Ask yourself, “Would twelve-year-old me think my life is awesome?” the answer’s generally yes.
Ask yourself, “Would twelve-year-old me think my life is awesome?” the answer’s generally yes.
I just want to point out that A) “It’s raining in Portland” is not newsworthy and B) This is creepy.
Say this yellow square block is bored. Say she’s bored because she’s always been a yellow square block and has always been knocked down with other yellow square blocks. So one day she goes to the couch where she meets some blue rectangles. The idea is to make something she hasn’t seen fall down before. When she gets her hands on her first blue rectangle, she can’t keep from examining it. She examines many and figures she’ll never tire of it. One of the rectangles strikes her as unusually blue. To you and me it might not look that different from the other blue rectangles, but she likes it so much, as if it is far superior. It might as well be far superior. She enjoys this discovery. She wants to go further across the carpet. She wants another chance to make something superior just by liking it.
—Catie Rosemurgy
One of the first roles I learned to play was that of the sidekick. Maybe it was natural, being a little sister, but I quickly adapted it to other situations. I always had a best friend and to me they were always the star, and I was their wacky accomplice.
I think we’re always looking for stories that we can find ourselves in, and if you can’t find the stories you make them up. I don’t remember a time where I wasn’t writing stories or poems, wandering around with a notebook or a journal, pens tucked behind my ears. I’d create these elaborate mythologies with me and my friends as characters but I never made myself the main character. The earliest one I can remember I cast myself as Granny, age 94. (I was nine.) This happened over and over again — main character, secret princess on a fated journey to defeat evil; me, grubby magicky tomboy scene-stealer. Me, side character who falls in love with another side character (who happens to be a robot).
You can argue that plenty of myself got into the main characters, but my point is I never consciously or explicitly identified with them.
One day I realized I could be the hero of my own stories — and, if I treated my life like a text, I could be the hero of my own life, and I could decide what my quest could be. The problem with this is you no longer have the safety of the margins, the safety of dependence. There’s a whole bunch of unknown in front of you and you’re the only one who can write your way through it. You’re probably going to fail sometimes, and fail publicly. That’s part of the quest.
I say all this as if I’ve solved anything which I haven’t. I am insecure about my work and terrified of not being good enough and afraid of being a human being with faults and imperfect mental health and questionable hair and maybe this is going to be a solitary journey forever and maybe I am making all the mistakes and what if what if what if. Maybe.
I don’t know. If I believe in anything, I believe that the more conscious you are, the more interesting things can get. At least I got that going for me, which is nice.
— Chris Kraus, I Love Dick, p. 130-131
Are you a ladyish person who lives in PDX and plays an instrument? Let’s make a bunch of noise together.
lady? lady* jam
is a weekly jam for rad folks in NE Portland staring up in April. It consists of people bringing over various instruments and making sweet, sweet music together. lady? lady* jam wants to create spaces for ladies* to express themselves creatively and to foster a supportive,…
It’s so much easier to remember how much I love this city when the sun is out.
— leonard cohen, here (h/t psychotherapy)
(Source: isabelthespy)
Today is the first day of Lent.
“I’m formerly Catholic,” I’d say to my ex, and she’d say, “You’re still Catholic. Part of it always sticks with you.” Then I would insist that maybe I was raised that way but I was different now, I was very different, I had done a lot of spiritual work and cultural deconditioning and religious studies, YOU DON’T KNOW ME, OKAY! YOU DON’T KNOW MY LIIIIIIIFE. (Yes, it is hilarious to insist this to someone you’re in love with.) And she’d say, “Okay,” in the way you have to in order to stop someone from having an identity tantrum.
I want to talk about Lana Del Rey but I feel like I can’t talk about Lana Del Rey without talking about myself.
I grew up as an awkward nerdy tomboy who didn’t understand why everyone was so obsessed with boys and often felt like an outcast among other girls. I was different somehow but I didn’t know why (spoiler: I was gay). My teenage angst came with an extra dose of internalized misogyny and devaluation of the feminine. Girly stuff was dumb. Girls who liked it were dumb. Girls were dumb. I wasn’t like those girls.
Add to this that women are trained to view other women as competition, and you get a big MESS. I have made a lot of progress in the last several years (just because performing femininity isn’t always your jam doesn’t mean it’s dumb for everyone; ladies, pretty great actually; etc.) but I still have certain imprints that I have to fight.
For example: I am always afraid to listen to a new female artist. I am afraid that either she will be better than me and render my work irrelevant, or that she will be horrible, embarrass my entire gender, and make people less likely to listen to my work (thus rendering it irrelevant). I get that this feeling is fucked up and I do my best to work through it, but I cannot pretend it does not happen.
I want to talk about Lana Del Rey but I feel like I can’t disentangle my personal context from my experience of her work, but then again,
PROBABLY NO ONE ELSE CAN, EITHER