Thursday, September 29, 2011

Wine from the Pop Machine: An Education in the Classics from Professors Tom and Jerry

We here at Verbal Infusion would like to take this opportunity to announce that we are highly cultured. "Classy," they describe us. "Like, super classy." We like to think of ourselves as denizens of the upper echelon, purveyors of life's choicest sweets.

Lately, however, our upper crust has been crumbling under the crushing realization that for one of us - me, for instance - 22 years of playing piano, 15 years of formal training, 4 years of concentrated tutelage in music, and 1 expensive piano pedagogy minor are all wasting away inside a fading memory, unused fingers, and a piano-less apartment.

I once attended classical recitals weekly. Now, I listen to Jonny mimic a kazoo in the shower (not that he doesn't throw down a killer vocal kazoo.) I once aced tests where I identified musical works by genre, composer, opus, number, title, movement, and key. Now, I recognize cat food jingles (sometimes).
If I'm going to get back to that beloved haven of snoot to which I once belonged, I'm going to have to refresh my memory, and this time I'm taking you with me.

Whether we notice it or not, we are surrounded by the great works of composers of the last four centuries. Their music is in our waiting rooms, commercials, weddings, and Saturday morning cartoons. These are songs you know - you just might not know that you know them. I intend to tutor us all in the classics by identifying the titles and composers of popular works, those that hum softly in our collective subconscious. If you've heard a tune a million times before but have never asked its story or name, now is the time to learn. And so, for the first entry in a series on high culture in pop culture, we turn to the sources of all our accumulated knowledge: Looney Tunes and Hanna Barbera.

The Tune: Franz Liszt's Hungarian Rhapsody No. 2.

Where you've heard it: There are at least two animated shorts of note featuring the same song, one a Tom and Jerry and the other a Bugs Bunny. We could get into a discussion of who ripped off whom here, but I don't want to, so we won't. So there.

You might not recognize the tune it in its somber and unassuming first stanzas, but you're sure to know it by the frenzy of minute 5:30 in the Tom and Jerry short.

Cat and Mouse

Rhapsody Rabbit

A bit of useless knowledge for you: Evidently, Liszt had less webbing between his fingers than the average person, so intervals that stretched other pianists' reaches to the brink were no trouble for him. As a result, his compositions feature absurdly wide intervals all over the place. This makes his music difficult for Emily to play, which pisses her off. Now you know.

Emily's stupid guide to remembering the title and composer next time you hear it: You're going to have to remember the Tom and Jerry bit. 
  1. Why does Tom chase Jerry? Because he's hungry, which sounds like Hungary. 
  2. Next, we need to remember that the two of them run around all day with only half their clothes on, which is quite Bohemian of them. Bohemian Rhapsody. Hungry cat + Bohemian Rhapsody = Hungarian Rhapsody.
  3. We can remember that it's Hungarian Rhapsody No. 2 because there are two animals in the animated short. 
  4. Finally, we know that the composer is Liszt because we'll remember that I made a list to remember the composition.
So there you have it. We're well on our way to impressing tens of people with our new knowledge, and in the meantime, we can remember that in taking just a few minutes today to note a name and a title, we've tipped our hats to a great composer worth honoring.

Monday, September 26, 2011

(A Much Less Depressing) Requiem for a Dream

Ever had a dream crushed? Awful, isn't it? Especially when it's a dream that you've held onto for a while. Maybe it wasn't all that likely ever to be fulfilled, but damn it, it was yours, and as long as some small part of it was alive, it was a haven, a little alcove of fantasy in the often punishing ocean of real life. And then, just like the crack of a whip, it's gone. I'm nauseated just thinking about it again. You see, my former dream lasted for nearly a decade, and then, in just over ninety minutes, one documentary film unceremoniously destroyed it. That film is Conan O' Brien Can't Stop.

In high school, I watched Conan almost every night, rarely going to sleep until he had at least made it through his first guest. I paid for this late night habit as I dragged my exhausted carcass through the school day and came to rely on afternoon naps just to maintain the energy for another episode, but it was totally worth it. I loved Conan. In fact, the more time I spent watching Late Night, the more I actually started to believe that if age and geography and fame were removed from the equation, Conan O’ Brien and I could - nay, would - be friends.

Each new episode only convinced me further. Besides our height (both of us are over 6’4”), our highly compatible senses of humor (I laughed when he talked), our love of classic cinema (he mentioned Citizen Kane or The Godfather every once in a while), and our mutual respect for and study of the titans of literature (he famously graduated from Harvard after writing his thesis on William Faulkner and Flannery O’ Connor; I had read and been confused by both of these authors), there was an overwhelming sense that Conan had somehow, despite the endless parade of celebrities who graced those ugly, blue-green chairs next to his desk, remained normal, like he might decide at any moment that one more seven-minute segment with Parker Posey would kill him and hang up his pompadour, returning to real life to hang out with real people.

When Jay Leno and NBC pushed Conan from his seat at the Tonight Show last year, I was among those trenchant supporters who proclaimed, “I’m with Coco!” and watched with glee those last few glorious episodes as he skewered Leno, the network, and the absurdity of the situation itself, ironically reaching the pinnacle of his run on the show just as it was ripped from his grasp.

Then came The Speech. During his last telecast as host of the Tonight Show, Conan used his last few minutes one-on-one with the camera to speak directly to his faithful viewers and those casual, curious observers rubbernecking at the carnage. His last direct correspondence with his audience was as follows:
To all the people watching, I can never thank you enough for your kindness to me and I'll think about it for the rest of my life. All I ask of you is one thing: please don't be cynical. I hate cynicism -- it's my least favorite quality and it doesn't lead anywhere. Nobody in life gets exactly what they thought they were going to get. But if you work really hard and you're kind, amazing things will happen.
There could have been no more perfect ending to Conan’s most public moment. The shield of celebrity briefly dropped, and in a moment of choked-up honesty, Conan affirmed everything I had suspected about him. He left NBC, went on a live tour (which, of course, came nowhere near Kentucky, save for a secret Nashville show in a 400-seat record store), and filmed the aforementioned documentary Conan O’ Brien Can’t Stop. Though I watch Conan’s TBS show with some regularity (unfortunately, these days the feasibility of staying awake until 12:30 is essentially nil) and make it my business to keep up with Conan’s doings, until two days ago, I had not seen the film. Until that time, my dream had lived on.

Conan O’ Brien Can’t Stop is everything Conan’s television shows have been: funny, smart (in that special, stupid way), energetic, and warm. It is also, however, dark and disconcerting. The quality most immediately apparent when watching the film is Conan’s compulsive desire to be a nice guy. He never says no to fans, signs everything put in front of him, poses for picture after picture, and frets constantly about providing a quality show while on his “Legally Prohibited From Being Funny on Television” Tour. This is consistent, of course, with everything I have come to know or suspect about the man. But behind the nice guy, in those moments when he has just boarded his bus after snapping hundreds of photos and pouring his soul into entertaining his biggest fans, is a guy who, just like every other celebrity in his position, just gets tired. Tired of the endless requests and hectic schedule. Tired of being away from his family and moving from stop to stop. Tired, in a weird way, of being himself. It isn’t that Conan doesn’t honestly appreciate his supporters (it’s clear that he understands the causal relationship between his fans and his status), it’s that nobody, no matter how pure their intentions or how kind they are at heart, can maintain the level of sincere connection that Conan attempts with his fans.

