Monday, May 27, 2013

Mummies and Snakes: Days One and Two of an Erstwhile Residency

I set out from Chicago on May the 26th, ready for a summer filled with theatre, writing, and semi-laborious farm work. The plan for the three months in which I am living in Ohio is to direct the Free Shakespeare! summer tour of "As You Like It", my first directing gig since the Lionface Winter One Acts of 2011, and my first full-length show since college. (let alone my professional debut...did I mention I'm getting paid?!) I'm greatly looking forward to the challenge of working on a touring company, getting to know the cast, and playing around with the text of one of Shakespeare's most beloved comedies.

But in the meantime...

My other goals mostly pertain to finally sitting down and getting some writing churned out, away from the rigors, pressures, and distractions of city life (a.k.a., paying rent and hustling tables at the seafood restaurant of my employ). Not that I haven't been writing/working since I finished up the first draft of the second Atlantea book in February; I simply feel that a few months in quiet solitude in the country (when I'm not directing) ought to lead to a new found lease on creative output. Case in point, over the next three months, I plan on working on:
  • two new plays, including my long-promised full-length take on Hunter S. Thompson
  • the second draft of Vol. II of the Atlantea Chronicles
  • a new book, a comedic mystery in the vein of Christopher Moore
I'm not sure how successful I'll be at getting ALL of that done (between daily farm chores and devoting myself to the necessities that come with directing, ample free time doesn't seem like it'll be in high demand), but I know from past experience that writing a play (while a time-consuming process) takes about 1/4th of the time required to churn out a 450+ page fantasy novel. In addition, I've gotten much work done on the first play already, and hopefully will be looking to set up a reading of it sometime in early July, before "As You Like It" jumps into crunch-time/tech week. In addition, having moved further along with my writing, the second draft of Atlantea should flow a lot more quickly than did the first draft. Case in point, writing it took almost half the time that it took to write the first draft. If I edit/revise two chapters a day, I'm hopeful to get that banged out by the time AYLI wraps up in mid-August, if not sooner.

The Hunter play greatly excites me, for several reasons. I've already found great success with two shorter versions of what I'm envisioning, though both were in college environments. With that being said, a funny joke is a funny joke, and the writings of the good Doctor naturally lent themselves towards the frenetic, slightly absurdist staging with which I decided to write the play. I'm a huge fan of Thompson's work, and have been working to get my hands on nearly everything he ever wrote, so as to better immerse myself in a world that might pour out this play in the way that I can see it in my head. To that end, towards the end of August, I'll be vacationing in Denver, and plan on making a pilgrimage to Aspen, where he once ran for sheriff, while working on the first draft of the play.

As I continue to hash through the ideas that I've orchestrated in my head, I'll be finished with the play by September/October and looking to submit it to the Cincy Fringe Festival (going on now!) and trying to get this behemoth staged for a mass audience. If this goes according to my (slightly imagined and very feverish) plan, "Hunter Thompson Strikes Again!" will be staged next June of 2014 in a small theatre space in Cincinnati at one of the largest and most well-attended fringe fests in the country.

Until then, I probably should write the damn thing.

Segway! I've been busy the last two days!

Yesterday, I arrived in Cincinnati, where several of my oldest friends and I attended an evening concert of a funk-R&B band called Here Come the Mummies. Based out of Memphis, TN, (or Egypt...) the core concept behind the band is that they play sizzling funk with marvelously unsubtle innuendos...while dressed as mummies.


The above hooligan is my favorite member of the band (as of yesterday), Java Mummy. Playing percussion, he's somewhat off to the side, if he were to stick with the formal staging. However, this rampaging bundle of energy leaps and bounds all across the stage, sometimes taking lead vocals, sometimes disappearing and coming back in a gorilla suit on a tricycle. If bands voted on the NBA Award for 6th Man of the Year, Java Mummy would be an annual threat to take home the trophy every year. No contest.

Today, I set to work out on the farm (because I've got to make SOME money this summer, and also it gets boring around here during the day, so it makes more sense to keep busy by being useful than to play MahJong Titans all of the damn time). My chores included building a chicken pen, clearing brush, and gathering eggs. While these might sound relatively simple, let me just state that I've already got three blisters on my hands, and am not entirely sure when I'll ever be clean again. Oh, and I found a snake!





So that's me. Living the dream on this random "three month artistic residency" of mine. Stay tuned for more updates as I work on these projects, churn out some Shakespeare, and see the world.

Friday, April 12, 2013

Leaving a Mark: An Erstwhile Search for Meaning

It's been a while since I've updated here, mostly because I've found my annual bout with seasonal depression catching up to me swiftly, hastened by some things that I'll discuss a little bit further down. But first, a brief foray into a discussion on meaning.

Several months ago, a friend of mine shared a post on Facebook. (Much of my time during the last month or so has been spent trolling the good ol' news feed reading articles about finding yourself, exploring your life options, ways to be happy, ways to combat depression, etc. I find that, while briefly informative, these snippets of articles and columns are about as fulfilling as....well, sitting around all day browsing through Facebook. This has necessitated several changes in my life, but again, more on that later.) This post was an exposition on Victor Frankl's seminal book Man's Search for Meaning, centering around how it's easy to become happy, but happiness is fleeting without a central context of meaning within our lives. For example, much of the idea around vacations providing happiness is centered in the anticipation leading up to going on a trip; we're happier just thinking about the idea of traveling and exploring somewhere new, or simply getting away from it all. Once we're on that vacation, however, the enthusiasm and anticipation are spent, resulting in an experience that may or may not live up to the high hopes and expectations of the trip. And then you return home, and it's as though nothing ever happened. (This is why I take mental health  breaks as opposed to vacations; a trip back to Bowling Green to spend time with friends or to Dayton for auditions is as much a necessary part of keeping me sane as it is a social excursion) The only way to true happiness, the article states, is by finding fulfilling work or practices that provide a specter of meaning to your life.

As an artist, this resonates strongly for me, though I'm sure anyone between the ages of 22 and 32 would find similar implications. (Let alone everyone 32 and older, but because this is a discussion on the search for meaning as a twenty-something, I'll selfishly choose to focus on my own problems and personal quest for meaning. You're welcome.) I long ago decided that the only path for me in life was a path of creativity, giving back to society through art, literature, and other means of personal expression that are best implicated when shared. Hence this blog, The Addison Recorder, the Atlantean Chronicles, and my upcoming work with Free Shakespeare! this summer. The only times where I've felt truly content with myself is when I can take a look at my labors and see a tangible accomplishment, a record that states "I was here, I did this" and lasts.

Working with theatre, a temporal artistic medium, does have its shortcomings - low pay, an abrupt ending to proceedings once a show closes, a fear that while you're producing great work, the only people that are regarding your spectacle are like-minded associates and friends who would be there for you even if the piece you're working on is an outright turd - but the lasting resonance provided by quality theatre is beyond sustaining for me. I still remember the standing ovations given to my shorter piece "Hunter Thompson Strikes Again!", the random strangers coming up to me in the cafeteria at the Student Union telling me about how "Harm's Way" was possibly the coolest piece of theatre they had ever seen, and citizens of Dayton stopping me in the streets to compliment my work in A Midsummer Night's Dream (my brief flirtation with celebrity). Those moments, while fleeting, self-aggrandizing, and entirely buoyed by being in the exact right place at the exact right time, remind me that I had done something, and that something I had done had affected other people enough to move them to greater desires. Whether simply entertaining them for an afternoon or changing their conceptions of what art can be, I had done something.

Thus, this creative rut I've entered into for the past year or so has been a trifle...well...depressing.

I don't want to suggest that I regret my choices in moving to Chicago. I knew there would be a bit of a dry spell wherein I adjusted to living on my own, supporting myself, interjecting myself into a massive, at-times-overwhelming, artistic community in a strange strange world, but I didn't nearly expect any of the turmoil that has rocked my world. I've always thought of life as a trajectory that I could control, where one project would lead to something bigger and better simply by applying grit, talent, and determination. (Most everyone my age feels the same way, which is why there's a wealth of articles out there about twentysomethings dealing with the discovery that life isn't laid out for you, and after college there are many years of self-discovery ahead of you, and all the trials and tribulations that come with it are a shared experience. That's why twentysomethings like bars so much.) The auditions I've been on here have been (to this point) mostly fruitless, fueled by my lack of familiarity with the world out here, as well as the fact that of my overall theatrical package, auditions are my weakest link.

Which, considering that they're somewhat required in order to make it as an actor, is rather unfortunate.

