dear richard brautigan……(a performance)

Sometimes we pick up a book at the exact moment when those words were truly meant to be read.

Last summer, the inspirational oil painter in Seattle called Lindsay, reminded me of a writer called Richard Brautigan. I asked Lindsay to recommend one of his books to me and after reading that (The Abortion: An Historical Romance 1966), I couldn’t stop myself from reading more of his prose and poetry.

Since then, I have been writing letters. To Richard. On pieces of paper, receipts, blank pages in books I happen to be reading, in my notebook, on benches, on the palm of my hand when there is nothing else and I don’t want to forget my words to him.

These letters are sometimes inspired by his words, but often they are just a one-way conversation about what I may be thinking at the time: death, loss, love, poverty, gender dislocation, an old crosley radio, a stolen meditation pillow and the moon.

On Tuesday, March 29, I will present some of these letters alongside the brilliantly marvelous singer/songwriter/magical wonder called Rivky.

WHERE? Dixon Place located at 161 Chrystie St./ NYC

WHEN? 6:30-8pm 

DEAR RICHARD BRAUTIGAN

featuring:

Aimee Herman & Rivky

ABOUT THIS SHOW

Dear Richard Brautigan is an epistolary musical adventure to the Beat writer from one poet to another on how to remain; how to be human amidst the traumas of war; gender dislocation; shattered love & expired lives.

ABOUT THE ARTISTS

Aimee Herman is a genderqueer writer, performance poet & teacher with two full length books of poems.

Rivky Gee cherishes her Yiddish roots & is seen performing for those on the periphery & in the underground Hassidic culture. Rivky’s work fuses together the new &the old world in the way that only NYC allows, in its effortless & electrifying contrapositions.

night in the naked city reading TONIGHT!!!

What is it like to date in new york city? Tonight, I grab my ukelele and some memories and tell you about it. Alongside some incredible poets and writers, celebrating what it is to be a writer in new york city!

Come to Cornelia Street Cafe located at 29 Cornelia Street /NYC at 6pm on March 25th.

$9 entrance (includes a beverage)

FEATURING:
Eric Alter
Peter Carlaftes
Steve Dalachinsky
Thomas Fucaloro
Aimee Herman
Matthew Hupert
Jane Lecroy
Puma Perl
Angelo Verga
George Wallace

 

Friday,  Mar 25 – 6:00PM 
NIGHT IN THE NAKED CITY 4: WISDOM WEARS NO CLOTHES
Eric Alter Peter CarlaftesSteve Dalachnsky Thomas Fucaloro Aimee HermanMatthew Hupert Jane Lecroy Puma Perl and George Wallace
Night in the Naked City 4: Wisdom wears no clothes image
4 is the number of the Emperor4 is the number of Wisdom

Hear wisdom & wit

from Poets of the Empire State

an invitation for tea (a singular ceremony)

My mentor muse in Seattle mailed me a box, full of breaths. Full of meditative motivations.

This box sits on top of my record player/tape player/cd player/radio. This box watches me watch a television program or movie. This box watches as I read a sliced open section of the NY Times. This box watches me kiss my mate. This box watches as I cry without tears, wondering where I am going and why I feel as though my wheels have been removed.

My mentor muse in Seattle writes to me about Murata Jukō and the ritual of serving, drinking, and sharing tea.

I place loose tea leaves in  french press, and drown with hot water. I watch the swirl of coconut green tea branches lift up and then swirl like leaves in a storm. Then, I wait until its color grows rusty.

My friend who I used to share a home with gave me a fancy tea cup with saucer for my birthday. It reminds me of something too dainty and delicate for my rough, scarred skin. For almost a month, it sat unused on a shelf. I greeted this cup and saucer everyday, wanting to be the kind of person that could drink out of such a refined object.

I place fingers around porcelain. I am just far too big and clumsy to clutch the handle. After tea is poured in, I bring cup to my mouth and gulp (because once again, I am just not the kind of person to sip or move with a slow ease). After gulp came swallow.

What I want is for this tea to purify me. (Are there enough tea leaves in the world to do such a thing?)

What I want is for this tea to remind me of the necessity of waiting. Being slow. Taking the time to acknowledge all of the flavors slapped against my tongue: nutty. tart. coconut. slight hint of coffee from all the days before this moment.

I want to meditate. I want to leave all the ghosts that scream me awake, to vacate my soul for the day. Or the afternoon. Or how about until I finish this swallow? I want to empty my pockets of things which ring and vibrate. I want to walk into rooms where other people’s pockets are empty too.

