Saturday, August 25, 2012

never empty but filling

key west years with pauline hemingway

INTERVIEWER
Could you say something of this process? When do you work? Do you keep to a strict schedule?
HEMINGWAY
When I am working on a book or story I write every morning as soon after first light as possible. There is no one to disturb you and it is cool or cold and you come to your work and warm as you write. You read what you have written and, as you always stop when you know what is going to happen next, you go on from there. You write until you come to a place where you still have your juice and you know what will happen next and you stop and try to live through until the next day when you hit it again. You have started at six in the morning, say, and may go on until noon or be through before that. When you stop you are as empty, and at the same time never empty but filling, as when you have made love to someone you love. Nothing can hurt you, nothing can happen, nothing means anything until the next day when you do it again. It is the wait until the next day that is hard to get through.
The Paris Review, Issue 18, 1958

Saturday, March 31, 2012


g a l a x i e s o f w o m e n


Planetarium

BY ADRIENNE RICH
Thinking of Caroline Herschel (1750—1848)
astronomer, sister of William; and others.
A woman in the shape of a monster   
a monster in the shape of a woman   
the skies are full of them


a woman      ‘in the snow
among the Clocks and instruments   
or measuring the ground with poles’


in her 98 years to discover   
8 comets


she whom the moon ruled   
like us
levitating into the night sky   
riding the polished lenses


Galaxies of women, there
doing penance for impetuousness   
ribs chilled   
in those spaces    of the mind


An eye,


          ‘virile, precise and absolutely certain’
          from the mad webs of Uranusborg


                                                            encountering the NOVA   


every impulse of light exploding


from the core
as life flies out of us


             Tycho whispering at last
             ‘Let me not seem to have lived in vain’


What we see, we see   
and seeing is changing


the light that shrivels a mountain   
and leaves a man alive


Heartbeat of the pulsar
heart sweating through my body


The radio impulse   
pouring in from Taurus


         I am bombarded yet         I stand


I have been standing all my life in the   
direct path of a battery of signals
the most accurately transmitted most   
untranslatable language in the universe
I am a galactic cloud so deep      so invo-
luted that a light wave could take 15   
years to travel through me       And has   
taken      I am an instrument in the shape   
of a woman trying to translate pulsations   
into images    for the relief of the body   
and the reconstruction of the mind.

Sunday, March 11, 2012



It must have been Saturn and the other old men
Who arranged this night of darkness for us.
So much of our life goes by in the murky dark.

- from The Night the Cities Burned, by Robert Bly.

When a poem takes me to that place where
No story ever happens twice, all I want
Is a warm room, and a thousand years of thought.

- from the poem Shabistari and the Secret Garden, by Robert Bly

Sunday, February 26, 2012





"When you read it back, the dialogue should feel alive to you. But do keep in mind that actors, directors, and other craftsmen who work on the movie or show are going to elevate what you've done. Have faith in your work. You know when it's good, and also when it's not working."

not a barometer



Interviewer: I ran across this quote of yours. I’ll read it to you: "I get out of bed, and I look around and say, 'Don’t you fuck with me today.' I tell the spirit, 'Today, I am in charge, and you are not going to screw with me.' And that’s how I start my day."

Elie Tahari: That’s right.

Interviewer: So who or what is this spirit that’s trying to fuck with you?

Elie Tahari: There was a show with Lena Horne—this must have been 25 years ago—and I watched her start the show like that, where she’s lying on the bed and she is waking up, and she says to the audience, "Good morning. I pray it’s going to be a nice day.” And then she stops and she looks at the audience and says, "This is how I get up out of the bed.” And she gets up out of the bed [Tahari stands up to demonstrate], and she walks over to the window, and she turns around, and she says, "Now you don’t fuck with me today!" 
But it stuck with me. . . . You can start your day saying, "I am not a barometer. A barometer goes up and down. I’m a thermostat. I’m going to set on 72 degrees, and I’m going to stay like that today. And nothing is going to take my mind off me and my center." I kind of have to deal with the spirit, and I think everybody has a ritual. It was, I think, Thoreau, or Browning, or Eric Butterworth who said, "I get up out of bed, and I get all the wrinkles out of my bed. And when I finish taking all of the wrinkles out of the bed, this is when I take all the wrinkles out of my day. And I’m set to be the master of my spirit, the captain of my soul."


-- from an interview with fashion designer Elie Tahari
Iranian-Israeli-Orphan-Refuge.