As I struggled to adapt to living on my own, I also had my expectations of attending graduate school in the back of my mind. I've chronicled my thoughts, dreams, and desires regarding that particular aspect of my life in entries prior, so I won't spend much time rehashing them here. I will say, though, that it remains my ambition to one day enter a graduate program and further my career as best as I can through higher education.

But, as we all discover quite often, plans change. Life has an uncanny ability to throw wrenches into the best laid plans of mice and men.

For much of winter, I awaited responses from all of the graduate programs I applied to. My first response, from the University of Idaho's Creative Writing Program, admitted me. This may have led me to generate a sense of false expectations with regards to my admission to other programs, false expectations that were mercilessly crushed one after another as the rejection letters and emails started pouring in.

When Illinois State contacted me requesting an interview for the second slot in their directing program, it came as a breath of fresh air. Interviewing with the faculty reminded me of my love for creating theatre, something that had been lost to me in the doldrums of the winter months in Chicago. I wasn't certain of my admission to the program, but I did feel strongly that I had put forth the best example of myself, communicating my passions and desires as an artist, and representing exactly who I was in the minds of the faculty.

Which was true. The email they sent me a week later indicated that they all strongly felt that I was an articulate, intelligent artist with the capacity for clear, creative thought.

Unfortunately, I'm also 26, a stranger in a strange land, and with a resume that, while strong, does not convey the same experiences that an older candidate would have accrued by now.

Rejection is a harsh word, and one that is not applicable to my situation; they went with a candidate that had more experience and they felt was at a better stage to enter their MFA program. However, my mind immediately jumped to that feeling of being turned down for a job after making it through to the final round.

It was at this point that any creative output I had for the time being dropped off the face of a cliff, to say the least.

Auditions for Free Shakespeare! were a pleasant reminder that I am not in a dark place; I have a wonderful project on the horizon, I will get to work with an immensely talented cast all summer long and a mind-blowing creative team, and (however small) I will be getting paid for my labors, a professional validation in my mind. The work itself is what provides meaning, however, and that's far more important to me.

With that being said, when you're down, you're down for a bit. And I relapsed into seasonal depression. (Not helped by the fact that it's April and as I sit here writing this piece, it's 40 degrees outside. What the shit, Chicago. What the shit.)

On my recent trip home, however, as I reached my lowest point sitting in my bedroom one night, I came to a realization that smacks of both obviousness and a sense of obliviousness to other problems in the world, as well as a slight tinge of self-actualization: I was neither beaten nor defeated.

I was not beaten in the sense that I did go through with applying to graduate school. Not getting in sucks, to be sure, but it's not because of a lack of qualifications. (Well, it is, but only experience; everything else is there.) I had not been reduced to a whimpering cur on the ground, nor was I told to stay away. I was not beaten.

I was not defeated because I have years and years ahead of me in which to ply my trade. Everything happens for a reason, and perhaps getting rejected by the graduate programs of my choice was the kick needed to shake me out of my self-inflicted doldrums. Maybe this was the kick in the pants I needed to shake up my life, re-actualize my dreams, and to go forth and prove to myself that I am, in fact, an artist.

(This is a slightly self-aware post, for those who hadn't caught on by now. As before, if that bothers you, I'd best leave now.)

The next day, I sold my car, my beloved Vera who has traveled tens of thousands of miles across this country, ferrying me to and fro. I don't need her at this point in my life, with the luxury that is the CTA right outside my doorway. (Well, luxury might be too strong a word...) With the proceeds, I did two things: I purchased a new laptop, a LONG overdue measure necessary to continuing my work as a writer, let along to live and work in a mostly virtual world of audition postings, job offers, and e-correspondance; I then opened a savings account, a long overdue goal that can be my fallback during the tougher times. I then resubscribed to American Theatre Magazine, another long overdue measure that will hopefully breath more life into my chosen pursuits, if only by living vicariously through artists across the nation.

And then I began the process of submitting my head shots and resumes to theatres around Chicago. This is a practice that I started to fall out of in the months following my mother's death, as well as the turbulent months that constituted my return to Chicago, where I began to piece together how to sustain myself on my own for the first time in my life, and further delayed by my application to graduate school.

It was then that I discovered that my seeking out graduate programs, while intending to advance my career, was actually hindering it slightly. I became obsessed with preparing myself for the application process, to the point of shoving aside nearly everything else in my life. (Except for Book 2 of the Atlantea Chronicles, which I intend to start revisions on sometime in May. But even that was only a temporary distraction.) I had even foregone auditioning, something that I promised myself I would throw myself into following my return to Chicago.

Well, given my history, I know this might be a premature statement, but no longer. As of this writing, we begin rehearsals for As You Like It in June; I have an audition with a prominent Chicago theatre next week (my first equity theatre audition); I am changing my daily routine so that the audition boards are the first thing I look at when I wake up in the morning; I am rehashing monologues and seeking out new material; I am networking at every available opportunity so as to boost my presence within the theatrical communities of Chicago; and I am resolving to take better care of myself.

In addition to my theatrical pursuits, I am starting work on a new novel, apart from the world of Atlantea. I'm beginning to stretch out tendrils into the realm of self-publishing, a market that I at first disregarded because of personal stigmas but which I am now seeing the possibilities within; I am continually revising the Atlantean Chronicles as they are written, with an eye towards first e-publishing and then later putting forth tangible copies for distribution.

Personally, I've begun to lift out of seasonal depression as spring begins to (finally) rear its head. I've made a point not to mope around my apartment, seeking out friends and good times. I've broken away from my chronic fear of new things, exploring the great city of which I am privileged to reside in, and I've changed some of the ways I think about how I work, how I view other people, and what I can do to improve my surroundings and well-being. The personal shift is something that's really started to become noticeable to me: I just feel better about life, about myself, and about my situation. And that's a good thing. And it's starting to lead to newer and better things as well. (More on that in the future, possibly)

If I can pull a simple summary out of the last few months of my life, it's that I've resumed my own personal quest for meaning. By doing that, regardless of what artistic output I'm actually generating, I feel better about life, the universe, and everything. Granted, I expect this to change and flow as the months pile up, particularly if things continue to lead to dead ends on the artistic side, but this time around, I cannot fault myself for not trying. I will try. I will try damn hard.

To quote Serenity, "no power in the 'Verse can stop me." Meaningful words.


Saturday, February 9, 2013

With Profound Thanks: An Erstwhile Afternoon with Dave Eggers

People from back home in the general vicinity of Waynesville, OH have often asked me what the best thing about living in Chicago is. I'm usually torn about what I should tell them; the abundance of artistic and creative happenings that is so completely overwhelming that the only way to take it all in is to have millions of dollars, copious amounts of free time, and unlimited evenings (i.e. holy crap it's impossible); the wide variety of food and culinary delights of all manner of ethnic types and cultures; the skyline and the sights that make Chicago uniquely its own (for example, the giant monument to baseball resting less than a hundred feet from my doorstep); the crazy stories and happenings that can only exist on public transit that every native has after only two weeks of living in the city. (For an example of the latter, please read the prior blog post.)

After a year and a half of city living, I can safely say that what I love best about living in Chicago is the opportunity to take part in being in just the right place at just the right time. Granted, this can happen anywhere in the world. To boil down my meaning, let me explain one of my basic philosophies of life. I am a firm believer that as long as one applies themselves to their passions and desires, everything that is supposed to happen in life tends to work out exactly the way its supposed to. This results in experiences that live beyond the moment of their occurrence, lifetime lessons that resonate long into the future, and transcendental epiphanies that help shape the course of one's future.

I typically follow up with deep-dish pizza, because people like tangible things that they can relate to. And I love deep-dish pizza.

Living in Chicago, however, has provided me with countless opportunities that have not only reaffirmed my choices in life, but have also pushed me to continue expanding what it is that I'm doing with my life, forcing me to truly examine why I'm doing what I'm doing at this point in time. It's forced me to truly identify what it means to be independent, and how to fill my days. It's also showed me, directly and indirectly, exactly what are the things that matter in my life.

Which brings me to Unabridged Books.

Last Saturday (February the 2nd, or Groundhog's Day for the fans of Bill Murray), I ventured out my door at about 12:30 in the afternoon to walk the six blocks from my apartment to Unabridged Books, an indie bookstore not far from the Belmont Red Line station. It was snowing rather heavily at the time, as Chicago winds its way through an unusually schizophrenic winter season, and my passage along the streets was slightly more adventuresome than I had been anticipating. I could have taken the Red Line, thus increasing the ease of my trip at the expense of standing around waiting for a train on Saturday for an additional ten to twenty minutes. On this day, however, I had resolved to brave the elements, pulling on my reserves of countrified endurance that can only come from marching a mile into a frozen cow pasture to convince an unruly bovine that "there's fresh hay in the barn, so PLEASE GET OUT OF THE SNOW", in order to make it to Unabridged Books with plenty of time to spare.

