For the Young Blades
(Image by Anderson's All-Purpose) Read More......


Posted by
Keshalyi
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11:03
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Labels: danger , gender , loneliness , poetry , sex , sexism , thursday is for something new
Posted by
Keshalyi
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09:29
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Labels: artifice , gender , masks , poetry , self destruction , thursday is for something new
(Dear, Ms Amy - you did ask me to write essays, so I am doing my best for you!)
As a preface, I have to apologize to all my friends who write such lovely well organized essays, as well as to my children for my marked hypocrisy. I tried, I truly did, to outline this post before I began, to give it some semblance of organization. Alas, I failed. You get what you get.
But as we debate ad nauseam whether, for example, Bella Swan is a dangerous role model for young women, we’ve neglected to ask the corresponding question: what does it tell young men when Edward Cullen and Jacob Black are the role models available to them? Are these barely-contained monsters really the best we can imagine?Now, let me say, I took some playful jabs at the idea of gender essentialism, but I do not mean them as any sort of attack on the author of the article. Her essay was written in general with much more care and erudition than I imagine I'm putting into mine, honestly. But this line carries the thread that, for me, when you pull it the entire sweater falls apart. Because ask yourself this - do you think Ms Meyer is actually hoping that more little boys will end up like Edward and Jacob? To reference elsewhere in the article, do you think SE Hinton wants more boys to act like the characters from the Outsiders? Do you think, say, the point of Salinger's Catcher in the Rye was to give boys a model to live their lives by?
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Keshalyi
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23:11
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Labels: bias , books , children , essentialism , gender , history , hope , literature , response , things that are wrong
I've stitched myself inside you now, my love,
So cosy-close I'm drowning in your hair
And worming rosy fingertips,
Into the weak spots of our seams.
I'm tucked into your corners now,
To keep your brooms from sweeping me.
I'm growing sticky-brown and grey
From capturing the dust of you.
I've put my hands inside your lips,
Endorsed your gums with snivelled need,
Shut down your sight, and feel my hands:
Don't look, love, at my eyes.
Don't look love, at my eyes,
I'll hide them just behind your own,
I'll twist and screw them shut with bone,
I'll tie the bindings closed,
I'll needlepoint the entry wound I've left:
I've stitched myself inside you now, my love.
Posted by
Keshalyi
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15:56
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Labels: gender , loneliness , poetry , shame , thursday is for something new
Posted by
Keshalyi
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22:46
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Labels: dishonesty , fear , gender , poetry , shame , thursday is for something new , vulnerability
When I was young, and on the outside of my profession, I thought of IT as a sort of embedded, marvelous utopia, a land of high ideals and ferocious belief. It was - it still is - a sort of firelight to the widest-eyed moths of humanity, drawing in a lot of very intelligent, high-minded people. When I thought of it, it was easy to imagine the way a student would feel in a hundred years, reading about these hungry souls ripping a new era from a mass of copper and silicon. Heroic, in a very real way.
Posted by
Keshalyi
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20:55
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Labels: fear , gender , prejudice , programming , reality , sexism , technology , work
All my loves as a child that would whisper my ears
with a fountain pen
Instead of their lips -
Instead of their tongues
Their manuscripts.
Such pretty ghosts!
I made my oaths
That when I grew
I'd spin and spin
A reliquary sack to hold
Their paper-bones,
All dry, all dear
It makes me shiver even now!
I would appoint
Myself to be a pot of earth
Myself anoint
To be their parish plot
I'd take the bones,
And plant them deep
like tulip bulbs
Perhaps to sprout -
Perhaps to bud - and then
Like necromancy - bloom and seed
"A Lazarus show" in
An "unlocked rose"
For a
"Pretty Red Heart"
For a
"Wand'ring Repose"
All my childhood loves spoke in gospels
In very dark rooms,
Staring into the gloom
To adjust to the scarcity,
Dilate the eyes,
And bend over the loom,
Let the Word feed the twine
Let the Flesh weave doom
Let the Spirit cut ends
So my prophets can stand
And turn back from the tomb,
In a dazzle of sun,
They are 'bronzed' like the gods
Grown 'quick with the seed'
Of forbidden-fruit trees -
Milk and honey could flow
From the soles of those feet!
