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A Poem for You

UPTICK

We were sitting there, and
I made a joke about how
it doesnโ€™t dovetail: time,
one minute running out
faster than the one in front
it catches up to.
That way, I said,
there can be no waste.
Waste is virtually eliminated.

To come back for a few hours to
the present subject, a painting,
looking like it was seen,
half turning around, slightly apprehensive,
but it has to pay attention
to whatโ€™s up ahead: a vision.
Therefore poetry dissolves in
brilliant moisture and reads us
to us.
A faint notion. Too many words,
but precious.

- John Ashbery

This Recording

is dedicated to the enjoyment of audio and visual stimuli. Please visit our archives where we have uncovered the true importance of nearly everything. Should you want to reach us, e-mail alex dot carnevale at gmail dot com, but don't tell the spam robots. Consider contacting us if you wish to use This Recording in your classroom or club setting. We have given several talks at local Rotarys that we feel went really well.

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Molly Lambert          
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Meredith Hight
Durga Chew-Bose
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    Entries in yvonne georgina puig (10)

    Thursday
    05Nov2009

    In Which Some Time Goes By

    It Is Still Dark Outside

    by YVONNE GEORGINA PUIG

    Day in life: I wake up around seven. It's steaming hot outside. I am seventeen. My sister, Vanessa, is nineteen and studying at Oxford for the summer. I am at home in Houston, helping my grandmother take care of my ailing grandfather. He has heart disease, and is very slowly, and somewhat painlessly, dying.

    This day I wake early, as I need to pick up my grandfather, Poppa, and take him to see Gramma, who broke her arm a few days ago in a car accident, at the hospital. This is difficult as Poppa is feeble, and unaccustomed to Gramma's absence.

    When I arrive he is awake and sitting at the kitchen table. The light is gray and cold, despite the heat outside. I help him with his cane and we drive down Gessner to Memorial Hermann Hospital. He looks strange walking down the hallways, very thin, like a patient. I am thinking about my boyfriend, and vaguely, about applying for college in the fall.

    Though I'd rather be with my boyfriend or sleeping, I understand there is some significance, some meaning, in spending this time with my grandparents. Gramma is upbeat. She tells us about the doctors and the medicines and the big operation on her arm. She looks like Lucy, but with gray hair. And Poppa is like Desi. When Gramma irritates him, he grinds his teeth and mumbles in Spanish. Gramma makes a joke about not needing to stick around while the nurse helps her use the restroom, and Poppa and I go to mass at St. Cecilia. I went to school here in eighth grade and I wonder if I'll see anyone I know, and hope that I don't.

    During the service I can smell Poppa's breath. An old smell, a from-deep-inside kind of smell. I wonder if Poppa believes any of the Jesus talk, because I don't, and decide that he probably doesn't either. It's just a part of his and Gramma's history, and now it is part of mine.

    I wait in the pew while he takes communion. It was a point of contention between my parents and Gramma and Poppa that my sister and I weren't baptised, but I'm not sure it made a difference to Poppa. Father Risotto has an unbearable lisp. We sit on the far right of the church, and Poppa spends most of the service looking around at the parishioners. After mass, we walk through the church parking lot and a car pulls in front of us, too fast. Poppa stumbles and shakes his fist and grumbles something in Spanish. I take him home and he watches some football and smokes a cigarette even though he shouldn't be smoking. Tomorrow I will come again and we will go back to the hospital.

    A few weeks later, the phone rings at 5 a.m. I hear my mom saying, "Evelyn? You mean George, not Evelyn. Evelyn?" She comes into my room. "Yvonne, wake up, Gramma died." Gramma? Gramma was not dying, Poppa was dying. I climb out of bed like a robot and drive to their house. It it still dark outside. I can't stop my hands from shaking.

    I walk in and Poppa is in his hospital bed, beside the big bed where they slept together before Poppa got sick. Gramma is in the bed on her back, eyes closed. "She's gone, sweetie," Poppa says and I hug him. There's a flurry of paramedic activity and I'm told to sit outside. Some time goes by in which I sit on the couch and stare off and wait, various people show up, and then Poppa is wheeled into the living room. He leans over in the wheelchair and begins to cry into the crux of his elbow. I get up to hug him, but someone signals me to let him be. A few of us sit and watch him cry. He's just said goodbye to her. I hear someone say they were married almost sixty years. Another person tells me they are taking her away now, do I want to say goodbye?

