Author: aliactast

Vonnegut

Kurt Vonnegut is one of my favorite authors of all time. Few even come close to the affection I feel for that dead old man and his pall malls.

The way each story unfolds and what it represents is always done in this clear, no bullshit, no time for pleasantries, miasma of honesty. There’s so much humor and humility and cleverness; his political opinions and his stances, his morality is never vague. And he doesn’t come off as pretentious in his storytelling –in fact pretentiousness and how boring it is is a huge theme.

I also, and this is a personal jab at myself, absolutely buy into the mix of sci fi and speculative fiction. I’m pretty sure that when I was little I also was convinced I lived in a space zoo. So. I’m doing great. Don’t worry about me.

Free will versus predestination; prophecy and its inscrutable, annoying, cloying certainties; and, the nature of time are massive themes in most of Vonnegut’s stories and I very much jibe with that.

Which brings us to: I recently reread Cat’s Cradle and I wanna talk about it.

It might be my favorite of his books.

As the man says: see the cat, see the cradle?

I realized sometime in January, Cat’s Cradle kind of fundamentally hits the nail on the head for me. And it is presented in exactly the way it has to be to get its point across. I mentioned some time ago that that’s the key to a well written murder mystery —that the audience doesn’t see an alternative option that would suit the story better. Vonnegut couldn’t kill god in any more perfect a way than he does in Cat’s Cradle.

It does that thing I love of telling you one story, presenting you one plot contrivance early on which seems so different from the ride and destination that you end up on. You tumble along with the characters into an impossible scenario and you turn around and squint at the beginning, at the person you used to be before you ended up here. And yet—and yet how could you have ended up anywhere else?

And what better way to end a book than by ending the world, laying on a mountain, and pointing your finger up at god? If that doesn’t tell you everything about humanity, what does?

Please, if you haven’t, read as much Vonnegut as you can find.

Review: My Mother was Nuts

I know what you’re thinking. Dany, you read another comedian memoir? Yeah, I did.

This time around it was Penny Marshall’s My Mother Was Nuts which opens with the fun story of the modern-era (now deceased) Ms. Marshall’s house being broken into by two young kids dressed as ninjas with samurai swords.

A promising opening.

It definitely grabs your attention. And unlike Wishful Drinking by Carrie Fisher which I read earlier this year, Penny Marshall has a lot to say about her friendship with Carrie Fisher. Carrie must have forgot to mention that while married to Paul Simon she accidentally set up her best, oftentimes oblivious, friend with Art Garfunkel who then went on to keep unwittingly inviting the famously toxic duo to the same places.

That seems to be my overall review of Ms. Marshall. She seems to stumble into being funny.

The book loses some traction midway when Ms. Marshall just begins recounting the details of her career. There’s some interesting facts about Hollywood history, particularly around her directing Big and A League of Their Own, but these are just interesting facts. It becomes almost a list of accomplishments, like she needs to make sure that you know why you’re here. I found the really interesting and insightful parts of the memoir to be just that–when she remembers to talk about herself.

There is a sense that fame and success changed Ms. Marshall, but not in the way it changes anyone else. Instead of becoming big headed or indifferent, she becomes a series of sighs. A long, unending line of ‘and, well, then this happened. What are you gonna do?’

if I’m being honest, 2

In middle school I did a book report on Stephen King’s The Tommyknockers.

I remember only a few things about the book because that was a while ago now. I remember that people were batteries, that it had an unhappy ending, and that there was a female character who preferred dildos to men.

I believe she was meant to be an unlikeable character but that didn’t hit with me, that seems like a Stephen King problem. I read the line about her preferring her vibrator and nodded and said ‘girlboss’.

What’s important about this is that my English teacher pulled me aside to tell me that I needed to diversify my reading. This is a nice way of putting it. That’s generously assuming what he meant. What he told me was to stop reading horror and go read something ‘nice’.

He didn’t think horror or sci-fi were worth discussing academically.

What kind of teacher tells a child punching way above the rest of the class’s weight to stop reading? Well. A lot of them did. I went from not being able to read to reading 600 page books in short order and I assure you: no one gave a shit.

I feel like many people promote these gushy stories about really inspiring teachers and influential figures in their childhood that helped to push them through —-it just has never been my experience.

This is an extremely mild example of that.

I think those gushy stories have appeal because in reality there’s so few of them.

I didn’t like school. I didn’t apply myself. I didn’t see a point. I was always being discouraged for being too different, or weirdly for being too introverted. Nothing kills connection with someone like demanding it. So I stopped trying. School was just something I did for a portion of the day.

