We’re all the chef of our hearts

I used to think that I was pretty good with food. At least I was during the first year of college, when I’d invite people over and make them a three course meal. It was always stressful and never came naturally, but I put in the effort of hour-long preparations (we call those ‘MEP’s now; Mise En Place) and well-read recipes. No longer. I have had to face the fact that I can’t really cook; I have no instincts of measurement, always forget the key ingredients, can’t slice a vegetable without the realistic result of chopping my nails off, and I lack the capability to taste whether something needs salt or pepper, which is why I regularly don’t favour food at all.

A few weeks ago, I made a sauerkraut soup by boiling 200 grams of sauerkraut in half a liter of milk and then pouring it in two bowls.

Just saying.

Most of the time, I can laugh about these things, but in effect, when I try to make dinner for my boyfriend, I become paralyzed with stage fright. I quite simply feel that I will never live up to the expectations, everything will go wrong, I can’t do it anyway, look at me, I can’t even read the recipe properly, why is everything so hard?

Annie knows what it's like

Not anymore. Yesterday evening, I spent 1,5 pleasurable hour concocting a swede-parsnip-mushroom pie with handmade dough from scratch. And it turned out.. edible! How did I get from A to B in such a short timespan? Easy; Hannah Hart.

Interviewer: Hannah, now you’re that a world famous chef I should ask the question on everyone’s minds: what’s your favourite food?

Hannah Hart: I’d have to say it’s food that’s in my mouth. But I also really appreciate food that’s on its way to my mouth.

Hannah Hart is the host of My Drunk Kitchen, a youtube show where Hannah cooks… drunk. I watched all of the videos yesterday afternoon. At first, I just thought she was hilarious, and could see right into my soul. I’ll always have a special relationship with the first video I saw: meat pie.

“Sometimes people say you should read the whole recipe before you start to cook. I say don’t ever do that because then you will immediately not want to cook.” There is so much truth to this quote, I don’t even know where to begin. Recipes are great, I look at the pictures, I think: yeah, I’d like some of that. But then, simply to start looking at the ingredients list.. It’s always so long and half of it looks like something I probably don’t even need (‘cumin seed? white flour? yeast? double cream? I’ve got cinnamon, self-raising dark flour – which means you don’t need yeast, right? – and yoghurt. That will do.’) and so it always goes two ways: I decide not to make anything at all, or I decide to give it a shot with my improperly stacked supply of ingredients and make something disgusting (again: sauerkraut soup).

I am a chaotic and ill-educated cook – this is true, but it wouldn’t be all that bad if only I could accept it. The fact of the matter is, I have this image of myself as a ‘kitchen princess’ (as we like to say in Dutch), and I want to live up to it. The lazy branch of perfectionism which reads: if you can’t do it superbly on the first try without any previous experience, better not bother at all! Trial and error is for lesser people. Of course, the foundation of this perfectionism is not so much arrogance or ambition, but pure insecurity with a dash of anxiety. I won’t do something I haven’t done before, because I don’t know how, and if it goes wrong, the world may just end. What I need is a bit of Dutch courage (also known as the ‘fuck you attitude’:

“So… Steep the vanilla be- yeah, that’s what I’m gonna do right now. I’m gonna steep a vanilla bean. Rough. You ever notice how people who make things from scratch, that suddenly means they’re better than you? Just because you made it from scratch, doesn’t mean I couldn’t. I just didn’t. ‘Cause I was doing other things.”

There is nothing wrong with trying to do something and failing – moreover, if you’ll have a glass of wine with it, you’ll probably enjoy it tremendously – and there’s nothing wrong with not trying because you have other things to do. No shame. Never be ashamed of the person you are. Even if that person holds within herself the paradox of being extremely critical of food that’s offered to her, and extremely unconcerned  with being able to prepare a tasteful (there’s a difference between tasty and tasteful – the first is easy: grilled cheese and chocolate. The second encompasses cooking alarms, tools, know-how and an organic farmer’s market) meal.

