Category Archives: gentrification

Random Haiku Journal

20121222-120338.jpg
12-22-12
(Haiku found in journal)

38. Introspection and/
Self-reflection are trouble/
To good consumers/
#haiku

39. Exploring ourselves/
Both conscious and sub-conscious/
Is how to find G_d/
#haiku

40. Rote repetition/
Won’t uncover any good:/
Just bury virtue/
#haiku

41. I need to escape/
The echo-chamber of “me:”/
Rejoin life’s spirit/
#haiku

42. Prayers are like Ego/
“Right some wrong that I perceive/
Omni-potent world!”/
#haiku

43. Doing chores is love*/
I prepare food to “say” love/
Things done to show love/
#haiku
*laundry (pronounced laundERy?) is love in notebook

44. We can give them love/
In daily domestic chores/
(Even teens accept)/
#haiku

45. I cook to show love/
It is the cuddle & hug/
That they* still accept/
#haiku *teens

46. Laundry and cleaning/
Do the same for their mother/
Love that they accept/
#haiku

47. Elaborate meals/
& meticulous cleaning/
Are part vanity/
#haiku

48. “Forgiving others/
Is a [small] gift to yourself[:/
Escape] resentment”/
#haiku via @JonathanLockwoodHuie

49. Freedom is unarmed/
& Peace needs no peacekeepers/
Weapons are problems/
#haiku

50. Guns become weapons/
When they are aimed at people/
It is all intent/
#haiku

51a. Gun Utopias:/
Very bad for Living things/
Heaven doesn’t kill/
#haiku

51b. Gun Utopias:/
Very bad for Living things/
Heaven lacks power/
#haiku

52. “Powerful’s” “Heaven”/
Is hierarchical Hell/
G_d needs no power/
#haiku

Power (IMBALANCE) #Haikus

Another entry from my twitter haiku journal:

1. Ancient emnities:/
Domestic dogs versus cats/
Contest for handouts/
#haiku

2. Scarce resources cause/
Un-needed competition/
Our fear creates greed/
#haiku

3. Constabularies’/
Job, since their creation: to/
Keep “Have nots” from “haves”/
#haiku

4. Control and power/
Disguised as security/
Eat our freedoms up/
#haiku

5. Most power corrupts:/
The “Top-down model” creates/
Loyalty upwards/
#haiku

6. Liberation needs,/
Paradoxically, freedom/
For misbehaviour/
#haiku

7. The “top-down-model,”/
Most of all, must be free of/
Ideology/
#haiku

8. The “top-down-model,”/
Most of all, must be free of/
Formal religion/
#haiku

9. The “top-down-model,”/
Most of all, must be free of/
Fundamentalists/
#haiku

10. The “top-down-model,”/
Most of all, must be free of/
Christian phalangists/
#haiku

11. The “top-down-model,”/
Most of all, must be free of/
Islamic nut jobs/
#haiku

12. The “top-down-model,”/
Most of all, must be free of/
White supremacists/
#haiku

13. The “top-down-model,”/
Most of all, must be free of/
All Utopians/
#haiku

Sent via BlackBerry by AT&T

August: Osage County (why I’ll try theatre again)

