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Dream a Little Dream

Dreamed my family was on a trip, the four of us in an SUV. My father and I in the front seat, him driving. We were in Pennsylvania. We came off a road and I recognized where we were. So we had a point of reference. Our destination, my father said, was Unity, PA. Or maybe Unique. And we were kind of lost as to the route between point A and B. I looked through the road atlas to help but he'd torn out all the Pennsylvania pages. They were in the backseat. When I had them in hand, I concentrated on the maps--about seven or eight, different sectional and scaled views--and tried to figure out what road we needed to take. This took me a long while, using map keys and flipping back and forth. Eventually I gave up with a harsh howl of frustration, covering my face with the map.

We were driving and my father kept getting distracted by things off the road. He'd stare off at a sunset or something, through the side window, and I'd cry: "We're going to hit that rock/tree/thing in the road!" And he'd pull back to attention and swerve to avoid it, rather indifferent to our close pass with disaster. At one point, he swerved to avoid a big rock but went off the road instead, and swung up around a hill, pratically driving sideways so that I thought our car would tip over, before coming back down. I was really, vocally irritated with his carelessness.

We somehow ended up at a mental hospital. My father, or some other man, had brought me there, but was taken into a room for questioning. He held a gun to someone's throat as he sat in a chair, with the psychiatrist next to him in another chair. The psychiatrists--there were maybe three in all--seemed remarkably unperturbed, as if there was no real menace. I lurked in the next room, skulked around and peeped in to the big room where they sat. Wide doorways, not closed. A stage or podium at the head of the room, near me, on which another, smaller gun lay. I pointed out the second gun to the doctors, implying my father had staged this; someone, maybe me, would go for the gun and I'd end up shot, dead.

Since the doctors seemed unimpressed, I ran off, escaping through the hospital. Down a corridor, down a set of fire stairs, down down, as is always the way of things in dreams like this, to the basement. Once I arrived, I sought a way out. Immediately I saw men working and tensed as I tried to look like I belonged. No one really paid me any mind as I tried out different rooms, which had no exits. A black man, like a telephone engineer, was wandering around doing his job. I passed him and walked down the hall; as I reached the end I heard the voices of my pursuers, orderlies and security working together. They grabbed the black man and dragged him off. They'd been looking for me, a white woman, but their reflexes of predjudice were so strong that they'd mistakenly taken him instead for being there, noticeable and out of place.

Having escaped their attention, I reached the corridor's end, where women were piecing together shirts in manual factory style and socializing. I went to a table. The shirts were shiny and inside out. Blending in, I picked up a shirt and tried to turn it right side out, but there were long pins in the sleeve which hurt my fingers. I put the shirt back down. No one was noticing me. Odd. A man walked up though and said, "Anna?" I nodded. He handed me a check for ten cents, for previous work done. I thanked him and took my check and walked off, trying to look as if this were normal. Still, no one noticed--not my arrival as a stranger, my desultory attempts at work, my leaving.

Walked down the hall in the opposite direction, began to pass fire exits that would sound alarms if I used them. I tried to find the one furthest away so that at least I'd have a head start, but security returned. I could hear them behind me. I opened the next fire door; no audible alarm sounded. I dashed up the stairs--no, down--down flight after flight, with the guards on my heels, cursing, and eventually banged through to the outside. First run of action, I rounded the building and hid. Then the action reset itself and instead of going out, I tricked them by hiding inside under the stairs, letting the door bang to make them think I'd escaped.

Once they were gone, I went out. Someone--a beefy boyfriend--pulled up with a rescue van. He grabbed me, held his hand over my mouth, kissed me somehow, and I was struggling and anxious. But he was rescuing me. So we got in his van and drove off. We slowly drove along a crowded street, lined on one side with poor white trash and poor blacks. I hunched down in my seat, becasue I was the wanted one, but they could still see me, I felt. As we paused at a corner, a thin white girl called to someone else, also white, "You a nigger." And she and everyone else laughed, including thin girl's black boyfriend, with whom her arm was entwined. We in the van were also amused: concept being, there was white trash and poor blacks, but then there was a level of social status lower, which had nothing to do with color, and that was to be a nigger. (It's perhaps worth noting that this was my subconscious, and that I'm pretty much transcribing stuff with as much comprehension as a dictaphone. I don't know if that excuses me, but hope I don't give unintended offense.)

