I have never been the biggest fan of popcorn.  I have never disliked it, but it’s not one of those things I usually crave, or give much thought to.  Movie-going has never been a popcorn-mandatory thing for me, and those big metal tins of popcorn my mother would produce for us at holidays were… not bad.  But also not something I particularly looked forward to.

Learning to pop corn on the stove top shifted things a little for me.  I now had control of my popcorn.  If I wanted to pop it up extra spicy, spicy enough to make bring tears to my neighbors’ eyes, well, then, I could do that.  If I wanted to use sunflower oil or coconut oil, I had a choice.  But best of all, my little video game completionist self rejoiced in almost no unpopped kernels.

I’d made comments about how much better stove popped was over microwave a few years ago (asshole), and got a stinging verbal rebuke from friends about being elitist for dismissing microwave popcorn, saying that we can’t all trade convenience for taste that way, that it was a luxury to have the time to sit at stove and pop popcorn.

But microwave popcorn is not convenient.  You have to babysit it through the whole popping process (either method takes about the same amount of time), or end up with scorched popcorn.  That still hasn’t all popped.  And maybe you even accidentally lit the microwave on fire because you scorched it so badly (oops).  And yes, while there’s a taste factor involved (the major brands taste like plastic to me; I don’t know what they put in the “butter,” but it clings to the back of my throat like melted cellophane) the fact that I was too broke to afford a microwave was a bigger player in my decision to learn to make it on the range.

A few nights ago, my boyfriend purchased a box of microwave popcorn by accident when he ran to the store.  “Popcorn kernels” was the item on the list.  It didn’t occur to me that it could be interpreted as anything other than a jar of just the kernels, or perhaps that maybe popcorn just looks like popcorn sitting on the shelf.  Foolish human, I.  No one has the same mental image for things.  So, a box of three microwavable bags came home.  Some plain stuff, just palm oil, popcorn kernels, and salt.  We both tend to keep stuff simple.

I dithered and whined.  I may have even grumped a little (dear self: you’re a jerk).  But mostly I was anxious about using a microwave to pop them.  To the point where I cut open a bag, put a little oil in a pan, and used my tried and true stove top method: drop in 5-6 kernels, turn up the heat, let ’em pop, cool the pot for a 30 count to ensure even heat, then pour the rest in, fire the burner back up, and you have popcorn about a minute and a half later.  These?  They just burned.  Scorched to the bottom of the pan.

I tried the next bag in a microwave.  I hunched close the entire time, worried after an explosion… or at least a fire.  Or smoke billowing from the microwave and the fire alarm going off at 2am.  None of these happened.  But a good chunk of the bag didn’t pop.  ARGH!

“The things people will put up with for convenience,” smirked my boyfriend.

As we ate our bowlful, we speculated about what happened.  Did the palm oil have an effect?  Lower quality kernels?  We both groused about the unpopped bits, and I mentioned the past rebuke.

“Well, cooking popcorn on the stove takes more skill.  Microwave popcorn I know I can do, but I wouldn’t know where to start with the other,” he said.

“I could show you, though.  It’s so dead simple.” I had not quite recovered from my bout of nuker-anxiety.

“That’s not the point,” he said. “It’s simple for you because you know your way around a kitchen.”

I admitted that you had to know enough to use a high-heat oil, an not something like butter to pop your corn.


“But it’s not like using a microwave takes no skill at all…” and I admitted to lighting my mother’s microwave on fire with an ill-fated bag of Pop Secret.  I didn’t mention the exploding microwave brownie kit.  The reheated spaghetti sauce hardened into a crispy crust.  The great butter fireworks of 2015. The Peep fire of 2008.  And then all the times I heated up food and forgot about it as I wandered off to do anything else.  I have a shit time with microwaves.

It takes skill to use either method.  One is not zero effort and the other effort-full.  We just lean on the more familiar set of skills.  Using a microwave to good effect is a skill.  It’s not one I’ve developed, since I’ve not always had one, and I’ve made disasters of more than one in my day.  Nothing hobbles the gaining of a skill faster than fear.

