Greetings unreal friends!  It’s been crazy-busy over here at Magically Real HQ. Manuscripts and chapbooks and new heteronyms are emerging, not to mention the usual spring time mucous-filled allergies.

But sometimes the unreal inserts itself in that moment between sleep and complete, stressed-out awake-i-tude.

Here’s what came out.  If you are familiar with the Marvin Belldead man” poems, the following may strike a gut-like resonance here.

belly

once upon a time there was belly.

belly said i will make a baby. it will be good and therefore not the messiah. it will be strong and therefore not god. it will be joyful and therefore the world.

halloween came and belly went as buddha’s belly, but not as santa claus’s.

belly came to a mountain top and did not climb it but had a picnic at the base,  mocking the hikers as they struggled up in shorts.

belly said i will grow bigger not flatter and belly went on the talk show circuit about their new book.

belly made an hbo series which is more to the point than making a film.  then belly made a film too.

belly dreamed of mouths and teeth, tits and tongues, and soft pink flesh expanding.

belly explored the world of video-games, and xboxed itself into new shapes of roundness by using the wii floorpad for ambiguous purposes.

belly drank wine and read porno of course. this is not surprising but belly must declare even the obvious, for it too must be proclaimed.

even in the mornings belly refused to lie flat let alone sink into concavity. belly perched between twin bones, rubbing itself against the consciousness covers, preparing to puff itself outward into the day that awaits lean mean but it’s no match for belly don’t you know that yet?

Nalo Hopkinson’s new YA novel THE CHAOS is one bad-ass surealistic, feminist, progressive, queer friendly, POC celebrating, anti-ableist mind- trip.  Featuring gorgeously ambiguous grrls of color, the novel takes us on a ride that Andre Breton and Frida Kahlo would feel right at home in.  Or should I say on?  Nice town Toronto Canada becomes Ground Zero  for a global nervous breakdown, as all inside fears and desires burst outwards, propelling our hero Scotch into a combination Russian fairy tale, Creole Soup Kitchen, Hurricane Katrina, and PTSD slam poetry/dance routine.

To paraphrase a sentence in the novel, weird is Hopkinson’s vacation home – a crazy house on chicken legs that gives birth to self-discovery, terror, joy, and freedom.

Think young adult fiction has to be realistic, standardly dystopian, and/or just plain nice?  Or just plain mean?  Or one-issued/one themed?

Think again. And jump into the fiery furnace of The Chaos.  You won’t get burned.

Or will you?

Dear Magically Real Friends:  I wrote “Sock Legends” several years ago on Easter Morning. It continues to be one my favorite stories, and I will keep on reprinting it, until it’s no longer needed.  Please read and share.  (appropriate for everyone)

Happy Easter!  Happy Passover!  Peace, Love, Good Will!

Once upon a time there was a little sock that lived in a sock drawer along with T-shirts and underpants in a blue dresser in somebody’s room. The sock had lost its twin long ago and, having no sibling to talk to, spent most of his time in the darkness of the drawer, listening to the other socks discuss the matters of the day.

A pressing issue among the sock population had become how the world was made and organized. The socks talked endlessly and sometimes so vehemently about this question that the drawer handles rattled and the T-shirts and underpants had to knock on the bottom and top of the drawer to ensure a little peace and quiet.

“Those socks need to learn how to get along,“ said the T-shirts to each other.

“Those socks certainly entertain high-falutin’ ideas,” observed the underpants.

“That’s because there are so many of them,” said the long johns, who had gotten thrown in the underpants drawer by mistake.

“And because they have to split apart to get washed and then get put back together, they get all manners of crazy ideas. It’s that constant movement or partition and reunification that makes them a bit unhinged.”

“Well, don’t you know everything?” said an aggravated pair of Hanes all-cotton. He was very annoyed that the long johns were pressing in on him, making doing what he liked to do best—spread out, letting his fibers breathe—difficult.