Dave Eggers was going to be there, at 2:00 pm, for a book signing.

I'll start by stating that prior to this day, I was a big fan of Eggers' work. A modern writer, a product (one might say) of Generation X, world traveler, and philanthropist, Eggers' first claim to fame was as the author of A Heartbreaking Work of Staggering Genius, a post-modern memoir recounting the death of both of his parents from cancer and his subsequent struggles to raise his much younger brother in San Francisco. At times hilarious, at times heart-rending, the book dives between fiction and non-fiction like a surfboard through choppy waters, pushing the boundaries of what can be considered memoir as well as how we can reconstruct our pasts to suit our own purposes while dealing with our own grief.

Needless to say, in the months following my mother's death from breast cancer, I turned to many familiar forms of comfort in my collection of books, music, and movies, looking for personal relief in ways that supplemented the support I was already receiving from multiple friends. I found that in the days immediately following the news that it was impossible to read; reading was something that my mother and I shared a deep passion for. Many is the night when I was living at home when I would come home from work, plop down on the couch opposite from her, and read my own book, spending time with her in a way far more meaningful than if we were to play board games or go out for dinner. Consequently, reading with an empty space on the opposite couch seemed hollow, if not downright impossible.

The first thing I actually attempted to read in the days following her passing was HWOSG, cracking it open in the days after her memorial service. Falling into its pages, I was able to relate to passages that before had seemed threatening, looming over my future like towering monoliths, reminding me of the inevitable. Now, they proved far more comforting than I had anticipated them to be, and I lived in that book for several days, reading and rereading it endlessly. In a two months' span of time, I read the book a total of three times, and it's always held a place of high honor on my shelf. I've also branched into Eggers' other works, though I have yet to read what many consider to be his masterpiece, Zeitoun, or his latest work, A Hologram for the King.

In short, I went to the book signing with quite a lot of additional baggage, in addition to the copies of his books that I now carried in my messenger bag.

Reaching Unabridged Books after a brisk ten minute walk, I sloughed off my trappings and approached the desk. The woman working there kindly offered to check my bag, which I gratefully accepted; standing in line for an hour and a half is only made worse by the amount of literal baggage you carry with you. In my case, I had a layer of winter clothing, my bag with all of my notebooks, journals, and other required reading materials, and my three Eggers' tomes. After a brief conversation regarding how my current attempt at a handlebar mustache resembles the one that Errol Flynn's stunt double wore, I began poking my nose about the store.

The signing table was set up at the back, and I was relieved to find that at the exact moment of my entry into the store, only two people were in line. This is no small feat; in Chicago, if there's an event on a grand scale happening, people are willing to brave the elements and wait in line for anywhere up to four hours. Trust me on this; I went to an advance screening of The Artist last December, arrived two hours before, and found that there were already upwards of thirty people in line.

Anyway, I seized a quick opportunity to pick up a copy of How We Are Hungry, a collection of short stories by Eggers. It always feels of the utmost importance to support small bookstores, new and used, whenever I enter; it's an unwritten rule I have. Having been through a bookstore closing, I am convinced that the only way to ensure the survival of smaller stores is by making sure that I financially compensate such places whenever I walk through their doors. While this may or may not guarantee the fiscal survival of indie bookstores, it does make for a surplus of books on my shelves, as well as a slightly lessened wallet when it comes time to shopping for things such as, you know, food.

Sacrifices.

Planting myself in line, I looked at my cell phone and discovered that, as it was only 1:00 pm, I had an hour to kill. Had I been anywhere but a bookstore, this might have been unbearable. Fortunately, I was in a bookstore. This wasn't waiting for an author to sign my books, this was a chance for pleasure reading! Arriving early worked to my advantage as not only would I get my books signed quickly, but I could browse through books that I didn't have at home!

Picking up the nearest book next to me, I read the first couple of essays in Patton Oswalt's Zombie Spaceship Wasteland. Expecting humorous anecdotes and quirky observations, I was immediately struck by his relating a story of growing up in suburban Virginia. Reading quickly, I found that at a young age, Oswalt felt bogged down by the trappings of a quiet life, surrounded by burnouts and unambitious twenty-somethings at the movie theater where he worked as an usher. Again and again, he related the observation that getting out when he did was the best thing that he could have ever done in his life.

It might just be my willingness to relate to anyone and anything I discover on printed pages, but I could only feel empathy as I read through his essay. I knew those people! I left some of those people behind myself! WE ARE BROTHERS, PATTON OSWALT AND I!

I try not to read too many memoirs of current popular actors and comedians; they tend to bring out the worst in me.

As time passed by, the line grew and grew. Soon, it wrapped around the upper level of the bookstore, extending down into the basement travel section. I could only feel an intense sense of relief that I had arrived when I did. The only book signing I had been to prior to Mr. Eggers was when Sean Astin visited Springfield, OH to sign copies of his autobiography. This coming in the wake of the Oscar domination of Return of the King, it was quite a popular event. After his lecture, there was just enough time for me and my family to drive home, give me the car, start driving back alone, get pulled over and receive a ticket for speeding, arrive back in Springfield (almost an hour away, mind you), get in line, and wait a further hour to get Mr. Astin's signature on my edition of Lord of the Rings. By this time, Sean Astin resembled something of a zombie, mindlessly signing books as they were placed in front of them, with a horribly forced smile for the crowd.

It was my resolution not to be the guy waiting three hours in line for a mindless scribble.

2:00 rolled around, and Dave Eggers was nowhere to be seen. At 2:05, the crowd began to exchange worried looks. Would he show? Was he late? What if there was a horribly tragic car accident? What if he decided "Screw these peeps, Ima get myself to O'Hare and fly to MEX-EE-COOOO!"? (That last one might be a stretch of the imagination, but I swear, the face on the girl behind me appeared as if she was pondering that exact possibility. It's a very distinct look; you can't miss it.) At 2:10, the owner of the store informed us that Eggers had just left his prior book signing, and was traveling to the store as quickly as he could, prompting a sigh of relief from the small horde of fans in the store.

At 2:17, I looked towards the doorway, not visible from my spot in line, crouched behind a shelf filled with coffee table art books. I could see the entry way, however, featuring a tack board covered with announcements and fliers. I could tell when the door had opened, as a breeze ruffled the fliers ominously. In the back of my mind, a deep voice, probably James Earl Jones' circa Field of Dreams, seemed to say "A great man has arrived."

And then Dave Eggers walked into the store.

A short man (people are always shorter than I imagined them to be, a byproduct of being a tall man myself), his hair was long and shaggy, exactly as I imagined it to be. He wore a blue University of Illinois hooded sweatshirt that looked as though he'd had it since the early 90's; I mean, this thing was filthy. Maybe not that filthy, but bear with me. That part of my brain that identifies with my heroes immediately suggested that he looked much the way that I do on a Saturday morning. You know, like a normal guy.

One of these days, I'll get over my obnoxious case of hero worship.

"Sorry I'm late," he gushed, walking towards the owner. He then turned to take in the line, all watching him with rapt interest. "Sorry everybody!" he said, flinching only slightly.

He was swiftly escorted to the signing table, where he sat down with a hand to his forehead. "Can I get you anything to drink?" asked a helpful employee. "Water? Coffee? Anything - "

"Asprin," said Dave Eggers, looking directly at the employee. "Asprin, please." As the employee ran off to get asprin, I deduced two possible reasons for his needing pain-killers: 1) that signing books for three hours twice a day would give anyone a headache; 2) he had a hangover after hanging out with lifelong friends the night before. (As Mr. Eggers is a consummate professional, in the middle of a long signing tour, and didn't appear otherwise hungover, the latter is most likely just a fantasy scenario in my mind. But hey, you never know.)

Without further ado, the signing began.

The first man in line held several hardcover copies of all of his books. Dave took one look at the pile, said "Hello" and started signing.

"You ever come in here before?" he said, punctuating his signing with forceful stabs of his black Sharpie marker.

"Uh, no," stammered the guy. His hardcover editions, all published by McSweeney's (Eggers' own publishing house), suggested that he only ventured out occasionally, acquiring books as they came. No doubt a devoted fan, he flinched beneath the uninterested face of the writer before him.

"Well," said Dave Eggers, "You should!" He finished signing, shook the man's head, and bid him out the door.

