what it is to have (not)

A kaleidoscope of musings by Aimee Herman inspired by various texts, conversations, and observations. 

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As I write this, I stare at less than $200 in my checking account. I do not announce this as some sort of Kickstarter-ploy-for-pity, rather as a reminder to myself of what it is to have or have not.  

Growing up in suburban New Jersey, there were never empty shelves. Before each school year began, my mom would take my sister and I to Kmart or its equivalent and get us folders and notebooks. If shoes started breaking, we’d get a new pair. Holes in the knees of jeans? We’d head to the local mall for their replacement. We had.

As I got older, I fell in love with other people’s things. I spent my weekends, going to garage sales. My dad and I would hoard our treasures, hiding them from my mom who disapproved of the dusty discards. My body would be wrapped inside various shades of polyester, purchased from the local flea market, sometimes for less than $1. I loved wearing other people’s stories against my skin.

I never thought much about money. As a kid, we always had it.

Once I was old enough, I worked, so I had loose change to purchase non-necessities like cassette tapes, books and (later on) drugs. When I started working, I began saving for larger objects like a CD/record player, TV and then upon moving out after high school, rent.

There were years I fed my nose before I fed my mouth. But I always had. Even as a drug addict, I paid my bills on time. Rent. Credit card. Utilities. All of it. Sometimes there were even some months where I actually had some money left after paying these bills.

My eyes don’t get excited over expensive objects because as an adult, I always knew I could never afford them. I own no jewelry, nor do I care about the designer’s brands. My labels are usually faded by the time I purchase them, so I barely even know what size I am these days

As I write this, with less than $200 in my checking account, I recognize how far $1 can go these days. (Should I build some suspense? Close your eyes. Hold your breath.) Not. Far.

$1 cannot afford my trip on the subway to work. In the 1940’s, a dollar could buy four movie tickets. Now, it doesn’t even cover the cost of a bottle of water from concession.

This is not to say that with less than $200 in my checking account, I do not have.

With less than $200 in my checking account, I wake in a bed every morning in a bedroom I call mine with heat that comes on fairly regularly at no extra cost. This bedroom is inside an apartment that also houses two other wonderful humans who fill it with art, music and laughter. This apartment includes a kitchen with a cupboard full of ingredients. Each morning, I toast rye bread in borrowed toaster and slide peanut butter against its yeast with less than $200 in my checking account. I have the ability to boil water (also free) and drink coffee from beloved French press every morning. In this apartment, there is furniture to sit on. In this apartment, though there are occasional cockroaches (the uninvited pests of living in the city); luckily, there has been no infiltration of mice. With less than $200 in my checking account, I can take a bath any time I want and the water never forgets to flow.

Ten years ago, I was eating nineteen-cent packages of freeze-dried ramen with enough salt in their flavoring packet to cover my allotted sodium intake for close to a week. This was all I could afford. Now, I purchase ramen (price more than doubled) not because I have to but because I want to.

What does it really mean to have? Is it always attached to money, or is there something else to it?

As I write this, I think about the weight of love and how when I have it, I feel like it replaces every haunting presidential face attached to currency that could ever climb into my wallet. I feel like the most affluent human just for having my metaphorical heart wrapped up in a metaphorical heated 1,000-thread count blanket.

I think about the weight of words and how when I have them, I feel like I can purchase meals with my poems. I feel like I could pay my rent with my words. I feel like I could purchase a plane ticket for around the world with a well-crafted independent clause.

With less than $200 in my checking account, I have enough books to build a well-enclosed fort to protect me from the ones I hide from

I have things. I am reminded of this with each move from new state or street. In my head, I am a well-intentioned minimalist. In real life, I am a massive collector of the discarded.

With less than $200 in my checking account, I have enough clothes to last me through two weeks without having to visit the Laundromat (or at least enough underwear). I have boots to protect me from rain or snow and sneakers to slide my feet into for the warmer/dryer months.