I was Israel's child, and I begged them
"Come down from your Nebo!"
They told me 'Be Joshua!
Jordan will part!'
And the sun clave their tongues
And a flame filled their hearts!
But there's futures
That cowards can see
To which sibyls are blind.
So I hid in my house,
From the flooding divine,
So my "heart" grew "root-pale"
From a surplus of damp
And an absence of rhyme
All my loves stood on pyres
Bound to stakes
With their girdles and corsetting cord
With their skirts
That would wave like a standard of war
With their skirts
That can't stretch o'er a cavalry horse,
I longed to stand so -
Just as still -
Just as bold -
I wanted to ossify -
Turn to a tree
Or a great old stone
Something round,
Something still and alone -
How I longed
To be someone with fate in her tongue
So I made up a sorrow
And said it was true
So I put on a silk shirt
And new saddle shoes
It's the best I could do
Just an ill-made farce.
And a cynical heart
Made for riding "the rack and the screw."
So I stitched up a bride
Picked the sticky worm-pearls
From her Gypsy-Jew eyes
And I said
"I do,
I do"
(originally from 2007, revised several times. Still not happy with it. Numerous esoteric references to Emily Dickinson and Sylvia Plath poems. Picture by eraphernalia_vintage)
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Posted by
Keshalyi
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01:00
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Labels: childhood , gender , mistakes , poetry , thursday is for something new , wonderful people
I wrote about Ozma online first in an entry on Facebook (rather rare for me), on a meme about the books that have affected me most:
The Marvelous Land of Oz - I must admit that, to start, this is kind of a cheated entry. I read many of the Oz books as a child. I think I read pretty much all of the Baum ones. I know I read this one, but my mind conflates it hopelessly with the movie 'Return to Oz', which was one of those movies that I thought I didn't like, but that returned to me over and over, through the years. Several of the characters from these books came to mean a great deal to me - Glinda, the Patchwork Girl, Jack Pumpkinhead, some others, but none so much as Ozma herself. I dreamt about Tip/Ozma for years - still do occasionally - and then the scene from that Movie, with Dorothy looking in the mirror and seeing Ozma inside of it, child, but grave-faced... something in it spoke to me very closely. Childhood is such a strange time, you're so happy but you're so aware of your sadness at the same time - that's what Ozma meant to me - when you read the Marvelous Land of Oz, it's funny, whimsical, written like a story told by a dopy uncle who wants to be remembered for the stories he told. But, when you remember it... it's so much different.This is and is not what Ozma means to me. It is less and more than that. To explain, let me recount (briefly) the story that introduces you to Ozma in the books. For anyone whose read The Marvelous Land of Oz - I haven't, in years. So feel free to correct me.
In the Land of Oz there was an evil witch named Mombi, and little boy named Tip. Tip has lived with Mombi for as long as he can remember, and she is not a nice woman to live with. Through a long series of adventures, Mombi is trapped and brought before Glinda the Good Witch, where she confesses that the Wizard had brought the Princess of Oz to Mombi as an infant, and that Mombi had transformed the Princess into a boy to keep her from her rightful place as ruler of Oz. Glinda coerces Mombi into casting her last spell, which is to transform Tip back into his proper form, and he becomes Ozma, the Princess of Oz. Ozma becomes a major character, and is featured in each one of the remaining Baum Oz books.
Over the other books, this story changes, subtly. Sometimes she is a mortal girl, sometimes a fairy. She is described as the daughter of Lurline, the fairy-queen and creator figure of Oz. She is described as the daughter of an evil dictator. Her appearance changes substantially at times. In fact, this is one of the defining characteristics of Ozma - that things about her just seem to change from book to book. As a grownup, I imagine this had to do with the fact that Baum simply introduced a lot of different inconsistencies. As a child, this was part of Ozma's beautiful, though awful, magic. Because, while everything about her changes, Ozma remains more or less the same: she is young, she loves her friends, she is devoted to her companion and co-ruler, Dorothy, she is a wise ruler, she loves Oz, she is largely calm, she goes on adventures, and the ineffable 'self' of her is the same.
