Happy Birthday, Monsieur Mono!
Today, our little boy Liam Miguel turns 2. He's traveled a lot of miles in his short life, and he seemed to enjoy his Paris birthday very well. I made his cake, and you'll notice the three languages (English, Spanish, French) there. Yes, he speaks them all a little; he's a very global little fellow! We're enjoying hearing him talk more every day.
Why "Monsieur Mono"? We sometimes call Liam that when he's being a little silly... or just as a term of endearment. He does an excellent monkey impression when he's in the mood.
Liam, thanks for bringing so many new kinds of joy into our lives. Feliz cumpleaños, joyeaux anniversaire, happy birthday!
Two technology-related gripes (A RANT)
I have two complaints to file today. These have been simmering--no, festering--for weeks, and it's time I said something.
(1) Reading on my iPad is NOT, NOT, NOT the f***ing same. Don't get me wrong, as a writer and PhD student in Paris, I don't know what I'd do without my ebooks and pdfs. Cry? Watch my creative stomach consume itself, Twila Tharp-style? But!! I miss holding books. I miss bookmarks. I miss feeling where I am in a book by the number of pages ahead and behind my present location. I miss writing in the margins. I miss flipping through the pages. Yes, a search function felt "handy" at first, but now I just wish I could follow my own mind's map through the physical pages in a physical book. Andrew Karre, those thoughts you had about discreteness? They're not just idle worries. They're the stuff of my current angst. By the way, I'm pretty sure the Andrew of August 18, 2011, did some time travel and read my (now) diary to be able to write this:
I love books for their self-contained universes. I worry about what happens to the discreteness of those universes when there is nothing to prevent me from barging through every thin place, every interdimensional wormhole I encounter. It seems that every step toward pervasive electronic books reveals another way in which paper books are perfect technology.
Me too!! I want paper baaaack!*
(2) The Twitter character limit that used to seem "fun" and "challenging" is currently pissing me off. I know, I know, I even said Twitter could make you a better writer by training you to self-edit. And probably it can. But who f***ing cares when they want to communicate a semi-nuanced thought? I'm sick of feeling like a bad Hemingway imitator. I'm embarrassed by my chronic two-tweet messages. Yes, yes, I know I can enable a "long message" linking feature, but that makes me feel like I have diarrhea of the keys. Or like I've signed up for a modification that I should be good enough not to need. Damn it, why isn't it 200 characters? Just give me that. Can't they base the bulk of a Twitter message on an overweight Paris pigeon instead of that skinny, too-damn-cute chickadee they used to weigh out our characters? Come on, guys...
*No friggin' surprise that Andrew called this one. He's brilliant, like I said here.
What Courage Sounds Like
To ring in 2012, I offer you this scene: a Paris Metro car full of people on their way home, their facial expressions ranging from impatient to bored. In the middle of us all, a woman with her amplifier strapped to a dolly, sings into a microphone that lets us hear her loud and clear (whether we want to or not) as she croons "Sway" with a very thick French accent.
At first, I found it a bit annoying to have my eardrums accosted by accordionists, singers, and other performers on the Metro when all I wanted was to get home from work and see my boys. But then I began to really pay attention to these performers. Some clearly were doing it just for the money--the handful of change they shamed or pressured travelers into giving them before they finally stepped off the train and went to inflict auditory torture on someone else. The instrument they carried was basically just an accessory to their panhandling efforts.
Other buskers were different--well dressed and apparently indifferent to whether or not they received donations. I have a theory (perhaps totally bogus) that these performers see the Metro as a kind of endless open-mike opportunity. They have a captive audience, after all.
But for my shy self, the proportions of their courage boggle the mind. A captive audience, yes, but a very cranky audience determined not to be moved by their music. Is it the challenge that appeals? And has a Metro crowd ever burst out into applause? I'd love to know.
While I have sometimes wanted to pay the Metro performers money to please, please STOP playing, our little boy Liam is a huge fan of all music, no matter how bad. He'll sway to an out-of-tune accordion, elevator music, or even a cellphone ringtone. So I guess--when he's with us--the buskers can count on at least one appreciative member in their captive audience.
And maybe, with enough courage, one real listener is enough to make it worthwhile. That's what I'm trying to remember this new year, knee-deep as I am in scary, rough-drafting for novel #3.






