Tag Archives: day-to-day

She Doth Protest

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My walk from Union Station to St. Mark’s Episcopal Church, only a few blocks from the Capitol, takes me past the headquarters for the Heritage Foundation. These are the people who repackaged George W. Bush from nepo-baby frat-boy to a statesman. They dream up legislation to dump us into the Dark Ages. They are worse than Trump and Elon because Trump and Elon would have no power without them. I tend to flip the building off as I walk past.

Wednesday, the last day of Tech Week, I saw something on the approach that confused me. was a parka, hunched over, on a stool. As I passed by, I noted that the parka was female, and she was carrying a skillfully painted sign that said, “I will not be complicit.”

I walked by and made it to the end of the block before I decided I was going back. But first, I wanted to do something nice in this 25-degree weather. (In metric, that translates to “absolute zero.”) I returned to the Heritage Foundation with a cup of black coffee, which, it turned out, she drinks as is. We chatted for about a minute, and I thanked her. She would be there, she said, seven days a week, eleven to six.

I stopped by Thursday at about noon, but she wasn’t there. I was disappointed, but my life wasn’t over. It’s enough that I met her. She has inspired me. I think I’ve fallen a little bit in love with this tiny, resilient person, sitting in the Arctic cold, forcing these conservative douchebags to walk around her.

I didn’t expect to see the protestor there on Saturday, when the foundation was closed, but there she was. It was a few degrees above absolute zero, but it was still cold, so I grabbed a black coffee and strolled over to her.

She didn’t recognize me because I was wearing a different jacket, but she appreciated the coffee. We talked, a little longer this time, and I learned that she is hardcore. She understands that she comes from a place of privilege, which allows her to quit her job and sit there full-time. Until the people in this building are gone, she isn’t going to participate in this fascist-capitalistic system. I’ll be honest, I find that naïve, but I admire her conviction.

There have been monstrous protests all over the touristy parts of DC since the election, doubly so since the president and his master started goose-stepping around the Oval Office, throwing oppressive executive orders around like confetti. She told me she could go to any one of them, but her calling placed her here.

I asked her if it would be okay if I hung out with her for a couple of hours here and there. She looked at me like I recited a cookie recipe at her in Esperanto. She sputtered for a moment and told me of course. She could use the company. She told me that, the other day, five people stood with her.

I had to go catch up with my ex-roomie, and without my watch, I wasn’t sure what time it was. I introduced myself, and she replied with “I’m Ember.” I told her it’s a beautiful name, and that seemed to make her uncomfortable. I feel bad about that, but to be fair, it is a beautiful name.

Sunday, after a late Saturday, I decided I wanted to protest. At eleven a.m., I caught the Metro to Union Station and walked to the Great Satan’s lair, but she wasn’t there. I really do want to protest, so I plan on stopping by this week. Even if she’s never there again, she affected my life profoundly. She makes me want to resist.

Having a (Costume) Ball

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Last night was the dress rehearsal for Metromaniacs, and it was worth the price of admission. From the gold and white of Francalou to the red cape on Damis, they went all out. There were buckles. So many buckles. Everybody had buckles except for Mondor, who was a filthy servant and didn’t deserve any.

The problem with working backstage is that I can’t see a proper performance, and that made me sad. The performances were very physical, especially the women. Lucille posed across the stage like an Instagram model, and Lisette imitated her, but I’d only seen them do it in twenty-first-century clothes. In fluffy Sun King dresses, I’m sure it was a sight to behold.

I was there for a reason, though, and Maddy walked me through this. There wasn’t much. I will mostly be sitting in the back, reading my proofs on my phone, and waiting for the very few things I need to do.

First, we had to check the props table, with the fake quill pens and the feather fan and the hat Yankee Doodle named Macaroni. Everything was in its exact space and labeled, and the cast tended to leave them right where they belonged, so after initial setup, we only straighten them out for the next show.

Next, we plug in the running lights and the backstage blue lamp, so nobody breaks a leg. Next, we prop open the secret door so cast members doing costume changes don’t get locked out. Next, we set the trumpet. Next, we reset the beanbag boulder for the first act.

The next thing we have to do is retrieve the weasel. Lucille tosses it backward, over the curtain, where it lands right in the path of the actors’ mid-stage exit. If we don’t want anybody to break a leg, we have to grab that right away.

We hit a wall during the quick change at the end of act one. I observed so I can try it out tonight, but Maddy, the professional, dove right in. In less than two minutes, Lisette needs to drop her drab, black maid’s dress and step into a royal pink one. The problem was that the maid’s dress had a corset, and corsets are shifty.

Every time Maddy and Lucille thought they had loosened it, they found themselves struggling with more string. The play had to be paused to figure this out. The fancy dress, petticoats, and wig went right on with no opposition. Tomorrow, Maddy and I are going to practice unlacing a corset, which I haven’t done since I was married.

And finally, in the second act, we have to grab Macaroni when Dorant flings it, not because we don’t want people to break a leg, but we didn’t want anyone to smash that delightful product of haberdashery.

