Author Archives: Jendi Reiter

April Is Poetry Month: Two Poems from Mahnaz Badihian’s “Ask the Wind”

Since April is National Poetry Month, it seemed like a good time to run excerpts from some poetry collections I’ve recently enjoyed. Mahnaz Badihian is an Iranian-American poet, translator, and visual artist in San Francisco. She sent me a copy of her new poetry book, Ask the Wind (Vagabond Books), to review for Winning Writers. I was pleased by her original turns of phrase, delight in nature’s signs of renewal, and hopefulness about peace in our tortured world. She has kindly permitted me to reprint these poems below. I love how she takes an expression that usually denotes sadness, “not belonging,” and rethinks it as joyful non-attachment.

NOT BELONGING

Like a bird, she floats in nature
like water, she seeps through the earth
the cells in her body,
do not identify with anyone
she is everyone

She has no motherland
she’s free from friends and enemies
the recycled woman rises to far horizons
with no destinations in mind

She’ll not be wounded, not be sad
she’s free of old memories,
from belonging to one particular land
from heavy gold necklaces
her ancestors left behind

Now she puts her feet on fresh grass
opens her arms and lets the sun plant
flowers on her fingertips

Gives her naked bosom to the hands
of the breeze under the glory of
the apple trees
giving herself to the flowing creeks
letting the fish swim in her veins
for the birth of more new happiness.

****

DNA

It was Monday morning and
I was passing the big statue
In the lobby of Johns Hopkins hospital
searching for Room 202,
the first interview with Mrs. Willis

She had a kind smile on her lips
her hands were wrinkled with red nail polish
Mrs. Willis looked me in the eyes,
how do I pronounce your name, dear?
I said, MAH NAZ,
the exact same way it’s written

Mrs. Willis with her M.S. degree said, I’ll try
MENAZ Manos, Maha-noss
then gently she changed her voice and
said, Can I call you Mary?

Marry? Merry? Morry? Echoed in my head
I felt like evaporating morning dew,
like a branch of a tree under heavy rain,
like fruit just fallen from a tree

I looked Mrs. Willis in the eyes and said,
“But my name is the charm of the moon
the name I was called by my mother
and by the man with black hair
dark mustache and brown eyes.”

Mrs. Willis was looking at me
with wide-open eyes
I said: “Mrs. Willis,
is my name more difficult
than Deoxyribonucleic acid?”

April Links Roundup: And the Real (Estate) Monster Was…

Happy April Fool’s Day to the readers of this increasingly sporadic blog. I pranked my son this morning by telling him that the Nutella company was going out of business. We both love to eat this sugary spread for breakfast (him without benefit of spoon). Never fear, the nut supply is still abundant.

For genuine everyday horror, I’ve just finished reading Robert Marasco’s 1973 haunted house novel, Burnt Offerings, reissued by Valancourt Books. This book is like what would happen if a “Better Homes and Gardens” magazine became sentient and started eating your brain. Our protagonists flee the grime and noise pollution of low-income apartment life in New York (something I know well!) only to be seduced by the luxuries of an upstate mansion that consumes tenants’ life force in order to repair itself. Unlike typical haunted houses, this one is delightful to live in. The horror arises from watching the lengths to which people will go to delude themselves because they want a room with a view.

That this impulse remains strong, especially when New York real estate is involved, is documented by Morgan Boyle’s essay at Fence Digital, “Imaginary Liminality Steps From the Train: How to Dreamwalk the World of Craigslist Apartments”.

Occasionally the ceilings are high, the rent is cheap, the deli is two doors down, the kitchen is large and there’s no sink in the bathroom. The listing says the apartment is unique. The apartment is unique. The kitchen is big black and white tile and good to dream about. You think about never washing your hands after using the toilet. You think about never washing your face at night. You think about brushing your teeth over the kitchen sink. The living bodied broker waits expectantly, digitally behind a computer screen. The listing says it is unique. Are you unique enough for this apartment? What’s a bathroom sink? You think about a potential lover standing in the bathroom looking expectantly for a sink that isn’t there. You think about the moment the realization of the lack dawns. You think about the look they give you upon exiting the bathroom with the missing sink and their unclean hands. You think about the unspoken shared knowledge of filth between you. You stop daydreaming in the apartment and click to the next listing. There is not a lot of room for this type of uniqueness in a pandemic world.