So how did watching Conan struggle with fatigue and frustration as his tour dragged on end my dream of our eventual friendship? It would be easy to see Conan as disingenuous because he very often displays real anger towards many of the people who seek interaction with him when he’s out of their sight, but that isn’t it. I give him immense credit for continuing to oblige them time after time, despite his exhaustion. No matter how bothered he is, he never lets it show except in private with his most trusted compatriots. No, it wasn’t really anything Conan did. It was his fans.

Conan’s fans, especially his most vocal, are a unique breed. They mirror his quirkiness, his sarcasm, his intelligence (mostly), and even his faux-outsider persona. Watching these people approach and interact with Conan time after time revealed something to me that I guess - even though I’d never have admitted it previously - I had always known. Conan O’ Brien isn’t Conan O’ Brien. Or, more precisely, Conan the man, the husband, and the father, isn’t Conan the performer. They’re both funny and smart and they both love great music and films and books, but because there is such a thin line between those two Conans, people like me have been fooled into thinking that if we ran into Conan in line at the grocery, we could make just the right remark about As I Lay Dying and be welcomed as a friend. There wasn’t one person who Conan spoke with, outside of his assistant, his producer, or his crew, for whom he was not performing. Every encounter was a show, and the only way to get beyond that curtain would be years of proximity that might slowly pull it back.

It’s probably this way with every celebrity of much note. At that level of fame, the world must seem your stage, but all the folks clamoring for your autograph are not your fellow poor players, but the groundlings, to be pandered to at best, wholly ignored at worst. There was a time when I would have found fault in this view, but since Conan O’ Brien Can’t Stop, I can’t do it. We adore them for their performances, and that’s what draws us in, the adoration of the persona, not the person. We create the distance between the real versions of these people and the version projected to the rest of the world, then we want them to bridge the gap and become bitter when they can’t or won’t. Conan’s Tonight Show farewell rang in my ears as the credits rolled on the documentary. I won’t be cynical. I’ll just let Conan do what he’s always wanted to do: entertain me.

Here’s lookin’ at you, Conan. We’ll always have the string dance. And the masturbating bear. Oh, and the “Let’s Go Mets!” chant guy. It makes me laugh just thinking about it.

Friday, September 23, 2011

The Power of Association: Don't Underestimate Your Own Brain, Dummy

There is a reason that every time I cover a public toilet seat with toilet paper before I sit down, I think of a certain unnamed friend. I'm just not sure what that reason is.

I don't know why or when this started, it just did.

It doesn't happen when I walk into the bathroom knowing full well that I'm going to be using the stall, it's not as I turn around and lock the door, it's exactly when I start laying down that paper. He just pops into my head. Every single time.

I can only attribute this to the power of association. For the life of me I can't recall any incident or conversation that would link this person to the activity to which his memory is tied. But somewhere, at some point in my past, my mind went and made some random association between this sanitary activity and my friend, and so there it is and ever shall be.

This got me thinking about more relevant instances of association in our lives. We all experience them. Not one person who reads this article won't know how it feels to smell some specific scent and immediately, involuntarily, be invaded by a swath of memories that are forever and irreversibly linked to that particular aroma. Often we know exactly how, when and where the association was made: An ex's perfume or cologne, the distinct smell of the cabins from your middle school summer camp, or the musky smell of your high school gym. I bet you can smell every one of them in your mind's nose right now, can't you?

But, like my bizarre and somewhat unfortunate friend-toilet seat covering association, some just can't be explained.

You'll forgive me my arrogance, I'm sure, but in the field of random association, I am a prodigy. I'm a savant. A natural, as it were.

When I was young, I didn't know that it was abnormal for words, all words, to have flavors and tastes. I didn't know this was strange.

One day, around age fourteen, sitting around the kitchen in my friend's house after school, I revealed for whatever reason that my friend's name, "Josh," tastes like toast and butter.

Blank stares.

I also revealed that my friend Travis' name tastes like processed potatoes, and that my friend Steven's name tastes like watermelon seeds, and that my friend Adam's name tastes like apples. (Go figure.)

I was assured that this was not normal.

A few years later, my friend Leah, a psychology student, told me that my ability is a rare phenomenon called synesthesia.

There are multiple forms of synesthesia. The majority of synesthetes, as it turns out, see particular colors when they hear sounds or tones. (I also dabble in this one, though very lightly. A famous synesthete of this particular variety is singer/songwriter John Mayer.) Other synesthetes assign personalities to numbers, letters, and other symbols. Others see certain numbers and symbols in particular colors.

All synesthesia is involuntary. We don't choose the colors or personalities of our symbols, the colors of our notes and tones, or the tastes of our words. We don't alter or change them. We don't forget them. They just are.

Mine, the rarest, as I have come to learn, is called Lexical Gustatory Synesthesia. In a nut shell, my brain has, on its own time, behind my back, made thousands of associations between words and flavors. I don't know how or why, but they're there. Some are obvious (like the Adam=Apple one), but others don't make any apparent sense (News=Cooked Spinach...I don't know why). Depending on how hungry I am (and how strong the flavor is), I can almost taste the flavors when I hear the words.

And yes, the names of foods always line up with the flavor of that food. Always.

This super power, aside from making me a unique brand of party favor for excited people who want to know what their names taste like (and let me assure you, it doesn't bother me in the least to be asked), is pretty useless. It can even be inconvenient. If I hear the word choice enough, I'll start craving sloppy Joes so bad I'll have to go to the store and get the ingredients.

I tell you all of this simply to illustrate the power of association. We may not all be synesthetes, but we are all subject to association.

For me, it isn't all toilet seats and flavored words. The movies I love, the music I love, the places I love, are all heavily influenced by association. For example, when I listen to Ryan Adams' album "Heartbreaker,somewhere a synapse (or something) fires in my brain that touches a certain nerve, and suddenly I feel how it felt to be driving in my jeep back in Kentucky or hanging out at "The Cabin" in the winter of 2003-2004, wondering about that one girl and letting the melancholy of the Kentucky winter wash over me. (This isn't to say that the scientific process of association, however inaccurately I have described it, in any way robs the process of its Romance. The complexity and end result of the whole phenomenon reek of transcendence and divinity.)

But what about the people I know? Are there some deep associations I couldn't possibly identify dictating who I enjoy hanging out with and who, for some reason, have just always rubbed me the wrong way?

Whatever the case may be, the fact of the matter is that this all comes down to feelings. I didn't sit down and make the logical choice that I'm going to taste strawberry Kool-aid when I hear Emily's name. It's just a feeling.

I didn't, believe it or not, sit down and decide that I'm going to be crushed and even depressed when Notre Dame loses a football game. It's a deep-seated feeling.

