Showing posts with label Writing. Show all posts
Showing posts with label Writing. Show all posts

29.12.12

On Being a Woman and 'Keeping Safe' in Delhi

My city is not mine. I have always felt this, but only realised it fully last week, when, in the aftermath of the unspeakably brutal rape of a 23-year-old woman by six men, I began talking to women around me about safety. This is not a new subject. I have grown up and into an understanding that this city is hostile towards me, and that everything possible must be done to keep me safe.

My safety, my mother tells me, has always been a primary concern for her. No men in the house. A maid supervising the daily carpool to school. Boarding school and college abroad. Having spent her youth getting pawed by men in DTC buses, once only narrowly escaping an acid attack, she was determined to shield me from what she knew to be a harsh city for women. Every effort was made, every resource utilised to ensure I could circumvent the hazards of this city and be the independent person I was already becoming—elsewhere.

I now understand that that alternative would have been to stay here, in the city but removed from it, skirting its edges, tunneling through it, being smuggled in a tightly regulated bubble between illusory safe spaces—ones with gates, or guards, or a cover charge—like so many young women I know whose parents can afford to keep them safe, to hold them apart from the city.

Though irreproachable in its intent, the tragedy of this approach, as my mother puts it, is that you can’t give your child the confidence to operate in the world. Indeed, our collective fear of the city transforms it into an adversary, with whom we interact tentatively and only when necessary, careful not to do anything to provoke its ire.

We abide by a hallowed yet vague code of conduct: don’t stay out after dark, don’t wear anything that shows off your legs, don’t trust strangers, especially men, don’t stand out in a crowd. We negotiate our own curfews: no autorickshaws after 8, no metro after 10, no driving alone after 11. We permit ourselves small conditional freedoms: if you must go out, go in a group with boys, go to someone’s house, go only to this or that safe neighbourhood, take a driver.

One or another of our well-wishers arms us with a laundry-list of good faith measures: wear a dupatta, take my Swiss-army knife, here’s a bottle of pepper spray, why don’t you buy a padlock, a metal torch, a sharp umbrella—just carry it, please, for my peace of mind. Pin-up your bangs. Wear leggings under your skirt. Don’t get into an auto with two men in the front seat. Text me the cab’s licence plate number. Call me when you leave the restaurant, and then again when you get into the car. Have someone walk you from the restaurant to your car. If you’re driving yourself to a movie at night, don’t go to one in a mall. Why would you take an auto when I can pick you up? Why would you take a bus when we have a car for you? Why would you drive when we have a driver? What if a bunch of cars corners you and forces you to stop? Never get out of your car if someone hits it. Don’t slow down for male cops.

And in the news: a buffet of nightmares. We are fed fear all our lives, and, as adults, are expert navigators of an obstacle course of terrors. Being safe in this city is a full-time job, but the only skills you develop doing it are self-censorship and avoidance. A whole generation of women brought up in hiding, never learning to swim for fear of drowning. Who do we become, in all this? Fugiti- ves from our own city and our own lives, expending all our energies and using all our resources to avoid getting raped.

And yet every woman I talk to knows that there is no foolproof way to avoid it. I speak to a 21-year-old who has moved to Delhi from another city where also she lived alone for several years, mastering the art of keeping a low profile. She tells me she doesn’t feel too afraid anymore, perhaps because she is accustomed to constant vigilance, or because she has reached the end of her tether.

“I’ve lost my hang-ups. If I’m late, I’m late. I’ve done my part. I try to be respectful of the society that we live in, but there’s only so much I can do. Whether it’s apathy or stupidity, I’ve just realised that there’s really nothing you can do to be safe. If I have to be raped, it’ll happen. Pepper spray won’t help, being with a man won’t help, the police won’t help, society won’t kick in, humanity won’t kick in, protests will happen and fizzle. As women, we’ve exhausted all possibilities. And if I still can’t go out at night, then screw it.”