Next time, I will invite another to gulp tea with me. Or sip, if they are the kind of person who does such a thing. Because the point of all this is to remember how to remain. Or if not remember, learn how to.

How to sip sometimes. To taste. To be alive. In silence. With all the flavors of a moment sitting like a meditative monk on your tongue.

BIG WORDS reading Tonight!!!

I’m excited to read a new story exploring this month’s theme: shadenfreude at BIG WORDS, Etc reading series.

Learn about the interestingly globular Nyman Riffling and what happens on his first date with the glamourous Renita Goils!

This month is full of other excellent readers, which you will just have to see for yourself!

WHERE? 61 Local, located at 61 Bergen Street in Brooklyn

WHEN? 6pm on Tuesday, March 22nd

sharps: notes from a dormant cutter

previously published by great weather for MEDIA

 

I spent much of my teen years in a romantic entanglement with sharp objects. I hoarded staples–stretched away out of magazines, paper clips, safety clips, razor blades. I practiced various forms of mutiny on my skin. I felt in control, even though the only thing I was in was a dark cavern of sadness. meant to wake up feeling back cover crop

When I was sixteen, I met a girl called J with short, yellow hair like bristles of wheat and criss-crosses of sorrow all over her face. She’d scratch her cheeks and forehead with her fingernails, trying to invisible her pretty away. We met at mental hospital number three and although we both starting ‘dating’ two crazy dudes also in the psych ward (mine, a hallucinogenic boy who took too much acid and couldn’t trip his way out), I was really just in love with her.

At seventeen, in the back of math class, I took stretched out paper clip to the palms of my hands, because I was desperate to feel anything but numb. I counted the shapes my blood made, dripping out of my skin like morse code.

I loved my blood because it reminded me I had something alive inside of me. These sharps were like cat-calls to my skin: Hey, baby….follow me home. How about I show you a really good time?

There were days, weeks, even months, I tried walking away from sharps, from the bellows of scars which had begun to howl off my skin. But any addict knows wanting to stop and actually quitting are two very different movements.

One may reference the state of my forearms, where sharps and I dated on-and-off for fifteen years. We had a tryst two years ago, but the whole time I was thinking about someone else. Someone I hadn’t quite met yet.

They diagnosed me: cutter. Called me manic depressive, though I never reached those highs. My mom locked up the knives and suddenly sharps and I were like Romeo & Juliet, sneakily searching for ways to tangle in the night. I became very good at picking locks.

Razor blades were my mistress, disrupting relationships. We made love in numerous positions, invited in other toxins called pills and cocaine and called it an orgy. It was thrilling, but I was dying.

Now, it seems New Yorkers are hoarding box cutters, altering people’s faces and (false) sense of safety.

I will always be a cutter, just like I’ll always be a drug addict. But I’m not active. These tendencies are dormant and though I’m hopeful that they’ll remain asleep inside me, I work hard to keep away from the taunt and flirt of their haunt. I never thought I’d be frightened of something I was once so in love with. But I am. Immensely.

Sometimes, I envision it. Sitting, sandwiched between two other commuters, on the 4 train back to Brooklyn, with chalk dust on my fingertips and pant legs. Some human brandishing a box cutter, corroded in anger. Why are so many of us so angry these days? Some take it out on others with knives, just like I used to do on myself.

In this imagining, I can feel the unzip of my flesh, parting, making room for the rush of my blood. The panic. The true pain.

I asked my creative writing students to channel Baudelaire and Virginia Woolf in “A Street Haunting” and become flaneurs. Their experiment was to go to The Strand for a pencil. But if they never made it there, it didn’t matter. The emphasis was on wandering. Getting lost. Viewing life not from the glare of a cell phone, but from the unencumbered gaze of their eyes. Most of them had never been to this epic book shop before, so I was excited for their adventure.

At the end of class, a student came up to me and said, “I don’t think I can do this assignment.” I asked why. They explained that due to the slashings, their dad didn’t permit any trips outside of school and work.

On the train ride home, I traveled with fear curdling my veins. I became hyper-aware of the humans around me, particularly jumpy each time someone dipped their hands into their pockets.

I broke up with panic years ago; I’d rather not revisit its sensations of terror. I don’t want these slashings to stop me from existing. From traveling underground with strangers. From being a flaneur. I spent far too long trying to carve my way out of this world. I will not allow someone else to try to do the same.