Breadcrumb #548

NATE WAGGONER

Death Valley exists because of a cycle created by low depths and high mountain walls that bake the place like a furnace or an oven. The heat just keeps coming, keeps cycling around. Dante’s View. Hell’s Gate. Devil’s Golf Course. The mood of the place does not invite subtlety. Dante’s View is of the depths of the place, of rivers that seem to sparkle and shine, but which do so because they are so full of salt. The salt keeps going down, down, and covering everything, too. Sometimes at night the ground will freeze. The water will start to break up and rocks will appear to move on their own. Despite these surreal qualities, there are people who have chosen to live here for generations. It’s only gotten more inhospitable over time. 10,000 years ago there was life, deer, water, different tribes. Now only the salt rules. It makes the water undrinkable, but the water does shelter certain snails. There is nothing you can’t get used to with enough time. The salt, like the heat, is part of a cycle that only makes it build up. If you’re here, you’re being cooked alive. Sensitive crystals. See the pupfish floundering in its salty home. One of the highest mutation rates. An entity like this must be joking.

• • •

Breadcrumb #547

MANDY-SUZANNE WONG

Cornelia paints bugs. Dave sounds out their memories, nightmares, premonitions. 

They aren’t just any bugs. These are bugs born broken. 

In 2016 in Switzerland, Dave Phillips and Cornelia Hesse-Honneger collaborated on a bizarre hybrid artwork. Half painting, half screaming. Half nightmare, all reality. 

Mutations starts with a scream, something like a power drill, whimper of a small thing, a thing mewling in terror, and then bang! This is “Mutations 1.” Long exhale from great jaws stretched apart to breaking point, stumbling and fluttering, and then a piercing siren puts me in mind of a torture chamber. And Dave wouldn’t mind my saying so. 

He made Mutations’ audio, he said, by “layering, condensing, stretching, distorting” his recordings of wild insects. Some of them, especially in “Mutations 2,” sound to me like groaning lions, captive cows clamoring and clanging, or like cruel machines. Like death. The sounds of agony and death. Maybe it’s just me. Or an evocation of ecosystemic dependencies. “Entomologists give humans, after the hypothetical extinction of the invertebrates (of which insects form the majority), another ten years,” Dave wrote. 

Like an extra ear or seventh leg, Mutations’ audio grew out of Cornelia’s watercolor paintings of morphologically disturbed bugs. 

Like death. The sounds of agony and death.

Housefly with legs growing out of its head. 

Little green bug with six legs and six feet. 

Yellow bug born with a hole in its left eye, and why? Because their parents, grandparents, or great-grandparents were born where the folks next door had a thing for nuclear power. 

Over the years, Cornelia has visited about thirty nuclear disaster sites, atomic testing sites, working plutonium factories, and operational nuclear power plants in Europe, the UK, and the US. Chernobyl. La Hague. Sellafield. Gundremmingen. The “National Security” desert once called the Nevada Test Site, renamed “N2S2” to incorporate a cutesy Star Wars reference. She’s studied 16,500 individuals and painted about three hundred. She agonizes for months over every portrait. She sees each of her subjects as “an important person,” she says. 

Scorpionfly born with a crimped stomach near Leibstadt power plant.

In recognition of her efforts and the insects’ martyrdoms, governments and scientific institutions ridicule Cornelia and do their utmost to suppress her research. They want a prettier truth. For the fact is Cornelia’s insects come from working nuclear facilities, not just defunct or damaged ones. 

Larva born with broken wing. 

Firebug’s left wing half the size of its right wing. 

Flies with malformed glands, congenital blindness. 

Dreaming through the voices of healthy bugs, Dave sounds out the reality of irradiated ones. I strain to hear a healthy bug in his sonic hallucinations. I strain to listen past the sounds’ tortured deformities, hoping with all my might to hear someone like the crickets who sing outside at night. I hear a pretty chord at the start of “Mutations 3,” but no sooner do I hear it than it’s as if impaled by a giant drill, and anyway a chord isn’t a bug. This chord is the voice of a bug bleeding out into the nightmare voice of some machine whose insatiable hunger breeds lifelong torment in generation upon generation. 

Healthy-bug-voice twisted into growl-of-colossal-turbine.

The sound of human ravenousness oozing into nonhuman voices, rending them from within. 

Screams of “contiguous bodies…as they turn into messages that foretell of a prescient world where everything suddenly matters.”

