This Modern Writer: The Physics of Perceived Time by Curtis Smith

My son holds his kata’s opening pose: back straight, fists low and clenched. Tonight, he says, he’d rather not have me watch.

“Why not?” I ask.

“Because.”

“Fair enough.” I shut my eyes.

“Are they closed?”

“As closed as they can be.”

I listen. His new kata is complicated. The carpet rubs his pivoting feet. He steps, pauses. His shirt rustles with his first chops. His fist strikes his thigh and chest. My eyes are closed, yet the moment is not blank. Indeed, the moment blossoms. In the dark, I see him like never before.

I open my eyes when he returns to his ready stance. “Can I watch now?”

He thinks for a moment. “Not this time. Maybe later.”

*

I am fifty. Imagine the physicist’s ball in flight. I’m at least a decade past the trajectory’s apex. Gravity is now my journey’s driving force. Of course it always was, but I’d been duped by youth’s reckless velocity. That current lifted me to the clouds. Now I’m hostage to an ever-speedier plummet. Behold the onrushing earth. Behold my impending return to dust. Fifty, and there’s still so much to do. I want to learn to ice skate. I want to grow watermelons in my garden. I want to hold a grandchild. One Mississippi, two Mississippi, three . . . the playground taught me the second-hand’s cadence. Time remains the faultless constant. Yet time crumbles beneath my skin, no match for the forces of experience and soul.

*

Friday evening karate class, my boy barefoot despite the cold. The space echoes with the children’s bloody cries of Ki-ya! There are exercises, drills, turns taken at the punching bag. When his name is called, my son stands alone before his instructor, and I’m finally allowed to witness the warrior’s choreographed routine. There are flaws, but there is also flow and power, promises of better things to come.

The instructor claps his hands. “Gear up!”

The students strap on their sparring gloves. My boy runs to his mother. He opens his mouth, and she slides in his guard. “Hands up,” I remind him, but he sprints back before I can be sure he’s heard me.

“Ready?” the instructor asks.

My boy nods from behind his raised fists. He and his partner exchange jabs and tepid kicks. Son, like father, is not the aggressive type. The instructor sends another boy onto the floor, and now my son must fight two. The seconds pass for us all, but for my boy, the necessity of attack and defense blurs the present. For me, the same moments grow interminable for I see not the safety of the dojo’s padded gear but a foreshadowing of the bruises and black eyes that await this child I love so dearly.

The instructor steps into the fray. “Break!”

*

A physicist’s fundamental understanding of time:

-       a = delta v / delta t

-       v = delta d /delta t

*

In my dreams, I am twenty-five, thirty—a young man’s strongest years. This flattering picture has frozen in my thoughts, as real as a statue and, alas, just as useful.

*

My wife and I stand and applaud as BB King is led onto the stage. All hail the King of the Blues! His sits, Lucille balanced upon his lap. His white hair shines beneath the lights. Unexpected, the welling that finds me, a teary appreciation to be sharing this night with a legend.

The King picks and croons. Between songs, he jokes with the audience, but more than once, he loses track of what he’s saying. “I’m eight-five,” he laughs. “The only things I remember are my age and that girls are pretty.”

*

My son pushes a chair to the fireplace. Atop the mantle waits his advent calendar, a shallow wooden box with twenty-five doors. Each day brings a surprise, a bit of candy, a trinket likely to break within the week. He has just turned eight, and how long a month, especially this one, must seem. I witness the same scene, amazed that soon he’ll have opened all the doors and another year will have passed.

The physicist tallies the seconds it takes my son to climb atop the chair. Work is calculated. Power. Joules and watts. Kinetic energy yields to potential. All these derived quantities are true, yet this is just the surface. Reach deeper into the physicist’s bag of tricks and consider the Doppler effect. Our existence is awash in waves, carriers of all we see and hear. In this light, one could argue that the singular moment is little more than the simultaneous crashing of a thousand waves from near and far.

The moment dies in its birth, and as we grapple to stay afloat in the present, we are left with an ever-fading appreciation of what was once real. The present it titular—a heartbeat, a sigh. Beneath this pinnacle exists the shadowland of perceived time, and no physicist who values his sanity want to explore this quagmire.

Disciples of science, here is my theory: perceived time operates on an as-yet discovered algorithm of the Doppler effect. Consider the compressed waves born of wanting and desire—the child’s Christmas-week anticipation, the adult’s anxious witnessing of karate-class blows. In these situations time expands beyond the accepted frameworks of calendars and clocks. Balancing these are the red-shift waves of the years that fly past, an avalanche of days barely noticed until we are deposited in an unexpected future, our joints brittle and our closets full of dated fashions.

My boy climbs down. Today’s treat—Swedish fish. He extends his hand, a red candy upon his palm. “Want one, Daddy?”

*

Deep into her eighties, my grandmother’s mind deteriorated. She forgot to turn off the stove. She returned from the supermarket without the groceries she needed. She spoke to me in a new tone, a nuance that perplexed me until I realized she believed she was talking to my father. The time had come to put her in a home.

“Do you like it here?” I asked during my first visit.

“Yes.” She clutched my arm and whispered, “But the people here are so old!”

*

My son stands in the living room’s center. He wears last year’s favorite sweatpants, the cuffs now riding high above his ankles. Behind him, the Christmas tree, white lights and all around us, the evergreen scent. Only five closed doors remain on the advent calendar.

Tonight I am permitted to watch his final kata. I rest my book and glasses on my lap and hear out my son’s stipulations. No laughing, no correcting, and I am not so old that I can’t remember feeling the same way about my father, his well-intentioned criticisms magnified and stinging in my gut.

My boy begins. Pivot, stance, block. Step, punch. The tree lights twinkle, a hundred delicate pinpoints eclipsed by his little body. The moment exists. The moment is. The moment is both shared and cleaved into two unique realities. The seconds click, a parade of impersonal markers. The moment passes. Its echo, nurtured by the misunderstood physics of perceived time, burrows into our hearts. There, it waits for resurrection and perhaps, if we are fortunate, understanding.



Curtis Smith’s stories and essays have appeared in over seventy literary journals and have been cited by The Best American Short Stories, The Best American Mystery Stories, and The Best American Spiritual Writing. His latest books are Bad Monkey (stories, Press 53), Truth or Something Like It (novel, Casperian Books), and Witness (essays, Sunnyoutside).

In Capitalist America You Can't, And I Can't, Suck On Nipples All Day, Even Though They're Magic, And Especially Because They Belong To Mother Nature by Christopher Forsley

Let’s talk about drugs, friendly drugs, not dangerous drugs.  Lenny Bruce – Saint Lenny, that is – said no drug is dangerous, that they’re all friendly.  But his friend, Morphine, killed him.  Was Saint Lenny wrong?  Are some drugs dangerous?  I don’t know.  Maybe Saint Lenny’s friend, Morphine, did the comedian a favor.  Maybe Saint Lenny wanted to die.  Maybe the New World Order schmucks fucked him one too many times… for using words like, “schmuck.”  I don’t know.

I do know that Hugh Hefner, another one of Saint Lenny’s friends, wants all drugs legalized – legalized like Viagra.  Hefner loves Viagra.  Without it he couldn’t put his schmuck into young, big-breasted blondes… especially not twins. Viagra, in Hefner’s opinion, is a friendly drug.  But middle aged women think Viagra is an unfriendly drug that causes their once lifeless husbands to take their newly awakened schmucks to wetter, healthier, better manicured pastures.

Everyone, I guess, is friends with different drugs.  When Manny Ramirez is being Manny Ramirez, a friendly drug gets him cash money and fine honey.  But a friendly drug for a horny man who has neither fine honey nor cash money transports him to a planet populated entirely by females who value the dick more than the dollar.   And in the opinion of my fat fucking landlord, a friendly drug is that which dissolves into his wife’s nightly glass of wine and knocks her out so he can eat popcorn while watching porn instead of her can of SpaghettiOs while she watches porn.

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This Modern Writer: Those Who Can't, Those Who Won't, & Those Who Shouldn't: Does Writing Matter? by Simone Rosen

I will demonstrate to my students both the ease and practical necessity of prewriting. We pro/con clusters, outlines, brainstorms. Improvising, I say, “Alright, class, let’s come up with 4 or 5 categories to prewrite about. Anything off the top of your head.”

“Seeehhhhx,” heaves Chandra.

SEX, I write on the whiteboard amid the stupid laughter overtaking the stupid room.

