Maggie Nelson Quotes

Mostly I have felt myself becoming a servant of sadness. I am still looking for the beauty in that.

Empirically speaking, we are made of star stuff. Why aren’t we talking more about that?

199. For to wish to forget how much you loved someone—and then, to actually forget—can feel, at times, like the slaughter of a beautiful bird who chose, by nothing short of grace, to make a habitat of your heart.

I want you to know, if you ever read this, there was a time when I would rather have had you by my side than any one of these words; I would rather have had you by my side than all the blue in the world. But now you are talking as if love were a consolation. Simone Weil warned otherwise. 'Love is not consolation,' she wrote. 'It is light.' All right then, let me try to rephrase. When I was alive, I aimed to be a student not of longing but of light.

It is easier, of course, to find dignity in one’s solitude. Loneliness is solitude with a problem.

Suppose I were to begin by saying that I had fallen in love with a color.

Eventually I confess to a friend some details about my weeping—its intensity, its frequency. She says (kindly) that she thinks we sometimes weep in front of a mirror not to inflame self-pity, but because we want to feel witnessed in our despair. (Can a reflection be a witness? Can one pass oneself the sponge wet with vinegar from a reed?)

The moment of queer pride is a refusal to be shamed by witnessing the other as being ashamed of you.

I feel I can give you everything without giving myself away, I whispered in your basement bed. If one does one's solitude right, this is the prize.

That this blue exists makes my life a remarkable one, just to have seen it. To have seen such beautiful things. To find oneself placed in their midst. Choiceless.

I told you I wanted to live in a world in which the antidote to shame is not honor, but honesty.

Loneliness is solitude with a problem.

If he hadn't lied to you, he would have been a different person than he is.' She is trying to get me to see that although I thought I loved this man very completely for exactly who he was, I was in fact blind to the man he actually was, or is.

But whatever sameness I’ve noted in my relationships with women is not the sameness of Woman, and certainly not the sameness of parts. Rather, it is the shared, crushing understanding of what it means to live in a patriarchy.

Life is a train of moods like a string of beads and as we pass through them they prove to be many-colored lenses which paint the world their own hue, and each shows only what lies in it's focus. To find oneself trapped in any one bead, no matter what it's hue, can be deadly.

Why should I feel lonely? is not our planet in the Milky Way?” (Thoreau).

229. I am writing all this down in blue ink, so as to remember that all words, not just some, are written in water.

So far as I can tell, most worthwhile pleasures on this earth slip between gratifying another and gratifying oneself. Some would call that an ethics.

A day or two after my love pronouncement, now feral with vulnerability, I sent you the passage from Roland Barthes by Roland Barthes in which Barthes describes how the subject who utters the phrase “I love you” is like “the Argonaut renewing his ship during its voyage without changing its name.” Just as the Argo’s parts may be replaced over time but the boat is still called the Argo, whenever the lover utters the phrase “I love you,” its meaning must be renewed by each use, as “the very task of love and of language is to give to one and the same phrase inflections which will be forever new.

53. 'We mainly suppose the experiential quality to be an intrinsic quality of the physical object'-this is the so-called systematic illusion of color. Perhaps it is also that of love. But I am not willing to go there-not just yet. I believed in you.

Perhaps it is becoming clearer why I felt no romance when you told me that you carried my last letter with you, everywhere you went, for months on end, unopened. This may have served some purpose for you, but whatever it was, surely it bore little resemblance to mine. I never aimed to give you a talisman, an empty vessel to flood with whatever longing, dread, or sorrow happened to be the day's mood. I wrote it because I had something to say to you.

Sometimes one has to know something many times over. Sometimes one forgets, and then remembers. And then forgets, and then remembers. And then forgets again.

Evolution strikes me as infinitely more spiritually profound than Genesis.

The half-circle of blinding turquoise ocean is this love’s primal scene. That this blue exists makes my life a remarkable one, just to have seen it. To have seen such beautiful things. To find oneself placed in their midst. Choiceless. I returned there yesterday and stood again upon the mountain.

What I know: when I met you, a blue rush began. I want you to know, I no longer hold you responsible.

And we have not yet heard enough, if anything, about the female gaze. About the scorch of it, with the eyes staying in the head.

The freedom to be happy restricts human freedom if you are not free to be not happy.

58. “Love is something so ugly that the human race would die out if lovers could see what they were doing” (Leonardo da Vinci).

156. Why is the sky blue? -A fair enough question, and one I have learned the answer to several times. Yet every time I try to explain it to someone or remember it to myself, it eludes me. Now I like to remember the question alone, as it reminds me that my mind is essentially a sieve, that I am mortal. 157. The part I do remember: that the blue of the sky depends on the darkness of empty space behind it. As one optics journal puts it, "The color of any planetary atmosphere viewed against the black of space and illuminated by a sunlike star will also be blue." In which case blue is something of an ecstatic accident produced by void and fire.

238. I want you to know, if you ever read this, there was a time when I would rather have had you by my side than any one of these words; I would rather have had you by my side than all the blue in the world. 239. But now you are talking as if love were a consolation. Simone Weil warned otherwise. “Love is not consolation,” she wrote. “It is light.” 240. All right then, let me try to rephrase. When I was alive, I aimed to be a student not of longing but of light.

That’s what we both hate about fiction, or at least crappy fiction—it purports to provide occasions for thinking through complex issues, but really it has predetermined the positions, stuffed a narrative full of false choices, and hooked you on them, rendering you less able to see out, to get out.

Is to be in love with blue, then, to be in love with a disturbance? Or is the love itself the disturbance? And what kind of madness is it anyway, to be in love with something constitutionally incapable of loving you back?

At times I fake my enthusiasm. At others, I fear I am incapable of communicating the depth of it.

20. Fucking leaves everything as it is. Fucking may in no way interfere with the actual use of language. For it cannot give it any foundation either. It leaves everything as it is.

I beheld and still behold in anger and agony the eagerness of the world to throw piles of shit on those of us who want to savage or simply cannot help but savage the norms that so desperately need savaging.

If I were today on my deathbed, I would name my love of the color blue and making love with you as two of the sweetest sensations I knew on this earth.

How does one get across the fact that the best way to find out how people feel about their gender or their sexuality—or anything else, really—is to listen to what they tell you, and to try to treat them accordingly, without shellacking over their version of reality with yours?