The next guy had only a few books, but told Dave that he was there for his girlfriend. "You're a good boyfriend," said Eggers, signing the books to Sheena after inquiring about the spelling of the name. Already, he seemed cordial and relaxed, quite impressive given that he'd probably be signing somewhere in the vicinity of one thousand to two thousand books today.

Finally, it was my turn.

I approached hesitantly, conscious of my lower moral standing in comparison with a writer that I've followed for years.

Before he even asked my name, he looked at me and said: "Nice mustache!"

Dave Eggers likes my mustache! I died a little bit inside, smiling the awkward smile of the imbecilic, and muttering "Thanks".

"Do you wax it?"

I immediately realized that my tongue was incapable of forming human speech. (Dave Eggers likes my mustache, you guys!) "Uh, no, it's infant - it's uh, infan - it's still in its infancy."

Dave Eggers now thinks I'm a moron.

He asked my name and began signing his books. Before he could get beyond the writing of my name, I looked at him and said "I just want to let you know that, uh, Heartbreaking Work of Staggering Genius is what helped me get through my mom's death a year ago. Almost exclusively."

And then he stopped.

And then he looked at me. "I'm sorry to hear that. How are you holding up?"

This was not what I expected. In my relations with celebrities of any standing, such encounters are usually tight and formal, sticking to a finely tuned script. (This would be somewhat proven by rather formulaic inscriptions on the other books I had brought: "Stay Hungry." "I Hope You See the World." "Keep Listening." For him to actively ask about my state of being completely rattled me. I almost didn't know what to do beyond bolt for the door.

"Uh, well, you know," I said. How can I possibly relate to him? I lost my mother, sure, but he lost both of his parents at the same time from horrible diseases and then had to take care of a young boy without any prior warning! We're on completely different levels. "It's been a long year," I said finally. "Not the easiest time." He nodded at this, setting aside HWOSG and moving on to the other books before he had finished signing that one. "I guess - just trying to move on, you know."

"Well, you don't," he said, looking down at his books. "I'm still getting over everything that happened in my life, and it never leaves you, you know? It never goes away. It's always there.

"And that's okay."

I have no words.

"What you can do is: write about it." He finished signing my other three books, though HWOSG still sat to the side, awaiting his Sharpie. "You know, anecdotes, memories, things that only you remember. I'm losing a little bit more everyday, and it hurts, man. But you've just got to take what you can, and know that it never leaves you. But that's okay."

I'm almost in tears. I'm sure he said more, but just hearing those words come from someone I've always admired moved me in a way that I've only felt a few times before. It opened up new wounds, it bared my soul wide open, and shook the foundations of the store. There were no other people in line, waiting to get their books signed; it was only me and Dave Eggers. And he felt the same way.

"Wow," I said finally. "Thanks. She - I know she only wanted the best for me and my brother." He nodded, pulling HWOSG back to sign. "Breast cancer." He grunted, feeling the pain. "Twelve years. But she never quit. She was still teaching two days before she died." Saying that last part might feel almost rote to others by now, but I'm constantly amazed by the idea that my mother, in the middle of dying, still had it in her to teach at two separate colleges; that's why it never feels scripted to let others know that.

"She sounds like a true warrior, then," said Dave Eggers.

Now I actually did feel tears coursing down my cheek.

"Remember," he said, finishing whatever he was writing in HWOSG as he slid it back to me. "Memories fade. The pain doesn't, though. That's why it's so important to remember the things that matter. Keep writing, keep doing whatever it takes to hold on to those. I wish I'd written down a hundred things that are lost, now. But do that, and you'll stay strong."

We shook hands. "Thank you," I said.

"Take care, man."

As I walked away, I looked back at him. The next person in line was already moving up eagerly. "Good luck, man."

He laughed, understanding my sympathies and consciously aware of the long hours awaiting him. "Thanks."

I stepped over to the desk, retrieved my bags, and thanked the lady working at the desk, clutching my books tightly to my chest. Bundling myself up, I stepped out the door and make the quick walk to the Red Line, bound for downtown where I had to work that evening. (I had to meet Dave Eggers in my server's uniform. I am a tool.) I hadn't opened the books yet, waiting to sit down so that the paperbacks wouldn't be marred by the snow. Finally, I fought my way onto the train, taking a seat at the rear of the car. Pulling out my stack of Eggers' work, I began riffling through the pages to see what was written.

How We Are Hungry: Stay Hungry.

You Shall Know Our Velocity!: I Hope You See the World.

What is the What: Keep Listening.

Each punctuated by his sprawling signature. Often repeated, broken down to easy words for a mass audience, I wasn't bothered by their casualness. (They had my name at the top, man!) Dave Eggers had a long day ahead of him; just the fact that he bothered to write anything was impressive.

And then  I opened A Heartbreaking Work of Staggering Genius.

Travis,

With profound thanks.
Be well.
STAY STRONG.

Dave Eggers

I understand that he must have a conversation similar to mine every ten minutes of his book signings; he's a popular author. I realize that the above inscription might be what he writes in every copy of the book; it's his life story, of course he'll be profoundly thankful to people for reading it. I also realize that he might say the same thing to everyone he meets, at lectures, in interviews, and in casual street encounters.

But none of that matters.

It was exactly what I needed to hear at the exact right moment.

And really, that's all that matters to me.

HWOSG sits on my coffee table now, not far from reach. I'm working through a pile of reading at the moment, but it is in that pile now, forcibly inserted by these recent events. In my head, I'm working through exactly how to implement the suggestions that Dave passed on to me. I could write a biography of my mother's life; I could continue to write stories about growing up; I'm working on a full-length play about how we deal with grief, with cancer, and with living. A hundred different ideas have passed through my mind, as I work from a garden apartment near Wrigley Field.

It'll be a year ago a week from Sunday.

In that time, I've gone through three drafts of my first book, completed the second draft of the sequel, written a dozen short stories, two short plays, and agreed to direct my first full length show since graduating college. All of it knowing that my mom is watching.

Now I know that, truthfully or not, Dave Eggers is rooting for me as well.

And that's more than I could ever ask for.

(Sidenote #1: A catch-up on where The Atlantean Chronicles stands. As of now, the first draft of Book II is completed, and my small army of readers are pouring over it, discovering new ways to tell me about how much I suck. In the meantime, I've resolved to self-publish Book I: Defenders of Avondale. I'm in contact with an artist friend of mine who's willing to provide a cover, and going over my options. What I can safely say is that it will be available in e-book format on Smashwords.com, most likely for a price of $5.00, with whatever I make from that being used to buy a new laptop that isn't cracked, ten years old, and slower than molasses. If you have a tablet/e-reader/Kindle/iPad, you'll be able to read it. If not, let me know, and I'll figure something out. In addition, I've decided that to further honor my mother, 10% of the proceeds from the sales of the book will be donated to the National Wildlife Federation. So that's ANOTHER reason you should get an e-reader! Stay tuned for more information.)

Monday, January 21, 2013

Once and Future Freedoms: An Open Letter to a Woman Encountered on the CTA Red Line

Dear Madam,

I will be honest: you're probably not a reader of this online blog. I am aware that my readership is somewhat limited in scope and nature, and that it is absolutely unreasonable of me to expect a complete stranger to take an interest in my writings. This is especially certain given that I have no means of ever reaching you, contacting you, or even guaranteeing that our paths will cross once again (though the last is out of my control, as the ease and accessibility of public transit in this town is coupled with a certain unpredictability of contact). I will continue to be honest when I say that, quite frankly, I couldn't care less if we were to never see each other again; I cannot be certain that this will disappoint you, but given the nature of our interaction, I am led to believe that you could also care less.

I must frame the context of our interaction by telling the story of what happened on this afternoon on the CTA Red Line, this afternoon being the coldest day of the young 2013. In the interest of painting an unbiased portrayal of events, I will first give an observer's description of what occurred, followed by my respective thoughts and opinions. (You might feel that this afternoon was fairly inconsequential in the grand scheme of your life's history, and this may well be the case, but as far as I am concerned, I have a certain duty to post a commentary on what transpired on our subway car.)

I had just gotten off work from my busy restaurant located in the heart of downtown Chicago (although busy might be a liberal overuse of the word at this time of year; scraping by doesn't fully do justice to the state of my financial well-being during the first months of the year). The train I elected to board for my trip home, as one might expect at 4:00 in the afternoon, was fairly crowded, with several passengers being required to stand and utilize the steel handrails while riding. I was lucky enough to board at the Lake station, by which point enough passengers had disembarked that I was able to procure a seat in the crowded car. This is especially useful to me, as I enjoy reading while traveling; I get most of my reading for pleasure done during my utilization of public transit. My particular experience on this run of the Red Line was uneventful for the first leg of my run (Lake to Grand/State), which allowed me to catch up in my book of choice. (Chuck Klosterman's Killing Yourself to Live, in case you were wondering, although I don't believe that particular detail is necessary to the moral of the story. I just like sharing a good book title when I'm reading it. Then again, after relating what transpired this afternoon, I get the feeling that you don't read much.)