Even if it was just Chernobyl. Or Hiroshima. Or Fukushima. How long will that error take to fade out of the bodies who suffer it? Even if it’s only one of our minutes, surely a nuclear blast feels like epochs to the flightless fly condemned at birth by a tattered too-small wing to die slowly of starvation. 

The poet Lital Khaikin called Mutations “an archive of anatomic duration…that traces the dispersal of a disaster — ... [t]his blurring of matter, the falling out of bodies.”

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Breadcrumb #546

ALEXANDRA WATSON

She sees herself first. Ripples frame her face, like someone skipped a stone––but who? 
A skipping rock, thrown from nowhere. From a deepdown spring, objects pop up from the future: a polaroid, a shrine to Isis. She’s looking for what to pray to. 

Before humans, gods had no word for love. Aphrodite hadn’t wept. Venus was a vixen bathed in poppies. We gave you life, they said. We gave you fruiting trees. Wind, and day, and roots. What more is it you want? Someone combing her hair. Scratching her scalp. 

A face on which to squander her eye’s geometry. All you do is want, want, want. You want another you, You’ll have to make it. They were busy with volcanoes; they liked to watch the world erupt. To invent a love, she thought, you need material: first, water. 

She gathers her reflection in a bowl. Then, mineral: bouquets of daffodils she layers. The pressure makes carbon, chlorine, cobalt, copper, zinc. Bacteria and fungi are recruited. She digs for calcium all day. No one said how much trouble bones were. Sprinkles nickel for kicks.

Chromium, a bonus. She splints a pinky, twirls - this centrifugal production, a life-sized shape, the clarity of stars. Now, how melanin? How eyelash? How fingernail? Why not seed, why not wisp of dandelion? Even plants have cuticle, veins impregnated with wax.

You need a bit of miracle to make a love from scratch. 
She returns to the water, recruits night sky, scoops platinum to stitch her statue’s follicles. 
And warmth. She holds her creation, waits to see its face.

• • •

Breadcrumb #545

MATT CAPRIOLI

I lost my virginity to Jason Ferris, our school’s closeted running back. This felt like an accomplishment, like I somehow deserved a Certificate of Achievement. Afterall, Jason was a paradigm of manhood. That such a masculine character would choose me as his DL high-school boyfriend seemed to be a testament of my ability to act the good gay: a reliable and courteous young man, a Pete Buttigieg type with wrists whose circumferential movements would never cross the line of refined and respectable behavior. 

But then I learned that Dominic, the other gay kid at my high school, was the first boy Jason ever bedded. I found this out once Jason informed me that I was the second. For years, jealousy ebbed and flowed. That Dominic was my sexual rival triggered my disgust. I hated Dominic. We never talked, but I was pretty sure the loathing was mutual. He was the loud, rebellious, selfish gay kid, and I was the nice, overachieving one who, in lieu of weed, got high on Supreme Court opinions. How could Jason like someone who wore teal eyeliner to school and called the principle Madame? And Dominic was an asshole: he mocked fat girls and rumor had it he’d wedged a giant wad of gum into a teacher’s computer. My distaste for him came from the fact that he was a jackass. But there were plenty of mean guys at my school. What particularly repelled me was that Dominic’s reckless flamboyance made gay people look bad. When it came to Jason, when I considered the fact that Jason could date me and Dominic, I found myself asking how on earth could Jason like someone that gay?

My distaste for him came from the fact that he was a jackass.

A few weeks passed with Jason and I as boyfriend and boyfriend. We exchanged texts that read “I think I love you.” But the honeymoon was short-lived. I didn’t admire Jason’s post-high-school ambition of working as a mechanic; he grimaced during Monday Night Football when I laughed at the announcers with bated breath: “He’s coming up the back! Look at him fill that hole!” Everything finally collapsed when I tried kissing Jason goodbye in the parking lot. He recoiled and shot out a protective palm: “What the fuck are you doing” he angrily whispered. “Someone will see us.” The next day Jason informed me he was having a hard time picturing “a future together.”

The sad thing about gay high schoolers attempting to date in highly conservative areas is that both parties, even if their parents are fantastic liberals, are paranoid and uneasy of themselves. Particularly in adolescence, gay men have the dubious honor of being attracted to the very traits they want to hide.

&

I’m constantly amazed at how thoroughly homophobia runs through queer people. It’s not just on social apps with lines like “masc4masc” or “no femmes no fats no azians” [sic]. It’s how homophobia infiltrates our daily mind, how even now, as I near 30, I need to be on high alert of any flecks of homophobia that would sink into my blood. 

