The Matrix Rehashed

I just saw the first trailer for Matrix Resurrections, and I am excited. I thought the original three movies were a tight trilogy that wrapped everything up neatly, and they would have to do some serious contorting to squeeze another movie out of it. I was skeptical. But now I’m actually hopeful.

A lot of it has to do with the tone and sluggish pace of most of the trailer. It’s mostly Keanu Reeves as Thomas Anderson sleepwalking through life, and weird shit kind of happens, and then the action starts. I think this is a good sign because it might be about more than CGI and kicking.

The Matrix is my favorite movie. It’s not the best movie, but I’m in love with its questions about control and consciousness. It was a philosophical question with action and special effects grafted onto it. The Matrix Reloaded, however, was action and special effects with a philosophical question grafted onto it. The Matrix Revolutions was just action and special effects.

What I liked about The Matrix that was completely missed in the sequels were the people. The Matrix as a computer program was lived in. There were homeless people, dirty trains, sleazy hotels, stark office buildings, and a place where you can get “really good noodles.” When we find out that this world, so much like our own, isn’t real, we’re shocked. Of course, the movie breaks down in the end when the heroes just shoot everyone.

In the preview for Matrix Resurrections, we see Keanu living in the world, riding in elevators, taking antidepressants, going to coffee shops. It looks like it just might be grounded, like the first movie, and I, for one, can’t wait to find out if I’m right, or if this is another shameless cash grab like all of the other sequels made over twenty years after the last film. Will this succeed, like Bill & Ted Face the Music, or will it suck like all the Die Hards and Rambos that keep getting churned out? I guess we will find out in three months.

The Spirit of The Post

I used to work at the New York Post as a copy editor. I was only part time, and I only worked two days, then one day a week, but it was still a big part of my life that shaped me. I had a great boss, and if he wasn’t a surrogate father figure (I had a father, and he was doing the job nicely, thank you very much), he was, at the least, a surrogate uncle who really cared for me and looked out for my well being. I was a floater, so I took the desk of anyone who wasn’t working the particular day I came on, and, on Sundays, that put me on the other side of the cubicle from Dominick Marrano.

Dom intimidated me at first because he’s pretty much central casting for Brooklyn Mafia (so much so that he attempted to try out for the Sopranos when they were doing a casting call in New York), but I quickly learned that intimidation was the wrong reaction to have to him. He’s friendly, kind, and generous, and most of all, full of mirth. He’s laughing in all of the pictures I’ve ever seen of him, and that’s perfect because that’s how I remember him.

Probably my most vivid memory of Dom I had was one day when the pagination printer next to his desk was on the fritz, and it kept letting out this horrible beep/squeal noise. I muttered, “I think it’s backing up.” Dom heard this and thought it was the most hilarious thing because he told anybody who passed by his desk what I said. He’s louder and more boisterous, so if that joke was going to spread around the newsroom, he was going to be the one who did it. And here’s the kicker: every time he told that joke, he made sure to give me credit for it. He was big that way with not stealing. Him delivering my jokes to a wider audience than my shy self would reach was something that happened a few more times during my evenings there.

Dom passed away on Sunday after a long battle with lung cancer and emphysema. The New York Post page I follow on Facebook, as well as his friends and coworkers making the announcement on my feed, have been inundated with comments of mourning and praise for this man. He retired twelve years ago, but he hasn’t been forgotten. I barely knew him, and I’ve been sad all week. He was always there the six years that I worked at the Post, and even his retirement came as a shock to me. I guess I just assumed he always would be there.

I don’t know what you believe about the afterlife, but I like to picture him somewhere comfortable, drinking a coffee, maybe the alcoholic beverage of his choice, and laughing. He taught me that things are hilarious, and you need to embrace that.

Goodbye, Dom. I miss you.