If you want food, make an omelette! If your omelette falls to pieces, call it a scrambled egg! Do not be ashamed, and do not care. These are all lessons I learned from Hannah. Crying with laughter behind my computer, I looked up at her and thought ‘if she can make a meat pie drunk, surely I can do it sober.

My recipe: vegetable pie

Ingredients: flour, butter, water, filling (any kind of vegetable).
Interchangable flavour makers: raisins, cinnamon, salt, cumin,
pepper, ginger, garlic, onion, stock, oil.

1. Put the flour (don’t care what sort, flour is flour), butter, and water in a bowl. Mix, knead, push or pull these together until it looks like dough.

2. Put all the ingredients in a pan and add whatever seems needed to make it edible.

3. Put the dough in a pie dish and pour the fillings on top. If you have some dough left, lay it on top. If not, who cares. Put it in the oven for like half an hour.

Wow!

I can’t tell you how much this means to me. My Drunk Kitchen has been more than entertainment; it has been an inspiration to let go of internalized restaurant standards, to make do with what I have, to trust that I will find a way to make it work, and if not, to rest assured that the corner shop is open until midnight. Thank you, MDK, for allowing me to follow my harto.

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Shit That’s Been Said

After watching and thoroughly enjoying Shit Girls Say to Gay Guys I thought it might be fun to share some of the remarks I’ve received over the past year or so (oh God, it’s only been about 18 months. Imagine the bucketfuls of original insights looming at the horizon). But I’m not one for making videos, and furthermore, I’m currently in the middle of assignment stress. So what I’ll do is, I’ll just make a start on the list here, and everyone can copy and add and remark, and perhaps someone else will at one point like to take it to the next level? Looking forward to it.

Shit People Say to Bisexual Girls

‘But you have a boyfriend.’

‘Don’t you have a boyfriend, though?’

‘Oh that’s weird, ’cause I thought you had a boyfriend.’

‘How does your boyfriend feel about that?’

F: ‘So, would you fancy me?’

M: ‘That really turns me on.’

‘So what do you like better, girls or guys?’

M: ‘You’ve just never been with the right guy.’

‘Yeah okay, but who do you like more?’

‘You know what, this annoys me. Lately I’ve been meeting girls all over the place who say: “Oh yeah, I’m bisexual,” but then they still have a boyfriend.’

‘So how are you bisexual?’

‘How old are you? Yeah, that’s a phase.’

‘Oh fun, I have never met any gay people before!’

‘Wow! That’s amazing! So, when you go out, you have like a 100% chance of hooking up!’

M: ‘Oh, you should make out with this girl now. I just think it would be really hot.’

‘You mean you’re pansexual.’

‘You mean you’re a lesbian.’

‘You mean you’re bicurious.’

‘But have you ever been in a relationship with a girl.’

‘Alright, alright, but how do you know?’

‘I still think you’re straight.’

‘So you’re like a wanna-be-lesbian?’

‘But, you say you have a boyfriend, so.. How does that even work?’

‘Well yeah, of course deep down, we’re all inherently bisexual. But if you’re really honest, there’s always one (ed.: gender) you prefer.’

‘So you can just sleep with… .. … EVERYBODY!’

‘That has to be so hard.’

‘That has to be so easy.’

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Literary Resolutions: exercise mind, gain weight on the shelves

It took four days, but I am on the twentytwelve bandwagon. I wish you all a happy new year, preferably the kind of happy year that is full of relationships, personal growth, art, insights, new encounters and family (in whatever way you’ve constructed that).