Last night I wept in a way I haven’t wept for some time. I wept until I aged myself. I watched it happen in the mirror. I watched the lines arrive around my eyes like engraved sunbursts; it was like watching flowers open in time-lapse on a windowsill. The tears not only aged my face, they also changed its texture, turned the skin of my cheeks into putty. I recognized this as a rite of decadence, but I did not know how to stop it.

that the notion of privilege as something to which one could “easily cop,” as in “cop to once and be done with,” is ridiculous. Privilege saturates, privilege structures.

125. Of course, you could just take off the blindfold and say, 'I think this game is stupid and I'm not playing it anymore.' And it must also be admitted that hitting the wall or wandering off in the wrong direction or tearing off the blindfold is as much a part of the game as is pinning the tail on the donkey.

You, reader, are alive today, reading this, because someone once adequately policed your mouth exploring.

[Yet] dependence is scorned even in intimate relationships, as though dependence were incompatible with self-reliance rather than the only thing that makes it possible.

As if keening on your knees were somehow obscene As if there were a control so marvelous you could teach it to eat pain.

to wish to forget how much you loved someone—and then, to actually forget—can feel, at times, like the slaughter of a beautiful bird who chose, by nothing short of grace, to make a habitat of your heart.

There’s something truly strange about living in a historical moment in which the conservative anxiety and despair about queers bringing down civilization and its institutions (marriage, most notably) is met by the anxiety and despair so many queers feel about the failure or incapacity of queerness to bring down civilization and its institutions.

We don’t get to choose what or whom we love, I want to say. We just don’t get to choose.

Words change depending on who speaks them; there is no cure.

That's enough. You can stop now: the phrase Sedgwick said she longed to hear whenever she was suffering. (Enough hurting, enough showing off, enough achieving, enough talking, enough trying, enough writing, enough living.)

130. We cannot read the darkness. We cannot read it. It is a form of madness, albeit a common one, that we try.

I know now that a studied evasiveness has its own limitations, its own ways of inhibiting certain forms of happiness and pleasure. The pleasure of abiding. The pleasure of insistence, of persistence. The pleasure of obligation, the pleasure of dependency. The pleasures of ordinary devotion. The pleasure of recognizing that one may have to undergo the same realizations, write the same notes in the margin, return to the same themes in one’s work, relearn the same emotional truths, write the same book over and over again—not because one is stupid or obstinate or incapable of change, but because such revisitations constitute a life.

I have been trying, for some time now, to find dignity in my loneliness. I have been finding this hard to do.

the mainstream thrust of anti-intellectualism, as it stands today, characterizes thinking itself as an elitist activity.

Do not, however, make the mistake of thinking that all desire is yearning. “We love to contemplate blue, not because it advances to us, but because it draws us after it,” wrote Goethe, and perhaps he is right. But I am not interested in longing to live in a world in which I already live. I don’t want to yearn for blue things, and God forbid for any “blueness.” Above all, I want to stop missing you.

Like many self-help books, The Deepest Blue is full of horrifyingly simplistic language and some admittedly good advice. Somehow the women in the book learn to say: That’s my depression talking. It’s not “me.” As if we could scrape the color off the iris and still see.

This slice of truth, offered in the final hour, ended up beginning a new chapter of my adulthood, the one in which I realized that age doesn’t necessarily bring anything with it, save itself. The rest is optional.

Love is not consolation," she wrote. "It is light." All right then, let me try to rephrase. When I was alive, I aimed to be a student not of longing but of light.

To take a breath of water: does the thought panic or excite you?

To devote yourself to someone else’s pussy can be a means of devoting yourself to your own.

For to wish to forget how much you loved someone-- and then, to actually forget-- can feel, at times, like the slaughter of a beautiful bird who chose, by nothing short of grace, to make a habitat of your heart.

How people are often merciless on those they love the most

a man who thinks he is a king is mad, a king who thinks he is a king is no less so.

You pass as a guy; I, as pregnant. Our waiter cheerfully tells us about his family, expresses delight in ours. On the surface, it may have seemed as though your body was becoming more and more “male,” mine, more and more “female.” But that’s not how it felt on the inside. On the inside, we were two human animals undergoing transformations beside each other, bearing each other loose witness. In other words, we were aging.

Perhaps I had inadvertently brushed up against the Buddhist axiom, that enlightenment is the ultimate disappointment.

It is easier, of course, to find dignity in one's solitude. Loneliness is solitude with a problem. Can blue solve the problem, or can it at least keep me company within it?—No, not exactly. It cannot love me that way; it has no arms. But sometimes I do feel its presence to be a sort of wink—Here you are again, it says, and so am I.

psychoanalysis gets interesting when it shifts the focus from making us more intelligible to ourselves to helping us become more curious about how strange we really are. And so, I would argue, does art.

I have heard that this pain can be converted, as it were, by accepting “the fundamental impermanence of all things.” This acceptance bewilders me: sometimes it seems an act of will; at others, of surrender.

Eventually I confess to a friend some details about my weeping—its intensity, its frequency. She says (kindly) that she thinks we sometimes weep in front of a mirror not to inflame self-pity, but because we want to feel witnessed in our despair.

This is the dysfunction talking. This is the disease talking. This is how much I miss you talking. This is the deepest blue, talking, talking, always talking to you.

I know we’re still here, who knows for how long, ablaze with our care, its ongoing song.

95. But please don't write again to tell me how you have woken up weeping. I already know how you are in love with your weeping.

7. But what kind of love is it, really? Don’t fool yourself and call it sublimity. Admit that you have stood in front of a little pile of powdered ultramarine pigment in a glass cup at a museum and felt a stinging desire. But to do what? Liberate it? Purchase it? Ingest it? . . . You might want to reach out and disturb the pile of pigment, for example, first staining your fingers with it, then staining the world. You might want to dilute it and swim in it, you might want to rouge your nipples with it, you might want to paint a virgin’s robe with it. But still you wouldn’t be accessing the blue of it. Not exactly.

Am I sitting here now, months later, in Los Angeles, writing all this down, because I want my life to matter? Maybe so. But I don't want it to matter more than others. I want to remember, or to learn, how to live as if it matters, as if they all matter, even if they don't.