Thursday, January 19, 2012


to Jane Cooney Baker, died 1-22-62:

I will not find you on the street
nor will the phone ring, and each moment will not
let me be in peace.
it is not enough that there are many deaths
and that this is not the first;
it is not enough that I may live many more days,
even perhaps, more years.
it is not enough.
the phone is like a dead animal that will
not speak. and when it speaks again it will
always be the wrong voice now.
I have waited before and you have always walked in through
the door. now you must wait for me.

-- Charles Bukowski

Sunday, January 8, 2012

Moss grafitti... Put in blender: one can of cheap beer (or 1 1/2 cups buttermilk), a few handfuls of moss, one teaspoon of sugar. Paint on wall and mist daily until it grows.


Charlotte Farmer

Charlotte is an illustrator in the U.K., whose work I have been admiring for a while, now... she screen prints plates, stationery, tea towels, calendars and makes hand-printed boxes.








Friday, January 6, 2012

website inspiration


Tuesday, October 4, 2011

dominic wilcox



Dominic Wilcox has created a series of miniature time-based sculptures using a collection of vintage watches and customised model figures.

Tuesday, September 13, 2011

I ♥ NY

Monday, September 12, 2011


Culture 3 by Adam Broomberg & Oliver Chanarinartists living and working in London. Their latest book is People in Trouble Laughing Pushed to the Ground. Broomberg and Chanarin are Visiting Fellows at the University of the Arts London.
Christmas cards at Make Do.

Sunday, September 11, 2011

One of these days...




The Korakia Pensione in Palm Springs. Crafted after a Mediterranean-style pensione, Korakia blends Morrocan design and the Greek aesthetic, to create an oasis in the desert.