The sentiment is echoed by other women, fed up of the things they’ve been told they must do to keep safe. A 25-year-old who grew up in a single-parent household finds it irritating that she even has to think about things like what she wears and how she travels. “I decided I wasn’t going to stop myself from doing things just because it was unsafe.”

She speaks of repeated rows with her mother over her comings and goings. Regretful of the pain and anxiety she has had to cause her mother, she says it was a conscious trade-off with the independence and fearlessness she insisted on cultivating in herself.

“I’ve done a lot of stupid shit consciously. Nothing bad has happened, and that’s not true for everyone, but it’s made me feel confident. Now I don’t feel helpless in the city.”

It irritated her to live in fear, especially when, in the course of her work on human rights, sexual violence and public health, she met people who had been through much worse, and those who were taking greater risks every day of their lives. She is clear her risks are not the same as theirs. “I am in a privileged position. I choose where I go, when I go. It’s when you have to do something every day against your will that it becomes a problem. Otherwise it’s all a lark.”

When I listen to her, I think of all the times I’ve heard the question, “Why do you want to take an unnecessary risk?” I suppose that depends on what you understand as being necessary, and what it is you’re calling a risk. It is not necessary that my friend take the bus home at night, in that her circumstances do not constrain her to only that option. This lack of constraint is what she calls her privilege. But, perhaps, if we live in a city where something as basic as public transport is so unsafe as to be seen as a compulsion, a last resort, a risk, it is another kind of necessity that motivates her to do it anyway—the necessity of conscience, of asserting control over her choices, of carving out a place in public space.

My friend constructs her privilege as something that enables her to take such a necessary risk—“I know if something happens, I will have support”—rather than something that excuses her from having to take it. This is a crucial difference. By deploying her privilege to choose to do something considered risky, like taking a bus at night, she has transformed that action from a compulsion to an empowered choice.

Another woman, 24 years old, understands that privilege is no guarantee of protection. She narrates to me my own experience of studying abroad, becoming convinced of the centrality of public transport to city life, then coming home and having to argue with her parents about taking an autorickshaw. At first it was a matter of embarrassment and convenience—it was ridiculous to have to rely on your parents’ car and driver—but eventually, she realised that a car and driver are no guarantee of safety in the first place.

Soon after she moved back to the city, she was stopped by cops in outer Gurgaon in the middle of the night for no reason, with two younger girls in the car. While her driver sat paralysed with fear, she negotiated the release of her car’s insurance and registration papers. A friend of hers was in a car with friends when they accidentally brushed past a man in a narrow street, and found themselves watching terrified as their driver and the boy in the front seat were pulled out and thrashed.

“There are degrees of safety,” she says, “but by and large, anything can happen anywhere. You could lull yourself into a sense of security. But if something’s going to happen, it’s going to happen. I value my independence. I want to do what I want, whenever I want. I’m not going to let a threat of violence deter me from that.”

It is this refusal to let fear stop their lives that is motivating so many women I know to resist their unnatural coddling, jump their security detail, and confront the spectre of the city. Each of them has negotiated, and is continually negotiating her individual balance between prudence and principle. But simply being terrified is no longer an option. “It’s not that you don’t feel scared. But when you do, you just tell yourself to shut up. You have to push yourself,” my bus-travelling friend says, push yourself against your fear, even of getting raped.

Those talking about rape being the worst thing that can happen to a person, she says, are merely reinforcing its power as an act of subjugation. Why is rape any worse than a brutal beating, she asks. Because we have subscribed to the patriarchal carp about rape being a violation of honour, a destruction of identity, an “annihilation of a human being” as one young protestor screamed into a TV camera last weekend on Raisina Hill.

Growing up with the threat of such an annihilation hanging over our heads, we are intimidated to cede our stake in our city, our slice of public space, ostensibly in favour of a flimsy sense of security. Our parents, terrified too, yell at us, lock us up, try to give us the best protection money can buy, but a sense of safety cannot be bought, it must be fought for, and the fight is not merely against rapists, or indifferent police, or weak government, but also against ourselves and our inherited fears.