The Guardian’s Meg Conley takes a deep dive into the history of kitchen design and social class in this October 2021 article, “Invisible fridges and cooling cubbies: how kitchens have been designed for the rich”. Since the labor of home management historically fell to lower-status groups–women, and particularly Black women in white households–it was important to conceal it because oppression is such a downer when you’re throwing a dinner party. Rather depressing to learn that in 1908, Charlotte Perkins Gilman, author of the classic feminist tale “The Yellow Wallpaper”, proposed liberating white women from household duties by creating a forced labor corps of Black men, women, and children!

Along those lines, the ever-astute Brandon Taylor suggests in his Sweater Weather newsletter that costume dramas like “Bridgerton” or “The Gilded Age” can never adequately represent historical injustices such as racism, because we watch them to enjoy the pretty stuff and the rich people behaving badly, but where do you think that wealth came from?

American period dramas are exercises in self-delusion, always evading the twin horrors of colonization and enslavement. The reason is simple: the history as it happened is too horrifying to turn into a rosy bourgeois narrative. There are no good guys to root for. No way of affirming Protestant sexual and social values in a way that flatters contemporary audiences. That’s why every period drama is ultimately a confection. Because to tell the truth how it really was, how it truly was, would be too much. Implicating.

Don’t miss Taylor’s searing short story “Urgent, Necessary, Vital” at Esquire. A college pottery class becomes a microcosm of sexual and racial politics, as a Black photography student finds that artistic success doesn’t insulate him from being othered, merely gives the problem a different form.

Glennon Doyle’s podcast “We Can Do Hard Things” last month interviewed trans activist and mixed media artist Alok Vaid-Menon about breaking free “from every socially constructed binary that does not allow us to live out our full humanity, our divinity, our infinite creativity and possibility.” Listen or read the transcript here. Alok says:

I see so much of what the trans movement being in the world is a love letter that says, I believe in your capacity for transformation, I believe in your capacity for self-determination. And then in response to that love, we’re told that we are wrong, that we’re disorderly, that we’re foolish, that we’re ridiculous, that we’re delinquents, that we’re predators, that we’re violent. That’s a pain that I continue to face as my words reach more people, is this extreme and coordinated backlash to tarnish me and by extension tarnish the ideas that have been here, they’re ancient ideas, because I think what patriarchy does is it makes us publicists. We find ourselves speaking it, doing it, living it, thinking it with such a fierce allegiance that if someone dare say another way of living is possible, people would rather eradicate and extinguish that alternative than confront that kind of spiritual nudity of asking, who am I outside of what patriarchy wants me to be?

I love their reframing of beauty standards: “Beauty is looking like ourselves.”

Devon Price’s Medium article “The Power of Defiance in the Age of Trans Bans” expresses an understandable exhaustion with the political process. How many times do we have to convince voters and politicians that we deserve to exist?

As a Millennial…I still received the message that being gay was strange and disgusting, and being trans was freakish and deluded. To be both gay and trans was too bizarre to even consider. Anti-gay laws convinced me I was an impossible, dangerous thing. Children and families needed protection from even the idea of me.

Believing all that about myself was absolutely shattering. It ruined my physical and mental health, and for many years destroyed my ability to love others. This is exactly the fate states like Iowa, Texas, and Florida are currently setting trans kids up for. The many political victories gay people have won in recent years have done nothing to prevent this. It was always conditional acceptance, as easily taken away as it was given.

But our autonomy and dignity should not belong to others like this. It should only ever belong to us.

I am not here to write inspiring calls to political action. I’m not interested in begging people to call their representatives or get to the polls. I don’t want to waste anyone’s energy or hope like that anymore. I no longer believe there is any liberation to be found within a legal system that has already tried, many times, to legislate entire groups of people out of existence. I think our power as trans people will not be attained through conventional political channels, but by standing together in proud disobedience of the laws that attempt to control our identities and bodies. I think our committed cis allies must be ready to disobey unjust laws too.

If your professional life is touched by these anti-trans laws, I believe you have a moral obligation to break them. If you’re a teacher, doctor, therapist, or school psychologist in Texas, you must be willing to protect transgender kids and their families. If it proves necessary, refuse to report trans kids’ existence to the government. Disrupt and thwart your colleagues’ attempts to report trans families, too. Lose documents. Slow down processes. Lie. Find any methods you can to grind this dehumanizing machine to a halt.

If you’re a healthcare provider in Iowa, find surreptitious ways to deliver care to your trans patients. Help trans families find the resources they need, and build networks with your colleagues in other states, to keep trans kids treated and safe. If you’re a school teacher in Florida, protect your gay and trans students from harassment, and quietly provide information that will help them understand themselves. If you are a parent or educator anywhere in the country, be on alert for transphobic, homophobic policies and undercut them at every possible turn. Every unjust rule is an opportunity to break it. You have so more power than you realize — and far more options than our political system would like you to see.