Someone is Stealing Your Life


Most American adults wake around 6 to 7 in the morning. Get to work at 8 or 9. Knock off around 5. Home again, 6-ish. Fifty weeks a year. For about 45 years. Most are glad to have the work, but don’t really choose it. They may dream, they may study and even train for work they intensely want; but sooner or later, for most, that doesn’t pan out. Then they take what they can and make do. Most have families to support, so they need their jobs more than their jobs admit to needing them. They’re employees. And, as employees, most have no say whatsoever about much of anything on the job. The purpose or service, the short and long-term goals of the company, are considered quite literally “none of their business” - though these issues drastically influence every aspect of their lives. No matter that they’ve given years to the day-to-day survival of the business; employees (even when they’re called “managers”) mostly take orders. Or else. It seems an odd way to structure a free society: Most people have little or no authority over what they do five days a week for 45 years. Doesn’t sound much like “life, liberty, and the pursuit of happiness.” Sounds like a nation of drones. It used to be that one’s compensation for being an American drone was the freedom to live in one’s own house, in one’s own quirky way, in a clean and safe community in which your children had the chance to be happier, richer drones than you. But working stiffs can’t afford houses now, fewer communities are clean, none are safe, and your kid’s prospects are worse. (This condition may be because for five days a week, for 45 years, you had no say - while other people have been making decisions that haven’t been good for you.) I’m not sure whose happiness we’ve been pursuing lately, but one thing is clear: It’s not the happiness of those who’ve done our society’s work. On the other hand - or so they say - you’re free, and if you don’t like your job you can pursue happiness by starting a business of your very own, by becoming an “independent” entrepreneur. But you’re only as independent as your credit rating. And to compete in the business community, you’ll find yourself having to treat others - your employees - as much like slaves as you can get away with. Pay them as little as they’ll tolerate and give them no
say in anything, because that’s what’s most efficient and profitable. Money is the absolute standard. Freedom, and the dignity and well-being of one’s fellow creatures, simply don’t figure in the basic formula. This may seem a fairly harsh way to state the rules America now lives by. But if I sound radical, it’s not from doing a lot of reading in some cozy university, then dashing off to dispense opinion as a prima donna of the alternative press. I learned about drones by droning. From ages 18 to 29 (minus a few distracted months at college when I was 24) I worked the sort of jobs that I expected to have all my life: typesetter for two years, tape transcriber for three, proofreader (a grossly incompetent one) for a few weeks, messenger for a few months, and secretary (yes, secretary) for a year and a half. Then I stopped working steadily and the jobs got funkier: hospital orderly, vacuum-cleaner salesman, Jack-in-the-Box counter-person, waiter, nail hammerer, cement mixer, toilet scrubber, driver. It was during the years of office work that I caught on: I got two weeks’ paid vacation per year. A year has 52 weeks. Even a comparatively unskilled, uneducated worker like me, who couldn’t (still can’t) do fractions or long division - even I had enough math to figure that two goes into 52 … how many times? Twenty-sic. Meaning it would take me 26 years on the job to accumulate one year for myself. And I could only have that in 26 pieces, so it wouldn’t even feel like a year. In other words, no time was truly mine. My boss merely allowed me an illusion of freedom, a little space in which to catch my breath, in between the 50 weeks that I lived that he owned. My employer uses 26 years of my life for every year I get to keep. And what do I get in return for this enormous thing I am giving? What do I get in return for my life? A paycheck that’s as skimpy as they can get away with. If I’m lucky, some health insurance. (If I’m really lucky, the employer’s definition of “health” will include my teeth and my eyes - maybe even my mind.) And, in a truly enlightened workplace, just enough pension or “profit-sharing” to keep me sweet but not enough to make life different. And that’s it. Compare this to what my employer gets: If the company is successful, he (it’s usually a he) gets a standard of living beyond my wildest dreams, including what I would consider fantastic protection for his family, and a world of access that I can only pitifully mimic by changing channels on my TV. His standard of living wouldn’t be possible without the labor of people like me - but my employer doesn’t think that’s a very significant fact. He certainly doesn’t think that this fact entitles me to any say about the business. Not to mention a significant share in ownership. Oh no. The business is his to do with as he pleases, and he owns my work. Period. I don’t mean that bosses don’t work. Most work hard, and have the satisfaction of knowing that what they do is theirs. Great. The problem is: What I do is theirs too. Yet if my companion workers and I didn’t do what we do - then nobody would be anybody’s. So how come what we do is hardly ours? How come he can get rich while we’re lucky to break even? How come he can do anything he wants with the company without consulting us, yet we do the bulk of the work and take the brunt of the consequences? The only answer provided is that the employer came up with the money to start the enterprise in the first place; hence, he and his money people decide everything and get all the benefits. Excuse me, but that seems a little unbalanced. It doesn’t take into account that nothing happens unless work is done. Shouldn’t it follow that, work being so important, the doers of that work deserve a more just formula for measuring who gets what? There’s no doubt that the people who risked or raised the money to form a company, or bail it out of trouble, deserve a fair return on their investment - but is it fair that they get everything? It takes more than investment and management to make a company live. It takes the labor, skill, and talent of the people who do the company’s work. Isn’t that an investment? Doesn’t it deserve a fair return, a voice, a share of the power? I know this sounds awfully simplistic, but no school ever taught me anything about the ways of economics and power (perhaps because they didn’t want me to know), so I had to figure it out slowly, based on what I saw around me every day. And I saw: That it didn’t matter how long I worked or what a good job I did. I could get incremental raises, perhaps even medical benefits and a few bonuses, but I would not be allowed power over my own life - no power over the fundamental decisions on which my life depends. My future is in the hands of people whose names I often don’t know and whom I never meet. Their investment is the only factor taken seriously. They feed on my work, on my life, but reserve for themselves all power, prerogative and profit. Slowly, very slowly, I came to a conclusion that for me was fundamental: My employers are stealing my life. They. Are. Stealing. My. Life. If the people who do the work don’t own some part of the product and don’t have any power over what happens to their enterprise - they are being robbed. And don’t think for a minute that those who are robbing you don’t know they are robbing you. They know how much they get from you and how little they give back. They are thieves. They are stealing your life. The assembly-line worker isn’t responsible for the decimation of the American auto industry, for instance. Those responsible are those who’ve been hurt least, executives and stockholders who, according to the Los Angeles Times, make 50 to 500 times what the assembly-line worker makes, but who’ve done a miserable job of managing. Yet it’s the workers who suffer most. Layoffs, plant closings, and such are no doubt necessary - like the bumper stickers say, shit happens - but it is not necessary that workers have no power in the fundamental management decisions involved. As a worker, I am not an “operating cost.” I am how the job gets done. I am the job. I am the company. Without me and my companion workers, there’s nothing. I’m willing to take my lumps in a world in which little is certain, but I deserve a say. Not just some cosmetic “input,” but significant power in good times or bad. A place at the table where decisions are made. Nothing less is fair. So nothing less is moral. And if you, as owners or management or government, deny me this - then you are choosing not to be moral, and you are committing a crime against me. Do you expect me not to struggle? Do you expect us to be forever passive while you get rich stealing our lives?

Michael Ventura, Someone is Stealing Your Life, LA Weekly Jan. 26, 1990

Friday, August 12, 2011

Luscious tree, UCLA.