That my friend takes the bus is not a gesture of stupidity. It is a considered act of bravery. It is a challenge, to the world and to herself, of a person who no longer wishes to remain in the grip of her fear. You could tell her there is reason to fear. She will tell you she has no right to be afraid in a world where she is automatically shielded from so many worse fates. You could tell here it is unrealistic to act on her ideals, but what she is actually doing is acting out her ideal. Counterarguments are irrelevant. “You get to a point where you just have to live.” How are you going to talk her out of that?

This is why so many women have responded to the rape of a 23-year-old girl from Dehradun not by battening down the hatches and hiding, but by barrelling into the street to reclaim the space that was denied her. We cast our bodies into the city like ballots, affirmative votes for our place in it, protests against the default monopoly of men over space. This is my city, we are saying, and I am here. I am here to take up space, I am here to reassure the next woman she can be here, I am here to provide with my presence one more defiant answer to the question “What do you think you’re doing here?” I am here to alter this city’s character, I am here to combat the normalcy of my absence, I am here as an argument against fear. Gawp, glare, gossip, but get used to it, I am here.


[Published in OPEN Magazine]

12.8.12

Why don't you write a book?






"Lift a stone and you'll find a girl
writing about her little life." 
- Roberto Bolaño

25.6.12

Let me count the ways (II)

What happens when words fail? asks Indra Sinha.

A person I trust greatly responds:
 
words are always failing. maybe that is a blessing in disguise. the more we live the more we learn to/see the need to be creative with our voice.

23.6.12

Let me count the ways

"Anyone inspired, crazy, pompous or naive enough to want to shape the future soon finds themself straining against the inertia of the universe, and if they can't budge it with words they have to find another way." 
—Indra Sinha, in an essay for The Copy Book

20.1.12

Mumbai One - The First Reality is Story

The train has blue seats and contains wafts of evening bath perfume even after the wind has hurtled through it for a few kilometers. I am reading a gift I have received across many kinds of distance. John Berger is leading me calmly in an initiation into resistance, resilience and reality (which, as he says, is first story). I look like another city and I feel weightless in this one. Two pre-ten boys are selling plastic clips through sheer guile and underage flirtation. They hop on in the middle of a page with their big smiling voices. I am full of rage and will brook no slumdog references. (When does compassion become ferocity, and vice versa?) If Mumbai is Manhattan, where I am headed must be Brooklyn. Low buildings, sea breeze and youth scattered on nighttime streets. If I am infected with this fearlessness I may never leave.

5.11.11

Fish Don't Fly (Karma Cola 2.011)

Hands full of glasses, lungs full of smoke, large laughs, little skirts, high heels, big dreams. It scares me when people look this good and stand so tall, confident taking up space and conducting their lives, zero jhijak, full throttle. Empty bottle. Khali botal, masti total. The scene has gone beyond the hotal, and spilled out across Delhi's spacious periphery. Dust blows back from under their wheels into the city's interior as they emerge from it, unscathed, unfazed, freshly bathed at midnight. Like a compulsive calorie-counter, I begin silently to compute how many hours went into that make-up, that hair, that outfit. Not just tonight; years of practice until the right shade, the right style, the right fit. Every one of them self-trained in a highly evolved curatorial art.

I bite. I am mesmerized. I stare at the women and even peel open an eye for the men. How did these people happen, and where have they been? Are they the same kids I went to school with? I didn't see it, but they must have grown past routine considerations of social etiquette, likeability, glamour; past even bravery, to blossom into a realm of pure, unselfconscious being. How did they do it? How do they do it? I simmer, humiliated that the implicit altitude of my high road hasn't actually allowed me to transcend anything. Here I am, craning my neck, watching these strange beings casually stand around on my glass ceiling. I experience a sort of myoclonic jerk, and almost fall. When I realize the ground is still beneath my feet I feel euphoric with relief.