March Links Roundup: The Transience and Greatness of Books

Happy March–the month when, theoretically, spring will arrive, even in New England. As they say, if you don’t like the weather, wait a day. As changeable, too, are the fortunes of books. This essay by Joseph Conrad (1857-1924), reprinted in Narrative Magazine, limns the author’s destiny in terms that are simultaneously humble, noble, and humorous.

Of all the inanimate objects, of all men’s creations, books are the nearest to us, for they contain our very thought, our ambitions, our indignations, our illusions, our fidelity to truth, and our persistent leaning towards error. But most of all they resemble us in their precarious hold on life. A bridge constructed according to the rules of the art of bridge-building is certain of a long, honourable and useful career. But a book as good in its way as the bridge may perish obscurely on the very day of its birth. The art of their creators is not sufficient to give them more than a moment of life…

No secret of eternal life for our books can be found amongst the formulas of art, any more than for our bodies in a prescribed combination of drugs. This is not because some books are not worthy of enduring life, but because the formulas of art are dependent on things variable, unstable and untrustworthy; on human sympathies, on prejudices, on likes and dislikes, on the sense of virtue and the sense of propriety, on beliefs and theories that, indestructible in themselves, always change their form—often in the lifetime of one fleeting generation.

Given the fickleness and unpredictability of the literary life–like any life–Conrad advises the author to prioritize clear understanding, compassion, and the liberty of the imagination. Art is already dead when it merely serves to illustrate an ideological or aesthetic agenda.

It must not be supposed that I claim for the artist in fiction the freedom of moral Nihilism. I would require from him many acts of faith of which the first would be the cherishing of an undying hope; and hope, it will not be contested, implies all the piety of effort and renunciation. It is the God-sent form of trust in the magic force and inspiration belonging to the life of this earth. We are inclined to forget that the way of excellence is in the intellectual, as distinguished from emotional, humility. What one feels so hopelessly barren in declared pessimism is just its arrogance. It seems as if the discovery made by many men at various times that there is much evil in the world were a source of proud and unholy joy unto some of the modern writers. That frame of mind is not the proper one in which to approach seriously the art of fiction. It gives an author—goodness only knows why—an elated sense of his own superiority. And there is nothing more dangerous than such an elation to that absolute loyalty towards his feelings and sensations an author should keep hold of in his most exalted moments of creation.

To be hopeful in an artistic sense it is not necessary to think that the world is good. It is enough to believe that there is no impossibility of its being made so.

At the Southern arts and culture magazine Scalawag, poet Minnie Bruce Pratt urges us not to give up hope for the queer and leftist struggle in the South. Don’t write off the region as belonging to the right-wing racists. Like her late spouse Leslie Feinberg (Transgender Warriors), Pratt sees transformation occurring through intersectional alliances among queer, POC, and working-class people.

The South is full of our queerness—35 percent of the LGBTQ population in the U.S. lives here (the Northeast is home to only 19 percent). In the Deep South—Alabama, Mississippi, Florida, and Louisiana—almost 40 percent of us identify as people of color; In Texas that figure is over 50 percent.

Pratt shares anecdotes about political organizing and how we can learn from each other’s limited perspectives, such as her white mother who appreciated women’s gains in independence in the 1970s, but was unaware that Black activism laid the foundation for her freedoms.

In this video at Poets & Writers, Paul Tran, in a gorgeously gender-bending dress, reads “Copernicus” from their new poetry collection All the Flowers Kneeling (Penguin Books). Read more of their work at the Poetry Foundation website. From “Endosymbiosis” (a word that means one organism living inside another):

It wasn’t him
but what he did
that lived on
inside me.
I had to
learn that.
I had to
cleave  action
from figure,
the verb  do
from the noun  doll…
Performance artist Kris Grey creates thought-provoking shows and videos with their trans body, often nude, as the centerpiece. This untitled piece, in which they move in and out of a cast of their former body shape, helped me visualize how I might look and feel after top surgery. In their 10-minute video “Suspicious Packages”, Grey tries on some unexpected phallic substitutes. It’s deadpan funny, but maybe only trans guys will get the poignancy of it, too–that way in which a packer both eases dysphoria and uncomfortably emphasizes its own artificiality, its separateness from the body.

My Poetry Book “Made Man” Is Here!

My third full-length collection, Made Man, officially launches March 1 from Little Red Tree Publishing.

