Tag: personal rambling

DRACULA



I may someday have to write an essay, perhaps create a video essay, about what a bad person I think Bram Stoker was and the unintentional cinematic phenomena of Dracula.

Like all Vampire stories, Dracula was about fear mongering and the zeitgeist of the time. In Dracula, Stoker tells a reverse colonialism story. Here is a person who comes from, by the estimations of Johnathan Harker, a backwards land. Harker is meant to introduce you to the character and culture of Dracula; Harker’s frequent disparaging tut-tuting of the eastern Europeans he encounters is meant to be the prevailing opinions of the time. And then, here, this cloaked and despicable figure who pretends to want to meld within British society and become a part of the western European culture –turns out he is actually an infiltration of backward eastern myth come to feed upon those most vulnerable Victorian White Ladies™ that minorities cannot get enough of. But don’t worry, white guys, we have a slightly better eastern European who’s more integrated into our society, Van Helsing, who can hopefully bridge the gap by killing the embodiment of eastern European mythos. and the

Does it not make sense that vampires have become so much more a sympathetic figure since 1897? Does it not make sense that so many retellings of vampire stories now within western culture focus on the suffering of the vampire? And is that not, still, pretty fucking condescending?

I like Dracula, he who has ruled so long that he would rule still. I hope he gets to eat everybody.

FRANKENSTEIN



I could write essays on Frankenstein. I could likely write books on Frankenstein. For February I’ve decided to talk about some classic horror novels and where better to begin than Frankenstein.

Here is my most recent take after my most recent reading of Frankenstein:

I feel bad for Captain Robert Walton. Here he is, lonely, an innocent, just doing some minor vanity expedition-ing to the North Pole. He’s a scientist, probably not a colonizer even if he is British, and he’s lonely. He’s real, real lonely. He’s been on this ship a while. His men are losing faith. His sister probably thinks he’s a loser. He just wanted to be a writer. He just wanted a friend. He just wanted to go to the North Pole so he could say he did something worthwhile with his life.
And then there he is! A friend appears! Walton’s prayers for companionship at the edge of nowhere miraculously —oh wait, It’s Victor Frankenstein.

Victor Frankenstein then spends, like, forever telling Walton all of the minutia of his life and crimes with such a minimal level of empathy or remorse except for the consequences Victor has received that you just want to quietly slip Walton a book on narcissistic abuse. Just as a head’s up.

Victor Frankenstein, who isn’t a doctor. He’s a med student who fucks around and finds out, yet somehow still thinks the world is unfair to him specifically.

And then! He dies! And Walton is just sitting there, having had the ultimate vicarious trauma experience, alone once again. And he thinks to himself, well, that was something. Ravings of a mad man I hope —oh, nope, there’s Adam burning Victor’s body that he stole. It was all real. Well damn.

I feel bad for Captain Robert Walton.

Fuck off 2023!

If you aren’t aware, earlier this year I started a youtube channel (@danymadethis) about writing research! I’m going to start featuring corresponding blog posts to go with the video essays that update once a month; with a ton of short video crap in between to let you know what drain my brain is meandering around.

There’s also a threadless shop! danymadethis.threadless.com full of random art prints you can put on stuff!

Here is my 2023 recap for favorite reads: https://youtu.be/jFlPNb7DWDY

Starting out 2024 I plan to review short stories for January to ease you into good reading habits for the new year 😉

2023 was a terrible year, and I had thought 2022 was bad. I am glad to tell it to fuck off

I hope it treated everyone else better, and that 2024 is a drastic improvement

Edgar Allan Poe was a feminist,

Among the many reasons to love him.

Hello, it’s another theme month. This month I’ve decided to hook my claws into a different author each week, beginning as I ought with dear Edgar.

A million years ago now when I was in middle school I did a project on Edgar Allan Poe and every time I went to write about him the power went out, computers broke, lightning struck; it all felt very clandestine. I was amused and spooked enough I considered telling my teacher that he didn’t approve.

I recently saw some artwork of Ligeia and decided to reread it, which took me elsewhere with Poe since I’ve always had a thing for him. I wrote a short story ten years ago now which got some movement and consideration where I put a fictional Poe on the day of his death, stumbling about. He had a sad death. I think from time to time I ought to rewrite it.

Speaking of Ligeia, a short story of two dead wives and will power over death, Ligeia is given credit for composing ‘The Conquering Worm’ which has long been one of my favorite poems. 

Poe’s famous for his morbidity, but his greatest contribution to fiction is the detective story. Poe wrote C Auguste Dupin, the first layman applying considerable intellect and imagination to solving crime as a private individual, first appearing in ‘The Murders in the Rue Morgue’. Dupin was a huge inspiration toward later private detectives, namely Sherlock Holmes.

But I called this ‘Edgar Allan Poe was a feminist’ for a reason. Poe wrote repeatedly morbid stories about death, will power over death, and the romanticism of women dying of tuberculosis not because he was someone who fetishized tuberculosis—as was very common at the time—but because he had experienced so much loss of the women in his life. 

Poe was raised by his adoptive family, the Allan’s, after his mother’s death from tuberculosis when he was three years old.

 When Mrs. Allan also contracted tuberculosis and Mr. Allan began overt efforts to remarry before his wife had died, Edgar Poe viciously fought with him for the respect and rights of his foster mother to the point of being disowned and consequential financial ruin.