They must always have been around. They must have looked different before now. Or maybe I wasn't paying attention. Now I am, and here they are. Groomed. Lipsticked. Perfumed. Pleated. Yelling one more song. Shelling out bills like handfulls of confetti. Air kissing on both cheeks. Talking to each other like they have something to say. They must do. But what is it? I am aware of a web of knowledge being spun and respun all around me. But what is it transmitting? They all know something I don't. They are serious about it. They understand the importance of trading this information. I don't know what it is or why it's important. I'm full of questions. I can't tell if they're good ones. I think they started out rhetorical, but now I don't know my own answers.

Does it mean something when a kid hoots about holding MDMA during a drug-satire? Why am I drawn to the one man in a Fabindia vest? Why does the word fuck seem to have an echo? Is there something to say about the blond girl weaving intensely in front of the blond boy, both sets of pupils exploding? The lead singer's wig, the musicians clothes; the drunk Tibetan girl throwing up in the loo; the posh Delhi club and the reference to Frantz Fanon; the tiny top-hat in the hair of a girl from Lucknow---are these things noteworthy?

The taxi driver plays Sai songs. He introduces himself with his name, followed by the focus, location and progress of his education. He's at the same college as my Dad. I went to the same college as his cousin. He plays cricket and goes home to eat his mother's homecooked food. His brother owns a cab company of thirty cars. He's an extra for the night. He drives like a mosquito flies; a mosquito propelled by jet fuel. He calls me ma'am. For the first time ever, I don't protest. I lock the gate, go upstairs, call my mother to let me in. Pixie-cut still perfect, she comes to the door. I debrief briefly, and say goodnight. Five minutes later, she calls me to say hi. Ten minutes later, I have my face in a navy blue silk sari that once belonged to my grandmother. Three hours later, ma'am is asleep.

2.7.11

Story, with reconstituted bits of Paolo Giordano's The Solitude of Prime Numbers

Fearsome, the violence with which she satisfied her whims. Not a hint of decadence; only a fierce, almost unconscious focus. She went, she did, she moved.

He announced his determination to stay as far as possible from the machinery of life. A deliberate gesture; a carving out of space. A refuge, perhaps. On his own, he was aware of everything he was. Speeding outward, nothing else could keep up.

Feeling special is the worst kind of cage a person can build for himself.

Sometimes, she felt a need to abandon her own weight. Often onto someone else's body. To feel their arrogant affection attempt to muscle out the contagious air of tragedy surrounding her. They never did succeed, and she went on, with the lack of something enfolded in her, still smiling.

All lacks are pretty much the same.

25.4.11

NY8 - Weirdo

How she hated words, always coming between her and life I read with my eyes as I wrote into memory the perfumed treelined paradise of a particular Park Slope street; the odd aching familiarity alien calm? of the two little blonde girls selling 25¢ Oreos and 50¢ lemonade Half our proceeds go to Japan! in recyclable cups all stacked neatly on a miniature foldout picnic table with a daisied tablecloth; gusts of beach wind across an oasis of green in the middle of Brooklyn I'm on an island; people passing on the street speaking things from past pages of my script I'm trying to enjoy it while I can leaving me to my vicarious déjà vu, frenetic, heartened, overstimulated, whatever But it's better, much better, than all that old envy. No lenses, but my senses turned
all
the way
on.

23.4.11

NY7 - Vanity

Many many people sneaking strange glances at me on the street and the subway, in bookstores and cafes. Brief visual interactions that appear neither appreciative nor critical. Recognition, mostly, with a tinge of either embarrassment or bemusement, as though they'd all seen me in some seedy internet sex-tape or silly YouTube video. Oh how I hope it is the latter. Or perhaps, much better, we're all simply feeling observant and brave, noticing each other and interested enough to stare a little. I don't mind. I do it all the time. Bright pink boat shoes and slim progress into 2666. Thick-knit rust-coloured scarf and an equally thick, spring-yellow copy of something published by Gotham Writers Workshop; extra cilantro. Grey-sweatshirt genius slipping out a SoHo street door. Still, I feel I am being watched. Like that guy whose life turns out to be a reality TV show, and his bright blue skies a well-painted backdrop. Hope these blossoms I've been looking up at aren't made of styrofoam.