    She is on the floor, pale, when I enter the room. I am still shaking. I sit on my knees and kiss her forehead. It's slightly cold, which doesn't surprise me, but the stickiness does. Goodbye Gramma, I say. And then I leave. The afternoon is busy. Kay shows up and she hugs me and I cry when no one is looking. I sit with Poppa for a few minutes before I go home at the end of the day. He is watching football and not saying much. I ask him if he needs anything and says no. My dad comes in and asks about arrangements. I give Poppa a hug and tell him that I'll see him tomorrow.

    A few hours later, Poppa dies. My dad and sister were there; his mouth began opening strangely and Martha, an unpleasant distant cousin, kept saying Come to Jesus, George, Come to Jesus. He died in the same room as Gramma, twelve hours later.

    Yvonne Georgina Puig is the contributing editor to This Recording. She is a writer living in Los Angeles. She tumbls here.

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    Wednesday
    14Oct2009

    In Which We Try To Make The Most of Our Vagina

    The Alexi Impulse

    by YVONNE GEORGINA PUIG

    Lately I've been reading a blog called imboycrazy.com. I'm not boy crazy, but it makes me feel that I should be, or could be. I'm also a person who thinks about death constantly, and this site has nothing to do with death, which is refreshing. The first time I read it I got real snobby and declared it crazy and anti-intellectual. But then I secretly kept reading it. The truth is, it's a little crazy, and there's nothing particularly intellectual about it, but so what? It's a minor revelation for a bogged-down, occasionally happy/perpetually troubled writer like myself. Finally, a blog NOT written by a writer, but a woman (named Alexi) free to employ exclamation points at will, whose meanings aren't couched in overwrought, deliberate wit. This is called FUN. A novel concept.

    Alexi writes about sex the way I'd like to write about sex if I was capable of writing about sex. She does it well because she isn't an analytic writer type concerned with language and implication. She overshares, she's often vulgar, she contradicts herself, but this is the point. The point is to feel comfortable discussing the ingrown hairs on your bikini line, regardless of whether anyone is interested in hearing about them, of feeling free to say or — gasp — write — here I go — the word cunt. The truth is, sometimes I forget I even have a vagina. And when I do remember, it's usually in the context of wishing I had a penis instead.

    The lengths my mind travels to alleviate this eternal absence of a penis! Sailing around the world, saving sea turtles in Central America, making 100 million dollars, writing dozens of books, starting a sanctuary for abandoned farm animals, learning to jump horses, winning an Academy Award (for what I haven't decided), mastering a Chopin waltz, collecting bugs in the Amazon, and the list goes on. It's all great, but none of it will ever make me a man. Alexi reminds me, without girl-power excess, that this impulse is normal. Men may well have it all, but there's nothing to be done about it. Better to make the most of your vagina than to wish for a penis.

    Imboycrazy hails from an LA teeming with cunning 19 years olds fresh out of six-figure private schools on the west side and armed with cigarettes, slack-jawed stares, and little self-respect. Alexi is informed, and she knows how shallow and terrible girls can be to one another. They aren't glorified here.

    Below, in random order, a few bits of Imboycrazy wisdom:

    A guy who loves you doesn’t cum on your face- especially if he hasn’t met your parents!

    Don’t put lip gloss on in public. It makes you look desperate and insecure. I say this because I am constantly putting lip gloss on in public and men have told me that I appear super desperate and insecure.

    Get a bathroom trash can that hides your yucky trash, not one that just sits there revealing weird stuff that, even if it’s not weird, could be misinterpreted. for example: if you blot your lipstick on a tissue, and throw it in the garbage, a guy could glance over and think the tissue is a bloody rag! think ladies, think! this is war! i mean, love! i mean, i don’t know what it is, but it’s time to start thinking!

    If something /ANYTHING resembling cottage cheese is pouring out of your vadge hole OR dick hole- it’s time to start considering wearing looser pants, having PROTECTED sex, and/or going to the fucking doctor! you oozing monster privates! Jesus!

    Dudes! Wash your fucking towels! If they smell like mildew, chances are your dick is gonna smell like mildew too. I can’t tell you how many bummer blow jobs I’ve given to dudes who’s dick smelled like mildew. Oh, yeah- I actually can remember! ONE! I BROKE UP WITH HIM THE NEXT MORNING and i never saw him again; AND I’ve never let it happen again. but it haunts me like a bad dream. dudes, don’t ruin your sex life! fyi: girls talk! don’t let your reputation be annihilated just because you don’t like doing laundry. Just don’t.

    If you’re a girl and you run into another girl and she tells you how much she loves her new boyfriend, don’t nod your head and smile and tell her “yeah, oh that’s so great. i’m so happy for you!” and then go home and facebook the shit out of that girls new boyfriend and flirt with him or ask him why he’s ignoring your im’s! that is shady, unhealthy behavior. and makes you kind of cunty. yeah, cunty!