I didn't decide that every time I smell the Victoria's Secret scent "Very Sexy" I would suddenly remember exactly how it felt to hug that one girl. It's an invasive and involuntary feeling. (Emily once offered me a whiff from a "Very Sexy" sample and asked if I recommend she get a bottle. I quickly nixed the idea.)

I didn't decide that when I hear "One Headlight" by The Wallflowers that I will be so overcome with feelings connected to adolescence and divorce and change and self-discovery and friends and the search for identity that my chest will want to burst. It's just a feeling.

I think, despite all of the things that happen to us, and the things that happen because of our choices, and despite the feelings we carry, we have Choice. Turns out we always did.

I could have chosen never to drink strawberry Kool-aid, never to watch Notre Dame football, never to talk to that girl, and never to listen to The Wallflowers. But I did all of those things. I didn't have any clue what the results of those actions would be, but they were my actions nonetheless, and now they're my feelings.

I mentioned earlier that this all got me thinking about the more relevant instances of associations in our lives. Well, believe it or not, they're all relevant. You'll never know what consequences will come of the choices you make. But if you take a look at that big tangled mess of crossed wires of feelings and emotions and associations that is your heart, you may start to be able to sort out which choices were wise, and which weren't.

That's at least a start, right?



By Jonny Walls

Thursday, September 22, 2011

Seven 80s Studs Who Taught Me How to Find a Husband

There are only ten good things that came out of the 80s, and one of them is me. The rest are Glo-Worms, Jem & the Holograms, and the seven Adonii that shine forth from this list like rhinestones on a jean jacket. These are the men who taught me to avoid Kirk Cameron and NKOTB, those flashes in so many impressionable girls' pans. These are the men who scoffed at the likes of Axl Rose, Milli Vanilli, and anyone named "Cory." These are the men who taught me what a man should be.

#7 Lavar Burton of The Reading Rainbow
My love affair with books began before I could even read, and I can date my love affair with Lavar Burton in the same way. Now there is a man who appreciates a good story! I met Lavar each week on that beautiful rainbow, and he taught me how to apply story to real life. He is patient, kind, inquisitive, and literate. Perhaps his greatest quality, however, is his entire lack of irony. To this day, the only episode of The Reading Rainbow that I can recall with clarity features Lavar learning how to stave off hypothermia. He explains to us, the viewers (and I like to think he's talking directly to me), that the best way to raise your body temperature is to use the body heat of others. To demonstrate, he strips down to his briefs (white) and sidles next to another man under a blanket, all while continuing to explain the dangers of hypothermia to those of us at home. Here is an opportunity for the uncomfortable among us to mock and snicker. It seems the perfect chance, BUT Lavar doesn't let us laugh. His utter comfort on screen and his complete lack of embarrassment put us at ease and shut us up. It's like the time my high school biology teacher began her lecture on anatomy with, "Penis. There, now we've said it."

#6 Mario of Super Mario Bros.
I spent hours with Mario in my first decade (and second, third, and counting), and let me tell you he is one persistent dude. Nothing stops this man from achieving his goal - not killer fish, not ducks that slay you on contact, not jumping hammer tossers - nothing. If you stop him with a murderous plant, he will come right back and take you out with a fireball. Mario does not mess around. And the thing is, he's a plumber. He's a regular guy who gets pushed too far when his lady love is stolen, and then he proves his worth with his stout heart (and mad ups).

#5 Indiana Jones of Indiana Jones and the Ark, Temple, and Crusade. That is all.
We've covered a couple of good guys, but what about the slightly dangerous men? Where are the thrills? If Lavar spins me a yarn, Indiana sneaks me into the castle where the tapestries hang. A professor by trade, he spends alarmingly little time in the classroom, choosing instead to pursue adventure across rivers and deserts, over mountains and oversized maps of Europe. He is the consummate improviser. You never see him look at a situation and say, "Whelp, we've done all we can. Let's turn around." No, he hijacks a truck, plane, or tank and takes down a Nazi fleet ALL BY HIMSELF. Indiana Jones, heaven help him, has another knife in his knapsack: he is the master of Devil May Care. It's nothing to him whether you notice him or not, and so he makes you want him more. Oh, how you torment us, Mr. Jones. Finally, he seems to have an unusually high tolerance for crazy...


...so, you know, you can show him the real you right from the start.

#4 Marty McFly of Back to the Future
Here's a man whose lavender Calvin Klein's I wouldn't mind seeing.  On the danger scale, Marty is pleasantly situated somewhere between Opie and Judd Nelson's character in The Breakfast Club. You can kick back with a couple of beers together, but you don't have to worry about him beating you after he's had a few. He's charming and upbeat and he has a sense of humor. You've got to have a man who can laugh at himself. Just don't call him "chicken." He's committed to his family, rending the very fabric of time to save his siblings and secure his parents' happiness. Come to think of it, he might be a little too committed to family.



#3 Kermit the Frog. If I have to tell you what he's from, I want you to leave this site now.
Some of you ninnyhammers out there are going to jump directly to the comments to tell me that Kermit was around waaaaaaay before the 80s, and you will refer me to his autobiography, A Frog's Eye View of Life's Greatest Lessons. To you I say, Quit bringing everybody down, man. The Great Muppet Caper - 1981. Muppets Take Manhattan - 1984. Follow That Bird - 1985. Kermit's influence on the 80s cannot be denied. Calm it.

Kermit is a classic. With unparalleled poise, he leads a band of rebels and ragamuffins through the likes of outer space, deserted islands, swamps, and most dangerous of all, Manhattan. Intelligent and wise, Kermit is a born leader. He listens to the needs of his muppets, and he is musical and sensitive, to boot. He's a badass too, evidenced by the predicate nominative attached to his name (see also Alexander the Great and Richard the Lion Heart). Best of all, Kermit has a healthy fear of his girlfriend - a cue all men should take.


Admit it, she scares you too.

#2 Superman from Superman
Yes, yes, Superman was around before the 80s. We get it.

Jaunty cape, rockin' boots, dark hair, smoldering blue, laser eyes. I'm thinking about getting a cat just so he can rescue it from my tree. Ladies, you cannot go wrong chasing Superman. He is a model citizen and a decent almost-human being. He's the kind of guy who has x-ray vision but won't use it to look at your underwear. His skin may be impenetrable, but the fortress of his heart is yours for the taking. Speaking of fortresses, did you know that he owns a crystal house? Crystals! Sparkly, beautiful, history-keeping crystals! Furthermore, if you end up with Superman, you'll never again have to run seven red lights and go 90 on the freeway to get to the airport just in time to hear that your plane has been delayed - indefinitely.

#1 Farm Boy/Westley/The Dread Pirate Roberts from The Princess Bride
I need only two words to describe Westley: "Hubba" and "Hubba." Those eyes, that mask, that wit. He bests Fezzig with strength, Inigo with steel, and Vizzini with his thoughts, and the man who can do all that can plan my castle onslaught any day. Westley is a true hero. The strength of his love carries him through torture and danger, yet even when weak and frail, he still taunts his enemies with fervor. This is the man who will overcome any danger to ensure your safety and comfort, and when he has accomplished his mission, he will say to you those three little words every woman longs to hear: "As you wish."

