Tag Archives: Writing

The Face Expert

The animator took the call from Barbie’s people at noon on Veteran’s Day. They said they liked his work on Cyrus the Blimp and would he be interested in coming into Mattel to talk faces.

“I thought Barbie’s face was already a done deal,” said the animator, opening another can of Budweiser.

“It is and it isn’t,” said Barbie’s people. “Her appearance evolves with her target consumers. No one likes looking at the same face year after year.”

“I thought that’s why you created those teenage hooker dolls with the big eyes.”

“That wasn’t us.” The animator thought he heard a collective sigh on the other end of the line. Or maybe it was his sigh. His 12-pack was almost empty and his stump was throbbing.

“We’re not trying to reinvent the wheel here,” said Barbie’s people. “Our doll designers just need a consult from someone who knows faces. From someone who’s used to moving them around for marketing purposes.” Apparently they didn’t know the animator had been out of work for nine months. “You drew Cyrus the Blimp with simplistic strokes and yet movie-going audiences considered him an airship of great emotional depth. Essentially, we want to know how you pulled it off.”

“It’s funny that we’re having a conversation about faces when I can’t see any of yours,” said the animator. Sometimes he forgot what he looked like and had to run a hand over his face because he was too down in the dumps to look in a mirror. Sometimes he forgot that his right leg had been blown off in Iraq.

“I’m sure you can use your imagination,” said Barbie’s people. The animator envisioned a conference room full of pink ponies wearing telephone headsets, each one grinning within the strict parameters of red paint. Better than an ex-soldier getting drunk in an Echo Park studio bought with ephemeral cartoon money.

“I can tell you right now that the number one problem with Barbie’s face is that it’s made of hard plastic,” said the animator. “She’s practically a Lego person. You might as well put a blond wig on a flesh-colored gumball and call it a day.”

“We’re open to using more pliant materials.”

“For me, personally,” said the animator, “Barbie has always been more about the bod.”

Barbie’s people were silent. The animator remembered one of his sister’s Barbies after it got chewed up by their pet ferret. He could still see the puncture wounds in the cheeks and the torn nose. It was the most emotion he’d ever seen on a doll’s face.

“We already have a body guy,” said Barbie’s people. “He’s very good.”

“Have you ever put a Barbie’s head in your mouth and bit down?” said the animator.

“Of course,” said Barbie’s people.

“There’s nothing there.”

“That’s correct.”

“It seems to me that what you really want to give her is a brain. Let me put you in touch with a brain guy.”

“Not necessary,” said Barbie’s people. “Our problem is perception. People don’t believe that a woman could be happy all the time, for going on six decades.”

“Since Vietnam,” said the animator, adjusting his prosthesis. “The question I would pose to your face people is this: If Barbie were a flesh and blood human of the same stature, let’s say twelve inches tall—”

“Eleven and a half inches,” interrupted Barbie’s people.

“Okay. If she were that size, but real, what kind of things would she be interested in? Furthermore, what would she want to talk about? How would she feel from day to day? Is she a heavy drinker?”

“Barbie is a woman of many enthusiasms,” said Barbie’s people.

“Personally, if I were that short and didn’t have any toes to speak of? I’d probably kill myself.” The animator wished he could scratch his missing ankle. He opened another beer.

“You’re saying that her face should reflect gloom and unhappiness?” said Barbie’s people.

“If you want consumers to love her, her face needs to express more than lobotomized delight.”

“You’re saying she should frown?”

“Have you ever pressed down so hard on a Barbie’s head that her neck disappears?” said the animator.

“Yes,” said Barbie’s people.

“Have you ever disfigured Barbie’s face with black permanent marker? Or pulled off one of her legs and beat her with it?”

“Yes,” said Barbie’s people.

“You people are worse than my ferret,” said the animator. They seemed chastened. “When little girls play with baby dolls,” he continued, “they want them hungry and crying. Do you know why that is?”

“So they can feed them and comfort them,” said Barbie’s people.

