Wednesday, May 23, 2007

The Straight Road to Kylie



Thursday, May 24
Pop Rocks! at Bar 13
E. 13th St. at University Avenue, NYC
Doors at 10, 21 and up, no cover, $1 vodka drinks from 10-11
ALL-KYLIE DANCE FLOOR in the upstairs space from 10-12
Two levels of dancing, plus an awesome roof deck
Free books! (While supplies last)

Sunday, May 20, 2007

Book review: This Is PUSH

This Is PUSH: New Stories from the Edge
edited by David Levithan (2007, Push)

Ever since I read David Levithan's exceptional Boy Meets Boy (Knopf, 2003) a few months back, I have wanted to read more of this author's work, so when I found that he had edited this recently released anthology of stories by other authors of Push (an imprint of Scholastic Books aimed at teen readers), I snapped up a copy. Despite the excellence of Boy Meets Boy, I thought that the overall quality of this collection would be similar to most such collections: it would be the usual grab bag of some good, some bad, and most merely passable stories.

I am happy to report that I was wrong wrong wrong: every story in this anthology represents quality work. While this consistent quality of This is Push makes it difficult to distinguish any one story as "the best," Billy Merrell's "My Boyfriend Refuses to Speak in Iambic Pentameter" is, I believe, an instant classic and I would be surprised if it didn't show up on next year's Lambda Awards. This is an amazing little gem in the form of a play in blank verse that portrays the relationship between two teen boys and the struggle toward expressing emotion, which represent the teen struggle toward self-expression but also a defiance of social pressures for individuals to maintain a "don't tell" silent complicity in exchange for token acceptance. Iambic pentameter's classical roots in subversive speech have rarely, in modern poetry, been made so starkly apparent.

Blank quote start
You think I speak like this because I can? Because without the beat there is no heart?! My form is not my structure, it's my mode: it's how I handle love....I hope you sing — but not because you think I want you to. Because you can't hold back, so much unsaid, because you've looked so deeply in my eyes that you can't see much else. Because instead of wanting your life the same, you realize that maybe it can never be again. And that's okay.
Blank quote end

Other favorites are likely to be based, as mine are, upon personal preference, and there is a wide rang of storytelling modes to choose from. "Six Killers" by Markus Zusak is a story told from the perspective of a quirkily original goth teen who works as a gravedigger in a cemetary, while "People Watching" by Chris Wooding gives the classic first date story a fantasy spin.

The story I fell in love with, however, is Christopher Krovatin's "Ginger," in which a young girl has a crush on a red-headed punk boy who hangs out in her father's used record store. The characters are smart and believable and did I mention smart? (Up to now, I had not really thought about the idea of the "first date book," even though I have one of these stories myself.)

Having fallen in love with Christopher Krovatin's writing, I went looking for other works by him, and was pleased to find he wrote a book titled Heavy Metal and You (Push reprint edition, 2006), which features a protagonist who spends the story explaining why he loves heavy metal, a story idea I find particularly appealing after having read Joe Hill's _Heart-Shaped Box_, which got me thinking about the mythic and narrative possibilities of metal music. Krovatin also has a new book coming out titled _Venom_, but I have not been able to locate any information about it.

Whether you are a fan of YA fiction or not, This is Push is an outstanding collection of short stories, and I recommend it strongly to anyone who craves the experience of falling in love with some new writers.

- The Blind Bookworm Blog

Thursday, May 17, 2007

Eight Sonnet Monologue

THE POET:
I don’t even know what’s left for me to say.
And yet it doesn’t feel as if we’ve started.
This isn’t us. Not really. It’s a play!
And soon we’ll all forget it, having parted
after such a brief and useless pantomime.
If we could only meet again, with warning.
If we could only show you, take our time
revealing ourselves… One afternoon—one morning
across a table, across a cup of coffee…
But there are so many of you—so many of us
we haven’t had a chance to truly offer.
You understand, I’m sure. Ridiculous
for me to think that we could really share
not only us, but who we are together.

By definition what we are when alone
can’t be revealed at will, shown off, or known—
even by us. So it’s not you. It’s that
not even we know what we really have.
Or had. Sometimes I thought I did. Would write it.
And when we fought, I thought we did despite it.
Caring so much for us, we each felt right
until our righteousness outweighed the good.
I mean, if you want your money back, you should.
We don’t know much better about love
than you or anyone… Well, maybe some.

A pause.

