Saturday, October 30, 2010
This post is dedicated to a small and noble and utterly beloved beast who I have known since I was ten. Who would have thought such a tiny creature could wreak such havoc with a heart a thousand miles away? I wouldn't normally put this kind of thing online, but in this geographic inability to scritch behind her ears and will her through the night there's nothing much else I can do, besides dropping tears all over my essay notes.
Sunday, October 3, 2010
Tatterdemalion
Thursday, September 30, 2010
The bashed wife teaches best.
Monday, August 30, 2010
Call me Duck, or Lulu.
Wednesday, August 25, 2010
Two things novel
Sunday, August 22, 2010
Penelopitis
gloomy sunday
Monday, August 16, 2010
Penelope's Medicinal Potion aka Mud Tea
After spending the day at work feeling like a hedgehog's died inside my throat, I've resorted to desperate measures inspired by my friend the witch who dosed me so well last week I sweated garlic all the next day. So,
Monday, August 2, 2010
lipstick laksa
Tuesday, June 15, 2010
peppermint love
Sunday, June 13, 2010
toad-in-a-hole
Monday, May 24, 2010
The Slug
And then it hit me. Sluggish: of or like a slug. From Middle English, slugissh.
Un-believable.
Sunday, May 2, 2010
The Boyfriend
(Seriously, this guy (the bestie) should open a business or something. A B&B-cum-Tupperware-Party kind of thing, where you go stay at his house with minimal clothing and unlimited access to his wardrobe. He'd make a killing.)
Anyway, so there I was in this op-shop, avoiding the womens' section like small boys avoid girl germs, and damn was it good. Racks upon racks devoted to all possible permutations of shirts + trousers: short-sleeved/legged, long-sleeved/legged, in-between-sleeved/legged, summer-sleeved/legged, winter-sleeved/legged, overalls, singlets, suits, finito. So easy. So simple. None of this short-medium-long-dress/skirt/shorts/slacks/trousers/jeans-button-up-button-sideways-zip-down-zip-up-high-neck-low-neck-turtle-neck-jackets-coats-cardigans-teacosies-too-baggy-too-tight-too-floral-too-bright-everything's-perfect-but-for-THIS. Nuh-uh. It's all too big and it all don't fit and I love it.
I liked to think I was being a touch ironic at first, given the prevalence of the 'Boyfriend' in marketing campaigns of late, but it's so easy to be all superior and think you're mocking a 'look', isn't it. I mean, in the absence of a boyfriend, it's probably the look that's mocking me.
Monday, April 12, 2010
Puss-in-Boots
Sunday, March 21, 2010
Man/Girl
Friday, March 19, 2010
build 'em up, cut 'em down
Friday, March 5, 2010
In Back of the Real - Allen Ginsberg, 1954
Thursday, February 18, 2010
Of (Mark) and (Anne)
Wednesday, February 17, 2010
There is a particular term, Valerie, which strikes terror in the heart of small Penelope:
early-onset Alzheimer’s. Does that not send chills of the highest order down your spine? Now as you surely know dear, I have always been one of the more scattered of brained beings, but not so long ago I was beginning to have serious doubts about whether, in fact, this affliction were less incidental than pathological. Take, for instance, the time I accidentally booked a flight to Bangkok instead of Brisbane. Or the way I consistently confuse tomatoes with potatoes, cherries with grapes, washing with shopping. Or any one of the several times last year that I accidentally made saucy little hatinators for staid old biddies, and giant feathered monstrosities for the high-at-heel and young-at-heart. Or the way I can never seem to remember what I did yesterday. Or what the book I just finished reading was about. And then there was the mortifying confusion of Susans Sarandon and Sontag at a dinner party once.
I was spiralling into a full-scale panic about my mental faculties until I read an editorial by a lady who is prone to leaving books in the vegetable crisper. She could trace her absent-mindedness right back to her grandmother, who one day was chopping soap for the copper and vegetables for the soup at more or less the same time. Needless to say, the soap ended up in the soup, and the laundry turned into minestrone.
Until such an occasion eventuates, darling, I think I can relax a little.