You boarded the train at Grand/State. I barely noticed the location of the stop, with your appearance bringing me out of my private world enough to notice where in Chicago we were at the time. To be honest, I often get so enraptured in my own bubble of reading pleasure when I ride public transit, I have a tendency to miss my stop and continue on down the line, forcing myself to disembark several blocks away from my final destination. (If I were tweeting every inane detail of my life, this would have to be hash-tagged '#firstworldproblems'. Fortunately, this is not Twitter.) What did happen was that you managed to puncture my focus and solitude, as well as the relative tranquility of every other passenger in the car, when you chose to declare at maximum volume the following phrase:

"GET THE FUCK AWAY FROM ME."

Riding the Red Line leads me to experience a great many scenarios that the average reader of this blog might never get to see in their everyday life. The communal nature of the Red Line, as well as the relative economic cost of public transit in Chicago, ensures that a certain air of eccentricity is maintained in the train cars. For example, the other day, I was riding along when the train stopped at Chicago/State to allow passengers to board/disembark. While stopped, a man (who I can only believe is homeless, though the relative cleanliness of his shoes and well-shaven face gives me pause when making such a declaration) stood up from his seat in the middle of the car, walked to the open doors, and flung a bag of empty cans onto the boarding platform before returning to his seat. When the train remained stopped for 'technical difficulties', he repeated the action with a bag filled with paper garbage. Having now thrown two bags of refuse from the car, he smartly saluted his created monument to disposable waste before returning to his seat. I should point out that nobody said anything to the man regarding his discarded luggage, nor did anyone even raise an eyebrow at his peculiar actions. (Apart from one girl sitting across from me, who shared a look with me that could only read "What the heck have we gotten ourselves into?" I answered back with a shrug, which produced a giggle from her before we both returned to our reading of choice, mine being the aforementioned title and hers being George R.R. Martin's A Storm of Swords. There is a small part of me that remains convinced that this was the love of my life, whom I shall never again encounter. I could write stories about how many people in Chicago I know bemoan their lost "CTA crushes".)

I bring up this story in order to point out that users of the CTA are a hard crowd to rattle, no matter how extreme the actions of its occupants.

Which makes the following story all the more interesting, from where I was sitting.

As I mentioned before, your declarative statement snapped me from the private reverie of my reading material, gathering the attentions of every other rider in the car. The particular tone of voice that you used (with such wonderful projection! my actor's heart says) is one that your average Chicago citizen would associate with sexual assault, attempted theft, or being set on fire. As we (I'm including the other passengers in my car in this usage of the possessive pronoun "we" from hereon in) looked in your general direction with alarm and concern for your well-being, we were treated to watch you storm your way from one end of the train to the other, taking a seat at the far end of the car. From your state of dress, it was possible to discern the following: a) you are not homeless; b) you are a white, middle-age woman with long blonde hair and the wherewithal to have acquired a white fur coat; c) you were either dressed for casual shopping downtown or for a light luncheon in the city (I'm inclined toward the former due to your holding a shopping bag from Macy's); and d) you were not intoxicated, though that again could be a misjudgment on my part.

As you took your seat at the end of the car, you glared back towards your original boarding spot with a look of pure vitriol in your eyes, the kind of look reserved for someone who has made a highly inappropriate pass at you in a crowded bar. While still spitting venom from your eyes towards the opposite end of the car, you made the second of five statements I overheard from you in the train car this afternoon, with this one being delivered with a volume equal to (or slightly less than) your first statement:

"Fucking foreigners."

At this point, every eye in the car, which until then had been trained on you, shot back towards the open car door to observe the offending party in your domestic encounter. I expected to see a large and imposing male, or perhaps a group of mischievous teenagers (of which there are many on the Red Line). Instead, what I observed were two girls of Asian descent, staring in your general direction with a mixture of hurt, confusion, and (mostly) intense disbelief at what had just transpired.

The train departed from the station, moving into the tunnel. What happened next was what struck me so profoundly; every eye in the car, including and especially those of us who had until this point been reading and keeping quietly to ourselves, was drawn back to you. Granted, this might have been out of a fear that you would suddenly burst into flames, pull out an Uzi, and scream bloody murder as you defended your fervent nationalist pride. Given the looks of loathing and disgust for you and your state of being that many of us seemed to share, I highly doubt this. What I know is that two white patrons of the CTA apparently struck up a conversation with you. I cannot say that I heard what they were saying, or that I heard every word of your next two phrases, but from the nature of your statements and the events that transpired afterwards, I can only imagine that their inquiries consisted of something in the nature of "What the fuck is your problem, lady?" Your responses that I was able to overhear are printed as follows:

"What, I need to see a psychiatrist?"

"I'm not a pedophile!"

(In the grand scheme of things, Statement #4 might be irrelevant to the entirety of the scenario, but it is my journalistic intent to portray the happenings of this afternoon as accurately as I am able to report them.)

By this point, the focus of every rider in the car was locked on you. You stood up and swayed in the back door of the car, holding onto the rails for support as you turned your head away from making eye contact with anyone else in the train. You remained this way until the train reached its next destination, the Chicago/State stop. Again, this is one entire stretch of track where the eyes of every rider in the car were on you. The sheer probability of this ever happening on public transit is typically reserved for instances involving fire, murder, or one of those crazy flash mobs that I hear about happening from time to time. When the doors opened ("on the right") at Chicago/State, you left from your precarious perch in the safety door and walked towards the nearest exit. As you did this, you uttered the last of your statements for the benefit of the entire car to hear, which I now reprint with 100% accuracy:

"Oh, sorry, I didn't know I should be afraid of free speech!"

You then disembarked, walking towards the nearest staircase to reach the street. As I covered before, it is unlikely that our paths will ever cross again, and as far as I'm concerned, good riddance.

The 'offending parties' remained standing, exchanging a confused snapshot of conversation with a seated patron, probably somewhere along the lines of "what the hell just happened?". They did nothing to suggest any malevolence, and I'm pretty sure that at no point in their afternoon did they bear any ill will to you or to your person. There IS A CHANCE that you were referencing someone behind them, although I doubt this because they were the only ones who seemed to make any eye contact with you prior to your outburst, as well as the fact that the train car behind them was empty. (2 + 2 = Racism?)

The moral to my story is that this transpired on Martin Luther King Jr. Day.

You may have had cause to say the things that you said. You may have a history that led you to shout with such hatred the things that you shouted. I don't feel like there's anything that anyone could have done to you short of physical assault that would warrant such an outburst, however, and I find it exceedingly unlikely that those girls in any way deserved the vile hatred you spewed. What I can say is that, for once, I am glad that you were able to perceive the general mood of your surroundings. I am glad that everyone on the train, regardless of background, recognized what you did and reacted with displeasure. Not violence, or a countering epithet that would have led to verbal warfare, but rather a silent protest against your actions regarding fellow patrons of the CTA.

You are right when you suggest that you should not be afraid of "free speech." You had every right to say what you did. However, you must also remember that we (the other people on the train with you, including those "foreigners" you seemed to loathe so much) have an equal right to freedom of speech, and to respond to your statements with thoughts and words of our own. That's an American value, but even more so, it is a universal value. Dr. King pointed that out several times in his life. (or at least, I think he did. If you can prove otherwise, please let me know: travis.cook.j@gmail.com)

It's good that you recognized our disapproval of your actions, and it's especially wonderful that this disapproval was a universal feeling. I'm proud to have been in a place where such a counter to prejudice could take place. In the grand scheme of things, this is a relatively small and inconsequential matter, but for one afternoon, a crowd full of strangers were able to unite against hate without resorting to angry words, violent action, or forcing a confrontation where one would possibly be warranted. (Those two patrons who tried to talk to you non-withstanding.) What you felt wasn't an outcry against what you said; it was a judgment on what you did and what it represents, which is purely blind bigotry. It was made in the eyes of your fellow man, and carried out with a subtle shift of the atmosphere of the train car that required no mass demonstration and resulting in nothing more than you feeling as though you had to leave the train car. It wasn't your speech being threatened; it was your worldview, which came crashing down around you like a broken glass house, shattered by the stones that you cast.