“Precisely,” said the animator. He closed his eyes and saw rows and rows of Barbies with his face on them. Untidy beards. That same ragged scar across their foreheads. Flak helmets of synthetic hair. Their features were contorted with fear and anguish. Their mouths were wide open with weeping. Then little girls descended on them, gathered them in handkerchiefs, cradled them and sang to them.

“I’ll be there tomorrow morning at eight,” said the animator. “Let’s get some faces on these bitches.”

The Death Ship

I’m not sure why I wanted to post this today. It’s something I wrote in graduate school after my father died and I started reading the books on his nightstand. All quotes are from The Death Ship by B. Traven except for the Nick Cave lyrics.

How a Book Became Holy in a Dead Sailor’s Hands

Books are profane until they are last books. They look like plain things until they outlive you, when the stack is still tall and teetering on the nightstand and your side of the bed is empty. I’ve read books about ships. I’ve sailed the high seas in maritime stories. I’ve been on boats, but mostly I’ve just waded on through.

Walking down the creek, the sun splashing through the trees, I tripped forward to my death. I’d been trailing an unfamiliar birdsong, my heart transfixed by those little bird lungs. I fainted in the shallows and inhaled the current, cloudy from yesterday’s rain. Then I found myself in exile. Exile, at first made up of vague impressions: a bear on the bank, my toes turning blue with cold, a beloved woman screaming my name, a tractor pulling the ambulance that had sunk deeply in the mud.

The farm had been lit up that afternoon, all bright and clear with winter. I’d removed a tangle of branches from the egress of a lake we’d all skated on once. I’d paid no mind to the day turning dark. My work there was almost done. The waning light still seduced rocks and eddies further down the creek. My family awaited me, but so did that song in the treetops. I’d recreate it now if I could. But all I can hear are those beats of my heart, those erratic rhythms. Beating extra beats that day, budum, budum—you probably know the sound. I cursed myself as I stumbled, fell forward: “Stupid man, stupid man.”

Let me remind you: I’ve scaled water towers. I’ve climbed trees to heights unheard of. I’ve tripped acid on college rooftops. I’ve read the books that turn boys into men. And yet the truth stands: I’ve been on boats, but mostly I’ve just waded on through.

I’d worn special boots made for tramping through water, rubber soles suspended all the way from my shoulders, rubber all the way down, insulating my legs and my feet from the cold, for a time. I’d eaten eggs for breakfast, skimmed a Sunday newspaper. I’d read special books written for the dying. Books critical to my survival. Books written just for me.

Days before I joined the current—stupid man, stupid man—I lay in bed beside my wife, rereading a novel about a sailor on a death ship. The sailor had been dozing on the railing when the Yorikke’s engines went silent. Pause here to consider a fictional moment beyond this nonfictional moment. Something final is happening here:

Suddenly I was wide awake. I could not understand at the moment what it was that had made me so. It had been like a shock. Fixing my mind upon this strange feeling, I noticed a great quietness. The engine had ceased to work. Day and night there is a noise of the engine; its stamping, rocking, and shaking make the whole ship quiver. It makes the ship a live thing. This noise creeps into your flesh and brain. The whole body falls into the same rhythm. One speaks, eats, hears, sees, sleeps, awakes, thinks, feels, and lives in this rhythm. And then quite unexpectedly the engine stops. One feels a real pain in body and mind. One feels empty, as if dropped in an elevator down the shaft at a giddy speed. You feel the earth sinking away beneath you; and on a ship you have the stark sensation that the bottom of the ship has broken off, and the whole affair, with you inside, is going right through to the opposite end of the globe. It was this sudden silence of the engine that was the cause of my awakening.

Shortly after I inhaled the murky water, my blood ceased to warm my body like the steam that scalds the engines of the Yorikke. The cold slipped into my rubber suit. The pulse stopped sounding in my wrists. My vessels went still and numb. I never knew how loud a body was until it went quiet. Then I awakened on a lonely ship.