This is what happens when one regularly says things like, “I don’t care what you write about; I care how you write it.” Turns out I care. Subjects I don’t want to read about include but are not limited to: sex, (your) babies, (your) poetry, significant others, department stores, Starbucks, (your) rap lyrics, why guns are important, specific kinds of knives, (sometimes) cemeteries, what it’s like to get arrested.

But I can’t really complain. As far as the perks of teaching are concerned, a good story is like a union bargaining chip. I mean, look, I’d prefer health benefits…but nobody ever asked me. “Sex,” she says, trying to undermine my mental health – an irony I do not appreciate. Were I back in undergrad, I’d get philosophical here, desperate perhaps enough to link biological imperatives and writing. There are some people who say they must write. Must, the way we all excrete. The way some of us procreate. Writing, of course, is a kind of procreation. Wait, where are you going? Let me explain.

Which reminds me: Chandra has at least one baby. Her baby daddy (a word I feel totally comfortable saying) sent a text message in class, which, as my short-sighted policy dictated, I was then obliged to read. I need something to hold onto, it read, and the strangest thing is that I would never, in any other context, find that perverse. We all need something to hold onto, right? So that’s like a bad Counting Crows lyric. But that guy meant some part of her impossible anatomy. One hopes. From this point on, I change my syllabi’s NO TEXTING/CELL PHONE USE policy to one that punishes the student and not me.

They’ll tell you not to bother, but I had hopes for Chandra. She seemed to enjoy and sort of engulf everything, even the class. But she and her twin sister are long gone, having dropped 2 weeks in. They did turn in their first papers, though, which is more than I can say for some of the kids who’ve still stuck around. In her first paper, Chandra, channeling Whitman, writes that she “likes to have sex and drink and party but so what [she’s] still a god fearing woman.”

***

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This Modern Writer: What Does This Have to Do With the Price of Eggs in China? By Lauren Schmeer

“I read your story as if the main character was a mutant baby, some sort of hybrid kid-dog monster.”

I am quiet. I am prepared for this; I am getting workshopped.

“And even after I got to the line that told me it was actually a grandmother with dementia, I read your story as if the main character was a mutant baby. I’m not sure what you want to do with this information, but I thought that it was something you should consider during revision.”

Consider main character as mutant baby. Check.

Consider spaceships, rockets, robots, incest, magic, cowboys. Check.

Do not consider mayonnaise. For a multitude of reasons, they will not like it.

I write small character pieces. They are quiet pieces. Melodrama scares me to my core. (Clichés are not quite so frightening). In first drafts, my openings often require further clarification and their ambiguity is not always cleared up fast enough. I do not write about mutant babies, cowboys, or rockets.

I find my workshop is filled with experts on strange and inapplicable philosophies, experts on the expiration of jarred foods and the number of bites of a cookie fresh-from-the-oven one can take.

“I don’t understand what ‘Grandmother’ the idea, the phenomena of ‘Grandmother’ means to the main character.”

Me neither.

I tell myself I’m going to wait to read the comments on their copies, but I don’t. I read them as I’m walking out of the room and next to a section in the story where the couple makes chocolate chip cookies, there is a note that says: “What does this have to do with the price of eggs in China?” There must be an egg-pricing expert in my workshop too.

But this copy doesn’t have a name on it. I search my story for any reference to China. There is a section that takes place at a Chinese restaurant. No eggs there. I flip back to the comment itself. There are no further clues to its meaning. The comment seems to proclaim that all stories should have something to do with the price of eggs in China, as if the writer of the comment would have been similarly shocked had I written a story without words at all.

With the stories I’ve written since, I ask myself “What does this have to do with the price of eggs in China?” To me, it sounds like “If a tree falls…” or a phrase for the inside of a fortune cookie. Profound and without meaning.

But after enough times repeating the question to myself, I’ve done exactly what its author did to amaze me. I’ve invented an entire meaning for it that seemingly has nothing to do with the actual words that were on the page. It now means that not everyone is going to understand what my intention with a story is. Sometimes they will not understand even such crucial aspects as the species of my main character. It reminds me to make the openings of my stories more clear and to find a balance throughout where I am only saying just enough.

“What does this have to do with the price of eggs in China?” is something I tell myself after an especially harsh or negative comment. It puts things in perspective like only a fortune cookie-esque phrase can. It reminds me that the best stories can be read and felt in multiple ways, even if that means accepting that some readers will be right there with me while others are reading egg prices in China when I’m trying to bake cookies.

Lauren Schmeer writes and studies fiction at the University of Pittsburgh.

This Modern Writer: Commas and Coliseums by David Wanczyk

One of my students told me the other day that she writes in commas.  I am serially guilty of over-punctuating, too, extending my thoughts beyond their logical conclusion. My sentences can wear out their welcome.  But writing, it could be said, is a lot about the proper placement of those commas, about the way we choose to qualify, complicate, clarify, accumulate. Words have to be placed; they have to have rhythm and pace; they have to wander; they have to be—like characters in a romance—cut off from each other, and reattached.

***

My great poetry teacher, William Stewart, used to tell us that he fell in love with language when he realized a simple statement about the weather could be reordered in nearly innumerable ways. On Sunday there may be thunder all through the region.  On Sunday, there may be, all through the region, thunder.  As a stormy college student, I thought I was learning an elementary lesson.  Now, though, I see the small difference in connotation that the reorganization can bring, and it can be hard to know where to put the thunder.

***

Another thing about Stewart. He kept his old wedding ring in his desk because he didn’t want to discount the love it represented.  Reordering doesn’t change everything.

***

A comma is democratic, allowing, as it does, a note of explanation or dissent at the end of a statement. With commas we can qualify.

A comma can help us complicate an over-simplification, though it sometimes makes us unnecessarily complicate what’s simply correct.

Somewhat unrelatedly, a misplaced comma cost Rogers Communications, a Canadian company, 2.13 million dollars.

(“Commas are often used to enclose parenthetical words and phrases within a sentence.”)

With commas we build up in stages the vague glee we see in the world, the seemingly ineffable, the pale green curve of light reclining on the low, Ohio hills.

***

In his desk, his old wedding ring he kept.

***

The comma helps those indecisive few among us show our ambivalence.  When I’m not quite sure of my idea, I offer another one as part of the same sentence. That way, I suggest how the different impressions exist for me, concurrently. The way they overlap each other, accumulating.

***

Just a half-stop for a quick story.  I had another professor who said he would fail me if I repeated a comma error while introducing a quotation.  Apparently I did not write in commas correctly.

He said, “C’mon, David.”

***

Here are some puns I’ve been trying to make use of: accommodating; comma sutra; correct punctuation will result in good comma.

***

My wife can’t remember having a comma lesson in school and neither can I, which leads me to believe that commas are just something we picked up along the way. I know there are Catholic school horror stories, involving Christ and comma-splicing and Sister Cecilia, but rigorous grammar instruction faded from the regular curriculum around the same time as duck-and-cover drills.

Comma use seems like one in a long line of skills we pick up from reading at an early age. Sadly, I’ve been able to tell which of my students were childhood readers and which weren’t.  I’ve been able to tell, sadly. . . Among those who were, Daniel sits with his head on the desk staring at his pants. He’s a so-so student, but he’s used to reading a book to pass the class-time, probably got through a whole lot of lap-reading in high school trig. His work has been polished in advance by dozens of old dog-eared things, read on the sly.

Elizabeth blushed when I said her sentences seemed like the work of someone who used to scour books, after bed-time, by flashlight. Her sentences plié; she writes in brush-strokes, imitating, without knowing it, everything she’s plowed through since the age of four when she used to curl up in the dog’s bed with Dr. Seuss, or maybe Henry James.

***

Because he didn’t want to discount the love it represented, he kept, in his desk, his old wedding ring.

***

My favorite group of words is: “Oakland Alameda County Coliseum.” Two syllables, four, two, four. It’s a terrific pattern, feels like it’s sprinting downhill. I always liked it as a kid, too. So perfectly arranged.

***

My wife and I argue about serial commas. I say they’re always necessary. She disagrees. The author, Lynne Truss, is on her side: “A passage peppered with commas—which in the past would have indicated painstaking and authoritative editorial attention—smacks simply of no backbone. People who put in all the commas betray themselves as moral weaklings with empty lives and out-of-date reference books.”

Lynne and Megan both like the following types of sandwiches: turkey, chicken, ham and cheese.

“The meaning changes,” I say.

“It doesn’t matter,” she says.

“Everything matters,” I say.

“Untrue,” she says.