The mother of an adult child sees her work completed and undone at the same time.' If this holds true, I may have to withstand not only rage, but also my undoing. Can one prepare for one's undoing? How has my mother withstood mine? Why do I continue to undo her, when what I want to express above all else is that I lover her very much?

I will always aspire to contain my shit as best I can, but I am no longer interested in hiding my dependencies in an effort to appear superior to those who are more visibly undone or aching.

And what kind of madness is it anyway, to be in love with something constitutionally incapable of loving you back? 37. Are you sure -- one would like to ask -- that it cannot love you back?

Whatever I am, or have since become, I know now that slipperiness isn’t all of it. I know now that a studied evasiveness has its own limitations, its own ways of inhibiting certain forms of happiness and pleasure. The pleasure of abiding. The pleasure of insistence, of persistence. The pleasure of obligation, the pleasure of dependency. The pleasures of ordinary devotion. The pleasure of recognizing that one may have to undergo the same realizations, write the same notes in the margin, return to the same themes in one’s work, relearn the same emotional truths, write the same book over and over again—not because one is stupid or obstinate or incapable of change, but because such revisitations constitute a life.

It calms me to think of blue as the color of death. I have long imagined death's approach as the swell of a wave - a towering wall of blue. You will drown, the world tells me, has always told me. You will descend into a blue underworld, blue with hungry ghosts, Krishna blue, the blue faces of the ones you loved. They all drowned, too. To take a breath of water: does the thought panic or excite you? If you are in love with red then you slit or shoot. If you are in love with blue you fill your pouch with stones good for sucking and head down to the river. Any river will do.

Misogyny, when expressed or explored by men, remains a timeless classic.

But really justice has no coordinates, no teleology.

When I say "hope," I don't mean hope for anything in particular. I guess I just mean thinking that it's worth it to keep one's eyes open.

And certainly there are many speakers whom I’d like to see do more trembling, more unknowing, more apologizing.

Perhaps it’s the word radical that needs rethinking. But what could we angle ourselves toward instead, or in addition? Openness? Is that good enough, strong enough? You’re the only one who knows when you’re using things to protect yourself and keep your ego together and when you’re opening and letting things fall apart, letting the world come as it is—working with it rather than struggling against it. You’re the only one who knows. And the thing is, even you don’t always know.

A becoming in which one never becomes, a becoming whose rule is neither evolution nor asymptote but a certain turning, a certain turning inward, turning into my own / turning on in / to my own self / at last / turning out of the / white cage, turning out of the / lady cage / turning at last.

One thing they don’t tell you ’bout the blues when you got ’em, you keep on fallin’ ’cause there ain't no bottom,' sings Emmylou Harris, and she may be right. Perhaps it would help to be told that there is no bottom, save, as they say, wherever and whenever you stop digging. You have to stand there, spade in hand, cold whiskey sweat beaded on your brow, eyes misshapen and wild, some sorry-ass grave digger grown bone-tired of the trade. You have to stand there in the dirty rut you dug, alone in the darkness, in all its pulsing quiet, surrounded by the scandal of corpses.

The half-circle of blinding turquoise ocean is this love’s primal scene. That this blue exists makes my life a remarkable one, just to have seen it.

This is how much I miss you talking. This is the deepest blue, talking, talking, always talking to you.

I think beauty neither obscures truth nor reveals it. Likewise, it leads neither toward justice nor away from it.

WHAT IT IS It is what it is. But what is it? What it is— Some soft tautology whose terms are touch Time to give, time to give it up.

There is nothing you can throw at me that I cannot metabolize, no thing impervious to my alchemy.

220. Imagine someone saying, "Our fundamental situation is joyful." Now imagine believing it. 221. Or forget belief: imagine feeling, even if for a moment, that it were true.

92. Eventually I confess to a friend some details about my weeping—its intensity, its frequency. She says (kindly) that she thinks we sometimes weep in front of a mirror not to inflame self-pity, but because we want to feel witnessed in our despair.

I can remember a time when I took Henry James's advice--'try to be one of the people on whom nothing is lost!'--deeply to heart. I think I was then imagining that the net effect of becoming one of those people would be one of accretion. Whereas if you truly become someone on whom nothing is lost, then loss will not be lost upon you, either.

For to wish to forget how much you loved someone - and then, to actually forget - can feel, at times, like the slaughter of a beautiful bird who chose, by nothing short of grace, to make a habitat of your heart. I have heard that this pain can be converted, as it were, by accepting "the fundamental impermanence of all things." This acceptance bewilders me: sometimes it seems an act of will; at others, of surrender. Often I feel myself to be rocking between them (seasickness).

When all the mythologies have been set aside, we can see that, children or no children, the joke of evolution is that it is a teleology without a point, that we, like all animals, are a project that issues in nothing.

And if 'saturation' means that one simply could not absorb or contain one single drop more, why does 'saturation' not bring with it a connotation of satisfaction, either in concept, or in experience?

I think you overestimate the maturity of adults, he wrote me in his final letter, a letter he sent only after I’d broken down and written him first, after a year of silence.

When I was alive, I aimed to be a student not of longing but of light.

It is very unhappy, but too late to be helped, the discovery we have made that we exist,” wrote Ralph Waldo Emerson.

(Visibility makes possible, but it also disciplines: disciplines gender, disciplines genre.)

I suppose it is possible that one day we will meet again and it will feel as if nothing ever happened between us.

In place of a hermeneutics we need an erotics of art.

I labor grimly on these sentences, wondering all the while if prose is but the gravestone marking the forsaking of wildness

I have been trying, for some time now, to find dignity in my loneliness. I have been finding this hard to do ... It is easier, of course, to find dignity in one's solitude. Loneliness is solitude with a problem.

The question up for debate between Socrates and Phaedrus is whether the written word kills memory or aids it--whether it cripples the mind's power, or whether it cures it of its forgetfulness.

96. For a prince of blue is a prince of blue because keeps 'a pet sorrow, a blue-devil familiar, that goes with him everywhere' (Lowell, 1870) This is how a prince of blue becomes a pain devil.

I was so happy renting in New York City for so long because renting—or at least the way I rented, which involved never lifting a finger to better my surroundings—allows you to let things literally fall apart all around you. Then, when it gets to be too much, you just move on.