Staci Wright at the American Library Association’s Rainbow Round Table Reviews says:

A mix of somber moments and charming wit, Reiter’s collection makes space for humor in the maelstrom of navigating gendered experiences. Their poems synthesize recent historical moments and deeply personal anecdotes to create commentary that dares you to question binaries and social construction itself. Reiter sources material from the nooks and crannies of the human experience; they sculpt each poem using anything from Scholastic Book Club books to Jewish folklore to 1970’s photography series to Manhattan dumpling houses.

Poet and literary critic Stephanie Burt says:

Dense with figure and dense with thought, full of fun and full of anguish, superbly conscious of every rule they break, sometimes giving us comfort and sometimes “another live coal in your mouth,” the poems in this collection work and play and travel in many directions, speak through many and varied masks. Then they come back together to point to a confident future, a nonbinary embodiment, a way past the limits of what other people have told us counts as feminine (“the mermaid bleeds lipstick”), as masculine (“chaos softboy”), as sacred, as childhood (“happy as a rubber ball”), parenthood, adulthood (“I didn’t grow up. I had more laundry”).

I regret that I did not send the poem below to queer theorist Leo Bersani, author of the seminal-in-all-senses text Is the Rectum a Grave? And now he has gone to the great bath house in the sky. Dr. Bersani passed away at age 90 on Feb. 20. From the NY Times obit:

Dr. Bersani was best known for his 1987 essay “Is the Rectum a Grave?,” a dense, polemical critique of the tendency among some gay activists to respond to AIDS by downplaying their sexuality and emphasizing the need to replicate bourgeois heterosexuality.

Male homosexuality was not the mirror image of heterosexuality, he argued, but something radically different, lacking many of the patriarchal inequalities that he said defined straight life.

“Far from apologizing for their promiscuity as a failure to maintain a loving relationship,” he wrote, “gay men should ceaselessly lament the practical necessity, now, of such relations, should resist being drawn into mimicking the unrelenting warfare between men and women.”

This poem (like many of my best works) was inspired by a joke from my husband, so I guess marriage is good for something. FYI, the opening line of Bersani’s famous essay is “There is a big secret about sex: most people don’t like it.”

 

Is the Roasting Pan a Grave?

There is a big secret about turkey: most people don’t like it.
One November day’s duty, otherwise ignored, the bottom.

When the legs are moist, the breast’s dried out
With a hellbound heart, closeted clerics exhort the bottom.

The more savored the taste, the more later despised:
Rest now, fabulous martyrs who whored the bottom.

Play families, play natives’ welcome spread for the plagued men:
Our schoolboy histories will not record the bottom.

But for one night, we feast together in a dying year —
What, then, that too much stuffing may distort the bottom?

We “failed to find the idea of the holocaust unbearable”:
Rather police meat market into pastoral, report the bottom.

Give thanks to ghosts, our unquenchable forefathers,
Pilgrims of filth, who on their knees adored the bottom.

TL;DR? Should Bersani’s words prove dry,
Read the foil pan embossed: ALWAYS SUPPORT THE BOTTOM.

The Poet Spiel: “Returnee” Series

Time for some more hard-hitting poems about war and American manhood from my friend The Poet Spiel, a/k/a the artist Tom W. Taylor. Watch this space for news of our collaboration on my next poetry book!

returnee: commandments 6 and 3

on his knees,
in reverse
of the sacred thou shalt commandments,
first taken to his heart as an innocent,
he killed for you
on lofty commands
drilled deep
in the immediacy
of fear and steel
and fire.

he’d come back home
and robbed you
of what he thought
he’d fought for;
and when he found himself confused,
he cleansed your colon
with his 9 mm glock.

so he fell to his knees —
like when he was a child —
to humbly wash your feet
of what he’d done;
but recognized he’d finalized
his shames
when he exclaimed
his first lord’s name
in vain.
___________________________
returnee: last words

he is so glad to be free
of those god-forsaken sandstorms.

glad to sink heels into real dirt
he’d worked
before he was called.

but he cannot know these bodies,
occupying the same address
where they all watch tv,

where he’s been pissing away big rents
from over there
for all these years.

these aliens have the same names as those
who have been shipping monthly selfies
and xmas goodies to him:
jen and tiffy, billy lou and little john.

though they have
somewhat familiar faces,
he wants nothing to do
with these strangers.

the square truth is:
he just doesn’t have to kiss
nobody’s ass
no more

he’s already said his last words —
every ten breaths of his life
for the past one thousand days.