What do I think of her argument? Eh, comme ci, comme ca.  I think she’s right, wrong or somewhere in-between.  One or the other.

“Is cheese its own sandwich?” I ask, exasperated.

“What?”

And while I know a whole lot of it matters, commas and otherwise, I don’t want to push it, and I don’t want to discount a certain excellent facet of our Sunday together in the low, Ohio hills. I full-stop.


David Wanczyk teaches English in Ohio and writes English in at least two (2) other states. He’s glad to be considered a modern writer (though he’s always fancied himself more of a pre-Raphaelite). David Wanczyk is not really sure what pre-Raphaelite means. But his work is online and available for reading at The Awl, Brevity, Catalonian Review, Defenestration, Defunct, JMWW, Miracle Monocle, Prick of the Spindle, Shaking, and Splitsider.

This Modern Writer: The Idea of History in Provincetown by Irene Turner

The Idea of History in Provincetown

A washed-ashore. That’s what your neighbors call you if you weren’t born in Provincetown. I’m neither: I flew in. Three tired passengers in a ten-seater prop plane. A hurricane’s due in six days.

Maybe that’s why I feel claustrophobic. Or maybe it’s that I don’t have my car. I live in Los Angeles, the densest city in the country. Even outstrips New York. But Provincetown is hemmed in by national park and ocean. 3500 permanent residents. 20,000 weekend guests. Small town gossip filled with summers of strangers, the Cape Cod spiral curls in on me.

Commercial Street is lined with tourist meccas — drag cabarets and straight-friendly gift shops and you can buy your lobster by the pound. On the sidewalk, touts wave menus and chat up hungry visitors. Labor Day is the last gasp of frantic relaxation before school and fall temperatures come in. There’s history here, but you have to pay attention to find it, and the near-record heat wraps a veil over my brain.

Laurel works at the Pilgrim Monument and Museum and she sees the past everywhere. Stand on the hill facing north to Boston and watch muskets flare and mow down the British. Out on the beach, a whaler’s dragged in a carcass, rendered the fat for tallow, let the guts drift. The Mayflower unloads its religious vagabonds – finding nothing but sandy, useless topsoil, they steal the Indian’s corn and go. I have bad sinuses, I can’t smell the ocean as it tumbles and slams to the shore.

If I could I’d be out with the once-prevalent Portuguese fishermen, salt spray in my eyes and face to the wind. Leathered skin and damp woolens and squint lines and wet rope and hard knots and a deep restlessness. Avoiding the storm winds that box the compass. Stinking enough that even I would wrinkle my nose as we hauled in our nets full of cod.

Only traces of Portuguese linger via restaurants. Linguiça, malassada, a pudding or two.

Laurel takes Provincetown with her when she travels. A trip to Holland means their Pilgrim Museum. When I leave Los Angeles, I want to get away. She’ll take any job so she can keep living on the Cape. “It’s easy, I’m lazy, it’s beautiful,” she says, but you can tell by her resume she’s had to work hard.

Around her is a graying, affluent, transient population – 60% of the tax bills are sent out of town. People are afraid it’s already driven out the traditional bohemian culture, that’s there’s nothing to replace it but wealth. Jackson Pollock in 1942 wasn’t anybody when he came here – now, he’d never make it out of New York.

I meet Steve, who’s researching the historic arts scene – the once yearly collisions of Rothko and Motherwell, etc., which created an influence far beyond a summer resort. When he first got dragged here on a day trip in the 70s, Steve wasn’t happy. Boring, expensive, too gay for a gay man – now he’s owned a place since 1992 and lived here full time for seven years. Once, he’d look at the art museum and think Who the hell is Charles Hawthorne?, but now he contributes to monographs on him.

Steve says God assigns you three enemies in Provincetown. In Los Angeles mine would be loneliness, fast food and the film business. But with winter’s snow haunting the wharf, I think they’d be alcohol here.

Steve has an emotional connection with a man in Los Angeles. They talk and visit, but each is rooted to his place, his sense of personal history. Neither will make the big move.

Lauren says most museums don’t have good collections of the 2oth century.  How old should things be before you know what to collect?

If I could move myself it would be to 1916, when the Provincetown Players produced Susan Glaspell and Eugene O’Neill. The kickstarters of what would become the Little Theater movement, they brought a dark realism to the clichéd Broadway scene. Painting and sculpture endure, at least as long as I’ll be there to see it. The theatre left us, vanished, uncapturable, even in notices and critiques. O’Neill is a playwright full of secrets and ghosts – fitting he got his start here. Bound East for Cardiff was his first produced play. A dying sailor talks to his cabin mate as the rest of the crew preps for a storm.

Outside the house on the water where I’ve been given a bedroom, seaweed bakes in the sand. The wind picks up, breaks the feverish sun, chops and dots the swell. Hurricane Earl is due in 18 hours: it’s the best I’ve felt in days. I buy $9.99 sunglasses to protect from the glare.

I can’t stop staring at the sea.

Irene Turner was nominated for a Writers Guild of America Award for the film AN AMERICAN CRIME. Recent publications include Gargoyle and Pear Noir. She received a scholarship to attend the Norman Mailer Writers Colony in Provincetown.

This Modern Writer: 9 Thoughts on Being a Videogame Journalist by Peter Tieryas Liu

9 Thoughts On Being a Videogame Journalist

by Peter Tieryas Liu

Writing about videogames is kind of like being a food critic at a Las Vegas buffet. It’s hard to grasp what exactly it is you’re judging in-between the pounds of steak and sushi that flow interminably. While games are spectacle, they’re also art and philosophy bound together into a series of trials testing your physical reflexes. Keeping up can induce mental obesity, the kind of corpulence that makes it easy to overload the senses. Only in game journalism can you write about legions of bikini-clad zombies, a boss made entirely of shit who sings opera, talking Seamen that question your existence, and the Legend of Zelda, the perpetual love triangle that pits an elf against a thievish pig-monster for the affections of Princess Zelda, all in one sentence without blinking an eye. I’ve been in game development for the first half of my career, working as a character technical director and writing some of the paper manuals you can read in games. It’s only in the past year that I’ve taken up the mantle of game journalist. Here are nine observations/guidelines that I’ve had along the way.

1). Games, like novels, have themes. The central thesis is usually called the ‘game mechanic.’ In Super Mario, the principal mechanic is running and jumping. The other elements, say, invincibility and fireballs, would be considered variations or supplements to those two themes. Identifying the core of the game and determining how effectively developers have implemented those mechanics is one of the key roles in reviewing videogames. Sounds simple, right? Not exactly, even when you spend days playing the same game over and over. The reason is because like fiction that blends genre’s, it’s harder to pinpoint the exact ‘game mechanic’ of recent titles. For example, what’s the game mechanic in a massively multiplayer online role-playing game (MMORPG)? Is it the social aspects, the combat, the customizable characters? Figuring out how to streamline complex games into 1000 words or less is a huge part of the challenge.

2). A factor that’s helped in my journalism is knowing some of the people behind videogame development. I’ve been friends with photographer-surfers who’ve masqueraded as programmers at major studios. I’ve known a painter who stopped off from a trip to Asia so he could fund his next trek to map the backroads of Vietnam. Two supervisors helped build a gigantic wooden chicken for Running Man while working on a Star Wars game. With the increasing diversity reflected in the genre’s of games available, it’s equally interesting to note the diversity reflected in the developers. Whenever I can add snippets of personal knowledge about the development team, I find it adds an extra layer of insight that also helps me in my approach to the article. For example, I did a retrospective on Super Mario where I recounted a story about Shigeru Miyamoto (the creator of Super Mario) a friend had told me. Miyamoto was helping the developers at a game company, Retro Studios, who were working for Nintendo on a game called Metroid Prime. They were struggling to get the jumping of the character to feel right as the game made a transition into full 3D graphics (versus the 2D side-scrolling of the older games). Miyamoto spent just fifteen minutes detailing how it should work. When the game was released, all the reviewers mentioned how perfect the jumping felt. It was an illustration of Miyamoto’s brilliance as a game designer as well as a partial explanation in my article of why Super Mario became a classic.

3). Like any other form of entertainment, games are filled with sequels and titles that try to mimic other successful games. Derivative gameplay can lull a journalist into using the crutch of comparing and contrasting the title in question with another. Let’s pretend there was a game inspired by Super Mario called Super Jane. It’d be easy to write a review along the lines of, Super Jane is a poor clone of Super Mario for this and that reason (list reasons). The mechanics are the same and while the environments are unique, it’s not enough to distinguish the title. Bad score given, job complete, right? Not so fast. What about readers who have no idea what Super Mario is? Or even worse, what if someone hates Super Mario, but would have loved Super Jane for the updates it made on the original? While comparisons aren’t bad in themselves, I try to steer away from them as much as possible just so I can give the reader an unbiased look at the game by itself.

