For David Abrams’ Sunday Sentence project, readers share the best sentence they’ve read during the past week, “out of context and without commentary.”
“Even if sea level rise is more limited than what is anticipated, it will inundate coastal cities and coastal plains, as in Bangladesh, where tens of millions may be forced to flee in the fairly near future, many more later. Today’s refugee issue will be a tea party in comparison.“
Happy Father’s Day weekend to all the dads out there! I suggest checking out Chicago Reader newspaper’s feature of W.D. Floyd photographs of fathers from the south and west sides of Chicago. The series focuses on African American fathers, who society often holds an inaccurate view of. You can read the whole story and see the series at Chicago Reader here.
“Within our society there is an underlying belief that fatherhood is a role Black males struggle to fill. But every day I see Black men engaging in acts of care. Most are not making a political statement but fulfilling their basic human instinct. According to a 2013 study published by the Centers for Disease Control and Prevention, Black men are more involved with their children than other demographics.”
Reading about the lives of conservative Arab women living in America does not sound like an entertaining time to me (the conservative descriptor is what feels most like a snooze, to be clear). However, I’ve read nothing but good things about this new, debut novel by Etaf Rum—part addictive page-turner, part family portrait with secrets waiting in the shadows.
Deya is a Brooklyn gal who is 18 and being pursued by suitors selected by her grandparents. Yikes enough as is, certainly, but the situation is underlined by a black line that traces back to the story of Deya’s mother, Isra, who left Palestine as a teen to marry her heart’s desire, not her parents’. Isra supposedly died in a car accident. A secret note, mysterious woman, and gut feeling say otherwise.
This book was published last year and the Chicago literati looooved it. Devoted Chicago literati follower that I am, I put this on my to-read list. They’ve never led me astray with a bad book recco yet, and There There has further confirmed my faith in their Book Gods status (see also: “Yes, Tommy Orange’s New Novel Really Is That Good” by the New York Times).
Each chapter follows a different character in a very large cast of Native Americans in Oakland, all of whom are making their way to a fateful powwow that ends in a ~very American~ tragedy. The story wields language, grief, and first-person narrative like a knife sharpened on the too-long-ignored, unquiet bones of a true-life genocide.
The title is a reference to a misunderstood (whitewashed) Gertrude Stein quote about Oakland that Orange brilliantly weaves into one character’s scene. The phrase also comes up in another place, referencing the Radiohead song by the same name, demonstrating how contemporary and historically intertwined this novel is, symbolic of Native American experience and life in Oakland. Those cross-generational twines can continue to choke a whole community, or the rest of us can help them become untangled and pull everyone up with the rope.
I would like Tommy Orange to publish a new book immediately.
My bff in college loved the singer-songwriter Ani DiFranco. She played me Ani’s “Not A Pretty Girl” one day our freshmen year, likely when it was spring and I was sweaty and sitting on the floor of her dorm room and licking cheese fry sauce off my fingers. And feeling righteous in the pit of my stomach or something similarly ravenous somewhere that no food hall cheese fry could ever satisfy.
Ani’s songs made sense to me, and they made me feel better. Not, like, better in the moment of listening, but holistically, lifelong, better. Finding her (along with Fiona Apple and The Distillers) was like finding the handle for the pressure valve release of my confused spirit. I never knew I needed someone to voice what Ani does until I heard Ani do it.
I am not a pretty girl I don’t really want to be a pretty girl I wanna be more than a pretty girl
I am not an angry girl But it seems like I’ve got everyone fooled Every time I say something they find hard to hear They chalk it up to my anger And never to their own fear
Imagine you’re a girl, just trying to finally come clean Knowing full well they’d prefer you were dirty And smiling, and I am sorry
But I am not a maiden fair And I am not a kitten Stuck up a tree somewhere
Ani’s music helped inform my understanding of the world, of myself, and of the experience of being and becoming a woman. When her voice cracks but she keeps singing her truth, she told the rest of us we could and should do the same.
I’m really excited to read her debut memoir, in which she tracks her totally underrated journey to DIY superstardom (she released her first album at 18, rejected the mainstream recording industry and created her own successful label, Righteous Babe Records), navigating the music industry in the 1990s and 2000s, getting an abortion, becoming a mother, speaking as a social activist, being a creative entrepreneur, and so much more.
Ani in Chicago at a discussion to celebrate the launch of her new book, presented by Women and Children First Book Store.My superfan friend and companion for the evening doing the homework early.Samantha Irby (of Bitches Gotta Eat and Shrill fame)!!! She was there as an audience member, but, of course, as soon as she was spotted, she was asked to intro Ani and it was perfect and hilarious, just like her.
Chicago’s awesome storytelling show You’re Being Ridiculous is celebrating PRIDE at Steppenwolf’s 1700 Theatre on June 20, 21, and 22 at 8 p.m. each night. The show is part of Lookout Series,an event that presents the work of artists and companies across genre and form. And I’m one of them!