I feel high on the knowledge that I can talk as much as I want to, as quickly as I want to, in any direction that I want to, without anyone overtly rolling her eyes at me or suggesting I go to speech therapy. I’m not saying this is good pedagogy. I am saying that its pleasures are deep.

So long as we exalt artists as beautiful liars or as the world’s most profound truth-tellers, we remain locked in a moralistic paradigm that doesn’t even begin to engage art’s most exciting provinces (139).

51. You might as well act as if objects had the colors, The Encyclopedia says. –Well, it is as you please. But what would it look like to act otherwise?

We have not yet heard enough, if anything, about the female gaze. About the scorch of it.

It’s not possible to live twenty-four hours a day soaked in the immediate awareness of one’s sex. Gendered self-consciousness has, mercifully, a flickering nature.

Exasperated, you finally said, 'You think I'm not worried too? Of course I'm worried. What I don't need is your worry on top of mine. I need your support

Treating things lightly is indeed the answer to so much.

I seem only happy when I’m eating or reading.

I have been trying to place myself in a land of great sunshine, and abandon my will therewith.

44. [...] later that afternoon, a therapist will say to me, "If he hadn’t lied to you, he would have been a different person than he is." She is trying to get me to see that although I thought I loved this man very completely for exactly who he was, I was in fact blind to the man he actually was, or is. 45. This pains me enormously. She presses me to say why; I can’t answer. Instead I say something about how clinical psychology forces everything we call love into the pathological or the delusional or the biologically explicable, that if what I was feeling wasn’t love then I am forced to admit that I don’t know what love is, or, more simply, that I loved a bad man. How all of these formulations drain the blue right out of love and leave an ugly, pigmentless fish flapping on a cutting board on a kitchen counter.

Girls are cruelest to themselves,” observes Anne Carson in “The Glass Essay,” her brilliant long poem about the ravages of female anger, loneliness, grief, and desire, giving us as poetic adage what any number of other fields give us as statistic.

But if I were honest, or if I were at least to bump into the limits of my honesty, I would have to admit that I knew exactly how this love would end from the moment it began. The loss was probably before it was possible.

Stop working against the world, I counseled myself. Love the one you're with. Love the color green. But I did not love the green, nor did I want to have to love it or pretend to love it. The most I can say is that I abided it.

[..] two Popsicles are talking to each other. One accuses, "You're more interested in fantasy than reality". The other responds, "I'm interested in the reality of my fantasy." Both of the Popsicles are melting of their sticks.

Fifteen days after we are born, we begin to discriminate between colors. For the rest of our lives, barring blunted or blinded sight, we find ourselves face-to-face with all these phenomena at once, and we call the whole shimmering mess “color.” You might even say that it is the business of the eye to make colored forms out of what is essentially shimmering. This is how we “get around” in the world. Some might also call it the source of our suffering.

It is easier, of course, to find dignity in one's solitude. Loneliness is solitude with a problem. Can blue solve the problem, or can it at least keep my company within it? - No, not exactly. It cannot love me that way; it has no arms. But sometimes I do feel its presence to be a sort of wink - Here you are again, it says, and so am I.

I’m not on my way anywhere, Harry sometimes tells inquirers. How to explain, in a culture frantic for resolution, that sometimes the shit stays messy? I do not want the female gender that has been assigned to me at birth. Neither do I want the male gender that transsexual medicine can furnish and that the state will award me if I behave in the right way. I don’t want any of it. How to explain that for some, or for some at some times, this irresolution is OK—desirable, even (e.g., “gender hackers”)—whereas for others, or for others at some times, it stays a source of conflict or grief?

I have long known about madmen and kings; I have long known about feeling real. I have long been lucky enough to feel real, no matter what diminishments or depressions have come my way. And I have long known that the moment of queer pride is a refusal to be shamed by witnessing the other as being ashamed of you.

My writing is riddled with such tics of uncertainty. I have no excuse or solution, save to allow myself the tremblings, then go back in later and slash them out. In this way I edit myself into a boldness that is neither native nor foreign to me.

One problem with lyrical waxing, as Snediker has it, is that it often signals (or occasions) an infatuation with overarching concepts or figures that can run roughshod over the specificities of the situation at hand.

We live amid surfaces, and the true art of life is to skate on them well,” wrote Emerson. Is it true? If so, who can bear to believe it?

Do not, however, make the mistake of thinking that all desire is yearning.

It will not say, 'Isn't X beautiful?' Such demands are murderous to beauty.

Love is something so ugly that the human race would die out if lovers could see what they were doing' (Leonardo da Vinci).

This is generous, for to be close to her pain has always felt like a privilege to me, even though pain could be defined as that which we typically aim to avoid.

But why bother with diagnoses at all, if a diagnosis is but a restatement of the problem?

Life is a train of moods like a string of beads, and as we pass through them they prove to be many-colored lenses which paint the world their own hue, and each shows only what lies in its focus,

I am not interested in a hermeneutics, or an erotics, or a metaphorics, of my anus. I am interested in ass-fucking. I am interested in the fact that the clitoris, disguised as a discrete button, sweeps over the entire area like a manta ray, impossible to tell where its eight thousand nerves begin and end. I am interested in the fact that the human anus is one of the most innervated parts of the body,

At a job interview at a university, three men sitting across from me at a table. On my cv it says that I am currently working on a book about the color blue. I have been saying this for years without writing a word. It is, perhaps, my way of making my life feel “in progress” rather than a sleeve of ash falling off a lit cigarette.

Psychology forces everything we call love into the pathological or the delusional or the biologically explicable, that if that I was feeling wasn't love then I am forced to admit that I don't know what love is, or, more simply, that I loved a bad man.

Barthes found the exit to this merry-go-round by reminding himself that “it is language which is assertive, not he.” It is absurd, Barthes says, to try to flee from language’s assertive nature by “add[ing] to each sentence some little phrase of uncertainty,

You’re looking for sexual tidbits as a female child, and the only ones that present themselves depict child rape or other violations (all my favorite books in my preteen years: I Know Why the Caged Bird Sings, Clan of the Cave Bear, The World According to Garp, as well as the few R-rated movies I was allowed to see—Fame, most notably, with its indelible scene of Irene Cara being asked to take her shirt off and suck her thumb by a skeezy photographer who promises to make her a star), then your sexuality will form around that fact. There is no control group. I don’t even want to talk about “female sexuality” until there is a control group. And there never will be.