4). I got an important lesson in game journalism a few months back that seems obvious in retrospective. Don’t believe anything you read on the internet without checking it first. Check it again. Check it thrice. I was assigned an article to list the ‘Top 10 Reasons to Play Call of Duty: Black Ops.’ It was supposed to be a brief preview to tide readers over until our site’s review of the game came out. I researched information from the official site as well as a couple other sources. One of the reasons I listed was the motion capture studio (technology that captures movement from real actors and applies them to their digital counterpart in 3D) behind Avatar, Giant Studios, was doing the motion capture for Call of Duty. The information was on Yahoo Games and a few other places as well. Although the information wasn’t on Giant’s site, I assumed it to be true because it had been reported by a few other places. I sent my article in, it was published later that day. The information I’d listed turned out to be inaccurate. It was another company, House of Moves, doing the motion capture. A day later, corrections popped up on the other sites and my editor was contacted as well by House of Moves. She was very kind and told me to be more careful next time. But I was embarrassed. How had I made such an amateur mistake? More than that, where had this information originated? Had someone just fabricated it? And why was I so willing to accept it as fact just because it was on the internet from a ‘reliable’ source?

5). It’s epic. No. It’s grand, a momentous scene that is compelling! The gameplay is absolutely riveting and mind-bogglingly good! Those are all phrases I’ve used in my game writing and I have to ask myself, am I committing every language crime George Orwell advised against in his essay on “Politics and the English Language?” Orwell laments the impoverishment of language and the vapidity many words have taken, especially in the form of unnecessary metaphors, overly complex jargon, and oblique descriptions that make simple sentences nebulous.

I often use the ‘strong phrasing’ because it helps illustrate a feeling about a game in a way that’ll draw readers in. At that point, I can further expound upon whatever it is I want to delve into. It’s a powerful lure and one many gaming sites exploit. Sifting through the titles of gaming articles, I read how one small incident in a company is a death knell for the studio in question. Game ‘X’ is the worst game some reviewer has ever played and will destroy the franchise! Poor sales one month spell doom for the industry!

At its core, game journalism is a business and a big part of the business is garnering hits. More often than not, the dramatic titles with lots of hyperbole are the links readers (including myself) click.

6). I got a taste of this in an article I wrote. My editor at the principal site I write for, GameDynamo, has a sharp instinct for marketing. On top of being a great writer, she selects the best bylines and knows how to craft my stories to appeal to a broader audience. My article was a retrospective about the Legend of Zelda for its 25th Anniversary. I included a paragraph describing how the manual from the game inspired me in my childhood to want to write manuals of my own. My editor changed the title from ‘Zelda Retrospective’ to ‘How the Legend of Zelda Changed My Life and Yours.’ There was no one more surprised than me to see the new title. But I understood and supported the decision because it got people’s attention, especially those who were genuinely curious about the question; what kind of videogame can change a person’s life?

7). Time to time, when I send my gaming articles to friends, they tease me by asking questions like, “Do you find it ironic you’re writing these literary essays about gaming for teens who just want to know whether the game’s good or not?” It got me wondering in turn, who exactly is my audience?

A fellow journalist introduced me to alexa.com earlier this year. It’s a website that lets you check the ranking of any site as well as a brief description of the demographics. Ours was, “Users tend to be under the age of 35, and they are disproportionately low-income, childless men browsing from home and school who have no postgraduate education.” Though pretty specific (scarily so), 35 and under was still a broad range.

I’ve seen long threads and discussions over articles I’ve written (some positive, some negative, and some just trolling), but I don’t have any idea who the audience actually is beyond a nebulous string of quirky names representing their avatars. So I had to wonder, should I tailor my writing towards this ‘imaginary audience?’ Just because the articles are about gaming, is there a specific type of diction or style I should adapt to make it easier and more entertaining to read?

8). One of my absolutely favorite game articles was written by Rio Liang called “A Videogame Manifesto” (http://ruelleelectrique.wordpress.com/2010/06/13/a-video-game-manifesto-final-fantasy-xiii-as-a-prototype/) using Final Fantasy 13 as a prototype. The article was an in-depth exploration of the implications of gaming as art. I was fascinated because here was someone who wrote with a sophistication and literary bent I hadn’t thought possible in videogame journalism.

On the opposite end were a new breed of popular game journalists I think of as the ‘new gaming historians.’ They use YouTube and personal websites as their primary venue of distributing video reviews of old games. “It fucking sucks balls!!!” the Angry Video Game Nerd (AVGN at cinemassacre.com), my favorite reviewer, shouts. He dresses up like a nerd, plays “shitty games that suck ass,” and surprises with his witty insight into older titles. The same applies for the Spoony One (spoonyexperiment.com) who splits the Final Fantasy series apart in a meticulous frenzy. I know the internet is home to a lot of crazy stuff, but these guys take crazy to another level. I love their video reviews, and more importantly, I love the passion with which they rant against these horrible games. As can be expected with anything that’s popular, they’ve inspired copycats. The imitators pale in comparison because it’s very clear they’re just cashing in on the trend rather than being genuine ‘haters.’

It’s the genuine ‘new gaming historians’ that reminded me of an important fact in videogame journalism. The vehicle of your delivery, whether it’s rage, humor, or literary exploration, doesn’t matter. Only the passion (or should I say courage) with which you explicate your central message. Yes, sensationalism and crazy metaphors help. But that passion, whether for the artistry in gaming, or the debilitating flaws that mar a old-school title, is the essential tenet- the core ‘mechanic’ that shines through. Of course, like my reviews, identifying the core mechanic is the hard part. But as long as you never lose sight of it, the details will take care of themselves.

9). Over the past year, the process of writing these gaming articles has me feeling like I’m at the Las Vegas buffet of gaming history, picking and choosing the dishes/stories I want. It’s a privilege being able to share my thoughts on videogames with a wide audience. I loved writing a tribute to the Japanese RPG’s I was addicted to as a kid, especially one called Phantasy Star II. I heard about it one night when a friend’s older brother told me about a star system with three strange planets run by Mother Brain with a climatrol system and all sorts of advanced technology that had gone awry. It was a fantasy, a trip to another world. It was also my first true understanding of the power of words. My core mechanic, at least for now, is trying to analyze that sense of wonder and excitement I felt all those years ago. I’ve tried to convey that feeling in every gaming article I’ve written, whether I’m describing the genetic quandaries of Solid Snake, or videogaming’s first feminist action-hero, Metroid’s Samus Aran, or even the strangest moments to pop up in videogames. Only the readers out there dreaming of different worlds can tell you if I’ve succeeded or not.


Peter Tieryas Liu likes to wander the world with his wife and play videogames most people have forgotten about. Some of his fiction is published or forthcoming in places like the Bitter Oleander, Camera Obscura Journal of Literature and Photography, decomP, and the Indiana Review. You can follow his game writings at tieryas.wordpress.com and gamedynamo.com.

This Modern Writer: A Vinyl Revival by James Patrick

It began innocently. These things often do. A Zenith turntable/8-track/cassette combo player rescued from my grandmother’s house in Wisconsin as we sorted through valuables and priceless non-valuables before the estate auction. I took a few of those records (leaving the crate of worn Roger Whitakers), a box full of 8-tracks and her guitar, a guitar that had always just been a piece of furniture. It wasn’t until after she died that I considered the significance of that guitar. Though other tchotchkes collected dust the guitar never did. Unfortunately these things often wait too long. Now that guitar sits, propped up against my own bookshelves and I still can’t help but wonder: What was her connection to music? And then, inevitably: What is my connection to music?

Vinyl records had belonged exclusively to my youth – Abba records spun on repeat, ad infinitum. Soundtracks from the movies of the 80s. Rocky IV. Footloose. Beverly Hills Cop. My father sitting at the dining room table, reading, working, his knee bobbing in a perpetual jack-hammer motion to the music. Most of the time he listened on headphones, but that didn’t render the room silent. An unamplified record player still emits a barely audible, tinny, rat-a-tat, like a miniature snare drum with whispered lyrics. Even after the tonearm returned to the cradle and the turntable slowed on the platter, the sound lingered, fading in half-life increments, but never disappearing. At the time I had little interest in record albums. They were cumbersome and didn’t travel well. That Thriller record wasn’t going to fit in my Walkman or, later, my portable CD player.