That was it. We left everything where we it started, unplugged the lights, reset the weasel, and headed home in the freezing cold.

There is an issue, though. I’ve been getting home three or four hours past my bedtime and waking up at my normal ungodly hour. A sudden disruption of sleep patterns can trigger a manic episode. I should have called my doctor, I said, lamenting that I have to call my doctor to work with the community theater.

All I can do is continue to have fun and hope for the best. I need stimulation! I need excitement! I need one of those fake quills.

Zany to the Max

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(Tech Week continues! Prologue: https://jrmhmurphy.com/2025/01/13/paint-no-rest-for-the-wicked/; Setting up: https://jrmhmurphy.com/2025/02/17/critical-stage/)

The name of the play is Metromaniacs, which sounds like cartoon set in the DC Underground. It’s actually set in a mansion in Paris, in the eighteenth-century.

The metro in Metromaniacs refers to a metronome, and therefore meter. It’s told in rhyming couplets delivered with such casual ease that it took me half of the first scene to notice. The theme of the play is poetry and the power of words to seduce.

The plot is convoluted. It’s a farce—it’s supposed to be convoluted. What follows is the general breakdown of the characters and the first part of the story.

1. Francalou, rich man and scorned poet, created the alter ego of Meriadec, a reclusive lady poet. As her, has become quite the celebrity in the literary journal circuit, despite that the work is objectively bad. He has written a play so utterly noxious, the cast got sick. But the show must go on!

2. Lizette, maid and master manipulator, is the sassy voice of reason. To put it bluntly, everyone in the play is an idiot except for her, but even she is a slave to her needs. She was my favorite character and performance, hands down, because the chaos of the first act was almost all her doing. From behind, she looks exactly like Francalou’s daughter. Not that this will come up later or anything.

3. Mondor, Cosmo’s loyal, frustrated, and creepy manservant, tries to corral his boss, then gives up and steals his fake identity to woo Francalou’s daughter. His heart truly belongs to Lizette, but she spurns him at every opportunity.

4. Damis is a wannabe poet and man in debt. (He is played by a guy named Oscar.) He wrote a play under the name Bouillabaisse, opening this very day. He is deeply in love with Francalou’s alter ego, but he thinks Meriadec is his daughter.

5. Lucille, Francalou’s daughter, played by everybody’s favorite actor, Jane, is aloof, yet overly performative. Poetry makes her all tritterpated.

6. Durant is a rugged man’s man who wants the rich man’s daughter. He gets his old friend Damis to write him a poem, but this backfires. (Don’t worry, it turns out well in the end.)

7. Angry Uncle Baliveau. He paid for Damis’s school, and Damis has been going to school for ten years. Before Baliveau can have Damis arrested, Francalou maneuvers him into starring in the play as a character based on him.

From there, it gets weird. Mistaken identities, deception, fourth-wall-breaking, love at first sight, three weddings at the end (there are two women and five men in this play; do the math), this is a classic Shakespearean farce, and I don’t think I’m exaggerating to say that. It doesn’t have the substance of the Bard, but it has the delirious energy of his best comedies.

The actors were having a great time, and they each brought their own level of expressiveness. Francalou was manic, Lizette confident and amused, Mondor was sleazy, Damis was twitchy and deluded, Durant was a doofus, and Angry Uncle was angry. Jane was a lot of fun as Lucille, with her influencer vibe. Performing as someone who is performing has got to be a challenge, but she stuck with it.

The trees we spent so much time painting for the set are actually for the set within the set, but we never see the play. Probably for the best. It sounds like Vogons wrote it. I also found out the purpose of the beanbag boulder: Mondor falls face-first onto it; as a connoisseur of pratfalls, and having been a fine practioner of them in my youth, I was remarkably impressed. He went straight down like a two-by-four. I’ll be setting up the boulder during intermission, and I probably shouldn’t screw that up.

I’ll be working backstage with my sketchbook, which might be a problem. The most important prop is a notebook with a leather cover and a long strap to wrap it in. In the dark, it is identical to my sketchbook. That won’t go badly, will it? On the set of a farce? Nah.

Critical Stage

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I returned to St. Mark’s Church on Capitol Hill this weekend for the beginning of Tech Week. The cast of Metromaniacs has been practicing for weeks now, and it’s time to do rehearsals onstage. A stage, therefore, needed to be built. The trick to this is that St. Mark’s is an active church, so stage must be disassembled every Saturday. Sunday was the day it would be built for the first time, using the trees and moon I’d helped decorate in January (https://jrmhmurphy.com/2025/01/13/paint-no-rest-for-the-wicked/ ).

I didn’t have as much fun as the first time. In fact, it was kind of a drag during act 2. This was because a call went out for volunteers, and lots of people showed up. There were about twenty of us there in total, and no one knew each other, aside from the director, the producers, the cast, and the crew, who all had ther own in-jokes.