February Bonus Links: Go Ahead, Break That Dish

When the pandemic started, my spiritual guide Julian said to me, “We’re all going to die, darling–wear your good shoes.” (For more advice from an imaginary fashion photographer, read this book.) The sudden closeness of death and impermanence brought home to me that there may be no “later” that we’re saving our luxuries for. Or, as a less slutty higher power is reported to have said, “You fool! This very night your life will be demanded from you. Then who will get what you have prepared for yourself?” (Luke 12:20)

In the magazine Eater, journalist and witchy writer Jaya Saxena advises “Stop Worrying and Start Using Your Fancy China”:

 It is such a waste of beauty to keep the loveliest things out of sight, away from the parties and the food and the people you love, just because you’re afraid you’re going to lose them.

The thing about owning nice things is you’re going to die one day. Which isn’t to say throw it all to hell and only eat off paper plates, but that nice things are meant to be enjoyed while we’re still on this earth… Honor your ancestors or your family who bought such nice things off your registry by actually using what they’ve given you.

This mindset shift is not easy, I admit. Referencing the fraught family dynamics of our wedding, I often caution my son when he’s playing too vigorously next to our the china cabinet, “Many Bothans died to bring us this Royal Doulton tea set.” Which, now that he’s seen “Star Wars”, perhaps he will understand.

Shortly before that wedding, a much-fought-for event that I’d dreamed about all my life, I wrote this poem about my ambivalence about making any life-altering decision, even one that I wanted. Now, contemplating another big step in my gender transition, I appreciated this article by Joseph Bikart at the UK-based digital magazine Psyche: “How to make a difficult decision”. Bikart offers several thought-exercises to help you identify the parts of yourself that want opposite things; expand the range of choices; clarify your underlying goal; and break down big overwhelming projects into manageable steps.

Bikart writes, “Decisions cut us off from other choices, other opportunities and the possibility of better outcomes. For this reason, the act of deciding can feel like a self-inflicted wound.” (Literally, in my case, since I’m thinking about top surgery!) And he really called me out with this one: “Indecision and procrastination do not postpone the pains of a decision to a future day: they multiply that pain by spreading it across every minute of every day, until you finally decide.”

On that note, hats off to cultural critic and historian Lucy Sante, formerly known as Luc Sante (author of Low Life and The Other Paris), who transitioned last year at age 67. In her recent Vanity Fair article about her journey of self-discovery, this passage stood out to me:

I once described myself as a creature made entirely of doubt, much of it self-doubt, but as soon as I made up my mind to come out, last February, I ceased doubting. That is to say, I experienced regular bouts of dysphoria, which in this context means intense recurring periods of self-doubt, self-hatred, and despair, which happen irregularly for varying lengths of time, typically (for me, by now) about two or three days a week. Yet paradoxically I had never before experienced such wholehearted conviction. Even in the throes of those bouts I felt an unaccountable bedrock of certainty.

Trans people colloquially refer to this moment as your egg cracking. It would be equally true to my experience to describe it as an iceberg thawing. All of the frozen feelings emerge like the Old Ones in “From the Mountains of Madness”. Along with euphoria, wholeness, relief, and a new sense of integration and resonance with myself, I have bouts of grief and fear. I confront internalized cis-het beauty standards that tell me I’m mutilating my body, or squandering the safety afforded by presenting as an average-looking lady. My younger selves finally speak up about the shame and discomfort of puberty. Paradoxically, I mourn both the young man I never got to be, and the older woman I won’t become.

Here’s another poem, “Couplets”, from the same pre-wedding period. “One can never/prove anything to the world, only make it surrender/by ignoring it or being ignored.” Thanks, Jendi-age-26. You were a smart guy.

February Links Roundup: Eat a Book Every Day

In elementary school they read us this delicious poem by Mark Strand: “Ink runs from the corners of my mouth. There is no happiness like mine. I have been eating poetry…” The gender politics of “Eating Poetry” are a little cringe but the visceral engagement with language still resonates with me.

And apparently also with machine learning expert Janelle Shane’s AI, which generated this list of New Year’s resolutions. Eat a book every day. Speak only to apples for 24 hours. Jump in front of a moving tree. And more…

A lifetime ago, it seems, I went to Columbia Law School. Lawyers generate a lot of bullshit, but my alumni magazine has good news about that, so to speak, in their article “The Remarkable Power of Poop”. Reviewing Lina Zeldovich’s The Other Dark Matter (University of Chicago Press), Paul Hond explains that the biomass fuel in human waste is an untapped resource for renewable energy.

Progressive Christian and “opti-mystic” Mike Morrell’s e-newsletter highlights creative spiritual thinkers who strive to reconnect Christianity to social and environmental justice. (And it’s sad that that sentence has to be written at all.) This post from January excerpts poet-theologian James W. Perkinson’s book Political Spirituality in an Age of Eco-Apocalypse. Perkinson draws a connection between our ecologically unsustainable lifestyle and the traditional Christian view of man’s dominion over nature. Beyond that, he sees the homogenizing, totalizing impulse of Christian evangelism as laying the groundwork for the depletion of species.