I’m handy with from-scratch stuff.  The chemistry of food makes sense to me.  I like how it forces me to be present, and I like the money I can save by doing away with “convenience” foods (it’s a lot of money saved!).  It’s a hobby as well as a means to feed myself.  It’s also not a skill everyone possesses.

I am going to stove pop my popcorn because I am broke and cheap.  I can make it fancy without spending extra money.  I am going to do this because it’s what I know the best, and it’s what I feel at ease with.  I won’t judge you for your microwave popcorn.  But if you value your microwave, please don’t ask me to make it for you.



Facing Away

I finally did it.  I finally ditched the beast.  I deleted my facebook account.  Not went on hiatus.  Not deactivated.  Deleted.

Why?  There are a lot of reasons.  There was one in particular that acted as a tipping point-—each time I logged in, a box had appeared, a pop-up that would not allow me to interact with the page at all unless I interacted with it first.  It read something to the effect of: “Golly gee, now you can enable facebook notifications on your computer itself, so that even when you’re logged off the site, we can still bombard you with how many likes your last post got, or irrelevant events that are supposedly near you, even though we’re telling you about stuff in NYC, and you live in Boston without a car.”

There were two available responses to this pop-up.  One was “enable” (like fucking hell I would), and “not now.”  Not “not on your life you fucking info-sucking ticks,” not “yeah, I get that this thing exists, but I won’t use it, so don’t show it to me again, thanks.”  Another option wasn’t hidden in some tiny link text.  No.  Just “not now.”  As if to say, “we’ll wear you down, and eventually you’ll mis-click on the wrong button” or perhaps “we’ll give you an option to refuse for now, but it won’t always be this way.”  Considering their track record with Messenger, this latter approach would not surprise me.

Facebook also has this tendency to roll things out for a small portion of their users at a time.  Friends of mine would see features days or weeks before I ever did.  None of my friends reported seeing this pop-up, and it has me wondering just how widely this “feature” has been seen.  Was it because I used neither Messenger nor the facebook app, and instead only ever accessed their services through a browser?  Was this something they intended to roll out more broadly?

In the end, it had an effect.  The effect was me leaving.  Done, bye-bye, deletion.  The idea of incessant alerts on the machine I use as a tool to help improve my focus by selectively turning on or off various inputs and services according to time of day or scheduled activities was horrifying to say the least.  As someone with ADHD, and a tenuous ability to organize myself at best, there was just no way to reconcile accidentally clicking that button and then having to hunt through my machine like a Florida gardener passing back and forth over the same vegetable bed trying to eradicate air potato sprouts.

This aversion, along with my distaste for facebook’s unethical approach to research, the creation of divisive echo chambers with no room for real discussion, and their way of rewarding people for shallow repeated interactions, finally led me to cut the cord.  If you want me, you can find me here, or on Twitter.  Or out in my backyard, gardening, thankful that as a Boston resident, I no longer have to deal with air potato plants.

A Purposeful Post Redux

This is the excerpt for your very first post.

I’ve poked at keeping my thoughts online for not less than ten years, and through some tumultuous happenings, I’ve been bumped off the turnip wagon a fair number of times.  I’ve been debating preserving my old writings from older versions of my site, or just starting anew.  On the one hand, it provides me (and you) with a record of my old thoughts.  And my old writing styles (shudder).  On the other, there’s something to be said for an entirely fresh start.  I will have to continue to mull it over.

In the by and by, I want to talk about chickens instead.  Largely because I’ve been obsessed with them.  Almost as obsessed as I’ve been with okra.  Did you know that there is a gene among certain breeds of chicken that causes hyperpigmentation of the wee feathered things, the end result being an entirely black bird?  A few months ago, I learned of such a thing, and of course that suggested a story.  It always suggests a story.  So.  Black chickens.  A hen yard.  And a witch.  More than one witch.  And that’s all I’ve got to say about that…  mainly because I’m sitting on the idea like a broody hen, trying to hatch it.  I’m still not sure which way it’s growing.