But it was certainly true that the socks argued a great deal about credos and creeds.

One corner of the drawer favored the theory of a One Sock Above All Others, who created sockdom, underpantsdom, and T-shirtdom. The OSAAO had decided that the socks were the chosen garments, perhaps because of their duality, and gave them special laws of conduct. Thus it was believed, according to this segment of the sock population, that the original socks had been created in a sort of divine factory by the OSAAO. The first socks were then forced to leave and travel—just how, no one knew—to the sock drawer itself.

The little sock listened to the stories of wandering and exile, of the attempt to create order out of the chaos of a drawer, and of the need for laws: All knee-highs together at the front; all crew socks at the back and pastels in the middle.

Orphaned socks, like our little sock here, were to be placed near the front but not quite, so they could wait and hope for the coming of their long-lost twin. Only then could they go out into the world like the other socks, who did (it must be admitted) exit the drawer from time to time.

Another group of socks fervently disagreed. These were the socks that lived at the opposite corner of the drawer. They maintained that yes, of course there was an Original Sock Creator, but there had been, and would be again, a Son of Sock, who taught that love was more important than rules and that believing was more important than doing. These socks got tangled up with each other and often ended up in a giggly pile that kept on saying how much they loved each other. Sometimes they even rearranged themselves into nonmatching pairs, and out they went in the world and sometimes did not, sad to say, come back at all.

These two groups argued a lot about the law versus emotion, about duty versus inspiration, and, often, the little sock did not understand what in the world they were talking about. Why did one side get so angry? (The chosen sock group.) And why did the other group go from sudden laughter to rage and then to abject tears when anyone disagreed? (The Son of Sock contingent.)

That’s when the third group showed up. The third sock consortium consisted primarily of tightly woven business socks. Adult-looking, they could be beige, argyle, black, brown, or blue, but rarely white, and almost never pastel. They congregated at the very front of the drawer, pushing hard against those who had come before, and they insisted—loudly—that they needed to be stationed there so as to be ready to make the Great Sock Journey. All socks must travel, the new arrivals said, to the place where the famous Sock Soothsayer received his written instructions, dictated directly from the Sock Maker Himself.

A lot of socks didn’t like these newcomers. The new business socks were quite aggressive, and they told the other socks they were stupid if they didn’t agree with them and that they were going to end up in the trash if they didn’t behave. On the other hand, they told wonderful jokes and were big huggers. If they liked you, they would say “SOCK!” and embrace you. After that they were always your friends.

The little sock didn’t know what to think. He had a feeling that believing was important, and he missed his long-lost twin, whom, at this point, he could barely remember. He decided, despite his doubts, to go on the Great Sock Journey, and when the Newcomers jumped into the laundry basket, he hid himself underneath a big argyle sock and jumped too.

Oh, dear! What a mistake, thought the little sock as he found himself immersed in freezing cold water and not in the usual hot of distant memory.

“That’s to protect our colors, foolish little one,” said Argyle haughtily. The little sock got thrown around in the agitating cold water. But along the way he met a kind T-shirt who swept him up in his shoulder.

“Just hang on there, young fella,” said the T-shirt. “I’ll protect you from the worst of the buffeting. Then we go into the driving desert, and we can talk as we spin around.”

And hardly had he spoken when they whirled madly in violent circles and then got tossed into a dry and hot enclosure.

This is like the original Sock Journey some of my people talked about, thought the little sock, and so he spoke to the T-shirt as they settled into a comfortable, warm spin.

“Oh ho,” chortled the T-shirt when he heard about the various sock disputes. “So this is what you all are caterwauling about in that overcrowded drawer of yours.” The T-shirt unfolded its neck so as to better enjoy the warm drying air.

“The difficulty with your view is that it places socks at the veritable center of the universe,” said the T-shirt, extending his arms and allowing the little sock to rest comfortably against the belly of the shirt.