Compare the record to the methods of audio reproduction that followed. The cassette tape, the CD, the iPod shuffle. The dwindling stature inspired by our need to downsize the clutter in our lives (or take them with us on vacation). Contemporary design strives for stripped down and sanitary.This urge to purge results in us owning nothing, owning but not owning. We hold nothing, but want everything. Albums take up space on our hard drives rather than filling wooden milk crates. Our homes may be uncluttered but our iTunes libraries spill over onto portable hard drives, media servers and cloud storage. As our playlists grow longer, our connection to the music decreases. What’s another song in a playlist of five million? I’ve paid to download entire albums to which I’ve never even listened. If you want to download that entire Britney Spears CD just because it’s $3 and you couldn’t get “Toxic” out of your head, there needs to be some kind of real world evidence. If you had to store that record album on the shelf right next to your original copy of The Cure’s Disintegration or even The Cars’ Candy-O, in plain view of every dinner guest you’d think twice about that purchase.

Records, on the other hand, exist. They are a presence in our lives. They have a smell, an entity. Cardboard sleeves stored in rough, splintered pine. I challenge anyone to find similar enjoyment in organizing a folder of .mp3s. Matching artist name variations, editing specific tracks containing a “featuring” or “w/” a guest artist so an album remains intact beneath the artist name. Streamlining genres. Alternative. Alt-Rock. Rap. Hip-hop. Rap/hip-hop. R+B. Collectors have OCD. OCD will not let these variations lie. Reorganizing a crate of records is heavy lifting rather than clerical torture, a tactile experience that allows record sleeves to pass through your fingers. Soon you’ve created a queue of records not heard for years, forgotten, and suddenly necessary once again. Surf an iPod, scanning names, simple text – these things are completely devoid of the nostalgia. There’s no artwork. There’s no subtle scars and identifiable creases. Each record album has a history, an anthropomorphic personality.

As a child I collected. I collected baseball cards, Michael Keaton movies on VHS, Star Wars toys. I paused The Return of the Jedi during the scene in which the Emperor arrives on the Death Star so I could count the number of storm troopers for my Christmas list. Was it coincidence that I returned to vinyl? Or was it necessity?  A desire to return to a medium – the vinyl album – that I strongly associated with my childhood, the trappings of which I found returning with increasing regularity after the birth of my own daughter. It was the need to find errands and activities to break up my daddy-day Thursdays that led me to frequent used book and record stores in search of gems and “gems” I’d not thought about in decades. Something my father played in my youth. Some forgotten with good reason, some just pushed aside, lost in the waves of the future and the tastes of the next generation. I wanted her to know both. I wanted her to know what these records had meant to me so that someday she could answer the question I never could about my grandmother and her guitar.

Along the way to my own adulthood, I’d forgotten the appeal of the turntable. It had become too complicated, required too much effort. I’d wanted to set up a turntable because of what I thought it said about me. Instead I found something else; it wasn’t just about satisfying my inner hipster. Music again became a participatory activity. Going to the record store with my daughter, watching her discover and learn to love music. These activities required the act of being present in the moment, whereas an iPod on autopilot can go on without participation indefinitely.


James David Patrick has an MFA from the Stonecoast program at the University of Southern Maine and lives in Pittsburgh where he can often be found sifting through stacks of vinyl at Attic Records. He has previously published a short memoir with Monkeybicycle, tweets at @30hertzrumble and blogs about (mostly) music at www.thirtyhertzrumble.com.

This Modern Writer: Travelogue: The Etymology of "Faggot" by D. Gilson

At the cottage of Anne Hathaway, which is in the town of Stratford-upon-Avon, which is in Warwickshire County, which is in the West Midlands, which is in England, which is in the United Kingdom, which is not the United States of America, a portly tour guide points to a fireplace in the kitchen: this is where they burned the faggots.

She continues with the tour. Here is the bed, his second best, which William Shakespeare gave his dear wife Anne. Notice how it is short. In those times, they slept not flat on their backs, but somewhere between upright and reclining. This was out of an old fear: if Lucifer saw one lying flat, he would think one was dead and sweep in during the night to capture their soul. I notice the intricate embroidery, yellow and mint green, on a tapestry down the hall and think to myself, “Jesus, Duane, you’re such a faggot.”

***

The Oxford English Dictionary lists 26 words with fag- as their root, from the late eighteenth century colloquial verb fag—that which causes weariness; hard work, toil, drudgery, fatigue—to the 1724 Germanic use of fagotto, a musical term that implies with bassoon.

***

At the Pittsburgh International Airport, our flight to London via Newark is cancelled. We are shuttled to a nearby Comfort Inn and eat dinner at a dive bar next door. The place smells familiar and a friend turns to me: “it smells like a backwater queer bar in here!” Yes! Exactly. Like the first gay bar I went to: Martha’s Vineyard on Olive Street in Springfield, Missouri. When I was a heterosexual, I went there one night with co-workers, drank too much, blacked out atop a table, and woke up a homosexual. The next night, I returned newly queer, and met a prince—this is when I believed in fairy tales. What is that smell? Cigarettes, spilled vodka, and lube? Maybe. But this isn’t a gay bar.

I walk to the bathroom where beside the urinal, someone has drawn a cock on the wall. Above this, someone has sprawled the word faggott, which I take to mean an overzealous faggot.

***

In his Annotations, John Keene says “Missouri, being an amalgam of nearly every American region, presents the poet with a particularly useful analogue.” I try to understand this, but cannot. From London, I email to ask my mother, deep in the Missouri of both geography and metaphor. She, too, is baffled. One afternoon, as I stroll the cobble-stoned, adult-video-store-lined alleys of Soho, the sentiment is all I can think of, though its meaning is still unclear.

***

Three movies terrified me as a child. First, Return to Oz. This was 1989 and I was five years old. My sister, age seventeen, brought the VHS home from Aurora Video Source, where she worked on the weekends. In the movie Dorothy, somehow both younger and British, which is why I remember this now, visits an insane asylum. For a year, I could not sleep alone. When I am eight, Uncle Dennis is brought to us, dying with AIDS. The same sister, twenty now, tries to explain and shows me And the Band Played On. Among other things, I think the movie is unfair to the Reagan administration and that two men kissing results in death. Which is why, as I watch Legends of the Fall in the basement during high school, I am scared for my life when Brad Pitt, shirtless, wades into a rushing creek. I kiss my girlfriend, but think of him.

***

My favorite fag- root in the dictionary is faggoteer, one who makes faggots. British faggoteers—David Bowie, David Beckham, The Spice Girls, Charles Darwin, Julie Andrews, Angela Lansbury, imperialism, Winnie the Pooh, rugby, and parliamentary procedure. Also—Oscar Wilde, Elton John, George Michael, and Harry Potter, though it is unclear whether or not one can be both queer and make further queerness. Oh!, and yes, Diana, Princess of Wales.

***

Also worth consideration, American faggoteers—Madonna; Walt Whitman; Calvin Klein; Michael Jordan; Bob Dylan, and more so, his son Jakob; Starbucks; Levi Strauss; Kurt Cobain; and Brad Pitt. Also, Patsy Cline, the cast of Friends, and Hillary Clinton.

***

In London, Prince William prepares to marry Kate Middleton. On the television in our hotel room, I watch oodles of gay men discuss every minutiae of the wedding. In this way, gay men are commodities. Yes, Alexander McQueen’s protégé could be designing Kate’s dress. No, the Queen will not upstage the bride. Prince Harry should keep his speech short. Hats are appropriate. White lilies and tulips would be nice. Stringed quartet, not jazz band. Undoubtedly, Princess Diana would not approve. Oscar Wilde, from the grave, “the highest as the lowest form of criticism is a mode of autobiography.” That sounds about right. Wayne says all this “proves that fashion ideas come from fags watching revivals and paying acute attention to fugue and fatigue;” his alliteration is quite lovely. I am a confused commodity, though I begin to understand British queens. And American queens. And that everyone must weigh in.

***

My least favorite fag-rooted word is fage, a verb, the action of coaxing or deceiving; a fiction or deceit.