A learned woman I met once had been reading a book about the human brain. She told me that the brain is plastic: in other words, mutable. When parts of the brain sit disused, they are trimmed away to allow development in other areas. What worried her was the state of education in relation to our cranial development. When she was at school, she said, students were forced to memorise large chunks of poetry, Shakespeare, the Bible. Most of it was irrelevant, of course. Whoever quotes tracts of Hamlet in everyday speech? What counted was the process. The act of recall. How are younger generations supposed to gain the capacity for sustained, concentrated thought, she asked, when memorisation is reduced to an English oral with palmcards, television is presented in bite-sized chunks of entertainment and advertising, and the internet is a tangle of hyperlinked info-bytes?
I have heard a similar argument put forward in relation to literacy in ancient societies. Someone once told me that some civilisations preferred to maintain illiteracy amongst the general populace so that their memories would remain supple (amongst other, less noble reasons, I’m sure). Now, I haven’t been able to verify this yet, darling, but it is a fair point: writing something down immediately gives us license to forget it. Why bother remembering when your Blackberry can remember for you?
Really, Valerie, I ask you: is it any wonder our memories are getting worse by the day, when our brains are trained to receive and dispose of morsels of information within the same heartbeat?? Like the time I walked through customs on my arrival from an overseas trip, chatting merrily on the phone to one of my dearest friends. An official kindly informed me that I could earn a $250 fine for having my mobile on. Hadn’t I seen the sign? Of course not, or if I had I'd forgotten: I was jet-lagged, and blinded by the posters promising duty-free delights around the corner. Another time a railway official roundly abused me for taking my suitcase up the escalator. I was meant to use the lift; hadn’t I seen the sign? Of course not, or if I had I'd forgotten: it was obliterated by ads for Frangelico and a forest of whipper-snappers waving copies of MX in my face. Valerie, we are simply glutted on a neverending smorgasbord of textual fragments which are so small that we cannot help but read them. Most of them, of course, are useless, so what happens? We become trained forgetters!
I went to Taiwan not so long ago. I don’t know a word of Mandarin, and I can’t begin to tell you the relief of not being able to understand a single sign in the city. It had its navigational disadvantages, of course, but oh! The serenity! The sense of calm that comes from not having words flashing into your head wherever you look! The luxury of following a train of thought from A to Z without the distractions of inane, unrelated text (shop names, ads, slogans, news headlines, latest offers, menus in the window, today onlys, bargain buy now cheap cheap cheap)! I came home and almost began to wish I were illiterate, just to enjoy the freedom of a single uninterrupted thought.
Darling, I think I will pretend to be blind. I’ll walk around with my eyes shut wearing dark glasses and swishing a cane at people’s ankles. I will starve myself of all written materials save those that I expressly choose to partake of. I will take control of my cerebral diet once and for all! And just think what will happen to my intellect!
Yours in imminent genius,
Penelope.
Tuesday, February 9, 2010
Literary Orgasms: A Brief Footnote
… so I wasn’t reading erotica. And I wasn’t hunting down once-banned books. But I was still pretty surprised at how hard actual orgasms are to come by in your average novel. Most authors seem to draw a tactful curtain over that particular aspect of existence. It reminds me of a letter I read in a newspaper once, from an old lady complaining about the explicitness of sex scenes in the movies nowadays. And she wasn’t being prudish. Things were way more saucy, she said, when the hero and the heroine shut the door on you and left it up to your imagination.
She had a point. I’m endlessly intrigued by the seen/unseen divide. The ways the hinted-at can be so much more erotic than the explicit. Maybe the Victorians were onto something with their floor-length skirts and oft-elevated necklines. In the absence of cleavage and acres of skin, apparently, the humble shoe achieved unprecedented erotic significance: the merest curve of an instep or glimpse of a shapely ankle was enough to make a Victorian gent cream his woollen drawers.
So in the spirit of the gently seductive, I’m widening my search. Expect metaphor, innuendo and plenty of drawn curtains. But in the meantime, here’s a little gem I stumbled across in the course of my summer reading -
“then he pulled his fingers very slowly down my face, lightly tracing from my jaw to my throat and then all the way down to my waist. My eyes rolled back into my head a little.” – Stephanie Meyer, New Moon
Tuesday, February 2, 2010
Have you heard of the Rushdie Affair, Valerie?