Let me 'splain. No, there is too much. Let me sum up: We're looking for a persistent, well-read man with dark hair and blue eyes who doesn't take "no" for an answer, has a hint of danger about him, is a natural leader, and gives us what we wish most of the time.


Close, but I don't think we're there yet. How bout:



Yes. There's the one. Well done, 80s. Well done.

Tuesday, September 20, 2011

Would You Rather?

Every once in a while we just need a little fun "would you rather" in our lives. Don't be shy. Voice your choice in the comments section.

Would you rather: Be forced to go back to high school, right now, at your old school, with the current generation of high schoolers (not with all of your old peers,) and suffer the embarrassment of having to go through all four years of high school again, at this age, with no explanation allowed as to why you are there, and, you must maintain a B average, OR, go to federal, maximum security prison prison for two years?
This.................................................................................................or this?

Monday, September 19, 2011

Are You There, Lester Bangs? It’s Me, Corman.

When I was in college, I was at an all-night diner by the name of Tolly-Ho, in Lexington, Kentucky. I had gone there to eat with friends, but I left with a bitter taste in my mouth. You see, one of my friends, a young man who I had by turns worshiped and envied since high school, paid me a painful insult prior to my early-A.M. feast of a cheeseburger and cheese fries (and no, he wasn’t criticizing my eating habits, though perhaps he should have).

As we waited to place our orders, we talked about music, a topic that often graced our conversations. “Corman,” he said to me, “We agree on a lot of things, but you’re just too insulated. You need the critics too much. If an album or an artist isn’t hailed by the critics, you won’t give it a chance.”

Muhammad Ali never landed a fiercer blow. Me, a follower? A lackey? A vulture, following predators who seek and strike at the good stuff while I wait cautiously in the shadows, flocking only to that which they’ve already caught?

Here I was, you understand, a young man of eighteen, consuming music at a crisp rate, spending my UK Plus Account (meant for book purchases) on heaps of CDs at the used record store across from the north corner of campus, eager to seek out my next top-five record or mixed-CD favorite.

That night in Tolly-Ho I put up a half-hearted fight. I tried to tell my friend and myself that it wasn’t true, that I had a mind of my own, that Robert Christgau and Rob Sheffield meant nothing to me.

Lies, all of them.

My real Odyssey into music had started courtesy of a “Top 100 Songs of All-Time” issue of Rolling Stone. I knew The Beatles, Dylan, and Marvin Gaye because of this list, and though I had quickly expanded my tastes beyond the boundaries of the list, I stuck to what seemed tried-and-true. I wanted the classics, the good stuff, music the way it’s meant to be, man. My listening rarely strayed past the limits of the 60s and 70s. The 00s were basically off limits, written off as the sad wasteland from which nothing musically great could grow.

In the past eight years, I’ve grown. I now listen to as much music from the last ten years as from the 60s and 70s combined. My favorite artists and albums lists are peppered with newer artists, the Arcade Fires and Josh Ritters and The Nationals of the world mixing it up with The Beatles and The Stones and Zeppelin. I’m proud of this because, as I now see it, I am finally free from the tyranny of critical acceptance. More than ever, I have confidence in my critical acumen, and what I listen to will be a reflection of me, not of the majority’s voice.

Or so I thought.

Not two weeks ago, this friend of mine (yes, our friendship had managed to survive the grievous - never mind true - barb) sent me an email. Attached to this missive he included three mp3 files. The songs he sent were recorded by a friend of his named Tyler Lyle who is evidently drawing some attention from the industry. “This guy is going to be famous. Guarantee it.” He wrote. “Here is your opportunity to get in on the ground floor.”

And you know what I did? I froze. I clicked out of the email and tended some other business, went back to it, clicked out of it again. Finally, I downloaded the files, but I didn’t listen to them immediately. I left them sitting there, in iTunes, unheard for three more hours. That’s when the Tolly-Ho conversation came rushing back to me. You know what my friend was really annoyed by when he made his observation to me? It wasn’t that I put too much stock into what the critics said. No, what really got to him was that I didn’t put enough stock into what he said. Like I said, this friend and I were constantly talking about music, and he frequently recommended bands to me or asked me to listen to a song he thought I’d love.

In response to his honest attempts to introduce me to music he figured I would enjoy (read: his attempts to be a good friend), I fed him some pap about feeling awkward listening to new music in front of people and rarely, if ever, actually gave his offerings a chance. In fact, I still remember pacing casually in and out of the room the first time he played Ryan Adams’ “Oh My Sweet Carolina” for me, as though to show him that I wasn’t giving the song my full attention. (That song and “Heartbreaker," the album from which it hails, are now among my all time favorites.)

Here was a guy trying to connect with me in a truly meaningful way, trying to improve my existence one song at a time, and I was running away from it. Why? Because I didn’t want to acknowledge what somebody else had discovered first. I know it’s shallow, but it’s the truth. That, in part, is why the safety of critically sanctioned top-whatever lists had such appeal: Nothing you find on one of those is likely to even be discoverable. You don’t really discover The Beatles, you know? They’re just sort of there, and everyone runs into them at one point or another.

I had spent years avoiding my friend’s recommendations because I wanted so badly to keep that sense of ownership we all have over the things we listen to and watch and read. We feel they have a special connection with us, and often, that connection feels stronger if we think we forged it alone. Or at least I did.

I say “did” rather than “do” because I’ve given all that up. I sat down and listened to those songs my friend sent me and they were as good as advertised. I’ve since downloaded the artist’s latest album and have been listening to it on repeat ever since. I came a hair’s breadth from letting this great work pass by unacknowledged, all because of a pride that has eyes only for my self-inflation.

Art is endowed with an intrinsic value. For a long time, I had confused that inherent worth with the worth I bestowed upon something because I found it first, or because some “expert” had blessed it with four-and-a-half out of five stars.

No longer. Play on, Tyler Lyle.



-By Josh Corman

Editor's Note:

If you would like to listen to/purchase Tyler Lyle's new album, follow this link. You will thank us later.

Buy/Listen to Tyler Lyle's "The Golden Age and the Silver Girl"

Friday, September 16, 2011

911, What is your emergency?

Here follows a transcript of the emergency call placed to my phone earlier this month. Unfortunately, the victim was unable to get through to a live dispatcher, so she left a detailed message. The situation truly demonstrates the need for better funding for our emergency response units. Call your congressman/woman today.

UNIDENTIFIED VICTIM:
>Emily, I peed on myself.
>At a gas station.
>Because I was trying to squat.
>On my khaki capris where it was visible on the back of the pant leg.
>I decided to remedy this ridiculous situation by splashing water on the front of my pants as a clever decoy...
>To make it look like a spill.

>This was my second stop on my road trip.
>The first one involved diarrhea at a different gas station...
>In which a lady was singing to herself and as I went to the bathroom she slowly stopped singing, I could hear her breathing funny, and she left quickly...