No matter how much I despise the concept of New Years Eve, I am a sucker for lists, looking back, looking forward, making plans and resolutions, giving thanks for what we’ve got. My resolution was always, year in year out, the same: lose weight. Then, when I got over that, I spend a few years not having a resolution – whether pathetic or blissful, I couldn’t think of anything I wanted to change anymore. This year, I’ve gone full out with resolutions, written down about ten of them, and devoted to at least two of the list. One of them is central to my personal life, the other to my professional, and both are thoroughly intertwined with reading, writing and being in touch with one’s surroundings:

1. I will send an e-mail to one of my friends every office day.
2. I will read more (contemporary) books.

Every year again, I am dissapointed to discover that I haven’t read enough contemporary fiction to fill even a top 10 of ‘this year’s best books’. I get stuck on a top 4, a top 6, maybe. But I like to be on top of things, to follow what’s going on in the (literary) world at the moment it’s happening, and God, I like to read. So, on this first day of the new year (meaning; the first day of the new year I am actually in my own room, behind my laptop, with a stack of books surrounding me, ready to start up again) I procrastinate to plan this second resolution thoroughly:

How many books am I going to read? (52! Why not? Everyone else is doing it. It’s a lot. But hey, no you have, yes you got.*)

* Literal translation of the Dutch saying, meaning you might as well risk it, because the worst that can happen is to receive a ‘no’ – and you’ve already got that if you don’t try.

Which books am I going to read? (ehrm…)

2012 Reading Wish List

Ali Smith – There but for the

Yvonne recommended this to me, saying it’s a story about politics and moral – and Smith is supposedly friends with Jeanette Winterson. What more do you need?

Jeffrey Eugenides – The Marriage Plot

Though I have yet to work my way through Middlesex (my copy being a disintegrating 1 quid thrift store paperback certainly doesn’t aid things), I think this book, simply for plot reasons, will ease me into his style and motivate my finishing the previous one.

Jon Ronson – The Psychopath Test

Ever since hearing the TAL episode, I was hooked. And I want more.

A.M. Homes – The End of Alice

Last Summer, I read Music for Torching, and needed to call a friend after finishing. ‘It was just, really dramatic. Like bad. I didn’t see it coming at all. Please take me out for coffee.’ I guess I will need another reason to meet up with friends in 2012 too.

David Mitchell – Cloud Atlas

Many recommendations, and positive reviews, have assured this novel’s place on the to read list for at least a year.

Sarah Waters – Tipping the velvet

Lesbians in Victorian London

George Eliot – Middlemarch

A must read I have not.

Jennifer Egan – Look At Me

I thoroughly enjoyed both The Keep and A Visit From The Goon Squad, so this is a no-brainer, really.

Guy Kennaway – Bird Brain

A man enjoys hunting, dies, and reincarnates as a pheasant.

Anne Enright – The Forgotten Waltz

Suffragette falls in love with dimwit.

Neil Astley – Being Human

A poetry anthology that is supposed to be just wonderful.

Evelyn Waugh – Brideshead Revisited

I have seen the film, I own the television series – it’s about time I read the book.

Francine du Plessix Gray – The Queen’s Lover (June)

A possibility. I am not normally drawn to historical fiction, but Marie Antoinette did charm her way onto this list.

John Irving – In One Person (May)

Though it has been over 7 years that I actually read two of his books (Owen Meany & Garp), in Dutch translation even, I remember loving them, and since this one will be about a sixty year old bisexual man, I’m afraid I won’t be able to resist.

Lauren Groff – Arcadia (March)

‘Arcadia isn’t a charming small town; it’s a ramshackle house in western New York that is home to a utopian community. Groff’s protagonist is a 13-year-old boy, Bit, who was born the year the commune was established.  Over the course of the novel he must cope with the changes that occur and “make his way through life and through the world outside of Arcadia where he must eventually live,” explains the Hyperion catalog.’ – The Book Case

Sarah Winman – When God Was A Rabbit

There’s been a lot of talk about this book around Kingston University; students, staff and visiting lecturers have referenced it as a favourite. Still, it doesn’t hold much of an appeal to me. ‘Childhood eccentricity’? ‘The darker side of love’? Is this new in any way? A very likely title to leave the list prematurely, I daresay.