What I did, what I thought taught me anything worthwhile, was reading and looking things up for myself.

I envy, in a way, those people who had a mentor or just a helping adult, but I appreciate that I never learned to rely on that, too.

I probably have more horror stories than most when it comes to bad experiences as a child with adults. I didn’t have a good experience with teachers, really, beyond the superficial, until they were called professors.

Maybe it was that I was old enough or mature enough to put aside my absolute distrust. But I had a professor who convinced me to double major, who convinced me to take more literature classes, who came up behind me while I sat in the student center with a cup of coffee, looked over my shoulder, and said “Red heads, huh?”

I’m still embarrassed about that but won’t elaborate because it’s funnier this way.

Because I took that second major, I had a thesis advisor who used to yell at me —you always need a theoretical framework! You can’t just present evidence for itself! Don’t let anyone draw their own conclusions! Treat your reader like you’re the goddamn expert!

It flew in the face of my counseling training.

She made me read dozens of philosophers trying to figure out where I fit into things. I fought her every step of the way, and she fought with me, and I called her ‘The German’. She asked me why I bothered double majoring, she was always on my ass that I should work in the arts and stop with the psych major. She resented psychology as a field and I was treating her field like a hobby. She said I needed to get serious.

Then when I had finished and I stood in front of that room of professors and students and took questions, and did that whole bit, I told her, “I think I finally get Foucault,” and she hugged me.

I think there’s a deeper lesson in what she was getting at than just telling me to root myself in a school. You need your people, you need to define your opinions. A lot of writers don’t know what they’re talking about until they’re done talking. Opinions solidify in the editing process. There’s a great James Baldwin quote about it, one of my favorite quotations about writing at all,

When you’re writing, you’re trying to find out something which you don’t know. The whole language of writing for me is finding out what you don’t want to know, what you don’t want to find out. But something forces you to anyway.”

It’s why people are drawn to writing. It’s about communicating. The whole process of writing a novel is finding a topic, screaming about it, and then looking around and saying, “You too?”

I’d never really had any opportunity to figure out who else agreed with me, or who else had had my opinions before, because I never had any adult sit with me before and say ‘you don’t know shit’ in a patient way instead of a condescending one. So much of how we talk to children comes from a culture of shame while knowing that harshness accomplishes nothing. There is nothing in life that benefits from being harsh about it.

And that confuses people, people who can’t delineate between aggressive and assertive. That professor never went easy on me, and she called me an idiot more than once, but being gentle and being patient does not mean being easy. And too often people see someone ‘going easy’ on someone else and they feel that they have to step in, to bring the harshness, because that’s all they know. They don’t acknowledge that it just doesn’t work.

Every person I’ve ever talked to who’s been depressed is harsh on themselves and every other person that they come across, even if it’s in the quietest voice. Being kind isn’t about how you say it, it’s about what you’re really saying. People want things wrapped up in these too cushy, too gentle, constant streams of validation or they want punishment and to punish—because they aren’t thinking of the reality of a situation, they’re thinking of shame.

The world is a much better place when you’re actually aware of it.

Review: Born Standing Up: A Comic’s Life

I remember a copy of Cruel Shoes that belonged to my father sitting on the bookshelf and feeling compelled to read it–in large part because my father hates Comedians. My father does not trade in Comedy, that’s my mother’s sole business, so it always struck me that Steve Martin must be somehow special.

I remember Cruel Shoes very vaguely because I was a lot younger when I read it and I remember it as sort of a sparse humorous collection of jokes or bits. It wasn’t very memorable for me, I’m sorry to say, more memorable that my father owned it.

Given my partner’s own predilection for Steve Martin, and this errant book on the shelf, I always sort of assume some mythic quality to Steve Martin. Reading Born Standing Up it is a much more genuine look at him, his career, and what informs his choices—not just throwing up jokes as a deflection. At one point after discussing his father Martin notes that if you’re required to experience pain and abuse in order to get into comedy as a business, you need not worry about his qualifications.

The book was very somber and honest, detailing how ideas were developed as well as panic attacks and hypochondria, not lingering on any one problem but always moving forward to the next thing, the next bit, which I’ve found to be a pattern in the memoirs of funny people.

I think that’s the real lesson to come away from an honest, relatively short blip of a book. Steve Martin knows his limits and what could drag him down, then turns and walks in the opposite direction.

I read Elton John’s autobiography!

It’s called “Me” which is both on the nose and a manifesto.

I feel like if I could get books right as they come out I’d love to do a ‘I read this so you don’t have to!’ but I’m always behind the curve.