13.4.11

Jagger would have something to say about this.

I said to them, Let's do things with our lives that aren't just about looking cool, and they cocked their heads and ruffled my hair as though I were a child.

I asked for companionship and she made promises full of youth and you.

I demanded his life and he sent me a schedule.

10.4.11

NY6 - Late Night

Last night, a girl was poring over the Nicomachean Ethics on the C train at 3 am, armed with the best kind of highlighter, seated opposite a homeless man whose socks were worn down to bright white spider webs and whose fingers had hardened over with a new, sad sort of skin. The optimism I've been nursing withered some, and my propensity for value judgments re-ripened in a quick second. I pulled a clementine suddenly from my pocket and we all partook in happy little wedges; citrus always cuts through sadness. Blossoms have begun to blossom and the winter puppies are growing up and everybody is having a bit of a flirt. When I leave the house wearing my "Take Off Your Pants!" button, people I pass on the street appear to be considering it. But I've failed to procure a pretzel and my hands mysteriously smell of henna and first avenue is full of November Delhi perfume. As always, I will settle, with infinite substitute joy. Which, as it turns out, is still real joy.

8.4.11

NY5 (Belated)

The city was out today like a nineties executive determined not to take any calls, ambling into the slowly solidifying promise of springtime, the day's paper under its arm. Out walking its dogs and washing out its minifridge on a patch of east village pavement. Out wearing top-heavy sunglasses and talking literature over late lunch in Gramercy. Out leaving little chocolates on doorsteps and offering a mint to a girl in preparation for a tentative public kiss. Out of complaints and out of excuses and out for adventure with a vengeance.

4.3.11

Why


To be able to express yourself,
to be able to close the gap—inasmuch as it is possible—between thought and expression
is just
such
a relief.


- Arundhati Roy
In an interview with Amitava Kumar for Guernica Magazine

25.2.11

Letter

Dear F,

I find myself surrounded by the imaginative debris of my most recent read, a slim but monumental novella by the always astounding Alan Bennett called The Uncommon Reader. The most pertinent thing to say about it for the purposes of this letter, although too mechanical a remark to really befit the work, is that it is everything I have ever wished to know or say about reading, writing, and English Royalty, squeezed through a much more sensitive, seasoned brain, and poured across one hundred or so pages. The following, for instance, plucked a resonant string:
"The truth was Sir Claude had no notion of what the queen should write or whether she should write at all, and he had only suggested writing in order to get her off reading and because in his experience writing seldom got done. It was a cul de sac. He had been writing his memoirs for twenty years and hadn't even written fifty pages."
I wonder if this isn't the hidden, terrifying reason I aspire to a life of writing. Because it is, somehow, the suburbia of ambition, recognizably noble yet too safe to really be significant. A cul de sac career. Comfortable, finite, foreseeable. A place where there is no more journey left to journey.

The book is making me romantic and a little ridiculous, dulling my cynicism and softening me toward everything. One has even begun to wish one were a queen, just so one could get away with referring to oneself as "one". In all seriousness, though, apropos of this writing business: I do feel something brewing inside me and by jove it isn't tea.

Can't decide if I want to move onto to Jane Austen or D.H. Lawrence next. No doubt the sex will be a determining factor. Write soon. It's lonely these days. Skeletal trees and literary Brits are my only company.

Love,

L

19.2.11

Revealing

Here's what I wrote in response to a rightfully angry, yet slightly off-kilter Salon article, regarding it's confusion on the point of Nir Rosen's controversial tweets in the wake of early news about Lara Logan's assault during celebrations in Tahrir Square last week:

Unquestionable crime, questionable media.

"And your opinion of how she does that job, the religion her assailants share with a few million other people, or the color of her hair has nothing to do with it."