We've come a long way over the years in terms of how we relate to one another, and there is surely much work to be done. This was especially proven to me by the fact that your actions seemed to be of second-nature to you. However, as an aesthetic background to the daily actions of the Red Line (and to modern American society), you were decidedly out of line.

You shouldn't be afraid of freedom of speech. But you also need to realize that we are not afraid of it, either.

Yours truly,

Travis J. Cook, fellow patron of the CTA

P.S. Next time, take a cab.

P.P.S. Although you should know that cabs are usually driven by minorities in this city. Wouldn't want you to be trapped in a small car with someone you actively despise. I bet your driver would have a lot more to say about the subject at hand.

Wednesday, January 2, 2013

The Erstwhile Resolutions: Goals for 2013



I'll be honest: 2012 was a little bit up and down for me. It was probably the most eventful year of my life, and alternately filled with joy and downright depression. I'm glad for the experience, and there are moments which will resonate long into the years to come.

With that being said, there are a few things that I would like to have happen this year:

(This may sound slightly (OK, very) callow, shallow, and downright disrespectful, but believe me when I say that this first request comes from a very deep and personal place: could everybody in my life please not die this year? I've been to a lot of funerals in the past two years, and could really stand to keep all of you around for the foreseeable future, so let's stick to that, deal? Deal.)

(Sidenote #1: These are not so much resolutions as goals for the year. Resolutions are made to be broken. Goals are things that I can look back on and say that I achieved or didn't achieve. Think of it as a checklist for success.)

  • Write Book Two of the Atlantean Chronicles. (I started it today! 30 pages in! And judging by the outline, this is the book where shit gets real. Not that it didn't get real in the last book, but shit gets hella real in this book. Get excited.)
  • Get more stories written.
  • Get one (1) story published. (Sent out several, and received several rejection letters. The name of the game is persistence.)
  • Acquire an agent/get a book contract for Book One of the Atlantean Chronicles. (I mean, I've got a book just sitting around, and it doesn't suck, so let's see if anybody wants it, you know?)
  • Direct a show. (This is going to happen, so the sub-goal is "Direct a show that does not suck." This seems highly attainable.)
  • Get cast in a show somehow/somewhere. (I guess I really should audition more, as this fell by the wayside for one reason or another. Maybe it's because I've found that I enjoy directing/writing/music more than constantly being rejected for one reason or another.)
  • Write a full length play. (Also attainable.)
  • Write ten new songs. (I wrote one in an hour and a half last year, and have the ideas for at least eight, so this could be done by February. More on this in weeks to come.)
  • Play 5 new open mics. (One down, five to go!)
  • Explore new employment opportunities. (Not that I'm not satisfied with McCormick's, but I'd like to continue to try and find new means for gainful employment. Let's see how this goes.)
  • Read 200 Books (New/Never read before. Honestly, we're already one down: Satch, Dizzy, & Rapid Robert by Timothy M. Gay. Good read!)
  • Get into grad school.
    • SUB GOAL: Get fully funded for said graduate schooling experience. 
 In order to accomplish these goals, I have determined some personal goals that go beyond mere accomplishments, although as far as I'm concerned, they're all accomplishments of their own. They are as follows:

  • Avoid surgery. (Seriously, no more surgery. My (phantom) wisdom teeth still ache.)
  • Start a savings account. (Mine got blown through between moving to Chicago and my travails out west. Time to start over again.)
  • Continue to keep my credit in check. (Of all the goals, this one is actually the easiest. I'm just paranoid like that.)
  • Lose weight. (A perennial goal, although I'm doing well so far.)
  • Set a sleeping schedule. (Not having windows in my room has NOT been good for this, although I've worked over the holiday break to get back to getting up at a reasonable hour. Hopefully, this one will continue.)
And that's my plan for 2013. I don't need to accomplish all of the goals listed above. (Doing that would be somewhat impossible/might kill me.) However, if I can get even 2/3 of that list completed, I'll be happy as a clam by this time next year.

Happy New Year, everybody!

Friday, December 28, 2012

Thanks for Paying: An Erstwhile Guide to Graduate School Applications

The past week has been mostly offset by my recovering from surgery, specifically having my wisdom teeth removed. What I've been told is that I'm quite old to be having this surgery done, as most people have them out before they turn 20. The thing is, I remember when those people got their teeth out, and how their faces swelled up for a week's time and they were on high-grade industrial painkillers right out of a Rush Limbaugh movie, and am glad that of my four wise teeth, three chose to mostly settle into my mouth while one ornery little bugger became impacted. This is probably why my pain was much less intense than might otherwise have happened. (Don't get me wrong, my lower jaw has endured a sizeable amount of trauma to the bone, which results in a constant dull ache that throbs when I don't get hopped up on ibuprofen, in addition to the gaping wounds from where my former teeth occupied my mouth.)

Fortunately, I've not been knocked into senselessness by the drugs I'm taking to offset the pain. As a result, not only am I far more ambulatory than I had expected, my senses have not completely left my body. This means that I've been able to push forward with the process of applying to grad school. Coincidentally, I've also spent nearly $700 in the last few weeks for what may ultimately be a fruitless endeavor.

Let's start back at the beginning.

1) The Idea

It was somewhere around the month of May, while I was homeless and couch surfing as I had sublet my apartment. (Brief shout out to the Bestuls and the Beans who tolerated my presence on their futon and couch for much of this time as I worked up the funds to afford my apartment once again. Traveling out west was the experience I needed when I needed it, and I'd do it again if I could, but I'd also have sublet my apartment a little sooner than I ended up doing, if only to return to my humble abode in a more timely manner.) As one can imagine, working part time at two jobs while living in someone else's home is not an ideal situation for someone who's always held Emerson's "Self-Reliance" to their heart as a mantra of sorts. Thinking back over where I wanted to be, I remembered that my initial promise to myself was that after three years of being out of college, I would start thinking about applying for graduate school. I didn't want to jump back in as soon as I graduated; most of the programs I was interested in wanted me to work up a sizeable amount of career experience as it was. Thinking back, I looked over my accomplishments and (with some helpful advice from several mentors) realized that I've actually done quite a bit since graduating. I've performed in several professional theatre productions; I've completed an internship at one of the most prestigious Shakespeare theatres in the country; I've become the only undergraduate to have a scholarly essay (that didn't suck) published in BGSU's The Projector; I've written a complete fantasy novel (that doesn't suck); I've made friends in high places; and, as of this coming summer, I will have directed a professional performance of "As You Like It" for a company that has grown in renown and reputation in its community. (Hopefully, it won't suck.)

Realizing this, I decided that yes, looking at graduate school requirements would be worth my while.

But in which field?

2) The Research

In my undergraduate studies, I fell in love with theatre. I knew that directing was a passion of mine ever since I was young, but I didn't realize that theatre spoke to me as strongly as it did. Focusing my study, I found that I could in fact direct with some measure of success.

What I didn't realize was how much I also loved writing. I'd been writing stories ever since I was in kindergarten. In college, it had fallen by the wayside, but I still kept several ideas for short stories that I told myself I would work on from time to time. Plays were another creative outlet that let me get my kicks out, short plays that were well received by friends and colleagues who enjoyed their presence. (The success of "Hunter Thompson Strikes Again!" is possibly my favorite memory of working in the theatre; it's the only show I'd ever seen in a student setting to receive a standing ovation. Not only that, but when it was requested for an encore presentation in Toledo, it received a second standing ovation. Yeah, I'm kinda proud of that one.) Writing on a grand scale fell off my radar.

So it was something of a surprise, yet completely understandable, when I fell back into writing following the passing of my mother. During May and June, I wrote the second draft of my novel and realized that while the first draft, in essence, sucked, the new work I was doing was improving the novel ten-fold. It became completely conceivable that I could make a living as a writer. (A Hard and Arduous Way of Life, to be sure, but a Way of Life nonetheless.) Looking over my options for graduate school, I knew that I could pursue either career and be completely happy with my choice, while still maintaining the other as a second passion.

So, if you could (and would) do both of these options, why do grad school at all? you might ask. There are three answers to that question.

1) To expand on my creative process, making myself better at my chosen field than I was before so as to provide opportunities that I would not have been capable of achieving before.

2) To gain practical experience as a teacher and open my avenues for working in a collegiate setting. It's no lie that my mother had wished fervently for me to continue my studies in graduate school, and that her presence in my life as a teacher impacted me greatly. For me, one of the greatest ways in which I could honor her memory would be to use my talents as an educator while still putting out new art into the world.

3) To give myself time to focus solely on my craft. Sure, I'm getting stuff done in the real world, but there's also having a job and paying bills to manage that comes with it. The result is my efforts are somewhat minimized from what I would like to be doing at this young and tender stage of my career. Two or three years solely focused on my craft would be immeasurably beneficial to my artistic abilities.