In London we visit the Globe Theater, a complete fage. A modern recreation that opened in 1997, the new Globe is believed to be “very similar” to that of Shakespeare’s construction, though it is located 754.59 feet from the original. Our tour guide is an allegory, a tall drink of water on these banks of the Thames. He is married, presumably heterosexual, and at every joke he cracks, I laugh a little too loudly. In this way, I am a cliché, another gay man drawn to an unattainable straight man. It is all language, all syntax. In a hall with posters for Shakespeare’s plays, I ask the guide his favorite. He points to As You Like It, and says “all the world’s a stage, and I, just one of its players.”

***

At the Bodleian Library, I pick up a reprint of a 1942 pamphlet from the United States War Department: “Instructions for American Servicemen in Britain.” Uncle Sam explains “YOU are going to Great Britain as part of an Allied offensive—to meet Hitler and beat him on his own ground. For the time being you will be Britain’s guest.” What follows is sage advice.

I imagine my Uncle William, my father’s oldest brother, fresh out of training. He was likely given this pamphlet. Probably carried it alongside letters from his young wife, my Aunt Marilyn. On page five, as he sailed from the deep of Missouri to New York and on still to London, he likely read “The British have phrases and colloquialisms of their own that may sound funny to you. You can make just as many boners in their eyes.” Did he laugh, as I do now? Or did he, a soldier in the war machine that became the Greatest Generation, take his boners more seriously?

***

In May of 1780, Madame D’Arblay, English playwright and laborious conversationalist, wrote in her diary, “I felt horribly fagged,” which means wearied out, excessively fatigued. In February of 1992, Marvin Willhite, Jr, methamphetamine dealer and my brother, also became fagged.

I will say this exactly one time. My father, our brother Randy, Marvin, and I had lunch at Boxcar Bar-b-que. This is at 1131 North Grant Avenue in Springfield, Missouri. I did not like bar-b-que, and told them as much, pouting through the entire meal. As we leave, Marvin grabs my arm, “don’t be such a little faggot.”

***

I don’t say that because it is sad. I say it because it’s confusing to me now. Which faggot did he mean? The 1700 use, meaning a person temporarily hired to supply a deficiency at the muster? To bind hand and foot? Any number of bundles—steel rods, wooden sticks, planks? The practice of burning heretics?

I lied. I will say it again. My brother called me faggot in the parking lot and two days later, killed himself—this was with a shotgun in his mouth in the back bedroom of his trailer.

***

My father came back from Vietnam and listened to three songs: “House of the Rising Sun,” by The Animals; “Wouldn’t it be Nice,” from the seminal Beach Boys album Pet Sounds; and Buffalo Springfield’s “For What It’s Worth.”

In Bristol, an industrial port city on southern England’s western shore, it is a Monday night. Sarah and I go to the Queenshilling, billed as the city’s oldest gay bar. For two hours, we wonder if a fellow patron is a man or a woman. Then I hear it coming from the jukebox in the corner: “stop, children, what’s that sound? Everybody look what’s going down.” My father is a ghost here, as is the bartender and the couple drinking gin, holding each other in a glittery black vinyl booth. I am ghost here.

***

We visit the ancient Roman Bathhouse. I’m not interested in the coins, or the curve of stone archways described as revolutionary. But I do want to understand. What did they wear here? Were the sex acts enacted in the open, or in dark corners? How did bathhouse evolve? My questions go unanswered. In the hot pool below the ten o’clock sun, I dip my hand into the water. A tour guide yells from across the hall, “stop!” Too much is forbidden, and the rules go unexplained.

Later, in London, I go below the street to use the public restroom. There are five urinals, four of which are full. I pull into the empty parking space. Next to me four men masturbate, tugging their erect, uncircumcised cocks towards the metal pool of toilet. This is like when Wayne says, “I am confused about what’s contemporary and what’s outdated. I am confused about the spirit of the age.” The men glare at me, annoyed that I do not join in? And this is progress—less is forbidden, but the rules still go unexplained.

***

I should be interested in countryside. At the home of William Wordsworth, I should walk through the gardens and consider the foliage, the abundant daffodils and sizeable wisteria bushes that grow along Victorian-era stone fences. But for the last few days, since we’ve arrived in England, all I can think about is urinals. I take pictures of them at London Heathrow Airport, Shakespeare’s birthplace, the Jane Austen Center, sundry pubs and town squares, McDonald’s, and now, the visitor center of William Wordsworth’s expansive estate, home of the quintessential Romantic poet. Am I romanticizing piss? The places we piss? Is this a fetish? Is this how obsession feels?

***

I have a professor who teaches me to write poems. One day I give him one. He says, “I like this, but make it a little more faggy.” I try, but do not know what this means. Later, I will try to add a urinal in the third line of the second stanza to no avail.

***

The underground bathroom we talked about earlier is not a bathhouse; the comparison was not apt, and I need to rectify this.

So in London, I want to visit a bathhouse for the first time. I go to Starbucks and on my iPhone, research establishments (later, I decide that coffeehouses are the new bathhouses for the young and culturally elite, but there’s little time to talk about that here except in passing). I decide on the SaunaBar, near the Covent Garden Tube station at 29 Endell Street. Like the underground bathroom, SaunaBar is subterranean, down a flight of stairs below a yogurt shop. I set rules for myself: do not judge. Do not have sex. Blend in. Face this fear of knowledge.

The fear comes from the aforementioned movie: And the Band Played On, where bathhouses are painted as a breeding ground for AIDS. I still become nervous in the locker room. But then I remember Anjelica Huston was in that film, though this was before I knew her as a goddess.

The clerk at SaunaBar takes my wallet and cell phone. He hands me a towel and locker key, saying, “have fun, lil’ guy.” The rest is mostly uninteresting. There is one attractive man—mid 30s, blonde, slim but muscled physique. Let’s call him, for clarity, Evan. Evan probably swims a lot. Evan probably has a corporate job in the nearby financial district. How else can this be said? From four feet away, I watch Evan fuck a man. Evan smiles at me, looks for me to cheer him on. I watch. Evan finishes, and interested in the public life vs. the private, I follow him to the changing area, where we both dress. From a distance, I follow Evan above ground, onto the street, around the corner, into the arms of his wife and child. I do not know how else to say this.

I duck into a nearby record store and thumb a rare Cyndi Lauper vinyl. Alongside Anjelica Huston, I believe she is a goddess.

***

Whereas I call them goddess, my therapist calls the women in my life like Cyndi Lauper and Anjelica Huston escape artists. This man used to be my therapist. I call him a prick.

***

This etymology is a maze. Consider the 1853 faggery, or system of fagging at public schools. Then fagging, the action of the verb fag, which probably means “to beat.” Another interesting definition, however, is “to cut corn with a sickle and a hooked stick.” Jimmy fagged corn, and I don’t care because Jimmy is an Aquarius and too blond for my tastes.

***

In a tongue-in-cheek sex book I picked up in the bathroom at the Queenschilling in Bristol, we are told “fags often suffer from obsessions with men they have never met.” Yes; that’s the Jimmy we just talked about. Who is he? Maybe Jimmy Carter or James Dean. Not James Franco, who is not too anything except too perfect.

***

Since we are nearing the end, I want to give you another interesting word: faggotless, obviously, devoid of faggots. Honestly though, I am more interested in the antonym, faggotfull, which isn’t a word according to the Oxford English Dictionary.

But there are places, colloquially called gayborhoods, which might fit this. Some that I have noted:

  1. Capitol Hill, Seattle—the first place I danced with a drag queen. The name of the bar escapes me, but she had a lovely, teased blonde wig, orange lipstick, and purple eye shadow. She wore white patent leather boots and we danced to, oh lord!, ‘Time After Time.’
  2. Dupont Circle, Washington DC—the boys wear dark suits and work in offices tightly guarded. But at night, we sip Tom Collins on a patio by the Russian Embassy.
  3. The Castro, San Francisco—I’ve never been, but through the neurons of cyberspace, I love a man who lives at XXX Castro Street. I call him Captain. He calls me Scrappy.
  4. Soho, London—Starbucks, porn shop, department store, Starbucks, drag queen, twink, otter, bear, Starbucks, Virgin Records Megastore, statue of Aphrodite (outside Abercrombie & Fitch).

***

Somewhere on the internet someone says that faggot, when translated from French to English, can mean meatball. This claim, however, cannot be substantiated. Le sigh.

***

In 1862, Mrs. H. Wood exclaimed in a letter to Mrs. Hallib, “Mine is a fagging profession!” Her profession, sadly, is unknown. This was in Romantic England. Was she the butcher, the baker, or the candlestick maker? Or was she of noble birth: a duchess, a countess, or a baroness? So much is lost in bad record keeping.