“But it excludes everyone else. What of T-shirts? What of underpants?”

“Gosh,” said the little sock. “I never thought of that.”

The little sock was beginning to feel wonderfully dry, and as he nestled in the smooth cotton of the shirt, he asked his older acquaintance to share some other ways of believing.

The T-shirt—who had clearly spent much time in the great world outside—happily obliged.

“There are views of the universe that there were many makers, not just one, and many helpers, not just a son. Some say there was no maker at all and that the world as we know it—filled with drawers and textiles and water and heat—just happened. A kind of wonderful chance.”

That possibility frightened the little sock a bit. Could there really be no plan at all? He shared his fear with his new friend.

“So, what do I do now?” asked the little sock.

“I think,” said the T-shirt, “you just try to live well, behave kindly to others, and be happy.”

“And my twin?” asked the little sock.

“There, you have a real problem,” said the T-shirt, “and you may indeed decide that a quest beyond the limits of the laundry will be necessary. For that you will need to find a foot, and the foot will take you where you need to go.”

The air grew still. The little sock felt himself pulled out of the space. As he called good-bye the T-shirt called cheerily after him.

“Go forth, young sock.”

The little sock felt himself slipped around something large and fleshy, and he saw himself covering wriggling, wormlike monsters. The monsters waved to him, and he felt himself encasing a being larger than himself but still small.

Is this the Sock Maker? he thought, but no. And, yet, imagine the little sock’s delight when he heard a thunderous voice roar. “Mommy, here’s my missing sock!”

As the little sock looked sideways, he saw his long-lost twin covering a similar set of five monsters.

His twin smiled brightly as, above their heads, the old T-shirt stretched tight across a huge, flat expanse.

“Now, the adventure really begins,” the T-shirt shouted merrily.

And the three sallied forth, searching for their truths.

Sometimes the real, in itself, is magical.  We salute M. Waldi Marcel, gentil homme dachsund in the following little poem.

Waldi Marcel

Daschunds are hunters of the

Small. They like to root around

And crawl and climb and swim

And bark. They think they are

Great Danes.

But Waldi Marcel is a chocolate

Longhaired aristocrat. He

Has acupuncture, and is

Fond of cats.  The whole house

Is his fainting couch. He takes

Anti-depressants because being

THIS sensitive is hard work.  He

Is therefore – you can see this metaphor coming —

A sort of dachshund Hamlet.

(he sleeps and always dreams –

legs kicking, tail thumping;

no perchance about it).

Happy Monday Magically Real enthusiasts –

Yesterday saw a couple of magical experiences. One being the Female Surrealists exhibition at the Los Angeles County Museum of Art. The other being a foray into e-book best seller 50 Shades of Grey.  There’s a connection.  Artists like the now famous Frida Kahlo and the lesser known Dorothea Tanning used their bodies and their dreams to articulate a new and still startling set of visions for what the feminine could be.  The sexual for them is at once frightening, beautiful, mechanical, spiritual, political and always strange.  In her own pop-culture, s/m for beginners way, EL James is trying to articulate new possibilities for women readers in her bondage-light trilogy, and although the sex so far is expected (“I never knew it could be like this”) sex, there are moments of DIY brilliance such as offering the reader an actual template of what a dom/sub contract might look like.  If imagining is a pleasure,and for some of us, it certain IS that, then let us imagine weird and big.  What follows is an attempt to make fun of the limits of 50 Shades but also perhaps acknowledge their cultural power and (possibly) look beyond them:

Sh-boom intercut with 50 shades of grey

Life could be a dream

If he was a dominant with a trillion dollars

If he had a sh-boom room like that man

And a ya la la la la la la like his, we wouldn’t

Need paradise, for we’d have our own kind of

Hard limits, hello hello hello again sweetheart

Of dreaming, we’d be so fine if we had that

Life of sh-boom and cash and freedom.