>Followed by a man coming in with a little girl taking their sweet time. As they left, he says, "Whew! Smells like someone crapped their pants," and the woman with them went, "Shh shh."
>Followed by me realizing that I'm in a public restroom,
>I just had diarrhea everywhere,
>And there's no toilet paper.
>None.
>At which point I realize I'm going to have to waddle with my pants down
>Over to the other stall
>Hoping nobody comes in while I'm waddling
>SANS PANTS.

>Do you know why I'm even out on the road today?
>Because I got up at 6:45 on a Monday morning
>To go to a seminar about filling out conference paperwork.
>Yes, I drove an hour and a half so i could sit and learn how to fill out paperwork.
>Paperwork.
>On a Monday.
>A. Monday.

>Diarrhea.
>No toilet paper.
>Waddling.
>Another gas station.
>Peeing ON MY PANTS.
>I, I'm just...I'm, I'm done. I'm done with this day.
>Goodbye, day. You suck.
>I'm going to flush you.

Thursday, September 15, 2011

Read Two of These and Call Me in the Morning

Here's an impassioned essay from our good friend Josh Corman. Read on to find out what they are (or are NOT) teaching kids in school these days.

Enjoy. Comment. Tell him what a jerk he is. We don't mind. But seriously, give this a read. It's great stuff.
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When I tell people I’m a teacher – a high school English teacher, no less – they often look at me as though I’ve just told them that my dog has died. They tilt their heads and purse their lips and nod solemnly, and I imagine that when we’ve parted company, they turn and mutter to each other. “Poor bastard,” they say.

They might say this sort of thing for any number of reasons. They might see the current generation as so far removed from their own understanding that they can’t imagine engaging with a group of high schoolers for even ten minutes. They might think about how they acted in high school and feel deep sympathy for anyone who has to put up with dozens of sixteen year-old versions of themselves. They might even know something about current educational movements and pity those of us who very often feel enslaved by convoluted, unrealistic legislation and pervasive standardized tests.

I appreciate their concern (and yours, if you have any). However, despite the many fears and worries I have about my job, these are not at the top of the list. No, that unpleasant designation is reserved for the frightening trend towards descriptivism in education. I first encountered the concept of descriptivism in David Foster Wallace’s essay-slash-review “Authority and American Usage,” in which he examines, among several other convoluted subplots concerning the use of the English Language, the battle between what he calls “descriptive linguists” and “prescriptive grammarians” to determine the proper function of English dictionaries.

Hey! Wake up, you!

Ahem. As I was saying, DFW points out that on one side we have the descriptivists, who feel that a dictionary should work like a thermometer, in that it should take the temperature of English usage and reflect accurately what it observes. Descriptivists, for example, would be quick to include “facebook” as a verb, because that’s how people use it.

Prescriptivists, as the name suggests, would act more like doctors, prescribing how the language should be used. They would be decidedly more suspicious of “facebook,” particularly in verb form.

The piece got me thinking (that’s what essays are supposed to do, right?) about descriptivism and prescriptivism in a different part of our culture, that part where I live and breathe - the realm of education.

The current movement in U.S. education law and philosophy is towards “standards-based” grading. Basically, every subject comes equipped with standards (“Students will analyze the use and function of literary devices - metaphor, symbols, allusions, juxtaposition, etc. - in appropriate texts” one might read). Teachers teach those standards (which are sound, if often vague), then they assess students on mastery of those standards. If they “meet” expectations, they move on; if they do not, remediation awaits.

On paper, this sounds brilliant. Students can move at different paces and are freed from legalistic frustrations like, say, losing a letter grade for writing an essay in pencil as opposed to pen, and have a clearer sense of expectations to boot. However, since a skill like “analysis of the use and function of metaphor” can be taught using any piece of writing that contains a metaphor, those English teachers eager to adopt the “standards-based” approach can simply replace those pesky novels with smaller, less complex pieces. Select chapters from longer works would fit the bill, or perhaps simply a more non-fiction centered curriculum (indeed, this is the solution championed by the new standards).

One of my colleagues this summer said to a room full of fellow English teachers that she loved this approach, because “some of those chapters in To Kill a Mockingbird are pretty boring for a student. This way, we can take the most interesting, enjoyable material and not use those parts that aren’t relevant to students.”

A friend and fellow teacher who was sitting next to me in that room placed a hand on my arm and whispered, “It’ll be okay.” A boiling rage coursed through my veins. The betrayal! An English teacher, giving up on the novel. Treason! I thought. Sedition! Heresy!

But, technically, what my wayward colleague says is true. Reading a whole novel for the mastery of a single standard isn’t necessary. But the implications of a view like hers are at best depressing and at worst the stuff of an Orwellian nightmare.

Frankly, I don’t give a damn what students find enjoyable. Do we worry about how much they enjoy history? Let’s leave out all the boring bits, y’know, tariffs and the like. We’ll keep the wars and assassinations and go from there. And what about Algebra? They never seem to like the quadratic equation, but I’ll lead with slope-intercept form and we’ll see if we can’t coax them into it. Obviously, no sane educator bases his curriculum upon what students like best. This approach is descriptivism at its worst: look at what students already do, and cater to it, the reasoning seems to go.

Before I collapse into seizures, I’ll turn this one over to the more-than-capable Ms. Flannery O’ Connor: “The high school English teacher will be fulfilling his responsibility if he furnishes the student a guided opportunity, through the best writing of the past, to come, in time, to an understanding of the best writing of the present.... And if the student finds that this is not to his taste? Well, that is regrettable. Most regrettable. His taste should not be consulted; it is being formed.”

Boom. Roasted.

And then, that misused word, “relevance.” A useless term in the hands of so many educators because, for them, it translates roughly into “something with which students have had immediate, literal experience.” By this definition, a given short story is only relevant to my students if it’s about red-bull fueled Call of Duty marathons or young people bonded by their horrible taste in music. Pardon me, but “relevance” is bullshit. I’ve never owned a slave or rafted the Mississippi or been a socialite or packed up my life and moved my starving family across the country looking for employment or vowed to avenge the death of my father at the hands of my usurping Uncle or scavenged a post-apocalyptic wasteland with my son in hopes of keeping alive the flame of basic human decency. Does that render Huckleberry Finn and The Great Gatsby and The Grapes of Wrath and Hamlet and The Road useless to me because I have not already lived them? Students don’t need to read about themselves. Believe me, they are too concerned with their own immediate realities as it is.

My other major concern is about what the standards (the ones we’ll be using to teach your kids, if you have any of schooling age or plan on procreating in this country) are incapable of measuring.

No matter how hard I search, I can find no standard that reads “Students will develop empathy and emotional maturity through the sometimes laborious task of reading thematically complex fiction,” none that reads “Students will come to understand something fundamental about themselves or the world around them by encountering a powerful novel or play,” or “Students will become life-long readers, devoted to finding and engaging with works that have a profound spiritual, moral, or psychic impact on their lives.”

When we stop expecting students to engage with art in ways that produce immeasurable results, we sell them short, lessen the true value of their education, and weaken the foundation on which they will build the rest of their intellectual lives. When we become more concerned with what students find enjoyable than what might actually make them better, stronger, more thoughtful, more compassionate or insightful individuals, then we as educators devalue our profession, and remove from it that last drop of magic that it holds.