If not, I’ll condense it for you: Salman Rushdie published a book that angered a far-away man and many adherents of a not-at-all-far-away religion. Then, in an utterly ridiculous twist best contained within the bounds of awful fiction, a bounty was placed on his life.
Now I don’t want to quibble about his suspect innocence here – although personally, I think he could have been a wee bit more sensitive – but you have to feel for the man: the state stepped in to keep him under armed guard, sleeping in a different hotel every night, staying away from the windows lest someone catch a glimpse of his infamous head. People in the publishing industry were stabbed, shot, killed in the name of a novel. Imagine the weight on his shoulders, darling!
Now the salt in the wounds of the offended, dearest, was that before he defected to England, Rushdie grew up in India, immersed in the very culture that he criticised in his book. What was he thinking? they cried, and, how dare he?! and, he should have known better! And as if that weren’t enough, people in his adopted country started griping about the cost of his protection. Turn him loose! they cried, and, let him fend for himself instead of wasting taxpayer’s money on his room service (he wasn’t, incidentally. Being a famous author has some financial perks). Now, it probably didn’t help that in said novel he’d referred to their – his – prime minister as “Ms Torture” and described a nightclub where her lifesize waxen counterpart was ritualistically nuked – amongst certain other unfavourable comments upon the English. Nevertheless, darling, the poor man was caught in quite a remarkable bind unique to the emigrant: first you get criticised for turning your back on your birthplace, then you get eaten up for daring to make insinuations about the culture that has so graciously accepted you as one of its constituent citizens.
It makes me sick, Valerie! The very concept of emigration is predicated on a myth: the myth of nationhood. Firstly, we don’t get to choose where we’re born. Secondly, we have never met about 22 million of the people we share our vast continent with, and we never will. Yet this myth is perpetuated to make us think we have something in common with every one of those 22 million others (except the paedophiles. And the rapists. And the serial killers, street artists, crack addicts, shoplifters, armed robbers, gang bashers, gang bangers, child pornographers, photographers of naked children, and Collingwood supporters). The myth says: this is what Australians value! You live in Australia! Therefore, this is what you and everyone you know values!
Do you know, I used to think I was immune to that myth? I refused to attend Australia Day celebrations, I scoffed at overt displays of patriotism, I even donned a jersey with the stars and stripes when everyone else was wearing green and gold for some sports-related hoo-ha. Then I went overseas. It is interesting how subtly nationhood insinuates itself. The only times I’ve ever felt Australian, dear, were when I wasn’t in Australia. People say, Oh look! An Australian! and, Say something in your accent! and, We bought kangaroo steak because we thought you might be homesick! And it’s all fun and games laughing at people’s stereotypes of us until someone says something critical. All of a sudden you become staunchly loyal. It’s like the bathmat wars of 2000, dearest. Have I told you about them? It happened like this: my mother was away and a relative stayed over to keep me company. Now, I am a solemn believer in leaving the bathmat on the floor after use. It is, after all, a mat. She, however, preferred to drape the bathmat over the towel rail. I was, at the time, very defensive of my household systems. On finding the bathmat on the towel rail, I would immediately lay it flat on the floor. On using the bathroom after me, she would immediately pick it up and pop it back on the rail. This continued for some time. And don’t think it was a twice-daily occurrence, dear. That mat would have shifted fifty times a day. It was a case of all-out passive-aggressive bathroom warfare that only ended with her visit.
What did I learn from that little episode? Simply that we are outrageously defensive of our own little systems and outrageously incapable of weighing two methods impartially if one of them is our own. Now, if I had decided to hang the bathmat on the towel rail, I could have left it there all day. I read a little editorial the other day by a man who had just returned from England, where ATM withdrawals are free. He complained about his accumulating $2 fees to a friend, and do you know what his friend did, Valerie? He defended those pesky little fees, just because the alternative was to acknowledge the English way over the Australian.
See? This is what we need writers for, Valerie: the dissemination of perspective. A reprieve from the political, national-mythical biases of the popular media. And we need to give the poor writers a break. Calling them ingrates for critiquing their culture, or their adopted culture, or somebody else’s culture – so long as they do it with balance and sensitivity – is just one step away from censorship and propagandism.