For the mainstream thrust of anti-intellectualism, as it stands today, characterizes thinking itself as an elitist activity.

In other words, she wanted it both ways. There is much to be learned from wanting something both ways.

attempts to nail down “who we really are” most often serve as rhetorical pawns in unwinnable arguments fueled by competing agendas

Democracy is the worst form of government, except for all the others.

14. I have enjoyed telling people that I am writing a book about blue without actually doing it.

I stopped smugly repeating 'Everything that can be thought at all can be thought clearly' and wondered anew, can everything be thought

Most of my writing usually feels to me like a bad idea, which makes it hard for me to know which ideas feel bad because they have merit, and which ones feel bad because they don't

and I am missing you in the way that spreads. I'm trying to wear my freedom like an amulet, make it something I'll never forget.

You've punctured my solitude, I told you.

Oh, how often have I cursed those foolish pages of mine which made my youthful sufferings public property!” Goethe wrote years after the publication of The Sorrows of Young Werther.

We ought to say a feeling of and, a feeling of if, a feeling of but, and a feeling of by, quite as readily as we say a feeling of blue or a feeling of cold. We ought to, but we don’t—or at least, we don’t quite as readily. But the more you do, the more quickly you can recognize the feeling when it comes around again, and hopefully you won’t need to stare as long.

I know what I want is impossible. If I can make my language flat enough, exact enough, if I can rinse each sentence clean enough, like washing a stone over and over again in river water, if I can find the right perch or crevice from which to record everything, if I can give myself enough white space, maybe I could do it. I could tell you this story while walking out of this story. I could—it all could—just disappear.

Never in my life have I felt more prochoice than when I was pregnant. And never in my life have I understood more thoroughly, and been more excited about, a life that began at conception.

[..] a culture committed to bleeding the humanities to death, along with any other labors of love that don't serve the god of capital: the spectacle of someone who likes her pointless, pervers work and gets paid - even paid well - for it.

I invent her, then, as a woman emerging from the sea. A tall man meets here on the black sand. You’ve come back, he says. Can barely see her in the sea-light. They make love there, and become horses. As night grows black they become weeds

The pleasure of recognizing that one may have to undergo the same realizations, write the same notes in the margin, return to the same themes in one’s work, relearn the same emotional truths, write the same book over and over again–not because one is stupid or obstinate or incapable of change, but because such revisitations constitute a life.

Most people decide at some point that it is better … to be enthralled with what is impoverished or abusive than not to be enthralled at all and so to lose the condition of one’s being and becoming.

As it turned out, my fears were unwarranted. Which isn’t to say you haven’t changed. But the biggest change of all has been a measure of peace. The peace is not total, but in the face of a suffocating anxiety, a measure of peace is no small thing.

I have been trying, for some time now, to find dignity in my loneliness. I have been finding this hard to do. It is easier, of course, to find dignity in one's solitude. Loneliness is solitude with a problem. Can blue solve the problem, or can it at least keep me company within it? No, not exactly. It cannot love me that way; it has no arms. But sometimes I do feel its presence to be a sort of wink-- Here you are again, it says, and so am I.

Drinking when you are depressed is like throwing kerosene on a fire", I read in another self-help book at the bookstore. What depression felt like a fire? I think, shoving the book back on the shelf.

Trans” may work well enough as shorthand, but the quickly developing mainstream narrative it evokes (“born in the wrong body,” necessitating an orthopedic pilgrimage between two fixed destinations) is useless for some—but partially, or even profoundly, useful for others? That for some, “transitioning” may mean leaving one gender entirely behind, while for others—like Harry, who is happy to identify as a butch on T—it doesn’t? I’m not on my way anywhere, Harry sometimes tells inquirers. How to explain, in a culture frantic for resolution, that sometimes the shit stays messy? I do not want the female gender that has been assigned to me at birth. Neither do I want the male gender that transsexual medicine can furnish and that the state will award me if I behave in the right way. I don’t want any of it. How to explain that for some, or for some at some times, this irresolution is OK—desirable, even (e.g., “gender hackers”)—whereas for others, or for others at some times, it stays a source of conflict or grief? How does one get across the fact that the best way to find out how people feel about their gender or their sexuality—or anything else, really—is to listen to what they tell you, and to try to treat them accordingly, without shellacking over their version of reality with yours?

94.—Well then, it is as you please. This is the dysfunction talking. This is the disease talking. This is how much I miss you talking. This is the deepest blue, talking, talking, always talking to you.

For to wish to forget how much you loved someone—and then, to actually forget—can feel, at times, like the slaughter of a beautiful bird who chose, by nothing short of grace, to make a habitat of your heart.

[A]fter all, what does it mean for pain to be 'memorable'? You're either in pain or you're not. And it isn't the pain that one forgets. It's the touching death part. As the baby might say to its mother, we might say to death: I forget you, but you remember me.

You know so much about people from the second they open their mouths. Right away you might know that you might want to keep them out. That’s part of the horror of speaking, of writing. There is nowhere to hide. When you try to hide, the spectacle can grow grotesque.

For no one really knows what color is, where it is, even whether it is. (Can it die? Does it have a heart?) Think of a honeybee, for instance, flying into the folds of a poppy: it sees a gaping violet mouth, where we see an orange flower and assume that it’s orange, that we’re normal. 39.

This is a simple story, but it spooks me, insofar as it reminds me that the eye is simply a recorder, with or without our will. Perhaps the same could be said of the heart. But whether there is a violence at work here remains undecided.

She is trying to get me to see that although I thought I loved this man very completely for exactly who he was, I was in fact blind to the man he actually was, or is.

We’re only given as much as the heart can endure,” “What does not kill you makes you stronger,” “Our sorrows provide us with the lessons we most need to learn”: these are the kinds of phrases that enrage my injured friend. Indeed, one would be hard-pressed to come up with a spiritual lesson that demands becoming a quadriparalytic. The tepid “there must be a reason for it” notion sometimes floated by religious or quasi-religious acquaintances or bystanders, is, to her, another form of violence. She has no time for it. She is too busy asking, in this changed form, what makes a livable life, and how she can live it.