Sixteen books already, plus four on the list for this month. I am set to read and review Nerys Williams’ introductory book on Contemporary Poetry as a means of making myself more familiar with English poetry – and, of course, inspiring new work (poetic work has been low for December). Additionally, in my attempt to read two poets a month I hadn’t heard of before, I am still to finish the 1963-1983 collection of C.K. Williams’ work. Then there’s assignment deadlines at the horizon, for one of which I wish to finish both Hélène Cixous’ Coming to Writing and Judith Butler’s Gender Trouble. But January’s most exciting read has yet to be shipped: The Fault in Our Stars, John Green’s latest book which not only takes place in Amsterdam, but features a female protagonist. Hurray I say.

However, that only brings the list up to 20. I need 32 more. Which books have you got your minds set on? What do you recommend most from last year, or ever? Let’s build ourselves another shelf.

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Fons / Come thou fount of every blessing

If there’s two things I love, it’s poetry and Christmas hymns.

This year, I’ve decided to experimentally combine the two. I’ve rewritten three favourite carrols, to be posted here on every Christmas day.* Come thou fount of every blessing means, to me, a song of love and fear, loyalty and abandonment.

A silent and holy night to all.

* Editor’s note: never mind that, I’ve sent myself the wrong file and won’t have access to my laptop until Tuesday. Oh well, another Christmas next year. Merry days and nights to all!
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Dear Simone-Ernestine-Lucie-Marie Bertrand de Beauvoir,

You are so pretty.

I really wanted to start with saying something a bit more sophisticated, but there it is: you are so pretty.

I can imagine the young Sartre, before he was Sartre, when he was simply hanging about, dragging those two names around: Jean-Paul. Sounds like a drag. And he fell in love with you, naturally, who wouldn’t? He fell and you watched from the corner of your eye thinking: ‘Oh right. That happened.’ But of course, he took the fame.

Simone, you’ll be shocked to hear that we get our primary information sitting behind a machine, staring at a screen well connected to other screens, and behind this machine, we take time to watch home video’s of cats, do automatically generated quizzed on our death dates and, occasionally, look you up in the archives. It all leads one way really: to the collectively written and constantly changing encyclopedia. I know, it sounds fantastic. Just wait until you read what’s on there.

You see, Simone, it never ends: you had to discover that socialists and progressives are not necessarily on women’s sides, and, a sixty odd years later, so do I. Even a lovely egalitarian invention like the Wikipedia ends up not to be accessible to everyone.

I don’t want you to hear what they write about you, but I do think you should know.

Oh Simone, I am so sorry. Not for you, you knew this was coming, and during your lifetime you’ve probably dealt with way more shit than I can even imagine. But I’m sorry you got overshadowed by someone so obviously your inferior. You were the youngest to graduate philosophy, you set the basics for existentialism, you were passionate and provocative and political and talented – and there you go, just two paragraphs into your biography, and your boyfriend takes over.

Sartre was dazzlingly intelligent and was just under 5 feet (1.5 m) tall.

Dear Simone, you are so pretty. And that’s what caused the megalomaniac dwarf to fall for you, didn’t it, that’s what did you in. If only you hadn’t been so pretty, you could have stayed with Maheu, you would have been spared the dwarf’s obsessive reprimands and rejections. Of course you made the very best of it, sleeping with the man of the century, the woman of the hour – adopting her as your daughter because there just ain’t no party like a motherfucking party.

I loved you for all your wit and beauty and clear sight, your anger and disobedience. You are a mother to feminism, a motherfucker to patriarchy, the baddest bitch to set foot in philosophy and literature. And in my wildest dreams, I see you born in a different country, a different culture, taking a train to Bloomsbury, making sweet sweet love to Virginia and reading each other poetry out loud – and you would laugh about the men in your past, you would laugh until the very end of your sex, second and first, dwarf and daughter, and you would walk up the stage the triumphant.

Beavers have nothing to be embarrassed about.

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Challenging Anti-Porn Culture (it’s okay, we don’t need the asterisk, we’re all adults here)

On the 3d of December another feminist event is scheduled to take place in London: Challenging P*rn Culture. The conference is explicitly anti-porn, intended to support feminist anti-porn thinking through a focus on the harms of pornography.