The ultimate decision I reached was this: I would apply to both M.F.A.'s in Creative Writing and in Theatre Directing. Whichever programs accepted me, with the best funding offers, would be the direction (no pun intended) that my studies would take. Sort of leaving it to the fates after doing everything in my power to achieve something.

It was settled. I now had a goal: to get into grad school for either writing or directing. Now I needed to pick out which ones.

3) The Schools

I looked at over fifty programs for creative writing, and upwards of twenty directing MFA programs. There are all kinds of places where I could practice, and all kinds of programs which would admit me at the drop of a hat. The problem with those is that I wouldn't be learning anything new; a cursory study of the programs revealed something only slightly more intense than my undergraduate studies had been. There were also some incredibly prestigious programs, programs with world-famous alumni. Needless to say, my chances of getting into these programs rested at somewhere above or below zero, depending upon wind fluctuations.

Proximity to home was a concern and a consideration. I didn't want to go to school on the East Coast, New York seemed too terrifying, the West Coast still seems alien to me at this point in my life (coupled with the imploding California school system), and the South is even more terrifying. Except Disney World, and Disney does not offer an MFA. At the same time, I wanted to keep pushing myself beyond my comfort zone; schools that had more remote settings that appealed to my love of nature might be good for writing. Schools near Chicago, with all of the connections that might entail, would be good for directing. SO MANY CHOICES.

As of now, I've settled on the following schools for their respective programs:

Creative Writing:

University of Iowa

Iowa automatically made the cut as the best Creative Writing program in the country. With that being said, I realize that the likelihood of getting into the Writer's Workshop is...well, let's just say that they admit 25 students a year out of 1400 that apply annually. That's an admissions rate of 1.7%. Eeks.

Iowa State University

Their program is actually entitled Creative Writing and Environment. Being an eco-hippie who's always wondering about how to pay tribute to my love of nature and desire to share the joy and wonder that is living on the planet Earth, this program spoke to me right from the start. I'm not saying that it's my preferred program, because I'd be happy getting into any of these, but it's up near the top.

Ohio State University

O!H! - I!O!

University of Colorado - Boulder

Because sitting on the side of a mountain solely to write would be the best experience that I can think of.

University of Michigan

Similar to Iowa. Also, this goes against 25 years of training myself to hate That School Up North. If I get it, it would be amazing, but I'd immediately lose 10% of my Facebook friends. Maybe not that many.

University of Idaho

Not just because it's the Vandals, let me get that out there right now. This school's program is actually remarkably similar to Iowa State's environmental study program. And having visited the Palouse, I can testify that it's a perfect writing environment out there. If not isolated from anything remotely human.

Theatre Directing:

Illinois State University

I've wanted to apply to this school for years. They have a fantastic theatre program, focused on classical studies, and their program features a great deal of hands on work that greatly appeals to me. Plus they're very closely connected to Chicago and also require you to complete an internship at a qualified regional theatre. Sort of my ideal scenario for learning to direct at a graduate level.

Purdue University

Much like Illinois State, only with 100% more Boilermakers.

Southern Illinois University - Carbondale

This program came highly recommended by way of my mentors, and features more hands on work. That was essentially my biggest requirement of a directing program (besides obtaining an assistant ship), allowing me to have access to a great deal of practical experience. With guided feedback, that would allow me to advance further into my abilities as a director than simply sitting in a classroom doing scene work would ever do. Also, this would finally let me explore Southern Illinois. (Not that I'm shallow or anything.)

Ohio University

Honestly, this might not make the cut; I've heard great things about the program and about the school, and it does come highly recommended. It might just be a victim of the costs of applying. (More on that in a second.)

Just Missed the Cut:

DePaul University

The only program in Chicago I liked, but they don't offer an assistant ship. That means loans. Guh.

Bowling Green State University

For all intents and purposes, BGSU does have a great creative writing program. It offers an assistant ship, and is a familiar setting. The downside is it's a familiar setting; I have many friends there already, and have experienced most of what the town has to offer. Going back to learn to write might not be the best thing for me. Even if it would be an all new program with faculty that I've not worked with before, it would be the same setting that I'd been in for five years. Consequently, they just missed the cut.

4) The Applications

Having picked out the schools, now I set to putting together my materials. Each application required a Curriculum Vita, a glorified academic resume. Putting that together wasn't as hard as I had thought, with much welcomed assistance from my mentors from undergrad. It was putting this together that helped me further realize how much I've done over the last few years.

The bitch was writing a statement of purpose. Doing research on the subject led me to discover that there are unwritten rules to writing these things: use descriptive grammar; don't be afraid to brag about yourself, but don't embellish; avoid certain words; make it pop, yet don't make it too crazy. I spent several months agonizing over how to write a solid statement of purpose before finally committing something to paper. Even then, it had to change depending on the program I was applying to. While forcing myself into a deadline brought out some of the better results, dealing with the statement of purpose will not be something I miss about this whole process.

Letters of recommendation followed, much the same as when I applied for internships, and once again, I am indebted to anyone and everyone who wrote a letter spouting my virtues (or lack thereof).

The last piece of each application was if a creative sample was not. For creative writing, this meant manuscripts of stories and excerpts from my book (typically in the form of chapters). My short stories "The Duet" and "Wren who is Raised by Wolves" were given a quick edit and revision, and as I finished the third and a half draft of my book, several chapters were pulled out. The samples varied between 25 to 80 pages, and each gave a quality representation of my writing capability. For directing, only one school required a portfolio of work, quickly drawn together with highlights from my undergraduate coursework, my directed shows, and my internship.

No, the applications were easy. The bitch was paying for them.

5) The Fees

It's no secret that colleges and universities are increasingly run by administrative costs, much as a business would be. It's also no secret that paying for college remains an expensive endeavor. What's a complete scam is how expensive it's getting simply to apply for admission into college.

Before I did anything, I was required to take the GRE (Graduate Record Exam) for most of the colleges I applied to. Simply taking that exam cost me $175. It graciously allowed me to send my score to four colleges for free, but each additional score that I had to send out would cost an additional $25.

Here's a rundown of the costs of each application, along with if I had to pay a GRE fee or not.

Ohio State -    $40; GRE - $25
Colorado -      $50; GRE - $25
Michigan -      $65; GRE submitted early
Iowa -             $60; GRE submitted early
Iowa State -    $40; GRE submitted early
Idaho -            $60; GRE NOT REQUIRED (Woo!)
Illinois State - $40; GRE submitted early
Purdue -          $60; GRE - $25
SIUC -            $50; GRE - $25
Ohio -             $50; GRE NOT REQUIRED

If you factor in the $175 GRE fee, the $20 I paid in postage to mail out transcripts and manuscripts, and the $20 used to pay for copies and FedEx computer usage time, the grand total for just applying to grad school without knowing if I actually get in or not comes to: $830.00.

And to think, I got into this so I could ultimately make more money in my career.

Where I Stand Right Now)

As of right now, I still have to send in materials for Idaho, SIUC, and OU (though OU might fall victim to my not wanting to spend another $50 for a school I'm not that excited about in the first place) and will be waiting until late February/early March to hear if I've gotten in to any of these schools. As I've mentioned before, I don't want to go into major, soul-sucking debt for the next three years of my life, so if I do get into a school minus an assistantship, I will have to strongly consider turning down the offer. As it stands though, I feel like I've built a fairly competitive case for getting into grad school and earning the right to teach introductory courses. Only time will tell if the admissions boards will see me in the same light. In the meantime, I'm also waiting on interviews for both Illinois State and for SIUC before they make a final decision; I'm thinking of it as a job interview for a three year teaching contract. All I can do now, however, is wait.

Oddly enough, that's proving to be the hardest part of the whole process.

Monday, December 10, 2012

The Price of a Memory: Counting Crows, Emotional Recall, and How I Spent My Summer Vacation


While undergoing the process of filling out statement of purpose essays, autobiographical statements, cover letters, and other assorted requirements for graduate school applications, I find myself needing a steady diet of outlets to push my energy. Granted, while applications are not hard work, I'm discovering that after three years of waiting to hear on job applications before ultimately meeting rejection for big-kid job after job after job, I have gained something of an anxiety with a regards towards finding acceptance. This is nothing new for any twentysomething of this generation: most of us are so used to dealing with failure that success comes as something of a surprise when it finally rears its gilded head. This anxiety has led to my second-guessing nearly everything involved in my applications; whether it be the writing samples I'm providing or the aforementioned statements of my artistic purpose. It's not so much an anxiety that locks me into what I'm doing so much as a newfound way for depression to manifest itself: this school rejects a thousand applicants each year, what's the point? will they even think I'm qualified for teaching? how can I afford this shit, even if I do get in? is this how I really want to commit myself for the rest of my life? is it too late to throw it all away and just start a band?