Then we drove on. Later, I dreamed...something. Me in my mom's sewing room. M. from work coming to work on my computer, as I reconnected to check my e-mail. A pile of folded underwear.

So, persistent themes of institutions, flight and pursuit, stairs, racial issues (god knows why, I can't think of anything in my life this points to), guns, driving, and folded underwear.


I feel like I had something more to say about Anya, something specific riffing off my own post. But I forget what. I was, however, watching a few minutes of "The Gift" to get a bead on the basement, and wound up watching, with the mute on, Xander and Anya's big scene. And she's just so darn pretty, and has a lovely expressive face. Good hair, too, at that point. Later of course the hair just got scarier and scarier until at some point, which ep I forget, I was staring at her head thinking: what the fuck is that? It was the hair of a seventy year old woman, stuck on askew.

I went back to Melymbrosia's thread and read the additional comments, and all I can say is, where do they get those wonderful brains? It got most interesting when the topic of demons souls kicked off. I more or less get and sometimes use phrases like "moral agency" but other people seem to use them with so much more intellectual authority. There are some scarily smart fangirls out there.


Strangely enough I am, I think, nearly done with episode two, in terms of how many scenes I have left to get through. Or I would be except that it's half the size of the other two eps right now. Hmmm. So we'll see what happens when I work the next few scenes--one should be fairly large. Plus maybe I'll go back and realize I need a few more scattered through to tie it together. So I very well might not be near finished. I like feeling that way, though. {g}

Small note: I just had to fix the links for yesterday's entry. I keep making stupid mistakes. My system needs to be automated, because relying on manual manipulation of numbers is lame.

posted 2.03.2002 @ 9:55am -- right-click here to grab a link


Me, Xander, and Anya

12:00 a.m. yesterday morning. Drank approx. 10 oz. of whiskey. Felt v. v. good. Slept well, then badly. Woke up at 8:20a.m. with headache and stomache ache, felt v. v. bad. Will not be drinking again for 28 days. Yay me!

Seriously, though. I already have the confidence that I can do it, with much less effort than January. They were nice, those drinks, and then I felt physically crappy, and knew going forward that I'd be able to fly through February dry. January started bad, I admit: my drive home takes me by the liquor store and I'd feel the tug of need, at that particular time of day, every day. That thirst, that vaguely vampiric thirst, eased after a while but even as it did, I was still thinking about drinking, several times a day. Now, not so much. But now...that's weird, right? There's supposed to be more struggle and angst than this. Alcoholics aren't supposed to be able to have one drink, then go cold turkey again. That's part of the whole AA shtick. Or maybe that's just if you hit rock bottom first? I don't know about these things. It would be vaguely embarrassing though, if I weren't an alcoholic at all. "Oops. Ha ha! My mistake, people!" Maybe I just need to add that qualifier "borderline" back in. Still...there's been some angst, and it's kind of telling, the whole ritual and impatience involved as midnight, February first arrived, and I let myself drink.

Moving on. Dreamed of Xander when I woke up, fighting with Buffy, then thought of the line Buffy delivers to Willow in "Something Blue": "You'll thank me when you still have a friend in the morning." That tone of voice. So, people have said of season five--or no, I think it began in four--how sad it was that Xander had so little to do. Give the man something to do for God's sake! But I like the particular flavor of angst he had in seasons four and five, finding his place in the world, edging out a bit as he took on adult roles that had more to do with the real world than the surreal. Now in season six, though, I do kind of feel that something more may be needed. In "The Zeppo" he wanted a thing, that thing that sets him apart. And after the events of that ep, he kind of matured away from the simplistic idea that he needed a shtick. His identity firmed up a bit more. Now, though, years later...well, that idea of thinginess is looking vaguely good again. His ersatz thing seems to be Anya, and that's kind of weak. Their relationship troubles are mundane. I too would like something to happen between Xander and Anya, not necessarily a break-up that would sink the ship, but something that would problematize their lives. Nearly anything but children. I definitely don't want the marriage to take place, and have written that out of the stories I'm working on now, with an explanation forthcoming. {grin}

But see, the problem with both Anya and Xander? They're being adult. And who wants to see that? They go to work each day and they work hard--ever try running a small business? Not a walk in the park. While flashier characters get wrapped up in epic angst, they plod along, showing up for their jobs, doing the necessary. And I like that about them. But they've suffered for it, in Interest Quotient.