‘The harms of pornography’. They’re obvious to anyone, aren’t they? But the anti-porn movement, a strand of feminists who are explicitly and ardently fighting the existence of porn films, was an oddity to me before. I knew about it from history books: ‘this happened in the second wave’ – but in England, the anti-porn movement is still very much alive – as much as it’s antagonist, the pro-sexworker feminism. To be or not to be, that it once again the question. With regards to Challenging P*rn Culture, I was relieved to discover I’ll be in the Netherlands that day – because not being able to make it anyway, allows me to not make a choice between one position and the other.

While anti-porn feminism has always looked a bitter, party-pooping and downright negative option to me, pro-porn is a very complicated position as well: the cheery ‘empowerment! empowerment!’ justifications seem a bit divorced from a complicated reality in which most porn is angled on the objectification and exploitation of women. Plus; does the insistence that women empower themselves through sexual acts not reduce women to their sexuality all over again?

While many aspects of the contemporary porn industry and the resulting porn culture in which we live are undoubtedly harmful and oppressive to women (both watchers and workers) – in theory, porn is not essentially evil. The concept of porn is not sexist nor oppressive. It is simply ‘the depiction of erotic behaviour (intended to cause sexual excitement)’. What’s wrong, I beg of you, with filming two people having consensual sex, and publicizing that video with their explicit consent, to the people who desire to watch it? A rhetorical question which I’d love to get a real answer to – at the same time knowing anti-porn feminists will never give in that easily.

Because we agree on one thing: it’s not the idea of porn itself that’s bad – it’s the execution of that idea as it stands in our society after decades of economic and sexual exploitation, in the context of late capitalist consumer society, as the largest film market in the world, mostly catering to straight men – and that image being purported as ‘normal’ ‘healthy’ and even ‘necessary’ – because you know, those men, they need it.

Caitlin Moran writes in How to be a woman about strip clubs as ‘light entertainment versions of misogyny’ – and even if that comparison doesn’t add up, it still hints at a figment of truth: in strip clubs, the man sits and pays money to watch the woman undress, dance, perform the patriarchal ideal of sexual woman; all for his pleasure. The same can account for pole dancing, Hooters, and any other area where (predominantly) women are paid to act as different (at best) from a (hu)man (being).

Porn, on the other hand, involves two actors, a director, camera-handlers and a viewer. All of these are active in the making and enjoyment of porn, have agency, and desires – there is financial transaction, there is (a performance of) enjoyment – there are complexities. And, as people like to say: voyeurism is as old as human nature. Don’t be anti-human nature. Be anti-the contemporary outlet for it.

Because as implied, mainstream objectifying porn is not all porn is. There is queer porn, gay porn, feminist porn, animal porn, geek porn – and a lot of other porn I don’t even want to research, frankly. By simply resolving to be ‘anti-porn’, you condemn all these smaller, often grassroots initiatives of self-exploration, experimentation, empowerment and pleasure – and for what?

No matter how unhealthy and harmful the vice – it doesn’t help to simply condemn and ban it without going into a calm dialogue to explain the complex context. And it doesn’t help to lose track of the differences. Once and for all:

pornography = any depiction of sexuality
mainstream pornography = a certain kind of pornography

By equating mainstream pornography (a genre) with porn as a medium, we generalize, oversimplify and exclude many people from the feminist agenda. If there are possibilities to change porn into, they might very well come from within the porn industry itself. Anti-porn is not an answer – just as pro-porn isn’t. To get to the answer, we first need to abandon any polemical position and start asking questions.

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Late-night post-bus ride thoughts on alienation and appropriation

‘I may start screaming,’ I whispered to the girl next to me. ‘If this continues, you will get to see a very unpleasant side of me.’

Postcolonialism does not necessarily bring out the best in class discussions. It’s a sensitive subject – probably the most sensitive of all scholarly movements. While gender studies certainly annoys the conservative establishment, it generally gets no more than a laugh and a shrug (typical reply: ‘I don’t see how this is relevant to my own writing’), talking about postcolonialism offends everyone all the time (typical reply: ‘This is not my fault! How can you be so mean!’).  Me, being white and bourgeois and everything – I get so, so offended that I might start screaming.