Nothing to do with the heinous crime, certainly, but EVERYTHING to do with the western media's coverage of it.

Which, by the way, is the point Nir Rosen was attempting, in an admittedly crass way, to make. A person's belief in the validity of that point need not necessarily be interpreted as an apologia for the assault perpetrated on Logan.

That people so adamantly interpreted (it) as such smacks of defensiveness. Nobody wants, after all, to admit that the horrible abuse of a white woman celebrity is more worth reporting than the similarly horrible abuse of anonymous non-white women.

Saying that someone's tragedy caught the media's attention because she looks a certain way is not the same as saying that that someone deserved her tragedy for looking that way. Nir Rosen, I believe, was making the former point. He chose a highly inappropriate time to make that point. There is no good time to make that point. He should absolutely be criticized, chastised, even ostracized, what have you, for publicly withholding his sympathy, for implying that her "war-mongering" reportage somehow balanced out the offense against her, and for being such an ass about making his point. But his point, underneath all the insensitive rhetoric, was still not that she deserved the assault, but that her assault would provoke a unique (and in his opinion overblown) media reaction--one that would not exist were it not for the way she looks. This nuance is crucial to me. Victim-blaming is a terrible, sick thing, far worse than being unsympathetic or insensitive, and we should take care in accusing someone of it.

Because let me be very, very clear: that she is blonde, attractive, a celebrity, was allegedly promiscuous, might have made an arguably 'bad call' getting into the thick of riotous celebrations, and 'was in the Middle East, after all' are not and should not be cited as excuses for the assault on her. Any form of "she was asking for it" is unacceptable--no woman is ever asking to be forced upon. In any setting. No matter how she looks or what she wears or what she has done in her past. No aspect of her conduct or personality or appearance should be license for her violation.

The incredibly sad truth, however, is that her appearance might actually have had something to do with why she specifically, over other women in the square, was assaulted. And she is still not to blame. Her assailants probably had no idea that she was a pro-war reporter, but it is possible they took her to be a symbol of what angered them. Anti-American sentiment does exist, some of it highly misguided. Misguided enough, perhaps, to imagine that it is reasonable to exact historic revenge from one woman because she looks American. Just as misguided as those who deliriously took her assault to be confirmation of the bad-character of all Arabs or all Muslims, no matter how insistent on democracy. For it is equally likely that this was an isolated incident. Still, one cannot ignore that this is what someone, somewhere took the opportunity to do at a moment of great political import.

Conflict--cultural, moral, political, historic, "civilizational"--has always been played out on the bodies of women. That is the material point. That is why Lara Logan gets sexually assaulted during a victory celebration at the end of peaceful protests demanding fair government. And that is why Lara Logan is refracted through tabloid tragedy and turned into Exhibit A for the case against the Arab world.

All of it boils down to the same crappy fact: women's bodies are still not respected as absolutely being their own. A fact highly visible these days in the Republican party's charming efforts to redefine rape, and restrict reproductive rights to the point of complete illogic. It is the woman's body: she decides whether it is rape. She decides whether to have sex. She decides whether to use birth control. She decides whether to continue the pregnancy. She decides her appearance, her apparel, her profession. Somebody else may disagree with her choices, call them selfish or foolish or risky. But nobody else is entitled to pronounce judgment on what she may or may not do to her own body.

6.2.11

NY4

What looks like a fourteen year old boy comes in wearing a grey coat and a beautiful butter yellow tie, and buys a small cup of coffee. A strange desire to watch the superbowl surfaces. The same banker winks at me twice, pre- and post-latte. Infidelity need not be chronologically concurrent with a relationship. Optimism is easier when one doesn't have to explain one's anxieties in full; a momentary frown needn't provoke an emotional third degree. Baseball players are the best looking American sportsmen, or perhaps I'm just a sexual racist. Didn't expect Paul Harding's page 24 punch to the gut. Still haven't written that goddamn letter. Do even french people know how to say "Sartre"?