I can’t tell you yet about awakening.

As a young man I heard the ship’s engines. The engines drove me across continents. They carried me to Alaska, to England. To Haiti and the Grand Canyon. I manned the outboard motor of a fishing boat, I shuttled my children between islands in the Chesapeake. I saw the breaching of a humpback whale from the aft-side of a party cruise. So many times I ferried my family across the water.

In the shippy story on my nightstand, a sailor’s vessel leaves the port without him. The cabin of the ship held all the sailor’s earthly belongings, including his proof of citizenship. He stands on the dock and watches his whole life drift away from him:

I have seen children who, at a fair or in a crowd, have lost their mothers. I have seen people whose homes had burned down, others whose whole property had been carried away by floods. I have seen deer whose companions had been shot or captured. All this is so painful to see and so very sorrowful to think of. Yet of all the woeful things there is nothing so sad as a sailor in a foreign land whose ship has just sailed off leaving him behind.

There are no homefires burning on the absconding vessel. There are no misplaced mothers. The daughters are far away, dressed in mermaid costumes. And yet the sailor wanders from port to port. But he gets to choose the manner of his homecoming, by land or by sea. Either he will stick to piers and boardwalks, or he will bounce back on the waves.

You bring nothing with you to the afterlife. You have no credentials, no documentation. And so you drown, and you pray that the bottom of the ocean lacks customs officials. You hope the red tape can’t reach all the way down. You sink, a piece of coal tied to your foot so you’ll be heavier, more efficiently submerged. Your weight is your passport. “What right have you to be here?” asks the old man of the seabeds. “What qualifies you for admission to eternity?” You can only answer, “My DNA, the science that makes up my body. The paper of my skin. The stamp of my mouth. The license that my sodden heart has earned.”

My daughter’s hand on my sailor’s cheek, my sailor’s cheek tickling her palm for the last time with its whiskers. My sailor’s rags buried in a coffin ship.

I watch them all, the members of my family, casting lines into the Atlantic. My wife washing her wintry hands in our kitchen sink. I watch and wash them all with water, as warm as I can make it. My eldest daughter, she hates taking showers, she dreads each repetitive, droning action like using a toilet, like pouring milk on cereal, like waiting for the teabag to seep. She was born without the landlubbing instinct. I can see her when she’s sailing. I can see all my children as ships because I, too, am a ship, rudderless in some uncharted ocean. My aquatic exile, can it compare to days on solid earth? Can any part of death compare to life? Can what remains of me speak the argot of those on shore? Stupid man, these are senseless questions. No sailor can commune with earthbound faces. My loved ones can’t correspond with the dead; they don’t know the mailing address of the ship I’m on. They can’t foresee my next port of call. Stupid man, stupid man. He can’t find the harbors, he can’t find the docks.

But hear me out. I’ve been with them on boats. That one with the glass bottom that could’ve cracked on any reef. That one that was sinking, that boat that was a body, her arms clasped around me. We’ve stood together on the boat circled by whales, the mother diving, the calf bobbing on the surface like a coal-black log. We’ve been to the brink and back. If it had been a daughter who had died, I would still be in the ocean right now, probing the equator, never resting till I’d searched every sunken stockhold. If it had been a daughter, I’d be scuba diving in the Bermuda Triangle right now. I’d be rooting through shipwrecks. Will she never find me in her spyglass?

When I’m scared, I look for shipping lanes. They must be around here somewhere. They must lead me home. My daughter consoles herself by lying on her back in currents of fresh water. Perhaps in the morning she’ll wake up in the ocean. I’ve been on boats, but mostly I’ve just waded on through.

We’ve had enough of life and death today, agreed? At a certain point it’s over the top, over the treetop with the last briny birdsong. Enough with these ships around the bend. There’s always a boat to be boarded, something to carry you around Cape Horn or through the Straits of Magellan. I’d have the course if I had the map.