People can ‘relate’ to postcolonialist texts. Fanon writes about feeling French but not being recognized as such – a white person relates, because he was born in Germany but grew up in the States and while still speaking German, is not recognized as such. Said writes about being part of a culture that is systematically reduced to ridiculous stereotypes – a white person relates, because she is blond and people makes jokes about her all the time. Such responses are offensive to me, and they should be offensive to everybody. To consider a body of scholarly work which struggles to spread its own voice after centuries of oppression and silencing, and to call it your own, to drown that voice out with the noise of your own problems, without accounting for that massive white privilege your dragging around, is ignorant at best. Guess what? Someone else has something to say, and maybe, for once, we should shut up and listen.That’s lesson number one.

Lesson number two starts with an important term that very few people know about: cultural appropriation. I first became familiar with the term on tumblr, mostly through this excellent blog. Now, when confronted with the idea of cultural appropriation, a lot of white folk become upset, like a child cries when you take away its toy. But that’s exactly it: other people’s cultures are not a gadget for you to mess around with – especially not when your own culture is so actively trying to demolish their cultural heritage.

So when the tutor ends his lecture saying ‘we can look to the third world for inspiration to reinvigorate western culture’ I am shocked. Sorry? After all the exploitation, we are going to go in there and take the last bit that remains; their cultural and social situation – to make our own writing more interesting?

I try to bring it up during the seminar, clumsily phrasing my opposition: ‘I just don’t see how to do it without being…’ Being politically correct, is what I mean to say. (Which is not as bad as people try to make it out to be. Politically correct, in my opinion, simply indicated an inclination to positive, rather than negative liberty.) While I can certainly see that our own culture is little more than the shiny shell of consumerism, it seems a bit Avatar-like to simply want to destroy and replace it with a more exotic, adventurous culture. Pocahontas! Heart of darkness! Interesting savages to liven up our existence!

The nagging question, however, remains: what is the alternative? Writing about 22 year old white women and their thoroughly western lives? While the world is burning? Is that not equally ignorant?

I’m just going to make a jump here to the conclusion, because it is late, and another busy day awaits me. Hope you don’t mind.

The answer, as it comes to me during the bus ride home, is perplexingly simple. The third world is not a potential exotic subject for Western writers – it is our world. When my white middle-class characters are having a cup of coffee at the student bar, they are engaging with globalized economics, workplace inequalities, and forced labour – to name a few. Any consideration of the ‘other’ as a separate entity with which we have the luxury not to engage, is as false as the shadows in Plato’s cave. Of course I write about the postcolonial subject – not taking her voice, or rearranging his life – but as it relates to the life I know best and tend to write about.

‘I don’t see how this is relevant to my own writing,’ – the voice of a self-involved white author, soon to be buried in a landfill close to you.

ps. Please take all mentions of  terms like ‘other’ and ‘third world’ with a pinch of irony and a set of quotation marks.
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Poetry; I seem to like it, after all.

It’s been about a year since I last performed poetry. I stood on stage in cafe Nota Bene, Utrecht, invited by Kila & Babsie, when it became clear that I had nothing to say, really. It seemed to me, back then, that poetry and I were done. I walked on stage and introduced myself ‘possibly doing my last poetry performance’ and left knowing that everything was alright. Poetry and me were not to be, really. And honestly, I think most Dutch slammers agreed. My work was deemed ‘too girly’  ‘too emotional’ and ‘too I’ – and apparently there was something wrong with my thighs, too.

There’s a problem with striving for success, which is just that: striving for success. Succes is not gained by hard work or serious endeavors, but granted by a mass audience. For the past few years, my audience has been the random collection of people who visit (and mostly perform at) poetry slams. This audience wishes to be pleased and entertained, to understand and follow every line the first time around, for things to be simple. Sarcastic. Sexy. Fun.