Anya as ex-vengeance demon, versus Spike the ex-killer--I've seen this discussed in Melymbrosia's blog; there's a good thread here, though beware of spoilers for "Doublemeat Palace." And now that I look, that thread has racked up more comments I haven't read, so I'll take a chance that my own are redundant to someone's. So, weirdly I'd given the inconsistency between Spike's and Anya's lack of remorse--i.e., how differently Xander treats each of them--very little thought; they do play down the history of both characters to a certain degree, particularly Anya. But a few notes, more in the vein of comments than rebuttals: I didn't get the impression that Anya was necessarily homicidal with every man she wreaked vengeance against. In "The Wish" she's definitely an agent provacateur (teuse?), but she's mostly just trying to incite Cordelia to focus on Xander at all, drive her to thinking wishfully--she never even gets to complete a sentence to say just what Cordelia should wish upon him. Maybe not death but wicked boils. I think it was left purposely vague. And in "Prom" her mission statement leaves me pretty sympathetic:

Anya: That's right. The power of the Wish made me a righteous sword to smite the unfaithful.

Xander: Well, hey! Good luck with that. Hope it works out for you.

Anya: You know, you can laugh, but I have witnessed a millenium of treachery and oppression from the males of the species and I have nothing but contempt for the whole libidinous lot of them.

Also, she may have spent eighteen or twenty years as human, but that was a thousand years ago. She's more or less brand new now and it confuses her. From "Prom": "You were unfaithful to Cordelia so I took on the guise of a twelfth-grader to tempt her with the Wish. When I lost my powers I got stuck in this persona, and now I have all these feelings."

But stepping outside the "universe is real" frame of argument, Mely makes far better points than I could about how the character is written. I don't track the correlation of particular writers to how the characters are conceived. Partly because I simply don't own that level of sophistication, but also because I don't want to cultivate any meta-insight into the show. I play "universe is real" pretty much all the time: I want to sustain that bubble, and not think about the actors, directors, writers. I ignore almost all the media frou-frou available on the web--interviews with actors, articles about the show's real-world backstory, etc. I don't want to know that they wrote a character out of season X because actor Y wanted to go onto a movie career. I just want to see the fantasy unfold as a surprise, detached from any real-world machinations. I have reality aplenty of my own, and it's dull. I want the childlike wonder.

Phffft. Thoughts have all been spent, like a balloon deflating and left empty. I must go to work for a while, then come back and write. I was kind of lost for a bit--after knocking out the first scene of episode two, I realize I really had no plot. I picked at various sources, thinking: oh no, this is it, this is when I fall flat because I am not plot-girl. And finally I just made myself start outlining character backstory and thoughts, then got a tiny plot seed and clutched it tight and force-grew it. And the results really surprised me. I'm not plot-girl, so to find myself having actually outlined a real plot, a good plot, to have laid out all the scenes: moment of supreme triumph. And I say good plot, not out of ego. Some things, after you birth them, just seem to exist unto themselves. You ever notice that? Weird.

posted 2.02.2002 @ 10:10am -- right-click here to grab a link


Piano

It is strange to get drunk again and realize how blind I am most of the time, all the things I don't see, don't bother to look at: the soles of my feet, the old white sneakers I wear every day. The arrangement of kleenex box and CDs and socks by the side of my bed. I have a tattoo of a bird with wings outstretched on my right wrist, and it is meaningless because no one loves it. I am listening to The Piano, which is about muteness and crippled hunger. Track 10, at this moment.

I am reading "Wesley Rogue Demon" again. I don't reread often. Never within a few days of the first time. But I am it--I am it--so maybe that's why the story resonates so strongly with me.

I waited until midnight exactly then slung back a mix of soda and whiskey with...not entirely lust, but a sense of medicine and familiarity. And it was good. Then I ate chocolate. Drinking makes me honest, and perhaps stupid and vulnerable, but I do it indoors, and can't be mugged except by you.

Once, when I was on some experimental antidepressent--Paxil? Prozac?--I disassociated. For an entire day, I was alien. I was Wesley Rogue Demon. I spoke in extremely precise sentences, utterances detached from any feeling I might have, because I had no feeling. I think I said some very weird things to my boss at the time, my lady boss. Small family business, pawn shop actually, and it was--possibly still is--the single most dysfunctional family business in the known universe. I'm pretty sure we stood in the vault and that I talked to her like a robot. I loathed and sort of loved that place, because you were expected to be insane. I smile now as I think of it.