When the kids were little, we could see a lighthouse from our home on the shore. The keeper could have turned his spotlight 180 degrees from the bay, and shone it through our windows. He would have seen children fast asleep. He would have seen a young man and a young woman reading together under lamplight. For the sake of setting us ablaze for a moment, the keeper’s ships would have shattered against the rocks. That’s too bad. Not as bad as this.

I’ve read my last book. It was a book about sailors. My final library, she’s committed to memory. She’s my final calling card, my final decimal system. I scoured her pages, I took her chapters with me into exile. Perhaps I share her vision of hell, circling my family for eternity, watching them struggle together on the seashore. I’m in a tub, in a bucket. Stupid man, stupid sailor. I’ve abandoned everything on earth: my sons, my daughters, my wife, my medical supplies, my passport, my shaving cream.

They all say it’s a terrible song. They all say it’s sentimental. No one likes this song. They all say it’s maudlin. I’m making this up. I don’t know what they all say. No one likes death. They say it’s too easy. No one likes ships. No one boards ships. No one sails ships anymore.

“The Ship Song”

Come sail your ships around me
And burn your bridges down.
We make a little history, baby
Every time you come around.

A long time ago I attended a memorial service for a boy from Virginia. He had also died in an accident. He’d been standing on a seaside cliff in California when a rogue wave swallowed him alive. No teenage body to bring back from the Pacific. At the memorial service, the boy’s father pulled out a boom box. He played a rock song at full volume while howling lyrics toward the pews, like a miserable karaoke machine. The father tore off his shirt and you could see the sweat on his naked chest. Wet salt and stringy black hair. The father wanted to play the song in its entirety; he wanted to make everyone feel what he was feeling, through the music. The other mourners were embarrassed. His ex-wife pulled him off the stage, wadding his soaked shirt into her hands. Perhaps I’ll meet these drowned men on my travels.

I’ve been on ships but mostly I’ve just splashed against them. I’ve been a strong mast on a deck rocked by storms. I’ve been a regal sail, I’ve been a barnacle. I’ve been on boats, but mostly I’ve just waded on through.

For a simple sailor on the Yorikke, some days are worse than others. Here is the order of one’s shipside melancholy:

In the end I got a craving to feel a solid street under my feet. I wanted to see people hustling about. I wanted to make sure that the world was still going on in the usual way, doing business, making money, getting drunk, laughing, cursing, stealing, killing, dancing, falling in love, and falling out again. I really got frightened being alone there.

I had an ugly feeling in my throat now, when I knew the last minute had arrived. All my life I had wanted so badly to live in Australia and make good. Now my life was snatched away from me. There were hundreds of things I had planned to do some day. All over now. Too late. Terrible words: too late.

The little word “Why?” with a question mark. So what could I do, a sailor without papers, against the power of the word “Why?”

Of me there is not left a breath in all the vast world.

Now where is he? A man fine at heart and body, for ever willing to work true and honestly. Where am I? Where are all the deads to be some day? On a desolate reef.

After a shipwreck, the simple sailor’s delirious friend lets go of a rope and sinks for good into the ocean. The sailor, clutching his own rope, cannot fathom his friend’s disappearance:

I looked at the hole through which he had slipped off. I could see the hole for a long while. I saw it as if from a great distance. I yelled at the hole. . . He did not hear me. He would have come. Sure he would. He did not come up any more. . . There was something very remarkable about it. He did not rise. He would have come up. I could not understand. He had signed on for a long voyage. For a very great voyage.

Once, when I was a boy in a thunderstorm, I huddled under an upturned canoe with my parents and my brothers. We’d left the lake so we wouldn’t be electrocuted. I heard the rain beat hard against the hull. Budum. Budum. Every time the lightning flashed, I could see my family’s faces secure inside our cabin. We stayed dry within the belly of that landed ship. Traven writes, “It is not the mountains that make destiny, but the grains of sand and the little pebbles.” Drowning in an ocean or a raindrop, it’s all the same, you know. I’ve been shipwrecked in rural creeks. I’ve stumbled in the ocean. I’ve been on boats, but mostly I’ve just waded on through.