And so I turn to these outlets to let out my creative anxieties, which are fairly neutered by this by-the-numbers process I've engaged in. The first way is by writing for the Addison Recorder, which is fun in its own way. I get to write about topical subjects I love, a couple dozen people read about it, and life is good. Other ways include working on the outline for my next book. Another way is breaking down As You Like It so that I can turn it into a show next summer.

And then there's the music.

If you know me at all, you know that I somehow missed out on the Counting Crows boat for most of my life, failing to discover them until I turned 24. But as soon as I did, through a clip of the Best Musical Performances of SNL, it was love at first sight. Listening to "Round Here" for the first time actively gave me chills. I remember sitting in my darkened living room, wondering who the hell this guy was with dreadlocks, while becoming enraptured in the vocals of the song. Here was the band I've been looking for all my life, I remember thinking. These guys get it; they know what music is, and what it means to be a band.

(Caveat: I know the gripes against C.C., and that Adam Duritz and his lyrics have a tendency to come across as whiny and self-absorbed. But let's be fair here, I needed to hear these things at that particular point in my life. Plus, they're pretty good at what they do.)

Since finding them, I've devoured their entire discography, and in the midst of being young and broke in the city, pined at being unable to afford tickets for their most recent tour. (When they come around again, make no mistake, I will be there, come hell or high water.) I've been rolling over their songs time and time again (pun intended), listening for new things on each subsequent play. It's no surprise that if I ever go to a karaoke night with friends, I'm probably singing at least one C.C. song. While this may turn out to be a phase of my life that I look back on in ten years and laugh at, I'm enjoying the hell out of it at the moment.

At the moment, I'm embroiled in the midst of their third album, This Desert Life (1999). While my favorite songs do come from their first album, the seminal August and Everything After (1993), as a complete whole, TDL is (at this exact moment in time) my favorite album as a complete entity. Sure, August is fantastic (always), Recovering the Satellites (1996) is more rocking than anything else they have, Hard Candy (2002) is technically brilliant, etc., but there's something about TDL that I just love. Its sense of completeness as a study of dreams. Its melodic composition, the band working in perfect unison. Its perfect backdrop being speeding along a desert highway at night, stars in the sky, windows down, minds drifting over the horizon.

Or something like that.

For me (as for most people I would imagine), listening to music involves emotional recall. There are some songs where I can only imagine listening to them in one singular location. Most of the music I love, however, evokes a sense of feeling, rather than a specific place. That feeling might be from a particular moment in time (listening to Third Eye Blind on the bus to middle school) or from being in a certain place (why I associate Iz with working at Borders), but it's a powerful feeling, and why I love listening to music and especially to Counting Crows. What follows is my attempt to describe what the twelve tracks on This Desert Life inspire in me. More for kicks than anything else.

(Sidenote: I think one reason I like this album the best is because of the cover art and booklet. Featuring art by Dave McKean, the album cover is adapted from his jacket for Neil Gaiman's "The Day I Swapped My Dad for Two Goldfish", and each song is accompanied by McKean's trademark surrealist imagery. Favorite band, favorite author, I knew there was a reason this was my favorite album at this moment in time!)

1. "Hanginaround"

Obviously, this one makes me wish I was still in a band.  I do miss the days of hanging out backstage at The Attic. At the same time, this reminds me of Saturdays after parties in college, the days when we weren't hungover, but felt like getting Pita Pit or pizza out somewhere. Waffle House or Big Boy in the early am hours also comes to mind, the times where it felt like a party and everyone was just laughing the entire time. Nostalgia, in other words.

2. "Mrs. Potter's Lullaby"



This is a Top 5 Counting Crows' song for me. It always feels for me like the start of a road trip, heading out of Ohio to visit Chicago/Cleveland/California/wherever. There's a trace of something being left behind for me, if not carrying along everything with me. Because "there's a piece of Maria in every song that I sing..."

3. "Amy Hit the Atmosphere"

This is my least favorite song on the album, but it's still good. I just don't have any particularly strong associations with it. The most I can come up with is falling asleep on one of the seats in the van that we took on a road trip to Idaho. I hadn't yet listened to this song (or album) before that trip, and didn't acquire it until afterwards, but the moment that strikes it home for me is the wistful background vocals behind the second verse. That's what the space between waking and dreaming feels like: breaking out of one song into an entirely different piece of music.

4. "Four Days"

There's a windmill farm on I-65 between mile markers 191 and 205 that I would normally drive through in the dark on my way between Chicago and Dayton. To me, that's what this song is: the phantom space between departure and destination, filled with promises on either end. "Have you seen Ohio rise?"

5. "All My Friends"




There have been many dances I've attended in my lifetime, be they proms or masques, formals or weddings. This song, while never likely to crack the rotation anywhere, is to me being surrounded by my closest friends, dancing and spinning our way into the night, everyone lost in a trance that borders on poetic. These are moments that I wish would last forever, not associated with any particular conversation, but more on a sense of closeness. It's a feeling that can only arise spontaneously, without any impetus of creation.

6. "High Life"

This is walking back home from the rec center during the months I was trying to get back into shape (and succeeded for a brief time before I caught mono and the whole thing went to pot). At the time, I was somewhat lost in my own personal wasteland, trying to figure out what the next year of my life would be like, making sense of classes and relationships, and what was important to me. It's the time where I started to really trust in just letting things happen without working towards any specific goals; not letting go and trusting to the wind, more like keeping my head above water and trusting in life to take me in a specific direction. This practice worked out at the time, and has had repeated benefits of jolting me whenever my life particularly needed a burst of new energy.

7. "Colorblind"

The mopey-R.E.M. style song to me is pulling off at the first exit in Indiana, just past the Ohio border, on I-70, finding a Speedway to fill up my tank. Drifting along Route 40 in the dark, looking at the lit-up, empty fast-food joints, I started contemplating emptiness and vacancy and its role in my life. You know, the sad-sack, depressed shit you're supposed to think about while listening to stuff like this.

8. "I Wish I Was A Girl"

Having the ability to tell someone that you're "doin' alright these days" when you're really not is something I've mastered over the years. Anytime someone asks me how things are going and I say things are good, there's a 10 to 1 shot that I'm lying to them. These last three songs are all about making a change in your life and the necessity that brings that about. Or maybe that's what I'm projecting onto these songs. (Hmm. Topical.) Either way, for me, this brings to mind deciding to take a break from life, the universe, and everything last March, finding a plane ticket for the cheap and making my way out to California. It also brings back to memory the week right before I left for Blue Lake Fine Arts Camp's 2005 International Jazz Tour, saying good-bye to high school just in time to pack up and leave for Europe. If I could go back and travel Europe, I'd go nuts. As it is, I'm not at a point in my life where I can do that; all my savings went to college and to my internship in New Jersey. That being said, one of these days, backpacking across the country is going to happen again.

9. "Speedway"

For some reason, I can never remember the title of this song, even though it's one of my favorite tracks on the album. Like before, it comes with needing to make a trip/change/difference, only it lies in stasis instead. There's a lot of nights where I've lived this song by lying awake in bed, thinking about needing to get out and make something of myself, but not quite having the drive to do it. AKA, much of summer 2011. (There's a reason that I fell head over heels in love with this band that summer, you know.)

10. "St. Robinson in his Cadillac Dream"



Completing the album's cycle of dreams and movement through inertia, this song brings to mind a very specific time and place for me. It's high school, somewhere in spring 2004, and my friend and I are walking back from lunch to class. My friend stops, whispers my name, and nods towards the front doors, beckoning the idea of cutting the last half of the school day and just getting out and driving. Me being far too responsible for my own good at the time, I shot down the idea. If I instead take her up on the idea and we bolt out the door, this song is the soundtrack to wherever we end up and to whatever adventures we end up going on. There's a small part of me that believes that if we do cut school that day, my life changes in some way that I'll never quite know about. All I can do is dream of driving away in a bright blue Cadillac through the sky.

Anyway, these are some of the things I'm thinking about rather than working on a statement of purpose concerning why I should attend the University of Michigan's creative writing program. At this time, I'm putting in August and Everything After: Live at Town Hall in an attempt to fall asleep once again. But know that I'm dreaming "of ballerinas and I don't know why, but I see Cadillac's sailing..."