The volunteer named Elizabeth had the right idea. She introduced herself to everybody and asked them where they’re from. It’s a legitimate question in DC.

I hate when someone asks me that, because I have to respond with a high-pitched, “Welllll…” I could always continue and say “Lots of places,” like Connor McLeod, but I always list them. They usually zone out after the first three.

Elizabeth was adorable, with her platinum bob, pink hoodie, clear-framed glasses, and her fearlessness. If you meet someone like this, you’re likely to assume that, once you got them started, they were going to talk you into unconsciousness. Not Elizabeth.

She answered questions quickly and efficiently, so you had to steer her in the right direction. She was born in 1997. She’s from Montgomery, she went to college in Birmingham, and she moved here because she needed more culture in her life. She likes backstage work, but hasn’t done it since high school, and she will be my rival from now on.

The other person I met immediately, who was not afraid to talk, was Jane. She was somewhere in her mid-twenties, and had a Barbie figure. Her hair was long and straight, from the nineties (formerly from the sixties), and her voice squeaked like Betty Boop, making it difficult to understand the words she was saying. She was in the cast, and she’d never done community theater before. She was spirited away early on.

Ernie spoke. Ernie reminds me of my tenth-grade communications teacher, who was a compact, swarthy man with a mustache and an aggressive hippy vibe. He assured us that once he finished giving his speech, he would be giving the whole thing over to Monique, the stage manager.

He did not. He led us through the transformation of the seating from church seating to bleacher seating. First, we stacked the chairs already there.

Then we set up the risers. (That’s Elizabeth with her back to us.)

And finally, putting seventy-six of the chairs back.

With twenty of us, it was easy to get the work done instantaneously. The problem was, by the time you can get something to do, someone sweeps in and grabs the job. It was a full-contact sport trying to be useful. You’re tripping over everyone, and everyone is tripping over you.

Elizabeth, as always, was the vanguard of activity. She just went to people and asked them questions. I tried this, but if you’re awkward, and someone calls out for volunteers right when you ingratiate yourself into a conversation, it might be discouraging.

When they started hanging the curtains in front of the altar, I realized that I was only getting in the way. I sat in the bleachers and counted down the 127 minutes until we were done, but then it got interesting.

When we were painting last month, Ruth, the bouncy producer, was disbelieving and thrilled that I was interested in working backstage. When I arrived today, the other producer, the assistant stage manager, the director, and Monique, the stage manager, were thrilled to meet me.

As I sat there, feeling useless, Maddy, young and concerned, and Monique, middle-aged and amused, sat on either side of me and explained what I’d be doing. Monique, as you might remember, was the stage manager, and Maddie was her assistant. My job includes moving the “beanbag boulder” during intermission.

After that: stuff to do! The three of set up the backstage so we wouldn’t be seen from the bleachers, wouldn’t get in the way of the cast in this manic farce, and would be in a lot of light because there would be a lot of downtime, and they’re encouraging me to draw.

They also showed me the props, among which were a feathered fan, a plushie ferret, a glass clock, and the contents of locked box. The contents of the box were a pouch full of (fake) blood, a pouch of (fake) silver coins, including three British pounds, and a pair of (fake) dueling pistols, which were the reason the box was locked.

They sent me home early, which I realized when I looked at my phone, was eighteen minutes early. On my way out, I bumped into Jane, who was in full costume, which I can only describe as Marie Antoinette. Monday night, I’m advised to do nothing but watch the rehearsal so I get a feel for it. This is going to be a breeze.

Art Failure

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It’s been really cold here lately (Colorado people, shut up), and I’ve been working from home so I don’t have to walk a mile to my Metro stop through some Jack London nightmarescape with tundra temperatures (I said shut up, Colorado people).

Just as an aside, my job is awesome.

The temperature Saturday got as high as 42, which is the answer to life, the universe, and getting the hell out of the house. It’s a three-day weekend, and I thought it would be nice to go to the Smithsonian American Art Museum in Chinatown.

I forgot what was happening Monday.

My train pulled into the Chinatown station, and quite a few people exited, which was unusual for this time of day on a Sunday. I listened to my podcast and kept moving. One of the exits takes you right to the steps of the gallery, but it was gated off. The other exit was two blocks away, which meant I had to walk two blocks to get to it and two blocks back to the museum. However, those exits were gated off too, and transit workers were yelling at us to go away.

A worker stood near the stairs and told us we needed to get on a train and take it to the next stop to get out. Emboldened by the injustice of it all, I asked her why they didn’t just shut the station down. She said, “I don’t make the rules, I just tell you what to do.”

I took a train to the closest stop and realized I didn’t know which way to get to Chinatown. The National Mall was straight ahead, so I went in the other direction. I wasn’t 100 percent, though, so I stopped at a corner to get my bearings.

A smug, condescending douchebag walked by me, smirked, and said, “I’m from here, and we don’t pay attention to those things.”

I looked up from my phone and said, “I’m from here, and I don’t either. I’m just a little disoriented.”