I’ll be reading a new story at the Thursday, June 20, edition of You’re Being Ridiculous at Steppenwolf.
Join us to hear true stories from a stellar line-up of some of Chicago’s very best writers and storytellers. Tickets can be purchased here. Seating is limited, so be sure to reserve your seats today before it sells out! There’s a new group of readers every night (and YBR never disappoints), so maybe make a whole weekend of it, OK?
In the latest episode of Zero Proof Book Club, Shelley and I discuss Ann Dowsett Johnston’s “Drink: The Intimate Relationship Between Women and Alcohol.” Spoiler alert: Not our favorite book. Johnston gives us plenty to talk about, though, and we chat about how drinking is a feminist issue, how alcohol is marketed to women, and the extra burdens carried by moms who drink.
Give these babies a whirl in your blender: One frozen banana, a handful of blackberries, a bunch of strawberries, some almond butter, and a drizzle of honey. 🍓🍌
About Drink
What to expect: A compilation of narrative journalism articles about how and why alcohol negatively affects women today
From the book jacket:
“In Drink: The Intimate Relationship Between Women and Alcohol, award-winning journalist Ann Dowsett Johnston combines in-depth research with her own personal story of recovery and delivers a groundbreaking examination of a shocking yet little recognized epidemic threatening society today: the precipitous rise in risky drinking among women and girls.
With the feminist revolution, women have closed the gender gap in their professional and educational lives. They have also achieved equality with men in more troubling areas as well. In the U.S. alone, the rates of alcohol abuse among women have skyrocketed in the past decade. DUIs, ‘drunkorexia’ (choosing to limit eating to consume greater quantities of alcohol), and health problems connected to drinking are all rising—a problem exacerbated by the alcohol industry itself.
Battling for women’s dollars and leisure time, corporations have developed marketing strategies and products targeted exclusively to women. Equally alarming is a recent CDC report showing a sharp rise in binge drinking, putting women and girls at further risk.
As she brilliantly weaves in-depth research, interviews with leading researchers, and the moving story of her own struggle with alcohol abuse, Johnston illuminates this startling epidemic, dissecting the psychological, social, and industry factors that have contributed to its rise, and exploring its long-lasting impact on our society and individual lives.”
— Drink: The Intimate Relationship Between Women and Alcohol
You agree to goat yoga at the Garfield Park Conservatory because you could use a break. A stretch break. And if baby goats are available for the whole process, why not include that little bonus of zoological Zen? Like fury parkour experts, these newborns. Or so you’ve assumed from YouTube videos of parkour and of baby goats.
When you arrive, you’re amazed at the conservatory’s calm and wonder why you have never been here before? Because you’re busy. You’re worried. You’re reading the news and staying up to date and even Story Corps advertisements are promising to “restore your faith in humanity,” which in-and-of-itself kinda does the trick because at least someone—even just a lonely NPR advertisement copywriter locked in a basement somewhere—is admitting people like you are getting nervous and feeling a little hopeless and climate change is real and ecoanxiety is also real (as of 2017, according to the American Psychological Association) and holy goats can we fix this or is it too late?
Regardless, all of this
makes you grateful for the conservatory’s sheltered plants and the gated teeny
triangle of prairie grass dotted with dandelions, which you’re now unfurling
your brand new yoga mat onto, puffs of glittering seeds rise up to the morning
sun. The L train zips by sporadically, charmingly. You begin to relax. You take
some deep breaths. Stretch. Break.
When the goats come off
the truck, you do everything you can to keep from squealing. But then you’re
squealing anyway. You’re squealing and hand clapping like a child and have zero
apologies for your excitement. Have you ever even seen a four-day old goat?
Been climbed by one? Petted the peach fuzz of one’s recently crowned head?
You can’t focus on the poses, but that’s OK. Goat yoga is ultimately more about the goat—more specifically, what the goat is giving you—than the yoga but eventually you settle in to a warrior two or something like that and stop watching the bobbling babies struggle to walk the knee high grass and you push your drooling mouth closed and pop your eyeballs back into your head. And you breathe.
You hear the L ricochet by one more time and give thanks for a place like this and for your ability to move freely to and from it at whatever pace you like. You feel your legs in your yoga pants, which you haven’t replaced in years because you read somewhere yoga-pants-plastics were harming the water systems, but you’re not thinking about that now. You’re thinking about nothing but what this exact moment feels like to be you.
A goat bleats and you smile even more because that shit sounds so desperate and it’s funny because what sounds like a scream is really just him saying, “Hi. Got food?.” You cup the warmth of the sun in your open, welcoming palms. You smile. For a moment, this moment, it feels like you’ve got the whole world in your hands. Even if it’s a fucked up one. This is enough and you are happy here.
Capturing America’s inconsistencies and contrasts is practically a pastime now for the average artist. We owe a tip of our baseball hats, emblazoned in racist symbology, to those who developed this aesthetic with such originality that their historical influence is practically cliché. I’m thinking the hard-nosed, coked in empathy narratives of Dorothea Lange; the searingly lonely dream-scaping of Edward Hopper (#1 all-time fave). An artist who deserves to be part of this lineup of artists that the gen pop rattles off when considering Great American Artists Who America-ed America is Robert Frank.