 

One-paragraph heterosexual marriages

He studies geology. She has butt implants. When they go to the grocery store together, they try to fit everything into two baskets because they like to hold hands when they shop. If they need to buy a lot of heavy items like jumbo margarita mix and Thanksgiving turkeys, they reluctantly enlist a metal cart. She likes to stand on the cart and be pushed, but it’s awkward because her bottom is so big. In the produce aisle, many fruits remind him of her contours, especially the watermelons. One summer afternoon they start feeling frisky during checkout, then immediately have to go make love in the backseat of her car in the grocery store parking lot. All their ice cream melts, but the bananas are okay. Shortly thereafter the butt implants begin to sag, and with them the woman’s love. She files for divorce. The man now wanders alone through the grocery store, unable to find enough appealing food to fill his basket even halfway. “Why,” he asks himself as he squeezes a grapefruit in his forsaken hand, “didn’t I secure a more top-heavy bride?”

She runs an organic vegetable co-op. He works for a moving company, but would prefer to be a crocodile hunter. The woman’s gardening ventures yield very little income, then they start yielding dramatically less income when an objective party tests her soil and finds it to be full of lead. The man has been breaking his back all day moving someone’s entire wardrobe collection into a box truck. When he comes home to hear that his wife has been inadvertently poisoning middle-class urban children for years by selling their parents spinach grown on what amounts to a toxic landfill, he briskly loads a van with all his things and flees the townhouse. The wife declines to file for divorce on the grounds of desertion, and instead waits to hear that her husband has been killed by a crocodile, because then she can move on with her life. At night, alone in her marital bed, she dreams of harvesting freshwater prawns.

He has loved her since they were both eighteen. She grew to love him after an aggressive courtship on the space shuttle. Now they’re each 200 years old, napping in the twin beds that they, with some help from their robot, pushed together long ago. The woman wakes up first and is struck by the pattern of wrinkles on her husband’s forehead. They form a circuitboard while his age spots form a constellation. She rouses him with a freshly-baked cupcake smell, one of several thousand she’s formulated her skin to emit. He opens his eyes and says, “I love that you’re so old-fashioned.” They smooch on the lips. That night they die a natural death, meaning their souls are uploaded to a martian computer and their worn-out bods are shot into space.

Literary brainstorming in Charlottesville, Virginia

I returned to my beloved hometown primarily to see my older brother graduate from med school and get married, but my secondary concern was generating ideas for my masters thesis, an original novel that’s due in two months. This means that I’ve spent the majority of my southern vacation poaching plots from every local I encounter. People I would never expect to have book ideas have written me outlines and sketched out character motivations. This town is a hotbed of unrealized literary genius.

For example!

My 21-year-old brother and his buddy run a handyman business in town mowing lawns, chainsawing everything in their path, “removing stinkbugs,” “babysitting,” and performing other oddjobs. When I jokingly asked them if they did novels, it took them less than a day to turn over a notebook overflowing with rich material, including fully developed protagonists (serial killers in love), back stories (sex abuse, murder, childhood trauma), themes (municipal corruption) and some thoughts on a prequel. But my little brother had a vague impression that my typical work is more emo, so he was sure to pencil in “(*feelings*)” where he thought my skills could really shine, e.g., “Mom addicted to painkillers, protag always starved for her affection <<—–(*feelings*).” The boys said they’d write the sex and violence scenes, and I could be in charge of all the emotional truths. My friend’s four-year-old son is obsessed with traffic cones. Last week we all went to Lowe’s and while his mom shopped, he spent 45 minutes in the plumbing aisle lining up orange cones in different formations, then routing the Lowe’s employees around them as though the men were cars or airplanes. My friend says, try as she might, she cannot find any children’s books devoted to the wonders of traffic and safety cones. She thought I might write something for her son and other kids like him. I have never written a childrens’ book, but I think I could manage a literary novel about an extended family of traffic cones. Something like The Corrections, but set in a parking lot.