    If you pick at an ingrown hair on your bikini line, people will TOTALLY think you have herpes. i’m just saying.

    When dealing with perfume, spray once and glide through it like the angel that you are. too much perfume could ruin your chances/induce a hard off with the boy of your dreams AND/OR even the dirtiest of the long haired, broke, sexy dudes who hang out in dark corners of pianos/little joy/the short stop (insert hair shaker bar here) with five o’clock shadow, a drug & cigarette addiction- who you don’t even want a relationship with;just a casual sex sesh, where hopefully no one gets gonorrhea! so, one spritz please. less is more.

    You are a woman. you have the power to cast spells over boys with your words, your silence, gestures, eyes, and actions. this power can be super fun/entertaining, and will most likely result in an epic make out and/or someone falling in love with you. i can’t stress enough how much power you have. use it wisely.

    When he calls, let it ring at least twice. nobody likes a desperate whore.

    Yvonne Georgina Puig is the contributing editor to This Recording. She tumbls here.

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    Wednesday
    07Oct2009

    In Which The Theme Is Essentially Tragic

    Starting With A Lie

    by YVONNE GEORGINA PUIG

    The fault lines bisecting friends are often so unforeseen as to be imperceptible. We recede from the ones we love unaware of our diminishing; day-to-day, choice-by-choice, perhaps even, purchase-by-purchase.

    Yasmina Reza’s play “Art”, which premiered in Paris in 1994, and is currently on stage at East West Players through October 11th, traces the resentments among three friends, Marc (Bernard White), Serge (Francois Chau), and Yvan (Ryan Yu), to a single source—a painting. A simple object, laden with implications of taste and means, and potently divisive.

    The play opens to Marc alone on the stage: “My friend Serge has bought a painting,” he says. “It’s a canvas about five feet by four; white. The background is white and if you screw up your eyes, you can make out some fine white diagonal lines. Serge is one of my oldest friends.”

    Marc cannot believe that Serge would spend 200,000 francs on a white square. He calls the painting “shit.” Serge counters that Marc knows nothing about, and cannot understand, contemporary art. Marc is pained to witness his friend becoming the sort of person who uses the word “deconstruction” in earnest. Serge says Marc is bitter. Yvan is caught in the middle. The action shifts between Marc, Serge and Yvan’s respective apartments, as Marc struggles to come to terms with his friend’s purchase.

    Much of the play’s comedy is in its use of art-snob nomenclature and Woody Allen-esque urban neuroses. But the theme is essentially tragic. Do we ever know our friends truly, or do we know them only in the light by which we choose to illuminate them? What if they stray?

    Years ago, my closest childhood friend became “best friends” with a girl I considered a shallow phony. My annoyance was compounded by her devotion to the phrase “best friends,” which I found frivolous and girly. I thought, or wanted to believe, she was different, and our friendship has never fully recovered. To this day, I have trouble being friends with someone capable of being friends with a shallow phony, not to mention someone who persists in using the phrase “best friends,” which I still find grating. My resistance reveals as much about me as her tolerance reveals about her. The fact is, she chose the phony over me, and it hurts.

    Yasmina RezaThese things are happening all the time. In Reza’s rendering, friendships may be saved, but never purely. After an alternately hilarious and heartbreaking final scene in which even the hapless Yvan bubbles over with (earned) emotion, Serge allows Marc to draw on his painting. What he doesn’t mention is that the marker he gives him is washable. Marc draws a skier gliding down a slope, and believes that it’s permanent, and therefore that he is more important to Serge than the painting. And he is. But, Serge asks, “Was it right to start with a lie?”

    It’s an open question, which is the point. This is a writer’s play, and while the actors excel in drawing out the pain and awkwardness of arguing with dear friends, the thanks fall to the words. There’s a moment, shortly after Yvan’s outburst, when the three of them are standing in Serge’s apartment, and they seem—on the page, and almost, on the stage—to understand that they are separate and flawed and human. A moment when Serge sees Marc, not as my friend Marc, but as Marc. And he hands him the marker.

    An olive branch extended from the soil of deceit, or just plain reality? “Let’s be reasonable,” Serge says, “why am I being so absurdly virtuous?” Perhaps because, despite the lamentable fact that we are stuck forever being our insufficient selves, despite the insistence of our individual wills, we yearn to be all that our friends imagine us to be, to bathe in their light so to speak, and see ourselves reflected, and validated, in their satisfied expressions. They were right about us, so we were right about ourselves. “It represents a man who moves across a space,” Marc says of the painting in the play’s final moments, “then disappears.”

    Yvonne Georgina Puig is a writer living in Los Angeles. Her frequent contributions to these pages are aggregated here. She tumbls here.

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