What if Beatriz Preciado is right—what if we’ve entered a new, post-Fordist era of capitalism that Preciado calls the “pharma-copornographic era,” whose principal economic resource is nothing other than “the insatiable bodies of the multitudes—their cocks, clitorises, anuses, hormones, and neurosexual synapses … [our] desire, excitement, sexuality, seduction, and … pleasure”?

There is simply no way that a year from now you're going to feel the way you feel today", a different therapist said to me last year at this time. But though I have learned to act as if I feel differently, the truth is that my feelings haven't really changed.

Of course my ex didn’t walk me home. Instead I wandered, drunk, from Main Street down to the railroad tracks, lay down there and listened to the quiet world. Smoked a cigarette on my back, feeling a part of the ground, one of night’s dark and lost creatures. For as long as I can remember, this has been one of my favorite feelings. To be alone in public, wandering at night, or lying close to the earth, anonymous, invisible, floating. To be “a man of the crowd,” or, conversely, alone with Nature or your God. To make your claim on public space even as you feel yourself disappearing into its largesse, into sublimity. To practice for death by feeling completely empty, but somehow still alive. It’s a sensation that people have tried, in various times and places, to keep women from feeling.

48. Imagine, for example, someone who fucks like a whore. Someone who seems good at it, professional. Someone you can still see fucking you, in the mirror, always in the mirror, crazy fucking about three feet away, in an apartment lit by blue light, never lit by daylight, this person is always fucking you from behind in blue light and you both always seem good at it, dedicated and lost unto it, as if there is no other activity on God’s given earth your bodies know how to do except fuck and be fucked like this, in this dim blue light, in this mirror. What do you call someone who fucks this way?

[...] Fear of breakdown is the fear of a breakdown that has already been experienced [...} It’s only lately that I’ve realized that Winnicott is not suggesting that breakdowns do not recut. Now I see that he may be suggesting just the opposite: that a fear of breakdown in our past may be precisely what causes it to repeat in our future

You've punctured my solitude, I told you. It had been a useful solitude, constructed, as it was, around a recent sobriety, long walks to and from the Y through the sordid, bougainvillea-strewn back streets of Hollywood, evening drives up and down Mulholland to kill the long nights, and, of course, maniacal bouts of writing, learning to address no one. But the time for its puncturing had come. I feel I can give you everything without giving myself away, I whispered in your basement bed. If one does one's solitude right, this is the prize.

I remember, in the eighties, when crack first hit the scene, hearing all kinds of horror stories about how if you smoked it even once, the memory of its unbelievable high would live on in your system forever, and you would thus never again be able to be content without it. I have no idea if this is true, but I will admit that it scared me off the drug. In the years since, I have sometimes found myself wondering if the same principle applies in other realms - if seeing a particularly astonishing shade of blue, for example, or letting a particularly potent person inside you, could alter you irrevocably, just to have seen or felt it. In which case, how does one know when, or how, to refuse? How to recover?

Writing hasn’t changed a thing; when the writer puts down the pen, no matter how lucid or brutally honest his insights may have been, it is back to business as usual, which means, in this case, shooting up. This is depressing, but its honesty heartens me. It disallows the delusion that the act of writing necessarily connects us to humanity, that it will help us quit noxious substances, that it will restore us to love lost, or at least serve as a consolation. Literature is not, after all, self-help.

I don't ever want to make the mistake of needing him as much as or more than he needs me. But there's no denying that sometimes, when we sleep together in the dark cavern of the bottom bunk, his big brother thrashing around on top, the white noise machine grinding out its fake rain, the green digital clock announcing every hour, Iggy's small body holds mine.

Empirically speaking, we are made from star stuff. Why aren't we talking more about that? Materials never leave this world. They just keep recycling, recombining. That's what you kept telling me when we met--that in a real, material sense, what is made from where. I didn't have a clue what you were talking about, but I could see you burned for it. I wanted to be near that burning. I still don't understand, but at least now my fingers ride the lip.

While the two words often arrive sutured together, I think it worthwhile to breathe some space between them, so that one might see “brutal honesty” not as a more forceful version of honesty itself, but as one possible use of honesty. One that doesn’t necessarily lay truth barer by dint of force, but that actually overlays something on top of it—something that can get in its way. That something is cruelty.

She asks him quietly in the dark to tell her about the mother of everything and he did not know of whom she was speaking. She asked the volcano and the volcano belched great streams of wet ash. She lay her head down with fatigue and found her head on a pillow of ink. Upon waking she stretched her arms around the glob and found her fingers weren’t even close to touching.

I think my mother is beautiful. But her negative feelings about her body can generate a force field that repels any appreciation of it. I’ve long known the drill: Boobs, too small. Butt, too big. Face, bird-like. Upper arms, old. But it’s not just age—she even disparages the way she looks in baby pictures. I don’t know why she has never seen herself as beautiful. I think I’ve been waiting all these years for her to do so, as if that kind of self-love would somehow offer her body to me. But now I realize—she already gave it to me. At times I imagine her in death, and I know that her body, in all its details, will flood me. I do not know how I will survive it.

I remember that day very clearly: I had received a phone call. A friend had been in an accident. Perhaps she would not live. She had very little face, and her spine was broken in two places. She had not yet moved; the doctor described her as “a pebble in water.” I walked around Brooklyn and noticed that the faded peri-winkle of the abandoned Mobil gas station on the corner was suddenly blooming. In the baby-shit yellow showers at my gym, where snow sometimes fluttered in through the cracked gated windows, I noticed that the yellow paint was peeling in spots, and a decent, industrial blue was trying to creep in. At the bottom of the swimming pool, I watched the white winter light spangle the cloudy blue and I knew together they made God. When I walked into my friend’s hospital room, her eyes were a piercing, pale blue and the only part of her body that could move. I was scared. So was she. The blue was beating.

I remember, around age ten, beholding the scene in The Shining in which the hot young woman whom Jack Nicholson is lewdly embracing in the haunted hotel bathroom ages rapidly in his arms, screeching from nubile chick to putrefying corpse within seconds. I understood that the scene was supposed to represent some kind of primal horror. This was The Shining, after all. But the image of that decaying, cackling crone, her arms outstretched in desire toward the man who is backing away, has stayed with me for three decades, as a type of friend. She’s part baths-ghost, part mad-Naomi. She didn’t get the memo about being beyond wanting or being wanted. Or perhaps she just means to scare the shit out of him, which she does.