Dear Friends and Fans of the Unreal:

April is NOT the cruelest month, it’s the most poetic month!

Welcome to NaPoWriMo — and the month of April madness that writing a poem a day will surely engender.

Find out about the April Poetry movement here.

Try it out and if you wish, post your poem here.

Poems, like stories, can be silly, and sometimes you can use what is right in front of you to play with words.

So party on!

Found triolet: be careful with iklear

Avoid trackpad and clickwheel:

Polish in vertical strokes beginning with a small section

On the left of your screen then move in small circles but

Avoid Trackpad and Clickwheel

(touched by so many treacherous digits, they can never be cleansed)

Support screen while cleaning polish until all residue disappears but at all costs

Avoid trackpad and clickwheel

Polish in vertical strokes beginning with a small section.

Greetings Friends and Fans of the Unreal!  Magically Real HQ (consisting primarily of me, myself, and I) has been observing the HUNGER GAMES movie phenom with increasing interest.  As of today, the movie has shattered box office receipts, and while that’s interesting, what is equally interesting and certainly more inspiring is the anti-hunger project launched by the Harry Potter Alliance and involving do-gooders from Oxfam to the American Jewish World service.

Can art and specifically fiction change the world?  Plato said no, but folks like progressive philosopher Martha Nussbaum and leftist cinema scholar David James say yes. Slavoj Zizek thinks so too – I suspect – and he sees in mass media its ability to express “unknown known” – the unbearable truth that a culture knows but can’t quite bring to consciousness.

Magically Real invites you to share your experience of the Hunger Games, Harry Potter, or any unreal story that has changed your politics in a progressive direction but before you do that, we ask you to make a contribution to the charity of your choice.  Please include info about where you contributed in your narrative.

To get the ball rolling, Magically Real has contributed  $50 to the American Jewish World Service.

For more information on fandom and activism, go to the Imagine Better Project.

You can donate to Oxfam here:

or you can donate to end both hunger and dependence on foreign aid to the American Jewish World Service

Feeling really ambitious?  Write or phone Lion’s Gate ( (310) 449-9200 or e-mail general-inquiries@lionsgate.com)

and Suzanne Collins  (C/O Scholastic Books, Scholastic Inc.
557 Broadway
New York, NY 10012
(212) 343-6100)

and ask them to donate a big chunk of the proceeds to end World Hunger and Thirst.

Now — tell your story!  Can’t wait to read.

Hello Friends!

courtesy National Archives

It’s easy to link author Annie Proulx with quintessential American Realism.  She’s writing about Wyoming for Pete’s sake, and regular, if not downright poor people.  You can’t get much realistic-er than that.

Or can you?

Proulx’s writing is dense, elegiac, funny, perverse, and strange.  I’ve discussed the notion of the queer in my Bruno Schulz post from this blog, and I think that the concept applies to this very different author as well.

Sure, we know all about Ennis and Jack in “Brokeback Mountain” played in the film version by those hotties Heath (of blessed memory) and Jake.  But the rest of the stories in Close Range are no less peculiar, partner.  They stress the compulsiveness of desire – whether it’s riding a bull even if it wrecks your body, flying a plane, even if you don’t know how exactly, braving a snowstorm in your 80’s, or –most horrifyingly — murdering women and keeping them in your attic, if that’s your “thang”.  In return, nature – usually so beautiful and harmonious and wildly wondrous in American literature (think Laura Ingalls Wilder, think Conrad Richter) — is more like a runaway character from Jean Paul Sartre in Proulx’s stories.  Nature doesn’t care or is overtly hostile to these tiny obsessed humans darting about the gigantic landscape. Nature may be gorgeous, but it is NOT us.

This is not Wordsworth, folks, but Romanticism turned on its head.  Proulx suggests that Nature can’t fulfill us, and we can’ t bond with it, as the heroine of “The Bunchgrass edge of the World” notes:

“After supper in her room, she wishes for a ray gun to erase the brilliant needles of light from the isolate highway, silence the dull humming like bees in a high may bush.  She wanted the cows to lie down and die, hoed for a tornado, the Second Coming, violent men in suits driving a fast car into the yard….”

