(can you) LIKE this

When I was a junior in high school, I liked a boy called G. I was too shy to ask him if he liked me the way I liked him, so I gave him my Enya CD before class one day, because I had overheard him saying he liked her music.

Photo by Ryo Josephs
Photo by Ryo Josephs

He smiled and took it, but never really said if he liked me or even the album and I have a scar on my right forearm from the day I drove to that park somewhere between where I lived and didn’t and cut my skin until I felt touched by something.

Grade ten in high school and I am told by my best friend that while he was in the gym locker room, a bunch of other boys were making fun of me. They said they wished I had just killed myself already and I began to wonder why my friend was relaying this to me. He said, “I defended you,” because he liked me, even though no one else did. Four more scars were born soon after.

First grade. A boy called D passes a note to me via three other people and asks me if I like him back. He gives me a choice: Circle YES or NO or MAYBE. I circle all three; even then, I had a difficult time making up my mind.

Nowadays, we are LIKED at least once a day, sometimes ten or thirty depending upon how often we ask through typed-up messages and photographs. We unravel our scars, dig them out like time capsules and put them up onto our computer screens, so that someone will press a button and deliver validation we’ve grown to thirst for

Nowadays, we walk around with instant validation. All one has to do is post words and wait.

LIKE.

LIKE.

LIKE.

Two minutes pass and you’ve acquired three and then two more and suddenly your lack of employment or depleted bank account or untreated-but-diagnosed depression does not matter.

You. Are LIKE’d. Simply because you posted words above a button making it very easy for others to press it.

You tell people you have grown sick or gone to hospital or stopped eating or what you are eating or how you sit or how you lean or the delicate drip of your nose or who you are dating.

You tell people about what you just did or what you are about to do or what you plan to do next week.

LIKE.

LIKE.

Nineteen years of age, I am swallowing a boy’s body part that does not feel safe or comfortable in my mouth. He did not ask me if I LIKED this.

Year twenty-seven of living and I leave a place that I never recorded after my body is broken into once again and there is no button, but if there were I would not press it.

Seven years later and I try it out. I gather up some words like a bouquet of flowers stolen out of someone’s front yard. I take these words and thrown them onto a computer screen. And I wait. And I hold my breath until the first….

LIKE.

It feels good. Adrenaline of acceptance rushes through me and suddenly it does not matter how much I meant what I wrote. It doesn’t matter that I never spell-checked or fact- checked. All that matters is someone LIKE’d it, which means someone LIKE’d me.

And all my scars began to faint away or I pretended they had and it did not matter I was alone or lonely or hungry or still depressed. Someone pressed that button for me.

LIKE.

I take all these LIKEs and crush them up. I press down firmly to smooth out the hard bits. Like gristle. Suddenly, I’ve got a fine powder of LIKEs. I lean toward them as though about to whisper something worthy of a click to them. I get so close, I almost blow some of the LIKEs away. Then, I glide this dust toward my nose and snort them up like the drug it really is. I inhale. My chest beckons. My ribs climb themselves. I inhale every last drip of LIKE that exists and revel in the aftertaste of anticlimactic emptiness.

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OUT NOW: Aimee Herman –

meant to wake up feeling

(great weather for MEDIA, 2014)

Aimee Herman website

*Photo of Aimee Herman by Ryo Josephs

what it is to have (not)

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

Aimee-Herman-red.jpg

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.

********

OUT NOW: Aimee Herman –

meant to wake up feeling

(great weather for MEDIA, 2014)

Aimee Herman website

Introducing Our 2015 Guest Prose Editor: An Interview with Chavisa Woods

Interview by Thomas Fucaloro

Chavisa Woods is great weather's guest prose editor for 2015. Submissions for our next anthology are open October 15th 2014 to January 15th 2015—so send her your best short stories, flash fiction, dramatic monologues, and creative non-fiction.