I go to work at a community college, teaching students about writing, reading and creative ways to think with less than $200 in my checking account.

With less than $200 in my checking account, I swipe metro card with enough money stored on it to get me to aforementioned workplace and back home with possible stops in between. I notice that as I travel with other strangers underground, this is the one place where all economic classes blur together. It does not matter if you have $20 in your wallet or no wallet at all. There is no exclusive seating on the subway. A hedge fund or 401K account will not guarantee you a seat during rush hour. Everyone is the same.

What is it to have with less than $200 in my checking account? How can one claim to be rich when by society’s standards, they are poor? Is mood measured by bank balance? Would I be happier if I could afford everything on my Amazon wishlist?

As I write this, with less than $200 in my checking account, I feel no less sad as the days of the week where my balance is far more corpulent. My disposition has nothing to do with my wallet. In fact, as I settle into this low-income identity, I recognize that what I desire the most are things unattached to price tags: words, love, peace of mind, poetry.

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OUT NOW: Aimee Herman –

meant to wake up feeling

(great weather for MEDIA, 2014)

Aimee Herman website

an authentic dialogue

Welcome to the first of many posts which will arrive twice a month by Aimee Herman. It will be a kaleidoscope of musings inspired by various texts, conversations, and observations. 

**

In “Roland Barthes” by Roland Barthes (translated by Richard Howard), he asks, “Where is your authentic body? You are the only one who can never see yourself except as an image…” It can be difficult to see one’s self as a whole. Mirrors are bullies without the childhood backstory. How not to notice that scar and recognize it as that time the boy called you ugly so you felt the need to prove him right. How not to just see it as a development of fibrous connective tissue. Not everything is a metaphor.

I lift wrist attached to palm finalized by fingers when I meet someone. Others call this a shake. Or an affair of hands meeting, vibrating against one another.

Here is a transcript:

Hand 1: Hello.

Hand 2: Hi.

Hand 1: What I mean to say is, where do you come from?

Hand 2: And what I meant was how do you exist? 

Hand 1: It really is winter outside, don’t you think?

(When one introduces words on weather, it reveals discomfort)

Hand 2: I am reminiscent of shivering.

Hand 1: How do you spend your days?

Hand 2: How heavy is your wallet?

Hand 1: There are some parts of me that cannot be touched.

Hand 2: Everything has been triggered by warnings.

Hand 1: Are you love?

Hand 2: I am intimacy issues.

Hand 1: Your word makes me uncomfortable.

Hand 2: Should we exchange info then?

I crash my limbs onto a corner of the city that is without people. I search for the emptiness of doors and buildings and sky and scrapes of initials into sidewalks. Each human I touch spits their genetics into the cracks of my skin and it takes me months of scrubbing to understand what remains.

I am just an image of projected repetitions. We are a barrage of repetitions.

Here is a(nother) transcript:

Selfie.

Dinner.

Cat.

New baby.

Selfie.

Accomplishment.

Reference to break-up.

Selfie.

Reference to hook-up.

Selfie.

Brunch.

Selfie.

Selfie.

 

Barthes goes on to write, “When I resist analogy, it is actually the imaginary I am resisting: which is to say: the coalescence of the sign, the similitude of signifier and signified, the homeomorphism of images, the Mirror, the captivating bait.

Perhaps there is that need to break through the representation of an idea and just be blatant. However, within that blatancy, there is still so much underlying imagery.

Revised transcript from above:

I want you to tell me I look good.

I am eating food far more expensive than it should be.

This pet is replacing the void in my bones.

See above but replace pet with human.

I want you to tell me I look good.

This is a reminder that I am doing things.

I want you to think I am not hurting.

I want you to tell me I look good.

I want to pretend I am not hurting.

I want you to tell me I look good.

I have friends.

I want you to tell me I look good.

Please tell me I look good.