“God” in its multiple-millennial-long career as an agri-business construct, legitimizing hoarding of means among an elite and of meanings among a priesthood, is perhaps the primal technology of “civilizational” control—the Great Licenser of Hierarchy and Patron of Locked-Down Food, withheld or given for the sake of obsequiousness at the royal whim.

The kingdom of God, by contrast, is a mustard seed, a mystery of proliferating wildness that coexists with many other life forms. “The role of mustard is not to convert all living reality into itself.”

Meanwhile, in the latest issue of Harvard Magazine, Lydialyle Gibson profiles textile artist Celia Pym, who knits up holes in old clothing in such a way as to highlight their unique history of wear and tear. In so doing, she honors the wearers’ long relationship with the garments. It’s like a yarn version of kintsugi. I loved this because it’s always felt disrespectful to just throw out old clothes–we’ve been through a lot together.

“One reason it’s good seeing what you’ve mended is that, once things change, once damage creeps in, it’s very hard to return to the original,” she says. “To make it something new, but different—that’s the stronger move.”

And finally, RIP André Leon Talley, a flamboyant yet regal plus-size couture icon, who was one of the few Black editors in the fashion industry. Among other things, he was creative director of Vogue under Anna Wintour, and a judge on “America’s Next Top Model”. From the NY Times obit:

Mr. Talley, who stood 6 feet 6 inches tall, was an unmistakable figure everywhere he went. Given to drama in his personal style (he favored capes, gloves and regal headpieces), his pronouncements (“My eyes are starving for beauty”) and the work he adored, he cultivated an air of hauteur, though his friends knew him for his subcutaneous sentimentality…

…Mr. Talley continued to believe in the power of the well-placed seam and the perfectly polished shoe, the way the shallowest of objects can transform our deepest aspirations into reality.

“To my 12-year-old self, raised in the segregated South, the idea of a Black man playing any kind of role in this world seemed an impossibility,” he wrote in his memoir.

For more on his unique career, check out this 2018 NY Times article about the documentary “The Gospel According to André”. The movie is available on the streaming services HBO Max, Amazon Prime, Apple TV, and Hulu Premium.

Hell Is the Absence of Closure

Having just finished my intensive immersion in “The Sopranos”, I don’t have an explanation for the enigmatic and (some would say) unsatisfying final cut-to-black scene of Tony in the diner. To quote Wednesday Addams, Are they dead? Does it matter? What I do notice is a psychological resemblance to the endings of two other shows that made a deep impression on me, “Mad Men” and “BoJack Horseman”. The central character of all three shows is a charming and destructively narcissistic man whose antisocial behavior at first seems clever and entertaining, then tragic, then dull and predictable.

I binged “BoJack” during 2020 quarantine (how fucked-up is it that we have to specify which year of COVID quarantine we’re in?) and something about its combination of bleakness and surreal frivolity spoke to the sudden bizarre shift in our lives. I was late to the “Mad Men” trend, but caught up in time to watch the last season in real time. Back in 2015 I thought Peggy Olson had finally shown me the kind of woman I was, which I’d never seen on TV before. Isaac Fellman’s essay “Peggy Olson Is a Gay Trans Man” tells you how that worked out.

As viewers, we crave a conventional narrative arc. Someone changes, or is shattered by the consequences of refusing to change. The endings of these three series frustrate that desire, because a wearying stasis is truer to life with a person trapped in his own narcissism.

Don Draper seems to have a breakdown and breakthough in the finale, shedding the status symbols of his ad-man life to wind up sobbing in an encounter group at Esalen. But the final minutes strongly suggest he’s going to spin his moment of enlightenment into a Coca-Cola commercial as soon as he catches a ride home to New York.

A “Hollywoo” treatment of “BoJack” would have ended one episode earlier, with him drowning in the swimming pool of his former luxury apartment like Joe Gillis in “Sunset Boulevard”. Instead, a subdued BoJack is directing amateur theater productions in jail while his friends’ lives move on without him. “Life’s a bitch, then you die, right?” he says to Diane, who replies, “Sometimes, life’s a bitch, then you keep living.”

In my opinion, that’s the punishment to which Tony Soprano is sentenced. He’s dead inside, whether or not his physical body is alive. Like the Flying Dutchman, he’s going to go on eating onion rings in that diner forever, after almost all his old friends and close family have died (many by his hand).