“Sure.” He strode off.

With surer footing, I headed for Chinatown, weaving between National Guardsmen and their rifles, emergency fencing, and a thick crowd of white people. I saw a long line of red hats, and I couldn’t imagine where they might be going. As I walked past, I searched for the destination, but I couldn’t see one, nor could I see the end. It wrapped around a whole block, then crossed the street, then turned a corner, and disappeared.

Two blocks later, the museum was surrounded by guardsmen who weren’t going to let me in. I normally don’t eat lunch, but there was a Nando’s here, so I stopped in. The host asked me how many. I said one. He looked me up and down and narrowed his eyes, “I see.”

It was about noon that the MAGAs started coming in. I knew they were MAGAs for two reasons. One, there was nobody else in this part of town today; the locals know to stay clear. Two, they were wearing red hats, even the toddler, which I consider to be child abuse. Next, several tables of really hot people showed up. I was hit with the dilemma of admiring them while finding their entire worldview to be nauseating.

The worst part about the entire situation was that people thought I was one of them, especially because I was wearing my lumberjack shirt. On the other hand, blending in allowed me to enjoy my chicken in peace, live blogging the entire experience to my friend Emilie, who I picture reading it in a luxurious bath, sipping cava and shaking her head at my antics.

The only time I felt nervous were when the wannabes moseyed in and took a seat. If you’ve ever been in a Nandos before, you’d know to let the host seat you. If you could read, there is a large sign that says, “Please wait for the host to seat you.”

They wore black T-shirts, black sweats, black boots, black gloves, and black trench coats. Their glasses matched, and they both wore their thinning hair tightly clipped. I checked them for weapons when they pulled off their jackets because I didn’t want to be in the middle of a shooting when I was right across from them.

Most of the patrons got up and left when they realized Nandos was foreign food. I’m just relieved they didn’t stick around long enough to find this:

Reel Talk

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(Trigger Warning: It took a lot of work to keep this PG-13. I had to take a shower after the events of this brief adventure, and not in a fun way.)

I hate it when Facebook recommends stuff to me, based on my “interests,” including the reels. At one point, I was only getting clips from 2 Broke Girls, even though I am not remotely interested in that show.

The algorithm decided that, if Kat Dennings wasn’t enough, it would send me all the big boobs they had. Even though I didn’t click on them, the algorithm decided I needed to see more uncomfortable-looking breasts. It sent me reel upon reel of buxom women, mostly dancing.

When that phase passed, it switched to end-to-end Taylor Tomlinson clips, which finally got me clicking on them. (Her comedy connects with me.) However, the batch I actually engaged with didn’t last long.

Now it’s kind of crazy. Mostly, it’s gone back to big boobs, but they’re uncomfortably huge now, and I’m not turned on. I feel bad for the girls. Also there are the occasional clips from 2 Broke Girls and Taylor Tomlinson.

Today, I made a huge mistake. I saw a preview for a reel that featured an inhumanly pretty ginger in a corset. Her boobs were average-sized, so I don’t know what she was doing here.

I’m making huge strides in my artwork, and I’m trying to spend more time on faces. She was a beautiful model. And not because she was in a corset. Honest. In that two-second preview, she became a muse to me, and I needed to see more. I knew not to click on it, but I did anyway.

The video lasted about thirty seconds, and it was on a loop. The entire show featured this beautiful woman digitally stimulating the camera, as if it had male parts.

She could have been playing with a cat. She could have been banging on a silent bongo. She could have been painting. She could have been using a shake weight. But she wasn’t. She had the smug look and rhythm people have when they’re engaged in this kind of activity. Or so I’ve heard.

I closed my laptop and thought about my choices. I feel really gross now. I know I’m a vulgar person. I own this about myself. However, there’s a time and a place, and I don’t think Facebook is it. It’s not even sexy, it’s icky. Never again will I click on—ooh! Taylor Tomlinson video!

Paint No Rest for the Wicked

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A couple of months ago, I volunteered to be an usher at a community theater production that in no way needed an usher. They told me they’d be in touch if they thought I could help out on their next production. Right before the holidays, a group email went out, rife with reply-alls, soliciting volunteers for set painting.

I like my life. But I need to get out. I need to have conversations with people who can answer me and don’t bite me at random. I’ll take one or the other.

There was a Saturday and Sunday slot. Because I greet the world like a vampire if you wake him up in the afternoon, I volunteered for the two hours Saturday, and not the four hours Sunday. My contact was Ruth, which is one of those wholesome old-person names that you rarely hear anymore. I had a picture of her in my head.

I arrived a quarter after because I timed everything badly. And most of the work had been done because the rehearsal ended early, and the cast had decided to attack the primered foam trees with rollers. They were baffled by me, I was baffled by them, until Ruth showed up.

Ruth was not an old person. Ruth was a perky, bouncy, thirtysomething, cute as a button, who threw herself into the work. She had no idea what was going on, but she was going to take point because someone had to. The woman with the plan was Kathryn, who was a hippie from the sixties and fussed like Piglet. She was what I thought Ruth was going to be like.