I think of fagging professions today: barista, psychoanalyst, and gym teacher. Maybe this is wishful thinking. In the west of England, we spend a day in Bath. I visit Colonna & Smalls Espresso Room at 12a Princes Street, a small alleyway behind the Royal National Hospital For Rheumatic Diseases. For an hour and a half, I speak with Maxwell, the fourth best barista in the United Kingdom (according to the World Barista Championship, a subsidiary of the Specialty Coffee Associations of Europe and America). In an hour, I’ve thought of all the ways I could move here, date Maxwell, live happily (which is to say, hold Maxwell’s hand and write him poems). In the next half hour, I’ve thought of how ridiculous this is, that Max is not even gay, that this obsession has gone far enough.

It is difficult being human sometimes; this living is fagging, in this sense, the action of wearing oneself.

***

Along Brick Lane near the Spitalfield Markets, I watch a Bengali woman brush her daughter’s hair. They are street vendors—flowers and spices—and I stop to ask about their daffodils. The daughter, I suspect, has grown up here in London, far away from the Bay her mother calls home; far from the fields of flowers more fragrant than these could ever be; far from the dinner of fish caught that afternoon, skinned on the beach, and carried home proudly, yet humbly. The teenager’s English is impeccable and she is obviously more comfortable talking to me than her mother, who makes eye contact every so often before turning her head, smiling shyly and blushing.

I walk to a nearby café, though good coffee in the United Kingdom is rare. Penance for this: it is acceptable to drink a beer on the patio at two in the afternoon any day of the week. I reread an interview in Out magazine with underground New York icon Penny Arcade; “Being gay is not special — we need to cut that shit out,” she says. Yes. Maybe? I’m not sure.

***

This is the fag-end, the last part or remnant of anything, after the best has been used; the extreme end, e.g. of a portion of space or time, a collection of persons, or a written composition.

This Modern Writer: Travelogue: The Etymology of “Faggot” by D. Gilson

At the cottage of Anne Hathaway, which is in the town of Stratford-upon-Avon, which is in Warwickshire County, which is in the West Midlands, which is in England, which is in the United Kingdom, which is not the United States of America, a portly tour guide points to a fireplace in the kitchen: this is where they burned the faggots.

She continues with the tour. Here is the bed, his second best, which William Shakespeare gave his dear wife Anne. Notice how it is short. In those times, they slept not flat on their backs, but somewhere between upright and reclining. This was out of an old fear: if Lucifer saw one lying flat, he would think one was dead and sweep in during the night to capture their soul. I notice the intricate embroidery, yellow and mint green, on a tapestry down the hall and think to myself, “Jesus, Duane, you’re such a faggot.”

***

The Oxford English Dictionary lists 26 words with fag- as their root, from the late eighteenth century colloquial verb fag—that which causes weariness; hard work, toil, drudgery, fatigue—to the 1724 Germanic use of fagotto, a musical term that implies with bassoon.

***

At the Pittsburgh International Airport, our flight to London via Newark is cancelled. We are shuttled to a nearby Comfort Inn and eat dinner at a dive bar next door. The place smells familiar and a friend turns to me: “it smells like a backwater queer bar in here!” Yes! Exactly. Like the first gay bar I went to: Martha’s Vineyard on Olive Street in Springfield, Missouri. When I was a heterosexual, I went there one night with co-workers, drank too much, blacked out atop a table, and woke up a homosexual. The next night, I returned newly queer, and met a prince—this is when I believed in fairy tales. What is that smell? Cigarettes, spilled vodka, and lube? Maybe. But this isn’t a gay bar.

I walk to the bathroom where beside the urinal, someone has drawn a cock on the wall. Above this, someone has sprawled the word faggott, which I take to mean an overzealous faggot.

***

In his Annotations, John Keene says “Missouri, being an amalgam of nearly every American region, presents the poet with a particularly useful analogue.” I try to understand this, but cannot. From London, I email to ask my mother, deep in the Missouri of both geography and metaphor. She, too, is baffled. One afternoon, as I stroll the cobble-stoned, adult-video-store-lined alleys of Soho, the sentiment is all I can think of, though its meaning is still unclear.

***

Three movies terrified me as a child. First, Return to Oz. This was 1989 and I was five years old. My sister, age seventeen, brought the VHS home from Aurora Video Source, where she worked on the weekends. In the movie Dorothy, somehow both younger and British, which is why I remember this now, visits an insane asylum. For a year, I could not sleep alone. When I am eight, Uncle Dennis is brought to us, dying with AIDS. The same sister, twenty now, tries to explain and shows me And the Band Played On. Among other things, I think the movie is unfair to the Reagan administration and that two men kissing results in death. Which is why, as I watch Legends of the Fall in the basement during high school, I am scared for my life when Brad Pitt, shirtless, wades into a rushing creek. I kiss my girlfriend, but think of him.

***

My favorite fag- root in the dictionary is faggoteer, one who makes faggots. British faggoteers—David Bowie, David Beckham, The Spice Girls, Charles Darwin, Julie Andrews, Angela Lansbury, imperialism, Winnie the Pooh, rugby, and parliamentary procedure. Also—Oscar Wilde, Elton John, George Michael, and Harry Potter, though it is unclear whether or not one can be both queer and make further queerness. Oh!, and yes, Diana, Princess of Wales.

***

Also worth consideration, American faggoteers—Madonna; Walt Whitman; Calvin Klein; Michael Jordan; Bob Dylan, and more so, his son Jakob; Starbucks; Levi Strauss; Kurt Cobain; and Brad Pitt. Also, Patsy Cline, the cast of Friends, and Hillary Clinton.

***

In London, Prince William prepares to marry Kate Middleton. On the television in our hotel room, I watch oodles of gay men discuss every minutiae of the wedding. In this way, gay men are commodities. Yes, Alexander McQueen’s protégé could be designing Kate’s dress. No, the Queen will not upstage the bride. Prince Harry should keep his speech short. Hats are appropriate. White lilies and tulips would be nice. Stringed quartet, not jazz band. Undoubtedly, Princess Diana would not approve. Oscar Wilde, from the grave, “the highest as the lowest form of criticism is a mode of autobiography.” That sounds about right. Wayne says all this “proves that fashion ideas come from fags watching revivals and paying acute attention to fugue and fatigue;” his alliteration is quite lovely. I am a confused commodity, though I begin to understand British queens. And American queens. And that everyone must weigh in.

***

My least favorite fag-rooted word is fage, a verb, the action of coaxing or deceiving; a fiction or deceit.

In London we visit the Globe Theater, a complete fage. A modern recreation that opened in 1997, the new Globe is believed to be “very similar” to that of Shakespeare’s construction, though it is located 754.59 feet from the original. Our tour guide is an allegory, a tall drink of water on these banks of the Thames. He is married, presumably heterosexual, and at every joke he cracks, I laugh a little too loudly. In this way, I am a cliché, another gay man drawn to an unattainable straight man. It is all language, all syntax. In a hall with posters for Shakespeare’s plays, I ask the guide his favorite. He points to As You Like It, and says “all the world’s a stage, and I, just one of its players.”

***

At the Bodleian Library, I pick up a reprint of a 1942 pamphlet from the United States War Department: “Instructions for American Servicemen in Britain.” Uncle Sam explains “YOU are going to Great Britain as part of an Allied offensive—to meet Hitler and beat him on his own ground. For the time being you will be Britain’s guest.” What follows is sage advice.

I imagine my Uncle William, my father’s oldest brother, fresh out of training. He was likely given this pamphlet. Probably carried it alongside letters from his young wife, my Aunt Marilyn. On page five, as he sailed from the deep of Missouri to New York and on still to London, he likely read “The British have phrases and colloquialisms of their own that may sound funny to you. You can make just as many boners in their eyes.” Did he laugh, as I do now? Or did he, a soldier in the war machine that became the Greatest Generation, take his boners more seriously?

***

In May of 1780, Madame D’Arblay, English playwright and laborious conversationalist, wrote in her diary, “I felt horribly fagged,” which means wearied out, excessively fatigued. In February of 1992, Marvin Willhite, Jr, methamphetamine dealer and my brother, also became fagged.

I will say this exactly one time. My father, our brother Randy, Marvin, and I had lunch at Boxcar Bar-b-que. This is at 1131 North Grant Avenue in Springfield, Missouri. I did not like bar-b-que, and told them as much, pouting through the entire meal. As we leave, Marvin grabs my arm, “don’t be such a little faggot.”