But there’s wanting people to like your work, and then there’s wanting work that people will like. I started to work from the premisis that the audience needed to be pleased. If people did not like my work, it simply wasn’t any good. It’s not until now, rereading The Waste Land, hearing Ilya Kaminsky read, etc, etc, that I remember the best work is not about pleasing people – to the contrary; it’s about unease.

If I read a book and it makes my whole body so cold no fire can warm me, I know that it is poetry. If I feel physically as if the top of my head were taken off, I know that it is poetry. These are the only ways I know it. Is there any other way?
- Emily Dickinson

She should, in that remark, have shamed forever the facile, the decorative, the easily consoling, the tame. She names, after all, responses that suggest violent transformation, the overturning of complacency by peril. In practice, this has meant that poets quote Dickinson and proceed to write poems from which will and caution and hunger to accomodate present taste have drained all authenticity and unnerving originality.
- Louise Glück

Now, it is not my place to pretend that any of my previous work would cool anyone down to the point where no fire could warm her – and it is certainly clear that a lot of my poetry shows a disappointing ‘hunger to accomodate present taste’, if not in structure, at least in subject. But if I ever had the potential to create disquieting work, it certainly wasn’t encouraged by participating in poetry slams. Popularity contests are not fond of angst. The paper world, however, the loneliness of libraries and notebooks, is full of it. Where poetry slams are comforting, entertaining and easy, poetry remains difficult, distressing and challenging as ever.

I have made huge generalisations and accusations – and I’m not trying to blame anyone. What I am trying to do is express my regret at spending so much time in a confined and restricting literary sphere, when there are so many other places that could have blown my head off. At least for me, as a young and impressionable writer, the poetry slam circuit has proven disastrous.

I’m writing again. I’m cutting up all my work and relearning, editing, reading again. I feel as if I might be onto something, something disturbing and worthwhile.

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a wake on friday night

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Vega is very now. Why are you not now? Buy Vega now. Upgrade from ‘vegetarian’ to ‘sexy and stylish vegetarian’.

I was just writing about the concept of shopping as a hobby when this popped up in my Facebook feed;


Normally I really enjoy Strawberry Earth’s recommendations – only 30 minutes before (yes I am having trouble to focus on my work) had I shared one of their illustrations about brand visibility vs. basic human knowledge – but this one, it annoys me on so many levels. So many. And because I’m still in the middle of doing work that is meant to be both more enduring and more productive than a rant, I’ll keep this short. I won’t get into the people featured in this magazine (instead, I’ll just copy their names with a question mark behind it for sarcastic purposes; Nico Dijkshoorn? Jort Kelder? Renske de Greef? Moby? Really? Where’s Sting?). Because you know, in the end, the people that are going represent a movement is not that important.

What is important, is that the movement is no longer much of a movement, but a lifestyle, pardon me, mindstyle.

Vega is the magazine about making conscious choices in food, clothing, cosmetics and more. Vega is sexy, stylish, inspiring, journalistic and now.

Just so we’re clear: Vega is the latest in a long series of commodities trying to cash in on the hype – but in order not to seem like they’re cashing in on a political, activist and radical movement of food and philsophy, they’ve reversed the meaning of vegetarianism and made it into a slogan. Being vegetarian is no longer a choice you might make because you have certain environmental, financial, political or emotional opinions – no, it is a mindstyle. A way of life.

And just like any way of life, this does not come for free. I mean, it’s not like I simply decided not to eat meat and, in the aftermath of that decision, refrain from consuming meat-like products. Oh no. I’ve misunderstood. A lifestyle is something that needs constant attention, revision and reinvention. Mostly with money. See, being a vegetarian, I wouldn’t want to buy the wrong lipstick (‘But I don’t wear lipstick!’ ‘Then how will you ever sell yourself, woman!’) or miss out on H&M’s special organic cotton fair trade owl-printed vintage inspired capes. Luckily Vega is here to help me. And that for the bargain price of €7,95 per issue.

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