I, for one, will still expect my students to read novels, even when they don’t like them. I don’t recall liking Great Expectations, Huck Finn, Macbeth, Heart of Darkness, or The Tenth Man when my teacher prescribed them in high school, but I’ve gone back to them all, because there were others I did connect with, and those connections led me to believe there had to be others I’d missed. I’ve become a voracious reader of myriad types of fiction, a person who seeks a challenge in what he reads because he understands that struggle begets growth, and immediate gratification isn’t always the best kind. I’ve become a better person because I have exposed myself to the view from others’ eyes and considered the problems of people who are unlike me in any way. Believe it or not, I am a better friend, a better husband, and a better father because of fiction.

I’m so glad my teacher didn’t ask me if I’d prefer to read something else.



By Josh Corman

Wednesday, September 14, 2011

Stupid Shit Episode 1: Pompeii Meets Pedophile

Welcome to yet another first edition of what will be a recurring series here on Verbalinfusion: Stupid Shit. In this, what will surely become a venerated and renowned series, we will scour the web for, well, you guessed it, the stupidest shit we can find. This is in no way filler to bridge the gap to tomorrow's opinion/think-piece from guest contributor Josh Corman. I swear.

If you've ever been on an airplane, then you'll be familiar with Skymall, the entity that very well may single handedly make the Stupid Shit series work.

For this post I considered a vacuum exclusively designed to suck up and zap insects, a "snake fence" (a tiny fence to go around your yard and keep serpentine intruders OUT), but finally decided on this.

Frankly I can't imagine anything more terrifying than looking out my back window on a peaceful summer's day to see the innocent faces of the young; lifeless, frozen in time. The ad claims "We can almost hear the giggles as this nearly life-size young trio careens down childhood's slide".


I can almost hear the giggles too, but to me it sounds more like something out of The Shining than something out of a mirthful summer scene. And second, what exactly is "childhood's slide"? I get the suspicion someone took this blurb from a Japanese ad, ran it once through an online translator, and copy/pasted it onto the english site.

At first I couldn't think of one person who would ever shell out $450 clams for this monstrosity, but then I remembered this guy.

Remember, tune in tomorrow for our first guest post from Josh Corman.

Monday, September 12, 2011

Real Life Series: A Streak of Brilliance

Here is the first in a series of narratives taken straight out of my life. The names of the characters have been changed. Enjoy.

-Jonny

June 2000: Fort Lauderdale, FL

It’s a thick summer night in south Florida and I’m alone on a dark beach. Luckily the ocean breeze comes through like a knife and cuts holes in the humidity so folks can breathe. Truth be told, it’s only sort of dark. It’s well lit enough. Some of the hotels along the water have floodlights that stretch all the way to the water and the moon is out in full force. This is unfortunate.

The three things you need to know about this evening are as follows.

1. I’m standing here like some sort of stupid animal, lost for options and wondering where to go next or what to do. As I stand I figure there are two main traits that separate humans from the animals. One is reason, abstract thought and all that that entails. Our ability to love, complex emotions, rationality, etc. The second, much simpler trait, is clothes.

2. I, like the animals, am naked.

3. This story is completely true.

So here I am, naked as a chicken bone and near as thin on a public beach in southern Florida. How can a person whose ability to reason is (allegedly) intact find himself in such a situation? To find out, we have to go back an hour or so.

My friends Darren, Trent and I are sitting in our hotel room. It’s getting on in the week and we’ve seen a lot of what Fort Lauderdale has to offer. Tonight we’re in the mood for trouble. Not the real sort of trouble that leaves people in ditches with addictions or with bounties on their heads. This is the kind of trouble that parents can laugh about five, maybe even two, years down the road. Fun trouble: the mistress and scourge of the slightly untamed youth.

“Let’s go streaking,” Darren says.

He says it just like that, as if he were suggesting a trip to Dunkin Donuts.

“Streaking?” says Trent.

“Yes. Streaking. We’ll go streak on the beach.”

“I don’t know,” I say.

“Why not? Why am I always the one that has to do the crazy stuff?”

“Darren, you don’t have to do anything.”

“Yeah, but I do, and you guys always laugh.”

“That’s true." Sigh. "All right,” I say. “Let’s go streaking.”

I know what you’re all thinking. You’re thinking, Why? (Well, maybe you’re actually thinking what a poor negotiator I am. That’s fair. But that’s not the point.) If you’re wondering Why, please understand that there is no Why. Hijinks such as these are low grade anarchy. One takes part just to see what will happen.

“Wait,” I say, “We should probably at least wear our bathing suits on the way so we can get across the street to the beach without getting arrested or something.” See? Reason still in tact. Not firing on all six cylinders, perhaps, but running nonetheless.

“All right, we’ll do that.”

So it’s settled. We’re already in our trunks because we’ve been lounging around our hotel pool and hot tub all evening.

We head through our slightly dingy, coral tinted “lagoon style” pool area, out a squeaky metal gate that slams behind us, and into the street. We wait out a stream of traffic and cross the well lit road.

The beach seems dark at first, our irises still shy from the fake orange light of civilization merely ten yards behind us. The ocean’s waves hit the beach softly, playfully even, deceptive messengers of the unbridled chaos hidden within her depths.

“Seems pretty empty.” Darren’s analysis is simple.

“Yeah, shouldn’t be too bad,” says Trent.

“Let’s do this thing before I lose my nerve,” I say.

“All right, ready, and GO!”

The last vestiges of Sanity floating somewhere around my left cerebellum give one last protest, but I turn them a deaf ear, so they abandon ship. I’ll hear nothing of Sanity now. It’s naked time. I yank my shorts down and in one flash of mad glory there’s nothing left between me and Africa but the Atlantic ocean.

The effect is startling. “This is it,” is all I can think. “You’re really naked in public. You’ve done it. Congratulations.” (Remember, Sanity gone.)

My sudden awareness of the breeze kicks in. I’d be lying if I said it was unpleasant, but the ultimate effect isn’t flattering, so I burst into a run. That’s all I can think to do. I run the way God intended. I run naked down that beach.

As my legs pump harder and the Adrenaline-Instinct section of my brain kicks in (which, by the way, seems to be enjoying his run of the place with Sanity having gone ahead and pissed off out the door), I realize first that I’m alone. That is to say, Darren and Trent, having also plucked up the courage to go full glory, have both run off in separate directions. Next, I realize that the beach isn’t as empty as we had thought. Adjustment to the light reveals a smattering of walkers and late night loungers. I start to feel slightly self-conscious.

“But wait.” It’s Brain again. “Adrenaline’s telling me we ought to do something crazy. It’s now or never. No fear. Look, just ahead. A whole group of adults.”

Brain’s right. There’s a group of fifty-somethings ahead, maybe six or seven of them sitting in beach chairs, relaxing, talking and drinking beers. “All right, Brain,” I think, “You’re on.”

I set them in my sights and charge at full tilt. I’m right on them now. They all see me. They see all of me. And I don’t care. I am Bacchus, naked god of wine and sensual pleasures as I skip about their circle, relishing every wide eye and shocked look. I am free at last, unencumbered by the shame of knowledge. I am a floating spirit on the winds of the ocean. I am…stuck in their fishing lines.