I get the distinct impression that whatever editors and ghost writers and cleaners-up-heroes came in to lend a hand had a full-time gig with Elton John. He writes the way he speaks, which is darling, and he isn’t afraid to take the piss at all. He’s aware, exactly, how he’s behaved historically and he’s determined not to be ashamed of it. The man has an excellent sense of humor and humility, particularly in the face of his addictions. I found his abusive romantic relationships, played up as a central theme of the Rocketman film, are lacking. He doesn’t linger. Elton John is all about accountability, particularly his own.

He doesn’t have a bad thing to say about one single person he’s known in his life, just a string of ‘life goes on’ sighs, occasional disappointments, but primarily a lot of gratitude. I was struck particularly by the way he reaches out to people if he’s heard they’ve had a difficult time that he can relate to– celebrities, people in the news, anyone he comes across’s story, he’s willing to be a friend. Some people may find that claim of his to be self aggrandizing or insincere, but I’d disagree. He talks about reaching out to addicts in the music industry and offering his advice and it strikes me like a lot of men of his generation I’ve talked to, a touch sad and wishing someone had done the same for them.

He strikes me as a good guy and also a bitch, which he fully agrees–not afraid to talk about his ego, his outbursts, his own ridiculousness, or the way he yells just like his mother. There is one picture that struck me which he captioned ‘George Michael wanted a somber affair and so naturally I am dressed as Donald Duck’.
The man is very self aware, and yeah, he does whatever he wants.

I found out after I’d read it that his former wife, Renate Blauel, had sued him over the book. I wondered if I had then read a changed or edited copy as it’s been on shelves for two years now. He honestly only has lovely things to say about her, and how sorry he is that she was dragged into his mess. That seems to be the big theme of the memoir —sorry I’m like this, thanks for coming.

if I’m being honest

I wasn’t taught how to read until I was about eight or nine years old.

I went to a private Catholic school and it was in second grade, when she realized that none of us knew what she was talking about, a teacher finally caught on to the fact that we hadn’t been taught anything. She’d have us come in an hour early every morning and a group of us got extra lessons so we could catch up. I don’t know if having no real idea of what I’m doing is a boon or not, ultimately. A lot of people who write or read extensively have these mystical stories about having done it at a very young age, I don’t have that sort of luck. I can’t go backwards and make it happen. People thought I could read because of how I talk, I talk how I do because I spent most of my time with old, old men. Most of them immigrants and traditionally uneducated themselves. I talked how they did. Which tends to be decisively.

My mother played radio for me, trying to keep things on classical stations because she thought it would make me smart. She wasn’t aware that at midnight this radio station that she had constantly going switched over to stock projections. My little brain got blasted with numbers most of the time. Everyone thought I knew how to read because there wasn’t a reason not to.

My oldest kid was showing me their homework and I had no idea what I was being shown. I was never taught grammar. That, I think, is obvious to anyone. It’s not clear if it’s because I was never properly taught it the way most people are or if I’m just vaguely dyslexic, but I can’t spell for a damn. I had a teacher in highschool, I had to explain to her, it just doesn’t make sense to me. Sometimes a word I’ve used a thousand times comes out like some phonetic, new creature. I don’t know any tricks of how to make a sentence. I don’t know how to tell whether a vowel is going to be long or short or whatever the hell. I just write how I talk and rely on meticulously editing it down to make sense after the fact. I ask other people to look at it and tell me what I’m doing.

In fifth grade I used to carry around a copy of Twelfth Night. People thought that it was very smart of me. Shakespeare never bothered me, with weird spellings and grammatical differences or whatever, because I already didn’t know how anything was spelled or metered. It just sounded all right out loud. That’s all I need. And what no one realized was I wasn’t carrying around the book to read it. I carried it around because it was the oldest book we had in our house. It had the date it was bought, sometime in 1897, and I thought that was reason enough to like it. I didn’t know anything or anyone that old.

One of my great grandfathers left behind everything in Italy except a suitcase of some clothes and a copy of Dante’s Inferno. He taught himself English by translating it back and forth. Maybe it’s some generational ingrained memory that that was what I was supposed to do to figure out English. I’m always carrying a book.

Review: In The Dream House

I am not sure I could tell you how much I adored this book.

In The Dream House, by Carmen Maria Machado, in an agonizingly beautiful memoir about domestic violence , acknowledging the complexity and the difficulty of addressing domestic violence in same sex relationships out of fear of promoting stigmas against the LGBTQIA+ community. It’s heart wrenching, each chapter reflecting a different trope explored within the fantastical setting of the Dream House.