One of the volunteers was a house-painter, so he was available to coach, which he was more than happy to do. He didn’t even need prompting. He would just show up behind you and point out an uneven patch, then stroll away for the next tree trunk where they awaited his wisdom. He was a silver fox with no neck, a fitted T-shirt, and wranglers he kept pulling up.

He and I bonded over the Doors. One of their songs started playing on the radio station (I didn’t know they still had those), and he couldn’t identify it. I asked, “Want me to tell you?” It was “LA Woman.” He explained to his companion that the Doors were from the sixties more than the seventies because Jim Morrison died in the early part of the seventies. Was it ’71? ’72? ’73? He then rattled off a bunch of the Dead at 27 Club.

I spent most of my time in the storage closet with Ruth because it looked like someone emptied a giant junk drawer into it. The storage closet is about the same size as the one Kate dumped my stuff in after the divorce, which is to say it’s very small. The theater troop were there by the grace of St. Mark’s Episcopal Church, with a Sunday school in the room the next day, so all the trees were going to have to be put away. Apparently, the stage had to be broken down and stashed every Saturday night for mass.

I have no spatial reasoning, so I don’t know how to make things fit, until Saturday night, when I was directing Ruth to move things into the best space. She laughed a lot, which was good because I was supposed to be funny.

When everyone went home, Ruth hung out with me while I waited for my Uber. She asked me my favorite part of community theater thirty-five years ago, and I told her working in the wings. I’m the first person who didn’t say acting, so she is going to talk to the stage manager, who might need an assistant, as the play is a farce.

I made it to bed and woke up the next morning to continue the project I was working on Saturday. I asked myself if I wanted to stay home all day like I’ve done for the past bunch of Sundays. I did not, so that afternoon, I headed out to St. Mark’s Church and met more people.

I arrived early because I overcompensated, so Ruth and I cleared up the chairs from Sunday school and learned stuff about each other. She told me her husband was a novelist, with one book self-published, and he was interested in trying out his hand with traditional publishers. I offered some tips.

She was very excited to introduce me to Jess. Jess is on “The Board” with her husband, and she’s an artist. When she was showing off the samples she wanted to do, she turned to me for my expertise, even though I explained I am not an expert. When I asked what kind of art she did, she sheepishly told me crafts stuff, as well as a large bus for a karaoke competition. She was way more of an expert here than I was. In fact, I did two things all afternoon. First, I attempted to sponge over the base layer in a way that looked like leaves. It did not work. I attempted to add highlights. It looked like Jackson Pollack had rolled around on one of his canvasses. The second thing I did was paint over it with the base color and left it to Jess, whose trees looked magnificent.

Meanwhile, Kathryn, who assured us she was no artist, singlehandedly added a level of depth to the tree trunks that was uncanny. Ruth painted the moon, using a video on TikTok for a reference, and Kathryn was there to help. But she was not an artist. No, sir.

When I showed up, I told them I could only stay for two of the four scheduled hours because I would need to return to my cave with my cat and shun the outside world. We were done within two hours.

Now, all I have to do is wait for Ruth’s email, and maybe I’ll be able to hang out backstage and juggle, while surrounded by weird people.

It’ll be fun.

All-American Gallery

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My favorite artist is John Singer Sargent, and I think that, ultimately, Impressionism is my favorite movement. The classical, non-portrait art galleries in Washington, D.C. have plenty of Impressionist pieces, but it’s the National Gallery West Wing that has the most massive collection.

I hadn’t been there since the pandemic, when I went to see my favorite painting. (Nonchaloir (Repose), by Sargent.) I think it’s with this painting that the impression Impressionism has left on me is apparent. It’s a picture of a woman with a floofy dress relaxing on a couch, and it looks like it was thrown together in twenty minutes. But that’s not true at all. If you look at her hands, you can see sharp detail and precision that only looks sloppy. It’s an amazing piece of art.

And on that day, four years ago, the entire that whole section of the museum was closed off. No Sargent. No Whistler. No Monet. No girl in yellow reading a book. And I hadn’t been back since.

Because I’ve hit a steady routine of drawing in cafes on Saturdays and/or Sundays, and because you can’t spell routine without rut, I gave the museum another shot. And it hit the target. I got to see my favorites, I got to see new, exciting pieces, and I got to see the same people over again.

This is normal. Depending on which entrance they use, the gallery herds you through the maze of rooms, and certain pieces demand a certain amount of attention from different people, which averages out, and boom, there they are.

Usually, I’d only see them in a couple of rooms, especially when I would sit down and draw a painting that grabbed my attention. I divided my attention between the canvas and the eyes surreptitiously peeking over my shoulder to watch what I was doing. My rough sketches, as you can see, put the rough in rough. There’s a reason I color and ink these pieces as fast as I can.