2/26/2008 4:07 AM

imgp0260-small.jpg

I got an email from Sunil Vyas while I was at work yesterday and he just responded again. It seems I’ll see him on Monday the 3rd for dinner. How exciting. I am up on time and ready to go, but I want to write a little here first.
I keep thinking of the play that I went to see with Chandler. “August: Osage County” was a great play and in spite of the fact that I usually do not enjoy big c culture events I loved this one. I think I’d like to write a brief post about it for the Blog. I should start with the fact that I often, peremptorily, prejudicially and without cause, don’t like going to plays and being around the theatre crowd. This goes double for opera, classical music and experimental theatre. The last play I went to was the one about Buckminster Fuller with my dad (which has its own special load of fraught freight). I remember that it was in a warehouse-type theatre with lots of really engaged people, not a few of whom were old hippies like my dad. As I went into the big space with bleachers built to face the stage I enjoyed the “archive of Buckminster Fuller” and the “world games” that filled the space like some experimental museum. But I was not comfortable.
In spite of the fact that is was like a trip to my childhood, with buckyball globes (tetrahedrons cut out of postcards) made of cardboard and other oddities of the subject of the play, I felt disease. It is the same feeling I get when I go to the opera in SF, or Philly or (strangely to a lesser extent) in New York. I got crabby and judgmental, spending as much time assessing the clothes, styles, class and culture of my fellow theatre goers as I did watching the play, theatre, opera or anything else.
When I go to big-C-cultural events I inevitably start to compare instead of identifying. I begin to reach a point where I note every difference between myself and the other people attending the same production. I’ve noted before that I don’t get this way when I’m in an art museum, so this alienation and judgment is particular to the theatre-arts big-C-cultural events. I just don’t know why. I suppose I could go to a few years of therapy and figure it out, but I like sitting in my grouch-can complaining too much.
“August: Osage County” was a great play and a big-C-cultural event that I truly enjoyed. This leads me to believe that the real issue is the quality or my engagement with the productions I’ve seen. I know that I did actually enjoy the St. Petersburg production of Pushkin’s “The Fiery Angel,” but it had massive full frontal nudity and catholic bashing (fifty nuns stripped down and climbed all over the set nude: it was spectacular). But, I also enjoyed “August: Osage County” and it had no nudity. It was a human drama full of real people and actual emotions covered in very funny humor, which is how I try to avoid my feelings.
From the moment the play began I stopped taking inventory of my fellow theatre-goers and did not notice a thing besides Chandler’s tired head on my shoulders until it was over. I wasn’t even bothered by the people pushing passed my seat to get oiled at intermission. The guy behind me who was so drunk that his breath was making me tipsy barely bothered me as I watched the drama unfold.
It was like watching the most dysfunctional family reunion or chistmas dinner ever, in the tawdriest trailer park in the south. Yet I had no judgment of the people on stage at all (in spite of the bashing that the description I just gave suggests). I was immediately struck by the humanity of the characters, the reality of the actors’ performances and the use of humor to deflect the horror of a domestic tragedy.
I loved the experience of this play and look forward to going to more drama, if it is this good. This one play rescued three genres of big-C-culture for me in one felled swoop.

“Queens Boulevard Driftwood”

imgp0423-small.jpg

In my annual calender, on the page I started the poem were these two “bon mots:” “the truth broke my uniqueness” (3.22.7) and “My ability stand pain diminished” (4.2.7). I’m not sure why I wrote them down, who said them, or why they matter, but I’m digitalizing them.

I saw a huge chunk of wood in traffic on Queens Boulevard the other day and the traffic was slowly dissolving it. I though about it and I want ed to write a poem, and this is what I started last night as Erin (M) spoke.

“Queens Boulevard Driftwood”
A six foot block of 8” by 10”
Aged for a century deep in
A warehouse that held barrels of oil
That 2 floors down became pens

Flame de-industrialization
For cold steel replacement buildings:
To fill with pressboard furniture
Covered with white and birch veneer

The rubble of that factory
Trucked away thirty cubic
Yards at a time to a depot
Lashed to barges along the River

The illegal that packed the charred beam
In the 30 yard dumpster lashed loose
The blue plastic tarp containment
Disposable archeology

Too fast turn by stallion carting
Out flew bricks, rubble and plaster
The beam that held up 100 years
Of hard work and new things fell out

Wave after wave of traffic rolls
Over and over the charred cedar
Crumbling and shaving the wood cut
A century ago by dagos

Yellow, then red and green again
The pulsing of the traffic thuds
Over and over the charred cedar
Gnawing away on the old beam

Smoothing the remains of the tree
Felled so long ago in mountain woods
A century hidden in red brick
Supporting piece-work now done by

Dominicans and Poles and
Koreans and Fujianese
And Hondurans and Mexicans
With bleary eyed efficiency

When I see the board dissolving
Under the waves of rush hour tires
It smoothes along the rough grain grown
When Lincoln debated Douglass

The grain shows like the tree itself
Fell down in a cold mountain stream
And was worn away gently in
The most tranquil of rural deaths

Waves of cars on Queens Boulevard
Lap over the wetback hewn board
Eroding it like the bowsprit
Of a shipwrecked sail freighter

Made redundant by steel and steam
Wave after wave on the freezing verge
Wears away the tree cut down quick,
Casually, when Queens was built

By dawn there is only a smooth
Core, the size of a root, halo-ed
By splinters worn off, car after car
Queens Boulevard Driftwood

This poem, on reconsideration, reminds me of this shit.