28.1.11

NY3 / Oh such a prima donna sorry for myself

Something is wrong. Chain bookstores smell of seduction and
lobotomy. First World poverty being marketed as Third World
luxury. Those girls look and smell overwhelmingly like plastic
puff pastries; I forget where I am going. No one stops to listen
to the band with a bucket-bassist and ghungroo-percussionist.
My precarious envy-admiration balance is suddenly way off.
Snow is banal with sunlight and efficiency. No fruit all day.
No sign of bliss. Every sound an irritation except this:



Spicy noodles aren't spicy. I don't have a crush on anyone.
Laundromat's givin' me the weepies, and not the good kind.

In other words: look at this fuckin' hipster.

21.1.11

NY2

Union Square subway stairs, again, this time with one resolute tear somewhere inside one spectacle frame. Sudden sadness, Etta James casually shredding hearts, note by minor note. Michelle Williams' doppelganger in tight blonde curls waits for her skim latte. Charles the quiet, Colin-Farrel-looking Frenchman comes in for his single espresso, says Sank You, sits, shakes his head at New York One, stretches his empty cup into my shaking hand, and leaves, that same black and grey scarf tucked into his jacket, hair perennially freshly washed. Come out of a blues-induced stupor at Adorama to purchase one roll of 120 mm B&W film, speaking with an alien voice I didn't even have a year ago today, and the man behind the register looks at me with a kind, puzzled, sympathetic expression, the question behind which, in a fiction of my life, would be "Who broke that girl?"

20.1.11

NY1

Walked home with a mouthful of secondhand smoke, peering in at happy hour strangers. Two Latina girls ascended the Union Square subway stairs in front of me, both instinctively hiking their tailbone belt-loops, holding them up all the way to the top of the flight. George Bush's doppelganger was buying spinach. I know exactly how many inches of snow will fall on Friday. New York One didn't say a word about the earthquake. The content of the postcard has been revised three times since last night, when I woke up and penned it into the penultimate page of On The Road in the post bedtime darkness. I am on the last dregs of that Bic pen I lifted from the bookstore, and can't seem to find its kind anywhere else, for love or money. Sixty dollars in my wallet. A day's wages. One hundred or so pages from the end.

3.1.11

Cactus



























Mexican food is always bittersweet. You eat, cry, remember.

You loved him because he improved you. You aspired for better. She was, and you hated that. They played the music you wish you listened to. You tried harder. You loved her because she was like you. You built upon yourself. You hated him because he destroyed you. They denied their own magnificence and accused you of delusion. You failed again and again to be original. Mariachi made you blue.

They rode swift, beautiful bicycles and pretended it was nothing.

Platanos are best eaten through tears. On the floor, in underwear and a party sombrero that covers your eyebrows and disappears you. You see yourself in an imaginary and spit out a suddenlaugh. A speckle of fried outer shell lands on your ankle as though it were a target. Through the hurt you realise you still prefer yourself.

You feel relief at the resurgence of ego. You rip spitefully into a burrito.

You read. You flip backward through the pages and gape at the parallels. You've written it all before. You wonder about your envy. You wonder about the merits of outward confidence. You wonder how convincing you are. You figure you must be. People tell you you are cool. You hold on to the dregs of your disbelief and call it humility.

You romanticize yourself. You put flowers in your hair. You try on improbably high heels in unaffordable shoe stores and pretend to tango. You sing like you see a Billie Holiday in the mirror. You look at strangers as though you remember their naked bodies.

You roll words around in your mouth and marvel at your tongue. You lick anything within reach. You sleep with nails digging into the back of your neck. You wear collared shirts to facilitate breathing. You disappear behind thick glasses. You emerge like a potato from an old brown coat. You breathe in frozen air as though it were absinthe.

You start to forget, but continue to love and hate. (Both.) You make plans and abandon strategies. You persist. Then one day you put chip to salsa and nothing happens. Your winter lips scream at the jalapeño, but nothing else stings.