Normally, most the fun of coming to a museum is people-watching, but I didn’t do that this time because I was so focused on capturing the figures in my style, and quickly. Also, the crowd was really dull. Hair was dark brown, black, and white. Parkas were black or navy blue. There weren’t patrons there I’d describe as bright or notable.

Then there was the woman who interrupted my work by being really striking. Her hair was a very red shade of auburn, and her sweater was white with blue stripes. She was petite and middle-aged, and I watched her do a bored circuit of the room and leave. When she wasn’t distracting me anymore, I finished my drawing.

Later, I was looking for another painting to sketch out, and there she was again, sprawled out on a bench, playing with her phone like a teenager. I just kept seeing her. It took fifteen-to-twenty minutes to finish a sketch, and I did five of them, so she was going through these rooms incredibly slowly. And she wasn’t looking at the art.

Between the first and second time I saw the striking woman, I zeroed in on a great painting of a clown at exactly the same time as an old woman. She was bell-shaped, with a shawl draped over her round, hunched shoulders. She wore a fishing hat and glasses that are so thick, if you rub them you can see the future.

She started talking to me, and I responded, and she gasped and staggered back in shock, as if I’d forgotten to tuck after using a urinal. (I hadn’t forgotten.) What followed was incoherent jabbering, until she said slowly and deliberately, “I thought you were my husband. But you look nothing like him.”

We chatted about the painting for a minute, and she laughed at her antics and left the room. A few minutes later, I too exited the room, and there she was, pointing at me gleefully and whispering to a man who did not look a thing like me, in the slightest. Our clothes were completely different. We were different heights. I had a beard. I was wearing an orange beanie, and he was not.

The man chuckled. “You must be my doppelganger.”

“I’m the World’s Worst Doppelganger,” I said and got the hell out of there, where I ran into a guard.

“Excuse me, sir,” he asked, “is that a sketchbook?”

The guard is an artist, but he’s hit a low point with his art. He’s second-guessing himself, his output has been low and crappy. I’ve been there. I stopped drawing for five years because of it. He wondered if I had any advice about getting back on the horse.

I couldn’t give any advice because I don’t know what I’m doing, but I told him what broke my empty streak: go back to basics. Get rid of everything and start with a pencil and an eraser. Use a sketchpad you don’t care about and go and make mistakes. Draw often. And remember, your art is better than you think it is.

Wisdom. I got it.

That was my outing. People being weird, and some beautiful art. And some sketches. I hope you had a good weekend.

Are You Ready to Box?

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My job is amazing. It fell into my lap, when I received a call from a recruiter who wanted to hook me up with a six-month temp gig with an option for full time, based on my LinkedIn profile. Think about that for a minute. I was recruited from LinkedIn. I can go to my grave knowing I’m the only one who can say that.

After a confusing interview, I got a job that was excessively boring. I had a couple of hours’ worth of work to do every day. However, at an even pace, I was introduced to new work and given a month or so to get used to it before another task was given to me. This is the best way to teach me, and I became an expert on everything that didn’t have lawyers.

I make mistakes a lot, and no one ever gets mad at me about it—they just explain what I did wrong and ask me to fix it.

It was the editorial inbox where I found my footing, answering panicked questions for authors, helping the editors through the process, and extending deadlines. Lately, I’ve been volunteering to train in some of the tasks I don’t know how to do and volunteering for anything or any backup I can do. I did this, not for career advancement, but to keep myself busy. Even so, when I realized no one was going to think about it if I didn’t bring it up, I asked about a promotion and got it.

I feel appreciated, and I’m never stressed out, though there are situations that make me want to flip my desk, but I can’t because it’s anchored to the cubicle. One of these situations is the all-employee meetings, which takes an hour to tell you about the DEI initiative, and sometimes the HR Boss gets roasted by a Zoom guest for eleven minutes.

Before the last meeting, everyone headed for the 10th floor, asking me if I was coming. I said I’d catch up, and I just didn’t go. I wasn’t being paid to be bored. Nobody missed me, and I didn’t miss anything. I had to go to this one because they’re shaking our office like a snow globe, and everybody is moving.

Because the office is closed from Christmas to New Year’s, the move would be then, and we needed to pack up our desks into these large moving crates. The movers would put them into your cubicle, and you just had to unpack and return the crates. HR Mom asked if there were any questions.

KAREN #1: What if we have too much stuff?

HR MOM: We have cardboard boxes in the work rooms. Just make sure you use labels.

The next Karen came to the microphone, and she looked ready to storm the place. “Are the boxes assembled? No? How are we supposed to know how to tape up the boxes?” She looked around at the rest of the audience who wanted her to stop talking so they could get back to work. Karen took it as support.

HR Mom said, “The boxes don’t require tape. Next question.” She eventually decided to give a demonstration on the assembly of the boxes, and the result was the same as if you rode a bull side-saddle.

This is when the Expert came in. Amused, he plucked the box out of HR Mom’s hands, and he couldn’t get it to work. HR Giant stepped in, and he came dangerously close to hitting the front row in the face.