Prophet Housing

bike-on-roof-16-small.jpg

12/18/07 04:56:38 AM

So our new lives in our new apartment have started. I took Chandler to meet Aneka at 46th Street on the seven train. We were there so early Chandler has renegotiated for an extra 10 minutes of sleep today. I was a work by 7:30 and If I continue to do this I’ll have time to go to the gym in morning. Apparently Lennox and Mason’s drop off also went well. Linda and I went to Costco to buy a TV, which I think we’ve put off in the hopes that we can buy the kids more of what they want this “holiday” season. Funny thing about that ironic use of quotation marked holiday.

I found a copy of Khalil Ghibran’s The Prophet (that I had bought on telegraph avenue used) and in it was a bookmark. The page it marked was the Prophet’s response to the Mason. “’Ironic,’ thought I, it is addressed to my son.” But the opening line is “Then a [M]ason came forth and said speak to us of Houses” (34). So, since I spent the evening unpacking my seemingly endless supply of things and assembling them I was intrigued by the synchronicity of the bookmarking.1 This is the electronics (and modern) version of feathering my nest. We’ve got to get all of the twigs and grass just right so that the chicks and their parents will all fit comfortably. I imagine a bird’s nest of wires, surge protectors, USB cables and transformer power lines in which we comfortably cuddle together. (God, how I digress.)

The first few “stanzas” were pure anti-city, and I’ll include a bit here as an illustration: “Would the valleys your streets and the green paths your alleys… [and] In their fear your forefathers gathered you too near together” (35). These nods to the bucolic piss me off. Besides the fact that the human condition is social, and there would be no wilderness if we spread people out like that, even in 1922, I just want to dissent a bit further on this romanticization of the bucolic.

(Digression Alert) I remember one week when Scott and I lived on Maui. This was before we got food stamps, in deed it might be why I got food stamps. We had “no visible means of support” and we had alienated those off of whom we could beg. But there was a mango tree and an avocado tree that were in season near where we were camping. We could fill ourselves nicely on these huge trees for the cost of a climb. Guavas, I think were also ripe in a pasture a couple of miles away. Before seven days had passed I was crazy and hungry though my stomach never went empty. There is a reason that we are a social and agrarian species. The hunter gatherer thing is too much work. (I think it is also why we are omnivores, but that is another rant.)

Then the prophet gets to why I am writing this now:

Tell me have you [peace, remembrances and beauty] in your houses?

Or have you only comfort, and the lust for comfort, that stealthy thing that enters the house as a guest, and becomes a host, and then a master?

Ay, it becomes a tamer, and with hook and scourge makes puppets of your larger desires.

Though its hands are silken, its hear is of iron.

It lulls you to sleep only to stand by your bed and jeers at the dignity of the flesh.

It makes mock of your sound senses, and lays them in thistledown like fragile vessels.2

Verily the lust for comfort murders the the passion of the soul, and then walks grinning in the funeral.

But you, children o space, you restless in rest, you shall not be trapped nor tamed.

Your house shall be not an anchor but a mast. (36)

Continue reading

Bike Racing Team

skyview-manhole-small.jpg

Here’s the latest installment of Kiko’s Tale, because I haven’t posted anything in a while. He’s back, our hombre duro de las bicilcletas, aand he’s going to peek into another world today. More observations of work in NYC, and not the kind for people who go to college. There is some recreation here too, and the kind for the Manhattan-Types. There’s more the pipeline, though if I don’t start getting some feedback (It’s hard to keep going without hits and feedback, of course it is possible that it sucks.)

And of course, if you want to start from the beginning, go here.