But whatever I am, or have since become, I know now that slipperiness isn’t all of it. I know now that a studied evasiveness has its own limitations, its own ways of inhibiting certain forms of happiness and pleasure. The pleasure of abiding. The pleasure of insistence, of persistence. The pleasure of obligation, the pleasure of dependency. The pleasures of ordinary devotion. The pleasure of recognizing that one may have to undergo the same realizations, write the same notes in the margin, return to the same themes in one’s work, relearn the same emotional truths, write the same book over and over again—not because one is stupid or obstinate or incapable of change, but because such revisitations constitute a life.

I edit myself into a boldness that is neither native or foreign to me. At times I grow tired of this approach, and all its gendered baggage. Over the years I’ve had to train myself to wipe the ‘sorry’ off almost every work e-mail I write; otherwise, each might begin, Sorry for the delay, Sorry for the confusion, Sorry for 'whatever’. 'One only has to read interviews with outstanding women to hear them apologizing’ [Monique Wittig]. But I don’t intend to denigrate the power of apology: I keep in my 'sorry’ when I really mean it. And certainly there are many speakers whom I’d like to see do more trembling, more unknowing, more apologizing.

both offer immersion in their vision without rehashing the avant-garde fetish of terrorizing the audience or the mainstream one of chaperoning it. “We abide by cultural directives that urge us: clarify each thought, each experience, so you can cull from them their single, dominant meaning and, in the process, become a responsible adult who knows what he or she thinks,” Foreman has said. “But what I try to show is the opposite: how at every moment, the world presents us with a composition in which a multitude of meanings and realities are available, and you are able to swim, lucid and self-contained, in that turbulent sea of multiplicity.

Afterward (or, The Bridge) Because desire always exceeds its object. Because the energy you gave me feels big enough to birth wings. Because I want you to push into the wetness and I know it. Because of the salt and the wind. Because everything that is supposed to happen will happen, is happening, or has already happened. Because ambivalence is more beautiful than justice. Because my heart is shooting ahead, and I have no choice but to follow it. Because I want you to be happy, with or without me. Because of the birds fleeing the storm. Because the harbor is permeable and shining. Because it felt like that last night of my life but it wasn't. Because a web of cables is there to catch me if I blow sideways, and always will be. Because I walked across the bridge and was free.

Some of the subjects of Puppies and Babies may not identify as queer, but it doesn’t matter: the installation queers them. By which I mean to say that it partakes in a long history of queers constructing their own families—be they composed of peers or mentors or lovers or ex-lovers or children or non-human animals—and that it presents queer family making as an umbrella category under which baby making might be a subset, rather than the other way around. It reminds us that any bodily experience can be made new and strange, that nothing we do in this life need have a lid crammed on it, that no one set of practices or relations has the monopoly on the so-called radical, or the so-called normative.

I know now that a studied evasiveness has its own limitations, its own ways of inhibiting certain forms of happiness and pleasure. The pleasure of abiding. The pleasure of insistence, of persistence. The pleasure of ordinary devotion. The pleasure of recognizing that one may have to undergo the same realizations, write the same notes in the margin, return to the same themes in one's work, relearn the same emotional truths, write the same book over and over again-not because one is stupid or obstinate or incapable of change, but because such revisitations constitute a life.

Mallarmé described this agony as a battle that took place on God's "boney wing". "I struggled with that creature of ancient and evil plumage-- God-- whom I fortunately defeated and threw to earth", he told Cazalis with exhausted satisfaction. Eventually Mallarmé began replacing "le ciel" with 'l'Azur" in his poems, in an effort to rinse references to the sky of religious connotations. "Fortunately," he wrote Cazalis, "I am quite dead now.

If I were today on my deathbed, I would name my love of the color blue and making love with you as two of the sweetest sensations I knew on this earth. But are you certain-- one would like to ask-- that it was sweet? --No, not really, or not always. If I am to enforce a rule of "brutal honesty," perhaps not even often. It often happens that we treat pain as if it were the only real thing, or at least the most real thing: when it comes round, everything before it, around it, and, perhaps, in front of it, tends to seem fleeting, delusional. Of all the philosophers, Schopenhauer is the most hilarious and direct spokesperson for this idea: "As a rule we find pleasure much less pleasurable, pain much more painful than we expected." You don't believe him? He offers this quick test: "Compare the feelings of an animal engaged in eating another with those of the animal being eaten.

I do not know the reason for this blue pussy, meant to convey both divine bewilderment and revelation. But I do feel that its color is right. For blue has no mind. It is not wise, nor does it promise any wisdom. It is beautiful, and despite what the poets and philosophers and theologians have said, I think beauty neither obscures truth nor reveals it. Likewise, it leads neither towards justice nor away from it. It is pharmakon. It radiates.

Try, if you can, not to talk as if colors emanated from a single physical phenomenon. Keep in mind the effects of all the various surfaces, volumes, light-sources, films, expanses, degrees of solidity, solubility, temperature, elasticity, on color. Think of an object's capacity to emit, reflect, absorb, transmit, or scatted light; think of "the operation of light on a feather." Ask yourself, what is the color of a puddle? Is your blue sofa still blue when you stumble past it on your way to the kitchen for water in the middle of the night; is it still blue if you don't get up, and no one enters the room to see it? Fifteen says after we are born, we begin to discriminate against colors. For the rest of our lives, barring blunted or blinded sight, we find ourselves face-to-face with all these phenomena at once, and we call the whole shimmering mess "color." You might even say that it is the business of the eye to make colored forms out of what is essentially shimmering. This is how we "get around" in the world. Some might also call it the source of our suffering.

... I will take a long shower, as the shower is the only place I will have any privacy. In the stall I will get down on my knees and weep, letting the water run over my body, praying to get better, praying not to hurt myself any more than I’m already hurting, praying that this loss, that this whole time, will move over me, through me, like a dark storm passing over a great plane. A great plain which is, essentially, my soul. A soul which is neither light nor dark, neither wholly alone nor wholly with any other, certainly not with God, just flat, open, deathless, and free. Curled up in a wet ball on the tile floor I will hear myself say, something in me is dying. I no longer know to whom I’m talking.