Confronting the Sphynx

As I am about to enter this screenplay-writing competition, and, as I’m expecting to lose, it’s got me thinking a lot about the process of trying to get accepted for my writing. My screenplay will likely get passed over because it doesn’t follow the five-act structure, and there’s even more reasons that I don’t know about because there are loads of books on how to write a screenplay, none of which I’ve read. With my novels, I know that there are several technical reasons my queries are getting rejected, despite the fact that, when people read them, they really like them, as is evidenced in my modest number of Amazon and Goodreads reviews (except for that one guy on Goodreads who gave me a mysterious 1-star, as well as that 1-star guy on Amazon who really hated what I wrote).

If there are people so strictly enforcing quality control for the written word, then why is there so much garbage out there? I don’t mean like Two and a Half Men, which was a terrible show but popular enough to last for around ten seasons. I mean the cancelled-after-half-of-a-season kind of shows. The ones that are not well-plotted and lack any memorable or likeable characters and doesn’t connect with an audience, but they still impressed someone enough to hire directors, producers, actors, special effects, and various crews. I’m talking about the dreary, repetitive, badly written books that have made it through an agent, a publisher, and an editor. The first ten pages are what sells your books, so these bad writers must have amazing first ten pages because the rest is just horrible. They’re awful works of entertainment, but they knew the right code words to make it past the gatekeepers. I feel like, if I could figure out how to do the steps precisely, I might have a chance. That means I have to learn the steps intimately, and I don’t really have the patience for that. That’s not why I write.

What does that mean for me? I can’t afford to buy slick covers anymore, so no more self-publishing. Even though she ghosted me, the agent I talked to in April made me think I had at least one book worthy of sending out, and I might get to that later this year. But mostly, I’m going to write. When a contest like this comes up, I’m going to enter, not because I’m expecting to win, but because the challenge of it will appeal to me. Who knows, maybe I’ll do the right dance move and get in the door someday. If I don’t, I’ll keep writing because it gives me joy in a difficult world.

Fat Load of Good

You can’t tell because I don’t put pictures of myself online, I put on an incredible amount of weight since the divorce. It all came down to diet, I just ate garbage, and a lot of it, three meals a day. I was actually pretty active, taking a 2.5-mile-or-more walk six days a week. That’s where the problem started. I started getting a burning pain in my legs as I went longer distances. It got worse and worse, until finally, in January, I couldn’t just suck it up anymore, and I called a doctor. They told me it was a vascular issue related to obesity, and I immediately got rid of all the garbage and tried to eat better. I’m pretty sure I lost weight in this period, but I hadn’t weighed myself since 2018, so I have no way of knowing.

In April, I physically went to the doctor, and she told me that my ideal weight shouldn’t be my age plus 200 pounds, so I downloaded a calorie-counting app and hired a weight loss coach. This was mid-April. I’m happy to say that I’ve lost 20 pounds in the past two-and-a-half months, but I’m still quite fat—I can’t see the difference in the mirror yet. However, I’m within spitting distance of my weight goal (when I hit that goal, I will set another, but for now, I just want to be 200 pounds again), and for the first time in a really long time, I feel like I don’t have to look like this forever, and I can’t begin to tell you how good that feels. I have felt repulsive for a long time, but oddly at peace about it, accepting that this was the way it was going to be forever.

The reason I’m sharing this today is that the last day of the month is weigh-in day, and the scale gave me the great news that, despite some slip-ups, I’ve lost eight pounds in June. I honestly can’t believe the kind of shit I used to eat, but that’s behind me. I’m feeling lighter and ready to go.

What’re YOU Lookin’ At?

Random memory: This was in New York in the fall of 1998, and Shane and I were relaxing out by a construction sight that would become Trump Tower (or was near an already constructed Trump Tower—that part’s pretty hazy). We happened upon a large piece of broken drywall, and Shane decided that this was art. He always carried around his pastels, so he set to work bringing it to life.

Wearing shirts and ties, and me in my trench coat, Shane observed that I looked like a goombah, and, with nothing else to do, I put on a really bad Mafia accent and started harassing passersby, saying, “What’re YOU lookin’ at? What’d’you think this is, an aht gallery?” I started telling anyone who would listen about the artist and the drawing, using as many gangster cliches as we could think of, such as, “Look at that linewerk, it’s pretty good considerin’ both his thumbs are broken. Hey, he owed me money,” and “See the woman he’s paintin’? That’s Angelita, his one true love. Killin’ her was the hardest thing he ever had to do. Maybe next time you’ll keep it in yer pants, Angelita! You too, Joey, God rest yer soul.”