Chavisa is the author of two books of fiction: The Albino Album: A Novel (Seven Stories Press, 2013) and Love Does Not Make Me Gentle or Kind (Fly by Night Press, 2009). The second edition of this book was released by Autonomedia Press under the Unbearables imprint in 2013. She was the recipient of the 2013 Cobalt Prize for fiction, a finalist (second nomination) for the 2013 Lambda Literary Award for fiction, and the recipient of the 2009 Jerome Foundation award for emerging authors. As a featured author, she has appeared a at such notable venues as The Whitney Museum of American Art, City Lights Bookstore, Town Hall Seattle, The Brecht Forum, The Cervantes Institute, and St. Mark’s Poetry Project. Her writing has appeared in such publications as The Evergreen Review, New York Quarterly, The Brooklyn Rail, Cleaver Magazine, and Jadaliyya. Chavisa has presented lectures and conducted workshops  on short fiction and poetry at a number of academic institutions, including: New York University (NYU), Penn State, Sarah Lawrence College, Bard College, Brooklyn College, Brooklyn Tech and the New School. She is currently completing her third work of full-length fiction. Website

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TF:  Since you will be the prose editor for our next anthology, we were wondering what your take on prose is? What gets you hot? What turns you off?

CW: I have a pretty wide range of styles and voices that, as you say, "get me hot." I think most of my favorite writers share a simultaneous attention to language paired with content that demands attention. When I read a piece, it matters to me that the person has a deep or urgent need to convey something. Whether that something is political, narrative-driven, or aesthetic, light or heavy—it doesn't matter. The fact that the writer itched to deliver this message, and the message is about something larger than themselves, that's what matters. Along with that, when I'm reading it's important to me to see that no other words could have been used to  express quite the same meaning as the words the writer chose. I like to know that there was no other way the writer could have said exactly what they did. I look for meaning, or layers of meaning, to not only be conveyed through words, but be embedded in the language itself.

TF: Who are some of your favorite prose writers and why?

CW: I just typed out this list off of the top of my head, and thought about paring it down, but I think I'll leave it in its entirety, because each of these writers brings something very specific to prose as an art form that will influence writers for generations to come. These are some big names; very heavy hitters, but these are the writers who have stayed with me and whom I return to again and again when I want inspiration, or just a terrific read.

My favorite prose writers are: Richard Brautigan, Harry Crews, Marguerite Yourcenar, Toni Morrison, Flannery O’Connor, Carson McCullers, David Foster Wallace, Jorge Luis Borges, Ralph Ellison, Eileen Myles, Michel Foucault, Angela Carter, Virginia Woolf, Gertrude Stein, Gabriel Garcia Márquez, Harlan Ellison, Vladimir Nabokov, William Faulkner, and Djuna Barnes.

If you pick up a book by any of these authors, you’re going to get language that pops or flows or grows off the page, and you're going to learn something about yourself, the universe, society, or discover a new aesthetic possibility. After I read any of these writers, I feel bettered. These writers make me feel brave, and existentially so. They expand me intellectually and emotionally. Even the bleakest stories and essays make me feel hopeful, because these writers remind me that we, as humans, have the capacity to create and shape entire worlds of ideas; worlds with their own rules, as weird as we want them to be; worlds whose boundaries are imminent, infinite or not existent at all. And that is what art is. And that is how I approach creative prose; not as simply a conveyer of literal information, but as an art piece.

TF:  Can you talk about your novel that was released last year called The Albino Album?

CW: The Albino Album took me five years to write, and was quite a departure from my first book, Love Does Not Make Me Gentle or Kind, which was more poetic and language driven, and also personally closer to me. I enjoyed writing The Albino Album, because I was able to step back and be a bit lighter for long periods of time. It's a big book, 550 pages, so it moves fast. It has to at that length. It's much more character and plot driven than my earlier writing. I love hearing and seeing people I dont know talking about the book, and talking about the main character, Mya, like she's a real person who they went through something with. I've seen many reader comments and heard people say things like "I couldn't put the book down," or, "I just had to know what happened next." I didn't really set out to write a "page turner" and didn't even know I could write a book like that. But when I got into it with the characters, parts of it almost wrote itself, like the characters started doing things, and there were parts I couldn't write fast enough.