Poe continued to lose. Often financially in dire conditions, he struggled, joined the military, took various names and aliases. His first sweetheart married another; his wife (and cousin) Virginia Clemm died aged twenty-four after eleven years of marriage (yikes) of …yes , more tuberculosis. Worse yet, Virginia took five years to succumb to the illness, leaving Poe to watch her struggle and wax and wane in health. His optimism and pessimism hinging on Virginia’s well being, much of his writing and fixation on death in fiction mirror descriptions he wrote of Virginia’s illness in letters to friends and family. 

Virginia also was said to resemble many of his female heroines, particularly Ligeia—the much loved wife of the unnamed narrator who possesses the body of the next, less loved wife. Indeed, implying that remarrying would have just been a poor attempt at rekindling feelings that had died with Virginia.

In life, Poe never remarried.

He was known in his lifetime primarily as a critic rather than as a writer, his writing becoming more popular after his death, and he was also known as responsible for several hoaxes. (The Facts in the Case of M Valdemar, a short story about, yep, resisting natural death through mesmerism and willpower, was so convincingly written that many people at the time mistook it for a medical paper, requiring Poe to publicly declare it as a hoax). While known for the horror it’s encased in, a prevailing theme of his work, outside of death itself, was the reverence he had had for the women he’d lost. 

Vonnegut, part 2

I have more to say about Vonnegut.

These reviews are posted somewhat out of order. From time to time I delve into a specific writer, and I have done so with Vonnegut a few times throughout my life.

I read Slaughter House Five a few times in coursework; in both highschool and a college course on Wartime literature. When Vonnegut died I was in college. I turned, in a panic, to a roommate who reported that she didn’t know who Kurt Vonnegut was. The conversation haunted me then and now. I am not afraid to say he’s my favorite author though I hate that kind of commitment.

Here are the books I’ve reread by Vonnegut this year:

Cat’s Cradle

Man Without a Country

Books kitty-corner to Vonnegut I’ve read this year:

If This Isn’t Nice, What Is?

Love, Kurt

Pity the Reader

I also wrote a story story called “Book on Tape” where I have a conversation presumably with Vonnegut. The character has Vonnegut’s history and some features but it’s not actually about Vonnegut at all. And the character that uses Vonnegut like a mask isn’t based on Vonnegut at all. Vonnegut isn’t in the story for a single moment but it’s sculpted in a way to make the general population think it’s Vonnegut. I did it because it’s a story, much as Vonnegut suggests you write, written to one person and one person only. Only one person can read that short story and know that the conversation I’m having is with them. I’ve been thinking of it as a love letter and am vaguely ashamed I used Vonnegut in that way.

I’m going to be very presumptuous and familiar and upsetting in that this isn’t really about Kurt Vonnegut at all. I think Vonnegut is my favorite writer because he’s saved my life more than once. I have a very blunted view of him as a man, a perhaps inflated view of him as a writer, but I think he provides a familiarity. He writes a bit how my father talks, he reminds me of a friend I miss, I have another friend I miss who had tattoos of Vonnegut’s doodles and who has since passed. Vonnegut, like Edward Gorey, has an indelible mark throughout my life through various touchstones.

And lately I’ve needed him. I’ve needed that amalgam old friend to lean on.

“Love, Kurt” —a collection of love letters collected by his eldest daughter Edith sent to her mother, (prior to her parent’s divorce, of course,) describing a side of the man that isn’t satirical, competing with himself to prove his intelligence, or the presented pose he contrived. It’s full of doodles, his name in bubble letters checkerboarded, hearts, constant self doubts, frustrations, and attempts again and again to put feelings into words that he actively avoided putting into novels. Vonnegut felt any manner of romance ruined a novel because love is so much more important to humans than any plot. Once there was romance in a story the story became the romance, and the story ends when they kiss.

In a commencement speech documented in “If this Isn’t Nice, What Is?” Vonnegut suggests, if you find yourself in marital trouble, the trouble isn’t likely sex or money or how to raise a kid, but that the problem in every marriage is that each partner too often looks at the other and is hurt/disappointed/angered that they are only one person. You want your partner to be the world and you lose sight of the singular person that they are. I read it suggested in an article that the reason his marriage to Jane ultimately failed was because he looked at her as a character he had come up with, and that he had become her character just the same. She had been the one to continuously push him as he repeatedly gave up and pursued a wide variety of day jobs, always thinking that writing would just be a hobby. His success ultimately created the rift between them because they were confronted with the truth that they weren’t the characters they’d been playing for each other.

Admittedly, this is what made me go looking through folders to find old notes and love letters from my partner. If you have any things like that laying around, go find them.

My favorite thing Vonnegut wrote, two things I should say, were highlighted in “Pity the Reader”. The first was a letter written home, the first letter written home after he had been liberated in Dresden. The first letter he had sent home to let everyone know that he was alive. There is something so glib and his voice is already so clear then as he reports what has happened and why he’s been missing and how he’s doing at the moment. It’s so clear and evocative a letter that I have no problem seeing him sitting on the cot writing it.

The second, also in “Pity the Reader” is a long form contract he has written to his wife Jane as she is pregnant, detailing all of the things he is willing to do for her, clean for her, arrange for her, and the amount of swearing he’s going to attempt to refrain from while he does it.

I think in those two pieces you get most of what you need to know about Vonnegut the person, outside of Vonnegut the author. You get bluntness, unapologetic honesty, humor, adoration, and resilience.

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.

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.

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.

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.