Ottaline – one of Proulx’s smarter heroes – knows that nature can’t help her. She has sf/disaster movie dreams instead.  Likewise Ennis and Jack discover that while nature seems empty – allowing them apparent invisibility to fuck each other outside – human eyes are watching them all the time through binoculars.  Nature only appears to free us up.

So I’m inducting Annie Proulx into the Magically Real Club., whether she likes it or not.  In other words, she’s got more in common with Georgis O’Keefe than with Ansel Adams.  Just sayin”.

whadda y’all think?

Courtesy Across the Great Divide wordpress

courtesy Butler Art

A little story about a gorilla.  Appropriate for children of all ages. One slightly bad word towards the end.

The adventures of Johannes

Once upon a time there was a Mexican gorilla.  He was kind and fierce and loyal to his adopted mother who had found him in a steamer trunk that had washed up on the shore of Acapulco from a shipwreck of sailors stealing animals from Africa. The lady took the baby gorilla home to her little house and she gave him fried bananas, and she taught him Spanish. She named the gorilla Johannes.  When the lady got older, she decided to sneak across the border to America where she could earn more money to send to her sister in Oaxaca and she and Johannes ran and ran across the desert, and Johannes carried her on her shoulders and the soldiers and the mean guy- coyotes who try to steal your money and make you a slave said “oh let’s not mess with that lady — she has a gorilla for a son.”  During the journey Johannes hurt his paw, and his mother said “Don’t worry Johannes – you will become a writer and tell of what you have seen, and you are strong enough for 10 men already and with words you will be even stronger.” “Ok “said Johannes, “then I guess I’d better go to university to become a writer”.

He did. Many strange animals taught many frightening subjects at the university, and one of the most frightening animals of all was the Russian bear. She was large and old and knew very large words and would growl and you would have to go to her office hours in a cave at the side of the mountain.  Johannes decided she would be his teacher because she was so frightening.  He figured she couldn’t be quite as bad ass as she made out, so he went to her office hours.  “What do you want.” growled the bear. “I want to learn to be a writer,” said Johannes. “Ok then read all these books,” she said and she threw huge books like stones at him.  He laughed because gorillas can catch things easily, and unpeeled the books like bananas and they were tasty – Rabelais, and the Koran, and world literature

“Yum,” said the gorilla, devouring the literature. “I will be your friend,” said the bear.  “Please!” said the gorilla, and only a few years later, there was Johannes giving his first reading. Tigers sat in the front row and his mother was there, and all his friends. The bear sat at the back, and she told everyone ”I knew he could do it because he was not afraid; he braved the cave and the desert and the sea.”

His mother nodded. “Si,” she said.  “He did all that and more.”

Dear Magically Real:

I have some questions for you.  What’s a dystopia and where does the first one show up?  What do you think of the Hunger Games?  Are you excited about the movie?  I love the way those people look in the trailer they are showing!  They remind me a little of the Marie Antoinette movie that came out a while back.  Do you  think there’s a connection?  What about all the other dystopian fiction stories out there right now?  Does this all go back to the Terminator movies ?  Also — Why did Thomas More write a book called UTOPIA when it’s obvious that dystopia is so much cooler?

Thanks for your help.