They were banker’s boxes. I know they’re tricky, but they’re not that tricky. You’d think the Expert could navigate a banker’s box. If they started slapping each other, it would have been a Three Stooges short.

This is when I left.

Anyway, here’s the portrait I drew of the Expert when he was just hanging back and letting HR Mom run the show.

Down We Count

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Every single year, it’s the same. The end of December approaches, and with it, the memes, the posts, the general hostility about the previous twelve months. The one we just survived is the worst year ever. Over and over again.

How can you live like that?

When I inconsistently do these years in review, I try to be positive. You can choose which memories you want to have, and I always focus on the ones that are uplifting. I admit to the bad stuff (I mean, I was miserable for 50 percent of my early life), but it’s the least important part of my memoirs.

But 2024 is really fucking pushing it.

First, at the beginning of the year, the relationship between my roommate and I had gotten so toxic that I moved out. I had been kind of poking around in the fall, but I wasn’t ready to move out just yet. I’d found a studio I liked, but I also looked at a two-bedroom because I had never lived on my own before.

The first week of the year, we got into a fight so bad that I sat down at my laptop and applied for the studio. I was approved within a day, and I would have full possession of the keys by the time I finished signing the lease. I paid an extra month’s rent to my former roommate because I was leaving so quickly. We were awful to each other as I made arrangements, until I said, over text, that we weren’t friends anymore.

She panicked and apologized, and we took back our mutual shittiness. That evening, I ordered myself a pizza, and when she got home, I offered her some. She wanted to exercise first, so I had a couple of slices and went to bed. She woke me up and asked if I wanted to watch The Nanny while she ate. Watching TV with dinner had been kind of a sacred ritual for us, but it had fallen off as we fought more and more. This was the last time we’d do it, so it meant a lot.

Our relationship hasn’t fully recovered, but we still text memes and check in. I had cake and ice cream with her the day before her birthday, and she invited me to her friends’ house for board games.

Next: As I was packing up to move across town, I worried about Newcastle. He and Henry had been close friends (Kentucky cousins, as Henry’s mom would say), and neither cat ever recovered from being separated.

Newcastle was depressed in the new place, and he spent most of his time under the bed. I was a coiled spring for the entire time we lived there together. What if he was ready, and I was cruelly forcing him to live? Yet he still wanted to hang with me in bed or at my desk. He ate, he drank water, he befouled the litter box. He couldn’t jump up to my lap anymore, so I had to be ready with a lift at a moment’s notice.

At the end of January, I didn’t see Newcastle for an entire day, so I called the vet and arranged a checkup. He seemed fine, but they wanted to wait for the lab results to know for sure. A week later, the doctor called to tell me he had kidney failure. This was it. There was a treatment that might buy him some time, but I’d have to check him to a facility—

No. I wasn’t going to submit my cat, my world, to that kind of treatment for just a few more months. He was twenty. When I said no, I thought I had six-to-eight weeks. I had two. One day, he didn’t come out from under the bed at all. I knew it was time with the rigid certainty of a diamond. It was too soon. Twenty years wasn’t enough. He was my best friend, the love of my life, the longest I’ve ever lived with someone. And suddenly, he was a box full of ashes.

I didn’t want to replace Newcastle, so I decided that I would give myself a year to grieve. Two months later, my one-time roommate called and asked me if I was willing to hold onto a cat for a week or two. It would be nice to have something to pet around here, so I said sure, and I named him Potato, short for Hot Potato. He looked disheveled and the product of a union between a cat and a dachshund. When she had found him, he was eating a Reese’s wrapper.

The roommate’s  boyfriend took Potato and me to the vet, where the former got checked out. He was in perfect health, aside from the starvation. Because of that, it was hard to estimate his age, but it was around a year. His coat was clean, and he was friendly. This was someone’s cat.

After the two weeks were up, I adopted Potato. After a brainstorming session with former roomie, I decided on Oscar because he looks like an Oscar.

It took me a long time to get used to him. I hadn’t intended to bring another cat into my life so soon. I felt like I was betraying Newcastle, who looked exactly like Oscar when he was a year old. I’m still grieving, ten months later, but it helps that he’s here.

Oscar is a shoulder cat. He’s most comfortable draped around my neck. Oscar a jumper, and he’s really smart, meaning there’s no place in this apartment he can’t get into, except for my refrigerator. He started claiming the shelves I’d used for toys, so I had to relocate Newcastle’s memorial into a box and inside a cupboard over the fridge because he wanted the shelf. He can still get into that cupboard, and I’m waiting for him to push it to the floor.

Also, he’s a biter. Occasionally, he’ll rub affectionately against my arm or my hand and bite them. Not enough to hurt, but enough to get my attention. Once, on my shoulder, he opened his jaws wide and tried to bite off my head. I don’t know how to interpret this.