Actually, Frank, a photographer, was Swiss-American, and his new-citizen status gave his work a non-sentimentality surrounding American Life. In the 1950s, this translated to an incredibly unique source of truth for what was happening behind the technicolor and catchy slogans of the post-war pop culture.
I am always looking outside, trying to say something that is true. But maybe nothing is really true. Except what’s out there. And what’s out there is constantly changing.
Robert Frank
In 1955, Frank got a fellowship from the Guggenheim Foundation. For the assignment, he spent two years traveling the States with his family and taking photographs of everyday life in places like Detroit, Savannah, Miami Beach, LA, Salt Lake City, Butte (Montana), and (of course) Chicago. In those two years he took more than 25,000 photographs and 83 of them became The Americans, a book of images that “changed the nature of photography. What it could say and how it could say it,” wrote art critic Sean O’Hagan nearly six decades after the book’s publication in 1958. The Americans, he says, “remains perhaps the most influential photography book of the 20th century.”
Frank’s imagery was subtle but impactful because grandiosity
took a backseat to themes of boredom, toil, and blind patriotism. These are
everyday Americans who live under the spell of American lore with a sort of
dumbfounded despair. (It feels achingly familiar to our social media age—ie. if
I’m supposed to be happy here, why am I so sad/mad?)
Frank’s compositions depicting race in America are particularly powerful. Prescient, even, considering hindsight of social photography and the incredible civil and human rights upheavals on the country’s horizon. This theme is, again, where Frank’s individual experiences and characteristics gave him a honed eye for making these observations about our country’s racial cruelty. As a Jewish man, he experienced profiling while photographing in the South. He was put in jail in Arkansas. Told he had an hour to leave town by a deep-South sheriff. This racism indelibly shaped his view of the country, which indelibly shaped everyone else’s view of it too. Moreover, he gave brutalized communities a chance to show their strengths, despite all they faced in 1950s America.
There are too many images, too many cameras now. We’re all being watched. It gets sillier and sillier. As if all action is meaningful. Nothing is really all that special. It’s just life. If all moments are recorded, then nothing is beautiful and maybe photography isn’t an art anymore. Maybe it never was.
I’ll run into the darkness or the fire/ I won’t run forever/ but I’ll run a long time/ Force me into a fight/ I’ll come at you like the sunlight hits the water/ I won’t fight forever/ but I’ll fight with my life
In the latest episode of Zero Proof Book Club, Shelley and I discuss Brené Brown’s book “The Gifts of Imperfection.” We share our own struggles with perfectionism, I talk authenticity, and Shelley shares how her perfectionism manifests itself in the form of birthday cakes and many unfinished essays.
The inspiration for these Pina Colada-ish cocktails came from a trip Shelley took to Puerto Rico, where her Airbnb rentals came stocked with tiny cans of pineapple juice and cream of coconut. Stir equal parts pineapple juice with cream of coconut and pour over ice. Can you tell we’re ~so~ ready for this cold rain to stop?
About The Gifts of Imperfection
What to expect:Rather than your average self-help book, a motivational and inspiring guide to wholehearted living, as explored by today’s chief expert in the power of vulnerability
From the book jacket:
“When our embarrassments and fears lie, we often listen to them anyway. They thwart our gratitude, acceptance, and compassion—our goodness. They insist, ‘I am not worthy.’ But we are worthy—of self-discovery, personal growth, and boundless love. With Brené Brown’s game-changing New York Times bestseller The Gifts of Imperfection—which has sold more than two million copies in more than 30 different languages, and Forbes recently named one of the ‘Five Books That Will Actually Change Your Outlook On Life’—we find courage to overcome paralyzing fear and self-consciousness, strengthening our connection to the world.
With this groundbreaking work, Brené Brown, Ph.D., bolsters the self-esteem and personal development process through her characteristic heartfelt, honest storytelling. With original research and plenty of encouragement, she explores the psychology of releasing our definitions of an ‘imperfect’ life and embracing living authentically. Brown’s ‘ten guideposts’ are benchmarks for authenticity that can help anyone establish a practice for a life of honest beauty—a perfectly imperfect life.
Now, more than ever, we all need to cultivate feelings of self-worth, as well as acceptance and love for ourselves. In a world where insults, criticisms, and fears are spread too generously alongside messages of unrealistic beauty, attainment, and expectation, we look for ways to ‘dig deep’ and find truth and gratitude in our lives. A new way forward means we can’t hold on too tightly to our own self-defeating thoughts or the displaced pain in our world. Instead, we can embrace the imperfection.”
— The Gifts of Imperfection: Let Go of Who You Think You’re Supposed to Be and Embrace Who You Are
Shelley talks about this cake on the episode. I love it. And her. And Lisa.