The Piano, track thirteen. Chocolate.

posted 2.02.2002 @ 12:40am -- right-click here to grab a link


Snack Cakes

Stayed up till four a.m. last night, in a fit of writing. Four. Ay. Em. This was so not good, in a serious way, except of course for the writing part. I got a nice chunk done. ("Up to the first commercial, at least," said Sandy. Heh.) I was zombie pate on toast all day today, though, at times forgetting from one second to the next what I'd meant to do. ("Why did I switch to this window?") And yet, somehow, I managed to spend the entire shift doing actual, productive work, thus pleasing my boss. I fear the bitch slap of karma.


Blog disaster update: prognosis sucky. torch and Melymbrosia with mind-boggling kindness sent Google-cached pages in the hopes that something would surface, but sadly nothing did. I tried some other searches, but nada.


I posted madly, riff after riff, about "Doublemeat Palace" on an e-mail list, mostly boring stuff about fast-food employment. Annoyed at myself. Felt like I was being very obnoxious, after the fact. I'm just not good at engaging in list threads on subjects I really care about. I should stick to posting once and running, or to blogging. Team sports bring out the worst in me.


I dreamed last night that I was Superman. I ran in a blur toward an apartment complex, to stop something bad from happening. Can't recall what. To combat this evil, I had to break into an apartment and throw stuff onto the grass outside. Obvious SV rip-off. Then I turned into George Clooney. Segue from one superhero to another, essentially. I peeked out the window to see whether my work was successful. Pierce Brosnan had been lurking across the way, watching out the window of an apartment, just waiting to see who would pop his head up, revealing himself as responsible for the litter on the grass of the quad. He spotted me, started running across the quad to the doors of the building. (For some reason when I woke up, I thought, "Very Tailor of Panama.") I, George Clooney, hastily dressed, throwing on pants, stuffing feet into shoes, dancing around and grabbing up my things, drawing a loose woman's jacket on in lieu of a shirt--and in the dream I was very worked up, frantic, to the point where it strikes me now as amazing that a dream can churn up the emotions of real life, associating them with movielike circumstances you've never personally been in. And then I dashed off down a back stairwell, running away. I feel there was a lot more here, but it's gone now.


Rec of the week, month--year, so far--is Wesley Rogue Demon by Mad Poetess and James Walkswithwind. I printed it out on a whim to read while I was stuck unable to do anything else, and then sat there stunned, flipping page after page, nearly hyperventilating, the little hairs on the back of my neck standing stiff the entire time. This hit some of my deepest kinks with a tiny silver hammer, ping ping ping, until I thought my head would explode. This was the most stunning, brilliant twist on Wesley characterization I've ever seen, and Gunn...wow, wow, wow. And Angel! And all of them! And bowling! It was mind-blowing and heartbreaking and sweet and just all kinds of evil goodness. And these are characters who, I have to admit, remain pretty peripheral to my fannish focus--I give them no real love. I watch Angel mostly as a supplement to Buffy, and when I truly groove on them it tends to be in fan-fiction, not canon. As here. And, because of that perhaps, I have this weird, rare sensation of adoring something brilliant in a pure way, with no envy at all.


I want to sleep. I want to write. I want a magical pocket watch that stops the forward movement of time everywhere except a bubble containing me and my TV, so I can rewatch every single Buffy episode again, in order, this week--without losing my job or sanity.


I am going to have a few drinks tonight at midnight. I have successfully made it through a month, dry, as I resolved for New Year's. However, I now associate not drinking with my Spuffy writing spree, so I have this whole "anti-jinx" superstition going on. So I'm going to drink and crash into bed, and wake up tomorrow and go dry for another month, forcing any frustration back into the obsession of writing. It will also please me to succeed at this, because if I can start and stop as I choose, I'll worry about myself a lot less, I think.

posted 1.31.2002 @ 7:59pm -- right-click here to grab a link


Both Natures

New story is up. I am becoming punch-drunk from writing. It is quite possible that writing is a far more serious affliction than drinking. The romantic figure of the drunk poet (a la Reuben, Reuben) resonates much more strongly as the years pass; you drink because you aren't writing, and when you're writing, you're still a mad drunk.