Sincerely-

Digging the dark

================

Dear Digging – At least in Western Culture, the first artistically depicted dystopia – aka, an impossibly horrible society that is the antithesis of a utopia, a term, coined by Thomas More – is of course the Christian Hell:  specifically Dante’s Inferno and Milton’s Pandemonium (Paradise Lost).  But the dystopia in the modern sense is indeed an 18th Century phenomenon, originating arguably in the nightmare world of Voltaire’s Candide. Mary Shelley imagines a an empty world devoid of human life in her novel The Last Man, but dystopia goes into hiding until HG Wells’s The Time Machine and the German film Metropolis.  These bleak glimpses into the future deeply influence subsequent 20th Century renderings.  In just about all modern and postmodern fictions, the dystopic society becomes connected to future-oriented vision of human society — often linked, in turn, to some kind of police state and/or a post-nuclear apocalypse.  These narratives generally attempt – like Voltaire’s novel did – to satirically critique the society in which the authors and their audiences currently find themselves.

At this point, the fictional landscape looks more familiar and we find books like We, 1984, Brave New World, Ira Levin’s less known but fascinating This Perfect Day, and a gaggle of film and film adaptations that I will mention in no particular order: The Terminator films, the Matrix films, A Boy and his Dog (based on the short story), The Road, (based on the novel), the Mad Max films, Blade Runner, THX 1138, Logan’s Run and so on.  And let’s not forget Octavia Butler’s Parable novels and Margaret Atwood’s grim visions in the Handmaid’s Tale and elsewhere.  Finally, let’s not leave out the late, great Russell Hoban  and the late great Anthony Burgess and their two almost incomprehensible novels written in futuristic English, Riddley Walker and A Clockwork Orange.

Wait — And it’s not just Anglo-European lit!  What about Battle Royale and The Fat Years!

Heaven’s, there’s alot, isn’t there?!

What this all means is a tougher question.  At least since the 18th Century, the dystopian has been used as a way to shock the moral/political sensibilities of audiences, in order to provoke progressive change, and many of the texts cited above are trying to urge political/moral/psychological alteration in their readers/viewers (arguably of course, visions of Hell were supposed to do this too — I seem to be going in a dystopia replaces Hell sort of direction in this blog post).

But what happens when audiences become so used to being shocked, scared, amazed, and awed that this method no longer works for them?  This problem — the failure of the satiric/critical — might be precisely what the Hunger Games novels, and I imagine the film, are grappling with, because they imagine a nightmare world which survives and thrives precisely by means of its ability to charm and fascinate audiences through television!

A French philosopher named Baudrillard argued, that we are so addicted to watching simulacra on a screen that we are basically dead inside (he said this in a fancy, French way, but you get the idea…[think Fahrenheit 451 {there's ANOTHER one}]).  In a similar vein Frederic Jameson has maintained that late capitalism has got us so under the spell of consumerism that we’ll consume anything, including the very idea of consuming. I’m guessing that the Hunger Games is somehow engaging with these ideas.

As I write this blog, the Hunger Games movie isn’t out yet, but I saw the trailer too and I’m sure you’re right about the Marie Antoinette connection vis a vis the costumes.  What better way to “indicate” both the ultimate oppressor society and the society of spectacle than by riffing on the aristocracy of the French Monarchy? These were the people who “played” at being farmers and country-people.  Isn’t it interesting that even when imagining the post-Apocalypse… we’re still thinking about the time BEFORE the French Revolution — which was also Voltaire’s time…?  It’s very American, somehow, don’t you think — this obsession with the European aristocratic pre-revolution?

Since the dystopian is so rife – and I think it’s everywhere in young adult fiction, as a recent New Yorker article has observed – then perhaps, the more interesting way to go artistically is with the utopian. Which brings me back to ADVENTURE TIME — a big favorite here at Magically Real.  This cartoon show seems to take a post-apocalyptic space as its base and then craft it into something else: a place where humans are no longer central, but where there seems to be hope, change, and even gratitude.

I’m wondering if at this point, imagining the good, the just, and the happy isn’t the most politically and artistically radical possible statement you can make.
More on these questions if/when I see/read the Hunger Games.  Thoughts, insights, and ideas from you are very welcome. So please post them.

Thanks for writing.

Regards –

Magically Real HQ

Thanks to Lillian, Mandy, and Mureall for getting me thinking about these ideas.