Stumpy and Big Mac, the two men who make the compost deliveries from my uncle’s compost farm, were especially excited when they found out I was trying to write a novel. They told me I could do a ride-along with them in the compost trucks for a week and I’d have more than enough material for my book, tentatively entitled The Adventures of Stumpy and Big Mac. At first I thought they were just teasing me for being a dork, but now every time I go over there they gush about a new plotline worthy of Tom Clancy. Without giving too much away before this thing is published, Big Mac’s latest brainstorm involves a jihadist at UVA’s graduation ceremony. We agreed that the more local landmarks I insert, the better my chances would be of getting my book stocked in New Dominion. Or in the Barracks Road Barnes & Noble. Or in Random Row Books. Or in Daedalus. Is anybody listening?

Also my grandfather gave me a 2011 World Almanac, saying that it was full of ideas.

Also I need all the help I can get, because I have no ideas.

No, I have one idea. Wishter, a 30-year-old woman with few career prospects, laments the fact that she chose writing school over medical school. In a fit of jealousy, she steals her big brother’s med school diploma, and his beautiful new wife for good measure, and opens a private psychiatry clinic in the Cayman Islands, where she makes tons of money by hypnotizing her patients into giving her tons of money as well as revealing their darkest secrets <<—–(*feelings*), emotional truths which will eventually make their way into Wishter’s bestselling memoir.

Taking the story for a walk

When I am struggling to write a short story, I often elect to take it for a walk. I’m like, “Come on Story, let’s get some fresh air.” So the story and I go meandering through Central Park, where my story can inhale the pure-bred piss of other stories, where it can take huge dumps in the grass, dumps which I can then pick up and discard in labeled shit receptacles, where it can try to hump the legs of more attractive stories, and sometimes novels. Occasionally I let the story off the leash, letting it charge across the meadow, kicking up dirt and cigarette butts, delighting me with its freewheeling ways, but then an urban park ranger fines me $100 ($5 for every curse word, $10 for every inapt metaphor), and my story and I return home, both of us tired, demoralized, and hungry for bacon scraps.

In order to horrify my mother, I have devised the following reality TV show

Way back in 2003/04, when my college girlfriend and I were living together in D.C. and bearing witness to all sorts of bad behavior on the infrequent occasions when we’d go to the Black Cat to drink Diet 7Up and meet with our napkin folding club, we devised the following concept for a reality television series. The concept has come a long way since then, in that I finally wrote it down, and I hear that other people are actually filming it for HBO. I’m going to wait and see if the HBO thing makes money before I inform Lena Dunham that I registered Poor Girls with the Writer’s Guild seven years ago. In any event, I now bring you…

————————————————————————————————–

POOR GIRLS

a derivative, tragicomical, reality-based television series about a trinity of emotionally needy, financially impoverished, artistically confused, professionally aimless, aged-twenty-something female roommates in the big city

Treatment by

Wistar Murray

LOGLINE: Sex in the City meets Little Orphan Annie.

SYNOPSIS: We document the various Brooklyn-themed misadventures of three attractive, charismatic young ladies at the height of their seductive powers as they struggle to keep money in their pockets, get consistently laid, and preserve their dignity in a metropolitan setting. All three heroines issue from middling-class suburban families, but appear to relish being poor, slutty, and bohemian in their Five Boroughs personas. They also view their penury as crucial to maintaining their increasingly slim figures. Series includes an undercurrent of competition to reveal who can debase herself the most for free drinks, as well as some elements of frenemy. From episode to episode, we watch the girls largely succeed in getting by on their charm and sexual appetites, but they occasionally surrender to a valley of tears (see E. 5, a.k.a. “The Heartbreak Episode”). All three heroines are actively looking for the Oliver Twists to complement their Pippi Longstockings, with a preference for the former to play an Instrument and/or write first chapters of novels while waiting to claim his family inheritance.