In the darkness I have failed to see their five giant fishing poles stuck upright in the sand, lines taut in constant struggle with the surf. And now they have me. I begin floundering about in a mad bid for freedom, a wild animal caught in an unintended trap.

Roars of laughter.

In a matter of seconds I’ve gone from uninhibited child of the earth to captive idiot, the unwitting entertainment for a rabble of strangers. I lift my leg and pull down, I turn, I finagle, I twist and wrench, and suddenly, I’m free. I dart off like a deer, the sound of raucous laughter following me all the way down the beach.

I’m winded and disoriented when I stop. I've looped and run back toward where we began, but I can’t seem to find the spot where we left our swimming trunks lying in the sand. I don’t worry too much about it because, if history is any indicator, my sense of direction has most likely led me to the wrong spot and our trunks will be lying safe and sound where we left them, wherever that is. After a few seconds Darren and Trent come back laughing. They see me and I tell them about the fifty-somethings and the fishing lines.

“Where are our shorts?” I ask the group at large.

“Right here, where we left…” Darren trails off.

“So this is the spot where we left them?”

“Yes, right here next to the first bench before the pier. I made a note of it.”

“Shit,” Trent says.

“What do we do now?” I ask.

“We’ve got to find them,” Darren says. “It’s possible someone hid them as a joke. It’s our only hope.”

He’s right. the only other option is going back across that busy street naked. So we begin a comb of the surrounding area. We check trash cans, underneath benches, underneath the pier. Nothing.

In desperation, we begin asking people. It’s dark enough, in this section of the beach particularly, that people can’t tell that we’re naked until we’re right up on them. First, a young couple. We approach, hands in place, concealing as much as we possibly can. It’s a bizarre, new experience, to be sure. No longer running at full speed in adrenaline-addled fury, we’re approaching complete strangers absolutely naked. It’s like a nightmare come true. “Hi, um, have you guys by any chance seen three pairs of shorts lying around anywhere?”

The girl gasps and turns her head into her boyfriend’s shoulder, quaking with laughter. The guy, barely concealing a sympathetic smirk, informs us that he has not. We try again, an older gentleman, another young couple, a group of guys our age. No luck. After a while, we don’t even bother with the hand coverage. It’s amazing how the mind can adapt. It knows we’re out of options. It’s gone on to a new, nothing-to-lose level. Closer to the animals. I’m amazed how quickly shame is lost in times of desperation.

We decide to split up, finally, and see if by some miracle we can locate the shorts further down the beach. It’s a hopeless errand, really, but there’s no other choice. We are effectively stranded on this beach, an untraversable river of light and civilization (and possible law enforcement) between us and the nearest article of clothing.

So, here I am, naked and alone. I have no idea which way to go, where to look. There’s no point anyway. By now, I barely even register the snickers or shocked laughter from the occasional passerby. Naked is who I am. It’s a part of me.

“So, looks like you need me back after all, huh?”

Sanity. I’m reticent to let him back in, because Shame may follow close on his heels.

“Well tough luck. Why don’t you get your old friend Adrenaline to get you out of this one? Oh, wait! Adrenaline’s gone, and right when you needed him most!”

“You know, Sanity, it seems the bigger thing to do would be not to rub it in my face.”

“You’d think that, wouldn’t you? Oh well. Cheerio! Ahahahahahahaha!”

And with that he’s gone. Who would have thought Sanity would be so vindictive? I give up. I slink, shoulders slumped and ass cheeks bared back to our original spot. I plop down on the nearby park bench. Soon, Darren and Trent both return looking defeated as well. We sit in silence. No one knows what to say. What can be said? We know it’s only a matter of time until someone is going to have to make a run for it across the street. But now, we’ll just wallow in defeat.

And then a beam of light hits us. I look to the right. Someone is approaching with a flashlight.

“Dudes, you gotta put on some clothes,” comes a commanding voice. It’s a cop. Now this is a familiar feeling. Immediately, my brain goes to work. What are we going to tell this guy? How are we going to get out of this? Unsurprisingly, I can’t come up with any solutions.

“We can’t. Someone stole them,” is my simple reply.

There’s a moment of silence. This is it, we’re sunk now. Going downtown for public indecency. My whole future flashes before my eyes: I’ll be labeled a danger to society, a pervert, a sex offender. All I wanted to do was run naked in the moonlight.

And then we hear…laughter. The cop is laughing at us. I’ve never been more delighted at my own ridicule. If Hollywood’s taught us anything, cops don’t arrest people they think are funny, right?

“Someone stole them? Like, someone took them from you?”

“Well, they took them from the spot where we, er…left them.”

He gets his radio and pushes the button to talk, still laughing. “Hey, yeah, I’m down at the end of Anglin’s fishing pier. Yeah. You gotta come see this.” He clicks his radio off, smiling. “Ok guys, just hold on a minute.”

Not even a minute later his partner shows up, thankfully carrying what appears to be a large yellow jacket. The first cop walks over to greet him, points at us, and yet another roar of laughter rises up at our expense.

“Ok,” he says, coming over. “You.” He points at me. “Put this fire jacket on and go wherever it is you’re staying and get some clothes.”

“Yeah, ok, we’re right across the street.”

When I return, clothed, with two other pairs of shorts, Darren, Trent and the cops are having an animated and frankly casual conversation. Darren is describing the whole event, including my entanglement with the fishing wires. The cops are lapping it up, genuinely laughing at every gag and instance of buffoonery.

So we make it out unscathed, and in the end all it costs us is a pair of shorts each. The cops tell us to try and quit streaking. We thank them and promise we will, and head back across the street for a well earned night’s rest.

“Well, I hope you learned a valuable lesson. Are you ready for me to move back in?”

“Sanity!” I think. “Yes, I’m ready. Let’s never fight again.”


The End?

Saturday, September 10, 2011

The Gruesome Death of a Faithful Friend

Our tale of woe begins upon
A girl of five or six
Who went skipping on a forest path
And landed in a fix.

Our heroine wore brand new shoes
Her mom had tightly placed,
But tripping over stump and root
The strings had come unlaced.

The girl sat down and wailed aloud
And hollered her distress.
She knew all the arts of velcro
But they could not cure this mess.

Surprised, she saw a face appear
Behind the nearest tree.
A voice called out and said to her,
"It looks like you need me."

"I'm here to help and gaily do
Whatever you demand.
I'll tie your shoe and teach you, too,
If only you command."

She searched his face and found there
That the truth was in his eye.
She dried her tears and asked him please
To help her learn to tie.

From that day on the two of them
Walked freely side by side.
And so in bliss our tale would end
If her laces had stayed tied.

They came undone one sunny day
Some ten years down the road.
Again he said to the teenage girl,
"I'll try to ease your load."

"I'm here to help and gaily do
Whatever you demand.
I'll tie your shoe and teach you, too,
If only you command."

"I know how to tie," she scolded him.
"You taught me years ago.
You don't have to tell me twenty times.
I fear you think me slow."