This is how it is to be Ozma - sometimes you are different, but you are always the same. Sometimes you are what you are not, but you can always be what you are.
I've recently read two stories about the real world. The first is about a sportscaster named Mike Penner. When he was a child, he remembers telling his cousins that when he grew up, he wanted to be a girl. Of course, growing older, he learned that it's not that simple in the world, and spent many, many years of his life being, in his paraphrased words, the best Mike he could be. Finally, after almost 40 years, he decided he couldn't live like that anymore. He took a vacation and when he came back, wrote a column telling his readership that he wasn't a man anymore, that from then on his name would be Christine, and telling the story of how all this had come to be. He started a blog (since removed) where he wrote about his experiences, continued to write for the Times under his new name, and seemed, generally, very upbeat and positive.
A few months ago, with no explanation, her stories started carrying his old name, again. Last week, she died, an apparent suicide.
The second story is about a woman in Houston. Marie Baptiste moved to America from Haiti when she was 9 years old. She grew up, leading a fairly normal life, until she applied for college, and found out that her scholarship application was denied because she was not a legal citizen of the United States. She went to college anyway (the University of Houston), and began the slow, frustrating battle to legalize her status. She graduated, she got married to a police officer, had children. She became a schoolteacher in Houston.
The night before an immigration court hearing, her daughter came down with fever and vomiting. She took her child to the emergency room. After waiting a long time to see the doctor, rushing home with her daughter, she rushed out to go to her court hearing. She hit traffic in Houston, and arrived at her hearing 5 to 10 minutes late. This was too late: the judge had ordered her deported, in absentia.
Fast forward to November 6, when she found she was being followed by a number of government cars. Grown paranoid of being deported - despite her continued efforts to appeal through the legitimate channels - she pulled over her car, and had some sort of anxiety attack, slumping to the ground unconscious. She was not, this time, arrested for deportation after waking up, but continues to live as a fugitive.
Both of these stories, to me, are Ozma-esque stories: stories of people who are a thing they cannot be (a woman, a US citizen). But, in both stories, they are in the real world, a world where teh externals of identity are closely watched, and where changing those externals is not a private or incidental matter, but a public one, de facto. In essence, Mike and Christine were the same person. The externalities of his/her genitalia and dress did not change, at center, who he was. But, in the end, it was too essential to him - as it is to many transgendered people, who have an extremely high suicide rate. Marie is the same way, really. She is a Us citizen in every meaningful sense: she works hard, she contributes to sciety, she follows the law to the best of her ability. There is an externality that she is missing, a piece of paper and a birth certificate, that make this self impossible.
Anytime the self and the identity are at odds, a person will live in conflict. In one sense of the Ozma tale, I see it as a fable for Things That Are Wrong, which I've already discussed. We as humans need to love each other enough to help and accept that people's identities do not always match up easily with our sense of their selves. But, I put the image on the page in a different way - in the other side of that way, I suppose.
After the experience of my short and admittedly not terribly wise about-30 years, I've become suspicious, that everyone on earth is an Ozma. No human being (or at least terribly few) is who they are permitted to be, not entirely. In a sense, this is inescapable. Society is formed around people being able to self each other into a discrete number of shorthand identities, and there will always be a human tendency to be frustrated when these shorthands fail. And no human is a shorthand.
But, in another sense, this is the essence of what it is to be human, and as with all curses, is also a blessing. Being an Ozma myself in my own ways (having told my share of stories in this post, I won't bore you with more), the challenge of my life has been to embrace the contradictions of this, and to understand how important this estrangement of self and identity is to being human. If I cannot be a thing I am, I can at least learn what it is to not be that thing - and to love and understand others who may suffer the same dislocation in reverse.