***

I don’t say that because it is sad. I say it because it’s confusing to me now. Which faggot did he mean? The 1700 use, meaning a person temporarily hired to supply a deficiency at the muster? To bind hand and foot? Any number of bundles—steel rods, wooden sticks, planks? The practice of burning heretics?

I lied. I will say it again. My brother called me faggot in the parking lot and two days later, killed himself—this was with a shotgun in his mouth in the back bedroom of his trailer.

***

My father came back from Vietnam and listened to three songs: “House of the Rising Sun,” by The Animals; “Wouldn’t it be Nice,” from the seminal Beach Boys album Pet Sounds; and Buffalo Springfield’s “For What It’s Worth.”

In Bristol, an industrial port city on southern England’s western shore, it is a Monday night. Sarah and I go to the Queenshilling, billed as the city’s oldest gay bar. For two hours, we wonder if a fellow patron is a man or a woman. Then I hear it coming from the jukebox in the corner: “stop, children, what’s that sound? Everybody look what’s going down.” My father is a ghost here, as is the bartender and the couple drinking gin, holding each other in a glittery black vinyl booth. I am ghost here.

***

We visit the ancient Roman Bathhouse. I’m not interested in the coins, or the curve of stone archways described as revolutionary. But I do want to understand. What did they wear here? Were the sex acts enacted in the open, or in dark corners? How did bathhouse evolve? My questions go unanswered. In the hot pool below the ten o’clock sun, I dip my hand into the water. A tour guide yells from across the hall, “stop!” Too much is forbidden, and the rules go unexplained.

Later, in London, I go below the street to use the public restroom. There are five urinals, four of which are full. I pull into the empty parking space. Next to me four men masturbate, tugging their erect, uncircumcised cocks towards the metal pool of toilet. This is like when Wayne says, “I am confused about what’s contemporary and what’s outdated. I am confused about the spirit of the age.” The men glare at me, annoyed that I do not join in? And this is progress—less is forbidden, but the rules still go unexplained.

***

I should be interested in countryside. At the home of William Wordsworth, I should walk through the gardens and consider the foliage, the abundant daffodils and sizeable wisteria bushes that grow along Victorian-era stone fences. But for the last few days, since we’ve arrived in England, all I can think about is urinals. I take pictures of them at London Heathrow Airport, Shakespeare’s birthplace, the Jane Austen Center, sundry pubs and town squares, McDonald’s, and now, the visitor center of William Wordsworth’s expansive estate, home of the quintessential Romantic poet. Am I romanticizing piss? The places we piss? Is this a fetish? Is this how obsession feels?

***

I have a professor who teaches me to write poems. One day I give him one. He says, “I like this, but make it a little more faggy.” I try, but do not know what this means. Later, I will try to add a urinal in the third line of the second stanza to no avail.

***

The underground bathroom we talked about earlier is not a bathhouse; the comparison was not apt, and I need to rectify this.

So in London, I want to visit a bathhouse for the first time. I go to Starbucks and on my iPhone, research establishments (later, I decide that coffeehouses are the new bathhouses for the young and culturally elite, but there’s little time to talk about that here except in passing). I decide on the SaunaBar, near the Covent Garden Tube station at 29 Endell Street. Like the underground bathroom, SaunaBar is subterranean, down a flight of stairs below a yogurt shop. I set rules for myself: do not judge. Do not have sex. Blend in. Face this fear of knowledge.

The fear comes from the aforementioned movie: And the Band Played On, where bathhouses are painted as a breeding ground for AIDS. I still become nervous in the locker room. But then I remember Anjelica Huston was in that film, though this was before I knew her as a goddess.

The clerk at SaunaBar takes my wallet and cell phone. He hands me a towel and locker key, saying, “have fun, lil’ guy.” The rest is mostly uninteresting. There is one attractive man—mid 30s, blonde, slim but muscled physique. Let’s call him, for clarity, Evan. Evan probably swims a lot. Evan probably has a corporate job in the nearby financial district. How else can this be said? From four feet away, I watch Evan fuck a man. Evan smiles at me, looks for me to cheer him on. I watch. Evan finishes, and interested in the public life vs. the private, I follow him to the changing area, where we both dress. From a distance, I follow Evan above ground, onto the street, around the corner, into the arms of his wife and child. I do not know how else to say this.

I duck into a nearby record store and thumb a rare Cyndi Lauper vinyl. Alongside Anjelica Huston, I believe she is a goddess.

***

Whereas I call them goddess, my therapist calls the women in my life like Cyndi Lauper and Anjelica Huston escape artists. This man used to be my therapist. I call him a prick.

***

This etymology is a maze. Consider the 1853 faggery, or system of fagging at public schools. Then fagging, the action of the verb fag, which probably means “to beat.” Another interesting definition, however, is “to cut corn with a sickle and a hooked stick.” Jimmy fagged corn, and I don’t care because Jimmy is an Aquarius and too blond for my tastes.

***

In a tongue-in-cheek sex book I picked up in the bathroom at the Queenschilling in Bristol, we are told “fags often suffer from obsessions with men they have never met.” Yes; that’s the Jimmy we just talked about. Who is he? Maybe Jimmy Carter or James Dean. Not James Franco, who is not too anything except too perfect.

***

Since we are nearing the end, I want to give you another interesting word: faggotless, obviously, devoid of faggots. Honestly though, I am more interested in the antonym, faggotfull, which isn’t a word according to the Oxford English Dictionary.

But there are places, colloquially called gayborhoods, which might fit this. Some that I have noted:

  1. Capitol Hill, Seattle—the first place I danced with a drag queen. The name of the bar escapes me, but she had a lovely, teased blonde wig, orange lipstick, and purple eye shadow. She wore white patent leather boots and we danced to, oh lord!, ‘Time After Time.’
  2. Dupont Circle, Washington DC—the boys wear dark suits and work in offices tightly guarded. But at night, we sip Tom Collins on a patio by the Russian Embassy.
  3. The Castro, San Francisco—I’ve never been, but through the neurons of cyberspace, I love a man who lives at XXX Castro Street. I call him Captain. He calls me Scrappy.
  4. Soho, London—Starbucks, porn shop, department store, Starbucks, drag queen, twink, otter, bear, Starbucks, Virgin Records Megastore, statue of Aphrodite (outside Abercrombie & Fitch).

***

Somewhere on the internet someone says that faggot, when translated from French to English, can mean meatball. This claim, however, cannot be substantiated. Le sigh.

***

In 1862, Mrs. H. Wood exclaimed in a letter to Mrs. Hallib, “Mine is a fagging profession!” Her profession, sadly, is unknown. This was in Romantic England. Was she the butcher, the baker, or the candlestick maker? Or was she of noble birth: a duchess, a countess, or a baroness? So much is lost in bad record keeping.

I think of fagging professions today: barista, psychoanalyst, and gym teacher. Maybe this is wishful thinking. In the west of England, we spend a day in Bath. I visit Colonna & Smalls Espresso Room at 12a Princes Street, a small alleyway behind the Royal National Hospital For Rheumatic Diseases. For an hour and a half, I speak with Maxwell, the fourth best barista in the United Kingdom (according to the World Barista Championship, a subsidiary of the Specialty Coffee Associations of Europe and America). In an hour, I’ve thought of all the ways I could move here, date Maxwell, live happily (which is to say, hold Maxwell’s hand and write him poems). In the next half hour, I’ve thought of how ridiculous this is, that Max is not even gay, that this obsession has gone far enough.

It is difficult being human sometimes; this living is fagging, in this sense, the action of wearing oneself.

***

Along Brick Lane near the Spitalfield Markets, I watch a Bengali woman brush her daughter’s hair. They are street vendors—flowers and spices—and I stop to ask about their daffodils. The daughter, I suspect, has grown up here in London, far away from the Bay her mother calls home; far from the fields of flowers more fragrant than these could ever be; far from the dinner of fish caught that afternoon, skinned on the beach, and carried home proudly, yet humbly. The teenager’s English is impeccable and she is obviously more comfortable talking to me than her mother, who makes eye contact every so often before turning her head, smiling shyly and blushing.

I walk to a nearby café, though good coffee in the United Kingdom is rare. Penance for this: it is acceptable to drink a beer on the patio at two in the afternoon any day of the week. I reread an interview in Out magazine with underground New York icon Penny Arcade; “Being gay is not special — we need to cut that shit out,” she says. Yes. Maybe? I’m not sure.

***

This is the fag-end, the last part or remnant of anything, after the best has been used; the extreme end, e.g. of a portion of space or time, a collection of persons, or a written composition.