Machado’s abusive partner is only referred to as ‘The Woman in the Dream House ‘ and the book is written in second person, addressing the audience as Machado, bringing you into her seat of power and disempowerment, while walking through various memories and scenes that inform Machado’s growth and development into an adult and in her relationships. It was a deeply vulnerable and presumably honest exploration of Machado as you, the reader. It’s clear she’s a short story buff and she doesn’t shy from fictionalizing herself.

It is excellent, viscerally written and Machado’s style continually grounds the reader into her experience.

Review: If We Were Villains

I had heard people talking about this book here and there since it was first published in 2017. The buzz around it is deserved and I believe I heard it’s being adapted to a series.

M.L. Rio creates a fantastic dark academia murder mystery with compelling characters while beating you over the head with Shakespeare quotes and all the atmosphere of a behind the scenes play. There is a distinct ambience that reminds me of working on plays when I was young and stupid and did such things.

Bright is the word that comes to mind. There’s a refreshing easiness about the writing style, pacing, and course of the story. Everything feels as though it comes together the way that it should. That’s what you’re shooting for in a good murder mystery, no sense of doubt in the reader that things could have had a different outcome.

Early on while reading it I had texted my sister trying to plug in my assumptions before I finished reading the book, so I could adequately call it. That’s another goal of writing a good murder, I think. You want the audience to engage as much as they can.

The pacing is fast, tight, and flows in a way that mirrors the play structure and sets the reader clearly as a distinct audience much in that way good Shakespeare should. I cannot fathom the research that went into this because each scene is so well crafted and mirrors the Shakespeare well.

wuh oh

Hey! You don’t know this about me—why would you? I’m a stranger—but growing up I listened to a massive amount of opera and symphony orchestras. My grandfather always played and sang opera for me and after he died there was a local access channel manned by a nearby art college. They would blast opera recordings in the mornings; any recordings they could find of symphonies, presumably public domain music set to their art installations.

It was short lived and I’m sure no one but the students who made it remember it—except me. I saw it. I watched it. I have always had a delightful amount of insomnia and I would just crawl downstairs before school and sit on the edge of our weirdly positioned couch and watch operas and ballets.

I have extremely strong opinions on ballet and opera–which I share with practically no one. No one cares. That’s cool. It’s not what my peers could relate to. I grew up being told that it was pretentious or stuffy or disengaged; I don’t play any instruments that really lend themself well so I didn’t really have anyone to talk to about that branch of music. It’s not something I learned to advertise.

In the past year, as life has taken on different courses for me, I have swung back into listening to symphony orchestras and also just a lot more music in general. I love music and times that are the worst in my life are usually ones where I look back and realize that I somehow got disconnected from music.

I both know that music alleviates a lot of negativity in my life and I somehow lose that thread. I will just stop listening to music altogether if I’m stressed out enough.

So I’ve made a decision, something…fun…I’m going to document.

I’ve been fairly isolated between moving several times, changing careers, and the covid that everyone is still dealing with regardless of how seriously they take it or not. I am kind of starting at the bottom, and that means….well. I guess for a normal person it would mean finding new friends or something. For me, a crazy person, it means I’ve decided I need a faux fur coat.

Why keep pretending anymore? I’m going to steal this man’s identity. He can’t stop me, he’s dead.

Review: Ninth House

I’ve read Leigh Bardugo before, specifically I read Six of Crows and Crooked Kingdom a few years ago. From a promotion for Hell Bent, the second Alex Stern book which came out in January of this year, I got a chance to snag a copy of the first, Ninth House.

I feel like I’ve been kind of blessed this year in that I keep finding books that I actually like, and early on! Ninth House scratched an itch for Dark Academia, Noir, Murder Mysteries, and necromancy, ghosts, and the paranormal— anyone who knows me knows that I’d have taken any one of those individually. Ninth House delivered all.

The switching between two main timelines, illustrating Alex Stern’s, our antiheroine’s, guilt and culpability in the plot was well paced and a neat unfolding. Nothing ever felt forced or sandwiched in, though there was a distinct a and b storyline. The interwoven noir elements as she investigates a murder and the potential involvement of the magic user’s secret society houses felt like a separate style almost, the storytelling split between the mystery and the emotional involvement of Alex’s own revelations, but gently switching so that readers had natural breaks in what could be a heavy story.

It is Bardugo’s first ‘adult’ novel though I always struggle to understand what that means —it means sex. All of the excellence of her writing style, but now we can talk about hard ons. Publishing is a silly place. I’m excited now to read Hell Bent.