Human love in it's most transcendent form is the art of knowing what we see of a soul, but loving what we cannot see, on the pure, vulnerable trust that underneath the pseudo human exterior, there is a human heart beating it's own broken syncopations. And therein is the secret to human happiness (though it's easier to understand it, than it is to attain it): we each of us cannot be what we are within ourselves. But we can have others live honestly within our own breasts - and trust that they will let us live honestly in theirs.
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Posted by
Keshalyi
at
21:58
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Labels: gender , haiti , immigration , maintenance , ozma , sacred things , things that are wrong
Recently, a blog I happened across pointed me to this fascinating article about Breakfast at Tiffany's (the movie, not the novella). The crux of the story was talking about how Capote wanted Marilyn Monroe to play the main character, Holly Golightly, as she matched the Holly Golightly of the Novella far more closely than Audrey Hepburn did (as he so glibly put it, can you REALLY imagine Audrey being named Lula Mae, and chasing chickens in Appalachia?), but that if Monroe HAD been in it, the movie would not have worked in the way that it did. I have never read the novella (though, on that note, I'm adding it to my to-read list), so I won't comment much on this comparison. What struck me, and has been gnawing at me since, is the very deft description the author gives of what it is that makes the movie so beloved. As someone who LOVE B at T's, I have to admit the synopsis of it's appeal was a little disturbing. Maybe this post is my subtle way of equivocating, I don't know.
Let me begin this post, by stating the simple fact that I have never been a woman. Perhaps you were aware of this (though if you saw me on Halloween 1999 at this place you may be in some doubt. But no, probably not, even then. I didn't make a very convincing transvestite). Due to the relative location of my gonads I've never experienced how difficult it is to be a woman in a still, I'm afraid, very patriarchal world. So, I don't, unfortunately, know whereof I speak.
That being said, the idea of the Cinderella story has always been a disturbing one to me (and, I think, to many people). Let's take the basic outline of classic Cinderella:
1) Pretty girl is made to do ugly work
2) Deus Ex Machina reveals the true worth of the 'servant girl' (that is, she's totally hot, and nice and quiet. In the Disney version she can sing too, which I suppose is at least a talent)
3) Jealous women in girl's life try to hold her down
4) Girl identifies herself by dint of her helplessly dainty feet
5) Man saves girl, takes her to a castle to take care of her and buy her pretty dresses in exchange for marital duties. I mean... he falls in love, yeah.
This isn't exactly a Gloria Steinem bedtime story, is it? The heroic journey of Cinderella (and it does more or less follow the Campbell hero cycle) is basically a quest to learn how to be decorative. That sounds more like a parody, almost.
And really, in a lot of ways, I can see how Ms Golightly is that way, I won't deny that part of the appeal of the story is the same appeal that Cinderella has: a general bias towards pretty, harmless things. Everyone around Holly treats her like an object, and in the end, when Fred/Paul gives his speech, it's not about respect, it's about ownership:
"People do fall in love, people do belong to each other, because that's the only chance that anybody's got for real happiness. You call yourself a free spirit, a wild thing and you're terrified someone's going to stick you in a cage. Well baby, you're already in that cage, you built it yourself..."That's not an empowering speech: it's a speech that tells Cinderella that, in the end, she needs the prince.
The one with the mustache opens the small pedestrian gate for us... As we walk away, I know they're watching, these two men who aren't yet permitted to touch women. They touch with their eyes instead and I move my hips a little, feeling the full read skirt sway around me. It's like thumbing your nose from behind a fence... and I'm ashamed of myself for doing it because none of this is the fault of these men, they're too young.
Again, the woman here is defiant, in that she seizes her RIGHT to be an object, if she wants to, that she seizes the power and freedom of objectifying herself.
Then, I find I'm not ashamed after all. I enjoye the power; power of a dog bone, passive but there. I hope they get hard at the sight of us...
Posted by
Keshalyi
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21:47
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Labels: breakfast at tiffany's , gender , movies , mythology , objectification , sexism , things that are wrong