The team of a certain Manhattan Bike shop, with their matching Blue and Gold kits that had passed them with a series of smirks eight faces long on the way out of the city had to work harder than they ever had to catch them on the way back across the golf course at the border of Queens. They figured it was ‘cause they were tired, in need of nourishment in the form of the food-like-stuff the team provided in little bottles and foil packets. They had no idea that this was the raw debut of something new in cycling, this was Kiko, unleashed.

Team Manhattan, the Blue and Gold Line, did catch them after about a mile of perfect drafting and flawless transitions of the lead. It was actually, were you there to watch, a superior act of teamwork: they looked like an iridescent blue and gold zipper with each rider taking his turn until he was completely shot and then falling back and catching onto the end of the line in perfect time and harmony. They had never, even I the race out at the old air strip Floyd Bennett Field where the exposure to the wind made teamwork paramount in their victory, worked so well together. At that race it was enough to clearly, convincingly, win, out here in their weekly “leave Manhattan” practice it was barely enough to reel in a guy in commercial togs and one in jeans. Had Marcal, the captain, thought to ask them to join it would have been a coup, instead their smirks just rode back to where Kiko had left the bike with the basket locked up.

Kiko Meets Mike IV

dscn6463-small.jpgThe Hipster Antidote, Eccentric Gear

When we went to Staten Island there was a race jumping off. It was one of those post modern messenger races, that of course, because it is full of young well organized, well equipped and, yes, white people, gets lots of press. As Scott and I got off of the ferry we noted all of the tattooed hipsters on fresh track bikes, and Scott said to me, “there’s some sort of a messenger race happening here.” It reminds me of when we used to hang out in Washington Sq. Park in ’80 or ’81 and it was apoint of honor not to wear your messenger bag (“no, I’m not working”), which also helped to avoid criminal justice attention, because messengers in the village often got sussed. They had beautiful new track bikes in really good shape. I doubt that any of them were used for deliveries 40 hours a week. I didn’t see many helmets, though there were a fair amount of pork-pie hats (Sigh, I’m a hater: how the mighty have fallen.)

I wrote to cynematic

Yeah, the funny thing about that race was that Scott and I got off the
ferry at the same time as alla them young’uns with our kids for a
flashback birthday party. I was going to post on the blog about it, but
I am swamped.

We saw some of them on the way back to “Manhattoes,” and were waxing
nostalgic for our days before the wheel. But there we were with our
five kids amped on sugar and a ferry ride, and you know, I’m just glad I
survived (the party and track bike messengering in the 1980s).

I gave the whole track bike messenger thing all I had, but you can’t
stay cool for ever. Hell, I’m just glad tattoos and piercings are a late
addition to the whole messengering thing, because the last thing I need
is a saggy tattoo of a track bike on my tuckus.

But, in fairness, I have to say that this was in the Times, about recycling (or re[cycle]cycling), which gives me hope. Not everybody runs out and buys the new new thing, some people -my heroes- try to reduce, reuse, recycle (and I do love the thrift store stylings). My favorite track bike was a chrome-steel metro track bike with straight bars and no brakes. I doubt I have a picture of it, but it often lived outside and worked flawlessly for a year or so, ’til my life caught up with me.

1982?

Holla at me. Here Kiko continues to re-meet Mike, which is how things start to happen in a linear way again. I want to speed up the pace. And of course, if you want to start from the beginning, go here.

Kiko told Mike where he worked, and gave him a menu bungee-chorded in the basket, thinking no more of Mike’s proposition than the Salvadoreño borracho who opens the door to the Pastilleria Colombiana on Sutphin Boulevard.

At four that day Kiko was shocked when, upon returning from a delivery, Señora Choi called him over to the register and gave him a phone message from “Mike on Bridge.”

Kiko immediately knew who it was and was now suspicious of the thin guy on the skinny bike. Was he un maricón, because Kiko knew he had no money to take compared to the man on the thin bike with a matching skin-tight outfit. He was also suspicious of Juan Valdez, the cartoon campesino on his back. Was Kiko some sort of noble experiment to this white guy with a fake wetback on his back? He thought long and hard whether he would call the guy on the bridge before dawn. Before he through out the number peremptorily, three things ran through his mind.