If you are interested, one such breed is the Ayam Cemani.  Silkies and Kadaknaths also have this trait (though silkies are more often known to be white little poof-balls).  Bodies.  Even bird bodies.  They’re just weird.

(Incidentally, I decided to preserve the old blogs.  Expect the posts from 2016 & early 2017 one by one as transfer the markdown files individually)

Tiny Review: Catherynne Valente

I’ve been reading a lot lately.  I set a goal for myself to devour 120 books this year, 10 books per month, and I’ve been keeping solidly on track.  I’m even a little bit ahead.  

Among these readings have been quite a fair bit of work by Catherynne Valente.  A friend recommended Palimpsest to me perhaps a year, year and a half ago, and since reading it in May, I’ve tried to inhale Valente’s entire body of work.  This is no mean task.

I’ve also deeply approached Le Guin’s Steering the Craft for the first time, moving beyond the beginning exercises to come to a better technical understanding of my craft.

These two things go hand in hand, I think.   Laying side by side notions from Steering the Craft, especially on the topic of verb tense and my general disdain of “purple prose” I began thinking on why I found Catherynne Valente’s Palimpsest and Six Gun Snow White so damned compelling. Valente’s prose is rich like a dessert, but her subject matter begs for it; she’s working with dreams and their peculiar juxtapositions, she’s working with myth and fairytale. Valente goes from easy past to present tense in Six Gun Snow White, and these are tricks Le Guin warns writers of.  They are deep water.  They are difficult to pull off.  And yet, coming from Valente’s pen, none of it feels distancing or awkward to me.  I think it’s because of the fairytale nature of the story, I think it is because instead of functioning like a passive filter between the reader and the story, it makes the reader aware of the third person voice narrating it, the engaging present tense of a story told around a campfire.  It suggests a narrator, a narrator that has characteristics the reader can discern based on cadence and word choice.

 I find Valente diabolically good, with a steady hand for prose that would be just terribly wrong in any other context. She has an ability to make angular words, sharp and jangly phonemes, fall right into place.  She has an ear for the rhythm of sentences that makes me-the-poetry-reader quiver in delight. I think that’s another thing with “purple prose”: most people using it seem tone-deaf to me, breaking cadences to get in a particularly ponderous bit of language, instead of sneaking them in when the rhythms ask nicely.  Valente seems to know those rhythms well, and her prose joins the dance.

So, if you’re looking to pick up something to read, I’d point you at these.  I honestly can’t think of better right now.

Childhood Lessons

Gender is the sharpest playground I know.  It is a space we move through, we play on it, with it, some of us have our favorite thing: monkey bars or seesaws or slides, male, female, both, neither, other.  Some of us don’t.  If you fall, you can be cut.  We play, and some of us come away with bruises.  It’s dizzying, though, the freedom.  It’s stunning what you can see just on the horizon as you swing higher and higher.  It has taught me something very valuable.  Don’t throw rocks.  Never throw rocks.  The world is dangerous enough as it is.


On 2nd St, north of Las Olas: an avocado
On 14th Ave, north of 1st, in an alley: a rose apple
In the empty lot on 15th by the park, across from the Greek Orthodox Church, 
          a little south of Sunrise, a glory of a mango.
I fed myself all summer on fruits fallen from these trees, 
on rosemary nicked from roadside planters,
on nasturtiums culled unknowing from prissy restaurant facings.
This city is a forest.  This city is a garden.  This city is a book
in a language I have learned to read from
the grackles.  I will turn the pages with fingers
stickied by mango pulp.  I will turn the pages slowly
so I don’t come to the end.
We know what happened to all the great forests,
and what goes on in gardens.

I don’t like the way it ends.