Eventually we had to go to work, that’s what we were doing in the Upper West Side to begin with, so we left his art leaning up against the fence of a construction site, with no illusions as to its fate. We chatted about it for a while, and we thought it would be fun to actually do the schtick in an art gallery, where Shane would actually paint something and I would taunt the gallery-goers. Keep in mind, this was when The Sopranos was just starting, and Analyze This (or its sequel) was a huge hit at the box office, so mobsters were huge at the time. That was one of many dreams that Shane and I had together those first few months I lived in New York, and like many, it just lived on in our imaginations.

Special Agent, Man

Almost two months ago, I took an online class called, “How to Hook an Agent.” At the beginning of April, if you were paying attention, you may have recalled me stressing out about query letters or about how every other person in my class wanted to sell literature, and I had a superhero romance. Also, as I had not noted, I was the only one in the class with any experience trying to woo an agent.

The last class was a twenty-minute one-on-one with the agent teaching the class, where she would discuss any corrections made to the query as well as the requisite ten-page sample. The agent was incredibly positive about my book. She said there was a market for this kind of thing, and to avoid the label of romance because that’s a whole separate publishing industry that had its own rules and customs. She sent me a list of agents who were looking for work that was more fantastical.

After I explained the book to her a bit so that she might not have gotten from the sample and query, she asked me to send her more of the novel so she could get a feel for it. She told me up front that she probably wouldn’t be interested in it, so it’s not an agent query, but she might have some ideas for how I could better sell it, and she might even be able to give me a few names I can try to query.

I sent fifty-six pages to her about six weeks ago, and I haven’t heard back, and I don’t know what to do. She’s not a queried agent, and she’s not doing this for (potential) money, but as a favor to a student. I don’t even know how many students she’d done this with. Since she’s not a queried agent, then I shouldn’t be afraid of getting rejected. But if what I wrote was good, don’t you think she would have reacted to it by now? I know she loved the first ten pages, so what if the subsequent forty-six were a letdown, and she recommends I stop writing? She probably won’t do that. But I don’t know what to expect. I’ve gone from elation at her asking for more to trepidation at what she might say if I poke the bear.

I will probably write her, that much is clear, but what will I write? I don’t have the slightest clue. I keep getting blocked every time I think about it. And when do I reach out? I know that she will not write me unless I write her first, so what is a good time to allow to pass before I do write her?

This is why I went into self-publishing: it’s all on my schedule. Now I need to wait for someone else, and it’s making me a little crazy. I wish I could just write books and let other people worry about this stuff.

An Orange on a Toothpick

I watched this movie about a dozen times, maybe more, before I turned twenty. After I turned twenty, I’ve seen it twice, and the second time was last night. Watching it again, I understood what a formative role it had in the development of my identity as a social being, something I’ve fallen completely away from. The movie is So I Married an Ax Murderer.

Aside from the extreme nostalgia I feel for the movie, it doesn’t really hold up. It’s very nineties, seen mostly in the outfits Anthony LaPaglia wore, but also in locations like a beatnik coffee house and pre-tech-boom San Francisco, as well as oversized posters and Nancy Travis. This was before Mike Myers really solidified his brand, so he was looser here and a lot more charming, but you could still see, peeking through, cringeworthy habits that would ultimately lead to The Love Guru. I’ll be honest, I was DMing a friend about San Francisco the entire time the movie was on, and I didn’t miss a thing because I had the whole thing memorized, from all of the butcher-shop flirtations to my second-favorite rendition of “Do You Think I’m Sexy.” (My first will always be The Revolting Cocks. Sorry, Mike.)