She noticed then a pattern
Had developed with his lips.
They never stopped their moving
With his endless helpful tips.

"Looks like you're making coffee.
I can help," she'd hear him call.
"Looks like you need a restroom.
I'll procure an open stall."

"Looks like you want to drive a car.
I'll help you steer the wheel.
Looks like you want to fish for trout.
I'll show you how to reel."

"Looks like you want to go to sleep.
I'll teach you how to rest.
Looks like you hope to kiss a boy.
I'll show you who is best."

"Looks like you want to breathe the air,
Looks like you're having cramps.
Looks like you want to write a note,
Looks like you're out of stamps."

"That's it!" she cried. "I will not hear
Another word from you.
I'll figure out without your help
The things I need to do."

"Get you gone, you parasite.
Assist another girl.
I'm sick of hearing your advice.
Don't cast another pearl."

"Starting now I banish you.
I will that you should hide.
Slink into the shadows dark,
I will not be denied."

But she knew that he was lurking
And in waiting would abide.
He was aching to be helpful.
He would never leave her side.

"All right!" she screeched. "I've had enough!
Advise me one last time.
Tell me how to murder you.
Abet me in this crime."

Delighted, he revealed himself,
And grinning, he replied,
"Looks like you aim to slaughter me,
I only live to guide."

You can straighten out my joints.
You can bend me til I break.
You can pass me through a shredder.
You can drown me in a lake.

You can scald me with hot acid
Til I'm naught but melted ore.
You can flay my skin with razors
Til my body is no more

She took a breath and pondered him,
Her old and faithful friend.
She remembered all his kindness,
Then she tore him end from end.

She started with his eyeballs
Yes, she ripped them from his head.
She sliced apart his smile
And even as she worked he said,

"You really shouldn't twist that way,
You'll break your knife, for sure.
Why don't you try a leather glove
To keep your grip secure?"

Her fiery blows came crashing down.
Her fury knew no rest.
She stretched him ear to ankle,
And she rent apart his chest.

Without remorse she left him there
To wallow and to die,
And on the breeze she heard him call
With one last gasping cry,

"Looks like you failed to bury me.
I see a plot of land.
If you'd like to grab a shovel
Then I'll gladly lend a hand."

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Thursday, September 8, 2011

It's All About Who You Know

A blank page lies before me, and it is immense and it is limitless. It mocks my deficiency. I could do anything with this page: crease it carefully into intricate origami representations of pop culture icons; draft a letter to my friend who often sends and seldom receives; prepare a treatise on the merits of cold cuts; expand the ninety-five theses to an even hundred; banish it to the wastebasket, there to serve a sentence of slow decay in exile.

They say, "Write what you know," but I suspect that they don't. They mean, of course, "Write who you know." If you wrote about a blender you would not write about the blender that sat atop the counter and plugged into the wall and mixed your smoothies when you depressed a button. No, you would have to write the Blender That Defied a Nation, and your blender would journey and triumph. Your blender would have personality and goals, which brings us back to "Write who you know."

I know a beautiful woman sodden with insecurity. She leaves pools and puddles of it in her wake, and those who shake her hand soon reach for a towel. I cannot write about her because I don't want her to know that I think her soggy.

The trouble with the Who You Know methodology is that as soon as you write about the people you know, you will no longer know any people. Many, I believe, would be flattered to find themselves the protagonists of adventure stories, but few would read their flaws with tolerance. A flawless character is not a character, or perhaps a poor character. No, he must err. And what of villains? If the protagonist is to overcome, then someone's malevolence must be inked into permanence.

I learned just two days ago that two of my favorite personalities in all of literature, East of Eden's Samuel Hamilton and Lee, were actually John Steinbeck's grandfather and family cook, respectively. He didn't even bother to change their names. John Steinbeck, perhaps the greatest American author, crafted these real people into compelling characters, and if the originals lived to see themselves fictionalized, perhaps they were proud. Heaven help the woman who was Cathy Trask.

The key difference between Steinbeck and me, setting aside vocabulary, talent, background, time period, gender, and mortality status, is not our willingness to alienate our friends for the sake of literature, but rather our imaginations. He traced his grandfather with faithful fact, but he colored in the dialogue and plot using the resources of his mind. Without prodigious study and effort, I cannot generate original thought and tone in fiction. If I were to write my mom into a story, her character would say what my mom said to me on the phone last Tuesday, not what I imagine to hear from her next week.

I would like to blame my lack of imagination on television and internet and ready-made stories and the ozone layer and Madonna and Pez dispensers, but I suspect I was meted a small portion in the womb. My childhood stuffed animals I named Snowball, Pinky, Honey, and Gorilly. I will let the reader guess their shapes and distinguishing characteristics.

It may be that I was granted a mighty measure of imagination, but I have not cultivated it properly. From her tender years to adulthood, Charlotte Bronte, together with her brother Branwell, created an entire fictional country, complete with political systems, press, high society and low, rulers and usurpers, magnificent deeds and scandal. Charlotte and Branwell wrote histories of their country, and they knew its hundreds of inhabitants. They spent hours each day creating its mythology, and they kept this up for years. The Brontes lived small lives on the moors of a small country, but their vast minds brooded beyond their borders to a world only they could access and experience. Charlotte's expansive imagination and her years spent tending it prepared her to write into existence Mr. Rochester and St. John Rivers and Rosemary Oliver. Jane, of course, she modeled after herself. Charlotte wrote the people she knew, but her imagination supplied their interest.

My blank sheet of paper is no longer blank, but it still mocks. I could fill the remainder with confused thoughts on the nature of my confined mind, perhaps comparing myself to fellow sufferers among my peers or pointing to studies on the shrinking of imagination or researching the oversaturation of media or enumerating news articles on the "instant generation." Alternatively, I could sketch a windowpane over the rest of my page, tape it to the coarse concrete of my office wall, and allow fancy to freely suggest what might exist outside my paper window.

If you'll excuse me, I need to look for a roll of Scotch tape.

Saturday, September 3, 2011

So Gollum, Dr. Jekyll, and Tyler Durden walk into a bar...

Robert Schumann signed several collections of his work according to the personalities he had adopted while composing. If he had been feeling festive, vivacious, and perhaps mischievous while writing, Florestan was the culprit. If he had been somber, moody, and calm, Eusebius was the man. Aside from a clear case of undiagnosed bipolar disorder - or so that Psych 110 class I took freshman year qualifies me to say - Schumann may have had something there.

In creating Verbal Infusion, Jonny and I discussed the direction we'd like to take it: Is it a humor site, a journal of sorts, a place for fiction, a place for essays, a collection of cat photos? We weighed our options and in the end decided that although a focus for a site can be handy, it isn't necessary. We have a few regular features planned, but for the most part, we'll let whim take us where she will. Sometimes we'll be Florestan, other times Eusebius.

At this point, it is important to note that Schumann designed, built, and used his own finger-stretching device to improve his reach for the piano. This same device permanently impaired Schumann's fingers so that he never played again. In conclusion, let us never forget that while the composer succeeded with Florestan and Eusebius, he also may have been an idiot.