home from burning. On NPR, the mayor of Miami Beach says that they are “acknowledging and accepting global warming” by building up their streets by 3 feet. Is everything denial except giving up? When we return home, the air is full of smoke, that familiar smell of summer wildfire, but then we drive out of the cloud of smoke. Fire prevention crews are doing a controlled burn.

Hidden Valley Lake