Katharsis arrives in English virtually untranslated, as “catharsis,” which derives from katharos—“pure.” But the word has stretched to signify or entail a wide variety of processes, including clarification, enlightenment, purgation, elimination, transubstantiation, sublimation, release, satisfaction, homeopathic cure, or some combination thereof. Second, the phrasing of Aristotle’s original sentence leaves it unclear whether “catharsis” applies to incidents or to emotions—that is, whether the action takes place inside an individual, outside of her, or somewhere in between.

For the fact is that neuroscientists who study memory remain unclear on the question of whether each time we remember something we are accessing a stable “memory fragment”—often called a “trace” or an “engram”—or whether each time we remember something we are literally creating a new “trace” to house the thought. And since no one has yet been able to discern the material of these traces, nor to locate them in the brain, how one thinks of them remains mostly a matter of metaphor: they could be “scribbles,” “holograms,” or “imprints”; they could live in “spirals,” “rooms,” or “storage units.” Personally, when I imagine my mind in the act of remembering, I see Mickey Mouse in Fantasia, roving about in a milky, navy-blue galaxy shot through with twinkling cartoon stars.

I awoke from this nightmare into a freezing cold motel room: the heater had broken at some point during the night, and the fan was now blowing icy air into the room. At first I tried to keep warm under the crappy motel bedspread by thinking about the man I loved. At the time he was traveling in Europe, and was thus unreachable. I didn't know it yet, but as I lay there, he was traveling with another woman. Does it matter now? I tried hard to feel his body wrapped tightly around mine. Next I tried to imagine everyone I had ever loved, and everyone who had ever loved me, wrapped around me. I tried to feel that I was the composite of all these people, instead of alone in a shitty motel room with a broken heater somewhere outside of Detroit, a few miles from where Jane's body was dumped thirty-six years ago on a March night just like this one. 'Need each other as much as you can bear,' writes Eileen Myles. 'Everywhere you go in the world.' I felt the wild need for any or all of these people that night. Lying there alone, I began to feel - perhaps even to know - that I did not exist apart from their love and need of me. Of this latter I felt less sure, but it seemed possible, if the equation worked both ways. Falling asleep I thought, 'Maybe this, for me, is the hand of God.

For as long as I can remember, this has been one of my favorite feelings. To be alone in public, wandering at night, or lying close to the earth, anonymous, invisible, floating. To be ‘a man of the crowd,’ or, conversely, alone with Nature or your god. To make your claims on public space even as you feel yourself disappearing into its largesse, into its sublimity. To practice for death by feeling completely empty, but somehow still alive. It’s a sensation that people have tried, in various times and places, to keep women from feeling. Many still try. You’ve been told a million times that to be alone and female and in public late at night is to court disaster, so it’s impossible to know if you’re being bold and free or stupid and self-destructive. And sometimes practicing for death is just practicing for death. As a teenager I liked to take baths in the dark with coins placed over my eyes.

For the week after the man's visit to my work, campus security will assign an officer to stand outside the door of my classroom while I teach, in case he returns. On one of these days, I teach Alice Notley's grouchy epic poem Disobedience. A student complaints, Notley says she wants a dailiness that is free and beautiful, but she's fixated on all the things she hates and fears the most, and then smashes her face and ours in them for four hundred pages. Why bother? Empirically speaking, we are made of star stuff. Why aren't we talking more about that? Materials never leave this world. They just keep recycling, recombining. That's what you kept telling me when we first met—that in a real, material sense, what is made from where. I didn't have a clue what you were talking about, but I could see you burned for it. I wanted to be near that burning. I still don't understand, but at least now my fingers ride the lip. Notley knows all this; it's what tears her up. It's why she's a mystic, why she locks herself in a dark closet, why she knocks herself out to have visions. Can she help it if the unconscious is a sewer? At least my student had unwittingly backed us into a crucial paradox, which helps to explain the work of any number of artists: it is sometimes the most paranoid-tending people who are able to, and need to, develop and disseminate the richest reparative practices.

Perhaps because I have spent hours sermonizing to students about the sins of the passive voice—how it can obfuscate meaning, deaden vitality, and abandon the task of assigning agency or responsibility—I find the grammar of justice maddening. It’s always “rendered,” “served,” or “done.” It always swoops down from on high—from God, from the state—like a bolt of lightning, a flaming sword come to separate the righteous from the wicked in Earth’s final hour. It is not, apparently, something we can give to one other, something we can make happen, something we can create together down here in the muck. The problem may also lie in the word itself, as for millennia “justice” has meant both “retribution” and “equality,” as if a gaping chasm did not separate the two. If you really want to know what justice is, don’t only ask questions and then score off anyone who answers, and refute him, roars Thrasymachus to Socrates in The Republic. You know very well that it is much easier to ask questions than to answer them. Give an answer yourself and tell us what you say justice is. When justice is done, writes Anne Carson, the world drops away. This does not seem to me a happy thought. I am not yet sure I want the world to drop away.

7. But what kind of love is it, really? Don't fool yourself and call it sublimity. Admit that you have stood in front of a little pile of powdered ultramarine pigment in a glass cup at a museum and felt a stinging desire. But to do what? Liberate it? Purchase it? Ingest it? There is so little blue food in nature- in fact blue in the wild tends to mark food to avoid (mold, poisonous berries)- that culinary advisers generally recommend against blue light, blue paint, and blue plates when wand where serving food. But while the color may sap appetite in the most literal sense, it feeds it in others. You might want to reach out and disturb the pile of pigment, for example, first staining your fingers with it, then staining the world. You might want to dillute it and swim in it, you might want to rouge your nipples with it, you might want to paint a virgin's robe with it. But still you wouldn't be accessing the blue of it. Not exactly. 8. Do not, however, make the mistake of thinking all desire is yearning. "We love to contemplate blue, not because it advances to us, but because it draws us after it," wrote Goethe, and perhaps he is right. But I am not interested in longing to live in a world in which I already live. I don't want to yearn for blue things, and God forbid for any "blueness." Above all, I want to stop missing you. 9. So please do not write to tell me about anymore beautiful blue things. To be fair, this book will not tell you about any, either. It will not say, Isn't X beautiful? Such demands are murderous to beauty. 10. The most I want to do is show you the end of my index finger. Its muteness. 11. That is to say: I don't care if it's colorless.