Sometimes the redemption arc is that other people get away from the one guy who’s been soaking up all the energy in the room because of his resistance to growth. The guy who thinks he’s the main character in everyone’s life, not just his own.

January Links Roundup: As the Crow Flies

Welcome to 2022, readers. Let’s start the year with the energy of this Oregon crow who befriended a class of fifth graders:

[Education assistant Naomi] Imel said the bird wasn’t aggressive at all and seemed to love the kids.

“It landed on some people’s heads,” she said.

And, she added, it spoke. The bird could say, “What’s up?” and “I’m fine” and “a lot of swear words.”

I’m doing my part–I’ve taught my 9-year-old to say “va fungool”, which he prefers to pronounce as “fats and goo!”

In other linguistic news from Harvard Magazine, my alma mater has articulated some useful principles for “de-naming” buildings and programs that honor slave-owners and other problematic characters:

 Harvard Law School has changed its shield, given its prior association with a founding benefactor who was a slaveholder. The faculty deans of Lowell House have relocated representations of Abbott Lawrence Lowell—a former Harvard president, whom they associated with racist, anti-Semitic, and homophobic views and actions—and prompted a wider discussion of the House’s name. (“Faculty dean” is itself a 2016 retitling of the position formerly known as “House master”—a decision accompanied by some controversy.) Critics of the Sackler family, associated through their pharmaceutical company with the lethal opioid epidemic, have called for renaming the eponymous museum (the donor, Arthur M. Sackler, pioneered pharmaceutical advertising, but died a decade before Purdue Pharma introduced OxyContin, the compound associated with the epidemic.)

One of our local writing groups hosted an online discussion this winter on Craft in the Real World, by bestselling novelist, essayist, and writing teacher Matthew Salesses. In true Harvard student fashion, I hadn’t actually read the book yet when I attended, but it’s on my long wishlist because of the compelling insights in his January 2021 LitHub essay “25 Essential Notes on Craft”. Salesses points out that aesthetics are never universal or apolitical. Rules for good writing are audience-dependent, and we don’t always need to cater to a white American individualist audience.

Craft is also about omission. What rules and archetypes standardize are models that are easily generalizable to accepted cultural preferences. What doesn’t fit the model is othered. What is our responsibility to the other?…

Craft is the history of which kind of stories have typically held power—and for whom—so it also is the history of which stories have typically been omitted. That we have certain expectations for what a story is or should include means we also have certain expectations for what a story isn’t or shouldn’t include. Any story relies on negative space, and a tradition relies on the negative space of history. The ability for a reader to fill in white space relies on that reader having seen what could be there. Some readers are asked to stay always, only, in the negative. To wield craft responsibly is to take responsibility for absence.

I never get tired of reminding people that the controversy over false memories was largely manufactured by defense experts for parents accused of child molestation. “Harvey Weinstein’s ‘False Memory’ Defense and its Shocking Origin Story,” a Longreads article from February 2020 by Anna Holtzman, is subtitled “How powerful sex offenders manipulated the field of psychology.”

Founded in 1992, [the False Memory Syndrome Foundation] was on its surface an “advocacy group” created by and for parents who’d been accused by their children of sexual abuse. The group’s supposed agenda was to provide support and fellowship to families that had been “destroyed” by accusations of incest. They launched a well-funded media campaign purporting the existence of an epidemic of “False Memory Syndrome” — not a scientifically researched condition, but rather a slogan concocted by accused parents to discredit the testimonies of their children…

The strategies by which FMSF infiltrated the psychology profession share much in common with Trump’s methods. The foundation used a carrot-and-stick technique to coerce the mental health field to fall in step with their agenda. The carrot was an impressive list of researchers, psychologists and academics that the accused parents of FMSF had recruited to be on their Scientific and Professional Advisory Board. The stick was a far-ranging assault of well-funded lawsuits aimed at discrediting, disbarring and suing therapists who dared to support incest survivors and validate their memories.

Psychologists and therapists were threatened with professional ruin if they sided with survivors and were tempted with professional reward if they aligned with the powerful forces behind the anti-survivor backlash…

Elizabeth Loftus, widely cited as the preeminent memory researcher in the “false memory” camp, has made a career of defending alleged child abusers in court for large sums of money. By her own admission, she has no experience working with trauma survivors in any clinical or research capacity.

Holtzman notes that the FMSF board included University of Pennsylvania psychology professor Martin Orne, known for working with the CIA on mind-control experiments during the Cold War.

Orne and his MKUltra colleagues likely believed that by traumatizing their “research subjects,” they could ensure that their victims would not remember the abuse or would at least be too afraid to tell anyone. When survivors started speaking out, however, it became evident that their memories were resurfacing. So, what better way to silence sexual abuse victims than by launching a propaganda campaign that labels victims as crazy and discredits their memories? And what more natural frontmen to hide behind than the aggrieved parents of FMSF?