Pandora Opens the Box Again

When I moved to Fort Lauderdale, I would get restless at night.  I wanted to be out prowling beaches walking by noisy bars, not a part of the scene, but privy to it.  I left poems and objects, chalked writings along sidewalks.  In 2011, a friend linked my post about hanging the micropoems in the Himmarshee district, and the feedback he got from his friends was pretty negative.  Well, one comment was.  It’s lost under the avalanche of new content, but the remark left this impression, this distillation in my mind, whether or not that was the actual gist of the comment: that people thought I was only doing things like that “for attention,” and that art shouldn’t be done “for attention.”  That people thought I was trying to be “edgy” and “original.”

Now I’m in Tallahassee, having lived through one of the hardest years of my life in terms of depression and the loss of family and friends.  It’s been hard to “stay positive,” whatever that means.  It’s been hard to enjoy things the way I used to.  One of the things I’d lost is my poetry.  I had not written a poem in over a year, outside a smattering of micropoems.  Even my blog here tapered off.  I stopped dancing.  And gradually I found it more and more onerous to work on my weird little art projects or to write fiction.  Even practical projects began to drag.

My spouse-creature is away on business.  Here in this town, I am a recluse.  I don’t talk to many people.  I sleep through much of my day.  The thought of existing in this huge empty house alone for two weeks is terrifying.  Not in the sense of fear for my safety, but in the sense of I have no one to talk to.  It was strange, then, to wake up needing paper last night.  Strange to see the words trailing out of the meeting between graphite and paper.  It was even stranger that I was revisiting an old notion, Pandora in poem, wanting to sneak past the gates in parks and leave these texts scrawled on odd objects for other people.  Because people don’t do this unless they want attention.

I was about to censor myself, crumple up the page and make myself go back to bed.  That’s when I started crying.  I watched the tears plop onto the notebook paper, and thought about the texture of a wet page that’s dried, how it rumples, and if I could use that, make the ink of a poem run like eyeliner…

I finished the poem.  And I started prepping the surface of a box that will wear it.  I intend to leave it behind somewhere.  This morning, after waking up for a second time, I actually started reading The Art Abandonment Project by Micheal and Andrea Matus deMeng.  I’d marked on Goodreads I’d already started it, but I have this habit of not picking a book up until I’ve told someone I have already… it’s like a butler lie for my bookshelf.  I expected it to be… pretentious.  Michael deMeng talks about his motives in abandoning his art in various places, even writes about posting his experience of it on his Facebook page.  He talks of the exhilaration of not knowing what became of it, seeking to relive the feeling of his art abandonments in Oaxaca, or during his college days.  There was an angry part of me who thought, “Who would leave art somewhere and write about it unless they wanted the attention?  To self-aggrandize?”

But as I read I realized something.  Any creation of art is about attention.  Not so much the attention of “look at me, look at how great this is,” but the attention of a conversation.  The attention of sharing something.  With art and writing treated as commodities, people look at these objects in terms of money, utility.  Art is instead a kind of ritual magic, a way of stringing sentences together with objects or paint or juxtaposition.  There is something human about the kind of connection that it brings.  It stirs the imagination.  It makes us feel as though we’re part of a larger community when much of our every day experience is geared toward separating and isolating us.  At the same time, it acknowledges how large that community really is: one is surrendering something they worked on to strangers in a place large enough that there are a significant number of such strangers.

We’re human.  We do everything for attention.  For interaction.  For moments of connection.  We are social creatures.  When I posted in 2011 about hanging the poems from a tree on Himmarshee Street, I wanted to delight someone.  I wanted to claim ownership of the act to a group of people likely different from the people who would find it.  I wanted maybe to dare someone else to take the idea and bend it differently, to do something else with it.  I didn’t think I was being “original.”  There’s no such thing, and it was such a simple act, I was certain someone else had done it before, even if I hadn’t myself encountered it.  But most of all, in doing it I delighted myself, and relived that delight in documenting it.  It was fun.

Now, more than ever, these are the kinds of connections that make me feel like a human being.  So I will grab the junk I come across.  I will scribble poems on them.  I will juxtapose word and object, and leave it for someone to find.  Because I enjoy it.  Because someone else might enjoy it.  Because it’s a love letter to art.  And I’ve written precious few of those lately.