The writer Ryan Van Meter captured this constant vigilance in an essay “To Bear, to Carry: Notes on ‘Faggot.’” He dives into the etymology of the word, its personal imprinting on him, and its connotation as an object called forth to be destroyed. He concludes with the uncomfortable reality that even reacting to faggot is to flame its harmful power: “When I wince at its sting,” he writes “I share its intention -- if only for a second.”

&

I have an early memory of visiting Hollywood with my dad and his brother. The sky was taut blue. We pressed iced water bottles against our foreheads to keep cool. We were climbing the steps to a famous theater. Three men in pastel polos were laughing loudly, descending the stairs in a breezy gallop. I had never seen men wear such short shorts. 

“Get a look at that,” my dad said with a cheery tone laced – I sensed even at seven – with ridicule. 

One of the guys caught our look, then quickly glanced back to his friends, trying to ignore what we all now were thinking: men who dressed like that were worthy of ridicule. 

My uncle just smiled and changed the subject.

&

Shards of homophobia are constituent to my sinews. I saw this most clearly a year after Jason Ferris broke up with me, back when I was 17 and hated Dominic and counted my lucky stars that both Jason and Dominic had left high school early for technical school or to work at Cinnabon. I look back and shake my head at the pressure I placed on myself to be an exemplar of a gay teenager. Now, I see that I was oppressively ambitious for my future, overwhelmingly dissatisfied with my present, crazed to prove to everyone I was perfectly okay with being gay. 

I was a pressure cooker driving in my mother’s Jeep to school when someone ran a stop sign. I slammed the brakes. All of my frustration – relative poverty, academic disappointment, romantic failure – condensed into a noxious blackhole that pulsated with a singular message: Fuck You. I couldn’t get a break. Even when there was a fucking stop sign in front of them, people didn’t give me a break (it was, of course, my own judgments that never ceased). This latest aggression was all too much. My throat screamed with raw barbarity. The sonic cascades shook the jeep. More so did the word that flew from me, the content I realized only after I had banged on the steering wheel and stopped screaming. 

FAGGOT!!

I see this scream now as a remarkably clear example of self-hatred. What’s so odd is that in my high school, I was president of Gay-Straight Alliance and had an annotated copy of The New Gay Teenager. I was my school’s embodiment of “the gay kid(s) were all right.” But here, I was screaming the most harmful thing I could muster at an anonymous spectacle that happened to be passing me by. 

This rattling angst was, I think, always percolating in high school, perhaps even during GSA meetings, shopping for Five Star notebooks at Walmart, or waiting in a long line for coffee. Everywhere, even after I came out, I couldn’t be myself. I couldn’t have honest relationships. I couldn’t resign the privilege of us using faggot – giving that slur up meant I would become its target. Dominic was too visible a reminder of who I was and how different I was from most people. So long as homophobia worked its way through me, Dominic – even if he had been less of an asshole and more of a saint – would have to be my enemy. 

Writers became my way out of this self-hatred. It started with Patrick from The Perks of Being a Wallflower, the first gay teen I ever saw who wasn’t always thinking of suicide. Then Brokeback Mountain, the first time I saw gay love as possibly valid. Senior year of high school, a teacher gave me The Hours by Michael Cunningham, which enabled the flood: Michael Chabon, David Sedaris, James Baldwin, Truman Capote, Richard Rodriguez, Oscar Wilde, Gore Vidal, Alan Hollinghurst, Dan Savage, Rakesh Satyal, Reinaldo Arenas, Edmund White, Marcel Proust, Yukio Mishma, André Gide, Manuel Puig. 

To unwind the homophobia I grew up with, I made statements to carve out my identity rather than have someone carve me. It was a push against a world that preferred me in the shadows (a sentiment I often, unwittingly, agreed with). I pierced my right ear – the gay one – with a ruby stud. I read up on queer theory, and a history of the supreme court and LGBTQ issues. I learned about the “inverse diaspora,” coined by the demographer Gary Gates, that queer people tend to migrate to urban centers where they are more readily accepted, which is indeed the opposite flow of traffic in your standard diaspora.

Through college in Massachusetts, I started to wear my sexuality with a little less anxiety. But I didn’t feel at home in my body and how it was seen until I was 22 and living in New York. My friend Gilles introduced me to his friends, lovers named Andrew and Juan. Andrew was 20 years older, pale, tall. Juan was more like Dominic: wrists flashing, loud chiffon clothes. I was surprised to find I was perfectly comfortable with their gayness, their lisps, their penchant to cradle a chin in the palm of one loose hand. (I’d like to say it was like accepting Dominic, but the major difference between them all was that Dominic was a true arsehole). 