Holtzman’s article carefully and clearly debunks the main arguments used to discredit recovered memories. Whether or not you buy the CIA conspiracy theory, her logic is sound. And the Weinstein connection? One of his expert witnesses in his rape trial was, you guessed it, Elizabeth Loftus.

Safe Communities Pennsylvania has created this free 36-page guide to making your church congregation a safer environment for survivors of child sexual abuse. What I appreciate is that they treat it as a theological issue, not only a pastoral care issue. The guide suggests ways to rethink your preaching about forgiveness, suffering, and peace, among other concepts, so that survivors are not silenced or pressured to do emotional labor to redeem their abusers.

Reiter’s Block Year in Review: 2021

How it started:

Jennifer Melfi - Wikipedia

How it’s going:

Silvio Dante Picture

Another year around the Block. I definitely don’t take that for granted. It’s one thing to know intellectually that life is short and unpredictable, entirely another thing to feel that urgency as one wakes up every day in a country under threat from fascism and disease. What am I waiting for?

High Spirits: I tried marijuana edibles for the first time in November. It was pleasant to feel my brain slow down for about 5 hours. No time to do it again till February, I imagine. I really need to readjust my work-life balance.

Salem’s Lot: Studying witchcraft this year has brought me great satisfaction, mind-body integration, and optimism. ICYMI, I blogged about it earlier this month. My first year of training will wrap up in March 2022. Time to start selecting my magickal name, which may coincide with applying for a new passport and driver’s license with a male gender marker. (My desire for gender affirmation conflicts with my basic laziness regarding paperwork and my Ron-Swanson-esque opinion that my gender is none of the government’s business anyway.)

Personal Soundtrack: Remember that week in January when everyone was singing sea shanties on TikTok? I got hooked on The Longest Johns, and particularly their song “Bones in the Ocean”, a poignant ode to survivor guilt that seemed extra meaningful as America’s COVID death toll reached 800,000. The Young Master independently discovered this song at summer camp and now we listen to shanties together on Spotify. His fourth-grade music teacher also introduced him to 2Cellos, an energetic pair of HOT guys who play pop tunes in a classical style. And I still can’t get enough of that German Karneval music.

Bookbag: Some of the extremely homosexual books I enjoyed this year were Aden Polydoros’ Jewish paranormal mystery The City Beautiful, Brandon Taylor’s literary short fiction collection Filthy Animals, and the poetry collections Mutiny by Phillip B. Williams and The Malevolent Volume by Justin Phillip Reed. I’d been meaning to read Glen David Gold’s historical novel about vaudeville magicians, Carter Beats the Devil, for almost 20 years, and it was all I hoped for and more. Julie Murphy’s queer YA romance Pumpkin gave me the courage to sign up for a transgender runway show next month. Pictures forthcoming!

The Writing Life: I finished a major revision of my novel Origin Story with guidance from the peerless editor/sensitivity reader Denne Michele Norris, co-host of Food 4 Thot Podcast and the new editor-in-chief of Electric Lit.

Once again, I took part in the 30 Poems in November fundraiser for the Center for New Americans, while binge-watching “The Sopranos” on HBO’s streaming service. The conjunction of those two pastimes generated The Waste-Management Land, a poetry chapbook manuscript in need of a good home.

My third full-length poetry collection, Made Man, comes out in February from Little Red Tree and is now available to pre-order. Cover art and interior illustrations by Tom W. Taylor a/k/a The Poet Spiel. This book explores female-to-male transition and gay masculine identity through the voices of unusual objects and fictional characters. Enjoy the opening poem, first published in Crosswinds Poetry Journal.

Self-Portrait as Pastry Box

Under my roof, cathedrals of piped
icing breathe out the sacred stale
sweetness of cream and cardboard
white as a right-hand man’s
final satin bed.
Under my roof we pay our respects.
The family is a thin shelter, soon wet.
If you don’t believe me, open
and see the red smash where tiered berries kissed
the jostled lid. No shifting
the ingredients. No loose knots in the string.
Under my roof I’ll thank you
not to take knives in vain.
Remember him who was lifted
from the river, from the box he was sealed in.
The snapped wafer laid on your tongue like a secret
recipe. Religion‘s root means to tie
string round the wrists, the trash
bag sinking, the harbor’s surface restored.
Under my roof the family’s bound
to gasp, glorying in the sugared name
I display to be sliced after the blown-out wish.
Take the cannoli, broken for you.