I lived in this very exciting and sometimes painful world with these characters for five years. When it was out and published, it felt a little strange for me. Now other people get to go into the world of that book. They spend a couple of weeks in it. Which was the point for the book; to be read. But in a way, I do miss it. Five years is a long time to spend with a piece. When it was over and I sat down to write, it took me a while to figure out what to do with myself because I was alone again. Starting over with a blank page.

TF: What do you think are some good practices when submitting work to be published?

CW: It's always best to have read something produced by the press you're submitting to. Also, in the writer’s statement, remember, it's the submission that’s being considered, not the statement. Don't overthink it. Editors want to know why you are excited and confident about the piece, and in what context you see your work. There is a human being just like you; another writer on the other end, reading. Just relax and explain or contextualize the piece as you would in person to another writer.

TF:  What's next for you?

CW: I'm nearly finished with a collection of short fiction that is very political in theme, and am working slowly on a more personal novella.

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Submissions for great weather for MEDIA's next anthology are open October 15 2014 to January 15 2015

I Let Go of the Stars in My Hand

"Some of the pieces in here are simply lovely. Some are thought-provoking and challenge the reader to examine an idea or a mind-set or a way of being. Some are simple and lyrical, some clever and witty." - San Francisco Book Review

"These annual anthologies and other work by great weather for MEDIA are an admirable contribution to arts and culture."- The Compulsive Reader

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Writers who let go of more than just stars...

I Let Go of the Stars in My Hand is a fearless, dynamic collection of contemporary poetry and short fiction by established and emerging writers from across the United States and beyond. The anthology also includes an interview with John Sinclair - the legendary jazz/blues poet, former manager of the MC5, radio host, and activist.

From "Th. LinkedIn e.Address" to the "Department of Homeland Insecurity", from "The Moon's Backyard" to "Solar Cemetery",  "The Builder of Holes"  to "In the Pitch Bright Darkness", follow, catch, and be dazzled.

Contributors:  Eric Alter, John Amen, Brian Anderson, Claus Ankersen, Alex Bleecker, Dorothy Duncan Burris,  Linda Camplese, John Clinton, Rob Cook, Chet Corey, Amy Leigh Cutler, John Paul Davis, Matt Dennison, Trae Durica, Peter Fiore, Tessa Lou Fix, Rosie Garland,  Christian Georgescu, Sherry Lee Gray, Maria Gregorio, Thomas Hanchett, Tim Hanson, Aimee Herman, Vicki Iorio, Vanessa Couto Johnson, Janne Karlsson, Kit Kennedy,  Ron Kolm, Ptr Kozlowski, Farryl Last, Mercedes Lawry, Richard Loranger, Katharyn Howd Machan, Stephen Mead, Lecco Morris,  Terri Muuss, Al Ortolani, Stephanie Papa, Anthony Policano, Joseph A.W. Quintela, Vito J. Racanelli, Dan Raphael, Zack Reeves, Gayle Richardson, Joe Roarty, Evan Rosler, Nichole Santalucia, Margie Shaheed, Eric Silver, Shelby Stephenson, John W. Snyder, Bill Teitelbaum, Christine Tierney, Aaron Tillman, Zev Torres, John J. Trause, Jack Tricarico, Harlan J. Wheeler Jr, Luke Wiget, John Sibley Williams, Sarah Ann Winn, and Daniel Yaryan. Plus interview and new poem from John Sinclair, and a poem from Michael P. Geffner in our new "Awareness" section.

I Let Go of the Stars in My Hand, great weather for MEDIA 2014 ISBN: 978-0985731731 $17.00

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