Yours from a very high horse indeed,
Tuesday, January 26, 2010
I have recently finished reading a certain quartet of books with red-edged pages and decidedly vampiric content, Valerie dearest.
Thankfully, dear, I am not alone in my obsession. By Christmas 2008 the whole series was temporarily out of print. Bookstores had been bled dry. Teenaged boys began buying copies to keep up with their female counterparts. Movies began to be made. Collectors’ Editions appeared. Fans proudly admitted to being twihards. Nor were they limited to the ranks of the young. The kind lady who loaned me one of her four different editions (five if you count her audio books) was middle-aged. Husbands were sheepishly buying for their wives. I even saw an old man reading one once.
Have I mentioned, darling, that the writing is atrocious?
As you know, Valerie, I get cranky when I don’t get my beauty sleep. Lord knows I need it. So I was very keen to understand how these books were keeping me up past breaking dawn (apologies) when other works of far superior literary merit can sit meekly by my bedside whilst I snore.
Or snuffle. I’m sure I don’t snore, dear.
Now, Anne Lamott, in her book Bird by Bird (to which I have committed the injustice of reading only half a page, and offer my sincerest apologies if I misremember it) opines that true plot, literary plot, emerges from characters. The more complex the characters, the more naturally plot will emerge. After all, plot is what happens to all of us everyday, simply through the interactions of our differing selves. Questionable writing, she says, occurs when an author sketches out a plot and then tacks some underdeveloped characters to it.
E.M. Forster would call such underdeveloped characters flat (as opposed to their more complex round counterparts). Now before you have me on toast, Valerie, flat is not necessarily a bad thing. Indeed, it is essential to almost any work of storytelling. Even in real life, darling, the people we casually encounter and judge on a handful of personality traits could be called flat, simply by virtue of us not knowing them. Look at any work of literature, darling, and I’m sure you would find at least one flat character amongst all the carefully-developed Forsterian rounds.
But I think you will also find, darling, that the most popular genres of movies and fiction are comprised entirely of flat characters. Think of the old Italian Commedia dell’arte characters you still see in every sitcom ever made. Think of the characters of romance, crime, adventure, comedy, war, thriller, sci-fi, mystery, fantasy, pornography, western, mid-western, sou'western, middle-eastern. Think of Edward, Bella, Jacob. Flat! All flat!
And why would this be, dear? Simple: escapism. The less complex a character, the easier it is for us to identify with them. Now, in a work of serious literary intent, where the characters are impeccably rounded and just as complex as they please, pleasurable character- identification can be damn near impossible. What if we don’t like the protagonist? Being dragged through the intimate psychology of someone we normally wouldn’t talk to on a bus, dear, requires a certain amount of sticking power. Not many people are too comfy about living through someone whose thoughts, desires and morality are utterly foreign to their own. Commercial success depends on the simple characters. The flat ones. People with enough humanity to capture the reader, but not so much as to alienate him. Or her.
But darling, this worries me to no end. If I am correct (and you know, dear, that I am always correct) in saying that the vast majority of commercial storytelling (literary or cinematic) depends on the vicarious pleasures attainable through the use of simplified characters, then the stuff of popular culture must therefore be built upon and limited to the experiences shared and shareable by the majority of society.
Now this, in itself, is no problem. Indeed, it is the basis of all human interaction: stepping off your individual perch and finding common pecking-ground with others. What worries me, darling, are the unprecedented methods of mass-production and dissemination available to us now. At what point do texts cross a line between entertainment and prescription? At what point do all our possible ways of being become limited to those that we are shown by the mass-market? Typical ways of being a mother/father/teenager are beamed into our loungerooms every evening. Typical mums spruik "You'll Love Coles". Typical beauty is prescribed in film, music, books. Typical characters say typical things to each other amongst typically tangled plots.
We are agreed, Valerie, that we seek to emulate what we admire; also, that emulation is made easier by simplicity of character; also, that the dissemination of stereotypes has reached an unprecedented high. We have seen the devastating impacts of propaganda in countless wars; is mass-production its insidious counterpart? Does the mass-marketing of flat, prescriptive character roles inform the creation of mass-produced personalities? Is society beginning to lose value in individual thought, experience, insight? At what point does mass production become homogenisation?
Yours in unusual flummox,
Penelope