PRINCIPAL CHARACTERS:

We fall in love with Eleanor when we see her updating her private sex diary in a cubicle at FedEx/Kinko’s, where she writes regularly because the staff there doesn’t force her to buy anything, such as bubble wrap or Post-It Notes.

We fall in love with Ashley when she entertains a rare doubt about the long-term propriety of sleeping with so many assholes, and wonders if her new blanket should be electric, like a fence.

We fall in love with Mary-Katherine when we see her make a pit stop in a Midtown cathedral during a Sunday morning walk of shame. We soon gather that she is not there to atone for her sins, but rather to seek the refuge of a clean lavatory, where she can pee and check her hair for cum without having to a buy a Starbucks coffee.

SEVEN EPISODES:

1. We open on frustrated sex between Principal Character Ashley and an unnamed hipster on her air mattress (see Example #1 of Snappy Dialogue). After the gentleman leaves, Ashley plans her search for a real mattress to replace her erotically disappointing Aerobed™. We see an extensive monologue in the confessional room (Eleanor’s closet) about Ashley’s terror of bedbugs, evinced to the degree that she once abstained from casual sex for two months to avoid catching them. “Bedbugs are the AIDS of the 21st century,” she often tells the camera. She texts last night’s unnamed hipster to find out how he feels about street mattresses. She wonders aloud if she can avoid buying a comforter for her bed by investing in thicker pajamas.

2. We see Principal Character Mary-Katherine embrace a new sexual identity as a Craigslist Unicorn. This endangered species is willing to hook up with couples to indulge the wife’s last-ditch efforts to save the marriage. The couple is typically so grateful to its Unicorn that the husband will shower it in gifts and free restaurant dining experiences, often without the wife’s knowledge. Mary-Katherine is empowered by her humanitarian role and we see a montage of her flirting quietly on the internet at a neighborhood cyber-cafe.

3. We watch as Principal Character Eleanor is forced, for an entire week, to wear the whorish boots she bought last Sluttoween because her more practical winter boots are in the boot repair shop and she doesn’t have the cash to get them out. She feels awkward going babysitting in three-inch, transparent heels, although she has to admit that the boots do a fine job of protecting her feet from inclement weather. In this episode’s psychodramatic subplot, Eleanor is disappointed to discover that her new crush’s adult Asberger’s also manifests itself in lovemaking. She had wrongly assumed that her new crush would land on the higher end of the orgasm spectrum.

4. We watch as Ashley copes with the daily trials of being cold and hungry and bored with all her outfits. In this episode she discovers that if she sweet-talks a junior associate lawyer she’s been seeing (“Ryan,” a recurring minor character who fits awkwardly into the Poor Girls universe except on the nights when he’s doling out gratuit lines of coke), she can exchange fitting room blow jobs for cute clothes from Topshop. In a series of rapid cuts, we see Ashley order nothing but hot tea at expensive restaurants and then take the complimentary creams and sugars home to make her lunches with later.

5. Informally known as “The Heartbreak Episode.” When Mary-Katherine meets a man who is poorer, sluttier, and more beautiful than she is on the subway platform, we are right there with her. Three days after their steamy makeout session in the rear of a Dunkin’ Donuts, when he doesn’t respond to her flurry of obscene text messages, she is comforted/vindicated by finding his indie band’s CD in the dollar-bin of a used record store.

6. We watch as Eleanor goes on a quest for cheap condoms, finds Truth along the way.

7. We watch as the girls prepare for an elegant dinner party hosted around their dumpster-dived coffee table. Mary-Katherine, who is responsible for the salad (and bad at keeping up with her laundry), pats dry the romaine lettuce with the same towel that she’d earlier used to dry her hair. We watch with horror as the dinner guests pick damaged, dyed-blonde strands out of their first course. But then the night is redeemed by cheap karaoke around the corner and we rejoice along with the girls, who have by this point become our dear friends.