I lift words and place on tongue, dripping with the sauce of morning. It is early enough that my voice is cracking like the floorboards of pre-war apartment. Beside me, a human dressed only in hair, dry skin, wounds from war-torn childhood and an erection. (I am alone.) There is desperation to speak out the answer to the question I heard last: Don’t you want to be happy?

Instead, I layer questions onto the one first spoken to see if it will get me closer toward understanding:

I say: What is that?

I say: Peaceful?

I say: What is its going rate?

I say: Are there side effects?

I say: No?

I say: What is my other option?

Barthes continues, “Which body? We have several. I have a digestive body, I have a nauseated body, a third body which is migrainous, and so on…”

Maybe there is no one way to be or represent or speak or exist. All these images are truths inside us. They are SOS’s and snapshots and begged breaths of validation and metaphor and metaphor and metaphor.

We place palms together and sway.

****

OUT NOW: Aimee Herman - meant to wake up feeling (great weather for MEDIA, 2014)

In Paris There Is Always More Wine: An Interview with Stephanie Papa

Interview by Russ Green
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Stephanie Papa is a writer living in Paris, France. Her work has been published in 5x5, Rumpus, Cleaver Magazine, Cerise Press and The Prose Poetry Project. She organized the Writers on Writing series in Paris, and has worked as poetry editor for Her Royal Majesty magazine. Stephanie is currently working towards an MFA in poetry in the Pan-European Creative Writing Program. Find her poem "Nude" in the great weather for MEDIA anthology I Let Go of the Stars in My Hand.

RG: Stephanie, we are excited to have you in our newest anthology I Let Go of the Stars in My Hand. It is always intriguing to welcome poets and writers from abroad into our great weather family. A lot of people talk about picking up and moving to a dream destination like Paris— you actually did it! Did you go over from the United States just because of the Pan-European MFA Program or have you always wanted to live in Paris?

SP: Although Paris sounds appealing to many people, I never imagined living here. I've always been itching for travel, so after I finished university in New York, I was looking for a way to get on a plane. I started working as a teaching assistant in a suburb of Paris, unaware that I would be overpowered by the screams of hormone-driven teens, only asking what English words meant in rap songs. I sugrvived one school year, and left to start new work and projects. Four years later, I'm still here. The city has beautiful things to discover, it feels like home. But I'm willing to welcome whatever comes next.

RG: Tell me about your reading series Writers on Writing. What was it like running a reading in Paris as opposed to one in a city in the United States?

SP: The only difference between a reading in Paris and one in the USA is that in Paris there's always more wine. That series in particular didn't last very long as I had other commitments—but it felt fantastic to talk to Anglophone writers about their work, especially with an enthusiastic audience. It was helpful to explore the process of writing, and I'm certainly an advocate for reading aloud. In fact, I recommend you read this out loud right now, just for practice.

RG: Hear, Hear! How has living in Europe changed your writing? Has your relationship to the creative process changed as well?

SP: Being in a foreign place is a refreshing experience for me, and therefore it's significant for writing. I feel more aware, observant, and spontaneous. Hearing different languages also opens my mind to other ways of perceiving. I suppose my process of writing hasn't drastically changed, although I’m learning so much through the editing process. I still write outside of my apartment in cafes, parks, on street curbs. I want to see people buying flowers and dropping change, watch toddlers jumping, talk to a stranger. For me there's nothing inspiring about sitting in my bedroom.

RG: You are from a small town in Pennsylvania. How has that helped or hindered you—as a student and also someone working, running events, and moving in the artist circles of Paris?

SP: I don't think it necessarily hindered or helped, it's simply a part of me. It was a warm-hearted community—maybe that's why I tend to avoid exclusive artistic circles or atmospheres with cutthroat competition.

RG: Although I am a vegetarian I always say to friends that I could not be a vegan because I've spent time in France and I can't give up the cheese. Is it difficult for you being a vegan in France, especially Paris?