THE POET:
No, maybe most. We do know love. It’s just
I hoped to share it, sing it. Not instruct.

But what’s the point of singing if it’s love
that keeps the words from ringing in the ear?
When it’s the word that frightens people from
the very thing I wanted you to hear?
I’m not the type to preach—ask anyone—
but I thought that maybe if you stayed a while
locked in the cage (a little friendly fun)…
And you can go on forever in denial
of if the cage is metal or your self.
I’ll save my grave polemics for one on one,
but why deny the kind of human love
that isn’t what you thought that it would… Love:—
But I always knew I hadn’t known it yet.
So once I did, it was my will which saw it

in such a life I wouldn’t have expected.
Then I spent—well, too long among my friends
waiting to hear if he would be rejected,
if what I felt was real or just… pretense.
I cared for him but wouldn’t race toward “we”,
protecting my self—my self—for all its worth.
And it took longer, but we’d both agree
it’s better for our patience…

A pause. A laugh.

THE POET:
Is this Earth?
Is this rant of mine the least bit relevant?
Maybe it’s not—but in case, I think I’ll finish:
I’ve spent too long uneasy with what it meant.
See, first there is the problem of being “in it.”
And that is something I can’t speak about
having loved once, and only one. But I don’t doubt

it’s possible to love as many times
as there are people—and that’s the part that gets me.
Of course not any two can be combined
peacefully with each other. But in theory…
For me, love is less some magic to be proud of
than the product of two living fully, deeply.
And that depth is something willed as much as found.
Patience and willingness to find in people
what you expect for them to see in you.
Of course it isn’t simple—but it’s easy.
If you’re open to your lover’s endless value.
And easier, too, if who you choose is pleasing.
To the eye, to the hand. To the silences you share.
To who you want to be and who they are.

Not to say it can’t be work. It can sometimes.
I’m saying it shouldn’t feel laborious.
To spend a life in forfeit and alive
with someone else who gives as much as takes.
I’m saying that choosing who is lonely work
but that the rest is worth the countless losses…
I’m doing it again. Right? Stop the clock!
I see it in your face when I say loss.
See, some of you who’ve loved in the same way
recognize me as one who’s shared that cost
while others pity what he takes away.
And friends will too that too, meaning their best.
They’ll try to talk you down from that sweet ledge
unless they too have loved… Let’s make a pledge:

I will not let somebody who isn’t me
Decide what kind of love I want or need.


Say it with me now.

Silence from the audience as he begins the pledge again.

THE POET:
The audience begins the pledge with him

CONSEQUENCE:
No they don’t.

THE POET begins the pledge again, more pleadingly. His voice fades into a long silence.

THE POET:
Well, I can’t make you. And I won’t even try.

A little laughter from the audience and then an awkward silence.

THE POET:
It’s not my place to turn you into sheep.
I’m sorry if I’ve offended you… But why
wouldn’t you want a love that values depth?

A pause.

THE POET:
It’s not my job to sell you on my choices.
Just to illustrate—no. To shape them with our voices.

A pause.

THE POET:
And even that seems false now as I say it.
I never meant to put us on display.
So you can approve or be moved to not stay shut.
I simply wanted to fix our world some way—
Fix, like set: to music or in stone.
I hoped simply to sing it and be done.

And how I hoped the words would entertain
simply by being. As if there weren’t enough
already in your ear… If I could say
anything now to redeem myself, or our love…
But your hearts are gummed with sugar as it is.
Plus who wants to hear of the boy who won his wife?
A tragedy is sweeter on the lips:
better to step from grief back to your life
than witness such a fine and rare—or is it?
I go on as if I know what yours is like
when I’ve loved once and briefly, claiming it isn’t
work, isn’t hard. But what do I know? Love…?

THE POET breaks down into sobs.

THE POET:
(Through tears.) But what do I know? It doesn’t even rhyme.

He sniffles, collecting himself. A sigh.

THE POET:
I’m sorry for taking up so much of your time.

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Wednesday, May 02, 2007

Notes, Notes

(NOTE ON THE KISS: The tongue can taste itself,
can tell the time by where the tension’s stored:
at the roof, if not the gums, if not the floor—
if not the body that surrounds the mouth.
And the lover, if there is a lover, waits
at the door, always, for an answer: let him in.
Curious sight and grip and whisper—curious grin.
He wipes his face away, but leaves the taste.)

THE LOVER:
You haven’t kissed me like that in a while.

THE POET:
You haven’t let me.