Some thoughts below, about writing this last story--skip for now if you don't want some spoilerish stuff.

Interesting experience to write stories conceived as "episodes." I've vaguely been conscious from the beginning of differentiating between "offscreen" and "onscreen" material. "Offscreen" is mostly people's thoughts, which can be highly explicit in language and content. "Onscreen" is the action and the dialogue, which for the most part has to be censored for television. I made a few exceptions in episode zero by using "fuck" in dialogue, but for the most part I'm trying not to include that kind of language often. But the consciousness of these two layers really sharpened as I was writing episode one.

It molds the story--in episode one, there's a bit where Buffy rants, which has to be suggestive rather than explicit, so I started midsentence, and later referred back to it obliquely, leaving it up to the imagination what exactly she said. And the scene feels more episodic to me for that reason; all you have are the horrified expressions on people's faces and the implication that Buffy's been saying really obscene things.

Likewise, with sex scenes: I was writing the sex scene at the end of episode one, which is explicit and not really television material. And I wasn't happy with it; it didn't feel like part of the rest of the story, mainly because of that shift from oblique to explicit. There was something else too; the plot of the story felt not quite on the button yet, because everything more or less hinged on a catalytic conversation that happened earlier in the summer, during "hiatus." I had all the characters thinking of it, but I hadn't integrated it into dialogue; it hadn't been "surfaced" except by vague reference at the end, by Buffy. But it didn't work, left like that. I was conscious of something being off-kilter. If that had been an episode, you would have been scratching your head and wondering what the hell Buffy was talking about. And that's when I the light bulb went off over my head; I had this epiphany about onscreen and offscreen. So I surfaced something in dialogue about the conversation. And when I edited the sex scene, I worked in hints about how to view it: as if some moments were rendered onscreen and some parts off. And it pleases me; I think it works, and in a subtle sort of way, and I get to keep my explicitness. Maybe it still wouldn't play on network TV (on the other hand, let's pause to contemplate some of the stuff Joss has snuck by them, including two blow-jobs), but it's much closer.

Another small example--I had this one character in ep two smoking a joint several times; but that bugged me too. Would they show that on TV? I don't think that'd get by S&P. So I made it a pipe, and it felt more right.

This weaving of surface (dialogue) and subtext (interiorization), or onscreen and offscreen action, just fascinates me for some reason; possibly because I've always considered myself terrible at original plots, but I feel like I've been getting better--first with Stargate, now with Buffy. And thinking about a story in these terms helps strengthen plot skills, I think, and makes the story more coherent. It's definitely a nod to television plotting, I admit--adherence to its form and rules. In written fiction, you can use thoughts, interiorization; on TV, you have to see and hear stuff take place. You can't just have Buffy missing her mom; she has to pick up her picture and stare at it a moment with a sad face. It's a medium that demands more exposition, which can be clumsier in some ways; but on the other hand, as I mentioned above, it may breed good habits for storytelling--classical shit-happens storytelling--because you can't let yourself get enmeshed and lost in people's inner gears, in the churning of their thoughts; you have to make that energy manifest somehow, so that it drives action.

That's all for now. I have to go chew my nails.


Postscript: So, ha ha ha, psychotic laughter, I had just removed all of the old entries from my main blog page, swept 'em out, yep, and went back to check a link in my archived page and found that it was nearly wiped clean; either because of some ftp fuck-up or a monster lurking in my Composer program. And yes, yes, I'm having the breakdown now. I'm having the big wig. I'm losing my nuts and bolts, and the brain is sliding right out. I can't believe how much I wrote that first week--Spuffy stuff, for one, with threads of thought that really engaged me at the time. And my freakin' New Year's greeting is gone. And two story of the serialized story entries, which I can replicate, but right now that feels like too much to deal with. So for now I'll just say...

ONE FILE ONLINE AND ONE FILE OFF. HELLO, THIS IS REDUNDANCY! REDUNDANCY! THIS SHOULD BE ENOUGH REDUNDANCY! WHAT FUCKING EVIL DEMONS DECIDED THAT WAS NOT ENOUGH?! FUCK!

All done now. Thank god I just posted a story. I will go contemplate it now and let it ease me back into bliss.

posted 1.29.2002 @ 4:35pm -- right-click here to grab a link



 
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