As organically as homophobia twined its way up my psyche, so imperceptibly yet persistent is its unravelling. When I think of Dominic now, it’s with tenderness. I remember him as a jerk, but that may be due to the fact he was going through the same dizzying restrictions and vulnerabilities as me. If I thought he was setting gay men back, it’s because I was still believing the horse shit that gay men couldn’t be thought of as people until they acted like Andrew Sullivan: clean-cut, polite, beyond reproach. But now my concepts of sexuality are far more generous. Anything that doesn’t obviate people, I support. 

When I think about it, I have seen or touched or loved thousands of men like Dominic. I no longer fear their visible displays of femininity, even as it submits them to calls of faggot. In fact, I embrace those flamboyant signs that homophobia aims to denigrate. I’ve grown to love them and realize I always have. I can’t hate that particular Dominic who beat me to Jason Ferris any more than I can hate myself.

• • •

Breadcrumb #544

NICHOLE KATSIKAS

Part I: The Final Year

You spend your days alone and nights with strangers. “Snooze” your alarm all morning because your to-do list is trivial: clean bathtub, wash sheets, break in new stilettos. Rouse yourself to get coffee from the organic bodega around the corner. Find yourself buying fair-trade shampoo, all-natural toothpaste and recycled paper towels because you are too lazy to go to Duane Reade and the expensive stuff is easier. Swipe your debit card without looking at the register's total. Remember the $1,200 you made the night before, bundled in precise stacks and buried at the bottom of your duffle bag. Stifle back tears when your personal trainer asks about work. You do not understand why her question invokes tears. Run an extra mile on the treadmill because you have no place to be and drink too much champagne last night. Ask yourself how long you’ve been this unhappy. Consider the question but do not listen for the answer. Instead, turn up the volume in your headphones and focus on your breathing. Get drunk on your night off from work. Give your friends lap dances at the bar because they think that it’s funny. Text your ex-boyfriend. Fuck your ex-boyfriend. Find the scarf you left at his apartment while you were dating. He has it neatly folded on his bookshelf, a sight that makes you feel romantic. Foolishly begin to cry and ask him why he left you. He considers the question but does not give you an answer. Anticipate his text the next day but receive only messages from your clients. “When are you working next, Athena? I want to see you” Take the L train to Union Square. Watch wistfully as other 20-somethings go on to get happy hour drinks with their friends. Instead, you transfer to the Q train and ride express to Times Square. Spend your happy hour in a dark den; your night a blur of sequins, champagne and awful dub-step remixes. Roar with fake laughter at jokes you don’t find funny from men old enough to be your grandfather. Listen for your stripper name to be called to the stage or pay a $50 fine. At the stroke of 4 am, race to the locker room. Kick off your clear plastic stilettos for white converse sneakers. Throw your modest sundress over your diamond-encrusted g-string. Watch Times Square disappear from the back seat of your cab home to Brooklyn. Measure the night’s success by the pretty purple bruises that kiss your knees in the morning. Ask yourself if quitting would make you happy. Consider the question but do not listen for the answer.

Foolishly begin to cry and ask him why he left you.

Part II: The After Months

Now you wear your chipped nail polish like a badge of honor. The manicurist at the salon forgets your name and that's okay. You post an ad on craigslist to sell your old gowns. Hundreds of dollars in sequins and spandex reduced to a few crisp twenties. Save the money for grocery shopping. Break up with your personal trainer because you can't afford her and that’s okay. Occasionally go on a second date but usually not. Feed your loneliness pints of Ben and Jerry's Half Baked frozen yogurt in predetermined blackouts. Scrub the chocolate stains from your white comforter the next morning. Ask yourself if you are still drunk. Consider the question but do not listen for the answer. Nostalgia sets in around 3 pm on a Wednesday afternoon at the photo studio where you now work. Consider moonlighting at your old club in Queens, the one that let you work freely without a schedule. Take a coffee break instead. Feel the sun burn your thighs. Now you take the L train to East Village for happy hour drinks with other 20-something year old women. Give your friends lap dances at the bar because they still think that it’s funny. Text your ex-boyfriend. Fuck your ex-boyfriend. Feel relief when you wake the next morning and find that he has gone, leaving only pretty purple bruises as evidence. Ask yourself if perhaps stripping was not the reason he broke up with you, after all. Consider the question but do not listen for the answer.

• • •