I cannot overstate how much I wanted to be Mike Myers in this movie when I was young, specifically Charlie Stewart with his sentimental creativity and energetic sense of humor. I had his hair, coincidentally, for many years. I was trying to be my funniest at this point in my life, and this movie helped me develop that. (And no, I’m not talking about screaming out in a terrible Scottish accent, “Head! Pants! Now!”) I was never as funny as Mike Myers could be, but I held my own. I could never quite work out how to use humor as flirting, but again, I held my own. That was a long time ago. These days, when I’m relaxed, I can still be funny, but I don’t have the full-body gusto that I used to have. This movie made me really miss it.

I think, if you’re a certain age, it’s a pretty great little movie. Maybe you can remember the days when you and your peers pretended to be his Scottish father (also Mike Myers because, if there’s one thing he can never do wrong, it’s Scottish), shouting at each other, or maybe you’ll be amused by the love story, such as it was. It was an original story, not based on overexposed, underdeveloped Saturday Night Live characters, so it had that going for it. Mostly, it was a movie where they got this budding comedian to screw around on camera for ninety minutes, and you know what? It can be an absolute joy to watch. Next, I think I have a duty to write short essays about other movies I’ve seen over ten times and how they influenced my life. That means Face/Off and The Highlander.    

They’ll Be There for You

This is where I admit something weird about myself.

Have you ever been reading a book or watching a TV show or movie, or maybe watching a video essay on your favorite topic or hobby, and you think of the one you’re watching as a friend? I don’t mean they’re speaking to you or anything, but you know them so well, especially in the case of books, where you really get into their head. The extreme of this comes in the form of the Team Edward vs. Team Jacob thing a few years back. It’s all the young people who wanted to date Loki, despite the fact that he’s, you know, evil. And lest you think I’m making this a young girl problem, witness the “Not my Doctor” people, predominantly men, who seem to think that the Doctor is a person, not a work of pretend created by a series of writers going back sixty years. One thing that often happens with internet stars is that people leave them cruel, teasing comments that would appropriate for close friends ribbing each other at a coffee shop, but not with a perfect stranger, all because they feel that stranger would get the joke.

If you have felt a connection with a fictional character or online personality, you don’t have to admit it. It’s a common enough occurrence that I know that some of you reading it have gone through it, and it even has a name: parasocial relationships. Literally, it means one-way relationships because the one you’re connecting to can’t share that connection with you. Parasocial relationships are actually quite healthy (unless you’re going to extremes about it, like threatening an actor who plays a particularly despicable character). They develop strong senses of empathy, and those who have these relationships tend to be better friends overall. We spend as much time, if not more, with these made-up people than we do with most real people, so if you’re going to build up a connection at all, it makes sense to form one with this presence in your life.

So you’re wondering where I’m going to confess the weird thing. Have I fallen deeply in love with middle-aged Punky Brewster? Do I think that Addie Larue in the novel I’m reading is the only one who could really get me? Is there someone online I recently propositioned after watching all her videos? Not quite. You may not realize this, but I’m a writer (I know! Shock! It’s almost as if it’s not, like, the only thing I ever talk about!), and as a writer, I create characters. You see where I’m going with this. It takes me about two months to write a novel, and in that two months, I live with these characters. I think about them when I wake up in the morning, when I’m cooking, cleaning, going on long walks, and when I go to bed at night. I infuse them with the traits of people I know and of myself, and I see the world from their point of view, finding the good in anything they do (even the bad guys because nobody sees themselves as the bad guys). For two months, these guys are my life, and then they’re gone. This wasn’t as much of a problem when I was writing a series because I could always return to them. When I wrote the On the Hedge series, I wrote them one after another, for almost a year and a half (those books are much longer than anything I have written since, so they took closer to three, three-and-a-half months a piece to write), and I never had to leave the characters behind. But now that I’m writing one-and-done novels predominantly, they’re gone for good.

It’s weird how much I love these guys because they’re not real. I have made them up. They don’t do anything I don’t tell them to do (even if I do go with the flow and try to let the story tell itself). I should not think of them as real people. Even as friends, they’re a camp friend at the most, one who doesn’t write you after they go home. But I still miss them and even mourn them a little when they’re gone. I wonder if this can even be classified as a parasocial relationship because these lives belong entirely to my whim.