SP: True, if people expect almond milk in every Parisian cafe, or barbecued tempeh in a brasserie, shame on them. Unfortunately, vegan options in French restaurants are scarce. Which is why I don't usually eat in French restaurants. I gravitate towards ethnic restaurants—there are plenty! Shopping for vegan ingredients is easy. I'm used to it, and I'm content as a kale leaf.

RG: In your poem "Nude" that we are so proud to have included in great weather’s latest anthology, you take us behind the scenes of the fantasy idea of the beautiful nude model and expose both the psychological and physical reality you went through leading up to and through the act of posing for the artists. Did you experience something similar when you stepped back behind the curtain and settled in to live in Paris as an American expat as opposed to a tourist?

SP: As peculiar as it sounds, I've never thought of myself as an “American expat.” When I say where I'm from, it sounds quite out of context now, although I don’t mind telling people when they ask (most people assume my neighbors were Amish). I'm also half-British, which attracts me to this side of the ocean. I think change is a reality, we’re constantly evolving. In a way, "Nude" describes that. Being the nude subject in a drawing is a unique experience; time and space slow down, all categories seem irrelevant.

RG: Who are your favorite writers? Either French or those who spent time in Paris?

SP: I confess, French writers haven’t been on the menu lately. I don't identify with French poetry as I do with other work in translation, such as Spanish or Portuguese. Yet I do appreciate the Syrian-born, francophone poet Adonis, and when I studied French and Francophone literature, I enjoyed Albert Camus and Margueritte Duras. Of course, brilliant writers have left footprints in Paris: Vladimir Nabokov, George Orwell, Allen Ginsberg, Richard Wright, Langston Hughes, Oscar Wilde, Mayakovsky, to name a few.

RG: The spirits and footprints of so many great writers still linger in the streets and cafés. I remember spending time at the Père Lachaise Cemetery where many of them rest along with the great singers and performers: Oscar Wilde, as you mentioned, Edith Piaf, and of course we can't forget Jim Morrison among them. Do you sense the influence of those great writers and performers of the past in the work that is coming out today from the local poets or are they looking more toward the future or beyond the horizons of France as you have? 

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SP: This is an intriguing question. Writers and artists flocked to Paris especially in the early half of the 20th century and throughout the Post-WWI era. Many of them were fleeing their countries to test an avant-garde, novel style of expression. Artists who were excluded for 'radical' thinking, and often racial discrimination, came to Paris and felt welcome. It's still a refuge for artists and musicians, especially because the government supports their cultural contribution. The Paris from Gertrude Stein and Hemmingway's Lost Generation era is gone, yet the city' Anglophone poets make their voices heard. There are some very strong writers living in Paris or simply passing through with fantastic energy. I'd like to see Paris growing into a more eclectic hub for poets in the near future.

RG: Going back to favorite writers, who do you admire in Spanish and Portuguese? Of course, we can’t help thinking of Neruda and Lorca in Spanish translation.

SP: Both of these languages are so melodic, and lend themselves beautifully to the spoken word. The first time I traveled to Grenada, Spain, I went directly to Lorca’s house. It was like walking through a dream. His work has been very close to my heart. I also fell in love with Pessoa when I first discovered him. Other incredible poets writing in Portuguese are Carlos Drummond de Andrade, or his contemporary Vinicius de Moraes, who are really icons in Brazil. I attended the FLIP literary festival in Paraty, Brazil in 2013, and saw poetry found itself in music, song, nostalgia, and the beauty of the land. Spanish and Latin American poets are inspiring because of their longing, the bittersweet impossibility of things, surreal metaphors.

RG: It really is a beautiful thing. You mentioned earlier that, although Paris feels like home for you, you are ready for whatever comes next. Do you have an idea what that may be? A move to a different European city or continent? Thoughts of coming back to the United States, or are you content to see what the next sunrise over the River Seine has in store for you?