He’s a wonderful addition to my life, and I’m glad he’s here. I still miss Newcastle, and I have this inkling of a thought about a comic starring Oscar in full weasel mode getting coached by the ghost of Newcastle on how to be a cat. I have no ideas what the stories would be about. Same with the Black Cat Brigade, starring Oscar, Henry, and our friends’ cat Inkling, and the ghost of Newcastle. Again, I’d need a writer.

Third, I lost my best human friend. I’ve written volumes about how much Shane has meant to me since I first met him as a teenager. He was making it a point to call me more often, and he was moving to West Virginia; a small part of the reason was that it put him in a few hours’ bus ride from me. He called me on a Monday, concerned about his health. I assured him everything was going to be okay. That Saturday, he died at forty-nine years old.

I had dedicated my novel to him, and I wanted it to be a surprise. Now he’ll never know. I didn’t go to his memorial service because I wouldn’t be able to afford it, but I wrote a brief letter to share with everyone. Apparently, I dodged a bullet, as there was drama. I’ve been texting with his mother, and I reconnected with some old friends, however briefly. I miss him. Every day I think of something I want to tell him, and I remember I can’t, and he dies again.

He was my mentor when I was a confused, often angry teen. (Even Anakin Skywalker cringed at my antics.) His patience led me to lean in on my creative side and opened up the world of Art. (I sat in on him filming a music video even though he could play neither the guitar and the keyboards. This really doesn’t fit into the flow of the paragraph, but I thought I’d mention it.) When I struggled with ideas, he pushed me along. He talked me through the early days of my visual art. Together, we wrote two screenplays, a TV miniseries, and endless ideas bounced off of each other. We were a team.

When I thought I was through with him, he was always waiting for me. Some people never get to have a friend as loyal and full of life and style as Shane, and that’s really sad. I miss him, but I was lucky to have him in the first place, even if only for thirty-two years.

Two summers ago, I needed to take care of my use-or-lose vacation time, so I flew to New Mexico to spend the next nine days writing a TV series. Some of my favorite memories are of the days in Shane’s studio, smoking weed and collaborating, sometimes struggling over a single word until we find the perfect one. We were able to duplicate that magic in 2022.

As a bonus, my work friend ghosted me when she left the company. It’s better than the way things had been going. When she first started fall of 2023, we bonded instantly. Some of that was because she sat next to me. She was twenty years younger than I, and she came from a completely different life than I. For example, she and her fiancé owned a house in Foggy Bottom, which he bought in cash. We went out for coffee every Thursday, and we filled each other in on every detail of our lives.

When she got married in the spring, our dynamic changed, as the people her own age showed interest in her. We went from texting and messaging all day and night to not interacting for days. She quit, and we threw a farewell party on her last day. I tried to talk to her, but the Loquacious One dominated the conversation.

Where I have great management, hers was a nightmare, and she ended up doing all the work for her publication. When her manager was fired, she continued to get stuck with the work, and while her manager was training, she still got all the work. So when she left, for her vacation and then for good a few months later, I poked and prodded my managers into arranging coverage for her.

After her first manager was fired, she applied for his job, despite only being there for six months by that point. She didn’t get the job, and she was embittered by that. That put it in my head that I’d like a promotion.

I had gotten one in 2021, and I have vastly expanded my expertise since then. I could have waited until they came around to it, but instead I brought it up at a check-in meeting with my manager. There’s a tier system in Editorial, and I was on the second one. No one knew if there was a third, so it took a while to arrange.

It took a couple of months, but advocating for myself ultimately paid off. An announcement was made, and the general consensus was that it was a long time coming. My new roles including training and absorbing as much of the process as necessary.

I gave up MortalMan for the time being. I finished page seven and sketched out page eight. I had originally put it on hold when I knew that Newcastle was almost gone because I wanted to be there to pay attention to him. After he left, I tried again. I finished page seven and started on page eight before I just put everything away. I’ll try to get back to it.

Yes, 2024 was a bad year. If you know anything about the tarot, it was a Tower year. Or Death, at the very least. The bad that happened to me outweighed the good. But look at the good.

I’ve drawn and colored millions of pictures. I polished off two half-finished novels—one that needed a complete rewrite and one that needed a bit of padding. I tried mushrooms for the first time since the nineties, and I do not recommend it. I didn’t have a bad trip or anything, but I spent most of the time wishing it would just wear off. I went on the most perfect vacation (for me).

I found a coffee shop in my neighborhood, then it closed down. I found two coffee shops over the Maryland state line that I have to either walk or take the Metro to. I found a third coffee shop a little further over the Maryland state line. I found first coffee shop again, not closed down, but rather relocated a short walk from my apartment. It was here that I saw beloved British Comedian, John Oliver at the first coffee shop, while a little later that day, a strung-out woman tried to outdraw me by taking over my table.

These are the things I value. My job appreciates me, and it doesn’t cause me stress. I have Oscar currently draped over my legs, which are kicked up on my desk. It’s chilly, but not cold, which is how I like it. I love my postage-stamp-sized apartment. I have friends (no, really). I have two healthy parents. Life is good.