I don’t know if I’m the only writer who feels this way. I can’t be. In a world where I can’t see my friends, these are the relationships I can turn to. I don’t know if this makes me maladjusted or just plain sad, but it’s my life right now. I just finished a novel, and I’m kind of bummed out. Let’s see who I meet with the next one.

Bleak Production

I saw this TV show years ago, I can’t even remember what it’s called. It only lasted one season, and I think that was by design—the story had wrapped up quite neatly. The only thing I recall about it was the star, James Badge Dale, and the fact that it completely realigned my philosophy about the country, and it may have killed my sense of hope.

The plot of the show is simple: an intelligence contractor uncovers a conspiracy, including members of our government and several corporations. As he unravels the plot, lives are destroyed, betrayed, or ended, and he nearly loses everything, but he keeps going, because the truth is what’s important. In the finale, the conspiracy unfolds exactly as it’s supposed to, and the world is forever changed. The hero confronts his boss, who was in on it, and tells him he has the proof. He’ll tell the world. And his boss asks him if he thinks anyone would care. If the hero somehow convinced media outlets to run the story, what would change?

This resonated deeply within me because I witnessed the NSA get caught spying on American citizens under the tutelage of the Bush Administration, and no one cared. Sure there were those of us who do tend to care about this kind of thing, but to the general public, it was a non-issue. The Constitution was aggressively, flagrantly violated, and it was no big deal. No one lost their job over it. I don’t even recall the program being shut down.

This was one thing I witnessed. The American public, at large, didn’t care as our rights were struck down, those in power abused it unapologetically. This came to a head during the Trump Administration when the president and those working for him didn’t give a fuck. They behaved badly, they behaved incompetently, and the American public didn’t care. Most voters, when asked about Trump’s first impeachment, couldn’t figure out what the big deal was (the big deal was, he broke the law by offering a foreign country military aid if they helped him win an election). Yes, we elected Joe Biden, but 70 million people voted for Donald Trump, and not all of them were Qanon.

Right now we have people like Jeff Bezos actively and fundamentally screwing over his workers and the whole country in general, and simply consolidating all the money, and it’s well documented, and it’s no big deal. We still have children in cages at the border, and America is all, meh. What’s it going to take for people to get mad? What’s it going to take for something to change?

I may not remember the name of the show, but I can close my eyes and vividly picture the final scene, on top of the building where the main character worked, as the hero and his boss looked into the sunset, and his boss said those devastating words to him. I remember my stomach going cold and realizing, God help us, he’s right.

Pitching a No-Hitter

I’m taking a class on how to attract a literary agent. I know I told myself that I wouldn’t put myself through this again, that I would be content self-publishing, but this opportunity came about, and I said, “You know what? I’ve got nineteen finished novels. I can take one off the schedule and shop it around.” So here I am. And it all went well until the back half of my first class, when the agent-teacher asked us to read our draft query letters to the whole class.

STUDENT: My book is a collection of literary short stories.

STUDENT: My book is a semi-autobiographical novel about fleeing Romania at the close of the Cold War.

STUDENT: My book is a biography of my grandmother, who came to this country and ended up in a Coca-Cola ad, and everything that happened after.

STUDENT: My book is a series of essays from the perspective of a comedian who has seen the talk-show circuit up close.

STUDENT: My book is a memoir of being a music video director of indie bands in the late eighties/early nineties.

STUDENT: My book is literary horror. [Literary horror is currently the hottest genre in publishing.]

STUDENT: My book is a scathing indictment of Reagan’s War on Drugs and how it permeates through our modern culture.

ME: My book is a superhero romance. [Record scratches. Someone drops a wine glass to the floor. The piano player stops playing. Crickets can be heard clearly in the distance.] I’ll see myself out.

The teacher, to her credit, treated my query with the same seriousness and focus that she treated the others, even the literary horror novel that she was drooling over, and I got a lot of great advice.

But I felt so, so silly, like I went to a big Halloween party, and I was the only one wearing a costume. I have, literally, no idea what I’m doing.