SP: I think it's important to be open for any rousing possibility. There are many other places I would love to discover—I'm very curious! I think living in Paris has helped me understand the pros and cons of a city and how I can both love and hate it. Moving back to the United States isn't on the cards for the moment; I don’t see myself settling down there. I enjoy the feeling of being able to adapt to a new culture. But I'm still tasting and discovering Paris, its crooked alleys and eccentric characters, madness and close friends. That's what is keeping me here for now.

Read Stephanie Papa's poem "Nude" in the great weather for MEDIA anthology I Let Go of the Stars in My Hand.

Details and purchase

***Easily ordered in France through any bookstore. Here is the French amazon link***

If you are in Paris and would like to learn more about great weather for MEDIA, our editor Jane Ormerod will be reading at Paris Lit Up on Thursday February 5th 2015. Details

Puma Perl - Retrograde

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With Retrograde, Puma Perl goes back in time in order to move forward­­—and what a trip this proves to be. This is a journey of living and survival among the ghosts and dreams of a past captured with full honesty and sharp humor (sometimes self-deprecating, other times pinning the tail on absurdity. Funny, smart, dirty yet tender, Puma Perl brings the descriptive eye of Lou Reed to her apocalyptic rock and roll vision of the world.

Shop Indie Bookstores

**Buy online, buy indie through IndieBound **

 

Purchase through Barnes and Noble

Reviews

For Retrograde you'll need your seats in the upright position and you'll certainly need your seat-belt. Some of you will need helmets. I haven't felt this way about a book of poems or a poet since the first time I read Charles Bukowski back in the 70's...This is one of the strongest, most surprising, and sublimely splendid collections of poetry I have ever read. It comes on like a sledgehammer breaking down your front door. Sublime yes but this is never subtle, Perl grabs the reader by the collar or the hair, whatever she gets a hand on, and pulls you into her world. And there is no boundary she won't happily piss on just to see the splash.—Michael Dennis, Today's Book of Poetry Full Review

Puma Perl is a remarkable poetand an exciting performer. Her works in verse are packed with riveting details of modern life and chronicle her unrelenting resistance to the way things are or meant to be.Retrograde is a true contemporary masterpiece. —John Sinclair, poet, jazz and blues historian, former manager of the MC5, radio host, and political activist

*

Perl reminds me in some ways of Ginsberg. Both weave the immediate into their work as documentary evidence. Both have a desire to somehow sing to an audience of their peers. Both have motifs…talisman symbols that speak to core experience. Ginsberg returns again and again to his "clock of meat": Perl returns to her knives, honed and handed over in tiny, sharp cuts of poems ("Do not believe / my spoken word, / read my scarred / letters, they crawl / down my arms / like predators") and to the vital squalor of LES apartments ("I don’t sleep on the floor any more. I'm too old to crash on moldy blankets, bodies of strangers on either side, sounds of wet fucking, smells of beer, blood and vomit.")—B.A. Goodjohn, Mom Egg ReviewFull Review

*

Absolutely gut wrenching, achingly beautiful. bittersweet and painfully true. Puma seems to have written this in her own blood not from what bled out but from what she ripped out from deep inside. You will recognize yourself in this book. She makes no observations, she relates experiences. She runs the gamut of hustling, scoring, cooking and shooting, the beauty and ugliness of the high and fall, and you begin it all again but never told as a victim only as a survivor and winner. - Guido Colacci, Steel Notes Magazine    Full review

*

Retrograde is a true rush...An extremely authentic and unsentimental look at the gritty and dangerous New York that has since been glamourized, mourned and burnt beyond recognition into the realm of cultural mythology.  - Scott Stiffler, The Villager. Full review

*

The book is for those who do not wake up screaming, but

wake up wanting to scream

...The poems span everything from years of addiction, long ago, to the now where there are “social media” and cell phones. It is a a world where “it is always sometimes, never forever”: as it has always been, it's just a world where it is more glaringly obvious. -