First was Key-Vin, the Chinese guy who asked him about racing bikes, and helped him to appreciate how much better a well maintained bike would ride. He had describes the clothes that Bridge Mike wore: “Tight-bright-picture-writing-clothes! Funny clothes!” He wondered why anybody would wear suck skimpy clothes in New York, a city that prized appearances, not understanding the aesthetics of boutique sports.

Kiko Delivers More

 dscn5937-small.jpg

 What a romantic moment I stole from them on Flushing Avenue by the Brooklyn Navy Yard.  My camera is sick and in the shop as you can tell from the focus on this.

Here’s the latest installment of Kiko’s Tale, and he’s back. I’m self conscious about dialog, and this one really should end up on the cutting room floor, but the life of a delivery person is full of these sort of observations.  They give the tale its space and breadth, though I wish I was just rushing ahead to where he races and wins, but I’m trying to tell a fuller tale, and I’m enjoying it.  There’s more the pipeline, though if I don’t start getting some feedback (It’s hard to keep going without hits and feedback, of course it is possible that it sucks.)

And of course, if you want to start from the beginning, go here.

 

Since he had met Ke-vin on Calle Canal, he had been more interested in bikes.  To avoid looking at her t-shirted childless breasts he looked over the woman’s shoulder at las bicicletas flacas that hung from the ceiling like stalactites as she collected the food and paid for the egg white and feta omelets con cebollas verdes.  As she overtipped she followed his eyes to their bikes and told him something too quickly to understand.  Clare slowed down and explained “these bicycles are our racing bikes,” noting his curiosity, “our everyday bikes are outside on the pole.”

“Bicicletas carreras—racing bikes: they are so much thinner than mine.”  He thought as he walked down the corridor and stairs that hadn’t been painted since Koch was the mayor, “like the man on the bridge, straight line, thin, light.”  Outside in the bright light of the day, which always shocked him when he came out of old dark buildings, he saw two bikes locked up with strong chains inside of black logo fire hose material.  He went over and looked at them and neither had suspension or una silla gordo, they were both thin, without writing though they had think rims like his bike, there were no knobs or bumps on the tires.  Las gomas were thin and bald, and other than that the bikes looked like his, chipped, nicked and dirty-dinged.  But they had those bikes on their ceiling.  This was a mystery that Kiko was having a hard time unraveling: “Why would they have such nice bikes and bikes outside that looked like his?”

Kiko, being a quick study, figured out the logic of having beater bikes outside as he admired their locks and the bicycle chains in a short circuit beneath the crossbar that kept their seats attached.  He figured out how and why they locked the bikes at some distance from their loft, which being in the middle of the block, offered too much privacy and shelter for thieves to work on the locks, cables and pole that wove their bikes to the city.  The bikes didn’t look like much spray painted a basic dark blue, they were the opposite of the shiny stickers and logos that the months of chaining his bike had chipped, ripped and eroded off of the frame that was so flashy when Señora Choi had brought it to him.  They looked like the taxi cabs that have had their medallions taken from them with yellow paint covering the stickers that they owner couldn’t pull off: flash free function.


Back to Boston

I went back to Boston for the first time since the early 1990s for the American Literature Association. I was bowled over by the changes in my home town in the last fifteen years. I walked about a fair piece, mostly in the Back Bay and South End. These were the neighborhoods that I hung around in as a kid and young adult: it is the “scene of the crime.” One morning, the day I read my paper I woke up early to proofread my presentation one last time and I went to a park on West Newton Street and worked on a park bench.