EXAMPLES OF SNAPPY DIALOGUE:

1.

“This mattress needs more juice,” Ashley says to her latest one-night stand.

“You’ve got to be kidding me,” says the one-night stand.

“Don’t worry, doll,” says Ashley. “It’s not as uncomfortable as it looks. It’s like sleeping on a water bed, except with air.”

We hear the roar of the bed’s engine when she plugs it into the wall.

“Voila,” says Ashley, disposing of her bra and panties. “Inflated and ready for fucking.”

2.

“That douchebag came all over my t**s last night,” says Mary-Katherine.

“I thought you were into that,” says Ashley.

“Normally, yeah, but he stained my sheets and you know I just went to the laundromat. Quarters don’t grow on trees in Brooklyn.”

3.

“Who the fuck took my earblugs?” screams a wasted Ashley at 7am after she returns home from a long night of partying.

“Your what now?” says Mary-Katherine, who is making ramen dinner in the kitchen/living area.

“My earblugs! I can hear the family in the wall!”

“Why don’t you just have an orgy with them?” screams back Mary-Katherine. “You do with everyone else!”

Cut to Eleanor’s bedroom, where she’s straddling a groggy, half-naked bartender.

“We’ve got time for a quickie before I have to shower and go to work,” she purrs as she fiddles with what could either be a mole or his third nipple.

The bartender stares up at her blankly, stupidly, as if she is a ceiling tile.

“Did you hear me?” says Eleanor. “I said wake up and fuck me before my babysitting job.”

At his leisure the bartender removes the earplugs one by one from his ear sockets.

“Hm?” he says. “Are you talking?”

“Jesus Christ,” says Eleanor, and jumps up to borrow a condom from one of her roommates.

THE CLINCHER:

Eleanor’s Truth (see E. 6) turns out to be scabies.

Fairy porn for neurotic geniuses

Tonight my sister-in-law JT sent me a link to Elizabeth Gilbert’s TED talk on creativity, and when I got done cyber-stalking an author I’m jealous of and then messing around on Facebook, I gave it a listen. Gilbert proposes that instead of thinking of  ourselves as island artists who are solely responsible for our work, we should envision creative spirits who flit in and out, periodically inspiring us. Maybe true genius isn’t interior, but exterior. In ancient Greece, when a daemon visited a writer in the night, he took some of the heat off the writer’s sensitive ego. Whether the finished product turned out brilliant or embarrassing, the writer himself was only an accessory to the creative act. To quote Liz Gilbert, your original work is accomplished not by you alone, but also by “the divine cockeyed genius assigned to your case.”

Because I just finished Betsy Lerner’s book The Forest for the Trees: An Editor’s Advice to Writers, the emotional fragility of the average artist has been on my mind. The more neurotic I feel and the more erratic my sense of self-worth, the more I want to rebel against these stereotypical character traits. In Lerner’s book (which I loved, by the way), authors are delicate creatures who frequently need to be coddled and reassured. But according to Gilbert, if we could just reconceptualize our creative bursts of energy as generous fairies who fly in and out of our windows to feed us clever lines and plot points, we wouldn’t be such unrelenting egomaniacs. Sounds good to me!

Although my fairies are stupider and have a weaker vocabulary than most peoples’, I am still hopeful that I can bribe them with the spare change I keep next to my computer. But where do my fairies get their ideas? Maybe there’s another whole tier of fairies, higher-up fairies, who hate my fairies because they’re ugly and dumb, and so the dominant fairies stopped talking to them in middle school and refuse to share any of the hot brainstorms going around. So with or without fairies, I am basically screwed. If the devil stopped whispering in my ear every five minutes, I’d be completely out of the writing game.

Originally I wanted to blog tonight about Natasha Vargas-Cooper’s pornography article in The Atlantic, and to congratulate my friend Lang Fisher on the success of The Onion’s new show, but now Jesus is telling me to get in bed with my husband. Sweet dreams.