David McLean, Autoerotic Elegies

Full review

*

Puma’s writing shoots straight from the hip or straight to the lip, powerful, honest and to the point. Her writing hits home, and often conveys things most people are too unaware or afraid to admit.Puma pulls no punches, telling tales of self-destruction as a celebration of life until way after the party is over, and somehow being graced with a second chance to survive. Don’t try this at home. — Iris Berry, publisher, Punk Hostage Press

*

The collection moves through time, whether it’s looking toward a dangerous past, a muddy future, or a bleak present; it is a study in how humanity changes yet stays stationary. Perl draws divine inspiration from Elizabeth Bishop, as the sense of loss permeates between every line, syllable, and period...The book is void of bullshit, portraying American city life in all its unglamorous, gritty glory. — Joanna C. Valente, Luna Luna

*

There is regret and deep disappointment in these pages, lurking but not hidden beneath the swagger of gritty urban attitude, the haze of cigarette smoke, and the back-of-the-water-bill list of pointless sexual encounters with boys who think they’re badasses…Retrograde is a brilliant title for this book, referencing that relentless forward motion that seems to sometimes reverse in both appearance and reality." —Eric Paul Shaffer, The PedestalFull review

*

Withwords that hit like hammers, these poems bring us into a New York City of speedballs, broken windows and fast encounters. There is also ginger tea, soft sleep and yearning. You may have been here—I know I have. And if you haven’t, the raw emotion in Puma Perl’s free verses will transport you. —Thaddeus Rutkowski, author of "Haywire", "Tetched" and "Roughhouse"

These poems make me cry and want to punch a wall. They bring me to that place inside where the darker hours loom. Puma Perl takes us on a trip through our interiors piecing together the moments we wanted nothing and everything at the same time. Her mastery shines when suddenly a word or phrase sparks a laugh, daybreak comes, and she (we) steps outtriumphant. — Nicca Ray, writer

 *

Puma Perl writes with dagger to the heart directness. Dreams merge as she borrows from pain to understand her strength and purity. This warrior leaves me grinning and a little wiser. Zoe Hansen, writer / artist

 *

BIO:

In the mid-70s, Puma Perl happened by the Nuyorican Poets Café on its second night of existence. Along with countless other Lower East Side residents, she discovered that the transformative power of poetry and performance was accessible to her, regardless of class and academic achievement. Decades later—still living in New York City—she is a widely published poet, writer, performer, producer, and photographer.

Puma is the author of two chapbooks, the award-winning Belinda and Her Friends and Ruby True, and the full-length collection knuckle tattoos. Her poetry and short stories appear in numerous journals and anthologies including It’s Animal but Merciful (great weather for MEDIA, 2012), The Understanding between Foxes and Light (great weather for MEDIA, 2013), Maintenant, Rattle, The Chiron Review, Have a NYC (Three Rooms Press), and Bullying: Replies, Rebuttals, Confessions, and Catharsis. Recently she was awarded a 2016 Acker Award.

She was the co-creator, co-producer, and main curator of DDAY Productions which mounted shows in many New York City venues and highlighted emerging artists. Her newest venture is Puma Perl’s Pandemonium, which brings together poetry with rock and roll. As Puma Perl and Friends, she performs regularly with a group of excellent musicians. She continues to be transformed.

Retrograde, Puma Perl

Publication date June 1st 2014

$16.00

ISBN: 978-0-9857317-2-4

Purchase through IndieBoundamazon, Barnes & Noble, or order online or in person at your favorite bookstore such as McNally Jackson. For international orders, all great weather for MEDIA books are easily ordered through any local online or bricks-and-mortar store.

Also available through the wondrous Espresso Book Machine. Like an ATM for books, it will print you a copy in minutes. Find it at McNally Jackson (NYC), the Harvard Bookstore, and Tattered Cover (Denver), and many other stores.