I left Boston in 1979 and more or less severed all emotional ties with the place, or so I thought. “Boston Sewer” is how I simplified things, melting adolescence, racism, segregation, self-centered (and imagined) betrayals. I’ve spent 26 years gleaning negative reports about Boston, its environs and inhabitants. (My favorite is pointing out to people who say they are from Boston that they are actually from the vanilla suburbs). Going back I found that it was much more complicated.

boston-manhole-3930-small.jpg

I walked all around the old neighborhood and looked the changes. After I worked over my paper I walked back up to the Back Bay, sat in front of my old High School and spontaneously wrote the following:

copley-sq-high-school-3953-small.jpgcopley-square-trinity-handcock-3964-small.jpgsouth-end-93-pembroke-home-3942-small.jpg

In one of the Star Trek Movies they seed a barren planet with some sort of super-mutant-DNA-bomb, with Spock as the yolk, turning the stone sphere into a lush tropical paradise in minutes. There is a similar phenomenon occurring in Boston [and I guess New York which I haven’t noticed because I live here]. Rather than the the genesis bomb, they’ve dropped the wealth bomb. Like the planet, the basic geography and contours have not changed, but on each of the surfaces, details, and facets you can see the wealth crystallize and accrete. It is hard to say how it started; perhaps the sidewalks spontaneously turned to brick and the streets to cobblestones. Maybe the depressing, functional gray-steel mercury vapor streetlamps of the 1970s began to melt: past the beaux-artes -street-poles of Paris they stopped at the neo-colonial-stained -glass-gas-lamps that I could imagine Ben Franklin lighting, if it weren’t for their hermetically sealed computer ignition systems.

It is like Boston got beaten with the rich stick. Charitably the metaphor would be like a coppersmith hammering a rod into a beautiful plate or piece of jewelry. You can see the patina of wealth on every surface, whether it dates from 3oo years ago or the 1970s. The stone and brick has been cleaned so the black church I went into in the 1970s is now beautiful shades of honey and dusk. Trinity across the Square is “Pink granite [and] Longmeadow sandstone.”

Uncharitably it is like “the ugly stick” that they beat “yo’ Mama” with in the HS locker-room. The rich have money , style (of a sort) and class (which they get to define), but they don’t have taste. Wealth is like the ugly stick because of the garish repetition of before (what’s worked before).

As I sat on the bench in front of my old HS, a place where I had made out and been beaten up (thank god I’ve grown up), I was taken by the hyper-rich character of Newbury Street, which was never that poor. I watched the city wake up from there, a black man selling newspapers on the street, a white woman collecting cans (she turned up the bottle of tequila in the garbage with a corner left in it) and checking phones for uncollected change.

tequila-3949-small.jpg

By 7 ivy league t-shirts drew their owners out for runs to and from the public gardens. By 8 I saw a few extremely well healed older women hop out of double parked Scandinavian cars to get coffee and pastries from Starbuck’s (It’s own kind of viral wealth-growth). I wore less make-up and less elaborate costumes when I played Gandolf in Ms. Tisset’s theater program than these women did. The cobblestones didn’t slow either of them down when they walked over on the 4″ heeled pumps that looked like stilts that early on a Sunday morning. These are my first impressions of one morning on the corner of Newbury and Dartmouth Street in 2007. south-end-bancroft-school-3945-small.jpg

Before this I had walked around the South End, which sharpened my feeling of alienation. Now I know that I am part of the gentrification of the South End. My parents, my family, our commune (or boarders) were part of what changed the tenor of the neighborhood. As I recall fondly the friends I made, the adults that lived there and were kind to me as a child and adolescent (and being kind to adolescents is not easy), I realize that our presence on the block was part of why Tommy Thompson can no longer live there with his two dogs and a motorcycle. I wonder if any of the working class people (or their descendants) who lived on the block before we moved in still hold the titles? When the good intentioned hippies and artists move in, the rents will soon reach escape velocity and become astronomical.

south-end-93-pembroke-home-3942-small.jpg

Home

But there were those years when kids and their families could afford these old houses and have lots of space. Some had more, others had less (I wonder if the Coles are still renovating their house on Rutland Sq?). It was a good childhood, and I can only think fondly of the people and times. I hope I haven’t written anything here that is untrue or unkind. I’ll end with Ben’s e-mail and poem. I have to say I am of the same ambivalent opinion.

Maybe it’s only the inexorable creep of money, but the South End and all of Boston looks great. Actually, it smells, tastes, sounds and feels better too.

You can ride the urban rocket
so long as coin is in your pocket

But if you can’t pay the fare
get the fuck on out of there.